Stomp Off 1001 - Dickbaker.org

6th editionWORKING DRAFT WITH NOTES18 JANUARY 2014INDEX of 3,819 TUNE TITLES and COMPOSERS(Stomp Off 1001 - 1436)Four-digit numbers are Stomp Off recording numbers. Recordings may be available on vinyl LP, cassette, or compact disc orany combination of the three; see the order form at the end of this catalog for format availability. A prefix of CD before the albumnumber in this index means that that tune is found on the CD version only; C indicates that the tune is found on the cassetteversion only. Subtitles are shown in ( ); alternative titles are in [ ]; *indicates pseudonym for composer—see list at end.A Note to Bob Erdos and others who see this index in its annotated “draft” form:January 2014: This is by no means a polished, scholarly research work. Erdos and I started working on these issues over25 years ago and produced four editions of this index by 2001, which were published in Stomp Off catalogs CC, DD, EEand FF. There followed a long hiatus, partly because Stomp Off slowed down production from it’s earlier feverish rate (366of its 1436 titles had been issued by 2001), and partly because I retired and moved twice across the country in theintervening years.A Note on the “Hidden Notes”:They will always follow the last line of the entry to which they refer, and there will be a blank line between the end of thenote and the next title. In many cases the notes start with

ook and clean them up, leaving just the final evidence for the decisions that were made, plus any information that mightbe of interest to other researchers.In June 2011 I spent four days comparing this list with Audrey Van Dyke’s extensive sheet music collection in Alexandria,VA. Any notes gleaned from that search are coded “ASM” (Audrey’s Sheet Music). Also spent a day in Alex Hassan’seven bigger collection. Those notes are here as “HSM.” (I had consulted both collectors many times in past, butmentioned them by name rather than by these abbreviations, so you’ll see both in the notes.)A recurring problem is what to do about lyricists. Some things are clear and obvious: When a composition is publishedoriginally as a song, we must consider it a joint effort between composer and lyricist, even if they’re separately identified onthe sheet. We know that melodies get adjusted to account for the lyricist’s wishes and vice versa. Many songs start out aslyrics to which music is later set. In these cases, both must be listed, of course. Then there are cases in which we’re prettysure that lyrics were added or changed much later by another lyricist. In such cases, we’ve tended to ignore the laterlyricist. Because so many tunes have been published multiple times and in different variations, starting with my spinthrough Audrey’s collection, I’ve started adding the publisher and copyright/publication date to notes about the sheetmusic, something I didn’t think to do in the past. I also put notes (w. [words] or m. [music]) to identify composers &lyricists. In most cases, of course, the sheet music just confirms our originally correct entry, but I’ve still entered it to showthat that particular entry has been verified.One category that’s problematic is the many classic jazz songs published with lyrics by some guy named Melrose or Millsor McGillicuddy. We can be pretty sure that the lyrics were added for publication, not because they were there in thetune’s original form, but the fact is that the original published sheet music had lyrics and a lyricist. I just had a long chatwith Tex Wyndham, and he insists (and I agree) that the copyright page of the original published sheet music, when itexists, must be treated as the gold-plated authority on title and composer.Another problem that became evident as I looked through Audrey’s extensive collection of early rags is that some earlypieces were published in two forms, as songs and as instrumentals, sometimes with slightly different titles. They’ll oftenhave the same year of publication, but according to Tex one would have preceded the other by some period, although notalways in the same order. But the question, I said, is should we be citing the lyricist’s name if our recording has no lyrics.That depends, said Tex, on whether you’re playing the instrumental or song version. Well, instrumental, obviously, Iresponded: Nobody sings.Wrong answer, it turns out. The instrumental version would have a ragtime format with multiple strains (or at least oneextra strain); the song version would be the typical verse-chorus form of most songs. You have to listen to the versionplayed and identify it as the instrumental or song version as originally published. In many cases, contemporary bands(and even piano soloists, in some cases), actually play the song version. He cited the example of “Honky Tonky Town,”which was published in instrumental and song versions with slightly different titles. Today’s bands all play the songversion; to the best of his knowledge, only the St. Louis Ragtimers have ever recorded the instrumental version.This gives us a problem (which I pointed out to Tex); not reading music, I don’t feel qualified to listen to these recordingsand identify them as the song or instrumental versions. Tex suggested we do this: List each such tune by the title &composer we think is best known and add a note (like our current alternative title notes in brackets), saying something like“Also published in a song version with lyrics by Joe Blow.” If the song version title is different, we’d have to note that too.Of course, the reader still doesn’t know by looking at our list which version is on the Stomp Off recording, but at least heknows there are two possibilities.That actually won’t fatten our list by much. On my first pass through this list I found only eight tunes that I’ve identified thisway (Grizzly Bear, Hiawatha, Oh That Beautiful Rag, Railroad Blues, Red Wing, Silver Bell, Silver Heels,Temptation Rag,Wild Cherries); of course, there are dozens of others published simultaneously in two versions that we don’t know about,but that can’t be helped. Perhaps later, when I get settled after the move, I can bounce our recordings off somebody likeRobbie Rhodes to determine whether our versions are the instrumentals or songs. For now, I’ve listed them all as theinstrumental version with cross-ref to song version; if we can determine that our recordings are the song version, we’llreverse that order.

Further background notes in case I end up handing this out to others besides Bob Erdos:The first two Tune Title-Composer indexes were compiled by Vince Saunders “mechanically” (dare I say analog)? But allthrough the 1980s I’d been working my way through a succession of early computers, hoping, among other things, to putmy extensive record collection in an easily searchable database. The first PCs just couldn’t handle it, but when I finally diddevelop the capacity to, e.g., sort my collection by tune title, I was dismayed to discover manifold discrepancies incomposer credits for many tunes, and even variations on titles. I even noticed that within Stomp Off records, the sametunes had different composer credits on different LPs.When I mentioned this to Erdos, a very punctilious gentlemen, he was aghast, and he asked me to try to reconcile theconflicts and confusion for a new edition of the list. That happened in 1990, and was updated in 1993, 1996, and 2001—mostly the old fashioned way by writing long, detailed letters and trying to collect copies of sheet music: We had Xeroxmachines, but the Internet was in its infancy and the vast resources that are available now were not to be found.Because it’s such a labor-intensive undertaking for me, and an expensive one for him (he was publishing them in oversize,slick-paper, color catalogs that cost a fortune to print), Bob and I have put off another update for a long time. But theStomp Off collection has grown by nearly 20% since the 5th edition, and the power of the Internet and near-universalcontact by email has made the task a good deal easier, so we’re going to try for a 6th edition. But we’ll need a lot of helpfrom a lot of people.Over the years, as I did research, collected information, and—with Bob Erdos—made decisions, I entered hidden “author’snotes” in the manuscript. For this—probably the last—edition, I’ve decided to break those many notes out and make themreadable. Unfortunately, they’re often pretty darned cryptic, since they were essentially notes to myself.One more note relating especially to this 6th edition: As I noted above, this whole project began when I noticeddiscrepancies—conflicts between different recordings of the same tune. So from the very start, our focus has been toresolve such conflicts, to find differences in titles and composer credits and figure out which is correct. But many titlesnever got a second look because either (a) there was only one recording of that title in Stomp Off or (b) there were multiplerecordings, but the bandleaders all gave Erdos the same title/composer info. I feared all along that other mistakes werelurking in the list, but it would be hard to find them and resolving obvious discrepancies was of more importance. Finally,though, in 2013 we come to this edition, which is bound to be the last and for which the incredible power of the internetallows easier searches. So I’m endeavoring to double-check and confirm every last one of nearly 4,000 titles. And sureenough, I’m finding a pretty healthy percentage of errors in titles that we’d never thought to check before. For this reason,while I can’t guarantee anything, and I’m sure that some problems linger, I think I can state that this is easily the mostcomplete and accurate account of the jazz repertoire that ever has been compiled.“cy” or “copyright” files refers to the vast copyright card catalog at the Library of Congress in Washington, D.C., which has(or should have) a 3"x5" file card for every tune ever submitted for copyright. When I was visiting the LC in person, I alwayswent directly to the card catalog, which had everything. I was aware that LC also published annual volumes of all tunes fora given year, but didn’t use it. In my 2013 work on this edition, I discovered that some, if not all, of those annual volumeshave been scanned and made available online via the big Google Books project. Try searching oncatalog of copyright entries musical compositions 19??If you get a chance to download a large PDF, do so and search it. And beware that some years are divided into twobooks, a “first half” of year and a “last half.”If that doesn’t work, try searching oncatalog of copyright entries musical compositions “title of tune”and hope you get lucky.“MRR” refers to the Music Reading Room of the Library of Congress, where one can—if lucky—request access to bothpublished sheet music and handwritten lead sheets submitted in support of copyright applications. (Just recently abandleader in Pennsylvania asked me if “King of the Zulus” had ever been published; it had not, but I was able to sendhim a lead sheet in Lil Hardin’s own handwriting that I’d copied from those marvelous files.

MTSU refers to the Center for Popular Music at Middle Tennessee State University, a very useful online resource(http://popmusic.mtsu.edu/collections/default.aspx). It doesn’t let you actually see the sheets in its vast collection, but fora $5 fee they’ll send you a Xerox copy of it or scan it and send you digital copy in the format of your choice.Other good collections are referred to asTempleton (the Templeton Music Collection as Mississippi State—http://library.msstate.edu/content/templates/level2-templeton.aspx?articleid=1488&zoneid=359the Victor Project (Encylopedic Discography of Victor Recordings—http://victor.library.ucsb.edu/index.phpThe Red Hot Jazz Archive—http://www.redhotjazz.com/ [it’s no longer being updated and its search function is broken, butyou can query it by using your search term + red hot jazz archive]78 Online (the Online Discographical Project—http://www.78discography.com/)Levy (the Lester Levy sheet music collection at Johns Hopkins University, http://levysheetmusic.mse.jhu.edu/)IN Harmony (Sheet music from Indiana at Indiana University, but it holds WAY more than just Indiana music—http://webapp1.dlib.indiana.edu/inharmony/welcome.doBut perhaps the best gateway into these and many other online music databases is the UCLA Sheet Music Consortium:http://digital2.library.ucla.edu/sheetmusic/index.htmlThis actually consolidates the listings of dozens of other databases and gives you a handy link straight to the host site’spage on that title.10/15/13 note from Tex Wyndham suggests this addition to these notes. NOTE THAT I really must review all of the above,decide which belong in the “general user” version (probably few of them) and which belong in the extended notes forserious users version."There are many instances in traditional jazz and ragtime of substantially identical tunes being recorded underdifferent titles and/or with different composer credits, either as stand-alone numbers or as strains of a multi-themedpiece. This index cross-references such tunes, provided that Stomp Off's consultants agree that the two musicalpassages are sufficiently similar to warrant a cross-reference."However, there are undoubtedly many other examples of which we are not aware, or for which experts disagreeas to whether they are sufficiently similar to be considered essentially the same. These, of course, are notcross-referenced."This problem occurs with more frequency in recordings that include sidemen who began playing music in NewOrleans in the early 1900s. At that time and place, it was unlikely that pursuing composer's copyright privilegeswould produce more than a token amount of royalties. Possibly for that reason, there appears to be a body ofthemes that were regarded as common currency in New Orleans, susceptible to being recorded with whatever titleand composer credit seemed expedient at the time. Users of this index and other serious students of the musicshould be aware of this situation."QUESTIONS THAT ARE STILL UNRESOLVED ARE HIGHLIGHTED IN RED.A Huggin’ and A Chalkin’(see Huggin’ and Chalkin’)A Major Rag (Tom McDermott)Tom McDermott 1024Á Solas (Butch Thompson)Butch Thompson 1037

Absolutely (Jabbo Smith)Grand Dominion JB 1337

BBC site that lists tunes played on a show hascredit of Brown--and the Brits are verypunctilious about such things.African Ripples (Fats Waller)Paris Washboard 1182Confirmed by 4/20/31 copyright reg.African Violet (Dave Dallwitz)Dave Dallwitz JB 1112Africana (A New “Booster”)(M. L. Lake)Pierce College Symphonic Winds 1297

Ah-Ha! (James V. Monaco–Sidney Clare)Red Rose Ragtime Band 1412m. JVM/w. SC; HSM 1925 Shapiro, Bernstein.Ain’t I Got Rosie (Ain’t Rosie Got Me)(Max Kortlander–Pete Wendling–Willie Raskin)Back Bay Ramblers 12798/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:"Raskins" is Raskin, Willie Raskin.8/22, Alex Hassan: "Raskins" in sheet music ofthe 20s, is one WILLIE RASKIN (no "S)8/24: And Montgomery sends further proof ofWillie Raskin.2013 review: Rust has logical ?, rec. JohnnyClesi’s Areolians (w/Red Nichols, Miff Mole),9/22/26, Gennett 3380, 6061; Champion15174*; Gennett Special 2010. *as Twin CityBell Hops.9/14/26 copyright reg. confirms w/m by allthree; no ?, but there seldom is one incopyright.The Champion label is “Ain’t I Got Rosie (Ain’tRosie Got Me).” LC SONIC says Gennett3380 label is same, gives composers asKortlander-Wendling-Raskins, so that’s whereRaskins came from.Ain’t It a Shame About Mame(James V. Monaco–Johnny Burke)Rosy McHargue 1253CD had a question mark.2013 review: Cover doesn’t have a questionmark, and index entries at U. Maine and MTSUdon’t show a question mark, although it couldbe on cy page. Bought from MTSU, noquestion mark on copyright page either.Ain’t Misbehavin’ (Fats Waller–Harry Brooks–Andy Razaf)Dry Throat Five 1151Keith Nichols 1159Louis Mazetier & Neville Dickie 1289Newberger–Mazzy–Thompson 1352Paris Washboard 1359ASM m. FW-HB/w. AR; 1929 Mills. One coverhas “(I’m Saving My Love for You)” as sub oncover only.Ain’t Much Good in the Best ofMen Now Days (Eugene Hunter)Newberger–Mazzy–Thompson 1352Barbara Rosene 1431Rosene title was “There Ain’t Much Good,”and I struggled through an entirely newresearch job at that title because I forgot I’ddealt with it months ago here at “Ain’t.” Will tryto combine my notes below.Oops, not in Rust. Not under There, anyway.Copyright says it’sAin't much good in the best of men nowdays; words and music by Eugene Hunter;pf. and ukulele acc. © Jan. 3, 1927; 2 c. Jan.5; E 655085; Handy bros. music co., inc.,New York.And Rust has it under that title, although with adubious “(sic)” after it, rec. by Bessie Brown,8/26, Oriole 716, Banner 1833, Regal 8143.LC SONIC says Ain’t Much...Nowadays forRegal, but it’s hard to take that seriously, andthe composer credit in LC SONIC was Handy,the publisher (how’d his name get on a recordlabel in any case?); never found either of theother labels.Interesting: RJHA shows title No There with“These Days.” Moanin' Low: A Discography ofFemale Popular Vocal Recordings, 1920-1933,shows it as no There, “Nowadays.” OriginalBessie Brown complete works on DocumentCD is no There, but “Nowadays.” Wikipediaarticle on her says “Nowdays.” Surprisinglydetailed bio sketch on answers.com says“Now Days.”Well, we’re at least sure that—as GertrudeStein famously said about Oakland,California—there’s no There there; but it’s inthe lyrics over and over, so that’s whereBarbara got it.As for the ridiculous now days/nowdays/nowadays/these days jumble, it’s fairly easy totake “Now Days,” as it was on the copyrightand was the title Rust reported, even if hedidn’t believe it (“sic”).And since we put it on a CD with the bad“There,” we’ll need a cross-ref back here fromthere, even though we won’t show it as analternative title.Ain’t Nobody Got the Blues Like Me(Dick Oxtot)Grand Dominion JB 1189Des Plantes’ Washboard Wizards 1421Looks like that was the credit on BarbaraDane’s 1957 LP recording on San FranciscoRecords. Tex W. confirms in 1189 notes.Ain’t That a Grand and GloriousFeeling? (Milton Ager–Jack Yellen)Neely’s Royal Society Jazz Orch 1208Barbara Rosene 1368HSM m. MA/w. JY, 1927 Ager, Yellen.Ain’t That Hateful? (Bill Creger–Edward“Pinky” Gerbrecht–Jules Bauduc)Evergreen Classic JB 1202rec. 2/1/24 on Gennett 5393 by Naylor’sSeven Aces--and utterly unknown anyplacebut there. HOWEVER, the Gennett label(found on YouTube), does indeed creditCreger-Gerbrecht-Bauduc as composers. Butwhere in hell did Evergreen Classic get thosefirst names? And there’s no question mark onthe label. Well, Erdos’s source appears to bethe Retrieval reissue of Oliver Naylor. I guesswe have to trust them. Aha, later I learn that allthree were members of Naylor’s band, so Iguess we can be confident.2013 review: Not in copyright books 1923-25.Gennett label definitely no ? And yet Rust andalmost all other refs include it, so I guess I’llleave it.Ain’t-Cha’ Glad? (Fats Waller–Andy Razaf)Paramount JB of Boston 1205James Dapogny’s Chicagoans 1263Neville Dickie 1397and ASM 1933 Keit-Engel confirms.Aisha (John Lindsay)Chrysanthemum Ragtime Band 1047Aha: 4/27/13 found cover of this online, andthere’s an accent mark over the ‘i’ on thecover: Aísha. Wonder if it’s on the copyrightpage. Tom Brier has xerox of sheet; reportsthat there is NO accent mark on the copyrightpage.Alabama Jigger (Edward B. Claypoole)Elliott Adams 1299Confirmed by 1/28/13 copyright reg.Alabama Jubilee (George L. Cobb–Jack Yellen)Down Home JB 1300Heliotrope Ragtime Orchestra 1427

Most certainly the original vinyl GTJ albumsdid not mention a co-composer of ArabStrut. I have never heard the name, Burrisuttered by anyone connected to my musicalhistory. Interestingly however, I just openeda new Fantasy cd reissue of the originalBCJB vinyl recording and see that Burris isalso list as a co-composer with Newbauer'sAuntie Soshal's Social. I find this more than alittle strange. Legerdemain? Copyrightobfuscation? Who knows? Until I see someevidence establishing otherwise, I willconsider Giomi the sole composer of ArabStrut and Newbauer the sole composer ofAuntie Soshal's Social.Then Vince Saunders chimed in:Just got off the phone with Ev Farey. Hesaid he just talked to you, Lloyd. The samestory is floating around. Ev said that neitherRoy Giomi or Sanford had any help inwriting the two songs in question. Theywere definitely their own compositions. Hehad no idea where the name "Tom Burris"came from, or had never heard of it. Hedidn't know if Sanford or Roy had evercopyrighted the two compositions, and itcould have crept in when the CD wasreleased from Fantasy!!!! Anyway, Dick, itgives you the clearance to go ahead withoutthe "Tom Burris" name as a co-composer(however, legally, the "other" name may beon the copyright document!)And Robbie confirms that there was no Burrison the credits of the original LP.Arabella’s Wedding Day(George W. Meyer)Des Plantes’ Washboard Wizards 14091409 credits “W. H. Meyer.”Appears to be from “Black-Birds Revue” of1926; rec. by Plantation Orchestra onColumbia 4238. Label does show “Meyer” ascomposer. BUT wait: Blackbirds 1926 wasrevue in London: “Charles B. Cochrane; Musicand lyrics by George W. Meyer.” Geo. W. weknow well--here for Me and My Gall, I’m a LittleBlackbird Looking for a Bluebird and othertitles).Aha, for some reason, all the titles from thisshow in Red Hot Jazz Archive show “W. H.Meyer, but that must be a mistake. And aha, alabel from another song in the revue by thePlantation Orchestra shows G. W. Meyer.Arabia (Larry Buck*)Bo Grumpus 1388Alas, I cannot confirm this anywhere.Recorded by Zonophone Concert Orch, butcan’t find an Ossman recording, althoughthey’re must have been one. I did, however,find one by Larry Buck, published 1906, titledeither“Arabia” MarchorArabia, Marchwhich was recorded by many military bands,especially in UK, in early years.But aha--I did find a recording by Ossman of“Arabia” from 1906 (Nassau Record B-76), butno composer is noted.And from a Circus web site, I learned that“"Larry Buck" was a psuedonym of LawrenceDubuclet. In 1906 he wrote ‘March’ Arabia.”Aha, 4/28/13 queried Craig Ventresco, whowrote: “I never said that Ossman wroteArabia. If that's what it says on that cd it meansthat some other band member provided theinformation to Erdos...I believe that Buck wroteit.”Based on this, we make title simply “Arabia”and credit Buck.Arctic Sunset (Amelia L. Lamb–Joseph F. Lamb)Matthew Davidson 1252Unpublished in his lifetime, posthumouslypublished in Joseph F. Lamb, RagtimeTreasures Piano Solos (New York, NY: MillsMusic, 1964), now out of print. Amelia looksdubious, but this presumably is the originalpublication of the rag. And the 1962 copyrightreg. also credits both, so there.Are You from Dixie? (’Cause I’mfrom Dixie Too) (Jack Yellen–George L. Cobb)Heliotrope Ragtime Orchestra 1411Oops, found the sheet music. The ! that wehad at the end of the subtitle is on the coveronly, not the copyright page.Are You Half the Man Your MotherThought You’d Be(Harry De Costa–Leo Wood)Univ. of Wisconsin Symphony Band 12848/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:m. Harry De Costa; w. Leo Wood.8/29, Goodman sends back handwritten markupof original query indicating he’s now goingwith Glogau. I’ve sent email asking him toconfirm his source.2011: evidently never heard back from him.But doesn’t matter: Google search quicklyfound two copies of the sheet music on sale,both identifying De Costa-Wood ascomposers.AND ASM had the sheet music (1916, LeoFeist), BUT there’s no ? on either cover or (c)page.Arkansas Blues (A Down Home Chant)(Anton Lada–Spencer Williams)Ray Skjelbred 1124Neville Dickie 1269ASM & HSM had it, 1921 Francis Clifford.Down-Home on cover, but no hyphen on (c).Armadillo (Clarence F. Brown)Elliott Adams 12992013 review: Found the copyright pageonline: It’s just Armadillo, a rag/two-step.Armful of You, An (Fats Waller)Neville Dickie 1397I wonder. There’s “An Armful of You” writtenby Clifford Grey / Leo Robin / VincentYoumans. Thare are a zillion instances of aJoe Sullivan recording of that tune, includinghis “Sullivan Plays Fats Waller” album.BUT I guess this explains it, a review of “FatsWaller First Editions:This 10" long-playing record came out in1954. The music was recorded by pianistJoe Sullivan with bassists Bob Casey orWalter Page and drummer George Wettlingin June and September, 1952. The materialconsisted of songs that were composed byFats Waller, who passed away before hehad a chance to record any of them himself.True to Waller's persona, the titlescommunicate almost as much as the musicitself: "What's Your Name?" "An Armful ofYou" . . .Artful Artie (Arthur Pryor)Pierce College Symphonic Winds 1297The original Victor 16021 label confirms Pryoras composer, Victor Project confirms.As Long As I Live (Harold Arlen–Ted Koehler)Wally Fawkes & His Soho Shakers 1144HSM & ASM w. TK/m. HA; 1934, Mills.Asbestos (Fats Waller)Grosz–Ingham Paswonky Serenadrs 12142c. 1930 says Perfesser Bill, but not incopyright books 1929-31 (however, a fellownamed Asbestos Jones copyrighted twosongs in 1931!).Couple of sites are reissuing the sheet as byWaller.At a Georgia Campmeeting(Kerry Mills)Down Home JB 1171John Gill’s Novelty Orchestra 1227

Zenith Hot Stompers 1248Black Eagle JB 1257Charleston Chasers 1287Lake Arrowhead Early JB 1365Confirmed by ASM 1897, F. A. Mills. 1930reissue has Campmeeting cover but CampMeeting (c) page.At Midnight (Hal Isbitz)Frank French & Scott Kirby 1306The Terra Verde Corner credits Isbitz, 1991. Isin his folio Blue Gardenia: Twelve LatinAmerican Piano Pieces by Hal Isbitz.At Sundown (When Love Is CallingMe Home) (Walter Donaldson)Ingham–Grosz Hot Cosmopolites 12378/25: Montgomery sends sheet music,confirmingAt Sundown(When Love is Calling Me Home)FOX-TROT SONGNote, however, that on the cover the subtitle is"Love Is Calling Me Home"--no When. Furtherevidence, as if we needed it, that you can’ttrust covers.ASM, 1927, Leo Feist.At the Ball, That’s All (J. Leubrie Hill)Canary Cottage Dance Orchestra 1400ASM, 1913, Lafayette.At the Christmas Ball (Fred Longshaw)Jimmy Mazzy & Eli Newberger CD 1109Rec. Bessie 11/18/25, Columbia 35842 (andagain 12/9/25, but rejected--why?). Confirmedby 12/8/25 copyright reg., F. W. Longshaw.At the Devil’s Ball (Irving Berlin)Bob Pelland & Bob Pilsbury 1212Bob Schulz & His Frisco JB 1349ASM, 1913, Waterson, Berlin & Snyder.At the Firemen’s Ball (Jimmy McHugh–Harold Adamson)Frisco Syncopators 1245m JM/ w HA, 1947, confirmed several places,from film Calendar Girl. But couldn’t findcopyright.Wait a minute, though. Lord says FF5+2 rec.this as Fireman’s (singular) for Good TimeJazz in 1959, but my CD reissue on GoodTime Jazz says it’s Firemen’s, and creditsMcHugh-Adamson. However, you get a LOTmore hits googling it as fireman’s thanfiremen’s. But Both Sides Now LP databasesays it was plural.Couldn’t find copyright, which is strange,because in 1947 book did find several othersongs from Calendar Girl.OK, confirmed by original LP in collection ofVince Saunders: plural, adamson-mchugh.At the Indian Cabaret(Richard Howard)Ernie Carson & the Castle JB 1277HSM, 1922, Orpheum Music.At the Jazz Band Ball (Nick LaRocca–Larry Shields)Hal Smith’s Creole Sunshine Orch 1078Andy Stein & Friends 1146John Gill’s Dixieland Serenaders 1295Southern Stompers 1414Manhattan Ragtime Orchestra 1419Neville Dickie 1423ASM, 1918, Leo Feist.Hmm...I seem to be finding lots of referencesto him as “La Rocca” (i.e., with a spacebetween La and Rocca. I wonder if there’s anyway to determine that for sure.Well, the odjb.com website run by his son,Jimmy (whom I’ve heard in person), spells itsolid, so I guess he’s as good a source aswe’re likely to find.No, there’s a better one. I found JimmyLaRocca’s email address on that site andasked him directly. To my surprise, heanswered within a couple of hours:“LaRocca is the way Nick LaRocca spelledit.”At the Mississippi Cabaret(Albert Gumble–A. Seymour Brown)Down Home JB 1316Confirmed online sheet music, w. Brown/m.Gumble.At the Moving Picture Ball (A Photo-Play in 2 Reels) (Howard Johnson–Joseph Santly)Heliotrope Ragtime Orchestra 1427No subtitle on CD, but both ASM & HSM hadcopies (1920 Leo Feist) showing(A Photo-Play in 2 Reels)as subtitle on (c) page, but not cover. w.HJ/m. JSAt the New Jump Steady Ball(Tom Delaney–Sidney Easton)Carol Leigh & Jim Dapogny 1064ASM, 1920, Easton & Delaney.At the Panama–Pacific Fair(Sidney Carter*–Charles N. Daniels)Chrysanthemum Ragtime Band 1168Tom Brier has the sheet music, confirms w.Sidney Carter, m. Daniels. AND, asVermazen’s credit hints, Sidney Carter is apseudonym that Daniels sometimes used forhis lyric writing.Atlanta Blues (Make Me One Pallet onYour Floor) [Make Me a Pallet onthe Floor] (W. C. Handy–Dave Elman)New Orleans Rascals 1113Wally Fawkes & His Soho Shakers 1144James Dapogny & Butch Thompson 1183Chris Tyle’s Silver Leaf JB 1258Imperial Serenaders 1351Delta Stompers 1426Atlanta Rag (Cow Cow Davenport)Helm–Leigh Jazz & Blues Review 1331CD said by Will Ezell.Wait a minute! All my other recordings of thistitle say by Cow Cow Davenport, including myDavenport reissues, one on the rigoriouslyresearched New World Bicentennial series.And Jasen’s big Encyclopedia/Discography/Sheetography book says Davenport.Rec. Davenport 4/29, Gennett 6869,Champion 15726 et al. No composer crediton Champion, just performer “CharlieDavenport.Not copyrighted by either of them 1928-30,although both are in books with other titles.Jasen-Tichenor Rags and Ragtime says itstarted as “Trilby Rag” by Carey Morgan, andthat Davenport “transformed it into ‘AtlantaRag’ and ‘Texas Shout’ (claiming composercredit with each retitling).”I can only presume that Ezell was a mistake.But still suspicious. Doesn’t appear that theGennett & Supertone releases had crediteither; and no copyright 1928-31, although

Davenport registered many other tunes 1928-30. Of course, if he really stole it as Jasen-Tichenor say, maybe he’d be shy about tryingto copyright it.Aunt Dinah Has Blowed de Horn(from Treemonisha) (Scott Joplin)St. Louis Ragtimers 1267Pinsker noted this about “We’re Goin’Around,” the companion tune in the RagtimersTreemonisha medley on 1267: “Surelysomehow this should say that it's an excerptfrom his opera "Treemonisha", shouldn't it? Itwas never published as a separate sheet.”Good point.Aunt Hagar’s Children [Blues][Aunt Hagar’s Blues](W. C. Handy–J. Tim Brymn)Keith Nichols’ Hot Six 1063Original Salty Dogs JB 1115Keith Nichols Cotton Club Orchestra 1210Down Home JB 1217Chris Tyle’s Silver Leaf JB 1298South Frisco JB 1342Newberger–Mazzy–Thompson 1352Dan Levinson’s Roof Garden JB 1380

Tex’s original-looking 1920 sheet music (1920,Jerome Remick; HSM has it too) has onlyRose-Jolson, but it seems painfully obviousthat DeSylva added or revised lyrics and gothis name put on music, and that he’s gettingroyalties (i.e., the ASCAP listing), so weprobably ought to have him in the creditsTelcon 8/28: no DeSylva on theory that guywho added or changed lyrics after the tunewas written couldn’t have made anycontribution to the melody that we play asinstrumental --3>June 2004: Erdos has change of heart, saysto add De Sylva. Repeats this in long note ofchanges sent in Oct. ‘04.June 2011: Bob, I like this less and less. I’vesearched extensively and can find nopublished version of this song after the 1920Jerome Remick original, which credits Rose-Jolson. Yet most sources credit all three. Didfind this blurb in the article on Avalon at theJazz Standards web site: “The original musicshows only the names of Jolson and Rose. Atsome point in time DeSylva’s name wasadded. It is possible that he did have a hand inthe lyrics, as he wrote lyrics to many of thesongs performed by and purportedlycomposed by Jolson” (written by our ChrisTyle).I’d feel a lot better about including him if wecould be sure he had a hand in the originalwriting and didn’t just get his name added bybuying the rights or recopyrighting it later.[A footnote, for what it’s worth, provided byAustralian researcher Bill Haesler on theDJML:For those who are are still following thisrecent thread, I did some research from theoperatic side of the subject and came upwith some more interesting things.It has been claimed that the tune'sopening phrase resembles that of GiacomoPuccini's aria "E lucevan le stele", from theopera Tosca, but in the major key. Theremaining 30 bars do not. Puccini'spublishers sued the song's composers in1921 for use of the melody, and "wereawarded $25,000 and all subsequentroyalties of the song by the court". [Itappears to have been later settled out ofcourt.]Aviation Rag (Mark Janza)Univ. of Wisconsin Symphony Band 1284ASM, 1910, Forster.Awful Sad (Duke Ellington)Andy Stein & Friends 1146San Francisco Starlight Orchestra 1271Confirmed by 1/29/29 copyright reg.BBaby (Santo Pecora–Fred Newman)Le Petit Jazzband 1403

Baby o’ Mine (Richard M. Jones)Black Eagle JB 1065New Jazz Wizards 12441065 just had Jones as composer; Williamsadded on 1244. Why?Online 78 says Jones alone on Okeh 8356 byLillie Delk Christian 6/15/26, also on RMJonesJazz Wizards Decca 8390 6/22/26, andRMJones Chicago Cosmopolitans 9/13/35Decca 7115. Google search on title +Clarence Williams yields zero.Erdos:Clarence Williams is listed as theco-composer with Richard M. Jones in acomposer index in the most completebiography and discography of ClarenceWilliams that I am aware of:"Clarence Williams" c. Storyville Publcationsand Co., Ltd 1976.The book is 625 pages (small type), writtenand assembled by Tom Lord (of England,not Canada) with discographical assistanceby the Storyville team: Laurie Wright, JohnR. T. Davies, Brian A. L. Rust, John Chiltonand others.So how is it that Lord and absolutely nobodyelse in the world knows this?2013 Review: Rec.Lillie Delk Christian, 6/15/26, OKeh 8356.Label says Jones only.RMJ Jazz Wizards, 6/22/26, OKeh 8390.Tom Morton (as Baby Mine), 11/1/26, Pathe30548, Perfect 14729.Jones’ Chi Cosmopolitans, 9/13/35, Decca7115.Copyright isBaby o’ mine; words and music by R. M.Jones. © 1 c. Aug. 11, 1926; E 645222;Richard M. Jones. Chicago.And no follow-up 1935-36 to add CW.Nuts to Lord, who has been wrong before.Copyright reg. and record labels mean morethan a book written decades later.Baby – Oh Where Can You Be?(Frank Magine–Ted Koehler)State Street Aces 1011Thompson, Smith & DeVore 1116Barbara Lashley & Ray Skjelbred 1152Red Rose Ragtime Band 1412John Gill Sentimental Serenaders 14248/22, Alex Hassan: Baby--Oh Where Can YouBe? is correct, as Kinkle has it8/24, Frank Dutton says Laurie Wright’s bookFats in Fact shows Baby, Oh! Where Can YouBe.8/25: Montgomery sends sheet music (1929),confirms Kinkle/Hassan.Baby Won’t You Please Come Home(Clarence Williams–Charles Warfield)Down Home JB 1241Two Clarinet Stompers 1259Jacobi’s Bottomland Orchestra 1266

(this is not the popular Smith-Burris song from1914).[info from Rust] Ballin' the Jack recorded byChicago Footwarmers (Natty Dominique-Johnny Dodds-Jimmy Blythe-Baby Dodds) 3Dec 27. Original US release was Okeh 8533,also many other US & foreign releases asBallin' the Jack. One release, on EnglishColumbia, had title as "Ballin' a Jack," whichpresumably is why that title pops up,especially on English CDs such as my JazzGreats series.Most sources give composer as just "Clark."The Steve Abrams 78 database shows Okeh8533 title as "Ballin' the Jack (Cootie Stomp)"by Charlie Clark. Charlie Clark was a pianistwho recorded duet sides with Blythe in 1931,so he must be the guy. [Abrams was makingstuff up: I found the 8533 label--it’s just Ballin’the Jack, by Clark. ALSO, an OKehdiscography points out that the same take wasreleased on Columbia DB3131 as “Ballin’ aJack”--and I found that label too, with that titleand a credit of Clark.BUT now see this from David Robinson:"I don't have the 78 and in fact never knewthere was a second tune by that name. So Ilistened to it (I have it on a Classics CD). Irecognize the tune as Barrel House Stomp!Of which there were three recordings (as"Barrel House Stomp"). I have all three onreissues:E. C. Cobb and his Corn Eaters, Dec '28,Victor V38023The Cellar Boys (Wingy et al), Jan '30,Vocalion 1503 [I have this version on theTime-Life Teschmacher set]State St. Ramblers, March '31, Champion16320"I've aurally confirmed that these are all thesame tune as the Chicago Footwarmersside."Attribution-wise, I checked the Abramsweb site (of which I was previously unaware,thanks! a useful resource); the Vocalion andVictor are attributed to "Lester Melrose". Noattribution is shown for the Champion. TheClassics CD attributes the Okeh to "Clark"."Interestingly, the Victor has Frank Melroseon piano, the Vocalion has Frank Melrose onpiano plus Charles Melrose on accordion,and the Champion has Jimmy Blythe onpiano."But the Dodds (Chicago Footwarmers), withBlythe on piano, predates the others. Soapparently the Melrose name just gotslapped on a Blythe tune? With a new title?(Or maybe the "Ballin' the/a Jack" title wasan error to begin with?) Better hit the LOC!*[*Actually, I had hit the LoC searching forBarrel House Stomp and found that it wasindeed copyrighted by Lester Melrose.]"Charlie Clark was a pianist who recorded acouple of duet sides with Blythe in 1931."In follow-up conversation, Robinson insiststhat the tunes are way too similar to considerthe Melrose version a variation or newarrangement--there’s just a little difference inthe lead, he says.Still, for now (7/5/04), Erdos & I will list themseparately with a “see also” cross-ref as inDipper Mouth/Sugarfoot et al.I looked through copyright books 1926-29 andcouldn’t find the Charlie Clark tune. Rightnow, all we have to go on is the OKeh and[British] Columbia labels for our composerand title credits.Balthazar (Graeme Bell)Steve Waddell’s Creole Bells 1348Australian Jazz Real Book online confirms, asdo other sources.Baltimore (Jimmy McHugh–Dan Healy–Irving Kahal)Scaniazz 1004Hot Dogs /Victoria Varekamp 1033Red Roseland Cornpickers 1102Minerva JB 1117San Francisco Starlight Orchestra 1296

Chicago Rhythm 1059Moonlight Broadcasters 1193San Francisco Starlight Orchestra 1334Confirmed by 5/25/28 copyright reg, w DF/m.JF, from Blackbirds of 1928.Banjo Blues (Blue Man Sam’sLament) (Spencer Williams)Helm–Leigh Jazz & Blues Review 1332Hmm...music is in W. C. Handy’s old Blues: AnAnthology, with subtitle/alt title (Blue ManSam’s Lament). But titles/credits there arereset, not reproduced. Songwriters Hall ofFame confirms Sp. Williams.AHA: Original LC cy listing (from the book,online, not the card) from 1924 shows thatsubtitle as well, so it was copyrighted that way,even if the subtitle seems never to have beenused in practice. Erdos would never pass thisup, so I’m adding it 4/30/13.Banjonera (Tom Stuip)Tom Stuip & Delirium Tremolo 1433Bantam Step (Harry Jentes)Elite Syncopators 1286Red Rose Ragtime Band 1360ASM, 1916, Shapiro, Bernstein.Barataria (Bill Eastwood–Leo Adde)New Orleans Classic Jazz Orch 1223Le Petit Jazzband 1403Confirmed by several sources online,including bio of Adde on AllMusic.com.2013 review: Rec. Halfway House Orch,1/22/25, OKeh 40318. Not in copyright books1924-26. Found small image of label onYouTube, can’t read composers for sure, butthere appears to be two of them in the correctrelative lengths for Eastwood-Adde. And LCSONIC confirms it.Barber Pole Rag, The(Charles L. Johnson)Queen City Ragtime Ensemble 1138Confirmed by 1911 sheet music found at Miss.State., pub. Hal G. Nichols, Denver.Barber Shop Rag (Brun Campbell)David Thomas Roberts 11321132 had Barbershop. My collection = 5 xBarber Shop, 4 x Barbershop. BUT Wikipedia,Perfesser Bill, DTR’s own web site, DaveJasen’s big book all agree on Barber Shop!Well, crap--I also keep seeing it with andwithout the definite article The. Most arewithout, I guess, although Jasen-Tichenorperversely have it both ways. They also saynot published or copyrighted.8/13 queried Virginia Tichenor aboutCampbell, who directed inquiry to ragtimerRichard Egan, who has done extensiveCampbell research. He responded:I've studied the Campbell musicthoroughly, transcribing the music from hisoriginal recordings, and publishingCampbell's known works in a folio in 1993.Barrel House Rag is the only one thatexisted as a handwritten sheet. Everythingelse was just recorded by Brun, not notated.Chestnut Street was the only formallyreleased recording during Campbell'slifetime. Barber Shop, Campbell Cakewalk,and Lulu White first appeared on TheProfessors LPs in 1962-3. So, here is what Iknow about the rags you have questionsabout, in their most appropriate spellings:Barber Shop Rag - I've even seen it as oneword "Barbershop Rag" but I would put twowords and leave off the "the" First releasedas a recording on The Professors Vol. 1 butnot published until 1993.[I’ve put the rest of his specific notes next tothe various rags I had questions about](Oh Boy! What Joy We Had in)Barefoot Days (Al Wilson–James A. Brennan)Steve Waddell’s Creole Bells 1230

Barrel House Rag - Campbell hand-wrotethe musical notation, copyrighted it either in1942 or 1943 (not legible, so we're really notsure of the date) It was not published untilmy 1993 folio.Barrel House Stomp (Lester Melrose)(see also Ballin’ the Jack by Clark)Chicago Rhythm 1164

y Wm. A. Pond & Co. of New York. The firstedition states on its title page that it is "thelast song ever written by Stephen C. Foster.Composed but a few days prior to hisdeath." However, Carol Kimball, the authorof Song, points out that the first edition'scopyright is dated 1862, which suggests,she writes, that the song was composed andreadied for publication two years beforeFoster's death.Beautiful Love (Victor Young–Wayne King–Egbert Van Alstyne–Haven Gillespie)Neville Dickie 1052w. Haven Gillespie; m. Victor Young-EgbertVan Alstyne-Wayne King. 1931, Red Star(HSM).Beautiful Ohio (Mary Earl–Ballard Macdonald)Canary Cottage Dance Orchestra 1415ASM, w. BM, m. ME, 1918, Shapiro, Bernstein.Because My Baby Don’t Mean“Maybe” Now! (Walter Donaldson)Barbara Lashley & Ray Skjelbred 1152Marquet–Persson Melody Boys 1229Ingham–Grosz Hot Cosmopolites 1237San Francisco Starlight Orchestra 1296But no quotes or banger on cover. HSM,1928, Walter Donaldson.Bechet’s Fantasy (Sidney Bechet)South Side Jazz Serenaders 1420Who else, but I never found a primary source.Rec. w/Albert Nicholas Blue Four (or Five), NY2/12/46, Blue Note 54 (12") so too late forRust. A Bechet biography does credit him, asdoes Time-Life Bechet set.Bedelia (Jean Schwartz–William Jerome)Thompson, Smith & DeVore 1116Grand Dominion JB 1189Yerba Buena Stompers 1375I have sheet music: m.. Schwartz/w. Jerome.Beedle-Um-Bo (Raymond Birch*)George Foley 1088Hmmm. Well, there was a Beedle-Um-Bo byDavis-Akst-Ash, rec. by Paul Ash aho onColumbia 1927. Also rec. by Golden GateOrch. same year on Edison. But found thesheet music for the Raymond Birch/Chas. L.Johnson tune, 1908, pub. Chas. L. Johnson,Kansas City.Beedle Um Bum [My Beedle Um Bum](Thomas A. Dorsey)St. Louis Ragtimers 1267CD credited Thomas A. Dorsey.Rec. McKinney’s Cotton Pickers, 4/9/29, VictorV-39052, Bluebird B-6595.Not in 1929-30 copyright books, althoughmany other Dorsey compositions are. Andoops, the Victor Project ledgers forMcKinney’s recording do NOT show acomposer. And it shows title with but onehyphen: Beedle-um bum. BUT aha, the actualVictor record label has no hyphens--BeedleUm Bum--and no composer credit.CD says introduced to Ragtimers by a HokumBoys record. Hmmm...Online 78 says rec. byHokum Boys as Beedle Um Bum (nohyphens), 12/28, Paramount 12714, composerDorsey. And lose the hyphens and you getmore hits: Chicago Sheiks, 2/9/32, Superior(by Gennett) 2798, Dorsey.Aha: The Voice of the Blues: Classic Interviewsfrom Living Blues Magazine, has an interviewwith Georgia Tom Dorsey:Georgia Tom and Tampa Red were the firstHokum Boys, on “Selling That Stuff” and“Beedle Um Bum” (Paramount 12714).Fine--means they recorded it, not that either ofthem wrote it.Alas, the Paramount 12114 label does nothave a composer credit. What’s more, LCSONIC has this and the two releases byMcKinney’s Cotton Pickers, and doesn’t showcomposer credit on any of them.I suspect that this is another case of assumingthat the original performer (Georgia Tom) isthe composer, even though there’s no prooffor it.8/27/13 telcon with Trebor sheds no light.Ragtimers learned it off a tape (prob. dub ofthe Hokum Boys 78), couldn’t begin toremember where Dorsey as composer camefrom. He does recall seeing it on anickelodeon roll, so I reached out to FrankHimpsl:Finding a definitive composer credit onthis tune may be difficult to do. A verysimilar title appeared on Capitol nickelodeonrolls which was titled "My Beedle-Um-Bum."None of the Capitol nickelodeon rolls evergave composer credits, only titleinformation. "My Beedle-Um-Bum" appearedon Capitol nickelodeon style A-roll No. 2225,the third song out of ten total.I see where “My Beedle” came from: Thechorus of the Hokum Boys song repeats “mybeedle um bum” over and over.But Eureka. Note from a DJMLer inNetherlands mentioned 1928 as a copyrightdate for it, so I looked in the 1928 book andfoundMy beedle um bum; words and music byThomas Dorsey. [Chords, single staff] © 1 c.Dec. 29, 1928; E—Unpub. 2353; Chicagomusic pub. co., inc., Chicago.I guess we should add the “My” variation,since it was put on nickelodeon roll that way.Bee-hive, The (Joseph F. Lamb)Elliott Adams 1299Confirmed by 3/27/59 copyright reg. by Lamb.(Sometimes cited as simply “Bee Hive”)Beer Garden Blues (Lewis Raymond–Clarence Williams–Walter Bishop)Des Plantes’ Washboard Wizards 1421Clarence Williams set Jazz Greats reissue hassame credits (last names only). And aha,original Cl. Williams aho record on Vocalionhas same names.2013 review: Rec. CW aho, 8/18/33,Vocalion/OKeh 2541, Brunswick X-2541,Columbia 37680, 30057.Confirmed by 10/24/33 copyright reg., w.WB/m. LR-CW.Bees and Honey Rag (Les Copeland)Elite Syncopators 1286Perfesser Bill confirms, 1916. But in oneplace, Jasen’s big book just calls it “Bees andHoney,” so I wonder. 5/1/13 queriedBrier/Adams. Then Terry Parrish, whoresponded:Copeland's Bees and Honey was neverpublished. It only appeared as a universalhand-played roll by the composer himselfaround 1917. As I recall on the box label itwas subtitled rag. If memory serves mecorrectly Dickie Zimmerman transcribed it...Ithink....but I did not learn it from thetranscription, I learned it from the rollperformance.I’m probably barking up a silly tree. I later didgoogle on search on B&H+piano roll and gotlots of references by serious collectors andtranscribers to that piece, all calling it “Beesand Honey Rag.”Yes, I was barking up a silly tree. Tom Brierfound the label reproduced in Rags andRagtime:Bees and Honey RagRag-Fox-TrotCopelandPLAYED BY LES C. COPELANDLater noted that we have several LesCopeland, two Les C. Copeland, both asperformer on piano rolls. Looks like he was

seen often both ways, so will change to Les inall places.Bees Knees (A Queen Bee Fox TrotFull of Honey) (Ray Lopez–Ted Lewis–Leo Wood)John Gill’s Original Sunset Five 1094Down Home JB 1190Bob Oliver’s Hot Seven 1312Yerba Buena Stompers 1406HSM-ASM 1922, Leo Feist. w. LW; ;m. TL-RL.And a bonus subtitle for you, Bob:(A Queen Bee Fox Trot Full of Honey)Bees Wax (Harry J. Lincoln)Elite Syncopators 1286ASM, 1916, Vandersloot, shows:cover:BEES-WAX RAGbut (c) page isBees WaxRagBeetle in the Bottle (Billy Mayerl)Tony Caramia 1313Found sheet music at Billy Mayerl Societywebsite. And copyright reg. 6/12/40; part ofInsect Oddities set.Believe in Me (Tommy Sancton)Pam Pameijer’s Classic Jazz Aces 1194Sancton was on this LP, and note-writerspecifically attributes this tune to him, so that’sthat.Belinda (Fred S. Stone)Elliott Adams 1198Confirmed by 1905 sheet music, pub. JeromeRemick.Bell Hop Rag, The(Frederick M. Bryan)Elliott Adams 1299Down Home JB 1300

Betsy Brown (George Temple)Des Plantes’ Washboard Wizards 1409Des Plantes says orig. by Fess Williams & HisRoyal Flush Orchestra. Rust says Victor V-38062. And Victor Project confirms! (Notethat there’s a “Bashful Betsy Brown” byWinthrop Wiley/Edward Gardenier.) Andconfirmed by 9/28/29 unpub. copyright reg.Between the Devil and the DeepBlue Sea (Harold Arlen–Ted Koehler)Paris Washboard 1326S&P confirm w. TK/m. HA.Beyond the Blue Horizon (Richard A.Whiting–W. Franke Harling–Leo Robin)Marty Grosz’s Orphan Newsboys 1225Confirmed by 8/18/30 copyright reg., w. LR/m.WFH-RAW.B-Hap-E (Anton Lada–Alcide Nunez–Karl Burger)Dan Levinson’s Roof Garden JB 1380Levinson says by Louisiana Five; Rust has it asB-Happ-E by L5 4/14/19 on Edison (diamonddisk) 50569, Edison Blue Amberol cylinder3843; then again 11/19 as Be Happ-E onEmerson 10229, Medallion 8208Online 78 says Emerson 10229 is “Be Happy,”composers Lada-Nunez-Burger. Medallion is“B-Hap-E,” no composers.One collector page crowed that he found theEdisons and Medallion at an antique, and hereferred to the title as B-Hap-E, but didn’treproduce any labels. Another site selling theEdison disc also calls it B-Hap-E, so that mustbe what the label says.Bienville Blues (see ThoseDraftin’ Blues)Big Bad Bill (Is Sweet William Now)(Milton Ager–Jack Yellen)Rusty Taylor’s New Jazz Review 1186Newberger–Mazzy–Thompson 1352HSM, 1924, Ager, Yellen & Bornstein.Big Bear Stomp (Lu Watters)Uptown Lowdown JB 1030Turk Murphy JB 1155Down Home JB 1241South Frisco JB 1307Yerba Buena Stompers 1369Poss. first rec. 4/22/46, West Coast 104, GoodTime Jazz L-12002. LC SONIC confirms creditWatters on WC 104.Big Boy! (Milton Ager–Jack Yellen)Rusty Taylor /Southern Stompers 1028Chicago Rhythm 1059Mike Daniels’ Delta Jazzmen 1203Marquet–Persson Melody Boys 1229Neely’s Royal Society Jazz Orch 1250Paul and His Gang 1329Red Rose Ragtime Band 1412HSM, 1924, Ager, Yellen & Bornstein) hasbanger on both cover & (c) page.Big Butter and Egg Man from theWest [I Want a Big Butter andEgg Man] (Percy Venable)Down Home JB 1171Terry Waldo’s Gotham City Band 1201Lissauer says “BB&EM” Friend-Clare-Santly;S&P & Kinkle say “I Want a BB&EM” Venable-Armstrong.Found the answer: Cliff Friend-Sidney Clare-Joe Santly did indeed write a tune called “TheBig Butter and Egg Man” in 1924 -- but I foundthe lyrics online and they’re NOT the lyrics thatPercy Venable wrote for Louis Armstrong andAlix May (singer) for a stage show in that sameyear!ASM has both:“The Big Butter and Egg Man”; Cliff Friend-Sidney Clare-Jo Santly; Jerome Remick, 1924.But NOTE THIS:“I Want a Big Butter and Egg Man”; words &music Percy Venable-Louis Armstrong,arranged by Billy Maxted; Leeds Music Corp.,1926, renewed 1950. So it appears that it wascopyrighted and recorded in 1926 but notpublished in sheet music until the 1950version, in which case it would not outvote the1926 record label.The copyright isI want a butter and egg man ; melody by P.F. Venable. © 1 c. Oct. 13, 1926; E 649013;Percy F. Venable, Chicago.I looked through rest of 1927 and all of ’27 fora follow-up reg. that added Armstrong, butdidn’t find it. Doesn’t mean that he couldn’thave been added to the record label; we’veseen that before many times., or to the sheetmusic.The follow-up 1950 copyright isI want a big butter and egg man; [words andmusic by Percy Venable and LouisArmstrong], arr. by Billy Maxted. 50¢ ©Leeds Music Corp., New York; 4Aug50;EP48325. Appl. states previous reg.13Oct26, E649013.So on to the record labels: Oops, the “I Want”variation is not in Rust. He does have, under“Big Butter and Egg Man,” Armstrong HotFive, 11/16/26, OKeh 8423; Odeon 279788, A-2384. Wingy Manone, 9/19/30, Champion16192, 40055; Decca 7414; Brunswick 03520.Muggsy Spanier, 7/7/39, Bluebird B-10417,Montgomery Ward M8376, HMV B-9033 et al.Oh, fer chrissake: The Armstrong Hot FiveOKeh label isBIG BUTTER AND EGG MANFROM THE WEST(Venable)And aha! The Muggsy Spanier recording isthe one by Friend-Clare-Santly (found theHMV label). Manone recording is same asours, and credits only Venable.I’m more and more convinced that we shouldhonor the 1926 Hot Five label as official title;use the 1950 reissue as alternative.Recapping the history:1. 1926 copyright as “I want a butter and eggman” by Venable.2. 1926 published (on Hot Five record label)as “Big Butter and Egg Man from the West” byVenable.3. 1950 rereg. and sheet published as “I Wanta Butter and Egg Man” by Venable-Armstrong.So it wasn’t until 24 years after the originalpublication (as OKeh 8423) that Leeds hadBilly Maxted do a new arrangement andpublished the song with a different title,adding Louis as a composer.Big Chief Battle-Axe (Thomas S. Allen)Rent Party Revellers 1220Chris Tyle’s Silver Leaf JB 1258Tex is specific: w/m Allen, 1907, example ofIndian intermezzo. Found confirming sheetmusic online, pub. by Walter Jacobs.Big City Blues (Con Conrad–Archie Gottler–Sidney D. Mitchell)Barbara Lashley & Ray Skjelbred 1152John Gill’s Calif. Sunshine Boys 1157ASM, 1929, De Sylva, Brown & Henderson.Big Fat Ham (see Big Foot Ham)Big Fat Ma (Anton Lada–Spencer Williams)Dan Levinson’s Roof Garden JB 1380On CD as Anton Lada-Spencer.

