Mosaic ‘s First Book Edition
We also took an unprecedented step of replacing our signature Mosaic brochure — often the most complete, accurate, historical, and analytical reporting ever done on the music — with an honest-to-goodness book.
The First Complete Collection
This Release Is One for the Ages
You’ll always come up short trying to put into words how Louis Armstrong not only changed jazz, but re-directed the course of popular music. It was like transportation after we invented the wheel. Like food after we figured out how to cook. He made everything different. He transformed everything forever.
Nowhere is that more evident than in these first recordings by Armstrong in New York, where his stature in music was first recognized. At last, Armstrong’s ideas, which to some extent were a regional secret, could explode onto a national stage with Fletcher Henderson, one of the most popular bandleaders in the country, and with smaller ensembles.
Our new set — The Complete Louis Armstrong in New York 1924-1925 — is the first collection ever to present all this music in one box. It presents Armstrong’s breakout solos nestled in more traditional settings like the Fletcher Henderson Orchestra, accompanying vocalists and being featured with small bands. These songs are vivid, moment-by-moment examples of how jazz was being changed and how it would be played from then on.
Since the music on this set was recorded during the days of acoustical recording and the earliest days of electrical recording, procuring the best sources was of great importance to us. On top of that we needed to make sure the person handling the transfer and restoration work of these discs had the experience and knowledge of getting the most music out of the grooves and eliminating surface noise. Given the historical importance of the music, we chose Doug Benson to do the re-mastering. In a 25-year career as a renowned expert in remastering, and a pioneer with the latest technology and software, Doug affirms this was one of the most important assignments of his life.
Limited to 2,500 Copies
This collection is limited to 2,500 box sets —and this first edition of 2,500 sets represents the entire production run. If you intend to own this definitive, archival-quality collection, we encourage you to reserve your copy now.
Preorder Now!
Regular Price $169; Preorder Sale Price $149
Release Date: End of August
Thrilling Music. State of the Art Restoration.
Comprehensive Written Appreciation.
Stunning Full Page Photographs.
Birth of a Genius
Accounts of Armstrong’s early years are inconsistent. We know after living with his grandmother for a few years, he joined his mother in Black Storyville, where brothels, dance halls, and crowded living spaces were everywhere. It was impossible to escape the hot music blaring from the doors of local social halls and homes.
He later began living with the Karnovsky family, helping on the trucks that delivered their coal and hauled junk. But his behavior landed him in the Colored Waif’s Home for Boys, where he got his first instruction on cornet. He was only there 18 months, but managed to graduate in that short space to become leader of the Waif’s Home Brass Band.
Upon his release Armstrong began playing in brass bands on Mississippi riverboats. Within a few years, he was invited to move to Chicago and play second cornet behind his mentor, Joe Oliver. Oliver’s pianist recognized Armstrong’s unique talent and began urging him to move to New York. She was Lil Hardin, and she would become Armstrong’s wife.
The Move to New York
In New York, Armstrong joined Henderson’s band, at the time the most significant black-led dance band. In part, Henderson wanted him because he was getting attention for his innovation. What exactly was that innovation? Jazz critic Gary Giddins summed it up well. Before Armstrong, Giddins wrote, jazz was a verb. After Armstrong, it became a noun.
While there was certainly swing before there was Armstrong, Armstrong swung harder. Notes would begin or end before they were written, phrases would extend beyond their expected span, he’d add a rasp or a growl, and of course, he had that extraordinary high register. His musical prods and fills supported singers in inventive and clever ways no one before him had considered. It made him a participant with the vocalist, not just background support.
An Unmistakable Change In Direction
You hear it in early recordings like “Manda,” the Sissle and Blake song recorded with Henderson in 1924. Before Armstrong takes the spotlight, solos are sweet, jaunty, entertaining and unchallenging. Maybe even a little bit stiff, including the saxophone solo by 19-year-old Coleman Hawkins.
Then Louis starts soloing. And the tone is sterling silver. Pure Louis.
The entire character of the music changes. The orchestra steps back, except for the rocking syncopation of tuba and banjo, leaving the stage clear for Armstrong’s eight bar solo. He improvises something that is direct, personal, and a showcase for his mastery of note choice, harmonic thoughtfulness, and an ability to improvise while still framing his solo like a song within a song. It has coherence. It has a beginning, middle, and end.
Even on songs where a vocalist is featured, Armstrong makes his presence known. With the Clarence Williams Blue Five, singer Virginia Liston couldn’t help but feel the presence of Armstrong and Signet Bechet, trading solos around her vocals. It’s more than support. It’s connectivity and dialogue.
Within the first year of his tenure in New York, Armstrong had already made an indelible mark. On the recording of “Cake Walking Babies” with the Red Onion Jazz Babies led by Clarence Williams, Armstrong’s influence pushes the other front men including Sidney Bechet into a rambunctious holiday of horns in support of vocals by Alberta Hunter.
Armstrong plays a funky growl to announce his arrival and the main event is on! Armstrong’s aggressive variations on the melody initially seem to catch Bechet by surprise, but the older man soon starts running arpeggios up and down his soprano before taking a fine break. After more heated ensemble playing, Armstrong responds with an absolutely dazzling break that dwarfs Bechet’s effort.
Feeling good, both men hold the same note and swing into the final chorus—when Armstrong momentarily stumbles and garbles up one of his notes. Smelling blood, Bechet pours it on, his virtuosity overwhelming Armstrong in the ensemble before he pulls out all the stops in his final break, basically snarling through his instrument. Armstrong rallies strongly with another growling trill before the horns trade blows until the final bell sounds. It’s an epic recording, but in boxing terminology, honors would seem to go to Bechet by split decision. Such a fierce battle would necessitate a rematch, which would come early in the new year. – Ricky Riccardi, liner notes
This points to Armstrong’s most important innovation. Armstrong made jazz a genre that allowed an artist to display personality and invention. It gave musicians license to create drama, excitement, tranquility, delight — every human emotion and a direct avenue to an individual’s essence.
Indeed, in a musical tradition that was more geared for dancing before his involvement, Armstrong made people listeners. And in doing so, he eliminated a natural barrier that existed between performer and consumer. Jazz had always been an ensemble endeavor. Armstrong made it a canvas for significance as a soloist. By exposing his heart, he invited listeners to feel his soul as an artist and human being. Forever after, jazz would be linked to personal expression, artistic boldness, and a willingness to explore every imaginable direction the music could take.
A Once In A Lifetime Release
The Complete Louis Armstrong in New York 1924-1925 features Armstrong with Fletcher Henderson’s Orchestra and with smaller organizations such as the Clarence Williams Five, the Red Onion Jazz Babies, and other small instrumental outshoots, along with vocal recordings in support of Ma Rainey, Bessie Smith, Sippie Wallace, Alberta Hunter, and others. In addition to those already mentioned, the tracks include Don Redman, Buster Bailey, James P. Johnson, Charlie Green, and more.
This monumental set contains 134 tracks on six CDs. Our 107-page exclusive hard cover book includes historical information, a track-by-track analysis, a thorough dive into the remastering process, and a complete, corrected discographical account of the sessions.
Notes From the Restoration Engineer
After restoring audio for over 25 years, and with dozens of commercial releases under my belt, there are a handful of standout projects that top the list. The Complete Louis Armstrong In New York 1924-1925 is one of them; not just for the size and scope of the reissue, but for the importance of the material. Almost all these tracks have been previously reissued in some form, but this is the first collection featuring them all in one place; and with recent improvements in audio restoration software, I believe these are the best-sounding versions to date.
Every project starts with a treasure hunt, collecting all the rough diamonds needed to complete the playlist. For this set, we needed to find 134 gems, including some alternate takes. Most of our wants were supplied by major collectors who graciously shared items from their archives. Some of them brought or sent physical discs to my studio for me to transfer and others sent digital files of transfers they had made themselves. All said and done, we did pretty well, as only five tracks needed to be sourced from previous reissues.
Lastly, I should mention the very inexact science of the restoration itself, which involves pitch correction, noise removal and various other processes to try and recover as much detail as possible. Audio software is constantly being improved and for this set we employed Izotope, CEDAR, Magix, Waves and Zynaptic products in various combinations and that technology has enabled us to create fuller, clearer versions of these important jazz recordings.
Audio Restoration by Doug Benson: Doug Benson is a musician, composer and audio engineer who is internationally known for his restoration work. Since opening Commodore Recording in 2013, he has remastered dozens of projects for many different labels, including several Grammy-nominated releases. Other clients include the Les Paul Foundation, Maryland Public Television, Vox Media and The Library of Congress. Visit www.CommodoreStudio.com
Armstrong’s Innovations with
Fletcher Henderson and Others?
You Could Write a Book
So We Did!
We also took an unprecedented step of replacing our signature Mosaic brochure — often the most complete, accurate, historical, and analytical reporting ever done on the music — with an honest-to-goodness book. When we considered everything that could be written about Armstrong and this era, we couldn’t find anything we felt comfortable leaving out of the record.
