Vocalion 8470 – Cuarteto Monterrey – 1932

With it being Cinco de Mayo, it seems like an appropriate time to post one of the only authentic Mexican records in the Old Time Blues collection (at least at the time of posting)—one of numerous such recordings made within the state of Texas in the 1920s and 1930s.  I can’t provide much information about this disc, as it falls outside of my typical milieu, and I don’t really know what resources to consult, but I’ll tell you what I am able to dig up.

Vocalion 8470, in their “ethnic” series, was recorded on December 5, 1932 in San Antonio, Texas, probably in the Gunter Hotel, by the Cuarteto Monterrey (or in English, shockingly enough, the “Monterrey Quartet”).  The full personnel is unknown to me, but instrumentation consists of mandolin and two guitars, though that would seem to make it a trío rather than a cuarteto.  Vocals are by Daniel Flores and Andrés Herrera, who likely also play the two guitars.  In addition to these two sides, they recorded at least twenty-four other sides for Vocalion.  A Cuarteto Monterrey also recorded for Okeh in 1930 which sounds to be the same group, but given the rather generic nature of the name, I can’t positively say whether it is.

Flores and Herrera recorded two sides previously, “Los Desocupados” and “Los Toros Puntales”, for Victor Records in 1931, also in San Antonio.

Their first tune, “La Bola”, was also issued on Brunswick 41551, and was later featured in 1996 on the Smithsonion Folkways album Orquestas de Cuerdas (The String Bands) – The End of a Tradition (1926-1938).

La Bola, grabado diciembre 5, 1932 por el Cuarteto Monterrey.

On the reverse, the quartet plays “Mancornadora de Mi Corazón”.  This tune has also had its time in the spotlight as part of the album Texas-Mexican Border Music Vol. 5 – The String Bands (End Of A Tradition).

Mancornadora de Mi Corazon, grabado diciembre 5, 1932 por el Cuarteto Monterrey.

Vocalion 03174 – J. H. Bragg and his Rhythm Five – 1935

Today’s selections highlights banjo picker J.H. Bragg, who was quite a prolific player in the Texas jazz scene of the 1920s and ’30s, but like many of his contemporaries, has fallen into near total obscurity in the present day.

John Henry Bragg was born in Fort Worth, Texas on August 10, 1898 into a family of musicians.  His father was a medicine show entertainer in the latter part of the nineteenth century, and later taught all of his family to play instruments.  John Bragg learned to play guitar and piano, but later switched to banjo because it could be better heard over a band.  Bragg’s first professional engagement was with the Sadie Smith Jazz Band in Fort Worth around 1918.  He was married to blues singer Ardell “Shelly” Bragg, who recorded several sides for Paramount Records in 1926 and ’27.  In 1927, he went to San Antonio to play in Troy Floyd’s orchestra at the Plaza Hotel (and the Shadowland speakeasy), with whom he remained until the band broke up in the early ’30s.  In his later years, he claimed to have been responsible for introducing Don Albert to Floyd.  In late 1928, Bragg, along with some other members of Floyd’s orchestra, accompanied blues singers Hattie Burleson, Ben Norsingle, Jewell Nelson, and Ollie Ross in a series of sessions held by Brunswick and Columbia in Dallas.  Like his former band mate Don Albert, Bragg formed his own band in the 1930s, his Rhythm Five, though it never found the same notoriety as Albert’s famous swing band.  The Rhythm Five recorded but one session for Vocalion in 1935, which yielded four sides, all of which were issued.  During World War II, Bragg was hired to play at Fort Sam Houston in San Antonio, and he retired in 1968.  In 1980, he was interviewed by Sterlin Holmesly.  John Henry Bragg died on January 1, 1988, and was presumably buried next to his wife Ardell in San Antonio’s Eastview Cemetery, though no date was ever chiseled into his tombstone.

Vocalion 03174 was recorded on August 28, 1935 in San Antonio, Texas, the only session by Bragg’s Rhythm Five.  In the band are Joe Hathaway on alto sax, Al Freeman on piano, John Henry Bragg on banjo, and Walter Warden on string bass.  Israel Wicks sings the vocals.

First, one of more commonly reissued of the four sides waxed by Bragg’s Rhythm Five, “Frisky Honey” was featured on the CD compilation That Devilin’ Tune – A Jazz History (1895-1950).

