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.”

An Interracial Tune a Day (#8)-The Duke and Der Bingle

By 1932, Bing Crosby was already a hit on radio, and was beginning to make his way in Hollywood. Ellington was also a national figure because of his radio broadcasts and had made some short films. 

The Depression caused a major slump in record company sales, which severed relations with about 90% of the musicians on their rosters. Crosby and Ellington were about as sure fire a commercial combination as a record company could hope to put together. 

Duke's soloists stake out their singular territory, Bing does some great scatting at the end and this commercial pairing turns out to be a creative gem.

Duke Ellington and his Famous Orchestra: Duke Ellington, p, a, dir Arthur Whetsel, Freddy Jenkins, Cootie Williams, t / Joe Nanton, tb / Juan Tizol, vtb / Johnny Hodges, cl, ss, as / Harry Carney, cl, as, bar / Barney Bigard, cl, ts / Fred Guy, bj / Wellman Braud, sb/ Sonny Greer, Bing Crosby, v. New York, - February 11, 1932.

•  St. Louis Blues– vBC0: Br 20105, Col 55003, DOX-560, SW-290, Lucky 17005;

•  St. Louis Blues– vBC: Br 20105, 0116, A-5115, 20098 (Italian), Col 55003;

•  A Creole Love Call: Br 20105, 0116, A-5115, Col 55003;

•  Rose Room (In Sunny Roseland): Br 6265, 01292, A-9230, A-500174, Col DO- 1131

Here's Take 2 of St/ Louis Blues, which I slightly prefer over Take One.

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 (#7) An Early Very Mixed Group

Guitar/Banjo player Eddie Condon was one of the key innovators in putting together interracial sessions. He was a big fan of the Charlie Johnson Orchestra, one of the key groups in New York City in the late-20's-early 30's. He drew several members of that black group for this session and combined them with stellar white players.

Charlie Johnson's Paradise Orchestra

Eddie Condon

Trumpeter Leonard Davis is featured on "That’s a serious thing" and Jack Teagarden handles the vocal in his inimitable way. T. also solos on trombone and around 2'10" he plays a line that we will hear years later in "Stormy Weather." I wonder if Harold Arlen knew this track.

Eddie’s Hot Shots: Leonard Davis (tp) Jack Teagarden (tb,vcl) Mezz Mezzrow (c-mel) Happy Caldwell (ts) Joe Sullivan (p) Eddie Condon (bj) George Stafford (d) New York, February 8, 1929

•  I’m Gonna Stomp Mr. Henry Lee (jt vcl)- Vic V38046, Family (It)DP697, VJM (E)VLP55

•  I’m gonna stomp Mr. Henry Lee (jt vcl)- BB B10168, RCA LPV528;

•  That’s a Serious Thing (jt vcl)- BB B10168, Cam CAL383, RCA LPV528;

•  That’s a Serious Thing (jt vcl)- Vic V38046, “X” LX3005, HMV (E)B4987, (Aus)EA2970

On this video we get to hear both takes.

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 (#6)-Goodman and Hawkins

On February 2, 1934, Benny Goodman recorded with Coleman Hawkins. Not much need be said about these two Jazz giants. Before Coleman went to Europe, they played in a session put together by Columbia A&R John Hammond, who was a force for integrated recording sessions and who pushed to get Goodman to use black musicians. In 1935, Goodman played with (black) pianist Teddy Wilson in a trio, then brought in Lionel Hampton. 

We'll hear Georgia Jubilee in a nice arrangement by George Bassman.                          

Benny Goodman: Manny Klein, Charlie Margulis (tp) Sonny Lee (tb) Benny Goodman (cl) Coleman Hawkins (ts) Arthur Schutt (p,arr) Dick McDonough (g) Artie Bernstein(b) Gene Krupa (d) Mildred Bailey (vcl) George Bassman (arr) New York, February 2, 1934.

•  Georgia Jubilee– aAS- Cdl 2907-D, CB-759, Jay 10, JCl 528;

•  Junk Man– vMB- Col 2892-D;

•  Junk Man– vMB- Col 2892-D, CB-730, Tpl / Sentry 4003;

•  Ol’ Pappy- vMB / aGB- Col 2892-D, CB-730;

•  Emaline– vMB- Col 2907-D, CB-759, RZ G-22040, Jay 10, JCl 528