Sunday, October 31, 2010
A few Saturday pics.............
Saturday, October 30, 2010
Halloween dance party mix..........
Charlie Feathers-That certain female
Ray Bryant Combo-Madison time
Sid King and the Five Strings-Let 'er rip
Billy Barnett-Romp and stomp
Chubby Checker-Dancin' party
Sonee West-Rock-Ola Ruby
The Gee-Cees-Buzzsaw twist
Charlie Gracie-Guitar boogie
Bunker Hill-Hide and go seek pt 1
Leroy Washington-Wild cherry
Al garris-That's all
Wanda Jackson-There's a party goin' on
Ron Haycock & The Boppers-99 chicks
Johnny Kidd and the Pirates-Shakin' all over
The Belairs-Mr. Moto
The Five Duo-tones-Shake a tailfeather
Sandy Nelson-Bullfrog
Johnny Green Little Eva
Wayne Williams-Red hot mama
Johnny Copeland- Rock and roll Lily
Dantes-80-96
The Champs-Train to nowhere
Valentines-That's it
Betty McQuaid-Tongue tied
The Imps-Uh Oh
Versatones-Tight skirt tight sweater
Gene and Wendell-The roach
Jett Powers-My trouble
Portuguese Joe-Teenage riot
Jerry Dallman & the Knightcaps-The bug
Deadly Ones-Monster surfing time
Ron Thompson-Switchblade
Dean & Jean-Tra la la Suzie
Bill Haley-R-O-C-K
Beatles-I just don't understand (Ann-Marget cover)
http://www.mediafire.com/?58w0t7sh3bp63m7
Friday, October 29, 2010
A Ben Pollack list..........(AKA >>sings<< "To list...the impossible list"<< LOL!!!)
Ben Pollack (June 22, 1903 – June 7, 1971) was a drummer and bandleader from the mid 1920s through the swing era. His eye for talent led him to either discover or employ, at one time or another, musicians such as Benny Goodman, Jack Teagarden, Glenn Miller, Jimmy McPartland and Harry James. This ability earned him the nickname "Father of Swing".
Born in Chicago, Illinois to a well-to-do family, Pollack was largely self taught as a drummer, and was afforded the opportunity to become the drummer for the New Orleans Rhythm Kings, a top jazz outfit, in the early '20s. In 1924 he played for several outfits, including some on the west coast, which ultimately led to his forming a band there in 1925. One of the earliest members of his band was Gil Rodin, a saxophonist whose sharp business acumen served him well later as an executive for the Music Corporation of America (MCA). Rodin also served as the "straw boss' for Pollack along with the young arranger-trombonist Glenn Miller. Already recognized as immensely talented on the clarinet, sixteen-year-old Benny Goodman began working with Pollack in 1925 as well.
In 1926, Pollack recorded for Victor. Many of his records were good sellers. From about 1928, with involvement with Irving Mills, members of Pollack's band moonlighted at Plaza-ARC and recorded a vast quantity of hot dance and out-and-out jazz for their dime store labels (Banner, Perfect, Domino, Cameo, Lincoln, Romeo, and others using colorful names like Mills' Merry Makers, Goody's Good Timers, Kentucky Grasshoppers, Mills' Musical Clowns, The Lumberjacks, Dixie Daises, The Caroliners, The Whoopee Makers, The Hotsy Totsy Gang, Dixie Jazz Band, Jimmy Bracken's Toe Ticklers, and many others). Most of these records are usually listed in discographical books (like Brian Rust's Jazz Records as by Irving Mills. The rare Jack Teagarden's Music book lists them properly as being a "Ben Pollack Unit". Combining Pollack's regular recordings with these side groups made Pollack one of the more prolific bands of the 1920s and 1930s.
The band played in Chicago, mainly, and moved to New York City around the fall of 1928, having obtained McPartland and Teagarden around that time. This outfit enjoyed immense success, playing for Broadway shows, and having an exclusive engagement at the Park Central Hotel. Pollack's band also was involved in extensive recording activity at that time, using a variety of pseudonyms in the studios. The orchestra also made a Vitaphone short subject sound film (which has been recently restored). Pollack, in the meantime, had fancied himself as more of a bandleader-singer type instead of a drummer. To this end, he signed Ray Bauduc to handle the drumming chores.
Soon afterward, things began to become difficult for Ben Pollack. The Stock Market Crash of 1929, and subsequent effects on the music industry as a whole, had a negative effect on all bands at that time, and Pollack's was no exception. Work was scarce, and the band had several periods of inactivity, in spite of Pollack's best efforts in obtaining work. Changes in personnel were also inevitable. Benny Goodman and Jimmy McPartland left the band in the summer of 1929, either fired or quit, depending on whose story is to be believed. They were replaced by Matty Matlock on clarinet and Jack Teagarden's brother, Charlie, on trumpet. Eddie Miller was also signed as a tenor saxophonist in 1930.
Pollack left Victor in late 1929 and subsequently recorded for Hit of the Week (1930), the above listed dime store labels (1930–1931), Victor (1933), Columbia (1933–1934), Brunswick, Vocalion and Variety (1936) and Decca (1937–1938).
Pollack made several forays into the U.S. Midwest in the early 1930s, and also made some trips to Canada. During this time, he became involved with the singing career of his girl vocalist, Doris Robbins. As he was also involved with her romantically, he began to de-emphasize his involvement with band matters, much to the consternation of the musicians. Eventually, Ben Pollack and Doris Robbins married.
More changes came for the band in the spring of 1933 when trombone star Jack Teagarden gave his notice during an engagement in Chicago. It was not long after that, possibly a year, when the rest of the musicians decided to leave Pollack, They re-formed soon after as a co-operative band, fronted by Bing Crosby's brother, Bob.
Pollack re-formed his band eventually, and had some top-flight talent, including Harry James and Irving Fazola in it, but never really achieved any of the success of his earlier bands. These two stars, also, found greater success after they left Pollack. In the early 1940s, Pollack was the organizer for a band led by comedian Chico Marx. He tried his hand organizing a record label, Jewel Records (not the Plaza-ARC or the Shreveport labels), and at other venues, including restaurants on the Sunset Strip in Hollywood and in Palm Springs, California. He also appeared, as himself, in the motion picture The Benny Goodman Story and made a cameo appearance in The Glenn Miller Story.
