The Bixography Discussion Group
A vehicle for Bixophiles and other interested individuals to ask questions, make comments and exchange information about Bix Beiderbecke and related subjects.
Any views expressed in the Bixography Forum represent solely the opinions of those expressing them and are not necessarily endorsed or opposed by Albert Haim unless he has signed the message.
I started archiving some of the threads that have been inactive for some time.
The archived threads can be found at http://ms.cc.sunysb.edu/~alhaim/archivesforum.htm
I started archiving some of the threads that have been inactive for some time. The archived threads can be found at http://ms.cc.sunysb.edu/~alhaim/archivesforum.htm
.... our friend Nick. He writes,
.... here is a high resolution photo of Adrian at the vibraphone. From the LOC
|This message has been edited by ahaim on Oct 8, 2013 7:19 AM|
The coda in the Monk Hazel recording of "Sizzling the Blues."
The guitar and trumpet at the beginning of "Sizzling the Blues" are reminiscent of the guitar and cornet at the end of "For No Reason At All In C."
.... Frank Trumbauer's grandson, I have launched an internet page with some of the material in Bill's collection. This is only a beginning and additional material will be uploaded from time to time. I also hope to include other information about the great Frank Trumbauer that I have in my possession, and additional fruits of my research. Contributions from forum readers and contributors are welcome.
Here is the url: http://bixbeiderbecke.com/FrankTrumbauerMemorabilia
I am grateful to Bill for sharing this unique material.
Thanx for posting. Guess he was mad at Bix. I think most people would have been.
That last diary entry about Bix. I'm sure Frank was at wits end. They had been constant friends and musicians together for a number of years. They had a good thing going and in Frank's mind I am positive he still loved Bix but felt let down albeit the harsh few words. If people could only hear that WOC '53 Bix Tribute recording they could see how much everyone loved and care for Bix. Not only as a musician but a great person.
|This message has been edited by ahaim on Oct 14, 2013 7:05 AM|
This message has been edited by ahaim on Oct 14, 2013 7:05 AM
http://www.youtube.com/watch?v=iFFw1o68AJ4 The intro is the "geechie call"
(1) Harlan Leonard in 1940: https://www.youtube.com/watch?v=4XOzd6AtgQo Fine solos, especially from Harry Bridges on tenor sax and Fred Beckett on trombone. (J. J. Johnson mentioned Beckett as a major influence on him.)
(2) Danny Altier in 1928:https://www.youtube.com/watch?v=RLQzRHA6ZSo Muggsy Spanier on cornet and a Tesch-influenced Maurice Bercov on clarinet. And Jess Stacy's first recorded solo!
From the Library of Congress recordings: https://www.youtube.com/watch?v=F7_hFrPpAaI
(By the way, I got the name of the tenor saxophonist on the Harlan Leonard recording slightly wrong: it was Henry Bridges, not Harry.)
"My Gal Sal" and Red & Miff's "Memphis Blues" are remarkably alike. The similarities in style are overwhelming. Both songs have a quaint rhythm, as if each beat is to be accentuated exactly the same, and Berton's drumming is equally, er, active.
According to the YouTube presenter, they were recorded 16 days apart in May of 1927, but the musicians were very much in the same groove, right down to their interpretation of the Geechie Call (at 0:44 into the song, for example).
John L reminds me of this excellent version of "My Gal Sal."
What the hey ??!!??
The same poster who gave us "Red Head Blues" has also posted "18th Street Strut" by Joe Candullo's Everglades Orchestra, from Harmony 208-H, recorded May 17, 1926. The composer credits on the label are "Moten and Costello", and here's the performance:
HOWEVER: it seemed odd to me that Bennie Moten would be composing with an individual named "Costello". Luckily, I also located a transfer of the 1925 Okeh performance by Bennie Moten's Orchestra....and it's a COMPLETELY DIFFERENT MELODY! Here's a link to THAT to confirm it (3 tracks down):
The American Dance Band Discography gives this personnel for the Candullo band:
Joe Candullo, Everglades Orchestra, performers. [Mike Mosiello, Harry Susnow, trumpet; unknown trombone; Goof Moyer, clarinet/alto sax; Gerry Salisbury, clarinet/alto and tenor sax; Joe Candullo, violin; Frank de Carlo, piano; John Montesanto, banjo; Nick Farrara, brass bass; Billy Southard, drums]--Cf. The American dance band discography / Rust, 1975.
Not a Costello in the bunch! So - again - what is going on here?
Same piece -- listen again!
Dave, you're absolutely correct: the Moten Okeh and the Candullo Harmony ARE the same piece. It fooled me because they are just radically different arrangements (obviously), and the records themselves are PITCHED DIFFERENTLY. My guess is that the Candullo should be pitched down to the Okeh (Harmony discs vary tremendously in pitch throughout the 1920s, and are mostly "faster" when played at 78rpm than they should be, by ca. 1.5 to 2 rpm).
From http://www.dbopm.com/link/index/4201/3724 Some songs co-written by Costello.
|Song title:||Alla En El Rancho Grande (My Ranch)|
|Words:||Bartley Costello/Fabian Andre|
|Music:||Donato Emilio Uranga|
|Note:||Original Spanish lyric by Jorge del Moral.|
|Song title:||Carolina Stomp|
|Country of origin:||United States|
|Music:||Rube Bloom/Bartley Costello|
|Song title:||Hot Coffee|
|Country of origin:||United States|
|Words:||Bartley Costello/Bennie Krueger|
|Music:||Bartley Costello/Bennie Krueger|
|Song title:||I'm Weaving Rainbows For Those In Love|
|Country of origin:||United States|
|Words:||Bartley C. Costello/Ed Rose/Billy Baskette|
|Music:||Bartley C. Costello/Ed Rose/Billy Baskette|
|Song title:||Just An Old Banjo|
|Country of origin:||United States|
|Words:||Bartley Costello/J. Rosamond Johnson/Rudy Vallee|
|Music:||Bartley Costello/J. Rosamond Johnson/Rudy Vallee|
|Song title:||Let's Honeymoon Again|
|Words:||Bartley Costello/Bert Carsten Nordlander/Sven Olof Sandberg|
|Music:||Bartley Costello/Bert Carsten Nordlander/Sven Olof Sandberg|
|Song title:||Moonlight Down In Lovers' Lane|
|Country of origin:||United States|
|Song title:||That's When I Learned To Love You|
|Country of origin:||United States|
|Words:||Billy Baskette/Bartley Costello|
|Music:||Billy Baskette/Bartley Costello|
Get a load of the song "Carolina Stomp" by Rube Bloom. It is the same tune as "Flock o' Blues" recorded by you know who!
|This message has been edited by ahaim on Oct 5, 2013 11:49 AM|
Han Enderman kindly sent the following scans of record labels for "18th Street Strut."
Joe Candullo - Composers: Moten and Costello
Benny Moten - Composers: Kansas City Benny Moten's Orchestra
Five Musical Blackbirds - Composer: Benny Moten
Han asks, "So what was the contribution of Bartley Costello? Maybe some lyrics not used on the recordings?"
|This message has been edited by ahaim on Oct 10, 2013 8:00 AM|
Bennie Moten http://redhotjazz.com/songs/moten/18thstreet.ra
Five Musical Blackbirds http://www.redhotjazz.com/songs/misc/18ss.ra
Fats Waller on a QRS Roll http://www.redhotjazz.com/songs/waller/18thstreetstrut-QRS.ra (The redhotjazz site gives Moten and Costello as composers).
The first soloist can't resist the temptation to throw in King Oliver's famous "Dippermouth Blues" solo, which pretty much suggests the roots of their composition.
I'm intrigued by this series of hot dance / jazz recordings (under this pseudonym) on the Cameo group of labels, all from 1928. The books all give a "Five Pennies"-type personnel including Red Nichols, et al, for these tracks, but I have a copy of "San" (on Cameo) and I clearly hear Andy Sannella on lead alto sax, so definite personnels for these would be nigh-on impossible at this late date (and with no recording ledgers in existence for Cameo).
This particular track is very nice indeed: "Red Head Blues", on Romeo 552 (mx # 2833). The poster has provided a very nice transfer of this item. He mentions Nichols on cornet here, but I wonder. To me, the pianist is Arthur Schutt (so it possibly is a Sam Lanin-derived group, in which case Nichols might actually be a good guess). What do you think?
Finally: the composers of this melody. I've never heard of them! "Germain-Lillard". Were they musicians performing in NY area dance bands, or some other area of the country? They don't seem to be pseudonyms.
A nice Friday evening mystery!
Germain and Lillard were real people: Rudy Germain (pianist) and Ralph Lillard (drummer). They hung around in the midwest.
The Arkansas Travellers version: http://www.redhotjazz.com/Songs/arkansastravelers/redhead.ra
Yes, I see that now, Albert!:
It seems that Germain (a pianist) and Ralph Lillard (a percussionist) were members of the WLW studio orchestra at the time they composed "Red Head Blues". Apparently these two guys stayed out in the Midwest and never came East - and yet, their composition was recorded by a NY hot dance studio band in 1928! I wonder it was published by Triangle (not having seen a stock of it, that's just a guess; Vince G might know!) Germain recorded piano rolls for Vocalstyle, as the link above mentions.
I haven't investigated Lillard, but more later!
There is quite a bit of information about Lillard in Duncan Schiedt's magnificent "The Jazz State of Indiana." He was an excellent drummer. As far as connections to Bix, Lillard was the drummer in Charlie Davis' 1928 Indianapolis band.
I understand that he was a good composer. On the same day that the Alabama Red Peppers recorded Red Head Blues, they also recorded The Drag, both tunes composed (or co-composed) by Ralph Lillard.
