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four years, plus many
previously unpublished
cartoons of the cat. the book
includes forty-six cartoons
in 32 pages.
george a vakian does the
amusing commentary
an excellent gift for christmas
$1.00 postpaid
125 la salle st.
new yorlc city 27, n. y.
yrrr f azz parade
v^»^vm || LATE NEWS FROM COAST TO COAST
SAN FRANCISCO AREA— Dick Oxtof
Rough days are ahead for local jazz groups,
or so it would seem, judging by the large
crowds NOT seen at the active spots these
nights. If anyone has any spare dough it
must be in the old Christmas sock, because
nobody is spending very much to hear jazz
bands.
Kid Ory was drawing good Friday and
Saturday Night crowds, but not enough to
counteract the week night losses incurred by
the management at the Venus Club.
Bob Scobey's Alexander's Jazz Band across
the Bay at the Melody Club was having diffi-
culty cracking a mere three night nut, with
both Friday and Sunday crowds falling off and
Saturday's barely taking up the slack.
Only Hambone Kelly's, with its long time
following and its really-fine joint, is managing
to support a band six nights a week, but, of
course, in this case, Lu Watters' Band is old
Hambone Kelly himself.
Hambone's took the wraps off the place on
Nov. I, when they hired Eddie Condon for a
Sunday afternoon ball. It was a successful
venture. At least nobody lost any sheckels.
And the Watters boys undoubtedly made new
friends — people who came to hear Condon
and are now likely to return to hear more of
Watters. The band consisted of Eddie, Wild
Bill Davison, Warren Smith, Matty Matlock, Al
Mack, Morie Feld, and Pat Patton. The Watters
band took over at 8 to complete the double-
header attraction, and as a result of the en-
thusiastic reception the affair received, Ham-
bone Kelly's is planning to stage similar shin-
digs once a month.
BOSTON— Bob Parent
Ed Hall's fine quartet at the Savoy Cafe is
the highlight in the local jazz offerings this
month. Quartet consists of Hall, clarinet; Joe
Battaglia and George Wein alternating at the
keyboard; John Field, bass; and Joe Corcoran,
drums.
The Sunday afternoon sessions continue at
the Alibi Cocktail Lounge in Lynn and pro-
vide the only Dixie to be heard locally.
Other jazz news of interest comes from Dick
Mascott of the Boston Music Corp. of America
office. Dick is of the opinion that a good jazz
band would be suitable to many college social
functions. Towards this end, he is suggesting
a jazz band to prospective buyers whenever the
occasion warrants. The New England college
support has helped make many name bands in
the past and could do likewise for jazz. How-
ever, any readers who are attending school
hereabouts could lend considerable support by
sayina a few good words for jazz to their pro-
gram committees.
CHICAGO— Walter Wager
Most important news to jazz fans is word
that the Paramount reissues are just about
ready. They will be on the old Paramount
label and reinstated by means of a 14000
series in the catalogue. The long delay in
production was occasioned by the long illness
of Hugh Davis. We sincerely trust he is feel-
ing better these days.
Baby and Miff are at the Beehive and
Bechet is back at Jazz Ltd.
NEW YORK
Bob Maltz's jazz band balls on Friday nights
have moved from the Stuyvesant Casino to the
more spacious Central Plaza on Second Avenue
and Sixth Street. A regular band has been
signed which will feature Muggsy, Gowans,
Nicholas, Sullivan, Traeger, and Freddy Moore.
Featured guests will be Alberta Hunter, Omer
Simeon, Yank Lawson, and other jazz greats.
The Commodore Music Shop threw a mon-
ster jam session at Webster Hall which fea-
tured some of the best jazz heard in these
parts in ages with every jazzman able to blow
being present. Johnny Glasel played great
lead cornet to Bobby Hackett's second horn
while Brunis, Parenti, Peewee, Wettling, Sutton,
Sullivan, Page, Traeger, and dozens of others
took turns. No two sets featured the same men
and a good time was had by all. They may
make these regular sessions.
Art Hodes is playing a single at the Mark-
well Bar on 49th Street. Drop in to see him.
He's better than ever. Fats Wallers sons are
expected to make their debut hereabouts
shortly. Maurice plays piano, and Ronald the
clarinet. Might be interesting.
Maxie is leading a trio at Ryans and Gowans
is playing duets with Ralph Sutton at Con-
don's. He just quit the Jimmy Dorsey crew.
Cow Cow Davenport has left these parts for
Cleveland.
Just heard that Johhny Hodges is leaving
the Ellington fold to form a small combo.
Rumors have it that he is taking members of
the Duke's band with him. Quentin Jackson
formerly with McKinney's Cotton Pickers has
joined the Duke and is doing all of tricky Sam's
old parts. A good man.
HOLLYWOOD & LOS ANGELES—
Albert Otto
From El Serrito we hear the news that Lu
Watters now holds down the trumpet chores
alone, since the departure of Bob (Alexander)
Scobey, who left to form his own combo. Also
playing in the Bay Area, Scobey is attracting
a number of the old Watters fans. The band
is in a solid Dixie groove, with Drummer Bill
Dart at last beating out the kind, of stuff he
is capable of. At Watters insistence, it is al-
leged, Dart gradually pared his traps down to
a state of almost non-existence. A few more
nights and nothing would have remained but a
cardboard box supporting a set of woodblocks,
say some local observers.
Kid Ory's Creole Jazz Band, now holding
forth at San Francisco's Venus Cafe,- is re-
ported not up to musical par as a result of
two substitutes in the lineup. Buster Wilson
and Budd Scott, both out due to illness, are
sorely missed in the rhythm section. And of
all things, we understand the new guitarist uses
an electric box!
Vivian Boarman, of Oakland's Yerba Buena
Music Shop, is instructing a class in New
Orleans Jazz at the University of California at
Berkeley.
Ellis Home, whose clarinet is remembered on
the Lu Watters Jazz Man discs, recently sold
his entire New Orleans collection to Ray Avery,
proprietor of the Record. Roundup in Los An-
geles. According to Ray, this collection is one
of the best in the country, and will be auc-
tioned in the Changer soon.
Another Norman Granz Jazz Concert was
held in Los Angeles' Shrine Auditorium on
October 22, following a break-in performance
in Long Beach two days earlier. Tenormen
Coleman Hawkins and Flip Phillips were among
the stars, as well as an abundant representa-
tion of top-notch soloists on other instruments.
Dave Ward, coast Ellington fan, now con-
ducts a Saturday afternoon record show on
KWIK between 2 and 4. Dave serves up a
heaping dish of Ellington, including many rare
items from his private collection.
At the spots: (Los Angeles) — Hangover, Red
Nichols; Palladium, Harry James; Aragon, Ted
Weems; Biltmore, Jan Garber; Ambassador,
Freddy Martin: Le Papillon, Phil Moore; Eddie's,
Pete Daily.
From Seattle comes word of the Rainy City
Jazz Band, playing the righteous at Club New
Orleans. The band presently plays on week
ends only, but has a Friday evening remote on
KIRO. Localites are pretty excited about the
music, which can be heard in a new Exner
album.
the record
changer
January 1949 Volume 8, No. 1
Editor-Publisher
BILL GRAt'ER, JR.
Managing Editor Production
ORRIN KEEPNEWS JANE GRAUER
Art Staff West Coast Representatives
GENE DEITCH— Cover & Cat ALBERT OTTO & JACK LEWERKE
SIMA RUVIDICH— Design & Typography 11800 Wilshire Blvd., Los Angeles 25, Calif.
CONTENTS
Dixieland Jubilee
Albert S. Otto
6
Jazz: A People's Music
The Editors
8
Brass Instrumentation
Ross Russell
9
Arise!
Bucklin Moon
1 1
Books Noted
Peter Drew
1 1
Ory Rhythm
Orrin Keepnews
12
Meet the Collector
Jack Lewerke
14
Good and Rare
Joe & Cecile Madison
15
Equipment
Gene Deitch
15
Records Noted
George Avakian
Bucklin Moon
Paul Bacon
16
The Cat
Gene Deitch
17
Aksel Schiotz
Edward Hill
18
Perpetual Portrait
Edward Hill
19
Record Exchange Section:
Advertisers' Addresses
23 Collectors' Display
Ads
Records for Disposition
25 Classical Exchange
Records Wanted
28
29
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Copyright 1948 By Changer Publications, Inc.
lemME
take this chorus
All things come to him who waits, or so
runs a proverb we helieved in our
younger, pre-jazz days. If we were still
as full of faith and hope as before hearing
our first Louis chorus — or even as callow and
trusting as before becoming enmeshed in the
deadly business of putting out The Record
Changer each month — we might really expect
the following things to come to pass in the
New Year. But even without taking our-
selves seriously, we pass these would-be
resolutions and wishes for 1949 on to you,
our worthy readers, who really deserve them :
No "progressive" critic will go on record
as claiming that be-bop is great simply
because it is Modern, or that all jazz played
before 1941 is decadent.
No decadent critic will go on record as
claiming that jazz died in 1884, and that the
only proper jazz instrumentation is African
tomtom, certified Bawdy-house piano, and
cornet.
A motion picture company will release a
film about jazz that won't have its grand
finale in Symphony Hall with a grand fusion
of righteous and classical music into third-
rate Paul Whiteman, and that will otherwise
be fit to sit through without agonizing em-
barrassment.
No record company will gather together a
group of studio hacks and produce The Very
Greatest American Traditional Jazz Album.
Instead, all companies will pour forth a
rash of Jelly-Roll, Oliver, and Bessie re-
issues.
The activities of the startling young
French and Australian jazzmen: the Luters,
Boilings, and Bells, will inspire some of our
tired local talent to more energetic musical
production.
A new uniform of the day will be pro-
vided for be-boppers : berets and dark glasses
will be discarded, chins shaved, and (flies
buttoned.)
No musical instruments will ever be re-
ferred to by any of the following terms :
tubs, doghouse, eighty-eights, licorice sticks,
and slush pumps.
Finally, and much more realistically, all
collectors and jazz-fans will spend a happy
year getting lots of kicks out of whatever
kind of music they happen to like best.
Record collectors are advised that Mr.
Reuben T. Gee, of Spartanburg, South
Carolina, has failed to reply to two letters
of inquiry concerning complaints which have
been registered against him by collectors
with Jacob Schneider.
dl
ixie an
d
The largest aggregation of Dixieland jazz-
men ever assembled under one roof took
over Hollywood's Pan-Pacific Auditorium
for a memorable concert a few weeks back.
Arranged by local disc jockeys Gene Norman
and Frank Bull, the program featured most
of "the" names of Dixieland, many of the
musicians coming by air from various parts
of the country.
Among the unprecedented collection of
jazz names on hand were to be found such
all-time greats as Edward "Kid" Ory, Louis
Armstrong, Zutty Singleton, Jack Teagarden,
Red Nichols, Jess Stacy ; present-day West
Coast favorites Pete Daily, Lou McGarity,
Eddie Miller and Wingy Manone ; and New
York headliners Wild Bill Davison and
Eddie Condon.
Although the duration of the program
(some four and one-half hours) was entirely
too long, the production was well-paced and
varied. Red Nichols and his group got things
off to a fine start ; they tore into an up-tempo
rendition of "Battle Hymn of the Republic"
which came as a terrific surprise to the
majority of the audience, who have .lately
come to expect from Nichols the subdued
swing of a modern small-band dance combo.
Outstanding were Red himself, blowing great
horn reminiscent of the early days ; Lou
McGarity, one of the real stars of the eve-
ning; Roily Culver, an unpretentious drum-
by albert s. otto photos by cecil charles
mer with a solid beat ; and the excellent bass
sax work of Joe Rushton.
Next came the local band of Ted Vesely.
This group typified the main flaw in the
entire concert : too many musicians are
unable to distinguish between Dixieland and
jamming. To play Dixieland requires more
than assembling a few musicians, however
accomplished, and stomping off on a standard
tune. Pianist Lee Countryman, 18-year-old
protege of Marvin Ash, was a standout not
only of this band but of the entire show. It
should be only a matter of time until he
receives the recognition he deserves.
Following Vesely came Kid Ory and his
veteran Creole Jazz Band. The difference
was immediately apparent. This was the only
band of the evening to keep the feet of the
audience continually stomping. Musicians
watching from backstage, some of whom had
never heard the band before, were enthu-
siastic in their praise. There was an equally
warm response from the crowd, whose
applause literally stopped the show.
Ory was followed by an "all-star" group
led by Jess Stacy. Good as these musicians
are, a band of individual stars suffer greatly
in contrast with an integrated, organized
Dixieland group. The outfit included Nick
Fatool, Heinie Beau, Nate Kazebier, George
Van Eps and Artie Shapiro.
Next came the "darling" of the Hollywood
"jazz" set, Pete Daily, with his Chicagoans;
they had a well-planned program, knew what
they wanted to play and how they wanted to
play it. (They should have — the scores were
right in front of them !)
A book salesman was also on the program.
He had, at one time, some repute as a
trumpeter. But he will henceforth be
remembered as a book salesman. The book is
his own story, Trumpet on the Wing (re-
viewed elsewhere in this issue) and he was
not the least bit hesitant about making sure
that all present were aware of its existence.
Wingy Manone apparently believes — mis-
takenly— that he's a humorist; he jived and
mugged incessantly, even through all the
solos of his sidemen. His own playing was
not up to par, either.
After Wingy came Impressario Eddie
Condon — the Stokowski of Dixieland — with
Wild Bill Davison, McGarity, Matty Mat-
lock, Stacy, Artie Shapiro and drummer
Morey Feld. Condon, wonderful showman
that he is, drew great response from the
crowd. This is the first time we've ever seen
a six-piece -band with a conductor! Wild Bill
of course was great, ranking with Country-
man and McGarity as the outstanding per-
formances of the evening.
Then there were the "Bob Cats," so billed
because of the presence of ex-Crosbyites
Nappy Lamare, Doc Rando, Matty Matlock,
Warren Smith and Eddie Miller. Eddie
fronted with his tenor, making fully the hit
that was expected, for opinion is near unani-
mous in these parts that he is top man on
Dixie tenor. Surprisingly fine was the trum-
pet work of studio musician Mannie Klein,
who is seldom associated with the Dixieland
style. Smith, regular trombonist with Pete
Daily, is again playing in the fine tailgate
style of his Crosby days while Nappy played
and sang in Tiis usual top-flight manner.
Louis Armstrong and his highly-touted
outfit finished off the parade of bands, and
we do mean finished! When Louis came on,
virtually all the musicians who had preceded
him waited in the wings to hear the Great
One play. Before the end of the first num-
ber. King Porter Stomp, the off-stage
audience had thinned to the doorman and a
few die-hards. For years now we have been
hearing that Louis' managers have kept him
trom playing the righteous. If Satch had any
desire to kick over the traces, here certainly,
at a Dixieland Jubilee, was his golden oppor-
tunity to do so. Everyone expected it, hun-
gered for it. But no; the Armstrong unit
gave the evening's most incongruous per-
formance. Theirs was a vaudeville act.
Porter King would have turned over in his
grave had he heard the riffs, the screeching
high notes, the razzle-dazzle technique. Other
numbers included interminable choruse of
Body and Soul featuring Barney, and some
Uncle Tom stuff by Louis and a buxom
female vocalist named Velma Middleton,
whose act included doing a split, to the sheer
delight of those who were eager to be enter-
tained. Louis should have realized that these
patrons wanted the McCoy. Instead he gave
them jam, Sid Catlett drum exhibitions, and
assorted mugging and convulsions by a "sen-
sational bass discovery" named Arvell Shaw.
The night's big surprise was the finale.
Fifty-four jazz musicians, assembled on
one stage at one time for the first time in
musical history, played "Muskrat Ramble"
and "South Rampart Street Parade," and it
actually sounded good! A big bouquet goes
to Matty Matlock for his splendid job of
arranging. Ten trumpets, 12 clarinets, seven
drums, 11 trombones, even including come-
dian Jerry Colonna, who came in for the
occasion ! There had been no rehearsal.
Scores were passed out an hour or so in
advance, and little groups of threes and fours
formed in various places backstage to quickly
run over their parts. Most of these sounded
awful. Many of the musicians were un-
familiar with the tunes. From where we
were, it looked like a holocaust.
Kid Ory and Wild Bill handed their scores
back to Matlock. Pete Daily said to Davison,
pointing to the outspread sheet, "You start
at this end, I'll start over here, and we'll
meet in the middle ! " It was with great mis-
givings that we watched the entire company
stream onto the stage and take up their re-
spective positions.
Matty, in front, raised his arms. There
was a moment of tense silence. Then he gave
the downbeat. Came the first chord of
Muskrat, strong and clean. The rhythm
sections went into a solid, rocking, steady
pace. We couldn't believe our ears. Here was
a 54-piece band playing arranged Dixieland
jazz, and it was thrilling!
There were few clinkers. Kid Ory prac-
tically took over the trombone section. Never
have we seen Ed blow like that. Proud that
it was his own tune, he gave it everything he
had, and he has plenty.
It was a rousing finish to a great, if not
entirely satisfying evening. The windup came
when Zutty Singleton, equipped with a bright,
mile-high drum major's hat and baton, led
the entire troupe from the stage, down one
long aisle of the auditorium and back on
another, to the marching strains of Panama.
Bull and Norman deserve credit. A
capacity house of some 8,000 was reportedly
on hand, with many more turned away and
the promoters plan to make the program an
annual event.
8
THE EDITORS RECOMMEND AN IMPORTANT NEW BOOK
A PEOPLE'S MUSIC
There have heen a great many books
written about jazz. Very few of them have
heen worthy of more than passing notice,
and less than a handful can claim any real
importance. This is not too surprising; dis-
cussing one art form by means of another
is a difficult task, as many a scholar and
critic has discovered. Although most of the
attempts to interpret jazz by means of the
written word have been unimpressive, there
have been notable exceptions : books which,
despite their shortcomings, have been of
great value in the jazz enthusiasts' crusade
to understand this music as fully as possible,
and to further its appreciation by as wide a
public as possible.
Hughes Pannassie's Le Jazz Hot was one
such book. A far-f rom-perfect volume whose
concepts have largely failed to stand the test
of time, nevertheless it opened up the entire
field of written jazz criticism. Jazzmen, de-
spite its limitations and frequent senti-
mentalizations, pioneered in the important
work of exploring the historical and sociolog-
ical background of the music. These have
been great jazz books, not so much for their
own merits as for the trails they have blazed.
It is our firm belief that Sidney Finklestein's
Jazz: A People's Music is to be added to the
limited list of important works on jazz.
The Record Changer editors consider this
an interesting, highly readable, musically
sound book. It is free from the most usual
failings of books on the subject, being
neither cheap, nor narrowly partisan, nor
pedantically unreadable. But it is not only
these virtues which have generated our
present high enthusiasm for Jazz: A. People's
Music. It is that we find this book to be the
first great step towards achieving for jazz
its rightful recognition as a reputable art-
form, an equal of any other body of music
and not a crude, delinquent younger brother.
Finklestein makes much of the falsity of
the customary division of music into "clas-
sical" and "popular," and this is the key to
his book's importance. He is certainly not the
first man to say that music can only be
divided into "good" and "bad," and that
much of jazz is as good as the best of any-
thing else. Most jazz-lovers have believed
this from the start. But he is the first to say
this in a book that presents its arguments
clearly, cogently, convincingly. And much of
this conviction stems from the author's
unique position among writers on jazz.
Sidney Finklestein is not particularly a
"jazz authority," but primarily a teacher and
writer of note in the entire broad field of
aesthetics. His earlier book, Art and Society,
dealt with the whole of art ; his evaluation
of jazz , takes on added importance because
it stems from an understanding of all music,
of all artistic expression.
In an effort to stress its unusual signifi-
cance, we employed the rather unusual pro-
cedure of printing two reviews of this book
in last month's Record Changer, one by a
traditional jazz authority and one by a
modernist. Before that, two half-hour discus-
sions of Jazz: A People's Music had lent an
erudite note to disc jockey Fred Robbins'
WOV (New York) radio show, with George
Avakian, John Hammond, Sidney Bechet,
Ross Russell (who wrote one of our re-
views) and Changer Managing Editor Orrin
Keepnews participating in round-table agree-
ment on the importance of the book.
But the Changer editorial staff feels the
need for further stressing of the unusual
nature and great value of Finklestein's effort.
Here, for probably the first time, is a mature
evaluation of jazz as a creative art. It is not
only that this author claims for jazz a
"legitirhate" position in the musical world.
He has gone on to analyze the history of
jazz in terms of this assumption of legiti-
macy, and thereby 'has written a book which
proves the validity of his claims.
He explodes the multiple myths that have
labelled jazz as African or primitive or sub-
conscious or wholly improvised music, and
substitutes for these the proposition that jazz
developed from the cultural needs of the
American Negro, and that it has progressed
from that point to become a constantly chang-
ing expression of all those — white and
Negro — who play it, hear it, or need it. On
the whole point of "what" jazz is, or "where"
it may be going, it is best to quote Finkle-
stein :
"Jazz can be defined, but only in terms of
a flexible, growing art, which changes as the
conditions under which it .is performed
change, and because thinking individuals . . .
responding to new needs, add something new
to something old. The "something new" is to
be judged not by whether it is simply old or
new, but by whether it is a genuine addition
to the music. . . . When it is such an addition,
it is "real jazz," precisely because it is dif-
ferent, and because experiment and change
are in the essence of jazz."
IN a discussion with the Record Changer
editors, Finklestein pointed out that jazz
has followed roughly the same pattern as
"classical" music, in developing from an un-
written to a more formalized music. This
does not mean that jazz has consciously aped
the historical pattern of any other music, and
that it will inevitably end in some "concert"
form. (That distorted view has only led to
attempts at artificial fusions of jazz and
"symphony," as in the misguided and essen-
tially barren efforts of the Whiteman-Gersh-
win-Grofe school.) What it does mean is
(Continued on Page 22)
IN BE-BOP
Howard mcghee
BY ROSS RUSSELL
instrumentation
Last1 month in an introduction to bebop
instrumentation the writer pointed out
that the insurgents making up the pioneer
bebop group were invariably disillusioned
large band sidemen whose creative impulses
led them back to small band jazz. It was also
emphasized that these revolutionaries gathered
at Mintons, during the war period infiltrated
52nd Street and there, during a four year
musical boom when every style had the
opportunity to be heard in its pure and un-
commercial state, emerged as the leaders of a
new style.
The general trend of simplification which
had rigorously reorganized the jazz rhythm
section meanwhile effected the substitution in
the front line instruments of the trumpet for
the brass section and the alto sax for the
reed section. These two instruments, es-
pecially as handled by Dizzy Gillespie and
Charlie Parker, together with the new spare
three-piece rhythm section, constituted the
first successful bebop band (1942-44). Heard
at Mintons, at the Three Deuces on 52nd
Street, and later on tour, the Parker-Gillespie
quintet set standards for the new way of en-
semble playing.
That the trumpet should assume leadership
of the new combination was inevitable. From
the time of New Orleans jazz the trumpet
(or cornet) had been the lead jazz voice.
Powerful, forthright and robust, its range
corresponded most nearly to that of the male
tenor voice which had supplied the lead in
pre-instrumental Afro-American music.
Buddy Bolden, King Oliver, Bunk Johnson,
Freddie Keppard, Louis Armstrong had_ all
been aggressive personalities, virile musicians
who dominated the musical groups with
which they associated. By the mid-1920's
Armstrong had become the most imitated
musician of the day. As a successful young
big-band leader he abandoned the early
cornet-ensemble style and, taking up the
trumpet, soon expanded its range and flexi-
bility, making it more individual in expres-
sion. The Armstrong trumpet style is the
foundation style of every trumpet player who
has followed him. There are certainly few
bebop brass men unfamiliar with Louis'
middle-period style.
red rodney
The "link" musician between Armstrong
and the present is Roy Eldridge, a figure of
only secondary position in jazz, but one
whose importance as a stylist is enormous.
Between 1936 and 1942, roughly that period
which begins with the eclipse of Louis Arm-
strong and ends with the ascendancy of
Dizzy Gillespie, Roy Eldridge was the most
listened to, admired, and imitated trumpet
player in jazz. Eldridge's records have only
occasionally captured the compelling force of
his playing (Heckler's Hop). Heard in
person, especially during the 1937-39 period
when he headed his own six-piece band, Roy
was the most exciting of musicians.
In effect, Eldridge took as his point of de-
parture the fantastic style of the middle
Armstrong period. Roy's trumpet went
beyond Louis in range and brilliance. It had
greater agility. His style was more nervous.
His drive was perhaps the most intense jazz
has ever known. After junking the small
band Eldridge jobbed around as featured
trumpet with large bands and was the "King"
until that memorable night in 1941 or 42
(Kenny Clarke, who tells the story, is not
sure exactly when) that Dizzy Gillespie
caught up with him at Mintons.
"Monday night was always a free for all
at Mintons," Clarke recalls. "All the young
musicians in town would be in the place with
their horns, waiting for a chance to get up
on the stand and blow. Big name stars used
to drop in, especially if they were playing
with the band at the Apollo Theatre a few
blocks away — Charlie Christian, Lester
Young and especially Roy Eldridge. Roy
was the king.
"Dizzy Gillespie had started out playing
like Roy, but had- gotten on the new kick,
working out his ideas with Charlie Parker,
Thelonious Monk, Nick Fenton and myself.
We had the regular band at Mintons starting
in 1941. Dizzy could play, man, and his
ideas were new, but try as he would Dizzy
could never cut Roy. Roy was just too much.
Roy had drive and execution and he could
keep going chorus after chorus. Every time
Dizzy tried Roy gave him a lesson, made
him pack. But Dizzy never quit.
"Then one night Dizzy came in and
10
started blowing. He got it all together that
night. He cut Roy to everyone's satisfaction
and that night Roy packed his horn and
never came back. Dizzy, was the new king
and the cats were already beginning to call
it bop."
Although ten years Roy Eldridge's junior,
Dizzy Gillespie could hardly be called an
upstart. As a high-note trumpet player
in the Eldridge tradition, Gillespie had very
early earned himself a reputation with band
leaders as one of the most effective section
and solo brass men. Happily, the disco-
graphical evidence on this musician, about
whom so much of recent history_ has been
written, is reasonably full. On his earliest
records (King Porter Stomp, Hard Times)
it is difficult to say the soloist is not Eldridge
himself — Eldridge with perhaps a touch of
the early uncommercial Harry James. Hot
Mallets with a Hampton pick-up group
already showcases a talent of high potential.
The two short solo passages are too fleet
and graceful for Eldridge. With the pro-
phetic Pickin' The Cabbage which Gillespie
composed and arranged, using revolutionary
rhythmic ideas, and on which he plays a
long solo utilizing whole tone scales, it is
plain that a large new talent has arrived.
Sometime later Dizzy overtook his teacher
at Mintons. Thereafter he was the idol of
the younger generation and shortly the
prophet of the new style. Once established,
Gillespie's talent increased in breadth and
depth, and indeed has yet to find its limit,
for Dizzy has not only played the role of
high priest of bebop, but displayed unusual
powers as writer, arranger, band leader,
entertainer and popularizer of its new idiom.
Of all -the beboppers, Dizzy is perhaps the
most solidly entrenched in jazz tTadition.
Oliver, Armstrong, Eldridge and Gillespie
are securely in linear contact with one
another. Gillespie's trumpet remains a lead
jazz voice, masculine and lusty (Salt
Peanuts). It is also capable of brilliant solo
flights (/ Can't Get Started, Confirmation) .
His range and agility are greater than those
of the earlier masters. His tone deliberately
has less vibrato. It is lighter, airier. Its
virtuosity is often fabulous. It can sing and it
can punch.
The technical ability possessed by Gillespie
has worked a hardship on his imitators, who
are prone to lose sight of the fact that Dizzy
was among the two or three ablest trumpet
players in jazz as early as ten years ago and
that his later innovations are grounded on a
thoroughgoing craftsmanship. Gillespie can
move with facility through most of three
octaves on his horn and his intonation every-
where in the register is controlled. It is
reasonable to predict that at least five years
must elapse before any considerable body of
jazz trumpet players acquire facility in the
new style.
There are many Gillespie followers, three
of major importance : Howard McGhee, Fats
Navarro and Miles Davis. McGhee belongs
to the Gillespie generation and is in fact a
musician whose first inspiration was Arm-
strong, and who turned towards Eldridge
sometime around 1938. McGhee's early solo
with the Andy Kirk band (McGhee Special)
evinces a style influenced by both Louis and
Roy. A favorite of Coleman Hawkins,
McGhee began to listen closely to the new
ideas emerging from the bebop experiments
and especially to Gillespie. At the beginning
of the present decade McGhee's style
changed with the times and on his Asch date
with Coleman Hawkins we can hear the new
ideas incorporated into the solos.
Howard McGhee is a resourceful and dis-
ciplined musician whose execution is
Dizzy
fats navarro
phenomenal even among the moderns.
McGhee has a powerful lip, great endurance
and moves in the upper register with ease;
he possesses the equipment and intelligence
to make good use of the new musical
language.
McGhee's solos are of solid construction
and tend to follow mathematical patterns
based on harmony rather than melody. As an
instrumentalist McGhee is Gillespie's peer . . .
witness the utter sureness of his solo on
Bebop. He seldom has off nights.
McGhee's tone is clear and compressed,
less like Dizzy's than Roy's. He plays with
great drive and with Dizzy's forcing beat.
But he is neither as original nor as impas-
sioned a musician as the master.
Fats Navarro lacks McGhee's brilliance
and Gillespie's stature. He is a quieter and
more subtle musician, a very delightful and
badly under-rated one. His tone is superb . . .
veiled and haunting, yet light and highly
personal. Navarro plays with a more relaxed
beat than Gillespie and McGhee. His phras-
ing is faultless. Much in the manner of
Lester Young, Navarro constructs long
phrases in which staccato multi-note passages
are balanced against shorter statements where
the notes are more hoarsely-intoned and dra-
matically placed.
Unfortunately Fats Navarro has been
heard little outside of New York, and his
recording performances have seldom done
him justice. A native of Key West, of mixed
Cuban-Negro-Chinese parentage, Navarro's
music presents a fascinating blend of flavors,
predominantly those of the jazz and Afro-
Cuban tradition.*
Barely twenty-one Miles Davis may be
said to belong to the new generation of
musicians. There is now a mounting body of
evidence that Davis is leading the way to or
* As this is written Fats has begun re-
hearsals for the new big band of Benny Good-
man who will feature semi-bop arrange-
ments and girl stars as Wardell Gray and
Navarro.
even founding the next school of trumpet
playing.
Nothing could be further from the
Eldridge-Gillespie school than the Miles Davis
trumpet. Miles plays a "soft" horn. He has
consistently been overlooked by critics
because he lacks the virtuosity of his con-
temporaries. Davis seldom uses the upper
register, preferring to play almost wholly
"within the staff." His tone is broad and
warm.
Davis' sound, and his sense of chord
changes and rhythm suspensions are very
close to the Charlie Parker alto style — he
has played much with Parker in the past
three years. As an idea man and influence
Miles Davis has just come into his full
powers. If his grasp of the instrument still
leaves something to be desired, he has shown
considerable improvement (Barbados, the
hymn) since his first record (Billie's
Bounce), and is certainly the trumpet player
to watch.
When one leaves the front rank of bebop
trumpet players it is impossible to find
musicians who are more than gifted or at
best promising camp followers. In passing
one lameits the untimely demise in 1947, at
the age of twenty-one, of Sonny Berman,
whom many thought a modern Beigan in the
making.
Trumpet players like Charlie Shavers, Al
Killian, Peanuts Holland, Cat Anderson,
Snookie Young, King Kolax and Pete Con-
( Con tinned on Page 21 )
11
members of the "more banjos and tubas
in jazz bands chowder and marching society"
f
arise!
TRUMPET ON THE WING, by Joe
"Wingy" Manone and Paul Vandervoort, II;
Doubleday; 256 pages, plus discography ;
$2.95.
The past year has seen a slight boom in the
exploiting of the odd living habits and
speech mannerisms of jazz personalities.
We have been offered the life-stories of such
natural subjects as Eddie Condon, who has
managed to make his name a household word,
and Mezz Mezzrow, who had a sensational
tale of jazz and vice to tell — and an almost
undecipherable jargon to tell it. Now Wingy
Manone, with the collaboration of Paul
Vandervoort II, continues the trend by tell-
ing us his "racy, uninhibited story," inevitably
described by the publisher as "a rich slice of
Americana."
In a lot of ways, Wingy's story is a
"natural," too. Deprived of his right arm by
a childhood accident, Wingy had a tremen-
dous handicap to overcome. Born in- New
Orleans, his travels took him over most of
the country — and apparently, into every two-
bit bar with a bandstand from "No People,
Idaho, to Pismo Beach." He has known just
about every bigname jazzman you could think
of. Add to this the appeal of Wingy's rough
and swinging trumpet style and his mad
scat-singing, and you're sort of entitled to
expect Trumpet on the Wing to be a fas-
cinating hunk of jazz history, maybe even
"a rich slice of Americana."
So when the Manone story, like so many
great expectations in this sad world, doesn't
turn out quite as well as hoped for, it's at
least a little disappointing. The trouble may
well be that we looked for too much of a
story from Wingy, but all the blame can't
be ours. Much of it is probably Paul Vander-
voort's ; he has saturated the text with more
labored and cute jive-talk than the eye can
stomach. While there's no point in totalling
the number of times Wingy is made to
address the reader as "Man !" it probably
averages one "man" per page, which is cer-
tainly several too many. Vandervoort seems
to have missed the vital point that was so
well appreciated by Thomas Sugrue (who
wrote Eddie Condon's saga for him) :
musicians' talk may sound amusing as hell
in small oral doses, but in a whole bookful of
cold print it can make the reader's skin
crawl. Nobody expects Wingy, or any other
jazzbo, to write like Proust, but 200-odd
pages of deliberately and inconsistently dis-
torlgd grammar and obscure slang is not
exactly readable.
Also on the debit side is the vast quantity
of stale and pointless jokes, unrelated to jazz
(and likewise unrelated to humor), sprinkled
all over the place. Furthermore, a dispro-
portionate amount of space in this rambling
book is given over to Manone's activities in
the Bing Crosby smart set, and to such
things as how Wingy "just rocked the joint,
that's all" in some obscure B-movie, while
a good many of the celebrated and un-
doubtedly interesting musicians he jobbed
around with are represented by little more
than listings of their names.
But this sort of negative criticism can de-
generate into a pettiness that ignores a book's
good points, and there are more than a few
good points to be noted. Despite everything
said above, there are some highly entertain-
ing tall tales in Trumpet on the Wing, such
as the fabulous story of how the one-armed
Manone prepared a fine Italian dish with his
feet. Much more importantly, there are —
sandwiched in between the stories about
people you never heard of and most probably
aren't interested in — a goodly amount of
rollicking anecdotes about Bix, and Louis,
and Sidney Arodin, and playing Texas tank
towns with Jack Teagarden. About riding
freights, playing at Italian weddings and
with an Indian vaudeville act, and thinking
up ways of skipping out without paying
hotel bills. Wingy has obviously had his
share of kicks, and created his share of good
music, and I'm willing to admit that anyone
even slightly more lenient than myself is
quite likely to forgive much of the corn and
the bad gags and the pointless little incidents,
and focus his attention on being knocked out
by the ups and downs of J. Wingston
Manone (!), that solid sender who is hip as
a dip and always has a reet pleat in his
sharp drapes.
And if any of my comments have annoyed
the authors, and they think I'm just a square
from Delaware, I can only borrow the words
of one of the book's incidental characters and
say in conclusion: "If I hurt your beat-out
feelings I beg your mother-robbin' pardon."
by bucklin moon
CD
It seems that subversive elements are at
work in the land. It was bad enough to
have Muggsy make snide remarks a few
issues back, but I let it go because Muggsy
once said that Be-bop sounded to him like
four Chinamen. However, it has been brought
to my attention that some upstart in some
one of the "little" magazines devoted to
popular music (it was Downbeat-ed) has
made a nasty attack. While it is' true that he
has objectively applied this only to a Victor
album called American Banjo Album, which
on the surface has no relationship to Jazz
Bands, on closer study the implications are
very clear.
For instance he starts out by saying: "the
trouble with the banjo as an instrument is as
follows — 1. It's so clumsy to get around on
that even the experienced banjois.t sounds as
though he forgot to take his gloves off when
a fast passage comes up ; 2. You can't sustain
a note except by a series of continuous
plunks ; 3. It's a lousy sounding instrument
anyway. "He ends his review by saying that
the album "was a nice try but why ruin a
perfectly good guitar player?"
Fellow members, this calls for action. I
could, of course, put this upstart in his place
by some such killing retort as "this review
was obviously written with both feet" but
what bothers me is that the cad had not even
the courage to sign his right name. He mas-
querades under the palpably false name of
"Herrick," when anyone in his right mind
knows that Herrick was actually a seven-
teenth century English poet — and in all prob-
ability a great friend of the banjo and other
early stringed instruments. One cannot help
but realize that this is but the beginning of
a plot to undermine the banjo with the
American people ! ! !
What I suggest is a huge demonstration
in Madison Square Garden, or possibly
Soldiers Field in Chicago. For the moment,
since membership seems strongest east of the
Rockies, the Coast seems out of the question
due to its geographic location. However, it
might be possible for members in that region
to stage a smaller demonstration, say in the
back room of one of the larger saloons in
Los Angeles. Remember, in strength there is
power !
Will all four members of the society get in
touch with me at once? Today it's the banjo,
but tomorrow it may be the tuba as well ! ! !
Bucklin Moon, President.
12
Veteran of
World War II, Minor Hall
I dward Ory
at the Yerba Buena Music Shop
Ory rhythm
BY ORRIN KEEPNEWS
Not so many years ago, Kid Ory was just
a jazz legend to most people, a New
Orleans tailgate trombone who'd played
on the early great Armstrong. records, drifted
out to the West Coast and retired from music
to a chicken farm in 1933. Then, eleven years
later, he was enticed back for appearances on
an Orson Welles radio broadcast, and formed
a band from among the New Orleans jazz-
men who had played with him on the pro-
gram. The rest is history — the history of
what is undoubtedly the greatest jazz band
now functioning, playing in the New Orleans
tradition as if they had never left the
Crescent City.
The Ory outfit plays, of course, in the
original tradition of unified band jazz, so that
credit for their musical excellence must be
pretty evenly distributed. But no small share
of that credit must go to three men who have
formed the base of the rhythm section for
the more than four years of the band's
existence, weathering, with Ory, personnel
changes in the other positions. All three are
New Orleans-born, veteran of other Ory
bands and of the great Chicago era. But all
have spent so many years in comparative
obscurity on the West Coast that their names
and colorful pasts are likely to be unknown to
many present-day jazz-lovers, which is a good
reason for examining the backgrounds of
Minor "Ram" Hall, drums ; Ed "Montudi"
Garland, bass ; and guitarist Bud Scott.
Saying that all three were born in New
Orleans isn't strictly accurate; Minor Hall
began life some fifty-one years ago in a small
settlement 18 miles outside that town. "Ram"
13
was a part of the heyday of New Orleans
jazz ; one of his first jobs, after learning to
play with a pair of sticks "stolen" from his
drummer brother, Tubby Hall, was with a
trio that incuded young Sidney Bechet. Hall's
first full-band job was with Ory, in a band
that he recalls as "one of the best," an outfit
that played for parades, for dances, and
advertised its dances in the traditional
manner : "we used to use a wagon, drive
around with a couple of horses, a couple of
mules," with Ory sitting in back and playing
tailgate.
Minor moved on to Chicago, where he took
his first drumming lessons, in a recip-
rocal agreement with Jimmy Bertrand.
"He said if I'd teach him the rhythm I
played, he'd teach me how to read, and that
was how I first learned to read, in Chicago."
After a spell in the Army towards the close
of World War I, Hall made his first trip to
the West Coast. Joe Oliver sent for him in
1921 to play an engagement at the old
Pergola ballroom in San Francisco. Ed
Garland and Lil Hardin Armstrong were in
this band, but Minor lasted for only two
months before he had "some sort of fuss"
with Oliver and returned to Chicago. Baby
Dodds replaced him with Oliver.
There he joined a band headed by the late
Jimmy Noone, playing at a place then called
The Nest, later and better known as The
Apex. He played and recorded with this out-
fit— which included Earl Hines, Joe Poston
and Johnny St. Cyr — for six months. Then
Ory, who had been on the Coast (first at an
Oakland ballroom, later on a barnstorming
tour) when Minor made his first brief trip,
sent a call for Ram to rejoin him. This time
he was out West to stay ; he wasn't with Ory
for long, but played in and around Los
Angeles from then on. He played dancehalls
and night clubs with Papa Mutt Carey, then
worked in a small band headed by Winslow
Allen until — to everyone's surprise — the not-
so-young Mr. Hall was among the first to be
drafted. He played drums in the Army for
six months, was let out six months later as
over-age, and spent the rest of the war with
Douglas Aircraft, until Kid Ory asked Ram
to join him at the Jade in San Francisco.
And this time he has, of course, remained
with the Creole Band to date.
Ed Garland, the bass player known to his
colleagues by the odd nickname of "Montudi,"
is New Orleans born (also at about the turn
of the century) and bred. His brother taught
him to play, and Garland claims to have
started his commercial career at the age of
11. He was part of a violin-guitar-bass trio
at a private party, and at about eleven o'clock,
Ed recalls, he fell asleep on his bass. At a
slightly more advanced age, he began filling
in for other bassists around town. This gave
him the distinction of appearing with most of
the legendary bands of the era ; the Im-
perial, Eagle, Superior, Robechaux's band.
When these outfits played parades, Garland
played mellophone, and sometimes bass drum.
Much later, when basses went out of style on
the West Coast for a while about ten years
ago, B-flat tuba was added to the playing list
of the versatile Montudi.
To clear up this. "Montudi" business before
going any further : Garland explains it this
way. "They tell me 'the Montudi' means the
Duke, the duke of some place, I don't know.
The way I got that name — we were playing
in a cafe and there was a fellow came in by
the name of Montudi, a very nice old man,
and he used to give us lots of tips and we
played different requests for him. So we
began calling each man in the band 'Montudi.'
Everybody else would laugh it off, but when
they'd call me Montudi I'd get angry about
it and want to fight the whole group. So they
juct continued calling me Montudi, Montudi,
until I began to answer to it. . . ."
He left New Orleans in 1914, taking a
band to Chicago to replace Freddie Keppard's
outfit on the Orpheum vaudeville circuit,
playing behind a girl named Mabel Lee Lane
who, as Ed recalls, had learned something
known as "the clock dance." Ed stayed in
Chicago for eight years — and the first new
addition to his band was a girl piano player,
whom he heard first as a salesgirl demon-
strating sheet music in a store at State and
34th Street. He asked if he could "use her
for the night," thus giving the classically-
trained Lil Hardin her first jazz-band job.
As Garland tells it, he was also responsible
for Joe Oliver's coming to Chicago, and
for the start of King Oliver's New
Orleans Jazz Band. "Yes, I'm the one who
sent for Oliver to come to Chicago. I sent
for Joe to organize a band to play at the
Royal Gardens, when it first opened up. Then
Honore Dutrey came through Chicago; he
was in the Navy, but told us his time there
was going to be short, so we told him to come
on back to Chicago anytime he got out of the
Navy. And Johnny Dodds came to Chicago
with a show and he was playing at the Mono-
gram, and so we got Johnny Dodds for it,
too. And finally, when we got all the group
together, we went on together as King
Oliver's New Orleans Jazz Band."
That band played at the Royal Garden, the
Dreamland, the Pekin, and then came out to
Frisco, to play at the Pergola in 1920 — the
engagement for which Ram Hall briefly
joined them. The band was in San Francisco
for almost a year; during that time Baby
Dodds joined them, Lil Hardin left and was
replaced by Bertha Gonsoulin. Finally they
came down to Los Angeles to play a short
engagement with Jelly-Roll Morton. Then
Oliver decided to go on to New York, but
Montudi had made up his mind that he
"wasn't going any further." With the breakup
of the Oliver band, Garland joined Baby
Dodds, and some others who wanted more of
the California climate, in becoming part of
the Kid Ory band. Garland remained with
Ory until the Kid retired to his chicken farm
in 1933. Then he formed his own group,
playing in the Los Angeles area until he met
Ory again at the memorable Orson Welles
broadcast. "Ory was playing again and it
seemed like it got good to him again, so we
sat down one day and had a little talk. The
boy who really wanted to get a band together
again was Jimmie Noone, and we all figured
to make Ory manager of the band. But
Jimmie died, and we had to go on without
him."
Third of the New Orleans rhythm men in
the Ory band is guitarist Bud Scott, whose
career has certainly ranged farther afield than
that of most jazzmen. Starting in the tradi-
tional pattern, he learned guitar at an early
age, studied singing in school, and first played
with Joseph Robechaux's band. But when he
left New Orleans in 1914, and travelled as
far as New York with a musical comedy out-
fit, Scott's voice was good enough to gain
him membership in the "Clef," an organiza-
tion that included Marian Anderson, Paul
Robeson, and Roland Hayes, and was the first
Negro group to make concert appearances at
Carnegie Hall.
He moved on to Chicago in 1923, joining
Joe Oliver, and immediately running to the
other extreme. Bud was the one who
shouted : "Oh, play that thing" on Oliver's
"Dippermouth" — certainly a far cry from the
Clef. On a short trip to California in 1923 he
played briefly with the Ory band, then re-
(Continued on Page 2l)
One of Ory's
Oldest Associates, Ed Garland
14
YERBA^UENA
5721 GROVE STREET
OAKLAND 9 CALIF.
WEST COAST JAZZ
SAN FRANCISCO BAY AREA
LU WAITERS YERBA BUENA
JAZZ BAND $1.05
WeC 118 Weary Blues/Pastime Rag No. 5
WeC 119 Sunset Cafe Stomp/Ory's Creole Trom-
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WeC 120 Ain't Gonna Give Nobody None of My
Jelly Roll/Triangle Jazz Blues
TURK MURPHY'S BAY CITY
STOMPERS $1.05
Turk Murphy, Trombone; Bob Scobey, Trumpet;
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JM 31 Kansas City Man Blues
Shake That Thing
JM 32 Brother Lowdown
Yellow Dog Blues
BOB SCOBEY'S ALEXANDER'S
JAZZ BAND 79c
Tri 242 Weary Blues/Sister Kate
Tri 243 Melaneholy/I Ain't Gonna Give Nobody
None of My Jelly Roll
PORTLAND. OREGON
CASTLE JAZZ BAND $1.05
HF 6/7 Ory's Creole Trombone
Georgia Camp Meeting
HOLLYWOOD
PETE DAILY AND HIS
CHICASOANS $1.05
J 12 Livery Stable Blues
Wolverine Blues
J 14 Bluin' the Blues
5:30 A. M. Blues
JAZZ FROM OTHER AREAS
SIDNEY BECHET, COLUMBIA
ALBUM C-173 $3.90
Containing
Sidney Bechet Quartet
Laura/Just One of Those Things
Love For Sale/Shake 'Em Up
Sidney Bechet with Bob Wilber's Wildcats
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I Had It, But It's All Gone Now/Spreadin' Joy
BOB WILBER'S WILDCATS ALBUM
RAMPART ALBUM A-I0I $3.93
When You Wore a Tulip, Camp Meeting Blues
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NEW CIRCLE RELEASES
THIS IS JAZZ VOL. 3
ALBUM S-15
Climbin' and Screamin' Album S-16
SOLO ART REISSUES, VOL. I
Baby Dodds
Drum Improvisation No. 2/ Buddy Bolden Blues
(Dodds Trio) Circle J1039 $1.05
Send for our complete list of available jazz
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meet the collector:
dave dexter, jr,
by jack lewerke
(The first of a series on well-known record
collectors) .
One of the best-known young men in
Southern California music circles is Dave
Dexter, Jr. When approached for this
series, Dave remarked that he wasn't "a real
collector." Most of his records, he said, were
"still back east." After seeing his local as-
sortment of perhaps seven or eight thousand
records, I asked him what he thought "a real
collector" was. His answer : "For one thing,
I never trade records. If I find someone who
likes a record of mine better than I, he gets
it as a gift. And I never collect for the label.
Many of my discs are dubs."
That Dave means what he says was proven
to me before I left his home after an evening
of playing and discussing recorded music. I
left with an armload of platters which he
insisted I take along merely because I ex-
pressed a desire to own them. (Don't worry,
Dave, I won't tell the vultures where you
live!)
Those who are acquainted with Dexter
through his writings as a former editor of
"Down Beat," later as publisher of his own
magazine' "Note," and more recently as
squire of the "Capitol News," or who have
listened to his Tuesday night KFWB radio
show, know him to be partial to Kansas City
jazz. This of course is natural, since he grew
up in the environment of Julia Lee, Count
Basie, Andy Kirk ct al. His liking for Julia
Lee goes back to the days when she played
and sang in the old George E. Lee Orchestra,
which recorded in K.C. for Brunswick.
Dave hauled out Brunswick 4761— Won't
You Come Over to My House/He's Tall,
Dark and Handsome. Several years ago
when Dexter was supervising the Capitol
"History of Jazz" series, he asked Julia to
cut House, which she did. The side was not
a hit, but more recently when Dave was re-
sponsible for the Nellie Lutcher version,
altered slightly to read, Hurry on Down to
My House, it was a sensation, as is well
known.
Dexter's "collection," even though he in-
sists it is not one, includes all the Capitols
which he was instrumental in having re-
corded. In addition to the Lutchers and Lees,
there a>re the St. Paul's Baptist Church
Choir, Joe Alexander, Jesse Price and others.
Dave also has a fancy for the dance bands
of the thirties : Noble, Arnheim, Kemp, etc.
In other styles, he is fond of Billie Holiday
and Pete Daily. Small group jazz is well
represented in a complete assortment of ten-
and twelve-inch Keynote discs. He believes
this to be one of the best all-round jazz
labels.
His rarest items, however, are to be
found on transcriptions. He is one of those
fortunate owners of a number of 16-inch
Ellingtons, as well as the Kenton transcrip-
tions which were cut during what he con-
siders to be Stan's "sane" period (circa
1942). This was the exciting new band that
first attracted attention at the Rendezvous
Ballroom in Balboa.
Any article on collectors should include a
word about filing systems. Dexter's might be
called the "Good God! It was here a minute
ago" system. He claims to know where every
record is located, but always seems to have
difficulty finding it too quickly. Oh well, we
must remember he isn't a "real" collector. . . .
Dexter is a rarity in critics. He doesn't
knock other critics nor musicians. He believes
music to be a matter of opinion; if the in-
dividual enjoys what he listens to, that's the
important thing.
A year or so ago Dave's book, "Jazz
Cavalcade," was published. If you want to
learn more about the taste and opinions of
Dave Dexter, Jr., we suggest you read it.
Whether or not you agree with all the ideas
expressed, you'll find it well worth your time.
15
good and rare
w
ith the cessation of hostilities, Germany
is slowly returning to such pre-war
pleasures as wiener schnitzels and beer
gardens, dancing and Music. And as the
Sauerkraut Serehaders warm up with their
version of / Wish I Could Eat Sausage Like
My Sister Skates, backed by It's A Treat To
Beat Your Feet On The Blue Danube Mud,
jazz once more comes into its own.
From 1939 to 1945 jazz issues were pro-
hibited in this country and so we must reach
well into the past to find material of interest
to collectors. Jazz records were issued mainly
by two firms, The German Brunswick
G. »i. b. H., which was connected with the
Gramophon G. m. b. H. (known by the
English label His Master's Voice) ; and the
El-ectrola B. m. b. H. The first label issued
jazz in droves, items by such outfits as Chic
W ebb, Louis Armstrong, Count Basie, Bob
Crosby, Hot Club Quintet, Benny Carter, and
other small combinations. At the same time
they pressed popular commercial records by
Jimmy Dorsey, Andrews Sisters, Mills
Brothers, etc.
The Electrola label was more frugal and
issued only some single items by Duke
Ellington, Tommy Dorsey, Benny Goodman
and Artie Shaw.
Currently Amiga and Imperial labels of
Germany are active in jazz recording.
The only information we can obtain con-
cerning Russian recordings comes from a
German correspondent who writes : "I doubt
very much if you'll really find one human
being in Russia engaged in the field of jazz
music." According to this correspondent, "If
there were interested parties they would not
be able to appear in public as any activity
aiming at a popularization of jazz music has
been prohibited by the Soviet."
Dutch Decca, under pressure from collec-
tors, is once again coming to life by issuing
some local Holland jazz. Newest combo,
features clary, trumpet, trombone, drums,
piano and bass and has just made Apex
Blues/Strange Peach for early release to
Netherlands collectors.
In Switzerland, an outstanding amateur
unit, the New Orleans Stompers, will shortly
record on Swiss label. This outfit has won
awards at various international competitions
with their Dixieland efforts.
Although there are such Danish labels as
Tono, Odeon, HMV, Parlofon, Brunswick
(Siemens) , the discouraging word is that no
jazz is being recorded in Denmark. However,
Scandinavian collectors want the U. S. to
from here
and there
by cecile and joe madison
take note that when Sven Asmussen joins the
Goodman Sextet this fall, added to Ake
(Stan) Hasselgard already in, you can
expect some real Szvedish Pastry.
On their label, AFCDJ, The Association
of French Jazz Collectors has just reissued
some very choice sides, available by sub-
scription only :
No. 1. Ellington Lil Farina/ Animal
Crackers.
No. 2. Ma Rainey Counting the Blues/
Jelly Bean Blues.
No. 3. King Oliver Chimes Blues/Snake
Rag.
No. 4. Lovie Austin Peepin' Blues/In
The Alley Blues.
In Australia two new labels are scheduled
to make their appearance, Elmar and Zenith.
These will feature Australian jazz by Sidney
musicians.
Memphis No. 4 has now been released,
with the Southern Jazz Group at their best
doing Dr. J azz/When The Saints Go March-
ing In. Another new issue is Frank Johnson's
Dixielanders, Bienville Blues/Leonard's
Shuffle on Ampersand 16.
We have urgent need for contacts in India,
and Mexico. If anyone knows a collector in
any of these countries we would appreciate
the address.
equipment
Old School
Modest
Home Craft
Custom Built
Hi-Fidelity
next month: "TECHNICAL EXPERTS"
16
GEORGE A YAK! AN
BUCKLIN MOON
PAUL BACON
records
noted
The All Star Stompers
Shim-me-she-wabble
Swinging Down the Lane
Avalon
St. Louis Blues
I Never Knew I Could Love Anybody
Can't We Be Friends
For this third album from the This Is Jazz
show Rudi Blesh has chosen to give us six
more sides by the All Star Stompers, which
is all right by me for I still have a certain
nostalgia for those Saturday afternoons at
two thirty. In fact Bob Aurthur's program
notes recalled it so vividly that after I read
them and stacked the records on the old
Magna vox I could almost see (and hear)
Colonel Blesh's shirt of many colors, which
was often seven degrees hotter than the
music, and his chin whiskers quivering in
time to Baby Dodds' wood blocks. Actually,
with no disrespect to these records, I think
that M. Aurthur's prose is the better per-
formance.
By this time all of the pundits have argued
out the last nuances of the band that, save
for small changes in personnel, was on the
show from the opening to the closing session.
With much of what has been said I agree.
No, the band did not play traditional New
Orleans style, but to those who said that it
played Dixieland I can only add, thankfully,
that this was even further off the mark.
There were others who claimed that with
Wild Bill in the band it sounded pure
Chicago, yet even on it's one or two off days
it never could be mistaken for the barefoot
boy' in the French, Shriner & Urner shoes,
in whose saloon Mr. Davison holds forth
nightly. Let's leave it at that — this was a
band neither for the traditionalists nor the
extremists.
Yet I don't think that calling it a hybrid is
the answer either, or at least the whole
answer. I think the band was striving
towards something, namely an attempt to
bring jazz up to the present without getting
off onto any of the tangents so many other
groups have taken. It held to the past but
never so rigidly as to be tagged as sounding
almost like so-and-so did in 1922 and though
it did some things which made a few of us,
myself included, chew our fingernails, it was
an attempt to assimilate them into a bigger
wholeness. I'm not at all sure they were
wholly successful always, or even half of
the time for that matter, but when it hap-
pened something pretty damned good was
usually the result.
In this album there seems to me less of this
than there was in the first one, though all of
the records are good. However, the surprise
to me in the whole batch was Can't We Be
Friends, which I put on the turntable ex-
pecting pretty much a Wild Bill "showcase"
treatment. Instead what came out was the
kind of thing that seems to me the proof of
the pudding, a wonderfully satisfying record
and one that shows clearly what can be done
with even the most banal pop tune every now
and then.
As I have said all the numbers in this
album are uniformly good. Some of the other
pop tunes here don't get into me the way that
the one I just mentioned did, and there are
really only three jazz standby's and one of
these, Avalon, less so than the others. I have
heard numbers on the broadcasts that I
thought were better than some of these but
the selection here is certainly catholic. And
although not inspired, these records won't
just sit around on your shelves. I think you'll
play the hell out them.
I said in introducing the first album that
I doubted that these records would ever be
thought of in the same terms of greatness as
the early Jelly's, the best of the Louis Hot
Fives, The Dodds' or the Oliver's. Having a
little time behind me and a lot more playings
I'm even more sure of that than ever. Yet
it seems to me that the chances are that they
may be pioneering in somewhat the same
manner ; for to me they point the only pos-
sible way out of our present dilemma.
Whether or not we make it, your guess is
as good as mine. (Circle S-15, $3.93) (B. M.)
Turk Murphy's Bay City Stompers
Kansas City Man Blues
Shake That Thing
Brother Lowdown
Yellow Dog Blues
This" gang draws largely from the Lu
Watters band, with Burton Bales on piano,
Mordecai on banjo, and Scobey, Murphy, and
Helm on the front line. Their quality is —
not too surprisingly — pretty much that of the
Watters band, without as much brassiness
and volume. Sounds pretty good, too.
The standout side of the lot is Murphy's
original, Brother Lowdown. The Watters
gang has always shown a striking ability to
come through with fine originals in the
traditional vein — something no other jazz
band of the last twenty-five years has done
nearly so well. Right there is one of the
secrets of the Watters band for my dough ;
the boys have been criticized for playing too
loud, too straight, and God knows what-all,
but they played stuff that nobody else had
the musicianship and guts to tackle, including
original material. Yes, I've heard it said
many times that Bunk Johnson would com-
plain bitterly that he had to play the same
old numbers over and over again because the
guys in his band couldn't learn new ones, but
I strongly doubt if any band in the jazz
field ever could have produced as many con-
sistently excellent originals as the Watters
crew has done.
turk murphy
Turk Murphy, beyond doubt, is the most
important sideman Lou has had, not only for
his fine writing but also for his gutty trom-
bone playing, which set the tone of the band
more surely than anyone else's individual
sound. On his own here, Turk has produced
a record date that stands up well alongside
all his previous work, and gives his fans a
fine chance to hear him with a smaller group
than has heretofore been possible.
The only distressing note is Harry
Mordecai's banjo alongside Burt Bales on
Shake That Thing and especially Brother
Lowdown, in which I must say he's either
out of tune, playing wrong chords, or plunk-
ing some "gone" inversions. Can someone
set me straight? — I just don't get it. But
everything else is in the proper groove. Bob
Helm's clarinet was never better, and Burt
Bales sounds better than ever. I think these
are Burt's first commercial records, although
he's been heard a good deal around town and
on air-shot discs of the wartime Watters
band and Bunk Johnson's San Francisco
band. I seem to remember him playing a lot
like Fats Waller in his living room, but
here he's got more of Buster Wilson's
equally two-fisted style.
Hearing these records makes me realize
that Bob Scobey's horn has been playing lead
on more Watters record than I realized. He's
even better here than on his trilon sides. As
17
for Turk, he has anear-perfect style for this
kind of music, and a tone that can't be beat.
He trots out the five-gallon can, too, for
some Ike Rodgers stuff. Get with this set.
(Jazz Man 31, 32).
Mutt Carey's New Yorkers
Indiana
Ostrich Walk
The first group of Careys that came out
on Century consisted of three highly em-
bdrrassed rags and a happy standard that
everybody knew. The impression that the
Carey band would do much better on more
of the latter is borne out here. Mutt's unex-
pected passing is especially unfortunate in
that he finally produced records under his
own name at the age of 56 — and they are to
be his last. And they are certainly fine ex-
amples of his playing, particularly Indiana.
This is an extraordinarily fine side ; I'd
say the best yet on the Century label. Carey
picks up the first chorus in driving fashion,
sounding very much like Wild Bill Davison,
but with greater force, if you can imagine
that. It would be no exaggeration to say that
this is the best horn imaginable for the New
York style that has grown up in Manhattan
during the last decade. It is perfect, that's
all.
Mutt adds a solo with mute later on, and
in the last chorus socks out the lead again,
oi>en. In between, Ed Hall is fine, Danny
Barker lays down some grade-A rhythm
along with Baby Dodds, and the whole spirit
of the performance is downright ideal.
Ostrich Walk is a weak sister by compari-
son ; nothing happens that isn'i done better
on Indiana. At that, it's still a pretty fair
performance. (Century 4013).
Punch Miller
Down by the Riverside
Panama
Back when I used to listen to the radio
every time the Casa Loma orchestra was on
the air, I used to get a great kick out of the
confusion of the engineers during things like
clarinet solos and Kenny Sargent vocals.
Main's the time the solo mike would be
closed and you'd hear Sargent singing way
off somewhere and the background of the
band booming up through your speaker.
That's the way it is for quite a while in
Down By the Riverside, and you know what?
I like it.
Punch, holding back too much, lets Ed
Hall and Ralph Sutton have the spotlight in
the first chorus of this slow version of Bunk
Johnson's theme, and the result is very nice
indeed. One of the best things about this
date, incidentally, is that there are only two
other men on it — Jimmy Crawford on drums
and Ernest Hill on bass. The studio Century
recorded Punch in seems to have been much
too small for a larger group ; the first Punch
Miller releases sound much poorer tech-
nically than this one. Sutton, cutting through
all the way (I would say that two mikes
have been used, one for Sutton and Hill,
another for the horns, and let Crawford fall
where he may), gives the record a distinctive
flavor and helps make_it rhythmically inter-
esting with such pleasant moments as the
transition into the last sixteen bars.
Panama is faster, more hectic, and some-
what less distinguished. As with the Mutt
Carey release, one side says all there is to be
said on the record, and thus Panama is just
another side. (Century 4014).
Dick Wellstood
Raggedy Anne
George Zack
Oh Baby, Look Out!
This is the first solo record of Wellstood'S'
piano work. While not typical, it shows off
his fast, clean adaptations of the Harlem
piano school. There's a lot of Johnson and
Waller in this record, and a snatch of Maple
Leaf Rag, but also a lot of Wellstood. He
has the attack and technique to stand up to
a man of the stature of Jimmy Johnson ;
maybe there isn't as much Origirfality as
you'd like, but it would be unfair to say that
this is just a copy. Chalk up* 'an excellent
performance for Wellstood, and it's good to
know that the promise of this year-and-a-
half old recording has been fulfilled. Wells-
tood has absorbed the Harlem school well,
and this record alone is sufficient proof.
Another derivative pianist, but of an older
period, is George Zack, whose Oh Baby,
Look Out is one of his best efforts on wax.
Once again, there's not much that's original
here, but it's nicely put together. Zack's
tasteful first chorus is followed by a good
blues vocal and then out with a little of Tin
Roof Blues and a couple of familiar turns
of the blues. The heavy rolling followed by
the sharply percussive flights of the right
hand are all here, and sound as good as
George ever played them. There are only
four choruses in all on this side, but they're
all you need. (Century 4002).
Lord Nelson and His Boppers
Stardust
Ratio and Proportion
Sonny Stitt's penetrating tone is the first
thing that hits you on this record, which
sounds as if it were made in a marble hall,
and Milt Jackson's vibes are the second.
Stitt gets an uncanny sound out of an alto,
tremendously sharp and metallic, and he has
good ideas to express with it. I can think of
easier jobs than rendering Stardust, accom-
panied by vibes, drums, piano, and a silent
trumpet, but Sonny acquits himself with
sparkle and grace.
Milt Jackson supplies the audible part of
the backing, occasional shimmering chords
being all that was necessary.
The reverse brings to light a trumpeter, a
pianist and a drummer, Willy Wells, Will
Davis, and Dave Heard respectively ; none of
the three is familiar to me, except that Heard
is the celebrated J. C.'s brother. Wells plays
an odd solo, beginning with part of Million
Dollar Baby, for no very valid reason, and
Da vis sounds like a pretty capable piano man.
Stitt has an invigorating 24 bars, in that
ringing, confident style of his, sounding as if
he could cut through the Goldman band, and
Jackson taps around with intelligent neatness;
Heard doesn't play loudly, he's more in the
tradition of his brother, bouncy and slick.
The bass is by Jimmy Glover, but he is not
well recorded. I forgot to mention that the
tune itself (at bottom a 12 bar blues) is
annoying, to me anyway, but there is enough
of interest to nullify that. (King 4235)
(p- B-) (Continued on Page 22)
18
concert notes:
by ednard hill
Only by extension of the mirror function
which is criticism's first fundament may
one take into account such circumstances
outside of a given actual performance in
preparing a report of the event and its
results. The reviewer may be considered
entirely true to his trust who confines him-
self to an account of what took place just as
it happened. Having done so, he is entitled
to .call it a day. Strings may depart from
their proper tension in vile weather; sound-
ing boards will perchance warp or hammer
felts be affected under extremes in tempera-
ture— or pranksters drop niblets of glue
between the pages of a score. Consternation
follows any such untoward circumstances or
misdemeanors and it is beyond the critic's
field of concern. But there comes a time
when the rules safely, honestly and for
simple hospitality's sake may be thrown over-
board. The critic, a man among men, can
manage to take advantage of his opportuni-
ties to behave in a gentlemanly manner.
(These opportunities present themselves in
almost every one of his working days.)
Certainly he must be a carping wretch who
would fail to take into consideration the
heart-moving situation which caused a
shadow to be thrown upon the career of
Askel Schiotz. New York's Town Hall was
occupied to its full legal capacity on the
evening of October 20th to herald the
Danish tenor's initial American appearance
and the artist was cordially received through-
out the execution of a program as taxing as
that likely to be undertaken by any singer at
the top of his form. Mr. Schiotz's reputation
had preceded him by several seasons via a
number of splendid recordings, by compari-
son with which his recital must be reckoned
a harrowing disappointment.
But wait ! Since the best of those records
were made the singer had undergone the
ordeal of brain surgery to assuage injuries
incurred as a soldier of his King. While his
memory is quite unimpaired, he has been
afflicted with a marked diminution of tech-
nical prowess. The voice, as presently pro-
duced, is but a pallid echo of its former self;
the co-ordination is there but the sense of
climax, although it may be called, will not
answer. There is little inkling of the true
range in size and texture, almost no definite
revelation of coloristic varieties. The organ
is, forsooth, etherized. Yet, this gallant
gentleman seems determined to carry on with
his career and his wish to do so will ever
find a companion heart in this reviewer's
prayers for his eventual full recovery.
Oratorio arias by Handel and Haydn
comprised the opening recital group and were
followed by a complete edition of Schumann's
great "Dichterliebe" cycle, to which was
added that composer's "Die Lotusblume."
Four Brahms songs and a group by Danish
composers brought the program to a close.
Among the three encores, Mr. Schiotz gave
a particularly winsome rendition of a dear
old friend, "My Lovely Celia."
Make no mistake, the intelligence and re-
finement of an artist of the first rank were
in fulsome evidence at all times. It is the
full flower of the emission that needs to be
recaptured. Askel Schiotz appears to be about
forty years of age. Granted that his mis-
fortune can be entirely repaired, he should be
able to grace the platform with his winning
presence for a' goodly number of seasons to
come.
all you
CATS
in the
los angelea
area. . . .
you 're
invited to
marie & gene deitch's
regular friday night
record sessions: cr 1-8240
CMS 621
Muggsy Spanier and His Ragtimers
DARKTOWN STRUTTERS BALL SOBBIN' BLUES
Muggsy Spanier, Trumpet; Pee Wee Russell, Clarinet; Lou
McGarity, Trombone; Gene Schroeder, Piano; Eddie Condon,
Guitar; Bob Haggart, Bass; Joe Grauso, Drums.
CMS 622
Bobby Hackett & His Orchestra
NEW ORLEANS SKELETON JANGLE
Bobby Hackett, Trumpet; Pee Wee Russell, Clarinet; Ernie
Caceres, Baritone Sax; Lou McGarity, Trombone; Eddie
Condon, Guitar; Jess Stacy, Piano; Bob Casey, Bass; George
Wettling, Drums.
CMS 623
Wild Bill Davison and His Commodores
JAZZ ME BLUES SQUEEZE ME
Wild Bill Davison, Trumpet; Pee Wee Russell, Clarinet; Lou
McGarity, Trombone; Dick Carey, Piano; Eddie Condon,
Guitar; Bob Casey, Bass; Danny Alvin, Drums.
List Price $1.00 Pius Tax
COMMODORE MUSIC SHOP
134 EAST 42nd STREET NEW YORK CITY
19
I
There are comparatively few men and
women who still live to tell of their
ecstasies of aesthetic sensation in the
presence of Jean l)e Reszke, and their recol-
lections are dulled by the passing of almost
five decades. Idolatry alone remains untar-
nished. They will tell you (or you may read)
of De Reszke's superb character delineation,
of the ineffably lovely chiaroscuro of tone
wrought in his throat and of the sublime
dignity of the artist whose perfection in
every last aural and visual facet of executive
technique was of a grace supernal. The narra-
tive, with its key dates, the listing of his
roles, and a few far-removed glimpses into
his personal nature is all that remains, and
the chronicle is as dry as his bones.
The career of Jean De Reszke is finished ;
there is no living testimony to perpetuate his
creative contribution to a world that was, for
a time, blest with his presence. There is no
encomium to do him justice. He was truly
great and he is truly dead, for this Master-
singer chose to suppress publication of the
two examples of his work which he recorded
and which might have immortalized him long
after he had ceased to be a memory and
had become only a name. Of the waxes
engraved without his knowledge during
actual performances at the Metropolitan in
1901 (his last season in America), the less
said, the less curiosity aroused — and un-
fulfilled, for these are blurred, primitive frag-
ments which tantalize but do not reveal to
any appreciable degree.
IT
Enrico Caruso was born in Naples in 1873
and died there in 1921, and although a gen-
eration has come to maturity since his pass-
ing, his voice and more than a little of his
personality are as alive today as when be
was at the height of his phenomenal renown
as First Tenor of the World.
Of all the millions of words written and
published upon the subject of Caruso during
and after his lifetime, not more than a
thimbleful are to be relied upon, and the
acres of type set by his publicists, effer-
vescent idolators — and slanderers— make a
sorry collection of source material for the
much-needed definite biography. His own
delightfully adept caricatures of himself and
of his contemporaries, published in La Follia,
tell more of the man's lovable nature than
all of the anecdotes. To listen to one properly
chosen record of his voice is to learn more
about his artistic being than can be gained
through reading all of the critics' reviews in
the musty files. Distortion is rife in the
prints but the recordings, although made
iong before the phonograph had emerged
by rdnard hill
perpetual portrait
from its infancy, tell the story with a fidelity
which holds for today and tomorrow all that
cannot be conveyed to any but the aural
sensibilities.
Those who wish to know which thirty-six
operatic roles Caruso emplo3ed during his
tenure at the Metropolitan will have no
tribulation in the quest and the dates of his
performances are likewise readily accessible.
For so-called "human-interest" stories there
are the blurb-sheets put out by the old Victor
Talking Machine C Oinpany to herald its
latest record releases, with their plenitude of
spot-news photos ; — Caruso entering the opera
house, Caruso on shipboard bound for La
Scala, Caruso playing tennis, Caruso clean-
shaven, Caruso with his newest mustaches,
three-quarter profile, full-length and
(actually!) Caruso with his back to the
camera . . . and . . . ad nauseam.
But the reverence with which Caruso's
name still is spoken owes itself not to
the lists nor to the pictures nor to the
nonsensical tales nor to any of the thousand
material swatches surviving. His corporeal
investment skillfully preserved and until
recent years on public view attracted only
those morbid swine to whom that for which
he lived is a blank.
It is the voice of a Mastersinger which
endures in perpetuity to recreate for us, at
our will, some of the fruits of his task upon
the earth.
Caruso and the science of sound perpetua-
tion emerged from prepubescence at almost
the same time, with results which scarcely
could have been happier had the artist and
the inventor been brothers of approximately
the same ideals and sympathies. It was in
1897 that Caruso's star cleared the horizon.
Shortly afterward one of the "mushroom"
companies of the recording industry's begin-
ning years engaged him to make a few
cylinders. These, the earliest surviving ex-
amples of Caruso's singing, reveal an open
and quite naturally Italianate method, a
lyric texture not boyish nor to any degree
uncertain — yet lacking in those qualities of
darkling splendor characteristic of his zenith
years. They conclusively give the lie to the
persistently reprinted misinformation that
Caruso, like his predecessor, De Reszke, had
begun his career as a baritone.
Within the next few seasons other com-
panies made other records and these, played
in chronological order with the earlier and
later recreations, enable us to trace the vocal
developments as well as the always increas-
ing authority and stylistic impact. However,
none of the pre-American cylinders or discs
are of much value to the student of bel canto
for re-recording apparatus is incapable of
contending with their vagaries of pitch,
volume and clarity. The faults are, of course,
the faults of the original, crude recording
machines and should in no wise be construed
as being attributable to artistic shortcomings.
Our fully rewarded interest in Caruso's
recordings begins with the series done at
Milan in 1002-3 when the tenor's endeavors
first bloomed to full advantage and brought
understanding recognition by himself and by
the impresarii of his true rtotential worth to
the world of music. Some of these matrices
were brought to the United States for
release as part of the now scarce "5000
Series" — the first (after the short-lived 2000
series) red-seal records issued by Victor.
They preceded the tenor to America by
several months, his debut here taking place
in late November, 1903. Indeed, it was a
/ 'esti la giubba of the 1902 group which
brought about Caruso's first Metropolitan
contract. The late Montrose J. Moses relates
that this disc was played to Heinrich Conried,
the Metropolitan's then manager, and that
Conried forthwith opened cable negotiations
with the tenor's agents. The ultimate results
of those enquiries admit of no extended com-
ment here and now. Nor need we dwell at
any length upon the peregrinations and
vicissitudes attendant upon the pattern of
existence which thenceforth was to be Enrico
Caruso's life on and off the lyric stage. Let
us concern ourselves more properly with the
Caruso who lives forever, enshrined within
the record grooves.
IV
In February, 1904, about ten weeks after
his New York debut, Caruso was taken to
Room 826 in Carnegie Hall t^ere to
transcribe the first ten in a soon-to-be lengthy
catalog of songs and arias. He was paid off
in cash, there being no contract in existence.
Rut the advisability of having Caruso's
signature on a recording contract very soon
became apparent and the formality was duly
realized. That contract was in force until
1913 when it was renewed (with revisions)
for an additional twenty-five years' duration,
thus outliving the tenor by seventeen years
and under the terms of which royalties to his
estate continued to be forthcoming. (Whether
or not Mrs. Caruso continues to receive
royalty payments, I have not inquired.)
Not all nor nearly all of Caruso's singing
on records which remains accessible is repre-
sentative of his best work nor of music's best
estate, and some of the recordings of which
copies are readily procurable were better
placed aside to make way for loftier flights
of song which repose within the vaults at
Camden. Examples of Caruso's singing at all
phases of his career reveal stirring things as
well as things less than deservant of un-
(Continned on Page 20)
20
perpetual portrait
(Continued from Page 19)
stinted praise. It is for the critically quali-
fied to listen and adjudge the inescapable
qualities and inequalities abundantly available
in imperishable presence. No excessive
laying-on of portamento in the later years
eludes recognition; — no carrying through of
limpid cantilena in the lyric decade is lost.
Those who have had word of his supreme
conception of the romanza, "Cielo e mar"
will do well to seek the 1905 version, with
piano, rather than the one made after the
brio had been supplanted by the spreading
of the focus resultant from too -many ad-
ventures with Rhadames and Canio and
Samson and Jean de Leyden. There is an
Una furtiva lagrima available today which
is in no wise comparable to the two-part
version done in 1904 and withdrawn from
circulation a generation ago, the hearing of
which invites destruction of the later matrix.
To be sure, certain of the items made
during the latter half of Caruso's career
merit the highest praise. Crucifixus from
Rossini's Stabat Mater (his very last address
to the recording horn) is a lesson in classical
singing. So with Lully's Bois Epais sung at
the same session. And there are others.
V
It is to his records that Caruso owed not
only a substantial portion of his income but
also a fame which, until the advent of radio,
was known by actual living example to more
people than that enjoyed by any other in-
dividual since the world's first musical tone
was uttered.
It is to Caruso, through these records, that
we owe much of our understanding and
appreciation of the heights to which vocal
art can rise and, God willing, will rise again.
He has bequeathed to a fortunate posterity
his Testament of Beauty and it will continue
to recreate itself for the benefit of human-
kind so long as there are those who will
listen and receive its message.
CAT-I-CATURES
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A decent respect for the great man's
memory requires that his future auditors be
exposed only to that work of his which is a
just representation of the best he had to
give. It therefore behooves a seasoned com-
plement of judges to act, by painstaking
process of elimination, for the permanent
removal of such items as might be entered
as damning evidence against his reputation,
and to ensure the preservation and the propa-
gation of some of his glorious moments in
our midst.
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Nat Gonella . . Bud Freeman . . Stan Kenton . . Lew Stone . . Glen Gray . . Earl Hines
21
VOL. No. 3
and
VOL. No. 4
of
INDEX
to JAZZ
/4%e StiM rfwZifaUe
No other publication shows
data on more Afro-American
jazz and blues recording
groups.
INDEX TO JAZZ gives you the
dope on jazz records where you
can find it. No messing around
with secret codes, etc. You turn
the page and you see the words.
The four volumes of the INDEX
contain data on more than 20,000
records.
The price of Vol. No. 3 and
No. 4 is $1.00 each. You may
order them from:
Gordon Gullickson
FAIRFAX. VIRGINIA
or
Orin Blackstone
439 Baronne St.
NEW ORLEANS 12, LA.
(Volumes No. I and No. 2 are now out
of print. Third editions of these volumes
are being planned.)
ory rhythm
(Continued from Page 13)
turned East. "Then Ory came to Chicago,
too. I played with him in Oliver's band." When
Oliver went on to New York in 1926, Bud
joined the Noone band at The Apex for a
while, and then went out to California to
stay. Out there he did movie work for a
number of years, doing "a little bit of every-
thing— talking parts, singing parts, vocals,
playing the guitar or banjo or violin" (He
had studied violin during his New York and
Chicago days and "played symphony for quite
a while").
Then, of course, came that 1944 Orson
W elles-broadcasts reunion with Ory and the
others, and ever since then, the huge Scott
has stood alongside the comparatively tiny
Ed Garland in the Ory rhythm section.
The background material and quoted state-
ments in this article are taken from a radio
broadcast intervieiu betiveen Ory band mem-
bers and Vivian Boarman of the Yerba
Ruena Music Shop, of Oakland, California.
Thanks are also due to her for providing the
pictures used on this page.
brass instrumentation
(Continued from Page 10 )
doli are often lumped with (he bebop brass
men but usually by reason of their high-note
work or pyrotechnical delivery, which per se
has nothing to do with the new idiom. These
musicians do not phrase in the contemporary
style. They are essentially swing musicians.
The trumpet players of the Stan Kenton
orchestra are capable and brilliant but
seldom play in a personal style. There is
greater freedom in the present Wood}'
Herman band, where Al Markowitz and
Shorty Rogers contribute excellent solos and
Ernie Royal's effortless high-note work is
stimulating. It is impossible to overlook Gail
Brockman of Chicago; Benny Harris, one of
the pioneers of the bebop movement ; Kenny
Durham, whose tone is unequalled ; Tommy
Allison, formerly with Boyd Raeburn and
now with Buddy Rich ; Ray Linn, ex-Rae-
burn first trumpet who now plays studio jobs
in Hollywood and is a musician of real
quality ; Benny Bailey, formerly with Tav
McShann, Neil Hefti, Shorts McConiieli,
Doug Metone and Tony Fuselli. But to date
none of these men have shown more than
interesting potentialities.
Bebop brass men constitute a school as
well established as the new form itself. They
have further extended the range of the in-
strument. They have added to its virtuosity,
speed of execution and brilliance. They have
produced a trumpet tone which is lighter,
rounder and more transparent. In the next
issue the writer will consider bebop REED
instrumentation and style.
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Holiday, New Orleans,
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As Always, Fairest Prices.
22
jazz
(Continued from Page 8 )
that jazz, in common with all forms of
creative art, has travelled a natural path
from folk-art simplicity towards urban
sophistication. Thus jazz now possesses the
body of New Orleans music, both the style
and the repertoire of beautiful tunes. This
remains as a source of continuing listening
pleasure, and also as a living, integral part
of all of the jazz music that has developed
out of the New Orleans foundation and is
constantly changing as its environmental con-
ditions change.
It is, incidentally, this theory of the altera-
tion of all art from early folk forms into
complex later expressions, which forms the
basis of Sidney Finklestein's more general
work, Art and Society. But he first developed
the idea from his study of jazz — a rather
striking example of the uses of an approach
that regards all forms of artistic expression
as potentially equal.
But in emphasizing that Jazz: A People's
Music is significant because it insists that
jazz is "equal" to any other musical form, it
is important to avoid the impression that
Finklestein is saying anything to the effect
that "jazz is just like long-hair, only it
sounds different." Jazz evolved in its own
individual way, under specific conditions
peculiar 'only to jazz. Finklestein's term is
that it is a music of "protest," a word open
to some misinterpretation. At least one re-
viewer (Bucklin Moon, in the December
("hanger) lias complained of the over-ap-
plication of this thesis, and it is true that the
word carries implication of sullen, angry
revolt and smashing of chains — which is
hardly what most of jazz sounds like. The
word may be unfortunate, but the author's
two uses of "protest" are actually quite
sound. Jazz is a music created primarily by
Negroes, who lived — and still live — under
conditions that deny them most other oppor-
tunities for expression. Certainly even happy
music can be considered as a protest against
a world whose regulations are designed to
keep a Negro from being happy. And Jazz,
says Finklestein, is also a musicians' protest
against the stagnating standardization of
techniques of playing and composing in con-
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Used in this sense, emphasis on the
"protest" in jazz is simply a logical exten-
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influenced by the specific conditions under
which jazz musicians live.
This article has not been meant as another
review of Jazz: A People's Music, although
it seems, at least in part, to have turned into
a book review. It is intended as an expression
of the editors' great delight on the publica-
tion of a new and different jazz book, an
important work which we earnestly recom-
mend to the attention of all lovers of music.
arnold b. stilwell's
RECORD DATING CHART
covering the period through 1930.
the answer
to every record collector's dream. The chart, 17" x 22", will teft you
at a glance the approximate recording and issuance date of any
record appearing on more than 100 labels issued before 1930.
an example of how the chart works
Let us suppose you pick up a copy of Richard Hitter's Blue Knights
on the Gennett Label. Record Number 3149, Master Number 9725,
playing "Stomp Off Let's Go." Knowing little about the record
and being unable to locate it in any of the standard refe
books you can go to your record dating chart and at-a-glance tell
that the record was made about June 1925 and released August
1925.
just a few of the labels
covered by this amazing chart: Ajax, Arto, Autograph, Globe, Hy-
tone, Black Patti, Black Swan, B|u Disc, Broadway, Buddy, Clax-
tonola, Dandy, Edison, Federal. Starr, Champion. Grey Gull, Radiex,
Globe, Madison, Pennington, Lincoln, Maxsa, Muse Harmograph,
Qrs, Sunshine, Polk, Winner. Triangle, plus all of the common
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in addition
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(Continued from Page n)
Johnny Dodds
South Bound Rag
Young's Creole Jazz Band
Tin Roof Blues
Johnny Dodds' clarinet noodles throughout
the first side of this unusual pairing, sup-
ported by Blind Blake on guitar and Jimmy
Bertrand on xylophone. There isn't much else
you can say about it, since it's far from being
one of Dodds' more important records, but it
does have a curious quality that I have never
heard before, thanks to Bertrand's xylophone
playing. He is gloriously ordinary on the
instrument, but it produces a different sound
that makes for a change of pace if nothing
else.
The Young's Creole Band side is patterned
after the New Orleans Rhythm Kings record.
(Even the label credit is N. O. R. K., and
that doesn't mean the Columbia backfield of
Nork, Olson, Rossides and Kusserow.)
Preston Jackson and Bernie Young are heard
in trombone and trumpet solos, while Happy
Caldwell confines his clarinet playing to the
ensembles. Young, whom I've never heard
except on these sides with Jackson, has a
pretty solid style and Cassino Simpson sup-
ports him nicely at the piano during this
chorus. (Century 3027).
Dobby Bragg
3, 6 and 9
We Can Smell That Thing
This should settle for all time that the
name is really Dobby, not Bobby. The guy
plays a fair honk piano, but rushes like hell
and never does explain the significance of the
title 3, 6, and 9. The talking resembles Pine
Top Smith more than somewhat: too bad the
piano doesn't. Bragg does better on the
reverse, although his lack of technique is
practically staggering. W*e Can Smell That
Thing is a rather distasteful side on all
counts, and you'd be much better off with
something like Jimmie Noone's record of It's
Tight Like That, which is much better music
on the same theme. (Century 3028).
Jimmy Blythe's Ragamuffins
Adam's Apple
Messin' Around
There are all too few records of Freddie
Keppard's hard cornet playing. This is one
of the better ones, although listening to
Keppard's horn on any record at all is rather
hard work, thanks to the extraordinarily
poor studios he was used in. Another thing :
stories are one thing and records are another.
Keppard may or may not have been a great
cornet player, but you can't prove it with his
records. He gets lost, fluffs, plays way out of
tune on Adam's Apple. (I have often won-
dered if it's really Keppard on this side.)
He's much better on Messin' Around, which
is a superior side in all respects except that
Trixie Smith intrudes with a typical Para-
mount vocal. Just stick to this side, and dig
Dodds and Keppart, and you'll be getting a
pretty fair earful. There's no question that
Dodds was a far greater musician, and as
I've implied before, I think Keppard may be
over-rated, but this side has some of his best
moments on wax, not barring the Jazz
Cardinals sides. (Century 3029).
HOW THE RECORD CHANGER WORKS:
23
Abbreviations used in the Classified
"Wanted" and "For Disposition"
Sections are as follows:
Col. I, Record Label:
Ac Aeolian
Aj Ajax
AM .... American Music
Ap Apex
Ar Artiphon
At Asch
All Autograph
At .... Aeolian Vocalion
Ba Banner
BB Blue Bird
Be . . . Beacon
Bl Berliner
BN Blue Note
BP ... Brunswick Polydor
Br Brunswick
Bt Beltona
BS Black Swan
Bu Buddy
Bwy Broadway
Ci Cameo
Ch Champion
CI Collectors Item
CI Clarion
Clg Clangor
Cn Chantal
Co Columbia
Com Commodore
Cp Capitol
Cq Conqueror
Cr Crown
CRS Collectors Rec. Shop
Cs Crescent
Cx Claxtonola
De Decca
OF Discophiles Francoises
Di Di«a
Dl Dolmetsch
Do Domino
DP Decca Polydor
Os Disc
Dx Deluxe
Ed Edison
EB Edison-Bell
El Electrola
Em Emerson
Ex Excelsior
Fo Fonotipia
FO Fonotipia-Odeon
FRM Friends of
Recorded Music
Ge Gennetl
GG ...... Grey Gull
Gl General
Gr Gramophone
Gt Gamut
Ha Harmony
He Homochord
Hg Harmograph
When it is necessary to indicate nationality of
the record, the following letters appear after
the record label abbreviation:
A Argentinan G •. . . . German
Au Australian I Italian
B Brazilian J Japanese
C Canadian M Mexican
E English S Swiss
f French Sd Swedish
In the "For Disposition" section the condition
of the record is indicated by these abbrevia-
tion!:
N (New): Surface noise equal to an unplayed
record: no visible or audible wear percep-
tible: original finish intact.
E (Excellent): Surface noise low. smooth, uni-
form. Not irregular or crackling. Easily dis-
regarded in listening. No perceptible distor-
tion.
V (Very Good): Surface noise somewhat
more prominent: light foreign noises, but
slight distortion, if any; noises not seriously
distracting.
G (Good): A moderate amount of surface
noise: background may be somewhat irregu-
lar and crackling: some foreign noises, and
a little distortion; on the whole, reasonably
satisfactory listening without undue distrac-
tion of attention. Foreign noises definitely
less prominent than the music.
F (Fair): Foreign noises, taken together, are
about as prominent as the music, and there
is considerable distraction of attention, and
listening requires some effort and concentra-
tion; nevertheless, under these copditions.
listening should be fairly satisfactory.
P (Poor): Foreign noises, collectively, are
louder than the recorded music: continuous
concentration is required, and there is little
satisfaction in listening.
Hgl Hargail
HMV. His Master's Voice
HoW Hit of the Week
HRS Hot Record Society
Id Ideal
Je Jewell
Jl .... Jazz Information
JM Jazz Man
Kn Keynote
Li Lincoln
Lu Lumen
Me Melotone
Ml Melba
Mo Monarch
Mp Masterpiece
Ms Master
MV , Musique au Vatican
MW . Montgomery Ward
NMQ New Music Quarterly
Ns Nordskog
Od Odeon
OL Oiseau Lyre
Op Olympia
Or Oriole
.Pa Parlophone
Pat Pathe
Pd Polydor
Pe Perfect
Pm Paramount
Pr Pro Musica
Pu Puritan
Ra Radiodisque
Re Regal
Ro Romeo
Ry Royale
RZ Regal-Zonophone
SA Solo Art
Sal Salabert
Sbl Sonabel
Sg Signature
SI Silvertone
St Sterno
Su Sunshine
Sw Swing
Sy Syrena
Te Technichord
Tfk Telefunken
TM Treasury of Music
Tr Triangle
UH United Hot Clubs
II . ... Ultraphone
Ve Velvetone
Vi Victor
ViE Export Victor
Vo Vocalion
Vr Variety
Vs Varsity
Vy Victory
Column 4 of the "For Disposition" section shows
the method by which each record is to be dis-
posed.
"SAL1': The record is for sale at the price
indicated.
"AUC": The record is at auction. The highest
bid takes the record. Bid only what the
record is worth to you.
"TRA": The record is for trade only. If you
are not familiar with the wants of the ad-
vertiser send for his want list. If you have
certain records in which he may be in-
terested, mention these in your letter.
The extreme right column in both the "Wanted"
and "For Disposition" sections shows the first
four letters of the advertiser's name. His ad-
dress is shown below.
ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE
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24
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*******************
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Name _
Address
FOR DISPOSITION'
25
T FOUR LETTER
address. SEE
PRICE IF
trace; mi
- - - -
METHOD OF disposition: "sal".
FOR SALE AT PRICE INDICATED.;
TRA " , FOR TRADE; "AUC", AT
UCT I ON.CLCS INC DATE -FOR 6IDS.
SEE PACE 6. ' T -A " TOR TRADE
iR AUCTION; "T-S" FOR TRADE
OR- SALE: "STA" FOR SALE.TRAOE
OH AUCTION.
condition of record: n-ne
E-cxcellent; v-very good:
—COOP ; F— fa i r ; P-POOR.
ILABEL of record.
ALL STAR TRIO
•HY DONT U/SIREN SOUTHERN SEA VI 35707 E SAL
all by self/keep that for
swanee/venetian uoon
AMBROSE OUCH
*0NT u/songs
cotton pickers congregation
ALBERT AMMOt.S
nagasaxe/boog «00G ST
ANDREWS SISTERS
VI 13766 E SAL
VI 1 9651 E SAL
B8 6837 E AUC
DEE 6453 E AUC
.50 BARR
.30 3ARR
.30 BARR
749 N SAL I .40 ZEIG
PRINCE FELL0*/l0VE IS WHEERE DE 2|60 E AUC MARC
VICTOR AROEN, PHIL OHWAN
MAPLE LEAF RAfi/CANADIAN CaPERSVI 22608 N AUC ARG
LOU IS ARMSTRONG
: • . ~ . »- ■ - BB 10225 N AUC MARC
OING DONG DAODY/BYE BYE Bl( TEUM )paE796 N SAL 1.00 OUNC
DALLAS BL/PUT TAKE(VENUTl) PAE 973 N SAL 1.25 OUNC
GOT NO BL/SUGAR FT STRUT PAE 2449N SAL 1.25 OUNC
KNEE OROPS/SKIP GUTTER PAE 2438 N SAL 1.00 DUNC
KIIG ZULUS 'LONESOME BL BRS I N SAL 1.25 GLOB
GEORGIA GDI NO /COME BACK SWEET BRS 3 N SAL 1.05 GLOB
BUTTER EGG MAN/SUNSET CAFE HC |6 N SAL 1.05 GLOB
KOKOMO ARNOLD
GOING DOWN GALILEE/SOMTHIHG
GEORGE AULD
ILL NEVER/CO PILOT
GENE AUST IN
ST LOUIS 3L/ST JAMES INF
BAILEYS LUCKY SEVEN
HULA LOu/LOVEY COME BACK
-- .:
homeysuckle rose/willow tree
OIWNHEARTEO BL/bEYOND BL HORIZ
CHARLIE BARNET
DE 7485 N T-A JACO
GU 1 28 E SAL 1.55 MOUL
BB 6S63 N T-A I .25 SNYD
GE 5363 V AUC
PAE 2201 N SAL
524 V AUC
JAM E
.00 OUNC
RATK
1 W Ml ZZ/NI GHT SONG
SB
I0l9l
E
AUC
KEND
NO NAME JIVE 1-2
BB
10737
E
AUC
KEND
FAMOUS OOOR/TIN ROOF BL
BB
I0l3l
N
SAL
.69 PARK
JUMP SESSION/SWING ST STRUT
BB
10172
N
SAL
.69 PARK
BL IN NIGHT/lSLE PINES
BB
1 1327
N
SAL
.69 PARK
OONT BE AFRA 0 TELL
RZ
1642
'.
AUC
PARK
FARE THEE WELL ANNABELLE
RZ
1762
N
AUC
PARK
CCUNT BASIE
SWINGIN THE 9L/SENT FOR U
DE
1880
N
AUC
MARC
GOOO MORN IN Bl/0UR LOVE WAS
OE
1446
V
AUC
MARC
MOONLIGHT SERENADE/) CANT BELIEDE
5036
V
AUC
MARC
RIFF INTERLUDE/LEFT MY BABY
CO
35321
N
AUC
CRAW
ALL OR NOTH ING/fcoON FELL RIVEROK
5884
N
AUC
CRAW
5 ocl whistle/wandering MAN
OK
5922
N
AUC
CRAW
STAMPEDE G MINOR/wHO AM I
OK
5987
e
dUC
CRAW
TUES AT TEN/UNDECIDED BL
OK
607l
N
AUC
CRAW
BEAU BRUMMEL/lLL FORGET
OK
6122
N
AUG
CRAW
BETCHA MY LIFE/DOWN DOWN DOWN
OK
6221
N
AUC
CRAW
FANCY MEETING u/l 23 OLEASY
OK
0319
N
AUC
CRAW
MY OLD FLAME/TOM THOMB
OK
6427
N
AUC
CRAW
GEORGI ANA/SLUES
DE
|682e/vauC
GERO
KING JOE ( ROBESON ) 1-2
0)
6475
E
SAL
1 . 15 ZEIB
:■: ■:■ ■"
NEW ORLEANS FEETWARMERS SET OF |5 HMV OISCS
PLUS SIXTEENTH BECGET ON GRF FREE GIFT N SAL t
rip up joint/laughin VI 27663 N SAL I.
BIX BE IDERBECKE
GOOSE P IMPLES/TRUM60L0Gy(tRAM)pAZ 2465 N SAL I.
THOU SWELL 1-2 PAE 2355 N SAL I.
GRAEME BELL
ALL THE GREAT FRENCH PACIFICS BRAND NEW SAL —
■ • :- :r.
RUSSIAN LULLABYE/(lOMBAROO) VI 26001 N SAL I.
BEN BERN I E
6385 E SUC —
4e08 - AUC —
LETS PUT OUT LIGHTS/yOUR TEL
IM YOURS/ONE SONG
CHU BERRY
too marvelous/now your talkin vr 532 V
D BESTOR/E.J.MC ENELLEY ORCHS.
SAY MR. /MOONLIGHT MANDALAY
25 COHE
ID ZEIG
25 OUNC
25 OUNC
COHE
40 ZEIG
MARC
MILL
AUC
19988 E SAL .20 BARR
BOOLA BO/HAREM LIFE
BOONES JUMPING JACKS
IM FOR IT/TAKE IT BACK
IRENE BORDONI
SO THIS IS LOVE/( 1923)
CONNIE BOSgELL BOBCATS
maltha/home on range
BROADWAY 8AN0ITS (B.G.)
YOURE T0p/( UN I S SUED IN USA )
BOBBY BREEN
MUSIC IN HRT/AIAKE WISH
HAPPY AS LARK/SUNNY SIDE
AVE MARIE/LARGO OMBRA MAI FU
VI 18654 E SAL
DE 8590 N AUC
VI I 9 I 99 - AUC
.25 BARR
ARG
MILL
DE 1600 E AUC — — J A ME
'RZ 1733 N T-A 2.00 LEVI
BB 7I58E/VAUC
OE I 950 N AUC
DE 2496 E+AUC
AL BRUNIES HALrWAY HOUSE ORCH
NEW ORLEANS SHUFFLE/SQUEE ZE MECO 54| V AUC
HENRY BURR/AM QUARTET
U REMIND ME MOTHER/nELLY KELLYV I 18957 E SAL
CAB "ALLOWAY
jiveformation/i AINT GETTIN N0WHV05I95 E AUC
CHATANOOGA caoo choo/a TRA in OK 6305 E AUC
JUMP JIVE/TRILON SWING VO 5005 E AUC
LETS GO J E /SMOOTHE ONE OK 6720 N AUC
TWEE TWEE TWEET/FOR LAST TIME VO 5| 26 V AUC
UNA MAE CARLISLE
LOVE WALKED IN
BENNY CARTER
wr.ND
Wl ND
W I ND
MARC
■ MARC
MARC
MARC
MARC
SHOOT THE WORKS/DREAM
BEALE ST/jOE TURNER BL
MELANCHOLY LULL/PLYMOUTH
SAVOY STAMPEDE/SCANDAL A FLAT -OK 5||2e/nAUC
CASA LOMA
VOL-
162
G
AUC
VO
2898
V
AUC
OK
6001
N
SAL
OK
4984
N
AUC
RAYAL GARDEN Bl/sAN CO 28S4e/vAUC
NEW ORLEANs/LADY ST PAUL BR 6486 E AUC
CARMEN CAVALARO
A DREAM/lLL SEE U IN OREAMS DE 4055 N AUC
DAY DREAMING/l DREAM TOO MUCH DE 4057 N AUC
MAURICE CHEVALIER
VI 2|9|8 - AUC
GERO
I . 40 ZE I G
MOUL
MOUL
GERO
3.50 PARR
MARC
MARC
LOU I SE
CHICAGO BLUES DANCE ORCH
BL GRASS 8L/H0USE DAVID
CH ICAGO F00T1ARMERS
BLLIN THE JACk/gRANDMA BALL
LADY LOVE/BROWN BOTTOM BESS
CLASSICS OF JAZZ
3923 E AUC
8533v/GAUC
1 2 N SAL
K END
2.00 ARG
COMPLETE NEW BRE SET |4 RECOROS
PLUS 1 5TH OLIVER GRF FREE GIFT —
ROO CLESS QUARTET
I KNOW U KNOw/PALETTE BW
LARRY CLINTON
BECAUSE OF u/SAHARA (GOLD)
CLICQUOT CLUB ESKIMOS
N SAL $ 22 COHE
ARG
AT CU'.C j*'i/lU'.: £ - j I c L
KING COLE TR I (
THAT A I NT RIGHT/hIT THAT
COLONIAL CLUB ORCH
H I TT I N THE BOTTLE/CLEAR BL
TTON P ICKERS
SISTER KATE/GOTTA COOL DOGS
WALK JENNY WALk/mAMA GOES
FRANC IS CRA IG
RED ROSE/COTTON TAIL
DEEP RIVER/ALL OAY LONG
WALTER CROWLEY
SHES GOT WHAT I NEED
NOTH I N BUT NICE/LETS
BB 11094 E AUC MARC
CO 92 1 V AUC WNED
DECI04II N SAL 1.50 ZAWA
BR 4858 E+SAL I. 1 5 ZEIG
BR 2338 E SAL
BR 2490 V+SAL
CO 1544 E+AUC
CO 1440 E+AUC
VI SSll'iv/GAUC
OK 8555 G AUC
I .65 ZEIG
I .15 ZEIS
GERO
GERO
CLARINET MOAN/LOVE
OK
8539V /gauc
GERO
SHES GOT WHAT 1 NEED
BB
5829
V
AUC
GERO
B 1 NG CROSBY
LAZY OAY/HAPPY GO LUCKY
BR
6306
E
CiJC
4,00
PARR
WHERE BLUE/DANCING DARK
BRE
2315
N
AUC
3.50
PARR
OOWN BY RIVER/SOON
BRE
1994
N
AUC
3.50
PARR
JUNE JANUARY/EVERY 8REATH
BRE
1951
N
AUC
3.50
PARR
SOUTH SEA ISLAND/ME ANO MOON
BRE
2263
iN
AUC
3.50
PARR
WERE U SINCERE/ONE MORE
BR
6|20
G
AUC
KAKE
GHOST OF CHANCE/jUST AN
BR
6454
G
AUC
KAKE
LOVE ME TONIGHT /SOME THESE
BR
6351
G
AUC
KAKE
LEARN TO CROON/MOONSTRUCK
BR
6594
E
AUC
KAKE
LOVE IN BL/STRAIGHT FROM
BR
6936
E
sue
KAKE
OUR BIG L VE SCENE/WERE A
BR
6696
N
AUC
KAKE
GIVE ME HEART/lM HUMMIN
BR
6953
N
AUC
KAKE
LOVE IN BL/STRAIGHT FROM
coc
6062
N
SAL
2.00
KAKE
ST LOUIS Bl/crE0LE(0UKE)
COE
898
N
SAL
4.00
KAKE
miss, mud/therell come
PAE
2097
>•
SAL
4.00
KAKE
MY KIND LOVE/AM 1 BL
PAE
2475
N
SAL
4.00
KAKE
GEMS FROM G.W. SCANDALS
TEST
20I02E
SAL
6.00
KAKE
MR GALLAGHER SHEEN/SMALL FRY
BRE
2653
N
SAL
4.00
KAKE
SOMEDAY SWEETHEART/LET ME CALLBRE
1992
N
SAL
4.00
KAKE
VERY THOUGHT u/TOUCH LIPS
BRE
3079
N
SAL
5.00
KAKE
JIMMY VALENTINE/wRAP YOUr(blOWUp)
E
SAL
5.00
KAKE
ME AND MOON/BEYOND COMPARE
DE
912
N
SAL
4.00
KAKE
GOOONIGHT SWEETHEART/TOO LATE
BR
6203E/NAUC
ZEIG
please/waltzing IN DREAM
BR
6394E/NAUC
ZEI G
HERE LIES LOVE/HOW OEEP
BR
6406
N
AUC
ZEIG
HONEYS LOVIN ARMs/(mILLS)
8R
6525
E
AUC
ZEIG
BING CONT INUED
LAST ROUNDUP/HOME RANGE BR 6663 V AUC —
SEND WANTS ON CO AND Vtf
LETS SPEML EJiTJiUlG HOME OK 2869n/eT-A I,
BTNG CROStW BLOIU'S
THE BOWER.Y/j I NGLE BELLS PLASTIC RECORD 3,
SERENADE TN Bl/rOBINS AND ROSESPLASTIC REC0RD3,
BOB CROSBY
2992 , 3 1 38, 4027, 4397
BLUE SURREAL/BLACK ZEPHYR
FIVE PT BL/BIG CRASH CHINA
SAVOY BL/SUGAR FT STRUT
FRANK CRUMIT
S 1 SSy/nETT I E IS Nl TW IT
JOE DANIELS
SWEET SUE/ST LOUIS BL
LITTLE DAVID
ORIG SWE T PA TOOT IE/STANDING DE 72 1 I N AUC —
EMORY DEUTCH
U STARTED SOMETH 1 NG/OR GA N PL BR 7979 N AUC —
JOHNNY OODDS (ORY, DOMINIQUE)
19 N SAL I
|2 N SAL 2
ZEIG
ZEIG
25 SNYD
00 ARG
00 ARG
DE
4290
N
AUC
P 1 KE
EDE
2537
N
AUC
PIKE
DE — —
E
SAL
1 .00
ZAWA
DE
44|5
N
SAL
.69
PARK
DEE
7 152
e
AUC
PARK
DEE
6300
N
AUC
PARK
DE I 729 N AUC
DE 953 E AUC
MY G1RL/6WEEP EM CLEAN
LADY LOVE/BROWN BOTTOM BESS
SAM DONOHUE
PICK UP GROOVE/BEAT BAND
DOROTHY DONEGAN
PIANO 800E/EVERYDAY BL
DORSEY BROS
BB I 1 285 E SAL
BB 8979 N SAL
6909 N T-A
8926 V AUC
OE 3963 G AUC
VI 26054 N AUC
GETTING SENT I MENTAl/sI NG
have little faith
j ihmy dorsey
jim/new hade bl
tommy dorsey
weary bl/boogie woogie
eddie duchin
dust on moon/never had chance vi 24664 v auc
lights out/moon over miami vi 252(2 g auc
ill stand by/love come out vi 25318 v auc
isnt it heavenly/l cover watervi 24325 v auc
billy eckstine
opus x/real thing del 2002e/nsal
CLIFF EDWARDS HOT COMBO
— PIKE
MARC
MARC
MARC
05 GLOB
00 AR G
.75 MOUL
.69 PARK
LEVI
WEND
WEND
KEND
WEND
WENO
WEND
WENO
.55 MOUL
ROY ELDRIDGE
FISH MARKET/TWILIGHT TIME
DUKE ELLINGTON
SWAMPY RIVEr/hOT BOTHERED
MISTY MORN/BL WITH FEELIN
RUMPUS I RICHMOND/lN MELLO
JUMPIN PUNKINS/8L SERGE
DELTA BOUND/BLUE MOOD
LAM8ETH WALk/pRELUOE TO KISS
solitude/delta SERENADE
ST JAMES INF/WHEN Sm(|0 BL BE
DOWN IN ALLEY (wASh)
12 st rag/rockim rhy(jungle)
moon mist/c jam bl
SEGER ELtTtB
SLEEPY TIME OOWN SOUTh/nO JUG OK 5966 N SAL
NEVER BE SAME/LETS FALL IN BB 10342 V SAL
ZIGGY ELMAN
DE
1 1634 v
AUC
BARR
DC
23383N
SAL
.69
PARK
PAE
582 N
SAL
1 .50
OUNC
PAE
2258 N
SAL
1 .25
DUNC
VI
26788 E
AUC
MOUL
VI
27356 E
AUC
MOUL
CO
37298 N
SAL
.69
PARK
BR
8204 E
AUC
MARC
VI
24755 N
AUC
MARC
PE
15272 E-
2.50
TASC
CO
1 076E/
3.00
TASC
BR
6038 E-
-2.00
TASC
V 1
27856 E
T-A
JACO
.40 ZEIG
.80 CRAW
ZAGC.I N Z IG/OUR M I NE
RUTH ETT ING
ONE IN WORLD/lM WALKING CO 1 830 N SAL I
I WANT TO MEANDER/NOW IN LOVE CO 1883 N SAL I
DEEP NIGHT/MAYBE WHO KNOWS CC 1 801 N SAL I
TED FIO RITO
I WANT TO LEARN TO SPEAk/swEETBR 7478V/EAUC
LULU8 BACK IN TOWn/u CAN BE K I BR 7452 E AUC —
BUD FREEMAN
THE EEL/CHINA BOY BB 10386 N AUC —
FRISCO JAZZ BAND
JAZ1 BANC BALL/RED WING PAC 606 N SAL I
DIPPERMOUTH/SENSATION PAC 6|5 N SAL I
GETTIN MY BCOTS/gEO WASH I NGTONPAC 63t N SAL I
NONE 0 MY JELLY/MAMIES BL
SL IM GAILLARD
bassolcgy/ah now
JAN GARBER
BB 1 03 1 6 E+SAL I.|5 ZEIG
.05 FARM
,05 FARM
,05 FARM
MARC
MARC
,05 CRAW
,05 CRAW
,05 CRAW
,C5 CRAW
0 SOLE MIO/lF U KNEW
ERROL GARNER
PAC 639 N SAL I
OK 6295 W SAL
CO 3547 N AUC
16
TWISTIN CATS TA1L/M0VIN ROUND BW
GERGE GERSHM IN
MANY ( SEND FOR L I ST ) AUC —
JAZZ GILLUM
OEEP W ATER BL/COULONT HELP BB 340709N AUC —
GOLDEN GATE ORCH (N ICHOLS— R-OLL IN I )
AFTER U GONE/lROB I SON) PE 14834 V AUC —
HEART BREAKIN BABY/( C ANDULLO ) PE 14874 E AUC —
GOLDEN i MARLOWE
LOVE SICK DARKy/mATPIVONIAL V| 35544 E SAL .
BENNY GOODMAN
HOUSE HOP/ANYTHING FOR U V I 25350 N T-A I ,
26
DISPOSITION
BENNY GOODMAN CONTINUED
DOWN BY OLD MILL/vOUPS IS
zaggin with zig/busy ac a
and the anqels/semt for u
sai cman/goocbye
riffin at ritz/~alexancer
somebody lovs me. jam session
sing sing sing 1-2
slue room/make believe
sweet sue/l never knew
p und ridge/ i got it bad
the count/l see million
why dont u do/six flats unf
anyth i ng/from i love to ano
i hear rhapsody/left heart
scatterbrain/i SWEET LETTER
uy sister/not complaining
tues at ten/air mail 6pecial
ive got gal/serenade in bl
love never went/l didnt know
dinah/vibraphone
8pdy soul/tiger rag
AWAPCL A/lNTERMEZZO
SUGLE CALL RAG/
LITTLE COUSIN/ZOOT SUIT
clarinade/june BUST IN
NOBODY BABY/BUDS WONT BUD
DARN THAT CPEAm/pEACE BROTHER
SLIPPED D I Sc/oMPHAPHA
RUSSIAN LULLASyE/cHANGES
CLARINET ALA K I Ng/hOW""LONG
U DONT KNOW/SOMEONES RCCKING
ON alamo/rattle ROLL
CANT U TELL/ONCE MORE
GOTTA EE THIS THAT 1-2
COULD U PASs/lVE GOT DATE
HONEYSUCKLE ROSE/sPR'NG SONG
FIESTA IN BL/l CANT GIVE
SWEET CA BROWN/UPUS £
darktown/after YOUVE
exactly like/love leave
•/our dangerous/birds of fea
this is new/bewitched
ye6 darl i nq/these things
somebody/lm always chasing
percidia/let C0ORKN0B
NOT MINE/lF U BUILD
soft as spring/down down down
oomph fafa/after u gone
shine/tiger rag
down home rag/mjsic hall rag
BUGLE CALL RAg/niT WIT
GLEN QRAY CA3A LrMA
NO NAME JIVE 1-2
LIONEL HAMPTON
C 0
35445N/ESAL
.70
MOUL
CO
35356
E
SAL
.70
MOUL
VI
26170
V
SAL
• 5f
MOUL
V 1
2521?
V
SAL
• 60
MOUL
VI
25445
■4
SAL
• 70
MOUL
VI
25497
E
SAL
.75
MOUL
VI
25 ,'=>-.
r.
r«L
.60
MOUL
V 1
260RS
E
SAL
.70
MOUL
VI
26089
E
SAL
.80
MOUL
CO
36421
N
AUC
~~~~
MOUL
CO
36379N/EAUC
MOUL
CO
36652
E
SAL
.55
MOUL
CO
36305
E
SAL
1 • 10
MOUL
CO
36937
E
SAL
1 .35
MOUL
CO
35241
E
AUC
MOUL
CO
36022
E
AUC
MOUL
CO
36254
E
6AL
— 50
MOUL
CO
36622
E
SAL
.70
MOUL
CO
35230
V
AUC
MOUL
VI 100 100
E
AUC
MOUL
vi 4ooi oe
E
AUC
MOUL
DCo3b44 I
N
SAL
• 60
MOUL
LAR36I36
E
SAL
1 .00
MOUL
CO
36050
E
SAL
.70
MOUL
VI
25467
E
SAL
• 65
MOUL
OK
6606
E
SAL
• 75
MOUL
CO
36823
N
AUC
MOUL
CO
35472
E
AUC
MOUL
CO
35331
E
AUC
MOUL
CO
36817
N
AUC
MOUL
0 0
11226
t
AUC
MOUL
OK
6544V /ESAL
.60
MOUL
OK
6534
E
SAL
.55
MCUL
CO
36988
€
SAL
• d5
MOUL
CO
35543v/esal
1 . 10
MOUL
CO
36013
E
SAL
.45
MOUL
VI
26000
E
ALC
MOUL
CO
35391
E
SAL
• 50
MOUL
CO
36755
N
SAL
• 90
MOUL
VI
26091
V
SAL
•65
MOUL
CO
36699
E
SAL
.65
MOUL
V 1
25406
E
SAL
•65
MOUL
CO
35977
E
AUC
MOUL
CO
35944
E
AUC
MOUL
CO
35910
E
AUC
MOUL
CO
35916
E
SAL
CO
35962
N
SAL
1.50
MOUL
CO
36580
E
SAL
.75
MOUL
CO
36219
E
AUC-
MOUL
519
V+AUC
RATK
556
G
AUC
PATK
COE 50 1 1
N
AUC
2.00
EMER
COE I003N/EAUC
2.00
EMER
OE 25C57 N AUC
FLY 1 N HOME i 2/pUNCH JUDY DE 2363
haventHnamcc it yet/im ON MY VI 26471
MANY FOR SALE OR TRADE VI
DE 18754,18719, 18669, |£6|3, 16394 EACH
W.C. HANDY
LOVELESS LOVE/WAY DOWN SOUTH
COLEMAN HAWKINS
I A INT GOT NOBODY/sUNr:Y SIDE
mop mop/my IDEAL
CLIFFORD HAYES
N
AUC
ClAR
N
T-A
1 .25
SNYD
E
STB
JACO
E
SAL
.30
MOUL
8162 N SAL I.|5 ZEIG
PAE 1625 N SAL
COM 540 E SAL
1.25
.45
DUNC
MOUL
CLEF CLUB ST0MP/8L TPOM
GRACE HAYES
I CANT GIVE U ANYTH I NG< I 928)
AUC
2 1 571
HEADQUARTERS FOR COUPLE TEHMV SETS
SPANIEP, BECHET, MEZZROW, LAOMIER, MORTON N
HORACE HE IDT
VI 3801 I N SAL 3.0C PI PE
M I LL
COHE
MINE/HELLO CUT IE
TURN ON HEAT/(SH ILKRET )
melancholy/! sh i lkret )
hut sut song/way u look
julianna/tulip time
FLETCHER HEMIEP.SON
happy as day/(bud freeman)
rose room/back in back ysrd
gulf coast el/downhearted bl
trees/whats STORY
DICTY BL/DO DOODLE OOM
HORACE HENDERSON
WHEN D REAMS COME TRUe/wING
coquette/still HAVE DREAMS
EVELYN HERBERT
SILVER MOON
LOVER COME BACK
tOODY HERMAN
1 535, 2^"„, 2440, 4293,
DALLAS PL/
WOODCHOPPERS BALL/BIG W|G
MltT HERTH
MANY SEND WANT LIST
VI 20608 E AUC
VI 22195 G AUC
VI 22222 G AUC
CO 36138 V AUC
BR 8|92 V AUC
WEND
WEND
WEND
WEND
WEND
DE
3885e/gauC
POUL
VO
351 1
V AUC
1.00
WIND
VO
14636
E+AUC
l.CO
WIND
vo
3760
E SAL
1.25
PIPE
CO
3995
E SAL
3.25
PIPE
OK
5748
N SAL
1.15
ZEIE
OK
584|
N SAL
1.15
ZEIG
VI
20995
- AUC
MILL
VI
21883
- AUC
M ILL
DE
E+SAL
1.00
ZAWA
DE
2629
N SAL
1 .00
ZAWA
DE
2440
N SAL
.90
ZEIG
DE
N T-A
LEVI
WEND
* END
■ WEND
HIGH HATTERS
LOWDOWN RHYTHV./GOT A FEELING VI 22C4| V AUC
IM DREAMER/u GOT HE V| -?2|46 G AUC
MY FUTURE PASt/(sh|L_k) V| 22444 V AUC
ALEX HILL
SONG OF PLOw/LETS hAVE VO 2848 N AUC POUL
TEDDY HILL (j* RIM CH)
GOT Me/hERE COMES COOKIE Pf 1 6093 V+AUC POUL
H ILLB ILLY FOLK TUNES
MANY IN CO 15000 SERIES CO N SAL ■ • - FARM
BR 100, CO 15000, VI 40000, MOST N SAL PIPE
EARL HINES
BL NIGHTS/GRAND PIANO VI 38096V/EAUC — WIND
RHYTHM SUNDAY/CANT BELIEVE
P I A N 3 MAN/FATHER STEPS IN
CALL ME HAPPY/BL BECAUSE
HIT OF WEEK RECORDS
LANINS, SPITALNY, HfRSH ETC
JOHNNY HODGES
KITCHEN MECHANICS DAY
MOON ROMANCE/YOUR
DANCE OF GOON/HOME
KRUM ELBOW BL/THERE
PASSION FLOWER/GOIN OUT BACK
SQUATTY ROO/THINGS AINT WHAT
BOB HOPE DOROTHY LAMOUR
FAVORITE BRUNETTE/BESIDE U
EDDIE HOWARD-TEDDY WILSON
EXACTLY LIKE u/wRAP YOUR TROUBCO 359|5 N SAL
SPIKE HUGHES
OK
6250
E-SAL
.90
PIPE
BB
10377
E+SAL
1.50
PI PE
SB
10835
E SAL
1.15
P IPE
HO*
/esal
.50
RATK
VO
491 7
E AUC
GERO
OK
5940
V AUC
GERO
VO
4941
N AUC
GERO
VO
4351
E AUC
GERO
BB
08|7
N SAL
1.00
PIPE
BB
I |447
E+SAL
1 .00
PIPE
CP
381
N AUC
ClAR
AIR IN D FLAT/SWEET SORROW
L IMEHOUSE BL
ALBERTA HUNTER
DADDY Bl/dONT HAND
EDDIE JACKSON
DEE 5|0|
DEE 3004
AUC
AUC
I SHAM JONES CONT INUEP
WHY DEAR /SUNNY TEN
LU IS JORDAN
BR 5066 V AUC
PM |20Cl E AUC
SLEEPY LEAD/MY OLD
HARRY JAMES
ciribiribin/avalon
flash/all or nothin (sinatra)
SHE I K ARABY/LaST TIME
friar rock/easy
SEPT RAIw/920 SPECIAL
ciribiribin/sweet ga 8R0WN
FANNY MAY/FOUNF NEW BABY
LA PALOMA/OONT CRY CHER I E
AL JOCKERS
SECONB HAND ROSE/BRING BACK
BABY IN LOVE/LEARN T" SMILE
HOW MANY TIMES/EVERYBODY STEP
JOCKERS BROS
meow/hindustan
J. P. JOHNSON
R 1 FFS/(OKEH RHYTHM K | NGS )
PETE JOHNSON
CHERRY RED/BABY LOOK AT U
CHERRY RED/BABY LOOK AT U
AL JOLSON
SUNNY BOY/RA I JBOWROUND
USED TO U/WHY CANT U
RUM TUM T I DOLE/HAUNTING
LOVIN TPAUMERs/(MURRAY)
ASLEEP IN DEEP/(W!LLS)
REVIVAL DAY/8ACK CAROLINA
DOWN WHERE SWANEE FLOWS
TILLY TIT W ILL
IM ALL BOUND ROUND
WEDDING BELLs/(tRI0)
rockabye baby
ill say she does/(murra y )
who played poker/(fox)
ive got capta i n
chloe/(burr )
wonderful k | d
yoo hoo/(bdy quartet)
u got me c00k00
every little while
old man river
lazy/my PAPA DOES
I SHAM JONES
SHENA I GANS/ UTS I OE PARADISE
U MY THRILL/ALICE WONDERLAND
I KNOW NOW/LAOY WHO COULDNT
AFTER RAIN/WHOS L NGING
HIGH BROWN 8L/SUN GOD
FAREWELL BL/sAW MILL RIVER
WHOS SORRY NOW/SWINGIN DOWN
EASY MZi_ODy/sOMEBODY WRONG
mama loves papa/stealin
steppin out/one i .0ve
my best girl/gotta get girl
remember/oh boy what girl
kismet/h^ppy
make 8el1eve/d0 u ever
wabash bl/ma
VO
2734v/gauc
CO
35316
N
AUC
KEND
CO
35587
N
AUC
KEND
PH
70E/VAUC
POUL
CO
36996
N
AUC
ORR
5l8
G
AUC
WATK
BR
8327E/VAUC
OUL
BR
8406
E
AUC
MOUL
CO
36146
E+AUC
MOUL
VO
14219
V
AUC
WEND
VO
|422|
V
AUC
WEND
VO
14255
G
AUC
WEND
CO
2639
V
AUC
WEND
PAE I072N/EAUC
3 .00
EMER
OK
4997
E
SAL
1.00
PIPE
VO
4997
E
AUC
PARK
BR
4033
V
AUC
WEND
BR
4401
G
AUC
WEND
VI
17037
V
AUC
WENO
V 1
|7| |9
V
AUC
WEND
VI
17915
V
AUC
WEND
CO
1 62 1
V
AUC
WEND
CO
2007
V
AUC
WEND
CO
2296
G
AUC
WEND
CO
2478
G
AUC
WEND
CO
251 2
G
AUC
WEND
CO
2560
V
AUC
WEND
CO
3746
Q
AUC
WEND
CO
2787
V
AUC
WEND
CO
2794
V
AUC
WEND
CO
2861
V
AUC
WEND
CO
2898
V
AUC
WNO
CO
3513
G
AUC
WEND
oc
3984
V
AUC
WEND
CO
2l8l
G
AUC
WEND
BR
3867
AUC
MILL
BR
2595
E
AUC
MORI
VO
391 1
V
AUC
WEND
VI
24516
G
AUC
WEND
RO
70607
V
AUC
WEND
BR
2243
AUC
WEND
BR
2271
V
AUC
WEND
A Y8R 2314
V
AUC
WEND
BR
2323
G
AUC
WEND
BR
2406
V
AUC
WENO
BR
2438
AUC
WEND
BR
2500
V
AUC
WEND
BR
2506
G
'AUC
WEND
BR
2567
V
AUC
WEND
BR
2750
G
AUC
WEND
OR
2963
V
AUC
WEND
BR
5021
C.
AUC
WEND
BR
5049
V
AUC
WEND
BR
5065
V
AUC
WEND
ST VITIS 0ANCE/800GIE
DE
853 1 e/vauC
GERO
MAMA MAMA BL/SMALL
DE
8627 N AUC
HONEY IN BEE/BARNACLE
DE
7556 N AUC
GERO
ROBT E LEE/OH
DE
3360 E AUC
GERO
HARD LOVIN BL/u
DE
7705 N AUC
GERO
JUNGLE' BAND
RL WITH FEELING/MISTY
VO
3229E/VAUC
P IPE
EDO IE KELLY* ASHBOARD
BAND
SHIM SHAMMY/wASHBOARD SAM
BB
7 1 48 E SAL
.90
PIPE
TEMPO KING (MARSALA , C ONDON,RUB IN, )
XWING HIGH/FLOAT IN 8UBBLE
BB
6780 E SAL
1.00
BARR
•AYNE KING
stardust/speakeasy
VI
24509 N AUC
CRAW
JOHN KIRBY
MAX I NE DENGOZa/920 SPECIAL
MOP MOP/PASSIPIEB
J.K. SPECIAL/KC CABOOSE
ORVILLE KNAPP
GOT T E LOWDCWN/riiGHTS
GENE KRUPA
AS
3571
N AUC
KEND
AS
3572
N AUC
KEND
AS
3573
N AUC
K END
BR 767 1 N AUC
BR 8 1 6 1 E AUC
OK 6|06n/et-a
OK E T-S
CO 36802 E SAL
THERES HONEY ON THE MOON
HAMTRAMCk/w 1 RE BRUSH STOMP
MANY WITH VOCALS ONLY
LEAVE US LEAP/DARK EYES
WHATS THIS/THAT DRUMMERS BAND CO 368(9 N SAL
YESTERDAYS/HOP SKIP JUMP CO 3693l N SAL
ON THE BEAM/HOOGE PODGE CO 35262 E SAL
THREE LITTLE WORDS/yOUR LUCKY CO 35366 E SAL
TIGER RAG/SIERRA SUE CO 35454 N SAL
ton i ght/never took ok 57i5e/vsal
ALL COMES PACK/HIGH OK 5883e/vSAL
DOWN ARGENTINA WAy/TWO OK 5826 E SAL
APURKSODY/jU GLE MADNESS OK 5997 E SAL
LITTLE BIT SOUTh/lETS GET AW OK 6 1 30 N SAL
FIGHTIN DOUG/NIGHT NIGHTS OK 6635 N SAL
7 KAY KYSER(G INFv'Y SIMMS' )
**T LONG LAST LOVE/NO RHYME REAS0N8R8209EAUC
WHEN I GO DREAMI N/PR| NCE BR 82 1 5 E AUC
DONT BRING LULU/DEVIL HOME T BR 7555 E AUC
UMBARELLA MAn/s|XTY SECS BR 8225n/eAUC
1 FELL UP HEAVEN/BETWEEN KISS 8R 8279 E AUC
GERTRUDE LAWRENCE
SOMEONE TO WATCH OVER ME VI 20331 N AUC
SOMEONE TO WATCH OVER ME/DO DO D02033I N T-A
POOR JOHN OE 23446 - AUC
SOMEONE TO WATCH VI 2033l - AUC
LEADBELLY
MARC
I -.25 SNYD
JACO
.55 MOUL
.60 MOUL
.60 MOUL
.60 MCUL
.65 MOUL
.65 MOUL
.55 MOUL
.50 MOUL
.60 MOUL
.40 MOUL
.60 PARK
.69 PARK
— — — MARC
MARC
MARC
MARC
MARC
ORR
I .50 LEVI
M I LL
M I LL
GRAY GOOSE/SCREWSALL
VI
27267
E
SAL
1 .00
P 1 PE
HAM EGGS/MIDNIGHT SPECIAL
v 1
27266
E
SAL
1 .50
PIPE
IM ON LAST
BB
8981
E
SAL
1 .00
P IPE
TED LEW 1 S
BROADWAY ROSe/mARGIE
CO
3351
E
AUC
ORR
R0S1E POSIE/EVERY DAY
CO
3591
N
AUC
ORR
DARK STRUT BALL/ALFX RAG BAND CO
I084E/GAUC
KEND
CLYDE LUCAS
WRECKED BRORE/ DEEP HEART
rEXASEL
5015
E
AUC
MARC
BLUES IN NIGHT/l SAIO NO
EL
5010
N
AUC
MARC
U GOT ME/THE SKY
DE
■2149
N
AUC
MARC
LUMBERJACKS
WHOOPEE ST0MP/(CAR0LINERS)
CA
9030
V
SAL
1 .50
PI PE
JIMMY LUNCEFORD
TAINT WHAT U DO/cHEATIN ON
ME VO
4582
E
AUC
MARC
HARLEM SHOUT/CANT ESCAPE U
DE
980
V
AUC
MARC
WHITE HEAT/U CAN FOOL SOME
VO
5|56 1
:/pauc
MARC
MIXUP/BLUE AFTERGLOW
CO
35919
N
AUC
MA RC
BACK DOOR STUFF 1-2
OE
18494
N
AUC
MARC
PRETTY YES/TIME TO JUMP
VO
5430
V
SAL
.70
MOUL
JEEP RHYTHM/l DREAM LOT
DE
18618
V
SAL
.60
MOUL
LIKE SHIP AT SEA/MARGIE
DE
1617
E
AUC
MOUL
BACK DOOR STUFF 1-2
DE
18594
E
AUC
MOUL
WHITE HEAT/jAZZNOCRACY
BB
57l 3
N
SAL
.69
PARK
CLAUDE LUTER
ALL THE GREAT FRENCH PACIFICS SWING
AND HARMO BRAND NEW FROM FRANCE
MATTY MALNECK
ALL SENO WANT LIST
WINGIE MANONE
JUST ONE G1RL/SHES CRYING
FREDDY MART IN
CO 35665 N SAL I . I 5 ZEI E
TELL ME U LOVE ME/WAY BACK
MY INTRODUCTION TO LOVE/LIFE
D ICK MC DONOUGH ( OH ICK
7438 E AUC
7422 E AUC
LLOCK VQC)
G R
•SCENE CHANGEs/BEACH BALI* ME 60808 E AUC
OLD FEELING/u ANO I KNOW CQ 8903 E AUC
BROWNIE MCGHEE
STEP UP AND GO # 2/wORKlNG MANOK 6698 E AUC
MEWPH IS F I VC
LONESOME MAMA Bl/lONGING BL PU 1I13|e/vAUC
OTHERS SEND WANTS ANO BIDS AUC
GENE KRUPA
MADAM SWINGS IT/QUIET ROLL EM PAE 29 1 3 N AUC
LET ME OFF/FLAMINGO n« 620l V AUC
COWBOY S ERENADE/rEVELLE OK 6266 V AUC
■ MARC
MARC
BARR
OA RR
EDMQ
EDMO
EDMO
EDMO
FOR DISPOSITION
27
j:as verrill
HOW DID HE LOOk/mISS JOHNSON 68 10986 N AUC
AS IB U DIONT KNOw/twIDDLIN BB II|49v/eAUC
MEZZROW LADN IEC
COMPLETE BRAND NEW SET OF 8 HMV
PLUS A NINTH FREE NEW GIFT DISC
GLENN M ILLER
10269 10286 10587 1 06 1 2 ea ■
10665 10845 10900 10982 BB •
1 1 163 11443 11474 I 1 230 BB •
I 1382 10931 I 1 386 I |40| BB •
27934 27935 27953 20-1509 vi •
20-1529 20-2412 VI -
WISTFUL BLUE/ANYTIME
MY Fl NE/s ILHOUTED
MILLS BLUE RHYTHM BAND
W I ND
W | ND
H SAL t 1 5 COHE
BE N/ESAL1
BB n/e SALI,
e; n/ztal I
OB N/E SALI
VI n/e SALI.
vi n/esal I,
DE I2e2v/EAUC —
BR 8034 G AUC —
?5 ZAWA
25 ZAWA
25 ZAWA
25 ZAWA
25 ZAWA
25 ZAWA
GERO
GERO
OK 61 19 N SAL I .40 ZEI G
POUL
3688 E+AUC
R I DE RED RIDE/CONGO CARAVAN
MILLS BROTHERS
SH1NE/GA ON M I NO
MITCHELLS CHRISTIAN SINGERS
BRIDEGROOMS HOMECOM I NG/wALK WITH0K5786 N AUC —
)TT5 MONOELLO
BURN 1 N STICKs/hERES YOUR CHAN RY f 8 1 7 N SAL 1.
MOONLIGHT AND PRETZEI
TRANSCR IPT ICN
RUSS MORGAN
E AUC
HMV — N SAL t
BB 10194 N SAL I ,
HOM JC54 N SAL 2,
VJR 19 N SAL I ,
VI 38527 e su. 5.