Frisky Honey

Frisky Honey, recorded August 28, 1935 by J. H. Bragg and his Rhythm Five.

In their last side cut at the session, they play an energetic rendition of Cow Cow Davenport’s “Mama Don’t Allow” as “Mama Don’t Like Music”, with their “mama don’t allow no [what have you] played in here” verses allowing for ample solos from each musician.  I can’t find that this side has ever been commercially reissued, though I can’t understand why, it’s a fine tune.

Mama Don't Like Music

Mama Don’t Like Music, recorded August 28, 1935 by J. H. Bragg and his Rhythm Five.

Vocalion 3401 – Don Albert and his Orchestra – 1936

In their heyday, Don Albert’s orchestra was called “America’s Greatest Swing Band”, a title which they perhaps deserved.  Today, their renown, however great it may have been in the 1930s, has faded.

Don Albert was born Albert Anité Dominique in New Orleans on August 5, 1908.  He was the nephew of trumpeter Natty Dominique, and also reportedly a relative of Barney Bigard.  Albert took up the trumpet to join in on the Crescent City’s famous brass bands, and was instructed on the instrument by Milford Piron, brother of the renowned bandleader Armand J. Piron.  Sometime in the middle part of the 1920s, Albert relocated to Dallas, where he joined Alphonso Trent’s orchestra at the Adolphus Hotel (later the Gunter Hotel), with whom he toured across the southwestern United States.  After departing from Trent, Albert joined Troy Floyd’s orchestra of the Plaza Hotel in San Antonio, with whom he remained until forming his own band in 1929.  Initially calling themselves “Don Albert and his Ten Pals”, Albert’s new band played the Texas State Fair in 1929, and supplanted Floyd’s band at the Shadowland speakeasy in San Antonio.  In the 1930s, Albert’s orchestra toured across twenty-four of these United States, and billed themselves as “America’s Greatest Swing Band”, but only recorded eight titles in one San Antonio session for the American Record Corporation.  In the 1940s, Albert opened an integrated club, Don’s Keyhole, in San Antonio, which closed in 1948, at which point he returned to New Orleans for a short period.  Once back in San Antonio, Albert opened another club, and following harassment from authorities, filed a restraining order against the city, taking his case all the way to the Texas Supreme Court and winning.  Aside from his musical work, Albert was also employed as a civil servant at Fort Sam Houston from the late forties or early fifties until retiring in 1974.  Don Albert retired from performance in the late 1950s, but continued to play sporadically for the rest of his life.  He died in San Antonio on March 4, 1980.

Vocalion 3401 was recorded on November 18, 1936 in San Antonio, Texas.  Don Albert directing Billy Douglas, Alvin Alcorn, and Hiram Harding on trumpets, James “Geechy” Robinson and Frank Jacquet on trombones, Herbert Hall on clarinet, alto sax, and baritone sax, Gus Patterson and Harold “Dink” Taylor on alto sax, Louis Cottrell on clarinet and tenor sax, Lloyd Glenn on piano, Ferdinand Dejan on guitar, James Johnson on string bass, and Albert Martin on drums.

The “big” sound of Albert’s “Rockin’ and Swingin'” exemplifies that of Texas jazz in the 1930s (compare to Boots and his Buddies’ “Rose Room”).

Rockin' and Swingin'

Rockin’ and Swingin’, recorded November 18, 1936 by Don Albert and his Orchestra.

On the other side, Merle Turner sings the vocal on this band’s swinging version of the seven year old (at the time of recording, that is) popular song from The Dance of Life, “True Blue Lou”.

True Blue Lou

True Blue Lou, recorded November 18, 1936 by Don Albert and his Orchestra.

Bluebird B-6063 – Boots and his Buddies – 1935

In another entry in our series examining both the territory bands of the United States and music originating from the state of Texas, we look at Boots and his Buddies, one of the Lone Star State’s leading swing bands of the 1930s.

