Interracial Jazz Recording (#58) Fess Williams and Frank Marvin

Fess Williams and his Royal Flush Orchestra were a popular outfit that played at Harlem's Savoy Ballroom for most of its life. They recorded for a number of labels, including Victor, Vocalion, Gennett, Okeh, Brunswisk, Champion and Harmony. 

                                                              

Fess Williams

                                                                    

Frank Marvin

The band is well-schooled and features several good soloists, including George Temple on trumpet and Williams himself on a Ted Lewis-ish clarinet. However, you'll note that the band uses a tuba, not a string bass and there was a sense that the band wasn't keeping up with changes in style. This led to a decrease in popularity and the band's demise not long after this recording in 1930.

We've heard Frank Marvin on several interracial songs. He's definitely making an effort on this recording not to be a recognizably white vocalist and gets into jive repartee with Fess Williams.

"I'm Feelin' Devilish" was written by Maceo Pinkhard, who wrote, among other tunes, "Sweet Georgia Brown," which I write about here.

Fess Williams and His Royal Flush Orchestra: Fess Williams, cl, as, v, dir: George Temple, John Brown, t / David “Jelly” James, tb / Bobby Holmes, cl, as / Ralph Brown or Felix Gregory, as / Perry Smith, cl, ts / Henry Duncan, p / Andy Pendleton or Ollie Blackwell, bj / Emanuel Casamore, bb / Ralph Bedell, d / Frank Marvin, v. New York, April 18, 1930.

• She’s still dizzy- Vic 23025, IAJRC 16, Harlequin (E)HQ2040, Jazz Crusade
• JCCD3019 [CD];
• Hot mama-Vic 22864, IAJRC 16, Harlequin (E)HQ2040;
• Hot mama- Jazz Oracle (Can)BDW8041 [CD];
• ‘Leven-thirty Saturday night (fm vcl)-Vic V38131, IAJRC 16, Harlequin;
• I’m feelin’ devilish (fw vcl)- IAJRC 16, BBC (E)REB590, CD590 [CD], CDS
• Records (G)RP3CD612 [CD]

Interracial Jazz Recording (#57) Little Mike McKendrick and Gene Austin

Black guitarist  "Little Mike" McKendrick was one of four musical brothers, Reuben Michael (guitar and banjo), Richard Michael (trombone), Daniel Michael (violin), and James Michael (piano). To add to the confusion of anyone trying to track their careers, at one time or another, they all worked as Mike McKendrick.  

“Little Mike” was with Hughie Swift’s Orch. in the mid-1920s, then with Doc Cooke before joining Joe Jordan’s Sharps and Flats. He briefly led his own band in Chicago, then went to Europe with Eddie South in 1928. There are conflicting versions of this, but at about this time, Mckendrick was involved in a shooting incident with Sidney Bechet; something about the relative superiority of their dogs. Apparently it led to them both being incarcerated. About 1931 McKendrick left South in Europe and for the next eight years worked with own international band. He returned to the U.S. in 1939, worked briefly in N.Y., then returned to Chicago where he formed his own international trio; he continued to lead his own band through the 1950s.

"Big" Mike McKendrick-no photos of "Little" Mike

Gene Austin

The tune "The voice of the Southland" is by Gene Austin, Marty Bloom (co-writer of  "Does the Spearmint [later: Chewing Gum]Lose Its Flavor on the Bedpost Overnight?" and Ted Koehler (frequent collaborator with Harold Arlen). The song is a real hybrid with elements of early country, blues, jazz and show biz a la Al Jolson. The string work is a little soupy, but there's some very nice trumpet work by Earl Oliver. McKendrick plays well, including some effective single string solo work and Austin is, well, Austin.

Gene Austin (vcl) acc by Harry Shilkret, Earl Oliver (tp) Chuck Campbell (tb) Andy Sannella (cl,as) Max Farley (cl,as,fl) Lou Raderman, Murray Kellner, Yascha Zayde (vln) Jack Shilkret (p) Nat Shilkret (celeste) Little Mike McKendrick (g) Jack Pierce (tu) William Dorn (d) or Joe Green (d) New York, April 13, 1928.

• The Voice of the Southland- Vic 21714, ASV Living Era (E)5217 [CD]

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

Interracial Jazz Recording (#56): Charlie Creath and Sonny Lee

Charles Cyril "Charlie" Creath, born in 1890 in Ironton, Missouri was a multi-instrumentalist and bandleader. He started out in circus and theatre bands in the early 1900's. Sources give different dates, but sometime in the early 1920's, he began to lead bands on Steckfus riverboats out of St. Louis and continued doing that for a number of years.

