Full text of “The record changer”

Full text of “The record changer”


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Scanned  from  the  collections  of 
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AUDIO-VISUAL  CONSERVATION 
at  The  LIBRARY  of  CONGRESS 


Packard  Campus 
for  Audio  Visual  Conservation 
www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 


Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


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"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,  Circle,  Exner,  Pacific,  H.J.C.A.,  IT.H.C.A., 
Yinvlite  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  QcdJ^ci&M.  in  Uud-  A  lea  watch  owi  S&asid. 
VUe^  mcufr  be  aide  to-  jill  yoWi  w&riU. 

THE  RECORD  SHACK 

11800  Wilshire  Blvd.  Los  Angeles  25,  Calif. 

Open  Daily  Noon  till  Nine— Sundays  till  Six 


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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previously  unpublished 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 


COLLECTORS'   DISPLAY  ADS 

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No  display  ads  for  record  lists  less  than 
one  column  accepted, 

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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. 


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record. 

COMMERCIAL  ADVERTISING 
Address      inquiries     to     The  Record 
Changer,   125  La   Salle   St.,  New  York 
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The  Record  Changer  is  published  monthly  by  Changer  Publications,  Inc. 
125  La  Salle  St.,  New  York  City  27,  N.  Y. 
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. 


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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- 
bone 

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; 
Bob    Helm.   Clarinet;   Burt   Bales,    Piano;  Harry 
Mordecai,  Banjo 
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 

Kansas  City  Man  Blues/Polka  Dot  Stomp 

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 
Trouble  in  Mind,  Oh  Daddy,  Frog-i-More  Once 
in  a  While. 


$3.93 
$3.93 


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 
records.  5c  per  record  freight  allowance  on  orders 
ol  $5  or  more.  Shipments  sent  Railway  Express 
unless  otherwise  specified. 

We  are  wholesale  distributors  of  Castle,  Circle, 
Exner,  Jazz  Record,  Pacific,  Rampart,  Reissue 
and  Session.  Catalog  upon  request. 


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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by 

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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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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. 


IN  LOS  ANGELES 
IT'S  THE 

ieutin 

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. 


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- 


WE  HA  VE  NOT  MOVED  !  1 1 

Still  in  Full  Operation!!! 

9*$%  ^&o*d  (Renter 

107  W.  47  St.,  N.  Y.  C. 

UUST    OFF    6TH  AVE.) 

PL  7-3983  10-10 

As  always  we  have  all  the  current  jazz 
labels  featuring  the  best  in  New  Orleans, 
Chicago,  Dixieland,  Blues  and  Bop. 

We  also  have  a  large  stock  of  the  best 
foreign  labels  including  PA  E,  BR  E, 
HMV,  Blue  Star,  Odeon,  CO  E,  etc. 

Come  in  and   Browse  Around. 
Send  us  your  wont  list. 

"Everything  from  Bunk  to  Monk" 


cert  music. 

Used  in  this  sense,  emphasis  on  the 
"protest"  in  jazz  is  simply  a  logical  exten- 
sion of  the  thesis,  universally  accepted  since 
the  time  of  Jazzmen,  that  the  music  is  greatly 
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 
labels,  plus  all  the  rest  of  the  obscure  ones. 

in  addition 

there  are  explanatory  notes  on  most  of  the  labels  tracing  their 
inter-relationships  and  releasing  systems. 


Order  your  Chart  now. 

$1.00 


the  record  changer 

125  la  salle  st 
new  york  city  27,  n.  y. 


(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 


ARGl    AMALGAMATED   RECORD  GROUP 

P.O.BOX   34!    COOPER  STA.,NYC 
AVERtRAY   AVERY   REC   RD  ROUNDUP 

|630  S.    LA   CIENEGA   BLVD., LOS 
ANGELES, 35,  CALIF. 
BARR:   DOLLY  BA RR  26  ELM  ST., 
MER I  DEN,    CONN,   WIN  ORDER  1.00 
PACK  I NG   CHARGE    I  50. 
BUTL:    KEN   BUTLER   BOX   83  % 

RECORD   CHANGER    I  25   LASALLE  ST. 

NYC   27,  NY 
CARR:   CONSTANCE  CARR  436 

MELBOURNE   AVE  •  , BEVERLY ,  NJ 
CARV:    OLIN   G.    CARVER   2||6  WEST 

AVE.    H,    TEMPLE  TEXAS. 
CIAR:   ANTHONY    P.    CIARDI  1119 

LUZERNE  ST.,   SCRANTON  4,  PA. 
COHE:    NORM  A  N   COHEN  4622  N. 

WARNOCK   ST., PHILADELPHIA,  40. 
CRAW!   HARRY   K.    CRAWFORD  |5 

CHESTERWOOD   A  VE . ,M  T  VERNON, NY 
DUMC:    ROLAND  DUNCAN   2  1 2  SOUTH 

BOND,   DALLAS  TEXAS 
OWEN:   GEORGE  DWENGER  2  EDGEMONT 

RD.   MONTCLA I R ,  NJ 
EDMO !    JACK   L.    EDMONDSON   75 1 5 

STEVENS  AVE., MINNEAPOLIS    I  9, 

MINN.    250   PACK  CHARGE. 
EMER:    KEN  EMERSON  2023  TREADWAY 

AVE. CLEVELAND  OHIO 
FARM:   MARLIN  K.    FARMER    I  80 1 

S.PENNSYLVAN I  A ,LANS I NG  MICH. 
GERO:   GEORGE  E.   GEROLD  6930 

HERSHE  ST., HUSTON    I  0, TEXAS 
GI-LB:    C.    GILBERT   4927  ARGYLE 

DEARBORN,  MICH. 
GLOB:   GLOBE  AENCIES  55  W.  42 

ST., NYC    |8,  NY 
HAM  I:   MOSES   HAMILTON  3956 

V  I  NCENNES  AVE. , CH I CAGO,  ILL. 
HIRE:    ELL  I E   HIRSCHMAN    I  00 

DUNCAN   AVE., JERSEY   CITY,  NJ 
HIRS:   BILL   HIRSCH,    FIFTH  AVE. 

HOTEL   RM    823,  NYC 
HOFF:    RUDOLPH  W.    HOFFART,    E    I  40 

TH   AUTO   BODY,    887  E .    I  40 TH  ST. 

CLEVELAND,  OHIO 


HOFM:   DON   HOFMANN    I  666  ASH  ST., 

DES  PLAINES,  ILL. 
JACO:   NAT    JACOBS    |55-0|  90TH 

AVE.    APT  4S.,    JAMAICA    2,  NY 
JAME:    FRED    JAMES   ROUTE  6 

BOX  236  MILWAUKEE,  WISCONSIN 

BIDS  UNDER  $2  ADD  250  POSTAGE. 
KAKE:    STAN   KAKEZ    |3|7  CENTER  AVE., 

SHEBOY  GEN ,  W|SC. 
KEND  :   BYRON  KENDIS  4927  BOUDINOT 

ST.,    PHILADELPHIA   20,  PA. 
KRYS:   WANDA    KRYSIAK  672  HUMBOLDT 

ST.,  BROOKLYN  22,  NY 
LEVI:  FLOYD  Levin  405  N.  NORTON 

AVE,,  LOS  ANGELES  4,  CALIF. 
MAD  I:   JOSEPH  MADISON  2825  34th 

AVE., SAN   FRANC  ?  SCO    |6,  CALIF. 

MARC:  cy  marcus  25|5  clarendon  rd. 

BROOKLYN,  NY 
MCKU:    JAMES  MC   KUNE    I  79  MARCY 

AVE. ,   BROOKLYN   II,  NY 
MILL:    HAROLD  MILLER  26  W.    47  ST., 

NYC   23,  NY 

MOR  I  : 

EDWARD   MORINGER    lOlO  INTERVALE 

AVE.,    9X   59,  NY 
MOUL:   WILLIAM  MOULTON  22 1    GERRY  RD 

CHESTNUT   HILL   67,  MASS, 
NEVA:   DONALD   A.   NEVARD   ,   THORR I NGTON 

NR  COLCHESTER  ESSEX,  ENGLAND 
ORLA:   JAMES  ORLANDO,   D I CKERSON  RUN 

PA. 