HMV 9221 N AUC 2,
FANCY MEETING u/lLL S I NG U BR 7742 E AUC
LADY MEETS GENT/SWEETHEART AL0HABR7728E/NAUC
DOES YOUR HEART BEAT/FOUND ROSEBR 7672 E AUC
JELLY ROLL MORm
COMPLETE BRAND NEW SET OF 6
TURTLE TWIST/SMILIN THE BL
GRANDPA SPELLS/CANNON BALL
TROMBONE MOANIn/u DDY WATER
SEATTLE HUNCh/fREAKISH
MOURNFUL SERENADe/ga SEH
BENNY MOTEM
TO GH BREAKS/lTS HARD TO LAUGHVI 38037v/GAUC
SPUD MURPHY
ECSTACY/DANC ING WITH DEB DE 2|09 N SAL
NAPOLEONS EMPERORS (LANG, TP, JO)
MY KINDA LOVE/MEAN TO ME 8B 7|0| N AUC
NEI FRIEMDS OF RHYTHM
SWEET E ': 0 v.f ; :.o VI 27412 N SAL
NEI 0RLENA5 BOOTBLACKS AND WANDERERS
MAO OOG/FLAT FOOT
ARG
15 ZEIG
KAKE
MARC
MARC
MARC
I I COHE
65 ZEIG
00 ARG
.50 ARG
.60 PIPE
.00 EMER
KEND
.65 MOUL
LEVI
VJR
VJR
VJR
1 N SAL
2 N SAL
3 N SAL
N SAL
I cant say/mixed salao
papa dip/too tight
peroioo/gate mouth
NORK
WEARY BL/WOLVERINE BL CO 509 N SAL 2
shimueshawabble/milneberg joys JA ZZ5006 N SAL 2
GOLOEN LEAF -TRUT/SHES CRYIN PLA I 1 6 N SAL 2
FRANK IE NEf TON
,00 VJR
■CO VJR
,00 VJR
.00 VJR
,C0 ARG
,C0 ARC
,00 ARG
VS +6|6 V+AUC 1.50 PARR
BR 67l I
VI 23033
CO
3047
E+AUC
AVER
VI
26421
E AUC
AVER
VI
26434
E AUC
AVER
WHERE OR WHEN/EASY LIVIN
RED NICHOLS f BG )
SWEET AND HOT/l GOT PHYTHM
AT LAST IM HAPPY/|F U HAVE
GERTRUDE N IE5EN
LATIN FROM UANh/mICDLE KISS
KATIE WENT HAITI
LOVE BECONEo/flEI SKAN
ray noble
blue danub£/| l ve u truly
yam/yam step(astaire)
tiger rag/japanese sandman
RED NORVO
I 8URREN0ER DEAfl/OLO FASH 1 0NEDC0 35688 N SAL
OKEH LAUGHING RECORD OK 4678 E AUC
OLD COLUMBIA VOCALISTS
OSCAR GROG AN, CHARLES HAUP, EO LOWRY
WATE
.50 PIPE
VI
24806
N
T-A
BR
1.STJ
E
SAL
VI
24577
E-
•SAL
.00 LEVI
.15 PIPE
.50 P IPE
MILTON WATSON AND OTHERS
KINQ OLIVER
CO
N SAL
BRS 2
N
SAL
1 .05
GLOB
HC 17
N
SAL
1.05
GLOB
HJCA 13
N
SAL
.99
ARG
VJR
N
SAL
2.00
ARG
JAZZ5008
N
SAL
1.50
ARG
VJR 22
N
SAL
2.00
ARG
'ragvjr 28
N
SAL
2. CO
ARG
BRE 3575
N
AUC
MARC
QE 5274
V
AUC
PENN
VO 1007
P
AUC
PIPE
CAMP MEET I Ng/lONOON BL
LONDON CAFE BL/CAMP MEETING
CHATANOOGA STOMp/n .0 . STOMB
RIVERSIDE BL/MABELS DREAM
JUST GONE/lM GO IN AWAY
WHERE 010 YOU 6TAY LAST NITE
MABELS DREAM/RIVERSIDE
ALLIGATOR STOMp/kROOKED BL
TOO bad/shag it (any offer)
K 10 ORY SUNSHINE ORCH
CREOLE TROM/SOCIETY BL
T I NY PARHAM-SAM THERD
FROQTCWN Bl/sPODEODEE
JACK PETTIS
SPAMBH DREAM /DO IN NEW LOWDOWNVI 21559 N SAL 2
BEN POLLACK ORCH (BG, TEA )
louise/wait til u cee Cher ie vi 2|94| n auc —
BASHFUL BABY VI 22G"< F AUC -
FRECKLE FACE/lVE COI 2531 V AUC —
COLE PORTER (PIANO 4 VOCAL)
YOUR THE TOP/THANK U SO MUCH VI 24766 N AUC —
PX 3 N SAL I .05 GLOB
DE 7780 N SAL I. I 5 ZEIO
50 PIPE
CRAW
CRAW
GERO
TEDDY POWELL
SERENADE TO MA I d/| LOVE U BB 11373 E AUC
SAM PR ICE TEXAS BL SIC I ANS
LEAD ME DADDy/alL RIGHT DE 8649 N AUC
QUINTETTE HOT CLUB FRANCE
DEE4|Cl0 N AUC MORI
DEE4I01C N AUC +-.50 EMER
MOUL
ARG
liza/belleville
l iza/bellev I LLE
yank rachell
bye bye bl/katie lee bl
boyd raeburn
tonsilectomy/forgetful
YEPXa/riP VAN WINKLE
BOYD MEETS STRAVINSKy/| ONLY
N _ATZ RANDALL
BESSIE COULDNT/l GET THE BL
DON REDMAN
8B3407I5 N AUC
JE
10000
E
SAL
.70
MOUL
JE
10001
E
SAL
.75
MOUL
JE
iooob
E
SAL
.70
MOUL
WE DONT KNOW FROM NOTHIN
RHYTHM CLUB LONDON
WM TELL/'J GAVE ME '
JOE ROBECHAUX N.O.
BR 433IE/NSAL I.|5 ZEIG
VO 3359 E SAL I .25 P I PE
BB 10557 N SAL I .4C ZEIG
RHYTHM BOYS
AUC GERO
AUC GERO
-?643
2575
I 21866 V+SAL 1.00 w I ND
PIKE
GERO
SOLa/i WOULD 00 V
RING OEM BELLS/40 V
WILLARO ROBISON/J. MARVIN
IF I HAD U/SUN AT WINDOW
HARRY ROY
HOME AGAIN BL/MILENBERG JOYS DE 2086 N AUC
FOUND NEW BABY DE 2752N/EAUC
SAVOY BEARCATS
HOT NOTE/STAMPEDE VI 20460 V AUC
ROOSEVELT SCOTT
DR BILL BL/BE MY BABY VO 5502 E AUC
PANAMA SPECIAL/LOOK UP AND DOWNVO 54;5 E AUC
BEN SELVir:
UNOER UKE TREE/lF | KNEW
3|30
18633
OaRDANELLA/| SLE GOLDEN DR VI
SEVEN GALLON JUG BAN
wipe em off/what co 2087v/eauc
ARTIE SHAW
ONE FT IN GROOVE/l N I TE ST IB 10202 E+AUC
POURED HEART SONG/.HEN WINTER BB 10307 V AUC
BL IN NITe(lIPS PA GE ) VI 27609 E+AUC
SWEET ADELINE/HOW DRY AM I VO 4|82 V AUC
NAT SHILKRET (BILLY MURRAY VI
v l 20474 E SAL
.65JAC0
.65 JACO
.25 BARR
.35 BARR
EDMO
EDMO
EDMO
JAME
r.KAJOu/RI 0 R I TA
BESSIE SMITH
LONG OLD ROAD/SHIPWRECK BL
GIMME PIGFOOT/TAKE ME FOR A
MIDNIGHT BL/BLEEDING HEART
OUTSIDE THAT/MAMAS GOT eL
YCOELING BL/LAOY LUCK BL
HOUSE RENT BL/WORK HOUSE BL
JSEPH C. SMITH (FREY AND BANTA PA)
OH MY DEAR/SOMEBODY SWEETHT
vamp/tell ME
CARAVAN/PAUL BIESE ORCH
WILLY THE LION SMITH
baba/tfopical MOOD
MORN I N A I R/pA SSHONETTE
BOYD SENTER
CO
14663 E+T— A
WATE
OK
8949 N SAL
*4.00
PIPE
CO
3936 N AUC
JAME
CO
3900 N AUC
JAME
CO
3939 N AUC
JAME
CO
|4032e/vaUC
PARR
18662
8360
F
SAL
.50
BARR
E
SAL
.30
BARR
E
SAL
.30
BARR
,65 JACO
MARC
NASTY MAn/sWEET
EDDIE SOUTH
KAT I /MAR'HETA
MUGGSY SPAIIIER
AT JAZZ BAND/LIVERY STABLE
COMPLETE BRAND NEW SET OF EIGHT HMV
PLUS A NINTH FREE NEW GIFT DISC
IJ0384, AND 10532 BB
i 'PPERMOUTh/s I STER KATE BB 10506 N AUC
IPPERMOUTH/BIG BUTTER EGG MANHMV 9033 N AUC
D1 PPERMOUTh/s I STER KATE BB I 0506 N AUC
VICTORIA SPIVEY
I HOUR MAMA/GOT THE BL
JESS STACY
GOOD MAN HARD FIND/HAREM
STUYVESAMT STOMPERS ( BLUMBERG )
shine/blue TAIL FLY PX
MAX INE SULLIVAN
PLEASE BE KIND/MOMENTS LIKE V| 25802 N AUC
ART TATUM (WITH BARNEY BIGARD SIX)
BL FOR ART SAKE/SWEET MB
JACK TEAGARDEN
A RHYTHM HYM/BL RIVER
TENNESSEE TOOTERS
GROUDHOG Bl/chANATCOGA
THREE KEYS
FOUND NEW 8A8Y
SOPHIE TUCKER
VO 266I V AUC G
VI 22847 N SAL I .00 BARR
HMV 9042 N SAL 2.00 ZAWA
N SAL 8 1 5 COHE
N COHE
N SALSl EA JACO
PIKE
EMER
PARK
VO 3505N/VT-A I .00 SNYD
VS 8|40 N SAL I . I 5 ZE IG
N SAL I .05 GL08
1 3 N AUC
DE 407I N SAL .69 PARK
I44 E SAL 2.25 PIPE
VO 2569 V AUC
SOME THESE DAYS 1928
MANY SEND FOR LtST
TURNER AND JOHNSON
GO IN AWAY 8L/R0LL EM PETE
UNIVERSITY SIX
VI 22049 - AUC
VO 4607 E+AUC
CONSTANTINOPLE HA 653 E AUC
CAMEL WALK/SAILORS SWEETHEART HA 36 E AUC
RUDY VALLEE
MILL
CARV
EMER
BARR
DRUNKARD SONG
VI 24739 N AUC
8l47 N SAL
8173 N SAL
2523 E AUC
VARSITY SEVEN
EASY RIDER/TIGHT LIKE THAT
POM POM/HOW LONG 8L
VOODODODEO BL/
VEHUTI LANG
WILDCAt/dOIN THINGS
JOE VENUTI
LIKE MELOOY FROM SKY/BECAUSE 8A0K4I056 E AUC
SOMETK 1 1* g/ NOT H I N OE 23|2 E SAL
HONEYS LOVIN ARMs/GOIN HOME OK 4|25| N AUC
RAG IN THE SCALE/PUT TAKE OK 4|432 N AUC
BEA WAIN
HELLO MA I DONE I t/hOW DID IT GETV I 2726 3n AUC
FATS WALLER
A I NT M I SBEH/SAVANNAH SUE VI 22 I 08 N AUC
SOCKS DONT MATCH/UP JUMPED U RB 8|4 N AUC
LIVER LIP JONES/COME DOWN 68 llOlO N AUC
U OUTSMARTED SELF/HOLD TITE BB 1 0 1 1 6 N AUC
U MUST BE LOSIN MIND/DONT GIVEB8CII539 N AUC
PAN PAN/OH BA6Y SWEET 88 11383 E AUC
HONEYSUCKLE ROSe/bREAKIN ICE VI 24826 N AUC
SWING DEM JINGLE/GONNA BE SORRYV 1 20 1 602N AUC
WASHBOARD SAM WASHBOARD BAND
1.65 ZEIG
I .65 ZEI G
EMER
BACK DOOr/wE GONNA MOVE
GET DOWN BROTHER U ST LE
BB 10280 N SAL 1.40 ZEIG
BARR
.50 BARR
CRAW
CRAW
JAME
MARC
MARC
MARC
MARC
MARC
MARC
MARC
C I AR
ARG
7001 N AUC
9018 N AUC
WASHBOARD WONDERS (WELLSTOOO)
MESS AROUND/BORDELLO DAYS
STEVE WASH INGTON
BL RIVER/LOVE ME
ETHEL WATERS
DOWN MY SOUL/STOP SELF
DOWN soul/worrying
LU WATTERS YERBA BUENA
MAPLE LEAF RAg/bLACK WHITE
SMOKEY MOKES/MUSCRATRAMBLE
CAKE WALK I N BAB 1 Es/r I VERS I DE
MILENBERG JOYS/DADOY DO
SUNSET CAFE St/l0ND0N BL
HIGH SOCIETY/TERRIBLE BL
CANAL ST BL/ANTIGUA BL
CREOLE BELLES/CHATANOOGA
TROMBONE RAG/SUNBURST RAG
CHICK WEBB
UNOER SPELL EL/LITTLE BIT
TISKET TASKET/LIZA
SQUEEZE ME/DREAMS COME TRUE
A INT WHATCHA DO/CANT STOP LO
CHEW CHEW CHEW/SLUMBERT IME
MAE WEST
EASY RIDER/GUY WHAT TAKES
FRANK WESTPHAL
STACK 0 LEE BL/FORGETFUL
PEETIE WHEETSTRAW
WHAT THAT/NO COUNT
8 I G APPLE BL/TWO
EDNA WHITE
BRAHMS LULLABYE/OLD REFRAIN
PAULW H ITEMAN
PX
2
N
SAL
1 .05
GLOB
VO
2609
V
AUC
GERO
8B
1 1284
N-
AUC
MARC
B6
1 1264
N
SAL
.69
PARK
JAZZ
BAND
JM
1
N
SAL
1 .05
CRAW
JM
3
SAL
1 .05
CRAW
BL JM
5
N
SAL
1 .05
CRAW
JM
13
N
SAL
1 .05
CRAW
JM
13
N
SAL
1 .05
CRAW
JM
15
N
SAL
1 .05
CRAW
WC
101
N
SAL
1 .05
CRAW
WC
102
N
SAL
1 .05
CRAW
WC
103
N
SAL
1 .05
CRAW
DE
831
V
AUC
MARC
DE
1840
E+AUC
MARC
OE
|7|6
E
AUC
MARC
1 DE
2310
E+AUC
MARC
DE
2389
E+AUC
MARC
BR
6495
E
AUC
3.00
PARR
CO
32
N
SAL
1 .05
FARM
DE
7823
AUC
GERO
DE
7753
N
AUC
GERO
CO
2603
V
AUC
WH 1 T
HAD BE u/HOODOO MAN
VI
19339
E
AUC
CARR
SWEETHEART LANe/yANKEE PR 1 NCESSV 1 1 8977
E
AUC
CARR
TRICKS/COAL BLACK MAMMY
VI
8939
E
AUC
CARR
SECONF HANO ROSE/HAVE U FORGOTTEN 1 881 8
E
AUC
CARR
LEARN TO S'RUT/THIS IS VENICE
VI
19252
E
AUC
CARR
KALVa/eVERYBODY STEP
VI
18826
E
AUC
CARR
MAKE 8ELIEBE/S0ME LITTLE BIRD
VI
18742
E
AUC
CARR
APRIL SHOWERS/WEEP NO MORE
VI
18825
E
AUC
CARR
VALENC 1 a/nOMORE WORRY
VI
20007
E+AUC
CARR
RAMONA/LOVELY MELOOY
VI
2l2l4
E
AUC
CARR
LAST NIGHT/lF 1 CANT GET
VI
19139
E
AUC
CARR
NO FOOL IN/LULU BELLE
VI
20019
•E
AUC
CARR
ciribiribin/just MEMORY
VI
20081
E
AUC
CARR
BROKEN HEARTED/cOLLETTE
VI
20757
E
AUC
CARR
journeys end/hearts young
VI
ie985
E
AUC
CARR
avalon/best ever medley
VI
35701
E+AUC
CARR
MY BL HEAVEN/(RW KAHn)
VI
20828
E
AUC
CARP
ORANGE GROVE/ DANCING H0NEYM00NV 1 1 9 1 69
E
AUC
CARR
CANAOIAN CAPERS/B IM INI BAY
VI
18824
E
AUC
CARR
CRINOLINE DAYS/PACK UP SINS
VI
18983
E
AUC
CARR
DEAR OLD 60UTHLAND/CALL IT
VI
18856
E
AUC
CARR
1 GAVE U Up/lVY
VI
19003
E
AUC
CARR
INDIAN LOVE CALL/TELL HER
VI
19517
E
AUC
CARR
IN 60UQUET/ANGEL MIA
VI
21388
E
AUC
CARR
JUST AS LONg/bLOWINBUBBLES
VI
18960
E
AUC
CARR
PARADE/M» GALLAGHER
VI
19007
E
AUC
CARR
LOVE HAS WAY/YES YES IN EYES
VI
19309
E
AUC
CARR
whispering/japanese SAND
VI
18690
N
AUC
CARR
WONDERFUL ONe/nEATH MELLOW MO
VI
1 9019
E
AUC
CARR
NEATH SOUTH SEA MOOn/up U
VI
1891 1
E
AUC
— CARR
IN LOVE WITH LOVE/RAGGEDY ANN
VI
19187
E
AUC
CARR
ROSE MARIE/MY ROAD
VI
19461
E
AUC
; CARR
ORIENTAL F0RXTR0P/3 OCLOCK
VI
18940
E
AUC
CARR
1 NEVER KNEW/DO U1 EVER THINK
VI
18734
E
AUC
CARR
COMI N0/MAMMY
VI
18737
E
que
CARR
MANY 18000-19000 SERIES
VI
AUC
RATK
MISSOURI WALTZ/BEAUTIFUL OHIO
V 1
20973
N
AUC
MROI
IN LOVE AGAI n/(rHYTHM BOYs)
VI
20646
n
AUC
— — ORR
fallinleaf/shanghai dream man
VI
20683
N
AUC
ORR
28
DISPOSITION
WHITEMAN COMT INUED
BROADWAY/MANHATTAN MERRY
V 1
20874 N
AUC
ORR
WONT BE LONG NOw/5 STEP
VI
20883 N
AUC
ORR
SONYA/GOT NO TIME
VI
19721 N
AUC
ORR
DAYS OF HEART/PEACEFUL VALLEY
VI
19790 N
AUC
ORR
SWEET LOWDOWN/CERTA IN FEELING
VI
19920 N
AUC
ORR
LULU BELLE/NO FOOL IN
VI
20019 N
AUC
ORR
shak I N bl/maybe its u
VI
20885 N
AUC
ORR
so blue/song wanoerer
VI
20570 N
AUC
ORR
g i golette/southern rose
VI
I9694 N
AUC
ORR
CLARENCE WILLI AMS BLUE
■ IVE
barefoot bl/oo it long time
'K
8073 V
AUC
sashay/jig fat mama
VO
2838 e/vauci .25
Wl NO
TEXAS MOANER/COAL CART BL
HC
|8 N
SAL
1.05
GLOB
wiloflower rag/midnight stomp
M F
105 N
SAL
1.05
CRAW
LIZa/SALLY GOODING
VO
4|69 E
SAL
1.55
P 1 PE
CUSHION FT STOMP/TAKE
OK
8462E/GAUC
GERO
anytime/sweet
CO
1 43 1 4f/<
AUC
GERO
WARN OUT Bl/whIP
OK
8790 G
AUC
GERO
LOG CABIN BL/SWEET
OK
8572 v
AUC
GERO
COOT IE WILLI AMS
SWINGTIME HONOLULU/
AINT GRAVY GOOD
SONNY BOY WILLIAMSON
VO 406|v/eauc
VO 4726e/vauC
BB340722 N AUC
GERO
GERO
BR 7673E/NAUC
8R 83i9n/eauc
CHECK UP ON BA8Y/wtN WAR
TEDDY WILSON (HOLIDAY' )
MARY HAD LAMB/TOO GOOO TRUE
•SUGAR/MORE THAN U KNOW
"SPREAD IN RHYTHM/U LET ME OOWNBR 758l E/VAUC
•THESE THOSE/SUGAR PLUM* BH 7577 E AUC
BLUE MOODS 1-2 PAE 2"'4| N AUC 2.50
HEART OF M IRE/SAY GOODBYE MU 3|7 N AUC
MOMENTS LIKE THIs/cANT FACE MUBR 8ll2v/GAUC
GIVE U ANYTHINg/(b|LLIe) BR 778] E AUC
WOLVERINES
SENSATION/LAZY DADDY
2203,2204,2205
MARGARET YOUNG
DOODLE 000 DO/TOO T I RED
BOB ZURKE
GRE E/VAUC
BRE • — N SAL
BR 2673 V AUC
MA RC
MARC
MARC
MARC
EMER
KEND
KEND
KEND
EOMO
FARM
HONKY TONK TRA 1 n/mELANCHOLY
NEW BABY/BETWEEN DEVIL
TEA FOR T*0/| LOVE U
RUMBOOGIE/COW COW BL
SEND WANT LIST FOR OTHERS —
RED ONION JAZZ BABIES (J.BEATTY)
EARLY EVERY MORN/rJOBODY KNOWS GE 5626
ALBUMS
VI 26342 N SAL I .65
I 26355 N SAL 1.65
VI 26561 N SAL I .65
VI 26646 N SAL I
.65
ZE I G
ZEI G
ZE I G
ZEIG
ZE I G
V AUC
FRANK S I GNORELL I JO
ERSKINE BUT TERF I ELD JD
KING COLE TRIO CP
LENNIE TRISTANO KN
FOUR POCKET ■
GEORGE JESSEL ARA
GENE TUNNEYS HEALTH EXCERCISESVI
BOOKS
MUSIC ON R ECORDS . . . HAGG 1 N
.CATALOGUES
34 N AUC
6 N AUC
8 N AUC
147 N AUC
r; sal
N AUC
— AUC
MUS1CA I 92 1
EOISON |920
VICTOR 1917
OKEH I94l^t2
THESE CATALOGS FOR TRADE ONLY 1
ON MY "WANT" CATALOGS
1943 1944 |945 1946 CO —
FREE BOP CATALOGUE
BOP CATALOG. ..ROYAL ROOST CONCERTS-
FREE CATALOGS
VINYLITE JAZZ REISSUES
HOT D ISCOGRAPHY
LIST PRICE $ 6.00 OUR PRICE t 5.00-
LISTS
ALL BLESH PROGRAMS AVAILABLE
SEND FOR FREE LIST
RECORD SALE NONE OVER } I .00
LARGE SELECTION ALL NEW, WR I TEM ANY —
1 000 RECORDS FOR SALE ALL NEW
1.00 EACH WRITE FOR LIST
RECORD STOCK ENVELOPES
TRA
TRA
TRA
TRA
10"
BROWN PER 1 00
I 000
GREEN PER 100
I 000
BROWN PER 50
GREEN PER 50
N SAL I .00
- SAL
M SAL 2.10
N SALI9.25
N SAL 2.20
N SAL20.00
N SAL I .40
N SAL 1.50
SHIPPING CHARGES COLLECT lO^PACKING CHARGE ON ALL
KEND
K END
KEND
KEND
ROSE
RATK
RATK
HOFF
HOFF
HOFF
HOFF
HOFF
RATK
ROSE
VJR
ARG
HI RS
PARK
RATK
KRYS
KRYS
GLOB
GLOB
GLOB
GLOB
GLOB
GLOB
GLOB
WANTE D
FIRST FOUR LETTERS OF COLLECTOR'S NAME
FOR ADDRESSES SEE PAGE
PRICE OFFERED FOR RECORO
CATALOGUE NUMBER OF RECORD
1 LABEL OF RECORD
ALABAMA RED PEPPERS
R I VERBOAT SHUFFDE E-N
ARMSTRONG ACCOMPANIMENTS
HOCIEL THOMA S— OEEP WATER BL N
CLARA SM I TH— COURTHOUSE BL N
SHIPWRECKED BL N
SIPPIE WALLACE-MAIL TRAIN BL N
SPECIAL DELIVERY
NOLAN WEL SH— BR I DWELL BL N
MILLS BROS-NELLY GRAY N
BLANCHE CALLOWAY— LONESOME LOVE
CHIPPIE HILL-LOWLAND 8L N
LONESOME ALL ALONE
PRATT CITY BL N
LOVESICK BL N
MAGGIE JONES-GOOD TIME FLAT N
BESSIE SMITH-CARELESS LOVE N
NASHVILLE MAMA
ST JAMES INF E
MILDRED BAILEY
N
EASY TO LOVE
CHARLIE BARNET
GAL FROM JOES/NEW MOON
HEART ISNT IN IT N
COUNT BASIE
|2 ST RAG
TAXI WAR DANCE N
BLUES SI NQERS
OK 8297 DWEN
CO 14073 DWEN
CO 14077 DWEN
OK 8345 DWEN
OK 8328 DWEN
OK 8372 DWEN
DE 1245 DWEN
OK 8279 OWEN
OK 8273 DWEN
OK 833.9 DWEN
OK 8420 OWEN
OK 8453 OWEN
CO 14055 DWNE
CO 14083 DWEN
CO 14090 DWEN
CO 35921 1 .50 PERR
I Ol 53 1.00
18601 1.50
BLUE LOU BARKER-GEORGIA GRIND N OE
MIDNIGHT BL N DE
DEEP BL SEA BL N DE
LEE BROWN-LUCILLE BL N DE
IDA COX-PINK SLIP BL N VO
DEEP S EA BL N VO
ALBERTA HUNTER-FINE MELLOW N DE
CHIRPIN THE 8L N DE
SOMEDAY SWEETHEART N DE
ROSETTA HOWARD— HOG WILD BL N DE
FRANK I E £ PINT JAXON— LET ME R I OE N DE
—WHEN THEY PLAY 8L N DE
LIL JOHNSON— RAMBL I N MAN BL N VO
HELEN PROCTOR— TAKE ME ALONG N DE
BESSIE SMITH-AFTER U GONE N CO
DYIN BY HOUR N CO
SIPPIE WALLACE/MORNIN DOVE N OK
BEDROOM BL N OK
VICTORIA SPIVEY-MOANIN THE BL N BB
DETROIT MOAN N VO
GOOD CABBAGE NVO
GEORGIA WHITE-JAZZIN BABIES BL N OE
SENSATION BL N OE
PANAMA LIMITED N OE
BROWNLEE ORCH OF N.O.
peculiar/dirty rag n-e
MERRIT BRUNIES FRIAR SOCIETY ORCH
SOMEONE STOLE SWEET BABY N^
CALIFORNIA RAMBLERS
FAREWELL Bl/oELERIUU N-E
°USS COLUMBO
MAKE LOVE THE KING/pEACH OF PAIR
JESSE CRAWFORD
MANY IN 22000, 24000 SERIES E+
NEED AB0UT2O ON VI E+
B I NQ CROSBY
DAY U CAME ALONG/l GUESS E+
DREAM OF JEANNIE N
BR 6|20 6226 6601 DE 100
BOB CROSBY BOBCATS
MANY E+
PUTNEY DANDR I DGE
NAGASAKI E
D IX IE JAZZ BAND
COFFEE POT BL N-E
ROSIE CHEEKS N-E
SOME THESE DAYS N-E
TOMW DQRSEY
EAST OF SUN V
MANY IN 26000 SERIES (sINATRa) E
EDDIE DUCHIH!
7588
7683
7709
7775
5258
5336
7633
7644
7727
7658
7786
7742
3331
7703
14197
14273
8205
8439
8619
3405 ■
3639
7741
7754 ■
7783 •
40337 ■
40593
401 4 ■
ZAWA
PERR
■ HAM I
■ HAM I
■ DWEN
■ DWEN
■ DWEN
■ DWEN
• DWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
■ OWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
■ DWEN
' DWEN
■ DWEN
■ DWEN
DWEN
■ DWEN
■ BUTL
BUTL
BUTL
EVI OTHEPSTOPS G I LB
VO 3024 3.00 PERR
828
883 ■
927
BUTL
BUTL
BUTL
PANG
JACO
ROY ELORIDGE SHOTS
KING OF BONGO BAR FROM
ARCADIA BALLROOM N.Y. V $ lO PERR
GEE JAKE WHAT A SNAKE
FROM E DUECE'5 CHICAGO V — — $ 10 PERR
DUKE ELLINGTON
OR 2528 VI 16006-7 VI2443I BR 7627 7752 E+TOPS G I LB
BR 8|68 8256 VA 586 BR 9331 E+ OTHERS TOPS G I LB
ANY VO CA RO BD MA BR WHIT
ETON BOYS
CLOSE HARMONY ( ALBUM ) N VIP 99 CIAR
FRANK IE FRANKOS LOU IS lANAfiS
ME 12009
SOMEBODY STOLE MY GAL N-E
GOLDEN GATE "RCH
VODODOOEO BL N-E
THIRD RAIL/AINT GOT NOBODY
BENNY GOODMAN
25195 , 25320 , 25725 , 25808, 26230, 25880 E+VITOPtSILB
GOOFUS FIVE
PE 14837
ED 52206
BUTL
BUTL
BUTL
RAMBLIN BL N-E
YESSIR THATS BABY N-E
GONNA CHARLESTOWN BACK TO CHI
POOR PAPA N-E
LIONEL HAMPTON
OK 40 1 79
OK 40423
N — EOK 40442
OK 40624
ANY FROM CHI BAND BOX IN 1946 E '
VIBE BOOGIE E '
SCREAM IN BOOGIE E '
FLY IN ON BINGE E
ANY ON FOREIGN LABELS EXCEPT HMV N ■
COLEMAN HAWKINS
FOREIGN LABELS ONLY E — ■
FLETCHER HENDERSON
ONE THESE OAYS N-E DO RE '
EARL HINES
SWEET GA BROWN/jAP SAND MAN E-f
BILLIE HOLIDAY
DRAGGIN HEART E
SEND PRICE LIST ANY E
BLIND LEMON JEFFERSON
JACK
BUTL
BUTL
BUTL
BUTL
HO FM
HOFM
HOFM
HOFM
HOFM
DEI 82/654T0PS G I LB
HAMI
HAM | HAMI
DIAMONDS BL E
SUNSHINE SPECIAL BL E PM
JELLY JAMES AND HIS FEWSICIANS
PM 12373 I .75 MCKU
PM 12593 I .75 MCKU
GEORGIA BOBO E
JOHNSONS CRACKERJACKS
DUCKS YAS YAS YAS N
LOUISE JOHNSON
GE 6045 2.25 MCKU
VI 23329 2.50 MCKU
EITHER PM E
KANSAS CITY FIVE
JAKES WEARY BL N-E
STAN KENTON
TRAVEL IN MAN E
GENE KRUPA
mutiny/swinc is here e+
ART LANDRY
ALL V OR BETTER
ALL V OR BETTER
LEVEE LOUNGERS
CARR
CARR
MELANCHOLY BABY
TED !£ WIS
N-E
E+
HA ve di —
TOPS SMIT
BUTL
BUTL
ALL VOCALS WANTED
LITTLE RAMBLERS
DEEP ECM/MELANCHOL Y LOU
BERT LOWNS LOUNBERS
JAZZ ME BL N-E
JIMMY LYTELL
STOCKHOLM STOMP
DAVENPORT 8L N-E
WING IE MAN ONE
TAR PAPER STOMP V CH 1 6 1 53
ISLE CAPRI V , VO 2913
CHARLIE MASONS CREOLE SERENADERS
JUST WANT A DADDY N ED 5 1 224 — BUTL
LESTER MC FARLAND
HAND ME DOWN WALKIn/wAS BORN ABOUT E V 05028 I .50 QU I N
EDDIE MILLER
I 2 ST RAG N RA I NBOW
GLENN M I LLER
WHI T
WH I T
700331 I.OQUIN
JACO
AND ANGELS S 1 NG/CHESTNUT E+
BB
10201-
1 .25
ZAWA
JACO
WISTFUL BLUE/ANYTIME ANY DAY E
DE
1284-
3.50
■ ORL
GOT RHYTHM/TIME ON HANDS E
BR
7915
4.50
WORL
1 .50 ZAWA
SLEEPY TIME GAl/cOMUNITY SWING
E BR
7923
4.50
WORL
CIAR
FINE FEATHERBD FR 1 ENd/s I LHOUET T
EBR
8034
4.50
WORL
WHIT
SWEET STRANGER/EVERY DAYS A E
BR
8041
4.50
WORL
WHY YA MAKE ME/DONT WAKE P E
BR
8152
4.50
WORL
P 1 PE
D IPPERMOUTH/SOLD AMERICAN E
BR
8173
4.50
WORL
JELLY ROLL MORTON
8201, 10254
NEW ORDEONS FIVE
SOME THESE DAYs/mEMPHIS BL
ROIGINAL MEMPHIS FIVE
BEALE ST BL/MEMPHIS BL M
EVA PARKER
SEND MY PRETTY PAPA E
SAM PRICE
JUST JIVIN A ROUND E
DE 8557 TRA POUL
THEME
WHI T
W ANT E D
29
ICE CO GRAGAT I
ANY E
IU ON BATTLEFIELD
JG€ SAUNDERS
OPENING THEME
BEN SELV IN
VALENCI A/BETTY E
BESSIE SMITH
CO 3S44 3877 3 1 "7 1 3|73
CO 14000 14018 I4i33 |4|95
MANY HAVE DUPS TO TRADE
SOUTHAMPTON SOCIETY ORCH
POPLAR ST BU/ 1 2 ST BL N — E
REX STE1ART
CANT GET STARTED I 2" N
TEN E3SEE MUSIC MAKERS
ANY N
FATS WALLER
DONT TRY TO CRY YOUR WAV BACK
ETHEL WATERS
I2t- MCKU
1 262 5.00 MCKU
BR 3 I 72 I .50 QUIN
CO WHI T
CO WHIT
BLUE STAR
ANY
CARDINAL2036 JACO
AT NEW JUMP STEADY BALL
TEDDY 1ILS0N
7520 7550 7554 77S| 7926 7943 7960E1-BR OTHERS* OP SG I LB
AIR SHOT
WNEW- SWING SESSION MAY 1947
ROY ELDRIDGE, MEL TORME, FLIP PHILLIPS
IN VOCAL SCAT BATTLE V
ANY ARTIST
ALL THEME SONGS
KAROOS 2722 BUSSE 2932 HIMBER 54|8
BLUE AND BLACK. COL. GIVE ART. AND SER
CATALOGS
GENNETT 1920-21
BRUNS 1931 32 33 —
vl 1926 32 37 —
CO 1931 33 —
LISTS f A'.TED
SEND N.O. DISPOSITIONS
FOREIGN COLLECTORS
SEND. ME TEN JAZZ RECORDS FROM YOUR
COUNTRY ANO ILL RETURN 10 JAZZ RECORDS
IN SAME CONDITION
TIGER RAG
COOKS SEVEN JAZZ COOKIES
PHIL BAKER BAND E
CLEARTONE DANCE ORCH E
COROES ORCH E
COTTON PICKERS E
TRADES
ORLA
ORLA
HOFF
HOFF
HOFF
HOFF
HERBERT L. CLARK
CORNET SOLO/CARN I VAL VEN I CE
CLEVELAND ORCH
MERRY WIVES/DANCE MACARBRE
I 8 1 2 OVERTURE 1-2
COLUMBIA BAND |2"
CONTI NENTAL M ARC h/d I RECTOR
MAOELON/LANO OF BEGINNING
Ml KADO/FLORAOORA SELECTION
MANY PRINCE OTHERS ON CO
ALFRED CORTCT
V 1
I 6088
E
AUC
2.00
JACO
50089
BR
50090
N
AUC
—
POUL
VI
(6 |55
E
AUC
MERE
VI
6096
E
AUC
MCRE
V t
6|58
E
AUC
MCRE
MCRE
VI 74636 V AUC
WITH U6 ANO SWISS COLLECTORS
NO DODOS DUKE MORTON OLIVER
WANT LISTS
SEND ME YOURS
SEND YOURS HAVE ALL TYPES REASONABLE-
MAD I
STANDARD 374 2.50
PERSONAL I I 35 2.00MAD
CL |7 2.50 MADI
GE 2.50 MAD I
RO 997 2.00 madi
JACO
AV RE
LEVI
DISPOSITION
(F IRST FOUR LETTERS OF COLl f.CTtin 'S NAME ^^^-^
• IFOR ADDRESS, see pace 6. -^^^-^
PR l CE
TRADE ,
FOR sale; VALUE IF FOR
INIMUM BIO IF FOR AJJCTlQN
UETHOD OF DISPOSITION: "SAL."
FOR S*LE AT PRICE INOICATED;
DA ".FOR TRADE; "iUC", AT
CT IOM.CLOS ING DATE FOR 6IDS.
SEE PACE 6. * T-A " FOR TRADE
OR AUCTION; "T-S" FOR TRADE
OR SALE; "STA" FOR SALE, TRADE
OR AUCTION.
CONOITlON OF RECORD: N-«E*
E-CXCELLENT ; V-VERV GOOD
G-oooo; F—fair; p-pqop.
|CaTalOC NUMBER OF RECORD
[label of recordT
1 2 3 4 5
BESSIE ABBOTT
FAUST-JEWEL SONG
EMMA ALBAN I
OMBRA UA| Fu/AVE MARIA I RCC AUC
ALBERS ( RARE ) ( |4')
LE NOYEP.( SC HUM A N )/a UL I ON PATF22I0 V AUC
LA FAVORITE/FAUST SCENE L EGL PATF2026 V AUC
MANY RARE PATF WRITE
AMERICAN QUARTET
MINSTREL t 18/ON MISSISSIPPI VI 35|43 E AUC
MANY OTHER OLDIES SEND WANTS
MAR I ON ANDERSON
favorita/omio FEMANOS ROYALE 1 763 - AUC
ENRICO CARISO
3ICILIANA(CAV RUST) VI e7072 G AUC
T0SCA/E LUCEVAN LE STELLE PATF E AUC
HU0UEN0T8 0PERADISC76093 V+ALC
MANY SEND FOR LIST VI .
Rl GOLETTO — PARAFTHRA SE
MELLE DEMOUL I N AND BERTHAUD |4*
LA PERICHOLE/LA POUPEE PATF 1 626
CESINA FERRAN I (FIRST MIM )
80HEME/MY NAME IS MIMI IRCC
GERALD I NE JTRRAR
CARO MIO BEN (BERLIN I 905 ) I RCC
OTTO GORITZ
TRUMPETER VON SAC K 1 NGEn/wERNER V I 472 I 2
R. HUMPHREYS (BELL SOLO)
WOODEN SHOES (xy SOLOj/ECHO PATB 7|5
EDWARD JOHNSON
HER BRIGHT SMILE HAUNTS ME
VESTA LA JUI BA-PAGLACC I
MARCEL JOURNET
v l 64839 V AUC
VI 64840 V AUC
KRYS
KRYS
KRYS
MCRE
MCRE
' WEND
• KRYS
■ KRYS
KRYS
LES ROEAUx/hOSANNA VI 6556 V AUC
FRITZ KREISLER
largo/andante CANTABLE VI 6l84 V AUC
GYPSY CAPRICE/SHEPARDS MADRIGALVI 67|2 E AUC
GIACOMO LAURI-VOLPI
schiavo/beheme
JOHN MC CORMACK
MANY SEND LIST
MCKEE TRIO
BR 50073 N AUC
LARGE LOTS SEND WANTS
ALSO OT ER INSTRUMENTAL OLDIES-
NYPO WILLEM MENGELBERG
V I 74780 - 2 EAUC
AUC
AUC
PAT64006 E AUC
LES PRELUDED 1-2-3
GRACE MOORE
TELL HER IN SPRINGTIME 1923 VI 19613
ONE NIGHT LOVE 1 934 BR 6994
LUC I EH MURATORE
CARMEn/rOMEO JULIET
ALICE NIELSEN
ANNIE laurie/kathleen MAV CO 5245 V AUC
HOME SWEET HOMe/laST ROSE SUM CO 5283 V AUC
OLD BLACK JOE/BELIEVE ME I F CO 5678 V AUC
k ilarny/barney 0 CO 57l| V AUC
spirit flower/day is done co 57i7 v auc
note ( in french)
SANCTA MAR Ia/hOSANNA PAT 62017 E AUC
NOEL/LA CHARITE PAT62005 E AUC
TANNHAUSER/ROMANCE OEL ETOILE PATF |2 V+AUC
PATHr MILITARY BAND ( 1 4")
STRADILLA/PTS 1-2 PATF 2|6| VAUC
PHILADELPHIA SYMPHONYORCH
I 6241 V BUC
V AUC
6505 V AUC
65|3 G AUC
65|4 v auc ■
M I LL
PIKE
KRYS
WEND
WEND
WEND
WEND
POUL
RATK
MCRE
MCRE
MILL
Ml LL
ESPANA RAPSODIE/BACCHANALE
Fl NLANDI A/ENTRACTE (kHOWANTCH I NA )6366
DANCE MACABRE 1-2
MARCH SLAV 1-2
PRINCE IGOR/lN VILLAGE
POL PLANCON ( ITALIAN)
MAOIC FLUTE (mOZARt) " VI 85077 E AUC
PR IM I ER OPERATIC MALE (UARTET ( | 4" )
CHORUS OF MONKS/ E FOLLOW
WEND
WEND
WEND
WEND
WEND
TANNHAUSER-ODOUC I ETOILE
MARGARET R MAINE
LA BOHEME/mIGNOn)
irene/little OLD ny)
BEN BOLT/ANNIE LAURIE
VOICES OF WOODS/SERENADE
LONESOME/L ITTLE Bl T
SAMMARCO (BARITONE) |4"
carmen/don GIOVANI
NAT SHILKRET ORCH
PERSIAN MARKET/CHI NESE GARDEN
TARANTULA 1-2
ERNEST I NE SCHUMAN HE INK
VOM HIMMEL HOCH/STILLE NA r HT
WHEN ROSES BL
CRADLE SONG
TAPS
JUST BEFORE BATTLE MOHHER
THE ROSARY
SILENT NIGHT
MANY OTHER XMAS NUMBERS
SOUSAS BANO
PATF2I 80
- \
AUC
KRYS
J 1
91067
AUC
MILL
CO
2846
V
AUC
WNEO
CO
3373
V
AUC
WEND
CO
3487
V
AUC
WEND
CO
3846
V
AUC
WEND
CO
2847
AUC
WEND
PATB 6
V
AUC
KRYS
VI
35777
E
AUC
MCRF
VI
35915
E
AUC
MCRE
VI
6281
V
AUC
WEND
VI
87129
V
AUC
WEND
VI
87286
E
AUC
MCRE
VI
87299
E
A'lC
MCRE
VI
87282
E
AUC
MCRE
VI
87221
E
AUC
MCRE
VI
88138
E
AUC
MCRE
MCRE
UNREQUITED LOVE AND APPLE BLOSSOMV I 35 1 0 1 EA UC MCRE
CARMEN SELECTI ONs/fRE I TSH OVERV I 35000 E AUC MCRE
MANY OTHER SOUSA SEND WANTS VI E AUC MCRE
RICCARDO STRACCIARI
CO 78686
DEAR LITTLE BOY
FRANCESCO TAMAGNO
OTELLO (VERD I )
AUC
OP D I 78506 V AUC
LU ISA TETRAZZ IN I
AH FORS E LU 1 ( TRAV 1 A TA J
VI
09293
V
AUC
WEND
CARO NOME ' R 1 GOLETTO )
VI
08295
V
AUC
WENO
POLONESE (MIGNON)
VI
88296
v
AUC
WEND
IL DOLCE SUONo(hJCIa)
VI
88299
G
AUC
WENO
SWISS ECHO SONG
VI
8831 1
V
AUC
WEND
CHARMANT OISEAU ( PERLE HRESIL
Wl
88318
V
AUC
WENO
OU VA LAJEUNE (LAKME)
VI
92016
AUC
WEND
UNA VOCE POCO (BARBER SEV )
VI
92020
V
AUC
WENO
LAST ROSE SUMMER/THOSE BRILL
V '
6343
V
AUC
WEND
SWISS ECHO SONG
VI
ee3i 1
E
■uc
MCRE
VI
35213
G
AUC
MCRE
VI
35233
E
AUC
MC"RE
VI
35260
E
AUC
MCRE
CONRAD THIBAULT
ONLY PAPER MOON/THIS is ROMANCVI 24424 - AUC
VICTOR MINSTREL CO
ARKANSAs/lOUI S I ANA
MISS ISS I PPI /OOWN ON LEVEE
KENTUCKY MIN/DOWN ON FARM
VICTOR MIXED CHORUS
SONG OF IRELAND/SCOTLAND
SONG OF PAST 1-2
SONGS OF PAST 13-14
V ICTOR OPERA CO.
R I GOLETTO 4/LUCIA SESTETTE
REINALD WERRENRATH
DANNY DEEVER/ROAD MANADALY
DANNY DEEVER/ROAD MANDALAY
(TANNHAUSER)/2 GRENADIERS
goodbye/oft IN STILL NIGHT
(carmen )/(pagl I ACCI )
(faust)/(bohemian girl)
efrem ZIMBALIST
burleska/persi an song
salut d amour/serenade
souvenir/spring song
CLASSICAL RECORDS
MANY SEND ME YOUR W ANT LIST
LISTS
VI
35513
E
AUC
MCRE
VI
35537
E
AUC
MCRE
VI
35550
AUC E
MCRE
VI
55066
E
AUC
MCRE
VI
6360
G
AUC
WEND
VI
6638
V
AUC
WEND
VI
6563
V
AUC
WEND
VI
55065
V
AUC
WEND
VI
55068
V
AUC
WEND
VI
55079
V
AUC
WEND
CO
2 1 91
G
AUC
WEND
VI
890
V
AUC
WENO
VI
892
V
AUC
WEND
SEND FOR MY LIST
KRYS
HUE
FOR QUICK SALE
FOR QUICK SALE
ROBERT L. THOMPSON
106 W. 105 ST., NYC 25, NY
CONDITION GUARANTEED . 25# PACKING CHARGE ON ALL ORD
ERS. RECORDS SHIPPED PP INS. YOU PREPAY POSTAGE.
GLENN MILLER
DEL I LA h/elMERS TUNE
BUGLE CALL RAG/sLOW FREIGHT
LAMPLIGHTERS SERENADe/dONT SIT UNDER
BING CROSBY
ROB INS RO SES/REST END TRAIL
WASHBOARD WONDERS
BREEZE/LETS INCORPORATE
RED NICHOLS FIVE PENNIES
SHE SHALL HAVE MUSIC/LET ME DREAM
GENE KRUPA
DRUMMER BUY/LOOKING FOR YESTERDAY
SAMMY PRICE TEXAS BLU5I C I ANS
HA RL EM GIN BL/wHY DONT U LOVE ME
HOAGY CARMICHAEL
VINE ST PARADE/NO MORE TOU JOUR LAMOUR ARA 1 06 V .49
JOSH WH ITE
BACKWATER BLUEs/jELLY JELLY DE 23582 V+.59
CLYDE MCCOY
BB I I 274 V+.69
BB 10740 V-I-.69
BB I 1 474 V+.69
DE 79 1 V+.69
BB 676l E .69
B8 10683 E+.69
OK 5747 V .69
DE 8609V/N.79
DE 25014 E-.39
SUGAR Bl/fOUND NEW BABY
WILL BRADLEY
SQUARE BUT ROCKs/pRA I R I ELA ND LULLABE CO 360|4 E-.49
WHEN U AND I YOUNG MAGGI e/m I SUNDERSTOOD CO 36 1 82 V .49
HALL MOUNTAIN KING/LAND SKY BL WATER CO 36286 V .49
CALL ME TAXl/SHADOWS IN NIGHT CO 36082 V+.49
CELERY STALKS/DOWN ROAD A PIECE CO 35707 V .49
ALL THAT MEAT NO POTATO/GET THEE BEHIND CO 36248 V .49
ART I E SHAW
BEGIN BEGU I NE/l NDI AN LOVE CALL
MARINELA/l COVER WATERFRONT
DANCINQ IN DARK/SMOKE IN EYES
JIMMY LUNCEFORD
24 ROBlERs/l HAD PREMONITION
JAN SAV I TT
720 IN BOOKS/RANCHO GRANDE
WOODY HERMAN
FRENESl/sONG OLD HAWA I I
JIMMY DORSEY
HEP Tl HOOT IE/DOLOMITE
BENNY GOODMAN
ONE SWEET LETTER FROM U/SCA TTERBRA IN
CHICK BULLOCK
FARE THEE WELL ANNABELLE/u Fl W INTO PIC PE 16065 V+.59
RUBBER LEGS WILLIAMS ACC HERB IE FIELDS ORCH
POINTLESS MAMA Bl/thaTS THE STUFF SAV 564 V+.49
EDDIE CANTOR
MAKIN WHOOPEE/jOSEPHI NE NO LEAN PA 44V+.69
BOB CAUSER CORNELL I ANS
EVERY MINUTE OF HOUR/WELCOME STR ME 605050E .59
JO 'NNY JONSOM
LIGHTS OUT/TOO MUCH IMAGINATION OA 60303 V .49
GENE KARDOS
LOVE LOCKEO OUt/|N OTHER WORDS WE THRU PE 15882 E .49
SB
7746
V
.49
VI
27362
V
.49
VI
27335
V
.49
DE
3718
E
.79
DE
2771
E-
-.69
DE
3427
V
.39
DE
33 1 2
V
.39
CO
35241
V
.39
30
SALE
J. E. WARNER
SALE
425 RIVERSIDE DRIVE, NEW YORK 25, M.Y.
ALL RECORDS IN MINT TO V CONDITION.
DO NOT SEND MONEY WITH YOUR ORDERS. RECORDS SHIPPED VIA PARCEL POST INSURED. YOU MUST PAY POSTAGE
AND 25«! PACKING CHARGE ON ALL
ORDERS.
YOU
WILL BE NOTIFIED OF WHAT YOU HAVE WDN
AND THEN YOU WILL REMIT THE AMOUNT DUE . UPON OUR
RECE 1 PT
OF YOUR CHECK OR MONEY ORDER
WE
WILL SHIP.
00 NOT SUBMIT ALL OR NOTHING ORDERS.
THEY
WILL
NOT BE HONORED . NO MINIMUM ORDERS.
SAT ISFACT ION
GUARANTEED OR YOUR MONEY WILL BE
REFUNDED.
THE RECORDS ARE GREATLY UNOERPR ICED AND WE
HAVE SEVERAL COPIES OF MANY. THIS IS AM
E NT 1 RELY
NEW BATCH OF RECORDS THAN THOSE
ADVERT ISED
IN THE NOVEMBER ISSUE. PRACTICALLY ALL OF
THOSE
#ERE SOLD. IF YOU FAILED TO GET THE RECORD
YOU WANTED IN THE LAST SALE TRY
AGA IN.
30Y ACUFF
BARNET CONT 1 NUED
BLUE BARRON
FARTHER ALONG/WEARY RIVER
OK
5706
.59
THIS IS NO DREAM/THATS RIGHT BB
10273
.79
DOWN L^GER LOU ER L A NE/GRA TEFUL
BB
10230
.69
DON ALBERT ORCH
MOON CRYING/l HEAR RHAPSODY BB
10934
.79
U TAUGHT ME TO LOVE/GIRL BEHIND
BB
10284
.69
DEEP BL MELODy/suNNY SIDE STREETVO
3423
.79
BLUES IN NIGHT/lSLE PINES BB
1 i?27
.79
BLUE SKY BOYS
VAN ALEXANDER
CANT REMEMBER FORGEt/sCRUB ME M A MA BB
10975
.e9
THERES NO LOVE FOR ME/GOD SENT
BB
8339
.59
ANOTHER NIGHT ALONE/MOON M A N 1 CURAB8 1 0 1 97
.59
LOVERS tULLA BYe/u G9T ME BOODOO BB
10662
.79
BOGAIIS BIRMINGHAM BUSTERS
NO STAR LOST/l CRIED FOR YOU
BB
1 0 1 "9
.59
MUST BEEN TWO OTHER/rANGER IN DARKBB
10336
.79
CHINA BOY/SHEIK ARA6Y
VO
3570
1 .29
GUS ARNHEIM/ALL STAR ORCH
DICK BARRIE ORCH
JAMES BOLTON
LIVABLE SWEET/MY DREAW MEWORY
VI-
22054
.89
LOVE DOESNT GROW ON TREES/LET BE VO
4409
.59
8LUE WATERS/CARAL INA MOON
CA
3569
.59
JULES ALLEN
THA T iENTIMENTAL SA NOW 1 CH/STR ANGE VO
4787
.69
BON BON BUDD IES
DAYS OF 49/hOME ON RANGE
VI
21627
.79
COUNT BASIE
ALL MEAT NO POTTo/BLOW GABRIEL
DE
856.7
.59
AMBROSE
BLUES 1 LOVE TO HEAR/blame IT ON DE
2284
.79
BOONES JUMPING JACKS
IM IN OANCING MOOD/CRAZY LOVE
DE
971
.79
HEY LAWDY MAMA/THE FIVES OE
2722
.79
IM FOR IT/TAKE ME BACK
DE
8590
.79
WHEN 1 DREAM HOME/LOVE U TOO
DE
3470
.79
RED WAGON/DUPREE BL DE
3071
.79
IRENE BORDONI
WAR DANCE WOODEN/MAN ABOUT TOWN
DE
3l26
.79
WHEN SUN GOES DOWN/DIRTY DOZEN DE
2498
.99
THAT MEANS NOTHING TO Me/do 1 LOVEV 1
19966
1 .29
AMER IC AN LEG 1 CN BAND
SENT FOR U YESTERDAY/SWIMGIN BL DE
1880
.69
SO THIS IS LOVE/' WONT SAY 1 WILL
VI
1 9 1 99
1 .29
GENERAL PERSHING MARCh/paPADE
DE
1858
.79
FARE THEE HONEY/OH RED DE
2780
.79
B001 S /'Mi BUDD IF:,
AMER IC AT QUARTET
TOPSY/DONT U MISS BA8Y DE
1 770
.79
RAGGLE TACGLE/6L AVALON
BB
71 8^
.99
NELLY KELLY 1 LOVE
V 1
18957
.59
BLUES IN DARK/GEORG 1 ANA OE
1682
1 .09
WHEN TIME COMES/HAUNTING MEMORIES
BB
6880
.99
L 1 L ARMSTRONG
HOW LONG BL/BOOG WOOG DE
2355
.79
CONNIE 80SWELL
KNOCKIN AT CABIN/SIT DOWN STRIKEDE
1272
.69
BL SHADOWS WHITE GAPOENIAS/aY NOW OK
6626
.79
SILENT LOVE/STRING PEARLS
DE
4|63
.79
LOUIS ARMSTRONG
super chief/u cant run ok
5673
.79
JOHNNY DOUGHBOY FOUND ROSE/SWEET
DE
431 1
.79
ME AND BROTHER B 1 LL/'SAVOY BL
DE
2538
1 .49
MISS THING 1-2 VO
4860
1 .29
CHRIS BOUCHILLON
*EST END BL/lF ITS GOOD
DE
2480
1 .49
YPU AND YOUR LOVe/u CAN COUNT ON VO
4967
.89
THE MEDICINE SHOw/BORN HARD L'ICK
CO
|5|5|
1 .29
HONEY DO/HONEY DONT U LOVE
80
7787
1 .49
MOONLIGHT SERENADE/l CANT BELIEVE VO
5036
.89
AL BOWLLY ORCH
FRED ATTA IRE / JOHNNY GREEN
SONG islands/nobody KNOWS VO
5169
.69
HALF MOON HUDSON/SWEET SONG
BB
73|7
.79
fine romance/waltz in swing
BR
77i e
1.19
AND ANGELS SING/lF 1 DIONT CARE VO
4784
.89
BOYCES hARLEM S ERENADERS
BOB ATCt-'ER & BONNIE BLUE EYES
ROCKABY BASIe/b.ABY DONT TELL ON MEVO
4747
.89
HARLEM AFTER M 1 DN 1 GH T/GOOO HOME T0WNDE8602
.99
CRYING SELF TO SLEEP/u ARE SUN
vo
5370
.59
WHAT COMES UP _MUST/oONT WORRY BOUTVO
4734
.89
BILL BOYD COWBOY RAMBLERS
WILL U BE TPUE/THERELL BE DAY
OK
6453
.59
WHATS NUMBER/DRAFT IN BL OK
5897
.79
NEW 6-7 times/fan IT
BB
7128
.79
GENE AUTRY
ALL OR NOTHIN/MOON FELL IN RIVER OK
5884
.79
WILL BRADLEY
GOODBYE LITTLE DARLIn/wHEN IM
VO
5463
.99
WORLD IS MAO 1-2 OK
5816
• e9
SPEAKING HEAVEN/THOUGHT BOUT U
VO
5|82
.79
MITCHELL AYRES
KING JOE 1-2 ( ROBESON) OK
6475
.99
CELERY STALKS M 1 DNI GHT/DOWN RD
CO
36958
.79
PIGGY BANK/AINT IT SHAME
BP
ioei6
.59
THE KING/BLUE SKIES CO
37070
.79
CELERY STALKS M 1 DN 1 GHT/DOWN RD
CO
35707
.89
MAKE IT OLD FASH 1 ONED/wELL MEET
BB
10940
.59
CHARLES BAUM ORCH
SCRAMBLE TWO/ROCKABYE BOOGIE
CO
35732
.79
BABS ANO HEr' BROTHERS
IN THE MRNING NO/DO 1 LOVE U RY
1 800
.69
THERE 1 GO/SCRUB ME MAMA'
CO
35743
.79
YOUR SO CHARMING/DOUBLE TROUBLE
DE
51 6
.69
W 1 LLY BEE
THREE RING RAGOUT/SOULD HAVE KNOW
•CO
35871
.79
MILDRED EA I LEY
RAMBLIN MIND Bl/cANT CONTROL MIND VO
3907
1 .09
SLEEPY TIME GAL/wHO CAN 1 TURN TO
CO
36470
.89
STONES THROW/BOB WHITE
VO
37|2
1 .29
BEE GEE TAVERN BAND
DONT LET JUL 1 A FOOL/.JACK JILL
CO
36372
.79
CANT FACE MUSIc/oONT BE THAT WAYVO
4016
1 .29
1 TOO MANY/BROKEN PRETZEL VO
15987
.59
CLEO BRnWN (hair cracks)
1 LET SONG GO OUT HEART/ROCK IT
VO
4083
1 .29
BEER BARREL POLKA/wHAT WILL U HAVEVO
15985
.59
GIVE BROKEN HEART BREAK /ME AND WONDE
486
.69
SMALL FRY/BORN TO SWING
VO
4224
1 .09
SWING DOINA/BOCK BEER VO
1 5988
.59
GABRIEL BROWN
SO HELP M_e/aS LONG AS U LIVE
VO
4253
1 .29
WE ARE ON RELIEF/kOLO VO
1 5990
.59
1 GET EVIL/u AIN'T NO GOOD
GE
5003
.59
LOVE WHERE U FIND IT/cOLOR BLINDVO
4345
1 .29
HOT dog/continental WALTZ VO
15991
.59
LES BROWN
WHAT HAVE U THAT/MY REVERIE
VO
4406
1 .29
TOMBSTONE POLKA/WPA POLKA VO
15992
.59
WALKIN SWINGIN/LOVE
DE
3167
.89
SLUMBER TIME SWANEe/taINT WHAT
VO
4708
1 .29
A LL ABOARD/MY PASSPORT VO
15993
.59
LEE BROWN
DOWNHEARTED BL/GULF COAST BL
VO
4800
1 .39
BUN-NY BERIGAN
MOAN 1 N DOVE/NEW LITTLE GIRL
DE
7575
.69
BARRELHOUSE MUSIC/u OONT KNOW
VO
4802
I .29
MOTHER GOOSE/FRANK 1 E JOHNNY VI
25f 16
.99
LES BROWN
LAMP IS LOW/TIT WILLOW
VO
4845
1 .29
THERELL BE CHANGES MADE/jAZZ ME VI
26244
.99
FROM NOW ON/GET OUT TOWN
BB
10009
.89
LITTLE MAN WftSNT THERE/BACK HOMEVO
4966
1 .29
SWEET VARSITY SUE/wHY TALK LOVE VI
25667
1 .29
WHAT COMES UP MUST/DONT WORRY ME
BB
i o i e i
.89
U AND YOUR LOVE/MOMENT IN LIFE
VO
5006
1 .29
HAVE U EVER BEEN HEAVEn/mAMA 1 WANTVI25677
1 .29
CLIFF BRUNER
GEORG 1 & ON MIND /AFRAID SELF
DE
3691
.89
ROCKIN ROLLERS JUB 1 L EE/BUTT ON BUT VI
26077
1 .49
10 PRETTY GIRLS/SPARKLING BL EYES
DE
5824
.59
KENNY BAKER
STUOY IN BROWN/CA RAVAN VI
25653
.99
CHICK BULLOCK
U AND YOUR KISS/THERE 1 00
VI
27207
.79
BEN BERN IE
POLKA DOTS M 0 0N8E AM S /SHAKE DOWN STRSV05472
.79
PH IL BAKER
WHOS S RRY NOW/WILOFLOWER (MINT) VO
14555
1 .49
BUMBLE BEE SLIM
AT THE THEATRE 1-2
VI
20970
1.09
SONG METRONOME/lM SORRY FOR SELF VO
4916
.99
IM NEEDING SOMEONE/ROUGH TREATMENTVO
3637
.69
BAMA BOYS
IM TAKIN TIME WITH u/nO MAMA VO
5087
.99
U LOOK GOOD TO ME/jUST YESTERDAY
VO
3698
.69
PLEASE BE KIND/MOMENTS LIKE TH
BB
4794
.59
GOODNIGHT BEAUTIFUL/TOMORROW N1GHTV0
5072
.99
HENRY BUSSE
BARBECUE BOB
DUKE ON BAT AGAIn/aINT THAT MARVEL CO
2809
1.19
HOT LIPS/WANG WANG L
DE
1 98
.69
MAMA YOU DONT SUIT Me/m|SS. BL
CO
14222
1 .29
WE WONT HAVE SELL FARm/mARCHIN AL0NGC02604
.99
WHEN DAY IS DONE/ON ALAMO
DE
774
.79
JIMMY BARBER
FRANK BESS 1 N'QER
ALLS FAIR LOVE WAr/pLENTY MONEY
DE
1076
.69
THIS SIDE HEAVEN / JUST GOLDEN DR
BB
10167
.59
PAL 1 LOVE STOLE GAL/END SUNSET BR
2740
.69
GONNA LOCK HEART/FIGARO
DE
1924
.69
BLUE LU BARKER (DANNY BARKER
FLYCATS)
FRANK BLACK ORCH
HOW ABOUT IT/ONE STEP HEAVEN
VI
21674
.99
DONT MAKE ME HIGh/hE CAUGHT B &
DE
7506
1.49
TWO OF US/OONT BE ANGRY BR
3338
.89
SWEETHEARTS HOL . DAy/pEAUT 1 FUL
VI
22086
.89
JOHNNY BARF 1 ELD
BIG BILL
BY THE WAY/SAT 1 SF I EO
VI
221 16
.69
NEW BOOGIE WOOG/LITTLE SHIRT
BB
8506
.59
HIT RIGHT LICK/wERRY GO ROUND BL OK
5869
.e9
1 CAME to u/your RESPONSIBLE
VI
22145
.59
CHARLIE BARNET
TRUCK 1 N WOK.An/why DID U DO THAT VO
4205
.79
ERSK INE BUTTERF IELD
1 WNT you/im no angel (RARE)
DO
155
1.49
WHEN U SAID GOODBYE/iM THRU WITH UOK
6|75
.89
WHATCHA KNOW JOe/bEALE ST MAMA
DE
8510
.69
LILACS IN RAIN/GIRL PIGTAILS
B B
IC439
.79
BLACK CATS AND K ITTEN
DEVIL SAT DOWN CRIEd/bOOG CONCERTODE
8600
.69
WHERE WAS l/DEED 1 DO
BB
10669
.79
STEP UP GO/BOOG WOOG DADDY OK
5882
.69
FOOGEE/U SHOULD LIVE SO LONG
DE
8569
.69
JUMP SESSION/SWING STREET STRUT
BB
10172
.99
EUBIE BLAKE SHUFFLE ALONG ORCH
MONEY GREW TREES/MAUA LONG TALL
DE
8596
.69
U ANO WHO ELSE/WHEN SPIRIT MOVESBB
10734
.79
bandana days/im JUST w ild/balt IMOREV 1 1 8791
.59
BOBBY BYRNE
POMPTON TURNPIKE/l OONT WANT TO
BP.
10825
.79
RAY BLOCH
2 HEARTS PASS NIGHT/THESE THINGS
DE
3774
.59
MIDWEEK FUNCTION/l NEVER KNEW
BB
10285
.89
BL HAWAIl/HULA HEAVEN VR
528
.79
CAB CALLOWAY
spos i n/asleep AWAKE
BB
10206
.79
EVERY DAY HOL 1 D A y/jUB 1 L EE
VO
3896
.99
31
SALE
J. E. WARNER
SALE
CAB CALLOWAY CONTINUED
CLIFF AND RAY
B IN3 CROSBY CONT INUED
IN OLD ENGLISH V I LLAGE/ERfi OR NEWSVC
39 1 2
• 99
rustic schoot I sche/rocky mt
VO
4204
59
AH SWEET MYSTERY L 1 Fe/swEETHEARTS
DE
231 5
.99
LIKE MUSIC HOT/3 SWINGS OUT VO
3995
.99
LARRY CL INTON
FALLING IN LO»e/gyP_SY LOVE
DE
23 16
.69
FOOL IN WITH j/BJGLE OLUES VO
40 1 9 1
• I 9
FEEL 1 N LIKE DREAM/GREATEST MISTAKE8B
89
Sast side heaven/sing SONG SUN
DE
2359
.89
peck a doodle/azure VO
4 1 00
■ 99
FORGOT ABOUT ME/MOONLIGHT TEARS
65
10984
99
DEEP PURPLE/STARDUST
DE
2374
.89
shout shout shout/paga N I N 1 VO
Ian-,
99
FALL IN LOVE EVERY DAy/hOW DO U LIVI
25775
• 89
STAR SPANGLED BANNER/GOD BLESS AMER 1 CA2400
.79
BOOGIE WOOGI e/hALLELUJAH BROWN VO
CLUB ROYAL ORCH
sposin/and angels sing
DE
24| 3
.79
SUNNY SIDE EVERYTH 1 NG/CONGO CONGVO
99
GEORGETTE/WHOLL TAKE MY PLACE
VI
1 891 9
59
WHISTLIN WILDWOOD/lF 1 HAD MY WAY
DE
2448
.79
CLAV.8AKE CARN 1 VAl/j 1 VE VO
a 99
JOLLY CO URN ORCH
IDA SWEET APPLE/EL RANCHO GRANDE
DE
2494
..59
APRIL IN HEflRT/DO YOU WANNA JUMPVO
4477
AM 1 DREAM ING/NY CASTLES
BD
708 1
59
MUST BE TRUE/l SURRfiNDER DEAR
OE
2535
.99
FOR JONES/a' 'GELS DIRTY FACES VO
99
KING COLE TRIO
APPLE TEACHER/STILL BB SING
DE
2640
.89
dee p in dreau/mafjly IN LOVE VO
45 1 I
• 99
LOST APRIL/NATURE BOY
CP
1 5054
49
GIRL OREAMs/wHATS NEW
DE
2671
.79
rata:jiacue/ao de oey vo
99
EM 1 L COLEMAN ORCH
WELL REST END TRAIL/GOLD MINE SKY
DE
26 78
.79
MINNIE MOOCHER/iT LOUIS BL VO
4753
99
STOLEN KISSES/BRING BACK BLUSHING
VI
1 9797
.59
old cowhand/little 3UCKAR00
DE
2679
.59
NEW MOON OLD SEHEn/| LOOK YOU VO
4767
99
LET EM EAT CAKE/mINE
CO
2831
.59
WHEN YOUR AWAY/THINE ALONE
DE
2680
.89
F°LOOG i E WALK/GHOST SMOKEY JOE VO
4807
■ 99
WHEN SHIP COMES In/eARFUL MUSIC
CO
296 1
.59
GUS ARNHEIM MEDLEY/MERRY OLDS
DE
2700
.89
jjmpin jive/trilon SWING VO
FORGET ME NOT/ONLY U
VO
1 4833
59
ISLE GOLDEN D REAMS/TO U SWEETHEARTDE
2775
.89
GETTI I NOWHERE F AST/j 1 VEFORM A T 1 OVO
5 1 95
99
georgette/wholl TAKE MY PLACE
VO
1 4386
.59
YODEL 1 N J 1 VE/CI R 1 B 1R IB 1 N
DE
2800
.89
HI DE HO MIRACLE MAn/fRISCO FLO BR
7756
. 1 9
LINGER AWHILE/ONLY GIRL
VO
1 47 1 2
.59
|8TH I9TH CHESTNJT/WRAP TROUBLES
DE
2948
.39
" - Me - ~ i Afurt euro
tia juana/in LITTLE RENHEZVOUS
V 0
1 4897
• 59
MOON W LLOW TREE/TOO ROMANTIC
DE
2998
1.29
LAZY MISS^ROSE VIRGINIA CO
?9Q9
59
WALTER COLEMAN
JUST ONE MORE CHANCE/sWEET POT ATO
DE
2999
.89
VACANT CHAIR AT HOME/jN HEAVEN :0
29 78
.59
MAMA LET ME LAY/SMACK THAT THING
DE
7l 57
.49
SINGING HILLS/DEVIL MAY CARE
DE
3064
.89
OR 1 FT 1 NG ALONG/ON MIAMI SHORE CO
3302
59
CONONIAL CLUB ORCH
GIRL WITH PIGTA 1 LS/OREAM OF JEANN
DE
3098
1 .29
FLOYD CAMPBELL GANGBUSTERS
1 DRAE NOT LOVE u/rD OF DREAMS
BR
3034
• 59
MA RCH 1 Ta/s 1 ERR A SUE
DE
3133
.89
WHAT DO U WANT/BLOW BL AWAY BB
10852
69
AS LONG AS 1 HAVE u/DREAM OF U
SR
32 1 0
• 59
MEET SUN HALF WAy/pESS 1 M 1 ST 1 C CH
DE
3 162
.89
EDDIE CANTOR
SCHOOL DAYS SWEETHEART/GIVE ME
BR
32 |2
• 59
mr meadowlark/on behalf visiting
DE
3182
1 .49
HUNGRY FOR BEAUTIFUL GIRLS/l LOVEC03624
• 59
hushabye/lay my head beneath
BR
3227
-.59
TRADE WINDS/SONG OLD HAWAII
DC
3299
.59
THE CAPITOLIA'IS
my pal jerry/too late sorry
BR
3244-
.59
waltz j saved/where bl of night(chde
3354
.59
NOBOOY BUT u/YOJR MOTHER AND Ml MGM
1033
• 69
wouldja/aint we carryin on
BR
3280
• 59
u MADE ME LOVE u/THINK OF ME
DE
3423
.79
FRA'.KlE CARLE
5|55
new moon/kiss me
BR
33 1 5
5 g
DO U KNOW WHY/jUST LIKE LOVE
DE
3445
1.49
CHICO S LOVE SONG/WHOLE NEW TH VO
.79
all alone monday/will u wont u
BR
3380
• 59
LONESOME RD/ONE ROSE
DE
354|
.89
SOMEBODY LOVES UE/l KNOW J KNOW CO
36331
.69
if i had u/avalon town
BR
4|89
99
BL SERENADE/SPOS IN
DE
3543
.99
barcarole/prelude Cf MINOR CO
35573
.69
JERRY COLONA
LONE STAR TRA I l/n 1 GHT 1 NGALE SANG
DE
3584
.99
H0A3Y CARM ICHAEL
hector/your my everything
VO
3876
• 99
MAKES NO DIFFERENCE N0*/nEW SAN
DE
3590XXKXX
OR LAWYER INDIAN CHIEf/aM 1 BL ARA
128
.59
remember dad/lolita
CO
36092
• 89
YOUR DANGEROUs/BI RDS OF FEATHER
DE
3637
.39
NITA CARROLL AND ALLAN HOLT (
= IANOS)
EDDIE CONDON ORCH
TEA FOR TWO/YES 1 NDEED (mUGGSY )
D E
3689
• 89
SUNDAY IN PARK/BIG UNION FOR 2 98
-!|
.59
WHEREVER THERES LOVE/WHEN LOVER GONEDE23393
.79
ONLY WNT BUDDY/ONLY WANT BUDDY
DE
3736
.69
BENNY CARTER ORCH
ZEZ COUFREY
PARADISE ISLE/ALOHA KUU 1 PO ALOHA
DE
3797
.89
MELANCHOLY LULLABYE/PLYMOUTH RO VO
4984
.99
KITTEN ON KEYS/p 1 CKE E UP LAY ME
VI
18900
• 59
bra;ws lullabye/u and i
DE
3840
89
SAVOY STAMPEDE/SCANDAL IN A FLATVJ
5| 12
.99
PLAYING FAIR/THE SNEAK
V 1
18921
• 59
TIL REVEILLE/OLD KENTUCKY
DE
3886
,89
among souvenirs/fish FRY VO
5458
.99
STRUTTIN STRUTTERS BALl/fRENCH
VI
18932
69
RIOIN DOWN CANYON/u ARE SUNSHINE
DE
3952
POM pom/serenade SARONG DE
3262
.39
ALL MUDDLED Up/TRUE BL SAM
V 1
18973
• 59
CLEMENT 1 NE/daYDREAM 1 NG
DE
4033
• 89
VERY THOUGHT OF u/ALL OF ME BB
10962
.89
GONNA PLANT MYSELf/swaNEE SMILES
V 1
18981
• 59
HUMPTY DUMPTY HEART/DO U CARE
DE
4064
.89
CUDDLE UP HA'JDDLE/»HAT 0 1 FFERENCBB
1 1 197
.79
NEW HAMPSHI RE/MARCH ITA
V 1
19046
59
ANNIVERSARY WAL T z/sHEPA RDS SER
DE
4065
.89
midnite/favorite BLUES BB
1 1288
.99
IRVING KAHN ORCH
DEAR LITTLE BOY MINE/OH HOW MISS
DE
4152
.89
KING CARTER ROYAL ORCH
STILL OO/PRIZE WALTZ
ME
13079
.59
LETS ALL MEET MY HOUSE/DEEP HEART
DE
4162
.89
LO* DOWN BAYOU/CANT GET ALONG CO
2638
.99
B ILL COX & CL IFF HOBBS
SING ONG ISLANDS/REMEMBER HAWAII
DE
4173
.49
CASEY BILL
CREPE on door/heartbroken prisonervj
41 48
79
skylark/bl SHAOOWS
DE
4193
.89
WORRIED ABOUT WOMAn/rEO HOT BL VO
4066
,.59
HOBOS LJLLAB YE /ELECTRIC CHAIR 3L
VO
4929
79
lamplighter/mandy is too
DE
4249
.89
SOLD SOUL DEVIL/BEEN TRICKED VO
3561
.59
XAVIER CUGAT WALDORF ASTORIA ORCH
DRIFTING BACK TO BREAm/s I NG 1 NG S
DE
4339
.89
CASTLEWOOD MARIM3A BAND
ISLE CAPRl/vOUS QU AVEZ VOUS FAIT
VI
2481 3
• 69
OLO OAKEN BUCKET/CONCH 1 TA MARC .
DE
4343
.89
MEXICALI ROSE/l MISS \'OU MOST BR
2649
.59
SUNNY SAN DOMINGO/TU VOLVERAS
VI
26501
59
BOY IN KAHKI /HELLO MOM
DE
4367
.69
B08 CAUSER CORNELIANS
nueva conga/rumba RUMBERO
V 1
26661
.69
BOB CROSBY
DINNER AT 8/GIVE ME L 1 BERT Y ( RAREDO
142
.59
tunara/chi nco hi jos
VI
26697
69
H 1 N DUST AN/MOURN 1 N BLUES
DE
2482
.39
MY OLD MAn/puDD|N'HEA0 JONES ME
12848
.59
chiu chiu/brazil
CO
36651
.59
U U DA RL IN/wiND RAIN
DE
3103
.89
SEE 1 N BELIEVIn/flOWERS MADAM ME
13392
.59
BERN IE CUMMINS
ONE TRACK MIND/lD KNOW U ANYWHERE
DE
3434
.89
ONE HOUR WITH u/whAT WOULD YOU PE
15583
.59
SEEMS LIKE MONTH SUNDAYS/LOSING M 1 BB
10777
59
DELMORE BROTHERS
STORMY WEATHER/LETS CALL IT DAY PE
15757
.59
8 1 NG CROSBY
BETTER RANGE IS HOME/SAME THING
BB
8290
.79
seein believin/flowers madam(cr)pe
|6| 14
.59
TAKES TWO MAKE BARGAIN/WITHOUT WORDE
548
• 89
DINICU ORCH
3AY IT/THEN ILL BE TIRED 8A
33128
.59
ADESTE FIDELIA/SILENT NIGHT
OE
62 1
89
HORA stocata/chanson DU berger
CO
348
.59
TINY LITTLE FINGERPRI iTs/ONCE BA
3332 l(
.59
ALOHA OE/SONG ISLANDS (e/f)
DE
880
• 69
AL BERNARD AND J. RUSSELL ROBINSON
IM BUILDING UP To/aLONE AT TABLEME
60409'
.59
HAWAIAN PARADISE/SOUTH SEA 1 SL
DE
886
99
KEEP ON GOIn/my DOG
BR
2762
.69
LOVE AME OUT NITE/HILLS WYOMING ME
60514
.59
LETS CALL HEART HEA RT/PENM 1 ES HEAVDE
947
89
AL DONOHUE
BOB CHESTER
DEAR OLD GIRL/jUST ONE WORD CONSO
DE
1044
.89
LAM'ETH WALK/STOP BEATIN MULBERI?
VO
431 8
.59
PRACTISE MAKES PERFECt/dONT LET GETBB 10338.59
SWEET LELANl/BL HAWAII
DE
1 175
89
BUTTON BUTTON/WHEN PA COURT 1 N MA
VO
4476
.59
CHP LY AND COLD/TILL LIGHTS B8
10972
.69
TWO MARVELOUS WORDS/WHAT WILL TBLLDE
1 1 85
89
our love/little SKIPPER
VO
4736
.59
MAR ION CHASE
ONE rose/sentimental MELANCH
DE
1 20 1
WHITE SA 1 LS/PERS 1 AN RUG
VO
4956
.59
SHOULD 1 BE SWEET/APRIL PARIS LMS 1 53
.89
SMARTY/M08N GOT IN YES
DE
1375
• 89
GO FLY KITE/MAN AND DREAM
VO
4970
.59
BILL CHITWOOD AND BJD LANDRES
ALL U WANT DO IS DANCe/naTURAL
OE
1376
39
POOR OLD JOE/JIMMINY CRICKET
VO
51 13
.59
JERUSALEM MORN/HOWDY BILL BR
2809
.59
love kiss goodnite/remember ME
DE
|45|
89
DORSEY BROTHERS
OVER THE SEa/| GOT MINE BR
2810
.59
BASI N ST/BOB WHI TE
DE
1483
39
HONEYSUCKLE ROSE 1-2
DE
296
1 .29
JOHNNY GET YOUR GUn/fOURTH JULY 3R
2883
.59
DREAM ABOUT HAWAII/SAIL SILVERY
DE
1518
39
JIMMY DORSEY
CHUCK * AGON GANG
GOLD MINE SKY/MISSION BY SEA
DE
1656
89
< 1 LLY KALEE/HAVENT CHANGED THING
DE
1961
.59
EMPTY MANSION/LORD LEAD ME ON VO
5536
.59
DANCING UNDER STARS/PALACE PAR^DISOE
|6|6
89
LETS STOP CLOCk/maSKERADE OVER
DE
2293
.59
WILL U LOVE ME/ENGI 'JEERS CHILD VO
4105
.59
MOON UANICURa/m' NIGHT DREAM
DE
1649
LATINS KNOW HOW/FOOLS FALL IN LOVEDE
3176
.59
GETTIN READY '.EAVE WORLd/h,I 0 1 NGOK
5782
.59
PLEASE BE KINO/l SIMPLY ADORE U
DE
1693
39
HOW CAN 1 BE ALONE/TENNESSEE FISH
DE
3 197
.59
TED CLAIRE SNAPPY BITS BAND
DONT BE THAT WAy/lITTLE LADY MAKE
DE
1794
• 89
CONTRATs/pERF 1 D 1 A
DE
3198
.59
FOUR OCLOCK Bl/|M GONNA GET U GE
81 91
.99
ALEXANDERS RAGTIME B A ND/H°ME ON R ANGDE 1 987
89
oolomite/hep TEE hootie
OE
331 2
.59
HELEN CLARK &ELLIOT SHAW
BL SERENADE/GOT POCKET FULL DR
DE
1933
.89
1 HEAR RHAPSODY/MEMORY OF ROSE
DE
3570
.59
IHROW OUT lifeline/hymn MEDLEY VO
1421 I
.59
SILVER SAGE/MEX 1 CAL 1 ROSE
DE
2001
.69
NEW SHADE 3L/jlM
DE
3963
.69
M I R 1 AM CLARK
MY REVERIE/OLD FOLKS
OE
2|23
.39
MOONLIGHT MASKERADE/WAS IT U
DE
3991
.59
90HEMIAN GIRL/MI KABO MEDLEY NML 1 027
.59
MUST BEEN BEAUTIFUL BABY/SUMMERT
DE
2|47
.99
TOMMY DORSEY
CLICQUOT CLUB ESKIMOS
JOOBALA |/yOJR SWEET HEAOACHE
DE
2200
.89
GETTING SENTI ENTAL/GOT NOTE
V 1
25236
.69
■ i ngs/humoresk l MO CO
1322
.59
1 HAVE EYES/FUNNY OLD HILLS
DE
2201
.89
JADa/rOYAL GARDEN
VI
25326
1 .29
32
SALE
J. E. WARNER
SALE
t nun v nnDcrv pomt imiipti
IUMMY UUKbLI LUIIt IINULU
V 1 25570
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GOODMAN CONT 1NJED
H INES CONT UJUED
SATAN TAKES H0LI0AY/NOLA
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VI 26170
HQ r-
ATHER STEPS In/pIANO MAN
BB 10377
.59
OLD FLAME NEVER 0 1 ES/ IF U W ERE
v I 25649
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IORLD WAITING SUNRISE/SOLO FLIGHT
CO 36684
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HOOSIER HOT SHOTS
ANNIE LAURIE/MORE THAN EVER
v 1 25774
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!OSE room/flying home (both co-f)co 35254
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FTER U GONE/u SAID SOMETHING
VO
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MY WALKIN STICk/nO* CAN BE TOLD
vr 25856
.89
TEDDY GRACE
I
OOK N FOR GIRL/SHE SAIO DO
ME 13387
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OUR LOVE/ONLY IN MY A RaA.S
V I 26202
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"ANCY TO YOU/NEVER LET U CRY
DE
1602
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'VERYTHING 1 Do/l DONT CARE
VO
5584
.59
ALL 1 REMEMBER IS u/aLL RIGHT
V 1 2623 1
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)ownhearteu/monday MORN ( TEA, KYLE )
DE
2i28
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HARRY HORL ICK
BY RIVER ST MARIE/MARCH TOYS
89
.ONESOMEST GAL TOWn/sEE WHAT BOYS
DE
3428
QQ
LUE DANUBE/SPRING beau
DE
2177
.59
VOL VISTU GAILY STAR/lOO — 1
vi 2636 3
• 69
GLEN GRAY
BOB HOWARD
stomp it off/night GLOW
V| 26376
.69
:otton»/ooo corners/head on pillow
DE
347|
.69
STAY OUT LOVE/lLL NEVER C ANGE
DE
439
.89
careless/darn that dream
vi 26433
.79
JIMT0WN 8L/BIG BAD BILL
DE
3307
.89
rHATS WHAT U MEAN TO ME/COPPER
DE
990
.99
MARCH 1 Ta/nEVER SMILE AGAIN
VI 26628
.79
CORAL SEA/WHEN BUDDHA SMILES .
OE
3261
.79
JETTER COME BACk/kEEPIN OUT M 1 SCH
DE
2730
.99
st a rdust/sw a nee river
VI 27233
.89
=!OCK ISLAND FLAG STOP/uNDER BLANK
DE
3193
.89
ROSETTA HOWARD HARLEM HAMFATS
ne I ana/ this love mine
VI 27508
.99
MO NAME JIVE 1-2
DE
3089 1 .39
rouR A v I per/rosetta BL
DE
7370
.69
blue blazcs/janhattan serenade
VI 27962
.99
OUT OF. SPACE/BL RA 1 N
DE
3802
.79
JIMMY HUNTER
chloe/at fat mans
V 1 20 | 737
.39
LITTLE OLD LADy/waSHBOARD Bl(hOaGy)dE
2394 1
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;oney island/sing u thousand
ME 6 1 1 08
.59
BOB DUNNS VAGABONDS
ET HER GO/SWING LOW
DE
1396
.69
WALTER HURDT
ILL TELL WORLD/MEET ME TONIGHT
DE 5789
.59
J IMMY GR IER
TRAIN SPECIAL/LOST DOE
BB
3063
.59
CHAMPION jack dupree
SAYS MY HE A R t/b RE A THLE SS
DE
1 797
.59
INK SPOTS
GIBING BL/DUPREE SHAKE
OK 6|04
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GEORGE HALL
»HAT CAN 1 Do/wHEN SWALLOWS COME
backde3i95
.59
DUKE ELLIN3T0N
OH MAMA/wiLL U REMEM3ER TOMORROW
VO
4085
• 59
GREATEST MISTAKe/wE THREE
DE
3379
.59
THREE LITTLE WOPDS/RING OEM 8ELLVI 22523
.99
JOHNNY HAMP
HEY DOc/l DONT WANNA SET
DE
3987
.59
9 LITTLE MILES/WHAT GOOD AM 1
VI 22586
.99
MOONLIGHT ON PRAIRIE /LITTLE BUCK
BB
6838
.59
SOMEDAY ILL MEET /l LL GET BY
DE
8579
.59
THE MOOCHE/MOOD 1 ND 1 30
VI 24486
.99
LIONEL HAMPTON
HARRY JAMES
DONT GET A ROUND MUCH/COTTON TAILVI 266IU
.79
BABY WONT J PLEASE/AFTER U GONE
VI 25674
.89
BOO hoo/woo WOO
BR
83 13
.49
RA 1 NCHEC k/pERD 1 DO
VI 27880
.99
sun will shine/your MY IDEAL
VI 25771
.89
THE JESTERS
dusk/warm valley
VI20I534
.89
STAND BY FOR FURTHER/ IG WIG
V 1
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.99
ANY OLD PLACE/WHERE DO WEGO FROM
DE
4120
.59
MAIN STE\l/jOHNNY COME LATELY
Vl20l 1 56
.89
MEMORIES OF u/jUMP JIVE
VI
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.99
JO AND ALMA
soph lady/stormy WEATHER
CO 35556
.39
HEEBIE JEEBIEs/GIN XMAS
VI
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.19
WHEN BEES IN H 1 VE/U LEARNED LOVE
VO
4|73
,59
BLACK TAN FANTA Sy/mO 1CHE
BR800002
.69
IM ON WAy/hAVENT NAMED IT TEY
V 1
26476
.99
BUDDY JOHNSON
SEGER ELLIS ORCH
HARLEM HAMFATS
WHEN MY MAN COMES HOME/lLL ALWAYS
DE
8655
.59
THREE LITTLE WORDS/SHIVERY STOMPDE |275
.99
TIMES w AST 1 n/r AT HER BE WITH U
OE
7454
.69
CURTIS JONES (HOT BOX JOHNSON )
ZIGGY ELMAN
COLEMAN HAWKINS
FALL 1 N FOR U BABY/ROLL ME MAMA
VO
4693
.99
ZAGGIN ZIG/YOURE MINE U
BB |03|6
. 89
MEET DR FOo/sHES FUNNY
BB
l'"477
.99
SPIKE JONES
ERNIE F IELDS
CRAZY RH YTHm/hONE YSUCK LE ROSE
VI
26219
.99
COCKTAILS FOR 2/LEAVE DISHES
VI20I628
.59
LARD STOMP/T TOWN BL
VO 5073
. 79
NETCHAS ORE A m/c H 1 C A GO
DE
661
.99
DICK JURGENS
SHEP FIELOS
BB 6685'
.59
ERSK 1 NE HAWK I NS
.69
ISLE OF MAY/HAPPEN TO BE IN LOVE
VO
5361
.59
ONE NEVER KNOWS/GOODNIGHT LOVE
WONDERFUL FEEL/SNE ft K 1 N OUT
VI20I383
JOHNNY DODDS
WHAT HAVE U GOT/YOURE LOVELY
BB 7774
• 69
KING PORTER STOMP/wEARY 3L
BB
7839
.79
BLUES GALORE/SHAKE YOUR CAN
DE
74i 3
1.99
FREODY SCHNICKELFRITZ FISHER
LET PUNISHMENT FIT CRIME/l LIVING
BB
10213
.79
29th dea rborn/w ildman bl
DE
21 1 1
1.99
WILBERFORCE GET OFF HORSE/P 1 STOLDE 4425
.69
GABRIEL MEETS DUKE/WH 1 SPER 1 NG GR
BB
1067 1
.69
LIONEL HAMPTON
ELLA F ITZGERALD
DOLOMITE/ 00 MANYDREAMS
BB
10812
.69
MUSKRAT RAMBLE/RING DEM BELLS
VI
26017
1.19
IF U EVER CHANGE M 1 ND/ANYTH 1 NG
DE 2481
.69
LENNY HAYTOM
fiddle diddle/dont be that way
VI
26173
1.19
STAIRWAY TO STARS/OUT NOWHERE
DE 2598
• 69
AC DC CURRENT/TIMES SQ SHUFFLE
VO
5471
.89
HAL KEMP
billy/please TELL ME TRUTH
DE 2769
.69
FLETCHER HENDERSON
WHISPERS IN DARK,/ST0P BREAKING
V 1
25598
.99
STARLIT HOUR/lS THERE SOMEONE
DE 2988
• 69
SAVIN SELF FOR u/LITTLE TH COUNT
vo
4154
l929
TAKE Tl° FROM TULIP/SPEAK HEART
V 1
25732
.99
TAKING CHANCE ON LOVe/cABIN SKY DE 3490
.69
UNTIL TODAY/KNOCK KNOCK
V 1
253 73
1 .29
3 LITTLE F 1 SHES/CHESTNUT TREE
VI
26204
.89
S0MEB00Y NOBODY LOVE/u DONT KN
DE 4802
• 59
HORACE HE IDT
SUNRISE SERENADE/lF ITS GOOD
VI
26215
.89
JOHNNY FOSOICK ORCH
SHACK SACK HILLS/T IPI Tl N
BR
8073
.69
CANT R EMEBRE TO FORGEt/yOUR ONE
V 1
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.99
swingin jingle/get hep nocturne 3|35
.59
bewildered/gypsy told me
BR
8092
.69
BRADLEY KINCAID
FOUR SQUARES
WHO ARE WE TO SAY/SHADOWS MOON
BR
8096
.69
BURY ME OUT ON PRA 1 R 1 e/aFTER BALL VO
5474
.79
BLUE SKIES/PUT ON GRAY BONNET
VO 4097
.59
lovelight starlight/where we met
B 'R
8110
.69
K 1 NG S MEN
ROY FOX
LET ME WHISPER/THIS TIME REAL
BR
81 2 1
.69
LAZY ROLLS RIO/3 LITTLE FISHES ■
VO
4838
.59
josep.iine/(wayne king)
VI 25513
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LITTLE LADY MAKE BELIEVE/wHAT
BR
8|25
.69
FRED KIRBY
BLIND 30Y FULLER
.59"
CATHERDRAL IN PINES/GIRL BONNET
BR
8133
.69
HOME/NIGHT ON PRAIRIE
BB
7|64
.59
Li«T-E woman/ybmr situp go
vo 5476
OH MAMA/F ERDINAND THE BULL
BR
8138
.59
JOHN KIRBY
coRrine WHAT makes u/weepins WILDE 7881
.59
SUGAR BL/RIDIN TO GLORY
BR
8162
.69
LITTLE STRET S 1 NGAPORE/ZOMB 1 E
OK
567|
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SLIM GAILLARD
BESIDE MOONLIT STREAm/f 1 GA RO
8R
8|75
.69
DRINK TO ME ONLY/AN 1 TRAS DANCE
VO
4890
.99
U ONLY u/MATZOH BALLS
VO 5301
.99
L 1 TTLE D RUMMER BUy/bRANO NEW PIC
BR
3179
.69
NOCTURNE/FRONT AND CENTER
VO
5520
.99
JAN GARBER
GOTTA DATE DREAM/MAY 3E NIGHT
BR
8134
.69
ANDY KIRK
rollerskating rainbow
vo 4832
.59
FALLING IN LIVE/LILLIAN
BR
8229
.69
LOTTA SAX APPEAL/BEARCAT SHUFF
DE
1046
.79
ivory colored wall/concert park vo 5889
• 69
daroanella/good olsummertime
BR
8248
.69
WHAT TELL HEART/LADY WHO SWINGS
DE
1085
.79
poured heart/old fashioned tune VO 4900
.69
CANT BE L^VE/SING SUPPER
BR
3257
.69
WITH LOVE IN HEART/WHY CANT WE DO 1 TOE |477 .79
TWO OTHER PEOPLE/OLD MILL WHEEL VO 4940
.69
WHERE HAS DOG GONE/cLA R 1 NET POLKA BR
8299
.69
POOR BUTTERFLY/LOVER COME BACK
DE
1663
.79
ONLY ONE IN LOVE/SHABBY CABBY
VO 4952
• 69
LITTLE SIR ECHO/LETS STOP CLOCK
BR
8309
.69
JULIUS CAESAR/u SET ME AFIRE
DE
2383
.79
WORLDS FAIR WALTZ/WANT WAITER
VO 5012
.69
DAWN NEW DAY/PENNY SERENADE
BR
331 3
.69
|5 MINUTE INTERMISSION/FINE AND
MELLOE 3282 .79
AFTER WE SAY GOODN 1 TE/RUNN 1 N DO VO 5038
• 59
COME LONG WAy/nEVER AGAIN
BR
831 6
.69
SCRATC' I 1 N GRAVEL/TAKIN BL AWAY
DE
3293
.79
BONNIE BIG BL EYES/SEVENTEEN
VO 5 1 1 4
• 69
how str^nge/maskerade over
BR
8329
.69
LITTLE MISS/WHEN 1 SAW U,
DE
3491
.79
.WHEN TWILIGHT COMEs/SAME SWEET
UBR 81 76
• 69
OONT WORRY ME/wHAT GOES UP MUST
BR
8a34
.69
OR HAVE l/lF 1 FEEL THIS WAY
OE
3582
.79
ERNIE GOLDEN ORCH
BUILDING SAILBOAT/RED SKIES
BR
8339
.69
RING DEM BELLS/CUBAN 800G
OE
3663
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SONG VAGABONDS/CUP COFFEE
HA 86
• 5?
STRANGE ENCHANTMENT/SENTIMENTAL
BR
8343
.69
RIDE ON RIDE On/uNLUCKY BL
DE
4436
.79
BENNY GOODMAN
LITTLE SKIPPER/WHEN IN ARMS
BR
8348
.69
GENE KRUPA
king porter/sometimes im HAPPV
VI 25090
• 99
BEER BARREL POLKA/p ITZICATT 1
BR
8354
.69
OLD BLACK JOE/OLD KENTUCKY HOME
CO
35205
.69
sandman/goodbye
VI 25215
gc
' NEW MOON OLD SEREn/chESTNUT TREE
BR
8360
.69
NIGHTINGALE SANg/i HEAR MUSIC
OK
5802
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BREAK 1 N IN PAIR SHOEs/sTOMP 1 N
VI 25247
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ILL GET BY/SPOSIN
BR
8368
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u were there/rancho PILLOW
OK
6376
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BOUND NEW BABY./SWINGTIME ROCKIESVI 25355
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1 HOW WARM WEATHER/SUNRISE SERENADE BR
8372
.69
coppin a plea/volets for furs
OK
6498
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PICK SELF UP/DOWN SOUTH CAMP
VI 25387
1 • 1 c
1 WHISTLIN W ILDWOOD/BOOM
BR
3379
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massachusetts/murder he says
OK
6695
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moonglow/dinah
VI 25393
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WOODY HERMAN
bolero at savoy/murdy purdy
BR
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LOVE ME LEAVE Me/exACTLY LIKE
U VI 25406
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1 BIG WIGWIGWAM
OE
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HANDS ARE TIED/VARIETY SPICE
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VI 25445
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challenger chop/oont be surprised BR
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GNIGHT MY LOVE/TAINT NO USE
VI 25461
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' JUKIn/hERMAN AT SHERMAN
DE
3272
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KAY KYSER
MELANCHOLY BABY/SWEET SUE
VI 25473
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' hey doc/night WATCHMAN
OE
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FEELIN GONE/HAVIN SELF TIME
BR
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SOMEBODY L VES ME/jAM SESSION
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DE
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8381
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STOMPIN SAVOY/v IBRAPHONE BL
vi 25521
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CONCERT IN PARK/ALL 1 REMEMBER
BR
8385
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SING SING SING 1-2
vi 25 796
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' TOPSY TURVY/ANN
BB
10370
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LOVE WITH CAPITAL u/sTUTTERING
BR
8456
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33
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J. E. WARNER
SALE
r-- :es ,:r:-:
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ECHTS HAWAII/SlAN »1TH MANDOLIN DE 2595
LOVELY HULA HANDS/SOUTH SEA SAOt-EDE 4246
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so yuCH trouble/iOOO yrs and
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VO
3696
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VI
25599
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eveb'Thing/i see face before
VI
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.79
RIDE TENDERFOOT RIDe/lOVE U
VI
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EASTER A RAOE/^IY BEST Gl RL
DE
2345
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BEALE ST 3l/fOR UE AND MY GAL
DE
4371
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JOHNNY LONG
TAKE IT JACK30./VISS JOHNSON
DC
3785
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WHY D0NT u FALL IN LOVE/THEN U
DE
4375
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VINCENT LO°EZ
EACH TIME U SAY GOODBYE/THIS HEA RB3 1 0354
CHARLIE BOXER/WILLY WILLY ■ ILLYABB |079|
SPELLING BEE/THERES HONEY ON "OONVO 4|4|
JIMMY LUNCEFORD
RHYTHM IS BUS INESS/sTARDJST DE
NUTS ABOUT SCR'wy/walki NG HEAVENDE
FRISCO FOG/ANNIE LAURIE DE
LIFE IS FINE/LOSING MIND DE
TAINT a HAT YA Do/chEATIN ON ME VO
BLUE 3LAZES/BA3Y WONT U PLEASE VO
YOUR JUST OREAM/lVE ONLY SELF VO
mandy/lonesome RO VO
THIS THING CALLED SW I Ng/a I NT SHEVO
•ELL ALL SIGHT/TIMES »ASTIN VO
I LOVE U/OH IHY OH WHY VO
WANT WAITER WATEr/u LET ME DO VO
SA=SIN BOSs/whY DID U MEET VO
THINK ME LITTLE DADDy/bELG I UM STVO 5 207
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lu --L.I '.3 in love/love SONG BB 10572 .59
TOMMY LADNIER
WHEN U AND I YOUNG MAGG IE/rEALLYBB 10089 .99
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MOTHERS PRAYER/WHEN I TAKE VACA DE 5086 .59
WADE MA I %ER SONS MOUNT I NEERS
369
682
1569
4239
4582
4667
4754
4831
4875
4979
5033
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BLUE RAIN/WriOS SORRY NOW (CH)
Indian sjmmer/farewell 3L
JOHNSON RAG/WRITTEN IN STARS
FAITHFUL TO u/BLUE WORLO
old dutch garden/starlit HOUR
gaucho serenaoe/when u wish star
MODERN V.OJNTAl NEERS
BAD BLUES/MODERN
MONKEY JOE
RAB3IT FOOT Bl/taxES ON POLE
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MULE SKIN-JER BL/six *HITE HORSES
<.■:-.'-.- --_ .'
ROOTIN TOOT IN COWBOY./RED PATCH
JOHNSON RAG/CHINA DOLL
I WANNA BE WINCHELS COLUMN/'bWAY
DROP Nl CKLE/jOSEPH JOSEPH
MORRIS SHOWN QUART
AN TELL WORLD/SWING LOW CHAR I
SNUB MOSELY BAND
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D BU ARCS DREAM/WERE U THERE
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MOSQJITO SONG/SHES CRYIN FOR ME BB 10773
FREDDY MART I 'J
CARLSTAD BALL/H'JT SUT SONG BB t I 1 47
TONY MARTIN
COWBOY SERENAOE/HILLS -OME DE 3989
-p^x IE MiS'Es;
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EYES ON u/iRAP U UP VO 5352
SAY IT/»Y UY VO 54|7
WATCH IN CLOCK/POLKA DOTS MOONBEAMVO 5480
PESSIMISTIC CHARACTER/MEET SUN VO 55|7
MAC (HARRY MAC CLINTXK)
bum song/hallelujah im bum
_ O: MC COY
TEAR IT OOWN/SUGAR 3L
BB 11033
DE 381
MC KENZIE CONS ON Ch ICA3CAN5
CHINA BOY/SUGAR
CLAYTON MCMICHEK
CO 35951
GEORGIA WILDCATS
DE 3363 1.39
2342
3930
PLEASE DONT SELL PAPPY RUu/pUT
JIM'Y MC PARTLAND
EC CENTR I C/P ANAMA
MERRY MA3S
; •: ~ : - ~ i-z- z t
KISS BOYS GOODBYE/HONK HONK
MILLS BLUE RHYTHM BAND
CONGO CARA'/An/ri DE REG R IDE
MILLS BROTHERS
U TELL ME YOUR DREAu/swEET A DEL OE
GUESS ILL BE ON WAY/BELLS SAN DE
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2285
4070
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SWNRISE SER/mOONL 1 GHT
SEREN
BB
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1.19
LOVE WITH CAP u/ANGEL
FURNISHED
BB
10383
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ISLE GOLDEN/WHAM
BB
10399
1 .09
BLUE MOONLIGHTy^Y PRAYER
BB
10404
1 .09
IN THE MOOD/l WANT BE
HAPPY
BB
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LAST NIGHT/MELANCHOLY
LULLABYE
BB
10423
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SPEAKING HEAVEN/BLESS
U
BB
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ALICE MOORE
B -
1 0486
BB
10495
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BB
l 0498
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BB
10536
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BB
10570
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BB
7671
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VO
4471
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BB
8586
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BB
8361
.69
DE
2778
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8104
70
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8097
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DE
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10179
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DONT DENY ME 3ASy/T0O MANY MEN
OZZIE NELSON
old apple tree/shack in back
joseph/happy ending
RAM3LIN WRECK GA TECh/0N WISCONS
FORGET IF U CAN/AT LON LAST
I LOVE U/SAY SI SI
u and love/white sails
L0VL1 NESS/STUTTERI NG IN STB
8EA I T O'JT/wHEBE
RED NICHOLS
YOUR SO DESIRABLE/OUR LOVE
NIGHT OWLS
v a " I E z :• a-. v -
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SHE WAS A SAILORS/DEAR OLD GORL VO 39l 3
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HOW CAN U FORGET/BOY IS HARLEM
U LEAVE ME BREATHLESS/SAYS HEAR
U MUST BEEN BEAUT I FUl/juST U
THERELL NEVER BE ANOTHER u/TOAD
3 LITTLE FISHES/SOD ESIRABLE
YOURS FOR SONG/l CAN READ
MY LOVE FOR I DOLE DREAM
■- . " . - : : - -
LET SONG GO OUT/ROCK IT FOR ME
- : :
HAW A I I AN PARADISE/ONE ROSE
'..
blues/green eyes
TEDDY POWELL
ARTIE SHAW CONTINUED
ONE N GHT STAND/ONE FT GROOVE
OCTAROON/ALL I REMEMBER
COMES LOVE/l CANT AFFORD
MELANCHOLY MOOD/mOONRA Y
ILL REMEMBER/EASY TO SAY
GO FLY KITE/MAN AND DREAM
DAY IN DAY OUT/PUT DOWN WRITING
TWO BLIND LOVES/LAST TWO WEEKS
YOURE LUCKY GUy/lOVE HERE
DONT FALL A SLEEp/glOOMY SUNDAY
KING FOR DAY/APRIL PARIS
stardust/temptati ON
DR L IV I NGSTONE/wHEN QUAIL COMES
3EBT SHEFTER
sos/locomotive VI 25614
TAMING DEVIL/AIRPLANE AND BEE BR 8072
PERLEYS 3REEDS SHEPARD COLONIAL ORCH
*-E-E= S*E:-TIE -i:r,; : = Eaw r. e = -r
an
8089
.99
BR
8135
.99
BR
8240
.99
10
4738
.99
VO
4785
.99
. a
4818
.99
MO
4953
.99
ae
7567
.89
DE
1470
.59
BB
1 I 168
.59
BB
1 1089
.69
DE
8503
.79
VO 3503
i|SE OLD OWL/2 HEARTS PASS
CLARENCE PROFIT TRIO
HOT bothered/times SQ BL
THE °ANGE RIDERS
HOW COME U DO ME/WHO CALLED U
- :~
MORE GIRLS THAN I /BOOTLEGGERS STORYBB 7484
RAM3LIN KIO AND PROFESSOR
EVERGREEN TREE/ LITTLE HOME ME70T54
----- -' ■
S1NGIN THE BL 3*EETEST STORY EVER DE
JAN SAVITT
WONDERFUL *ORLD/HONESTLY DE
.59
.59
,59
1973 1.29
big beaver/april -howers
ART IE SHAW
3695
ILL BE WITH U APPLE/LET HER GO VO 4438 I
Chant/fe Fl FO FUM VO 4539 I
SOUTH SEA ISLAND MAGIc/lT AINT Rl VO 4637
I USED TO BE/NO REGRETS VO 4837 I
CHANT/FE F| FO FUM 8R 7952
INDIAN LOVE CALL/BEGIN 3EGUINE BB 7746
COME ON/l DONT BELIEVE YOURE BB 7772
HON STOP FLIGHT/nIGHTMARE BB 7875
DEEP IN DREAM/OAY AFTER DAY BB 10046
THANKS FOR EVERYTH I NG/bETJEEN KISSBB 10055
say it with kiss/took million yrs bb 10079
i want share/delightful delerium bb |0|34 .
all yours/this is it bb |0|4|
prosscha/im in love with bb i0i38
if u ever change mind/u grow swee bb |0|95
.59
.59
.29
.39
.79
.39
.89
.89
.89
.89
.89
.89
.89
89
.89
.89
.89
BB
10202
.39
BB
10319
.69
BB
10324
.55
BB
10334
.69
BB
10345
.69
BB
10347
.69
BB
10406
.79
BB
|04|2
.5 3
BB
10482
.69
V>
26563
.99
VI
26654
.69
VI
27230
.99
VI
27239
.69
.89
.89
.99
5608
SLIM AND SLAM
vol vistu gaily star/jump sess VO 4346 .99
gettin kinda chilly/sweet SAFRONIAVO 4594 |.|9
SNUFF SMITH. ONYX CLUB
ise a muggin/numbers gave vo 3169 .69
SWEET VIOLET BOYS
GOTTA SEE MAMA EVERY NIGHT/lULU VO 5498 .69
" -"• - -e: : -- : - r :
check I N up ON u/yes DARLING BB 7976 .59
JACK TEAGAR3EN
*-ite 3A l; ::TA-:r\ BR 3388 .89
PICKIN PATSY/UNDERTOW BR 840 1 .89
GOT A RIGHT SING THE Bl/yaNKEE BR 8397 .59
BLUES GOT ME/PRELUDE TO 3L DE 4409 .99
ART TAT JM
STOMP IN SAVOY/LAST GOODBYE DE 8536 .99
CORRINE CORRINE/LONESOME GRAVEYARDDE 8563 .99
lucille/rock me MAMA DE 8577 .99
DICK TODD
CANT GET U OUT MINd/lITTLE SIR BB 1 0 1 69 .59
TOMMY TUCKER T I ME
honestly/man C.OMES AROUND VO 5199 .89
UNIVERSAL :Oi30YS
oh marie/night SPOT BL VO 5 1 89 .69
POLKA DOT WASHBOARD BAND
BACK DOOR/WE GOTTA MOVE DE 7378 .59
JERRY WALD
CRAZY BL/SHOO SHOO BA3Y DE 443l .59
FATS WALLE
PORTERS LOVE SONG/swI NG THEV JINGLBS 10015 1.69
83 10135 I .59
VI 25194 1.79
BB 10192 1.59
BB 10500 I .09
BB 10989 1.29
V| 25762 1.19
HARLEM FUSS/MINOR DRAG
SUGAR 3l/s0MEB0DY STOLE MY GAL
taint what u do/some rainy day
suitcase suzie/feets too big
scram/everybody loves/(rim ch)
why hawaians sing/window faces
WASHBOARD SAW WASH30ARD BAND
OIN ST LOUIS/GOOD LUCK 3L '
oh babe/louise
CHICK WEBB
8569
8469
.49
.69
BLUE MINOR/SUNNY SIDE ST
OVER BECAUSE THRu/DONT BE THAT W
LAWRENCE WELK
MY wan/stumblin
GEORGIA WH I IE
DE
172
.89
OE
483
.89
VO
4848
.59
NEDE7477
.59
DE
7631
.59
DE
7672
.59
DE
7689
.89
DE
774i
.89
. D
15907
.49
DE
3964
.49
HYDRANT LOVE/WHAT U DONE TO ME
DOIN WHAT HEART SAYS/nOBOY FAULT
DROP THAT SACK/FURNITURE MAN
JAZZ IN BABIES BL/LATE HOURS BL
WHOOPEE JOHN WILFART
spr i ng tive/laender
two canaries/saxophone squit
OPT IE WILLIAVS
ECHOS HA BLEW /HAVE A HEART
TEDDY WILSON
jumpin on blacks/little things
exactly like u/boola jaja
BARRY WOOD
OLD OKLAHOMA/l WONT TELL SOUL
GOOD FOR NOTHIN/LAST NITE MIRACLE BR 3823
YVETTE
vo 3960 .89
CO 35232
CO 35220
3842
.69
.69
WE THREE/TWO DREAMS MET
HOT TROMBONES ALBUM
BB 10872 .59
FEATURING HIGG
HARRISON, TEA, MORTON, CBRIEN,
MOLE, ETC (EIGHT SIDES)
CO C-46 2.49
AUCTION
RAY AVERY THE RECORD
ROUNDUP
AUCTION
1630 SOUTH LA CIENEGE, LOS A I1
JGELES
35,
CAL IF .
LOJIS AR STRONG
JOHNNY DODDS
VIRGINIA L 1 ST ON
GEORGIA GRIND/COME SACK
OK
8313
N
TOO T 1 GH T/p A P A D 1 P ( W A NO ERER5 )
CO
735
E—
■j 1 V E IT T . j r L ■' 1
OK
8| 37
G
LONESOME Bl/kING OF ZULUS
OK
41531
N-
PERD 100 ST /GATEMOUTH ( WANDERERS )
CO
698
E+
RIGHT KEY WRONG HOLE/BILL DRAW
OK
8| 73
V+
SKID DAT DE OAT/jAZZ LIPS
OK
8436
E-
OH DADDY /
1 24 / 1
E
L 1 TT LE BROTHER
IRISH BLACK BOTTOM/YOU MADE
OK
3447
N
LOVELESS LnVE/l9TH ST 8L
PM
1 2483
E
SHR EVE PORT FAREWELL/CRESCENT
B8
10953
N—
IU GONNA Gl TCHA/OONT FORGET
OK
8343
■.-
CLA R | NET WOBBLE /s AN
3574
N
FATE MARABLE*
whos it/droppin SHUCKS
OK
3357
E
NEW ST LOUIS BL /OH LIZZIE
BR
3585
E
P 1 A NO FL AGE/FRANK IE JOHNN 1 E
OK
40 1 1 3
N—
SUNSET CAFE/BIG BUTTER
OK
8423
N
joe tunkr bl/when ERaSTUS
BR
N-
MISSISSIPPI JOOK BAND
SWEET LITTLE PAPA/BIG FAT MA
>
8379
N
AFTER U GONE/ COME ON
BR
E+
DANGEROUS WOMAN/BARBECUE BUST
ME
6 1 27 1
N —
WEARY BL/THATS WHEN ILL
OK
8519
N
W 1 L l^W A n/mELANCHOLY
356 7
N
SKIMPY WHIPPY /h I TT t N THE
ME
6 1 1 65
E-f-
ALLIGATOR CRAWL/wiLLIE WEEPEr(lAM
IOK
8472
E
40 AND TIGHT /p I GGLY W I GGLY
OR
8 120
E
AL IUL MUUKL
melancholy bl/keyhole BL O*
8496 v+-
BL CLA R 1 NET STOMP /BL P 1 AN0
V 1
2 1 554
E
BLACK EVIL BL/3WY ST WOMAN
PM
1 2 8 1 3
N—
POTATO HEAD BL/PUT EM
OK
8503
penc i l papa /swee t lor ra i ne
V 1
23083
N
JELLY ROLL MORTON
MONDAY DATE/SUGAR FT STRJT
OK
8509
N
BOODLE AW SHAKE/CA RPET { D JB )
20480
N
big fat ham/muddy W ATER BL
PM
1 2050
E
STRUTTIN WITH SOME BARBECUE
OK
8565
E
HOUSE REN T RA G/bOMT GIVE (DJB}
V |
20420
M AMAM 1 TA/35TH ST BL
PM
1 22 1 6
N—
Fl REWORKs/wEST END 3L
OK
41078
N
HEN PARTY ^l/sK I P SCAT(DJB)
20649
N
THE PEARLS
GE
5323
E—
ST JAMES INF/SAVE IT (LAM CR )
OK
8657
E-
MEMPH IS SHAKE/(mOR TON()( D JB )
V 1
20415
WOLVER 1 NE/k 1 NG PORTER
GE
5289
G
WEATHERB 1 RD/DEAR OLD
OK
4 1454
N-
blue p t a no / 1 nd i go
1 0238
N
KANSA CITY STOM PS / GRANDPA
GE
52 1 3
V
A INT M 1 SBEHAVI n/bLACK BLUE-
OK
4 1 275
E
BU CKTOWN STOM P /BLUE W A SHBOA RD
BB
8549
PERFECT RAG/n«9« JOYS
GE
5486
N
ROCK IN CHAIR/A INT GOT NOBODY
OK
8756
E
WEARY C | TY/3ULL FIDDLE
BB
1 0239
N
MAM1 Ta/t 1 A JUANA
GE
56 32
V+
EXACT— Y LIKE u/lNDIAN
OK
4| 423
E-
TOO TIGHt/jOOBER DANCE
BB
1 0240
N—
STRATFORD HUNC H/SHRE VEPORT
GE
5590
G+
BRIDEWELL ST/ST PETER ( N •WELSH )
OK
8372
V
HE AH ME TALK 1 n/| SA BELLE
BB
i _ i
N
TOM CA T/BUCKTOWN BL
BU
80 1 5
V
HE LIKES IT SL0*(3&s)/(b&s)
OK
8355
.+
FLAT "OOT/MAD DOG (BBOTBLACKs)
CO
1 433 7
THE P EARLS/k 1 NG PORT ER
VO
1 020
E
YOUR REAL SWEETHEART (LDC)
Ot
8607
N-
MIXED SALAD/| CANT SA/ ( BBOTBL )
CO
1 4465
N— •
3HREVE PORT /SHOE SHIVERS DRAG
VI
2 1 658
N
»jCANT GIVE u anything(ldc)
OK
3550
N-
LOU 1 S DUMA 1 NE
OR|G JELLY ROLL Bl/S0MEDAY
V 1
20405
N
EVERYBODY LOVES BABv(c.WMS)
OK
31 81
E—
RED ONION ORG/FRANKLIN SR
20580
V
CANNON BALL Bl/gRANOPA
VI
2043i
N
PAPA DE DA DA(C WMS)/TUXED0
OK
32 1 5
E
W 1 LL EZELL
LITTLE DIXIE HOME/THATS LIKE
VI
38601
E+
Texas moaner/house rent(c.wms)
OK
8| 7|
7 +
BUCKET 8L00D /PLA Y 1 N
PM
1 2773
G+-
TANK TOWN BUMP/BURN IN 1 CEBERG
VI
38075
N—
CAKE WALKIN BABIES (c/wus)
OK
40321
v+
MIXED UP RAG/OLD MILL BL
PM
12688
b i lly goat stomp/hyena
VI
20772
E+
TERRIBLE Bl/saNTA CLAUS (ROJB)
GE
5607
N
GO 1 N SOUTH/ROW D Y MAN ( E « ROB 1 N SON
1 PM
1 2724
N—
JUNGLE BL/R.M. JONES
V 1
2 1 345
N—
cake walkin babies/of all(rojb)
GE
5627
E+
GEORG 1 A STRUTTERS
MR JELLY L ORD/wOL VER 1 NE BL
VI
2 I 064
E
WILDMAN BL/GULLY LOW BL
jO
3 193
N—
WASNT IT NICE/BLACK BOTTOM
HA
3 l l
E
DEAD MAN Bl/S|DEWAlK BL
VI
20252
N
GOT NO BL/WEST END BL
I/O
3204
N
EVERYBODY MESS AROUND/GA GRIND
23 l
E+
SMOKEHOUSE BL /STEAMBOAT
VI
20296
E
SAVOY 3L/WALKIN BABY
I/O
32 1 7
N
PFfi 1 Ffi HflWFi 1
ruu LC. u n u w c i_ l.
FRANC 1 s/pEP
VI
38627
N-
HOTTER THAN THAT/lM NOT ROUGH
vo
3237
N-
TRTLE DOVE BL/WALKtN BL
CO
1 4456
N—
SEATTLE HUNCH/FREAK 1 SH
VI
38527
N
BASIN ST BL/ST LOUIS BL
vo
3008
E+
SKIN GAME/DPI N WRONG
CO
1 4473
N
DEEP CREAK/RED HOT PEPPER
VI
38055
E
MAHOGANY HALL St/u CAN
3055
E+
BESS IE JAC KSON
WEST END BL/CLIMAX RAG
BB
10442
E+
THAT RHYTHM MAn/nO
V 0
3205
N—
PIG IRON SALLY/MAN BOOGIN ME
ME
1 3342
E
DIDNT HE RAMBLE/wiNIN BOY
BB
10429
E+
tight like this/hear me talkin
vo
3303
E+
HOUSE TOP 8L /T N&C 3L
1 2774
N—
H | GH SOC | ETY/THOUGHT 1 HEARD
BB
10434
E+
WHEN YOUR SMIL IN/SOME OB
vo
3202
E+
JUMP STEADY DADDY/BAD WOMAN BL
PE
5 1 258
N-
BEALE ST 8L/PEARLS
Be
10252
N-
Dallas bl/bessie couldnt
vo
3025
E
dADarriic orcc / <5 uawc cu n d v
DHnDLLUL D t_ O O / O flH F. L. C.W UnT
0332
N—
FAT FRANCIS/PEP
SB
10257
E+
LONESOME RD/SONG ISLANDS
vo
3025
" +
RECKLESS WOMAN /*T IREO AS 1 CAN
308
N—
BLUE BLOOD Bl/mUSHMOUTH
BB
3201
E+
thato my home/id hate to leave
BE
10236
N
PA PA CHARLIE JACKSON
DEEP CREEK/BL ISLAND( PARHAM )
BB
5333E-/V
LOVIE AUST IN-
M AXVJ EL L ST BL/aLL 1 WANT
1 2320
G
WILD MAN/jUNGLE BL
BB
10256
N-
STEP >IN ON 3L/T3AVELIN BL
PM
12233
1
^ a i tv nn^ Ai aiT i flk'r riTv rti
OHl_ 1 T Lf U U(/ JHL 1 l_HI*.C 1 1 1 1 ol_
1 2236
G
BLACK BOTTOM/CHANT
E B
10253
N—
JAC<ASS BL/FROG TONGUE
PM
12361
V
BABY OONT BE MEAn/lOOK OUT
PM
1 2553
Gt-
MOURNFUL SERENADE/RED HOT
BB
6601
E
JIMMY BERT RAND
4— | |- 44/\jP THE WAY BOUND
1 2375
V
K«C. STOMPS/GA SWING
B b
5109
B
BLUES stampede/easy COME
VO
1 100
E
DROP THAT SACk/aLABAMA BOUND
12289
E"
DR JAZZ/jELLY ROLL
3 6
10256
E
struggling/little bits
VO
1035
E
FAKlN BL/SHAKE THAT THING
1 228 1
G
BOOGA BOO/SHOE SH 1 NERS DRAG
B B
7725
N
J IMW .BLYTHE
RI INH IFMON 1FFFFRS0N
BENN IE MOTEN
HAVE MERCY/HOT STUFF
VO
1 1 36
N
cnDiwMH cti /pi a ri/ uhdqc qi
LUn 1 i^liJH OL/ OK nUKOC " L.
PM
1 236 7
V—
KA TER ST RAG/siSTZR HONKY
Ok
8277
V
WEARY WAy/pOUTIN PAPA
vo
1 135
E
DDV Qlil ITUTDM Ql /QAOCTiTD Dl
JnT OUU 1 flLnni DL/ 13UUO 1 Ln DL_
1 2347
G
J IM'/Y NOONE
JIMMY 8L/FAT MEAT GREENS
PM
12304
7+
EL E CTR IC CHA'R BL/SEE THAT MY
PM
(2608
V—
CH | CAGO RHYTHM/GOT M| SERY
VO
1267
V+
ORIENTAL MAN/MY BABY
VO
1 1 30
RI inn WIN IF IDHN^DM
OL 1 NU R 1 LL IC JUnliJUli
TIGHT LIKE THAT/LETS SOW
VO
1238
N-
CHICAGO FOOTWARMERS
NOBODY FAULT BUT MINE /o ARK
1 4305
N
HAMBONE WILLIE NEWBERN
BROWN BOTTOM BESs/LAOY LOVE
OK
86i3
N
MOTHERS CHILDREN HAVE HARD TIME
1 4343
N
WAY DOWN IN ARKANSAS/DREAMY EYED
OK
8693
N
brush stomp/get EM AGAIN
OK
8599
E
JESUS IS COM [N SOON/ciTY OF
1 439l
N '
SHE COULD TOODLE 00/wORKHOUSE
OK
8740
N
MY BA3Y/0RI ENTAL MAN
OK
8548
E
LORD JUST CANT KEEP F ROM
CO
1 4425
N
REV. A.W. NIX AND CONGREGAT
3N
GRANDMAS 9ALL/BALLIN JACK
Or
8533
E
JAMES P, JOHNSON
BLACK DIAMOND EXPRESS TO HELL
JO
1998
V+
SWEEP EM CLEAN/MY GIRL
Or
3792
0 +
WORRIED L ONE SOM E/WEE P 1 NG BL
3950
E
J 1 M MY OBRYAN1
CH ICAGO H TTENTOTS
HARLEM STRUT/( HENDERSON )
BS
2026
E—
THREE J 3l/sTEPPIN ON GAS
PM
12294
V+
ALL NIGHT SHAG/PUT ME IN THE
1008
V
KEEP OFF GRASS/CAR OL 1 N A
OK
4495
E
THE JOYS/SW 1 TCH IT
PM
12297
V
LILLY DELK CHRISTIAN
TODOLI n/sCOUTI NG AROUND
OK
4937
N—
WASHBOARD WONDERS
BABY MINe/lONESOME SORRY
OK
3356
7 +
SLOWLY MORNING BL /AL L 1 HAVE
1 4204
E
MIDNIGHT STRUTTERS/SHAKE THAT
SI
3548
S
JUNIE C. COBB
JINGLES/u GOT TO BE
BR
4762
N-
YOUNGS CREOLE JAZZ BAND
dont cry honey/shake jelly
VO
1263
E
RICHARD 7 . JONES
TIN ROOF 8L/(M|DWAY)
CLAX402 72E-
once or twice/(six jolly jesters)
. 0
1449
N
|2 st rag/jazzin babies
GE
5|74
E-
ORIGINAL TUXEDO JAZZ ORCH
CELEST INS TUXEDO ORCH
SPANISH SHAWL/29TH DEARBORN
OK
8260
V+-
CARELESS LOVE/BLACK RAG
OK
8l98
V-
GIVE ME SOME MORE/lM SATISFIED
CO
14200
N—
DUSTY BOTTOM Bl/sCACMORE GREEN
OK
8431
V
WHEN IM WITH u/lTS JAM UP
CO
14323
'.-
NEW ORLEANS SHAG/w 0NDERFUL
OK
8290
/+
DOC COOK
KIN TO CANT BL/MUSHMOUTH BL
OK
8349
V-
HIGH FEVER/HERE COMES HOT TOMALI
OK
8369
V+
hot ready/lowdown THING
PM
12705
.'
HIGH FEVER/BROWN SUGAR
CO
813
/+
DARK VALLEy/hOLLEYWOOD SHUFFLE
V 1
20812
/+■
COW COW DAVENPORT
NOVELTY BL/TICKLE BRITCHES BL
VI
38040
V
MY OWN MAN/RI3IN SUN (l.SMITH)
PM
12436
E
KANSAS SITY FRANK
CHARLIE OAVENPORT
PASS THE JUG/JELLY ROLL ST
BR
7062
M-
ATLANTA RAG/CHIMES BL
CH
50033
:+
LILS HOT SHOTS
DROP THAT SACK(58)/GA B0B0(56)
VO
1037
V
35
ttTTPTTON
AUCTION
SALE
AUCTION
RAY AVERY
BEN KAPLAN
lO-TJ-J O. LH L lC.IVt.uH
1201
EAST 22nd ST.
r r n n \( i v m i n nv
25^ PACKING CHARGE ON ALL ORDERS LESS THAN $
s no w 1 1 i cu ip p nn dry iimi rcc
OHHER-
W 1 SE REQUESTED .
rnr n ACTA 1 DC*
BINS CROSBY
DM kT" Fl 1 IMHTflN 1 AiirTinw\
p i cc oi_ ino/toddli n a long
BR
7438
SUMMERT 1 ME/u MUST HAVE SEEN
DE
2 147
E-H .25
NO GREATER LOVE/ 1 SNT LOVE STR
7625v/e
LOVE OF MY LIFE /m E AND GHOST
COE 2013
I HAVE EYEs/FUNNY OLD H I 1_LS
DE
2201
E+l .25
subtle lament /pussy willow
BR
8344
E
r» i it /o one hid Cuicuii u
U 1 u | 1 UUM WK tHIonJUW
C0E 20|4
8L SERENADE/lVE GOT POCKETFUL
DE
1933
IWHFN VOilD ^UM IMH /^W^T T MAMflf IR \
1nC.ll TUUK OW 1 LI !iUy> Oll-L 1 MhIViH^iJD^
BR
4760
v+
N 1 G HT DAY /ST ORM Y WEATHER
VI
247| 5
RED SAILS SUNSET/BOOTS SAODL
DE
616
N I 80
DDm ni"iiir to m amd t/im/di c"acc" t~nD
rnULuuUL IU DL hMU IhN/KLLHOL rUH
BR
8526
E
HEART OF GOLD /SMOK~ R 1 NGS
VI
24315
MAN AND DREAMs/GO FLY KITE
DE
264|
v+l .00
DflOTD* 1 T f IOM /C nil* C"T <_l 1 Mr* Tft I nwr
rUHl MAI 1 LIJN/oUMcinlNb IU LUVL
BR
8365
E +
GOLD D t G'>ERS/hA0PY AS
vi 24338 \
MY REVER 1 e/0LD FOLKS
DE
2l23
E | . |5
RDAflll M QDflCc / r' A DM 1 '/ A 1 f* A DAI 1 MC"
BR
8099
NI 3HT AND DAY /u GOT ON MY
24 1 93
JUNE JANUARY/LOVE JUST
DE
3lO
v i • i o
Urinrur /asr v u/wc"m h a imt
WUUL-nC/DMDT nrlLM U HllNl
BR
9241
G
■ i nwr i ntiiQa /mt* ql im i \j cvv
VI
22755
MEXACALl ROSE/SILVER SAGE
DE
2001
E+i .25
ROSE RIO GRANDE/GYPSY WI THOUT
BR
81 86
E
MY TEMPTAT 1 On/lOVE SONGS
V 1
2431 2
BILLY HOLIDAY
T Dl IliDFTc; <^PAnC"Q/vtrADMIMr* CAD 1 ft
1 MUM r* C 1 -3 OTHU LO/ T LMKI* 1 IVo rUn LU
BR
7752
N
■ nan rfrrv
TELL ME MORE/LAUGH LI FE
OK
5719
G+ ■ 90
DflCF onrui /flAMT lie- A M TU 1 Mr*
n U of- r\\J \JN\ f UU IN 1 Ivtt- l\ ri 1 n 1 .»o
BR
6265
E+
ttju ■ D Cftdif /ftiif 1 1 TTI C nC 1 MW
In | r oUrJlj/Ur>4L Ul 1 ll_C LJWi ilr.
BR
4828
LETS CALL WHOLE Th/cA NT TAKE
THVO 3520
G+ • 90
WAY LOw/u CAN COUNT ON ME
BR
84| |
E
-I0HN BOLES
WISH 1 HAD/GONNA LOCK HEART
4238
v i .00
fifli rorttii lArc /i t tt cniur
jHL r KUIVI \JUC_o/ I LL 1 OUnJlj
BR
8108
N
SONG OF DASN/IT HAPPENED IN
V 1
22372
sol I tude/god bl es child
6270
V l .00
Rnrk'lM Pus i s/r it ^t i hiiiq
rtU 1 ■!! L-nHlri/C O 1 OI LUUIO
BRE 2308
N
MILLION DR EAMS/r OH A NKE
VI
22230
J 1 M /l 0 V E ME LEA VE M E
6369
v+i .25
maori/when smilin
BRE 2671
N
MILLION DREAMS /ROM A N CE
VI
22230
1 F U WERE ME /EEN 1 E ME EN 1 E
E
7554
G+| .00
RUNNIN WILD /mOOO | ND I GO
BRE 1068
E+
•EST N 1 NO /THE ONE Q 1 RL —
VI
22229
BERT W 1 LL ! AMS
CUr I / ADADV /oi nAtlDI C"
one 1 IV WnUDT/DL KHMOLL
BRE 1337
E
FflNN IF Ru^WFI 1
no place like home/2o yrs
2438
v+. 30
RENT PATY BL /DO 1 N V 00M
b RL
2365
N
I Q M T IT Cu^HF /l nftT 1 m can
1 3ll 1 II |l"l . .
BR
7303
LAM 1 NS RED HEADS
UAOI C" II C"l AT SI /DArillPAUl
nHKLLW r L" 1 DL/rflUUl/rtn
BRE 2003
E
SAY 1 T /NEW MOON OVER SHOULDER
8R
6962
FIVE FEET TWO EYES/GONNA HANG
483
v+ . 90
C| 1 ppfDV i|-inDM/RI TIN
BRE
1540
E
RO^WFl 1 ^I^TFR^
CHARLES TON CHASERS
LOU 1 SI ANA /YELLOW DOG
BRE 2650
iiii i i tti nni i ad Q iqv /c i Mf;
PI 1 L L 1 JN UULL«n BHoY/OliNw
BR
6|28
+
A | NT M 1 SBEHA V | N/M OA N 1 N LOW
CO
1 890
v | .00
jubille st(wash)/mills
BRE
3 878
V
DA VrNP0 RT 9l/wABASH BL
909
v I 00
CT lAUrC iMr/CCMT DADTV OI ( 1 ft on 1
Ol JAWLo IINr/riclNl r M KIT DL \ 1 U Db ]
JE
5849
G+
UCD -JAtjIC 1 C «■ * nv /li'u'T iiflDr
MLn IN M NI C 1 O WrtK 1 / fflM 1 MUnL
BR
6576
JACK TEAGAROEN
R 0 C K I N C h/t HEM THERE EY ES ( WM )
JE
6 1 91
G+
ni itc i ir o a d a n ■ cr /c\ir sv
BB
73l?
