Broadway 1140 – Devine’s Wisconsin Roof Orchestra – 1927

Posted on April 30, 2016 by R. Connor Montgomery

So I’m told that the thirtieth of April is International Jazz Day. I was unaware that such an occasion even existed, but I certainly can’t let it fall by the wayside, so here’s a real humdinger of a jazz record, and from a most unexpected place…

An autographed photo of bandleader Bill Carlsen, dating to the late 1920s or early ’30s.

One of the best ways to experience the “real” jazz of the 1920s and 1930s is to seek out the oftentimes scarce records by the so-called “territory bands”, that being bands that traveled around various regions, usually by bus, gigging at dance halls, hotel ballrooms, and the occasional radio station. I think it’s safe to assume that those bands played what the regular folks were interested in hearing.

This disc comes from a fine Midwestern territory band that had the distinction of playing at Milwaukee’s Wisconsin Roof Garden, an open-air ballroom perched atop the Carpenter Building at 700 North 6th Street, owned and operated by George J. Devine, who lent his name to the band for many of their records. The band, led by saxophone player and Kansas-native Bill Carlsen, was a hot one, playing in a style that we today might call “dixieland jazz” (at that time, of course, it was just “jazz”), with that hot and raucous sound common to Midwestern jazz bands.

Broadway 1140 was recorded in December of 1927 at Paramount’s Chicago studio by Devine’s Wisconsin Roof Orchestra, directed by Bill Carlsen (spelled Carlson on the label). The band includes Dip Happe and Alec Alexander on trumpets, Ole Turner on trombone, Paul Peregrine, Harry Bortner and Bill Carlsen on reeds, Lee Simmons on piano, Ralph West on banjo, Chet Harding on tuba and Harry Pierce at the drums. This record was also issued as Paramount 12599.

First, the band plays a hot and stomping novelty rendition of the “New St. Louis Blues”, which, as it turns out, is actually the same old St. Louis Blues as always. My speculation is that bands like this one titled it “new” to entice buyers that likely already owned a copy of the “old” St. Louis Blues.

New St. Louis Blues, recorded December 1927 by Devine’s Wisconsin Roof Orchestra.

Next up, they play what is surely one of the all-time best versions of that classic (or as Satchmo might have put it, “one of the good old good ones”), “Tiger Rag”.—one of my own favorites, at least This pressing is the first of two extant takes of this side.

Tiger Rag, recorded December 1927 by Devine’s Wisconsin Roof Orchestra.

Updated with improved audio on June 5, 2018.

Gennett 3005 – Straun’s Pullman Porters – 1925

Posted on April 30, 2016 by R. Connor Montgomery

Come all you rounders if you want to hear, a story about a brave engineer. Casey Jones was the rounder’s name. On a six-eight wheeler, boys, he won his fame. Exactly one-hundred-sixteen years ago, on April 30, 1900, the brave engineer mounted to his cabin and he took his farewell trip into the promised land.

Casey Jones was born Jonathan Luther Jones in 1863. He got the nickname “Cayce” from his hometown in Kentucky, and he restyled it as “Casey”. Jones married Mary Brady in 1886 and raised three children. He worked for the M&O and the IC railroads, and eventually rose to his dream of being an engineer, becoming one of the most able and respected in the profession, famous for his unique sound with the train whistle. In 1893, Casey’s services were employed at the World’s Columbian Exposition in Chicago.

On April 30, 1900, Casey Jones made his final run. It was a foggy night, and Casey departed in the Old 362, behind schedule at 12:50 am, pulling the No. 1. Despite several delays, Casey was able to get the train running on schedule for a time. The end of the run came for Casey, however, when his fireman Sim Webb spotted something on the tracks ahead. It was a stalled freight train. Casey slammed on his airbrakes, but it was too late, and the Old 362 plowed into the rear of the freight train, going through several cars before derailing. Thanks to his heroic actions that night, Casey’s life was the only loss in the accident. His story was immortalized in song by IC engine-wiper Wallace Saunders. Casey Jones went down in history as an American folk hero, he was a teetotaler, a family man, a baseball lover, and a brave engineer.

Gennett 3005 was recorded March 24 and April 5, 1925 in Gennett’s New York studio. “Straun’s Pullman Porters” is a pseudonym for Nathan Glantz and his Orchestra, fronted by vocalist “Chick” Straun, apparently yet another a pseudonym, this time for Jack Kaufman. I’m not entirely sure what you’d call these old folk songs reworked as jazz, if there even is a name for them, but I know I like them. Much like Paul Tremaine’s hot dance renditions of “She’ll Be Comin ‘Round the Mountain” (and so forth), but these two are much earlier.