ORR:    JAMES  M.   ORR,  600  LAFAYETTE 

AVE,,@UFALO  9,  NY 
PANG:   PEGGY  ANN  PANGBORN,  PANG- 
BORN  RD.   DECATUR,  3A. 
PARR:  SID  PARRY  574  w.   1 76  ST., 

NYC  33,  NY 
PARK:   S.R.   PARKER,   SOX  727 

AMHERST,  MASS, 
PIKE:   G.L.   PIKE    10  W I NNEMERE  ST., 

MALDEN,  MASS. 
PIPE:    JOHN  M .   PIPES  BOX    1 2 1 5 

Blfi  SPRINGS  TEXAS 
PENM:   ARTHUR  PENN  5925  MICHIGAN 

AVE. ,   CHICAGO   35,  ILL. 
PERR:   ANTHONY   PERRY  4252   W.  VAN 

BUREN  ST.,    CHICAGO  24,  ILL. 


24 


POUL:   ROBERT  POULSON  8|  0  S. 
8TH   ,   LINCOLN   8,  NEBRASKA 

QUIN:   WILLIAM   W.    QUINN  4406 
BROADWAY,   GALVESTON,  TEXAS 

RATK:    JOSEPH  RATKOWSKI    1 05  ENGERT 
AVE.    BROOKLYN  22,  NY 

ROSE:   BORIS  ROSE  2| |    E.    |5  ST. NYC 

SMIT:  n.  smithson  15327  san  juan 

DRIVE,   DETROIT  2|,  MICH 
SlMYD  5   NOLAN   SNYDER    1194  DELTA  RD. 

SPRINGFIELD   |,  OHIO 
TASC:    ROBERT  TASCH  4300  MARTHA AVE . 

BRONX,  NYC 
VJR:    VINYLITE  JA7Z  REISSUES  2||  E. 

15  ST.,  NYC 
WATE:   H.J. WATERS    ||    BELMONT  CT., 

SILVER    SPRING,  MARYLAND 
WEND:"ROY  WENDELL,  ENGINE  4,  MFD 

RIVERSIDE  AVE.,  MEDFORD  55, MASS. 
WHIT:  LEON  WHITLEY  48|5  COLES 

MANOR,  DALLAS  4,  TEXAS 
WIND:    R.GUY  WINDSOR  85  NEWARK  ST 

NEWARK,  NJ 
WORL:   CPL.   HORACE  A.   WORLEY  AF|423 
92||,      HQ,    SQ,PAC.   APO  953  #PM 
SAN   FRANCISCO,  CALIF. 
ZAWA:   STEVE   ZAWACKI    13400  FENELON 
AVE.,    DETROIT    |2,   MICH.    25^  PKG 
CHG  ORDERS  UNDER  $  2.00. 
ZEIG:  LESLIE   ZEIGER    1 056  SHERMAN 
AVE.,   NYC   56,  NY 
COPIES  OF  YOUR  TREASURED  RE- 
CORDS  DUPLICATED  ON  UNBREAK- 
ABLE METAL  DISCS.  ONDY  Si .50 
(POSTAGE    INCLUDED).,  SEND  YOUR 
DESIRED  RECORD  OR  RECORDS  TO 
RUBIN  SPRING  580  BRISTOL  ST., 
BROOKLYN,  NYC.  


PRICED  SALES  LIST 
SEND  FOR  FREE  COPY  OF  LIST  CON- 
TAINING OVER  | 000  OUT-OF-PRINT 
RECORDS.  RED  HOT  DANCE  TUNES, 
VOCAL  BLUES,  OLD  TIME  TUNES, 
REL  I G I OUS  AND  NOVELT  IES 

******************* 

OLIVER  W.  JOHNSON 
MM  VERON  ICA  AVE. 
ST  LOUIS   15,  MO. 


THE  WALNUT  MUSIC  SHOP 
"PHILADELPHIA'S  ONLY  JAZZ  STORE 
EXTENDS  TO  ALL  IT'S 
LOYAL  FRIENDS  AMD 
SUPPORTERS  A 
VERY  MERRY  C  HR I  ST MAS 

AND  A 
HAPPY     NEW  YEAR 


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 : 

i.  A  collecior  or  person  who  solicits  and  receives 
advance  remittance  for  a  record  must  send  the  rec- 
ord within  a  period  of  four  weelcs. 

3.  A  collector  or  person  who  orders  and  receives 
a  record  prepaid  must  pay  for  it  within  a  period  of 
four  weeks. 

j.  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  CO  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  CO  D.  unless  otherwise 
instructed,  is  considered  a  request  for  C.O.D.  ship- 
ment. ) 

The  name  of  the  person  or  collector  who  violates 
the  abov-  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  shipper.  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  (Jccur  contact 
Jacob  S.  Schneider,  Legal  Dept.,  The'  Record 
Changer,    128   West   66th   St.,    New   York    N  Y 


CLOSING  DATE  FOR  BIDS 
On  all  Records  advertised 
for  auction  in  this  issue  will 

be       JANUARY  20,  1949 

UNLESS  OTHERWISE  STATED 


WANTED 

PICTURES  OF  JOE  SMITH 
AND  WARD  PINCKARD. 

THE  RECORD  CHANGER 


WANTED 
MINT  COND  IT  ION  ONLY 

NORDSKOG  3007,  3008,  AND  3009 
REISSUES  ON  SUNSHINE  ACCEPTED 

L.L.BOYER 

SEVERN,  MARYLAND 


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' 


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 

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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 

.99  ; 

GOODMAN  CONT  1NJED 

H  INES  CONT  UJUED 

SATAN  TAKES  H0LI0AY/NOLA 

,ENT   FOR  U  YESTEROAY/ANGELS 

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 

.99  , 

IORLD  WAITING  SUNRISE/SOLO  FLIGHT 

CO  36684 

•  39 

HOOSIER  HOT  SHOTS 

ANNIE    LAURIE/MORE    THAN  EVER 

v 1  25774 

.99 

!OSE  room/flying  home    (both  co-f)co  35254 

3Q 

FTER  U   GONE/u   SAID  SOMETHING 

VO 

42 1 5 

.59 

MY   WALKIN   STICk/nO*   CAN  BE  TOLD 

vr  25856 

.89 

TEDDY  GRACE 

I 

OOK   N   FOR   GIRL/SHE  SAIO  DO 

ME  13387 

.59 

OUR  LOVE/ONLY    IN  MY   A  RaA.S 

V  I  26202 

.39 

"ANCY   TO  YOU/NEVER  LET  U  CRY 

DE 

1602 

QQ  r 

'VERYTHING   1   Do/l    DONT  CARE 

VO 

5584 

.59 

ALL    1    REMEMBER    IS   u/aLL  RIGHT 

V 1  2623 1 

69 

)ownhearteu/monday  MORN  (  TEA,  KYLE  ) 

