Brunswick 6049 – Nick Lucas and his Crooning Troubadours – 1931

Nick Lucas, as pictured on the cover of The Mastertone Guitar Method.

August 23 marks the anniversary of the birth of the “Crooning Troubadour” Nick Lucas—sometimes called the “grandfather of jazz guitar”—whose tenor crooned charmed millions spanning more than one generation.

Nick Lucas was born Dominic Nicholas Anthony Lucanese in Newark, New Jersey on August 22, 1897.  Lucas played banjo with various dance bands in the early 1920s, and in June of 1922, made his debut recordings for Pathé with “Picking the Guitar” and “Teasin’ the Frets”, both guitar solos.  He re-recorded both sides for Brunswick the next year (and again in 1932, electrically).  Before long, he was making vocal records for Brunswick as “the Crooning Troubadour,” with his pleasing tenor croon accompanied by his own guitar, sometimes with a piano or orchestra.  In 1929, Lucas appeared in the talking picture Gold Diggers of Broadway, introducing “Tip-Toe Thru The Tulips with Me”, which he also made a hit on record.  In 1930 and ’30, he recorded with his own band, the “Crooning Troubadours”, and the following year made some recordings for Hit of the Week.  Lucas’ fame faded in the 1930s, as swing became king, but he continued to perform.  In the 1940s he made a few Soundies, followed by some Snader Telescriptions in 1951.  Lucas experienced a resurgence in popularity many years later.  He appeared on the Tonight Show Starring Johnny Carson in 1969, for the televised wedding of Tiny Tim—a devotee of his—who had re-popularized “Tip-Toe Thru the Tulips”.  In 1974, he performed several songs for the soundtrack of The Great Gatsby.  After enjoying a career that spanned a great deal longer than half a century, Nick Lucas died of pneumonia in 1982.

Brunswick 6049 was recorded in New York on February 6 and January 31, 1931, respectively.  I respectfully disagree with Brian Rust’s assertion that “vocal records by this artist are of no interest as jazz,” as these two are quite jazzy, but as such, I am unable to provide a list of personnel for Lucas’ Crooning Troubadours.  The band is likely made up of Brunswick studio men.

First, Lucas croons the pop tune “Running Between the Rain-drops”.

Running Between the Raindrops

Running Between the Rain-drops, recorded February 6, 1931 by Nick Lucas and his Crooning Troubadours.

Next, he sings one of my favorites, “Hello! Beautiful”, a tune commonly associated with Maurice Chevalier.

Hello! Beautiful!

Hello! Beautiful!, recorded January 31, 1931 by Nick Lucas and his Crooning Troubadours.

Champion S-16443 – Luke Baldwin – 1931

One of the outstanding folk song spinners of the 1930s was the “Dixie Songbird”, Bill Cox.  In spite of his innocuous nickname, Cox’s repertoire consisted largely of topical songs about hot-button issues of the day, including “The Trial of Bruno Richard Hauptmann” (about the Lindbergh baby kidnapping), “The Fate of Will Rogers and Wiley Post”, and “N. R. A. Blues”.

William Jennings Cox was born in Eagle, West Virginia on August 4, 1897.   In his youth, he took up the harmonica, and guitar, both of which he came to play with proficiency.  In 1927, Cox reportedly made his professional debut on WOBU radio in West Virginia, performing as the “Dixie Songbird,” a moniker which he retained throughout his musical career.  Two years later, in 1929, Cox ventured to Richmond, Indiana to cut his first records for the Starr Piano Company, manufacturers of Gennett Records (and their subsidiary labels such as Champion, Supertone, and so forth).  Like many of his contemporaries, his earliest recordings were covers of songs by Jimmie Rodgers, but he soon branched out into making renditions of old folk songs and his own original compositions.  Cox continued to record for Gennett until around 1931, and after an apparent hiatus, resumed his recording career in 1933 for the American Record Corporation, with whom he remained until he retired from recording.  On many of these records, he was accompanied by fellow West Virginian Cliff Hobbs.  Under the ARC, Cox’s records were issued on Conqueror, Perfect, Melotone, Oriole, Banner, Vocalion, and later Okeh.  After retiring from recording in 1940, Cox fell on hard times, and was discovered destitute and living in a converted chicken coop in 1966.  The following year, he recorded an album that would be his swan song.  Bill Cox died on December 10, 1968.