All through this troubled period, Pollack managed to record excellent records and had an occasional hit, like the 1937 "Peckin'", which Pollack co-wrote with Harry James, originally issued on Variety VA-556. Ben Pollack also wrote "Deep Jungle", "Tin Roof Blues" with the New Orleans Rhythm Kings, and "Swing Out" with Wingy Manone.
In later years, Pollack grew despondent and committed suicide by hanging in Palm Springs in 1971.
Ben Pollack co-wrote the jazz standard "Tin Roof Blues" in 1923 when he was a member of the New Orleans Rhythm Kings: the band's trombonist George Brunies is also generally credited as a co-composer. In 1954, Jo Stafford recorded "Make Love to Me", which used Pollack's music from "Tin Roof Blues". "Make Love to Me" was no. 1 for three weeks on Billboard and no. 2 on Cashbox. The song was also recorded by Anne Murray and B. B. King.
In 1992, Ben Pollack was inducted into the Big Band and Jazz Hall of Fame.
From: http://www.bigbandlibrary.com/benpollack.html :
BEN POLLACK
"HOTBED OF TALENT"
by Music Librarian CHRISTOPHER POPA
July 2009
In 1924, he took over an orchestra in California, which would go on to be known as his "Californians."
At least one observer considered him "The Father of Swing," since in 1925 Pollack, who played drums, hired some developing youngsters, including clarinetist Benny Goodman and trombonist Glenn Miller, to be in the band.
In 1928, while appearing at the Park Central Hotel in New York City, the group was re-christened as Pollack's "Park Central Orchestra."
Trombonist Jack Teagarden (a better player than Miller, which Miller agreed) had joined that year, and Miller decided to concentrate on writing arrangements for the ensemble.
"None of us who were there can ever forget the great nights in New York," one of the band's saxophonists, Gil Rodin, later reminisced. "He'd ride this cymbal attached to the bass drum, and Benny Goodman would blow fantastic clarinet for about 20 minutes-just the two of them, the rest of us looking on speechless, and Ben almost bursting with excitement. That's the Ben Pollack I want to remember."
Pollack and his orchestra recorded for Banner in 1930-31; returned to Victor for a single session on March 19, 1933; and then were heard on Columbia in 1933-34 (another future bandleader, trumpeter Charlie Spivak, played with them during the latter period).
By that time, Pollack had fallen in love with his band's vocalist, Doris Robbins, and he seemed more interested in furthering her career (they would get married in 1935), so his orchestra quit en masse (a number of them stayed together and became the nucleus of the first Bob Crosby big band).
Pollack formed his own new band, which in 1936 recorded for Brunswick and again included some promising newcomers, trumpeter Harry James and pianist Freddie Slack.
Yet another group, with cornetist Muggsy Spanier, was organized by Pollack in 1937 and was signed to Decca Records for about a year.
In the decades which followed, Pollack played drums less and less frequently, choosing the role of a businessman.
For example, in 1942 he served as personal manager to Chico Marx, when Marx fronted a band for a series of theatre dates.
In 1945-46, Pollack ran a small, independent record company, Jewel, whose first releases were by Kay Starr, a former big band vocalist.
Pollack did make small guest appearances as himself in two mid-1950s movies, "The Glenn Miller Story" and "The Benny Goodman Story."
"I wore [ actor ] William Powell's old toupee," he managed to joke about the latter to writer-critic Leonard Feather, but he was disgruntled about how both films garbled and omitted facts.
For 10 years, starting in the '50s, Pollack operated the "Pick-a-Rib," a restaurant at 8250 Sunset Blvd., on the "Sunset Strip," in Hollywood, where he played drums with a hand-picked Dixieland combo. Often having a tough time making a financial go of it, he eventually sold out to a group which re-opened the room as the "Body Shop," a strip joint.
In 1963, Pollack led a Dixieland sextet at the Knickerbocker Hotel at 1714 N. Ivar Ave. in Hollywood.
By 1965, he had completely given up music and became a partner with his sister, Esther, in "Easy Street North," a bar located at 2777 N. Palm Canyon Dr. in Palm Springs.
Meanwhile, Pollack evidently had remained quite troubled in his personal life. His wife had first sued for divorce in 1936, but later dismissed her suit. In 1940, she proceeded and was granted a divorce, and since then, she and Pollack had made attempts to patch things up.
"Back and forth. Back and forth," he commented to a judge in 1957. "We'd tell our friends we were back together and they'd say, 'What? Again?'"
Ultimately, though, they failed to work out a lasting reconciliation.
"I'd be better off six feet under," he reportedly told a former colleague who visited him, not long before Pollack committed suicide in 1971.
Sadly, Pollack hanged himself in his bathroom at home, leaving "[ at ] least two notes referring to despondency over financial and marital problems."
"Nonetheless," historian Joe Showler wrote in 2004, "his importance as a mentor of the illustrious jazz musicians who passed through the ranks of his bands cannot be exaggerated."
Remember him that way.
And so.....without further ado (and there was MUCH ado)..........Ben Pollack
Memphis blues 12-7-1927 (B P and his Californians)
Deed I do 12-17-1926 (B P and his Californians)
Bashful baby 7-25-1929 (B P and his Park Central Orch.)
Everybody's Doin' It 4-18-1938 (B P and his Orch)
Keep your undershirt on 11-29-1929 (B P and his Park Central Orch.)
Let's sit and talk about it you 1-24-1929 (B P and his Park Central Orch.)
Louise (from Paramount picture "Innocents of Paris") Vocal refrain by Charles Roberts 3-1-1929
Sally of my dreams 1-24-1929 (B P and his Park Central Orch.)
Sweet Sue, just you 4-26-1928 (B P and his Californians)
True blue Lou (from Paramount picture "The Dance of Life") 8-15-1929 (B P and his Park Central Orch.)
Two tickets to Georgia 3-19-1933 (B P and his Orch)
(Eyes of blue) You're my Waterloo 1932 (B P and his Park Central Orch.)
Makin' friends Dixie Jazz Band (Irving Mills/Ben Pollack) (v: Jack Teagarden) 1929
My kinda love (one way to paradise) 3-5-1929 (B P and his Park Central Orch.)
Remember I love you Ben Pollack (As Jimmy McHugh's bostonians) 1927
On with the dance 3-5-1929 (B P and his Park Central Orch.)
You're the one for me 12-17-1926 (B P and his Californians)
Buy buy for baby (or baby will bye bye you) 10-15-1928
She's one sweet showgirl 10-15-1928 (B P and his Park Central Orch.)
