Scat Man Crothers & The Red Callender Sextette - Hollywood 142 (1953)

Here's the multi talented Scat Man Crothers singing, what appears to be an answer song to Ruth Brown's Atlantic hit, Mama (He Treats Your Daughter Mean).

(And of course, everyone should recognize Crothers as the voice of Hong Kong Phooey)


Katherine Handy Acc. By Handy's Memphis Blues Orchestra - Paramount 12011 (1922)

Save for one track she recorded in 1932 with Fletcher Henderson, Katherine Handy, W. C. Handy's daughter, made this lone 78 accompanied by her father's band. She recorded a test each for Victor (1923) and Edison (1924) but neither were issued.

Not sure what the celebration might have been, but here's a photograph I just received from the estate of a jazz collector showing Katherine Henderson standing over her father, W. C. Handy.

Early Every Morn: Katherine Handy v and possibly on piano.

Loveless Love: Katherine Handy v / Handy's Memphis Blues Orchestra: probably including Johnny Dunn c / George Williams tb / James Osborne cl, as / Bobby Lee p.

Recorded in New York, January 1922.



The Missourians - Victor 38071 (1929)

Lockwood Lewis v, dir / R. Q. Dickerson, Lammar Wright t / De Priest Wheeler tb / unknown, George Scott cl, as / Andrew Brown cl, ts / Earres Prince p / Morris White bj / Jimmy Smith bb / Leroy Maxey d.

Recorded in New York on June 3, 1929.


Wilber C. Sweatman - Emerson 5166 (1916)

Wilbur Sweatman made his first recording, in Minneapolis, on cylinder just after the turn of the century. These were promotional items and apparently none have survived to the present day.

It would be over a decade later before he would record again. In December of 1916, he recorded two versions of My Hawaiian Sunshine for Emerson. The first of the recordings was issued on a five and a half inch disc while the second was on a seven inch.

Here we have the earliest Sweatman record.

Recorded in New York in December 1916.

Texas Jubilee Singers (With Arizona Dranes) - Columbia 14445 (1928)

From wikipedia...

["Arizona" Juanita Dranes (May 4, 1889 or 1891–1963) was one of the first gospel artists to bring the musical styles of Holiness churches' religious music to the public in her records for Okeh and performances in the 1920s. She was also one of the first professional woman gospel singers. Her distinctive, nasal vocal style and piano playing that incorporated boogie and ragtime influenced later gospel artists.

Juanita Drane (or possibly Drain) was born blind in 1889 or 1891 in Sherman, Texas. Drane attended the Texas Institute for Deaf, Dumb and Blind Colored Youth in Austin from 1896 to 1910. She learned to play piano in her early teens.

Her correct last name is "Drane", as listed in the official enrollment record for the 1896–1897 school year at the Texas School for the Blind and Visually Impaired. Her name was spelled "Drane" at school, though she was billed as "Dranes" later in life. Because both parents were illiterate, the surname was written down as it was pronounced. Corcoran's research found a probable cousin named "Doran," which would be pronounced "Drane" in the black southern dialect of the time.

After graduating from the Texas Institute, she returned to Sherman for ten years. Around 1922, Dranes joined the Church of God in Christ Church in Wichita Falls. She soon became a favored singer-pianist of the founder, Bishop Charles Mason and was well utilized in the COGIC circles. She incorporated a syncopated, ragtime style in her gospel accompaniment and soon established the songs I Shall Wear A Crown, My Soul's a Witness for the Lord, and Lamb's Blood Has Washed Me Clean as COGIC standards.

Dranes introduced piano accompaniment to Holiness music, which had previously been largely a cappella, and accompanied herself in the barrelhouse and ragtime styles popular at the time. She began recording in 1926 with Okeh Records, first as a solo artist and later with choirs and various other artists and groups. She was one of the first professional women gospel singers and sang at COGIC meetings in the Bible Belt, touring Texas, Tennessee, and Oklahoma.

Although she last recorded in 1928, she continued touring through the 1940s. She moved to Los Angeles in 1948 and died there on July 27, 1963.]

Recorded in Dallas on December 8, 1928.


Jimmie Rodgers - Victor 23816 (1933)

Was alerted today (May 24, 2017) on Facebook that Mississippi Delta Blues was from Jimmie Rodgers' last recording session, 84 years earlier to the day.

