Columbia 2958-D – Benny Goodman and his Music Hall Orchestra – 1934

Benny Goodman, as pictured in Esquire’s Jazz Book, 1944.

The first birthday ever celebrated on Old Time Blues was the legendary Benny Goodman’s.  Now the time has come around once again to pay tribute to one of the most important musical figures of the twentieth century, and one of my own favorites, the one and only King of Swing.

Benjamin David Goodman was born on May 30, 1909, the ninth of twelve children of David and Dora Goodman, a family of poor Jewish immigrants in Chicago, Illinois, a pivotal location in the development of jazz.  Goodman’s father took him to free concerts on the weekends, and enrolled him in twenty-five cent music lessons at the local synagogue.  He later took clarinet lessons under a classically trained professional.  Benny soon joined the boy’s club band at the Hull House.  He first played professionally in 1921, and joined Ben Pollack’s Orchestra at the age of sixteen, with whom he made his first commercial recordings in 1926.

In 1928, Goodman made his first records under his own name for Vocalion and Brunswick as “Bennie Goodman’s Boys”.  By that time, he had already recorded quite extensively, and continued to work prolifically as a studio musician until forming his own orchestra.  After making a series of dance band recordings for Brunswick’s Melotone label in 1930 and ’31, and one date with Columbia the same year, Goodman, with the help of John Hammond, who arranged for a series of sessions for Columbia, put together the first incarnation of the band that would make him famous in 1933.  With Jack Teagarden, Gene Krupa, and others in-and-out, Goodman’s new band played swing.  In June of 1934, Goodman and his orchestra opened at Billy Rose’s new Music Hall at 52nd and Broadway, and secured a spot on the NBC radio show Let’s Dance.  With need to expand his repertoire as a result of his newfound success, Goodman began purchasing sophisticated arrangements from Fletcher Henderson. In 1935, Goodman’s orchestra switched from the failing Columbia to Victor Records, which soon produced a hit with “King Porter Stomp”.

On August 21, 1935, Benny Goodman’s orchestra kicked off the swing era with a famous engagement at the Palomar Ballroom in Los Angeles, California.  In 1937, Goodman and his orchestra appeared in The Big Broadcast of 1937 and Hollywood Hotel.  As Goodman’s popularity continued to soar, Goodman earned the distinction of leading the first jazz ensemble to play at Carnegie Hall, at his legendary concert on January 16, 1938.  In addition to his orchestra, Goodman also led small groups, his famous Trios, Quartets, and Sextets.  Goodman refuted segregation, employing the likes of Charlie Christian, Lionel Hampton, and Teddy Wilson, once stating, “If a guy’s got it, let him give it. I’m selling music, not prejudice.”  At various points, his band employed the enticing vocals of Helen Ward, Martha Tilton, and Peggy Lee, among many others.  In 1939, he left Victor to return to Columbia, which had been purchased and revived by CBS, with his band appearing on first issue of the revived label.  His success did not falter through the end of the swing era in the middle of the 1940s.  Even after swing had swung, Goodman was still in demand as a revered jazz musician.  In 1947, he switched labels once again, to Johnny Mercer’s Capitol Records.  He made forays into bebop, cool jazz, and classical music.  Benny Goodman continued to play until his death from a heart attack on June 13, 1986.

Columbia 2958-D was recorded on August 16, 1934 in New York City.  In the band are Russ Case, Jerry Neary, and Sam Shapiro on trumpets, Red Ballard and Jack Lacey on trombone, Benny Goodman on clarinet, Hymie Schertzer and Ben Kantor on alto sax, Arthur Rollini on tenor sax, Claude Thornhill on piano, George Van Eps on guitar, Hank Wayland on string bass, and Sammy Weiss on drums.  As indicated by the “Music Hall” appellation, this record dates to Goodman’s stretch at Billy Rose’s Music Hall.

First up is Benny Goodman’s amazingly energetic first recording of “Bugle Call Rag”, most certainly my favorite recording of the standard.  Goodman recorded another notable version for Victor in 1936, and it remained a staple of his repertoire.

Bugle Call Rag, recorded August 16, 1934 by Benny Goodman and his Music Hall Orchestra.

On the other side, Will Hudson’s “Nitwit Serenade” borrows a famous part from the ArmstrongOliver jazz standard “Dipper Mouth Blues”.

Nitwit Serenade, recorded August 16, 1934 by Benny Goodman and his Music Hall Orchestra.