Included in the collection is a lavishly produced 107-page hardcover book featuring more than 20 photographs and approximately 42,000 words of authoritative commentary. Measuring 8″ × 11½”, the book showcases six full-page photographs, beautifully reproduced with offset printing on premium paper stock for outstanding clarity and detail.
Liner Notes by David Sager. David Sager is a professional jazz trombonist and jazz historian, who lived and worked as a musician in New Orleans for 12 years. Subsequently, he spent 30 years working for the Recorded Sound Research Center at the Library of Congress. David, who now focuses on playing music, researching, and writing, is the recipient of 3 Grammy nominations for Best Album Notes.
Session notes by Ricky Riccardi; Ricky Riccardi is the Director of Research Collections for the Louis Armstrong House Museum, the author of three critically acclaimed biographies of Louis Armstrong and the winner of two Grammy awards for Best Album Notes.
Sample Audio Tracks
Fletcher Henderson & His Orchestra
Sugar Foot Stomp
Elmer Chambers, Joe Smith (tp), Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Compared to the earthiness of the original Oliver Gennett recording, Redman added a touch of that Roseland “class” to his recasting of “Dipper Mouth,” smoothing the edges, goosing the tempo and keeping things simmering in the opening chorus, everything building up to Armstrong’s invocation of the famous Oliver three-chorus solo. This was the definitive time for Armstrong to make a personal statement. He would retain certain hallmarks from Oliver’s original but now phrased them in his own fashion. He winked at Oliver with a growl in his second chorus and by holding a high note the way the King used to do back in New Orleans, but this solo wasn’t going to fool anyone into believing it was Oliver. It was Louis Armstrong announcing his arrival as his own man, no longer content to simply mimic his mentors.
Armstrong’s solo comes early in the record, which allows Redman’s arrangement time to shine. He brings the band down to a low simmer before an explosion that finds Ralph Escudero playing four-four time on his tuba, actually propelling the full orchestra to legitimately swing in forward motion. Not only is it a masterpiece on its own merits, but it also serves as a definitive example of how the creations of Oliver and the other pioneers of New Orleans music were now being transformed into the modern sounds of orchestrated dance music.
Red Onion Jazz Babies
Of All The Wrongs You’ve Done To Me
Louis Armstrong (cor), Aaron Thompson (tb), Buster Bailey (ss), Lil Armstrong (p), Buddy Christian (bjo).
Perhaps sensing a chance to tear out, the Red Onion Jazz Babies pick up the tempo on the piece and turn in a rocking performance, one that tops the OKeh version with Eva Taylor. For one thing, Lil Armstrong is a force of nature throughout in a way that Clarence Williams never achieved, really lighting fires in the background and taking quite a two-fisted outing herself.
The highlight, though, comes when Armstrong once again picks up the plunger and embarks on a stop-time solo that jazz historian Lewis Porter once described as “remarkably ‘avant-garde.’” “It is entirely composed of two-, or three-note fragments which he places in constantly surprising relationships to the incessant stop-time backing,” Porter writes. Indeed, for his first recorded stop-time solo of many to come, Armstrong is supremely poised and quite playful as he deftly walks the rhythmic tightrope. When Lil and Buddy Christian come back in, the rhythm section sounds like it could move a mountain, inspiring the front line to an exciting finish, capped by another of Armstrong’s patented closing breaks. A gem in a sea of gems.
Fletcher Henderson & His Orchestra
Everybody Loves My Baby
Elmer Chambers, Howard Scott (tp), Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (cl, as, arr), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d)
When Henderson finally got around to recording Everybody Loves My Baby, he might have spotlighted Armstrong on it because of his success at Roseland. After the spooky introduction, Armstrong plays about eight bars of melody before he growls and breaks into the descending motif he played on the Clarence Williams record.
After the reeds take the bridge, Armstrong closes out the chorus with some righteous blowing, obviously feeling very comfortable after a few weeks of playing the song. In fact, the written passage for the trumpet section to take on the bridge sounds very stiff compared to Armstrong’s natural phrasing. Dixon’s banjo gets a rare moment in the spotlight and Green takes a bridge with “Charleston” backing before the band finally swings out in the last eight.
Bessie Smith
The St. Louis Blues
Louis Armstrong (cor), Fred Longshaw (har, p), Bessie Smith (vcl).
Louis Armstrong and Bessie Smith only get through W.C. Handy’s multi-strained composition—consisting of two 12-bar choruses, a 16-bar minor-keyed “habanera” section and one more 12-bar chorus—a single time in 3 minutes and 13 seconds. This is sad music, deep music, emotional music.
Bessie Smith is a force of nature, slowly and steadily building throughout—but Armstrong is with her every step of the way. He doesn’t solo, but calling what he plays an “obligato” seems unfair; it’s really a duet. Unlike his cautious playing behind Ma Rainey or his constant arabesques behind Maggie Jones, Armstrong comes into his own here and really listens, maintaining Smith’s mood and responding to her every move with just the right tone of commentary.
Red Onion Jazz Babies
Cake Walking Babies
Louis Armstrong (cor), Charlie Irvis (tb), Sidney Bechet (ss), Lil Armstrong (p), Buddy Christian (bjo), Alberta Hunter (as Josephine Beatty), Clarence Todd (vcl).
The Red Onion Jazz Babies tear into the piece as if they had been playing it for years. All three horns harmonize on the first three notes of the melody before going for themselves, Bechet in florid form from the outset. Armstrong mostly sticks to playing lead, but when he repeats two notes a few times, the lightning-fast Bechet hears it and repeats the same two notes a second later. After a full chorus, the horns play the verse, helping to push the total to one full minute of unadulterated blowing at perhaps the fastest tempo we’ve heard to this point on Armstrong’s New York recordings. They were only getting warmed up.
Finally, Armstrong plays a funky growl to announce his arrival and the main event is on!
Thrilling Music. State of the Art Restoration.
Comprehensive Written Appreciation.
Stunning Full Page Photographs.
Packaging
The 8″ x 11 1/2″ book is packaged in the standard 12″ × 12″ Mosaic Records box and rests securely on a custom-cut foam platform designed to keep it in place during shipping and handling.
Limited Edition: 2500
(#286 – 6 CDs)
This set is strictly limited in its release and will someday be unavailable. We strongly urge you to reserve your set today!
The Complete Louis Armstrong In New York 1924-1925
Track Listing & Discography
__________________________________________________________________
DISC I
FLETCHER HENDERSON
1. Manda (A) 3:13
(E. Blake-N. Sissle)
2. Go ‘Long Mule (A) 3:04
(H. Creamer-R. King)
3. Tell Me Dreamy Eyes (B) 3:04
(Kahn-Spitalny-Gordon)
4. My Rose Marie (B) 2:46
(DeSylva-Henderson-King)
5. Don’t Forget You’ll Regret Day By Day (B) 3:10
