The Cadillacs - Josie 807 (1956) (45 RPM)

The Cadillacs were an American rock and roll and doo-wop group from Harlem, New York; active from 1953 to 1962. The group was noted for their 1955 hit "Speedoo", which was instrumental in attracting White audiences to Black rock and roll performers.

The group came together as The Carnations in 1953, with the members Earl Carroll (lead vocalist), Bobby Phillips, Lavern Drake (bass vocalist), and Gus Willingham. As the group moved into the recording studios, James "Poppa" Clark was added as a fifth member, and the name "The Cadillacs" was given to them. The group's first recording came in July 1954, with Josie Records #765, featuring Gloria and Wonder Why.

- From wikipedia

Recorded in 1956.

Tex Ritter - Capitol 4567 (1961) (45 RPM)

It was an uneventful day out looking for 78s...didn't come home with a single one.

The only find worth mentioning (and it's a personal mention) is this Tex Ritter 45. From what I've been told, it was one of my grandfather's favorite songs. He passed away a few months before I was born so apart from pictures and a scant minute or so of silent Super-8 film footage, its things like this that gives me something tangible to relate to him by.

Recorded in 1961. (With the death of Andy Griffith this past year...the star dusted Big Tally Book no longer has any living names left.)

¡Azucar! Celia Cruz Con La Sonora Matancera - Seeco 7507 (1954) (45 RPM)

From wikipedia…

Úrsula Hilaria Celia de la Caridad Cruz Alfonso de la Santísima Trinidad (October 21, 1925 – July 16, 2003) was a Cuban-American salsa performer. One of the most popular salsa artists of the 20th century, she earned twenty-three gold albums and was renowned internationally as the "Queen of Salsa" as well as "La Guarachera de Cuba."

She spent much of her career living in New Jersey, and working in the United States and several Latin American countries. Leila Cobo of Billboard Magazine once said "Cruz is indisputably the best known and most influential female figure in the history of Cuban music."

With fidel castro assuming control of Cuba in 1959, Cruz and her husband, Pedro Knight, refused to return to their homeland and became citizens of the United States. In 1966, Cruz and Tito Puente began an association that would lead to eight albums for Tico Records.

Recorded in Cuba on October 12, 1954.


Earl Burtnett & His Los Angeles Biltmore Hotel Orchestra - Brunswick 4232 (1929)

Found this in a charity thrift store for dogs...looked almost unplayed. Here is another side by Burtnett.

Other than Burtnett on piano, only vocalist Paul Gibbons seems to be known.

Recorded in Los Angeles on January 25, 1929.

Gloria Irving - Cobra 5008 (1957) (45 rpm)

Not much information at all out there on Gloria Irving.

JET Magazine said she quit Wayne University (Wayne State in Detroit?) to become a blues singer. The article said that once she collected $3,500 that she would go back to school for a degree in Physical Education.

And a book on Willie Dixon says that she was one of the first females (along with Betty Everett) to get a composition from him. Before she landed at Cobra, she was the singer for Swinging Sax Kari's Orchestra. She recorded an "answer song" to Ruth Brown's Mama, He Treats Your Daughter Mean.

Recorded in Chicago? in 1957.



Joe Candullo & His Everglades Orchestra - Silvertone 3281 (1926)

In my search for any info on Joe Candullo, the same theme popped up...not much is known or he was basically forgotten.

What is known is during an era where many white dance bands jazzed up standards, Candullo recorded many songs that were written for black jazz to begin with.

Among the sidemen that passed through his orchestra were Red Nichols, Glenn Miller, Jimmy Dorsey, Jimmy McPartland, Ray Bauduc, Fud Livingston...

Rust lists the personnel like this: Mike Mosiello, Harry Susnow t / unknown tb / Goof Moyer cl, as / Gerry Salisbury cl, ts, as / Joe Candullo vn, ldr / Frank de Carlo p / John Montesanto bj / Nick Farrara bb / Billy Southard d.

but...

