Showing posts with label marion harris. Show all posts
Showing posts with label marion harris. Show all posts




Image result for HELEN MORGAN
Born on July 2, 1900
Helen Morgan, vocals
b. Danville, IL, USA.
d. October 9, 1941, Chicago, IL, USA. (liver ailment)
née: Helen Riggins A very renowned singer and actress who, during the 1920's and '30's, worked on Broadway and in New York nightclubs. She also starred in ten Hollywood films of the early sound era, including the first Hollywood isssue of Jerome Kern's historic play "Showboat".
Helen made her screen "debut" in the sound prologue to the 1929 part-talking film of "Show Boat", she sang the songs that she made famous in the original Broadway stage version, but didn't appear on the the screen (the role of Julie LaVerne was played silently by Alma Rubens) . But in 1936, Morgan finally got the chance to both act and sing the role of Julie in the first all-talking film version of "Show Boat". Unfortunately, it was her last film. She died (Alcoholism) just five years later. Her spouses were : Maurice Maschke, Jr. (1933 - 1935, divorced), and Lloyd Johnston (1941 - 1941, 'til her death).

Born in Danville, Illinois, on August 2, 1900, Helen Riggins took the name Morgan in her childhood when her divorced mother remarried.

Various conflicting accounts of her entry into show business survive, but she apparently obtained some voice training, sang in speakeasies, and in 1920 got a job in the chorus of Florenz Ziegfeld's Sally. More nightclub singing in Chicago and perhaps a beauty contest in Montreal led to a small role in George White's Scandals in 1925. 

In that year she had an engagement at Billy Rose's Backstage Club, where the crowded conditions obliged her to perch on her accompanist's piano, an informal touch that soon became a trademark.
"Bixie" Crawford, vocals
b. Oklahoma City, OK, USA.
Sang with the Count Basie band.

Anatie "Natty" Dominique, trumpet
b. New Orleans, LA, USA.
d. Aug. 30, 1982, USA.
In the 1920s, he recorded with "Jelly Roll" Morton and Johnny Dodds, et al, and even in the 1940s, he was still active and recorded with Dodds and Jimmy Noone. Very early on, he worked in Emmanuel Perez's Imperial Band (Perez taught him to play the trumpet). When WW1 ended, he went to Chicago and worked (2 years) with Jimmy Noone, then Carroll Dickenson's band for 4 years, and along with such N.O. Jazzmen as George Filhe and the Dodds brothers played various Chicago clubs. He eventally retired, became a 'redcap' at the Chicago airport, - but would occasionally play with the Dodds' and others. : ) 
Natty Dominique - Wikipedia
Red Hot Jazz Bio

Lorenzo Herrera
Lorenzo Esteban Herrera (August 2, 1896 – 1960) is a Venezuelan singer and composer of the first half of the 20th century.

Johnny Long, Leader/Left Handed-Fiddle
b. Parkersburg, W. VA
d. Oct. 31, 1972, Parkersburg, W. VA.
Johnny Long was an American violinist and bandleader, known as "The Man Who's Long on Music". He was raised on a farm in Newell, North Carolina, currently a subdivision of Charlotte. Wikipedia
Myrna Loy
Myrna Loy (August 2, 1905 – December 14, 1993) was an American actress. Trained as a dancer, she devoted herself fully to an acting career following a few minor roles in silent films. Originally typecast in exotic roles, often as a vamp or a woman of Asian descent, her career prospects improved following her portrayal of Nora Charles in The Thin Man (1934). Her successful pairing with William Powell resulted in 14 films together, including five subsequent Thin Man films.

Polk "Pork" Miller, banjo
b. Burkeville, VA, USA.
Member: 'Old South Quartette'
Polk Miller (August 2, 1844 – October 20, 1913) was a pharmacist, musician, and slavery apologist from Richmond and Bon Air, Virginia.
Early life
Polk Miller was born in Prince Edward County, Virginia in August 1844. While growing up, he learned to play the banjo from slaves on his father's plantation. He became a druggist in Richmond in 1860. During the American Civil War, he served as a Confederate artilleryman.

