Brilliant Corners

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

2026-02-20T13:54:00.001-05:00

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

2026-01-23T11:23:00.000-05:00

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

2025-12-26T13:04:00.002-05:00

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

2025-12-19T11:21:00.001-05:00

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 (#54) Wingy Manone and Dicky Wells

2025-12-12T15:05:00.000-05:00

This session are under the leadership of trumpeter Joe 'Wingy' Manone. Manone was a Sicilian from New Orleans, who acquired his nickname because he lost an arm in a streetcar accident at age 10. He had a decent prosthesis, which allowed him to play without too much distraction on his part or the part of the audience. Wingy didn't have a great range, but he swung like crazy.

Wingy Manone

Dicky Wells

Like his pal Louis Prima, Wingy did a lot of vocals. He also wrote and collaborated on writing a number of tunes, including "There'll Come a Time (Wait and See)" with Miff Mole, "Tar Paper Stomp," "Tailgate Ramble" with Johnny Mercer, "Stop the War (The Cats Are Killin' Themselves)," "Trying to Stop My Crying," "Swing Out" with Ben Pollack and "Nickel in the Slot" with Irving Mills.

"In The Slot" is a very swinging side. Artie Shaw does a lot of nice obligatti on clarinet. He's followed by Dicky Wells doing the kind of solo that he would be bringing to the Basie band. Then, Bud Freeman blows in his singular style. Wingy follows with a propulsive solo and brings the tune home.

Wingy Manone and His Orchestra: Wingy Manone, t / Dicky Wells, tb /Artie Shaw, cl / Bud Freeman, ts / Jelly Roll Morton or Teddy Wilson as shown, p / Frank Victor, g / John Kirby, sb / Kaiser Marshall, d. New York, August 15, 1934.

Easy Like– pTW- Merritt 6 (LP);
In The Slot– pTW- Merritt 6 (LP);
Never Had No Lovin’– pJRM- Merritt 6 (LP);
Never Had No Lovin’– pJRM- SE 5011-S, B-15632-A;
I’m Alone Without You– pJRM- SE 5011-S

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

2025-11-29T13:55:00.000-05:00

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)

2025-11-11T14:22:00.000-05:00

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

2025-10-31T13:23:00.000-04:00

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

2025-10-21T13:14:00.000-04:00

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

2025-10-13T13:38:00.000-04:00

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

2025-10-09T11:18:00.000-04:00

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 (#47): Benny Goodman and Teddy Wilson.

2025-09-24T11:42:00.000-04:00

Benny Goodman is given a lot of credit for being in the vanguard in hiring black musicians. It's complicated. Goodman was no crusader and was reluctant to step into that role. However, influential writer and record producer John Hammond, who backed the idea, was a crusader and pursuasive. So was Helen Oakley (Dance), who booked the concert at Chicago's Rhythm Club, where the trio made its public debut. What clinched the deal was that Goodman, a musical perfectionist, recognized the high level of Teddy Wilson's musicianship.

Teddy Wilson

Benny Goodman

The first time that Goodman and Wilson played together was at a jam session at the Queens, New York home of vibraphonist Red Norvo and singer Mildred Bailey. Goodman later said, "That night Teddy and I began to play as though we were thinking with the same brain."

Wilson recorded with Goodman (and Jack Teagarden) in 1934, but the trio records they made in 1935 really hit, selling around 50,000 copies each. The following year, 1936, Goodman brought the trio into the Rhythm Club at The Congress Hotel in Chicago. Later that year, Lionel Hampton joined the group, which alternated sets in concerts with Goodman's big band.

This is trio Swing music at the highest level. Note that Krupa is listed on the record label as playing "traps"-short for contraption-an alternative term for a drum set.

Benny Goodman and His Trio: Benny Goodman, cl / Teddy Wilson, p / Gene Krupa, d. New York, July 13, 1935.

After You’ve Gone- ic 25115, 27-0117, 40-0107, HMV B-8381;
Body And Soul: Vic 25115, 27-0118, 40-0106, HMV B-8381, EA-1568;
Who?- Vic 25181, 68-0832, JA-836, BB B-10643;
Someday, Sweetheart-Vic 25181, Vic 27-0117, 68-0832, JA-836, BB B-10643,HMV B-8402

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

2025-09-19T13:56:00.000-04:00

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 (#45): Mound City Blue Blowers w. Hawkins and Foster

2025-09-12T15:30:00.002-04:00

Red McKenzie and Eddie Condon were two of the great organizers of combinations for recording in the late 20-'s-early 30's. Often putting together interracial sessions.