He says that the brass section for this session points towards Leo McConville, Tommy Gott t / Ray Stilwell tb  with Ray Bauduc possibly replacing Southard on d.

Recorded in New York on September 20, 1926.


Edmond Hall's Swingtet - Blue Note 511 (1944)

Here is the first offering from the many Blue Notes I recently discovered. Incidentally, it was the only 10 inch 78 in the bunch.

From wikipedia…

Blue Note Records is an American jazz record label, established in 1939 by Alfred Lion and Max Margulis. Francis Wolff became involved shortly afterwards. It derives its name from the characteristic "blue notes" of jazz and the blues.

Lion first heard jazz as a young boy in Berlin. He settled in New York in 1937, and shortly after the first From Spirituals to Swing concert, recorded pianists Albert Ammons and Meade Lux Lewis in 1939 during a one-day session in a rented studio. The Blue Note label initially consisted of Lion and Max Margulis, a communist writer who funded the project. The label's first releases were traditional "hot" jazz and boogie woogie, and the label's first hit was a performance of "Summertime" by soprano saxophonist Sidney Bechet, which Bechet had been unable to record for the established companies. Musicians were supplied with alcoholic refreshments, and recorded in the early hours of the morning after their evening's work in clubs and bars had finished. The label soon became known for treating musicians uncommonly well - setting up recording sessions at congenial times, and allowing the artists to be involved in all aspects of the record's production.

Francis Wolff, a professional photographer, emigrated to the USA at the end of 1939 and soon joined forces with Lion, a childhood friend. In 1941, Lion was drafted into the army for two years. Milt Gabler at the Commodore Music Store offered storage facilities and helped keep the catalog in print, with Wolff working for him. By late 1943, the label was back in business recording musicians and supplying records to the armed forces. Willing to record artists that most other labels would consider to be uncommercial, in December 1943 the label initiated more sessions with artists such as pianist Art Hodes, trumpeter Sidney DeParis, clarinetist Edmond Hall, and Harlem stride pianist James P. Johnson, who was returning to a high degree of musical activity after having largely recovered from a stroke suffered in 1940.

Edmond Hall cl / Benny Morton tb / Harry Carney bar / Don Frye p / Everett Barksdale g / Alvin Raglin sb / Sidney Catlett d.

Recorded in New York on May 5, 1944.



Ray Charles - Atlantic 1154 (1957)

From wikipedia…

Atlantic Records: 1953–1958

Charles laid low from recording until early 1953 as Atlantic executives cleared out Charles' contract with Swingtime. Charles began recording jump blues and boogie-woogie style recordings as well as slower blues ballads where he continued to show the vocal influences of Nat "King" Cole and Charles Brown. "Mess Around" became Charles' first Atlantic hit in 1953 and he later had hits the following year with "It Should Have Been Me" and "Don't You Know". He also recorded the songs, "Midnight Hour" and "Sinner's Prayer". Some elements of his own vocal style showed up in "Sinner's Prayer", "Mess Around" and "Don't You Know".

Late in 1954, Charles recorded his own composition, "I Got a Woman", and the song became Charles' first number-one R&B hit in 1955 and brought him to national prominence. The elements of "I Got a Woman" included a mixture of gospel, jazz and blues elements that would later prove to be seminal in the development of rock 'n' roll and soul music. He repeated this pattern throughout 1955 continuing through 1958 with records such as "This Little Girl of Mine", "Drown in My Own Tears", "Lonely Avenue", "A Fool For You" and "The Night Time (Is the Right Time)".

While still promoting his R&B career, Charles also recorded instrumental jazz albums such as 1957's The Great Ray Charles. During this time, Charles also worked with jazz vibraphonist Milt Jackson, releasing Soul Brothers in 1958 and Soul Meeting in 1961. By 1958, Charles was not only headlining black venues such as The Apollo Theater and The Uptown Theater but also bigger venues such as The Newport Jazz Festival. It was at the Newport festival where he cut his first live album. In 1956, Charles recruited a young all-female singing group named the Cookies, and reshaped them as The Raelettes. Before then, Charles had used his wife and other musicians to back him up on recordings such as "This Little Girl of Mine" and "Drown In My Own Tears". The Raelettes' first recording session with Charles was on the bluesy-gospel inflected "Leave My Woman Alone".