+
BLACK BLUE ^ST JAMES INF
3844
v | ,00
TAi/r it rACv/iMAeui/QrwrM Dfti ad
IHI\C 1 1 LHOT^WHon j/OLvt.l'l rULIK
CA
8188
V
C«fC"C"T c TO AiinrD / i™ A M T 1
oWLt 1 b MflrJbLM/ LftU 1 I
BB
7332
BLUES GOT ME/PRELUDE TO BL
4409
n 1 .40
SCATTIN KIT KAT /NEW B 1 RM 1 NGHAM
MA
123
G+
SWEE T AS SONG/HALF MOON
BB
73l7
TOMMY DORSEY
GOT BE RUG CUTTER /e AST ST LOUIS
MA
101
E
wnri-iT inn riflv/i nur i fifwrn out
DEE 3695
LONESOME RD 1—2
VI
26508
v .75
Hn/ID 1 HH LUVCK/WHO *UO t>L C
SB
6782
N
0EE 3942
CAB CALLOWAY
SL0PPY JOE/jAZZ LIPS
BB
6393
N
VR 1 G 1 N I A BRUCE
WE GO WEL L TOGETHER /s EE M 1 L L 1
634|
V+l 10
■j i ' 1 i i rr/n i nv ci inr
n 1 on LlrC/U|LIY uLlUC
BB
6269
N
EASY TO LOVE/GOT U UNDER
BR
7765
FEL IN TIP TOP /WORKERS TRAIN
5874
E I .25
GOT EVERYTHING BUT u/jUSlLEE ST
6B
10244
N
MAURICE CHEVALIER
BL IN NIGHT ^S AYS U
OK
6462
E I .25
norii/rncT HAwcr /c i a u i m r* v ai it u
OMLHRr MO 1 UHlNL^C./rLWIvlllNLi T UU 1 n
BB
10243
E
BON SO | R /mAMA 1 N E t
VI
22731
T A PP | N OFF /
6547
v+i » i 0
BLACK BEAUTY/EAST ST LOUIS
BB
6430
V-t-
HA 3 |T OF Ml NE/ON T DP F THE
VI
22007
CHICKEN A |NT NOTH I N BUT B 1 RO
OK
5847
v+ i . i 0
kilMQT UA\/r THAT II A M /B A MH A M A D«nrc
MUol nAvt. 1 MA 1 MAN/BAIMUANA Hflbto
B8
7|32
N
1FRRV P fll flNNA
K | CK I N GONG/GOTTA HI DE HO
PE
15873
G +1 .0
SA RA TOGA SW 1 N G /| TS G LORY
BB
10245
N
BIRD |N G 1 LOED C A GE/SONG OF
OK
4382
BOBBY HACKETT
MARCH HOODLUM s/00 1 N VOOM VOOM
HMV
6404 N
c*u pnci cm
j' ■ i
8UGLE CALL RA G/DAR DENEL LA
vo
5375
G+l 00
JUNGLE NIGHTS HA RL EM /SW ANEE SHUF
HM \j
6328
N
KING FOR A DAy/yOURE A REAL
VI
2 1 53 1
MAPLE C 1 TY FOUR
SWEET JAZZ/STEVEDORE STOMP
HMV
5757 N
NOEL COWARD
TIGER RAG/OH MONAH
PE
15774
G+ .75
MYSTERY SONG/MILLS
VI
22800
E
an/ little fish/half caste
V 1
2281 9
+
RED N ICHOLS
RIVER AND ME/KEEP SONG YOUR SOUL
VI
22614
V
□ car DAN IFI ^
□ CDC. yn i ill J
F IVE PENNIES /h A RL EM TWIST
VI
2)560
v+i 00
BL FEEL 1 NG/STOMP JONES
VI
24521
G-l-
N 1 1 ■ 1 I u - , J i 1 1 ,_ LU V C LUW t. o
VI
22283
' +
BUN*'Y BER 1 GAN
BL AGA I.N/(L0UI S )
VI
22603
V+
youre always i n my arms/i f
VI
22132
WHY DOESNT SOMEBOOY TELl/wHEN
V 1
26055
G+ 75
MORNING GLORY/jACK THE BEAR
VI
25536
N
oream shadows/hollywooo
BR
7402
SKYL ARk/l ITTLE COUSI N
EL
5020
V+ .75
K0K0/C0NGA BRAVA
VI
26577
N
MARLENE DIETRICH
tOF TIIRNFR APT F ^1 AP K
MISS. /FLAM 1 NG YOUTH
VI
24057
V
NAUGHTY LOLA /FALL 1 NG IN LOVE
VI
22593
E
ortfi/c im orn if t\ \ k\ t\ c u i i" a n
HULKo I "4 bLU/bU | IM IJ LnlWAlaU
DE
4093
V 80
RUMPUS RICHMONO/lN MELLOWTONE
VI
26788
N
a \rc r Ayr
wnnn v hf rm a n
THERE SHALL BE NO N 1 TE/5 OCL WHISTVI
26748
N
TUK VDC i/l ccrs /< 1 III 1 ' 1 » ,
ItllO TM5 K 1 O L.VJM M | Pi
BR
7325
south/fan it
DE
3761
G+ .75
BL SERGE/jUMPIN PUNK 1 NS
VI
27356n/v+
rnnnm tc" uv i r\\/c /rm uv i nv/c"
j . J - 1 C MY LUVt / 1 MY LuVL
BR
7821
+
WOODCHOPPERS BALL/BIG WIG
DE
2440
v .75
AFTER ALL/jOHN HARDYS W 1 FE
VI
27434
N
WAKE UP AND LOVE/LULL 1 N MY
BR
7876
E +
BLUE FLAME/FURTRAPPERS BALL
CE
3643
E 1.25
3 LITTLE WORDS/RING DEM BELLS
VI
22528
G
SHOOTlN H| jH/oPRcAO 1 N
ME
60308
E+
COUNT BASIE
PORTRAIT BERT WMs/fiO JANGL ES
VI
26644
E
VOLCANO/ROCKIN THE BL
OK
6014
v+l .Op
JAPANESE dream/harlemania
VI
38045
G-l-
ur aiih AiiTA/pnin hmt or i ntjc
NIC HHU ftU 1 O JULUrl 1 DC. L.U NC
VI
45258
V
MILDRED 8A 1 LEY
WHEN BLACK MAN Bl/mOOD 1 ND
VI
22587g/v
PH 1 L HA RR 1 S
THANKS FOR MEMORy/| SEE FACE
VO
3931
v 1 .00
UOON OVER CUBA/SEETIN ROCKIN
VI
27587
E
j ,' j . _ ouNj/turjoi in ii T
OK
3583
BORN TO SW 1 NG/SMALL F RY
VO
4224
V 1 .00
BLI "BLI P/RI CKS IN BED
VI
27539
N
h ii nFi^ADnr
FATS WALLER
SER NADE SWEDEN/SARGENT SHY
CO
35214
E
GOODNIGHT MY LOVE/l WANNA GO
CO
270M
FRACTIOUS FINGERING/
VI
25652
v 1.50
DUCKY WUCKY/sWING LOW
CO
35683
N
1 1 RRV Hfll MAN
L 1 DDI n U l_An M 1 1
BELLS SAN RACHAEl/bUCK JUMP
BB
l i324v/g 1 .50
SLAP HAPPY/BL LIGHT
CO
36128
N
SHOO SHOO BOOGIE/GOOD MAN
BR
4447
■' +
W INTER WEATHER/CLARINET MA RMAL ADE 1 1 469 V+l .60
CLARINET LAMENT/ECHOS HARLEM
COC
6059
N
YOUVE GOT THA T TH I NG/f | ND
BR
4666
HANDY/YOUR NOT ONLY OYSTER
V 1
24738V /ei .60
CHECKIN OUT/OOIN VOOM VOOM
CO
35208
N
CANT WE BE FRI END S /m A YBE
BR
4506
E
SUGAR BL/SOMEBODY STOLE GAL
VI
25194
N 1.75
SHADE APPLE TREE/HARLEM SP
CO
36195
N
BODY SOUL/SOMETH I NG TO
BR
3910
U HAD EVEN IN TO SPARE/SKRONTCHV 1
25834
V+I .60
KILL IN SELF/YOUR LOVE FADED
CO
35640
N
LOVE FOR SAL E/ONE GOODS
BR
6044
swingin jingle/porters LOVE SONGlOOlO \
/ni .60
ELLINGTON VOL 1 (SALE 8 3.25)
BR
8000
N
WHAT IS THING CALLED LOVE
BR
4700
E
CHANT OF GROOVE/COME GET IT
BB
1 1262
E 1 .75
REX STEWART
CA REFR EE /wHOS THAT K NOCK I N
BR
3667
SAD SACK SUCKER/RUMP STEAK S ERBB
1 1296
v+l .60
TEA TRUMPETS/BAOKROOM ST
VR
618
•
E
MAID OLD MAORIO/lM DO 1 NG
BR
4453
OH BABY SWEET/PAN PAN
BB
l 1383
v 1 .60
REXAT 1 OUs/lAZY MAN SHUFFLE
VR
5|7
V-t-
MO AN I N L OW /AM 1 B L
BR
4445
1 WANTS HEAR SWING SONG/lETS
BB
1 l l 15
v 1 .60
COOTIE WILLIAMS
pi irtni dm \i t\ fmt i 'in
ART T A T U M
SHARPY/BL TO THE EVENING
VO
4324
E +
KA SHM 1 R 1 LOVE SONG /EL RELtCARIO
PICTURE
WHAT WILL 1 DO/BODY SOUL
DE
1 197
G+l .00
SHE3 GONE/BEAUTIFUL ROMANCE
VO
54 1 1
E+
MARGARET WOODROW WILSON
BENNY GOODMAN
ALBUMS
STAR SPA MGLED 9ASNER /MEDLEY
CO
1685
N—
_OCH LOMOND /CAM EL HOP
VI
257|7
v .75
ANTHOLOGY WHITE JAZZ (6)
DE
1 83
N
mae west
GLENN M ILLER
ANTHOLOGY COLORED JAZZ (6)
DE
182
N
IM NO angel/new way to go
BR
6675
N
ELMERS TUNE/DELILAH
BB
1 1274
n i .25
FOR DANCERS 0NLY(LUNCEF0PD ) (5)
DE
184
N
GLORIA SIANSON
JOE MARSALA
ALTO SAXOLOGY (5)
DE
246
E
COME TO ME/|F u HAVENT GOT
BR
6167
N
slow down/bulls eye
DE
37|5
v+i . 10
GEMS JAZZ VOL 2 (6)
DE
201
E+
L. Ve/sEHENADE
V 1
22079
E
RUTH ETT ING
GEMS JAZZ VOL 5 (5)
DE
324
E+
SOPHIE TUCKER
FALLING IN LOVE/WERE U SINC
CO
2445
E 1 .00
SONNY GREER
CAUSE 1 FEEL LOW OOWN/YOU
OK
41058
N
ALL OF ME/HOME
CO
7913
v i .oo
BEGGARS BL/SAT NIGHT FUNCTION
CO
1868
V
36
AUCTION
SAM MELTZER
AUCTION
737 FOX STREET, BRONX 55,
NY
RECORDS SHIPPED RRX COD. NO PACKING CHARGE
OVER 8 5.00. 25«i UNDER $ 5.00. WINNERS WILL
BE NOTIFIED. CONDITIONS GUARANTEED
. LARGEST
ORDERS GIVER PREFERENCE. MINIMUM BID $
.00 . BID BY NUMBER AT LEFT.
LOU IS ARMSTRONG
55. LOUISIANA RHYTHM KINGS
REX STEWART
1 .DEAR OLD SOUTHL AND /wE ATHERBIRD
HRS 1 8
N
BABL IN THE JACK
HRS
16
N
III. MOBILE BAY/LINGER AWHILE
BB
1 1057
N
BARNEY BIGARD
JELLY ROLL MORTON
II 2. some Saturday/subtle slough
BB
1 1258
N
2. JAZZ ALA CARTE
\I0
3842
N
56.TIA juana/mamam 1 TA
GE
5632
E
TEA TRUMPETs/bACKROBM R0MP(ll3)
VO
3831
3. DRUMMERS DELIGHT
vo
3985
V
57, TOM CAT BL/BUCKTOWN
GE
5515
U
REXATI OUS/lAZY MAN { l 1 4 )
VO
3810
N
4.caravan/stompy JONES
vo
3809
e:
58. BIG FT HAM/jELLY ROLL BL
GE
5552
V
Il5. SUGAR HILL SHIM SHAM,/|N MY HEARVC
3844
E
5. HONEY HUSH/jUST ANOTHER DREAM
OK
5363
N
59. STRATFORD HUNCH/sHREVEPORT
GE
5590
v
SWEET PEA (SPIVY)
6.FR0LIC SAM
VA
525
\H
60. PERFECT RAg/n.O.BL
GE
5486
G+
II6.DAY BREAKIN Bl/lEAVIN BL
VI
23361
V
7. BROWN SUEDE/c BLUES
BB
1 1581
N
6| .KANSAS CITY ST/GRANDPA SPELLS
GE
521 8
G
MONTANA TAYLOR
8. LULL AT DAWN
BB
10981
N
62. KING PORTER
VO
1020
,
II 7. DETROIT ROCKS/HEAD RAG HOP
HRS
N
9. LAMENT JAVANETTE
BB
1 1098
N
TOOTS MONDELLO
THOMAS * DEV 1 LS
CALIFORNIA RAMBLERS
63. LET ME DAYDREAM/JUST BECASE
BR
8094
N
IIS. BOOT IT BOY/SHO IS HOT(TEST)
3100-IN
10. SHEIK ARA9Y
VO
14275
64. AT SUNDOWN/lLL SEE U
BR
8105
'i
COOTIE WILLIAMS
1 1 .THE PAYOFF
CO
1642
\J
MEZZ MEZZROW
1 1 9. DOWNTOWN UPROAR/BL REVERIE
VR
527
V
1 2. FAREWELL BL
DO
40|4
V
65. COME ON WITH COM ON 1-2
BB
10085
'■i
1 20. THE BOYS FROM HARLEM
VO
4574
E
CHARLESTON CHASERS
66.35TH CA LUMET/JLO FASHIONED
BB
10251
N
|2|. LESSON IN c/OLD MAN RIVER
VO
4086
E
t 3. MELANCHOLY BABY (LAM CR )
CO
1335
V
67.AP0L0GI Es/SEND 1 NG VIPERS
BB
1 0250
F
1 22.GALAVANTI n/mOBI LF BL
VO
4636
N
CHARLES CREATH JAZZ 0 MANIACS
68. EVERYBODY LOVES BABy/lADNIER
IB
10090
N
1 23 .BEAUT 1 FUL ROMANCE/SHES GONE
VO
54| |
V+
1 4. GRANDPA SPELLs/wAU DOWN
OK
8257
V
69.REV0LUTI ONARY BL/GETTIN TOGETHERBBI 0088
E
1 24. BLACK t r, • TY/N IGHT SONG
VO
4958
V+
CHOCOLATE DANDIES
70. ROYAL GARDEN Bl/laDNIER
BB
10087
V+
1 25 . SHARP 1 e/bL IS EVENING
vo
4324
E
1 5. CRAZY CAPERS/ONCE UPON TIME
MR
16
rj
DICK MC DONOUGH
|2C.| CANT GIVE U ANYTHING BUT LOV'EVC
3890
N
BILL COLEMAN
7| .SENTIMENTAL MOOD/AINT IT RITE
ME
61 102
N
I27.CHASIN CHI PP Iff /SWING PAN ALL VO
4425
G+
16.91 G BOY 8L
r
VI
26223
N
IRVING MILLS ( HT GANG)
I28.ECH0S OF HARLEM
vo
3960
V
1 7. BABY WONT U PLEASE COME HOME
SW
14
H
72. WHAT A NITE
BR
4998
-
1 29. VEST END BL
OK
6370
N
l8BtLL ST BL
SW
22
N
MIDNIGHT ROUNDERS
l3C.PL IN NY CONDITION (lC)
OK
6224
N
BUDDY CHRISTIANS JAZZ RIPPERS
73. bull fiodle rag/shake shimmyTest 2422-1
N
I3I.TCP BOTTCm/tOASTED PICKLE
OK
6336
N
19. S. RAMPART ST BL (CHIP TO 1ST)
PA
75|8
V
GEORGE MC CLENNONS JAZZ DEVILS
CLARENCE WILLIAMS
EDDIE CONDON
74. BOX OF EL/DARK ALLEY BL
OK
8|43
N
1 32. PAPA DE DADA/ORIG TUXEDO RAG
OK
8215
G
20. HOME COOKING/THE EEL
BR
6743
N
J IMMY NDONE
WOLVERINES (BIX)
21 .THATS SERIOUS THING (2)
VI
38046
V
75. ON REVIVAL DAY
VO
1506
V
I33.R 1 VERBOAT SHUFFLE/LAZY DADDY
HRS
N
DIXIE RHYTHM KINGS (SIMEONE)
76. Chicago rhythm/got A MISERY
VO
1267
V
D ICKY WELLS
22. THE CHANT
BR
71 1 3
N
J7»san (test press)
5903
N
I34.DI CKY WELLS BL
VI
273 1 e
E
23. EASY RIBER
BR
7|27
N
ROMEO NELSON
BUGLE CALL PAG/BETWEEN DEVIl(|35) VI
26220
E
24. BAD FOR YOUR SOUL
BR
7536
N
78.1129 bl (midnight special)test
5257
N
I36.HAIJGIM AROUND/FOUND BABY
VI
266 1 7
E
WILMER DAVIS ( DODDS ) ( VERY RARE
NEW ORLEANS OWLS
1 37. LADY BE GOOD
SW
10
t:
25. REST HIPS/GUT STRUGGLE( TEST PRESS
1034
N
79. MEAT ON TABLE/p 1 CCADI LLY
CO
1 158
V
1 ?£ ■ JAPANESE SANDMAN
sw
27
N
WALTER DAV IS
NAPOLEONS EMPERORS
I39.HOT CLUB EL
SW
3
V
26. FOUR FT ELEVEN
BE
8574
N
80„MY kinda love/mean to me
VI
3 057
V
FATS WALLER
DUKE ELLINGTON
F RANK IE NEWTON
I40.NUMB FUMBLING (SOLO)
VI
25338
E
27.HARLEMAN IA
VI
33045
V
8| .MINOR JIVe/rOMPIN
BB
1 01 86
E
|4| . 1? ST RAG ( 1 " CR )
VI
25087
V
28.S0LITUDE/DELTA SERENADE
VI
24755
N
82.who/bl my baby gave
BB
|02|6
N
1 42 .AFTER U GONE
VI
2237 1
11
29.PERD IDo/RAI NCHECK
VI
27880
N
83.R0SETTA/W0RLD WAITING
BB
lOl 76
N
|43. AFRICAN R 1 PPLES/BAS IN ST (s0l)bb|0||5
N
30. TRUMPET SPADES
BR
7752
N
NORK
1 44. VA LEI Jl 1 NE STOMP (SOLO)
BB
10263
N
3I.IN A JAM/UPTOWN DOWNBEAT
BR
7734
N
84.DADA STRAI n/3H 1 MMESHEWA BBL E
&E
5106
V
145. SWEET SAV SUE ( SOLO )
BB
10264
N
32. EAST ST LOUIS TOODLE
BR
3490
V
85.PANAMA/TI GER RAG
GE
4968
V
146. SERENADE WEALTI<\ WIDOW
BB
10262
N
33. SOPH LADY
BR
6600
V+-
86. MAPLE LEAF RAG/SWE ET LOVIN MANGE
5|04
V
1 47. HARLEM FUSS/MINOR DRAG
BB
10185
E
34. AWFUL SAD/LOUISIANA
4| 10
v
87. THATS PLENTY/TIN ROOF
GE
5105
F
1 48. ALL 1 GA TOR CRAWL (SOLO)
. BB
10098
N
35. MOOD 1 NDI GO/SOLI TUDE (SOLO)
MA
102
N
88. WEARY BL/WOLVERINE BL
GE
5|02
V
|49.eABY BROWN/SAN ANTON
BB
|0|0&
N
36. HOT BOTHERED
PAE
582
N
89. M 1 LENBERG JOYS
GE
521 7
V
I50.STAF DUST/KEEP OUT M ! SCh( SOLO ) E>B
1 0099
N
37. SAT NITE, FUNCTION(LC )(gREFr)
CO
2833
90. CLARINET MA RM
BRE 2209
N
|5|. GEORGIA ON MY MIND ( SOLO )
VI
27765
N
"S8. GOOFUS F IVE (ROLL INI )
9i .eccentric/farewell BL
BRE 221 1
N
T 1 MY FARHAM
ARKANSAS Bl/wANG WANG BL
VO
3 1 38
E
92. BUGLE CALL BL
BRE 22|3
E
|52. CATHEDRAL BLUES
VI
38l 1
V
LIONEL HAMPTON
KING OLIVER
1 53, JUNGLE CRAWL
BB
5 146
V
39. SWEETHEARTS PARADE
VI
26209
E
93.SNKE RAG
GE
5|84
E
BENNY GOODMAI.
40. DOWN HOME JUMP
VI
261 14
N
94. CANAL ST BL/jUST GONE
GE
5|33
E
1 54. CLARINET IT IS
PANA
250 1 7
E
4| .STOMPOLOGY
V 1
25601
V+
95. CHIMES BL/FROGGY l" CR
GE
5|35
G-t-
1 55. TEXAS TEA PARTY
CO
3 167
E
42.DI NAH/SI NGI N TE BL
VI
26557
N
96. CAN 1 TELL u/SAM
VI
38049
E
|56. GOTTA RI-GHT TO SING BL
CO
3 1 66
E
ART HODES
97, STRUGGLE BUGGY
VI
23001
V+
1 57.MUSCRAT RAMBLE
bre5003i8m
43. SNOWY MORNING BL
BW
N
98.FREAKI SH L 1 GHT BL
VI
38521
E
iTE'. JUNK MAN
CO
2892
E
HIGHTOWERS NIGHT HAWKS (RARE)
99.KASSIN TIME WITH ME
VI
2301 1
V+
1 59. BUGLE CALL RAG
CO
2958
V+
44. BOAR HOG BL l" CRACK)
PA1
8045
V
100. SHAKE IT BREAK IT/STINGARE£ BLV 1
23009
E
I60.MUSIC HALL RAG
CO
301 1
E
J.C. H IGG 1 N80THAM
1 Ol .RHYTHM CLUB STOMP
VI
38|37
V+
I6I.TAPPIM THE BARREL
CO
2656
E
45.H 1 GG 1 NBOTHAM BL
HRS
TED PETERS (VERY RARE)
1 62. GEORGIA JUBILEE
COF
759
N
JOHNNY HODBES
I02.WHAT A MAN (D0DDS)/GA M A N ( OL 1 VE R )TEST
163. EIG JOHN SPECIAL
VI
25871
V +
46. PASSION FLOWER
BB3008I 7
1006
N
1 64 . SUGAR FOOT STOMP
V 1
25678
V-
47. GOOD QUEEN BESS
BB
1 1 1 |7
N
QUINTET HOT CLUB FRANCE
1 65. WHEN BUDDHA SMILES
VI
2525S
N
48. SQUATTY ROO
BB
1 1447
N
103. GA ON MIND
VI
26578
N
|66. KING PORTER STOMP
V 1
25090
VH-
EOMONIA HENDERSON (DODDS)
I04.MIN0.T SWING/VIPERS DREAM
VI
26281
N
167. ROLL EM
VI
25627
v+
49.WH0S GONNA BE YOUR LOVIN MAN/
|05. ORIENTAL SHUFFLE
VI
26506
N
166. BLUE SKIES
V 1
25860
V+
NOBODY ELSE WILL DO (TEST PRESS)|0|5
N
I06/SWING WITH DJANGO
VI
27272
N
I69.LCCY k SOUL (TRfo)
VI
251 |5
N
CHARLIE JOHNSON
BILLY BANKS RHYTHMAKERS
170. LADY BE GOOD (TRIO)
VI
25333
N
50. BOY IN BOAT
BB
10248
N
107. TAKE IT SLOW EASY/BABY PLEASE
HOHRS |7
N
1 71 .PICK A RIB (quIn)
VI
26166
E
BUNK JOHNSON
BOYD SENTER
172. DIZZY SPELLS (QUAt)
VI
25822
V+
5|. FRANKLIN ST BL ( TEST ) N
Jl
SALE$
1
1 08.C0PENHAGEN/8EALE ST BL
BB
6050
E
1 73 .BLUES IN YOUR FLAt(qt)
V 1
26044
V
KANSAS CITY STOMPERS (MELROSE)
CLARA SMITH
174. CPUS 3/VsUGAR (QT)
VI
26240
52. GOOD FEEL IN BL
BR
7091
V+-
109. TROUBLESOME Bl/
CO
14256
E
1 75.avalon/man 1 love (qt)
VI
25644
N
TOMMY LADNIER
THE TRAVELERS ( DORSEY )
i 76. sweet sue (2' cr)
VI
25473
E
53. REALLY THE BL
BB
10089
N
I iO.nreakaway/baby oh where
OK
41260
V
1 77. 1 CRIED FOR U (QUIN)
VI
26139
N
54. WEARY BL/jADA
BB
10086
V+
1 78. TEA FOR TWO (qt)
V 1
25529
to
37
AUCTION
TONY PIRAK
AUCTION
ioi4 6th st.,anacortes, wash.
continuing the auction of rare discs 8y great artists of the early thirties. all foreign records are originals issued during the
same period as the american versions of the same • next month features duchin, vallee, reisman, wh iteman, ted lewis, hal kemp,
freddy martin.
I SHAM JONES
RIDIN ROUND IN RAIn/gOT JITTERS V| 24628 N
SUMMER NIGHTS DREAm/sOMEDAY WEEL VI 24| 29 E
ONLY FOUND U FOR SOMEBODY VI 24| |6 N
NEVER HAVE TO DREAM AGA I n/sUNSET VI 24|34 E
LITTLE Man/* ARM SPOT HEART VI 24633 E
LOUISVILLE LADy/| COULDNT TELL VI 24366 N
WHERE/lITTLE ST WHERE OLD FR VI 24 1 6 1 N
DARLING (WITH *. HERMAN VOC ) /MENT I ODE 6|0 E
NO HARM WISHING/SQUARE DANCE DE 338 N
STRANGERS/TIRED BR 6262 E
STARDUST/TREES BR 4856 E
SENTIMENTAL GENT FROM GA VI 24099N
YOU RE OK DE 220 N
SUNDAY IN CAROLINA/l DO VI 24295 N
TREE *AS TREE/CA ROL INA LANE VI 24246 N
SITTIN ON LOG VI 24496 N
so shy/sno*flakes VI 24497 N
YOUSE WELCOME/BUBBLES IN WINE VI 24589 N
MUSIC MUSIC EVERYWHERE VI 24093 N
FOR ALL WE KNOW/SAY IT VI 24l 34 N
FUNNY TO EVERYONE BUT ME VI 24606 8
SILENT LOVE/l CANT BELIEVE ITS BR 6308 E+
EYES WIDE OPEN/DO I VI 24643 N
SOMETHING TELL ME/BESTOR VI 24350 N
DANVING ON CEILING/2 LOVES BR 6247 N
PAST 'RESENT FUTURE/uPTOWN LOW VI 24409 N
WHATS THE USE/SONG WITHOUT NAME BR 48|0 E
SWEET GA BR0WN(MILEY ?) BRE 29l 3 E
HAD TO BE u/AFTER STORM BRE 261 4 E
IM WILD ABOUT HARRY(M HARRIs) BR 2309 E
LEE WILEY
MOTHERLESS CHILD/CARELESS LOVE DE 1 32 E4
100 YRS FROM TODAY(G GRAY) BRE 1738 N
MAURICE CHEVALIER
1 WAS LUCKY HAPPY SONG VI 24882 N
MIMl/APACHE SONG VI 24063 N
RHYTHM RANGE/WORDS VI 24874 N
HELLO BEAUT I FUL/wALK IN BABY BACK VI 22634 E
MY LOVE PA = ADe/nOBODY US I NG IT VI 22285 E
U BROUGHT NEW KINDA LOVE V| 22405 E
L OUISE/wA CHER IE VI 2|9|8 E
SWEEPING CLOWDS AWAY VI 28378 E
NOEL COWARD
LOVER OF DREAMS/MAD DOGS VI 24332 N
MRS WORTH I NGTOn/wEWERE SO YOUNG VI 25023
LITTLE JACK LITTLE
NOTHIN BUT BEST/u OUGHTS BE PICS COE 740 E+
STAY SWEET AS ARE/(h KING) COF 1668 E
2 FLYS LUMP SUGAR/OLD COZ 758 E-l
ANYTHING YOUR LITTLE HEART DES I RESBB 5043 N
RED MC KEflZ IE
JUST FRIENDS/TIME N HANDS CO 2556 E
IM SORRY OEAR/l FOUND U CO 2587 E-l
( ALL HI S DECCAS NEW )
BICK POWELL
POCXET FULL DE 6l 2 N
LONELY LAje/rD IS OPEN BR 6685 E
POP GOES HEART/HAPPINESS AHEAD BR 6979 N
2 SIDES TO EVERY STORY DE 924 N
fair warmer/fiq rito BR 6858n/v
B 1 NG CROSBY
WISTFUL BLUE/LONELY EYES VI 204|3 E
BL OF NIGHT/SORRY DEAR BR 6226 El-
PL EA SE/wALTZ I NG IN DREAM BR 6394 V
SURRENDER DEA /lA ROSITA V| 226l 8 N
MUST BE TRUE/SURRENDER DEAR VI 25280 N
HOME ON RANGE/LAST ROUNDUP BR 6663 E—
HONEYS LOVIN «MS/M1LLS BROS BR 6525 E-
HAPPY GO LUCKY/CABIN COTTON BRE I 326 N
LOVE U FUNNY THI NG/SHADOWS ON BRE I 304 N
WITH SUMMER COMING/LOVE ME BRE I 349 N
DAY U CAME AL^NG/l GUESS ITS BRE 1 597 £+■
PL£ ASe/hERE LIES LOVE B RE I 3 80 N
SPEC I AL
AUCT I ON
SPECIAL
(MINIMUM BID 8 |5)
THIS IS EITHER A GERMAN OR BELGIUM RECORDING.
THE LABEL READS B I NG CROSBY MIT DUKE ELLING
TON TANZ ORCH. BR 9754. T«0 CIGARETTES IN THE
DARK/VERY THOUGHT OF YOU. E CONDITION. ( I BE-
LIEVE THE ELLINGTON IS A LABEL ERROR.) AL-
THOUGH THE ORCH SOUNDS LIKE THE ONE ON DE 245
IT IS STILL PLAYED AND SUNG DIFFERENTLY THAN
THE AMERICAN VERSION.
YOU TOOK ADVANTAGE OF ME/lOUSIANA VI 25369 N
DID U EVER SEE D REAM W ALK I NG BRE I 400 E
HOW DEEP OCEAN/lLL FOLLOW BRE l'42l E
AT YOUR COMMAND/MANY HAPPY RET BRE I 1 82 N
LETS T3Y AGAIN/*ALTZING DREAM BRE I 374 N
LOVE THY NEI GHDOR/RIDIN A ROUND BRE I 786 E
temptation/well make hay bre 1886 E-
CANT WE TALK IT tVEr/d|NAH BRE |27| E
SNUGGLE ON SHOULDER/NOW THAT BRE I 285 E
SPEC I AL
AUCT ION
SPEC IAL
SPEC I AL
AUCT ION
SPEC IAL
DON BE3T0R
MINI MUMN SID t 5.00
■ HEN TOMORROW COMES/VALLEE GO IN TO
HEAVEN ON A MULE HMV 6475 N
BABY ROSE MAR IE
PICTURE OF THE MAN/TEASING ME VI 22960 N
oim oim dawning/all THAT MATTERS VI 24|96 N
TOM COKLEY
RA I NBOw/ORO I NARY HUMAN VI 25053 N
EAST OF SUN VI 25069 N
RHYTHM IS BUSINESS/SIMPLY VI 25062 N
ILL STRING ALONG WITH u/FAIR AND VI 24600 N
CATALOGS
RARE 1935 VO CATALOGS RACE 4 POP N
(MIN. BID $ 15.00)
TAKEN FROM THE SOUND TRACK OF EARLY MACK
SENNETT SHORTS ( 1931-32). TUNES ARE
AUF Wl EOERSEHEN/EVERYT IME MY HEART BEATs/
IN MY HIDEAWAY/BETWEEN DEVIL AND DEEP BL
SEA/LOVABLE. E CONDITION.
YOUNG HEALTHY/GETTI NG HABIT WITH ME
THIS IS ON FRENCH BR 500229 ACC. BY LOM BAROO
BRF500229 E
LOUISE/SO THE BLUEBIRDS COE 5457 N
CABIN IN PINES/SHADOW WALTZ BRE |557 E
PLAYING WITH FIRE/TRY LITTLE BRE 1 444 N
MY WOMAN/PARADI SE BRE 1 308 N
WRAP TROUBLES IN/jUST GIGOLO HMV 970 N
BROTHER CAN U SPARE DIMe/yOiR BRE 1 434 E
DOWN OLD OX RD/TORCH SONG BRE 1 563 N
LORD U MADE NIGHT TOO LONG BR 20109 E
GOT WORLD ON STRING/MILLS BRE 1 53 1 E-
MY LOVE/wOULD IF COULD BRE 1 649 N
JUNE JANUARY/EVERY BREATH BRE 195 1 N
LOVE IN BL/STRAIGHT SHOULDER BRE 1 850 E
BENCH IN PARk/haPPY FEET COE CB86 E-
GET OUT UNDER/ROSES COE 566l E-
WITHOUT SONG/GREAT DAY COE I|6 E-
MARIANNA/LOVER COME BACK COE 5377 E
VALENCIA/NO MORE WORRYIN VI 20007 N
THE CALI NDA/SHILKRET VI 20882 E+
DANING TAMBORI NE/SHADY TREE VI 20972 E
LONELY MELODY/RAMONA VI 2|2|4 N
VICTOR YOUNG (MINIMUM BID 8 5.00)
CROSBY COLUMBO AND VALLEE/NOWS THE TIME TO
FALL IN LOVE BR 6293 E+
GEORGE OLSEN
AH BUT I VE LEARNED/DARKNESS V| 24|66 N
UNDERNEATH ARCHES VI 24229 N
LISTEN TO GERMAN BANd/nOBLE VI 24090 N
BEST THINGS LIFE FREE VI 20872 E
ALL AMERICAN GIRL/SO TO BED VI 24|25 E
PLAY FIDDLE PLAY/rOCKABE MOON VI 24| 65 N
AT SUNDOWN/HERE OR THERE VI 20476 E
IM ALL ALONE WITH CROWD/gOSH DARN VI 22994 N
VI 24025 N
VI 22975 N
VI 22929 N
VI 24815 N
VI 24630 E+
BR 4747 E
BR 4| 73 N
BR 3889 E
BR 3501 E
BR 4035 E—
PCIKENS SISTERS
SAN/SWEET GA FROWN
LORD U MADE NIGHT TOO LONG
WAS THAT HUMAN THING TO DO
LOVE JUST ROUND CORNER
HIGH HATTERS
LITTLE MAN BUSY DAY/RIP TIDE
HARRY RICHMAN
SUNNY SIDE ST/EXACTLY LIKE U
U CREAM IN COFFEE/BUNNY
LAUGH CLOWN LAUGH/ROLL ALONG
WHAT DOES MATTER/ALL DEPENDS
CANT GIVE U ANYTHING/KING FOR
I LOVE PARAD£/u ARE TOO BEAUTIFUL CO 270l E-
ARTHUR TRACY
MY MOM/WHEN PAL BIDS PAL BR 6298 E+-
TROUBLE IN PA RAD I SE/SLEEP BR 66 1 4 E+
AUF WEI DERSEHEN/K I SS ME GN I TE BR 6279 E+
IM ALLDRESSED UP BROKEN VI 22768 E
EAST SUN/wHEEL WAGON DE 606 N
stranded/nirewana DE |3|7N
I LOVE U TRULY/WEPRY FOR U DE 438 N
home/save LAST DANCE FOR ME BR 6227 E-
MASKARADE/SOMEWHERE INW EST BR 6346 N
LAST ROUNDUP/YR AGO TON I TE DEE 37| I N
MAY I /GOODNIGHT LOVELY LADY DEE 5072 N
REFLECTIONS IN WATER/GYPSY DEE 3608 N
MILLS BROTHERS (SEE CROSBY )
ANY TIME ANY WHERe/fDDLIN JOE BR 6490 E
PENNIES FROM HEAVEn/sWING FOR SAL DE I 1 47 N
BUGLE CALL RAG/oLD MAN MT BR 6357 V
JUNGLE FEVER/FOUND NEW BABY BR 6785 V+-
WHATS REASON/DONT BE AFRAID DE 402 E
IDA SWEET APPLE/MY GAL -SAL DE 1 65 E
GIT ALONG/DIRT 01 SHIN DAISY BR 6430 E
SWEET SUE/ST LOUIS BL BR 6330 E-
LOBELESS LOVE/CHI NATOWN BR 6305 E-
LAZY BONES/NAGASAKI BRE I 800 N
D | GA D I GA DOO/CANT GIVE U ANY BRE I 520 N
DO IN NEW LOWDOWn/e. WATERS BRE I 5 1 3 N
DUKE ELLINGTON
NOBODY SWEET/TIGER RAG BRE I 229 N
FRED ASTA IRE
NONSTR I NGS/CHEEK TO CHEEK
THE P I CCOLI Nl/REI SMAN
I SNT IT LOVELY DAY/TOP HAT
CHANGE PARTNERS/COLOR BLIND
BEGINNERS LUCK/CANT TAKE
FINE ROMANCE/BO JANGLES
CHANGE PARTNERS/COLOR BLIND
WHITE HEAT/HO OP s(w| TH ADELE )
HEART OF STONE/rEISMAn(aRLEN VOC ) VI 24358 E
GOLD DIGGERS SONg/nOBLE HMV 6376 N
MORTON DOWNEY
WAdASH MOON/MOTHERS APRON VI M22673 N
WHEN DAY IS DONE/pERFECT DAY DE 1 738 N
RAYMOND PAIGE
NOTHIN BUT NOTH I n/taLK I N TO MY V| 24703 N
WHITE GARDENIA/PRINCE CHARMING VI 24857 N
GRASSHOPPER AND ANTs/wiE HEN VI 246l 6 E
BERT LOWN
IT WAS NGHT IN JUNE/l SNT IT SB 5067 N
moonstruck/here U COME WITH BB 5099 N
GRAC IE F I ELDS
RED SAILS SUNSET/SA JOE REX 8585 E
PAINTIN CLOWDS SUNSHINE HMV 329l N
LOVE WONDERFUL LOVe/l'IL CATCHY HMV 8208 N
CODE IN MY NOSE/WHEN SUMMER IS HMV 3092 N
PINKY TOMLIN
WHATS REASON/DONT BE AFRAID BR 7355 E+-
SWEET/THATS WHAT U THINK BR 7502 N
TROUBLE WITH ME IS u/wORK BR 7525 N
SITTIN BULL AND SH I Ne/rA GT I ME C0WB0YBR7378 N
OBJECT MY AFFECT I ON/GRI ER BR 7308 E
CARL BRISSON
TWO HEARTS/GIVE HER KISS DEE 3968 E
MELT ON— SUMMER NIGHT/HOUSE LOVE DE I 093 N
BRE 7486 E
BR 7488 N
BR 7487 N
BRF 500747 E
BRF 500723 E
VOE 500E
BR 81 89 E
VI 22863 N
38
SALE
FOR THE FINEST STOCK OF JAZZ RECORDS IT'S
THE
SALE
THE JAZZ RECORD CORNER
782 EIGHTH AVE. ( NEAR 4e™ ST) NEW YORK CITY
NY PHONE PLAZA 7-7426
ON MAIL ORDERS ACCOMPANIED BY CHECK
OR MONEY ORDER TOTALING S3. 00 OR MORE WE WILL FRE PAY THE SHIPPING CHARGES. WE ALSO
SH IP COD
FAST, SAFE, INSURED. SHOULD ANY DISC BE OUT OF STOCK A CHECK IS SENT FOR THE UNUSED PORTION OF YOUR ORDER. HOWEVER WE
F ILL
ALMOST EVERY ORDER COMPLETELY.
FOR TRAD IT 1 CNAL MUSIC COLLECTORS
FOR CONTEMPORARY MUSIC
COLLECTORS
FOR SWING COLLECTORS
NEW RELEASES
CHARLIE PARKER
JOHNNY HODGES
GRAEM.E BELL AUSTRALIAN JAZZ BAND
M ILESTONES/S 1 PP 1 N AT BELLS
SAVOY
1 .05
pyramid/empty ballroom bl
PAE
1 .05
SOUTH/SH 1 MWESHAWABBLE JA 22 CORNER 1
I.C5
PARKERS M00D/8AR8AD0S
SAVOY
DJANGO REINHARDTS (FRENCH SWING)
BIG CHIEF BATTLE Ax/yAMA YAMA JCi 2
1,05
BONGO BOP/EMBRACABLE U
D 1 AL
1 0^
BLUE LOU/R VINGT SI X
1 .05
USUAL DISCOUNT TO DEALERS ON JAZZ CORNER
RED CROSS/TINYS TEMPO
SAVOY
1 .O1^
BLUES CLAAR/CANT GIVE U ANYTHING BUT
1 .05
RECORDS. FAR WEST DEALERS CONTACT YERBA
ORN 1 TIICLOGy/n 1 GHT TUNISIA
D 1 AL
1 0^
LOVER MAN/HOW HIGH THE MOON
1 .05
BUENA MUSIC SHOP FOR JAZZ CORNER SIDES.
BIRD LORE/( SONNY BERMAn)
DIAL
I 05
babik/porto CABELLO
1 .05
TURK MURPHY BAY CITY STOMPERS
SILLIES BOUNCE/NOWS THE TIME
SAVOY
IMPROVISATION # 3 1-2
1 .05
KC MAN BL/SHAKE THA» ThING JM 3|
1 .05
DEWEY SQUARE/THIS IS ALWAYS
DIAL
1 05
NUAGES/DARK EYES
1 .05
BROTHER LOWCOWn/yELLOW DOG BL JM 32
1 .05
buzzy/donna LEE
SAVOY
TFAPS/AT JIMMYS BAR
1 .05
BOB SCOBEY
CHEERS/CARV 1 N THE BIRD
0 1 AL
1 .05
HUBERT ROSTAING
melancholy/none my jelly roll tf- i 242
.79
YARDBIRD SUITe/mOOSE THE MOOCHED 1 AL
1 .05
ICE CREAM BL/SUNNY SIDE
SW
1 .05
WEARY Bl/siSTER KATE TR 1 24!
.79
stupendous/dexter GORDON-B 1 K 1 N 1 ) D 1 a l
1.05
RED ALLEN
BUNK JOHNSON
SCRAPPLE APPLE/DONT BLAME ME
DIAL
1 .05
BILLS DOWNBEAT/SHANTY TOWN
APtLLO
.79
PALLET ON THE FLOur/baLL 1 N JM 16
1 .05
koko/(bias-how hi moon)
SAVOY
i .05
METRONOME ALL STARS
BABY DODDS TRIO ( EWELL-N ICHOLAS )
RELAX 1 N AT CAMAR 1 LLO/( CHA L0FF )D 1 AL
1 .05
LEAP HERE/METRONOME RIFF
CP
.79
buddy boldem bl/orum IMPROV 2 CI 1039
1 .05
BIRDS NEST/DARK SHADOWS
DIAL
1 .05
SWEET LORRAINE/NAT MEETS JUNE
CO
.79
ALL STAR STOMPERS
bebop/lover MAN
D 1 AL
1 .05
GEORGIE AULD
(DAV 1 SON, ARC HEY, N ICHOLAS, DODDS, SUTTON)
STREET BEAT/20 CENTURY RHY
APOLLO
.79
TAPS MILLER/CONCERTO TENOR
SAVOY
.79
SH 1 MMESHAWAB8LE/SW 1 NG 1 N DOWN /ST LOUIS
8L/
IF 1 HAD u/TAKIN OFF
APOLLO
.79
1 CANT GET STARTED 1-2
APOLLO
.79
*l NEVER KNEw/CANT WE BE FR 1 EKDs/AVALON
THELON IOCS MONK
AIR MAIL SPECIAL/HERE COMES
MU
.79
THIS IS JAZZ ALBUM 3 CI S- 1 5
3.95
EVONCE/OFF MINOR
BN
1 .05
LETS JUMP/TIME ON HANDS
MU
.79
GRAEME BELL
EP 1 STROPHY/l N WALKED BUD
BN
1 .05
DAILY DOUBLE/u HAVENT CHANGED
MU
.79
WAS LEICESTER SQUARE/jACKASS BLJUMP |5
1 .05
ROUND ABOUT MIDNITe/wEEL U NEEDBN
1 .05
BLUE MCON/SEEMS LIKE OLD TIMESMU
.79
EDDIE MILLER TRIO
THELON 1 0US/SUR8URBAN EYES
BN
1 .05
CHU BERRY
EASY TO REMEMBER/BACK HOME JUMP |6
1 .05
DIZZY GILLESPIE
CHUBERRY JAM/MAELSTPOM
CO
.79
ANDERSONS OSHKOSH SERENADERS
ALGO BUENa/miHOR WALK
VI
.79
46 W. 52/siTT ,N I N
CMS
.79
(JBE RUSHTON, "JARREN SMITH, BOB ANDERSON )
manteca/cool BREEZE
VI
.79
MONDAY AT M 1 NT ONs/BLOW 1 N BREEZECMS
. 79
WRITE SELF LETTEr/sEPT IN RAINJUMP |7
1.05
SALT PEANWTs/l WAITED FOR U
MUSI CRAFT .79
TEDDY WILSON
SOLO ART REISSUE ALBUM
RAYS IDEA/HE BEEPED
MU
.79
SHEIK A R A BY/SOME TH 1 NG 1 DREAM
MU
.79
PETE JOHNSON— CL 1MB 1 N SCREAM 1 N
emanon/thimgs TO COME
MU
.79
WHISFERIMg/tIME GOES BY
MU
.79
PETE JOHNSON— HOW LONG BL
DYNAMO/ROUND ABOUT MIDNIGHT
D 1 AL
1.05
JUST U JUST ME/jUST FOR U
MU
.79
JIMMY YANCEY-THE FIVES
DIGGIN D 1 ZZ/(MCGHEE -TRUMPET )
D 1 AL
1 .05
BUGLE CALL RAG/MEMOR 1 ES OF U
MU
.79
ALBERT AMMONS-MECCA FLAT BL
BEBOp/sALTED PEANUTS
MANOR
.79
RUNNIM wild/i SURRENDER DEAR
MU
.79
CLARENCE LOFTON— HAD A DREAM
confirmation/when 1 GROW TOO
D 1 AL
1 .05
CANT GET STARTEO/STOMPI M SAVOYMU
.79
MODES-SOUTHS ICE SHUFFLE
DIZZY ATMOSPHERE/ALL THINGS
MU
.79
BL TOO/IF DREAMS COME TRUE
MU
.79
C IRCLE ALBUM CI s-16
3.95
HCT HOUSE/BL N BOOGIE
MU
• 79
ERROL GARNER
CASTLE JAZZ BAND
TWO BASS HIT/STAY ON IT
VI
• 79
PLAY F 1 AN 0 PLAY/FRANK t E JOHNNYD 1 AL
1 .05
ORYS CREOLE TROMBONE/GA CAMP MEETING 6
1 .05
CAST GET STA RTEd/c CC D FAIT
MANOR
.79
TRIO/PASTEL
DIAL
1 .05
LU WATTERS
OOP BOP shebam/thats EARL
MU
.79
DODO MARMAROSA
PANAMA /n.O. JOYS WC Il5
1.05
OW/OOP PAPA OA
VI
.79
BOPMAT 1 SM/TRADE WINDS
DIAL
.79
CLIMAX RAC./SAGE HEN STRUT WC 1 16
1 .05
good bait(big band)/oolya COO
VI
.79
L0'<ER/dARY DEPARTS
D 1 AL
.79
copenhagen/jazzin babies bl wc ii7
1 .05
GROOVIN HICH/HANDFUL GIMME
MU
.79
MELLOW MOOD/HOW HIGH THE MOON
AT OM 1 C
.79
LOU IS ARMSTRONG "01 F IVE
SHAW NUFF/LOVER MAN
MU
.79
DODOS BL/l SURRENDER OEA R
ATOM 1 C
,70
SUNSET CAFE STOMP/BUTTER EGG HJCA 16
1 .05
OUR DELIGHT/GOOD DUES BL
MU
.79
LESTER YOUNG
« ARMSTRONG AND BECHET WITH CL WMS
BL 3
ONE BASS HIT 1-2
MU
.79
1 NEVER KNEw/jUST U JUST ME
KY
.79
Texas moaner/coal cart hjca i7
1.65'
MOODY S PEA KS /SMOKE Y HOLLOW
SAVOY
1 .05
AFTERNOON BAS 1 E 1 TE/SOMET 1 MES
KY
.79
KING OLIVER CREOLE JAZZ BAND
TADD DAMERON
BLUE L ESTER/jUMP LESTER
SAVOY
.79
LONDON BL/CAMP MEETING HJCA |8
1 .05
THE SQUIRREL/OUR DELIGHT
BN
1 .05
DB BLUES/LFSTER BL AGAIN
ALADD 1 N
1.05
JOHNNY DODDS CHICAGO FOOTWARFERS
THE CHASe/daMERONIA
BN
1 .05
JUMPIMMESSNERs/THESE FOOLISH
ALADDIN
1 .05
MY GALSWEEP EM CLEAN HJCA l 9
1 .05
TAD WALK/BEBOP CARROLL
SAVOY
1 .05
AFTER U GONE/PAPER MOON
ALADDIN
1.05
BOB WILeER WILDCATS
CHARLIE VENTURA
LOVCR COME BACK TO ME/jAV IN
ALADD 1 N
1 .05
WHEN U WORE TULIP/CAMP MEETING Bl/0NCE
1 N A
EUPHORIA/lF 1 HAD U
NA
.79
NEW LESTER LEAPs/u DR 1 V 1 N ME
ALADD IN
1 .05
while/oh daddy/trouble in mind/frog 1 MORE
FOPEVE R BLOWING BUBBLES/BABY
NA
.79
LESTERS BEBOP/SHES FUNNY THAT
ALADDIN
1 .05
RAMPART ALBUM # 1
3.95
EAST CF SUEz/lLL NEVER BE SAM ENA
.79
SUNDAY/NO EYES BL
ALADDIN
1 .05
WASHBOARD WONDERS (WELLSTOOD)
SYHTHESI S/6LUE CHAMPAGNE
NA
.79
SAXOBEBOP/JUMPIN SYMPH SID
ALADDIN
1.05
BOROELLO DAYS/OONT FORGET TO MEPX 2
1.05
ELEVEN SIXTY/SOOTHE ME
NA
.79
ONE OCL JUMp/jUMPIN WOODSICE
ALADDIN
1.05
LOU IS HOT F 1 VE
TEA FOR TWO/GHOST OF CHANCE
SUNSET
1 .05
CONFES&I N/EASY DOES IT
ALADD 1 N
1.05
LONESOME Bl/k|NG ZULU S ( PRESS 1 NG )
1 .05
CV JUMP/l SURRENDER DEAR
SUNSET
1 .05
SHE IK ARABY/EAST OF SUN
ALADC 1 N
1 .05
KID ORY (FROM NORDSKOG-SUNSHINE)
JACK POT/CHARLIE COMES ON
SAVOY
1 .05
COLEMAN HAWK IKS
SOCIETY BL/ORY CREOLE TROM PX 3
I.C5
ALLEN EAGER
fine dinner/body SOUL
VI
.79
BUD JACOBSON JUNGLE KINGS
RAMPAGE/BOOSY HATCH
SAVOY
1 .05
dedication/smack
CMS
.79
CLARANET MARM/LAUGH 1 NG AT U CE 40 1 5
1 .05
MEESK 1 TE/OONALC JAY
SAVOY
1 .05
ESQUIRE BOUNCE/eSQ BL
CMS
.79
CHICAGO RHYTHM KINGS
JANES BOUNCE/STAN GETZ
SAVCi
1.05
mop mop/my ideal
CMS
.79
(HODES, MARTY MARSALA, ROD CLESS)
SY^P HOMY SIDS IDEA /STAN GETZ
SAVOY
1.05
APRIL IN PARIS/HOW STRANGE
VI
.79
SONG OF WANDERER/CHANGES MADE CE 40 1 6
1 .05
WAROELL GRAY
RA 1 JEjGV M. lET/wOOOYN U
APOLLO
.79
SIDNEY BECHET WITH WILBERS WILDCATS
THE CHASE/WITH DEXTER GORDON
D 1 AL
1 ,05
yesterdas/bu oe daht
APOLLO
.79
LAURA/ONE THESE THINGS/POLKA DOT RAG/ 1
HAD
STor ed/matter in mind
SI TTI N
4N .79
FEELIM ZERO/DISORDER AT BORDERAPOLLO
.79
It/spreadin joy/love for sale/shake EM
UP
SWEET GEORGIA BOP 1-2
MODERN
• 79
COOT IE W 1 LLIAMS
C0LUM6A ALBUM C-|73
3.75
FOR A COMPLETE LIST OF OUR AVAILABLE
BOP
typhoon/talk some trash
MERCURY
.79
SEND FOR OUR TRADITIONAL JAZZ CATALOG i
2.
SEND FOR OUR MODERN MUSIC CATALOGUE i
2.
SEND FOR SWING CATALOGUE f 3.
FOR EVERYTH
1 N
G IN JAZZ V
1 3
T THE CORNER
39
AUCTION
AUCTION
AUCTION
AUCTION
JOHN M. PIPES
SAM H. PHILPOT
1 2 1 5 B
IG
5 PR 1 NGS
TEXAS
OP. DC A P UT DC"C" p | DP | r
CO rLAOHIKLL U 1 LL
3f£AR
MINIMUM BID ON ANY RECORD $ 1.50. CONDITION
GUARANTEED. WINNING RECORDS WILL
BE SENT
ATLANTA, GEORGIA
VIA PP COD UNLESS OTHERWISE REQUESTED.
PACK SAFELY AND CHARGE NOTHING EXTRA FOR TH IJ
cu i p r nn ddy no pd ponrrcc ifiMsi
on 1 r u UU rtKA UK r r « rKUrLoDIUNHL
D AP V 1 MP
r AO N I Nu •
3LKV ILL.
M 1 N 1 MUM BIO 50^.
i o w i MP imniienu
1 nlll^lANA DHVTHU tflMPC
LUU 1 D 1 A IN A KnY 1 p, M M NuO
S 1 It MFV RFP HF T
O I U INC. T DC. L>nC 1
SWEETHEART OF ALL/jACQUES RENARD
VI
21834
'.
caravan/billowy sea
BR
4908
N
ol man bl/nobody knows way
V | £0 00 J
E
nru 1 in oral
Kt. v . J 1 M OC.ML
LAZY DADDY/THERES EGYPT IN YOUR
BR
4923
Q A D Mfu D 1 f ft n n
n A H N L Y b 1 j A hi!
THERE WAS JOb/hANQ OF LORD
7| 08
N
TED LEWIS (ALSO CO 895 n)
c bl/brown suede
BB I t 58 1
E
CANT GET OVER/RE 1 CHMAN )
CO
754
pdpcqv dpqpatc / mpdup
UKUoDT DUDOHIo / NUKVU
BLESS U SISTEr/caUSE 1 FEEL LOW
12683
E
WISTFUL AND Bl/| F U SEE SALLY
CO
844
slow mood/lady he good
n e- lOQ/i
DE J Oo4
N
j -i - r 1, J
FRANK IE JOHNNY/HAH WAH
CO
1 0 1 7
pro^ry Rn rp a t q /ivinDi^
OKUODI D U OU A 1 O / I1! U K P.
5 pennies/feel in no pain
CO
|229n
EVERYBODY HAPPY NOw/DOWN OLD
CO
1 207
N
JAZZ ME Bl/tIN ROOF BL
DE 3523
E
SUGAR FT STRUT/lMAGINATION
CO
1260
L
HELLO MONTREAL/LAUGH CLOWN
CO
1 346
ryFDv nniTQPu
lMLKT ucuidum
WASNT IT NICE/HERE COMES EM 1 LE
CO
219 N
oh baby/start BAND
CO
HARBOR LI G HT s/s T A RDUS T ON MOON
BR 9 1
E
COTTON PICKERS
1 AINT GOT NOBODY/GOOD MAN IS
CO
1 428
inwMMv nnnnp
juniMi'ji uuuuo
MOAN 1 N LOw/AL GOODMAN
BR
4446
MOONLIGHT MADNESS/KING FOR DAY
CO
1 485
Rl P. A 1 P DP" /C U A l*T VP1ID PAM
□ L UHLwUC/otlMI^L. YUUH U A IN
DE 74 1 3
E
DUKE ELLINGTON
CL A R 1 NET MARMALADE/SHI MMESHAWABBLECO
1 573
ni 1 KF FN I NP. T PiW
UU r L C LL 1 JU 1 UN
bl again/bert lown orch
VI
22603
L 1 MEHOUSE Bl/rOSE PICARDY
GO
1 789
u FUfi o I nc 1 1 A 1 1 rvv TP Mr
V 1 230l 7
V+
RIVER AND ME/KEEP SONG
VI
22614
MAY3E/IM WALK1N AROUND
1 854
P 1 " A PlPA AAA /P A KIT Al Iff II *MVTU
1 j - U 1 bA UUU/LANi b| Ut U ANYIH
V| 38008
N
the mooche/hotsy totsy bang
BR
4|22
MEDICINE MAN FOR 8l/wONT
CO
1 882
soli tude/mood indigo
CO 35427
N
SEGER ELL IS
LONELY TROUBADOR/THOUGHT
CO
1 957
MA 1 N STEM/jOHNNY COME LATELY
VI 20|556
E-
sunday/aint that too bad/
CO
814
LADY LUCk/lITTLE DREAM BOAT
CO
1 999
KLEINE KAMMERMUS 1 K MISPRINT (m65|
) DUSK IN
without u sweetheart/voice of SOUThCO 1374
WABASH BL/FAREWELL BL
CO
2029
DESERT. SEE H0EFERS COLUMN .RARE
CO 1 723 1
N
was it dream/last NIGHT 1 DR
CO
1433
SINGIN VAGABOND SONG/ON SUNNY
CO
2 1 44
BENNY GOODMAN
memories of france/i still love u
CO
1453
N
di nah/lonesome rd
CO
2 1 3|
DR HECKLE MR JIBE/TEX TEA PARTY
CO 3167
E
poppin em out/mong souvenirs
OK
40970
3 ocl in morning/world IS
CO
2246
JIMMY LUNCEFORD
are u thinking of me tonite
OK
40900
truly/at last im hahhp
CO
2408
PHILCO OEMONSTARATI-ON RECORD 8-A
JAZZNOCRACY
chloe/if 1 CANT have u
OK
41047
MEMPHIS STOMPERS
JIMMY TALKS-MONOTONY 4 FLATS DIFFERENT FROM
song of love/inspirartion is u
OK
41 190
N
KANSAS CITY Bl/hOLD IT STILL
VI
2 1270
CO 35567— OTHER SIDE ORRIN TUCKER
G4-
coquette/loui se
OK
4|22|
YEA ALABAMA STOMP/wASH LEE STOMP
VI
2 1 709
CDAU Ift A DT 1 M
oKAn MAK 1 IN
swing in hammock/olo new en land
OK
4|436
BUBBER Ml LEY MILAGE MAKERS
ROMAN BL(CATCH)/| GOT TO GO
OK S| 04
G
confess in/good evening
OK
4|44|
- +
PENALTY LOVE/LOVIN U THE WAY
VI
230 0
Mr M DU 1 Q II IP DAMP
MLWIrnlb JUb DANU
ST LOUIS BL-/
OK
41447
EMMET T MILLER
BEALE ST MESSA ROUND/SEE U IN SPR
VI 2 1 066
F
WHATS THE USE/lF 1 COULD BE
OK
4 1452
E
PICKANINNIES PARADISE/BLUES
OK
41377
IC I I v npi i iipriTPM
JLLLY HULL MUH 1 UN
J.C.FLIPPEN
MOUND CITY BLUE BLOWERS
NO BUMPS/KC STOMP
BB 7757
E
OUT WHERE Bl/yOURE JUST
BP
4289
N
TIGER RAG/DEEP SECOND ST BL
BR
2804
RED NICHOLS ( BG TEA)
REV GATES
RED NICHOLS
I got rhythm/embracable u
BR 4957
E
flood alabama/death is your
0-
8678
E
5 PENNI ES/HARLEM TWIST
VI
21560
ORIGINAL MEMPHIS FIVE
GENE GOLDKETTE
THATS WHERE SOUTh/|M
VI
23026
NOBODY KNOWS RED HE AB/oO W ACK A DO
CO 308
N
JUST MY WAY forgetting
V 1
21590
N
CANT WE BE FR 1 ENDs/wA 1 T FOR HAP
BR
4510
TINY PARHAM
CAN U BLAME ME/hENRY <THIES ORCH
VI
2l87i
N
SAY IT W 1 TH MUSIC/THEY DIDNT BEL
BR
461 5
SPO DE 0 OE/FROG TOWN BL
DE 7780
N
TIPTOE THRU TULI Ps/PA 1 NTEO CL
VI
22027
N
NEW ORLEANS OWLS
HARRY RADFRMAN/J SAMUELS
BENNY GOODMAN
goose pimples/throwin horns
CO
1261
MUSCLE SHOALS Bl/| VE GOT HABITS
OK 4477
V
ROOM l4ll/jUNGLE BL
BR'
4013
N
BEN POLLACK
ADRIAN ROLL 1 N 1 ( BG )
CLIFFORD HAYES LOUISIANA STOI/PERS
SINGAPORE SORROWS/SWEET SUE
VI
21437
DAVENPORT BL/oOMEBODY LOVES ME
DE 359
E
BYE BYE Bl/bAREFT ST
VI
21439
N
forever/i loved u then ( TROUBADORS )V|2| 7| 6
CURA SM.ITH (LOUIS)
MONK HAZEL
BYE BYE BABY/SHES ONE SWEET GIRL
VI
21743
NOBODY KNOWS WAY 1 FEEl/|F U
ideas/get wi th it
BR
4132
N
LOUISE/WAIT TIL U SEE CHER IE
VI
2l94|
ONLY NOD (MINT IN ORIG ENVELOPE)
CO 14058
N
FLETCHER HENDERSON
ALWAYS IN ARMS/sWEETHEART
VI
22101
BOYD SENTER
tozo/rocky MT BL
CO
970
N
SONG OF 8L/SMITH BALLEW
VI
22147
BEALE ST BL/COPENHAGEN
V| 22303
V
KING P0RTER/D NATURAL BL
CO
1 543
N
LEE SIMS
JABBO SMITH
LET ME INTRODUCE/l WANT TO SEE
6P
3026
E+
ST LOUIS BL/3ISTER KATE
BR
4780
N
ABSOLUTELY/HOW CAN CUPID BE STUPI
DDE |7|2
E
FIDGETY FETt/sENSATI ON
BR
3521
V
MAMIE SMITH
MUGGSY SPAN 1 ER
hop off/broadway BCSTRS
3P
41 19
DONT DA.VERTSE MAn/kEEP
OK
8864
E
WRECK 97/2 CLOCK JUMP
DE 4436
E
HOKUM BOYS
PAUL TREMAINE
MAX 1 NE SULLIVAN
AINT GOIN THT WAy/u CANT GET
PM
12821
E
SARAH LEE/SINGIN FOR MOON
VI
40230
N
NELLIE GRAY/FOLKS ON HILL
VO 3885
E
JACK HYLTON
FATS WALLER
TAMPA BL JAZZ 8/1 ND
LAUGHM MARIONETTE/Ll^T UP MY
VI
22067
N
ST LOUIS BL/LENOX AVE BL
VI
20357
N
W.TEXAS 8L/AtNT GOT NOTHIN
OK 4595
G-
JAMES P. JOHNSON
1 AINT GOT NOBODY/RED HOT ( T.MORR 1 S )v I 2 1 1 27E
JACK TEAGARDEN
JIMGLES/u GOT BE MODERNISTIC
BR
4762
N.
PLEASE TAKE ME OUT JAIl/hES GONE
VI
21202
E
AUNT HA GA R Bl/sW]NG ELECTION
CO 35206
E
feelin bl/riffs
OK
8770
E-
LOVE ME LEAVE Me/| GOT FEELING
VI
22092
N
BL GOT ME/pRELUDE TO BL (l GR RIM
)de 4409
N
LONNIE JOHNSON & BLIND WILLIE DUNN
WASH 1 NGTON 1 ANS
NOBODY KNOWS/lOO YRS TODAY
DE 43| 7
N
BL ROOm/mIDNIGhT CALL BL
OV
88|3
E
BLACK BEAUTY/TAKE IT EASY
BR
4009
'i
J. VENUTI NEW YORKERS
ROGER WOLF KAHN
JU8ILLEE STOMp/hOTSY TOTSY GANG
BR
4044
H
CHANT JUNGLE/WONDERFUL SOM
OK 41320
E
HOT HOT HOTTENTOT/YEARNI NG
VI
19616
E+
ETHEL WATERS
WASH INGTON IANS/BOB HAR 1 NG
REAL SWEETHEART/LONELY LIT
VI
2l5l0
N
SHOO SHHOO BOOG/DO 1 KNOW WHAT
CO
1905
N
hove over/me and man
RO 829
V-
PRETTY LITTLE THING/hEIGH HO
BR
4374
N
TRAVEL IN ALL AL ONE/wA 1 T 1 NG AT
CO
1933
N
LEO W8TS0N
li za/do WHAT U 00
BR
4479
N
U LUCKY TO ME/MEMORIES OF U
CO
2288
N
TUNE THAT COUNTs/jADA
DE 2959
N
WHY WAS 1 BORn/hERE 1 AM
BR
4583
N
PAUL WHITEMAN
PAUL WHITEMAN (BIX SOLO)
GREAT DAY/WITHOUT SONG
BP
4600
N
MEDITATION THAIs/wATERS OF MINN
VI
1 9391 n/e
LONELY MELODy/ramona
VI 2|2|4
E
DO NT EVER LEAVE ME/TWAS NOT SO
BR
46|4
N
SONG INDIA/CHO CHO SAN
VI
20200
N
CLARENCE WILLIAMS BL FIVE
WHEN WOMAN LOVES MAn/C00KIN BREAK
BR
4699
N
MISS. MUD/FROM MONDAY ON
VI
21274
E
TEXAS MOANER/HOUSE RENT BL (ORI G ENV)0K8|7|
N
EXACTLY LIKE u/sUNNY SIDE ST
PBR 4742
N
SUGAR/THERE AINT NO S WEET MAN
VI
21464
II
ALEE WILDER
into heart/dark NIGHT
e p
481 1
N
BLUE NIGHT/ROSES YESTERDAY
CO
1553
11
ALEC WILDER OCTET ALBUM
C 60 N
CHEER UP/lSHAM JONES ORCH
BR
4826
N
JUST sweetheart/where IS THE SONG
CO
1630
II
G IGL 1 . PIMZA.ST IGNAN 1 .CAN tGL IA
HAL KEMP
HOW ABOUT ME/CRADLE LOVE
CO
1723
N
VERDI REQUIEM MASS (MINT)
VI DM734
N
MY TROUBLES OVER/GYPSY
8R
4|5|
N
LOVER COME BACK TO Me/mar|ANNE
CO
1 731
N
WILHELM FURTWANGLER VIENNA
PHILHARM.
LUCKY STAR/u WONT FOOL ME
BR
42i2
N
SONG CONGO/wEDD 1 NG BIRDS
CO
2263
N
BRAHMS 1ST SYMPH (MINT)
HMV 9220
N
TO BE IN LOVE/WHEN DREAMS
BR
4338
N
IN HEART ITS u/bIG BOUQUET
CO
2289- N
TO
ANDY KIRK
BODY SOUL/SOM THING TO REMEMBER U
CO
2297
N
9225
MARYS IDEA/ONCE TWICE
BR
4863
N
WOLVERINES-IF 1 HAD u/l FAW DOWN
vo
15766
n
40
SALE
HARRY K. CRAWFORD
|5 CHESTERWOOD AVE., MT, VERNON, NV
RECORD CONDITION GUARANTEED. NO PACKING CHARGE. MINIMUM AUCTION BID 50#. ALL
RECORDS IN NEi CONDITION UNLESS OTHERWISE STATED. MIMI/UM ORDER 3 RECORDS.
AUCTION BIDS CONSIDERED UNTIL JANUARY 20 AT WHICH TIME WINNERS ONLY WILL BE
NOTIFIED AND RECORDS SHIPPED VIA PP COO. POSTAGE MUST BE INCLUDED IN ADVANCE
REMITTANCE OR ITEMS WILL BE SHIPPED RRX COLLECT.
AUCTION
AUCTION AUCTION
MERRILL HAMMOND
2127 S. DELAWARE COURT, TULSA 4, OKLAHOMA
JANUARY 1 5, 1949 CLOSING DATE, shipment
EXPRESS COD UNLESS OTHERWISE SPECIFIED.
PACKING CHARGE 25jS,0N ORDERS UNDER $5.00.
MONEY BACK IF NOT AS DESCRIBED.
BERNARD ADD I SON RHYTHM
LOVELY LIZA LEE<LITTLE RAMBLERs)bB 6|44
AMMONS, LEWIS, JOHNSON
4606
BOOGIE PRAYER 1-2
GRAEME BELL
vo
I .05
I .05
VI 25872 V
BR 6800 V
BR 6983
SE 5006 I .05
,05
BIRMINGHAM BERTHA/BABY WONT U PACF90000I .57
TIGER RAG/NONE MY JELLY ROLL PACF9O0O2 1.57
CANAL ST BL/lVE GOT WHAT T A KEPA CF90003 1.57
DEEP PAC I F IC/OARKTOWN ST RUTTE RSPF90004 1.57
WOLVERINE BL/OSTRICH WALK PACF9C005 1.57
south/sh MMESHABBLE JC
YAMA YAMA Bl/biG CHIEF BATTLE JC
BUNNY BERIGAN
WACKY DUST/WEARING GREEN
CASA LOMA ORCH
I got rhythm/old man river
HOW CAN U FACE ME
CASA LOMA STOMP/SMOKE RINGS
CHARLE STON CHASERS
LOVABLE SWEET/RED HAIR FRECKLESCO 1 925 E+-
ROD CLESS QUARTET (JP JOHNSON)
PALETTE ON FLOOR/lMNOW U BW 30 I.
BOB CROSBY (BOBCATS')
MISTRI8S MINE/LOVER AND LASS DE 2662 V
WORLD WAITING SUNRISE/bL ORCHIDS 2734
•LOVE NE6T/TIL WE MEET DE 2625
AIR MAIL STOMP/OH WHAT U SAID DE 2992 E
FAR AWAY MUSIC/FLAMINGO DE 3752
TAKE IT EASY/ONLY DREAM DE '1 37
PETE DAILY CHICAGOAN
WOLVERINE BL/LIVERY STASLE JU I 2
RED LIGHT RAg/suGAR FT STRUT SU 7559
JOHNNY DODDS (N.O. WANDERERS)
gatemouth/perdi do SE 5000
LOUIS DUMAINE JAZZOLA 8
RED ONION DRAG/FRANKLIN ST BL HOCA |3 1.05
TOWABACAWA/PRETTY AUDREY HJCA |4 I .05
DUKE ELLINGTON
MOOD I ND I Go/wALL ST WA I L BR 80003
KILLING SELF/LOVE FADED CO 35640 E
ECHOS HARLEI//(T WILSON HOL I DAY ) C036283
HOT FEET/SLOPPY JOE VI 38065
YU8 ILESTa/mOONL IGHT FIESTA SE 5007 1.05
BUD FREEMAN SUMMA CUM LAUDE ORCH
SATANIC BL/SILFISH DE 2781
GENE GOLDKETTE
SUNDAY/RATHER BE GIRL IN ARMS VI 20273 E
JUST MY WAY F. RGETTINQ VI 2|590 E
GOOFUS FIVE (NICHOLS ROLL I N I )
SISTER KATE/FAREWELL BL OK 40767
COLEMAN HAWKINS
FORGIVE A FOOL/SLEEPING BEAUTYOK 6347
HONEYSUCKLE ROSE/CRAZY RHYTHM VI 262 1 9
JOE HAYMES
L I MEHOUSE BL/fHINE ON HARVEST BB 5|33 V
FLECTCHER HENDERSON
RUG CUTTER" SWING/wlLO PARTY OE 342 E
LIZA /HOTTER THAN ELL DE 555 E
KING P0RTER/(WMS JUG BAND ) OK 4 1 565
COME ON COOT/(NOONE POWERS ) UHCA 79 1.25
GRAND TERRACE/RIFF IN VI 25339
CLIFF JACKSON ( BECHET,DEPAR I S BROS)
QUIET PLEASE/»ALK I N TALK IN SELFBW I 204 1.57
JEEPERS CREE PERS/CL I FFS BOOG BW I 205 1.57
FREDDY KEPPARD JAZZ CARDINALS
STOCKYARO STRUT/SALTY DOG UHCA 731.25
GENE KRUPA
WIRE BRUSH St/wHAT GOES ON HEREBR 8 1 66 E
PEBBLES IN STREAM/GPEEN EYES OK 6222
PASS THE BOUNCE/ME AND MELINOAOK 6619
CLAUDE LUTER
ROYAL GARDEN BL/wHERE DID U PACF9000E 1.57
HIGH SOCIETY/WEST END BL PACF90009 1.57
DIONT HE RAMBLE/CANAL ST BL PACr900l0 1.57
WILDCAT BL/ORY CREOLE TROM RAM 4 1.05
TIGER RAG/SPORT MODEL MAMA RAM 5 1.05
PIMLICO/CARELESS LOVE BL SW 262 1.57
JUST gone/graveyard BL SW 268 1.57
CHARLIE. LAVERES CHICAGO LOOPERS
IM C0MIN VA/SUNDAY JUMP 2 1.05
IF I had u/exactly Like u ju 6 I. 05
MIKE LOSCALZO 0 IX I ELAND WOPDSHEDDERS
THATS A PLENTY/SOMEOAY SWEET BW I 2 1 5 I .57
CHUCK MAC KEYS MICH BLVD GANG
JU i | | .05
AT SUNDOWN/HAPPY BL
. PAUL MARES FRIARS SOCIETY ORCH
LAND 0 ORE AM /re I NC A RN"A T I ON OK 4 1 575
MEZZ MEZZROW
35TH CALUMET/OLD FASHIONED LO VI 25202 G
MIFF MOLES MOLERS
WILD CAT JOE/CREAM IN COFFEE 00 4||53
MOAN I N LOw/b|RMINHAM BER1 HA OK 4| 273
navy bl/lucky LITTLE DEVIL OK 4 | 371
TOOTS MONDELLO (ZIGGY ELMAN)
SWEET LORRA I NE/BEYOND THE MOONVS 8 1 10
JELLY ROLL MORTON
pearls/king porter
,0067
1703
400|
4003
.80
1.25
I .25
1.25
panama/sweet substitute gl
mamies bl/crig rags gl
BU0DY B0LDEN Bl/thE CRAVE GL
DONT U LEAVE ME HERe/kING PORTER 4005 1.25
DE P CRREEK/RED HOT PEPPER V|400| 19 .80
PRETTY LIL/BRNIN THE ICEBERG V|400|20 .80
LITTLE LAWRENCE/pONCHARTRA IN V|400|2| .80
MOUND C I TY BLUE BLOWERS
ONE HOUr/tA ILHPIN BL BB 6456
DARKTOWN STR'JTTERS BALl/bESSI ECO 36281
RED NICHOLS RECORDING GROUPS
AFTER U GONE/WILD ABOUT HARRY BR 4839 G
KEEP SONG l*N SOUL(TEA VOc) BR 6068 V
I NO I ANA/D I NA H BR 67|8
she I K araby/shimmeshawabble BR 80005 .80
GOOD MAN HARD Tr F I ND/e CCENTR I CM F lOl 1.05
WHY COULDNT IT BE POOR LITTLE OK 40303
last im happy/havent GOT GIRL VI 23033 E
I AINT GOT NOBODY/BIRM BKON REX25070 1.05
QUINTET HOT CLUB FRANCE (ALL RED LABEL
SOME THESE DAYS/LILY BELLE DE ^JU04
CHINA BOY/MOONGLOW DE 23U3 I
SWEET GA BROWN/SOUVENIRS DE 23065
daphne/wonder WHERE BABY IS DE 23|52
PEE WEE RUSSELL ( JP JOHNSON )
D I NA H/BAEY WONT U PLEASE
CHANGES MADE/ZUTTY HOOTIE BL
BOB SCOBEY JAZZ BAND
W I LO MAN BL/4 LEAF CLOVER
BALL I N THE JACk/aCE IN HOLE
DOIN GRIZZLY BEAr/aLEX RAG
SISTER KATE/wEARY BL
MELANCHOLY Bl/nONE JELLY ROLL
ART IE SHAW
HRS
1000
1 .05
HRS
1001
1 .05
TRI
220
1.05
TRI
221
I.C5
TRI
222
1.05
TRI
1 .05
TRI
1 .05
rosalie/lover come back
VI LI a/man I LOVE
OEEP PURPLE/PASTEL BL
THRU THE YRS/NOCTURNE
BB I 01 26
bb ioi2e
BB I Ol 76
VI 27703
JABBO SMITHS RHYTHM ACES
JAZZ BATTLE/BOSTON SKIFFLE UHCA 43
TRIXIE SMITH (LOUIS, JOE SMITH)
rr bl/worlds JAZZ CRAZY UHCA 8|
EVERYBODY DOIN CHARLESTON NOW
MUGGSY SPAN IER
CHICAGo/cANT WE BE FRIENDS DE 4|68
I .25
I .05
GEORGE WETTLING (MEZZROW)
SOME THESE DAYS/EVERYBODY LO BW
BOB WILBERS WILDCATS
7 1.05
camp meeting bl/once in while ram 8 i .05
RAM 7 I .05
ram 6 I .05
RAM 3 I .05
RAM 2 I .05
RAM I I .05
CMS 583 I .05
CMS 584 I .05
frogimore/oh daddy
u wore tulip/trouble in mind
chimes bl/old fashioned love
N.O. shuffle/cant SAY
snake rag/salty DOE
MABELS DREAM/WILLIE WEEPER
WILD CT BL/BLUES FOR FOWLER
JOE YUKLS WABASH FIVE
suga r/body SOUL
ROYAL GARDEN/QT BL
AMERICAN HOT BAND ( HUCKO, POWELL . MCK I IV'L
EY ETC. )
PLEASE DONT TALK ABOUT Me/hOW HIGHJAZZCLUE N
ANDY BOY
JIVE BL/LONESOME WITH BL BB 6893 N
LOU IS ARMSTRONG
SITTIN IM DARK/HUSTLIN BUSTL I N BB 7506 E
I WANT LITTLE GIRl/bl YESTERDAY SW 223 N
GRAEME BELL
BABY WONT U PLEASE/b I RM INGHAM FRPAC90000 N
. B IMG CROSBY
WITH BOB CRIMEA FOR 2/yES INDEED OE 3689 E
WITH HERMAN )wH I STLERS MA IN LAW OE 397l N
JOHNNY DODOS BLACK BOTTOM STOMPERS
WILD man (25)/melancholy(28) BR 3567 E-
TOM DORSE Y ( TRUM PET SOLO )
TIGER RAG/RIGHT HERE FOR U OK 4||78g/v
DUKE ELLINGTON
ESQUIRE SWANK/MIDRIFF SW 230 N
LIONEL HAMPTON
SHOE SHINERS DRAg/mOOO SWING VI 26011 E
HARLEM HOT CHOCOLATES (DUKE )
ST JAMES INF HOW 1046 V
FLETCHER HENOERSON
IM COMING VA/WHITEMAN ST CO I059MV+-
QUEER NOTONS/CAN U TAKE IT VO 2583 E
ROSA HENDERSON CHOP CHOP JAZZERS
STRUT YO PUODy/sOMEBOOY DOIN WHAT AJ 17055 G
12 st bl/meat man pete(suzie sm) AJ I 7081 V
DAN HILL (SOUTH AFRICAN JAZZ)
jivin joy/dont put BLAME MAME TRU 108 N
EARL HIKES ORCH
HAVE U EVER FELT THAT WAy/(mOTEn) VI 38048 G+
AHOY K IRK
CHRISTOPHER COLUMBUs/f ROGG Y BOTTOMOE 729 E
MESA STOMP/BLESS U MY DEAR DE 2204 E
EDDIE LANG
RA I BOW dreams/ jeanni ne PAE 2646 N
LUMBERJACKS
WHOOPEE STOMP/CAROLI NERS(LAMCR) CA 90 30 E
CLAUDE LUTER
WEST END BL/HIGH SOCIETY PACF900C9 N
PIML I CO/CARELESS LOVE BL SW 262 N
just gone/graveyard DREAM SW 268 N
SISTER KATE/ORNAGE JAM SW 275 N
JIMMY LYTELL
FAKERS RHYTHM/ZULU WAIL PE I 4846 M
RAY MCKINLEY TRIO ( HUC KO , POWEEL.MCK )
CHINA BOy/sHOEMAKERS APRON FRJC|3| N
JIMMY NOONE APEX
AINT M I SBEH/OFF TIME VO 1 581 9 G
KING OLIVER
MABELS DREAM/RIVERSIDE BL BRE 3575 N
MEL POWELL
HOMMAGE A DEBUSSY/HOMMAGE A WALLERVIB 9046 N
MA RA INEY
PICTURE LABEL— LOST WANDER I NG/DREAMPM 12098 G
BESSIE SMITH
MAMA GOT BL/OUTSIDE THAT CO 3900 V
SAM JONES L/ST LOUIS GAL CO 13005 G+
BO WEAVIL BL/MOONSHINE BL CO 1 40 1 8 V-
RECKLESS BL/SOBBIN HEARTED BL CO 1 4056 V-
MY MAN BL/NOBODY BL BUT MINE CO 1 4098 G
I BEEN MISTREATED/RED MT BL CO V
MUDDY WATER/AFTER U GONE CO 1 41 97 V
FRANK TRUMBAUER
I LIKE TO DO THINGS/HAPPY FEET OK 41 42 1 E
WASH I NGTON I ANS
BLACK TAN FANTASY/sdT ILOQUY BR 3526 V
CHICK WEBB
OK 4 1 572 N
I .05
I .05
LONESOME MOMENTS/BL MINOR
PAUL WH I TEMAN
GEORGIE PORGIE/u HAVE NO <RIM Ch) CO |4|9 V
NOBODY SWEETHEART/AFTER U GONE CO 2098 V
LIVIN I N SUNL IGHT/NEW KINDA LO CO 2|7| V
JOE VENUT I EDO IE LANG
sunshine/wilocat ok 40762 E
DO I K THINGS/WILDCAT VI 2 1 56 I N
41
SALE SALE
JAZZ RECORD CENTER
107 WEST 47 ST., NYC, NY
AUCTION
THURMAN REEVES
1902 MARINE PARKWAY,
AUCTION
eair
ROY HIGGINSON
BOX 484 CARLSBAD, CALIF.
AUCTION
1 NSURED, GUARANTEED NEW, IMMEDIATE
NEW ORLEANS 19, LA.
ANY DISC FOR SALE 50^EACH UNLESS HIGH-
SHIPMENT. WE PAY SHIPPING AND PACK
ER OFFER RECEIVED. "MINIMUM ORDER I 2.
ING COSTS ON ORDERS OR $ 3.00 OR
WINNERS NOTIFIED.
MORE. SEND V.O. OR COD.
NEI RELEASE5
ARMSTRONG HOT FIVE
HENRY BUSSE
LOU 1 3 S~"'.3 (FROM OK )
ALL-STATE WAr>'TS-,AKE OFFERS
HAD BE U/STUMBL 1 NG
DE
1336
E
KING ZULUS/LONESOME BL 1.25
BERTHA HILL (LOUIS, JONES)
SAM OLD ACCORD 1 AN MAN/5'2"
DE
|265
V+
DONT FORGET MESS/GONNA GETCHA HJCA 10 1.05
KID MAN/LOWLAND BL
OK
B273
E
satisfied/by the way
VI
221 16
E
CASTLE" JAZZ 3AND
NOLAN WELSH ( LOUS 1 .JONES )
TED F IC RITO
ORYS CREOLE TROMBONE/GA CAMP CA 7 1 .05
BIRDWELL/ST PETER BL
OK
8372
E
RIO RITA/LILLY LA GUN A
DE
4256
V+
KING OLIVER
LILY DELK CHRISTIAN (LOUIS
HOT
4)
NO NO NORA/KING FOR DAY
DE
3936
VI-
• ORKINGUAN Bl/hIVERSIOE 3L HJCA 7 1.05
TOO BUSY
OK
8596
V
FOOL FOR LOVING/EVERY MINUTE
DE
777
v+
JELLY ROLL MORTON RED HOT PEPPERS
LIL3 HOT SHOTS
HOLD ME/SWEETHEART DARLING
6555
v+
BILLY GOAT STOMP/HYENA STOMP HJCA II 1.05
CROP SACK/GEORGIA 30:0
VO
1037
E
TOMORROW ANOTHER DAy/tAYLOR
VI
22501
E
CLAUDE LUTER
CLARENCE WILLIAMS BLUE 5
DORSEY BROTHERS
S.AFRICAN BL/PANAJ-A RAG C 1 ( BR ■ AL ■ ) 1 05
W ILDCATBL/KANSAS CITY
OK
4925
J+
Ml LENBERG JOYS/ST LOUIS BL
DE
1 1 ?e/v
SPORT MODEL MAMA/TIGER RAG RAMP 5 1.05
SARAH MARTIN AND C.W. BLUE
5
GETT1N SENT 1 MENTAl/l ^NG MAY WE
DE
1 15
v+
BABY DODOS
ATLANTA BL/BLIND MAN
Ok
8090
E
B 1 NG CROSBY
MANHATTAN STOMp/aLBER TS BL CI 2002 1.05
MARGARET JOHNSON (C.WMS BL 5)
PARADISE ISLE/ALOHA KOO
DE
3797E/V
KID ORY
CHANGABLE DADDY
OK
8|25
E
LONE STAR TRAIl/bERKLY SQUARE
DE
3584
E
CIRCLE ALBUM (|2*) CI S-l 1 3. £3
SARAH MART IN-C. WILLIAMS ( VOC DUET)
GO FLY KITE/MAN AND DREAM
DE
264|
E
SNAG IT/SAVOY SL 'DOWN AMONG PALMs/wEARY BL
SQUABBLIN BL
0'
8|03
E
PA'iL WHITEMAN
FREE WIT!- EVERY $ 10.00 ORDER
KING OLIVER
CBI QUI T A /LONE SOME MOONLIGHT
CO
1448
V
ESQUIRE JAZZ BOOK 1947 1.00
D | PPERMOUTH/WEA THERB 1 RD
GE
5132
V
WANG WANB Bl/aNY TIME WHERE
VI
16694
v+
MEZZPOW BECHET OUINTET
FARWELL Bl/sOBBIN
BR
374|
E
FROM MONDAY On/mIsS. MUD
VI
2|274
v+
REALLY THE BL 1-2 KJ 1 46 I.C5
JULIA JONES (P.BRAOFORD )
mi ss.mud/sugar/sweet lil
VI
20783
e
ALEXACDERS JAZZ BAND (BOB SCOBEY)
BALL IN THE JACk/aCE IN HOLE TRI 22l .79
DECEITF L BL
AL WYNN GUT8UC KET FIVE
GE
5233- E
RUBY VALLEE
FLY 1 N DOWN RIO/QRCHIDS IN
VI
24459
N
SISTER KATE/»EARY BL Tfi| 242 .79
WHEN/THAT CREOLE BAND
OK
8350
V
PIG GOT UP /GENT DOESNT
VI
25092
N
WILOVAN BL/4 LEAF CLOVER TRI 220 .79
KANSAS C ITY FIVE
MY TIME YOUR TIME/DEEP NGHT
VI
2784|
E+
ECLIPSE ALLEY 5 (DODDS. GEO LEWIS)
DARK GIRL/GET IT FIXED
AJAXI728
E
TED WEEMS
BUCKET GOT HOLE/GIRLS LOVE CI |0|2 1.05
EDDIE AND SUGAR LOU HOTEL TYLER ORCH
WALK 1 N BABY/LOST GAL (2)
VI
22637
E
FREE WITH EVERY ORDER
YOYC BL/KWKH BLUES
.■ 0
1445
PICCOLO PETE/HERE WE ARE
VI
22037
E
INFORMAL PHOTOGRAPHS . INDIVIDUAL OR GROUP
JIMMY JOYS HOTEL ST ANTHONY
ORCH
YOUR CREAM COFFEE/ANYTHING
VI
21767
E
PHOTOS AS YOU REQUEST OF SUCH JAZZ ARTISTS
RED HOT HENRY BROWN/FALLIN
OK
4C494
.
MISS ANABELLE LEE/BARBARA (2)
VI
20845
E
AS GEORGE BRUN IS JTONY PARENT 1 , BABY DODDS,
GEORGE MC CLENNON JAZZ DEVILS
CUTIES DUE TWO TO TWO/lM GOING
VI
20120
V+
JAMES P.JOHNSON, HACKETT,ETC.
BOX BL/DRK ALLEY
'>
8143
E
JIMMY DURANTE
TONY PARENT IS RAGTIMERS (ALBUM)
GEORGIA STRUTTERS
INKA DINKA DO/HOT PATOOTIE
BR
6774
V
CIRCLE S-8 INCLUDING HYSTERICS RAG/SUNFLOWER
GA GR IND/EVERY80DY MESS AROUND
HA
23 1
V-t-
1 UPS TO him/cAN BROADWAY DO
CO
I860
V
slow drag/parlene/grace and beauty/hia«atha
DIXIE WASHBOARD BAND
MIS6ELLANE0US SINGLES
S»IPSY CAKE WALK. CI S-8
LIVIN high/wait til u see
CO
|4|28
E
ELLIOT EVERT-W-S 1 DRUNK
VI
24085
E
KID ORY JAZZ BAND
SALTY DOS SAM
RAY NOBLE-ILL FOLLWO SECRET HEART
VI
24749
N
DO WHAT ORY SAY/CARELESS LOVE JM lOlO 1.05
SLOW MAMA /NEW SALTY DOG
OR
81 06
Q
AMBROSE— HER NAME ROSITA
DE
3226
V
ORY CREOLE TC0M30NE/0R IG DIX JM 1025 1.05
WILLIE JACKSON
PHIL HARRIS-I GOT R 1 TZ
VI
22630
E+
KID RENA DELTA JAZZ BAND
KANSAS CITY BL/TB BL
CO
14284
E
SPIKE JONES-FUHRERS FACE
BB
1 1 586
V
CI=CLE ALBUM S-lO 4.98
HALFWAY HOUSE DANCE ORCH
CHICK. BULLOCK-EAST OF SUN
ME
350902 E
LOUDOUN BL/GETTYSBERG MARCh/cLAR MARm/
N.O. SHUFFLE
CO
54 1
E
ANDREWS SI STERS/SUNNY BOY
DE
3871
V
MILEfBERG JOYS/PANAMA/HIGH 60CIETY RAG/GET
PIRONS N.O. ORCH
RESERS JUMPING JACKS-EGYPTIAN ELLABR
6081
V
IT RIGHT/»EARY BLUES.
N.O.WI GGLE
VI
19233
E
BOSTON BROWN 1 Es/l 1 TTLE MARY BROWN
VI
22844
E
PiPA MUTT C*PE'
JOHNNY DE DROITS ORCH
ABE LYMAN-LUCKY ME/LOVEABLE U
BR
4609
E
FIDGETY FEET/CHRYSANTHEMUM CI 4008 1 .05
N.n. BLUES
OK
40090
E
P. VAN S TEE DEN-ALWAYS REMEMB SEPT
VI
22858
V+
OSTRICH WALK/lNDI ANA CI 40 1 3 1.05
JOHNNY MILLER N.O. FROL ICKERS
RED NICHOLS
'.es -:t : • 6.oc
DIFPERMOUTH
CO
1546
E
PEG 0 MY HEART
BR
80004
E
ABOVE IS FREE WITH EVERY t 35.00 ORDER.
JOHNNY BAYERSDORFER JAZZOLA
ORCH
C.HOPKINS-CHURCH ST SOBB 1 ' BL
OE
1286
E
PUNCH MILLER
WAFFLE MAN CALL
OK
40133
E
JAN SAVITT-APRIL SHOWERS
DE
3695
E
DOWN BY RIVERSIDE/PANAMA CI 40|4 1.05
FATE MARABLE SOCIETY SYNCO
TERRY SHAND— CASEY JONES
DE
3714
V
shine/there SMALL HOTEL CI '005 1.05
FRANKIE JOHNNY ( SCRATCHES ON OPP)
OK
401 13
V
EARL BURTNETT— TREES
CO
1 190
V
BUNK JOHNSON
BROWNLEE ORCH OF N.O.
BURTNETT TRIO-THIS IS HEAVEN
BR
4407
E
JADA/FOOR BUTTERFLY AM 5l4 1.05
DIRTY RAG
OK
40337
V+
L0M6ARD0-WITHERED ROSES
CO
1757
E
STUYVESAMT STOMPERSf BLUBBERG.WELLSTOOD )
HALFWAY HOUSE ORCH
WYNE K 1 NG-G 1 ANNI NA MIA
BR
7963
V+
BLUETAIL FLY/SHINE PX 1 1.05
PUSSY CAT RAG
OK
40318
.+
OKEH LAUGHING RECORO/gYPSY BARON
OK
4678
V
RED NICHOLS
ORIGINAL CRESCENT CITY JAZZERS
CAL STEWART— UNCLE JOSH BUYS AUTO
VI
17854
V
1 A I NT got nobody/brimingham REX 25070 .79
SENSATION RAG
OK
40101
E
ALL AND PETE-PICCOLO PETE
BR
4625
E
LOUIS ARMSTRONG
ORIGINAL N.O. RHYTHM KINGS
JERRY COLONA/RD TO MANDALAY
VO
4056
E
vox album (vsp30) 3.93
GOLDEN LEAF STRUT
OK
40327
CLIFF EDWARDS-CHARLIE MY BOY
PA
32079
V
song vipers/tiger rag/st LOUIS bl/will u
JELLY ROLL MORTON
DUNCAN SISTERS-roDE IN DOSE
VI
22345
V
■ONT u/sUNNY SIDE STREET 1-2.
GRANDPA SPELLS
BE1SIE SMITH
GE
5218
i
H.M GUARDS BAND-HIAWATHA
FRANK CRUM 1 T-PETURN GAY CABALLERO
VI
VI
25229
22154
E+
E
GIMME PIGFOOT
OK
8949
E
COTTON AND MORPHEUS— M 1 Ss/ MUD
BR
4040
E
WE CATER TO THE DISCRIMINATING COLLECTOR.
PARAMOUNT JUBILEE SINGERS
VAN & SCHENK— WAY DOWN S. IN
CO
1302
E
TAKING PR IDE IN OUR LARGE C0L1ECTI0N OF ITEMS
WHEN SAINT COME MARCHING IN
PM
12073
E
FRANK LUTHER— WABASH MOON
VS
5086
E
ON ORIGINAL, REISSUE, AND FOREIGN LABELS, ALL
JESSE CRAWFORD-AH SWEET MYSTERY
MW
4361
E+
OUR PRICES ARE HELD AT A MINIMUM.
THE NEW ORLEANS BLUE BOOK
DICK LE 1 BERT ORGAN-STARDUST
VI
26712
E+
SOCIAL DIRECTORY OF ELITE SOCIETY-CORRECTION
EDDIE DUNSTETTER ORGAN— C 1 Rl B 1 R 1 B 1 NBR
4902
V+
REO LIGHT SOCIETY OF FABULOUS OLD
STROYVILLE
LOU WHITE ORGAN-ALL DEPENDS ON U
BR
3489
V+-
WEVARE SEEKING MORE FOREIGN CONTACTS. WE WOULI
PUBLISHED IN N.O. CIRCA 1 91 0. GOOD CONDITION
1 CTOR SALON-I F 1 HAD U
VI
21926
E
LIKE TO HEAR FROM MORE OF OUR JAZZ COLLECTOR
VICTOR NOVELTY— 1 LOVE U TRULY
VI
22324
N
FRIENDS A8ROA0.
REQUESTS FOR OTHER ITEMS GIVEN ALL CONSIDER
LOUIS KA TZM AN— WA S IT DREAM
BR
3993
E
EVERYTHING FROM BUNK TO MONK.
AT ION. RETURN OF UNSATISFACTORY ITEM E
R INGS
MARIMBA CENTPO— LOVER COME BACK
VI
46278E+
PROMPT REFUND OF FULL AMOUNT PAID
FOR SALE
BRUSH PL2Z HI-FI PITKUP CARTRIDGE
COST $ 1 0
BUT WILL NOT FIT MY PHONO ARM. SELL
84.00
PHONO OSC FROM SEARS WIRELESS PLAYER
4.00
42
«SAT.P SALE
AUCTION
AUCTION
SALE SALE
LEONARD H. BENSON
FRED MANGELSDORFF
WALNUT MUSIC SHOP
40 W. 4CST. NYC |8, HY
959 N. |4th ST., MILWAUKEE
1118 WALNUT ST.,
8 5.00 MINIMUM ORDER. COLLECT POSTAGE
COD
W 1 SC ONS 1 W
PHILADELPHIA, PA.
IF DESIRED. ALL RECORDS V OR BETTER.
NO COD. SEND YOUR WANTS AND YOU WILL BE
NOTIFIED? RECORDS THEN SHIPPED PP PREPAID.
CHARLIE EARNET
TOMMY DORSEY
NEVER A CHARGE FOR PACKING OR SHIPPING.
NEW REDSKIN RUMBA/CHEROKEE
1.25
WHERE 1 S I'Y HLAP 1 /LUNG AGO FAR
VI
25335 E
ALL YOU PAY IS THE PRICE OF THE RECORDS.
KNOCK IN FAMOUS D00r/t|N ROOF BL
1 .25
MOAN 1 N M0RN1N/C0WN WITH LOVE
V 1
25692 E
RECORDS IN THIS AD ARE IEW MINT.
Tf'PFIN TAPPa/coMANCHE WAR
1 .25
ALAOI BABY/HES GYPY FROM
VI
25577 v
HOT JAZZ CLUB OF AMERICA RELEASES I .05
PONCE DE LECN/HTTLE DIP
1 .00
MORNING AFTER/l MAY BE WRONG
VI
25703 E
OL i VEP-HUUM HLNl/AINI UUNNA 1 LLL RX T
SOUTHLAND SHUFFLE/CLAP HANDS
1 .00
music goes round/rhythm IN MY
VI
25201 v/e
OLIVER-MABELS DREAM/SWEET BABY HC 2
LOls/sPANISH KICK
1 .00
MARCHING ALONG/ThlS TIME ITS
VI
25862 E
LOUIS HOT 5-1 PISH BLACK/U MADE ME HC 3
COUNT BAS IE (MOST ON BB)
josephine/if man in moon were
VI
25676v/e
JELLY ROLL-LONDON BL/SOMEDAY SWEETHC 4
|2 ST rag/jump for me
1 .50
TISKE.T TASKET/AS LONG AS LIVE
VI
25B99 E
HOT FIVE-JAZZ LIPS/CAKE WALKIN BABHC 5
TAUI IAR DANCE/BE WITH U
1 .50
who/dipsy DOODLE
VI
25693 E
OLIVER-JAZZIN BAB 1 Es/TUXEDO RAG HC 6
EVERY TUB/BE GOOD
1 .50
U GOT SOMETHING THERe/hAV EU GOT
V 1
25634 E
OLIVER-RIVERSIDE Bl/wORK 1 NGMAN BL HC 7
ALL OF ME/RUSTY CUSTY BL
1 .25
BIA CK EYES/BLUE DANUBE
VI
25556 E
OLIVER-SOBBIN BL/SWEET LOVIN MAN HC 8
MISS THING 1-2
1 .50
STARDUST ON MOON/HAVING WONDERFUL
VI
25630E/V
LOUIS HOT FIVE-BIG FAT MA/sWEET PAHC 9
THE KING/BL SKIES
1 .25
SAYS MY HEART/U LEAVE ME BREATHLESS
25828 E
LOUIS HOT 5— GONNA GITCHA/MESS HC 10
oosgim apclnd/bl SENTIMENTAL
1 .25
BENNY GOODMAN
JELLY ROLL-HYENA STOMB/iJILLY GOAT HC II
BAS IE BOOGIE/LET ME SEE
1 .25
BL ROOM/MAKE BELIEVE
VI
26088 E
OODDS HOT 6-PENCIL PAPa/swEET LOR HC 1 2
pound cake/clap hands
i .25
KING PORTER/SOMETIMES IM HAPPY
VI
25090n/g
DUMA 1 NE 8— RED ONION D RAg/fRANKL 1 N HC |3
TIMF OUT/LET ME DREAM
1 .25
JAM SESSION/SOMEBODY LOVES ME
VI
25497 E
DUMA 1 NE 8-TO WA BAC a/frETTY AUDR HC |4
johiis ioea/i OCL JUMP
1 .50
ONE OCL JUMP/DONT BE THAT WAY
VI
25792 E+
JELLY ROLL-DIXIE HOME/THATS LIKE HC |5
JUMPIN W0CDS1 DE/DAFK RAPTURE
1 .50
STOMFIN SAVOY/BREAK IN IN PAIR
V 1
25247 E
LOUIS 5-SUNBET CAFE/BUTTER EGG HC 16
cherokee/i-2
1 .50
SING SING SING 1-2
VI
257',tv/N
OLIVER-LONDON CAFE/CAMP MEETING BLHC |7
texas shuffle/no peas rice
1 .50
BUGLF CALL RAg/aFTER U GONE
VI
25467 N-
LOUIS-TEXAS MOANER/COAL CART HC 18
LADY BE GOOD/DEPEND ON ME
1 .25
EXACTLY LIKE u/lOVE ME LEAVE ME
VI
25406 e/n
DODDS— MY GIRL/KEEP EM CLEAN HC 19
aOCKAEYE basie/tell ON ME
1 .25
MARGI E/FAREWELL BL
BB
I0973V/E
GRAEME BELL 2.25
PETE BROWN
WHERE OR WHEN/l CRED FOR U
BB
1 I465E/G
BIRMINGHAM BERTHA /BA BY WONT U FPAC 90000
FAT mans bocg/curfew
1 .25
SOMEBODY NOBOOY LOVEs/lETS GIVE LOVOK 6562 E
JELLY ROLL/TIGER RAG FPAC 9CCC2
PETF BROWNS BOOG/BELLEVUE
1 .25
LITTLE COUSIN/ZOOT SUIT
OK
6606 E
CANAL ST 8L/G0T WHAT TAKES FPAC 90C03
PUSHIN MOF /PLAIN SHUFFLE
1 .25
WINTEF WEATHER/EVERYTHING 1 LOVE
OK
651 6 E
DEEP PAC 1 F 1 c/DARKTOWN STRUTTERS FPAC 90004
1 MA V BE WRONG/DEPEND ON U
1 .25
ART IE SHAW
CLAUDE LUTER
DON BYAS
NOCTURNE/THRU THE Y EKRS
VI
277C3E/N
HIGH SOCIETY/WEST END FPAC 90CC92.25
SLAia.ORY/SMOKE GETS IN
1 .25
stardust/temptati on
VI
27230 N-
NEW CIRCLE ALBUM S-14 CI 143.93
CALL 1 T MADNESS/SHOULD 1
1 .25
1 HAD u/HAD TO BE U
VI
26436 E
SWEET LOVIN MAtj/wEARY WAY BL/p ANAMa/s .AFR 1 CA
DARK EYES/OE P PURPLE
1 .25
SUMMIT RIDffE DRIVe/aCROSS YOUR HEAPV 1 26763e/v
-l/gatemouth/snake rag.
EDD IE DAV IS
FRENESI /aD 1 OS MARCHITA
VI
26542 n
WILDCAT BLUE s/ORY CREOLE TR RAMP 4 1.05
lock jaw/doghouse
1 .00
ga on mimd/why SHOULDNT 1
VI
27499 E+
TIGER RAG/SPORT MODEL MAMA RAMP 5 1.05
licks a plenty/lover
1 .00
MELLOW GLOW/SERENADE SAVAGE
VI
27549 E
ORIGINAL FRENCH ISSUES AVAILABLE BY DIRECT
surgery/athletes foot
1 .00
MY BL HEAVEN/MOON GLOW
VI
27405 E+
ORDER. SIX WEEKSSERVICE
BENNY GOODMAN SEXTET (FIRST 4 ALBUM )
MARLENA/l COVER WATERFRONT
v.l
27362 E
REX STEWART (ALL 1 .50)
ROSE room/flying home
1 .00
TRAFFIC JAM/DANCING IN DARK
V 1
27548 E-
BARCLAYS CLUB/jUG BL FBLST 64
AIRMAIL SPECIAL/GRAND SLAM
1 .00
TEMPT AT 1 On/sTAR DUST
VI
27230 v
JUST SQUEEZE ME/BEBOP BOOGIE FBLST 65
POOR BUTTERFLY/vJANG WANG BL
1 .00
bill/carioca
BB
|0|24 E
BOY MEETS HORN/OONT GET AROUND FBLST 66
NEW ABBy/lONG AS 1 LIVE
1 .00
1 HAVE EYES/YOUR SWEET THING
BB
7889E/V
FEELIN FINE/l CRIED FOR U FBLST 67
ticer rag/aint MISBEHAVIN
1 .00
ALL IN FUN/ALL THINGS U ARE
BB
10492 E-
STOMPIN BAVOY/LUCK 1 EST FOOL FBLST 68
FUNNY THAT WAu/l GOT RHYTHM
1 .00
DAY AFTER DAY/DEEP IN DREAM
3B
10046 V+
LU WATTERS,BUNK JOHNSON, KID ORY.ALL JAZZMAN
ONE THCSE THINGS/CHINA BOY
1 .00
THIS IS IT/lTS ALL YOURS
38
|0|4| E
WEST COAST, AM, AND EXNER .
shi ne/packels DREAM
1 .00
NIGHTMARE ( THEME )/nON STOP FLIGHT
BB
7875n/e
SPECIAL EDITIONS STILL IN STOCK NOW 1.05
ROVL GARDEN/HOLY CATS
1.00
EASY TO SAv/|LL RMEMEBER
BB
10345 E—
DUKEHUOONLICHT F 1 ESTA/jUB 1 LESTA ' 5007
GUNNY SICE/ALL 1 NEED
1 .00
1 SURRENDER/LADY BE GOOD
BB
10430 E
BESSIE-ST LOUIS BL/RECKLESS BL 50 10
SLIPPED DISC/OOMPH FAHFAH
1.00
GENE KRUPA
DODDS— GA TEMOUTH— PER D 1 DO ST BL 5008
HIYA SOPHIE/BABY HAVE U GOT
1.00
BLUEBERRY HILl/orCHIDS FOR REM
OK
5672 N—
W 1 NG 1 E— NEVER HAD LOVIn/alONE 5011
nagasaki/gotta get gipl
1.00
THANKS FOR BOOG RIDE/KEEP EM FLY
OK
6506 E
BENNY-RIFF IN S COTCh/mOTHERS SON 5009
BENNY GOODMAN
DRUMMER BOY/LOOKIN FOR YESTERDAY
OK
5747 E
HOAGY— HONG KONG Bl/RIVERBOAT SH 50 1 2
lets do it/tke earl
1 .00
LETS GET AWAY FROM IT ALL/jUST A
OK
6130V/E
bix-margie/someone STOLE GAL 5013
whistle el/lonely moments
.75
LOVE ME AS 1 AM/AFRAID SAY HELLO
OK
6255 N-
OLIVER-SNAKE RAG/HIGH SOCIETY 50|6
DARRTOV N STRUTTERS/AFTER U GONE
1 .25
COPPIN A PLEA/VIOLETS FRO FURS
OK
6498 E
IMPORTED RECORDS
RIFFIN RITZ/ALFX RAG BAND
1.25
GREEN EYES/THROW IN PEBBLES
OK
6222v/e
WE HAVE IN STOCK ALWAYS THE LARGEST SELECT-
cats join in/ocnt BABY
1.25
1 TAKE TO U/WHERE U A RE
OK
6 1 87 N-
ION OF IMPORTS IN PHILADELPHIA. ALL THESE
DOORKNOB HI TCHA/PERF ID 1 A
1 .50
rancho pillow/u WERE THERE
OK
6376 N-
NAMES AND OTHERS ON HMV, PAE, COE, FPAC, OD,
SOLO flight/v/orld waiting
1.25
MARIE ELENA/RENDEZVOUS IN RIO
OK
6 165 N-
BRE, SW. ARMSTRONG, BANKS, BARNET , BECHET, BIX,
DO RIGHT/SIX FLATS
1 .25
flmingo/let me off uptown
OK
621 0 E
GRAEME BELL, BER 1 GAN, B 1 GARD, WILLY BRYA NT, CA RTER
ONE OCL JUMP/CONT BE THAT WAY
1 .50
THINGS 1 LOVE/LITTLE MAN WITH CAN
OK
6143 E
CASA L CM A, CONDON, CROSBY, DORSEY, DUKE, FREEMAN,
THIS OR THAT 1-2
SWEET GA BROWN/DOWN BY OLD
OK
6070 V+
GOODMAN, HA CKETT, HAMPTON, HAWK 1 N S, HEND ERSON,
OH DA6Y 1-2 ( 12" )
1.25
CHANGES MADE/THESE THINGS
OK
602 1 E
HI MES, HODGES, HOL 1 DAY, HUTTON,KRMPA ,M EZ Z ,M 1 LLER ,
superman/more THAN U K NOW (|2")
1 .50
MU9DER HE AYS/MASSACHUSETTS
OK
6695v/e
MCKENZIE,MCK 1 NNEY ,M A HONEY ,MOLE ,MORT ON ,0L 1 VER,
SING SING SING 1-2 ( 12" )
1 .25
GLENN MILLER
RUSEELL, SHAW, SMI TH, STEWART, SULLI V AN , TEA GA RDEN
BENNY RISES/MAN 1 LOVE (|2")
1 .50
C 1 R 1 B 1 R 1 Bl N/OH JOHNNY
BB
|0507e/v
VENUTI ,TRUMBAUER, WALLER, VARI OUS JAZZ GROUPS.
LIONEL HAMPTON
LITTLE BROWN JUG/pAVANNE
BB
10286 E
FLYING HOME/lN THE BAG
1.50
FALLING LEAVES/BEAT ME DADDY
BB
10876 V
ALL DOMESTIC JAZZ LABELS IN STOCK AT ALL
SALTY LL/CHORD A RE80P
1 .00
MAN MANDOLIN/LITTLE MAN WASNT TH
BB
10358 V4
TIMES.
buelahs boogie/million DOLLAR SMILE
1 .00
DANNY BOY/TUXEDO JUNCTION(SM DIG)
BB
i06i2e/v
FLYING HOME #2/PUNCH JUDY
1 .00
l know why/chatanooga choo
BB
11230 E-
SEND US YOUR WANT LISTS NOW. PROMPT SERVICE
HEY DOB A REBOB/SLIDE HAMP
1.00
MOONLIGHT COCK TA 1 L/HAPP Y IN LOVE
BB
i i4on/f
GUARANTEED. YOUR ANSWER WILL BE IN THE MAIL
COLEMAf' HAWKINS
LAMPLIGHTERS S ERENADE/DONT SIT UNDER
1 1 474 E
THE SAME MORNING YOUR LETTER RECEIVED.
TALK OF TOWN/STUFFY
1 .25
perfidia/spring will be sad
BB
1 1 095e/v
CRAZY RHYTHM/GET HAPPY
1 .25
DAYDREAMING/STRING OF PEARLS
BB
1 1 382 E
MY IDEAL/HOP MOP
1 .25
SKYLAPK/STORY STARRY
BB
1 1462 E
DO NT (ILAME ME/HALLELUJAH (|2")
1.50
shuteye/how id like to be
BB
lOl 39 E
JUST ONE THOSE THINGS/MAKE BELIEVE ( 1 2"
)l.50
IN THE MOOD/wANTA BE HAPPY
B B
1 04 | 6e/iv
43
AUCTION AUCTION
ART MESSENGER
AUCTION
EZRA TERRY
AUCTION
SALE
RECORDS BY MAIL
SALE
1953 f. 73 ST., LOS ANGELES
DORSET, VERMONT
3 SOUTH HOWARD ST..BALT IMORE
CALIFORNIA
WINNERS NOTIFIED AND WINNERS RECORDS
MARYLAND
WINNERS NOTIFIED. COD DELIVERY.
SHIPPED PP COD UNLESS OTHERWISE INSTR.
25i PKG CHG ON WINNING BIDS OF UNDER$5.00.
RECORDS SHIPPED COD PP. INSURED, NO
PKG CHG. WE PAY POSTAGE ON PREPAID
GLENN MILLER
FRANC IS W 1 LL 1 A MS
ORDERS OF $5.00 OR MORE AND COD ORD
MOON love'cinderella
BB
1C303
BOTTOMS UP/BIGGER BETTER
BR
4503 V
ERS OF $ 8.00 OR MORE.
ANV IL CHORUS 1-2
1 0982
n
PAUL WH ITEMAN
CHARLES DELAUNAYS NEW HOT D 1 SC OGRAPHY
6. CO
chapel hill/volga boatmen
I 1 029
E
YONDER N.O. /DEAREST
VI
19030 V
LOUIS ARMSTRONG
ADIOS/CANADl AN SKIES
I I 2 1 9
E
WHITEWAN WITH F.TRAUH.
BIG BUTTER EGG/fUNSET CAFE ST
HC
16
1 .05
choo choo/i know »ky
I 1 230
IH
BOUNCING BALL/SUN SPOTS
V 1
24574 V
TEXAS MOANER/COAL CART BL
HC
18
1 .05
kiss polka/sun valley
1 1 263
E
CHICK W EBB WITH ELLA FITZ
BIG FAT MA/SWWET PA
HC
9
1 .05
ELMERS TUNe/oELILAH
I 1 274
E
up a tree/have mercy
DE
2468 E
KING OLIVER
DEAR ARABELLA/ORANGE LANE
I 1 326
E
ETHEL WATERS
LONDON CAFE BL/CAMP MEETING BL
HC
17
1 .05
0 REAMS V 1 LLE/n 1 CCOLI M
1 I 342
E
SWEET MAN/OINSH
CO
487 g
ROOM R ENT Bl/a|NT GONNA TELL
HC
1
1 .05
JINGLE BELLS/SANTA CLAUS
1 1353
V-t
RUDY VALLEE
JOHNNY DODDS
BABY MINE/l LOVE
1 1365
E
lazy bones/heart stone
BB
5 I |4v/e
SWEEP EM CLEAN/MY GIRL
HC
19
1 .05
STPING PEARLS/DAY DREAM
1 1382
vh
ARTIE SHAW
JELLY ROLL MORTON
CLIFFS DOVER/COUPLE IN CASTLE
1 1397
EH
poiciana/im in love with
BB
101 88 V
LONDON BL/fOMEDAY SWEET HEART
HC
4
1.05
ANGELS MERCY/PRES BALL
1 1429
E
PASTEL BLUE/DEEP PURPLE
BB
|0|76g/v
MY LITTLE DIXIE/THATS LIKE OUGHTHC
15
1 .05
DEAR MOM/KEEP FLYING
1 |443
EH
REVELERS
CREEPY FEELING/FINGER BUSTER
JM
12
1 .05
cup coffee/old black
1 1450
U
FOUR LEAF CLOVER ( R 1 MCH )/| N LOVE
VI
20678v/g
WININ BOY BL/HONKY TONK MUSIC
JM
1 1
1 .05
skylark/starry night
1 1462
EH
RAMOMA AND GANG
JIMMY BLVTHE
laupl ighters/apple tree
1 1474
EH
EVERY NOW AND THEn/nO STRINGS
VI
25138 V
MESSIN AROUND/ADAMS APPLE
CE
3029
1 .05
ASSEMBLY L 1 NE/mARCH 1 NG HOME
1 1480
■ 1
RAY NOBLE
CHICAGO RHYTHM KINGS
AMERICAN PATROL/SOLDIER LET
VI
27673
V
EMPTY SADDLES/BIG CHIEF
VI
25346 V
SONG of wanderer/changes MADE
CE
4016
1.05
SLEEP SONg/eLOISE
27879
EH
GERTRUDE NE 1 SEN
BUD JACOBSONS JUNGLE KINGS
kniw one/lullabye rain
27894
BLAME IT ON RUMBA/'TOP OF TOWN
BR
7818 G
CLARINEW M ARM/LAUGH | N _ AT U
CE
4015
1 .05
humming bird/gardenias
27933
1 1
HELEN MORGAN
STAN KENTON
at last/kalamazoo
27934
1 H
MORE THAN U KNOW/WHAT WOULDNT
VI
22i49g/v
ARTISTRY RHYTHM/ARTISTRY JUMPS
CP
15190
.79
SERENADE IN Bl/sABOTAGE
27935
E
GLENN MILLER
HARLEM FOLK DANCE/EAGER BEAVER
CP
15192
.79
de/rly beloved/old fashioned
27953
ti
MAN MAT D0L1N/LITTLE MAN WHO
BB
10358 V
RED NORVO
8ING CROSBY
APRIL PALYED F 1 DDL e/ha VENT TIME
BB
1 0694E/V
congo bl/get HAPPY
COMET 7
1 .58
honest with me/goodbye
DE
3856
H
STAIRWAY TO STARS/
BB
1 0276V /g
HALLELUJAH/SLAM SLAM BL
COMET 6
1 .58
GOT NOBODy/whISTLERS
3971
E
JEANETTE MAC DONALD
CYRIL HAYNES
CLEVENTI NE/OAY DREAMS
4033
DREAM L VEr/mARCH GRENADIERS
VI
22247 G
MORNINGMADNESS/SAD THURSDAY
COMET 8
1.58
ANNIVERSARY WALTz/shEPA RO SERENADE
4065
= +
TED LEWIS
ACROSS THE RD/CEDAR MANOR
COMET 5
1 .58
MEMORY *ALTZ/MARYS NAME
I836C
EH
ALL BY MYSELF/( HAPPY Six) DIG
CO
3434G/V
DIZZY GILLESPIE
NOBODY OARL 1 KG/wH 1 TE AZALEA
18391
f +
IM COMIN BACK TO u/(YERKEs)
CO
3400 G
cool breeze/manteca
VI 203023
.75
GREAT GR A NDFA THEr/bOMB SONG
18432
1 -
homesi ch/tomorrow
CO
3709 G
COLEMAN HAWKINS
darling/become sally
18531
+
WHEN MY BABY SMILE/(kEN SERENED
CO
2908v/g
APRIL paris/how strange
vi 203 057
.75
SONDAY MONDAy/|F u please
18561
E-t
1 LOVE U SUNDAY/HULA BL
CO
3306G/V
1 SURRENDER DEAr/| CANT BELIEVE
CMS
1506
1 .58
AFTER FOREVER/COULD HAPPEN
18580
; +
CUT SELF CAKE/( WESTPHAl) (d IG )
CO
3944 e
MY IDEAL/MOP MOP
CMS
548
1 .05
OUT OF WORLD/JUNE EVERY YR
18675
E +
blues/(yerkes)
CO
2798e/v
BILLY HOLIDAY
FRIEND OF YOURS/ALL MY LIFE
18658
F +
GENE KRUPA
yesterdays/gotta RIGHT TO SING
CMS
527
1 .05
STRANGE MUSIC/MORE MORE MORE
18649
" +
IVE GOT EYES ON u/lOVER IS BL
CO
3536 1 v/e
ILL BE SEEING u/lLL GET BY
CMS
553
1 .05
evel ina/eagle AND ME
18635
r +
HAL KEMP
SHES FUNNY THAT WAy/hOW AM 1
CMS
569
1 .05
TOO RA LOO Ra/rEMEUBER APRIL
18621
f +
MUSIC GOES ROUND/DINNER FOR 1
BB
7587V/G
CHUBBY JACKSON
GOING MY HAY/SWING STAR
18597
r +
AL JXSON
NORTHWEST PASSAGE/CRYING SANDS
KY
616
1 .05
1 LOVE u/sEEING U
18595
r+
THAT LOVIN TRAUMER£|/(MURRAY )
VI
|7||9 V
CHU BERRY
poinciana/sun valley
18586
j
BENNY GOODMAN
SUNNY SIDE ST/BABY A 1 NT 1 GOOD
CMS
508
1 .05
IF 1 LOVED u/CLOBE PAGES
18636
r +
JAMS ESS 1 ON/SOMEBODY LOVES ME
VI
25497 V
SITTIN IN/46 W 52
CMS
516
1 .05
symphony/beautiful LOVE
18735
f+
WHEN LADY MEETS/SONG DANCE
VI
25434 v
GEORGE HARTMAN
day e\ day/things u do
18746
r+
CANT PULL WOOL/GLORY OF LOVE
VI
25316 V
JAZZ ME BL/TIN ROOF BL
KY
601
1 .05
WOODY HERMAN
SCATTERBRAI N/ONE SWEET LETTER
CO
35241 V
MUSCRAT RAMBLE/DIGA D 1 GA 000
KY
602
1 .05
8L PARAOE/LOVES GOT ME
DE
2933
v' +
1 LET SONG GO/FEELIN HIGH
V 1
25840 V
MAX KAMIMSKY
GOLOEN WEDDING/5 OCL WHISTLE
3436
V
LITTLE KISS/WHAT GOES ON
VI
25878v/g
eccentric/guess WHOS IN TOWN
CMS
560
1 .05
8L flame/trappers BALL
3643
V
ALM GLUCK,LOU IS HOMER
GEORGE BRUNIS
HEY DOc/NIGHT WOMAN
3889
u
CONTES DE HOFFMAN— BARCAROLE
VI
87202V
UGLY chile/dada strain
CMS
546
1.05
Tis autumn/on my way
4095
/+
GALLAGHER AND SHEAN
MEL POWELL
SINGING SANDS/ST JOE
4372
V
MR GAL 4 MR SHEAN 1-2
VI
18941 V
BL SKIES/WHEN DID U LEAVE HEAVENCMS
5461 .05
south/fan it
3761
v +
TOMMY DORSE Y
BOYD RAEBURN
BYE U 8YE O/MISERLOU
4024
E
DID 1 REMEMBER/MARY HAO LITTLE
VI
25341 V
BOYD MEETS STRAV 1 NSKY/ONLY HAD
JE
10002
1 .05
amen/deliver me
18346
V-
ARE U HAVIN FUN/GOODN 1 GHT MY
VI
26335 V
toncilectomy/forgetful
JE
10000
1 .05
1 DOOB IT/bISENCOLRAGE
1 8506
V
good morning/mt MUSIC
VI
25581 V
YERXA/RIP VAN WINKLE
JE
1 000 1
1 .05
down under/furlough
18544
v+
DANCING MOOD/TEA ON TERRACE
V 1
25476 V
PHIL NAPOLEONS EMPERORS
music stop/sleep wink
18577
E
KEEP OUT OF MIS/TMERES FROST
VI
25482 E
SISTER KATE/NEVER HE THE SAME
SW
7510
1 .05
who dad/love u tonight
I86i9
F.+
sleep/wake up live
VI
25573g/v
ED HALL 4 T . W ILSON
BL ON PARADE ALBUM
WHOLL BUY VIOLETS/MELODY IN F
VI
25519 N
CARAVAN/SHANTY OLD SHANTY
CMS
557
1 .05
TWIN CI Ty/lAUGHING BOY
1801
E+
AM i proud/easy DOES it
VI
26429 V
KANSAS CITY SIX
UPSTA I RS/DOWNSTA I RS
2508 E+
EVERY MINUTE/GOTTA GO TO
VI
25256v/e
1 GOT rhythm/jojo
CMS
555
1 .05
casbah/farewell
2582
r +
BOB CROSBY
JOE BUSHKIN
DALLAS/r I V ER ED
2629
E+
WHAT HAVE U GOT/U LOVELY
DE
21 42 E
ga on mind/pick in AT PIC
CMS
565
1 .05
cal iope/dupree
3500
E+
B 1 NG CROSBY
GEORGE WETTLING
peach tree/on parade
3501
E+
IM hummin/give me heart
BR
6953g/v
STRUTTIN BARBECUE/HOW COME U DO
CMS
561
1 .05
LIONEL HAMPTON
MY KINDA LOVE/TIL WE MEET
CO
|773 E
RED MC KENZIE
sunny side/no you
VI
22592
F +
VAUGHN DELEATH
TALK OF TOWN/WHEREVER THESE LOVECMS
562
1 .05
FIDDLE DE Oe/aT BEACON
VI
27364
£+
BABY YOUR MOTHER/ARE U
VI
20873 V
T 1 NY GR IMES
LOOSE WIG/OVERTIME
DE
LH
LARRY CL INTON
FLYING HOME 1-2
BN
524
1 .05
ARTIE SHAW
UILENBERG JOYS/0 1 PPERMOUTH
VI
260 1 8E A
DEPAR IS BROTHERS ORCH
nightmare/nonstop
BB
7875
V+
CAB CALLOWAY
SHEIK ARABY/CHANGE 0 KEY BL
CMS
565
1 .05
JIMMY LUNCEFORD
COPPER COLORED GAl/mR MRS SWING
BR
7748n/e
LU WATTERS
album DE I340,iei7,l°27,35|4,35l5
E+
LONDON BL/SINSET CAFEVSTOMP
JM
14
1 .05
RAMPART RECORDS
, P; O: BOX 276. Grand Central Sta., NEW YORK 17, N. Y.
• West Coast Distributor
V YERBX BUENA MUSIC SHOP
5721 Groye <St., Oakland 9, Calif.
Usual Dealer Discount
"Yea know, Al, I think we'd better stack the next batch
of records in that end!"
Yes, we do have a large stock of records. We handle such labels as
West Coast, Circle, Exner, Pacific, H. J.C.A., U.H.C.A.,
Vinylite Jazz, Century, Dial, Jump, American Music,
Commodore, Blue Note, Trilon, Rampart, etc.
and a large stock of collectors' items
SEND YOUR WANT LIST OF NEW AND RARE
RECORDS. IF WE CAN'T FILL IT, WE WILL
PLACE IT ON OUR BULLETIN BOARD
Ail ike CcdiecioM. in iku Anea uLcdck oub S&asid.
may he aide t& j^ili yawi uxattti.
THE RECORD SHACK
11800 Wilshire Blvd. Los Angeles 25, Calif.
Open Daily Noon till Nine — Sundays till Six
for your jazz library
A splendid selection of jazz literature
to heighten your listening enjoyment.
George Brunies Special
Life & Discography. Features. 8 P. Large
Format 25
Jazz Impressions
(In 6 Parts) By Bill Miller. 8 P. Large
Format 25
by gene deitch
A collection of the best Cat Cartoons which
have appeared in the Record Changer over
the past four years, plus many previously un-
published cartoons of the Cat. The book in-
cludes forty-six cartoons in thirty-two pages.
George Avakian does the amusing com-
mentary.
$1.00
arnold b. stilwell's
RECORD DATING CHART
covering the period through 1930.
the answer
lo e»ery record collector'! dreem. The chert. 17" i 22". will tell you
at a glance the approximate recording and issuance, date of any
record appearing on more than 1 00 labeli issued before 1 930.
an example of how the chart works
Let us suppose you pick up a copy of Richard Hitter's Blue Knighti
on the Gennett Label. Record Number 3149. Mailer Number 9725.
playing "Stomp Off Left Go." Knowing little about the record
and being unable to locate it in any of the itandard reference
books you can go to your record dating chart and at-a-glance tell
that the record wai made about June 1925 and releaied August
1925.
just a few of the labels
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in addition
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LATE NEWS FROM COAST TO COAST
NEW YORK
Charlie Traeger has opened with a trio at
Mona's in Greenwich Village. Bob Pavese,
great new piano man is featured with Traeger,
who is best known for his appearances at the
Stuyvesant and Central Plaza and with the
Wilber Wildcats on records. The Jaiz Band
Balls at both these joints are continuing to
bring to Gothamites the best Jazz in town.
Josh White and Leadbelly sang duets for half
an hour the other night and the crowd ate it
up. Latest attraction at the Central has been
Big Chief Russell Moore the only full fledged
Indian to play jazz. His instrument is trom-
bone and was most recently heard with Louis'
big band. Lee Collins is expected in New
York this month and should be heard at the
Central.
At Ryan's Chippie Hill has been singing
duets with stage star Tallulah Bankhead. If
you have ever seen and heard Miss Bankhead
you'll know why these impromptue vocals are
worth catching. Sol Yaged, who plays and
looks more like Benny Goodman than any
musician we've ever seen, has moved across
the street to the newly decorated Three
Dueces.
Monette Moore found herself penniless when
her hotel room was burned up in a big blaze.
Billy Butterfield was fined by 802 for playing
a radio date on his night off from Nicks. Brad
Gowans, Pee Wee, and Hackett each received
a reported $100 for one set at a Trenton bash.
Bob Wilber reopens at the Savoy in Boston
for an indefinite stay. Bop from the Royal
Roost is broadcast nightly over WNEW and
Dizzy filled Carnegie to capacity Christmas
day. Thousands turned away in the streets.
Billy Kyle playing at the Red Wagon. Mezzrow
playing again.
CHICAGO— Walter Wager
Chicago met 1949 with a loud bop, starting
with a thunderous Lester Young session at the
Pershing Ballroom on New Year's night and
rolling along madly with a dazzling Dizzy Gilles-
pie concert the next afternoon at the Opera
House in an uninterrupted burst of post-holi-
day whoopee.
The Armstrong All-Stars concluded their suc-
cessful stay at the Bluenote on January 9,
and were followed by Woody Herman and his
able crew. Playing intermission piano for the
potent Herman pack is Max Miller, a genuine
talent overdue for national recognition.
Dixie did very well for itself, with Baby Dodds
(drums), Miff Mole (tailgate), Darnell Howard
(clarinet), and Fred Greenleaf (trumpet) blow-
ing all over the Beehive. Doc Evans and his
aang were striving ably to raise the roof at
the Tailspin, while other wise citizens were
catching a lot of fine New Orleans from Sid
Bechet and company at the rather sedate but
comfortable Jazz Ltd. With the persuasive
soprano sax maestro in the plush bistro were
Munn Ware (trombone), Bill Reinhart (clarinet),
Don Ewell (piano), and Johnny Vine (drums).
The whole thing was just about the slickest
operation in this Windy City, and very well
worth looking into. By reservation, only.
Shifting from the suave to the sleazy, the
unpredictable joints on North Clark's strip and
skid row continued to serve up hot dishes of
deriere and Dixie. As a thoroughly exhausted
1 948 staggered out and fell into Lake Michigan
without even a splash the Parody Club was
offering Danny Alvin, Max Miller, and Bud
Jacobson. A good deal of heat is radiating
from Lee Collins torrid horn at the familiar
Victory Club, a rather rare dive which looks
like the set of a Warner "B" production. The
music is more than competent in the Arm-
strong tradition, the beer just a dime, and the
girls not much more. While not a rough joint,
I was glad that I had my spats at the cleaner.
Like the man said, it's still Chicago.
SAN FRANCISCO AREA— Dick Oxtot
As last month's report indicated, the Bay
region's jazz fare has been depleted to the
extent that only one jazz band is playing regu-
larly. Kid Ory returned to Los Angeles and
Bob Scobey's Alexander's Jazz Band wound up
its engagement during the same week, leaving
Lu Watters' band to uphold the standard alone.
Watters' band still puts over a six night stint
each week, although the leader's powerhouse
horn has been temporarily stilled. An impend-
ing operation has taken Lu from the brass to
the rhythm section, where he scrapes a wash-
board with apparent content. With the fall of
his Alexander's Band, Bob Scobey has vaulted
back into the Yerba Buena Band, as its one
and only trumpet. The personnel these nights:
Scobey, (trumpet); Turk Murphy, (trombone);
Bob Helm, (clarinet) ; Johnny Wittwer, (piano);
Harry Mordecai, (banjo); Dick Lammi, (tuba);
Lu Watters, (washboard).
The remaining jazzmen hereabouts are feed-
ing on whatever casual dances can be pro-
moted. Making fair inroads into the college
fraternity circuit is a young band headed by
Pete Stanton, which includes Bob Mielke, (trom-
bone); Pete Allen, (clarinet) ; and Jack Minger,
a trumpet find who did a splendid job with
Kid Ory during the final three weeks at the
Venus Club.
NEW ORLEANS— Don Perry and Fred Hatfield
Jazz has returned to New Orleans! Regard-
less of previous reports on the birthplace of
Jazz, our native music is at last finding a pre-
carious foothold in some of the more appre-
ciative clubs. After a state of inactivity, a
small flurry of interest has grown to large pro-
portions, instigated by the New Orleans Jazz
Club.
George Lewis is still holding his apprecia-
tive crowd at Manny's Tavern in Gentilly, with
Elmer Talbert, "Slow Drag", Lawrence Marrero,
and Joe Watkins. Johnny St. Cyr of Hot Five
fame played for several weeks at Smitty's- Bar,
a small neighborhood tavern on the outskirts
of the Vieux Carre', with Albert Burbank in a
fine guartet and Jim Robinson, plays his trom-
bone in occasional street parades and funerals.
Much of the jazz interest in New Orleans to-
day is centered around Sharkey Bonano, now
playing at the Famous Door in the Vieux Carre',
and surprisingly enough, with the only dixie-
land band on Bourbon Street. His all star
lineup includes Santo Pecora (trombone), Lester
Bouchon (clarinet), Monk Hazel (drums), Chink
Martin (bass), Jeff Riddick (piano). Sharkey
also does a fine job of leading the Sunday
afternoon concerts at the Parisian Room, with
Irving Fazola, "Digger" Laine, Roy Zimmer-
man, Monk Hazel, and Chink Martin partici-
pating.
Surprise find of the season was an outfit
headed by pianist Buck Banville carrying on
the 'Halfway House" style at an obscure dance
hall in Gentilly, and patronized almost exclu-
sively by teenagers. Buck's band has been
holding forth for approximately fifteen years
in the same spot with the same musicians, and
removed almost entirely from the influence of
modern trends in music, with the result that
they play some very interesting stuff. His pro-
gram consists of playing two "Pop" numbers
(in his own style) alternated with a jazz classic.
They play with terrific drive and enthusiasm.
A missing trombone is the only trouble. A
delightful oddity, is the sousaphone in the line-
up which is accepted, surprisingly enough, by
the bobby soxish-crowd.
Elsewhere in the city you can find Arman
Hug playing piano at the Hotel Pontchartrain
and Raymond "Slow Blues" Burke, playing fine
N. O. clarinet at the French Casino. Playing
spot jobs in town are Johnny Wiggs (cornet),
Bill Shea (clarinet), Freddie King (drums),
and a new addition to the crowd, recently of
Atlanta, Bob Matthews (drums).
the record
> changer
February 1949
Vol. 8, No. 2
Editor-Publisher
BILL GRAUER, JR.
Managing Editor
ORRIN KEEPNEWS
Production
JANE GRAUER
Art Stall West Coast Representatives
GENE DEITCH— Cover & Cat ALBERT OTTO & JACK LEWERKE
SIMA RUVIDICH— Design & Typography 11800 Wilshire Blvd., Los Angeles 25, Calif.
CONTENTS
Assorted Rags
Roy J. Carew
6
Claude Boiling
Rudi Blesh
7
A Night in Manhattan
George Cardoza
8
Bop Horn
Ross Russell
10
C-R-Dex Filing System
Anthony P. Ciardi
1 1
Equipment
Gene Deitch
12
Ward Pinkett
Albert J. McCarthy
13
Footnotes on High
Fidelity
Jefferson Davis Bates
14
Alexander's Jazz Band
Dick Oxtot
15
Kenneth Lloyd Bright
Bucklin Moon
16
Records Noted
George Avakian
Bucklin Moon
Paul Bacon
17
The Cat
Gene Deitch
18
Revivals
Edward Hill
19
Record Exchange Section:
Advertisers' Addresses 21 Collectors' Display Ads 23
Records for Disposition 28 Classical Exchange
Records Wanted 30
31
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The Record Changer Is published monthly by Changer Publications, Inc.
