Okeh 41504 – Louis Armstrong and his Orchestra – 1931

Posted on August 4, 2015 by R. Connor Montgomery

Please note: this article dates to Old Time Blues’ first year and does not meet the standard of quality to which more recent postings are held. Thank you for your understanding.

Normally, I wouldn’t make two consecutive posts of records by the same artist, but today, August 4, marks the great Louis Armstrong’s 114th birthday, so I’m making an exception. To celebrate the momentous occasion, I present to you Armstrong’s theme song, and one of his most popular early records.

Okeh 41504, recorded April 20 and 28, 1931 in Chicago, Illinois, features Louis Armstrong on trumpet and vocals, backed by Zilner Randolph on second trumpet, Preston Jackson on trombone, Lester Boone (on clarinet and alto sax), Albert Washington (on clarinet and tenor sax), and George James in the reed section, Charlie Alexander on piano, Mike McKendrick on banjo and guitar, John Lindsay on bass, and Tubby Hall on drums.

First up is “When It’s Sleepy Time Down South”, recorded April 20, a composition by brothers Otis and Leon René and Clarence Muse which would become his theme song. Louis starts by striking up a conversation with pianist Charlie Alexander (who actually hailed from Ohio) about their home back in New Orleans before segueing into the song.

When It’s Sleepy Time Down South, recorded April 20, 1931 by Louis Armstrong and his Orchestra.

On the flip, recorded April 28, Louis and the band play “I’ll Be Glad When Your Dead, You Rascal You”, written by “Lovin’ Sam” Theard (though Cow Cow Davenport claimed to have written it), one of his most popular songs of the day, which he would replay twice over the following year for Paramount Pictures and Fleischer Studios.

I’ll Be Glad When You’re Dead, You Rascal You, recorded April 28, 1931 by Louis Armstrong and his Orchestra

Vocalion 1245 – “Pine Top” Smith – 1928

Posted on June 17, 2015 by R. Connor Montgomery

Please note: this article dates to Old Time Blues’ first year and does not meet the standard of quality to which more recent postings are held. Thank you for your understanding.

Last Thursday, June 11, marked the 111th birthday of boogie woogie pioneer Clarence “Pine Top” Smith, who was born on that day in 1904. While Smith was not the first pianist to play in that style, his “Pine Top’s Boogie Woogie” is believed to be the first recorded song to use the term “boogie woogie” in its title*.

Clarence Smith was born in Troy, Alabama, and got his nickname from his childhood fondness for tree-climbing. In 1928, Cow Cow Davenport recommended him to Vocalion Records, and he recorded eight sides with them in three sessions in December 1928 and January 1929. On March 15, 1929, Pine Top Smith was shot dead at the age of 24 during a fight in a dance-hall a day before he had a recording session scheduled. Whether or not the bullet was intended for him is disputed.

On the first side of Vocalion 1245, Pine Top Smith plays his famous “Pine Top’s Boogie Woogie”, take “A”, with his spoken instructions to dancers, recorded December 29, 1928 in Chicago, his first recording session. Just the sort of a performance that you’d hear at a 1920s rent party.

Contrary to what he might have had us believe, Joe Willie “Pinetop” Perkins was not the originator of “Pine Top’s Boogie Woogie”, he got his name from playing Clarence Smith’s composition, which Smith claimed he came up with at a house-rent party in St. Louis, Missouri. It also made a hit in 1938 when it was recorded by Tommy Dorsey’s orchestra as simply “Boogie Woogie”. Please read Mr. Brad Kay’s comment for a definitive explanation.

Pine Top’s Boogie Woogie, recorded December 29, 1928 by “Pine Top” Smith.

On the flip, Pine Top sings on another fine boogie woogie number, “Pine Top Blues”, take “B”, recorded on the same day, which lifts some of its lyrics from other popular blues songs of the day.

Pine Top Blues, recorded December 29, 1928 by “Pine Top” Smith.

Brunswick 3975 – Bennie Goodman’s Boys – 1928

Posted on May 30, 2015 by R. Connor Montgomery

Please note: this article dates to Old Time Blues’ first year and does not meet the standard of quality to which more recent postings are held. Thank you for your understanding.

Today, May 30, is Benny Goodman’s birthday, so what better way to celebrate than with one of his earliest records?

On June 4, 1928 in Chicago, Illinois, in what I believe was only his third session under his own name, future King of Swing Benny Goodman (credited here as “Bennie”) and his Boys recorded Shirt Tail Stomp and Blue, issued on Brunswick 3975. Also recorded that day were Jungle Blues and Room 1411.

In addition to Goodman on clarinet, alto sax, and baritone sax, the band includes Jimmy McPartland on cornet, Glenn Miller and Tommy Dorsey on trombone, Fud Livingston on clarinet and tenor sax, Vic Breidis on piano, Dick Morgan on guitar, Benny’s brother Harry Goodman on tuba, and Ben Pollack on the drums.

According to legend, Shirt Tail Stomp was intended as a parody of Dixieland jazz and deliberately played as corny as possible, which, to the musicians surprise, turned out to be a hit with audiences. Nevertheless, the excellent musicianship shows through, and it remains an excellent, if somewhat novel piece.

Shirt Tail Stomp, recorded June 4, 1928 by Bennie Goodman’s Boys.

On the flip-side, Benny’s Boys play a little slower on Blue, a 1922 Lou Handman, Grant Clark, and Edgar Leslie composition, credited on the label to Clark, Leslie and Pete Wendling.

Blue, recorded June 4, 1928 by Bennie Goodman’s Boys.

Updated on June 24, 2016 and with improved audio on November 13, 2016 and May 28, 2017.