Tuesday, August 31, 2010
The Cats and the Fiddle "Killin' Jive" A little preview............
Just a little preview of the upcoming "Reefer Madness" partiers' list............
A little partiers list..............some golden age "Reefer Madness" fer y'all.......
Puff Puff...........Pass :)
Mezz Mezzrow & his Orch-Sendin' the vipers
Tampa Red and the Chicago Five-I'm gonna get high
Gene Krupa Band w/ Roy Eldridge/Anita O'Day-Let me off Uptown
Buck Washington-Save the roach for me
Nat King Cole Trio-Hit that jive Jack
Sam Price-All teeed up
Sam Price & His Texas Bluesicians-Do you dig my jive
Buster Bailey's Rhythm Busters-Light up
Cootie Williams & His Rug Cutters-ol' man river
Jazz Gillum & His Jazz Boys-Reefer head woman
Chick Webb Orch. w/ Ella Fitzgerald-When I get low I get high
Richard Jones & His Jazz Wizards-Blue reefer blues
Harlan Lattimore & His Connie's Inn Orchestra-Reefer man
Stuff Smith and his Onyx Club Boys-Here comes the man with the jive
Mezz Mezzrow & his Orch-I'se a muggin Pt. 1
Cab Calloway-The man from Harlem
The Harlem Hamfats-The weed smoker's dream (why don't you do right)
Frankie 'Half Pint' Jaxon-Jive man blues
Bob Howard and his Boys-If you're a viper
Big Bill Broonzy and Jean Brady-Knockin' myself out
Benny Goodman-Texas Tea Party
Jo Jo Adams-When I'm in my tea
Richard Jones & His Jazz Wizards-Muggin' the blues
Georgia White-The stuff is here
Lil Johnson-Mellow stuff
ChickWebb Orch w/ Ella FItzgerald-Wackey dust
Trixie Smith-Jack I'm mellow
Louis Armstrong-Muggles
Tommy Dorsey-minor goes a muggin'
Harry "The Hipster" Gibson-Who Put The Benzedrine In Mrs. Murphy's Ovaltine?
Barney-Bigard Sextet-Sweet marijuana brown
Cab Calloway-Reefer man
Clarence Williams And His Washboard Band-Jerry the junker
Andy Kirk and his 12 Clouds of Joy w/ Mary Lou Williams-All the jive is gone
Oscars Chicago Swingers-Try some of that
Fats Waller-Reefer song
Julia Lee and her Boyfriends-Lotus blossom (Sweet marijuana)
Slim and Slam-Dopey Joe
Cleo Brown-The stuff is here
Ernest Rodgers-Willie the chimney sweeper
Cedar Creek Sheik-Don't credit my stuff
Jesse Rodgers-Hadacol boogie
Willie Bryant and Orch.-A viper's moan
Bea Foote-Weed
Lil Green-Knockin' myself out
Larry Adler-Smokin' reefers
Lorrain Walton-If you're a viper
Frankie 'Half Pint' Jaxon-Willie the weeper
Don Redman and his Orch.-Chant of the weed vers. 1
Don Redman and his Orch. Chant of the weed vers. 2
Jelly Roll Morton-Smokehouse blues
McKinney's Cotton Pickers- Sellin' that stuff
Red Norvo Orch. w/ Mildred Bailey-Smoke dreams
Sidney Bechet w/ Noble Sissle's Swingsters-Viper mad
The Cats and the Fiddle-Killin' jive
A Stuff Smith list...............
Stuff Smith
1909 -1967
In the era of early jazz and swing, the violin was often an instrument that carried a hint of an old-fashioned sound--a suggestion of classical music, of the high-society dance orchestra, of the gypsy café music of Europe. But Stuff Smith, considered one of the most important jazz violinists of his time, made music that told a different story: Smith's violin was raucous, rhythmically daring, and bluesy, looking toward the future, not the past. Like most great jazz players, Smith pushed the envelope in his playing, and later in his career he adapted with little difficulty to the new musical language of bebop. Smith also sang and was the composer of several jazz standards.Hezekiah Leroy Gordon Smith was born in Portsmouth, Ohio, on August 14, 1909, but grew up in Cleveland. His father taught him to play the violin and encouraged him to study classical music. Smith took some music lessons but switched to jazz after hearing Louis Armstrong play the trumpet; Armstrong influenced Smith's own style at a fundamental level. Although he had received a scholarship to study at Johnson C. Smith University, Smith opted for a musical life instead. At age 15 he joined a touring minstrel show, the Aunt Jemima Revue.
In 1926 Smith joined the Dallas-based band of Alphonso Trent; this was one of the so-called “territory” bands that grew from the improvisatory and bluesy roots of jazz rather than moving toward the more composed and arranged style of the eastern seaboard. He stayed with Trent for four years, moving briefly to the band of Ferdinand “Jelly Roll” Morton but returning after becoming frustrated that his violin could not be heard over the dense sound of Morton's group. In 1930 Smith formed his own band in Buffalo, New York.
During his Buffalo years Smith cast one eye on New York, and he got there in late 1935 and 1936 after he composed a scat-like novelty song called “I'se a Muggin'” (the words seem to have no specific meaning). The song caught on, and musician-impresarioDick Stabile booked Smith and his band, which now included drummer “Cozy” Cole, into the Onyx Club on 52nd Street. Rechristened Stuff Smith and His Onyx Club Boys, the band was a successful fixture of the New York scene for several years. The main attraction was Smith himself, attired in a worn-out top hat and sometimes sporting a parrot on his shoulder. Smith and his band also recorded several sides for the Vocalion label in 1936. “I'se a Muggin'” became a moderate hit, but another recording of that year turned out to have longer-lasting resonances--”You'se a Viper,” was covered by vocalist “Fats” Waller in 1943 and enjoyed renewed popularity in the counterculture of the ‘60s and ‘70s.
In musical terms, Smith's Onyx Club years were historically significant; he pioneered the use of the amplified violin, and he developed a bluesy, speech-inflected style that was quite distinct from the European-influenced approaches of Swing Era violinists Joe Venuti,Stephane Grappelli , and Eddie South .
