Victor 21291 – Jimmie Rodgers – 1928

“Thumbs Up—On the Spot.”  Jimmie Rodgers donning his brakeman attire for a famous studio pose.  Circa 1930.

This is the first Jimmie Rodgers record I ever owned, I picked it up at a little record store down in Austin that unfortunately no longer bothers stocking 78s.  I hadn’t been collecting for long at the time—mostly I just had a bunch of records inherited from my great-great-grandfather and some junk from used bookstores—and that was one of my first forays into record stores to look for 78s.  My musical knowledge wasn’t so vast then, but I’d heard Jimmie’s “Blue Yodel No. 8 (Mule Skinner Blues)” and I wanted to find a copy of that one.  When I picked up this one, I couldn’t really recall which number of Blue Yodel that one was, and I hoped this one might’ve been it.  I took it to the listening station in the store, and it wasn’t, but that was okay, it was only $3.99, and I wanted it anyway.  When I got home, I listened to it over and over and—though the sound was a little rough, especially on the cheap equipment I had at the time—I fell in love with both sides just the same as I had with “Mule Skinner Blues”, and so began my quest to find more.

Victor 21291 was recorded in Camden, New Jersey on February 15 and 14, 1928, respectively.  It was issued that June and remained in the catalog until 1936.  Jimmie Rodgers is accompanied by his own guitar, and by Ellsworth T. Cozzens on steel guitar on the “A” side and on ukulele on “B”.

On the “A” side, Jimmie sings the second installment in his Blue Yodel series, “Blue Yodel No. II (My Lovin’ Gal, Lucille)”.  I’d argue it’s one of his best, but then, aren’t they all?

Blue Yodel No. II (My Lovin’ Gal, Lucille), recorded February 15, 1928 by Jimmie Rodgers.

On the “B” side is another of Singing Brakeman’s classics, his eponymous “The Brakeman’s Blues (Yodeling the Blues Away)”.

The Brakeman’s Blues (Yodeling the Blues Away), recorded February 14, 1928 by Jimmie Rodgers.

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.

Victor 19212 – Ted Weems and his Orchestra – 1923

115 years ago today, the prolific bandleader Ted Weems was born.  He had hits with “Piccolo Pete” and “Heartaches”, and co-wrote such songs as “Oh, Mo’nah” and “Jig Time”.   In commemoration of the occasion, here is his first record.

Weems was born Wilfred Theodore Wemyes on September 26, 1901 in Pitcairn, Pennsylvania.  He began his musical path when he entered a contest to win a pony, but wound up with a violin instead.  He later took up the trombone as well.  Weems organized his first band while in school, and did so again in college with a more professional group that took professional engagements at hotels and restaurants.  In 1921, Weems’ band played at the inauguration of President Warren G. Harding.  The Weems band made their first record in 1923 for the Victor Talking Machine Company, with whom they continued to record for the next ten years.  After leaving Victor, the Weems band recorded for Columbia, and then Decca.  Like many bands and musicians of that day and age, much of their success was found on the airwaves.  During the war, Weems joined the Merchant Marines and led their band.  After a period of relative dormancy, Weems’ popularity was revived in 1947 when a North Carolina disc jockey played his uptempo rumba recording of “Heartaches” from 1933, which was met with unexpected enthusiasm from the public.  After that unexpected success, Victor reissued the record, and Decca followed suit with a reissue of their recording of the same tune that Weems had cut in 1938, both of which became hits.  Weems organized a new band, which stayed together until 1953.  Ten years later, in 1963, Ted Weems died of emphysema.

Victor 19212 was recorded on November 20, 1923 in Camden, New Jersey, the first sides ever cut by Ted Weems’ Orchestra.  Both sides were originally made as tests, but must’ve impressed the higher-ups, as they wound up being assigned masters and issued.  The band consists of Art Weems and Paul Creedon on trumpets, Ted Weems on trombone, Norman Nugent and Walter Livingston clarinet, soprano sax, alto sax, and bass sax, Francis Buggy on clarinet, soprano sax, and tenor sax, Charles Gaylord on violin, Reuel Kenyon on piano, Weston Vaughan on banjo, George Barth on tuba and string bass, and Cecil Richardson on drums.

First up, Weems’ band plays the western-themed “Covered Wagon Days”.

Covered Wagon Days

Covered Wagon Days, recorded November 20, 1923 by Ted Weems and his Orchestra.

On the reverse, they play a superb instrumental rendition of the old standard “Somebody Stole My Gal”.

Somebody Stole My Gal

Somebody Stole My Gal, recorded November 20, 1923 by Ted Weems and his Orchestra.

Montgomery Ward M-4225 – The Carter Family – 1932/1928

The Carter Family in the late 1920s. Left to right: Sara, A.P., Maybelle.

The Carter Family in the late 1920s. Left to right: Maybelle, A.P., Sara.

With all due apologies for my unintended ten day hiatus, I hope now to return to regular posting.  And what better a note to return on than these great classics by the one and only Carter Family, in honor of Sara Carter, born on this day 118 years ago.

Sara Elizabeth Dougherty was born in Copper Creek, Virginia on July 21, 1898 to William and Nacy Dougherty.  In 1915, she married Alvin Pleasant (A.P.) Carter, with whom she had three children, Gladys, Janette, and Joe.  In the 1920s, Sara began performing traditional folk songs with her husband and cousin Maybelle as the Carter Family.  In August of 1927, they came to Bristol, Tennessee to record for the first time in a series of sessions organized by Ralph S. Peer for the Victor Talking Machine Company.  At the Bristol Sessions, the Carter Family recorded six sides, four on the first and two on the second of August.  Their first record, “Poor Orphan Child” and “The Wandering Boy” was issued on Victor 20877 in December of 1927, with considerable success.  In May of 1928, they ventured to Victor’s facilities in Camden, New Jersey to record again.

In 1932, the Carter’s experienced marital strife, with Sara having an affair with her husband’s cousin, while he was away on one of his many efforts to “discover” new material for the family.  They divorced in 1939, and the original Carter Family disbanded in 1943, after which Sara married A.P.’s cousin and moved to California, where she retired from music.  She later made a comeback during the folk revival of the 1960s with Maybelle.  Sara died at the age of 80 on January 8, 1979.

Montgomery Ward M-4225 was recorded in two separate sessions, the first on May 9, 1928, and the second on October 14, 1932, both in Camden, New Jersey.  They were originally issued on Victor 21434 and 23776.  This Montgomery Ward issue was pressed from the original masters.

“The Church in the Wildwood” is a song that I recollect fondly from my own childhood, and the Carters’ rendition is a pleasure to hear.  Fittingly, this side was recorded in Victor’s Camden, New Jersey church studio.

The Church in the Wildwood

The Church in the Wildwood, recorded October 14, 1932 by the Carter Family.

The Carter Family’s classic rendition of the old standard “Keep On the Sunny Side” could be compared to Jimmie Rodgers’ “Blue Yodel” as a song that became indelibly associated with them.  Also like Rodgers’ “Blue Yodel”, it was recorded at the Carters’ first session after the Bristol Sessions.

Keep On the Sunny Side

Keep On the Sunny Side, recorded May 9, 1928 by the Carter Family.