Columbia 523-D – The Georgians – 1925

Posted on May 13, 2016 by R. Connor Montgomery

It’s time now for more music for music’s sake, and it’s hard to go wrong with a Columbia Viva-Tonal, they tend to sound decent even when they’re beat to hell!

There were a number of bands to go by the name “The Georgians”. The one in question here was a jazz ensemble made up of members of the Paul Specht Orchestra, and led by trumpet player Frank Guarente. Guarente’s Georgians first recorded for Columbia in 1922, and traveled to Europe later in the decade at least once, making a number of recordings in Switzerland. There seems to be some uncertainty as to when the original Georgians broke up. Some sources indicate that they disbanded in 1924, and that Columbia later used the name for different groups. Other sources indicate that Guarente continued to lead the band until several years later.

Columbia 523-D was recorded November 18 and December 12, 1925 in New York, New York. According to the DAHR, this session was still under the direction of Guarente, and reportedly includes the talents of Charlie Spivak on trumpet, Al Philburn on trombone, Ernie Warren or Frank Kilduff on clarinet, alto sax, and baritone sax, Gilbert Dutton on clarinet and tenor sax, Walker O’Neil on piano, Roy Smeck on banjo and harmonica, and Johnny Morris on drums.

First up is “Clap Hands! Here Comes Charley!” a dandy little tune, featuring a vocal by drummer Johnny Morris. While Rust notes Smeck as doubling on harmonica on this side, the instrument has always struck my ear as sounding like a goofus (aka Couesnophone), a toy saxophone adopted in jazz music by Adrian Rollini in 1924, I’m not sure who’s playing it here. Recorded on the latter of the two dates, the DAHR shows takes “6” and “7” as issued for this side, this is “7”.

Clap Hands! Here Comes Charley!, recorded December 12, 1925 by The Georgians.

“Spanish Shawl” has quite a ding in the label, but on the bright side, it creates a good cross-section of the unique composition of Columbia records; coarse shellac in the middle, surrounded by a paper coating, and topped with a playing surface of smooth laminate in which the grooves are pressed. This side was recorded on the earlier date.

Spanish Shawl, recorded November 18, 1925 by The Georgians.

Updated on June 24, 2016 and with improved audio on April 30, 2018.

Romeo 5052 – Gene Autry – 1931

Posted on May 12, 2016 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.

I think it’s time to we pulled ourselves out of this, “on this day, this happened” rut we’ve been in for some time and put something up for no particular occasion, so here’s a good one, for no reason other than the music itself. I hope you’ll enjoy it as much as I do.

Autry as pictured on a 1930s Perfect Records sleeve.

The iconic Gene Autry made his fame in the 1930s as a singing cowboy, much like his contemporary Roy Rogers, but he started his career in the late 1920s imitating another popular singer by the name of Rodgers, Jimmie Rodgers. By the early 1930s, Autry was starting to come into his own, but he still tended very closely to the style of song forth by the Singing Brakeman, as in fact did a great many country singers of that era. On these 1931 sides, you’ll hear Autry perform songs much like those by Jimmie Rodgers.

Romeo 5052 (in their country and race series) was recorded February 25, 1931 in New York City by Gene Autry, accompanied on steel guitar and harmonica by Frankie Marvin. It was also issued on Banner 32132, Jewel 20052, Oriole 8052, Perfect 12695, Regal 10310, and Conqueror 7843.

The first song is of a solemn tone, a warning to stay on the straight and narrow path, with the singer lamenting his falling in with the wrong crowd and into a life of crime, “’till it led to the use of a gun”, on “A Gangster’s Warning”.

A Gangster’s Warning, recorded February 25, 1931 by Gene Autry.

Now, this next side is one of my favorites of Autry’s songs, “True Blue Bill”, also called “I’m a Truthful Fellow”. This song strikes me as a sort of a twentieth century re-hashing of the old “Four Thousand Years Ago”. It seems that this side was a favorite of a previous owner as well, as it’s been quite well played.