Alone in my dreams 10-27-1929 (B P and his Park Central Orch.)
Can't you hear me calling Caroline? 9-11-1937 (B P and his Pick-a-rib Boys)
If I could be with you one hour tonight 6-23-1930 (B P and his Orch)
Jimtown blues 9-16-1936 (B P and his Orch)
Linger a little longer in the twilight 3-19-1933 (B P and his Orch)
Sing song girl 1-21-1931 (B P and his Orch)
Sweetheart we need each other (From the RADIO picture, "Rio Rita" Vocal refrain by Burt Lorin 8-22-1929 (B P and his Park Central Orch.)
Waiting for Katie12-7-1927 (B P and his Californians)
Yellow dog blues 1-22-1929 (Ben's Bad Boys)
Whoopee stomp As Jimmie McHugh's Bostonians
I've got Five Dollars v=Chick Bullock 2-12-1931 (B P and his Orch)
Sweet 'n hot v-Chick Bullock 3-2-1931 (B P and his Orch)
Radio remote WBS Summer of 1930 (B P and his Orch)
Geesh, this list was a pain in the ass. I thought I had a LOT of Pollack. I had received a ton of tunes from a friend a few years ago, listed as Ben Pollack. I started listening through it this morning, and suddenly realized that about 50% of it was other bands. It was funny, none of the titles were familiar, different sidemen, vocalists, arrangements....I thought I was losing my mind. Well, suffice it to say, THAT took all day to straighten out....lol....here's what I do have..... ;)
http://www.mediafire.com/?978cq5lr6qervus
Geesh, what a line up of musicians........1929 Ben Pollack
Ben Pollack, d, v, dir: Jimmy McPartland, c / Ruby Weinstein, t / Glenn Miller, tb / Benny Goodman, cl, as / Gil Rodin, as / Bud Freeman, ts / Al Beller, Ed Bergman, vn/ Vic Breidis, p / Dick Morgan, bj / Harry Goodman, bb, New York, July 25, 1929.
Thursday, October 28, 2010
Gene Krupa NBC radio remotes from Meadowbrook, 1940: 1/31/40 and 2/5/40
The first, from 1/31/1940....the second, from 2/5/1940. Excellent listening :)
Benny Carter........live at the Trianon, Southgate, Ca. 1944
Theme and Old man river
Prelude to a kiss
Stardust
Tea for two
Fish fry
Rose Room
Surrender dear
Somebody loves me
I cover the waterfront
Sleep
Who's sorry now
J. J. Jump
http://www.mediafire.com/?4tw2douci9zyc2k
A Ben Selvin list..........
From www.redhotjazz.com :
By Tim Gracyk
from the book "Popular American Recording Pioneers 1895 -1925."
Originally a violinist, Ben Selvin probably made more records than any other bandleader of the 78 rpm era, his career in the record industry spanning decades. He may be best known among record collectors not for specific recordings but for quantity. Articles on page 145 of the January 1924 issue of Talking Machine World and page 86 of the January 1924 issue of Metronome celebrated Selvin's 1,000th record--this was early in Selvin's career. The articles, evidently based on the same press release prepared by Selvin himself, state that the musician was "twenty-five years of age." Page 67 of the February 1925 issue of Metronome states that Selvin "recently made his 1200th phonograph record." He remained important in the record industry for decades, even becoming a vice president of Columbia during the heyday of Frank Sinatra, Dinah Shore, Doris Day and Buddy Clark. Later he was an A & R man for RCA, overseeing the popular RCA Camden series of reissued material until forced to retire at age 65.
He was born around 1898 to Russian immigrants. His father, Max, was a tailor. Page 34d of the September 1927 issue of Talking Machine World gives this background information: "Ben Selvin, a native of New York, started fiddling at the age of seven. He made his first public appearance at the Star Casino at the age of nine. Acclaimed a prodigy, and presented with a gold medal in recognition of his genius, it was planned to send him to Paris for further study. Reverses prevented, but Ben was determined to succeed, so he kept on working in and around New York. In 1913 Mr. Selvin made his first appearance on Broadway. From there he went to Rector's, then to Reisenweber's and Healy's. When nineteen years old, Ben Selvin organized his own orchestra and played at the Moulin Rouge for Broadway's record orchestral run--a run of seven years." Page 86 of the January 1924 issue of Metronome states, "In 1922 he was assigned to the newly created Broadway, which, with an augmented orchestra, he took by storm. Soon his popular aggregation was transferred to the 'Pavilion Royal,' where more admirers were won."
Victor's November 1919 supplement credits Benjamin B. Selvin for arranging the two numbers on Victor 18614 performed by Selvin's Novelty Orchestra, "Mandy" and "Novelty One-Step." Soon afterwards came his best-selling record, "Dardanella," with lyrics by Fred Fisher, music by Johnny Black and Felix Bernard. This was cut by Selvin's Novelty Orchestra for Victor 18633 on November 20, 1919, and issued in February 1920.
The June 1921 issue of Talking Machine World announced that Selvin's Novelty Orchestra, engaged at the time at the Moulin Rouge in New York City, "signed up exclusively for the making of Vocalion records." (Curiously, Brunswick and other companies continued to issue discs of Selvin's Orchestra.) The September 1922 issue of the trade journal announced that Selvin would continue to be exclusive to the Vocalion label, and page 143 of the September 1923 issue of Talking Machine World announced that Selvin again signed to be an exclusive Vocalion artist, adding, "Although only twenty- eight years old he not only directs the Selvin Orchestra at the Moulin Rouge, New York, but he directs and manages the Bar Harbor Society Orchestra and the Broadway Syncopators, both exclusively Vocalion combinations....It is said, besides furnishing six records or twelve selections a month for the Vocalion list, his orchestra also accompanies most of the Vocalion artists in their recordings of popular songs....[H]e keeps three arrangers busy preparing effective and novel orchestrations."
He worked often in radio by 1924. Page 57 of the June 1924 issue of Dominant Orchestra Monthly states, "Few radio orchestras have so completely captivated 'listeners-in' as has Ben Selvin's Moulin Rouge Orchestra, Vocalion record artists who broadcast every Monday night over Station WJZ." Page 54 of the November 1924 issue of Talking Machine World describes WJZ programs sponsored by the Aeolian Company in New York City: "The program on Monday was opened by several irresistible dance numbers by Ben Selvin's Woodmansten Inn Orchestra, Vocalion record artists..."
