Bubber Miley DiscographyThis Discography of Bubber Miley, compiled by the enthusiasts mentioned below, was worked out in 1999/2000 and was presented in the DESS Bulletin over a number of 12 issues. Comments was invited by readers but very few came in probably due to the limited edition and circulation of the Bulletin. Since then the Internet has become available to most everyone and we hope by putting the Discography on the web it will be known to all admirers of Duke Ellington and his sidemen and that the discographers will be honoured for the work they laid down. Enjoy the reading.By: Bo Scherman, Goran Eriksson, Nils-Gunnar Anderby and Goran Wallen

Recordings of Bubber Miley, except with Duke Ellington and his Orchestra, including sessions for which he has previously been listed, but on which his presence is doubtful.

Sources of information: previous discographies, for the main part the latest editions of Blues & Gospel Records 1902-1943, by Robert Dixon and John Godrich, and Jazz Records 1897-1942, by Brian Rust. However, our close listening to every recording revealed some inaccuracies in listings of instrumentations and doubtful identifications of musicians. We have amended those and reported our corrections and opinions in the notes after each session. There is certainly food for discussion, and the readers are invited, or even urged, to send us additions, corrections, opinions and suggestions.The initials BM will be used for Bubber Miley throughout the discography.

MAMIE SMITH AND HER JAZZ HOUNDS: Mamie Smith (vd)-1, BM (tp), Jake Green (tb), Bob Fuller (cl), George Bell (vln), Gilliam (p), Curtis Mosby (woodblocks).New York, c. October 12, 1921

70246-B Let's Agree To Disagree -1 OKeh 451170247-B Rumbling Blues OKeh 802470248-B Cubanita OKeh 8024All titles also on Document DLP552 and DOCD-5358. Note: BM toured with Mamie Smith during the autumn of 1921 (see John Chilton: Who's Who of jazz). It is difficult to establish an aural evidence for this early period, when his style was far from fully developed, but we believe there is a strong possibility that he is the trumpet player on this session. The above personnel is taken from the latest (fourth) edition of Blues and Gospel Records 1902-1943, by Robert Dixon and John Godrich, to which we have no objections, except that they list Bob Fuller on clarinet and soprano sax, although he plays only clarinet throughout.

MAMIE SMITH AND HER JAZZ HOUNDS: Same instrumentation, without Mamie Smith; Everett Robbins may be the pianist.New York, c. February 14, 1922

70468-B Decatur Street Blues OKeh 803070469-B Carolina Blues OKeh 8030Both titles also on Document DL553 and DOCD-5358. Note: The instrumentation, as suggested in Brian Rust's Jazz Records 1897-1942, is correct, but some of the musicians are aurally different from those on the previous session. The presence of BM on this session seems aurally doubtful to us.

MAMIE SMITH AND HER JAZZ HOUNDS: Mamie Smith (vcl), unknown (tp), (tb), poss. Bob Fuller (ss), poss George Bell (vln), unknown (p).New York, c. February 16, 1922

70479-C Doo Dah Blues OKeh 457870480-B There's Only One Man (That Satisfies Me) OKeh 460070481-B Wabash Blues OKeh 4578All titles also on Document DLP553 and DOCD-53S8. Note: The above personnel is listed by Dixon-Godrich. Rust has some alternative names and identifies the trumpet player as possibly BM. To our ears, it is definitely not BM, but a more "legitimate" player with no particular jazz qualities.

MAMIE SMITH AND HER JAZZ HOUNDS: Mamie Smith (vcl), unknown (tp), poss. Herb Flemming (tb), poss. Bob Fuller (d), poss. Coleman Hawkins (C-mel or ts), poss. George Bell (vln), unknown (p), (dr).

New York, c, June 10, 192270729-C Mamie Smith Blues OKeh 46587O730-A Alabama Blues OKeh 4658Both titles also on Document DLP553 and DOCD-5359. Note: The above personnel is listed by Dixon-Godrich, except that they have poss. BM on trumpet and Coleman Hawkins as playing alto sax. It is not BM to our ears, and the saxophone is a tenor or possibly a C-melody rather than an alto.

MAMIE SMITH AND HER JAZZ HOUNDS: Johnny Dunn (tp), unknown (tb), poss. Ernest Elliott or Garvin Bushell (cl/as), poss. Her-schel Brassfield (as), Coleman Hawkins (ts), George Bell (vln), unknown (p), Samuel Speed (bj), unknown (woodblocks).

New York, c, August, 192270777-B Stuttering OKeh 803670778-C Those Longing For You Blues OKeh 8072Same instrumentation and prob. same personnel, plus Mamie Smith (vcl) -1.

New York c. August, 192270790-B Got To Cool My Doggies Now -1 OKeh 467070791-B You Can Have Him, I Don't Want Him,

Didn't Love Him Anyhow Blues -1 OKeh 467070792-A Strut Your Material OKeh 8036

Same instrumentation and prob. same personnel, except that the trumpet could possibly be BM.New York, c. August, 1922 70809-A Wish That I Could But I Can't

Forgive You Blues -1 Okeh 4689Bj and woodblocks omitted.

New York, c. August, 192270824-B Sighin1 Around With The Blues -1 Okeh 476770825-B That Da Da Strain -1 Okeh 4689All eight titles from these four August, 1922 sessions also on Document DLP553 and DOCD5359.

Same instrumentation and prob. same personnel as last.New York, c. December 6, 1922 71079-B I Ain't Gonna Give Nobody None

O' This Jelly Roll -1 Okeh 475271080-B Don't Mess With Me-1 Okeh 4752Both titles also on Document DLP554 and DOCD5359. Note: The above personnels for the August and December, 1922 Mamie Smith sessions were suggested by Dixon-Godrich (they list the vocal titles only), except that they have BM on trumpet throughout, while we think it sounds like Johnny Dunn on the first two sessions, with some of his most typical "trade marks".

MAMIE SMITH AND HER JAZZ HOUNDS: Mamie Smith (vcl), unknown (tp), (tb), poss. Ernest Elliott (cl,), unknown (ts), poss. George Bell (vln), unknown (p), (woodblocks).

New York, c, December 8, 192271085-A Mean Man OKeh 485671086-B The Darktown Flappers Ball OKeh 4767Both titles also on Document DLP554 and DOCD-5359.Note: Dixon-Godrich have the above personnel, except that they list two trumpets, BM and unknown, while there is only one audible, who does not sound like BM to us.

MAMIE SMITH AND HER JAZZ HOUNDS: Mamie Smith (vcl), poss. Johnny Dunn, unknown (tp), unknown (tb), Ernest Elliott (cl), Co- leman Hawkins (ts), poss. George Bell (vln), poss. Harvey Brooks (p), unknown (woodblocks).

New York, c, December 20, 192271112-B I'm Gonna Get You OKeh 4781This title also on Document DLP554 and DOCD-5359. Note: Dixon-Godrich have BM and unknown trumpet (we disagree), plus a second tenor sax player and a banjo player, both of whom we cannot hear. One of the trumpet players could be Johnny Dunn. The 2nd trumpet can be heard very faintly in a few passages and is impossible to identify aurally. Rust has a partly different personnel: Mamie Smith (vd), Joe Smith (tp), poss. Cecil Carpenter (tb), Buster Bailey or Ernest Elliot (cl), Coleman Hawkins (ts), George Bell (vln), Harvey Brooks (p), Cutie Perkins (dr). Joe Smith's presence seems very unlikely to us.

BESSIE SMITH (vcl), BM (tp), Charlie Irvis (tb), Sidney Bechet (cl and/or ss), Clarence Williams (p), Buddy Christian (bj). New York c. January, 1923I Wish I Could Shimmy likeMy Sister Kate OKeh unissued

THOMAS MORRIS PAST JAZZ MASTERS: Thomas Morris, BM (tp), Charlie Irvis (tb), unknown (C-mel), ... Smith (p). Buddy Christian (bj), unknown (bb), (dr).

New York c. February, 1923 71306-A E Flat Blues No. 2 ("Memphis, Tennessee Blues")

OKeh 805571307-A Original Charleston Strut OKeh 8055,

Col C3L33,Westhill Audio Archives WH1017 Bb and dr omitted.

New York, April, 192371531-C Lonesome Journey Blues OKeh 486771532-B When The Jazz Band Starts To Play OKeh 4867

Same71582-B Just Blues That's All OKeh 8075, Lindstrom A415771583-C Bull Blues (E Flat No. 1 Blues) OKeh 8075, Lindstrom A4157Poss. Ernest Elliott (cl) replaces C-mel, unknown bb added.

New York, August 7, 192371739-B Those Blues OKeh 494071740-B Beaucoupe De Jazz (sic) OKeh 4940All eight Thomas Morris titles above also on Natchez NLP3003, Fountain FJ113 and Classics 823.Note: The above personnels are listed by the sleeve writer of FJ113, who is more accurate than Rust. We have added the pianist's last name, which is called by somebody on Just Blues That's All (Play It, Mr. Smith!). The trumpet break on Original Charleston Strut, the open solo and break on When The Jazz Band... and the open solo on Those Blues are aurally by BM, all other trumpet solos are by Morris. The sleeve notes of FJ113 also identify BM in the solo breaks at the end of Beaucoupe De Jazz, but it is clearly Morris, who continues to lead the ensemble with some typical fill-ins by BM in the last few bars.

SNOWDEN'S NOVELTY ORCHESTRA: New York, October 18, 1923. This session, allegedly recorded for Victor and featuring BM, is unsubstantiated in the Victor files, according to Steven Lasker.

MARY JACKSON (vcl), acc. by Perry Bradford's Jazz Phools: Prob. Gus Aiken (tp), Bud Aiken (tb), Garvin Bushell (cl/ss), Leroy Tibbs (p), Samuel Speed (bj).

New York, October, 192370773 All The Time PA 032013, Pe 12092, Hg 946

70374 Who'll Get It When I'm Gone PA 032013, Pe 12092, Hg 946 Both titles also on Selmerphone SHN 4026 and Document DOCD-5514.Note: The above personnel is listed by Dixon-Godrich and seems very likely to us. Rust has Gus Aiken or BM on trumpet and also alternative names on tb and cl/as. Aurally, it is definitely not BM but very probably Aiken in our opinion.

PERRY BRADFORD'S JAZZ PHOOLS: BM, unknown (tp), prob. Charlie Irvis (tb), poss. Garvin Bushell (d/ss), poss. Herschel Brassfield (as), Coleman Hawkins (ts) -1, Leroy Tibbs (p), Samuel Speed (bj), poss. Harry Hull (bb).

New York, February, 1924 1668-1, -2 Charlestown, South Carolina (sic) -1

Pm 20309, Cx 40309, Hg 912, Pur 11309 1669-1, -2 Hoola Boola DancePm 20309, Cx 40309, Hg 912, Pur 11309

1668-1 and 1669-1 also on Biograph BLP 12007, Natchez NLP3OO3 and Document DOCD-5353. One take (probably -1) of each title also on Byg 529079.Note: Rust lists two trumpets, Johnny Dunn and BM. One of them is prominent and is most certainly BM, the other one can be heard faintly in the background and is impossible to identify aurally. The latest edition of Rust doesn't list the trombonist and tenor sax player, whom we have identified as Charlie Irvis and Coleman Hawkins respectively, the latter audible only in the first title (which, incidental ly, has nothing to do with James P Johnson's famous composition.). An earlier edition of Rust has Herb Flemming as trombonist and leader, but this seems unlikely aurally.

LILLIAN GOODNER AND HER SAWIN' THREE: Lillian Goodner (vcl), BM (tp). Bob Fuller (as), Louis Hooper (p).

New York, c. February, 192431530 Four Flushing Papa ( You've Got to

Pay Me Straght) Ajax 1702831531 Gonna Get Somebody's Daddy

(Just Wait and See) Ajax 17028Both titles also on Historical ASC5829-14, Selmerphone SHN4021 and Document DOCD5510.

HELEN GROSS (vd), ace. by the Choo Choo Jazzers: Prob. Thomas Morris (tp), Bob Fuller (cl), Louis Hooper (p), unknown (effects) -1.New York, c. May, 1924 31561 He's Never Gonna Throw Me Down

Ajax 17037, Document DLP54231564 Hard Luck Blues Ajax 17037, PA 032067, Pe 12146

VJM VLP40, Selmerphone SHN402331565 Eavesdropper's Blues Ajax 17036, Document DLP 54231567 Haunted House Blues -1 Ajax 17036, Document DLP 542All titles also on Document DOCD-5477. PA 032067, Pe 12146 andVJM LP40 as by Clementine Smith.Note: Dtxon-Godrich have BM on trumpet, but there is nothing that supports this identification aurally. Rust has Thomas Morris, which sounds very likely to us, although he has not been positively identified on any other recording for the Ajax label.