(Edgar Dowell)
6. Shanghai Shuffle (B) 3:15
(L. Conley-G. Rodemich) MA RAINEY
7. See See Blues (C) 3:08
(M. Rainey-L. Arant)
8. See See Rider Blues (C) 3:06
(M. Rainey-L. Arant)
9. Jelly Bean Blues (C) 3:07
(M. Rainey-L. Arant)
10. Countin’ The Blues (-2) (C) 3:09
(M. Rainey)
11. Countin’ The Blues (-3) (C) 3:09
(Ma Rainey)
CLARENCE WILLIAMS’ BLUE FIVE / VIRGINIA LISTON acc. By CLARENCE WILLIAMS’ BLUE FIVE
12. Texas Moaner Blues (D) 3:12
(C. Williams-F. Barnes)
13. Early In The Morning (D) 2:58
(B. Higgins-W.B. Overstreet)
14. You’ve Got The Right Key, But The Wrong Keyhole (D) 3:16
(Green-Jones-Williams)
FLETCHER HENDERSON
15. Words (mtx. 13925) (E) 2:59
(Dubin-Tucker-Spencer)
16. Words (mtx. 13926) (E) 2:59
(Dubin-Tucker-Spencer)
17. Copenhagen (mtx. 13928) (E) 2:56
(C. Davis-W. Melrose)
18. Copenhagen (mtx. 13929) (E) 2:53
(C. Davis-W. Melrose)
CLARENCE WILLIAMS’ BLUE FIVE
19. Of All The Wrongs You Done To Me (F) 2:52
(Payton-Smith-Dowell)
20. Everybody Loves My Baby (But My Baby Don’t Love Nobody But Me (F) 2:33
(J. Palmer-S. Williams)
JOSEPHINE BEATTY acc. by RED ONION JAZZ BABIES
21. Everybody Loves My Baby (G) 2:40
(J. Palmer-S. Williams)
DISC II
FLETCHER HENDERSON
1. Shanghai Shuffle (H) 2:47
(L. Conley-G. Rodemich)
2. Naughty Man (mtx. 13953) (H) 3:14
(D. Redman-C. Dixon)
JOSEPHINE BEATTY acc. by RED ONION JAZZ BABIES / RED ONION JAZZ BABIES
3. Texas Moaner Blues (I) 2:59
(C. Williams-F. Barnes)
4. Of All The Wrongs You’ve Done To Me (I) 2:41
(Payton-Smith-Dowell)
FLETCHER HENDERSON
5. One Of These Days (with extra notes by Armstrong at end) (J) 2:54
(D.A. Hoffman)
6. My Dream Man (-1) (J) 2:58
(Fanny Dale)
7. My Dream Man (-2) (J) 2:56
(Fanny Dale)
8. The Meanest Kind Of Blues (K) 3:02
(Louis Katzman)
9. Naughty Man (matrix 140139) (K) 2:56
(D. Redman-C. Dixon)
10. How Come You Do Me Like You Do (-1) (L) 3:05
(G. Austin-R. Bergere)
11. How Come You Do Me Like You Do (-2) (L) 3:00
(G. Austin-R. Bergere)
12. How Come You Do Me Like You Do (-3) (L) 2:50
(G. Austin-R. Bergere)
13. Araby (L) 3:14
(?. Edwards)
14. Everybody Loves My Baby (-1) (M) 2:58
(J. Palmer-S. Williams)
15. Everybody Loves My Baby (-3) (M) 3:04
(J. Palmer-S. Williams)
16. Naughty Man (matrix 5749-2) (-2) (M) 2:40
(D. Redman-C. Dixon)
17. Naughty Man (matrix 5749-3) (-3) (M) 2:37
(D. Redman-C. Dixon)
MARGARET JOHNSON acc. by CLARENCE WILLIAMS’ BLUE FIVE
18. Papa, Mama’s All Alone Blues (N) 2:34
(Billy Higgins)
19. Changeable Daddy Of Mine (N) 2:44
(S. Wooding-B. Schafer)
DISC III
RED ONION JAZZ BABIES
1. Terrible Blues (O) 2:45
(Clarence Williams)
2. Santa Claus Blues (O) 2:39
(G. Kahn-C. Straight)
SIPPIE WALLACE acc. by CLARENCE WILLIAMS’ BLUE FIVE
3. Baby, I Can’t Use You No More (P) 2:58
(M. Wallace-S. Wallace)
4. Trouble Everywhere I Roam (P) 2:52
(H. Thomas-S. Wallace)
FLETCHER HENDERSON
5. Prince Of Wails (-1) (Q) 3:02
(Elmer Schoebel)
6. Prince Of Wails (-2) (Q) 3:00
(Elmer Schoebel)
7. Prince Of Wails (-3) (Q) 3:01
(Elmer Schoebel)
8. Mandy Make Up Your Mind (-1) (Q) 3:02
(Clarke-Johnston-Meyer-Turk)
9. Mandy Make Up Your Mind (-2) (Q) 2:59
(Clarke-Johnston-Meyer-Turk)
MAGGIE JONES
10. Poor House Blues (R) 3:02
(Clarence Williams)
11. Anybody Here Want To Try My Cabbage (S) 3:16
(Waller-Razaf-Dowell)
12. Thunderstorm Blues (S) 2:58
(S. Williams-A. Ray)
13. If I Lose, Let Me Lose (Mama Don’t Mind) (T) 3:17
(Tom Delaney)
14. Screamin’ The Blues (T) 3:13
(M. Jones-F. Henderson)
15. Good Time Flat Blues (T) 3:10
(Spencer Williams)
CLARENCE WILLIAMS’ BLUE FIVE
16. Mandy, Make Up Your Mind (U) 3:07
(Clarke-Johnston-Meyer-Turk)
17. I’m A Little Blackbird Looking For A Bluebird (U) 3:16
(Clarke-Johnston-Meyer-Turk)
JOSEPHINE BEATTY acc. by RED ONION JAZZ BABIES / RED ONION JAZZ BABIES
18. Nobody Knows The Way I Feel Dis Mornin’ (V) 2:45
(T. Delaney-P. Delaney)
19. Early Every Morn (V) 2:49
(B. Higgins-W.B. Overstreet)
20. Cake Walking Babies (From Home) (V) 3:05
(Smith-Troy-Williams)
CLARA SMITH
21. Nobody Knows The Way I Feel Dis Mornin’ (W) 3:07
(T. Delaney-P. Delaney)
22. Broken Busted Blues (W) 3:15
(Edgar Dowell)
CLARENCE WILLIAMS’ BLUE FIVE / EVA TAYLOR acc. by CLARENCE WILLIAMS’ BLUE FIVE
23. Cake Walking Babies From Home (X) 2:59
(Smith-Troy-Williams)
24. Pickin’ On Your Baby (X) 3:19 (P. Reynolds-B. James)
DISC IV
BESSIE SMITH
1. The St. Louis Blues (Y) 3:05
(W.C. Handy)
2. Reckless Blues (Y) 2:57
(J. Gee-F. Longshaw)
3. Sobbin’ Hearted Blues (Y) 2:58
(Bradford-Layer-Davis)
4. Cold In Hand Blues (Y) 3:10
(J. Gee-F. Longshaw)
5. You’ve Been A Good Ole Wagon (Y) 3:23
(Smith-Henry-Balcomb)
FLETCHER HENDERSON
6. I’ll See You In My Dreams (-1) (Z) 2:51
(I. Jones-G. Kahn)
7. Why Couldn’t It Be Poor Little Me? (-2) (Z) 2:58
(G. Kahn-I. Jones)
8. I’ll See You In My Dreams (-5) (AA) 2:58
(I. Jones-G. Kahn)
9. I’ll See You In My Dreams (-6) (AA) 2:58
(I. Jones-G. Kahn)
10. Why Couldn’t It Be Poor Little Me? (-4) (AA) 2:55
(G. Kahn-I. Jones)
11. Why Couldn’t It Be Poor Little Me? (-5) (AA) 2:56
(G. Kahn-I. Jones)
12. Why Couldn’t It Be Poor Little Me? (-6) (AA) 2:53
(G. Kahn-I. Jones)
13. Bye And Bye (BB) 2:59
(Nelson-Pease-Vincent)
14. Play Me Slow (-2) (BB) 3:05
(C. O’Flynn-M. Hagen)
15. Play Me Slow (-3) (BB) 3:10
(C. O’Flynn-M. Hagen)
16. Alabamy Bound (-2) (CC) 3:07
(DeSylva-Green-Henderson)
17. Alabamy Bound (-3) (CC) 3:07
(DeSylva-Green-Henderson)
18. Alabamy Bound (-4) (CC) 3:04
(DeSylva-Green-Henderson)
19. Swanee Butterfly (-1) (CC) 3:10
(B. Rose-W. Donaldson)
20. Swanee Butterfly (-2) (CC) 3:06
(B. Rose-W. Donaldson)
21. Swanee Butterfly (-3) (CC) 3:06
(B. Rose-W. Donaldson)
22. Poplar Street Blues (DD) 3:02
(W. Mont-A. Short)
23. 12th Street Blues (DD) 2:58
(Billy Heagney)
24. Me Neenyah (DD) 2:56
(F. Brown-H. Spencer)
DISC V
TRIXIE SMITH AND HER DOWN HOME SYNCOPATORS
1. You’ve Got To Beat Me To Keep Me (EE) 3:04
(Porter Grainger)
2. Mining Camp Blues (-1) (EE) 3:03
(Trixie Smith)
3. Mining Camp Blues (-2) (EE) 3:03
(Trixie Smith)
EVA TAYLOR acc. by CLARENCE WILLIAMS’ BLUE FIVE / CLARENCE WILLIAMS’ BLUE FIVE
4. Cast Away (FF) 2:56
(Brown-Easton-Stewart)
5. Papa De-Da-Da (FF) 3:03
(C. Williams-C. Todd)
TRIXIE SMITH
6. The World’s Jazz Crazy And So Am I (-1) (GG) 3:01
(Trixie Smith)
7. The World’s Jazz Crazy And So Am I (-2) (GG) 2:59
(Trixie Smith)
8. Railroad Blues (-1) (GG) 2:58
(Trixie Smith)
9. Railroad Blues (-2) (GG) 2:55
(Trixie Smith) CLARA SMITH
10. Shipwrecked Blues (HH) 3:14
(Spencer Williams)
11. Court House Blues (-1) (HH) 3:16
(Clara Smith)
12. Court House Blues (-2) (HH) 2:57
(Clara Smith)
13. My John Blues (HH) 3:09
(Edgar Dowell)
FLETCHER HENDERSON
14. Memphis Bound (II) 2:58 (F. Banta-P. DeRose)
15. When You Do What You Do (II) 3:01
(M. Parish-G. Johnson)
16. I’ll Take Her Back If She Wants To Come Back (JJ) 3:06
(E. Leslie-J. Monaco)
17. Money Blues (-1) (JJ) 3:00
(Leader-Coleman-Eller)
18. Money Blues (-2) (JJ) 2:58
(Leader-Coleman-Eller)
BESSIE SMITH
19. Nashville Women’s Blues (-2) (KK) 3:40
(Fred Longshaw)
20. Nashville Women’s Blues (-3) (KK) 3:10
(Fred Longshaw)
21. Careless Love Blues (-1) (KK) 3:26
(W. C. Handy)
22. Careless Love Blues (-2) (KK) 3:26
(W. C. Handy)
23. J.C. Holmes Blues (LL) 3:08
(Gus Horsley)
24. I Ain’t Goin’ To Play Second Fiddle (LL) 3:24
(Perry Bradford)
DISC VI
FLETCHER HENDERSON
1. Sugar Foot Stomp (MM) 2:47 (K. Oliver-L. Armstrong)
2. What-Cha-Call-Em Blues (MM) 2:51
(J. Russell Robinson)
THE SOUTHERN SERENADERS
3. I Miss My Swiss (NN) 3:02