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Copyright 1049 By Changer Publications, Inc.
lemME
take this chorus
Of late there has been a disturbing in-
crease in the number of reports of unethical
practices in connection with the buying, sell-
ing, and trading of records through the
pages of this magazine. This troubles the
editors of The Record Changer greatly; as
the medium through which the exchanges of
records are made, we feel a definite re-
sponsibility to protect the great majority
of collectors against the unethical few.
In order to more effectively protect your
interests, we strongly urge that collectors let
us know about any and all unsatisfactory
transactions they have experienced in recent
months. Please be specific: name names;
describe in detail the foulea-ap transactions ;
and indicate the present status.
These reports will form the basis for a
full-length article, to appear in a forthcom-
ing issue, which will attempt to expose the
most frequent and reprehensible malprac-
tices, and discuss means of eliminating them.
Please send all reports, plus any sugges-
tions you may have to offer, to the attorney
in charge of these matters :
Jacob S. Schneider
128 West 66th Street
New York, N. Y.
Another jazzman is dead long before his
time ; Dave Tough, barely forty years old,
died of pneumonia on December 9. Best
known as a traditional, Chicago-style drum-
mer (he was born in Oak Park, 111., and
was an integral part of the early Chicago
era), Tough had also ventured so far to the
other extreme as to play with the Woody
Herman band for a time. His sudden pass-
ing stunned the many jazzmen and col-
lectors who knew him and valued his work.
Military Notes : Tony Janek, top-gun in
the V-di sc program, informs us that V-discs,
surprisingly enough", are still being turned
out, with a good deal of jazz included among
the recent sides. More than 900 records
have been turned out under this program.
We also hear that the 54-man grand finale
of the monster Dixieland Jamboree, reported
on in last month's Changer, was recorded by
the Armed Forces Radio Service. Anybody
got an extra copy?
A fairly new British jazz publication has
come to our attention : Jass Journal, edited
by Sinclair Traill and Tom Cundall. It's a
handsome monthly that impresses us chiefly
with its freedom from cultism, its attacks
on shoddy discography, and its sense of
humor.
Charlie Emge informs us that the city
censors in Memphis have banned the movie
A Song Is Born, ostensibly because it claims
jazz was born in New Orleans, while every-
body knows it was born in Memphis.
Chances are, of course, that it was the film's
mixing of white and Negro musicians,
rather than obscure cultural-pride motives,
that caused the ban. The movie, incidentally,
is just one more of those painful Holly-
wood's eye views of Real Jazz.
ASSORTED
by roy j. carew
One evening in the spring of 1938, while
at the dinner table, I reached over to
the radio and turned it on at random,
giving no thought to what program might
be on, and got a pleasant surprise. A fine
piano solo was coming over the air. After a
few moments of listening, I said to my
wife: "Listen to that number, — that's the
kind of piano the boys in New Orleans used
to play," or words to that effect. At the end
of the selection the announcer gave the
player's name, none other than Bob Zurke. I
am pleased to recall the incident, as it re-
minds me that away back in the early days,
New Orleans had considerable fine piano.
One little group of piano players included
Joe Verges, Leonard Bysdorfer, Irwin P.
Leclerc ; those who like to think that good
jazz had to come out of honky tonks should
have heard these boys having a session on
a Sunday afternoon at the Monteleone Hotel.
Another good ragtime player should be men-
tioned with the group — Harry Farrar, who
just missed out in a couple of chances for
a place in jazz history; in 1915 Harry and a
jazz group went to Chicago and played the
summer season. About 1916 Harry made a
recording of a hot rag on a wax cylinder
(probably a Dictaphone recording), and sent
it to the Victor firm, but nothing came of
it. He could play in any key, but preferred
six flats.
Bob Zurke was one of the players that
Jelly Roll Morton had kind words for, and
contrary to general belief, there were a num-
ber of others. I believe it was largely due
to his unstinted praise that Tony Jackson
began to get some of the credit that he
deserves as "the greatest single-handed en-
tertainer."
One day I mentioned Roy Bargy to Jelly,
and he agreed unhesitatingly that Bargy was
a fine pianist. Bargy wrote some very good
rags at the tag end of the ragtime era, and
recorded them for Victor in the early 1920's :
Knice and Knifty/ Piano flage (Vi. 18969),
and others. Bargy made some use of what
has been referred to as "secondary rag,"
which in my humble opinion belongs more to
novelty than to ragtime, although it is found
in many rags. I don't recall that Scott
Joplin ever used it. In his Jazz: Hot and
Hybrid, Winthrop Sargeant mentions the
Cannon Ball Rag by Northup (1905) as the
first published example of secondary rag,
but a simpler form of it occurs in Levee
Rag (1902) by Charles E. Mullen, one of
Northup's contemporay Chicagoans. Mullen
was still living in 1930, but I haven't heard
of him since. The second part of Levee Rag
was used in at least two other rags, Easy
Money (1904) and also the Cannon Ball.
If a catchy strain appeared in a number,
there were many who didn't hesitate to pick
it up and use it, which resulted in its ap-
pearance in widely separated parts of the
country. Fragmentary bits of tunes, partially
learned by folks, and whistled or hummed
about the streets, would be picked up and
built into rags or songs. A couple of bars
from a part of Tiger Rag used to be current
around New Orleans and was known by
it into a song; I built a rag around it, and
didn't know it was in Tiger Rag until years
later. A "ratty" tune that used to be heard
around New Orleans and was known by
some as "If you don't like the way I walk,"
was later arranged into a pretty good song
called Mama's Baby Boy. The impudent and
rather personal "Hey, Brownskin, who you
for?" of the New Orleans gamins was put
into two songs, one published in New Or-
leans and one in Chicago. . . .
A kidding or catchy remark, if it became
current, was almost sure to get into a song.
When I worked in Gretna from 1904 to 1906,
the office boy used to sing a sort of blues
strain, "You may go, but this will bring-a-
you, back," illustrating with an appropriate
gesture. Later I found that several songs
had been written with that title, one of them
by Ben Harney, who gets some credit for
pioneer ragtime activity. Harney's song was
published in 1898, and he must have carried
the idea, if not the song, to New York from
the midwest.
Harrison Smith calls attention to the fact
that many Dixieland standbys were Tin Pan
Alley" tunes, which certainly is a fact. In the
article Scott Joplin: Overlooked Genius
(Record Changer, 1944), it is stated "...in
publicizing the musicians who developed and
spread jazz music, there has been a lack of
consideration given to . . . the early musical
environment of the players, to the popular
musical compositions that were current in
the early days." However, it is also a fact
that many Tin Pan Alley hits have been,
consciously or unconsciously, versions of
honky tonk strains from the provinces, or
have contained large portions of "strains
from the alle3'S." Farly examples are May
Irwin's Bully Song, and Ta Ra Ra Boom
De A, the latter coming out of Babe Con-
ner's dive in St. Louis to make a hit, first
in London and then in this country. I don't
believe it would be difficult for a good tune
detective to identify strains from old tunes
in many of the more recent hits. Those who
doubt might compare Ta Ra Ra Boom De A
with a couple of "modern" tunes, Across
the Alley from the Alamo, and / Wonder,
I Wonder. . . .
When ragtime was young and very popu-
lar, nearly every aspiring writer utilized
it in his original compositions, or in ragtime
versions of familiar songs, such as Old
Black Joe, Annie Laurie, Home Sweet
Home, as well as the classics. Felix Men-
delssohn wrote a Spring Song ; Egbert Van
Alstyne wrote Darkies' Spring Song; Joe
Jordan write /. /. /. Rag, the first part of
which is almost identical with the first part
of Darkies' Spring Song. Jordan was the
composer of That Teasin' Rag, which went
into the Dixieland One-Step,, if my memory
serves me. Otto Bonnell wrote a rag version
of Turkey in the Straw, which is a direct
descendant of Old Zip Coon, published in
1843. . . .
I looked up the original of Old Zip Coon,
thinking to get at an early manifestation of
ragtime, but it had none in it. It did, how-
ever, furnish an. early example of "scat"
singing, — "O, zip a duden duden duden, zip
a duden dey." In The Ham Fat Man (1863),
we find more of it, — "Hoochee, coochee,
coochee," which is more likely to have been
baby talk than any reference to Little
Egypt's hoochee coochee dance. In Stanley
Crawford's Show the White of Your Eye,
there is "Bo-lo, Bee-die Em-bo." In the song
// That's What You Want Here It Is, by
Shepard N. Edmonds, there is "Ba dee-die
lee do-dle lo-dle lo," and more.
As to extemporaneous "scat," my old
friend Bill Sommers, a semi-professional
singer in New Orleans some forty years
ago, told me that he was never at a loss for
the words to a song. "If I forget 'em," he
said, "I use my own words, or substitute
something that sounds like words." So-o-o-o,
Louis Armstrong doesn't exactly stand alone.
Once in a while there is something new
under the sun, but not too often.
claude
boiling
NEW FRENCH SENSATION
by rudi blesh
Early in 1948 we began to hear of second-
line jazz in France. It was in January,
in fact, that sensational reports began
nltering back from the International Jazz
Festival at N'ice of a young band headed by
clarinetist Claude Luter. Xo Hot Club Quin-
tette this, evidently, for soon Louis Arm-
strong returned from France with accounts
of the fidelity with which Luter had captured
Johnny Dodcls' style and his group that of
King Oliver's Creole Band. Luter discs that
arrived shortly thereafter largely bore out
these reports.
The emergence, at this time, of one such
band in France would have been surprising
enough, but it would seem that it was an
omen, too. For more recently there have
come reports from abroad, backed up by
records, of another and younger band that
is, in certain ways, even more phenomenal
than the Luter group.
Eighteen-year-old pianist Claude Boiling
leads this new jazz sensation. Before describ-
ing the band and its music, however, let us
briefly sketch Boiling's own story-. Claude
was bom in Nice in 1930 and by his twelfth
year, having mastered the guitar, took up
the study of classical piano. About this
time he heard an album by Charlie Kunz, a
French hot pianist of sorts. As far as he re-
calls, this was the first time that the young
Boiling had ever heard jazz. Overwhelmed
by the experience, he forthwith embraced
the jazz idea.
Only a scant year later he was able to
gain honorable mention for his hot piano
improvisations in a Paris festival. By 1945,
at the age of fifteen, he had formed an
orchestra, based on the New Orleans instru-
mentation, that played in various Paris night
clubs like the Lucky and the Kangoo. Since
then the rise of Boiling has been something
I of a phenomenon. A year ago he opened the
Tabou club. By this time Boiling was not
only a fine pianist in the Waller vein but
a remarkable leader, as weli, as was proven
by hjs appearance last December at the
Paris Coliseum. His remarkable talent for
musical organization, evidenced by the play-
ing of his band on that occasion proved an
astounding revelation to French jazz fans.
Various public appearances followed ; an
outstanding one occurred early this year at
the Marigny festival. There, besides pre-
senting his Hot Seven, Claude played piano
accompaniments for the great traditional
blues singer, Chippie Hill. Shortly there-
after, Boiling and the Hot Seven recorded
a number of sides for Blue Star of France.
At last reports the band is playing at a
cabaret called An Vieux C^mian.
The present front line of the Boiling Hot
Seven features Gerard Bayol, who plays
a simple but imaginative and driving lead
cornet based mainly on early Armstrong;
Maxime Saury, whose soprano work is
derived, of course, from Bechet and whose
fluent, expressive clarinet is preeminently
Doddsian ; and Jean-Louis Durand, who
plays a sound and resounding trombone.
Boiling heads the rhythm section, noted for
its relaxed solidity at all tempos. His com-
panions in laying down the beat are Guy de
Fato on bass, Robert Escuras on guitar and
Robert Peguet at the drums.
Claude Boiling's personal style has gone
through several rather well-defined periods :
from the soon- forgotten Kunz to Waller and
Earl Hines, and then to the final formative
stamp of Jelly Roil Morton. A steady, bril-
liant, and creative player, Claude has assimi-
lated what he personally needs from the
latter three and has amalgamated it all into
his own style. As a leader he has used the
same intelligent and tasteful eclecticism. Re-
fusing to be bound to the literal imitation
of any one style, however hallowed, his band
bases its playing on Oliver, Morton, the
Hot Five. In some instances, even the mid-
1930's work of Ellington has been adapted
to the requirements of his seven piece group,
although this, in all likelihood, may be re-
garded as a passing phase in the band's
development.
The assurance of the Boiling band is as
remarkable as its homogeneity. Each man,
despite his youth, is a fundamentally sound
musician, able to work in ensemble as well
as solo. There is no doubt that the leader
has impressed his own personality and aims
on the group as a whole. It is known lhat
he has had a strong hand in guiding the
musical development of these young players.
The six sides that Boiling recorded last
spring for Blue Star are : Georgia Bo Bo,
Blues in Disguise, Nobody Knows the Way
I Feel This Morning, Dippermouth Blues,
You Rascal You, and Riverside Blues. There
is some fine, relaxed jazz on these sides,
{Continued on Page 20)
I
stuyvesant casino: Bunk's
old Manhattan home has a new sponsor,
Jack Crystal, for its regular Friday night balls.
In mid-December, Bechet-protege Bob Wil-
ber's band, between highly successful Boston
stands, was featured. Jimmy Archey is on
trombone, Henry Goodwin on trumpet, with
Pops Foster, bass; Dick Wellstood, piano;
Tommy Benford, drums.
eddie condon's: The maestro
and his guitar are absent from the po-
dium, a not-too-unusual occurrence, but Wild
Bill Davison, George Brunis, clarinetist; Pea-
nuts Hucko, Gene Schroeder on piano; Jack
Lesberg on bass; and Morey Feld, drums,
manage to fill the Greenwich Village air.
Ralph Sutton plays fine intermission piano
here.
night
in
photos by george cardozo
S* Billy Butterfield, that fugitive from
a big band, plus Ernie Caceres, clarinet;
"Cutty" Cutshall, trombone; Irv Manning,
piano; Charlie Queener, bass; and drummer
Joe Grauso, hold forth nightly at this oldest
of New York jazz landmarks.
jimmy ryan s: The last stronghold
of jazz on famed 52nd Street, now
virtually abandoned to girls removing cloth-
ing. Max Kaminslcy is still the greatest, pound-
for-pound, assisted by Cecil Scott, clarinet;
Dick Carey, piano; Arthur Trapier, drums.
Chippie Hill sings blues, with Don Frye on
piano, between band sets.
royal roost: One of two Broadway
be-bop havens (the new Clique Club is
the other), this "Metropolitan Bopera House"
draws crowds, changes personnel almost
weekly. At this moment it offered Miles Davis,
trumpet; the celebrated alto of Charlie
Parker; Al Haig, piano; Tommy Potter, bass;
drummer Max Roach.
10
bop horn
A DISCOGRAPHY BY ROSS RUSSELL
As a supplement to last month's discussion of
the leading exponents of the be-bop trumpet, Ross
Russell has prepared a selective diseography of
79 records. He recommends them to all who are in-
terested in gaining an understanding of the use
of the trumpet in this new style. As might be
expected, Dizzie Gillespie records predominate,
but there are sides by Miles Davis, Howard Mc-
Ghee, Fats Navarro, and 15 others.
DIZZY G ILLESP1E:
TEDDY HILL
CAB CALLOWAY
LIONEL HAMPTON
COLEMAN HAWKINS
BILLY ECKST I NE
BOYD RAEBURN
RED NORVO
D I ZZY
DIZZY
D I ZZY
D I ZZY
D I ZZY
HOWARD MCGHEE:
ANDY KIRK
COLEMAN HAWKINS
JAM SESSION
MCGHEE
MCGHEE
FATS NAVARRO:
TADD DAMERON
NAVARRO
MILES DAVIS:
CHARLEY PARKER
CHARLEY PARKER
CHARLEY PARKER
RED RODNEY:
RED RODNEY
KING PORTER STOMP BB 6988
HARD TIMES OK 5566
PICKIN* THE CABBAGE OK 5467
HOT MALLETS VI 2637|
WOODY IN' YOU APO 75 I
OPUS X DEL 2002
INTERLUDE GU 1 07
CONGO BLUES COMET 6
HOT HOUSE/SALT PEANUTS GU 103
I CAN'T GET STARTED MANOR 1 042
DIGGIN D IZ/CONF IRMAT ION DM004
52 STREET THEME VI 40-0 1 30
TH 1NGS TO COME MU 447
MCGHEE SPEC I AL DE 4405
NIGHT RAMBLE/LADIES AS 3552
EXPERIMENT PERILOUS SUNSET 7560
BEBOP DIAL 1007
NIGHT MIST/DOROTHY DIAL 1027
THE SQUIRREL
FAT GIRL
BN 540
SAV 906
B ILL IE 'S BOUNCE/NOW'S SAV 573
ORNITHOLOGY/NIGHT DIAL 1002
BONGO BOP/EMBRACABLE Dl 1024
KA I 'S KRAZY KATS
SONNY BERMANt ■
BERMAN
CONTE CONDOL I :
CHUBBY JACKSON
ERNIE ROYAL:
WOODY HERMAN
GAIL BROCKMAN:
GENE AMMONS
BENNY HARRIS:
CLYDE HART
KENNY DURHAM:
SONNY ST ITT
TOMMY ALLISON:
BOYD RAEBUEN :
RAY LINN:
RAY LINN
BENNY BAILEY:
TEDDY EDWARDS
NE IL HEFT I :
LUCKY THOMPSON
SHORTS MC CONNELL:
LESTER YOUNG
CHARLIE SHAVERS:
HERB IE HAYMER
PEANUTS HOLLAND:
DON BYAS
LOADED SAV 602
NOCTURNE/CURBSTONE Dl i030
LEMON DROPS MGM
KEEN AND PEACHY CO 382 |3
MCDOUGALS SPROUT MERC 8062
LITTLE BENNY SAV 598
BLUES IN BEBOP SAV 508
TONS I LECTOMY JE 1 0000
SERENADE IN SEVENTHS Sl28l2|
BIRD LEGS METRO
BOPPIAJ' THE BLUES VI 20-3 1 42
NO EYES BLUES ALA 1 62
LAGUNA LEAP SUNSET 7561
RED CROSS BL STAR
ELEVAT ION
KEY 670
II
the c-r-dex system for the filing
and indexing of phonograph records
by
anthony p.
ciardi
Records have been created for the purpose
of furnishing "the music you want when
you want it." They are meant to be
played — not hidden. Any collection of rec-
ords that doesn't permit the choice of a
record immediately when desired defeats its
own purpose.
A collection must fulfill two requirements
for proper use and enjoyment : it must be
housed in. a suitable storage space, and it
must be indexed.
An index furnishes an overall picture of
the collection, and separates it into numerous
categories. It keeps the collector constantly
aware of the items in the collection, assisting
him in the plan of collecting, and in the
selection of a program for listening.
Suitable storage space means a cabinet,
or cabinets, that will house all the records
in the collection, with the records filed in a
manner permitting instant removal and re-
placement. Naturally, the larger the collec-
tion, the greater the problem.
Most of you must have already discovered
that one or more large cabinets are prefer-
able to many small ones, and that the cabinet
should hold single records and albums,
10-inch and 12-inch. But most of you prob-
ably have no suitable filing and indexing
system.
To clarify at this point two terms to be
used quite frequently: filing records will
mean placing them in a cabinet in accord-
ance with the system used. Indexing refers
to a listing — usually in a loose-leaf book —
of artists, titles, and other data pertinent
to the collection.
The collector may want a simple yet
effective system — so it must be stated at the
outset that no such system exists. A certain
amount of detail must be endured to make a
system truly effective, and a collection en-
joyable. Naturally, the more detail, the more
work, but what real collector is ever dis-
mayed by a little labor?
My C-R-Dex Filing System is basically a
system of filing by artist, in strict al-
phabetical sequence. The term "artist"
refers here to either a single person or a
recording group of any size or type. The
system covers the filing of both 10- and 12-
inch records, single records and albums.
Single Records
First, file all single records by artist, as-
signing each artist a code number (I have
found it much easier to locate and replace
records by number than in alphabetical se-
quence). Each artist is assigned his indi-
vidual code, a number combined with letters
from his name.
The numbers are written on the envelopes,
in the upper left-hand corner, and the
records then filed so that a flip of the
finger will fold over the corners of the en-
velopes, while in the cabinet, exposing the
numbers. Artists and code numbers should
first be listed on temporary sheets of paper,
as changes are bound to occur during the
filing period. When filing is complete, a
permanent (type-written, if possible) index
is advisable.
All 10-inch single records and albums re-
ceive numbers from 001 to 499. All 12-inch
single records and albums are numbered
from 500 to 999.
The first record of anv artist to be filed
is assigned the number TOO, preceded by the
first three letters of the artist's name. This
is called the primary number. For example :
ALL-100— All Star Trio
CRO- 100— Crosby (Bing)
OLI-100— Oliver (Joe "King")
WHI-100— Whiteman's (Paul) Swinging
Strings
All the All Star Trio's records will have
the code number ALL-100 and are filed to-
gether in one group. Similarly, all Bing
Crosby's will have CRO-100, etc.
If there is more than one artist on either,
or both sides of the record, the favorite artist
receives the primary number. The other
artists are listed in the index in their own
alphabetical section, but taking the number
of the favorite artist. In a record by Bing
Crosby and Connie Boswell, with Victor
Young and His Orchestra, assuming that
Bing Crosby is the "favorite artist," he re-
ceives the primary number CRO-100, and at
the same time is listed in the "C" section of
the index :
CRO-100— Crosby (Bing).
Connie Boswell also receives the number
CRO-100, which, in this case, is a secondary
number (her primary number would be
mm-
BOS-100). She is then listed in the "B"
section :
CRO-100— Boswell (Connie).
Victor Young and His Orchestra likewise
receives CRO-100 and is listed in the "Y"
section :
CRO-100— Young (Victor)
and His Orchestra.
An artist may have a secondary number,
as well as a primary number, as he may be
the principal artist on some records, and the
secondary artist on others. For records on
which Connie Boswell is the favorite artist
the code number would be BOS-100 and
she would be listed in the "B" section with
both primary and secondary numbers :
BOS-100— Boswell (Connie)
CRO-100
This indicates immediately that Connie
Boswell may be. found on records of Bing
Crosby, which, by referring to the code
number section of the index under CRO-100,
will be located by their exact number.
Regardless of how many different artists
any one performer appears with, if he is
listed with all his secondary numbers, he can
easily be located on any of his records,
whether alone or with others.
Since the artists are listed alphabetically
in the index, the problem of similar letters
will arise when coding and filing the records.
Consider : Russ Morgan, Ella Mae Morse,
Jelly Roll Morton.
If Ella Mae Morse happened to be the
first artist coded, her number would be
MOR-100. Suppose Russ Morgan came next.
We note, from his alphabetical position, that
he precedes Ella Mae Morse. So he receives
a code number 50 ahead of Ella Mae Morse,
or MOR-050. Jelly Roll Morton, following
Ella Mae Morse, would receive a number
50 after hers, or MOR-150. If an artist's
listing fell alphabetically between Morse and
Morton, his number would be MOR-125 —
halfway between 100 and 150, making the
index listing look like this :
MOR-050— Morgan (Russ)
MOR-100— Morse (Ella Mae)
MOR-125—
MOR-100— Jelly Roll Morton
This should provide sufficient code numbers
for all artists with similar names.
For 12-inch records the starting number
is 700, instead of 100, and as has been noted,
the numbers run from 500 to 999.
Your collection, of course, contains, many
records, many titles, by the same artist. In
these cases, the code numbers are extended.
Take such a group of records, and without
regard for titles, number each envelope con-
secutively, beginning with .001. These deci-
12
mal numbers are merely added to the code
number already assigned. Records of the
All Star Trio (ALL-100), would be
listed as :
ALL-100.001 You Ain't Heard Nothing
Yet/Rose of Washington Square
ALL-100.002 / Ain't Nobody's Darling/Yoo-
Hoo
Filing Albums
To code albums, the procedure is the same
as for singles. Whether the albums are the
ready-made, 3 or 4-envelope ones put out by
record companies, or the large, empty albums
to be filled with records of your choice, they
are given the same filing treatment.
All albums are assigned a number, plus a
letter, beginning with "A." Any number in
the index followed by a letter, therefore,
will immediately indicate an album.
If an album contains the records of only
one artist, it takes the primary number of
the artist, followed by the letter "A" for the
first album, "B" for the second album of
that artist, etc. For instance, if one or more
albums contained all records of Bing Crosby,
the album numbers would be CRO-100A,
CRO-100B, etc.
The numbers on gummed labels are at-
tached to the backs of the albums. Original
titles of ready-made albums are ignored in
filing and a code number assigned in the
same manner as for home-assembled ones.
As an example, consider the 12-inch
album, "Metropolitan Revivals," containing
a number of operatic artists, including
Caruso, If he is the favorite artist, the
album number becomes CAR-700A. This is
the primary number. All the other artists
will be listed in the index alphabetically,
with the number CAR-700A as a secondary
number for them. The album will be filed in
the "C" section of the cabinet.
But if you do not want to file such a
varied album under a single artist's name,
it can be considered a mixed album ; if it is
a 10-inch album it acquires the classification
MIX-100A. Should the alphabet become ex-
hausted with the number 100, 101 is used for
the next series, beginning with 101A. If it
is a 12-inch album, the code number becomes
MIX-500A, and the same procedure fol-
technical experts
Light Pick-Up Fiend
Dial Modulator
Cactus Pete
next month: "COLLECTORS"
lowed as for the 10-inch albums.
Although a mixed album acquires a code
number without any reference to artists con-
tained, the artists are listed in the index by
name, with the album number as their sec-
ondary code number.
In addition, the envelopes in the album
should be numbered, and the album listed
in the index, giving all the artists and record
titles, and also the album envelopes in which
the records may be found. A duplicate list-
ing of the album's contents should be made
— one for the index, the other to be attached
to the inside cover of the album itself — to
permit even quicker reference to the records.
Indexing
Without an index, the best filing system
loses most of its value. I have found that
a loose-leaf ring book, about 6 by 9 inches,
provides the greatest utility in a permanent
index. Although numerous ramifications are
possible, the index must contain three basic
divisions: (1) the artists' section; (2) the
code number section; (3) the title section.
(1) Artists are listed alphabetically, with
their code numbers. This section, of course,
is constructed at the time the physical filing
of the records is done.
(2) In this section, each code number is
listed alphabetically; the code number, with
its corresponding artist, heads the page. It
is followed by other artists having the same
code as a secondary number, with the titles
pertaining to them. Titles are listed in alpha-
betical sequence, with their envelope num-
bers.
(3) Up to now I have not mentioned the
record label, or its original number. The
only place they appear is in the title section.
In this section all record titles are listed in
strict alphabetical order, with their acquired
code numbers, artists, labels, and original
numbers. In this listing the code number
enables you to determine immediately
whether a given title is filed singly or in an
album, whether it is on a 10 or 12-inch
record, and the exact envelope in which it
is placed in the cabinet.
KNOW YOUR COLLECT I ON J
THE C-R-DEX SYSTEM SHOWS YOU
HOW. HELPFUL TO BEGINNER OR
EXPERT. COMPLETE SYSTEM $1.00
A.P.C I ARD I Ill9 LUZERNE ST.
Sr.RANTON 4, PFNNSYI VAN I A. .
RECORDS
WANTED
I will buy collections out-
right. Anything from 10
to 10,000 Records. Jazz,
Pop, Swing, etc. Send me
a list of what you have
with the condition of the
Records indicated. You
will receive a prompt re-
ply. Write to
GEORGE RAAB JR.
1 JACOBUS PL
N. Y. C.
►
13
(This article deals with a musician whose
work, in my opinion, has not received the
attention it merits. Some of the data has
been taken from two articles in the old Jazz
Information — Forgotten Giants, by George
Beall and A Note on Ward Pinkett, by the
late Eugene Williams — but much of this
material has never before appeared in print.
I must thank the musicians "Juice" Wilson
and Harry Cooper for much valuable infor-
mation, and my good friend Charles De-
launay for interviewing Cooper on my be-
half.—A. J. M.)
William Ward Pinkett was born in New-
port Xews, Virginia, on April 29th, 1906.
He was one of four children, and showed
an aptitude for music at an early age. His
father played cornet in local groups ; Ward
started to play cornet as a result of tuition
from his father, and then played in the
band at Hampton Institute, where he was
studying architecture. Here he met Harry
Cooper, already an accomplished instrumen-
talist. Cooper taught Ward over quite a
long period, and his technique improved
rapidly. Shortly afterwards he became a
pupil at the Conservatory of Music, Merid-
ian, Mississippi.
Pinkett's first job was with a local group,
and then he joined the W hite Brothers Or-
chestra of Washington, D. C. He afterwards
came to New York with a show, but soon
took a job with Charlie Johnson's band at
Small's Paradise. He remained with Johnson
only a few months before joining Willie
Gant's orchestra. He recorded with this
group, probably for Columbia. It is uncertain
as to exactly how long he played with Gant,
but in 1926 he was with James Hogan's
group at the Joyland on 4th Avenue and
14th Street. In the same band were Rex
Stewart and Cuffee Davidson, and at one
time June Clark played with it. For the
next ten years or so Pinkett was often in
the same bands as Stewart, and it is likely
that he was influenced by Rex's playing.
Around 1928 he was to be found with Joe
Steele's orchestra, and made one record with
them. One of the titles was Top and Bottom,
which curiously enough was Pinkett's fa-
vorite drink (gin and port). Later in the
year he replaced Jabbo Smith in Lloyd
Scott's orchestra at the Savoy. Other mem-
bers of the band were Bill Coleman, Dicky-
Wells and Cecil Scott. In 1928 he com-
menced his recording work with Jelly Roll
Morton. A year later he played with Henry
Sapiro's orchestra, and with a small com-
bination led by Chick Webb at the Black-
bottom Club. He remained with Webb when
the latter moved into the Renaissance. The
other band men were Edwin Swayzee,
Robert Horton, Omer Simeon, Hilton Jef-
ferson, Edgar Sampson, Don Kirkpatrick
and Webb, and at one period Luis Metcalfe
was in the band.
At about this time Pinkett's health showed
signs of deteriorating. He was a heavy
drinker, and Harry Cooper considers this
the reason for his lack of reliability as a
player. He was a very enthusiastic musician
nevertheless, and used to practice for hours
daily in his room. He listened constantly to
records, particularly those by the Hot Five.
His admiration for Armstrong was fa-
natical, and he could play the Louis choruses
on the Hot Five records by heart. After his
night's work he usually went along to clubs
to hear other bands, and the lack of any
reasonable rest was later to tell.
In appearance he was tall and thin, with a
not-very-colored skin. The latter enabled
him to "pass" in white bands, with which
he occasionally played. He was always well
dressed, and his handsome appearance caused
him to be known as "John Gilbert" to a
good many musicians.
It was in 1930 that Pinkett made the bulk
of his recordings, and he remained in New
York fairly constantly. In 1931 it seems
likely that he played with King Oliver, but
no definite record exists of this. The follow-
ing year found him with Earl Magee's
orchestra, once again with Rex Stewart in
the band.
I have been unable to trace any record of
his movements in 1933, but in 1934 he was
A NEGLECTED JAZZ
GREAT
by albert j. mccarthy
back on Broadway, playing with Rex
Stewart's orchestra. One night Rex was not
feeling too well, and asked Pinkett to take
the trumpet choruses. Pinkett played all of
Rex's solos note for note, and for some rea-
son this infuriated Rex. After the show
they exchanged heated words, and then en-
gaged in a fight. Pinkett did not return to
play with the band after this.
The last definite engagement I can trace
is with an outfit led by Adrian Rollini, which
included Albert Nicholas. He stayed with
the band for five months in 1935. After
this his movements are obscure, but it seems
probable that he remained in New York
until his death from pneumonia on March
15, 1937. Cooper claims that his resistance
had undoubtedly been lowered by his in-
temperate habits, and considering his early
death, this would appear to be correct. He
is buried at Newport News, and is survived
by a daughter. His death undoubtedly robbed
jazz of an artist who kept within the main-
stream of the authentic form in a time when
greater names were forsaking it for more
commercial, but less worthy manifestations.
"Ward Pinkett was only to be compared
with Armstrong and de Paris," said "Juice"
Wilson. Without going quite as far as this,
I personally consider Pinkett a very great
trumpeter. Leaving Armstrong aside, for his
greatness has hardly yet been comprehended,
I would certainly consider Pinkett worthy
of a place in the next half-a-dozen.
On the first Morton records, Pinkett's style
is rather reminiscent of Oliver, and at
times somewhat similar to the Ladnier
of the Lovie Austin period. He uses a mute
on all these sides, shading his tone very
effectively, and yet never obscuring the
melodic line by over-emphasis. Georgia
Swing is particularly notable for the swing
which he displays in the lead role. His work
fitted very aptly into the homogenous Morton
recordings.
It is somewhat difficult to decide Pinkett's
work on the Oliver Trumpet's Prayer/Call
of the Freaks. It has been suggested that he
plays the open trumpet on both these sides,
but the work is so typical of Luis Metcalfe,
that I hesitate to consider this as established.
On the Jungle Band's Dog Bottom, Pinkett
does a remarkable scat vocal, as uninhibited
as any I have ever heard.
On the whole, the later sessions with
Morton are not as good as the first one,
but Pinkett's lead on such sides as That'll
Nevah Do is very good. The July 14, 1930,
session has some of his finest work. His
solo on Blue Blood Blues is remarkable. His
{Continued on Page 20)
hj jefferson davis bates
Not very long ago I was at the home of a
fellow who had four or five thousand
jazz records of varying degrees of
rarity. To play these records he had a beat
up old box of a phonograph with a tone
like a tin can with holes punched in it, and
a pick-up arm weighing over two ounces,
at a very conservative estimate. He played
me some records I have" in my own collec-
tion. I scarcely recognized them. In fact, my
nerves are still a trifle shaky from the ex-
perience.
The worst part of it is, this fellow isn't
unique at all — I know a great many col-
lectors with really fine collections who worry
along with second rate equipment, never
really hearing their records, and wearing
them out about ten times as fast as is ac-
tually necessary. To me, it's a crime. It
arouses the missionary instinct in me. I was
very glad to see an article on the subject in
the November Changer, which had a sound
approach. But I'd like to add a few foot-
notes.
Consumers Union has published several
excellent articles on high fidelity sound
equipment at low cost. However, their ap-
proach to the subject is not necessarily from
the point of view of the jazz collector. Also,
there have been a couple of very recent de-
velopments since the reports which Albert
Otto mentioned in his article, and these put
quite a different light on the situation. One
of these developments in Columbia's new LP
(long-playing) records. Another is the in-
creasing availability to the jazz collector of
16-inch radio-type transcriptions.
My opinion is, therefore, that for a jazz
collector, a record changer is not a very
practical investment, particularly for playing
old and valued discs. Of the low priced
changers, the Webster 56 is probably the
best of the lot, but that isn't saying much.
Any single-post changer has a tendency to
wear an elliptical hole in the center of the
record, with a resulting "wow." The turn-
table speed is not constant, since the motor
is required to pull varying loads as the rec-
ords pile up. The average 56 changer spins
at least two r.p.m. faster than it should on
the first record, and slows down as the
weight on the table increases. And last, but
not least, there is the always present danger
of breakage during the changing cycle.
The new Model 256 changer is designed
for the LP records as well as standard 78
r.p.m. discs, but it has the same basic draw-
backs as the original 156. In addition, this
changer uses a crystal cartridge rather than
the variable-reluctance type, and conse-
quently limits the quality of its reproduction.
What, then, is" the solution? Fortunately,
it is much simpler now than it was even six
months ago. With the advent of the LP
records, General Industries has placed on the
market a heavy duty dual-speed motor for
less than $12.00 net. Unlike 'the Model D
"Green Flyer" motor which preceded it, the
new Model DR is a rim-driven affair, with
a considerable decrease in "rumble." It also
costs much less than the "Green Flyer"
motor. The bearings are also excellent; this
is quite important. With a motor of this
quality and power, constant speed becomes
much nearer to reality.
Next, the pickup. Barber and Howard
make an excellent transcription type pickup,
playing anything up to and including the
16-inch size, for about $18 net. Livingston
puts out a similar pickup, of almost as good
a quality, .for about $10 net. Both pickups
are equipped with variable counter-weights,
and have such excellent bearings as to make
tracking almost completely frictionless. The
use of a 16-inch arm also virtually eliminates
tracking error and the excessive record wear
which accompanies it.
While any variable-reluctance type car-
tridge is highly satisfactory, prob-
ably the Clarkstan cartridge (about
$15 net) has more advantages than
any other low priced unit. It has
the distinctly superior feature of using
a replaceable type stylus, which obviates the
necessity of buying an entire new unit each
time the stylus wears out. It is also possible
to take out the standard stylus and replace
it with a one mil stylus for the new LP
records, which permits the use of the same
arm and cartridge for both types of record.
The outfit as described, using the standard
type stylus, will also play radio-type tran-
scriptions, which, in the final analysis, are
the closest thing to real high-fidelity repro-
duction yet attained.
Such a rig is extremely versatile, playing
every type of record now available commer-
cially. It will track at about }4 ounce on
regular records, and (with additional coun-
terweights) about % ounce on LP records,
cutting record wear down to an absolute
minimum.
The amplifier (Bogen PH-10) mentioned
by Otto is excellent, as is the G. E. 1201
speaker. However, RCA has come out with
a speaker costing about $4.00 more (net)
which has even more "presence" and a better
diffusion of highs than the G. E. Of course,
if you're really interested in high fidelity,
there is always Altec Lansing's 15-inch
coaxial job, at $63.00 net.
Altec Lansing's A323B amplifier is in a
class by itself, also, but at a cost of over
$130 net, it is hardly in the low-price field.
That's the trouble with this business. You're
never satisfied ; there's always something
better. High fidelity enthusiasts become just
as fanatical as jazz collectors, and if you
combine the two elements, you might as well
be warned that you're never going to have
any money. But you'll have a lot of fun.
alexander's
Qj
n band
by dick oxtet
Calling all musical historians, jazz chroni-
clers and moldy figs ! Save some space in
your bibliographies, indexes and sound
tracks for a horn-blowing gent who's not
going to be denied from here on in. Make
way for a sideman of long standing and
high repute who is now the proud leader of
a band. Make way for R. Alexander Scobey
and his Alexander's Jazz Band !
When Bob Scobey left Lu Watters' Yerba
Buena Jazz Band late last August to front
his own group of weekends at Oakland's
Melody Club, there were mixed feelings
among the jazz gentry of San Francisco and
environs. Faithful followers of New Or-
leans jazz — Lu Watters' version — were sorry
to see the slim trumpeter go. He had been
the band's second trumpet man since 1939,
and his loss left a hole in the powerhouse
brass section that would be all but impossible
to fill, they reasoned. On the other hand,
most of them were glad Bob was to have
an opportunity to display his talents to
greater advantage. They wished him luck,
and turned out en masse for his opening.
Scobey obliged with a five-piece jazz band
which played their favorite jazz tunes with
a freshness and enthusiasm that was strictly
exciting.
Alexander's Jazz Band was originally or-
ganized by Scobey as a pick-up band for a
few recording sessions just before the re-
cording ban took effect. It showed enough
promise for Scobey to begin thinking seri-
ously about organizing a dance band. Al-
though he had, year after year, played an
integral part in the Watters organization,
he had definite ideas of his own which he
was never able to put into practice under
Lu. So, when the time was ripe, Bob took
the leap and was out on his own.
What were his ideas? Well, the main one
was not so much an idea as a conviction that
the use of dynamics was being ignored by
Watters' full-blowing outfit.
"Dynamics," maintains Scobey, "are the
most essential elements in music of any kind,
and when you play loud all the time, you
lose a lot of ability for expression."
Scobey thus concurs with the observation
of the late Jelly Roll Morton who explained,
during the course of his Library of Congress
interviews :
"You got to be able tw come down in
order to go up. If a glass of water is full
you can't fill it any more but if the glass
is half full, you have an opportunity to fill
it up. 3asz music is based on the same
principle."
Another point on which Scobey disagreed
with Watters was rhythm. Lu restricted
his drummers to a 2-beat bass drum
and, for the most part, a steady tatoo on
the woodblocks ; Scobey goes all out for
variety in rhythm.
"Other beats have interest and musical
value," he declares. "Why not use them?"
Bill Dart, like Scobey a member of the
Watters aggregation since 1939, voices his
approval of this edict. Bill is now the drum-
mer in Alexander's Jazz Band, and his style
has been completely revamped to include
a variety of beats off a basic 4/4 and free
15
usage of his large set of drums. Dart feels
he was restricted under the Watters setup,
and Scobey's edict of "freedom" has made
big Bill extremely happy.
In a sense, this is the main reason for the
relaxed, carefree sound of the whole band ;
each member is playing the way he wants to
play and they are all playing together. We
got a tip-off as- to Scobey's "unity" ideal at
a rehearsal, early in the band's career.
After a particular number had been con-
cluded, one musician remarked that they
had "speeded up" during the course of the
tune. Scobey's reply was :
"We won't worry too much about things
like that, so long as we speed up or slow
down together. That's better than pulling in
different directions among ourselves.
As to the band's style, Bob declines a
definition. "It's what comes out," he says.
In other words, it might sound like New
Orleans on one number, Chicago on another
and something else on a third. Scobey, an
ardent believer in flexibility, thinks it a
mistake completely to emulate a particular
style and refuse to budge from it in any
way.
"There's too much to learn all the time,"
he insists. "I've been playing jazz for 10
years and am just finding out how little I
actually know about it."
As for the band's personnel, it seems more
than adequate. Burt Bales; San Fran-
cisco's infamous "riverboat pianist,"
shares the spotlight with Scobey, and is one
of the foremost reasons for the band's rol-
licking buoyancy. Burt is probably Califor-
nia's most flexible jazz artist, having played
with Watters, Bunk Johnson, Kid Ory, Jack
Teagarden, and the Frisco Jazz Band, among
others. The greatest influences on his piano
style have been Fats Waller and Jelly Roll
Morton. Burt is also one of the band's two
vocalists (Scobey being the other), doing
the gully low numbers, such as Winin' Boy
Blues and Nobody Knows You When You're
Down and Out.
One of the country's most finished musi-
cians, Squire Girsback, plays tuba or string
bass, according to the tune. Girsh is also a
Watters and Frisco alumnus, played with
Bunk, and has always, been in demand with
Band leaders of all kinds.
Along with Scobey on the front line are
two erstwhile mainstays of the now-defunct
{Continued on Page20)
Burt Bales, Squire Girsbaclc, Bill Dart,
Jack Buck, Bob Scobey, and Jack Crook.
16
IN LOS ANGELES
IT'S THE
XeMH
RECORD OUTLET
(Formerly of New York)
"The Collectors'
Paradise"
The Largest Store in California
Devoted Entirely to
Collectors' Items
For the Best in Jazz,
Swing, Bebop, Popular
and All Old Favorites.
Tremendous Assortment
of
Armstrong, Bechet,
Bessie Smith, Muggsy,
Holiday, New Orleans,
Miller, Goodman, Dodds,
Jelly Roll, Bix Beiderbecke,
Ellington and Ellington Units,
Dixieland, Basie, Bing Crosby.
Etc., on Original Labels,
Imported Parlophone,
HMV, Etc.
Please send in your want lists.
If in Los Angeles or vicinity,
it would be well worth while
to visit us.
5600 Hollywood Boulevard
LOS ANGELES 27
CALIFORNIA
Telephone Hillside 8088
As Always, Fairest Prices.
kenneth
a tribute
Kenneth Lloyd Bright is dead. It is hard
for me to believe it, even as I write these
words, for there was never a guy who was
more alive. His name was not widely known
and now that he is gone it will probably be
forgotten even by those who have a deep in-
terest in Jazz. Yet he knew more about
Eastern Seaboard jazz and parlor social
piano than all the experts put together, that
is if you could ever get them together!
In the house on 131st Street, where he
lived with his mother, there was a good-
sized alcove, off the living room, which was
furnished mostly with phonograph records,
several thousands of them. He had, I think,
at most two albums, usually with three rec-
ords to each sleeve, and the rest of his
collection was stacked nakedly in files any-
where there happened to be a vacant place.
Their only real protection was several layers
of dust. An evening of listening was purely
catch as catch can, for if you asked for one
thing you had heard at the last session you
always got seventeen better ones before he
could find the one you really wanted. But he
always found it in the end, usually with the
Record Changer— MLB— PM— 2655 9
reminder that why should he catalogue the
stuff when- he knew where the record was,
didn't he?
He was a New Yorker, first, last and
always. I remember the post card he once
sent me from Memphis : "Handy says :
Rather be here than any place I know ;
Bright says : Dry Me off in Harlem." That
was important, because the story of New
York jazz has never been told. Kenneth and
I were planning to do it, in a three-part
article for the Changer, when he was taken
ill. He was also under contract to a New
York publisher to do a book with Rudi Blesh
on the whole Eastern Seaboard jazz picture.
Those articles will never be written now,
and though Blesh plans to go ahead with
the book I think he would be the first to
admit it won't be the same book now.
There was a good reason for this : the
guy lived through it. He was thrown out of
LeRoy's the first night he ever put on long
pants ; they let him listen to the music, but
when the floor show came on they escorted
him out the door as being too young for
such adult entertainment. He never told me
so, but I know damned well he got back in,
probably through the window of the men's
room ! Fats Waller played at Kenneth's high
school graduation party and every decent
band that ever hit New York practiced in
the Lafayette Rehearsal Hall that his father
owned. He knew everybody and everybody
knew him, by face if not by name.
If you wanted to know where somebody
was you called him up and he told you that
he only saw the guy last week and he'd get
in touch with him right away. I remember
the night he took me up to Father Divine's
and pointed out old Tommy Morris sitting
{Continued on Page 20)
VOL. No. 3
and
VOL. No. 4
of
INDEX
to JAZZ
/lit, Suit AutUfaUe
No other publication shows
data on more Afro-American
jazz and blues recording
groups.
INDEX TO JAZZ gives you the
dope on jazz records where you
can find it. No messing around
with secret codes, etc. You turn
the page and you see the words.
The four volumes of the INDEX
contain data on more than 20,000
records.
The price of Vol. No. 3 and
No. 4 is $1.00 each. You may
order them from:
Gordon Gullickson
FAIRFAX, VIRGINIA
or
Orin Blackstone
439 Baronne St.
NEW ORLEANS 12, LA.
(Volumes No. I and No. 2 are now out
of print. Third editions of these volumes
are being planned.)
17
GEORGE AVAKIAN
BUCKLIN MOON
PAUL BACON
records
noted
Bob Wilber's Wildcats
Frog-i-more Rag
Oh, Daddy
Camp Meeting Blues
Once in a While
When You Wore a Tulip
Trouble in Mind
Listening to these three records, after
those wonderful Claude Luter sides, may
seem like a letdown to some of you, but I
wouldn't slough these off merely for that rea-
son. Certainly the Luters are more exciting
to listen to and they are better records in
every sense of the word, but I have an idea
that if the Luter band sticks together they
won't sound any better ten years from now.
I'm pretty damned sure the Wildcats will,
however, if they should keep on as a unit,
which is doubtful but possible.
I'm well aware that you can't deal in
futures but I merely want to make a distinc-
tion here. Luter and his bunch are playing
in the Oliver style — first, last and in the
middle. The Wildcats, on the other hand, are
trying to sound like the Wildcats. If in the
process they sound like Oliver on some sides
and like somebody else on others, and if
Wilber sounds like Pop Bechet all the time,
I have an idea that this will not always be
so. People who have heard Wilber and
Glasel recently tell me both are greatly im-
proved and that Wilber sounds less like
Sidney than on these sides, which were made
almost a year ago, at the same time as the
other Ramparts, which were released earlier.
If you like the earlier Ramparts you'll like
those ; if you didn't don't look for any
miracles. Of the lot I found the Trouble in
Mind side the standout ; it has a nice relaxed
feeling and it's played with the heart rather
than the head. These records are not always
successful, but what I like about them is
that the boys are feeling around for some-
thing else besides carbon paper. (Rampart
Album 101. $3.95) (B.M.)
Baby Dodds, and Baby Dodds Trio
Buddy Bolden's Blues
Drum Improvisations No. 2
That old Jelly favorite, Buddy Bolden's
Blues, gets a good ride here. Ewell sounds
enough like Jelly to give the whole thing a
nice little fillip and Nicholas plays with
great depth and feeling, the kind of clarinet
that has always been associated with the
Crescent City. Baby of course is Baby,
which brings me to the other side.
Now I'm perfectly willing to admit that
Baby is the World's Greatest Drummer, but
I was willing to admit that after hearing
him on any old band side. Drum Improvisa-
tion No. 1 was all right, a nice little novelty
like maybe when the boys in the band put
on their funny hats for one number, or when
Jelly beeped that automobile horn in Side-
walk Blues. I guess Lincoln said it better
than I can — you can fool some of the people
all of the time, and all of the people some
of the time, but you can't fool all of the.
people all of the time. This record tells me
more about drums than I want to know
about drums. They ain't never going to take
the place of the piano, Baby. (Circle J-1039.
$1:05) (B.M.)
Mahalia Jackson
Move On Up a Little Higher,
Part I and II
I don't know what percentage of collectors
have gone in for Gospel Singers, but those
who haven't are passing up a good thing.
By now it's pretty well established that
there is a close connection between some
church music and jazz, between the un-
prettied-up spirituals and the blues. Play
your Sam Morgans, or the Original Tuxedo
Band record of Original Tuxedo Rag and
you'll see what I mean, or put on a Blind
Willie Johnson and you'll get it from the
other direction. Well, those Blind Willie
Johnsons aren't easy to pickup any more but
I want to tip you off to something, if you
don't already know it.
There's a gal recording today that I'll
put up against any of them. Her records
may be hard to come by, if only that you
may have to go to a store which specializes
in race stuff to get them, but it's more than
worth it. Listening to them is an emotional
experience that I can only compare to that
I had when I heard my first Bessie Smith
record, and for my money Mahalia Jackson
has the greatest untrained voice, next to
Bessie, that I have ever heard — any time,
anywhere.
I have singled out the one of her records
which will probably have the greatest appeal
to Jazz listeners. The accompaniment — piano
and organ — is out of this world and both
sides rock and build up to a climax that is
really wonderful. The reason that I have
only singled out the one record is that I
hope, at a later date, to do a piece on
Mahalia Jackson in these pages in which I
will go into the others in more detail. They
are, for your information, Apollo 110, 145,
178 (the Even Me side on this one is my
pick of the lot), 181 and 194. The sides with
organ, or organ and piano, are better than
those with piano alone; Apollo tells me the
reason is probably that the organist is her
regular church accompanist.
I'm not fooling about this gal. She can
rock a gospel with the drive of a whole
choir or she can sing a spiritual with an in-
tensity and depth that makes you want to
cry. This is the real McCoy! (Apollo 164.
$0.79) (B.M.)
Julia Lee
Living Back Street For You
Cold-Hearted Daddy
Willie "Red" (R.I. P.) McKenzie, once
the acknowledged balladeering master of the
stiff upper lip, furrowed brow, and noble ges-
ture, has a serious competitor in Julia Lee.
Living Back Street for You is about as stiff
as anybody's u. 1. is allowed to get by law,
and it's a number that's as dangerous as can
be for the singer.
That Julia Lee gets away with it is not
too surprising, since she's a masterful vocal-
ist who knows a pitfall when she sees same.
This is a terribly, terribly brave and senti-
mental song. It's really an awful one, too,
but Julia Lee gives it just the right touch so
that you can enjoy it — especially if you're
the sort who likes a sudsy head on his beer.
The accompanying group hasn't much to do,
except for Vic Dickenson's somewhat star-
tling trombone — a choked, Harris-like tone
full of sentiment. That the accompanying
line-up (not a very good one except for Vic
and drummer Baby Lovett) doesn't do any-
thing is just fine with me, anyway. I can —
and often do — listen just to Julia's one-at-a-
time left hand and the thirds in her right.
You can't beat thirds in a spot like this.
The reverse is another blues made up by
and played by people who use the blues only
as a crutch for unoriginality. The blues in-
dustry makes millions of dollars a year for
those who have the magic formula for re-
working the old 3-chord, 12-bar scheme.
This Julia Lee is better than most, which is
saying nothing. (Capitol 15300) (G.A.)
18
Solo Art Piano Jazz, Vol. I
Climbin' and Screamin'
How Long, How Long
Had a Dream
St. Louis Blues
The Fives
South Side Shuffle
It's good to see the Solo Art piano solos
back on the market, and once again Circle
has gone back to the well and performed a
real service to jazz. Recorded by Dan Qualey
in 1937 and pressed only in lots of three
hundred, these records make up one of the
greatest bodies of piano music ever re-
corded. Since all were recorded in the span
of a single year, they give wonderful docu-
mentation of differences in style and tech-
nique. There is all too little piano music
around and if, like me, you're a hog about
this kind of thing there will be welcome fare
indeed.
Of the lot my own favorite is Yancey's
Fives, a record that for my money is one
of the truly greats. It seems to me to pre-
sent Jimmy at his best, which is pretty
damn good indeed. I don't know whether
boogie came from the gulf coast of Texas,
as some claim, or Was invented by Pinetop
Smith, as -Pinetop claimed, but I do know
that in Yancey's hands it became something
of great beauty. Self taught and limited in
technique, he always had perfect taste, a
wonderful sense of phrasing, and — above all
— an inventiveness which had to be great to
vary the little he had at his command. The
result is a music of great beauty and depth,
and one with a strong emotional impact.
Crippled Clarence Lofton was also a 'folk
artist, for lack of a better word, but he is
as different from Yancey as anyone could
be. Where Jimmy was brooding and deli-
cate, Crippled Clarence was joyous, but with
a savage drive that must have been hell on
any piano.- Had a Dream is pretty exciting
stuff — rough, tough and hard to cuff — it
doesn't lead you by the hand, it hits you over
the head.
Of the two Pete Johnson sides, Climbin'
and Screamin' is the Johnson of the boogie
revival of the late 'thirties, one of those
rolling sides that is insidious in the reactions
it creates by repetitions, varied only when
you feel that if you hear more you'll scream,
then back to the basic pattern again to nail
you down tight. The other side. How Long,
How Long, is a reminder, as is Ammonds'
St. Louis Blues, that men known only as
boogie woogie artists don't only play boogie.
There is a lot of it in each of these two
sides, but there is also a lot of regular piano,
and the combination is an effective one.
More sophisticated than either the Yancey
or the Lofton, these two sides show how
elastic an instrument the piano can really
be. and each player gets the utmost out of it.
Then there's South Side Shuffle by Art
Hodes. In those days, to my ears at least,
Art played a simpler piano and one that was
more richly emotional and less cluttered.
I hope that Circle will keep these Solo
Arts coming our way. They are a wonderful
contribution. (Circle S-16. $3.95) (B.M.)
Russell Jacquet and His All Stars
Lion's Roar
Suede Jacket
The King records I've heard so far sound
as if they were made in an empty swimming
pool, so the sound is unusual, to say the least.
On Suede Jacquet, Leo Parker relieves him-
self of one note which has been topped, in
my experience, only by steamships of con-
siderable size. Sonny Stitt's already sharp
tone is honed to its keenest, and there's a
slight echo over the whole proceedings.
None of the above actually mars the
music, though. It's pretty good on both sides,
which differ a good deal. Lion's Roar is an
interestingly cooler version of a theme well-
worn by Jacquet's somewhat notorious
brother Illinois and the here-featured Leo
Parker. When I call it good I don't infer
that anything timeless has been done, only
that the record swings. I may as well warn
the opposition that I also like Illinois
Jacquet's Blues, Part Two; in fact, I con-
sider it to be the best record of its kind I
know of. By "its kind" I mean all records
which were made for the purpose of giving
the listener raw rhythm. For instance, the
musical content of the average jug band
side is negligible, but they go like mad, and
that is their charm. Al Cooper used to have
an insane little group called the Savoy Sul-
tans ; someone once said they never tuned
their instruments for five years, but God,
how they went, This may have no bearing
in the case, but great slapstick comedians
are just as rare as Beatrice Lillie, and, in
their own way, just as remarkable.
All persons unmoved by the foregoing will
conceive an immediate dislike for Lion's
Roar.
Suede Jacquet is a different matter, as
noted, being more on the bop side, and it
features Sonny Stitt, a good idea. He plays
gracefully, but with real punch and a faintly
acid tone. I like this one very much, includ-
ing Parker's bawdy offering. Jacquet himself
is a trumpet man ; playing with his brother
he has been buried behind the fiery Joe New-
man, and I don't think he is likely to emerge,
being a capable but unspectacular musician.
(King 4242) (P.B.)
Dexter Gordon Quintet — Solo
Mischievous Lady
Ghost of a Chance
Dexter, one of the several enfants terrible
in the new school, is also one of its better
tenor-men. He's assisted here by a lady
trombonist named Melba Liston, and a
rhythm section (Mischievous Lady), and
then a different rhythm section (Ghost of a
Chance). I could wish that Dexter had a
little less vibrato, or possibly a different
kind, and that pianist Jimmy Rowells played
a little longer and louder, on Ghost. The
tenor inventions are pretty sound, but not
startling._
Lady is far more interesting, thanks to
the trombone (not in itself wonderful, but
helpful all the way) and to the jaunty tune,
typical of the many airy numbers the boys
like to mess with these days. The break
Dexter comes in on is pure hokum, modern
variety — one of those semi-cliches which
sound sort of daring and are effective en-
trances : the ensuing solo is nice — he cushes
very well, and has a strong style to begin
with. A slightly heavy trombone chorus is
followed by the only drab spot on the side,
a piano and bass interlude ; however, they
pick up well after that, and the whole thing
leaves a pleasant taste in the mind. (Dial
1041) (P.B.)
19
by edward hill
The old advertiser's slogan that "a business
without signs is a sign of no business"
may be corny, but it cannot be dismissed
as outmoded. Time and again this depart-
ment's conductor has pointed out the failings
of the recording companies in the matter of
calling various purchase opportunities to the
attention of those for whom their products
are ostensibly marketed.
True, the item of obvious sockdolager
interest is pushed to an excess far beyond
the needs of those who grasp at the obvious
— until it seems that those whose duty it is
to allocate the promotional budget are de-
termined to devote themselves to the propo-
sition that that which sells itself is that
which deserves the most strenuous advertise-
ment. Well, I suppose that the results justify
the procedure, notwithstanding the fact that
those same results would be' forthcoming
without the procedure. A certain month's
release of the Tchaikowsky E Minor may-
be the third recording of the work within
the season: yet the adjectives will fly in pro-
fusion, as if to say "You ain't heard nothin'
yet!" (Concurrently, a version of unsur-
passable merit will have been withdrawn
from the catalog.)
And what of those items upon which the
prestige of the manufacturer was established
and sustained in the mind of the connois-
seur? Will so-and-so's what-have-you ever
be available again? Do you recall one of
your childhood's favorite bits of sass :
"That's for me to know and you to find
out?" It fits the present, in some measure,
for reinstatements are taking place these
days — reinstatements of meritorious re-
leases of yesteryear that have been unavail-
able for a long, long time. You, for whom
the reinstatements are effected, may have to
remain in ignorance of the re-issues until
such time as they are again retired due, of
course, to lack of sales. It's a crazy busi-
ness and profits no one; not the manufac-
turer— not the dealer — not you. For there
is next to no advertising and certainly no
fanfare. You need not be told of how nig-
gardly the promotion of the Heritage series
has been. If you have discovered some long-
wanted item, it is because you spotted it on
a dealer's shelf or because you obtained
knowledge of its availability by word-of-
mouth — or from the editorial notice t)f some
ink-stained savant like yours truly whose
remuneration is found in the acceptance of
your presumed good graces.
Somewhere amongst the back pages of the
October, 1948, 'RCA-Victor Record Re-
view there is a listing of eighteen Tito
Schipa couplings, described as "re-issued,
thanks to countless requests from coast to
coast." The titles embrace material dating
• from the mid-twenties to the mid-thirties,
operatic excerpts and catch-penny ditties. I
think you'll find several of these discs
worthy additions to your collection. Should
you decide to take in but one of them, let
me most emphatically urge that your choice
be the Cherry Duet from L'Amico Fritz in
which Suzel's lines are projected by that en-
gaging soprano. Mafalda Favero. Don't seek
any of these Schipa re-issues under their
original catalog numbers ; they've all been
equipped with new 1Q dash and 11 dash
numbers.
And don't expect Ideale and Marechiare.
Those two, previously re-issued as a black-
Tabel coupling, are among the missing, as is
that treasurable little side that came along
in the first year of electrical recording, con-
taining both La Farfaletta and Girometta.
And what of Plaisir d'amour and 0 del mio
amato ben? Never released at all in
America. What a fine first edition that
coupling would be !
The notion of devoting all ten sides of a
single Heritage release to a single artist
is not without merit, for it gives the col-
lector reasonably to understand that (a) he
may find something suited to his needs Now
and (b) should the repertoire contain
nothing he requires, he likely will have to
wait quite a while before his favorite's name
appears again.
The seventh Heritage release restores
some superlatively excellent examples of
Enrico Caruso's singing — among them the
1906 M'appari, meltingly, lovingly sung; In
terra solo (Don Sebastiano), one of the
true indispensables ; the exquisite Bianca al
par (Huguenots) as sung in 1909 and Mar-
cello's second act air from the Leoncavallo
La Boheme.
It is worthy of note that an earlier re-
cording, with piano accompaniment, of the
Huguenots aria exists and that it is vocally
superior to the one now made available, —
but the fact is that it does not play as well
on today's equipment. The Boheme excerpt
is of interest not only as a superb piece of
singing but also because of that opera's
place in the tenor's operatic history. Inci-
dentally, Leoncavallo makes Marcello a
tenor and develops the role so that Rodolfo
is relegated to the position occupied by Mar-
cello in the Puccini opera. The series also
includes arias from La Favorita, Samson
et Dalila, Macbeth, Nero — and a pair of
Italian songs that are delivered with charac-
teristic gusto.
The star of the Eighth Heritage Series is
that redoubtable singing actor, Feodor
Chaliapin, and we are exposed to examples
of his musico-dramatic craftsmanship over
a period of years beginning in 1909 and ex-
tending to 1928. Several of the items in-
cluded are now released in this country for
the first time and one, the Slumbering Nuns
piece from Robert, the Devil, is released for
the first time anywhere. Portions of the
Russian basso's interpretations in Lakme,
Norma, Mefistofele and Don Carlos are in-
cluded in this release — and two of the
couplings contain scenes from the inevitable
Boris Godounoff as taken down during an
actual performance in London in 1928. They
stand as peculiarly expressive souvenirs of
a career whose maker was occasionally a
musician but always a personage of mark-
edly original individuality.
I am given to understand that John Mc-
Cormack is shortly to be accorded an entire
Heritage series, comprising both ten- and
twetve-inch records of operatic material.
When the titles are announced, I shall re-
port to you, content that no fulsome en-
comiums will be necessary. I am almost, but
never quite, resigned that there may never
be an awakening to the need for such non-
operatic McCormack treasures as Come
Into the Garden Maud, My Lagen Love,
Down in the Forest and . . . and . . .
and . . .
Some seasons have passed since the voice
of Lotte Lehmann was projected in its best
state and it is not at all pleasant to con-
template certain recordings of hers which
cannot but detract from her reputation in
generations to come. But wait! Have you
listened to* her most recent, Schubert's Der
Erlkonig? Sung for the phonograph by
divers immortals' since time out of mind, I
never heard the song at all until I put on
Victor 10-1448. To be sure, Lehmann the
vocalist is no more, but the divinity of ar-
tistic inspiration cannot be quenched and
if, as I have been prone to understand these
many years, singing is the interpretation of
text by means of tones produced by a
human being, then Lotte Lehmann remains
a singer par excellence, as ever was.
Oh, by the way, the Gerhard Hiisch discs
of Beethoven's An Die Feme Geliebte are
available again. . . . I've been seeing Vol-
umes 3, 4, 5, 7 and 8 of the Haydn Quartet
Society sets around. If the sixth volume has
not been restored, there is cause for much
umbrage, as it contains some of Haydn's
most ethereally beautiful pages. Volumes 1
and 2 never having been domestically avail-
able at all, I refuse to be concerned. What
do you think I am, anyway, a music-lover?
20
ward pinkett
(Continued from Page 13)
attack is far more powerful than on the
other sides, and his phrasing more rem-
iniscent of Armstrong than in his previous
recorded examples. His last session with
Morton included Fickle Fay Creep, and here
he uses very powerful phrases with a fine
broad tone to create an exemplary lead. His
domination of the ensemble is impressive.
His sides with Oliver again show him in
the role of a vocalist. Particularly impres-
sive is his scat outburst on Stop Crying.
On this side it appears likely that he takes
the second trumpet chorus ; there is a phrase
toward the end which is very typical, al-
though the tone as a whole is not par-
ticularly like Pinkett's other work, being
somewhat more of a virtuoso performance
than Pinkett usually indulged in.
His last session with the Rollini group
was very unsatisfactory — the tunes were
commercial, and though there are good spots
of Pinkett, his work appears to have been
in decline.
It would be fitting to conclude with the
opinion of Albert Nicholas (quoted in Jacc
Information Sept. 20, 1940) : "There was a
great trumpet player," he says, "one of the
best men for a small band I ever played
with." It is to be hoped that collectors as
a whole will pay more attention to the work
of this sadly overlooked trumpeter in the
coming years.
(A full Ward Pinkett discography, too
long for inclusion in this issue, will appear
in next month's Changer. In addition to
comparatively well-known dates with King
Oliver and Jelly Roll Morton, the listing
will include all available data on rare Pinkett
appearances for which full personnel is still
unknown.)
alexander's jazz band
(Continued from Page 15)
Frisco Jazz Band : Jack Buck, trombone ;
and Jack Crook, clarinet.
Scobey, himself, has a sound, though not
particularly colorful, musical background.
An Arizonian by birth and a Californian by
choice, Bob took up trumpet at the age of
nine and has been playing ever since. He's
now 32, but looks younger. Bob has played
in all types of bands, but has leaned toward
small combos. During the war he played in
an Army band and formed his own small
group, "just to stay out of their dance band."
Except for the war years, Bob has been with
the Lu Watters band consistently, outside of
a few casuals, including some jobs with Kid
Ory. Bob modestly claims that he "stank"
when he took Papa Mutt Carey's place a
couple of times last year, asserting that
Ory's music was too subtle for him.
"I was lost!" says Bob.
He admits it was a different story when
he sat in last Fall, however. He proved his
versatility and ability to learn, displaying an
understanding of Ory's music which earned
enthusiastic praise from the Kid.
Despite the variances in their views,
Scobey names Lu Watters as a prime factor
in his development as a jazz musician. "Lu
got me interested in jazz and I learned a lot
from him."
Bob has no regrets about leaving Lu's
outfit, however. He enjoys being the leader
of Alexander's Jazz Band.
claude boiling
(Continued from Page 7)
well registered and balanced ; the whole ef-
fect is of a group of experienced and ma-
ture jazzmen that know what they are
doing and why. They have the courage to
do it their own way, a thing that, with
every year that passes, becomes more dif-
ficult for a young band to do. Boiling does
not hesitate, for example, to alter the tra-
ditional routine of Dippermouth — something
that even Muggsy Spanier did not do — and
he brings it off with a number that really
rocks.
You Rascal You comes off with such jazz
verity and yet with such a brilliant con-
temporaneity that this side, alone, gives some
idea of how far this band, headed by a teen-
age French pianist, is apt to go. These boys
have ability, plus the courage to be original
in a tradition already sanctified by time.
For them, not only is spurious "modernism"
completely out of the question, 'but the New
Orleans style, itself, is a pathway — not a
stopping place.
Boiling's Blue Star sides (which will be
issued in this country on Circle) should be
something of a revelation to jazz fans in
America. Coming on the heels of the re-
cently published Luters, the solid, swinging
rhythms of these new sides, the instrumen-
talism that is, in the main, so brilliant, and
the authentic jazz feeling, will awaken
memories of many great jazzmen and jazz
bands of the past. But one never forgets
that they are something happening today
and belonging to today, something of the
highest importance. There are more here
than echoes, however faithful, of the past.
There are overtones of the future : jazz is
moving on. It is spreading all over the world
and young bands are playing jazz that older
musicians might be proud to play. The
renaissance of pure, real jazz — only ten
short years ago mainly a dream — is today
fast becoming a wonderful reality.
kenneth lloyd bright
(Continued from Page 16 )
there playing -with the angels under a
heavenly alias, and alongside a trombone
who was also somebody, but just who we
never could find out, though it didn't matter
because it was good enough to just listen
to him.
Kenneth always said that Mamie Smith
was his girl and Johnny Dunn was the most
underrated horn who ever lived, but the truth
of the matter was that he always played
Bessie instead and every time you put on
an Oliver accompaniment he swore it was
Johnny Dunn, complete with box coat and
three-foot-long horn. But you could never
fool him on where a tune was stolen from ;
he was a better song sleuth than Sigmund
Spaeth. And as for Mamie and Johnnny
Dunn, I'll tell you a secret about that. They
were from Harlem, right off the same block,
so to speak, and when that was so you better
be for them ! Besides, the experts didn't
like them and Kenneth always prided him-
self as being the loyal opposition. As he so
often said, the experts were trying to find
things in jazz that were never there, and if
they couldn't find them they weren't above
putting them in anyway.
Those of us who had the privilege of
knowing him loved him, for he was that kind
of a guy. What more can you say?
Bucklin Moon
YERBAj£UENA
5721 GROVE STREET
OAKLAND 9 CALIF.
MAIL ORDERS WELCOMED— SATISFACTION
GUARANTEED
We stock ALL jazz and other labels
(Everything that's advertised in THE CHANGER)
(Exception: not everything in "For Disposition")
Excerpts From Our New
12-Page Jazz Catalog:
PARAMOUNT (reissues) $1.05 each
JOHNNY DODDS & R. M. JONES' JAZZ WIZARDS:
Hot & Ready/It's A Lowdown Thing.
TOMMY LADNIER ORCH. with EDMONIA HENDERSON:
Jelly Roll Blues/Lazy Daddy Blues.
LOUIS ARMSTRONG with F. HENDERSON ORCH:
Prince of Wales/ (Copenhagen).
JOE SMITH ORCHESTRA/THE MYSTERY RAGSMITH:
Heart Breakin' Joe/African Rag.
FLETCHER HENDERSON, piano solos:
Chimes Blues/I Want To.
LEADBELLY:
All Out and Down/Packin' Trunk.
JELLY ROLL MORTON & ORCHESTRA:
Big Fat Ham/Muddy River Blues.
CLARENCE WILLIAMS ORCHESTRA:
Squeeze Me/New Down Home Rag.
JAMES P. JOHNSON/FLETCHER HENDERSON:
Harlem Strut/Unknown Blues (solos).
MEADE LUX LEWIS with George Hannah:
Freakish Blues/The Boy in the Boat
MA RAINEY:
Deep Moanin' Blues/Traveling Blues
FLETCHER HENDERSON ORCHESTRA:
Swamp Blues/Off to Buffalo.
SQUIRREL ASH CRAFTSMEN (Bill Priestley, cornet):
Riverboat Shuffle/Sugar.
(And more to come: entire PARAMOUNT catalog!)
S & D REISSUES $1.05 each
WILL EZELL. CHARLIE SPAND, ALEX HILL, etc.:
Hometown Skiffle, I & II.
DOBBY BRAGG:
Single Tree Blues/Fire Detective Blues.
JELLY ROLL MORTON'S STOMP KINGS:
Mr. Jelly Lord/Steady Roll.
SKIP JAMES/JABO WILLIAMS:
Little Cow and Calf/Fat Mama Blues.
NEW CENTURY REISSUES $1.05 each
BUD JACOBSON'S JUNGLE KINGS:
Clarinet Marmalade/Laughing at You.
CHICAGO RHYTHM KINGS:
Song of the Wanderer/Some Changes Made.
JOHNNY DODDS etc./YOUNG'S CREOLE JAZZ BAND:
South Bound Rag/Tin Roof Blues.
DOBBY BRAGG:
3.6. and 9/We Can Smell That Thing.
JIMMY BLYTHE RAGAMUFFINS (Keppard, Dodds):
Messin' Around/Adam's Apple.
NEW MEZZROW-BECHET QUINTET,
King Jazz $1.05
With vocal by Coot Grant* and Grant & Wilson:
You've Got To Give It To Me»/You Can't Do That
To Me.
Evil Gal Blues/Breathless Blues.
NEW BECHET-BOB WILBUR ALBUM,
Columbia $3.95
WITH BOB WILBUR'S WILD CATS: 79c singly:
Kansas City Man Blues/Polka Dot Stomp
Spreadin' Joy/It Had It But It's Gone.
WITH THE BECHET QUINTET:
Just One of Those Things/Laura
Love For Sale/Shake 'Em Up.
NEW BOB WILBUR WILDCATS ALBUM,
Rampart $3.95
When You Wore a Tulip/Frog-i-more Rag
Camp Meeting Blues/Once in a While
Trouble in Mind/Oh, Daddy.
AND: BILL WILLIAMS DIXIELAND BAND
Album $3.15
Black and White Rag/Ridin' to Glory on a Trumpet
Maple Leaf Rag/Muscat Ramble (sic)
Jeep Blues/At the Jazz Band Ball.
OUR COMPLETE CATALOG MAILED ON REQUEST.
West Coast Distributors (catalog on request) : Castle,
| Circle, Exner, Pacific. Reissue, Rampart, Session.
HOW THE RECORD CHANGER WORKS
21
Abbreviations used in the Classified
"Wanted" and "For Disposition"
Sections are as follows:
Col. I, Record Label:
At Aeolian
Aj Aju
AM American Music
Aa A»"
Ar Artiphon
As Asch
Au Autograph
Af .... Aeolian Vocalion
Ba Banner
BB Blue Bird
Be Beacon
Bl Berliner
BN Blue Note
BP ... Brunswick Polydor
Br Brunswick
Bt Beltona
BS Black Swan
Bu Buddy
Bwy Broadway
Ca Cameo
Ch Champion
CI Collectors Item
CI Clarion
Clg Clangor
Cn Chantal
Ca Columbia
Com Commodore
Cp Capitol
Ca Conqueror
Cr Crown
CDS Collectors Rec. Shop
Cs Crescent
Cx Claitonola
Dc Decca
OF Oiscophiles Francoises
Di Oua
Dl Dolmetsch
Oa Domino
DP Decca Polydor
0( Disc
Oi Deluie
Ed Edison
EB Edison-Bell
El Electrola
Em Emerson
El Eicelsior
Fo Fonotipia
FO .... Fonodpia-Odeon
FRM Friends of
Recorded Music
Ge Gennelt
GG Grey Gull
Gl General
Gr Gramophone
Gt Gamut
Ha Harmony
He Homochord
Hg Harmograph
Hgl Hargail
HMV. His Master's Voice
HoW Hit of the Week
HRS Hot Record Society
Id Ideal
J» Jewell
Jl .... Jazz Information
JM Jazz Man
Kn : Keynote
Li Lincoln
Lu Lumen
Me Melotone
Ml Melba
Mo Monarch
Mp Masterpiece
Ms Master
MV . Musique au Vatican
MW . . Montgomery Ward
NMQ New Music Quarterly
Ns Nordskog
Od Odeon
OL Oiseau Lyre
Op Olympia
Or Oriole
Pa . . Parlophone
Pat Pathe
Pd Polydor
Pe Perfect
Pm Paramount
Pr Pro Musica
Pu Puritan
Ra Radiodisque
Re Regal
Ro Romeo
Ry Royale
RZ Regal -Zonophone
SA Solo Art
Sal Salabert
Sbl Sonabel
Sg Signature
SI Silnertone
St Sterno
Su Sunshine
Sw Swing
Sy Syrena
Te Technichord
Tfk Telefunken
TM Treasury of Music
Tr Triangle
UH United Hot Clubs
Ul Ultraphone
Ve Vel»etone
Vi Victor
ViE Export Victor
Vo Vocalion
Vr Variety
Vs Varsity
Vy Victory
Whan it is necessary to indicate nationality of
the record, the following letters appear after
the record label abbreviation:
A Argentinan
Au Australian
B Brazilian
C Canadian
E English
F French
G German
I . . . , Italian
J Japanese
M Meiican
S Swiss
Sd Swedish
In the "For Disposition" section the condition
of the record is indicated by these abbrevia-
tions:
N (New): Surface noise equal to an unplayed
record; no visible or audible wear percep-
tible; original finish intact.
E (Excellent): Surface noise low. smooth, uni-
form Not irregular or crackling. Easily dis-
regarded in listening. No perceptible distor-
tion.
V (Very Good): Surface noise somewhat
more prominent; light foreign noises, but
slight distortion, if any; noises not seriously
distracting.
G (Good): A moderate amount of surface
noise: background may be somewhat irregu-
lar and crackling; some foreign noises, and
a little distortion; on the whole, reasonably
satisfactory listening without undue distrac-
tion of attention. Foreign noises definitely
less prominent than the music.
F(Fair): Foreign noises, taken together, are
about as prominent as the music, and there
Is considerable distraction of attention, and
listening requires some effort and concentra-
tion: nevertheless, under these copditions.
listening should be fairly satisfactbry.
P (Poor): Foreign -noises, collectively, are
louder than the recorded music: continuous
concentration is required, and there is little
satisfaction in listening.
Column 4 of the "For Disposition" section shows
the method by which each record is to be dis-
posed.
"SAL1': The record is for sale at the price
indicated.
"AUC": The record is at auction. The highest
bid takes the record. Bid only what the
record is worth to you.
"TRA": The record is for trade only. If you
are not familiar with the wants of the ad-
vertiser send for his want list. If you have
certain records in which he may be in-
terested, mention these in your letter.
The eitreme right column in both the "Wanted"
and "For Disposition" sections shows the first
four letters of the advertiser's name. His ad-
dress is shown below.
ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE
MAD I : JOSEPH MADISON 2825-34TH
ALCO: JOHN ALCOTT 374 WAVERLY
OAKS, WALTHAM 54, MASS.
ARG: AMALGAMATED RECORD GROUP
P.O.BOX 34i COOPER sta. nyc
AVER: RAY AVERY, THE RECORD
ROUNDUP 1630 S. LA CIENEGS
BLVD. LOS ANGELES 35, CALIF.
BROC: CHARLES BROCKMAN 466
KIMBALL AVE., YONKERS, NY
BRON: ED BRONNER 10 W. 86 ST.
NYC
CARV: OLIN G. CARVER 2||6
WEST AVE. H, TEMPLE, TEXAS.
CIAR: ANTHONY P/CIARDI |||9
LUZERNE ST., SCRANTON 4, PA.
COHE: NORMA N COHEN 4622 N.
WARNOCK ST., PH I LADELPH I A, PA .
COOK: ELSON cook Box 769
PHOENIX, ARI23NA
COOW: WILLIAM J. COOKE 663
EAGLE AVE., BRONX 55, NYC
COST: M.T.COSTELLO 1 09 EDDY
ST. ,SPRINGF| ELD 4, MASS.
FISH: G.B.FISHER III RE I GATE
RD., BROMLEY, KENT, ENGLAND
GLOB: GLOBE AGENCIES 55 W. 42
ST., NYC
GOLD: HOWARD GOLDBERG l|2
TUDOR PLACE., BRONX 52, NYC
GOLF: FRANK GOLDMAN 594 E 40
ST., BROOKLYN, NYC
HIRSl BILL HIRSCH, FIFTH AVE.
HOTEL, RM 823 N.Y.C.
HOLB: RICHARD G. HOLBROOK
GUARD HILL RD., BEDFORD
VILLAGE, N.Y.
KEND : BYRON KENDIS 4927 BOUDINOT
ST. ,PH I LADELPH I A 20, PA.
KILR: N.A.KILROY 3505 MEISNER
ST., LOS ANGELES 33, CALIF.
KNOEtPETER KNOEFEL lOl W.
CHESTNUT ST., LOUISVILLE 2, KY .
KUNK: MRS R.R.KUNKLE 302 SOUTH
I -OKA , MT PROSPECT, ILL.
LEVI: FLOYD LEVIN 405 N. NORTON
AVE., LOS ANGELES 4> CALIF.
LIOU: JOHN LIQUOR I 4563 N.
COLORADO ST., PH I LADELPH I A , PA .
AVE., SAN FRANCISCO 1 6, CALIF.
MAGG: ARNAUD MAGGS 2040 GREY
AVE. , MONTREAL 28, CANADA
(25«* PACKING CHHRGE)
MARCl CY MARCUS ,0&L MUSIC CO.,
2373 E. 24ST. BKLN 29, NY
MAYE: H.MAYER 263 BILTMORE AVE
ELMONT, L. I . , N.Y.
MERK : EDWARD MERKLER 299 RIVER-
SIDE DRIVE NY 25 NY APT 1 8
MILL: HAROLD MILLER 26 W. 74 ST
NYC
MOUL: W.R.MOULTON 22 1 GERRY RD .
CHESTNUT HILL 67, MASS .
OLIVj W.T.OLIVER C/O 26 DEVON-
SHIRE PLACE NEWS, LONDON W.I
ENGLAND
ORLA: JAMES ORLAND i,D I CKERSON
RUN, PA.
PARR: SID PARRY 574 w. 1 76 ST
NY 33, NY
PHIL: W.L.PHILLIPS | 26 W. FIRST
A VE.,KANNAPOLI S, N.C.
PIKE: GILBERT L. PIKE 10 W I NNE—
MERE ST., MALDEN 48, MASS .
QUIN: W.W.QUINN 4406 AVE. J,
GALVESTON, TEXAS
REEK: LINDSAY S. REEKS 1 476
PATTERSON AVE., FRESNO, CALIF.
ROSE: BORIS ROSE 2 1 I E. |5 ST.
NYC
SCHN: JACOB SCHNEIDER 1 28 W.
66 ST., NYC
SHAY: HOWARD B. SHAYER 3|57
CONEY ISLAND AVE., BKLN 24 NY
STOL: GENE STOLL 55 1 4 S. ASOTIN
TA COMA 8, WASH.
TERR: EZRA TERRY, DORSET, VT.
TOML: JERRY TOMLINSON 924
LEIGHTON, KEOKUK, IOWA
TOWN: ROGER. W. TOWNSEND 5609
BRAMBLE AVE., CINCINNATI 27,
OH I 0
UMPH: G.WALLACE UMPHREY , BURTON
WASH I NGTON.
VJR: VINYLITE JAZZ REISSUES 2l|
E. |5 ST., NYC
22
WASHS HARKLESS WASHINGTON, JR.
1575 TURK ST., SAN FRA CISCO, CF
WElNl RAYMOND WE I NSTE I N 38
THATFORD AVE., BKLN, NY
WEND? ROY WENDELL ENGINE 4
MFD RIVERSIDE AVE.,MEDFORD
MASS.
ZEIGS LES ZEIGER 1056 SHERMAN
AVE., NY 56, NY
NOTE
COMPOSING
DISPLAY ADS
FOR OUT-OF-PRINT
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1. No forms are required for dis-
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just as it is to appear in print.
2- Each column holds 78 lines of
record listings, two columns, 156
lines; three columns, 234 lines.
3. Each recording group must oc-
cupy a separate line
4. Try to make your ad come out to
an even one, two. or three col-
umns
5. Record lists less than one column
must be submitted on our classi-
fied ad forms and shown in our
"wanted" or "for disposition"
section.
6. All advertising concerning out-
of-print records must be accom-
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Advertising not accompanied by
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j. A collector or person who obtains a record in
trade must fulfill his end of the trade within a
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4. A collector or person who requests that a
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unless the shipment is damaged in transit. (A bid
on an auction or an order from a sale which states
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* • *
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CLOSING DATE FOR BIDS
On all Records advertised
for auction in this issue will
be FEBRUARY 20, I 949
UNLESS OTHERWISE STATED
Uinylite ^azz l^eiiiuei
CATALOGUE ON REQUEST
14 if lite f]o. 25 Yjow IQealy
21 1 E. 15th St.. N. Y. C. 3, N. Y.
. all you
<9.
CATS
in tne
los angels e
area. . . .
you 're
invited to
marie tc gene deitch's
regular friday night
record sessions: cr 1-8240
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Name „ _ _
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23
AUCTION AUCTION
MARCIA AND EARL BARLOW
82 PARXIAY, WILC.0UGH8Y, OHIO
WINNERS NOTIFIED AND SHIPMENT MADE ON RECEIPT OF AMOUNT DUE AND SHIPPING INSTRUCTIONS
254 PACKING CHARGE ON ALL OREDERS UNDER $ lO.CO.
LIL ARMSTRONG
TH street/secret flame DE 7739 N
SIT DOWN STRIKE/knOCKIN CABIN DE |272 N
LETS CALL IT LOVE/u MEAN SO MUC DE 1 502 N
LOUIS ARMSTRONG
N GLOAMI NG/EVERYTH I NO BEEN DONEDE 3825 N
GUT BUCKET BL/IN THE BARREL OK 826l F
BIX
TODOLIN BL/DAVENPORT 6L(wh LAB) SE 6 N
ELLINGTON
MEMORIES OF u/CANT GIBE U (YELL)BB 6280 N
harlemania/stevedore st(yellow) BB 6306 N
ELLINGTON CONTINUED
bandana babies/must have man
DIGA DOo/l CANT GIVE U
HARLEMAN I A/jAP DREAM
SWANEE SHUFFLE/mIJS.
MY GAL GOOD FOR NOTHIn/| MADE
its Glory/daratoga SWING
JAZZ C0NVULS IONS/J LLY WOG BB
ADM I RAT I On/ma OR I BR
DOUBLE CHECK St/aCCRDIAN JOE BR
ALL ST WAIL/COTTON CLUB STOMP BR
RUNNIN WILD/HOOD INDIGo(lAB REV)BR
bl harlem/best wishes
BR
L 1 GHTN 1 h/jAZZ COCKTAIL
BR
swi*g low/ducky WUCKY
BR
RAISIN RENT/HAPPY AS DAY
BR
im satisfied/jive stomp
BR
RUNNIN WILD/ROCK IN CHAIR
BR
SWEET MAMA/WHEN U SMIL IN
BR
MERRY GO ROUND/aDM 1 RAT ION
BR
trucki n/accent ON YOUTH
BR
margie/cotton
BR
BB 10245 N
4705 N
4776 N
4783 E
4887 N
4952 E
6374 N
6404 N
6432 E
6571 N
6638 N
6732 N
681 I N
7440 N
75|4 E
7526 N
GREATER LOVE/lSNT LOVE ST RANGE ST7625 N
CLARINET LAMENT/ECHOS HARLEM BR
BLACK BUTTERFLY/HARMONY UARLEM BR
LOST MEDITATION/GLIDING BLUE NO BR
SKR0NTCh/|F U IN MY PLACE BR
SLAPPIN 7 AVE/SWING HONOLULU BR
SE RIO GRANDE/GYPSY WITHOUT SONG
OINAHS IN JAM/u GAVE ME GATE BR
MIGHTY LIKE Bl/bUFFET FLAT BR
portrait of uion/somthin to livebr
solid olo man/smorgasbord br
expos i t i on swing/will huoson br
freeze melt/miss. moan co
beggars bl/sat function
rocky mt bl/8ig house bl
misty uorn/bl with feel in
wiloest gal/put selb my place
soph lady^erry si round
hyde park/aint mi6beh
harlem speaks/chicaco
sing u si nners
st james inf/
bakibt/giooy bug gallop
new e st louis/i got be ruq
theres lull/swell of u ms
u cant run away/lady coulont k i sms
ALABAMY HOME/aLL GODS CHILLUM MS
8WAMPY RIVER/SLA K BEAUTY
SNAKE HIP OANCE/jUNGLE JAM
DIGA DOO/OOIN LOW DOWN
RING DEM BELLS/(LOUI s)
E ST LOU IS/HOP HEAD
TAKE IT EASy/(tRAM-BIx)
IM SO IN love/(n sissle)
ESQUIRE 6WANK/^I I OR I FF
CO
7650 N
8044 N
8083 N
8093 V
Bl 3 1 v
8|86 E
8|69 V
823 1 N
8365 N
8380 N
82l3 E
i ei 3 n
1868 E
CO 35682 N
CO 35955n/e
CO 37957 N
COE 591 N
DE 323 N
DE 800 N
HOW 1 045 N
HOW |04£ N
HMV 9254 N
1 0 1 N
1 1 V
1 24 N
137 N
8636 N
OK 8720 N
OK 41096 N
OK 4] 468 F+
PAE 220? N
PAL 2304 N
PE 15649 E
SW 230 N
MS
OK
VI 38007 G
VI 38008E/V
VI 38045 N
VI 38089 K
VI 38130 N
SWEET JAZZ MINE/SWEET D REAMS LO VI 38143 N
mood mist/c jam bl VIC27S56 n
OKLAHOMA STOMP/(jUNIE C COBB) VO I 449 N
ELLINGTON UNITS
LULL AT DAWN/CHARLIE CHULO BB |098| E
squsTTY roo/thing aint used be bb ii447 n
passion flower/goin out back way^3008|7 n
solid rock/night wind
i know u know/buck Clayton)
mooo romance/your love faded
give it up/dry so long
top bottom/toasted pickle
lull at dawn/portar it louise
soft warm/wrap toubles
step steps up/down
tea for two/moon glow
rexati ous/lazy man shuffle
where are u/dio anyone ever
4^ street/solace/
fool in self/never go heaven
TEA TRUMPETs/bAC RM STOMP
DEMI TASSE/jAZZ ALA CARTE
SWING BABY SWING/SUGAR HILL
MY DAY/SILVER MOON GOLDEN
DRUMMERS DELIGHT/lF I THOUGHT
ECHOS HARLEM/HAVE HEART
I LET SONG/lF U IN MY PLACE
JEEP BL/RENDEZVOUS RHYTHM
EMPTY BALLROOM/u WALKED OUT
JITTEBUG LULLABYE/BL SERENADE
SWINGIN DELL/LOVE SWINQTIME
JEEP JUMP IN/PRELUDE TO KISS
HODGE PODGE/wANDERLUST
MOBILE BL/GALAVANTIN
DOOGIE W00G1E/MISS. CREAUBOAT
HOMETOWN BL/DANCE GOOB
RENT PARTY BL/RABBITS JUMP
SAVOY STRUT/GOOD GAL BL
BARNEY GOIN EASY /MINUET IN BL
STUFF SERENADE/lLL COME BACK
TIRED SOCKS/SKUNK HOLLOW BL
BUD FREEMBN
LIFE SPEARS J I TTERBUG/WHATS USE COM 507 N
3 LITTLE WORDS/SWINGIN WITHOUT COM 5|4 N
sensation/oh BABY (RED LABEL) DE 18065 N
LIONEL HAMPTON
26017 N
HRS
1004 N
HRS
1 026 N
OK
5940 E
OK
5690 N
OK
6336 N
REX
9001 N
REX
9002 N
SG
28 1 |4 N
SG
28 1 1 6 N
VR
5|7 N
VR
54 1 N
VR
564 N
VR
576 N
VR
6l8 N
SPINAC
626 N
VR
655 N
VO
3844v/e
VO
3948 V
U VO
3985 E
VO
3960 V
VO
4046e/n
VO
4i |5 N
VO
42| 3 N
VO
4309 E
VO
5335 N
VO
4386 N
VO
4573 N
VO
4636 E
VO
4849 N
VO
4941 N
VO
5100 E
VO
51 70 N
VO
5378 N
VO
5448 E
VO
5533 N
HARLEM RIVER QUIVER/WASH WABBLE VI 2|284 E
MOOD I ND I GO /WHEN BL MAN BL VI 22587 V
BL AGAIN/BERT LOWn) VI 22603 N
IT6 GLORY. BLOWN BERRIE6 VI 2279lv/E
BL BUBBLES/BL 1 LOVE SING VI 22985 N
HTTIN BOTTLE/LINOY HOP VI 2301 6 V
MEMORIES OF u/lUCKY TO ME VI 230|7 N
SAM AND DELILAh/bL JEANS VI 23036 N
|M SO IN LOVE/AUNT TILLIE VI 23041 N
RUDE I NTERLUDE/OALLAS 00IN6 VI 2443l E
COCKTAILS FOR 2/LIVE LOVE VI 246|7 N
MY GREA TEST M I STAK E/o I X I E RDSIOEVI 267 1 9 N
GIRL I N 0 REAMS/FLAMI NGO VI 27326 N
JUMP FOR JOY/BRWNSKIN GAL VI 275|7 N
ROCKS IN BEd/bLI BLIP VI 27639 E
MUSK RAT RAMBLE/ R I NG DEM BELLS VI
FLETCHER HENDERSON
VARIETY STOMP/ST LOUIS SHUFFLE BB 10246 N
ART HOPES
ORGAN GRINDER Bl/sELECTION GUTTERCOM 545N
ROYAL GARDEN Bl/|03 ST BOOG JR lOOl N
BUNK JOHNSON
panama/down iy river (wh label) um 8 n
GME KRUPA (GOODMAN)
BLUES ISRAEL/THREE LITTLE WORDS DE |8||4 N
WING IE MAM ONE
BEALE ST BL/FAREWELL BL BB |040| E
MEH MEZZROW
BL IN DI8GUISE/THATS HOW
MCBB
FEEL VI 25636 E
B 10209 N
TAILSPIN 8L/NEVER HAD REASON
REO NICHOLS
R I VERBOA T SHUFFLE/ECCENTRIC BR 3627 V
MUGGSY SPAN IER
BIG BUTTER EGG MAn/e CCENTR I C BB |04|7 N
D I PPERMOUTH BL/SISTER KATE BB 10506 N
JAZZ BAND BALL/LIVERY STABLE BB I 05 1 B N
JOE SULLIVAN
HONEYSUCKLE ROSE/aiN MILL BL UHCA 3| E
AUCTION SALE
ROY HIGGINSON
BOX 484, CARLSBAD, CALIF.
ALL DISCS FOR SALE 50^ EACH UNLESS HIGHER
OFFER RECEIVED. MINIMUM ORDER $ 2.00. WINNERS
NOTIFIED.
AL BOWLLY AND RAY NOBLE
BASIN ST BL/MELANCHOLY BABY VI 25007 E
RED SAILS/rCLL ALONG PRAIRIE V| 25|42 V+
DICK POWELL
lullabye broadway/m IRACLES BR 7374 N
2 SIDES EVERY STORY/FANCY MEETIN'.DE 924 E
MORTON DOWNEY
vi 22973 v+
VI 22674 E
ME I 33 1 7 v
PE 5|20| V+-
VI 2l 806 v
WABASH MOON/MOTHERS APRON
LITTLE CHURCH VALLEy/sAY A
LITTLE WHITE GARDENIa/| LUCKY
U ARE MY LUCKY/THANKS MILLION
M SORRY SALLY/HOW ABOUT ME
BOSWELL SISTERS
AMONG SHELTERING PALMs/sENT GENTCO 36522 'N
LONESOME ROAD/GOIN HOME BR 695 1 V+
LET SELF GO/ALL EGGS ONE BASKET DE 709 E
SHINE ON HARVEST/HEEBIE HEEBIES BR 6|73 V
ITS THE GIRL/lTS U BR 6|5| V
THANK U MR MOOn/nOTHING SWEETER BR 623l V
TAKE SUGAR TO TEa/hOW DO BR 80011 V+-
HIGHWAY TO HEAVEN/( TAYLOR ) VI 22500 V
MILLS BROS
ST LOUIS BL/CONEY ISL WASH
r|SS OTIS REGRETS/OLD FASH LO
CH I N a town/ ca reless love
LAZY RIVER/627 STOMP
VICTOR YOUNG ORCH
BL DANUBE/GLOW WORN
WORLD WAITING SUNR I SE/FAUST
WISHED ON MOON/WHY DREAM
ROSE IN HAIR/u CAN BE KISSED
IF I HAO WAY/COCOANUT ISL
SAMMY KAYE ORCH
MY BL HEAVEN/SWEET GA BROWN
WHlSPERING/l MARRIED ANGEL
DIPSY DOODLE/SWING HERE TO SI
josephine/harbor LIGHTS
ON WISCONSIN MEDLEY/l ND IANA V
NAT BRANDYW I NE
THESE FOOLISH Th/tAKE MY HEAF
GLORY LOVE/LAZY WEATHER
DON BESTOR ORCH
72 st/shuffle off buffalo
prize waltz/call u mine vi 24693e
CHICK BULLOCK ORCH
SMOKE GETS IN EYEs/CANT TAKE IT ME 12865 V+-
GOT WORLD ON STRING/ny TIME PE 13042 V+-
TINKLE SONG/SIME AGAIN VO 4847 E
GUS ARNHE IM
IF I HAD WAY/WETTHEART WHERE ARE UV I 22058E
LOVABLE AND SWEET/DREAM MEMORY VI 22054 V+
THIS IS HEAVEN/SLEEPY VALLEY VI 2|986 V+
AL DONOHUE
DEEP PURPLE/SPEAK OF U PFTEN VO 4596 E
24 HRS DAU/LOVE MAKES WORLD GO DE 599 N
ARTHUR TRACY (STREET SINGER)
FAREWELL TO ARMS/l BRINQ SONG BR 65l 2 E+
LETS FALL LOVe/l»TTLE DUTCH MILLVO 267l E+
DICK TODD
ALL TH LS HEAVEN TOO/wHERE KEEP BB 10789 E
LITTLE BIT SOUTH NORTH/gOWELL BB I 1 091 V+
TONY MARTIN
LAST TIME I SAW PARIs/lONDON DE 3591 E
HILLS HOME/COWBOY SEREN DE 3989 E
JOE HAYMES
ALL IS FORGOTTEN N^w/DAYDREAMS ME 1 3 1 42 E
LITTLE BUCKEROO/LOVE BG B I TE U ME 705 I 3E
RUTH ETT ING
FAITHFULLY YOURs/MOONL I GHT T IME CO 2470 E
OUT OF NOWHERE/SAY PRAYER CO 2454 E
GOODNIGHT MY LOVe/nEXT ROMANCE DE 1107 E+-
HAPPY GO LUCKy/tHSTS WHAT ME |2375 E
TRY LITTLE TENDERNESs/yOUNG FELLPE 13040 V+-
guilty/now U GONE CO 2529v/e
kiss waltz/dont TELL HER CO 2280 v+
DANCING MOONLIGHT/EVERYTHING I BR 671 9 V
WHAT IS SWEETER/u MY PAST BR 6671 V+-
THATS WHAT I LOVe/aINT GOT NO BO CO 692 V
ME
1 3 1 78
E+
DE
166
V
BR
6305
V
DE
4|87
v+
OE
134
E+
DE
135
E+
DE
506
V+
DE
489
V
DE
842
V
VO
4109
E
VO
4|40
V
VO
3849
V
cq
8905e/v
VI
26035
V+
BR
7676
V+
BR
7660
E
VI
24253
E
24
AUCTION
AUCTION
ARNOLD'S RECORD SHOP
251 HUNTINGTON AVENUE
BOSTON 1 5, MASS.
CONDITION OF ALL RECORDS GUARANTEED. ONLY WINNING BIDDERS WILL BE NOTIFIED, NO
PACKING CHARGES. ALL RECORDS SHIPPED PP COD UNLESS OTHERWISE SPECIFIED.
DOMEST IC LABEL COLUMN
ADRIANS (ROLL IN I) RAMBLERS
BETTER TO LOVE u/wlSH I TWINS BR 6889
GET GO IN/KEEP ON DO I N W AT BR 6786
HENRY ALLEN
EVERYBODY SHOU T/DANC I NG DAVE VI 38 I 2 I
SUGAR HILL FUNC/U MIGHT GET BETTVI 38|40
MILDRED BAILEY
home/stop the sun/ BB 7763 V-h
BUTTERBEANS AND SUZIE
ELEVATOR PAPa/tIMES IS HARD OK 8833 N
SIDNEY BECHET
TROPICAL MOOD/BABA VS 8360 E
SAVE IT PRETTY MAMA/STOMPY JONESVI 27240 V+
viper mad/sweet PATOOTIE DE 7429
BLACK STICK/*HEN SUN SETS DE 2|29
JOHN BOLES
ROMANCE/AFTER MILLION $ DREAM VI 22230
one girl/west WIND VI Z?.?.?£
COLLEG I ANA (OLD GRAD RARITIES)
DARTMOUTH COLLEGE GLEE CLUB
MEN OF DARTMOUTh/sEA FEVER
PRINCETON GLEE CLUB
OLO NASSAU/ORANGE BLACK
N.Y.U. GLEE CLUB
ALEX-OLD NYU/PAL I SADES
FORDHAM UN IV GLEE CLUB
AVE maria/alma mater(the ram)
CHARLESTON CHASERS
FA REWELL BL/my GAL SAL
CO
3174
3195
3177
3 1 75
1539
1629
10241
B I NG CROSBY (PW RHYTHM BOYS)
RHYTHM KING/MY DESIRE CO
JOHNNY DODDS HOT 6
Isabelle/heah me talkin bb
BOB CROSBY
OLD SPINNING WHEEL/DEVIL DEEP BLDE 1196
DUKE ELLINGTON
SLACK BEAUTY/JUBILEE STOMP VI 2 1 580
|2ST RAG/ROCKIN RHYTHM BR 6038
SW I NGT I ME HONOLULu/sHOPP I N 7TH AVEBR8|3|
DIZZY GILLESPIE
cherokee/mel ncholy baby bw 18
MAN 1 042 N
GOOD BAIT/CANT GET STARTED
TEDDY HILL NBC ORCH
TWILIGHT TURKEY/STUDY BROWN
FLETCHER HENDERSON
BLAZIN/WANG WANG BL
ALEX JOHNSON
SUNDOWN BL/MISS MEAL CAMP BL
LONN IE JOHNSON
BED OF SAND/SUN TO SUN BL
JUST CANT STAND/ANOTHER LOOK
CROW IN ROOSTER Bl/wAY DOWN THAT
SAM U CANT DO/NO MORE TROUBLES
MC KINNEYS COTTON PICKERS
LAUGHIN LIFE/NEVER SWAT FLY
COME LITTLE CLOSER/TO WHOM IT
WILL U WONT u/ROCKY ROAD
JIMMY NOONE ORCH
LULLABYE BDY/HERE COMES COOKIE
DICK POWELL
CAUSE BABY SAYs/l KNOW NOW
HITCHED WAGON/LIKE A FISH
DON REDMAN
EXACTLY LIKE u/sUNNY SIDE ST
CLARA SMITH
MAMA GONE/BASEMENT BL
HE MINE/STILL DOWN SAM
VICTORIA SPIVEY BOYS
BLACK SNAKE SWING/nEVER FALL
MAMIE SMITH (RARE ORCH ACC.
WHAT HAVE U DONE/SWEET BA BL
CHARLES AND EFFIE TITUS
SWEET MAMA GOOOIE/aLABI PAPA
EDITH WILSON AND JAZZ HOUNDS
HES MEAN MAN/DOUBLE CROSS IN C OB 1 4054
WASHBOARD RHYTHM KINGS
MNY HAPPY RETURNS/SHOOTEM VI 228|4
BB
6943
M-
CO
1913
N-
CO
14446
N
OK
8291
V
OK
8886
N
OK
8574
N
OK
8831
N
VI
23020
V+
VI
23035
N-
V 1
22932
N-
vo
2908
E
DE
1 3 1 0
N
DE
1557
N-
VR
580
v+
CO
14039
M-
CO
14053
N
DE
7203
N—
:.)
V |
20233
N
OK
8459
N ':
VOE
164
N
PAE
2982
N-
u
BRE
2521
N
COE
370
N
VOE
1 61
N-
BRE
3788
FOREIGN LABEL COLUMN
LOU IS ARMSTRONG
KNEE DROPs/sK IP BUTTER ODFI65578N
PEANUT VENDOR/DRIVING ME CRAZY 0DF2384O4N
THAT RHYTHM MAn/bL TURNING GR PAE 1 496 N
LOUIS WITH CARROLL DICKERSON ORCH
STOMP DE LOS SAVOY/TOQUES S I NF I NOD A 2 9523 I N-
BUNNY BERIGAN
TREES/BLACK BOTTOM HMV 8907 V
MELODY FROM SKy/lATER ON
COUNT BASIE
JITTERS/ROYAL GARDEN BL
BOOGIE WOOGI E/EXACTLY LIKE
BAMBo/mAD BOOGIE
MILDRED BAILEY
LOVING u/jUST STONES THROW
K I 'G COLE TRI 0
bab-8/are u for it
BIB CROSBY BOBCATS
BIG FOOT JUMP/jEZEBEL DEE 7|75 N
SWINGIN SUAGR 8 Wl/pRAYIN HUMBLEDEE 700l N
SING CROSBY WITH GUY LOMBARDO
WALTZ NG IN DREAM/WELL MAKE HAY COE 2074 N
LAZY DAY/YOUNG HEALTHY COE 2027 N
GABRIELS HORN/LAST ROUNDUP COE I 894 N
RIGHT SIDE OF ROAD/lVE GOT WORLDCOE 1 964 N
GUS CLARK ALL STAR BAND (VERY RARE )
PARADE NEGRE/APPEL DE LA JUNGLE HOT 20 E
DUKE ELLINGTON
ITS GLORY/AUNT TILL IE VOIX SON MAITRE8308N
COTTON TAIL/NEVER NO LAMENT HMV 9090 N
SUMPIN BOUT RHYTHM/jlVE STOMP POLY5800IN
BLACK TAN FANT/wABASH Bl(cHAS CH)PAE22|| N
ESQUIRE SWANK/MIDRIFF SW 230 N
BLACK TAN/CREOLE LOVE HMV 4957 N
ARABIAN LIVER/CREOLE LOVE HMV 4895 N
JAPANESE DRESM/TROUBLED WATERS HMV 54 N
DROP ME OFF/CLARI BET LAMENT PA I ND I A 80 N
RUDE INTERLUDE/DAYBREAK EXPRESSHMVA I 335 N
ANY TIME ANY DAy/eERIE MOAN BRE 1 462 V+
BUD FREEMAN
CRAZEOLOGY/CANT HELP LOVIN 0DF|6558|N
FRIARS SOC IETY ORCH
ECCENTRIC/FAREWELL BL BRE 22 1 I N
FRANK BIG BOY GOODIE ET SON ORCH
WHOS SORRY NOW/RHYTHM IS BUS I N SW 222 N
ALEX COM BELLE
PARADE DES RAMPARTs/H I ER ET ANJ SW I 1 0 N
ECHO/ELLE ET LUI SW 1 63 N
QUA TRE TICKETS/TIGER RAG SW 84 N
BENNY GOODMAN-GENE G IFFORD
KING PORTER/SQUAREFACE HMO 8374 N
FLETCHER HENDERSON
WHITEMAN STOMP/lM COM I N VA COF 308l N
ART HODESORCH
LIBERTY INN DRAG/GEO CAKE WALK BRE 3438 N
GET HAPPy/| ND IANA BRE 3452 N
BILLY HOLIDAY
MAN I LOVE/ IGHT DAY PAE 2747 N-
BACK IN BACKYARD/VERY THOUGHT PAE 262 1 E
BENNY GOODMAN BOYS
MUSCRATSCRAMBLE/A FTER A WHILE BRE 1 264 N
JAZZ CLUB MYSTERY JIVERS
BL SKYS/MUST AVE THAT MAN VICTORY 9044 N
FRE DIE JOHNSON ET SON ORCH
HI DIDDLE DIDDLE/AINT MISBEH SW 2|0 N—
CLAUDE LUETR
PIMLI Co/cARELESS LOVE SW 262 N
RED MC KENZIE (MUGS-HAW)
ONE HOUR/HELLO LOLA HJV 8952 N
GLEN MILLER
MOONLIGHT SERENADE/SUNRISE SER REGE3090 N
DJANGO REINHARDT
AT JIMMYS BAR/TEARS
MINOR SWING/VIPERS DREAM
ANNIVERSARY SONG/FOLIE AMPH10N
LES JEUX NUAGES
ECHOS SPA I n/nAGUI NE
SW
79
N-
SW
23
N
BS
33
N
SW
88
N
SW
65
N
SALE AUCTION
MURRAY SAUNDERS
I 80 I N. QUINN ST., ARLINGTON, VA.
SHIPPING CHARGES PREPAID ON ORDERS OVER
% 5.00. 25?! PACKING CHARGE UNDER % 2.50
WINNERS NOTIFIED AND SHIPMENT MADE ON
RECEIPT OF REMITTANCE. NONE SHIPPED
BEFORE FEB. 20, 1949.
AUCTION
JELLY ROLL MORTON
BOOGABOO/SHOE SHINERS DRAG
BLACK BOTTOM STOMP/THE CHANT
BUNK JOHNSON
BIG CHIEF BATTLE Ax/bL BELLS
shine/yacka HULA HICKY DULA
S088IN BL # 2/S0METIMES
MUGGSY SPANIER
HES I TATIN rl/little davi d
35^ EACH SALE
BB 7725
BB 10253 E+-
Jl |3 E
Jl I 5 E
Jl 16 E
DE 4271 E
3 for Si .00
LARGEST ORDER GETS ITEMS FOR WHICH MORE TH
AN ONE ORDER RECEIVED. ALL N-E
CONDON-CMS 500, DE 23431
goodman-vi 25090 , 2548 1
b .ea i ley— bl room ph 82,pinet0p ph 84
hampton— 4 — 5t imes vi 26447
f. henderson— i 2st rag asch 350l
Y.LAWSON-SG 28|03,28|08, 15004, |5044
F-i(sCHNICKELFRI TZ)FISHER-0E 3788
E.HEYWOOD-OE 23398, 23427,23530
N.JAFFE-BL AND Bl/zoNKY SG 28l I.I
L. RUSSELL-EASE ON DOWN BR 80038
P.PROWN-OCEAN MOTION DE t 8 1 I 8
P.BA I LEY— THATS GOOD ENOUGH CO 37280
E.MILLER-MUSCRAT RAMBLE CP 40039
B.BI GARD TR I 0 SG 28 I I 4
WH I TEMAN-LADY BE GOOD DE 2223
E.HALL SEXTETTE CMS 550
STACY ALL STARS-NONI ASCH3502
CAPITOL JAZZMEN CP 1 0CC9
MUGGSY SPAM I ER CMS 586, 587
J.DORSEY— BLUE DE 3280
AMMONS — SWA NEE BOOGIE MER 8022
MANONE/KAY STARR ARA 1 45
FOLLOWING 5CV EACH
NOONE-APEX BL VO 1 207 G
VIOLA MCCOY-TR I FLI N BL GE 5|28 V
VIRGINIA CREEPERS— LUCKY DAY PA 1*36475 V+-
V I RG I N I ANS— EARLY MORNING BL VI 18946 G
WH I TEMAN— FASC I NA T I N RHYTHM VI I 955 I E
I JONES-SOME SUNNY DAY BR 2274 V
JC SMITH-YELLOW DOG BL VI 1 86 1 8 E
LEE MORSE BLUE GRASS BOYS PE 11608 V
J.MARSALA— SALTY MAMA , GL I "7 1 7 E
FATS WALLER-V|20l582,20l58l , 2022 1 6, BB 1 0779
SPECIAL ALBUMS t 2.00 EACH N-E
CO
29
51
101
102
142
PI 09
PI 19
4
BIX BE I DERBECKE
DORSEY BROS CO
COUNT BASIE CO
B.GOODMAN CO
BESSIE SMITH CO
FATS WALLER VI
STRICTLY FROM DIXIE VI
MCKINNEYS COTTON PICKERS HJ
WANTS
WILL TRADE OR PURCHASE. QUOTE PRICES AND
CONDIT ION.
JELLY ROLL- VI 20405,2043 I ,2 |3»5,BB 10256
J.DUNN-CO 14306,14358
w . CRAWLEY— V 1 38 1 1 6 , 38136
E.HENDERSON— VO 1 043 B.YOUNQ VI 23339
L. MILES VI 38571, A COOK VI 20579
G.LEWIS- CLIMAX 103,104,105
SAM MORGAN— CO 1 4267, 14539
XXXXXXXXXXXXX
25
AUCTION
WINNERS WILL BE NOTIFIED.
GIVEN PREFERENCE.
ARNAUD MAGGS
2040 GREY AVE., MONTREAL 28
QUEB., CANADA
25«S PACKING CHARGE ON ORDERS UNDER $ 5.00.
AUCTION
LARGE ORDERS
AUCTION AUCTION
FRED MANGELSDORFF
959 N. 14 ST., M ILWAUKEE
WISCONSIN
LOU IS ARMSTRONG
SWING U CA Ts/SNOWBALL BBC 1 0225 E
I USED TC LOVE/LEAP FROG DEC 4|06e/v
EVERYTHING BEEn/|N GLOAMING DEC 3825 E
I wonder/jodie man dec i02i7n
U LUCKV GUY/JUST A DEC 2934 V
CHARLIE BARNET
JUMP SESSIOn/s» ING ST BBC 1 01 72 N
GOOD FOR N0TH1N JOE/hAUNTED BBC300823V+
MIDWEEK FUNCTI0n/| NEVER KNEW BBC 10285 E
HEART u STO E/ijURDER AT BB I|292n/v
BL IN NIGHT/lSLE OF PINES BBCII327 V+
CONSIDER SELF/LITTLE JOHN BB I I I 65 E
NEW MOON/GAL FROM JOES BBC|0|53 V
NO NAME JIVE 1-2 BBCIC737 E
DUKES IDEA/COUNTS IDEA BBCI0453 E
STRANGE ENCHANTMENT/CNLY ROSE BBC 1 022" E
PONCE DE LEON/LITTLE DIP BBCIII94 V+
CAPT AND HIS/BIRMINGHAM BREAK BBCII08I E
AT DIXIE RDSIDE/THATS FOR 8BC|07|7 E
LEAF IN AT/DARK AVENUE BBCI0774 E
COMANCHE WAR DANCe/tAPPIN AT BBC 10584 E
SEVEN 20 IN BOOKS/SO FAR BBC|06|8 N
SWINGIN NOTHIn/hARLEM SPEAKS BBCII28I E
THAT REAL ROMANCe/sm ILES DEC18363 E
U W ERE THERE/MOTHER FUZZY BBC I I 32 I E+
U TALK TCO MUCh/mERRY GO ROUND BBCIII53 E
EBONY RHAPSODY/LAMENT FOR LOST 6BC|034| E
lumby/phyllysse BBCIlO|4 e
ROCK IN RHYTHM/REVERIE OF UOAX 3BCI0785 E
REDSKU; RUM3A/S0UTHERN FRIED BBC 10944 N-
COUNT BASIE
eLOW TOP/GONE Wl TH WHAT COC 44 E
DOWN FOR DOUBLE/MORE THAN U COC 607 E
KING JOE 1-2 COC 5|6 E
MAD BOOGIE/PATIENCE AND COC 789 E
RUSTY CUSTY Bl/alL OF ME COC 705 V+
PLA~1 ERBRA I NS/l STRUCK A OK 6508 E
CHEROKEE 1-2 DEC 2406 E
JUWPIN WOOOSIDe/dARK DEC 22|2 E
I OCKL JUMp/jGHNS IDEA DEC 1 363 E
WILL BRADLEY
JACK vILL/oONT LET JULIA CO 36372 E
THREE RING RAGOUT/l SHOULD COC |85v/n
THREE 6EEs/l THINK OF U COC 52 1 E
LES BROUN
EVERYBODY MAKING/HEREAFTER COC 3yd E-
GOODMAn/b I ZET COC 723 V+
LEAP FROG/SHOW ME WAY COC 761 V+
YA LU 8LU/F00LE0 COC 574 E
BENNY CARTER
Sunday/back bay boog i e
bbc 1 1 34 1 N
BBC I I 34 I N
BBC I I I 97n/v
sunday/back bay
what a dif/cuodle up
BOB CROSBY BONCATS
long way t 1 peraree/sweethearts deci00i7v/e
big tom/way down yonder dec 44 3 v+
hindustan/mournin bl DEC 2482v/e
honky tonk/big noise winetka DEC 2208 E
KING PORTER/SUGAR FOOT DED ^390 N-
YANCEY SP£CIAL/jAZ2 EAND BALL DEC 1 747 E-
DUKE ELLINGTON
I DIONT KNOw/l A I NT COT NOTHIN VIC20|62?N
WHAT GOOD/CHELSEA BRIDGE VIC27740 E+
JACK THE BEar/mORNING GYPSY V I C26536 E
JUST S ITT IN/MOON CUBA VIC27567 E
I DONT KNOW/ARE U STICKIN VIC27804 E+
GIRL DREAMS/FLAMINGO VIC27326 N
WONDER OF u/lM JUST LUCKY VIC20I799N
SLIP OF LIP/SENTIMENTAL LADY V|C20|528N
KISSIN BUG/MOOD TO BE VIC20|670N
I GOT IT BAD/CHOCOLATE SHAKE V I C2753 1 N
PORTRAIT BERT W I LL I AMs/BOJANGLESV I C26£<,<) N
MY HEART S I NGs/cA RNEG I E BL VIC20I644 N
SARATOGA SWING/lTS GLORY BBC|02«5 E+
CONGA BRAVa/kOKO HMV 9078 E+
LITTLE BROWN BOOk/sOMEONE VIC2G|5S4v+
dusk/blue GOOSE VI C26677 E
COC
265
eA
COC
71 9
v+
CO 36 755
N
COC
552
E
COC
665
V+
COC
3l 1
E
COC
257
E
COC
747
V
COC
6",5
E
COC
1 57E/V
COC
250
e
OK
6580e/v
VIC252I5
N
VIC2553I
V+
VI C25445
V
HMV
8798
N-
HMV
9499
N—
ELLINGTON CONTINUED
I NEVER FELT/ALL TCO SOON V I C27247 E
TROUBLED WATERS/MY OLD (R M Ch) VIC2465I V
DOUBLE CHECK STOMP/jCLLY WOG BRC80035 E
BL TAN/M"OCHE BRC80CC2 V
BENNY GOODMAN
U LUCKY PEOPLE u/AL AYS U
solo flight/world WAITING
I CANT GIVE u/FJESTA IN BL
WINTER WEATHER/EVERYTHING I
ON SUNNY/ALL I NEED
LETS DANCE/BOY MEETS HORN
corn silk/memory OF
AFTER U ONE/BODY AND
DEARLY BELOVED/lM OLD
HENDERSON STOMP/nCBODY
BIRDS OF a/yCUR DANGEROUS
lamp memory/when THE
goodbye/sandman
CHLOE/lDA SWEET AS
ALEX RAG BAND/RIFFIN AT
WRAPPIN 1IT UP/BIG JOHNS
LIONEL HAN PTON
AL T I TUDe/ghOST CHANCE
SHOE SHINERS/MOOD FOR SWING VIC260IIV+-
3/4 boogie/give SKIN VIC27409 v+
COLEMAN hawk ins
honeysuckle/crazy rhythm vic262i9 e+-
day is/bouncin with bean bbc 1 0693 e
sheik ara8y/bl heaven bbci0770 n—
funny that/meet dr f0o bbci0477 e
WOODY HERMAN
GOLDEN WEDDING/FIVE OCL DEC 3436 N
LET ME LOVE/WHO DAT UP DEC|0|92e/v
CHIPS BOOGIE/CHIPS BL DEC 3577 E+
:arl hines
up jumped devil/south side bbcii237 e+-
julia/ccmin in home bbci; '99 e+
the earl/somehow bbci, 43? n
i got it bad/straight to l ve 8bvii374 n
jersfv counce/sally wont u bbciii26 n
u dont know/boy with wistful bbcii394 e
WATEF' LCy/w|NDY CITY J VE BBCII329 E+
IM FALLING/jELLY JELLY BBC I 1 C£ 5 N
SKYLARK/SHELL ALWAYS BB I I 5 I 2 N
I NEVER/SWING ON C BB I|465n/e
DEEP FOREST/SLIGHTLY AND POL I TLYBBC 1 0727 V
FATHER JUMPs/jlTNEY MAN BBCII535 E+
U CAN DEPEND/TANTAL I Z I N CUBAN BBC 10792 E-
TROUBLE/DES I GN FOR J I VE I N APOL 357 N
JEZEBEL/DOM I Nl C SWING VO 4032 V
TIPPIN AT TERRACE/SOLID MAN VO 4|43 E
GOODNIGHT BWEEt/plEASE BE KIND VO 4008 N
STORMY M0NDAY/2ND BALCONY BBC||567 E
HAD TO BE u/YELLOW FINE BB I I 308 E
J IMMY LUNCEFORD
WHITE HEAT/jAZZNOCRACY BBC 57|3 N
BACK DOOR STUFF 1-2 DECI0I66 E
KNOCK ME K I Ss/STR I CKLY INST DECI0053 E
HIGH SPOOk/ycRDDOD MAZURKA DEC 4032 E
CHOCOLATF/BATTLE AX DEC 3807 E
CLAUDE THORNHILL
LOVERS IN GLASS/maDY IS TWO COC 440 N
COUNT ME IN/SHELL ALWAYS COC 638e/v
im thrilled/sing A LOVE COC 522 E+
ROCKABYE BAY/lM GETTING COC 687V+-
JACK TEAGARDEN ( HR CR EDGE )
NOBODY KNOWS/H NDRED YEARS 43 I 7 E-
FATS WALLER
SWINGIN THEM J I NGLE/l M GONNA V I C20l 620E
COME GET IT/CHANT BBCII262 E+
DARKTOWN STRUTTERs/u CANT GIVE UBBC 10573 N
24 ROBBERS/DO U HAVE TO GO BBCII222 N
WINETR WEATHER/CLARINET BBCII469 E
WHOLL TAKE/ABDULLAH BBC|04|9 E
YOUR LETTING GRASS/lTS U BBC 10527 E
SEND ME JACKSON/SQUARE FROM BBC 10730 E
OH FPENCHY/lTS SIN VIC20|595e/v
AL JOLSON
ON ROAD TO CALA IS/(STERLI NG TR) CO 2690 V
BROKEN DOL l/( A H LEWIS) CO 2|54 V+-
ROCKA BYE BABy/(stERL I Ng) CO 2560 V+-
WHO PLAYED POKER POC AHONTAS/( F OK ) CO 2787e/v
I WONDER WHY SHE KEPT SAYING SI CO 267l E—
I GAVE HER TH«T/(WHITE HOUSE ) CO 2835 E
oogie wawa/(hart sisters) CO 3588 E
YOURE DANGEROUS G I Rl/( PERLESS ) CO 204 I V
WHERE DID CARUSO GO CO 1 976 V+
HERE I AM/RED ROBIN BR 3222 E
STEPPIN OUT/ONE I LOVE BELONGS BR 2567 E
SUNNY BOY/RAINBOW ROUND SHOULD OR 4033 V
BENNY GOODMAN
HE A I NT GOT RHTYHm/tk I S YRS KISSVI 25505 V
LOCH LOMOND/CAMEL HOP VI 257|7 N-
chris columbus/get HAPFY VI 25279 v+
RED NICHOLS
mean dog bl/cornfed BR 3597 V
BUDDYS HABI TS/8TNEYA RD SHUFFLE VO 15573 V
LOWLAND BL/BEAT ME DADDY OK 5676 E
ARTIE SHAW
IF I HAD u/HAD BE U VI 27536 N-
LOVE IS HERE/YOUR LUCKY GUY BB 10482 £+
TABLE IN CORNER/WITHOUT DREAM BB 10468 E
SHADOWs/l DONT KNOW WHAT TIME BB 10502 N-
DR LI V INGSTON/WHEN QUA I L COME VI 27289 E
HELEN KANE
THATS MY WEAKNESS/GET OUT VI 21557 E
I Owe u/dangerous oan vi 22407 v
1 waNta be loved/is ANYTHING WR0NGVl2l684E
ELLA FITZGERALD
BILLY/PLEASE TELL ME TRUTH DE 2769 V+
wonderful/i WAS DOIN ALRIGHT DE 1669 V+
DONT WORRY BOUT ME/oNCE ENOUGH OE 245 1 E
GULF COAST Bl/dEEDE DE DUM DE 3324 V
COUNT BASIE
JOHNS IDEA/ONE OCK JUMP DE I 363 E
VOLCANO/ROCK I N THE BL OK 60 1 0 N-
OOWN DOWN DOWn/u BETCHA LIFE OK 6221 E
DICK JURGENS (EDDIE HOWARD )
careless/i only WANT BUDDY VO 5235 E
IF I KNEW THEN/LILACS IN RAIN VO 5074 E-
ITS HUNDRED TO/WHEN I CLIMB DO VO 5063 V+
RAGTIME COWBOY/ALL I REMEMBER VO 4-X)| E-
MY LAST GOODBYe/ruMPLFSTILSKIN VO 4874g/e
OUKE ELLINGTON
COTTON CLUB STOMP/ARAB AN LOVER VI 38079 E
MOOCHE/HOT BOTHERED OK 8623 G
FATS WALLER
BLACK MAR Ia/mOON LOW BB 10624 W
PEGGY ENGL ISH
GORGEOUS/A I NT THAT GRAND GLORIUSVO |558| E
JIMMY NOONE
CALL ME DARL I NG/WALKI N TOWN
DE 1730 V+
CO 35926 N
TEDDY WILSON (HOLIDAY)
MEAN TO ME/lLL GET BY
SOUTHERN SYNCOPATORS
HAD TO BE u/THATS GA SI 2405 E
JOHNNY DODDS BLACK BOTTOM STOMPERS
JOE TURNER BL/WHEN ERASTUS BR 3997 V+
CLIFF HAYES LOUISVILLE STOMPERS
BL harmony/4-5 t imes(mcki nney ) vi 2 1 583 v
NORFOLK JAZZ QUARTER
MONDAY MORN Bl/sTANDING CORHNER OK 4 345 V-
HE HA SHOUT/WHATS MATTER OE 7383 E
PAUL HOWARSD QUALITY S ERENADERS
MOONL IGHT Bl/THE RAMBLE
CAB CALLOWAY
reefer" man/minnie MOOCHER
RUDY VALLEE
ST LOUIS BL/STEIN SONG
HOKUM BOYS
ALL WORN OUT/SOMEBODY US IN
DICK POWELL
BEAUTIFUL/lS SHE GIRL FRIEND
SIX HAYSEEDS
GOTTA GET GIRL/SHES GOT IT
VI 38068 G+
ME 12887 G+
VI 22321 E
PM 12796 V
VO 15647 E-
vo 15596 V+-
26
AUCTION
RAY AVERY'S RECORD ROUNDUP
1630 . LA CIENEGA , LOS ANGELS, CAL I F .
AUCTION
BIG BILL
ROCK 1 .4 Cl;f. |R bL/THAT NUMBER
BIT BLE BEE SLIM
GUILT" H'OMAN/WORRYSOME
LEROY CARR
PAPA WANTS COOKIE/l A I NT
TENNESSEE Bl/bROKEN SPOKE
WALTER DAV IS
HELLO BABY/l FEELf.'ALR I GHT
D IX IELAND JUG BLOWERS
banjoreno/love BL
CQ 9928 N-
BB 6559 Vi-
vo 1 56 1 E-
VO 1200 E
BB 8998 N-
VI 2 1*73 E-
VI 20770 E-
VI 2 1 | 26 V+
HRS 1877 N
WHEN I STOPPED RUNNING/|F U
GARDEN OF JOYS/u BETTER
EARL HINES
CHICAGO HIGH LIFE/jUST T»0
LEAD BELLY
NYC/u CANT LOSE BB 8750 N
MIDNOGHT ROUNDERS (AL WYNN)
SHAKE THAT SHIMMy/5 GR CRACk) VO I 2 I 8g/v
KING OLIVER
LONDON BL/CAMP MEETING CO 14003 V
N.O. stomp/chatanooga CO 13003 V-t-
MA8ELS DREAM/RIVERSIDE BL CX 40292 E
KROOKED BL/ALLIGATOR HOP GE 5274 V+
SNAKE RAG GE 5 1 84 E-
CHIMES BL/FROGIMORE GE 5|35 V+
D I PFE RMOUTH/wATHERB I RD GE 5|32 E-
CANAL ST BL/jUST GONE GE 5|33g/v
MANDY LEE/lM GOIN TO WERA GE 5|34 E
D I PPERMOUTH /WHERE DID U OK 49l 8 V+
JAZZ I N BABIES/(C.WMS) OK 4975v/e
KISS ME SWEEt/(b&s) OK 8|82 G+
CONSTRUCTION GANG/(b&s) OK 8 1 63 V
JACKASS BL/DEEP HENDERSON VO I0l4 V+
DEADMAn/sOMEDAY SWEETHEART VO 1 059 V+
BLACK SNAKE/WILLIE WEEPER VO II|2 V+-
SORBIN BL/FAREWELL BL VO I 1 52 G
SHOWBOAT SHUFFLE/EVERY TUB VO II|4 V
SPEAKEASY Bl/aUNT HAGARS BL VO 1 225 V+
4-5 TIMES/GOT EVERYTHING BR 4028 E
FREAKISH LIGHT/GOT THAT THING VI 38521 V
ST JAMES/WHEN U SMILING VI 22298 V
GOOD MAN SAM/CAN I TELL U VI 38049 E+
CALL OF FREAKS/TRUMPETS BB 7705 E+
SHAKE IT/STINGAREE BB 10707 E
ORIGINAL JAZZ HOUNDS
jucy long/all : HAD CO 14207 N-
SPIKESSEVEN PODS OF PEPPER (ORY)
CREOLE TRAM/SOCIETY (CR TO » Gr)n0 3009 V-
T I NY PARHAM
TINYS STOMP/STOMPI N ON DOWN VI 38060 N
BLUE ISLAND/SUBWAY SOBS VI 3e04l E
BL MELODY/THAT KIND LOVE VI 38047 N-
JUNGLE CRAWL/BLACK CAT BB 5|46 E
PIRONS N.O. ORCH
LA SW I NG/STRUTTI N ON CURB
MARAJJCY
MYSTERY RECORD/HONEY WHERE
MEMPHIS BOUND/ROUGH TUMBLE
MOONSHINE BL/BO WEAVEIL
BARRELHOUSE Bl/waLKIN BL
bo weavil/last minute
moonshine bl/southern bl
farwell daddy/shave em dry
toad frog/booze bl
SPECKLED RED
DO TME GA/ST LOUIS STOMP
SID RE I NHARZ (PIANO SOLO)
BOSTON SHOUT/MAHJONG
KID RENA
ALL 4 DELTAS
BESSIE SMITH
OK
40189
V
PM
12200
G —
PM
1 23 1 1
v+
BM
12603
V-
PM
12082
B
PM
I2C8C
G+-
PM
12083
G-
PM
12222
S-
PM
12242
y+
B 3
^985
u
GE 5330 v+
NASHV I LLE WOMAN/AINT GONNA(lm) CO 14090 V-
TR IX IE SMITH
WORLD JAZZ CRAZY/RR BL J I 7
SPRING BACK JAMES
HELLISH WAYS/HARD DRIVIN MAMA VO 3625 N-
MONTANA TAYL fl/ROMEO NELSON
DETROIT ROCKS/HEAD RAG HOP HRS2262I E+-
M ILLARD G. THOMAS
RECKLESS BL/lVORIES A J 17074 F
SUGAR UNDERWOOD
DEW DROP ALLEY/DAVIS ST VI 2 1 538 E
FATS WALLER
HANDFUL KEYS/NUMB FUMBLIN
WASHBOARD RHYTHM KINGS
HOT NUTS/JOHNSONS CRACKER
WASHBOARD SAM
V I 38508 N
BB 6278 E-
PROWLIN GROUNDHOG/DONT TEAR ME 61055 E-
CQUE ON SACk/jUSTVTO PROVE BB 8699 V-
BARBECUE/MY WCMANS A SENDER BB 7552 E-
OH BABE/Ll'UISE BB 8469 E-
ARNOLD W I LEY
WINDY CITY/WILEY RAG BR 7| I 3 V-
C. WILLIAMS (PIANO SOLO)
WEARY BL^/UXIN THE BL
J INMY YANCEY
5 OCK 8L/TELL ME ABOUT EM
MELLOW BL/SLOW EASY
BEAR TRAP BL/OLD QUAKER
I2INCH RECORDS
JOHN BARRYmQRE~
HAMLETS SOLILOQUY/HENRY VI
BEN BERN IE
OK 4893 G+-
VI
26590
£*■
VI
26591
N-
VO
5490
N —
VI 6827 E
OLD MAN RIVER/SOLILOQUY BR 20064 N-
GUY LOMBARDO
BETWEEN DEVIL DEEP BL SEA BR 20|04 E+-
GLENN MILLER /STUDIO BAND
HAPFENED SUN VALLEY 20TH CENT FOX TRANS N
POPE PIUS XI
BR 50165 N
MESSAGE OF PEACE TO WORLD
RUDY VALLEE
VI 36204 n-
VI 27737 E
ALL POINTS WEST 1-2
10 INCHR ECORDS
ABBOTT & COSTELLO
LAUGH LAUGH LAUGH 1-2
HENRY AINLEY
HAMLET ACT 4 SC 4/aCT 3 SC 3 VI 4249 E
COUNT BASIE
MAD BOOGI E/RAMBO PAE 30|2 N
STAY COOL/LAZY LADY BL PAE 3009 N
CLYTON, JACKSON, DURANTE
SO I UPS TO'Im/cAN BROADWAY DO CO i860 E
RUSS COLUMBO
VI 22867 N
BB IC859 N
PRISONER LOVE/BL OF NIGHT
ALL OF ME/jUST FRIENDS
NOEL COWARD
DEAREST LOVE/lLL SEE U AGAIN
DIXIE LEE CROSBY
GOT ME DO IN THINGs/uy HEART
UNTIL REAL THING COMES ALONG
BENNY GOODMAN
HMV 8740 N
DE 4|4 V-t-
DE 892 V
HONEYSUCKLE ROSE/LIZA COE 2287 N-
UUST U JUST ME/MY GUY PAE 3000 N
HAL LASKA/MARK KRANE
ROMANCe/haRMONI CA HARRY PA 3^034 N
GILBERT MARSH/HAL LASKA (CASA LOMA)
NAVY BL (mOLE)/s*EEPING PA 34038 E+
PINKY TOMLIN
LOVE K I SSES/SI TT I N ON EDGE BR 7897 N
FATS WALLER & ADA BROWN/MAY JOHNSON
THAT A INT RIGHT/SALT LAKE 20TH CENT FOX N-
RAY NOBLE
U WERE THERE/FAMILY ALBUM VI 25437 E
FAIR WARMER/STRING ALONG HMV 6503 E
ROLL UP CARPET/OTHER SIDE HMV 6380 E
TOWNS TOO QUIET/HATS HMV 642l E1-
KASHMIRE S0NG/8L DANUBE HMV 6267 E
SOMETHING IN AIr/lAZY RIVER HMV 5 1 53 E
LA 01 DA Dl DA/WHEN HMV 6432 N-
MEMORIES OF HORATIO NICHOLS 1-2 HMV 8280 N—
EMPTY BADDLES/BIG CHIEF VI 25346 E
SOON/DOWN BY RIVER VI 24879 E+-
SEND WANT LISTS. I CARRY ALL TYPES RECORDS.
