Archive for Jack Teagarden

J. C. Higginbotham

Posted in Recording Artist's of the 1920's and 1930's, Recording Artists of the 1930's and 1940's with tags , , , , , , , , , on October 12, 2013 by the78rpmrecordspins

J. C. Higginbotham

Jay Higginbotham, Pete Johnson, Red Allen, and Lester Young, National Press Club, Washington, D.C., ca. 1940.
Photograph by William P. Gottlieb.

Jay C. (Jack) Higginbotham (May 11, 1906 – May 26, 1973) was an American jazz trombonist. His playing was robust and swinging.

Biography

He was born on May 11, 1906. In the 1930’s and 1940’s he played with some of the premier swing bands, including Luis Russell‘s, Benny Carter‘s, Red Allen‘s, and Fletcher Henderson‘s. He also played with Louis Armstrong, who had taken over Russell’s band, from 1937 to 1940. From 1947 on he chiefly led his own groups. He recorded extensively both as a sideman and as a leader. He played for a long period in the forties with his ideal partner Red Allen, and then disappeared from the scene for several years.

Higginbotham led several bands in the Fifties in Boston and Cleveland, appeared regularly at the Metropole in New York between 1956 and 1959, and led his own Dixieland band there in the Sixties. He also appeared on the DuMont series Jazz Party (1958), aired on WNTA-TV.

During the tenure with Luis Russell, on February 5, 1930, a single session was issued under the name of J.C. Higgenbotham and His Six Hicks was issued on OKeh 8772, featuring “Give Me Your Telephone Number” and “Higgenbotham Blues”. Musicians included Henry Allen, Higgenbotham, Charlie Holmes, Luis Russell, Will Hognson, Pops Foster and Paul Barbarin, all member of Russell’s band.

He went on his first European tour with Sammy Price, appearing in Scandinavia, and worked once again briefly in 1964 with Louis Armstrong.

He died on May 26, 1973 in New York.

Legacy

Higginbotham was considered to be the most vital of the swing trombone players. His strong, raucous sound on the trombone and wild outbreaks on stage were characteristic. Along with Jimmy Harrison and Jack Teagarden, Higginbotham contributed to the acceptance of the trombone in jazz music as a melodically capable instrument.

(Source: Wikipedia)

Pee Wee Russell

Posted in Recording Artists of the 1930's and 1940's, Recording Artists Who Appeared in Film with tags , , , , , , , on August 3, 2013 by the78rpmrecordspins

Pee Wee Russell

Pee Wee Russell
Pee Wee Russell (Gottlieb 07571).jpg

Pee Wee Russell, New York, 1946
Background information
Birth name Charles Ellsworth Russell
Born March 27, 1906
MaplewoodMissouriUnited States
Origin MuskogeeOklahomaUnited States
Died February 15, 1969 (aged 62)
AlexandraVirginiaUnited States
Genres Jazzbebopdixielandswing,post-bopfree jazz
Occupations Clarinetistsaxophonist,composer
Instruments Clarinetsaxophone
Associated acts Red NicholsBobby Hackett,Thelonious MonkMarshall BrownEddie Condon

Charles Ellsworth Russell, much better known by his nickname Pee Wee Russell, (27 March 1906 – 15 February 1969) was a jazz musician. Early in his career he played clarinet and saxophones, but he eventually focused solely on clarinet.

With a highly individualistic and spontaneous clarinet style that “defied classification”, Russell began his career playing Dixieland jazz, but throughout his career incorporated elements of newer developments such as swingbebop and free jazz. In the words ofPhilip Larkin, “No one familiar with the characteristic excitement of his solos, their lurid, snuffling, asthmatic voicelessness, notes leant on till they split, and sudden passionate intensities, could deny the uniqueness of his contribution to jazz.”

Early life

Pee Wee Russell was born in Maplewood, Missouri and grew up in Muskogee, Oklahoma. As a child, he first studied violin, but “couldn’t get along with it”, then piano, disliking the scales and chord exercises, and then drums – including all the associated special effects. Then his father sneaked young Ellsworth into a dance at the local Elks Club to a four- or five-piece band led by New Orleans jazz clarinetist Alcide “Yellow” Nunez. Russell was amazed by Nunez’s improvisations: “[He] played the melody, then got hot and played jazz. That was something. How did he know where he was or where he was going?” Pee Wee now decided that his primary instrument would be the clarinet, and the type of music he would play would be jazz. He approached the clarinettist in the pit band at the local theatre for lessons, and bought an Albert-system instrument. His teacher was named Charlie Merrill, and used to pop out for shots of corn whiskey during lessons.

His family moved to St. Louis, Missouri in 1920, and that September Russell was enrolled in the Western Military Academy in Alton, Illinois. He remained enrolled there until October the following year, though he spent most of his time playing clarinet with various dance and jazz bands. He began touring professionally in 1922, and travelled widely with tent shows and on river boats. Russell’s recording debut was in 1924 with Herb Berger’s Band in St. Louis, then he moved to Chicago, where he began playing with such notables as Frankie Trumbauer and Bix Beiderbecke.

Pee Wee Russell, Muggsy SpanierMiff Moleand Joe Grauso, Nick’s (Tavern), New York, ca. June 1946

Career

From his earliest career, Russell’s style was distinctive. The notes he played were somewhat unorthodox when compared to his contemporaries, and he was sometimes accused of playing out of tune. In 1926 he joined Jean Goldkette‘s band, and the following year he left for New York City to join Red Nichols. While with Nichols’s band, Russell did frequent freelance recording studio work, on clarinet, soprano, alto and tenor sax, and bass clarinet. He worked with various bandleaders (including Louis Prima) before beginning a series of residences at the famous jazz club “Nick’s” in Greenwich VillageManhattan, in 1937. He played with Bobby Hackett‘s big band, and began playing with Eddie Condon, with whom he would continue to work, off and on, for much of the rest of his life – though he complained, “Those guys [at Nick’s and Condon’s] made a joke, of me, a clown, and I let myself be treated that way because I was afraid. I didn’t know where else to go, where to take refuge”.

From the 1940s on, Russell’s health was often poor, exacerbated by alcoholism – “I lived on brandy milkshakes and scrambled-egg sandwiches. And on whiskey … I had to drink half a pint of whiskey in the morning before I could get out of bed” – which led to a major medical breakdown in 1951, and he had periods when he could not play. Some people considered that his style was different after his breakdown: Larkin characterized it as “a hollow feathery tone framing phrases of an almost Chinese introspection with a tendency to inconclusive garrulity that would have been unheard of in the days when Pee Wee could pack more into a middle eight than any other thirties pick-up player”.

