Bix in Collectors Guide to Jazz on Bootleg & Reissue 78 R.P.M. Records 1932 to 1952 by Geoffrey Wheeler
The following excerpt from Collector’s Guide was kindly made available by Geoffrey Wheeler and is presented here with permission from the author.
H.R.S. Album No. 2: Young Man With a Horn Bix Beiderbecke and the Wolverines
Featuring reissues of Gennett records by Bix Beiderbecke and the Wolverines. Five records in a beautiful three-color album, with a special illustrated booklet by Charles Edward Smith. Individual records 75 cents; complete album with booklet, $4.25.” The right side of the album cover lists the selections in the album, but not in the same order in which they appear in the album. As listed on the cover, selections are: Davenport Blues, Tia Juana, Jazz Me Blues, Fidgety Feet, Big Boy, Royal Garden Blues, Sensation, Toddlin’ Blues, Oh Baby, and Tiger Rag. The label is a yin-and-yang red-and-white design. As shown on the labels, dubbing matrix numbers as provided by Decca’s Chicago studio do not have letters; as stamped in the runoffs, all matrix numbers include a letter suffix. With the exception of the “B” on “Tia Juana,” all runoff matrix numbers have the letter “A.” Pressings were done by Decca Record Inc. The album was originally sold by mail and over the counter in the HRS Record Shop in New York City. In 1942, General Records Co. also handled the distribution of the HRS line, including singles and albums.
This is a landmark album. According to Heywood Hale Broun, who was part-owner of H.R.S. at the time these were issued in 1940, only about 400 albums were pressed. Today, these records may sell for thirty or more dollars each, and the complete album in good to excellent condition, for hundreds of dollars. This album is historically important because Decca Records itself never reissued any “Bix” Gennett sides in the U.S. under its own name or in Canada under the Compo Company Ltd. name, despite licensing the rights from Gennett. This album also represents the first time that “Sensation” by Bix Beiderbecke and his Rhythm Jugglers, and “Tia Juana” by The Wolverine Orchestra had been reissued. Both had been recorded for the Gennett label in 1924. Although the group shown on the HRS label is “Bix Beiderbecke and The Wolverines,” on the (E) Brunswick labels it is correctly shown as “Wolverine Orchestra.” The remaining eight sides had been reissued only in England and were thus generally unavailable to American collectors, except for the lucky few who could afford to travel to England and buy them directly or have a friend purchase the records for them in England as either singles or albums.Although foreign records were reviewed in The New Yorker magazine of the 1930s, imports were to be found only in a few record stores, such as The Gramophone Shop Inc. stores at 18 East 48th Street and 290 Park Avenue, and Liberty Music Shop in New York City. Liberty even had its own 78-store label devoted to show tunes, little reviews, and personalities.
The book Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of Recorded Jazz by Rick Kennedy (Indiana University Press, 1994) gives scant mention of these English Brunswick reissues and no mention whatsoever of these Hot Record Society reissues. Kennedy also refers only to one Classic Swing Album, not two.
HRS 22 Bix Beiderbecke and the Wolverines
These are all dubs of Gennett masters and the dubbing was done in the Chicago studios of Decca Records in 1935. Dubbing was done on four dates: October 14, October 24, November 5, and November 27. The dubbing dates for each side are indicated after the dubbing matrix number.
Fidgety Feet (Edwards-Shields-LaRocca) (dub mx. 90362A; Decca, October 14, 1935)
Original issue: Gennett 5408 (February 18, 1924).
Note: The first reissue of “Fidgety Feet” was on (E) Brunswick 02204-A in 1936. The master used to press this HRS issue is the same one used for the English Brunswick issue—dub mx. 90362A.
Bix Beiderbecke and his Rhythm Jugglers Davenport Blues (Bix Beiderbecke) (dub mx. 90430A; Decca, November 5, 1935)
Original issue: Gennett 5654 (January 26, 1925)
Pressing: Decca Records Inc.
Note: The first reissue of “Davenport Blues” was on (E) Brunswick 02206
A [no hyphen] in 1936. Tom Tsotsi reports that his copy shows 02206-A, with a hyphen. The master used to press this HRS issue is the same one used for the English Brunswick issue—dub mx. 90430A. “Davenport Blues” and “Toddlin’ Blues” (see HRS 23) were offered on the Session label in March 1944 as Session No. 6 by “Bix and his RHYTHM JUGGLERS,” and under the same name on the Reissue label in October 1946 as Reissue No. 6. Reissue was an imprint of Session Records.
Note also that the issues on (E) Brunswick numbers 02200 to 02213 show the dub matrix number on the label with the prefix letter “C” indicating Chicago (example: C.90430).
HRS 23 Bix Beiderbecke and the Wolverines
Sensation (Edwards) (dub mx. 90398A; Decca, October 24, 1935)
Original issue: Gennett 5542 (September 18, 1924)Bix Beiderbecke and his Rhythm Jugglers Toddlin’ Blues (LaRocca-Edwards) (dub mx. 90431A; Decca, November 5, 1935)
Original issue: Gennett 5654 (January 26, 1925)
Pressing: Decca Records Inc.Note: “Toddlin’ Blues” was also reissued on (E) Brunswick 02501-B using the same master 90431A, and included in the seven-record Album One of 21 Years of Swing Music, issued in June 1937. The recordings in the two albums span the years 1917 to 1937 and were numbered 02500 through 02515. Unlike the three previous albums issued on English Brunswick, which contained no personnel information on the record labels, all the records in albums One and Two of 21 Years of Swing Music list personnel. (See below for more information).
HRS 24 Bix Beiderbecke and the Wolverines
Big Boy (Ager) (dub mx. 90426 A; Decca, November 5, 1935)
Original issue: Gennett 5565-B (October 8, 1924)
Note: The first reissue of “Big Boy” was on (E) Brunswick 02203 B [no hyphen because “B” is stacked beneath “02203”] in 1936. The master used to press this HRS issue is the same one used for the English Brunswick issue—mx. 90426A.Tiger Rag (no composer credit) (dub mx. 90486A; Decca, November 27, 1935)
Original issue: (E) Brunswick 02205-B (June 20, 1924)
Pressing: Decca Records Inc.
Note: The first issue of “Tiger Rag” was on (E) Brunswick 02205-B in 1936 [see section devoted to English Brunswick reissues].
The master used to press this HRS issue is the same one used for the English Brunswick issue—dub mx. 90486A.