At his drugstore in Richmond, Miller began making remedies for Sergeant, his favorite hunting dog. His friends soon found these remedies worked for their dogs as well. In 1868, began selling the products in the drugstore. This was the beginning of Sergeant's Pet Care Products, Inc. The tradename was established in 1886. By 2007, over 400 pet care products were sold under the Sergeant's trade name.
In 1892, he began performing music professionally. Through the 1890s he had a solo act in which he played banjo, sang songs and told stories. Already comfortably well-off from his drugstore business, Polk Miller had little need to earn money from such appearances, using them to raise funds for church repairs, Confederate monuments and Confederate veterans, while broadcasting his apologist views. In his own words: "As an entertainer, it has been my aim to vindicate the slave-holding class against the charge of cruelty and inhumanity to the negro of the old time."

Polk Miller and his "Old South Quartette" had a variety show of "Stories, Sketches and Songs" depicting African American life before the Civil War. Miller was white, and the four members of the quartet were black. Until recently, only 2 of the 20 or so black singers that sang in the quartet were widely known: James L. Stamper and Randall Graves. However further research has identified the names of five others: Anderson Epps, first or lead tenor; Archie Johnson, baritone; Clarence Smith, second tenor; Alphonso DeWitt, basso; and Walter Lightfoot, baritone. They gained national prominence and toured between 1900 and 1912.

At one performance, Mark Twain introduced Polk Miller at Madison Square Garden. Although he did not perform in blackface, Polk sometimes billed himself as "The Old Virginia Plantation Negro" and performed Negro spirituals and pop and folk tunes such as James A. Bland's Carry Me Back to Old Virginny. Miller and his quartet played colleges and military schools, as well as the "most exclusive social clubs" in New York, Boston, Baltimore, Washington, Pittsburgh, and Cleveland. Polk Miller and the Old South Quartette also performed at African American churches.

Polk Miller's and the Old South Quartette were featured on some of Thomas Edison's earlier phonograph recordings.

In 2008, Tompkins Square issued seven 1909 Edison cylinder records and seven 1928 QRS/Broadway disc recordings in the compilation Polk Miller & His Old South Quartette.

Death, legacy
Polk Miller died on October 20, 1913. He was buried in Richmond's Hollywood Cemetery.

Polk Miller's scrapbook is now in the archives of the Valentine Museum at Richmond. It is notable in that it recorded the problems with racial discrimination the five faced in both the northern and southern portions of the United States as the group traveled and toured.

A few miles west of Richmond, Bon Air was founded by principals of the Richmond and Danville Railroad as a Victorian resort. Polk Street there was named in honor of Polk Miller. Bon Air Elementary was the inspiration for a series of children's books about the kids of the Polk Street School, by Patricia Reilly Giff.

Miller's recorded renditions of the traditional gospel song "Old-Time Religion", and the song "Watermelon Party" are featured in the 2013 video game BioShock Infinite.
Andy Secrest
b. Muncie, IN, USA
d. 1977
Biography ~ Eugene Chadbourne
Andy Secrest played in both jazz combos and studio orchestras from the '20s through the early '50s. He then left music to become a real estate agent, a move that places him firmly within the mini-grouping of players who have made the same career choice, some of whom may have been inspired by the lyrics to Col. Bruce Hampton's song entitled "Real Estate." This isn't the only category of players that Secrest fits into, either. The brass specialist often comes under observation as one of bandleader Paul Whiteman's long-term sidemen. As a result of the Whiteman connection, Secrest also makes the list of instrumentalists who get confused with other instrumentalists. In this case his non-doppelgänger is Frank Siegrist, who also played with Whiteman. 