His status as an exclusive Vocalion artist ended on September 1, 1924. He began recording for Columbia, Paramount and the Plaza Music Company, which issued records on Banner and related labels. In 1926 and 1927 he also worked for Brunswick--he had last recorded for the company in 1922 before signing as an exclusive Vocalion artist. He continued to record for Vocalion, which became a Brunswick subsidiary in January 1925.
Page 70 of the February 1925 issue of Metronome announced that "The Famous Phonograph Orchestras Bureau has been organized with headquarters in the Publicity Building, 1576 Broadway, New York City. Associated in this enterprise are Charles Dornberger, Ben Selvin and George D. Lottman. Bookings are made for several of the orchestras that record for the phonograph companies, and a very satisfactory business is reported."
Now with even closer business ties to phonograph companies, he vigorously attacked the new medium of radio, doing it in a way to make phonograph recordings seem a perfect product. Page 67 of the February 1925 issue of Metronome quotes a press release issued by Selvin: "Radio in its present stage is a menace to the artist who broadcasts; its publicity value dwindles into insignificance when compared to the harm that it does. I have decided to cancel all future broadcasting dates because I find that radio goes a long way toward impairing one's reputation. The tonal balance perfected in the phonograph recording studios is utterly lacking in radio reproduction; some instrument always stands out as a rule over the air, to the complete exclusion of all the rest. I have investigated this condition intensively, but no amount of position- moving or special orchestrating seems to remedy it. The banjo, particularly, will often muffle the dulcet and sweet tones of the saxophone, and other instruments prove similarly offensive. Then, there is a harmful tendency on the part of many musicians, particularly amateurs, to 'hog' the air in their over-anxiety. This, combined with the very poor balance achieved by the broadcasting orchestra, makes radio music a really hideous thing. Until these evils are remedied, I, for one, am going to let the radio alone."
He soon performed on radio again, presumably lured to the medium by a sufficiently lucrative contract. Page 60 of the March 1925 issue of Metronome states, "Ben Selvin has added three men to his Woodmansten [Inn] orchestra and will have nine musicians on the job for the coming season. Selvin is now broadcasting through station WFBH and is doing his own announcing." That all of radio's "evils" listed a month earlier by Selvin had been remedied so quickly is unlikely.
By the end of 1927 he was closely associated with Columbia. Page 34d of the September 1927 issue of Talking Machine World states, "Ben Selvin, besides being known as one of the greatest of American orchestral leaders, has accepted the post of Program Director of the Columbia Phonograph Hour, sponsored by the Columbia Phonograph Co., to be presented every Wednesday evening over the entire chain of the Columbia Broadcasting System, starting September 28." The Columbia Broadcasting System, a broadcasting chain controlled by the Columbia Phonograph Company, had been formed only months earlier.
Page 128 of the November 1927 issue states, "The Columbia Phonograph Co. announces that it has secured a three-year contract with Ben Selvin and His Orchestra, by which this celebrated dance orchestra and its leader will record exclusively for Columbia. The first release under the new contract is a coupling of 'Playground in the Sky' and 'Wherever You Are,' both...from the new musical comedy success, 'Sidewalks of New York.' Ben Selvin has the distinction of recording the famous phonograph record of 'Dardanella' back in 1919, the record which sold more copies than any other up to the recent phenomenal success of Columbia's 'Two Black Crows' records. Another early great hit of Mr. Selvin's was 'Three O'Clock in the Morning.' Ben Selvin has recorded more than 3,000 selections for various phonograph companies in the past."
This article's claim that "Dardanella" was the industry's best-seller prior to 1927 is probably not true though the disc was genuinely popular.
A few records among his thousands are "I'm Forever Blowing Bubbles" (Victor 18603, 1919), "Yes! We Have No Bananas" (vocal by Irving Kaufman, Vocalion 14590, 1923), "Oh, How I Miss You Tonight" (Columbia 359-D, 1925), "Manhattan" (Columbia 422, 1925), "Blue Skies" (Columbia 860-D, 1927), "Happy Days Are Here Again" (Columbia 2116-D, 1930), and "When It's Springtime in the Rockies" (Columbia 2206-D, 1930). In the early 1930s he led orchestras on radio. For example, during the winter of 1933-34 he directed The Taystee Breadwinners over New York City's WOR on Monday, Wednesday and Friday at 8:15 p.m. on a show sponsored by the Taystee Bread Company and starring Billy Jones and Ernest Hare, who were called "The Taystee Loafers."
Joseph Lanza reports on page 46 in Elevator Music (St. Martin's Press, 1994), "Selvin was Muzak's chief programmer in its early years; he supervised its first New York City transmission in 1936 and had helped the company devise its first standardized programming."
George T. Simon writes in The Big Bands (New York: Schirmer Books, 1981) about Selvin's connection with James Caesar Petrillo, president of the American Federation of Musicians, who was worried about musicians being put out of work by radio broadcasts as well as jukeboxes reproducing music from records: "...[P]erturbed by the possible adverse effects of recording on his membership, he hired Ben Selvin, a highly respected recording executive and orchestra leader, to conduct a thorough study of the entire recording field as it affected musicians. Selvin's report was exhaustive. Presented at the annual convention of the musicians' union, it received a standing ovation from the delegates..."
Selvin argued against a ban on recording, pointing to other ways to address the problem of large numbers of musicians being unemployed, but Petrillo ordered that a ban go into effect on August 1, 1942. The ban was arguably a disaster for working musicians--for example, it contributed to the decline of big bands or the "swing" era--but in the end the major record companies did agree to pay the union a royalty for released records.
Around 1947 Selvin worked for Majestic Records as chief of artists and repertory. Late in life he worked for RCA, overseeing the popular RCA Camden reissue series. In the early 1960s, he was forced to retire from RCA at age 65. He became a consultant for 3M (Minnesota Mining and Manufacturing), a company that transferred recordings to audiotape. He recommended records to be transferred to the new tape medium. In the mid-1970s he was reunited with former Brunswick recording director Walter Haenschen ("Carl Fenton") for a taped interview at Lincoln Center. The unpublished interview is part of the Haenschen collection at Ithaca College in upstate New York.
He married three times. His first wife, Alice, bore him a son, Robert, in 1924 (he died in 1999). In 1944 he married Gloria, and they had two children, Rick (1944) and Rene (1950). Following Gloria's death in the 1970s, he married a woman named Dorothy. He died July 15, 1980, while recuperating from a heart attack.