Victor V-38079 – Duke Ellington and his Cotton Club Orchestra – 1929

A portrait of a young Ellington.  Circa late 1920s.

Last time we commemorated the anniversary of the birth of the legendary Duke Ellington, born  April 29, 1899, with his famous “It Don’t Mean a Thing (If it Ain’t Got That Swing)”; this time we celebrate with one of his classic hot jazz records of the 1920s.  Ellington’s life has already been covered in that post, so I needn’t go over it again in this one.

Duke Ellington made his motion picture debut in 1929, along with Fredi Washington of Imitation of Life fame, in the Harlem Renaissance jazz film Black and Tan (see here for an exceptional transfer of the film on YouTube).  In it, Ellington plays a down-on-his-luck bandleader, whose ailing girlfriend—played by Washington (whom he was reportedly dating in real life at the time)—finds him employment at a nightclub, where she succumbs to her illness while performing a dance routine.  Ellington and his band play such jazz classics as the titular “Black and Tan Fantasy”, “Black Beauty”, “The Duke Steps Out”, and “Cotton Club Stomp”.  Not too long after, Duke and his band traveled to Hollywood for their first “big time” movie appearance in the Amos ‘n’ Andy feature Check and Double Check.  One of only a handful of films of that type, I fully recommend viewing Black and Tan.

Victor V-38079 was recorded on May 3, 1929 in New York City.  Ellington’s Cotton Club Orchestra is made up of Arthur Whetsel, Cootie Williams, and Freddie Jenkins on trumpet, “Tricky Sam” Nanton on trombone, Barney Bigard on clarinet and tenor sax, Johnny Hodges on clarinet, alto sax, and soprano sax, Harry Carney on clarinet, alto sax, and baritone sax, Duke Ellington on piano, Fred Guy on banjo, Wellman Braud on string bass, and Sonny Greer on drums.

First up, Ellington and the boys get hot on the outstanding “Cotton Club Stomp”.  This stomp is one of the pieces played by Ellington and his orchestra in Black and Tan, in which it is danced by Fredi Washington.

, Cotton Club Stomp, recorded May 3, 1929 by Duke Ellington and his Cotton Club Orchestra.

Next, they play a late oriental fox trot, “Arabian Lover”, from the Cotton Club Revue.

Arabian Lover, recorded may 3, 1929 by Duke Ellington and his Cotton Club Orchestra.

Oriole 8159 – Joshua White – 1932

In blues and folk music, one figure that stands out among the rest is Josh White, who rose from poverty to become one of the most popular Piedmont blues players of the 1930s, and eventually a major force in the folk music scene of the 1940s.

Joshua Daniel White was born on February 11, 1914 in Greenville, South Carolina, one of four children in a religious family.  When Joshua was a child, his father was beaten severely and later admitted to an asylum after evicting a white bill collector from his home.  Not long after, the young Joshua began acting as a “lead man” for blind musicianer “Big Man” John Henry Arnold, and later for other blind musicians, including Blind Blake, Blind Joe Taggart, and Blind Lemon Jefferson.  While on the road with those accomplished bluesmen, the young White picked up their guitar stylings, and soon became an accomplished player of the instrument.  His talent was recognized in 1928 by Paramount Records’ J. Mayo “Ink” Williams, who hired him to record as a session player, backing up Taggart and white country musicians the Carver Boys.  In the early 1930s, White was tracked down by the American Record Corporation to make records for their budget labels.  His mother allowed him to record for them on the condition that he did not play the “devil’s music”—blues.  White had his first session for the ARC on April 6, 1932, recording both blues and sacred music under his own name and the pseudonym “Pinewood Tom”.  Though only a teenager, White became one of the most popular Piedmont blues musicians of the day, along with Buddy Moss and Blind Boy Fuller.  Early in 1936 however, he was forced to temporarily retire from music after an injury in a bar fight, caused him to lose the use of his left hand.  After a stint as a dock worker and elevator boy, White regained full use of the hand during a card game, and returned to music.  By the 1940s, White’s style had shifted toward folk music, ascending to a status contemporaneous of Lead Belly, and he recorded with the likes of Pete Seeger and Woody Guthrie with the Almanac Singers, and the Golden Gate Quartet.  He also became an accompanist to torch singer Libby Holman in an unusual pairing.  During those years, White became the closest black friend of the Roosevelts, beginning with their meeting in 1940.  His left-leaning politics gained him trouble with McCarthyism in the late 1940s, harming his career.  Later in life, White was plagued by a worsening painful fingernail condition.  He died of heart failure in 1969.