Aug. 22, 1919; E 458166; Spencer Williams,New York.Followed later byBig fat ma; by Anton Lada and SpencerWilliams [of U.S.]; piano. © Dec. 6, 1919; 2c. Dec. 8, 1919; E 463588; Leo Feist, inc.,New York.Big Fat Ma and Skinny Pa(Richard M. Jones)Peruna Jazzmen CD 1003Peruna Jazzmen 1020Tomas Örnberg’s Blue Five 10431st rec.of Big Fat Ma and Skinny Pa was byArmstrong Hot Five in 1926 on OKeh 8379,which credits (I saw the label) “(Jones).”Extensive book on Hot Fives credits RichardM., as do all my other recordings.Confirmed by 9/7/26 copyright reg.Big Foot Ham [Big Fat Ham][Ham and Eggs] (Jelly Roll Morton)Oakley’s Lakeshore Serenaders 1013Butch Thompson & Hal Smith 1075West End JB 1085Bob Oliver’s Hot Seven 1312Bob Schulz & His Frisco JB 1315 Bob: based on this, why did we use Big Fatas primary? Shouldn’t Big Foot be primaryand the other two alternatives?Yes, he says. Adjust the cross-refs.--4>2013 review: 4/11/23 copyright is as Big FootHam, by JRM.Big Lip Blues (Jelly Roll Morton)Red Rose Ragtime Band 1128Pam Pameijer Trio 1172Jacques Gauthé’s Creole Rice YBJB 1256Red Rose Ragtime Band 1399Hmm, all my other sources say Morton, butBob Greene’s World of JR LP credits Morton-Carew. Doubtful, though: In John Chilton’sbook on Red Allen, he says,While the two men [Morton & Allen] weresharing some goodnatured banter at theJanuary 1940 recording session Mortondecided to name the piece they wereworking on “Big Lip Blues,” telling Red thathe was naming the song after him. . . .Some days later, on 18 January, in anotherletter to Carew, Morton again revealed thathe could be modest: “I just wrote ‘Big LipBlues’ in the studio and it don’t amount tomuch.Well, Rust doesn’t show Red Allen on that1/4/40 recording session, although he couldhave been there as an onlooker. In any case,Jelly’s letter to Carew takes Carew out of thecomposition of it.Copyright is:Big lip blues; melody Jelly Roll [i.e. Ferd]Morton. © 1 c. Jan. 20, 1940; E unp.212838; Tempo-music pub. co.,Washington.Big Mamou (Link Davis)Grand Dominion JB 13781378 had Lewis Lincoln Davis.This is the only one of my four recordings thathas a composer’s credit. No help in 1378 linernotes. S&P has a “Big Mamou” from 1953 byLink David, best-selling record by Pete Hanley(OKeh). [But many other sources say it’s LinkDavis.] Found the OKeh 45, credit is L. Davis.Many recordings by country stars as acajun/zydeco type of song—and that’s whatthe GDJB sounds like. So it’s the samesong—now whence “Lewis Lincoln” sted ofLink? OK, turns out Link Davis was performeras well as composer--found a zillion refs andhis recordings, and he’s always Link. Foundone serious bio sketch that confirmed that hisbirth name was Lewis Lincoln, but that’s justnot how he was known.Big Walkabout (Norm “Bud” Baker)Steve Waddell’s Creole Bells 1301Looks like Baker was a member of GraemeBell’s band, which recorded this in London in1951. Several confirmations, including theAustralian Jazz Compositions list.Billy Goat Stomp (Jelly Roll Morton)John Gill’s Dixieland Serenaders 1295Helm–Leigh Jazz & Blues Review 1331Confirmed by 1927 sheet music.Billy Meets Zez on 12th Street(Terry Parrish)Elite Syncopators 1358Parrish is pianist/leader of the band.Bimbo (Jack Palmer–Clarence Williams)Scaniazz 1038Dry Throat Five 1151Keith Nichols Cotton Club Orchestra 1210West Jesmond Rhythm Kings 1255Rec. CW aho 11/28 on QRS R-7034, Creole27; again 9/33 on Vocalion 2778.Found QRS label--no composer credit. Crediton Vocalion is just Williams-Palmer.Online 78 show CW/JP for both Vocalion andQRS, but I know QRS doesn’t have credits.Guess I just go with it--many secondarysources agree, although Red Hot archive hadSpencer Williams-Jack Palmer.2013 review: Oops, the copyright situation isproblematic. No Bimbo 1927-30, but there isI'm gonna take my bimbo back to theBambo [!] isle; from Bottomland, words andmusic by Spencer Williams and JackPalmer. © July 15, 1927; 2 c. Aug. 8; E672735; Clarence Williams music pub. co.,inc., New York.[!] is the Library’s version of (sic)And I had that title by CW aho on a MilestoneLP called The Immortal King Oliver, withcomposer credit Williams-Palmer, althoughRust doesn’t show it.We need to get the sheet music fromBottomland and see if they’re the same tune.Most of the Bottomland songs were byClarence, but Spencer and some others madecontributions as well. I’ll just bet that “Bimbo”is really the song from Bottomland and thateveryone has presumed that it was written byClarence.11/7/13 request to Audrey--I think she has allthe Bottomland sheet music. 11/8/13: no, shedoesn’t, but she’s pretty sure thatAlex does, although it’s not in his index.Aha, Tom Brier has a xerox copy of thecopyright deposit lead sheet for “I'm gonnatake my bimbo back to the Bamboo Isle”(spelled correctly], by Spencer W. & Jack P.Now just need to make sure that they’re thesame tune. 11/10/13 sent CW rec. of Bimboto Brier, asked him to compare them. Hisreport:Yes, I think they are the same tune, althoughthe recording bears as much resemblanceto the fake sheet I have as that recording of"Viper's Drag" did to *its* piano score. :)Doesn't help that the fake sheet is in adifferent key and doesn't give the chords...I supposed I’d better track down the actualsheet music to Bimbo to be sure.Bird-Brain Rag (Joseph F. Lamb)Matthew Davidson 1252Unpublished in his lifetime, posthumouslypublished in Joseph F. Lamb, RagtimeTreasures Piano Solos (New York, NY: MillsMusic, 1964), now out of print.And confirmed by 11/16/59 copyright reg.Birds Ball, The (R. M. Stults)Red Wing Blackbirds 1018LP had Bird’s.

Grant Clarke)European Classic JB 1070Terry Waldo’s Gotham City Band 1120Les Red Hot Reedwarmers 1435Sung by Ethel Waters in 1929 film On with theShow! -- IMDB confirms m. Akst/w. Clarke.(Am I Blue? from same film!) Columbia 78 hadsame credits. 5/18/29 copyright reg. alsoconfirms.Birmingham Black Bottom(Freddie Johnson–Thomas Morris)Bruno’s Salon Band 1251

ecording was Bob Hudson. This may well beour "unknown" version.But this is odd: Before showing me thecopyright registration files, Caulfield gave mea quick look at the Rieger-Deutsch index,which has the label information from every 78rpm record in the collections of the Library ofCongress and several major universities. Oneof the tunes we looked up was the GeorgiaWhite ”Biscuit Roller” (Decca 7357). The noteI made says just Jones as composer, nomention of Jenkins. I must either return or askCaulfield to double check this.9/10: More research in copyright registrationfiles and with Dave Sager, pulling 78s from theAltschuler collection.1. The copyright registration card saysBiscuit Roller Blues, words & music byMyrtle Jenkins. 6/21/28. (c) Chicago MusicCo.2. Decca 7357, the Georgia White recording,credits just Jones.3. Paramount 12402, the Priscilla Stewartrecording, credits only Jenkins.4. Vocalion 1744, the Memphis Nighthawksrecording, has no composer credits.The Blues on that registration card isintriguing, but it appears that from very start itwas presented to the world as Biscuit Roller,so I guess we stick with that title and with bothcomposers.4/13 afterthought: In hindsight, I want toquestion Richard M. Jones as co-author withMyrtle. What can we find with the power ofgoogle:Priscilla Stewart 9/26 Paramount 12402Memphis Night Hawks 3/30/32 Vocalion 1744Georgia White (acc. by Richard M. Jones)5/19/37 Decca 7357-Vocalion V1038.I’m ambivalent, but lean more toward Myrtlealone, which is, after all, what the copyrightcard says. There’s at least a fair possibilitythat when Georgia White recorded it withJones at piano in 1937, Decca just presumedit was written by Jones, who wrote so manyother tunes.2013 review: I like my previous logic. JustMyrtle Jenkins; Jones was probably a mistakeon the later Decca because he happened tobe the accompanist.Bittersweet (Dick Zimmerman)Dick Zimmerman 1017Black America (A Negro Oddity)(Harry H. Zickel)River Raisin Ragtime Revue 1417Confirmed by cover in Milan book. Actually,tracked down the sheet music, realize thatboth cover and copyright page have subtitle“A Negro Oddity.”(What Did I Do to Be So) Blackand Blue (Fats Waller–Harry Brooks–Andy Razaf)Kustbandet 1294Louisiana Washboard Five 1398Aha: ASM, 1929, Mills, w. AR/m. FW-HB: No? on cover or (c) page.Black and Blue Rhapsody(Bingie Madison)Keith Nichols Dreamland Syncoptrs 1150

Telcon 8/28: Erdos doubts Nelson: tuneis multistrain like a rag, not like whatNelson might have written. But someonemust have composed it, so make itunknown sted traditional.--3>Seems like plenty of evidence now to go toCharles Love. --4>May 2013 afterthoughts: “plenty of evidence”?Hardly. But Love’s as good as anything elsewe’ve heard. Sure wish I could get into LCcopyright card file--but this is one that maywell have never been copyrighted.2013 review: Now have the copyright books,but this isn’t in (too late for?) Rust. Yoicks! Notin Lord discography either. Also, just noticedthat I have it as both on a fence and on thefence.Ken Colyer may have recorded it as early asthe 1950s--1953? But I see that this came upon DJML earlier this year, with this report bythe redoubtable Bill Haesler:My sources say tpt player Charlie Lovecomposed "Black Cat On The Fence". Herecorded it with Louis Delisle's Band (Love;cltist Big Eye Louis Nelson Deslisle; tbnistLouis Nelson; Johnny St Cyr, g & AustinYoung, d.) for Bill Russell's American Musiclabel in NO on 19 July 1949.According to Bill Russell, Charlie Love (atthe session) "laughed and explained that'Black Cat on the Fence' was the only politetitle they told the girls when they asked thename of the piece".Ken Colyer's first version was made in NewOrleans on 23 Feb 1953 (I have it on a DawnClub 12025 LP). He also recorded it inLondon for English Decca (I have the Lake5006 LP reissue) in Oct/Nov 1956.From then on it became a favourite withthe New Orleans 'revivalists'. Sorry Bruce, nodate, but assume that it is from the 1940s.However, Charlie Love was around for along time (1885-1963) and had been playingsince 1925.Black Cat Rag, The (Frank Wooster–Ethyl B. Smith)David Thomas Roberts 1317ASM, 1905, Frank Wooster.Black Coffee (Al Hoffman–Al Goodhart–Maurice Sigler)Des Plantes’ Washboard Wizards 1421HSM, 1935 Remick, w. MS/m. AH-AG.Black Eye Blues [Gonna Catch Youwith Your Breeches Down](Thomas A. Dorsey)West Jesmond Rhythm Kings 1255Only recording in Rust is Ma Rainey, 9/28,Paramount 12963; Dorsey on pno, Tampa Redon gtr. Starr-Gennett Foundation web site bioof Dorsley mentions his playing on side, butnot composing it. Red Hot Jazz Archivecredits Dorsey, but they’ve proven less thanauthoritative on composers before. Online 78also credits Dorsey. But no primary sources.And where in the world did we get thatsubtitle? None of my extensive Googlesearches on the title produced it.5/9/13 Erdos found bio of Dorsey that didn’tmention the tune, so no help there. But foundMother of the Blues: A Study of Ma Rainey bySandra Lieb. In tune index, “Black Eye Blues”had on next line “(c) Gonna Catch You withYour Britches Down.” Presume that means itwas copyrighted under that title. If so, safeguess is that it was considered too long (ortoo raunchy) a title to put on a record label.2013 review: Aha! Found this copyright afterlots of searching:Gonna catch you with your breeches down;words and music by Thomas Dorsey.[Words and melody only] © 1 c. Nov. 30,1928; E—Unp. 1724; Chicago music pub.co., inc., Chicago.But are we sure it’s the same song? Yes! It’sabout Nancy Ann, who’s man beats her up,blacking both her eyes. She responds, sooneror later, gonna catch you with your britchesdown. [pronounced the way we nowpronounce britches, and I think the word waspronounced that way in the past even when itwas spelled breeches.So it’s not a subtitle, it was the originalcopyright title.Black Gal (Louis Washington)Chris Tyle’s Silver Leaf JB 1258Only rec. in Rust is Clarence Williams aho,3/7/35, Vocalion 2927. Aha: LC copyrightbook (not the card catalog) confirms w/mLouis Washington, cy. 1934 by ClarenceWilliams Publishing.Black Girl [In the Pines] (Cecil Sharpe)Magnolia Jazz Five/Jimmy Mazzy 1137Golden Eagle JB 1192Black Hand Rag, The (George A. Norton)Queen City Ragtime Ensemble 1138Confirmed by sheet music, which had themiddle initial on both cover and cy page.Black Keys on Parade (seeTroublesome Ivories)Black Maria (Fred Rose)Hot Antic JB 1058Hot Antic JB 1154Moonlight Broadcasters 1193LPs all credited Rose. In 4th ed., we changedcredit to Rose-Razaf-J. C. Johnson based onthe 1939 sheet music that Vince Saundershad.Hmm: HSM has two copies:1929, Paull-Pioneer, is w. & m. Fred Rose.1939, Paull-Pioneer, is m. Fred Rose, new lyricby Razaf & Johnson for entirely differentarrangement for a Fats Waller recording.You could argue against naming Razaf &Johnson as lyricists because they came alongten years later and in any case the SOSrecordings don’t have vocals. Or argue forthem on theory that the song is known todayonly because the great Fats Waller recordedit.2013 review: Well, who did record it besidesFats?Arnold Frank & His Roger’s Cafe Orchestra(Minneapolis), 9/9/27, OKeh 40896,Parlophone R-3466. Just Rose, says LCSONIC.Devine’s Wisconsin Roof Orch, 10/27,Broadway 1123.Dixie Stompers (Fletcher Henderson group),10/24/27, Harmony 526-H. Just Rose saysLC SONIC.

Carroll Dickerson’s Savoy Orch, 5/25/28,Broadway 3990, 3853 et al. Just Rose saysLC SONIC.Bubber Miley, 7/3/30, Victor V-38146. JustRose, says LC SONIC.Fats Rhythm, 1/12/40, Bluebird B-10624.Razaf-Johnson-Rose says LC SONIC.The copyrights:Black Maria; novelty stomp, by Fred Rose,arr. by Archie Bleyer; pts., with words. 4to.orch. © May 4, 1930; 2 c. May 7; E pub.15237; Paull-Pioneer music co., New York.But oops, get a load of this:Jitterbug tree; w Andy Razaf & J. C.Johnson, melody from Fred Rose's BlackMaria, rev. Thomas (Fats) Waller, pf. sc. TedEastwood. © Jan. 19, 1939; E pub. 74333;Paull-pioneer music corp., New York.It looks like their intention was to create a newsong based on Fred Rose’s old melody, but itended up getting recorded (by Fats) andpublished under the old Black Maria title.Black Mountain Blues (Henry Cole)Rusty Taylor /Southern Stompers 1028Orig. Bessie record was Columbia 14554-D.Review of a 1984 recording of it in Englandpoints out that the "’Black Mountain Blues’ istake on the old Bessie Smith number creditedhere as H. Cole. ‘Black Mountain Blues’ isoriginally written by J.C. Johnson (James C.Johnson).”Search on title plus Johnson and Coleactually finds more hits on Cole than Johnsonas composer, but what we have seems to bemore authoritative.But oops! I found a nice, clear picture of theoriginal Columbia 14554-D label, and it creditsCole. Seems to me we have to switch back toCole unless we find some hard evidence thatthe label is a mistake.2013 review: Let’s take another look. Rec.Bessie 7/22/30, Columbia 14554-D, HJCA 608,Temple 552. Credit on Columbia label clearlyCole.Copyright? Can this be it?Black Mountain blues; words and melody byJames Crawford. © 1 c. Apr. 28, 1931; Eunp. 38737; J. C. Johnson, New York.In the index, this shows up as a tune titleunder J. C. Johnson’s name--but as copyrightregistrant, not composer. Can somebodyalong the way have seen that and come to theconclusion that J.C. wrote it? But what aboutJim Crawford? There’s nothing else like this inthe books for 1929-31.Another curious point: James Crawford hastwo titles copyrighted in 1931, Black MountainBlues and its flip side Hustlin’ Dan. AndCrawford is credited as composer on theHustlin’ Dan label.What a mess! No way to be sure that thecopyright entry above is really our song. Theonly “hard” evidence we have is “Cole” on therecord label. Johnson simply comes out of leftfield. Anybody got any ideas?Bill Haesler found another Blues song by Colein the period: Mary Dixon’s “Fire and ThunderBlues,” rec. 8/24/29, Columbia 14459-D; labelcredits Cole, but alas, it wasn’t copyrighted1929-30.And also “All Around Mama” by Mary Dixon6/20/29, Columbia Columbia 14442-D. AndHah! “All Around Mama” copyright:All around mama; words and music byHenry Cole. [Words and melody only] © 1 c.July 16, 1929; E unp. 8914; J. C. Johnson,New York.J. C. Johnson again! But that was the onlysong copyrighted by Henry Cole in 1929. In1930 he had “You Can’t Stay Here No More,”recorded by Clara Smith 12/31/29, Columbia14497-D--copyright filed by James Johnson!It would appear that Johnson the publisherhad an in with Columbia to get his blues songsrecorded, and that one of his blues writers wasHenry Cole.But Bill Haesler broaches a novel theory: ThatHenry Cole and James Crawford were bothpseudonyms for J. C. Johnson. His mainevidence is this:Years ago my dear mate, local singer90-year-old Kate Dunbar, corresponded with aBessie Smith 'authority' (who worked for a timeat the LoC). He provided her with histranscriptions of all the Bessie Smithrecordings, with notes.Kate looked up "Black MountainBlues/Hustlin' Dan" for me. He too notes: H.Cole with the comment "probably apseudonym for James Crawford equals J CJohnson."Presumably, from LoC sources.But Bill also points out that the label ofColumbia 14411-D, Ethel Waters singing “MyBaby Sure Knows How to Love,” creditsCrawford and Rafe--but the copyrightregistration for that song isMy baby sure knows how to love; words byAndy Razaf, music by J. C. Johnson. [Wordsand melody only] © 1 c. Apr. 4, 1929; Eunp. 5352; J. C. Johnson, New York.Well, this is another case where the last andonly piece of evidence may be the originalcopyright deposit for “Black Mountain Blues.”Sure would be nice to get somebody into theMRR at LC for this and for the Hill-Williams“The stuff is here, let’s get gay.”Black Mountain Rag (Tommy Magness)St. Louis Ragtimers 1267Not in LC copyright files, says M. Caulfield.“Black Mountain Rag” by Tommy MagnusBut aha! Google search 5/5/11 turns up“Performed by Chet Atkins on his D’Angelicoguitar. Originally released 1953 on ChetAtkins’ Gallopin’ Guitar, RCA. Recordingprovided courtesy of Sony MusicEntertainment.”But there’s more. A search on “TommyMagnus” does indeed find a couple of hits onhim as as the fiddle player with Roy Hall andHis Blue Ridge Entertainers. But it also finds abook that the Google project has put online, IfTrouble Don't Kill Me: A Family's Story ofBrotherhood, War, and Bluegrass by RalphBerrier. It talks at great length about RoyHall’s group and its genius fiddle player,Tommy Magness. Berrier says that a bigboost to the band’s success came when theRoanoke Times wrote about them, but that thecaption to the photo of the band in that articlemisspelled Tommy’s name as Magnus, whichBerrier called “a common mistake.”Now a search for Tommy Magness gets azillion hits about his brilliant career inbluegrass, including playing with Bill Monroe--AND lots of hits identifying him as thecomposer of “Black Mountain Rag.”What would we have done without theinternet?Black Pepper Stomp (Henry Davies)Henry’s Bootblacks 1149Henry Davies is the founder/leader of theband.Black Sheep Blues, The(Gus Kahn–Phil Baker)Le Petit Jazzband de Mr Morel 1344This is kind of a tough one. Most sources citejust Phil Baker, a couple cite SpencerWilliams, BUT LC copyright book says w.Kahn, m.. Baker, and the labels of Gennett5263, 9/20/23 by Black Dominoes, and PatheActuelle 021076, 1/5/23, by New Synco JB,both site Kahn-Baker.Black Snake Blues (Victoria Spivey–Jesse J. Johnson)Peruna Jazzmen CD 1003

Peruna Jazzmen 1020Chicago Rhythm 1059Abi Hübner’s Low Down Wizards 1093Evergreen Classic JB 1202Jacobi’s Bottomland Orchestra 1266

Al Dubin)Paul and His Gang 1329Bless You! Sister on both cover & (c) page(we had comma before). w. AD/m. JRR. ASM,1928, Waterson, Berlin & Snyder.Blind Boone’s Southern Rag MedleyNo. 2 (Strains from the Flat Branch)(Blind Boone)Queen City Ragtime Ensemble 1138St. Louis Ragtimers 1267David Thomas Roberts 1317And ASM copy confirms it.Blood and Tears [O Sacred Head,Sore Wounded] (Hans Leo Hassler)Grand Dominion JB 1291We originally had “Passion Chorale” as analternative title.Mike Cox’s liner notes say, “a piece that J. S.Bach stole for his Passion Chorale from H. L.Hassler [26 October 1564 – 8 June 1612].”Well, let’s get technical. First came a longmedieval Latin poem, “Salve mundisalutare,” with stanzas addressing thevarious parts of Christ’s body hanging onthe Cross. The last part of the poem, fromwhich the hymn is taken, is addressed toChrist’s head, and begins “Salve caputcruentatum” (“Greetings bloody head”).The poem was translated into German bythe prolific Lutheran hymnist Paul Gerhardt(1607-1676). Although Gerhardt translatedthe whole poem, it is the closing sectionwhich has become best known, and is oftensung as a hymn in its own right. The Germanhymn begins, “O Haupt voll Blut undWunden” (O head full of blood andwounds”). The closing section has alsobeen translated into English, by severalwriters, but is best known as “O Sacredhead, sore wounded.” The music for theGerman and English versions of the hymn isby Hans Leo Hassler, written around 1600for a secular love song, “Mein G’müt ist mirverwirret” (roughly, “my mind or soul isconfused”), which first appeared in print in1601. The tune was appropriated andrhythmically simplified for Gerhardt’sGerman hymn in 1656 by Johann Crüger.Johann Sebastian Bach arranged themelody and used five stanzas of the hymn inhis St. Matthew Passion.I’ve looked far and wide and can’t find anyevidence that the hymn was ever called“Blood and Tears.” The Wikipedia articlesfrom which the above para is taken refer toquite a few major Christian hymnals thatcontain it, but they always refer to it by citingthe first line, beginning with “O sacred head”or just “O head.” I suppose it’s possible thatone of them gave it a title of “Blood andTears,” but a Google search on that titledoesn’t turn it up.I guess we must presume Cox had a reasonfor “Blood and Tears,” but our alt. title was amistake. The Hassler melody is but a smallpart of the Passion Chorale, while it is to befound in Christian hymnals, which is how andwhy it’s on this album. So our alt. titleobviously has to be “O Sacred Head, SoreWounded.”Queried Bob Pelland about where they got“Blood and Tears,” got this response:We copied the title from a LP recording by theMagnolia Jazz Band of Norway called "MJBand Lillian Boutte/New Orleans Gospel inMolde Kirke" (1991/81). Found LP notesonline, discovered that the MJB had credited itto Trad.Blowin’ Off Steam (Joe Davis–Howard Johnson)New Orleans Classic Jazz Orch 12238/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield: Joe Davis and Howard Johnson.Blue Again (Jimmy McHugh–Dorothy Fields)Barbara Lashley & Ray Skjelbred 1152ASM, 1930, M-G-M, w. DF/m. JM.Blue (and Broken Hearted)(Lou Handman–Grant Clarke–Edgar Leslie)Hot Antic JB 1044S&P confirm w. GC-EL, m. LH, 1922.Blue Because of You (CharlesCarpenter–Louis Dunlap–Quinn Wilson)Paris Washboard 1326Waller Bluebird B-10322 78 label confirmsCarpenter-Dunlap-Wilson. LC copyright bookconfirms the first names.Blue Bells Goodbye (Bunk Johnson,based largely on Bright Eyes,Good Bye by Egbert Van Alstyne–Harry Williams)Golden Eagle JB 1080Grand Dominion JB 1139Black Eagle JB 1303Black Eagle JB 1356Blue Blazes (Arthur Sizemore)David Thomas Roberts 1317ASM, 1909, Victor Kremer.Blue Blood Blues (Lonnie Johnson)Jazz Classics CD 1061Presumably this is the BBB recorded by BlindWillie Dunn’s Gin Bottle Four, 4/30/29, onOKeh 8689; Columbia DB-3440, BF-634, DO-3690, DZ-2040; Biltmore 1007, whichconsisted of King Oliver, J. C. Johnson, EddieLang, Lonnie Johnson, Hoagy Carmichael.Red Hot Jazz Archive: Blind Willie Dunn was apseudonym that guitarist Eddie Lang’srecords were released under when he teamedup with Lonnie Johnson on the Okeh label. Itcredits Lonnie J. And the OKeh 8689 labelcredits Johnson.Blue Blood Blues (Jelly Roll Morton)Black Eagle JB 1065Paramount Theatre Orchestra 1089Pam Pameijer’s New Jazz Wizards 1318Rec. JRM Red Hot Peppers 7/14/30, Victor22681, A-1335, Bluebird B-8201; HMV EA-3419; et al. No shortage of agreement on this,including label of Victor 22681Blue Blowers Blues (Curtis Mosby)Le Petit Jazzband 1403Rec. Curtis Mosby and His Dixieland BlueBlowers, 3/28/28, Columbia 1442-D. Online78 has odd credit of C. Mosby-(Les Hite). RedHot Jazz Archive credits just Mosby. And aha:Columbia 1442-D label credits Mosby. Andconfirmed by 7/22/29 unpub. copyright reg.Blue Bungalow (Buck Evans)

Magnolia Jazz Five/Jimmy Mazzy 1137Liner notes say, “First heard by Jim [Mazzy]when played for him by its composer, BuckEvans . . . written in the 1980s.Found very little online, except for this oddentry in something calledcopyrightencyclopedia.com:Type of Work:Musical workRegistration Number / Date:PA0000297084 /1986-07-11Date of Publication:May 30, 1986Date of Creation:1986Title:The Blue bungalow ; LonesomeHollywood blues ; Oh, you devil man /Evans.Variant title:The Blue bungalowOther Title:Lonesome Hollywood bluesOh, you devil manLive from the steaming tropical jungles ofSoutheast AlaskaAppears in:Buck Evans--Live from thesteaming tropical jungles of SoutheastAlaska. : [S.l. : s.n., 19--] 1 sound cassette. ;side A, selection no. 3, etc.Copyright Claimant:Robert B. EvansAuthorship on Application:words and music:Robert Bailey Evans ("Buck" Evans)Performer:Performed by Buck Evans.Guess we have to presume it’s the same guy,but I won’t add the “The” to title withoutanother clue.HAH: get a load of this, a feature article onEvans:http://juneauempire.com/stories/081408/mus_318643929.shtmlBlue Clarinet Stomp (Johnny Dodds)Pam Pameijer’s New Jazz Wizards 1382Rec. Johnny Dodds Trio, 7/5/28, Victor 21554,HMV DLP-1073; Andy Kirk 12 clouds, 11/7/29,Brunswick 4694, Vocalion 3255. Mike Riley etal., 11/26/35, Decca 641, Brunswick 02135.Victor Project confirms Dodds as composer.Victor label credits John Dodds.Blue Devil Blues (Walter Page)Keith Nichols & the Blue Devils 1387

“BLUE GOOSE”RAGThis says to me that "RAG" is not properly partof the title--it’s there as a guide to the potentialpurchaser as to what kind of tune it is.Copyright agrees:BLUE GOOSE; rag by Raymond Birch, ofU.S.; piano. © Jan. 3, 1916; 2 c. Jan. 7,1916; E 375280; Forster music publishers,Chicago.Blue Grass Blues (Elmer Schoebel–Billy Meyers)Bent Persson’s London Stompers 1167Chris Tyle’s Silver Leaf JB 1311ASM-HSM, 1923, Jack Mills.Blue Hawaii (Leo Robin–Ralph Rainger)John Gill Sentimental Serenaders 1424We can presume Gill recorded the one thatBing did on this Bing tribute, which is indeedRobin & Rainger. But note that Paul Whitemanalso recorded a Blue Hawaii by Abel Baer-Irving Caesar-Ira Schuster, 1929, Leo Feist.Blue Hoosier Blues (Cliff Friend–Jack Meskill–Abel Baer)San Francisco Starlight Orchestra 1271HSM, 1923, Leo Feist; m. LF/w. CF-JM.Blue Is the Night (Fred Fisher)Rosy McHargue 1253HSM, 1930, Robbins.Blue Jeans (Lou Traveller–Harry D. Kerr)Ian Whitcomb & Dick Zimmerman 1049Good God! There’s a Wikipedia article just forthis song, with reproduction of cover. w. Kerr,m. Traveller.Blue Lightning (Claude Lapham)Tony Caramia 1328Looks like Lapham was composer, performer,author of mail-order piano course in ‘20s-‘30s.Several online bio sketches mention BlueLightning.Confirmed by 5/14/28 copyright reg.Blue Mama’s Suicide Wail (seeMountain Top Blues)Blue Moments (Fletcher Henderson)Kustbandet 1178Have three other recordings (one a FletcherHenderson reissue)—all credit Henderson ascomposer. Mosaic CD reissue creditsHenderson--but that’s another secondarycitation. Same true of Columbia CXK 85470 orC4L-19, a four-LP box set of Hendersonreleased in 1961; its individual records wereCL-1682-85.2013 review: Rec. Connie’s Inn Orch, 3/11/32,Melotone M-12368 (never issued), ColumbiaCL-1685 (see above).Well, there’sBlue moments; w Morey Davidson andBuddy Fields, melody Art. Berman. © 1 c.Aug. 11, 1932; E unp. 59948; Harry Bloom,inc.But that was later reregistered asBlue moments without you dear; w BuddyFields and Morey Davidson, m Art Berman;with ukulele arr. © Oct. 31, 1932; E pub.32850; Harry Bloom, inc.and rereg. again as Blue Moments in 1934.But no FH Blue Moments 1930-34.And I see that Ted Fiorito recorded theDavidson-Berman-Fields Blue Moments--Brunswick 6479, 11/1/32. And other bluemoments in online 78 are Will Osborne,Melotone 12585, 12/15/32; Romeo 1994, BlueMoments (WYD) Osborne Banner 32645,Perfect 15714.Just to be sure, I compared the Hendersonrecording with Fiorito’s, and they don’t soundanything alike, so I must presume thatHenderson’s is his alone and take everybody’sword that he wrote it. Sure can’t figure outwhy he didn’t copyright it, though--hecopyright three other tunes that year and twothe next year, so he knew the drill.Haesler’s Hendersonia by Walt Allen has thisto say:Page 308. The discography.BLUE MOMENTS (F. Henderson)Recorded Friday , March 11, 1932Melotone M 12340 (scheduled but neverissued.)"A trumpet solo was so bad that it wasdeleted from the Columbia LP issue." CLP1685.Tentatively ascribed to Leora Henderson[tp].A test pressing of take-B exists.Page 514. The 'Orch-ography'.BLUE MOMENTS (Coleman Hawkins?)Although labelled on the LP as FHcomposition and arr., Sandy Williams namesHawkins as composer.Arr. credit seems questionable.Sandy Williams was the trombonist on thesession. Well, Allen appears to come down onthe side of Henderson as composer, and he’sthe best we have.Blue Moon of Kentucky (Bill Monroe)Yerba Buena Stompers 1406My History of C&W Music CD set creditsMonroe, as does Columbia Country Classicsseries and Wikipedia article on the song.Blue Notes for Jim (Matthias Seuffert)Pam Pameijer’s New Jazz Wizards 1395Seuffert was on the recording, so they/heshould know.Blue Orchids (Hoagy Carmichael)Bruno’s Salon Band 1251HSM, 1939, Famous Music.Blue Prelude (Joe Bishop–Gordon Jenkins)Susan LaMarche/Waldo’s Gut. Sync. 1032ASM-HSM, 1930, Isham Jones; w. GJ/m. JB.Blue Reed Blues (Richard Hadlock–Butch Thompson–Ray Skjelbred–Mike Duffy–Hal Smith)Butch Thompson /Berkeley Gang 1127Blue River (Joseph Meyer–Alfred Bryan)Classic Jazz Quartet 1125San Francisco Starlight Orchestra 1271Tom Stuip & Delirium Tremolo 1433ASM-HSM, 1927, Jerome Remick; w. AB/m.JM.Blue Shadows (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Blue Shivers (Ted des Plantes)Des Plantes’ Washboard Wizards 1231Guess we can trust Ted to know.Blue, Turning Grey Over You(Fats Waller–Andy Razaf)Pam Pameijer Trio 1172Paris Washboard 1359ASM-HSM, 1930, Joe Davis.Blue Washboard Stomp(Johnny Dodds)Jean-François Bonnel & Friends 1104I have two Johnny Dodds reissues that credithim. Rec. 7/6/28, Victor 21552. Victor Projectconfirms Dodds as composer.Not in copyright books 1927-30.Blue Yodel No. 4 (see California Blues)Blueberry Rhyme (James P. Johnson)Paul Asaro & Neville Dickie 1404All three of my James P. reissues credit him.Rec. 6/14/39, CBS CL-1780, BPG-62090 (LPs--

presumably 10"). But found it on Signature28105, 78, credit JPJ. Also found in his listingat Songwriters Hall of Fame.And confirmed by 2/28/40 unpub. copyrightreg.Bluer Than Blue (Lil Hardin–Avon Long)European Classic Jazz Trio 1142Barbara Rosene 1368We had just Lil Hardin before 6/11Rec. Lil 4/15/37 Decca 1299, Brunswick02465.Red Hot Jazz Archive credits Lil Hardin/AvonLong for Decca 1299.BUT LC copyright listing shows “Bluer thanblue; w and melody. (c) 1 c. Apr. 9, 1937; Eunp. 141677; Avon Long, New York.Could be just Long’s song, with Hardinattached accidentally because she recorded it,or maybe Lil got co-credit for recording it, asoften happens. Would be nice to be able tosee the LC cy card catalog entry to look for asecond, “published” entry. Google search didfind several more refs to Hardin/Long.Hah! Found the Decca label; credit is “(Lil andAvon).” Australian researcher Bill Haeslerwrote this on DJML about Avon Long:ASCAP provides the following compositionsto his credit, but he is not mentioned in mycopy (1952) of the ASCAP BiographicalDictionary:Bad Boy [with Lil Armstrong], Breathless,Let's Get Happy Together [a Lil tune],Topsy (I Ain't Gonna Be No), When I WentBack Home [with Lil Armstrong]. He alsogets credit with Lil for a few other songsfrom 1936-40 and Lil Armstrong's period asa staff person at Decca.Also “Brown Gal” with Lil.Blues for an Unknown Gypsy [Play,Gypsy, Play] (Emmerich Kalman)Humphrey Lyttelton & His Band 1160Pam Pameijer’s New Jazz Wizards 1432Rec. by Lyttelton c. 1950, Parlophone R3424.My reissue of his old Parlophones creditsLyttelton himself. 1160 credits “E. Kalman,” noexplanation in credits.Ah, 1432 gives these details:The melody for this piece originates with thesong “Play, Gypsy, Play,” from EmmerichKalman’s operetta Countess Maritza[Vienna, 1924]. . . . Humph first presentedthe tune at a concert in Royal Festival Hall inJuly 1951.And indeed, that concert was recorded andreleased on an LP, Dormouse DM10. Adetailed online listing of tunes and personnelscredits Kalman as composer. And plenty ofonline confirmations for “Play, Gypsy, Play” byKalman.Blues for Frank Chace (Jim Snyder)Waldo’s Gutbucket Syncopators 1036. Credit on 1036 was J. Snyder,who was playing trombone, so we mustaccept it.2013 review: Oops, no note as to how welearned that he was really Frank Chace, butobviously we had a good reason. And therewas a clarinetist named Frank Chace veryactive in Chicago in the 1950s, so he must bethe guy.Blues for J. W. (Mike Durham)West Jesmond Rhythm Kings 1255Durham was leader of WJRK, John Wheatleywas a former string bass/tuba player in theband.Blues for Jimmie Noone [Jimmie’sBlues] [Blues for Jimmy](Kid Ory)Hal Smith’s Creole Sunshine Orch 1078Well known story is that Noone was in bandled by Ory that played on Orson Welles’s radioshow in LA. Noone died suddenly in April1944, and on the next show (April 19) theyplayed this as a tribute to him. All sourcescredit Ory, but the title?I think it probably was first recorded onGood Time Records. I found a Good Time 45issue that used the “Jimmy Noone” title, but Ialso found Crescent Number 2 (label of JazzMan Record Shop in LA?) with title “Blues forJimmy.” And I have three recordings of it withthat title, including a Kid Ory reissue on a CBSLP. Also found a Good Time EP cover thatshowed it as “Jimmie Noone.”Well, crap, I found two sources (one isBruyninckx; it’s not in Rust) that show it wascalled “Jimmie’s Blues” on that original radiobroadcast; Bruyninckx says that broadcastversion was released on Jazz Pan LP8, Joy((E)1264, and Folklyric 2008. Found theFolklyric LP online, and it is indeed “Jimmie’sBlues.”And Bruyninckx’s first mention of a studiorecording of it by Ory was that Crescent 78(Crescent 2), rec. 8/3/44. Bruyninckx titles itBlues for Jimmie, but the Crescent label isJimmy, as noted above. Also notes that samesession was released on Good Time Jazz 77,and Online 78 says GTJ77 title was “Blues forJimmie Noone,” which is seconded by thevery detailed jazzdicco.org entry for GoodTime Jazz 77, which it calls a “reissue ofCrescent 2.”Well . . . a great case can be made for calling it“Jimmie’s Blues,” the title the original radiobroadcast recording was issued under, or“Blues for Jimmy,” the first title used for theAugust 1944 studio recording. But “Blues forJimmie Noone” was around early on and hasthe virtue of using Noone’s complete nameand spelling his first name correctly, so we’llstick with it. But I believe I’ll put thosealternative titles there as well, just to bepunctillious and pedantic.Blues for Lovie Austin (Art Hodes)Art Hodes Blues Serenaders 1184Hodes would know. It’s in an album devotedto the music of Austin.Blues for the Duchess (Oakley’sLakeshore Serenaders)Oakley’s Lakeshore Serenaders 1013Blues for the King (unknown)Imperial Serenaders 1351

