Thanks for your generosity, Enrico. Fantastic photo.
Another Apeda Studio photograph. The Capitolians in the the Capitol Theatre in 1928. Directed by Walter Roesner, no Mole/Dorsey/Berton/McConville here, but interesting anyway. Lou Calabrese, Lou Bring and Jimmmie Lytell are present.
The two trombone players are familiar to me, but I don't remember the names now. Is Tom Satterfield the guy with the glasses close by the bass player?
The Capitol was the frequent site of the world premieres of films made by the Loew's-owned Metro-Goldwyn-Mayer studio. After having been converted for the presentation of Cinerama wide screen films in 1964, the theater's last engagement was the New York premiere of MGM's 2001: A Space Odyssey. The Capitol closed September 16, 1968 with a live all-star benefit featuring Bob Hope and Johnny Carson. The Times Square landmark was replaced by the Paramount Plaza office tower.
I remind you that the Cinderella Ballroom/New Yorker Club/Paul Whiteman Club was diagonally across the street at 1600 Broadway.
MGM announced the production of several short Movietone shorts at the Cosmopolitan studios. Among the names of performers of interest here we find the Keller Sisters and Lynch and Walt Roesner's Capitolians.
In his article in the IAJRC Journal, May 2008, "The Dorsey Brothers - Filmdom's Favorites" Robert Stockdale gives the following information about the Capitolians short:
Sometime during the last part of 1928 Jimmy performed, along with Leo McConville, Miff Mole and other members of Walter Roesner's pit band at M-G-M's Capitol Theater, New York in one of the first sound-on-film short subjects made on Long Island. Jimmy performs two originals that affirm the high regard with which the New York music world viewed him. It is the first known film work for either of the brothers.
Unknown studio, New York, N.Y. late 1928
Walter Rosener [sic] & the Capitolians
Walter Rosener [sic] (ldr) Leo McConville, 2 unknown (tp) Miff Mole, 2 unknown (tb) Jimmy Dorsey, unknown (cl,as) 2 unknown (cl,ts) 2 unknown (p) unknown (g), (bj), (sb), (tu), (d) and large string section.
(partial:) Tiger Rag [Harry DeCosta; Edwin Edwards, Nick La Rocca, Tony Spargo, Larry Shields] (cl,as solos); I [Lew Pollack; Erno Rapee]; Hottest Man in the Band / Beebe [Jimmy Dorsey] (as solo)
All selections on VIDEO: M-G-M/UA laser disc ML 103942 The Dawn Of Sound
Several years ago I was going through some old photos at my aunt's home and came across this neat photo of a band called The Memphis Syncopaters.
I was curious how it ended up within their photos because I wasn't aware of anyone in the family being in a jazz band. However, my mother's uncle ran a music store in Indiana in the 1910's and 1920's and she told me that it probably came from him.
I know nothing of this band. Does anybody else?
After googling, the only thing I discovered was some information about them playing in Sarasota, Florida on a vaudeville circuit in 1932. The photo looks to be of an earlier period.
The photo is in storage at the moment, so I don't have access to it, but there were some notes on the back I believe from my grandmother. Whenever I get it out of storage I will be happy to provide the additional information.
I found lots of articles and ads in newspapers from the 1920s, all across the country. The Memphis Syncopaters/Syncopators were led by Everett Sanderson and, in addition to live appearances, had radio broadcasts in 1924. But they never made recordings, as far as I can tell. The iceberg effect in action.
From the Logansport Press 1924 10-29, Indiana.
At the Luna Theater
While the big feature of the All
Ace Revue is Everett Sanderson
and his Memphis Syncopators, a
red hot jazz band, consisting of
five clever boys and Marjorie
Vaughn, the personality girl. A
few of the musical offerings yon
should not miss are Bert Peck, violin
soloist, George Muonts cornetist,
followed by Sanderson playing
the meanest blues on a clarinet
and he also plays two clarinets
at one time, saxophone and
clarinet at one time, banjo, piano
novelties, Italian bass clarinet solos.
And last but, not least the
All Ace- Quartette In comedy and
This is a show that music lovers ^
shouldn't miss, combined with good
clean comedy, and musical comedy
hits. This is a personally guaranteed
FromTHE BRADFORD ERA, PA SATURDAY, JUNE 19,1928
LAST TIMES TODAY
A Show That Will Have All Bradford Talking
" P R E S E N T I N G "
The Musical and Dance Hit of the Season
HERBERT & SANDERSON'S REVUE
A BIG MUSICAL TREAT
A SYNCOPATED NOVELTY
America's most versatile artist
rendering his own compositions with
Marjorie Vaughen [sic] , Ruth Crossman, Ralph Sibery and Omer Herbert.
DIRECT FROM THE BIG TIME
This musical revue iss walking away with the applause honors of everv show in
which they appear. They have talent, the youth an d th e magnetic personalities
Perhaps no other building in Bradford is remembered with such fondness as "Shea's" Theater. Built in 1903, it reigned as the city's primary theatrical entertainment experience for thousands of people until its demolition in 1961.
Early theaters in Bradford, as elsewhere, were called "Opera Houses", although all sorts of various types of entertainment took place there, including lectures, burlesque, stage plays, and even graduations. In 1879, Bradford had 5 theaters, and all of them well attended. In 1903, a group of businessmen decided to build a brand new theater, and locate it directly behind the IOOFBuilding on the corner of the Square. Nationally known theatrical architects Leon Lempert & Sons of Rochester, NY were contracted to design a theater that could seat 1500 people on a lot 80' x 119'. It was completed late that year, and on December 15, 1903, the "temple of amusement" as The Bradford Era called it held a gala opening event.
An excerpt from The Bradford Era, dated December 15, 1903, is as follows: "At 7 o'clock last evening the New Bradford Theater was formally opened for inspection by the public and for the auction sale of seats and boxes. Although an admission fee of 50 cents was charged, several hundred persons attended and the sale of seats was quite spirited for a time. S.G. Coffin had the honor of purchasing the first seat in the new playhouse, paying a premium of $7.50 in addition to the regular price of $2.50 for a parquet chair, a total of $10. The structure contains eight boxes with a total seating capacity of 64 persons.
The officers of the new Bradford Theater are as follows: President, S.R. Dresser; Vice President, O.F. Schonblom; Treasurer, Thomas Kennedy; Secretary, Otto Koch.
The dressing rooms, which are located both above and below the stages, are veritable models of their kind, supplied with hold and cold water, gas, electric, lights, carpets, toilet apartments and adequate furnishings. They are sufficiently numerous to accommodate the largest dramatic or musical organization traveling. The directors and architects have made every provision for the care and safety of the patrons of the theater. Every floor has its fire escape, furnished with doors which may be opened at all times from the interior. Over each fire exit is a red electric light, so that in case of a conflagration, there need be no confusion as to the location of the escapes."
The opening night performance was "The Prince of Pilsen".
In the years that followed, the new Bradford Theater grew in popularity. In 1906, "The Wizard of Oz" played there, with 50 performers and a live cow. Sarah Bernhardt herself played on the stage in "La Sorciere", a drama spoken entirely in Spanish. No one in Bradford understood Spanish, but the theatergoers were enchanted by the great Sarah just the same, even it they did not quite "get it".
In 1922, the theater was sold to the Shea's Theater Company of Buffalo, NY, and the name changed. The list of famous performers went on and on. Some of the more famous entertainers were: Sally Rand (the famous "bubble dancer"), Harry Blackstone, Boris Karloff, Gypsy Rose Lee, Ethel Barrymore, Arthur Treacher, Lyle Talbot, and countless "big bands" with their singers, including Rosemary Clooney.
But times change. In the late 1950s, the building was bought by the Dipson Company, and plans were made to demolish the structure. The Bradford Parking Authority expressed an interest in the lot, hoping to put in a 40-car lot by September 1, 1961. (Ironically, there were also plans made to demolish the old City Hall at the same time, to also allow for more parking). On Friday afternoon, August 18, 1961, the demolition began. Local police and fire department officials ordered the area blocked off when the upper portion of the Shea Theater building bulged a bit and gave indication that it might collapse. A large crowd was attracted to the scene, as the building was ready to collapse. Soon, it was just a memory.
