1935

Posted on June 16, 2016 by R. Connor Montgomery

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.

Updated with improved audio on May 23, 2017.

Okeh 8571 – Troy Floyd and his Plaza Hotel Orchestra – 1928

Posted on March 18, 2016 by R. Connor Montgomery

The Lone Star State in the 1920s was home to a host of fantastic territory jazz bands, such as those of Alphonso Trent, Eddie Fennell and Sugar Lou Morgan, Fred Gardner, Jimmie Joy, and Le Roy Williams. One of the most outstanding of these territory bands, both in musical virtuosity and history, was that of Troy Floyd. Floyd’s eleven piece orchestra played at the Plaza Hotel in San Antonio, and gigged on-the-side at the Shadowland, a notorious speakeasy and one of the most successful jazz clubs in Texas.

Troy Floyd was born around San Antonio, Texas on January 5, 1901, and learned to play the saxophone and clarinet. He organized his first group, a sextet, in 1924. The group expanded over time, and by 1928, Floyd’s orchestra was playing at the Plaza Hotel and broadcasting on KTSA. Floyd’s band made two released records, both featuring one song broken up into two parts, plus an unissued recording of “Wabash Blues” on two of Okeh Records’ field trips to San Antonio. Floyd’s band holds special significance in Texas’ musical legacy, for, in addition to its own merit, it helped to launch the careers of at least two musicians of note; in the 1930s, New Orleans born trumpeter Don Albert started his own Texas-based swing band, and banjoist J.H. Bragg founded a jazz group of his own, both of which made several records with Vocalion in the 1930s. Troy Floyd disbanded his orchestra in 1932, and later worked as a pool hall operator in San Diego, California, where he died on July 16, 1953.

Okeh 8571, part of their legendary race series, was recorded March 14, 1928 in San Antonio, Texas. The personnel features future band leader and trumpet virtuoso Don Albert and Willie Long on trumpets, Benny Long providing unique solos on trombone, Troy Floyd and N.J. “Siki” Collins on clarinet and alto sax, Scott Bagby on clarinet and tenor sax, John Henry Bragg on banjo, Allen Vann on piano, Charlie Dixon (a different one from Fletcher Henderson’s banjoist) on trombone and tuba, John Humphries on drums, and the bellowing Kellough Jefferson singing the vocal refrain.

The title of “Shadowland Blues” refers to the San Antonio speakeasy of the same name, though the lyrics, sung by Kellough Jefferson, make no reference to the club. This amazing territory band recording is characterized by what has been called the “gut bucket” trombone playing of Benny Long, which some have said mars the performance, but I disagree, I think it gives it a unique and rural character, as opposed to homogenized classically-trained, Whiteman-esque jazz.

A two-parter, they play “Shadowland Blues (Part 1)” on the first side…

Shadowland Blues (Part 1), recorded March 14, 1928 by Troy Floyd and his Plaza Hotel Orchestra.

…and “Shadowland Blues (Part 2)” on the back.

Shadowland Blues (Part 2), recorded March 14, 1928 by Troy Floyd and his Plaza Hotel Orchestra.

Updated with improved audio on July 9, 2017.

Okeh 41440 – Fred Gardner’s Texas University Troubadours – 1930

Posted on February 21, 2016 by R. Connor Montgomery

In my never ending hunt for Texas jazz records, this one by Fred Gardner’s Texas University Troubadours is a necessity. Unfortunately, the only copy I was able to get my hands on is in rather rough condition. I think it’s still enjoyable, but it’s no prizewinner by any stretch of the imagination. Years ago, an English magazine misidentified the cornet on these records as that of the legendary Bix Beiderbecke, in what they credited as a band organized by British saxophonist Freddy Gardner, who was alleged to have been vacationing in Texas at the time. In actuality, the cornet player on this and the other record from this session was Tom Howell, and the leader was an entirely different Fred Gardner.

Cornetist Thomas Alva Howell, Jr., born in 1906, and his brother Lee learned to play by ear, and attended the University of Texas together beginning in 1921, where they played in the Howell Brothers Moonshiner Orchestra. They later joined Steve Gardner’s Hokum Kings, which recorded in 1930 under the direction of saxophonist Fred Gardner in San Antonio for Okeh Records. Howell and his brother also played in Sunny Clapp’s Band o’ Sunshine and can be heard playing on two of their San Antonio recorded sides from 1929, as well as singing on one of their Victor records.

Okeh 41440 was recorded on June 9, 1930 in San Antonio, Texas. Judging by the personnel, the band was something of a family affair, and features leader Fred Gardner on clarinet and tenor sax, Tom Howell on cornet, Lee Howell on trombone, Steve Gardner on clarinet, Chester Seekatz on clarinet and alto sax, Tommy Howell on piano, Bill Lewis on banjo and guitar, John Gardner on tuba, and Jay “Bird” Thomas on drums and vocals.

Gardner’s Troubadours play W.C. Handy’s classic song “Loveless Love” (a re-working of the traditional “Careless Love”) slow and with a steady beat, and it doesn’t disappoint, serving as an outstanding example of Texas-area territory jazz, with a fine vocal to top it off.

Loveless Love, recorded June 9, 1930 by Fred Gardner’s Texas University Troubadours.

A bit worse for wear, Glen Caraway, Louis Andre, and Bob Miller’s blues song “Papa’s Gone” is played hotter and more uptempo than the previous side, with a great bounce, and is one of my favorites. Originally a blues song performed by the likes of Rosa Henderson, this number seems to have been something of a standard in Texas jazz in those days, as it was recorded by at least four Texas-based bands in the 1920s and 1930s: first by Jimmy Joy’s St. Anthony Hotel Orchestra as “Mama Will Be Gone” in 1924, then by Eddie and Sugar Lou’s Hotel Tyler Orchestra as “Sweet Papa Will Be Gone” in 1929, then this one in ’30, and finally (or not?) by the Nite Owls in 1937.

Papa’s Gone, recorded June 9, 1930 by Fred Gardner’s Texas University Troubadours.

Updated with improved audio on July 11, 2017.

Bluebird B-5587 – Riley Puckett – 1934

Posted on June 29, 2015 by R. Connor Montgomery

At one of my regular haunts the other day, I happened upon this exceptionally fine copy of what may be considered the great country singer Riley Puckett’s best record. As it happens, some of Puckett’s relatives in Georgia are close family friends of mine, so I thought it might be nice to whip up a quick post for this fine disc.

George Riley Puckett was born in 1894 in Dallas, Georgia. He was struck blind after a doctor threw salt in his eyes attempting to treat an infection. Around the time of his early performances, he was dubbed “The Bald Mountain Caruso.” Rising to become one of the most popular country musicians of the era, Puckett recorded both solo and with a number string bands, most notably Gid Tanner’s Skillet Lickers, from 1924 until 1941. He died of blood poisoning in 1946.

On Bluebird B-5587, Riley Puckett plays guitar and sings two of his finest songs, accompanied by the Skillet Lickers’ Ted Hawkins on mandolin. Both sides were recorded March 29, 1934 at the Texas Hotel in San Antonio, Texas.

On side “A”, Riley soulfully sings and yodels Carson Robison’s humorous tale of salvation on the wonderful “I’m Gettin’ Ready to Go”.