He was a good musician, especially on trumpet and an entrepreneur, who had several bands operating under his name, if not his direct leadership. His Jazz-O-Maniacs recorded for the Okeh 800 race series in St. Louis. Illness slowed him down, but in the late 1930's, he ran a nightclub in Chicago and played with local groups until his 1951 death. 

Sonny Lee

Charlie Creath

                                                

   

Sonny Lee was from Texas and played with Peck Kelley before moving to St Louis, where he played with Frankie Trumbauer, Gene Rodemich and several other bands. He could play lead and solo and had a long career with top-level bands, recording most often with Jimmy Dorsey.

"Grandpa's Spells" is one of Jelly Roll Morton's most well-known and catchy tunes. Creath plays a strong statement of the melody before the rest of the group comes in with New Orleans polyphony. Willian Thornton Blue plays nice clarinet and Sonny Lee makes a solo trombone contribution. Hamilton is knocking out a solid rhythm on piano with Lonnie Johnson on guitar and Zutty Singleton (who married one of Creath's sisters) on drums.

Charles Creath (tp) Sonny Lee (tb) Horace Eubanks, William Thornton Blue (cl,as) William Rollins (ts) Cranston Hamilton (p) Pete Patterson (bj) Zutty Singleton (d) Lonnie Johnson (vcl-1,g-1). St. Louis, c. November 3, 1925. 

• Market Street stomp- Okeh 8280,Philips 436005, Swag (Aus)1301, Par (E)PMC1166; 
• Won’t don’t blues (1)- Okeh 8280, Jazum 8; 
• Way down in lover’s lane- Okeh 8257, Philips 436005; 
• Grandpa’s spells- Timeless (Du)CBC1-027 [CD]. Note: All above titles also on Parlophone (E)PMC7157, Timeless (Du)CBC1-036 [CD], Frog (E)DGF83 [CD].

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

Interracial Jazz Recording (#55) Pinkard-Yellen-Moore-King

I'm spotlighting a tune written by the interracial writing team of Jack Yellen (lyrics) and Maceo Pinkard (music). Yellen wrote the words for "Happy Days Are Here Again" and "Ain't She Sweet." Pinkard wrote a number of tunes, including "Sweet Georgia Brown," the history of which I write about here. 

The song "I'm Satisfied" comes from another great session with Bill Moore. It features some of the same personel we've seen before (Stan King and Adrian Rollini) and some new-Bobby Davis on alto and clarinet and Tommy Feline on banjo. 

Maceo Pinkard

                                    

Moore is solid on lead and on his solo, as is Bobby Davis. Brodsky is a stalwart on piano, as always. In the background, we hear Rollini scatting, then giving us the goofus. Stan King blows some satifying kazoo. There's a lot of nice variety in the arrangement.

Bailey’s Dixie Dudes-Bill Moore (c), Bobby Davis (as/cl), Irving Brodsky (p), Tommy Felline (bjo), Stan King (d/kazoo), and Adrian Rollini (goofus). New York, October 1, 1924.

• Eliza- Gennett 5562;
• I’m Satisfied- Gnt 5577, St 9596
• I want to see my Tennessee- Gnt 5562

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

Interracial Jazz Recording (#53) Bubber Miley and His Mileage Makers

Here's an interesting tune by a Bubber Miley-led group, with Frank Marvin providing the vocal. Ken Macomber is actually listed as the Director of the session and probably wrote the arrangement. 

Bubber Miley

Nice playing, of course, by Bubber and Pinkett is strong in the trumpet section. Wilber DeParis and Bernard Addison have nice, albeit short solos. Marvin does a good job on the vocals.

The song "I lost my gal from Memphis" is credited to DeRose and Tobias. Peter DeRose also wrote "Autumn Serenade" and "Deep Purple." Charles Tobias wrote  "Comes Love" and "Those Lazy Hazy Crazy Days of Summer."