At 35 years of age, he would pass away two days later from tuberculosis.

Jimmie Rodgers g, v / (Mississippi Delta Blues) John Cali g / Tony Colicchio g.

Recorded in New York on May 20 & 24, 1933.






Kerrville Mountain Sun, Texas - June 6, 1933

Elder Richard Bryant's Santified Singers - Okeh 8559 (1928)

Traded away a copy I had found in Georgia several years ago but it had an issue. (First trade I ever entered into)

Although this one has an issue as well...it's worn slap out...very happy to have a copy back on the shelf.

Haven't been able to nail it down but members of the Memphis Jug Band may have accompanied on these sides.

Recorded in Memphis on February 28, 1928.


Jimmy Bracken's Toe Ticklers - Domino 4274 (1929)

Jimmy McPartland t / Glenn Miller tb / Benny Goodman cl, as / Larry Binyon ts / Vic Breidis p / Dick Morgan bj, v (as ICKY MORGAN) / Harry Goodman bb / Ray Bauduc d.

Recorded in New York on January 18, 1929.


Jimmy McPartland c / ? Al Harris t / Jack Teagarden tb, v / Benny Goodman cl / Larry Binyon ts / Vic Breidis p / Dick Morgan bj / Harry Goodman bb / Ray Bauduc d.

Recorded in New York on February 11, 1929.

Jeter-Pillars Club Plantation Orchestra - Vocalion 3715 / Okeh 3973 (1937)

Here is the complete run of the Jeter-Pillars outfit.

This group was made up of several sidemen from Alphonse Trent's earlier hot territory band.

On another note, This seems to complete the recordings of John Orange who had recorded with Jimmie Gunn's orchestra a year earlier.

James Jeter, Charles Pillars as, dir / Ralph Porter, Walter Stanley, George Hudson t / Ike Covington, John "Bones" Orange tb / Hayes Pillars ts, v / Chester Lang p / Floyd Smith g / Vernon King sb / Henry Ross d / Ted Smith v.

Recorded in Chicago on August 25, 1937.




Lonnie Johnson - Groove 5003 / Dr. Clayton - Groove 5006 (1942 / 1946)

Looks like RCA's 1950's Groove 5000 series only lasted eight issues.

Here's two of 'em.

Lonnie Johnson g, v / Blind John Davis p / Andrew Harris sb.

Recorded in Chicago on February 13, 1942.



Peter Clayton v / Blind John Davis p / Alfred Elkins imitation sb / Ransom Knowling sb.

Recorded in Chicago on March 27, 1942.


Peter Clayton v / Blind John Davis p / Willie Lacey g / Ransom Knowling sb.

Recorded in Chicago on August 7, 1946

Washboard Serenaders - Victor 38610 (1930)

Henry Red Allen t / Clarence Profit p / Teddy Bunn g / Bruce Johnson wb.

Recorded in New York on March 31, 1930.


Fletcher Henderson & His Orchestra - Perfect 14337 (1924)

I do believe that this recording was from the second session Louis Armstrong made after joining Fletcher Henderson's band just a few days before. (The flip side is a Sam Lanin track)

Fletcher Henderson p, a, dir / Elmer Chambers, Howard Scott, Louis Armstrong t / Charlie Green tb / Buster Bailey cl, as / Don Redman cl, as, a / Coleman Hawkins cl, ts / Charlie Dixon bj / Ralph Escudero bb / Kaiser Marshall d.

Recorded in New York on October 13, 1924.

Chicago Hot Five - Victor 23326 (1932)

One of several pseudonyms used by the Washboard Rhythm Kings.

Dave Riddick t / Jimmy Shine as, v / Carl Wade ts / Eddie Miles p, v / Steve Washington bj / Jimmy Spencer wb, v.

Recorded in Camden, NJ on March 1, 1932.


John Tobin's Midnight Serenaders / Scranton Sirens Orchestra - Okeh 40297 (1925)

Just one lone side by John Tobin's Midnight Serenaders.

John Tobin bj, dir / Harry Doring c / Jac Assunto tb / Norveile Makofsky ss, as / Elbridge Westerfield ss, ts, bar / Adrian J. Larroque p / Benny Pottle bb.