For whatever reason, “Tiger Rag” was never issued by Gennett. Collector-enthusiast attorney and later Central Intelligence Agency officer, Edwin “Squirrel” Ashcraft III, acquired one of two test pressings made from the master. While taking it to Decca Studios in Chicago in 1935 for the purpose of making this dub master, he dropped the pressing and it cracked. A note on page 406 of Bix—Man and Legend, by Richard M. Sudhalter, and Philip R. Evans with William Dean Myatt incorrectly refers to the studios as “Brunswick Studios.”
While Brunswick did have recording studios in Chicago in 1935, they were part of the American Record Corporation conglomerate, not Decca. After its startup in July 1934, Decca opened its own studios in Chicago. The existence of a second (uncracked) test pressing was not known at the time so the cracked test pressing was used because of the recording’s rarity. It was originally issued in the first of two seven-record albums by English Brunswick in 1936, called “Classic Swing,” volumes I and II. In an article on “Perspectives for Jazz” published in 1946, Charles Edward Smith says: “I recall tossing discs across the Atlantic for English Brunswick’s ‘Swing Classic’ [sic] series:I’m glad Oliver, Rappolo, and Bix were included, but that ‘swing classic’ term still burns my ears — I sent that over, too.
These albums were later sold on a very limited basis in the United States through Marconi Brothers in New York because the Brunswick trademark was still owned by American Record Corporation and thus English Brunswick issues were in potential conflict with the American Brunswick label franchise.
Where noted, HRS used the same dubs used in producing reissue recordings in the U.K. on English Brunswick. In effect, HRS’ Beiderbecke album became the American issue of the English material. Decca may have chosen not to issue an American album of the Beiderbecke recordings on Decca because of the expectation of limited appeal and limited sales.
The recordings issued in the two albums were all dubbed in Chicago at the direction of Jack Kapp, formerly of Brunswick and now the new president of American Decca Records Inc. and then taken to England where they were mastered. The 28 sides included in the two English Brunswick albums all came from Gennett. Decca Records had licensed exclusive rights to the catalog of the by-now-defunct Gennett Record Company and its subsidiary label, Champion. Not included in the deal were Gennett’s recordings of special sound effects and birdcalls.
The reason for the relationship between American Decca and English Brunswick is that most of the start-up financing for American Decca came from Decca Records Ltd. While the concept of albums was not new to the English and European markets, Kapp was the innovator in the United States of packaging popular music in albums, having produced two previous hits for (American) Brunswick—Show Boat and Blackbirds of 1928. These particular recordings issued by HRS are part of the 90000 range of matrix numbers that identify them as a product of Decca’s Chicago facility. Decca had studios in New York, Chicago, Los Angeles, and San Francisco.
As reported by Jim Hayes of Liverpool, England, the Chicago Decca matrix series appears to have begun with mx. 9289 August 13, 1934, when The Mississippi Mudder (Mud Dauber Joe, i.e. Joe McCoy) recorded “I Got to Have a Little More,” released on Decca 7008. The range reached 9997 by May 7, 1935, when The Log Cabin Boys recorded “When It’s Prayer Meetin’ Time in the Hollow,” released on Decca 5110. The matrix series then jumped to 90000 on May 15, 1935, with “Stingaree Mama Blues” by Springback James on Decca 7119. The earliest matrix number used for a Beiderbecke dub is mx. 9773A “Copenhagen,” dubbed February 2, 1935, for issue on UHCA 46.” U.S. Decca matrix numbers appeared on such English labels as Brunswick, Columbia, Decca, Panachord, Parlophone, Rex, and Vocalion, and on labels in Australia, Canada, Germany, India, Ireland, and South Africa.
Jim Hayes Publications, J. G. Hayes, 22 Empire Road, Liverpool, L21 8HR, England; 34 pages; price 4/6, or about 60¢ at the time. Hayes also covered English Brunswicks “2000” range. This dates from 02000 (December 1934) to 02999 (July 1940). More than 250 artists are presented in the range. While the monthly English publication The Gramophone covers records 02496 and 02497 just before the start of 02500-02515, the next issue begins with 02539. While the February 1938 issue would seem to be the correct one in which to see 02500-02515 covered, there is a jump from 02497 to 02539. There is also no advertising mentioning this range of numericals.
HRS 25 Bix Beiderbecke and the Wolverines
Jazz Me Blues (Delaney) (dub mx. 90361A; Decca, October 14, 1935)
Original issue: Gennett 5408 (February 18, 1924)
Note: The first reissue of “Jazz Me Blues” was on (E) Brunswick 02203-A in 1936 titled “The Jazz Me Blues.” The master used to press this HRS issue is the same used for the English Brunswick issue—mx. 90361A
Oh Baby (DeSylva-Donaldson) (dub mx. 90427A; Decca, November 5, 1935)
Original issue: Gennett 5453-A (May 6, 1924)
Pressing: Decca Records Inc.
Note: “Oh Baby” was also reissued on (E) Brunswick 02501-A as “Oh! Baby” in June 1937 using the same master 90427A and was included in Album One of 21 Years of Swing Music. This is not the same “Oh, Baby” recorded by Benny Goodman in 1946 on a two-part 12-inch Columbia 55039.
Written by Owen Murphy, it was arranged by Mel Powell and features a fine drum solo by a young Louie Bellson.
HRS 26 Bix Beiderbecke and the Wolverines
Tia Juana (Conley-Roderick) (dub mx. 90363 B; Decca, October 14, 1935)
Original issue: Gennett 5565-A (October 8, 1924)Royal Garden Blues (Clarence and Spencer Williams) (dub mx. 90428A; Decca, November 5, 1935)
Original issue: Gennett 20062 (June 20, 1924)
Pressing: Decca Records Inc.
Note: The first reissue of “Royal Garden Blues” was on (E) Brunswick 02204-B in 1936. The master used to press this HRS issue is the same one used for the English Brunswick issue—mx. 90428A.
Background
(The following edited text is excerpted from the Internet and from Popular American Recording Pioneers 1895-1925, by Tim Gracyk, published by Victrola and 78 Journal Press, 1999, pages 401-404 inclusive.)
Seven Wolverines discs with Beiderbecke were made by Gennett. Six were issued in Gennett’s normal 5000 series (three were announced in the trade press, three were not).
A seventh disc, Gennett 20062, features “I Need Some Pettin’” and “Royal Garden Blues.” Discs in Gennett’s 20000 series were presumably never available in shops since this was the company’s “personal” series, the records being specially made for the individuals who ordered them. The Wolverines may have paid to have the two songs pressed (artists sometimes sold such records when playing in dance or concert halls). The label for Gennett 20062, probably pressed in July 1924, is the same in color and design as that of 5000 series Gennetts. [The Starr Gennet Records Complete Catalogue dated November 1923 announced that all $1.00 and $1.25 records were now 65¢, and all $1.50, $1.65, and $1.75 records were now $1.15.