No composer credit on label. Chilton’sbiography of Bechet also calls it Blues forTommy, so we can take that as a given. AndChilton devotes a whole paragraph to thetune. Says the recording session happened tocome just four days after Ladnier’s death.The group settled down to record a tributeentitled Blues for Tommy.” If only the heartfeltmood created by Bechet’s openingphrases could have been maintained, thevalediction might have been a worthy one.[Goes on to praise Bechet’s contribution butcriticize the overall recording fairly harshlyMezzrow was not on that recording session.Bechet, in his autobiography, Treat It Gentle,describes the period of Ladnier’s death,saying that Mezz Mezzrow had been workingwith him on a project and was actually stayingwith Ladnier when he died. He goes on todescribe recording “Blues for Tommy,” butmakes no mention of Mezzrow as acontributing force. An extensive googlesearch on Blues for Tommy + Mezzrow turnedup only one source that associated Mezzrowwith the tune, a German listing of Mezzrowcompositions that that had that title on it--witha question mark.The Port of Harlem Jazzmen was an all-stargroup put together by Blue Note owner AlfredLion, so we probably can’t consider Bechetthe “leader” in any way (he wasn’t even at theprevious recording session of the Port ofHarlem Jazzmen).So, we could cite the entire band as“composer” of the tune, or just join the rest ofthe world in crediting Bechet, but I see no wayto leave Mezzrow there, unless somebody onour panel of experts knows something that Icouldn’t uncover.Blues Galore (Richard M. Jones)Jean-François Bonnel & Friends 1104Rec. Johnny Dodds 1/21/38, Decca 7413, M-30402; Vocalion S-215; Brunswick 03205.Red Hot Jazz Archive says Jones;Found index of a 78 collection listing a BritishBrunswick (J862) release of it, cites Jones ascomposer. Allmusic.com credits Jones. Aha,finally found the label of Vocalion S-215, whichcredits Jones.Blues Have Got Me, The (Roy Turk–Abner Silver)Keith Nichols Cotton Club Gang 1242HSM, 1924, Irving Berlin.Blues I Love to Sing, [The](Duke Ellington–Bubber Miley)Keith Nichols Cotton Club Orchestra 1320Milano Hot Jazz Orchestra 1354Rec. 10/26/27, Victor 21490, label of whichsays Ellington-Miley. Oops: The Victor labeland the Victor Project records omit the initial“The.” It was also on Victor 22985 andBluebird B-6531, and those labels ALSO omitthe “The.” However, the list of compositions inDuke’s biography (compiled by StanleyDance) says “The,” as does the compositionlist compiled by Ken Bloom for Duke Ellingtonand His World by A. H. Lawrence. Lots ofother sources omit the “The” as well. I’ll justbracket that word as an alternative.Blues in C (François Rilhac–Louis Mazetier)Louis Mazetier & François Rilhac 1218Blues in My Heart (Benny Carter–Irving Mills)State Street Aces 1011Golden Eagle JB 1100Black Eagle JB 13561011 = Carter-Mills; 1100 = King Carter-IrvingMills.AND LC copyright book has it w. & m. KingCarter & Irving Mills!Hassan has two copies, with different covers.One of the covers has overline “I’m Left withthe” above the title, the other doesn’t; andneither has that on the cy page. Both areKing-Carter-Irving Mills.Blues in Thirds [Caution Blues](Earl Hines)Chalumeau Serenaders 1394I have eight other recordings of it; all creditHines. Rec. Hines pno solo 12/8/28, QRS R-7036 and several other QRS record numbers.Title given in Rust isBlues in Thirds (Caution Blues)Wonder if that means that some of thoseissues were under the other title.Bechet & His NO Feetwarmers (with Hines onpno) 9/6/40, Victor 27204, HMV 9340.A book called Selected Piano Solos: 1928-1941, Volume 56 on Earl Hines, presentsdetailed notes of the QRS recording session atwhich this and seven other sides were made.Author questions date of Dec. 8 as unlikely,since it was in NY, and Hines recorded forOKeh in Chicago on Dec. 7 and 9. Hines latertold Stanley Dance that the QRS sessionswere some days before that.Ah, here’s our answer: On that Dec. 9 datefor Okeh, Hines recorded “Blues in Thirds”under the title “Caution Blues” (OKeh 8653).Blues (My Naughty Sweetie Gives toMe) (Arthur N. Swanstone–Charles R.McCarron–Carey Morgan)Susan LaMarche /Waldo’s Gut. Sync. 1032Hal Smith’s Creole Sunshine Orch 1078Jean-François Bonnel & Friends 1104Turk Murphy JB 1161Paris Washboard 1182Down Home JB 1199Terry Waldo’s Gotham City Band 1201Lyttelton–Fawkes Troglodytes 1238Zenith Hot Stompers 1248Bob Schulz & His Frisco JB 1315John Gill’s Dixieland Serenaders 1321Dan Levinson’s Roof Garden JB 1361Heliotrope Ragtime Orchestra 1411

Blues with a Feelin’, The(Duke Ellington)Charleston Chasers 1287Blue Rhythmakers 1373Hmmm. Last edition had The Blues with aFeeling,” but neither CD has The. Where’d Iget it? Rust lists it as “The Blues with a Feelin’,11/22/28, OKeh 8662, Columbia 35955,Vocalion 3229, Parlophone R-2258 et al. Andindeed, all three labels say it’s “The Blues witha Feelin’.” The Stanley Dance discographylisting in Ellington’s bio has the final g, butindicates that it wasn’t copyrighted until 1929.Duke Ellington and His World by Lawrencecalls it “Blues with a Feelin’.” Plenty of bothvariations to be found online, but “The Blueswith a Feelin’” clearly predominates.Bluin’ a Breeze (Matthias Seuffert)Pam Pameijer’s New Jazz Wizards 1395Seuffert was on the session, so I guess he’dknow.Bluin’ the Black Keys (Arthur Schutt)Tony Caramia 1209ASM, 1926, Robbins.Bluin’ the Blues (Henry Ragas–Sidney D. Mitchell)Dan Levinson’s Roof Garden JB 1361Yerba Buena Stompers 1406

Lathair is the guy who worked in Chicago withJimmy Blythe and and Paramount andChicago Music and wrote jazz tunes. Vol isthe guy from Tennessee who wrote jug bandtunes and worked with Victor and Ralph Peerin Atlanta and Memphis.They just can’t be the same guy, and Lathairjust has to be the Stevens on those BlytheParamount labels.Boiled Owl (Marty Grosz)Marty Grosz’s Orphan Newsboys 1225

Boogie Rag (Wilbur Sweatman)Chrysanthemum Ragtime Band 1047Down Home JB 1316Rec. Sweatman JB 3/17, Pathe 20147, Empire6219.That’s Got ’Em: The Life and Music of Wilbur C.Sweatman, by Mark Berresford, says written bySweatman 1917, pub. Shapiro, Bernstein &Co. Jasen’s big book confirms as well.Confirmed by 9/21/17 copyright reg.Boogie Woogie (Joe Oliver–Dave Nelson)Neely’s Royal Society Jazz Orch 1208Rec. Oliver 3/18/30, Victor V-38134, BluebirdB-6778. (Not to be confused with PinetopSmith’s tune, evidently also originally issuedas “Boogie Woogie,” and evidently changedby popularl usage to “Pinetop’s BW.”)Victor Project confirms Oliver-Nelson.And confirmed by 10/20/30 copyright reg.Booster, The (An AmericanAbsurdity Rag) (M. L. Lake)Waldo’s Ragtime Orchestra 1069Google found an online band arrangementfrom 1913 (pub. Fred Fischer) that matchesour title. And most other online searchesagree.Another look May 2013: Actually, I’m findingthat subtitle as both (An American Absurdity)and (An American Absurdity Rag). Reallyneed to look at the sheet music, but I’mamazed that I can’t find it online. Havequeried collectors Brier & Adams.Brier sends proof we had it right:The Booster(AN AMERICAN ABSURDITY RAG.)One Step - Two Step or Trot.Borneo (Walter Donaldson)Red Roseland Cornpickers 1133Well, everybody seems to agree on this asBorneo by Donaldson in 1928, but the onlysheet music I found was slugged “OperaticEdition,” that reads (cover & cy)I WISH THAT I’D BEEN BORNIN BORNEO“Successfully introduced by Eddie Cantor inGeorge LeMaires ‘Broadway Brevities.’” Lyricsby Grant Clarke, music Donaldson, pub. 1920by Irving Berlin. (Online athttp://digital.library.msstate.edu/cdm/singleitem/collection/SheetMusic/id/3854/rec/1)Strangely, not in Lissauer or S&P, and can’tfind a pure “Borneo” sheet online, eventhough it’s out of copyright.Songwriters Hall of Fame for Donaldson saysit’s Borneo by WD, pub. by Donaldson, butdoesn’t cite year.earlyjas.org article on Donaldson says,BORNEO - this ‘jungle’ tune was written in1928, while working at Irving Berlin’spublishing company. C-melody saxophonist,Frankie Trambauer and HisOrchestra (with Bix Beiderbecke on cornet)recorded this tune for the Okeh label inNew York, 4/10/28.What the hell? The “operatic edition”mentioned above definitely says 1920.Eddie Cantor recorded it as “I Wish That I’dBeen Born in Borneo” in October 1920 onEmerson 10301 (credit Clarke & Donaldson);The Harmonizers’ Quartet recorded it as “IWish I Had Been Born in Borneo 11/15/20 onVocalion 14141. Both records released 1921.Ben Bernie recorded it March 22,1928(Brunswick 3887, 3775); the Trumbauer recordwith Bix was April 10, 1928 (OKeh 41039,Parlophone R-203 (as the Goofus Five andtheir Orchestra), Odeon 165360, Columbia20674).Bernie’s Brunswick label has no composercredit. Trumbauer OKeh 41039 label creditsjust Donaldson, as does Parlophone R-203.Couldn’t find any other labels.I’d be tempted to say that the 1920 date on theoperatic edition was simply wrong, but thatsheet carries blurbs for “Tired of Me” and “MySahara Rose,” both by Donaldson-Clarke, alsodated 1920.And oops: found the copyright entry in LCcopyright book: Definitely “I Wish That I’dBeen Born in Borneo,” (c) September 27,1920, w. Clarke-m. Donaldson; filed by IrvingBerlin, Inc.Before I did some listening to the recordings, Ifigured I’d discover that Bernie arranged thetune for his band and recorded it with asimplified title.BUT the lyrics that are sung on the 1928recordings are nothing like the Clarke-Donaldson lyrics of 1920. I listened to the1921 Cantor song, and I don’t see that themelodies are anything alike.AHA: 5/12/13: I thought I’d googled everypossible combination, but I tried once moreand found this entry in the Library of Congresscopyright books:Borneo; fox-trot, words and music by WalterDonaldson. (c) Feb. 16, 1928; 2 c. Feb. 18;E 686098; Leo Feist, Inc., New York.Then another entry:Borneo; fox-trot, words and music by WalterDonaldson, arr. by Frank Skinner; orch. 4to.(c) Mar. 24, 1928; 2 c. March 26: E 688304,Leo [rest cut off].AND elsewhere learned that Frank Skinnerwas arranger for Ben Bernie.I asked Dave Robinson if the 1928 song wasjust a foxtrotification of the earlier one. Hisreply: “Looking at the 1920 sheet, I can tellyou that it’s absolutely a whole different tune.”Still hard to believe that it was never publishedin sheet music form. Anybody have it?Tex W. says the sheet music must be veryrare, because he’s never seen it, but he’s sureit must have been published, because it wasreissued in a Donaldson folio with copyrightdate 1928.Bos’n Rag, The (Fred S. Stone)Ophelia Ragtime Orchestra 11081108 was just “Bos’n Rag.”8/18, Nancy Wyndham: Our 1899 originaluses The Bos’n Rag on both cover andcopyright page.8/25: Montgomery sends copy of that samemusic.Boston Skuffle [Boston Shuffle](Jabbo Smith)Hot Antic JB 1058But Damn! See the copyright:Boston shuffle; melody by Jabbo Smith, arr.by James Alston. © 1 c. Mar. 19, 1930; Eunp. 18846; State street music pub. co.,inc., Chicago.So I had it backwards: AF was only one to getit right; the Brunswick and UHCA got it wrong.Guess I switch it back to Shuffle with Skuffleas an alternative.Bottomland (see I’m Goin’ Back toBottomland)Bottoms Up (Burton Lane–Harold Adamson)Alex Hassan 1322They wrote three songs for the 1934 filmBottoms Up, but “Bottoms Up” was not one ofthose titles. Have asked Alex if this is amedley of the three--seems like we ought tonote that rather than give the impression thatthis is a song title.He responded that there is indeed a published“Bottoms Up” song, even though it’s not in hisdatabase or in the IMDB entry for the film.

Bouncing Around (Armand J. Piron–Peter Bocage)Hot Antic JB 1044London Ragtime Orchestra 1081Louisiana Repertory Jazz Ensemble 1140South Frisco JB 1180Albion JB 1249Steve Waddell’s Creole Bells 1301Le Petit Jazzband de Mr Morel 1362Grand Dominion JB 1378One More Time JB 1410Manhattan Ragtime Orchestra 1419Rec. Piron’s NO Orchestra 12/3/23, OKeh40021, Odeon 03204. Couldn’t find sheetmusic, but OKeh label says (P. Bocage-A. J.Piron).Bouncing (At the Rubber Ball)(Roger Lewis–Ernie Erdman)Chrysanthemum Ragtime Band 1123ASM, 1916, F. J. A. Forster; w. RL/m. EE..(c) page is:cover isBOUNCINGAt the Rubber BallBOUNCING ATTHE RUBBER BALLBow-Wow (Wheeler Wadsworth–Don Rockwell)Elite Syncopators 1358CD has Bow Wow by F. Wheeler Wadsworth-Don Rockwell.Aha. Found that it’s Bow-Wow on both coverand cy page, one-step by Wheeler Wadsworth(again, no F. on either cover or cy page). cy1919 by Daniels & Wilson, San Francisco (INHarmony). And, as I expected, I also found avocal version (at Templeton), words by DonRockwell, still hyphen and no F. on both coverand cy page, but there’s a subtitle (Puppy-Lov) on cy page of vocal version, pub. 1920.CD notes say they took their version from thepiano roll version by Charley Straight, whichTrachtman database says is Imperial 91075,1920, and credits both Rockwell & Wadsworth.Also found the LC copyright entry for theCharley Straight piano roll, and it too credits“Rockwell and Wadsworth” (no first names).Elsewhere, Tex W. has pointed out that theexistence of both instrumental and vocalversions of rags does not mean that arecording of it without a vocal is in fact theinstrumental version. So we must herepresume that Straight was basing his roll onthe vocal version, and continue that credit toour recording.Now about the F. The only other tune in theindex by Wadsworth is “Dolly (I Love You).”The sheet music there said just WheelerWadsworth, no F., but we added the F.because we already had it here. Now it turnsout we didn’t really have it here. Even if hehad that first initial, he didn’t use it, so out itgoes.(J. Russel Robinson also made a piano roll ofit.)(And beware that there’s a Bow-Wow! withexclamation point by F. Henri Klickmann.)Bowery, The (Charles H. Hoyt–Percy Gaunt)Imperial Serenaders 1351Looks like it was published in folio of songsfrom Hoyt’s A Trip to Chinatown in 1992.Found it in two places. w. Chas. H. Hoyt, m.PG.Boy in the Boat, The [The Rock](Charlie Johnson)Evergreen Classic JB 1202Keith Nichols Cotton Club Orchestra 1210Lande’s Rhythm Club Orchestra 1327Les Rois du Fox-Trot 14365th edit: The Rock doesn’t make sense assubtitle. Where’d you get it? You sure it’s notan alternative title?10/8/00 Erdos agrees it should be alternativetitle.Only entry in LC copyright files is “The Boy inthe Boat,” w/m Lothar Stevens, 11/6/36, StateSt. Music, Chicago. We sure it’s not the samesong? (Alas, music isn’t in LC MRR.)1/25/01: Aha. They dug the Lothair (notLothar) Stevens sheet out of a warehouse inLandover, MD. Lyrics are pretty raunchy andmelody line is sketchy, but I’ll send it toRobbie so he can compare it with the originalCharlie Johnson recording and with SqueezeMe.Note that in his liner notes to a Waldo’sGutbucket Syncopators recording of it on DirtyShame, Waldo says, “...olriginally called THEROCK, written by Charlie Johnson. . . . Don’tconfuse this tune with a Harlem ditty of thesame name which forms the basis for FatsWallers SQUEEZE ME.”Note also that the New World Records reissueof the original Charlie Johnson recordingnotes that ths tune is “often credited to FatsWaller”—wonder if they got confused by theSqueeze Me feint.2/1/01: Robbie Reports:You asked me to listen to the 1928recording by Charlie Johnson entitled "TheBoy in the Boat (The Rock)" and compare itwith the song copyrighted in 1936 by LothairStevens entitled "The Boy in the Boat". Irecommend that the forthcoming revisedStomp Off record catalog list sayThe Rock (Charlie Johnson)But to substantiate this we need evidencefor Terry Waldo's statement on theGutbucket Syncopaters record, that it was"originally called THE ROCK, written byCharlie Johnson...."The trivia mongers will be upset if "Boy inthe Boat" is not mentioned, but the onlyreason for including it is that it appears onthe 1928 record label. We've alreadyagreed that a record label is bad evidence,right?The melody of the 1936 copyrightdeposition by Lothair Stevens, entitled "TheBoy In the Boat", bears no resemblance tothe sophisticated melodies of the CharlieJohnson recording. But there is someresemblance to the song, "Squeeze Me", byFats Waller & Clarence Williams.I believe that composer Charlie Johnsonand his band called the composition "TheRock". Then one day a sleazeball sidles upand whispers, "I own a record company andI can sell your tune..." You get the picture.How many times has the title of a work beenaltered by a producer or publisher who hashis own ideas about how to sell theproduct?!Consider, too, that in the brief era of 1928 to1930 several jazz orchestras wereexperimenting with far-out structures andharmonies, sort of the immediate precursorto the works of the Duke Elington orchestra.The tune titles were short and punchy ThirdRail, The Mooche, The Terror, and TheRock.I listened to the cassette tape of Johnson'sperformance and said, "I've played thatsomewhere with a band..." Then I recalledRoyal Society Jazz Orchestra. Don Neelytranscribed the arrangement from CharlieJohnson's record. Don is a faithfultraditionalist and so at the top of his charts is"Boy in the Boat", just as printed on therecord label. Evergreen Jazz Band alsoplays it very well.At this point I telephoned Frank Powers,who supplied the path to the evidence. It'sin the album notes written by OrrinKeepnews for a Victor XLP circa 1954. ThisLP compilation included a re-issue of CharlieJohnson's 1928 recording(s).Evidently Keepnews talked with Johnson orsome of his musicians about the song andthe recording sessions, and they saidwithout hesitation that Johnson named thesong "The Rock" but the record producerdidn't like the title so the record was titled"Boy in the Boat" simply for title recognition.I wuz right !I see no compelling reason to mention thetitle "The Boy in the Boat" in association withthe composition by Charlie Johnson, sincethe composer himself never called the songby that name. (And he probably hated it!)Robbie’s instincts and research are great, buthis conclusion is flawed. The song was not

copyrighted, nor was it published, so therecord label is our only, and thus primary,source. The fact that before he recorded it,Johnson himself called his tune “The Rock” isimmaterial. When he “published” it byrecording it, the title applied to it was “The Boyin the Boat (The Rock).” That’s the only waythat posterity knows the tune.We can show our Stomp Off cleverness athaving ascertained that “The Rock” is analternative title rather than a subtitle by puttingit in [brackets] according to our system, butwe can’t change the fact that the tune was, ineffect, published as “The Boy in the Boat.”2/2/01 followup: When I pointed out to Robbiethat there’s no copyright card or sheet musicfor this tune, just the record label, he agreedwith my argument wholeheartedly.2013 review: ANOTHER case in which Rustplucked an alternative title out of the Victorrecording ledgers and put it behind the title inparentheses. The Victor 21712 label andledgers both agree on Charlie Johnson ascomposer.Bozo (see Tozo!)[Brahms] Lullaby (Johannes Brahms)Grand Dominion JB 1330

Bright Star Blues (Armand J. Piron–Peter Bocage)Grand Dominion JB 1139Just Piron on 1139.Hmmm. My Piron Orch reissue on Azure saysPiron-Bocage. Rec. Piron’s NO Orch. 2/15/24,Columbia 99-D. Aha: the Columbia labelconfirms Piron-Bocage.But wait a minute: No blues in the copyright:Bright star; melody Peter Bocage and A. J.Piron, of U.S. © 1 c. Feb. 21, 1924; E579710; Clarence Williams music pub. co.,inc., New York.But the Columbia 99-D label is clear: BrightStar Blues.Bring It On Home to Grandma(Richard M. Jones)New Jazz Wizards 1244

S&P confirms, Harms, 1932. IN Harmonyshows m. Gorney, w. Harburg, but won’t showsheet as it’s still in copyright. Ditto Levy.Confirmed by 9/28/32 copyright reg., but no ?there, although there is one on cover.Brother Lowdown (Turk Murphy)New Yankee Rhythm Kings 1015Down Home JB 1171Steve Waddell’s Creole Bells 1230South Frisco JB 1240John Gill’s Dixieland Serenaders 1304Yerba Buena Stompers 1418Anderson’s no source. Everybody else in theworld confirms no hyphen, Murphy.Brotherly Love (Elmer Schoebel–Billy Meyers)New Orleans Classic Jazz Orch 1223Les Rois du Fox-Trot 1407Rec.New Orleans Owls, 4/14/26, Columbia 823-D.Elgar’s Creole Orch, 9/17/26, Vocalion 15478,Brunswick 3404, A-356.Dixie Stompers (F. Henderson band),10/20/26, Harmony 299-H.Johnny Clesi’s Areoleans, 12/22/26, Gennett6033, Champion 15203, Silvertone 5024.Red Hot Jazz Archives confirms, as does 78Online. Couldn’t find any music or labels, butthis looks pretty solid.2013 review: Confirmed by 10/25/26 copyrightreg., w. BM/m. ES.Brown Bottom Bess (unknown)Pam Pameijer’s New Jazz Wizards 1382

Thought I Heard Buddy Bolden Say)." Cansomeone help? --4>8/25: Montgomery sends a later republicationof song (1939, 1940, and 1950 by Tempo-Music Pub. Co., R. J. Carew, prop., Wash,DC). Has note, "As recorded by Jelly Roll.Transcribed and edited by J. Lawrence Cook."Cover and copyright page haveBuddy Bolden’s Blues(I Thought I Heard Buddy Bolden Say)But this isn’t definitive, of course.8/26: This is strange, but Nancy Wyndhamdescribes sheet that is identical toMontgomery’s in all ways (copyright dates,publisher, and subtitle), but "edited andtranscribed by Dick Hyman ‘from recordingsand previous publications.’"9/5, Baker at LC, the Definitive Story:This registered as unpublished in Sept. ’39 asI thot I heard Buddy Bolden say, (c) Tempo(Roy Carew’s publishing company). Thenrecopyrighted Feb. ’40 under same title with"new matter" - evidently the lyrics.The song first appeared in Lomax’s 1938Library of Congress interview with Jelly, whichwas released on Circle; that disk in the serieswas labeled "Early Blues/Buddy Bolden/BuddyBolden’s Blues."Then Jelly recorded it Dec. 39 for General as"Buddy Bolden’s Blues."So Montgomery’s and the Wyndhams’ 1939sheet music is not a "later republication" as Ihad assumed, but the definitive one, so wemust use a subtitle:Buddy Bolden’s Blues (I Thought IHeard Buddy Bolden Say)But we must keep the cross-ref from "IThought..." both because it is widely knownthat way and because of that copyrightregistration entry.Buddy Burton’s Jazz (William E.“Buddy” Burton)Mojo Jazzin’ Five 1086Rec. Blythe’s WB Band (w/ Burton wb-v), 5/26,Paramount 12368, American Music 2 et al.To my surprise, confirmed by 6/21/28copyright reg.Buddy’s Habits [Buddy’s Habit](Arnett Nelson–Charley Straight)High Society JB 1010Louisiana Repertory Jazz Ensemble 1029Hot Dogs /Victoria Varekamp 1033South Frisco JB C/CD 1035Steve Lane’s Southern Stompers 1040Black Bottom Stompers (England) 1045Louisiana Repertory Jazz Ens. CD 1055Pierre Atlan’s Piccadilly Revelers 1181Peruna Jazzmen 1204Southern Stompers (France) 1215Paris Washboard 1308Bob Oliver’s Hot Seven 1312Independence Hall JB 1384High Society JB 1396Yerba Buena Stompers 1406Southern Stompers 1413Manhattan Ragtime Orchestra 1419[previous editions had title asBuddy’s Habit [Buddy’s Habits]Don’t have any notes on why we did it thisway, except that “everybody knows” it’s reallyHabit but often gets presented as Habits.Well, according to Rust, the very first recordingof it was byCharley Straight himself (aho), 6/23, as Habitson Paramount 20244, Claxtonala 40244,National 12244, Puritan 11244.Then came the Midway Dance Orchestra,10/18/23 as Habits on Columbia 51-D.Then King Oliver’s Creole JB on 10/25/23 asHabit on OKeh 40000, Biltmore 1056, HJCAHC-37.Later, the Bucktown Five in 1924 and RedNichols in 1926 as Habits.So Buddy’s Habit would be appear to be thelone exception, odd man out, from all the otherrecordings, most notably the prior recordingby the tune’s author. But, of course, KingOliver made jazz history.Let’s see what recording labels we canactually look at:Charley Straight: Claxtonola 40244 is indeedHabits (as the Rendezvous Dance Orchestra,and confirms our composers); Online 78confirms Habits for Paramount 20244; Red HotJazz Archive confirms composers..Midway Dance Orch: Yep, Columbia label isHabits.King Oliver: Okeh 40000 is indeed Habit.Bucktown Five: Gennett 5418 is indeed Habits.Red Nichols: Brunswick 3477 is indeed Habits.And finally: I found the copyright entry:Buddy’s habits; melody by A. Nelson of U.S.7953. (c) May 11, 1923, E 564026; ArnettNelson, Chicago.It appears that Nelson copyrighted it byhimself, but we must presume that the firstperson to record it, Charley Straight, madeenough changes to get his named added ascomposer; in any case, every recording of itsince that names composers names both ofthem.And what everybody knows is baloney.Buffalo Bill’s Centennial(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1246Says Goodman, guest conductor and linernote writer: “written to commemorate thecentennial of the founding of he famous WildWest Show by ‘Buffalo’ Bill Cody in 1884.”Buffalo Blues (see Mister Joe)

And last but not least, an LC copyright catentry from 1954, either a registration for anorchestrated version of possibly a copyrightrenewal:BUFFALO RHYTHM; m Ivan Beaty & MarvinSmolev, m & orchestra arr. HaroldArluck. © 3Jun27; £66^522. Landrr,arkMusic, Inc. (PWH); 27Aug54 ;R 135062.Bugle Blues (Robert Kelly)Bob Oliver’s Hot Seven 1312CD credited this to Johnny Dunn.Rec.Ethel Waters (intro. Old Miss Blues), 9/21,Black Swan 2037, Paramount 12173. BlackSwan credit is Handy.Johnny Dunn, 12/21/21, Columbia A-3541.But note that Dunn later recorded “Dunn’sCornet Blues,” 4/11/24, Columbia 124-D(credit on label is Johnny Dunn); and“Sergeant Dunn’s Bugle Call Blues,”3/13/28, Columbia 14306-D (credit on labelis Dunn). Same tune?Barbary Coast Four, 11/19/25, OKeh 40511.Cab Calloway, 12/10/37, Vocalion 4019,Conqueror 9090.Count Basie, 7/24/42, Columbia 36709 et al.(his 1937 rec. of it issued only on LP).Skeets Tolbert, 12/7/40, Decca 8516.Copyrights? Everybody wrote it exceptJohnny Dunn:Bugle blues; melody by S. Williams [of U.S.,arr. by Bert Peters. © 1 c. Jan. 14, 1920; E467105; Spencer Williams, Chicago.Bugle (The) blues; descriptive fox trot,words and music by C. H. Booker [of U.S.]© 1 c. Nov. 19, 1921; E 524286; Chas. H.Booker, Memphis, Tenn.Bugle (The) blues; words by C. Smith,melody by William C. Handy [of U.S.] © 1 c.Sept. 18, 1921; E 520679; Handy bros.music co., inc., New York.Bugle blues; words and melody by RobertKelly [of U.S.], arr. by Robert Rickitt [of U.S.]© 1 c. Nov. 26, 1921; E 523262; PerryBradford music pub. co., New York.Bugle blues; words by Henry Johnson,music by Jefferson Jones [of U.S.] © Dec.29, 1921; 2 c. Jan. 19, 1922; E 529567; F. B.Haviland pub. co., New York.2 x Johnny Dunn in 1920; 0 in 1921-22; 2 in1923, but no Bugle Blues.RJHA says Johnny Dunn 1921 Columbia byRobert Kelly, which is what both my carefullypackaged reissues of it say, LP by New Worldrecords and CD Fremeaux FA 181. A Germansite says Peck Kelly, which kind of confirmsthe Kelly and probably represents a guess asto first name.Eureka! Finally found the Columbia A-3541label, and the credit is indeed Kelly! (It washiding in plain sight above the Dunn page atRHJA.) Whew.AND note that this tune was used in the same“Plantation Revue” that included “HawaiianBlues” and “He Used to Be Your Man...”Bugle Boy March (seeAmerican Soldier)Bugle Call Rag (Eubie Blake–Carey Morgan)Heliotrope Ragtime Orchestra 1427confirmed LofC online 2/11/11. As Eubie, notJ. Hubert Blake as on CD . And ASM, 1916,Jos. W. Stern.Bugle Call Rag (Jack Pettis–Billy Meyers–Elmer Schoebel)Humphrey Lyttelton Rhythmakers 1111Chris Tyle’s Silver Leaf JB 1298Paris Washboard 1338ASM, 1923, Jack Mills.Bull Fiddle Blues (Johnny Dodds)Pam Pameijer’s New Jazz Wizards 1382Rec. Dodds 7/6/28, Victor 21552, Bluebird B-10239, HMV B-10223 et al. Dick Robertsonaho, 6/7/32, Mitchell M-12418, Perfect 15632.There was a tune of this name copyrighted byGeorge Brown (pseudonym for Billy Hill) in1932, but presumably not the same tune.Bluebird label credits Dodds; Victor Projectconfirms Dodds.Bull Foot Stomp (Sam Wooding)Vince Giordano’s Nighthawks 1260My Wooding reissue credits Wooding. Lookslike Wooding’s only rec. of this was in Spain,as Maestro Sam Wooding y sus ChocolateKiddies, 7/29, Parlophone B-25424. No otherrecordings of it in Rust.Red Hot Jazz Archive lists the record, but hasno composer credit.I have two reissues of the Wooding record:Harlem Jazz: The ’20s on ABM creditsWooding; Jazz City—New York on Jazz Greats(UK) credits “unknown.”No Sam Wooding at all in 1929-32 copyrightbooks.Google is absolutely helpless on this one, sowe must stick with Wooding.Bull Frog Blues (Tom Brown–Guy Shrigley)Elliott Adams 1198Levinson’s Trans-Atlantic Saxtette 1430ASM, 1916, Will Rossiter. Bull-Frog on cover,but no hyphen on (c).Bull Frog Blues (Charles Pierce)Peter Ecklund’s Melody Makers 11751175 credited Frank Teschmacher (correctspelling is Teschemacher—ouch).Rec. Charles Pierce aho (incl. Teschemacher),Chicago, 2/28, Paramount 12619.[In addition to the Brown-Shrigley tune, therewas one by Chas. Caldwell and Ferde Grofécy 1936.]I’m not so sure about Teschemacher. MyChas. Pierce reissue on Joker LP credits B.Pierce; Pierce reissue on Disky CD is Pierce-Spanier; RHJA is Charles Pierce. And,tellingly, the Time-Life Giants of Jazz set onTeschmacher, with its very extensive researchbooklet, fails to cite Teschmacher as thecomposer of the tune.The Paramount label’s no help: it has nocomposer credit.And for what it’s worth, when Ray Skjelbredrecorded this for Jazzology, he creditedCharles Pierce. I know him to be pretty carefulon such things.But wait a minute: In LC catalog for 1928 wefindBullfrog blues [note that Paramount labelis Bull Frog]; melody by Billy Pierce.693021; © 1 c. May 31, 1928; E Chicagomusic pub. co., inc., Chicago. 10133andChina boy; melody by Billy Pierce. 1 c.May 31, 1928 ; E 693024 ; Chicago musicpub. co., inc., Chicago. 10204This is strange, and too odd to be acoincidence, since “China Boy” is the B sideof Paramount 12619. But it’s hard give it anycredence, because the “China Boy” thatPierce recorded was the well-known tune byBoutelje & Winfree.But Billy Pierce also wrote “The Dirty Dig” andFlapper Stomp, both with Chris Smith and AlWest, in 1928So we’re back to this: we have a little (notmuch) evidence for Charles Pierce, a littleevidence (but it is a copyright registration) forBilly Pierce, but no evidence for Teschemacher(or even negative evidence, if youconsider the absence of his mention in theTime-Life booklet; thus we must switch toBilly Pierce (and worry a little about CharlesPierce) unless we learn something new.Skjelbred didn’t have any hard evidence:“Sometimes the sources just remain fuzzy. Ihave no special insight, just what I know frompast references. I would assume Pierce sincehe seems the original source.”

But fellow researchers out there, can you shedany light on this?Bully (James E. C. Kelly)Trebor Tichenor 1282We had this as “Bully Rag,” but Tom Briersends the copyright page:Dedicated to Jack LangBullyRag-Two-StepBully Rag, The (J. Fred O’Connor)Elliott Adams 1299YES! Tom Brier confirms from his sheet musicthat O’Connor’s is The Bully Rag (Two Step),while Kelly’s is Bully (Rag-Two-Step)Bully Song, The (see May Irwin’s“Bully” Song)Bunch o’ Blackberries (Abe Holzmann)Hall Brothers JB 1031Imperial Serenaders 1351Lake Arrowhead Early JB 1365ASM, 1899, Feist & Frankenthaler.Bunch of Blues, A (H. Alf Kelley–J. Paul Wyer)Ophelia Ragtime Orchestra 1108John Gill’s Original Sunset Five 1126John Gill’s Dixieland Serenaders 1321Manhattan Ragtime Orchestra 1402Supertitle on cover is “Left Me Drooping Like aWillow Tree” -- illogicall as supertitle (shouldbe sub), but in any case it’s not on (c) page.ASM, 1915, Will Rossiter.Burgundy Street Blues (George Lewis)Fenix JB 1129Too late for Rust; Bruyninckx says rec. LewisTrio in NO 7/27/44, American Music 531.Another of those everybody knows that . . .tunes. But AM 531 doesn’t have composercredits on either side (flip side is Closer Walkwith Thee). Not in LC cy catalog for 1944, butthere’s no reason to doubt Lewis.Burma Girl (Charlie Lawrence)Prague Jazzphonics 1236Rec. Paul Howard’s Quality Serenaders (incl.Lawrence on reeds), 6/25/30, Victor LPM-10117 (LP) [guess that means it was neverissued on 78]. But the Victor Project confirmsit, source: Victor Ledgers. Not in copyrightbooks 1928-32, although other Lawrence titlesare there.Burnin’ the Iceberg (Jelly Roll Morton)Keith Nichols Red Hot Syncopators 1135Jim Cullum JB 1254Pam Pameijer’s New Jazz Wizards 1335Louisiana Washboard Five 1398My other four recordings, including twoMorton reissues, agree. Rec. JRM aho7/9/29, Take 1 = Victor 741054 (LP). Take 2= Victor V-38075, 40-0120, HMV B-10762.Victor Project confirms.Burning of Rome, (E. T. Paull)Waldo’s Ragtime Orchestra 1007We had The Burning...which is on cover butNOT (c) page. ASM, 1903, E. T. Paull.Burton Lane Song Fantasy (arr. Hassan)Alex Hassan 1322}Burning Sands (D. Onivas*–Jack Meskill)New Century Ragtime Orchestra 1385Aha, found sheet music online. Cover isBy D. Onivas.BURNING SANDSTHE ANSWER TO “THE SHEIK”However, the copyright page is just BURNINGSANDS; lyric by Jack Meskill, melody by D.Onivs, Richmond-Robbins, NY, 1922.Button Up Your Overcoat(B. G. De Sylva–Lew Brown–Ray Henderson)Ronn Weatherburn 1107Ingham–Grosz Hot Cosmopolites 12858/22-23, Alex Hassan: Button Up YourOvercoat has no exclamation mark on originalmusic; Follow Thru is name of show that songwas in.8/25: Montgomery sends sheet musicconfirming Hassan.Buttons (Stanley Bennett)Scaniazz 1038Des Plantes’ Washboard Wizards 1409

Bezin reports no sheet music, says Columbia78 label is Bye Bye Pretty Baby.So I bought the sheet music from MTSU andgot the answer:Bye-Bye, Pretty Baby on coverBye-Bye Pretty Baby on copyright page.CCabin in the Pines (see There’s aCabin in the Pines)Cafe Capers (Mel Stitzel)Le Petit Jazzband 1389Rec. Elgar’s Creole Orch, 9/17/26, Vocalion15477, Brunswick A-229 (France or Germany).The Jazz Kings (Berlin), 8-10/27, Tri-Ergon TE-5057. [Tony] Parenti’s Liberty Syncopators,4/12/26, rejected. Couldn’t find Vocalion label;Online 78 credits Stitzel for it, as does verydetailed German index.And an LC index shows “MELROSEDIXIELAND CONCERT SERIES [listed on backof Panama Blues (1926)]” that has entry”CafeCapers. [By Mel Stitzel] Chicago, Melrose,1926. Copyright no.: E634856. Call no.:M1350.S.” Guess that’s proof enough.Cake Walk at Boomblestein’s Ball(Will Morrison)Tom Brier 12744/13 had Tom check titles on his CD; he saysthere’s no “The” in this title.Cake Walking Babies from Home(Chris Smith–Henry Troy–Clarence Williams)South Frisco JB 1027Banu Gibson NO Hot Jazz Orch 1073Golden Eagle JB 1080Jean-François Bonnel & Friends 1104Peruna Jazzmen 1105Steve Waddell’s Creole Bells 1230Down Home JB 1241Paris Washboard 1391High Society JB 13961/15/01: Aha! The 1924 edition published byClarence Williams (found in his files at MRR)says WalkingObviously, we must abandon Lord.Oops, wait a minute: I saw the 1924 ClarenceWilliams pub. sheet music at Audrey’s June2011: It’s Cakewalking (one word) on coverbut Cake Walking on copyright page, final grather than apostrophe on both.California Blues [Blue Yodel No. 4](Jimmie Rodgers)Helm–Leigh Jazz & Blues Review 1332First discovered that, like several Rodgerssongs, this has an alternative title in the“numbered yodel” series: Blue Yodel No. 4.This song was recorded in Atlanta on10/20/28, Victor 40014. According to both theVictor Project, it’s “primary title” was “BlueYodel No. 4,” while “California Blues” was analternate title. And sure enough, that Victorlabel readBLUE YODEL NO. 4(California Blues)(J. Rodgers)California (Here I Come) (JosephMeyer–Al Jolson–B. G. De Sylva)Fenix JB 1129Paris Washboard 1280Louis Mazetier & Neville Dickie 1289Canary Cottage Dance Orchestra 14158/22, Alex Hassan: CALIFORNIA Here I Comeis the way the title reads on the original sheet,with California on top, smaller font for lastthree words right below; no commaOops--Looks like we’re headed for California(Here I Come)8/25: Montgomery sends sheet music:CALIFORNIAHere I ComeFOX TROT SONGIt’s getting pretty clear now. Shapiro & Pollockconsidered "Here I Come" a subtitle, which iswhy they separated it with a comma--something we now see that they do regularly.This is just another case where the lyrics havebeen sucked up into the title in people’sawareness. SoCalifornia (Here I Come). Right?8/30, Erdos: Yes, reluctantly.California Stomp (Ray Smith)Ray Smith 1012Call Me Shine (Armand J. Piron)Morten Gunnar Larsen 1009ASM, 1917, Williams & Piron. Subtitle “ThatName Will Do for Mine” on cover, not (c)Call Me Up Some Rainy Afternoon(Irving Berlin)Bob Pelland & Bob Pilsbury 1232ASM, 1910, Ted Snyder.[New] Call of the Freaks, The(Paul Barbarin–Luis Russell)Kustbandet 1178Grand Dominion JB 1268Ingham–Grosz Hot Cosmopolites 13231178 was “The New Call of the Freaks”; 1268was “Call of the Freaks”; 1323 was “The Callof the Freaks”; all credited only Barbarin. Allof my other many recordings of it as Call of orThe Call of cite Barbarin only; of my threereissues of it as “The New Call of by Russell,one credits Barbarin only; the other two creditBarbarin-Russell.Updated review May 2013: Rec.1/15/29, Luis Russell & His Burning Eight (as“The Call of the Freaks,” says Rust), Okeh8656.2/1/29, King Oliver aho (as “Call of theFreaks,” says Rust), take 1 Victor 741055;take 2 Victor V-38039, Bluebird B-6546, B-7505, HMV EA-2989.9/6/29, Luis Russell aho (as “The New Call ofthe Freaks,” says Rust), Okeh 8734;Columbia 35960, DO-2229; Parlophone R-1645; Odeon A-286079, B-35635.6/4/31, The [Washboard] Rhythm Kings (as“Call of the Freaks,” says Rust), Victor23279; Bluebird 1848, B-5028.3/10/32, Joel Shaw aho (as “Call of theFreaks,” says Rust), Crown 3312; Varsity6012; Summit 225.2/15/38, Artie Shaw (as “The Call of theFreaks,” says Rust, Thesaurus 549, 1136.Well, this list confirms Ray Smith’s observationabout New having been added for the secondLuis Russell recording on Okeh 8734.But we never addressed the The; nor did weaddress the issue of Barbarin or Barbarin-Russell.

Aha, LC cy catalog of 1929 says,Call (The) of the freaks; by L. Russell andPaul Barbarin; pf. Jan. 30, 1929; E unp.3292; Luis Russell, New York.AND now I find that the very first recording ofit, on OKeh 8656, gave title as “The Call of”and credits as Russell-Barbarin. So where didit go wrong after that? Perhaps here: TheVictor Project entry for the King Oliverrecording calls it just “Call of the Freaks,” anddoesn’t have a composer credit—presumably,the 78 label read the same way—and aha,Victor V-38034 reads that way and has nocomposer credit; ditto for Bluebird B-6546.Anyway, we can now be assured of “The NewCall of” by Barbarin-Russell.Calliope Rag (James Scott)Ophelia Ragtime Orchestra 1108Elite Syncopators 1286Yes, Scott, but with a troubled history. It isthought to have been written by Scott prior to1910 for performance on a steam calliope inLakeside Amusement Park near Carthage,MO. The tune wasn’t published until itappeared in later editions of TAPR in 1964.According to Bob Darch, a relative of Scottloaned him the music in the late 1950s; unableto Xerox it, Darch jotted down the themes.Later he filled in the harmonies and wrote atrio, then copyrighted the tune under Scott’sname.Camille (David Thomas Roberts)David Thomas Roberts 1132Camp Meeting Blues [TemptationBlues] (Joe Oliver)Louisiana Repertory Jazz Ensemble 1029Louisiana Repertory Jazz Ens. CD 1055Watergate Seven Plus One 1165Jacques Gauthé’s Creole Rice YBJB 1170South Frisco JB 1180Peruna Jazzmen 1204Southern Stompers (France) 1215Independence Hall JB 1384Red Rose Ragtime Band 1412Southern Stompers 1413Yerba Buena Stompers 141810/15/02: Interesting: Audrey found copyrightlead sheet in LC of Temptation Blues, dated8/11/23. This may mean that Temptation iscorrect title rather than Camp Meeting. Wouldhave to research recording dates and look forCamp Meeting in LC as well.Interesting: Rust lists two Camp MeetingBlues, one dated 1919 and the other 1923.The “1919" version rec. [Ford] Dabney’sBand (as “Camp Meeting Blues”), c. 10/19,Aeolian-Vocalion 12246; Tim Brymn BlackDevil Orch (as “Camp-Meeting Blues”), 3-4/1921, Okeh 4339.The “1923" version rec. King Oliver, 10/16/23,Columbia 14003-D, Phillips B-23573-H(Holland), Biltmore 1054,Temptation Blues rec. Clarence Williams, c.12/24, OKeh 8204 (no indication in Rust thathe thinks they’re the same song.The “Eckstein note” referred to above is from2/93, when he sent me several pages xeroxedfrom an unidentified book. Appears to be achapter titled “The Oliver Copyrights,”compiled by Howard Rye, and taken directlyfrom LC copyright files. It shows that Olivercopyrighted “Temptation Blues” on 8/11/23:Temptation blues, melody by J.O., arrangedby Lillian Harding; E570230, 11 August1923; Joseph Oliver, Chicago.And indeed, Audrey found copyright leadsheet for Temptation Blues, dated 8/11/23; thiswould have been submitted to LC in supportof the copyright registration.But what about the 1919 tune? I found andsearched every year of copyright registrationsfrom 1918 through 1923 without finding it. DidfindCampmeeting (The) blues; fox trot, 1492 byWilliam T. Carroll [of U.S.] piano. © Oct. 4,1920; 2 c. Oct. 25, 1920 E 491706; Pace &Handy music co., inc., New York.Now on to record labels:Aha, the Dabney “Camp Meeting Blues” is theone above by Carroll, according to Aeolian-Vocalion label. Couldn’t find the label for TimBrymn on Okeh 4339, but Red Hot JazzArchive says it too is by W. T. Carroll.And indeed, Oliver’s Columbia 14003-Dcredits Joe Oliver.And the one recording of Temptation Blues onOKeh by Clarence Williams? Red Hot JazzArchive credits “Reed”! And Online 78 saysit’s N. E. Reed. Alas, couldn’t find the actuallabel, and there was no “Temptation Blues”copyrighted in 1924.Well, this all brings us back to where westarted, with Camp Meeting Blues by JoeOliver, aka Temptation Blues. But a couple ofhuge questions are raised:1. Why did Oliver copyright it as “TemptationBlues” and then turn around two months laterand record it as “Camp Meeting Blues,”especially considering that W. T. Carroll’s“Camp Meeting Blues” had been released in1919 and 1921?2. How did modern jazz bands come toconsider “Temptation Blues” as an alternativetitle? It is, of course, but jazz bands don’tgenerally muck about in Library of Congresscard catalogs, they take stuff off records:Oliver recorded the tune as “Camp Meeting,”and nobody else in the era covered by Rustrecorded it as Temptation Blues.Answer to Question 2 could well be that TurkMurphy, who might just know such copyrightdetails, recorded it as “Temptation Blues”; I’llbet a lot—or all—of the other modern bandsthat have recorded it under that title learned itfrom Turk.Camp Meeting No. 1 [Camp MeetingMelodies] (Blind Boone)David Thomas Roberts 1317On the CD as Camp Meeting Melodies.Well, I can’t find any reference whatsoever tosuch a title outside of this CD. And here’swhy, quoting from Trebor Tichenor’s linernotes:In 1912, he was one of the first blackpianists contracted to cut piano rolls, for theQRS Co., then in Chicago. These earlyhand-played rolls are a rare legacy of agreat Missouri legend. Included amongthem are two folk medleys, "Camp MeetingMelodies," and "Rag Medley #2," the latterpublished by Allen Music Co. of Columbia,MO in 1909 as "Blind Boone's Southern RagMedley #2--Strains From The Flat Branch."There’s no copyright in the book for 1912,which doesn’t surprise me. What doessurprise me is that neither of the Boonebiographies I consulted bothered to mentionthese seminal piano rolls.The wisest thing to do with questions ofpiano rolls is to ask Robbie Rhodes—and asusual, he came through:I have only the QRS catalog of 1922,which shows only the rolls currentlyavailable. Many old songs of the precedingyears were dropped from the catalog.But the good news is Frank Himpsltranscribed some Blind Boone rolls to MIDIfiles (attached) for the enjoyment ofhistorians like you and me. Himpslappended all the label data into the filename, which I've expanded:1. Camp Meeting No. 1QRS 400034played by the composer Blind Boone2. Rag Medley No. 2QRS 200142played by the composer Blind BooneTrebor wrote, "These early hand-playedrolls are a rare legacy ..." Quite so. TheQRS recording piano was placed in servicein 1912 in Chicago and used intermittentlythereafter until the QRS piano roll operationmoved to New York around 1922.