He played with Art HodesMuggsy Spanier and occasionally bands under his own name in addition to Condon. In his last decade, Russell often played at jazz festivals and international tours organized by George Wein, including an appearance with Thelonious Monk at the 1963 Newport Festival, a meeting which has a mixed reputation (currently available as part of the Monk 2-CD set Live at Newport 1963–65). Russell formed a quartet with valve trombone player Marshall Brown, and included John Coltrane and Ornette Coleman tunes in his repertoire. Though often labeled a Dixieland musician by virtue of the company he kept, he tended to reject any label. Russell’s unique and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. At the time of their 1961 recording Jazz Reunion (Candid), Coleman Hawkins (who had originally recorded with Russell in 1929 and considered him to be color-blind) observed that ‘”For thirty years, I’ve been listening to him play those funny notes. He used to think they were wrong, but they weren’t. He’s always been way out, but they didn’t have a name for it then.”

By this time, encouraged by Mary, his wife, Russell had taken up painting abstract art as a hobby. Mary’s death in the spring of 1967 had a severe effect on him. His last gig was with Wein at the inaugural ball for President Richard Nixon on 21 January 1969. Russell died in a hospital in Alexandria, Virginia, less than three weeks later.

(From Wikipedia)

Recent 78 RPM Record Findings

Posted in My 78 RPM Collection, Recording Artist's of the 1920's and 1930's with tags , , , , , , , on June 22, 2013 by the78rpmrecordspins

In a previous post I may have mentioned that a few weeks ago I had the opportunity to visit a pack rat of records who had 47 boxes of records for me to inspect, unseen by anyone before. He was an hour and a half away from me by car, north of Peterborough, Ontario. I brought home 36 boxes of single records and binders and the back of the Jeep looked a it was moving day.

I had a huge task ahead of me when I got home, unloading the records, and sorting through the 2000 or more 78’s to see what I wanted to keep and sell off the rest. The second day of looking through the records was when I found a few gems, but the most important finding, in my opinion, was a copy of Jack Teagarden’s second recording with his own orchestra, from October 1, 1930. “You’re Simply Delish” is a cheery tune, backed by Eddie Gale on vocals, with Charlie Spivak and Tommy Thunen-trumpet, Jack Teagarden, trombone, Gil Rodin and Matty Matlock-clarinet and alto sax, to name a few of the musicians that were in the session. Rust lists takes 1,2,3 under matrix 10102.

To add more excitement, the recording was on a Canadian Compo Crown label, number 81497, under the name “Imperial Dance Orchestra”. The Crown has take 3 on it, which shows up on its American counterparts.  Even more good news was that this record had never been found before on Crown, only on Apex, another Canadian Compo label. 

Crown 81497  Imperial Dance Ochestra

chinese 056

Chick Bullock

Posted in Recording Artist's of the 1920's and 1930's with tags , , , , , , , , on May 2, 2013 by the78rpmrecordspins

Chick Bullock

From Wikipedia

Charles (Chick) Bullock (September 16, 1898 – September 15, 1981) was a popular American jazz and dance band vocalist, most active in the 1930s. He recorded some 500 tunes over the course of his career. Bullock was mostly associated with the ARC group of labels (MelotonePerfectBannerOrioleRomeo). Many of his records were issued under the name “Chick Bullock and his Levee Loungers”.

Bullock belonged to select group of mostly freelance vocalists who sang the vocal refrains on hundreds of New York sessions, which included Smith BallewScrappy LambertElmer FeldkampIrving KaufmanPaul SmallArthur Fields, and Dick Robertson. Some of these vocalists were also musicians, but their singing was more often featured. (All of the above had records also issued under their own name, and in case of Ballew, actually had a working orchestra for a couple of years.)

Bullock rarely performed live because his face was disfigured due to an eye disease. He was born in Montana to William and Emily Bullock, both of whom were immigrants from England. He began his career in vaudeville and sang in movie palaces. His career as a studio musician took off in the late 1920s, and in the 1930s he sang with musicians such asDuke EllingtonLuis RussellCab CallowayBunny BeriganBill ColemanJack TeagardenTommy DorseyJimmy DorseyJoe Venuti, and Eddie Lang. Bullock’s recordings proved so popular that he used pseudonyms for some recordings, including the name Sleepy Hall.

In the 1940s the World War II recording ban essentially ended Bullock’s career. He moved to California and took up real estate.

A Report on the Forty Second Annual Canadian Collector’s Congress

Posted in Interviews and Articles with tags , , , , , , , , , , , , on April 28, 2013 by the78rpmrecordspins

On Saturday, April 27th, 2013 I embarked on my second trip to the Canadian Collector’s Congress at the Toronto Plaza Hotel in Toronto, Ontario. As the record room would be open prior to the morning presentations, I made sure I got there early enough to avoid the usual collector frenzy that goes on…worse than boxing day! I was able to obtain a few gems from several dealers there, including a Goofus Five on American Parlaphon.

After registering, the meeting commenced at 9 a.m. with Colin Bray as the M.C., and some remarks by the founder of the Congress, Gene Miller. There were several short discography presentations, and some films, before we broke for lunch. After lunch, the formal presentations began. The first presentation was by Phil Melick from Charleston, West Virginia. He discussed the Victor V 40000 series and how hot dance bands and jazz artists ended up on a country series.

Trevor Tolley, from Williamsburg, Ontario delivered a most enlightening  presentation about Jimmy McPartland. 

Finally, Kurt Weisbecker from Pittsburg, Pennsylvannia gave a very debatable presentation about Frank Teschemacher, regarding the Duophone recording of “Out of the Dawn.” We heard comparisons of clarinet styles of Teschemacher and Jimmy Dorsey, and also the trombone stylings of Jack Teagarden and Tommy Dorsey. The question was who was on the sessions?

Thereafter the Canadian Collector’s Congress award for excellence in Traditional/Clazzic Jazz recordings in Canada was awarded to Jazz Vocalist Alex Pangman.

After dinner, collector’s could play one record they brought, where the composer was also on the record. I played Room 1411 by Benny Goodman’s Boys on Brunswick 4013. Both Goodman and Glen Miller are on the session.

I will upload the formal transcriptions from the afternoon presentations at a later date. For now, enjoy the photographs!

