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.”