Clifford “Boots” Douglas was born in Temple, Texas, likely on September 7, 1906 or 1908.  He began playing drums in his teenage years, and first played professionally in 1926 as a member of Millard McNeal’s Southern Melody Boys of San Antonio.  Douglas formed his own band, called “Boots and his Buddies” (perhaps deriving their name from the comic strip Boots and her Buddies) at some point in the first half of the 1930s, and played gigs around the state of Texas, occasionally venturing into neighboring states.  Boots’ Buddies began recording in 1935 for RCA Victor, with their recordings issued on the Bluebird label.  They continued to record until late in 1938.  With Douglas arranging, they seem to have had a tendency to “borrow” music from others and play it under their own titles.  Their regional popularity rivaled that of fellow Texas swing man Don Albert, and while their phonograph records gained them some greater recognition outside of their home state, they never were never widely known outside of Texas.  Though the end of the swing era saw a steady decline in the band’s popularity, Boots and his Buddies were still playing through the end of the 1940s.  In 1950, Douglas finally disbanded his Buddies and relocated to Los Angeles, California, where he worked for the county, still playing on the side.  According to social security records, he died in 2000, at the age of either 92 or 94.

Bluebird B-6063 was recorded August 14, 1935 in San Antonio, Texas by Boots Douglas and his Buddies.  The personnel consists of Thaddeus Gilders, Percy Bush, Douglas Byers, and L.D. Harris on trumpets, Johnny Shields on trombone, Alva Brooks and Jim Wheat on alto sax, Baker Millian on tenor sax, A.J. Johnson on piano, Jeff Thomas on guitar, Walter McHenry on string bass, and Boots Douglas on drums.  It was the first issued record by Boots’ Buddies, and the first and third sides from his earliest session.  This pressing dates to the late 1930s, early pressings would have appeared on Bluebird’s “buff” label.  I purchased this copy from a local fellow in Arlington (the same guy that provided my Fred Gardner’s Texas University Troubadours record), it has likely spent its entire life in the state, since its arrival from the pressing plant.

First up is “Wild Cherry”.  This side is pretty well beaten, but still plays well thanks to the high quality of these Bluebird records.

Wild Cherry

Wild Cherry, recorded August 14, 1935 by Boots and his Buddies.

On the other side, they play a sizzling rendition of “Rose Room” (which we last heard played by Duke Ellington’s band).  This was Boots and his Buddies’ first recorded side.  This may be the loudest side I’ve ever played, I had to turn the volume way down to transfer it properly.

Rose Room

Rose Room, recorded August 14, 1935 by Boots and his Buddies.

Bluebird B-5942 – Jimmie Rodgers/Jesse Rodgers – 1931/1935

This record is a remarkable one for a number of reasons.  One of those is that, being a Depression era release, it is quite scarce (and I don’t mean to sound braggadocious, I’m still surprised that I have it, myself).  Another is that is one of a number of records of the 1920s and 1930s to feature black and white artists performing together, in this case Jimmie Rodgers with the Earl McDonald’s Louisville Jug Band.  On the downside, this copy has certainly seen better days.  The years have not been kind to it, and its sound reflects that. It’s still listenable, but has a layer of surface noise.  Another bit worth mentioning is that the flip side of this record, which was released after Rodgers’ passing, features a recording by another blue yodeler who happened to be Jimmie Rodgers’ first cousin.

Both sides of Bluebird B-5942 were recorded on separate occasions.  The “A” side was recorded on June 16, 1931 in Louisville, Kentucky, the “B” side was recorded January 28, 1935 in San Antonio, Texas.  The personnel of the jug band on the first side includes George Allen on clarinet, Clifford Hayes on violin, Cal Smith on tenor guitar, Fred Smith on guitar and Earl McDonald on jug, the same basic group as the Dixieland Jug Blowers.  One seller claimed that it sold a total of 2,757 copies, but I have no idea how they came up with that number and whether or not it’s accurate, though those numbers don’t sound out of line.

On the first side, the Blue Yodeler sings “My Good Gal’s Gone”, with outstanding accompaniment by Earl McDonald’s Louisville Jug Band.  Though it was recorded in 1931, this 1935 Bluebird is the first issue of this recording.  Takes “2” and “3” of this song exist, this one is the latter.

My Good Gal’s Gone, recorded June 16, 1931 by Jimmie Rodgers.

On the “B” side, Jimmie’s first cousin, Jesse Rodgers sings “Leave Me Alone, Sweet Mama” in a style that reminds me of Cliff Carlisle more than Jimmie.  Jesse stuck around for quite a while, later dropping the “d” from his name to become Jesse Rogers by the end of the 1930s.

Leave Me Alone, Sweet Mama, recorded January 28, 1935 by Jesse Rodgers.

Leave Me Alone, Sweet Mama, recorded January 28, 1935 by Jesse Rodgers.

Updated with improved audio on May 23, 2017.