Bubber Miley and His Mileage Makers: Bubber Miley, Ward Pinkett (tp) + other (tp), Wilbur DeParis (tb) Hilton Jefferson (cl,as) + other (cl,as), Happy Caldwell (ts) Earl Frazier (p,celeste) Bernard Addison (bj,g) + other (bj,g), Bill Benford (tu) Tommy Benford (d) Frank Marvin (vcl) New York, May 16, 1930

• I lost my gal from Memphis (fm vcl)- Vic V38138, RCA (F)741057, RCA 2128560-2 [CD]
• Without you, Emaline (fm vcl)- Vic V38138, Jazz Oracle (Can)BDW8047 [CD]
• Without you, Emaline (fm vcl)- Vic V38138, RCA (F)741057 Note: RCA 2128560-2 [CD] titled “Victor Jazz History, Vol. 6 - Harlem Jazz (1928-33)”

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

Interracial Jazz Recording (#52): The Big Aces (Dorseys, Redman, Thomas)

This is a pretty high-powered group of white musicians, along with Don Redman who is the composer, arranger and plays clarinet and alto sax. George Thomas of McKinney's Cotton Pickers does the vocal and plays tenor sax.

Don Redman

George Thomas

            

The Dorseys

                                                   

"Cherry" is in a medium dance tempo, with a easy, lilting quality and some nice sax soli sections. Tommy Dorsey is on trumpet and takes a brief solo. Not sure who the sax soloist is. An ID would be welcome.

The Big Aces: Tommy Dorsey, Nat Natoli (tp) Jack Teagarden (tb) Don Redman (cl,as,arr) Jimmy Dorsey (cl,as) Frank Teschemacher (cl,ts) [aka Frank Teschemacher (cl,ts) ] George Thomas (ts,vcl) Frank Signorelli (p) Carl Kress (g) Hank Stern (tu) Stan King (d,vib). New York, September 29, 1928.

• Cherry (gt vcl)- OKeh 41136, Par (E)R365, R2541, Par 65 PMC7038;
• Cherry (gt vcl)- Bluebird/Legacy 71167 [CD]

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

Interracial Jazz Recording (#51): Daisy Martin and the Tampa Blue Jazz Band

Daisy Martin, like other early black female singers, was a veteran of vaudeville, tent shows and musical theatre. She was among the first wave of vaudeville/blues shouters to record, but only recorded 16 sides. Daisy has a forceful and penetrating voice with a fair amount of vibrato. She was well known enough to compete in a blues-singing contest on January 20, 1922, with Lucille Hegamin, Alice Leslie Carter and eventual winner Trixie Smith at the Manhattan Casino in New York City. Noble Sissle was master of ceremonies.

Joseph Samuels Jazz Band

                            

Could not find a solo picture of Daisy Martin

    

Here she is accompanied by  the Tampa Blue Jazz Band, which was actually a pseudonym for the Joseph Samuels Jazz Band. Samuels played reeds and violin and various bands he organized under different names recorded something like 400 sides between 1919 and 1925. 

"Honolulu Lou" is a piece of exotica-all the rage at the time. The tune is carefully arranged, but there is some spirited blowing. Cornettist Jules Levy, Jr. was the son of a British-born cornet virtuoso and like Levy Sr. performed and recorded as a soloist in concert and military style. You can hear him in that context here.

Daisy Martin acc. by Tampa Blue Jazz Band (Pseudonym for Joseph Samuels Jazz Band): Daisy Martin (vcl) acc by Jules Levy, Jr. (cnt) unknown (tb) Joe Samuels( cla, bassax) ... (cl,bassax) Larry Briers (p) unknown (d). New York, c. August 1 & 2, 1921.

• How long, how long [Absent blues]- Okeh 8009;
• Sweet daddy (hold me closer all the time)- Okeh 8010;
• Honolulu Lou- OK 8010;
• I didn’t start to love you (until you stopped loving me)-Okeh 8009

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

Interracial Jazz Recording (#50) Ben Bernie and Bill Moore

Ben Bernie, sometimes called "The Old Maestro" was a violinist, bandleader and showman who became popular enough to show up in early films. He gets credit as co-writer of "Sweet Georgia Brown." He had a fair number of musicians passing through his live orchestra and recordings. In this instance, he uses Bill Moore. As I've shown, this is one of the many recordings the trumpeter made with white groups.

Bill Moore

Ben Bernie

I like the tune "collegiate" because it highlights the ambivalent attitude that America had toward college in an era where more people (mostly men) were graduating from high school and pursuing higher education. There's a populist attitude of put-down, mixed in with some sense that college might be cool. The tune uses the jive of the era and tosses in some of the pop hits of the day. The ensemble sections are crisply played and Jack Pettis plays a nice solo. Note the young Oscar Levant on piano.