AUCTION Sale
THE RECORD SHACK
II80C WILSHIRE BLVD., LOS ANGELES 25.
AUCTION AND SALE 50^ MINIMUM BID. ALL VI ARE
PREWAR GOLD LABELS. CONDITION SHOWN IN ORDER
GIVEN IN INDEX TO JAZZ FOR A i B SIOES. AUC
UNLESS STATED. BIDS CLOSE I 8TH OF FEBRUARY.
BENNY GOODMAN
COLUMBIA ( 1931-34)
2542 v/v, 2845 v/e, 2856 v/e, 29|4 v/v, 2923 v/e
(l" LAM crack), 2947 e/e,«30|6 e/e.
BRUNSWICK ( I 933 )
7645 v7v
VICTOR
25009 v/g (rim CHIP NOT IN music), 25245 e/e,
25247 v/v, 25258 v/v, 25258 n/n, 25340 e/n,
25355 g/g, 25461 e/e, 25468 v/g, 25486 e/e,
25316 v/v, 25279 v/e, 25442 v/e/ 25021 e/v,
25391 e/e, 25445 v/e, 25492 g/b, 25500 e/e,
25505 v/g, 2551 0 n/n, 25621 e/e, 25634 n/n,
25683 e/e, 25720 v/g, 25727 v/g, 25808 v/e,
25814 e/e, 25827 e/e, 25840 g/g, 25846 v/v,
25867 g/f, 25878 g/g, 26000 g/g, 26000 e/g,
26021 v/v, 26060 e/n, 26082 g/g, 26087 v/g,
2609S E/E, 26i07 g/v, 26 11 0 v/g, 26|30 e/n,
26 1 34 e/e, 26159 g/g, 26175 g/f, 26l 37 e/e,
2621 I v/e, 257i | e/e, 26088 g/e.
COLUMBIA (|939-43)
35201 n/n, 252 i 0 n/n, 35211 e/e, 35301 e/e,
35319 n/n, 35331 e/g, 35356 e/n, 35362 n/n,
35396 g/g, 35410 n/n, 35487 f/g, 35820 n/n,
35863 g/e, 35869 e/e, 35962 n/n, 36022 n/n,
36109 n/n, 36136 e/e, 36l80 n/n, 36209 e/v,
362|9 n/n, 36254 n/n, 36284 n/n, 36305 e/e,
36359 g/f, 36379 e/e, 3641 I n/n, 36429 n/n,
36580 n/n, 36622 e/e, 36652 e/e, 36680 e/g,
36699 n/n, 35472 e/e.
OK EH
6474 e/e, 6497 e/g, 65|6 g/f, 6534 v/v, 6544
v/v, 6580 e/n, 6562 s/v, 6606 e/e,
BLUE BIRD
10973 v/v, 10851 e/e, 10973 e/e,
BENNY GOODMAN TRIO
VI 25711 e/e, VI 25725 n/n, VI 25324 g/g,
BB 11456 v/v, BB 10723 v/v, VI 25711 v/v,
BB 11456 v/v, CO 36781 v/g, v| 25333 v/v,
B.G. QUARTET
VI 25521 E/E, CO 36684 v/v,
B.G. QUINTET
CO 36767 G/G, VI 26166 e/v
B.G. SEXTET
CO 35482 e/e, CO 35404 e/e, CO 36723 n/n,
CO 36099 n/n, CO 36755 e/e, CO 35S|0 n/n
CO 366 1 7 n/n.
GOODMANS ON FOREIGN LABELS (SALE)
SEXTET (PAE)
ON. ALA MO /GONE WITH WHAT DRAFT 1.75
THE SHE K/POOR BUTTERFLY e/e I .75
QUARTET (HMV)
avalon/man i love e/e 1.50
BL IN MY FLAT/YOUR FLAT n/n 1.95
SWONDERFUL/MUST HAVE THAT n/n 1.95
sugar/opus 3/4 n/n I .95
I KNOW U KNOW/CRIED FOR U n/n 1.95
OPUS ^/SWEET GA BROWN n/n I .95
ORCHESTRA
YOURS/TAKE IT PAE G .95
HOUR PARTI NG/COCOANUT GROVE PAE V .95
WHEN BUDDHA SMILEs/BASIN ST BL HMV N 1.95
DOWN HOME RAG/MUSIC HALL RAG PAE N 1.95
NITWIT SERENADE/BUGLE CALL RAG COE E 1.95
ONE SWEET LETTER/SCATTERBRA IN PAE N 1.95
RECORDS WHICH FEATURE
BENNY GOODMAN
WILL BE
AUCTIONED
NEXT
MONTH
27
SALE SALE
JAZZ RECORD CORNER
782 6th ave., (48 ST) NYC
PHONE PLAZA 7-7426. ON MAIL ORDERS
ACCOMPANIED BY CHECK OR MO TOTALING
$3 OR MORE HE WILL PREPAY THE SHIPP
ING CHARGES. WE ALSO SHIP COD. FAST
SAFE INSURED. SHOULD ANY DISC BE OUT
OF STOCK A CHECK IS SENT FOR THE UN
USED PORTION OF YOUR ORDER. HOWEVER
WE FILL ALMOST EVERY ORDER COMPLETE.
NEW RELEASES
GRAEME BELL AUSTRALIAN JAZZ BAND ( I. 05)
SOUTH/sHIMME SHA WA3BLE jc I
YAMA YAMA Bl/bIG CHIEF BATTLE AXJC 2
USUAL DISCOUNT TO DEALERS ON JC RECORDS
JELLY ROLL MORTON TRIO (DODDS)
MR JELLY LORD/wOL'.ERI flE BL (|.05)TJM I
KING OLiVER (Si .05)
Dl PPERMOUTh/whERE IS U STAY HJCA 26
LONDON CAFE/CAMP MEETING HJCA I 8
LOUIS ARMSTRONG ( H J— I .05,00— .79)
ORSPP'N SHUCKS/wHOS I T HJCA 20
GA GRINO/COME BACK SWEET PAPA HJCA 2 1
KING OF ZULUs/l'NESOME BL HJCA 22
PUT EM DOWN Bl/sAVOY BL CO 37537
IM NOT ROUGH/GOT NO BL CO 37536
POODS CHICAGO FOOTWARMERS ( I .05
BALLIN THE JACk/ GRA NOMA BALL HJCA 24
BROWN BOTTOM BESS/LADY LOVE HJCA 25
MY GAL/SWEEP EM CLEAN HJCA I 9
BOB WILBER WILDCATS ( I .05
CAMP MEETING Bl/0NCE IN WHILE RAMP 8
WHEN U WORE TULI P/TROUBLE IN MINORAMP 6
OH DADDY/FROG I MORE RAMP 7
SIDNEY BECHET (WILBER#) (.79)
LOVE FOR SALE/SHAKE EM UP CO 3832l
SPREAD IN JOY/l HAC I T / CO 38320
POLKA DOT STOMP/KC MAN BL# CO 383 |9
LAURA/jUST ONE THOSE THINGS CO 383|8
LU WATTERS (l.05)
WEARY BL/PASTIME RAG 5 WC I 1 8
SUNSET CAFE/ORY CREOLE WC I|9
".ONE OF MY JELLY/TR I ANGLE JAZZ WC |20
HOT JAZZ CLUB OF AMERICA RECORDS
I I .05 EACH.
I.OLIVER-ROOM RENT/AINT GONNA TELL
2.0LI VER-MABELS DREAM/SWEET BABY DOLL
3. LOUIS HOT 4-IRISH BLACk/u MADE ME LOVE
4. MOTON-L0ND0N Bl/sOMEDAY SWEETHEART
5. LOUIS 5-JAZZ LIPS/CAKE WALK I N BABIES
6.0L I VER-JAZZI N BAB I ES/TUXEDO RAG
7.oliver-riversioe/workingman 3L
8. OL I VER— SOBB I N Bl/sWEET LOVIN MAN
9. LOU IS 5-BIG FAT WA/sWfeEY L I TILE PA
IC.'ONNA G I TCHA/FORGET TO MESS AROUND
I I .MOPTON— B I LLY GOAT/HYENA ST
I 2— OOODS— SWEET LCRRA I NE/PENC I L PAPA
I 3. DUMA I NS-F.RANKL I N ST/RED ONION DRAG
I 4. DUMA I NE-PRETTY AUDREy/tOWBACAWA
I 5 .MORTO N— O I X I E HOME/LIKE IT OUGHTA BE
I 8. LOU I S-COAL CART/TEXAS MOANER
REX STEWART
JUST IN FROM SWEDEN ON CUPOL (UNIS USA )
BASIN ST BL/RUN TO THE CORNER 4074 1.05
30Y MEETS HORN/WAITIN FOR TRAIN404| 1.05
JOHNNY H00GE5
PYRAMID/EMPTY BALLROOM BL PAE 3 1 1 5 1.05
FOR EVERYTHING IN JAZZ
VISIT
THE CORNER
COLLECTORS PLEASE NOTE
WE HAVE NO CONNECTION WITH ANY OTHER
STORE. IT IS ONLY AT THE "CORNER"
WHERE YOU WILL FIND ONLY JAZZ DISCS.
WE DON'T HAVE A SINGLE POP RECORD IN T HE-
SHOP
AUCTION AUCTION
DON & POLLY GUNNISON
637 TERRAOE BLVD. ORLANDO, FLORIDA
NO MINIMUM BIDS BUT REDICULOUS BIDS WASTE
YOUR POSTACARDS. PACKING CHARGE 25^ UNDER
S 3.00. WE PAY POSTAGE SHIPMENTS OVER $ 7
PARCEL POST COD, WELL PACKED AND INSURED.
GRADING GUARANTEED.
NOTICE TO ALL COLLECTORS
MAIL PENNY POSTCARD NOW FOR OUR NEXT GENER
AL AUCTION LIST # I 7. OVER 700 RECORDS :
MANY PERY SCARCE AND SELDOM IF EVER AVTSD.
DUKE ELLINGTON
CO 35^76n/e
BB 6565v/e
CO I =168 V
V| 22603 v+
V I 2486 I N
BB 7 1 82 E
BB 6305 N-
BB 10245 N
CO 35834 N
JUBILEE STCMP/COUNTRY GAL
SARATOGA SWINg/mISTY MORNING
ST N IGHT/BEGGARS BL (GREER)
BLUE AGAIN/(BERT LOWN ORCh)
bl tan/creole(octagon label)
t'ust have man/bandanna babies
diga do/keep song soul
saratoga swing/lts glory
lazy rhaps0dy/3l ramble
drop me off harlem/sli ppery hornbr 6527 n-
EChos HARLEm/(t.'.v I SON orch) CO 36283v/n
TOOT I N THROUGH ROOF/GRIEVIN CO 353|On/v
KILLIN MYSELF/LOVE FADED CO 35640 E—
ROCK IN RHYTHM/M PAPA ND VI 263|0e/n
SHALL BE NO NITe/5 OCL WISTLE VI 26748n/v
RUMPUS RICHMOND/lN MELLOTONE VI 26788 N
FLAMING SWORD/WARM VALLEY VI 26796e/n
flamingo/girl IN DREAMS VI 27326 N-
CHOCOLATE SHAKE/GOT IT BAD VI 2753IE/N
ROCKS IN BED/BLI BLIP VI 27639 V-
5 OCL DRAG/CLEMENTINE VI 27700E/N
DONT KNOW BL/ARE U STICK IN VI 27804e/n
C JAM BL/MOON MIST VI 27856e/n
PERD I Do/RA I N CHECK 27800 VI E-
SHERMAN SHUFFLE/HAYFOOT STRAWF00V-I 1 505 V+-
CHLOE/DO NOTHIN TIL U HEAR FROM VI |547e/g
MAIN STEM/jOHNNY COME LATELY VI 1 556 E-
SOMEONE/LI TTLE BROWN 300K VI 1584 N
I DONT MINO/WHAT AM I HERE FOR VI 1 598 N
CARNEGIE BL/MY HEART SINGS VI 1 644 N
BENNY GOODMAN
VI
VI
KING POR TER/SOMET IMES IM HAPPY
WALK JENNY WALK/ALWAYS
MOONGLOW/OI NAH (QUAR)
STOMPIN SAVOY/VIBE BL
WHERE OR WHEN/CRIED FOR U
LET SONG OUT HEART/FEELIN HIGH
BL INTERLUDE/WHEN I GO DREAMING VI 26021 V+-
FAREWELL BL/MARGIE BB IC973 N
SENT FOR U YESTERDAY/ANGELS SINGVI 26|70e/v
SHOW YOUR LINEN/LADY IN LOVE VI 262 II E-
JUMPIN WOODSIDE/CHANGES MADE CO 352|0 E-
CANT U TELL/ONCE MORE
LAZY RIVER/OH LOOK ME NOW
NOT COMPLA I N IN/SI STER AND I
25090 N
10799 N
25398 N
VI 2552 1 v/n
BB I 1 456 N
vi 25840 v+
CO 35543v/e
CO 3601 2v/n
CO 36022 N
FOUND NEW BABY/BREAKFAST (6TET) CO 36039 N
yours/take IT CO 36067 N-
GOOD ENOUGH KEEP/SMOOTH 0NE<6) CO 36099 N-
FOUND MILLION 3 BABY/GOOD EVEN 1 CO 36|36 N-
SCARECROW/TIME ON HANDS CO 36 I 80g/e'
DOWN DOWN/SOFT AS SPRING CO 362|9n/v
anything/from ONE LOVE TO CO 36305 N
BIRTH 3LUES/ELMERS TUNE CO 36359v/n
C PRICE PAGANINl/lM HERE CO 364||n/e
WANG WANG/*AY U LOOK (SEXTET; CO ?6594e/n
MISSION MOSCOw/ALWA Y3 U CO 36530G/N
CLAfi I NDE/jUNC BUST IN OUT CO 36823 N
MY LITTLE COUSIN/ZOOT SUIT OK 6606 V+
THE EARL/LETS DO I T OK 6474n/v
CLAR ALA KING/HOW LONG GOING OK 6544n/e
MOAN I N LOw(mMm)/mAJEST] C PE 15208 V+-
REPEAL BL/EASY COME GO(GREEn) BR 6355 N
MAIL CARD NOW FOR GENERAL AUCTION LIST
WANTE D
FRANK GOLDMAN
594 EAST 40TH ST.
BROOKLYN 3, N.Y.C.
MINIMUM CONDITION ACCEPTED EXCELLENT.
PLEASE WRITE STATING PRICE WANTED.
213-45
10255
20405
2 1 054
38075
20431
I 2376
3574
3585
33004
21552
VI 23650
JELLY ROLL MORTON
JUNGLE BLUES VI
WILDMAN BLUES BB
SOMEDAY SWEETHEART/OR I G JELLY ROLL VI
WOLVERINE BL/MR JELLY LORD VI
BURNING THE I CEBERg/taNKTOWN VI
canmonball/grandpa SPE^lS VI
MANY OTHERS VICTOR AND GENNETT
DODDS
ADAMS APPLe/mESSIN PM
san/wobble BR
NEW T LOUIS BL/OH L I ZI I Z BR
bucktown stomp/weary VI
BL WASHBOARD ST/3ULL FIDOLZ VI
MANY OTHERS LISTED IN HOT D I SCOGRAPHY
BECHET
sweetie dear/map_e leaf
OL I VER
CANAL ST/jUST GONE GE 5|33
VIANDY LEe/|M GOING GE 5)34
o I ppermouth/wea THERB I RO GE 5|32
CHIMES BL/FROGGIE GE 5 1 35
SNAKE RAG GE 5 1 84
J I P?"RMOUTH/wHERE DID OK 49l 3
SNAKE RAG/HIGH SOCIETY OK 4933
JAZZ IN BA3IES OK 4975
TEARS/SUODYS HABITS OK 40000
CHATAMOOGA S TOM p/n.O. STOMP CO 13003
ZULUS BALL/WORKING MAN GE 5275
USr OTHERS ON VARIOUS LABELS
NORK
tiger/panama GE 4968
BUGLE CALL/DISCONTENT GE 4967
WEARY BL/wOLVERINE BL GE 5 1 02
MAPLE LEAF/SWEET LOVIN GE 5l04
ARMSTRONG
HOTTER THAN THAt/sAv/OY BL OK 8535
GULLY LOw/wiLOMAN OK 8474
WILLIE WEEPEr/AlL I GA TOR OK 8482
HALFWAY HOU SE ORCH
BA RATAH I A/PUSSY CAT RAG OK 403 I 3
BFSSIE SM ITH
YELLOW DOG BL /CAKEWALK I N CO 14075
HOT TIME/ALEX RAG TIME CO I 42! I 3
CLARENCE WILLIAMS
LIVIN HIGH/jUST WAIT OK 8272
N.O.HOP SCOP OK 4966
KANSAS. CITY MAN/WILDCAT OK 4925
OF ALL WRONGS/EVERYBODY OK S 1 8 1
THESE LISTINGS ARE AN INDICATION OF MY GEN-
ERAL WANTS. ALL ARE IN THE NEW ORLEANS AND
DIXIELAND VEIN. PLEASE SEE MY AD IN THE
DECEMBER CHANGER FOR FURTHER LSBTIN3S.
THESE RECORDS ARE REPLACEMENTS OF ITEMS I
HADBEFORE THE WAR BUT WAS FORCED TO DISPOSE
OF DURING THE WAR AND OF MANY THAT ARE TOO
BEAT TO ENJOY ANY MORE. THE RECORDS I WILL
RECEIVE THROUGH THESE ADS W I Ll STAY WITH
ME AND WILL NOT BE SOLD OR TRADED. THIS IS
NOT A MONEY MAKING DEAL. I ASK FOR RECORDS
THAT ARE PALYABL" AND CLEAN BECAUSE THEY
ARE FOR PERSONAL USE ONLY. EXCELLENT COND-
ITION IS A MUST. TO THOSE COLLECTORS WHO
FIND IT DIFFICULT TO BUY THE COUNTLESS RE-
ISSUES AND NEW ITEMS 1 REMIND THEM THAT I
WILL TRADE ANY AVAILABLE RECORDS FOR THE
ITEMS I WANT. IF YOU HAVE AN ITEM FOR ME
LET ME KNOW HOW MANY RECORDS YOU WANT AND
THUS RECEIVE VALUE TO YOU OFTEN HIGHER
THAN THE PRICE YOU WOULD ASK IN CASH.
28
FOR DISPOSITION
First four letters of collector
ifor address, see page 6.
PR I CE
TRACE ;
IF FOR SALE
MINIMUM 6 1
VALUE IF FOR
IF FOP AUCTI
METHOD OF DISPOSITION; SAL .
FOR" SALE AT PRICE INDICATED,;
' T RA " , FOR TRADE; "flUC", AT
AUCT ION.CLCS ING DATE FOR BIDS.
SEE PAGE 6. ' T -A " FOR TRAOE
OR AUCTION; "T-S" FOR TRADE
OR SALE; "STA" FOR SALE, TRADE
OR AUC T I ON.
condition of recopd: n— new
E-excellent; v-very good;
good; F-fair; P-pqor.
3
2
1 |label of record."
■Catalog number of record.
ALL STAR TRIO
1 AIAJT N030DYS/HACKEL SERGE
AMBROSE ORCH
LA CUCARACHa/thE CONT I NENTAL
AMOS AND ANDY
IS EVERYBODY DUMB AS U IS 1-2
PRES. ELECTION (|928) 1-2
ANDREWS S ISTERS
SING TROPICAL SONgAhrLL BE
LOU IS ARMSTRONG
3^3 E+SAL I .50 HOLB
VI 22 1 I 9
VI 2 1 608
TERR
TERR
DE I 8591 G SAL .50 TERR
1653
SAL I ■
15
1692 E+SAL 1 . 1 5
I 3 1 3 E+SA L 1 . 1 5
21334 G SAL
TRUMPET PLAYERS LAMENT
WALKING STICK/SONG If ENDED
SHADRACK/jOMAH
S1RUTTIN BAFBECUE/luNESOME RD AUPA7625 N AUC
HOTTER THAN TIIAt/tHATS WHEN AUPA755I N AUC
MAHOGANY HALL ST/bl BORN N.C. HMV 3559 N AUC
TIGHT LIKE THIS/HEAH ME TALK I IJAUC03 I I 9 N AUC
SN0W8 ALL/SWING U CATS BB 10225 N AUC
ORY CREOLE TROMBONE/LAST TIME CO 37534 E AUC
EVERY LCVES 8ABY/WR0NGS OK C8| 6| E SAL
BASIN ST/NO OK 4|2-U E SAL
ST JAWES/rUFF SCUFFLIN BP 4684 E SAL
SOMEDAY SWEETHEART/SON OF S0UTHVI24257 E SAL
FRELD 4 ADELE ASTAIPE
COMPLETE COLLECTION OF ALL RECORDS
SINCE I923-S0ME l|TH PIANO ACC BY
GEORGE GERSHWIN. UNISSUED IN USA
EXTREMELY RARE • WRITE FOR DETAILS AUC
GENE AUSTIN
RAMONA/GIRL OF DREAMS
MILDRED BAILEY
BEE GESIIIDt/aFTER ALL
TENN FISH FRY/HOW CAN I
LOVER COME BACK TO ME
SMALL FRy/bh N TO SWING
CHRLIE BARNET
REDSKIN RUMBA/SOUTHERN FRIED
THIS SI NO DREAM/THATS RIGHT
COUNT BASIE
BOO HOO/gLORY OF LOVE
TIJES. AT |0/UNDECIDED BL
DIGGIN DEx/H 4 J
DOWN FOR DOUBLE/MORE THAN U
MOTEN SWI NG/LOU I SI ANA
920 SPEC I AL/bASIE BOOGIE
comin ojt party/harvard 8L
RED BANK BOOGIE/l DIONT KNOW
ROBINS NEST
NORA BAYES
PROHIBITION BL/TAXATION BL
JERRY/lN MIAMI
SIDNEY BECHFT
NEW ORLEANS FEETWARMERS SET
COMPLETE BRAND NEW |5 DISCS
FREE BRAND NEW I6TH 3ECHET
BL IN 1 IR/MOOCHE
LAUGH IN RHYTHM/RIP UP
LADY BE GOOD/ROSE ROOM
SLEEPY TIME DOWN SOUTH/STOUPY J0NEHMV9329NSALI .65
GRAEME BELL
ALL THE GREAT FRENCH PACIFIC RELEASES N SAL
BENSON ORCH CH ICAGO
WOLVERINE BL (l* HR CR) VI |9|40 E+SAL .35
BUNHY BERIGAN
MOONSHINE OVER Ky/| GOT A GUY VI 25833 N AUC
I WANT NEW RCMANCE/lO LOVE TO VI 25688 N AUC
LADY FROM 5TH AVE./aLL GODS CHIVI25609 E AUC
NEVER FELT BETTER /ROUND THE 0LDVI25858 E AUC
WHEN PRINCE/Y OOESNT SOMEBODY VI 26055 E AUC
PIED PIPERS/lO EASY LESSONS VI 25881 E AUC
TIS AUTUMN/2 IN LOVE EL 5005 N SAL 1. 1 5
LET ER HO/RED HOT HEAT VI 25646e/vSAL I.|5
EBB TIDE/MEET FRIEND VI 25664 N SAL 1.40
JELLY ROLL BL/DEED I DO VI 26 1 1 3 E+SAL 1.65
ZEIG
ZEIG
ZE I G
MA PC
MARC
MARC
MARC
MARC
SHAY
MERK
MERK
MERK
MERK
HMV N SAL 8 25
GRF WITH ABOVE SET
V|20|5|0 E+ALC
VI 27663 N AUC
VI 27707 N AUC
COHE
COHE
MAGG
MAGG
PIKE
ARG
MOUL
MOUL
MOUL
MOUL
MOUL
MOUL
ZEIG
ZEIG
ZEj G
ZEIG
BR 4806 - AUC
CMS 5i6v/eauc
CO 37571 E AUC
BEII 8ERNIE
IM YOUPS/ONL SONG
C U BERRY
S ITT IN In/46 W 52
CHUBERRY JAy/MAELSTROM
b K-. B ILL
WOKE UP NOW/BAD ACT IN WOMAN OK 6724 N fluc
DO 3LC TROUBLF./ALL BY MYSELF OK 6427 E AUC
SHINE ON SHINE On/whEN I BEEN OK 6303 E+AUC
BABY 1 DONE GOT WISE/jUST A 0REAMOS4706E AUC
CONE WITH WINO/u SPEND MY MO OK 6630 E AUC
NEVER CREAM AGAIn/thaT NUMBER OK 6080 E AUC
-:ARIiEY BIGARD
C BLUES/BROWN SUEDE B8CII58I V+AUf.
CHARLIE CHULO/LULL HMV 9| 65 E+AUC
ESTKER BIGEOU
MEMPHIS BL/ST LOUIS BL
BLUE NOTE RECORDS
MARC
MARC
MARC
MARC
MARC
MARC
MARC
■ M ARC
■ MAGG
■ MAGG
NEW I 2n — SEND FOR LIST
BOONES JUMPING JACKS
IM FOP IT/TAKE ME BACK
IRENE BO.TDONI
SO TH IS IS LOVE
BROADWr BELLHOPS
OK 8026 E AUC PHIL
3N N SAL l.lO KEND
DE 8590 V AUC MAGG
WHERE COT COT C0TT0n/(lIKE BI«)OI 2536 V T-A
HERE COMES FAT IMA (SM R« CH ) HA
WHERE COT COT COTTON HA
WILLIE BRYANT ORCH
I LIKE BANANAs/lM GREATFUL BB
TIM BRYMN BLACK DEVIL ORCH
ARKANSAS BL/lTS RIGHT HERE
CAB CALLOWAY
WHEN YOUR SM I L I n/aRE U
279 E SAL
536 N-SAL
MILL
GOLD
.75 HOLB
.75 HOLB
6436 N AUC PHIL
OK 8002 N SAL I. 50- HOLB
EBONY SILHOUETTE/HEP CAT
margie/emali NF
OGEECHEE RIVER/l GOT NECK
KEY NOW/GOT GAL NAMES NETTY
HOAGY CARMICHAEL
SWING IT LOW/THANKSGIVING
CATS AKD F I DOLE
MISTER RHYTHM MAN/GONE
BR 7685 N SAL
OK 6I92N/ESAL
VI 24659V/NSAL
COL 693 V+AUC
CO 37081 E AUC
I .40 ZEIG
1.15 ZEIG
I . I 5 ZE I G
MAGG
SHAY
CELEST INS ORIGINAL TUXEDO JAZZ ORCH
MY JOSEPH I NE /s TAT I ON CALLS CO 636 V-
MAURICE CHEVALIER
HMV 8658 N SAL 2.00 ARG
BB 8465 N SAL I • |5 ZEIG
I .50 HOLB
Ml LL
REGGIE CHI LPS
GCOONITE ANGEL NEW MOON OVER DE |763 N AUC
L ILL IE CELK CHRISTIAN ( LOU I S— NOONE )
CO
35409 N SAL
1.15
ZEIG
CO
35532 N sal
1.15
ZE IG
DE
3953E/NSAL
1 .40
ZEIG
VO
4224N/ESAL
1.15
ZEIG
BB
10944 N SAL
1 .00
PIKE
lib
i0273g/vauc
.25
TERR
DE
1228 N AUC
COST
OK
6071 E SAL
1 .53
COOW
OK
6365 E SAL
1 .53
COOW
OK
6584e/nsal
1 .53
COOW
PAE
2768 N SAL
1 .00
C 00*
pa :
2636 N SAL
1 -CO
COOW
PA F
2847 N SAL
1 .00
COOW
CO
36766 N SAL
.53
COOW
VI 202677 N AUC
$20
TOML
CO
2823 G auc
ALCO
CO
2785 G AUC
ALCO
8650E AUC 5.00 PARR
COST
MAGG
SWEETHEARTS PARADE/i CANT G i VF OK
K i IMG COLE TRIO
BABY ALL TIMe/lITTLE GIRL CP |5i65n/vAUC
THAT A I NT RICHT/HIT THAT JIVE DEC|0|36 E AUC
COLLINS AND HARLAN
WHO 00 U LOVE NASSAU 25473 E+SAL
ALEXANDERS RAGTIME BANO ( EARLY ) V I 16908 N-SAL
EDDIE CONDONS FOOTWARMERS
MAKIN FRIENDS
ZEZ CONFREY ORCH
.75 HOLB
.75 HOLB
PAE 2031 N SAL 2.00 ARG
55 TERR
COOK
8492 G+SAL .75 HOLB
KITTEN ON KEYS VI 18900 E-SAL
DOC COOK 1 4 DRS SYNCOPATION
SLUE FOOT/WILL IE THE WEEPER CO 1070 G frUC
WILTON CRAWLEY
GEECH I E/6HES 40 W I TH ME
B I NG CROSBY
BALLAO FOR AMERICANS (ALB) DE 134 N SAL 3.50 ZEIG
HAPPY GO LUCKY/LAZY DAY BR 6306 E AUC 5.00 PARR
HUMPTY OUMPTY/DO U CARE DE 4064 N SAL 1.50 PARR
WAY U LOOK/A FINE ROMANCE DE 907 E+SAL 1.25 HOLB
YOUNG AND HEALTHy/yOURE GETTINGBR 6472f/gaUC .50 TERR
PENNIES HEAVEN/LETS CALL HEARTDE 947 V-AUC .40 TERR
SAILOR BEWARE/MY HEART AND I DE 63l V AUC .50 TERR
G MS FROM SCANDAL6 MEDLEY BR N SAL MERK
BLUE LABELS— MANY DE N SAL MERK
BRTHER CAN U SPARE/HOME COE 1 829 N SAL 2.00 ARG
SHINE/SOME THESE OAYS/SWEET GACOE 1845 N SAL 2.00 ARG
GOT THE WORLD/STAY ON RIGHT SIDEC0EI964N SAL 2.00 ARG
PARADISE/HONEYS LOVIN ARMS COE |97| N SAL 2.00 ARG
HOW DEEP IS OCEAN/TRY TENDER COE 1985 N SAL 2.00 ARG
LOVE IN BLOOM/PLEASE COE 1 802 N SAL 2.00 ARG
HERE LIES LOVE/PLAYING FIRE COE 1990 N SAL 2.00 ARG
WALTZING IN DREAM/wELL MAKE HAYC0E2074 N SAL 2.00 ARG
LOVE THY NEIGHBOR/MAY I COE 2059 N SAL 2.00 ARG
HUMMIN WHISTLIN SINSIn/dREAM COE 2060 N SAL 2.00 ARG
TEMPTATION/THANKS COE 2056 N 6AL 2.03 ARG
GAY LOVE/CANT WE BE FRIENDS COE 2035 N SAL 2.00 ARG
YOUNG HEALTHY/LAZY DAY COE 2027 N SAL 2.00 ARG
LAST ROUNDUP/SOMEONE STOLE COE 1994 N SAL 2.00 ARG
TIL WE MEET/KISS YOUR HAND COE 2036 N SAL 2,00 ARG
LOVE IN BLOOM/HAD TO BE THAT WAYME I 3 1 65G+AUC PIKE
CABIN IN PINE AUCOI 160 N AUC — MARC
SWEETHEART SIGMA CH I /DREAM G I RLA JC05840N AUC MARC
TRAOEW I NDs/nE I jHBOR IN SKY DEAU5537 N AUC M ARC
SAI LOR BEWARE/VERV THOUGHT OF DEAU5067 N AUC — MARC
JUST G I GOLo/( C OLUMBO ) SWEET 4 BB 7| I 8 E+AUC MARC
BING CROSBY BLOWUPS
JIMMY VALENTINE/TROUBLES IN DRPLASTIC N SAL 3.00 ARG
BLUES SCRENADe/rOBINS ROSES PLASTIC N SAL 3.00 ARG
BOB CROSBY
LOOPIN THE LOOP/MY I NSP I RA T I ONDE 2209 E+AUC
YOUR DRIVING ME CRAZY/CANT WE DE 1680 V AUC
DE N SAL
DEE 7|5| N AUC
DEE 7596 N AUC
DEE 7592 N AUC
GOLD
GOLD
MERK
MOUL
MOUL
MOUL
CA
29 1 N AUC
MANY MINT
JEZEBEL/BIG FOOT JUMP
JAZZ ME BL/WASH LEE SWING
CHERRY/SMOKEY MARY
DIXIE OAISEYS
LOVIN SAM/WHAT MORE DO U
EDDIE OELANGE ORCH
NEW SHOES BL/WHAT LITTLE GIRLSBB 7855 N AUC
DIXIE WASH BOA RO BANO
GIMBIE BL/DARK EYES CO 1 4 1 33 G AUC
JIMMY DORSEY
SLAP THAT BASS/THEY CANT TAKE DE 1 203 V- SAL .50TERR
TOMMY DORSEY
SWI NGT IME/6WI NG HIGH VI 27249 N- AUC MAGG
STOP KICKING/ALL IN FAVOR SW I NGV I 26356N/ESAL 1.25 GOLD
JAMMIN/TURN OFF MOON VI 25553 V AUC .35 TERR
SWEET IS WORD/HULA HEAVEN VI 25532 V AUC
u/u NEVER LOOKED SO BEAUTIFUL VI 25291 E AUC
MIDNIGHT ON TRA I l/hAWA I I AN VI 26126 V SAL
RAIN IN EYES/THEY CANT VI 25549e/nAUC
ONE UMBARELLA FOR 2/l TS WRITT VI 25|72e/vAUC
HEAD OVER HEELS/mAY I HAVE V1 25487 E AUC
THE SKUNK SONG 1—2
ILL BE SEEING u/POLKA DOTS
MOMENTS MOONLIGHT/SHAKE DOWN
SONNY DUNHAM
V I 2762 1 E+AUC
VI 26539 E-SAL
VI 26525 E-SL
COOK
.60 TERR
.50 TERR
.50 TERR
.50 TERR
.50 TERR
.50 TERR
P IKE
.75 TERR
.60 TERR
BBCI |5|4 E AUC
MAGG
BR 8063 E AUC KEND
BR 8200V/GAUC — KEND
PAE |6|5 N SAL I .50 ARG
BB 6565 V SAL .89 COST
BB 6782 E AUC COST
MUS 461 N SAL
CO 35556 E SAL
SWEET TALK/U'R BLASE
DUKE ELLINGTON
lost meoitation/ridin on bn
love in swingtime/watermelon
the mooche/sweet chariot
SARATOGA SWINQ/mISTY MORNING
WASH WOBBLE/ARABIAN LOVER
SCATTIN KIT KAT/NEW 8 1 RM I NGH AMBR 7974 E SAL 2.63 COOW
JUMPIN PUNKINS/BL SERGE • VI 27356 E SAL 1.53 COOW
CHELSEA BRIOGE/WHAT GOOD WOULDVI 27740E/VSAL 1.1 3 COOW
SHERMAN 6HUFFLE/HAYF00T STR AWFOOVI 20 1 505ESAL .83 COOW
HAPPY 00 LUCKY LOCAL 1-2
STROMY WEATHER/SOPH LADY
Z t-GGY ELMAN
UR MINE u/ZAGGIN WITH BBCI03I6 E+AUC
OCHI CHORNYA/BOOGIE BEAT BBCI I 298 E AUC
ELLA FITZGERALD
MANY MINT (wEBb) DE N SAL
CANT HEL LOVIN DAT MAn/| CANT DE I 842 1 V— SAL
I WANT WAITER/THATS ALL DE 2628 E 6AL
FRISCO SHNCQ-ATORS
EVERY WEDNES0AY/JU6T A LITTLE TR 11208 V AUC WEND
GEORGE GERSHWIN (PIANO SOLOS)
COMPLETE COLLECTION. MOST UNISSUED IN
USA AND VERY RARE. WRITE FOR DETAILS— - AUC CARV
ARTHUR G I BBS AND GAN8
BEALE ST/LOU I SV ILLE LOU (|"hr)v| 19070 N-SAL 2.00 HOLB
DIZZY GILUTSPBE
.53 COOW
.53 COOW
MAGG
MAGG
— MERK
.65 TERR
.50 TERR
MONTE CA— 2 SIDES— SUPER VERSION PLASTIC
GOOD BAIT/DAY BY DAY |2*
THE SQUIRREL/ONE BASE HIT
TABU 2 SIDES 10"
GROOVIN HIGH/OW I 2*
JAZZ GILLUM
5i hiqhway/im that man
GOLDEN GATE ORCH
GEORGETTE
GENE GOLDKETTE
MY PRETTY GIRL 6T0MP
FOX TROT CLASSIQUE/PALE MOON
BENNY GOODMAN
BLUE R00m/c| RIBIRI Bl N
BUGLE CALL RAg/niTWIT SEREN
sugar/opus 3/4
bl your flat/my flat
TIGER RAG/wHI6PEfllNG (0l)
ol pappy/junk man (bailey)
VI 25398,25521,25792,25473
COMES LOVE/RENDEZVOUS TIME
PLASTI C
PLASTIC
PLASTIC
PLAST I C
N SAL 2.50 ARG
N 2.50 ARG ARG
N SAL 2.50 AUG
N SAL 2.00 ARG
N SAL 2.50 ARG
BB 77l 8 E SAL I .15 ZEIG
BELL 160 N-SAL .75 HOLB
VI 20588 V AUC
VI 19345 V AUC
PHIL
.30 TERR
HMV 8852 N SAL 2.00 ARG
COE 1003 N AUC 4.00 PARR
HMV 8957 N AUC 2.50 PARR.
HMV 8872 N AUC I .50 PARR
VI 25421 N A JC 2.00 LEVI
COE 730 N AUC 2.00 LEVI
VI — — N SAL l.lO KEND
CO 35201 E SAL I .15 ZEI G
CO 35497 N SAL 1.40 ZEIG
VI 25268 E SAL 1.40 ZEIG
VI 25333 V+SAL 1.40 ZEIG
VI 25445 V+SAL 1.40 ZEIG
40 TERR
one sweet letter/sca tterbra1 n co 35241 e+6al i.|5 ze i 0
crazy rhythm/mr meaoowlark
maohouse/dev i l and sea (0l>
china boy/lady be good ( ol )
alexanders/riffin ritz (ol)
send want list for others — • — —
SWING LOW/WHEN U AND I ( RM Ch) VI 25492e/n»UC
FOUND NEW BABy/swINQTIME VI 25355e/vAUC .50 TERR
GEE BUT YOUR SWELL/sUOKE DREAM6V 125486 E AUC .50 TERR
NO OTHER ONE/YANKEE DOOOLE VI 25193 V AUC .75 TERR
THE EARL/LETS DO I T OK 6474e/vAUC .35 TERR
LOVE NEVER WENT/l 0 I ONT KNOW CO 35230 V AUC .35 TERR
GOODY GOODY/lTS BEEN SO LONG VI 25245 E AUC .50 TERR
SHUT EYE/GOOD FOR NOTHIN VI 26|59 V AUC .40 TERR
FOR DISPOSITION
29
•CHANGES MADE /J'JU°) N
A NO THE H GUESs/gOOONISHT
OUD FLAME/hOW DEE° OCEAN
UNDEC1DEd/*ELL NEVER KNOW
GLEN 3RAr
BUGLE C»LL/'«I3 3BANOE ,
■WEN U AWAKE/TALK OF TOWN
COPENHASEn/ JUNGLE JITTERS
BUODha Sy ILES/CORAL SEA
JIMTOWN 3l/Bi3 BAD BILL
)063Y HACKETT
dabdanella/bugle call rag Ok 5375 E AUC
GHOST OF chance/doin The new VO 4565 E AUC
JAZZ BANO BALL/IF DREAMS COME VO 4047 E AUC
ADELAIDE HALL ACC LESLIES BLACKBIRDS
CO 362iOg/vauC
VI 25461 E-AUC
CO 36754g/vauC
VI 26 1 34 v-AUC
de' 369 v/eauc
oe iS800v/gsal
DE 1048 V SAL
OE 3261 E SAL
de 3303e/vs.\l
MJST HAVE THAT MAn/baBY
BABY/MUST HAVE THAT MAN
LIONEL HAMPTON
BR 403IE/VAUC
BR 403|'//gAUC
.30 TEBB
.55 TEBB
.25 TEBB
.40 TEBB
.30 TEBB
.45 TERR
.55 TEBB
1.00 GOLD
I .00 GOLD
MOUL
MOUL
MOUL
— COST
PA RB
JIVIN VIBES/STOMP
VI
255 35
H
AUC
COST
JACfC THE BELLBOy/cENT AVE BR
VI
26652
AUC
COST
LOOSE Wl S/0<EST1ME
DE
13669
V
AUC
COST
BOUNCIN AT BEA COS
VI
27364
N
SAL
1 .40 ZEIG
LILLIAN HARRIS ACC N.Q.JAZZ BAND
BEG 9442 E AUC PHIL
VOE 222 E AUC 4.00 PA BR
VI 2l57l - AUC
SUGAB BL/4 OCL BL
CSLEWA'. -»!' r.S
SWING IN GB0OVE/-NOW U KNOW
ERSK IN£ HAWK IM!
JUNCTION BL/ASHES In TRAY
SLUE SEA /LOVE U TOULY
MISS HALLELUJAH BBOWN *
ROCKIN ROLLERS JUBILEE
DEAR OLD 60UTHLAND/6WANEE
OR ACE HAYES
I CANT GIVE U ANYTHING
JOE "A^MES/CHlCK BULLOCK
jAZ- 30-.E5 'BL pRE-jCE CQ 8|38 V S
HEADQUARTERS FR IMPORTED SETS
CLAUDE LUTEB-6IDNEV BECHET-MUGSSY SPANIER
GRAEME BELL-WEZZ-LADNI ER-MORTON-NORK
FLETCHER hENQERSON
WHY COULONT it be/bex battle
■ bappin it up/hmeho.se bl
i2th st rao/m ilneberg joys
st ecu is shuffle/variety st
rickety rackety shack
°0S» henBERSQN
MIDNIGHT BL/LIZZIE MILES
EVELYN HERBERT
SIL'EB MOON
LOVER COME BACK
tOOOY HERMAN
MB GHOST GOES TO TOWN
on jazz/tbouble in mi no
INDIAN BV/BL EVENING
INDIAN Bl/SL EVENING.
MANY MINT
I LLB I LL.YS
MANY HIM!
EARL Hires
BB 10790
E AUC
MASS
BBCI |4|9
V AUC
MAGG
BB 73lO
E+6AL
1.15
ZEI 3
BB 7826
E+6AL
1 .15
ZEIG
VO 3567
N SAL
1.15
ZEIG
M ILL
.50 TERR
JELLY JELLv/lM FALLING FOR U
I CANT BEL IEVE/BHYTH SUNOAY^CBOK 6250G/EAUC
DE 654E/VAUC
BB3003I 7 N 6AL
BBC3008I 7N-AUC
BBCI 1447 E AUC
VO 3336 E+SAL 1.40 ZEIG
JAPANESE SANDMAn/jUL IA
JOHNNY HODSES
PASSION FLOWER/OUT BACK WAY
PASSION FLOVER/GOINC
THINGS AINT/6QUATTY BOO
HOKUM 60YS
do u catch on/every man
BILL' HOL I DAY
MA NT MINT
LOVER MAN/OLD DEV'L LOVE
THFM THERE EYES/SOME OTHER
ALL OF VE/bOMANCE IN DARK
JACK HYLTQn/ABDEn OHMAN
KINGS HORSES/SLEEPY TOWN EXP VI 22619 E-AUC
INK SPOTS
MANY hTnT DE N SAL
BUD JACOBSON JUNGLE KINQS
LAUGHING AT u/l CANT BELIEVE SG 901 E AUC
CLARINET MARMALADE/OPUS I SG 903 E AUC
HARRY JAMES
GOLD
GOLO
I .00 PI KE
MAGG
MAGG
DE N SAL
DE 23391 E+AJC
vo 502 1 v/eauc
ok 62i4e/nsal
ILL GET BY/FLATBUSH FLANNISAN CO 36698 V SAL
JAZZBOS CAROLINA SERE NADERS
ACHIN HEARTED BL/si STEP KATE CA 269 N AUC
BL I HO LEMON JEFFERSON
LONG L0HES0ME/G0T THE BL PM 12354 V SAL
JACK JENNEY
AFTER I SAY/lLL GET BY VO 5494 E AUC
WHAT IS THEBE TO Say/wOBLD IS VO 5407 E AUC
STAROUST/CUBAN BOOG WOOG OK 5304 E AUC
I WALK ALONE/CITY NIGHT VO 5355 E AUC
9UNK JOHNSON
OE N SAL
MERK
MARC
MA BC
I.|5 ZEIG
.60 TERR
MERK
MOUL
MOUL
.50 TERR
COST
3.00 HOLB
MOUL
MOUL
MOUL
MOUL
ALEX RAGTIME BAND
TISHOMINGO BL
DE
n sal
MERK
MEBK
AL JOLSON
OLD MAN RIVER
00G1E OOGIE WAWA
ISHAU JONES QPCW
MY BABY JUST CABES FOR ME
ROGER WOLFE KAHN
3867 - AUC
3588 v SAL
BR 4907 N AUC
MILL
.40 TERR
YEABNING/HOT HOTTENTOT
VI
13616
G
AUC
WEND
BAMMY SH"RE/LOOK WHO HERE
VI
1980S
V
AUC
WEND
1 NEVER KNEW/SITTIN ON TOP
V 1
1 9845
6
AUC
WEND
LUCKY B0Y/I.ITT1E BUNGALOW
VI
19860
AUC
• # END
baby/lantern OF LOVE
VI
19942
V
AUC
WEND
AT PEACE WITH W0RLD/|D CLIU
S VI
20045
V
AUC
WEND
SOMETIMES IU "APPY
VI
20599
V
AUC
WEND
JUST THE SAME
VI
20634
V
AUC
WEND
CRAZY RHYTHM/ 1 MAGI NAT ■ ON
V 1
21368
V
AUC
WEND
DANCE LITTLE LADV/rOOM WITH
VIEV
21801
V
AUC
WEND
DOLLY KAY
RED HOT MAMA/BIG BAD BILL CO
BUZZ M I BANDY/'l TS THE LAST TIMECO
SAUUY KAYE
HEAD ON PILLOw/LOVE SONS
LLOYD KEATING
226 V AUC
3644 v AUC
WEND
WEND
VI 26502 E SAL .50 TEBB
2 1 77 V AUC
5380 G AUC
2630 V AUC
7587 V AUC
WHERE .CAN U BE /OLD N.E.M0ON VE
AS TIME GOES By/wHAT ARE U CL
HAL KEM-
SLOOMY SUNDAY/DESIRE BR
MUSIC SOES ROUND /DINNER FOR I BR
SMALL HOTEL/lTS GOR 2 BE LOVE BR 7634 G AUC
GOT DATE ANGEL/LAMPLIGHT VI 2565 1 E AUC
DANGER LOVE AT WORk/lONL I NES6 VI 25628 E-AUC
STAN KENTON
CAP |59-I 78-1 37-229 EACH e/nSAL
CONCERTO DOGHOUSE/LAMENTO DEC I 0378 N AUC
NANGO/LOVE OF MINE DE 4037 N SAL
TEMPO KING
PAPA TREE TOP TALL/LOVE SONGS SB
ANDY KIRK
WEND
WEND
W END
WEND
WEND
.40 TERR
.40 TERR
.45 COOW
— — MAGS
1.40 ZEIG
6535N/ESAL 1.40 ZEIG
LADY WHO SWINGS 8 A ND/whA T WILLDE
TOAD IE TODDLE/i WONT TELL DE
KNICKERBOCKER ORCH
1085 G AUC
2 1 27 V AUC
WEND
WEND
RECORDS
- THE
BEST
COHE
APC 83l6
E AUC
COST
oe 157
E AUC
COCT
asch 350
E+AUC
MAGG
BBC 1 "246
N-AUC
MAGS
DO 4062
N SAL
2.00
HOLB
VI i9i24g/vaUC
COST
VI 20995
- AUC
MILL
VI 21383
— A'JC
MILL
OE 1079
N SAL
1.15
ZE 1 G
OE 1307
E+6AL
1 .15
ZE 13
DE 2250
N SAL
1.15
ZEIG
DE 2250
V AUC
.35
TERR
OE
N SAL
MERK
DE
N SAL
MEBK
BB 11065
N AUC
SHAY
Rio rita/kinkajou
CO
393
V
AUC
WEND
KA LU A/BL OANUBE 3L
CO
3516
AUC
WEND
dapper dan/i WANT YOU
CO
3533
.
AUC
WEND
California/ ld fashioned girl
CO
3578
V
AUC
WEND
BYGONES/POOR LITTLE ME
CO
3602
G
AUC
WEND
FRANK KOMPLAI'!
ROLLON SILVER MOOn/slEEP BABY
BELL 1 1 12
V
A JO
WEND
EMMETTS LULLA3YE/EMMETTS CUCKOO 602904
G
- - 0
WEND
BENNIE KRUEGER
DANGEROUS BL/A 1 NT WE GOT FUN
^R
2109
V
AUC
WEND
SCHOOL HOUSE BL/GOT MY HABITS
SB
2l8l
V
a , :
WEND
STIA'BLI n/|M JUST WILD
5 =
2272
G
AUC
WEND
SWANEE BL/SWEET INDIANA HOME
3C
2281
'.'
AUC
WEND
CHILI BOM BOm/hOME IN PASAOENABR
2562
a
AUC
WEND
WANG WANG Bl/SPREAD YO STUFF
BR
2033
V
A J 0
WENO
HOW MANY TIMES/EVERYBODY STEP
9E
2l5l
V
AUC
WEND
GENE KRUPA
KNOCK ME A KISS/DELIVER ME
co:
660
V
AUC
MAGG
ART LANDRY
LAZY BL/lLL GET U
.
19433
.
AUC
WENO
5 FT 2 EYES BLUE/OONT WAIT
.
19850
V
A JO
WEND
ED LANG
Change's made/chubch 6T
PAE
1495
N
SAL
1 .50 ARG
A=THUR LANGE
u GAVE HE/lLL BE IN
CA
265
.
AUC
WEND
NIJIJO NOVGo/l LOVE U
CA
404
V
AUC
WEND
chansonette/sweet KALUA LOU
CA
429
V
AUC
WEND
TICKLE ME/CABOLINA IN MORNING
OA
281
.
AUC
WEND
SAM LANIN
HO hum
HO*
1 i5l
V
AUC
WEND
annabelle/my sweetie
PE
14142
G
AUC
WEND
SING1N IN RIN/OBANGE BLOSSOM
Dl
2934
V
AUC
WEND
CLOCK OF LOVE/l CALLED U SUN
OD
20047
G
AUC
WEND
ARKANSAS Bl/lONESDME LOVESICK
RE
9164
V
AUC
WEND
TOODLE 00
PAT36036
G
AUC
WEND
DE 23446 - AUC
vi 20331 - AUC
8791 E AUC
53 I 9 V SAL
GERTRUDE LAWRENCE
POOR JHh
SOMEONE TO WATCH
LEAOBELLY
GOOD MOBNING Sl/LEAVING BL
CHESTER LEIGHTON ORCH
stabdust/now U IN ARMS
LEVEE LOUNGERS
CAROLINA M00N/NISHT MEMORIES PE 15098 E AUC
TEO LEWIS
8EALE ST 8l/mEMPHIS BL
annabelle/eddie ELKINS
fate/paul specht
oh/gobman nov synco
bo la bo/kentucky seb
GUY LOMBARDO
L00K6 LIKE RA I n/T00OLE 00
VINCENT LOPEZ
JIMMY LUNCEFORD
MILL
■ M ILL
MARC
.60 TERR
MARC
CO
1050
G
SAL
1 .10
COOK
CO
3957
N
AUC
COST
CO
3738
V
AUC
COST
CO
2844
V
AUC
COST
CO
2895
V
AUC
COST
VI
25572
V+-SAL
.65
TEBR
BB
6264
N
AUC
=HIL
BR
20065
G
SAL
.70
TERR
WELL ALL RIGHT/TIMES WAST1N VO 4887G/VT-
LJNCEFORD CONT INUEO
IN MY OREAMS/uERRY SO RNDOE |3|8v/eT-
CLAUDE LUTER
ALL THE SREAT FRENCH BELEASES NEW
ENRIC MADRIa'JERA
COUE TO THE FA I R /my THRILL 3R
SAL
COHE
3B 8415 E+SAL .90ZEIG
CO 35465 N SAL 1.40 ZEIG
VI 27702 E SAL I • 1 5 ZEI G
.60 TERR
RAM0Na/D0 SOMETHING
prazil/no NO NO
FREDDY MART IN
MILENBERO JOYS/WOLVERINE BBC 77|2 N AUC
CLYDE MC COY
MAPLE LEAF RAG(RM CH )/n I SHTUAREOE 68l E SAL
/I OLA MC COY ACC HENDERSON— D I XON
HOW COME U DO ME LIKE U DO RES 9667e/vAUC PHIL
MCKENZIE CONDON JUNGLE KINGS
FRIARS PT SHUFFLe/DarKTOWN STRUHCA 3 E+6AL 3.00 HOLB
J IMMY MC PARTLAND
ORIS DIX I STEP/ALL BOUND BOU DE |344| E T— A GOLO
ETHEL MERMA ';
LADY IN REO 'ANIMAL IN ME
MEZZROW— LADN lER
COMPLETE BRAND NEW SET OF
MEZZ BECHET OU INTET
BEALLY THE BL 1-2
MAKIN FB I ENDS
7491 E SAL .65 TEBB
N SAL t 1 5 COHE
KJ 146 N-AUC SHAY
PAE 2031 N SAL 1.75 ARG
LIZZIE MILES MELROSE 3r0MPERS
HOLD ME PARSOn/hES RED HOT VO 5326 E-AUC MAGG
CLEMN MILLER FILM SOUND TRACK
COMPLETE SOUND TRACK OF SUN
VALLEY SERENADE— 9 — I 2" UNBREAK-
ABLE RECORDS (|8 SIOEsl N SAL$22.50ARG
GLENN MILLER
TOO ROMANTIC/SWEET POTATO BB |0605e/vAUC .50 TERR
STARLIGHT MUS I c/HEA R MY SONS BB 10684 V AUC .50 TEBB
AINTCHA COMIn/cBAZY MOON BB 10329 V AUC .50 TEBR
MILLS BROTHERS
IT DONT MEAN A THINS/CONEY ISLBR 6377 V AUC PIKE
BELLS SAN RAQUEl/| OUESS DE 4070 V— AUC .25 TERR
CARMEN M IRANDA
WEEK END HAVANA/DIZ QUE TEM DE 23239 V AUC WEND
MISSOURI JAZZ HOUNDS
THAT BEO HEAO SAl/lANIN ORCH REG 9490 E AUC PHIL
JELLY ROLL MORTON
DONT LEAVE ME HEAr/bALLIN JACKB8 10450 E AUC
COMPLETE BRAND NEW SET OF 6
BEALE ST BL/THE PEARLS
WOLVERINE BL/MB JELLY LORD
DEEP CREEk/bL I SLAND( PARHAM)
CLIMAX RAG/WEST END BL
GEORGIA SWING/MOURNFUL SEB
GRANDPAS SPELLS/CANNON BALL
PH IL NAPOLEON
GO JOE SO /TAKE YOUR FINGEB
NORK
WOLVERINE BL/WEARY 8L
SWEET LOVIN MAN/LONDON BL
THATS A PLENTY/TIN BOOF BL
SH IMMESHAWABBLE/mI LEN3ERG
CLAR/MARM/MR JELLY LORD
GOLDEN LEAF STRUT/SHES CRY IN
FA BEWELL BL/ECCENTRIC
TIGER RAG/PANAMA
RED NICHOLS
PARADE OF PENNIES/HOT LIPS
POOR BUTTERFLY /PRETTY GIRL
L1MEH0USE BL /60UTHLAND |2"
RAY NOBLE
OVER 100 ENGLISH FOR TRADE
ROLL UP CARPET/BOCK YOUR
PH IL
HUV N SAL $ I I COHE
BBC 10252 E+AUC MAGG
TJR 1 N TRA GOLF
BB 5333 N AUC 2.00 LEVI
BB 10442N/EAUC 2.00 LEVI
HMV 9221 N AUC 2.00 LEVI
HOM 54 N SAL 2.00 ARG
VI 20605 G+SAL 1.25 COOK
GO
509
N
SAL
2.00
ARG
B ac
22l0
N
SAL
1 .50
ABG
BRE
2208
N
SAL
1 .50
A " 0
JAZZ5006
N
SAL
2.00
ABG
VJR-
N
SAL
2.00
ARG
PLA
1 16
'.
SAL
2.00
ARG
3 = E
221 1
N
SAL
2.00
ABG
5Pr.
2212
■.
SAL
1 .50
a = ;
BB 10360 E SAL 1.40 ZEIG
BB 10522 N SAL 1.65 ZEIG
BR 20070 E SAL 2.40 ZEIG
HMV N-ETRA
VI 25262v/EAUC
WHEN IM WITH u BUT DEFINITELY VI 25336 V AUC
LET SELF GO/LETS FACE
JIMMY NOONE
BIRMINGHAM BERTHa/am I BL
RED NORVO
vi 25241 V UAC
OLI v
.50 TERR
.50 TERR
.50 TERR
1296 E AUC 3.50 LEV I
GRAMMERCY SQUARE/DECCA STOMP DE 69l N/EAUC
KING OL IVER
MABELS OREAM/RIVERSIOE BL
WEATHERBIRD RAG/jUST GONE
HANDY LEE/lM GOIN AWAY
LONDON BL/CAMP MEET IN BL
WHERE DID U STAY LAST NITE
CHATANOOCA STOMP/NEW ORLEANS
OR IGINAL MEMPH IS F I VE
TEASIN SQUEEZIN UAn/mUSIC BAD I EX I I 38 V AUC
DADA STRAIN/TAINT NOBOOYS PAT20870 V AUC
JAZZ ME Bl/anyTIME CO 36064 N AUC
MEMPHIS OLI DE/SHUFFLI N MOSE RES 9476 E AUC
OR IEOLE ORCH
NEED SOME PE T T I n/l I TTLE CLOCK BR
JAZZ5008
N
SAL
1 .50
ARG
BRE 2202
N
SAL
1 .50
ARS
BRE 2201
N
SAL
1 .50
ARG
HJCA
N
SAL
.98
ARG
BRS 2
N
SAL
.98
ARG
TVJR
N
SAL
2.00
ARG
COST
.COST
COST
PHIL
2637 G+SAL I .25 COOK
3 N SAL I .05 GLOB
K 10 ORY SUNSH INE ORCH
ORYS CREOLE TR0m/S0CIETY BL I
HOT LIPS PAGE TRIO
JUST ANOTHER WOMAn/uY FIGHTIN HMV 926l N SAL 2.00 ARG
ROCK IT FOR FOR ME/l LET SONG BB 7567 N SAL 1. 1 5 ZEIG
UY FIGHTIN GAL/ANOTHEB WOMAN B3 8660 N SAL 1. 1 5 ZEIG
CHARLIE PARKER
GROOVIN HIGH/BIS FOOT
|2"PLASTIC NSAL2.50 ARS
30
DISPOSITION
CHARLIE PARKER CONTINUED
gr£ovin high/bio foot
SLOW BOAT TO CHINa/hOT SHOP
6ALTED PEANUT s/CHA S I N BIRD
HALF NELSON/WHATE XMAS
COLE PORTER
YOUR THE TOP/THANK U MRS
|2"PL ST1CNSAL
|2"PLASTICNSAL
|2"PLASTI CNSAL
|2"PLASTICNSAL
50 ARC
50 ARG
50 ARG
50 ARG
; I 24766 G SAL I .25 TERR
4008 E AUC
OE I639V/ESAL I
PE 1 58 1 7 N SAL I
HARRY RICHMAN
■HAT OYA 6Ay/|U ON A CREST
ADRIAN ROLL I N I
YOUR A SWEETHEAR t/ JOSEPH 1 NE
BY WATERFALL/SITTIN IN
ROSELAND DANCE ORCH
LOUISVILLE LOU/RAMSHACKLE SHACRE 9489 E AUC
SACRED RELIGIOUS
MANY MINT OE N SAL
GEORGES SAUVE
MON COVER ME 0 I t/tOUT BAS
JAN SAV ITT
QUAKER C I TY/S UGAR FOOT BBC 10005 N AUC
RAYMOND SCOTT
HAPPY FARMER/EGYPTI AN BARN DANCEC036277N AUC
BOVD SENTER
SH I NE/DO IN U 0000
SEP I A. AND UUES
MNY MINT
BEE SHARP
25 GOLD
50 HOLB
S T A R R 1 65 74E SAL .75 HOLB
PI KE
VI 2 1 3 1 2 E SAL I .50 HOLB
DE N SAL MERK
88 52|9 V AUC
VI 27405 E+AUC —
BBCI0I28 N AUC —
BBCI0430 E AUC —
BB 7772V/ESAL 2.
BB 7875 E SAL I.
WEND
MAGG
MAGG
MAGG
I 3 COO*
53 C00»
I 3 COO*
I 3 COO*
I 3 COO*
I 3 COO*
CO 372i3e/vsal
CP 133 E AUC
DEC 4 1 30 V+AUQ
EASTER PARADE/NOT FOR ALL
ART IE SHAW
MOONGLO*/MY BLUE
MAN I LOVE/VILIA
LAOY 8E/| 6URRENDER
COMIN~On/| CANT BELIEVE
NGHTUAWE/nON STOP FLIGHT
SOFTLY AS MORNING SUNRI SE/CO ENH AGEN I 0054ESA L2
JUNGLE ORUMS/HAD BE U BB 10091 E+SAL 2
ONE FOOT IN GROOVE/ONE NIGHT BB 10202 E SAL 2
LADY BE GOOD/l SURRENDER DEAR BB 10432 E+SL 2
BOBBY SHERWOOD
ELKS PARAOE/l DONT KNO* CP 107 E-AUC
SHILKRETS RHYTH— MELQD I ST5
SORRY SALLY/CANT GIVE ANYTH VI 2 1 688 N— SAL I
D INAH SHORE
CLOSE ME EYES/BEL AMI
FSEDOIE SLACK
OLD ROB ROY/GET ON BOARD
PIG FOOT PETE/STRANGE
BESSIE SMITH
MANY-SEND WANT LIST CO TRA —
BACK *ATER BL/NOBODY KNOWS AUPA 7588 N AUC —
TAKE ME FOR BUGGY R 1 DE/p I GFOOT AUPA 761 3 N AUC —
DOWN IN DUMPS/DO YOUR DUTY AUPA 7548 N AUC —
GRAVEYARD BL/jAILHOUSE BL CO 400 1 V AUC —
KATE SMITH
DANCING WITH TEARS/SHARING VE 2|70 V SAL ,
MAMIE SMITH JAZZ HOUNDS
DAOA STARIn/| WISH I COULD OK 4689 E AUC —
IF U DONT I KNOW WHO WILL OK 4228 V SAL I.
SNOOKS MEMPHIS STOMPERS
UNDER YOUR WINDOW TONIGHT BA 32 1 9 1 E-SAL
MUGGSY SPAN 1 ER
COMPLETE RAGTIMERS SET OF 8 HMV N SAL t
2 OCL jump/wreck 97 DEC 4336 E AUC —
CHARLIE SPIVAK
6TARDREAMS/| SURRENDER
DICK STABILE
IF I COULD BE WITH u/jADA
REX STEWART
LI NGER AWHILE/LINGER
STUYVESANT STOMPERS
shine/blue tail fly
TAMPA BLUE JAZZ BAND
SUNNY JIM
ART TATUM
DEE!* PURPLE/TEA FOR 2 DEC 2456 E AUC MAGG
ARA 4501,4502,4503,4504 ARA N SAL .75 KEND
JACK TEAQARDEM/^ARRY JAMES
THE BLUES/OH LOOK AT U
TENNESSEE TEN
MAGG
MAGG
LEV I
MARC
MARC
MARC
PHI L
PH IL
00 HOLB
I 5 COHE
MAGG
COC 592 E- AUC-
MAGG
DE 977 V SAL I ,
BBC I 1057 E+AUC
PX
.00 GOLD
MAGG
I N SAL I .05 GLOB
OK 4803 V+SAL .50 HOLB
downhearted bl/gulf coast
kay thompson orch
carelessly/lull in life
TINSLEYS WASHBOARD BAND
EL 5042E/VAUC
VI 19094 E AUC
GOLD
PHIL
ALCO
HMV 8655 N SAL 1.50 ARG
VI 25564 G AUC
AMEN CORNER/PRETTY GIRL
SOP IE TUCKER
SOME THESE DAYS VI 22049 - AUC
JOE TURNER AND FREDDIE SLACK
ROCKS IN BED/GO IN CHICAGO
RUDY VALLEE
ORUNKARD SONG
FATS WALLER
DEC 4033 V+AUC
VI 24739 - AUC
ST LOUIS BL (ORGAN SOLO) VI 20357 G+SAL I
JOINT JUMPIN/l CANT ,G I VE U V|20|582 V-SAL
WASHBOARD WONDERS (WELLSTOOD)
OONT FORGET TO MESs/bORDELLO DAYSPX 2 N SAL I
MILL
50 COOK
75 TERR
dinah/old HOME
CHICK WEBB
ETHEL WATERS
100 YRS FROM/COULONT ( BG 0RCh)c0 2853 E AUC 3.00 PARR
OE 234E/N6AL 1.40 ZEIG
OE 1032 V AUC .30 TERR
VI 20627 E SAL 1.50 COOK
I DEC 2222 V+AUC MAGG
VI 2 1 304 G+SAL 1.50 COOK
VI 2|2|4 V+RALI.25 HOLB
.) VI 21398 E SAL 2.25 HOLB
CO 1465 E-SAL 2.00 HOLB
HAVE TO SWING It/mR RHYTHM
PAUL WH I TEMAN
PRETTY LIPS (HR Cr)
JEEPERS CREEPERS /MUTINy(TIA
PARAOE WOODEN SOLD I ERS ( 8 I x )
LONELY MELODY ''rAMONA(BIx)
U TOOK ADVANTAGE (BIX & BIN
ON THE CREST OF A WAVE(BIX
SPOS In/lAUGH IN MAR IONETTE( RMCH )C0 1862 E+SAL 1.50 HOLB
WANG WANG Bl/aNYTIME VI 13694 G AUC ALCO
DANCING TAUBORINE/sHADY TREE VI 20972 V AUC .50 TERR
CHANSONETTE/WHAT DO U 00 VI 19145 E SAL .65 TERR
OH ME OH My/lEARN VI 13778 V SAL .65 TERR
LAST IJIGHT BACK PORCh/|F I VI I 9 1 39 V SAL .65 TERR
THO ONE I LOVE/SHANGHA 1 VI 19245 V-SAL .50 TERR
ALEC WILD'R OCTET
SEA FUGUE MAMA/JAP SANO
COC 6042 N AUC MAGG
CO 35648 N SAL 1.15 ZEIG
I 44l 3 N AUC
73 V+SAL .50 HOLB
SELDON THE SUN/CHILDREN
CLARENCE WILLIAMS
MANDY MAKE UP M I NO/BLACK B I RDAUCO 2727 N AUC
WILLIAMS SISTERS
SAM ACCORDIAN MAn/nOTHING ELSEVI 20452 £ AUC ■ WEND
EMMA WRIGHT (RACE)
LONESOME TRAIL BL
CLARENCE WILLIAMS
DANCE THEY CALL THE GA HUNCH OK 8029 E AUC
UNIVERSITY SIX
I LOVE BABY/GREEN HAT
BLESH BROADCASTS
COMPLETE LISTINGS HIRS
CYLINDER RECORDS
LOTS OF 50-10^-2 4 4 MIN. EO V-ESAL PHIL
FOUR POCKET ALBUMS
lOrfEACH N CONDITION ROSE
OFF THE AIR RECORDS
AM SELLING OUT COLLECTION
OFF THE AIR. 300 ITEMS-SEND
FOR FREE CATALOGUE. ALL A I s SHOTS FROM DEC 46I.25WEIN
LISTS
STOL
N SAL 2. 10 GLOB
N SALI9.25 GUOB
N SAL 2.20 GLOB
N SAL20.00 GLOB
N SAL I .40 GLOB
N SAL I .50 GLOB
GLOB
SEND FOR MY LI ST
RECORD STOCK ENVELOPES
10"
1 2"
BRO*N— PER I 00
I 000
GREEN— PER I 00
1000
BROWN— PER 50
GREEN— PER 50
10^ PACKING CHARGE. SHIPPING CHARGES COLLECT
VICTOR RECORDS (ORCH)
OUT OF PRINT 1929 LOTS 20{! V|2|-2200N SAL
VINYLITE JAZZ REISSUES
FREE CATALOGUE
WANTE D
FIRST FOUR LETTERS OF C01 LECTOR'S NAME.
FOR ADDRESSES SEE PAGE
PRICE OFFERED FOR RECORD
CATALOGUE NUMBER OF RECORD
1 | LABEL OF RECORD
ALABAMA RASCALS
GEORGIA GRIND
FRED ASTAIRE (WITH AL STAR I TA
loui siana/not my Gl RL
CHARLIE BARNET
ROCKIN RHYTHM E
720 IN B00K6 E
NAGASAKI E
GROWL IN E
SURREALISM E
IM PRAY IN HUMBLE E
BIRMINGHAM JUG BAND
GERMAN BL
G I VI N IT AWAY
DOCK BOGGS
DOWN SOOTH BL
COUNTRY BL
HARD LUCK BL
ELDER RICHARD BRYANT
HO* MUCH I OWE FOR LOVE
CALIFORNIA RAMBLERS
DOWN SOUTH CAMP MEETING E
CHRI S AND HIS GANG E
RUSS COLUMBO
PE
)
0205
7.50
UMPH
C JE
535510.00
CARV
BB
10785
WASH
BB
10618
WASH
BB
581 5
TOWN
BB
58l6
TOWN
VR
633
TOWN
BB
101 |9
TOWN
OK
8856
3.00
UMPH
OK
8908
3.00
UMPH
rjR
1 18
2.00
UMPH
BR
1 3 1
2.00
UMPH
BR
133
2.00
UMPH
OK
8579
3.00
UMPH
VR
577
TOWN
VR
603
TOWN
2.00
L 1 QU
GERALD GRIFF IN
ANY
ERSK I NE HAWK INS
WEARY BL/SWING OUT E
SWING OUT E
HAYES LOUISVILLE STOMPERS
GET I T F | XEO BL
T I NY H ILL ORCH
ANY records by this ORCH. have some
HARRY JAMES
LIFE GOES TO A PARTY E
I OCL JUMP E
TEXAS CHATTER E
LULLABYE IN RHYTHM E
L.ITTLE WHTE LIES E
HOME JAMES E
CROSS COUNTRY JUMP E
EL I ELI E
ALL COE E
LEWIS JAMES
PAIE MOON
TED LEWIS
jenny/(frank westphal) e
whereo u get those eyes e
play fiddle play/lm sure of e
stormy weather/moonl i ght e
golo oiggers song/lts sunday e
lazy bones/rhythm e
M I NATURE DANCE PRO/(kATE SM | TH ) E
BABY ROSE MAR IE
ANY BR OR VI E
MEMPHIS SANCTIFIED SINGERS
THE GREAT REAPING DAY
KING PL IVER
MANY GE, VO, BR ETC E
REV D.C. RICE
a sure founoation
hes got his eyes on
ELDER OSCAR SANDERS
PREACH I NG AND SINGING
SIX JUMPING JACKS
RAH RAH RAH/CHICK CHICK E
SOUTH MEMPHIS HUG BAND
RED RIPE TOMATOES
KO KO MO BL
POLICY RAG
MAX I NE SULLIVAN,
TURTLE DOVE
RUSY VALLEE
WIFFENPOOF SONG
MINNIE WALLACE
DIRTY BUTTER
ANY RECORD ING GROUP
BUSSE 2932-KARDOS 2722-HIMBFR 54 1 8
1930-34 TITLES SEND FOR LIST
SPR I NG AGA IN
HIT THE DECK 1 2"
BLUES SINGERS
MANY EARLY (w(TH JAZZ ACC) V-E
CATALOGUES
1928 COLUMBIA & |9t8 VICTOR
VARS1 T Y Sr ROYALE
JACKIE BOY
ANY LABEL, ROYALE ETC VARS
NEW ORLEANS
WILL BUY OR TRADE
RECORDS
Wanted any quantity
T IGER RAG
PHIL NAPOLEON N
TEDDY WILSON E
Dl XONS JAZZ MANIACS
THE H I LLTOPPERS V
HOLLYWOOD DANCE ORCH
FOREIGN COLLECTORS
OK
KILR
BB
7839
WASH
BB
10224
WASH
OK
8269
3.00
UMPH
8R0C
BR
8035
TOWN
BR
8055
TOWN
BR
8067
TOWN
BR
8136
TOWN
BR
81 78
TOWN
BR
8350
TOWN
CO
35531
TOWN
CO
35979
TOWN
TOWN
OK
4891
KILR
CO
381 4
REEK
CO
667
REEK
CO
2728
REEK
CO
2774
NR EE K
CO
2786
REEK
CO
2775
REEK
CO
56000
REEK
ANY
1 .50 MA YE
VI
38559
1 .50
UMPH
TRA OLIV
vo
1 l75
2.50
UMPH
VO
1262
2.50
UMPH
PE
0275
2.50
UMPH
BR
1 .25
QU 1 N
ME
12773
2.50
UMPH
ME
|28|2
2.50
UMPH
VO
2585
2.50
UMPH
VI
KNOE
KUNK
VI
38547
2.00
UMPH
1 .50
ORLA
ORLA
ANY
BRON
BRON
TY LABELSVS
WEND
+.25 LI QU
3.00 LI QU
ED 51908 2.00 MAD I
TW 2 % 10 MADI
PT 12408 5.00 MAO I
GG 2.50 It D I
AP 8644 2.50 MAD I
SEND ME 10 JAZZ RECORDS FROM YOUR COUNTRY
AND I *LL RETURN 10 JAZZ RECORDS IN THE
SAME CONDITION MAO I
TRADE
WILL TRADE BRITISH RECORDS FOR JAZZ PIANO ROLLS.
WILL WELCOME ANY INFORMATION FROM READERS
ON PIANO ROLLS FISH
WANTEO
NO JUKE BOX SCHN
RECORDS IN ANY QUANTITY.
WANT LISTS
HAVE ALL TYPES DOME ST I C FOREIGN —
YOUR WANT LISTS IMMEDIATE ATTENTION
LEVI
AVER
it pays to advertise
In The Record Changer
DISPOSITION
[FIRST FOUR LETTEH5 OF COLLECTOR
IF1")^ A DDRE SS . SEE FftGC 6,
price if for sale;
trace; minimum bic
VALUE IF. FOR
IF FQB \UCTl
METHOD OF DISPOSITION: "S*L*>
FOR SALE AT PRICE I NQ I CATFJD ;
TRA " , FOR TRADE! "AU6 , AT
UCT I ON.CLOS I NG DATE FOR BIDS.
SEE PACE 6. ' T -A " F OR TRADE
AUCTION; "T-S" FOR TRADE
OR SALE: "STA" FOR SALE,TRAOE
OR AUCTION.
CONDITION OF
E-Cx CELLENT;
S-cnopj F-fa
2 Ic^talCS v.uSEQ OF RECORD
1 Il^bel cf g e : : ■
RECORD: N-NE*
7— VERY GOOD
1 2 3 4 5
MARK ANDREIS ( GRAND ORGAN)
SILENT NIGHT/aDESTE F I DEL 1 S VI 20298 E+AUC -
CATTERALL, MURDOCH 4 SQUIRE
TRIO IN E FLAT( BRAHMS )"l NALE CO 67089 N AUC —
CATTERALL S. HARDY
CONCERTO IN A UAJOR 3— A CO 67056 N AUC —
EDMOND CLEMENT (TENOR)
MWNON-LE REVE ( 1 2* ) " VI 74258 V+-SAL
ALESSANDRO D 'ALBA
TIC Tl Tic ta/vilta OK 86005 N AUC —
MORIKE EDUARD 4 BERLIN STATE OPERA HOUSE
TOO UNO VERKLARUNG 5-6
M1SCHA ELMAN
HUNAGIAN DANCE 7 (BRAHUS )
GERALD INE FERRAR
ANNIE LAURIE I 2*
KING GEORGE V
OD 5072 N AUC
VI 6*439 v+SAL
vi 38052 G sal
FIVE POKER *i A ; a '_ CONFERENCE I-2VI22338 V SAL
»LHA gluck
TU HABAERA ( SONG OF HAVANA)
JASCHA HElrETZ
SPANISH OANCE I 2"
FRITZ KREISLER
VI 64l 82 V SAL
v l 74569 V— SAL
rosary/old REFRAIN VI 720 V SAL
CAPRICE VIENNOIS I 2" VI 74 1 97 G+SAL
LENER STRING QUARTET
QUAR IN C MAj(mOZACT) 5-6 CO 67028 N AUC
OSCAR LEVANT
DEBUSSY CLAIR DE LUNE (OTHERS)CO UU560 G SAL
JOHN UC CORMACK
NIGHT HYMN AT SEA
OFF TO PHILADELPHIA
SEVERAL UNISSUED PRESSINGS
A LITTLE LOVE A LITTLE KISS
NELL IE MELBA
LO HERE GENTLE LARK 1 2"
HUV N T— A —
HVIV N T— A —
H''V N— £T — A —
V I 64343 N— SAL I
ARG
,40 TERR
ARG
ARG
.35 TERR
.50 TERR
.50 TERR
.30 TERR
.30 TERR
.40 TERR
.30 TERR
ARG
.45 SHAY
OLI V
OLIV
OLIV
,00 HOLB
VI 33073 V SAL .35 TERR
NE1 CHAMBER ORCH 4 CHAS KRESHOVER
PAUL JUON— CHAMBER SYMP OP 27 NG S 144 N A JC
GABRIEL PtERNE 4 ORCH C OLONNE
RAMUNTCHO
ROSA PONSELLE
CAV Ru ST I CA MA ( WELL U KNOW )
MAUO POWELL
AT THE BROOK/THE SWA:i
SCHUMANN HE INK
IRISH LOVE SONG
OE 25335 n AUC
CO 49570 G SAL
80IV/GSAL
VI 87022 G SAL
PR IEISSMAN AND BERLIN OPERA HOUSE ORCH
SYMPHONY PATHET I QUE -4TH MOVE 00 5050 N AUC -
RE INALD IERRENRATH
ARG
ARG
.35 TERR
.40 TERR
.45 TERR
ARG
STEIN SON';
OPERA DISPOSITION
OFF THE AIR RECORDINGS
MADE OF ANY PROGRAM
HEARD IN NY. HALF HOUR FOR I 5.C
WANTED
VI 5491 4 V SAL .50 TERR
First four letters of collector's name.
ifop address. see page. .16.
|ppICE OFFERED FOP PECOPO
Catalog number of record.
1 ABEL OF RECORD
Selection. (Opera
n parentheses ) .
PERSONAl ITV RECORDS
WILL BUY ANY QUANT I T <
STAGE SCREEN RADIO STARS WANTED SCH
VOCAL I ON CONCERT ORCH QUI
JARASE TAPATI o/h IMNO NACIONAL MEX I CANO ( E ) V08037 1.50
Here is what just a few of our regular advertisers have to
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olutnns
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tr
fades
orresp
ivork
on
Jence.
Keep up
Harry
Of
So
'//ft V
°>2
'6*
Record Chan gJr ?LfS'n your \
bee» Pleasantly "LI hav/ ^ays
re*Ponse. Franll/pT^ « J.
Ch«nger, dul no /L ^6 **
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bn J. Argo.
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gelsd
ort
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I to me. I "ai
never dreamt
mimeo-
ection
error
won*
my com\
\ints re
record
r them 1
that
dossil
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f fn<*
ithat *' CfJ records _ «
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1 Page (234 Lines)
2 Columns (156 Lines)
I Column (78 Lines)
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Delaunay Blasts Shoddy Criticism — Page 13
Reprinted from the Saturday RevieiV of LITERATURE
THE
0 f
» T° °ATE .aretobe^;
is and alVpf fiance
^tulattlu°et anyone ■ J^^S. ^
lasting value and near J
interested n 3 regrettable ^ ved
*»ding; more of ^f^Lr, as P*"
*aS n°L S ^arshaU ^ drawings as
rt work oy ieS of o1
ten ^ »aM roCwea of .
t have see« kn0w, tne ge of
dtscoorapMJ > { origmatf these col-
the name js e first of ^ tte
l^nay' Sbtes punned » 1 o{
^ect0r'S Sy-&ven-year-old
is the Delaunay.
5* late K -nte of V Tens and J ^
sWP St room, God ™°*f stelile JaO
is ample TO number «1(_°ses 0{ the
oflerini among *eje «
PaSt ^To«anabody^a^siather
enough to » 1ook at ,tog
phonograph- ?" of work, a i . a
daggering £~ jMZ « ^
S"andoa£Vf^«*^-
were be'
RA, florae Atfaktan- N*» $6).
and ° 25c Corp- 194°- . 1944
terion Mu^ baC* m 1 ^
Atner1ortunate enougb to ^ Hot
^ere * Uhe Paris cell ot a £eV?
addreSI France) in *eaX* a ration-
Club dU, Ss v/ould nouce
recorded ta<*s near the {rom
lean figure , at a rds W tQ
«**tog«S£ Pen- T°ta ^arguing ^
his tounta^ P collectors arg striden-
the dral ic counterP^' %e hoarse
their Gal1* strong solo- or ^
cieSOfantt oTjohnny^ddS'tbe place
statements o Qn utltu or
-^^To cTear out be able
began to ci ^ be *o &nd
twelve oC^ntrate m the ^ bling
tea^ to conce ^ sc ^
^any m°tU he fell asleep
away ufd cording datanever made a
reaI°S haTd v/orK alone nev neW
N°W,lce%nd the fact ^a r-
masterpiece, of aim n the
book is a P and dihge Messrs
ORDER TODAY!
$6°° CRT »RP. RKO BUILDING • RADIO CITY • NEW YORK 20, N. Y.
iWE PAY POSTAGE
Blue Disc Records
-iteue o£ *po«vi IRare Side* 6y
Duke Ellington
LIST PRICE: $1.40 (taxes extra) If your dealer cannot supply you, we will! Send $1.85 for
A Bishop pressing on flexible VINYL base records, one record. or $3.40 for two (taxes incl.) and records will
with superior playing Surfaces. be sent POSTPAID anywhere in the U.S.A. No CO. D.'s please!
Orden, "JotUuff 'pon, Immediate Sfafimmt 'pvwt
Blue Disc Records • p. o. box 3333 • Giendaie 1, caiii.
■MMF jazz parade
""^f^ !§ LATE NEWS FROM COAST TO COAST
NEW YORK
Sidney Bechet is in town awaiting his pass-
port for an engagement in Paris. In the mean-
time he is whiling away the hours playing great
sessions at the Central Plaza and Ryans. At
the Ryan Bashes, besides Bechet, such stars as
Roy Eldridge, Buck Clayton and Sammy Price
have been lending a beat to the quiet of mid-
town Sunday afternoons.
Nicks has some competition at the Riviera,
right across the street, where Art Hodes opened
with a trio featuring Herb Ward and Pee Wee
Russell. Lips Page is rehearsing a small combo;
Josh White opened at the swank Embassy;
Albert Nicholas staying in Los Angeles until
warmer weather hits New York; Gene Krupa
subbed for Benny when the latter took sick at
the Paramount with his new band. Biggest
rumor of the week has Benny going into the
Stork Club with a sextet. If it goes through
it will be called Bop at the Stork.
Brad Gowans has been dismanteling Johnny
Windhurst's 1920 Rolls Royce and is converting
it into a racer. Sounds like the Condon book.
Tony Parenti tells us he recorded some great
rags in a trio for Circle. Should be good.
Watch for the big Jan Festival February 19
run by WNYC. Looks great from here.
SAN FRANCISCO BAY AREA— Dick Oxtot
While local jazzmen continued to land only
casual jobs, Billie Holiday took over at Cafe
Society on January 14th, packing them in as
well as ever. Consensus was that Biliie's sing-
ing leaves little to be desired, but that the as-
sistance of the accompanying band, led by
"Red" Norvo, is rather uninspired, most of the
time. At press time she was once again em-
broiled with the narcotics boys.
Duke Ellington played a concert in San Fran-
cisco January 30th and followed up with a
dance in Oakland the following evening, but
Louis Armstrong, enroute north for some Seattle
dates, could find nobody to present him for a
one-ntghter.
Closest thing to jazz by visiting bands is
probably the jumpy styles of Joe Liggins and
Louis Jordan. Liggins has a two-week engage-
ment at the New Orleans Swing Club begin-
ning February 3, Jordan a couple of one-
nighters. Aside from the above, the be-bop-
pers have been taking over. Even Vivian Boar-
man's popular music course at the U. of Cali-
fornia, heretofore emphasizing New Orleans, is
devoting time to bop. January 19th found
bop bassist Vernon Alley as guest lecturer at
the class. When he had finished some class
members admitted bop might have something,
although they still preferred their Mortons and
Bessies.
Holding out alone, Lu Watters' band was
still playing New Orleans style. Burt Bales re-
placed Johnny Wittwer as the band's pianist
January 25th.
LOS ANGELES & HOLLYWOOD—
Jack Lewerke
Kid Ory and his Creole Band opened Jan.
15 at the Beverly Tavern in Hollywood for their
first long engagement in Southern California
since their stay at Billy Bergs over a year ago.
Due to the fact that night club business has
fallen off in the last year, five-piece bands
have been the limit for the smaller clubs. Ory,
who has always had a seven-piece band, had
numerous offers for long engagements if he
would cut his band to five, but turned them
down, rather than leave out any of the boys
in the band. Recently, when Bud Scott (guitar )
and Bus Wilson (piano) were forced to leave
the band due to illness, Ory accepted the job
for a six-piece band without guitar.
Billy Eckstein and Georgie Auld and his
Orchestra opened at the Empire (formerly
Tom Brenemans) the early part of January, re-
placing Woody Herman and the Herd . . .
Duke Ellington is due to follow the first part
of February.
A new club is opening up the street from
the Empire on Vine, the first attraction will be
the noted author, Wingston Manone .
Woody Herman and Charlie Barnet are now
recording for Capitol. Their first records were
released the last part of January. Incident-
ally, a recent Capitol publicity release stated
that Cap. was going all out for bop and had
signed the tops in bop(s) to record. I'll bet
Dave Dexter had nothing to do with this.
Red Nichols and his six pennies (inflation has
hit dixieland) are still at the Hangover, Red,
by the way, has the best group he's had in
many a lean year.
Local dixie musicians are saying nice things
about the newcomer to dixie, Johnny Best,
after his latest record with Nappy Lamar on
"Come Back Sweet Papa". Johnny was with
the old Artie Shaw band during the "Begin
the Beguine" days and during the war played
with Shaw's Navy group.
NEW ORLEANS— Don Perry and Fred Hatfield
Most exciting news to hit New Orleans in
recent months is the scheduled appearance of
Louis Armstrong and his all-stars from Chicago.
Armstrong is appearing as King of the Zulus
this year in the annual Mardis Gras parade.
Several possible concerts under the Mancuso
Brothers, New Orleans Jazz Club and the Zulus
are being eagerly awaited.
Sharkey Bonano and his outfit have with-
drawn from the Parisian Room concerts due to
Sharkey's illness. New group there features
Irving Fazola, Julian Laine, and other promi-
nent New Orleans musicians. Rumor has it that
Sharkey is planning some concerts on his own
hook.
Plans are also under way for a junior jazz
group, sponsored by the Parisian Room, to al-
ternate between the regular band during in-
termissions. Informal sessions have shown that
the band may prove to be worth watching.
Al Burbank and his trio are once again ac-
tive, this time at Lester's bar in the uptown
section of New Orleans. After a period of
illness, Big Eye Louis Nelson is still holding
forth at Luthjens. Ernie Foster, onetime dixie-
land band leader in the Vieux Carre, doing a
single at the Old Barn with some fine valve
trombone. Leon Rappolo doing spot jobs with
an interesting outfit. George Lewis is still draw-
ing them in at Manny's Tavern, playing as well
as ever.
JAZZ FAN CLUBS
Clubs, clubs everywhere. Jazz must be on
the upbeat because of late there has been a
flood of groups announcing thaT they were
open for business. In Boston, The Bob Wilber
Dixieland Jazz Club at 248 Commonwealth Ave.
has dedicated itself to the promotion of good
dixie as well as seeing to it that the world
knows more about the Wilber groups. Rod
Kennedy and Ward Kiddoo are the moving
forces. The Denver Jazz Record Club had 40
people in attendance at its first meeting. For
further info on this group contact Barbara
Coopersmith, 2660 S. Franklin, Denver, Colo-
rado. Jazz Unlimited is the name of the new
Philadelphia group meeting at 1118 Walnut
St. First meetings found about 36 enthusiasts
on hand. Plans of this group call for the
issuance of 12 records on their own label show-
ing the evolution of jazz.
the record
changer
March 1949
Volume 8, No. 3
Editor-Publisher
BILL GRAL'ER, JR.
Managing Editor
ORRIN KEEPNEWS
Production
JANE GRAL'ER
Art Staff West Coast Representatives
GENE DEITCH— Cover & Cat JACK LEWERKE
SIMA RUVIDICH— Design & Typography 11800 Wilshire Blvd.. Los Angeles 25, Calif.
CONTENTS
Cradle of Recorded JazzAl G. McCord
6
Humphrey Ly+tleton
Derrick Stewart-Baxter
8
Good and Rare
Joe & Cecile Madison
10
Collectors
Gene Deitch
10
Peace in the Ranks
Sidney Finkelstein
1 1
An Attack on Critical
Jabberwocky
Charles Delaunay
13
Records Noted
Ward Pinkett
Discography
George Avakian
Bucklin Moon
Paul Bacon
Albert J. McCarthy
15
16
I've Been Roaming
Edward Hill
17
Record Exchange Section:
Advertisers' Addresses
Records for Disposition
Records Wanted
23 Collectors' Display
25 Classical Exchange
28
Ads 29
29
COLLECTORS' DISPLAY ADS
1 column (l/3_page; 78 lines) ... .$10.00
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Copyright 1949 By Changer Publications, Inc.
let that
foul air out
To The Editor :
We have recently organized a "Jazz Ap-
preciation Society" in Ottawa and as I am
president I find your magazine a wonderful
source of information and news which I
use to make the club more interesting. The
club started with just an idea of mine after
listening to many requests on the radio by
people who were Ellington fans, and whose
requests could not be filled by the local sta-
tion. As we were fortunate enough to have
about 900 Ellington sides I thought it would
be nice to have a place where we could
share our records.
I met Mr. and Mrs. Gilleland (he is a
prominent Ottawa architect, and she a lec-
turer in English at Carleton College). They
have a wonderful bop or modern music
collection so we talked things over. The
Y.M. CA. gave us a room every week and
we were off. Now — Ottawa is decidedly not
a jazz town so I did not know how it would
go ; but the results have been amazing. We
have a wonderful club with enthusiastic
people from all walks of life: lawyers,
architect, radio announcers, teachers, news-
paper men, etc., and many representatives
from the high schools and colleges.
The thing that pleases me most is that
many parents are coming to learn about the
music their children love and they are be-
coming the most enthusiastic. Besides hav-
ing people who love jazz get together, the
objective of the club is to be instructive.
Each week a member gives a talk on the
band or jazzman he specializes in using his
own records to illustrate. We have had
talks on bop, the history of jazz, the blues,
Duke Ellington, and the march of jazz
from a musician's point of view. Next week
we have Stan Kenton and then ... we are
starting the history of jazz. We are doing
it by instruments, starting with the trumpet.
We have a member who has a very fine
collection of King Oliver and early New
Orleans trumpeters, so he starts ; then an-
other on Bix, Louis, Berigan, right on up
to Dizzy. In that way we'll learn the history
of each man and hear the records he made
and also each person will hear at some time
the kind of music he likes best.
Our motto is tolerance for each other's
kind of jazz and the main object is to be
loyal to jazz and not belittle any phase of it
just because we do not happen to like it.
It is amazing how it is working out. The
bop fans sit and listen patiently to New Or-
leans or dixieland and vice versa. After the
one and one-half hour talk we play records
for the opposite likes. That is, if the talk is
on bop we play New Orleans, dixieland,
Ellington, etc., so that each meeting every-
one goes home feeling that they have heard
some of the music they like best.
Mrs. H. D. ANGER,
Ottawa, Canada
early days at gennett
cradle of
Hangers-on around the Richmond, Indiana,
railroad station who happened to notice
the New Orleans Rhythm Kings drop
off a train there some twenty-six years ago,
merely thought that another group of travel-
ling performers was arriving in town. They
were a rather bedraggled lot, and they all
carried battered instrument cases. Nothing
indicated that they were about to write the
first page in an unusual musical history.
However, instead of heading for a cheap
hotel and the boards of a vaudeville theater,
the newcomers disappeared in the direction
of a rambling brick plant on the bank of the
Whitewater River gorge at the west edge
of downtown Richmond. The factory was
the home of the Starr Piano Company and
tucked away in one corner was the tiny
phonograph recording studio of what the
firm called its Gennett Records division.
Once inside the studio, the band — which
included Paul Mares, George Brunies, and
Leon Rappolo — unpacked a battered accu-
mulation of horns and sat down to make a
series of recordings which shaped jazz
history.
The studio, of course, was primitive by
present recording standards. For one thing,
the room wasn't sound proof, and just out-
side was a railroad spur where switch en-
gines puffed noisily. Every few minutes one
of the musicians stuck his head out the
window and yelled for quiet. But despite
such interruptions, the recording was made.
It was Sweet Lovin' Man, and it was to be-
come one of the most sought after of col-
lectors' items.
Al G. McCord's article originally ap-
peared in the Star Magazine of The
Indianapolis Star, and this adaptation is
published with their permission. All
photographs are by Harry Gennett, Jr.,
except the Wolverines photo, which rs
from Hoagy Carmichaers Star Dust Road,
published by Rinehart and Company.
Permissions were arranged by Warren
Huddlestone.
adapted from an article by al g. mc cord
recorded jazz
In just such fashion did an obscure re-
cording studio in a small Indiana city far
from the bright lights of jazzland become
the mecca for a history-making parade of
musicians. They were to make the name of
the Hoosier Gennetts one of the greatest
names in recorded music and the gold-let-
tered Gennett label one never to be for-
gotten.
Recording had been begun by Gennett in
1916, but it was more or 'less by accident
that Richmond became possibly the most im-
portant early home of recorded jazz. The
N.O.R.K. session might have been regarded
as a single instance of humoring a new
musical fad, if it had not been for King
Oliver and his band. Only a few weeks
later, the Creole Jazz Band descended on
Gennett, uninvited. They were probably sur-
prised when the Gennetts allowed them to
make a test recording. But the sides that
Oliver, Louis Armstrong, Lil Hardin, and
Johnny and Baby Dodds went on to make
helped to establish Richmond as a jazz
musicians' mecca.
In the decade that followed these initial
ventures in jazz, countless instrumental-
ists were to beat a path to the doors of
the Starr Piano Company. In those days,
however, Richmondites paid little attention
to the daily influx of what must have been
a curious and somewhat out of place group.
For the musicians were mostly unknowns,
and the glory they sought was by no means
as great as the renown they were about to
achieve. Most of them merely wanted to
record the fox trots and one-steps of the day
The Wolverines, at an early Gennett recording date. Left to right: Min Leibroolc,
tuba; Jimmy Hartwell, clarinet; George Johnson, tenor sax; Bob Gillette, banjo;
Vic Moore, drums; Dick Voynow, piano; Bix; Al Gande, trombone.
Above Is the recording room in which Gennett's historic jazz sides were made. Be-
low is the Starr Piano Company, home of Gennett records, and Harry Gennett,
Sr. (right), president of the firm.
so well that royalties would roll in and
lucrative show circuit and dance contracts
follow. Even the best of them had no idea
that they were making musical history and
that, some day, collectors would pay fabu-
lous prices for such early-day recordings.
Obscure artists poured in to the Wayne
County seat from everywhere. Some came
in Model T Fords. A few of the more pros-
perous rolled into town in flashy Stutz Bear-
cats, Marmons and big Cole eights. But
most arrived by train or interurban from
Indianapolis. Their coming sometimes was
disturbing, for old-timers still recall how
many a happy-go-lucky musician whiled
away the time by publicly flouting the Vol-
stead Act.
Employes of the old studio recall now that
many of the to-be greats didn't look or
sound particularly impressive at the time.
For instance, the youngsters who came to
fcive Gennett a sample of their Chicago-style
dance music were much more nervous than
their bold name — the Wolverines — would
imply.
The Wolverines frequently came to Rich-
mond on the way to or returning from dance
engagements at Indiana University or the
old Casino Gardens on the outskirts of In-
dianapolis. Among them was a cornetist
named Bix Beiderbecke who produced much
better music than his pale complexion led
listeners to expect.
Accompanying the Wolverines to Rich-
mond from Bloomington at times was an
Indiana University law student who liked
playing the piano better than studying musty
legal tomes. Now one of Gennett's distin-
guished alumni, Hoagy Carmichael remem-
bers the old studio as a "dreary place . . .
which didn't soothe me."
Among the other now-famous names who
made jazz classics in Richmond were Duke
Ellington, Fletcher Henderson, Wingy Ma-
none, Jelly Roll Morton, and Husk O'Hare.
Varied other items of Americana also were
waxed at Gennett. William Jennings
Bryan's "Cross of Gold" oration; sacred
music by Homer Rodeheaver and Gypsy
Smith; ditties by Cliff (Ukulele Ike) Ed-
wards ; It Ain't Gonna Rain No Mo' No
Mo', by red-headed Wendell Hall, and
countless other discs that ranged from
physical culture exercises to Ku Klux Klan
mouthings.
But by the early 1930's, the depression
slowed Gennett's recording business to a
snail's pace. What little record-making Gen-
nett did in those dreary days was largely for
radio. Sound effect records it began making
then are the only ones still sold under the
Gennett label.
However, even though the Gennett label
is seldom seen nowadays, except among col-
lections of rare records, the Hoosier record-
makers are by no means out of business. In
the last few years Gennett has pressed about
3,600,000 records annually — as many as the
Richmond plant ever turned out anytime in
the past. But all are copies of master discs
recorded in studios elsewhere. Presently they
are sold under the labels of a dozen record-
ing firms.
Harry Gennett, Sr., 72-year-old president
of the Starr Company, has no plans to ever
resume recording. Manufacturing 300 pianos
and pressing some 300,000 records a month
is a big task under present conditions, he
maintains.
Richmond's staid citizenry probably would
have raised a furore over the influx of jazz
musicians had not Gennett been such a fa-
miliar name thereabouts for so long.
The British-born grandfather of President
Gennett, John Lumsden, founded the piano
company before the Civil War. It is reput-
edly the first west of the Alleghenies. Gen-
nett's father, Henry Gennett, had charge of
the concern when the firm decided to make
talking machines. Success at that led to
record-making.
(Continued on Page 19)
s
humphrey lyttleton
and his band by derrick stewart-baxter
When the Graeme Bell band left England
and sailed back to Australia, there were
many who thought the sound of good
jazz had left the country with them. There
were heavy hearts around Leicester Square
and Piccadilly Circus on that last wonderful
night. The more pessimistic amongst us
shook our heads sadly and were heard to
murmur : "Ah well, it was wonderful while
it lasted, now we will have to return to our
record collections and await their next visit
to England in 1950 — we haven't a band that
can hope to keep jazz alive."
A few wiser folk were not so gloomy
about the prospect of jazz in Britain. "That
fellow Lyttleton," they assured us, "has a
very good little combination, and may spring
a big surprise on all of you yet. He has a
band that shows great promise." We were
still doubtful. "Remember how impressed
Mezzrow, Sandy Williams and Rex Stewart
were when they heard him play at the Nice
Jazz Festival?"
That modest praise has turned out to be a
great understatement. In a surprisingly
short period Humphrey Lyttleton and his
band have developed into one of the greatest
jazz, combinations in Europe and are im-
proving every time they take the stand.
The meteoric rise to fame of Lyttleton
makes quite a story. From every angle the
history of this young man is unusual ; his
background is a far cry from the expected
Storeyville atmosphere of crime and honky
tonks at the turn of the century. There is
nothing in the background of the Lyttletons
that might have indicated that Humphrey
would turn into a great jazz musician. His
family is one of the most ancient and dis-
tinguished in the country. However, Hum-
phrey does admit to one ancestor with a
nickname which could have belonged to a
blues singer and which is reminiscent of the
old Paramount label : "Naughty Tom"
Lyttleton, a celebrated rake of the 18th
century. As for the crime and violence asso-
ciated with the clip joints and barrel houses
of jazz fame, Humphrey can boast of little
of that in his ancestry, although a Sir
Humphrey Littleton was hung, drawn and
quartered at Guildford after playing an ig-
nominious part in the Gun Powder Plot.
Unless one may count Humphrey's father,
a master at Eton, who used to play the
'cello "very badly," one is forced to the con-
clusion that Humphrey's talent is not heredi-
tary. He owes none of his musical ability to
his family. On the other hand, Lyttleton's
fame has helped at least one of his relations.
The Honourable Charles Lyttleton, heir to
the 9th Viscount Cobham, was once given
an "off the ration" meal in a Birmingham
hotel, on the strength of being Humphrey
Lyttleton's first cousin. The waiter was a
jazz fan!
The jazz bug bit him at Eton, but after
leaving school Lyttleton obtained a com-
mission in the Grenadier Guards, with
whom he served throughout the war, and
9
during those troubled years the opportunities
for playing- were, of course, strictly limited.
Whatever spare time he had was spent in
the numerous little clubs, dotted about the
West End of London, that featured jazz. If
the music was hot and righteous, it was a
safe bet that Humphrey would be along to
hear it. However, listening to others was not
enough. His object was to play with these
bands, but it is difficult to persuade a band-
leader that one is a jazz musician when one
is dressed in the uniform of a Guards offi-
cer! It was always amusing to watch the
expression on the face of some musician
when Humphrey finally persuaded him that
he was in earnest about wanting to play. It
was even funnier to see the look of amaze-
ment and delight when a superb chorus of
Sister Kate or Royal Garden Blues hit the
ear.
It was not until the end of hostilities that
his first real break came. He had the chance
of joining George W ebb, who was looking
for replacements, having decided to revert
to the traditional New Orleans front line of
trumpet, clarinet and trombone. The W ebb
group was then the outstanding jazz band
in England. Playing with George at that
time were Wally Fawkes, a clarinet with a
Bechet-like attack, and the biting, sour tone
of a Dodds ; and Harry Brown, a young
trombonist in the "tailgate" tradition of Ory
and Jim Robinson.
Writh these two young men Lyttleton
found the inspiration and support he needed,
and it was not long before the name of
Webb's new cornet man was being men-
tioned in the places that mattered. To critics
and fans alike, this was the greatest period
in the career of the Webb band; but it was
not to last. Gradually differences arose over
policy, and after some weeks of tension
among the players, Webb decided that it was
no longer possible to keep the band together.
The first week of January, 1948, saw the final
concert at the St. Georges Hall, London.
It was at this time that Humphrey decided
not to let the fine front line break up.
Heartened by the success of the Bell band,
he formed his own band, taking Fawkes and
Brown in with him. The problem was to
form a suitable rhythm section. British
rhythm sections have never been first class,
but from those who had the necessary quali-
fications, Humphrey chose Nevil Skrim-
shire, guitar ; Pat Hawes, piano ; John Rob-
inson, drums, and Les Rawlings, bass ; all
young and promising musicians with a de-
sire to play the real thing with no pandering
to cheap commercialism.
From the start the band was a success,
and it was not long before they were shar-
ing dates with Graeme Bell at the Leicester
Square Jazz Club and helping to make jazz
a paying proposition in England for the first
time in this country.
The band was far from perfect at this
early point in its career ; there was a certain
raggedness in the front line and the rhythm
section. Still the jazz they made was excit-
ing and the promise of things to come was
plain. Humphrey himself became more con-
fident with the passing of time; he began to
create his own jazz, and rely less and less
on Armstrong solos. The solos he created
became better, hotter and more disciplined
and all the time his tone and ideas improved.
Lyttleton's fame began to spread, and in
quick succession came invitations to repre-
sent England at French and Belgian Jazz
Festivals. It was at Nice that Humphrey
scored his greatest artistic triumph. Lyttle-
ton, in a group of musicians specially chosen
to represent Great Britain, was outstanding.
He held his own among such distinguished
musicians as Louis Armstrong, Mezz Mezz-
row, Rex Stewart, Earl Hines, Sandy
Williams and Jack Teagarden. Rex Stewart
in particular was very impressed with the
young Englishman, and Humphrey is justly
proud of the Festival program which Rex
signed with these words : "I am very sin-
cere when I say I consider you one of the
great cornets of all time."
Broadcasts followed, and then came the
chance for which the boys had been waiting
— The London Jazz Club — formed by two
London business men, Stan and Bert Wil-
cox. Jazz collectors for many years, they
had always wanted to bring jazz to a wider
public. Encouraged by the success of the
Leicester Square Club, they decided to form
one of their own. Both the Lyttleton and
Bell bands were signed up and every Satur-
day night the sound of New Orleans music
could be heard drifting through the open
doors of the London Jazz Club. In less than
four months the membership reached 1,500,
and is still going up.
Pat Hawes has now been replaced by
George Webb on piano and Dave Carey is
playing drums in place of John Robinson.
Carey is the British drummer who played
for a while with Graeme Bell and, in the
opinion of many, is the best jazz drummer
in England. These two musicians, in the
short time they have been with the band,
have brought new drive to the rhythm sec-
tion, which now really swings. The front
line, provided with a solid background, is
playing better than ever.
In Lyttleton England seems to have a leader
with original ideas, who is determined not
to stand still ; progress within the New
Orleans framework is his aim. He believes
that development is possible without destroy-
ing either the spirit, or the character of the
music.
Early in May the band cut a few sides for
the Tempo label. Only two titles have been
issued so far: Careless Love/When the
Saints Go Marching In. Careless Love con-
tains some beautiful clarinet by Wally
Fawkes and Saints has typical Lyttleton
cornet, but on the whole the sides are not
really representative of the band as it is
today. Webb and Carey had not joined the
band when these records were made.
The future of jazz outside the United
States seems bright, with such bands as
Claude Luter, Graeme Bell and Humphrey
Lyttleton able to hold their own with any
group in the world today.
Opposite page: Humphrey Lyttleton and Wally Fawkes. Below: Left to right — Les Rawlings (bass);
Dave Carey (drums); Harry Brown (Trombone); Humphrey Lyttleton (trumpet); George Webb
(piano); Wally Fawkes (Clarinet); Nevill Skrimshin (guitar).
10
by joe and cecile madison
n d there
Collectors interested in foreign trading
should be extremely careful in their
choice of friends. Of course, friends
with a well-stocked wine cellar are handy,
and friends who own many of the rare old
records and don't mind sharing them are
worth having, but there is another prerequi-
site. Be sure they can read and write a for-
eign language.
Letters arrive from many of the South
American countries which begin, "Estimada
sefior y senora," and continue in beautiful,
flowering Spanish. The collector with fore-
sight then reaches for the phone and calls in
one of his Spanish speaking friends to in-
terpret and respond. Food is rushed out, a
bottle of the best bourbon dusted off and
the red velvet carpet is unrolled. This goes
on for some time while letters rush back
and forth between the continents. About six
months later, the South American contact
ends one of his epistles with : "Incidentally,
if you would prefer writing in English, just
tell me. Your Spanish is so flawless I never
thought to mention it, but either language is
agreeable to me." The collector puts his
head in his arms and weeps.
collectors
Purist
Atomic Age
Collector
The Whole Collection
on a Spool of Tape
Impartial
He's Got Everything
Except a Phonograph
next month: "PACKAGES"
Collectors fortunate enough to make a con-
tact in Chile should get copies of the
Chile Aces of Jazz on Chile Victor 60-
000 series. Rosetta/Copenhagen, and Dark-
town Strutters Ball/Jaas Me Blues. Some
good trumpet work by L. Aranguiz will
cause you to pull out a couple of records
to make room for these.
Correspondents in Uruguay might run up
to the Son d'Or Company and have them
press up a copy of the Pasquet Menendez
Band. (They do this in Uruguay.) The best
tune titles are Bailando en Dixieland/ La
Bruja en la Escoba.
Of course, a friend in Argentina can find
some Sincopa y Ritmo labels for Dixieland,
or the bands of Hamilton- Varella, Ahmed
Ratip and the Buenos Aires Cotton Pickers,
Panchito Cao, Barry Moral, etc.
One of the best to come out of Argentina
is Hector Lagna-Fietta and His Dixieland-
ers doing Buddy's Habits on Sincopa y
Ritmo No. 2. Lagna-Fietta emulates Larry
Shields of the ODJB on O.D. One-Step,
Odeon 23054. Pibes Paz, clarinetist, stands
out on both of these records.
Argentina also offers the previously un-
issued Louis with Carrol Dickerson Or-
chestra doing Symphonic Wraps/ Savoyag-
ers Stomp. The latest jazz release from
Argentina is Especial para baile, by Varela-
Varelita on Ft 60-1645.
Before leaving South America it should
be noted that the Chile Jazz Club Dixieland
Band is to start shortly waxing on their
own label. Just recorded on limited edition
were Canal St. Blues/Clarinet Marmalade.
Across the world in Sweden, Baroftet
label is currently issuing Doc Evans,
Muggsy Spanier, Lennie Tristano, Pee
Wee Russell, and several others. Current
releases this month consist of a Peanuts
Holland on Sonora 672, Put 'em in a Box;
Svend Asmussen Sextet on Od. 5381,
Woody Woodpecker and a Thor Jederby
Sextet on Od. 5373, while the Jederby Quar-
tet does Fine and Dandy, Od. 5374.
We are sorry none of these records have
arrived for review, but we feel we can't
go wrong in recommending any of Thor
Jederby's recordings. His work originally
came to our attention when Jederby was
recording on the Swedish Scala label and
we considered it about the- best of Swedish
jazz at the time. Sweden has done a lot for
jazz since then, but if you can get a copy
of Thor Jederby's Sextet doing Blue Lou
on Scala it will be well worth the trouble.
Our thanks to Kurt Mohr of Switzerland
for sending us a New Rhythm Kings on
Swiss Parlo 35544 recorded in Geneva.
Bimillenaire Blues/ Arret Facultatif show
the Swiss dixieland off to advantage. A
(Continued on Page 18)
ii
n
LI 1U L
in the ranks
by sidney finkelstein
One of the sad aspects of the jazz scene of
today, compared to that of a decade ago,
is the dissension among its followers.
Then, although there were varying tastes
and points of view, it seemed as if jazz
lovers were a united band of young Davids
out to battle the sweet and commercial
Philistines. Today divisions reign. There are
three camps, as if each stage of jazz, that
of the 'twenties, the 'thirties, and the 'for-
ties, had created a permanent band of
brokenhearted followers. And the first and
last, especially, speak a different and mu-
tually antagonistic language. There is as
much difference between them as there once
was between the followers of hot jazz and
sweet.
It may seem as if the two post-war ex-
treme, bebop and the New Orleans revival,
are mainly responsible for the division, but
actually the cracks in the ice began to ap-
pear in the late thirties, almost at the
moment when the battle for hot jazz seemed
to be won. One of its signs was the break
between Gene Williams, who edited Jazz
Information, and Steve Smith, who ran
HRS. Smith reissued ten rare Bix sides,
which Williams denounced as bad music,
and then Williams denounced Smith's
Spanier-Bechet discs as semi-commercial.
Looking back now, we can see in
Williams' stand the beginning of the New
Orleans revival. He was absolutely sincere,
but sincere with the fanaticism of Carrie
Nation wielding an axe in the saloons. And
indeed, it was in this spirit that he walked
about the living jazz scene of his time. He
set himself the task of asserting the
values of the old jazz, the great New Or-
leans jazz which had tended to be weakened
in the smooth patterns of Dixieland and
forgotten in the rise of the swing bands.
His magazine did noble service in establish-
ing the merits of the Jelly-Roll Morton
records, the Johnny Dodds records, and
others which had been treated lightly by col-
lectors looking only for Armstrong solos.
He pointed out the beauties of folk blues
records, worthy of attention even though
there were no famous names taking trumpet
choruses on them. But in fighting for the
rediscovery of the grass roots of jazz, he
felt that he had to cut down everything that
seemed to interfere, so that Ellington, Bix
and Tesch had to be "debunked," and
Basie sneered at.
We can today be indulgent of his one-
sidedness, which seems to be almost his-
torically inevitable in its struggle to estab-
lish a new critical point of view. What is
unfortunate in the present situation, how-
ever, is that the admirers of the old jazz
have continued his fanaticism. Sometimes
they don't even compensate with his discrim-
ination and taste, and feel that every per-
formance of Muskat Ramble must be de-
fended as great and righteous music. It is
not the intention of this article to argue for
the "new jazz," but only to point out the
contradictions that have beset both camps,
old and new. And it seems to me that both,
in their embattled state, have lost much
critical judgment.
It is wrong, and a sign of desperation, for
instance, to call every new band that plays
King Oliver favorites or Scott Joplin rags
a "great band." The history of jazz has
given a very definite meaning to a "great
band." It is a band which, like King Oliver's,
carved out its own music, something that
was new, and yet at the same time the voice
of the people. There is not only a historical
difference between a performance of a
number by the band that made it up, and
one by a band which affectionately follows
the old patterns, but also a musical differ-
ence. In the old performances, and some-
times in current performances by bands like
Ory's, which draw on a rich heritage of
memories, there is a humor, an excitement
that comes from the manner in which ideas
are thrown out by one instrument, picked
up and carried on by another, a constant
unexpectedness and surprise, an inner logic.
All of this tends to disappear in the later
sedate and respectful performances, whether
they stick to the old music note for note, or
reshuffle it to give the impression that they
are "creating." The music can still be very
good to hear. But, for instance, where in
the Luter band's playing of a King Oliver
piece is anything comparable to the wonder-
ful breaks by Oliver, Armstrong, Dodds and
Dutrey, which gave the old performances so
much fire?
There is no getting away from the fact
that, in the best jazz sense of the words,
the contemporary "great bands" are those
(like Ellington's, Basie's and Gillespie's)
which carve out a music all their own, just
as their New Orleans predecessors did. This
is entirely apart from the question of
whether the old music or the new is better
jazz. There is plenty of room for argument
along this line, just as one can argue the
respective merits of various periods of
classical music, or literature. And the preser-
vation of the old music, keeping it alive and
remembered, is a most valuable task. It
serves as a check upon the new, a measure-
ment of value, which some of the more
flighty-minded apostles of the New .seem to
fear and resent. But this appreciation of the
past cannot minimize the special quality of
a new music : the sense that the emotions
expressed are those which the listener him-
self may be feeling ; the ability to go to a
performance never knowing just what one is
going to hear, but always hoping that at
one point or another jazz history will be
made. And sometimes it is.
12
It is this that accounts for the absence of
musicians in the audience at a New Orleans
or Dixieland affair, and the presence of
musicians at a performance of the new
music. The inner spirit of the old King
Oliver and Fletcher Henderson days, when
both trained musicians and youngsters would
gather about the bandstand, drinking in new
ideas and hoping to sit in, has certainly
passed to the new jazz.
One aspect of the defense of the old jazz
is absolutely reprehensible. That is the
spreading of the notion that "new jazz" is
a product of alcohol and marijuana. It takes
little knowledge of the history of jazz to
see that this is the same old stereotype that
has been applied to jazz at every stage. It
has been the old standby whenever someone
wanted to take a pot-shot at jazz, from 1917
on. Some day, perhaps, a social history of
jazz will be written, describing the condi-
tions under which jazz had to grow up,
from Storeyville, the Chicago speakeasies,
the life and death of Bix, to the New York
night clubs. But the sometime degeneracy of
the surrounding atmosphere is not the inner
meaning and content of jazz, but only its
often harrowing limitations. And it is
always the old jazz that is suddenly hailed
as "pure," while the stereotyped stigma is
shifted to the new.
If the lovers of the old jazz have their
troubles and contradictions, so have those
of the new. Certainly the utter contempt
expressed for the old, the desire to wipe out
its memories, is nothing more than a de-
fense. Perhaps it stems from a fear of the
high standards of great music set in New
Orleans. And the chief danger of the new
jazz is the emphasis, among its critics and
backers, on technical perfections. The result
is that the hot music begins to merge by
imperceptible degrees into the commercial,
the commercial begins to disguise itself as
hot, and the essential character of great
jazz, its play of imagination, its human
warmth and exploration of feelings, is di-
luted and lost. It is a fine thing to appre-
ciate technical mastery of the instrument
and of music. One can see why musicians
like this kind of criticism ; it is their shop
talk. But to rest criticism entirely on such
a basis is too easy. It is furthermore the
standby of the academic and commercial
musician, who likes to believe that the art
of music is something that can be as easily
set down as a problem in arithmetic. Too
much criticism in modern jazz caters wholly
to the musicians, instead of discriminating
and encouraging their best work.
Further fouling the picture is the presence
of some self-appointed "authorities" on
modern jazz, who are engaged at the same
time in the wholesale manufacture or spon-
sorship of records, and the writing of blurbs
or publicity for musicians. I am not talking
about the enthusiast who puts out a little-
company label, in order to put some good
jazz on records, but about prolific writers,
such as Leonard Feather or Dave Dexter,
who are also connected in one way or an-
other with quantities of records, more often
than not mediocre. It is understandable to
want to make a living from records, but to
offer oneself at the same time as an impar-
tial theorist, critic and judge is hardly hon-
est, or helpful to the jazz-lover. If what the
old jazz needs most is more perspective, tol-
erance and knowledge, less of a messianic
and crusading complex, what the new jazz
needs most is a comprehensive and discrim-
inating body of criticism, separating the
wheat from the chaff, encouraging the
musicians' best work, giving an honest and
workable guide to its bewildering quantity
of production.
I think that this could be a basis for a
badly needed peace in the ranks of jazz
lovers : the recognition by the lovers of
the old music that sweeping theories about
"true jazz," "real jazz," the "only jazz," are
foolish, and that both musicians and listen-
ers can legitimately want qualities which
the old jazz doesn't contain; and the recog-
nition by lovers of the new that jazz has a
long and wonderful tradition, which it pays
to know. A sensible knowledge of the past
would help in providing a more sound point
of view and a better perspective from which
to appraise the qualities of modern jazz.
We badly need peace and unity. The dis-
sension and hostility in jazz ranks serve
only to do harm to both the preservation of
the old jazz and the encouragement of the
new. Critical writing degenerates into attack
and defense, sneer and justification. Devo-
tion to good music is replaced by adherence
to a clique.
With unity among jazz fans who have no
axe to grind, long overdue tasks could be
taken up. One would be the organization of
a body of jazz lovers, on a nation-wide
basis, willing both to know the traditions
and to encourage new musicians. If such an
organization can get started now, it can be
the force which will persuade the record
companies to reissue some several hundred
old discs, as a permanently available history
of jazz. It can produce from its ranks some
first-rate, impartial criticism. It can give
musicians who are eager to play their best
the backing they need.
The Old and
the New:
Louis and
the Bird.
13
an
attack
on
c
ntica la bbe rwocky
by charles delaunay
Tn an age that breeds mixed sentiments like
I hybrid corn, it may not be inappropriate
to admit to a mixture of distress and
amusement in finding oneself whipped for
someone else's sins. Bucklin Moon, for
reasons of his own which don't become
very clear in the course of his review, de-
cides to slaughter the poor old Discography
after some years of humble service to the
faithful. What he wants, Mr. Moon says,
is a bigger and better jazz index. Well,
maybe. If Mr. Moon had joined the many
other collectors who helped to make the
Discography what it is, he might have made
a better book of it. To complain about it
after the fact won't be of much help till
the next edition comes along.
But Mr. Moon neither distresses' nor
amuses me very greatly, and there would be
no reason to take pen in hand if Rudi Blesh,
in the same issue, had not decided to make
a fool of Mr. Moon by sneering at the
Discography and such friends as it has, in-
cluding Mr. Moon and myself, by relegating
us to the lunatic fringe. . . .
I am not going to play Mr. Blesh's silly
game of creating a fancy aura of sincerity
and objective criticism around his business
of promoting one kind of jazz ; if I happen
to like Louis Armstrong or Dizzy Gillespie
I shall say so. If I don't happen to like
Bunk Johnson or Illinois Jacquet, I shall
also say so. But to surround one's likes or
dislikes with unacknowledged quotations
from Bill Russel, Ernest Borneman and
Gene Williams, and to vulgarize their argu-
ments as a fight to the death between New
Orleans jazz (the shining hero) and be-
bop (the mustachio'd villain) strikes me as
arrogant and dishonest.
Let me quote chapter and verse :
1. Mr. Blesh says: "The modernity of
New Orleans music can be — and has been —
proven musically beyond the possibility of
refutation." The meaning of this sort of
jabberwocky escapes me. It is bad enough
to have the be-bop apostles talk about their
music as "modern" or "progressive" instead
of saying simply that it is original ; if Mr.
Blesh now falls into the same trap, he
shows merely that he is the opportunist we
have suspected him to be all along. New
Orleans jazz was an exciting, vigorous
music when it was first produced. But it
was no better than the musicians who pro-
duced it. Mr. Blesh's myth of New Orleans
jazz as some kind of abstract phenomenon
has no more reality than the disembodied
myth of the all-mighty state, or the "mod-
ern" state, or other such dehydrated entities.
2. "The necessity ... of having to go
back to rediscover a music and to discover
its modernity, has stamped New Orleans
criticism (in the minds of shallow people)
as a reactionary process." Here Mr. Blesh
is building up a wall in order to run it
down. No one ever accused "New Orleans
criticism" of any such thing ; the accused
was Mr. Blesh himself. And what he was
accused of was not "the necessity of having
to rediscover New Orleans "jazz" but his
praise of bad musicians who were his
friends and his attack on good ones who
wouldn't record for him or play his radio
show. Let him not confuse the issue by call-
ing blame on the heads of other critics who
have labored more honestly in the New
Orleans vineyards.
3. "The cleavage between modernists and
adherents of New Orleans jazz ... is no-
where better illustrated than by the final
break of Charles Delaunay from his erst-
while master, Panassie. Only last year when
Delaunay was in America, he was still the
faithful disciple singing the master's
praises." This is rubbish. No one but Panas-
sie himself would maintain that his attempt
to wrest control of the French Hot Club
movement, the physical premises of the Hot
Club de Paris, and the Swing , label away
from those who had started it, had anything
to do with musical criticism. It was a story
of power politics, pure and simple, in which
he exploited the faith and the loyalties of
the French musicians and the French jazz
lovers. There was no master-pupil relation-
ship between us at any time. We started to-
gether to promote jazz in France, and we
stopped working together when Panassie
decided to exchange the cause of music for
the pursuit of business. . . .
4. "But there was no place free of Panas-
sie's huge shadow for him to go except to
be-bop. And so to be-bop he goes and, to
justify his move as well as his own critical
shortcomings, he now condemns all criti-
cism and all critics." This reads like comedy
in France, where ... all musicians know
that it was I and not Panassie who first
"discovered," promoted or recorded Claude
Luter, Claude Boiling and Graeme Bell in
France while Panassie, in the splendid iso-
lation of his southern castle, ignored them
in favor of the second-rate American jazz-
men who had been his friends and mentors
before the war.
To think of Panassie as a' New Orleans
advocate and of myself as a be-bop fan
is so silly that it would need no refuta-
tion in France. But for the sake of bridging
the Atlantic, it might do no harm to say a
few more words about musical criticism in
this country.
Panassie first learned about jazz from
Mezzrow and the Chicagoans. His first book
was largely an apology for Chicago jazz
spiked with special plums of praise for
those musicians who were his beloved
14
friends and with special blobs of acid for
those who were their enemies. His second
book was little more than a reflection of
Mezzrow's quarrel with the Chicagoans and
Mezzrow's new friendship with Bechet and
some of the New Orleans old-timers. The
curious contradictions in Panassie's writings,
which have always baffled you in America,
are nothing more, and nothing less, than an
indication of Panassie's succession of friend-
ships with those American musicians who
happened to drift over to Paris. He used to
ask them for their preferred musicians, and
whatever information they gave him would
come out the day after as musical criti-
cism over Panassie's signature. If Hugues
had made more friends among be-bop musi-
cians, we would long have had a new
"courageous correction" of his previous
"stand" on Chicago jazz or New Orleans
jazz or whatever it was that his current
friends happened to believe in. To think of
Hugues as a jazz critic therefore seems to
us over here like thinking of a weathervane
as a critical instrument.
5. The success of the New Orleans jazz
revival "can be measured by the number of
young bands, devoted to the New Orleans
idea, that are springing up all over the
world, and by the success with which they
are meeting." This reminds me of a phrase
which James Agee used in reviewing James
Cagney's film version of "The Time of
Your Life": "Arrogant determination to
tell damnably silly lies in the teeth of the
truth." For the truth is that be-bop is what
the young musicians are trying to play, in
his country as well as in U. S. A., and that
bands like Claude Luter, Claude Boiling
and Bob Wilber are in a diminutive mi-
nority. The fact that Mr. Blesh happens to
like Boiling or Wilber as much as I do
should not blind us to the fact that our taste
does not coincide with that of the over-
whelming majority of young jazz musicians
the world over. What's more, there appear
to be no young Negro musicians among the
New Orleans revivalists. To find Mr. Blesh,
the old advocate of racism in music, sud-
denly "joining the liberals" in a great fan-
fare about "the young bands" (all white)
who are just about twenty years late in
catching up with the Negro pioneers, is, to
say the least of it, a little comic from the
spectator's point of view.
6. "The crying need now is to realize that
going back is only one step ; that learning to
play as Oliver and -Morton did, and Ory
does is only the beginning. . . . Bands to-
day . . . should learn to sound as these
giants would sound if alive today, and,
above all, as they themselves should." Here
Mr. Blesh reveals himself as the doctrinaire
again. "Should" is a pretty word; but the
fact is that many talented musicians who
didn't grow up in New Orleans have tried
for twenty-five years and more to imitate
the New Orleans musicians and have failed
all along the line.
True, New Orleans jazz was such a mag-
nificent music that even the imitators to- ■
day may give us great enjoyment. But
to expect originality of them is like expect-
ing a work of art from a copyist in a
museum corridor. "The solemn pronounce-
ments of the amateur anthropologists about
social forces that no longer exist, can be
dismissed as so much rubbish," says Mr.
Blesh. "Jazz, its players, and those who love
it seem never to have heard of anthro-
pology." They may never have heard of it,
but they behave as if they had. I am no
anthropologist, and I do not wish to make
solemn pronouncements, but I have more to
do with the working jazz musicians in this
country than anyone else, and I can assure
Mr. Blesh that he is talking through his
hat as far as France is concerned. We have
some excellent musicians playing in the New
Orleans style, but they are completely' out-
numbered by those who are trying to play
bop. That the same holds true in America
is obvious enough to demand no amplifica-
tion from my side. Tacitly Mr. Blesh ad-
mits this himself when he says : "The im-
passe today is the momentary pause between
steps." The "momentary" impasse now has
lasted longer than a quarter century and
Mr. Blesh's arrogant determination to tell
damnably silly lies in the teeth of the truth
will make no difference to that painful fact.
To sum up : New Orleans jazz was one
of the high spots of American music. Most
of what Mr. Blesh has to say in its defense
is true. Mr. Blesh may even succeed in find-
ing enough old-timers and youngsters to
give a fair imitation of the old glory and
earn a good living' for himself as concert
promoter, radio broadcaster and operator of
a recording company. But to pass off his
publicity dope as honest musical criticism
borders on the preposterous, and his attack
upon the few critics who have not yet
soiled their hands is, to put it mildly, in
very poor taste. If I today refuse to act as
a critic and prefer to serve as a discogra-
pher, it is because I am myself active among
musicians ; when Mr. Blesh will follow suit
and make up his mind whether he wants to
be a promoter or a critic, we may once
again begin to consider him with the respect
he deserved before he began playing both
ends against the middle.
"One with a Wide Vibrato Please"
GEORGE AVAKIAN
BUCKLIN MOON
PAUL BACON
records
noted
Reverend Kelsey
Little Boy
Lord Send the Rain
Tell Me How Long
Evening Prayer
Wow !
Sock, bam, zowie ! !
Wheeeeee !
If this isn't some of the greatest stuff ever
put on wax (which is a foolish question if
I've ever asked one, and I've asked plenty),
I will throw in my towel for once and for
all and buy nothing but Decca's 57 R.P.M.
cylinders. (This is a rumor that I am start-
ing to get back at all the people who found
out about Columbia's 33-speed LP's and
Victor's 45-rev. disc before I did.)
Now, look. As soon as you finish this
page, or sooner than that if you can tear
yourself away, you go out and get yourself
the first record at least. Get the other one
too, if you have the money or can leave a
gold filling with the shopkeeper.
Reverend Kelsey is the greatest, and his
congregation is just too much. The stuff
was cut in a church in W ashington by some
outfit called Disc-o, and sold to MGM. I'm
told it sells like mad down south, but that
doesn't stop it from being marvelous.
Little Boy (referring to the 12-year-old
Christ child) breaks into a rash of singing
that is easily the finest, swingingest, and
most moving ensemble sound I have ever
heard recorded by a singing group. Thirty
bucks' worth of The Messiah has nothing on
the last half of Little Boy. Maybe Handel
needed some hand-clapping, an untuned
piano, and a trombone player who couldn't
do a damn thing but slide from C to F.
(Oh, boy! But can that trombone player
slide from C to F !)
Tell Me How Long (no relation to the
Leroy Carr blues) is similar to Little Boy,
and is not quite so good. It is only the sec-
ond best record of its kind that I ever heard.
livening Prayer is almost ordinary.
Graeme Bell and His Australian Jazz
Band
Shim-me-sha-wabble
South
Big Chief Battle Ax
Yama Yama Blues
By now it should be no news to most of
you that I'm no lover of Dixieland, but if
we must have it I muchly prefer the Aus-
tralian product to just about everything that
is being dished out these nights below
Fourteenth Street. The records of Graeme
Bell are no longer news but I must admit to
liking these as well as any I've heard thus
far. From me, pal, that's good. They ain't
my dish but they might be yours.
I'll say this for the band : they sound like
no one else, or a little more accurately, like
everybody else scrambled together. On the
South side, for example, they sound not too
unlike Mr. Lu Watters and His You Too
Can Be a Metronome (Ed.: DON'T USE
THAT WORD!) Band and on some others
I've heard they sound a little like the short
pants version of some of the records put to-
gether by the Barefoot Boy in the French
Shriner and Urner Shoes, Mr. Eddie Con-
don. But the point is that they do it in
snatches rather than by carbon paper, a not
unpleasant way of doing things for my
money.
And by the way, it's also nice to find that
only one of the four sides has been done to
death. Of the lot I like the old Clarence
William's standby, Yama Yama Blues, the
best, with South pushing it. But I have just
acquired from the local a SPCA for $1.00,
an eight months old Great Pyrenees which,
since she is about the same size, we have
named Babar, and she has a passion for Big
Chief Battle Ax. So I guess maybe I'll be
converted yet. To Bob Weinstock I suggest
she merits about four pounds of top round,
for her a mere appetizer. (Jazz Corner $1.05
each)
Tadd Dameron Sextet
The Chase
Dameronia
There's a funny thing about this record ;
Tadd is one of the smoothest operatives in
the business, personally as well as musically,
and he is chiefly preoccupied with the com-
plexities of spund. instrumentation and beat.
Hot jazz means little to him ; (hot, that is,
in the sense that the Chicagoans played hot)
so it is interesting that one of the hottest of
all the modern records happens to be The
Chase. It isn't just a matter of velocity, since
there are many sides faster than this. The
excitement is the same kind that was gen-
erated, for instance, by Red Allen's band on
Swing Out. Largely responsible is Fats
Navarro, who has rarely played with such
impressive ease and power, nor have many
other men. This is his best record. I consider
myself lucky to have heard him as good as
this, once, in person. Fats is the only one who
can offer Dizzy real competition, although
their conception differs considerably. Fats
plays as if he were brought up on Louis
Armstrong, and probably was, but there is
hardly a trace of anything previous to 1936
in Dizzy's style.