Recorded in New Orleans on January 22, 1925.


Here's a Pennsylvania group that had several notables pass through its ranks prior to this sole New Orleans recording (resulting in just two songs) including Jimmy and Tommy Dorsey, Fred Fuzzy Farrar, and Eddie Lang.

Billy Lustig vn, dir: 2 t / Russ Morgan tb / Alfie Evans, Sid Trucker cl, as / Jim Crossan ts / Itzy Riskin p / bj / Mike Trafficante bb / Ted Noyes d. 

Recorded in New Orleans on January 24, 1925.

Blind Willie Johnson - Columbia 14490 (1929)

Blind Willie Johnson g, v.

Recorded in New Orleans on December 10, 1929.


Andy Kirk & His Twelve Clouds Of Joy - Brunswick 4863 (1930)

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 May 1, 1930.


Marlow Hardy & His Alabamians - Columbia 2034 (1925)

Is this Cab Calloway's recording debut, as some have said? And by some, I mean Cab himself.

In an interview, he says that he sat in on second alto in the reed section.

Note below that Rust's discography has two reeds unnamed.

Marlow (Marion) Hardy cl, as, dir / Eddie Mallory, Elisha Herbert t / Henry Clark tb / Artie Starks cl, as / cl, ts / Ralph Anderson p / Leslie Corley bj / Charlie Turner bb / Jimmy McHendricks d / The Alabama Magpie Trio v.

Recorded in New York on October 29, 1929.


Andy Kirk & His Twelve Clouds Of Joy - Brunswick 4893 (1929)

Andy Kirk bsx, bb, dir / Gene Prince, Harry Lawson t / Allen Durham tb / John Harrington cl, as / John Williams as, bar / Lawrence Freeman ts / Claude Williams vn / Mary Lou Williams p, a / William Dirvin bj, g / Edward McNeil d / Billy Massey v; or 2 cl from Harrington, Williams, or Freeman.

Recorded in Kansas City on November 11, 1929.


Blind Willie (McTell) & Partner - Vocalion 02622 (1933)

From wikipedia...

Blind Willie McTell (born William Samuel McTier; May 5, 1898 – August 19, 1959) was a Piedmont blues and ragtime singer and guitarist. He played with a fluid, syncopated fingerstyle guitar technique, common among many exponents of Piedmont blues. Unlike his contemporaries, he came to use twelve-string guitars exclusively. McTell was also an adept slide guitarist, unusual among ragtime bluesmen. His vocal style, a smooth and often laid-back tenor, differed greatly from many of the harsher voices of Delta bluesmen such as Charley Patton. McTell performed in various musical styles, including blues, ragtime, religious music and hokum.

McTell was born in Thomson, Georgia. He learned to play the guitar in his early teens. He soon became a street performer in several Georgia cities, including Atlanta and Augusta, and first recorded in 1927 for Victor Records. He never produced a major hit record, but he had a prolific recording career with different labels and under different names in the 1920s and 1930s.

In 1940, he was recorded by the folklorist John A. Lomax and Ruby Terrill Lomax for the folk song archive of the Library of Congress. He was active in the 1940s and 1950s, playing on the streets of Atlanta, often with his longtime associate Curley Weaver. Twice more he recorded professionally. His last recordings originated during an impromptu session recorded by an Atlanta record store owner in 1956. McTell died three years later, having suffered for years from diabetes and alcoholism.

Despite his lack of commercial success, he was one of the few blues musicians of his generation who continued to actively play and record during the 1940s and 1950s. He did not live to see the American folk music revival, in which many other bluesmen were "rediscovered."

Blind Willie McTell g, v / Curley Weaver? g, v.

Recorded in New York on September 14 & 21, 1933.


Armando Vega Y Su Trio Casino Tropical - Alberto 187

Armando Vega was a guitarist and singer from Arecibo, Puerto Rico. He fronted his Trio Tropical Casino which consisted of Junior González and Pablo Delgado.

He went to New York where he joined several trios including Trío Los Tres Caballeros and Trío Borinquen eventually playing Carnegie Hall in 1962.

Returning to Puerto Rico, he reorganized a trio and performed on radio programs during the 1980s.