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.

Okeh 6893 – Bessie Smith with Buck and his Band – 1933

Posted on April 15, 2017 by R. Connor Montgomery

Bessie Smith, the Empress of the Blues. From Jazzmen, 1938.

The time has come once again to honor the Empress of the Blues, Bessie Smith. I’ve already covered her life in some detail previously, so this post is dedicated to her famous last session.

Bessie Smith’s career flourished throughout the roaring twenties, but was hampered by the onset of the Great Depression. Bessie made her final recordings for the Columbia label—for whom she had recorded since her debut in 1923—near the end of 1931, as the economy continued to dive. After two years spent touring, record producer John Hammond brought her back to the studio for a session with Okeh (a subsidiary of Columbia since 1926). For this session, Smith was paid a non-royalty sum of $37.50 (equivalent to around $690 dollars today). With an all-star band led by pianist Buck Washington (best known as half of the popular vaudeville duo Buck and Bubbles) assembled to accompany her, the four sides cut at that session helped bring her style into the burgeoning era of swing. That lone Okeh session, however, proved to be her last. Smith made no further recordings between then and her fatal car accident four years later, and in that period of time faded into obscurity; by 1936 she was working as a hostess in a Philadelphia club.

Okeh 6893 was recorded on November 24, 1933 in New York City. It was originally issued on Okeh 8949, this reissue dates to 1952. In the band accompanying Bessie is the almost legendary lineup of Frank Newton on trumpet, Jack Teagarden on trombone, Chu Berry on tenor sax, Buck Washington on piano, Bobby Johnson on guitar, and Billy Taylor on string bass. Benny Goodman was recording in an adjoining studio that day, and sat in for this session, but I’m not sure if he can be heard on these two sides. The songs on both sides were composed by Wesley “Socks” Wilson.

First up, Bessie is at her all-time best on the legendary “Gimme a Pigfoot”.

Gimme a Pigfoot, recorded November 24, 1933 by Bessie Smith with Buck and his Band.

Next, she gives another great performance on the classic “Take Me For a Buggy Ride”.

Take Me For a Buggy Ride, recorded November 24, 1933 by Bessie Smith with Buck and his Band.

Updated with improved audio on October 20, 2017.

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.

Regal 9791 – Harry Richman – 1925

Posted on August 10, 2016 by R. Connor Montgomery

Harry Richman around the mid-1920s.

August 10 once again marks the birthday of one of Old Time Blues’ favorite vaudevillians, Harry Richman. Last year, we celebrated the occasion with his famous “Puttin’ on the Ritz”. This time, I offer to you Richman’s first recording ever.

Harry Richman was born Harold Reichman on August 10, 1895 in Cincinnati, Ohio. He began performing by the age of eleven, and was working the vaudeville circuits by eighteen. After striking out as an act of his own in the early 1920s, he worked his way up, appearing as the star of George White’s Scandals in 1926. In 1930, he made his motion picture debut in Puttin’ on the Ritz, in which he introduced the famous Irving Berlin song of the same name. Though his acting career failed to take off, he appeared in four more pictures from 1930 to ’38. Throughout the 1930s, Richman hosted a radio program, and made a number of popular records. He was also noted as a record setting aviator, making a famous round-trip flight across the Atlantic in 1936 with Dick Merrill. In 1938, he married former Ziegfeld girl Hazel Forbes, though they had divorced by 1942. After his career slowed down in the 1940s, Richman made a number of brief comeback appearances, largely in a nostalgic context. He published an autobiography titled A Hell of a Life in 1966, and died in 1972.

Regal 9791 was recorded January 30, 1925, most likely in New York. Unfortunately, though it appears to be in decent condition, it suffers from a very thin, quiet signal, and sounds generally lousy. In spite of that, the music is still plainly audible.

First, Harry croons “Will You Remember Me”, with guitar accompaniment adding a charming, folksy effect.

Will You Remember Me, recorded January 30, 1925 by Harry Richman.

Richman seems to put on his best Jolson for “California Poppy”.

California Poppy, recorded January 30, 1925 by Harry Richman.

Updated with improved audio on November 13, 2016.

Columbia 2652-D – Ted Lewis and his Band – 1932

Posted on June 6, 2016 by R. Connor Montgomery

Is everybody happy?

Columbia’s custom sleeve and label dedicated to Ted Lewis.

In addition to Jimmie Lunceford, June 6 also marks the 126th anniversary of Ted Lewis’ birth. Here’s one of his most popular records of the 1930s, as well as one of my personal favorite Ted Lewis vocal performances.

Ted Lewis was born Theodore Leopold Friedman in Circleville, Ohio on June 6, 1890. He took up playing the clarinet professionally, though some would argue that his abilities on the instrument were limited. He first recorded with Earl Fuller’s Famous Jazz Band, and soon began recording for Columbia with his own jazz band, switching to Decca in 1934. With his trademark phrase, “is everybody happy?”, his schmaltzy “talk-singing” and tendency to employ top-notch musicians made him one of the most popular musical personalities of the 1920s, and into the 1930s, alongside Paul Whiteman. However, his style faded from popularity as swing became king, and his music fell out of favor, though he continued to perform for many years. Ted Lewis died on August 25, 1971.

Columbia 2652-D was recorded March 15 and 22, 1932 in New York City. Ted Lewis’ band consists of Muggsy Spanier and Dave Klein on trumpets, George Brunies on trombone; Ted Lewis and Benny Goodman on clarinet and alto sax, Sam Shapiro and Sol Klein on violins, Jack Aaronson on piano, Tony Gerhardi on guitar, Harry Barth on string bass and tuba, and John Lucas on drums.

The quintessential Depression-era tune “In a Shanty in Old Shanty Town”, introduced in the motion picture Crooner, became one of the most popular songs of 1932, both for Ted Lewsis and for other artists. In my opinion, this is one of Lewis’ best vocals.