 Secrest seems to have started his professional career in Cincinnati, working in an orchestra under the direction of Freda Sanker. For several years beginning in 1927, Secrest played both trumpet and cornet in the Jean Goldkette band at a ballroom in Kansas City. The association with Whiteman began shortly thereafter and lasted until 1932. The next move for Secrest was heading to California and the studios of Hollywood. He began working for studio bandleaders such as Victor Young, John Scott Trotter, and Billy Mills, and can be heard on many vintage recordings by Bing Crosby, Mildred Bailey, Anita O'Day, and others. Secrest was in the brass section of Ben Pollack's excellent band in the late '30s and also performed at jazz festivals on the West Coast during the '50s.
The Virtual Victrola: Andy Secrest Centenary

Notable Events Occurring
On This Date Include:

Robert Allen Cole, songwriter
died in Catskill, NY, USA.
Age: 48.
Robert Allen Cole (July 1, 1868 – August 2, 1911) was an American composer, actor, playwright, and stage producer and director. In collaboration with Billy Johnson, he wrote and produced A Trip to Coontown (1898), the first musical entirely created and owned by black showmen.
Bob Cole (composer)

RCA Victor recorded Benny Goodman and his quartet playing "Smiles".
Benny Goodman on clarinet, Lionel Hampton on vibes, Teddy Wilson on piano, and Gene Krupa on drums. (DAMN! SUCH BIG STARS IN ONE ROOM!)

Clyde "Porkchop" Lasley, vocalist
died in Chicago, IL, USA.
Age: 61
Recorded for: "Bea & Baby Records"

Songs Recorded/Released
On This Date Include:


Frisco Jass Band - All I Need Is Just A Girl Like You

University Six - I Ain't Got Nobody
Seattle Harmony Kings - Breezin' Along (With The Breeze)

Fats Waller - Ain't Misbehavin'

Red Nichols' Five Pennies - My Future Just Passed


Lucille Bogan - Changed Ways Blues

Marion Harris - Singin' The Blues

Singin' The Blues

Oh, Daddy, I've been weepin'
Just like a willow tree
Without a wink of sleepin'
Where is your sympathy?
All is glad round the (???)
Since you said goodbye to me
Oh, I'm just singin' the blues
Til my Daddy comes home
The meanest feeling pursues
Since he left me all alone
For every blue strain cuts new pain
Right into my heart
And I just sigh at that cryin' part
It sure gets your nerves
When you hear yourself moan
If I got all I deserve
I wouldn't be here all alone
I wouldn't walk all night
And sit by the window in the candlelight
Singin' the blues
Till my Daddy comes home
I'm singin' the blues
Till my Daddy comes home
Don't know what else I can do
Since he left me here all alone
I watch & wait all night
Just sittin' by the window in the candlelight
Just singin' the blues
Till my Daddy comes home
Oh, Daddy

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Ernest R. Ball, composer
b. Cleveland, OH, USA.
d. May 3, 1927, Santa Ana, CA, USA.

Ball was precocious in music from the start. He was given music instruction at the Cleveland Conservatory, and as early as age 13 began giving music lessons to others. 

Today he is noted mostly as one of America's best loved composers of Irish songs and is often called the American Tosti (Francesco Paolo Tosti, 1846-1916, a prolific and talented Italian song composer and teacher.) 

Though he was famed as a composer of Irish tunes, he wrote many other "mainstream" songs, actually, many more than his "Irish" output. 

In 1905, Ball was already in New York City and working as a relief pianist at the Union Square Theater and later worked in Tin Pan Alley at the Whitmark publishing house as a song demonstrator. 

Ball remained a loyal employee of Whitmark for the rest of his life in spite of his fame. Ball's early attempts at composing were self described as "flops." In 1904 he wrote In The Shadow Of The Pyramids with Cecil Mack. 

Introduced by the dynamic and popular May Irwin, that song was also a "flop." In 1905 he was given a few verses written by the then state Senator, James J. Walker, who later became famous as Jimmy Walker, Mayor of New York City. He put one of the verse to music, and called it Will You Love Me In December as You Do In May?. It became a national hit. This song caused Ball to reassess his approach and in he later recounted that he realized this song had "come from the heart" where his earlier songs had been fabricated and structured. 