There are many recordings that I don't have...here's what I do have.....enjoy!
Happy Days Are Here Again 2-3-1930 Ben Selvin and His Orchestra
The one man band 2-27-1931 Ben Selvin and His Orchestra
(Every one in town loves) Little Mary Brown 10-16-1931 Ben Selvin and His Orchestra
In my bouquet of memories 3-31-1928 As Ben Selvin and His Orchestra, and as Stella Dance Band
My man from Caroline 10-24-1930 Ben Selvin and His Orchestra
Learn to croon 2-27-1931 Ben Selvin and His Orchestra
Ain't she sweet 2-3-1930 Ben Selvin and His Orchestra
Do the New York 7-14-1931 Ben Selvin and His Orchestra
Baby Face 7-9-1926 Ben Selvin and His Orchestra
Bend Down, Sister 11-27-1931 As Buddy Campbell and his Orchestra, Roy Carroll and His Sands Point Orchestra, OR as Ben Selvin and His Orchestra. (Funny song!)
You said it 2-27-1931 Ben Selvin and His Orchestra
Sing another chorus please 6-22-1931 Ben Selvin and His Orchestra
This is the Missus 8-13-1931 Ben Selvin and His Orchestra
Smile darn ya smile 2-27-1931 Ben Selvin and His Orchestra
Steppin' in society 5-13-1925 Ben Selvin and His Orchestra
Nobody Loves My Baby Like My Baby Loves Me 7-14-1931Ben Selvin and His Orchestra
I'm crazy 'bout my baby, and my baby's crazy 'bout me 3-16-1931 As Frank Auburn and His Orchestra, Ray Seeley and His Orchestra, Sam Nash and His Orchestra, or as The Harmonians.
Potatoes Are Cheaper, Tomatoes Are Cheaper - Now's the Time To Fall In Love 11-27-1931 Ben Selvin and His Orchestra
Personally, I Love You-1-15-1931As Johnny Walker and His Orchestra
Holding My Honey's Hand 6-23-1932 Ben Selvin and His Orchestra
Goodnight, Moon 12-29-1931 Ben Selvin and His Orchestra
Cuban Love Song (waltz) 10-30-1931 As Ben Selvin and His Orchestra, Cloverdale Country Club Orchestra, and as D'Orsay Dance Orchestra.
Sunday 1926 Ben Selvin's Knickerbockers, V=Radiolites
Why Have You Forgotten Waikiki ? 7-7-1930 Ben Selvin and His Orchestra
Why ? 12-9-1929 As The Roof Garden Orchestra
I "Wanna" Sing About You 5-9-1931 As Golden Terrace Orchestra, and as Lloyd Keating and His Music
A Room With a View 12-26-1928 Ben Selvin and His Orchestra
I Wonder Where My Baby Is Tonight ? 12-24-1925 Ben Selvin and His Orchestra
You're the Cream In My Coffee 10-19-1928 As The Broadway Nitelites, and as The Rhythmic Troubadours
Oh, How I Miss You Tonight (waltz) 4-11-1925 As Hannan Dance Band, and as The Cavaliers
Am I Wasting My Time On You ? (waltz) 7-19-1926 As Denza Dance Band,, and as The Cavaliers
Among My Souvenirs 10-24-1927 Ben Selvin and His Orchestra
Betty 4-15-1926 Ben Selvin and His Orchestra
Blue skies 1-15-1927 As Raymond Dance Orchestra, and as The Knickerbockers
Carolina Moon 1-30-1929 Ben Selvin and His Orchestra
Charleston 5-13-1925 As Ben Selvin and His Orchestra, and as Leas Dance Orchestra
Charleston version 2
Dancing in the Dark 6-1-1931 Ben Selvin and His Orchestra
Dew dew dewy day 192 Ben Selvin's Knickerbockers
Funny, Dear, What Love Can Do 1-7-1930 Ben Selvin and His Orchestra
Honey 4-9-1929 Ben Selvin and His Orchestra
Hoodle-dee-doo Dee-doo-doo 6-2-1926 Ben Selvin and His Orchestra
I Must Have That Man ! 6-1-1928 The Knickerbockers
I Only Have Eyes For You 6-28-1934 Ben Selvin and His Orchestra
Indiana Moon (waltz) 6-1923 As Cleveland Society Orchestra, Homochord Dance Orchestra Meloto Saxophone Orchestra, and as Selvin's Orchestra.
Is I in love, I is 5-12-1932 Ben Selvin and His Orchestra
Jeannine, I Dream Of Lilac Time (waltz) 7-24-1928 Ben Selvin and His Orchestra
Ben Selvin and His Orchestra 11-16-1921 As Selvin's Dance Orchestra
Love, Your Spell Is Everywhere 9-25-1929 Ben Selvin and His Orchestra (which my Mother always called "Love, your SMELL is everywhere", and I can get out of my head)
Manhattan 7-15-1925 The Knickerbockers
My sin 4-9-1929 Ben Selvin and His Orchestra
Of thee I sing 1-18-1932 The Knickerbockers
Oh Gee ! Oh Joy ! 1-28-1928 Ben Selvin and His Orchestra
Playground In The Sky 9-23-1927 Ben Selvin and His Orchestra
Pompanola 11-5-1928 As The Broadway Nitelites
Say It With Music early 7-1921 As Halkin's Dance Orchestra, and Selvin's Dance Orchestra
Slow But Sure 7-21-1931 As The Knickerbockers
The Prize Waltz 6-28-1934 Ben Selvin and His Orchestra
Who Am I ? 10-8-1931 As Cloverdale Country Club Orchestra, and Lloyd Keating and His Music
Why Do You Suppose ? 12-11-1929 As The Knickerbockers, and as The Roof Garden Orchestra
Yes ! We Have No Bananas 5-1923 or 6-1923 Selvin's Orchestra
You Were Meant For Me 2-4-1929 As The Broadway Nitelites
Barcelona (6/8 One-Step) 7-26-1926 Ben Selvin and His Orchestra w/ Irving Kaufman
Do Ya Love Me (Just a Tiny Bit) 12-11-1929 As Rudy Marlow and His Orchestra
Young and Healthy 12-16-1932 Ben Selvin and His Orchestra w/ Ruth Etting
I Have To Have You 11-27-1929 As Frank Auburn and His Orchestra w/ Annette Hanshaw
Thou Swell 11-7-1927 As The Broadway Nitelites
When I Am Housekeeping For You 12-9-1929 As The Kolster Dance Orchestra
You're driving me crazy 1930 As Lloyd Keating and his music
Hello baby 6-16-1926 As Manhattan Dance Makers
Am I blue 7-5-1929 Ben Selvin and His Orchestra
Who's Your Little Who-Zis ? 12-29-1931 As The Knickerbockers
Oh, my God I'm tired of typing!! lol..........I blame that on the iPod touch, damnit! I've been playing with it all day.....digital crack, that's what it is!!