The machine was restored to operation inthe 1960s and put back in service at QRS inBuffalo, New York, where it was used torecord many contemporary hand-playedrolls by artists like Liberace, GeorgeShearing and many others. The100-year-old recording piano is nowdisplayed at the Smithsonian, I believe.Then came further research by Tom Brier:That mystery tune seems to go by a varietyof names, depending on who you ask. TheBlind Boone biography I have (Blind Boone:Missouri's Ragtime Pioneer by JackBatterson) calls it "Camp Meeting Song No.1" (it looks like he reviewed a copy of arecording contract rather than an actualcopy of the roll). The CD I have with arecording of the roll calls it "Camp MeetingMedley #1". The ultimate authority, though,is the BluesTone Piano Roll web site, whichreissued the roll. They have an image of theroll label on the site, which calls it "CampMeeting No. 1", which is how I would list it.Campbell Cakewalk (Brun Campbell)Elite Syncopators 1358Must be so: my other five recordings of it (twoby Campbell) cite him as composer. Manyother sources agree. Jasen & Tichenor saynot copyrighted or published, just performedon The Professors, Vol. 2, Euphonic ESR 1202.Richard Egan (see note at Barber Shop Rag):Campbell Cakewalk - you are correct in thatit was first released on The Professors Vol. 2.First published in 1993.Can I Tell You? (Joe Oliver)Swedish–American Hot Jazz Collab. 1136Henry’s Bootblacks 1149Charleston Chasers 1287Rec. Oliver, 2/25/29, take 1 on Victor X VaultLA-3018 (LP), EVA-12 [?]; Victor RA-5317,HMV 7EG-8091; take 2 on Victor V-38049.Victor Project confirms.Can You Tell? (Alex Sullivan–Ray Miller–Lou Handman)Dan Levinson’s Roof Garden JB 1380Rec. Ray Miller’s Black and White MelodyBoys, c. 7/16/20, Vocalion 14106. (Rust hasthe ?)Red Hot Jazz Archive confirms last names.Online index of Vocalion label confirms lastnames, says it’s really Aeolian-Vocalion.Looks like it comes from a show called EdWynn Carnival on Broadway in 1920 (no ? onthis list). Keeping Score website (songs frommusicals) confirms m. LH-RM/w. Sullivan, hasthe ?Copyright has no ?, but they rarely do:Can you tell; from the Ed. Wynn carnival,words by Alex Sullivan, music by Ray Millerand Louis Handman [of U.S.] © July 8,1920; 2 c. July 8, 1920; E 482992; JeromeH. Remick & co., New York.Canadian Capers (Gus Chandler–Bert White–Henry Cohen–Earl Burtnett)Chrysanthemum Ragtime Band 1168My sheet music confirms m. GS-BW-HC/w. EBCanal Street Blues (Joe Oliver–Louis Armstrong)New Yankee Rhythm Kings 1050Louisiana Repertory Jazz Ensemble 1055Turk Murphy JB 1155Southern Stompers (France) 1215Chris Tyle’s Silver Leaf JB 1298Yerba Buena Stompers 1369High Society JB 1396Southern Stompers 1414I later found Oliver’s hand-written lead sheet inthe Oliver collection in the Music ReadingRoom of Library of Congress. It shows onlyOliver as composer, but it’s always possiblethat Louis could have been added later, whenand if it was published.I later asked Nancy Wyndham if they have anearly copy of sheet music. Her response:"King" Oliver, (1987), by Laurie Wright, thedefinitive bio-discography on Oliver, lists"Canal Street Blues" as having beencopyrighted by Oliver on May 23, 1923 andsays that it was not published during hislifetime. It says that a "Notice Of Use",indicating a first recording, was filed on May21, 1923, stating "melody by J. Oliver,arranged by Lillian Johnson" [Lil Armstrong].Thus, it would seem that Oliver is the solecomposer. The Oliver-Armstrong confusionprobably comes from the fact that"Oliver-Armstrong", according to Wright, isthe composer credit on Gennett Ge 5133-B,the tune's first recording on April 5, 1923.However, composer credits on recordings,though they may sometimes be the best oronly source, are notoriously unreliable.For what it's worth, Tex has a publishedversion -- published sometime after 1949,as the title page has the tune assigned toInternational Music and copyrighted byInternational Music in 1949. That title pagecredits "Joe 'King' Oliver" as the composerand says, at the bottom, "Copyright 1923 byJoseph Oliver".2013 review: In earlier editions of this index Igave much more credence to originalcopyright filings, perhaps partly because itwas so difficult to find them. But now that I’velooked up a couple of thousand copyrightregistrations and seen how often they don’tmatch what was actually “published,” I’m notas in thrall to them. And by “published” Imean presented to and sold to the public,either as sheet music or a phonograph record.What matters is what was ultimately publishedrather than what was first filed on a card at theLibrary of Congress. This piece didn’t appearon sheet music until 1949, so its originalpublication was that Gennett 5133 record,which credits Oliver-Armstrong.Canary Cottage (Earl Carroll)Canary Cottage Dance Orchestra 1400Canary Cottage (medley) (Earl Carroll)Dan Levinson’s Roof Garden JB 1380Canary Cottage was a musical farce by EarlCarroll, on Broadway 2/5-5/12/17. InternetBroadway Database says all songs in it w&mCarroll. Sheet music confirms (but pub. 1916by Leo Feist).Candlelights (Bix Beiderbecke)Terry Waldo’s Gotham City Band 1120Confirmed by sheet music pub. 1930.Candy, The (Clarence Jones)David Thomas Roberts 1132This doesn’t make sense: DTR’s notes say helearned the tune from Trebor Tichenor’sRagtime Rediscoveries folio, “Trebor’s secondvolume of underexposed early rags.” I don’thave that folio, but I have Trebor’s WildflowerRag CD for PianoMania, which carries “TheCandy—published by its composer, RobertBircher. Year give by Tichenor is 1909, sameas DTR.Well, I guess there’s two Candies and Treborpublished one and then recorded the other,because the copy in Rediscoveries is indeedby Jones.Candy Lips (I’m Stuck on You)(Mike Jackson–Jack Lauria)Charquet & Co 1008Hot Dogs /Victoria Varekamp 1033Hot Antic JB 1044Creole JB 1051Leigh–Dapogny Mysterious Babies 1087Paramount Theatre Orchestra 1089Abi Hübner’s Low Down Wizards 1093Swedish Jazz Kings 1122Dry Throat Fellows 1226Paramount JB of Boston 1247Paris Washboard 1280Miss Lulu White’s Red Hot Creole JB 1370Neville Dickie 1423Les Red Hot Reedwarmers 1435Paris Washboard CD had Jack Laurie, thesame misspelling that was on 1008, 1033,1044, 1051, and 1087.Robbie & Vince both have sheet, which showsthe subtitle.

Did find the LC copyright:Candy lips; words by J. Lauria, melody byM. Jackson. © 1 c. Aug. 23, 1926; E 645560;Mike Jackson and Jack Lauria, New York.The first recording of it, by Eva Taylor on OKeh8414, had the subtitle, as did the thirdrecording of it, by Clarence WilliamsWashboard Four, OKeh 8440. Couldn’t findthe 2nd recording by Clarence Williams JazzKings, Columbia 14193-D, just four daysbefore his Washboard Four recording.Canned Corn (George L. Cobb)George Foley 1088We had Canned Corn Rag; while this often iscalled Canned Corn Rag, it’s occasionallycalled Canned Corn. And, as I suspected, thesheet music confirms it. Cover doesn’t havethe word “Rag” on it at all, and the copyrightpage isCANNED CORNRag.cy 1910, Bell Music, Buffalo.But oops: The copyright entry isCanned corn rag; by George L. Cobb piano.[75S1 © 1 c. Mar. 1, 1910: E 225863; Bellmusic co., Buffalo, N. Y.Cannon Ball, The (Joseph C. Northup)Chrysanthemum Ragtime Band 1196San Francisco Starlight Orchestra 1296Bo Grumpus 1388Manhattan Ragtime Orchestra 1402

dated 1925, pub. by Triangle, and already hasCostello for lyrics, so I guess we keep him.Carpet Alley Breakdown(Henry Clifford–Cal Smith)Pam Pameijer’s New Jazz Wizards 1382Only Rust citation is as “Carpet Alley -Breakdown” by Dixieland Jug Blowers,10/11/26: take 1, Victor 20480, Biltmore 1019;take 2, HMV B-10727 (UK), JK-2773(Switzerland).The actual Victor 78 label readsCARPET ALLEY—BREAKDOWNwhich is label speak for “breakdown” as agenre marker rather than part of the title. Andthe composer credits on the label are “CalSmith–H. Clifford.What do the copyright books say? Oops! Theonly “Carpet Alley” in the copyright books for1925-27 isCarpet alley breakdown; melody by CurtisHayes. © 1 c. Feb. 8, 1927 E 658019; R. S.Peer, New York.Curtis Hayes was a member of the band, aswere both Clifford and Smith.But the Victor Project entry for Victor 20480shows title as “Carpet Alley Breakdown,” sayscomposers are our Clifford & Smith(“Composer information source: Victorledgers”). Both Red Hot Jazz Archive andOnline 78 credit Clifford-Smith.Here’s a rare, painful case in which I’m goingto overrule the copyright files and keep ourcredits. The dates are instructive: When theband recorded for Victor in Chicago inDecember 1926, they (presumably) told Victorthat the tune was by Clifford and Smith.Hayes filed the copyright two months later.Carry Me Back to Old Virginny(James A. Bland)South Side Jazz Serenaders 1420

Not in Rust. Ted des Plantes’ liner notes say,“Cette Chanson Est Pour Vous” (“This SongIs for You”) . . . is truly a beautiful melody,dating from a December 7, 1935, recordingby Paris entertainer Jean Sablonaccompanied by Django Reinhardt,Stephane Grapelli and most of the classicQuintet of the Hot Club of France.That led me to believe that this was originally aFrench song, but I was hard pressed to figureout how Joe Young and Fred Ahlert got theirnames on a French song. Then I startedfinding references to its being known inEnglish as “Life Is a Song” by Young andAhlert, so I figured that they’d done a later,Americanized version with English lyrics andwas all set to write them out of the credits.But then I found their copyright for the song:Life is a song, let's sing it together; w JoeYoung, m Fred E. Ahlert; with guit. arr. ©Mar. 30, 1935; E pub. 47338; Metro-Goldwyn-Mayer corp., New York.But nothing there about its being an adapationfrom something else. Then I tracked down thesheet music, pub. Robbins in 1935:Life Is a Song(Let’s Sing It Together)w. Joe Young, m. Fred E. Ahlert, “Originallyintroduced by Frank Parker.” And no hint ofits being adapted from a French song.I consulted Robbie Rhodes, who prowledsome French-language sites and came upwith the obvious answer: In fact, it was theFrench lyricists Cab and Varna who wrotelyrics for a French version of the song, whichSablon recorded with Django. Robbiecompared the sheet music score with theSablon recording and says the melody isidentical; Cab & Varna didn’t change that.But now there’s the awkward question of howto list it. Bonnel & Friends are playing theAhlert melody and not singing any Frenchlyrics.I’ll cobble something together, but it won’t bepretty. I’m sorely tempted to simply ignore theFrench title and lyricists and simply list it asLife Is a Song.Chameleon (Ray Smith)European Classic Jazz Trio 1142Ray Smith was the pianist on this record, andleader Ted des Plantes’ liner notes clearly sayit’s Smith’s composition.Champagne & Roses(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1246Goodman was guest conductor and liner notewriter.Changeable Daddy of Mine(Sam Wooding–Bob Schafer)Carol Leigh & Jim Dapogny 1064Rec. Margaret Johnson (acc. by ClarenceWilliams group), 11/25/24, OKeh 8185.Copyright:Changeable daddy of mine; w and m SamD. Wooding and Bob Schafer, both of U.S.Clarence Williams blues ed. © June 30,1924; 2 c. June 30; E 591455; ClarenceWilliams music pub. co., inc., New York.Changes (Walter Donaldson)New Yankee Rhythm Kings 1067Banu Gibson NO Hot Jazz Orch 1073Dick Sudhalter & Connie Jones 1207Neely’s Royal Society Jazz Orch 1208Ingham–Grosz Hot Cosmopolites 1237Red Rose Ragtime Band 1360ASM, 1927, Leo Feist.Chant, The (Mel Stitzel)Peruna Jazzmen 1003New Yankee Rhythm Kings 1015Weatherbird JB 1034Banu Gibson NO Hot Jazz Orch 1073Keith Nichols Red Hot Syncopators 1135Black Eagle JB 1147New Orleans Classic Jazz Orch 1223Bruno’s Salon Band 1251Jim Cullum JB 1254Aces of Syncopation 1372Independence Hall JB 1386Le Petit Jazzband 1389Les Red Hot Reedwarmers 14359/15/26, Red Hot Peppers, Victor 20221,Bluebird B-1025311/26/26, Original Memphis Five, PatheAktuelle 36565, 11295; Perfect 1474612/24/26, Original Indiana Five, Harmony 387-H12/28/26, Joe Candullo and His EvergladesOrchestra, Edison 51912.11/3/26, Fletcher Henderson, Columbia 817-D9/23/29, Dixie Rhythm Kings, Brunswick 7115Victor Project confirms Stitzel for 9/15/26session. And the copyright:Chant (The); spooky serenade, by MelStitzel; orch. 4to. © July 19, 1926 2 c. Aug.2; E 644871 ; Melrose bros. music co., inc.,Chicago.Supposedly published by Melrose in Aug.1926, but I can’t original sheet musicanywhere. As for “spooky serenade,” VictorProject doesn’t mention it (and they regularlyinclude what they call “secondary” titles, nordoes it appear on the Victor disc. Nor onHenderson’s Columbia.Chant of the Weed (Don Redman)San Francisco Starlight Orchestra 1364ASM, 1932, Gotham, as Donald, but we’ve gothim as Don everywhere else.Charge of the Light Brigade(E. T. Paull)Glenn Jenks & Dan Grinstead 1292ASM, 1897, E. T. Paull.Charleston (James P. Johnson–Cecil Mack*)Terry Waldo 1002Neville Dickie 1096Charleston Chasers 1314Paris Washboard 1391ASM, 1923, Harms, as CM & Jimmy J.Charleston Hound (Fats Waller–Clarence Williams–Spencer Williams–Eddie Rector)Grosz–Ingham Paswonky Serenadrs 1214Neville Dickie 1324What can we learn in the Google age?Rec. Blue Grass Footwarmers (Ed Allen, c;Benny Moten, cl/asax; Jasper Taylor, wb;Clarence Todd, v), 6/16/26, Harmony 206-H.7/1/26, Eva Taylor (acc. by CW), OKeh 40655.9/3/26, Willie Jackson, Columbia 14165-D.Aha! Copyright isCharleston hound; from Tan Town topicsrevue, words by Eddie Rector and SpencerWilliams, music by Clarence Williams andThomas (Fat) Waller; pf. acc, with ukulelearr. by Hannibal McGuire. © June 11, 1926;2 c. June 18; E 642488; Clarence Williamsmusic pub. co., inc., New York.Charleston Is the Best Dance After All(Charlie Johnson–Arthur D. Porter)Keith Nichols Cotton Club Orchestra 1210Vince Giordano’s Nighthawks 1260

S&P have the The. First rec. CharlieJohnson’s Paradise Band, 1/24/28, Victor21491; Victor Project has no The, and there’snot one on the label. And copyright isCharleston is the best dance after all;melody by Johnson-Porter. July 5, 1928 ; E695243; © 1 c. United pub. co., New York.That’s right, no The.Charleston Mad (Lovie Austin)Jazz Classics 1061Art Hodes Blues Serenaders 1184Neville Dickie 1324One More Time JB 1410Rec. Austin 4/25, Paramount 12278, Century3012. Eddie Peabody, 11/21/25, Banner 1665,Domino 3635, Regal 9971. Copyright:w and melody Lovie Austin, of U.S.; in C. ©1 c. May 2, 1925 E 613653; L. Austin,Chicago. 9314FYI, there was another Charleston Mad thatsame month, by William B. Friedlander andConrad, from Mercernary Mary.Charleston Rag [Sounds of Africa](Eubie Blake)Paris Washboard 13911391 was “The Charleston Rag,” but wait aminute. I have 33 recordings of this as simply“Charleston Rag” but only this and four othersas “The Charleston Rag.” To my amazement, Icouldn’t find the sheet music in any of the bigcollecltions. But I did find the copyright:Charleston Rag; [by E. Blake, of U.S.];piano. © 1 c. Aug. 8, 1917; E 409294; EubiaBlake [sic], New York.Now another issue. Eubie always said that hecomposed this in 1899, but didn’t write it downand copyright it until many years later, whenhe learned to write music. What I remember isthat he originally called it “Sounds of Africa,”but Al Rose’s bio of Eubie quotes him assaying that actually, Will Marion Cook called it“Sounds of Africa” when Eubie first played itfor him. I’ve seen many references to thatearly title, and I have three recordings of thistune under that title, so we must put it in theindex as an alternative.Charley, My Boy (Gus Kahn–Ted Fiorito)Les Rois du Fox-Trot 1429Rats. I have the cover, and it has no comma.But Hassan’s sheet music shows no commacover, but comma on cy page.Charlie’s Idea (Charlie Lawrence)Keith Nichols Dreamland Syncoptrs 1150Hot Antic JB 1154Rec. Paul Howard’s Quality Syncopators (withCharlie Lawrence on reeds), 4/28/29, Victor V-38070, 22001. Victor Project confirmsLawrence, as does 9/28/29 copyright entry.Charlie’s Straight (Terry Parrish)Elite Syncopators 1286Know this one personally from Parish.Chase #1 (Terry Waldo)Waldo’s Ragtime Orchestra 1069Says Waldo:Finally, our whole ensemble performs theexciting climax to our album, “The Hold UpRag.” I wrote some introductory chasemusic and join Susan LaMarche on the vocalfor a tribute to the silent 1903 film The GreatTrain Robbery.Chattanooga (Down in Tennessee)(Porter Grainger–Bob Ricketts)Des Plantes’ Washboard Wizards 1357

So it was copyrighted by Oliver alone, but hisvery first recording of it credits Oliver andPicou. One is tempted to hark back to thosebooks cited above and suspect that the tuneeither is entirely something Picou wrote butnever copyrighted or is an adaptation of it byOliver. But if Oliver was willing to cheat Picouout of his share of the credit when hecopyrighted the tune, why would he givePicou credit on the record? He wasn’t knownfor such sneakiness, was he?The two secondary copyright book mentionsas Stomps are puzzling, but must bediscounted, since the primary entry is Stomp,and Oliver and everybody else recorded it thatway.I guess we stick with Oliver-Picou based onthat original record label, but I remain troubledby this one.Dave Sager, on his extensively documentedArcheophone release of the 1923 Olivers, didthe same thing. When I pressed him abouthow Picou might have got on the label, hewrote, “He shows up as co composer on abunch of Oliver tunes, so, I assume it's legit. I'llrun up and re check the card files again, but Iimagine that he just simply did't get his nameon the lead sheet.” And later: “The copyrightregistration card and the claimant card bothindicate ‘melody only.’ Perhaps Picou did theharmonization.”Cheatin’ On Me (Jack Yellen–LewPollack) (On 1082 the tune labeledCheatin’ On Me is really I KnowThat My Baby Is Cheatin’ On Me)Neville Dickie 1324S&P confirm w JY/m LP, Advanced MusicCorp., 1925, intro’d by Sophie Tucker.Cheatin’ On Your Baby (seeIf You’re Cheatin’ On Your Baby)Cheek to Cheek (Irving Berlin)Bob Pilsbury with Friends 1265S&P confirm, Irving Berlin Music Corp., 1935,from Top Hat.Cheerful Little Earful (Harry Warren–Ira Gershwin–Billy Rose)San Francisco Starlight Orchestra 1296S&P confirm w. IG & BR/m. HW, New WorldMusic Corp., 1930, intro’d in musical Sweetand Low.Copyright differs as to musical introduction:Cheerful little earful; from Corned beef androses, words by Ira Gershwin and Billy Rose,music by Harry Warren; with ukulele arr. ©Nov. 5, 1930; 2 c. Nov. 8; E pub. 19011;Remick music Corp., New York.Cheerin’ Rag (Roefie Hueting)Miss Lulu White’s Red Hot Creole JB 1370Liner notes by Keith Nichols say, “a newcomposition by Roefie Hueting, leader of theDown Town Jazzband.” [Holland]Cheese and Crackers (Homer Denney)John Hancock 1025Found the cy page online:Cheese and Crackers.A NEW RAG.Looks like 1909, but can’t read publisher’sname. Bill Edwards confirms. Found coverelsewhere, which shows publishers as the Jos.Krolage Music Pub. Co., Cincinnati.For what it’s worth, it appears that there’s atune by the same title by Joe Venuti.Chef Menteur Joys (Johnny Wiggs)Hall Brothers JB 1031Only other recording of it I have that shows acomposer is by the Jazz Fiddlers onSupraphon, agrees on Wiggs. Looks like itappears (first?) on a Jazzology LP called PapaLaine’s Children, and several sources creditLaine. But the Silver Leaf JB of NO recordedsomething called “Silver Leaf Strut” on a GoodTime Jazz GTJ-15001 c. 1994; reviewer HalSmith in Mississippi Rag wrote,There are four rarely heard Johnny Wiggscompositions in the program: “CongoSquare;” “Silver Leaf Strut” (actually called“Chef Menteur Joys;”) “Bourbon StreetBounce” and “Gallatin Street Grind.”And aha: copyright August 1946 by J. W.Hyman; John Wigginton Hyman was JohnnyWiggs’s real name.Chelsea (Fats Waller)Keith Nichols 1159This is the first “movement” of Waller’s LondonSuite. Hmmm...rec. by Fats in in London1939, but the only London Suite-relatedcopyright entry in1939-40 is for anothersection of it, “Bond Street.”Chelsea on Down (Robin Wetterau)Ted Shafer’s Jelly Roll JB 1278Seems like I researched this years ago, but nonote. I have seven other recordings of it; thefour that have a composer credit agree onWetterau. Salty Dogs notes for On the RightTrack say Wetterau wrote it while he waspianist with the Red Onion JB. Guy namedCraig Johnson wrote this on DJML listserve in2004:I’ve often wondered about the derivation ofthe title “Chelsea on Down.” Ted Shafer justenlightened me. Robin Wetterau, thecomposer of that tune, was on a gig inBoston and was bitching that there was nota decent restaurant there “from Chelsea ondown” (meaning from the north borderingtown southward). The comment stuck andbecame the title of his piece.Had to give up finding this in LC copyrightbooks--later ones just don’t seem to be as welldocumented online as earlier ones, but wehave plenty of evidence to stick with Wetterau.Cherie (An American Foxtrot Songwith a Parisian Twist) (Irving Bibo–Leo Wood)Rosy McHargue 1253Found sheet music online at IN Harmony,confirms subtitle cover and (c), w. Wood/m.Bibo (NMI), 1921, Leo Feist.Irving Bibo: On some sheets he’s Irving, onsome he’s Irving M., but the NMI versionseems to be far more prevalent, so I guesswe’ll keep him that way throughout.Cherry (Don Redman)Baker–Baldwin Radiogram Wshbrds 1243

the "Big Blue Book" was compiled anddistributed in 1966 or later.Generally, Tenn. State has original sheetmusic, but this comes from a later folio. In myown record collection, the Redman-Gilbertpairing comes up twice on "Cherry," both onrecordings by Harry James. And Bill Haeslernotes that Ray Gilbert was active in the '40s,much later than "Cherry."So here's an educated guess: Ray Gilbertmodified Don Redman's lyrics at some laterdate.Others on the list agreed, so am making thechange here.follow-up: Haesler noted that the linementioned above, “no one in this world willever take your place,” is NOT found in theoriginal 1928 Redman recording; I checked, itain’t. Then I did a bit more research andreported back to Haesler:I have that Circle LP of the 1941 Harry Jamesrecording, which credits Ray Gilbert-DonRedman. The lyrics sung there are about 50%the same as the original Redman 1928recording: some changing, some reordering.BUT the line "No one in this world will evertake your place" is NOT there. Go figure. Butregardless of that, it would appear that RayGilbert took, or was given, lyricist credit forsubstantially modifying Redman's lyrics.Update for 6th ed., May 2013. I’m sure theabove is right, but let’s look again:Rec.7/12/28, McKinney’s Cottom Pickers, Victor21730, Bluebird B-5145, B-6304,9/29/28, The Big Aces, Okeh 41136,Parlophone R-365, Odeon 165125,1/23/39, Bob Crosby, Decca 27037/18/39, Erskine Hawkins, Bluebird B-10540,30-0819, Victor 20-32857/23/40, Rex Stewart, Hot Record Society20043/27/41, Benny Goodman, Harmony 10614/11/40, Louis w/Mills Bros., Decca 31807/22/42, Harry James, Columbia 36683, 20992Aha, the 1928 copyright entry:Cherry; fox-trot, words and music by DonaldRedman, arr. by Art Addoms; pf. acc, withukulele or banjulele banjo. New York, N. Y.,United pub. co. © Oct. 22, 1928; 2 c. Nov. 9;E—Pub. 468; Southern music pub. co., inc.,New York.Evidence plenty that Ray Gilbert’s a johnnycome-latelyas far as lyrics to this song go.Cheryl (Doug Finke)Independence Hall JB 1371Finke’s the leader of the band, so I guess he’dknow.Chestnut Street in the ’90’s(Brun Campbell)David Thomas Roberts 1132Elite Syncopators 1358I have nine recordings of it, and all agree onCampbell. Jasen-Tichenor book says it wasneither copyrighted nor published, so I guessthis is as much proof as we’ll get. But nowsome pedantry. We had 90's; but differentsources also have 90s and ’90s. The latter isgrammatically correct, and that’s the wayTrebor first recorded it, so that’s what I’ll use.But later comes Campbell researcher RichardEgan (see note at Barber Shop Rag):Chestnut Street in the '90's - is how itappears on Brun's record, recordedDecember 1946 and released on the WestCoast Label. First published in 1993.Chevy Chase, The (Eubie Blake)Terry Waldo 1002Ophelia Ragtime Orchestra 1108Waldo’s Jazz Entertainers 1377THE Chevy Chase, both cover & (c) page.Online, 1914, Jos. W. Stern.Chicago Blues (see Jelly Roll Blues)Chicago Breakdown [Stratford Hunch](Jelly Roll Morton)Neville Dickie 1052Don Ewell 1077West End JB 1085Jimmy Mazzy & Eli Newberger 1109Swedish–American Hot Jazz Collab. 1136Jim Cullum JB 1148Jimmy Mazzy & Friends 1219Bob Schulz & His Frisco JB 1288

Chicken Reel (Joseph M. Daly)Helm–Leigh Jazz & Blues Review 1332ASM, 1910, Daly & Son.Chicken Walk (Tom Brown)Heliotrope Ragtime Orchestra 1411Levinson’s Trans-Atlantic Saxtette 1430Six Brown Brothers reissue on Archeophonesays rec. 6/20/16, Victor 18189, by Brown, arr.Klickmann. However, the only copyright in the1916 book is this:Chicken (The) walk; from The century girl,words and music by I. Berlin, of U.S. © Nov.11, 1916; 2 c. Nov. 13, 1916: E 392370;Irving Berlin, inc., New York.Aha: Victor Project says composers TomBrown and “Slap” White, arr. Klickmann, butthe record label had only Brown. Found thecopyright in 1917:Chicken walk; eccentric fox trot from ChinChin, by Tom Brown, of U.S.; piano. © Mar.5, 1917; 2 c. Mar. 7, 1917 E 399184; WillRossiter, Chicago.Childhood Lullaby (Tom McDermott)Tom McDermott 1024Chills and Fever(Theron C. Bennett)Heliotrope Ragtime Orchestra 14271427 has “Chills and Fever Rag,” but “Rag” isjust on cover as genre marker; it doesn’tappear on (c) page. ASM, 1912, Sam Fox.Chimes (Homer Denney)John Hancock 1025ASM, 1910, Denney.Chimes Blues (Joe Oliver)Steve Lane’s Southern Stompers 1040Black Eagle JB 1147Down Home JB 1217South Frisco JB 1307Neville Dickie 1309Independence Hall JB 1384Rec. Oliver 4/6/23, Gennett 5135, Brunswick02201. And indeed, the Gennett label creditsOliver.No copyright found 1922-23-25; only one for1924 is this title w. Arnold Johnson/m. HerbWiedoeft.We’ll just have to trust the record label for thisone.BUT oops, found this by accident much later:Chimes (The) ; melody, by J. Oliver [ofU.S.], arr. by Lillian Harding [of U.S.] © 1 c.May 21, 1923; E 563940; Joseph Oliver,Chicago.Copyrighted as “The Chimes,” recorded as“Chimes Blues.”Chinatown, My Chinatown(Jean Schwartz–William Jerome)European Classic JB 1070ASM, 1910, Jerome Remick, w. WJ/m. JS.Chinese Blues (Fats Waller–Irving Mills)Keith Nichols Cotton Club Orchestra 1275Oops, I have two other recordings of this titleand the sheet music, all of which credit OscarGardner & Fred D. Moore. But that’s 1915,and the recordings are by Irving Kaufman andGeorge Gershwin (piano roll); surely ourChinese Blues is later. Yes, in his notes,Nichols refers to the Dixie Stompers.Rec.Dixie Stompers [=Fletcher Henderson aho],11/22/25, Harmony 92-H. LC SONIC sayslabel credit is Waller-Mills.Original Memphis Five, 1/21/26, Brunswick3039; 1/23/26, Vocalion 15234 (as TheHottentots). Both Brunswick & Vocalionlabels credit Waller-Mills.Boyd Senter, 5/8/28 (as “Original ChineseBlues,” which Rust considers the sametune), OKeh 41163 ; Parlophone R-143, A-3342; Odeon 165577, 193272. OKeh labelcredits Moore-Gardner.Oh, dear. No copyright registration for thattitle 1924-25, 27-28 ; in 1926 we find:Chinese blues ; words by Sam Coslow,music by Irving Mills and Jimmy McHugh: pf.acc, with ukulele arr. by M. Kalua. © Apr. 17,1926; 2 c. Apr. 21 ; E 640304 ; Jack Mills,inc., New York.And here, for what it’s worth (see sheet musicnote above, isOriginal Chinese blues; by Fred Moore andOscar Gardner, arr. by Mel Stitzel; orch. 4to.© May 10, 1926; 2 c. June 1; E 641318 ;Melrose bros. music co., inc., Chicago.Not sure what to make of this--Stitzel bandarrangement of 1915 song that Senterrecorded? Yes, I heard it on OKeh 41163, andit’s the old Kaufman song; credits Moore-Gardner.Can’t imagine why I couldn’t find a copyright,but the two Memphis Five/Hottentots labelssay Waller-Mills, and a detailed Brunswickdiscography found via Google Books hasWaller-Mills credit in listing. I guess we mustgo with it, although it wouldn’t hurt to look forthe Coslow-Mills-McHugh copyright deposit tomake sure their tune isn’t our tune.Chitterlin’ Strut (Lemuel Fowler)Keith Nichols 1159Hmmm. Note say Nichols got this from Fowlerband version from 1922, but according toRust, Fowler’s Washboard Wonders recordedit 7/2/25, Columbia 14084-D. And here’s acopyright:Chitterlin' strutt [sic]; a stomp, LemuelFowler, of U.S.; pf. © 1 c. Oct. 29, 1924; E600941; Edith Smith, New York.The Columbia record label does spell Strut the“modern” way and credits Fowler.8/13 Bob Pinsker notes this about Fowler:In all of this poring over the CCE [Catalog ofCopyright Entries of the Library ofCongress], I have happened upon thingsthat I had no idea about, just nearby. Forinstance, I found a previously unknown aliasfor Lem Fowler - he was just a nut forpseudonyms, using "P. Henry", "RelphowJames", "James Meller", "Ed. Richard", atleast, on copyright registrations in themid-twenties. Now I stumbled across acopyright for "Frisky Feet" under the name"Relphow Jones" (note that "Relphow" is sortof "Fowler" inside-out!). Even MikeMontgomery didn't know that - in his linernotes on Document for the CD of Fowlermaterial he wrote: "'Frisky Feet' (for whichthere never was a copyright) is the workingtitle Lem gave in 1926 to a tune which (in1927) would be called 'Percolatin' Blues'."Ah, but it turns out that there WAS a "FriskyFeet" copyright under this variantpseudonym (Jones instead of James)! Justserendipity! You are now the 2nd person toknow that, I reckon.Chizzlin’ Sam (Clarence Williams)Moonlight Broadcasters 1193

Frederick Hodges 1333CD just had “Chong” as title.Found sheet music. Copyright page isCHONG(He Come from Hong Kong)Cover is same, but no parens on subtitle, it’sjust on second line in much smaller type.And the copyright confirms:CHONG HE COME FROM HONG-KONG; fox trot, byHarold Weeks [of U.S.]; band. 4to. (c) Apr.23, 1919; 2 c.. Apr. 24, 1919; E 448529; LeoFeist, inc. New York.Note hyphen in copyright entry, but none onsheet music.Choo Choo (I Gotta Hurry Home)Dave Ringle–Bob Schafer–Duke Ellington)Des Plantes’ Washboard Wizards 1409We had (Gotta Hurry Home) as subtitle, whichis what Rust shows in index. Rec.The Ambassadors, 10/24, Vocalion 14916, X-9523.Original Memphis Five, 10/14/24, PatheAktuelle 036151, 10989; Pathe 6759; Perfect14332.Goofus Five, 10/24/24, OKeh 40233.Earl Randolph’s Orchestra, c. 10/23/24,Paramount 10358, Triangle 11431.Bailey’s Dixie Dudes, 11/12/24, Gennett 5602,Claxtonola 40397.Washingtonians [Ellington], 11/24, Blu-Disc T-1002, 5001; Pennington 1437; Rex 28003.Kentucky Blowers, 11/12/24, Gennett 5602.(Wow, did this ever take the country by storm!)Oops! The first first recording of it,Ambassadors on Vocalion, showed thesubtitle as “I Gotta Hurry Home,” confirms ourcomposer last names. Couldn’t find anyMemphis Five labels, but Online 78 lists ourcomposers and “I Gotta Hurry Home” assubtitle. Goofus Five on OKeh also is “I GottaHurry Home,” cites all three composers bycomplete names, but does have hyphen inChoo Choo. The Duke Ellington MusicSociety web site uses “I Gotta Hurry Home” asthe subtitle. No subtitle on Washingtonians T-2005 or Blu-Disc 5001.Well, the fact is that wherever I actually find thesubtitle on a label, it begins with I.And here’s the clincher:Choo choo, I gotta hurry home; w DaveRingle and Bob Schafer, m Duke Ellington,arr. William H. Heagney, both of U.S. © 1 c.July 19, 1924; E 5960000; Broadway musiccorp.. New York.It appears to me that Rust overlooked the Iand everybody followed him.Choo-Choo Blues (Elmer Barr–Mort Bosley–Henry Santrey)Chris Tyle’s Silver Leaf JB 1298Rust saysFrank Westphal aho, 10/12/22, Columbia A-3743.The Virginians, (as Choo-Choo with hyphen)10/24/22, Victor 18978, HMV B-1855,Zonophone 3496.Art Landry’s Syncopatin’ Six, 6/16/23, Gennett5184.Trixie Smith, 12/24, Paramount 12245,Silvertone 3565 (as Tessie Ames).—but thisis a different song, by J. Guy Suddoth.1922 copyright book showsChoo-choo blues; words by Mort Bosley,music by Elmer Barr [of U.S.], ed. and arr.by Jean Walz; piano with words. © 1 c. Sept.7, 1922; E 543691; Irving Berlin, inc.. NewYork.Choo-choo blues; words by Mort Bosley andHenry Santrey, music by Elmer Barr [of U.S.]© Oct. 11, 1922; 2 c. Oct. 12; E 548659;Irving Berlin, inc., New York.Copyrighted by Bosley-Barr Sept 7; then recopyrightdOct. 11 adding Santrey as lyricist,then rec. by Westphal the next day. My guessis that Berlin or Westphal wanted the lyricsmassaged a bit before recording the song,and Santrey did the job.Note that copyrights had the hyphen.Labels? Couldn’t find Westphal’s Columbialabel, but but LC SONIC says its Barr only, nohyphen, which is how the Columbia mastercatalog reads.The Virginians Victor label has hyphen, creditfor Barr only. (Victor project same, but has anote at composer listing: “Composerinformation source: Disc label”; usually theyhave their own recording session records toconsult.)Art Landry on Gennett is no hyphen, butcomposer credit is Barr-Creager.Am ambivalent on this one, so I guess we juststick with Choo Choo and Barr, as we had it.NO! Later search found the sheet music, pub.by Irving Berlin, 1922, w. Mort Bosley & HenrySantry, m. Elmer Barr. Hyphen on copyrightpage but not on cover.Chromatic Capers (George L. Cobb)George Foley 1088Confirmed with 1925 sheet music.Chrysanthemum, The (An Afro-American Intermezzo) (Scott Joplin)Trevor Richards New Orleans Trio 1222ASM, 1904, Stark.Chunnel Boogie (Louis Mazetier–Neville Dickie)Louis Mazetier & Neville Dickie 1289Church Street Sobbin’ Blues(Anton Lada–Joe Cawley–Alcide Nunez)Swedish Jazz Kings 1122Des Plantes’ Washboard Wizards 1325ASM, w. Spencer Williams/m. Lada-Cawley-Nunez.(c) 1919 Feist(c) renewal 1947 Feist.Presumably a song version that came later.Cinderella Girl (Dave Dallwitz)Steve Waddell’s Creole Bells 1348Several confirming sources, incl. VictorianJazz Archive and “Australian JazzCompositions: By Composers” online atjazzramble.com.Circus Day in Dixie (Albert Gumble–Jack Yellen)Univ. of Wisconsin Symphony Band 1284We just had Gumble, but ASM shows w. JackYellen/m. Gumble; 1915, Jerome Remick.Confirmed by online search as the originalpublication of the song, so we must addYellen.Ciribiribin (Alberto Pestalozza–Carlo Tiochet)New Orleans Rascals 1113LP had “Chiribiribin” by A. Pestalozza-Tiochet.

Kinkle shows it as "Ciribiribin (Italian; U.S.version by Rudolph Thaler, A. Pestalozza)."Lissauer: music by A. Pestalozza; Eng.words by Tell Taylor [writer of ``Down by theOld Mill Stream’‘ --DB]; Ital. words by RudolfThaler.David Ewen in American Popular Songs:From the Revolutionary War to the Present:music A. Pestalozza, English lyrics RudolfThaler.Jeeze, what a mess!Dick Zimmerman: A. Pestalozza (from 1909orch.).OK, Alberto Pestalozza-Carlo TiochetTex sends 1909 sheet music showing musicby A. Pestalozza, lyrics by Rudolf Thaler.That’s the song that we know in America, sothere’s sure an argument for listing it asPestalozza-Thaler.But I could still go with Pestalozza-Tiochet.telcon 8/28: Stick with Pestalozza-Tiochet.Thaler falls out via the Avalon precedent.[lyrics added/long after song musiccomposed]City Limits (Jack T. Rummel)Jack Rummel 1118City of a Million Dreams(Raymond Burke)Thompson, Smith & DeVore 11161116 credited Burke-Rose.Norrie Cox recording credits only Burke.And all the other mentions of a composer Icould find were Burke only. Butch Thompsonsaid it was Charlie Devore who claimed thatRose had contributed to the lyrics. He laterdouble-check with DeVore and sent this note:As for Charlie and City of a Million Dreams,we have only Charlie's word for it, but hethinks it's a strong possibility based on hisfriendship with Raymond, Paul Crawford,Johnny Wiggs and the others that Mr. Rosemay have written some of the lyrics -- not themusic -- for City of a Million Dreams. It'sstrictly hearsay, with only Charlie around toeven mention it. He's OK with however youwant to handle it. My inclination would be toskip the theorizing about the lyrics -- toohard to explain, no hard evidence -- andleave Rose out.Clap Hands! Here Comes Charley!(Joseph Meyer–Billy Rose–Ballard Macdonald)Orpheon Celesta 1095Charleston Chasers 1376Hassan’s sheet music agrees.Clarinet Marmalade (Larry Shields–Henry Ragas)Paramount Theatre Orchestra 1089Orpheon Celesta 1095Ray Skjelbred 1124Smith–Tyle Frisco Syncopators 1211Bob Schulz & His Frisco JB 1315ASM, 1918, Leo Feist.Clarinet Spice (Dave Dallwitz)Back Bay Ramblers 1262Many secondary citations on Australian websites credit Dallwitz, incl. Victorian JazzArchive. Looks like 1st rec. Parlophone in1950.Clark and Addison (Ray Skjelbred)Butch Thompson /Berkeley Gang 1127Skjelbred was pno in the band.Clearing House Blues, The(Sadie Honesty–Harry Webb)Neville Dickie 1269Neville says it was a piano roll Waller recordedfor QRS 1922-25. The copyright:Clearing (The) house blues; w SadieHonesty, melody H. B. W.. of U.S., arr.Walter Johnson, of U.S. © 1 c. Nov. 1, 1923;E 575079; Harry Benjamin Webb, New York.Clementine (from New Orleans)(Harry Warren–Henry Creamer)West End JB 1085Paramount Theatre Orchestra 1089John Gill’s Calif. Sunshine Boys 1157Charleston Chasers 1287San Francisco Starlight Orchestra 12968/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:Neither unpub nor pub registrations givesubtitle. Unpub: w. Harry Creamer, m. HarryWarren & Jimmy Johnson (Harry Creamer isnot my typo). Pub: w. Henry Creamer, m.Harry Warren, with ukulele arr. by Anthony J.Franchini.8/22, Alex Hassan: Clementine (from New O.)does not list JPJ on the original sheet credit.Riley & Montgomery send confirming sheetmusic.ASM-HSM both have it, 1927, Shapiro,Bernstein.Cleopatra Had a Jazz Band(Jimmy Morgan–Jack Coogan)John Gill’s Original Sunset Five 1126ASM, 1917, Leo Feist; m. JM/w. JC.Cleopha (Scott Joplin)Queen City Ragtime Ensemble 1138Confirmed via my sheet music, 1902.Clicquot (Harry Reser)Howard Alden with Dick Hyman 1200ASM, 1926, Harry F. Reser.Climax Rag (James Scott)Black Eagle JB 1054Trevor Richards New Orleans Trio 1222Red Rose Ragtime Band 1360Confirmed via my sheet music, 1914.Clock and the Banjo, The(Harry Reser)Howard Alden with Dick Hyman 1200Clock (The) and the banjo; by H. F. Reser ;banjo solo, with pf. acc. (c) Jan. 1, 1927; 2 eJan. 21; E 655640; Harry F. Reser, ForestHills, L. I., N. Y.Close Fit Blues (Clarence Williams)Swedish Jazz Kings 1122Peruna Jazzmen 1204Rec. Irene Mims, 3/30/28, Vocalion 1183.CW’s Jazz Kings, 1/12/28, Columbia 14287-D;3/29, Grey Gull & Madison 1718, Radiex 1736,Van Dyke 7801, 33024, 77038.Close fit blues; melody by ClarenceWilliams. © 1 c. Feb. 27, 1928; E 633481;Clarence Williams music pub. co., inc., NewYork.Close Your Eyes (Bernice Petkere)Barbara Rosene & Her New Yorkers 1422Close your eyes; w and melody BernicePetkere. © 1 c. Jan. 16, 1933; E unp. 66332;Irving Berlin, inc.Closing Time (Wally Fawkes)Wally Fawkes & His Soho Shakers 1144Cloudsville (Steve Lane)Des Plantes’ Washboard Wizards 1290Tex W. says 1962 by Lane, a Brit., so mycopyright sources won’t help. It was onWembley Wiggle, an LP on 77 Records LEU12/3 in UK, rec. date 1960-62. Couldn’tGoogle up confirmation, so we’ll rely on Tex.

