Articles in Magazines and Newspapers – Bix in Collectors Guide to Jazz  on Bootleg & Reissue 78 R.P.M. Records 1932 to 1952 by Geoffrey Wheeler

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.

 

 

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

Related articles

Menu