KENS 002 KENS 004 KENS 003 KENS 005 KENS 007 KENS 008 KENS 009 KENS 011 KENS 016 KENS 017 KENS 014 KENS 010 KENS 015 KENS 018 

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Norma Teagarden

Posted in Recording Artists of the 1930's and 1940's with tags , , , , , , , , on April 18, 2013 by the78rpmrecordspins

Norma Teagarden

From Wikipedia

Norma Teagarden (1911 – June 6, 1996) was a notable jazz pianist. She was born in Vernon, Texas, the sister of jazz trombonist Jack Teagarden and jazz musician Charlie Teagarden.

Norma Teagarden studied piano with her mother and became an outstanding pianist, with a worldwide reputation. She started working professionally in Oklahoma City around 1926, then moved to New Mexico in 1929 and worked in various territory bands. In 1935, she led her own band in Oklahoma City, then again in Long Beach, California in 1942.

In 1944, she joined brother Jack Teagarden‘s band and toured with him. After this, she moved back to California and worked with Ben PollackMatty MatlockAda LeonardTed VesleyPete Daily, and Ray Bauduc. She again joined Jack Teagarden in 1952.

She married John Friedlander in 1955.

Jack Teagarden

Posted in Recording Artist's of the 1920's and 1930's, Recording Artists of the 1930's and 1940's with tags , , , , , , , , on April 18, 2013 by the78rpmrecordspins

Jack Teagarden

From Wikipedia
 
Jack Teagarden
Jack Teagarden.jpg
Photo by Ralph F. Seghers
Background information
Birth name Weldon Leo “Jack” Teagarden
Born August 20, 1905
Vernon, Texas
Died January 15, 1964 (aged 58)
New OrleansLouisiana
Genres Jazz
Occupations Bandleader, trombonist, composer, vocalist
Instruments trombonevocalist
Years active 1927–1964
Associated acts Peck Kelley
Louis Armstrong
Earl Hines
Benny Goodman
Bix Beiderbecke
Glenn Miller
Paul Whiteman

Weldon Leo “Jack” Teagarden (August 20, 1905 – January 15, 1964), known as “Big T” and “The Swingin’ Gate”, was a jazztrombonist, bandleader, composer, and vocalist, regarded as the “Father of Jazz Trombone”.

Early life

Born in Vernon, Texas, his brothers Charlie and Clois “Cub” and his sister Norma also became noted professional musicians. Teagarden’s father was an amateur brass band trumpeter and started young Jack on baritone horn; by age seven he had switched totrombone. His first public performances were in movie theaters, where he accompanied his mother, a pianist.

Career

Teagarden’s trombone style was largely self-taught, and he developed many unusual alternative positions and novel special effects on the instrument. He is usually considered the most innovative jazz trombone stylist of the pre-bebop era, and did much to expand the role of the instrument beyond the old tailgate style role of the early New Orleans brass bands. Chief among his contributions to the language of jazz trombonists was his ability to interject the blues or merely a “blue feeling” into virtually any piece of music.

By 1920 Teagarden was playing professionally in San Antonio, including with the band of pianist Peck Kelley. In the mid-1920s he started traveling widely around the United States in a quick succession of different bands. In 1927, he went to New York City where he worked with several bands. By 1928 he played for the Ben Pollack band.

Within a year of the commencement of his recording career, he became a regular vocalist, first doing blues material (“Beale Street Blues”, for example), and later doing popular songs. He is often mentioned as one of the best white male jazz vocalists of the era; his singing style is quite like his trombone playing, in terms of improvisation (in the same way that Louis Armstrong sang quite like he played trumpet). His singing is best remembered for duets with Louis Armstrong and Johnny Mercer.

In the late 1920s he recorded with such notable bandleaders and sidemen as Louis ArmstrongBenny GoodmanBix Beiderbecke,Red NicholsJimmy McPartlandMezz MezzrowGlenn Miller, and Eddie Condon. Glenn Miller and Teagarden collaborated to provide lyrics and a verse to Spencer Williams’ Basin Street Blues, which in that amended form became one of the numbers that Teagarden played until the end of his days.

In the early 1930s Teagarden was based in Chicago, for some time playing with the band of Wingy Manone. He played at the Century of Progress exposition in Chicago. Teagarden sought financial security during the Great Depression and signed an exclusive contract to play for the Paul Whiteman Orchestra from 1933 through 1938. The contract with Whiteman’s band provided him with financial security but prevented him from playing an active part in the musical advances of the mid-thirties swing era.

Teagarden then started leading his own big bandGlenn Miller wrote the song “I Swung the Election” for him and his band in 1939.[3] In spite of Teagarden’s best efforts, the band was not a commercial success, and he was brought to the brink of bankruptcy.

In 1946 Teagarden joined Louis Armstrong‘s All Stars. Armstrong and Teagarden’s work together shows a wonderful rapport, in particular their duet on “Rockin’ Chair”. In late 1951 Teagarden left to again lead his own band, then co-led a band with Earl Hines, then again with a group under his own name with whom he toured Japan in 1958 and 1959.

From left: Jack Teagarden, Sandy DeSantis, Velma MiddletonFraser MacPhersonCozy ColeArvell Shaw,Earl HinesBarney Bigard at Palomar Supper Club, Vancouver B.C. (March 17, 1951)

Teagarden appeared in the movies Birth of the Blues (1941), The Strip (1951), The Glass Wall (1953), and Jazz on a Summer’s Day (1960), the latter a documentary film of the 1958 Newport Jazz Festival. He was an admired recording artist, featured on RCA VictorColumbia,DeccaCapitol, and MGM Records discs. As a jazz artist he won the 1944 Esquire magazine Gold Award, was highly rated in theMetronome polls of 1937-42 and 1945, and was selected for the Playboy magazine All Star Band, 1957-60.

Teagarden was the featured performer at the Newport Jazz Festival of 1957. Saturday Review wrote in 1964 that he “walked with artistic dignity all his life,” and the same year Newsweek praised his “mature approach to trombone jazz.”

