Oriole 8159 – Joshua White – 1932

Posted on February 11, 2017 by R. Connor Montgomery

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, 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, recorded April 12, 1932 by Johsua White.

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

Posted on December 25, 2016 by R. Connor Montgomery

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)”.

Here Comes Santa Clause (Down Santa Claus Lane), recorded August 28, 1947 by Gene Autry.

On the reverse, he sings the charming “An Old-Fashioned Tree”.

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”.

Rudolph, The Red-Nosed Reindeer, recorded June 27 and July, 1949 by Gene Autry and the Pinafores.

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.

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

Posted on December 18, 2016 by R. Connor Montgomery

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 with hot solos and just about everything you could desire in a jazz tune like this—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, recorded October 30, 1924 by Fletcher Henderson and his Orchestra.

Named not for the city in Denmark, but the tobacco in the States, the stomping “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, recorded October 30, 1924 by Fletcher Henderson and his Orchestra.

¹ I am not a medical doctor (nor any other kind of doctor for that matter) and therefore not qualified to dispense medical advice.

Updated with improved audio on August 4, 2018.

Hit 7119 – Cootie Williams and his Orchestra – 1944

Posted on October 10, 2016 by R. Connor Montgomery

October 10 marks ninety-nine years since the birth of Thelonious Monk, and what better way to commemorate that event than with the first recording of his famous “‘Round Midnight”, performed by Cootie Williams and his Orchestra. (Please do not confuse that photograph of Cootie Williams on the left of the page with Monk, it is not.) I will admit that while I usually tend to prefer earlier music, this is one of my favorite records.

Cootie Williams, 1940s. From Esquire’s 1944 Jazz Book.

Thelonious Sphere Monk was born on October 10, 1917 in Rocky Mount, North Carolina. From 1922, the Monks lived in New York City, where Thelonious was exposed to jazz music. He taught himself to play piano when he was six years old, and accompanied a touring evangelist in his teenage years. In the 1940s, Monk played at Minton’s Playhouse in Harlem, and was with Lucky Millinder’s orchestra for a period in 1942, and Cootie Williams’ in 1944. He made his first recordings as bandleader in 1947 for Blue Note. With a unique approach to music, and life, Monk’s work lacked public appeal initially, and his recordings sold poorly for some years, though he was regarded highly by fellow musicians and jazz aficionados. In 1951, police confiscated his cabaret card, and he was unable to play in nightclubs until he regained it in 1957. Eventually, Monk became regarded as one of the greats of jazz music, having composed such standards as “‘Round Midnight”, “Straight, No Chaser”, and “Blue Monk”. Monk left the music scene in the 1970s, and died in 1982.

Hit 7119 was recorded October 22, 1944 in New York by Cootie Williams and his Orchestra. The band features Williams, Ermit V. Perry, George Treadwell, Lammar Wright, and Tommy Stevenson on trumpet, Ed Burke, Ed Glover, and Robert Horton on trombone, Eddie “Cleanhead” Vinson and Frank Powell on alto sax, Sam “The Man” Taylor and Lee Pope on tenor sax, Eddie de Verteuil on baritone sax, Bud Powell on piano, Leroy Kirkland on guitar, Carl Pruitt on bass, and Sylvester “Vess” Payne on drums.

First, Cootie and the band play the first ever recording made of Thelonious Monk’s famous “‘Round Midnight”, claimed to be the most recorded standard composed by a jazz musician.

‘Round Midnight, recorded October 22, 1944 by Cootie Williams and his Orchestra.

Next up, Eddie “Cleanhead” Vinson shouts the blues on “Somebody’s Gotta Go”, a number he surely learned from his mentor Big Bill Broonzy. While this recording credits Bob Haggart as the composer, the song appears to have actually been written by Casey Bill Weldon.

Somebody’s Gotta Go, recorded October 22, 1944 by Cootie Williams and his Orchestra.

Romeo 5109 – Gene Autry & Jimmy Long – 1931

Posted on September 30, 2016 by R. Connor Montgomery

Singing cowboy and twentieth century superstar Gene Autry was born on this day 109 years ago on the twenty-ninth of September, 1907. To commemorate the occasion, presented here is Autry’s first big hit record, featuring his early duet partner Jimmy Long.

Gene Autry and Jimmy Long pictured on the cover of their Cowboy Songs and Mountain Ballads song folio.

Gene Autry was born Orvon Grover Autry on September 29, 1907 in Grayson County, Texas, near Tioga. After high school, he worked as a telegraph operator for St. Louis–San Francisco Railway, and would sing and play guitar on slow days. After losing that job, Autry sang on Tulsa’s KVOO, and when Will Rogers encouraged his singing career, he went to New York for an audition with the Victor Company, which wound up producing one record with Jimmy Long and Frankie Marvin on steel guitar. After Victor, Autry recorded for Columbia, which yielded several releases on their budget labels, in the style of the famous singing brakeman Jimmie Rodgers. After Columbia, he recorded for Gennett and the American Record Corporation, staying with the latter for many years. In 1934, he was “discovered” by Nat Levine of Mascot Pictures and made his motion picture debut in In Old Santa Fe, becoming the original singing cowboy of the screen. Before long, Autry became the top singing cowboy on film until he was surpassed by Roy Rogers, and his blue yodeling style was replaced with a more Western repertoire. He had hit records with “Silver Haired Daddy of Mine” in 1931 (and again in ’35), “Back in the Saddle” in 1939, and the Christmas classics “Here Comes Santa Claus” and “Rudolph the Red-Nosed Reindeer”. During World War II, Autry served in the Army Air Corps. In the 1950s, Autry appeared in his own television program, and became involved in baseball. He retired from show business in 1964, having made over one-hundred films and over six-hundred records. Autry died of lymphoma on October 2, 1998. He is the only person thusfar to be awarded stars on the Hollywood Walk of Fame in all five categories.

Romeo 5109 was recorded on October 29 and 30, 1931 in New York City by Gene Autry and Jimmy Long. In addition to Autry’s guitar, the pair are accompanied by Roy Smeck on steel guitar.

Sentimental to the point of sappiness (and truly a piece of Americana) “Silver Haired Daddy of Mine” was Gene Autry’s first big hit, and one of his most enduring songs, making its biggest success in 1935 when Autry sang it in Tumbling Tumbleweeds.