Coal Cart Blues (Louis Armstrong–Lil Hardin)Scaniazz 1038West End JB 1042Original Salty Dogs JB 1115South Frisco JB 1143Jacques Gauthé’s Creole Rice YBJB 1170Down Home JB 1241Two Clarinet Stompers 1259What?! This title isn’t in Rust title index! Butthat’s an oversight, as it’s there byCW Blue Five, 10/8/25, OKeh 8245, HJCA HC-18. (LC SONIC confirms Armstrong-Hardinfor OKeh 8245; also shows HRS 6, byArmstrong-Hardin)LA aho (w/Bechet), 5/27/40, Decca 18091. ByArmstrong-Hardin, says LC SONIC.Copyright:Coal cart blues; melody L. A. and L. H., ofU.S. © 1 c. Nov. 3, 1923; E 574625; LouisArmstrong and Lillian Hardin, Chicago.And John Gill reports having found “dateobscured, looks like 1927" copyright depositfor this tune by Lillian Hardin.Coal-Yard Shuffle (Joe Steele)Back Bay Ramblers 1355CD was Coal Yard, no hyphen.Notes say by Joe Steele’s Orchestra, Victor,1929, and that’s the only recording of it shownin Rust. Victor Project confirms (6/4/29, VictorV-38066), but gives title as “Coal-yard Shuffle.”And the Victor label is clear: COAL-YARDSHUFFlE.But Steele copyrighted it without the hyphen:Coal yard shuffle; melody by Joe Steele. © 1c. Dec. 17, 1930; E unp. 32297: Southernmusic pub. co.. inc., New York.Coaxing the Piano (Zez Confrey)Tony Caramia 1209Tony Caramia 1328Rec. 9/21, Brunswick 2167. Label creditsConfrey. 1922 copyright entry confirms.Cocaine Habit Blues (Jennie MayClayton)Terry Waldo 1002 [which we’ve beendoing since 1993. --DB]New look May 2013 for 6th ed.: Rec. MemphisJug Band, 5/17/30, Victor V-38620. Aha: TheVictor Project for it credits Jennie Clayton.And aha again: The label credits (Jennie MayClayton). And aha No. 3:Cocaine habit blues; words and music byJennie May Clayton. © 1 c. May 23, 1931; Eunp. 40331; Southern music pub. co., inc.,New York.We shall follow this, but note this Wikipediaentry:“Take a Whiff on Me” is an American folksong, with references to the use of cocaine.It is also known as “Take a Whiff (on Me),”“Cocaine Habit,” and “Cocaine Habit Blues.”. . . This song was collected by John andAlan Lomax from Iron Head and Lead Belly,as well as other sources.This is probably like “Frankie and Johnny” andother old folk songs: Anybody’s free tocopyright “their version” of it.Coffee Rag (Lily Coffee)Trebor Tichenor 1282Coffee rag; by L. Coffee, of U.S.; piano.Houston, Tex., W. C. Munn co. © July 21,1915; 2 c. July 20, 1915; E 365415; LilyCoffee, Houston, Tex.Coffin Blues (Aletha Dickerson–Rosa Taylor)Jazz Classics 1061Rec. Ida Cox, 9/25, Paramount 12318.Copyright confirms:Coffin blues; w Rosa Taylor, melody AlethaDickerson. of U.S.; in F. © 1 c. Nov. 23,1925; E 628767; Chicago music pub. co.,inc., Chicago.Cold in Hand Blues (Jack Gee–Fred Longshaw)Helm–Leigh Jazz & Blues Review 1331Rec. Bessie Smith 1/14/25, Columbia 14064-D,35672, DF-3074, LF-218; Parlophone R-2344;Odeon 272289. Victoria Spivey (as Cold inHand), 10/11/37, Bluebird B-7224.Copyright:Cold in hand blues; melody Jack Gee andFred Longshaw, both of U.S. © 1 c. Feb. 3,1925; E 605492; C. R. pub. co., New York.Cole Smoak (Clarence H. St. John)David Thomas Roberts 1021Le Petit Jazzband de Mr Morel 1362Red Rose Ragtime Band 1399ASM, 1906, Stark.College Rag, The(William Parke Hunter)Terry Waldo & Bo Grumpus 1339Rec. Olly Oakley, London 3/12/03, Zonophone1060 (oddly, Rust has a composer credit: W.Hunter), and that’s indeed what’s on the label.My reissue on World Records/EMI creditsParke Hunter. Notes say William Parke Hunterwas renowned banjo virtuoso. And indeed, heand Vess Ossman recorded together manytimes.Collegiate (Moe Jaffe–Nat Bonx)New Orleans Rascals 1113ASM, 1925, Shapiro, Bernstein.Collegiate Rhythm (Keith Nichols)Red Roseland Cornpickers 1133Nichols was in that band, so he/they shouldknow.Colonial Glide (Paul Pratt)Wally Rose 1057Trebor Tichenor 1282ASM, 1910, J. H. Aufderheide.Colonial Rag (Ernest R. Ball–Julius Lenzberg)Glenn Jenks & Dan Grinstead 1292ASM, 1914, Witmark.Colorado Blues (Euday L. Bowman)Bob Wright 1239ASM, 1915, Bowman.Colored Aristocracy (Gus W. Bernard)Lake Arrowhead Early JB 1365

Becket’s composition or followed it. TheBritish version of this anthem, “Britannia, thePride of the Ocean,” was first published in1852, nine years after the American versionwas first published. There is no actualevidence it predated the American version.Interesting. And here’s an article at Library ofCongress web site on the song:About 1843, David Shaw, a Philadelphiasinger, wrote a few patriotic lines andcommissioned another performer, the actorand musician Thomas a'Beckett, to put themto music. A'Beckett, apparently not fond ofShaw's lines, rewrote them as he composedthe tune. Shaw performed the new piece togreat acclaim, but when the music was firstpublished he alone was credited as bothcomposer and lyricist. A'Beckett, creditedonly as the arranger, contested authorshipand subsequently published his own versionof the song.A'Beckett may have authored the words to"Columbia, the Gem of the Ocean," but thematter soon became more complex whenhe, in turn, was accused of plagiarizing thewords of a British song, "Britannia, The Prideof the Ocean." It has been documented thatthe British journalist, Stephen JosephMeany, wrote the poem "Britannia, the Prideof the Ocean" in 1842 but a'Beckett claimed"Britannia" was plagiarized from his song.Either way, Meany's lyrics and theShaw/a'Beckett lyrics show a remarkablesimilarity. . . .Sheet music from both 1843 and 1846credited the American title as "Columbia, theLand of the Brave." Yet between these twodates, in 1844, the song was also publishedunder the title it subsequently retained,"Columbia, the Gem of the Ocean."Extremely popular during Abraham Lincoln'sCivil War administration, the song became astandard tune in the U.S. Marine CorpsBand's repertoire.I guess we keep our original citation—but alsokeep in mind that’s a bit controversial.Columbine Rag (Jack T. Rummel)Jack Rummel 1118Come Along My Mandy! (Tom Mellor–Alfred J. Lawrence–Harry Gifford–Nora Bayes–Jack Norworth)Canary Cottage Dance Orchestra 1415Says Dan Levinson in notes:Originally composed in 1907 by Tom Mellor,Alfred Lawrence and Harry Gifford; threeyears later Nora Bayes and Jack Norworthrewrote the lyrics and introduced it in TheJolly Bachelors.And indeed, in 1910 copyright book we findCome along my Mandy; written andcomposed by Tom Mellor, Alf. J. Lawrance[sic] and Harry Gifford, American version byNora Bayes and Jack Norworth. © Jan. 10,1910; 2 c. Jan. 10, 1910: E 223222; Francis,Day & Hunter, London, England.Hmmm. MTSU has it, but with ! on title, andshows Lawrence, so that must have been anLC typo. AND I found the 1907-10 sheetonline at Levy. Indeed there is an exclamationpoint on the cy page, although not the cover.Come and Make Your Heaven in L.A.(Buck Murphy–Jack Engels)Ian Whitcomb 1049I fear we’ll have to take Ian’s word for this one.It wasn’t copyrighted anytime 1921-24 (whichis not impossible, considering that it waswritten on commission for a real estatecompany. I Googled until I was blue in theface, but couldn’t find any reference to it thatdoesn’t lead back to Ian.The most obscure of the songs on thisalbum is “Come and Make Your Heaven inL.A.,” a real estate “enticement” song of1922, when realtors were making an all-outassault on Americans of the hinterland tocome realize their dreams in Lotusland. Itwas a clever hype—since the land wasrecently reclaimed desert—and it worked.The song was commissioned by OrangeRealty Inc., and Buck Murphy, an Alleyveteran, wrote the tune. Unfortunately JackEngels, a crafty communist and erstwhileagitator for the I.W.W., conned the realtorsinto being allowed to write the words. Theresult was a wicked piece of anticapitalistpropaganda, which might have never seenthe light of day had not Engels himself had itprivately published. Whitcomb discovered iton a lower shelf in the Hungerford-LummoxFoundation in Glendale, California. This waswhen he was researching for his novelLotusLand—A Story of Southern California,and as a result of that wallow in the 1917-1925 period he wrote a sort of rag which hehas named after his ill-fated novel.Come Back Sweet Papa(Paul Barbarin–Luis Russell)Canal Street JB 1005Oakley’s Lakeshore Serenaders 1013Tomas Örnberg’s Blue Five 1043Wally Fawkes & the Rhythm Kings 1060Pam Pameijer’s Classic Jazz Aces 1194Down Home JB 1199Peruna Jazzmen 1204Smith–Tyle Frisco Syncopators 1211Ernie Carson & the Castle JB 1283South Frisco JB 1307Helm–Leigh Jazz & Blues Review 1331Neville Dickie 1341Yerba Buena Stompers 1369John Gill’s Jazz Kings 1401Delta Stompers 14262013 revisit: Rec. Armstrong Hot Five 2/22/26,OKeh 8318, Special Edition 5018-S, Odeon279790, HJCA HC-21. (Rust has comma)No comma on the OKeh label.Aha, the copyright:Come back sweet papa ; melody by L. C.Russell and P. Barbarin. 1 c. May 1, 1926; E637450; Luis C. Russell and Paul Barbarin,Chicago.OK, no comma!Come Back to Me Mandy (I WantYou Back Home) (BuddyChristian–Armand J. Piron)Swedish Jazz Kings 1188Not in Rust! LP has subtitle that I never puthere in index: (I Want You Back Home).And here’s the copyright:Come back to me Mandy I want you backhome; words and melody by BuddyChristian and A. J. Piron [of U.S.] © 1 e.Aug. 5, 1919; E 4563S8; Armand J. Piron,New Orleans.And oops, we had composer name asNarcissus Buddy Christian based on RaySmith’s notes, but there’s no Narcissus on thecopyright, and he’s here elsewhere multipletimes without his presumed (and odd) firstname, so we must lose it here.Folks at Hogan Archive at Tulane were kindenough to send the cover and copyright page.The subtitle is on the cover, but not thecopyright page; and Christian is identified byinitials N. B.Normally, I reject a subtitle that’s not on thecopyright page, but in this case, we have thecopyright too showing that it was thecomposers’ idea, not some cover artist, so Ishall leave it.Come On and Stomp, Stomp, Stomp(Fats Waller–Chris Smith–Irving Mills)Peruna Jazzmen 1003Black Bottom Stompers (England) 1045Creole JB 1051South Frisco JB 1180Paramount JB of Boston 1205Zenith Hot Stompers 1248Pam Pameijer’s New Jazz Wizards 1382Yerba Buena Stompers 1406Rec. Johnny Dodds10/8/27, Brunswick 3568,3681, 80074; Vocalion 1148, V-1003.Well, no commas and no composer credits onBrunswick 3568. The only other label I foundwas Vocalion V-1003, which does havecommas, and confirms Smith-Waller-Mills.The copyright solves all:

Come on and stomp, stomp, stomp; wordsand music by Chris Smith, Thomas Waller andIrving Mills; pf. acc. with ukulele arr. bv M.Kalua. © Dec. 27, 1927; 2 e. Jan. 9, 1928; E681048; Jack Mills, inc., New YorkCome On, Baby! (Archie Gottler–Maceo Pinkard–Sidney Clare)Red Roseland Cornpickers 1153Neely’s Royal Society Jazz Orch 1250ASM, 1928, Ager, Yellen & Bornstein.Come On, Coot Do That Thing(Coot Grant*)Scaniazz 1056Leigh–Dapogny Mysterious Babies 1087Blue Rhythmakers 1373May 2013 follow-up: Rust says 9/25 recordingalso released as UHCA 80, Jazz Information 6,Ampersand (Australia) R-104, Jazz Society(France) AA-506.Well, what about the copyright? Oh, ferchrissake, cy is also missing a comma, but ina different place:Come on coot, do that thing; w and melodyL. B. Grant, of U.S. © 1 c. Oct. 1, 1925; E623730; Leola B. Grant, Washington.Ah, the hell with it: leave it the way it appearedon the only recording that most people haveever seen, the original Paramount.Come On In, Baby (Thomas A. Dorsey–George Ramsey)Jim Snyder /Georgia Grinders 1068Rent Party Revellers 1220May 2013 follow-up: Rec. Memphis NightHawks, 3/31/32, Vocalion 1744, HJCA HC-74.Couldn’t find labels, but online 78 confirmscomma, has no composers.Copyright? Nothing definitive (but see below)from 1930 to 1934. Only appearance ofGeorge Ramsey is once as a publisher in1934. The only year in which Dorsey appearsis 1930, where he has more than a dozen titlescopyrighted—but none is near this title.However, many of them were registered byLester Melrose as publisher. So now see this:Come on in baby; melody. © 1 c. Aug. 5,1933; E unp. 74639; Lester Melrose.From the pattern I’ve seen, the Lester Melroseat the end means that he’s the registeringpublisher, not the composer. So what the helldoes this mean?As of 5/20/13, this smells very bad. We werewilling to accept anybody’s word whosounded remotely sure back in 1990, so wenever questioned Abrams—but his work wentinto the Online 78 database, which doesn’tshow any composer credits for Vocalion 1744.CAN ANY OF OUR EXPERTS SHED SOMELIGHT?Comedy Tom (Gus King)Levinson’s Trans-Atlantic Saxtette 1430Comedy Tom march; by Gus King [of U.S.];piano. © Dec. 17, 1917; 2 c. Dec. 20, 1917 E414772 Will Rossiter, Chicago.Complainin’ (A Darky Lament(Luckey Roberts–Alex Rogers)George Foley 1187Tom Roberts 1345Foley:Swing pianist Jess Stacy claimed“Complainin’” as his own in a 1939recording. However, if you listen to thebarely audible piano accompaniment to PartThree of The Two Black Crows by the blackfacecomedians Moran and Mack in 1923,you will hear Luckey playing “Complainin’.”Rec. Stacy 1939 Commodore 506, crediting itto himself, and he even copyrighted it thatway!Complainin'; by Jess Stacy pf. © Mar. 30,1939; E pub. 76059; Bregman, Vocco &Conn, inc., New York.All Music.com article on Roberts says,In the 1920s, he can be heard leading theorchestra on records by comic CharlesHunter and backing up the radio comedyteam of Moran and Mack, "The Two BlackCrows"; Roberts also performed on theirnetwork radio show as accompanist. Onsuch records, Roberts sometimes employeda theme he developed for vaudeville showsaround 1923 called "Complainin.'”Aha. The Victor Project lists “Complainin’ (It’sHuman Nature to Complain),” rec. 7/25/23 byEddie Hunter with orchestra, Robertscomposer and Alex Rogers, lyricist.But finally found earlier copyright thatcomports with the Victor Project entry:Complainin'; a darky lament, words by AlexRogers, music by C. Luckeyth Roberts [ofU.S.] © 1 c. Jan. 18, 1922; E 530326; IrvingBerlin, inc., New York.I couldn’t find any previous copyrights as farback as 1918, so we must presume that this isthe original, adding Rogers as lyricist andincluding the subtitle.Comrades (Felix McGlennon)Imperial Serenaders 1351Well, there’s a “Comrades” by Robert Kingand Ballard Macdonald (1919) that expressesthe same sentiments, but I found a recordingof our song, sung by a chorus from 1915) onYouTube complete with a picture of the sheetmusic, and it shows McGlennon as composer.MTSU has it but just guesses at the date--1870s--80s. Levy has sheet, which is indeedundated.Con-Carol Rag (Gale Foehner)Gale Foehner 1023Concentratin’ (on You) (Fats Waller–Andy Razaf)Back Bay Ramblers 1355Neville Dickie 1397both had “Concentratin’ on You,” but bothcover & (c) page show it asConcentratin’On You

ASM, 1931, Santly Bros.; w. AF/m. FW. Andthat’s how Rust shows it.Rec. Mildred Bailey (as Concentratin’, saysRust), 11/24/31, Victor 22880; Boswell Sisters,10/27/31, Brunswick 6210, 01252; CaliforniaRamblers 10/5/31, Columbia 2569-D, Regal G-21254; Blanche Calloway, 11/18/31, Victor22862.Calloway’s is the recording Neville cites assource, and that Victor label is definitely“Concentratin’ (on You).”Concentrating (Willie “The Lion” Smith)Tom Roberts 13921392 had Concentratin’.Rec. Smith (as Concentrating, says Rust) 2/39,Commodore 524. BUT I checked copyrightbooks for 1936-41 and found only this:Concentratin’ in 1940, but it’s w. BobWright/m. Jack Betzner.Red Hot Jazz Archive also says it’s Concentrating,as does Online 78. And the Wikipediaarticle on Smith, and most of the othercollections that list the Commodore 78. Theone place I found it as Concentratin’ was onthe Good Time Jazz LP Luckey and the Lion,which could be where Roberts found it as well.From Sonny McGown: “I don't have Com 524but I have 3 Commodore LPs that all listConcentrating.” AND LC SONIC has Com524, shows title as Concentrating.Concourse March, The(Guy E. Holmes)Levinson’s Trans-Atlantic Saxtette 1430G. E. Holmes on the CD.Concourse (The) march; Guy E. Holmes [ofU.S.]; piano. © 1 c. Nov. 22, 1919; E463132 Continental music pub. CO.,Chicago.Orig. rec. by Six Brown Bros. was Emerson10106, which credited G. E. Holmes, but theArcheophone reissue also names him as GuyE. Couldn’t find the sheet music online, butsources that refer directly to it indicated thathe was G. E. Holmes on the music. But verymany places call him Guy E. or even Guy Earl,so let’s put his first name here based on thecopyright entry.Coney Island Washboard(Hampton Durand–Jerry Adams–Ned Nestor–Claude Shugart)Down Home JB 1171Down Home JB 1264ASM, 1926, Lewis; w. NN-CS/m. HD-JA.Congo Love Song (Tiny Parham)Back Bay Ramblers 1374Le Petit Jazzband 1389Manhattan Ragtime Orchestra 1419Les Rois du Fox-Trot 1434

And based on that, I found in copyright filesfor 1909:Coon's birthday (Negers geburtstag).American cakewalk, by Paul Lincke, forpiano. Jos. W. Stern & co., New York, N.Y. C202605, Mar. 10, 1909.Coontown Capers (Theodore F. Morse)Lake Arrowhead Early JB 1365“By Theo. F. Morse, with Characteristic Verseby Paul Dresser.” 1897. Brier assures me that“verse” in this case refers to a couple of linesof lyrics, not to a section of the composition.Coontown Chimes (Le Cake Walk)[Beautiful Creole] (Harry S. Webster)St. Louis Ragtimers 1267ASM, 1924, Melrose; w. WM/m. CD.Coquette (Carmen Lombardo–Johnny Green–Gus Kahn)San Francisco Starlight Orchestra 1271S&P confirm w. GK/m. Green-Lombardo,1928; copyright file confirms.Corky Stomp (Andy Kirk–John Williams)Back Bay Ramblers 1355We had Andy Kirk-Mary Lou Williams.Rec. Andy Kirk 11/11/29, Brunswick 4893,01211, A-8225. Again 3/7/36 (as “Corky,” arr.credit to Mary Lou Williams), Decca 772, Y-5112; Columbia DB/MC-5020. Found EnglishBrunswick 1211 release, credits Kirk-Williams,then Amer. 4893, same..Oops, see the copyright:Corky stomp; melody by Andy Kirk andJohn Williams. © 1 c. July 3, 1930; E unp.24463; State Street music pub. co., inc.,Chicago.And John in index, no Mary Lou shown in1930 index. Found no rereg. in 1936-38books for a later arrangement.This is another mistake like Mess-a-Stomp, inwhich we presumed that “Williams” was MaryLou, but it was really her husband, John, whowas a composer in his own right.Corn Shucks (Ed Kuhn)Tom Brier 1274Brier confirms from his sheet music.Corncracker Rag (Tom Shea)Tom Shea 1022Jack Rummel 1118Cornfed! (Bob Effros–Phil Wall)New Century Ragtime Orchestra 1385Lots of recordings of it in 1927; all the labelsand refs I could find confirmed composer,some of the labels had the exclamation point,some didn’t. In any case, the copyright isdefinitive:Cornfed ! by Bob Effros and Phil Wall, arr.by Phil Wall; pf. 4to. (c) May 27, 1927; 2 c.Sept. 2; E 673579; Spier & Coslow, inc.,New York.Cornet Chop Suey (Louis Armstrong)Hot Dogs /Victoria Varekamp 1033West End JB 1042Queen City Ragtime Ensemble 1138Down Home JB 1217Paramount JB of Boston 1247Neville Dickie 1341Pam Pameijer’s New Jazz Wizards 1350Odd: Only mention in 1926 copyright catalogis one for mechanical reproduction:Cornet chop suey. © Consolidated musicpub. house, Chicago. Notice rec'd Aug. 7,1926; recorded, v. 7, p. 49.Aha, that’s because the original copyright wasin 1924:Cornet chop suey; pf. jazz fox trot, melodyL.A., of U.S., arr. Lillian Johnson Hardin. © 1c. Jan. 18, 1924; E 580818; LouisArmstrong, Chicago.

John Gill reports 1/18/24 copyright deposit byLouis.Corrine Corrina (J. Mayo Williams–Bo Chatman)Acker Bilk & Ken Colyer 1119Magnolia Jazz Five/Jimmy Mazzy 1137Oops, not in Rust index! First copyright isCorrine Corrina; words and music by J. M.Williams and Bo Chatman, arr. by JamesAlston. [Words and melody only] © 27421 ©1 c. Dec. 5, 1929; E unp. 14071; State Streetmusic pub. co., inc., Chicago.But a later copyright adds the comma andanother lyricist:Corrine Corrina; w and m J. M. Williams andBo Chatman, additional lyrics MitchellParish, pf. sc. James Matté ; with ukulele arr.© Mar. 18, 1932; E pub. 29265; Gothammusic service, inc.This is presumably why you commonly see thetitle with and with out a comma, and seecomposers listed as Williams-Chatman orWilliams-Chatman-Parish. I guess we stickwith what we had, which confirms to originalcopyright.Corsica Rag (Joe Jordan)Terry Waldo 1002Johnny Maddox’s recording also creditsJordan, says 1909, but I couldn’t findcopyright anytime in 1908-10. PeacherineRagtime Orchestra YouTube recording of italso says Jordan 1909. I couldn’t find this inany collections, either—but in Googlingaround I found a zillion refs to it as being byJordan, and a couple of mentions of its neverhaving been published. We must trustMaddox on this: He knew Joe Jordan quitewellCosey Rag, The (Shelton Brooks)Down Home JB 1316ASM, 1911, Will Rossiter.Cotton Babes (Percy Wenrich)Elite Syncopators 1358Cotton babes; rag two-step, by PercyWenrich; for piano. © Dec. 7, 1909 ; 2 c.Dec. 7, 1909 E 219872; Jerome H. Remick &co., Detroit, Mich.Odd--the big collections had dozens of piecesby Wenrich, but not this one.Cotton Bolls (Charles Hunter)Tom Shea 1022David Thomas Roberts 1317Confirmed by my 1901 sheet music.Cotton Club Stomp [No. 2](Duke Ellington–Irving Mills)Lande’s Rhythm Club Orchestra 13272013 review: There as been a ton ofcontroversy and confusion over this title byDuke and “Keep Your Temper” by Willie theLion Smith. In the course of the year I’vecompiled voluminous notes by myself, BillHaesler, Vince Giordano and the news letter ofthe Duke Ellington Music Society. They run toseveral pages in this format so I’m just goingto recap them here and keep the full notes onfile for anybody who’s unsatisfied by therecap.First, the various recordings of the title are:Cotton Club Stomp [No. 1]Ellington’s first recording of the title was 5/3/29by DE & His Cotton Club Orchestra, Victor V-38079; Bluebird B-10242; HMV B-4872 et al.Ellington actually had recorded this same tuneon 4/12/29 as part of a medley (with MistyMornin’) titled “A Nite at the Cotton Club - Part1,” Victor 741029 (a later LP reissue, creditHodges-Carney-Ellington); and then again adecade later on 6/6/39 on Brunswick 8405.The 5/3/29 Victor and Bluebird labels creditRodgers-Carney-Ellington. But the 6/6/39Brunswick label has it corrected to Carney-Hodges-Ellington.Cotton Club Stomp [No. 2]Same title by the Jungle Band, 4/22/30,Brunswick 4887, 6813, 1186 et al. Brunswick4887, 6813 & 1186 credit Mills-Ellington (6813calls it by DE & His Famous Orch rather thanJungle Band).The numbers are arbitrary, assigned forconvenience’ sake in keeping them apart.First, they are different tunes with the sametitle; that alone was sure to cause a hugeamount of confusion. Second, at some pointearly on, listeners detected some similaritybetween Cotton Club No. 2 and Smith’s “KeepYour Temper,” and advanced the theory that itreally was “Keep Your Temper” incorrrectlylabeled. And in fact, some reissues of itcarried that “incorrectly corrected” title. As didSOS 1327. But later, serious musical analysisof the two tunes notes some similarities butagrees that they are not the same tune.Adding to the confusion was the fact that mostlabels of No. 1 carried the composer credits ofRodgers-Carney-Ellington, but that was a typo:Rodgers should have been Hodges (Johnny),and Victor shares some of the blame becauseit spelled the name Hodgers in its files!Cotton Pickers Ball (Elmer Schoebel–Billy Meyers)Les Rois du Fox-Trot 1407Isham Jones 10/11/23, Brunswick 2548 (labelsays Pickers’; credit is Schoebel-Meyers-Mills!Midway Dance Orchestra 10/18/23, Columbia51-D, Regal G-8149 (as Corona DanceOrchestra). Columbia label is Pickers’;credit is just Schoebel.Fletcher Henderson 1/29/24, Vocalion 14759(Vocalion label shows Picker’s, but can’tread credit on it; Red Hot Jazz ArchiveOnline 78 both credit only Schoebel [seecopyright below]).Guy Lombardo 3/10/24, Gennett 5417, Starr9536. Gennett label is Pickers, creditSchoebel-Meyers.Copyright isCotton pickers ball; melody ElmerSchoebel. of U.S. 21353 © 1 c. Nov. 16,1923; E 577112; Jack Mills, inc., New York.Then a month later:Cottonpicker's ball; w Billy Meyers, m ElmerSchoebel. of U.S. © 1 c. Dec. 13, 1923; E577836 ; Jack Mills, inc.. New York.And then four months later:Cottonpickers ball; w Billy Meyers, m ElmerSchoebel, of U.S. © Mar. 5, 1924; 2 c. Mar.13; E 586275; Jack Mills, inc., New York.Well, this is a conflicting mess. First, and Ithink easiest, is to reject Mills as a cocomposer,even though his name is on thevery first recording of the tune. He nevershows up in copyrights or on any laterrecordings.Next, Cotton Pickers or Cottonpickers? Sincethe first copyright and all the recordingspresent it as two words, I’m going to stick withthat option.Finally, that pesky apostrophe: Grammatically,Pickers’ is best; it’s on the first two records,but none of the copyrights. Picker’s (which iswhat’s on SOS 1407) is worst, as it takes morethan one cotton picker to have a ball (see“Darktown Strutters’ Ball”). So let’s be safeand stick with two of the three copyrights:Pickers. (Think of the VeteransAdministration.)Cotton Pickers Rag (William J. Braun)Lake Arrowhead Early JB 1365“Cotton Pickers Rag and Cakewalk” on 1365,but I found sheet music online (1900, LouisGrunewald). Cover has genre marker“Original Cakewalk”; (c) page isCotton Pickers RagCAKE WALKCotton Picker’s Scat (Don Redman–Bill McKinney)

San Francisco Starlight Orchestra 1334Rec. McKinney’s Cotton Pickers 7/31/30,Victor 23012; HMV B-4931, K-6262. The Victorlabel is indeed Picker’s.Copyright:Cotton pickers scat; melody by Redman andMcKinney. © 1 c. Oct. 30, E unp. 29866;Southern music pub. co., inc., New York.I’m going to leave the apostrophe on thetheory that the McKinney’s Victor was the firstand only publication of the song.Cotton Time (Charles N. Daniels)Chrysanthemum Ragtime Band 1123Heliotrope Ragtime Orchestra 1411ASM, 1910, Jerome Remick.Cottontail Rag (Joseph F. Lamb)Matthew Davidson 1252Unpublished in his lifetime, posthumouslypublished in Joseph F. Lamb, RagtimeTreasures Piano Solos (New York, NY: MillsMusic, 1964), now out of print.And confirmed by 11/16/59 copyright reg.Could You Be True to Eyes of Blue IfYou Looked into Eyes of Brown?(Will D. Cobb–Gus Edwards)Ernie Carson & the Castle JB 1283We had “Could You Be True to Eyes of Blue?(If You Looked into Eyes of Brown)”Could you be true to eyes of blue, if youlooked into eyes of brown; words and musicby Cobb & Edwards. Copyright by F. A.Mills, New York, N.Y. Class C, XXc, no.28561, June 14, 1902; 2 copies rec'd June14, 1902.Found the sheet music online at Levy, and I’mhard pressed to consider this a title + subtitle.The cover looks like this:The copyright page isCOULD YOUBE TRUE TOEYES OF BLUEIFYOU LOOKEDINTO EYESOF BROWN?Could You Be True To Eyes Of Blue,If You Looked Into Eyes Of Brown?In both cases, the fonts were of uniform sizeand weight. And, logically, “If you looked intoeyes of brown” is part of the question andlooks odd hanging behind the question mark.So I’m making it one long title.Courthouse Bump (Jelly Roll Morton)Des Plantes’ Washboard Wizards 12901929 says Tex in liner notes. Oddly, I have noother recordings of it. Rec. Morton 7/9/29,take 1 to Victor 741054 (LP), take 2 to Victor V-38093. Victor Project confirms, as doescopyright registration 12/26/29 unpub.Coventry Rag (Jeff Hughes)Paramount JB of Boston 1247Hughes was cornetist/vocalist on CD; leaderRay Smith’s notes specifically credit him.Cover Me Up with Sunshine (andFeather My Nest with Love)(Ray Henderson–Mort Dixon)Back Bay Ramblers 1279Rec. Jean Goldkette 10/15/26, Victor 20588Rust says subtitle (And Feather My Nest withLove). According to Victor Project, GretaWoodson recorded it 9/25/26 as “Cover MeUp with Sunshine,” but it wsn’t issued. ThenGoldkette as “Cover me up with sunshine (andfeather my nest with love).” Victor labelagrees.Copyright isCover me up with sunshine; words by MortDixon, music by Ray Henderson. © Sept. 16,1926; 2 c. Sept. 20; E 650230; Jerome H.Remick & co., New York.Couldn’t find it in any of the big Americancollections, but Nat’l Library of Australia has acopy indexed with the subtitle.Crackerjack (Harry Reser)Howard Alden with Dick Hyman 1200Confirmed by 1931 copyright entry.Crave, The (Jelly Roll Morton)Uptown Lowdown JB 1030Pam Pameijer – Duet /Trio/Quartet 1134James Dapogny & Butch Thompson 1183Rec. 12/14/39, General 4003, Commodore589, Vogue V-2067.Perfesser Bill site has cover of tune publishedby Tempo Publishing in DC (Jelly’s enterprisewith Roy Carew), says copyright 1938, but it’snot in the 1938 (or 39-40) copyright book,although some other Morton titles pub. byTempo are there. Says Biill: “In spite of thelisted copyright date, there are indications thatMorton was playing this ‘Spanish tinge’ pieceas early as 1910.”Crazy Blues (Perry Bradford)John Gill’s Original Sunset Five 1094Des Plantes’ Washboard Wizards 1174John Gill’s Dixieland Serenaders 1321Manhattan Ragtime Orchestra 1419ASM, 1920, Perry Bradford.Crazy Bone Rag (Charles L. Johnson)Elite Syncopators 1358ASM, 1913, Forster.Crazy ’bout My Gal (Jack Pettis–Irving Mills)Back Bay Ramblers 1355Confirmed by 5/14/30 copyright entry.Crazy ’bout Red-Head Mamas(Jean-Pierre Morel)Charquet & Co 1195Les Rois du Fox-Trot 1429Morel is leader of the bands, so he shouldknow.Crazy ’bout That Man I Love(Fats Waller–Spencer Williams–Clarence Williams)Neville Dickie 1397Not in Rust. Confirmed by 6/18/26 copyright.Crazy Chords (Jelly Roll Morton)Louisiana Washboard Five 1398Rec. RHP 6/2/30, Victor 23307, HMV B-4898,Biltmore 1074. Victor label confirms, as doesVictor Project. Not in copyright book for 1930.Crazy Jo’ (Harry Reser)Terry Waldo’s Gotham City Band 12011201 had Crazy Jo, no apostrophe.Copyright’s an oops:Crazy Jo’; by Harry F. Reser [of U.S.; banjoand piano, with solo for ten. banjo. 24280 ©Nov. 23, 1922; 2 c. Nov. 24; E 552190; JackMills, inc., New York.And indeed, Reser’s c. 1922 recording onBrunswick 2308 has the apostrophe.Crazy Quilt (Paul Van Loan–Andrew B. Sterling)Charquet & Co 1008Keith Nichols Dreamland Syncoptrs 1150Hot Antic JB 1154John Gill’s Calif. Sunshine Boys 1157Charleston Chasers 1287Le Petit Jazzband 1389Les Rois du Fox-Trot 1436‘But I wonder . . . what can I find in 2013?Joe Candullo, 7/26, Pathe Aktuelle 36487,11204, Perfect 14668.Goofus Five, 7/15/26, OKeh 40687,Parlophone E-5716.Sam Lanin, c. 8/20/26, Cameo [#?], Lincoln[#?], Romeo 260.Tennessee Tooters, 9/20/26, Vocalion 15487,Brunswick 3332.[Vance] Dixon’s Jazz Maniacs, c. 1/27,Paramount 12446.Chas. Creath Jazzomaniacs, 5/2/27, OKeh8477.

Frankie Trumbauer aho, 6/24/31, Brunswick6146, 01261 (with vocal), Brunswick A-9110(instr.)Copyright:Crazy quilt; fox trot, by Paul F. Van Loan;orch. 4to. © June 25, 1926; 2 c. July 17; E644568; Denton & Haskins music pub. co.,inc., New York.ThenCrazy quilt; fox-trot, by Paul F. Van Loan; pf.© Oct. 1, 1926; 2 c. Oct, 30; E 649497;Denton & Haskins music pub. co., inc., NewYork.From above, looks like orchestration filed first,then piano version. Then comesCrazy quilt; words by Andrew B. Sterling,music by Paul F. Van Loan pf. and ukuleleacc. © Oct. 1, 1926 : 2 c. Oct. 30; E 649498;Denton & Haskins music pub. co., inc., NewYork.OK, Sterling’s lyrics not there on Day 1,copyright-wise, but they caught up soonenough to qualify him, especially since thevery first recording of it, by Candullo, had avocal.Crazy Quilt (Harry Warren–Bud Green)San Francisco Starlight Orchestra 1271Copyright:Crazy quilt; from the play, lyric by BudGreen, music by Harry Warren; with ukulelearr. by F. Henri Klickmann. © June 1, 1931;2 c. June 2; E pub. 23535; De Sylva, Brown& Henderson, inc., New York.Billy Rose’s Crazy Quilt ran on Broadway May-June 1931.Creepy Feeling (Jelly Roll Morton)Butch Thompson 1037Rec. Morton 12/38, Jazz Man 12, Vogue GV-2256.Not in copyright books 1938-40, butwww.doctorjazz.co.uk, the big Jelly Roll siteon web, shows an excerpt from music, says“copyright Roy Carew.” Jazz Man 12 labeldoesn’t have have composer credit, butthere’s no doubt in this case.Creole Belles (J. Bodewalt Lampe–George Sidney)Tom Shea 1022Uptown Lowdown JB 1030South Frisco JB C/CD 1035London Ragtime Orchestra 1081Watergate Seven Plus One 1165Louisiana Repertory Jazz Ensemble 1197Down Home JB 1241Univ. of Wisconsin Symphony Band 1284Steve Waddell’s Creole Bells 1348Lake Arrowhead Early JB 1365Yerba Buena Stompers 1369Red Rose Ragtime Band 1399River Raisin Ragtime Revue 1417Tom Stuip & Delirium Tremolo 1433ASM has two versions, both 1900 Whitney-Warner:1. March Two-Step version (no lyrics), isCreole Belles on both cover & (c) page.2. Song version, lyrics by George Sidney, hasBelles on cover but Belle on (c) page. They’reconcurrent, and the lyrics are often sung, sowe must add Sidney. But let’s keep it Belles.Creole Jazz (Claude Luter)Jacques Gauthé’s Creole Rice YBJB 1256Acc. to Bruyninckx, rec. Luter Quartet, Paris,1959, went on Vogue (F)EPL7727, LD499.Vogue ELP has four tunes—amazingly foundback cover online, which clearly credits Luterfor this and “St. Germaine Dance”; other twotracks are by Bechet.Creole Love Call, The (Duke Ellington)Magnolia Jazz Five/Jimmy Mazzy 1137Paramount JB of Boston 1247Black Eagle JB 13561137 was Ellington-Miley-Jackson.ASM, 1928, Gotham.Creole Lullaby (Peephole Blues)(Omer Simeon–James P. Johnson)Trevor Richards New Orleans Trio 1222We had Creole Lullaby by just Simeon.Only one in Rust is rec. in London by The SixSwingers, 1/6/37, Columbia FB-1618. Ah,here’s the deal: Simeon recorded it, but afterRust. Found label on his recording onYouTube:Label appears to be from Disc New York, No.6002, recorded 2/22/45 in NYC:CREOLE LULLABY(Peephole Blues)(Simeon-Johnson)THE CARNIVAL THREEOmer Simeon, clarinet; George “Pops”Foster, bass; James P. Johnson, piano.No copyright 1937 or 1945-6, but the record isample evidence.Creole Rhapsody (Duke Ellington)Chalumeau Serenaders 1394Rec. Ellington 1/16/31 as two tracks, Part 1and Part 2, on both sides of Brunswick 6093,80047, 01145, A-9079, S-602088.Composition list in Ellington autobio. sayscopyrighted 1944, but I couldn’t find it in either1931 or 1944. Brunswick 3093 label (asJungle Band) credits Ellington, so that’s it.Creole Song (C’est l’Autre Cancan)(Kid Ory)Butch Thompson & Hal Smith 1075Hal Smith’s Creole Sunshine Orch 1078Found label of Crescent CPM 10352, rec.August 1944, from Jazz Man Records,Hollywood, credits Ory. But no copyright in1943-45 books. Subtitle is (C’est l’AutreCancan). Red Hot Jazz Archive confirm this,including the subtitle.With no copyright, we go with this 78 and addthe subtitle.Cricket Dance (Billy Mayerl)Tony Caramia 1313From Three Dances in Syncopation, 1930,says Caramia. Found this copyright:Mayerl (Billy) Three dances in syncopation ;by B. Mayerl, of Great Britain, op. 73; pf. 1.English dance. [2 others]; © Mar. 12, 1930;1 c. Mar. 11; E for. 9715; Keith, Prowse &co., ltd. London.Perfesser Bill’s site confirms that the threeparts of this suite areEnglish DanceCricket DanceHarmonica DanceCrinoline Days (Irving Berlin)Bob Pelland & Bob Pilsbury 1212Canary Cottage Dance Orchestra 1400Confirmed 1922 copyright, from The MusicBox Revue 1922-23.Crooked Stove Pipe (traditional)St. Louis Ragtimers 1267

Shapiro & Pollace say Cross-Words. Possible,since this is in period when crossword puzzlesfirst a fad in the country, but Kinkle doesn’thave hyphen, so stick with this unless we canfind original sheet music. --4>8/22, Alex Hassan: Cross-Words BetweenSweetie and Me, as indicated by Shapiro &Pollack. Hyphen is right there on the sheet."Between Sweetie and Me" are smaller fontunderneath Cross-Words8/25, Montgomery sends music, BroadwayMusic Corp, 1925, which is what S&P lists asoriginal. Cover art has crossword puzzle;Copyright page saysCross-WordsBetween Sweetie and MeI’ll probably hate myself in the morning, but inthis case we just must overrule thetypogographic clue. For one thing, (Cross-Words) Between Sweetie and Me would looksilly, since "Between Sweetie and Me" couldnever stand alone as a song title. (Although,we must admit, there are a few other cases inthis index in which the proper title makes littlesense without the subtitle.) For another thing,there’s Alex’s report that on his copy of themusic, the Cross-Words is played large, withBetween... in smaller type under it.The cover, by the way, does in fact play thesubtitle more prominently. Looks somethinglikeCross Words.......BETWEENSWEETIE and MEIf we can get confirmation that Alex’s version isas he described it, and that it’s earlier, I’d optfor Cross-Words (Between Sweetie andMe), but for now we must go with Cross-Words Between Sweetie and Me.9/8: Amazing. Alex’s copy is same publisher,same year. Cover art is different butthematically the same. And copyright page isidentical at every point except title itself:Cross WordsBetween Sweetie and MeAlex’s version is more logical, but since wecan’t date one before the other, I suggest wejust forget trying to establish a subtitle andstick with Cross-Words between Sweetieand Me.Crusader, The (John Hancock)John Hancock 1025Cry Baby Blues (George W. Meyer–Sam M. Lewis–Joe Young)Neville Dickie 1423ASM, w. Sam Lewis & Joe Young/m. Geo. W.Meyer, 1921, Irving Berlin. (Was just Meyer on1423). SAM M. LEWIS: Evidently he went on alot of music as just Sam Lewis, but we decidedon Sam M. early on, and this piece for surewas Sam M. on both copyright reg. and music.so Sam M. it shall be.Cryin’ for the Carolines (Harry Warren–Sam M. Lewis–Joe Young)Rusty Taylor’s New Jazz Review 1186Keith Nichols Cotton Club Orchestra 1234Tom Stuip & Delirium Tremolo 1433Les Rois du Fox-Trot 1434Confirmed by 1930 copyright; from film SpringIs Here. w. SL-JY/m. HW/Crying and Sighing (John Nesbitt)Lande’s Rhythm Club Orchestra 1327Confirmed 1929 copyright. Victor Project alsoconfirms for 1928 McKinney’s Cotton Pickersrecording.Crying My Blues Away (Alex Hill)Scaniazz 1004Rec. Albert Wynn Gut Bucket Five, 10/9/28,Vocalion 1218, Supraphone S-2234, Decatur515. Jimmy Gordon Vip Vop Band, 5/12/38,Decca 7519. Confirmed w/m by Hill 1928copyright.Cubanola Glide, The (Harry Von Tilzer–Vincent P. Bryan)Ted Shafer’s Jelly Roll JB 1278Imperial Serenaders 1351Manhattan Ragtime Orchestra 1402

ut Bob says it never felt comfortable (thelast strain does have an awkward spot).I agree with Hal Smith that the title refers towalking up and down Custom House Street/Blvd/Ave in New Orleans. I also agree withHelm that P.T. Stanton gave little, if any,contribution to the music -- it was the othersthat visited New Orleans for inspiration.However, P. T. (Peter Thomas Stanton) wasthe big promoter of the tune, and everyoneknows his name, so it’s appropriate to cuthim in on the composer royalties.{Bob, your note on first draft (written beforeRobbie weighed in) says stet Phil and that P.T. was Perry T. To the disinterested observer(i.e., yours truly) you appear to be way out ona thin limb. Who the hell was Phil Stanton?telcon 8/10: Erdos, based on telcon with HalSmith: no Phil, P.T. should be thirdcomposer.--3>Cutter, The (Elma Ney McClure)Elliott Adams 1198Confirmed 1909 copyright and sheet music,both of which mentioned (A Classy Rag) as asubtitle, but that’s not far-enough removedfrom simple genre-marker to warrant inclusionhere.Cuttin’ Out (Willie “The Lion” Smith)Tom Roberts 13921949, says Roberts.Uh, oh: 1949 copyright book has onlyCUTTIN OUT w & m Paul Gayten © MeritMusic Corp. l6Nov49 EU187242But the Chronological Classics Willie Smith CDsays rec. 12/24/49, in Paris, Vogue V5038,says composed by Smith. Jasen & Tichenor’sRags and Ragtime say not copyrighted orpublished, but credit Smith, mention theVogue recording. Jasen’s later big book sayssame thing.Guess with go with that.Cuttin’ Up (Charlie Lawrence)Back Bay Ramblers 1355Blue Rhythmakers 1373Rec. Paul Howard’s Quality Serenaders (withCharlie Lawrence on reeds), 2/3/30, Victor23420. Rust says see also “Lazy Blues,”where we find “Lazy Blues (Cuttin’ Up), rec.Art Landry, 9/5/24, Victor 19488. Bothrecordings in Southern California.Hmm. 1355 says based on CharlieLawrence’s recording; 1373 says arranged byKeith Nichols from “trombonist LawrenceBrown’s ‘Cuttin’ Up.’” (Brown was also on theLawrence record.)Victor Project confirms by Charlie Lawrence.Found Landry’s Victor 19488, which is just“Lazy Blues” (no sub- or alt title), creditsLandry-Humphry-Emerson. Victor Projectsays primary title is “Lazy Blues” and that itwas on record label, but records “Cuttin’ Up”as “alternate title . . . source: Victor ledgers”;composers Art Landry-Charles Humphreys-Howard Emerson.Obviously, Landry tune was entirely differentone; Rust was a little misleading in thisinstance.Cyclone in Darktown, A(George D. Barnard)River Raisin Ragtime Revue 1417Copyright shows no indef. article, but thatdoesn’t mean it didn’t get on the sheet music:Cyclone in Darktown; by Geo. D. Barnard. ©Feb. 4, 1911; E 252489; Carl Fischer, NewYork, N.Y. Notice rec'd June 19, 1911;recorded, v. 1, p. 112.It also give Barnard’s middle initial--wonder ifthat too is on the sheet music.Jasen’s big book omits the A, includes themiddle initial.Aha, the music is in Trebor’s RagtimeRediscoveries. Author Geo. D.; subtitle oncover is “Just Rags,” but “Just Rag” oncopyright page. Not worth keeping.Czechoslovak Journey (Graeme Bell)Steve Waddell’s Creole Bells 1230No doubt on this one.D“D” Natural Blues (Fletcher Henderson)State Street Aces 1106Keith Nichols Cotton Club Orchestra 1275Rec. Henderson 3/14/28, Columbia 1543-DCopyright isD natural blues; by F. Henderson and W. H.Challis. [Melody only] (c) 1 c. Nov. 2, 1928;E—U.S. unpub. 818; Fletcher Henderson,New York.BUT Rust says “D” Natural Blues, and that’swhat’s on the Columbia label.Daddy Do (Fred Longshaw)Leigh–Dapogny Mysterious Babies 1087Watergate Seven Plus One 1165Down Home JB 1171Bob Schulz & His Frisco JB 1288Steve Waddell’s Creole Bells 1301South Frisco JB 1307Bob Helm’s JB 1310Yerba Buena Stompers 1369Rec. Lu Watters 3/29/42, Jazz Man 13; KittyIrvin, 10/24, Gennett 5592, Claxtonola 40393,Silvertone 4035.No copyright 1923-25, but Gennett 5592credits Longshaw, as does Jazz Man 13.Daddy Let Me Lay It On You (seeMama Let Me Lay It On You)Daddy Won’t You Please Come Home(Sam Coslow)John Gill’s Original Sunset Five 1126Rusty Taylor’s New Jazz Review 1186Barbara Rosene & Her New Yorkers 1393Sure enough: ASM,, 1929, (c) Famous Music,pub. Spier & Coslow--No comma, no questionmark.Daddy’s Little Girl (Bobby Burke–Horace Gerlach)Albion JB 1249Grand Dominion JB 1337Evidently there was a song of same title byTheodore F. Morse-Edward Madden. But S&Psay Burke & Gerlach wrote the 1949 song thatwas a best seller for the Mills Brothers--andthat’s our song. I recognize it as the MillsBros. recording.He’s probably Horace C. Gerlach (see Me andthe Blues), but am leaving him here as Horacefor now.ASM, 1949, Beacon Music. Horace G., noinitial.Daintiness Rag (James P. Johnson)Paris Washboard 1308Rec. 7/43, says the Chrono Classics reissue,which--tellingly--says composer unknown.Looks like he recorded it on piano roll muchearlyier, poss. 1917. Red Hot Jazz Archivesays he also recorded it 6/5/47 on Circle 3005,credits Johnson as composer for that and the1943 recording. Tichenor-Jasen says notcopyrighted or published, first rec. on pianoroll Universal 203107, credits Johnson. Says1947 recording is on Blue Star 198. Linernotes to Folkways James P. LP say composed1916. And finally: the Universal piano rolllabel does indeed credit Johnson as bothplayer and composer.Dallas Blues (Hart A. Wand–Lloyd Garrett)Three Deuces 1185Down Home JB 1190New Orleans Classic Jazz Orch 1223Down Home JB 1273Yerba Buena Stompers 1418Here’s the story, from ASM collection andconfirmed by Wikipedia: Hart A. Wandpublished “Dallas Blues” in 1912 as WandPublishing, Oklahoma City. No lyrics.

