Interracial Jazz Session (#24) Ethel Waters and Sammy Fain

Ethel Waters was one of the great early blues-vaudeville-jazz singers. She did a number of interracial recordings from the late 1920's to the mid-1930's, often with the Dorseys and went on to great success in Broadway, films and television. 

         

Waters is accompanied on the first track of this session by Sammy Fain on piano. Fain was a self-taught musician, who was working as a stockboy for Mills Publishing when his talent was noted. He had a long career as a composer, writing many well known songs for stage and screen, including  "Let a Smile Be Your Umbrella," "You Brought a New Kind of Love to Me," "I'll Be Seeing You" and "That Old Feeling." 

Fain has a good feeling for accompanying in the blues-vaudeville-jazz style and Waters is a knockout.

Ethel Waters (vcl) acc by Sammy Fain (p-1) Maceo Pinkard (p-2) Nathaniel Reed (p-3) New York, February 20, 1926.

• If you can’t hold the man you love (1)- Col 14134-D;
• Satisfyin’ papa (3)- Col 14199-D, Wolf (Au)WJS-1009;
• Sugar (2)- Col 14146-D, KG31571;
• I wonder what’s become of Joe ? (2)- Col 14134-D;
• You’ll want me back (3)- Col 14146-D;
• Note: All above titles also on Classics (F)672 [CD].

All entries are from my book “As Long as They Can Blow: Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Jazz Session (#23) Waller, Williams, Justin Ring

Call it jugband jazz. We have the prolific pianist, composer, singer, producer Clarence Williams and Clarence Todd, a vocalist who also played ukulele, piano, and on these recordings, kazoo. Then, we have Fats Waller, just a couple of years after his first recordings.

Justin Ring and Fred Hagar

  

Clarence Williams

                                          

The last performer is Justin Ring-not a well-known name. Ring was associated with hundreds of recordings, from around 1900, mostly as an arranger, also as a pianist and "percussionist." Here, he plays woodblock.

Waller always works, of course, and there are also some nice solos and polyphonic kazoos.

Jamaica Jazzers: Clarence Williams, Clarence Todd (kazoo) Fats Waller (p) Justin Ring (perc) New York, c. May 10, 1924.

• You don’t know my mind blues- OKeh 40117, Classics (F)664 [CD];
• West Indies blues- OK 40117, Od 03196;
• Note: Classics 664 [CD] titled “Fats Waller 1922-1926”; rest of this CD by Waller and others, Both above titles also on JSP (E)CD927 [CD] titled “Fats Waller - The Complete Recorded Works, volume 1”

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Jazz Session (#22) Red Norvo and Teddy Wilson

Today, March 31 (1908), is Red Norvo's birthday-an appropriate time to post a session Norvo led that featured pianist Teddy Wilson. Wilson, a widely influential swing pianist, was in the forefront of the desegregation of live jazz.  In 1935, a year after these recordings, he became a member of Benny Goodman's trio with Gene Krupa and then Goodman's quartet when Lionel Hampton was added.

Starting in vaudeville and radio in the 1920's, Norvo was a preeminent marimba and xylophone player who switched to vibes in the 1940's. He had a long career as a leader and sideman, often recording with his wife, singer Mildred Bailey. He was an adventurous player who searched for new sounds throughout his long career, including an interesting early 1950's stint with Charles Mingus.

Trombonist  Jack Jenney was a solid swinger, although more well known for his tone on ballads. It's also interesting to hear Charlie Barnet and Artie Shaw before they became big timers.

These are the group's two sessions:

Red Norvo and his Swing Septet: Jack Jenney, tb / Artie Shaw, cl / Charlie Barnet, ts / Teddy Wilson, p /Bobby Johnson, g / Hank Wayland, sb / Billy Gussak, d / Red Norvo, x. New York, September 26, 1934.