(A. Baer – W. Gilbert)
4. Alone At Last (NN) 3:11 (G. Kahn-T. Fiorito)
COOT GRANT AND “KID” WESLEY WILSON WITH FLETCHER HENDERSON’S ORCHESTRA
5. You Dirty Mistreater (OO) 2:55
(Wesley Wilson)
6. Come On, Coot Do That Thing (OO) 2:54
(Leola Grant)
7. Have Your Chill, I’ll Be Here When Your Fever Rises (OO) 2:55
(Wesley Wilson)
8. Find Me At The Greasy Spoon (If You Miss Me Here) (-1) (OO) 2:55
(L. Grant-W. Wilson)
9. Find Me At The Greasy Spoon (If You Miss Me Here) (-2) (OO) 3:00
(L. Grant-W. Wilson)
COOT GRANT
10. Speak Now Or Hereafter Hold Your Peace (PP) 2:59
(Wesley Wilson)
11. When Your Man Is Going To Put You Down (You Never Can Tell) (PP) 2:59
(Leola Grant)
CLARENCE WILLIAMS’ BLUE FIVE
12. Just Wait ‘Til You See My Baby Do The Charleston (QQ) 2:48
(Simmons-Todd-Williams)
13. Livin High (Sometimes) (QQ) 2:32
(M. Pinkard-E. Pinkard)
14. Coal Cart Blues (RR) 2:53
(Lillian Hardin Armstrong-Louis Armstrong-C. Williams)
15. Santa Claus Blues (matrix 73-695-B) (RR) 2:39
(G. Kahn-C. Straight)
CLARENCE WILLIAMS’ TRIO
16. Santa Claus Blues (matrix 73-721-a) (SS) 3:22
(G. Kahn-C. Straight)
FLETCHER HENDERSON
17. TNT (TT) 2:51
(Elmer Schoebel)
18. Carolina Stomp (TT) 3:13 (R. Bloom-B. Costello)
CLARENCE WILLIAMS’ BLUE FIVE / EVA TAYLOR ACCOMP. BY CLARENCE WILLIAMS’ BLUE FIVE
19. Squeeze Me (UU) 3:06
(C. Williams-F. Waller)
20. You Can’t Shush Katie (The Gabbiest Girl In Town) (UU) 3:06
(White-Creamer-Warren)
PERRY BRADFORD’S JAZZ PHOOLS
21. Lucy Long (VV) 2:47
(Perry Bradford)
22. I Ain’t Gonna Play No Second Fiddle (VV) 2:37 (Perry Bradford)
Discography
For the purposes of this discography, only the first release of each matrix is listed. An exception being those sessions where two or more labels are shown as they were issued contemporaneously. To the best of our knowledge the sessions are in the order they were recorded. All issues shown are the original 78 rpm releases. The vision of this set is to present all Louis Armstrong recordings, whether he solos or not, during the time he was in New York in 1924 and 1925.
The following reference materials used for this discography came from All Of Me – The Complete Discography Of Louis Armstrong by Jos Willems (Scarecrow Press); American Record Companies And Producers 1888-1950 by Allan Sutton (Mainstream Press); The American Record Label Book by Brian Rust (Ca Capo Press); Hendersonia by Walter C. Allen (self published); The Jazz Discography by Tom Lord (Lord Music Reference, Inc.); and research from the producers.
Label abbreviations: Ban for Banner; Col for Columbia; Dom for Domino; Em for Emerson; Ge for Gennett; Har for Harmony; Harm for Harmograph; OK for OKeh; Or for Oriole; Pm for Paramount; PA for Pathè Actuelle; Per for Perfect; Pur for Puritan; Re for Regal; Sil for Silvertone; Tri for Triangle; Voc for Vocalion.
Country abbreviation: (Can) for Canada.
Instrument abbreviations: (as) alto sax, (arr) arranger, (bjo) banjo, (cl) clarinet, (C-mel) C-melody sax, (cor) cornet, (d) drums, (har) harmonium, (perc) percussion, (p) piano, (ss) soprano sax, (ts) tenor sax, (tb) trombone, (tp) trumpet, (tu) tuba, (uke) ukelele, (vcl) vocal.
______________________________________________________________________________
(A) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (tp),
Louis Armstrong (cor), Charlie Green (tb), Don Redman (cl, as, arr), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
October 7, 1924
140092-1, -2 Manda unissued, master no longer exists
140092-3 Manda Col 228-D
140093-1 Go ‘Long, Mule (DR-arr) unissued, master no longer exists 140093-2 Go ‘Long, Mule (DR-arr) Col 228-D
140093-3 Go ‘Long, Mule (DR-arr) unissued, master no longer exists
140093-4 Go ‘Long, Mule (DR-arr) –
Note: Some discographies and LP liner notes list matrix 140093-3 as being issued but no evidence of its release has come to light.
MANDA is a stock arrangement by Walter Paul and re-worked by an unidentified arranger. GO ‘LONG MULE is a stock arrangement by Mornay Helm and re-worked by Don Redman.
______________________________________________________________________________
(B) FLETCHER HENDERSON AND HIS ORCHESTRA: Same as (A) except add Buster Bailey (cl, as) and oboe to Don Redman.
Pathè Studios 150 E. 53rd St., NYC
c. October 10-13, 1924
105604-1 Tell Me Dreamy Eyes PA 036157, Per 14338 105605-1 My Rose Marie PA 036156, Per 14337
105606-2 Don’t Forget You’ll
Regret Day By Day PA 036266, Per 14447
105607-1 Shanghai Shuffle (DR-arr) PA 036157, Per 14338
Note: TELL ME DREAMY EYES is a stock arrangement by Fred K. Huffer and MY ROSE MARIE from a stock arrangement by Louis Katzman. Both were re-worked by an unidentified arranger. SHANGHAI SHUFFLE is a stock arrangement by Clarence E. Wheeler which was re-worked by Don Redman.
______________________________________________________________________________
(C) MA RAINEY ACC. BY HER GEORGIA JAZZ BAND: Louis Armstrong (cor), Charlie Green
(tb), Buster Bailey (cl), Fletcher Henderson (p), Charlie Dixon (bjo), poss. Kaiser Marshall (perc.), Ma Rainey (vcl).
New York Recording Laboratory 1140 Broadway, NYC c. October 16, 1924
1925-1 See See Blues (MR-vcl) Pm 12252
1925-2 See See Rider Blues (MR-vcl) –
1926-1 Jelly Bean Blues (MR-vcl) unissued, master no longer exists
1926-2 Jelly Bean Blues (MR-vcl) Pm 12238
1927-1 Countin’ The Blues (MR-vcl) unissued, master no longer exists
1927-2 Countin’ The Blues (MR-vcl) Pm 12238
1928-3 Countin’ The Blues (MR-vcl) –
Note: Initial pressings of Paramount 12252 carry the title SEE SEE BLUES. Later issues have SEE SEE
RIDER BLUES.
______________________________________________________________________________
(D) CLARENCE WILLIAMS’ BLUE FIVE -1 / VIRGINIA LISTON -2: Louis Armstrong (cor),
Charlie Irvis (tb), Sidney Bechet (cl, ss), Clarence Williams (p), Buddy Christian (bjo), Virginia Liston (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
October 17, 1924
S-72-914-B Texas Moaner Blues -1 OK 8171 S-72-915-B Early In The Morning (VL-vcl) -2 OK 8187
S-72-916-B You’ve Got The Right Key, But The
Wrong Keyhole (VL-vcl) -2 OK 8173
______________________________________________________________________________
(E) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (tp),
Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (cl, as, arr), Coleman
Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Vocalion Studios
53 W. 43rd St, NYC
October 30, 1924
13924 Words unissued, master no longer exists
13925 Words Voc 14926 13926 Words –
13927 Copenhagen (DR-arr) unissued, master no longer exists
13928 Copenhagen (DR-arr) Voc 14926 13929 Copenhagen (DR-arr) –
Note: WORDS is a stock arrangement by Clarence E. Wheeler and re-worked by an unidentified arranger.
______________________________________________________________________________
(F) CLARENCE WILLIAMS’ BLUE FIVE: Louis Armstrong (cor), Aaron Thompson (tb), Buster Bailey (ss), Clarence Williams (p), Buddy Christian (bjo), Eva Taylor (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
November 6, 1924
S-72-958-B Of All The Wrongs You Done To Me (ET-vcl) OK 8181 S-72-959-B Everybody Loves My Baby (But My
Baby Don’t Love Nobody But Me) (ET-vcl) –
______________________________________________________________________________
(G) JOSEPHINE BEATTY acc. by RED ONION JAZZ BABIES: Louis Armstrong (cor), Aaron Thompson (tb), Buster Bailey (ss), Lil Armstrong (p), Buddy Christian (bjo), Alberta Hunter (as Josephine Beatty) (vcl).