This same group made the recent Squirrel/
Our Delight, and the four sides are the best
possible reason why I regret that it (the
sextet) had to be so fleetingly in existence.
As far as I'm concerned, it was one of the
best, one of the cleanest and most profes-
sional, that ever played bop, without sacrific-
ing a whit of feeling or imagination.
Dameronia is a sprightly number, like
many of Tadd's other compositions, and the
band is good on it, too. It doesn't attempt to
produce the power that The Chase does, but
again Fats is a standout with a rich, warm
solo.
Fine work is also to be heard, on both
sides, by bassist Nelson Boyd (now with
Dizzy), alto-man Ernie Henry (ditto)
drummer Shadow Wilson (now with Basie)
and tenor-man Charlie Rouse (also with
somebody, but I can't remember who).
Blue Note 541 (P. B.)
James Moody and His Bop Men
Tropicana
The Fuller Bop Man
By now, enough has been written about
Chano Pozo's death to make any further
comment from me unnecessary. He was a
strange fellow, and probably the best bongo
and Congo drummer of them all, as his few
records will testify. He probably contributed
as much as anyone else to the permanent
inclusion of Afro-Cubano rhythm in modern
music, simply by being so good at it that it
'was almost irresistible. Here he's coupled
with my favorite drummer, Art Blakey, and
they, with Nelson Boyd's bass and Hen
Gates's piano, comprise one of the most dy-
namic rhythm sections imaginable.
Tropicana is more Cubano than Afro,
played at a heavy rhumbaish tempo, with
powerful bongo work by Chaho, and with an
unusual sound being produced by the big
band (9 pieces). Walter Fuller did the ar-
ranging, and I think it may grate on some
ears because it's pretty intense, what I think
of as a dark sound, due in part to Cecil
Payne's lusty baritone, but mostly to the
exceptionally close scoring. Moody, the
leader, is one of the most popular tenor men
around, right now, due to his work with the
Gillespie band. He has Yf fairly economical
style, compared to someone like Charlie
Ventura, but everyone likes him because he
can blow. This side doesn't let him really
take off, but he is plenty effective. I like the
flighty, delicate piano by Gates, too, but it
is the fine Cubano beat that stands out.
On the other side Blakey is replaced by
Teddy Stewart (currently with Dizzy), who
has something of the crispness of T. C.
Heard and a good beat, and Chano is absent.
16
By Albert J. McCarthy
a discography of ward pinkett
This discography is a supplement to last month's biography of this comparatively
little known trumpet great. Most of the details on Pinkett's records are taken from
the old Jazz Information and the Record Changer. The Willie Gant records were
mentioned by Harry Cooper.
willie gant and his orchestra (|924)
(unknown personnel but including ward pinkett)
static strut columbia ?
someday sweetheart columbia ?
paradise stomp columfia ?
(there may be other titles)
jelly roll morton and his red hot peppers
ward pinkett (tpt); geechy fields (tbne); omer
simeon (clar); morton (piano); tommy benford
(dms); bill benford (tuba); lee blair (banjo)
recorded new york city, june ii, 1 928.
GEORGIA SWING(456l9) VI 38024, bb 5|09,85|5,
hmv jf 10
KANSAS CITY ST0MPS(45620) VI 380lO,BB 5i09,7757
SHOE SHINERS DRAG(4562|) VI 2|658,BB 5707,7725
B00GAB00(45622) VI 380lO,BB 6031,7725
TR I 0 1 TRUMPET PIANO AND DRUMS.
HONEY BABE(45625) MASTER DESTROYED
SIDEWALK BLUES(45626) MASTER DESTROYED
CLARENCE WILLIAMS AND HIS ORCHESTRA (l925)
(UNKNOWN GROUP INCLUDING WARD PINKETT)
SHOUT SISTER SHOUT PERFECT 15403
JOE STEELE AND HIS ORCHESTRA (|928)
(UNKNOWN GROUP INCLUDING WARD PINKETT)
TOP AND BOTTOM V I 38066
COALYARD SHUFFLE VI 38066
KING OLIVER AND HIS ORCHESTRA
(PROBABLY; LUIS METCALFE, WARD PINKETT (TPTS);
J.C.H IGGINBOTHAM (TBN); CHARLIE HOLMES (ALTO);
TEDDY HILL (TENOR); LUIS RUSSELL (PIANO); PAUL
BARBARIN (DRUMS); MOORE (BASS); WILL JOHN-
SON (GUITAR). RECORDED NEW YORK CITY , FEB. I,
1929.
CALL OF THE FREAKS(48333 ) VI 38039, hmv jf 36
THE TRUMPETS PRAYER(48334)V I 38039, HMV JF 36
THE JUNGLE BAND
PROBABLY: WARD PINKETT (TPT & VOC ) ; EDWIN SWAY
ZEE (TPT); ROBERT HORTON (TBN); ELMER WILLIAMS
OMER SIMEON, HILTON JEFFERSON (REEDS ) J DON
K IRKPATR ICK (PIANO); CHICK WEBB (DRUMS); UN-
KNOWN BASS AND BANJO. RECORDED IN NEW YORK
CITY, JUNE 1 4, .1929.
DOG B0TT0M(E3OO39) BR 4450, BRE 1 235
JUNGLE MAMA(E3009l) BR 4450
(THE LATTER WAS RECORDED ON JUNE 27, |929.
JELLY ROLL MORTON AND HIS RED HOT PEPPERS
WARD PINKETT, UNKNOWN (TPTS); WILBUR DEPARIS
(TBN); EDDIE BAREFIELD (CLAR); MORTON (PIANO);
COZY COLE (DRUMS); BILLY TAYLOR (TUBA);
BERNARD ADD I SON (BANJO). RECORDED IN NEW YORK
C ITY, MARCH 5, 1930.
EACH DAY(59504) VI 2335l
IF SOMEONE WOULD ONLY LOVE ME (59505) VI 2332 1
THAT'LL NEVER D0(59506) VI 230l9, hmv 4836
I'M LOOKING FOR A LITTLE BLUEB I RD ( 59507) V 1 23004
WARD PINKETT, BUBBER M I LEY (TPTS); WILBUR DE
PARIS (TBN); EDDIE BAREFIELD (CLAR); MORTON
(PIANO); TOMMY BENFORD (DRUMS ) ; BILL BENFORD
(TUBA); BERNARD ADDISON (GUITAR); UNKNOWN (BJO)
RECORDED NEW YORK CITY, MARCH 1 9, 1930.
38135, 40-012 |
38|35
LITTLE LAWRENCE(59532) VI
HARMONY BLUES(59533) VI
SAME PERSONNEL. MARCH 20, 1 930.
VI 38|25
VI 38|25, 40-0121
FUSSY MABEL(59543)
PONCHATRA IN(59544
WARD PINKETT, UNKNOWN (TPTS); GEECHY FIELDS
(TBN); EDDIE BAREFIELD, JOE THOMAS, WALTER
THOMAS (REEDS); MORTON (PIANO);COZY COLE ( DMS )
BILLY TAYLOR (TUBA); LEE BLAIR (BANJO).
RECORDED NEW YORK CITY, JUNE 2, 1930.
OIL WELL(62|82) VI 23321
LOAD. OF C0AL(62i 83-1 ) VI 23429
LOAD OF C0AL(62l83-2) VI 23429
CRAZY CH0RDS(62|84) VI 23307
PRIMROSE ST0MP(62|85) VI 23424
WARD PINKETT (TPT); GEECHY FIELDS (TBN); ALBERT
NICHOLAS (CLAR); MORTON (PIANO); TOMMY BENFORD
(DRUMS); PETE BRIGGS (TUBA); HOWARD HILL (GTR).
RECORDED NEW YORK CITY, JULY 1 4, |930.
LOW GRAVY(62339)
STROK I N * AWAY(62340)
BLUE BLOOD BLUES(6234| )
MUSHMOUTH SHUFFLE ( 62342 )
VI 23334, BB 8302
V I 23351 , BB 8302
V I 22681 , BB 8201
V I E3004, BB 8201
WARD PINKETT (TPT); SANDY WILLIAMS (TBN); UN-
(CONT INUED ON PAGE 1 8)
I've keen roaming
by edward hill
Have you ever eaten an Arturo Toscanini
Club Special? It is constructed of,
among other components, salami, pas-
trami, spiced beef, corned beef, potato chips,
tomato, lettuce and pickles — and the price is
one dollar. The nourishment that goes with
this or any of the thirty outsize sandwiches
on sale at Maurice's, 211 South Quince St.,
Philadelphia, is accompanied by appropriate
recorded music of your own choice. Maurice
has thoughtfully worked out an arrange-
ment whereby your favorites are piped di-
rectly to your own booth. The fellow in the
next section may ingest some of Signor
Tamagno's majestic brays along with his
sandwich, quite unaware that a third diner
is basking in the glory of Vivaldi or
Mahler. It might be. remarked that you
don't have to choose food named for the
same composer as the one whose music you
favor. Your host will not take it amiss if
you eat Paganini and listen to Shostako-
vich. Maurice admits to no outright prefer-
ences or prejudices; nor does he forbid your
right to draw an inference from the fact
that he asks $1.50 for a Tschaikowsky
sandwich, whereas 75c suffices for a Caruso
job.
Josephine Jacoby's demise removes a
singer who made minor contributions to
some notably successful concerted records
of a generation and more ago. While not
possessed of a particularly vibrant voice,
this contralto's presence was a decided help
to the visual picture at the Metropolitan
during her engagement there. The critics
of the time took note that two excellent
reasons existed for her appearances as
Siebel. The four excerpted quartets from
Marta, in which Mme. Jacoby participated,
should be encored via the Heritage Series.
They reveal some of the best of Caruso's
utterances, as well as those of Frances
Alda and Marcel Journet ; and the music
itself is a joy !
W. W. Norton & Co. have brought out
a revised and enlarged edition of Lillian
Littlehales' biography of Pablo Casals. The
work first appeared in 1929, since when the
world's ranking 'cellist has, in truth, lived
another life. Devotees of some of music's
most enthralling pages will want to acquaint
themselves with some of the facts behind
this great artist's lives and experiences as
musician and humanitarian. Miss Littlehales'
part in telling the story is not admirable as
to organization of material but the subject is
of sufficient interest to warrant perusal and
reference. A partial list of Casals' record-
ings is ificluded as an appendix.
Norton's list also includes "Harold
Bauer, His Book," and in it the interna-
tionally celebrated pianist manages to keep
a constantly engaging narrative of memoir
moving right along. Recommended.
Columbia's publicity minions will have
exhausted their supply of adjectives in praise
of "I Can Hear It Now" long ere this
notice meets your eye. Nonetheless, this re-
lease's stature as a living document is not
to be denied. Available both as a five-disc
album set and as a single 12-inch LP
record, "I Can Hear It Now" brings to-
gether, in less than an hour, a series of on-
the-spot world news events which have
affected your life and mine these past
fifteen years; events whose repercussions
evidently are destined to remain with us for
the remainder of our years. Charles A.
Lindbergh tells the America Firsters that
we have nothing to fear, President Roose-
velt assures us that we need fear only fear
itself — that the hand that held the dagger
has employed it treacherously — that we shall
gain the inevitable triumph — etc., etc. We
writhe with the announcer who describes
the explosion of the zeppelin Hindenburg.
(The Hindenburg scene and the flashes an-
nouncing Pearl Harbor and the death of
Roosevelt will never lose their quality of
abject shock.) Hitler and Mussolini are
heard ranting their foul creed, Marshal
Stalin turns his coat before your ears. Joe
Louis kayos Schmeling and the late Will
Rogers emotes with ■ his characteristic bu-
colic insipidity. Arthur Godfrey's handling
of the Roosevelt funeral cortege will strike
you with whatever effect Mr. Godfrey hap-
pens to inspire within you.
Mechanically these records are not with-
out fault. Air-check transcriptions were
dubbed onto tape — the tape was dubbed onto
discs — thus we have a record of a record
of a record. Some of the material which
originated overseas might have been pro-
jected with less atmospheric interference,
had the BBC air-checks been employed.
A certain amount of trivia has been
processed as part of the whole for, besides
Will Rogers, there is Edward of England's
Abdication Speech, a bit of Huey Long's
nonsense and the stentorian yawping of
John L. Lewis (the best actor of the cast —
one can appreciate his power who hears his
delivery).
Possessed of faults of omission and of
exceedingly dramatic recreations, this re-
cording stands as one of the phonograph's
worthiest adventures and belongs in every
school library. It should be required listen-
ing at meetings and conventions of Rotari-
ans, Lions, Shriners, Chambers of Com-
merce and all such gatherings of yokels
who are committed to the proposition of
organized lovey-dovey, whilst keeping their
order-books very damned handy.
Your Boston Symphony recordings of
Mendelssohn's "Italian" and Prokofieffs
"Classical" symphonies owe you nothing.
They've been around a long time and have
given good and faithful service. Despite
other and later recordings, they have re-
mained unsurpassed until now, when Dr.
Koussevitzky again has committed them to
the wax under today's advanced technical
conditions. One wonders if these works can
ever be heard more resplendently than they
are in their newly issued form. Played at a
single sitting in either of the two possible
sequences these sets add up to an evening
of the utmost musical enjoyment. If, how-
(Continued on Page 20)
18
good and rare
(Continued from Page 10)
better than average piano helps these sides
which should find a place in the connois-
seur's collection.
Of special interest are four sides by Count
Basie which have not been issued in the U.
S. Bambo, CoS DZ425, features solos by
Jay Jay Johnson and Illinois Jacquet ; Stay
Cool, CoS, DZ415, features Harry Edison,
Jay Jay, Buddy Tate, Rudy Rutherford do-
ing Hob Nail Boogie/ Danny Boy. CoS
DZ568 features the Count on a powerful
Buster Harding arrangement.
Canada breaks into our column once again
as Musicana 17, just released, features the
Bert Niosi Sextet doing Porter's Love
Song/Row That Boat. Anyone looking for
examples of foreign jazz should get one
of these Niosi sides either on Victor or
Musicana. When the record is worn enough
your friends will confuse Niosi with Benny
Goodman's Sextet. These are sides you will
play and like.
In Australia, Keith Hounslow's Jazz
Hounds have just done Jaaz It Up/ Had It
Blues on Ampersand 17, while Southern
Jazz Group just waxed High Society,
scheduled for release in about four months
on Memphis label.
The demand for the original Dan Hill
Sextet sides in South Africa was such that
these sides are now unavailable ; however,
Trunote, equal to the occasion, immediately
pressed the Dan Hill Octet doing Blue
Train Boogie/Oliver Twist, and Jam Ses-
sion 1 & 2, which our South African "ear"
informs us are superior to the first releases.
This would make them a real earful !
In France the Hot Club Quintet is back
with Brick Top/What Is This Thing Called
Love, on Sw 283, and Lady Be Good/Mike,
on Swing 288.
H. Rostaing, that fine French clarinetist
usually featured on Hot Club Quintet discs,
has just released Play Back- Swing/ Wash-
ington Blues, Sw 286, and High Tide/
Champs Elysees on Sw 288.
4 EXCITING SIDES
BY THE
CaMte }ajj Sand
HP 8/9 KANSAS CITY STOMPS
DARKTOWN STRUTTERS BALL
HF 10/11 TIGER RAG
NO BOP HOP SCOP BLUES
PUce $1.05
Distributors
EAST
RAMPART RECORDS
WEST
YERBA BUENA
CASTLE RECORDS
5126 S. E. 37th Ave.
PORTLAND, OREGON
Of interest is the appearance of the
Claude Luter Trio on J.R.S. 1 with 122
Blues.
Big Boy Goodie, another good French
clarinetist, is out with Tea for Two /World
Is Waiting for the Sunrise on Swing 285.
M. de Villers does I'm Sorry/I Surrender,
Dear on Sw 290, while Kenny Clarke has
Algerian Cynicism/ Laurenzology, and An-
nel/Mood for Love on Sw 284-289.
ward pinkett
(Continued from Page 16 )
KNOWN (CLAR); MORTON (PLANO); BILL BEASON
(DRUMS); BILLY TAYLOR (TUBA); BERNARD ADD I SON
(QTR ) . RECORDED NEW YORK CITY, OCT. 9, 1930.
GAMBLING JACK(643l3) VI 23307
FICKLE FAY CREEP(643|4) VI 230l9, HMV 4837
KING OLIVER AND HIS ORCHESTRA
UNKNOWN' FE RS0NNEL: WARD P I NKETT ( TPT & V0C) IN-
CLUDED PLUS 2 TPTS; TROMBONE; 4 REEDS; 4 RHYTHM;
RECORDED NEW YORK CITY, JANUARY 9, 1 93 1 .
PAPA DE DA DA( 35910) BR 6053, BRF 9029
THE LITTLE RAMBLERS
WARD PINKETT (TPT & V0CS); ALBERT NICHOLAS (CLR )
JACK RUSIN (PIANO); SAMMY WEISS ( DRUMS ) ; JOE
WATTS (BASS); DANNY BARKER (GTR); ADRIAN ROLL I N I
(VIBES). RECORDED NEW YORK CITY, OCT. 3, 1 935.
EV'RYTHINGS 0KEY-D0KEY
I 'M ON A SEE-SAW
I 'M PA INT I NG THE TOWN RED
RED SAILS IN THE SUNSET
TENDER IN THE NIGHT
TAP ROOM SPECIAL
BB 6144
BB 6 l 30
BB 6130
BB 6 1 3 1
BB 6l3i
BB 6|93
BR 6046
NOTE:
WHO'S BLUE(359l I )
STOP CRYING(359l2) BR 6053, BRF 9O29,BREll05 ON MARCH 1 8, 1 930 KINQ OLIVER RECORDED t
UNKNOWN PERSONNEL WHICH iNCLUDED WARD PINKETT I MUST HAVE IT(59525) VI 38|24
(TPT & VOCS); B I NG IE MAD I SON (SAX); AND PROBABLY RHYTHM CLUB ST0MP(595fi6) VI 38|37
FRED SKERRITT (SAX); AND * LUCAS.
RECORDED NEW YORK CITY APRIL |5, |93|.
LOVELESS L0VE(36474) VO |6|0
ONE MORE TIME(36425) VO 1 6 1 0
WHEN I TAKE MY SUGAR TO TEA(36626) VO |6|7
YOU'RE JUST MY TYPE(59527) VI 38|24
IN VIEW OF THE PROXIMITY OF THIS SESSION TO THE MORTON
RECORDINGS ON WHICH PINKETT WAS FEATURED, IT WOULD BE
INTERESTING TO HEAR FROM COLLECTORS AS TO WHETHER WARD
PINKETT CAN BE HEARD ON ANY OF THESE SIDES. (A.M.)
19
(Continued from Page 15)
The feature of this side is a weird arrange-
ment by Fuller, with insistent dissonant fig-
ures. I still haven't made up my mind
whether I like it or not. Moody has another
rousing bit, which is matched by alto-
man Ernie Henry, and there's some clean
trumpet by Dave Burns, who has been play-
ing under the shadow of Dkzy in the big
band.
All in all, this is a pretty interesting
record — I don't think it's great, but it's
almost another new direction. The more the
merrier. (Blue Note 553) (P.B.)
Kid Ory's Sunshine Orchestra
Ory's Creole Trombone
Society Blues
It's a break for most of us when some
rare record is re-issued, and doubly so when
it happens to be one of the earliest examples
of recorded New Orleans Jazz. In 1921 the
Spike Brothers of Los Angeles herded a
band. Kid Ory and His Brownskinned Band,
into the old Nordskog studio and cut two
band sides — Ory's Creole Trombone and
Society Blues. On the Nordskog label the
band was called, I believe, The Seven Pods
of Pepper, and the Sunshine label, pasted
over the original, read Ory's Sunshine Or-
chestra. At a later date four other sides
were made, but they were vocals by Roberta
Dudley and Ruth Lee, and neither singer
was any great shakes.
For this reason the band sides have been
of the utmost importance. Dink Johnson,
whom Bill Russell has recorded on his AM
label as a pianist, played clarinet in those
days, and Mutt Carey, of course, was on
cornet. Of the others, Ed Garland who
played bass on the date is still with Ory
but I haven't heard of Fred Washington,
the pianist, in years. Ben Borders, the
drummer, is just another name to me.
I happen to have the Roberta Dudley
record, so I had heard snatches of the band
before, but it was a real kick to hear them
play uncluttered by any singer. Then I
played this one alongside the Crescent and
Exner sides, as well as Ory's Columbia
Album, and considering the differences in
electrical and acoustical recording they come
out all right. In fact I think that towards
the end of the Ory's Creole Trombone side,
where they really rock, they are damned
good indeed. Actually, they sound not too
unlike the King Oliver Creole Band in such
places and a couple of times I caught my-
self wondering where Baby Dodds' wood
blocks were. And on the other side Papa
Mutt takes a break towards the end that
sounds not too different from the breaks
that the King used to take. I've been re-
minded before when playing other, records
by New Orleans bands how many of them,
in places, sound like Oliver, but this was the
most striking likeness in approach of the lot.
For anyone who isn't label happy this
record is a real break. I don't know what
an original Sunshine in E+ condition would
bring at auction, but I know that I've bid
plenty on them in the past and never even
come close. So if anyone who has one thinks
that this re-issue is going to knock the props
from under that record's value will he get
in touch with me? I'll give him a fair price
for it.
Over the years there has been building up
a solid library of re-issued records and I
hope the trend will continue, for some of
the originals are all but impossible to come
by these days. Paradox is to be congratu-
lated. (Paradox 3, $1.05) (B.M.)
cradle of jazz
(Continued from Page 7)
This new venture plunged Gennett deep
in litigation. Victor brought suit for alleged
infringement upon the patent on a record-
cutting stylus. Gennett won the case in the
United States Supreme Court. The victory
made the instrument public domain, but the
Richmond company gained added stature in
the industry.
In post- World War I days, annual pro-
duction approximated 15,000 pianos, 35,000
spring-driven phonographs, and more than
3,000,000 records — all recorded in its Gen-
nett studios.
Although vines almost obscure the once
brightly-painted Gennett trademarks on the
sprawling old brick buildings, there's at least
one sweet chord there for jazz lovers. It
comes from Harry Gennett, Jr., general
manager of the records division.
If some of the master discs of the rarer
jazz gems can be found in the dusty room
over his office, they may be re-pressed.
However, Gennett himself doesn't know
what's there, for during the depression, he
recalls sadly, someone sold many of them
for the copper they contained.
The younger Gennett asks that record col-
lectors not besiege the Gennett plant at this
stage. If and when the old masters are re-
cast, he'll say so.
But there's little doubt that, if and when
Gennett does drag out its old jazz classics,
Richmond will see as strange a procession
of collectors and music addicts walking its
streets as ever visited there in the days when
the town was the mecca of all great jazz
musicians.
FOR COMPLETE CATALOG WRITE TO
BLUE NOTE RECORDS
767 LEXINGTON AVENUE RE 4-4167 NEW YORK 21. N. Y.
20
IN LOS ANGELES
IT'S THE
ieu>in
RECORD OUTLET
(Formerly of New York)
"The Collectors'
Paradise"
The Largest Store in California
Devoted Entirely to
Collectors' Items
For the Best in Jazz,
Swing, Bebop, Popular
and All Old Favorites.
Tremendous Assortment
of
Armstrong, Bechet,
Bessie Smith, Muggsy,
Holiday, New Orleans,
Miller, Goodman, Dodds,
Jelly Roll, Bix Beiderbecke,
Ellington and Ellington Units,
Dixieland, Basie, Bing Crosby,
Etc., on Original Labels,
Imported Parlophone,
HMV, Etc.
Please send in your want lists.
If in Los Angeles or vicinity,
.it would be well worth while
to visit us.
5600 Hollywood Boulevard
LOS ANGELES 27
CALIFORNIA
Telephone Hillside 8088
As Always, Fairest Prices.
i've been roaming
(Continued from Page 19)
ever, you are a "full-length, or else"
musiker, you might do worse than interpo-
late the Bostonians' highly adept treatment
of the Berlioz "Harold in Italy" with
William Primrose's viola magic.
Victor's recent spate of operatic single
disc releases includes a few dogs and some
of the most artistic things yet to turn up.
Joel Berglund's singing of excerpts from
Tannhduser and The Flying Dutchman
presents the music definitively, beautifully.
Giuseppe di Stefan's work in airs from
Mignon will win him many admirers among
those who relish the open, Italianate type of
projection, and he has been recorded
splendidly.
Oscar Natzke, once billed as "the singing
Anzak" and long a good-seller on his for-
eign-made records, is represented on the
Columbia list by a pair of Zarastro's reso-
nant moments from The Magic Flute which
he intones in a solid basso profondo and
brings off with convincing authority, albeit
the English text jest ain't no good..
Diedrich Buxtehude is the star of Aksel
Schiotz's first record of American release.
The Cantata: A peril e Mihi Portas Justitiae
is performed eloquently, lovingly by Mr.
Schiotz and contralto and bass vocal asso-
ciates, with two violins, 'cello and harpsi-
chord. Everyone is properly a consummate
musician and this disc is a worthy item in
the repertoire. Its sales-appeal is rather
limited, though, I think. The record buyer
wants Mr. Schiotz in solo performance and
his Messiah seems to be what is wanted
most.
The old-time music store is pretty much
a thing of the past in New York — that is —
until you step across the threshold of Henry
Mielke's at 242 East 86th Street in New
York City. Here there are no chrome and
plush fixtures, no perfumed males in attend-
ance, no television nor radio sets, no million
dollar highboy catch-alls. Mielke's staff
knows and loves records. That's the way it
has been for a generation and that's the way
it's going to stay. There are records new
and old, domestic and imported, common
and rare. Tauber and Erna Sack items ga-
lore— and some repressings of electrical
Polydors by Leo Slezak. Nothing cut-rate,
nothing over-priced. Plenty of patience with
sincere music-lovers and none at all with
types. The manager, Mr. Schlenger, is a
jovial soul and seems, by means known only
to himself, to be able to tell you what you
want before you ask for it ; and should you
presume to order by catalog number, he
will gently massage your scalp with a base-
ball bat kept on the premises for just such
occasions.
Incidental and Unimportant : Emilio de
Gogorza's 1905 record of the Toreador
Song (Victor 74046, renumbered 88178)
employs an aggregation described as The
New York Grand Opera Chorus. The anti-
quarian who really listens to his relics
should have no trouble in discovering that
on this disc, while Mr. de Gogorza sings
his song in the original French, the chorus
carries on in Italian. . . . This is the sort
of thing which makes specialists in very old
records "that way."
YERBA-£UENA
5721 GROVE STREET
OAKLAND 9 CALIF.
MAIL ORDERS WELCOMED— SATISFACTION
GUARANTEED
We stock ALL jazz and other labels
(Everything that's advertised in THE CHANGER)
(Exception: not everything in "For Disposition")
Excerpts From Our New
12-Page Jazz Catalog:
PARAMOUNT (reissues) $1.05 each
JOHNNY DODDS & R. M. JONES' JAZZ WIZARDS:
Hot & Ready/It's A Lowdown Thing.
TOMMY LADNIER ORCH. with EDMONIA HENDERSON:
Jelly Roll Blues/Lazy Daddy Blues.
LOUIS ARMSTRONG with F. HENDERSON ORCH:
Prince of Wales/ (Copenhagen).
JOE SMITH ORCHESTRA/THE MYSTERY RAGSMITH:
Heart Breakin' Joe/African Rag.
FLETCHER HENDERSON, piano solos:
Chimes Blues/I Want To.
LEADBELLY:
All Out and Down/Packin' Trunk.
JELLY ROLL MORTON & ORCHESTRA:
Big Fat Ham/Muddy River Blues.
CLARENCE WILLIAMS ORCHESTRA:
Squeeze Me/New Down Home Rag.
JAMES P. JOHNSON/FLETCHER HENDERSON:
Harlem Strut/Unknown Blues (solos).
MEADE LUX LEWIS with George Hannah:
Freakish Blues/The Boy in the Boat
MA RAINEY:
Deep Moanin' Blues/Traveling Blues
FLETCHER HENDERSON ORCHESTRA:
Swamp Blues/Off to Buffalo.
SQUIRREL ASH CRAFTSMEN (Bill Priestley, cornet):
Riverboat Shuffle/Sugar.
(And more to come: entire PARAMOUNT catalog!)
S & D REISSUES $1.05 each
WILL EZELL, CHARLIE SPAND, ALEX HILL, etc.:
Hometown Skiffle, I & II.
DOBBY BRAGG:
Single Tree Blues/Fire Detective Blues.
JELLY ROLL MORTON'S STOMP KINGS:
Mr. Jelly Lord/Steady Roll.
SKIP JAMES/JABO WILLIAMS:
Little Cow and Calf/Fat Mama Blues.
NEW CENTURY REISSUES $1.05 each
BUD JACOBSON'S JUNGLE KINGS:
Clarinet Marmalade/Laughing at You.
CHICAGO RHYTHM KINGS:
Song of the Wanderer/Some Changes Made
JOHNNY DODDS etc./YOUNG'S CREOLE JAZZ BAND:
South Bound Rag/Tin Roof Blues.
DOBBY BRAGG:
3.6. and 9/We Can Smell That Thing.
JIMMY BLYTHE RAGAMUFFINS (Keppard, Dodds):
Messin' Around/Adam's Apple.
NEW MEZZROW-BECHET OUINTET,
King Jazz $1.05
With vocal by Coot Grant* and Grant & Wilson:
You've Got To Give It To Me»/You Can't Do That
To Me.
Evil Gal Blues/Breathless Blues.
NEW BECHET-BOB WILBUR ALBUM,
Columbia $3.95
WITH BOB WILBUR'S WILD CATS: 79c singly:
Kansas City Man Blues/Polka Dot Stomp
Spreadin' Joy/It Had It But It's Gone.
WITH THE BECHET QUINTET:
Just One of Those Things/Laura
Love For Sale/Shake 'Em Up.
NEW BOB WILBUR WILDCATS ALBUM,
Rampart $3.95
When You Wore a Tulip/Frog-i-more Rag
Camp Meeting Blues/Once in a While
Trouble in Mind/Oh, Daddy.
AND: BILL WILLIAMS DIXIELAND BAND
Album $3.15
Black and White Rag/Ridin' to Glory on a Trumpet
Maple Leaf Rag/Muscat Ramble (sic)
Jeep Blues/At the Jazz Band Ball.
OUR COMPLETE CATALOG MAILED ON REQUEST.
West Coast Distributors (catalog on request): Castle,
Circle, Exner, Pacific, Reissue, Rampart, Session.
"Ya know, Al, I think we'd better stack the next batch
of records in that end!"
Yes, we do have a large stock of records. We handle such labels as
West Coast, C ircle, Exner, Pacific. HJ.C.A^ I.H.C.A.,
Yinylite Jazz, Century, Dial, Jump, American Music,
Commodore, Blue Note, Trilon, Rampart, etc.
and a large stock of collectors' items
SEND YOUR WANT LIST OF NEW AND RARE
RECORDS. IF WE CAN'T FILL IT, .WE WILL
PLACE IT ON OUR BULLETIN BOARD
All tke CaUect&iA. in tltU A lea w~atck om/i /l&and.
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THE RECORD SHACK
11800 Wilshire Blvd. Los Angeles 25, Calif.
Open Daily Noon till Nine — Sundays till Six
21
for your jazz library
A splendid selection of jazz literature
to heighten your listening enjoyment.
by gene deitch
A collection of the best Cat Cartoons which
have appeared in the Record Changer over
the past four years, plus many previously un-
published cartoons of the Cat. The book in-
cludes forty-six cartoons in thirty-two pages.
George Avakian does the amusing com-
mentary.
$1.00
arnold b. stilwell's
RECORD DATING CHART
covering the period through 1930.
the answer
to every record collector's dream. The chart, 17" i 22". will tell you
at a glance the approsimate recording and issuance date of any
record appearing on more than 100 labels issued before 1930.
an example of how the chart works
Let us suppose you pick up a copy of Richard Hitter's Blue Knights
on the Gennett Label. Record Number 3149. Master Number 9725,
playing "Stomp Off Let's Go." Knowing little about the record
and being unable to locate it in any of the standard reference
books you can go to your record dating chart and at-a-glance tell
that the record was made about June 1925 and released August
1925.
just a few of the labels
covered by this amazing chart: Ajax, Arto, Autograph, Globe, Hy-
tone. Black Patti. Black Swan, Blu Disc, Broa'dway, Buddy, Clai-
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Globe, Madison, Pennington, Lincoln, Mensa, Muse Harmograph,
Qrs, Sunshine, Polk, Winner, Triangle, plus all of the common
labels, plus all the rest of the obscure ones.
in addition
there are eiplanatory notes on most of the labels tracing their
inter-relationships and releasing systems.
Order your Chart now.
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Bing Crosby Oncography
The most complete discography ever
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OK. HA, VE, Dl, CL. PE, ME. BA, OR,
VO, RO, CQ, SIL, LU, English Labels.
A truly definitive work. 80 pages. $1.00
Red Nichols and his Five
Pennies
A complete discography by Venables
and White. Lists all known pennies .35
Matrix Numbers
Their meaning and history. With a full
guide to the numbers of all major com-
panies. A splendid explanation of
master numbers of the leading record
companies. 24 pages. By Douglas C.
Black 65
The Little Discography
Complete information on records
produced prior to August 1945 by 65
small record companies, together with
V-Disc Jazz Records. Personnels are
given for nearly 1,000 records. 65
pages. By William H. Miller $1.00
George Brunies Special
Life & Discography. Features. 8 P. Large
Format 25
Jazz Impressions
(In 6 Parts) By Bill Miller. 8 P. Large
Format 25
Reprints and Reflections
Boze, Charles Edward Smith, Noone, Etc.
8 P. Large Format 25
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Floyd Obrien, Kaminsky, Sherock. 8 P. Large
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By Fred Ramsey, Jr. Conversations with 20
Great N.O. Jazzmen. 34 P 50
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No. I Condon, Brad, Jelly Lord, Marty Mar-
sala Discography, Ory, Etc. 32 P 35
No. 2 Billie Holiday, Come Back Sweet Papa,
Matty Matlock, Etc. 24 P 35
No. 3 Half Pint Jaxon, His Life in 28 Chap-
ters. 24 P 35
No. 4 Clyde Clark, Reviews, Tempo King,
Biondi, New Orleans, Sid Weiss. 24 P. .35
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James Infirmary, Matrix. 24 P 35
No. 6 Boyce Brown, Hodes Discography, Etc.
24 P 35
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HOW THE RECORD CHANGER WORKS:
23
Abbreviations used in the Classified
"Wanted" and "For Disposition"
Sections are as follows:
Col. I, Record Label:
A* Aeolian
Aj Ajai
AM .... American Music
Aj Ap»«
At Artiption
At Asch
Au Autegraph
A> .... Aeolian Vocalian
■a Banner
SB Blue Bird
B« Beacon
Bl Berliner
IN Blue Note
BP ... Brunswick Polydor
Br Brunswick
Bt Beltona
BS Black Swan
Bu Buddy
B«y Broadway
Ca Cameo
Ch Champion
CI Collectors Item
CI Clarion
Clg Clangor
Cn Chantal
Co Columbia
Com Commodore
Cp Capitol
Co, Conqueror
Cr Crown
CRS. Collectors Rec. Shop
Cs Crescent
Cx Claitonola
Oc Decca
OF Discophiles Francoises
Di Dua
01 Dolmetsch
Do Domino
DP Decca Polydor
Ds Disc
Dx Deluxe
Ed Edison
EB Edison-Bell
El Electrola
Em Emerson
Ex Excelsior
Fo Fonotipia
FO .... Fonotipia- Odeon
FRM Friends of
Recorded Music
Ge Cennett
GG Grey Gull
Gl General
Gr Gramophone
Gt Gamut
Ha Harmony
He Homochord
Hg Harmograph
Hgl Hariail
HMV. His Masters Voice
How Hit of the Week
MRS Hot Record Society
Id - Ideal
J* Jewell
Jl ... Jazz Information
JM Jazz Man
Kn Keynote
Li Lincoln
Lu Lumen
Me Melotone
Ml Melbt
Mo Monarch
Mp Masterpiece
Ms Master
MV Musique au Vatican
MW . . Montgomery Ward
NMQ New Music Quarterly
Ns Nordskog
Od Odeon
OL Oiseau Lyre
Op Olympia
Or Oriole
Pa Parlophone
Pat Pathe
Pd Polydor
Pe Perfect
Pm Paramount'
Pr Pro Musica
Pu Puritan
Ra Radiodisgue
Re Regal
Ro Romeo
Ry Royale
RZ Regal-Zonophone
SA Solo Art
Sal Salabert
Sbl Sonabel
Sg Signature
SI Sil»ertone
St Sterno
Su Sunshine
Sw Swing
Sy Syrena
Te Techmchord
Tfk Telefunken
TM . Treasury of Music
Tr Triangle
UH United Hot Clubs
Ul Ultraphone>
Ve Velvetone
Vi Victor
ViE Export Victor
Vo Vocalion
Vr Variety
Vs Varsity
Vy Victory
When it is necessary to indicate nationality of
the record, the following letters appear after
the record label abbreviation:
A Argentinan
Au Australian
B Brazilian
C Canadian
E English
F French
G •. . . . German
I Italian-
J Japanese
M Mexican
S Swiss
Sd Swedish
In the "For Disposition" section the condition
of the record it indicated by these abbrevia-
tions:
N (New): Surface noise equal to an unplayed
record; no visible or audible wear percep-
tible: original finish intact.
E (Excellent): Surface noise low. smooth, uni-
form. Not irregular or crackling. Easily dis-
regarded in listening No perceptible distor-
tion.
V (Very Good): Surface noise somewhat
more prominent: light foreign noises, but
slight distortion, if any; noises not seriously
distracting.
G (Good): A moderate amount of surface
noise; background may be somewhat irregu-
lar and crackling: some foreign noises, and
a little distortion: on the whole, reasonably
satisfactory listening without undue distrac-
tion of attention Foreign noises definitely
less prominent than the music.
F(Fair): Foreign noises, taken together, are
about as prominent as the music, and there
Is considerable distraction of attention, and
listening requires some effort and concentra-
tion; nevertheless, under these conditions,
listening should be fairly satisfactbry.
P (Poor): Foreign noises, collectively, are
louder than the recorded music: continuous
concentra'ion Is required, and there is little
satisfaction in listening.
Column 4 of the "For Ditpotition" section shows
the method by which each record is to be dit-
poted.
"SAL,'': The record is for sale at the price
indicated.
"AUC": The record is at auction. The highest
bid takes the record. Bid only what the
record is worth to you.
"TRA": The record is for trade only. If you
are not familiar with the Wants of the ad-
vertiser send for his want list. If you have
certain records in which he may be in-
terested, mention these in your letter.
The extreme right column in bolh the "Wanted"
and "For Disposition" sections shows the first
four letters of the advertiser's name. His ad-
dress is shown below.
ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE
A I RE I L.W.AIREY 570 GROVE AVE.,
WINDSOR, ONTAR I 0, CANADA
ANDE: JOHN L . ANDERSON 246 E. 46
ST., NYC |7, NY
ARGO: JOHNNY ARGO 60 TOLMAN ST.,
W . NEW TON 65, MASS.
AVER: RAY AVERY, THE RECORD
ROUNDUP 1630 S. LA CIENEGA, LOS
ANGEEES 35, CALIF.
bOLL: DANTE BOLLETINO 55 W. 42 ST.
NYC
CAYU: G . CAYUGA N 23820 HOOVER RD . ,
VAN DYKE, MICH.
CHINl H.W.CHINEVERE 6 CASTILLO ST.
SAN FRANC I SCO 24, CALIF.
CIAR: ANTHONY P.CIARDI 1119
LUZERNE ST . , S CR A NTON, PA.
CLOU: RON CLOUGH 39 BOL I NGBROKE
MARSHF I ELDS , BRADFORD, YORKSHIRE
ENGLAND.
COCH: G.WEST COCHRANE 1 200 MAIN
ST., UPLAND, PENNSYLVANIA
COHE: NORMAN COHEN 4622 N. WAR-
NOCK ST., PHILADELPHIA 40, PA.
COOE: elson cook p.o.eox 769
PHOENIX, ARIZONA
COOK: j.g. cook i 59 charles st.,
B0LD0N COLLIERY, DURHAM , ENGLAND
DWEN ( GEORGE A DWENGER 2 EDGEMONT
RD. ,MONTCLA I R, N.J.
DYMI: WALTER F. CYMIT2237 N. 73
RD COURT, ELMWOOD PK 35, ILL.
FERT: ROBERT W. FERTIG I 32 ROSLYN
ST, ROCHESTER II, N . Y .
FORR: WILLIAM FORREST 35 W. 7| ST
NYC
GENT: NORMAN P. GENT I EU 86 S.
LANSDOWNE AVE., LA NSDOWNE , PA.
GLIB: CLINTON E. GLIBERT |2|6-*t
S. |2ST TACOMA 3, WASH.
GLOB: GLOBE AGENCIES 55 W. 42 ST.
NYC
GOLD: FRANK GOLDMAN 394 E. 40TH ST
BROOKLYN 3, NYC
GOTT: R. E.M.GOTTLIEB 1 6 I 5 B SO.
5TH ST., WACO, TEXAS
HAW I: MOSES HAMILTON 3956 V I NCENNES
CHICAGO |5, ILL.
HENRI DALE HENRY 905 GORE BLVD.
LAWTON, OKLAHOMA
HEWE: JACK HEWELCKE 2225 OCEAN
AVE. , SAN FRANC I SCO |2, CALIF.
HOFFl R.W.HOFFART 887 E. 140 ST.,
CLEVELAND |0, OHIO
KUHLJ GUS KUHLMAN, COLONIAL GAR-
DENS R.D. »*| . NEW BRUNSWICK, N.J.
LEVI: FLOYD LEVIN 405 N. NORTON AVE.
LOS ANGELE-S 4, CALIF.
LIQU: john liquori 4563 n • Colorado
AVE., PHILADELPHIA 40, PA.
LUBI: R. LUBIN 555 TIMPSON PL.,
NY 55, NY
MACG: J.A.MACGOW I 720 M I DDLEHURST
RD., CLEVE HGHTS, OHIO APT 30 1
MARC: CY MARCUS 2036 CROPSEY AVE
BROOKLYN, N.Y.
MAYE : HOWARD MAYER 263 B I LTMORE
AVE... ELMONT, L. I ., NY
MCKU: JAMES MCKUNE I 79 MARCY AVE
BROOKLYN II, NY
MCRE: ALBERT MCREA, SR. P.O. BOX
I 38, WEST V I LLE , N.J.
MOUL: WILLIAM R. MOULTON 22 1
GERRY RD., CHESTNUT HILL 67, MASS .
0 RLA { JAMES ORLANDO, D I CKERSON
RUN, PA.
OSTR: B. OSTROFSKY 1 66 2ND AVE.,
NYC
PARR : SID parry; 574 w. 1 76 ST
NYC 33, NY
PHIL* W.L.PHILLIPS 1 26 W FIRST
AVE., KANNA POL I S , N.C.
PIKE: GILBERT PIKE 10 W I NNEMERE
ST., MALDEN, MASS.
PIPE: JOHN M. PIPES BOX |2|5
BIG SPRING, TEXAS.
POULl ROBERT D. POULSON 8|0 S.
8TH, LINCOLN, NEBR.
PROS: STEPHEN PROSPER 10 CASTILLO
ST., SAN FRANCISCO 24, CALIF.
OU IN* W.W.QUINN 4406 J, GALVESTON
TEXAS .
SCHR: BILL SCHROEDER 348 WOODLAWN
AVE. J.C. 5, N.J.
SCHUJ HARRY SCHUSTER 1 779 FULTON
AVE., BX 57, NY
24
SHIP: J.S.SHIPMAN 260 VflSSAR AVE.
NEWARK 8, N.J.
WANG : IRV. WANGROW 2533 BUENA vista
DETRO IT 6, MICH.
WARRJ DONALD B. WARREN 29 1 3 N.
HACKETT AVE., MILWAUKEE II, WISC.
WISH: HARKLESS WASHINGTON, JR.
1575 TURK ST., SAN FRANC I SCO |5,
CAL I F.
WEINl RAYMOND WEINSTEIN 38 THA T-
FORD AVE., BROOKLYN , N.Y.
ZAWA: STEVE ZAWACKI 1 3400 FENELON
AVE., DETROIT |2, MICH.
ZEIG: les iEiGER i056 sherman ave
NY 56, NY (MIN ORDER $ .90)
, all you
^iu tne
los angolas
ajroa* • • •
you're
invited to
marie Ic gene deitch's
regular friday night
record sessions: cr 1-6240
Published in London monthly
JAZZ JOURNAL
is edited by
SINCLAIR TRAILL &
TOM CUNDALL
and features the writings of such
authorities as
Hugues Panassie, Brian Rust
Stanley Dance, Peter Tanner
Grey Clarke and John Davis
together with
Discographies, Record and Book
Reviews, Cartoons, Record Dis-
posals and Wants, and many other
features — always interesting, and
often amusing.
Subscriptions — $4.50 yearly.
to
THE RECORD CHANGER
125 La Salle Street
New York 27, N. Y.
WANTED
ART KAHN ORCH.
IM HAPPY WHEN YOUR HAPPY /
YOU D I D NT HAVE TO TELL ME
ME 12090
CARL A. KENOZ I GRA, JR. 74 SOUTH
ROAD, HARRISON, N.Y.
CLOSING DATE FOR BIDS
On all Records advertised
for auction in this issue will
be MARCH 20, 1949
UNLESS OTHERWISE STATED
RECORDS
WANTED
I will buy collections out-
right. Anything from 10
to 10,000 Records. Jazz,
Pop, Swing, etc. Send me
a list of what you have
with the condition of the
Records indicated. You
will receive a prompt re-
ply. Write to
GEORGE RAAB JR.
1 JACOBUS PL.
N. Y. C.
NOTE
All persons using the medium of the Record
Changer in the buying, selling or trading of phono-
graph records, do . so subject to these Rules and
Regulations:
1. A collector or person who solicits and receives
advance remittance for a record must send the rec-
ord within a period of four weeks.
2. A collector or person who orders and receives
a record prepaid mu'St pay for it within a period of
four weeks.
3. A collector or person who obtains a record in
trade must fulfill his end of the trade within a
period of four weeks.
4. A collector or person who requests that a
record be shipped C.O.D. must accept the shipment
unless the shipment is damaged in transit. (A bid
on an auction or an order from a sale which states
that records will be shipped C.O.D. unless otherwise
instructed, is considered a request for C.O.D. ship-
ment.)
The name of the person or collector who violates
the above rules will be printed in the Record
Changer upon the first violation, and the violation
will be described. (Exception: where breakage or
over-grading is concerned, the record is to be re-
turned promptly to the snipper. If the parties in-
volved do not arrive at a settlement, the matter is
to be referred to the American Record Collectors
Board.)
* * *
When infractions of these rules occur, contact
Jacob S. Schneider, Legal Dept., The Record
Changer, 128 West 66th St., New York N Y
Jet tfcut Convenience
The Record Changer
125 La Salle Street, New York City 27, N. Y.
Please enter my subscription to your magazine for
□ I year; □ 2 years; □ 3 years,
my remittance is enclosed
United States I year $3.00; 2 years $5.50; 3 years $7.50
Canada I year . . $3.25; 2 years. . . $6.00; 3 years. . . $8.25
Foreign I year. . . $3.50; 2 years. . . $6.50; 3 years. . . .$9.00
Name
Address..
FOR DISPOSITION
First four letters of couxctcb's name |
ifor aooress. see page 6,
PRICE
trace;
for sale;
1nimum bio
VALUE IF FOR
IF FOR AUCT I ON
UETHOO OF disposition: "sal",
for sale at price indicated;
:a " .for trade: "auc", at
auction. Closing date for bids,
see page 6. *t-a" for trade
or auction; "t-s" for traoe
or sale: "sta" for sale, traoe
or auction.
Condi ti on of record: n-new
E-£xcellent; v-very good
G-cood ; F-fair; p-poor.
IChTALOG NUU6ER of re
Label of record.
^S'EE'l ALLEN
LOST FEW HE?OP/GIVE IT UP
BARCLAY ALLEN
ST LOUIS BL/CUUANA
RED ALLEN
TRUCK IN/OINAH LOU
GOOO night/theres A KITCHE
LOUIS ARMSTRONG
ORV CREOLE TROM/LAST T IUE
SQUEEZE ME/ONCE IN IHILE
SUNNY SIDE ST/(2 SIDES)
COAL CART BL/DOWN HONKY
219 BL/PERIOO ST BL
SA BOBO/wiLD MAN BL
lOOl E+SAL .65 ZEIG
VO 2998 V SAL .60
VO 3490 N SAL I .40
PA E 2792 N SAL I .10
PAE 2242 N SAL I . 10
POLYOOR N SAL 1.25
BRE 3 1 65 N SAL I .10
8RE 3 |64 N SAL I . 10
BRE 2065 N SAL I
. i :
JEEPERS CREEPERS/CALLED SW I NG OE 2267 N SAL 1.25
FR I V FRAU SAUCE/WONT BE SA T SF I E0E23496 N SAL 1.00
S*ING U CATS/SN (BALL BBCIC225 N SAL 1.50
SWAROUST/WRAP TROUBLES OREAUS CO 378CS N SAL I .00
DALLAS BL/BASSIE COULDNT OK 8774E/VAUC
FRED AST* I HE
UY TEMPTATION VI 243|2 E T— A
ARMSTRONG AIR SHOTS FROM BLUE NOTE CHICAGO
MOUL
ZE IG
WEIN
WEI N
WE I N
VEIN
«EIN
WE I N
WEIN
SCHU
ZAWA
SCHU
PARR
SAL I .50 WE I N
SAL 1.50 WEIN
SAL I .50 WE IN
1ITH TEA, -MNES,BIGARQ, C XT LETT
THAT HOW JAZZ BORN/BASIN ST BL
UUSKRAT RAMBLE (2 SIDES)
ROYAL GARDEN/HIGH SOCIETY
IRv I NG AARONSON ORCH
GIVE ME UKElElE/evERYTHING PEACHES VI 20381 AUC NMACG
WAFFLEs/w I LD ABOUT ANIMAL VI 20094 N AUC
LONELY WITHOUT u/u BELIEVE IN VI 20095 N AUC
LETS Ml SBEHAVE/AND FURTMERMOREV I 2|260 N AUC
SCA NO A NA V I A N G|Rl/u SWEET VI 2 I 778 N AUC
EVENING STAR/(haMp) JAPAMSY VI 2|45| N AUC
LOVIE AUSTINS BLUES SERENADERS
MACG
MACG
MACG
MACG
MACG
ACC V.BAR T— BL V THE SINFUL FIVE
M
12351
N
T— A
LUBI
MILDRED BA 1 LEY
LOVER COME: 3ACK/S0 PEACEFUL
DE
3953
N
AUC
CAYU
ROCKIN CHAlR/sOkETIMES IM HAP
DE
3755
N
AUC
CAYU
HONEYSUCKLE R06E/W 1 LLOW TREE
OE
181O8
E+AUC
CAYU
BOY IN HARLEm/hOW CAN { NORVO )
BR
8089
N
AUC
CAYU
HONEYSUCKLE R06E/WILL0W TREE
PAE
2201
N
SAL
1 .00 WEIN
OE 7506 E SAL I . 1 5 ZEIG
VI20I756 N SAL 1.25 ZAWA
3B 10172 N SAL 1.50 SCHU
BB 1 0 1 3 I N SAL 1.50 SCHU
OUS 3 N SAL I .00 FORR
DEC
1 |4|N
SAL
1 .50
ZAWA
OEC
2355 N
SAL
1 .50
ZAWA
DEC
2722 N
SAL
1.50
ZAWA
OK
622l N
SAL
1 .00
SCHU
3757 E AUC
3347 E AUC
BLUE LU BARKER
OONT U MAKE ME HIGh/b & 0
CHARLIE BARNET
REOSK IN PUMBA/C^EROXEE
JJMP SESSION/SWING ST STR'IT
KNOCKIN FAMOUS DOOR/TI N R
JOHN BARRYMORE
TO BE OR NOT TO BE FAI
COUNT BASIE
HON*EY 6UCKLE ROSE/ROSELAND
BOOGIE WOOGIE/HOW LONG BL
HEY LAWOY MAMA/THE FIVES
DOWN DOWN DOWN/u BETCHA MY
NORA BATES
LOVIN SAM/OADDYS GOIN HUNT I N
LOVE NIGHTs/l COULD HAVE
SIDNEY BECHET
THE MOOCHE/BL IN A IR
V I PER MAD/(AL8ERT AMMONS)
BBY PLEASE COME HOME
INOIAN SUMMER/PEACHIN BL
SLIPPIN SLID in/a INT GONNA
TEXAS MOANER/RIP UP JOINT
SWING PARADE/SAVE IT MAMA
GEORGIA CABIN/lM COMIN VA
NEW COMPLETE FEETWARMERS SET
COMPLETE BRAND NEW SET OF |6
INDIAN SUMi.'Efi/pREACH IN BL
SAT NIGHT 3l/b£CHETS STEADY
3I<
BECA6UE MY BABv/jUST LIKE ( +"CR ) CO I 44l e/nT-A
GEORGIE PORGIE/hAVE NO IDEA CO |49|e/vT-A
COQUETTE/DOLLY DIMPLES
CAYU
MOUL
v 1 20 1 5 1 0
N
AUC
PIKE
DEC
3521
N
SAL
1 .50
ZAWA
HMV
9385
N
SAL
1 .10
WEIN
HMV
906 1
N
SAL
1.25
WEIN
HMV
9368
N
SAL
1 .10
WE 1 N
HMV
9474
N
SAL
1.25
WEIN
NEHMV
9378
SAL
1 .25
WEI N
HMV
9402
N
SAL
1 .10
WEIN
GRF
8664
N
SAL
1.25
WEIN
HMV
N
SAL
8 25
COHE
BB
10633
E
SAL
1.75
SCHU
BN
502
N
SAL
1.25
SCHU
WANG
WANG
VI 2i30ie/vt-a
25
COM I NUED
HOOSIER SWEETHEART
LOOK AT WORLD AND SMILE
BACK YARD/SUNSH I NE
IDOL I Zl NG/HUSHABYE
GOOSE pimples/trumbology
JAZZ BAND /SORRY
BIG BOY/jAZZ ME 8L
TIGER RAG/COPENHAGEN
ROYAL GARDEN BL/FIDGETY FEET
FLOCK 0 BL/lM GLAD
DAVENPOKT BL/WASHBOARD
RHYTHU K|N*g/feELIN NO PAIN
margie/louisiana
DEEP DOWN SOUTh/( VENUT I 1
DAVENPORT 3L/(HITCHES Hap)
GRAEME BELL
VI 2047ie/vT-a.
VI 20472V /ET-A
VI 2l240v/ET-A-
vi 20270v/et-a-
PAE 2465 N SAL
PAE 27 1 1 N SAL
BBE 2203 N SAL
BRE 2205 N SAL
BRE 2204 N SAL
BRE 2207 N SAL
BRE 2206 N SAL
PAE 2269 N SAL
PAE 2883 N SAL
VI 23018 E AUC -
DESW2206 N SAL I
— WANG
WANG
— WANG
— WANG
. 10 WEIN
. lO WEI N
.25 WE I N
.25 WE IN
.25 WE IN
.25 WEIN
.25 WEIN
.10 WEIN
.10 WEIN
ZEIG
.75 CHIN
FREE MANS BL (OL )
TEMPO AO
N
S-A
2.50
CO"E
JACKASS BL (OL)
TEMPO A8
N
S-A
2.50
COOE
SOUTH
ES 10007
N
S-A
2.50
COOE
COME BACK SWEET PAPA
ES lOOll
N
S-A
2.50
COOE
ALL THE SENSATIONAL RELEASES FROM FRANCE
ON THE ORIGINAL FR PACIFIC LABELS N AUC
BENSON ORCH
VI I 9 I 36 E AUC
FOOLISH CHILD/THAT OLD GANG
BUNNY BER I GAN
JAZZ ME BL/BE SOME CHANGES VI 26244v/ETSA —
FATHER DEAR FA THER/WARN I NG TO V| 2606|n/vSAL I
BEN BERN IE
ILL GET BY/GLAO RAG DOLL BR 4|68 N SAL —
BABY OH WHERE CAN U BE/MOONBr A BR 4438 N AUC —
MAKIN WHOOPEE/lM BR I NG I N RED BR 4|42 N AUC —
PLEASE LET ME DREAm/hERE WE ARE BR 4385 N AUC —
CHU RERR
BLOW IN UP BREEZE/MONDAY CMS 541 E+SAL
BIG BILL CHICAGO 5
GLIB
50 SCHU
PHIL
PHIL
PHIL
PHIL
OK 6T388 G AUC WARR
VR 525 E AUC 2.00 PARR
JB 502 G AUC
CO 356*78 N SAL
BRE 102 G AUC
tell me baby/feel so good
barney bigard
frolic sam/clouds in heart
BLUES WOMAN
v00 voo it/cry in bl
sharkey bonano
high society/im satisfied
BOSwELL SISTERS
I 2* SURRENDER DEAR /STARDUST
WILL BRADLEY
SLEEPY TIME GAL/wHO TRUN TO CO 36470 E T-A WANG
DOWN RD A PIECE/CELERY STALKS CO 35707 N SAL 1.25 SCHU
FANNY BR ICE
MY MAN VI 2||68 N AUC MACG
E . BURNETTS L. A . Bl LTOMORE ORCH
WEDDIN PAINTED DOLL/LOVEBO A T BR 4232 N AUC PHIL
SINGIN IN RAIN/ORIG BLOSSOM BR 4375 N AUC PHIL
PARADE OF BL/REACH FOR RA I NBOWBR 4634 N AUC PHIL
U WERE MEANT FOR ME/BW MEDLEY BR 423 1 N AUC RAIL
WHERE SHY VIOLETS GROw/SALLY TRI08R4I85N AUC PHIL
ERSKINE BUTTERF IELD
300G WOOG BARCAROLLE/FON
DON BYAS-TYREE GLENN
MAD MONK/BILLIES BOUNTE
RED CROSS/WALTZING AROUND
WORKING EYES/GLORIA
JD 8192 N SAL .55 SCHU
25 N SAL I ,
24 N SAL I ,
BLST
BLST
BLST 232 N SAL
BODY SOUL/BEGINriNG SEE LIGHT SW 235 N SAL I
PEANUT BUTTER Bl/mOHAWK SP
HOW HIGH MOON/DYNAMO
CALIFORNIA RAMBLERS
HOT LIPS/NOBODY LIED
SW 241 N SAL I
BLST 29 MSA L I
VO |4384 N AUC —
VO 14436 N AUC —
VO 14300 N AUC —
OK 6442
E
AUC
MARC
RO 1482
N
AUC
LEVI
PAE 2491
N
SAL
1 .25
WEIN
CO 37312
AUC
CIAR
VO 5315
N
SAL
1 .00
SCHU
fISTER KATE/LONESOME MAMA
MAMMY KNOWS/EDDIE LEONARD BL
CAB CALLOWAV
B' 1 . night/say who/say u
HAPPY FEET/(wHOOPEE MAKERS )
GHOST CHANCE/WILI OW WEEP FOR
HI OE HO MAN/NECESSITY
VUELVA/CHILI CON CONGA
UNA MAE CARLISLE
SAD BUT TRUE/BLI TZKRE IG BABY
WALKIN BY RIVER/j MEt U
CARTERS ORCH
OLD VA MOON/CALIF SUNSHINE
BENNY CARTES
OUT OF H'Y *Ay/*HATLL BE
DEVILS HOLIDAY/SYMPHONIC RIFFSCOE 698 N AUC 3
JUMP CALL/PATIENCE FORTITUDE DX 1008 N SAL I
HAVE 4 CUTOUTS ON COE SAL I
ILKA CHASE
FAMOUS
10 WEIN
10 WEIN
10 WEI N
10 WEIN
10 WEI N
10 WEIN
DYMI
DYM I
DYM I
BB I I |20 N AUC
BB I 1033 E+AUC
4664 N AUC
226 N SAL
MARC
MARC
,00 WEIN
00 PARR
,00 SCHU
75 COOE
THE PICNIC
MAUR ICE CHEVALIER
U BROUGHT NEw/LIVIN IN SUN
E.C.COBB CORN EATERS
BARREL HOUSE ST/TRANS STOMP
GEORGE II. TO.HV:
L I FES FUNNY PROPOSITION
IM MIGHTY GLAD IM LIVU.N
KING COLE TRIO
ALBUM t 2
N SAL 1 .00 FORR
HMV 35i7e/vauc
vi 38023 N T-A
VI 60042 N AUC
VI 60044 N AUC
- WARR
LUBI
DYM I
DYM I
CP BD20 N-SAL 1.75 MOUL
RUSS COL UMBO
PAE 952 N SAL 1.25 WEIN
VI 20777 N AUC
27634, 27635, 27636, 27637
EDDIE CONDON QUATET
I ND I ANA/OH BABY
ZEZ CONFREY
KITTEN ON KEYS
PRES COOLIOGE/COL LINDBERGH
COOLIOGE WELCOME/COL. REPLY ( 3 ) V I 35836 E SAL
SAM COSLOw
KING FOR A DAY VI 2 1 63 1 N SAL
NOEL COWARD
N SAL .75 COTT
DONT BE BEASTLY TO GERMANS/
THE WELCOME LAND CAN VI (o.P.)e AUC
Bl NG CROSBY
U BEAUTIFUL TON I Te/( LOMBA R00 ) BR 6477 G+S-A 4.00
blue-black label-ask for list de sal
black moonlight/st dreams
shine/some these days
thanks/temptat I ON
SWEET GA BROWN/AFTER SUN
MANY ON FOREIGN LABELS
GIVE ME HEART/' I'M.' IN S I NG 1 1"
LET ME WHISPER/SWING LOW
COE 2085 N SAL- I .50
COE 1845 N SAL 1.50
COE 2056 N SAL 1.50
COE 1 88 1 N SAL I .50
SEND FOR LIST
MF I? Iff E+TRA
OE I 81 9 E TRA
JUST GIGOLO/RAP TROUBLES IN DRVI 22701 N SAL 3.00
DE E-NSAL
DE 2237 N SAL I .50
DE 2678 N SAL I .50
DE 2001 N SAL I .50
DE 870 N SAL 2.00
DE I I 75 N SAL I .75
DE I 5 1 8 E SAL I .50
DE 886 N SAL 2.00
DE 3540 N SAL I .25
DE 3541 N SAL I .25
vi 20679 N AUC
VI 20882 N AUC
BLUE DE. SEND FOR LIST
BLOOM ON SAGE/LONELY tRA I L
REST END TRAIl/gOLD MINE IN
MEXACALI ROSE/SILVER SAGE
EMPTY SADDLES/ROUNDUP LULL
SWEET LELANl/i>L HAWAII
WHEN U DREAM HAWA I I
HAWAIIAN PARADISE/SOUTH SEA
SWING LOW SWEET/DARLING
ONE ROSE/LONESOME RO
MAGNOLIA
THE CALINDA
WINGIN HOME/WITH SOMEBODY ELSEVI 2 1 365 N AUC
LONELY EYES/WISTFUL AND BL VI 204 1 8 N AUC
GRI EV I NG
AFRAI D OF U/llY PET
WONT BE LONG NOW
NIGHTINGALE SANG DE
MAN AND DREAM/GO FLY KITE DE
STARDUST/uE P PURPLE DE
SURRENDER DEAr/|T MUST BE DE
HAWAIIAN CHIMEs/LITTLE OE
DANCING UNDER STARS/PAL ACE IN DE
SONG I SLANCXS/ALOWA DE
U ARE MY SUNSHI NE/RI D IN DOWN DE
SANTA FE TRAIL/LONE STAR TR DE
SIERRA SUE/MARCH I TA DE
VI 2 1 678 N AUC
VI 2 1 339 N AUC
VI 20883 N AUC
DE 3584 N SAL I .25
DE 2641 N SAL 11.50
DE 2374 N SAL I .50
DE 2535 N SAL I .50
DE I 845 N SAL I .75
|6|6 N SAL I .75
880 N sal 2.00
3952v/nsal 1.25
4201 n sal I .25
3|33 N SAL I .25
MOMENT LIFETIME/NO TE IMPORTE DE 3965 N SAL 1.00
dolores/camptown races
blserenade/sposin
PENNIES FR HEt. VEN (|2") 1-2
DE 3644 E SAL I .00
DE 3543 N SAL .1 .25
DE 15027 N SAL 2.00
BINS CROSBY TEST PRESSINGS
ROUNDUP LULLABYE
AMONG MY SOUVENI RS
DOES HEART BEAT FOR ME
SOUTH SEA ISLAND
FALLING IN LOVE
SILVER ON SAGE
BLUE HAW'i I I
BOB CROSBY
DLA 1636N SAL I .75
WL4276TI AN SAL I .75
WL4278TIAN 'SAL 1.75
DLA 522 N SAL I .75
DLA 1625 N SAL I .75
DLA I 3 1 4 N SAL I .75
DLA 723 N SAL 1 .75
SUNSET AT SEA/SIG NOISE W I NNETKA0E35I I E BUC
DE 3248E/GTSA
DE E/NSAL
de 3834v/esal
DE 2 1 08 E T-A
ALL BY SELF/SPA IN
BLUE DE-SEND FOR LIST
YANCEY SPECIAl/iDOT R I CE )
BIG FT JUMP/5 PT BL
VERNON DALHART
WRECK 97/pn I S0NERS SI NG VI 19427 E AUC
DEATH FLOYD COLL I NS/iHENA ND0AHV I 19779 E AUC
MANY MORE OF SAME TYPE LET ME HEAR FROM YOU
PUTNEY DANDR IDGE
HERE COMES PAPPl/l^ *E NEVER VO 3291 N SAL 1.40
JOE DANIELS
DRUMMER GOES T0Wn/( BEN POLL A CK )dEC3686 N SAL 2.00
DRUMMER MAN D I X I e/( WEEMS ) DEC 3687 N SAL 2.00
DELTA FOUR (ELDR IBGE )
SW INGIN FAOUS DOOR /FAREWELL
AL DEXTER
PISTOL PACK IN MAMa/rOSAL I TA
DIXIE DA ISEYS
GIVE ME WHAT I WANT/SLOW U CA 7501 n/eaUC-
D IX IE RHYTHM KIN3S (SIMEON)
7 1 I 5 N T-A -
COOE
COOE
CHI N
CH IN
CH IN
CHIN
CH IN
POUL
POUL
LEVI
GOTT
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
MACG
MACG
MACG
MACG
MACG
MACG
MACG
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
SCHU
MOUL
GL I 3
GOTT
ZEIG
HEWE
■ MCRE
r^MCRE
MCRE
ZAWA
ZA'.VA
737 E SAL 2.00 SCHU
6708g/vsal .75 SCHU
THE CHANtTcONGO LOVE SONG
EASY RIDER/STORY BOOK BALI.
JOHNNY DODDS
AFTER U GONE/STOMP STOMP
STACK 0 LEE/MELANCHOLY
WILD MAN/29TH DEARBORN
SHAKE YOUR CAN/BL GALORE
MY BABY/ORIENTAL MAN
BABY POODS
WOLVERINE Bl/|MPR0V # I
3R 7 1 27 N T-/
BR 80074 N SAL I .15
DE 1676 E SAL I .90
DE 2 I I I E+SAL I .90
DE 74I3N/ESAL 1.90
BRS 5 N SAL 1.05
LUBI
LUBI
ZEIG
ZEIG
ZEIG
ZEIG
BOLL
lOOl N SAL .90 M1UL
26
J iMMY DORSEY
WHAT MAKES SAMMY /MURDER I ST
CHARLESTON ALl-Ey/sP . 1 1 TS GOT
aurora/sar BABBLE
DOlOM I TE/hEP TEE HOOT I E
I LET SONG/l r U WERE
1 GOT RHYTHM/FLIGHT OF BB
OORSEY DERVISh/seRENADE
DUSK UPPER SANDUSKY /OARKTOWN
DIXIELAND DETOUR/BODY SOUL
TOMMY DORSEY
ALBUM P 80
SERENADE TO SPOT,/aNOTHER ONE
27876, 27887, 26666, 20|7|0
25275, 25326, 25657, 27782
MAP..E LEAF RAG/jAMBOREE
sleep/wake UP
so what/quiet please
have 40-some Sinatra, ziggy
then ill be happy/song is u
send for list-gold label
cocktails for 2/0l0 black
OPUS l/l OREAM OF U
0 I PSY dooole/who
DARK EYES/BLUE DANUBE
nola/satan TAKES H0LI0AY
well/get it/somewhere VOICE
OSLO DRAG5PEL0RKESTER
TIGER RAG/BYE BYE BL
DUKE OF WINDSOR
ABOI CAT I ON SPEECH
SONNY DUNHAM
DC
4536
e+auc
MOUL
DE
4075
N
AUG
MOUL
3772
E
SAL
• 60
MOUL
D E
3312
E
SAL
.60
MOUL
OE
1909
E
SAL
.65
MOUL
DE
1508
E
AUC
MOUL
DE
1334
E
AUC
MOUL
OE
1939
E
AUC
MOUL
DE
2735
E
SAL
.90
MOUL
VI
P-80
E
SAw
1.75
MOUL
VI
27374
SAL
1.00
MOUL
V 1
E
SAL
.60
MOUL
V 1
E
SAL
.55
MOUL
VI
25496
E
SAL
1 .00
MOUL
VI
25573
E
XJC
MOUL
86
10810
N
SAL
1 .25
ZAWA
V 1
SAL
COOE
-' 1
20l 938n
AUC
CIAR
VI
:/nsal
GOTT
VI 26|45 ESAL 1.00 SCHU
VI 20 1 608 E SAL I.OOSCHU
VI 25693V/GSAL .75 SCHU
vi 25556 V SAL .75 schu
VI 25570V/GSAL 1.00 SCHU
VI 27887G/VSAL .75 SCHU
SOSW 805 1 N SA_ 1.75 PHOS
KUGEL
N SAL 2.00 FORR
I I I 48 N SAL .65 ZEIG
1 03 G AUC
BAR BABBLE/THROWING PEBBLES BB
MONTE EASTER
AINTCHS GLAD/EMPTY BEO BLSTE9LING
CLIFF EDWARDS
SOPHOMORE PROM/REACH I NG FOR S.O.CO I980N AUC —
HANG ON TO ME/jUST U JUST ME CO 1 7 1 7 N AUC —
HAPPY LITTLE THING/sONG TO CO 2235 N AUC —
ME AND MAN MOOn/gOOD LITTLE CO I 705 N AUC —
HAVE MANY ON PATHE ( PLAY ON ANY PHONOGRAPH ) AUC—
DUKE ELLINGTON
RING DEM BELLS/3 L I TTLE WORDS VI 25076 E AUC —
JACK THE BEAR/MORNING GLORY VI 26536 N AUC
DOUBLE CHECK STOMP/OLD MAN BL BB 6450 N AUC —
MISTY MORN I NG /6ARAT0GA SWING BB 6565n/eaUC —
ITS glory/saratoga SWING B8 i0245n/eauc —
SUNNY SIDE STREET (2 SIDES JAM SESSION)
(AIHSHOT HODGES, BROWN WUCA 12/23/48) SAL I.
transblucency/cotton TAIL (WEBSTER) ( " )SAL I.
BIG HOUSE BL/R MACKENZIE PA E 1044 N T-A —
BLACK AND BL/jUNGLE JAM BRE 2701 N T-A —
ITS GLORY /SARATOGA SWING BB 10245 N SAL .
I MUST HAVE THAT MAn/baNOANNA VI 38007 V+AUC —
3REAHFAST 0 A NCE/FLAM I NG YOUTH BB 10243 E AUC —
SEGER ELLIS
WHATS THE USE/lr I COULD BE
ZIGGY ELMAN
ZAGGIN WITH ZIG/YOURE MINE
SLEEPY JOHN E3TES
MARRIED WOMAN/DEEP DOWN MA.JlA
RUTH ETT I NG
SWANE E SHORE/ONC
OK 4|452 N AJC
V IC I 03 I 6 N SAL 1.25 ZAWA
BRE 3562 N I. 10 SAL WE IN
AGA I N
JIM EUROPES HELL FIG
MEAN TROMBONE/MEMPHIS BL
CO i7075f/pauc
PA T2208JN TRA
ARTHUR FIELOS (BLUES SINGER)
STEP PEPPER STEPPER/SPONGY BABYOK 5727 E+AUC
OWIGHT F I SKE ( I 2* )
CLARISSA THE.FLEA/lDA THE WAY Fl 3|00 N AUC
ADAM EVE/ANTHONY AND CLEO Fl 36 103 N AUC
ELLA F ITZGERLAO ORCH
SUGAR BL/lMAG INA Tl ON
DYMI
DYM I
3078 E TSA
3968 N AUC
GL I 3
MARC
I GOT IT 8Ad/mALINDA THE MOUSEDE
CHUCK FOSTER
ROLL I T OVER/WHO TOOK ME HOME MER 3007 E AUC CAYU
BLIND BOY FULLER
TRUCK I N MY BL AWAy/bOOTS AND SH0EME70763e/nAUC MARC
BABY PUT LOWOOWN/u GOT
if u pigmeat/why DONT BABY
LOWELL FULSON
MEAN WOMAN BL/FULSOMS BOOGIE SB I I 3 F SAL .50 WARR
GEORGIA SYNCOPATORS (ELLINGTON)
IM SO IN LOVE/LOVELESS LOVE
TOM QERUN ORCH
EVERY NOW THEN/lM IN LOVE BR
NEW STEP/WEB OF LOVE BR
IF I COULD BE WITH u/b I G BOUQUBR
AM I BL/LET ME HAVE DREAMS BR
GOOD OLD SOUTh/oW OF DREAMS BR
GENE G I FFORO ORCH
squareface/king porter(bg )
DIZZY GILLESPIE
hot house/salt peanuts
groovin high/bl and boog
JEAN GOLDKETTE
ME 12444 N AJC
4520
N
AUC
PHIL
45 19
N
AUC
PHIL
4895
N
AUC
— — PHIL
4429
N
AUC
— PHIL
4277
N
AUC
PHIL
HMV 8374 N SAL 1.25 WE IN
1003
1001
TSA
TSA
GLIB
GLIB
LONESOME SORRY/GIMME
VI 20031 E AUC
BR 3975 V TSA
VI 22074 V TRA
VI 2 1437 E TRA
VI 20425 E TRA
vi 2i94ie/ntra
HMV 8872 N SAL 2.50
HMV 8957 N SAL 2.50
vi 25796 N sal .90
benny goodman
blue/shirt tail st
bashful baby
singapore sorrows/sweet sue
hes last word
louise/ma cher ie
bl your flat/my flat
sugar/opus 3/4
sing sing sing
my sister and i /not complaininco 36022 n sal 1.50
poor butterfly/grand slam co 36722 e sal 1.00
SUNNY 3S I OE St/aLL I NEED IS U CO 366 1 7 N SAL 1.00
SOMEBODY NOBODY/LETS OK 6562E/NSAL I .00
yours/take IT CO 36037 V AUC — —
ALEX RAGTIME BANd/RIFFIN RITZ VI 25445'N AUC i
D INAH 7MO0NGL0W (QUAR) VI 25398 N AUC
AFTER AWHILE/MUSKRAT RAMBLE BR 80028 N AUC — —
BL MY FLAT
BUGLE CALL RAG/hDUSE HOP
SWINGTIME ROCKI Es/FOUNF
GOOFUS FIVE
CERTAIN/THEN ILL BE HAPPY
JIMMY GORDON ( BL SINGER
HMV 8872 N SAL I .00
GRF 8300 N SAL I .00
VI 25355 N SAL 1.00
GL I 8
WANG
WANG
WANG
WANG
PARR
PARR
ZEIG
SCHU
SCHU
SCHU
SCHU
CAYU
CAYU
CAYU
CAYU
WEIN
WE IN
WEI N
PAE 5578 N SAL 1.00 WEIN
ACTION SPEAKS L 1UDER /DADDY
GLEN GRAY CASA LOMA
MANIACS BALL/BLACK JAZZ
LIONEL HAMPTON
DE 7839 N AUC
8R
6242 V SAL I .00 WE IN
BRE 3341 E SAL I .00
GRF 8375 N SAL I .00
OE 18754 E SAL .80
vi 25592 E sal .80
SAL I .25
sal 1.25
HMV 18 N SAL 2.50
HMV 9475 N T-A
v i 25535 N sal I .50
vi 26595 E sal I .50
VI 26652 N SAL 1.50
VI 25666 N SAL 1.50
VI 25586 N SAL 1.50
BR
431 6
N
AUC
PH 1 L
BR
4273
N
AUC
PHIL
BR
4246
N
AUC
PHIL
DE r
3881
N
SAL
1.50
ZAWA
PAE
2007
N
SAL
1 .10
WE IN
HMV
9087
N
SAL
1 .10
WE 1 N
SW
1
N
SAL
1 .10
WE IN
OK
6 284
N
SAL
I.i5
ZEIG
BB
10693
N
SAL
1 .40
ZEIG
SOUTHERN ECHOS/MY WISH
PIANO STOMP/DRUM STOMP
HEY BOB A REBOP/SL I DE
SUNNY SIDE S'/l KNOW THAT
NEW LOOK (2 SIDES)AIRSHOT l2/l5/48
GLADYS IDEA (2 SIDES) (*)
HOT MAL,LETS/SHUFFL I N AT
MEMORIES OF u/ JUMP I N JIVE
JIVIN VIBES/STOMP
FLYING HOME/SAVE IT MAMA
JACK THE BELLBOY/CENTRAL AVE
I SURRENDER DEAR/PIANO ST
CHINA STOMP/RHYTHM
BOB HARING
BYE BYE SWEETHEARt/BSTRO LOV
SOME SWEET OAy/wEARY RIVER
WEDDING BELLS BREAKING UP
COLEMAN HAWKINS
HONEYSUCKLE ROSE/NETCHAS
LADY BE GOOd/lULLABYE
BOUNCING WITH BEAN/DAY IS
BOUNCIN BEAN/DAY IS DONE
ERSKINE HAWKINS
CHERRY/COUMTRY BOY
HEADQUARTERS FOR IMPORTED SETS
CLAUDE LUTER— S I DNEY BECHE T-ME Z ZROW-LA ON I ER
GRAEME 8ELL-WUQGSY SPAN I ER RAGT I MERS-JELLY ROLL
GUARANTEED BRAND NEW UNPLAYED RECORDS. THE BEST
HORACE HE IDT
GOLOEN GATE/WONDERFUL WEDD I N
LITTLE SIR ECHO/STOP CLOCK
FLETCHER HENDERSON
VARIETY STOMP/ 6T LOUIS SHUF
DO 'DOODLE OOM/DICTY BL
NEW KIND MAN/MEANEST KIND
MONEY Bl/|LL TAKE HER BACK
TNT/CnUOLf I9A ST ( RM CH )
JAC.<ASS BL/STAMPEOE
ST LOUIS SHUFF/VARIETY ST
CLAR MARM/HOT MUSTARD
WOODY HERMAN
HAVE 9 FOR SALE
36789, 36861, 36949, 36968
FAN IT/bL0WI|\1 UP STORM
36785, 36803, 368 1 5, 36835
U NEVER KNOW/LA ZY RHAPSOOY
MILT HERTH TRIO
SHOOT THE L I KKER/EGYPT I AN EL
EDDIE HEYWOOD
WEIN
WE I N
WEIN
WE I N
■El N
WEIN
PARR
A IRE
SCHU
SCHU
sc:ju
SCHU
SCHU
BB3008I9 E SAL
SA-'E YOUR SODROw/TAINT ME
RICHARD H I I/8ER
LAST GOODBYE/LUCKY DEVIL
NIGHT ONOESERT/ROLLIN HOME
WHAT CAN U SAY/U ARE BUILDER
LETS TAKE WALK/FUN TO FOOLED
EARL HINES
JELLY JELLY/FALL IN FOR U
STRMY M0NDAV/2ND BALCONY
MAPLE LEAF RAG/SW GA BROWN
BILLIE HOLIDAY
CARELES LOVE/ST LOUIS BL
BOB HOWARD
ANY RAGS/KENTUCKY SURE AS
JACK HYLTON
MY SUNSHINE/GOOONITE SWEET I 2"
Bl TTER SWEET 1-2 I 2"
VI
21310
N
AUC
MACG
BR
8309
E
AUC
MARC
BB
10246
N
S-A
1.50
LEVI
VO
14654
E
AUC
DYM 1
VO
14880
E
AUC
DYMI
CO
383
N
AUC
DYMI
CO
509
E
AUC
DYM 1
CO
654
E
AUC
DYMI
BB
10246
N
SAL
2.00
SCHU
BR
3406V/EAUC
HANR
DE
SAL
■COOE
CO
N
SAL
.60
MOUL
CO
37059
N
SAL
.65
MOUL
CO
E
SAL
.55
MOUL
DE
381 3
N
SAL
1 .00
SCHU
«DE
1368
E
AUC
PI KE
CMS
554
E
SAL
.65
ZE 1 G
VI
26257
E
AUC
MARC
VI
24662
E
AUC
COCH
VI
24679
V
AUC
COCH
VI
24680
N
AUC
COCH
8B
1 1065
E
SAL
1 .00
WEIN
BB
11567
E
SAL
1.00
WE 1 N
BRE
1995
E
SAL
1.25
WEIN
OK
6064
N
SAL
1 .40
ZEIG
DE
N
AUC
PIKE
DEE
622
E
AUC
WARR
HMV
1727
N
AUC
WARR
HYLTON CQHT I MUED
I KISSED HAND/WHEN ELSER BL |2*HUV|6|6E AUC
JUST GIGOLO/YOURE HEART ALONE VI 36031 N AUC
SOLI TUDE/ROSE ROOM YIE25555 N AUC
ILLINOIS JACQUET
JUMP IN JACQUET /BL MOOO SA 593 N SAL
HARRY JAMES
TUXEDO JUNCTION/PALM PARADISE VS 8l94 N- SAL
HOW HIGH MOON/ON A LIMB VS 822l N SAL
HEADIN HALLEL JAh/aLICE BLUE VS 820l N SAL
THE MOLE/NOT FOR ME (F0RRE6T) CO 36599 E+AUC
SINNER KISSED ANGEL/U MADE ME CO 36296E/EAUC
— WARR
WARR
MARC
.75 SCHU
ONE DOZ ROSES/TOO GOOD
FREDDY JOHNSON
HARLEM BOUND/SWEET MADNESS
TIGER RAG/1 GOT RHYTHM
CURT IS JONES
U GOT BUS INESS/LONESOME 8E0
LOUIS JORDAN
FLATFACE/DUG JITTERBUG
CO 36566 E AUC
DEE 38|0 N SAL
DEE 5110 N 8AL
VO 3756V/FAUC
DE 7590 V SAL
I . 10 WEIN
I .10 WEIN
JUNGLE BAND
12 ST RAG/ROCK IN RHYTHM
ROGER WOLFE KAHN
HOURS SPENT WITH u/oLO GUI VI 21078 E SAL
AMONG SOUVENIRS/wHATLL U D0( HAMP )v I 2 1 084V AUC
IRVING KAUFMAN
PITTS PA/GALLAGHER SHEAN
GRETA KELLER
MOODS/ 3 RECORD ALBUM
STAN KENTON
6038 N SAL
222
ASCH I 0 I N STA
OE 25304N AUC
DEC 10379 N SAL
0ECI0378 N SAL
REED RAPTURE/CONCERTO FOR
REED RAPTURE/EL CH I CO
LAMENTO G I TANO/CONCERTO FOR
KENTUCKY COLONELS
LEARN TO DO 6 TRUT/6TEPP I N VO |47|4 N AUC
MAMA LOVES PAPA/sONG FOR SALE VO 14697 N AUC
ANDY KIRK
MCGHEE SPECIAL/HEY LAWDY DE 4405 E AUC
■HEN I' 6A* U/LITTLE MISS DE 349l N SAL
BENNIE KRUEQER
STEPPIN OUT/HONEY BA8E( LYMAN ) BR 2563E/VAUC
QENE KRUPA
BL RHYTHM FANTASY 1-2
WIRE BRU6H STOMP/sUGAR FT
COPPIN A PLEA/vlOLETS
PERFIDI A/NEVER TOOK LESSON
LADY 1*1 LOVE/SOME LIKE IT
FRANK IE LAINE
AINT THAT JUST LIKE/SEPT
THATS MY DESIRE/RIVER ST MAR
LEROYS BUDDY
CHATEAU BL/NE» TOO MUCH TR
MEADE LUX LEWIS
YANCEY SPEC/CELESTE BL
TED LEWIS
JUST GIGOLO/BETTER TIMES
ROYAL GARDEN BL/WABASH BL
ONE MORE TIME/HO HUM
NISSE LINDS HOT TRIO
TIGER RA G/HOT ACCORD I AN
LITTLE RAMBLERS
cotton/truck I n (inoia)
CRIPPLE CLARENCE LOFTON
the fives/south end BOOQ
ELLA LOGAN
.75 SCHU
MOUL
' WARR
— ■ ARR
2.00 ZAWA
2.00 ZAWA
DYMI
DYM I
PAE
2765 N SAL
1.00
•EIN
N SAL
1 .10
WEIN
OK
6498 N AUC
MOUL
OK
57|5 E SAL
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BARGAIN BASEMENT LIST
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MUSICA I 92 I
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THESE CATALOGS FOR TRADF
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W.THOMAS, UNA MAE CARL I SLE/FRANK SIGNORELLI,
ERSKINE BUTTERF I ELD, GENE ROGERS, DERI CK
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CO, VI OK, EARLY IN LOTS
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CHIPPIE HILL-LOWLAND BL N
OK
8273
BWEN
LONESOME ALL ALONE BL
rJOK
8339
DWEN
PRATT CITY BL N
OK
8420
DWEN
LOVESI CK BL N
OK
8453
DWEN
MAGGIE JONES— GOOD TIME FLAT BL N
CO
14055
DWEN
BESSIE SMI TH— CARELESS LOVE N
CO
14083
DWEN
NASHVILLE WOMAN N
CO
14090
DWEN
HOCIEL THOMAS-OEEP WATER N
OK
8297
DWEN
CLARA SM 1 TH— COURTHOUSE BL N
CO
14073
OWEN
LOU IS ACC CONT INUED
CLARA SMITH -SHIPWRECKED BL N
SIPPIE WALLACE'MAIL TRAIN BL N
SPECIAL DEL I V BL
NOLAN WELSH— OR I DWELL BL N
MILDRED BAILEY
CROWN 103,4,5,6 E
SIDNEY BECHET
CO 14077
OK 8345
OK 8328
OK 8372
DWEN
DWEN
DWEN
DWEN
MANY SEND LIST PRICE COND
BLUES SINGERS
ALICE MOORE-BLACK EVIL N DE
LIL JOHNSON— RAMBLI N MAN N VO
VICTORIA SP IVEY-MOANI N BL N BB
DETROIT MOAN N VO
GOOD CABBAGE N VO
SIP°IE WALLACE-BEDROOM BL N OK
MORNING DOVE BL N OK
MARGARET JOHNSON — PAPA MAMA ALL ALONEOK
BROWNLEE ORCH N.O.
peculiar/dirty RAG V OK
ROY BUTLET
IN BAGGAGE COACH V MAD
CANNON JUG STOMPERS
ALL N-t VI
MILTON CHARLES! ORGAN)
ANY N-UINT CO
TOM DICKSON
happy blues/death bell N OK
DODDS
WEARY Bl/n/o. STOMP V
OH DADDY
BUCKTOWN ST/BL WASHBOARD E
MEMPHIS SHAKE E
MANY OTHERS VI, BR , CO V
EDDIE DUNSTEDTER (ORGAN)
ANY N-MINT
DUKE ELLINGTON
SCROUNCH/IF u werein
let song/gal from joe
pyramid/when my sugar
WATERMEL 'N MAn/lOVE IN
CARL FENTON ORCH
SWEET SUE
AFTER LAUGH CAME TEARS
KttM .non'.'V.
MAKE BELIEVE
ALWAYS ALWAYS E
TIPITIPITIN E
JOHNNY GUARNAR I
MA J 1032, 35, 1226 E
GLENN HARDMAN HAMU.OND FIVE
EXACTLY L I KE u/wHO E
TOGER RAG/PUT ON OLD E
UPRIGHT ORGAN BL/jAZZ ME BL E
CHINA BOY/SUNNY SIDE ST E
COLEMAN HAWK INS
HEARTBEAT BL E
WONT BE LONG NOW E
HALFWAY HOUSE ORCH
PUSSY CAT RAG/BARATARIA G
MAPLE LEAF RAt/lET ME V
MONK HAZELS ORCH
SIZZLIN BL/HIGH SOCIETY V
ideas/get WITH IT V
HORACE HE IDT ORCH
7028
3331
8619
3405
3639
8439
8205
8 1 85
OWEN
DWEN
DWEN
DWEN
DWEN
% I 0 DWEN
S 10 DWEN
DWEN
— FERT
I . 25 OU I N
2.50 HEWE
HOFF
VO
15632
GOLD
VPM
12471
GOLD
BB
8549
GOLD
VI
20415
GOLD
GOLD
N
BR
8093
— — A 1 RE
N
BR
8108
— — A 1 RE
N
BR
8|68
AIRE
N
BR
8200
- AIRE
FERT
FERT
E
VI
25089
HAM 1
VI
25808
HAMI
VI
25814
HAMI
VO 497 1
CO 35221
CO 35263
CO 35341
OK 4|566
VO 14682
OK 40318
CO 476
BR 4|8|
BR 4| 82
POUL
POUL
POUL
POUL
HAMI
HAMI
FERT
FERT
FERT
FERT
ANY BUT 20608-21 3 1 0-2 1 957-22222
BERTHA CHIPPIE HILL
ANY PLEASE SEND PRICE V
JACK IE BOY
AU-
LA BELS VS ROY ETC
BLIND LEMON JEFFERSON
RICHARD M. JONES JAZZ WIZARDS
TROUBLE I N Ml ND/ V
ANY WITH BAND STATE PRICES V
MUSHMOUTH Bl/k|N TO CANT E
BABY TO ME E
DUSTY BOTTOM BL/SAGAMORE GREEN V
CHARLES KALEY ORCH
MILLION TO I /THE DEWDEWDEW DEWEY E
JACK KAUFMAN
LOVE THAT GIRL/THATS WEAKBESS V
HAL KEMP
8349
8390
8431
HOW ILL Ml SS U
GENE KRUPA
SWING IS HERE E
MUTINY IN PARLOR E
HOPE GABRIEL LIKE MUSIC E
LAMPLfGHTER ALL STARS
LL 1 04^ I 10
GEORGE LEWIS N.O. STOMPERS
DONT GO WAY/CARELESS LOVE N
WING IE MA NONE ORCH
JUST ONE GIRL/SHES CRY IN
ROYAL GARDEN BL/ZERO V
CO 1055
RO 3198
OK 4|337
hmv 8432
yf 25263
VI 25276
OK 4|569
OK 41570
LUBI
LUBI
GOLD
GOLD
GOLD
I .50 QUIN
I .00 QUIN
COCH
2.00 HAMI
I .50 HAM I
I .50 HAMI
FERT
FERT
BABY ROSE MARIE
ANY E
UNCLE DAVE MA SON
CUMBERLAND MT DEER RACE V
MCK I NNEYS COTTON PICKERS
MOST ON V I N
MEMPHIS JUG BAND
MANY OK, VI N-E
GLENN M ILLER
LITTLE SPANISH TOWN V
JELLY ROLL MORTON
MANY SEND LIST AND PRICE AND COND
SOMEDAY SWEETHEA RT/OR I G BL E
W1LDMAN BL/JUNGLE BL E
GRANDPA SPELLS/CANNON BALL E
BEBLE ST PERILS E
BENNY MOTEN K.C. ORCH
GOOFY DUST— OTHERS V
NO LATER VI 20900 STATE PRICE
RAY NOBLE ( NEW MAYFAIR)
ROLL ALONG COVERED WAGON/JOYCE E
ST LOUIS BL/wAY DOWN YONDER E
WHY STARS COME OUT E
DINAH/BUGLE CALL RAG E
casanova(selections) E
MOTHER PEARLS (SELECTIONS) E
KERNS MELODIES 1-2 E
CAT AND F'lDDLE SELECTIONS 1-2 E
CAVALCADE MARTIAL SONGS E
SAME S WE USED TO BE E
PUZZLE RECORD 1-2 E
LADY SPAIN/VALLEY OR JONES E
TRY LITTLE TENDERNESS E
LESS THAN DUSt/TEMPLE BELLS E
SONG WITHOUT WORDs/MY SONG E
SPANISH EYES/THATS WHAT LIFE IS E
WHAT NOw/GIVE ME HEART E
FLOWERS FOR MADAm/cLOUDS E
K I NG PL IVER
tears/buddys habits V
WHERE DID YOU/DI PPERMOUTH V-G,
vo |0|4, 1049, 1 01 4 E
REV. D.C.RICE CONGREGATION
ANY E
ON THE BATTLEFIELD E4-
RUSSIAN BALALAIKA
POPULAR NEAPOLITAN MEl/LOVE MONEY
BRAVO E
SIX JUMPING JACKS
RAH RAH RAH/CLICK E
MANY CH AND GE
BESSIE TUCKER
ALL ABOUT 38018
VARSITY 7
SCRATCH MY BACK E
EASY RIDER E
WASHBOARD RHYTHM KINGS
ST LOUIS BL E
OL MAN BL/DOG CAT E ,
LAZY BONES/M I SS I SSIPPI E
OL .MAN BL/DOG CAT E
DONT MEAN TH I NG/SENT I MENTAL GENT
SCAT SONG/SOMEONE STOLE E
OH U SWEET THING E
ANGEL I NE E
WA DE DA E
OLD YAZOO E
SPIDER CRAWL E
LEARN CROON/l COVER E
LAZY BONES/ MISSISSIPPI E
ETHEL WATERS
LONG LEAN LANKY M AM A V
TEDDY WILSON
this yrs kisses/aint got e
suns howers/yours mine e
never be same/found new baby e
last impressions of/dp ams come
evrybody l^ughi ng/here it e
APRIL \n heart/never FAIL U E
SAY IT WITH KISS/THEY SAY E
J IMMY YANCEY
35th dearborn e
send card stating price wanted
any record i ng group
ballin the jack
1930-34 songs write for list
CATALOGS
GE 1920-21
OK 1926-33
BR 1926-36
VI 26-32-33-35
CO 1932 GENERAL
CO 1933 GENERAL
HMV PRE WAR
1 .50
MAYE
VI
274 —
ANDE
A 1 RE
2.00
HEWE
CO
COCH
—
VI
20405
GLI B
GOLD
BB
1 0256
GOLD
V 1
20431
GOLD
VI
0948
GOLD
OK
LUBI
VI
LUBI
VI
25003
WARR
VI
25082
• ARR
VI
25105
WARR
VI
25223
WARR
VI
36080
VI
36i02
WAR R
VI
36163
WARR
v I
36063
WARR
VIC 120982
WARR
22688
WARR
01
VI
22745
WARR
WARR
VI
24263
WARR
VI
24396
WARR
VI
24555
VI
24599
WARR
VI
2471 1
WARR
VI
24865
WARR
OK
40000
GOLD
OK
4918
GOLD
GOLD
VO
»2 <-
MCKU
VO
1262
i 5 MCKU
ECO
4342
1.00
QUI N
CO
4613
i.50
QUIN
BR
1 .25
QUIN
1
GOLD
VI
2.50
HEWE
VR
8135
1 .50
HAMI
VR
8147
1 .50
HAMI
ME
COOK
ME
COOK
OR
COOK
DO
EVO
COOK
COOK
VO
COOK
COOK
VO
VO
COOK
VO
COOK
VO
COOK
VO
COOK
ME
COOK
ME
COOK
CO
14458
FERT
BR
7824
POUL
BR
7917
POUL
BR
7926
POUL
BR
8053
POUL
BR
8259
POUL
BR
8265
POUL
BR
8270
POUL
VI
27238
WASH
WASH
GLI B
$5 HOFF
t 3. HOFF
t 3 HOFF
J 3 HOFF
t 3 HOFF
t 5 HOFF
HOFF
29
CATALOGS
OK 1926,27,28
PIPE ORGAN RECORDS
ANY LABEL, AST I ST 1926-37 N
WANTED
JAZZ DISCS WANTED IN QUANTITY SEND LISTS PRICES-
SHIMMY LIKE UYS I STER KATE
ORIS INDIANA FIVE V
SOFUS FIVE V
EARL HINES V
ANNA JONES V
CLARENCE MS V
■HOOP EE MAKERS V
LEE S I US V
BOYD SENTER V
12 5T RAG
MANY RECORDING GROUPS SEND LISTS PRICE
' I GER RAG
PHIL NAPOLEON N ED
TEDDY «ILSON E
DIXONS JAZZ MANIACS E
HI LLTOPPERS V
HOLLYWOOD DANCE ORCH E
•ANT LISTS
PU 1 1 1 46
OK 40767
VI 22863
PA 12052
QRS 7044
CO 14367
BR 4740
OK 40108
PROS
PROS
PROS
PROS
PROS
PROS
PROS
PROS
ED 51908 2.00
Tw 2 5 10
PT 12408 $ 5
GG 2.50
AP 8644 2.50
SEND ME YOURS HAVE ALL TYPES REASONABLE
SEE DECEMBER CHANGER
'.£« 3RUSH SOUNDM IRROR RECORDER
•ILL S**3 GENEROUS BRAND NEW JAZZ RECORDS
FROM ENGLAND AND FRANCE FOR LATEST
BRUSH SOUNDM IRROR MAGIC RIBBON HOME RECORDER C
1949 TELEV IS ION SET
•ILL S»AP GENEROUS AUOUT OF THE FINEST
JAZZ RECORDS BRAND NE» FROM ENGLAND AND FRANCE
FOR GOOD QUAUTY BRAND NE» I 949 TELEVISION SET C
DISPOSITION
(First four letters of collector's na*
6 Ifor aodress. see page 6.
MAD!
MAD!
MAD I
MAD I
MADI
LEVI
GOLD
PRICE IF FOR SALE; VALUE IF FOR
TRACE; MINIMUM BIC IF FOR AUCTION
(iethod of disposition: "sal",
for sale at price indicated.;
'tra",for trade; "auc", at
auct i on.clcs ing date for bids,
see pace 6. 't-a" for trade-
auction; "t— s" for trade
or sale: "sta" for sale,traoe
or auction.
CONDITION OF RECORD: N~«E«
E-CXCELLENT ; V— VERY GOOD;
: ; -"— " - - ; -- - .
2 [CATALOG NUMBER OF
1 Label of pecoso.
1 2 3 4 5
ALMANAC SINGERS
SUD BUSTER BALLAOS( PREWAR) Gl G2l N AUC -
AMERICAN FOLK SINGERS
SMOKEY UT BALLADS(ED BY J.LOMAxJvi P 79N AUC -
MATT IA BATT 1ST INI
A TANTA AMOR/l L MIO LIONELLO V I I 5| Ol 0 E AUC -
IST3N SYMPH (KOUSSEV ITSK I ;
TILL EULENSP I EGEL( SPECIAL SAMPLE )V I I 80003NAUC-
HARRIS, SYMPHONY I 933 <PRE»Ar)CO Ml9l N AUC -
ENRICO CARUSO
VI 89089 v AUC
VI 9521 0 V AUC
VI 88559 V AUC
VI 88003 V AUC
VI 95203 V AUC
LELISIR 0AU0RS VENTI SCUD I
MARTHA-QU'RTETTO NOTTURNO
SANCTA MARIA
FAUST-SALUT DEMEURE
FAUST— PR I SON SCENE PT 3
LA DANZA— TA REN TALL A NA POL I TANAV I 88355 E-AUC
CARUSO, TETRAZZ IN l,AMATO, JOURNET, JACOBY.BADA
SEXTET-LUCIA VI 96201 E AUC
Q.MARSTON HADDOCK
ENGLISH FOLK SONGSi BALLADS MU M55 N AJC
MARCEL JOURNEY
LA FA VOT I A— ANATHEMEDE BALTMAZA
(V| XMAS RECORD 1946 VINYL) VI SPECIALN AUC
WILLIAM PRIVIOSE PHILDELPHIA ORCH
• ALTON— V I OLA CONCERTO-RADIO TRANSCR. N AUC
RECORD SALE LIST
SEND N0» FOR BIG BARGAIN LIST FREE
TITO SCHIPPA
RACCONTO Dl RODOLFO(LA BOHEME ) PAT54033 E AUC
TOSSY SP I VAKOVSKY-N.Y. PHILHARMONIC
BARTOK CONCERTO, OCT |7 1 943 RADIO TRANSNAUC ||2
GENT
GENT
GLI B
GL I B
GLIB
GLIB
GLIB
WARR
KUHL
GENT
GENT
fan.
COMPOSING
DISPLAY ADS
FOR OUT-OF-PRINT
RECORDS
1. No forms are required for dis-
play ads Type or print your ad
just as it is to appear in print.
2. Each column holds 78 lines of
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4. Try to make your ad come out to
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umns
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Advertising not accompanied by
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Closing Date for
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10th of Month Preceding Date
of Publication
SALE SALE
JAZZ RECORD CORNER
782 8TH Ave., (48 ST) NYC
PHONE PLAZA 7-7426. ON MAIL ORDERS
ACCOMPANIED BY CHECK OR MO TOTALING
$3 OR MORE WE WILL PREPAY THE SKIPP
ING CHARGES. WE ALSO SHIP COO. FAST
SAFE INSURED. SHOULD ANY DISC BE OUT
OF STOCK A CHECK IS SENT FOR THE UN
USED PORTION OF YOUR ORDER. HOWEVER
WE FILL ALMOST EVERY ORDER COMPLETE.
NEW RELEASES
GRAEME BELL AUSTRALIAN JAZZ BAND(|.05)
SOUTH/SHIMME SHA WABBLE JC I
YAMA YAMA Bl/b|G CHIEF BATTLE AXJC 2
USUAL DISCOUNT TO DEALERS ON JC RECORDS
JELLY ROLL MORTON TRIO (POODS)
MR JELLY LORD/WOLVERINE BL ( I .05)TJM I
K ING OLIVER (>| .05)
D I ppermouth/where is u STAY HJCA 29
LONDON CAFE/CAMP MEETING HJCA I 8
LOUIS ARMSTRQNG(HJ-| .05, CO-. 79)
DRJIPPIN SHUCKS/WHOS I T HJCA 20
GA GRIND/COME BACK SWEET PAPA HJCA 2 1
KING OF ZULUS/LONESOME BL HJCA 22
PUT EM DOWN BL/SAVOY BL CO 37537
IM NOT ROUGH/GOT NO BL CO 37536
DODDS CHICAGO FOOTWARMERS (l.Q5)
BALL IN THE JACk/gRANDMA BALL HJCA 24
8R0WN BOTTOM BESS/LADY LOVE HJCA 25
MY BABY /OR IENTAL MAN BRS 5
BOB WILRER WILDCATS (|.Q5)
CAMP MEETING Bl/0NCE IN WHILE RAMP 8
WHEN U WORE TULIP /TROUBLE IN M1NDRAMP 6
OH DADDY/FROG I MORE RAMP 7
SIDNEY BECHET (WILBER#) (.79)
LOVE FOR SALE/SHAKE EM UP CO 38321
SPREAD IN JOY/l HAC IT # CO 38320
POLKA DOT STOMP/KC MAN BL# CO 383 1 9
LAURA/jUST ONE THOSE THINGS CO 383|8
JELLY ROLL MORTON RED HOT PEPPERS
JUNGLE BL/wlLDMAN BL {% 1.05) BR 6 4
CLAUDE BOLL ING
NEW CIRCLE ALBUM 5 3.95
HOT JAZZ CLUB OF AMERICA RECORDS
8 I .05 EACH. "
I.OLIVER-ROOM RENT/AINT GONNA TELL
2.0L I VER-MABELS DREAM/SWEET RABY DOLL
3. LOU IS HOT 4-IRISH BLACK/u MADE ME LOVE!
4. W0T0N-L0ND0N Bl/sOMEDAY SWEETHEART
5. LOUIS 5-JAZZ lips/cake WALKIN BABIES
6.0L I VER-JAZZI N BAB I ES/TUXEDO RAG
7.0LI VER-RI VERSI De/wORK1 NGMAN 3L
8.0LI VER-SOBB I N Bl/sWEET LOVIN MAN
9. LOU IS 5-BIG FAT Ma/sWEET LITTLE PA
1 0. GONNA G I TCHA/FORGET TO MESS AROUND
I I .MORTON-BILLY GOAt/hyENA ST
I 2— OODDS— SWEET LORRA I NE/pENC I L PAPA
I 3 • DUMA I NE— F.RANKL I N ST/RED ONION DRAG
I 4. DUMA I NE— PRETTY AUDREY/TOWBACAWA
I5.M0RT0N-O I X I E HOME/LIKE IT OUGHTA BE
I 8. LOU I S-COAL CART/TEXAS MOANER
REX STEWART
JUST IN FROM SWEDEN ON CUPOL (UNIS USA )
BASIN ST BL/RUN TO THE CORNER 4074 1.05
BOY MEETS HORN/WAITIN FOR TRA I N404| 1.05
JOHNNY HODGES
PYRAMID/EMPTY BALLROOM BL PAE 3 1 I 5 1.05
FOR EVERYTHING IN JAZZ
VISIT
THE CORNER
COLLECTORS PLEASE NOTE
WE HAVE NO CONNECTION WITH ANY OTHER
STORE. IT IS ONLY AT THE "CORNER"
WHERE YOU WILL FIND ONLY JAZZ DISCS.
WE DON'T HAVE A SINGLE POP RECORD IN THE
SHOP
30
SALE j. E. WARNER ^
425 RIVERSIDE DRIVE, NYC 25, NY
ALL RECORDS ARE IN EITHER NEE- OR EXCELLENT CON&ITIONj W ITH THE EXCEPTION OF ABOUT |0# OF THEM WHICH ARE NO WORSE THAN V+. IF A
RECORO IS LESS THAN THIS IN CONOITION IT W I LL BE INDICATED IN PARENTHESffS BEFORE THE LABEL. DO NOT SEND MONEY WITH YOUR ORDERS.
RECORDS SHIPPED PARCEL POST INSURED. NO RECORDS SENT COD. TOO MANY PEOPLE REFUSE ORDERS WHEN SHIPPED THAT WAY. YOU MUST PAY
POSTAGE, INSURANCE, AND 25* PACKING CHARGE ON ALL ORDERS. YOU WILL 8E NOTIFIED OF WHAT YOU HAVE WON AND THEN YOU WILL REMIT THE
AMOUNT DUE. UPON OUR RECEIPT OF CHECK OR M.O. WE WILL SHIP. PLEASE DO NOT SUBMIT ALL OR NOTHING ORDERS. THEY WILL NOT BE HONORED.
NO MINIMUM ORDERS. SATISFACTION GUARANTEED OR YOUR MONEY WILL BE REFUNDED. THIS IS ANOTHER ENTIRELY NEW BATCH OF RECORDS THAN
THOSE ADVERTISED IN THE NOVEMBER AND JANUARY CHANGERS. MOST ALL OF THOSE WERE SOLD. IF YOU FAILED TO GET THE, RECORDS YOU WANTED
l-N THE LAST SALE TRY AGAIN THIS TIME. THERE WERE ABOUT |5 PEOPLE WHO FAILED TO HONOR THEIR ORDERS FROM THE NOVEMBER SALE. THESE
NAMES HAVE BEEN TURNED OVER TO THE RECORD CHANGER ATTORNEY JACOB SCHNEIDER FOR ACTION. WE WILL NOT ACCEPT OROERS FROM ANY OF THEM
UNTIL THE MATTERS HAVE BEEN SETTLED SAT ISFACTORILY.
ALL STAR TRIO
HADDA BROOKS TRIO
BOB CROSBY AND THE BOBCATS
|2 st rag/dotty dimples
VI 18713
• 59
HONEY HONEY HONEy/hOUSE PARTY MODERN 1 57
.59
uartha/home on range
DE
1600
.79
BARCLAY ALLEN RHYTHM FOUR
LES BROWN
StNG SONG SUNBEAMS/hANG HEART
DE
24| 6
• 79
BARCLAYS BOOGIE/GREEN EYES VANES 1003
.59
ROBIN HOOd/sLEI GHRI DE IN JULY
CO
36763
.79
CAN 1 HELP IT/LITTLE MAN WHO
DE
2776
.79
AMBROSE ORCH
SENTIMENTAL RHA PSOD Y/jUMPY ST UMPYC037830
• 79
WIND AND RAIN IN HAIR/u DARLING
DE
3018
.79
DANCE POTTED PUPPET/SWINQ LOW LONDON 108
.69
SHOW ME WAY HOME/LEAP FROG
CO
36850
.79
MY MY/SAV IT
DE
3078
.79
GENE AMMONS (GAIL BROCKMAN— TRUMPET
)
COME TO BABY Do/u WONT BE SAT 1 SF
IE
36884
• 79
believing/this IS BEGINNING
DE
3 103
.79
RED TOP/lDAHO
MER 8048
• 69
RED KISS BLUE LETTEr/wELL BE T
CO
36896
. 79
TWO D RE A MS/DOWN ARGENTINE
DE
3404
.79
ANDREWS SISTERS
GOOD BL TONITE/lN LOVE IN VAIN
CO
36972
• 79
GONE NOT FORGOTTEN/u FORGOT
DE
3417
.79
HONEY/ELMERS TUNE
DE 4008
• 59
COULD BE TRUE/l GOT SUN MORN
CO
36977
• 79
ISNT THAT JUST/DID U KNOW
DE
3445
.79
LOUIS ARMSTRONG
HIGH WINDY TRUMPET/LOVERS LEAP
CO
3706 1
• 79
NOTHING LIVE FOR/lLL KEEP THINK
DE
3808
.79
HEP CATS BALL/LAZY 'SIPPI STEAM
DE 3283
1 .29
WORLD IS SINGING SONG/GUESS ILL
CO
37066
• 79
STILL BE MINE/00 U CARE
DE
3860
.79
WEST END BLUES/IF ITS GOOD (v)
OE 2480
1 .29
MY SERENADE/BEST MAN
CO
37086
• 79
TRUSTING IN u/ONE LOVE TO ANOTH
DE
4027
.79
JACK ARMSTRONG BL/ROCKIN CH
VI 202348
• 79
YEARS YEARS AGO/SOONER LATER
CO
37153
• 79
ONLY A DREAM/TAKE IT EASY
DE
*|37
.79
OESI ARNAZ ORCH
MY NUMBER 1 DREAM/u SHOULD TOLD
CO
37208
• 79
U MY DARLING/HUNG MY HEAD
DE
4346
• 79
ILL NEVER LOVE AGAIn/tIA JUANA
VI 202020
• 69
BEWARE MY HEART/MERRY OLDSMOB 1 LECO
37235
■ 79
DONT CARE ANY MORE/END OF WORLD
DE
4380
.79
RUMBA RUMBERO/lN SANTIAGO
VI 202827
.69
TRI6K»DEKAPH0BIA/Y D1DNT WE SAY
CO
37279
.79
TOLD U SO/U BROKE MY HEART
DE
4422
.79
LITTLE ROMERo/jIPI JAPA
VI 202887
.69
ACHING HEART/FINE THING
CO
37497
.79
MARCH BOBCATS/FIVE POINT BL
OE
25298
.09
FRED ASTAIRE
DONT TELL ME/EVERY SO OFTEN
CO
37557
.79
FRANK CRUM IT (V)
FINE ROMANCE/wALTZ SW 1 NOT 1 ME
BR 77 16
1 .69
AFTER u/DARDENELLA
CO
37933
• 79
WAIT TIL U SEE MADELINE/ALL BY
CO
34|5
.49
JAN AUQUST (PIANO SOLOS)
LOVE SO TERRIFIC/DREAM GIRL
CO
38060
. 79
JOSE CURBELO
JAN CBCRA'CHa/oYENEQRA
D I A 2070
.59
CHICK BULLOCK LEVEE LOUNGERS
RUMBA RUMBERO/POINC IANA(SPECIAL
V| 269032
.69
Bl BAM BOOM/GOLDEN DREAM
D 1 A 2079
• 59
MY GAL SAL/ACE IN HOLE
ME
60610
• 99
FRANK DA 1 LEY ORCH
MITCHEL AYRES
BILLY BUTTERF 1 ELD
APRIL IN HEART/WHEN CIGARETTE
BB
10004
.69
1 CAME SAW CONGAED/2 SQUIRRELS
BB 1 1 06 1
.59
BILLY THE Klo/wHATTA YA GONNA
CP
265
.69
TADDDAMERON SEXTET
LITTLE SOUTH NORTH/BAND PLAYED
BB 1 1 lOl
.59
UNTIL REAL THING/BILLYS BOOGIE
CP
434
.69
our delight/the squirrel (ch)(
x~i)bn540
.49
WE ALL GO WELL TOGE THEr/wHA T HEA RBB 1 1 1 3 7
.59
THERE GOES THAT SONG/MOONL 1 GHT
CP
182
.69
COW COW DAVENPORT
MILDRED BAILEY
narcissus/bugle CALL RAG
CP
475
.69
RAILROAD BL/l A 1 NT NO ICEMAN
DE
7462
• 99
LET SONG GO OUT/ROCK IT FOR ME
vo 4083
1 .29
FLIP FLOP/l CANT GET STARTED
CP
15047
• 69
JOE DAVIS
MY'/REVERIE/wHAT HAVE U GOT
VO 4406
1 .29
RUMORS FLYING/SHARP SCARF
CP
282
• 69
WHAT WOULD U SAy/l|KE ANGEL
OK
40831
• 99
DOWNHEARTED BL/GULF COAST BL
VO 4800
1 .59
CAB CALLOWAY
DORIS DAY
TIT WILLOW/LAMP IS LOW
VO 4845
1 .19
APRIL IN HEART/DO U WANNA JUMP
VO
4477
■ 99
PAPA WONT U DANCE WITH ME/SAY
CO
37931
.59
PEARL BAILEY
FDR JONES/ANGELS DIRTY FACES
VO
4498
• 99
EDDIE DELANGE
8T LOUIS BL/GET IT OFF
CO 37570
.59
NECESSITY/HI DE HO MAN
CO
373|2
• 79
NEW SHOES/BH/.T ARE LITTLE GIRL
BB
7855
.69
LEGALIZE MY NAME/WOMANS PREROG
CO 36969
.59
GIVE ME 20 NICKELS DOLLA r/jUNGLECO 37500
• 79
COPENHAGEN/CANT KISS FRIG IDA IRE
BB
10027
1 .29
1 NEED U LIKE 1 NEED/WHAT ARE
CO 38028
.59
GHOST OF CHANCE/EVERYBODY EAT
CO
38l7l
.99
AL DEXTER
THATS NO WAY/OL MAN U BEEN
CO 38228
.59
EDDIE CANTOR
IN DAYS YESTEROAY/ANSWER TO HONKYVO
4174
1 . 1.9
DAVE BARBOUR
margie/if u knew suzie
CO
2
.99
MY TROUBLES DON T TROUBLE/bL EYESVO
5042
.99
FORVER PAGANINl/FOREVER NICKI
CP 358
.59
FRANK IE CARLE
DENVER DARLING
CHARLIE BARNET
1 was here * en u left/ratheR beco
36 8? 6
.59
WERE GONNA SLAP JAF/BET GUN COMEOE
6027
.99
THATS FOR ME/AT DIXIE R0AD9I0E
BB 10817
1 .19
AS LONG AS 1 LIVE/SEEMED TO BE
CO
36892
.59
DETRO ITERS/B-OADf AY BCSTERS
1 HEAR RKAPSODY/MOON CRYING
BB 10934
1 . 19
sunrise serneade/starburst
CO
37539
.59
CORAL SEA/TOLD THEM ABOUT U ( V-
JCA
2702
.69
POMPTON TURNPIKE/l DONT WANT CRYBB 10825
1.19
ONCE IN LI FE/AND MIM 1
CO
37819
♦ 59
EMERY DEUTCH
RAY BAUDUC BOBCATS
CORA BELLE/WHO WERE U KISSING
CO
37972
• 59
LOVE LIGHT ST A RL 1 GHT/s TOP RECON
BR
81 18
• 89
LITTLE LIZA JANE/wHEN SUGAR
CP 1 5 1 3 1
.79
CHAR IOTEBRS
ALDONOHUE
NORA BAYES
NO SOUP/ONE MORE DREAM
CO
36903
.59
MUSIC MAESTRO PL EASE/SPR 1 NG
VO
4|53
.59
HICKI HOY/WHEN JOHN MC CORMACK
VI 45105
.99
BUDDY CLARK
LOCK HEART/WHEN MOTHER NATURE
vo
4178
.59
GRAEME BELL
1 KNEW ID FALL IN LOVE/ALL BY
CO
37085
• 59
BESIDE MOONLIT STREAM/NA TUWALLY
VO
4195
.59
SUOKEY MOKES/UGLY CHILO(LAM CH )
RZ 261 16
.99
BASSING BY/|N APPLEBLOSSOM BEDDING
37488
.59
mSMBTLH^KET/pRETTY GIRL MILK
vo
4268
.59
TEX BENEKE WITH THE GLENN
MILLER ORCH
FREEDOM TRAIN/SINCERELY YOURS
CO
37889
.59
LAMBETH WALK/sTOP BETING
VO
431 8
.59
STRANGE L0VE/CYNTHIA6 IN LOVE
VI20I858
.99
EMPEROR WALTZ/WA 1 TINQ SHIPS
CO
37934
• 59
NO RHYME REASON/LONG LAST
VO
4349
.59
HEAD IN FOR CALIF/SWING LOW
VI20I834
.99
ALL DRESSED UP BROKEN HEART/u
CO
37984
.59
HEART SOUL/CLAP HANDS
vo
4398
.59
HEY BOB A REBOB/wl FFENPOOF
VI20I859
.99
pianissimo/too DANGEROUS
CO
38051
.59
WHAT DO U KNOW/WHAT U GOT GETS
VO
4400
.59
EVERYBODY LOVES BABY/l KNOW
v 1 20 1 9 1 4
.99
PECULIAR/NO* IS HOUR
CO
38i |5
.59
WHEN PA COURT IN Ma/bUTTON BUT
vo
4476
.59
QIVE ME 5 MIN MORE/TEXAS TEX
VI 201 922
• 99
SPRING DECEMBER/TALKIN TO SELF
CO
381 53
.59
MUST SEE ANNIE/SERVES U RIGHT
vo
4496
• 59
PA86E/WO0DCHUCK SONQ
VI20I95I
.99
APPLE BLOSSOMS FALL/lM SLAVE TO
CO
38241
.59
JEEPER9 CREEPERS/HURRY HOME
VO
451 3
.59
TOO LATE/l HAVE ONE HEART
vi 202424
.99
WHERE FLAMINGOS FLY/ON WATERFALLCO 38249
.59
BETWEEN KISS SIGh/| WONT BEL 1 EVEVO
4550
.59
GIRL THAT 1 REMEMBEr/8UPR 1 SE 8YMPH202497
.99
CLAYTON JACKSON AND DURANTE
EAST SIDE HEAVEN/THAT GENTL EMAN
vo
4722
• 59
OKLAHOMA CITY/LONE STAR MOON
v 1202566
.99
cna broadway/so i ups to him(cr
)co
i860
1 .49
our love/little skipper
vo
4736
.59
RAMBL 1 N AROUND/LOVELY RAINY PM
VI 202837
.99
COLONIAL CLUB ORCH
SOUTH AMER WAY/BEGONE
vo
4902
.59
LOOK FOR S LVER LINING/WHIP POORVI 202924
.99
TO KNOW U IS TO LOVE u/8REAM If.
BR
41 18
.59
PERSIAN RUG/WHITE SAILS
vo
4956
.59
BUNNY BERIGAN
PERRY COMO
DAY IN DAY OUT/LAST TWO WEEKS
vo
5099
.59
LADY FIFTH AVENUE/ALL 8008 CH i L
vi 25609
1 .69
DIO U LATER/HERE COMES HEAVEN
VI
201750
.69
LOVE NEVER WENT COLLEQe/sPIC ANDVO
5183
.59
BUTTON BUTTON/ROCKIN ROLLERS JU
vl 26077
1.69
JERRY COLONA
SILENT MOOD/ON LITTLE ST SINGAPORE
52 1 1
.59
JELLY ROLL BL/BLACK BOTTOM
VI20I5C2
1.09
hector/u my everything
VO
3876
1.39
KISS REMEMBER/DARN T 'AT DREAM
vo
5264
.59
OCEO 1 DO/HIGH' SOCIETY
V120I503
1 .29
COTTON PICKERS (cr)
copenhagen/rhytwi IN TOP HAT
vo
5314
.79
CHU BERRY
WOE IS ME/THERE JAZZ IN THEM HORVO
3263
.99
LET THERE BE LOVE/l MAGI NAT 1 ON
vo
5454
.59
CHUBERRY JAM/MAELSTROM
CO 37571
.99
BING CROSBY
SAM DONOHUE ORCH
IRENE BORDONI
LOVE IN BL00M/8TRA 1 GHT FROM Sh(v»R
6936
1 .39
4—5 TIMES/SKOOTER
OX
6358
.59
1 WONT 6AY 1 WILL/30 THIS LOVE
VI |9|99
1.39
NATURAL THING TO Do/aLL U WANT
DE
1376
TACOS mCHTLADAS BEANS/ROBB 1 NS
CP
493
.59
EARL BOST IC
START DAY R 1 QHT/nE 1 GHBORS
DE
2626
.99
SAXABOOGIE/lLL GET ALONG 80MIH0WCP
15081
.59
temptation/artistry by bosttc gotham i60
.79
JUST ONE MORE CHANCE/SWEET POT
DE
2999
1.29
DORSEY BROTHERS
BILL BOYD COWBOY RAMBLERS
ONLY FOREVER/WHEN MOON OVER MAO DE
3300
.89
H0NEY8UCKLE R08E 1-2
DE
296
1 .49
ILL TAKE U BACK AQAIN/WANT (V-J
BB 8498
.59
BIROS FEATHEH/OANOEROUS
OE
3637
.89
JIMVY DORSEY ORCH
■ ILL BRADLEY
Ml SS YOU/BL IN NIGHT
DE
4i83
.89
DORSEY DRVISH/SEREN TO NOBODY
DE
1040
.59
SCRAMBLE TwO/ROCKABYE BOOGIE
CO 35732
.69
S 1 BONEy/hASTA MANAMA
DE
23547
.69
LOVE BUS/LISTEN TO MOCKING
DE
1 187
.59
IF THERE 18 8 OME ONE /CELERY 6TALKS8B 1 5 1 1 1
.59
WHERE BL OF NIGHT/FADED 8UMMER
BP
80055
.65
FLIGHT BUBBLE BEE/l GOT RHY
OE
1508
.59
PHIL 8RIT0
STASOUaT/OANCI NO IN DARK
BF
80056
.6?