• Old Fashioned Love- Col 3059-D, 35688, DB-5012, MC-5012;
• I Surrender, Dear- Col 2977-D, 35688, DB-5012, MC-5012

Red Norvo and his Swing Septet: Jack Jenney, tb / Artie Shaw, cl / Charlie Barnet, ts / Teddy Wilson, p /Bobby Johnson, g / Hank Wayland, sb / Billy Gussak, d / Red Norvo, x New York, October 4, 1934.

• A Tomboy- Col 2977-D, MC-3031, Par R-2110;
• The Night Is Blue- Col 3026-D, Par R-2088

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Jazz Recording (#21) Bessie Smith & Eddie Lang

Bessie Smith earned her title as Empress of the Blues. She managed to be both powerful and able to express a wide range of emotion. Clarence Williams was a whirlwind-pianist, songwriter, producer, promoter, singer and publisher. As noted on previous posts, white guitarist Eddie Lang shows up on many mixed sessions. 

Suggestive doesn't really cover the "blue-ness" of the lyrics in all these tunes. 

Bessie Smith (vcl) acc by Clarence Williams (p) Eddie Lang (g) New York, May 8, 1929.

• I’m wild about that thing- Col 14427-D, CG30126, Swag (Aus)JCS3374, CBS(G)LSP14100, Jass 5;
• You’ve got to give me some- Col 14427-D, CG30126, Swag (Aus)JCS3374, BBC (E)602;
• Kitchen man- Col 14435-D, CG30126, Bilt 1040, HJCA 613, Murray Hill P315996;
• Note: Mx 148486 misprinted on some labels as “You’e got to give me some”
• All above titles also on Roots (Eu) RTS43015 [Cass], Columbia C2K-52838 [CD]

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Jazz Tune (#20) Lang, Johnson, Dorsey (not Oliver) & Carmichael

Blind Willie Dunn was a pseudonym used by guitarist Eddie Lang when he played in black sessions, including the sessions he did with his pal, guitarist Lonnie Johnson. Johnson is the only non-white player on the 5 sessions done by this group in spring, 1929 and is probably the soloist you hear, as he was more deft at single-string playing than Lang.

Lang and Johnson

King Oliver is listed on the label but Tommy Dorsey, known of course as a trombonist, is actually the trumpet player and he sounds excellent. Hoagy Carmichael is the pianist, does some light scatting and probably slipped in the little bit of the xylophone we hear in "Jet Black Blues" and the wood blocks in "Blue Blood Blues." 

I'll go crazy and post both. What the hell.  

Blind Willie Dunn’s Gin Bottle Four: Tommy Dorsey (tp) Eddie Lang, Lonnie Johnson (g)  Hoagy Carmichael p,vcl, percussion New York, May 1, 1929.

• Jet black blues- OKeh 8689, Swag (Aus)33717, Par (E)PMC7106, Col C2L24;
• Blue blood blues- OKeh 8689, Swag (Aus)33717, Par (E)PMC7106, CBS (F)63610

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Jazz Tune (#19) Jelly Roll Morton w. Boyd Senter

Jelly Roll Morton claimed to be the creator of jazz-a slight exaggeration-but he was definitely a foundational figure. He was a superb pianist, composer, arranger and raconteur; not to mention O.G. If you don't know about Morton, I encourage you to explore his music.

            
Morton doesn't solo in "Mr. Jelly Lord," apart from the intro,  although he is prominent in the background. The session includes Jack Russell, usually a pianist, on kazoo, someone called Memphis on comb (and tissue paper) and Boyd Senter on clarinet. Senter knew how to play jazz, albeit with a "stovepipe" quality (a la Ted Lewis). His "Senterpedes" were popular during the 20's and he employed many good jazz musicians, including the Dorseys, Lang, Venuti.

The use of kazoo and comb were pretty widepread in the era and although they seem quaint, I prefer to think of them as providing an expanded sonic palette. 