The following part of the discography covers only a few months of 1924, an extremely busy period for BM in the studios of different record companies. In fact, we are convinced that he is present on even more recordings than he has been credited for in previous discographies. By this time, he had already developed a strong musical identity, with characteristic inflections, occasional light growls and some pet phrases and effects, very different from other trumpet players in New York such as Johnny Dunn, Louis Metcalf and Rex Stewart, for whom he has sometimes been mistaken. All these typical ingredients are present in all the blues accompaniments we have listed here and listened to, although the playing on those is rarely on the high level of the Texas Blues Destroyers and Kansas City Five sessions. Dixon-Godrich seem to have based their personnel listings for the Ajax sessions on an interview with Louis Hooper in Record research, issue 77. We don't always agree with his identifications, as noted below. Did anyone interview Louis Metcalf about his blues accompaniments?

HAZEL MEYERS (vcl), ace. by Her Sawin1 Trio: poss. BM (tp), Louis Hooper (p), poss. Elmer Snowden (bj).New York, c. June, 1924

31571 Papa Don't Ask Mama Where She Was Ajax 1703931574 I'm Every Man's Mama Ajax 17040Both titles also on RST Blues Documents BD2110 and Document DOCD-5430.Note: Both Dixon-Godrich and Rust have definitely BM on trumpet. We think it's doubtful but we have no alternative suggestion. It is a better musician than the one on the Helen Gross session of c. May, 1924, and his style is more similar to BM's but rhythmically stiffer.

HAZEL MEYERS (vcl), ace. by Choo Choo Jazzers: BM (tp), Bob Fuller (cl), Louis Hooper (p), unknown (effects) -1.New York, c. July, 1924

31597 War Horse Mama A(ax 1704731599 Cold Weather Papa -1 Ajax 17047Both titles also on RST Blues Documents BD2110 and DOCD-5431.

HELEN GROSS (vcl), BM (tp) -1, Bob Fuller (cl) -2, Cliff Jackson (p).New York, c. July, 1924

31609 Rockin' Chair Blues -1, 2 Ajax 1704631611 Sorrowful Blues -1, 2 Ajax 1704631613 What'111 Do-1 Ajax 1704931616 Neglected blues -2 Ajax 1704931620 Conjure Man Blues -1 Ajax 17082The first four titles also on Document DLP542 and DOCD-5472.

LETHIA HILL (vcl), BM (tp), poss. Arthur Ray (p).New York, c. August 10, 1924

13496 Old North State Blues Vo 14874, Sil 3016This title also on Selmerphone SHN4023, Document DOCD-5513 and Neovox 812(MC).

HAZEL MEYERS (vcl), BM (tp), Louis Hooper (p).New York, c. August, 192431622 He Used To Be Mine (But You Can Ajax 17082

Have Him Now)31624 Lost My Sweetie Blues Ajax 17077

RST Blues Documents BD-2110 Document DOCD-5431Note: Dixon-Godrich and Rust have Louis Metcalf on trumpet. We have only heard Lost My Sweetie Blues, and to us it is aurally the trumpet player correctly identified as BM on other Hazel Meyers sessions for Ajax from this period.

HAZEL MEYERS (vcl), ace. by Choo Choo Jazzers: BM (tp) -1, Bob Fuller (cl) -2, Louis Hooper (p) -3, unknown (p) -4.

New York, c. August, 192431630.You'll Never Have No Luck Quittin1 Me -2,4 Ajax 1705431631.Lonesome for That Man of Mine -1, 3 Ajax 17054Both titles also on Historical 5829-14, RST Blues Documents BD2110and Document DOCD-5431.Note: We agree about the personnels, as listed by Dixon-Godrich, and there are two aurally different pianists.

HELEN GROSS (vcl), ace, by Choo Choo Jazzers: BM (tp), Louis Hooper (p), unknown male (speech) -1.New York, c. August, 1924

31633 If You Can't Ride Slow And Easy Ajax 17077Rev.: Ajax 17077 Hazel Meyers.This title also on Document DLP542 and DOCD-5477. Note: Dixon-Godrich and Rust have Louis Metcalf on trumpet, Dix-on-Godrich c. September 1924 and Rust c. August 1924. We are convinced that the accompaniment is the same as for "Lonesome for That Man of Mine" by Hazel Meyers (BM and Hooper), and the prox imity of the matrix numbers indicates that they may even have been recorded during the same session.

MARGARET JOHNSON (vcl), ace. By Clarence Williams' Harmoni-zers: Thomas Morris, poss. BM (tp), Charlie Irvis (tb), poss. Ernest Elliott (as), Clarence Williams (p), Buddy Christian (bj).

New York, September 5, 1924 72789-B I Love You Daddy But You Don'tMean Me No Good Okeh 8230, Neovox 812 (MC)

72790-B Nobody Knows the Way I Feel This MorningOkeh 8162, PaE E5300

72791 -B Absent Minded Blues Okeh 8162, PaE E5300All titles also on Document DOCD-5436.Note: The above personnel, with definitely BM on 2 nd trumpet, is listed by Dixon-Godrich, Rust and Tom Lord in his Clarence Williams discography. Lord notes that "some authorities believe that Joe "King" Oliver is one of the trumpet players", but we find this very unlikely. The more prominent of the two sounds like Morris. The other one is more in the background but could possibly be BM.

JOSIE MILES (vcl), BM (tp) -1, prob. Bob Fuller (cl) -2, Cliff Jackson (p). New York, c. September, 192431641. Lovin' Henry Blues -1 Ajax 1705731642. Freight Train Blues -2 Ajax 17057Both titles also on Document DOCD-5466.Note: Dixon-Godrich and Rust have Louis Metcalf on trumpet and the rest of the personnel as above, but it is aurally the same musician as the one identified as BM on other sessions from this period and very different from the style of Metcalf at this time.

JOSIE MILES (vcl), BM (tp), Arthur Ray (p).New York, September 15, 19249707-C Sweet Man Joe Edison unissued

Document DOCD-5466

MONETTE MOORE (vcl), BM (tp), John Montagu (p).New York, September 15, 1924

13692 I Wanna Jazz Some More Vo 14903, Document DOCD-5338

MONETTE MOORE (vcl), BM (tp), unknown (d ) -1, John Montagu (p). New York, September 25, 192413767. I 'm A Heart-Broken Mama Vo 14911, Sil 301813768.Death Letter Blues -1 Vo 14911, Sil 3018Both titles also on Document DOCD-5338.Note: Dixon-Godrich and Rust have Rex Stewart on trumpet for both the above Monette Moore sessions, but it is aurally BM,

HELEN GROSS (vcl), BM (tp), Louis Hooper (p), unknown (speech) (possibly Hooper) -1.New York, c. September, 1924 31649 Ticket Agent Ease Your Window Down -1

Ajax 17060, Document DLP542, DOCD-5477Rev.: Ajax 17060 Rosa Henderson.Note: Dixon-Godrich have Louis Metcalf and Cliff Jackson on trumpet and piano. Rust has BM and Cliff Jackson. To us, it is still aurally the same trumpet player as before (BM), and the pianist sounds more like Hooper than Jackson.

KITTY BROWN (vcl), prob. BM (tp) -1, Bob Fuller (cl) -2, Louis Hooper (p), Jazz Casper (Billy Higgins) (vcl) -3.New York, c. September 29, 1924

5653-3 Family Skeleton Blues -2 Ba 1436, Do 413, Hg 984,Re 9734, Or 281 5654-3 I Wanna Jazz Some More -1,2

Ba 1437, Do 412, Re 9733, Or 2805655-3 Keep on These Days -1,3 Ba 1452, Do 425, Re 9748, Or 298 5656-3 One of These days -1,3 Ba 1436, Do 412, Re 9734, Or 280 Domino 412 (matrix 5654) as by Bessie Williams, Domino 412 (matrix 5656) as by Bessie Williams with Flora Dale, Domino 425 as by Jane White and Dixie Gray, Prioie 281 as by Rosa Green, Oriole 298 as by Mazie Leroy and Billy Burns.Revs: Banner 1437, 1452, Regal 9733, 9748, Harmograph 984, Domino 413, Prioie 281 Rosa Henderson, Domino 425, Oriole 298 Julia Moody.All titles also on Selmerphone SHN-4015 and Document DOCD-5507. Note: Dixon-Godrich have Thomas Morris on trumpet, Rust has? BM. To us, it doesn't sound at all like Morris but more like BM.

ROSA HENDERSON (vcl), acc. by the Choo Choo Jazzers: BM (tp), Cliff Jackson (p), Joe Davis (train-whistle) -1.New York c. late September or early October, 192431675 Twelfth Street Blues Ajax 17081

31677. Memphis Bound -1 PA 032122, Pe 1220131678. Memphis Bound -1 Ajax 17069Pathe Actuelle 021122 and Perfect 12201 as by Josephine Thomas.Rev.: Ajax 17069 Viola McCoy, Ajax 17081, Pathe Actuelle 032122,Perfect 12201 Monette Moore.Both titles and takes also on Document DOCD-5403.

Note: Dixon-Godrich and Rust have Louis Metcalf on trumpet, but it is still aurally the same player identified before as BM. Previous dis- cographies list these titles and the Josie Miles title below under c. October, 1924. The matrix numbers indicate that they were recorded just before or during the Ajax session of the Texas Blues Destroyers c. October 2).

JOSIE MILES (vcl), acc. By the Choo Choo Jazzers: Louis Metcalf o BM (tp), Cliff Jackson (p), Elmer Snowden (bj). New York, c. late September or early October, 1924

31679 Flora’s Weary Blues Ajax 17070Note: This title has not been checked aurally by us. According to Dixon-Godrich and Rust, he trumpet player is Louis Metcalf, but since it was probably recorded on the same date as matrix numbers 31675 and 31678 by Rosa Henderson (which see), there is strong possibility that it is BM.

JOSIE MILES (vcl), acc. by Kansas City Five: BM (tp), Jake Frazier (tb), Bob Fuller (cl), unknown (p), poss. Elmer Snowden (bj).New York, October 2, 1924.

9761-A Temper’mental Papa Edison 51477, IAJRC 49,Document DOCD-5467

9761-C Temper’mental Papa Edison 51477,Document DOC D-5654

9762-B Sweet Man Joe Edison 51746, IAJRC 49,Document DOCD-5467

Note: Dixon-Godrich has poss. Johnny Dunn on trumpet. Rust has BM or Johnny Dunn. It is aurally BM, and there is nothing that supports the Johnny Dunn theory.

TEXAS BLUES DESTROYERS: BM (tp), Arthur Ray (harmonium org),New York, c. October 2, 1924

31687 Lenox Avenue Shuffle Ajax 17065, AFCDJ A-016 Down In The Mouth Blues Ajax 17065, AFCDJ A-016Both titles are also on Rarities 11, Classic Jazz Masters CJM1, EPM151022, 159252 (tracks 5 and 6) and Neovox 822 (MC).

TEXAS BLUES DESTROYERS: BM (tp), Arthur Ray (harmonium org).New York, c. October 5, 1924

105588 Down In The Mouth Blues PA 036160, Pe 14341,Columbia C3L33

105589 Lenox Avenue Shuffle PA 036160, Pe 14341,Both titles also on Rarities 11.

TEXAS BLUES DESTROYERS: BM (tp), Arthur Ray (harmonium org).New York, c. October 7, 1924

13832 Lenox Avenue Shuffle Vo 1491313834 Down In The Mouth Blues Vo 14913Both titles alos on EPM 151022, 159252 (tracks 1 and 2).Note: According to some discographers, Arthur Ray plays accordion on the above Texas Blues Destroyers session, but it is undoubtedly an organ!

JOSIE MILES (vcl), acc. by the Choo Choo Jazzers: BM (tp), unknown (cl), unknown (p), Elmer Snowden (bj).New York, c. early October, 1924

31690 Believe Me, Hot Mama Ajax 17066Document DOCD-5467

Rev: Ajax 17066 Viola Mc CoyNote: Dixon-Godrich have unknown tp, cl and p, Rust has Louis Metcalf (tp) and Cliff Jackson (p). To us it is aurally the same trumpet player as before (BM). The pianist is most certainly not Cliff Jackson but sounds more like Louis Hooper.