FARAWAY LOOK/l HAONT ANYONE
DE
1834
.59
FUN FANCY FREE/HOW LUCKY U ARE
ou !5l id
.59
-tfOtt
31
SALE
J. E. WARNER
SALE
dusk uwper sandusky/darktown strude
1 939
.79
KITTY KALEE/l HVENT CHANGED
DE
1 96l
59
our love/all of ME
OE
2352
• 59
STAIRWAY TO STARs/wHISPER H 1 LE
DE
2567
59
JUUPIN JIVE/SHOOT MEATBALLS
DE
26 1 2
.59
LITTLE CURLY HAIR/BREEZE AND 1
DE
3 1 50
.59
boog it/six lessons from madam
OE
3 1 52
.59
HOW CAN i ever/tennessee fishfryde
3 1 9V
.59
tonite/:ontrasts
DE*
3 1 99
.59
AMAPOLA/DOINA MARIA
DE
3629
.59
yours/«men sun comes out
DE
3557
.59
GREEN. EYES/MAR 1 E ELENA
DE
3698
• 59
HUSH OF NIGHT /SISTER AND 1
DE
37)0
.59
bl champagne/all alone
DE
3775
.59
EM3RACA3LE YOu/f 1 NGERBUST 1 N
DE
3928
.59
SHADE OF BLUE/JIM
DE
3963
.59
•ASNT IT YOU/MOONLIGHT MASQUER
DE
3991
.59
tangerine/everything i love
DE
4123
.59
TAINT NO GOOO 1-2
DE
4262
.69
LAST NIGHT 1 SAid/alWAYS IN HEARTDE
4277
.59
TOMMY "DORSEY
SONG INDI a/marie VI 255523
MILKMAN MAT INEE/TW ILI GHT TURKEY VI 25568
nola/satan takes holiday vi 25570
ALABI BABy/hES GYPSY VI 25577
U EVER SHOULD LEAVe/pOSIN VI 25605
F MAN IN UOON/jOSEPHINE V| 25676
DOWN WITH LOVE/.OANIN IN MORN V| 25692
GETTI-4 FUN OUIT LIVE/MISSION BY VI 25694
I MAY BE WRONG/MORN I NG AFTER VI 25703
LITTLE WHITE LIES/SIMPLE MELODY VI 25750
BIG OIP°Efl/SMOKE FROM CHIMNEY VI 25763
SHINE ON HARVEST M OOn/pROM I SE MEV I 25780
jezebel/bew ILDERED VI 25795
1 NEVER KNEw/COMIN THRU RYE VI 258|3
WALK I N STICk/nOW CAN BE TOLD VI 25856
ALL THRU NITE/MUSIC MAESTRO VI 25866
TISKET TASKET/AS LONG AS LIVE VI 25899
THANKS FOR EVERYTHING/DO U REMEM VI 26 1 1 9
HAWAIIAN WAR C ANT^ODN I GHT ON TRAIL26|26
DAVENPORT 8L/EASY TO BLAME VI 26 1 35
OLD CURIOSITY SHOP/WHAT U KNOW VI 26|40
ALL YOURS/THIS IS IT V I 26 1 49
HEAVEN CAN WAlT/j TAUGHT ME VI 26|54
HOLD tight/symphony RIFF6 VI 26|63
NEW MOON OLO/PECKIN PENGU I N6 VI 26 I 8 1
panama/bl moon vi 26 i 35
OUR LOVE/ONLY IN MY ARMS VI 26202
HYMN TO s )n/lamp is LOW VI 26259
POURED MY HEART/BACK TO BACk(v) VI 26271
are u havfing any fun/gnite MY VI 26335
SO MANY TIMES/BABY WHAT ELSE VI 26386
BL rain/after ALL VI 264 1 3
LOSERS WEEPERs/FA ITHFUL TO U VI 26439
IVE GOT EYES ON u/l CONCETR ( RMCH )v I 26470
NO BODY 6 BABY/BUDS WONT BUD V| 26609
AND SO DO I /ONE I LOVE VI 26660
I TRIED/DOLORES VI 273 I 7
YOUR DANGEROUS/u LUCKY PEOPLE VI 27350
WHATCHA KNOW JOe/e VERYTH I NG HAP VI 27359
THIS LOVE MINE/NEINI Tl 27508
i should care/please oont say vi20i625
A RENT U GLAD U u/oOOR WILL OPEN V|20|723
MOMENT I MET u/THAT WENT OUT V|20|76|
AT S'JNDOWN/TO ME VI 202064
SNOOTY CUTIE/TOM FOOLERY VI 202 1 I 6
8PRING ISNT EVERYTH ING/BI NGO BB V I 202 I 95
KATE/lLL RE THERE VI 202363
TROMBONOLOGY/DEEP VALLEY V|2024|9
OLD chaperon/l l l LA V 1202463
LIKE LEAF IN WIND/lETS PICK UP VI202546
LET ME CALL U SWEETHEA RT/wALK VI 202904
BOOT 3 DOUGLAS QRCH
CARELESS LOVE/EAST COMMERCE ST BB 10036
EDO IE DUCHIN QRCH
IM HAPPY FRAME VINO/slSSY BR 8|06
isnt it wonderful/moonshine OVERBR 8 1 1 5
STRANGER PAREE. WANNA GO BACK BR 8|40
OL MAN MOSE/BETWEEN DEVIL DEEP BR 8|55
KIS6ED U IN DHEAm/nIOHT BEFORE BP 8264
FALLING IN LOVE LOVE/SHORTEST BR 8268
'.'OST GENTLEMIN DONT LIKE LOVE BR 8282
U GROW SWEETER/FOOL MONEY BR 8359
WHEN WINTER COMES/SONG METRONOMEBR 8391
.39
.89
.39
.89
.99
.39
.89
.89
.99
.89
.99
.39
.89
.89
.89
.99
.89
.89
.89
.89
.89
.99
.89
.99
.99
.89
.89
.39
.39
.89
.89
.89
.39
.39
.89
.39
.99
.89
.39
.39
.89
.99
.39
.89
.89
.89
.89
.99
.99
.89
.39
.89
.99
.99
.89
1.29
.89
.39
.99
.99
.89
EDDIE DUC IN CONT INUED
RUNNING THRU MIND/BOY NAMED LEM BR 8432 .89
OUT PORT/AINTCHA COMIN OUT =IR 8444 . 89
CANT remember/hold ME VI 24280 .89
WATER UNDER BRIDGE/wHERE IS HEA VI 24800 . 89
WELCOME STRANGER/LOVE LIKE CAGARVI 25264 .89
TAKE MY heart/guess WHO VI 25343 .89
SIGN 1000/slUTH SEA ISLAND (v-) VI 25393 .89
u GOT something/its DELOVLY VI 25432 .89
MOONLIGHT SHADOWS/LOVE GOOD ANTHV I 255 1 4 .89
MERRY GO ROUNO BROKE /sOUTHW I NO VI 25585 .89
DUNCAN SISTERS
BABY SITTER BL/MUSIC LESSON VI I 9050 . 59
REMEM3ERING/NEVER HAD MAMMY VI 19206 .59
JOHNNY DUNN PRIG JAZZ HOUNDS
PUT and take/moanful BL CO 3579 1.59
FOUR OCLOCK Bl/hAWAIIAN 3L CO 3729 1.79
JIMMY DURANTE
ILL DO STRUTA*AY In/fEELING LOW MGM300I5 .79
NELSON EDDY
CO |7|73
CO 17309
PE
1 1564
.59
PE
l2l 19
.59
PE
|2|26
.59
PE
|2|52
.59
PE
12169
.59
CO
1578
.59
VO
3577
.99
MAGIC of love/at balalaika
DANCE MACABRE/DON JUAN SEREN
CLIFF EDWARDS
LADY 3E GOOD/ONLY ONE FOR ME
RED HOT MAMA/wHOS MEANEST GAL
cali forni a/had TO BE U
SOMEBODY LOVES ME/LITTLE SOMEB
ALL SA- E TO Me/aLL ALONE
ROSE YESTERDAY/jUST SWEETHEART
ROY ELDRIDGE QRCH
THAT TH I NG/hECKLERS HOP (v)
DUKE ELLINGTON
INDIGO ECHOS (TEST PRESSING (CR)CO 37397)
SARATOGA SWING/MISTY MRNING BB 6565 I
ROCKIN IN RHYTH.m/ 1 2 ST RAG (V) BR 6038
SOPH LAOY/STORMY WEATHER BR 6600 I
solitude/moonglow (v- SM RM ch) BR 6987
KISSIN BABY/LOVE LIKE CIGARETTE BR 7627
(BELOW'HAS RIPPLES) ABOVE HAS RM CH I GR )
LOST MEDITATION/RIDIN BLUE NOTE BR 8083
GAL FROM JOES/l LET SONG BR 8108 I
WHEN S 'GAR WALKS/PYRAMID BR
LAMBETH WALK/PRELUDE TO KISs(lm)8R
WAY LOw/u CAN COUNT ON ME(e/g-) BR
3 LITTLE WORDS/RING DEM BELL (g)vi 22528
KEEPMSONG IN SOUL/RIVER AND ME VI 22614 I
MOOCHE/MOOD INDIGO VI 22486 1
PITTER PATTER PANTHER/SOPH LADY VI 27221 I
SIDEWALKS N.Y./TAKE A TRAIN VI 27380 I
CANT GIVE U ANYTHING LOVE/oiGA VI 33008 I
MOOD INDI GO/RING DEM BELLS
JOHNNY COME LATELT/MAIN STEM
BLUE RAMBLE/LAZY RHAPSODY
LIGHTNIN/BABY WNEH U A INT
BEST WISHES/BUNDLE BL
SEGER ELLIS
PLEASE COME OUT/PIED PIPER
PRETTY GIRL LIKE MELOOY/l KNOW
RUTH ETT I NG
6WANEE bH0RE/0NCE AGAIN ( RM CH ) CO I075ll
RAMONA/SAY YES (LAM Cr) CO 1 352 I
YOUR IN LOVE/BLACKBIRDS (g)(rip)C0 1 595
LOVE ME LEAVE ME/rED RED ROSE(g)cO 1680
IM YOURS/LAUGHING LIFE CO 23 1 8 I
LOVE LIKE THAT/u ONE I CARe(|-MCr)cO 2398
WILLIE FARMER QRCH
DOWN HOME RAG/SUGAR BABE
RI68 I
8204
84M
VI20I532 I
VI20I556 I
CO 35834 I
CO 35835 I
CO 35836 I
BR 8275 I
DE 1322 I
.99
.29
.99
.29
.99
.99
.99
.49
.49
.99
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.99
.29
.39
.19
.29
.49
.09
.19
.29
.29
.29
.19
.19
.39
.49
.59
.99
.39
.99
BB 78l3 1.19
LEONARD FEATHER BAND ( HACKET, MARSALA ETC
VO 4062 I .59
JAMMIN WALTZ/CLEMENTI NE
FRED FE I BEL QUARTET
WACKY djst/long LAST (cr) VO
cuckoo in clock/black EYES 6USANV0
CARL FENTON QRCH
Moonlight kisses/life rose
virg i n i a/take little one step
I WANT BE HAPPy/nO NANETTE ME
OH HOW I love/u CANT FOOL
HAPPY FELTON QRCH
U HAD EVEN I N SPA Re/wH I SPER ( LM
HERB IE FIELDS
4473
4662
BR
25l8
.59
BR
2585
.59
BR
2640
.59
BR
2757
.59
VO
4060
.59
CHEROKEE/MOON NOCTURNE
SOPRANO BOOGIE/l WANTA
0aR0anella/rai NBOW MOOD
CHINESE LULABYE/SORENTO
v 1 202054
VI 2021 79
VI 202274
VI 20258 1
VI 269012 .69
6757
6759
6781
73 1 8
7343
7355
IRVING FIELDS
MIAMI BEACH RUMBa/tiCO TICO
SHEC FIELDS QRCH
GIRL ON POLICE GAZETTE BB
RIPPLIN RHYTHM/BASIN ST BL BB
THATS LIFE I GUESS/LITTLE BAMBOOBB
THANX FOR MEMORY/MdMA MOON HERE BB
WITH SMILE SONG/WHISTLE *HILE(cr^B
NrW MOON OVER MILL/GNITE ANGEL BB
CATHEDRAL IN PINEs/GOOD EVENING BB 7553
CURLY HEADED BABy/| WONT TELL SOUBB 7480
GNITE BEAUTIFUL/HAVIN ANY FUN BB 10379
JACK F INA QRCH
PIANO PORTRAITS B00GIE/BAM3A
ELLA FITZGERALD
BE I MIR BIS DU SCHOn/mY TURN DE 1 596
BILLY/PLEASE TELL ME. TRUTH DE 2769
CABIN IN SKY/TAKE CHANCE LOVE DE 3490
U DONT KNOW WHAT LOVE Is/SOMEB DE 4082
ED F ITZPATR ICK
SWEET HEARTACHE/DREAM SAN MARIN VO 35|0
FIVE HARMANIACS (WASHBOARD BAND )
SADIE GREEN/CONEY ISL WASH (g/e)|VI 8873
FLANNAGAN BROTHERS
NIGHT PAT MURPHY DIED/'RISH DELIBB 4963
FORD AND GLENN
SCHOOL DAY SWEETHEART/OVER MY H0USEC0768
MY KIO/BABY YOUR MOTHER CO 1080
FOUR VAGABONDS
la.zy countrysi de/choo choo
frederick fradkin
berceuse/nola
serenade/melody
BUD FREEMAN QRCH
CHINA BOY/THE EEL (v)
FRANK FROEBA
WHO/GOBLINS STEEPLE DE 1545
I TIPPED MY HAT/lF 1 HAD LIFE DE 23835
BLIND BOY FULLER
STEP UP AND GO/LITTLE WOMAN U SWEEVO 5^176
WARN OUT ENGINE BL/SHAKE IT (g) VO 5575
EARL FULLER JAZZ BAND
MGMI0I35 .59
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.59
.59
.59
.59
.99
.59
.69
CO 1080 .69
APO 1075 .59
2409
2728
.59
.59
BB 10386 .99
18394 .79
BR 3030 . 59
I 8941
COBN BAND CONTEST/LIZA JANE
CHEZ FYSHER QRCH
WASNT IN PEORIA/SWEET CHILE
GALLAGHER AND SHEEN
POSITIVELY MR GALLAGHER/ABSOT(G )vi
JAN GARBER QRCH
ALL ASHORE/SUMMER SOUVENIRS BR 8235
W I LO R I SH ROSE/lRISH EYES SMIL BK 466 8
CONCERT IN PARK/lVY COVERED WALLVO 4889
POURED HEART INTO SONG/OLD FASH VO 4900
OLD MILL WHEEL/TWO OTHER PEOPLE VO 4940
U MEET NICEST PEOPLE/LOVE CAPIT VO 4994
LIGHT OF STARs/sEM I NOLA VI I 9689
UNDER THE MOOn/wHAT DO I CARE VI 20754
YOUR EYES TOLD ME/slEEP DE |069
ERROL GARNER, & SLAM STEWART
HE PULLED FAST ONE/( VE NT URA ) L I M ED I SC 860
GENES MERRYMAKERS
HONEYMOON HOTEL/SHANGHA I LIL
GEORGIA STRUTTERS
ME 12789
ha 231
.99
.69
.59
.69
.69
.69
.69
.69
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.79
.69
.89
GEORG IA GR1N0/MESS AROUN '
THE GEORGIANS
AGRAVATIN PAPA/LOOSE FEET CO 3825 .69
GEORGE GERSHWIN
TIP TOEs/l-2 (cp!) COE 4066 1.49
DO DO DO/CLAP YO HAN0S(r|M Dig) CO 809 1.79
ARTHUR GODFREY
FOR ME AND MY GAL/TOO FAT POLKA CO 37921 .59
LOU GOLn QRCH
SOMEONE/l D L IKE TO BE GYPSY HA 1042 .59
GOLDEN GATE QRCH
what do I care/cant u UNDERSTANDVE 2077
CA 168
VI
ON THE ALAMO/STUMBL I NG
JEAN GOLDKETTE QRCH
IN THE EVEN I NGLA ZY DAISEY
HONEST TRULY/U SHOULO TOLD ME
SORRY AND BLUE
DRIFTIN APART/
GIMME LITTLE K I Ss/lONESOME SORRYV I 20031
RATHER BE GIRL IN ARM s/suNDA Y V| 20273
lane in spain/ vi 2049 i
gonna meet sweetie vi 20675
BL RIVER VI 20981
1930S
19528
VI 19962
VI 19975
.79
.69
.89
.89
.89
.89
.89
.89
.89
.99
.89
32
SALE
J. t. WARNER
SALE
JEAN GOLDKETTE CONTINUED
GOODMAN CONT INUED
HALFWAY HOUSE ORCH
hio home/here comes showboat
VI
21 166
.89
YOUR LOVELY MADAm/wHAT J GOT
VI
26053
.99
SQUEEZE ME/N.O. SHUFFLE (G-)
CO 54 1
.99
FUNNY THAT WAY
VI
21353
.89
RUSSIAN LULLABYE/MARGIE
VI
26060
.99
TELL ME WHO/LOVE DREAMS
CO 1 542
1 .99
TAKE GOOD LOOK MINE/COMIN IP
VI
2 1889
.89
1 HAVE EYEs/u SWEET HEADACHE
V 1
26071
.99
GEORGE HALL ORCH
GOOFUS FIVE
CI Rl B 1 Rl B IN/BUMBLE BEE STOMP
VI
26087
.99
OH MAMA/WILL U REMEMBER TON 1 TE
VO 4085
.69
WANG WANG 8L/ARKANSAS 3L
vo
31 38
1 .49
1 NEVER KNEW /SWEET SUE
VI
26089
.99
SAYS MY HEART/u LEAVE ME BREATH
vo 4098
• 69
DEXTER GORDOM & WARDELL GRAY
THIS CANT BE LIVE/SING FOR SUPP
IRV 126099
.99
MY OWN/u PRETTY AS PICTURE
VO 4297
• 69
THE CHASE/ 1-2
DIALI0I7
.59
MUST SEE ANNIE TON 1 TE/l NESOME
26 1 i 0
.99
CHOP sticks/sticks stones
VO 4683
• 59
HARRY GORDON
W 1 SPERING/BACH GOES TOWN
VI
.99
DONKEY S ERENADE/l F WHAT U SAY
VO 5|42
• 69
THE 1NVERSNECKY 91 LLPOSTEr/oR BELTONA 1 439
.79
UNDECIDED/WELL NEVER KNOW
V 1
26 I 34
.99
MAL HALLETT ORCH
Dili oli (^nonriM adpu
KALrH bUKUUN UrcLH
GOOD NOTHIN BUT LOVE/SHUTEYE
l/l
26 1 59
.99
1 CAMTO TALK JOE/DEARLY BELOVED
HIT 701 4
• 59
ARABIAN N|GHTMARe/|2 OCL IN
VI
2604|
.79
ROSE WASH SQ/SIREN SONG
26230
.99
HENRY HALSTEAD ORCH
OILrMLN unflrLLLY ^DJAiJGU/
1 WANT BE HAHHY/ROSETTA
BB
1 0760
.99
MOONLIGHT ROSES/MONTEREY
VI 19579
• 99
DONT MEAN TH 1 IJG/mOONGLOW
DE
583 1
.79
OLWA Y s/wALK JENNY WALK
1 0799
.99
PAT HARRINGTON
avalon/clouds
DE
23002
.79
margie/farewell BL
BB
1 0973
.99
PATTY MCGINTY GOAT/OLD DONEGAL
DE 24|0
• 59
ULTRAFOx/d JANGOLOGY
DE
23003
.79
HONEYS LOVIN ARMs/hAD BE U
BB
1 1056
.99
TREAD ON TAIL COAT/lRISH JUBILEEDE 24l 1
• 59
SOME THESE DAYS/LILY BELLE
DE
23004
.79
RUSSIAN LULLABYE/CHANGES
BB
1 1226
.99
PHIL HARRIS
GLEN GRAY CASA Llll/LA BAND
1 CRIED FOR u/wHERE WHEN
BB
1 1456
.99
FUN FANCY FREE/SAY IT SL A P ( PR IM A ) V 1 20240 1
• 59
ALEX RAG BAND/PUT ON OLD BONNET
BR
6100
.79
ROSE ROOM/FLYING HOME
CO
35254
.99
SOME LITTLE BUG/DING DONG DAD
VI 202535
.59
DONT LET HAPPEN/sPELLBUND
BR
6910
.79
la rosita/smoke GET IN EYES
CO
36284
.99
GONE HURT SOUTHERn/lOADED P 1 STOLSV 1 202575
• 59
UNDER BLANKET Bl/tALK OF TOWN
VO
471 3
.79
bb in moonlight/faithful fore
CO
352 89
.99
DECK CARDS/SOMEBODY ELSE
VI 202321
• 59
LOVE IS THING/THATS HOW RHYTHM
VO
4822
.89
LETS OANCE/BOY MEETS HORN
CO
35201
.99
DARKTOWN POKER CLUB/JELLY BEAN
ARA 116
.79
YOURE A BUILDER/jUDY
DE
193
.79
SPRING SONG/HONEYSUCKLE ROSE
CO
35319
.99
LIONEL HAMPTON
OBJECT MY AFFECTION/2 IN DREAM
DE
298
.79
MEMORIES OF u/sOFT WIND
C 0
35320
.99
JIVIN vises/stomp
VI 25535
1 «29
ROSE RIO GRANDE/BUGLE CALL RAG
DE
869
1.19
DARN THAT OREAm/pEACE BROTHER
CO
35331
.99
whoa sabe/buzzin with bee
VI 25575
1 .29
always/smoke RINGS
DE
1473
.69
7 COME 1 1 /SHIVERS
CO
35349
.99
CHINA STOMP /RHYTHM RHYTHM
V 1*25586
1 .29
8EI MIR BIS DU SCH0n/lET3 MAKE
DE
1575
.79
BUSY AS BEE/ZAGGIN ZIG
CO
35356
.99
1 KNOW U KNOW/SUNNY SIDE ST
VI 25592
1 .29
DADDYS BOY/u GO TO HEAD
DE
1783
.79
TILL TOM SPECIAL/GONE WITH W 1 NO ^CO
35404
.99
PIANO STOMP/l SURRENDER
VI 25666
1 .29
MWONT 8ELIEVE IT/coULD BE
DE
2292
.79
YOURS IS HEART ALONE/DOWN OLD STRC035445
.99
AFTER U GONE/BABY WONT U PLEASE
VI 25674
1 .29
HEAVEN CAN WAIT/SUNRISE SERENADEDE
232 1
.89
NOBODY 8ABY/3UDS WONT BUD
35472
.99
U MY IDEAL/SUN W LL SHINE
VI 25771
1 .29
LITTLE OLD LADy/wASHBOARD BL
DE
2394
1 .29
mm a mi it /""Dnwe" /ui n i id o a d t i mt
l,ULUflNIJ 1 bKUvt/HUUK r hH 1 1 INlj
35527
.99
IM IN MOOD SWING/SHOE SHINERS
VI 2601 1
1 .29
OUT OF SPACE/BL RAIN
DE
2802
.79
CANT U TELL/ONCE MORE
CO
35543
.99
RING DEM BELLS/MUSKRAT RAMBLE
VI 26017
1 .39
CONCENTRATE ON YOu/lAST NIGHT GARDDE3006
.79
CANT RESIST u/DREAMIN OUT LOUD
CO
35574
.99
ROCK HILL SPECIAL/DOWN HOME JUMPVI 26 1 1 4
1 .29
LOVERS LULLABYE/YOURS IS HEART
DE
3053
.79
nostalgia/little BOY LOVE
CO
35594
.99
DONT BE THAT WAY/FIDDLE DIDDLE
VI 26i73
1 »29
NO NAME JIVE 1-2
DE
3089
.99
WHOLLY CATS/ROYAL GARDEN
CO
358 1 0
.99
BIG WIG WIGWAM/STAND BY FU RTHERV 1 26296
1 .29
COME GET IT/MIRAGE
DE
3348
.79
CABIN IN SKY/TAKIN CHANCE LOVE
CO
.99
MEMORIES OF u/j'JMPIN JIVE
VI 26304
1 .29
BUD 'Y GRECO THREE SHARPS
AS LONG LIVE/BENNY BUGLE
CO
3590 1
.99
iw st rag/aincha comin HOME
VI 26362
1 .29
DONT U THINK I OUGHT/LOOK THERE
MUS 5|5
.59
PERFIOIA/ET D0RKN08 HITCHA
CO
35962
.99
GIN FOR XMAS/HEEBIE JEEB 1 ES
VI 26423
1 .29
ELMER GROSSOS GRENWICH VILLAGE ORCH
ALWAYS u/u LUCKY PEOPLE
CO
36002
.99
HA VENT NAMED IT YEt/oN MY WAY
V| 26476
1 .29
THIMKIN OF u/mOTHER VOLGA
BE
6022
.99
LAZY RIVER/OH LOOK ME NOW
CO
360 1 2
.99
SING IN THE BL/DINAH
VI 26557
1 .29
EDGAR GUEST
IM NOT COMPLAININ/slSTER AND 1
CO
36022
.99
STAN HASSELGARD
MA AND AUTO/COULDNT BE DONE
VI
45258
.99
TAKE IT/YOURS
CO
36067
.99
WHO SLEEPS/SWED ISH PASTRY
CP 15062
.59
BENNY GOODMAN (first me CR )
GOOD EVEN IN GOOD LOOK 1 n/| 000000
CO
36l 36
.99
ERSK INE HAWKINS
U CANT STOP ME/SLOW 8UT SURE(g)
ME
12205
.79
SCARECROw/TIME ON HANDS
CO
36 1 80
.99
1 LOVE TO MAKE/GABRI ELS HEATER
VI 202836
©69
GOOD ENOUGH TO KEEp/SMOOTHE ONE
PAE 281 6
1 .39
TEUSDAY AT lO/AIRMAIL SPECIAL
CO
36254
.99
DICK HAYMES
soft winds/memories OF U
PAE 2761
1 .39
AIRMAIL SPEC 1 AL/TUESDAY AT 10
CO
36254
.99
LOVE LETTERS/TILL END TIME
DE 18699
• 69
BODY SOUL/AFTER U GONE
VI
25l 15
.99
ANYTHING/FROM ONE LOVE TO ANOTH
CO
36305
.99
WISH 1 COULD TELL u/sLOWLY
DE 18747
• 69
JINGLE BELLB/SANTA CLAUS
V 1
25145
.99
SEE MILLION PEOPLe/tHE COUNT
CO
36379
.99
TED HEATH MUSIC
sandamn/goodbye
VI
25215
.99
CAPRICE PAGANI Nl/lM HERE
CO
3641 I
.99
BAIA/OICKERY DOCK LONDON 1 73
.69
GOODY GOODY/BEEN SO LONG
VI
25245
.99
1 GOT IT BAD/POUND R 1 OGE
CO
3642 1
.99
SK ITCH HENDERSON
SWINGTIME ROCK 1 Es/FOUND NEW BABYVI
25355
.99
BUCKLE DOWN W 1 NSO CK 1 /LADY BIRD
CO
36429
.99
SWAN LAKE/CYNTHIAS IN LOVE
CP 255
.69
DOWN SOUTH campmset/pick SELF upvi
25387
.99
TREW KISS OCEAN/FULL MOON
CO
36590
.99
WOODY HERMAN
HERES LOVE IN YEEs/u TURNED TA8LVI
25391
.99
TAKE ME/lDAHO
CO
36613
.99
PUT RING ON F 1 NGER/BI JOU •
CO 36861
.99
dinah/moonglow
VI
25398
.99
DEARLY BELOVED/
CO
36641
.99
civilization/boulevard memories
CO 37885
.59
EXACTLY LIKE u/LOVE ME LEAVE ME
VI
25406
.99
6 FLATS UNFURNI SHED/WHY DONT U
CO
36652
.99
LOVE ME/GOT wdRLD ON STR NG
CO 36897
• 69
ST LOUIS 8l/(0DJb)cLAR MARM
V 1
2541 |
.99
solo flight/world waiting sun
CO
36684
.99
wildroot/atlanta ga
CO 36949
• 69
ALEX RAG BAND/RIFF IN RIT2
VI
25445
.99
FOUND NEW BABY/FLYING HOME
CO
36721
.99
surrender/good earth
CO 36985
.69
TAINT NO USE/GOODNIGHT LOVE
VI
25461
.99
HOW DEEP OCEAN/OLD FLAME
CO
36754
.99
MABEL MABEL/LINGER IN ARMS
CO 36995
• 59
BUGLE CALL RAG/aFTER U GONE
VI
25467
.99
FIESTA IN BL/CANT GIVE U ANY
ro
36755
.99
BLOW UP STROM/FAN IT
CO 37059
.59
TAINT NO USE/DO U MEAN IT
VI
25469
.99
AFTER U GONE/BODY SOUL
CO
36781
.99
HEAVEN KNOWS/NO DONT STOP
CO 37094
.59
whispering/tiger RAG
VI
25481
.99
GOTTA BE THIS THAT 1-2
CO
36813
.99
SIDEWALKS CUBA/STARS FELL ALABAMAC037I 97
• 59
GEE_ BUT SWELL/SMOKE DREAMS
V 1
25486
.99
SLIP DISC/OOMPH PHA PHA
CO
36817
.99
NO GREATER LOVe/cROSS ALLEY
CO 37289
• 59
SOMEBODY LOVES ME/JAM SESSION
V 1
25497
.99
symphony/guys COME BACK
CO
36874
.99
PANCHO MAX IM ILLIAn/C'AN U LOOK
CO 37355
• 59
VIBRAPHONE 8L/ST0MPIN SAVOY
V 1
25521
.99
RATTLE ROLL/ON ALAMO
CO
36988
.99
KEEN PEACHY/NEWS FOR U
CO 38213
• 59
CANT WE BE FRIENDS/PICK IN
V 1
25621
.99
LETS DO 1 T/THE EARL
OK
6474
.99
EDDIE HEYWOOD TRIO
ROLLEM/FRAID TO DREAM
V 1
25627
.99
THAT DID IT MA R 1 e/sOMEBODY ELSE
OK
6497
.99
continental/heywoods boog
V|2|2664
• 59
WHEN SLEEPY TIME SOUTH/cHANGES
VI
25634
.99
WINTER WEATHER/EVERYTHING 1 LOVEOK
65|6
.99
CHILICOTHE OHIO/PLYMOUTH ROCK
VI 202839
• 59
AVAL'lN/MAN 1 LOVE
VI
25644
.99
CLARINET ALA KING/hOW LONG THIS
OK
6544
.99
TINY HILL ORCH
SUGAR FOOT STOMP/l CANT G I VE U
VI
25678
.99
WHERE OR WHEN/BL IN NIGHT
OK
6553
.99
SIOUX CITY SUE/KEEP ON LOVIN
MER 2024
.59
MINNIE MOOCHER WEDD|n/bOB WHITE
V 1
25683
.99
LETS Gl VE LOVE CHA NCE/sOMEBODY
OK
6562
.99
ANGRY/COM IN HOME TO STAY
MER 6001
.59
LET THAT 8E LESSOn/h 1 TCHED WAGONVI
25708
.99
WHEN ROSES BLOOM AGAIn/lAMP MEM
OK
6580
.99
JOHNNY HODGES
LOCH lomond/camel HOP
V 1
25717
.99
STRING PEARLS/JERSEY BOUNCE
OK
6590
.99
SILVERY MOON GOLDEn/my DAY (v)
VO 3948
1 .69
U TOOK WORDS/MAMA THAT MOON
V 1
25721
.99
WHISTLE BL/LONELY MOMENTS
CP
374
.99
RENDEZVOUS RHYTHm/jEEPS BL (v)
VO 41 15
1 69
IF DREAMS COME TRUE/LIFE GOES PARV
25726
.99
MOONFACED/TAKES TIME
CP
376
.99
SWINGIN DELL/LOVE IN SWINGTIME
VO 4335
1 .79
ITS WONDERFUL/THAN X MEMORY
V 1
25727
.99
LONESOME RD/FINE OANDY
CP
394
.99
DOOJI wooji/miss. DREAMBOaT
VO 4849
1 .79
DONT BE THAT WAy/| OCL JUMP
VI
25792
.99
DIZZY FINGERS/TATTLE TALE
CP
439
.99
DANCE OF GOON/HOMETOWN BL
VO 4941
1 .99
SI NG SI NG SI NG 1-2
V 1
25796
.99
BABY HAVE U GOT LITTLe/h| SOPH 1 ECP
462
.99
junior hop/day DREAM
VI 202541
• 99
PLESE BE K 1 ND/TIP 1 T 1 N
VI
25814
.99
GONNA GET G 1 Rl/nAGA SAK 1
CP
15008
.99
HOLLYWOOD HUCKSTERS
THAT FEEL 1 N IS GONE/LULLABYE RHYTV
25827
.99
SWEET LOVELY/LOOKA THERE
CP
15020
.99
HAPPY BL/THEM THERE EYES
CP 40022
.59
1 LET SONO GO OUT/FEELING HIGH
V 1
25840
.99
EVERY MAN WOMAN/BEYOND SEA
CP
15030
.99
HOTSY TOTSY GANG
Y DID U MAKE ME FALL IN LOVE/DR
VI
25846
.39
WORLD WAITING SUNR 1 Se/sh 1 RLEY
CP
15069
.99
DIGA DIGA DO/nEW LOW DOWN (v)
BR 40|4
1.19
DONT WAKE HEART/SAVIN SELF
V 1
25867
.99
BLUES JUMPED UP/EVER TOLD
CP
|5| 1 1
.89
BETTY HUTTON
WHAT GOES ON HERE/LITTLE KISS T
VI
25878
.99
BOBBY HACKETT
WALKIN AWAY HEART/WHAT OID U PUTVI20I950
.59
WRAPPIN IT UP/MY MELANCHOLY BABYVI
25880
.99
POOR 8UTTERFLY/BL DISILLUSIONED
VO
4499
1 .99
OTHER END OF KISS/DONT TELL ME
VI 20201 2
.59
1 GOT DATE DREAM/COULD U PASS IN L026000
.99
STUFF LIKE THAT/bl SKIES
CP 1 88
,59
SALE
J. E. WARNER
SALE
BULL MOOSE JACKSON BUFFALO BEARCATS
Ml. r\ T\ r IW .H U O
BOBBY SHERWOOD
1 LOVE u/sNEAKY PETE KING
41 31
.59
CHEATIN ON SANDMAN
DE 1 836 1
.59
)
SHERWOOD FOREST/MY OPINION
CP
286
• 79
jazz AT PHILHARMONIC
^ 1 M 11 F QAMf* Trv/IC / D QtTTTw1 L-ITTV
J 1 liu MC oUlNia 1 LA^o/rnL 1 IT K 1 1 IT
Lit 1 OO I U
.59
ELKS PARADE/DONT KNOW WHY
CP
1 07
• 79
AFTER U GONE 1-2 DISC
800
.69
MFTRflNflUF Al 1 ^TAR^
Wit- I nUliUWC nLL Oln~0
DINAH SHORE
JESTERS
ALL STAR STRUT /k 1 NG PO RT ER ST
rn
.99
7 ;
DINAHS BL/RUNN 1 N WILD
V 1
27303
• 99
SAME OLD SHILLELAGH/«USH MUSH
DE
3269
.59
royal flush/i got rhythm
rn ^AilOO
uu joiyy
.99
SHOO FLY PIE/HERE 1 GO
CO
36943
• 59
EASIER AY/WHEN PATTY PLAYS HARPDE
3569
.59
^Ul FF T l nODA1WC"/lsJflT UCfTC: UIMP"
OWLL 1 LUKKH | FVL/ l\H 1 MC.L 1 3 OUlMC.
CO 37293
.99
LOST IN ARMS/OOIN WHAT COMES
CO
36976
•59
MOLLY ONE 1 L DOES REEL/l HAD HAT
DE
4|64
.59
MODERNA IRES
THRU 1000 DREAMS/RA 1 NEY NIGHT
CO
37 1 57
• 59
ELLA FITZGERALD AND LOUIS
JORDAN
0U~ HOUR^SAY IT WITH SLAP
rn 17R76
.59
AND SO TO BED/SOONER LATER
CO
37206
• 59
PETOOTIE PIE/STONE COLD DEAD
DE
23546
• 59
ESY MORALES
MY BEL AMI /ILL CLOSE EYES
CO
372 1 3
• 59
JOHNNY JOHNSTON
Easy does i t/ jungle fantasy
HO 1 VJVJ3Vj
.59
EGG AND l/wHO CARES PEOPLE SAY
CO
37278
• 59
AS LONG AS LIVE/ONE MORE DREAM
CP
228
.59
TALK TO UE BABY /VluT^" LAMENT
MAN I | | J
.59
MAMA DO 1 GOTTA/WHEN AM 1 GONNA
CO
3729 1
• 59
AUTUMN SERENADE/*^- 1 T SEE
CP
2|2
.59
IflF UflRR 1 flRPH
talahassee/natch
CO
373 87
• 59
FORGIVING u/LAZY COUNTRY SIDE
10076
.59
F LY MR FLY /o UT IN NIGHT
M AN 1 1 36
.59
IM SO RIGHT TONITE/WISH 1 DIDNT
CO
37506
• 59
DANNY KAYE
MAD MOON/THE SPIDER
ATL 859
.59
ALL MY LOVE/LITTLE BIT LONGER
CO
37555
•59
BLOOP BLEEP/ 1 GOT SONG
DE
23950
.69
Fl ( A MAT Lin RQF
KOKOMO INDIANA/u DO
CO
37587
• 59
SAMMY KAYE
NO LOVE NO NO T H | N /s HOO SHOO BAB
CP 43
C 1
.59
OUT TO FORGET/STANLEY STEAMER
CO
37850
•59
LOST JOB AGA 1 N/CHICKERY CHICK
Vl20l726
• 59
RfKF MURPHY
ALL 1 WANT TO KNOw/LAZY COUNTRY
CO
37884
• 59
WILLY KELLY ORCH
WHEN 1 GO TO OLD DREAm/| CANT
M A J 1 204
.59
GENTLEMAN IS DOPe/gOLDEN EARRINGCO
37932
59
WAIT FOR ME MARy/RIGHT KIND LOVEHI1
7049
.59
SWEET GA BROWN /HONEYSUCKLE ROSE
• 59
HOW SOON/FOOL TAT 1 AM
CO
37952
59
GENE KRUPA CHICAGOANS
NEW ORLEANS BLACKBIRDS
WR 1 TTr N IN STARS/MY GUITAR
CO
38162
.59
8L OF ISRAEL/3 LITTLE WORDS
DE
|8| 14
.99
baby/red head (v)
B8 661 1
• 99
A-RTjE SHAW ORCH
lover/boogie bl
CO
36986
.69
NEW ORLEANS RHYTHM KINGS
NIGHT AND DAY/GET OUT OF TOWN
MU
389
•69
ILL NEVER MAKE SAME/FUN FANCY
CO
37875
.69
TIN ROOF BL/jAZZ ME Bl(bOBCATs)
DE 3523
1 .99
STILL OF NIGHT/WHAT IS THIS TH
MU
390
.69
PLEASE DONT PLAY o/l MAY BE WR
CO
37968
.69
RED NICHOLS 5 PENNIES
HEART BELONGS TO OADDy/gOT U
M*f
392
• 69
BUTTERMILK SKY/WRONG SIDE U
C3
37073
.69
NOBODY KNOWS/SMILES
BR 7490
1.79
SPECIAL DELIVERY St/kEEPIN SELF
VI
26762
. 99
OLD LAMPLIGHTER/HUGGIN CHALK 1 N
CO
37095
.69
BY THE SHAL IMAR/SWEET GA BR0Wn(g)bR 4944
.99
IS IT TABOO/BEYOND BL HORIZON
VI 202939
• oy
pushin sand/happened HAWAAII
CO
37925
.69
shimmeshawabble/sheik araby
BR 80005
.99
FRANK SINATRA
NAPPY LAMARS LEVEE LOUNGERS
RAY NOBLE
GIRL 1 MARRYTHEY SAY ITS WONDER
CO
36975
MAMA INEZ/S UTH RAMPANT ST PARAOECPI 5050
.79
MIGHT AS WELL BE SPRING/FULL MO
CO 36893
.69
THIS DAY FORWARD/SOMETHING OLD
CO
36987
• 99
DAVE LAMBERT 1 BU"DY STEWART
VERY THOUGHT OF u/hE AR T ( LA WRENCE )C037542
.69
SOMEWHERE IN NIGHt/oNE LOVE
CO
37054
• 99
GUSSY g/pEHDIDO
KEY 657
.59
WONDER WHO KISSING HER/APRIL SH
CO 37544
.69
BEGIN BEGUINE/WHERE IS BESS
CO
37064
99
EDO IE LANG i JOE VENUT 1
THOSE TH MONEY CANT BUY/DANCE ATCO 37967
.69
WE DID LAST SUMMER/COFFEE SONG
CO
37089
99
AFTER U GONE/FAREWELL BL
BR
80077
.69
TWO LOVES HAVE l/siERRA MADRE
00 38026
.59
AMONG SOUVEN.IRS/SEPTEMBER SONG
CO
37161
99
FAREWELL 8L/S0MEDAY SWEETHEART
ME
12277
.99
FELL IN LOVE u/sAT NITE CENTRAL
CO 38080
.69
THIS is night/hushabye ISLAND
CO
37|93
• 99
JOHN LAURENZ
WHAT 00 1 AHE TO Do/l MAG 1 NA T 1 ON
CO 38158
.69
THATS HOW MUCH LOVE u/GAL 1 LOVECO
37231
•99
TREE IN MEADOW/TEA LEAVES
MEF
5|48
.59
RE3 NORVO NINE
SAME OLD DREAM/BROOKLYN BRIDGE
CO
37288
99
ELLIOT LAWRENCE
HOLLY RIDGE DRIVE/UNDER BLANKET
CP 15083
.59
.STARS REMEMBEr/xMAS DREAMING
CO
37809
QQ
«yy
THEY CANT CONVINCE ME/PUT DREAMSCO
37232
.59
GEORGE OLSON ORCH
CANT U SEE SELF/YOUR MY GAL
CO
37978
• 99
WILLI E/SPEAK 1 N ANGELS
C 0
37320
.59
CHICKERY CH ICk/kENTUCKY BABE
MA J 7|55
.59
BUT BEAUTIFUL/IF 1 HAD MATCH
CO
38053
QQ
oyy
YEARS GO BY/ECHO SAID NO
CO
37545
.59
A INT U GLAD u/GOOD TIME POLKA
MAJ 7|58
.59
WE JUST COULDNT SAY GBYe/nONE
CO
38129
•99
NEAR YOu/hOW LUCKY U ARE
C 0
37838
.59
CHARLIE PARKER
EVERYBODY LOVES SOMEBODy/jUST
CO
38225
• 99
BABY BOOGIE/MY HOW TIME GOES
CO
37954
.59
LOVER MAN/BE80P (mCGHEe)
Dl ALI007
.59
muggsy SPANIER ragtimers
shuny oshay/sugar beet
CO
38084
.59
now is time/billies BOUNCE
SAV 573
.59
SISTER KATE/RELAXIN TOURO
VI 400 139
i w<.y
JOLIA LEE AND BOYFRIENDS
JACK PARNELL QUARTET
JACK TEAGARDEN
THAT3 WHAT 1 LIKE/CRAZY WORLD
CB
15060
.59
SWEET LORRAINE/OL MAN REBOP LONDON 1 39
.59
DIRTY DOG/lTS SO GOOD
UHCA 40
1 .39
ALL 1 00 IS WORRY/wlSE GUY
CP
15106
.59
TONY PASTOR
TEN CATS AND MOUSE
when u smilin/king SIZED PAPA
CP
40082
.59
MAN AT DOOP/l WANTA SLEEP
CO 38178
.59
jaoa/3 ocl jump
CP
15010
• 69
PEGGY LEE
LES PAUL
MARTHA T ILTON
DONT KNOW N1UGH BOUT u/cANT SEE
CP
236
• 69
WHAT IS THIS THING LOVE/HI LLBILLYCP15070
• 59
GOODBYE NOw/EASY ST
DE
3843
79
ARENT U GLAD/ALL OVER NOW
CP
292
• 69
RAY PEARL ORCH
JUAN T IZOL ORCH
GOOD DAy/my KINO
:=
322
.69
PLEASE DONT TELL/FLAMIN M AM BULLETI 007
• 59
CANT HAVE CAKE/ZANZ 1 BAR
KEY 635
• 79
EVERYTHING MOVIN FAST/LOVIN TIMECP
343
.69
JACK PETTIS ORCH
CHARLIE VENTURA
SPEAK IN ANGELS/SWING LOW CHARIOTCP
375
.69
BAG 0 BL/FRESHMAN HOP (v)
VI 21973
1 .29
JACKPOT/CHARLI E COMES ON
SAV 663
• 79
OLD LOVE MINE/LONG TRAIN
CP
445
.59
FLIP PHILLIPS
EUPHORIA/lF 1 HAD U SITTIN
1N504
79
DEED 1 DO/dONT SMOKE IN BED
CP
10120
.59
pae°i loma/skys raper
SG 28106
.59
c.v. jam/out U 80
BW
37
"7Q
• /y
manana/ll DRESSEO UP BROKEN
c p
15022
.59
MEL POWELL
BLUE CHANPAGNE/SYNTHESIS
NA
9036
79
JOHNNY LONG
OLD BLACK MA G 1 c/A NYTH I NG GOES
CP 15056
.59
PAUL WHITEMAN RHYTHM BOYS
hawaaian war chant/evenin PARIS
SG
15120
.59
LOUIS PRIMA ORCH
WHAT PRICE LYRI Cs/mONDAY ON
VI
2 1302
1 .99
BERT LOWN ORCH
SAY IT WITH SLAP
VI 202401
.59
PAUL WHITEMAN ORCH
TO WHOM IT MAY CONCERn/bl AGAIN
VI
22603
.99
ANGEL INA/ROB IN HOOD
MAJ 10 16
.59
THE CALI NDA/BABYS BL(SHILK) (v )
HM
J 5384
• 99
LUMBERJACKS
BOYD RAE3URM
MAKE BELIEVE/OL MAN RIVER
HMV 5471
1 .29
WHOOPEE STOMP/SHY VIOLETS (v)
RO
3540
.09
BOYD MEETS STRAVINSKY/) ONLY
JE 10002
.89
LONELY EYES/WISTFUL BLUE (v-
)VI
20418
• 79
LUNCEFORD
DUCK WADDLE/PRELUDE DAWN
JE 10004
.89
MUDDY WATER/AINT SHE SWEET(sHIL
)VI
20508
♦ 99
MARGIE/lIKE SHIP AT SEA
DE
1617
.69
MARCH OF BOYDS/SUWERTIME
GU III
.89
IM COM 1 N VA/ONCE AGAIN
VI
20751
•99
ART LUND
BL PRELUDe/bOYDS NEST
MUS 490
.89
COLLETTE/bROKEN HEARTED
VI
20757
• 89
WHAT DO IN NEW YRS EVE/NAUGHTY
V 3*
10046
.59
THE RAVENS
MY BL HEAVEN/ALL BY OWNSOME
VI
20828
99
LONESOME OLD TOWN/SWEET AS U
MGM 10072
.59
SUMMERT 1 ViE/wR 1 TE ME LETTER
NA 9038
.59
MY BL HEAVEN (RM Ch)(v)
VI
20828
79
FRANK LUTHER
CHUY REYES
FIVE STEP/WONT BE LONG
VI
20883
99
OLD FOLKS HOME/l DREAM JEANNIE
oc
1997
.59
RHYTHM RHAPSODY/RUMBA B00G
CP 15067
.59
changes/mary (bix)- (g)
VI
21 103
OQ
»yy
LOW BACK car/rosetralle
DE
2298
. 59
TEX RlTTER
OLD MAN RIVER/MAKE BELIEVE
VI
2l2i8
1 »39
LEN MCCALL ORCH
XMAS CAROL 3Y OLD CORALL/HAVE TO PAYCP223
.59
SUNSHINE/BACK IN OWN BACK YD
VI
21240
i * i y
PHILADELPHIA BOOGIE/GBYE SWEET
2OCE2055
.59
GIL ROD IN BOYS
MABELLE/mARCH MUSKETEERS
VI
213)5
1 • 1 9
JIMMY MC HUGH BOSNIANS (cr)
ITS SO GOOD/LOVABLE SWEET
BA 6483
1 .39
AFRAID OF u/mY PET
VI
21389
1 1 9
baby/dont hold everything(mason
lHA
795
.99
HARRY ROY BAND
LOUI SI ANA/D IXIE DAWN
VI
21438
I 1 9
JOHNNY MERCER
BARRELHOUSE BOOG 1 E/STEPP 1 N OUT
LOND 1 16
.59
COOT IE WILLIAMS
ACCENTUATE POSITIVE
CP
130
.59
ANDY RUSSELL
PIGEONS AND P 1 P ERs/jUB 1 LEST A ( CR ) VO
3922
59
BANOy/| GOTTA SEE BABY
CP
183
.59
amor/day after forever
CP 156
.59
JUICE HEAD BABY/SALT LAKE CITy(
237
.59
PERSONALITy/|F 1 KNEW THEN
CP
230
.59
ROYAL MUSIC MAKERS
CLAUDE THORNHILL
LIL AUGIE/aN'PLACE 1 HANG HAT
CP
254
• 59
MY LOVER/THERLL BE SOMEBODY
OK 4|303
.59
JUST ABOUT THIS TIME/ROBBINS
CO
38136
• 59
MY SUGAR SO REFINED/UGLY CHILE
CP
268
.59
EDDIE SAFRANSK 1
DONT CALL IT LOVe/nEVER LOVED
CO
37979
.59
WINTER WONDERLAND/GAL CALICO
CP
316
.59
SAFRANTI c/BASE MOOD
ATLANT I C85 1 .59
u not so easy/just plain LOVE
CO
37558
.59
MOVIE tonite/i do like U
CP
367
.59
SAM AND HENRY (EARLY AM OS 4 ANDY )
GET THE BL/THERES A SMALL
CO
37498
.59
HOORAY FOR LOVE/THOUSAND ISL
CP
15028
.59
ROLL THE BONES/BUY 1 NG INSURANCE
vi 20375
2.49
WOULD U BELIEVE ME/wE KNEW IT
CO
37325
.59
34
SALE BILL MULL SALE
OAK STREET KAHNAPOL I S, N.C.
RECORDS WILL BE SHIPPED PARCEL POST COD, INSURED. AND WILL BE PACKED CAREFULLY. MINIMUM ORDER $ 2.00. CASH SENT WITH ORDERS
PLEASE ADD 50^ FOR POSTAGE AND INSURANCE. NO CHARGE FOR PACKING. SATISFACTORY DEALINGS GUARANTEED.
B ING CROSBY
BING CROSBY
BOB CROSBY
BOOTS SAOOLEs/rED AILS SUNSET DE
616
E
.19
MY BUD' Y/ONLY WANT BUDDY
3736
E
.64
EM3RACABLE YOU/SHORTNIN BREAD DE 327l
V
.79
SILENT N 1 GHT/ADES TE FIDEL IS DE
.621
E
.88
PARADISE ISLE/ALOHA
3797
E
.69
2 DREAMS MET/DOWN ARGENTINE WAY
3404
E
.59
EMPTY saddles/roundup lullabye
870V
.69
U AND l/BRAHMS LULLABYE
3840
V
.54
FORGOT ME/GONE NOT FORGOTTEN
34| 7
E
.44
aloha/song islands
880
N
.99
BE HONEST WITH Me/gBYE DARLIN
3856
V
.49
GOT 1 TRACK MIND/D KNOW U
3434
E
.54
HAWAIAN PARADISE/SOUTH SEA 1 SL
886
V
.64
OLD KENTUCKY HOME/TIL REVEILE
3886
V
.49
CHICK EE CHICK/BL ECHOS
3605
E
.54
SHOE SHINE BOY/HOUSE JACK BUILT
905
E
.39
WHO CALLS/PALE MOON
3887
E
.64
SUNSET AT SEA/BIG NOISE WINETKA
361 1
E
.99
FINE ROMANCE/WAY U LOOK TON 1 TE
907
E
.39
RIDIN DOWN CANYON/u ARE MY SUNSH 1 NE3952E
.64
CHI CKACHI CKABOOM/l Yl Yl Yl
3623
E
.62
penny heaven/lets CALL HEART
947
E
.49
NO TE IMPORTE/u MOMENT OF
5965
N
.79
SWEET GENEVIERE/jNTIL U FALL
3668
E
.49
SWEET IS WORD/HAVE SO LITTLE
1 1 84
E
.39
BIRTH OF BL/WAITER AND THE
3970
E
.74
FLAMINGO. FARAWAY MUSIC
3752
N
.64
ONE ROSE/SENTIMENTAL AND
1201
/
.69
AINT GOT NOBODy/wh 1 STLERS MA
3971
E
.74
WELL WELL/MUCH MORE LOVELY
3762
E
.72
NEVER IN MILLION/LITTLE HULA
I2l0
V
.69
DREAM GIRL OF/sWEETHEAR T
4000
E
.74
call it anythin/something 1 DREAME038I5E
.69
LITTLE BUCKAROO/WHAT |S LOVE
1234
E
.19
DAYDREAM 1 NG/cLEMENT 1 NE
4033
E
.74
do u care/will u still be mine
3860
V
.39
peckin/just LATELY
1 301
E
.49
DO YOU CARE/HUMPTY HEART
4064
E
.74
ELMERS TUNE/ANGELS CAME
3929
V
.44
ALL 1 WANT T.O Do/nATURAL
1376
N
.54
SHEPARO SEREN/ANNI VERSARY WALTZ
4065
E
.69
2 in love/sinner kissed angel
4009
E
.54
BOB WHITE/BASIN ST BL
1483
V
.64
HOW 1 MISS U TONIGHT/DEAR LITTLE
B0Y4|52E .69
TRUSTING IN u/fROM ONE LOVE TO
4027
E
.54
SAIL ALONG/WHEN U DREAM
|5|8
E
.74
DEEP HEART TEXAs/lETS ALL MEET
4|62
V
.49
gay ranchero /something NEW
4023
E
.49
GOLD MINE SKY/|N THE MISSION
1565
V
.64
REMEMBER HAWAIl/siNG SONG OF
4|73
V
.49
weekend havana/imaginery love
4049
V
.29
PLACE PARADISE/DANCING STARS
1616
E
.99
miss u/bl IN NIGHT
4|83
E
.84
TAKE IT EASY/ONLY DREAM
4137
E
1.19
SENTIMENTAL SIDe/hEART TALK IN
1648
V
.64
MOONLIGHT COCK TA 1 L/DONT WANT WALK
4|84
V
.49
ZOOT SU 1 T/BARRELHOUSE BESSIE
4169
V
.49
MOON MAN1KURA/THIS IS NIGHT
1649
V
.79
skylark/blue SHADOWS
4193
E
.74
DONT SIT UNDER/lLL KEEP THE
4290
N
.89
DONT BE THAT WAy/l|TTLE LADY MAKE
1794
E
.19
LONE STAR TRAIL/ALONG SANTA FE
4201
N
1.19
DEAR OLD DONEGAL/YOUR DARLING
4305
V
.49
LITTLE ANGEl/hAWA 1 AN CHIMES
1845
N
.19
MANDY IS T/LAMPL 1 GHTER SERENADE
4249
V
.49
POOR u/last call LOVE
43 16
E
.39
BL SERENADE/POCKET FULL OF
1933
V
.69
DRIFTING DREAMLAND/THE SINGING
4339
E
.74
OVER THERE/SMILE SMILE SMILE
4368
E
.97
LAUGH AND CALL/DONT LET MOON
1934
E
.99
OLD OAKEN BUCKET/CONCH 1 TA
4343
V
.49
SEMPER PARATUS/arMY AIR CORPS
4374
E
.99
MEXACAL 1 ROSE/SILVER SAGE
2001
E
.69
HELLO MOM/BOY IN KHAKI
4367
E
.69
MARINES HYMN/WHERE DO WE GO FROM
4385
E
.89
MY REVERIE/OLO FOLKS
2|23
E
.99
BOB CROSBY BOBCATS
ANCHORS AWE IGH/CA ISSONS
4395
N
. 99
SUMMERTIME/u MUST HAVE BEEN
2|47
E
.19
SIGH NO MORE LAD 1 ES/BLOW W 1 NTERDE
2663
E
.99
VULTEE SPEC IAL/RUSS IAN SAILORS 0ANCE4397E
.79
1 HAVE EYES/FUNNY OLD HILL
2201
V
.69
WASHINGTON LEE SWING/PERUNA
2789
V
.79
BIG TOm/(bOBCATS )
4403
V
.54
LONELY TRIl/bLOOM IS ON
2237
E
.79
ALL 0VER/ADI06 AMERICANA
3l04
V
.79
blqesurreal/black ZEPHYR
44|5
E
.49
JUST KIO NAMED/LONESOME RD
2257
N
.19
ILL COME BACK/TAKE ME BACK
3576
V
.64
WOODY HERMAN FOUR CHIPS
CRIED FOR u/LETS TIE THE OLD
2273
E
.49
NOT H 1 N TO LIVE FOR/lLL KEEP THIN
3808
E
.89
ELSI E/YARDBIRD SHUFFLE DE 4353
E
.99
TWEEN A KISS/MY MELANCHOLY
2289
E
.19
END WORLD/DONT CARE ANYMORE
4380
N
.49
WOODY HERMAN ORCH
SWEETHEARTS/SWEET MYSTERY LIFE
23|5
E
.39
PRECIOUS MEMORY/THOSE THINGS 1 CANT4398N
.99
CASBAH BL/FAREWELL BL DE 2582
E
1 .39
EAST SIDE HEAVEN/SING SONG
2359
N
.29
MAKES NO NEVER MIND/NEVER CRY
4402
N
.89
LOVE CAP U/6TILL BB
2658
E
.59
DEEP PURPLE/STARDUST
2374
E
.79
TOLD U SO/BROKE HEART
4422
N
.89
JUMPIN BL/BIG MORNING
2664
N
1.29
poor rover/sir ECHO
2385
E
.99
BOB CROSBY
MIDNIGHT ECHOS/COMING VA
28)7
.99
SURR NDER DEAR AlUST BE TRUE
2535
V
.64
GOODY GOODY/WHAT NAME SONG DE
227
V
.99
CARELESS/SMARTY PANTS
2955
V
.49
GOD BLESS AMERICA/STAR SPANGLED
2400
V
.64
MARY HAD LITTLE/GUESS WHO
836
E
1 .29
BLUE WORLD/WOULD JA M 1 NP
2970
V
.49
IF 1 HAD MY WAY/w|STLEING W 1 LD
2448
V
.64
THRU COURTESY LOVE/KINGDOM FOR
903
E
.74
EAST SIDE KICK/lSLE MAY
2993
V
.59
IDA SWEET AS/EL RANCH0 GRANDE
2494
V
.69
FOGGY DAY/ri|CE WORK
1539
V
.64
GIVE LITTLE WH 1 STLe/peACH TREE ST 3008
N
1.19
NEIGHBORS IN SKY/START DAY
2626
E
. 1 1
SHOULD I care/ive STRANGENEW
1555
E
.79
BESSIES BL/MUSIC BY MOON
3380
E
1.19
APPLE FOR TEACHER/STILL BB
2640
V
.49
LETS GIVE L VE/THIS NEVER
1 566
E
.74
DREAM VALLEy/waTEVER HA= 'EN TO U
3461
E
.49
MAN AND DREAM/GO FLY KITE
2641
E
.87
BE GOOD SPORT/SWEET SOMEONE
1576
E
.74
LOVE LIFE/YOUR THE ONE
3528
E
.49
GIRL OF DREAMs/wHATS NEW
2671
E
.99
THRILL LI FET IME/EVERYD Y HOLIDAY
!580
E
.69
BL FLAME/FURT RPPERS BALL
3643
E
1.19
HOME ON RANGE/MI SSOURI WALTZ
2676
N
.39
EASIER SAID THAn/|N SHADE
1658
V
.69
SLEEPY SEREN/EVERYTHING HAPPENS
3693
E
.49
ISLE GOLDEN DREAMs/TO U SwEETH
2775
E
.88
just strollin/wonderful
1670
N
1.19
UNTIL TOMORROw/GBYE NOW
3745
V
.49
C 1 Rl 3IRI Bl N/YODELI N JIVE
2800
E
.08
BE Kl ND/s IMPLY ADORE U
1693
E
.59
DANCING DAPK/TIME CHANGES EVERY TH 1 375l
V
.49
WRAP TROUBLE s/BWENN 18 AND 19
2948
E
.49
boy in harlem/how CAN u FORGET
1732
E
.99
DONT CRY CHER lE/LOVLI NESS LO E
3874
N
.54
TOO ROMANTI c/MOON WILLOW
2998
E
.29
YOUR LOVELY/WHAT HAVE U GOT
2 142
E
.54
THERE GOES SONG AGAIn/u CALL MADNE3894
E
.54
SWEET PA TWO PIPER/ONE MORE CH
2999
E
.49
2 SLEEPY PEOPLE/WAIT TIL HEART
2 150
E
.59
LOVE ME L 1 LITLE/PR 1 SONER LOVE
3955
E
.59
DEVIL MAY CARE/SINGING HILLS
3064
E
.87
HURRY HOME/DEEP IN DREAM
2151
E
.59
CONCERTO l/LOVE U
3973
E
.59
DREAM JEANNIE/THE GIRL
3098
E
.09
DONT WORRY ABOUT/WHAT GOES UP
2402
E
.89
FOOLISH HEART/lD LOVE U
4016
E
.49
MARC HI Ta/6 1 ERR A SUE
3 I 33
V
.64
STARNGE ENCHANTMENT/SENTIMENTAL
2415
E
.99
BY U BY O/M 1 SALOU
4024
E
.49
APRIL PLAYED F 1 DDLE/HAVENT TIME
3 1 6 !
E
.99
NEVER KNEW HEAVEN/ROSE OF
2464
V
.54
DONT BE BL/THREE WYA TO
4076
E
.59
MEET SUN HALFWAy/pESIMISTIC
3 162
E
.99
1 WERE SURE/LADYS IN LOVE
2465
E
.59
TIS AUTUMN/l GUESS ILL BE ON WAY
4095
E
.49
CYNTHIa/wA 1 TING SHIPS
3257
E
.89
SMOKEY MARY/SOUTH RAMP ST
2569
r
1 .49
FOOLED/u CANT HOLD MEMORY
4188
V
.39
BALLAD AMERICANS 1-2
3297
N
.49
U CRAZY MOON/MELANCHOLY MOOD
2652
E
l.'39
EVEN STEVEN/LAMPL IGHTERS
4253
V
.39
SONG 0L9 HAWAII /TRADE WINDS
3299
V
.59
OVER RAINBOw/u AND YOUR LOVE
2657
E
.59
GOT TO GET ST JOE/slNGING BANDS
4372
E
.99
ONLY FOREVER/wHEN MOON COMES
3300
E
.69
CHERRY/DAY IN DAY OUT
2703
V
.49
TOMMY DORSEY
THATS FOR ME/RHYTHM RIVER
3309
E
.89
LILACS IN RAIN/WHAT USED TO
2763
E
.59
TEA ON TERRACE/lN DANCING MOODVI
25476
E
.99
FOUND MILLION $/CANT GET
332 1
E
.79
CAN 1 HELP IT/LITTLE MAN WHO WASNT2776
E
.74
GOONA GOO/^IY HEART COULD ONLY
25508
E
.99
WHEN BL OF NITE/THE
3354
N
.19
LAST Nl GHT/THOUGHT ABOUT U
281 2
E
.69
LITTLE BAMBOO BRIDGe/hOW COULD U
25513
E
.89
PRAIRIE LULLABYE/LEGEND OLD CALIF
3388
N
.94
ANSWER IS LOVE/HAPPY BIRTHDAY
2824
E
.59
MELODY IN/WHO BUY VIOLETS
25519
E
.99
MADE ME LOVE u/EVER THINK
3423
E
.74
ANDRY/WHOLE NEW THING
2839
V
.49
SONG india/marie
25523
N
.79
please/u ARE THE ONE
3450
E
.87
LITTLE RED FOX/PINCH ME
2924
V
.59
JAMMIN/TURN OFF MOON
25553
V
.69
lulj cm i i ncT ii /*> nr m ii i riMr riMr
whlpj I Luol u/wntir« u i_unij lupiij
3477
E
74
angel/starl ight hour
2978
E
.99
BL DANUBE/BLACK EYES
25556
E
.69
DARLING NELL IE/SW ING LOW
3540
N
.49
GOTTA GET H0Me/|VE GOT EYES
2991
V
.69
mountain music/good MORNIN
25581
V
.69
ID KNOW U ANYWHERE/ALONG SANTA
3565
N
.97
NEW YOU DARL IN/wiND AND THE
301 8
V
.49
STRANGERS IN DARk/haPPY BIPTHDAY
25596
E
.74
LONESTAR TRA IL/NI GHTINGALE 6ANG
3584
E
.74
SHAKE DOWN STARS/LEANIN ON OLD
3027
V
.49
YOURE PRECIOUS TO Me/sTOLEN MELO
25603
V
.69
NEW SAN ANTONIO ROSE/MAKES NO DIF
3590
N
.99
run rabbit/up chimney
3039
V
.59
U AND 1 KNOW/GOODBYE JONAH
25648
V
.69
APPLE TEACHER/SCHOOL DAYS
3602
N 1
.29
ANGEL DISGUISE/MOMENTS MOON
3070
E
.59
OLD FLAME/lF U WERE SOMEONE
25649
E
.83
WHERE RIVER SHANON/DID YOUR
3609
N
.69
SAY IT/MY MY
3079
E
.89
NIGHT DAY/SMOKE GETS IN YOUR
25657
N
.79
DAY IS DONE/CHAPEL IN VALLEY
361 4
E
.69
CECELIA/THEY OUGHT WRITE BOOK
3090
E
.89
ONCE IN WHILE/lF ITS LAST
25636
E
.69
ALWAYS u/LUCKY PEOPLE
3636
E
.69
BELIEVING/THIS IS BEGINNING
3103
E
.89
ONE WHO LOVES u/LITTLE WHITE
25733
E
.83
BRIDS FEATHER/DANGEROUS
3637
E
.69
DANCERS OILY/WHEN BL OF NIGHT
3l38
E
1.49
JUST SIMPLE MELODY/LITTLE WHITE
25750
E
.99
CAMPTOWN RACES/DOLORES
3644
E
.54
sympathy/fools RUSH IN
3154
e
1 .49
LET ME LOOi /u COULDNT BE
25766
E
.84
YES INDEED/TEA FOR TWO
3689
E
.64
speakeasy/im nobodys baby
3 179
V
.99
PROMISE ME/SHINE ON HARVEST
25780
E
.96
35
SALE
BILL MULL
OAK STREET KANNAPOL I S . N.C.
SALE
TOMMY DORSEY
DOWN KITH LOVE/MOAN IN IN MORN I N 25692 E
MOONLIGHT PURPLE SAGE/GOODN I GHT 25803 E
DEED I DO/YEA RN IN 258 I 5 V
WHATLL I DO/OH HOW I HATE TO 25824 E
cowboy brooklyn/ill DREAM TONITE 25832 V
25866 E
26054 N
26062 V
26226 E
26401 V
26433 E
26335 E
26386 N
26115 N
ALL THRU NIGHT/MuSIC MAESTRO
BOOGIE WOOGIE/wEARY BL
RAINBOW ROUND MOOn/sTOM ° I N
MIDDLE DREAM/GROW SWEETER
THAT LUCKY FELLOW /ALL THINGS U
careless/darn THAT DREAM
HAVING ANY FUn/gNITE BEAUTIFUL
SO MANY TIMES/BABY WHAT ELSE
ANGELS DIRTY/TWEEN KISS
HAWAIAN WAR CHANT/M I DN I GHT TRAIL 26 I 26 E
THIS Nl GHT/HONOLULU 26 I 72 V
ILL BE SEEING u/POLKA DOTS 26539 E I
marcheta/ill NEVER SMILE AGAIN 26628 V
ALL THIS HEA VEN/M HER E DO U KEEP 26653 E I
ONLY FOREVER/TRADE WINDS 26666 V 1
I COULD MAKE U/THE WORLD IS IN 267|7 E I
stardust/swanee RIVER 27233 V
WHATCHA KNOW JOE/EVERYTH HAP 27359 V
SEEANADE TO SPOT/ANOTHER ONE 27374 V
LETS GET AWAY 1-2 27377 E
I LOVE IT SO/u B ETC HA LIFE 27392 E
YES INDEED/STILL BE MINE 2742 1 V
KISS BOYS GOODBYE/NEVER LET DAY 27461 E I
LOVE ME AS 1 AM/9 OLD MEN 27483 E I
THI6 LOVE MINE/NEIANI 27508 V
LOOSE LID SPECI AL/GUESS ILL HAVE 27526 N
SOLID OL MAN/50 MILLION 276)7 E
SKUNK SONG 1-2 27621 E
WHO CAN I TURN TO/T I NK OF U 27701 E
HOW DO U DO/IT ISNT DREAM 277|0 N
HOW ABOUT u/w INTER WEATHER 27749 N I
what is this thing/love sends 27782 v
NOT SO QUIET/lLL TAKE TALLULAH 27869 N I
SNOOTY CUT IE/MOONLIGHT ON 27876 E I
WELL GET IT/SOMEWHERE VOICE IS 27887 N
HES MY GUY/LIGHT CANDLE 27941 N I
MANOY MAKE UP MINO/sTARTED OVER 20|522E I
NIGHT WE CALLED/ANOTHER ONE OF 20|533N
ILL BE SEEING u/lETS PRETEND 20|574E I
TWO IN LOVE/WHISPERING 20|597N I
MORE AND MORE/DRIVING ME CRAZY 20|6|4N
I SHOULD CARE/PLEASE DONT SAY NO 20I625E
nevada/thats IT 20|7|0N
U CAME ALONG/HONG KONG BL 20l 722N
chloe/at FAT MANS 20I737N
TOMMY DORSEY CLAMBAKE SEVEN
ALAS I 8ABY/GYP6Y FROM 25577 V
STARDUST ON M00n/hAV|NG W0NDERFUL2563O E
ELLA FITZGERALD SAVOY ElQHT
MY TURN NOW/BEI MIR BIS DU OE I 596
SAVING SELF FOR u/wE CANT GO I 846
WOE IS ME/6TRICTLY DIXIE 2202
DONT WORRY 80UT ME/ONCE IS ENOUGH 245 1
if u ever change mind/if anything 248i
live and learn/if thats what
ELLA FITZGERALD ORCH
thats all brother/want wai ter
gonna lose gal/wubba dolly
moonray/betcha nickle
imagination/sugar BL
takin chance love/cabin sky
5 ocl whistle/so long
DEEDLE DE OUm/gULF COAST BL
3 LITTLE WORDS/ONE I LOVE
HELLO MA/WISHFUL THINKING
KEEP COOL FOOL/NO NOTHIN
im thrilled/make L VE TO ME
SOMEBODY LOVES ME/U DONT KNOW
COME BACK CRYING/GETTING MIGHTY
ELLA FITZGERALD FOUR KEYS
HES MY G<JY/4 LEAF CLOVER IN
MUST HAVE THAT MAn/hEART AND I
2581
2628 N
28 16
2904
2078
2490
3420
3324
2608
3612
3754
4073
4082
4315
18472 N
18530 N
.74
.74
.69
.74
.54
.99
.79
.69
.74
.64
.99
.89
.89
.99
.69
.69
.39
.69
.49
. 1 1
.49
.49
.89
.69
.99
.74
.49
.14
.19
.89
.79
.74
.69
.99
.99
.29
.89
.49
.39
.79
.19
.39
.79
.19
.19
.79
.74
.79
.79
.79
.99
.99
.14
.12
. I I
.10
.10
.09
.99
.89
.99
.74
.69
.63
.19
.19
.74
.54
.84
.79
.49
.69
.69
GENE KRUPA
SWANEE RIVER/JEANNIE LIGHT BR OWN B R8387 E I
maybe/never SMILE AGAIN OK 5643 E
LOVE LIES/ONLY FOREVER 5686 V
MOON OVER BURMA /BREAK I NG HEART 58|4 E
2 DREAMS/DOWN ARGENTINE 5826 E
KNOW U ANYWHERE/LIKE FELLA 5836 E
SOMEWHERE/DANCED DYNAMITE 5859 N
SOMEWHERE/DANCED DYNAMITE 5859 N
U ARE THE ONE/lSNT THAT JU6T 5935 N
THERELL BE CHANGES/THESE THINGS 6021 N
ALL REET/GEORGIA 6 1 I 8 E
LETS GET AWAY/JUST LITTLE BIT 6l 30 E
THINGS I LOVE/LITTLE MAN WITH 6 1 43 E
WHERE U ARE/TAKE I T TO U 6 1 87 E
TIL revelle/cowboy SEREN 6266 V
GREEN EYES/THROW I NG PEBBLES 6222 E
HAVE U CHANGED/GOT LETTER 6306 N
RANCHO PILLOW/U WERE THERE 6376 N
AMOUR/WATCH BIRDIES 6400 N
WALLS KEEP TALK I Ng/cOME BE LOVE 6438 N
2 IN LOVE/THIS TIME DREAMS 6447 N
THINK OF u/ANNIVERSARY WALTZ 6465 E
DAY DREAMING/TROPICAL MAGIC 65 I 7 N
MARINES HYMN/CA I SSONS GO ROLL 6582 N I
NIGHT NIGHTS/F IGHTING DOUG MC ARTHUR6635N
LIKE RECOGNIZE/ALL DRESSED CO 35237 E
I WALKED I N/l REMEMBER SUSAN 36768 N
KNOCK ME KISS/DELIVER TO TENN 36591 N
JIMMY DORSEY
ROMANCE RUNS/GOOD FOR NOTHING DE 2294 E
DEEP purple/fate 2295 V
ALWAYS MOON/GET ALONG WITHOUT 2322 E
POURED HEART/OLD FASHIONED 2553 V
ri gamarole/swamp FIRE 29l8 E I
BREEZE AND I /LITTLE CURLY HAIR 3 1 50 V
perfidia/contrasts 3198 V
dolomite/hep Tl HOOTIE 33 1 2 V
MARIEELNA/GREEN EYES 3698 V
BE FAIR/ROSE AND PRAYER 38|2 V
ISLE PINES/TIME WAS 3839 E
jim/new SHADE BL 3963 E
WASNT IT U/MOONLIGHT MASQUERADE 399l E
TROPICAL MAG I c/HAPPENED HAWAII 4034 V
ANY BONDS T0DAY/(ANDREW6 SIST) 4044 V
DAYDREAM/MAG I C MAGNOLIA 4047 E
TOMORROW SERENADE/|M GLAD U 4|97 E
TAINT NO GOOD 1-2 4264 E
ME AND MEL I NDA/ABSENT MINDED MOON 4263 E
THREW KISS/SLEEPY LAGOON 4304 E
FULL MOON/u ARE BUT DREAM 43 1 2 E
GLENN MILLER
MOONLIGHT SER/SUNRISE SER BB |02|4 V
LITTLE BROWN JUG/PAVANNE 10286 E
imagination/say SISI I 06 1 2 E
ALONG SANTA Fe/yES DARLING 10.970 E 1
PRA I R I ELAND LULLA BYE/MEMORY ROSE I I 0 1 0 N I
WHEN MAN DEAD/LITTLE OL CHURCH 11069 N I
DONT CRY CHERIE/SWEETER THAN I I 1 83 V
BELOW EQUATOR/COWBOYSEREN 11235 E
kiss polka/happened SUN VALLEY 11263 V
im thrilled/from ONE LOVE ANOTH 11287 E
MAN IN MOON/MAMA MARIA 11299 E
ELMERS TUNE/DEL I LAH I I 274 E I
DREAMS ON ME/SAYS WHO I|3|5 E
DREAMS V I LLE OHIO/paPA NICOLINI I I 342 E
BABY MINE/EVERYTHING I L VE 11365 E
HUMPTY DUMPTy/tHIS NO LAUGHING 11369 E
WERE COUPLE IN CASTLE/wHITE CLIFFII397 N I
MOONLIGHT COCKTA Il/haPPY IN LOVE I 1 401 E I
FOOLED/HAPPENED HAWAII I|4|6 N I
ANGELS MERCY/PRE6 BALL 11429 N
SHIP OFF OLD BLOCK/LETS HAVE AN0THI|450E
ON OLD ASSEMBLY L I NE/jOHNNY 11480 E
DONT SIT UNDER APPLE TREe/lAMPL I 1 474 E I
ITS MILITARY SECRET/SHELL ALWAYS 11493 E
AMERICAN PATROL/LET ME READ YOVI 27873 N I
KNIT ONE/LULLABYE RAIN 27894 E
.49
.99
.49
.44
.44
.59
.54
.54
.49
.59
.39
.59
.59
.74
.39
.89
.49
.49
.59
.69
.49
.54
.49
.19
.49
.54
.79
.79
.49
.49
.54
.39
.19
.49
.99
.99
.99
.54
.54
.54
.54
.39
.39
.74
.54
.99
.74
.69
.54
.69
.99
.99
■ I I
.19
.39
.69
.99
.69
.99
.99
. I I
.99
.99
.89
.99
.1 I
.19
. I I
.99
.99
.99
.1 I
.99
.14
.99
GLENN MILLER
LONG TALL MAMA/CONCHITA 27943 V
DEARLY BELOVED/OLD FASHIONED 27953 V
MOONLIGHT BECOMES u/MOONLIGHT M0020I520N I
RAINBOW RHAPSODY/MUST BE JELLY 20I546E
LONG TIME NO SEE/HERE WE GO AGAIN20|563N
BASKET WEAVER MAN. LITTLE ST IN 20I585N
HELPLESS/WHEN JOHNNY COMES 20|600N
TEDDY POWELL
KICKIN CONGA ROUND/GBYE MAMA BB I|4|2 N
ALL THRU NIGHT/HOW DO U DO 11427 E
ALL THOSE WONDERFUL/THERE WONT I 1 499 E
GOT MOON IN MY/SOMEBODY THINK 11520 E
MIDSUMMER MA T I NEE/CA REFUL HEART 11554 E
TAPESTRY IN Bl/lOVE IS SONG 11556 E
HELPLESs/wHY DONT U FALL 11575 E
MA RCHBTOYS/PERS IAN MARKET DE 2906 E
someday/pussy IN CORBER 294| E
THE SPHINX/FLEA ON SPREE 2985 E
OUTSIDE THAT/TAKE LETTER 32 1 8 V
FEATHER MERCHANTS/TEDDY BEAR 3234 V
ART IE SHAW
INDIAN LOVE CALl/bEGIN BEGUINEBB 7746 N ,
ANY OLD TIME/BACK BAY SHUFFLE 7754 N I,
Nl GHTMARE/nON STOP FLIGHT 7875 N ,
ROOM WITH VIEW/THEY SAY 10075 E
rosalie/lover COME BACK 1 0 1 26 E ,
DELIGHTFUL DELER I Um/wANT MY SH 1 0 I 34 E ,
PROSSCHl/lN LOVE HONORABLE 1 0 1 38 V ,
u so indifferent/snug AS BUG 102 1 5 V ,
COMES LOVE/CANT AFFORD 10324 V ,
GO FLY KITE/MAN AND DREAM 10347 E ,
frenesi/ad IOS MARCHITA VI 26542 N ,
STARDUST/TEMPTAT I ON 27230 N ,
WHISPERS IN NIGHT/FORGOT ABOUT ME27256 N ,
LOVE ME LITTLE/DONT TAKELOBE 27509 E ,
BL IN NIGHT/THIS TIME DREAM 27609 E ,
K I DO IN AROUND/SOMETIMES I FEEL 27806 N
DEUCES WILD/BROADWAY ROSE 27838 V ,
2 IN I bl/(vallee) 201526V ,
now we know/(martin) 20i537n
ANY OLD TIME/HEART STOOD STILL 20 1 575n ,
ALL THINGS U ARe/(D0RSEy) 20I56IN ,
HAD BE u/DONTTAKE LOVE 20|593N ,
LADY DAY/LETS TAKE LONG WAY 20|620N ,
THATS FOR Me/yOLANDE 20|7|6N ,
BEGIN GEGUINE 1-2 44000IN ,
calipso/beau NITE HOTCHKISS 2731 5 V ,
PRELUDE C MAJOR/WHAT IS THERE TO 27432 N ,
BLUES 1-2 27411 E I,
GA ON MIND/WHU SHOULDNT I 27499 E ,
1 1 LL BRADLEY
SCRUB ME MAMA/THERE I GO CO 35743 E I ,
3 RING RAGOUT/SHOULD HAVE KNOWN 35871 E I,
HIGH WINDY HILL/LOVE OF LIFE 359 1 2 E ,
TALKING TO WIND/WHAT YA HEAR 26052 E ,
ITS SQUARE BUT ROCKs/PRA I R I ELAND 360|4 V .
CALL ME TAX I /SHADOWS IN SAND 36082 V ,
TEA FOR 2/THINK OF ME 36|0| N I,
M I SUNDERSTOOd/whEN U AND I WERE 36 I 82 N ,
CITY CALLED HEAVEN/TIRED WAITING 36297 E ,
JACK JILL/DONT LET JULIA 36372 E ,
STOP AND ASK/APRIL PARIS 36401 E ,
THREE BEEs/l THINK OF U 36444 N I.
GUESS BE ON WAY/SEEING U AGAIN 36547 E ,
(TRY I N THE BOOGIE BL/jINGLE BELLBB 70 1 3 N .
SUGAR HILL BOOG I e/l I GHTN I NG CELEB70l4 V ,
EDITH WILSON & JOHNNY DUNNS CP- IG J.B.
CHANGES MADE/GOTTA BE CO |4066 E I ,
VAMPN LIZA JANE/NERVOUS BL 3479 E I,
MAMMY IM THINKIN OF u/lfAKE IT 3634 N I,
,'49
,49
36
AUCTION
AUCTION
NORMAN L SHEPARD
3037 GRACELAMD AVE., INDIANAPOLIS, INDIANA
RECORDS SHIPPED RRX COD. NO PAKING CHARGE
OVER % 5.00. UNDER $ 5.00. WINNERS NOTIFIED. CONDITIONS GUARANTEED. LARGEST
3RDERS
GIVEN PREFERENCE. MINIMUM BID
$ I.OO. ACCEPTABLE BID ON ENTIRE LIST OF 3ERIGANS.
LA rKL oo
;harges prepaio.
LOU IS ARMSTRONG
GLENN MILLER (BERIGAN)
putney DANDRIDGE ORCH
U DRIVING ME CRAZY/PEANUT VENDOR
OK
41478
V
SOLO HOP /s PANISH TOWN
JJOcI N
WHEN 1 GROW TOO OLD/cHASING SHAD
vo
2982 E
SWEET SAV SUE/BLACK BLUE
PA
1573
N
RED NORV 0 SEPTET (BERIGAN)
DORSEY BROS
BY AND By/(bASIE)
DE
3946
E
NIGHT IS BL/alL VY HEART
3026 E
THE WORDS IN HEARt/lULLABYE BROADWAYDE 370 N
ALL STAR ORCH (GOODMAN, MCPART)
rfnmy r.nnni/AN (afri^anI
NIGHT WIND /d 1 N A H
OE
376n/e
DEEP ARMS LOVE/CLOSE MY EYES
hm v 22i97n
K ! NG PORTER ''s OM ETIMES IM HAPPY
ILL NEVER SAY NEVER/EVERY LITTLE
DE
480 V
COUNT BASIE ORCH
BALLAD IN B l/gE T RHYT HM IN FEET
?Sf)Rl N
C J\Jo | N
rLuu! CINuLIOn ^ Lfl N b ^
MANY SEND LIST) IF 1 COULD BE/TAXI
VO
4748
N
J 1 N'GLE BELLS /SANTA CLAUS
25 1 45 N
PUfl D1 f^TllW M n[W /ll/AMT 1 1 TTI c* i n
l^nH HL CO lUPi DHOT/WhNI LI | | LL LU
VO
I5093E/V
JUMP FOR ME/l2 ST RAG
OK
4886
N
ALL STAR BAND (8ERIGAN)
ROY ELDR 1 DGE
BABY DONT TELL ME/ROCKABYE BASIE
OK
4747
N
TUC- D| 1 ICC /m I IC I A| 1
26 1 44 n
AFTER U GONE/LAZY RIVER GOES
VO
3458 N
GEORGIANA/BL IN DARK
DE
1682
N
GENE GIFFORD ORCH (BERIGAN)
HIGH SOCIETY/MUSKRAT RAMBLE
MW
10091 N
EVERY TUB/NOW WILL U BE GOOD
DE
1728
N
DIZZY GLIDe/sOUARE FACE
VI
c JUDJ N
DUKE ELLINGTON
ROY BARGY (TRUMP, CLAR GUIT)
NEW ORLEANS TW 1 ST /NOTH IN BUT BL
BB
1 0704 N
LIVE LOVE/COCK TAILS FOR 2
HMV 24617V
NOT ALL RICE CH I N A /{ PAMONA )
HMV 2445
N
HAL KEMP (BERIGAN)
ROCKIN RHYTHM/|2 ST RAG (jb)
BR
6038 E
BUNNY BERIGAN BOYS
In |l\uo MH U L. run l_Uvt_/ inH lo RnA I
4307- v
JAZZ CONVULTI ONS/jOLLY WOG
BR
4705 E
SWING MR CHARLIE/BEEN SO LONG
VO
31 79
E
TROUBLES OVER/GYPSY
BR
TOMMY DORSEY ORCH
LITTLF BIT LATER On/bEEN SO LONG
VO
3224
N
i noMT ra or /i ovaqi r
1 UUIy 1 I/HMl/ LUVH3LL
3973 E
KISS BOYS GOODBYE/NEVER LET DAY
VI
2746 in/e
WHEN IM WITH u/BUT DEFINITELY
VO
3253E/N
1 K 1 SS/ ( K A T ZM A N ORCH)
42 1 6v /e
PICKED FLOWER/PLEASE BELIEVE ME^
V 1
25217 E
BILLIE HOLDAY (FEAT BERIGAN)
WASH L FE /h 1 G H ON HI LL
BR
4078 E
CARELESS/DARN THAT DREAM
V 1
26433N/E
summertime/billies BL
VO
3288
E
BUNNY BERIGAN ORCH
stardust/swanee RIVER
VI
27233 N
DID 1 REMEMBER/NO REGRETS
VO
3276G/V
DIXIELANO SHUFf/lETS DO IT
7856 N
LETS GET AWAY/ 1-2
VI
27377 E
FINE ROMANCE/CANT PRETEND
VO
3333P/V
GONNA KISS SELF /& 1 G BOY B L
7847 N
LOOK IN AROUND/MR GHOST GOES
VI
25509 N
1-2 BUTTON/LETS CALL HEART
VO
3334
N
GONNA GOo/BL LOU
BR
7832 E
BENNY GOODMAN
DICK MC DONOUGH ORCH (FEA BERIGAN)
IM COM IN VA/BLUES
DE
DIXIELAND BAND/HUNKADOLA
HMV 25009E/N
OLD FLAME NEVER/u AND 1 KNOW
ME
7 1 I 1 I v/e
TOOK AOVANTAGE ME/cHICKEN WAFFLES
|8n7 n
THESE FOOLSH THI NGs/sENTIMENTAL
VI
25351 N
WITH THEE 1 SWING/DANCING MOOD
ME
70l07p/v
CAUSE BABY SAYS ITS SO /c ANT PUN
CI
25502 E
PLEASE BE KIND/TIPITIN
VI
25814 E
GOONA GOo/cAlvT LOSE LONG 1 NG/
Ml
70312
G
MAHOGANY HALL/CHOP 1 NS GHOST
25622 N
YANKEE DOODLE NEVER WENt/nO OTHER HMV25I 93 E
DARDANELLA/DEV IL DEEP BL SEA
ME
70204
E
STRANGE LONL 1 NES S/M 1 LE S APART
VI
c- JDyVJ N
NEVER DO ANYTHIN/HOUSE HOP
VI
25350 N
BULLOCK (BERIGAN)
LOVE MERRY GO ROUND/SWANEE RIVER
25588 N
SWEET SUE/mELANCHOLY BABY
V 1
25473 N
YOu/TA INT NO USE
ME
60601
N
DOWN STREAM/SOPH SWING
V 1
258 1 1 N
LOCH LOMOND/CAMEL HOP
VI
257|7 E
SING OLD FASH 1 ONED/GONNA SIT RIGHT
M E
603 10
N
LETS HAVE ANOTHER/ROSES DEC
?Sfi 1 ^n /r
stardust/sta ROUST
VI
25320 E
HAVE U EVER BEEN LlNELy/sTORMY
MC
1 2680V /e
NEVER FEL T B ETT ER /OLD DES ER TED FA
VI
28858 E
ALEX RAG 8AND/RIFFIN RITZ
V 1
25445 N
TRUMBAUER (BERIGAN)
ran Tinr/pcr riit roriT
t DO 1 1 UL/utt D U 1 uMLM 1
VI
FEEL 1 N HIGH HAPPy/lET SONG QO OUT VI
25840 N
BL MOON/DOWN TO UNCLE BILLS
HMV 24812 E
WALKIN '"'OG/lN MIST
25(23 n
DONT BE THAT WAY/ONE OCL JUMP
VI
25792 N
troubled/plantation ODS
i/l 24834 n
FATHER DEAR FATHER/LET THIS BE
?AC|A I m
TIGER RAG/wi SPERI NG
VI
254f,l N
DORSEY BROS. (BERIGAN)
CANDLELtGHTS/lN DARK
26l22 N
PECKIN/CANT WE BE FRIENDS
HMV2562I E—
MOOD INDIGO/lOUISIApA HAY RIDE
BR
6470f/e
VA U A n IT UftU 1 M /D/ITTv /"" A If C"
il HAL* 11 vuM 1 N/rM 1 It L,AKl
?ft i Qfiw /r
DEAROLO SOUTHLAND/l COULD BE WITHBB
10458 N
ROLL ON MISS. /SHOUT SISTER
BR
6109
E
IM t ITTI C ' da M I cu T n III M 1 C AWT UP D
1 L.I 1 IL-H OrHII 1 On 1 UWPly' L Mil 1 H t-l_ r
?fi i S^r /n
CHRISTOPHER COLUMBUs/dEV 1 L DEEP
BB
10460 E
CHANGES MADE/DEVIL AND DEEP
BR
62 1 9
r-
RUSCIAN LULLA8YE/( LOMB A RDO )
£-OLAJ 1 N
CANT WE BE F"R 1 ENDs/si NG ME SWINQ
BB
10462 N
SENTIMENTAL r,EN TL EM A n/dOWN ON DELTA BR
3695
E
Dl_ H U r. DUI 1 UM / 1 HLC3
CO I N
CRIED FOR u/wHERE OR WHEN
BB
1 1456 E
WHATYA DO TO ME/SUGAR TO TEA
BR
6083V/E
ia.77 lie ni /ruAMf rc u Anr
JM( £ Ml DL/UnHrJljCO (VIHUL.
26244 N
MARGIE/FAREWELL BL
BB
10973 E
IT DONT MEAN THINg/mINNIE MOOCHERS
VO
4546
N
SIMPLE SWEET/WONT TELL SOUL
V 1
CUKJO^J Pi
JERSEY BOUNCE/STRING PEARLS
OK
6590V /e
DORSEY BROS (MILDRED BAILEY
1 BERIGAN
PRINCE FELLOw/why DESNT SOMEBODY
VI
2fi055 N
COLEMAN HAY K INS CRCH
CANT MAKE MOST ANYTH|n/SHES FUNKY
9
7542
V
ROCKIN ROLLERS/BUTTON BUTTON
VI
£-\J\j II N
FUNNY THAT WAy/mEET DR FOO
BB
10477 N
IS THAT RELIG 1 ON/HARLEM LULLABYE
BR
6558
E
SOBBIN BL/CRIED FOR U
V 1
26 1 |6 *E
BOUNCIN BEAN/WEN DAY IS DONE
BB
10693 N
LAZY BONES/CABIN IN PINES
BR
6584G/V
DAVENPORT BL/FLASHES
V 1
26 1 2 1 Z
netchas dream/chicago
DE
661 E
DORSEY BROS (BERIGAN)
DEED 1 DO/ JELLY ROLL BL
VI
26 1 1 3 N
LIONEL HAMPTON
MOOD HOLLYWOOD/SH IM SHAM SH|Mf."Y
CO
36066
N
AY AY AY/A INT SHE SWEET
VI
26753 N
jivin vibes/stomp
V 1
25535 N
GETTIN SENT IMENTAL/SI NGS ING
BR
6409
E
LITTLE GATE SPECIAL/GANG BUSTERS
V 1
tojjn N
CONFESS 1 N/DRUM STOMP
VI
25658 N
MOOD HOLLYWOOo/sHIM SHAM SHIMMY
f 1 R
6537
E
LIVERY STABLE BL/HIGH SOCIETY
VI
CDUDO L
4©5 times/found new baby
VI
26447 N
MILDRED ALLEY CATS (BERIGAN)
IM HAPPY DARLING/lMAGE OF U
VI
?SSR7\/ /f
ERSK INE HAWKINS
WILLOW tree/honeysuckle Pi SE
DE
|8|0|
N
SOMEWHERE SOMEBODY ELSE/LITTLE TH
VI
25868 E
LOVE U TRULY/BL SEA
BB
1 |4|9 n
roWNHEARTED BL SQUEEZE ME
DE
|8| 09
N
MAMA 1 WANNA MAKe/hAVE U EVER
V 1
25877 E
HOT PLATTER/WEDDING BL
B8
10364 N
ADRIAN ROLL 1 N 1 'BERIGAN)
LADY FIFTH AVE/ALL GOD CHILLUN
VI
25609 E
AFTER HOURS/SONG WANDERER
BB
10879 N
SOMEBODY LOVES ME/DAVENPORT BL
OF
359
N
1 LOVE PLAY LOVE SCENe/nEW ROMANCEVI
25688 E
FLETCHER HENDERSON
AH BUT ITS LOVE/GOTTA GET UP GO
ME
12756
E -
PEG 0 MY HEART/NIGHT SONG
V 1
27258 N
RIFF IN/GRAND TERRACE RHYTHM
V 1
25339 E
DREAM ON/lF 1 HAD SOMEBODY
ME
12766
E
SWEET VARSITY SUe/wHY TALK LOVE
V 1
C- JOO / N
U CAN DEPEND ON ME/j|MTOWN BL
VI
25379 N
SITTIN ON LOG/RAISED HAT
ME
12855
V
JAM SESSION VICTOR 1-2 (2 COPIES)
VI
LIMEHOUSE BL/WRAPPIN IT UP
DE
157 N
SAVAGE SERENADE/SWEET MADNESS
ME
12829
N
ALL DARK PEOPLE BORN/( T .DORSEY )
V 1
£ JJJ / E/V
GLENN MILLER ORCH
SITTIN ON 8ACKYARD/BY WATERFALL
OR
2756
V
HI HO/PI ANO TUNER MAN
VI
25766 N
GUESS ILL HAVE DREAm/a TRAIN
BB
1 1 187 N
AH BUT IS IT LOVE/GOTTA GET UP GO
OR
2736
E
study brown/caravan
VI
25653 E
SONG VOLGA BOATMEn/cHAPEL VALLEY
BB
1 1 029 N
ILL BE FAITHFUL/BELOVED
PE
159 19
N
HA DM T ANYONE TILl/aZURE
V 1
OWD N
OUR LOVE AFFAIR/CALL CANYON
BB
10845 V
song surrender/coffee in morning
PE
15816
N
cant get started/prisoners SONG
VI
36208 E
ARTIE SHAW'
u got eberything/so goodbye
PE
15831
N
<",0T IT BAD/WHITE CLIFFS DOVER
EL
5006 E
SUMMIT RIDGE DRIVE/CROSS HEART
VI
26763 N
who wlks in/got jitters
PE
15377
V
CAB CALLOWAY ORCH
SHADOWS/l DODNT KNOW WHAT TIME
BB
10502 N
RED MC KENZIE (BERIGAN)
congo/my gal mezzine
VO
3825 N
DID U EVER CHANGE MINd/u GROW SWEETER|0|95 N
murder in moonlight/lets swing it
DE
507
N
AD DE DEY/RATAMCUE
VO
4700 N
MISCELANEOUS SINGLES
DOUBLE TROUBLE/THATS WHAT U THINK
DE
521
f.
r COL IN WITH U/BUGLE BL
VO
40 1 9n/e
FREDDY MARTIN-WASHBOARD BL
BB
7378 N
MONDAY IN MANHATTAN/EVERY NOW THEN
DE
587
N
PICKIN CABBAGE/PARADIDDLE
VO
5467 N
MUGGSY-DI PPERMOUTH
BB
10506 N
GA ROCKIN CHA 1 R/wOULDNT 1 BE WONDERDE
609
N
MANHATTAN JAm/pECKIN
VO
3830 E
VALLEE-ST LOUIS BL
VI
22321 E
DONT KNOW NAME/DONT COUNT KISSES
DE
721
E
BENNY CARTER
VARSITY SEVEN-SHAKE IT BREAK IT
VS
8179 N
MOON ROSE/wHEN LOVE IS GONE
OE
734
I i
ALL OF ME/VERY THOUGHT OF U
BB
10962 N
WEEMS-MISS ANNABELLE LEE
VI
20846 N
SING OLO FASHIONED/lM BUILDING UP
DE
667v/e
BL LIGHT BL/lM COM IN VA
V 1
26221 E
OZZIE NELSON-LATIN MANHATTAN
N
CANT GET STARTED/PULL RABBIT
DE
700
N
BOB CROSBY BOBCATS
RAY NOBLE— LETS SWING IT
VI
25070 E
BUD FREEMAN (BERIGAN)
U MY darling/hung my head
DE
4346 E
RED NICHOLS-WAIL WINDS
BB
10408 N
TILLIES DOWNTOWN/BUZZARD
DE
1 3 1 |2
N
LOOPIN LOOp/lNSPIRATON
DE
2209 N
JONES SMITH-EVEN IN/SHOE 6HINE BOY VO
3441 E
WHAT IS THERE TO SAy/kEEP SMILING
DE
1 e 1 1 3
N
muskrat ramble/dixieland shuffle
DE
3338 N
HINES-PLEASE BE KIND
VO
4008 N
37
AUCTION
AUCTION
AL KURTZ
6333 RICHARDSON ST.,
DETROIT II,
MICH IGAN
WINNING 3 IDS COT 1 F 1 EC . NO PACK 1 KG
CHARGES.
BERT Ambrose
DUKE ELLINGTON
JOHNNY GUARANERI
Plain jane/early mormn bl
DE
2667 E
E ST LOUIS/BLACK BEAUTY
BB
6430 E
BODY SOUL/NOBODY SWEETHEART
MA J
1032 E+
M ILDRED BA 1 LEY
SERENADE SWEDEN/SGT CHY
CO
352|4 E
EXERCISE IN SWING/BASiE ENGLISH
SAV
509 E
DOWNHEARTED BL/SQUEEZE ME
DE
|8|09 N
lonely coed/bouncing BOUYJNCY
CO
3524 0 E
SALUTE FATS/THESE FOOLISH THINGS
SAV
5| 1 E
willow tree/honeysuckle ROSE
DE
1 81 08 N
DAYBREAK EXPRESs/DEAfi SOUTHLAND
VI
24501 E+
JOHNNY HODGES
PETE BROUN
CREOLE LOVE CALL/BLACK TAN
VI
24861 N
GOOD QUEEN BESS/THATS BL
BB CI 1 P 1 V N
PETES IDEa/jIMS IDEA
SE
|20|? E
DON T GET A ROUND MUCh/cOTTON TAIL
VI
26610 E
SQUATTY ROO/THINGS AINT WHAT
BB
1 |447e/v
ocean kotion/tempo jump
DE
1 B 1 1 S E
MORNING GLORY/MACK THE BEAR
VI
26536 N
swingin aupus/like SHIP
VO
47l0 E
3ARNEY BIGARD
CROSS TRACK. CHLOE
VI
27235 v
DANCE GOONS/HOMETOWN BL
VO
4941 E
cravan/stompy JONES
VR
5|5 E
TAKE A TRAIN/SIDEWALKS NY
V 1
27380 E
GOOD GAL BL/BAVCY STRUT
VO
5170 E
CHU BERRY
MOON M 1 ST/C JAM BL
VI
27856 v+
EDMUND HALL
body scul/starcust
cm:
i502n/e
PERD IDO/RA 1 NCHECK
VI
27380 E
PROFOUNDLY BL/CELESTIAL EXP
BN
17 E
CHARLIE EAR NET
JOHNNY COME LATELy/mAIN STEM
V 1
20I556E
JAMVIN IN 4/E HALL BL
BN
18 E
cherokee/record WAV
BBC 103 73 E+-
BBICK FLEAGLE
SMOOTHE SA IL ING/ROMPIN 44
BN
30 E
REDSKIN RUMSa/sOUTHERN FRIED
B8
10944 E
SLIGHT CASE SHAKES/SAME OLD SHEAV
HRS 1005 E+
SEE 1 N PED/BL INTERVAL
BN
3| E
dukes idea/counts idea
BB
10453 E
LEONARD FEATHER
face/conti NENTAL
C0NT60I0 E+
lum^y/phyllyse
BB
1 |0|4 F+
ESQUIRE Bl/bOUNCE
CMS 547 e
LIONEL HAMPTON
DON BY AS
GLEN GRAY
jumpin jive/memories of u
V 1
26304 E
tree easy/bass c jam
SAV
524 E
ROBIN HOOD/THIS HEART VINE
D E
18639 E+
STOMPOLOGY/SW 1 NG 1 N GUITARS
V 1
25601 E+
COUNT 8AS:E
SONNY GREER
GIN FOR XMAS/HEEBIE JEEBIES
VI
26423 E
BOOGIE WOOGI E/exaCTLY LIKE U
DE
1252 E+
BEGGARS BL/SAT MIGHT FUNCT (rc)
VO
3012 E
FLETCHER HENDERSON
1 OCL JUMP/jOHNS IDEA
DE
i363v/n
TEDDY GRACE
MUSCLE SHOALS Bl/hOUSTON BL
CO
164 N
JUMPIN »ocos ioe/dark RAPTURE
DC
22|2 E
LONESOMEDT GAl/bys l-ACK ROOM
D E
3428 E
SING u simners/laughin BOY BL
VO
4|25 N
good morning/doggin around
DE
|Ei25e/n
LOVE ME LEAVE ME/CRAZY BL
DE
2050 N
QUEER NOTIONS/OLD FASHIONED LOVE
DE
1 8 1 69 N
Sugar bl/bugle bl
CO
36709 N
BENNY GOODMAN
ST LOUIS SHUFFLE/VARIETY STOMP
BB
10246 N
ROYAL GARDEN Bl/hOW LONG
CO
367i 0 E
BL YOUR flat/my FLAT
HMV 8P72 N
TALK OF TOWN/NAGASAKI
DE
|8253n/e
FEATHER MERCHANT/a INT IT TRUTH
CO
36845 E
FARWELL BL/MARGIE
BB
10973 E+-
NIGHT LIFE/lVE GOT TO SING
DE
|6254n/e
TAPS M ILLER/jIMVY BL
CO
30C3I E+
COKEY/MUSIC HALL RAG
CO
30 1 1 ^+
HORACE HENDERSON
woplc mao/a-2
OK
5316 E+
LETS DANCE/BOY MEETS HORN
CO
35301 E
KITTY UK TOAST/OH BOY
VO
5433 E+
upcaoway/ji tters
OK
6095 E
HONEYSUCKLE ROSE/SPRING SONG
CO
353 1 9 E
OLD MAM RIVER/HAPPY FEET
DE
|8| 72e/n
FEED IN THE BEAN/l DC MEAN U
OK
6|80 E-l-
oomph pha pha/slipped DISC
CO
368|7e/n
MINNIE MOOCHEp/lM CRAZY RHYTHM
DE
|8|7| N
FIESTA IN 8L/TAKE ME BACK
OK
6440 E
NEW KIMDA LOVE/CLOSE PAGES
CO
36787' N
SPIKE HUGHES
1 OCL JUMp/mI NME MOOCHER
OK
6634 E+
superman/more u KNOW
CO
55002 N
araeesque/nocturne
DE
181 70 N
DESTINATION. KC/6 CATS AND PRINCE
KN
1303 E
king porter/sometimes im happy
VI
25090 N
J.C. HIGOINBOTHAM
BUNNY BERIGAN
BASIN ST EL/WHEN BUDDHA SMILES
V 1
25258 N
DUTCH TREAT/PENNY FOR BL
HRC
1 0 1 3 F
U CANT RUN/CAUSE MY BABY
VI
25562 E
FEEL 1 N HIGH./LET SONG
V 1
25840 E
h 1 GGYS Bl/goLD DIGGERS BL
CO
3601 1 N
LADE FROM FIFTH AVE./aLL GODS
V 1
25609 E
BL ROOM/MAKE BELIEVE
VI
26088 N
JIMMY JONES
frank ie johnny/mother goose(rc)
VI
256i6v/e
never knew/sweet SUE
VI
26089e/n
MUDDY MISS/OLD JUICE ON LOOSE
HRS
ICKM N
EBB TIDE/GREAT MEET FRIEND
VI
25664 E
ANGELS SING/SENT FOR U YESTERDAY
V 1
26170 E
JONAH JONES
SWEET VARSITY SUE/wHY TALK LOVE
V 1
25667 E
SING SING SING
VI
36205 E+
JUST LIKE BUTTERFLY/LUST FOR LICKSKN
6|4 E
HI HO/PIANO TUNER
VI
25776 E
FOUNF NEW BABy/sW 1 NGT IME ROCKIES
VI
25355 E+
J. P. JOHNSON
• AC KY DU6T/»EARIN of green
VI
25872e/n
CHRIS columbus/get HAPPY
VI
25279 E+
VICTORY STRIDE/BL Ml ZZ
BN
32 E
FATHER DEAR FATHEr/lET THIS BE *A
V 1
26061 E
BODY SOUL/AFTER U GONE
VI
25 1 1 5 E+
JOYMEMT 1 N/AFTER U GONE
BN
33 E
CANDLE LIGHT/lN DARK
V 1
261 22 N
DINAH/MOON GLOW
V 1
2539e E+
ILLINOIS JACQUET
LITTLE GATE SPECIAL/GAN BUSTERS
VI
26338 E
EXACTI Y LIKE U/LOVE ME LEAVE ME
VI
254C6 E*
BOTTOMS UP/GHOST CHANCE
AP
756 E
STUDY in brown/caravan
VI
25653 E+
SWEET SUE/MELANCHOLY BABY
VI
25473 E
HARRY JAMES
FRANK 1 E JOHNNY/CANT GET STARTED
V 1
20I500E
STOMPIN SAVOy/viBRAPHONE BL
VI
25521 e/n
woo woo/boo woo
CO
35958 E
JELLY POLL BL/blACK BOTTOM
VI
20I502E+
CAMEL HOp/LOCH LCMOND
VI
2571 7 v+
JAZZ AT PHILH ARMONIC
HIGH SOCIETY/DEED 1 DO
VI
201 503 E
ONE OCL JUMP/DONT BE THAT WAY
VI
25792 E
HOW HIGH MOON 1-2
AS
453 E+-
PRISONERS SONG/CANT GET STARTED
VI
36208 E
SWEET LOPFA INE/D 1 ZZY SPELLS
VI
25822 N
3/LADY BE GOOD |
AS
453 E
■ILL BRADLEY
BUMBLE BEE ST/c 1 H i B 1 R 1 E 1 N
VI
26087 E
LADY BE GOOD 3-4
AS
453 F
LONG AS LIVE/IN SPANISH TOWN
CO
35566 E
swonderful/must HAVE THAT MAN
VI
26090 N
ANDY K IRK
LOVE NEST/'cOMIN VA
CO
35345 F.
OPUS -i/sWEET GA BROWN
V 1
26091 n/e
ILL BE HAPPy/dUMKIN DOUGHNUT
DE
2723 N
SOUTHPAW SERENADE/BOUNCE ME BR
CO
35963 E
FLYIM HOME/ROSE ROOM
CO
35354 E
FINE MELL0w/l5 MIN INTERMISSION
DE
3282 E
LITTLE ICKEY/BREAK IT TO ME
CO
35922 E
SOFT WINDS /MEMORIES OF U
CO
35320 E
LITTLE JOE/OVERHAND
DE
3385 E
CELERY STALKS/DOWN RO PIECE
CO
35707r/n
ON ALAMO/GONE WITH DRAFT
CO
35938 N
BIG TIME CHIRP/47 ST JIVE
DE
4042 E
Scramble 2/rock by boogie
CO
35732 E+
AIR MAIL SPECIAL/TUES TEN
CO
36254 N
WORRIED LIFE/BOOGIE WOOGIE COCK
DE
438IE/V
ch icago rhythm kings
im here/caprice PAGANINI
CO
364| 1 E+
COUNT /l 2 ST RAG
DE
1.8123 E+
ISNT ANY LIMIT/SHE SHALL HAVE MU
BB
6400 N
AFTER U GONE/DARK STRUTTERS
CO
36699 N
J IHIMY LUNCEFORD
BENNY CARTER
POOR butterfly/grand SLAM
CO
36722 E+
TIME;, WASTIm/wELL ALL RIGHT
VO
4887 E+-
TA- IN MY TIME/COCKTAILS 2
BB
10998 E
WANG WANG WANG/LONG AS LIVE
CO
36723 N
LUNCEFORD SPEC/WHAM
VO
5326 N
BL 1 NTERLUOE/ONCE UPON TIME
DE
18255 N
earl/lets DO IT
OK
6474 e+
PUT IT AWAY/UPTOWN BL
VO
5362 N
SUNNY DUNHAM
LIMEHOUSE BL/lF 1 HAD U
OK
6486 E+
BL IN GROOVE/AWFUL MOOD
VO
5395V/E
MEMORIES OF u/AS WE WALK
BB
1 1 2«.Q N
CLARINET ALA KING/HOW LONG
OK
6544 E
TIME TO JUMP /PRETTY EYES
VO
5430V /e
TOMMY DORSEY
STRING PEARLS/JERSEY BOUNCE
OK
6590 E
chocolate/battle AX
DE
3807 E
yes ioeed/will u STILL
VI
27421 E
CHINA SOY/LADY BE GOOD
V 1
25333 N
HIGH SPPOOk/yARDB 1 RD MAZURKA
DE
4032 E
WELL GET It/S"MEWHERE VOICE
V 1
27887 E
BUGLE CALL RAg/aFTER U GONE
VI
25467 E
BL IN NIGHT 1-2
DE
4|25 E
SERENADE TO SPOt/aNOTHER ONE
V 1
27374 E+
TIGER RAG/wi SPERI NG
VI
2540 ie/n
BACK DOOR STUFF 1-2
DE
18594 E
COCKTAILS FOR 2/OLD BLACK JOE
VI
26145 E
RUNNIN WILD/TEA FOR 2
V 1
25529n/e
WHITE heat/jazznocracy
88
57i3v/e
WE A c Y 8L/B00GIE WOOGIE
VI
26054 E+
ROLLEm/aFRA ID TO DREAM
VI
25627 E
GLENN MILLER
l iebestraum/mendolsons SPRING SONG
VI
25539 E
AVALDN/MAN 1 LOVE
V 1
25644E/N
PAVANNe/lI TTtJE BROWN JUG
BB
|0286e/v
SWEET SUE/TIN ROOF BL
VI
25l05v/t
TIL TOM SPECIAL/GONE DRAFT
CO
35404E/V
SLIPHORN JIVE/GUESS ILL GO BACK
BB
1 03 1 7f./n
THANKS FOR EVERYTH 1 KG/DO U REMEMBERVI
26 1 1 9 E+
SHEIK/POOR BUTTERFLY
CO
35466 E
in mood/want TO BE HAPPY
BB
|04|6 V
SWING HI &H/SWI NGT IME HARLFM
VI
27249 E
WHOLLY CATS/ROYAL GARCEN BL
CO
35810 E+
JOHNSON RAG/WRITTEN IN STARS
BB
|C498e/n
BEALE ST IIl/sTOP LOOK LISTEN
VI
36207 E
BREAKFAST FEUD/FOUND NEW BABY
CO
36039 E
TUXEDO JUNCT ION/DANNY BOY
BB
10612 E
GEORGIA WASHBOARD STOMPERS
SCARECROW/TIME ON HANDS
CO
36|80e/n
ANVIL CHORUS 1-2
BB
10982 E
TIGER RAG/FA RWELL dl
DE
7003 V
BEI MIR BIS DU SCHON 1-2
DUB N
spirit willing/air MINDED
BB
1 1 1 35 N
EVERY6 DY L VES i)ABy/h|GH 60C 1 ETY
DE
7002 N
PICKARIB 1-2
DUB N
LONG TALL MAMA/CONCH 1 TA
VI
27943 E-l-
38
AUCTION
JOHN D. REID
6032 BELMONT AVENUE ,
PLEASE USE NUMBERS. NO COD SHIPMENTS EXCEPT TO KNOWN CUSTOMERS
PACKING CHARGE ON ORDERS UNDER t 5.00.
AUCTION
CINCINNAT I 24, OHIO
WINNERS l.'CT I F I ED AND RECORDS SHIPPED ON RECEIPT OF REMITTANCE.
25#
RED ALLEN
1. BELIEVE IT BELOVED/lTS WRITTEN' PE |607| G
RETi AND MIFFS STOMPERS
2. deli rium/davenport vi 20778 v+
ALL STAR ORCH
3. PA I NBOW round/she di DNT
4. steppin along/too wonderful
ALABAMA WASHBOARD STOMPERS
V I 2 1667 E
VI 22 1 04 V
5. ALL THE WORLD/IF U DONT VO |689 G
6. V0UR LUCKY/l WANT LITTLE GIRL VO |586 G
BALT I MORE BELLHOPS
7. CCMIN goin/hot ANXIOUS CO 2449 G+
BLUE GRASS FOOTWARf.ERS
8. HOW COULD l/sENORITA HA 206 G
9. OLD FOLKS SHUFF/CHARLFSTON BOU HA 248 G
RUBE BLOOM BAYOU BOYS
lO.ST JAMES INF/THE MAN CO 2 1 03 E
I I .MYSTER IOUS MOSE/BESSIE COULDNT CO 2 1 86 E
I2.0N REVIVAL OAY/WAH WAH GAL CO 22 I 8 E
BROADWAY MELODY MAKERS
13. SWEET LOVIN MAMA/RURNIN SAND PU 11200 V
CLEO BROWN
14. U CANT FIDDLE AROUND HHSL035I E
BUGLE CALL R AGGERS
|5. TEMPTATION RAg/nEW JIG RHYTHM CH 40063 V+
BUSSES BUZZARDS
1 6.M I LENBERG JOYS/REU HOT HENRY V| I 9728 V
CALIFORNIA RAMBLERS
I 7. SISTER KATE/LONESOME MAMA VO |4436 E
JOHNNY CALI & TONY GATTUSO
|8. STUDY BROWN/SATAN TAKES ( GU I TARS )v 1 25662 E
CLAUDE CASEY & PINE STATE PLAYBOYS
1 5. PINE STATE HONKY TONk/alL I DO BB 7883 E+
HOAGY CARMICHAEL
20. s tapoust/cosm i cs (piano solo) VI 24484 E
CELESTINS TUXEDO JAZZ ORCH
21. TA ta/sweetheart TKO ' CO 14396 E
CHICASAW SYNCOPATORS
22. MEMPHIS RAG/CHICKASAW STOMP CO r 430 1 E
CHICAC BLUES DANCE ORCH
23. HOUSE DAVID/BL GRASS BL- CO 3923 E+
CHARLESTON CHASERS
24. LOVABLE AND SWEEt/rED HAIR CO I 925 V
25. SING U SI NNERS/ci NDERELLA BROWN CO 2 1 33 V
COLUMBIA PHOTO PLAYERS
26. IM IN MARKET/MY FUTURE CO 2|87 E
CONNIES INN ORCH
27. MOAN U MOA'IFPS/ROLL ON
COON SANDERS ORCH
28. DEEP HENDERSON
COTTON CLUB ORCH
VI 22698 E
VI 20081 >'
CO 287 F
29. DOWN AND OUT Bl/snAGEM
BING AND ANDREWS SISTERS
30. ACCENTUATE THE POS I Tl VE/THERES DE 23379 V
3l • THREE CABALLEROS/OONT FENCE ME DE 23364 V
BING CROSBY
32. sleigh ride july/like someone de 18640 G+
PUTNEY DANDRIDGE ORCH
33. HIGH HAT/SKELETON IN CLOSET VO 3352 V
JAMES DEBERRY AND MEMPHIS PLAYBOYS
34. I NSANE JEALOUS Bl/zuQITY VO 5247 N
D IX IE DAISEYS
35. LOT OF BLUE CA 9204 v+
DIX IE JAZZ BAND
36. M0ANIN LOW/YOURE GONNA OR 1 663 G
DIXIE STOMPERS
37. CLAP HANDS/SPAN I SH SHAWL
38. JACASS Bl/tamPEEKOE
39. al ab ama stomp
40. snag it/aint she sweet
4| ,st louis shuff/have it ready
42. oh baby/feel in good
TOMMY DORSEY ORCH
43.0 ID I remember/mary had vi 2534i v+
44. KEEP I N OUT/FROST ON MOON V| 25482 V+-
45. THEY ALL LAUQHED/bEG I NNERS LUCK VI 25544 V
46. goodbye/you AND I VI 25648 E
HA
70
G
HA
166
F
HA
283
F
HA
353
F +
HA
467
F+-
HA
636
F+
JONNY DUNN (CORNET SLO)
47. DUNKS CORNET Bl/nevER HEARD CO I 24 V
SEGER ELLIS
48. DONT KEEP ME/l CANT GIVE OK 4 1 077 V
FISKE UNIVERSITY MALE QUARTET
49. SWING LOW/SHOUT ALL OVER CO 1 883 V+
FIVE BIRMINGHAM BABIES
50. LOVE ME DADDY Bl/|M GR I EV I N PE 14455 G+-
5I.IN01G0 BL PE 14530 G+-
ELLA F I TGERALD
52.1 WANT WA I TER/THATS ALL DE 2628 V
RED NICHOLS F IVE PENNIES
53. SWEET rosi ta/peanut VENDOR BR 6035 V
RAY MILLER ORCH
54. finesse/funny DEAR BR 4675 V+-
55. SOMEBODY LOVES ME/LONELY BR 2669 V+
56. WEARY Bl/| AINT GOT BR 3677 V+
NEW MUSIC REGINALD FORSYTHE
57. GARDEN WEED/DUKE INSISTS CO 3000 E
BUD FREEMAN
58. PRINCE WAILS/jAZZ BAND BALL CO 35853 E
FRIVOLITY CLUB ORCH
59. ADORABLE/LONESOME AND SORRY VO I 53 I 6 E
EARL FULLERS FAMOUS JAZZ BAND
60. L 11TLE LIZA JANE/COON BAND CONTESTV I I R394V
JACK GARDNERS ORCH
61. who you/whod a thunk it ok 40339 G
GEORGIA STRUTTERS
62.0RIG BLACK BOTTOm/wASNT IT HA 3 1 1 V
63. GEORGIA MELODY SYNCOPATORS
TENT ^N TENNESSEE DANO i 515'' V
ARTHUR GIBBS GANG
64. LOUISVILLE LOu/BEALE ST MAMA VI 19070 V
BENNY GOODMAN
65. HE AINT got rhythm/this YRS VI 25505 v+
HANDYS ORCH OF MEMPHIS
66. FUZZY WUZZY RAG/SNAKEY BL
BILLY HICKS SIZZLING SIX
67. joe the bomber/fadeout
68. JOHNNY HODGES ORCH
JEEP JUMPI N/PRELUDE
CLAUDE HOPKINS ORCH
CO 242 1 v
VA
601 E
vo 4386 E
BR 6916 V
CO
2448
E
VO
14334
V+
VI
38019
V
69. MARGI E/EVERYBODY SHUFF
J IMMY JOHNSON ORCH
70. C RAZY SONG/GO HARLEM
7| .MOURNFUL THOUGHTS/CHI BL
72. U DONT UNDERSTAND /u GOT
JOHNSONS JAZZERS
73. CAN I GET IT/SKIDDLE
PEGGY JOHNSON ORCH
74. MISS otis/frankie johnny
75. if u cant get 5/she jumped
TAFT JORDAN AND MOB
76. M00N TURNS GREEn/(w|LL OSBORNe)cO 8476 G
HAL KEMP
77. HEART STONE/GOT DATE
MANNY KLEIN ORCH
78. juba/hot spell
GENE KRUPA SWING BAND
CO 14274 E
VI 24691 E
BB 6097 E
7958 v+
BR 7606 E
VI 25263 E
MUTINY IN PARLOR/GONNA CLAP
LAZY LEVEE LOUNGERS
80. SHOUT SISTER/IF I COULD BE CO 2243 V
81 . DONALD LINDLEY (TRUMPET SOLO)
TRUMPET BL/SWEET STUFF CO 564 G
LITTLE RAMBLERS
82. HARD HEARTED HA NN A h/tESS I E CO 203 E+-
83. MY CUTIES DO/AND THEN CO 7| 9 V
LOUISIANA FIVE
84. YELP IN HOUND BL/jUST ANOTHER CO 2742 V+-
LOU I SI ANA RHYTHM K INGS
85. CARAVAN/0ER BILLOWY SEA BR 4908 V+
LOU ISV ILLE RHYTHM K INGS
86. LETS oIT/|N GREAT BIG WAY OK 4| 1 69 E
LUMBERJACKS
87. BL LITTLE U CA 904' CH
WINGY MA NONE ORCH
88. UP THE C UNTRY/SHAKE THAT THINGCH 40054E/V
JERRY MASON CALIFORNIANS
89. DONT HOLD EVERYTHING
MASON DIXON ORCH
90. A L A B AM Y SNOW/WHAT A DAY
MIDWAY DANCE ORCH
DI 2795 G
1 86 1 E
CO
CO
33 E
BR 41 I 2 V +
9I.L0TS 0 MAMA/BLACK SHEEP BL
HOTSY TOTSY GANG
92 • COULDNT IF I WANTED
GLENN MILLER
93 .WOOOPECKER SONg/lETS ALL SING BB 10598 V+
MISSOURIANS
94. IVE GOT SOMEONE/VINE ST RAG VI 3S|03 E
THOMAS MORRIS PAST JAZZ MASTERS
95. E FLAT BL/ORIG CHARLESTON OK 8055 F
JELLY ROLL MORTON S EXTET-
96. GET THE BUCKET/WHY * GL 1 706 E+
MOUND C ITY BLUE BLOWERS
97. LATIN FROM MANHATTAN/WHATS
DAVE NELSON KINGS MEN
c<8. I AINT GOT NOBODY/WHEN DAY
NEW YORK SYNCOPATORS
99. cobblestones/mary
NEW SYNCO JAZZ BAND
VO 2957 V
vi 22639 E
Ok 40965 G
PAT2I075 G
VI 25459 v+-
00. HOUSE DAVIS BL/sOMEBODY
RAY NOBLE ORCH
0 I • SOMTH I NG IN AIR/WHERE
OBR I ANTS WASHBOARD BAND
02. washboard/brand NEW CHARLES PM 12265 F
03. DRUNK MAN STRUt/rED HOT PM 12246 G+
KING OLIVER ORCH
04. st James inf/when vi 22298 V+
05. d i ppermouth/sugar foot( CONN IE )hrsi I /37 N
OKEH MELODIANS
06. blue heaven/dixieland OK 40898 G
OR I G DIX IELAND JAZZ RAND
07. PALESTEENA/MARGI E VI |87|7 E+-
D I X I ELAND JAZZ GROUP ( LOWER BASIN ST)
vi 27542 E
CO 14207 G
GE 3 1 48 G
GE 3230 E
08. MEMPHIS PL/ST LOUIS BL
ORIGINAL JAZZ HOUNDS
09. LUCY LONG/ALL I HAD
OR I G INDIANA FIVE
1 0. GOI N OUT IF LIZZIE
I I .FALL IN ARCHES
JACK PETTIS PETS
I 2. SPAN I SH DREAM/DOIT' NEW LOWDOWNVI 2 I 559 E
1 3. FRESHMAN HOP/BAG 0 BL VI 2 1 793 E
P IRONS N.O. ORCH
1 4 .GHOST OF BL/BRIGHT STAR BL CO 99 N
I KEY ROBINSON WINDY CITY FIVE
|5. SWING it/skruntch LOW CH 40011 V
WILLARD ROBINSON ORCH
16. PEACE OF MIND/HEAD LOW CO I 8 1 S E+
1 7. HAFLEM BL/BEALE ST BL CO 1948 E+
T IMMY ROSENKRANTZ BARONS
18. WEE bit o swing/is THIS VI 25876 E
LUIS' RUSSELL
1 9. jepsey lightnin/new CALL CO 35690 V
SAMUELS JAZZ BAND
20. nothing but/youve got pm 20206 v
SAVANNAH SYNCOPATORS
2 I . RAD I 0 RHYTHM/LOW DOWN (hENDEr)bR 6 1 76 N
22.SOMEDAY/WA WA ( OL I VER ) BR 3373 G
SEPIA SERENADERS
23. RED I CULOUS BL/NAMELESS BL BB 5770 E+
SEVEN HOT AIR MEN
24.lowdown/qotta FEELING CO |J50 G
SHARKEY SHARKS RHYTHM
25. when u smiling/mr brown VO 3400G/E
SHREVEPORT SIZZLERS
26. nervous breakdown/modernistic ok 4|56| e
SOUTHERN SYNCOPATORS
27. meanest bl/no one knows sii 2426 G+-
SWEATMANS OR IG JAZZ BAND
28. PAINY day bl/jada CO 2707 V
TRAVELERS
29. F I NE 0 ANDY/CANT MAKE OK 4|47| E
39
SALE
EDWARD CROWDER
37|5 CONNECTICUT ST. (PHONE PR 4472) ST LOUIS lO, MO.
POSTAGE EXTRA. TITLES ON REQUEST. CONDITIONS GUARANTEED ALWAYS.
SEND FOR MY LIST OF PERSONALITY RECORDS.
SALE
TINY PARJAM
SUD BUSTERS DREAM
TINYS STOMP
DUKE ELL INGTON
HOP HEAD
STEVEDORE SERENAOE
|2 ST RAG (JUNGLE 3AND)
3UGLE CALL RAG
SING U SINNERS (hhc)
VI 22603, 23041
JAZZ ALA CARTE (BIGARD)
DRUMMERS DELIGHT (")
VI 22778 E+3.50
VI 38050 N 5.50
CO 953 v+2.50
BR 8174 v+1.25
BR 6038 E+2.00
VI 22938 N-2.50
HOW 1045 v+1.25
V 1 .00
VR 655 N 2.00
vo 3985 N 2.00
BB 10981 V, BB I 1 58 1 V (BIGARD) V .75
SAILBOAT IN MOONLIGHT (hODGEs)vR 586 N 2.00
GOOD GAL BL (hODGEs) COS 273 E 1.25
OK 5940 v, vo 5|00 v (hodges) v i.OO
RUBE BLOOM (PIANO SOLO)
CO I 195 N, 25060 N N I .50
SIDNEY BECHET
VS 8399 N , 3405 N, vi 27663 N DE 2|29 E 1.50
z
BESSIE COULDNT HELP IT(hOAGy) VI 22864 E 2.00
GOLDKETTE VI 20926 N, 20981 N 1.50
whitEman VI 2|228 N, VI 2|338 N C0I478E 1.25
LOU IS ARMSTRONG
DE 1 822 , I9i3, 2538, 3204, 3283, 7229 N 1.25
DE 623, 666, 797, 580, 9l4, 1049, 1636 E 1.00
DE 623, 685, 698, 797, 2267 V .75
W.MILLS BROS OE |245, 1495 E+1.25
BOOTS AND BUDDIES (NEW I .n<\ EACH)
BB 6081, 6880, 6862, 7245, 7556, 7596
BUNNY BERIGAN
BR 7823, 7874, vo 3253, 3254 N 2.00
VI 25609, 25667, 25877, 26061, 26086 N 1.50
VI 25562, 25646, 25820, 25872, E+1.25
VI 26068, 26138, 26338 E+1.25
CAB CALLOWAY
N 2.00
N I .50
N I .00
BR 6105, 7633, 7677, 7748
ME 12488, 24414,
OK 6422, 6720
ROY ELDRIDQ!
VS 3084, 3|44, 3154
M ILORED BA I LEY
VO 3057, 4224
vo 3626, 4083
3ILLIE HOLIDAY
,5C
BR 7702, 7729, 7789, 7867, 7926 N 2.50
BR 7577, 7781, 7844, 7877, 8265 E 2.00
BR 8336, OK 6270, 6369 E 2.00
BR 7789, 7903, 79|7, 8053 v 1.50
vo 3947, 4631, 458 1, V I L50
LIONEL HAMPTON (PRIG LABELS)
VI 25658, 25674, 25682, 26039, 26233 N 1.25
vi 26423, 26453, 26557, 26724, 263 1 6 N 1.25
VI 25527, 25575, 26254, 26393, 26447 e 1.00
EARL HINES
cavern I sm/posetta sr 654i N 3.00
SENSATIONAL MOOD BR 6379 N 3.00
DE 7|4E, 8B 6744E, OK 6250N, BB 11199 1.00
HARRY JAMES
BR 83 1 8, 8366 E 1.25
CO 354565+, BR 3337 v 1.00
JACX JENNY
VO 5304 v+, 5494 E+, 5545 E+ 1.25
EDDIE LANG
OK 40989 E, 41344 E I .50
OK 40807, 40825, 40853, 40893, 4|253 V 1.00
TED LEWIS
1.50
N I .00
1.00
CO 697 N, 1034 N, 2088 E, 2|8| E
CO 922, 844, 195, i57
DEC 2054 n, ME 13379 E, CO |0l7 E
JELLY ROLL MORTON
GRF 8741 E+2.50
GRF 4987 E+2.50
I .50
N I .50
OR JAZZ
KANSAS CITY STOMP
HMV 92 1 6 N, HMV 92 1 8 N
BB 10252, 10253, 10429
RED MC KENZIE
DE 302 N, 667 N, CH 40076, vi 38087 v I .00
FATS WALLER
THATS HOW I FEEL TODAY (ch) OK 8728 E+3.00
FATS WALLER STOMP VI 20890 N 3.00
PLEASE TAKE ME OUT JAIL VI 2 1 202 N 2.00
VI 2 1 346 N, 2 1 348 N, (lsb) n 2.00
BYE BYE FLORENCE (B.HOWELL) VI 2 1 062 N 2.00
TAINT NOBODYS (s.MARTIn) OK 8043 E 2.00
LAST GO ROUNO (s.MARTIn) OK 8045 V 1.50
VI 24801, 25027, 25753, 25679 N 2.50
vi 24648, 24738, 24742 , 24808 , 24846 E 1.50
24863, 25075, 25348, 25409, 25749 E I .50
HMV 8496, 8784, 4479 N I .50
BB 10070, 10892, llOlO, 11078, 11262 N 1.25
11296, 11469, BBC 10346, 11222, 11262 N 1.25
BBC 11383, 11539, BB 10070, 10098, I0070EI .25
VI 25281, BB 10730, 10829, 10989,11 1 88v 1 .00,
GLENN MILLER
SILHOUETTED MOONLIGHT BR 8034 N 4.00
BB 1 03 1 7, 10638,10796, I 1 401 , I 1443 N 1 .00
MC KINNEYS COTTON PICKERS
VI 2| 730, BB 7695 N I .50
BB 10232,10249,10706 N 1.25
LOU IS PR IMA
BR 7320, 7394, 7456, 747i, 7499, 7524 n 1.50
BR 7531, 7586, 7596, 7657, 7709, 7740 N 1.50
VO 3376, 3388, 3509, 657 n 1.25
ADRIAN ROLLIN'l
GET GO IN BR 6786 N 2.00
NAGSAK1 VI 25035 E+l .50
DE 1973, PE 15799 E 1.00
ART SHAW
BR 7698, 7750, 7778, 7787, 7794 N 1.75
BR 7835, 7899, 7965, 8050 N 1.75
BR 777|, 7841, 7971, 7976 E 1.25
JACK TEAGARDlN
BR 8373, 8401, 8431, N 2.00
CO 35233, 35245, DE 4071, VS 8202 N 1.00
JOE SULLIVAN
ONYX BR INGOOWN CO 2925 N 2.50
I COVER WATERFRONT VO 5556 N I .50
WILLIE SMITH (THE LION)
DE 1144, 1503, 1366, 2269 E 1.00
TEDDY WILSON
BR 7736, 7739, 7884, 7940, 8|50, 8| 99 N 2.00
BR 7640, 7797, 7943, 7954, 7960 E 1.50
BP 3| |2, 8|4| , 8455 E I .50
HAVE SEVERAL COPIES OF ENGLISH ESQUIRE LABEL
TEN INCH AND 1 2" JIZZZ SESSION BIRMINGHAM.
ALSO REINHARDT AND GRAPELLY ON SWING.
SEND FOR MY LIST OF SPIRITUAL BLUES.
BING CROSBY
MISS. MUD (TRAM) PAS 2097 N 2.00
THANKS OK ZJB7D V I .50
STRAIGHT FROM SHOULDER COC 6062 E+l. 50
BECAUSE MY BABY DONT MEAN MAYBEC0144I E 2.00
LONESOME IN MOONLIGHT CO 1448 E 2.00
IM ON CREST OF WAVE CO |465 E 2.00
RATHER CRY OVER U CO 1 496 E 2.00
MY SUPPRESSED DESIRE CO 1629 E 2.00
COQUETTE CO I 755 E 2.00
MAKIN WHOOPEE CO |683 N 2.50
LITTLE PAL CO 1 877 N 2.50
GRIEVING (whiteman) VI 2|678 N 2.00
LOVE IN BLOOM COE 1802 N 1.50
SOMEONE STOLE GABRIELS COE 1 894 N 1.50
STAY ON RIGHT SIDE COE 1964 N 1.50
HERE LIES LOVE COE 1990 N 1.50
TRY LITTLE TENDERNESS COE 1 985 N 1.50
DAY U AM E ALONG COE 2009 N 1.50
LAZY DAY COE 2027 N 1.50
WALTZING IN DREAM— COE 2074 N 1.50
ST OF DREAMS COE 2085 N 1.50
LETS PUT OUT LIGHTS COE 2208 N 1.50
WRAP TROUBLES IN DREAMS BRE 2099 N I .25
VI 20882, 20883, 2l365, 2l43i n 1.50
OUffS I DE— AARONSON COm(b|NG ?) VI 2 1 888 N 1.25
GIVE ME HEART TO SING TO ME 1 3 1 66 N 3.00
HAVE BING ON INDIAN CO. DIFFERENT MASTERS,
% I .25 EACH ALL NEW EXCEPT WHERE STATED
EDDIE DUCHIN
VI 25030, 25043, 25583, 25390, 25395, 25433
25520, BR 8106, 8219, 8264, 8287, CO 35702,
35255, 35735
TOMMY DORSEY
VI 25145, 25214, 252 1 7, 25482, 25544, 25591,
25596, 25692, 25763, 26786.
ALSO HAVE .COMPLETE T. DORSEY COLLECTION.
E-N WHICH I AM BREAKING UP. SEND WANTS.
RUTH ETTING
CO 1052, 1075, 1113, 1208, 1420, 1883, 1998,
HUDSON DELANGE ORCH
BR 76 1 8, 7700, 7708, 77 1 5, 7727, 7743, 7785,
7795, 7828, 8007, 8016, 8023, 8040, 8049, 8071,
8077, 8081, 8091, 8|56, 8l47, 8222, 7656 E.
JAN GARBER
BR 7947, 8033, 8|34, 82|7, 8266, VI 25|80
HAL KEMP
BR 3863, 4i5l, 46l2, 4958, VI 25624, 25628,
25685, 25732, 25893, 26255, 26336, 26385
GUY L0M8AR00
VI 25205, 25244, 25545, 25578, 25599, CO 1093
1364, 1395, 2237, 2379, 2390, ME 1 3 1 74, 1 3 1 76
RUSS MORGAN
BR 7758, 7955, 7032, 7059, 7084, DE 2736
LEW WHITE
BR 3488, 3618, 3956, 44|7, 4475
8 1.00 EACH, NEW EXCEPT WHERE STATED
PIPE ORGAN SOlQS
MILTON CHARLES
CO 1056, 1065, 1079, 1099, 1425, 1730
QUENT IN M. MAC LEAN
CO 1356, 1899, 2251
EM IL VELA6C0 CO |259, 1565
EDOUARD COMMETTE CO 2|53
TERENCE CASEY CO 225l
HAROLD L. RIEDER CO 894
MARSH MC CURDY CO 1 305
BEN BERN IE
BR 6008, vo 3338, VO 4943
DON BEST OR
BR 6986 , 7365 , 7366, VI 2 1 562 , 24 1 47, 24432
BB 7339, 7240
CHICK BULLOCK
ME 60210 , 60610, 7 n0l, 7||03, 13389, V05342
BUDDY CLARK
BR 7535, 7590, 7664, 7788, 77|2
BOB CHESTER
BB 10566, 10576, 1 06 1 4 , 10686, 10699, 10690
JOLLY COBURN
VI 24842 , 24845, BB 7038, 704 1, 6081, 7|00
SHEP FIELDS
BB 7180, 7305, 7|80, 7353, 7566, 10577, 10589
SEGER ELLIS
OK 40974, 4||90, CO 1290, |57|
JEAN GOLDKETTE
vi 20256, 2 1 150, 2 1 800, 2|804, 2|805, 2|565
21889, 22077, 22 1 23
GEORGE HALL
VO 3944, 4085, 4407, 4536, 5|42
ROGER WOLFE KAHN
vi 21368, 2|675, 2|897
WAYNE KING
VI 22236, 22256, 22648, 2401 8, 26749, 26785
27201, 27206, 27348, 27270, 27511
SAMMY KAYE
VO 4084 , 3886 , 3746 , 3656, 36 1 8
HELEN KANE
V| 21684, 2 1 830, 2 1 91 7, 22080, 22397, 22407
JAMES MELTON
VI 22335, CO 2lOO, 1532, 1206, BR 7396, 15224
RUDY VALLEE
VI 22090, 22084, 22 1 1 8, 22|36, 22196 , 22261,
22284, 22361, 22435, 22574, 22585, 22611, 22615
PAUL WHITEMAN
VI 20505, 205|4, 20684, 20784, 20881, 20885,
20972, 2l73l, 2l3e8, 2|325.
40
AUCTION AUCTION
FRED MANGELSDORFF
AUCTION AUCTION
RAY AVERY'S RECORD ROUNDUP
AUCTION AUCTION
KEN KRAMER
959 N. I4TH ST.
1630 LA CIENEGA, LOS AiyGEEES,
5 CHARLES ST., N.Y.
14,
N.Y.
MILSAUKEF 3, WISCONSIN
CALIFORNIA
CLOSING DATE FEB. 20. SHIPMENT
RRX
COD.
254 PACKING CHARGE ON ORDERS UNDER
1 5.
BING CROSBY
MILDRED BAILEY WITH WH 1 TEMAN
BOB CROSBY
LITTLE THINGS IN LIFE/WRAP
BB
V|02 V
SCANOALS MEDLEY (33 RPm)
VI 16001
BIG NOISE W T ETKA/SUNSET SEA
DE
361 1
E
LOUIS ARMSTRONG
MILDRED BAILEY WITH NORVO
PLL OVER NOw/ADIOS AMERICANO (rmCh)
DE
3|04
G
OL MAN MOSe/faLLING IN LOVE WITH
DE
622v/e
A SERENADE/MORE than EVER
BR 8085
F
DONT CALL BE BOy/bOUND TO LOOK
DE
3421
V
SIDNEY BECHET (SI5SLE)
WEEK END PVT SCTy/pLEASE BE KIND
BR 8088
'A
nevr cry over u/makes no never mind
DE
4402 g/e
VIPER mad/sweet PATOOTIE
DE
7429 V
HOW CAN 1 THANK u/wiGWAMMIN
BR 8194
E
-*ANAMa/wOLVERI NE BL
DE
3340
E
RED MC KENZIE
BUNNY BERIGAN
L IONEL HAMPTON
MONDAY MANHATTAN/EVERY NOW THEN
OE
537 E+
RHYTHM SAVED/l CANT GET STARTED
BR 7949E/V
MEMORIES OF u/jUMPIN JIVE
VI
26304
E
DAVID NELSON
U CANT RUN/CAUSE BABY SAYS
VI 25562
V+
JACK BELLBOY/CENTRAL AVE BREAK
VI
26652
E
SOME THESE DAI'S/I A 1 NT GOT NOBO-TY
BB
5029 V
SWEET VARSITY SUE/wHY TALK LOVE
VI 25667
E
FOUND NEW BABY/4— 5- TIMES
VI
26447
E
ALL STAR ORCH
OLD STRAW HAT/LOELIGHT
vi 258|6
E
BUNNY BERIGAN
WAITING END ROAD/(tROUBADORs)
V 1
226"73V/E
DANCE ALONE/RINKA DINKA MAN
vi 25B20
l -
•AS A TREE/GIRL GREEN HAT
vo
15875
E
STEPPIN ALONG/TOO W9NDERFUL FOR
VI
22104 v+
moonshine/over kentucky/i got a
jUY V 1 25833
E+
JAZZ ME BL/CHANGES MADE
VI
26244
E
AL BOWLLY
TON 1 TE WILL LIVe/aND SO FORTH
vi 25877
E+
OOJB
SWEET AS 30NG/HALF MOON IS! HUDSON
BB
73 17 E
BUTTON/ROCKIN ROLLERS JUBILEE
VI 26077
i
-IOME AGAIN/CRAZY BL
VI
18729
V
SWEET ST RANGER/l CAN DREAM
BB
7332 V
JAZZ ME BL/CHANGES
vi 26244
l
^argie/palesteena
VI
1 671 7
V
WISCONSIN ROOF ORCH
GANGBUSTERS/LI TTLE GATE SPECIAL
vi 26338
E
CLAR MARM/MOURNIN BL
VI
1 051 3
V
WHISPERING/FOREVER MORE
BWY
1 1 7BE/V
DON BYAS
DINAH SHORE
MISS. MUD/s 1 NGAPORE SORROW
BWY
1141 v+
CEMENT MIXER/LAURA
BL ST 27
N
oinahs bl/runnin wild (laval)
VIC27303
E
BLACK MAR 1 A/DEEP RIVER 3L
BWY
1 1 23 G
RED CROSs/wALKIN AROUND
BL ST 28
N
SOMEBODY NOBODY LOVEs/l F ITS U
BB
1 1 301
G
u the one/u ONLY WANT ME WHEN
BWY
1 06 1 E
EMEL 10 CACERES TRIO
1 DO DO u/l HEAR RWAPSODY
BB
1 1003
G
DREAM TRAIN/THATS WHY IM CRY IN
BWY
1249 E
1 GOT HYTHm/hUMORESQUt IN SWING
VI 25710
E
1>ES DARLING DAUGHTEr/aRGENT INE WAY
BB
10920
E
SHANGHAI HONEYMOON
BWY
1097 V+
WHOS SORRY NOW/WHATS THE USE
VI 25719
1
WHERE ARE U/MOCKING BIRD LAMENT
BB
1 1 164
G
THERE EVRYTHING SWEET ABOUT U
BWY
1063 v+
CALI & GATTUSO (GUITAR DUET )
ETHEL WATERS
THERES SOMETHING ABOUT ROSE
BWY
1 1 55 v+
STUDY IN BROWN/SATAN TAKES HOLIDAY VI 25662
I
/ 1 DN 1 GHT BL/MEMPHIS MAN
BS
|4|45
G
WHOS THAT KNOCKIN/MORNING GLORIES
BWY
1 1 19 v
BE' NY CARTER
HANDY MAN/GUESS WHO IN TOWN
CO
14353
G
PAUL WH 1 TEMAN
savoy stampede/scandal a flat
vo 5 1 I 2
m-
3IRT IN FACE/REFR 1 GERAT 1 N PAPA
CO
|4|32
P
AFTER U GONe/kISS YOUR HAND
DE
2467 v+
WHATLL IT BE/OUT MY WAY
sw 226
H
SHAKE HAT THING/NO MANS MAMA
CO
|4| |6
E
N.Y, SYNCOPATORS
KING COLE
ARTIE SHAW
DREAM TRA IN/CARESSI NG U
OK
4i202e/v
BLACK SPIDER/RIVER ST MARIE
AMM"R 1 09
E+
WINTER COMES/POUREO HEART
BB
10307
E
BEVERLY HILLBILLIES
BILLY COTTON BAND
BOYD SENTER (LANG)
MY PRETTY QUADROON/WHEN ITS HARVESTER
44i e/v
TATTOOED LCD' 1-2
OK 4|578
E
CH ISTINE/SOMEDAY SWEETHEART
OK
40819
P
DAVE BERN IE ORCH
TOMMY DORSEY
DICK ROBERTSON
1 WANT TO MEANDER/WHERE THE BAOBLI
CO
1874 E+
TIGER RAG/RIGHT HERE (TPT SOLOS)
OK 4| I 78
E
BEDDING BELLS/DREAM MOTHER
BR
4290
V
BOBBY BREEN
DADDY, CHANGE/u CANT CHEAT
OK 4 |422
1 t
BAILEYS LUCKY SEVEN
HAPPY AS LARK/SUNNY SIDE
DE
I95Q E
WANTE0/( BUNNY )
VI 25557
E
tomorrow/no wonder (ris ch)
GE
4975
G
DOLORES BROWN
SUNNY DUNHAM
BENNIE KRUEGER
COLD WINTER PAPA/2C-J99 BL
BE
1 10 G+
MEMORIES OF u/BL SKIES
06 8234
E+
GET HOT/WANG WANG
GE
4722
F
GABRIEL BROWN
DUKE ELLINGTON
MISSOURI JAZZ BAND
BLACK JACK BL/GOIN MY WAY
GE
5004 N
SOPH LADy/mERRY GO ROUND
COE 591
E+
IM COMIN VA/DEWDEW
RE
8352
E
CLEO BROWN
BENNY GOODMAN
JEAN GOLDKETTE
YOURE MY FEvER/BREAKIN IN PAIR
DE
7|8e/v
SOL ITUDE(MODERNI STS )/( HARLEM H.S
. )ger I MP I 7041 E
eileen/waitll u see
VI
1 9327
V
WILLIE BRYANT ORCH
BLUE/SHIRT TAIL STOMP
BR 3975
E
RUBEN REEVES RIVER BOYS
ALL MY LIFE/RIGHT SOMEBODY
BB
6361 E
1 A 1 NT LAZY/AS LONG AS 1 LIVE
CO 2923
E
uazie/zuddan
VO
2723
E
BAB8 AND HER BROTHERS
BUGLE CALL RA<j/nITWIT SERENADE
CO 2958
V+
PIRONS N.O.ORCH
DOUBLE T OUBLE/yOURE SO DARN
DE
5|8 v+
100% FOR u/LIKE A BOLT
CO 2988
E
SUD BUST IN BL/WEST INDIES BL
CO
14007
G
CLYDE BERNHARDT { LEONARD FEATHER
IVE HITCHED/LET THAT BE l£ESSON
VI 25708
E
LITTLE RAMBLERS
BL IN RED/SCANDAL MONGER MAMA
MU
348 N
SHUT EYE/GOOD FOR N0TH1N
VI 261 59
E
ARKANSAS Bl/RAMBLIN BL
CO
175
V
JOE BUSHKIN
LEONARD HAYTONS BLUE FOUR
PAUL HAMILTON
FADE OUT/LADY BE GOOD
CMS
594n/e
ANYTIME/OLD FASHIONED GIRL
vo 15750
V+
EASY COME/SO HELP ME
vo
2721
E
CEELE BURKE
EARL H INES
BROADWAY BELLHOPS
SUMMERT 1 ME GAL/BEND OF RIVER
vs
8330n/e
rosetta/glad rag doll (solos)
BB 10555
r +
NESTING TIME/THATS MY HAPPINESS
HA
365
G
CLOVER GARDENS ORCH
BEAU K00 JACK/GOOD LITTLE BAD
VI 38043
E-
DOROTHY DON 1 GAN
THE ONLY ONLY ONE/lLL SEE U IN
CO
269 E
OH U SWEET THING/BLUE DRAG
BRF500I86E
PIANO BOOGIE/EVERY DAY BL
BB
8979
E
CHICAGO BLUE DANCE ORCH
THATS A PLENTY/SWEET GA BROWN
DE 182
E
JAZZ BOS CAROLINA SERENADERS
BL GRASS Bl/hOUSE DAVID BL
CO
3923 E
SPIKE HUGHES
CHICAGO/WAY DOWN N.O.
