With a repertoire ranging from ragtime to pop songs, the eight songs recorded by the Dallas String Band are incomparable to most anything else on shellac records, and indeed are very difficult to categorize—they’re sometimes characterized as “pre-blues”, but none could technically be classified as blues songs, they bear some resemblance to white Texas string band music, and they’re all listed in Rust’s Jazz Records discography—but they are surely among the most fascinating music ever preserved. It probably wouldn’t be too far fetched to presume that their music bears substantial similarity to rural Afro-American music of the nineteenth century.
Though little is known of his life, Coley Jones was a prominent figure in the Afro-American music scene of Dallas, Texas in the 1920s. Born most likely in the 1880s, and may have been in Dallas by the turn of the century. As an itinerant musician, playing in medicine show type venues, his repertoire consisted largely of folk songs and old minstrel tunes like “Drunkard’s Special” and “Traveling Man”. Jones’ most notable contribution to music was as a member of the Dallas String Band, along with Marco Washington—stepfather of Dallas native Aaron Walker, also known as “Oak Cliff T-Bone”, and later as “T-Bone Walker”—and Sam Harris, playing music that could best be described as “pre-blues”. Their repertoire was drawn largely from minstrel, vaudeville, and ragtime traditions, including such songs as “So Tired” and “Chasin’ Rainbows”, as well as popular songs like “Shine” and “Sugar Blues”. In addition to the Dallas String Band, Jones was a member of a jazz band by the name of the Satisfied Five, which also included noted drummer Herbert Cowans, with whom he broadcasted on WFAA and played at the famed Baker Hotel in Mineral Wells. Every December from 1927 until 1929, Jones recorded for Columbia Records when they made field trips to Dallas. In addition to recording twenty-one sides of his own—solo, in duet with Bobbie Cadillac—and with the Dallas String Band, he accompanied local musicians Texas Bill Day and Billiken Johnson on a further six. He probably also recorded two unissued sides for Brunswick under the pseudonym “Coley Dotson” in 1929. Following his brief recording career, Jones’ whereabouts are largely unknown, and he is presumed to have died in the 1930s. Posthumously, Jones’ “Drunkard’s Special”, based on an old British folk song, was included on Harry Smith’s legendary Anthology of American Folk Music, and the Dallas String Band’s “So Tired” appeared in Terry Zwigoff’s 2001 motion picture Ghost World.
Columbia 14410-D was recorded on December 9, 1928 in Dallas, Texas. The Dallas String Band is made up of Coley Jones on mandolin and lead vocals, probably Sam Harris on guitar, and Marco Washington on string bass. Rust lists an unknown second mandolin, but I’m not so sure.
On the first side, they play the sublime “Chasin’ Rainbows”. I wouldn’t be exaggerating one bit to place this song easily in my top ten favorite recordings. The song is perhaps better known by the cover version by R. Crumb’s Cheap Suit Serenaders to audiences outside of, well, R. Crumb (and the few of us out there like him).
On the reverse, “I Used to Call Her Baby” is another pleasing raggy number, played this time with a little more pep.