In 1938 Smith appeared in the film ‘Swing Street,’ taking a hiatus from live performing. That took the momentum out of his New York career, and he dissolved his band after a series of disagreements with players and other industry figures. Smith bounced back with a trio that performed in New York (sometimes at the Onyx) and Chicago in the 1940s, and he briefly took over Fats Waller's band after Waller's death in 1943. A series of trio recordings was made in 1943 and 1944, but by the late 1940s Smith's career seemed to be in decline. In the 1950s, to make things worse, Smith suffered from health problems brought on by years of heavy drinking.
Smith was still much admired by his fellow musicians, and he moved to California and continued to perform on what was said to be a centuries-old Guarneri violin. Among his fans was big-time jazz producerNorman Granz , who teamed Smith with bebop trumpeter Dizzy Gillespie and pianist Oscar Peterson for a recording on the Verve label in 1957. It was a measure of the originality of Smith's style that his playing fit as well with this new generation of players as it had with the swing bands of the 1930s. Smith made several albums for Verve and continued to record until shortly before his death.
Touring widely in the 1960s, Smith, like so many other jazz musicians, found that European audiences were especially appreciative of his music. He settled in Copenhagen, Denmark, in 1965 and made several recordings in Europe. Smith fell seriously ill on tour in Paris. Doctors placed him on the critical list; but Smith recovered and continued to perform. He died in Munich, Germany, on September 25, 1967, and was remembered, as “the cat that took the apron-strings off the fiddle.”
Stuff Smith and his Onyx Club Boys
Here's a nice list of some of his earlier "stuff"........
I'se a muggin'
Stop-look
Big wig in the wigwam
Humoresque
I'se A Muggin' Musical Numbers GameIt's up to you
Don't pay him no mind
I hope Gabriel likes my music
I've got you under my skin
I'm Putting All My Eggs In One BasketIs is
Crescendo In Drums
I Don't Want To Make History (I Just Want To Make Love)
Two faced woman
Joshua
Always
Taint no use
Humoresque (2)
After you've gone
Perdidio
A ghost of a chance
Upstairs
My thoughts
You'se a viper
Minuet in swing
Perdido Pt 1.
In 1926 Smith joined the Dallas-based band of Alphonso Trent; this was one of the so-called “territory” bands that grew from the improvisatory and bluesy roots of jazz rather than moving toward the more composed and arranged style of the eastern seaboard. He stayed with Trent for four years, moving briefly to the band of Ferdinand “Jelly Roll” Morton but returning after becoming frustrated that his violin could not be heard over the dense sound of Morton's group. In 1930 Smith formed his own band in Buffalo, New York.
During his Buffalo years Smith cast one eye on New York, and he got there in late 1935 and 1936 after he composed a scat-like novelty song called “I'se a Muggin'” (the words seem to have no specific meaning). The song caught on, and musician-impresario
In musical terms, Smith's Onyx Club years were historically significant; he pioneered the use of the amplified violin, and he developed a bluesy, speech-inflected style that was quite distinct from the European-influenced approaches of Swing Era violinists Joe Venuti,
In 1938 Smith appeared in the film ‘Swing Street,’ taking a hiatus from live performing. That took the momentum out of his New York career, and he dissolved his band after a series of disagreements with players and other industry figures. Smith bounced back with a trio that performed in New York (sometimes at the Onyx) and Chicago in the 1940s, and he briefly took over Fats Waller's band after Waller's death in 1943. A series of trio recordings was made in 1943 and 1944, but by the late 1940s Smith's career seemed to be in decline. In the 1950s, to make things worse, Smith suffered from health problems brought on by years of heavy drinking.
Smith was still much admired by his fellow musicians, and he moved to California and continued to perform on what was said to be a centuries-old Guarneri violin. Among his fans was big-time jazz producer
Touring widely in the 1960s, Smith, like so many other jazz musicians, found that European audiences were especially appreciative of his music. He settled in Copenhagen, Denmark, in 1965 and made several recordings in Europe. Smith fell seriously ill on tour in Paris. Doctors placed him on the critical list; but Smith recovered and continued to perform. He died in Munich, Germany, on September 25, 1967, and was remembered, as “the cat that took the apron-strings off the fiddle.”
Stuff Smith and his Onyx Club Boys
Here's a nice list of some of his earlier "stuff"........
I'se a muggin'
Stop-look
Big wig in the wigwam
Humoresque
I'se A Muggin' Musical Numbers GameIt's up to you
Don't pay him no mind
I hope Gabriel likes my music
I've got you under my skin
I'm Putting All My Eggs In One BasketIs is
Crescendo In Drums
I Don't Want To Make History (I Just Want To Make Love)
Two faced woman
Joshua
Always
Taint no use
Humoresque (2)
After you've gone
Perdidio
A ghost of a chance
Upstairs
My thoughts
You'se a viper
Minuet in swing
Perdido Pt 1.
Robins and roses
The red jumps
I've got a heavy date
Perdido Pt 2
Melody in F
Bugle call rag
It ain't right
She's funny that way
Desert sands
Old Joe's hittin' the jug
To a wind rose
Serenade for a wealthy widow
Time and time again
Bugle call rag (2)
Is is (2)
Knock knock, who's there
Desert sands (2)
Bye bye baby
Night falls again
La Cinquantaine
Here comes the man with the jive
Up jumped the devil
Blues in Mary's flat
Louder and funnier
Twilight in Turkey
Blues in Stuff's flat
Guilded kisses
Where is the sun
I got rhythm
Black and blue rhapsody
Upstairs (2)
Sweet Lorraine
Nightmare
Onyx Club spree
Midway
After you've gone (2)
Sam the vegetable man
Look at me
My thoughts (2)
St. James Infirmary
Skip it
My blue heaven
Stop-look (2)
When Paw was courtin' Maw
Don't you think
Desert sands (3)
Monday, August 30, 2010
Vocal Harmony groups: The 5 Red Caps, 4 Blackbirds, Basin Street Boys, 5 Jones Boys...and more!!