http://www.mediafire.com/?lfyn1ddfaelb0gd
The best typos I've seen in awhile............... ;)
I don't stand a "ghost" of a chance with you....(Yeah, I know... I'm a dork.....Hey, it's Halloween) :)
Many versions of the standard.....BOOooooo!! ;)
Stuff Smith
Billy Ward and the Dominoes
Wynonie Harris
Lee Wiley
Al Hibbler
Bing Crosby
Carmen McRae/George Shearing
Clifford Brown/Max Roach Quintet
Frankie Lymon and the Teenagers
Gene Austin
Frank Sinatra
Robert and Johnny
The Ink Spots
Frank La Motta Orch.
Tony Martin
Diana Krall
Illinois Jacquet
Art Tatum
Joni James
Lionel Hampton/ Helen Forrest
Slim Gaillard
Tuesday, October 26, 2010
Charlie Christian - Recordings August 19, 1939 through October 31, 1939
CHARLIE CHRISTIAN
Volumes 1 thru 8
MASTERS OF JAZZ
MJCD 24, 29, 40, 44, 67, 68, 74, 75
Notes from:
This series of CDs, produced in France on Media 7’s Masters of Jazz label, is one of the best and most complete ever issued on any artist in jazz. Eight volumes were released containing all available recordings on which Charlie Christian is prominently featured. This includes studio masters, alternate takes, radio broadcasts, and jam sessions.
Assembled between 1992 and 1994, each volume is about an hour long and comes with an excellent 28 to 40-page booklet (in French and English) containing good-quality photos, great track-by-track commentary and a discography identifying the soloists. The most-rare recordings have not all been included nor is the information quite 100% accurate but the series does have some items that had never been issued before. Most likely this is the best anthology we’ll ever see on Charlie Christian.
An added bonus on the last four CDs is the restoration of all the recordings to their correct pitch. This had not been done before on any other LP or CD releases, including the first half of this series. I took a large sampling, especially of those tunes that I knew to be always blatantly off-key in the past, and found them all to be virtually on the exact pitch. Many thanks to those responsible for getting this batch on the right key.
Volume 1 covers the period of August 19, 1939 through October 31, 1939:
Track 1 – On his very first recording, Charlie Christian takes a 32-bar solo on his own composition “Flying Home” on a Camel Caravan radio broadcast from The Hollywood Bowl on August 19, 1939.
Track 2 – First-time-ever issue of this September 2nd aircheck of “Star Dust” from the Michigan State Fair in Detroit.
[Reissued in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9 with much-improved sound.]
Charles’ 32-bar chord solo on “Star Dust” was dedicated to his mother, Willie Mae, who had written to him requesting that he play a song for her. He replied that he could not publicly dedicate a song to her but that whenever he played this solo it was especially for her.
Track 3 – Now in New York City on September 11 at his very first studio recording session, Charles’ plays obbligato chords on “One Sweet Letter from You” behind Lionel Hampton’s vocal chorus. Unfortunely, he doesn’t solo on the other three tunes from this excellent Victor recording session with Hamp’s ad hoc orchestra that included Benny Carter, Chu Berry, Coleman Hawkins, Ben Webster, and Dizzy Gillespie.
Tracks 4 thru 6 – The legendary Minneapolis session at the Harlem Breakfast Club on September 24.
“I Got Rhythm” was recorded twice, both times with identical routines: 4-bar piano intro and one-chorus solos by Jerome, Christian, Hines, Jerome, Christian, Jerome. The first time the tune was recorded, as that there was plenty of recording time left, the musicians were motioned to continue but they misinterpreted the signal and ended the take at the end of the chorus. They then replayed “I Got Rhythm” to fill up the remaining time. Four high-energy swingin’ solos by CC are on these two takes.
The second take is spliced ahead of the first. Neither take is complete: take 2 is missing the last 28 bars of the last tenor sax chorus; take 1 is missing the piano intro and the first 28 bars of the first tenor sax chorus.
All previous LPs and CDs had been issued in the same configuration until the two takes were finally issued in 1993, separated and in their entirety, under the SUISA label on a compact disc (JZCD 379) entitled Charlie Christian: Air-Checks and Private Recordings.
[Reissued in their entirety in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]
“Star Dust” is complete with the only two-chorus solo Charles would record on this tune—a beautiful, spirited rendition.
“Tea for Two” is missing the first 4 bars of Charles’ extraordinary 8-bar chord intro and the first 8 bars of the second tenor sax solo, as are all other issues to date, but both of CC’s amazing solos (64 bars and 32 bars) are intact. This was the only time CC was recorded on this tune.
[The complete “Tea for Two” was issued in 1997 on a Jerry Jerome double-CD Something Old, Something New (Arbors ARCD 19168).]
[Reissued in its entirety in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]
Tracks 7 thru 10 – Charles’ first studio date with the Goodman sextet produced two takes of “Fying Home” (the alternate take was released as “Homeward Bound” on V-Disc), “Rose Room” and “Star Dust” on October 2nd for Columbia Records. CC solos for one chorus on each.
Tracks 11 & 12 – The Carnegie Hall concert of October 6, 1939: Charles gets 32-bar solos on “Flying Home” and “Star Dust.”
Track 13 – An October 7th aircheck of the first version of “Memories of You” with an 8-bar guitar solo on the minor-mode bridge.
Track 14 – “Rose Room” broadcast from the Empire Room at the Waldorf-Astoria on October 9. Charles is outstanding on his solo, just as he was on the previous version and all other renditions of “Rose Room” — all beautifully melodic and totally different from each other…incredible creativity.
Track 15 – On October 12, CC was again invited to record with Hampton’s orchestra for Victor Records—this time along with bassist Artie Bernstein from the Goodman sextet. Charles takes a solo on “Haven’t Named It Yet” with trumpeter Henry ‘Red’ Allen on the bridge.