“Tiger Rag,” recorded at the same June 20 session as “I Need Some Pettin’” and “Royal Garden Blues,” was never issued. It exists on test pressings only, possibly only two or three existed. Frank Powers reports that surviving members of the Gennett family had one test pressing of “Tiger Rag.” It has a plain white label with the title and band’s name written in ink in a long hand. The first disc featured “Fidgety Feet” and “Jazz Me Blues,” are two Original Dixieland Jazz Band numbers. They were issued on Gennett 5408, which normally would have been listed in “Advance Record Bulletins” of the May 1924 issue of Talking Machine World does not because the record company did not issue the disc to its dealers nationwide. Instead, it issued it only to some Mid-West shops. It is a rare disc today.
Gennett 5453 “Oh Baby” and “Copenhagen” sold better than all other Wolverines discs, although the Victor version of “Copenhagen” by the Benson Orchestra became the most popular recorded version of the 1920s.
Cut on September 8, 1924, four months after the Wolverines recorded it, the Benson Orchestra’s version was issued on November 7, 1924. The second reference to the Wolverine Orchestra in TMW is in the October 1924 issue, which announces the November release of “Sensation” and “Lazy Daddy” on Gennett 5542. It was another disc that couples two Original Dixieland Jazz Band compositions. The Wolverines cut the two numbers on September 16. Gennett announced the disc a month after the session and the two titles were issued on 5542 only six weeks after being recorded.
The third and final reference to the Wolverine Orchestra in TMW is in the November issue, which announced the December release of “Tia Juana” and “Big Boy” on Gennett 5565. Composers are cited after song titles. “Tia Juana” is credited to “Conley-Rodernick [sic].” This refers to Larry Conley and Gene Rodemich. Conley, a trombonist in Rodemich’s popular orchestra, composed many songs with Rodemich around this time.
Gene Rodemich and His Orchestra recorded “Tia Juana” on June 10 for Brunswick 2680. The record was issued in November, so the Wolverines could not have known Rodemich’s recorded version when cutting their own in early October for Gennett. Orchestras at the time may have been playing it at dances. Hope Conley Lang, daughter of Larry Conley, reports that at least one stock band arrangement of “Tia Juana“ was copyrighted by May 5, 1924. Jelly Roll Morton recorded “Tia Juana” on June 9, a day before the Wolverines. Gennett did not issue it (5632) until 1925. Emil Coleman and His Club Trocadero Orchestra recorded it for Vocalion in late August 1924. It was issued as Vocalion 14879 in November–too late for the record to have influenced the Wolverines.
Author’s note:
Tia Juana” was also recorded by Smith Ballew and His Orchestra (Me M 13240), and Bud Freeman and the Summa Cum Laude Orchestra (De 18066). The selection of “Big Boy” for the session in early October [Brian Rust says October 7, but other sources indicate October 8] is not surprising given the song’s popularity at the time. Nearly a dozen versions were available by the time Gennett 5565 was issued in December 1924.
The band’s earliest sessions had been in Gennett’s studio in Richmond, Indiana, but the last three sessions (two with Beiderbecke, one without) were in Gennett’s New York studio on East 37th Street. The band had traveled eastward for an engagement at a popular dance hall, an event noted on page 70 of the October 1924 issue of Metronome:
The Wolverines came to New York and opened at the Cinderella [Ballroom], where they were one of the biggest hits that ever hit New York. The Wolverines, under the direction of Richard Voynow, have been the favorite orchestra of all the college and fraternity houses throughout Ohio, Indiana, Kentucky, and Michigan.
Tom Griselle supervised the New York City sessions. According to the March 1924 issue of Talking Machine World, Griselle had taken a year’s absence (Frederick Woods had served as musical director since September 1923) and was by March 1924.
Again in charge of the Gennett record-making activities of the Starr Piano Co. in the New York laboratories.
All told, Bix recorded 273 sides between February 18, 1924, and September 15, 1930.
Addenda by Albert Haim
- A numerical listing of Hot Record Society issues compiled by Tyrone Settlemier follows here:
Hot Record Society (HRS) Numerical Listing of issues
Cat # | Artist: | Tune: | MX: | Xref: | Ctrl: | Date: | Comp: |
