Victor 20715 – Frank Crumit – 1927

Frank Crumit with tiple. As pictured in The Eveready Book of Radio Stars.  Circa 1932.

I like Frank Crumit.  He was a consummate vaudevillian with a pleasant voice and proficient with all manner of stringed instruments—and he made great music.  His favorite food was gravy.  So it seems only appropriate that Old Time Blues pay tribute to him and his distinguished body of work sooner or later.

Crumit was born on September 26, 1889 in Jackson, Ohio, son of Mary and Frank, Sr.  He made his stage debut in a minstrel show at only five years old.  He received a degree in electrical engineering from Ohio University, but left that career behind when in 1912, the opportunity of becoming a singer with Paul Biese’s orchestra presented itself.  Before long, Crumit struck out as a vaudeville star of his own, billed as the “One-Man Glee Club”.  Throughout the 1910s and ’20s, he starred in musical shows like Betty, Be Good, Greenwich Village Follies of 1920, and Tangerine.  Working on Tangerine, he met Julia Sanderson, who was starring in the show, and (though both were married) it was love at first sight.  The two later divorced their respective spouses and married in 1927.  Crumit made his first recording for the Columbia Phonograph Company in December of 1919, “My Gal”, appearing on the reverse of Al Jolson’s “Swanee” (Columbia A2884).  He remained with Columbia until 1923, when he switched to Victor, with whom he stayed until moving to Decca in 1934.  Among his plentiful song successes were “A Gay Caballero”, “The Song of the Prune”, “Abdul Abulbul Amir”, and “I Married the Bootlegger’s Daughter”.  As radio became the nation’s favorite form of entertainment, Crumit’s recording career took a backseat as he and wife Sanderson ascended to radio stardom as “the ideal couple of the air.”  As record sales dragged during the Great Depression, the Crumits remained one of the most popular acts on the air, hosting such programs as the Blackstone Plantation and the quiz show The Battle of the Sexes.  Frank Crumit died suddenly of a heart attack on September 7, 1943, one day after what was to be his final radio show was broadcast.

Victor 20715 was recorded on May 11 and April 8, 1927, respectively, in New York City.  It was released in August of ’27, and, like a number of Crumit’s records, remained in the catalog until 1944.  On the “A” side, Crumit is accompanied by Andy Sannella on clarinet and Nat Shilkret on piano.  Crumit accompanies himself on guitar on both sides (this is unconfirmed by the DAHR for the second side, but seems most likely).

First, Crumit does a fabulous take on the folk song “Frankie and Johnnie”, with a hot little ensemble accompanying.  This is my personal favorite version of the song, surpassing even Jimmie Rodgers’ famous rendition.  Outstanding performance.

Frankie and Johnnie, recorded May 11, 1927 by Frank Crumit.

Next, Crumit sings one of his more famous tunes, and another of my favorites, the 1877 music hall song “Abdul Abulbul Amir”.  This song’s success inspired Crumit to follow up with “The Return of Abdul Abulbul Amir” and “The Grandson of Abdul Abulbul Amir”.  The song’s popularity persisted into the 1940s, and in 1941, Crumit wrote revised lyrics for the Metro-Goldwyn-Mayer cartoon Abdul the Bulbul-Ameer.

Abdul Abulbul Amir, recorded April 8, 1927 by Frank Crumit.

Brunswick 6049 – Nick Lucas and his Crooning Troubadours – 1931

Nick Lucas, as pictured on the cover of The Mastertone Guitar Method.

August 23 marks the anniversary of the birth of the “Crooning Troubadour” Nick Lucas—sometimes called the “grandfather of jazz guitar”—whose tenor crooned charmed millions spanning more than one generation.

Nick Lucas was born Dominic Nicholas Anthony Lucanese in Newark, New Jersey on August 22, 1897.  Lucas played banjo with various dance bands in the early 1920s, and in June of 1922, made his debut recordings for Pathé with “Picking the Guitar” and “Teasin’ the Frets”, both guitar solos.  He re-recorded both sides for Brunswick the next year (and again in 1932, electrically).  Before long, he was making vocal records for Brunswick as “the Crooning Troubadour,” with his pleasing tenor croon accompanied by his own guitar, sometimes with a piano or orchestra.  In 1929, Lucas appeared in the talking picture Gold Diggers of Broadway, introducing “Tip-Toe Thru The Tulips with Me”, which he also made a hit on record.  In 1930 and ’30, he recorded with his own band, the “Crooning Troubadours”, and the following year made some recordings for Hit of the Week.  Lucas’ fame faded in the 1930s, as swing became king, but he continued to perform.  In the 1940s he made a few Soundies, followed by some Snader Telescriptions in 1951.  Lucas experienced a resurgence in popularity many years later.  He appeared on the Tonight Show Starring Johnny Carson in 1969, for the televised wedding of Tiny Tim—a devotee of his—who had re-popularized “Tip-Toe Thru the Tulips”.  In 1974, he performed several songs for the soundtrack of The Great Gatsby.  After enjoying a career that spanned a great deal longer than half a century, Nick Lucas died of pneumonia in 1982.