Richard M. Sudhalter writes (in ‘Lost Chords: White Musicians and Their Contribution to Jazz’, Oxford University Press, 1999): “The late trumpet player Don Goldie, who spent four years in Teagarden’s band and had known him since childhood said that he ‘always got a feeling that a lot of happiness was locked away inside Jack, really padlocked, and never came out…”

“Jack Teagarden died, alone, of a heart attack complicated by bronchial pneumonia in his room at the Prince Conti Hotel in the French Quarter of New Orleans on January 15, 1964. He was only 58. “I sometimes think people like Jack were just go-betweens,” Bobby Hackett told a friend. “The Good Lord said, ‘Now you go and show ’em what it is’, and he did. I think everybody familiar with Jack Teagarden knows that he was something that happens just once. It won’t happen again. Not that way…”

“…Connie Jones, the New Orleans cornetist working with Jack Teagarden at the time of the trombonist’s death, was a pallbearer for the wake, held at a funeral parlor on leafy St. Charles Avenue: ‘I remember seeing him there in a coffin, a travelling coffin. They were going to fly him to Los Angeles for burial right after that. The coffin was open and I remember thinking ‘Boy he really looks uncomfortable in there’.

“‘Not that he was that tall. Maybe five foot ten or so, at most. But he was kinda wide across the shoulders – and most of all he just gave you the impression he was a big man, in every way. In that coffin, – well, I can’t really explain it, but he seemed to be scrunched up into a space that was too small to contain him'”.

He was buried at Forest Lawn Memorial Park, Hollywood Hills in Los Angeles, California.

The coda of Teagarden’s recording career is the album Think Well of Me, recorded in January 1962 and made up of his singing and trombone playing, accompanied by strings, on compositions by his old musical associate Willard Robison: available on Verve CD 314 557 101-2.

Compositions

“‘Jack-Armstrong’ Blues” by the V-Disc All Stars featuring Jack Teagarden and Louis Armstrong, V-Disc 384A, Hot Jazz, U.S. War Department release, March, 1945.

Jack Teagarden’s compositions included “I’ve Got ‘It'” with David Rose, “Shake Your Hips”, “Big T Jump”, “Swingin’ on the Teagarden Gate”, “Blues After Hours”, “A Jam Session at Victor”, “It’s So Good”, “Pickin’ For Patsy” with Allan Reuss, “Texas Tea Party” withBenny Goodman, “I’m Gonna Stomp Mr. Henry Lee” with Eddie Condon, “Big T Blues”, “Dirty Dog”, “Makin’ Friends” with Jimmy McPartland, “That’s a Serious Thing”, and “‘Jack-Armstrong’ Blues” with Louis Armstrong, recorded on December 7, 1944 with the V-Disc All-Stars and released as V-Disc 384A in March, 1945.

Honors

In 1969, Jack Teagarden was inducted into the Down Beat Jazz Hall of Fame. He was inducted into the Big Band and Jazz Hall of Fame in 1985. Other honors have included induction in the ASCAP Jazz Wall of Fame in 2005 and inclusion in the Houston Institute for Culture’s Texas Music Hall of Fame.

Selected filmography

McKenzie and Condon’s Chicagoans

Posted in Recording Artist's of the 1920's and 1930's with tags , , , , , , , , , , , on April 10, 2013 by the78rpmrecordspins

McKenzie and Condon’s Chicagoans

From Wikipedia

McKenzie and Condon’s Chicagoans was a jazz band from Chicago, led by banjo player Eddie Condon and sponsored by singer and comb player Red McKenzie.  Their four recordings in December 1927 were important influences on early Chicago style jazz.

The group got together in 1962 for a reunion, to record the album Chicago and All That JazzPee Wee Russell replaced Frank Teschemacher, who had died in 1932, on the clarinet, and Bob Haggart filled in for the retired bassist Jim Lanigan. Trombonist Jack Teagarden joined the group for the sessions.

Recordings

Date Title Writer Notes
1927-12-08 China Boy Phil Boutelje, Dick Winfree
1927-12-08 “Sugar” Milton Ager, Frank Crum, Red NicholsJack Yellen Not to be confused with Maceo Pinkard‘s “Sugar” (1927)
1927-12-16 “Liza” Eddie CondonRed McKenzie, Aaron Rubin Not to be confused with George Gershwin‘s “Liza (All the Clouds’ll Roll Away)
1927-12-16 Nobody’s Sweetheart Ernie ErdmanGus Kahn, Billy Meyers, Elmer Schoebel Also known as “You’re Nobody’s Sweetheart Now”

Personnel

Jimmy McPartland

Posted in Recording Artist's of the 1920's and 1930's with tags , , , , , , , , on April 3, 2013 by the78rpmrecordspins

Jimmy McPartland

From Wikipedia
 

James Dugald McPartland (March 15, 1907 – March 13, 1991), better known as Jimmy McPartland, was an American cornetist and one of the originators of Chicago Jazz. McPartland worked with Eddie CondonArt HodesGene KrupaBenny GoodmanJack TeagardenTommy Dorsey and other jazz veterans, often leading his own bands.

History

Jimmy McPartland was born in ChicagoIllinois. His father was a music teacher and baseball player. Family problems caused Jimmy and his siblings to be partly raised in orphanages. After being kicked out of one orphanage for fighting, he got in further trouble with the law. Fortunately, he had started violin at age 5, then took up the cornet at age 15. He credited music with turning him around. He confessed that if it weren’t for music, he probably would have been “a hoodlum”.

McPartland was a member of the legendary Austin High Gang with Bud Freeman (tenor sax), Frank Teschemacher (clarinet), brother Dick McPartland (banjo/guitar), brother-in-law,Jim Lanigan (bass, tuba and violin), Joe Sullivan (piano) and Dave Tough (drums) in the 1920s. They were inspired by the recordings they heard at the local malt shop, The Spoon and Straw. They would study and try to duplicate what they heard on recordings by The New Orleans Rhythm Kings and others, and would frequently visit with Louis Armstrong, only a few years their senior, and King Oliver’s Creole Jazz Band at Lincoln Gardens.

After playing through high school, their first musical job was under the name The Blue Friars. In 1924, at age 17, McPartland was then called to New York to take Bix Beiderbecke‘s place in the Wolverine Orchestra.  Bix quietly sat in the back of the club during the audition, later revealing himself with the compliment, “I like ya, kid. Ya sound like me, but you don’t copy me.” They became friends and roomed together while Bix gave McPartland pointers. At that time, Bix picked out a cornet for McPartland that he then played throughout his career.

From 1926 to 1927, he worked with Art Kassel. Also in 1927, he was a part of the historic McKenzie-Condon’s Chicagoans recording session that produced “China Boy” and “Nobody’s Sweetheart”. Finally, in 1927 he joined Ben Pollack‘s band for 2 years, and was one of the main soloists (along with Benny GoodmanBud FreemanJack Teagardenand Glenn Miller). He played on the 1928 recording of “Room 1411” which was composed by Glenn Miller and Benny Goodman as part of Bennie Goodman’s Boys and released as Brunswick 4013. He also moonlighted in Broadway pit bands. McPartland then went to New York City, and played with a number of small combos. He co-wrote the song “Makin’ Friends” with Jack Teagarden.