May-37 | Chicago Loopers | Three Blind Mice – Master No. 1 | – | PA36729 | – | 10/20/1927 | Frank Trumbauer |
May-37 | Chicago Loopers | Three Blind Mice – Master No. 2 | P20963 | PE14910 | – | 10/20/1927 | Frank Trumbauer |
Jul-37 | BESSIE SMITH | ONE & TWO BLUES | P 21297 (142876-2) | Col 14172-D | NYC | 10/26/1926 | Brooks |
Jul-37 | LOUIS ARMSTRONG & HIS HOT FIVE | CORNET CHOP SUEY | P21296=1 (9535-A) | OK8320, HRS 2 | Chi | 2/26/1926 | – |
Sep-37 | The Cellar Boys | Wailing Blues | P-21525-1 (C-5308-A) | Voc 1503, HRS 3 | Chi | 1/24/1930 | Lewis |
Sep-37 | Joe “Wingy” Mannone ‘s Club Royale Orch | Trying To Stop My Crying | 21254 (C-2682-B) | Voc 15797, HRS 3 | Chi | 12/17/1928 | – |
Nov-37 | King Oliver’s Jazz Band | Dipper Mouth Blues (v. Bud Scott) | P-21875 (8402-A) | Ok 4918, HRS 4 | Chi | 6/23/1923 | Oliver – Armstrong |
Nov-37 | Connie’s Inn Orchestra {Fletcher Henderson} | Sugar Foot Stomp | (1433-3) | CR3194, HRS 4 | NYC | Aug-1931 | arr: Fletcher Henderson |
Mar-38 | CLARENCE WILLIAMS BLUE FIVE | COAL CART BLUES (v. Eva Taylor) | P-22489 (73694B) | OK 8245, HRS 6 | NYC | 10/8/1925 | Armstrong – Hardin |
Mar-38 | NEW ORLEANS RHYTHM KINGS | I NEVER KNEW WHAT A GAL CAN DO | 22487 (8903-B) | OK 40422 | NO | 1/23/1925 | – |
Aug-38 | LOUIS ARMSTRONG & HIS HOT FIVE | YOU’RE NEXT | (9537A) | OK8299, HRS 10 | Chi | 2/26/1926 | – |
Aug-38 | LOUIS ARMSTRONG & HIS HOT FIVE | ORIENTAL STRUT | (9536A) | OK8299, HRS 10 | Chi | 2/26/1926 | St. Cyr |
Sep-38 | Earl Hines, piano | Just Too Soon | 1877 | – | – | – | Hines |
Sep-38 | Earl Hines, piano | Chicago High Life | 1878 | – | – | – | Hines |
Oct-38 | KING OLIVER’S JAZZ BAND | HIGH SOCIETY RAG | P-23310 (8393-B) | OK 4933, HRS 12 | Chi | 6/22/1923 | King Oliver’s Jazz Band |
Oct-38 | KING OLIVER’S JAZZ BAND | TEARS | 23309 (8476B) | OK 40000, HRS 12 | Chi | 10/25/1923 | – |
Dec-38 | J.C. HIGGINBOTHAM and his SIX HICKS | HIGGINBOTHAM BLUES | (403737-C) | OK 8772, HRS 14 | NYC | 2/5/1930 | Russell – Higghinbotham |
Dec-38 | J.C. HIGGINBOTHAM and his SIX HICKS | GIVE ME YOUR TELEPHONE NUMBER | (403736-B) | OK 8772, HRS 14 | NYC | 2/5/1930 | Higginbotham |
1 | CHICAGO LOOPERS | THREE BLIND MICE Master #1 | P20962=1 | PA36729 | – | 10/20/1927 | Frank Trumbauer |
1 | CHICAGO LOOPERS | THREE BLIND MICE Master #2 | P20963=1 | PE14910 | – | 10/20/1927 | Frank Trumbauer |
2 | LOUIS ARMSTRONG and his HOT FIVE | CORNET CHOP SUEY | P21296=1 (9535-A) | OK8320 | Chi | 2/26/1926 | – |
2 | Bessie Smith acc by Her Blue Boys | ONE AND TWO BLUES | P 21297 (142876-2) | Col 14172-D | NYC | 10/26/1926 | Brooks |
3 | JOE MANNONE’S CLUB ROYAL ORCH | TRYING TO STOP MY CRYING | 21254 (C-2682-B) | Voc 15797 | Chi | 12/17/1928 | – |
3 | The CELLAR BOYS | WAILING BLUES | P-21525-1 (C-5308-A) | Voc 1503 | Chi | 1/24/1930 | Lewis |
4 | CONNIE’S INN ORCH {Fletcher Henderson} | SUGARFOOT STOMP | 1433-3 | CR3194 | NYC | Aug-1931 | arr: Fletcher Henderspn |
4 | KING OLIVER JAZZ BAND | DIPPERMOUTH BLUES | P-21875 (8402-A) | Ok 4918 | Chi | 6/23/1923 | Oliver – Armstrong |
5 | JACK TEAGARDEN & HIS ORCH | LOVELESS LOVE (Master 1) | P-22234 (1120=1) | CR3051 | NYC | ~Jan-1931 | W. C. Handy |
5 | JACK TEAGARDEN & HIS ORCH | LOVELESS LOVE (Master 2) | P-22235 (1120=2) | CR3051 | NYC | ~Jan-1931 | W. C. Handy |
6 | NEW ORLEANS RHYTHM KINGS | I NEVER KNEW What a Gal Can Do | 22487 (8903-B) | OK 40422 | NO | 1/23/1925 | – |
6 | CLARENCE WILLIAMS BLUE FIVE | COAL CART BLUES (v. Eva Taylor) | P-22489 (73694B) | OK 8245 | NYC | 10/8/1925 | Armstrong – Hardin |
7 | BENNIE GOODMAN’S BOYS (WITH JIM AND GLEN | WOLVERINE BLUES | C1654 | Vo15656 | Chi | 1/23/1928 | – |
7 | LOUISIANA RHYTHM KINGS | That DA DA STRAIN | E-30029 | Vo15828 | NYC | 6/11/1929 | – |
8 | MONTANA TAYLOR | Detriot Rocks | C-3358-A | Voc 1419 | Chi | 4/23/1929 | – |
8 | NELSON ROMEO | HEAD RAG HOP | C4300 | VO1447 | Chi | 9/5/1929 | Romeo Nelson |
9 | The WOLVERINES | RIVERBOAT SHUFFLE | 11854-C | GE5454 | Rich, Ind | 5/6/1924 | – |
9 | The WOLVERINES | LAZY DADDY (v. George Brunies) | 9080-A | GE5542 | NYC | 9/18/1924 | – |
10 | LOUIS ARMSTRONG and his HOT FIVE | YOU’RE NEXT | 9537-A | OK8299 | Chi | 2/26/1926 | – |
10 | LOUIS ARMSTRONG and his HOT FIVE | ORIENTAL STRUT | 9536-A | OK8299 | Chi | 2/26/1926 | St. Cyr |
11 | EARL HINES | CHICAGO HIGH LIFE | 289 | QRS7037, HRS 1012 | – | 12/8/1928 | Hines |
11 | EARL HINES | JUST TOO SOON | 294=A | QRS7039, HRS 1012 | – | 12/8/1928 | – |