Brunswick 6049 was recorded in New York on February 6 and January 31, 1931, respectively.  I respectfully disagree with Brian Rust’s assertion that “vocal records by this artist are of no interest as jazz,” as these two are quite jazzy, but as such, I am unable to provide a list of personnel for Lucas’ Crooning Troubadours.  The band is likely made up of Brunswick studio men.

First, Lucas croons the pop tune “Running Between the Rain-drops”.

Running Between the Raindrops

Running Between the Rain-drops, recorded February 6, 1931 by Nick Lucas and his Crooning Troubadours.

Next, he sings one of my favorites, “Hello! Beautiful”, a tune commonly associated with Maurice Chevalier.

Hello! Beautiful!

Hello! Beautiful!, recorded January 31, 1931 by Nick Lucas and his Crooning Troubadours.

Columbia 36886 – Frank Sinatra – 1945

After exhausting some of my best patriotic material on last year’s Fourth of July, I had to deliberate considerably on what I should discuss on this year’s Independence Day.  Although it steps a bit out of Old Time Blues’ usual prewar milieu, I don’t think I could find a more beautifully patriotic record that better captures what it means to be an American than this 1945 Frank Sinatra classic.  This also marks the official debut of my new pre-owned Grado phonograph cartridge (although I’ve updated the audio on some older posts), so the sound should be a little crisper than in the past.

Columbia 36886 was recorded in two sessions, the first around 8:45 PM on August 22, 1945, the second around 9:15 PM on August 27, 1945, both in Hollywood, California.  On the first date, Axel Stordahl conducts an orchestra made up of Uan Rasey, Leonard Mach, and Bruce Hudson on trumpet, Peter Beilman, Elmer Smithers, and Carl Loeffler on trombone, James Stagliano on French horn, Fred Stulce, Heinie Beau, Don Lodice, Harold Lawson, and Leonard Hartman on reeds, Sam Freed Jr., Nicholas Pisani, Peter Ellis, Sol Kindler, Mischa Russell, Gerald Joyce, Samuel Cytron, Howard Halbert, David Frisina, Anthony Perrotti, Walter Edelstein, and William Bloom on violins, David Sterkin, Maurice Perlmutter, and Allan Harshman on viola, Cy Bernard, Jack Sewell, and Arthur Kafton on ‘cello, Ann Mason Stockton on harp, Frank Leithner on piano, Perry Botkin on guitar, Jack Ryan on string bass, and Ray Hagan on drums.  On the second date, the orchestra is largely the same, except Charles Griffard replaces Rasey on trumpet, Jimmy Skiles replaces Beilman on trombone, John Cave replaces Stagliano on horn, Mannie Gershman replaces Stulce on reeds, Olcott Vail, Victor Arno, and George Kast replace Joyce, Halbert, and Bloom on violin, Garry White replaces Harshman on viola, Fred Goerner and Nicholas Ochi-Albi replace Bernard and Kafton on ‘cello, and Lauretta McFarland, Mark McIntyre, and Dave Barbour replace Stockton, Leithner, and Botkin on harp, piano, and guitar, respectively.

In 1945, shortly after the conclusion of the Second World War, the young Frank Sinatra, ever a hit with the bobby soxers, starred in an RKO Radio Pictures short film, written by Albert Maltz and directed by Mervyn LeRoy, titled The House I Live In.  In it, Sinatra, taking five from a recording session, breaks up a fight between a group of schoolboys, who are putting the hurt on a peer for being Jewish.  Frank steps in and teaches the boys a lesson on tolerance, and what it means to be an American, before singing the titular song.  The moving film won an honorary Academy Award and Golden Globe for its excellence, and was in later years inducted into the Library of Congress’ National Film Registry.

With music by Earl Robinson and words by Abel Meeropol (under the pen name Lewis Allan), “The House I Live In” made its debut in 1942 as part of the revue Let Freedom Sing, before it came to star in the film of the same name.  Although it was written by individuals whose politics would only a few years later gain them McCarthy-era ostracism, I can think of few songs so truthfully and patriotically American as “The House I Live In”.  It reflects truly timeless values that are every bit as valid today as they were then.

The House I Live In, recorded August 22, 1945 by Frank Sinatra.

Maintaining the patriotic theme, on the flip, Sinatra is joined by the Ken Lane Singers for a lovely rendition of “America, the Beautiful”.

America, the Beautiful, recorded August 27, 1945 by Frank Sinatra.

Timely Tunes C-1585 – Henny Hendrickson’s Louisville Serenaders – 1931

Another entry in Old Time Blues’ continuing series on the territory jazz bands that once dotted the United States, we look upon the obscure history of Henny Hendrickson’s Louisville Serenaders.