Champion S-16443 was recorded on August 17, 1931 in Richmond, Indiana by Bill Cox, released under the pseudonym Luke Baldwin.  He is accompanied by his own guitar.  It sold a total of only 301 copies!  It was also issued on Superior 2833 (which appears to have sold only 55 copies, if my interpretation of George Kay’s Superior Catalog is correct, and if it is indeed accurate), and later reissued with the sides split up, with “In 1992” on Decca 5497 and Champion 45093, and with “I Found You Among the Roses on Champion 45106 and Montgomery Ward 4942.

Cox plays harmonica on own composition “I Found You Among the Roses”, set to the tune of Edward B. Marks and Joseph W. Stern’s “My Mother Was a Lady”, or at least Jimmie Rodgers’ recording of it, which is likely where Cox found his inspiration.  Please note that this is an entirely different song than the 1916 George B. Pitman song of the same name as recorded by the Carter Family.

I Found You Among the Roses

I Found You Among the Roses, recorded August 17, 1931 by Luke Baldwin.

On the “B” side, Cox predicts the future on “In 1992”, a novelty song penned by musical duo Arthur Fields and Fred Hall.

In 1992

In 1992, recorded August 17, 1931 by Luke Baldwin.

Updated with improved audio on May 8, 2018.

Timely Tunes C-1585 – Henny Hendrickson’s Louisville Serenaders – 1931

Another entry in Old Time Blues’ continuing series on the territory jazz bands that once dotted the United States, we look upon the obscure history of Henny Hendrickson’s Louisville Serenaders.

Details about the Louisville Serenaders are scarce, it would appear that the band made little mark on history.  They were led by reed man Clarence “Henny” Hendrickson.  In spite of their name, they did not hail from the vicinity of Louisville, Kentucky, but rather toured the Delaware, Pennsylvania, and New Jersey area.  The same stunt was pulled by Johnny Hamp’s Kentucky Serenaders, who also hailed from Pennsylvania.  Perhaps the Louisville Serenaders chose their name in an attempt to emulate the successful Victor recording orchestra (purely speculation).  In any event, they had three sessions for the RCA Victor Company in Camden, New Jersey in 1930 and ’31, yielding a total of fourteen sides, eight of which were released.  Half of those were issued on the Victor label, while the other half appeared on their short-lived budget label Timely Tunes.  No sides from their first session on July 21, 1930 were issued, while all of those recorded at their second and third sessions, on June 10 and 17, 1931, were.  Among those sides are a memorable rendition of “I Ain’t Got Nobody” and a peppy version of Harold Arlen’s “Buffalo Rhythm”.  I can find no information concerning the life and times of bandleader Clarence “Henny” Hendrickson.

Timely Tunes C-1585 was recorded on June 10, 1931 at Victor’s church building studio near their Camden, New Jersey headquarters.  Among the Louisville Serenaders are Herb Facemyer and an unknown player on trumpets, Johnny Lingo on trombone, Clarence “Henny” Hendrickson on clarinet, soprano sax, and alto sax, Don Shook on alto sax, Eddie Friebel on tenor sax, Bill Wallace on piano, Wyatt Haynes on banjo and guitar, Art Maxwell on tuba and and unknown drummer.  The trio that sings on both sides is made up of Facemyer, Maxwell, and Friebel.

The first song which the Serenaders will serenade us with is Cliff Friend and Dave Dreyer’s “I ‘Wanna’ Sing About You”.

I "Wanna" Sing About You

I “Wanna” Sing About You, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Next, they play a mighty fine rendition of the old classic “I Ain’t Got Nobody”.

I Ain't Got Nobody

I Ain’t Got Nobody, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Victor 22866 – Blanche Calloway and her Joy Boys – 1931

Blanche Calloway, late 1920s or early ’30s. Pictured in Of Minnie the Moocher and Me.

We last heard from Cab’s underappreciated sister Blanche Calloway the previous time we celebrated her birthday, with her “There’s Rhythm In the River”/”I Need Lovin'” with Andy Kirk’s band.  Now the time of year has come around once again that we celebrate the birthday of the late Blanche with her music.  As I’ve already gone in to some detail on Blanche’s life in the aforementioned post, I won’t rewrite my biography of her here.