Pops Foster

Red Mackenzie

This Victor session features great playing by several players. McKenzie is always convincingly hot playing his comb-and-paper, a comb with a piece of paper, often newspaper, placed over it. Russell and Hawkins are great as usual and even Glenn Miller takes a convincing turn. Apart from Hawkins, the other black performer was New Orleans stalwart Pops Foster on bass.

Mound City Blue Blowers: Glenn Miller (tb) Pee Wee Russell (cl) Coleman Hawkins (ts) Eddie Condon (bj) Jack Bland (g) Pops Foster (b) Gene Krupa (d) Red McKenzie (comb,vcl) New York, November 14, 1929.

Hello, Lola- Vic V38100, RCA (F)FXM1-73245, 741103;
If I could be with you one hour tonight- Vic V38100, LPV501, (G)LPM501, RCA (F)FXM1-7325, 741103

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

Interracial Jazz Recording (#44) Maggie Jones with the St. Louis Rhythm Kings

2025-09-02T14:31:00.001-04:00

Maggie Jones, billed as the "Texas Nightingale" was an earthy blues-vaudeville singer with a stentorian voice. She had a brief recording window, from 1923-1929, recording first on black-owned Black Swan records, then for several other labels.

Maggie Smith

Original Indiana Five

Columbia Records teams her up with the white group the St Louis Rhythm Kings (the Original Indiana Five) for this track, "He's Just A Horn-Tooting Fool," a Davis-Busse-Gorman tune. Tip o' the hat to Dan Weinstein for hipping me to this.

Maggie Jones acc. by the St. Louis Rhythm Kings: Mickey Bloom, t / Pete Pellezzi, tb / Louis Maesto, cl / Nick Moleri, p / Christian Maesto, d. New York, June 12, 1925.

140662-3 He's Just A Horn-Tooting Fool- Col 14081-D
140663-1 Go Get 'Em Caroline- Col 14081-D

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

2025-08-09T13:56:00.000-04:00

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

2025-08-01T12:42:00.000-04:00

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.”

Interracial Jazz Recording (#41) Bing and the Mills Brothers

2025-07-24T14:08:00.000-04:00

You get both sides of Bing here-the crooner and the scatting hipster. The Mills Brothers do their thing, including close harmony and vocalisms of instruments-tuba and muted trumpet. A nice hot track.

Bing

Mills Bros.

Bing Crosby Vocal, acc. by the Mills Brothers (q.v. for personnel) / Frank Guarente, t /Will Bradley, tb / Les Dreyer, Bennie Krueger, as / Max Farley, ts / Fred Glickman, Max Solowsky, vn / Joe Meresco, p / Eddie Lang, g / Hank Stern, bb / Larry Gomar, d. New York, December 16, 1931.

Dinah- Br 6240, Hist H-622, AoH (E)AH40, Col C2L43, Jonzo (E)JZ-12, Masters of Jazz (F)MJCD802 [CD]; Dinah-Jonzo (E)JZ-12

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

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

2025-07-20T16:19:00.003-04:00

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

Dick Robertson

Fletcher Henderson

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

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

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

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

Interracial Jazz Recording (#39) Sidney Arodin and the Astoria Hot 8.

2025-07-08T15:07:00.001-04:00

This was the house band in the Astoria Hotel in New Orleans in 1928/1929-hence the name. Most of the players in the group have impressive jazz resumes. For example, cornettist Lee Collins took over when Louis Armstrong left King Oliver. Al Morgan, powerhouse bassist, played with everyone.

Sidney Arodin

Lee Collins

Sidney Arodin is our racial "odd man out" in this otherwise black group. He wrote the song "Up A Lazy River" with Hoagy Carmichael and also played with, among others, the New Orleans Rhythm Kings, Wingy Manone and Louis Prima. Arodin is a simplification of either the name Arnandan or Arnondrin and Sidney's family was French (not Creole). Arodin may or may not have played with the rest of the group at the Astoria, as a mixed-race group sharing a stage would have been pretty much unheard of at that time.

This is the group's only recording. "Damp Weather" has a few more traces of ragtime than the other tracks, but all have the propulsive, bluesy polyphonic sound characteristic of New Orleans.

Jones and Collins Astoria Hot 8: Lee Collins, c / Sidney Arodin, cl / Theodore Purnell, as / David Jones, ts / Joe Robechaux, p / Emmanuel Sayles, bj / Al Morgan, sb, v / Joe Strode-Raphael, d. New Orleans, November 15, 1929.

