Columbia 13001-D – Bessie Smith – 1923

Posted on March 6, 2016 by R. Connor Montgomery

I often notice that there’s no balance between the jazz and the and the blues (and country) that’s posted here, unfortunately the category for blues tunes on this site is terribly barren and bereft. What better way to remedy that than with the aid of the Empress of the Blues herself, Madam Bessie Smith. Here Bessie sings two fine songs on one of Columbia’s first issues in their series dedicated to “race records”, pressed with their beautiful “flags” label design.

Columbia 13001-D was recorded September 26 and October 10, 1923 in New York City and was the second issue in Columbia’s first Race series which ran only from 13000-D to 13007-D in 1923 and was soon abandoned in favor of their more successful 14000-D series. These sides are two of Bessie’s earlier sides, her twenty-fifth and thirtieth to be precise, and her first in Columbia’s specifically designated “race” series.

First, Bessie moans her way through Sid Laney’s “Cemetery Blues”, backed by Jimmy Jones on piano, and recorded on the September 26 date. This song was later adapted to the western swing style in 1928 by the Paradise Joy Boys of Dallas, Texas. Sid Laney was apparently a pseudonym used by prolific piano roll player J. Lawrence Cook. Does that mean this piece was written by Cook, or was there a real Laney?

Cemetery Blues, recorded September 26, 1923 by Bessie Smith.

On the flip, Bessie sings Lovie Austin’s “Any Woman’s Blues”, accompanied on piano by the great Fletcher Henderson, recorded on the October 10 date.

Any Woman’s Blues, recorded October 10, 1923 by Bessie Smith.

Black Swan 2005 – Lulu Whidby – 1921

Posted on February 16, 2016 by R. Connor Montgomery

In honor of Black History Month, I present to you a Black Swan phonograph record, from the first line “race records” made by and for African American people, featuring the early sounds of vaudevillian female blues, with an early appearance by Fletcher Henderson’s Orchestra.

The story of Black Swan began during the Harlem Renaissance in 1920, when few black entertainers were afforded opportunities to record for any of the major record labels. A man by the name of Harry Herbert Pace, previously a business partner of W.C. Handy, founded the Pace Phonograph Corporation in New York, and began to produce phonographs and records. Pace also brought in a young song plugger from Handy’s company to serve as recording director and leader of the house orchestra, Fletcher Henderson. Early on, Pace had difficulty finding a company that would agree to press records from the masters he recorded. Eventually, Pace was able to contract his record pressing to the Wisconsin Chair Company of Port Washington, Wisconsin, makers of Paramount records. From 1921 to 1923, Black Swan offered records recorded by black entertainers and intended for black audiences. Some of the top artists on Black Swan included Alberta Hunter, Ethel Waters, and W.C. Handy’s Band. Unfortunately, the company folded at the end of 1923, and all of their assets were purchased by Paramount Records, who began their 12000 legendary race records series shortly thereafter, reissuing many recordings from Black Swan on some of the earliest releases.

Black Swan 2005 was recorded circa April 1921 in New York City by Lulu Whidby with Henderson’s Novelty Orchestra. It was later reissued on Paramount 12127, and also appeared on Claxtonola 40055. The early Fletcher Henderson band includes Chink Johnson or George Brashear on trombone, Edgar Campbell on clarinet, probably Cordy Williams on violin, Fletcher Henderson on piano, and possibly John Mitchell or Sam Speed on banjo; the trumpet and tuba players are unknown. It has been suggested that Garvin Bushell played clarinet at this session, but he did not recall participating. These are takes “2” and “1”, respectively, of two issued takes for each side.

It has been suggested that the standard 78.26 RPM is too fast for this record, and I can agree to that. If anyone has a suggestion as to what the correct speed may be, I’ll add new transfers with it corrected.

First, Lulu Whidby sings the classic Harry Creamer and Turner Layton song, “Strut Miss Lizzie”.

Strut Miss Lizzie, recorded circa April 1921 by Lulu Whidby.

On the reverse, Whidby sings Irving Berlin’s “Home Again Blues”. Henderson’s orchestra really shines on this one.

Home Again Blues, recorded circa April 1921 by Lulu Whidby.

Forgotten Vaudevillians

Posted on February 12, 2016 by R. Connor Montgomery

Many of the stars of vaudeville days went on to immense success, George Burns and Gracie Allen, Bob Hope, and the Marx Brothers, many more were huge stars in their heyday, but today are all but forgotten, like Joe Frisco, Gallagher and Shean, and Nora Bayes. Countless others however, never made it so big, they were perhaps locally or regionally famous, and faded into obscurity once their short time in the limelight had passed. Today, we’ll dig two forgotten entertainers of the 1920s out of the annals of time and bring them back to the public eye once again. Those two are Violet Goulet and Mlle. Flo LeRoy.

