The record changer (Mar 1945-Feb 1946)

FOR DISPOSITION ART IE SHAW Frenesi/aoios VI 26S42 E SAL 1.00 HOLL Blues VI 2741 1 E SAL 1.25 HOLL Deep in a ore ah BB 10046 V SAL .75 HOLL FREE WHEEL ING /Shoot LIKKER to Vo 4108 N AUC CLEA Ni temare/it 's a loncway to tip . vo 4306 N AUC Clea Sweet adfline/how ory 1 am OK 4182 N AUC Clea Man 1 love/vilu BB 10128 M AUC Clea ROSAL IE/LOVER COME BACK TO ME BB 10176 ft AUC Clea TO BROADWAY ROSE/t)EUCES WILD Vl 2783B n AUC Clea Octoroon BB 10319 N AUC roth The blues, 1 A 2 OaE 2790 N AUC Hun B HOW DRY 1 AU/S»EET BR 7936 E+T-A Aver IT A 1 N * T RIGHT/SOUTH SEA vo 4637 £ T jl Aver They say/room with a vie* BB 10075 E T— A Aver moonray Melancholy wood BB 10334 E T— A Aver LAOY BE COOO/l SURRENDER B3 10430 E T— A *ver Chantez les bas VI 27354 N AUC mayn FRANK SHAW (comic) A NIGHT AT COFFEE DAN'S, 1 & 2 Br 4100 N T— A Rl T2 NAT SHILKRET LONESOME ROAD/SUSIANNA Vi 21996 N T-A RlTZ MEOIC1NE MAN BL/'WOULDN'T VI 22055 N T-A RlTZ DON'T EVER LEAVE ME/*T»AS NOT VI 22188 N T-A BIT! SIX BROWN BROTHERS That moaning sax rag VI 17677 E AUC JORD Chasing chickens/w"hen aunt VI 18476 F AUC JORD BESSIE SMITH Empty bed blues CO 14312 V SAL 2.00 HOLL Oh dacoy blues Co 3888 V AUC Epst BYE BYE BLUES/%EEPING WILLOW Co 14042 E T-A Manc DOWN IN THE CUMPS/DO YOUR DUTY PaE 1793 N AUC hubb Take me for buggy rioe/Oivmie PaE 2146 N AUC HUBB ME & MY GIN/SLOW & EASY MAN Co 14384 E AUC VOER CLARA SMITH Broken busted( Lou is; rim chip* CO 14062 V T-A EOEL KATE SMITH 970 2191 2344 10532 E AUC E AUC BB I 1057 E T-A Vl 22079 N AUC MAYBE WHO KNOWS/HE'S A GOOD HA SWINQIN' IN A HAMMOCK VE WABASH MOON VE MAMIE SMITH it JAZZ HOUNDS Road is rocky/Fare thee honey ok MUGGSY SPAMER Touro/riv.sh. (orig. label) BB BB 10417, 10766,10518 DIPPERMOUTh/SISTER KATE BB 10506 R I VERB OA T SHUFFLE/RELAXIN' BB 10532 BB 10384, 10506, 10532 VICTORIA SPIVEY ( LEE COLLINS) hollywood stomp/detro i t moan vo 3405 Santa cl aus/k iko-a-man Vo 3366 REX STEWART Linger awhile/mobile bay joe sullivan Just stclling/pridc & joy Br£ 02136 Little rock/Onyx UHCA 33-34 gloria s1ans0n love/Serenade JACK TEAGARDEN Especially for you &r 8431 Shake your hips PaE 1670 Blues to lonely /prelude cf min. De 3642 Fatima's druui/er boy/i hear vs 8273 if i could be with you/lhelanch . vs 8209 RAMBLIN THOMAS HARD 0ALLA6 BLUES/jIG HEAD BL PARA 12708 THREE JOLLY MINERS (BOB FULLER ) Plain old bl(2 grooves bad) vo 151 1 i THREE KEYS ( 1 93 1 ) Nagasaki /Fn as a fiddle frank ie trumrauer Blue river/Cradle (Bix) clar. marm./slngin' the blues Singing the bl/Cl ar.var-al ade SOPHIE TUCKER Life begins at forty rudy vallee HUGGABLE K I SSA8LE YOU/tvERY babyAou're JUST THE VARSITY EIGHT Once in a lifetime/Outside You're driving me crazy JOE VEWTI and groups DOIN* THE UPTOWN/YOU'RE MY PAST PE 15832 IlLO cat/Do in' thinos Vi 21561 i want to ring bells/gather lip pe 15830 Apple blossoms/Running ragged ok 4i36I MUST BE OREAUINg/TAIN'T SO OK 41051 Mellow as cello/nothing but note °e 624 Farewell blues/someday ' beale st. blues/after Beale st. blues/after After you've gone/Farewell victor concert ORCH. n t-a E T-»A E T-A 4194 G AUC Aver Aver Aver Baum N SAL 2.00 HOLL N SAL 1.25 WE IN N T-* SPIL N T-A SPIL N SAL 1.25 WEIN N AUC N AUC Stei STEI HOLL HOLL E SAL 1.25 HOLL E S-A N AUC N AUC N AUC WHIT Baum JORD JORD Br OK 40879 OK 40772 OK 40772 E AUC 5.00 WANG V T-A N AUC N AUC DE 23033 E AUC Vl 21983 Vl 22034 Ca 8324 PE 15386 PAT 25151 ME 12294 Vo 15864 DEE 5884 N T-A N T-A 0 T-A V T-A V T-A N T-A E T-A E AUC N AUC N AUC V AUC G AUC E