The 5 Red Caps
Basin Street Boys
5 Jones Boys
4 Blackbirds
The Jones Boys Sing Band
Ormonde Wilson and the Basin Street Boys
http://www.uncamarvy.com
The Red Caps
By Marv Goldberg
Based on interviews with Romaine Brown,
Jay Price, Vance Wilson, and Gerald Smith (by Marv Goldberg)
Jimmy Springs and Steve Gibson (by Ray Funk)
© 2001, 2009 by Marv Goldberg
The Red Caps were one of the most prolific and influential groups of the 1940s and 1950s, having releases on many labels, using many names. While there was a basic core group of five singers, performers came and went at a bewildering pace.
In the music world of the late 30s and early 40s, there were many pioneer black vocal groups, all of whom owed a common debt to the Mills Brothers and Ink Spots. However, other influences were also apparent in their styles. Swing and big band jazz had a tremendous impact in the 30s, and myriad small combo jazz and jive groups resulted, often with members drawn from the larger orchestras. In parallel with this trend were the vocal groups that evolved from these combos in the 30s. In them, all members played instruments besides vocalizing - a combination that all but disappeared from R&B by the middle 50s. It was in this atmosphere that the group later known as the 5 Red Caps was born.
While there were vocal groups in all cities with large black populations, in the 30s, groups flocked to the LA area because of the varied work available: films, cartoon soundtracks, niteclubs, and radio. Four of these groups had a hand in the formation of the Red Caps: the Basin Street Boys, the 4 Blackbirds, the 5 Jones Boys, and the Jones Boys Sing Band. In 1940, they would coalesce into the 4 Toppers, the predecessor to the Red Caps.
THE BASIN STREET BOYS
Steve Gibson, George Thompson, Perry Anderson and Sam Hutcherson started as the 4 Dots in Lynchburg, Va, in the early thirties. In the summer of 1935, they were added to a tour of bandleader Jean Calloway. She renamed them the Basin Street Boys, although they had never been anywhere near New Orleans (it was just a more salable name). Leaving her after three months, they went to Phoenix, and then to Los Angeles.
There is a single known (and extremely raunchy) recording by this group, which also did radio shows, voices for cartoons, and several films.
(I included this one raunchy cut, "Come John Come")
THE 4 BLACKBIRDS
The members of the 4 Blackbirds had attended Los Angeles' Jefferson High (from which many great 50s R&B groups would come). The members were Geraldine Harris (1st tenor), David Patillo (2nd tenor), Leroy Hurte (baritone and guitar), and Richard Davis (bass). They made two films and several records.
THE 5 JONES BOYS
Originally from Carbondale, Illinois, they came to L.A. in the mid 30s. Lead tenor Jimmy Springs was joined by William Hartley, Herman Wood, Louis Wood, and Charles Hopkins. They were in three known films and had a couple of records on Variety.
THE JONES BOYS SING BAND
Leon René, who would later own the Exclusive label (as well as write "When The Swallows Come Back To Capistrano" and "Gloria"), put the 4 Blackbirds and 5 Jones Boys together to form a large chorus called the Jones Boys Sing Band. The only one missing from this aggregation was Blackbird Geraldine Harris. The guitarist was sometimes Oscar Moore (who would later join the King Cole Trio), but when he was unavailable, Steve Gibson (of the Basin Street Boys) would be called on to do the honors (also adding his bass voice to the mix). As was the case with many groups of the day, they imitated instruments; however, since there were so many voices, they had "sections" of various horns. Supposedly the entire instrumental sound track to Double Or Nothing consists of the voices of the Jones Boys Sing Band. Note that in movies they were credited (if at all) as the "Original Sing Band." Aside from their films, they only made a single record.
THE 4 TOPPERS
By 1940, as a result of there not being enough work for all these LA groups, a consolidation took place. Supposedly they picked the "top" members from each group and called the result the "4 Toppers." They were: Jimmy Springs (tenor and drums from the 5 Jones Boys), David Patillo (second tenor and sometimes guitarist and bassist from the 4 Blackbirds), Richard Davis (baritone and bassist from the 4 Blackbirds), Steve Gibson (bass and guitarist from the Basin Street Boys).
As well as appearing in four films, the 4 Toppers hooked up with orchestra leader Larry Breese and recorded a couple of sides for Otis René's (Leon's brother) Ammor label in early 1940.
In mid 1943 the 4 Toppers changed their name to the 5 Red Caps.
THE RED CAPS
From The Vocal Group Harmony Website:
http://www.vocalgroupharmony.com
In 1945, The 5 Red Caps consisted of Steve Gibson (bass/guitar), Romaine Brown (baritone/piano), Jimmy Springs (lead tenor/drums), David Patillo (2nd tenor/bass) and Emmett Matthews (2nd tenor/soprano sax). In parentheses are (vocal/instrument). Around this time, Doles Dickens also played bass for the group, moving Patillo to a straight vocalizing role.
The 5 Red Caps had at least 24 records released on Beacon (and simultaneously on Gennett and Joe Davis labels) between 1943 and 1946. Joe Davis (owner of all three labels) took credit for writing many of these songs.
For some perspective I included several cuts by Ormonde Wilson and the Basin Street Boys....a later group from the '40s.....because the is sometimes a confusion between them and the other Basin Street Boys....well, and also 'cuz they are a favourite vocal harmony group :)
Here is a selection of recordings that I have from most of these groups..........some amazing stuff!! ENJOY!! :)
Steve Gibson's Red Caps-Three Dollars and Ninety-Eight Cents
Ormonde Wilson and the Basin Street Boys-Jumping at the jubilee
The 4 Blackbirds-Dixie Rhythm
5 Red Caps-Boogie woogie on a Saturday night
Basin Street Boys-Sweet Georgia Brown
Basin Street Boys-Thursday evening swing
5 Red Caps-Boogie woogie ball
Basin Street Boys-Come John come (pretty raunchy....hilarious!!)