Starr Piano Co. Studios 9 E. 37th St., NYC prob. November 6, 1924
9167 Everybody Loves My Baby (AH-vcl) Ge 5594
______________________________________________________________________________
(H) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (tp),
Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (cl, as, arr), Coleman
Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Vocalion Studios
53 W. 43rd St, NYC
November 7, 1924
13949 Shanghai Shuffle (DR-arr) unissued, master no longer exists 13950 Shanghai Shuffle (DR-arr) -1 Voc 14935
13951 Shanghai Shuffle (DR-arr) unissued, master no longer exists
13952 Naughty Man (DR-arr) 13953 Naughty Man (DR-arr) Voc 14935
13954 Naughty Man (DR-arr) unissued, master no longer exists
-1 vocal break by Don Redman.
Note: Some LP re-issues of NAUGHTY MAN state that matrix 13952 was used for the transfer, but they sound the same as the issued Vocalion 14935.
SHANGHAI SHUFFLE contains some sections of a stock arrangement by Clarence E. Wheeler, however, it is mostly a Redman chart.
______________________________________________________________________________
(I) JOSEPHINE BEATTY acc. by RED ONION JAZZ BABIES -1 / RED ONION JAZZ BABIES
-2: Same as (G).
Starr Piano Co. Studios
9 E. 37th St., NYC November 8, 1924
9176-a Texas Moaner Blues (AH-vcl) -1 Ge 5594 9177 Of All The Wrongs You’ve Done To Me -2 Ge 5627
Note: Discographies list this session as possibly from November 8, 1924. However, the original Gennett file cards, housed at the Institute of Jazz Studies, confirm this is the correct recording date.
______________________________________________________________________________
(J) FLETCHER HENDERSON’S ORCHESTRA: Elmer Chambers, Howard Scott (tp), Louis
Armstrong (cor), Charlie Green (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Independent Recording Laboratory Studios
55 W. 16th St., NYC
c. November 10 or 11, 1924
5712-1 One Of These Days Ban 1457, Dom 426, Or 245, Or 374,
Re 9753
5713-1 My Dream Man Ban 1475, Dom 430, Or 290, Re 9767 5713-2 My Dream Man Or 290, Re 9767
Note: Banner and Regal issues as Fletcher Henderson’s Orchestra; Domino as Club Alabam’ Orchestra. Matrix 5712 was issued on two different Oriole releases: Oriole 245 (as Sam Hill And His Orchestra) and Oriole 374 (as Sam Hill & His Orchestra).
The Domino release of ONE OF THESE DAYS ends with three extra notes by Armstrong at the end of the recording!
______________________________________________________________________________
(K) FLETCHER HENDERSON AND HIS ORCHESTRA: Same as (J) except add arranger credit to Don Redman and Coleman Hawkins may play C-melody in addition to tenor.
Columbia Phonograph Co. Studios 1819 Broadway, NYC
November 14, 1924
140138-1, -2, -3 The Meanest Kind Of Blues unissued, master no longer exists
140138-4 The Meanest Kind Of Blues Col 249-D
140139-1. -2 Naughty Man (DR-arr) unissued, master no longer exists
140139-3 Naughty Man (DR-arr) Col 249-D
______________________________________________________________________________
(L) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (tp),
Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (cl, as, arr), Coleman
Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Independent Recording Laboratory Studios
55 W. 16th St., NYC
c. November 17-22, 1924
5728-1 How Come You Do
Me Like You Do (DR-arr) Ban 1445, Dom 415, Or 304, Re 9739 5728-2 How Come You Do
Me Like You Do (DR-arr) Dom 415, Or 304, Re 9739 5728-3 How Come You Do
Me Like You Do (DR-arr) Re 9739
5731-1 Araby Ban 1470, Dom 3441, Or 303, Re 9775
Note: Banner and Regal issues as Fletcher Henderson and his Orchestra; Domino 415 as Club Alabam’ Orchestra; Domino 3441 as Roseland Dance Orchestra; and Oriole issues as Sam Hill and his Orchestra. The existence of a -2 on Oriole 303 of ARABY was reported in Walter C. Allen’s discography of Fletcher Henderson (Hendersonia). However, only one take has been located.
Later pressings of Domino 3441 and Regal 9775 replace ARABY with TAKE ME BACK IN YOUR HEART, recorded on November 13, 1925 by the Wigwam Dance Orchestra (a pseudonym for Lou Gold and his Orchestra).
Matrices 5729 and 5730 were recorded by the Hawaiian guitar duo of Drake and Lee. It has been confirmed that HOW COME YOU DO ME LIKE YOU DO is not a stock arrangement by Will Vodery, contrary to it being listed as such in Hendersonia.
______________________________________________________________________________
(M) FLETCHER HENDERSON AND HIS ORCHESTRA: Same as (L).
Independent Recording Laboratory Studios
55 W. 16th St., NYC
c. November 22-25, 1924
5748-1 Everybody Loves My Baby (DR-arr) -1 Ajax 17109, Dom 3444
5748-2 Everybody Loves My Baby (DR-arr) unissued, master no longer exists
5748-3 Everybody Loves My Baby (DR-arr) Ban 1471, Dom 3444, Or 303,
Re 9774
5749-1 Naughty Man (DR-arr) unissued, master no longer exists
5749-2 Naughty Man (DR-arr) Or 437
5749-3 Naughty Man (DR-arr) –
-1 vocal breaks by Louis Armstrong.
Note: Banner, Regal and Ajax releases as Fletcher Henderson and his Orchestra; Domino 3444 as Hal
White’s Syncopators and Oriole releases as Sam Hill and his Orchestra.
It has been confirmed that EVERYBODY LOVES MY BABY is not a stock arrangement by Louis Katzman, contrary to it being listed as such in Hendersonia.
______________________________________________________________________________
(N) MARGARET JOHNSON: Louis Armstrong (cor), Aaron Thompson (tb), Clarence Williams (p), Buddy Christian (bjo), Margaret Johnson (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
November 25, 1924
72996-a Papa, Mama’s All Alone Blues (MJ-vcl) OK 8185
72997-a Changeable Daddy Of Mine (MJ-vcl) –
______________________________________________________________________________
(O) RED ONION JAZZ BABIES: Louis Armstrong (cor), Aaron Thompson (tb, arr), Buster Bailey (cl), Lil Armstrong (p), Buddy Christian (bjo).
Starr Piano Co. Studios
9 E. 37th St., NYC
November 26, 1924
9206 Terrible Blues Ge 5607
9207 Santa Claus Blues (AT-arr) –
______________________________________________________________________________
(P) SIPPIE WALLACE: Louis Armstrong (cor), Aaron Thompson (tb), poss. Sidney Bechet (ss), Clarence Williams (p), Buddy Christian (bjo), Sippie Wallace (vcl).
OKeh Studios
25 W. 45th St., NYC
November 28, 1924
73007-B Baby, I Can’t Use You No More (SW-vcl) OK 8212
73008-B Trouble Everywhere I Roam (SW-vcl) –
______________________________________________________________________________
(Q) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (tp),
Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, ss, as), Don Redman (cl, as), Coleman
Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
New York Recording Laboratories Studio
1140 Broadway, NYC
c. early December 1924
1973-1 Prince Of Wails Pur 11367
1973-2 Prince Of Wails Pur 11367, Pm 20367, Ban 1490,
Dom 3456, Re 9788
1973-3 Prince Of Wails Pur 11367, Tri 11455
1974-1 Mandy Make Up Your Mind Pur 11367
1974-2 Mandy Make Up Your Mind Pur 11367, Pm 20367
Note: Puritan, Paramount and Triangle releases as Fletcher Henderson and his Orchestra; Banner and Regal releases as Henri Gendron and his Strand Roof Orchestra; Domino as Strand Roof Orchestra.
Band leader Sam Lanin recorded three titles for Banner, Regal and Domino on February 13, 1925 under the pseudonym Henri Gendron and his Strand Roof Orchestra. One of the titles released was PRINCE OF WAILS with the matrix 5833-4 but using the Henderson matrix 1973-2 shown above.
PRINCE OF WAILS is a stock arrangement by Elmer Schoebel and re-worked by an unidentified arranger.
______________________________________________________________________________
(R) MAGGIE JONES: Louis Armstrong (cor), Fletcher Henderson (p), Maggie Jones (vcl).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
December 9, 1924
140171-1 Poor House Blues (MJ-vcl) unissued, master no longer exists 140171-2 Poor House Blues (MJ-vcl) Col 14050-D
140171-3 Poor House Blues (MJ-vcl) unissued, master no longer exists
Note: Matrix 140170 was assigned to Bessie Smith and recorded on December 12, 1924. It is not determined why this matrix is out of chronological order.