In 1930, he moved back to Chicago, working with his brother Dick, in a group called “The Embassy Four.” He was then a bandleader/singer/master-of-ceremonies at The Three Deuces nightclub. He also worked with Russ Columbo (1931–1932) and the Harry Reser band (1933–1935). During this period, he married singer Dorothy Williams, who along with her sister Hannah (who later married boxer Jack Dempsey), performed as “The Williams Sisters”, and they had a daughter, Dorothy. They soon divorced and McPartland spent time in South America. From 1936-1941, McPartland led his own bands and joined Jack Teagarden‘s Big Band until he was drafted in the Army during World War II (1942–1944).

After participating in the Invasion of Normandy, McPartland met his future wife in Belgium, the English pianist Margaret Marian Turner. They married in AachenGermany and moved back to Chicago, where Jimmy appeared on Windy City Jamboree, before finally settling in New York. Soon, Jimmy McPartland was part of Willie ‘The Lion’ Smith‘s band (along with Jimmy ArcheyPee Wee RussellGeorge ‘Pops’ Foster, and George Wettling), which won a Grammy for their soundtrack to the 1954 film After Hours.

McPartland proudly introduced his new bride around the New York jazz scene, but knew that Marian’s future didn’t lie in playing traditional jazz. He encouraged her to develop her own style and form her own group, which led to the establishment of her long residency at the Hickory House, with a trio including drummer Joe Morello.

McPartland’s outgoing personality and stage presence led him to try his hand at acting, resulting in a featured role in The Alcoa Hour episode “The Magic Horn” in 1956 with Sal MineoRalph Meeker, and other well-known jazz musicians. He also later performed in a production of Show Boat.

In 1961, McPartland appeared on a DuPont Show of the Month musical extravaganza hosted by Garry Moore, called “Chicago and All That Jazz” featuring many great names in jazz, including Gene KrupaJack TeagardenEddie CondonPee Wee Russell, and Lil Armstrong.

McPartland performed as guest star with many bands and at festivals during the 1970s in the US and out of the country. The McPartlands divorced in 1970. However, they continued to work together, stayed friends, and remarried just a few weeks before Jimmy’s death.

In 1984, a surprise 77th birthday celebration in New Jersey was thrown for McPartland by friend and trombonist Chuck Slate III with a great band including Chuck, McPartland, Dick Wellstood, Sonny Igoe, Frank Tate, Jorge Anders and Marian playing a set. McPartland played great and was very touched by the full audience of his fans.

McPartland died of lung cancer in Port Washington, New York in 1991, two days before his 84th birthday. (Coincidentally, long-time friend, collaborator and Austin High Gang member Bud Freeman died the next day.)

Honors

In 1992, Jimmy McPartland was inducted into the Big Band and Jazz Hall of Fame.

Jack Teagarden Collector Joe Showler soliciting for 78’s in 1968

Posted in Interviews and Articles with tags , , , , , , on March 24, 2013 by the78rpmrecordspins

Long before I was interested in collecting 78 rpm records, a very young collector was at it, looking for Canadian Compo pressings. This advertisement appeared in The Stouffville Sun-.Tribune. January 18, 1968. Joe Showler was known as the authority on Jack Teagarden, having devoted his life to researching the trombonist. Note the  misspelling of the Microphone Label.

 

l.Jack Teagarden Collector Joe Showler Advertisement for 78's wanted

Willard Robison

Posted in Recording Artist's of the 1920's and 1930's with tags , , , , , , , , on March 14, 2013 by the78rpmrecordspins

Willard Robison

From Wikipedia

Willard Robison (September 18, 1894 – June 24, 1968) was an American vocalist, pianist, and composer of popular song, born in Shelbina, Missouri. His songs reflect a rural, melancholy theme steeped in Americana and their warm style has drawn comparison to Hoagy Carmichael. Many of his compositions, notably “A Cottage for Sale“, “Round My Old Deserted Farm”, “Don’t Smoke in Bed”, and “Old Folks”, have become standards and have been recorded countless times by jazz and pop artists including Peggy Lee, Nina Simone, Nat King Cole, Billy Eckstine, and Mildred Bailey. “A Cottage for Sale” alone has been recorded over 100 times.

In the early 1920s, Robison led and toured with several territory bands in the Southwest. He met Jack Teagarden in this period, whom he befriended. In the late 1920s, Robison organized the Deep River Orchestra, later hosting a radio show entitled The Deep River Hour in the early 1930s.

During the 1920s, Robison recorded extensively for Perfect Records, with scores of vocal recordings accompanying himself on piano (displaying his rather eccentric stride piano style), as well as “Deep River Orchestra” recordings using standard stock arrangements (including many popular and obscure songs, as well as his fox trot arrangement of George Gershwin’s Rhapsody In Blue on both sides of Perfect 14825 and Pathe 36644.

In 1926-1927, Robison recorded an interesting series of 8 moody foxtrots with the umbrella name of American Suite:

  • After Hours (American Suite No. 1) (Perfect 14728/Pathe 36547) 10/1/26
  • Piano Tuner’s Dream (American Suite No. 2) (Perfect 14743/Pathe 36562) 10/22/26
  • Darby Hicks (American Suite No. 3) (Perfect 14744/Pathe 36563) 10/22/26
  • The Music Of A Mountain Stream (American Suite No. 4) (Perfect 14755/Pathe 36574) 11/22/26
  • Tampico (American Suite No. 5) (Perfect 14755/Pathe 36574) 11/22/26
  • Mobile Mud (American Suite No. 6) (Perfect 14756/Pathe 36575) 10/22/26
  • Deep River (American Suite No. 7) (Perfect 14774/Pathe 36593) 11/22/26
  • Harlem Blues (American Suite No. 8) (Perfect 14821/Pathe 36640) 4/20/27

He recorded for Perfect & Pathe from 1926 to 1928. Between 1928 and 1930, he recorded for Columbia, Harmony and Victor. He also recorded a session in 1937 for Master Records.

Jack Teagarden recorded a critically praised album of Robison’s songs in 1962 entitled Think Well of Me. Robison died in Peekskill, New York in 1968, aged 73.

