The record changer (Jan-Dec 1953)

7 O'Harc's Super Orchestra, of Chicago, a forerunner of the Friars, had journeyed to Richmond to record several sides for Gennett in the spring of that same year, but, aside from San and Tiger Rag, their efforts were a far cry from jazz.) The first trip of the Friars to the Richmond studio in August 29-30, 1922, is still remembered by the old-timers of the Starr organization. Eight dirty, perspiring, hungry musicians squeezed in a big, asthmatic touring car, with battered instrument cases tied on the back and fenders, was a novel and spectacular sight for the leisurely, conservative citizens of that easy-going, predominantly Quaker community of 25,000. But during the years to come such a spectacle was to become commonplace. Great numbers of jazz musicians, soloists, and blues singers, as well as hill-billy groups and classical artists were to stream into Richmond by trolley, train, automobile, and on foot to gain recognition, if not fortune, through the medium of Gennett records. As for the memorable Friars dates: the seven tunes cut in the dreary, depressing frame studio building, located at the far end of the main assembly building of the Starr Piano Company, were for the most Hall, ''The Redheaded Music Maker." Gennett's immediate inclination was to refuse, but the shabby, forlorn appearance of Hall prompted an invitation to the troubador to join the group at lunch. About an hour later, one of the salesmen came to Fred Gennett's office and enthusiastically related how a hill billy singer was keeping the salesmen amused and entertained with his repertoire of songs. It seemed that Hall, after filling himself with food, had pulled out his ukulele and started to sing his composition, It Ain't Gonna Rain No Mo'. A contingent of Hall's newly found admirers then approached Gennett, asking him to let Hall make a few records — just for kicks. For the rest of the afternoon, Hall recorded a continuous stream of songs that culminated in his signing a royalty contract. Before he left town that evening he asked Gennett for a test pressing of It Ain't Gonna Rain No Mo'. Within a matter of days, Wendell Hall took the test to Camden, New Jersey, where, on the strength of the one song, he secured a $10,000 contract with Victor. Gennett did not complain. His own company made a small fortune on Hall's records, all of knuckle down to the business of making records. It is reasonable to assume that Jelly sat in with the white musicians on some of the first-day sessions, as claimed by discographcrs. Jelly made his piano solos: Grandpa's Spells, Kansas City Stomps, Wolverine Blues, and The Pearls, on July 18th. The New Orleans Rhythm Kings finished the second day with four tunes. But the real heartbreaker for the jazz follower is the information showing two masters, Bucktown Blues (11524), and Angry (1 1525), by M. Abraham and Leon Rappolo, destroyed by a Wiggens edict. Think of those clarinet solos by the famous Rappolo relegated to the scrap pile ! On October 5, 1923, King Oliver and the Creole Jazz Band terminated relations with Gennett by making eight numbers which had exceedingly limited releases. The rarity of £ulus Ball and Workingman's Blues can be substantiated by even the casual collector. One master, Someday Sweetheart (11637) was destroyed, and no copy or test pressing has turned up. Those sessions must have netted Oliver very little, and it is not unreasonable to surmise he was convinced, upon glancing at his check, that it was high time to negotiate with part very good jazz. Two commercial tunes, Oriental and Discontented Blues, were no credit to anyone. The others, Farewell Blues, Bugle Call Blues, Tiger Rag, Panama, and Eccentric, are significant examples— first recorded jazz efforts of this pioneer band. Departing for a brief moment from the jazz scene, it would be appropriate to cast a hurried glance at another important development in the history of Gennett records — the start of the hill-billy catalogue. The money-making possibilities of this type of entertainment was discovered quite by accident by Fred Gennett before Wiggens had come to Richmond. In August. 1922, a Pittsburgh jobber brought a delegation of music dealers by chartered Pullman to tour the Starr plant in Richmond, a noteworthy innovation in sales technique for that day. In addition to tours through the piano and recording plants, a buffet luncheon was laid out for the guests in the salon of the administration building. As Fred Gennett was preparing to meet the group in the salon, a bedraggled, emaciated character with red hair, dressed in the garb of a Kentucky briar-hopper, strolled into his office and inquired about chances to make a few records. He presented himself as Wendell which were made that single afternoon. The Chicago Jazz Parade The spring and summer of 1923 really ushered in the beginning of the jazz era for Gennett. On March 12, 1923, the Friars, now under the name of New Orleans Rhythm Kings, returned to make eight more sides. On March 31st, the nucleus of the band (Mares and Rappolo) cut four tunes, identified as the Original Memphis Melody Boys. The Gennett studio must have been rocking that day, for King Oliver and his Creole Band also reported to record Just Gone, Canal Street Blues, Mandy Lee Blues, I'm Going to Wear You Off My Mind and Chimes Blues. On April 7th, Oliver and his band were back again to turn out Weatherbird Rag, Dipper Mouth Blues, Froggie Moore (originally titled Foggy Moon), and Snake Rag. (Fred Gennett recalls meeting Oliver in Chicago, through Wiggens, and securing a signed contract on the spot. His only recollection of the King was that Oliver had "the biggest lips I ever saw on a human being.") July 17th and 18th, 1923, can be entered in jazz annals as historic dates, for on these days the incomparable Jelly Roll Morton and the NORK appeared jointly to other recording concerns. Although most of the early great jazz pioneers left the Gennett roster at the close of 1923, the traditions and high standards set by them were carried on by a younger crop of aspiring musicians. On February 6th, 1924, Bix and the Wolverines paid a visit to the Gennett studios during a series of dance engagements at Indiana University and one night stands through the midwest. Four sides resulted from this first visit: Fidgety Feet, Lazy Daddy, Sensation Rag, and Jazz Me Blues. Lazy Daddy (1 1752) and Sensation Rag ( 1 1753) were rejected at this time, but both tunes were recorded in New York on September 16, 1924. Following close on the heels of the Wolverines came the Happy Harmonists to record four sides on February 23rd. Then the Bucktown Five, with Spanicr and De Vaut, finished up an auspicious month by making seven sides on February 25th. After a few quiet months, jazz sessions at Gennett picked up in the spring when the Wolverines made a second sojourn to Richmond to cut four more tunes on May 6th, 1924. Then the great Jelly Roll gave the Gennett technicians a very busy day on June 9th. The master pounded out eleven piano solos, all classics in ragtime, blues and stomps. The Wolverines then