Today, Shea's Theater only remains in the minds of Bradfordians. It's sister theater, The Palace", in Olean, NY, also built by Leon Lempert & Sons of Rochester, was demolished in October of 1998. The days of a truly "theatrical experience" have passed.
Broadcast date:April 26, 2007 The hugely popular big band leader of the 20's, Paul Whiteman, crowned himself the "King of Jazz." He hired the best musicians to work for him - George Gershwin, Don Redman, and Duke Ellington. Wynton Marsalis and The Jazz at Lincoln Center Orchestra showcase classic Redman arrangements such as "Stampede" and "I'd Love It." Special guests include Bob Wilbur, Daryl Sherman, and Vince Giordano.
Not true, Paul did not crown himself the "King of Jazz." From my Whiteman piece on WWI Registration cards for the Doctor Jazz website:
Whiteman did not confer the title of King of Jazz upon himself, as commonly stated. In fact, he did not like the sobriquet. The first mention was in 1919, in the Pasadena Evening Post, . . . the friends of Mr. Whiteman have with much enthusiasm bestowed the title of king of jazz upon him.
"King of Jazz": the Film at Lincoln Center. Tuesday, May 15, 2012.
Tuesday, May 15, 2012, 2:30 - 4:30 p.m.
New York Public Library for the Performing Arts, Dorothy and Lewis B. Cullman Center, Bruno Walter Auditorium (Map and directions)
Fully accessible to wheelchairs
King of Jazz (1930)
Directed by John Murray Anderson, 98 min.
With Paul Whiteman, John Boles, Laura La Plante, and The Rhythm Boys
Going Places (1930)
Produced by The Vitaphone Corporation, 10 minutes
Todays film screenings will be followed by a panel, Revue Stars on Film. Participants include Ron Hutchinson of The Vitaphone Project, A Song in the Dark author Richard Barrios, and Joe Lauro of Historic Films Archive.
This series, programmed by John Calhoun of the Reserve Film and Video Collection, is presented in conjunction with the exhibition The Great American Revue, on view April 20 through July 27 in the Vincent Astor Gallery.
Films shown on Tuesdays at 2:30 p.m., from April 24 through May 29. All features will be accompanied by Vitaphone shorts, thanks to Ron Hutchinson of The Vitaphone Project.
This is not the restored version. It will not be ready for two years.
Re: A short conversation between Margulis and Challis.
by Nick Dellow
The "Nat" is Nat Shilkret. This is part of Bob Mantler's taped interview of Nat Shilkret, Bill Challis and Andy Sannella conducted in 1961.
To be perfectly honest, despite the interview stretching over four hours in total, it produced relatively little of significance. Mantler doesn't ask a single question about Bix, spends a considerable amount of time playing (and re-playing) very straight Shilkret sides, and often disagrees with his interviewees! It seems to me that this was a classic case of a wasted opportunity.
By the way David, Sylvester Ahola told me some very funny stories about Nat Brusiloff, who seems to have been something of a practical joker a la Venuti! I have these stories on tape, but could relate one or two of them here if you and Albert would like me to do so. Hooley worked for him at NBC in the 1930s.
Anything about the great Hooley is fascinating to me.
In his autobiography, Nat Shilkret mentions Bill Challis several times, mostly briefly. Here is one fascinating glimpse.
Even in the late 1960s (Nat Shilkret was in his seventies at the time) he [Nat] visited the arrnager Bill Challis in Massapequa (on Long Island) for lessosn. He always had a high opinion of Challis's work.
Indeed, Bill and Charlie were talking about Nat Shilkret.
In his autobiography, Nat Shilkret has a small piece titled "The Smith Brothers Program." Nat writes,
The Smith Brothers program was changed from using two male singers and a small orchestra to using Miss Rose Bampton and a twenty-eight piece semi-pop orchestra. It was a an orchestra studded with players like Artie Shaw, Chester Hazlett, Tommy and Jimmy Dorsey, Lou Raderman, Charlie Margulis, and Manny Klein, all joined by Miss Rose Bampton's luscious and beautiful voice. She was used in both classical and popular Broadway songs, with orchestrl arrangments in rich color. Miss Bampton sang in pure tone and fine diction. She did not cater to the "pop" song style. The orchestra supplied the needed touch for a splendid program. George Marek, now head of RCA Victor Division, was in charge of the program.
Nat does not mention getting drunk!
The Smith Brothers were the inventors of the cough drop. The two singers mentioned by Nat were Scrappy Lambert and Billy Hillpot, taking the roles of 'Trade' and 'Mark' over the WEAF radio station as impersonators for the Smith Brothers in the program sponsored by Smith Brothers Cough Drops. The words 'Trade' and 'Mark' were written under the images of the Smith Brothers in their products.
In the 1930s, Scrappy and Billy did a revival of their Trader and Mark impersonations over the NBC network. From 1926 to 1928, Scrappy and Billy were with Ben Bernie. Of course, we know the connection of Scrappy with Bix and Tram: Borneo and My Pet. Scrappy recorded also with Roger Wolfe Kahn, Red Nichols, Nat Shilkret, Jack Pettis, Joe Venuti, Arthur Schutt, Ben Pollack, Irving Mills, Adrian Schubert, Ben Selvin, Sam Lanin, Bob Haring, etc. He used various pseudonyms: Burt Lorin, Glen Burt, Buddy Blue, William Brown, Harold Clarke, etc.
The Smith Brothers program mentioned by Nat in his autobiography ran from 1933 to 1935.
In June 1928 Jane appeared in a couple of "Vitaphone Varieties" film shorts - "Singin The Blues" and "The Melody Girl". Husband Ron Wilson accompanies Jane on piano in both shorts. Only the audio soundtrack from "Singin The Blues" survives today and can be heard on the "Wild Romantic Blues" LP below.
Thirteen tracks, including the soundtrack of Miss Green's Vitaphone short, "Singin' the Blues." A labor of love and work of art, this beautiful production (now a collectors' item) features a lavish 8-page booklet with bio, photos and complete song lyrics; the record is pressed on blue vinyl, with original label art by the great Robert Crumb. $20.
Brad, did we discuss Jane's "Singin' the Blues" in the forum? I don't remember. What can you tell us? Do you have an mp3 that you can share with anxious and eager forumites?
We discussed it, and how. The great Jane Green would have been the ideal interpreter of "Singin' the Blues," since she had sung the blues and bluesy pop songs from the minute the first ones were published ("Dallas Blues," "Memphis Blues," etc.) if not earlier. All during the 'teens and into the early '20s she was known professionally in Vaudeville as "The Blues Girl." Her 1920 Pathé record of "Wild Romantic Blues" and its flip side "Lonely Blues" gives us a good idea how she handled this material. I'd bet ten to one that she included "Singin' the Blues" in her act when it was new.
Here is a new transfer of "Wild Romantic Blues" (Pathé 20480). I've been experimenting with a new way of tracking these tricky vertical-cut records, and have improved upon the transfers in the original LP. There is still a little cross-talk and cylinder rumble, but you hear Jane much more clearly now:
She also would have been the ideal singer for the '26-'27 Goldkette band, had that been an option. If Eddie King had drafted her to make Victor records with the band instead of who he got, we'd be thanking him today.
The happy result of the 2008 thread you directed us to above was that "cybercriminal" Confetta and I have been friends ever since.
THE Royal Hall is a fitting venue name for an act with such regal experience.
Kenny Ball and his Jazzmen are veterans of Prince Charles and Princess Dianas Wedding Ball, a high point of a musical career that has spanned decades.
The six-piece ensemble are bringing their touring show to Douglas next week, at the Villa Marina on Wednesday (May 16), for a night of original traditional jazz from a band with no fewer than 14 top 30 records to their name.
Led by trumpet player and vocalist Kenny Ball, the line-up includes Bill Coleman on double bass, Nick Millward on drums and vocals, Andy Cooper on clarinet and vocals, Hugh Ledigo on piano and vocals and Jazzmen co-founder John Bennett on trombone.