The Champs - Sparton 632R (1958)

From wikipedia...

The Champs were an American rock and roll band, most famous for their Latin-tinged instrumental "Tequila". Formed by studio executives at Gene Autry's Challenge Records to record a B-Side for the Dave Burgess (aka Dave Dupree) single, the intended throwaway track became more famous than its A-Side, "Train to Nowhere". "Tequila" went to No. 1 in just three weeks and the band became the first group to go to the top spot with an instrumental that was their first release. The song was recorded at Gold Star Studios in 1958, and in 1959 won the Grammy Award for Best Rhythm & Blues Recording.

"Tequila!" was written and sung by the saxophone player Danny Flores, although he was credited as Chuck Rio because he was under contract to another record label at the time. Flores, who died in September 2006, was known as the "Godfather of Latino rock." Flores' "dirty sax" and his joyous hollering of "Tequila!" are the hallmarks of the song. Flores signed away the U.S. rights to the song but retained world-wide rights until his death.



Bill Haley & His Comets - Decca 29791 (1955)

O Canada!

These must have come from a snowbird's batch of 78s. (He or she took meticulous care of  'em)

From wikipedia…

Originally entitled "Later Alligator", the song, based on a 12-bar blues chord structure, was written by Louisiana songwriter Robert Charles Guidry and first recorded by him under his professional name "Bobby Charles" in 1955. Guidry, a Cajun musician, adopted a New Orleans-influenced blues style for the recording. He also wrote "Walking to New Orleans", which was recorded by Fats Domino.

The most famous recording of the song, however, was that created on December 12, 1955 by Bill Haley & His Comets at a recording session for Decca Records. Unlike most of Haley's recordings for Decca, which were created at the Pythian Temple studio in New York City, "Alligator" and its flip-side, "The Paper Boy (On Main Street U.S.A.)", was recorded at the Decca Building in New York. The song was featured in Rock Around the Clock, a musical film Haley and the Comets began shooting in January 1956. Decca records released this disk on February 1, 1956 in both 45 and 78 formats.

Haley's arrangement of the song is faster-paced than Guidry's original, and in particular the addition of a two-four beat changed the song from a rhythm and blues "shuffle" to rock and roll. The song also has a more light-hearted beat than the original, starting out with a high-pitched, childlike voice (belonging to Haley's lead guitarist, Franny Beecher) reciting the title of the song. The ending of the song was virtually identical to the conclusion of Haley's earlier hit, "Shake, Rattle and Roll".

It would become Haley's third and final million-selling single, although it did not hit the top of the American charts.

Recorded in New York on December 12, 1955.


Red & Miff's Stompers - Victor 21183 (1927)

“It’s a family affair…” – Sly Stone

This afternoon, my Mom was on her way back home from jury duty and decided to do some antiquing. She wasn’t sure what she had found but got it anyway because she liked the name of the band. Good eye, Mom!

Red Nichols t / Miff Mole tb / Pee Wee Russell, Fud Livingston cl, ts, a / Lennie Hayton p / Carl Kress g / Jack Hanson bb / Vic Berton d.

Recorded in New York on October 12, 1927.

Thomas ("Fats") Waller - Victor 25338 (1929)

Here are a couple of piano solos by the great Fats Waller...'nuff said.

Recorded in New York on March 1 (NF) and September 24 (ST), 1929.


Fats Domino - Imperial 5515 (1958)

Really like the original Sick And Tired by Chris Kenner but Fats polished it up and made a hit out of it. (Boz Scaggs did a great cover in the late '90s)

This is another Canadian issue found last week.

