Scott or anyone who knows
I am on the Whiteman page http://www.redhotjazz.com/pwo.html trying to match
some obscure sides with my (and everyone's) uncomplete Rust discography, I
cannot get the meaning of your (1), (2), (3) etc. up to (8), where are the
notes I probably failed to read?
Thanks,
Patrice
> Maybe you are right but I wonder how Oliver could listen to Whiteman,
> I mean , was he allowed to enter a record store that is dedicated to
> noncolored artists music and buy records ? Or maybe he entered one of
> Whiteman's gigs ? Is it possible ?
> tommersl
Everybody bought Paul Whiteman records.
A.
Patrice Champarou <patrice.champarou@...> wrote: Scott or anyone who
knows
I am on the Whiteman page http://www.redhotjazz.com/pwo.html trying to match
some obscure sides with my (and everyone's) uncomplete Rust discography, I
cannot get the meaning of your (1), (2), (3) etc. up to (8), where are the
notes I probably failed to read?
Thanks,
Patrice
Is this the simple answer ?
I think every keen reader of and listener to the Archive has noticed that the
figures tells the "take" that was issued.
For instance "Charleston" on Victor has a number (8),
which means that it was the 8th take that was issued.
Whiteman could afford that and he was ambitious.
One can check it at "The online Discographical project."
The notes ( at Whiteman) has a * which in this case says that a take was not
issued until it was on LP or EP.
yarel41
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[Non-text portions of this message have been removed]
> Is this the simple answer ?
>
> I think every keen reader of and listener to the Archive has noticed that
> the figures tells the "take" that was issued.
*that* simple? Sorry, in some cases it didn't match Rust at all so I
honestly wondered if it could be something else.
P.
hi everyone i would like to know how i can burn on to a cd some of the
wonderous songs and music i found on this site cause i love this and
want to take it with me everywhere i have windows media and real player
----- Original Message -----
From: "canton belanger"
> hi everyone i would like to know how i can burn on to a cd some of the
> wonderous songs and music i found on this site cause i love this and
> want to take it with me everywhere i have windows media and real player
The short answer would be that the Archives are not meant for that.
You still can, if you like doing things the hard way and are not too
demanding on the sound quality (it is no secret that some were recorded
inside a submarine, you can hear the propellor in the background;-)
There is no way to directly transfer the files themselves, all you can do is
grab the sound as if you were recording a radio program onto a cassette. You
must use a program like Audacity, which is free, and set the input to "what
U hear" or "stereo mix" or whatever. According to the soundcard you have,
setting the recording level can be very tricky because raising the output
level can affect the input as well! Also turn off any funny noise that
Windows is likely to make while you're recording, like when you receive mail
or click on webpages.
You can choose to record each song separately, with a lot of blank at the
beginning because you never know when the .ra file will start playing, or
write a long continuous file including all the songs you wish to keep.
They'll have to be turned into individual files anyway, which you can do the
hard way by cutting and saving each number in your sound editing program, or
automatically if you've got something like Nero7 premium. Then the burning
process can start, any prog will do as long as you have saved the files as
stereo 44100Hz .wav.
Every time I had finished the process of recording, editing, cleaning and
burning some of Scott's file, I ended up buying a commercial release because
I had become so fond of the music, after spending so much time on it, that I
definitely needed a properly remastered copy ;)
Have fun!
Patrice
Those who wish to make their contributions directly to a bank account,
please use the following
North Fork Bank
54375 Route 25
Southold NY 11971
USA
Bank Transit Number (also known as Routing Number or ABA Number)
021-407912
Name on account: Richard M. Sudhalter
Account Number 0126-36587-3
Albert
--- In RedHotJazz@yahoogroups.com, "Albert Haim" <alberthaim@...> wrote:
>
> Listmates,
>
> Please take a look at
>
> http://bixbeiderbecke.com/sudhalter.html
>
> and help as much as you can.
>
> Thank you.
>
> Albert
>
I had no idea he was in such bad shape,I'm reading "Lost chords" right now,i
just picked it up from the library last week.This book has opened my eyes to
White jazz and also will help in keeping me touch with 78s that i may have
passed up in the past and what to look for in the future.