______________________________________________________________________________
(S) MAGGIE JONES: Same as (R).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
December 10, 1924
140174-1 Anybody Here Want To Try My Cabbage (MJ-vcl) unissued, master no longer exists 140174-2 Anybody Here Want To Try My Cabbage (MJ-vcl) Col 14063-D
140175-1 Thunderstorm Blues (MJ-vcl) unissued, master no longer exists
140175-2 Thunderstorm Blues (MJ-vcl) -1 Col 14050-D
-1 thunder effects by unidentified.
Note: Matrices 140172 and 140173 were assigned to The Columbians Dance Orchestra Deluxe and recorded on December 10, 1924. Matrix 140176 was assigned to Bessie Smith and recorded on December 13, 1924.
______________________________________________________________________________
(T) MAGGIE JONES: Same as (R).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
December 17, 1924
140187-1 If I Lose, Let Me Lose
(Mama Don’t Mind) (MJ-vcl) Col 14059-D
140187-2 If I Lose, Let Me Lose
(Mama Don’t Mind) (MJ-vcl) unissued, master no longer exists 140188-1 Screamin’ The Blues (MJ-vcl) Col 14055-D
140188-2 Screamin’ The Blues (MJ-vcl) unissued, master no longer exists
140191-1 Good Time Flat Blues (MJ-vcl) 140191-2 Good Time Flat Blues (MJ-vcl) Col 14055-D
Note: Matrices 140189 and 140190 are by Edith Wilson and her Jazz Hounds, recorded on the same day but with different personnel.
______________________________________________________________________________
(U) CLARENCE WILLIAMS’ BLUE FIVE: Louis Armstrong (cor), Charlie Irvis (tb), Sidney Bechet (ss, sarrusophone), Clarence Williams (p), Buddy Christian (bjo), Eva Taylor (vcl).
General Phonograph Corp. Studios 25 W. 45th St., NYC
December 17, 1924
S-73-026-B Mandy, Make Up Your Mind (ET-vcl) OK 40260
S-73-027-B I’m A Little Blackbird
Looking For A Bluebird (ET-vcl) –
______________________________________________________________________________
(V) JOSEPHINE BEATTY acc. by RED ONION JAZZ BABIES -1 / RED ONION JAZZ BABIES
-2: Louis Armstrong (cor), Charlie Irvis (tb), Sidney Bechet (ss), Lil Armstrong (p), Buddy Christian (bjo), Alberta Hunter (as Josephine Beatty), Clarence Todd (vcl).
Starr Piano Co. Studios
9 E. 37th St., NYC
December 23, 1924
9246 Nobody Knows The Way
I Feel Dis Mornin’ (AH-vcl) -1 Ge 5626
9247-a Early Every Morn (AH-vcl) -1 –
9248-a Cake Walking Babies
(From Home) (AH, CT-vcl) -2 Ge 5627
Note: Discographies list this session as from December 22, 1924. However, the original Gennett file cards, housed at the Institute of Jazz Studies, confirm this is the correct recording date.
______________________________________________________________________________
(W) CLARA SMITH: Louis Armstrong (cor), Charlie Green (tb), Fletcher Henderson (p), Clara Smith
(vcl).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
January 7, 1925
140226-1 Nobody Knows The
Way I Feel Dis Mornin’ (CS-vcl) Col 14058-D 140227-2 Broken Busted Blues (CS-vcl) Col 14062-D
Note: It’s possible that matrix 140227-1 exists as it was marked “2nd choice” in the Columbia files, however, no copy has yet to be discovered.
Some copies of Columbia 14058 have the label of NOBODY KNOWS THE WAY I FEEL DIS MORNIN’ on both sides of the record. (the reverse side is IF YOU ONLY KNOWED which does not include Armstrong).
______________________________________________________________________________
(X) CLARENCE WILLIAMS’ BLUE FIVE -1 / EVA TAYLOR -2: Louis Armstrong (cor), Charlie
Irvis (tb), Sidney Bechet (ss), Clarence Williams (p), Buddy Christian (bjo), Eva Taylor (vcl).
General Phonograph Corp. Studios 25. W. 45th St., NYC
January 8, 1925
S-73-083-A Cake Walking Babies From Home (ET-vcl) -1 OK 40321 S-73-084-B Pickin’ On Your Baby (ET-vcl) -2 OK 40330 ______________________________________________________________________________
(Y) BESSIE SMITH: Louis Armstrong (cor), Fred Longshaw (har, p), Bessie Smith (vcl).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
January 14, 1925
140241-1 The St. Louis Blues (BS-vcl) Col 14064-D
140241-2 The St. Louis Blues (BS-vcl) unissued, master no longer exists
140241-3 The St. Louis Blues (BS-vcl) 140242-1 Reckless Blues (BS-vcl) Col 14056-D
140242-2 Reckless Blues (BS-vcl) unnisued, master no longer exists
140249-1 Sobbin’ Hearted Blues (BS-vcl) 140249-2 Sobbin’ Hearted Blues (BS-vcl) Col 14056-D 140250-2 Cold In Hand Blues (BS-vcl) Col 14064-D 140251-1 You’ve Been A Good Ole Wagon (BS-vcl) Col 14079-D
140251-2 You’ve Been A Good Ole Wagon (BS-vcl) unissued, master no longer exists 140251-3 You’ve Been A Good Ole Wagon (BS-vcl) –
Note: Matrices 140243 thru 140246 are by preacher Calvin Dixon and 140247, 140248 are by drummer, vocalist and band leader Ollie Powers.
______________________________________________________________________________
FLETCHER HENDERSON’S ORCHESTRA: Unknown personnel possibly including Louis Armstrong and other members of the Henderson orchestra plus Trixie Smith (vcl).
New York Recording Laboratory 1140 Broadway, NYC c. mid-January 1925
1995-1, -2 Everybody Loves My Baby Paramount rejected
1996-1, -2 How Come You Do Me Like You Do –
Note: These two titles were originally recorded by a Henderson unit with labels prepared and scheduled for Paramount 12249. However, all issued pressings of this release were from a later remake possibly by the Original Memphis Five.
______________________________________________________________________________
(Z) FLETCHER HENDERSON’S ORCHESTRA: Elmer Chambers, Howard Scott (tp), Louis
Armstrong (cor), Charlie Green (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Independent Recording Laboratory Studios
55 W. 16th St., NYC mid-January 1925
5810-1 I’ll See You In My Dreams Ajax 17144, Ban 1470,
Dom 3445, Re 9775
5810-2, -3 I’ll See You In My Dreams unissued, master no longer exists
5811-1 Why Couldn’t It Be Poor Little Me? 5811-2 Why Couldn’t It Be Poor Little Me? Ajax 17123 5811-3 Why Couldn’t It Be Poor Little Me? unissued, master no longer exists Note: Domino as Roseland Dance Orchestra.
WHY COULDN’T IT BE POOR LITTLE ME is a stock arrangement by William J.C. Lewis and re-worked by an unidentified arranger.
______________________________________________________________________________
(AA) FLETCHER HENDERSON’S ORCHESTRA: Same as (Z) except Buster Bailey or Don Redman plays bass clarinet and Coleman Hawkins add C-melody sax.
Independent Recording Laboratory Studios
55 W. 16th St., NYC late January 1925
5810-4 I’ll See You In My Dreams unissued, master no longer exists
5810-5 I’ll See You In My Dreams Dom 3445, Re 9775
5810-6 I’ll See You In My Dreams Ban 1470, Dom 3445,
Or 341, Re 9775
5811-4 Why Couldn’t It Be Poor Little Me? Ban 1476
5811-5 Why Couldn’t It Be Poor Little Me? Ban 1476, Or 348, Re 9770 5811-6 Why Couldn’t It Be Poor Little Me? – – –
Note: Banner and Regal releases as Fletcher Henderson’s Orchestra. Domino as Roseland Dance Orchestra; Oriole as Sam Hill and his Orchestra.
WHY COULDN’T IT BE POOR LITTLE ME is a stock arrangement by William J.C. Lewis and re-worked by an unidentified arranger.
______________________________________________________________________________
(BB) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Howard Scott (tp),
Louis Armstrong (cor), Charlie Green (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
January 23, 1925
140356-1 Bye And Bye unissued, master no longer exists
140356-2 Bye And Bye Col 292-D
140356-3 Bye And Bye unissued, master no longer exists
140357-1 Play Me Slow 140357-2 Play Me Slow Col 292-D
140357-3 Play Me Slow –
Note: BYE AND BYE is a stock arrangement by Arthur Lange and PLAY ME SLOW a stock arrangement by Al Moquin. Both were re-worked by an unidentified arranger.
______________________________________________________________________________
(CC) FLETCHER HENDERSON AND HIS ORCHESTRA: Same as (BB) except add arranger credit to Don Redman.
Independent Recording Laboratory Studios
55 W. 16th St., NYC
c. February 2-6, 1925
5835-1 Alabamy Bound (DR-arr) unissued, master no longer exists
5835-2 Alabamy Bound (DR-arr) -1 Ajax 17113, Dom 3458
5835-3 Alabamy Bound (DR-arr) -1 Ban 1488, Dom 3458, Or 347, Re 9789
5835-4 Alabamy Bound (DR-arr) Ajax 17113, Re 9789 5836-1 Swanee Butterfly Apex (Can) 8317
5836-2 Swanee Butterfly Ban 1508, Dom 3475, Em 10852,
Re 9803, Sil 2507
5836-3 Swanee Butterfly Ban 1508, Dom 3475, Or 365, Re 9803
-1 unidentified plays a train whistle.