Ball said, "Then and there I determined I would write honestly and sincerely of the things I knew about and that folks generally knew about and were interested in." 

From that beginning and from 1907 to 1910, Ball wrote a number of 'mainstream' songs that were moderately successful. But in 1910, a collaboration with Chaucey Olcott, changed his career. In that year, Ball wrote the Irish classic, Mother Machree.

Two years later, in 1912 the lyricist of Mother Machree, Rida Johnson Young, joined him again to publish When Irish Eyes Are Smiling and his position as a writer of Irish ballads was cemented forever.

He wrote hundreds of songs over his career, many Irish, many not and it is said his output amounted to over 25 million copies of sheet music sold. His last song published was appropriately, Irish, the 1927 hit Rose of Killarney with lyrics by William Davidson.
Ball also enjoyed a long career in vaudeville as a singer of his own ballads. During later appearances, he costarred with his wife, Maude Lambert. In 1927, A few minutes after his act on a Santa Ana, CA vaudeville theater, he suffered a fatal heart attack and died, just 49 years old. Fittingly, he had just performed a medley of his greatest hits as a recap of his great musical accomplishments. 

On hearing of his death, the great Irish tenor John Mc Cormack said; "Ernie is not dead. He will live forever in his songs."

Ball was buried at Lake View Cemetery Cleveland, Cuyahoga County Ohio, USA

The Original Creole Orchestra. L to R: Eddie Vincent, Ollie “Dink” Johnson, Freddy Keppard, Jimmie Palao, George Baquet, Bill Johnson, and W.M. Williams, cir. 1918. Photo courtesy Red Hot Jazz Archive. The Original Creole Orchestra was the first JAZZ band to tour widely in North America (from 1914 - 1918).
George Baquet, Clarinet/Sax
b. New Orleans, LA, USA.
d. Nov. 20, 1956.
Brother of clarinetist George Baquet.
There was literally a bouquet of musicians from the New Orleans Baquet family, all clarinetists. George Baquet has been considered by musical historians as the earliest player to use the so-called "licorice stick" as a jazz instrument, and was an important influence on the great Sidney Bechet. He was also one of a group of players who accompanied blues singer Bessie Smith on her historic recording sessions. His father Theogene Baquet was an established clarinetist in the latter decades of the 19th century, and certainly seems to have championed passing musical interests along to his children. Sons Achille Joseph Baquet and Harold 'Hal' Baquet also played clarinet, and it was Hal Baquet who met his death in a stabbing incident that for a short period was blamed on songwriter, pianist and publisher Clarence Williams.
George Baquet began his performing career in the Lyre Club Symphony Orchestra in 1897, only 14 years old at the time. P.T. Wright's Nashville Student Minstrels was the first group to take the clarinetist on the road. He left this group in Georgia to become one of the Georgia Minstrels but returned to New Orleans in 1905 where he sat in with the Buddy Bolden band and was subsequently considered good enough to become a regular member. He also began playing with John Robichaux's Orchestra, Freddie Keppard and the Onward Brass Band, the latter group specializing in parades. Keppard took him to Los Angeles to join the first Original Creole Orchestra tour, and Baquet stayed with this revue until the summer of 1916. This was the year that this band might have been able to make the absolute first recording of jazz known to mankind but didn't, for reasons wrapped in controversy. Keppard says he wouldn't record because he didn't want to make it easy for someone else to steal his style; the way Baquet remembered it in interviews with British jazz writer John Chilton, it was the possibility of not getting paid that kept the band out of the studio. With the technology available for recording in 1916, the Victor label didn't want to shell out session fees until it was sure the microphone had picked up the sound of the bassist, Bill Johnson.
Baquet's next home base was the New York City area, where he held forth for several years at a Coney Island inn. In 1923 he swung south several hours to join Sam Gordon's Lafayette Players in Philadelphia, and wound up becoming a resident of this city, remaining there until his death. Baquet began leading his own groups there, including the popular New Orleans Nighthawks, which in the '30s evolved into George Bakey's Swingsters in a nod to spelling-deprived local jazz fans. Baquet recorded with Jelly Roll Morton in 1929 and in the '40s took part in a reunion concert with Sidney Bechet.
~ Eugene Chadbourne