Another somewhat modernistic tune. Shiedt writes, "The Drag, the work of Ralph Lillard and Phil Davis, is a most imaginative, off-beat side." "... unusual harmonies and accents, ending startingly on an unresolved chord."
I can think of two reasons why Red Nichols recorded Red Head Blues (and The Drag.). The title, including the phrase "Red Head," and the fact that it was a rather modernistic piece; I think that Red was quite fond of advanced compositions.
Greetings, Enjoyed listening to the YouTube post.
That number, it's included on a CD compilation... nineteen assorted band tracks which include either of the two trumpeters,
Jazz Archives No. 28
"Red Nichols Phil Napoleon 1923 / 1931"
EPM Musique, ZET 745
Retyping from liner notes, two tracks of 'New Orleans Black Birds' are included - "Red Head" [R. Nichols, M. Mole] and "Playing The Blues" [J. Dorsey], and list players as
Phil Napoleon (t), Miff Mole (tb), Jimmy Dorsey (cl, as), Matty Malneck (ts) [!], Frank Signorelli (p), Dick McDonough (g), Joe Tarto (tuba), Ted Napoleon (dm), NYC 11-12-28
Listed in the 78 on line discography as composed by Red and Miff. Not Red Head Blues, but Red Head.
|38027||NEW ORLEANS BLACKBIRDS||RED HEAD||49248=2||BB6611||-||12/11/1928||RED NICHOLS-MIFF MOLE|
But in the EDVR site listed as composed by Germain and Lillard.
|Red head (Primary title)||Disc label|
|Fox trot (Title descriptor)||Disc label|
The tune recorded by the New Orleans Black Birds is the same as the one recorded by the Arkansas Travellers and by the Alabama Red Peppers.
Back to the question of trumpet/cornet player in these recordings.
Rust gives Red in the Black Birds version, probably Red in the Red Peppers version and Phil Napoleon in the Travellers version.
I will ask Red Nichols specialist Stan Hester.
|This message has been edited by ahaim on Oct 5, 2013 6:10 AM|
.... issued as by the Alabama Red Peppers: San.
Prominent Andy Sanella (I wish his obbligato behind the vocal had been played throughout the vocal) and Mike Mosiello. Get a load of the "Spanish tinge" in the intro.
|This message has been edited by ahaim on Oct 6, 2013 5:19 AM|
Glenn MayAccording to Lord, the Red Peppers are: Leo McConville, Red Nichols, Miff Mole, Loring McMurray, Hymie Wolfson, Rube Bloom, and unknown bj, tu and d.
3 hours ago ·
Stephen HesterYes, Red is on cornet. When Red heard these titles he believed they were Red Head records (for Pathe/Perfect). I always liked The New Twister from this session.
46 minutes ago ·
I love seeing Loring McMurray's name associated with a 1928 recording session.
Pity that he died in late October 1922!
There are several problems concerning the personnel given for the Alabama Red Peppers session of January 20th, 1928, which produced "Red Head Blues", "The Drag" and "The New Twister".
Firstly, as with Lord, Rust states that Loring (sic) McMurray is the alto sax player for this session, but this is obviously incorrect since (as Jon points out) Loren McMurray died of blood poisoning on October 29th, 1922. See:-
I have a feeling that this is a case of Lord copying information from Rust. I have no idea why Brian Rust would list McMurray as the alto player on these sides, but Rust also lists McMurray as the alto sax player on other sides (by other bands) made after his death!
I suggest that it is Andy Sannella on alto sax on the Alabama Red Peppers' January 20th 1928 session - it sounds very much like him. Sannella is certainly on the previous session of January 2nd, 1928, which produced "San" (both Rust and Lord list Sannella on this earlier session).
I think the tenor sax on these January 20th sides does indeed sound like Hymie Wolfson, as listed by Rust and Lord: he plays tenor sax on the excellent "Baby" by Paul Small (Columbia DB-1070), which I used for comparison, and there is a definite similarity of sound.
Turning to the brass section of the Alabama Red Peppers, I think John Leifert is 100% right to doubt the presence of Red Nichols (by the way John, do you remember our discussion in 2010 on the forum concerning Carl Fenton's "Delirium"?).
I don't hear Red Nichols on these sides, and I'm also not entirely convinced that it's Miff Mole on trombone either. I do hear two trumpets, but whoever it is that takes the trumpet solos doesn't have Nichols' clarity of tone or phrasing, though he is obviously influenced by him. Leo McConville is listed by Rust (and Lord) as one of the two trumpeters for this session and is a strong contender as the soloist I would say. McConville is given as the trumpeter (only one trumpet listed) for the following session of April 1928, and solos on "Riverboat Shuffle" and "Eccentric" in a similar fashion to the trumpeter on the January 20th session.
I don't know who the other trumpet player (the one who doesn't solo) is on the January 20th session, but I doubt very much that it is Nichols.
I think it may be the case that Brian Rust simply assumed that it was Nichols and Mole on the January 20th session because of the titles and the fact that they are played in the Five Pennies style. As far as I can tell, all three Alabama Red Pepper sessions were Bob Haring studio dates, nothing more (Rust lists Haring as directing the first session, so why not the following ones?).
Interestingly, the Alabama Red Peppers was a pseudonym on Romeo and Lincoln for some of the "Red Heads" Pathe recordings (hence, perhaps, Red Nichols mentioning Pathe).
From the 78 on line discography.
|8132||BOB HARING & HIS ORCH||I JUST ROLL ALONG||2832||ROM 555||-||1/20/1928||TRENT-DeROSE|
Note the master # 2832 and the date 1/20/1928.
The Alabama Red Peppers session of interest took place on the same day 1/20/1928 and the master numbers followed those for Bob Haring's "I Just Roll Along.":
2833 Red Head Blues
2834 The Drag
2835 The New Twister
Two more numbers.
2830 recorded 1/20/1928 "Sweet Elaine" by the Society Nightclub Orchestra (another pseudonym for Bob Haring's band)
2831 recorded 1/20/1928 "Just for You" by Boston Society Orchestra (another pseudonym for Bob Haring's band)
Stephen HesterI did get a chance to look at the session worksheets for this session and the notes of Red, dad, Woody, and mine. Red did comment on this session several times. This tells me he (and dad and Woody) had some doubts or concerns. Red always wanted the information correct and on many occasions he would make corrections and additions. (Dad and Woody did too.) At first he thought it could be one of his groups, but later he did say he believed it was a "hot" house date. He did say, "The more I listen to these recordings I realize this is not my best effort. We probably did this first thing in the morning after a job". One of Red's last comments on this session (sent to Woody about a week before he passed) was that he expressed frustration on not knowing for sure and wondered if he was even on it. Dad in his notes suggested that Red was probably loaded, if it is him. Red, dad, and Woody did suggest several different groups of personnel for this session. One funny thing was a note on the session sheet to me from dad, "This session is a mess. We had a hard time with it". When I have been working on the book, I do go through the session worksheets, files, records themselves and double and triple verify the information. I do agree with dad that this session is "a mess". I have decided not to list the suggested personnels because it is nearly speculation. I did look at what Rust has for the session. Where did he get that info? Honestly I do like Red's suggestions better.
Thank you, Steve. It seems clear by now that John's original skepticism about the presence of Red Nichols in "Red Head Blues" was well justified. Thanks, John, for bringing up this interesting recording for examination and for the follow-up interesting and informative discussion that it generated.
Title: Alice and Bix
Authors: Albert Haim and Chris Barry
Reference: Journal of Jazz Studies, vol. 9, no. 1, pp. 1-52 (Summer 2013)
The Journal of Jazz Studies is an online publication (open access) of the Institute of Jazz Studies, Rutgers the State University of New Jersey.
The url for the journal is: http://jjs.libraries.rutgers.edu/index.php/jjs/index
The url for the article is: http://jjs.libraries.rutgers.edu/index.php/jjs/article/view/26
When you get to the page for the article, click on "PDF" and then on "DOWNLOAD THIS PDF FILE."
A fascinating article and a wonderful piece of research. Thank you so much for sharing it!
The complete set of slides I used in my seminar in Davenport in Aug 2013. You need power point or power point viewer.
Power Point Viewer is free for download from
.... try this one.
|This message has been edited by ahaim on Oct 4, 2013 8:28 AM|
Thank you so very for making this article readily available -- it printed out beautifully for my Bix scrapbook and is fascinacting reading. You both did a magnificent job on this article and the research is superlative.
I compliment anyone and everyone who has discovered information about Bix, his life, friends and family which is truth and not in any way representing the decades of idle gossip, cruel rumors, and presumptuous theories. Here I see Bix -- and his romantic interest Alice -- receiving the respect they deserve.
Many thanks, again, to you both for this wonderful article. It was well worth the wait.
Gerri Bowers, the late Rich Johnson, Jim Arpy, Scott Black (especially carrying on for the late Phil Evans) also for dedication to correct Bix information and discoveries.
Albert, your work on "Alice and Bix" is to be applauded. I have enjoyed so much reading the fresh and original
research being done by those like yourself. New pages on jazz history are being turned all the time. How unselfish to give of your time in this effort.
I must say however, should you ever decide to become an IRS investigator, I shall live in fear...(.
Well researched and nicely written, Albert. I have been waiting anxiously for this and it was well worth the wait!
Nice to see so many pictures of Alice but what a shame there were no new pictures of Bix found among her belongings.
This would make for an interesting motion picture.