Lloyd Garrett added the lyrics six years later(1918, pub. by Frank K. Root). Don’t know ifany of the SOS recordings have the vocal, butI’ve heard it sung many times by jazz bands,so we must keep Garrett in the credits.Dallas Rag (Coley Jones)Bo Grumpus 1388Ventresco says 1927, but nothing in copyrightbooks for 1926-30. Not in Rust. Not in Jasen-Tichenor. Aha, New World Ragtime in RuralAmerica LP says rec. 12/8/28 by Dallas StringBand, Columbia 14290-D, whose mandolinplayer was Coley Jones. But it doesn’t namea composer.NOR does the label on Columbia 14290-D.And in fact, I googled on the title plus ColeyJones and found zillions of hits, all indicatingthat Jones was the star of the Dallas StringBand, and that Dallas Rag was the best tunethey ever did, but nobody, absolutely nobody,suggests that Jones wrote this tune.If Ventresco can’t sing me a hell of a prettysong assigning credit to Jones, I think I’ll haveto drop this credit in favor of unknown. Noteto him couple of weeks ago, follow-up query6/4/13, no response.Does anybody else know about this tune?Dance of the Paper Dolls (JohnnyTucker–Joe Schuster–John Siras*)Levinson’s Trans-Atlantic Saxtette 1430Dance of the paper dolls; words and musicby Johnny Tucker, Joe Schuster and JohnSiras; pf. and ukulele acc. © Sept. 24. 1928;2 c. Sept. 28 E 698802; M. Witmark & sons,New York.(See Siras note at In a Shanty in Old ShantyTown.)Dance of the Witch Hazels(Paul Lingle)Ray Skjelbred 1124Have this on three LPs, two by Lingle, all creditLingle. No way to document it--came out onEuphonic LP pressed from lousy tapes madelive at the Jug Club in 1951. All the recordingscredit Lingle, as does Jasen’s big book, so wemust go with that.Dancers in Love [Stomp forBeginners] (Duke Ellington)Paris Washboard 1347Part of Ellington’s Perfume Suite.Sidebar: My namesake, Dick Two Ton Baker,who was a great friend of Duke Ellington,recorded this on Mercury with the subtitle“(Lancing’s Dance).” I’ve never been able tofigure out where that came from.Dancin’ Dan (Jack Stanley–William Tracey)Paul and His Gang 1329Neville Dickie 1423[Tracy on both CDs.]But beware that we have William Tracey for“Play That Barbershop Chord,” Mammy o’Mine, “Okay, Baby” and “(That’s What I Call)Sweet Music” (although in last case we’re sureit’s Tracey even though it was spelled Tracy onthe sheet music. So what about this WilliamTracy? This is the only place we have him.AHA! MTSU has this, and it’s w. WilliamTracey like the others/m. Stanley (1923, IrvingBerlin). Confirmed elsewhere by finding thecover online.Dancing Fool (Ted Snyder–Harry B. Smith–Francis Wheeler)Bob Schulz & His Frisco JB 1349ASM, 1922, Waterson, Berlin & Snyder; w.Smith-Wheeler/m. Snyder.Dancing Tambourine (W. C. Polla–Phil Ponce)Frederick Hodges 1333Rec. (says Rust) Rube Bloom 9/9/27, OKeh40901, Parlophone R-3446.A bit of a conundrum. Frederick’s notes say,. . . an iconoclastic masterpiece that, whennew, attracted such pianistic talents asPauline Alpert (Victor 21251 and Duo-Artpiano roll 713430) and Rube Bloom (Okeh40901). Continued enthusiasm for the piecewas ensured with its publication as a songwith words by Phil Ponce. It was alsorecorded in orchestral transcription by suchdance as Paul Whiteman (Victor 20972) andSam Lanin (OKeh 40874).There are no fewer than four different entriesfor this song in the 1927 copyright book.Below, I’ve interspersed them with what I canfigure out about the various recordings.Dancing tambourine; by W. C. Polla; orch.4to. Aug. York. 5; © Aug. 4, 1927: 2 c. E672617; W. C. Polla, New York.Dancing tambourine: words by Phil Ponce,music by W. C. Polla; pf. and ukulele acc. 2c. Sept. 23; © Sept. 21, 1927; E 674173;Harms, inc., New York.9/22/27, Paul Whiteman, Victor 20972--aha,while Victor Project said only Polla, the labelsays Ponce-Polla, although there’s no vocal.Dancing tambourine; by W. C. Polla pf. ©Sept. 23, 1927; 2 c. Sept. 26; E 674323;Harms, inc., New York.11/3/27, Pauline Alpert, Victor 21252,composer Polla.Dancing tambourine; fox-trot, by W. C. Polla,arr. by Max Irwin, of Great Britain ; militaryband, with solo clarinet in B flat, conductor.London, Chappell & co., ltd. 4to. © Jan. 16,1928; 1 c. Feb. 8; E 684702; Harms, inc.,New York.8/8/27, Marimba Centro-Americana, Victor81560, composer Polla.8/18/27, Sam Lanin, OKeh 40874, credit Polla,says Online 78.9/1/27, Rube Bloom, Okeh 40901, credit Polla-Ponce, says Online 78. (couldn’t find label)Finally, as Hodges suggests, the sheet musicwas published by Harms in 1927 with thelyrics by Phil Ponce.I think we must include Phil Ponce as anoriginal contributor.Dancing the Devil Away (OttoHarbach–Bert Kalmar–Harry Ruby)Frederick Hodges 1333Rec. Don Voorhees and his Earl CarrollVanities Orchestra, 4/11/27, Columbia 954-D.Says Frederick, “introduced on 22 March 27 atthe New Amsterdam Theatre by Mary Eaton inthe Broadway show Lucky. . . . Later in the1930 Radio picture The Cuckoos, starringWheeler and Woolsey.”Yep, 3/25/27 copyright confirms w & m allthree.Dancing the Jelly Roll(Herman Paley–Nat Vincent)Down Home JB 1316ASM, 1915, Jerome Remick; m. HP/w. NV.Dancing with Tears in My Eyes(Al Dubin–Joe Burke)Barbara Rosene 1368Two consecutive copyright entries:Dancing with tears in my eyes; by JoeBurke, arr. by Geo. J. Trinkaus; vocal orch.pts. 4to. © Apr. 18, 1930; 2 c. Apr. 19; Epub. 14942; M. Witmark & sons, New York.Dancing with tears in my eyes; lyric by AlDubin, music, by Joe Burke; pf. and ukuleleacc. © Apr. 23, 1930; 2 c. Apr. 24; E pub.15034; M. Witmark & sons, New York.Dans les jungles du Poitou [Tiny’sIdeas] (Jean-Pierre Morel, based onBack to the Jungle by Tiny Parham))Le Petit Jazzband 1403This went on the CD as by Parham-Morel, butobviously Parham (who died in 1943) didn’tcollaborate with a modern Frenchman on anew tune. Morel says in notes that "the firstminor theme and the modulation are stronglyinspired by “Back to the Jungle” [1930] (withslightly different melody and harmonies), but

the second 32-bar theme is my own, althoughinspired by Parham’s moods." Morel startedout calling it “Tiny’s Moods,” but later beganusing a comical French title that harkens backto Tiny’s title for the original tune.We must do here what we did at “Don’t YouLeave Me Here,” “New Orleans Hula,” and“Blue Bells Goodbye.”Dans les rues d’Antibes(Sidney Bechet)Zenith Hot Stompers 1191Appears to date from Paris, January 1952,recorded for Vogue. Did find a Vogue 45 labelcrediting Bechet.Dapper Dan (Albert Von Tilzer–Lew Brown)Jimmy Mazzy & Eli Newberger 1109Steve Waddell’s Creole Bells 1173Steve Waddell’s Creole Bells 1348Interesting--Found two versions of sheetmusic. First cover isDAPPER DANFROM DEAR OLD DIXIE LANDNext one, presumably published later, hasblurb “featured with terrific success by EddieCantor in The Midnight Rounders.” It’s coverhas different drawing and titleTHE LADIES MANDAPPER-DANFROM DIXIE LANDBut the copyright page is clear: Dapper Dan,w. Brown/m. Von Tilzer, Broadway MusicCorp., 1921Dark Eyes (Ambrosio Salama–E. P. Grebenka)M ’N’ M Trio 1319

Confirmed by 8/1/25 copyright reg.Darktown Strutters’ Ball, The(Shelton Brooks)John Gill’s Original Sunset Five 1094Southern Stompers (France) 1215Gauthé–Marquet Clarinet Serenadrs 1216Chris Tyle’s NO Rover Boys 1235Bob Schulz & His Frisco JB 1315Paris Washboard 1338Southern Stompers 1414Levinson’s Trans-Atlantic Saxtette 1430ASM, 1917, Will Rossiter.Darling Nelly Gray (BenjaminRussell Hanby)Imperial Serenaders 1351Canary Cottage Dance Orchestra 1415

’Deed I Do (Walter Hirsch–Fred Rose)Keith Nichols Cotton Club Orchestra 1234Baker–Baldwin Radiogram Wshbrds 1243Paris Washboard 1338Barbara Rosene 1368ASM, 1926, Ted Browne.Deep Creek (Jelly Roll Morton)Hall Brothers JB 1062Keith Nichols Red Hot Syncopators 1135Pam Pameijer’s New Jazz Wizards 1318Les Rois du Fox-Trot 1436Rec. 12/6/28, Victor V-38055, 40-0119;Bluebird B-5333 et al.Deep creek: melody by Jelly Roll Morton[pseud, of Ferd Morton] © 1 c. Dec. 17,1930; E unp. 32288 Southern music pub.co., inc.. New York.Deep Harlem (Matty Malneck–Irving Mills–Frank Signorelli)Back Bay Ramblers 1279Rec.Irving Mills Hotsy Totsy Gang (with Bix!),6/6/30, Brunswick 4883, 02821, A-500091.Frankie Trumbauer aho, 5/10/30, OKeh 41431,Clarion 5461-C, Harmony 1415-H.Not in copyright books 1929-32. Red Hot JazzArchives agrees for Mills/Brunswick, as doesthe online Bix Discography(bixbeiderbecke.com/bixdisco/bixdisco1930.doc)Mills Brunswick A-500091 (France) label saysMills-Lignorelli-Melnick, and LC SONIC sayssame for Brunswick 4883. Trumbauer OKeh41431 says Malneck-Signorelli-Condon, whichis echoed on Red Hot Jazz Archive; LC SONICconfirms same three for Parlophone R-1946issue of it.This is tough: no copyright entry, tworecordings made at essentially the same time,so which is rigtht? Malneck-Signorelli-Mills orMalneck-Signorelli-Condon?Deep Henderson (Fred Rose)Charquet & Co 1053Orpheon Celesta 1083Keith Nichols Red Hot Syncopators 1135Henry’s Bootblacks 1149Chris Tyle’s Silver Leaf JB 1311Black Eagle JB 1356John Gill’s Jazz Kings 1401Les Rois du Fox-Trot 1434ASM, 1926, Ted Browne.Deep Hollow (Mickey Guy–Ken Macomber)Red Rose Ragtime Band 1412Rec. Joe Candullo aho, 7/16/28, Banner 7192,Challenge 535 (as St. Louis and His Blues),Oriole 1313 (as Dixie Jazz Band). GardenDancing Palace Orch, 6/29/28 (Spokane),Columbia 1501-D.Deep Hollow; by Mickey Guy and KenMacomber, arr. by K. Macomber; orch. 4to.© Jan. 24, 1928; 2 c. Jan. 25; E 681688;Alfred & co., New York.Deep in the Ozarks (A MissouriOzark Blues) (Trebor Tichenor)Trebor Tichenor 1282Deep in Thought Blues (Keith Nichols)Keith Nichols 1159Deep Night (Rudy Vallée–Charlie Henderson)Frederick Hodges 1333Barbara Rosene 1368Rec. Goofus Five, 2/28/29, OKeh 41220,Parlophone R-380, Odeon 165765. Calif.Ramblers, 4/26/29, Harmony 906-H. Andmany more.Deep night; lyrics by Rudy Vallée, music byCharlie Henderson; pf. acc. with ukulele arr.by Dan Dougherty © Feb. 15, 1929 : 2 c.Feb. 16; 3572 : Ager, Yellen & Bornstein,inc., New York.Deep Trouble (Fred Rose)Hot Antic JB 1058Dry Throat Five 1114Les Red Hot Reedwarmers 1416

Waldo’s Ragtime Orchestra 10691069 had Herbert. Copyright isDeuces wild rag; by Hubert Bauersachs [ofU.S.]; piano. 21700 © Oct. 19, 1922; 2 c.Oct. 23; E 547433; H. L. Bauersachs & co.,St. Louis.Oops! Herbert or Hubert?Then found the sheet music: definitelyHubert, pub. H. T. Bauersachs & Co., 1922.Dicty Glide, The (Duke Ellington)Back Bay Ramblers 1355Hmm. The copyright isDicty glide; by Duke Ellington; pf. © May 16,1929; 2 c. May 29; E pub. 6366; Gothammusic service, inc., New York.But all the original Victor and Bluebird labelsuse The Dicty Glide.Did You Ever See a Dream Walking?(Mack Gordon–Harry Revel)John Gill Sentimental Serenaders 1424Copyright isDid you ever see a dream walking; fromSitting pretty, w Mack Gordon, m HarryRevel; with ukulele arr. © Nov. 23, 1933; Epub. 38947; Paramount productions, inc.Sung by Ginger Rogers in the film. Music fromfilm was published by De Sylva, Brown &Henderson, and there’s no ? on that cover, butI have sheet music (reset, not reproduced)that has the ? on the copyright page. Variousonline sources split between ? and no ? so Isuspect that the ? is indeed on the copyrightpage. And I did find two Brit. releases of thesheet music (Chappell) with ? on the covertoo.Diga Diga Doo (Jimmy McHugh–Dorothy Fields)Roaring Seven JB 1019Red Roseland Cornpickers 1153

Rec. Moten 6/12/27, Victor 21199--and thatlabel does indeed have a hyphen and a Statonas co-composer—in fact, his name is listed infront of Moten! But the very detailed VictorProject seems to be in the same boat we are:“Unverified composer information: Staton;Moten. Composer information source: Disclabel.”Seems to me that the hyphen is optional, andnormally I’d say we’re obligated to include acocomposer listed on the original recording,but (a) we don’t know who Staton is and (b)we do have the copyright entry without him tofall back on. Also, there’s this telling note fromDave Robinson: “none of my four books onKansas City jazz mentions a Staton.”Dip Your Brush in the Sunshine(and Keep On Painting Away)(J. C. Johnson–Andy Razaf)Jimmy Mazzy & Eli Newberger CD 1109Paramount JB of Boston 1340Rec. Ted Lewis 4/13/31 as “Dip Your Brush inthe Sunshine (and Keep On Painting Away),”Columbia 2467-D, 38843; Decatur 504.Snooks and His Memphis Ramblers/Stompers,5/21/31, Victor 22720. Confirmed subtitle onLewis Columbia 2467-D--AND on MemphisRambler Victor 22720.Aha, copyright agrees with Lewis:Dip your brush in the sunshine, and keep onpainting away; fox-trot, words by AndyRazaf, music by J. C. Johnson. © May 11,1931; 2 c. May 12; E pub. 22938; Joe Davis,inc., New York.Dipper Mouth Blues (Joe Oliver)(see also Sugar Foot Stomp)Peruna Jazzmen 1003Hal Smith’s Creole Sunshine Orch 1078Chicago Rhythm 1164Golden Eagle JB 1192Chris Tyle’s NO Rover Boys 1235Chris Tyle’s Silver Leaf JB 1298Neville Dickie 1309Yerba Buena Stompers 1381

pf. acc., with ukulele arr. by M. Kalua. © May25, 1928; 2 c. June 5; E 693121; Jack Mills,inc., New York.Dixie Blossoms (Percy Wenrich)Dave Dallwitz Ragtime Ensemble 1098Confirmed by my 1906 sheet music.Dixie Cinderella (Fats Waller–Andy Razaf–Harry Brooks)Grosz–Ingham Paswonky Serenadrs 1214Down Home JB 1273Neville Dickie 1397Dixie Cinderella; from Connie's hotchocolates, lyric by Andy Razaf, music byThomas Waller and Harry Brooks; pf. acc.,with ukulele arr. by M. Kalua. © July 2, 1929;2 c. July 24; E pub. 7893; Mills music, inc.,New York.Dixie Lee (Alex Hill)Les Red Hot Reedwarmers 1435Rec. Chick Bullock, 12/19/33, Banner 32936,Melotone M-12879 et al. Casa Loma,12/16/33, Brunswick 6726, 01704, 4881.Jimmie Noone 12/15/33, Vocalion 2620,Decca F-3904 et al.Confirmed by 11/4/33 unpub. copyright reg.Dixie Queen (Robert Hoffman)Elite Syncopators 1286Sheet in Trebor’s Ragtime Rediscoveries hassubtitle on cover, but not cy page.9/3: Trebor reports that 1st edition, 1906, hadjust Dixie Queen on cover; 2nd ed., 1907,added "A Southern Ragtime" on cover--butsame plate used for inside on both.Dixieland Doin’s (Tiny Parham)Jungle Crawlers 1084Rec. Parham 12/3/29, Victor V-38111, 1AC-0126; Creole 14. Victor Project confirms, asdoes Victor label, and 3/5/30 copyright entry.Dixieland Jass Band One-Step[Original Dixieland One-Step](Nick LaRocca–Joe Jordan)Louisiana Repertory Jazz Ensemble 1140Down Home JB 1217Yerba Buena Stompers 1375Dixieland Jazz (Clarence Williams)Swedish Jazz Kings 1188Oops, not in Rust. Says Ray Smith:“Dixieland Jazz” brings us to 1955 andClarence Williams’s last composition, writtenshortly before he passed away. The tunewas never recorded.But it was copyrighted:DIXIELAND JAZZ; w ; m & (c) ClarenceWilliams Sr. 27Oct55 EU 414425.Dizzy Dan (Harold McKnight)Les Rois du Fox-Trot 1436Leader Morel wrote this to go with an onlinevideo of the band playing this tune:DIZZY DAN is a not well-known tunecomposed by a certain H. McKnight andrecorded by the French orchestra of Leo Pollin 1930. I heard this tune for the first time atthe Whitley Bay Jazz Festival 2010. It wasplayed by the wonderful band of KeithNichols & the Blue Devils. Keith offered usvery kindly the arrangement that he hadtranscribed from the Leo Poll recording.I found several refs to the Leo Poll et sonorchestre recording from June 1930, but nonethat mentioned a composer credit. I guess wejust have to trust Nichols--but he’s prettytrustworthy. And his response to my inquiry:I don't have much information. HaroldMcKnight was an American living in France.(Paris?) The chart's construction sounds likeit may have been a printed 10 pieceorchestration. Just my guess.Dizzy Fingers (Zez Confrey)Tony Caramia 1209Tony Caramia 1328Confirmed 11/17/23 copyright.Do De O Do (Stanley J. Damerell–Robert Hargreaves–George Formby)Jimmy Mazzy & Eli Newberger CD 1109Not in Rust. “Sendup of British Vaudeville,”says Newberger. Aha, my own very welldocumented George Formby CD on Flappersays rec. by Formby 7/1/32, Decca F 3079with Nat Gonella, tp; composers Damerell-Hargreaves-Formby. Oddly, my NaxosNostalgia record credits only Formby and sayswith Jack Hylton Orchestra. And there’s areason, according to the George Formby website at www.georgeformby.org: It was donewith the Hylton band, but Hylton but the songswere dodgy—the A side was “Chinese[Laundry] Blues,” and Hylton feared it woulddamage his reputation. And the Formby siteeven has the original recording session sheeton display, confirming the performers, but bylast name only. Confirmed our first nameselsewhere.Do I Know What I’m Doing While I’min Love (Leo Robin–Sam Coslow–Richard A. Whiting)Waldo’s Jazz Entertainers 1377CD had “Do I Know What I’m Doing?”Rec. Reuben Reeves, 9/12/29, Vocalion15839; Ethel Waters, 6/7/29, Columbia 1905-D, 5690.Columbia 1905-D label hasDO I KNOW WHAT I’M DOING(Robin, Coslow and Whiting)From Moran and Mack’s Talking Picture“Why Bring That Up”ETHEL WATERSCopyrights, all in 1929:Do I know what I am doing? words andmusic by Bert Kalmar and Harry Ruby.[Words and melody only] © 1 c. June 11,1929; E unp. 7789; De Sylva, Brown &Henderson, inc., New York.But laterDo I know what I'm doing? words and musicby Bert Kalmer [sic] and Harry Ruby. © July5, 1929; 2 c. July 6 E pub. 7415; De Sylva,Brown & Henderson, inc., New YorkAND thenDo I know what I'm doing; words by JackYellon [sic], music by Milton Ager.[Photostat] © 1 c. July 23, 1929; E unp.9132; Metro-Goldwyn-Mayer corp., CulverCity, Calif.AND FINALLYDo I know what I'm doing while I'm in love;from Why bring that up, words and music byLeo Robin, Sam Coslow and Richard A.Whiting; pf. and ukulele acc. (c) Aug. 28,1929; 2 c. Aug. 30; E pub. 8865; Famousmusic corp., New York.

Why Bring That Up? Internet Movie Data Basesays title is “Do I Know What I’m Doing WhileI’m in Love” (no ?, same as copyright andlabel.)Amazingly, I couldn’t find this title (or any of itssisters above) in all the big online musicdatabases. So we have both the copyrightand the source movie credit agreeing on theextended title without a question mark. TheWaters 78 record had no extended title(perhaps because that label was so bloodycrowded with other info), and it too agreed onno question mark.Do It Baby (Clarence Williams) (seealso The Shim Sham Shimmy Dance)Helm–Leigh Jazz & Blues Review 1331[Before 12/13, the two titles were combined.]1186 Rusty Taylor was “Shim Sham Shimmy(Dance),” Spencer Williams-Andy Razaf; 1325Des Plantes & 1366 Dickie were ”Shim ShamShimmy Dance,” Clarence Williams-AR; 1331Helm-Leigh was “Do It, Baby,” CW-AR.Looks like I switched from Spencer toClarence without making any special note of it.(And note that there’s also a Shim ShamShimmy by J. Russel Robinson/FrankGoodman-Frank Montgomery, 1933; but it’sdefinitely a different tune.)1/15/01, later updated in 2013 review, basedon sheet music found in Cl. Williams files inMRR and the various recordings.In 1928 Williams copyrighted it with just leadsheet and lyrics, which repeatedly exhortedthe gal to “Do it, baby”; no mention of words“shim sham shimmy.” (The typed lyric sheet,by the way, says “By Clarence Williams,” nomentioned of Andy Razaf.)The copyright as entered in the booksconfirms this:Do it baby; words and music by C. Williams.[Words and melody only] © 1 c. Aug. 18,1928; E 699078; Clarence Williams musicpub. co., inc., New York.He recorded it for Columbia twice under thistitle in Nov-Dec 1928, as CW’s Jazz Kings, butboth takes were rejected. But the recording ofit by Katherine Henderson, backed by CWaho, in November 1928 was released on QRSR-7041 and Paramount 12840. Neither labelhad composer credits. She sings the verse,then the first chorus twice. (2nd chorus isignored.)Note that neither the handwritten lead sheet,nor the copyright reg., nor either of the K.Henderson labels has a comma in the title.Rust made that part up.Then, in 1933, Williams published it as TheShim Sham Shimmy Dance (note the The),m/Spencer Williams, w/Andy Razaf. The lyricis identical, except in every place but two.Main difference is that the exhortation to “Do itbaby” is replaced with the phrase “shim shamshimmy” (same syllabic pattern). Also minorchanges in last two lines of chorus.Copyright in books for this version isShim (The) sham shimmy dance; w AndyRazaf, m Clarence Williams; with ukulele arr.© July 1, 1933; E pub. 37176; ClarenceWilliams music pub. co., inc.He recorded it as CW Jug Band, with EvaTaylor on vocal, 8/7/33. Again, the Columbia2806-D label agrees: “The Shim ShamShimmy Dance,” by Williams-Razaf. Taylorsings just the chorus, which now has “shimsham shimmy” instead of “do it baby.”What do we have? Rusty Taylor and Ted desPlantes sing Shim Sham Shimmy, but CarolLeigh sings Do It Baby! Neville Dickie, wisely,doesn’t sing anything.This is a hell of a difficult pick. Same melodyand just a few words difference in lyrics. BUTthree of those changed words provide thetitles of the two versions. Moreover, they werecopyrighted separately, with differentcomposer credits), and they were recorded atthe time under both versions. As alike as theyare, we must treat them as different songs.Do Me a Favor (Jack Lawrence–Peter Tinturin)Neville Dickie 1397Do me a favor ; w Jack Lawrence, m PeterTinturin, pf. arr. R. H. Noeltner; with ukulelearr. 1934; E pub. 41094; © Mar. 12, Keitmusic corp.Do Something (Bud Green–Sam H. Stept)Dry Throat Fellows 1226Kustbandet 1294San Francisco Starlight Orchestra 1296Paramount JB of Boston 1340Blanche Calloway, 4/4/29, Edison 52570,14024.McKinney’s Cotton Pickers, 4/9/29, Victor V-38051.Sam Lanin aho, 4/26/29, Cameo 9158*;Lincoln 3185*; Pathe Aktuelle 36990**;Perfect 15171**; Romeo 960*; Banner 6388;Domino 4337; Regal 8783 (*as BroadwayBroadcasters; **as Tuxedo Dance Orch)The Sunshine Boys, 5/6/29, Columbia 1834-D,5524.Carolina Club orch, 7/1/29, OKeh 41277;Odeon A-189261, A-189263.Plus several Brit. recordings.Copyright:Do something; from Syncopation, wordsand music by Bud Green and Sam H.Stept.© Mar. 19. 1929; 2 c. Mar. 19; E pub.4355; Green & Stept, inc., New York.Do What Ory Say (Kid Ory)Hal Smith’s Creole Sunshine Orch 1078Delta Stompers 1426So we ended up with Do What Ory Say byOry, Gate Mouth by Lil, Get It Right byTraditional.2013 review: Well, see this:Rec. Kid Ory’s Creole JB in LA August 1945,Crescent 5--and credit on label says C.Williams. Label can be seen and song heardathttp://www.youtube.com/watch?v=b77npOKfUsIThere’s no copyright for “Do What Ory Say” inthe books for 1945-46.But see what Australian researcher Bill Haeslerwrote on the DJML list in 2003:Further to our discussion regarding thesong "Do What Ory Say":Geoff Bull told to me at lunch last Tuesdaythat the tune is in fact “Mama’s Baby Boy,”which was recorded by a Johnny Wiggs/Raymond Burke group.Armed with this information, I was able toestablish that “Mama’s Baby Boy” wascomposed in 1917 by John A St Cyr andArmand J Piron and published by the Pironand Clarence Williams partnership at thetime.[Editor’s note: Actually the copyright entry forthe song has two mm’s:Mamma’s baby boy; a jazz song, words andmusic by John A. St. Cyr, and Armand J.Piron. of U.S., arr. by F. Ahaynon. © May 4,1917; 2 c. May 7, 1917 E 404920; Williams &Piron music pub. co., New Orleans.The sheet music (see note at Mamma’s BabyBoy in this index) confirms all this.According to Rust, Earl Fuller’s band recordedit 2/27/18 for Victor, but it was rejected. TheVictor Project confirms this, and that thecomposers were Piron and St. Cyr.]But is it really the same tune?The Wiggs/Burke side was recorded on 7Oct 1952 by Ray Burke and His New

Orleanians and issued on LP (ParamountCJS 107) which I do not have. My matesPhil O'Rourke or Geoff Holden may have itsomewhere.I then found that it was recorded by TheSwedish Jazz Kings in California in Dec1987 on their first US tour and issued on LP(Stomp Off SOS 1188). Which I do have![This can be heard athttp://dickbaker.org/stompoff/sos1188--mammasbabyboy.mp3]It is indeed the same tune. My dearfriends, the SJKs, are dedicated jazz people,with a great love and knowledge of theclassic jazz era and would have, almostcertainly, taken their version (complete withverse) from the original sheet music. PianistRay Smith implies this in his notes to the LP.Then I thought about the big box of sheetmusic copies DJML angel, Audrey VanDyke, sent to me last year. Didn't this onecontain some early Piron-Williams stuff?And did I recall, or dream, that it includeda St Cyr sheet music item? I rang my matecltist David Ridyard, who is helping mecatalogue this addition to Audrey's earlier'goldmine of music', so that it can be madeavailable to others.Sure enough, it is there! "Mama's BabyBoy". Dave confirmed that he had alreadychecked, and that it is the "Do What OrySay" tune.Of course, it may go back further than1917 and it could be that Johnny St Cyrlearnt it in New Orleans days as a kid, andsimply rearranged it and wrote it down.But it goes back farther yet. In CreoleTrombone: Kid Ory and the Early Years of Jazz,John McCusker describes a band formed byOry and Joe Oliver:Ory’s band was known for its originalmaterial. Ed Garland said that, when hejoined the band in 1910, they were playingmade-up songs from the country. StellaOliver had similar memories. “Ory wouldsing songs he had made up and the restwould then work them out. They wouldwhistle and say songs they made up to eachother” “Ory had a pretty good ear. Tht’swhy Joe liked him so much, Manuel Manettarecalled.While playing a gig in an advertisingwagon, Ory began toying with the riff thatwould become his song “Do What Ory Say.”Oliver’s ears pricked up at the catchy dittyand he began to play along.We were in a big furniture wagon, driftingalong and when we came to a dull section,we weren’t playing every corner, just thehot spots, the hot corners so he said,“Keep playing it, play it again for me,please.” So, he said, “I think I have it.”So, we got on a corner and he said,“Let’s try it. Let’s go.” I stomped off and(King) Oliver kept the melody and thatquick I picked up harmony. Oliver waspretty fast himself, as everyone knows, butthat was a fast hand on the climax, myideas. So we started playing it. We played itonce or twice before we hit Toledano &Franklin where all the crowd was and therewe met Jack Carey’s band.We started to play it and everyone wantedto know what number was it. It was so new,we didn’t know it ourselves. WE didn’t haveno title more than “Do What Ory Say.” Ididn’t have no idea of no title so someonehollered and said, “What’s the number youplayed, Kid?”I said, “Oh, we’re just playing.” KingOliver said, “Do What Ory Say,” and theword started spreading around. . . .[paragraph about song’s dirty lyrics]The melody took on different names overthe years. In 1917 Clarence Williams andArmand Piron published it with the title“Mama’s Baby Boy.” The writing credit wentto Johnny St. Cyr, a former Ory bandmember, and Piron. Ory said Williams stoleit: “Clarence Williams appeared at EconomyHall were we played [Do What Ory Say] andhe wrote it down and he was in thepublishing business and stole an idea andhe changed the title. He came to EconomyHall and had me play it a couple of times anight. I didn’t know what they were up to.They were writing it down and got an ideafor a title.Historian William Russell recorded bandsin the forties that played the same melodywith the title “Pork Chop.” Whatever thename of the song or its origin, its popularityhelped raise the band’s profile.Louis Armstrong remembered “Do WhatOry Say,” though not by name.Kid Ory and Joe Oliver got together andmade one of the hottest jazz bands thatever hit New Orleans. They often played ina tailgate wagon to advertise a ball or otherentertainments. When they foundthemselves on a street corner next toanother band in another wagon, Joe andKid Ory would shoot the works. Theywould give with all that good, mad musicthey had under thjeir belts and the crowdwould go wild. When the other banddecided it was best to cut the competitionand start out for another corner, Kid Oryplayed a littlr tune on his trombone thatmade the crowd go wild again. But thistime they were wildl with laughter. It was acute little tune to celebrate the defeat of theenemy. I thought it screamingly funny and Ithink you would too.Well, where does this all get us? Unless wereject the story in the McCusker bookcompletely, which I see no reason to do, Ory“created” (if not wrote) the tune before 1917,but had it stolen, copyrighted, and publishedby Clarence Williams. Why Williams put St.Cyr & Piron on the copyright and music ascomposers is subject to speculation: perhapsto cover his tracks; perhaps because theyadded the introduction on their version thatwasn’t on the Ory version.It’s troubling, and odd, that when Oryhimself finally recorded it under his originaltitle in 1945, he put Clarence Williams on thelabel as composer, but there’s a possibleperverse logic: Ory felt that it had been stolenby Williams (not Piron & St. Cyr), and as muchas it must have galled him, he may have feltthat he could be in for legal trouble if he didn’tcredit Williams (who was still alive andpublishing in 1945).But wait, there’s more: According to a veryserious historical analysis of Hot Fiverecordings athttp://dippermouth.blogspot.com.au/2012/11/85-years-of-hot-seven-sol-bluesgully.html,talking specifically about “S.O.L. Blues,” wereadI mentioned that the Hot Seven just couldn'tplay a blues all the way through from start tofinish. Case in point: the entire openingsection, which is based on a song that someNew Orleans jazz fans might know as "DoWhat Ory Say" or "South" but really had itsorigins in the Crescent City during cuttingcontests, where it got its original title of "KissMy Fuckin' Ass" (sorry this has been such abawdy post!).But never mind that, it’s here for titillation.So we’ll credit Ory as the composer of “DoWhat Ory Say” on the basis of the above.But now what do we do about “Gate Mouth”and “Get It Right,” also thought to be copiesof/steals from Ory’s tune? To keep all this lineof speculation in one place, I’ll reproduce theentries and notes for those tunes below.First,Gate Mouth (Louis Armstrong)Black Eagle JB 1054New Yankee Rhythm Kings 1067Abi Hübner’s Low Down Wizards 1093Jean-François Bonnel & Friends 1104Lyttelton–Fawkes Troglodytes 1238

Rhodes: "’Get It Right’ = ‘Do What Ory Say’ =‘Gatemouth.’ I think it’s really a New Orleansfolk melody." --2>2013 reassessment:Rec. New Orleans Wanderers, 7/13/26,Columbia 698-D, DB-2860, BF-417, CQ-2239,DZ-789, GN-5086, GNS-5092, M-199, et al.(what the hell?!)Can be heard athttp://dickbaker.org/stompoff/gate_mouth--nowanderers.mp3Copyright entry is:Gate mouth; melody, by L. Armstrong. © 1c. July 19, 1926; E 643154; Louis Armstrong,Chicago.Well, the Columbia 698-D original 78 doesindeed credit Louis Armstrong, but everybodyseems to agree that it’s really Lil. But why?See this posting by John Gill to the DJML in2011:Many years ago while playing a gig inWashington DC, I made several trips to TheLibrary of Congress and turned up manyinteresting”"Classic” jazz lead sheets. Thesewere filed for copyright purposes. I foundmany compositions by Armstrong, Oliver,Ory, Lil Hardin, etc.Anyway, the other day I decided to puttogether a simple lead sheet arrangement ofthe tune “Gate Mouth,” and rememberingthat it was one of the titles I found at theLibrary of Congress I thought I would seehow it compared to the recording done byThe New Orleans Boot Blacks back in July1926 [he must have mean N.O. Wanderers,Ed.]. First of all the lead sheet is in F concertand the recording is in Eb. But the mostinteresting thing is that in the B section thereare an extra 4 bars of breaks that do notappear on the recording. So I thought thatmight be something that would intrest someof you. I intend to use the extra 4 bars on myleadsheet.The composer is listed as Louis Armstrong(his hand writing) and copyrighted Jul 19,1926. The main part of the song is probablyan old New Orleans theme that had beenfloating around as it appears in other placesas “Do What Ory Say” by Kid Ory and“Mama’s Baby Boy” by Johnny St. Cyr. TheSt. Cyr version also sports a different verse.So that’s it. There's always something newto learn.So both the lead sheet submitted with thecopyright registration and the original 78 creditLouis Armstrong, while the copyrightregistration itself credits L. Armstrong. So whyin the world do most recordings credit Lilrather than Louis? Possibly because there areindeed some record labels that credit eitherjust Armstrong or L. Armstrong as composersof tunes that we know Lil wrote, presumably totrade on the more famous name of Louis.Whatever else we do, we change thecomposer here from Lil to Louis (unless ourpanel of experts have more to contribute). Butwe still must resolve whether this is justanother steal from/version of Ory’s “Do WhatOry Say.” And before we do that, let’sconsider “Get It Right.”But we must also ask why Lil/Louis had thegall to steal this melody from their old friendKid Ory. Perhaps they felt that since Oryhadn’t written it down, copyrighted it, orrecorded it, AND that Clarence Williams hadalready stolen it once, it was fair game.Get It Right (traditional)Down Home JB 11992013 revisit:Rec. Henry “Kid” Rena’s JB, 8/21/40, Delta807. The label does indeed say “Traditional”for composer, and there’s no copyright entryin books for 1940-41. Most later bands knowit from the 1946 recording by Lu WattersYBJB, also credited to traditional. The DownHome JB recording can be heard athttp://dickbaker.org/stompoff/sos1199--getitright.mp3Robbie Rhodes notes,Regarding "Get It Right", Kid Rena's JazzBand recording plays only the familiarchorus of "Gate Mouth". I don't hear a verse.What is the source of the verse played bythe Down Home Jazz Band on SOS 1199?It's the same melody heard in the verse ofTurk Murphy's "Little John's Rag" played bySouth Frisco Jazz Band on SOS 1240.And John Gill response:Regarding the verse to "Get It Right", TurkMurphy told me that when the Watters bandstarted playing "Get It Right" it was decidedthat the tune was too short so Turk wrote anoriginal verse for it. A live recording doesexist of the Watters band playing "Get ItRight" with the verse. Turk then took it backand used it for the first strain of his composition"Little John's Rag". During my tenurewith Turk's band we did play "Get It Right"without the verse.And finally,Mamma’s Baby Boy (Johnny St. Cyr–Armand J. Piron)Swedish Jazz Kings 1188< We had Mama’s, and composers St. Cyr,Piron & Clarence Williams. Our source wasLord’s Clarence Williams bookBUT the sheet music shows it as Mamma.ASM, 1917, Williams & Piron; by John A. St.Cyr & Armand J. Piron.This recording can be heard athttp://dickbaker.org/stompoff/sos1188--mammasbabyboy.mp3Robbie Rhodes on Mamma’s Baby Boy:Consider the 1917 song "Mamma's BabyBoy" credited to Johnny St. Cyr and A. J.Piron. As I recall, the words of the chorusare something close toBecause he's Mamma's baby boy____He's his Papa's pride and joy___.Those big, round vowels would be sungby a barrel-chested vaudeville singer withlots of wind power. The version by SwedishJazz Kings suffers from lack of wind forsustained notes.In complete contrast is the "stop time"dance treatment of "Do What Ory Say" -- forbreak dancing!!! Somewhere in between isthe 1926 recording of "Gate Mouth."The verse of "Mamma's Baby Boy" alsohas words, and I feel that most of the creditfor the song belongs to St. Cyr. The songhas a similar feel to St. Cyr's "Messin'Around" (Doc Cook Orch.).The verse of "Get It Right" is quite different,and it seems to be the same as the verse of"Little John's Rag" by Turk Murphy.SO THERE YOU HAVE IT. Four tunes that arevery similar. To me, as a nonmusician, GateMouth and Do What Ory Say sound quitealike. Mamma’s Baby Boy and Get It Righthave different intros, but end up with the sametheme as the previous two.The big question is this: Are they enoughalike that we should call them the same tune,with notes to explain all the title/composercredit/copyright differences?THE ANSWER: A RESOUNDING NO!I sent all the above to John Gill, RobbieRhodes, Bill Haesler, Dave Robinson, and TexWyndham, mainly because I thought the KidOry interview might serve as some sort ofRosetta Stone on the subject, but all thesefolks responded with variations on the samefew themes:(a) many such riffs/melodies/themes werefloating around long before the recording eraand available to be picked up and used. Theyhave no precise owner.(b) In this case, as in most, there arediscernible differences that can be claimed asthe new composer’s contribution.(c) Don’t go down this road or it’ll make younuts and you’ll never finish the index. Thispoint made most strongly by Tex Wyndham,who directed me to his “Common Themes,”

which started out in the West Coast Rag in1994 and ended up as Ch. 40 of his bookTexas Shout: How Dixieland Jazz Works.Robbie dug up this item:GATEMOUTH. AKA and see "Get It Right,""Mamma's Baby Boy," "Pork Chops Rag."Old-Time. USA, Louisiana. Harry Smith(1952) identifies this as a regional Louisianatune known by a variety of titles.and this oneGEORGIA STOMP. Old Time, Breakdown.Composed by African-American fiddler JimBaxter. Harry Smith (Folkways FA2952,1952) says the recording is “structurallyintermediate between the early rural stringband style and the syncopated urban stylethat was perfected about 1880." Interpolatednear the end of the recording is the"Louisiana regional melody" variously called"Gatemouth," "Get it Right," "Mamm's BabyBoy," or "Pork Chops Rag." FolkwaysFA2952, Andrew and Jim Baxter "Anthologyof American Folk Music, vol. Two: SocialMusic" (1952. Orig. rec. 1929, VictorV-38002B).And Robbie draws this conclusion:Therefore I conclude all the songs warranttheir own identities, while acknowledgingthat the chorus of all the songs incorporatethe same street melody or folk melody.And also this from John Gill:I guess that there must have been lots oftunes floating around New Orleans wayback when. "Salty Dog", "Girls Go Crazy","Alabama Bound" just to name a few.Judging from how many versions of "Get ItRight"/"Mamma's Baby Boy"/"Gatemouth" areout there, this must have been one of themost popular. I believe that there was a lot ofborrowing going on, and I think that mosteverybody just accepted it as part of thegame. I doubt if there was much arguingabout ownership until the famous lawsuitbetween Nick LaRocca and Yellow Nunezover ownership of "Livery StableBlues"/"Barnyard Blues". But by then jazzhad broken into the big time and there wasmoney to be made with records, sheetmusic, and piano rolls.You probably all know that SidneyBechet's " Egyptian Fantasy" is lifted in it'sentirety from an Abe Olman compositioncalled "Egyptia" composed I think in 1911.Just recently I came across a military bandarrangement for Olman's "Egyptia" and lobehold there was a part for Soprano Saxsolo. There it was for Sidney and ready toplay! I think the famous "Creole Band"played this number too. Not to be too hardon Bechet because I LOVE his playing, but Ihave a French edition of the sheet music for"Wabash Blues" from the 1950's and guesswho the listed composer is? Sidney Bechet!Now we all know that Sidney didn't write thatone either. So I guess that the borrowing ofothers music has been going on for a longtime.So we let them stay as they are. At somepoint, I must decide whether to leave all foursets of notes here for easy comparison orreturn them to their various places in the book.Do What You Did Last Night(Andy Razaf–J. C. Johnson)Barbara Rosene 1431Rec. Ethel Waters (acc. by James P. Johnson),8/21/28, Columbia 14380-D. Alice Clinton (accby J. C. Johnson), 4/19/28, Gennett 5601,Champion 15510 (as Lillian Rush), Supertone9284.Do what you did last night; words by AndyRazaf, melody by J. C. Johnson. © 1 c. Feb.21, 1928; E 683373; J. C. Johnson, NewYork.Do You Believe in Love at Sight?(Gus Kahn–Ted Fiorito)San Francisco Starlight Orchestra 1334Oops, no ? on copyright:Do you believe in love at sight; lyric by GusKahn, music by Ted Fiorito, arr. by E. Chas.Eggett; with ukulele arr. by May SinghiBreen. (c) Apr. 18, 1931; 2 c. Apr. 21; E pub.22578; Red star music co., inc., New York.Rec. McKinney’s Cotton Pickers 9/8/31, Victor22811. The label did have the ?, so we’ll use ithere.Do You Ever Think of Me?(Earl Burtnett–John Cooper–Harry D. Kerr)Chris Tyle’s Silver Leaf JB 1258Rec.Southern Rag-A-Jazz Band, London, 9/21,Edison Bell Winner 3592.Claude Hopkins, 11/9/34, Decca 353,Brunswick 02120.Red Norvo, 7/9/37, Brunswick 7932, VocalionS-108.Bob Crosby, 2/6/40, Decca 3040, Coral 60056,Brunswick 04310, Odeon 286062.I was sure we’d discover that the 1921 Londonrecording was of a different tune, but here’sthe copyright:Do you ever think of me; fox trot, by Kerr,Cooper, and Burtnett, played by CharleyStraight and Roy Bargy [of U.S.] (Imperialplayer rolls, no. 91282) [Music roll] © Mar.18, 1921; 2 c. Mar. 28, 1921 E 504602;Imperial player roll co., Chicago. [Copyrightis claimed on interpretation.]Wikipedia list of Blue Amberol records showsit on 4246 by Raderman’s Jazz Orchestra (nodate), gives full names of composers as wehave them - w. JC-HDK, m. EB. And has thequestion mark.It’s not in Rust, but Whiteman recorded it forVictor in 1921; that label had Burnett-Kerr, noCooper, and did have the question mark.(Do You Know What It Means toMiss) New Orleans (Louis Alter–Eddie De Lange)Hot Antic JB 1058Paris Washboard 1338Strange: S&P say pub. 1946 (Edwin H. MorrisCo.); no ?; introduced by Billie Holiday, withLouis Armstrong and his band, in New Orleans(film, 1947). But I can’t find a copyright entryfor any year 1945-47. MTSU confirms aboveexactly, including absence of ?No, wait: this must be it:New Orleans: New Orleans [excerpt] Lyricby Eddie De Lange. 10Dec46; Edwin H.Morris & co., inc., New York; EP 10255. Forvoice and piano, with chord symbols.And for what it’s worth, the IN Harmony database says that the title is “New Orleans,”nothing that the first line of the chorus is “Doyou know . . .” The IMDB listing is “‘Do YouKnow What It Means to Miss New Orleans’(also known as ‘New Orleans’).”Aha: Bought the sheet music from MTSU, andboth the cover and copyright are clear:Do You Know What It Means To MissNew OrleansAnd the fact that the first words are really asubtitle is why it makes no sense to have aquestion mark. Also, the fact that HoagyCarmichael had a hit song named “NewOrleans” would push people to use the longertitle for the De Lange-Alter song to distinguishit.Do You Take This Woman for YourLawful Wife? (I Do, I Do)(Andrew B. Sterling–Harry Von Tilzer)Heliotrope Ragtime Orchestra 1427ASM, 1913, Harry Von Tilzer; w. Sterling/m.Von Tilzer.Do Your Duty (Wesley Wilson)Rusty Taylor’s New Jazz Review 1186Rec. Bessie Smith (with Buck and His Band),11/24/33, OKeh 8945; Columbia 37575, DS-538; Parlophone R-1793; Odeon 026927.Lether McGraw, 3/24/39, Decca 7580,Vocalion S-238.Bessie’s OKeh label says Wilson.Looked through years 1932-35, couldn’t find acopyright entry. The Time-Life set on Bessie(booklet by Chris Albertson), says, of theNovember 24, 33, OKeh session, which wasBessie’s last,

At Bessie’s request, all of the compositionsrecorded on the OKeh date were written bythe husband-and-wife vaudeville team ofLeola B. (Coot) Grant and Wesley (Socks)Wilson.Of the three other titles from that session, wehave “Take Me for a Buggy Ride,” credited toGrant-Wilson, and “I’m down in the dumps,”credited to Wilson only.S&P sayWords and music by “Kid” Wesley “Sox”Wilson. Northern Music Corp., 1933, 1962.Introduced by Coot Grant and Sox Wilson.Best-selling record by Bessie Smith(Columbia).Presuming that “1962" to be a date forcopyright renewal or transfer, I looked in thebook for 1962 as well, and . . . BINGO!DO YOUR DUTY; w & m Wesley Wilson. ©Northern Music Corp.; 17Jul62; EPI65810.Dockstader Rag, The (Les Copeland)David Thomas Roberts 1317Confirmed by sheet music, 1912, JeromeRemick.Doctor Blues (Luis Russell–Paul Barbarin)Lyttelton–Fawkes Troglodytes 1238Rec. Russell 12/17/29, OKeh 8766, Vocalion3480.Doctor blues; melody by Paul Barbarin andLuis Russell. © 1 c. Apr. 17, 1930; E unp.20450; Triangle music pub. co., inc., NewYork.Doctor Jazz (Joe Oliver–Walter Melrose)Wally Fawkes & the Rhythm Kings 1060Orpheon Celesta 1095Peruna Jazzmen 1105Keith Nichols Red Hot Syncopators 1135Gauthé–Marquet Clarinet Serenadrs 1216John Gill’s Dixieland Serenaders 1304Neville Dickie 1309Newberger–Mazzy–Thompson 1352Yerba Buena Stompers 1381ASM, 1927, Melrose Bros.; w. WM/m. JO.Does Jesus Care (Kenneth Morris)Creole JB 1051Grand Dominion JB 1408

2. Dolly I Love You w/Dick Long, m/WheelerWadsworth & Victor Arden. 9/30/20, FredFisher Inc. NYWe know that it’s F. Wheeler Wadsworth fromother tunes. [5/12/13: no we don’t: see Bow-Wow] The title on the 2nd copyright card isn’tpunctuated, but the “I Love You” partobviously has to be set off by a comma atleast if not as a subtitle. We really need to seethe sheet music on this. (But alas, it’s not inMRR.)11/9/00: Dave Jasen reports that cover ofsheet music says Dolly I Love You, no parensor punctuation.11/15/00: Aha, Tex sends copyright page.Credits are music by Wheeler Wadsworth andVictor Arden, lyric by Dick Long. Title isrendered asDOLLYI Love Youso I make it Dolly (I Love You).Donegal Bay (Henry Lodge–Jean C. Havez)Ian Whitcomb & Dick Zimmerman 1017Confirmed via online sheet music, JeromeRemick, 1914.Donkey Honk Rag(Stephen Kent Goodman)Pierce College Symphonic Winds 1297Goodman was guest conductor and notewriter, so he should know. 1990.Don’s Blues (Ray Smith, based onBlues Improvisation by Don Ewell)Ray Smith 1162We had Ewell-Smith as co-composers, butthat’s bunk—they did not sit down togetherand work out a tune. What Smith says is “myimprovisations on Don’s ‘Blues Improvisation’from 1957.”Don’t Be Like That (Archie Gottler–Charles Tobias–Maceo Pinkard)Neely’s Royal Society Jazz Orch 1250Andy Stein Blue Five 1390ASM, 1927, Shapiro, Bernstein.Don’t Bring Lulu (Ray Henderson–Billy Rose–Lew Brown)Neely’s Royal Society Jazz Orch 1250Confirmed by sheet music hanging on mywall: w. BR-LB, m. RH.Don’t Fish in My Sea (Ma Rainey–Bessie Smith)Helm–Leigh Jazz & Blues Review 1332Rec. Ma Rainey, 12/26, Paramount 12438,Broadway 5010 (as Lila Patterson), et al.Don't fish in my sea; words by Bessie Smith,melody by Gertrude Rainey. © 1 c. June 21,1928; E 693554; Chicago music pub. co.,inc., Chicago.Don’t Forget 127th Street(Charles Strouse–Lee Adams)Bob Schulz & His Frisco JB 1349Confirmed by 1964 copyright, from SammyDavis Jr. musical Golden Boy, m. CS, w. LA.Don’t Forget to Mess Around WhenYou’re Doing the Charleston(Paul Barbarin–Louis Armstrong)Swedish–American Hot Jazz Collab. 1136M ’N’ M Trio 1319Pam Pameijer’s New Jazz Wizards 1350We had ...when you do the Charleston.8/26, Nancy Wyndham:We have a xerox copy of a handwritten stockarrangement of this tune. The title is writtenwith varied punctuation on different parts,yet it seems clear that (When You’re Doin’That Charleston Dance) is a subtitle. It isshown in parentheses, in smaller print, andbelow the underlined main title in smallerprint.9/5, Baker at LC: Copyright reg. card isunpublished, 3-10-26, Barbarin & Armstrong,as "Don’t forget to mess around when you’redoing the Charleston."Obviously, we really need to let the originalsheet music settle this. Perhaps could askBamberger or Caulfield to dig it out, sincenone of our collectors (oddly) has it.9/10: When Sager requested the sheet frommusic files, they produced the hand-writtensheet submitted for copyright, possibly in PaulBarbarin’s hand. It agreed with the copyrightregistration files and with Shapiro & Pollock,so we must go with itJohn Gill reports copying the same 3/10/26deposit.It would still be nice to look at actual publishedsheet music, but I can’t find any evidence thatit exists.Don’t Give Me No Goose forChristmas, Grandma (Korn Kobblers)Terry Waldo 1002Terry Waldo & Bo Grumpus 1339Hah: This is the only one of 21 songs on myKorn Kobblers CD that doesn’t have acomposer credit. 1948, Columbia 20517(“This is a late 1948 re-issue to the CountryMusic Series of a recording made possibly asearly as 1941” (and there’s no composercredit on the record label either). Also onMontgomery Ward 10083. Looked forcopyright all through the 1940s, found none.Probably some bit of silliness the bandcooked up in the studio, so Waldo’s attributionmakes sense.Don’t Give Me That Jive (Come Onwith the Come On (Fats Waller–Ed Kirkeby)Paris Washboard 1391Rec. Fats Rhythm 12/26/41, Bluebird B-11539,HMV BD-1077.Couldn’t find a copyright anywhere from 1938to 1943, but did find the Bluebird label:DON’T GIVE ME THAT JIVE--Fox Trot(Come On with the Come On)(Ed Kirkeby–“Fats” Waller)“Fats” Waller and his RhythmVocal refrain and pianoby “Fats” WallerAnd the HMV label reads exactly the same.Congratulations, Bob: We’ve found you a newsilly subtitle!Don’t Give Up the Ship(Harry Warren–Al Dubin)Hall Brothers JB 1062Grand Dominion JB 1139