AUC E AUC Evolution of dixie, I & 2 Vl 22045 N AUC Edel KAPL JORD RlTZ RlTZ H'ANC MAZZ Gent Gent Gent KAPL KAPL KAPL Delg Delg Delg Delg RlTZ • VICTORIA QUINTET Chant of the jungleA'p toc Vr 36 N auc FATS WALLER Valentine st/love mc(solos) BB E auc Love me or leave/i gotta feel Vi 22092 N auc Ain't misbemavin'/savannah Vi 22I0B N auc Mighty FiNE/tEEP ipe BB 10744 E+auc Blue eyes/Salt away 60me sugarBB 10943 N auc warinc's pennsylvanians Farewell blues/stack o' lee washboard rhythm kings 5.00 Wang RlTZ RlTZ MAYN Mayn fire/^iow oeep HOT NUTS Arlen/i/Brown skin uama ikey and m i key WASH I NO TON I ANS Salty papa(v)/i know how(n) ETHEL WATERS Birmingham bertha/am i blue Down home blues/Oh daddy no man's maua/shake that Shake that thii>g/no man's mi CHICK WEBB Sugar pie/That was my l iza/t i ske t— a— tasket( cnacke LOVE A kisses/Are you here Slumbertiue/Chew chew chew Heart of m^e Swell of you/^ake up heart belongs to daddy Gotta pebble/hunchin • TED WEEMS too many eyes/remarkable Morning evening night what a day/passing fancy PAUL WHITEMAN Changes/Mary ol man rived/make nelieve smile ( 10 groove chip) Changes/Rix down south) Shaking the blues away Showboat/Ol man river Mitsissippi mud (Crosby) A bench in the park That's granoma/wa da da Mississippi mud(Rix) I you don't love me/In the Out o'town gal/just bit of That's my wfakness now/Tain From m,onday on/Sugar Bluebirds/Louise That's granoma/wa da da WHOOPEE MAKERS It's so oood/lo"able 1 swect rudy* wieooeft where volga flows/Suez CLARANCE WILL IAMS Midnight stomp/wild flower Farewell blues/Golfcoast( !2" ) ok high society/Lazy levee COOT IE Wl LL IAMS Black beauty/night song •est end blues/g-men west end blues/g-men TEDDY WILSON Embraceable you/i never knew k'ORE THAN YOU KNOw/SUGAR WIMOY rhythm kings PlGCLY WIGGLY Bl/SOUTH AFR. wisconsin roof orch. Black maria/Deep river shanghi honeymoon WOLVERINES Copenhagen/ho baby Copenhagen/oh baby Lazy oaooy/Riverboat bhuff. allister bylie Some of these days/Come on Br 4143 ALBERT WYNN'S GUT BUCKET FIVE That Creole bano(v)/V/hen(G+) .ok 8350 (i* hair crack "Creole" side) YAS YAS 0 1 PL A JAZZ BAND I GOT to have i t daddy VO 05286 Vl 21508 V SAL .60 HOLL BR 8174 E+AUC Stei BB 6278 E+AUC *>TE 1 BB 6157 E AUC STE 1 BB 6051 N AUC STEI ) Br 4044 V AUC Delg T Key 606 T— A Rose Co 1837 E T-A SPIL BS 2010 V AUC Baum Co |4| |6 E AUC JORD maCo I4| 16 F AUC Mayn De 2665 n AUC 'lEAR ) DC 1840 E SAL .50 Bear De 494 N AUC KALL De 2389 N AUC KALL De 2721 N AUC KALL De 1213 N AUC KALL De 2309 N AUC KALL De 2231 N AUC KALL V 1 27157 « T-A Rnz Vl 22032 N T-A RlTZ VI 22038 « T-A Rl TZ VI 21 103 E SAL 2.25 HOLL VI 2l2ie E+SAL 2.25 HOLL Vl 21228 G SAL 1.75 HOLL VI 253^0 N SAL 2.00 HOLL VI 2C8B5 V 6AL 1.00 HOLL Vl 35912 E SAL 2.25 HOLL Vl 21274 E AUC Epst CO 2223 V+S-A Wh 1 T Co 1455 V+S-A Whit Vl 21274 E T-A SP 1 L Co 1484 E T-A UANC CO 1505 E T-A Manc T CO 1444 V AUC — — JORD VI 25368 N SAL 1.50 RlDL BOYS CO 1819 V+T-A LUDA Co 1455 V+T-A Luda Or 1668 V SAL 2.00 HOLL 1r 22B3 E AUC Epst QRS 7033 V T-A Luda ) OK 3055 V AUC Mayo CO 14555 N AUC Mayo vo 4958 N AUC Saul OK 6370 N AUC Saul OK 6370 E AUC Mayn Co 35905 E STA 1.00 Einh Co 361 17 N STA 1.00 ElNH Para 1 2770 G+T— A LUOA Bwy 1 123 G AUC Stei Bwy 1087 V AUC Stei Ge 5453 V+AUC HOLL ge 5453 E AUC KAPL hrs N AUC KAPL ESQUIRE JAZZ BOOK ALBUMS 1944 I6SUE 1945 ISSUE N SAL N SAL RlTZ Luda Gent 1.25 Stei I. CO Stei Chicago jazz (6 records) De 121 n auc BLESH (Continued from page 7.) aider Important enough to mention. I followed the lectures, in the