It was a long, arduous, but highly rewarding journey from the time Chris discovered the identity of Alice (early 2012) to the publication of our article (summer 2013) . Chris is a wizard at discovering relevant documents and historical research. The members of the Weiss family were amazingly generous. Niece Alice sent me a scan of the photo that her aunt Alice had given to her brother (the "smoking gun"). Niece Joan allowed me to call her numerous times and answered my millions of questions without being annoyed. Grandniece Patricia gave me the name of the individual who purchased Bix's piano at the estate sale of the contents of Alice's West Islip home and allowed me to borrow two boxes of family photos and memorabilia. Grandnephew Raymond shipped a huge box of photos and other memorabilia to me. Patricia and Raymond did not know me from Adam but, nevertheless, let me borrow the boxes with their family memorabilia. One interesting aspect of all this saga: my search for Bix's piano by following its trail through Long Island took about as long as my negotiations with the owner to purchase it!
|This message has been edited by ahaim on Oct 21, 2013 8:48 PM|
This message has been edited by ahaim on Oct 21, 2013 2:39 PM
In addition to the research which revealed the mystery woman of Bix's last days, for which you and Chris Barry have been appropriately applauded, I would like to add special appreciation for your patient and persistent pursuit of the piano itself, the acquisition of which was the perfect conclusion to this quest. Apparently you managed that that extended and frustrating negotiation with aplomb.
About half way down the page
I imagine you remember this posting.
Just heard from Frank.
"According to the attached Billboard magazine issue from 1940, Victor Young did indeed use the pseudonym of Val Yorke on radio transcriptions (see second page). Now, the only mysteries are the date of the recording and the soloist! I still
have a feeling that it was made around 1935 or 1937. Thank goodness for Ms. Kolczynski's help! Below is her email to me.
The June 8, 1940 Billboard magazine lists Val Yorke as the name Victor Young
used when he recorded for Associated Recorded Program Service. A scan of
that article is attached. It is not possible to determine the other
performers on the recording. I am sending this separately from this message."
We have a bonus, the pseudonyms of so many of the musicians we mention here in the Bixography Forum.
Thanks to Frank for bringing up the interesting recording and for his persistence in solving the mystery.
He was the drummer in the Arcadia Ballroom (St Louis) Trumbauer band. He had one recording session with Bix: Jul 8, 1928 (see my IAJRC Journal article about drummers in Bix and Tram recording sessions), but did not play drums, he was on vocal in one of the numbers recorded on that day. He was the drummer in one recording session of the post-Bix Jean Goldkette Orchestra. He was born William D. Orr in May 1899 in San Antonio, Texas (1900 US Census). In the 1910 Census his name is given as Dee W. Orr. His dad was an engineer. He had four brothers and two sisters.
Here are some articles that mention Dee Orr.
An article about Smith Ballew has several fascinating tidbits about Dee Orr.
Billboard, June 21, 1921.
San Antonio Express, Jun 29, 1923.
New York Post, Jun 14, 1941.
Radio Digest, Mar 1931 (the month and year I was born!!).
According to Lord's discography, the first recording made by Ballew is the following:
|New York, May 25, 1923|
|8385-B||My sweetie went away||Gen 5167, Timeless (Du)CBC1-063 [CD]|
|8386-B||I cried for you||- -|
I made an mp3 file of these two recordings in sequence.
Do you think this discographical information is correct? Certainly, not all is. There is no vocal in either of the recordings. Does anyone have Geoff Orr's book on Ballew? What does he say. if anything, about this recording session?
Howard Lanin was one of several Lanin brothers who had a successful band. Ordinarily, we think of Howard Lanin as the leader of a polite society band. Here however, the band is on the verge of being hot in some sections.
|This message has been edited by ahaim on Oct 2, 2013 12:48 PM|
I'm not sure where Lord got this information. It's a fact, though, that Ballew (on banjo) recorded with JIMMY JOY'S Orchestra on the West Coast "Golden" label, in 1923; many years ago Dick Raichelson wrote an article in the IAJRC Journal detailing these early records. (I don't think Smith Ballew was even IN New York in 1923!)
Here's is something posted in AllMusic which details some of Ballew's early years, including the Golden sides (I offhand don't recall the specific titles, and they're not mentioned here). Chadbourne claims the records sold "quite well", though I've never seen one and I doubt many others have, either! :
Artist Biography by Eugene Chadbourne
One of the best as well as one of the only real "cowboy jazz" singers, Smith Ballew is sometimes said to be the fellow who started the Glenn Miller band, only to have it hijacked away from him. The native Texan was much more interested in art than music all the way until his university days. Hanging out in the evenings at the University of Texas, he and his brother Charles Robert Ballew became part of the cultish society known as jazz fans. Smith Ballew decided to learn guitar and banjo, and while he did study music formally at the college, an important part of his musical upbringing seems to be the informal knowledge he picked up hanging out with black musicians on the outskirts of town. The brothers became good enough players to join Jimmy's Joys, a combo led by Jimmy Maloney. The band can be said to have gotten the career of either Ballew off to a good start, as by 1923 the group already had the opportunity to head to California and record for the illustrious-sounding Golden record label.
Golden turned out to be at the very least silver, the records selling quite well. These sides, however, do not feature Smith Ballew's vocal talents -- at this point, he was still just an instrumentalist, sticking mostly to the banjo or "five-banger." He started up his own band, the Texajazzers, which in the solid tradition of territory bands gigged in its home state and those in immediate vicinity. In 1927, Smith Ballew dissolved the band and began collaborating with pianist Dick Voynow in the Wolverine Orchestra, attracting the attention of bandleader and talent hunter Ben Pollack at a Chicago show. Pollack came up with a job offer, and it was in this band that Ballew began singing as balancing a banjo on his knee.
But it would be nice to get confirmation from Geoff Orr's book about Ballew.
About Chadbourne's account: The connections of Ballew to the Texajazzers and to Pollack are well documented. But discographies tell us that Ballew did not record with Pollack in 1927 in Chicago but in 1929 in New York. Moreover, I never heard of Ballew's connection with Voynow and the Wolverines in 1927 in Chicago. I will try to get Geoff Orr's book by interlibrary loan to clear all this up.
Thanks for the photo of Smith Ballew with Jimmy Joy's orchestra in 1923 in California. From the redhotjazz site.
Jimmie's Joys in the Golden Recording Studio, Los Angeles California, 1923 Left to Right: Lynn Harrell, Dick Hamel, Rex Preis, Jimmie Maloney, Jack Brown, Smith Ballew.
More later as I learn more.
.... eight recordings waxed by Jimmy Malone's band in Los Angeles in 1923.
According to the redhotjazz photo, the musicians in the recording studio (does that really look like a 1923 recording studio to you?) were Lynn Harrell, Dick Hamel, Rex Preis, Jimmie Maloney, Jack Brown, Smith Ballew.
Lord gives for this recording session Rex Preis (cnt) Jack Brown (tb) Jimmy Maloney (cl) [ Jimmy Joy (cl) ] Lynn Harrell (p) Smith Ballew (bj) Johnny Cole (tu) Dick Hamel (d) Los Angeles c.Oct 1923.
Rust gives Rex Preis, c; Jack Brown, tb; Jimmy Malone, Gilbert O'Shaughnessy, Collis Bradt, reeds; Lynn Harrell,p; Clyde Austin, bj; Johnny Cole,bb; Dick Hammel, d. Los Angeles, c.Aug 1923.
More discrepancies (and not only in the spellings)!
|This message has been edited by ahaim on Oct 3, 2013 8:14 AM|
rm files and details about the recording session. I think Rust has too many musicians listed for this band. Very prominent banjo. Smith Ballew or Clyde Austin.
Thanks for posting the photo I sent, Albert!
Right: if Ballew was with Pollack at ALL, it was only just as vocalist; they already HAD a banjoist / guitarist (Dick Morgan). Smith sings on several Pollack tracks from 1929, on Victor ("You Made Me Happy Today", "From Now On", "Louise", "Wait'll You See Ma Cherie" and I think a few others), mostly under a pseudonym as I recall.
I have to think that Ballew with Dick Voynow / Wolverines in 1927 is completely incorrect, though (and have no idea where Chadbourne got that information). Was Ballew REALLY in Chicago in 1927? How do we know this? (As a matter of fact he didn't seem to record at all between 1923 - the Golden sessions - and 1928, when he arrived in New York and began recording with groups such as Fred Rich, Sam Lanin, Dorsey Bros. etc. before forming his own band in early 1929.)
A photo from Radio Mirror, June 1938.
James Monte Maloney in 1903 in Mount Vernon, TX. In 1910 he lived with father (dry goods merchant), mother and younger brother.
Picture the moon rising over the Atlantic Ocean back in the 1930's with big band music beginning to play and serenade the crowd of people gathered on the dance floor of the Surf Beach Club on the sandy shores of Virginia Beach.
Fast forward to the 1940's and 1950's Tommy Dorsey, Benny Goodman, a young crooner named Frank Sinatra, Louie Prima, who met a lovely Virginia Beach native in the crowd who happened to be Keely Smith and married her after listening to her sing and you will harken back to the history of the Surf Club Ocean Grille.
Many Virginia Beach natives still remember the hey day of the club so long ago and today we bring the Surf Club back with an Ocean Grille of fine dining in a relaxed atmosphere overlooking the same sandy beach where legends played and local natives danced to the music of the times.
Jimmy Joy was in good company, Dorsey, Goodman, Sinatra, Prima.
A ccording to Evands and Evans, Bix played with the Smith Ballew Band at Princeton University's Sophomore Prom on June 15, 1931. This is, I believe, the last public appearance of Bix playing with a band.