Now 83, Essex-born Kenny retained his interest in trumpet playing through a period in National Service, to become a professional musician by the age of 21. His traditional tastes were complemented by Dixieland and Chicago styles, with his favourite players cited as being Bix Beiderbecke, Bobby Hackett and the great Louis Armstrong.
Chart success in the 1960s forever cemented Kennys place in annals of musical history, on the back of hits such as Midnight in Moscow top two on both sides of the Atlantic Samantha, So Do I and From Russia With Love. More than 50 years on and the appeal is evidently enduring Kenny Ball and his Jazzmen play an impressive 200 gigs a year.
I recall seeing Kenny's band in a jazz club in Yiewsley, Middlesex, about 10 miles west of London in the late 1950's before he found international fame. Although Kenny played trumpet, he carried around at that time a slightly dented cornet. When a Bix number was requested by a member of the audience, he would open an old case, take out that cornet and do a very good performance "Bix style".
The acoustic recording process want kind to stringed-instrument players. Although solo performers fared well enough in the studios (provided they stood nearly in the mouth of the horn), section players found their contributions got lost in the general din. The solution was the Stroh violin, a clever mechanical contraption that replaced the violins body with a metal resonator. Attached to the resonator was a horn that blasted the sound toward the recording apparatus. A smaller horn could be aimed at the players ear.
The Stroh instruments (which also included viola and cello versions) originated in England and came into general use in U.S. recording studios during 19081910. The photo below shows two in use at an Eddie Morton session for Columbia, c. 1913:
The Stroh also became popular with dance orchestras in the days before microphones and PA systems. Two members of J. C. Becks Orchestra (which recorded for Paramount and other small labels in the early 1920s) posed with their Strohs for a series of publicity shots:
The devices were abandoned en masse in the mid-1920s, with the advent of electrical recording. We had the good fortune to hear a Stroh in use a few years ago, by a local collector who owns a pristine specimen and is also a competent violinist. The sound wasnt nearly as harsh as expected, but startlingly LOUD.
I've been trying to gather some biographical information on Eddie King, the man who played a somewhat controversial role in Bix's life, at least as it was preserved on record. Yet my efforts to locate him in Ancestry.com documents haven't been very successful, partly because his name is so very common and because I don't know if he lived primarily in NY or NJ at the time these data were gathered.
The EDVR indicates that he participated in Victor sessions as early as September 1911, so he surely couldn't have been born later than about the early 1890s. Do we know what his wife's name was (if he had one) or anything else about his early life?
According to Census records, Edward T. King was born Sept. 1868 in New York. He and his wife May were living at 1218 Tinton Ave., the Bronx in 1900, but by 1910 they were living in Yonkers. May died sometime before 1920, and Eddie eventually married May's younger sister Julia, who had been living with them since at least 1900. He had no children but did have an adopted daughter, Janet. Eddie's wife Julia Brennan King died 4 Feb. 1958 at McKinney's Sanitarium in Yonkers. Her obit indicates Eddie died in 1942.
It was an easy task for Sonny, the son of Charles King, a super-talented jazz, rock and slide guitarist. The grandson of Eddie King, an RCA/Victor recording artist and big band leader renowned on the jazz circuits of his day, Sonny relied on his experience as a seasoned session player whose credits appeared on television tracks for United Paramount shows like Star Trek Voyager to write with Potter, an enterprise that eventually led to the pair laying down tracks for 2001's self-produced EP called "Six", recorded at Atlanta's Subliminal Sound studios.
Could the E. T. King mentioned in what follows be THE Eddie King we are researching? I think it is.
From the Music Trade Review 1908-46-5, p. 38
CAME OF A FAMILY OF
The "Eddie" King, whose death
was mentioned in last week's Review,
known as the oldest drummer
in the New York theatre orchestras,
being 60 years of age, was
the father of E. T. King, musical
director of the Universal Talking
Machine Manufacturing Co.'s recording
laboratory, and also manager of the famous Seventh Regiment
Band, N, Y. S... N. G. The
elder Mr. King was so modest according
to his son, that his business
was seldom mentioned at
home, and when the newspapers described
his musical career at the
time he died, his family were
astonished to know he was a celebrity
in his line. Indeed, the late
Mr. King was not only a clever
drummer but an all-round musician
From Music Trade Review 1908 46-4
OLDEST DRUMMER DEAD.
King Began at the Old Theatre
the oldest drummer in New
York theatre orchestras, will
be heard no more.
When he did not appear at Wallack's Theatre
Friday night the management sent to his home
at 2155 Fifth
avenue and learned that he had
been found dead in bed in the morning. Heart
disease killed him.
"Eddie" King was a noted character among
theatrical folk. Though more than 60 years
he always seemed hale and hearty. He
began his work as a drummer in theatre orchestras
at the old Theatre Comique. From there he
went to the now forgotten Harrigan & Hart's,
and thence to the Harrigan Theare, where the
Herald Square now is.
He has been at Wallack's for the
years. For thirty years he played under the
leadership of David Braham, an uncle of
HarryBraham, the present leader at Wallack's.
The Victor Talking Machine Co. was incorporated 10/3/01. In 1903, Victor bought control of the Universal Talking Machine Mfg. Co., Inc. So it looks like this Eddie King is the right one.
ZONOPHONE CONCERT BAND (probably Edward King, conductor): The Smiler (Percy Wenrich)
New York: Released March 1908 (listed February 1908) Zonophone 980 (mx. 8301)
(This is the same Eddie King who infamously ejected Bix Beiderbecke from his first Victor session in 1924. He replaced Fred Hager as Zonophones house conductor in April 1906, although Hager allowed Zono to continue to use his name on band records for a time after his departure. King was retained by Victor after Zonophone shut down in 1912 and was made house conductor and later, manager of Victors New York studio. He also oversaw many of Victors recording expeditions to other cities.)
If I have time later today, I'll do a little more digging.
The Van Eps Trio also recorded heavily from 1912 to 1922. Van Eps assembled the group to furnish music both on records and for dances. Within a couple of years the Trio evolved from two banjos (the other banjoist was Fred's brother Bill) and a piano (Felix Arndt) to an ensemble that substituted drums (played by Eddie King) for one of the banjos (by 1914 Banta, still in his teens, sometimes replaced Arndt). Victor executive John S. Macdonald--he recorded as Harry Macdonough--insisted that drums provided a steadier rhythm than a second banjo but Van Eps was unenthusiastic about the change.
In 1915, Shilkret began working for Victor as an arranger and conductor, yet did not earn a credit on records until 1921 when he teamed with drummer and Victor executive Eddie King to form the Shilking Orchestra. The silly name was retired after only three records, but the basic 8-10 musicians who made up the Shilking continued on under Shilkret's direction, producing numerous popular music selections to suit Victor's various needs.
Edward King (Sr.), wife Susan, and children Edward and Charles were living in NYC in 1880. He may be the Edward H. King who enlisted in the military in Syracuse in Oct. 1861 and served as a musician in the 75th NY Infantry. In 1891 and 1907, a couple of Civil War pension apps. were filed for a musician Edward King; if it's Eddie's father, they could provide a wealth of info.
From the New York Herald, Fri.17 Jan. 1908. pg. 9,. col. 3:
"Edward King, who for ten years had been the drummer in the orchestra at Wallack's Theatre, died suddenly of heart disease yesterday at his home, No. 2,153 Fifth avenue. It was not known at Wallack's that Mr. King was dead until after he was missed in his accustomed place at last night's performance. Mr. King for years was a drummer in the orchestras of the Harrigan & Hart theatres. Ten years ago he went to Wallack's Theatre. Mr. King was sixty years old and a civil war veteran."
Mississippi Mud: Why wasn't James Cavanaugh mentioned?
According to the ASCAP data base and the Library of Congress copyright, Mississippi Mud was composed by James Cavanaugh and Harry Barris. However, several sources only mention Harry Barris.