“Don’t Go ’Way Nobody,” a signature tuneof Bolden’s, was published in New Orleansin 1906. We use the original verse andchorus, which is a bit different from the“traditional” version (which seems to bebased on “I’m a Ding Dong Daddy fromDumas”).Donald Marquis, in his In Search of BuddyBolden: First Man of Jazz, also identifies “Don’tGo ’Way Nobody” as a song used by Bolden,and adds this footnote:“Don’t Go Away, Nobody” was written byPercy Cahill and was included in a list ofnew music received by the New OrleansItem from Grunewald’s Music Store,published October 7, 1906, p. 8. The exactdate the song was written and published isnot known.I’ll be darned, here’s the copyright:Don't go way, nobody: words by PercyCahill, music by P. A. G. T. fN , 5 p. Ashtonmusic co., New Orleans, La. C 127703, Aug.20, 1906; 2 c. Sept. 24,1906. [note noapostrophe before way, and comma after it.]AND EUREKA! Found sheet music at theHogan Jazz Archive at Tulane. cover isDON’T GO WAY,NOBODY.But copyright page is simplyDon’t Go Way Nobody.Words by Percy Cahill, Music by P.A.G.T.(On cover P.A.G.T. is written solid, but oncopyright page it’s got spaces between theletters: P. A. G. T., like it was in the copyrightregistration.)Copyright 1906, Ashton Music Co., 143Baronne St., New Orleans, Al.So we lose our apostrophe.For what it’s worth, I queried the folks atTulane to see if they had any ideas aboutP.A.G.T. Guy who got my query bucked it upto Bruce Raeburn, who referred it to LynnAbbott, who wrote, “I'm afraid that the ‘P. A. G.T.’ designation on ‘Don't Go Way Nobody’ istotally cryptic to those of us here at HoganJazz Archive.”Don’t Jazz Me – Rag (I’m Music)(James Scott)Elliott Adams 1198Bob Wright 1239Confirmed by sheet music.Don’t Leave Me, Daddy (J. M. Verges)John Gill’s Novelty Orchestra 1227Barbara Rosene 1431

Red Hot Jazz Archive also says Isham Jones,9/8/30, Brunswick 1003, Don’t Tell Her WhatHappened to Me.Actually, Boswell OKeh label isDON’T TELL HERWhat’s Happened to MeAnd Nat Shilkret on Victor 22526 is even morespecific:DON’T TELL HER--Fox Trot(What’s Happened to Me)Copyright isDon't tell her what's happened to me; wordsand melody by B. G. De Sylva [pseud, ofGeorge Gard De Sylva], Lew Brown and RayHenderson. 1 c. July 31, 1930; E unp.25837; De Sylva, Brown & Henderson inc.,New York.Then laterDon't tell her what's happened to me wordsand music by B. G. De Sylva [pseud, ofGeorge Gard De Sylva], Lew Brown and RayHenderson; pf. acc., with ukulele arr. byJoseph M. Weiss. © Aug. 18, 1930; 2 c.Aug. 19; E pub. 17352; De Sylva, Brown &Henderson, inc., New York.MTSU shows titleDon’t tell her. | What’s Happened to Me,which clearly implies that second phrase issubtitle. 1930, De Sylvia, Brown & Henderson.And has tag “motion picture music.”And thensays, “There are two song titles,” the other is“Never Swat a Fly.” Clearly, this is a pub.done after film was released. Film evidentlywas Dancing Sweeties, although this song isnot mentioned in IMDB article on the film.MTSU has a second copy titledDon’t tell her what’s happened to me, also1930 DB&H, no mention of film.IN Harmon says Title: Don’t Tell Her;Alternative Title: What’s Happened to Me.Clear indication of subtitle.And Templeton actually shows the cover,which isDon’t Tell HerWhat’s happened to meCan’t see copyright page because ofcopyright restriction.But it’s clear now that the correct title is “Don’tTell Her (What’s Happened to Me).”Don’t Think You’ll Be Missed(Fred Rose–Charlie Harrison–Joe Lyons)Scaniazz 1004Rec. Fletcher Henderson, 5/1/23, Paramount20226, Broadway/Puritan/Triangle 11247,Claxtonola 40226 et al. The Virginians,3/2/23,Victor 19039.Victor Project confirms. 1/11/23 copyrightconfirms, w&m all three.Don’t Turn Your Back on Me(Clarence Williams–Andy Razaf)Neville Dickie 13661/15/01: Cy card confirms, but adds thecryptic “sc. by Tim Brymn.” I found it in CWsheet music, which explained “scored by TimBrymn.” Presume that’s the equivalent ofarranged by.But 1/25/01: The CW file in MRR hashandwritten lead sheet for this tune with justCW’s name on it, BUT a typed lyric sheetattached to it says, “Music Clarence Williams,Lyric Andy Razaf.” Dated 11/30/28. Thepublished sheet from 1929 has these samelyrics but no credit for Razaf.2013 revisit: Rec. Sara Martin, 11/28, QRS R-7035. Label has no composer credit.Copyright book search found entry I missed inthe card files long ago:Don't turn your back on me; words by AndyRazaf, music by C. Williams. [Words andmelody only] (c) 1 c. Nov. 30, 1928; E--Unpub. 1736; Clarence Williams music pub.co., inc., New York.Don’t You Leave Me Here [I’mAlabama Bound] (Jelly Roll Morton,based on I’m Alabama Bound byRobert Hoffman)Canal Street JB 1005European Classic JB 1070New Orleans Classic Jazz Orch 1223Barbara Rosene 1431All four credit Jelly Roll Morton.2013 revisit. In fact, I’m going recompile thissection, because when we agonized over itback in the late 1980s, we had some badinformation that colored our thinking.The recording and copyright record:1927: Charlie Johnson’s Paradise Ten, Feb.25, Victor 20653, vcl Monette Moore. TheVictor label does NOT have a composer credit,and the Victor Project archives entry for thisrecording session does not list a composer(they usually do). However, Anderson’s fakebook says it’s w. Freddie Johnson/m. ThomasMorris, and sure enough, in the 1927copyright book we findDon't you leave me here; words by FreddieJohnson, melody by Thomas Morris. © 1 c.July 21, 1927; E 672286; Ralph Peer, NewYork.Johnson recording can be heard athttp://www.redhotjazz.com/cjpo.html, and itsure sounds like the Jelly Roll song to me. Butthe lyrics Moore sings are nothing like theones in the Anderson lead sheet!Laura Smith, 1927, c. Feb. 25, Banner 1977,Domino 3948, Regal 8304. And this getscurious: Tom Morris and Lukie Johnson wereher accompanists. I was going to suggest thatthey entered that copyright for the Laura Smithversion, but while I could find the Laura SmithBanner label, I found several good indicationsthat the credit on it was Morton. BUT I alsofound the Laura Smith recording athttp://www.youtube.com/watch?v=4vISlW7K_Kw, and the lyrics she sings (which aretranscribed there) are much longer and muchdifferent from the Monette Moore or Jelly Rollsongs.1938: Merline Johnson, July 7, Vocalion04331, Conqueror 9079.1938: Jelly Roll, as Alabam a Bound forLibrary of Congress, later issued on Circle 67-68.1939: Jelly Roll’s NO Jazzmen, Sept. 28,Bluebird B-10450; Montgomery Ward M-8404;HMV B-9218. Aha, Jelly’s lyrics are the oneson the Anderson lead sheet.1939: Jelly Roll pno solo, Dec. 16, General4005, Commodore 589.And Jelly Roll copyrighted it twice in 1939:I'm Alabama bound; w & m Jelly Roll [i.e.F.]Morton. © 1 c. Jan. 3, 1939; E unp. 183620;Ferdinand Morton, New York.And thenDon't you leave me here; melody Jelly Roll[i.e. Ferd.] Morton. © 1 c. Sept. 26, 1939; Eunp. 203984; Tempo-music pub. co., NewYork.Liner notes by Butch Thompson say,“ Don’t You Leave Me Here” is his recasting ofa folk tune published by Robert Hoffman as“I’m Alabama Bound” in 1909 [which had nolyrics —DB]. Regardless of authorship(Morton claimed it at the Library ofCongress), this reshaping, complete withthe characteristic Morton “verse” sectionfollowing the first vocal, makes Morton’srecord definitive.And this, from an essay on Blind LemonJefferson:If we analyze the melody of “Elder Green’sin Town”, we immediately realize it is closeto the standard melody of “AlabamaBound.” This could indicate either amore-or-less accurate transcription ofJefferson singing a traditional tune or simplythe fact that the scribe had the standardmelody in mind and imposed it onJefferson’s singing. It appears to be avariant of a New Orleans melody that has

migrated northward up the Mississippi RiverValley and westward to Texas. It first showsup as “I’m Alabama Bound” published inNew Orleans in 1909, credited to a whitetheatre pianist named Robert Hoffman. Thetune can be viewed as a version of an AABblues with the first two lines compressed inlength, but retaining the convention ofstarting each line respectively with asuggestion of the tonic, subdominant, anddominant harmonies (I, IV and V). BlindBoone used the melody also in 1909 as oneof the strains in his “Boone’s Rag Medleyno. 2.” New Orleans pianist Jelly RollMorton claimed to have created the tune inMobile, Alabama, in 1905, but this probablyhas as much accuracy as his claim to haveinvented jazz in 1902. Nevertheless, itsuggests an early acquaintance with thistune by a New Orleans musician. Mortoncalled it “Don’t You Leave Me Here,” and it isa well known tune under this title.Early versions of “Don’t You Leave MeHere,” or, in some cases, entitled moresimply “Don’t Leave Me Here,” wererecorded by Monette Moore (February 25,1927, Victor 20653), Laura Smith (ca. March1927, Banner 1977), Papa Harvey Hull (April3, 1927, Gennett 6106 or Black Patti 8002),Henry Thomas (ca. October 7, 1929,Vocalion 1443), Washboard Sam [RobertBrown] (March 14, 1938, Bluebird B7501),and Merline Johnson (July 7, 1938, Vocalion04331), most of them differing textually fromone another.12/12: Oh, hell, all this surfaced again, and therevisit above prompted, when Erdos found theMorris/Johnson credits on a Charles Andersonlead sheet. [see “Don’t You Leave Me Herenotes.txt” in the Soscat6 directory.] Myargument at this time is that whatever camebefore--folk melodies, Robert’s song, whateverMorris/Johnson did--Jelly Roll gets credit forthe version that the jazz world knows, but we’llgive a “based on” credit like the one at “BlueBells Goodbye.”This will turn out like Do What Ory Say. Themelody, and probably some versions of thelyrics, were lying around in the street forsomebody to pick up. It appears that Hoffmanwas the first to publish the melody, but therewere plenty of others later. Each’s claim is asgood as the other.Doodle Doo Doo (Art Kassel–Mel Stitzel)Bruno’s Salon Band 1251Rec. by nine bands May-Oct 1924 (and that’sjust the jazz bands listed in Rust).Confirmed 5/15/24 copyright.Do-Re-Mi (Richard Rogers–Oscar Hammerstein II)Paris Washboard 1280From 1959 musical Sound of Music.Confirmed 9/25/59 copyright.Dormouse, The (Humphrey Lyttelton)Pam Pameijer’s New Jazz Wizards 1432My Lyttelton Parlophone reissues onCalligraph credit Lyttelton. Rec. 2/28/51,Parlophone R-3398. Guess we’ll have to settlefor that.Double Fudge (Joe Jordan)Elite Syncopators 1358Confirmed by my 1902 sheet music.Double Talk (A Fugue) (Lou Singer,based on themes by JohannSebastian Bach)Red Roseland Cornpickers 1101Well, we can’t imply that Bach wrotesomething called “Double Talk.” How topresent it?Notes: “Again a tune from John Kirby’srepertoire (1937). The music is a swingingadaptation of compositions by JohannSebastian Bach (organ phantasy [sic] andviolin concerto), with a typical baroqueending.”Bach wrote several organ fantasies and quite afew violin concertos, so we daren’t try to getspecific without a helluva trained classicist tofigure out which ones Kirby used.What did Kirby do? My Complete Columbia &Victor reissue of Kirby calls it “Double Talk (AFugue)” and credits it to L. Singer, rec.1/15/41, Columbia 35998 (flip side of “Bounceof the Sugar Plum Fairy”) Found lots of refs tothis recording, none mentioned a composercredit. Couldn’t find label online. BUT theLibrary of Congress detailed index forColumbia 35998 does credit Singer. (no init.),confirms the subtitle.We must presume that “Singer” wascredited on the record and that the reissueproject had some way to know that his firstinitial was L.Aha! This in a note from Bill Haesler oncomposer scholarship in general:As a matter of interest, some years ago wasintrigued by the name 'L Singer' on the JohnKirby records and wondered who he was.Thanks to Warren Vaché snr and his bookThe Unsung Songwriters and the ASCAPBiographical Dictionary (I have the 1952edition) I found that it was Louis [Lou] CSinger. (1912-1966) who wrote "One MeatBall" and "Sleepy Serenade". Apart from"Double Talk"his contribution to the JohnKirby songbook included "Lass With TheDelicate Air", "Night Whispers", "Bugler'sDilemma", "Keep Smilin'", "Blue Fantasy" and"If I Had A Ribbon Bow".Appears that Singer used Lou rather thanLouis C. for professional purposes, so that’swhat we’ll use here.http://www.traditionalmusic.co.uk/music-search/music-songs-composers%20-%200562.htmDown a Little Moonlight Lane(Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Down Among the Sheltering Palms(James Brockman–Abe Olman)Acker Bilk & Ken Colyer 1119Down Home JB 1264Canary Cottage Dance Orchestra 1400Delta Stompers 1426Confirmed by sheet music, w JB, m AO, pub.La Salle, 1914.(When I’m Walkin’ with My Sweetness)Down Among the Sugar-Cane(Charles Tobias–Sidney Clare–Peter De Rose)Back Bay Ramblers 1262ASM, 1929, Irving Berlin; w. Tobias-Clare/m.De Rose.Down and Out Blues (W. EarthmanFarrell–Arthur Sizemore)Charquet & Co 1008ASM, 1925, L. B. Curtis; w. Farrell/m.Sizemore.Down by the Old Mill Stream(Tell Taylor)Aces of Syncopation 1372Confirmed by sheet music, pub. Taylor 1910.Down by the Riverside [Ain’t GonnaStudy War No More] (Paul Barnes)Down Home JB 1199Delta Stompers 1426

Bunk Johnson, Conrad Janis, JimRobinson."How about that!Steve Abrams: I don’t have the Lissauerbook but somewhere else I also got PaulBarnes copyright 1900, so it must have beenoff the sheet music."OK - Paul Barnes--3>--4>2013 review: Well, the original 1900 copyrightisDown by the riverside. Song composed byPaul Barnes. Copyright bv Theo. F. Morse,New York, 'N.Y. 1900, class C, no. 16251,Oct. 31; 2 copies rec'd Oct. 31, 1900.[Was recopyrighted Dec. 31 by Howley,Haviland & Dresser, NY.]Beware that this Paul Barnes frequently getsconfused with the New Orleans reed player ofthe same name, who wasn’t born until 1901.Of our Paul Barnes, the Toledo Blade reportedon June 8, 1922:WAR SONG WRITER DIES BLIND PAUPERThat Paul Barnes, who died in Manhattanstate hospital, Ward’s island, May 8, insane,blind and a pauper, was the author of“Good-bye, Dolly Gray,” the battle chant ofAmerican soldiers and sailors in the waragainst Spain, became known recently.Barnes was the author of many othersongs once popular. Among some 50 are“Josephine, My Joe,” “Down by theRiverside,” “Dreamin’,” “Venetian Moon,”and “Mammy Jenny’s Lullaby.”The last appearance of Paul Barnes was inthe English music halls just at the outbreakof the war. When he and his wife, whoworked with him, returned to Broadway theyfound themselves forgotten and soon,through worry, Barnes became insane.So “Study War No More” is by no means theoriginal or “correct” title; rather, it’s anothercase of a song becoming known by arepeated line in the lyric. But actually, it’salternative title is far more often rendered as“Ain’t Gonna Study War No More,” so that’swhat we’ll use.Down Hearted Blues (Alberta Hunter–Lovie Austin)Mahogany Hall Stompers 1221We had “Downhearted,” but both cover & (c)page say Down Hearted. ASM, 1923, JackMills; w. AH/m. LA.[New] Down Home Blues(Tom Delaney)John Gill’s Original Sunset Five 1126Jacobi’s Bottomland Orchestra 1336Manhattan Ragtime Orchestra 14191126 & 1419 were Down Home Blues byDelaney; 1336 was New Down Home Blues byDelaney.Rec.Ethel Waters, 4-5/21, Black Swan 2010,Paramount 12169. BS label is Tom Delaney,no TheMamie Smith, 8/30/21, OKeh 4446. Credit TomDelaney, no TheAlice Leslie Carter, 9/21, Arto 9103; Bell P-103;Globe 7103; Hy-Tone K-103.Mary Stafford, 9/28/21, Columbia A-3511.Composer credit Albury!Tampa Blue Jazz Band, c. 11/14/21, OKeh4499.Waring’s Pennsylvanians, 3/26/24, Victor19303. (this is a different tune entirely, bysomebody named Morde).Ethel Waters, 7/28/25, Columbia 14093-D.label is Tom Delaney, No TheRec. as New Down Home Blues by Cl.Williams -- see notes on that title below.Copyright:Down (The) home blues; words and musicbv Tom Delaney [of U.S.] © Sept. 24, 1921;2 c. Sept. 26, 1921 E 519500; Albury &Delaney music pub. co., New York.Well, I couldn’t find that any of the labels usedthe definite article The in their titles, but Iguess we can leave it.BEWARE: AM PRETTY SURE THIS IS SAMEAS NEW DOWN HOME BLUES/RAG BYCLARENCE WILLIAMS. IF CONFIRMED,MOVE THEM ALL HERE.8/7/13 Robbie Rhodes confirms my suspicionthat New Down Home Blues/Rag is just the1921 tune played faster.Robbie also notes,"Down Home Blues" by Delany was theinspiration for another great tune, "Last Go'Round Blues", credited to Jimmy Cox (9May 1922) and recorded by Eva Taylor,among several others, copyright byClarence Williams Music Publ. Co., Sept. 25,1922.A piano roll, QRS 2363 (Sept. 1923), wasrecorded by Thomas Waller at the QRSrecording piano, the same machine used byEubie Blake and James P. Johnson. Anannouncement of this roll appears inPRESTO, August 11, 1923.Much credit is due Waller's editor, J.Lawrence Cook, who coaxed all the melodyvariations out of Waller and then spent hoursmaking a cohesive piano roll performance.Needless to say, Cook greatly admiredThomas 'Fats' Waller.WHAT FOLLOWS IS MY ORIGINAL NOTES TONEW DOWN HOME BLUES. Movedeverything here 8/7/13New Down Home Blues (Tom Delaney)Jacobi’s Bottomland Orchestra 1336Rec. Cl. Williams aho, 8/28, QRS R-7005;Broadway 1348; Paramount 12885, 14008*;JC L-32*; XX 12* (*as New Down HomeRag, and XX 12 as by “ComradePajandrasayarthi Chundernagore VyshinskiRam Srinavinegar and His Red Indians”!).No composer credit on QRS label, nor onParamount 14008 “Rag” label, nor XX 12“Rag” label--which I actually found online);nor JC L-32 label).Not in 1928-29 copyright books, althoughmany other Delaney pieces are there. Butwait a minute: Delaney’s “The New DownHome Blues” was copyright in 1921 andrecorded by many people. Is this just arerecording of the 1921 tune with “new”stuck on to refer back to the earlier piece?We had that with [New] Moten Stomp andelected to put all recordings under MotenStomp.I’m sure that’s the case. The “New” tunesby Williams and Jacobi sound to me exactlylike the 1921/25 Waters and John Gillrecordings, just speeded up. Will askRobbie to compare them. [He did—seenote above.]But one last note: It looks like I added the“The” to the title clear back at the 3rd edition;only basis I can see for that in old notes is thatS&P had it. But none of the SOS records hadThe, nor did any of the original recordings, soit probably never should have been there. (Inthe absence of published sheet music, recordlabels outweigh copyright registrations.)(Just Try to Picture Me) Down [Back]Home in Tennessee (WilliamJerome–Walter Donaldson)Heliotrope Ragtime Orchestra 1427

1915; 2 c. July 24, 1915; E 363546;Waterson, Berlin & Snyder co., New York.Another case (we’ve seen ’em before) ofmiscommunication with, or artistic licensetaken by, cover artist. And, for what it’s worth,bandleader Bruce Vermazen called it “DownHome” in his liner notes.But since some people may know it by thecover title, I’ve put the [Back] there to explainit--See Ragtime Nightingale/Nightingale Rag.2013 review: Argh! that “fix” of adding [Back]in brackets is damned ugly, and could be readas “Down Back Home” as the alternativewording. I’ll leave it, must but hold my nose todo so.Down Home Rag (Wilbur Sweatman)Wally Fawkes & the Rhythm Kings 1060John Gill’s Original Sunset Five 1126South Frisco JB 1143Jacques Gauthé’s Creole Rice YBJB 1170Down Home JB 1190Chris Tyle’s NO Rover Boys 1235Bob Schulz & His Frisco JB 1288Hmmm. Dozens of recordings say Sweatman,but two-old Turk Murphy at the Roundtable LPand Six Brown Bros. on New World LP—saySweatman-Brown-Lewis (althrough Six BrownBros. on the well researched Archeophonesays just Sweatman). Where does that comefrom?Then at IN Harmony found the 1911 version,pub. Will Rossiter. By Wilbur C. S. Sweatman,no lyrics. Cover is red with drawing of cottonplant, with faces of black boy and girl on twoof the bolls.AND two copies of the 1913 version, alsopub. Rossiter, which has diffferent cover,drawing of white people at barn dance scene.There’s an inset photo of a performer whorecorded the song on each; one “originallyintroduced by Al Abbott,” the other is“originally introduced by Lee White of LeeWhite and Geo. Perry.” Credits now w. RogerLewis and m. Wilbur C. Sweatman.And aha: First copyright I could find wasDown home rag; words by Roger Lewis,music by Wilbur C. Sweatman. (c) Jan. 8,1913; 2 c. Jan.18, 1913; E 304091; WillRossiter, Chicago.Normally I argue for including the lyricist whenhe was in at the beginning or this close to thebeginning. But Lewis’s words are silly andsappy. I’ve never heard them sung, nor can Iimagine anybody singing them at the tempothat jazz and ragtime bands play this piece.And although the Six Brown Bros. play it at afairly stately tempo that might allow forsinging, there’s no vocal on their recording.We can safely ignore the lyricist on this one.2013 review: A bit of a mystery. Havecombed 1911 & 1912 copyright books, but nosign of this, even though Rossiter published itin that year--as noted, without lyrics, and byWilbur C. S. Sweatman. Then comes the 1913version by Wilbur C. Sweatman & RogerLewis, with lyrics, as shown in the copyright.The recordings: James Reese Europe andLondon Orchestra in 1913; Six Brown Bros. in1915; Wilbur Sweatman and Versatile Four(UK) in 1916. Alll issued after the 1913published song version, but all had onlySweatman on label as composer.Shall continue to rule that the song versionwas an effort to sell more copies that wasn’tborn out in the marketplace.Down in Honky Tonky Town(Chris Smith–Charles R. McCarron)Waldo’s Gutbucket Syncopators 1036Banu Gibson NO Hot Jazz Orch 1073New Orleans Rascals 1074Original Salty Dogs JB 1115South Frisco JB 1143John Gill’s Dixieland Serenaders 1304Heliotrope Ragtime Orchestra 1411ASM, 1916, Broadway Music.Down in Jungle Town (A MonkeyDitty) (Theodore F. Morse–Edward Madden)Down Home JB 1171St. Louis Ragtimers 1267Paris Washboard 1280Bob Schulz & His Frisco JB 1288Grand Dominion JB 1379New Century Ragtime Orchestra 1385Tom Stuip & Delirium Tremolo 1433ASM, 1908, F. B. Haviland; subtitle is on (c)page only, not cover.Down in Our Alley Blues(Duke Ellington–Otto Hardwick)Keith Nichols Cotton Club Orchestra 1320Rec. Ellington 3/22/27, Columbia 1076-D,4562.S&P confirms, as does 8/12/27 copyright reg.Down My Way (Jelly Roll Morton)Back Bay Ramblers 1374Rec. JRM aho 7/12/29, Victor V-38113.Victor Project and label confirm; typical forMorton, not copyrighted 1927-29.Down Where the Rajahs Dwell(Anton Lada–Will E. Skidmore)Dan Levinson’s Roof Garden JB 1380Rec. Louisiana Five, 11/19, Emerson 10116.Down where the rajahs dwell; jazzensation,words and music by Anton Lada and Will E.Skidmore [of U.S.] © Dec. 29, 1919; 2 c.Dec. 30, 1919; E 470037; Leo Feist, inc.,New York.Down Where the Sun Goes Down(Isham Jones–Verne Buck)John Gill’s Calif. Sunshine Boys 1156Smith–Tyle Frisco Syncopators 1211Red Rose Ragtime Band 1412Down where the sun goes down; words andmusic by Isham Jones and Verne Buck.[Words and melody only] © 1 c. June 13,1928; E 694417; Leo Feist, inc., New York.Down Yonder (Tiny Parham)Pam Pameijer’s New Jazz Wizards 1281Rec. Parham 11/4/30, Pirate MPC-505 (EP),which evidently was released in 1966 and wasreviewed in Storyville 5 (June 1966, p. 28).(Audrey has the complete set of Storyvilles,but alas that review doesn’t say anythingabout composers.)Strange--Red Hot Jazz Archive says Victorunissued (and credits Parham)--and in fact,four of the eight tunes made that day wereissued on Victor, so presumably it was indeeda Victor session. Alas, the Victor Projecthasn’t gotten that far, so they can’t help.No Parham in copyright books 1928-32, butperhaps that’s because it wasn’t issued at thetime.I guess we keep our Parham attribution.Seems like he rarely if ever recorded tunes byother composers.1/16/14: But wait. Haesler has been peckingaway at this one. He looked for Parhamcopyrights for every year from 1926 to 1932,confirms that there’s no Down Yondercopyrighted by Parham, but he did findDown yonder; by Hershal Brown, arr. byIrene Spain. [Melody only] © 1 c. May 31,1928; E 601972; Polk C. Brockman, Atlanta.and thenDown yonder; by Hershal Brown. [Melodyonly] © 1 c. June 13, 1929; E unp. 8228;Southern music pub. co., inc., New York.This tune recorded by Hershal Brown & HisWashboard Band Orchestra on Victor 21403on 2/24/28. There is no composer credit onthe Victor label, and oddly, the Victor Projectlisting for this recording doesn’t seem to haveaccess to the actual 78, but it lists thecomposer as L. Wolfe Gilbert based on“Meade.”Obviously, I look for the Brown recording orhis lead sheet for copyright and compare it tothe Parham recording.

See my Down Yonder subdir. for record label.Downright Disgusted [Blues](Terry Shand–Bud Freeman–Wingy Manone)Chicago Rhythm 1164Rec. Manone 9/4/28, Vocalion 15728; again4/26/39 as “Downright Disgusted Blues,”Bluebird B-10296, Montgomery Ward M-8353.Red Hot Jazz Archive has only the 1939Bluebird listed, and it credits all three, with theBlues on the title.The plot thickens:The credit on the original Vocalion is Shand-Freeman (by Joe Mannone and His ClubRoyale Orchestra).The credit on the 1939 Bluebird label isWingy Manone-Terry Shand.But the copyright settles it:Downright disgusted; words and music by J.Mannone, Terry Shand and Bud Freeman.[Words and melody only] © 1 c. Oct. 12,1928; E U.S. unpub. 223; Joe Mannone,New Orleans.We must add the Blues as alternative title,since Wingy himself recorded it that way.Doxy (Sonny Rollins)Minerva JB 1117From Wikipedia:“Doxy” is an early composition by jazzsaxophonist Sonny Rollins. It first appearedon the 1954 Miles Davis album Bags'Groove. . . . When Rollins eventuallyestablished his own record label, he namedit Doxy Records. The chords are from BobCarleton's 16-bar song, “Ja-Da.”Dream, The [Dream Rag](Jesse Pickett)Dave Dallwitz Ragtime Ensemble 1098Frank French & Scott Kirby 1306

Woode on two other titles. So obviously, hisname was fluid, but he was definitely HenryWoode on that other title in this book, so wemight as well make him Henry Woode here.Dreaming the Hours Away(Will E. Dulmage–Stanton Ferguson)Black Eagle JB 1065Hot Antic JB 1099South Frisco JB 1103South Frisco JB CD 1143One More Time JB 1410Rec. Andy Pendleton, 6/26/28, OKeh 8625;Clarence Williams 1/12/28, Columbia 14287-D.Dreaming the hours away; words and musicby Will E. Dulmage and Stanton Ferguson;pf. acc., with ukulele arr. by Ben Garrison. ©Dec. 20, 1926; 2 c. Mar. 7, 1927; E 660693;Clarence Williams music pub. co., inc.. NewYork.Dreamland Blues (Part 1) (Troy Floyd)Keith Nichols Dreamland Syncoptrs 1150Dreamland Blues (Part 2) (Troy Floyd)Keith Nichols Dreamland Syncoptrs 1150Rec. Troy Floyd & His Shadowland Orch,6/21/29, OKeh 8719. Couldn’t find copyright1928-30, but the OKeh label credits Floyd.Dreamy Autumn Waltz (Edward Poplin–Louise Woods?)Bo Grumpus 13881928, says CD. Not a good sign--not incopyright books 1927-30, not in Rust, not inthe big sheet music databases.Ah, but here it is in Victor Project archives:Rec. by Poplin-Woods Tennessee String Band10/4/28, Victor V-40080. Band consisted of EdPoplin (vln), Louise Woods (pno), Jack Woods(mndln), Francis Woods (gtr). No composer islisted in Victor entry, so I’ll bet dollars todoughnuts that Ventresco assumed thebandleaders were the composers (I’ve foundhim doing that on other titles).The band made eight sides for Victor that day,and the Victor ledgers definitely call them“Poplin-Woods Tennessee String Band.” Ofthe eight sides, only three show composercredits in the Victor Project listings: Pray forthe Lights to Go Out (Will E. Skidmore), AreYou from Dixie? (Yellen & Cobb), and RobertE. Lee (Luis F. Muir).Found the Victor label; as I suspected, nocomposer credits.But aha, a clue. The label on Victor isDREAMY AUTUMN WALTZPoplin-WoodsTennessee String BandBut Victor Project says also released onCanadian Aurora 222 with performer credit ofjust Tennessee String Band. And when welook at that label, we findDreamy Autumn WaltzPoplin-WoodsTennessee String BandIn the case of both those labels, and especiallythe Aurora 222 one, it would be easy forsomebody reading the label to decide thatPoplin-Woods was the composer credit andTennessee String Band the name of thegroup, but that’s clearly (from the VictorProject listings) NOT the case. I’ll bet anythingthat this is what Ventresco (or somebody) did.But even if you did have independentconfirmation that the composer credit shouldbe Poplin-Woods, your still stuck with the factthat there were three people named Woods inthat band. Piano player Louise is probably agood guess as co-composer, but still just aguess. There’s no Poplin at all or any of thoseWoodses in copyright books 1927-31, so nohelp there. This would appear to be anothercandidate for a questionable composer credit:Poplin-Woods(?) Or even unknown, or theentire band as composer.Drop Me Off at [in] Harlem(Duke Ellington–Nick Kenny)Charleston Chasers 1287Paris Washboard 13471287 was at, 1347 was in.2013 recheck: Well, I must have been ontosomething: Rust calls it “Drop Me Off at/inHarlem.” And indeed, the original Ellingtonrecording 2/17/33, Brunswick 6528. was at.The Mills Blue Rhythm Band seems to haverecorded it for Victor in December of that yearas in, but the take was rejected, not released.And here’s our answer, the copyright entry:Drop me off in Harlem ; w Nick Kenny, mDuke Ellington; with ukulele arr. © Dec. 5,1933; E pub. 39494; Mills music, inc.So Ellington copyrighted it as in and recordedit as at. We shall let the “published” versiontake precedence, but indicate that the other isa legitimate alternative title.Drop That Sack (Louis Armstrong–Philmore Holley)New Yankee Rhythm Kings 1015Hot Dogs /Victoria Varekamp 1033Jazz Classics 1061Peruna Jazzmen 1105Ray Skjelbred 1124South Frisco JB 1240Down Home JB 12641015, 1105, 1124=Armstrong; 1033=Armstrong-Holly; 1061, 1240, 1264=Armstrong-Hardin.2013 revisit: Rec. Lill’s Hot Shots, 4/20/26,Vocalion 1037; Oriole 1009, Brunswick80060 (as Louis Armstrong with Lill’s HotShots), 02502, A-184, A-500319; Decca BM-30356.The record label record:Vocalion 1037=ArmstrongBrunswick 80060 LC ONLINE saysArmstrong-Holley, but Online 78 says LouisArmstrong-Philmor HolleyBrunswick 02502 = Armstrong.Brunswick A-500319=ArmstrongEvidently also a Brunswick BL-58004 thatcredited Armstrong-Holley.The copyright record...was confusing. Turnsout that it had been copyrighted back in 1923:Drop that sack; melody L. A. and P. H., ofU.S., arr. Lillian Hardin, of U.S. © 1 c. Dec. 8,1923; E 577784; Louis Armstrong andPhilmore Holley, Chicago.And later John Gill reported finding the“12/2/?” copyright deposit (evidently date notclear from handwriting), showing LouisArmstrong and Philmore Holley.Dropping Shucks (Lil Hardin)Peruna Jazzmen 1003Tomas Örnberg’s Blue Five 1043Evergreen Classic JB 1202Pam Pameijer’s New Jazz Wizards 1350Rec Louis Armstrong Hot 5 6/16/26, OKeh8357.Copyright:Dropping shucks; melody by L. Hardin. © 1c. July 19, 1926; E 643160; Lillian Hardin,Chicago.The OKeh label confirms this. So why do somany people call it Droppin’ Shucks? TheColumbia/Legacy Hot 5-7 reissue set calls itDroppin’, as does my only other reissue of

OKeh 8537, and lots of online references tothe record.And John Gill reports 7/19/26 copyrightdeposit showing Lillian Hardin.Drum Face-Lift (Trevor Richards)Trevor Richards NO Trio CD 1222Drummer’s Delight (Barney Bigard–Duke Ellington)Red Roseland Cornpickers 1101Rec. Biigard & His Jazzopators 1/18/38,Vocalion 3985.Drummer's delight; by Duke Ellington &Barney Bigard; pf. © Sept. 29, 1938; E pub.71965; Exclusive publications, inc., NewYork.Duff Campbell’s Revenge(Turk Murphy)West End JB 1042South Frisco JB 1307Yerba Buena Stompers 1406Evidently Turk’s first rec. of it was 4/22/57 forVerve EPV2032 Music for Losers. But EddieCondon had recorded it first for Columbia, onhis Treasure of Jazz LP, and acknowledgesMurphy’s authorship in his liner notes. Notcopyrighted 1956-58.Dusky Dudes (Jean Schwartz–Will A. Heelan)Lake Arrowhead Early JB 1365

all four posibilities we’d have to come up withthis:Early Every Morn’ [(I Want Some [My]Lovin’)] [Early in the Morning]which still ignores the wandering apostrophes,but it’s impossible to read. I think we stay withwhat we’ve got, which starts with the originalpublished title and covers the Liston recordingwith an alternative title. The “My” of the Jonesrecording isn’t worth fooling with, nor is thefact that it was published both with andwithout the subtitle. However, I will removethe apostrophe from Morn. It wasn’t on thecopyright, wasn’t on the Etta Mooney originalrecording, wasn’t on the best-known AlbertaHunter recording. The word is legitimatelyused without it, unlike Lovin’.Early Hours (Lonnie Donegan)Albion JB 1206Decca 45 of tune by Ken Colyer’s Jazzmencredits Donegan.Early Life of Larry Hoffer, The(David Thomas Roberts)David Thomas Roberts 1072Ease on Down [Case on Down](Luis Russell–Bob Williams)Kustbandet 11781178 was East on Down by S. Williams-Russell.Rec. Luis Russell aho, 12/17/30, Vocalion1579; Brunswick 80038, 02008.Rust has it listed as Case on Dawn with note:“correct title EASE ON DOWN.” Well, Iwonder. The Vocalion label says Case onDown (not Dawn). AND the copyright entry isCase on down; melody by L. Russell andBob Williams. © 1 c. Sept. 14, 1931; E unp.44930; Luis Russell, New York.Vocalion label can be seen athttp://www.popsike.com/ULTRA-RARE-LUIS-RUSSELL-AHO-78-CASE-ON-DOWN-SARATOGA-DRAG-US-VOCALION-1579-E/120911947038.htmlAnd note BOB Williams—in this catalog at (IWould Do) Anything for You, not Spencer.Also, in addition to Rust, I noticed a couple ofother online refs to Vocalion label’s “Case onDawn,” but I found that label, and that’s notthe “case”: It’s “Case on Down.” But I alsofound LOTS of other notes to the effect thatEase on Down is the correct title.1. Williams: A google search on either title +Williams reveals not a single case of a firstname being suggested, so we must go withBob as on the copyright.2. Ease/Case: As silly as Case on Downsounds, I can scarcely imagine the same typobeing made in a copyright reg in Septemberand again in a recording studio in December,but since rightly or wrongly the world knows itas Ease, we must keep it here, but we alsomust put the other title as an alternative, sincethat’s what all the early recordings say.East Coast Trot (Jimmy Blythe–Lathair Stevens)Jazz O’Maniacs 1046Wally Fawkes & the Rhythm Kings 1060Golden Eagle JB 1100Jean-François Bonnel & Friends 1104Black Bottom Stompers (Switz.) 1130Grand Dominion JB 1139Two Clarinet Stompers 1259Des Plantes’ Washboard Wizards 14212013 review: Rec. Cobb 8/26, Paramount12382, Century 3006, Memory 301.As with Chicago Buzz, not copyrighted.Found two different very blurred labels ofCentury 3006, both look like look like Blythe &Stevens.BUT see the extended notes at BohunkusBlues. This obviously is Lathair Stevens, notVol.East St. Louis Toodle-o [Toodle-oo][Toddle-oo] (Duke Ellington–Bubber Miley)Evergreen Classic JB 12021202 had Toodle-oo

sort it out now that I have better access tocopyrights and recording info.

Echoes from the Snowball Club(Harry P. Guy)Ophelia Ragtime Orchestra 1108Glenn Jenks & Dan Grinstead 1292Evergreen Ragtime Quartet 1383River Raisin Ragtime Revue 1417Confirmed with my 1898 sheet music.Echoes of Carolina (Louis Mazetier)Louis Mazetier & François Rilhac 1218Ecuadorian Memories(Butch Thompson)Butch Thompson 1037Edna (Joe Oliver–Dave Nelson)Des Plantes’ Washboard Wizards 1290Rec. Oliver 4/10/30, Victor V-38137, 760-0004.Edna; melody by Oliver-Nelson. 1 c. July 1,1930; E unp. 24334; Southern music pub.co., inc., New York.Victor Project confirms Dave.Ed’s Echoes (Wally Rose)Wally Rose 1057From notes by rec. engr. Ed Sprankle:1982. After a marathon evening of listeningto some of my more esoteric piano rolls,Wally called to tell me that he had beeninspired to write a tune for me. It’s asingular honor to have one of your favoriteartists dedicate a tune to you.Eeny Meeny Miney Mo(Johnny Mercer–Matty Malneck)Alex Hassan 1322Egyptia (Abe Olman)Manhattan Ragtime Orchestra 1402Heliotrope Ragtime Orchestra 1427Odd--everybody agrees it was pub. in 1911,but it’s not in the copyright book, although Idid find a 1938 renewal for it. MTSU confirms1911, Rossiter.Egyptian-Ella (Walter Doyle)Red Roseland Cornpickers 1102John Gill’s Novelty Orchestra 1227Steve Waddell’s Creole Bells 1230Le Petit Jazzband de Mr Morel 1362Oops, we may be missing a hyphen:Egyptian-Ella; words and music by WalterDoyle. © Jan. 21, 1931; 2 c. Jan. 22; E pub.20668; Skidmore music co., inc., New York.Found the cover online (rest still in copyright),which does indeed have the hyphen. Brier’ssheet music confirms hyphen on copyrightpage too.Egyptian Fantasy (Sidney Bechet–John D. Reid; but actually Egyptiaby Abe Olman)Red Roseland Cornpickers 1101Rec. Bechet’s N.O. Feetwarmers 1/8/41, Victor27337, 63-0811, JK-2345. Credit on label isthe full John D. Reid-Sidney Bechet, but itwasn’t copyrighted, at least not 1940-42.In fact, everybody agrees that this not just anvariation of or adaptation, but a dead stealfrom Olman’s “Egyptia.”In his biography of Bechet, John Chiltonwrites,The tuneful and construction of thecomposition “Egyptian Fantasy” was widelypraised. It was listed as being jointly byBechet and John Reid, but, in truth, neitherman had any part in the origination of thestriking melody. The tune, and all of itsvarious strains, had been copyrighted in1911 by Chicago publisher Will Rossiter andissued in sheet-music form as “Egyptia.”The composer was Abe Olman, an Ohioanwhose other works included “Down Amongthe Sheltering Palms.” Bechet had knownthe piece for many years: it had been atheme song for Freddie Keppard’s OriginalCreole Orchestra.It is not unkind to conclude that Bechetdeliberately chose to ignore the rulesgoverning the use of copyright music.Tex Wyndham notes this too in his “CommonThemes” chapter in the Texas Shout series hewrote for West Coast Rag, and continues,Incidentally, while I don’t condoneplagiarism, I can unerstand what Bechetmight have been thinking at the “EgyptianFantasy” session in 1941. He may well havefelt that, as long as nobody remembered“Egyptia” anymore (I don’t think it was a bighit in the first place), why not get a few extrabucks or prestige or whatever by claimingauthorship?In 1941, as now, jazz records didn’t sell inhuge quantities, so it was unlikely that theroyalties on “Egyptian Fantasy” would beworth a lawsuit to claim even if anyonenoticed.Egyptland (Bartley Costello–James W. Casey)Levinson’s Trans-Atlantic Saxtette 1430Copyright:Egyptland; words by Bartley Costello, musicby James W. Casey [of U.S.] © Jan. 10,1919; 2 c. Jan. 6, 1919; E 439709; Echomusic pub. co., New York.Sheet music confirms.Eight o’Clock Rush, The(Bess Rudisill)Chrysanthemum Ragtime Band 1047ASM, 1916, Sears-Wilson. “Rag” is added oncover, but not cy page.18th Street Strut (Bennie Moten)Neville Dickie 1269Keith Nichols & the Blue Devils 1387We had Bennie Moten-Bartley CostelloRec. Joe Candullo, 5/17/26, Harmony 208-H.Five Musical Blackbirds, 3/26, Pathe Aktuelle7508, Perfect 14585. Bennie Moten, c.5/14/25, OKeh 8242. Looks like Fats Walleralso rec. it on piano roll QRS 3377in March1926, later reissued on QRS-151.Copyright:18th street strut; fox-trot, by Bennie Moten,arr. by Frank Skinner; orch. 4to. © Feb. 25,1926; 2 c. Feb. 23; E 636040; Trianglemusic pub. co., inc., New York.Checked through 1928, found no rereg. withlyrics.No composer credit on Moten OKeh; nor onthe Fats 151 reissue roll; but just Moten on a78 reissue of the roll by Fats (Century 4001).Moten and Costello on Candullo’s Harmony208-H. LC ONLINE has Perfect 108 by FiveMusical Blackbirds, credit Bennie Moten.Dickie says his source was the Waller pianoroll; Nichols says this is one of few Motentunes issued in a stock orchestration, which ispresumably his source.This gives me a pain. The only place I findCostello for sure is the Joe Candullo record,and, for what it’s worth, Rust does not show avocal on that recording. I keep seeing refs tothe Waller piano roll as Moten-Costello, butthere was no credit on the reissue of the rolland only Moten on the 78 rpm disc reissue ofit. Have yet to find the original QRS roll. Willleave Costello here provisionallly, but will besorely tempted to remove him unless we findhis name on that Waller piano roll (and eventhat’s crazy--no vocal on a piano roll).Robbie couldn’t produce the actual QRS 3377label, but he did cite extensive research byother careful observers (incl. John Farrell andBob Billings) who cataloged that roll andtellingly did not record a composer credit.My inclination now is to kill Costello until wecan come up with a reason to think he’sanything but a figment of Joe Candullo’simagination. He was a for-real writer, ofcourse--we have him elsewhere in two places(Carolina Stomp, Egyptland), and theres a biosketch of him athttp://www.allmusic.com/artist/bartley-costello-mn0001865098.