List of notable compositions

  • “‘Round My Old Deserted Farm”
  • “‘Tain’t So, Honey, ‘Tain’t So”
  • A Cottage for Sale
  • “Don’t Smoke in Bed”
  • “Down to Steamboat, Tennessee”
  • “Guess I’ll Go Back Home (This Summer)”
  • “Harlem Lullaby”
  • “I’m a Fool About My Mama”
  • “In A Little Waterfront Cafe”
  • “It’s Never Too Late to Pray”
  • “Old Folks”
  • “The Devil is Afraid of Music”
  • “Deep Elm (You Tell ‘Em I’m Blue)”
  • “Peaceful Valley”

Roger Wolfe Kahn

Posted in Recording Artist's of the 1920's and 1930's with tags , , , , , , , on March 9, 2013 by the78rpmrecordspins

Roger Wolfe Kahn

From Wikipedia

1927 Time cover featuring Kahn

Roger Wolfe Kahn, Hannah Williams andOtto Hermann Kahn 1931 in front of Hotel Adlon in Berlin

Roger Wolfe Kahn (October 19, 1907 – July 12, 1962) was an American jazz and popular musiciancomposer, and bandleader (“Roger Wolfe Kahn and His Orchestra”).

Life and career

Roger Wolff Kahn (Wolff was his middle name’s original spelling) was born in Morristown, New Jersey into a wealthy German Jewish banking family. His parents were Adelaide “Addie” (Wolff) and Otto Hermann Kahn, a famous banker and patron of the arts. His maternal grandfather was banker Abraham Wolff. Otto and Roger Kahn were the first father and son to appear separately on the cover of Timemagazine: Otto in November 1925 and Roger in September 1927, aged 19.

Kahn is said to have learned to play 18 musical instruments before starting to lead his own orchestra in 1923, aged only 16. In 1925, Kahn appeared in a short film made in Lee De Forest‘s Phonofilm sound-on-film process. Kahn hired famous jazz musicians of the day to play in his band, especially during recording sessions, for example Joe VenutiEddie LangArtie ShawJack TeagardenRed Nichols, and Gene Krupa.

Recordings were made for:

Kahn always had fun leading and conducting his orchestra. Reportedly, when the band was playing especially well he used to throw himself onto the floor and wave his legs in the air. However, in the mid-1930s, he lost interest in his orchestra and disbanded it. Instead, he preoccupied himself with aviation and eventually, in 1941, became a test pilot for the Grumman Aircraft Engineering Corporation, a well-known aircraft manufacturer.

In 1931, Kahn made headlines on the New York society pages when he married musical comedy actress Hannah Williams January 16, 1931. The wedding was at Oheka Castle, his family’s estate on Long Island, and was kept secret from the public for two weeks, until theBroadway show Williams was appearing in, Sweet and Low, had had its final performances. The couple made headlines again when they divorced two years later and when, after only a few weeks, Williams married boxing champion Jack Dempsey. Two days after the divorce, on April 7, 1933, Roger Wolfe Kahn married Edith May Nelson, a Maine politician’s daughter. That marriage lasted until Kahn’s death of aheart attack in New York City on July 12, 1962. By his second wife, he had two children, Peter W. Kahn and Virginia Kahn.

Kahn’s popular titles include:

Kahn’s work on Broadway includes:

Joe Venuti

Posted in Recording Artist's of the 1920's and 1930's with tags , , , , , , , on March 7, 2013 by the78rpmrecordspins

Joe Venuti

From Wikipedia
Joe Venuti
Joe Venuti with the Bubba Kolb Trio at the Vil...

Joe Venuti with the Bubba Kolb Trio at the Village Jazz Lounge, Disneyworld (Photo credit: Wikipedia)

Joe Venuti (right) with the Bubba Kolb Trio at the Village Jazz Lounge, Walt Disney World, in 1978

Background information
Birth name Giuseppe Venuti
Born September 16, 1903
Died August 14, 1978 (aged 74)
Genres Jazz
Occupations Musician
Instruments Violin
Associated acts Eddie LangBenny Goodman, the Dorsey BrothersBing CrosbyBix BeiderbeckeJack Teagarden, the Boswell Sisters, many others.
Notable instruments
violin

Giuseppe Venuti (September 16, 1903 – August 14, 1978), better known as Joe Venuti, was an Italian-American jazzmusician and pioneer jazz violinist.


Considered the father of 
jazz violin, he pioneered the use of string instruments in jazz along with the guitarist Eddie Lang, a childhood friend of his. Through the 1920s and early 1930s, Venuti and Lang made many recordings, as leader and as featured soloists. He and Lang became so well known for their ‘hot’ violin and guitar solos that on many commercial dance recordings they were hired do 12 or 24 bar duos towards the end of otherwise stock dance arrangements. In 1926, Venuti and Lang started recording for the OKeh label as a duet (after a solitary duet issued on Columbia), followed by “Blue Four” combinations, which are considered milestone jazz recordings. Venuti also recorded a number of larger, more commercial dance records for OKeh under the name New Yorkers.

Overview

He worked with Benny GoodmanAdrian Rollini, the Dorsey BrothersBing CrosbyBix BeiderbeckeJack Teagarden,Frank Signorelli, the Boswell Sisters and most of the other important white jazz and semi-jazz figures of the late 1920s and early 1930s. However, following Lang’s early death in 1933, his career began to wane, though he continued performing through the 1930s, recording a series of excellent commercial dance records (usually containing a Venuti violin solo) for the dime store labels, OKeh and Columbia, as well as the occasional jazz small group sessions. He was also a strong early influence on western swing players like Cecil Brower, not to mention the fact that Lang and Venuti were the primary influences of Django Reinhardt and Stephane Grappelli. (Many of the 1920s OKeh sides continued to sell through 1935, when ARC reissued selected sides on the 35 cent Vocalion label.)

After a period of relative obscurity in the 1940s and 1950s, Venuti played violin and other instruments with Jack Statham at the Desert Inn Hotel in Las Vegas. Statham headed several musical groups that played at the Desert Inn from late 1961 until 1965, including a Dixieland combo. Venuti was with him during that time, and was active with the Las Vegas Symphony Orchestra during the 1960s. He was ‘rediscovered’ in the late 1960s. In the 1970s, he established a musical relationship with tenor saxophonist Zoot Sims that resulted in three recordings. In 1976, he recorded an album of duets with pianist Earl Hines entitled Hot Sonatas. He also recorded an entire album with country-jazz musicians including mandolinist Jethro Burns (of Homer & Jethro), pedal steel guitaristCurly Chalker and former Bob Wills sideman and guitarist Eldon Shamblin. Venuti died in Seattle, Washington.