MONETTE MOORE (vcl), acc. by the Choo Choo Jazzers: BM (tp), Jake Frazier (tb), Louis Hooper (p), Joe Davis (effects) -1.New York, c. early October, 1924

31692 Work House Blues Ajax 17064, Historical 5829-1431694 House Rent Blues -1 Ajax 17064, Historical 5829-1431695 House Rent Blues -1 Ajax 17064Ajaz 17064 as by Susi Smith.Both titles and takes also on Document DOCD-5338.

JOSIE MILES (vcl), acc. by the Choo Choo Jazzers: BM (tp), Charlie Pryme or Louis Hooper (p), Elmer Snowden (bj), unknown (whistle) -1.New York, c. October, 1924

31703 Won’t Somebody Help Me Find My Lovin’ Man Ajax 17076,

PA 032134,Pe 12203Document DOCD-5467

31705 South Bound Blues Ajax 17070Document DOCD-5467

Sweet Man Joe Ajax 17076Pathé Actuelle 032124 and Perfect 12202 as by Augusta Jones.Rev. these issues Monette Moore.Nore: The above personnel is listed by Dixon-Godrich, and we have no objections for the first two titles (we haven¨t heard the 3rd title). Rust has the same band members, plus a trombone and a clarinet player, who are aurally not present.

KANSAS CITY FIVE: BM (tp), Jake Frazier (tb), Bob Fuller (cl), Louis Hooper (p), Elmer Snowden (bj).New York, late October, 1924

105643 Get Yourself A Monkey Man And Make Him Strut His Stuff PA 036175, 6802,

Pe 14356, VJM VLP20105644 Louisville Blues PA 036196, Pe 14377Rev.: Pathé-Actuelle 036175 Max Terr, Perfect 14377 Bar Harbor Orchestra.Both titles alos on Historical HLP11, EPM 151022, 159252 (tracks 3 and 4).

ROSA HENDERSON (vcl), acc. by Kansas City Five: BM (tp), Jake Frazier (tb), Bob Fuller (cl), Louis Hooper (p), Elmer Snowden (bj).New York, October 28, 1924

9812-B Don’t Advertise Your Man Ed 51478, IAJRC 49,Document DOCD-5403

9812-A or –C Don’t Advertise Your Man Ed 51478Document DOCD-1012

Rev. Edison 51478 not known.Nore: The alternative take (-A or –C), which is aurally different from take –B and confirms our belief that BM is the trumpet player on this date.

HELEN GROSS (vcl), acc. by Kansas City Five: BM (tp), Jake Frazier (tb), Bob Fuller (cl), Louis Hooper (p), Elmer Snowden (bj), unknown (chimes).New York, October 28, 1924

9813-C Undertaker’s Blues Ed unissuedDocument DOCD-5477

Note: For the above Rosa Henderson/Helen Gross session, Dixon-Godrich have unknown (tp) and a “prob” before all the other musicians on the Rosa Henderson title and before Frazier on the Gross title. Rust has ? BM (tp) and no reservation about the identity of the others. To our ears, it is definitely BM on trumpet, and all the other musicians listed above are most certainly also present. Undertaker’s Blues, which BM recorded again with Rosa Henderson the following month, is an early example of a blues in a minor key. Also, it is interesting to note in both versions the quotation from Frédéric Chopin’s “Funeral March” from Sonata No. 2, Opus 35, in B-flat minor, which BM used later in his composition “Black and Tan Fantasy”, first recorded with Duke Ellington April 7, 1927.

VIOLA McCOY AND BILLY HIGGINS (vcl duet), acc. by poss. BM (tp), poss. Arthur Ray or Louis Hooper (p).New York, c. late September or early October, 1924

13805. Keep On Going Vo 14912, Sil 301913806.Get Yourself A Monkey Man And Make Him Vo 14912, Sil 3019Strut His StuffBoth titles also on Document DOCD-5417.Note: The above personnel is listed by Dixon-Godrich and in the booklet of DOCD-5417. BM's presence seems aurally doubtf ul to us. According to previous discographies, these recordings were made October, 1924 - the matrix numbers indicate that they are earlier than the Texas Blues Destroyers session of c. October 7, 1924.

JULIA MOODY (vcl), acc. by BM (tp) -1, Jake Frazier (tb) -2, Bob Fuller(cl), Louis Hooper (p).

New York, c. October 29, 19245693-3 Worried Blues -2 Ba 1468, Do 437,

Re 9765, VJM VLP305694-2 Mad Mama's Blues -1 Ba 1451, Do 425,

Re 9749, Or 298Domino 425, 436 as by Violet Mills; Oriole 298 as by Edith Vaughan.Revs.: Banner 1451, Regal 9749 by Louella Jones; Domino 425, Oriole298 by Kitty Brown.Both titles also on Document DOCD-5418.

LOUELLA JONES (real name ALBERTA PERKINS) -JAZZ CASPAR (real name BILLY HIGGINS )(vcl duet), acc. by BM (tp), Louis Hooper (p), Elmer Snowden (bj), unknown (chimes) -1.

New York, c. October 30,19245695 -l,-2,-3 Who Calls You Sweet Mama Now

Ba 1467, Do 438, Re 9764 (-3), Hg 983 (-3), Selmerphone SHN-4034 (3), Document DOCD-5528 (-3)

5696 -1, -2 Sweet Mandy -1 Ba 1451, Do 424,Re 9749 (-2), Hg 983 (-1), Or 297 (-1),Selmerphone SHN-4034 (-2), Document DOCD-5528 (-2), DOCD-5654 (-1)

We have indicated take numbers after those issues, on which they have been verified. Domino 424, 438 as by Lucille Johnson; Regal 9749 as by Billy Higgins-Louella Jones; Regal 9764 as by Nettie Potter; Harmograph 893 as by Louella Jones & Jazz Caspar. Revs.: Banner 1451, 1467, Domino 438, Regal 9749, 9764 by Julia Moody; Domino 424 by Rosa Henderson ( as Sally Ritz).Note: Dixon-Godrich and Rust have the above personnel, except that both indicate the chimes player's presence after the wrong title, and Rust identifies him as ? Joe Davis.

JULIA MOODY (vcl), acc. by BM (tp), Louis Hooper (p), Elmer Snowden (bj).New York, c. November 3, 1924

5700-1 Broken Busted, Can't Be Trusted Blues Ba 1468, Do 437,Re 9765, Or 311, VJM VLP30

5701-1 Don11 Forget, You'II Regret Ba 1467, Do 438,Re 9764

Domino 437, 438 as by Violet Mills; Oriole 311 as by Edith Vaughan.Revs.: Banner 1467, Domino 438, Regal 9764 by Louella Jones; Oriole311 not known.Both titles also on Document DOCD-S418.

MONETTE MOORE (vcl), acc. by BM (tp), Jake Frazier (tb), Louis Hooper (p).New York, c. November, 192431706 Bullet Wound Blues Ajax 17075,

Document DOCD 5338

KANSAS CITY FIVE: BM (tp), Jake Frazier (tb), Bob Fuller (cl-1, as-2),

Louis Hooper (p), Elmer Snowden (bj).New York, c. November, 1924

31709 Believe Me, Hot Marna -1,-2 Ajax 1707831711 St. Louis Blues -1 Ajax 1707831713 Louisville Blues -1 Ajax 1707231715 Temper'mental Papa -1 Ajax 17072, IAJRC 49All titles also on VJM VLP20, EPM 151022, 159252 (tracks 6-9).

JOSIE MILES-BILLY HIGGINS (vcl duet), acc. by Choo Choo Jazzers: BM (tp), Bob Fuller (cl )-l, Louis Hooper (p).

New York, c. November, 192431725 l 'm Done, Done, Done With You -1 Ajax 1708031727 A To Z Blues Ajax 17080Both titles also on Document DOCD-5467. Note: Dixon-Godrich have the above personnel, and we agree. Rust has a question mark for Hooper.

MONETTE MOORE (vcl), acc. by BM (tp), Jake Frazier (tb), Louis Hooper (p).New York, c. November, 1924

31729 The Bye Bye Blues Ajax 1707931730 Weeping Willow Blues Ajax 17079Both titles also on Historical Records 5829-14, Document DOCD-5339.

JOSIE MILES-BILLY HIGGINS (vcl), acc. by Choo Choo Jazzers: BM (tp), Bob Fuller (cl) -1, Louis Hooper (p).New York, c. November, 1924

31733 Satisfied Ajax 1708331735 Picnic Time -1 Ajax 17083Both titles also on Document DOCD-5467. Note: Dixon-Godrich have the above personnel, and we agree. Rust has "instrumentation uncertain".

THE WASHINGTONIANS, New York, November, 1924 (Blu Disc, 2 titles). This is BM's first issued session with Duke Ellington.

VIOLA McCOY (vd/kazoo), acc. by Kansas City Five: BM (tp), Jake Frazier (tb), Bob Fuller (cl), Arthur Ray or Louis Hooper (p), Elmer Snowden (bj).New York, November 21, 19249860-A Memphis Bound Ed 51478,

Document DOCD-54179860-C Memphis Bound Ed 51478, IAJRC 49

ROSA HENDERSON (vcl), acc. by Kansas City Five: Same personnel as for the Viola McCoy title above , add unknown (chimes).New York, November 21, 19249861-B Undertakens Blues Ed 51476, IAJRC 49,

Document DOCD5403Note; The personnel for this Viola McCoy/Rosa Henderson session is listed by Rust as above, except that he has a question mark before BM and definitely Hooper on the Rosa Henderson title. To us it is defini- tely BM aurally, and we agree about his identification of the others. The pianist is probably the same throughout, and Hooper seems the most likely one. Dixon-Godrich have Thomas Morris instead of BM and "prob" befoie all the other names. They are even in doubt about the identity of the kazoo player, who is quite obviously Viola McCoy. The booklet of DOCD-5417 indicates 9860-A, and it is aurally diffe-rent from the version on IAJRC 49, which is listed as -C on the sleeve. IAJRC 49 lists 9861-B, and it is aurally the same take as on DOCD-5403.

JOSIE MILES (vcl), acc. by Kansas City Five: BM (tp), Jake Frazier (tb), Bob Fuller (cl), unknown (p), prob. Elmer Snowden (bj).New York, November 21, 1924

9862–B Mad Mama’s Blues Ed 51477Document DOCD-5654

9862-C Mad Mama’s Blues Ed 51477, IAJRC 49,Document DOCD-5667

Note: This is aurally the same personnel as for the Viola McCoy and Rosa Henderson titles from the same session. Dixon-Godrich have the above personnel, with a “prob.” Before all the names. Rust has BM or Johnny Dunn (tp), but it is clearly BM.

CLEMENTINE SMITH (vcl/kazoo), acc. by Kansas City Five: BM (tp), unknown (tp), Bob Fuller (cl), Louis Hooper (p), Elmer Snowden (bj).New York, c. November 22-24, 1924

5740-5 Everybody Loves My Baby Re 9760Selmerphone SHN-4031Document DOCD-5518

Regal 9760 as by Gladys Murray. Rev. Nettie Potter.Note: Previous discographies have erroneously omitted the trombone player and the kazoo.

JOSIE MILES-JAZZ CASPAR (BILLY HIGGINS) (vcl/duet), acc. by BM (tp), Louis Hooper (p), Elmer Snowden (bj).New York, c. November 22-24, 1924

5741-1, -2 Let’s Agree To Disagree Ba 1499, Do 3469,Re 9796, Poydras 103,Audubon AAM,VJM VLP 30,Document DOCD-5467

Note: It is not known which takes appear on which issues.

CLEMENTINE SMITH-BILLY HIGGINS (vcl/duet), acc. by Kansas City Five: BM (tp), Bob Fuller (cl), Louis Hooper (p), Elmer Snowden (bj).New York, c. November 22-24, 1924

5742-1 I’m Done Done Done With You Ba 1483, Do 3452Re 9782Document DOCD-5518

Domino 3453 as by Ccharlotte Evans; Regal 9782 as by Gladys Murray. Revs. All 78rpm issues by Nettie Potter.Note: For all three Clementine Smith, Josie Miles and Billy Higgins titles above, Dixon-Godrich have poss. BM or prob. Louis Metcalf, Rust has BM or Metcalf. We believe it is definitely BM on aural evidence.

