Interracial Jazz Recording (#40): Fletcher Henderson and Dick Robertson

We've seen white vocalist Dick Robertson a couple of times with black orchestras. Here he does his usual peppy performance with a Fletcher Henderson outfit. 

Dick Robertson

                                         

  

Fletcher Henderson

"Oh, It Looks Like Rain" is the choice tune from this recording session. It was written by Y.P Harburg, known for his collaborations with Harold Arlen and Milton Ager, composer of more confectionary tunes like this one, as well as "Ain't She Sweet" and "Happy Days Are Here Again." Coleman Hawkins often carries the heaviest solo load for Henderson, but there's nice solo work here by Russell Procope on alto, Edgar Sampson on violin, Rex Stewart on cornet and Claude Jones on trombone.

Fletcher Henderson and His Connie’s Inn Orchestra: Rex Stewart (cnt) Bobby Stark (tp) Claude Jones (tb) Russell Procope (cl,as) Edgar Sampson (as, vln) Coleman Hawkins (ts) Fletcher Henderson (p,arr) Clarence Holiday (g) John Kirby (tu) Walter Johnson (d,bells) Dick Robertson (vcl) July 31, 1931.

• Oh, It Looks Like Rain– vDR-Vic 22786, Zon EE-275;
• Sweet Music– vDR: Vic 22775, HMV K-6390;
• My Sweet Tooth Says I Wanna (But My Wisdom Tooth Says No) – vDR: Vic 22786, HMV B-4911;
• Malinda’s Weddin’ Day– vDR: Vic 22775, HMV B-4911, BB B-5518

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.”

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.”