Jelly Roll Morton’s Steamboat Four: "Memphis" (comb), Jack Russell (kazoo), Boyd Senter (cl) Jelly Roll Morton (p) Chicago, IL, prob. April 1924.

• Mr. Jelly Roll [Mr. Jelly Lord]- Carn 11397, Riv RLP12-128, Byg (It)33, Milestone M47018, Rhapsody (E)RHA6021.

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Recording (#18) Billy Banks and Company

Billy Banks

Billy Banks is a singular character. He sang and entertained as a male and as a female impersonator, in jazz, cabaret and vaudeville settings. He was working in Cleveland when the ubiquitous Irving Mills, on a business trip to Cleveland, caught Banks' act and signed him to a contract. He brought him to New York to headline at Connie's Inn in Harlem. Mills hired guitarist-bandleader (and equally ubiquitous) Eddie Condon to put together a band for what turned out to be 4 recording sessions. 

Of course, as a mixed band, they could not perform publically. Billy Banks worked around New York for a short while, then went on tour in Europe, eventually settling in Tokyo, Japan.

The lyrics of this track, "Oh Peter," fairly reek with subtext.  It's a great performance and there's an excellent solo by Sullivan. Red and Pee Wee's playing, as always, is great. Eddie Condon and Jack Bland play lutes with plectrum necks made by the Vega Banjo Company. 

Billy Banks and his Orchestra (known on other sessions as The Rhythmakers): (Mixed Group) Henry Allen, t, v / Pee Wee Russell, cl, ts / Joe Sullivan, p / Eddie Condon, bj / Jack Bland, g / Al Morgan, sb / Zutty Singleton, d/Billy Banks, v. New York, April 18, 1932.

• Bugle Call Rag: Ban 32459, Or 2483, Per 15615, Ro 1856, UHCA 109, Br 01590;
• Oh Peter (You’re So Nice) – vHA: Col 35841;
• Margie– vBB: Ban 32462, Or 2487, Per 15620, Ro 1861, UHCA 110, Br 01561,
• A-500199;
• Spider Crawl– vBB: ARC unissued. NOTE: Columbia 35841 as The Rhythmakers

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Recording (#17) Boswells, Bing and Redman

These are some of the heaviest hitters of the day. Bing, everyone knows. The Boswell Sisters were the premiere vocal group of the era. They only recorded between 1925-1936, but were very influential, appearing often on radio and in some films. Redman was an important arranger and reed player, who, after being with Fletcher Henderson, went on to lead his own band.

Boswell Sisters

Don Redman

                                   

This arrangement of "Lawd, You Made The Night Too Long," written by Sam M. Lewis (lyricist) Victor Young (composer), is quite the opus. In a minor key, there are several sections, with intros and segues. It's not the typical Redman arrangement and I could not find who the arranger is, although I speculate it could be composer Victor Young. Strangely, there are several discographies that have no entry for this recording. To add to the oddity, the song is over 5:00 long, which means it was recorded on a 12" disc, instead of the usual 10", probably because of the clout of Young, who was a powerhouse in radio and film, receiving 22 Oscar nominations.

Boswell Sisters and Bing Crosby w. Don Redman and His Orchestra: Don Redman, cl, as, dir: Langston Curl, Sidney de Paris, Shirley Clay, t / Claude Jones, Fred Robinson, Benny Morton, tb / Edward Inge, Rupert Cole, cl, as / Robert Carroll, ts / Horace Henderson, p, a / Talcott Reeves, bj / Bob Ysaguirre, bb / Manzie Johnson, d / The Boswell Sisters, v. /Bing Crosby, v. New York, April 13, 1932.

• Lawd, You Made The Night Too Long: Br 20109, 0107, A-5113, 20097 (Italian), Col SW-290 (Japanese)

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Jazz Recording (#16) Lillian Glinn and Perry Bechtel

Lillian Glinn was a classic blues-country-jazzy shouter who recorded 22 tracks. She did the vaudeville circuit and was recorded in several cities-New Orleans, Dallas and Atlanta. She might not look it, but she wasn't afraid to sing down and dirty lyrics.

