Okeh 41571 – Chick Webb and his Orchestra – 1934

Posted on February 10, 2018 by R. Connor Montgomery

February 10th marks the anniversary of the birth of one of several men who may well have been the father of swing music—the incomparable Chick Webb.

Chick was born William Henry Webb in Baltimore, Maryland. The year of his birth has been disputed, with 1902, 1905, 1907, and 1909 all suggested, though ’05 is the most likely candidate. As a child, tuberculosis of the spine stunted his growth and led to his hunchbacked appearance. His doctor suggested the young Webb take up the drums to help alleviate his condition, so he worked as a newsboy to save up enough money for a kit. By the mid-1920s, he was leading a band in Harlem. After one unissued side for Vocalion in ’27, Webb cut his first record for Brunswick in 1928, issued under the pseudonym “The Jungle Band” (a name usually reserved for Duke Ellington’s recordings on that label). These two Brunswick sides, titled “Dog Bottom” and “Jungle Mama” were stomping hot jazz. In 1931, Webb’s orchestra became the house band of the famed Savoy Ballroom in Harlem, Following a ’31 date with Vocalion, Webb signed with Columbia, waxing thirteen sides in 1933 and ’34, four of which appeared on their subsidiary Okeh label. Two months after completing his final Okeh recordings in July of 1934, Webb signed with Decca, which would last him the remainder of his career. Not too long after beginning his contract with Decca, Webb brought on a new girl singer by the name of Ella Fitzgerald. In a number of “battles of the bands” at the Savoy, Webb and his orchestra bested the likes of Benny Goodman and Count Basie, though he once lost to Duke Ellington’s band. By the end of the 1930s, however, Webb’s condition was catching up to him. Following an operation at Johns Hopkins Hospital, Chick Webb died on June 16, 1939 in his hometown of Baltimore.

Okeh 41571 was recorded on July 6, 1934 in New York City by Chick Webb and his Orchestra. Purportedly, matrices W 152770 and W 152772 were the last masters recorded by the Columbia Phonograph Company before its absorption into the American Record Corporation. Webb’s Orchestra is made up of Mario Bauza, Bobby Stark, and Taft Jordan on trumpets, Sandy Williams and Fernando Arbello on trombones, Pete Clark and Edgar Sampson an alto saxes, Elmer Williams and Wayman Carver on tenor saxes, Joe Steele on piano, John Trueheart on banjo and guitar, John Kirby on string bass, and of course Chick Webb on drums.

First up, baritone Charles Linton delivers a wonderful vocal on Webb’s all-around magnificent rendition of the 1932 “Fats” Waller, Don Redman, and Andy Razaf standard “If it Ain’t Love”.

If it Ain’t Love, recorded July 6, 1934 by Chick Webb and his Orchestra.

Next, trumpet man Taft Jordan performs a Satchmo style vocal on “True”.

True, recorded July 6, 1934 by Chick Webb and his Orchestra.

Gennett 6505 – The New Yorkers – 1928

Posted on March 2, 2017 by R. Connor Montgomery

An original “New Electrobeam” record sleeve.

To me, the records made in the 1920s and 1930s on labels like Gennett and Paramount (manufactured by the Starr Piano Company and the Wisconsin Chair Company, respectively) seem to be a part of Americana. They were distinctively American companies made in America’s heartland, and recorded a large amount of music by and for the American common man. While today’s record, though indeed a Gennett, is not one of those vernacular types, it is a “New Electrobeam” by an excellent New York dance band.

Gennett 6506 was recorded June 18, 1928 in New York City by the New Yorkers, a Carl Fenton orchestra. The vocal refrains are by Carl Mathieu, who also sang as a member of the Peerless Quartet.

“Carl Fenton” was, however, not a real person. Fenton began “life” in the early 1920s as a pseudonym for Gus Haenschen, an executive and studio band leader with Brunswick Records, whose name was “ill-suited” for record labels given attitudes toward Germans following World War I (plus, just look at it, it’s like a mess of letters). This “Carl Fenton” recorded for Brunswick between 1920 and 1927. In 1927, Reuben Greenberg, who had been a member of the band, bought the name from Haenschen and began using it to lead his own band, which recorded with Gennett and later had a pivotal role with the QRS label made by Cova around 1930. In 1932, Greenberg legally changed his name to Carl Fenton, thus bringing the fictional bandleader into reality.

The band first plays a very nice syncopated version of “You’re a Real Sweetheart”, strangely credited to “Kahn-Fioritta”, even though the song was actually written by Irving Caesar and Cliff Friend. Vocalist Carl Mathieu seems to miss his cue a little bit on this side.

You're a Real Sweetheart, recorded 1938 by The New Yorkers.

You’re a Real Sweetheart, recorded June 18, 1928 by The New Yorkers.

On the reverse, they play another great one, the 1928 hit “Dusky Stevedore”, this time correctly credited to Andy Razaf and J.C. Johnson.

Dusky Stevedore, recorded 1928 by The New Yorkers.

Dusky Stevedore, recorded June 18, 1928 by The New Yorkers.

Perfect 6-05-09 – Joe Haymes and his Orchestra – 1936

Posted on October 12, 2015 by R. Connor Montgomery

With all the controversy we have surrounding Columbus Day, who knows, they might decide to abolish it after this year. With that in mind, I can’t think of a better time to share this fine swing record, and you’ll see why. Though this was recorded near the beginning of the swing era, recordings like this represent swing’s finest, or at least jazziest period, in my opinion.

Joe Haymes got his start in the music industry as arranger for Ted Weems’ orchestra before breaking out with his own band in 1930. Eventually developing a reputation for doing so, Haymes sold off his first band to movie star and musician Charles “Buddy” Rogers in 1933. He put together another band the next year which was taken over by Tommy Dorsey after the famous Dorsey Brothers split. Afterwards, he organized yet another band to record with the American Record Corporation, which is heard on this record.

Perfect 6-05-09 was recorded on March 11, 1936 in New York and features the talent of Cliff Weston, Zeke Zarchy, and Gordon Griffin on trumpets, Mike Michaels and Frank Llewellyn on trombone, Leo White on clarinet, Edgar Sarason on alto sax, Freddy Fallensby on tenor sax, Ben Herrod on baritone sax, Bill Miller on piano, Brick Fleagle on guitar, Jack Fay on string bass, and Charlie Bush on drums.

First, Haymes’ orchestra plays Leon “Chu” Berry and Andy Razaf’s composition, Christopher Columbus (A Rhythm Cocktail). You may recognize this tune from Benny Goodman’s famous performance of “Sing, Sing, Sing”, which featured the theme along with Louis Prima’s famous composition.

Christopher Columbus (A Rhythm Cocktail), recorded March 11, 1936 by Joe Haymes and his Orchestra.

On the flip, they play Stuff Smith’s “I’se a Muggin'”, with a vocal chorus by trumpeter Cliff Weston. I can’t figure out what the heck is going on in these lyrics.

I’se a Muggin’, recorded March 11, 1936 by Joe Haymes and his Orchestra.