The high frequency of BM's recordings continues into the end of 1924. From 1925, his younger colleagues Louis Metcalf and Rex Stewart gradually take over as accompanists to the blues singers he used to work with. We can only speculate about the reasons for this, but BM certainly had to concentrate more on his work for Duke Ellington, although he did not record again with Duke Ellington until June 21, 1926.

SIX BLACK DIAMONDS: BM (tp), Jake Frazier (tb), Bob Fuller (cl/as), Louis Hooper (p), Elmer Snowden (bj).New York, c. December 2, 1924

5758-1,-2,-3 Those Panama Mamas Ba 1456 (-3), o 429,Or 374, Re 9766, Apex 8343, Imp 1490 Oly 1436 (anonymous) VJM VLP 20 (-1 or -2), EPM 151022 (-1 or -2), 159252 (-1 or -2)

Oriole 374 as Oriole Dance Orchestra; Apex 8343 as Original Mempis Five.Note: It is not known which takes appear on which issues, except that take -3 is on Goran Eriksson's copy of Banner 1456, and the version on the VJM LP and the EPM CDs is aurally different. Rust has the above personnel, except that he erroneously lists two trumpets, BM and ?Louis Metcalf. There is only one trumpet, BM on aural evidence, who switches between open and muted playing.

CLEMENTINE SMITH (vcl), ace. by Kansas City Five: BM (tp), Jake Frazier (tb), Bob Fuller (cl), Louis Hooper (p), Elmer Snowden (bj).New York, c. December 2, 1924

5759-2 Nobody Knows What A Red Head Ba 1479, Re9779Mama Can Do

5760-2 Big Bad Bill Is Sweet William Now Ba 1464, Do 3456, Re 9760Selmerphone SHN-4031

Banner 1464, 1479, Regal 9760, 9779 as by Gladys Murray; Domino 3456 as Dolly Ransom.Rev. Domino 3456 by Fletcher Henderson and His Orchestra (as Strand Roof Orchestra), but this issue number may be incorrect for matrix 5760-2. Revs. Banner 1464, 1479, Regal 9760, 9779 are not known. Both titles also on Document DOCD-5518.Note: Rust has the above personnel, except that he lists ?Louis Metcalf or BM. Dixon-Godrich have prob. Metcalf or poss. BM, and prob. Jake Frazier. To us, it is aurally BM on trumpet, and it is obviously the same personnel as on the Six Black Diamonds title from the same session (see above). Fuller plays only clarinet on the Clementine Smith titles, although he is listed on both cl and as in previous discograp-hies.

NETTIE POTTER (vcl), ace. by BM (tp), prob. Jake Frazier (tb)-l, Bob Fuller (cl), -2, Louis Hooper (p).New York, c. December 15, 1924

5786 -1 A Good Man Is Hard To Find -1 Ba 1483, Do 3452,Re 9782, Or 325, VJM VEP 32, Selmerphone SHN-4030, Document DOCD-5516

5787-1, -2 Blind Man Blues -2 Ba 1484, Do 3453,Re 9781 (-2), Selmerphone SHN-4030 (-1), Document DOCD-5516 (-1)

Domino 3452, 3453 as by Sally Dale; Oriole 325 as by Mamie Romer. Revs. All 78rpm issues Clementine Smith.Note: It is not known which takes of 5787 appears on which issues, except that 5787-2 is used on Regal 9781 and 5787-1 is on Selmerphone SHN-4030 and Document DOCD-5516 according to the sleeve note/booklet. The above personnel is listed by Dixon-Godrich and Rust, except that Dixon-Godrich have prob. BM or poss. Louis Metcalf and Rust has BM or Metcalf. It is aurally BM.

BOOKER'S JAZZ BAND: Probably: BM (tp), Jake Frazier (tb), Bob Fuller (cl), Charles Booker (as), Louis Hooper (p), Elmer Snowden (bj). New York, c. December 15, 19245788. -2 Hot Sax Do 3439, Or 315, IAJRC 12 5789. -1 West Texas Blues IAJRC 125789 -2 West Texas Blues Do 3474, Or 347, IAJRC 12Domino 3439 as by New Orleans Jazz Band; both Orioles as by Dixie Jazz Band.Note: 5789-1 was probably also used on one or both of the 78rpm issues, but we have no information about it. The above personnel is listed by Rust, and we agree, although the trombone playing is somewhat uncharacteristic for Frazier. The proximity of the matrix numbers indicates that these titles were probably recorded at the same session as the Nettie Potter titles above (Rust has unspecified December, 1924 for Booker).

EDITH WILSON (vcl), ace. by Her Jazz Hounds: Prob. BM (tp), prob. Jake Frazier (tb), unknown (cl/as), unknown (cl/ts), unknown (p), unknown (bj).New York, December 17, 1924

140189-1 He' s A Mean Mean Man Co 14054-D140190-1 Double Crossin1 Papa Co 14054-DBoth titles also on Document DOCD-5451.Note: Rust has unknown for all instruments. The most recent edition of Dixon-Godrich has poss. Bob Fuller (cl/as) and unknown for all the others. The 1982 edition has prob. BM (tp), unknown (tb), poss. Percy Glascoe (cl/as), poss. Ernest Elliott or Bob Fuller (cl/as), unknown (p), unknown (bj). We believe it is BM and Frazier on trumpet and trombone.

MARGARET JOHNSON (vcl), ace. by Clarence Williams' Blue Five: BM (tp), Aaron Thompson (tb), Sidney Bechet (ss), Clarence Williams (p). Buddy Christian (bj).

New York, January 8, 192573081-A Who'll Chop Your Suey OK 8193(When I 'm Gone)

73082-B Done Made A Fool Out Of Me OK 8193 Both titles also on Fat Cat's Jazz FCJ 014, Media 7 Masters of Jazz MJCD 14 and EPM FDC 5109.Note: This session is stated to have begun late on Wednesday, January 7 and continued into the early hours of Thursday, January 8. The above personnel was listed by Rust and Dixon-Godrich. We agree, and we reject John Chilton's theory that BM was replaced on the second title by "someone who sounds like Joe Smith" (see his book "Sidney Bechet, Wizard of Jazz", p. 70). BM and Sidney Bechet played together with Duke Ellington earlier, in June and July, 1924 (see Guy Demole, "Sidney Bechet, His Musical Activities 1907-1959").

JOSIE MILES (vcl), ace. by prob. BM or Thomas Morris (tp), poss. Jake Frazier (tb)-l, Bob Fuller (cl) -2, Louis Hooper (p).New York, c February 18, 19255861-2 Ghost Walkin’ Blues -2 Ba 1516, Do 3485,

Re 9810, Fo 98105862-2 Can't Be Trusted Blues -1 Ba 1516, Do 3485,

Re 9810, Fo 9810Note: Fossey's is an Australian store label stuck on American Regal pressings. The above personnel was listed by Dixon.-Godrich and Rust. These titles have not been available to us for listening.

MONETTE MOORE (vcl), ace. by Texas Trio: unknown (tp), Louis Hooper (p).New York, February, 192531819-E All Alone Ajax 17124,

Document DOCD-5339Note: This is Irving Berlin's famous composition All Alone, perfor med here as a waltz, as it was written the year before. The accompa niment is trumpet and piano only, despite the label credit to the Texas Trio. Dixon-Godrich list the trumpet player as BM. The playing is very straight, which makes aural identification difficult, but we think it sounds more like Rex Stewart's tone, with the characteristic vibrato he had in the earlier years. In our opinion, Rex plays on all other Monette Moore titles from January, 1925 to January, 1927, on which a trumpet is present.

During this period, there is a strange gap between March and November, 1925 with no known recordings by BM, not even with Duke Ellington's orchestra, of which he was a regular member (Pike Davis filled in for him on a session in September, 1925). We haven't seen any explanation for this absence of eight months. The blues accompaniments are getting less frequent in 1925-26, and BM is cer-tainly on fewer of those sessions then he has been credited for in previous discographies. For the three interesting Clarence Williams sessions (BM plays brilliantly on the first two, which is listed below), we have tried to use our ears and logical sense wisely to clear up a lot of confusion and obvious mis-identification among other disco grap-hers.

The Rosa Henderson session of c. February, 1925, should have been placed chronologically before the last session in part 5 of the discography (Monette Moore, matrix 31819).

ROSA HENDERSON (vcl), ace. by Kansas City Four: Unknown (tp), prob. Bob Fuller (cl), prob. Louis Hooper (p), prob. Elmer Snowden (bj).New York, c. February, 192531790 Everything My Sweetie Does Ajax 17116, Do 3504,(Pleases Me) Re 9831, Ba 1534,

Document DOCD-5403Domino 3504 as by Flora Dale. Revs. Domino 3504, Regal 9831, Banner 1534 by josie Miles.Note: Dixon-Godrich have prob. BM, Thomas Morris or Rex Stewart (tp). Rust has Louis Metcalf. Aurally, the trumpet player is definitely not BM, and he doesn' t have the vibrato typical for Rex Stewart, who has been correctly identified on some other Rosa Henderson sessions from 1925. We don't think Metcalf is a likely alternative either.

MONETTE MOORE (vcl), ace. by Choo Choo Jazzers: poss. Rex Stewart (tp), Louis Hooper (p).New York, March, 192531847-E Undertaker's Blues Ajax 171 32,

Historical 5829-14, Document DOCD-5339

Ajax 17132 as by Susie Smith.Note: Rust and Dixon-Godrich have BM on trumpet, but we disagree. There are none of BM' s "trade marks" in the trumpet playing on this session, and it is very different from the versions of this title that BM recorded earlier with other singers. Louis Hooper named Rex Stewart for this session in the interview in Record Research, issue 77. Nils-Gunnar Anderby agrees, and Bo did at first but is now more uncertain, while Goran Eriksson is sure it is not Rex.

SARA MARTIN (vcl), acc. by unknown (tp), Robert Cooksey (hca), prob. Phil Worde (p).New York, November 12, 1925

73759-B Forget Me Not Blues OK 8292, Yazoo 202773760-A Nobody Knows And Nobody OK 8304, Folkways RBF 31

Cares Blues73761-B Give Me Just A Little Bit Of OK 8304Your Time

All titles also on Document DOCD-5279.Note: BM is listed as trumpet player for this session in all previous discographies, and we have never seen or heard any different opinions about it. We don't know the source of information for the personnel, but we find BM's presence doubtful from an aural point of view. There are some growl effects, but it is not the kind of growling that we are used to in BM's recordings with Ellington. We can't think of any alternative trumpet player, though.

ALBERTA HUNTER (vcl), acc. by Perry Bradford's Mean Four: June Clark (tp), Jimmy Harrison (tb), unknown (as), Perry Bradford (p).New Ydk, c. December 11, 192573830-B Your Jelly Roll Is GoodOK 8268,

Document DOCD-542473831-B Take That Thing Away OK 8268,Document DOCD-5424

Note: Dixon-Godich have the accompanying group as unknown (tp), (tb), (as), Perry Bradford (p). Rust has BM, Charlie Green, Don Redman and Bradford. Goran Eriksson and Bo Scherman independently identified the excellent trombone player as definitely Jimmy Harrison. The rather nervous sounding trumpet man, who plays with a lot of embouchure pressure, is most certainly not BM. He has been identified by Goran Eriksson as June Clark, and Bo agrees. Clark and Harrison were a musical team during this period and made several other recordings together (Blue Rhythm Orchestra, Gulf Coast Seven, etc). Alberta Hunter used different other trumpet players on her 1926 sessions, but neither of them sounds like BM.

CLARENCE WILLIAMS STOMPERS: BM (tp), Charlie Irvis (tb), Otto Hardwick (ss-1, as-2, bars-3), poss. Coleman Hawkins or Prince Robinson (cl-4, ts-5), Clarence Williams (p), Buddy Christian or Leroy Harris (bj), Henry "Bass" Edwards (bb).

New York, c. January 4, 192673893-B Spanish Shawl -1,4-5 OK 40541, Od 03383,

OdG A60255, Natchez NLP 3002, Retrieval FJ-121,

Classics 69573893-B Dinah 2,3,5 OK 40541, Od 03383,OdG A60256, Beka 73894, Lindstrom A4337, Natchez NLP3002, Retrieval FJ-121, Classics 695

Oden A60255/56 is in fact one record, each side bearing a different catalogue number.Note: This session and the two other Clarence Williams sessions with BM from 1926 have caused a lot of controversy among discographers. Rust lists Joe Smith, Irvis, Don Redman (ss, as), Hawkins (cl, ts, bars), Williams, Harris or Christian, Cyrus St. Clair. Tom Lord's Clarence Williams discography has Thomas Morris, and if a second trumpet, poss. Ed Allen, Irvis, Redman or poss. Hardwick (as), poss. Hawkins (cl, ts, bars), poss. unknown third reed, Williams, Christian or Harris, St. Clair. The sleeve of FJ-121 has Morris, BM?, unknown (tb), Redman (ss, as), Hawkins (cl, ts, bars), Williams?, Harris?, St. Clair.