In his excellent article about Eddie Lang (Note), Nick tells us about the the Mound City Blue Blowers being part of Ray Miller's stage show. Here is an ad in Variety (April 8, 1925) documenting the association of Ray Miller with the MCBB and the visit of the MCBB to England in April 1925.
May I remind you of my posting about Eddie Lang's passport application when he went to England in 1925?
Note. See part 1 in http://www.vjm.biz/167-eddie-lang-web-layout-1.pdf )
What is the meaning of the sugar can in this photo of the ODJB? From the animales del jazz site.
It was the tip jar from their New Orleans days. According to Harry O. Brunn, author of "The story of the Original Dixieland Jazz Band" (1960), page 57. The "sugar can" had been brought along from New Orleans, where it had once served to collect enough pennies and nickels to buy the members an occasional cheap meal.
A copy of the book can be found at archive.org
.... welcome to the Bixography forum. Interesting tidbit.
He doesn't look like any of the photos of Harry Ragas or J. Russel Robinson I have seen.
Ragas in his best known photographs seems to look so sad, as if conscious of his pending doom:
The only photos of Robinson I have seen are, I think, from considerably later:
The url is http://animalesdeljazz.wordpress.com/tag/odjb/ and the writer does not give the names of the musicians in the photo, just in general the composition of the ODJB.
My guess: According to Rust, other pianists in ODJB recordings of the 1920s were Frank Signorelli and Henry Vanicelli. The pianist does not look like Signorelli to me. So, maybe Henry Vanicelli? He shows up in 1927 in recordings by John Sylvester.
|This message has been edited by ahaim on Oct 6, 2013 1:16 PM|
Ominously, Shields quit in late 1921 to settle in California. Original members LaRocca, Edwards, and Sbarbaro were joined by clarinetist Artie Seaberg, pianist Henry Vanicelli, and saxophonist Don Parker for three Okeh sessions beginning in late 1922. Two Okeh discs were issued, both rare today.
Here is a good possibility. From http://yrol.free.fr/MUSIQUE/JAZZ/neworleans.htm
The caption reads: "Original Dixieland Jazz band en Angleterre (1919)."
Rust gives for the Jan 8, 1920 recording session in London, :Billy Jones, p, replaces Robinson.
The pianist in the photos at the top and bottom of this string of posts is definitely Billy Jones. I have other photos of the band with him at the piano.
The debut on Broadway of the Jean Goldkette Victor Recording Orchestra (without Bix) took place in Roseland in January 1926. Here are a couple of ads from Variety. The first has the roster of musicians (12). The second refers to the band as the Paul Whiteman of Detroit. The band has been promoted also as the Paul Whiteman of the West.
Here is a review in Variety of the band's appearance in Roseland in Jan 1926.
Even without Bix and Tram, the Goldkette band was admired by musicians. Note Abel's comments: "Roseland, Monday night, which marked Jean Goldkette's debut on Broadway, looked like a professional gathering of musical notables to do honor of the "Paul Whiteman of the west." "It was indeed musical praise from the gods when that 'wise' gallery of non-dancers applauded roundly from various sectors of the ballroom." Note also that Abel mentions "symphonic syncopation."
|This message has been edited by ahaim on Sep 28, 2013 2:14 PM|
"Abel" was the first name of Abel Green, long-time Variety editor and author of the 1950's book "Show Biz: From Vaude to Video," with lots of fascinating anecdotes about the people and shows he'd covered in his decades at the show-business trade paper.
This is a well- known photo of the band.
I have seen it hundreds of times, but just now, it struck me as very odd for two reasons.
- With the exception of Tram, none of the musicians is holding an instument.
- Tram is holding a bass saxophone.
I don't know of any recording where Tram plays bass sax. Does anyone? Have you seen another photo of Tram holding a bass sax or Tram with a bass sax atin front of him? Tram played bassoon with Venuti in "Runnin' Ragged."
How about Tram on baritone sax? Any photos or recordings?
|This message has been edited by ahaim on Sep 27, 2013 8:00 AM|
Joe at his most delicate and even a bit bluesy. Is the instrument at the beginning and at the end a celesta?
And was Trumbauer really playing an alto sax?
Here is a link to Norman Field's essay on the subject of Tram playing alto sax.
That was an absorbing article! Thanks so much.
Of all the samples, the one from "Just an Hour of Love" seems to sound most like the alto sax to me. What do the rest of you sax experts say?
"Louis Feldman is "playing" a miniature piano! I never noticed that before!"
Indeed, a miniature piano. Bizarre.
The two guys at the ends have their hands crossed.
The guy to the right of Tram is either holding something in his right hand or turning pages on a music stand. But, but ... the music stand, if that is what it is, is facing in the wrong direction.
???????????????? A puzzlement.
The second to the right of Trumbauer appears to be playing a "foor level" miniature grand piano - or is this just a trick of the shadows ?
You can actually see the hands playing on the keyboard, as also noted by Nick. It is fascinating to see how new things are discovered when a casual observation pops up in a posting.
By the way, Louis Feldman, who has his hands on the piano keyboard, was the pianist with the Arcadia band. You can see his name as Louie in this ad.
I wonder what happened to Feldman when Bix and Tram left St. Louis. He appears in the book "City of Gabriels: The History of Jazz in St. Louis, 1895-1973" by Dennis Owsley only in the section where Tram's band at the Arcadia is mentioned. Not listed in Rust's or Lord's discographies.
Radio Program # 215. (loaded on 09/27/2013) Juxtapositions of two recordings of the same tune: one by the post-Bix Jean Goldkette orchestra and the other by various 1920s groups. 60 min 12 sec
Streaming audio file Download file. 14.7 MB
Streaming mp3 file http://bixography.com/wbixmp3/WBIX215.m3u
Download file bixography.com/wbixmp3/WBIX215.mp3 43.3 MB
My Ohio Home. Jean Goldkette. Dec 12, 1927. Vocal by Hoagy Carmichael.
My Ohio Home.Cass Hagan. Jan 27, 1928. Vocal by Irving Kaufman..
Here Comes the Showboat. Jean Goldkette. Dec 14, 1927. Vocal by Myron Schultz, Ray Porter and Harold Stokes.
Here Comes the Showboat. Harry Reser. 1928. Vocal by Tom Stacks.
Just Imagine. Jean Goldkette. Jul 2, 1928. Vocal by Greta Woodson.
Just Imagine.Fred Elizalde. Jul 25, 1928. Vocal by Al Bowlly.
That's Just My Way of Forgetting You. Jean Goldkette. Jul 12, 1928. Vocal by Jean Napier.
That's Just My Way of Forgetting You.Annettte Hanshaw accompanied by the University Six. Sep 13, 1928.
My Blackbirds Are Bluebirds Now. Jean Goldkette. Nov 23, 1928. Vocal by Van Fleming.
My Blackbirds Are Bluebirds Now. Guy Lombardo. Nov 10, 1928. Vocal by Carmen Lombardo.
She's Funny That Way. Jean Goldkette. Dec 5, 1928. Vocal by Van Fleming.
She's Funny That Way.Ted Lewis. Dec 5, 1928. Vocal by Ted Lewis.
Thank you for another interesting (and glitch-free!) episode of WBIX. If I've been slow to get back to you on this one, it's probably because the music just didn't seem as inspiring this time around as on most of your collections. It's historically interesting to hear the post-Bix Goldkette band but one gets the impression that after the financial failure of the great band with Bix and Tram, Goldkette decided to retrench and emphasize the commercial type of 1920's dance music over jazz. Though Sterling Bose gets some nice solo spots on a few of these sides (and it was interesting to hear Andy Secrest's name on one of the personnel lists -- I hadn't known Secrest followed Bix's career path out of Goldkette into Whiteman!) and Don Redman contributed at least two of the arrangements (at the time he was associated with the Goldkette organization through McKinney's Cotton Pickers), the overall "feel" of these records is not jazz.
A few random notes on some of the songs:
"My Ohio Home": Boy, Hoagy sounds bored on this one! I never thought I'd hear a head-to-head comparison between him and Irving Kaufman in which the much-maligned Kaufman outsang him, but that's what happened here. I wondered briefly if Hoagy sounded bored because he didn't write the song, but then I remembered that Hoagy made a lot of great records (including Bix's last side, "Bessie Couldn't Help It") singing songs he didn't write. Maybe it was the arrangement, or just the overall approach.
"Here Comes the Show Boat": This song has an especially interesting backstory. In 1928 Universal Pictures acquired the rights to the Jerome Kern-Oscar Hammerstein II musical "Show Boat" and announced plans to film it. Billy Rose, a talented songwriter and an even more talented huckster, somehow convinced the "suits" at Universal that the Kern-Hammerstein songs had been so overplayed on radio and records that film audiences would be bored by them, and therefore Universal should hire him to write a new set of songs for the film. "Here Comes the Show Boat" was one of these. When Universal made the film and previewed it in 1929, you guessed it, audiences were upset at not hearing the Kern-Hammerstein songs, and so Universal had quickly to shoot and add a 20-minute prologue containing them. The result is that the great Kern-Hammerstein songs for "Show Boat" are still being performed and enjoyed today, and Rose's score for the film is almost completely forgotten.
"Just Imagine": Neither of these versions tops the marvelous one Judy Garland recorded with Nelson Riddle's orchestra for her first Capitol album, "Judy," in 1955. Neither Greta Woodson nor Al Bowlly has a clue how to phrase a lyric, something at which Judy was a master. Bowlly became a beautiful and sensitive singer later (particularly on records like the piano-accompanied version of "It's All Forgotten Now" in 1934) but he wasn't when this record was made.