Check this book out I highly recomend it
---------------------------------
How low will we go? Check out Yahoo! Messenger’s low PC-to-Phone call rates.
[Non-text portions of this message have been removed]
I haven't seen this before tonight -
Scott Alexander did a wonderful thing in setting up this web page:
http://redhotjazz.com/jazz1917.html
Thank you so much.
Cheers,
Andrew Homzy, Montréal
Scott.
Many thanks for the very fine 'First Jazz' article and, as ever, for the
latest additions.
We now have one side from the 27 March 1935 Zutty And His Band Deccas. But
the site gives no personnel except Eubanks.
Can anybody oblige and also any idea where these might now be available
except maybe Chronological Classics -- if they have a Zutty ?
Dave
[Non-text portions of this message have been removed]
Dave
Zutty And His Band: Vernell Yorke t,v;, Horace Eubanks cl, as, v; Henry Gordon
p; Mike McKendrick g; Leonard Bibbs sb; Zutty Singleton d. Chicago, March 27
1935.
The session is available in its entirety on:
GANNET CJR 1001 Chicago 1935.
Michael
_____________________________________________________________________
Der WEB.DE SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen!
http://smartsurfer.web.de/?mc=100071&distributionid=000000000071
Michael
Many thanks. No wonder I couldn't recognise anybody and was also fooled by
the NYC mislabel on RHJ because it sure sounds Chicago and Punch came to
mind.
Anybody know anything about Yorke and/or Eubanks ? For the latter I have
found a St Louis birth date of 1921 --which seems unlikely.
Dave
___________________________________________________________
All new Yahoo! Mail "The new Interface is stunning in its simplicity and ease of
use." - PC Magazine
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on 6/6/06 9:05, David Brown at johnhaleysims@... wrote:
> Anybody know anything about Yorke and/or Eubanks ? For the latter I have
> found a St Louis birth date of 1921 --which seems unlikely.
Eubanks is a bit of mystery figure. John Chilton's estimate of his borth
date is about 1900 in East St. Louis, IL. he apparently died in a mental
hospital in Missouri sometime in the 50s. Not very satisfactory.
In January 1921 he was with Jelly Roll Morton in Seattle, probably not
wearing diapers. According to Phil Pastras (Dead Man Blues, p.102) he got
left in charge of the band while the boss was pursuing his real vocation as
a gambler!
Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098
on 6/6/06 9:05, David Brown at johnhaleysims@... wrote:
>
> Anybody know anything about Yorke and/or Eubanks ? For the latter I have
> found a St Louis birth date of 1921 --which seems unlikely.
>
Actually born Springfield, Mo, 21 April 1894, according to his Draft
Registration of 5 Jun 1917, at which date he was a musician in East St.
Louis.
This Horace Eubanks doesn't immiately come up on a quick census search. The
name is surprisingly common!
Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
howard@...
Tel/FAX: +44 20 8521 1098
----- Original Message -----
From: "Bill Haesler" <bhaesler@...>
To: "Aust Dance Bands" <australian-dance-bands@yahoogroups.com>
Cc: <e:ia_marco@...>
Sent: Tuesday, June 06, 2006 5:16 PM
Subject: [australian-dance-bands] Film. 'Play On'. The Graeme Bell All Stars
> Dear friends,
> Film-maker Marco Ianniello has produced 'Play On', an excellent one hour
> documentary featuring the Graeme Bell All Stars.
> "A celebration of the band, the music and the legacy they are leaving
> behind."
> It was filmed in 2004 during Graeme's 90th birthday Reunion Band Tour.
> On 24th May 2006 Jess and I attended a private preview screening at the
> Dendy Opera Quays cinema and have to report that the film is wonderfully
> produced and photographed. A real winner and one of the best jazz docos
> I've
> seen.
> Graeme Bell rang earlier today to tell me that it will be shown on the
> ABC-TV 'Arts' programme at 4.00pm on Sunday 25th June 2006.
> Please pass on this information to anyone you think will be interested.
> Kind regards,
> Bill.
>
>
>
>
>
Dennis Pereyra has contributed a nice article with film clips to the Red
Hot Jazz Archive. The article is about the 1924 or 1925 DeForest
Phonofilm featuring Ben Bernie and His Orchestra. This film features the
first jazz solo on film.