When the band calling themselves “Blanche Calloway and her Joy Boys” began recording for the RCA Victor Company on March 2, 1931, it was essentially as a pseudonym for Andy Kirk’s Twelve Clouds of Joy, fronted by vocalist Blanche.  Not long after that session, before their next, Blanche tried to take over leadership of the Twelve Clouds of Joy for her own.  Andy Kirk however, would have none of that, and so Blanche was left to put together a band of her own, and that she did.  With Kirk band trumpeters Edgar Battle and Clarence Smith still along, Blanche assembled a new “Joy Boys”, with a few future swing era stars—Cozy Cole and Ben Webster most notably—sitting in along the way.  The new Joy Boys, with occasional changes in personnel, continued to record into the middle of the 1930s, cutting seventeen sides for Victor in 1931, four for the American Record Corporation in 1934, followed by a fifth unissued recording the next year, and four more for Vocalion in 1935.  The organization come to an end in 1936, when Blanche and a band member were locked up for disorderly conduct in Yazoo, Mississippi after trying to use a whites only restroom, and another bandmate ran off with all their money.

Victor 22866 was recorded on November 18, 1931 at the Church Building studio in Camden, New Jersey.  It sold a mere 3,233 copies.  Blanche’s Joy Boys are made up of Henry Mason, Clarence E. Smith, and Edgar Battle on trumpets, Alton Moore on trombone, Ernest Purce on clarinet and alto sax, Leroy Hardy on alto sax, Charlie Frazer on tenor sax, Clyde Hart on piano, Andy Jackson on banjo, Joe Durham on tuba, and Cozy Cole on drums.

First, Blanche sings one of her characteristic songs, her own composition, “Growling Dan”, featuring a mention of her brother’s famous Minnie the Moocher.

Growling Dan

Growling Dan, recorded November 18, 1931 by Blanche Calloway and her Joy Boys.

On the flip, she sings a blues song popularized by Bessie Smith, the Clarence Williams and Hezekiah Jenkins composition, “I Got What it Takes (But it Breaks My Heart to Give it Away)”.

I Got What It Takes

I Got What It Takes (But it Breaks My Heart to Give it Away), recorded November 18, 1931 by Blanche Calloway and her Joy Boys.

Romeo 5109 – Gene Autry & Jimmy Long – 1931

Singing cowboy and 20th century superstar Gene Autry was born on this day in 1907, and to commemorate the occasion, here is Autry’s first hit, featuring his early duet partner Jimmy Long.

A depiction of Gene Autry featured on an early 1930s Perfect record sleeve.

A depiction of Gene Autry featured on an early 1930s Perfect record sleeve.

Gene Autry was born Orvon Grover Autry on September 29, 1907 in Grayson County, Texas, near Tioga.  After high school, he worked as a telegraph operator for St. Louis–San Francisco Railway, and would sing and play guitar on slow days.  After losing that job, Autry sang on Tulsa’s KVOO, and when Will Rogers encouraged his singing career, he went to New York for an audition with the Victor Company, which wound up producing one record with Jimmy Long and Frankie Marvin on steel guitar.  After Victor, Autry recorded for Columbia, which yielded several releases on their budget labels, in the style of the famous singing brakeman Jimmie Rodgers.  After Columbia, he recorded for Gennett and the American Record Corporation, staying with the latter for many years.  In 1934, he was “discovered” by Nat Levine of Mascot Pictures and made his motion picture debut in In Old Santa Fe, becoming the original singing cowboy of the screen.  Before long, Autry became the top singing cowboy on film until he was surpassed by Roy Rogers, and his blue yodeling style was replaced with a more Western repertoire.  He had hit records with “Silver Haired Daddy of Mine” in 1931 (and again in ’35), “Back in the Saddle” in 1939, and the Christmas classics “Here Comes Santa Claus” and “Rudolph the Red-Nosed Reindeer”.  During World War II, Autry served in the Army Air Corps.  In the 1950s, Autry appeared in his own television program, and became involved in baseball.  He retired from show business in 1964, having made over one-hundred films and over six-hundred records.  Autry died of lymphoma on October 2, 1998.  He is the only person thusfar to be awarded stars on the Hollywood Walk of Fame in all five categories.

Romeo 5109 was recorded on October 29 and 30, 1931 in New York City by Gene Autry and Jimmy Long.  In addition to Autry’s guitar, the pair are accompanied by Roy Smeck on steel guitar.

Sentimental to the point of sappiness (and truly a piece of Americana) “Silver Haired Daddy of Mine” was Gene Autry’s first big hit, and one of his most enduring songs, making its biggest success in 1935 when Autry sang it in Tumbling Tumbleweeds.

Silver Haired Daddy of Mine

Silver Haired Daddy of Mine, recorded October 29, 1931 by Gene Autry & Jimmy Long.

Following the same formula as the previous, on the flip, they perform “Mississippi Valley Blues”.

Mississippi Valley Blues

Mississippi Valley Blues, recorded October 30, 1931 by Gene Autry and Jimmy Long.