"That's Just My Way of Forgetting You": Once again, a dreadful vocal (by Jean Napier) weighs down an otherwise good record. Annette Hanshaw's version is a relief; she doesn't just mechanically spit out the song like most of the band singers on these sides. Nor does she overact it the way someone like Libby Holman would have. In her overall phrasing and sense of swing, Hanshaw sounds about 10 years ahead of her time on this. I'd never heard anything by Hanshaw until about two years ago, but she's been a revelation.
"She's Funny That Way": Another surprise -- Ted Lewis! I'd always thought of him as a novelty performer who just barked in front of a good band, but next to Hanshaw's "That's Just My Way of Forgetting You" Lewis's vocal here is the best singing on this program, even though he talks his way through much of the song. (Ted Lewis, father of white rap.) At least he seems to give a damn about what the song is about, which isn't true of most of the singers here (the marvelous Annette Hanshaw definitely excepted).
.... the detailed analysis. At least one WBIX listener actually listens to the programs.
.... Guy Lombardo's recording of My Blackbirds Are Bluebirds Now. Listen: first a fragment of Blue River by the Music Masters and then a fragment of My Blackbirds Are Bluebirds Now by Guy Lombardo.
Why the interpolation?
.... Blue River and in My Blackbirds Are My Bluebirds Now are virtually identical. Plagiarism is at work here.
Listen to Ernie Golden's version of My Blackbirds Are My Bluebirds.
Rust lists the personnel as unknown. Who is the trumpet soloist who has listened carefully to Bix?
The first thing that popped into my head when hearing this track was the similarity to the trumpeter on the Mendello's Gee-Gee's sides! According to the books, that would be Mendello himself ("Toots", no relation to Toots MONdello.) Mr. Kay, what do YOU say?
(Perhaps members of the Mendello group were also members of the Golden band at that time. Pardon the free associating here.)
Very good guess, Mr. Leifert. I won't dispute it. Could very well be Mr. Mendello, comparing with the "Gee Gees" sides. After all, he was no tin-horn slouch. Why shouldn't he have cut more wax professionally? He must have been something of a known quantity among the Plunkett's gang, else how could he have rounded up Messrs. F. Livingston, G. Miller, C. Kress, Schutt and V. Berton for his "Banner" record dates?
From the Long Island Daily Press, Feb 1, 1929.
...that's why we never hear of Toots Mendello after 1929. He never found his glasses, and wandered off into oblivion. I can relate. This happens to me every day...
Albert, where do you find all these clever little tidbits? You seem to almost always have some pertaining newspaper blurb or magazine article immediately at hand no matter whom is being discussed. I bluster excitedly about finding an ad for Lake Forest Academy or the Paul Whiteman Orchestra in any of my old 1920's magazines, but to find some personalized little rarity like that, or all that material, for example, about the Flapper Wife book (and recording, etc.) -- well, I must admit I'm envious! :D
For all Annette Hanshaw fans, there is a new CD coming out on the RETRIEVAL label, "Vocal Refrain By...A H"
About half the sides have never been issued on CD before. Now listed on amazon, and for sale first, at amazon uk. Great sidemen.
Track Listing -
1. Wistful and Blue
2. What Do I Care What Somebody Said?
4. I m Somebody s Somebody Now
5. I Like What You Like
6. Mary (What Are You Waiting For?)
7. What ll You Do?
8. Plenty Of Sunshine
9. Who Gives You All Your Kisses
10. After My Laughter Came Tears
11. You Gotta Be Good To Me
12. In The Sing Song Sycamore Tree
13. (I m Cryin Cause I Know) I m Losing You
14. I Love My Old Fashioned Man
15. There Ain t No Sweet Man (That s Worth The Salt Of My Tears)
16. Speedy Boy
17. The Japanese Sandman
19. When I am Housekeeping For You
20. I Have To Have You
21. Ain tcha
22. Cooking Breakfast For The One I Love
23. When A Woman Loves A Man
24. Cooking Breakfast For The One I Love
Variety, June 17, 1925. Frank's last name with an extra a.
You will notice that Bix and Tram succeeded Jack Ford. Who was he?
Violinist Jack Ford was the leader of the Arcadia Peacock orchestra. He recorded on OKeh portable equipment a series of sides in 1924-1925, re-issued on the Jazz Oracle CD BDW8027.
Names familiar to forumites in the Arcadia Peacock Orchestra are: Bob Pope, Bud Hassler and Marty Livingston were members of the band. Here is a review of their last recording session. From Variety, Mar 18, 1925.
Examples of their recordings:
|This message has been edited by ahaim on Sep 24, 2013 4:47 PM|
I just relocated to the St. Augustine, FL area from Boston.
One of the first things my wife and I thought we'd do was check out a concert at Flagler College, a recreation of Paul Whiteman's famous 1924 Aeolian Hall Concert, which was this evening.
As we are entering the theater, a gentleman in a tux rushes past me to an usher in front of me, telling her he's with the band. To my pleasant surprise, it's none other than Vince Giordano! I had no idea he was part of the band. And so was Randy Sandke!
What an awesome show it was!
Otherwise, I would have announced it in the forum. From
The EMMA Concert Association begins its 35th season with the exciting sound of the 1920s Jazz Age when Maurice Peress presents a recreation of Paul Whitemans Aeolian Hall concert of 1924. Marking the 20th year of the partnership between Flagler College and EMMA concert will be in the Lewis Auditorium.
Whiteman introduced the flavor of jazz to orchestral music and the New York audience in the Aeolian Hall concert so a party atmosphere will surround the opening night concert including 1920s vintage automobiles from the St. Augustine Auto Club, the EMMA Concert Association Gala with attendees dressed 1920s vintage clothes, and a drawing for door prizes at the concert.
Whitemans 1924 concert is best known for the premier of Rhapsody in Blue, but the concert is about more than Gershwin. Whiteman also enlisted Irving Berlin and Victor Herbert to contribute pieces to the concert. Zez Confrey, one of the most popular pianists of the 1920s, joined the orchestra as pianist for Berlins and his own compositions. Maestro Maurice Peress, a gifted creator of musical programs who began his conducting career as assistant conductor of the New York Philharmonic under Leonard Bernstein, has recreated Whitemans Aeolian Hall concert and brings this internationally acclaimed production to St. Augustine in celebration of the concerts 90th anniversary. Peresss orchestra includes Vince Giordano and Andy Stein, both of whom have appeared a number of times on NPR's Prairie Home Companion.
Jeb Haynes Patton will perform the pieces originally performed by Zez Comfrey. As talented as Comfrey was he hadnt grown up listening to and playing jazz. Patton brings a life-time of jazz influence to his playing and it shows in his interpretation of the classic tunes presented in this show. Patton performed in Greece at the invitation of the Consulate General of the USA performing Ellingtons Black, Brown and Beige Suite. He has also toured the U.S. and Europe with Etta Jones, and has performed extensively with the New Black Music Repertory Ensemble.
For additional information about previous recreations of the Aeolian concert, see the New York Times.
And to hear Paul Whiteman himself talking about the creation of Rhapsody in Blue, visit
A previous recreation of the Aeolian concert by Peress is available on CD.
Each year since 2002 the National Recording Preservation Board (NRPB) and members of the public have nominated recordings to the National Registry. The breadth of nominations received highlights the richness of the nation's audio legacy and underscores the importance of assuring the long-term preservation of that legacy for future generations.
Recordings selected so far by the Librarian of Congress for the Registry include: Edison cylinders, field recordings, radio broadcasts, a Wisconsin foghorn, rap albums, live concerts, and poetry readings. At present, there are several hundred items on the Registry.
The Golden Gate Orchestra's recording of Charleston was elected to the registry in 2004. Here is the citation:
"Charleston." The Golden Gate Orchestra. (1925) The musicians on this Edison disc recording included such notable musicians as Red Nichols, Tommy Dorsey, Jimmy Dorsey, and Adrian Rollini. This selection represents the Edison Disc Record Master Mold Collection at the Edison National Historic Site in West Orange, New Jersey. The Edison Phonograph Works used these metal molds to mass-produce disc records from 1910 to 1929 and, as such, are the generation closest to original wax masters. They are the best-sounding sources for Edison disc recordings, as well as the most archivally stable.
The members of the band:
Frank Cush, Red Nichols (tp) Tommy Dorsey (tb) Jimmy Dorsey, Arnold Brilhart (cl,as) Freddy Cusick (cl,ts) Adrian Rollini (bassax,p) Irving Brodsky (p) Tommy Felline (bj) Stan King (d, kazoo) Ed Kirkeby (dir)
Here is the record label.
And here is an mp3 file (of dubious quality).
|This message has been edited by ahaim on Sep 21, 2013 11:02 AM|
.... Charleston by the Golden Gate Orchestra.
Enrico writes, "pitched at the right key; the transfer is not de-thumped yet, it takes hours to remove thumps."
Thank you, Enrico.
Albert, this missive doesn't belong in this place, but since I couldn't remember your e-mail address, here 'tis: In looking through my Macmillian's Baseball Encyclopedia, I discovered a ballplayer whose hometown was listed as Trumbauersville, PA. It is a town somewhat near Bethlehem and 33 miles from Philadelphia.
Would be willing to wager you a diet Mountain Dew the folks who started the town are some of Frank Trumbauer's progenitors. This area may be from where Frank's great-great-whoever migrated to Carbondale IL.
Continued best wishes for your health, happiness, and eternal salvation.
On a very informative site most fans of old records would enjoy-http://78records.wordpress.com/2013/09/20/fridays-playlist-sept-20-%e2%80%a2-baltimore-three-ways/
First time I hear the Williams' version. Excellent.
