Benny Meroff v, dir / Wild Bill Davison, Rosie Rusciolelli, Joe Rullo t / Al Marineau, Joe Quartell tb / Lenny Cohen, Tony Ciccone as / Arnold Pritikin ts, a / Roy Cole vn / Al Nillson p / Sid Pritikin g / George Physter sb / Benny Metz d.
Sam Lanin & His Orchestra: Red Nichols, Vic d'Ippolito t / Herb Winfield tb / Clarence Heidke, Alfie Evans cl, ss, as / George Slater cl, ts / Bill Krenz p / Tony Colucci bj, g / Joe Tarto bb / Vic Berton d.
Recorded in New York on May 8, 1925.
The Texas Ten under Nathan Glantz (personnel unknown).
[Born in Oktibbeha County, a few miles west of Crawford, Mississippi, Williams as a youth began wandering across the United States busking and playing in stores, bars, alleys and work camps. In the early 1920s he worked in the Rabbit Foot Minstrels revue. He recorded with the Birmingham Jug Band in 1930 for Okeh Records.
In 1934, he was in St. Louis, Missouri, where he met the record producer Lester Melrose, who signed him to Bluebird Records in 1935. He stayed with Bluebird for ten years, recording such blues hits as "Baby, Please Don't Go" (1935) and "Crawlin' King Snake" (1941), both of which were later covered by many other musicians. He also recorded with other blues singers, including Sonny Boy Williamson, Robert Nighthawk and Peetie Wheatstraw.
During the early Thirties, Williams was accompanied on his travels through the Mississippi Delta by a young Muddy Waters. Williams recounted to Blewett Thomas, "I picked Muddy up in Rolling Fork when he was about 15. He went all 'round the Delta playin' harmonica behind me. But I had to put him down after awhile. All these women were comin' up to me and sayin', 'Oh. your young son is so nice!' See, I had to put Muddy down because he was takin' away my women."]
Not sure where to find the personnel for his later recordings.
[Krupa made his first recordings in 1927, with a band under the leadership of Red McKenzie and guitarist Eddie Condon. Along with other recordings by musicians from the Chicago jazz scene such as Bix Beiderbecke, these recordings are examples of Chicago style jazz. The numbers recorded at that session were "China Boy", "Sugar", "Nobody's Sweetheart", and "Liza". The McKenzie-Condon recordings are notable for being early examples of the use of a bass drum and snare drum/cymbals on recordings, at least for the studio where these recordings were made. Some of Krupa's big influences during this time were Father Ildefonse Rapp, Roy Knapp (both teachers of Gene).]
Jimmy McPartland c / Frank Teschemacher cl / Bud Freeman ts / Joe Sullivan p / Eddie Condon bj / Jim Lannigan bb, sb / Gene Krupa d / Mezz Mezzrow cymbals.