Recorded in New Orleans on February 5, 1958.



Three Tobacco Tags - Bluebird 6730 (1936)

Here's another Tar Heel outfit that I have just discovered...The Three Tobacco Tags. They were an old-time string band from Gastonia, NC.

On this recording, they consisted of Luther Baucom (vocals) & George Wade on mandolin and Reid Summey (vocals) on guitar.

Recorded in Charlotte, NC (same hotel as Jimmie Gunn, Locke Brothers & Bob Pope?) on October 13, 1936.


The Orioles - Jubilee 5040 (1950)

By chance, I had someone contact me about a stash of 78s found as they were cleaning out an elderly relative's house. I said I could take a look and see if anything may be collectible. This morning, he drove the records over to my house but unfortunately the original carrying case had been sitting in an inch of water for years. (They were basically Crosbys and newer Hawaiian)

After explaining that the damage made these all but worthless and unplayable, I saw a 45 stuffed in a folder which resided well above any water threat.

Sorely out of place, it was a decent copy of early Orioles on Jubilee. Not bad.


Mickey & Sylvia - Vik X-0252 (1956)

Here's my second offering from the Canadian stash...

From wikipedia...

Love is Strange was a crossover hit by American rhythm and blues duet Mickey & Sylvia, which was released in late November 1956 by the Groove record label.

The song was based on a guitar riff by Jody Williams. The co-writers of the song are of some dispute. The song has also been recorded by Buddy Holly and Bo Diddley, among others. The guitar riff was also used by Dave "Baby" Cortez in his 1962 instrumental song Rinky Dink.

At a concert at Howard Theatre in Washington, D.C. Mickey & Sylvia heard Jody Williams play a guitar riff that Williams had played on Billy Stewart's debut single Billy's Blues. Billy's Blues was released as a single in June 1956 and the instrumentation combined a regular blues styling with Afro-Cuban styling.

Sylvia Robinson claims that she and Mickey Baker wrote the lyrics, while Bo Diddley claims that he wrote them.

(Sylvia later founded Sugar Hill Records and introduced the world to the Sugarhill Gang's Rapper's Delight and Grandmaster Flash & The Furious Five's The Message.)

Recorded on October 17, 1956 on RCA’s Groove label.

Click here for a Ray Charles recording featuring Mickey Baker on guitar. 



Little Richard - Regency 501 (1956)

Have been in a Little Richard frame of mind for a couple of weeks now after having recently seen him in concert. Just the other day, I acted on a tip from the local record store guy and came across a nice stack of rock & roll 78s that were all pressed in Canada. It looks like they all came from one owner and that person took great care in handling them.

From wikipedia...

The recording session took place on February 10, 1956 at J&M Studio in New Orleans, the legendary studio owned by Cosimo Matassa on the corner of Rampart and Dumaine where Fats Domino and many other New Orleans luminaries recorded. "Tutti Frutti", as well as many other Little Richard sides, was also recorded there.

The backing was provided by the house top session men: Edgar Blanchard (guitar), Frank Fields (bass), Lee Allen (tenor sax), Alvin "Red" Tyler (baritone sax) and Earl Palmer (drums), plus Little Richard on vocals and piano. Blackwell was the producer.


Frank Teschemacher - Columbia Hot Jazz Classics C-43

From wikipedia...

Frank Teschemacher (March 13, 1906, Kansas City, Missouri – March 1, 1932, Chicago) was an American jazz clarinetist and alto-saxophonist, associated with the "Austin High" gang (along with Jimmy McPartland, Bud Freeman and others). He was born in Kansas City, Missouri, but spent most of his career based in Chicago, Illinois, although gigs sometimes took him to New York City, around the U.S. Midwest, and he also took a job in Florida with Charlie Straight.

