Jazz in the Public Domain

Moten: Sister Honky Tonk. Bessie Smith: St. Louis Blues. Arcadian Serenaders: The Co-Ed. Busse’s Buzzards: Milenberg Joys. Little Ramblers: Got No Time, In Your Green Hat. Arcadian Serenaders: Angry. Moten: Things Seem So Blue to Me. Lovie Austin’s Blues Serenaders: Peepin’ Blues. Bix: Davenport Blues. Henderson: Sugarfoot Stomp, Armstrong: Gut Bucket Blues, Yes I’m in the Barrel. Henderson: I’ll See You in My Dreams. Goofus 5: Alabamy Bound.1925 adds new dimensions including Papa Dip on vocals, Rollini on a microphone, Bobby Davis steps up, Jimmy Dorsey, Henderson at industrial strength. Nichols arrives. Moten, Lovie Austin deliver. Bessie Smith with Armstrong. Arcadian Serenaders and Bix in a new era again.

Papa Celestin: Original Tuxedo Rag, Careless Love, Black Rag. Brownlee's Orch: Dirty Rag. Halfway House Orch: Barataria, Maple Leaf Rag. Eddie Cantor: Palesteena. Arcadia Peacock Orch.: I Wouldn’t Be Crying Now and Waiting for the Moon. Lovie Austin's Blues Serenaders: Steppin’ On the Blues, Travelin’ Blues. Charles H. Booker: Hot Sax, West Texas Blues. Fletcher Henderson: TNT, Carolina Stomp. The Goofus Five: Yes Sir That’s My Baby. Cal Ramblers: Sweet Georgia Brown. Coon-Sanders: Yes Sir That’s My Baby.

Whiteman (Gershwin p.): Rhapsody in Blue (side 1). Bix, Bessie Smith, Moten, OTO, Arcadian Serenaders {Wingy Manone), Oliver, ODJB, Henderson, The New Jersey Dance Orch, Williams and Walker, Clara Smith, Coon-Sanders, Arcadia Peacock Orch. of St.Louis, Vincent Lopez, Gershwin (side 2).The Gershwin recording with Grofe’s orchestration emphasizes the 1924 jazz style in Whiteman’s Orch fused with Gershwin’s classical keyboard. This is Third Stream of which Whiteman was the King. The Gorman opening clarinet solo is spiced with laughing tricks and is apparently never played with these 1924-isms anymore in favor of more modern jazz phrasing. This episode ends with side two of the Whiteman/Gershwin rhapsody. Marcus Roberts did a modern update on piano worth watching, changing some of Gershwin’s notes.George Walker sings lead on Pretty Desdemona from 1906. Oliver in 1923 does Southern Stomps. Bix in 1924 and the Wolverines play Tia Juana. Oriole Terrace Orch (OTO) plays Back Where The Daffodils Grow. Clara Smith sings WC Handy’s Basement Blues. Moten plays Vine St. Blues. Vincent Lopez plays Palesteena. ODJB provides Satanic Blues. Bessie Smith sings Frankie Blues. The Arcadia Peacock Orch. from the Arcadia Ballroom in St. Louis does 4 numbers: Tripping Along, Ain’t You Ashamed, She Wouldn’t Do What I Want Her To (vocal deleted), Dream Boat. The Arcadian Serenaders apparently also from the Arcadia in St. Louis play Bobbed Hair Bobbie. Coon-Sanders from KC play Show Me The Way. The New Jersey Dance Orchestra plays Last Night on the Back Porch. Henderson with Redman on goofus and Hawkins on bass sax (sound familiar?) play You’ll Never Go To Heaven With Those Eyes. Previous episodes have gone deep with many of these performers and here the Arcadian Peacock Orchestra gets some deeper attention along with Whiteman/Gershwin.

Red McKenzie (Mound City Blue Blowers): When My Sugar Walks Down The Street, Charles H. Booker: Pencil Papa Blues, Ford and Ford: Skeeg-A-Lee Blues, Varsity Eight: Last Night on the Back Porch, Fletcher Henderson Orch.: Swanee River Blues, It Won’t Be Long, War Horse Mama, Steppin’ Out, Mama’s Goin’ to Slow You Down, Those Broken Busted Blues, You’ll Never Go to Heaven With Those Eyes, Forsaken Blues, Strutter’s Drag, I Don’t Know and I Don’t Care, Dixie Moon.One assumes it was Redman who took the Rollini pill adding a bass sax and goofus with Chambers in the Bill Moore role. Unlike the small Rambler groups, Henderson had Hawkins on tenor in duets with Redman and soloing, giving the unique full Hawkins sound. And Hawkins could play bass sax as in several here. Chambers is also inspired. This period of 1924 was prolific and innovative before the expansion to a big band sound. Notable that the next year Bobby Davis and Rollini were a premier star sax section. The Varsity 8 deliver an over the top version of the Whiteman hit Last Night on the Back Porch. Ford and Ford are in front of Lovie Austin, Tommy Ladnier and Johnny Dodds with a frank blues conversation. Booker demonstrates blues saxophone lead. Red McKenzie isn’t the only star named Red, but in 1924 he made hit records with a comb, a kazoo backing him up and the great Eddie Lang, so Red it is.

Original Dixieland Jazz Band: Palesteena, Tell Me, Skeleton Jungle, Dixie Jazz One-Step, Mournin', Dangerous Blues (Al Bernard Voc.), Bow Wow My Mama Treats Me Like a Dog, Jazz Me Blues, Home Again, St. Louis Blues (Al Bernard voc.), Alice Blue Gown, The Sphinx, Look at 'em Doin' It.This is the third compilation after the Season 1 episode 8 tribute and Season 2 episode 46. Here is a mix that does not duplicate the last episode and is delivered without interruption. Some hits omitted in these twin episodes are found in the first show.

The Original Dixieland Jazz Band with intermittent piano by Clarence Williams. Royal Garden Blues (Al Bernard voc.), Darktown Strutters Ball, At the Jazz Band Ball, Clarinet Marmalade, Some of These Days. C. Williams: My Own Blues. OJDB: Soudan, Toddlin’ Blues, Sensation Rag, Lazy Daddy, Fidgety Feet, Indiana, Lasses Candy. C. Williams: Gravier St. Blues. ODJB:Tiger Rag, Satanic Blues. C. Williams: Weary Blues.Tony Sbarbaro’s percussion is evident particularly in Sensation Rag. LaRocca apparently taught people like Bix indirectly by phonograph, who had a worn out ODJB collection and covered the tunes on his own recordings. Armstrong in one of his books lavishes praise on the Dixieland. Edwards on trombone, Larry Shields clarinet, Henry Ragas and later J. Russel Robinson on piano. A quintet with sometimes the addition of a saxophone like Benny Krueger. Included for intermission is the piano of Clarence Williams.