Columbia C-40 – From Austin High Comes Jazz – 1940

"From Austin High Comes Jazz" by Bud Freeman and his Famous Chicagoans. Cover art by Alex Steinweiss.

“From Austin High Comes Jazz” by Bud Freeman and his Famous Chicagoans. Cover art by Alex Steinweiss.

In the early 1920s, a group of five students from Chicago’s Austin High School got together to form a jazz band.  The original group consisted of Jimmy and Dick McPartland on cornet and banjo, respectively, Frank Teschemacher on alto saxophone and violin, Jim Lanigan on piano, and Bud Freeman, the greenhorn of the bunch, on C-melody saxophone.  Drummer Dave Tough joined in later on, and guitarist Eddie Condon recorded with the band as “McKenzie and Condon’s Chicagoans” in 1927. This group became quite popular, and, among other bands, helped to bring jazz music to the toddling town of Chicago.  Eventually, the musicians went their separate ways, off to greater success in different orchestras and bands.  Frank Teschemacher died tragically in a car accident in 1932, days away from his 26th birthday.

Nearly two decades later, Eddie Condon brought together a different group of leading jazzmen, many of whom had no real connection to Chicago, under Bud Freeman’s name to record a session at Columbia Records.  The group, which performed live under the name “Summa Cum Laude Orchestra” , included the likes of Condon and Freeman, as well as jazz greats Jack Teagarden, Pee Wee Russell, and Dave Tough of the original Austin High Gang.  This 1940 session resulted in the release of an album titled From Austin High Comes Jazz, annotated by record producer John Hammond, proclaimed in the liner notes as “America’s Greatest Jazz Authority”.  The annotation notes Benny Goodman as a member of the Austin High Gang, but he was not connected to my knowledge, though he did play with some of the musicians later on.

All eight sides of Columbia C-40 were recorded July 23, 1940 and include the fine musicianship of Max Kaminsky on trumpet, Jack Teagarden on trombone, Pee Wee Russell on clarinet, Bud Freeman on tenor sax, Dave Bowman on piano, Eddie Condon on guitar, Mort Stuhlmaker on string bass, and Dave Tough on drums.

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Columbia 2504-D – King Carter and his Royal Orchestra – 1931

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.

In today’s post, it is my pleasure to present to you what I consider to be one of the finest examples of early Depression-era jazz ever recorded.  Two quite different, but both superb pieces played by a band billed as “King Carter and his Royal Orchestra”, which was in actuality a pseudonym for the always excellent (and unfortunately oft overlooked) Mills Blue Rhythm Band.

Columbia 2504-D was recorded June 25, 1931 in New York City, and the orchestra includes Wardell Jones, Shelton Hemphill, and Ed Anderson on trumpets, Harry White and Henry Hicks on trombone, Charlie Holmes on clarinet and alto sax, Ted and Castor McCord on clarinet and tenor sax, Edgar Hayes on piano, Benny James on banjo, Hayes Alvis on string bass, and Willie Lynch on drums.  George Morton provides the vocal on “Moanin'”.

For these two sides, I found that my usual equalization hindered the crispness of the music, especially the trumpets and cymbals, so these transfers are presented straight off the record, no equalization whatsoever.  I hope you’ll find the increased crispness outweighs the slight crackle.

The first side of this disc introduces us to the sizzling hot, and also quite modernistic tune “Blue Rhythm”, a fitting title for this band, even if they’re not using their actual name.

Blue Rhythm, recorded June 25, 1931 by King Carter and his Royal Orchestra.

Blue Rhythm, recorded June 25, 1931 by King Carter and his Royal Orchestra.

Don’t let the worn label fool you, the flip side, “Moanin'”, is in just as good or better condition.  This side seems to have some kind of “wobbly” effect to it, it’s not a flaw with this particular copy, but is in fact a fault in the engineering, and is present on all pressings.  Maybe the needle on the cutting lathe was worn out when it was recorded.

For me, this side conjures up the images of sitting a smoke-filled Harlem jazz club in the years after the stock market crash, as swing begins to evolve from its primordial soup of hot jazz, taking it slow and easy as the fast paced world passes by outside the door.

Moanin', recorded June 25, 1931 by King Carter and his Royal Orchestra.

Moanin’, recorded June 25, 1931 by King Carter and his Royal Orchestra.

Columbia A3943 – Clara Smith – 1923

This particular record is one of a group that got me started in collecting, a group originally owned by my great-grandmother and her father.  I believe this one in particular was my great-great-grandfather’s, and like many from that bunch, it has seen better days.  If you ever wondered whether a white family from Texas in the 1920s would buy vaudeville blues records, there’s your answer.

This record also has the great distinction of being the first record by “Queen of the Moaners” Clara Smith.  Smith, of no relation to Bessie or Mamie, was born in Spartanburg, South Carolina in 1893, and most details regarding her early life remain a mystery.  In the late 1910s, she toured the TOBA circuit in vaudeville before moving to Harlem in 1923, where she began recording with Columbia Records.  While in vaudeville, Smith gave a young Josephine Baker her first break in 1920, and she was good friends with Bessie Smith until a night in 1925 when Bessie got drunk and beat her up.  Clara Smith continued to record until 1932, and died of a heart attack three years later in 1935.

Columbia A3943, made several months before Columbia’s race series began, was recorded exactly 92 years ago on June 26, 1923 and features “I Got Everything a Woman Needs” and “Every Woman’s Blues” performed by Clara Smith with piano accompaniment by the great Fletcher Henderson.  Rejected takes of these tunes were recorded a month earlier on May 31.

First up, Clara moans Stanley S. Miller’s “I Got Everything a Woman Needs”, about Emmaline down in South Caroline who was “a vampire through and through.”  This is the sixth take of the recording, the only one issued, according to the DAHR.

"I Got Everything a Woman Needs" recorded by Clara Smith, June 1923.

I Got Everything a Woman Needs, recorded June 26, 1923 by Clara Smith.

On the flip, Smith sings “Every Woman’s Blues”, also written by Miller.  This one is take five out of six, also the only one issued.

"Every Woman's Blues" recorded June 26, 1923 by Clara Smith.

Every Woman’s Blues, recorded June 26, 1923 by Clara Smith.