Here's the link:
http://www.redhotjazz.com/berniephonofilm.html
Thanks Dennis and thank you to all of you on this list who contributed
to identification the songs.
Scott Alexander
The Red Hot Jazz Archive
www.redhotjazz.com
Thanks for the info. I've updated the page.
Scott Alexander
The Red Hot Jazz Archive
www.redhotjazz.com
Michael Rader wrote:
> Dave
> Zutty And His Band: Vernell Yorke t,v;, Horace Eubanks cl, as, v; Henry
Gordon p; Mike McKendrick g; Leonard Bibbs sb; Zutty Singleton d. Chicago, March
27 1935.
>
> The session is available in its entirety on:
> GANNET CJR 1001 Chicago 1935.
>
> Michael
> _____________________________________________________________________
> Der WEB.DE SmartSurfer hilft bis zu 70% Ihrer Onlinekosten zu sparen!
> http://smartsurfer.web.de/?mc=100071&distributionid=000000000071
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
>
>
>
Thanks Andrew. I'm planning a companion article about the first jazz
sheetmusic. I'll let the list know when I've posted it.
Scott Alexander
The Red Hot Jazz Archive
www.redhotjazz.com
Andrew Homzy wrote:
> I haven't seen this before tonight -
>
> Scott Alexander did a wonderful thing in setting up this web page:
>
> http://redhotjazz.com/jazz1917.html
>
> Thank you so much.
>
> Cheers,
>
> Andrew Homzy, Montréal
>
>
>
>
>
>
>
>
>
>
>
>
>
Great stuff! Thanks to Dennis and to you.
One minor correction: Chaplin sang "Titina" in the film "Modern Times."
For an excellent article about the life and scientific achievements of
Lee De Forest, take a look at
http://chem.ch.huji.ac.il/~eugeniik/history/deforest.htm
Albert
--- In RedHotJazz@yahoogroups.com, Scott Alexander <scott@...> wrote:
>
> Dennis Pereyra has contributed a nice article with film clips to the
Red
> Hot Jazz Archive. The article is about the 1924 or 1925 DeForest
> Phonofilm featuring Ben Bernie and His Orchestra. This film features
the
> first jazz solo on film.
>
> Here's the link:
> http://www.redhotjazz.com/berniephonofilm.html
>
> Thanks Dennis and thank you to all of you on this list who contributed
> to identification the songs.
>
> Scott Alexander
> The Red Hot Jazz Archive
> www.redhotjazz.com
>
Hello my friends,
I'm back from New York, where I stayed for two months (with no
internet)... I just caught up on reading the April/May
posts--fascinating and important threads on Armstrong and Bix, Oliver
and Whiteman, New Orleans and the nature of Blues, and more.
Jazz Oracle is requesting help for a projected reissue of Millard G.
Thomas records on Ajax (1924). I've not heard these--does anyone know
if the version of "Lazy Drag" is the Thomas Morris composition? Also,
I'm interested in the participation of alto player Charles Harris,
listed as the same man on Paramount sides with Jelly Roll Morton in
1923 and (probably) with Ma Rainey in spring, 1924 (the Millard Thomas
dates occurred in Montreal, starting June 6, 1924).
Regards to all,
John (in California)
Hi John,
You will find Lazy Drag with Millard G. Thomas and his Chicago Orchestra on the
RHJA, as well as the same tune with Thomas Morris. I listened to both, but can
only say that the tunes sound similar - not sure if it is the same tune.
A search of Charles Harris on the RHJA shows a number of recordings with Lovie
Austin's Blues Serenaders accompanying three different singers, as well as
recordings with W.C. Handy from 1917.
Hope that this is helpful.
Mordechai
spacelights <spacelights@...> wrote: Hello
my friends,
I'm back from New York, where I stayed for two months (with no
internet)... I just caught up on reading the April/May
posts--fascinating and important threads on Armstrong and Bix, Oliver
and Whiteman, New Orleans and the nature of Blues, and more.
Jazz Oracle is requesting help for a projected reissue of Millard G.