Note: Domino as Club Alabam’ Orchestra; Oriole as Sam Hill and his Orchestra; Emerson as California Melody Syncopators. All other releases as Fletcher Henderson and his Orchestra.
ALABAMY BOUND is partially a stock arrangement by Arthur Lange which was re-worked by Don Redman. SWANEE BUTTERFLY is also a stock arrangement by Arthur Lange but re-worked by an unidentified arranger.
______________________________________________________________________________
(DD) F. HENDERSON AND ORCHESTRA: Elmer Chambers, Howard Scott (tp), Louis Armstrong
(cor), Charlie Green (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts, C-mel), Fletcher
Henderson (p), Charlie Dixon (bjo, uke), Ralph Escudero (tu), Kaiser Marshall (d).
Pathè Studios 150 E. 53rd St., NYC c. February 2-6, 1925
n-105829-1 Poplar Street Blues PA 036214, Per 14395 n-105830-1 12th Street Blues – –
n-105831-1 Me Neenyah PA 036213, Per 14394, Harm 890
Note: POPLAR STREET BLUES is a stock arrangement by Fred K. Huffer. 12TH STREET BLUES and ME NEENYAH are stock arrangements by Louis Katzman. All three arrangements were re-worked by an unidentified arranger.
______________________________________________________________________________
(EE) TRIXIE SMITH AND HER DOWN HOME SYNCOPATORS: Louis Armstrong (cor),
Charlie Green (tb), Buster Bailey (cl), Fletcher Henderson (p), Charlie Dixon (bjo), Trixie Smith (vcl).
New York Recording Laboratory 1140 Broadway, NYC mid-February 1925
2015-1 You’ve Got To Beat
Me To Keep Me (TS-vcl) unissued, master no longer exists
2015-2 You’ve Got To Beat
Me To Keep Me (TS-vcl) Pm 12256
2016-1 Mining Camp Blues (TS-vcl) –
2016-2 Mining Camp Blues (TS-vcl) –
Note: Some copies of Paramount 12256 are labeled as YOU’VE GOT TO BEAT ME TO KEEP ME on both sides of the record.
______________________________________________________________________________
FLETCHER HENDERSON AND HIS ORCHESTRA: Personnel same as (DD).
Brunswick Studio, NYC February 20, 1925
Brunswick/Vocalion session
3991/2w–400w–401w King Porter Stomp unissued, masters no longer exists 402w – 403w – 404w She’s My Sheba, I’m Her Sheik –
_____________________________________________________________________________
(FF) EVA TAYLOR acc. by CLARENCE WILLIAMS’ BLUE FIVE -1 / CLARENCE WILLIAMS’
BLUE FIVE -2: Louis Armstrong (cor), Charlie Irvis (tb), Buster Bailey, Don Redman (ss), Clarence Williams (p), Buddy Christian (bjo), Eva Taylor (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
March 4, 1925
S-73-204-a Cast Away (ET-vcl) -1 OK 40330 S-73-205-a Papa De-Da-Da (ET-vcl) -2 OK 8215
______________________________________________________________________________
(GG) TRIXIE SMITH: Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl), Fletcher Henderson (p), Charlie Dixon (bjo), Trixie Smith (vcl).
New York Recording Laboratory
1140 Broadway, NYC
101
c. March 16-28, 1925
2063-1 The World’s Jazz Crazy And So Am I (TS-vcl) Pm 12262
2063-2 The World’s Jazz Crazy And So Am I (TS-vcl) –
2064-1 Railroad Blues (TS-vcl) 2064-2 Railroad Blues (TS-vcl) –
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(HH) CLARA SMITH: Louis Armstrong (cor), Fletcher Henderson (p), Clara Smith (vcl).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
April 2, 1925
140491-1 Shipwrecked Blues (CS-vcl) Col 14077-D
140491-2 Shipwrecked Blues (CS-vcl) unissued, master no longer exists
140492-1 Court House Blues (CS-vcl) Col 14073-D 140492-2 Court House Blues (CS-vcl) 140493-1 My John Blues (CS-vcl) -1 Col 14077-D 140493-2 My John Blues (CS-vcl) -1 unissued, master no longer exists
-1 add Charlie Green (tb).
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(II) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Joe Smith (tp), Louis
Armstrong (cor), Charlie Green (tb), Buster Bailey, Don Redman (cl, as), Coleman Hawkins (cl, ts, bass sax), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Brunswick Studios
799 7th Ave, NYC
April 18, 1925
728 w Memphis Bound unissued, master no longer exists
729 w Memphis Bound Voc 15030
730 w When You Do What You Do unissued, master no longer exists
731 w When You Do What You Do –
732 w When You Do What You Do Voc 15030
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(JJ) FLETCHER HENDERSON AND HIS ORCHESTRA: Elmer Chambers, Joe Smith (tp), Louis
Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (as, ts), Coleman Hawkins (ts), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
May 19, 1925
W 140616-1 I’ll Take Her Back If She
Wants To Come Back Col 383-D
W 140616-2 I’ll Take Her Back If She
Wants To Come Back unissued, master no longer exists
W 140617-1 Money Blues Col 383-D W 140617-2 Money Blues –
W 140617-3 Money Blues unissued, master no longer exists
Note: MONEY BLUES is a stock arrangement by Carlton Colby and re-worked by an unidentified arranger.
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(KK) BESSIE SMITH: Louis Armstrong (cor), Charlie Green (tb), Fred Longshaw (p), Bessie Smith
(vcl).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
May 26, 1925
W 140625-1 Nashville Women’s Blues (BS-vcl) unissued, master no longer exists W 140625-2 Nashville Women’s Blues (BS-vcl) Col 14090-D W 140625-3 Nashville Women’s Blues (BS-vcl) W 140626-1 Careless Love Blues (BS-vcl) Col 14083-D W 140626-2 Careless Love Blues (BS-vcl) –
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(LL) BESSIE SMITH AND HER BAND -1 / BESSIE SMITH -2: Same as (KK).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
May 27, 1925
W 140629-1 J.C. Holmes Blues (BS-vcl) unissued, master no longer exists W 140629-2 J.C. Holmes Blues (BS-vcl) -1 Col 14095-D
W 140630-1 I Ain’t Goin’ To
Play Second Fiddle (BS-vcl) -2 Col 14090-D
W 140630-2 I Ain’t Goin’ To
Play Second Fiddle (BS-vcl) unissued, master no longer exists
Note: Matrices W 14029-1 and W 140630-2 were marked “2nd choice” so they may possibly exist on some pressings but as of this writing none have been found.
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(MM) FLETCHER HENDERSON & HIS ORCHESTRA: Same as (JJ) except Don Redman (cl, as) and Coleman Hawkins (cl, ts).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
May 29, 1925
W 140639-1 Sugar Foot Stomp (DR-arr) unissued, master no longer exists W 140639-2 Sugar Foot Stomp (DR-arr) -1 Col 395-D
W 140639-3 Sugar Foot Stomp (DR-arr) unissued, master no longer exists W 140640-1 What-Cha-Call-Em Blues (DR-arr) W 140640-2 What-Cha-Call-Em Blues (DR-arr) Col 395-D
W 140640-3 What-Cha-Call-Em Blues (DR-arr) unissued, master no longer exists -1 vocal breaks by Don Redman
WHAT-CHA-CALL-EM BLUES is a stock arrangement by Elmer Schoebel and was re-worked by Don Redman.
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FLETCHER HENDERSON AND HIS ORCHESTRA: Personnel probably as (MM).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
August 6, 1925
W 140812-1, -2, -3 Red Hot Henry Brown unissued, master, no longer exists
W 140813-1, -2, -3 Loud Speakin’ Papa –
103
Note: No personnel information exists in the Columbia files for this rejected session. However, both of these titles were re-recorded by Dick Johnson’s Charleston Chasers on August 28, 1925 and issued on Columbia 446-D.
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(NN) THE SOUTHERN SERENADERS: Louis Armstrong (cor), 2 unidentified (tp), Charlie Green, unidentified (tb), Buster Bailey (cl), 2 unidentified reeds, unidentified (p), unidentified (bjo), unidentified (tu), Kaiser Marshall (d), Billy Jones (vcl).
Columbia Phonograph Co. Studios 1819 Broadway, NYC
August 7, 1925
140819-2 I Miss My Swiss (BJ-vcl) Har 4-H 140820-2 Alone At Last Har 5-H
Note: I MISS MY SWISS is a stock arrangement by Frank Barry and ALONE AT LAST from a stock arrangement by Arthur Lange. Both were re-worked by an unidentified arranger.