Astoria Strut- Vic V-38576, BB B-8168, Bm 100;
Duet Stomp – vAM Vic V-38576, BB B-8168, Bm 1001;
Damp Weather- BB B-10952, Bm 1002, Magnolia 9;
Damp Weather- Merritt 1 (LP);
Tip Easy Blues- BB B-10952, Bm 1002.

All recordings drawn from my book As Long As They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.

Interracial Jazz Recording (#38): Annette Hanshaw and James P. Johnson

2025-07-01T15:09:00.003-04:00

Annette Hanshaw came from a vaudeville family and rose to the top of the pop-jazz heap in the late 1920's-to 30's. She recorded about 250 sides and sold millions of records. Later in life, she spoke of how nervous she was performing and recording, but she knew how to sell a tune and was dubbed "The Personality Girl." Some of her renditions can be too cutesy, but she does a nice job here on "I'm a Dreamer," by the successful songwriting team of Ray Henderson, Buddy DeSylva and Lew Brown.

Annette Henshaw

James P. Johnson

It's an unusual instrumentation. Manny Klein seems the likely trumpet player and two pianos-James P. Johnson on "lead" and Clarence Williams on 'backup.'

Annette Hanshaw acc by The Three Blue Streaks: Annette Hanshaw (vcl) acc by prob Manny Klein (tp) James P. Johnson,Clarence Williams (p), New York, December 4, 1929.

I’m a dreamer - Aren’t we all ?- Har 1066-H, Phontastic (Swd)NOST7608;
If I had a talking picture of you- Har 1066-H

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

Interracial Jazz Recording (#37) King Oliver and Frank Marvin

2025-06-23T12:41:00.003-04:00

The vocalist on this session is the white Frank Marvin [alias Sonny Woods]. Marvin was one of the most recorded singers of the era, with both white and black ensembles, including the Jean Goldkette Orchestra, McKinney's Cotton Pickers and Duke Ellington groups. He also did many country music recordings with Gene Autry and under his own name.

Although this session is in King Oliver's name, Oliver was mostly hors de combat by this point. There is some discographic disagreement about the personel, as the Victor ledgers only specify that Frankie Marvin sang, Jean Stultz played guitar, and director Carroll Dickerson played violin. We hear Bubber Miley on plunger mute in the first few choruses, then a second trumpet, also muted at about 2:00 that could be Oliver. Then a third, unmuted toward the end, playing the lead in the section which is probably either Red Allen or Dave Nelson, who is listed as playing trumpet by https://adp.library.ucsb.edu/

King Oliver and His Orchestra: Bubber Miley, Henry “Red” Allen or Dave Nelson (tp) Jimmy Archey (tb) Bobby Holmes (cl) Glyn Paque (cl,as) unknown (cl,as) Walter Wheeler (cl,ts) Don Frye (p) Arthur Taylor (bj) Jean Stultz (g) Clinton Walker (tu) unknown (chimes-1) Carroll Dickerson (dir,vln-2) Frank Marvin (vcl) [alias Sonny Woods] (vc.l) New York, January 28, 1930.

St. James infirmary (fm vcl,1)- Vic 22298, LPV529, RCA (G)10017, Cam (Arg)CAL2957;
When you’re smiling (fm vcl,2)- Vic 22298, Jass 603.
Note: Both above titles also on RCA (Jap)RA-1/RA-8 RA-4, Bluebird 5466, Classics (F)607 [CD]

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

Interracial Jazz Recording (#36) Adrian Rollini and BIll Moore

2025-06-16T15:52:00.000-04:00

Here's another post with trumpeter Bill Moore, a light-skinned black man who played in hundreds of recording sessions, as far back as 1923. He may or may not have been billed as the "Hot Hawaiian." He certainly lives up to the "hot" part of it in this track.

If you've never hear a goofus, here's your chance. Adrian Rollini was a master of the bass saxophone and the vibes, but its the goofus that he plays in this great track "Arkansas." The rest of the rhythm sction does a stellar job. I'm not sure who's responsible for the vocal ejaculations.

Bill Moore

Rollini

Goofus

Five Birmingham Babies was a pseudonym on Pathé and its subsidiary labels for the California Ramblers, or for small groups from that orchestra. See also Goofus Five, University Six, Vagabonds, and Varsity Eight, which are also pseudonyms for the same group.