5 Red Caps-Confused
5 Red Caps-I'm crazy 'bout you
5 Red Caps-Don't fool with me
Basin Street Boys-For you
5 Red Caps-Have A Heart For Someone Who Has a heart for you
Ormonde Wilson and the Basin Street Boys-I Sold My Heart To The Junkman
Steve Gibson and the Original Red Caps-I Went To Your Wedding
Ormonde Wilson and the Basin Street Boys-I'll get along somehow
Ormonde Wilson and the Basin Street Boys-I'm gonna write a letter to my baby
Steve Gibson And The Red Caps-I've lived a lifetime for you
Ormonde Wilson and the Basin Street Boys-Josefine
5 Red caps-Just for you
5 Red Caps-Lenox Avenue jump
5 Red Caps-Mary had a little jam
Ormonde Wilson and the Basin Street Boys-Near to you
5 Red Caps-No one else will do
5 Red Caps-Somebody's lyin'
The Five Jones Boys-Doin' the Suzi Q
The Five Jones Boys-Lazy bones
The Five Jones Boys-Mr. Ghost comes to town
The Five Jones Boys-Nagasaki
The Jones Boys Sing Band-Pickin' a rib
The Jones Boys Sing Band-Sleepy time in Hawaii
5 Red Caps-There's a light on the hill
Ormonde Wilson and the Basin Street Boys-This is the end of a dream
http://www.mediafire.com/?bx2tvslmivlpce3
Thursday, August 26, 2010
Early George Jones Pt 2
The King.............Pt.2...........George Jones
Reminder....not all of these are listed by original recording date...these recordings are from various early LP releases on Starday, UA, Mercury, Musicor, and other labels. The date listed is for the LP's release.
I Get Lonely In A Hurry (1965) From 'I get lonely in a hurry'
I Just Lost My Favorite Girl (1965) From 'Mr. Country and Western music'
Love bug (1965) From 'New country hits'
Nothin' Can Stop My Love (1965) From 'Long live King George'
I Heard You Crying In Your Sleep (1962) From 'My favorites of hank Williams'
I love you because (1961) From 'Country and western hits'
I Just Dont Like This Kind Of Living (1965) From 'King of broken hearts'
No use to cry (1965) From 'Long live King George'
I Just Don't Like This Kind Of Livin' (1962) From 'My favorites of hank Williams'
I made her that way (1965) From 'New country hits'
I Wouldn't Know About That (1964) From 'Country and western No. 1 singer'
I'm Gonna Change Everything (1965) From 'I get lonely in a hurry'
If You Got The Money I Got The Time (1961) From 'Country and western hits'
It's Ok (1956) From 'Grand Ole Opry's new star George Jones-Country song hits'
No no never (1965) From 'Long live King George'
I'm Wasting Good Paper (1965) From 'New country hits'
If I don't love you (grits ain't groceries) (1965) From 'Long live King George'
Let him know (1956) From 'Grand Ole Opry's new star George Jones-Country song hits'
I Could Never Be Ashamed Of You (1962)
Least of all (1965) From 'I get lonely in a hurry'
No money in this deal (1957) From '14 top country favorites'
I Can't Change Overnight (1965) From 'King of broken hearts'
I'd Rather Switch That Fight (1965) From 'New country hits'
I've been known to cry (1965) From 'I get lonely in a hurry'
If you want me (1961) From 'Country and western hits'
Imitation of love (1962) From 'The new favorites of George Jones'
Into My Arms Again (1963) From 'The ballad side of George Jones'
It's a sin (1962) From 'Sings the hits of his country cousins'
It's a sin (1962) From 'Sings the hits of his country cousins'
Jambalaya (on The Bayou) (1960) From 'Salutes Hank WIlliams'
Jesus Wants Me (1965) From 'Long live King George'
Jesus Wants Me (1965) From 'Long live King George'
Long time to forget (1965) From 'Starday presents George Jones'
I Can't Get Used To Being Lonely (1965) From 'Mr. country and western music'
Lonesome whistle (1962) From 'My favorites of Hank Williams'
Love's gonna live here (1965) From 'I get lonely in a hurry'
Mr. Fool (1963) From 'The ballad side of George Jones'
Oh, lonesome me (1961) From 'Country and western hits'
Open pit mine (1962) From 'The new favorites of George Jones'
I always wind up loser (1963) From 'The ballad side of George Jones'
I gotta talk to your heart (1965) From 'Long live King George'
I walk the line (1961) From 'Country and western'
If you won't tell on me (1965) From 'New country hits'
Let A Little Loving Come In (1965) From 'Mr. country and western music'I Can't Help It (1960) From 'Salutes Hank Williams'
Memory Is A Flower (1965) From 'New country hits'
I'm Ragged But I'm Right (1965) From 'Long live King George'
Out Of Control (1964) From 'Country and western no. 1 male singer'I'm Ragged But I'm Right (1965) From 'Long live King George'
Just one more (1961) From 'Country and western hits'
Mansion on the hill (1962) From 'My favorites of Hank Williams'
The likes of you (1963) From 'The ballad side of George Jones'
A little bitty tear (1962) From 'Sings the hits of his country cousins'
It's been so long darling (1961) From 'Country and western hits'
New baby for Christmas (1964) From 'Country and western No. 1 Male singer'
Matthew Twenty-four (1962) From 'Homecoming in heaven'
Magic valley (1962) From 'Homecoming in heaven'
Kneel at the feet (1962) From 'Homecoming in heaven'
My cup runneth over (1962) From 'Homecoming in heaven'
Maybe little baby (1960) From 'The crown prince of country music'
One is a lonely number (1960) From 'The crown prince of country music'
One woman man (1960) From 'The crown prince of country music'
Life to go (1965) From 'Singing the blues'
Money to burn (1965) From 'Singing the blues'
(I'll be there) if you want me (1965) From 'Singing the blues'
The last town I painted (1965) From 'Singing the blues'
Dance break...Pt.2...the amazing Jean Veloz NOW-ish (2007)
"The best things happen while you're dancing"...............indeed :)
A little bit of Annette Hanshaw...a preview of a requested list.....