Ben Bernie, vn, dir: Donald Bryan, Bill Moore, t / Frank Sarlo, tb / Norman Ronemous, Len Kavash, cl, as / Jack Pettis, cl, Cm, ts / Oscar Levant, p / Nick Gerlach, vn / Paul Nito, bj, vn / Max Rosen, bb / Sam Fink, d / Kenn Sisson, a / vocal quartet (Irving Kaufman, Jack Kaufman, Lester O'Keefe, Moe Jaffe), v. New York, August 10, 1925.

• 1090W Collegiate - vQT Voc 15080, X-9674
• 1092W Yes Sir, That's My Baby Voc 15080, X-9674

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

Interracial Jazz Recording (#49): Mezzrow and Company

Mezz Mezzrow, author of the most unique autobiography in jazz, earns a prominent mention in the conversation about interracial sessions. In the 1930's, other bandleaders seeded their orchestras with one star black performer, but Mezzrow was the first person to create a truly mixed live performance group:"The Disciples of Swing." You can read all about the rise and fall of that group in my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.” 

The creation of The Disciples, brief though its existence was, wasn't possible until the late 1930's (1937). Before then, Mezzrow had to satisfy himself by putting together several interracial recording sessions. This one, in 1933, includes Teddy Wilson, Pops Foster and Benny Carter.

Benny Carter

Mezz Mezzrow

Mezz must have had something in mind when he wrote the tune "Dissonance," but it's hard to know what, as this song is not at all dissonant. Mezz equits himself well, although playing alto sax on a session with Benny Carter may not have been the best choice. Mezz takes the first two alto solos  and Benny, the last. Max Kaminsky and a muted Floyd O'Brien play nice solos and naturally, Teddy Wilson shines.

Mezz Mezzrow and His Orchestra: Max Kaminsky, Freddy Goodman, Ben Gusick, t / Floyd O’Brien, tb Mezz Mezzrow, cl, as, a / Benny Carter, t, as, v, a / Johnny Russell, ts / Teddy Wilson, p / Clayton “Sunshine” Duerr, g / Pops Foster, sb / Jack Maisel, d. New York, November 6, 1933.

• Free Love– aBC: Br 7551, A-9527, A-500369;
• Dissonance– aMM: Br 7551, 02509, A-9527, A-500369, Par R-2881;
• Swinging With Mezz- aMM, FO’B: Br 6778, 01762, A-500370, Par R-2881, PZ, 11006;
• Love, You’re Not The One For Me– vBC: Br 6778, 01762, A-500370

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

Interracial Jazz Recording (#48) Wilson, Holiday and Barbour

This Teddy Wilson-Billie Holiday session features white musicians Tom Mace on clarinet and Dave Barbour on guitar. Dave Barbour shows up on a lot of 1930's sessions then joins Benny Goodman's band in 1942, where he meets and marries singer Peggy Lee. The tunes they wrote together include "It's A Good Day" and “I Don’t Know Enough About You.” Tom Mace recorded often on sax, clarinet and, occasionally on oboe. 

Dave Barbour

Billie Holiday

Tom Mace

"Spreadin’ Rhythm Around" is the most interesting song from this set. The lyrics reference swing, but the song is a little bit retro, as the rhythm section is more a 2/4 than a 4/4 swing feeling. Barbour kicks on the intro and Mace, Clarke and the inimitable Hodges have nice solos. Lady, as always, does the job

Teddy Wilson and His Orchestra: Richard Clarke, t / Tom Mace, cl / Johnny Hodges, as/ Teddy Wilson, p / Dave Barbour, g / Grachan Moncur, sb / Billie Holiday, v. New York, December 3, 1935.

• These ‘N’ That ‘N’ Those– vBH0- Br 7577, 02118, A-500627;
• Sugar Plum- Br 7577, A-81076, A-500627, Voc S-23, Lucky 60124;
• You Let Me Down– vBH- Br 7581, A-500628, Dec J-2;
• Spreadin’ Rhythm Around – vBH: Br 7581, 02141, A-500628

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

Interracial Jazz Recording (#46) Pollack with Benny Morton, Shirley Clay

Ben Pollack was a drummer and important early bandleader. Many of the great soloists of the late 1920's-Goodman, Teagarden, McPartland-passed through his Chicago band. 