CA
3|2
E
HELEN CLARK
fanfare/arabesque
DEE 3639
N
LIL ARMSTRONG
IRISH EYEs/wEE BIT 0 LOVE
VI
22026 V+
MEZZ MEZZROW (BROADWAY SWINGSTARS)
HAPPY TODAY/U SHALL REAP
DE
1722
E
JACK CRAWFORD
panic is on/mutiny in parlor
RZ 2440
N
JACK TEAGARDEN
SWA'EE SHORE/WHOS PRETTY BABY
V 1
20847 E
THE MISSOURIANS
BLUE RIVER/ryHTM HYMN
DE
4071
E
BOB HOPE & SH IRLEY ROSS
market st stomp/mi SS0URI MOAN
VI 38067
E
ROY NEWMAN
2 SLEEPY PEOPLE/NEW THANKS FOR THE
DE
2219 V
SCOTTY BL/400 HOP
VI 38084
E
TIN ROOF/GARBAGE MAN BL
VO
2994
V
EDGAR HAYES QU 1 NTET
VINE ST DRAG/lVE GOT SOMEONE
VI 38103
E-
RED NICHOLS STOMPERS
SWEET HEART/BLUE SKIES
OE
1684 v
PROHIBITION BL/STOPPIN TRAFFIC
VI 38120
N
sugar/make MY COT
V 1
21056
V
MAX 1 NE SULLIVAN (THORNH ILL)
COLE PORTER
LENA WILSON
LOCH LOMOND/lM COM IN VA
vo
3654. V
THE PHYSICIAN/THE c'oCOTTE
vi 24859
E+
TAINT NOBODY BUS 1 NESS/TR 1 FL 1 N
VI
1 9085v/g
SHELLY LEE ALLEY ALLEY CATS
JELLY JAMES FUS IC IANS
INEZ WALLACE
IM WONDER 1 N NOW/MAKES LOT OF
vo
5106 E
GEORGIA B0BO/MAKE ME KNOW IT
GE 6045
E
AGGRAVAT 1 N PAPA/RADIO BL
BS
14137
G
NORFOLK JAZZ QUATET
JOSEPHINE BAKER
THOMAS WALLER
JELLY ROLL BL/SOUTHERN JACK
OK
4318 V
SI JETOIS BLANCHE/SANS AMOUR
COE 1 1 80
ri
rEEL 1 N FALLIN/l VE ME
VI
22092
G
AMBROSE
JESS STACY
WALTERTHOMAS JUMP CATS
TWILIGHT TURKEY/CARAVAN
DE
1 442v/e
MILENBERG J0Ys/l2 ST RAG
PD580028
E
BL ON BAYOu/jUMPIN JUDY
GE
8126
V
THREE STAR TRIO
REX STEWART
FRANK TRUMBAUER
RED MISS/ ALWAYS
GG
3001 E
STOMPIN SAVOY/LUCKIEST FOOL
BL ST 68
N
BYE BYE BL/CHCO CHOO
OK
41450
V
PHIL BAKERS NOVELTY ORCH
SQUEEZE ME/BEROP BOOGIE
BL ST 65
N
SYNCOPATIN MAMA/LOVE
CA
402 G
MUSKRAT RAMBLE/MADELEI NE
BL ST 69
N
NEW MAYFAIR DANCE ORCH
JUG Bl/aT BARCLAYS CLUB
BL ST 64
N
GOT DATE WITH ANGEL/FOR LOVE OF
HMV
6098 v+
BOY MEETS HORN/ DONT GET AROUND
1L ST 66
N
SALE
SALE
LEON WOLFF
755 ttONTROSE, CHICAGO 1 3, ILL.
NO COO'S. FLAT 50^ CHARGE FOR PACKING AND
POSTAGE ON WINNING ORDERS UNDER % 5.00.
.L3ERT AMMONS
W I LENBERG/eARLY WORN I NG BL
LOU IS ARMSTRONG
MONDAY DATE/sJGARFOOT
SAVOY Bl/hOTTER THAN THAT
I wonder/jodi E MAN
WEARY 8l/(sm EDGE Ch)
MAHOGANY HALL ( SU EDGE Ch)
A I NT H ISBEHAY I n/exACTLY LIKE U
MEMORIES OF u/lUCKY
RUDI BLESH AIR SHOT PI
CLAR MARK/ROSE »5«
BOB CROSBY
TECH tr|UMPh/vm| SPIRIT
RUSSIAN SAILOR DANCE/vULTEE
TOMMY DORSEY
MARIE/SONG INDIA
OPUS f I
DUKE ELLINGTON
UPTOWN downbeat/in a jam
mooche/mood indigo
stevedore seren
azure/caravan
got |t bad/choc shake
misty morn/saratoga
kissing bug/everythino
sherman shuffle/hayfoot
BENNY GOODMAi'l
gone »ith draft/alamo
hoheysuckle/sprihg song
lionel hampton
4-5 times/new baby
cmnah/singin the sl
COLEMAN HAWKINS
DE 975 V
8609 v I
9535 v-i
DE 10652 N-
0K 8680 E-l
85 1 9 v I
3040E/V I
4|463 V I
3K
OK
DE 3080 N I ,
DE 4392 E I,
VI 25523 N-l,
V|20l603 N ,
BRF8I073 n-2,
VI 24486 N I ,
BR 8 1 74 E-l,
BR 7997 E 2,
HMV 9592 N I ,
BB 6565 E I ,
HMV 9465 N I ,
VI 201505 N ,
CO 35938 N-l ,
CO 35319 N I ,
VI 26447 n
VI 26557 N
AFTER U GONE/SOME OF
WOODY HERMAN
TWIN CITY Bl/lAUGH BOY BL
EARL HINES
AUDE 5000 N I .50
de i eoi n i.oo
chicago h i gh l i fe
inspiration/honeysuckle
ART HOPES
103 ST 900GI e/ro yal garden
ST LOUIS BL/ARTS BOOGIE
JOHNNY HODGES
pass i on flower/back way
"■ ILL IE HOLIDAY
HRS
vo
I I N I
3586 N 2
STRANGE FRUIT/FINE MELLOW
HARRY JAMES
FEET DRAGSIN 3L
JIMMY LUNCEFORD
JR lOOl N I
BW 2 N I
BB3008I 7 N I
CMS 526 N I
CO 35227 N-l
CO 355 1 0 N
OK 40932 V I
OE 18043 N
BR 4773 E I
DE
VO
1 62 I N-l
I 185 v+3,
WHATS YOUR STORy/i GOT IT
MIFF MOLES MOLERS
MY GAL SAL/ORIG DIXIELAND
JIMMY MCPARTLA'ID
suga r/world wait sunrise
RED NICHOLS 5 PENNIES
ROSE WASH. SQUARE/WHO CARES
JIMMY NOONE
4-5 T I mes/japansy
4-5 Times/every EVENING
RED NORVO
HONEYSUCKLES ROSE/OLD FASHIONEOCO
KING PL I VER
ST I NGAREE Bl/shakE IT BREAK IT BB 10707 N I
REDHEADS
NOBODY SWEET/AVALON PE |5668f/gi
HANGOVER/TAINT COLD . PE 14600 E-l
BESSIE SM ITH
jailhouse sl/gbaveyard BL
JOE SULLIVAN
3059 N 2.00
0707 n I .00
BASS ROMPS AWAy/24 HRS
TOWN HALL AIR SHOT DUE
JAZZ ME 8L 1-2
MARY LOU WILLIAMS
CO 400! F .50
SRC 100 N I .00
N I .00
THE PEARLS/THE ROCKS
FOUND NEW BABY/U KNOW
TEDDY WILSON
LA DV BE GOOo/nOT FOR ME
2796 N I
351 N
PAE 28|5 N 1.50
AUCTION SALE
ROY HIGGINSOM
BOX 484 CARLSBAD, CALIF.
ANY DISC FOR SALE 50^ EACH UNLESS HIGHER
OFFER RECEIVED. MINIMUM ODER $ 2.00. WINNERS
NOTIFIED.
JOE GREEN BROTHERS MARIMBA ORCH
RAIN/wATER UNDER BRIDGE
MONASTERY BELLS/SWEET HAWAAIN
DOWN THELANE/BROKEN DREAMS
SOMEWHERE/
EDO IE DUCHIN
MAY l/sHE REM INDS ME
CANT REMEMBER/HOLD ME
JACK HYLTON
TOM THUV DRUM/CLOSE EYES
WALTZING DREAM/SHADOW WALTZ
WAYNE KING ORCH
GNITE SWEETHEART/SO CLOSE
SALLY/lF IM DREAMING
WRAPPED RED ROSE/PUT A
GUY LOMBARDO
2 bouquets/drop NICKLE
BAE7 BIRTHDAY PARTy/ukELE
STATE HEART/MONOPOLY
THE SMILE AND SONG/vHISTLE
SHEP FIELDS
GONE WITH WINo/sTAR BORN
SURRENDER DEAR/wN MUSH
CHAPEL IN HILL/YOURE EVERY
FEEL IN GONE/wlTH SOMEBODY
FOOLISH FEELING/WHERE ARE U
DID I REMEMBER/SI TT I N SAND
DONT ESCAPE FROM u/hOUSE JACK
GEORGE OLSON
SAY YOUNG LADY/tGLEN GRAY)
Ll TTLE RED HOSE
ROCK A BYE M00N/(CH NOT IN GR )
PAUL WHITEMAN
PARDON SOUTHERN ACCENT/HERE COME
LOVER/WHEN SUN BIDS MOON
DANCE DUTCH DOLLS
BEACH BOY/NOTHI NELSC. i'O
precious/moonlight Ganges
FRANCES LANGFORO
serenade/last rose SJMMER
LITTLE LOVE KISs/SMILING
ECHOS HAWAI|/mAN MANDOLIN
MOONLIGHT OVER VOLOKA I /EMANUEL
KATE SMITH
WH1 TE CLI FFS DOVEr/hOSE ODAY
SEEMS LIKE OLD TIMEs/*ISH RING
DANCING TEARS/SHARING
HOLLYWOOD QUARTET
GRANDFATHERS CLOCk/bL BELLS(mCOREGOr)
ROBERT E LEE/OLD GANS MINE
MISCELLANEOUS
MARION HARRS— L I TTLE WHITE LIES
DURBI N— WHEN APRIL SINGS
GRACE MOORE-C IR I 6 I Rl BIN/ONE NIGHT
DINAH SHORE-J IM/THRU WITH LCVE
AL GOODMAN— ROSES PICARDy/tO />
LAN I MC INTYRE/LOVER COME BACK
JIM AND BOB-CH IMEs/TAPS
PARADISE ISL TRIO-LILAC TIME
ANJY I ONA-HONOLULU EYES
HARRY OWENS- UKULELE LADY
JACK SMITH-I|:30 SAT NIQHT
H LAMBERT-MY ANGEL./rEADY FOR RIVER
SEGER ELLIS-TIE STRING AROUND
EDDIE THOMAS-REMEMBER ME TO MARY
C. GAYLORD— YOURS MANE
C.MARVIN-TIP TOE TULIPs/pAINT
B0E1Y BREEN/siN TELL LIE
ASTMRE-EASY DANCE WITH
TOML I N— CURBSTONE CUTIe/pORTER
J.RICHARDS ORCH-2 HEARTS/WALTZ U S
J.JOHNSON ORCH-2 CIGARETTES DARK
CODY BAND— I HOUR WITH u/wE WILL AL
CAROLINA CLUE-M ALWAYS
J.ME33NER-M0BILE FLAG STOp/dADDY
MEYER DAVIS ORCH-YOUNG AND BEAUT I F
CLYDE MC COY-LITTLE WOMEN
VO
28 1 3
v+
DE
450
v+
BR
3576
E
VI
22480
J —
V 1
2549 1
E
V 1
24280
V+
BR
6295
E
DE
481
V+-
VI
22825
E
V 1
22240
E
E
VI
25787
C
CO
2319
E
VI
2533 1
E
VI
25748
V
BR
701 6
Et-
B
0989
E4-
BB
6640
E+
BB
7 755
E
BB
6665
L
BB
6476
E
BB
6475
v+
V 1
24422
E+
VI
22349
Jl
24165.
J+
V I
24704
E
V 1
24283
V+-
VI
22870
E
vi
24678
E
VI
20l 39
/+
OE
2l24
Z->
DE
4020
V+
DE
2595E/V
DE
3047
rt-
CO
36448
E
CO
36950
N
VE
2|70
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1575
E +
MCQ
1522
E+
BR
4873
V
DE
341 4
E
SI
593
N-
BB
1 1204
E
SI
507
N
DE
1482
E
BB
5295
M
DE
2502
V+
CO
35394
E
DE
2314
E
VI
22452
E
BR
3926
V+
6050
E
BR
3931
v+
BR
6030
v+
V 1
22l 13
E
DE
793
E
DE
18428
E+
BR
7377
E
VME
12063
v
VI
2471 G
C
VS
5|02
E
OK
41409
Ef
DC
3816
S
LCO
2854
E
CO
2866
E-l-
LOUIS ARMSTRONG
BUTTER EGG MAn/sUNSET STOMP
BESSIE BROWN
PORK CHOP Bl/m ISS. DELTA BL CO 1 4036 E
DOUBLE CROSSIN DADOy/sa T I SF I EDCO 3974 V+
BUTTERBEANS & SUZIE (cliver)
A-Z Bl/cONSTRUCT I ON GANG (rc) OK 8|63 E-
CAB CALLOWAY
ANGEL I Me/mi NN I ES WEDDING DAY
AUCTION AUCTION
CONSTANCE CARR
436 MELBOURNE AVE ., BEVERLY , N.J.
WINNERS NOTIFIEO. RECORDS SHIPPED COD PP
UNLESS OTHERWISE INSTRUCTED. RECORDS OF ALL
TYPES. PLEASE SEND WANT LISTS.
OK 8423 E
IDA COX
BR 6321 E—
PM 12220 V
PM 12202 v
PM 12094 v
DEATH LETTER Bl/kY MAN BL
WORRIED ANYHOW Bl/chI MONKEY
MEAN LOVIN MAn/dOWN RD BL
DUKE ELLINGTON
JOLLY WOG/jAZZ CONVULTIONS BR 68|0 E-
MAORl/THE MOOCHE BR 68|2 E-
HELEN riUMES
DO WHAT U DID LAST NIGHT/lF PAOK 8545 V
LULU JACKSON J'
BL RIDGE Bl/lOST LOVER BL VO I 242 V
JAMES P. JOHNSON
WORRIED LONESOME 8L/wEEPING BLCO 3950 E
MAGGIE JONES
CHEAT IN ON ME/MAMMA COME CO 14074 E
SARA MART IN
YES SIR THATS BABy/aLABAMY BOUNOOK8262 E
MICHIGAN WATER/KEEPS ON RA I N I NOK 8060 E
JOE TURNER BL OK 6058 E
MONKEY MAN BL/YODEL I N BL( TAYLOR )ok8067 N
SODARISA M ILLER
WHOLL DRIVE MY BL AWAy/hOT SPRPM 1223 I V
JELLY ROLL MORTON
BLACK BOTTOM STOMp/tHE CHANT VI 2022 1 E+
" " BB 10253 E+
MA RAINEY
BAD LUCK Bl/TOSS ALL NIGHT RM |208| V
BIG FEELING Bl/ma 4 PA PM |27|8 V
ETHEL RIDLEY
ALABAMA BOUND 8L/| DONT LET
BESSIE SMITH
CO 3965 E
CO
3877
E
CO
3844
E
00
14032
E
CO
3942
E
CO
3939
V+
CO
400 1 e/v
CO
3898
v+
CO
14042
v+
CO
3936
r
CO
14018
E
cc
1-4197
V+
WORK HOUSE BL/HOISE RENT BL
SWEET JELY ROLL/lF U DONT
YODEING BL/LADY LUCK BL
GRAVEYARD DREAM/jA I LHOUSE
NOBODY BUSINESS/KEEPS ON RA I
BYE BYE Bl/»EEPING WILLOW
MIDNIGHT Bl/blEEDMG HEART
rfOiMSHINE Bl/bO WEAVEIL 3L
UUDDY WATER/AFTER U GONE
BABY WONT U PLEASE COME HOMe/oh DADD388E—
SALT WATER BI./ra|NY WEATHER CO 14037 E
SORROWFUL BL/ROCKIN CHAIR CO 14020 E-
1CELL0W DOG Bl/sOFT PEDAL CO 14075 V-h
MAMIE SMiTH
-AABAMA BL/MAMIE SMITH BL
30NT CARE BL/LOVIN SAM
RIGHT HERE FOR u/CRAZY BL
ONESOME MAMA Bl/n.O.
ROAD ROCKY/FARE THEE HONEY
SAXOPHONY EL/DADDY
STOP REST AWHIl-E/wEEPIN
THING CALLED LOVe/canT KEEP
WASHBOARD HHYTHM KINGS
SENT I MENTAL GENT/oONT ME N TH VO
CLARENCE WILLIAMS BLUE 5
SHREVEPORT/MEAN BL VO
SET IT FIXED/SHAKE THAT THING OK
OK
4648
V
OK
4351
V
OK
4253
E
OK
4i69v/e
OK
4630
E-
OK
4194
V'r
OK
41 16
V+
OK
4471
E
OK
4113
V+
I 724 V
1724 v
8267 E-
ED ITH WILSON 4 DUNNS JAZZ HOUNDS
31 RM INGHAM BL /WICKED ol
CO
3558
E
:vil bl/pensacola bl
CO
3746
E
rRANKI e/olD TIME BL
CO
3506
V
HE MAY BE vouR MAN/RULES
REGU
CO
3653
E
.ONESOME MAMA Bl/wpAT DO
U
CO
3674
E
/AMPIN LIZA JANE/NERVOUS
BL
CO
3479
V*-
42
SALE
SALE
WALNUT MUSIC SHOP
1118 WALNUT ST., PHILADELPHIA, PA.
ALL RECORDS IN THIS AD ARE NEW MINT COPIES
NO COD'S. SEND YOUR WANTS AND YOU WILL BE
NOTIFIED. RECORDS THEN SHIPPED PP PREPAID
ON ALL ORDERS OVER S 1.50. NEVER A CHARGE
FOR PACKING OR WRAPP I NG.SEND YOUR WANTS.
FPAC 90000 2,
FPAC S0002 2,
FPAC 90003 2,
PA E
2327
.3t
PAE
23 16
.31
HMV
9185
.42
HMV
92|5
.42
SW
226
• 5C
SW
258
.50
HMV
9449
.42
mv
9327
.42
HMV
9180
.42
PAE
2031
.31
PAE
2932
.31
HHV 8410
HMV 8436
PAE 2898
PAE 1535
HMV 9088
HMV JO I 8
GRAEME BELL
BIRMINGHAM BERTHA/BABY WONT
TIGER RAG/AINT GONNA GIVE
CANAL ST BL/lVE GOT WHAT IT
BUNNY BERIGAN
CHICKEN WAFFLEs/u TOOK
IM COM IN VA/BLUES
BARNEY BIGARD
LULL AT DAWN/CHARL IE CHULU
READY EDDY/LAMENT JAVANETTE
BENNY CARTER
WHATLL BE/OUT OF WAY
CADILLAC SLIM/SWEET GA BROWN
SUNDAy/bACK BAY BOOGIE
midnight/favorite BL
ALL OF ME/VERY THOUGHT U
EDO IE CONDON
MAKIN FRIENDS
I NO I ANa/oh BABY
DUKE ELLINGTON
SOL I TUDE/TROUBLEn WATERS
JUNGLE NIGHTS HARLEM
BREAKFAST DANCE/BUGLE CALL RAG GRF 6948
6EPIA PANORAMA/jOHN HARDY WIFE GRF 8796
BEGINNING TO SEe/nOTHIN BUT BL GRF 8692
SARATOQA SWING/MISTY MORN HMV 825 1
BL HARLEM/SL I PPERY HORN PAE 2925
CREOLE LOVE CALL/BL TAN FANTaSYHMV '6344
THE MOOCHE PAE I 6 1 5
SHOWBOAT SHUFLE/ECHOS HARLEM PAE 2904
solitude/sentimental MOOD
BL vaqabond/syncopated SHUFF
LIONEL HAMPTON
I 2 st rag/ai ntcha COM I N HOME
hot mallets/shufflin at the
FOR HAMPTON FANS' SPECIAL
PRIVATE FRENCH ISSUE NO LABEL
MOON GLOW / LADY BE GOOD
GENE K3UPA
MADAM SW I NG I T/qU tOt AND ROLL
bl pmythm fantasy
annie laurie/prelude to st
apurksody/tararaboom
drumm i n man/tuxedo junction
CLAUDE LUTER
WEST END BL/HIGH SOCIETY
ROYAL GARDEN Bl/wHERE DID U
JELLY ROLL MORTON
BUDDY BOLDEN/HIGH SOCIETY
WININ BOY BL/OH DIDNT HE RAMB
BALL I N THE JACk/dONT LEAVE ME
CL IMAX RAG/WEST END BL
8HREVEP0RT/DEEP CREEK
GA SWING/MOURNFUL SERENADE
THATLL NEVER D0/( ELL I NGTON )
MUQGSY SPAN IER
COMPLETE HMV SPAN IER LISTING ALL 1.42
SOMEDAY SWEETHEARt/thaT DADA STRAIN
BIG BUTTER EGG MAn/d I PPERMOUTH BL
l i very stable bl/jazz band ball
eccentric/shimmy 6ibter kate
oinah/black blue/
AT SUNDOWn/bLUIN BL
LONESOME ROAD/MANDY MAKE UP MIND
RELAX IN TOURO/RI VERBOAT SHUFFLE
JACK TEAQARDEN
BEALE ST BL/SWINGIN T EA GATE PAE 3735 I
JUNK MAN/l COULDNT TAKE IT PAE 2599 I
RED WING/80MEWHERE VOICE PAE 2762 I
UNDERTOW/PICKIN PATSY PAE 2856 I
WOLVERINE BL/MUDDY WATER BL PAE 2739 I
PAE
2913
3.00
1 .31
PAE
2765
1 .31
PAE
2897
1 .31
PAE
2905
1 .31
PAE
2750
l.3l
FPAC 90009
2.00
FPAC 90008
2.00
HMV
9216
1.42
HMV
92 1 7
1.42
HMV
92 18
1.42
HMV
9219
l.*2
HMV
9220
1.42
HMV
9221
1.42
HMV
4836
1 .42
ALL DOMESTIC JAZZ LABELS IN STOCK AT ALLTIME
PROMPT SERVICE GUARANTEED. YOUR ANS'VER IN MAI
SAME DAY IT IS RECEIVED. THIS WE PROMISE.
SALE SALE
AMALGAMATED RECORD GROUP
P,O.BOX 341, COOPER STATION, NYC, NY
SALE FOR LOWEST PRICES. NO PACKING CHARGE
ON ANY ORDER. ALL RECORDS IN'MINT COHDI-
T ION. NEVER PLAYEB.
HJCA, PK ISSUES
louis-oropp in shucks/whosi t(ok) .99
louis-mess around/gonna gitcha (ok) .99
oliver-london bl/camp meeting (co) .99
OLIVER-WHERE DID U STAY LAST NIGHT (ok) .99
DODDS-BROWN BOTTOM BESs/lADY LOVE ( OK ) .99
LOU IS ARMSTRONG
BLACK AND Bl/cANT GIVE U ANYTHING CO .35
STARDUST/WRAP TROUBLES DREAMS CO .35
BL FOR YESTERDAY/LITTLE GIRL SW 223 .99
DONT JIVE ME/CHICAGO BREAKDOWN SWCO 54l .65
2 deuces/fireworks PAE 2282 .99
HOTTER THAN THAT/THATS WHEN PAE 2704 .99
RHYTHM MAN/8L TURNING GRAY PAE 1494 .99
DUKE ELLINGTON
midriff/esquire SWANK SW 230 .99
CLAR LAMENT/DROP ME OFF HARLEM PAE 2876 .99
HARLEM AIRSHAFT/SEPIA PANORAMA HMV 9 1 36 .99
JUMP IN PUNKINS/BL SERGE HMV 9 1 96 .99
SANTA PECORA-MAGNOLI A Bl/nEVER KNEWPA3050 .99
IOHNNY HOOGES-PYRAM I D/EMPTY BALLR00PA3 I I 5 .99
REX STEWART
I know u know/finesse
MOBILE 8»y/w|TH0UT A SONG
pawnee/3 HORN PARLEY
BARNEY BIGARD-READY EDDy/lAMENT HMV 92 1 5
odjb/resi enwebber/ti GER RAG
JOHN K IRBY
FRONT CENTER
LOVE U TRULY/CUTTIN CAMPUS
IMPR8MPTU/MINUTE WALTZ
CLAUDE LUTER
SW
70
.99
HMV
9208
.99
PAE
3l06
.99
HMV
92 |5
.99
BRE
2500
.99
PAE
2772
.99
PAE
2818
.99
PAE
2892
.99
PA 90008 .99
VJR
9
1.50
JAZZ5006
2.00
BRE
221 3
.99
BRE
2209
.99
BRE
22 1 2
.99
BRE
22|0
.99
BRE
2208
.99
BRE
221 I
.99
PLA
1 16
2.00
OR
G05092.00
JAZZ5008
2.00
VJR
15
2.00
ROYAL GARDEn/wDUS LAST NIGHT
BIX
GOOSE PIMPLES/TRUMBOLOGY PAE 2465 .99
COPENHAGEN/TIGER RAG BRE 2205 .99
DAVENPORT BL/WASHBOARD Bl( JUGGLERS ) BRE2206. 99
IM GLAD/FLOCK 0 BL(SCS) BRE 2207 .99
AINT NO LAND LIKE/cRADLE CAROLINEDAV 11042.00
SENSATION/LAZY DADDY
Rl VERBOAT SHUFFLE/sUZ I E
NORK
BUGLE CALL RAg/sAN
MAPLE LEAF RAG/CLAR MARM
PANAMA/TI GER RAG
SWEET LOVIN MAN/LONDON BL
THATS A PLENTY/TIN ROOF
f"|£|REWELLr Bl/eCCENTR I C
GOLDEN LEAF STRUT/sHES CRY IN
WOLVERINE BL/WEARY BL TE
SH TMMESAHWABBLE/m I LENBERG
CLAR MARM/MR JELLY LORD
KING OLIVER
Dl ppermouth/canal ST BL
MBELS DREAM/RIVERSIDE BL
WEATHERBIRD RAG/jUST GONE
MANDY LEE/lM GOIN AWAY
CHATANOOGA STOMP/n. 0 . S TOMP
LONDON BL/CAMP MEETING BL
WHERE DID U STAY LAST NIGHT
ROOM RENT/l AINT GONNA TELL
MABELS DREAM/SWEET BABY DOLL
JELLY ROLL MORTON
LITTLE DIXIE HOMe/tHATS LIKE OUGHTH JCA 1 5 .99
BILLY GOAT STOMP/hYENA STOMP HJCA II L99
GRANDPAS SPELL/CANNON BALL HJCA 54 2.00
JUNGLE BL/wiLDMAN BL BRITISH RHYTHM SOC .99
TURTLE TWIST/SMILING BL AWAY SWHMV 2.00
DR JAZZ/ORIG JELLY ROLL BL GRF 874| 2.00
PEP /FAT FRANCES ( PIANO SOLOS) GRF 2.00
BESSIE SMITH
CEMETERY Bl/aNY WOMAN BL COF 2|7 2.50
WILD ABOUT THAT Th/ SWCO 2.50
DYIN BY HOUR/FOOLISH MAN BL SWCO 2.50
DODDS -BULL FIDDLE 2.50;TO0 tight2.50;heah
ME TALKIN2.50 (ALL THREE ARE SW HMV )
BRE 2200 .99
BRE 3575 I .50
BRE 2202 .99
BRE 2201 .99
: 2.00
HJCA 1 8 .99
20 .99
— .99
(ok). 99
HJCA
HJCA
HJCA
SALE
B. J. PRINCE
AUCTION
2524 NW N. RIVER DRIVE,
MIAMI 35, FLORIDA
CONDITION GUARANTEED. 25(i SHIPPING CHG
ON ORDERS LESS THAN % 3.00. ENCLOSE PAY-
MENT WITH ORDER. SEND WANT LISTS ON
THESE ART ISTS.
LOU IS ARMSTRONG
GOIN TO SHOUT/NOBOY KNOWS
THANKS MILLION/SOLITUDE
NO ONE ELSE/BEAU KOO
PUT EM DOWN/POTOTO HEAD
COUNT BASIE
FEED I N 8EAn/| DO
KING JOE 1-2
MY OLD FLAME/TOM THUM
CAB CALLOWAY
FDR JONES/ANGELS
FLOOGIE WALK/GHOST OF
POPS IN bed/call ALL BARS
SILLY OLD MOON/BOB *A BOO
FT JAMES INF/u ARE
BL IN Nl GHT/SAYSWHO
LARRY CL I NT ON
A BSD ABA /CAMPBELLS
ALWAYS ALWAYS/DR RHYTHM
STOLEN HEAVEN/wHO DO U
IF IT RA I Ns/fEKD INAND THE
SOLID OL MAN/WORRIED
IDA COX
HARD TIMES Bl/fOUR DAY
I CANT QUIT/LAST MILE
TOMMY DORSEY
GETTING SENTIMENATL/lVE GOT
THANKS FOR E VE RYTH I NG/l LL DR
THINGS I WANT/ALLEGHANY
LETS GET AWAY (siNATRa)
SHEP FIELDS
SOUTH BORDER/ITS ALL
NARCI SSUS/AVANT TOOT
BENNY GOODMAN
LIMEHOUSE BL/|F I HAD
JERSEY BOUNCE/STRING OF
IM here/caprice XXIV
SOLO FLIGHT/THE WORLD
BODY SOUL/AFTER U GONE
NOBODY SWEETHEART/MORE THAN
EftRL HIMEf
JUL I A/COM IN IN HOME
WATER BOY/wiNDY CITY
FATHER JUMPS/OITNEY MAN
HARRY JAMES
BACK BEAT/NIGHT SPECIAL
D«DDY/ARO RA
I ocl/2 OCL
noth i n/record session
glenn miller
pavanne/little brown jug
devil may care/lm stepping
dear arabella/orange blossoms bb 11326 e
DE
2086 E
1 .00
DE
666 E
1.25
VO
3085 E
1.75
OK
8503 E
AUC
OK
6i80v/ei .00
OK
6475 N
11.25
OK
6 527 E
1 .00
VO
4498v/e
.75
VO
4807 E
1.00
VO
5731 E
1.00
VO
5774 E
1 .00
VO
6391 E
1 .00
VO
6422v/e
.75
VI
25707 E
1 .00
VI
25768e/v
.75
VI
25829 E
1 .00
V 1
25841 E
.75
BB
1 |343e/g
.75
VO
5298 E
1.75
OK
6405 E
i .75
VI
25236n/g
.75
\MV 125534 E
1.75
VI
25623v/ei .00
VI
27377 E
1.25
BB
10376 V
.75
BB
10688 E
1 .00
OK
6486 E
1.00
OK
6590 N
1.00
CO
364|| E
.75
CO
36684 N
1.00
VI
25115 E
2.00
VI
25345 E
2.00
BB
1 1 I99V/E
.75
BB
1 |329 N
1.00
BB
1 i535eA
.75
CO
35456 E
1.25
YESTERDAYS GARDEN I AS/COM I NG
BENNY MOTEN
MOTEN SW I NG/TOBY
HARD TO LAUGH/HOT
NEW orleans/lafayette
MARY LEE/TOUGH BREAKS
JELLY ROLL MORTON
K.C stomp/georgia
red hot/mournful
st-okin away/little gray
sidewalk bl/dead MAN BL
DR JAZZ/MEMPHIS
MR JELLY ROLL/STEADY ROLL
FATS WALLER
sweet beginning/rhythm
west wind/sing an old
sad sack sucker/rump steak
oh baby /pan pan
cash for'you/that GETS
WINTER WEATHER/CLARINET
PAUL WH I TEMAN
saxophone waltz/all depends
just echo/till tomorrow
CO 36|7ie/ni .00
CO 36232e/ni .00
CO 36399n/ei.OO
BB 10286 V .75
BBRI07I7 E 1.25
.90
.00
VI 27933 N
BB 6032 E I .25
BB 643 1 N 1.50,
BB 62 1 8 E I .25
BB 6638 E I .50'
BB 5I09G/EI.OO
BB 660IE/VI.25
BB 3802 E 1.50
VI 20252 E AUC
VI 204|5 V AUC
BWY I I 397 E AUC
VI 25i3ie/vi.25
VI 25253 E I .50
BB I I 296 E I .00
BB II383e/n|.0O
bb ii425e/ni.00
BB I 1469 N 1 .25
VI 205i3n/e2.50
VI 24201 E 1.25
43
AUCTION AUCTION
BARNEY CROSBY
55 RICE ST., SAN FRANCISCO 5, CALIF.
COND. GUARANTEED. SHIP RRX COO UNLESS OTHER-
WISE NOTIFIED. PP SHIPMENTS SEND UPON RECEIPT
OF BID PLUS POSTAGE. PKG CHG 25* ON ORDERS
UNDER % 5.00.
PAE
265
v+
PA£
|4;
V+"
PAE
205*
r
PAE
I83C
E
PAE
2l76
E
PAE
1882
E
PAE
264?
E
PAE
398
E
PAE
71 4
E
PAE
2687
E
PAE
lOf
PAE
?98
e
PAE
1978
E
PAE
2304
E
VI 23008
E
PAE
2269
E
PAE
2833
E
PAE
2580
E
HUV
4897
E
HUV
6|33
E
COE
5040 E
HKV
8931
E
BRE
2204
E
BSE
22C3
E
HRS75789
E
TAKE TOMORRO«/dUSKY STEVE
LILA,^Y PET
jubilee/since BEST GIRL
singin the 3l/bix0l0gy
crying all day/japanese sandman
bless u sister/feelin spirit
love nest/(vilt shaw)alamo
•ait til u see/carolina club
I like that/(seger ellis)
•ay oo»n yonder/im com in va
c=azy cat/3 blind mice
fENDIMENTAL BA3y/l UISIANA
baby »ont u please/manhattan rag
clar maru/( Ellington)
ill 8e frieno/oont hind *alk i n
rhytwi king/y|ff mole
uargie/louisiana
royal garden/jazz UE BL
HOAGY CARMICHAEL (BIX)
rock n chair/(luis russell)
ga on mino/ellington)mystery son
PAUL tHITEMAN (BIX)
FELIX cat/georgia forgie
dardanella/sugar
WOLVERINES (BIX)
fl dgety feet/royl garden
jazz me bl/big boy
lazy daddy/rherboat SHUFFLE
NE« T»l STER/SHIMMESAH»AB3LE
ENNY G00OMA-;
CLAP I NET I T I s/THATS PLENTY
LOVE ME LEAVE Me/»HY COULONT IT
JUNK MAN/OL PAPPY
AS LONG AS LIVE/l A I NT LAZY
KEEP ON DOIN (HAT U 001 N
MUSIC HALL RAg/D0«N HOME RAG
GEORGIE JUBILEE/EM AL INE
LIKE BOLT FROM Bl/|00% FOR U
RIFF1N SCOTCH/TAPPI N BARREL
AINTCKA GLAO/RIGHT SING BL
Nl T» 1 T SEF.En/buGLE CALL RAG
IZZY RINGOLD (KING OLiVER ???)
GOOD MEAT CUTTER/MERRY WAY CO I45C9 N
N.O.R.K.
•EARY BL/«OLVERI NE BL (PLASTIC) TEE 2 N
MILENBERG JOYS/MR JELLY LORD (*) TEE 3 N
INS OLIVER
TRUMPETS PRAYER/CALL FREAKS HUV 36 N
N.O. STOMP/CH A TANOOGA STOMP COF 3079 N
stop crying/jungle BAND BRE IIC5 E
STRUGGLE BUGGy/dONT U THINK HUV 4930 E
MULE FACE Bl/B0OGIE »00GIE BB 6678 E
CARROLL D ICKERS
SYMPHONIC »RAPS/SAV0YAGERS STOMP ( LA ) ADA29523 I E
BLACK MARIA/MISSOURI SQUABBLE BRE 3853 E
LETCHER HENDERSON ( ARMSTRON
■ORDS/COPENHAGEN VO 14926 E
GRAEME BELL
PACI0563 N
5 N
|5 N
3
I I N
10 N
NO Blx)BRE3856 v
PAN." ?5C|7 E
CO 2871 E
COE 730 E
PAE 2695 E
COE 745 E
COE 50l I n
COE 759 E
COE 1023 N
COE 501 1 E
COE 692 E
COE 1003 N
Tl GER RAG/NONE JELLY ROLL
GA CAMP MEETING/BACK HOME (PLASTIc)AMP
ALEX RAG BAND/lM LITTLE BLACKB IRO(* )AMP
„/:z band ball/alma st requiem(") AUP
CANAL ST BL/AZTEC PRINCESS (*) AMP
TICKLE RAG/BL FOR SHIRLEY ("1 AMP
JUST CLISER »ALK/CREOLE BELLES ( I 2"* )AMPI 20l N
S»ANSTON ST SHAMBLE/2 OAY JAG (•) AMP 2
JENNIES BALL/BIG BAD MAN 1")aMP I 3 N
se: nichqls
CAROLINA I N MORN I NG/WHO BRE 1062
BL ABAIk/kENTUCKY BIDS GOOD MORN BRE I 082
imagination/orig dix ONE STEP BRE 3871
SING CROSBY (WIT DUKE. .M I SLA BELEO )
2 cigarettes in dark/very thought brg 9754 e
SIX BLUE CHIPS
CHEAT IN CHEECh/6TEEL ROOF 0EE 7809 N
■ANT BINO CROSBY BR 20i06,ok4 I I 8i ,4i 1 68
AUCTION Trade
JOHN HOWARD
350 SW 10th AVE., PORTLAND, OREGON
NO PKG CHG. SHIPPINGS CHGS PREPAID ON ALL
ORDERS OVER t 5. 00. MINIMUM ORDER 2 RECORDS
MINIMUM BIO 75*. WINNERS NOTIFIED AND RECORD
SHIPPED ON MY RECEIPT OF AMT DOE. GRADING
DONE BY EAR. ALL ORIG LABEL, EXCEPT HMV • IF
INTERESTED IN TRADING SEND FOR MY WANT LIST.
HENRY ALLEN
BEACH BALI BALI /TAKE HEART
DID U MEAN IT/CHAPEL MOONLIGHT
KITEHEN HEAVEN/GNITE LUCKY
MILLERS DAUGHTER/CLOCK STR 3
NOThIN BLUE/TORMENTED
OL MAN R1VER/KK BOOGIE
I NDI ANA/SHER I DAN SQ
LOUIS ARMSTRONG
BAMBOO BRIDGE/HAWAI IAN HOSP
JONAH WHALE/SHADRACH
U LUCKY GUY/jUST NO ACCOUNT
ILL GET MINE/YES SUH
COUNT BASIE
I OCL JUMP/jOHNS IDEA
SENT U YESTERDAy/sw| NGIN BL
BUNNY BERIGAN
I HAD MY WAy/nEARLY LET LOVE
DAVENPORT 8L/FLASHES
S»EET VARSITY SUE/»HY TALK ABOUT
WILL BRADLEY
SOUTHPAW seren/bounce WE BROT
TEA FOR 2/THI NK ME
BENNY CARTER
VERY THOUGHT u/aLL OF ME
■UNDAy/e.ACK BAY BOOGIE
BOB CROSBY BOBCATS
LOOPIN LOOP /inspiration
mistriss mine/lover lass
adics ameri cano/all over no*
bob crosby orch
chief desoto/crosspatch
john peel/grand terrace rhythm
su«mertime/im free
pray i n humble/swingin sugar *
DIGA DOO 1-2
Hit PEO robin/them THERE EYES
CHERRY/DAY IN DAY OUT
•ORLD *AIT SUNRISE/BLUE
SHORTN I N BREAD/EMBRACABLE U
BLACK ZEPHYP/BL SURREAL
TOMMY SDORSEY
li ebestraum/wenoolsohn spring
promise me/shine on harvest
cocktails for 2/old black joe
lets get away 1-2
maple leaf rag/jamboree
ZIGGY ELMAN
SUGAR/29TH DEARBORN
BUBLI TCHK I /AND ANGELS SING
ZAGGIN Zl G/YOUR MINE
LETS FALL IN LOVE/nEVER BE SAME
IM YOURS/U TOOK ADVANTAGE
IV bl/everything TO LIVE FOR
thru with love/something to
deep night/by and by
JEAN GOLDKETTE
Dl NAH/AFTER I SAY SORRY
GIMME LITTLE K I «s/l0NES0ME
idolizinq/hushabye
sunoay/rather be girl
gonna meet sweetie/(shilkreet )
BENNY GOODMAII QUARTET
MUST HAVE THAT MAn/wOND ERFUL
bl your flat/mv FLAT
BENNY GOODMAN ORCH
ORGAN GRINDER Sw/PETER P I PER
meinni ei/oocher/bob WHITE
CI RIBI RIB In/bUMBLE BEE ST
NO OTHER. ONE/YANKEE DOODLE
SAVING MYSELF/DONT WAKE HEART
SWING LOW CHARIOT/u AND 1 YOUNG
LET SONG GO/FEELING HIGH HAPPY
WRAP IT UP/MELANCHOLY BABY
CLAR ALA KING/HOW LONG HAS
THE EARL/LETS DO IT
LITTLE COUSIN/ZOOT SUIT
VO
3261 N
vo
3377 N
vo
3490 N
v 0
3607 N
vo
3245 N
OK
6281 N
OK
6397 fl
DE
|2(6e/v
1 5 1 3 E
DE
2934 n
DE
3900E/V
DE
1363 N
DE
1880 V
VO
3254 E
VI
26 1 21 E
VI
25667 E
CO
35963 N
CO
36lOl F
BB
10962 N
BE'
1 1 34| N
DE
2209 E
DE
2662n/e
OE
3104 v
84| N
I 725 E
220S t
2210 E
2275 E
253B E
2703 E
2734 E
3271 e/n
44i5e/v
VI 25539 E
VI 25780 E
VI 26i 45 E
vi 27377 n
HMV 8643 N
BB I0C96 N
BB 10103 E
BB I 03 10 F
BB 10342 E
8B |04|3 E
BB 10490 N
BB 10663 N
HUV 91 72 ti
VI 19947 E
VI 20031 V
VI 20270 N
vi 20273 V
VI 20675 E
V| 26090 v
VI 26044 N
vi 25442 N
vi 25683 N
VI 26087 N
VI 25193 N
VI 25867 N
vi 25492 N
VI 25840 E
VI 25830 E
OK 6544 E
OK 6474 E
OK 6606 E
AUCTION
Trade
BUCKLIN MOON
% DOUBLEDAY 4 C0.,l4 W.49ST NYC
WINDERS NOTIFIED. RECORDS SENT DAY YOU
SPECIFY HOW AND SEND MONEY • NO COD'S
BECAUSE LAST AUCTION CURIOSITY BIDDERS
REFUSED TO ACCEPT THEM. DONT BLAME ME
BLAME A FEW DEAD BEATS. WILL TRADE ANY
OF THESE FOR N.O., OR EARLY BLUES.
TRADERS WRITE EARLY PLEASE.
GLEN GRAY (ALL E-M
WASHBOARD Bl/lITTLE OLD LADY
thru/tumbleweed
alex rag /old gray bonnet
time on hands/if i diont
riverb at shuff/still night
rockin chair/lazy bones
sunrise serenade/heaven can wait
billie holdiday (all e»)
NO REGRET/DID I REMEMBER
SAILBOAT/BORN TO LOVE
LAUGHIN LIFE/TELL ME MORE
LUCKY GUY/jUST NO ACCOUNT
DREAM OF LIFE/THATS ALL
SAME OTHER SPRING/THEM THERE
TO LOVELY TO LAST/WHY DID I
HAVIN A TIME/SAYS HEART
PRACTICE MAKES BERFECt/sAME OLD !
EARL HINES (ALL E+)
copenhagen/rosetta
please/goodni te
bubbling over/bl
rosetta/caverni sm
R-iYTH'M SUNDAE/l CANT
BEAU K00 JACK/GOOD
LITTLE BROTHER
FARISH ST JIVE
J IMMY LUNCEFORD ( ALL E)
SHOEMAKERS H0L1DAy/u SET ME ON F
hi t.Tin bottle/dream
JELLY ROLL MORTON
thatll never do/duke
buddy boloens bl/high society
bl blood bl/ga swing
shoe shiners drag/shreveport
J IMMY NOONE
GOT MY NUMBER/faoODY
WILD BILL DAVISON
BL Kl Ck/sURRENDER COLL ITTI. I 02N
ALBERT AMMONS RHYTHM KINGS (ALL E+J
BOOG I E woogie/nagasaki
DE
2394
DE
2777
BR
6100
VR
6201
DE
2398
DE
2395
DE
2321
VO
3276
VO
3605
OK
57|9
VO
5302
VO
4831
VO
5021
VO
4834
vo
4208
T0ROK5806
DE
337
VO
4008
DE
714
BR
654;
VO
3467
BB
7768
BB
101 77
REVO
47 l2
DE
765
HMV
4836
HMV
9216
HMV
34|9
BB
5707
BB
8609
MILE NO BIRD BL/EARLY MORN IN BL
COUNT BASIE (ALL E+)
baby/rockabye basie/
RED WAGOn/duPREE BL
boogie woogie/how long
cant believe/moonlight
sing for u supper/heart belongs
shorty george/thursday
nobody knows/song island
our love/goodmorn i ng bl
my wanderin man/5 ocl whistle
|2 st bl/jump for me
hey lawdy mama/the fives
oh red/fare thee well
broadway/the jitters
last affair/blues
dirty dozen/sun goes down
swingin on daisey/l ocl jump
roseland shuffle/honeysuckle rose
pesnys from heaven/da i sey chain
out window/keep remembering
jive at 5/evil bl
topsy/dont u miss baby
d1ckys dream/l ester l aps in
netchaf dream/chicago
let me dream/time out
miss thing 1-2
i ocl jump/johns idea
DOC COOK DREAMLAND ORCH
HUM STRUw/l GOT WORRY
BOB CROSBY (MOSTLY BOBCATS)
SQUEEZE ME/MILK COW BL
BIG BASS VIOL/SPEAK TO ME
DA I SEY MART I N JAZZ BELLHOPS
ROYAL GARDEN Bl/spREAD YOUR STUFF
DE
DE
749
975
VO
4747
DE
3071
DE
2355
VO
5036
DE
2249
DE
2325
VO
5|69
DE
1446
OK
5922
VO
4886
DE
2722
DE
2 780
OK
6095
DE
2284
DE
2498
OE
3408
DE
1 |4i
DE
1 121
DE
1581
DE
2922
DE
1770
VO
5|88
DE
661
DE
1538
VO
4860
DE
1663
CO
1*30
E+
DE
1962
E
DE
2206
E
GE
471 2
N
RECORDS
SIX GREAT SIDES
fey
BOB WILBER'S
WILDCATS
ALBUM A-IOI
including
WHEN YOU WORE A TULIP
TROUBLE IN MIND
FROG-I-MORE RAG
OH. DADDY
CAMP MEETING BLUES*
ONCE IN A WHILE
Three 10-inch Records— $3.75
Also Available
BOB WILBER'S WILDCATS
No. 1 Snake Rag - Salty Dog
No- 2 New Orleans Shuffle - I Can't Say
No. 3 Chimes Blues - Old Fashioned Love
The Brilliant Young French Clarinetist
CLAUDE LUTER
and his New Orleans-Style Jazz Band
#4 Ory's Creole Trombone
Wild Cat Blues
NEW YORK STATE
LESLIE DISTRIBUTORS CORP.
419 WEST 48TH STREET
NEW YORK 19, N. Y.
le Trombone #5 Sport Model Mama
Uues Tiger Rag
$1.05 each (Incl. Tax) Usual Dealer Discount +
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NEW YORK AND VICINITY
Big news for jazz fans in the New York area
is that both Charles Delaunay and Hughes
Panassie are in town. Panassie is giving some
talks at jazz club meetings, among other busi-
ness, and Delaunay is working on his first sup-
plement to the New Hot Discography. His
greatest work, though, is being carried around
in his satchel. It is the jazz Encyclopedia which
may prove to be the most complete reference
work about jazz and its creators.
The fine new jazz joint in Greenwich Village
sector, the "Riviera", is doing a landoffice
business by featuring the fine trio work of Art
Hodes, Pee Wee Russell, and Herb Ward.
Sitting in are such stalwarts as Tony Parenti,
George Wettling, Lips Page, and the greatest
suitcase player in the world, "Josh" B llings.
He will be remembered for his work with the
Mound City Blue Blowers.
Bechet has been the big attraction at most
of the sessions hereabouts. Billy Butterfield
still at Nicks.
Tony Parenti doing the best job of mission-
ary work for jazz in these parts. Playing three
days a week at the Rustic Lodge in New
Brunswick, N. J. Featured with a local band
have been fuch stars as Joe Sullivan, James P.
Johnson, The Lion, Wild Bill, Buck Clayton,
and other top names. Friday, Saturday, and
Sunday nights are when they stomp off. Tony
also has been active in the Bridgeport area at
the Tip Toe Club where his regular band fea-
tures Johnny Glasel (from Yale), Freddie
Moore, newlywed Charlie Traeger, and other
top local boys. Pictured on this page is the
band on a recent March of Dimes street parade
featuring Ray Diehl's authentic tailgate.
Circle records has just recorded the great
Bob Wilber band in Boston and has signed
them to a house contract. The growing jazz
club in Philadelphia, "Jazz Unlimited", is about
to release its first private club reissue: A
marching band and a piano rag. For members
only, but out-of-towners can join, too. Con-
tact the club at 1118 Walnut St. They have
room for about 20 new members. One of our
spies tells us that a member of the Watters
band was seen at a Gillespie concert the other
night and seemed to be having a ball. My,
My!
SHORT SHOTS
Davison and Bechet did another date for
Blue Note with Hodes, Moore and Page . . .
Knocky Parker set to record for Eli Oberstein
. . . Punch Miller in Florida, heading for New
York . . . King Cole added a bongo player to
his unit . . . James P. Johnson going to Holly-
wood to do some picture music . . Fred Rob-
bins has a new TV show . . . Mildred Bailey
looking slimmer than ever at the Cafe Society
. . . Brunis talking about suing True Magaine
and George Frazier over the story they ran
about him . . . New low in jazz concert at-
tendance was hit at a local club where only
two people are reported to have shown up
. . . Joe Marsala selling his toy business and
jazz parade
LATE NEWS FROM COAST TO COAST
returning to t.ie jazz game. He's on a Noone
kick and sounding great at the Friday night
sessions Bob Maltz throws at the Central Plaza
. . . The Royal Roost giving up Bop, but its
owners opening up a new joint to be called
Bop City ... Ed Allen, the great trumpet
player on most of the old Clarence Williams
records, is playing in a taxi dance hall on Nth
St., The New Gardens . . . Alberta Hunter in
town, singing better than ever ... A new blues
piano find from down south is Big Boy Ellis,
very fine . . . Shirley Clay, Jabbo Smith, Reu-
ben Reeves, and June Clark all will appear at
the Central Plaza sessions in the very near
future . . . Reeves is playing great horn with
Harry Dial's combo in the Bronx . . . Artie
Shaw doing a classical concert at Carnegie.
CHICAGO— Walter Wager
Despite the fact that business was recover-
ing slowly from the anticipated seasonal slump
and night club proprietors were weeping into
their Alka-Seltzers all over this Windy City,
there was plenty of fine music to be had by
the more sure-footed jazz fans.
A motorcycle would have helped, however,
as it was scattered all over to-hell-and-gone.
Red Allen, J. C. Higginbotham, Don Stovall
& Co. followed Herbie Fields into the Sil-
houette on the Evanston frontier, while Miff
Mole, Baby Dodds, Darnell Howard and Art
Gronwall were off on their usual dandy Dixie
tear at the Beehive on 55th Street.
Between these cultural outposts there was a
great deal doing. Danny Alvin's inspired
drums were leading a talented gang labelled
"The Dixielanders" at Isbell's Bryn Mawr men-
age, with Floyd Bean, piano; Jimmy James,
trombone; Jack Ivett, cornet; and Charlie
Morrell, clarinet.
Muggsy Spanier's hot horn continued to fill
Ruth and Bill Rinehart's highly civilized Jazz
Ltd. fairly regularly. The contented manage-
ment of this relaxing bistro also announced
that final disks for its album had been cut.
Now on wax are Washington and Lee Swing
and A Good Man Is Hard To Find, featuring
Muggsy, Egyptian Fantasy, Careless Love and
Maryland, My Maryland, starring Sidney Bechet.
some splendid Doc Evans trumpet on It's «
Long Long Way to Tipperary and Wolverine
Blues, and a Don Ewell piano solo of Maple
Leaf Rag.
The unfortunate Music Bowl closed up shop
temporarily, just as it looked as if good book-
ings and smart publicity might be getting that
big empty room back on its feet. To counter-
balance the loss, there was Max Miller's very
special trio playing his own kind of pure music
at the recently opened Hi-Note at 450 North
Clark. With Earl Backus on electric guitar and
Buddy Nichols on bass, this piano man is get-
ting some recognition at last and will be re-
cording again.
He'll take a seven piece band into the ever-
popular Blue Note to bact: Mel Torme for the
fortnight beginning March 27, following two
weeks of the Duke of Ellington in that fre-
quently exciting cellar. It is hardly necessary
to note that the solid month of Sarah Vaughan
and Lester Young which ended March 12 was
really solid.
Lee Collins' thundering trio continued to
defy the elements at the Victory Club on
Clark Street, and the boss horn showed up
with the legendary Natty Dominique, Danny
Alvin, Jimmy James and the superior house
band at a most satisfactory February 20 Dixie
concert at the Beehive. Of considerable in-
terest was the young Seattle combo known as
the Rainy City Band, a terrifically hard-hitting
unit of the old, old school.
For them as likes thrushes, Nellie Lutcher
eased her ample frame into the Rag Doll on
March 2 and Anita O'Day took her tonsils
into the Hi-Note on the 4th. One Jazz-at-
the-Phil bash occurs at the Opera House on
March 25, and it is hard to say what else
may break loose around this area. Like the
man said, it's still Chicago.
LOS ANGELES— Jack Lewercke
The picture of the month elsewhere on this
page is the Fire House Five Plus Two. This
group has for some time been playing for its
own amazement but has become so popular
around town that they may soon record. The
leader is trombonist Ward Kimball. Kimball is
also well known for his other great hobby,
model railroads. He has a train with four cars,
a railroad depot, car barn, and about 300 feet
of track in his back yard. Other members of
the group are Clarke Mallery, clarinet; Jim
MacDonald, drums; Harper Goff, banjo; Ed
Penner, bass Johnny Lucas, trumpet; Frank
Thomas, the pianist, was unable to get his key-
board onto the old 1914 America La France
fire engine. This is without doubt the gonest
picture we have ever printed.
SAN FRANCISCO AREA— Dick Oxtot
Albert Nicholas' four piece band livened the
San Francisco jazz fare considerably last
month. With bopster Dizzy Gillespie just across
the street, Nicholas demonstrated that New
Orleans oldsters can still pay their way if given
the opportunity. Nick entertained Interna-
tional Settlement clientele with a repertoire
made up mostly of Dixie tunes, but threw in
enough pops and standards (such as How
High the Moon) to keep the progressives
happy, too. As a result Nick's 2-week option
at the Arabian Nights was taken up and his
engagement extended.
The Yerba Buena Jazz Band continued to
operate without maestro Lu Watters, still con-
valescing from an operation. The rock-col-
lecting trumpeter is currently compiling a cook
book of gargantuan proportions, which will
contain all the dishes served at Hambone
Kelly's plus other concoctions conjured up by
the Watters brain.
BOSTON— Bob Parent
The new year received a resounding start in
Boston when the staid Tes'dents of Back Bay
were treated to a New Orelans style wagon
parade on the evening of Jan. 3rd. Follow-
ing a reception by the Bob Wilber Dixieland
Jazz Club at Back Bay RR Station, the Bob
Wilber Band boarded a waiting wagon and
started off with When The Saints Go Marching
In. Wending their way through sections of
Back Bay and South End, the parade ended at
the Savoy Cafe where both Wilber's Band and
Ed Hall's Quartet reopened that night, after
a few weeks absence, for an indefinite stand.
Besides Wilber, band consists of Jimmy Archey,
Henry Goodwin, Pops Foster, Dick Wellstood,
and Tommy Benford. With Ed Hall are George
Wein and Ev Schwarz alternating at the key-
board; John Fieid, bass; and Joe Cochrane,
drums.
Excellent Dixieland jazz continues to be served
to those who attend the Sunday afternoon
sessions at Pelletier's (formerly the Alibi) in
Lynn. Under the direction of George Poor,
trumpet, music is dished out by Paul Watson,
trumpet; Howie Gadboys, clarinet; Bob Gay,
trombone; Arthur Karle, tenor; Joe Battaglia
or Ev Schwarz, piano; John Harbo or John
Field, bass; Bill Learoyd, parralute; and Tony
Hannon or Charlie Hegarty, drums.
The 'Danceable Jazz' program fostered by
Dick Mascott of the Boston MCA office, and
mentioned in this column last January, got
under way during February when the Edmond
Hall Septet played for the Carnival Ball of
the Dartmouth College Winter Carnival and
the main prom of the Norwich Freshman Week.
The band was enthusiastically received at both
functions and indications are that the 'Dance-
able Jazz' program will solidly catch on with
the local college students.
Ed Hall and George Wein presented a jazz
concert at Jordan Hall on March 1st. Fea-
tured stars were Wild Bill Davison, Frankie
Newton, the Ed Hall Quartet, Al Morgan,
Howie Gadboys, Ralph Ferrigno, and Ev
Schwarz.
NEW ORLEANS
It was Mardi Gras time in the Crescent City
and biggest kicks for jazz fans was watching
Louis Armstrong lead the Zulu parade as king
of the Zulus. It was really the King returning
to his hometown with great music to keep
happy feet marching. Other good news was
the group of local cats who won the Horace
Heidt amateur show before thousands of people
as the Dixieland Jamboree band. Real gone.
OVERSEAS
The Danish Hot Club offers to tell any and all
correspondents about Its activities, which have
been considerable. Contact Hans Jorgen Peder-
son, 22 Byagervej, Virum, Denmark. The Bel-
gian cats have been active of late with con-
certs featuring Bill Coleman and Don Byas.
They are planning a jazz festival for next sum-
mer and plan to import one of our better
groups. Carlos de Radzitzky has been running
a weekly radio show in Brussels featuring
Oliver-to-Bop on records. Biggest demand
though seems to be for Bop. The same group
which played the Belgian concert traveled
across Europe to play a date in Switzerland.
They're jumping over there. Just received is a
splendid little magazine from Japan published
by the Hot Club of Japan. Features articles
about Goodman, Bunk, Wilber, Watters, Bop,
and Panassie. Real fine book. If you read
Japanese, that is. One of the world's finest
jazz magazines is being turned out monthly in
England by Sinclair Traill and Tom Cundall.
The Jazz Journal is a highly superior, large-
format monthly and is a discographer's delight.
Sub runs $4.50 — through the Changer, of course.
the record
changer
April 1949
Vol. 8, No. 4
Editor-Publisher
BILL GRAUER, JR.
Managing Editor
ORRIN KEEPNEWS
Production
JANE GRAUER
Art Staff
GENE DEITCH— Cover & Cat
PAUL BACON— Design & Typography
West Coast Representative
JACK LEWERKE
11800 Wilshire Blvd., Los Angeles
25, Calif.
CONTENTS
Lester Younq
Ross Russell
A
Ragtime and Jelly Roll
Kay C. Thompson
«
o
In Reply to Charles
Delaunay
Rudi Blesh
9
The Castle Jazz Band
Peter Drew
10
Phono Pickups
Alan D. Dare
1 I
Good and Rare
Joe and Cecile Madison
12
The Cat
Gene Deitch
12
The Fabulous Collection
Albert Otto
13
Mahalia Jackson
Bucklin Moon
15
Beneath the Cobwebs
Carl Kendziora
16
Records Noted
George Avakian
Bucklin Moon
Paul Bacon
17
78-33-45 Skidoo
Edward Hill
19
Packages
Gene Deitch
20
Tiger Rag
Joe Madison
21
Record Exchange Section
]
25
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3 yrs. $7.50, Canada add 25 cents per
year for postage. Foreign add 50 cents
per year for postage. To subscribe, send
your remittance to The Record Changer,
125 La Salle St., New York City 27,
New York.
CLASSIFIED ADVERTISING RATES
Classified «ections; 13 cents per record,
submitted on our special ail forms. For
a supply of these forms address a post
card to The Record Changer, 125 La
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rate for classified advertising not sub-
mitted on these forms is 20 cents per
record.
COMMERCIAL ADVERTISING
Address inquiries to The Record
Changer, 125 La Salle St., New York
City 27, N. Y.
The Record Changer is published monthly by Changer Publications, Inc.
125 La Salle St., New York City 27, N. Y.
Copyright 1949 By Changer Publications, Inc.
let that
foul air out
Dear Mr. Delaunay :
Since my one sin, that of an unfavorable
review of the revised Hot Discography,
seems to have landed me in the middle of a
battle royal in which I have very little inter-
est, I shall be more careful in the future. I
shall also recommend this course of action
to you, Mr. Delaunay, since later explora-
tions into your discography have turned up
fully as many errors, omissions, and care-
less slips as I turned up in ten or fifteen
minutes' spadework for my review.
No, Mr. Delaunay, I made no plea for a
bigger and better Index to Jazz. In all sin-
cerity my only hope was for a better, not
bigger, Hot Discography. My fan mail,
never to be reckoned with in the past, has
grown by leaps and bounds since that re-
view (and all on the plus side) so others
seem to agree that I was objective in my
criticism.
Why did I not aid and abet in the gather-
ing of material ? Well, I wasn't asked and as
a matter of fact I did not know that such
a project was in the making, while it was
still in the making. If there is another edi-
tion I would welcome that opportunity. But
I'm afraid that in the meantime I shall have
to keep on using my four battered volumes
of the Index, for without a seeing eye dog
I can't seem to find my way around in your
complex tome.
Bucklin Moon
Editor :
The article on Ward Pinkett in the re-
cent Record Changer was more than usually
interesting to me, due to the fact that he
was a native of Newport News. I found
that his mother and sister were still living
here and visited their home. It was rather
coincidental that I had used Morton's Pon-
chatrain, with Pinkett, on my "Dr. Jazz"
broadcast the previous Saturday.
His sister mentioned to me that Ward
Pinkett "worshipped" Armstrong and Mor-
ton; she also mentioned that McCarthy was
quite correct when he blamed Pinkett's in-
temperate habits for his early death. The
sister, Miss Loretta Pinkett, a musician and
band leader herself, had several of her
brother's records, including Morton's Kansas
City Stomps/Boogaboo, I'm Looking for a
Little Bluebird/ Mushmouth Shuffle, the
Jungle Band (Chick Webb), Dog Bottom/
Jungle Mama, Joe Steele's Top and Bottom/
Coalyard Shuffle, and Oliver's Stop Crying/
Papa De-Da-Da.
Sincerely,
Dr. Alexander T. Wiatt,
Newport News, Va.
Editor :
This letter should probably be started
with, "Mr. Anthony, I have a problem." Or
maybe it should read, "Mr. Anthony, all
record collectors have a problem." The prob-
lem is to get some authority to set a stand-
ard practice concerning the receiving of
broken records through the mail or by R. R.
Express.
The shipping company isn't always to
blame, although they do their share in
tossing parcels around. The shipper is more
often to blame — he does not pack the records
with heavy enough packing or else he neg-
lects to place warning stickers on the
outer box.
(Continued on Page 22)
6
ROSS RUSSELL
The shadows of three great jazz musi-
cians lie heavily over the contemporary
scene. They are Dizzy Gillespie, Lester
Young and Charlie Parker. In our recent
examination of bebop brass instrumentation
it was shown how the modern style had
evolved along a line of great trumpet players
from Louis Armstrong to Roy Eldridge,
emerging in the bebop idiom with the as-
cendancy of Dizzy Gillespie. In that article
certain references were made to Lester
Young, whose tone and phrasing, even
though on saxophone, were studied and
adapted to brass instruments by the earlier
boppers.
When we come to examine bebop reed in-
strumentation we find the influence of Les-
ter Young even more dominant. In fact,
modern reed playing stems almost solely
from "Pres," the most revered of the swing
musicians.
The new individual voices of Swing —
Goodman, Wilson, Eldridge — had brought
about an improvement of technique, sophis-
tication, refinement and involvement of line.
Teddy Wilson had refined the punching
orchestral piano of Hines ; Eldridge elabo-
rated the fantastic style of the later Arm-
strong period. Benny Goodman was a clar-
inetist who phrased in the Chicago tradition
of Noone and Tesschmaker, but he went
far beyond his models in musicianship.
Great changes had come to be associated
with these musicians but they had not
actually introduced a new way of playing
jazz. The challenge sounded by Lester
Young marks a division point in jazz his-
tory. Most of the critics and musicians of
the past fifteen years fall into two groups :
the traditionalists who hold with the old
models — the classic jazz of Armstrong,
Hawkins and Goodman ; and the "moderns"
who have followed the path of Lester
Young, Dizzy Gillespie and Charlie Parker.
An understanding of this schism will sim-
plify the appraisal, not only of music, but
jazz criticism since 1935.
Like Wilson and Eldridge, Lester Young
represents virtuosity, harmonic maturity,
delicacy and complexity. But these qualities
are not acquisitions with Young — they are
integral in his playing. He is the first to
make a clean break with the past and create
a style which is actually unique. With
Morton, Armstrong and Parker, figures that
loom in their respective eras, Lester Young
is one of the four chief innovators of jazz.
A musician of less stature than Armstrong,
Young is none the less comparable to Louis
in historical importance.
Lester was the first to junk the machine-
gun style of Hawkins, with its reliance on
eighth note-dotted sixteenth patterns. This is
the phrasing method of Sedric, Berry, Web-
ster, Wilson, and Young's Basie section
mate, Hershal Evans. Lester used more notes
and less notes than his predecessors, but
abundances were balanced against bareness
within the structure of his solos.
In his solo on Lady be Good (small band
version), Young employs a bare ten notes
for the first four-bar section. A classic
stylist would have doubled the amount.
These ten notes are set with lapidarian skill
m the rhythmic and melodic framework.
The opening phrase, so succinctly stated,
leads to longer and complex improvisations
upon the melody, the whole of which is a
masterpiece of economy, subtlety and logic.
Lester's musical thought flowed, not
within the accepted confines of two or four-
bar sections, but more freely. He thought in
terms of a new melodic line that submitted
only to the harmony of the original as it
reworked the melody into something fresh
and personal.
Harmonic sense that enables a jazzman to
improvise readily is a talent. Melodic vision
of Young's quality is a mark of genius.
His example and that of the Basie band
restored to the jazz language a tool which
had been dulled by improper usage.
Lester Young's chord and bar changes
are arranged with such adroitness that the
listener is frequently not aware of them
until after they have fallen. Lester's method
is to phrase ahead — to prepare for and
gracefully lead to into the next change sev-
eral beats before its arrival. To be able to
move so freely, in and out of the harmonies
with an ear so keen and a step so sure, to
always come out on the right note and the
right beat — this is a mark of genius. Jazz
had known nothing like it since the first
daring improvisations of Louis Armstrong.
As an innovator of harmonic change
Lester employed the light polychrome or-
instrumentation
LESTER YOUNG
1
THE
PARENT
STYLE
chestral palette of the Debussyians. Lester's
spirit was pleased by the sound of the sixth
and ninth intervals- which lie adjacent the
dominant and tonic notes. It was typical of
his subtle and inquiring nature to play just
off what the ear expected and thereby ex-
tend musical structure on a horizontal plane.
Lester added variety to the melodic line,
but he knew well how to balance the parts.
He is complex, but he is never complicated.
Wild crescendoes are contrasted with ham-
mering repetitions, iridescent multi-note
passages with sections where notes are
massed like blocks. Short statements lead to
long flowing sentences. Lester's solos are
replete with dips and soaring flights, sur-
prises, twists, hoarse shouts and bubbling
laughter. The holes, and like Basie Lester
leaves many, are deliberate and meaningful.
The dry bite of the attacking notes, the
fatness of the slurs and periods — all are
parts of the deliberate style of a master
virtuoso of the tenor saxophone.
Like all of the giants, Lester possesses a
tremendous beat. He is one of those rare
musicians who can swing an entire band.
The massive swing of the Basie orchestra
became even more exciting when Lester
soloed. Very often, when he had the first
solo, as on Taxi War Dance, Young would
divest the opening statements of all but
their rhythmic elements. Here Lester under-
lines the first and third beats, giving greater
emphasis to Jo Jones' high hat accents,
which fall on two and four. In rhythmic
language this solo develops a 4/4, a 2/4 and
a 1/3 pattern simultaneously and results in
rhythmic complexity that goes beyond that
of any contemporary. No one before him,
neither Armstrong, nor Morton, nor Haw-
kins, had created melodic line as rich in
rhythmic interest as did Lester Young.
New Orleans bands achieved this rhyth-
mic complexity collectively. The quality de-
teriorated during the following period when
jazz emphasized romantic and individualistic
tendencies. Lester Young, the arch-romantic,
recreates this quality in an individual style.
Lester's insistence on the rhythmic priori-
ties of jazz came as a tonic to a music
which was drifting away from the drive of
■early New Orleans music. Lester did more
than reaffirm these priorities. He replen-
ished the stream polluted by the arrangers
and thus made possible the even more com-
plex rhythmic developments of the bebop
style.
Lester Young's work falls into two
periods :
(1) 1935-40, when he was featured with
Basie and recorded with the parent band,
and with Teddy Wilson, Benny Goodman
and Billy Holiday.
The Lester Young style is essentially ro-
mantic. It is uninhibited and. relaxed, sensi-
tive, imaginative, deeply subjective. It is the
very intimate communication of an artist
who was voicing the ideas of the day in a
language of the next decade.
Lester always sounds spontaneous. Less
disciplined than Hawkins, he is none the
The Basie Band at Its Peak PHOTO courtesy of otto hess
(2) 1940 to the present, during which
time he has concentrated mainly on concert
and small band work.
During the first period Lester's playing
is notable for its freshness and abandon.
Lack of inhibition does not mean that Les-
ter was nervous or frenzied. He is the most
relaxed of musicians. His notes flowed like
water out of a tap and the source showed
no signs of depletion.
Lester's detachment was unshakable. He
always seemed to be in a world of his own.
Heard in person, in the midst of the happy
jungle of Basie's orchestral sound, or on
record, Lester gave the impression of im-
passioned absorption. On records his solos
glow with a radiance which is like the light
from another planet. In the parlance of the
times, he was "out of this world."
less a musician whose product is orderly
and structural. But these qualities — balance
and unity of parts, clarity of concept — lie
beneath the surface, under the luminous
texture of notes.
When Lester first appeared on the jazz
scene he had command of a completely in-
tegrated style which has undergone little
or no change since 1935. It was as if he
had been planning a frontal attack on ortho-
doxy for years.
The roots of Lester's style extend in
many directions. On one side they are in-
disputably in the reed tradition of the early
clarinetists who emphasized the melodic and
lyrical qualities of jazz and thought in terms
of the blues scale. Indeed, the Kansas City
style speaks the language of the New Or-
(Continued on Page 20)
8
KAY C. THOMPSON
and
JELLY ROLL
The revival of interest in early Ragtime
coincides with the virtual re-discovery of
Jelly Roll Morton by what amounts to a
whole new generation of record collectors
and serious jazz lovers, to say nothing of
the musicians themselves. This is a most
appropriate occurrence, especially since the
influence of Ragtime upon Jelly has never
received the attention it clearly merits. In-
deed, until this connection is more fully
appreciated, Jelly's ultimate contribution to
the music of his time cannot be satisfactorily
appraised.
Jelly's greatest achievement was not that
he originated, as so many latter-day ad-
mirers would have us believe, what has been
so frequently, and erroneously, described
as "left-hand" piano. On the contrary, Jelly's
significance derives from the far more im-
portant fact that the tradition of fine piano
was preserved, at times, almost solely by his
example. And, in addition to maintaining an
already-established tradition, he enriched it
substantially, most notably by his composi-
tions, during a period in which some of the
best features of early rags and blues were
achieving fusion. From this union there fol-
lowed, of course, the classic jazz of the
1920's.
The tradition of fine piano of which I
speak is distinguished by a fundamentally
orchestral, ensemble conception of the in-
strument. This fact should make it apparent
that the "left-handed" description of Jelly's
style is precisely that : a flagrant misnomer.
Actually, fine piano of the type that Jelly
personified was neither left-handed, nor,
fortunately, only right-handed. In plain Eng-
lish, stripped of all hep talk, it was strictly
two-handed, both in conception and in ex-
ecution. The confusion that has enveloped
the matter has resulted, no doubt, from the
fact that development in the left hand, so
prominent a feature of Jelly's execution, is
noticeable in contemporary pianists chiefly
by its absence.
At this point, perhaps I ought to make
it clear that, in emphasizing Jelly's unique
contribution to his time, I have no intention
to detract in any way from Jelly's rightful
claim to a special niche in the Jazz Hall of
Fame. Jelly did not enjoy in later years the
full popular recognition to which his talents
entitled him (but he would certainly have
rejected any acclaim by the bobby sox fringe
among traditionally-minded jazz devotees.)
For a fuller understanding of the piano
tradition, of which Jelly was a principal
practitioner and our connection with an
illustrious and vital past, we must briefly
consider the somewhat obscure origins of
that tradition. The orchestral conception of
piano was a development that accompanied
the evolution of Ragtime music, and is not
to be found in the early Blues.
Unlike the Blues, the history of Ragtime
has been almost wholly neglected in the
usual jazz chronicles. The Blues, if any-
thing, have been over-documented, in some
phases out of all proportion to their musical
worth, certainly from the viewpoint of any-
one concerned with the origins of jazz. For
the Blues constitute only one of the two
main sources of material entering into the
total picture and it is quite possible, even
likely, that time may prove them to be the
lesser of the two.
But the fact that little research has been
conducted on the origins of early Ragtime
does not mean that we cannot draw some
obvious' conclusions as to the influence of
rags upon the style of Jelly Roll. After all,
if only incompletely, we have before us the
evidence of the music itself, the original
sheet music published at the time. From
such sources a considerable amount of useful
information may be gleaned, by observing
the state of notation, the maturity of the
musical ideas, and the musical instructions —
often quite specific, as well as any possible
prefatory comments indicating the com-
poser's intentions.
Thus, while the library cupboards may be
bare, there is sufficient sheet music for our
present purposes. From the evidence at hand,
it may be stated that the development of
Ragtime music, which is to say Ragtime
piano, represented nothing more than an ex-
tension, or enlargement, of earlier banjo
techniques. It was, in fact, the adaptation of
several banjo parts, scored for an instru-
ment of larger musical dimensions. The
"stride," for example, a term frequently
used to denote Jelly's treatment of musical
material with the left hand, thus is revealed
as — in concept — the employment of two
piano parts by the left hand. Under this
scheme of things, the left hand carried the
rhythmic parts and the right hand one or
more melodic parts, in the manner of a trio
or quartet, this being the maximum number
regarded as feasible. Of necessity, to be
ensemble, the right hand was compelled to
know what the left hand was doing, and
vice-versa, from which it follows that fine
piano in the true orchestral tradition calls
for a higher order of musicianship than
most pianists seem to possess, which may
explain why we hear it played so rarely.
Initially, the efforts in an orchestral di-
rection were essentially imitative. This may
be detected, at least superficially, in the not
unpleasing "plinky" quality, reminiscent of
the banjo, surviving in certain passages of
ragtime compositions. However, as greater
experience was acquired, as the possibilities
were more fully explored in terms of other
(Continued on Page 23)
IN REPLY TO
charles delaunay
I read Mr. Charles Delaunay's article
in the last Changer, entitled "An At-
tack on Critical Jabberwocky," with a
certain feeling of weariness. For I am
a little weary of defending a record of
activity on behalf of jazz and its play-
ers that, on the very face of it, requires
no defense. I am weary of attacks that,
although veiled with varying degrees
of cleverness, are really personal at-
tacks upon me that spring from petu-
lance, ill will and envy.
The ironic element in Delaunay's
outburst is that, offended by Bucklin
Moon's adverse criticism of his New
Hot Discography, he vented his wrath
on me rather than on Mr. Moon, who
comes off with only two paragraphs of
mild reproof. The irony is this : in the
December issue of Music Notes, a
periodical of book reviews published
by the Library of Congress, I wrote a
favorable review of the Discography.
This I did because, while aware of the
book's shortcomings for use by expert
collectors, I felt that it should be avail-
able in libraries for the novices.
Nevertheless, for reasons apparent
to any unbiased reader, Delaunay
chooses to launch a particularly vicious
personal attack against me. Aside from
a few minor points, the whole dirty
matter can be disposed of as briefly as
it deserves.
One point concerns my analysis of
New Orleans jazz as modern, which
contrary to Delaunay's misstatement
preceded by several years any similar
claims for bebop. Delaunay confesses
that this is jabberwocky to him, and
thus furnishes, in his own words, a
just estimate of his own critical equip-
ment and basic powers of understand-
ing.
Delaunay next levels the fantastic
charge of racism at me with the taunt
that, having espoused the Negro as the
greatest exponent of jazz, I must now
accept inferior white players since no
one else is playing New Orleans. I
espouse all sincere players of jazz, re-
gardless of color. Is this racism? In
fact, I predicted in 1946, in Shining
Trumpets, that white players would
reactivate New Orleans jazz. Let me
quote : "All of the jazz playing of
younger white players ... is the real
'second line' of jazz . . . Consciously
or unconsciously, white men led most
of the Negroes into deserting the music
that had come from their hearts. . . .
However, the white boys kept the jazz
spirit alive until, today, some of the
faithful Negroes are getting a fair
chance to be heard again. None can
deny that there is a poetic justice in
this."
Delaunay also cites his unsupported
claim for the large numbers playing
bop against the small number playing
New Orleans. I don't know that this
is true and, even if it is, mere numbers
prove nothing about the relative value
of two different kinds of music. Is
quantity excellence? If it is, each of
the fads in swing, jump and jive that
preceded the present bop rage would
have been the "ultimate modern
music." Were they, Mr. Delaunay? In
the whole long history of New Orleans
jazz, there have been, in fact, many
concurrent musical fads; all of the mo-
ment.
Another point that apparently drove
Mr. Delaunay to his hysterical out-
burst is my statement that, before their
break, he was Panassie's faithful dis-
ciple. For the record, on Delaunay's
last trip to America, he sat in my New
York apartment and proudly confirmed
his allegiance to the famous French
critic. Delaunay calls my statement
rubbish. I am forced by the facts to
call his either a deliberate untruth, or
an unaccountable lapse of memory.
The rest of Delaunay's discreditable
performance is devoted mainly to an
attack on my integrity. Let me say here
that all of my activities in behalf of
jazz — writing, broadcasting, lecturing
and recording — are part of a complete
program of activity devoted solely to
the furtherance of the cause of good
jazz. That each, and all, are uncom-
promisingly sincere, is clearly evident.
Mr. Delaunay, I am both a promoter
and critic, though not in the sense
that you imply. I promote the interests
of jazz and its players, and I write
what is generally accepted throughout
the world as advanced and constructive
criticism. Perhaps, had these qualities,
plus a generosity you do not seem to
possess, permeated your own work,
this whole regrettable incident would
never have occurred.
I look on the recording being done
by my associates and myself as a per-
manent artistic achievement that will
stand on its own merits long after these
personal controversies and the persons
who actuate them are gone. And I am
quite willing to let any one of our
phonograph records stand up for com-
parison with the ceaseless reams of the
musical bookkeeping called discog-
raphy.
10
the
JAZZ
IN
OREGON
castle jazz band
peter drew
The tunes were Ostrich Walk and Jazz
Band Ball, the date was March 28, 1944,
and the place was a fairly unlikely one for
such righteous jazz: Portland, Oregon. Four
of the men on the record were Monte Bal-
lou, guitar ; Bill Pavia, clarinet ; Bob John-
son, piano ; and Axel Tyle, drums. The
record, a private issue of which only 200
copies were pressed, is now a collectors'
item. It was the first waxing by the nucleus
of what is now one of the most exciting of
the handful of bands keeping traditional
jazz very much, alive in fairly unlikely spots
all over the country — the Castle Jazz Band.
None of us needs to be told how tough a
job it is to form and maintain a non-com-
mercial band, faithful to the spirit of the
original traditions of jazz. The Castle outfit
had an even harder-than-usual time of it ;
born in the war years, it was hard-pressed
to gather suitable musicians for even occa-
sional sessions, let alone think in terms of
building a unified, consistent band. Undoubt-
edly the Castle band survives only because
it was the idea of a man who wouldn't quit
on his ambition. Monte Ballou, guitarist,
authority on New Orleans jazz, and a noted
collector (he's the owner of an Oliver Zulu
Ball, on Gennett, among other things)
knew what kind of music he wanted : he had
no intention of stopping anywhere short of
a band capable of "two-beat" rhythm, good
solos, and — above all — an ensemble that
rocks.
Anyone who has heard the often-rough,
always-exciting Castle records knows that
Ballou is getting close to what he wants.
Monte, with Pavia, Johnson and Tyle,
had played at Portland night spots, most
notably doing a weekly stint at The Castle
in 1944, which is when they began to think
of themselves as the Castle Jazz Band. It
was mostly a matter of jam sessions in
those war-dislocated days, and the playing
was strictly jam — but always in the New
Orleans vein.
After the Castle job, the boys scattered.
It wasn't until early 1947 that they got to-
gether again. This time Ballou, Tyle and
Pavia were joined by Bob Short, who plays
slide and valve trombone, and cornet, but
who is primarily a master of the tuba.
Pianist Larry DuFresne and Don Kinch —
a trumpet who Pavia calls a "re-incarnation
of Bix" — were the next additions, and it
was at about this time that Ballou made
the significant switch from guitar to banjo.
Their set-up was still far from perfect ; the
players held conflicting jobs, still could get
together only for sessions. It wasn't until
the release of Or'y's Creole Trombone/
Georgia Camp Meeting (HF 6, 7), during
the recording ban, that they came to the
attention of any jazz fans other than a lim-
ited following in the Portland area.
On that recording George Bruns made
his first appearance with the band. The coin-
cidence is significant ; Bruns is reminiscent
of George Brunis in the power of his trom-
bone style as well as in his name.
This past summer five of the group, in-
cluding the present clarinetist, a spirited
and driving jazzman named Bob Gilbert,
gave Sunday afternoon concerts at Port-
land's leading amusement center — Jantzen
Beach Park. Ballou called this his "Spasm
Band," and they played pure Dixieland until
the Fall floods prematurely ended the sea-
son. At present the band is playing weekly
sessions to capacity crowds at Portland's
Rathskeller Cafe. Without benefit of back-
ing or promotion they have built up a strong
following, and are doing more recording
work, coming continually closer to achieving
Ballou's constant ambition.
Kinch's Bix-like horn, DuFresne's in-
creasingly barrelhouse piano, and the lead-
er's rock-bottom rhythm and enthusiasm
(Ballou is reputed to break more strings
per session than any other banjo player in
the business) are all serving to keep the
fundamentals of jazz alive — and appreciated
— two thousand-odd miles and thirty-odd
years from New Orleans.
11
In the years that I have been collecting
records, I have continually been confronted
with conflicting arguments pertaining to the
causes of record wear and the relative
merits of various types of equipment, pick-
ups, and needles in minimizing wear. To
arrive at a conclusion with which there
could be no argument and which, inci-
dentally, would most benefit my own col-
lection, I conducted a little research into
the subject, with the following results :
Record wear is caused by the friction gen-
erated between the needle and the walls of
the grooves in the record. Therefore, a
stylus with a hard, highly polished surface
is required to reduce this friction to a mini-
THE RELATION OF
PHONO-PICKUPS
TO RECORD WEAR
Electric, the pressure can sometimes be re-
duced still farther.
This has been accomplished in this new
magnetic pickup (in contrast to the ex-
tremely heavy magnetic pickups associated
with the early days of electrical reproduc-
tion) by making the mechanical parts ex-
tremely simple and tiny and then bringing
the output-voltage up to the required 4evel
through the use of a one-tube pre-amplifier
inserted between the pickup arm and the
audio-amplifier. I know of one specific in-
stance in -which an acetate dub was played
over a thousand times with this cartridge
and showed no audible evidence of wear.
Its frequency response is much wider than
by ALAN D.
making it impossible to remedy the fault
without ruining the fidelity of reproduction
through the elimination of the higher fre-
quencies. In the case of the G. E. cartridge,
there is also no audible response to vertical
movements of the stylus. This does a lot to
eliminate any surface noise caused by dirt
and imperfections in the grooves without
any loss of fidelity.
In answer to those who object to the
"permanent" type stylus because of replace-
ment problems, it has been brought to my
attention that on the newer models of the
G. E. product the jewel can be replaced by
your radio-phono service man without the
necessity of purchasing a new cartridge or
with technical advice
by c. s. woodworth, iv
mum. The diamond, since it is the hardest,
takes the highest polish, and is the most
resistant to chipping, is, naturally, the first
choice, but the natural saphire takes the
honors as the most popular since the high
cost of a diamond takes it out of the reach
of most collectors' pocketbooks.
Another point to consider is the resistance
of the stylus and cartridge parts to me-
chanical movement ; that is, the amount of
pressure against the walls of the grooves
that it takes to make the stylus vibrate.
The acoustical, as well as the early electrical
pickups, offered so much resistance that a
pickup weight of several ounces was re-
quired to prevent the stylus from climbing
the sides of the groove. This resistance to
mechanical movement has, on the best of
the crystal cartridges, been reduced to a
point where barely an ounce of stylus pres-
sure is necessary, and, in the case of the
new variable reluctance (magnetic) car-
tridges now being produced by General
that of the average crystal and shows a
response beyond ten-thousand cycles per
second ; this greatly improves the fidelity of
reproduction, which is then limited only by
the quality of your amplifier and loud
speaker.
The "built-in" stylus shows an appreciable
advantage over the replaceable needle
(whether it be a jewel, precious metal, or
steel point) since the former eliminates most
of the "needle talk" that is so noticeable if,
with the standard needle, the amplifier vol-
ume is turned off. Much of this "chatter"
is caused by the fact that the shaft of the
needle resonates at the same frequency as
the higher frequencies of the recording.
Since, with the "built-in" point, on the G. E.
cartridge at least, the sapphire is suspended
on a tiny spring between the two poles of
the magnet and has no shaft, this objection
is eliminated. This resonating of the shaft
is also responsible for much of the surface
noise that you hear through your speaker,
of sending it to the factory for renewal.
Some record wear is, of course, the result
of archaic methods of record manufacture,
such as the use of abrasives in the shellac.
These abrasives were originally used to wear
the points of the early steel needles to fit
the grooves of the records, this process tak-
ing place during the first few turns so that
the point was automatically "tailored" to the
grooves for the balance of the record.
Abrasives are still used in record manufac-
ture, mainly to accommodate the few remain-
ing die-hards who persist in playing their
records with the out-moded single-play steel
needles.
All of which brings us to the conclusion
that the secret of eliminating record wear
lies in finding a pickup with a minimum of
mechanical resistance to stylus movement
and possessing a "built-in" jewel stylus.
I hope that these findings will help to put
collectors on the road to longer record wear.
12
by joe and cecile madison
n d there
A small, select group of about a hundred
and fifty collectors gathered at our
house a few weeks ago. Two of them
got a strangle-hold on the double turntable
in the den, another used the Meisner re-
corder, and still a fourth confiscated the
kids' phonograph. With the domicile bulg-
ing at its seams, a wild-eyed bunch of neigh-
bors forming a posse outside our door, the
kids doing picket duty, and four different
records playing at the same time, it was
only natural that a friendly debate should
ensue.
Somebody said it first. In all innocence,
we believe, a quiet little gentleman said in
a loud voice : "Maybe somebody here can
tell me. What is Jazz?"
Of course the question led to various
complications and still more various interpre-
tations. It will be a strange day when a
group of collectors can meet and agree, not
only on the meaning of Jazz, but on the
worth of a particular disc.
We find this same situation not only in our
own home, but in all of the jazz-conscious
countries of the world. Many foreign cor-
respondents write us : "Boy, are you in for
a treat ! After listening to our jazz you'll
be crazy if you don't sell your Armstrongs
and Olivers." Their records arrive, we drool
in anticipation, and with trembling fingers
place them gently on the turntable. Then
we drink the bitter dregs of disappointment,
as we find trouble in recommending even
one to your attention.
On the other hand, the Latin Americans
usually write : "Our jazz is terrible. Send us
some Morton re-issues. You'll know how
jazz-starved we are when you receive our
records." We haven't sold our Armstrongs
[TH£ CM""]
"I have played examples of Authentic Aframerican Vocalized Instrumentation,
Polyphonic Improvisation, Dissonant Harmony as expressed in river chants, undulat-
ing pitch of street cries, and the complex church rhythms which led to the develop-
ment of jazz. Now this next record is really a bitch. . . ."
or Olivers, but we sure want more of that
"terrible" music.
Through his tears and against his better
judgment, Juan Grezzi of Uruguay was per-
suaded to send us Menendez Pasquet's Dix-
ieland Orchestra doing Dixieland Ballad/
La Bruia En La Escoba on Son d'Or 5074.
If you can, get a copy. We say it's good!
With an ardent apology, as though he
were taking pennies from a blind man, Ed
Silvestri of Argentina hastily packed up
(before we could change our minds) Clari-
net Marmalade by Hector Lagna Fietta's
Jazz Orch. on Od. 45985. It's a larger
group, with different breaks, but it will cause
you to sit on the edge of your seat waiting
for Larry Shields' clarinet. At least, we
felt that the O.DJ.B. might be playing it
that way today. We recommend it.
New issues from Argentina :
Lagna Fietta, Opus 2, Od. 23056
Aleman Quintet, Beginning to See the
Light, Od. 22313.
Paul Reinoso, Buguiando, Od. 22414
Cotton Pickers of Buenos Aires, Vi.
60-1622
Scandinavia has gone Dixieland this month
with The Hep Bats Dixieland Band re-
cording of Ballin' the Jack on Finland's
Lavel label. This band is composed of play-
ers eighteen years old and younger ; it's a
Swedish group; and' it's said to be quite
good. In Finland, Stig Ulemstrom's Dixie-
land Band has also been recorded.
New issues from Sweden :
Svend Asmussen, Only Girl /When
You're Smiling, Od. 5314
Simon Brehms Orch., Blue Skies/Tea
for Two, Tele. 9206
Estrad All Stars, Cupolished/So Far
So Good, Cupol 4138
Leo Mathisen Orch., Makiri Whoopee/
Key's In, Sonora 673 •
Our thanks to Bill Holyoak of Australia
for a copy of Memphis No. 4, featuring
the Southern Jazz Group. We are pleased
to find the boys in excellent form on The
Saints Go Marching In, which is on a par
with their excellent versions of Southern
March and Darktown Strutters on Memphis
1 and 2. We can definitely recommend this
record for your collection. You'll also find
the reverse side, Dr. Jazz, exceptionally
good.
If you're after a few items to give you
a quick view of the jazz scene in Belgium,
your best bet is Victory label, owned by
ex-bandleader Jack Kluger.
Olympia label, with 90% commercial re-
leases, has managed a little jazz, with the
Bob Shots' Ooop-Bop Sh'Bam on Olympia
(Continued on Page 24")
13
the
collection
by albert s. otto
from his ancient apparatus, wesley perry
learned the early history of the phonograph
Wlf } friend, this outfit sold for $200 back
JY£ in 1910. You can have it today for
one percent of the original cost — it's
yours for just two bucks."
The Santa Monica, California, junk
dealer was a persistent salesman and Wes-
ley Perry, a local resident, shortly found
himself poorer by two dollars and richer
(?) by one Edison cabinet model cylinder
phonograph.
That was back in 1936. Parting with two
dollars involved a considerably more mo-
mentous decision in those latter depression
days than it does now, though not so much
deliberation as the original purchase of the
machine must have called for in 1910. But
the original purchaser undoubtedly received
a tone arm with the set. Perry did not.
Feeling that he should have more than
an outdated hunk of furniture in exchange
for his sizable cash outlay, Perry set out
on a search for the missing part. System-
atically he scoured the second-hand stores
and swap shops of Southern California. He
encountered phonographs, gramophones and
record players of every conceivable make
and type — except a 1910 Edison cabinet
model.
Finally, in desperation, he wrote the Edi-
son Company, but to no avail. Tone arms
of that vintage, or for that matter any other
ancient parts, were no longer stocked and
just weren't to be had.
This was a challenge Perry could not
refuse. The search became almost an ob-
session. But after nearly a year of search,
he was on the verge of giving up in despair,
when a letter arrived from the Edison
Company. Eagerly Perry tore it open and
read the almost unbelievable news that a
brand new tone arm of the type he was
seeking had been discovered in an old ware-
house. Needless to say, Perry lost no time
in ordering it, and before long was listening
to the wax cylinder offerings of the early
nineteen hundreds on his own complete
Edison.
That was the start of it. His search through
countless junkeries had brought Wesley
Perry into contact with hundreds of pieces
of ancient playing apparatus, and he was
beginning to become familiar with many of
them. Prices were low in those days, and he
soon began to accumulate a varied assort-
ment of "old-timers." The cylinders fasci-
nated him too, and he collected these avidly.
As time went on, Perry began to do re-
search on his hobby. He acquired quite a
library of books on the subject, which
turned out to have been approached in many
different ways by many authors. An interest
in records in general also developed, and
today he has a collection of about fourteen
thousand, of all types. Operatic records
were his specialty at first, but he became
interested in jazz in 1940 and now has many
fine items in that line as well.
Perry's collection of rare old machines
now numbers about 25, the most famous of
which is the 1895 National Gramophone,
forerunner of the Victor Talking Machine.
This is the model pictured in the famous
"His Master's Voice" label. Perry rented
the machine for a tidy sum to a motion
picture studio, which used it in numerous
scenes in the recent Bing Crosby film, The
Emperor Walts. This was the first disc
commercial machine, marketed by Emile
Berliner, its inventor, and his partner, El-
ridge R. Johnson. Berliner had previously
experimented with disc machines for several
years, producing a hand-cranked test outfit
as early as 1887. According to Perry, Ber-
liner is the real inventor or perfecter of the
modern phonograph principle, for in addi-
tion to being responsible for the change
from cylinders to discs, he was the first to
develop an adequate microphone. The micro-
phones of the Edison machines which pre-
ceded his were extremely crude.
Elridge R. Johnson was an excellent me-
chanic, and it was his idea to utilize a
spring motor, operating on the clock-
works principle, in connection with Ber-
liner's disc unit. This was an important
forward step, eliminating the necessity of
rotating the turntable by hand cranking. In
1895 Johnson became Berliner's partner and
the two patented their machine under the
firm name of National Gramophone Com-
pany. The total output of their first year
of operation was less than 25 machines,
with a total gross volume of about five
hundred dollars.
The following year the partners made
14
another improvement by placing the spring,
which had been on the outside of the box,
inside, out of sight. Again the gross busi-
ness ran to only five hundred dollars, and
it remained about the same for several
years. The company came close to folding
up on more than one occasion.
In 1897 a French artist named Francis
Barraud saw a dog listening to an Edison
Bell machine, and was inspired to paint the
renowned picture, "His Master's Voice."
When he attempted to sell the painting to
the Edison firm, however, he was flatly
turned down. But Berliner and Johnson's
European representative had the National
Gramophone substituted for the Edison
machine, and National purchased the trade-
mark for one hundred dollars. Today it is
probably the most famous patent label on
earth.
Berliner and Johnson apparently had
trouble in settling on brand names, for
their various records over a period of sev-
eral years bore the labels : Berliner, Elridge
R. Johnson, Monarch, Monarch-Victor and
Victor. The last, came about 1901, when the
firm reorganized as the Victor Talking
Machine Company.
The new name apparently was a good
luck charm, for business began to increase
almost immediately. By 1905 the annual
gross had swelled to \2lA million dollars.
European sales were primarily responsible,
for in America the phonograph was still
popularly referred to as "the squeak box."
Yet it had been more than a quarter cen-
tury since Thomas Edison invented the
first practical sound reproducer. Back in
1877 he had placed the immortal verse
about Mary and her little lamb on a cylin-
der. It was 1890, however, before Edison's
machine was put into production. The first
models were not sold for household use —
that idea hadn't even been thought of.
Street hawkers set up their outfits on busy
thoroughfares, selling a "listen" for a penny
or two per selection. The machine was
strictly a novelty ; no speaker horn had as
yet been developed, and it was possible for
several persons to listen at the same time
only by means of a number of ear tubes.
Within a few years Edison was feeling
the competition, not only of National, but
of two other companies as well. Between
1895 and 1900 the Columbia Graphophone
began to appear in America, while in
France, Pathe Freres were pioneering the
field. During their period of existence,
Pathe recorded more famous artists than
any other company. By 1901 Pathe was
producing double-sided discs, something
which none of their competitors achieved
before 1908. These early Pathe records were
released in three editions — 8%, 11 and 16-
inch discs — for various levels of volume.
The playing time of each was identical, but
The Columbia "Home Grand"
Graphophone of
1898-99, which sold
originally for $100.
the groove modulations varied in size to
produce louder or softer tone. In 1908 this
practice was eliminated, and the principle of
sound control by cabinet doors adopted.
The year 1908, according to Perry, also
witnessed the birth of the first record
changer. There are not many data available
about this contraption, and it may never
have got into production. The original
model is now in the possession of a Holly-
wood studio. It is an extremely compli-
cated but ingenious affair, and it does work !
The principle is that of the ferris wheel,
with twelve cylinders suspended so that each
in turn slips into place and is played.- Big-
gest disadvantage is that each cylinder has
its own spring, and winding twelve springs
is almost as much work as changing twelve
records !
Speaking of cylinders, Perry reminds us
that they are responsible for the use of
the term "wax" in connection with the
recording field. Many people have wondered
how this expression came into use, since
wax is not an ingredient of disc pressings.
Cylinder recordings, however, were cut in
soft wax, and the phrase "putting it on
wax" has remained to this day.
Wesley Perry, collector of cylinders,
records, and what plays 'em, has a hobby
that is surely both unusual and of historical
value. It is through the interest and efifort
of men like him tha.t the story of recorded
sound will be preserved.
The Edison "Pre-Horn" of 1893. Perry (left) and the writer are listening through double ear tubes.
15
mahalta jackson
A GREAT GOSPEL SINGER
bucklin moon
The other day the publicity department of
Apollo Records called and told me that
Mahalia Jackson was in town, so I
hopped the first thing rolling and got on
over to the 65th Street apartment where she
was staying with friends. Earlier, I had
been trying to work out some way of inter-
viewing Miss Jackson by letter — a series of
questions and answers — but I was glad
things worked out the way they did. It just
isn't possible to get at the real personality
of a person unless you can sit down with
them and talk things out.
Well, I climbed up the three flights of
stairs and rang the bell and Mahalia
greeted me warmly. She looks a lot like her
pictures, but they give no hint of her won-
derful personality. Words like direct, sin-
cere and friendly come to mind, and she put
me at ease at once. Earlier she had told
Apollo that she didn't feel there was much
of a story in her life and at the time I had
thought she might prove shy, but on the
way over I had picked up an advance copy
of the Decca re-issue of one of her earliest
records — on Coral, their new low priced
label. To break the ice I asked her if she
had heard it.
"Heard it?" she said. "I didn't even know
they were doing it. They never even told
me about it. I don't want that record .out.
It was made fifteen years ago and it's not
very good."
I played the record for her. As her voice
came out of the machine she listened
critically and I could see her shaking her
head.
"You know," she said, "I never got but
twenty-five dollars for making that record ?
And now I guess I won't get anything more
when they sell it again. All they are doing
is taking advantage of the success of my
Apollo records. That sure doesn't seem to be
fair."
After both sides had been played once
she asked if I would mind playing it again.
I ventured to say that I liked the record,
that though her voice was slightly higher
and not as well recorded there was certainly
no mistaking who it was. I tried to pin her
down to the year it was made, but she was
not certain. Fifteen years would have made
it around 1934, but she thought it might
have been as late as 1936. Then I put the
record away and we got down to business.
Knowing that some negroes look down
on jazz, and that some who have gone from
jazz into Church work have attempted to
deny their past, I was a little hesitant about
getting into the subject. But she assured me
that she had no feelings against jazz, that
it was a music and she liked every kind
of music. Then she laughed. "Some people
in the Church might not like my saying
this, but it's the truth. As a matter of fact
I'll tell you something. I learned to sing by
listening to Bessie Smith records !"
I told her that I had said, in reviewing
her records, that hers was the greatest un-
trained voice, with the possible exception of
Bessie's, that I had ever heard.
"Bessie was great, really great. I listened
to a lot of others, Ethel Waters for ex-
ample, but it was always Bessie that meant
the most to me."
We talked about how Ma Rainey had
first heard Bessie singing in a church and
had taken her into her tent show. I men-
tioned Thomas Dorsay, so many of whose
songs she sings, and she knew of his back-
ground, that he had once been Ma Rainey's
accompanist. I also pointed out that Bertha
Idaho was now singing in the Church ex-
clusively, after being one of the good blue
singers of the late 'twenties.
Mahalia Jackson smiled. "When I first
came to Chicago from New Orleans, when
I was about sixteen, Earl Hines heard me
sing and wanted me to appear with his band.
He was at the Grand Terrace then."
"Mahalia," I asked, "with that kind of
background why did you go into Church
work instead of jazz?"
"To tell you that I'd have to start at the
very beginning. As I told you, I was born
in New Orleans, in 1912. My mother came
from a very religious background. Her
father was a preacher and all on that side
of my family, they had all been Church
people a long way back. But my father's
family had a theatrical background and from
them I got any musical talent I may have.
Daddy had a brother and sister and they
were both singers. They were in vaudeville.
They traveled on the same circuit as Butter-
beans and Susie and they knew Bessie well.
"Now, they wanted me to be a singer like
they were. But my mother kept me away
from them. She wouldn't let me see them
if she could help it. She wanted me to be in
the Church."
I asked her if she remembered much
about jazz in those days when she was
growing up in the Crescent City. She told
me that her mother would never let her go
where it was played. I asked her if she had
ever snuck out and listened anyway; smil-
ingly, she said that she hadn't. It was ob-
vious that she had been very fond of her
mother.
"I still heard some of it though," she
went on. "I remember when Bessie Smith
used to come to the Iberville Theatre I
always went to hear her. Then a lot of times
those people used to perform at the Church."
She told me that often the Church needed
money and would get some negro per-
former with a "name" to give a benefit
performance and that she heard a great
deal of jazz in that way. I asked her for
names.
"I remember Louis, of course, and later
when I went North and he heard my voice
he told me if ever I wanted to sing with
his band I could. I remember King Oliver,
too. Those are the two I remember most."
I mentioned Johnnny Dodds, Sam Mor-
gan, Louis Dumaine, Bunk Johnson and a
few others, but they were only names to
her. It's a shame she had never heard
Morgan ; I would have liked to have gotten
her reaction to his music, which was cer-
tainly close to the Church in feeling. Then
I asked about Papa Celestin.
"Papa Celestin, sure I remember him. He
was very well known in New Orleans. Sure,
I heard him play."
Other names I mentioned had little mean-
ing for Mahalia. Some of the singers — the
blues singers in particular — she knew from
16
records, but she always came back to the
name of Bessie. It was obvious that she
had done more than merely listen to her
records and then sing. It seemed clear that
Bessie had been a great idol of hers.
When she was sixteen, she had left New
Orleans and had gone to live with an aunt
in Chicago. I asked if the treatment of
negroes in the South had caused her to
leave and she said that it really hadn't, that
she merely felt she could better herself and
for this reason had come North. I asked if
she still made personal appearances in the
South. She said that she did, many of them.
She mentioned that everyone always treated
her fine, but that she would not like to live
in the South. I let it drop at that.
Mahalia told me that she had not ever
had formal musical training. She learned
all that she knows by listening to other
singers, mostly on record. When she got to
Chicago she had wanted to become a clas-
sical singer, but there was no money for
lessons and no one interested enough in her
voice to provide the means. It was almost,
she told me, as though she had two voices.
Her outer voice, the one that she used most,
BEHIND
THE COBWEBS
CARL KENDZIORA
This is a new department of the Record
Changer which is intended primarily for
those collectors who like to delve back
among the old jazz records and try to learn
more about the obscure items for which no
personnel and/or other facts are available.
We do not profess to be expert and
do not expect to state in this column that
John Doe is without question on the Toledo
Stamper's Embassy issue of Red Brick
Stomp. We intend, rather, to act as middle-
man or clearing house for the collectors
who have either questions on jazz records
or facts and opinions on them. We will
throw in any facts or opinions we have, too,
and will relay via the column all questions
sent to this department. The same applies to
the answers and opinions on groups or
records that we hope readers will be send-
ing in.
We won't object to personal opinion, but
would like you to state your sources for
factual information, and to state when any-
thing is merely your own opinion, no matter
how well founded it may be.
To get this thing rolling, let us throw a
few obscure items your way. Up to the pub-
lication of the New Hot Discography, the
only listing given for the Red Norvo xylo-
was the lower register ; the other voice, the
one that she had hoped to develop, was at
the upper end of her vocal range.
"I remember," she said, "that I saved all
my money to buy records. I bought the
records of Roland Hayes, and especially
those of Grace Moore and Lawrence Tib-
bett. It was from them I learned diction,
the correct way to breathe, and what little
I know of technique."
I mentioned that perhaps she was lucky,
that singing the way she did her voice
would last forever ; that had she gotten a
teacher who did not know his business this
ease might have been lost. Her voice has
gotten deeper with the years, and anyone
who hears it cannot help but feel its depth
and richness. Sitting there I wondered what
might have happened if she had found the
proper teacher, how far she would really
have gone.
I asked if she ever had any regrets that
she had not gone into professional singing
instead of church work. She smiled at me
and I could see the answer in her face.
"No," she said, "I would always want to
be in church work. I have had a tough time
phone solos, Hole In the Wall/Knockin' On
Wood (Br 6562) was that they are solos
and were recorded April 8, 1933. The New
HD lists Jimmy Dorsey (cl), Fulton Mc-
Grath (p), Dick McDonough (g), and
Artie Bernstein (b). Since this item has
been rumored to be a Benny Goodman item
for a long while, I included it in my Good-
man Discography (Record Changer — April-
October 1948). No contradictory opinion
was received, but this New HD listing
would seem correct. Any opinions?
It seems fairly well established that BG
is on the four sides cut sometime in No-
vember, 1933, by Steve Washington and his
Orchestra. Buf who else is on these four
sides and on just what day in November
were they recorded ? Titles are : Sing a
Little Low Down Tune (??)/We Were
the Best of Friends (??) on Vo 2598 and
Blue River (B 14365 )/Love Me_ (B 14366)
on Vo 2609. Note the two missing master
numbers. Anyone know them ?
Here's a real poser: Dixie Drag (1881)
as by the Dixie Jazz Band on Je 5446 and
Or 1396. The same master seems to have
been used for the issue on Ba 6214 as by
Mendello's Dance Orch. The copy of Ba
6214 I saw had (1881-2), while my Or 1396
is from the first take: (1881-1). This is
obviously not a Goodman-Teagarden-Mc-
Partland Whoopee Makers item but is good
jazz. There are solos on piano, clarinet, cor-
net, and trombone. Clarinet sounds a bit
like it could be Pee Wee but that's just a
wild guess. Same goes for the cornet which
is good and sounds a bit like Wild Bill
Davison. Anyone able to help out on this
one?
As a final item this month, let's try to
straighten out the trumpeters on the
Champion Mound City Blue Blowers series.
There seem to have been five recording ses-
sions by this group as follows :
Nov. 8, 1935 (date No. 1)
Red Sails in the Sunset (60137) . .Ch 40060
I'm Sittin' High on a Hilltop
(60138) Ch 40059
On Treasure Island (60139) Ch 40060
Thanks a Million (60140) Ch 40059
Dec. 12, 1935 (date No. 2)
Eeny Meeny Miney Mo (60219). .Ch 40073
A Little Bit Independent (6022Q) .Ch 40073
(Continued on Page 24)
MAHALIA
in the past. I've sung for nickels and dimes,
and I never really earned any money until
my Apollo records started to sell. When I
made those Decca records they promised me
great things if I would make some blues
records. I wouldn't, and they cut me off and
took on Sister Ros,etta Tharpe instead. Even
if I had been willing to compromise a little
they would have built me up, but I didn't
want that. The important thing to me is
that in the Church, the way I have chosen,
I can reach the people. The money will take
care of itself. So long as I can bring some-
thing to people I'm satisfied. The Church
has been my whole life and I have been
repaid far more than I've given."
I asked where she had sung, aside from
churches. She mentioned that she had been
asked to sing before the National Baptist
Convention and how thrilled she had been.
Another high point in her life had been
singing in an Easter pageant at the Chicago
Opera House on Easter Sunday of 1946.
She had done much local radio work but
had never appeared on a national hook up.
Currently, she was appearing at various
places in New York and had filled one of
the larger uptown halls with some 3,500
people. Many were turned away at the door.
Apollo has already passed the million mark
with her records, and once in a baseball
park in Atlanta she had sung to 21,000
people.
When I got home I spent the evening
playing over all the Mahalia Jackson sides
and the more I play them the more con-
vinced I am that they are everything I have
ever said about them. Shortly after I had
a letter from Bill Russell in which he men-
tioned my review of the records : "Even Me
is a pretty amazing record, I think. I'm not
so sure that I wouldn't go you one better
and say Mahalia has a better voice than
Bessie. Of -course I've never heard M. in
person, so it's difficult to compare her with
Bessie, whom I heard several times."
I'll go along with that. I've never heard
her in person, either, but I have talked with
people who have and they all say the same
thing, that in front of a large audience she
is even more moving than on records. Ma-
halia Jackson has a voice that is peculiar to
itself. I can think of no other that is close,
save Bessie, and I think that Mahalia, in
her medium, is perhaps even greater than
Bessie in hers. I can think of no higher
praise and I have a feeling Mahalia Jackson
would think so, too.
17
GEORGE AVAKIAN
BUCKLIN MOON
PAUL BACON
records
noted
Claude Boiling and His Hot Seven
Riverside Blues
Georgia Bo Bo
Deepermouth Blues
You Rascal You
Blues in Disguise
Nobody Knows the Way I Feel This
Morning
Someday, Jack, somebody is coming up
with seven midgets from Luxembourg who
learned how to play from a cylinder record
by Buddy Bolden and His Boys, a hitherto
unknown collector's item buried so far back
of the Iron Curtain that it was actually
found in front of it. Two centuries from
that time an obscure student is going to
unearth some old phonograph records in the
attic of his great, great, great, great, grand-
father— a character known around these
parts as the Cat — and using them as research
material produce a thesis for his Ph.D.
Know what it's going to be called, Buster?
Some observations on the amazing re-
surgence of the French style of hot jazz -in
the far away American city of New Or-
leans, including the astonishing ability , of
such performers as Louis Armstrong,
Johnny Dodds, Jelly Roll Morton, Sidney
Bechet, King Oliver and Kid Ory to com-
pletely absorb the traditional style of the
early French masters!!!
All fooling aside, here's another entry
from France, in the person of Claude Boil-
ing and his Hot Seven. I'm a little pooped-
out with trying to keep abreast of such
goings-on, and my back is killing me but
as they used to say when I was a youngster
— hang on to. your fur caps, boys, here we
go again.
These six sides, part of Circle Sound's
youth movement, and les enfants terrible
who produced them, have already received
the once-over-lightly in a previous issue of
this magazine, so I won't go into it much
further. Some of what was said at that time
I agree with, but I must confess that
with much of it I don't. It's true that every-
one in this band is a real musician, especially
Maxime Saury, soprano sax, and that they
play with real authority. In this respect they
are far superior to Claude Luter's band,
with the possible exception of Luter him-
self, but what comes out does not seem to
me to have jelled sufficiently. When they
are good, like the little girl with the curl,
they are very, very good. But when they
are bad, they are only so-so.
It was said, for example, that all of these
sides were based on Oliver- Morton and
the Hot Five, and that M. Boiling's piano
had passed through Waller and Earl Hines
to the final formative stamp of Jelly Roll
Morton. It is true that the write-up did
mention certain mid-thirty Ellington nu-
ances, but only as temporary. I must add
that the boys must have listened to a few
other people, and not always to their ad-
vantage. I also suspect that Boiling has
picked up a thing here and there from Teddy
Wilson; and I hear very little Morton.
Before making Blues in Disguise, for ex-
ample, I'm sure the boys listened to all the
Mezzrow-Bechet King Jazz sides. Even
taking into consideration that the Blues is a
Mezzrow composition, much of the same in-
fluences are noticeable, to a lesser degree,
on the other side — that fine old Nobody
Knows the Way I Feel This Morning. And
You Rascal, You is very similar , to the
banal big-band Armstrong treatment of the
same title. Georgia Bo Bo, though it has
some very interesting moments, deteriorates
towards the end into a bridge (which re-
sembles nothing so much as the awful clap-
trap that the band plays to bring oh >each
new contestant at the Apollo Theatre's
Amateur Night in Harlem). This leads into
one of those endings more befitting a stage
jam session led by you-know-who, where
everybody — I mean everybody — gets into the
act and if you get lost, son, just chord and
blow like hell.
But if the boys are guilty of some awful
cliches, some undigested odds and ends, and
a bit of overconfidence, they can also do
some very nice things. Their Deepermouth
Blues is a well over B-plus performance,
and in the haunting Oliver Riverside Blues
it seems to me they really ring the gong.
Without copying the Oliver recording, yet
always keeping within the feeling of it, they
have produced something of real beauty and
tenderness, and it has a haunting quality
that has stayed with me for days.
I'll admit these lads can play like hell.
But they leave me a little cold ; there is
little of the excitement of the Luters, that
wonderful feeling of playing way over your
head because you are in love with what you
are doing. With the exception of bits here
and there, and that one Oliver side, it comes
from the head instead of the heart. But that
one exception, the Riverside Blues, is worth
twice the price of the album. (Circle S-18)
(B.M.)
The Paramount Re-Issues
Now that the Paramount re-issue program
is finally under way I'd like to say a few
words in general about the whole plan.
Here certainly is a break for collectors, for
at least twelve records a year will be issued,
so that in theory eventually all that is worth-
while in the old Paramount catalogue will
again be available. But the sad point here is
that only those numbers for which there is
a lasting demand will be kept in stock; the
others will be gone once present pressings
are exhausted
It's certainly good to see that familiar old
black and silver label again, and from the
look of things the program is off to a good
start. The records are sponsored by the
original Paramount people and in many in-
stances are made from original masters
rather than dubbed ones. I can see the com-
mercial appeal of listing the featured per-
former, whether it is his band or not, but
it might lead to difficulties. For example :
Louis Armstrong and Fletcher Hender-
son/Sammy Stewart
Prince of Wails
Copenhagen
Historically the Prince of Wails side has
great interest, for it presents Louis in that
period after he left Oliver and before he
really came into his own with the Hot Five
and Seven records. This side was made
somewhere in the 1924-25 period ; just when,
as far as I can tell, is not known. By that
time Louis had made some records with the
Clarence Williams Blue Five, and some
accompaniments, but I doubt if there were
any Hot Fives before this recording. One
wishes that there were more of Louis on
this side ; he was on the date, all right, but
if it's Armstrong that I hear he certainly
plays more like Oliver than on any later
sides. As for the rest of the band, it was
one of the first to make any real nation-
wide success and was, at this time, playing
at New York's Roseland Ballroom. As if
you didn't already know it. it was a damned
good band !
18
All I know about Sammy Stewart is that
he was a Chicago violinist and played in
and around the Middle West. Charles Ed-
ward Smith, I hear, had a piece on Sammy
and the band in one of the Esquire series,
but I have not had a chance to set to it at
the public library. It must have been a good
band, for this record will stand up against
any early big-band music I've heard. There
is nice drive here and a good banjo at the
end, also a baritone or bass sax played in
a manner that makes it sound a lot like a
tuba. As for the identity of the horn player,
your guess is as good or better than mine.
The tune is one of those old goodies, and
both of these sides are of real historical
significance. (Paramount 14003) (B.M.)
Johnny Dodds with Richard M. Jones
Jazz Wizards
It's a Low Down Thing
Hot and Ready
Johnny Dodds supposedly made two ses-
sions with this group, which featured Rich-
ard M. Jones on piano, Honore Dutray on
trombone, Baby Dodds on drums, and a
trumpet player I have never heard of :
Elisha Herbert. Of the two sides I much
prefer Hot and Ready, though the other
side is certainly not without interest. On
both sides I seem to detect a saxophone not
listed in any of the discographies.
But the point here is that from the solo
on It's a Low Down Thing I don't see how
anyone could be certain it is Dodds. In the
higher register, it comes through so dis-
torted and wavery, evidently because of
faulty recording, that it might be anyone.
On the Hot and Ready side, which is mainly
in the lower register, the clarinet comes
through clearly enough. It sounds like
Dodds, though far from the best Dodds, but
even this is perhaps not enough. By now it
seems pretty clear that on obscure items like
this the only safe identification is by some-
one on the date. Not that it matters a lot,
for any way you look at it this is a good
way to start out a re-issue series. It's not
the best record I ever heard, and it has
some annoying little mannerisms, but all-
in-all it's something we would use a lot
more of. In one place on the H & R side,
by the way, there is a section that sounds a
lot like one of Louie Hot 5 or 7 sides, but
though it sounds familiar I didn't have the
time to- track it down. (Paramount 14001)
(B.M.) ■
Tommy Ladnier and Edmonia Henderson
Lazy Daddy Blues
Jelly Roll Blues
The whole thing here is Tommy Ladnier's
wonderful horn, but it seems to me that
there must have been an easier way to get
it than backing up Edmonia Henderson
singing the blues. Offhand I can think of
Ma Rainey or Ida Cox. I don't mean by
this that Edmonia Henderson is awful, but
rather that there are so many people much
better that it seems a shame to put up with
second-best when we could have had first as
easily. Ladnier plays beautifully here, and
of the two sides I found Jelly Roll Blues
the easieF to take. Edmonia Henderson, for
my money at least, is more of a popular
singer than a blues singer, but, as I say, it's
mighty good Ladnier. (Paramount 14002)
(B.M.)
McGhee-Navarro Boptet
Double Talk (Pts. 1 & 2)
The old cutting session as such is a thing
of the past, but in its place comes a little
thing called a chase, partly derived from the
famous Dexter Gordon- Wardell Gray Dial
record ; it involves much the same thing,
actually, as the jazz battle idea, but there's
a curious calm, old-school-tie diffidence
about the way it's done these days. Nobody
sashays up to the bandstand muttering :
"Man, I'm gonna blow this guy off the
stand," but the end result is the same, even
if it's done with a gesture saying: "Well,
top that, old chap." Cool jazz, this is. At
least 40 half-hipped devotees will chuckle
appreciatively at your every fluff, anyway,
even if your face is stone-cold, your i'eet
tap not a lick, and your horn is aimed de-
murely at the floorboards. So a chase may
include four or five men laconically linking
four-bar phrases together, with a detach-
ment wonderful to see, even though in their
cool way they are carving each other to
ribbons. And much can be said in four bars,
enough to dishearten the hardiest egomaniac
alive.
What I haven't exactly been leading up to
is the fact that, while it is fairly common
to see two or more tenors chasing each
other, a couple of trumpet players so dis-
posed are a genuine rarity. We have such
right here. Fats Navarro and Howard Mc-
Ghee are two of the best, and they are in
top form on this date, which also features
the exceptionally tasty alto of Ernie Henry
(buried and practically unheard in Dizzy's
band) and the oddity of Milt Jackson's be-
ing on piano. The best word to describe this
record is "expert." McGhee and Navarro
embroider each other's efforts with infinite
skill, and to hear so much horn played on
one disc, with so few lapses of technique
or taste, is a real pleasure. Fats' tone is
appropriately the fatter, but their styles, are
surprisingly similar, sometimes fusing into
one, with Henry's alto solo an excellent
contrast in sound and conception.
This is a hell of a good record, even for
tenor lovers. (Blue Note 557) (P.B.)
Errol Garner
Fantasy on Frankie and Johnny
Play Piano Play
Blue Lou (Pts. I & 2)
When a man reaches the delightful posi-
tion wherein he pleases almost everyone, he
is a man to be reckoned with, or with whom
to reckon, and Errol is up there. There are
precious few people who can't muster up a
couple of valid reasons for liking him ; per-
sonally, I can come up with quite a number.
For one thing, I can't think of another guy,
off hand, who is so completely the master
of his own style. I'm not saying he's the
master of the piano, or anything like that,
but he has a style, and within it he is king.
The force in his playing is unbelievable.
He can play a dreamy ballad at a slow
tempo, and before it's over it sounds like
the -most inspired, suspenseful little jump
tune in the world — not because he speeds
up, but because he builds up a rhythmic
tension, in his clean, scintillating way, that
swings as much as any stomp. The word is
ridiculous, but there's something wholesome
about Garner, the same as there was about
Fats Waller. The cocky, persistent way he
lays off the beat makes the occasional spots
when he catches up to it wonderfully satis-
fying, and the lustrous sound he gets out of
a piano is like the olive in a martini. I seem
to be eulogizing, but there isn't a damn
thing I'll take back.
Only one side of Blue Lou is really worth
while, and it's all Garner — Side Two, that
is. There are four other men on the record,
including Wardell Gray, but Wardell isn't
in his best form here, and if he were he'd
still have to take a back seat. He has all
of Side One, does a pretty good job too,
but it's when you turn it over that some-
thing terrific happens. This is the best record
Garner has made ! Three minutes of pure
pleasure, four choruses of the most lilting,
spontaneous piano I've ever heard. (Modern
20-640)
Frankie and Johnny is almost as good. It's
a bit more premeditated than Blue Lou
(which was recorded at a concert on the
coast, apparently), with a crisp production
intro leading into a lusty minor version
of the old ballad, played with that patented
swing. This is probably the way it was
always meant to be done, too. While I'm on
the subject, Play Piano Play is also good,
the most familiar in feeling of the three
sides, being a modern, simple riff developed
to its nth degree.
As a matter of fact, I think everyone
should own these records ; they're plausible
evidence that music is here to stay. (Dial
1026) (P.B.)
All-Star Group [Howard McGhee, War-
dell Gray, Sonny Chris (Kriss), Etc.
Groovin' High (Pts. I & 2)
This is another Modern record, seemingly
made at a concert (applause), and while
there isn't anything on it as good as the
Blue Lou, it comes off very well. In differ-
ent company, Howard McGhee has been
much more on the bop side than he is here ;
he plays with quite a bit of fire and good
ideas, sounding, for some reason, nearer
1938 than '48. The influence may be Gray's
— he is known as a bop tenor man, but I
have rarely heard him get in the same
groove as, say, Lucky Thompson. Wardell
has plenty of drive, with a nice light at-
tack— he can blow, as they say in the trade —
but he isn't too concerned with the intri-
cacies, harmonic or otherwise, in what's
Known as bop. He just likes to blow, which
he does here with considerable effect. So
does alto-man Sonny Kriss, who has an ex-
citing Parkerish style, a good bit more
roughhouse than the Bird, and a fine beat.
The excellent rhythm section rates a curtsy,
too ; they don't swing so much in the be-
ginning, but halfway through Gray's solo
everything begins to move, and it keeps
moving to the end.
There's a nice "in person" feeling about
the whole record. (Modern 20-639) (P.B.)
Picture, if you will, your harassed cor-
respondent glowering over a work-table
piled high with shimmering blurbs for the
most momentous development in phono-
graphic history. The adjacent floorspace is
littered with unprintable invective torn from
the steaming, outraged typewriter. The first
sane glitter of cogitation reveals in a trice
that a war correspondent is at best a crass
opportunist.
Let 'em have their damned war, and I
shall be the last to be concerned ; especially
since both sides are selling the ammunition,
the while maintaining an acceptable currency
of accepted usefulness. Didn't they both,
Victor and Columbia, set up shop with an
identical line of goods — yes, their very first
discs were seven inches in diameter ! I dis-
avow any interest whatsoever in this present
madness and advise my readers to do the
same.
And so this is still the perfect day and
my beautiful nature is rescued. The sun
shines bright, the air is crisp and clean and
the last of the Christmas cigars is succulent
in taste and aroma. To work !
The no longer over-familiar overture to
Ambroise Thomas' Raymond is available
in a capitally performed and recorded
edition by the City of Birmingham Or-
chestra, George Weldon conducting {Co-
lumbia 72374-D). Another overture infre-
quently programmed these days is Beetho-
ven's Egmont, with Dr. Koussevitzky's
Bostonians in fine fettle. Here is an item
long cherished in the ancient Mengelberg
waxing. The Victor engineers might have
done better with microphone placements in
the present case (12-0288) and, too, some-
one in the processing plant slipped up in
striking through the center-hole, with the
result that the pressing of which my copy
is a part suffers a certain "wow" on sus-
tained passages. Misfortune has dogged
many Boston Symphony recordings during
the past few years, and I note that the
otherwise superb Prokofieff and Mendels-
sohn symphonies are fraught with excessive
surface hiss. No excuse for this sort of
thing these days. . . . Say, do you want to
hear something extra-special in the way of
sheer, beautiful sonority? Then try Colum-
bia's latest issue of the Pagliacci Prologue.
It is a repressing from a European original
and while the baritone, Paolo Silveri, sings
it in a Silvio-sized voice (why not???) the
entire production smacks of operatic know-
how such as we very seldom get from our
native assembly lines.
On a previous occasion this department
stepped out of its assigned territory to set
down words in praise of a "popular" vocal-
ist, Miss Jo Stafford — since which time I
have had further frequent exposure to the
lady's wiles. With precious few exceptions
Miss Stafford's repertoire consists of the
very sorriest trash, yet the dignity with
which she invests her utterance commands
respect and admiration. Up to a certain
point in her range, the tone is purely limpid ;
and her enunciation gives cards and spades
to almost everyone else in whatever musical
station. There are some things which no
microphone can fake and one of them is the
literacy that has made Jo Stafford the
supreme artist in her province.
Charles O'Connell's Victor Book of the
Symphony has been revised and reissued by
Simon & Schuster under a slightly differ-
ent title : The Victor Book of Symphonies.
Whereas, the original structure embraced,
besides symphonies, certain other works in-
volving orchestra such as tone-poems, con-
certi, occasional pieces and such, the new
volume confines itself to the subject implied
by the title. Another volume is in work
which will treat in full measure upon such
eminent items outside the actual symphony
repertoire as are of interest. Mr. O'Connell
has here done his usual workman-like and
interesting job here.
The clientele of Random House has the
opportunity to weep softly into its souffle
through many readings of Sigmund Spaeth's
endearing History of Popular Music in
America. The good Doctor Spaeth has never
been anything less than a magnificent nos-
talgist and here we have what probably is
his magnum opus. Yon will look, and not in
vain, for omissions; you will hum, whistle
or/and sing as you browse among these 729
pages — and you will live happily ever after.
Dr. Spaeth's books cost five dollars, as
does The Saint Nicholas Anthology, another
Random House publication without which
the fireside of your memory must be at least
partially fallow. This whopping, big book,
compiled by historian Henry Steele Com-
mager and his family, puts between covers
the best of text and pictures from America's
best-ever children's magazine (b. 1873 — d.
1939). To coin a cliche, here is a treasure
trove for children of all ages, from nine to
ninety. A very special gift for any special
occasion.
20
leans clarinetists and such link figures as
Eddie Barefield show how the reed style
shifted from clarinet to alto or tenor saxo-
phone during the 'Twenties. Barefield's feel-
ing for phrasing contrasts and his fluid
quality are to be heard consistently in Lester
Young's style.
But Lester draws equally from sources
of a much different nature — Debussyian
harmony, light intonation and the spiritual
qualities which are attached to the white
jazz tradition of Bix Beiderbecke and Bud
Freeman, both,., of whom Young listened to
during his early period. Beiderbecke's search
for the springs of hidden beauty, hyper-
sensitivity and Bohemianism are reflected
in Lester's music. From Bud Freeman, a
healthier exponent of Chicago jazz, Young
draws clean technique, lightness of tone and
a sense of chromatics. Occasionally Free-
man's work suggests the flights of exuber-
ance that we find so frequently with Lester.
It is this synthesis of opposing attitudes
and ideologies — the profound tradition of
the blues combined with the infusions of
European harmony and white romanticism —
that gives Lester Young's music its special
appeal. The various materials are combined
in a style which has no eclectic qualities,
but is fused, integrated, and intensely per-
sonal.
From a historical point of view Lester
be-bop