Brunswick 6049 – Nick Lucas and his Crooning Troubadours – 1931

Posted on August 22, 2017 by R. Connor Montgomery

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

Columbia 36886 – Frank Sinatra – 1945

Posted on July 4, 2017 by R. Connor Montgomery

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, and every bit as solidly American.

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

Posted on June 10, 2017 by R. Connor Montgomery

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, 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, recorded June 10, 1931 by Henny Hendrickson’s Louisville Serenaders.

Brunswick 4597 – Billy Murray and Walter Scanlan – 1929

Posted on May 25, 2017 by R. Connor Montgomery

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.

Victor 19639 – Connie Boswell/Boswell Sisters – 1925

Posted on March 22, 2017 by R. Connor Montgomery

In 1925, the Boswell Sisters had made quite a name for themselves in their hometown of New Orleans. Three years prior, they had won a talent contest for WAAB radio, which earned them a three day gig at the Palace Theatre. They were regularly engaged around town, particularly at functions of the Young Men’s Gymnastic Club, whose promotive director had taken a shine to the Bozzies. It was a YMGC function where the sisters were noticed by vaudeville headliners Van and Schenck, who were at the time playing at the Orpheum. They loved the Boswells’ act, and promised to pull some strings in their favor when they returned to New York. Very soon after that, they cut their first record. E.T. King of the Victor Talking Machine Company was in town with mobile recording equipment, just in from Houston on the first such “field trip” they ever made (though not the first recording session held in New Orleans). The Boswell Sisters were the first artists to record for Victor in New Orleans, they cut three sides, “You Can Call Me Baby All the Time”, “I’m Gonna Cry (The Cryin’ Blues)”, and “Pal o’ Mine” on March 22, 1925, followed by “Dad” and “Nights When I Am Lonely” on the 25th. Only two of those five were issued. Other artists to record on the historic New Orleans field trip were Tony Parenti’s Famous Melody Boys, Piron’s New Orleans Orchestra, and the New Orleans Rhythm Kings. Reportedly the Boswells’ record was mistaken for a “race” record, and as a result kept out of many record stores. Nonetheless, the sisters were eager to head to Camden and cut a few more, though fate held them in New Orleans until 1928.

Victor 19639 was recorded on March 22 and 25, 1925 in New Orleans, Louisiana. These recordings were made acoustically, shortly before Victor commenced mainstream electrical recording (though they had made several prior to these). It is the Boswell Sisters first record, as well as their only record made in the 1920s.

Tragically, this record arrived in my possession broken in three pieces, the result of incompetent packing (one of the worst jobs I’ve ever seen), and can be seen on the “wall of shame” on Old Time Blues’ guide to packing 78s. I couldn’t allow a record this rare and this great to remain in pieces however, so I set about repairing it. After warming up by repairing two other broken discs, I carefully lined up the grooves, setting the pieces as tightly together as possible, and superglued the edges and run-out to hold it together. Fortunately, it tracked, and played with clicks. After transferring, I painstakingly removed every click the cracks caused, and equalized out the rest of the thumps. The end result exceeded my every expectation of what this broken record could sound like. A few slight clicks still remain, but I believe you’ll find that it sounds quite clean, all things considered (seeing as it has the equivalent of four cracks to the label in it).

First, in the style of her idol Mamie Smith, seventeen-year-old Connie belts out “I’m Gonna Cry (Cryin’ Blues)”, accompanied on piano by her sister Martha. Young Vet joins in later on to help Connie vocally imitate a hot instrumental break.

I’m Gonna Cry (Cryin’ Blues), recorded March 22, 1925 by Connie Boswell.

Next, all the sisters join in on “Nights When I Am Lonely”, which features the Bozzies’ trademark style of scat known as “-ggling” (that’s pronounced “gulling”). On this side, they are accompanied on piano by Vitaly Lubowski, who had recorded the previous day with Tony Parenti’s Famous Melody Boys.

Nights When I Am Lonely, recorded March 25, 1925 by the Boswell Sisters.