DE 

2i28 

89 

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 

.19 

;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 

69 

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 

>6296 

.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 

>6304 

.99 

JO  AND  ALMA 

soph  lady/stormy  WEATHER 

CO  35556 

.39 

HEEBIE   JEEBIEs/GIN  XMAS 

VI 

'6423 

.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 

27261 

.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 

.59 

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| 

.99 

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 

.79 

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 

.79 

BREAK  1 N    IN  PAIR   SHOEs/sTOMP 1 N 

VI  25247 

•  99 

ILL  GET  BY/SPOSIN 

BR 

8368 

.59 

u  were  there/rancho  PILLOW 

OK 

6376 

.79 

BOUND  NEW   BABY./SWINGTIME  ROCKIESVI  25355 

||C 

1   HOW  WARM  WEATHER/SUNRISE   SERENADE  BR 

8372 

.69 

coppin  a  plea/volets  for  furs 

OK 

6498 

.79 

PICK   SELF   UP/DOWN   SOUTH  CAMP 

VI  25387 

1  •  1 c 

1  WHISTLIN  W  ILDWOOD/BOOM 

BR 

3379 

.69 

massachusetts/murder  he  says 

OK 

6695 

.69 

moonglow/dinah 

VI  25393 

1  . 1 c 

WOODY  HERMAN 

bolero  at  savoy/murdy  purdy 

BR 

8284 

.79 

LOVE  ME  LEAVE  Me/exACTLY  LIKE 

U  VI  25406 

1  •  1 9 

1   BIG  WIGWIGWAM 

OE 

2440 

.69 

HANDS  ARE  TIED/VARIETY  SPICE 

BR 

8346 

.79 

RIFFIN  Rl Tz/aLEXANDERS  BAND 

VI  25445 

.7< 

'  FAREWELL  BL/CASBAH  9L 

DE 

2582 

.99 

challenger  chop/oont  be  surprised  BR 

8412 

.79 

GNIGHT  MY  LOVE/TAINT   NO  USE 

VI  25461 

•  8< 

'   JUKIn/hERMAN  AT  SHERMAN 

DE 

3272 

.59 

KAY  KYSER 

MELANCHOLY  BABY/SWEET  SUE 

VI  25473 

l.0< 

'  hey  doc/night  WATCHMAN 

OE 

3889 

.69 

FEELIN  GONE/HAVIN  SELF  TIME 

BR 

8126 

.79 

SOMEBODY   L  VES  ME/jAM  SESSION 

v|  25497 

l.3< 

'   3  WAYS  SMOKE  PIPE/DONT  BE  BL 

DE 

4076 

.69 

STAIRWAY  TO  STARs/u  DONT  KNOW  HOW  BR 

8381 

.79 

STOMPIN  SAVOY/v  IBRAPHONE  BL 

vi  25521 

.9< 

'             EARL  HINES 

CONCERT    IN   PARK/ALL    1  REMEMBER 

BR 

8385 

.79 

SING  SING  SING  1-2 

vi  25  796 

.9< 

'    TOPSY  TURVY/ANN 

BB 

10370 

.79 

LOVE  WITH  CAPITAL  u/sTUTTERING 

BR 

8456 

.79 

33 


5  All 


J.  E.  WARNER 


SALE 


r--  :es  ,:r:-: 

Z. ■  —  -  =  A|;  -  -AST  THING  WE  1464 
ECHTS  HAWAII/SlAN  »1TH  MANDOLIN  DE  2595 
LOVELY  HULA  HANDS/SOUTH  SEA   SAOt-EDE  4246 

lepr's  ;uj:v 

OWIN  5ACK  HOME/CHAMP  JOE  LOU  1 5  DE 


so  yuCH  trouble/iOOO  yrs  and 

LUMi'lE  LEWIS  MERRYMAKERS 


-  «:  =  =  a  -z  ---.£-<:  =l 

VO 

3696 

.79 

. : 3-"  :=-S"  ::.:-5C- 5 

iooo  u i le  bl/footwarmer 

VO 

4770 

.59 

3  .  •  L0M3ARD0 

iv          t  •.   » ;  '  T  i  ■.  y:  -  =  ;   v  1  \  E 

VI 

25599 

.79 

eveb'Thing/i  see  face  before 

VI 

25634 

.79 

RIDE  TENDERFOOT  RIDe/lOVE  U 

VI 

25361 

.79 

EASTER    A  RAOE/^IY  BEST  Gl  RL 

DE 

2345 

.69 

BEALE  ST  3l/fOR  UE  AND  MY  GAL 

DE 

4371 

.59 

JOHNNY  LONG 

TAKE    IT    JACK30./VISS  JOHNSON 

DC 

3785 

.49 

WHY  D0NT  u  FALL   IN  LOVE/THEN  U 

DE 

4375 

.49 

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 
-      :  '■ 

lu  --L.I '.3  in  love/love  SONG        BB  10572  .59 

TOMMY  LADNIER 
WHEN  U  AND   I   YOUNG  MAGG IE/rEALLYBB   10089  .99 

'.  -  :  -  • 

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 
5|  15 


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 

-  _-  : -  -:  ; 

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 


8273     .  59 


D  BU     ARCS  DREAM/WERE  U  THERE 

ki',3-  v.: 

TIN  ROOF  BL/TAR  PAPARE  STOMP  OE  7425 
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; 
I   WALK  WITH  MUSI c/CHARH I NG  FAKERVO  5394 
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 

.  _e  v 


.79 

1.99 

.59 

.69 

.59 
.59 
.59 
.59 
.59 

.59 

.49 

.59 

.59 


.69 
.69 


OK    6 1  I  9  1.39 


2285 
4070 


.69 
.69 


SWNRISE  SER/mOONL 1 GHT 

SEREN 

BB 

|02|4 

1.19 

LOVE  WITH  CAP  u/ANGEL 

FURNISHED 

BB 

10383 

.99 

ISLE  GOLDEN/WHAM 

BB 

10399 

1  .09 

BLUE  MOONLIGHTy^Y  PRAYER 

BB 

10404 

1  .09 

IN  THE  MOOD/l   WANT  BE 

HAPPY 

BB 

|04|6 

.69 

LAST  NIGHT/MELANCHOLY 

LULLABYE 

BB 

10423 

.99 

SPEAKING  HEAVEN/BLESS 

U 

BB 

10455 

.99 

ALICE  MOORE 


B  - 

1 0486 

BB 

10495 

.99 

BB 

l  0498 

■  1  9 

BB 

10536 

.99 

33 

1 0553 

•  99 

BB 

10570 

.29 

BB 

7671 

.59 

VO 

4471 

.99 

BB 

8586 

.99 

BB 

8361 

.69 

DE 

2778 

.99 

3R 

8104 

70 

BR 

8097 

.89 

T  BB  3275 

.59 

:  DE 

861 4 

.59 

DE 

7369 

.99 

BB 

7430 

.69 

BB 

7465 

.59 

NBB 

7723 

79 

BB 

7825 

.79 

BB 

10293 

69 

BB 

1031 1 

.69 

B3 

I037| 

.69 

B8 

1  1 1  55 

.69 

BB 

10179 

.79 

VO 

3987 

.79 

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 - 
FRANK  NOVAK 
SHE  WAS  A  SAILORS/DEAR  OLD  GORL  VO  39l 3 
I  AINT  NO  DARLIfl/wORKIN  ON  BAILR  ME  70561 
RED  UORv'O  ().'  i  LDRE  J  BAILEY) 

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 


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•   West  Coast  Distributor 
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Yes,  we  do  have  a  large  stock  of  records.  We  handle  such  labels  as 

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George  Brunies  Special 

Life  &  Discography.  Features.  8  P.  Large 
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Jazz  Impressions 

(In  6  Parts)  By  Bill  Miller.  8  P.  Large 
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by  gene  deitch 


A  collection  of  the  best  Cat  Cartoons  which 
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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 
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that  the  record  wai  made  about  June  1925  and  releaied  August 
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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- 
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companies.   24   pages.   By   Douglas  C. 
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small  record  companies,  together  with 
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given    for    nearly    1,000    records.  65 
pages.  By  William  H.  Miller  $1.00 

Reprints  and  Reflections 

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8  P.  Large  Format  


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 25 


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Format  25 


Chicago  Documentary 

By  Fred  Ramsey,  Jr.  Conversations  with  20 
Great  N.O.  Janmen.  34  P  50 


Piano  Jazz  Pt.  I 

Kansas  City  Frank,  Garland  Wilson,  Hodes, 
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Australian  Jazz  Quarterly  (Single 
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No.  I  Condon,  Brad,  Jelly  Lord,  Marty  Mar- 
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No.  3  Half  Pint  J  axon,  His  Life  in  28  Chap- 
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No.   4   Clyde    Clark,    Reviews,    Tempo  King, 
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ft 


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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No  display  ads  for  record  lists  less  than 
one  column  accepted. 