Violet Goulet, as her photograph would suggest, played violin, and was billed as “violinist de luxe” for an appearance in Madera, California. She seems to have been most active, and indeed quite busy, around 1920, appearing on stage first as part of an act called the Six Serenaders, then striking out on her own as a solo act. She toured on the Pantages theater circuit, and appeared in shows at the Alhambra Theatre in El Paso and the Grand Theatre on San Antonio in 1920.

Mademoiselle Flo LeRoy, “mystic revealer,” made her mark on this world a few years after Goulet, but also seems to have had a longer career, with most information I can find on her dating to the latter part of the 1920s, the earliest reference I can being 1924 and the latest 1930. LeRoy was a clairvoyant, and her act billed her as a “mystic marvel” or “mental wizard”, revolving around her making predictions about the futures of her audience members. Her appearances would appear to have been limited to our southern states, mostly Texas, and her home was located in Dallas.

Unfortunately, I cannot find any information on the early or later lives of these two, and there’s precious little on their professional lives. If anyone else out there happens to have any information about either of them, I would be thrilled to hear it, and will update this article should any new information arise.

An autographed photograph of violinist and vaudevillian Violet Goulet. Circa early 1920s.

Mlle. Flo. LeRoy

Victor 21831 – Eddie Cantor – 1928

Posted on January 31, 2016 by R. Connor Montgomery

The actual birth date of that great vaudevillian Eddie Cantor is not definitively known. Although he is more or less known to have been born in 1892, some sources place his birth on January 31, and others sometime in September. Since I don’t know his real birthday any more than any other living person, I’ll just have to post my tributes to ol’ Banjo Eyes on both occasions, starting now with one of his most famous songs.

Whenever he may have been born, Eddie Cantor grew up as Edward Israel “Izzy” Itzkowitz in New York City at the turn of the century. After his parents died when he was a small child, the young Edward was raised by his dearly beloved grandmother, Esther Kantrowitz, from whom he got the name Cantor. He started his career in show business in the late 1910s, and in 1917, Eddie Cantor signed a contract to appear in Flo Ziegfeld’s Follies, which thrust into fame, and made him into one of the only vaudevillians that could rival Al Jolson. Throughout his career of more than fifty years, Cantor accomplished more than could fit on this page, including his well-remembered association with the March of Dimes, a name which he coined (pun intended) for the National Foundation for Infantile Paralysis. Cantor died October 10, 1964, two years after passing of his wife Ida.

Victor 21831 was recorded December 18, 1928 at New York City’s Liederkranz Hall by Eddie Cantor, accompanied by Nat Shilkret and the Victor Orchestra. He sings two songs that he originally introduced in Ziegfeld’s musical Whoopee.

The first song on this disc is probably Cantor’s most famous song, Gus Kahn and Walter Donaldson’s “Makin’ Whoopee”.

Makin’ Whoopee, recorded December 18, 1928 by Eddie Cantor.

On the reverse, Cantor bemoans his woes of wooing the women on Jack Yellen and Milton Ager’s “Hungry Women”.

Hungry Women, recorded December 18, 1928 by Eddie Cantor.

Victor 18537 – Billy Murray/Arthur Fields – 1919

Posted on January 16, 2016 by R. Connor Montgomery

January 16, 2016 marks the 96th anniversary of the passage of the Volstead Act and the ratification of the 18th Amendment to the United States Constitution, better known as Prohibition. That noble experiment lasted for thirteen years, ten months, nineteen days, seventeen hours, thirty-two minutes, and thirty seconds, before it was repealed by the 21st Amendment, passed by President Franklin Delano Roosevelt on December 5, 1933. To commemorate that occasion, here’s a record with two topical tunes, one for the Volstead Act, one for the end of the First World War, sung by two popular personalities of those days.

Victor 18537 was recorded February 14 and 27, 1919 in Camden, New Jersey by Billy Murray and Arthur Fields, singing two topical songs about current events of the day. Both sides feature an orchestra directed by Josef Pasternack.

On what is actually the “B” side of the record, that consummate vaudevillian Billy Murray laments the ratification of the 18th Amendment with “How Are You Goin’ to Wet Your Whistle” (When the Whole Darn World Goes Dry)”.

How Are You Goin’ to Wet Your Whistle? (When the Whole Darn World Goes Dry), recorded February 14, 1919 by Billy Murray.

On the “A” side, Arthur Fields, in his vaudevillian element, sings one of his better remembered songs, “Hot Ya Gonna Keep ‘Em Down on the Farm? (After They’ve Seen Paree)”, referring to the homecoming of our boys from the Great War.

You Ya Gonna Keep ‘Em Down on the Farm? (After They’ve Seen Paree), recorded February 27, 1919 by Arthur Fields.