True Blue Bill, recorded February 25, 1931 by Gene Autry.

Updated with improved audio on July 17, 2017.

Okeh 41393 – Carl Webster and his Yale Collegians – 1930

Posted on May 11, 2016 by R. Connor Montgomery

Born on this day 128 years ago was one of the finest songwriters Tin Pan Alley has ever known, Irving Berlin.

Berlin was born Israel Isidore Baline in the Russian Empire on May 11, 1888, and emigrated to the United States when he was a young boy. As did many immigrants in that day and age, he Americanized his name, changing it to Irving Berlin. Like so many greats, Berlin began working as a song plugger in New York City as a young man, and before long published his first song, “Marie From Sunny Italy”. Having never taught himself to play piano in more than one key, Berling purchased a special piano that allowed him to transpose the key at the flip of a lever. In 1911 came Berlin’s first big hit, “Alexander’s Ragtime Band”. When the Great War came around, Berlin was drafted, and, always full of patriotic vigor, was tasked with writing songs for the war effort. In that period, he gave us such hits as “Oh, How I Hate to Get Up in the Morning!” from the all-soldier musical revue Yip Yip Yaphank. From then on out, he had a string of popular hits, including “Blue Skies”, “Puttin’ on the Ritz”, “God Bless America”, and too many others to list. Berlin’s composing began to wind down after the 1940s, with the preceding decades being his most productive. In 1989, Irving Berlin died peacefully at the age of 101.

Okeh 41393 was recorded March 1, 1930 in New York City by Carl Webster and his Yale Collegians, playing two Irving Berlin tunes from the United Artists motion picture Puttin’ on the Ritz. Interestingly, these sides were apparently recorded on the same day the show premiered. The Yale Collegians consist of Stew Pletcher, Seelye Vidal, and Bob Stanley on trumpets, Andy Wiswell on trombone, Louis Rappaport (who later changed his name to Barry Wood) on clarinet and alto sax, Bob Bruce on cornet, clarinet, and alto sax, Hank Palmer on alto sax, Al Thompson on tenor sax, Sidney Fine on piano, Neil Waterman on guitar, Carl Webster on tuba and string bass, and Jimmy Devlin on drums.

The Yale Collegians rendition of “Puttin’ on the Ritz” is, I believe, the only original 1930 recording that can be considered hot jazz as opposed to the popular dance band styling, and it’s one of the best there ever was, if you ask me. Stew Pletcher sings the vocal on this side.

Puttin’ on the Ritz, recorded March 1, 1930 by Carl Webster’s Yale Collegians.

“With You” is not nearly as hot as the previous side, but it’s still a fine version of this ballad by a competent band. According to invaluable information from Mr. Paul Lindemeyer, the vocalist on this side is probably Dick Webster, Carl’s brother. He later worked with Jimmie Grier’s band in Los Angeles.

With You, recorded March 1, 1930 by Carl Webster’s Yale Collegians.

Victor 24193 – Leo Reisman and his Orchestra – 1932

Posted on May 10, 2016 by R. Connor Montgomery

How could we overlook the great Fred Astaire on his own 117th birthday? (We couldn’t.) Here’s one of his early phonograph recordings to celebrate the occasion.