I had never heard of Katherine Henderson, the singer on the Clarence Williams version, so I Googled up this reference from Vintage Jazz Magazine:
The writer quotes Eva Taylor as saying that Katherine is a niece who sounds rather like her.
Richard, 13 years ago you wrote in the forum:
Who was guitarist "Charlie Palloy?"
But there is a guitarist/singer who puzzles me.
The Old Masters CD label features a CD by "Charlie Palloy" who recorded for Crown about 1931-32. He sings decently in a Crosby manner, and plays a nice--but not spectacular-- guitar. But who was he? The liner notes say he suddenly appeared, then disappeared into oblivion.
Was he a studio executive, song-plugger, writer, who came into the studio for a few sessions? Did Crosby threaten him to knock off the imitation? Was Palloy his real name. Could it have been someone like a Carl Kress, Eddie Lang, etc. pretending to be another performer as a joke, or in order to make extra money?
Chris Barry, co-author of the "Alice and Bix" article, will publish an article about Charlie Palloy in a future issue of VJM. Here is his announcement in facebook.
In October 1933 Swedish Kristall K.3501 was issued with one side having Stormy Weather as by Charlie Palloy
(matrix 6414-2). This was meant to be his Crown recording from 3473 (matrix 2028-1), but instead
they used the Jack Payne version from Imperial 2880!
Thank you Albert, for the information on Charlie Palloy. I shall look forward to the article.
Amazing how all these little side threads help us understand the whole of the great jazz tapestry.
Likewise, thanks much Albert, for posting here to the Forum! Here's the link to the Crown Records page on Facebook:https://www.facebook.com/crownartists
I was thinking of the drummers in Roger Wolfe Kahn's Orchestra. I will post on this at a later time. In my search, I came up with the following quote from http://travsd.wordpress.com/2013/09/19/stars-of-vaudeville-810-roger-wolf-kahn/
"Roger Wolfe Kahn and His Orchestra played big time vaudeville from 1924 through 1929, and made numerous record albums between 1925 and 1932, the personnel often including such later giants as Artie Shaw, Gene Krupa, Red Nichols and many others."
Artie Shaw was with Kahn in 1932, but as far as I can gather from discographical information, Red Nichols and Gene Krupa were never members of the Roger Wolfe Kahn orchestra. Where in the world is the source of this piece of misinformation? The Wikipedia article about Kahn in Wikipedia also includes this error, "Kahn hired famous jazz musicians of the day to play in his band, especially during recording sessions, for example Joe Venuti, Eddie Lang, Artie Shaw, Jack Teagarden, Red Nichols, and Gene Krupa." So does the parabrisas.com site: "Due to Kahn's wealth he was able to hire some of the top musicians of his day for recording sessions and special events. Jack Teagarden, Gene Krupa, Red Nichols, Joe Venuti, Eddie Lang, Artie Shaw, the Dorsey Brothers, and Babe Russin all made appearances with Kahn."
So what is the source of all this, in this case, and ingeneral? Sloppy writers that do not bother to check the facts? Is it pure invention? If so, why? To embellish the writing? A more compelling case for writing about an obscure musican such as Kahn could be made if he was associated with some of the jazz giants. But why in Wikipedia or Parabrisas which are supposed to be simply reference works?
Of course, once a piece of misinformation finds its way in the published literature, the error propagates like wildfire in the internet era of "cutting and pasting" without providing sources. For example there are a bunch of youtube videos that copied the information from wikipedia.
|This message has been edited by ahaim on Sep 19, 2013 8:17 AM|
Nobody knows, but By God it's pervasive! Wikipedia, for egregious example, is still saying that Bix played with the Bucktown Five.
Fifty years ago I looked in the photo library of the London Bureau of Associated Press for pictures of Django Reinhardt. They had just the one, a staged publicity shot of Django with Paul Whiteman taken in 1946 during his US tour. The caption on the back read - unbelievably - that Django 'played the guitar with his knuckles'. Sadly this nonsense is still doing the rounds.
The Wikipedia article on Bix is actually very good indeed, the bulk of it having been revised and rewritten by writer, encyclopedia editor and Bix researcher Brendan Wolfe. Being Wikipedia, however, spurious edits can and often are made to even the highest-rated articles, of which this is one. So keep in mind, even given a quality article, that Wikipedia is often a good place to start but never a good place to rely on without checking the sources (or lack of sources) cited.
The addition of the undocumented -- and undocumentable -- Bucktown Five reference was made earlier this month. I have just now edited it out. Thanks for the heads-up, Ray.
Thank you, Barbara!
I wonder if this Brooklynskipper87 on YouTube is the one who edited in that erroneous information about Bix playing with the Bucktown Five. He still has two titles posted which he credits erroneously to Bix. The error of his ways has been pointed out, not only by me, but he hasn't corrected it over the past two years.
The Wikipedia entry to which I referred was not the main article on Bix but the smaller one for the Bucktown Five. I've just re-visited the entry and can confirm that it states that Bix recorded with the Bucktown Five. The claim is made twice, once in the body of the article and again in the Discography listing. Is it possible that this can be corrected? Thanks for your response Barb.
Sure it can be corrected, Ray. That's the cool thing about Wikipedia: anyone can open an account, learn the ropes, and contribute as little or as much as they like. I encourage you and everyone else to give it a try.
As you can see there's a bit of back and forth going on in the History tab of the Bix article, which is important to me, with a user insisting that a YouTube reference and an assertion sans citation in the Bucktown Five article constitutes proper documentation. It doesn't by the rules of Wikipedia, but people will do this. It's all part of the give and take of Wikipedia. You have to pick your battles.
Some people, thinking they are doing research, simply repeat almost anything they read and are too lazy to try to confirm the information with other sources. This is a particularly serious problem on the Internet where too many people think copying and pasting is research.
Here is Russ Morgan taking credit for building up Jean Goldkette's orchestra. Russ had nothing to do with hiring the musicians listed. From Radio and Televison Mirror, 1942.
From the June 18, 1947 issue. First name misspelled. Goldkette did not start his business in 1925.
I am a huge fan of the early Universal horror movies. The first Frankenstein film (19310 is probably my favorite movie in the horror genre. One of the fascinating (to me) aspects of this film is the fantastic electric equipment. All the electric apparatus used in this and subsequent Frankenstein films was designed and built by Kenneth Strickfaden. You can see some of the equipment in
I just bought the book
Kenneth Strickfaden, Dr. Frankenstein's Electrician, by Harry Goldman.
As I started reading it, I found out that Kenneth was Charles' older brother. Bix is mentioned in the book. Here are the relevant pages about Charles. Have you seen the Whiteman band photo before?
A minor error, Charles did not record with Bix as a leader.
Listen to Strickfaden with Whiteman in his 16-bar piece on baritone in Because My Baby Don't Mean Maybe Now. Also a great vocal by Bing. And of course Bix.
Here is part of the census for Santa Monica CA.
Father with his three boys, Frank and Kenneth electricians, Charles musician, soloist!
I like very much practically anything Joe Venuti recorded in the 1920s and 1930s. One of my favorite set of recordings is the one waxed in June 1927 and Sep 1927 accompanying Annette Hanshaw. Here is one the best.
I'm Somebody's Somebody Now. http://www.youtube.com/watch?v=_jJb8b_1gsA
I love how she is introduced by Adrian Rollini. And Joe and Eddie plus Vic Berton doing their things.
Composed by Abner Silver / Howard Johnson / Al Sherman.
PS For such a great tune, it is surprising (to me) that there are only three recordings of the tune listed in Lord's disco:
- the one by Annette in 1927; nothing until the end of the 20th century.
- one by the Back Bay Ramblers in 1994 (Peter Ecklund (cnt,arr) Bob Connors (tb,arr) Billy Novick (cl,as,arr) Steve Wright (cl,as,ts,bar,cnt,arr) Mark Shane (p-1) Bob Pilsbury (p-2) Peter Bullis (bj,t-g) Andy Stein (vln-3) Vince Giordano (tu,bassax,b) Bill Reynolds (d) Jimmy Mazzy, Karen Cameron (vcl)
- one by Debbie Arthurs' Sweet Rhythm in 2007 (Andy Woon, Mike Piggott, Norman Field, Paul Munnery, Mauro Porro, Martin Wheatley and Frans Sjostrom).
Emrah gave a link to this video in facebook.
Real weird little piece of film. Miff was with Benny Goodman's band for a few months in 1943. Most likely taken at this time.
Benny's orchestra was in LA filming "The Gang's All Here." Miff Mole probaly participated in some of the soundtrack.
I am pretty sure I see Miff in several scenes. But maybe I am seeing things?
That looked like Miff to me, looking even less cheerful than he usually did. That was really a pretty bad movie (at least what I watched of it), but interesting as a period piece.
"The Gang's All Here," which I have complete on a 20th Century-Fox DVD, is a GREAT movie! It's true that the romantic-intrigue plot doesn't work very well (James Ellison, Alice Faye's leading man, is billed ninth, which gives you an impression of his importance), and other filmmakers did more with Benny Goodman than director Busby Berkeley did, but you have lavish three-strip Technicolor at its most awesomely garish and the marriage-made-in-heaven of Berkeley and Carmen Miranda. It's a much more interesting film than Goodman's other collaboration with Berkeley, "Hollywood Hotel" (though the edition of the Goodman band in "Hollywood Hotel," with Harry James and Gene Krupa in the full orchestra and Teddy Wilson and Lionel Hampton in the Quartet before all of them went on to solo stardom, is better than the one here) and it's one I've loved and cherished since I saw the reissue in San Francisco in 1975, where it attracted such a large audience the theatre showing it played it for over a year.And BTW, D. Russell Connor's bio-discography of Goodman DOES list Miff Mole as being in his trombone section at the time the film was made.