Bix recorded Mississippi Mud twice, once with Trumbauer and once with Whiteman. One take of the Trumbauer recording was issued, while two takes of the Whiteman recording were issued. Here are some of the record labels, all mention Barris only.
(lots of errors on this label)
Here is the record label by The Seven Polar Bears. Again, just Barris.
Here is the label of the Ray Charles recording.
One edition of the sheet music gives "Words and Music by Harry Barris."
On the other hand, this edition of the sheet music gives credit only to James Cavanaugh.
James Cavanaugh (1892-1967) was a well-known songwriter. From IMDB
Songwriter ("Mississippi Mud", "I Like Mountain Music", "You're Nobody 'til Somebody Loves You", "Christmas in Killarney") and author, educated in public schools, then a writer of vaudeville material, collaborating with John Redmond, Nat Simon, Frank Weldon, Vincent Rose, Larry Stock, Dick Robertson and Harry Barris. Joining ASCAP in 1933, his other popular-song compositions include "The Horse with the Lavender Eyes", "The Umbrella Man", "You're In My Power", "The Gaucho Serenade", "Crosstown", "Whistling in the Wildwood", "The Man with the Mandolin", "You're Breaking My Heart All Over Again", "I Came, I Saw, I Conga'd", "A Little on the Lonely Side", "I'd Do It All Over Again", "On a Simmery Summery Day", and "Dearest Darling".
So, why wasn't James Cavanaugh given credit in the record labels and sheet music?
More Labels and Sheet Music for Mississppi Mud with no Mention of James Cavanaugh.
Some of what follows comes from the collections of Nick and Rob.
Mississippi Mud by The Sylvians.
The record label of the Rhythmic Eight version does not cite Cavanaugh either.
Sheet Music from the 1920s.
I point out that Satterfield wrote the arrangement for Whiteman's recording of the tune and he was music director for the session.
Credit in the record label for the Rhythm Boys recording of Mississippi Mud/I Left My Sugar Standing inthe Rain is given to Harry Barris, Irving Kahal and Sammy Fain. The last two were the composers of I Left My Sugar Standing inthe Rain.
There is also a short movie made in 1929 with Paul Tremaine's Orchestra performing Mississippi Mud, and according to IMDB Cavanaugh is also uncredited in this. The number was revived for the 1937 movie short "Swing Wedding" and once again Cavanaugh is uncredited.
Don Rayno in his Whiteman biography gives the following
Mississippi Mud/So the Blackbirds and the Bluebirds Got Together (Harry Barris, Billy Moll)
Vocals by the Rhythm Boys (Bing Crosby/Al Rinker/Harry Barris); piano by Barris. [Billy Moll is the composer of So the Blackbirds and the Bluebirds Got Together.]
Nick points out that Barris and Cavanaugh collaborated in other tunes recorded by the Rhythm Boys.
Wa-Da-Da. It will be seen that credit is given to both on the record label and on the sheet music.
For That's Grandma credit is given as "Barris, Cavanaugh and Crosby."
And again credit is given to Cavanaugh in the label of Bix and His Gang's recording of Wa-Da-Da.
So why isn't credit given to Cavanaugh in recordings and most sheet music of Mississppi Mud?
Thanks to Nick and Rob for scans and helpful dialogues.
Columbia 1819-D gives Barris and Moll as composers of So the Blackbirds and the Bluebirds Got Together.
Billy Moll also is credited as composer with Ted Koehler and Harry Barris for another Bing tune, "Wrap Your Troubles in Dreams."
This message has been edited by ahaim on May 12, 2012 9:11 AM This message has been edited by ahaim on May 12, 2012 9:11 AM This message has been edited by ahaim on May 12, 2012 9:10 AM
Nick kindly sends in this wave file where he juxtaposed fragments form Bix's In A Mist and Barris's Wa-Da-Da and writes,
Attached are the phrases from Bix (In A Mist) and Barris (Wa Da Da) that seem (to my ears) to provide evidence that Barris was influenced by Bix. Listen to the similar descending left hand phrases, while the right hand is harmonically and melodically close.
Red Nichols ( (May 8, 1905 June 28, 1965) was (along with Paul Whiteman) one of the most maligned musicians from the 1920s. We have discussed this extensively in the forum. Fortunately, in his magnificent masterpiece Lost Chords, Richard Sudhalter has an excellent chapter about Red and redresses some of the injustices.
Crazy Rhythm is one to the tracks in Nick's excellent CD set "The Influence of Bix Beiderbecke."
Although Bix's influence on Red is quite apparent, I hasten to add that Red was an important figure in the development of jazz in the 1920s and made enormous and significant contributions as instrumentalist, band leader, composer and, in particular, prodigiously prolific recording artist.
I celebrated Red's birthday by listening to the Charleston Chasers- part of the old lp boxset, "Thesaurus of Classic Jazz". I think Thesaurus is used here as meaning "treasury", a very apt title when the set came out. Anyway, it has a great instrumental version of Mississippi Mud, featuring a fine solo by Fud Livingston. My old copy of Rust only lists the version with Scrappy Lambert vocals, recorded the same day and having the same matrix number. That version appears on the Timeless cd Charleston Chasers Vol. 1. And for the record, Harry Barris is the only composer credited on this one as well!
While watching a YouTube video of "Stampede" by Red and Miff's Stompers, I noticed that it included two still photos from a "This Is Your Life Broadcast" dating from October 2, 1956. What immediately struck me was that I saw Nichols, Miff Mole, Jimmy Dorsey, the Teagarden brothers, and Arthur Schutt, all but the last with their respective instruments. Thus, three of the original Five Pennies sidemen from 1926 re-united with Red. This broadcast was unknown to me until this time.
I know that AMC, at one time, aired "This Is Your Life" re-runs. I wonder if this broadcast was ever shown. I did find a collector with an incomplete (alas!) audio track of the broadcast, but was hoping that perhaps someone would have more information before I make the plunge and buy it. Does the kinoscope survive, I wonder? Would the Hesters know anything of this?
Even if the ensemble was not quite playing the "cool" jazz of 1926-27 for which they are justly esteemed, how great it would be to see a veritable who's who of 20's jazz musicians playing together one more time, especially since Jimmy Dorsey passed away the following June.
I recently viewed the Red Nichols "This is your life" episode at the Library of Congress. I understand it may also be viewed at the Museum of Broadcasting in NYC.
For some reason, this episode was not among those allowed to be re-aired back in the 80s or 90s.
It is quite thrilling to see htis all-star band playing: Miff, Jack Teagarden, Charlie teagarden, Jimmy Dorsey, Arthur Schutt, and drummer Vic Engle (although he is called "Vic Angle" and his signature on a piano - a gift to Red - clearly reads "Angle." Rust identifies him as "Engle.)
This is no longer New Orleans style, polyphonic ensemble. Beginning with the trombone solo it sounds to me like a ballad in the style of Bix and Tram's Singin' the Blues. In fact, to my ears, Olga has the feeling of Rite Tite by Benny Moten. To me, Rite Tite is an obvious tribute to Bix and Tram's Singin' the Blues, with pieces of Tram's solo thrown in for good measure. Olga also has a structure similar to that of Singin' the Blues: not too much ensemble work, a series of mellow solos; open trumpet (King Oliver?) muted trumpet (Joe's nephew Nelson?) clarinet (Holmes) alto sax (Holmes or Paque?)
They are both slow ballads, like "Singin' the Blues." Oliver's "Olga" hit me as definitely more of the swing era arrangement than Moten's, which is definitely "jazzy" in style with a prominent rhythm section. Bix 's & Tram"s was closer to Moten's, in the traditional jazz mode, but had a different feel, since it's basically an intro, two extended solos, and a closing, with very little ensemble playing, aside from background chords, and Lang's near "duet" accompaniment to Bix's solo.
The clarinet is Bobby Holmes and the alto sax is Glyn Paque. I believe both the open and muted solos are by Oliver himself. The muted sound is the big mystery on this one. I think it's an old style Harmon type mute or an ancestor of the Harmon mute, as the closest sound I can get to it is the Emo plastic wow-wow mute, which is like a harmon but has a straight tube instead of a cupped plunger shape out the end of it. Whatever he used, it's a really beautiful sound. Nelson uses the same mute on some of his own records also.