I got a request for an Annette Hanshaw list. I'm in the middle of listing Pt. 2 of the George Jones set, but Annette H. will be coming up soon after. I have quite a bit of her recorded output, so it should be a 2 part one, and fairly large. This is the only video clip I know that exists of her singing...enjoy.
Tuesday, August 24, 2010
A few additions to the Coon-Sanders Nighthawks list......
Here are a few more tracks that I found that didn't make it onto the list I just posted....enjoy! (seriously, how could I post Coon-Sanders, and not have "Here comes my ball and chain" on it???)
Here are the tracks:
Everything's hotsy-totsy now (1925) J.L. Sanders, vox
Here comes my ball and chain (1928) J. L. Sanders, vox
Bless you sister (1928) College music (1929) radio b'cast?
College music (1929) radio b'cast?
Dusky stevedore (1928)
Harold T (1929) radio b'cast?
Mississippi, here I am (1929) radio b'cast?
Mississippi, here I am (1929) studio- J.L. Sanders and C. A. Coon, vox
My supressed desire (1928) (From F.B.O. Picture, "Gang War") Carleton Coon, vox
(Listen to the) Rhythm king (1928)
Sinners sock (1929?)
That's all there is (1925)
Way down in the deep old south (?) (1929) radio b'cast?
Smiling skies (1928) Carleton Coon, vox Monday, August 23, 2010
The Coon-Sanders Nighthawks Orchestra list............
Coon-Sanders Nighthawks Orchestra
(From Wikipedia)
Coon was born in Rochester, Minnesota in 1893 and his family moved to Lexington, Missouri shortly after his birth. Sanders was born in Kansas in 1896. Sanders was known as "The Old Left Hander" because of his skills at baseball. He gave the game up in the early 1920s to make dance music his career.
The orchestra began broadcasting in 1922 on clear channel station WDAF, which could be received throughout the United States. They were broadcast in performance at the Muehlebach Hotel in Kansas City. They took the name Nighthawks because they broadcast late at night (11:30pm to 1:00am). By 1924 their fan club had 37,000 members. Fans were encouraged to send in requests for songs by letter, telephone or telegram. That move became so popular that Western Union set up a ticker tape between Sanders' piano and Coon's drums so the telegrams could be acknowledged during the broadcasts. Their song "Nighthawk Blues" includes the lines: "Tune right in on the radio/Grab a telegram and say 'Hello'."
The group left Kansas City for the first time in 1924 for a three-month engagement in a roadhouse in Chicago. The orchestra moved to Chicago the same year, where Jules Stein used the profits from a tour he booked for them to establish the Music Corporation of America, with the orchestra as its first client. The orchestra moved into the Blackhawk in Chicago in 1926. The members of the orchestra at that time were Joe Richolson and Bob Pope, trumpets; Rex Downing, trombone; Harold Thiell, Joe Thiell and Floyd Estep, saxophones; Joe Sanders, piano; Russ Stout, banjo and guitar; "Pop" Estep, tuba; Carleton Coon, drums. In the following years, the Nighthawks performed at the Blackhawk every winter, doing remote broadcasts over radio station WGN. Their reputation spread coast-to-coast through these broadcasts and the many records they made for Victor. They undertook very successful road tours.
The orchestra later moved to New York City for an 11-month broadcast engagement at the Hotel New Yorker arranged by William S. Paley, who needed a star attraction to induce radio stations to join the Columbia Broadcasting System.
At their peak, each member of the Orchestra owned identical Cord Automobiles, each in a different color with the name of the Orchestra and the owner embossed on the rear. The Orchestra's popularity showed no signs of abating and their contract with MCA had another 15 years to run in the spring of 1932 when Carleton Coon came down with a jaw infection and died, on May 4.
Joe Sanders attempted to keep the organization going; however, without Coon, the public did not support them. In 1935, he formed his own group and played until the early 1940s when he became a part time orchestra leader and studio musician. In his later years he suffered from failing eyesight and other health problems. He died in 1965 after suffering a stroke.
The Kansas City Public Library acquired the scrapbooks and other memorabilia collected and prepared by Joe Sanders and the information is available to researchers.
The Coon Sanders Nighthawks Fans' Bash is held annually on the weekend following Mothers' Day in Huntington, West Virginia to remember the great contributions to music made by all the members of the Coon Sanders Nighthawks Orchestra and to play and enjoy the great music of the era. This event has been held annually for 39 years. Over the years, such musical notables as Curt Hitch, Bill Rank, Earl Roberts, Doc Ryker, Paul Oconnor, Mike Walbridge, Bob Neighbor, Frank Powers, Bob Lefever, Johnny Haynes, Jimmy and Carrie Mazzy, Moe Klippert, Clyde Austin, Nocky Parker, Fred Woodaman and Spiegle Willcox have attended the event.[1]
Here's a nice list from my recordings:
After you've gone (1929)
Blazin' (1928)
Brainstorm (1926)
Got a great big date with a little bitty girl (1929) Joe Sanders, vox.