Fred Astaire was born Frederick Austerlitz on May 10, 1899 in Omaha, Nebraska. His family moved to New York in 1905, and his mother encouraged his older sister Adele’s and his own natural dancing talents, hoping to have them become a brother and sister vaudeville act. Changing their name to Astaire, they did, and began appearing in musical theater as a dancing duo in the 1910s, singing all along the way. After a string of successful shows on Broadway and in London, including Lady Be Good and Funny Face, Fred and Adele broke up the pair after she married. Fred’s first show separate from his sister was Cole Porter’s Gay Divorce in 1932. Soon after, Astaire headed off to Hollywood, where the results of his RKO screen test was reported to have said, “Can’t act. Can’t sing. Balding. Can dance a little.” Nevertheless, David O. Selznick signed Astaire to RKO Radio Pictures in spite of his “enormous ears and bad chin line.” Astaire’s first picture role was in the 1933 Joan Crawford and Clark Gable vehicle Dancing Lady, in which he played “Fred Astaire”. Not long after, Fred was teamed up with budding starlet Ginger Rogers in Flying Down to Rio, the first of nine films in which the pair would appear. From then on out, Astaire appeared in numerous films with a variety of partners, and eventually started into straight acting (and a couple retirements, in between). Fred Astaire died in 1987 at the age of 88.

Victor 24193 was recorded November 22, 1932 in Victor’s Studio 1 in New York, New York, by Leo Reisman and his Orchestra featuring Fred Astaire singing the vocals on both sides. Both sides feature songs from Cole Porter’s Gay Divorce. This record was recorded using RCA Victor’s early 1930s microphone system, producing astounding fidelity.

First, Fred Astaire sings Cole Porter’s famous “Night and Day”. You may notice Astaire’s voice crack a little on one line in this one.

Night and Day, recorded November 22, 1932 by Leo Reisman and his Orchestra.

On the reverse, Astaire sings “I’ve Got You On My Mind”. Just listen to that high fidelity!

I’ve Got You On My Mind, recorded November 22, 1932 by Leo Reisman and his Orchestra.

Vocalion 15498 – Red Nichols and his Five Pennies – 1926

Posted on May 8, 2016 by R. Connor Montgomery

Red Nichols, late 1930s/early 1940s. Down Beat photo by Gordon Sullivan.

The eighth of May, 2016 marks exactly 111 years after the birth of jazz cornetist Red Nichols. Nichols was one of the most popular and prolific jazz musicians of the roaring twenties. I believe this disc was his first record with his famous “Five Pennies.”

Loring “Red” Nichols was born May 8, 1905 in Ogden, Utah. Nichols took up the cornet, the primary “jazz” instrument of the day, and was a child prodigy. Nichols joined a Midwestern jazz band in the early 1920s, and moved on to New York by 1923. In New York, he met trombonist Miff Mole, with whom he played for many years. In 1926, Nichols signed with the Brunswick-Balke-Collender Company, and recorded prolifically with his band, the “Five Pennies,” which often consisted of some of the best white jazz musicians in New York. Although his records were among the best-selling hot jazz records of the 1920s, musical styles began to change as the Great Depression rolled in, and Brunswick dropped Nichols in 1932. He continued to record throughout the 1930s and into the 1940s, but never saw such fame as he had known in his days of yore. In 1959, Danny Kaye starred in The Five Pennies, a biographical picture loosely based on Nichols’ life. At the end of his life, Red Nichols played in Las Vegas, where he died of a heart attack in 1965.

Vocalion 15498 was recorded December 8, 1926 in New York City by Red Nichols and his Five Pennies. It was also issued on Brunswick 3407 and in the “race” series on Vocalion 1069. The band includes Nichols on cornet, Jimmy Dorsey on clarinet and alto sax, Arthur Schutt on piano, Eddie Lang on guitar, and Vic Berton on the drums. Though many of his “Five Pennies” groups were actually much larger, this one is true to its name.

First, the Five Pennies play Hoagy Carmichael’s “Washboard Blues”, a different take than the one released on Brunswick. We last heard this tune as it was sung by the lovely Connie Boswell seven years after this side was cut.

Washboard Blues, recorded December 8, 1926 by Red Nichols and his Five Pennies.

Nichols’ composition “That’s No Bargain” is a sizzling hot side marred only by some stressed grooves during a loud section in the middle. Fine modernistic jazz.

That’s No Bargain, recorded December 8, 1926 by Red Nichols and his Five Pennies.