Interracial Jazz Recording (#36) Adrian Rollini and BIll Moore

Here's another post with trumpeter Bill Moore, a light-skinned black man who played in hundreds of recording sessions, as far back as 1923. He may or may not have been billed as the "Hot Hawaiian." He certainly lives up to the "hot" part of it in this track.

If you've never hear a goofus, here's your chance. Adrian Rollini was a master of the bass saxophone and the vibes, but its the goofus that he plays in this great track "Arkansas." The rest of the rhythm sction does a stellar job. I'm not sure who's responsible for the vocal ejaculations.

Bill Moore

Rollini

 

Goofus

Five Birmingham Babies was a pseudonym on Pathé and its subsidiary labels for the California Ramblers, or for small groups from that orchestra. See also Goofus Five, University Six, Vagabonds, and Varsity Eight, which are also pseudonyms for the same group.

Bill Moore, t / Adrian Rollini, gfs / Irving Brodsky, p / Ray Kitchingman, bj / Stan King, d, k. New York, July 24, 1924.

• Arkansas PA 036142, 10754, Per 14323, Hg 975 105484 
• Hard-Hearted Hannah PA 036130, 10754, P 6758, Per 14311, Hg 968 105485 
• Tessie! Stop Teasing Me PA 036129, Per 14310

NOTE: Pathé 6758 and Pathé Actuelle 10754 as THE LITTLE RAMBLERS.

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

Interracial Jazz Recording (#35) Jelly Roll Morton and NORK

This is one of the most well-known early interracial sessions. NORK was composed of very able musicians, many of whom went on to have long, substantial careers in jazz. Morton, of course, is a foundational figure in the history of the music. Chances are the all-white New Orleans Rhythm Kings (NORK) had played with Jelly Roll Morton, either in informal settings or even on stage, as Morton was a light-skinned black man, who could “pass” as Cuban or Latin-American when entering all-white establishments. 

Morton's sessions with NORK in 1923 serve as a good illustration of the power that music publishing companies had in recording history.

Morton came to the Friar’s Inn to talk to NORK’s clarinetist Leon Rapollo about recording some tunes he’d written, which Walter Melrose was planning to publish. Melrose had underwritten their last recording, and such a process was a common quid pro quo: A publisher would underwrite a session under the condition that most of the tunes recorded would be owned by the publisher. In this case it meant that Morton, a Melrose artist, would be given a chance to record his own compositions and he and Melrose would both profit.

Mr. Jelly Lord is Morton's tune. There's nice New Orleans-style ensemble work, with Roppolo working clarinet on top and Brunies' trombone underneath, with Chink Martin providing a solid tuba foundation. It goes into doubletime and back A tempo to a coda and ends with a slightly dissonant chord. 

New Orleans Rhythm Kings: Paul Mares (cnt) George Brunies (tb) Leon Roppolo (cl) Jack Pettis (c-mel) Glenn Scoville (as,ts) Don Murray (cl,ts) Paul Mares (cnt) George Brunies (tb) Leon Roppolo (cl) Jack Pettis (c-mel) Glenn Scoville (as,ts) Don Murray (cl,ts) Jelly Roll Morton (p) or Kyle Pierce (p-1) Bob Gillette (bj) Chink Martin (tu) Ben Pollack (d) Richmond, Indiana, July 17, 1923.

• Sobbin’ blues- Gen 5219, Byg (F)529069, (It)27, CJM (Swd)13, Riv RLP12-102;
• Clarinet marmalade- Gen 5220, Buddy 8004, VJR 15, CJM (Swd)13, Byg (F)529069;
• Clarinet marmalade- Gen 5220, Br (E)2209, Temple 520, Riv RLP12-102, (Du)RM8812, Byg (It)27;
• Mr. Jelly Lord- Gen 5220, Buddy 8004, VJR 15, Temple 520, Riv RLP12-102, (Du)RM8812.

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

Interracial Jazz Recording (#34). Jimmie Rodgers w. Louis and Lil Armstrong

Here's the Jimmie Rodgers-Louis Armstrong recording I promised some posts ago, with the bonus of Lil Armstrong on piano. The Armstrongs were not billed because Louis was signed with Okeh and this is a Victor recording. 

              

In 1970, Armstrong played the tune with Johnny Cash on his television show and said:  “I had been knowin’ Jimmie for a long time and following his music. After meeting one morning, Jimmie said, ‘Man, I feel like singing some blues.’ I said, ‘Okay, daddy, you sing some blues and I’m gonna blow behind you.’ And that’s how the record started.” 

It's a blues, but doesn't strictly adhere to the standard 12-bar chord sequence, except during Louis' solo. Despite the labels given to what each plays-country, blues, jazz- they share a foundational emotional approach and mesh perfectly. The group was never reunited as Rodgers died from tuberculosis in 1933.

Jimmie Rodgers (vcl,g) acc by Louis Armstrong (tp) Lil Armstrong (p) Hollywood, CA, July 16, 1930.

• Blue yodel no 9 [Standing on the corner]- Vic 23580, RCA LPM2112, Jazum 13, RCA (Eu)NL89823, (F)FXM1-7106, Franklin Mint GJR054, BBC (E)REB683, RCA Victor 68682-2 [CD], RCA 2115517-2 [CD]

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