I Can't Realize (you love me) (1925) C.A. Coon and J.L. Sanders, vox
Kansas City Kitty (1929) J.L. Sanders, vox
Kansas City Kitty (1929) J.L. Sanders, vox
Little Orphan Annie (1928) J.L. Sanders, vox
What a girl! what a night! (1928) Joe Sanders, vox
who wouldn't be jealous of you (1928) J.L. Sanders, vox
Nighthawk blues (1924) C.A. Coon and J.L. Sanders, vox
Is she my girlfriend (1928) Joe Sanders, vox
Deep Henderson (1926)
Down Where The Sun Goes Down (1928) Joe Sanders, vox
Dreaming Of Tomorrow (1925) C.A. Coon and J.L. Sanders, vox
Everything's Gonna Be All Right (1926) J.L. Sanders, vox
Flamin' Mamie (1925) J.L. Sanders, vox
Hallucinations (1927)
Harlem madness (1929) (From Metro-Goldwyn-Meyer picture "They Learned About Women"), Joe Sanders, vox
High fever (1926)
Hong Kong Dream Girl (1925)
I Ain't Got Nobody (1927) Carleton Coon & Joe Sanders, vox
Indian Cradle Song (1928) C.A. Coon, vox
I Need Lovin' (1926) J.L. Sanders, vox
I've got A Message From The Man On The Moon for You (1937), Barbara Paars, vox (post Coon recording)
I've Got My Love To Keep Me Warm (1937) (post Coon recording)
Lazy Waters (1924) Carleton Coon, vox
Louder and funnier (1927)
Louise, You Tease (1925)
Mine, All Mine (1927) C.A. Coon and J.L. Sanders, vox
Moon Deer (1925)
Moonlight and You (1924) C.A. Coon and J.L. Sanders, vox
Moonlight and You (1924) C.A. Coon and J.L. Sanders, vox
My Baby Knows How (1926) J.L. Sanders, vox
My Daddy's Dream-Time Lullaby (1924) C.A. Coon and J.L. Sanders, vox
I need lovin' (1926) J.L. Sanders, vox (version 2)
Nighthawk blues (1924) (vers. 2) C.A. Coon and J.L. Sanders, vox
Nighthawk blues (1924) (vers. 2) C.A. Coon and J.L. Sanders, vox
Oh! You Have No Idea (1928) C.A. Coon and J.L. Sanders, vox
Oriental Love Dreams (1924) C.A. Coon and J.L. Sanders, vox
Ready For The River (1928) J.L. Sanders, vox
Red Hot Mama (1924) C.A. Coon and J.L. Sanders, voxRed Hot Mama vers. 2 (1924) C.A. Coon and J.L. Sanders, vox
Roodles (1927)
Show Me the Way (1924) Joe Sanders, vox
Sittin' Around (1926) Vocal refrain by C.A. Coon
Sluefoot (1927) C.A. Coon and J.L. Sanders, vox
Some Little Bird (1921)
Stay Out Of The South (If you want to miss heaven on earth) (1927) C.A. Coon and J.L. Sanders, vox
Swingaroo (1937) (post Coon recording)
Darktown strutters ball (1929) C.A. Coon, vox
There's No-One Like You (1924) C.A. Coon and J.L. Sanders, vox
The Wail (1927)
Time Out For Love 1937 (post Coon recording)
Too Busy! (1928) Carleton Coon, vox
Wabash Blues (1927) C.A. Coon and J.L. Sanders, vox
We Love Us (1929) Joe. L. Sanders, vox
ONE OF THE MOST SWINGING BANDS OF THE ERA......GREAT RECORDINGS!!........I'VE REALLY ENJOYED PUTTING THIS LIST TOGETHER, AND I REALLY HOPE YOU ENJOY LISTENING TO THEM AS MUCH AS I DO! :)
An Isham Jones Orchestra list.................
Isham Jones 1894 – 1956 bandleader, saxophonist, bassist and songwriter.
(From Wikipedia)
Jones was born in Coalton, Ohio, to a musical and mining family, and grew up in Saginaw, Michigan, where he started his first band. In 1915 he moved to Chicago, Illinois, which remained his home base until 1932, when he reestablished himself in New York City. Jones also toured England with his orchestra in 1923.
The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. He led one of the most popular dance bands in the 1920s and 1930s. His first successful recording, Wabash Blues written by Dave Ringle and Fred Meinken, was recorded in 1921 by Isham Jones and his Orchestra. This million-seller stayed twelve weeks in the U.S. charts, six at No. 1[1]. Noted musicians who played in Jones' band included Louis Panico, Benny Goodman (although he did not make any records during the short time he was with them), Woody Herman, Walt Yoder, and Roy Bargy.
Jones was reported for being a strict task master and for being rather cold and distant. His lushly romantic compositions seem at odds with his reported personality.
There was a gap from October 1927 to June 1929 where Jones did not record due to disbanding and reorganization.
From 1929 to 1932, his Brunswick recordings became even more sophisticated with often very unusual arrangements (by Gordon Jenkins and others; Jones was his own arranger early on, but cultivated others for offbeat arrangements). During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. It seems that Jones was indifferent to vocalists until he started using Frank Sylvano and Stone (beginning in 1929) and in 1932, Joe Martin, another of the band's violinists. In April that year, young Bing Crosby recorded two sessions with Jones' group which included "Sweet Georgia Brown". Crosby at this point in his career was still singing in a jazz idiom, transitioning to his better known "crooner" style.
In August, 1932, Jones began appearing on Victor, and these records are generally considered among the very best arranged and performed commercial dance band records of the Depression era. Victor's recording technique was especially suited to Jones' band. In October 1932, he teamed up with the Three X Sisters in New York who had just departed from CBS radio. They recorded "experimental" songs for RCA Victor which Jones began to fuse jazz, and early swing music. They recorded Where, I Wonder Where? and What Would Happen To Me If Something Happened To You. His Victor releases had an almost symphonic sound. He stayed with Victor until July 1934, when he signed with Decca. (Jones' recordings during this period rivaled Paul Whiteman and other dance orchestras as examples of the very best and most popular dance music of the era.)
After he left Decca in 1936, he again retired and his orchestra was taken over by band member Woody Herman. Another Jones edition, in 1937-38, recorded a handful of sessions under the ARC labels: Melotone, Perfect and Banner.
In the 1940s, Jones resided on his poultry farm in Colorado, which he occasionally left for short tours with pickup bands.
Isham Jones died in Hollywood, California in 1956. His grand-nephew is the noted jazz drummer Rusty Jones.
During the 1920s, Isham Jones had several number one records on the pop charts in the U.S.:
- "Wabash Blues" was number one for six weeks in 1921;
- "On the Alamo" was number one for four weeks in 1922;
- "Swinging Down the Lane" was number one for six weeks in 1923;
- "Spain" was number one for two weeks and "It Had To Be You" was number one for five weeks in 1924; and,
- "I'll See You in My Dreams" was number one for seven weeks and "Remember" was number one for one week in 1925.