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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 

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 
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- 
panied by  advance  remittance 
Advertising  not  accompanied  by 
advance  remittance  must  be  re- 
turned. 

Closing  Date  for 

DISPLAY  ADS 

10th  of  Month  Preceding  Date 
of  Publication 


All  persons  using  the  medium  of  the  Record 
Changer  in  the  buying,  telling  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  must  pay  for  it  within  a  period  of 
four  weeks. 

j.  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  abov-  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  shipper.  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 


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 


1feur  Convenience 

The  Record  Changer 

1 25  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 

Cisada  I  year.  .  .  $3.25;  2  years.  . .  $6.00;  3  years.  .  .  $8.25 

Foreign  P  year.   .  $3.50;  2  years  .  .  $6.50;  3  years.  .  .  $9.00 

Name  „  _  _  

Address  


fr 


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 
say  about  the  results  they  have  gotten  from  running  ads  in 
The  Record  Changer. 


olutnns 


The 


r*«  **"! ,"f'm  "'"t" 


*><""  '"n    Zlh  \<°m  '"  Tot  the 


Crawford- 


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Jence. 


Keep  up 


Harry 


Of 


So 


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'6* 


Record  Chan gJr  ?LfS'n  your  \ 

bee»  Pleasantly  "LI  hav/  ^ays 
re*Ponse.  Franll/pT^  «  J. 

Ch«nger,  dul  no  /L     ^6  ** 
circulation  and  th       '  to  its  brge 
th?  readers.   One  dT^  ^  <>f  \ 
advertise     collector?6? have  *o\ 

first  ?t34^ 

ce"f»l  trades  to»P  ma»y  s«c.' 
Weresting  COrr  °  Sa>  nothing  of 

*»LZoT  »ce  both  «\ 


wish^Ttrhhank  you  for  the  way 
you  have  handled  my  ads.  I  have 
received  very  good  response  even 
from  places  that  I  didn't  think  the 
Changer  reached. 

bn  J.  Argo. 

IT  Chant 

Xlr*"\V«>  sec] 
Action  *    J  *****  'ices] 


Fred  Man 


gelsd 


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advertising 
ever  have  6 
I  to  me.  I  "ai 
never  dreamt 


mimeo- 


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error 


won* 


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record 


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advertising  rates 

1  Page  (234  Lines)  

2  Columns  (156  Lines)  

I  Column  (78  Lines)  

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Closing  date  for  copy  is  the  tenth  of  the  month.  Ads  will 
appear  in  the  issue  out  one  month  later.  Remittance  must 
accompany  copy  for  the  ads. 

the  record  changer 

125  la  salle  st. 
new  yorlt  city  27,  n.  y. 


RAMPART  RECORDS 

P.  O.  BOX  276.  Grand  Central  Sta.,  NEW  YORK  17,  N.  Y. 
West  Coast  Distributor 
YERBA  BUENA  MUSIC  SHOP 
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Usual  Dealer  Discount 


Delaunay  Blasts  Shoddy  Criticism — Page  13 


Reprinted  from  the  Saturday  RevieiV  of  LITERATURE 


THE 


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^ere  *    Uhe  Paris  cell  ot      a  £eV? 
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«**tog«S£  Pen-  T°ta ^arguing  ^ 
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book  is  a  P        and  dihge  Messrs 


ORDER  TODAY! 

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-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 

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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. 
may  be  able  ta  pll  you/i  uuzriU. 

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- 
tonola,  Dandy,  Edison,  Federal,  Starr,  Champion,  Grey  Gull,  Radiei, 
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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PATHE  PERFECT 


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The    most  complete   discography  ever 
published    including   all   DE,   VI,  CO, 
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 
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Black   65 

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pages.  By  William  H.  Miller  $1.00 

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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 


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authorities  as 
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together  with 

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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 

.65 

ZEI  G 

6R 

8340  N  AUC 

PARR 

HER 

5003  E  SAL 

.60  MOUL 

KER 

5007  N  SAL 

.60 

MOUL 

DE 

7690  N  AUC 

PIKE 

DE 

819  E+SAL 

.65 

MOUL 

CO 

2378v/eauc 

HENR 

OK 

4 1579  N  AUC 

ZEIG 

CO 

2452E/VAUC 

ZEIG 

sa 

3486  N  SAL 

1.75 

PROS 

TWIN  1950  N  SAL 

1.10 

■  EIN 

8E 

10002  E  AUC 

MOUL 

BR 

8057  V+6AL 

1  .00 

SCHU 

VO 

2848  N  SAL 

.65 

ZEI  3 

VI 

2I346E+  auc 

OSTR 

OH   DEAR  WHAT    CAN  MATTER 
GUY  LOMBARDO 

ST   LOUIS   8L/I    LOVE   U  TRULY 

LOU  IS IANA  SUGAR  BABES 

THOU   SWELL/PERSIAN  RUG 

JIMMY  LUNCEFORD 

margi e/shi p  at  sea                    oe  i6i7v/etra 

river  st  mar  i e /melancholy  babyde  i  808  e  tra 

nana/otis  regrets                    oe  i  3 1  n  tra 

linger  awhile/count  me  out  a   de  i 229e/ntra 

EASTER  P»RAOe/|M  ALONE  CO   35484  N  SAL 

NELLIE  LUTCHER 


CP  40063  N  AUC 


SONG    1 S   ENDED/00   U  DONT  U 

CLAUDE  LUTER 
THE   COMPLETE    BRAND  NEW   SET  OF    lO  DISCS 
ON   THE   ORIGINAL  FRENCH  LABELS 
HIGH  SOCIETY/WEST   END  BL  PAC  9000 

ROYAL  GARDEN  BL  PAC90008 
MUSKRAT  RAMBLE  S«  272 

CARELESS  LOVE  BL  S*  262 

ABE  LYMAN 


MISSOURI  SCRAMBLE/MORNING 

WINGIE  MANONE 
IM    IN  LOVE/YOUR  ANGEL 
ROYAL   GARDEN  Bl/zERO 

PAUL  MARES 
NAGASAKI /LAND  OF  DREAMS 
MAPLE  LEAF   RAG/rE  I  NL  I.1NAT  I  ON 

35686,  35880 

FREDDY  MARTIN 

SPEAK   EASY/EASY   TO  LOVE 


vo  2933 


N 

AUC 

COHE 

9x 

S-A 

2.50 

COOE 

N 

S-A 

2.50 

COOE 

N 

S-A 

2.50 

COOE 

N 

S-A 

2.50 

COOE 

E+SAL 

.65 

ZEIG 

E 

AUC 

ZEI  G 

E+AUC 

ZEI  3 

N 

SAL 

1  .40 

ZEI  a 

N 

SAL 

1  .40 

ZEI  G 

N 

T-A 

HE«E 

N 

SAL 

.65 

ZEIG 

n 


MARY  fm  :  H 

LUCKY    TO   BE  Me/lONELY   TOSN  DE   23395  N   AUC    IARR 

TOTTI  MRU!. 

SOMCBOOY   ELSE  TAKING   PL»CE  DE     4111    E+AUC    MARC 

CLYDE  WC  COY 

sugar  bl/tear  it  down  de     38i  n  sal    #65  zeig 

tC  KINNEYS  COTTjN  PICKERS 
PC««y/|D   LOVE    IT  B3    10706   E  TSA 

■xmphis  five 

AOOBMVATIN  PAPA/4  OCL   8L  VO  14506   N  AUC 

MORE  TKAH  SA  T | SFI ED/aNQEL I  HE  VI  I  57l  2  E  AUC 

STOP  KIOOm/bRKIMO   DOS  VO  1 446 1    N  AUC 

GREAT  MITE  BAY   BL/SHUrrLIN  ED  5l204e/VAUC 

nrrROpQ.  itan  opera  Mouse  esquire  jamm.  se 

I944L0UIS.  ELDRIDSE,  HAWKINS,   HAMPTON,  ETC . 