Early life

Early Life Joe Venuti was well known for giving out conflicting information regarding his early life, including his birthplace and birth date as well as his education and upbringing. Since there is no record of any recognized birth certificate, it is difficult to say for certain which information is correct.

Joe Venuti (Giuseppe Venuti) claimed to have been born aboard a ship as his parents emigrated from Italy around 1904, though many believe he was born in Philadelphia. It has also been claimed that he was born on April 4, 1898 in LeccoItaly, or on September 16, 1903 in Philadelphia. Later in life, he said he was born in Lecco, Italy in 1896 and that he came to the U.S. in 1906 and settled in Philadelphia.

Joe was classically trained in the violin from a young age, and studied solfeggio with his grandfather. He later said that while he studied music from him, he did not learn any one instrument but rather music theory in general. He began studying the violin in Philadelphia, and later claimed to have studied at a conservatory, though there is no documented evidence to support this theory. Despite this, his style of playing was characteristic of someone who had a solid basis in violin technique.

Career

Joe Venuti had an extensive career ranging from 1924 until shortly before his death in 1978. During this time, he redefined the role of violin playing and introduced the violin as a serious jazz instrument.

Venuti spent time in the early 1900s playing in the James Campbell School Orchestra in the violin section. It was there that he first met and befriended Salvatore Massaro, who was also playing in the violin section of the orchestra. During this time they were also experimenting with jazz and blues in addition to classical playing.

In 1924 he moved to Detroit to join Jean Goldkette’s band, and began playing with the Book Cadillac Hotel Orchestra, one of Jean Goldkette’s dance bands. It was here that he made his first recordings with Goldkette’s big band. By the summer of 1925, he had moved to Atlantic City briefly to play with Bert Estlow’s band before settling in New York. Here, he once again encountered Massaro, who had changed his name to Eddie Lang. Lang had also switched instruments from the violin to the guitar. The two friends struck up a professional partnership which was to last until Lang’s untimely death in 1933. They began playing with Roger Wolfe Kahn’s dance orchestras in addition to playing in Broadway pit orchestra’s to support themselves.

From 1926-1928, the Venuti and Lang duo were recording with most of the prominent jazz musicians of the day, including Goldkette (1926–27), Red Nichols (1927–28), Bix Beiderbecke (1927), Adrian Rollini (1927) and Frankie Trumbauer (1927). Between 1927 and 1929 Lang and Venuti were leading bands and performing in Atlantic City. Venuti then moved back to New York in 1929 to play with Paul Whiteman‘s orchestra from 1929 to 1931. He also appeared in the film The King of Jazz (1930) with the band. From the period of 1931-1933, Venuti recorded again with Eddie Lang, Bix Beiderbecke and Frankie Trumbauer. The most famous recording of Venuti’s career was also produced during this time: his October 22, 1931 recording with Joe Venuti-Eddie Lang and their All Star orchestra. This session also included Benny Goodman and Jack Teagarden. Both Venuti and Lang rejoined Roger Wolfe Kahns’ orchestra in 1932 and played and recorded with him until Eddie Lang’s death in 1933.

Following Eddie Lang’s death, Venuti conducted a tour of Europe and the UK. During this period he also alternated from violin to guitar, varying from his almost strictly violin approach formerly. Upon returning to the US in 1935, he formed a big band and worked as its leader. During this time he also composed most of his original arrangements. Venuti was less successful as a big band leader than as a soloist, and the band folded in 1943.

After this period, Venuti transitioned from being in a position of relative prominence to one of ignominy. Venuti moved to California in 1944 to become a studio musician with MGM, in addition to playing with other film and radio studios. He also appeared regularly on Bing Crosby’s radio show during this time. Later, Venuti returned to a small group format and continued to play and record in and around Los Angeles, while touring frequently. In 1953 he conducted another tour of Europe, and in 1963 a tour of Seattle.

Throughout much of the 1950s Venuti made records and played at clubs. This was the beginning of about a 15 year lull in Venuti’s career. In the early 1960s Venuti was mostly inactive due to his development of alcoholism. The late 1960s marked a revival in his career. In 1967 he was invited to perform at Dick Gibson’s Colorado Jazz Party, and was such a success that he would be asked to repeat his performances annually until his death in 1978. In 1968 he was also invited to the Newport Jazz Festival, and in 1969 he performed at the London Jazz Expo.

During the 1970s, at the end of his life, Venuti toured extensively in Europe with a small ensemble. During this time he made his final recordings with names such as Earl Hines,George BarnesRoss TompkinsDave McKennaMarian McPartlandScott HamiltonLeon Redbone, and most notably Zoot Sims. Venuti continued to tour and play until his death in 1978.

Personal life

Little is known about Venuti’s personal life aside from his extensive jazz career. Some of his many biographers claim that he married at least once, some others report that he was married three times, although there does not seem to be any documented evidence about his wife (or wives).

Venuti suffered from alcoholism in his middle age, throughout the 1950s and early 1960s. He was able to recover, and to regain his former acclaim for his playing. In 1970 Venuti was diagnosed with cancer. He died from cancer on August 14, 1978 in Seattle, Washington.

Playing Style

Venuti pioneered the violin as a solo instrument to the jazz world. He was famous for a fast, “hot” playing style characteristic of jazz soloists in the 1920s and the swing era. His solos have been described as incredibly rhythmic with patterns of duplets and running eighth and sixteenth notes. He favored a lively, fast tempo that showed off his superior technique. Venuti was a virtuosic player with a wide range of techniques including left hand pizzicato and runs spanning the length of the fingerboard. He also frequently implemented slides common in blues and country fiddle playing. Occasionally, he used a strange technique in which he unscrewed the end of his bow and wrapped the bow hair around the strings of the violin, lending the subsequent sound a “wild” tone. He was particularly notable in small ensemble jazz, since the force of the horns in big band jazz was sufficient to drown out the violin, prior to the invention of the musical amplifier.