12 | KING OLIVER JAZZ BAND | TEARS | 23309 (8476B) | OK 40000 | Chi | 10/25/1923 | – |
12 | KING OLIVER JAZZ BAND | HIGH SOCIETY RAG | P-23310 (8393-B) | OK 4933 | Chi | 6/22/1923 | King Oliver’s Jazz Band |
13 | JIMMIE NOONE’S APEX CLUB ORCHESTRA | KING JOE | 22943 (C-2267-B) | Voc 1229 | Chi | 8/23/1928 | – |
13 | JOE MANNONE and his CLUB ROYALE ORCH | ISN’T THERE A LITTLE LOVE | 23943 (C-2683-B) | Voc 15797, Decatur 510 | Chi | 12/17/1928 | – |
14 | J C HIGGINBOTHAM and his SIX HICKS | GIVE ME YOUR TELEPHONE NUMBER | 403736-B | OK8772 | NYC | 2/5/1930 | Higginbotham |
14 | J C HIGGINBOTHAM and his SIX HICKS | HIGGINBOTTOM BLUES | 403737-C | OK8772 | NYC | 2/5/1930 | Russell – Higginbotham |
15 | LOUISIANA RHYTHM KINGS | BALLIN’ THE JACK | E29689 | Vo15828 | NYC | 4/23/1929 | – |
15 | MIFF MOLE’S LITTLE MOLERS | WINDY CITY STOMP | 400849-C | Col 35953 | NYC | 7/6/1928 | – |
16 | CHOCOLATE DANDIES | ONCE UPON A TIME | 265158-1 | OK41568 | NYC | 10/10/1933 | CARTER |
16 | CHOCOLATE DANDIES | KRAZY KAPERS | 265159-2 | OK41568 | NYC | 10/10/1933 | – |
17 | PEE WEE RUSSELL’s RHYTHMAKERS | BABY WONT YOU PLEASE COME Home | 23391-2 | – | NYC | 8/31/1938 | – |
17 | BILLY BANKS RHYTHMAKERS | TAKE IT SLOW AND EASY | 11882=1 | – | NYC | 5/23/1932 | – |
18 | Louis Armstrong (Floyd “Buck” Washington, piano) | DEAR OLD SOUTHLAND | 403895=A | OK41454 | NYC | 4/5/1930 | – |
18 | Louis Armstrong (Earl Hines, piano) | WEATHERBIRD | 402199=A | OK41454 | Chi | 12/5/1928 | – |
19 | EARL HINES | OFF TIME BLUES | 288=A | QRS7036, HRS 1009 | – | 12/8/1928 | – |
19 | EARL HINES | A MONDAY DATE | 290 | QRS7037, HRS 1009 | – | 12/8/1928 | – |
20 | EARL HINES | STOWAWAY | 291 | QRS7038, HRS 1011 | – | 12/8/1928 | Hines |
20 | EARL HINES | PANTHER RAG | 293 | QRS7039, HRS 1011 | – | 12/8/1928 | – |
21 | EARL HINES | BLUES IN THIRDS | 287 | QRS7036, HRS 1010 | – | 12/8/1928 | – |
21 | EARL HINES | CHIMES IN BLUES | 292-A | QRS7038, HRS 1010 | – | 12/8/1928 | Hines |
22 | BIX BEIDERBECKE and his Rhythm Jugglers | DAVENPORT BLUES | 90430 (12141) | GE5654 | Rich, Ind | 1925 | Bix Beiderbecke |
22 | THE WOLVERINES | FIDGETY FEET | 11751-A | GE5408 | Rich, Ind | 2/18/1924 | – |
23 | BIX BEIDERBECKE and his Rhythm Jugglers | TODDLIN’ BLUES | 12140 | GE5654 | Rich, Ind | 1925 | – |
23 | The WOLVERINES | SENSATION | 9079 | GE5542, Clax 40375 | NYC | 9/18/1924 | – |
24 | The WOLVERINES | TIGER RAG | 11932 | Br 02205, Pol 15387 | Rich, Ind | 1924 | – |
24 | The WOLVERINES | BIG BOY | 9116 | GE5565 | NYC | 10/8/1924 | – |
25 | BIX BEIDERBECKE & the WOLVERINES | OH BABY | 90427 {11852} | GE5453, Clax 40336 | NYC | 5/6/1924 | DeSylva – Donaldson |
25 | BIX BEIDERBECKE & the WOLVERINES | JAZZ ME BLUES | 11754-A | GE5408, Br 02203 | Rich, Ind | 2/18/1924 | – |
26 | The WOLVERINES | ROYAL GARDEN BLUES | 11931-C | GE 20062, Br 02204 | Rich, Ind | 1924 | – |
26 | The WOLVERINES | TIA JUANA | 9115-B | GE5565 | NYC | 10/8/1924 | – |
27 | CLARENCE WILLIAMS BLUE FIVE | MANDY MAKE UP YOUR MIND (v. Eva Taylor) | 73026-B | OK40260 | NYC | 12/17/1924 | – |
27 | CLARENCE WILLIAMS BLUE FIVE | CAKE WALKING BABIES (v. Eva Taylor) | 73083A | OK40321 | NYC | 1/8/1925 | – |
28 | CLARENCE WILLIAMS BLUE FIVE | KANSAS CITY MAN BLUES | 71707B | OK4925 | NYC | 7/30/1923 | – |
28 | CLARENCE WILLIAMS BLUE FIVE | Everybody Loves My Baby (v. Eva Taylor) | 72958B | OK8181 | NYC | 11/6/1924 | – |
29 | CLARENCE WILLIAMS BLUE FIVE | PAPA DE DA DA (v. Eva Taylor) | 73205A | OK8215 | NYC | 3/4/1925 | – |
29 | CLARENCE WILLIAMS BLUE FIVE | NEW ORLEANS HOP SKOP | 71929B | OK4975 | NYC | ~Oct-1923 | – |
30 | CLARENCE WILLIAMS BLUE FIVE | WILD CAT BLUES | 71706=B | OK4925 | NYC | 7/30/1923 | – |
30 | CLARENCE WILLIAMS BLUE FIVE | I’M A LITTLE BLACKBIRD Looking for a Bluebird (v. Eva Taylor) | 73027B | OK40260 | NYC | 12/17/1924 | – |
31 | CLARENCE WILLIAMS BLUE FIVE | TERRIBLE BLUES | 9206 | GE5607, Sil 4032 | NYC | 11/26/1924 | – |
31 | CLARENCE WILLIAMS BLUE FIVE | OF ALL THE WRONGS You Done to Me | 9177 | GE5627, Sil 4029 | NYC | 11/8/1924 | – |
1000 | PEE-WEE RUSSELL’S RHYTHMAKERS | BABY, WON’T YOU PLEASE COME HOME | 23391-1 | Med 1137 | NYC | 8/31/1938 | – |
1000 | PEE-WEE RUSSELL’S RHYTHMAKERS | DINAH | 23394-1 | Med 1137 | NYC | 8/31/1938 | – |
1001 | PEE-WEE RUSSELL’S RHYTHMAKERS | ZUTTY’S HOOTIE BLUES (v. Zutty Singleton) | 23393 | Esq 10-051 | NYC | 8/31/1938 | Zutty Singleton |
1001 | PEE-WEE RUSSELL’S RHYTHMAKERS | THERE’LL BE SOME CHANGES MADE | 23392-1 | Esq 10-051 | NYC | 8/31/1938 | – |
