Here we have have Kid Ory’s Creole Orchestra backing up Blues singer Ruth Lee, just one month before the band recorded their historic sides as Spike’s Seven Pods
Title Recording Date Recording Location Company Cake Walking Babies (Clarence Williams / Chris Smith / Henry Troy) 11-18-1947 New York, New York Century 4017 Esquire 10-064
Title Recording Date Recording Location Company 1919 (Traditional) 9-8-1945 Los Angeles, California Crescent 4 (1013) Ballin’ The Jack (Chris Smith) 2-12-1945 Los Angeles, California Exner
Thanks to Wim van der Brugghen for his help with this page. Title Recording Date Recording Location Company Memphis Rag 12-13-1927 New York, New York
Busse’s Buzzards was a “hot” side project of the Paul Whiteman Orchestra. Whiteman‘s trumpet player Henry Busse was the leader of this recording session. Busse stayed with the Paul Whiteman Orchestra until 1928 when
Title Recording Date Recording Location Company Block And Tackle 3-30-1932 New York, New York Banner 32435 Oriole 8137 Artist Instrument W.E. Burton Piano, Vocals Bob
Thanks to J.E. Knox for his help with this page. Title Recording Date Recording Location Company All Over You 6-10-1929 Richmond, Indiana Gennett 6918 Crossin’
The song “Dustin’ The Keys” features both Jimmy Blythe and Buddy Burton playing on one piano simultaneously. Title Recording Date Recording Location Company Block And Tackle Blues (W.E.
Title Recording Date Recording Location Company London Blues (Jelly Roll Morton) 10-1923 Chicago, Illinois Okeh 8105-B Someday Sweatheart (J.C. Spikes ) 10-1923 Chicago, Illinois Okeh
Pianist Peck Kelley led this influential territory band in Texas in the 1920s. Kelley’s style was said to be ahead of his time and more
The New Orleans Rhythm Kings Gennett recordings were a big influence on many of the white bands and musicians of the 1920s. In 1920, Paul Mares and George
The Halfway House Orchestra was named after a dancehall called the Halfway House that was halfway between New Orleans and Lake Pontchartrain. The group was
Merritt Brunies led this orchestra at the Friars Inn at 1834 Wasbash Street at Van Buren in Chicago. They got the gig after Merritt’s brother George
Also See: Sidney Bechet (1897-1959) & Sidney Bechet: Profiles in Jazz Title Recording Date Recording Location Company Chant In The Night (Sidney Bechet) 11-16-1938 New York,
This Clarence Williams produced session is Sidney Bechet‘s first record. It was released under the name of Rosetta Crawford accompanied by King Bechet Trio. Bechet plays some very soulful clarinet and
The New Orleans Feetwarmers 1932 sides are the epitome of Hot Jazz. Sidney Bechet‘s soprano sax playing is nothing short of amazing on the song Shag. Ernest Meyers’s
In 1913 there was a famous vaudeville stuttering comedian and dancer called Joe Frisco. His act Frisco and McDermott was playing in New Orleans and
These are Benny Goodman‘s first records under his own name. Benny was eighteen at the time. The January of 1928 session was released as Benny Goodman’s
In 1937 Ben Pollack moved to Los Angeles where he led a new band filled with fine local players plus the great cornetist Muggsy Spanier.
Ben Pollack was on sessions during 1928-29 released under the names of the Hotsy Totsy Gang, Jimmy McHugh’s Bostonians, Ben’s Bad Boys, and the Louisville
(Excerpt from Ben Pollack: Profile in Jazz, by Scott Yanow) Unfortunately Ben Pollack was still thinking of himself as a singer (he had a weak
Returning to Chicago with the nucleus of the group, Ben Pollack soon had success playing at hotels. He landed a recording contract with the Victor
1928 was notable for two major events in Ben Pollack’s life. In March he moved his band to New York where they had a base
The Original Dixieland Jazz Band, who billed themselves “The Creators of Jazz”, have long been been dismissed as the White guys who copied African-American music,