I liked the music scenes except for that poorly synchronized "vocal" by Benny. But as a falling-in-love script, there was no warmth in the main characters' early scenes: the two actors had zero vibes going between them. They both were playing stock characters--the brash, consciously handsome soldier boy on leave and on the make, and the slightly hard-boiled, world-weary showgirl accustomed to male attention and just a bit bored with it all. Alice Faye was no Judy Garland when it came to projecting emotion in dialogue or in song.
That's why I found it "not a good movie." There were some fluffy wartime movies with breezy love stories that were convincing, but not this one--in my opinion. Perhaps I just don't like those character types! It is nice to watch as a period piece, but the best parts are seeing the famous musicians and Benny with his band.
I agree with Glenda on her comments on "The Gang's All Here". The film was at times embarrassing to watch, especially the unconvincing scenes between James Ellison and Alice Faye. There was no sexual chemistry whatsoever between them. Some of the scenes seemed to be made up as they went along. But on the other hand we had (although all too few) glimpses of Benny Goodman's band. Surprising to see he was still using a bass sax in 1943! As always Busby Berkeley's inventive direction of the music and lavish dancing scenes were quite spectacular and saved the film from being a truly awful movie.
While I particularly enjoy Benny's vocal on "Paducah", I cringe when I see that ridiculous polka dot number.
You hit on the right word, David. Parts of those movies were definitely cringe-worthy.
Aw, c'mon! You don't watch a Busby Berkeley movie for the plot! There ARE a few Berkeley movies that work as total entertainments and are interesting to watch in between the spectacular dance numbers (like "Gold Diggers of 1933" and "Footlight Parade"), but most of them you watch for his stunning extravaganzae and mark time while the plot unfolds between them. "The Gang's All Here" is a Berkeley masterpiece, full of some of his most inventive numbers (particularly the final shot of "The Lady in the Tutti-Frutti Hat," in which Carmen Miranda's fruited headdress seems to extend to infinity) and (sorry, David) the polka-dot routine, which I happen to like. Yes, it has its flaws; as stunning as the numbers featuring Carmen Miranda are (that's why I described the collaboration between her and Berkeley as a marriage made in musical heaven) the photography of Benny Goodman's band is relatively dull, and as a singer Benny Goodman was an excellent clarinet player. Also the previous posters are right that Alice Faye and James Ellison have zero chemistry together and that Judy Garland could have played Faye's role much better (except she couldn't stand Berkeley and didn't want to work with him again; the only reason Berkeley was available to do this film was that Garland had just had him fired from the 1943 "Girl Crazy" after he'd shot the final number, "I Got Rhythm"). Indeed, Judy actually recorded Faye's two big songs from the film, "No Love, No Nothin'" and "A Journey to a Star," and not surprisingly did them with far more passion and soul. But who cares? Berkeley, Miranda, the over-the-top Technicolor and the fine supporting performances from Edward Everett Horton and Charlotte Greenwood make this one of the great musicals despite the dull leads and the silly plot.
More on "The Gang's All Here" on my movie blog:http://moviemagg.blogspot.com/2011/03/gangs-all-here-20th-century-fox-1943.html
Now you're talkin', Mark. Girl Crazy! is the real deal. Not a cringe-worthy moment--great music, another famed big band (Tommy Dorsey's), splendid music by Gershwin, and crackling energy from the actors.
I'd take one ten-gallioned Garland solo of "I'm Bidin' My Time" to a buzillion of Carmen Miranda's tutti frutti-chapeauxed cast-of-thousands production numbers. Carmen was not much of a singer outside of her novelty numbers. Imagine her trying to put over "But Not for Me!"
I agree with your main point. All these 1940s musicals are fun, but "Gang" missed out on that added oomph that the lead players lacked.
This has beeen discussed in facebook and my conclusion is that the guy wearing an undershirt and smoking is not Miff. Here are the relevant postings in youtube.
Andors Jazz BandIt's hard to believe that the Miff in "the gang's all here" has the same age as the Miff in the momochrome home made movie: hair, no spectacles, the shape of his head etc. Is there no doubt about 1943 in the home made movie?
Albert HaimAndors, The video you posted demonstrates conclusively that we are in 1943. Here is another one with Goodman and his musicians being greeted by Eugene Pallette, Charlotte Greenwood and Edward Everett Horton. At 1:09, on the left hand-side you see a musician with glasses holding a trombone. I am pretty sure it is Miff Mole. Miff was born in 1898, so in 1943 he was 45. The guy wearing an undershirt and smoking looks a lot younger. The only conclusion that I can reach is that he is not Miff Mole, but one that strongly resembles him. A case of misidentification?
|This message has been edited by ahaim on Sep 19, 2013 4:54 PM|
I think the man in the undershirt in the Joe Rushton home movie is Miff Mole and I will attempt to explain why in this post. We agree that Joe Rushton took the home movie in 1943, at the same time that he was playing bass sax in the Benny Goodman band, while the band were in Hollywood making the movie "The Gang's All Here". Miff Mole was also known to have been a member of the Benny Goodman band at the time. Here is screen shot taken from the "The Gang's All Here" that shows Miff playing the trombone:-
Here is a screen shot of the man in the undershirt in the Joe Rushton home movie, resampled for higher resolution and cropped to show his head in more detail:-
And here is a photo of Miff Mole taken in the 1930s, again cropped from a larger photo:-
Comparing these three photos we find the following identical features:-
- Distinctive "widow's peak" (receding hair line with small centre peak)
- Shaved eyebrows
- Large ears with same pattern of ridges
Comparing only the screen shot of the man in the undershirt with the photo of Miff Mole taken in the 1930s (as given above), we find the following identical features in addition to those listed above:-
- Distinctive lower lip muscle (just below the centre of the lower lip)
- Nose with one lobe slightly larger than the other
Comparing only the screen shot of Miff Mole from "The Gang's All Here" with the screen shot of the man in the undershirt, we find the following identical features:-
- Short frown lines in centre of forehead
To me, the man in the undershirt in the home movie looks to be in his mid-40s. I asked a visiting friend was isn't a jazz fan and doesn't know who Miff Mole is how old he thought the man in the undershirt was (I didn't provide any information all I did was show him the screen shot and ask the question). After looking for a few seconds he said "about 45". I said "why do you say that?" and his reply was "look at the lines and other features". Incidentally, my friend is 45. OK, this is hardly a scientific survey, but it is interesting nonetheless and I intend asking others.
The man in the undershirt has a receding hairline but looks to have lots of dark hair otherwise, which seems at first sight to somewhat contradict the fact that gray hair can be seen on the side of Miff Mole's head, just above the ear, in the screen shot taken from "The Gang's All Here". However, this discrepancy can be explained by the fact that men used to grease their hair so that when it was brushed back it looked neat. I am guessing that the Rushton home movie was taken in the morning and that the man in the undershirt had just come out of the bath or shower for his first cigarette of the day! Without any hair grease/cream, his hair is free to flop about in the wind, however slight the wind is, while on top of the building. Without the hair being greased and brushed back, the gray tinges would easily be hidden by the darker hair that is blown forward.
Photography itself can also be deceptive, due to lighting, positioning, etc. Here is a photo of Miff taken in 1947 (or possibly 1948):-
Not surprisingly, there is more gray hair than five years before, when the home movie was made. However, in the following photo of Miff Mole with Pee Wee Russell and Sidney Bechet, taken from around the same time (1947/1948), Miff looks to have far more dark hair and less gray!
Finally, here is another comparison between Miff Mole in "The Gang's All Here" (indicated by arrow) followed by a photo of Miff taken outside Nick's in June 1946, with Pee Wee Russell, Muggsy, (Miff) and Joe Grauso. The parting on the side of the hair is identical, as is the profile of the mouth and jaw, nose and forehead. Moreover, in this particular screen shot taken from "The Gang's All Here", Miff looks to have mainly dark hair with very little gray, more so than in the other screen shot I made from the same movie!
As a kid who found those curious little sidebar ads in the back pages of magazines fascinating, I believe that Grecian Formula was around from the 1950s on, and I wouldn't be surprised if it was available in the 1940s as well. It wasn't exactly a dye, as I recall from the ads, but a product with chemicals that caused light-colored hair to darken over a period of weeks. Miff could have been using it from time to time to "darken hair gradually."
When Emrah first posted the 1943 film taken in Los Angeles, I thought the guy was Miff Mole. But then Andors in facebook expressed some doubts about the age of the guy in undershirt as compared to Miff in the film "The Gang's All Here." I was going back and forth like a ping pong ball. I was convinced the guy in the undershirt was Miff, but I also was convinced that he was not a man in his 40s, like the one seen in "The Gang's All Here."
Nick's detailed analysis provides an explanation for my dilemma. On cursory examination, the guy in the undershirt looked to me much younger than 45 and, in particular, much younger than the Miff Mole in "The Gang's All Here." The comparisons made by Nick solved my dilemma. On detailed examination of the guy in the undershirt as done by Nick, the guy is clearly Miff Mole and not as young as I first assumed. Thanks, Nick!
The ads have always been right. Youthful hair makes people look younger. With his hair full, loose, and covering his hairline and part of his face and ears, Miff looks a few years younger, even though, feature by feature, he looks like he's in his mid-forties in that home movie.
Thanks to Nick for his customary painstaking sleuthing!
We know about this 1924 record with Miff's last name misspelled.
Here is another label with Miff's name on it. Recorded on April 5, 1925.