AIR$HQTS 
BLUES/ESQU I RE BOUNCE 
TEA   FOB    TWO  1-2 
•OP  MP  1-2 

VEZZROl  LAONISR 
ROYAL  GARDEN  BL/lF  u 
REVOLUTIONARY    3L  'SETTI  , 

COMPLETE   BRAND  NEB   SET  OF   8  XIV  N   SAL  t 

FREE  MEW  GIFT   DISC  • I TM  ABOVE  SET  N 

BwBBCR  Ml  LEY 
DMLf  RC/04L  MEMPHIS  vi  36 1  38  n  auc  — 

007.  NN  MILLER 


GL  I  B 

DYM  I 
DYMI 
DYU  I 

HENR 

SSI  ON 


SAL  I 

SAL  I  , 

SAL  I  i 

*V  94 1 6  N  SAL  I, 

HMV  9470  N   SAL  I  , 


50  WEIN 
50  IE  IN 
50  IEIN 

10  WEIN 
lO  >EIN 

I  5  COME 
COHE 


■BITE  FOB  LIST   M*VE   BB ,    VI,  HMV 

SAL 

COOE 

•  ITTIM  ON   TOP  WBLd/pES  0  MY 

OECI I0l3 

N 

SAL 

2.00 

ZABA 

AMOELS  MERCY /PRCS   BIBTHOAY  BA 

BB  1  1492 

N 

SAL 

I.2S 

ZABA 

BILL    ALBAY6  BEMEMBES 

sfi  I  1493 

N 

SAL 

1.25 

ZABA 

■OOMLIOHT    SE»ENAOC/«JNR 1 SE  SERVIC|02|4 

N 

SAL 

1.25 

ZABA 

OL   SLACK    JOE>AME   BELIEVE  BALLVIC|09|3 

N 

SAL 

1  .25 

ZABA 

SPRING  BE  6A0/PCRFIOIA 

V  i  c  1 1 095 

N 

SAL 

1.25 

ZABA 

BOULOER   BUFF/BOOGIE  BOOB  IE 

VIC! 1163 

N 

SAL 

1.25 

ZABA 

TAKE   A   TBA  1  n/|  SUESB 

v  I  c  1  M  87 

N 

SAL 

1.25 

ZABA 

BL  MOONL 1  SMT^tV  PRAYER 

SB  10404 

V 

AUC 

PIKE 

SEND   FOR   LIST  AND  PRICE 

Be  i 

/nsal 

GOTT 

MOONLIGHT/SUMP  ISC 

BB  10?  1  4 

N 

SAL 

.90 

ZEIG 

JINGLE  B£LLs/(rCy) 

BB  I  1 353v/nsal 

.95 

ZEIG 

»*»  johhmy /assembly  LINE 

BS  l  |480 

N 

SAL 

.90 

ZEIG 

mo.  baltz/bcautiful  ohio 

99  10587 

V 

SAL 

1.00 

SCHU 

BTVWUST/WlaMCHOLY  BABY 

Be  10965 

N 

SAL 

1.50 

SCHU 

BLACK  RAOIC/PINK  COCKTAIL 

Vi20l523 

N 

SAL 

1  .00 

SCHU 

DE 

2029  E 

AUC 

  MCBE 

DE 

2804  E 

AUC 

  MCRE 

DE 

338)  £ 

AUC 

  MCRE 

OC 

3545  E 

BUC 

  M  CRE 

OE 

32  25e 

AUC 

  MCBE 

vi  27925n/esal  I .00  schu 


RAY  MILLER 

I  OUT  ROBES/GARDEN  MCMOR  I  ESBB43SZ  N  AUC 
ROSE  BAMD*LAY/rHO   SOULONT  BR     4|3|    N  AUC 

HE   SHE  ME/bAcTZ   COULDNT  FORGETS*     4258  N  AUC 

■  ILL?  BLUE  RWTTHB)  BANC 
•ALL  BONA  Cv/SARR  EL  MOUSE  CO      3 1  36  N  AUC 

IN  BENT  (MENTAL  UOOO/CARRY  HE      CS     3 1  48  N  At': 

MILLS  BROTHERS 
just  kio  namec/fuhicli 
■eet  me  tonight  i h  dreamland 
bhen  u  bbcet  1 6 

BY  BATERMtXON  VINE/lINDY  LOU 
MY   BAL    SAl/DREM   OF  U 

MEMPHIS  OINWIE 
BANTS   CAKE  BHEN  HUNGRy/l I  V  I NG   BE V03768e/na JC 

VAMttHN  MONBQE 
MY  OEVOT  IOn/bYUM    I    BROB  UP 

RtWCHQUSC/j.  HLIIAIB5 
MY   GAL    SAl/sTAIRBAY  PARADISE 

BOA   NO  IT/VET    IN  RIO 
SVRRBCR   SBUVEHI  r/tREAT  SBCETH 
OARCINO   ON  DIME/l    HEAR  MUSIC 
SMALL   FRV/LAUOH   CALL    IT  LOVE 

JELLY  ROIL  OORTON 

MR  JELLY  L    RD/n|SHT  MAMA 
SMOBXM0U8E  Bl/sTEAMBOAT  STRUT 

high  society/buooy  BOLOEN 

BEST   END   BL/CLIMAX  RAG 
JUMBLE   8l/bILDMAN  (VINYLITE 
COMPLETE  BRA  NO   NCR   SET  OF  6 

HOUND  CITY  BLUE  BLOWERS 

BNAT   DO    I    CARc/(oRAG    CM  MLB  ) 
ARKANSAS   Bl/sl  BLUES 
BARB  B I  BE   Sl/mOTHIN    I  BANT 

MB,  mWi  8BSH 

bala i  s  glide  medley  i-2  hmv  5325  n  auc 

BOM  IB  DOME/ 1  MB  I  ANA  SaCETH£ARTHMv3ae2  E  AUC 
NOB  ©BY   FAULT/(OLBCm)  HMV   5633  E  AUC 

parted/dream  mother  hmv  5675y/eauc 

lomcly  meet/lets  make  bcmor i ehnv  5542  v  auc 
•mile  bm8ic  plays^iama  maria    hmv  s7|7  h  auc 


THATS  A  plCnty/t  I N  ROOF 
IM  AM  TOM  I  0   BHOUT/jAZZ  ME 
OUST   BF F   P  I  AHO/lS  IHCt  BE  FELL 
FAREWELL   BL /ECCENTRIC 

pamara/tibc*  RAS 

RUBLE  CALL  RAG/SAN 

nti  jg£B|  818  8538 

GA  TOBOMTM^EBO  I  00 


PHIL 
PHIL 


VR 

638 

N  SAL 

1.15 

ZEIG 

DE 

3625 

E+AUC 

MARC 

DE 

2053 

E  AUC 

MARC 

DC 

3419 

E  AUC 

MARC 

DC 

1935 

E  AUC 

MARC 

BR 

80040 

N  SAL 

1.15 

ZEIG 

BB 

8372 

E+6AL 

2.15 

ZEt  G 

BB 

10434 

E+6AL 

2.15 

ZEIG 

BB 

i0442e/vsal 

1  .90 

ZEIG 

4 

N  SAL 

1.05 

BOLL 

HMV 

N  SAL 

t  II 

COHE 

bue 

2507 

N  SAL 

1  .00 

BE  1  N 

BP 

2581 

V  AUC 

HENB 

BR 

2648 

E  AUC 

HENB 

VARR 
VARR 
VARR 
VA  RR 
VARR 
VARR 


BRE 

2208 

N 

SAL 

1.25 

BE  1  N 

BRE 

20*0 

N 

SAL 

1  .25 

■  EIN 

BRE 

2006 

N 

SAL 

1.25 

SEI  N 

BRE 

22 1 1 

N 

SAL 

1 .25  REIN 

BRE 

221 2 

N 

SAL 

1.25 

BE  1  N 

■RE 

2213 

N 

SAL 

1.25 

BE  IN 

CO 

698 

V 

AUC 

4.00 

LEVI 

FRANK  NE1TC" 