Kramer Gorni
b. Mantua, Italy. Gorni Kramer (22 July 1913 - 26 October 1995) was one of the most famous Italian songwriters, musicians and band leaders of the 20th Century. He wrote over a thousand songs.
Kramer Gorni was born at Rivarolo Mantovano (Lombardy). Despite the exotic sound of Gorni Kramer in Italian language, which lead part of his audience to believe he was a foreigner or had adopted a fancy pseudonym, it was his real name. Gorni was in fact his family name, and Kramer his first name, after the US cyclist Frank Kramer who became road race world champion in 1912, who Gorni's father was a fan of.

Kramer learnt music at a very young age, thanks to his father, a musician. The first instrument he learned how to play was the accordion, with which he performed as a child in his father's band. He then studied double bass at the Conservatory in Parma and obtained his diploma in 1930. He started working as a musician for dance bands, then in 1933, aged 20, he formed his own jazz group. This new American musical genre was forbidden by the Italian fascist regime, but Gorni Kramer could get to know it thanks to some fellow musicians who worked on board the liners connecting Europe and North America.
In the middle of 1930s 
he became a successful songwriter. He composed the music for Crapa pelada - lyrics by Tata Giacobetti - a 1936 hit performed by Alberto Rabagliati. In 1939 he wrote "Pippo non lo sa", one of Trio Lescano's most famous songs. In spite of his songs' popularity, Gorni Kramer and his orchestra were still ignored by the Italian state radio EIAR, who boycotted them because they played jazz.

During World War II, he worked with Natalino Otto, a singer also banned by EIAR because of swing. Kramer wrote "Ho un sassolino nella scarpa", one of Otto's greatest hits. In the period he also began a long-lasting cooperation with Quartetto Cetra - for them he wrote memorable songs such as "Nella vecchia fattoria", "In un palco della Scala", "Donna", "Concertino". In 1949 Gorni Kramer started working for Garinei and Giovannini, a very famous duo of impresarios who produced musical comedies. Writing music for their shows was his main activity for the following ten years.

Their most successful productions were Gran Baldoria, Attanasio cavallo vanesio, Alvaro piuttosto corsaro, Tobia candida spia, Un paio d’ali. They featured very popular songs such as "Un bacio a mezzanotte", "Non so dir ti voglio bene", "Le gocce cadono", "Chèrie", "Simpatica". Gorni Kramer debuted on television in 1957 with Il Musichiere music show hosted by Mario Riva. He composed the show's theme song "Domenica è sempre domenica". Other shows ensued: Buone vacanze, Giardino d'inverno, L'amico del giaguaro, Leggerissimo. In mid 1960s Gorni Kramer gradually reduced his public performances, but he continued to work as a music publisher and a TV author. He died in Milan in 1995.
External links:
Gorni Kramer - Wikipedia
Lou McGarity, Trombone
b. Athens, GA, USA
d. 1971.
~by Scott Yanow
A very talented trombone soloist influenced by Jack Teagarden but possessing his own brassier sound, Lou McGarity was a strong asset to many bands and jam sessions. He started out playing violin when he was seven, not switching to trombone until he was 17.
Stuyvesant Casino, N.Y. Ray McKinley, Lou McGarity, Lee Castle, Pee Wee Russell
McGarity studied at the University of Georgia from 1934-36, gigged locally in the South (including with Kirk DeVore and Nye Mayhew), and toured with Ben Bernie from 1938-40 before hitting the big time with Benny Goodman from 1940-42. McGarity not only played with Benny Goodman's big band but with his smaller groups -- the first trombonist to do so. McGarity, who through the years often teamed up with his friend and fellow trombonist Cutty Cutshall (including with Goodman), worked with Raymond Scott's Orchestra at CBS from 1942-44, spent time in the military and then rejoined Benny Goodman for a time in 1946.
Starting in 1947, he worked as a busy studio musician in New York, often appearing nightly with Dixieland-oriented musicians, including the Lawson/Haggart band, and with the many groups of Eddie Condon. He worked with Bob Crosby in the mid-'60s and was a key member of the World's Greatest Jazz Band from 1968-70 before bad health shortened his life. McGarity recorded as a leader for MGM (four selections in 1955), Jubilee in 1959, Argo in 1959 and Fat Cat's Jazz in 1970.