We don't agree entirely with any of them. Only one trumpet and two reeds can be heard. On aural evidence, the front line is the one regularly with Duke Ellington

(BM, Irvis and Hardwick), augmented by a clarinet and a tenor sax player, who doesn't get much exposure and is difficult to identify. Hawkins' presence seems doubtful to us, and Goran Eriksson thinks Prince Robinson is a more likely name. Goran E thinks the banjo player, whose style is rather simple without embellishments, sounds like Christian, while Bo Scherman thinks he doesn't have his characteristic drive. The brass bass man does not sound at all like St. Clair, who has a softer, more melodic style with long, deep notes. According to Goran E (and Bo agrees), it is definitely "Bass" Edwards (another Ellingtonian), who plays in the "percussive" style with short, hard and resonant notes heard on this and the next session Clarence Williams recordings with BM.

CLARENCE WILLIAMS' BLUE FIVE: BM (tp), Charlie Irvis (tb), Otto Hardwick (as), Clarence Williams (p), Buddy Christian or Leroy Harris (bj), Henry "Bass" Edwards (bb), Eva Taylor (vcl)

New York, c. January 22, 192673957-A I 've Found A New Baby OK 8286, Natchez NLP

3001, Retrieval FJ-121 Classics 69573958-B I've Found A New Baby OK 8286, Retrieval FJ-121,

Classics 69572959-B Pile Of Logs And Stone OK 8296, Natchez NLP

3001, Retrieval FJ-121 Classics 695Note: Both versions of I've Found A New Baby, entirely different from each other in arrangement and tempo, were issued on Okeh 8286, the first (slower) one being credited to Eva Taylor, the second to Clarence Williams' Blue Five. Rust and Lord have prob. Irvis, Hardwick or Redman, Harris and St. Clair. The sleeve of Fj-121 has the same and an unknown washboard. We are certain that the musicians are exactly the same as for the previous session but without the clarinet and tenor man. There is no washboard audible.

LOUISE VANT (vcl), acc. by Perry Bradford's Mean Four: unknown (tp), unknown (tb), unknown (cl), presumably Perry Bradford (p).New York, c. March 18, 192674055-A Pensacola Blues OK 8310,

Document DOCD-535374056-A New Crazy Blues OK 8310,Document DOCD-5353

Note: The above personnel is listed by Dixon-Godrich and Rust, and we cannot improve on it. In the loose leaf edition of Walter Bruy-ninckx' "60 years of Recorded Jazz", the trumpet player is listed as BM, Johnny Dunn or June Clark. It is aurally neither of them but a much inferior musician.

SARA MARTIN (vcl), ace. by Clarence Williams' Blue Five: BM (tp), poss. Charlie Irvis (tb), poss. Otto Hardwick or Don Redman (as), Clarence Williams (p), poss. Buddy Christian or Leroy Harris (bj), Henry "Bass" Edwards (bb).

New York, March 25, 192674072-A Brother Ben OK 8325,Swaggie JCS 33751

74073-A The Prisoner' s Blues OK 844274074-B Careless Man Blues OK 8325,

Swaggie JCS 3375174075-A How Could I Be Blue OK 8442All four titles also on Document DOCD-5397. Note: Dixon-Godrich and Lord's Clarence Williams discography have BM for the first, third and fourth title and a different, unknown tp for the Prisoner's Blues, unknown (tb) and Cyrus St. Clair (bb). Rust has ?BM all the way and the rest as the others. We are certain that BM plays on all four titles and that the brass bass player is the same as for the previous 1926 Clarence Williams recordings, "Bass" Edwards. Unfortunately, Miss Martin belts out her lyrics loudly and close to the microphone throughout the session, leaving little space for the musicians, but Bo goes with the Ellington front line, while Goran E is not sure about Irvis and Hardwick, thinking that the alto playing is too straight for the latter.

CLARENCE WILLIAMS STOMPERS: BM, Thomas Morris (tp), Charlie Irvis (tb), Don Redman (cl-l,as-2,vd-3), Clarence Williams (p). Buddy Christian or Leroy Harris (bj), prob. Cyrus St. Clair (bb).

New York, April 7, 192674090-B JacKass Blues -2 OK 40598, 16237,FontanaH 682088TL 74091-B What's The Matter Now? -1,2,3 OK 40598,Natchez NLP 3004,

Both titles also on Retrieval FJ-121, Classics 718. Note: Rust has ?Joe Nanton (tb) and unknown (bb). Lord's Clarence Williams discography has poss. Charlie Green (tb) and "Bass" Edwards (bb), the sleeve of FJ-121 has unknown (tb), Ernest Elliott? (as) and St. Clair (bb). We all finally agreed that the trumpet players are Morris and an off form BM, after Goran E had expressed some doubt about the latter at first. The trombonist is aurally Irvis, although he plays note for note the standard solo on JacKass Blues recorded by Charlie Green twice with Fletcher Henderson. The alto sax player is clearly Redman, who also doubles on clarinet. The brass bass man plays long notes and a more legato style than "Bass" Edwards on the previous Clarence Williams and Sara Martin sessions with BM and is probably St. Clair.

ROSA HENDERSON (vcl), ace. by Three Hot Eskimos: unknown (tp), unknown (cl), Cliff Jackson (p).New York, May 14, 1926

Here Comes My Baby Vo 1021, OrE 1006,Document DOCD-5403

Chicago Policeman Blues Vo 1021,Document DOCD-5404 Both titles also on Retrieval RTR 79016.

Rev. Oriole 1006 DeweyJackson's Peacock Orchestra. Note: Dixon-Godrich list Thomas Morris or BM (tp), Bob Fuller (cl), prob. Louis Hooper or poss. Cliff Jackson (p). Rust has Louis Metcalf (tp), Bob Fuller (cl). Cliff Jackson or Edgar Dowell (p). It is aurally neither Morris nor BM. Metcalf is a better suggestion, but we are still doubtful. The clarinet player has a very approximate sense of harmony, to say the least! Bob Fuller is certainly no genius, but at least he plays more accurately than this man, and he has a different tone. The piano playing is very typical for Cliff Jackson.

DUKE ELLINGTON AND HIS ORCHESTRA, New York, June 21,1926 (Gennett, 2 titles).

GEORGIA STRUTTERS: Perry Bradford (vcl, dir), Jimmy Wade (tp), William Dover (tb), Arnett Nelson (cl-l.as-2), Antonio Spaulding? (p), Stanley Wilson (bj); a cymbal is heard at the end of the first side.

New York, August 6, 1926142512-2 Everybody Mess Aroun' -1,2 Ha 231-H, Arcadia 2009142513-3 Georgia Grind-1 Ha231-H, Arcadia 2009

Same personnel.New York, October 21, 1926

142854-3 Wasn' t It Nice -1 Ha 311-H, Arcadia 2009142855-3 Original Black Bottom Dance -1 Ha 311-H, Arcadia 2009 Note: Rust suggest BM (tp), unknown (tb), Herschel Brassfield (d,as), Mike Jackson (p), Gus Horsley (bj), but it is a completely wrong personnel. Jimmy Wade's band, originally from Chicago, was in New York, June, 1926 to April, 1927, and these are two of the sessions Perry Bradford organized for the group (see Bradford' s autobiography "Born with the Blues" and Ernest S. Virgo's artide in Le Point du Jazz No. 14, pp. 95-96). Arnett Nelson's very personal clarinet style is easily recognizable on these sides, and Wade and Dover can also be identified aurally.

PERRY BRADFORD AND HIS GANG: Perry Bradford (vcl, dir), prob. Jimmy Wade (tp), William Dover (tb), Arnett Nelson (cl-l,as-2), Antonio Spaulding (p), Stanley Wilson (bj).

New York, December, 192674428-A Original Black Bottom Dance -1,2 OK 841674429-A Kansas City Blues -1 OK 8416Both titles also on ParlophoneE PMC 1174, Swaggie S 1270, Document DOCD-5353.Note: Early editions of Rust and the booklet of Document DOCD-5353 have an entirely different personnel with BM on trumpet. Ho wever, according to articles in Storyville 61 and Le Point du Jazz No. 14, this is one of the sessions Perry Bradford organized for Jimmy Wade's band from Chicago during its stay in New 'Vbrk. This also seems likely aurally, although we think it sounds more "New York-ish" than on the Georgia Strutters session. In any case, it is definitely not BM on trumpet on aural evidence. Later editions of Rust have the above personnel, except that he lists the clarinet and alto saxophone player as unknown and erroneously adds an unknown drummer (not audible).

MARTHA COPELAND (vcl), ace. by BM (tp), Cliff Jackson (p).New York, December 21, 1926

143203-1 On Decoration Day (They'll Know Col 14189-DWhere To Bring Your Flowers To)

143204-3 Fortune Teller Blues Col 14189-DBoth titles also on RST Blues Documents BD-2071 and Document DOCD-5372.

From 1927, BM appears less frequently with vocalists. Most of his recordings during the next few years were with Duke Ellington's Orchestra, where he was the main soloist. Although Ellington and some of his musicians play on the Evelyn Preer session of January 10, 1927, we list it in detail, because it is not by the full band. We also list the Ellington sessions of January 16, 1929, which has generally been considered as BM's last recording with the band, but we cannot hear any evidence of his presence here. We expect that our opinions about this session will stir up some controversy and reactions. The Ellington sessions with BM from December 29, 1926 to January 8, 1929 will only be mentioned in the chronology.

VIOLA McCOY (vcl), ace. by Louis Metcalf (tp), Cliff Jackson (p). New York, c. late December 19262261 -A, -C "Git" Goin' Ca 1097 (-C), Ro 374 (-A),

Lin 2612, Vr 5071, Document DOCD-5418 (-C), DOCD-S602 (-A)2262 -A, -B Some Day You'll Come Back Ca 1097 (-B), Ro 374 (-A),

To Me Lin 2612, Vr 5071,Document DOCD-5418 (-B), DOCD-5602 (-A)

Lincoln 2612 as by Susan Williams, Variety 5048, 5071 as by Gladys Johnson. It is not known which takes appear on which issues, except where noted.Note; W.E. Timner identifies the trumpet player as BM in his Ellington discography, which also includes recordings of Ellington's side-men outside the band. All other discographies we have seen list the above personnel, which is aurally correct.

DUKE ELLINGTON AND HIS KENTUCKY CLUB ORCHESTRA, N. Y.,Dec. 29, 1926(Vocalion, 2 titles. 2 takes were issued of the second title).

MISS EVELYN PREER (vcl) with Duke Ellington's Orchestra: BM (tp), prob. Prince Robinson (cl, ts), Otto Hardwick (as), prob. Edgar Sampson (vln). Duke Ellington (p), Sonny Greer (dr).

New York, January 10, 192737527-1,-2,-3 Make Me Know It Vic unissued37528 -1 If You Can't Hold The Man Tax LP-9, BYG 529071,

You Love (Don't Cry RCA(F) 731.043,When He' s Gone) EPM FDC 5111, M6dia 7Masters of Jazz MJCD 8, Frog DGF 8, RCA 09026-63386-2, Document DOCD-1015, DOCD-5516

Note: The real surname of this artist was Peer. The issued title was listed as 37528-3 on RCA 731.043, but it is aurally identical to take -1. It was erroneously identified as "It Takes A Good Woman To Keep A Good Man At Home" (36823-2) on Document DOCD-1015. Rust has unknown (d,as), Otto Hardwick (as,vln). The new edition of "Duke Ellington's Story on Records", by Luciano Massagli and Giovanni M. Volonté, has unknown (cl,ts), Edgar Sampson (as,vln), Hardwick (as). Steven Lasker, in the book of the 24-CD-box RCA 09026-63386-2, has prob. Prince Robinson (cl,ts), Hardwick (as), unknown (vln). Mark Tucker, in his book "Ellington, The Early Years", claims that "besides Ellington, Greer, Hardwick and Miley, the ensemble included both a clarinetist and a violinist who doubled on alto saxophone - the latter was probably Edgar Sampson, who had played with Ellington the previous year". Prince Robinson played with Ellington in 1926 as well. In a note to chapter 12 of this book, Tucker writes that "Garvin Bushell, who played with Hardwick in the early 1930s, has stated that the alto saxophonist never played violin... Brooks Kerr has suggested Sampsons name for the unknown saxophonist/violinist. A comparison of some of the violin solos Sampson played with Fletcher Henderson (e.g. "House Of David Blues", recorded July 17,1931) to the one on "If You Can't Hold the Man You Love" reveals similarities, especially in the double stops and intonation." Jazz violin expert Anthony Bamett also lists Sampson as a possibility on violin for the Preer session in his discography of Sampson's recordings on violin. Ref. (Violin Improvisation Studies). There are only two reed players present, as far as we can hear. Although there is no passage where two reed instruments and the violin can be heard simultaneously, we don't think the violinist could have made the change fast enough to double. BM (soloist) and Hardwick (in the ensembles) can be aurally identified.