Thomas records on Ajax (1924). I've not heard these--does anyone know
if the version of "Lazy Drag" is the Thomas Morris composition? Also,
I'm interested in the participation of alto player Charles Harris,
listed as the same man on Paramount sides with Jelly Roll Morton in
1923 and (probably) with Ma Rainey in spring, 1924 (the Millard Thomas
dates occurred in Montreal, starting June 6, 1924).
Regards to all,
John (in California)
__________________________________________________
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[Non-text portions of this message have been removed]
Here's some detail on Millard:
MILLARD G. THOMAS (piano; music teacher; composer) was born at
Collinsville, astride Madison and St. Clair counties, Illinois, on 7
September 1894.
He was registered for the Military Draft on 7 June 1917, when he and his
wife were residing at 2329 (South) Dearborn Street, Chicago, from which he
worked as a music teacher "in business for self". The residence address is
crossed out and replaced by 14 King Street, Toronto, Ontario, Canada. He
was shown as of medium build and height. He had only a wife to support.
The family had apparently moved to Canada by 1920.
He recorded with his own jazz band during the 1920s. In 1924 he recorded
the piano solos BLUE IVORIES and RECKLESS BLUES, released by (Austrian,
later Scottish) Document CD #DOCD-5314.
By 1930, he was residing at 102 119th Street, Manhattan, New York, and his
occupation was "Composer, Music, Public". He was aged 35, having first
married at 22, and had been born in Illinois. His wife was Hazel B. Thomas,
aged 29, having first married at 16, "Hair Dresser, Beauty Parlor". She had
been born in Louisiana.
Their children were Millard J. (12, born in Illinois); Elma (11, born in
Illinois); Gyrondlin (possibly Gwendolin - indexed as Gyeondin: aged 9
years 3 months); Hazel M. (aged 8 years 3 months); and Vivian (daughter,
aged 7 years 8 months). The last three children are shown as born in
Canada, but to be American citizens - "Am. Cit."
Millard's son, also Millard, was born on 7 October 1917, according to his
social security details. His social security card was numbered 228-10-9454,
and was issued in Virginia before 1951. He died in January 1975, and his
last residence was at Chicago, Cook County, Illinois 60640. There seems to
be no social security death index record for Millard G. Thomas or for his
wife Hazel B. Thomas.
Bob
----- Original Message -----
From: "spacelights" <spacelights@...>
To: <RedHotJazz@yahoogroups.com>
Sent: Monday, June 12, 2006 9:05 AM
Subject: [RedHotJazz] Millard G. Thomas / Charles Harris
> Hello my friends,
>
> I'm back from New York, where I stayed for two months (with no
> internet)... I just caught up on reading the April/May
> posts--fascinating and important threads on Armstrong and Bix, Oliver
> and Whiteman, New Orleans and the nature of Blues, and more.
>
> Jazz Oracle is requesting help for a projected reissue of Millard G.
> Thomas records on Ajax (1924). I've not heard these--does anyone know
> if the version of "Lazy Drag" is the Thomas Morris composition? Also,
> I'm interested in the participation of alto player Charles Harris,
> listed as the same man on Paramount sides with Jelly Roll Morton in
> 1923 and (probably) with Ma Rainey in spring, 1924 (the Millard Thomas
> dates occurred in Montreal, starting June 6, 1924).
>
> Regards to all,
>
> John (in California)
>
>
>
>
>
>
>
> Yahoo! Groups Links
>
>
>
>
>
>
>
Hello John
Nice to have you back. I wondered where you were. Yes, it's the same 'Lazy
Drag' which brings into question the compositional credit of Morris.
In the Millard the' tune' sounds very much like a strain from a rag and the
structure, to me, generally much like a ragtime piece.
Thomas uses the same first two 'strains' then transports into a blues.
The side also brings us back to the second cornet on the Morris which I have
listed in different sources as both Stewart and Pinkett. I find it very hard
to hear Rex here. Anybody know a contemporary Rex with which to compare ?
Dave
[Non-text portions of this message have been removed]
Thanks, Mordechai--difficulties with Real Audio sometimes prevent my
listening to the site. I like the tone of Harris's solos on the 1923
Morton sides, also what he added (with Lovie Austin) to Ma Rainey's
sound in 1924. The fact that he recorded with Handy makes his career
even more interesting...