1002 | PEE WEE, ZUTTY and JAMES P. | I’VE FOUND A NEW BABY | 23395=1 | Melodisc 1144 | NYC | 8/31/1938 | – |
1002 | PEE WEE, ZUTTY and JAMES P. | EVERYBODY LOVES MY BABY | 23396=2 | Melodisc 1144 | NYC | 8/31/1938 | – |
1003 | JIMMY McPARTLAND’S SQUIRRELS | I’M ALL BOUND ROUND WITH THE MASON-DIXON LINE | 90699-A | Dec 18441 | NYC | 4/25/1936 | – |
1003 | JIMMY McPARTLAND’S SQUIRRELS | ECCENTRIC | 90697-A | Dec 3363, Dec 18445 | NYC | 4/24/1936 | PANAMA |
1003alt | REX STEWART and his BIG FOUR | MONTMARTRE (DJANGO’S JUMP) | OSW-63-1 | Swing 56 | Paris | 4/5/1939 | – |
1003alt | REX STEWART and his BIG FOUR | LOW COTTON | OSW-64-1 | Swing 203 | Paris | 4/5/1939 | – |
1004 | JIMMY McPARTLAND SQUIRRELS | PANAMA | 90700-A | Dec 3363, Dec 3522, Dec 18445 | Chi | 4/25/1936 | – |
1004 | JIMMY McPARTLAND SQUIRRELS | ORIGINAL DIXIELAND ONE STEP | 90698-A | Dec 18441 | Chi | 4/24/1936 | – |
1004alt | IMPROVISATIONS IN ELLINGTONIA | FINESSE (Night Wind) | OSW-65-1 | Swing 70, PA PG-538 | Paris | 4/5/1939 | – |
1004alt | IMPROVISATIONS IN ELLINGTONIA | I KNOW THAT YOU KNOW | OSW-66-1 | Swing 70, PA PG-538 | Paris | 4/5/1939 | – |
1004alt | REX STEWART and his BIG FOUR | NIGHT WIND (Finesse) | OSW-65-1 | Swing 70, PA PG-538 | Paris | 4/5/1939 | – |
1004alt | REX STEWART and his BIG FOUR | SOLID ROCK (Solid Old Man) | OSW-67-1 | Swing 56 | Paris | 4/5/1939 | – |
1005 | BRICK FLEAGLE’S ORCHESTRA | SAME OLD SHEAVES | 1007 | – | NYC | 7/19/1945 | Fleagle |
1005 | BRICK FLEAGLE’S ORCHESTRA | A SLIGHT CASE OF THE SHAKES | 1008 | – | NYC | 7/19/1945 | Fleagle |
1006 | BRICK FLEAGLE’S ORCHESTRA | DOUBLE DOGHOUSE | 1005 | – | NYC | 7/19/1945 | – |
1006 | BRICK FLEAGLE’S ORCHESTRA | PASTICHE | 1006 | – | NYC | 7/19/1945 | – |
1007 | SANDY WILLIAMS BIG 8 | MOUNTAIN AIR | 1009 | – | NYC | 11/5/1945 | – |
1007 | SANDY WILLIAMS BIG 8 | CHILI CON CARNEY | 1012 | – | NYC | 11/5/1945 | – |
1008 | SANDY WILLIAMS BIG 8 | SUMPIN’ JUMPIN’ ROUND HERE | 1010 | – | NYC | 11/5/1945 | Brick Fleagle |
1008 | SANDY WILLIAMS BIG 8 | AFTER HOURS ON DREAM STREET | 1011 | – | NYC | 11/5/1945 | – |
1009 | EARL HINES (piano) | A MONDAY DATE | 290 | QRS7037 | – | 12/8/1928 | – |
1009 | EARL HINES (piano) | OFF TIME BLUES | 288A | QRS7036 | – | 12/8/1928 | Hines |
1010 | EARL HINES (piano) | BLUES IN THIRDS | 287 | – | – | 12/8/1928 | – |
1010 | EARL HINES (piano) | CHIMES IN BLUES | 292A | – | – | 12/8/1928 | – |
1011 | EARL HINES (piano) | PANTHER RAG | 293 | QRS 7039 | – | 12/8/1928 | Hines |
1011 | EARL HINES (piano) | STOWAWAY | 291 | QRS 7038 | – | 12/8/1928 | – |
1012 | EARL HINES (piano) | JUST TOO SOON | 294=A | QRS7039, HRS 11 | – | 12/8/1928 | – |
1012 | EARL HINES (piano) | CHICAGO HIGH LIFE | – | QRS7037, HRS 11 | – | 12/8/1928 | – |
1013 | J.C.HIGGINBOTHAM’S BIG 8 | DUTCH TREAT | R1014 | – | – | 12/21/1945 | – |
1013 | J.C.HIGGINBOTHAM’S BIG 8 | A PENNY FOR YOUR BLUES | R1015 | – | – | 12/21/1945 | – |
1014 | JIMMY JONES’ BIG 8 | MUDDY MISS | R1024 | – | NYC | 1/10/1946 | – |
1014 | JIMMY JONES’ BIG 8 | OLD JUICE ON THE LOOSE | R1021 | – | NYC | 1/10/1946 | – |
1015 | JIMMY JONES’ BIG 8 | A WOMAN’S GOT A RIGHT TO CHANGE | R1023 | – | NYC | 1/10/1946 | – |
1015 | JIMMY JONES’ BIG 8 | DEPARTURE FROM DIXIE | R1022 | – | NYC | 1/10/1946 | – |
1016 | JOE THOMAS BIG 6 | RIFF STREET | 1027 | – | NYC | 2/15/1946 | Joe Thomas – Jimmy Jones |
1016 | JOE THOMAS ORCH | A TOUCH OF BLUE | 1028 | – | NYC | 2/15/1946 | – |
1017 | Babe Matthews with JOE THOMAS’ Big Six | NO BETTER FOR YA | 1025=2 | – | NYC | 2/15/1946 | Joe Thomas – Babe Matthews |
1017 | Babe Matthews with JOE THOMAS’ Big Six | HE’S GOT SO MUCH | 1026=1 | – | NYC | 2/15/1946 | Joe Thomas – Babe Matthews |
1018 | DICKIE WELLS’ BIG SEVEN | DRAG NASTY – The WALK | 1036 | – | – | 3/21/1946 | – |
1018 | DICKIE WELLS’ BIG SEVEN | OPERA IN BLUE | 1035 | – | – | 3/21/1946 | – |
1019 | DICKIE WELLS’ BIG SEVEN | WE’RE THROUGH (v. Sarah Vaughan) | 1033-1 | – | – | 3/21/1946 | – |
1019 | DICKIE WELLS’ BIG SEVEN | BED ROCK | 1034 | – | – | 3/21/1946 | – |
1020 | HARRY CARNEY’S BIG EIGHT | MINOR MIRAGE | 1029 | – | NYC | 3/18/1946 | – |
1020 | HARRY CARNEY’S BIG EIGHT | CANDY CANE | 1032 | – | NYC | 3/18/1946 | – |
1021 | HARRY CARNEY’S BIG EIGHT | SHADOWY SANDS | 1031 | – | NYC | 3/18/1946 | – |
1021 | HARRY CARNEY’S BIG EIGHT | JAMAICA RUMBLE | 1030 | – | NYC | 3/18/1946 | – |
1022 | SANDY WILLIAMS BIG 8 | SANDY’S BLUES | 1040 | – | – | 6/3/1946 | – |