Lillian Glinn

There are some unknown parameters about this session. For one thing, while it is listed in DAHR and in Rust, there is no listing in Lord. Secondly, there is clearly a trumpet (or cornet) player on the recordings, but Pete Underwood is listed as trumpeter only by Rust. It's very good playing, so it would be nice to know who it was. I welcome new knowledge. 

I could find no pictures of pianist Flannagan, so don't know what race he was. Perry Bechtel was white and an excellent guitarist, who apparently consulted with Martin Guitar in developing new models. 

Recorded in Atlanta, we'll hear the Atlanta Blues.

Lillian Glinn, acc. by Pete Underwood, t / Taylor Flannagan, p / Perry Bechtel, g. Atlanta, April 9, 1929.

• I’m A Front Door Woman With A Back Door Man-Col 14433-D;
• Atlanta Blues- Col 14421;
• All The Week Blues- Col 14421-D;
• Cannon Ball Blues- Col 14617-D.

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Tune #15. Jack Purvis w. Higgie and Hawk

Jack Purvis was sine qua non; one of the most larger-than-life personalities in a music with its fair share of unique characters. He was a fine trumpet player, in the mold of Louis Armstrong (Purvis wrote and recorded a song called "Copyin' Louis"). He was also a pilot, smuggler, burglar, con artist and may have either faked his own death or committed suicide.

Jack Purvis

Purvis loved played with black musicians, including sitting in whenever possible with Fletcher Henderson's Orchestra-even "blacking up" to do so.

Poor Richard is a "burial" song. Purvis, Higgy and Hawkins all sound great.

Jack Purvis And His Orchestra: Jack Purvis (tp,vcl) J.C. Higginbotham (tb,vcl) Coleman Hawkins (ts) Adrian Rollini (bassax) Frank Froeba (p) Will Johnson (g,vcl) Charles Kegley (d) New York, April 4, 1930  

• Dismal Dan- Okeh 8808, Hist HLP6, Od (G)SMS11, Electrola (G)IC054-06317; 
• Poor Richard (1)- Okeh 8782, Od (G)SMS8; 
• Down Georgia way- (G)SMS3, Electrola (G)IC054-06309

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Tune (#14) King Carter and His Royal Orchestra w. Dick Robertson

King Carter and his Royal Orchestra is a pseudonym for the Mills Blue Rhythm Band. This group was formed in New York in 1930 by drummer Willie Lynch as the Blue Rhythm Band, and then briefly operated as the Coconut Grove Orchestra. Irving Mills, whom we've met before, became the band's manager in 1931 and it came under the Mills Blue Rhythm Band umbrella.

This group was less known than Ellington and Calloway, the other two bands in Mills' stable, but the musicianship is excellent and they often filled in at the Cotton Club and other dates.

No surprise "Minnie the Moocher" was recorded, and just 6 days after Calloway, who had a hit with the song. Dick Robertson is the (white) vocalist here. He does a good job, but Charlie Holmes leads the scat call-and-response.

King Carter and His Royal Orchestra: Wardell Jones, Shelton Hemphill, Ed Anderson, t / Harry White, Henry Hicks, tb / Charlie Holmes, cl, as / Theodore McCord, Castor McCord, ts / Edgar Hayes, p / Benny James, bj / Hayes Alvis, sb / Willie Lynch, d /Dick Robertson (as Dick Rogers), v. New York, March 9, 1931.