I've always loved this record. Trying to learn the trumpet parts at the moment actually.
Are you familiar with both takes? Take-1 surfaced a few years ago and was released on a 1992 Bluebird album.
Oliver was really on-form on this session (he barely played at all on the previous session) - the other 2 pieces are "Struggle Buggy" and "Don't You Think I Love You", which has a great open solo by him.
June 29-July 1 Iowa City Jazz Festival. Bring a lawn chair and enjoy local, regional and national musicians on the main stage and three side stages, plus Culinary Row and artist booths. Free, 319-337-7944, summerofthearts.org. Miles from Chicago: 225
Aug. 2-5 Bix Beiderbecke Memorial Jazz Festival, Davenport. The annual festival celebrating the jazz great includes a dozen bands in multiple venues, including LeClaire Park on the banks of the Mississippi River. Fees vary, 563-324-7170, bixsociety.org. Miles from Chicago: 175.
I Have been a Bix fan for a couple of years now, but it has only been recently that I aquired some original 78's (imagine my suprise opening up one of my gifts last birthday and opening up a full book of Trumbauer discs, most with Bix, almost brand new!) Now i've been collecting 78's since 3d grade, but most of them are pretty worn out and storage in old sleeves was always sufficient. But i treasure these new discs, and, as i said they are almost mint and i would like to keep them that way. Would anyone know if the old record album book sleeves are acidic? Any other tips? Thanks so much!
Most vintage records have proven to be remarkably durable over time, but they do have enemies: dirt, moisture, pressure and temperature extremes.
If possible, records should be cleaned before storage. Dirt will scratch records, dust in the grooves will cause premature groove and stylus wear, insects and organic compounds will react with the shellac and silverfish eat sleeves and record labels. Once records have been cleaned, it is best not to put them back into old sleeves. New sleeves for storing records are available from Nauck's, and should be used if you care about your collection.
Records should never be allowed to get wet, and even high humidity can be dangerous. Sleeves absorb moisture which promotes mold growth. More importantly, organic filler material was often used to give strength to the otherwise brittle record groove. This filler material will erupt into microscopic blisters if it absorbs water, and that creates a grainy surface which results in the frying bacon sound frequently associated with 78s. So keep the records high and dry at all times.
Try to avoid storing your records flat, as this will cause grains of sand, record sleeves and other foreign objects to impress themselves into surface. Records should be stored upright on edge. Do not allow them to lean, and avoid keeping them in record storage boxes unless the discs are fully upright and flat against each other. They may be safely stored horizontally if the individual stacks are not greater than a couple of inches tall and the temperature doesnt get too high.
High temperatures quickly damage records, so it is important to monitor the environment where your records are stored. Ideally, the ambient temperature should not be allowed to exceed 75° F, especially if the records are not clean and stored upright!
Several internet merchants sell acid-free sleeves.
One of the images in the 1937 "March of Time" piece about La Rocca and the ODJB is a Western Union telegram. Dim and out of focus, it is onscreen only for five seconds, hardly long enough to see what it is, let alone read it. But with pause control at the ready, the text reads:
[RECEIVED AT 834 CARONDELET ST.]
NEW YORK NY DEC 7 1916
NICK LA ROCCA
DIXIELAND BAND 2022 MAGAZINE ST NEW ORLEANS LA
VICTOR COMPANY HAS PROPOSITION MAKE RECORDINGS OF YOUR BAND
WILL ADVANCE RAILROAD FARE
All the accounts I've read of the ODJB's rise to fame have them playing in Chicago from March, 1916, with La Rocca a last-minute substitute for the original cornetist Frank Christian. Agent Max Hart heard them, booked them for Reisenweber's in New York around new year's 1917, with Victor records and fame soon to follow.
This telegram is from an alternate time line: It has them playing in New Orleans in early December, 1916, and being summoned directly to New York by Max Hart to make Victor records.
If the 'gram is a fabrication, it's quite an elaborate one for the miniscule screen time it's given. Apparently it was sent to one New Orleans street address (2022 Magazine St.), and received at another (834 Carondelet St.). The second address is rubber-stamped over the teletype. Both addresses are real - they can be seen in Google Earth street views.
Did "March of Time" painstakingly alter history to suit its purposes? Apparently so. Elsewhere in this film is a page from a 1917 Victor catalogue:
NEW VICTOR RECORDS
THE DIXIELAND JASS BAND
Playing Their Own Compositions
Livery Stable Blues - Fox Trot
Tiger Rag - One Step 18255 10-in. 75¢
Spell it Jass, Jaz, Jas or Jazz -
It's SWINGING music!
... totally fake, of course. Victor 18255 couples "Livery Stable Blues" with "ODJB One Step," not "Tiger Rag." "It's SWINGING music!" was thrown in to 'predict' the future, to make La Rocca and company look like the true harbingers of "Swing." Making up history like this is what gets journalists fired - but evidently it was standard practice in '37. Makes you wonder about other historical "documents," like, say, the New Testament.
Still, I have to give it up to whoever did that telegram. He WAS predicting the future - anticipating the advent of the only way to read it completely: the video pause control.
Max Hart was born Max Meyer Hertz in Denmark. He was the theatrical agent who booked the ODJB for their appearance at Reisenweber's. Apparently, early in 1917, there was fierce competition abong theatrical agents to get the ODJB to come to New York. Max Hart won and the ODJB opened at the 400 Club Room, Reisenweber's Building at Columbus Circle on Jan 27, 1917.
What I found very interesting is that Max Hart was the father of Loren Hart of Rodgers and Hart fame.
Connections of Hart to Bix.
- Bix recorded several tunes composed by Hart: My Heart Stood Still. Thou Swell. Do I Hear You Saying I Love You? You Took Advantage of Me.
The ODJB evolved from an earlier band organized by a New Orleans drummer. Johnny Stein, whose real name was John Hountha, was playing at the Pup Cafe in New Orleans in 1915 or early 1916 when an actor named Gus Chandler urged him to take a band to Chicago. Stein signed a contract with a Chicago entrepreneur Harry James (not the big band trumpeter) and then recruited from his home city four musicians to travel north with him--LaRocca, Edwards, Ragas, and clarinetist Alcide "Yellow" Nunez. Eddie Edwards later recalled that Stein had asked him for assistance in recruiting musicians. Edwards first invited Emile Christian to play cornet but Christian could not leave New Orleans because of a prior commitment (he later played trombone for the ODJB when Edwards himself was drafted into the army). Edwards then invited LaRocca to join. In an unpublished manuscript now owned by grandson Gary Edwards, the trombonist recalled that "the forerunner of the ODJB was the Reliance Band," which included clarinetist Achille Baquet, drummer Jack Lane, and cornetist Lawrence Veca.
The musicians made their Chicago debut on March 3 at the Schiller Cafe at 318 East 31st Street on the city's South Side. The cafe was managed by James and owned by Sam Hare. Advertisements printed in 1916 for Stein's Dixie Land Jass Band stated that the musicians had come "direct from the famous Pup Cafe of New Orleans" though only Stein had played at the Pup Club. Band members wore long coats called "dusters" as a kind of uniform.
Reportedly fed up because the Schiller Cafe owner refused to increase pay, the four musicians working under Stein deserted him and formed a new band. Their letter of resignation (now owned by Gary Edwards, grandson of Eddie Edwards) is dated May 25, 1916, and states, "Messrs. Berghoff Schiller...Gentlemen: We beg to hand you herewith our resignation, to take effect two (2) weeks from this date (5/25/16). [Signed] H. Ragas, E.B. Edwards, D. Jas LaRocca, A. Nunez."