The first song on this disc is Wallace Saunders’ famous tale of the brave engineer, “Casey Jones”, sung by “Chick” Straun/Jack Kaufman. Songwriting credit is given on the label to vaudevillians T. Lawrence Seibert and Eddie Newton, who popularized the song as a comedy act, with lyrics alleging infidelity on the part of Mrs. Jones, which she opposed for many years. I selected this version specifically to avoid those lines, in order to maintain some respect toward poor old Casey.

Casey Jones, recorded March 24, 1925 by Straun’s Pullman Porters.

Unfortunately for us, the old classic tune, “A Hot Time in the Old Town Tonight”, is marred by some skips, but it’s still a neat little side.

A Hot Time in the Old Town Tonight, recorded April 5, 1925 by Straun’s Pullman Porters.

Brunswick 6265 – Duke Ellington and his Famous Orchestra – 1932

Posted on April 29, 2016 by R. Connor Montgomery

Today we celebrate the birthday of Duke Ellington, who was born on this day 117 years ago. Music as his mistress, he was the man that truly made a lady out of jazz—and a sophisticated lady, at that.

Duke Ellington with his orchestra at the Cotton Club sometime in the 1930s. From Jazzmen, 1938.

Duke Ellington with his orchestra at the Cotton Club sometime in the 1930s. From Jazzmen, 1939.

Edward Kennedy Ellington was born April 29, 1899 in Washington, D.C. to two piano playing parents. As a youngster, he came to be called Duke for his refined manners and dapper style of dress. While working as a soda jerk at the Poodle Dog Café in 1914, Duke composed his first song, the “Soda Fountain Rag” (a.k.a. the “Poodle Dog Rag”), which he played in a variety of styles. Working as a sign painter in the latter part of the 1910s, Ellington put together small bands for various affairs. He put his first orchestra together in 1917, included as its early members were his childhood friend Otto Hardwick, Arthur Whetsel, Elmer Snowden, and Sonny Greer. Eventually, the band moved to Harlem, following drummer Sonny Greer, who was invited to play with Wilbur Sweatman’s band. In 1924, the band made its first records on the Blu Disc label, which were sold only at the cigar counter of a New York theater. As the Washingtonians, led by Elmer Snowden, the band played at Harlem’s Kentucky Club. Snowden was later kicked out of the band over a financial dispute and full leadership was assumed by Ellington.

In 1926, Ellington signed Irving Mills as his band’s agent, a move that brought his success to new heights. Later, in 1927, King Oliver had foolishly decided to hold out for more money on the prestigious Cotton Club gig, and Ellington took the job, his orchestra becoming the house band of the famous club, replacing the recently deceased Andy Preer. He held the position until Cab Calloway brought Preer’s band (as the Missourians) back to the Cotton Club. Duke was brought to greater fame when his orchestra appeared in the 1930 Amos ‘n’ Andy picture Check and Double Check. Ellington toured across the United States in the early 1930s, and, like many American artists, made a European tour in 1933. Throughout the years, Ellington featured many great musicians and introduced many famous pieces. He appeared in a number of films and continued to enjoy immense success as one of the world’s foremost musical forces until his death in 1974.

Brunswick 6265 was recorded February 2 and 11, 1932 in New York City. Ellington’s Famous Orchestra features Arthur Whetsel, Freddie Jenkins, and Cootie Williams on trumpets, Joe Nanton and Juan Tizol on trombones, Barney Bigard on clarinet and tenor sax, Johnny Hodges on clarinet, soprano sax, and alto sax, Harry Carney on clarinet, alto sax and baritone sax, Duke on piano, Fred Guy on banjo, Wellman Braud on string bass, and Sonny Greer on drums.

First up, it’s Ellington’s famous “It Don’t Mean a Thing (If it Ain’t Got That Swing)”, named after the credo of former band-mate Bubber Miley, who was ailing at the time. Ivie Anderson provides the famous vocal.

It Don’t Mean a Thing (If it Ain’t Got That Swing), recorded February 2, 1932 by Duke Ellington and his Famous Orchesstra.

On the reverse, Ellington’s Famous Orchestra plays the old standard, “Rose Room (In Sunny Roseland)”.

Rose Room (In Sunny Roseland), recorded February 11, 1932 by Duke Ellington and his Famous Orchestra.

Updated with improved audio on April 29, 2019.

Decca 1840 – Chick Webb and his Orchestra – 1938

Posted on April 25, 2016 by R. Connor Montgomery

Ella Fitzgerald in the late 1930s. From Jazzmen, 1938.

Ella Fitzgerald in the late 1930s. From Jazzmen, 1939.

In the mood for a bit of swing? I hope so, because today we celebrate birthday of the First Lady of Song, Ella Fitzgerald.