DUKE ELLINGTON AND HIS KENTUCKY CLUB ORCHESTRA, New York, Feb. 3, 1927 (Vocalion, 2 titles), February 28, 1927 (Brunswick, 2 titles, of which one was issued), March 14, 1927 (Brunswick, one title).

DUKE ELLINGTON AND HIS WASHINGTONIANS, March 22, 1927 (Columbia, 3 titles).

The WASHINGTONIANS, April 7, 1927 (Brunswick, one title). DUKE ELLINGTON AND HIS ORCHESTRA, October 26, 1927 (Victor, 4 titles, 2 takes were issued of the second title), December 19, 1927 (Victor, 3 titles, issued in 3+1+2 takes).DUKE ELLINGTON AND HIS COTTON CLUB ORCHESTRA, December 29,1927 (Vocalion, 2 titles).THE WASHINGTONIANS, January 9, 1928 (Harmony, 3 titles). DUKE ELLINGTON AND HIS ORCHESTRA, January 19, 1928 (OKeh,2 titles).THE WASHINGTONIANS, March, 1928 (Cameo, 3 titles, issued in2+2+2 takes).DUKE ELLINGTON AND HIS ORCHESTRA, March 26, 1928 (Victor,3 titles), June 5, 1928 (Brunswick, 3 titles, of which 2 were issued),July 10, 1928 (OKeh, 2 titles).

MARTHA COPELAND (vd), ace. by poss. BM (tp), J.C. Johnson (p).New York, August 28, 1928

146923-2 Mama's Well Has Done Gone Col 14377-D, RSTDry Blues DocumentsBD-2071,Document DOCD-5373 146923-3 Mama's Well Has Done Gone Col 14377-D

Dry146924-3 I Ain't Your Hen Mister Col 14377-D,Fly Rooster Rosetta RR 1308,

RST BluesDocuments BD-2071, Document DOCD-5373

Note: BM has been listed on trumpet without reservations in all previous discographies we have seen. In comparison with BM's playing in Ellington's orchestra during this period, the trumpet man on this session sounds rather anonymous and substandard. We can hear a few of Miley's trademarks, but other trumpet players had adopted them, and there is not enough aural evidence to establish his presence definitely.

DUKE ELLINGTON AND HIS ORCHESTRA, October 1, 1928 (OKeh,4 titles, of which 3 were issued).THE WOOOPEE MAKERS/THE WASHINGTONIANS, October, 1928 (Cameo, 3 titles).DUKE ELLINGTON AND HIS COTTON CLUB ORCHESTRA, October 17, 1928 (Brunswick, 3 titles, of which 2 were issued).

THE GULF COAST SEVEN: Louis Metcalf (tp), prob. Charlie Irvis (tb), poss. Emmett Matthews (ss.as), unknown (ts), prob. James P. Johnson (p), Perry Bradford (vcl)-l.

New York, October 19, 1928147151-1 Daylight Savin'Blues Col 14373-D147152-1 Georgia's Always On My Mind -1 Col 14373-D,

Folkways FJ 2842Both titles also on VJM VLP 45, EPM 151002, 159252. Note: Timner has BM on trumpet in his Ellington discography, but all other discographies available to us have Metcalf, and we agree. For the rest of the personnel listed by Rust only James P. Johnson seems likely. The piano is not prominently recorded, but Goran Eriksson recognized his touch, and we all agreed. Bo thinks it is definitely Irvis on trombone, but the rest of the team is not quite certain (it is not Joe Nanton, as suggested by Rust). Nils-Gunnar thinks the soprano saxophone player sounds like Emmett Matthews, and Bo agrees, while Goran Eriksson is more doubtful. Rust has ?Sonny Greer on drums, but there are no drums audible.

DUKE ELLINGTON AND HIS COTTON CLUB ORCHESTRA, October 20, 1928 (Brunswick, 1 title), November 15, 1928 (Victor, 3 titles), November 20, 1928 (OKeh, 3 titles, all unissued), November 22, 1928 (OKeh, 3 titles).WARREN MILLS AND HIS BLUE SERENADERS-DUKE ELLINGTON’S ORCHESTRA, December 20, 1928 (Victor, 1 title, issued in 3 takes). DUKE ELLINGTON AND HIS COTTON CLUB ORCHESTRA/THE JUNGLE BAND, January 8, 1929 (Brunswick, 2 titles. Part 1 of the second title was issued in 2 takes).

DUKE ELLINGTON AND HIS COTTON CLUB ORCHESTRA, January 16, 1929.All previous discographies have BM as one of three trumpets for this session, but since his presence seems very unlikely to us, we list it in detail below with our solo identifications in full rundowns of the titles, followed by our comments.DUKE ELLINGTON AND HIS COTTON CLUB ORCHESTRA: Arthur Whetsol, Freddie Jenkins (tp), Joe Nanton (tb), Barney Bigard (cl,ts), Johnny Hodges (as,cl), Harry Carney (bars,cl,as), DE (p,arr), Fred Guy (bj), Wellman Braud (b), Sonny Greer (dr,chimes-1).

New York, January 16, 192949652-1 Flaming Youth Up-to-Date UTD 200649652-2 Flaming Youth Vic V-38035, 24057,

(Jap)J-1083, BB B-10243HMV(E) B 4942, B 6528(F)K-6944, EL EG 2677,HMV(E) DLP 1094RCA LPV 568(G)LPM 568, (F)75386130236, 741028(It)LPM 34049,(Jap) RA31, VJM VLP 75,BB 6852-2-RB(G)ND 86852,Classics 559

49653-2 Saturday Night Function Vic V-38036, 24674,24956, HMV(E) B 4956,B 8404, (F)K-6046,(It) R 14190, (Sp)AE4623,(N)ALS2212,

(Aus)EA 2809, El EG3708,HMV (E) DLP 1094,(It?)VPM 3226,RCA(F) 130277, 741028,(Jap)RA 31, RA 5299,VJM VLP75,BB 6852-2-RB,(G)ND 86852

49654-1 High Life – 1 Vic V-38036, BB B-6269,HMV(E) B 4956,B 6294, (It) R 14190; (Sp)AE 4243, HMV(E)DLP 1094, (It?)VPM 3226,RCA(F) 130277, 741028,(Jap) RA 31, RA 5299,VJM VLP 75,BB 0783-66038-2

49655-1 Doin’ The Voom VoomRCA 09026-63386-249655-2 Doin’ The Voom VoomVic V-38035, 24121,

BB B-7710, HMV(E)B 4942, B 6404,EL EG 3697,RCA(F) 75386, 130236,430666, 741028,(Jap) RA 31, VJM VLP 75,Franklin Mint (no #),Classics 559, Giants ofJazz CD 53030

All titles and takes on RCA 09026-63386-2. All titles and takes, except 49655-1, also on EPM 151282, Mèdia 7 Masters of Jazz MJCD 69.Note: Rust erroneously lists 49652-1 and 49654-2 as being issued on Victor V-38035 and V-38036 respectively. For reasons of space, our listing of issue numbers for this session is selective and far from complete. Most of the budget priced LPs and CDs have been omitted. There are never more than two trumpets audible simultaneously on this session, and we believe the personnel is exactly the same as the one now accepted for the February 18, 1929 session.Flaming Youth -1/2: int8BAND/16AW-4BAND-4JN-8AW/16JH-4BAND-4AW-6JH-2BAND/pass8BAND/16JN-4BAND-4AW-8BAND. The growl passages on this title do not sound like BM to us. They are played with a “cleaner” sound and with a different growl technique, typical for Whetsol (compare, for instance, with his growl playing in the beginning of the film “Black And Tan” from July, 1929). We are sure that AW plays all trumpet solos on this title.Saturday Night Function: Itheme 12 Band&JH-4BAND/IItheme BB (cl)/IItheme AW/IItheme JN/Itheme 12BAND&JH-4BAND. AW also plays the growl trumpet in the opening and closing ensembles, and we think he might even be the only trumpet player on this title.High Life: int 4AW?-12BB(cl)-8BAND/30BB(cl)-2FJ/FJ/14BAND-2JH-8BAND-8BB(ts) /JN/pass8DE/BAND&SG(chimes). The 4 bar introduction does not sound at all like BM to us but has a cleaner sound more typical for AW. The trumpet solo in the second chorus is by FJ on aural evidence.Doin’ The Voom Voom –1/2: int8BAND/Itheme 4BAND-4FJ-4BAND-4FJ-8JH-4BAND-4FJ/IItheme2BAND-2AW-4BAND-4AW-4BAND/IItheme 15FJ-1BB(ts)/IItheme 14HC&JN-2BAND/IItheme 14FJ-2DE-2BB(cl)/IItheme 4BAND-4FJ-4BAND-4FJ/cod10BAND. We have compared the growl passages in the Brunswick version of January 8, 1929, where it is definitely BM, with these Victor versions, where it is clearly a different musician. It doesn’t sound like Whetsol but has more of Jenkins’ style and characteristic timing.

After the Ellington period, BM made some recordings with two great New Orleans pioneers {King Oliver, who was one of his early idols, and Jelly Roll Morton) and the white "society band" of Leo Reisman, who didn 't like jazz. For reasons of space, the listing of issue numbers is selective.

LEO REISMAN AND HIS ORCHESTRA: Leo Reisman (vln,dir), BM, Louis Shaffrin, unknown (tp), Ernie Gibbs (tb), Jess Smith (cl,ss,fl), Louis Martin (as), Burt Williams (as,bars). Bill Tronstein (cl,ss,as,ts), Adrian Rollini (bsx), Lew Conrad (vln.vcl), unknown (vc), Eddie Duchin (p), unkown (bj), Harry Atlas (bb), Harry Sigman (dr).

New York, January 20, 193058138-8 What Is This Thing Called Love Vic 22282, 24862,

HMV(F) K.7508, RCA LPV565, (G) LPM565, New World NW25658184-5 She’s Such A Comfort To Me Vic 2228258608-3 Puttin' On The Ritz Vic 22306, HMV(E)

B 5810, (Au) EA 719 Both titles also on RCA(F) 741.057.Note: The above personnel is from Rust. The sleeve note of New World NW 256 has a somewhat different personnel, with several unknowns and the trumpet players as Lew Sherwood, BM and unknown. BM can be heard as trumpet soloist on first and third titles. We haven’t heard 58184-5, but Rust’s American Dance Band discography lists BM as being present on this title.

KING OLIVER AND HIS ORCHESTRA: Joe "King" Oliver (?); Henry "Red" Allen, BM (tp), James Archey (tb), Bobby Holmes (cl), Glyn Paque, unknown (cl,as), Walter Wheeler (rs,cl), Don Frye (p), Arthur Taylor (bj), Jean Stulz (g), Clinton Walker (bb), unknown (chimes), Carroll Dickerson (dir,vln-l), Frank Marvin (vcl).

New York, January 28, 193058527-3 St. James Infirmary Vic 22298, BB B-5466,

HMV(F) K.6153, Camden(Arg) CAL 2957, RCA(G) LPM 10017, NL 89770, (F) 430709, PM 42411, (It) 42309, Joker SM3811, Deja Vu DVLP 2085

58528-2 When You're Smiling Vic 22298, BB B-5466,(The Whole World Jass 603Smiles With You) -1

Both titles also on Vic (Jap) RA 4, RCA(F) 741.057, Halcyon HDL 106, Classics 607, JSP CD 347. In Laurie Wright's book "King Oliver", 58528-2 When You're Smiling is erroneously listed as being on HMV(F) K.6153, which couples Oliver' s St. James Infirmary with Duke Ellington's Mood Indigo (64811-4).