"Taps" Miller
b. Indianapolis, IN, USA
~By Richard Jessen
Marion Joseph "Taps" Miller who was born July 22, 1915 in Indianapolis, Miller was a triple threat performer, predominantly active as a dancer although he also played trumpet. He gained fame in the late 1930's and Forties as a dance in stage productions as well as a sideman in several big bands including two stays with Count Basie's organization (1942 and 1947 - 1949) as a singer and trumpet player.
L-R: Count Basie, Taps Miller, unknown friend and Clark Monroe.
In tribute to his best friend Taps, Buck Clayton wrote "Taps Miller" for the Basie band who recorded it for the first time on December 6, 1944. One of "Taps" Miller's showstoppers at his personal appearances was singing "Wham! (Re-bop,Boom-Bam)" while playing his trumpet and dancing.

Obed "Dad" Pickard
C&W vocals/banjo/guitar - but all-string instruments
d. 1954. 
Founder of the "Pickard Family". 
He was one of the first "Grand Old Opry" performers. Patriarch of one of the first country singing groups to appear on national network radio. While still a young boy, Obed became proficient on nearly all stringed instruments. In 1926, at age 52, he gained his first fame when he became a soloist in the Grand Ole Opry and began to record for Columbia.
In 1928, he brought his family into the act starring on NBC's The Cabin Door, a sort of minstrel show on radio. After that, he returned to the Grand Ole Opry showm and followed that with radio station work in New York, New Orleans, Philadelphia and other cities. 1940 found him in Hollywood where he would eventually make three films: Frontier Vengeance (1940), Riders Of The Dawn (1945), and Sea Of Grass (1947). He later had his own TV show in L.A. During the earliest years of TV, he has his own series "Sunday at Home" (1949).

Cassino Simpson, Piano
b. Chicago, IL, USA.
d. 1952.
~by arwulf arwulf 
This interesting character played a vital role in Chicago's hot music scene during the mid-1920s. The entire drama of his exciting professional life, his subsequent mental derangement, incarceration, and death took place in, or not far from, Chicago. Firstly, he is said to have studied piano with Augustus Zinky Cohn. His earliest appearance on phonograph records occurred in 1923, when he sat in with trumpet man Bernie Young. During the year 1925, Simpson could be heard performing with the Moulin Rouge Orchestra. He then joined up with an orchestra fronted by violinist and alto saxophonist Arthur Sims. Simpson can be heard on "Soapstick Blues," and a couple of other sides waxed by Arthur Sims Creole Roof Orchestra on June 21, 1926.
After Sims passed away that same year, the band continued to operate under the leadership of Bernie Young. Simpson stuck with Bernie through 1930. But it was the year 1929 that gave us much of this pianist's best ensemble work on records, as he became a member of Jabbo Smith's Rhythm Aces. Interacting with such notable individuals as Omer Simeon, Banjo Ikey Robinson, and the fiery Jabbo himself, Simpson was now helping to create some of the hottest and toughest records to come out of Chicago during the late 1920s.
Among the handful of sides by the Rhythm Aces issued on the Brunswick label, Simpson's spicy handling of the ivories is most evident on those famously frantic numbers "Jazz Battle" and "Ace of Rhythms," the steaming "Sau-Sha Stomp," "Take Your Time," and the very solid "Little Willie Blues." His wonderful laid-back support was an essential element in sustaining the mood of low-down masterpieces like "Let's Get Together" and "Take Me to the River." Simpson worked with, but does not appear on, the few extant recordings made by the legendary Erskine Tate.
During the years 1931-1933, Simpson engaged in what has been described as "freelance recording," and led various ensembles under his own name, utilizing the talents of Jabbo Smith and a young Milt Hinton. (According to Hinton, Simpson liked to name musical compositions after types of food, for example "Ham Hocks and Beans.")
The fateful turning point in Simpson's life occurred when he began accompanying vocalist, comedian, dancer, and sometime-female impersonator Frankie "Half Pint" Jaxon. They seem to have made only one recording session together, on June 23, 1933. The titles were "Mama Don't Allow It," "Spank It," and "The Mortgage Blues." What was it about Half Pint that made Simpson want to kill him? Some dangerous volatile component in the chemistry of their combined personalities? Something unforgivable that Jaxon said or did, triggering a homicidal reaction in the over-wrought pianist? Or maybe Simpson was simply going crazy. That's apparently what the authorities believed, as he was institutionalized in March 1935 at the Illinois State Hospital for Mental Diseases in Elgin, Illinois. Even this, it seems, could not prevent him from making music.
He played piano and vibraphone in the hospital's 26-piece dance orchestra, and beat the bass drum in their marching band. He even made a series of solo piano recordings during the mid-1940s, right there on the grounds of the mental hospital, where he lived out the rest of his days.