Strongly influenced by cornetist Bix Beiderbecke, he was mainly self-taught on his instruments; early on he also doubled on violin and banjo. He started playing the clarinet professionally in 1925. He began recording under his own name in 1928 and made what are believed to be his final recordings two years later, although there is now reason to believe (via sine wave recording research, aka Smith/Westbrook Method) that he appeared on unidentified recordings as late as 1930. His intense solo work laid the groundwork for a rich sound and creative approach, that is credited with influencing a young Benny Goodman and a style of which Pee Wee Russell is perhaps the best-known representative. He also made recordings on the saxophone. Late in his career, he returned to playing violin with Jan Garber's sweet dance orchestra, trying to earn a living in the midst of the Great Depression. Although he was well known in the world of jazz, he did not live to enjoy popular success in the swing era.

He was killed in an automobile accident on the morning of March 1, 1932, a passenger in a car driven by his performing associate cornetist "Wild" Bill Davison; it was several days short of what would have been his 26th birthday.










Memphis Five - Columbia 7D (1923)

Following the personnel trail in the discography, I believe this may be the lineup for these sides.

Phil Napoleon t / Charlie Panelli tb / Jimmy Lytell cl / Frank Signorelli p / Jack Roth d / Ray Kitchingman bj / Billy Jones v.

Recorded in New York on September 27, 1923.


Big Three Trio - Bullet 275 (1946)

From wikipedia...

Leonard "Baby Doo" Caston (June 2, 1917 – August 22, 1987) was an American blues pianist and guitarist. He is best noted for the tracks "Blues At Midnight" and "I'm Gonna Walk Your Log."

Leonard Caston Sr., was born in Sumrall, Mississippi, United States, and raised in Meadville, Mississippi from age eight. He lived in Chicago from 1934 to 1936 but then moved back to Mississippi after his family relocated to Natchez. He learned to play piano under the influence of Leroy Carr and Art Tatum; he has also credited Andy Kirk and Jimmy Rogers, as well as his relative Kim Weathersby, as stylistic influences.

In 1938 he returned to Chicago, where he met with Mayo Williams, a producer for Decca Records. Williams recorded him in a trio with Eugene Gilmore and Arthur Dixon; Dixon introduced him to his brother, Willie Dixon. Willie and Caston then formed the Five Breezes, along with Jimmy Gilmore, Joe Bell, and Willie Hawthorne, a group in the style of The Ink Spots. In 1940, Caston recorded his first solo record for Decca, "The Death of Walter Barnes", which also included Robert Nighthawk on harmonica.

The Five Breezes disbanded in 1941, and Caston began playing in the Rhythm Rascals Trio with Alfred Elkins and Ollie Crawford. The group did USO tours, and in 1945 performed at a conference for Dwight Eisenhower, Bernard Montgomery, and Georgy Zhukov. After the war, he recorded under his own name as well as for Roosevelt Sykes and Walter Davis, and did myriad studio sessions. He also recorded again with Dixon as the Four Jumps of Jive and the Big Three Trio, playing in both groups with Bernardo Dennis as well. Ollie Crawford joined this group soon after Dennis's departure. The Big Three Trio recorded for Columbia Records and Okeh Records.

The Big Three Trio's last sides were recorded in 1952, but the group did not officially break up until 1956. Caston continued performing for decades afterwards, returning to perform with Dixon in 1984.

Caston also released an album, Baby Doo's House Party, shortly before his death of heart disease in Minneapolis, Minnesota, in 1987.

Willie Dixon sb, v / Leonard Caston p, v / Bernardo Dennis g, v.

Recorded in Chicago in 1946.


Bennie Moten's Kansas City Orchestra - Victor 38091 (1929)

Bennie Moten p, dir / Ed Lewis, Booker Washington c / Thamon Hayes tb / Harlan Leonard cl, ss, as / Jack Washington cl, as, bar / Woody Walder cl, ts / Ira 'Buster' Moten pac, 2nd p / Leroy Berry bj / Vernon Page bb / Willie McWashington d.

Recorded in Chicago on July 16, 1929.


The flipside (Now Goofy Dust - July 18, 1929) is in rough shape aurally.