Oriole 8159 was recorded on April 12, 1932 in New York City by Joshua White, one of his earliest sessions for the ARC.  On both sides, White is accompanied by an unknown piano player.  It was also issued on Perfect 0213 and Banner 32527.

First up, White sings “Lazy Black Snake Blues”, with the eighteen year old singer moaning that “he’s so doggone old.”

Lazy Black Snake Blues

Lazy Black Snake Blues, recorded April 12, 1932 by Joshua White.

On the other side, White sings of woes with his woman on “Downhearted Man Blues”.  A common theme in the blues.

Downhearted Man Blues

Downhearted Man Blues, recorded April 12, 1932 by Johsua White.

A Gene Autry Christmas Double Feature – Columbia 20377 & 38610 – 1947/1949

Old Time Blues wishes everyone a very merry Christmas! 1911 Postcard.

That special time of the year has come around once again.  Last year we celebrated with Harry Reser’s band, and what better way to celebrate this holiday season than with these four Christmas classics sung by our old pal Gene Autry.

Columbia 20377, in the hillbilly series, was recorded on August 28, 1947 and released on October 6 of the same year.  First up, Gene Autry sings his own Christmas classic, “Here Comes Santa Claus (Down Santa Claus Lane)”.  On the reverse, he sings the charming “An Old-Fashioned Tree”.

Here Comes Santa Clause (Down Santa Claus Lane) and An Old-Fashioned Tree, recorded August 28, 1947 by Gene Autry.

The first side of Columbia 38610 was recorded on June 27, 1949, the second sometime in July of the same year.  Autry is accompanied by the Pinafores on both sides.  First, Gene sings Johnny Marks’ classic song about the beloved character created for Montgomery Ward in 1939, “Rudolph, the Red-Nosed Reindeer”.  Next, on “If It Doesn’t Snow On Christmas” Autry ponders how Santa Claus will make out in his sleigh it there’s no snow.  Ol’ Gene seems to have forgotten that the sleigh is flight capable.

Rudolph, The Red-Nosed Reindeer and If It Doesn’t Snow On Christmas, recorded June 27 and July, 1949 by Gene Autry and the Pinafores.

Vocalion 14926 – Fletcher Henderson and his Orchestra – 1924

I always say, “good jazz is the best medicine¹.”  Whenever I have an ache or pain, it always helps take the edge off, and when I’m feeling blue, a hot tune will really pep me up!  Few records can do it better than this one, one of the great masterpieces from Louis Armstrong’s period with Fletcher Henderson’s orchestra.  With Armstrong in the mix, the band, also consisting of greats like Coleman Hawkins, Buster Bailey, and Don Redman, was just about unbeatable.

Fletcher Henderson’s Orchestra in 1925. Pictured left to right: Howard Scott, Coleman Hawkins, Louis Armstrong, Charlie Dixon, Fletcher Henderson, Kaiser Marshall, Buster Bailey, Elmer Chambers, Charlie Green, Ralph Escudero, and Don Redman. From Jazzmen, 1938, courtesy of Fletcher Henderson.

Vocalion 14926 was recorded October 30, 1924 in New York and pressed in that red shellac.  The always outstanding lineup of Henderson’s orchestra consists of Louis Armstrong, Elmer Chambers, and Howard Scott in the trumpet section, Charlie Green on trombone, Buster Bailey on clarinet, Don Redman on clarinet and alto sax, Coleman Hawkins on clarinet and tenor sax, Fletcher Henderson on piano, Charlie Dixon on banjo, Ralph Escudero on tuba, and Kaiser Marshall on drums.  All band members pictured above play on this record.

“Words” is a fine tune—I have no complaints—but it cannot begin to approach the masterpiece on the other side of the disc.  (I still would recommend listening to this one too, though!)

Words

Words, recorded October 30, 1924 by Fletcher Henderson and his Orchestra.

Named not for the city in Denmark, but the tobacco in the States, “Copenhagen” is nothing if not a masterpiece.  Probably my all-time favorite Fletcher Henderson recording.  This is a take “B” of two existing takes, and they really get in the groove.  Is this the greatest jazz record of all time?  Maybe, maybe not, but it is up there.  (In fact, I may be crucified by some for it, but I like this one better than the Wolverines recording with Bix Beiderbecke.)

Copenhagen

Copenhagen, recorded October 30, 1924 by Fletcher Henderson and his Orchestra.


¹ I am not a medical doctor and therefore not qualified to dispense medical advice.