Notable Events Occurring
On This Date Include:

Famed showman Florenz Ziegfeld died.
In poor health, and with no shows on Broadway,
his wife, actress Billie Burke, was working in
Hollywood to support the family.
Songs Recorded/Released
On This Date Include:


Marion Harris - "After You've Gone"

Wilbur Sweatman's Jazz Orchestra - Hello, Hello!


Ted Lewis and his Band - I Love You, Sweet Angeline


Bessie Smith - Lou'siana Low Down Blues
The California Ramblers - Somebody Loves Me


Cookie's Gingersnaps - Here Comes The Hot Tamale Man
Cookie's Gingersnaps - High Fever

Abe Lyman's California Ambassador Hotel Orchestra - Fleurs d'Amour


Martha Copeland - Police Blues

Tiny Parham and his Musicians - Jungle Crawl

Tiny Parham and his Musicians - Washboard Wiggles

    Frankie "Half Pint" Jaxon - Corrine Blues
    Louis Armstrong and his Orchestra - Sweet Savannah Sue

    Louis Armstrong and his Orchestra - (What Did I Do To Be So) Black And Blue? - (From Musical Show "Connie's Hot Chocolates")(Andy Razaf / Fats Waller)

    Harry Reser and his Orchestra - He's A Big Man From The South (With A Big Cigar In His Mouth)


    Frankie Trumbauer and his Orchestra - Hittin' The Bottle
    Bessie Smith - Black Mountain Blues

    Bessie Smith - Hustlin' Dan



    ~(Henry Creamer / Turner Layton) (1918)

    Now won't you listen honey, while I say,

    How could you tell me that you're goin' away?

    Don't say that we must part,

    Don't break your baby's heart

    You know I've loved you for these many years,

    Loved you night and day...

    Oh! honey baby, can't you see my tears?

    Listen while I say:

    After you've gone and left me cryin'

    After you've gone there's no denyin'

    You'll feel blue, you'll feel sad

    You'll miss the dearest pal you've ever had

    There'll come a time, now don't forget it
    There'll come a time when you'll regret it
    Someday, when you grow lonely
    Your heart will break like mine and you'll want me only
    After you've gone, after you've gone away
    After you've gone and left me cryin'
    After you've gone there's no denyin'
    You're gonna feel blue, and you're gonna feel sad
    You're gonna feel bad
    And you'll miss, and you'll miss,
    And you'll miss the bestest pal you ever had
    There'll come a time, now don't forget it
    There'll come a time when you'll regret it
    But baby, think what you're doin'
    I'm gonna haunt you so, I'm gonna taunt you so
    It's gonna drive you to ruin
    After you've gone, after you've gone away.

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