Details about the Louisville Serenaders are scarce, it would appear that the band made little mark on history.  They were led by reed man Clarence “Henny” Hendrickson.  In spite of their name, they did not hail from the vicinity of Louisville, Kentucky, but rather toured the Delaware, Pennsylvania, and New Jersey area.  The same stunt was pulled by Johnny Hamp’s Kentucky Serenaders, who also hailed from Pennsylvania.  Perhaps the Louisville Serenaders chose their name in an attempt to emulate the successful Victor recording orchestra (purely speculation).  In any event, they had three sessions for the RCA Victor Company in Camden, New Jersey in 1930 and ’31, yielding a total of fourteen sides, eight of which were released.  Half of those were issued on the Victor label, while the other half appeared on their short-lived budget label Timely Tunes.  No sides from their first session on July 21, 1930 were issued, while all of those recorded at their second and third sessions, on June 10 and 17, 1931, were.  Among those sides are a memorable rendition of “I Ain’t Got Nobody” and a peppy version of Harold Arlen’s “Buffalo Rhythm”.  I can find no information concerning the life and times of bandleader Clarence “Henny” Hendrickson.

Timely Tunes C-1585 was recorded on June 10, 1931 at Victor’s church building studio near their Camden, New Jersey headquarters.  Among the Louisville Serenaders are Herb Facemyer and an unknown player on trumpets, Johnny Lingo on trombone, Clarence “Henny” Hendrickson on clarinet, soprano sax, and alto sax, Don Shook on alto sax, Eddie Friebel on tenor sax, Bill Wallace on piano, Wyatt Haynes on banjo and guitar, Art Maxwell on tuba and and unknown drummer.  The trio that sings on both sides is made up of Facemyer, Maxwell, and Friebel.

The first song which the Serenaders will serenade us with is Cliff Friend and Dave Dreyer’s “I ‘Wanna’ Sing About You”.

I "Wanna" Sing About You

I “Wanna” Sing About You, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Next, they play a mighty fine rendition of the old classic “I Ain’t Got Nobody”.

I Ain't Got Nobody

I Ain’t Got Nobody, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Brunswick 4597 – Billy Murray and Walter Scanlan – 1929

Billy Murray, as pictured in 1921 Victor catalog.

In commemoration of the anniversary of the birth of the “Denver Nightingale”, recording pioneer and prolific record artist Billy Murray, I present the latest record of him currently in the Old Time Blues collection.

William Thomas Murray was born on May 25, 1877—the same year Edison invented the phonograph that he later would help to proliferate—in Philadelphia, Pennsylvania, son of Patrick and Julia Murray.  Murray later quipped, “I squalled for the first time in 1877, and so did the phonograph. I didn’t do very much for ten years after that, but neither did the phonograph.”  The Murrays moved to Denver in 1882, and by sixteen, Billy was performing professionally.  Murray made his first of hundreds of phonograph recordings for Peter Bacigalupi in San Francisco in 1897, and was recording regularly and professionally in the New York area by 1903.  Over the following decades, Murray recorded a huge multitude of songs, in various styles and genres, for virtually every record label in operation.  Coinciding with the advent of electrical recording in 1925, the public’s tastes were changing, and Murray began to fall from favor.  To adjust to the new recording systems, he softened his singing voice, though his work became more sporadic.  In the 1920s, he often worked as a vocalist for dance bands; he appeared on Jean Goldkette’s memorable recording of “I’m Looking Over a Four Leaf Clover” in 1927, featuring Bix Beiderbecke.  Starting in the late 1920s, Murray lent his voice to animated cartoons, providing the voice of Bimbo, and others, in shorts made by Fleischer Studios.  He worked sporadically on radio through the 1930s, including appearances on the WLS National Barn Dance.  In 1940, Murray made a series of recordings for Bluebird, accompanied by Harry’s Tavern Band, and made his last recordings in 1943 for the Beacon label with fellow recording pioneer Monroe Silver, known for his “Cohen” character.  After retiring in 1944 due to heart issues, Billy Murray died suddenly of a heart attack at a Guy Lombardo show on Long Island on August 17, 1954.

Brunswick 4597 was recorded in September or October of 1929 by Billy Murray with his frequent duet partner Walter Scanlan (whose real name was Walter van Brunt).

First, the duo sings humorous number from the 1929 Sono Art-World Wide talking picture The Great Gabbo, in which it was performed by Erich von Stroheim in the titular role, with his ventriloquist dummy.

Icky, recorded September/October 1929 by Billy Murray and Walter Scanlan.

On the reverse, Murray and Scanlan sing another comic song most frequently associated with Eddie Cantor, “My Wife is On a Diet”.

My Wife is On a Diet, recorded September/October 1929 by Billy Murray and Walter Scanlan.