John
--- In RedHotJazz@yahoogroups.com, Mordechai Litzman <folke613@...> wrote:
>
> Hi John,
>
> You will find Lazy Drag with Millard G. Thomas and his Chicago
Orchestra on the RHJA, as well as the same tune with Thomas Morris. I
listened to both, but can only say that the tunes sound similar - not
sure if it is the same tune.
> A search of Charles Harris on the RHJA shows a number of recordings
with Lovie Austin's Blues Serenaders accompanying three different
singers, as well as recordings with W.C. Handy from 1917.
> Hope that this is helpful.
>
> Mordechai
Thank you, Bob--Jazz Oracle might appreciate this information as well!
John
--- In RedHotJazz@yahoogroups.com, "Prof_Hi_Jinx" <prof_hi_jinx@...>
wrote:
>
> Here's some detail on Millard:
>
> MILLARD G. THOMAS (piano; music teacher; composer) was born at
> Collinsville, astride Madison and St. Clair counties, Illinois, on 7
> September 1894.
>
> He was registered for the Military Draft on 7 June 1917, when he and
his
> wife were residing at 2329 (South) Dearborn Street, Chicago, from
which he
> worked as a music teacher "in business for self". The residence
address is
> crossed out and replaced by 14 King Street, Toronto, Ontario,
Canada. He
> was shown as of medium build and height. He had only a wife to support.
>
> The family had apparently moved to Canada by 1920.
>
> He recorded with his own jazz band during the 1920s. In 1924 he
recorded
> the piano solos BLUE IVORIES and RECKLESS BLUES, released by
(Austrian,
> later Scottish) Document CD #DOCD-5314.
>
> By 1930, he was residing at 102 119th Street, Manhattan, New York,
and his
> occupation was "Composer, Music, Public". He was aged 35, having first
> married at 22, and had been born in Illinois. His wife was Hazel B.
Thomas,
> aged 29, having first married at 16, "Hair Dresser, Beauty Parlor".
She had
> been born in Louisiana.
>
> Their children were Millard J. (12, born in Illinois); Elma (11,
born in
> Illinois); Gyrondlin (possibly Gwendolin - indexed as Gyeondin: aged 9
> years 3 months); Hazel M. (aged 8 years 3 months); and Vivian
(daughter,
> aged 7 years 8 months). The last three children are shown as born in
> Canada, but to be American citizens - "Am. Cit."
>
> Millard's son, also Millard, was born on 7 October 1917, according
to his
> social security details. His social security card was numbered
228-10-9454,
> and was issued in Virginia before 1951. He died in January 1975,
and his
> last residence was at Chicago, Cook County, Illinois 60640. There
seems to
> be no social security death index record for Millard G. Thomas or
for his
> wife Hazel B. Thomas.
>
>
>
> Bob
Thanks Dave... Two contemporary Stewart sides to compare are "The
Stampede"/"Jackass Blues" with Fletcher Henderson (5-14-26)--Rex solos
on both of these. I'm pretty well convinced he's on the Morris
session--the cornet solo (at around 1:48) on "Lazy Drag" sounds quite
similar to the Hendersons. "Jackass Blues" appears on both
dates--Stewart plays lead on the Morris version but doesn't solo.
Reportedly, Stewart identified himself on hearing "Charleston
Stampede" from the same date (7-13-26).
Regards to all,
John
--- In RedHotJazz@yahoogroups.com, "David Brown" <johnhaleysims@...>
wrote:
>
> Hello John
>
> Nice to have you back. I wondered where you were. Yes, it's the
same 'Lazy
> Drag' which brings into question the compositional credit of Morris.
>
> In the Millard the' tune' sounds very much like a strain from a rag
and the
> structure, to me, generally much like a ragtime piece.
>
> Thomas uses the same first two 'strains' then transports into a blues.
>
> The side also brings us back to the second cornet on the Morris
which I have
> listed in different sources as both Stewart and Pinkett. I find it
very hard
> to hear Rex here. Anybody know a contemporary Rex with which to
compare ?
>
> Dave
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