Vocalion 1198 – Cow Cow Davenport and Ivy Smith – 1928

Posted on April 23, 2016 by R. Connor Montgomery

Cow Cow Davenport, circa 1940s. Magazine clipping from “The Jazz Record”.

April 23 marks the 122nd anniversary of the birth of the Man that Gave America Boogie Woogie, Charles “Cow Cow” Davenport. Since it also marks my own birthday, that makes it a very special occasion, and thusly, I hope to offer a very special presentation.

Charles Edward Davenport was born in Anniston, Alabama on April 23, 1894. He took up the piano at the age of twelve. Davenport’s father was a pastor, and opposed his son’s musical interests, sending him away to a seminary to continue in his father’s work. The young Charles was kicked out the the seminary for playing ragtime. He began his professional career playing boogie woogie piano in medicine shows and touring the TOBA vaudeville circuit. In 1924, Davenport made his debut recordings as an accompanist for his vaudeville partner Dora Carr for Okeh Records, recording his trademark composition, “Cow Cow Blues”, one of the earliest instances of boogie woogie piano on record, from which he got his nickname. After Okeh, Cow Cow several records for Paramount, and recorded fairly prolifically, solo and as an accompanist. By the later 1920s, he was working with a new partner, Ivy Smith, and recording for Vocalion records, with whom he made a larger number of sides. He also worked as a talent scout for Vocalion, bringing in such talent as Clarence “Pine Top” Smith. Composed by Davenport were such classics as “Mama Don’t Allow It” and supposedly “You Rascal You”, which he claimed to have sold to Sam Theard. In the early 1930s, he took up in Cleveland, Ohio, which remained his home for the rest of his life. In 1938, Davenport suffered a stroke that caused minor paralysis in his right hand that forced him to temporarily retire from music and take menial jobs, and impeded his playing for the rest of his life. Nevertheless, he continued to perform and record. In 1942, his name was put up in lights when Freddie Slack’s Orchestra had a smash hit with “Cow Cow Boogie”, no doubt taking its name from the aging piano man. His final years plagued by ill health, Cow Cow Davenport died of heart failure on December 12, 1955 in Cleveland.

Vocalion 1198 was recorded in Chicago on July 16, 1928 featuring Cow Cow Davenport on piano assisted by his vaudeville partner, Ivy Smith on one side. Two known takes of each side were recorded that day, and both are presented here. Takes “A” come from the original issue, and takes “B” are from the 1943 reissue on Brunswick 80022.

Davenport first plays solo on his eponymous song “Cow Cow Blues”, deriving its name from the cowcatchers mounted on the front of old steam engines.

Cow Cow Blues, recorded July 16, 1928 by Cow Cow Davenport.

On the reverse, Davenport is joined by the vocals of his stage partner Ivy Smith on “State Street Jive”. “What kinda piano player is this?” Smith asks on take “B” of this tune.

State Street Jive, recorded July 16, 1928 by Cow Cow Davenport and Ivy Smith.

A Pair of Early Rags by Arthur Pryor’s Band – Victor 4069 & 4525 – 1903/1905

Posted on February 28, 2016 by R. Connor Montgomery

Arthur Pryor. From 1917 Victor catalog.

A few months ago, I was fortunate enough to uncover several of these single sided early Victor records at one of my regular haunts. Though they’re a little out of the scope of what I usually collect, they certainly are interesting, as they are all well over one hundred years old! Since they only have one side each, I thought it best to post two of them here at a time. These two are a pair of rags composed by Arthur Pryor and played by his military band.

Arthur Pryor, the trombone virtuoso, was one of Victor’s most popular artists around the turn of the century. He rose to prominence during the 1890s as a soloist with John Philip Sousa’s band, and took his first solo at the 1893 World’s Fair in Chicago. Pryor left Sousa’s Band in 1902 and soon began his association with the Victor Talking Machine Company. During the 1900s and 1910s, Pryor’s Band was one of the most popular in the United States.

Dating these early records is not my strong suit, but going by the matrix number of B-793, and the apparent take number of 2, this copy Victor 4069 was recorded April 26, 1904, mostly likely in Philadelphia, Pennsylvania. This record features Arthur Pryor’s famous composition (though its title would not be so acceptable today), “Coon Band Contest”. This one is, unfortunately, quite noisy, but not too shabby for a nearly 113 year old shellac disc!

Coon Band Contest, recorded April 26, 1904 by Arthur Pryor’s Band.

With the matrix B2818, it appears that Victor 4525 was recorded October 18, 1905, also in Philadelphia. This one features the rag tune “Razzazza Mazzazza”, and plays considerably better than the first disc. It’s pretty fun music, too!

Razzazza Mazzazza, recorded October 18, 1905 by Arthur Pryor’s Band.

Updated with improved audio on June 6, 2017.

Wilcox-Gay Recordio – Unknown Artist – c.1950

Posted on February 4, 2016 by R. Connor Montgomery

UPDATE: Diligent experts have identified these tunes as “Down Yonder” (first side), and “The Waltz You Saved For Me” (second side). Thank you, for your great assistance, Messrs. Chalfen, Johnston, and Bosch!

Here’s another home recording that I found along with that old time fiddle one, it features two very familiar sounding, and quite enjoyable piano solos whose names I cannot seem to place. I’m hoping someone out there can help me identify the names of the pieces being played. If any of you treasured readers out there can put a name with them, I’ll update the article with special thanks.

This Wilcox-Gay Recordio home recording disc is completely unmarked, making it impossible for me to offer any information on its artist or date. The copyright date of 1950 would likely place it in that vicinity as far as dating goes. As is often the case with these home recordings, sound quality is on the low end, and there is quite a bit of noise, but these aren’t too bad, all things considered.

This side sounds especially familiar to me, but I just can’t put my finger on the title. At first I though it was “Waiting on the Robert E. Lee”, but it doesn’t seem to quite fit that tune.

Thanks to a reader’s identification, this tune seems to be L. Wolfe Gilbert’s 1921 composition “Down Yonder”.

Down Yonder, recorded ? by unknown pianist.

This little ditty, too, sounds quite familiar, but again, I just can’t quite think of the title, if I ever knew what is was called. Some talking can be heard in the background of this one at one point.

The Waltz You Saved for Me, recorded ? by unknown pianist.