Dixie Washboard Band - Columbia 14128 (1926)

Ed Allen c / Bennie Moten cl / Clarence Williams p / Jasper Taylor wb.

Recorded in New York on January 25, 1926.

Alberta Hunter Acc. By Memphis Five - Paramount 12016 (1923)

Was just reading where these sides (from a store-stock 78 rpm) are considered the first of their kind...but not exactly sure of what the "first" means.

Another article considers Jelly Roll Morton's and the New Orleans Rhythm Kings recordings, waxed a few months after these, as the first interracial jazz records...so maybe these are considered the first black singer accompanied by a white band.

Alberta Hunter v / Phil Napoleon t / Charlie Panelli tb / Jimmy Lytell cl / Frank Signorelli p / Jack Roth d.

Recorded in New York in February, 1923.

Jack Hylton & His Orchestra - Victor 25555 (1935)

Excerpted from wikipedia...

After World War I Jack Hylton played with the Queen's Dance Orchestra, wrote arrangements of popular songs and recorded them under the label 'Directed by Jack Hylton.' He then formed his own band, recording the new style of jazz-derived American dance music under the Jack Hylton name from 1923. Hylton became a respected band leader with a busy schedule. Even though he was not professionally trained for business, he brought his band to success at a time when the Great Depression hit hard. With his entrepreneurial skills, he managed to sell almost four million records in 1929 according to the Daily Herald of 7 June 1930. His good reputation allowed him to make contacts with famous jazz artists of time, hence the reason he was credited for bringing Duke Ellington in England in 1933.

This overall success allowed Jack Hylton's band not only to entertain people in Britain, but also abroad. The band frequently had what were called 'continental tours' which made it famous in various places in Europe, especially in France. He became a director and major shareholder of the new Decca record label. His band developed into an orchestra and toured America and Europe into the 1940s, when it disbanded due to World War II. Hylton adopted The Soldiers In The Park (more commonly known as Oh Listen To The Band) as his signature tune.

Jack Hylton dir / Jack Raine, Phillipe Brun, George Swift t / Les Carew, Eric Breeze tb / David Shand, Benny Daniels vn / Alec Templeton p / Billy Munn p, a / Harry Chapman harp / Sonny Farrar bj, g / Andre de Vekey sb / Gilbert Webster d.

Recorded in London on August 24, 1935.

Andy Kirk & His Twelve Clouds Of Joy - Brunswick 4878 & 6027 (1930)

Excerpted from wikipedia...

In 1927, Mary Lou Williams married saxophonist John Williams. She met him at a performance in Cleveland where he was leading his group, the Syncopators, and moved with him to Memphis, Tennessee. He assembled a band in Memphis, which included Mary Lou on piano. In 1929, he accepted an invitation to join Andy Kirk's band in Oklahoma City, leaving 19-year-old Mary Lou to head the Memphis band for its remaining tour dates. Williams eventually joined her husband in Oklahoma City but did not play with the band. The group, now known as Andy Kirk's Twelve Clouds of Joy, relocated to Tulsa, Oklahoma, where Williams spent her free time transporting bodies for an undertaker. When the Clouds of Joy accepted a longstanding engagement in Kansas City, Missouri, Williams joined her husband there and began sitting in with the band, as well as serving as its arranger and composer. She provided Kirk with such songs as Walkin' and Swingin', Twinklin', Cloudy', Little Joe from Chicago and others.

From the first sides Kirk made in Kansas City, Williams was on board as pianist and arranger. (Six sides were recorded in Kansas City during 1929 and remaining 17 sides were recorded in Chicago in 1930, and a further two were recorded in New York in 1930.) During one of those trips to Chicago in 1930, Williams recorded Drag 'Em and Night Life as piano solos. Williams took the name "Mary Lou" at the suggestion of Brunswick's Jack Kapp. The record sold briskly, raising Williams to national prominence. Soon after the recording session she signed on as Kirk's permanent second pianist, playing solo gigs and working as a freelance arranger for such noteworthy names as Earl Hines, Benny Goodman and Tommy Dorsey. In 1937, she produced In the Groove (Brunswick), a collaboration with Dick Wilson, and Benny Goodman asked Mary to write a blues for his band. The result was Roll 'Em, a boogie-woogie piece based on the blues, which followed her successful Camel Hop, Goodman's theme song for his radio show sponsored by Camel cigarettes. Goodman tried to put Williams under contract to write for him exclusively, but she refused, preferring to freelance instead.

Andy Kirk bsx, bb, dir / Edgar Battle, Harry Lawson t / Allen Durham tb / John Harrington cl, as / John Williams as, bar / Lawrence 'Slim' Freeman ts / Claude Williams vn / Mary Lou Williams p, a / William Dirvin bj, g / Edward McNeil d.

Recorded in Chicago on April 30, 1930.

Recorded in Chicago on December 15, 1930.

New Orleans Bootblacks - Columbia 14337 (1926)

Lil Hardin Armstrong set up recording dates for what basically was Louis Armstrong's Hot Five/Seven ensemble with Columbia Records...only one problem, Louis was tethered to a contract with OKeh.

So, she tapped George Mitchell to replace Satch on cornet. More information on him here.

Here are two of the sides that were waxed in Chicago on July 14, 1926.

Personnel: George Mitchell c / Kid Ory tb / Johnny Dodds cl / Joe Clark as / Lil Armstrong p / Johnny St. Cyr bj.