Ben Pollack

Trumpeter Shirley Clay started out playing in Midwestern territory bands. He moved to Chicago and worked in Carroll Dickerson's band, among others. He was a reliable player and good soloist, hooked up with top tier bands and got a lot of studio work. 

Shirley Clay

Benny Morton was one of the most accomplished trombonists of his (swing-era) generation and influenced a younger generation of players with his flexibility and harmonic knowledge. 

Benny Morton

Pollack put together this all-star group, and yields the drum chair to Ray Bauduc. There are several effective solo turns on this nice arrangement of  "Swing Out," a tune by Wingy Manone.

Ben Pollack and His Orchestra: v, dir: Yank Lawson, Charlie Spivak, Shirley Clay, t /Joe Harris, Benny Morton, tb / Matty Matlock, cl /Deane Kincaide, Gil Rodin, as / Eddie Miller, ts / Al Beller, Ray Cohen, vn / Gil Bowers, p / Nappy Lamare, g, v / Harry Goodman, sb / Ray Bauduc, d / Doris Robbins, v. New York, December 28, 1933.

• Got The Jitters– vNL: Col 2870-D; Deep Jungle- Col 2879-D, DO-5036;
• Swing Out: Col 2879-D, DO-5036;
• I’m Full Of The Devil– vBP: Col 2870-D, CQ-1385

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

Interracial Jazz Recording (#43) Bud Freeman and Sid Catlett

This group, organized by Eddie Condon, is white except for drummer Sid Catlett, who leads a rhythm section that cooks. Black arranger Alex Hill provided the arrangement for the tune I'm featuring here, "The Eel." 

Bud Freeman

Sid Catlett

                                              

"The Eel," written by Bud Freeman, is an interesting tune. Although the solos are over blues changes, the actual tune is very different harmonically. The changes are stepwise or static and the modal implications are obvious. There's good trombone work by Floyd O'Brien, a typically idiosyncratic Pee Wee Russell solo and a nice muted Kaminsky solo. But the recording is known as a showcase for the fine tenor work of Bud Freeman.

Eddie Condon and his Orchestra: Max Kaminsky, t / Floyd O’Brien, tb / Pee Wee Russell, cl / Bud Freeman, ts / Joe Sullivan, p, a / Eddie Condon, bj / Artie Bernstein, sb / Sid Catlett, d. New York, October 21, 1933.

• The Eel: Br 02006, Col 35680, Dec M-30368;
• The Eel: Br (E)02006, Philips (Eu)436008A-JE, Family (It)DP697;
• Tennessee Twilight– aAH: Br 01690, A-500406, Col 36009, DS-1574;
• Tennessee Twilight– aAH: Col 36000;
• Madame Dynamite: Br 01690, A-500406, Col DS-1574, UHCA 64, Par R-2938;
• Madame Dynamite- Col 36009; Home Cooking- Col 35680, JZ1, Family (It)DP697, Tax (Swd)m-8019

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

Interracial Jazz Recording (#42) Eva Taylor and Ben Selvin

Eva Taylor, nee Irene Joy Gibbons, was a singer and actress who as a young girl traveled widely in vaudeville. Billed by Black Swan Records as "The Dixie Nightingale," she married and recorded often with Clarence Williams-producer, composer, pianist and publisher.

Eva Taylor

Ben Selvin

She performs here in a kind of stage/dance/jazz hybrid arrangement reminiscent of those played by Paul Whiteman. The orchestra is led by the prolific Ben Selvin, who recorded something like 15,000 78's. Some of the musicians were studio musicians and some could handle jazz. 

There are disagreements in discographies about the personnel for this Rodgers and Hart tune. I'm giving Rust's version, as others don't reckon with how large this ensemble is and Rust's seems feasible to me.

BEN SELVIN AND HIS ORCHESTRA: Ben Selvin, vn, dir: Leo McConville, Manny Klein, t / Tommy Dorsey, tb /Andy Sannella, cl, as / Louis Martin, as /Hymie Wolfson, cl, ts / ? Irving Brodsky, p / Tony Colucci, bj, g / ? Hank Stern, bb / Stan King, d / Eva Taylor, v. New York, December 9, 1929.

• My Man Is On The Make - vET Col 2067-D, CB-65, Re G-20852
• When I'm Housekeeping For You - vET Col 2072-D, CB-33
• My Man Is On The Make Par R-658
• When I'm Housekeeping For You Par R-661

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