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.”