Practical Jokes

Apart from his impressive playing style, Joe Venuti was almost as well known for his amusing practical jokes. He was well known to play inexpensive violins, since many of his former band members have said that he had been known to crack these over the heads of his players on occasion. There are many anecdotes of his humorous pranks fondly told by his associates. One of the best known tales was one in which he filled a tuba player’s horn with flour during a break in a rehearsal. Another involved sending a well-known one-armed trumpet player, Wingy Manone, a single cufflink for Christmas several years in a row. He was also well known for calling up every bass player in the New York phonebook and asking them to meet with him on a street corner. When over 50 bass players arrived with their instruments it created a minor roadblock. He then subsequently had to pay the players for their time as mandated by the AMF.

The Dorsey Brothers

Posted in Recording Artist's of the 1920's and 1930's, The History of Jazz and Blues Recordings with tags , , , , , , , on March 4, 2013 by the78rpmrecordspins

The Dorsey Brothers

From Wikipedia

Dorsey Brothers Orchestra, 1934: George “Gus” Throw (kneeling at left). Others in the front row (Left to Right) are Roc Hillman, Don Matteson, Skeets Herfurt, and Ray McKinley. Standing are Bobby Van Epps, Delmar Kaplan, Tommy Dorsey, Kay Weber, Jimmy Dorsey, Glenn Miller, and Jack Stacey.

The Dorsey Brothers were a studio group fronted by musicians Tommy and Jimmy Dorsey. They started recording under their name in 1928 with a series of studio recordings for the OKeh label (they had come to New York in the mid-1920s and were among the most sought-after musicians). Always just a studio group, members (during the 1928-1934 period) included nearly all of the great white jazz musicians playing around New York City:

As a studio recording group, they recorded for;

They also did a few sides for the dime store labels (Banner, Cameo, Domino, Jewel, Oriole, Perfect, etc.) and also a handful of sides during their Brunswick period were issued onVocalion.

They signed to Decca Records in 1934, basically formed a more traditional regular band, and even started performing live until they had their famous falling out in May 1935. Glenn Miller composed two songs for the Dorsey Brothers Band when he was a member in 1934 and 1935, “Annie’s Cousin Fanny” and “Dese Dem Dose“.

In 1935, the Dorsey Brothers Orchestra had two no.1 recordings on Decca Records, “Lullaby of Broadway” with Bob Crosby on vocals, no.1 for two weeks, and “Chasing Shadows”, no.1 for three weeks. Tommy Dorsey would have seventeen number one hits while Jimmy Dorsey would have ten after they formed their own orchestras in 1935.

Tommy and Jimmy Dorsey broke up the Dorsey Brothers’ Orchestra in 1935 but reunited on March 15, 1945 to record a V-Disc at Liederkranz Hall in New York City. Released in June 1945, V-Disc 451 featured “More Than You Know” backed with “Brotherly Jump”. The songs featured the combined orchestras of Jimmy and Tommy Dorsey. They reunited again in 1947 to film the biopic The Fabulous Dorseys in which they played themselves. In the 1950s, they had their own network TV series. Elvis Presley made his national television debut on their show in 1956.

In 1996, the U.S. Postal Service issued a commemorative Jimmy Dorsey and Tommy Dorsey postage stamp.

(See Tommy Dorsey and Jimmy Dorsey‘s individual listings for more details).

Dorsey Brothers Orchestra in the studio, 1934: Pictured are (Back row, l-r): Don Mattison, trombone; Ray McKinley, drums; George Thow, trumpet; Glenn Miller, trombone; Bobby Van Epps, piano. (Middle row, l-r): Skeets Herfurt, tenor sax; Jack Stacy, tenor sax; Jimmy Dorsey, alto sax; Delmar Kaplan, bass; Roc Hillman, guitar; Tommy Dorsey, trombone. Seated in front are band vocalists Bob Crosby and Kay Weber.

Notable Releases

  • Coquette, 1928
  • Dixie Dawn, 1928
  • Let’s Do It (Let’s Fall in Love), 1929
  • Sally of My Dreams, 1929
  • Fine and Dandy, 1930
  • Ooh! That Kiss, 1932
  • Old Man Harlem, 1933
  • I’m Gettin’ Sentimental Over You, 1934
  • Lost in a Fog, 1934
  • What a Diff’rence a Day Made, 1934
  • You’re the Top, 1934
  • Annie’s Cousin Fanny, 1934, Brunswick and Decca versions, composed by Glenn Miller
  • Chasing Shadows, 1935, No. 1
  • Every Little Moment, 1935
  • Every Single Little Tingle of My Heart, 1935
  • I’ll Never Say Never Again Again, 1935
  • I’ve Got a Feelin’ You’re Foolin’, 1935
  • Dese Dem Dose, 1935, composed by Glenn Miller
  • Lullaby of Broadway, 1935, No. 1
  • Night Wind, 1935
  • The Gentlemen Obviously Doesn’t Believe (In Love, 1935
  • Tiny Little Fingerprints, 1935
  • You Are My Lucky Star, 1935

Ben Pollack and His Orchestra-1929

Posted in Recording Artists Who Appeared in Film with tags , , on March 2, 2013 by the78rpmrecordspins

Feature shows a sixteen year old Benny Goodman, a young Jack Teagarden, and Jimmy McPartland, This film was restored by the late Jack Teagarden authority, Joe Showler. At this time, the Pollack Orchestra was recording on the Victor Label, and some Plaza labels, also.

Why I Collect 78 RPM Records by Ken McPherson

Posted in Have Your Say, Welcome to the78rpmrecordspin! with tags , , , , , , , , , on March 2, 2013 by the78rpmrecordspins

I suppose my interest in music from the 1920’s and 1930’s began,  some 30 years ago, when I bought an LP of Bobby Hackett, not knowing at the time, I would be put in a trance by his deep melodic cornet and trumpet playing style. At the same time, I was unaware that my apartment was directly below that of the greatest authority on Jack Teagarden in the world, Joe Showler. He heard me playing my music, and invited me up to listen to his collection of Teagarden 78’s. I was fascinated by his collection-there were 16″  transcriptions, newspaper articles, a massive film collection, LP’s on Teagarden, etc. From that moment on, I regarded the sound of that era as real music, and have never looked back.

He later introduced me to a group of collector’s in the Toronto area, who gathered every so often to play Jazz and Ragtime 78’s, and discuss the in’s and out’s of who were on the records, and often said Brian Rust was wrong! He guided me in how to build my first collection of 78’s, which later had to be sold when I got married and had children. Some 20 years have pasted since then, and three years ago I got the bug to collect again.

 

Today I have more that 2000 78’s in my collection, spanning 1918-1939. I collect Dance Bands with Hot Solos. and Jazz. Oh yes, it is Saturday…I am off to get more records!

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