Two other titles were recorded at this session but with no CC solos. However, one of the two takes of “The Heebie Jeebies Are Rockin’ the Town”could have been included here: CC plays a 4-bar chord intro and some very nice obbligati on Hamp’s vocals.
Track 16 – On “AC-DC Current,” Charles gets the 4-bar intro and a couple of 4-bar breaks. Louis Armstrong is the featured guest on another tune on this October 14 Camel Caravan aircheck with the Goodman sextet & orchestra.
Track 17 – From the Waldorf-Astoria on October 16: another version of “Flying Home” with the usual 32-bar guitar assignment.
Track 18 – The first recording of “Soft Winds” — Charles’ beautiful 16-bar blues composition (with 12-bar solos) — on a Camel Caravan October 21st broadcast. He never soloed on his tune but he is prominent on the theme, on boogie riffs behind the vibes solo, and on the tag. Seventeen years later “Soft Winds” became a big hit for Dinah Washington.
Track 19 – Back to the Waldorf-Astoria on October 23 for a bridge solo on “Memories of You.”
Track 20 – Seven different blues were recorded on the two October 31, 1939 Ida Cox sessions. A total of 22 different takes (including false starts and breakdowns) are known to exist, 12 of which are available on compact disc. I agree with the producers that the entire session may not be quite appropriate in this series. “Deep Sea Blues” is as good a representative of this session as any of the other cuts, which have similar contributions from Charles.
[Eleven takes are on Ida Cox — Complete Recorded Works, Volume 5: 1939-1940 (Document DOCD-5651).
The remaining cut, take 2 (of 4) of “One Hour Mama,” is on Mean Mothers (Rosetta RR 1300).]
Some other readily available cuts that were recorded during the time period covered by this volume (August 19, 1939 through October 31, 1939) but not included in this series are:
“Opus ½” (a novelty tune from a September 23 aircheck at the Orpheum Theater in St. Paul and not yet available on CD);
Two takes of “The Heebie Jeebies Are Rockin’ the Town” (from the October 12th Hampton studio session);
Both titles have CC chord intros and prominent chord accents and/or obbligati, but no solos.
“Flying Home” from a September 9th broadcast was omitted from this first volume. It’s first-ever release was in 1995 on More Camel Caravans, Vol. III (Phontastic NCD 8845/8846).
[Reissued in March 2001 on Charlie Christian—Complete Live Recordings (Definitive DRCD11177).]
[Reissued in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]
An October 28 aircheck of “Rose Room” was also left out—issued in 1997 for the first time on Camel Caravan Shows (Jazz Band EBCD 2138-2).
[Reissued in October 2001 on Masters of Jazz MJCD 189, Charlie Christian • Volume 9.]
A few comments and minor corrections on the liner notes:
Page 16 – Around 1928 or 1929, Charlie Christian learned guitar basics from OKC guitarist Ralph “Big Foot Chuck” Hamilton who used a chord technique common to that era. Charles developed his horn-like, single-string style on his own after that, before pickups and amplifiers were generally available. As the liner notes state, CC’s conversations with guitarist Eddie Durham probably only concerned guitar amplification. Charles was also taught advanced music theory by Ralph Hamilton and especially by trumpeter James Simpson.
Page 17 – John Hammond’s recollection of Charles’ audition date is a few days off. Charles’ going-away party took place on Aug. 13, 1939 at Ruby’s Grill in OKC; his audition was three days later, on the 16th in L.A.
Page 18 – Hammond was mistaken in assuming that Charles didn’t know “Rose Room.” Along with “Sweet Georgia Brown” and “Tea for Two,” it was one of the tunes on which he soloed in his first public appearance when he sat in with Don Redman and his Orchestra in 1930 or 1931 at “Honey’s,” an after-hours club run by Honey Murphy in OKC.
Page 20 – The Minneapolis session was neither recorded by a disc-jockey nor for broadcast use. That one-night session was recorded by Jerry Newhouse who had recently graduated from college and was just starting out in the paper industry. Jerry’s friend, Dick Pendleton, knew Jerry Jerome who was playing with Charlie Christian and the Benny Goodman band at the Orpheum Theater across the river in St. Paul. Pendleton recruited Newhouse because of his recorder and his recording experience (Newhouse recorded most of the airchecks by Basie, Goodman and a few others around that time that have been issued on LP and CD).
Pendleton and Newhouse picked up Charles and Jerome after their gig and took them to jam at the “Harlem Breakfast Club,” a private home that had been converted into an after-hours club. They were joined there by two local musicians: Frankie Hines on piano and 17-year-old Oscar Pettiford on bass. There was no drummer on this session; the “drums” that some listeners seem to hear may have been Charles tapping out the time with his foot and doing it so enthusiastically that the recorder couldn’t stay on track. The recorder had to be moved to another room and the whole session was recorded with a pillow under Charles’ left foot. Newhouse and Pendleton took turns pointing the single microphone at the soloist. September 24, 1939 is the most probable date for these recordings—they were definitely recorded during the Orpheum gig that ran from the 22th through the 28th of September.
Page 26 “Charlie Christian’s guitars” – Charlie Christian used three different guitars regularly during his tenure with the Goodman band. Sometime during the summer of 1939 he replaced his Epiphone with a sunburst Gibson ES-150 which he bought together with an EH-150 amplifier for $150—he was still making payments on it when he joined the Goodman band. In April 1940 he replaced the ES-150, which has remained the model most associated with him, with the larger ES-250 custom-made by Gibson with a natural (blond) finish and a Super 400 tailpiece.
In late February 1941, Charles took delivery of a blond, extremely-rare version of a Gibson ES-250 with an L7-style neck. All three were non-cutaway, f-hole, hollow-body guitars with carved tops and a single bar pickup that soon became known as the “Charlie Christian” model pickup. The ES-150 had dot inlays on the fingerboard, the first ES-250 had bowtie markings, and the rare ES-250 had a flower pot peghead and eight beautiful fretboard position markers each with their own unique design.
Page 32 (Discography) – The location and date of October 9, 1939 for “Rose Room” are correct, however I don’t believe it was part of the Young Man with a Band program but was a regular broadcast from the Empire Room at the Waldorf-Astoria Hotel.
http://www.mediafire.com/?qbb6jtx77emlolh
Benny Goodman....some Trio, Quartet, and Sextet recordings.......
Benny Goodman....some Trio, Quartet, and Sextet recordings.....