TA3S    BL/FRANKIES   JUMP  VO     482IE/N6AL  I 

RED  NICHOLS 

HOT  L I Ps/pA  RADE   WOODEN   SOLD  I  ERSBB I  0360   G   SAL  I 

GERTRUDE  NEISEN 

BE   STILL  MY    HEAST/cONTI NENTAL    CO     2972   E   AUC  - 


LATIN  MANHATTAn/m IDDLE   OF  A 

N»V  NOBLE 

TIGER  RA3/jAPANESE  SAND 
MOON  COUNTRy/hAPPY 
PLEASE  DONT   (DIG)/paGAN  MOON 


CO     3047  N  AUC 


VI  24577  N  SAL 
HMV  65©"  V  AUC 

HMV  62i9g/eauc 
goodnight/shout  for  hap(ed  ch)hmv  5984v/eauc 


NASTY  MAN/HOLD  MY  HAND 
TOP  HAT/PI  COL  I  NO  (DIG) 
STAY   RIGHT   S I DE/( GA RBER ) 
WITH  LOVE/mY   GIRL  DONT 

J  IMMY  NOONE 
BUMP  IT/(D0DDs) 


HMV  6499  V  AUC 
VI  2~>094e/vauC 
VI  24375p/vauc 
HMV   6157  V  AUC 


DEC   35 1 9  N   SAL    1.25  ZABA 


RED  NORVO 

YOUR  SO  DESIRABLE/3  LITTLE  FISHV04785  N  AUC 
COOKOO    IN   CLOCK^ELL  NEVER  VO     4698  E  AUC 

NOTRE  DAME  UNIVERSITY  BAND 


V l   | 9932  E  AUC 


VI  16786  E  AUC 
CO      1204  E  AUC 


N.D.   VICTORY  MARCH/HIKE 

II ll  qakaano 

SILVER   THREAD   AMONG  GOLD 
MOTHER  MACREE/BENN   CHUMS  50 
MANY  MORE   SEND  ME   YOUR  BANTS 
OOJB 

MABGI  E/PALE8TEENA 
KING  OLIVER 
CAN    I    TELL  U/OOOO  MAN  SAM 
BEATHEBBIRD  RAG/jUST  GONE 

0 ippermouth/bhere  DID  U  stay(viny )BRS2  N  SAL  I 
ID  ORY 

AIRSHOTS  WITH   CABEY   NOONE   ETC  SEASONABLE 

OBY    CBEOLE  TRAM/SOCIETY   BL  PX  3  N   SAL  I 

HOT  LIPS  PAGE 

I    A  I  NT  GOT   NOBODY/GONE   WITH        OE     77|4  N  SAL 
PARENTIS  LIBERTY  SVNCOPATORS 


'  MOUL 
'  MOUL 


■  MCRE 

■  MCRE 

■  MCRE 


VI    |87I7v/esal     .75  PIKE 

VI    36049  V  AUCN 
BRE  2203  N  6AL    I  . 


CO      545     E  AUC 

OK  40308V/EAUC 
VI     19698   E  AUC 


MIDNIGHT  PAPA/CABARET  ECH06 
C ABA BET   ECHOS/THATS  A  PLENTY 
LA   VIDA/BE  YOURSELF 

HARRY  PARRY 
LIZA/AFTER   U  GONE 

TONY  PASTOR 

PA  RAO  I  DOLE    JOe/aDIOS  BB    I|008g/vSAL  I 

JOSE  GONZALES/PLEASE  NO  SQUEEZEVI 201 693G/VSAL 
MR  ZIP   ZIP   ZIP  BB    II452V/ESAL  I 

BEN  POLLACK 

SING   SONG  SIXPENCE/AS   LONG  AS   DE     2006  N   AUC  — 

LOUIS  PRIMA 


LEVI 
■05  GLOB 


01  HI 

■  DYM  | 
OYM  I 


PA E   3047  N   S-A   2,50  PARR 


,00  SCHU 
,75  SCHU 
,00  SCHU 


MA J  7|79  N  SAL  I 
MA  J    I  I  45  N   SAL    I , 


DE     2974  N  AUC 


PICKLE  IN  UIODLE/COME  RAIN 
CECEL I A/THERES   THAT  LONELY 

MAE  OUESTEL 
U   BE    SURPRI 6ED/0H  GEE  G06H 

BOYD  RAEBURN 

BOYDS  NEST/u   CAME  ALONG 
MARCH  SOYOs/sUMMERTIVE 

LOU ISE  RAINER 
GREAT   Z I EGFELO  FAM  2  N  SAL 

RED  AND  BIS  TEN  (NICHOLS) 
TICKLED  PINK/WHERE   SOUTH   BEG  I NSV I  23026  V+AJC 

DAVE  ROSE 

FILM   FAVORITES  ALBUM   4  RECOROSVI         136   N  STA 


I  33  N  AUC 
III   E  AUC 


poi c i  ana/dance  spanish 

harry  roy 
Ring  porter/san  sue  strut 
80uthpaw  8peci al/gander  on  a 
tiger  rag/can  cap  ers 

AL  SACK 

VELVET  MOODS   ALBUM  4  RECORDS  BB 

JAN  SAVITT 
JOLLY  PETER/BY  HECK  DE 

HANS  SCHRE IBER  I  2" 
TIGER    RAC./SMOKE   GETS        SW  SONOBA 

MABEL  SCOTT 


vi  27S88e/vsal  I 


00  SCHU 
00  SCHU 


■  MOUL 

■  MOUL 


.00  FORR 
  ZEI  G 


  WA  RR 

.00  SCHU 


PAE 

1  158 

N 

SAL 

1  .35 

CHIN 

PAE 

2  |26 

N 

SAL 

1  .35 

CHIN 

PAE 

1919 

N 

SAL 

1.75 

CHIN 

'  MARC 


MIGHTY  LIKE    Bl/mOPE  THAN 

RAYMOND  SCOTT 

SYMPHONY   UNDER  STARs/CATER 

QENE  SEDRIC  HONEYBEARS 

CLAR   BL/hONEYSUCKLE  R08E 

abvo  SENTER 

WASHBOARD   Bl/gOIN  TENNESSEE 
B088  OF   STOMPs/enI ALE  BL 
COPENHAOEn/beALE   ST  BL 

TERRY  SHAND 
SOUTHERN  FBIE0/6CBAMBLEB 

ART  IE  SUA! 
GBAB TOWN   QBAPPLE/SAD  SACK 

pyramid/this  BOMANCE 
ni ghtmabe/non  stop  flight 
SIX  JOLLY  JESTERS 

OKLAHOMA   ST0UP    ( JUN I E    COSB ) 

