Fletcher Henderson & His Orchestra / Piedmont Dance Orchestra - Perfect 14271 (1924)

Fletcher Henderson p,a, dir / Elmer Chambers, Howard Scott c / Teddy Nixon tb / Don Redman cl, as, o / ?Lonnie Brown as / Coleman Hawkins ts / Allie Ross vn / Charlie Dixon bj / Kaiser Marshall d.

Recorded in New York on April 28, 1924.

Julian Kurtzman, Theo Wohleben t / Ben Morgan tb / Ray Thwaite, Oscar Moldaur cl, ss, as / John Baviton cl, ts / Charlie Fry as, vn, ldr / Ray Allen p / Frank Kriell bj, vc / Herman Schmidt bb / Fred Niehardt d.

Recorded in New York between March and April, 1924.

Red Nichols & The Five Pennies - American Patrol (1960)

Happy 4th of July!

Red Nichols c / Pete Beilmann, Sr. tb / Joe Rushton, Jr. bass sax / Bill Wood cl / Bobby Hammack p / Rollie Culver d.

Frankie Trumbauer & His Orchestra With Bix And Lang - Okeh 40772 (1927)

Frank Trumbauer Cm, dir / Bix Beiderbecke c / Bill Rank tb / Jimmy Dorsey cl, as / Doc Ryker as / Paul Mertz p / Howdy Quicksell bj / Eddie Lang g / Chauncey Morehouse d.

Recorded in New York on February 4, 1927.

Hank Williams, Sr. Autograph? - MGM 10645 (1950)

If you have any opinions on the authenticity of the signature, either way, please let me know.

Please click here to read more about the following record.

Pedro Via Y Su Orquesta - Victor 32361 (1934)

It's always nice to add to my collection of early Cuban and Puerto Rican 78s...although I've yet to find a single Puerto Rican one. Still though, hope springs eternal.

Here are some of my other Cuban 78s.

Not finding much information on Pedro Via but I am finding mentions of Jose 'Chiquito' Socarrás...not sure if he was related to the famous Alberto Socarrás, the famed Cuban that recorded with Clarence Williams jazz bands.

From wikipedia...

"What a Diff'rence a Day Makes" is a popular song originally written in Spanish by María Grever, a Mexican songwriter, in 1934. Originally, the song was known as Cuando Vuelva A Tu Lado ("When I Return To Your Side"). The song is also known in English as "What a Diff'rence a Day Makes", as popularized by Dinah Washington.

The English lyrics were written by Stanley Adams, and was played by Harry Roy & His Orchestra. It was published in late 1934. The most successful early recording, in 1934, was by the Dorsey Brothers.

Recorded in Ney York on December 10, 1934.

Billie Holiday With Louis Armstrong & His Orchestra / L. Armstrong With Edmund Hall & His Cafe Society Band - V-Disc 771 (1947)

Recently bought a bunch of 78s that came with lps...stuff I don't collect...and by chance happened to look inside some sleeves that housed V-Discs and other 12" 78s.

Never know what's hiding inside those Mantovanis and Conniffs.

Billie Holiday v / Louis Armstrong t / Irving 'Mouse; Randolph t / Henderson Chambers tb / Edmond Hall cl / Charlie Bateman p / Johnny Williams sb / Jimmy Crawford d.

Recorded in New York on February 8, 1947.

Louis Armstrong t, v / Irving 'Mouse' Randolph t / Edmond Hall cl / Charlie Bateman p / Johnny Williams sb / Jimmy Crawford d.

Recorded in New York on February 8, 1947.

Charlie McCoy With Chatman's Mississippi Hot Footers - Brunswick 7118 (1929)

From Allmusic…

A loose confederation of musicians from the hill country of central Mississippi, the Mississippi Hot Footers were essentially the same players who performed as the Mississippi Sheiks. With a floating lineup of (Papa) Charlie McCoy (later with the Harlem Hamfats), Walter Vinson (or Vincson or Vincent, depending on the recording), and brothers Sam and Lonnie Chatmon (Lonnie was also known as Bo Chatmon or Bo Carter, depending on the recording, while the family name was occasionally spelled as Chatman), the Hot Footers/Sheiks were an extremely versatile black string band who appeared on countless recordings under various names and in various configurations in the mid- to late '30s. - By Steve Leggett

Recorded on September 22, 1929 at The Peabody Hotel in Memphis, TN.

Count Basie & His Orchestra - V-Disc 369 (1945)

Count Basie p, dir / Harry Edison, Al Killian, Ed Lewis, Joe Newman t / Ted Donnelly, Eli Robinson, Louis Taylor, Dicky Wells tb / Elman 'Rudy' Rutherford cl, bar / Jimmy Powell as / Earle Warren as / Buddy Tate, Eli 'Lucky' Thompson ts / Freddy Green g / Rodney Richardson sb / Rossiere ‘Shadow’ Wilson d / Tab Smith a.

Recorded in New York on October 30, 1944.

Tommy Dorsey & His Orchestra - Victor 36207 12" (1937)

Tommy Dorsey tb, dir / Pee Wee Erwin, Joe Bauer, Andy Feretti t / Les Jenkins, Red Bone tb / Johnny Mince, Fred Stulce, Mike Doty cl, as / Bud Freeman ts / Howard Smith p / Carmen Mastren g / Gene Traxler sb / Dave Tough d / Deane Kincade a.

Recorded in New York on May 26, 1937.

Earl Hines & His Orchestra - Bluebird 11567 (1942)

From wikipedia…

Charles Valdez "Truck" Parham (January 25, 1911 – June 5, 2002) was an American jazz double-bassist.

Parham played professional sports early in his career; he was a boxer and played football with the Chicago Negro All Stars. He played drums before settling on bass, and studied under Walter Page. He played in the Midwest territory band of Zack Whyte in 1932-34, playing primarily in Cincinnati. After returning to Chicago, he played with Zutty Singleton, Roy Eldridge (1936–38), Art Tatum, and Bob Shoffner in the 1930s. In 1940 he joined Earl Hines's orchestra, where he remained for two years; in 1942 he was hired by Jimmie Lunceford and played with him until 1947.

Parham continued to play revival gigs with Muggsy Spanier (1950–55), Herbie Fields (1956–57), Hines again, and Louie Bellson. He spent much of the 1960s working with Art Hodes, and played in numerous Dixieland jazz groups later in his career. Parham never recorded as a leader, though he recorded profusely as a sideman.

Earl Hines p, dir / George Dixon t, as / Harry Jackson, Maurice McConnell, Jesse Miller t / George Hunt, Joe McLewis tb / Gerald Valentine tb, a / Leroy Harris, Scoops Carey cl, as / William Randall, Budd Johnson ts / Robert Crowder ts, a / Clifton Best g / Truck Parham sb / Rudolph Taylor d / Billy Eckstine v.

Recorded in New York on March 19, 1942.