1022 | SANDY WILLIAMS BIG 8 | TEA FOR ME | 1037 | – | – | 6/3/1946 | – |
1023 | SANDY WILLIAMS BIG 8 | FROST ON THE MOON | 1038 | – | – | 6/3/1946 | – |
1023 | SANDY WILLIAMS BIG 8 | SAM PAN | 1039 | – | – | 6/3/1946 | – |
1024 | BUCK CLAYTON’S BIG FOUR | DAWN DANCE | 1042 | – | – | 6/26/1946 | – |
1024 | BUCK CLAYTON’S BIG FOUR | IT’S DIZZY | 1045 | – | – | 6/26/1946 | – |
1025 | BUCK CLAYTON’S BIG FOUR | BASIE’S MORNING BLUESACLE | 1046 | – | – | 6/26/1946 | – |
1025 | BUCK CLAYTON’S BIG FOUR | WELLS A POPPIN’ | 1043 | – | – | 6/26/1946 | – |
1026 | BUCK CLAYTON’S BIG FOUR | ON THE SUNNY SIDE OF THE STREET | 1044 | – | – | 6/26/1946 | – |
1026 | REX STEWART’S BIG FOUR | I KNOW THAT YOU KNOW | OSW-66-1 | Swing 70, Pathe PG-538 | Paris | 4/5/1939 | – |
1027 | BUCK CLAYTON’S BIG EIGHT | SARATOGA SPECIAL | 1047 | – | – | 7/24/1946 | – |
1027 | BUCK CLAYTON’S BIG EIGHT | SENTIMENTAL SUMMER | 1048 | – | – | 7/24/1946 | – |
1028 | BUCK CLAYTON’S BIG EIGHT | MY GOOD MAN SAM | 1050 | – | – | 7/24/1946 | – |
1028 | BUCK CLAYTON’S BIG EIGHT | HARLEM CRADLE SONG | 1049 | – | – | 7/24/1946 | – |
1029 | SANDY WILLIAMS BIG EIGHT | GEE, BABY, AIN’T I GOOD TO YOU | – | – | – | 6/3/1946 | – |
1029 | BUCK CLAYTON’S BIG EIGHT | I WANT A LITTLE GIRL | 1051 | – | – | 7/24/1946 | – |
1030 | TRUMMY YOUNG’S BIG 7 | FRUTTIE CUTIE | – | – | – | 1947 | – |
1030 | TRUMMY YOUNG’S BIG 7 | BLUES TRISTE | – | – | – | 1947 | – |
1031 | TRUMMY YOUNG’S BIG 7 | JOHNSON ROCK | – | – | – | 1947 | – |
1031 | TRUMMY YOUNG’S BIG 7 | LUCKY DRAW | – | – | – | 1947 | – |
1032 | BILLY KYLE & HIS BIG 8 | CONTEMPORARY BLUES | – | – | – | – | – |
1032 | BILLY KYLE & HIS BIG 8 | H.R.S BOUNCE | – | – | – | – | – |
1033 | BILLY KYLE & HIS BIG 8 | DATE FOR EIGHT | – | – | – | – | – |
1033 | BILLY KYLE’S BIG 8 | OOH BABY, YOU KNOCK ME OUT | – | – | – | – | – |
1034 | RUSSELL PROCOPE BIG 6 | DENZIL’S BEST | – | – | – | – | – |
1034 | RUSSELL PROCOPE BIG 6 | RIGHT FOOT THEN LEFT FOOT | – | – | – | – | – |
1035 | RUSSELL PROCOPE BIG 6 | BOTTLE IT | – | – | – | – | – |
1035 | RUSSELL PROCOPE BIG 6 | FOUR WHEEL DRIVE | – | – | – | – | – |
1036 | BRICK FLEAGLE’S RHYTHMAKERS | ON YOU IT LOOKS GOOD | – | – | – | – | – |
1036 | BRICK FLEAGLE’S RHYTHMAKERS | THEY’LL DO IT EVERY TIME | – | – | – | – | – |
1037 | BRICK FLEAGLE’S RHYTHMAKERS | BLUE STEW | – | – | – | – | – |
1037 | BRICK FLEAGLE’S RHYTHMAKERS | WIG WHAM BLUES | – | – | – | – | – |
1038 | BILLY TAYLOR’S BIG 4 | TWINKLETOES | – | – | – | – | – |
1038 | BILLY TAYLOR’S BIG 4 | I DON’T ASK QUESTIONS | – | – | – | – | – |
1039 | BILLY TAYLOR’S BIG 4 | WELL TAYLOR-ED | – | – | – | – | – |
1039 | BILLY TAYLOR’S BIG 4 | SO YOU THINK YOU’RE CUTE | – | – | – | – | – |
1040 | REX STEWART’S BIG 4 | THE BLUES KICKED THE BUCKET | – | – | – | – | – |
1040 | REX STEWART | MADELAINE | – | – | – | – | – |
1041 | REX STEWART’S BIG FOUR | FLIM FLAM | 1072 | – | – | – | Rex Stewart |
1041 | REX STEWART’S BIG FOUR | LOOPIN’ LOBO | – | – | – | – | – |
1042 | JIMMY JONES BIG 4 | STROLLIN’ BABY | – | – | – | – | – |
1042 | JIMMY JONES BIG 4 | WEETA | – | – | – | – | – |
1043 | JIMMY JONES BIG 4 | SUNNY SIDE UP | – | – | – | – | – |
1043 | JIMMY JONES BIG 4 | KEEPING UP WITH THE JONES | – | – | – | – | – |
1044 | BILLY TAYLOR’S BIG FOUR | LATE ON SATURDAY | – | – | – | – | – |
1044 | BILLY TAYLOR’S BIG FOUR | MY MIND’S MADE UP ON YOU | – | – | – | – | – |
1045 | BILLY TAYLOR’S BIG FOUR | TAYLOR MADE | – | – | – | – | – |
1045 | BILLY TAYLOR’S BIG FOUR | FLIGHT OF THE BE BOP | – | – | – | – | – |
1048 | BILLY TAYLOR’S BIG 4 | MR B BOPS | – | – | – | – | – |
1048 | BILLY TAYLOR’S BIG 4 | RESTRICTED | – | – | – | – | – |
1049 | BILLY TAYLOR’S BIG 4 | STRIDING DOWN THE CHAMPS ELYSEES | – | – | – | – | – |
1049 | BILLY TAYLOR’S BIG 4 | MITCH’S PITCH | – | – | – | – | – |
1050 | BRICK FLEAGLE’S ORCHESTRA | BRICK’S BOOGIE | – | – | – | – | – |
1050 | BRICK FLEAGLE’S ORCHESTRA | K.C. CABOOSE | 1018 | – | – | – | Rex Stewart |
2000 | BECHET-SPANIER BIG FOUR | SWEET LORRAINE | 2774 | 12″ | NYC | 3/28/1940 | – |
2000 | BECHET-SPANIER BIG FOUR | LAZY RIVER | 2775 | 12″ | NYC | 3/28/1940 | – |
2001 | BECHET-SPANIER BIG FOUR | CHINA BOY | 2776-1 | 12″ | NYC | 3/28/1940 | Winfree – Boutelle |
2001 | BECHET-SPANIER BIG FOUR | FOUR OR FIVE TIMES | 2773 | 12″ | NYC | 3/28/1940 | – |
2002 | BECHET-SPANIER BIG FOUR | THAT’S A PLENTY | 2802-3 | 12″ | NYC | 4/6/1940 | – |
2002 | BECHET-SPANIER BIG FOUR | IF I COULD BE WITH YOU One Hour Tonight | 2801-1 | 12″ | NYC | 4/6/1940 | Creamer – Johnson |