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(OO) “COOT” GRANT AND “KID” WILSON WITH FLETCHER HENDERSON’S
ORCHESTRA -1 / COOT GRANT AND “KID” WESLEY WILSON WITH FLETCHER
HENDERSON’S ORCHESTRA -2 / “COOT” GRANT AND “KID” WESLEY WILSON WITH
FLETCHER HENDERSON’S ORCHESTRA -3: Louis Armstrong (cor), Charlie Green (tb), Buster
Bailey (cl), Fletcher Henderson (p), Charlie Dixon (bjo), Leola B. “Coot” Grant, Wesley “Kid” Wilson (vcl).
New York Recording Laboratory 1140 Broadway, NYC c. October 1925
2279-1 You Dirty Mistreater (CG, KW-vcl) -1 Pm 12324
2280-1 Come On, Coot Do
That Thing (CG, KW-vcl) unissued, master no longer exists
2280-2 Come On, Coot Do
That Thing (CG, KW-vcl) -2 Pm 12317
2281-1 Have Your Chill, I’ll Be Here When
Your Fever Rises (CG, KW-vcl) unissued, master no longer exists
2281-2 Have Your Chill, I’ll Be Here When
Your Fever Rises (CG, KW-vcl) -2 Pm 12317
2282-1 Find Me At The Greasy Spoon (If You
Miss Me Here) (CG, KW-vcl) -3 Pm 12337
2282-2 Find Me At The Greasy Spoon (If You
Miss Me Here) (CG, KW-vcl) -3 –
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(PP) COOT GRANT -1 / “COOT” GRANT -2: Louis Armstrong and / or Joe Smith (cor), Fletcher Henderson (p), Leola B. “Coot” Grant (vcl).
New York Recording Laboratory 1140 Broadway, NYC c. October 1925
2283-1 Speak Now Or Hereafter
Hold Your Peace (CG-vcl) -1 Pm 12324
2284-1 When Your Man Is Going To Put You Down
(You Never Can Tell) (CG-vcl) -2 Pm 12337
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(QQ) CLARENCE WILLIAMS’ BLUE FIVE: Louis Armstrong (cor), Charlie Irvis (tb), Buster Bailey (ss), Clarence Williams (p), Buddy Christian (bjo), Eva Taylor (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
October 6, 1925
73-686-B Just Wait ‘Til You See My Baby
Do The Charleston (ET-vcl) OK 8272
73-687-B Livin’ High (Sometimes) (ET-vcl) –
Note: It has also been suggested in some discographies that Charlie Green is the trombonist and that Don Redman is on reeds.
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PERRY BRADFORD’S JAZZ PHOOLS: poss. personnel: Louis Armstrong (cor), Charlie Green (tb), Buster Bailey (cl), Don Redman (as), James P. Johnson (p), Sam Speed or Charlie Dixon (bjo), Kaiser Marshall (d), Perry Bradford (vcl, cymbal).
Brunswick-Balke-Collender Co. Studios
799 7th Ave, NYC
October 7, 1925
1434, 1435, 1436 Lucy Long (PB-vcl) unissued, master no longer exists
1437, 1438, 1439 I Ain’t Gonna Play No Second Fiddle (PB-vcl) –
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(RR) CLARENCE WILLIAMS’ BLUE FIVE: Same as (QQ).
General Phonograph Corp. Studios
25 W. 45th St., NYC
October 8, 1925
73-694-B Coal Cart Blues (ET-vcl) OK 8245
73-695-B Santa Claus Blues (ET-vcl) –
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(SS) CLARENCE WILLIAMS’ TRIO: Louis Armstrong (cor), Clarence Williams (p, vcl). Buddy Christian (bjo), Eva Taylor, Clarence Todd (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
October 16, 1925
73-721-a Santa Claus Blues (CW, ET, CT-vcl) OK 8254
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(TT) FLETCHER HENDERSON & HIS ORCHESTRA: Elmer Chambers, Joe Smith (tp), Louis
Armstrong (cor), Charlie Green (tb), Buster Bailey (cl, as), Don Redman (cl, as, arr), Coleman Hawkins (cl, ts, bari), Fletcher Henderson (p), Charlie Dixon (bjo), Ralph Escudero (tu), Kaiser Marshall (d).
Columbia Phonograph Co. Studios 1819 Broadway, NYC October 21, 1925
W 141170-1 TNT (DR-arr) Col 509-D
W 141170-2 TNT (DR-arr) unissued, master no longer exists
W 141170-3 TNT (DR-arr)
W 141171-1 Carolina Stomp –
W 141171-2 Carolina Stomp –
W 141171-3 Carolina Stomp –
W 141171-4 Carolina Stomp Col 509-D
Note: TNT is a stock arrangement by Elmer Schoebel which was re-worked by Don Redman.
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(UU) CLARENCE WILLIAMS’ BLUE FIVE -1 / EVA TAYLOR CONTRALTO, ACCOMP. BY CLARENCE WILLIAMS’ BLUE FIVE -2: Louis Armstrong (cor), Charlie Green (tb), Don Redman (cl, as), Coleman Hawkins (ts), Clarence Williams (p), Buddy Christian (bjo), Eva Taylor (vcl).
General Phonograph Corp. Studios
25 W. 45th St., NYC
October 26, 1925
73-738-a Squeeze Me (ET-vcl) -1 OK 8254
73-739-B You Can’t Shush Katie (The
Gabbiest Girl In Town) (ET-vcl) -2 OK 8342
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(VV) PERRY BRADFORD’S JAZZ PHOOLS: Louis Armstrong (cor), prob. Charlie Green (tb),
Buster Bailey (cl), Don Redman (as), James P. Johnson (p), prob. Charlie Dixon (bjo), Perry Bradford (vcl, cymbal).
Brunswick-Balke-Collender Co. Studios
799 7th Ave, NYC
November 2, 1925
E 1580 w Lucy Long (PB-vcl) Voc 15165
E 1581 w Lucy Long (PB-vcl) unissued, master no longer exists
E 1582 w Lucy Long (PB-vcl) –
E 1583 w I Ain’t Gonna Play No Second Fiddle (PB-vcl) Voc 15165
E 1584 w I Ain’t Gonna Play No Second Fiddle (PB-vcl) unissued, master no longer exists
E 1585 w I Ain’t Gonna Play No Second Fiddle (PB-vcl) –
Note: Discographies have incorrectly listed a bass or tuba and drums to this session.
It’s not certain that the issued takes are E1580W and E1583W as widely reported. Copies of Vocalion 15165 show the lower half of what appears to be “1584” just above the stamped catalog number in the run-out area of “Second Fiddle,” and this is likely the true master number. According to researcher and collector Steven Lasker, re-issues of these titles for American Decca and British Vocalion had stamped the lowest master number allocated to each performance.
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Credits
Credit produced for release: Doug Benson, Ricky Riccardi, David Sager and Scott Wenzel.
Executive Producer: Fred Pustay and Scott Wenzel
78 transfers: Doug Benson, Mark Berresford, Colin Bray, the late John R T Davies, David Giovannoni, Brad Kay, Mike Kieffer, Steven Lasker, The Library of Congress, Matthew Rivera, John Tefteller and John Wilby.
Sound restoration and mastering: Doug Benson. 24 bit technology was utilized at all stages of the production of this Mosaic release by Doug Benson
Design production: Stacey Gindi Design Studio
Special Thanks: Vince Giordano (especially for arranger credits), The Institute of Jazz Studies, Steven Lasker, Vincent Pelote, Matt Snyder, The Manuscripts-Archives and Rare Books Division of the Schomburg Center for Research in Black Culture, The New York Public Library, David Seubert, The University of California at Santa Barbara and Jessica Wood.
78s provided: The collection of the late Marty Alexander, Doug Benson, Mark Berresford, Colin Bray, Sherwin Dunner, Emrah Erkin, David Giovannoni, Colin Hancock, The Hot Club of New York, The Institute of Jazz Studies, The Library of Historical Audio at i78s, Brad Kay, Mike Kieffer, Steven Lasker, The Library of Congress, The Louis Armstrong House Museum, the collection of the late Joel O’Sickey, Jim Prohaska, Matthew Rivera, David Sager, Russell Shor, John Tefteller, Scott Wenzel and John Wilby.
Sources: A listing of the sources used for this set is explained in Doug Benson’s essay on Page 23.
Anonymous –
This is the first time that these historically important tracks have been assembled in one collection and the first time many of them have been professionally transferred and restored — some like the classic Red Onion Jazz Babies had been transferred at the wrong speed and reissued that way and others were taken from word originals. This set corrects these problems and to 100 page book is the best of jazz scholarship. Russell Shor
Anonymous –
Fantastic news that this music is to receive the Mosaic Records treatment. I have placed my order with Mosaic Records’ recommended EU music retailer.
Don Mulder –
I would love to hear it. I was a big fan of Mosaic when they released vinyl. I don’t even own a cd player anymore. It’s streaming or vinyl for me.
Mosaic Lover –
Just when I thought a new Armstrong set would never happen, you surprise us with this exciting collection. I look forward to the many hours of listening to this music and reading the book! Thanks, Mosaic!
Paul Undersinger –
These sample tracks sound incredible. The description of the book and what it contains sounds great too. This is pretty exciting stuff indeed!
Barry Tayman –
Sounds great. Look forward to hearing the CDs.