Needing a drummer, they sent for Tony Sbarbaro in New Orleans, presumably on the recommendation of Edwards, who had played with Sbarbaro, nicknamed "Kid Spargo," in a ragtime outfit a couple of years earlier. In June the Original Dixie Land Jass Band opened at Del'Abe's Cafe in the Hotel Normandy at Clark and Randolph streets (Stein recalled in later years that the ODJB opened at the Belvedere Hotel, then went to "Bert Kelly's Stable" on Clark Street). From July onwards the band worked steadily at the Casino Gardens at Kinzie and North Clark streets. For personal and musical reasons, clarinetist Alcide "Yellow" Nunez was fired and replaced by New Orleanian Larry Shields, who was in Chicago playing in the band that Stein had organized to finish his contract engagement at the Schiller (others were pianist Ernie Erdman, cornetist Doc Berenson, and trombonist Jules Cassard).
Nick D also sends this photo of 2022 Magazine St., mentioned in Brad's posting. Nick D tells me that La Rocca lived here and he can't find any trace that he lived at Carondelet Street. Thanks, Nick.
Lake Forest board oks college dorm demolition
BY LINDA BLASER email@example.com May 3, 2012 2:24PM
Updated: May 3, 2012 4:07PM
The Lake Forest College dormitory where jazz great Bix Beiderbecke supposedly composed In the Mist may have a June date with the wrecking ball.
The Lake Forest Building Review Board voted unanimously Wednesday to approve demolition of the 60-bed Moore Hall at Sheridan and Rosemary and replacing it with a staggered, two-building 235-bed structure.
On the motion to approve the design of the new Moore Hall, the commissioners voted 5-1 with Commissioner Jon Clair casting the only dissenting vote.
The City Council is scheduled to consider the demolition and building plan at Mondays City Council meeting.
The majority of the Building Review Board approved the plan for the four-story brick structure and retaining a subcommittee to work out final details. Clair wanted the college and its architect, Jim Curtin, to come before the BRB one more time before giving the plan his vote.
The commissioners liked changes made to the plan, which originally had one large building running parallel to Sheridan Road.
Instead, the new residence hall will consist of a pair of staggered four-story brick buildings. The southern building will lie in much the same footprint as the current aging dorm. The northern building will be situated parallel to it and closer to the interior of the campus.
The new dorm is estimated to cost $14 million, college officials said.
Sorry if this is old news to everyone, but I only just saw this article, and I am furious. I regret not taking the time, during one of my Racine trips, to stop at Lake Forest and see the campus. - Jam
Commissioners liked that no portion of the new hall will lie parallel to Sheridan Road.
Now I think it will be less visible from Sheridan, Commissioner Michael Bleck said.
The northern building will step down with the topography so that only three stories will be visible. That building will be 42 feet high at its peak. The southern building will be 52.6 feet high. The current Moore Hall is 52 feet tall.
The new buildings will be constructed of brick.
We want this building to look residential, Curtin said.
No tinted glass will be used and the floors on the Sheridan Road side will be dormitory rooms. Each dorm window will be equipped with blinds and there will be restrictions on lighting to eliminate light spill into the surrounding community, the architect said.
With the approvals in place, work is expected to begin as soon as the spring semester ends.
Demolition will be in June with construction to begin immediately, Lake Forest College President Stephen Schutt said. Construction is about a 15-month process. The goal is to open in August 2013.
The original three-story Moore Hall called East Hall then was built in 1893 as a dormitory for Lake Forest Academy. The top floors were replaced and a fourth floor added after a fire in 1922.
It was while he was a student at LFA that Beiderbecke is said to have written his jazz hit on a piano in the student lounge.
The current Moore Hall is made of combustible materials, has no sprinklers and does not comply with the Americans With Disabilities Act. Repairs to it would range between $8 million and $10 million, officials said.
Two indepencdent architects said the current structure is not historically significant and does not warrant preservation, Curtin said.
Hey, isn't anyone bothered by this? Doesn't it seem a shame that a nice historical old dorm building is going to be razed, for what -- a supposed state of the art residence? It seems more fitting that something of historical significance, where Bix stayed as a student, practiced music, hung out with his buddies, should remain on that campus -- and also not be renovated beyond recognition.
Although it's pretty funny how EVERY place Bix was at was where he supposedly composed "In A Mist." A school dorm, a hotel room, an apartment, while he was working in St. Louis with the Trumbauer band, the shabby cabin at Hudson Lake. . . . .
In A Mist is undoubtedly the most important and famous of all of Bix Beiderbecke's compositions. It is well documented that Bix recorded In A Mist on September 9, 1927, but when did he compose it? Presumably, Bix had been thinking about the composition for perhaps as many as three years prior to the recording. It is widely known that, whenever a piano was available, Bix would sit down and play what many have described as "beautiful chords". Indeed, there is credible evidence that the seeds of In A Mist go back as far as 1924. For example, Jess Stacy (who later was to record all of Bix's piano compositions) relates that in 1924 he heard Bix play "a song called Baby Blue Eyes with the same harmony he used years later on In A Mist." ("Bix, The Leon Bix Beiderbecke Story" by Philip R. and Linda K. Evans, p.157). Cecil Huntzinger states that in 1925 "Bix would play a few tunes on his horn, then would switch to the piano. We'd just listen and enjoy. He was playing In A Mist although he didn't have a name for it. Try to imagine, hearing it in 1925." ("Bix, The Leon Bix Beiderbecke Story" by Philip R. Evans and Linda K. Evans, p. 182). Paul Mertz states that in 1926 "I remember hearing what was to become In A Mist for the first time here [the Billihurst Hotel in Detroit]." ("Bix, The Leon Bix Beiderbecke Story" Philip R. Evans and Linda K. Evans, p. 235). Hughes Panassie in "Hot Jazz", p. 121 provides some information, : "The principal motif of this piece [In A Mist] was found by Bix while he was improvising on a piano... Bix remembered this motif, which was beautiful, and recorded it with improvisations on it." As a matter of fact, the principal theme of In A Mist was widely known among his fellow musicians prior to his recording it. Evidently, throughout his active life, Bix was generating new musical ideas and trying them on any piano he could get his hands on. Most of his improvisations were not recorded, but, fortunately, In A Mist was captured on wax.
From my article in the IAJRC Journal, 2010.
There is no defined time and place where Bix composed In A Mist. There are several witnesses recollections of Bix sitting at a piano and playing what would later become In A Mist. 
Harry Gale, Aug 1923.
Bix stayed in our house, from time to time and I remember well his developing In A Mist on our old grand piano.
Bud Ebel, Jan 1924. One Sunday afternoon at a ballroom where we were playing, Bix sat with us, then he noodled around on the piano and that was it, In A Mist.
Jess Stacy Jul 1924 He played a song called Baby Blue Eyes with the same harmony he used years later on In A Mist.
Cecil Huntzinger Jan 1925 He was playing In A Mist although he didn't have a name for it. Try to imagine hearing it in 1925. We did!
Bill Blaufus May 1925 We went back stage with him, and on a practice piano, he played his tune, In A Mist. It was beautiful.
Fred Bergin Jul 1925 A sandpiper was running along the water's edge and Bix was fascinated by the rhythm of his movement. He told me he would incorporate it into the piano solo he was working on and I assumed the sandpiper gave him inspiration for part of In A Mist.
Irving Riskin Summer 1926 I am proud of two bars in In A Mist. Bix used to play it on the beat-up piano in our cottage in HudsonLake. He would vary it every time and I told him to play it one way and stick to it. He had trouble with a few bars in the middle and I suggested a few notes and harmonies which he took.
After a long period of gestation, three to four years by all accounts, finally, on Sep 9, 1927, Bix set In A Mist on wax for posterity, OKeh 40916.
This is sad news, in particular to me as I've never seen the building. Here's hoping someone in the area is able to go and do a thorough photographic documentation of the building before it no longer exists. Were I able to, I'd definitely go there immediately and do it myself.
A review of some of the Swing Wing recordings in Gramophone, Jan 1939.
Paul Whiteman and His Swing Wing Group (Am.)
*I used to be colour blind (Film: " Carefree ") (Berlin) (v by the Four Modernaires) (64619) *Sing a song of sixpence (Trad., arr. Whiteman) (v by the Four Modernaires) (64620) (Brunswick o2674-3s.).