Bill Moore, t / Adrian Rollini, gfs / Irving Brodsky, p / Ray Kitchingman, bj / Stan King, d, k. New York, July 24, 1924.

Arkansas PA 036142, 10754, Per 14323, Hg 975 105484
Hard-Hearted Hannah PA 036130, 10754, P 6758, Per 14311, Hg 968 105485
Tessie! Stop Teasing Me PA 036129, Per 14310

NOTE: Pathé 6758 and Pathé Actuelle 10754 as THE LITTLE RAMBLERS.

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

Interracial Jazz Recording (#35) Jelly Roll Morton and NORK

2025-06-07T15:28:00.000-04:00

This is one of the most well-known early interracial sessions. NORK was composed of very able musicians, many of whom went on to have long, substantial careers in jazz. Morton, of course, is a foundational figure in the history of the music. Chances are the all-white New Orleans Rhythm Kings (NORK) had played with Jelly Roll Morton, either in informal settings or even on stage, as Morton was a light-skinned black man, who could “pass” as Cuban or Latin-American when entering all-white establishments.

Morton's sessions with NORK in 1923 serve as a good illustration of the power that music publishing companies had in recording history.

Morton came to the Friar’s Inn to talk to NORK’s clarinetist Leon Rapollo about recording some tunes he’d written, which Walter Melrose was planning to publish. Melrose had underwritten their last recording, and such a process was a common quid pro quo: A publisher would underwrite a session under the condition that most of the tunes recorded would be owned by the publisher. In this case it meant that Morton, a Melrose artist, would be given a chance to record his own compositions and he and Melrose would both profit.

Mr. Jelly Lord is Morton's tune. There's nice New Orleans-style ensemble work, with Roppolo working clarinet on top and Brunies' trombone underneath, with Chink Martin providing a solid tuba foundation. It goes into doubletime and back A tempo to a coda and ends with a slightly dissonant chord.

New Orleans Rhythm Kings: Paul Mares (cnt) George Brunies (tb) Leon Roppolo (cl) Jack Pettis (c-mel) Glenn Scoville (as,ts) Don Murray (cl,ts) Paul Mares (cnt) George Brunies (tb) Leon Roppolo (cl) Jack Pettis (c-mel) Glenn Scoville (as,ts) Don Murray (cl,ts) Jelly Roll Morton (p) or Kyle Pierce (p-1) Bob Gillette (bj) Chink Martin (tu) Ben Pollack (d) Richmond, Indiana, July 17, 1923.

Sobbin’ blues- Gen 5219, Byg (F)529069, (It)27, CJM (Swd)13, Riv RLP12-102;
Clarinet marmalade- Gen 5220, Buddy 8004, VJR 15, CJM (Swd)13, Byg (F)529069;
Clarinet marmalade- Gen 5220, Br (E)2209, Temple 520, Riv RLP12-102, (Du)RM8812, Byg (It)27;
Mr. Jelly Lord- Gen 5220, Buddy 8004, VJR 15, Temple 520, Riv RLP12-102, (Du)RM8812.

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

Interracial Jazz Recording (#34). Jimmie Rodgers w. Louis and Lil Armstrong

2025-06-02T11:22:00.000-04:00

Here's the Jimmie Rodgers-Louis Armstrong recording I promised some posts ago, with the bonus of Lil Armstrong on piano. The Armstrongs were not billed because Louis was signed with Okeh and this is a Victor recording.

In 1970, Armstrong played the tune with Johnny Cash on his television show and said: “I had been knowin’ Jimmie for a long time and following his music. After meeting one morning, Jimmie said, ‘Man, I feel like singing some blues.’ I said, ‘Okay, daddy, you sing some blues and I’m gonna blow behind you.’ And that’s how the record started.”

It's a blues, but doesn't strictly adhere to the standard 12-bar chord sequence, except during Louis' solo. Despite the labels given to what each plays-country, blues, jazz- they share a foundational emotional approach and mesh perfectly. The group was never reunited as Rodgers died from tuberculosis in 1933.

Jimmie Rodgers (vcl,g) acc by Louis Armstrong (tp) Lil Armstrong (p) Hollywood, CA, July 16, 1930.

Blue yodel no 9 [Standing on the corner]- Vic 23580, RCA LPM2112, Jazum 13, RCA (Eu)NL89823, (F)FXM1-7106, Franklin Mint GJR054, BBC (E)REB683, RCA Victor 68682-2 [CD], RCA 2115517-2 [CD]

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