- His 1930 version of "Star Dust" was one of the best selling versions. Jones commissioned Victor Young to write a ballad instrumental of the mid-tempo tune and it was this arrangement (with Victor Young's violin solo) which became such a hit. Mitchell Parish wrote lyrics for the song at this time.
In 1989, Isham Jones was inducted into the Big Band and Jazz Hall of Fame. He was also inducted into the Songwriters Hall of Fame.
In 2005, "California, Here I Come", recorded by Al Jolson With The Isham Jones Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.
In 2007, "It Had To Be You", recorded by Isham Jones and His Orchestra on Brunswick in 1924, was inducted into the Grammy Hall of Fame.
And a bit more info from www.redhotjazz.com
By Tim Gracyk from the book "Popular American Recording Pioneers 1895 -1925."
Isham Jones led one of the finest dance bands of the 1920s and wrote many hits, notably "It Had To Be You," "I'll See You In My Dreams," " Swingin' Down the Lane," and "The One I Love Belongs to Somebody Else." He was born in Coalton, Ohio, but grew up in Saginaw, Michigan. The September 1923 issue of the sheet music publication Melody includes an article about his early years (the article itself is based on an interview Jones gave to the Boston Post). He had worked in coal mines leading blind mules. Jones's father, originally from Arkansas, played fiddle and was an important musical influence. The son took up fiddling and led a small band at a local Methodist church. He even played fiddle at work while driving his mule with its string of coal cars. His attention to his instrument evidently distracted him enough one day for a train to crash into a shaft door, frightening him so much that he never returned to the coal pit. He devoted himself to music. A Saginaw music publisher was first to print sheet music bearing the name Isham Jones, his earliest known published composition being "Midsummer Evenings," from 1906. He would not enjoy success as a composer for another dozen years.
Isham, pronounced "eye- sham," moved to Chicago in 1915 and continued composing, often working in the World War I period with lyricist Olaf ("Ole") Olsen, a member of Jones's early Chicago band (later, in 1926, Ole Olsen and His Orchestra recorded three titles for Path� Actuelle). One of their works from 1917 is among the first songs to refer to the new music called "jass." Actually, the spelling used is even more unorthodox: the song is "That's Jaz!" Possibly the songwriters had not seen the word "jazz" (or "jass") in print when they wrote the song. Its lyrics refer to saxophones and banjos, so the writers did not have the Original Dixieland Jass Band (ODJB) specifically in mind though they would have known the sensation the band made in Chicago in 1916. It is possible that Jones's own band at the time featured saxophones and banjos. The first Isham Jones tune to be recorded was probably the comic "Oh! Min!" It is sung by Edward Meeker on Blue Amberol 3514, issued in August 1918. Another 1918 composition by Isham Jones is "Indigo Blues," recorded by Ford Dabney's Band in early 1919 and issued on Aeolian-Vocalion 12097 in April, backed by the ODJB's "Oriental Jazz."
After serving in the military in 1918, Jones returned to Chicago and joined a dance hall orchestra that would eventually take his name. He learned to play C melody saxophone at this time but switched to tenor saxophone by 1920. Eventually conducting pressures forced him to give up playing in the band itself though his band always featured a strong saxophone section.
According to the Melody profile, Jones and his musicians were given the option in the early 1920s of royalties or steady salaries. Jones himself opted for royalties and by September 1923 had received $800,000. If this account is accurate, it means that Jones was wealthy before penning his most successful compositions.
The name on early discs, "Isham Jones Rainbo Orchestra," reflects the band's engagement at Chicago's famous dance palace known as the Rainbo Gardens, operated by Fred and Al Mann at the intersection of North Clark Street and Lawrence Avenue (Frank Westphal succeeded Jones and recorded his Rainbo Orchestra in Chicago by early 1922--Ralph Williams followed with his Rainbo Orchestra in late 1924, his first record issued by Victor in January 1925). Talking Machine World establishes that in mid-1921 Jones regularly played at the Marigold Gardens (817 West Grace Street, west of Broadway), operated by brothers named Eitel. The band toured heavily by 1921--in early February 1921 it had been featured in Ziegfeld's "Midnight Frolic" on the Amsterdam Roof in New York City. Around 1922 the band took up residency at the Hotel Sherman's College Inn, remaining as its main attraction until February 1925, when Vincent Lopez's band replaced Jones's. It played elsewhere in Chicago after long engagements at the College Inn. For example, in mid-1923 it played for six weeks at the new Trianon Dance Palace.
The Isham Jones Orchestra was a Chicago institution from 1920 to 1925. It was also important to the Brunswick- Balke-Collender Company, from mid-1920 to 1932 recording exclusively and frequently for the company, from its entry into the American disc market until after Warner Brothers acquired Brunswick's record division. The Chicago-based Brunswick company and Jones matured together. He even shared ownership of a shop that carried Brunswick products exclusively. Page 155 of the June 1922 issue of Talking Machine World reports the opening of the Isham Jones Brunswick Shop in Saginaw, Michigan. Other co-owners were Gerald Marks (a composer and, like Isham Jones, once a Saginaw resident), Thomas Jones, and Frank Jones.
During Brunswick's first year as a maker of discs, artists--including Jones--had sessions in the company's New York City studio, but page 135 of the July 1921 issue of Talking Machine World indicates that the company was eager to accommodate the Chicago-based Jones: "The Brunswick-Balke- Collender Co., after months of preliminary preparation, has opened an experimental laboratory and recording room on the sixth floor of its Chicago headquarters. The object of this laboratory is to record the work of Isham Jones and other Western talent...This is the first time that a permanent laboratory of this kind has been established in Chicago. Heretofore any recording laboratory in Chicago was but a temporary affair." Some early Jones discs were issued in Brunswick's prestige series, which began at 5000 (purple labels were used). A few Jones performances were issued in both the prestige series and the regular popular series. For example, "Look For The Silver Lining" was issued on Brunswick 5045 and 2224.