BESSIE  SMITH 

ANY  WOMAN  Bl/cEMETERY  BL 


5001    N   SAL  3.00  PRES 

PAE    1125  N   SAL  1.00  WE  IN 

OE   i8264n/vsal  I .00  SCHU 

23  I    N   SAL  I . 10  WE  I N 


8W 

VI  2  1 864  V+TRA 

VO  3061  V+TRA 

BB  6050  E+T-A 


POUL 
POUL 
POUL 


DE     3472  N  SAL      .90  ZEI  G 


VI20I647  N  AUC 
VI  27343  E  SAL 
BB     7875  V  SAL 


  CIAR 

.00  SCHU 
.75  SCHU 


VO      I449N/VTRA    POUL 

COF     2| 7  N   SAL    I . 10  WEIN 


BE 55 1 E  SMITH  CONT INUEO 

ST  LOUIS   BL/COLO    IN   HAND  COF      2 1  8  N  SAL 

HAVE  4  PAE,    I    FR   COL   SAL 

DOWN   HEARTED   8L/GULF    COAST  CO     3344  E  AUC 

BYE   BYE    Bl/wEEPING  WILLOW  CO    1 4042   E  AUC 

SORROWFUL    BL/ROCKIN   CHAIR  CO    14020  E  AUC 

FARAWAY   BL/lM   GOIN   BACK  CO    13007  E  AUC 

JA3B0  SMITH 

RHYTHM    IN   SPA|n/m0RE   RAIN  MOREOE      198^  E+AUC 

STUFF  SV.  ITH 

IT   AINT    IGHT/HITTIN   JUG  VOE        72   N  SAL 

TRIX IE  SMITH  JAZZ  MASTERS 

MY  MAN  ROCKS  ME/dVE  ME   SLOW  BS    |4|27  E+AUC 

MJGGSY  SPAN IER 
R I VER80A  T  SHUFFLE/RELAX  I N   TOUROBB 1 0532   E  TRA 

COMPLETE    RAGT IMERS   SET   OF  8  HMV  N  SAL 

FREE  NEW   GIFT   0 1 SC  WITH   ABOVE  SET  N   

ANY    AND   ALL  HMV   N  AUC 

SPIRITUAL  S I NQERS 

SWING  LOW    CHARIOT/ROLL   JORDAN  ROHA    |4|    E  AUC 

CHARLIE  SPIVAK 

MINNA/WEEK  END   HAVANA  OK     64|5  N  SAL 

BILL  STEGHEVER  OCTET 

SENTIMENTAL    JOURNEY /FRANT I C  SG    I  50  I  4  E+SAL 

REX  STEBART 

FINESSE/l    KNOW   U   KNOW  SW          70  N  SAL 

S.STEWART  a.  E.  GARNER 

HOP  SKIP   JUMP/3   BLIND  MICESKY  MAN    I  0 1 2   E  SAL 

SLAM  STEWART 
CONTINENTAL    10000-1-2-4-5  CON   E  SAL 

STUYVESANT  STOMPERS 

SHINE/BLUE    TAIL   FLY  PX            I    N  SAL 

JOE  SULLIVAN  &  JOE  TURNER 

LOWDOWN  DIRTY   Sh/cANT   GIVE  U  PAE   2773  N  SAL 

MAX INE  SULLIVAN 


LOCH  LOUONO/lM   COM  I N  VA 

SAUMY  SWIFTS  JAZZ  8 AND 
FAREWELL   Bl/wET   YO  THUMB 

ROOSEVELT  SYKES 

3RD   DEGREE   Bl/lET   HAVE  WAY 
ERSKINE  TATE  (LOUIS) 
STAT  I C  STRUT/STOMP  OFF 


OK      3654  N  SAL 


BS     2|25  E+AUC 


OK     6542   N  AUC 


1.25  WEIN 

  COOE 

  MCRE 

  MCRE 

  MCRE 

  MCRE 


I  .00  WE  I  N 

  OSTR 

  MARC 

i    1 5  COHE 

  COHE 

  PARR 

  PIKE 

I .00  SCHU 

.55  ZEIG 

I .00  WEIN 

.70  MOUL 

.55  MOUL 

1.05  GLOB 

I .25  WEI N 

I .00  SCHU 

  OSTR 

■  MARC 


BRE   3594  N  AUC  3.00  PARR 

BB    10969  N  AUC    MOUL 

DE      4409  N   SAL  I .50  SCHU 

RO      I453N/EAUC    LEVI 


TEAGARDEN  WITH  WH I TEMAN 
FARE   THEE  WELl/xmAS  NIGHT 

JACK  TEAGARDEN 
PRELUDE   TO  Bl/bl 

TEN  BLACK  BERRIES 
TIGER  RAG/ST  LOUIS  BL 

TENNESSEE  TOOTERS 

PRINCE  WAILS/NOBODY   TO  LOVE        VO    14952   E  AUC    DYMI 

EVERYBODY  LOVES   BABY/jA CKSONV I LVO 1 4985  E   AUC    OYM I 

HAD  A    SWEET  MAMA/CHARLESTON        VO    15086   E  AUC    OYM  I 

FRANCHOT  TONE 

ENGLAND  MY   ENGLAND  FAM  I    N   SAL  I .00  FORR 

FRANK  IE  TRUMBAUER 


LOVE  AFFAIRS/TAKE  YOUR  TOMORR  OK  4||45  E+AUC 
COMIN  VA/ALEX   RAG(MIFF)  CO   36280  N  SAL 

VARSITY  8/BOB  HAR IMG 
I    LIKE  U   BEST/DOO  DAB  CA      I 358E/FAUC 

FATS  WALLER 

AINT  M I SBEh/gEORGI A   ROCK  IN  BB   10288  N  SAL 

FRED  WARING 

COLLEGE  MEDLEY   1-2  VI    24169  N  SAL 

WASHBOARD  RHYTHM  KINGS 
PRETTY   GIRL/SHOUTIN    IN   A.M.        HMV  8655  SAL  I. 
WHO   STOLE  LOCK/PLEASE  TELL  ME   REE     283  N  SAL 

WASHBOARD  SAM 

STOP    FIX    IT/GOOD   OL  CABBAGE 
I    LAID  MY  CARDS/BL  AT 
GONNA   KEEP/SERVE    IT  RIGHT 
NOT   THE   LAD/FEELIN  LOWDOWN 

WASHBOARD  WONDERS 
DONT   FORGET    TO  MESs/BORDELLO 

LU  BATTERS 
ALL  WHITE  LABEL 

TED  WEEMS 

RAINBOW   ON   RIVER/HEY  BABE 

DICKY  WELLS 

BUGLE   CALL   RAG/BETWEEN  DEVIL 

JOSH  WHITE 
STRANGE  FRUIT/HOUSE  RAISIN 

PAUL  WH  ITEMAN 
MEDLEY  HIT    ( RED  MCKENZIE) 
HAVE   8-NO   BIX   OR  BINQ 
WHEN/(  SHI  LKRET  ) 
WONT    BE  LONG  NOw/5  STEP 
EVERYBODY   STEP/KA   LU  A 
SUNSHINE/BACK    IN   BACK  YARD 
JEEPERS   CREEP Rs/MUT I  NY  IN 

WHOOPEE  MAKERS 
HUMPTY   DUMP TY   BABY    .CALLOWAY)   RO      1482   N  AUC 

LEE  W I  LEY 


  ZEIG 

I .00  SCHU 

  HENR 

.60  MOUL 

.65  ZEIG 

10  N  WEIN 
I  .  10  WEI  N 


DE  969E/VAUC 


BRE   3749  N  SAL 


VI  36199  N  SAL 

VI  SAL 

vi  2i338v/esal 

VI  20883  N  SAL 

vi  18826  E  sal 

VI  21240  E  '  AL 

DE  2222  V  SAL 


HERE    IN  MY  ARMS/BABYS  AWAKE  GALA 

CLARENCE  WILLIAMS 

PAPA  DE  DADA/BA8Y  WONT  U  PL  RO 


I .50  COOE 

  COOE 

I .75  SCHU 

1 .25  schu 

.75  SCHU 
2.00  SCHU 
.75  SCHU 

  LEVI 

.90  ZEIG 

  OSTR 


28 


COOTIE  IILLIAMS 

ROUND  MIDNI GHT/SOMEBODYS  GO  HIT  7||9e/vSAL  1.00 
TE3SES   TORCH   SONG/NOW    I    KNOW     HIT  7075   G  SAL  .75 

RED   Bl/aINT  WHAT  HIT   7084  G   SAL  .75 

MARY  LOU  WILLIAMS 

HOMIMY   GRITS/MUST   BE  TRUE  V|202|74  E   SAL  .50 
GARLAND  WILSON  (PIANO  SOLOS ) 