Note: King Oliver is said, by Glyn Paque, to have been present in the studio at this session, but we cannot hear three trumpets playing simultaneously, so it is doubtful if he plays at all on the issued takes of these titles. Otherwise, the personnel above is the one listed by Laurie Wright. On St. James Infirmary, the trumpet soloists are BM and Allen, although some sources claim that Allen played cornet on this particular session. BM plays the first solo and the obbligato behind Marvin's vocal, Allen plays the solo after the vocal and probably the short open break near the end. The muted introduction on When You're Smiling is by Allen, who also plays solo passages with the ensemble after the vocal.

JELLY-ROLL MORTON AND HIS RED HOT PEPPERS: Ward Pinkett, BM (tp), Wilbur De Paris (tb), prob. Ernie Bullock (cl,bcl-l). Jelly Roll Morton (p), Bernard Addison (g), Billy Taylor (bb). Cozy Cole (dr).

New fork, March 5, 193059504-1 Each Day Vic 23351, T 64,HJCA HC 33, Mortonia 103/104, Victor (Jap) RA 5133/4, (F) 741081, Jass 602, JSP CD 323, Classics 642, Music Memoria 30380

59504-2 Each Day RCA(F) 741.081,Gannet GE-5552, JSP CD 325

59505-2 If Someone Would Only Love Me -1 Vic 23321, HMV(Sw)JK2860, Tpl 525, Jazz Panorama 1818, RCA LPV508(G) LPM 508, (F) 430.720, 730.S99, Joker SM 3553, JSP CD 323, Classics 642, Music Memoria 30380

59506-1 That'll Never Do Vic 23019, HMV(E)B 4836, HJCA HC 76, Mortonia 103/104, RCA(F) 741.081, Jass 602, JSP CD 323, Classics 642, Music Memoria 30380

59607-2 I'm Looking For A little Bluebird Vic 23004, Mortonia 103/104, RCA(E) RD 7807, (F) 741.081, Joker SM 3553, JSP CD 323, Classics 642, Music Memoria 30380

All titles and takes also on RCA(F) PM 43690, 74321-26410-2, BB 2361-2-RB, (G) ND 82361, Masters of Jazz MJCD 108. Note: There has been a lot of controversy about this session. The personnel above is the one listed in Laurie Wright's "Mr. Jelly Lord", except that he and most other discographers have Ward Pinkett and unknown (tp). However, we are certain that Ward Pinkett and BM are on all three Morton sessions from March, 1930. During this period, they were both members of the Henri Saparo Orchestra at Bamboo Inn (Laurie Wright, p.74). In the last few years of his career, BM's solos were almost exclusively played with a mute, usually a plunger, but on this session we have identified him as playing the open trumpet part on If Someone Would Only Love Me (with his typical timing and inflection of the notes), with Pinkett playing the muted obbligato behind him. All other trumpet solos on these titles are by Pinkett.Wilbur De Paris, Omer Simeon and Cozy Cole have all named the mysterious Ernie Bullock on clarinet. In an interview with the French Morton specialist Roger Richard, Cozy Cole said that Bullock was a black musician from New York, a very good one, whom he didn't know well but used to see at the Rhythm Club. (Le Point du Jazz No. 15, pp. 136-137).

JELLY-ROLL MORTON AND HIS RED HOT PEPPERS: Ward Pinkett, BM (tp), Wilbur De Paris (tb), unknown (d), Jelly Roll Morton (p), unknown (bj), Bernard Addison (g), Bill Benford (bb), Tommy Ben-ford (dr).

New York, March 19, 193059532-2 Little Lawrence Vic V 38135, 40-0121, HMV(Au) FA 3680, (F) SG 53, (Sw) JK 2756, Vic(Jap)RA-9/10/ll/12, RCA(G) CL89808, (F) 430.269, Swaggie JCS 33791, Fremeaux FA 203, BB 07863-66103-259533-1 Harmony Blues Vic 38135, HMV(E)

B 10683, (Sw) JK 2757, (N) ALS 5059, EL EG 7773, HMV(E) 7M207, DLP 1016, (H) HFLP 113, EL WDLP-1016Both titles also on Swaggie JCS 33791, Vic(Jap) VRA 5006, RCA LPV 508, (G) LPM 508, (F) 741.081, PM 43690, 74321-26410-2, Joker SM3553, BB 2361-2-RB, (G) ND 82361, JSP CD 323, Classics 642, Music Memoria 30380, Masters of Jazz MJCD 108.Note: The personnel above is the one listed in " Mr Jelly Lord", by Laurie Wright, who points out that "Little Lawrence may be a tribute to Lorenzo Tio and it is possible that he is the clarinet player, for his daughter....recalls her father coming home and saying I 'm going to make a record with Jelly Roll Morton tomorrow". On Little Lawrence BM plays the muted growl solo and Pinkett the following open solo. On Harmony Blues, the open solo is by Pinkett.

The following part of the discography starts with BM's third and final date with Jelly Roll Morton. He continued to work and record occasionally with Leo Reisman's white orchestra. For reasons of segregation, he was hidden behind a screen while he performed with the band on the stage. Another interesting ex- ample of BM playing with an otherwise all-white band is the Hoagy Carmichael session. Among several top class players, we find another great musician in decline and near the tragic end of his career and life, Bix Beiderbecke.

BM also made four sessions with studio bands under his own name, which have never been properly documented and caused identification discussions also in our team.

JELLY-ROLL MORTON AND HIS RED HOT PEPPERS: Same as last, except that the unknown clarinet player is replaced by a different unknown (cl,bcl-l).New tork, March 20, 1930

59643-1 Fussy Mabel -1 Vic V 38125, Vi(Arg)S9644-1 Ponchatrain (sic)

760-0003, HMV(E) B 10762, HMV(Sw) JK 2757, El EG 7771, HMV(E) 7M 256, RCA LPV 546, (G) LPM 546, (E) RD 7941, (It) LPM 34072, (Arg) AVLP-4075, Collector's Classics CC 1

Vic V 38125, 40-0121, Vic(Arg) 760-0003, HMV(Au) EA 3680, (Sw) JK 2756, El EG 7775, HMV(F) FFLP 1008, RCA LPT 23, T 21015, (E) RD 27184, Vic(Jap) RA-9/10/U/12, RA 5133/4, VRA 5006, RCA LPV 508, (G) LPM 508, (F) 430.269, BB 07863-66103-2, BBC CD 604, Fremeaux FA 203

Both titles also on Swaggie JCS 33791, Joker SM 3556, RCA(F) 741.061, PM 43690, 74321-26410-2, BB 2361-2-RB (G) 82361, JSP CD 323, Clas sics 642, Music Memoria 30380, Masters of Jazz MJCD 108. The second title on Victor 760-0003 as Pontchartrain Blues, correctly spelling the name of the count, after whom the famous lake near New Orleans was named.Note: The trumpet solo on Fussy Mabel is by BM, while Pinkett is more prominent in the ensembles. Pinkett plays the first solo on Ponchatrain, BM the second with growl. If Lorenzo Tio Jr. recorded with Morton, it seems aurally more likely to be on this session than the previous one. The clarinet player on these titles sounds like a well schooled New Orleans musicians, on Fussy Mabel somewhat reminiscent of Tio's disciple Albert Nicholas.

LEO REISMAN AND HIS ORCHESTRA: Leo Reisman (vln.dir), BM -1, Louis Shaffrin, unknown (tp), Ernie Gibbs (tb), Jess Smith (cl,as,fl), Louis Martin (as), Burt Williams (as,bars). Bill Tronstein (d,ss,as,ts), Lew Conrad (vln,vcl), unknown (vln), unknown (vc), Eddie Duchin (p), Jack Shilkret (?) (eel), unknown (g), William Carlino (mand) -2, unknown (b), Harry Sigman (dr).

New York, April 9, 193059742-3 Mia Cara (My Dear) -2 Vic unissued

59743-11 Like To Do Things For You Vic 22398, HMV(E)B584859744-1 Happy Feet -1 Vic 22433, HMV(Au)EA 740, RCA(F) 741.057

Note: BM's growl trumpet is prominent in the last ensemble of Happy Feet. He is not audible on I Like To Do Things For You.

LEO REISMAN AND HIS ORCHESTRA: Chuck Campbell (?) (tb) added; one of the reed players doubles on fl -3; Lew Conrad (vcI)-4, Daniel L. Hayes (vcl)-5New York, May 12, 1930

59742-5 Mia Cara (My Dear) -2, 3, 4 Vic 2243359783-3 I Remember You From Vic 22426

Somewhere -459784-2 Rollin' Down The River -1,5 Vic 2243359785-2 Singing A Song To The Stars -4 Vic 22432Note; BM can be heard playing the obbligato behind DanielHayes vocal on Rollin' Down The River. He is not audible on MiaCara. The other two titles have not been available to us for listening.

BUBBER MILEY AND HIS MILEAGE MAKERS: BM, Ward Pinkett, unknown (tp), Wilbur De Paris (tb), Hilton Jefferson, unknown (cLas), Happy Caldwell (ts), Earl Frazier (p-l,cel -2), unknown (bj), Bernard Addison (g), Bill Benford (bb). Tommy Benford (dr), Frank Marvin (vcl)

New York, May 16, 193062232-3 I Lost My Gal From Memphis -1 Vic V-3813862233-3 Without You Emaline -2 Vic V-38138Both titles also on RCA (F) 741.057, Frog DGF 11. Note: On I Lost My Gal From Memphis, BM plays the muted passages (16 + 8 bars solo and one chorus behind Marvin's vocal), while it is Pinkett in the introduction and the last bars. On Without You Emaline , we have identified Pinkett in the 8 bars solo passage and the obbligato behind Marvin's vocal chorus (almost trying to sound like BM!), while it is probably BM in the 16 bars after the vocal.

HOAGY CARMICHAEL AND HIS ORCHESTRA: Hoagy Carmichael (vcl-1, org-2,p-3,dir), Bix Beiderbecke (cnt), BM (tp), Tommy Dorsey (tb), Benny Goodman, Arnold Brilhart (cl,as). Bud Freeman (ts), Joe Venuti (vln,vcl-4), Irving Brodsky (p,vcl-5), Eddie Lang (g), Harry Goodman (b), Gene Krupa (dr), Carson Robinson vcl)-6

New York, May 21, 193059800-2 Rockin' Chair -1,2,5 Vic V-38139, 25494,62301-1 Barnacle Bill The Sailor -1,3,4,6

Vic(Arg)lA-018, HMV(E) B 4897, B 6288, B 8549, HMV(Au)EA-1200, HJCA HC100, RCA(E) LSA 3180, Divergent 302, Phontastic NOST 7618, Bluebird 8333-2-RB, (G) ND 88333, Deja Vu DVRECD 14 Vic V-38139, 25371, Vic (Arg) 1A-018, Jazz Classics 532, Vic LEJ-2, LPM 2329, RCA(E) RD 27725, Stash ST 116, Timeless CBC 1-011

Both titles also on Victor LPT-3072, HMV(E) 7EG 8037, RCA(E) INTS 5181, Joker SM 3570, IRD Bix 8, Masters of Jazz MJCD 92, Classics 788. Note: For this all-stars session, Carmichael approached L. L. Watson, producer for the Victor record company. Watson agreed, under the condition that BM would be included and featured. Carmichael picked all the other musicians (see Philip R. and Linda K. Evans', bio-disco-graphy of Bix Beiderbecke). On Rockin' Chair, BM can be heard playing muted trumpet during 16 + 8 bars in the first chorus. Bix' rather subdued solo comes in the last chorus. On Barnacle Bill The Sailor, Bix plays the hot solo between the vocal choruses. We cannot identify BM positively on this title, but he may be the one playing the straight part during the "march" sections in the beginning and at the end. There is no part where two cornets/trumpets can be heard simultaneously. Evans suggests Larry Binyon as fourth reed player, but we believe there is a maximum of three reeds as noted above.

BUBBER MILEY AND HIS MILEAGE MAKERS: BM, Ward Pinkett, unknown (tp), Wilbur De Paris (tb), Buster Bailey, Hilton Jefferson (cl,as), Happy Caldwell (ts), Earl Frazier (p), unknown (bj), Bernard Addison (g), unknown (b), Tommy Benford (dr), George Bias (vcl)

New York, July 3, 1930 63108-2 Black Maria Vic V-38146,63109-2 Chinnin' And Chattin' With May Vic(Arg) 760-0006

Vic V-38146, Vic(Arg) 760-0006 Both titles also on RCA(F) 741.057, The Old Masters TOM 5, Frog DGF 11.Note: BM can be heard behind George Bias' vocal choruses on both titles. It is probably the unknown third trumpet player in the first chorus of Black Maria and the straight passages in the verse of Chinnin'And Chattin' With May, where Pinkett plays the 16 + 8 bars growl solo.