• 151454-1-2 Swing It - Col unissued
• 151455-1 Blues In My Heart - vDR Col 2439-D, DF-2006, DO-401, MC-3114, Cl 5417-C, VT 2477-V, Par R-1478 151456-1 Col 2439-D, DO-401, Cl 5417-C, VT 2477-V, Par R-2345
• Minnie The Moocher - vDR&ch Col 2439-D, DO-401, Cl 5417-C, VT 2477-V, Par R-2345

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

An Interracial Tune a Day (#13): Lucille with The Daisies

Founded in 1921, Cameo Records was an Indie label that used a pool of white musicians, including some Members of the Original Memphis Five to accompany singers. Lucille Hegamin did a number of sessions with them for Cameo.

Lucille Hegamin

 

Original Memphis Five

The early to mid-20's were kind of a boom period for black female blues/vaudeville singers and the powerful Hegamin fell squarely in that category. The band that Cameo called the Dixie Daisies were not particularly adventurous, but they understood the New Orleans-cum-New York style and provided good backup. 

"Alabamy Bound" is the jazziest of the three tunes from that date.

Lucille Hegamin acc by The Dixie Daisies. New York, c. early February 1925.

• Alabamy bound- Cameo 701;
• Hot tamale Molly- Cameo 723;
• Every time I pick a sweetie- Cameo 701;

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

Interracial Sessions (#12): James P., Smeck (?) and Robertson

Today's entry is a bit controversial. This is a group put together by composer, pianist, musical entrepreneur Clarence Williams. There's no doubt that he used a white singer-Dick Robertson. There is a question whether or not the guitar/banjoist is Roy Smeck, also white. It may be Jimmy McLin. 

Clarence Williams

Roy Smeck

Robertson was on inumerable sessions during this era, many of which were black groups with him on vocals. Even if Roy Smeck was not on this session, he was on many other interracial recordings. As early as 1924, Smeck recorded with black musicians under the name of Alabama Joe. 

The discography lists Smeck as playing guitar and steel guitar (stg), but I hear the musician playing guitar and banjo.

"Jimmy Had a Nickel" has a slightly "older" feel for 1934 jazz. There's washtub a la jugband, and it's a two-beat with a heavy tuba line, but it still swings. Allen plays nice cornet lead and a short muted solo, James P. Johnson rocks on piano and Scott plays a wailing solo on clarinet.

Clarence Williams and His Orchestra: Ed Allen, c / Cecil Scott, cl / James P. Johnson, p / Roy Smeck, g, stg / Cyrus St. Clair, bb (tuba) / Floyd Casey, wb (washboard)/ Dick Robertson, Clarence Williams, v, New York, January 17, 1934.

• Jimmy Had A Nickel– vDR- Voc 2629;
• He’s A Colonel From Kentucky– vDR- Voc 2629, EBW W-121;
• Pretty Baby, Is It Yes Or No?– vCW- Voc 2718;
• Mister, Will You Serenade?– vCW: Voc 2676, Br A-86050

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

One of the Archetypal Interracial Sessions-Waller and Condon (#11)

For chronology's sake, I wanted to post one of these Feburary sessions: Frank Melrose recording with the Dodds Brothers--but all takes went unissued. Or, a collaboration between singer Ethel Waters and future songwriter Sammy Fain, but I couldn't find any audio online from the sessions.

So, we'll go to March and one of the archetypal late 20's sessions-interracial or not: Fats Waller and His Buddies. 

The way this session came together is a great story. Eddie Condon was actually hired by Victor records to "babysit" Waller, Waller made up the tunes in a taxi on the way to the gig, etc. I tell the story in detail (in Condon's voice) in my book.

Fats Waller and His Buddies: Charlie Gaines (tp) Charlie Irvis (tb) Arville Harris (cl,as), Fats Waller (p) Eddie Condon (bj) New York, March 1, 1929.

• Handful Of Keys- Vic V-38508, 27768, HMV B-4347, B-4902;
• The Minor Drag- Vic V-38050, 20-1583, BB B-10185, HMV EA-3265;
• Harlem Fuss- Vic V-38050, BB B-10185, HMV EA-3713;
• Numb Fumblin’- Vic V-38508, 25338, HMV B-4347, B-4917;

Although labeled Minor Drag, this is really Harlem Fuss, as Victor mislabeled the sides.