Jones used fewer instruments on Brunswick records than Paul Whiteman used on Victor discs of this period. According to the June-July 1924 issue of Jacobs' Orchestra Monthly, band members at that time were pianist Roy Bargy (he replaced Al Eldridge), trombonist Carroll Martin (he also served as arranger), second trombonist William McVey, violinist Leo Murphy, second violinist Arthur J. Vanasek, cornetist Louis Panico, saxophonist H. E. Maulding, banjoist Charles McNeill, tuba and Sousaphone player John Kuhn (formerly with Sousa's Band), and drummer Joe Frank.
In Chicago Jazz (Oxford University Press, 1993), William Howland Kenney states that Jones "refused to label his music 'jazz,'" preferring "that his music be called 'American Dance Music.'" Kenney's source is a 1924 issue of Etude. While it is true that Jones's was not a jazz ensemble, some hot performances notwithstanding, Jones speaks of his music as jazz in the previously mentioned Melody article. If Jones rejected the term "jazz" and embraced "American Dance Music," it happened around 1924. The 1923 Melody article cites his advice for those wishing "to start a jazz band of your own," beginning with this tip: "First of all, you must have musicians--real musicians...Gone are the days when a jazz band was an aggregation of jugglers who gave more pleasure to the eye than to the ear."
Incredibly popular from late 1921 was the orchestra's version of the Ringle-Meinken song "Wabash Blues" featuring the "laughing" cornet of Louis Panico, who joined the ensemble around mid-1921. Panico eventually left to begin his own band at Chicago's Guyon's Paradise.
Jones's band provided accompaniment for many Brunswick stars, including Marion Harris and Al Jolson. Jones recorded for Brunswick many of his own compositions, including "On the Alamo" (2245, 1922), "Ivy (Cling To Me)" (5177 and 2365, 1922), "Broken Hearted Melody" (2343, 1922), "Swingin' Down the Lane" (2438, 1923), "Spain" (2600, 1924), "It Had To Be You" (2614, 1924), "I'll See You In My Dreams" (2788, 1925), and "Ida- -I Do" (2915, 1925). For "I'll See You In My Dreams," Jones conducts Ray Miller's Orchestra, another of Brunswick's popular dance bands.
He finally moved from Chicago to New York City. On March 1, 1925, Jones was given a testimonial dinner and reception at the Park Lane Hotel by music publishers. On March 6, Jones and his orchestra opened the Rue de la Paix, a nightclub possibly owned by Jones himself at 247 West 54th Street in Manhattan. Page 35 of the May 1925 issue of Talking Machine World reports that on April 25, 1925, the formal opening of the Brunswick Salon on Fifth Avenue in Manhattan was broadcast on station WJZ, adding, "This was the first appearance of the Isham Jones aggregation before the [radio] microphone." He remained popular after Brunswick converted to its electrical "Light-Ray" recording system.
The band leader switched to Victor in 1932 (it was not a propitious time for a label change since all record companies were hit hard by the Depression at this time--his Victor records sold poorly), then to Decca in 1934, with clarinetist Woody Herman joining for Decca sessions. One of Jones's last bands to make 78 rpm records was called Isham Jones' Juniors on Decca. In 1936 it contained the basic personnel for the band led by Woody Herman. Later Isham Jones ("and his Famous Orchestra") cut numbers for Coast Records, including "I'll Never Have To Dream Again" backed by "The One I Love" (8025), vocals by Curt Massey. With Marilyn Thorne as vocalist, the Isham Jones Orchestra also recorded for the obscure Bantam label. He died in Hollywood, California.
Here's a set of recordings I dug out and uploaded.....
(When It's) Darkness on the Delta (1932)
Blue prelude (1933)
Charleston (1926)(recording...most of label worn off 78...info would be appreciated)
(another recording...most of label worn off 78...info would be appreciated)
Don't Tell Her What Happened To Me (1930) w/ Eddie Stone
Dream a little dream of me (1931)
Easy Melody (1924)
Everyone Says ''I Love You'' (1932) (from the Paramount Picture "Horse Feathers")
Feedin' The Kitty (1924)
Foolin' Around (1923)
For All We Know (1934)
Forgetful Blues (1923)
Goodnight sweet dreams (1931)I want a new romance (1934)
I'll Never Have To Dream Again (1932)
I'll See You In My Dreams (1924)
I'll See You In My Dreams (1924)
I'm So Afraid Of You (1931)
Ida, I do (1925)
It Had To Be You (1924)
It Isn't Fair (1933)
Just A Little Street Where Old Friends Meet (1932)
Let Me Linger Longer In Your Arms (1925)
My Best Girl (1925)
My Ideal (1931)
Nina Rosa (1930)
Nobody's sweetheart (1924)My Ideal (1931)
Nina Rosa (1930)
On The Alamo (1922)
Paddlin' Madelin' Home (1925)
Remember (1925)
Somebody's Wrong (1923)
Stardust (1930)
Stompin' At The Savoy (1936)
Sweet Georgia Brown 1925
Swingin' Down the Lane (1923)
Trees (1930)
What's the Use? (1930)
Where is my sweetie hiding (1924)
Who's Sorry Now (1923)
With My Eyes Wide Open I'm Dreaming (1934) (From Paramount film "Shoot The Works")
Wop Blues (1923)
You Don't Know What You're Doin' (1931)
You Got 'em (1925)
Thinking of You (1926) w/ Arthur Fields
Fools In Love (1932) w/ Billy Scott
I Can't Believe It's True (1932) w/ Eddie Stone
Fools In Love (1932) w/ Billy Scott
I Can't Believe It's True (1932) w/ Eddie Stone
Miss Hannah (1930) w/ Eddie Stone
Not A Cloud In The Sky (1930) w/ Eddie Stone
Sweet Jennie Lee (1930) w/ Eddie StoneFeeling That Way (1930) w/ Frank Sylvano
I'll be blue just thinking of you (1930) w/ Frank Sylvano
Lonesome lover (1930) w/ Frank Sylvano
You're Just A Dream Come True (1930) w/ Frank Sylvano
A little special extra for fun: Isham Jones Medley- (1932) Frank Trumbauer Orch. w/ Helen Rowland and Johnny Blake
http://www.4shared.com/file/0lmWD1ns/isham.html