time I could spare from my profession, with radio work, magazine articles and newspaper pieces; These activities, as well as my pamphlet, THIS IS JA7.Z, aroused a response in the form of wide pressure upon me to write a longer and fuller book, but one along the lines of the lectures which were uncompromising on the subject of real jazz. This was followed by an offer, which I did not solicit, from a publisher, to write this book. With some hesitation I quit interior design in the middle of my career to devote my full time to Jazz. And a book is a full-time Job while the writing lasts; it bears little resemblance to a comfortable sleep in a featherbed. All other activities for Jazz of which I am capable I shall continue to carry on. Up to the present I have felt myself a part of a wide movement from whose members I could get the same help and encouragement 'Which I have freely given. To me Jazz, the people who play it and the people who listen to it, are the important things, that and the full truth about the music. There is, as Gleason pointed out, a crying need for activity and, as he implied, for cooperative endeavor. But a call to arms from a featherbed is neither Inspiring nor compelling. Perhaps he should crawl out of his private one, pack his brief case with the right contents; and, with better motives than Feather's, hit the trail that Leonard has blazed with such personal, if dubious' success, Mr. Gleason notes that Goffin, Feather and Ulanov are having great success from their combination of individual enterprise with mutual cooperation. There is an important lesson to be drawn from this. If it is correctly drawn the profits will accrue to jazz as a whole and thereby to all who love it. DODGE (Continued from page 6.) today has' come to mean an atmosphere of exitement, you feel it as you enter the room. It doesn't mean good jazz. You play for the crowd, and they demand effort, sweat.' They want to be sent."'' That is to say, when inspiration leaves the player, and his important basis, the dance, no longer supports him, he becomes what is known as a screw-ball player. I must say that I prefer the jump style to the" screw-ball style. When inspiration leaves a dance man, his middle of the road playing will be better than that of the uninspired Jam session man gone frantic. The musician need not worry too much about the taste of the Jitterbugs. He could be doing a lot worse. At least the jitterbugs insist on a rhythm, the musician's most important asset. If he did not play for them he might be playing dinner music, presentation music or giving more Jazz concerts, with the result that he would become worthless for the present day demands of the session. He may admit the influence of dance in the past but deny it any present import. Here again he is wrong, for the best changes will come from playing for dancers. Though he may regard as evil the present day dance influence on Jazz, it is but the lesser of many evils . Of course changes must be made. But if made too fast they may hurt the older musicians who were horn toa different playing style. This, I feel, is the only fault of present tendencies, — the spoiling of old musicians. It is for the private and small labels to work faster and get more out of these veterans, and for collectors to furnish the market. For the collectors to carp too much and run King Oliver up to $90.00 is a sad state for a thinking public. (Ed. Note: Roger Pryor Dodge will conclude THE DANCEBASIS OF JAZZ in the April Record Changer. ) 15