Al Gallodoro (alto) ; Art. Drelinger (ten) ; Sol Franzilla (d) ; Charlie Teagarden (imp)' Jack Teigarden (trinb) ; Walter Gross (p) ; Arthur Ryerson (g) ; Artie Millar (b) ; Rollo Layton (ds). Four ModernairesChuck Goldstein, Spook Dickinson, Bill Conway, Ralph Brewster.
If this is swing I'm a Dutchman born in China on the leaves of a Buddhist pineapple.
Sing a song of sixpence is not only a nursery rhyme, but treated as one. Must remember to tell the B.B.C. about it for the Children's Hour. Colour blind is ; and it's hopelessly corny into the bargain. Both performances are mostly vocal by the ickcy Modernaires. The Teagardens are conspicuous for what they don't do.
Well I've heard some queer things described as swing, but this is the so-and-so limit.
This message has been edited by ahaim on May 3, 2012 8:12 AM
They are not as bad as the reviews would lead you to believe, but they get increasingly commercial as the series goes on and the quality of the songs goes downhill, too. The best is "I'm Comin' Virginia," where the Modernaires harmonize wordlessly on a transcription of Bix's solo. Quite lovely.
The Bix Era: I'm Coming Virginia is the title of a new CD ....
.... kindly sent to me by Lino Patruno, Italian Bixophile, co-script writer, musical producer and guitar banjo player for Pupi Avati's film "Bix: An Interpretation of a Legend." Thank you very much, Lino.
The CD is available in amazon.com. Samples of all tracks are provided. Recorded in Rome July 1-6, 2011.
You will see that the fist 11 tracks are tunes recorded by Bix between 1924 and 1930. Track 12 is the immortal Carmicahel's composition Stardust. Track 13 is a composition by Bob Wilber in tribute to Bix. Tacks 14-16 are compostions by Lino Patruno honoring Bix and Wilber.
BDW 8068 Americans in Europe This important compilation includes the complete recordings of the New York Tanz Orchestra, led by George Carhart and featuring Danny Polo and Dave Tough, as well as the complete Swiss recordings by Frank Guarente's Georgians. These rare sides have never been reissued in their entirety before. The 44-page booklet includes extensive notes by renowned author and researcher Rainer Lotz, as well as rare photographs and ephemera. Sound restoration is by John R.T. Davies and Ted Kendall.
Jazz-Orchestra George Carharts New Yorkers (von Valencia, Berlin)
Evelyn Bazell (t), Herb German (tb), Danny Polo (clt, as, arr); Milton Allen (ts); Jack O Brien (p); Tony Morello (g - 1, bjo - 2); Dave Tough (d); Al Bowlly (vocal-3).
Can't Help Loving That Man.May 5, 1928. If I Had A Talking Picture of You.Vocal by Sam Browne. November 21, 1929. Let's Do It.Vocal by Jack Jackson, Billy Ternent and Chappie D'Amato. March 26, 1929. Louise.Vocal by Sam Browne.May 31, 1929. Love Nest. July 8, 1921. Stumbling. September 20, 1922. Oh! Miss Hannah. Unknown vocalist. April 21, 1926. Sunshine. May 3, 1928. When the Red Red Robin Comes Bob-Bob-Bobbin' Along..Vocal by Jack Hylton.August 18, 1926. Happy Feet. Unknown trio. May 9, 1930. Constantinople. Vocal by Jack Hylton and chorus. June 21, 1928. Ol' Man River. Vocal by Paul England. June 9, 1928. Rhapsody In Blue. November 18, 1933. WBIX # 199 will be uploaded on May 18, 2012. [I'll be on vacation May 20-31]
From what little I'd heard of Jack Hylton before this I hadn't expected anything this good! The Hylton band of the late 1920's played with a swinging verve and snap and often swung harder than Whiteman's did. Where these recordings are deficient is in the solos there just weren't any jazz soloists in Britain at the level of Bix or Trumbauer and the vocals, though admittedly many of these songs were sung by Bing Crosby on the Whiteman recordings and no white male singer on either side of the Atlantic swung as hard as Bing did in the early years. I played this through and also played the download of Jane Green's "Wild Romantic Blues" (she's a nice singer but doesn't have that much jazz "feel" I'd long believed Mildred Bailey was the first truly great white woman jazz singer until I got the Annette Hanshaw CD "Ain't She Sweet" and was blown away by Hanshaw's real swing and feeling for jazz, but Green is hardly in Hanshaw's or Bailey's league). I didn't think the anonymous singer on "Oh! Miss Hannah" was that bad (frankly, the whiny Weston Vaughan on your outro excerpt of "I'll Be a Friend 'With Pleasure'" sounds worse to me what was there about Vaughan that made great jazz musicians like Bix and Artie Shaw want to record with him?) and was struck that he sang a different set of lyrics than Bing did on the great Whiteman record of that song. I really liked Hylton's version of "Can't Help Lovin' That Man" and only wished there was a way to splice Bix's great solo on that song from the Whiteman "Show Boat" medley into it! And regarding the Hylton "Rhapsody in Blue" did you present that recording complete? It sounded like the first and third side of a 78 rpm edition of the "Rhapsody" (a full-length "Rhapsody" took three 12-inch 78 sides but Whiteman's 1924 and 1927 recordings were cut so they could fit on a single disc) with the second side jarringly omitted. Did you just leave out the middle of the piece or was what you presented all that Hylton recorded?
One more point about Hylton that the Wikipedia background on him omitted: he was a pioneer in racial integration. In 1934 he hired the great African-American tenor saxophonist Coleman Hawkins and toured Europe presenting Hawkins as a guest artist one year BEFORE Benny Goodman hired Teddy Wilson (also as a guest artist rather than a regular member of his band) and thereby became the first white U.S. bandleader to feature a Black musician.
"Night Song" is a 1947 film directed by John Cromwell and starring Dana Andrews, Merle Oberon, Ethel Barrymore and Hoagy Carmicahel. Philip C tells me that there is a scene in the film where Dana Andrews asks Merle Oberon what kind of music she likes. She responds Bach, Stravinsky, Debussy. "What about popular music?" asks Dana Andrews. Merle Oberon mentions the Duke and Bix. "Bix Beiderbecke?" responds Dana Andrews, and the conversation goes on for a few seconds. I wonder if Hoagy is responsible for the inclusion of Bix in the dialogue between Merle and Dana.
Benny Goodman (I believe) on obbligatto behind Scrappy and Teagarden all over the place. I don't know why but I do think that Teagarden plays in a Bixian mode, both at the beginning around the melody and later in his long solo. What do you guys think?
This message has been edited by ahaim on Apr 23, 2012 12:48 PM This message has been edited by ahaim on Apr 23, 2012 12:29 PM This message has been edited by ahaim on Apr 23, 2012 12:24 PM
I agree. It's true that Teagarden had his own genius and style, but Teagarden's choice of notes and the way he works around and with the rhythm shows that he is on the same page with Bix when it comes to improvisation and to harmony.
Goodman's playing also shows Bixian qualities in my (humble) opinion, again in note choice and rhythm.
Listen to Ben Pollack in 1927 playing Memphis Blues. Ben Pollack, d, dir: Jimmy McPartland, Frank Quartell, Al Harris, c / Glenn Miller, tb / Benny Goodman, cl, as / Gil Rodin, as / Larry Binyon, ts, f / Vic Breidis, p / Dick Morgan, bj / Harry Goodman, bb. Chicago, December 7, 1927.
Listen to the Wolverines in 1924 playing Royal Garden Blues. Bix Beiderbecke (c)/ Jimmy Hartwell (cl)/George Johnson (ts)/ Dick Voynow (p)/ Bob Gillette (bj)/ Min Leibrook (tu)/ Vic Moore (dm). Richmond, June 20, 1924.
Another example of "Copying Bix." Not every note, but close enough to be viewed, in fact, as another example of "Copying Bix."