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

An Interracial Tune a Day (#10). The Singular Bill Moore

Irving Mills, whom we've met before, was an early organizer of interracial jazz sessions and a guy who really got around. He was a music publisher, talent scout, vocalist, lyricist and, for a number of years, manager of Duke Ellington. 

Irving Mills

Bill Moore w. the Little Ramblers

In this session, he uses trumpeter Bill Moore. Moore was a light-skinned black man who played in hundreds of recording sessions, as far back as 1923. He was able to "pass" and performed live in white groups many times, most often with the California Ramblers and their many offshoots. He may or may not have been billed as the "Hot Hawaiian."

Moore plays a nice muted solo on "Freshman Hop," followed by Goodman, apparently on alto, then clarinet. Jack Pettis shows his skill on C-Melody sax. At 2'10" I swear I hear a guitarist. Bryson is credited only on banjo, but I think he makes a quick switch to guitar. 

Note that the name on the recording changed, from Musical Clowns, to Ten Black Diamonds, to Jack Pettis and His Orchestra.

Mills’ Musical Clowns: Bill Moore, Phil Hart (tp) Paul Weigan (tb) Benny Goodman(cl) Jack Pettis (c-mel) Al Goering (p) Clay Bryson (bj) Merrill Kline (tu) Dillon Ober (d) New York, c. February 14, 1929.                                                 

• Freshman hop- Pathe Actuel 37054, Per 15235, Ban 0508, Cam 0108, Ro 1125;
• Sweetest melody- Pathe Actuel 36955, Per X-6277, 15136, Sunbeam SB107;
• Bag o’ blues- Pathe Actuel 37054, Per 15235, Biograph LPC1, Epic LN24045;

• Note: All issues from matrix 9103-2 as Ten Black Diamonds; from 108645-2 and 108647-2 as Ten Freshmen; Pathe Actuelle X-6277 as Jack Pettis and his Orchestra.

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”

An Interracial Tune a Day (#9)--Mamie Smith, 1920.

Perry Bradford-nicknamed "Mule," was a performer, songwriter, pianist and entrepreneur. He approached Fred Hager, recording director at Okeh records to try and convince him to record Mamie Smith. Bradford told him there were fourteen million Negroes who would buy records made by Negro musicians playing in their indigenous styles.

Hager agreed to record Smith, but miscalculated by backing her with a white in-house group, the Rega Orchestra. On February 14, 1920, that group accompanied Mamie Smith on her recording debut and the record went nowhere. 

On her next session, Hagar agreed to let Smith record with black musicians who knew her music. This August 10 session included Bradford's tune "Harlem Blues," retitled "Crazy Blues." "Crazy Blues" was a runaway hit, selling 75,000 copies during its first two months of release. 

The stage was set for the recording industry to pay closer attention to newer styles of non-minstrel, non-coon, non-ragtime black music. Because a link had already been forged between black composers of those earlier styles of music (including Perry Bradford) and publishing companies, there was a pool of experienced songwriters available for what became known as "race records."

It seems a good idea to play tracks from both sessions. She sounds great on both, but the difference in feel is enormous. First, "You Can't Keep a Good Man Down."

Mamie Smith acc. by Rega Dance Orchestra. New York, 2.14.20

• That Thing Called Love- Okeh 4296
• You Can't Keep a Good Man Down-Okeh 4305

Now, the second session.

Mamie Smith and her Jazz Hounds. Johnny Dunn, c / Dope Andrews, tb / Ernest Elliott, cl / Leroy Parker, vn / ? Perry Bradford, p. New York, August 10, 1920.

• 7529-C Crazy Blues OK / Phonola 4169, Od 311902
• 7539-B It's Right Here For You (If You Don't Get It, 'Tain't No Fault Of Mine), OK / Phonola 4169

All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”