Velvet Tone 1859-V – Annette Hanshaw Accomp. by New England Yankees – 1929

Posted on October 18, 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.

October 18 marks the birthday of “Personality Girl” Annette Hanshaw, who was born on this day in 1901. Hanshaw began recording for Pathé Records in 1926 and recorded for them for two years before moving to Columbia, where most of her records were issued on their Harmony, Velvet Tone, and Diva budget labels, with a small number on Okeh and Columbia. She remained with Columbia until 1932, when she began a contract with the American Record Company which she maintained until her retirement from music in 1934. Although her singing was beloved by fans, Hanshaw was not fond of her records, and in her own words “disliked all of them intensely.”

Velvet Tone 1859-V was recorded February 20, 1929 in New York City, and was also issued on Harmony 859-H and Diva 2859-G. Miss Hanshaw is accompanied by the “New England Yankees”, actually Ben Selvin’s Columbia studio orchestra, which includes Tommy Dorsey and Tommy Gott on trumpets, Charlie Butterfield on trombone, Jimmy Dorsey on clarinet and alto sax, and Hank Stern or Joe Tarto on tuba, among several others who remain unknown.

First, Miss Hanshaw delivers a delightful performance of the 1929 classic “A Precious Little Thing Called Love” from The Shopworn Angel.

A Precious Little Thing Called Love, recorded February 20, 1929 by Annette Hanshaw Accomp. by New England Yankees.

Next, she sings one of her signature songs, “Mean to Me”.

Mean to Me, recorded February 20, 1929 by Annette Hanshaw Accomp. by New England Yankees.

That’s all.

Updated on June 24, 2016.

Perfect 6-05-09 – Joe Haymes and his Orchestra – 1936

Posted on October 12, 2015 by R. Connor Montgomery

With all the controversy we have surrounding Columbus Day, who knows, they might decide to abolish it after this year. With that in mind, I can’t think of a better time to share this fine swing record, and you’ll see why. Though this was recorded near the beginning of the swing era, recordings like this represent swing’s finest, or at least jazziest period, in my opinion.

Joe Haymes got his start in the music industry as arranger for Ted Weems’ orchestra before breaking out with his own band in 1930. Eventually developing a reputation for doing so, Haymes sold off his first band to movie star and musician Charles “Buddy” Rogers in 1933. He put together another band the next year which was taken over by Tommy Dorsey after the famous Dorsey Brothers split. Afterwards, he organized yet another band to record with the American Record Corporation, which is heard on this record.

Perfect 6-05-09 was recorded on March 11, 1936 in New York and features the talent of Cliff Weston, Zeke Zarchy, and Gordon Griffin on trumpets, Mike Michaels and Frank Llewellyn on trombone, Leo White on clarinet, Edgar Sarason on alto sax, Freddy Fallensby on tenor sax, Ben Herrod on baritone sax, Bill Miller on piano, Brick Fleagle on guitar, Jack Fay on string bass, and Charlie Bush on drums.

First, Haymes’ orchestra plays Leon “Chu” Berry and Andy Razaf’s composition, Christopher Columbus (A Rhythm Cocktail). You may recognize this tune from Benny Goodman’s famous performance of “Sing, Sing, Sing”, which featured the theme along with Louis Prima’s famous composition.

Christopher Columbus (A Rhythm Cocktail), recorded March 11, 1936 by Joe Haymes and his Orchestra.

On the flip, they play Stuff Smith’s “I’se a Muggin'”, with a vocal chorus by trumpeter Cliff Weston. I can’t figure out what the heck is going on in these lyrics.

I’se a Muggin’, recorded March 11, 1936 by Joe Haymes and his Orchestra.

Vocalion 2796 – Joseph Robechaux and his New Orleans Rhythm Boys – 1933

Posted on October 7, 2015 by R. Connor Montgomery

Joseph Robichaux (spelled on the labels of his records with an “e”), born March 8, 1900, was a New Orleans jazz pianist noted for playing with fellow luminaries such as Oscar “Papa” Celestin, and Lee Collins. First recording as a pianist for blues singer Christina Gray in 1929 in New Orleans, Robichaux organized the New Orleans Rhythm Boys in 1931. After being “discovered” by a talent scout, the band traveled to New York to record with the American Record Corporation in their studios at 35 West 43rd Street. In five sessions over five consecutive days, Robichaux and his New Orleans Rhythm Boys recorded twenty-four hot jazz sides, of which twenty-two were issued, ten Vocalions and one budget release with vocalist Chick Bullock fronting the band.

Robichaux’ Rhythm Boys were an excellent band and featured virtuosic musicianship, exemplified by the percussion work of Ward Crosby, who began each recording with a signature rhythmic “tap tap tap” that lent to the group’s unique sound. After these sessions, Robichaux and his band would record again with Decca in 1936, but no records were issued. Although the band continued to perform until 1939, and he performed on numerous recordings as a sideman, the 1933 sessions yielded Robichaux’ only commercially released records as bandleader. After the group disbanded, Robichaux continued to play as an sideman until his death on January 17, 1965.

Vocalion 2796 was recorded on August 22, 1933 in New York City, at the New Orleans Rhythm Boys’ first of their five consecutive recording sessions for the American Record Corporation. The band features Robichaux on piano, Eugene Ware on trumpet, Alfred Guishard on clarinet and alto sax, Gene Porter on clarinet and tenor sax, Walter Williams on guitar, and Ward Crosby on drums.

On the first side, Robichaux’ boys play “Saturday Night Fish Fry Drag”, of no relation to the almost identically named Louis Jordan hit of 1949, with two unknown band members doing the vocals at the beginning.

Saturday Night Fish Fry Drag, recorded August 22, 1933 by Joseph Robechaux and his New Orleans Rhythm Boys.

The hot jazz instrumental “Foot Scuffle” seems to be one of the less commonly reissued sides from Robichaux’ 1933 sessions, although I can’t imagine why, it’s a great number, and appears to have been the preferred side of this record’s original owner.

Foot Scuffle, recorded August 22, 1933 by Joseph Robechaux and his New Orleans Rhythm Boys.

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

Posted on October 1, 2015 by R. Connor Montgomery

“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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Hit of the Week 1046 – Harlem Hot Chocolates – 1930

Posted on September 19, 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.

To coincide with the beginning of economic downturn in 1930, a company called Durium began producing a line of one-sided laminated paper records known as “Hit of the Week”, which were sold at newsstands rather than traditional stores. These new creations sold fairly well initially and featured some top name artists including Rudy Vallée and Morton Downey. On this particular Hit of the Week, Duke Ellington’s Cotton Club Orchestra plays under the moniker “Harlem Hot Chocolates”

Hit of the Week 1046 was recorded sometime in March of 1930, the exact date is unknown, in New York City. It went to the newsstands on May 15, 1930. The all-star Ellington lineup includes Duke on piano and directing, Arthur Whetsel, Cootie Williams, and Freddie Jenkins on trumpets, Joe “Tricky Sam” Nanton, and Juan Tizol on trombones, Barney Bigard on clarinet and tenor sax, Johnny Hodges on clarinet, soprano sax, and alto sax, Harry Carney on clarinet, alto sax, and baritone sax, Fred Guy on banjo, Wellman Braud on string bass, and Sonny Greer on the drums. Ellington’s manager, the music mogul Irving Mills sings the vocal. This session also produced a recording of “Sing You Sinners”, and was Ellington’s sole session for Hit of the Week.

Here Ellington and the boys play a fine rendition of “St. James Infirmary”, this record’s only side.