2003 | BECHET-SPANIER BIG FOUR | SQUEEZE ME | 2803-3 | 12″ | NYC | 4/6/1940 | – |
2003 | BECHET-SPANIER BIG FOUR | SWEET SUE, JUST YOU | 2804-2 | 12″ | NYC | 4/6/1940 | – |
2004 | REX STEWART BIG 7 | CHERRY | 76396-B | 12″ | NYC | 7/23/1940 | – |
2004 | REX STEWART BIG 7 | DIGGA DIGGA DOO | 76399-A | 12″ | NYC | 7/23/1940 | – |
2005 | REX STEWART’S BIG SEVEN | SOLID ROCK | 76397=A | 12″ | NYC | 7/23/1940 | REX STEWART |
2005 | REX STEWART’S BIG SEVEN | BUGLE CALL RAG | 76398-A | 12″ | NYC | 7/23/1940 | Schoebel – Meyers – Pettis |
2006 | JACK TEAGARDEN’S BIG 8 | ST JAMES INFIRMARY (v. Jack Teagarden) | R.3414 | 12″ | NYC | 12/15/1940 | Joe Primrose |
2006 | JACK TEAGARDEN’S BIG 8 | SHINE | 3417 | 12″ | NYC | 12/15/1940 | – |
2007 | JACK TEAGARDEN’S BIG 8 | BIG EIGHT BLUES | R3416 | 12″ | NYC | 12/15/1940 | – |
2007 | JACK TEAGARDEN’S BIG 8 | THE WORLD IS WAITING FOR THE SUNRISE | R3415 | 12″ | NYC | 12/15/1940 | – |
Dividend | BECHET-SPANIER BIG FOUR | CHINA BOY | 2776-2 | – | NYC | 3/28/1940 | – |
Dividend | BECHET-SPANIER BIG FOUR | THAT’S A PLENTY | 2802-2 | – | NYC | 4/6/1940 | – |
- An interesting discussion of the different approaches and of the competition between the Hot Record Society and United Hot Clubs can be found in Blowin’ Hot and Cool: Jazz and Its Critics by John Gennari, University Of Chicago Press, 2006.
- An interesting article in the May 17, 1937 issue of Time has an account of the first reissue of Bix’s recordings by the Hot Record Society: http://www.time.com/time/magazine/article/0,9171,757842,00.html
Music: Hot Society
Jazz, blowsiest of the arts, has been disgracefully lax about keeping her barrelhouse in order. The master recordings of hundreds of notable numbers, played by inspired but informal groups of musicians in obscure studios, have been lost or destroyed. Copies of records made in Swing’s golden age, the 1920s, by bands like the Wolverines, Friars Society Orchestra, and New Orleans Rhythm Kings, are therefore as rare as Gutenberg and, to lovers of America’s native music, as valuable.
Last winter Victor repressed a series of early jazz masterpieces and sold them as the Bix Beiderbecke Memorial Album. The late great Trumpet Player Leon Bismarck (“Bix”) Beiderbecke’s effortless glissando, accompanied by various old bands, was to be heard sprinkling graceful, spontaneous melody through all twelve sides of the set. Two non-commercial enterprises, the Hot Club of France and the New York Hot Club, have repressed a few scarce swing classics for their members. But the commercial record companies are chiefly interested in making and selling new records, and the hot clubs are composed of amateurs uninterested in administrative detail. Wide open, therefore, was the place that a brand new Hot Record Society undertook last week to fill.
The Hot Record Society, with an office in Room 1306 at No. 303 Fifth Avenue, Manhattan, intends to issue limited editions of six famed and unavailable old recordings each year. Members are charged $6 annually, which includes the cost of the records. If the venture prospers, record dividends will be declared. Headed by Artist Stephen W. Smith and advised by a board of leading spirits from the United Hot Clubs of America, the Society seemed assured of a welcome from the nation’s half-million serious jazz fanciers. “We will choose,” haughtily announces the Society’s first bulletin, “to reprint discs that are distinguished both by the greatness of performance and by rarity, leaving the corn to the hillbillies and the more accessible hot records to the assiduousness of individual collectors.”
The Society’s first reissue, out this week, is Three Blind Mice played by the Chicago Loopers, a disc full of the sad harmonics and eccentric lyrical twists characteristic of the great Chicago style.
Such masters as Beiderbecke, Frankie Trumbauer (saxophone), Carl Kress (guitar), and Don Murray (clarinet) formed the band. On the two sides of the record, the masters take turns showing what they can do with variations on the common mouse theme.
The Hot Record Society issue of H.R.S. Album No. 2: Young Man With a Horn Bix Beiderbecke and the Wolverines, was reviewed in the January 26, 1940 issue of Jazz Information, the Weekly Magazine. See the article: VISIT NOW.
An article about “Hot Collecting” by Stephen W. Smith, reprinted from Jazzmen by Frederic Ramsey, Jr. & Charles Edward Smith is available at http://www.shellac.org/wams/wcollct1.html