Thanks to the late Richard Sudhalter (Lost Chords) for pointing out the similarity between the two solos. How many examples do we have by now? Anybody keeping a tally? Is there any other musician whose solos were copied as often as Bix's in the 1920s and early 1930s? I answer my own question with a resounding "No"!
I would agree with the widely-held view that Louis Armstrong had a more general influence on jazz than any other 1920s musician. However, I would assert that Bix had more influence on individual or specific musicians than any other musician. The distinction is between general and individual or specific. I hope the words I use make clear the concept that I am trying to get across.
As far as influence on succeeding generations of musicians and music itself (and indeed of listeners' expectations) goes, the influence of Bix and Louis have managed to overlap and compound themselves so deeply that it may be a distinction without a difference at this point.
Very few later musicians or listeners know only one or the other.
Without either one of them, subsequent music would have been immeasurably different.
Two trumpet players here: Del Staigers and Mike Mosiello. I am pretty sure the second, muted trumpet solo is by Mike Mosiello. But who plays the first, open trumpet solo. Del Staigers? Good trombone by Chuck Campbell. And Andy Sannella is in there too. Johnny Marvin is the vocalist.
Bill Gottlieb on Bix. Bill did not like Bix. Bill had very poor taste.
Bill Gottlieb was a jazz photographer and critic. He wrote a weekly column for the Washington Post. Here is his column about Bix from Aug 10, 1941.
Very little about Bix's music, mostly about the legend and, to make things worse, in the form of pretentious psychological analysis. Read this bit of cheap psychological crap by Gottlieb.
The name "Bix" is what it is today principally because Beiderbecke was the best answer for the demands of the early swing enthusiasts who, without consciously knowing it, needed a fabulous human symbol to help sell their enthusiasm to others.
Gottlieb does not realize that the Bix legend includes not only the man but also his music. Gottlieb shows no understanding of Bix's music. He mentions only Whiteman, and in a rather derogatory manner. Of course, Bix was phenomenal with Whiteman, but there were also the Wolverines, Goldkette, Tram, the Gang and more. We know better. Get a load of the enormity of Gottlieb's evaluation of Bix's standing as a musician.
Nor for that matter is Bix a towering figure in jazz by regular standards.
What are "regular standards"? Poor writing under the guise of insight.
And Gottlieb demeans Bix by asserting that
His classically simple horn was subtle enough to challenge the imagination and make a fan feel like he knew the password to some esoteric society once he "caught on" to Bix.
Gottlieb makes Bix into a snake oil artist selling the listener a bill of goods. Preposterous.
I may be wrong, but I get the impression that Gottlieb's article is more of a swipe at those who idolize Bix rather than Bix or his music, espeically since the article bearly touches on his music. In fact, Gottlieb does admit in his article that Bix had "unmistakable genius".
Whatever his opinion of Bix, Gottlieb was a great photographer. His book of photographs "The Golden Age of Jazz" is one of my prized possessions.
You make a good point. I agree that the Gottlieb mostly criticizes Bix's admirers. And he says that Bix had unmistakable genius.
But he also writes, "While he was alive, Bix wasn't big enough to have his own orchestra." First, I note that, although Bix did not have a working orchestra, he had recording orchestras, the Gang and the 1930 orchestra. And since when having your own orchestra is a requirement to make you big? As one example, Eddie Lang did not have his own (working) orchestra. Did that make him small?
In particular, the following two sentences apply directly to Bix, not his fans, they are Gottlieb's personal opinions. "With all this, Beiderbecke's horn cannot be listed as the greatest of all time. Nor, for that matter, is Bix a towering figure in jazz by regular standards." So, aside from the legend, Gottlieb is saying that Bix was not a "towering figure in jazz." Of course, he was, a highly influential musician whose importance was recognized by fellow musicians and some critics while he was still alive.
Of course, Gottlieb's significance as a photographer is not diminished by any criticism of his writing about Bix.
This message has been edited by ahaim on Apr 23, 2012 7:07 AM
Today's Times-Picayune featured a half-page on New Orleans' own Boswell Sisters with nice photos and some early ad reprints. Also mentioned are NORK, Piron's Orchestra, and Parenti's Melody Boys in an old Victor promotional listing for the records, available at Werlein's on Canal Street in the day. Werlein's was still there up into the '00's.
Here's a rather interesting "March of Time" entry that
covers the birth of recorded jazz. No mention is made
of Bix, and the film's coverage of the jazz that came
between the ODJB and the mid-30s is reductive to non-
existent. Reaction to the newsreel was mixed; Red
Nichols objected strongly to it in a letter to Down
Beat in May 1937. Nevertheless, it is valuable for its
glimpse at the ODJB in action (the reconstituted version, anyway)
and for its attention to early jazz research.
An excellent document. Lots of information presented very rapidly. Need to watch the video a couple of times to fully appreciate its value. Do you happen to have Red Nichols' letter to Downbeat? If not, I can go to the university on Monday and copy it from the microfilms stored in the Music Library. Who is the guy at 6 minutes?
Unfortunately, I don't have a copy of the Nichols letter, but I found a reference to it in "Swing changes: Big-Band Jazz in New Deal America" by David W. Stowe (Harvard UP, 1994). In a footnote on pg. 260, Stowe notes that Nichols "countered that Time's editors were 'mixed-up' and that the newsreel was a 'serious blow' to the music industry".
Besides the invaluable footage of Nick La Rocca and the '37 ODJB, and the revived acoustic recording gear at Victor (they kept it around all those years??) there are many other fascinating details in this film that should attract the attention of observant Forumites:
The names "Original Wolverines" and "Bix Beiderbecke" among the "swing" notables listed in the sign on the wall of the record store; also (0:18): "Frank Trumbauer's Saxophone Studies" among the sheet music in the store.
Fifteen precious seconds of actual live sound footage of Chick Webb and his Orchestra at the Savoy Ballroom, including (later in the piece) a closeup of Chick at the drums. It's the only film of this band in existence that I'm aware of.
A very authentic-looking Western Union telegram, possibly from the scrapbook of Nick La Rocca:
[RECEIVED AT 834 CARONDELET ST.]
NEW YORK NY DEC 7 1916
NICK LA ROCCA
DIXIELAND BAND 2022 MAGAZINE ST NEW ORLEANS LA
VICTOR COMPANY HAS PROPOSITION MAKE RECORDINGS OF YOUR BAND
WILL ADVANCE RAILROAD FARE
"Playing Nightly - Hear Gus Keefe and his Dreamland Syncopators at Lakeside Pavilion" on a spare tire cover. Were they a real band?
Actual live sound footage of Stuff Smith and his Onyx Club Boys, at the Onyx on 52nd street, with Jonah Jones on trumpet. Probably as rare as the Webb footage.
The "Jazz Literature" Montage:
NICE dust jacket on that 1936 first edition of "Swing That Music" by Louis Armstrong.
Magazine article: "Debunking Swing" by Sam Rowland: "How the public became infected with swing fever, which was at first confined to musicians." Can we read this?
New York's first...
Swing Music Concert
The Imperial Theatre
Sunday Evening, May 24th, 1936
(This was the concert where Artie Shaw made his big breakthrough, according to Lost Chords.)
Fantastic "hot jazz" art by Miguel Covarrubias
A glimpse of the cover and the N. O. R. K. section of the 1936 first edition of Delaunay's Hot Discography.
Those STACKS and SHELVES of all-pre-1938 records!!
Finally, did the "March of Time" announcer lend his voice to the "News on the March" sequence that begins Citizen Kane? If not, it was a pitch-perfect imitation.
The article "Debunking Swing" was published in Esquire Magazine, August 1936. I am pretty sure the university has a complete set of Esquire. I'll look for the article the next time I go to the university.
Peter Bogdonovitch: ...And did you use the Time announcer, Westbrook Van Voorhees, for Kane?
Orson Welles: Oh, no - that was William Alland, who imitated him. Great imitation, but he's pretty easy to imitate [doing it]: "This week, as it must to all men - death came to Charles Foster Kane." We used to do that every day, five days a week! And of course, there was a lot of "it must to all men" every week, and I used to play all these people.