Goodman is responsible for a significant step in racial integration in America. In the early 1930s, black and white jazz musicians could not play together in most clubs or concerts. In the Southern states, racial segregation was enforced by the Jim Crow laws. Benny Goodman broke with tradition by hiring Teddy Wilson to play with him and drummer Gene Krupa in the Benny Goodman Trio. In 1936, he added Lionel Hampton on vibes to form the Benny Goodman Quartet; in 1939 he added pioneering jazz guitarist Charlie Christian to his band and small ensembles, who played with him until his death from tuberculosis less than three years later. This integration in music happened ten years before Jackie Robinson became the first black American to enter Major League Baseball. "[Goodman's] popularity was such that he could remain financially viable without touring the South, where he would have been subject to arrest for violating Jim Crow laws." According to Jazz by Ken Burns, when someone asked him why he "played with that nigger" (referring to Teddy Wilson), Goodman replied, "I'll knock you out if you use that word around me again".
"As far as I'm concerned, what he did in those days—and they were hard days, in 1937—made it possible for Negroes to have their chance in baseball and other fields."
—Lionel Hampton on Benny Goodman
From www.pbs.org :
In July 1935, after playing together in a jam session, Goodman asked Teddy Wilson to record with Krupa and himself. that summer, as the Benny Goodman Trio, they recorded four classic sides of jazz chamber music. Goodman's solo on After You've Gone from that session is an example of his mature style — his flawless playing utilizes almost the complete range of the instrument, and his disciplined explorations of the harmony and fondness for the blue thirds reveals the technical mastery and controlled expression that formed the essence of his art.
After the conclusion of the Let's Dance series in May 1935 and a disappointing reception at an engagement at the Roosevelt Hotel in New York, Goodman's band embarked on its first tour under the auspices of Willard Alexander and the Music Corporation of America. The trip culminated in the now historic performance on August 21 before a capacity crowd at the Palomar Ballroom in Los Angeles, which was broadcast nationwide to great critical and popular acclaim, and is often cited as the beginning of the swing era. Later that year, while appearing at the Congress Hotel in Chicago, Goodman began a series of important early jazz concerts in America. For the last of these, Easter Sunday 1936, he brought in Wilson from New York.
In August 1936, the Benny Goodman Trio became a quartet with the addition of Lionel Hampton. The group made its first recording, Moonglow, on August 21. In 1936-9, Goodman's band reached the peak of its success. It began with a series of CBS broadcasts, The Camel Caravan, which continued for more than three years. They made their first films, The Big Broadcast of 1937 and Hollywood Hotel, and on March 3, 1937 began a three-week engagement at the Paramount Theater in New York.
By 1939 not only had Benny Goodman fronted one of jazz's most popular big bands, but he'd also created highly influential "chamber jazz" with his legendary trio and quartet. Once he heard the young guitar pioneer Charlie Christian, Goodman immediately expanded his small group to a sextet to accommodate him (along with bassist Artie Bernstein). Goodman's recordings with Christian remain some of the genre's most significant work, largely because of the impact of Christian's revolutionary guitar. In fact, many of these original tunes are based on Christian's own "pet licks," showing us just how logical and well constructed his improvisations are. Christian's harmonically advanced single-note solos are a precursor to bebop, but even more importantly, he establishes the guitar as an equal partner to the horn soloists. No longer relegated to rhythm work, Christian's lines are every bit as awe-inspiring as those of the leading blowers of the day. Christian is simply inventing the vocabulary of modern jazz guitar. The sextet is fleshed out by the likes of Lionel Hampton, Fletcher Henderson, Count Basie, and Cootie Williams, and Goodman, never one to be outdone by his sidemen, plays with the vibrancy and the sort of "relaxed precision" that only he was capable of. --Marc Greilsamer
I'm not always fast to admit what a huge fan of Goodman's work I am. It always used to be cooler to favour the lesser known groups. Listening through all of this reminds me just how amazing these recordings were, and are. A lot of these tunes on this list are from broadcasts. It shows just how great they were live, and not just in the studio......give 'em a listen, I think you'll enjoy it :)
Avalon 1937 (Quartet) (b'cast)
Flying home (Sextet)
Body and soul (Take 1) trio
Rose Room (Sextet)
Body and soul (take 2) trio
Who? (trio) 1937
AC-DC current no 1 (sextet)
Soft winds (sextet)
Nobody's sweetheart (trio)
Too good to be true (trio w/ Helen Ward)
AC-DC current no 2 (sextet)
Dinah (quartet) 1937
Charlie's dream (sextet)
Stompin' at the Savoy (take 1) (quartet)
Where or when (trio) (b'cast)
who? (trio) (b'cast)
Avalon (quartet) 1937 (b'cast)
Lady be good (trio) (b'cast) 1937
Body and soul (Carnegie Hall 1938)
Flying home 2 (Sextet)
Stealin' apples (b'cast) (quartet)
A handful of keys (b'cast) (quartet)
Body and soul 3 (trio) 1937
Dinah (quartet) (b'cast) 1937
Ding dong Daddy (b'cast) (quartet)
Everybody loves my baby (b'cast) (quartet)
Limehouse blues (b'cast) (quartet)
More than you know (b'cast) (trio) 1937
Nagasaki (b'cast) (quartet) 1937
Roses in December 1937 (b'cast) (trio)
Veini Veini 1937 (b'cast) (quartet)
Vibraphone blues 1937 (b'cast) (quartet)
Where or when (trio) 1937 (b'cast)
Whispering in the dark 1937 (b'cast) (trio)
Yours and mine 1937 (quartet) (b'cast)
Moonglow 1936 (quartet)
Moonglow 2 1936 (quartet)
Whispering 1936 (trio)
http://www.mediafire.com/?2cj3poaq6fxmczs
Someday sweetheart (trio)
Til tom special (sextet)
Gone with what wind (sextet)
All my life (trio w/ Helen Ward) 1936
Oh, lady be good (trio)
Six appeal (sextet)
Moonglow 4 (1936)
Vibraphone blues (quartet) 1937
Sweet Sue-just you (quartet) 1937
Lester's dream (sextet)
My melancholy babe (quartet)
Tiger rag (take 1) (quartet)
Stompin' at the Savoy (Take 2) (quartet)
Can't help lovin' that man (b'cast) (trio) 1937
Sweet sue-just you (b'cast) 1937
Bei mir bist du schon 1937 (quartet)
http://www.mediafire.com/?ou4dlpkbl3366ub