Ella was born April 25, 1917 in Newport News, Virginia. She moved north to Yonkers during the Great Migration. After falling on hard times as a teenager during the Great Depression, she entered an amateur night at the Apollo Theater in Harlem. Though she originally intended to dance at the show, after feeling intimidated by another dance act, she sang instead, imitating the style of her favorite singer, Connie Boswell, and won the twenty-five dollar prize. In 1935, Chick Webb reluctantly took her on as a vocalist in his band, which she stayed with for the remainder of the decade. When Webb succumbed to his illness in 1939, Ella took over the band, recording under her own name. After Webb’s band broke up, she continued to record as a solo artist, and the rest as they say, is history. After a life of music, her health declined in the 1980s, and Ella Fitzgerald died comfortably in her home on June 15, 1996, her final words were, “I’m ready to go now.”

Decca 1840 was recorded in two sessions in May of 1938, the first on the second and the second on the third. The band consists of Mario Bauza, Bobby Stark, and Taft Jordan on trumpet, George Matthews, Nat Story, and Sandy Williams on trombone, Garvin Bushell on clarinet and alto sax, Louis Jordan (yes, that Louis Jordan) on alto sax, Teddy McRae, and Wayman Carver on tenor sax, Tommy Fulford on piano, Bobby Johnson on guitar, Beverly Peer on string bass, and Chick Webb on drums.

Ella’s first big hit was “A-Tisket A-Tasket”, which she and Al Feldman adapted as a pop tune. The arrangement was written by the recently departed Van Alexander.

A-Tisket A-Tasket, recorded May 2, 1938 by Chick Webb and his Orchestra.

The label of the flip-side “Liza (All the Clouds’ll Roll Away)” bears the inscription “”To a Swell Kid, Camilla.” Unseen in the scan is “To Marilyn From Camilla Adams 1938” engraved in the run-out with some sharp instrument.

Liza (All the Clouds’ll Roll Away), recorded May 3, 1938 by Chick Webb and his Orchestra.

Vocalion 1198 – Cow Cow Davenport and Ivy Smith – 1928

Posted on April 23, 2016 by R. Connor Montgomery

Cow Cow Davenport, circa 1940s. Magazine clipping from “The Jazz Record”.

April 23 marks the 122nd anniversary of the birth of the Man that Gave America Boogie Woogie, Charles “Cow Cow” Davenport. Since it also marks my own birthday, that makes it a very special occasion, and thusly, I hope to offer a very special presentation.

Charles Edward Davenport was born in Anniston, Alabama on April 23, 1894. He took up the piano at the age of twelve. Davenport’s father was a pastor, and opposed his son’s musical interests, sending him away to a seminary to continue in his father’s work. The young Charles was kicked out the the seminary for playing ragtime. He began his professional career playing boogie woogie piano in medicine shows and touring the TOBA vaudeville circuit. In 1924, Davenport made his debut recordings as an accompanist for his vaudeville partner Dora Carr for Okeh Records, recording his trademark composition, “Cow Cow Blues”, one of the earliest instances of boogie woogie piano on record, from which he got his nickname. After Okeh, Cow Cow several records for Paramount, and recorded fairly prolifically, solo and as an accompanist. By the later 1920s, he was working with a new partner, Ivy Smith, and recording for Vocalion records, with whom he made a larger number of sides. He also worked as a talent scout for Vocalion, bringing in such talent as Clarence “Pine Top” Smith. Composed by Davenport were such classics as “Mama Don’t Allow It” and supposedly “You Rascal You”, which he claimed to have sold to Sam Theard. In the early 1930s, he took up in Cleveland, Ohio, which remained his home for the rest of his life. In 1938, Davenport suffered a stroke that caused minor paralysis in his right hand that forced him to temporarily retire from music and take menial jobs, and impeded his playing for the rest of his life. Nevertheless, he continued to perform and record. In 1942, his name was put up in lights when Freddie Slack’s Orchestra had a smash hit with “Cow Cow Boogie”, no doubt taking its name from the aging piano man. His final years plagued by ill health, Cow Cow Davenport died of heart failure on December 12, 1955 in Cleveland.

Vocalion 1198 was recorded in Chicago on July 16, 1928 featuring Cow Cow Davenport on piano assisted by his vaudeville partner, Ivy Smith on one side. Two known takes of each side were recorded that day, and both are presented here. Takes “A” come from the original issue, and takes “B” are from the 1943 reissue on Brunswick 80022.

Davenport first plays solo on his eponymous song “Cow Cow Blues”, deriving its name from the cowcatchers mounted on the front of old steam engines.

Cow Cow Blues, recorded July 16, 1928 by Cow Cow Davenport.

On the reverse, Davenport is joined by the vocals of his stage partner Ivy Smith on “State Street Jive”. “What kinda piano player is this?” Smith asks on take “B” of this tune.

State Street Jive, recorded July 16, 1928 by Cow Cow Davenport and Ivy Smith.