SCHU 
SCHU 
SCHU 


BRE  1476  N  T-A 
BRE  3  I  1 5  N  T-A 


MU  N5  E   SAL  2.00 

CO  35737  N  SAL   I  .75 


BL    C  FLAT/GET   UP  BESSIE 
JUST  A  MOOD/ONE  OF  THOSE 

TEDDY  W ILSON 
ALL   STAR  ALBUM 
COCOANUT  GROVE/71 

BOB  ZURKE 

ON  LITTLE  STREET/CUBAN  BOOGIE  VI  26411  E  AUC 
HOLY  SMOKES/SOMEBODY   TOLD  ME     VI    26446   E  AUC 

BARGAIN  BASEMENT  LIST 
JAZZ  SWING   BOP    1929-1945  TOPS 

BLUES  RECORDS 
MANY   SEND   FOR  LIST  ALL  SAL 

CATALOGS 


A  I  RE 
A  I  RE 


MOUL 
ZEIG 


MOUL 
MOUL 


TRA 
TRA 
TRA 


ONLY   ON  MY  WANTS— 


MUSICA    I  92  I 
EDISON  1920 
VICTOR    I  9 1  7—1 923 
THESE  CATALOGS  FOR  TRADF 
CUT  OUTS 

ALL    ITEMS  ON   JOE   DAVIS  LABEL.    COLEMAN  HAWKINS 
W.THOMAS, UNA  MAE  CARL  I SLE/FRANK  SIGNORELLI, 
ERSKINE   BUTTERF I ELD,    GENE  ROGERS,   DERI CK 
SAMPSO.M,    CHAMPION   JACK    DUP  REE,   W  I  NG  I  E  MAN  ONE, 
SINGIN   SAM,  MARION  ANDERSON,    BETTY   THORNTON  ETC 

JD    N   SAL  .60 

DISPOSITION  LIST 


HOFF 
HOFF 
HOFF 
HOFF 


HAVE    12  PAGES  WRITE   FOR  IT 

HILLBILLY 
CO,   VI    OK,    EARLY    IN  LOTS 

RECORD  SALE  LIST 
SEND   NOW   FOR   BIG    BARGAIN  LIST 

RECORD  STOCK  ENVELOPES 


SAL 


N   SAL      .15  PHIL 


|0"  BROWN 

PER 

100 

N 

SAL  2.10 

GLOB 

1000 

N 

SAL1  9.25 

GLOB 

GREEN 

PER 

100 

N 

SAL  2.20 

GLOB 

1000 

N 

SAL20.00 

GLOB 

1 2"  BROWN 

PER 

25 

N 

SAL  „80 

GLOB 

50 

N 

SAL  1.40 

GLOB 

100 

N 

SAL  2.65 

GLOB 

GREEN 

PER 

25 

N 

SAL  .90 

GLOB 

50 

N 

SAL    1 .50 

GLOB 

100 

N 

SAL  2.75 

GLOB 

SHI PPI NG 

CHARGES  COLLECT 

10^  PKG 

CHG»  — 

(JLOB 

SOME  BARGAINS  LEFT 

DID   U   GET  MY   LIST  WHY  DELAY   

THEME  SONGS 


HENRY   K I NG-BL S ERENADE 
KEN   GRIFFIN-BALLAD   TO  LOVELY 
FRANCES   CRA I G— RED  ROSE 
GENE   AUSTIN-MY    BL  HEAVEN 
LANG  THOMPSON-U  DARLIN 
LANG  THOMPSON— U  DARLIN 
RAY  MC  K I NLEY— HOWDY  FRIENDS 
T   TEXAS  TYLER— REMEMBER  ME 
UOHNNY   SCAT  DAV I S— HOORAY  FOR 
CLYDE  MCCOY— SUGAR  BL 
JAN   GARBER-MY  DEAR 

WANT  LIST 
25000  OUT   OF    PRINT  DISCS 

WOODEN  SHIPPING  BOXES 
FOR   FOREIGN   SHIPMENTS   HOLDS   25  RECORDS 

WANTE D 


ME 

51  IS  N 

BAL 

.79 

PIPE 

BW 

865  N 

SAL 

.79 

PIPE 

BR 

416  N 

SAL 

.79 

PIPE 

BU 

1007  N 

SAL 

.79 

P  1  PE 

UN 

100  N 

SAL 

.79 

PIPE 

RO 

146  N 

SAL 

.79 

PIPE 

RE 

122  N 

SAL 

.79 

PIPE 

MA 

721 1  1  N 

SAL 

.79 

P  1  PE 

4s 

1008  N 

SAL 

.79 

P  1  PE 

UN 

|7  N 

SAL 

.79 

P  IPE 

ME 

5|  1  8  N 

SAL 

.79 

PIPE 

CA 

|5305n/esal 

.79 

PIPE 

AVER 

SAL   3.00  PROS 


FIRST  TOUR  LETTERS  OF  COLLECTOR'S  NAME 
FOR  ADDRESSES  SEE  PAGE  .   


3  jPRICE  OFFERED  FOR  RECORD 
2  ^CATALOGUE  NUMBER  OF  RECORD 
1  [LABEL  OF  RECORD 


LOU  IS  ARMSTRONG 


HOTTER   THAN   THAT/sAVOY  E 

OK 

8535 

  GOLD 

GULLY  LOW   (ANY  LABEL)  V 

  GOLD 

BRUNSWICK  ALBUM  N 

  COOE 

ARMSTRONG  ACCOMPANIMENTS 

BLANCHE   CALLOWAY-LONESOME   LOVESI CKN 

OK 

8279 

  OWEN 

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 
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- 
panied by  advance  remittance. 
Advertising  not  accompanied  by 
advance  remittance  must  bo  re- 
turned. 


Closing  Date  for 
DISPLAY  ADS 

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 
.  99 
.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 

.59 
.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 
.69 
.69 

.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 


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.69 
.49 
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.49 
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.79 

.49 
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.39 
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.54 
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.69 
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.99 
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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 

r) 

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  + 

RAMPART  RECORDS  BOSton 

P.  O.  BOX  276.  Grand  Central  Sta.,  NEW  YORK  17,  N.  Y.  ^ 

*  College  Music  Shop 

West  Coast  Distributor  338    MASS  AVENUE, 


YERBA  BUENA  MUSIC  SHOP 
5721  Grove  St.,  Oakland  9,  Calif. 


Boston  is.  mass. 


1 


est 


^e  hand/* 


as 


e  s«ch  /obe/s 


RANTED1 


LATEST  RELEASESl 
King  Oliver 

liOndon  Cafe/Ain't  Gonna 

Mahel's  Dream/Sweet  Bahy 

Jazzin'  Bahies/( Tux.  Orch.) 

Workinpman/Riverside  Blues 

Sohhin'  Blues/Sweet  Lovin' 

Canal  St. /Chimes  Blues 

Froggie  Moore ,/Mandy  Lee 

Snake  Rag/Weather  Bird 

TJippermouth/(ROJB) 

Dippermouth/Where  Did  You 

Southern  Stomps/John.  Hot) 

Alligator  Hop/Krooked  Blues 

Room  Rent  Blues/I  Ain't 
J-R  Morton's  Hot  Peppers 

Hyena  Stomp/Billy  Goat 

Wild  Man/ Jungle  Blues 

Steamboat/ Smoke  House 
Armstrong  Hot  Five 

Sweet  Little/Big  Eat 

I'm  Gonna/Don't  Forget 

Droppin' /Who ' s  It 

Lonesome  Blues/King  of  Zulu"] — ~ 

Georgia  Gr./Come  Back  I  ^ 

1        "    l|  > 


please 
Af/anted 


state 
and 


arefulfe' 


Want  lists, 
condition 
maximum  offer . 

"J *5  and  answered, 
If  we  can  t      ^e  Sam 

want,  ™e  7. 
re-issue  i^-  . 

along  that 


so 


send 
you  have 

and  y°u 
item  you 
for  all 


list, 

to  losejg 
that  fc> 


nothing 

teen  looking , 
years. 


mi 
1  ve 
these 


Collections-large  and  small 
customers  waiting  for  all 
New  Orleans  Jazz,  also 
Nohles  and  Ellingtons. 
Will  "buy.  or  sell  on  com- 
mission "basis.   


poR  SALS 
T.  Horsey 
collection, 
leave  your 
Shack. 


and  Basie 

500-  records, 
wants  at  the 


iO  1L„C 
(Mi  I  iu  - 


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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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