BUBBER MILEY AND HIS MILEAGE MAKERS: BM, Ward Pinkett (?) and poss. a third unknown (tp), prob. Wilbur De Paris (tb), Hilton Jefferson (?), unknown (cl,as), Happy Caldwell (?) (ts). Earl Frazier (p), Bernard Addison (?) (bj), Bill Benford (?) (bb), Tommy Benford (dr), Edith Wilson (vcl).

Newark, September 11, 193063645-3 Loving You The Way I Do RCA (F) 74105763646-3 The Penalty Of Love RCA (F) 741057Takes -3 of the above titles also on Document DOCD-5451, Frog DGF 12. The booklet of Document DOCD-5451 erroneously list them as being 63645-6 and 63646-5 from the September 17, 1930 session. Note: The last two sessions under BM's name are rather difficult to document accurately and have caused a lot of confusion and disagreements among discographers. We think there may be three trumpet players involved in the September 11, 1930 session, although all three don't play simultaneously. On "Loving...", it's BM in the obbliga-to part of the first chorus and behind Edith Wilson's vocal. Other discographers have BM and one unknown (tp), but we think it could be Pinkett after the vocal. The 6 bar trumpet passage just before the vocal seems to be by a different musician, who sounds very much like Henry "Red" Allen. On "The Penalty...", BM plays the second trumpet part in the first chorus and the obbligato behind the vocal. The brief trumpet passage before the vocal could be by Pinkett. The trombone, clarinet and saxophone players cannot be identified aurally, as there are no solos or prominent ensemble parts for those instruments.

LEO REISMAN AND HIS ORCHESTRA: Leo Reisman (vln,dir), BM-1, Louis Schaff rin, unknown (tp), Ernie Gibbs, Chuck Campbell (?) (tb), Jess Smith (d,as,f1), Louis Martin (as), Burt Williams (as,bars), Bill Tronstein (cl,ss,as,ts), Lew Conrad, unknown (vln), unknown (vc), Eddie Duchin or Raymond Pugh (p), Jack Shilkret (eel), unknown (bj), unknown (b), Harry Sigman (dr), Don Howard (vcl)-2.

New York, September 13, 1930

62370-8-9-10-11 Body And Soul -1,-2 Vic unissued63649-2 Just A Little Dance, Mam´selle-2 Vic 2254363650-1-2 Live And Love Today -2 Vic unissued

BUBBER MILEY AND HIS MILEAGE MAKERS: Same as September 11, 1930 or similar, except that there are only two trumpets, BM and unknown, Frazier doubles on (cel)-l and Addison switches to (g)-2.

New York, September 17, 193063645-6 Loving You The Way I Do -1,-2 Vic 2301063646-5 The Penalty Of Love Vic 23010Both titles also on The Old Masters TOM-5 and Frog DGF 11. Note: In this version of "Loving...", the first chorus is played by Frazier on celeste, two clarinets and De Paris on trombone, One of the clarinettists plays the obbligato behind the vocal in the New Orleans Creole style, reminiscent of Barney Bigard. BM plays the obbligato part behind the unknown lead trumpet after the vocal. On "The Penalty...", BM plays the second trumpet part in the first chorus.

LEO REISMAN AND HIS ORCHESTRA: Leo Reisman (vln,dir), BM-1, Louis Schaf frin, unknown (tp), Ernie Gibbs, Chuck Campbell (?) (tb), Jess Smith (cl,as,f 1), Louis Martin (as), Burt Williams (as.bars), Bill Tronstein (cl,ss,as,ts). Lew Conrad, unknown (vln), unknown (vc), Eddie Duchin or Raymond Pugh (p). Jack Shilkret (eel), unknown (bj), unknown (b), Harry Sigman (dr), Frank Luther (vcl)-3.

New York, September 19, 193062370-13 Body And Soul-1,3 Vic 2253763618-4 Sing Something Simple -3 Vic 2253863649-4-5 Just A Little Dance, Mam' selle -3 Vic unissued

LEO REISMAN AND HIS ORCHESTRA: Same; Don Howard (vcl)-2, Frances Maddux (vcl)-4, unknown (vib)-5.New York, October 10, 1930

62370-17 Body And Soul -1,4,5 Vic 2253764315-1-2 Trees -1,2 Vic unissued64315-3 Trees-1,3 Vic unissued64316-1-2 Bolero (Rave!) Vic unissuedNote: We have identified BM aurally on take 17 of Body And Soul. The other takes and other titles from the September and October Leo Reisman sessions have not been available to us for listening.

LEO REISMAN AND HIS ORCHESTRA: Leo Reisman (vln,dir,vcl-5), BM-1,2 unknown (tp), Ernie Gibbs, Chuck Campbell (?) (tb), Jess Smith (cl,as,fl), Burt Williams (as,bars), 2 unknown (cl,ts). Lew Conrad, 2 unknown (vln), Raymond Pugh (p), Jack Shilkret (?) (cel), unknown (g), unknown (b-3/bb-4), Harry Sigman (?) (dr), Ben Gordon (vcl)-6, Lee Wiley (vcl)-7, Fred Astaire (vcl)-8, band (vcl)-9.

New York, June 30, 1931 69990-1 When The Moon Comes Over The Vic 22746Vic 22757 Vic 22746, LPV 565, RCA (F) 741057 Vic 22757, Philomel 1000, L'Art Vocal 15, Vintage Jazz Classics VJC 1023, Definitive DRCD 11157, Devil's Music DM-6001

Vic 22755

22755, Halcyon (E) HAL 124Mountain (waltz) -3, 6

69991-1 It's The Girl-1,3,5 69992-1 Without That Gal! -1,3,5

69993-1 Take It From Me (I'm Taking To You) -1,3,7

69994-1 I Love Louisa-1,4,8,9

69995-1 New Sun In The Sky -1,3,8 Vic 22755

Halcyon (E) HAL 124

Note: BM can be identified aurally on "Without That Gal!" and "Take It From Me", The other titles have not been available to us for listening.

James Wesley "Bubber" Miley died in New York, May 20, 1932.

Although we have tried to hear, discuss and document every available recording, on which BM could possibly be present, there are a few sessions we didn't manage to include in the chronology. They will be listed in this appendix with our comments. There are still a lot of doubtful points in BM's discography:

New York, May 16,1923. HENDERSON'S HOT SIX. Walter Bruy-ninckx' "60 Years of Recorded Jazz" has BM (tp), Ernest Elliott (cl, as), rest of personnel unknown. We don't know his source for it, but all takes of the two titles from this session (Gulf Coast Blues and Your Time Now) were rejected, so it couldn't be an aural identification. According to Walter C Allen ("Henderso-nia"), Rust and all other serious discographers, it is a small group from Fletcher Henderson Orchestra. On the issued take of Gulf Coast Blues (81019-4 from June, 1923), there is nothing that supports BM' s presence aurally. Allen and Rust list Elmer Chambers (tp), which seems likely.

The following Ida Cox session was probably recorded in New York, while all of her other 1924 recordings were made in Chicago. We list it, because BM has sometimes (erroneously) been listed for it, as mentioned in the note below.

IDA Cox (vcl), acc. by Lovie Austin and Her Blues Serenades: unknown (tp), unknown (tb), unknown (cl), unknown (ts), Lovie Austin (p), unknown (bj).poss. New York, c. April, 1924

1714-1 Blues Ain't Nothin' Else But! Pm12212,Document DOCD-5573 1714-2 Blues Ain't Nothin' Else But! Pm 12212,Milestone MLP 2015,

Gannet GEN 5372, Fountain FB.304, Document DOCD-5323 Note: BM has been suggested on tp in Bruyninckx' "60 years...." and in the booklet of Document DOCD-5573, but this theory cannot be supported aurally. Rust has Tommy Ladnier (an even more absurd identification from an aural point of view), and Dixon-Godrich have unknown (tp). We cannot identify him positively. All previous discographers have omitted the banjo player, who is clearly audible.

BM has been suggested by some discographers for the following two Rosa Henderson sessions. We didn’t include them previously, but we now think they should be listed and discussed.

ROSA HENDERSON (vcl), acc. by Choo Choo Jazzers: Harry Smith or BM (tp), Cliff Jackson (p).New York, c. July, 1924

31607 I Can’t Get The One I Want Ajax 17049Document DOCD-5402

Rev. Ajax 17049 Helen Gross.Note: Harry Smith has been suggested as trumpet player for this title in all previous discographies known to us. However, Bruyninckx’ “60 Years …” lists BM as an alternative. We haven’t seen Harry Smith’s name mentioned as trumpet player for other recordings, and we can’t find any further references to him in the jazz literature. It certainly sounds very much like BM, who played on other Ajax sessions c. July 1924 (Hazel Meyers, matrices 31597, 31599 and Helen Gross, 31609, 31611, 31613 and 31620).

ROSA HENDERSON (as SALLY RITZ) (vcl), acc. by prob. BM (tp), poss. Jake Frazier (tb), Louis Hooper (p).New York, c. September 29, 1924

5651-3 Deep River Blues Ba 1452, Do 424, Re 9748Document DOCD-5403

5652-3 The Basement Blues Ba 1437, Do 413, Hg 984Re 9733, Or 281Document DOCD-5403

Domino 413 as by Mae Harris; Domino 424 as by Bessie Williams; Oriole 281 as by Rosa Green.Rev. all issues by Kitty Brown, except Oriole 281 by Louella Jones.Note: Dixon-Godrich date these titles c. early October, 1924, but they were probably made at the same session as the Kitty Brown titles (matrices 5653 and 5654), which the team dated c. September 29, 1924. Rust and Bruyninckx’ “60 Years …” have ?BM (tp), the latest editions of Dixon-Godrich have unknown (tp), and an earlier edition has Thomas Morris (tp). We have identified him aurally as prob. BM, as on the Kitty Brown titles.

c. September, 1924. MAMIE SMITH. Two titles were recorded, one of which has a trumpet player and Louis Hooper (p). Bruyninckx suggests BM (we don’t agree), Dixon-Godrich have prob. Louis Metcalf (tp), which seems more likely aurally.

Finally, we think it could be interesting to quote some comments from musicians, who recorded with BM:

Garvin Bushell, interviewed in Record Research, issue 57, p. 11.“I took Elliott’s spot with Mamie (Smith) and Bob Fuller took mine. Buster Bailey made some sides with Mamie while I was there, Coleman Hawkins came with Fuller … Bubba (sic) Miley was definitely on OKeh Records with me behind Mamie. Bubba took Johnny’s place when Dunn went on tour.”

Garvin Bushell, in Mark Tucker’s biography of Bushell, “Jazz from the Beginning”.

The Mamie Smith, c. October 12, 1921 session is discussed. After denying his own presence (“I never had that fast vibrato”) and that of Ernest Elliott (“I never heard him go up to a high G in my life!”), he suggests Mayland Hall or Nelson Kincaid on clarinet. He is also doubtful about BM. “ I’d say Ed Cox. I don’t think they’d hire Bubber Miley for a date like this where reading was involved. Bubber didn’t have much chops then. Besides, that cornet is too stiff to be Bubber.” For the c. August 22, 1922 session, he says “That could be Ernest Elliott on clarinet, but it sounds like me. We played a lot alike then… it may be George Bell on violin.” There are no comments about the trumpet player. For the Perry Bradford, February, 1924 session, he says “ I doubt if I was playing clarinet on this session, because at that time I was playing saxophone with Sam Wooding and wouldn’t have taken a clarinet date. That sound like Brassfield on saxophone. I don’t think Bubber Miley would have been on a date with Johnny Dunn since by this time he’d established himself down at the Kentucky Club with Duke Ellington.” We still think the prominent trumpet player sounds like BM, and there is nothing that supports the theory of Dunn’s presence.

Louis Hooper, interviewed by Jim Kidd in Record Research, issue 77.The author writes “Hooper was the house pianist for Joe Davis’ Ajax label and was replaced by Cliff Jackson during a part of 1925 and after he left.” It is not specified when that was. Hooper said he never recorded with Thomas Morris, so Morris cannot be on the Helen Gross c. May, 1924 session. He identified the trumpet player on this session as Bubber Miley, but our ears don’t agree.