The record changer (Jan-Dec 1944)

LEMME TAKE THIS CHORUS Sterling .Brown's "Farewell to Basin Street" is approximately onetwelfth of a chapter in his new book A Negro Looks at the South (Doubleday Doran). In the "Farewell" you may read many things you already know, but it is plain to see that if Sterling gives his readers a straight like this on New Orleans jazz, the rest of his book on the South must certainly be terrific. I hope you will ask for it in your local book store next spring. Between now and then we will endeavor to print other portions of the book. * * * The Columbia Recording Corporation has taken a step which may revolutionize the entire phonograph record industry. They have adopted the startling and unprecedented policy of answering mail they receive from jazz collectors on the subject of recording and repressing policy. Their decision to give serious consideration to such advice will certainly take its place in merchandising history alongside the invention of the coin-operated vending device and the Piggly Wiggly grocery system. For instance, Beale Riddle, of Baltimore, wrote to Columbia suggesting that the broadcasts of "The Creole Band" on Orson Welles racjio show be pressed on the Columbia label. This band played four numbers {High Society, Weary Blues, Muskat Ramble and That's a Plenty) with the following line-up : Mutt Carey, Kid Ory, Jimmie Noone, Buster Wilson, Bud Scott, Ed Garland, and Zutty Singleton. Since the Columbia Recording Corporation is a subsidiary of CBS, the network carrying the Welles show, arrangements for issuing these sides could easily be made. James Flora, advertising manager of Columbia records, replied : "Your suggestion that we issue the 'off-the-air shots' of the Orson Welles Variety Show is very good and very interesting to me. I will look into it and see what we can do. "We are interested to know which of the jazz records in our files collectors want most. We intend to make them available as soon as possible." So, gentlemen, it's up to you. Drop a line to James Flora, Columbia Recording Corporation, Bridgeport 8, Conn., and let him know what's on your mind. * * * These are great days for the Record Changer. Our New Orleans distribution is exactly double that of last month. To wit, — we now have two New Orleans subscribers. Further evidence that New Orleans is discovering jazz music is shown by the establishment of the National Jazz Foundation, Inc., 610 Hibernia Building New Orleans 12, Louisiana, which is raising money to build a jazz museum and thereby to "make the city which originated this particular American rhythm, the mecca of all jazz lovers." I do not have all the details on the organization, but_ understand that funds will be promoted by jazz concerts and subscription and that the museum will include sort of a public library of recorded jazz. Also, membership is open to all Americans and others interested in jazz. Members will enjoy various privileges not accorded the general public. For further particulars write Scoop Kennedy, president of the Foundation. * * * In using our new forms for half and full-page ads, please do not list more records than we have provided space for. In one column of a "display" ad there are 62 lines available for listings — no more. Announcements, notices, etc., must be set in type. The charge for this form of advertising is $2.00 per column inch. Please indude remittance with all advertising. When you ask us to bill you, it just means another letter yours truly has to write, additional records to keep, and so forth. From Charles Payne Rogers : "Re : Eugene Williams' King Oliver and His Dixie Syncopators (August Record Changer) Vocalion 1007: Although he is not listed as part of the personnel, I distinctly hear an old friend of the New Orleans boys taking the vocal chorus and the two exhortations : Oh, snag it, snag it! Oh, messaround, messaround! Why, I'm really surprised at you collectors for not recognizing the voice of Richard M. Jones. "The Oliver Gennett 5275 of Zulus Ball has been found, I note. Since the side lists Joe Oliver and Robinson as composers, it might be well to determine whether Zue Robinson was the trombone on this date, which included Krookcd Blues and Alligator Hop. I don't know Robinson's playing myself, but the man who plays on the latter two sides is plenty good, in this case meaning 'plenty of New Orleans.' " * * * Mai Winton, of Oakland, California, has some interesting information. Pvt. Sol Gritz, known to some of you, is reported as A.W.O.L. from the Army for some time. 50