And here is an ad for the record in The Talking Machine, June 15, 1925.
Evidently, by 1925 Miff was suffficiently well-known among record buyers that his name was used to promote sales of records in which he played.
It is worth listening to the record. Here is the roster of musicians: Roy Johnston, t; Miff Mole, tb; Larrry Abbott, cl, as; Frankie Trumbauer, sax; Rube Bloom, p; Frank di Primo, bj; Ward Archer, d.
In sections, it reminds me of the sound of the Five Pennies. No?
From Variety Aug 12, 1925.
Evidently, the claim that this is the first time that an instrumentalist is featured on a record label is wrong. In 1924, Bix and Mole were featured on the labels of the Sioux City Six recordings, although without a mention of their instrument.
Which brings us to the question: Who was the first instrumentalist mentioned on a record label? I don' think that Louis Armstrong was ever mentioned in King Oliver's or Fletcher Henderson's record labels, was he? Since I'm Glad is the A side of Gennett 5569, is it possible that Bix is the first instrumentalist featured on a record label?
|This message has been edited by ahaim on Sep 24, 2013 7:45 AM|
... in not turning over my whole 78 collection to cite chapter and verse, but I have seen certain Brunswick dance records as early as 1920 with such by-lines as "Piano passages by Phil Ohman," "Saxophone solo by Rudy Wiedoeft" and there are others.
From Aug 20, 1924. This precedes the Sioux City Six by six weeks.
Oct 31, 1923, a year earlier than the Sioux City Six session.
From Jan 31, 1922. Note the connections of the pianists to Bix.
I imagine there are many more.
|This message has been edited by ahaim on Sep 24, 2013 4:44 PM|
Here's a Henry Burr-Albert Campbell side from 3 Nov. 1920 (issued January 1921) that credits Rudy Wiedoeft:
From ca. October 1920, an Isham Jones side with two pianists and a banjoist credited:
Ross Laird's Brunswick discography shows earlier sides that may have had soloists credited, including Br 2019 and 2025 (saxophone solos by Rudy W. with piano by "Carl Fenton" [Gus Haenschen] and Harry Akst) and 2018 (banjo solo by Fred van Eps with piano by Frank Banta), all from ca. October 1919. No ledgers are known to survive for Brunswick prior to February 1923, so the labels would be the main source of accompanist information--unless it was mentioned in trade publications for some reason.
Sweet Sue was composed by the great Victor Young in 1928.
It was first recorded by Charley Straight (Mar 17, 1928). Immediately after, it was recorded in quick successsion by several dance bands, in the US and abroad. A couple of jazz bands recorded the tune in 1928, Jimmy Noone and McKinney's Cotton Pickers. Bix with Whiteman had a magical solo in his recording of Sep 18, 1928.
Sweet Sue did not become a jazz standard until the 1930s. However, already in 1929, the tune was used for a dancing contest with the music played by Chick Webb's orchestra in a Paramount short film, After Seben. An excellent print of the complete film (a vehicle for James Barton) is available.
I would go directly to about 11 minutes to see the great dancing and hear the music.
McKinney's Cotton Pickers? Are you sure about that?
In their first recording session, Jul 11, 1928, McKinney's Cotton Pickers recorded five sides for Victor matrix numbers 46092-40696. The first number they waxed was "Sweet Sue." There were two takes, but neither was issued. The other four numbers were issued: Four of Five Times, Put It There, Crying and Sighing, Milenberg Joys.
I can understand that you were surprised since the recording was never issued. I don't know of a test pressing either.
McKinney's "Sweet Sue" of July 11, 1928 was never issued and is not known to exist.
It was, however, an early "use" of the song.
All The Best,
I just did a compilation CD of 24 versions of "Sweet Sue," arranged in chronological order (mostly) by recording date. They are:
The 1928 Paul Whiteman "concert version" with Bix.
The "Wabash Dance Orchestra" with Red Nichols and Miff Mole (courtesy of this site).
The Charlie Straight Orchestra (another Bix connection!).
The Victor Young radio transcription (also courtesy of this site -- thanks!).
The Mills Brothers.
Ted Lewis and His Orchestra.
Gene Austin (a marvelously jazzy version, alas available only on archive.org with a couple of skips).
Bing Crosby (the one with Lennie Hayton on "Bix Restored, Vol. 5").
Benny Goodman (1934 transcription).
Benny Goodman (1936, with the Hampton/Wilson/Krupa Quartet).
Chick Webb and His Little Chicks (1937, featuring Wayman Carver, the first soloist to improvise jazz on the flute).
Sidney Bechet and Muggsy Spanier (1940).
Sune Lundwalls Orkester.
Heinz Becker Quintett.
Gösta Törners Orkester.
Swingtett. (The last four are European versions from archive.org.)
Lorraine Page Orchestra with Six Hits and a Miss (a rather splicy "Soundies" soundtrack).
The Imperial Quartet with Don Gordon (1947 vocal version).
Lenny Dee (pop organ version).
Tommy Dorsey and His Orchestra (Jack Leonard and band, vocal).
Mary Lou Williams.
Miles Davis with John Coltrane (1955, recorded for Leonard Bernstein's "What Is Jazz?" album).
Nick sends this excellent version of Sweet Sue by Jack Payne and His BBC Dance Orchestra, Oct 2, 1928. Nick tells me, "It features some great cornet work by Frank Wilson, another Bix admirer." The recording starts sweet and then gets hotter and hotter. I like the bass sax behind the trumpet. Thanks very much, Nick.
Hi Nick, I've enjoyed scanning a little of this article on Eddie Lang, it is interesting reading. I started around page 10, and soon read on the bottom of page 11...
"Viola McCoy is one of the few black singers to have recorded on kazoo, surprisingly so considering that the instrument had been used by black performers since the late 19th century."
After listening through many LP compilations over the years of black country blues, drawn from 1920s era 78 rpms, it's difficult for me to think of singers' kazoo sounding from that genra and time in term of 'few'. 'Common' or 'plentiful' would actually describe the kazoo's presence in that recorded realm, it's my impression.
Forgive me if this observation sounds like nit-picking, but I don't think it is. Your descriptive sentence cited above seems basically mistaken.
Before typing this quick post to submit, I paged a little through "Blues & Gospel Records 1890-1943" by Dixon, Goodrich amd Rye, this printing from Oxford Press in 1997. There's a lot of kazoo playing in ensemble with vocal, documented among those 1,300+ pages of discography....
In any event, much looking forward to reading the rest of your Lang article now. My appreciation to you, for creating and contributing it.
Thanks for your response and for your kind remarks about my article generally.
With respect to your specific point concerning Viola McCoy, in the section on the kazoo the influence of the Mound City Blue Blowers (MCBB) is examined and as part of that discussion, recordings featuring the kazoo made before the MCBB's own recordings are also mentioned. Viola McCoy is one of the few black blues singers who recorded on kazoo before the MCBB (Lizzie Miles is another)....as I point out, McCoy's kazoo playing predates the MCBB by nine months.
For the sake of clarity, the sentence would have benefited by way of a small addition, thus: "Viola McCoy is one of the few black singers to have recorded on kazoo during this early period, surprisingly so considering that the instrument had been used by black performers since the late 19th century."
However, I learned several important things in Nick's highly informative and well-constructed article. Perhaps, the most significant piece of information I learned was that Eddie had a serious
accident that kept him out of circulation for about a year. I wonder if that had long-term effects and contributed to Eddie's early death (For a detailed medical report of his death see http://bixography.com/langmedicalreport.html)
The article also made me think about Eddie as a composer. Mike Peters has a list of his (nearly 50) compositions in
I think my favorite is April Kisses.
Does it remind you (in some sections) vaguely of the theme for the film "The Third Man"?
|This message has been edited by ahaim on Sep 13, 2013 10:43 AM|
Yes Albert, I agree. April Kisses is a similar composition to The Cafe Mozart Waltz, played on the zither by Anton Karas on the soundtrack of the film The Third Man.
I am pleased to announce that on Saturday, Sep 7, 2013, after the dinner of the IAJRC convention in Kansas City, the James C. Gordon Best Article Awards were presented. I was honored with the first prize for my article "The Charleston in the 1920s: The Dance, the Composers and the Recordings." IAJRC Journal, Vol. 45, No. 2, Summer 2012.
This is the second time I receive an IAJRC "Best Article Award." In 2005, I was awarded first prize for my article "Drummers in the Recordings of Frank Trumbauer and His Orchestra and Bix Beiderbecke and His Gang, 1927-1929: An Anomaly and A Hypothesis." IAJRC Journal, Vol. 37, No.2, Spring 2004.
I thank the Awards Committee members for choosing my article.
Congratulations where credit is due; and with the Alice McConnell article still coming out, you're a contender!
And well deserved.
Now we are awaiting the Fall article on Alice Weiss by you and Chris.
And many more to come, I'm sure.
Directed with GREAT enthusiasm! And WHAT a cute dog! He was the real star of the performance!
.... four days before the Jean Goldkette Victor recording Orchestra (with Bix) folded, and the day before the band recorded the legendary Clementine.
- The Fourteen immortals in Roseland and in the recording of Clementine:
Fred Farrar, Ray Lodwig (tp); Bix (c); Bill Rank, Lloyd Turner (tb); 'Doc' Ryker, Frank Trumbauer, Don Murray (reeds); Irving Riskin (p); Joe Venuti (vln); Eddie Lang (g); 'Howdy' Quicksell (bj); Steve Brown (sb); Chauncey Morehouse (dm).
- The record label:
- The music:
- More information about Clementine:
- The photo (probably taken in Oct 1926 and signed in Sep 1927).