Nichols reports that he indeed has the Skinnerorchestration, and that it lists only Moten ascomposer. Says he has not heard of thisbeing published as a song, nor did he supplyCostello’s name to Stomp Off, so it must havecome from Neville. Joe Candullo is now a veryodd man out, and his Bartley Costello has togo.Neville Dickie reports: “I knew only Moten ascomposer and gave Erdos that name.”Obviously, Erdos found Costello somewhereelse (the Joe Candullo record?), but it’s justnot credible.El Capitan (John Philip Sousa)Imperial Serenaders 1351Hmmm. El Capitan was actually a 1896 threeactoperetta by Sousa. Copyright book showsseparate entries forEl Capitan Song, El Capitan Waltz, El CapitanSelections, and El Capitan March. Butwikipedia entry for operetta describes it, goeson to sayEl Capitan also refers to the march of thesame name, composed of themes from theoperetta.Comports with Levy, which has severaldifferent versions. Ours isEL CAPITAN.MARCH.on copyright page; cover looks pretty muchthe same.El Producto (Charles Sonnanstine)Ted Shafer’s Jelly Roll JB 1278Sonnanstine was in the band, so he/theyought to know. Notes say it dates to 1960.Evidently not copyrightedEl Rado Scuffle (Fred Rose)Original Salty Dogs JB 1115Waldo’s Jazz Entertainers 1377Les Red Hot Reedwarmers 1435

Music by Sadie Koninsky, arranged by Chas.E. Pratt. Blurbs at top say “BeautifulInstrumental Transcription from the PopularSong.” It’s also labeled “March and Two-Step” on cover and “Characteristic March” oncopyright page.Decided not to change our listing--but couldhave!June 2011 rethought this in light of all theinstances I’ve seen of the the song &instrumental versions coming at the sametime. In this case, the song was first, andsome bands sing the lyrics (e.g., St. LouisRagtimers), so let’s put Mr. Reed in thecredits.Elite Syncopations (Scott Joplin)New Century Ragtime Orchestra 1385Confirmed by 1902 sheet music.Elizabeth (Robert Katscher–Irving Caesar)Lyttelton–Fawkes Troglodytes 1238Pam Pameijer’s New Jazz Wizards 1432Hmmm. The copyright is odd:Wenn die Elisabeth . . das neue lange kleid[When Elizabeth . . . the new long dress];lied und fox [song and fox], aus Die wunderbar [from “The Wonder Bar”], worte von K.Farkas, G. Herczeg und R. Katscher, musikvon Robert Katscher, of Austria. (c) Jan. 24,1930.; 1 c. Apr. 2; E for. 10501; LudwigDolbinger (Bernhard Herzmansky), Vienna.But thenElizabeth; fox-trot, from Wonder bar, lyric byRowland Leigh, of Great Britain, music byRobert Katscher. [Staff and tonic sol-fanotations] © Dec. 2, 1930; 1 c. Dec. 17; Efor. 15901; Ascherberg, Hopwood & Crew,ltd., London. 601and finally our versionElizabeth; from The wonder bar, Englishwords by Irving Caesar, music by RobertKatscher; with ukulele arr. by S. M. Zoltai. ©Mar. 9, 1931; 2 c. Mar. 11; E pub. 21627;Harms, inc., New York. [Copyright is claimedon English lyrics]The American version of the play ran in NoraBayes Theater, 3/17-5/29/31. I have thesuperb Warner Bros. musical movie versionfrom 1934, with Al Jolson, Dick Powell,Dolores Del Rio.Elmer Schoebel Blues(Jean-Pierre Morel)Les Rois du Fox-Trot 1407Morel’s the bandleader, so he should know.But as a composer, we have him twice asJean-Pierre and twice as J. P. We must beconsistent.Elmwood Stomp (Gale Foehner)Gale Foehner 1023Emma Louise (in Old Los Angeles)(unknown)Ian Whitcomb & Dick Zimmerman 1017Ian Whitcomb & His Merry Bands 127611/9/00: Dave Jasen says he really liked thissong and asked Whitcomb about it; Whitcombclaimed it as his own.Guess it’s time to track down Whitcomb andask him directly.But first, a note from Zimmerman, whoencloses copy of our own liner notes (what anovel place to look!), which say, “No sheetmusic to this song has ever turned up andZimmerman found ‘Emma’ on a Brithsh 78made circa 1930 by G. H. Elliott, a soft-shoeshuffling star of the Music Halls.”Zimmerman then adds, “I introduced Ian to thesong via a tape I made of the G. H. ElliottEnglish recording from the ‘30s. No composerhas been found.”2013, with the power of the internet at hand:Edison Bell Radio 868. (Amazingly, a copy ofthis record was sold on eBay in March 2013.)But neither of these sources gave a date. Butanother site on the label says 849 was c. April1928, and 876 was c. June 1928. CheckedU.S. copyrights 1926-30, but no dice. She’sstill a mystery.BMI lists this as “Emma Louise in Old LosAngeles” by Ian, but we know fromZimmerman that that’s not true.Emperor Norton’s Hunch (Lu Watters)Minstrels of Annie Street 1272South Frisco JB 1342En août à Saint-Germain-des-Prés(Louis Mazetier)Paris Washboard 1326Mazetier is the band’s pianist.Encore Rag (Tad Fischer)Trebor Tichenor 1282ASM, 1912, O. K. Houck.Endurance Stomp (Angelo Fernandez)Jim Snyder /Georgia Grinders 10682013 review: Rec.State Street Ramblers, 7/18/28, Champion40025, 15615 (as Blythe’s Blue Boys);Decca 7224, Gennett 6562; Creole 20; et al.Credit on Champion 15615 is Fernandez.J. C. Cobb & His Grains of Corn (with JimmyCobb on cornet and Junie on tsax), 8/21/28,Vocalion 1204. Credit on this is Fernandez.And it does say Junie C. Cobb, not J. C.Cobb.Barrel House Five Orch (w. Cl. Williams onpno), 1/29, QRS R-7019, Paramount 12875& several others, one of which titled it BarrelHouse Stomp. Rust notes that “somecopies of QRS R-7019 appear to have beenpressed from Gennett masters, made by theState Street Ramblers.” I found one suchlabel; it has no composer credit.Memphis Night Hawks, 3/31/32, Oriole 8137,Perfect 0260, Romeo 5137, et al. (Romeolabel has no composer credit.)But the personnels and band names getconfusing. According to Rust, Cecil Irwin wascl on the J. C. Cobb recording, but my JunieCobb reissue on Collector’s Classics says it’sJunie C. Cobb and his Grains of Corn and thatAngelo Fernandez plays cl as Elvers says.(And the CD says that its discographicalsource is Rust!)And at least a couple of online sources claimthat Angelo is clarinetist on the State StreetRamblers recording, which Rust says is BaldyMcDonald.Sure enough:

Endurance stomp; melody by A. C.Fernandez. © 1 c. Aug. 10, 1928; E 696942 ;Lester Melrose, Chicago.Entertainer, The (Scott Joplin)Paris Washboard 1428Confirmed by 1902 sheet music.Entertainer’s Rag, The (Jay Roberts)Chrysanthemum Ragtime Band 1168ASM, 1912, Payne & Roberts.Entry of the Gladiators (Julius Fuík)Evergreen Ragtime Quartet 1383Note the correct diacriticals--he’s a Czech.Ethiopia Rag (Joseph F. Lamb)New Orleans Ragtime Orchestra 1213We had just Ethiopia. But while the coverreads something likeETHIOPIAA RAGBYJOSEPH LAMBthe copy page is clear:ETHIOPIA RAG.And in fact, all my other recordings of it usethat title. Odd: Stark published it in 1909, but itwasn’t copyrighted, at least not 1908-10.Ethiopian Mardi Gras, An(Maurice Levi)Lake Arrowhead Early JB 1365Confirmed by my 1899 sheet music. Oddly,as with Ethiopia, not copyrighted.Euphonic Sounds (Scott Joplin)Manhattan Ragtime Orchestra 1402

OH, hell. After all this I thought to check theAlex Hassan collection database anddiscovered that he has it and that he shows itas “Every Evening (I Miss You),” by Rose-McHugh, pub. 1927 by Jack Mills.Every Night (Remco van der Gugten)Fried Potatoes 1163Reed player in the band composed this andseveral other tunes on the LP.Every Now and Then (King Zany*–Don McNamee)Ian Whitcomb & Dick Zimmerman 10492013 review: Copyright isEvery now and then; from The great Gabbo,words by Don McNamee, music by KingZany. © Sept. 16, 1929 2 c. Sept. 21; E pub.9379; Sherman, Clay & co., San Francisco.1929 film starring Eric von Stroheim; IMDBconfirms song and composers. Now whatabout King Zany as pseudonym?Aha, IMDB says that King Zany’s real name isCharles W. Dill. Looks like he was a screenactor as well as composer (he’s in this listelsewhere). But I see where Dutton got hisinfo: A 1921 copyright reg. for “Koo Kee Koo”says “words and melody by Herb. Brown andKing Zany [pseud. of Jack Dill, of U.S.] arr. byKing Zany [of U.S.].” Found same note for a1920 song as well.I can’t account for Jack, but it appears that heused King Zany exclusively for songwritingand mostly but did appear a couple of timesas Charles Dill, so I guess we can use thepseudonym after all.Every Tub (Paul Barbarin–Joe Oliver)Hall Brothers JB 103110/15/02: Audrey found original copyrightlead sheet in LC, confirming Barbarin-Oliver,and I found the actual copyright reg. in bookas well.Everybody Has a Whistle Like Me(Edward Rogers)Bo Grumpus 1388ASM, 1901, Jos. Stern (Ed Rogers on cover;Ed. Rogers on (c)Everybody Loves My Baby (but MyBaby Don’t Love Nobody But Me)(Jack Palmer–Spencer Williams)Don Ewell 1077Peruna Jazzmen 1105Three Deuces 1185Down Home JB 1264Neville Dickie & Louis Mazetier 1302Bob Helm’s JB 1310Newberger–Mazzy–Thompson 1352Red Rose Ragtime Band 1412

Copyright:You know—I know ev'rything's made forlove; words and music by Howard Johnson,Charles Tobias, and Al Sherman; pf. andukulele acc. © Dec. 14, 1926; 2 c. Dec. 15; E652935; Shapiro, Bernstein & co., inc., NewYork.MTSU listing is no help: “You know I knowev'rything's made for love.” IN Harmony givesa better clue:Title: Ev’rything’s made for loveAlternative title: You know--I knowHassan database treats it same way.Exactly Like You (Dorothy Fields–Jimmy McHugh)Barbara Rosene 1368Conf. 1930 copyright entry & MTSU listing.Exemplar, The (Glenn Jenks)Glenn Jenks 1179Exit Gloom (Jelly Roll Morton–Charles Raymond–Robert Peary)Terry Waldo 1002Terry Waldo’s Gotham City Band 12012013 review: Well, it’s not mentioned at all inLomax’s bio of Jelly, or the more recent bio byHoward Reich & William Gaines. Both haveextensive lists of all Morton compositions andrecordings.Terry’s notes on 1002 say, “a rare Jelly RollMorton number that, to my knowledge, isrecorded here for the first time anywhere.Special thanks to Vince Giordano for turningthis one up.”Jim Cullum’s Jelly show has the tune, calling it“a piece written by Jelly Roll Morton late in hiscareer and recently rediscovered by jazzhistorian and bandleader Vince Giordano.”Absolutely no info on web that doesn’t lead toWaldo-Giordano.6/4/13 queried Giordano, who replied:I tracked down the last owner of thepublisher Denton & Haskins…he had thismanuscript and others in a closet.Here's the scan of "Gloom" and anothertune they wrote with Jelly for D & H …theyreally should be credited. they DID work withJelly for Denton and Haskins.Scan is hand-written manuscript on paper withpreprinted D&H copyright credit. Composersare indeed JRM-Charles Raymond-RobertPeary.Eye Opener (Bob Zurke–Julian Matlock)Neville Dickie 1052ASM, 1939, LeoFeist confirms Zurke-Matlock.FF Minor Stride (François Rilhac)Paris Washboard 1293Rilhac is French phanist who recorded duetalbum (SOS 1218) with Louis Mazetier, thepianist with Paris Washboard.Faded Summer Love, A (Phil Baxter)John Gill Sentimental Serenaders 1424Conf. 9/25/31 copyright entry.Fading Star (Willie “The Lion” Smith)Tom Roberts 1392Rec. Smith 2/39, Commodore 521.No copyright 1938-40. Label credits Smith.Fair and Square (Andy Razaf–Ada Rubin)Grand Dominion JB 1330Rec. Waller Rhythm 7/1/38, Victor 25891, HMVB-10234 et al. Credit on Victor is Razaf-Rubin.Rubin mentioned by first name on label of diff.recording by Willie Farmer aho. Also found a1980 renewal with both names on the“Copyright Encyclopedia” site. But no orig.copyright 1937-39.Fair and Warmer (Harry Reser)Howard Alden with Dick Hyman 1200Confirmed 5/3/28 copyright entry.Fallen Arches – A Ragtime Instep(Jack T. Rummel)Jack Rummel 1118Fallen Heroes (George Southwell)Louisiana Repertory Jazz Ensemble 1197Couldn’t find copyright, but several hits,including wikipedia article on Southwell,confirm this for 1894.Family Lines System, The(David Thomas Roberts)David Thomas Roberts 1072Fancy Fingers (Burn Knowles)Tony Caramia 1209Tony Caramia 1328Confirmed 7/14/36 copyright entry.Fanlight Fanny (Harry Gifford–Fred Cliffe)Steve Waddell’s Creole Bells 1301CD had subtitle (The Frowzy NightclubQueen), credits George Formby-Fred E. Diffe-Harry Gifford. “The frowsy nightclub queen” isthe line that follows “Fanlight Fanny”repeatedly in the lyrics.The very extensive George Formby Societyweb site in UK calls it only “Fanlight Fanny,”and spell it “frowsy” in their lyrics.And oops, the Formby Society detaileddiscography also says just “Fanlight Fanny,”rec. 5/29/35, Decca F-5569, by Gifford/Cliffe—no Formby, although they show him as cocomposerwith Gifford and Cliffe on severalother songs.And I’ll be darned: I found that Decca label—itsold on the UK version of eBay just a fewmonths ago. It is indeed “Fanlight Fanny” byHarry Gifford, Fred Cliffe.Far Away Blues (George Brooks*)Magnolia JB 1016Monty Sunshine JB 1110Grand Dominion JB 1139Rec. Bessie & Clara Smith, 10/4/23, Columbia13007-D.CopyrightFar away blues; w and melody G. B., of U.S.© 1 c. Jan. 7, 1924: E 580528; GeorgeBrooks. New York.Record label matches.Farewell Blues (Elmer Schoebel–Paul Mares–Leon Rappolo)Louisiana Repertory Jazz Ensemble 1140Humphrey Lyttelton & His Band 1160John Gill’s Dixieland Serenaders 1321Le Petit Jazzband de Mr Morel 1343Tom Pletcher & the Classic Jazzband 1353Les Rois du Fox-Trot 1407

Farmerette (Jesse Greer)George Foley 1088Confirmed 10/22/28 copyright reg.Fat Frances (see Frances)Fatima (Egbert Van Alstyne–Loyal Curtis)Levinson’s Trans-Atlantic Saxtette 14301920, says Levinson, transcribed from anEmerson disc. No Fatima in Rust. OnlyFatima in 1920 copyright book is by J. W.Alden, pub. Waterson, Berlin & Snyder. Therewas one song written by Loyal Curtis andEgbert Van Alstyne that year (Marie), butmainly Van Alstyne & Curtis were publishers,15 songs that year alone, many of them byHaven Gillespie. There was no “Fatima”copyrighted in 1919; there were three in 1921,but two were waltzes and none was pub. byVan Alstyne & Curtis, so no point going there.Aha, now see Bruce Vermazen’s note from thediscography of The Six Brown Brothers:Broadway’s Favorite Clowns, on Archeophone:Fatima (One Step) (composer unknown:record label credits it to Curtis and VanAlstyne, who were probably the prospectivepublishers). Emerson 10205, prob. March1920.Well, we’re stuck. Curtis & Van Alstyneprobably weren’t the composers, but theirnames got on the record, and without acopyright to go by, we’re obligated toreproduce them here.Feel So Good (Leonard Lee)Grand Dominion JB 1408No wonder it’s not in Rust or my jazzcollection! It’s the rock & roll song from myyouth by Shirley & Lee. Couldn’t find acopyright entry, but many confirmations onlineand in my pop music collection.Feelin’ Good (Owen Murphy–Milton Ager–Jack YellenBack Bay Ramblers 1374Des Plantes’ Washboard Wizards 14211374 is Murphy-Yellen, 1421 is just Murphy.Aha, Tennessee database has Feelin’ Good,music Owen Murphy-Milton Ager, lyrics JackYellen, 1928, pub. Ager, Yellen & Bornstein.But wait--LC copyright files say Feelin’ Good(from “Rain or Shine”), w/Jack Yellen, m/OwenMurphy, 1/6/28, Ager, Yellen & Bornstein.So who’s right? Perhaps query Jellema.Jellema comes through, pulls sheet music,confirms music Ager-Murphy, lyrics JackYellen. May be a case of the copyright cardbeing for the original unpublished version andthat Ager shined the melody up enough toclaim credit when they published the thing.Feelin’ No Pain (Fud Livingston)Red Roseland Cornpickers 1133Rec. Charleston Chasers, 9/8/27, Columbia1229-D, 4797. Miff Mole’s Little Molers (w/Fudon reeds), 8/30/27, OKeh 40890; Columbia35687; Parlophone R-3402 et al. Red[Nichols] and Miff’s Stompers (also Fud onreeds] as “Feeling,” 10/12/27, Victor 21183.OKeh 40890 indeed Feelin’, credit Livingston.Victor 21183 label is Feeling, Livingston, VictorProject agrees.Copyright:Feelin' no pain; by Fud Livingston; orch. 4to.© Sept. 16. 1927; 2 c. Sept. 19; E 673990;Robbins music corp., New York.Feelin’ Way Down Low (Keith Nichols)Keith Nichols’ Hot Six 1063Felicity Rag (Scott Joplin–Scott Hayden)George Foley 1187Confirmed 1911 sheet music.Felix Rag (H. H. McSkimming)David Thomas Roberts 1317

I never did any research on this one...itappears several times on Stomp Off, butalways as Fidgety Feet, so I've never tried anytitle reconciliation. Like you, I've many timesseen reference to the fact that it was retitledfrom "War Cloud," but never tracked down thehistory of that.Arhoolie 1058, "New Orleans RagtimeOrchestra," lists it as "War Cloud," and thenotes say, "'War Cloud,' better known as'Fidgety Feet,' dates from 1917. An official ofthe Victor Talking Machine Company madethe title change in 1918 since he saw the endof World War I coming." Quite frankly, I don'tfind that explanation particularly compelling.Ah, here we go. I started out looking at linernotes, then remembered that I have a copy ofthe definitive history of the ODJB by H. O.Brunn ("The Story of the Original DixielandJazz Band," Louisiana State University Press,1960). He states,The genius that manifested itself in suchunforgettable music obviously did notextend to he printed word. Some of thenames suggested by LaRocca for hiscompositions would have been moresuitable for race horses. Although “WarCloud” and “Belgian Doll” were timely,considering America's entry into the war andher popular sympathy for Belgium, the VictorCompany, according to officialcorrespondence, did not consider them“particularly appropriate.” J. S. MacDonaldof that company, who had already createdutter chaos by substituting “Barnyard” for“Livery Stable,” was ready with bright newtitles. At his suggestion, “War Cloud”became “Fidgety Feet,” and “Belgian Doll”turned into “’Lasses Candy.”But even if we accept this story at face value,the question remains: How did we ever learnthat LaRocca intended/hoped to call it "WarCloud"? It can't conceivably have beenpublished as sheet music before it wasrecorded, so how in the world can we knowthat LaRocca wanted to call it "War Cloud"? Ican only guess wildly that the band played itpublicly under than title before recording it,and that this was reported and becameknown.Jones responded:Many thanks. I've fwd'd your research to FloydLevin, the jazz writer, with attribution to you.Once again, I assure you that the stock chart Ihave here, copyright 1918, uses only the WarCloud title. The arranger was Leroy Walker,for two trumpets, one t'bone, two saxes, cltand flute plus rhythm. And, picking up onyour idea, it does say, "As PLAYED by theOriginal Dixieland Jazz Band" (emphasismine). That intimates that the printed chartpreceded the recording date of 7/17/18.2013 review . . . and I’ll be darned: it WAScopyrighted as War Cloud:War cloud; one-step, by D. J. La Rocca,Larry Shields and H. W. Ragas [of U.S.];piano. © 1 c. June 26, 1918; E 428197; LeoFeist, inc., New York.Later came a rereg. dropping Ragas:War cloud; one step, by D. J. La Rocca andLarry Shields [of U.S.]; piano. © Aug. 9,1918; 2 c. Aug. 10, 1918; E 430045; LeoFeist, inc., New York.And then an arrangement copyright:War cloud; one step, by D. J. La Rocca andLarry Shields [of U.S.], arr. by Le Roy Walker[of U.S.]; orch. with piano. 4to. © Dec. 13,1918; 2 c. Dec. 14, 1918; E 440108; LeoFeist, Inc., New York. [Copyright is claimedon arrangement]THIS is the version that Jim Jones has.NO copyrights as Fidgety Feet 1917-18.In 1919, we get two copyrights side by side as“Fidgety Feet,” one for the arrangement, onefor the piano score:Fidgety feet; jazz one step, by D. J. La Roccaand Larry Shields, arr. by Leroy Walker [ofU.S.]; orch. 4to. © Jan. 28, 1919; 2 c. Jan. 29,1919; E 442167; Leo Feist, inc., New York.__________ one step, by D. J. La Rocca andLarry Shields [of U.S.]; piano. © Jan. 20, 1919;2 c. Jan. 21, 1919; E 439966; Leo Feist, inc.,New York.Victor 18564, rec. 6/25/18, definitely “FidgetyFeet,” credits La Rocca-Shields. However, theVictor Project ledgers report that its “alternatetitle” is “The War Cloud.”Fig Leaf [Rag] (Scott Joplin)Paramount JB of Boston 1247Le Petit Jazzband 1389Oops, stop the show. The cover (pub. Stark,1909, does say Fig Leaf Rag, but the copyrightpage is clear:“FIG LEAF”A High Class Rag.But because of the cover, and because it’s sowidely known by the three-word title, let’s putthe Rag there as alternative.Fig Leaf, The (William Lawrence)Elite Syncopators 1358We had “Fig Leaf Rag,” but the copyright isFig [The] leaf; rag and two step, by W. R.Lawrence, for piano. Wm. E. Lawrence,Philadelphia, Pa. C 209071, June 7, 1909.And sure enough, Tom Brier reports that it’s“The Fig Leaf” on both cover and copyrightpage.Finger Breaker (see Fingerbuster)Finger Buster (Willie “The Lion” Smith)Neville Dickie 1096Tom Roberts 1392Paul Asaro & Neville Dickie 1404Rec. 5/14/34 for ARC, but not issued. Rec.2/39, Commodore 522.CopyrightFinger buster; by Willie Smith; pf. © Oct. 15,1934; E pub. 44100; Clarence Williamsmusic pub. co., inc., New York.This one, at least, is not complicated. Sametitle on recording and copyright. But . . .Fingerbuster (Jelly Roll Morton)Morten Gunnar Larsen 1009John Gill 1066Jim Cullum JB 12541009 showed Finger BreakerAnd I had some confusing, contradictorynotes from years ago, which I’ve tossed infavor of an entirely new look in June 2013:Rust says rec Finger Buster, 2/38, Jazz Man12, Blue Star 170, Vogue GV-2256. Jazz Manlabel agrees.According to the Reich-Gaines bio, Jelly calledhis tune Finger Breaker, but it was titled FingerBuster by mistake on the Jazz Man label.Hmph. Says pub. by Roy Carew 1941 as “TheFinger Breaker.”Lomax says rec. on Jazz Man as“Fingerbuster”; pub. Carew 1942: “TheFingerbreaker (Fingerbuster).” They can’tboth be right.Aha! The Carew copyright isFinger breaker; by Ferdinand J. Morton; pf.(c) 1 c. Nov. 23, 1942; E unp. 316156; RoyJ. Crew [sic], Washington. 47838 [this 16months after Jelly died]It still would be instructive to see how thesheet music as published by Carew reads.But we can’t be mindreaders: It was“published” as Finger Buster in 1938 andrepublished in sheet form after Jelly’s deathunder a different title. We should list it underBuster and use the published sheet title as analternative. 6/5/13 queried Dapogny &Thompson to see if they agree and can tell mewhat the published sheet says. 12/13/13discovered that never received an answer,resubmitted the query to them and to Brier-Adams.Fingers on Holiday (Robin Frost)Matthew Davidson 1252Lots of online sources confirm, and I found apiano roll crediting him as composer andperformer. And it’s in a Frost folio publishedby John Roache.

Firechief Rag (Danny Alguire)Smith–Tyle Frisco Syncopators 1211Both my Firehouse Five+2 reissues credit him,as do a zillion online hits, but I couldn’t find acopyright. Dave Whitney (Boston trumpeter)writes,Danny's composition “Firechief Rag” (basedon Bob Wills' “Beaumont Rag,” a cousin to“Do What Ory Say”), is another fine sidefrom this period.Firehouse Rag(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284pub. 1986. Goodman was guest conductor ofthe band for this CD.Firehouse Stomp (Ward Kimball–Harper Goff)Frisco Syncopators 1245No copyright, but I found the record label, andall my FF5+2 reissues agree.Fireworks (Spencer Williams)Weatherbird JB 1034Jim Cullum JB 1148Pam Pameijer’s New Jazz Wizards 1363Les Rois du Fox-Trot 1434Rec. Hot Five 6/27/28, OKeh 8597, 41078;Vocalion 3148. Bob Fuller, 5/18/28, Domino0249; Regal 8589; Oriole 1274. New Yorkers,5/30, QRS Q-1053. Original Memphis Five,6/13/28, Vocalion 15761.Fireworks; by Spencer Williams, arr. by KenMacomber; orch. 4to. © May 14, 1928; 2 c.May 14; E 691534; Triangle music pub. co.,inc., New York.First Step One Step (Wally Rose)Wally Rose 1057South Frisco JB 1240Rose ought to know.Fit As a Fiddle (Arthur Freed–Al Hoffman–Al Goodhart)Charleston Chasers 1287Barbara Rosene 1368Andy Stein Blue Five 1390ASM, 1932, Leo Feist; w. Freed/m. Hoffman-Goodhart.Five Aces (Turk Murphy)West End JB 1042Copyright isFIVE ACES; m & (c) Melvin Edward Murphy14Jan55 EU300162.Five Pennies (Red Nichols)Charquet & Co 1076Jean-François Bonnel & Friends 1104Red Roseland Cornpickers 1153Keith Nichols Cotton Club Orchestra 1234Vince Giordano’s Nighthawks 1260Rec. 6/20/27, Brunswick 3855; again 6/21/28,Victor 21560. Copyright:Five pennies; by Red Nichols; pf. © Aug.31, 1927; 2 c. Aug. 31; E; 673429; Lewismusic pub. co., New York.Fives, The (George W. Thomas–Hersal Thomas)John Gill’s Jazz Kings 1401Rec. Tampa Blue Jazz Band 2/23, OKeh 4791.Basie 11/9/38, Decca 2722 et al. JimmyYancey 4/39, Solo Art 12008, Circle J-1051.Basie and Yancey records have no composercredit, while the early Okeh 4791 credits onlyGeorge W.Had a devil of a time finding this, as I waslooking for the wrong title. I finally found it inthe 1921 book this way:Five's (The); words by G. W. Thomas, musicby Hersal Thomas and G. W. Thomas [ofU.S.] © 1 c. Dec. 9, 1921; E 524885; Geo.W. Thomas, Chicago.Once I knew to look for it with the apostrophe,I found that it was published as sheet music in1922 by George W. himself, before it was everrecorded, and that the sheet music cover hadthe apostrophe as well. BUT the title/copyrightpage was just Fives.Fizz Water (Eubie Blake)Hall Brothers JB 1062Fizz water; trot and one step, by J. HubertBlake; piano. © Oct. 28, 1914; 2 c. Oct. 30,1914; E 352523; Jos. W. Stern & co., NewYork. [reg. for orchestration follows]Flag That Train (to Alabam)(Eddie Richmond–Lindsay McPhail–Irving Rothschild)John Gill’s Novelty Orchestra 12271227 had apostrophe and just last names.

E pub. 22489; Bobbins music corp., NewYork.Flat Five (Claus Jacobi)Red Roseland Cornpickers 1102Jacobi was the reed player with the band.Flat Foot (Lil Hardin)Waldo’s Gutbucket Syncopators 1036New Yankee Rhythm Kings 1050Abi Hübner’s Low Down Wizards 1093Turk Murphy JB 1161Steve Waddell’s Creole Bells 1348Miss Lulu White’s Red Hot Creole JB 1370And I’ve got many recordings of it as “Flatfoot”(spelled solid), but I’m sure that’s a case ofpeople being influenced by the old commonterm for “cop” before they started ridingSegways and bicycles.2013 review: Rec. 7/14/26, Columbia 14337-D,Biltmore 1085. Credit on Columbia was just“Armstrong,” but copyright tells the tale:Flat foot; melody, by L. Armstrong. © 1 c.July 19, 1926; E 643153; Lillian Armstrong,Chicago.John Gill has the copyright deposit, alsoconfirms Lil.Floatin’ Down to Cotton Town (HaroldG. “Jack” Frost–F. Henri Klickmann)Bob Schulz & His Frisco JB 1349Canary Cottage Dance Orchestra 1400Confirmed by 7/21/19 copyright reg., alsosheet music pub. McKinley, w JF/mFHK.Flock o’ Blues (Rube Bloom)Ted Shafer’s Jelly Roll JB 1278Rec. Sioux City Six, 10/10/24, Gennett 5569,Brunswick 02207. Gennett label confirmsBloom. No copyright reg. 1924-25.Florida Blues, The(William King Phillips)South Frisco JB 13078/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:Always registered as The Florida...:1914 unpub: by W. K. Phillips;1915 pub: by Wm King Phillips;1917 pub: words by Hezekihia [sic] Jenkins& Chas. A. Jones, music by William KingPhillips;1926 pub: W. C. Handy, arranger, WilliamKing Phillips, music, Dave Hoffman, ArthurNeale, words.So Phillips wrote it as instrumental in 1914-15.One pair of fellows added lyrics in 1917, thenHandy had another set of lyrics written whenhe republished it in 1926. So let’s just droplyricists entirely.8/25: The amazing Mike Montgomery sendssheet music for all three versions, just asdescribed by Caulfield’s LC copyright records.He too notes that since there were two sets oflyrics and lyricists, we should skip them.Florida Rag (George L. Lowry)Morten Gunnar Larsen 1009Confirmed ASM (forgot to note yearpublisher).Flyer, The (Frieda Aufderheide)Bob Wright 1239We had Flyer Rag by May Aufderheide.Rats! Found the sheet music online. Cover isTHE FLYERRAGBYFRIEDA AUFDERHEIDECopyright page even clearer:The Flyer.RAG.Pub. Carlin & Lennox, Indianapolis, 1908.Perfesser Bill has the answer: Frieda wasMay’s cousin.Flying Arrow (Abe Holzmann)Bo Grumpus 1388Confirmed sheet music, pub. Leo Feist 1906.Fool Such as I, A (Bill Trader)Tom Stuip & Delirium Tremolo 1433Confirmed 1952 copyright--yes, it’s the JoStafford, Elvis Presley song.Foolin’ Around (Ray Smith)Ray Smith 1012Foolin’ Myself (Fats Waller–Andy Razaf)Neville Dickie 1397There was a famous 1937 song of this title,recorded by Billie Holiday with Teddy Wilsonand by several swing bands. By JackLawrence and Peter Tinturin.But CD notes say Neville’s tune neverrecorded, not published until the 1950s.Aha, institute at Rutgers confirms Dickie’sstory:The Institute of Jazz Studies collection ofWaller memorabilia includes several draftsof music in Waller's hand. These arebasically early attempts (first versions orrough sketches) of songs Waller waswriting, made in pencil on music manuscriptpaper. Different drafts in the collection canprobably best be understood as distinctstages of Waller's compositional process.The first stage would have consisted of asingle melodic line on one staff ( "Foolin'Myself").Songwriters Hall of Fame says Waller-Razaf,pub. Mills.EMI Mills Music, Inc./Razaf Music.Don’t know where to look for the 1950scopyright, but did find, at the odd CopyrightEncyclopedia site, what looks like a 1986copyright renewal by Alicia Razaf:Foolin' myself. Music by Thomas Waller,words: Andy RazafType of Work:Musical workArrayRE0000158821 / 1983-01-31EP0000090844 / 1955-06-22Title:Foolin' myself. Music by ThomasWaller, words: Andy Razaf.Variant title:Foolin' myselfCopyright Claimant:Alicia Razaf (W)Names:Thomas Waller (16 documents)example document: Ain't misbehavin'Andy Razaf (124 documents)example document: Little Pops is tops to meAlicia Razaf (45 documents)example document: Jealous of me & 29other titlesAnd Dickie’s tune sounds nothing like theothers, so we can OK this one.Foolish Little Girl Like You, A (seeWhat Can I Do with a Foolish LittleGirl Like You?)Foot Warmer (Anton Lada–Alcide Nunez–Joe Cawley)Dan Levinson’s Roof Garden JB 1380Rec. Louisiana Five, 4/14/19, Edison 50569,Ambassador 3843.Foot warmer; fox trot, by Anton Lada, JoeCawley, and Al. Nunez, arr. by Leroy Walker[of U.S.]; orch. with piano. 4to. © July 3,1919; 2 c. July 5, 1919 E 454658; Leo. Feist,inc., New York. [Copyright is claimed onarrangement.]For a Beautiful Girl Like You(unknown)Heliotrope Ragtime Orchestra 1427

and cy page) (You’ll Miss Me in the Days toCome). But as noted above, later revisions ofold “traditional” song should cut no ice. Whatif Sam Cooke had added a subtitle in 1963?Freakish (Jelly Roll Morton)Ray Smith 1012Oakley’s Lakeshore Serenaders 1013Red Roseland Cornpickers 1133Jim Cullum JB 1155Jim Cullum JB 1254Rec. 7/8/29, Victor 27565, V-38527, HMV JK-2762. Then in the LC/Lomax sessions in 1938,issued on Circle 45-71.Freakish ; melody by J. Morton, © 1 c. Sept.28, 1929; E unp. 11378; Southern musicpub. co., inc., New York.Freakish Light Blues (Luis Russell–Paul Barbarin)Charquet & Co 1039Freakish light blues; fox-trot, melody byLewis Russell and Paul Barbarin. © 1 c.Sept. 28, 1929; E unp. 11372 Southernmusic pub. co., inc., New York.Freckles Rag (Larry Buck*)Chrysanthemum Ragtime Band 1079ASM, 1905, W. C. Polla. (See note at Arabia--Buck is pseudonym.Free Wheeling (see Riverboat Shuffle)Freeze an’ Melt (Jimmy McHugh–Dorothy Fields)Kustbandet 1294We had freeze and melt, but . . .Rec. Ellington 4/4/29, Columbia 5486, Creole3; then 4/12/29 as part of “A Nite at the CottonClub,” Victor 741029. Fletcher Henderson,4/29, Cameo 9174; Lincoln 3201; Romeo 976.Eddie Lang aho (as Freeze an’ Melt), OKeh8696, 41253; Parlophone R-448; Odeon193397 et al.Only Lang had it right:Freeze an’ melt; lyrics by Dorothy Fields,music by Jimmy McHugh; pf. and ukuleleacc. © June 26, 1929; 2 c. July 1; E pub.7299; Mills music, inc., New York.AND Hassan’s sheet music confirmsapostrophe.Freeze Out (Fats Waller)West End JB 1042Jacobi’s Bottomland Orchestra 1266Rec. Clarence Williams 12/19/28, OKeh 8663.Again 8/26/29, Columbia 14460-D.Freeze out; melody by Thos. Waller. © 1 c.Jan. 13. 1928; E 081161; Clarence Williamsmusic pub. co., inc., New York.French Pastry Rag (Les Copeland)Elite Syncopators 1358ASM, 1914, Jerome Remick.Freshman Hop (Jack Pettis–Al Goering–Irving Mills)Louis Mazetier & Neville Dickie 12891289 just Pettis.Rec. Whoopee Makers, 1/10/29, Vocalion15769; Mills Musical Clowns, 2/14/29, PatheAktuelle 37054; Perfect 15235; Banner 0508;Cameo 1018; Romeo 1125. Jack Pettis,11/6/28, Victor 21793 et al.; 2/8/29, OKeh41411; Parlophone PNY-34076, Odeon238288.Copyright isFreshman hop; words and music by AlGoering, Jack Pettis and Irving Mills; pf.acc., with ukulele arr. by M. Kalua. © Jan.29, 1929; 2 c. Feb. 11; E pub. 3350; Mill'smusic, inc., New York.Victor Project has Goering-Pettis, which iswhat label says too. Odeon 238288 has allthree, but diff. Odeon of Pettis, 31814, hasonly Pettis.Fred Rich Orch on Oriole had allthree.Fried Chicken Rag (Ella Hudson Day)Elliott Adams 1198Confirmed via cover and 2/27/12 copyrightreg., publ Thos. Goggan & Brothers,Galveston.Friendless Blues (W. C. Handy–Mercedes Gilbert)Abi Hübner’s Low Down Wizards 1093Chris Tyle’s NO Rover Boys 1235South Frisco JB 1307Yerba Buena Stompers 1369ASM, 1926, W. C. Handy.“W. C. Handy’s”Friendliess Bluesw. Gilbert/m. Handy. “Featured by WillardRobison & His Orchestra,” with picture ofRobison.Frisco Rag, The (Harry Armstrong)Frisco Syncopators 1245ASM, 1909, Witmark.Frisco Rider (Don Ewell)Don Ewell 1077Frisco Toodle-oo (Robin Wetterau)Down Home JB 1300Wetterau was in the band for this CD, sohe/they should know. Says written while hewas with the Great Pacific JB.Frisco, You’re a Bear(Arthur Don–Jack E. McClellan)Chrysanthemum Ragtime Band 1168LP says 1911, but not in copyright book.Found music in Fresno State archives. Nocomma on cover, but there is one on cy page.And it’s Jack E. McClellan on cover, NMI on cypage.Frog Legs Rag (James Scott)Neville Dickie 1269Frank French & Scott Kirby 1306Down Home JB 1316ASM confirms.Frog Tongue Stomp (Lovie Austin)South Frisco JB 1240Two Clarinet Stompers 1259Pam Pameijer’s New Jazz Wizards 1382Rec Austin 4/26, C entury 3007, Jazz Collector(UK) L-19, French AF A-013 (latter two havelabels reversed, says Rust).Strange--the only mention of it in 1926 book isfor mechanical reproduction rights:Frog tongue stomp. © Chicago music pub.co., inc., Chicago. Notice rec'd Sept. 10,1926; recorded, v. 7, p. 55.No entry in 1925. But the Century 3007 labelhas her as composer, so we’ll settle for that.Frog-I-More (Rag) [Froggie Moore][Sweetheart o’ Mine] (Jelly RollMorton–John C. Spikes–Benjamin F. Spikes)Canal Street JB 1005New Yankee Rhythm Kings 1015Peruna Jazzmen 1020Butch Thompson 1037Black Eagle JB 1065Jean-François Bonnel & Friends 1131Louisiana Repertory Jazz Ensemble 1140Zenith Hot Stompers 1191Evergreen Classic JB 1202South Frisco JB 1240Albion JB 1249Jim Cullum JB 1254Bob Schulz & His Frisco JB 1288Paris Washboard 1293High Society JB 1396Southern Stompers 1414Yerba Buena Stompers 1418

own handwriting, as "Frog-i-more Rag." S&Psay Froggie Moore, 1923, w/m JRM-BenjaminF. Spikes-John C. Spikes. Blue cat uses"Froggie Moore," but we probably ought tohave cross-ref from Frog-I-More [Rag]."Hagert goes with Frog-I-More, as doesSaunders; both note that it was also recordedas "Sweetheart o’ Mine."Erdos: [chose "Froggie Moore [Frog-I-More]"--2>--4>!!see notes after talk with Erdos 7/25/07decided that we need “Frog-i-more Rag” aswell in this mix. But Bob, it sure looks to me,based on earlier copyright card and the JellyRoll manuscript in Lomax, that “Frog-I-More(Rag) should be the primary title, with theothers listed as alternatives.I’ll be darned: 30 minutes after writing theabove, I found your note of 4/5/11 suggestingthe same thing. Consider it done.And for what it’s worth, John Gill sent me acopy of the sheet music from 1923 with title“Frogie Moore” by Spikes-Spikes-Morton.For what it’s worth some more: ASM has“Sweetheart o’ Mine (1926, Melrose Bros.; w.Walter Melrose/m. Ferd Morton. But the coverslug is “The Ballad Beautiful” and the lyrics aresyrupy and maudlin. How could this possiblybe the frisky Froggie Moore.Found this in the liner notes to a NewLeviathan LP:“Frog-I-More Rag” was composed in 1908by Ferdinand Joseph Lamothe, aka JellyRoll Morton... In 1923, the songwriting andpublishing Spikes Brothers added wordsand published it as “Froggie Moore”....Three years later, it was brought further intothe American music mainstream when theMelrose Music Co. had Charles L. “Doc”Cooke turn it into a lushly orchestrated foxtrotballad with a verse and lyrics by partnerWalter Melrose. At the same time, they gaveit a new name, “Sweetheart o’ Mine.”It’s sure hard to listen to Froggie Moore andSweetheart and connect them as the sametune. And it’s a hell of a stretch to suggestthat “Sweetheart o’ Mine” is but an alternativetitle to Froggie Moore. It’d take a keenmusician’s ear to find the Frog in Sweetheart.Frolic Sam (Cootie Williams)Paris Washboard 1347Rec.Barney Bigard, 12/19/36, Variety 525,Vocalion/OKeh 3813, Parlophone R-3199.Duke Ellington, 6/25/38, Jazz Panorama LP-14(LP).Confirmed by 11/5/37 pub. copyright reg. andby Variety label.From Monday On (Harry Barris–Bing Crosby)Barbara Lashley & Ray Skjelbred 1152Keith Nichols Cotton Club Gang 1242ASM, 1928, Shapiro, Bernstein.From Sunrise to Sunset (FromSunset Till Dawn (BennyMcLaughlin–Jack Miller)San Francisco Starlight Orchestra 12961296 had “From Sunrise to Sunset,” but bothcover and (c) page showFrom Sunrise to Sunset(From Sunset Till Dawn)ASM, 1929, Irving Berlin.Frosted Chocolate (Harry Reser)Howard Alden with Dick Hyman 1200Not in Rust. Confirmed by 1/19/35 copyrightreg.Frotti Frotta (Claude Luter)Jacques Gauthé’s Creole Rice YBJB 1256A search returns it more often without thehyphen, which is how it appears in the onlineCopyright Encyclopedia, which indicates thatit was copyrighted 1956, renewed 1984.Nearly all the French sites are without hyphen,so we’ll go there too.Frozen Bill (Arthur Pryor)Univ. of Wisconsin Symphony Band 1246Glenn Jenks & Dan Grinstead 12921909 sheet music (pub. Carl Fischer) confirms.RAG is fairly prominent on cover, but stillsmaller than title; on cy page it’s veryobviously a genre marker.Funny Bones (C. L. Woolsey)David Thomas Roberts 1132ASM, 1909, Jerome Remick, as C. L. Woolsey.WHEN I GET here and check this one, lookaround and see if there’s really any reason tokeep calling him by all three names. Heseems to have published only as C. L. Seeexample of M. L. Lake. Queried Tom Brier,who said,It looks like we may know him as Calvin LeeWoolsey, but to his sheet-music buyingpublic he was always C. L. Woolsey, both ascomposer and publisher (he self-publishedmost of his own music). If he was ever Calvinin print, I've never seen it (and I have ninescores, including a march and two songs).Funny, Dear, What Love Can Do(Joe Bennett–George A. Little–Charley Straight)Barbara Rosene & Her New Yorkers 1422Funny dear what love can do; words andmusic by George A. Little, Charley Straightand Joe Bennett. [Words and melody only]© 1 c. July 20, 1929; E unp. 9039; Leo Feist,inc., New York.Found the cover online, and it has thecommas, but some online refs don’t. But AlexHassan has the sheet, and confirms that thecy page has the commas.Funny Feathers (Victoria Spivey)Des Plantes’ Washboard Wizards 1357Rec. Spivey 7/10/29, OKeh 8713, ParlophoneR-2177, Jazz Classic 568. Red Allen 9/24/29(w/Spivey vcl), Victor V-38088, Bluebird B-6588.Conf. 12/7/29 copyright reg.Funny Fumble (Harry Dial)Hot Antic JB 1154Chicago Rhythm 1164Rec. Dial 5/15/30, Vocalion 1515.Oops, copyright isFunny (The) fumble; by H. Dial. © 1 c. May19, 1930; E unp. 21971; Harry Dial, Chicago.But no, the Vocalion label has no The, so Iguess they thought better of it when theypublished.Funny Honey (Raina Reid–Andy Leggett)Charleston Chasers 1314Reid was a member of the band; her husband,Andy, had been a member earlier.Fussy Mabel (Jelly Roll Morton)Terry Waldo’s Gotham City Band 1201Pam Pameijer’s New Jazz Wizards 1335Rec. 3/20/30, Victor V-38135, 70-0003.Confirmed by 6/5/30 copyright reg.Futuristic Rhythm (Jimmy McHugh–Dorothy Fields)Hot Antic JB 1099Dick Sudhalter & Connie Jones 1207Louisiana Washboard Five 1398ASM, 1928, Mills, w. DF/m. JH.GGaby Glide, The (Louis A. Hirsch–Harry Pilcer)Waldo’s Jazz Entertainers 1377ASM, 1911, Shapiro; w. Harry Pilcer/m. LouisA. Hirsch (1377 had just Louis Hirsch).Galion Stomp (Lovie Austin)Art Hodes Blues Serenaders 1184Pam Pameijer’s New Jazz Wizards 1382Rec. Austin 8/26, Paramount 12380, 14030.No credit on Paramount 14030, no copyrightreg. 1927-29. We have nothing but secondarysources: RHJA, Online 78. And fact thatHodes attributed it to her--he was active inChicago when she was.

Gambling Jack (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Blue Rhythmakers 1373Rec. Morton 10/9/30, Victor 23307, HMV JK-2859, Biltmore 1074.Victor label credits Morton. No copyright1930-31.Garden of Allah, The (Robert A. Keiser)Chrysanthemum Ragtime Band 1123LP had Garden of Allah, dated 1913.Confirmed by 10/14/12 copyright reg., THEGarden of Allah, pub. Harold Rossiter.Vermazen later sent sheet music (c) 1913 pub.Shapiro Music, so obviously it was transferedthat year from Rossiter to Shapiro.Garland of Flowers (Boyer)Louisiana Repertory Jazz Ensemble 11979/5/96, Baker at LC: Prob. not the right one,but for what it's worth:Garland of Flowers; an orig. service forchildren's day. Words Elsie Duncan Yale;music J. Lincoln Hall. 5-22-16. Publishedby Hall-Mack Co., Philadelphia.5/5/11 Google search found two refs to thathymn, both identifying only Boyer ascomposer. Don Rouse did further research,establishing that the tune by Boyer was inpublication by 1895 and that it was presentedboth as a funeral dirge and a march. Also,Cyprien Boyer was a French organist andcomposer of religious material (c. 1852 - c.1924) but I am unable to hook him up withGarland of Flowers.Gate Mouth (Louis Armstrong)Black Eagle JB 1054New Yankee Rhythm Kings 1067Abi Hübner’s Low Down Wizards 1093Jean-François Bonnel & Friends 1104Lyttelton–Fawkes Troglodytes 1238See notes at Do What Ory Say.Gates Blues (Jimmy Wade)Back Bay Ramblers 1374Rec. Wade Dixielanders, 10/10/28, Vocalion1236, V-1029; Brunswick 80041.No copyright. Brunswick label confirms himby first-last name.Gee, [Baby,] Ain’t I Good to You(Don Redman–Andy Razaf)Kustbandet 12942011: Unanimous? Huh? Must look for sheetmusic or cy card.2013 review: Rust calls it “Gee, Ain’t I Good toYou?” Rec.McKinney’s C.P., 11/5/29, Victor V-38097, J-5208; Bluebird B-5205, B-10249, B-11590;HMV B-4967, JK-2155, K6950.Don Redman aho (as “Ain’t I Good to You?”),5/18/39, Victor 26266.Chu Berry, 9/41, Commodore 1508, 17302;Embassy 148.Aha! Copyright isAin't I good to you; words by Andy Razaf,music by Donald Redman. [Words andmelody only] © 1 c. Nov. 18, 1929; E unp.13345; Joe Davis, New York.Now what about the record labels?Victor Project says “Gee, Ain’t I Good toYou” by McKinney’s, based on record label.And actual V-38097 label confirms this.Library of Congress has 20 records with thistitle on them:6 x Gee Baby, Ain’t I Good to You5 x Gee, Ain’t I Good to You4 x Gee, Baby, Ain’t I Good to You?3 x Gee Baby Ain’t I Good to You1 x Gee Baby, Ain’t I Good to You?1 x Gee Baby, Ain’t I Good to YouYep, that sure makes it unanimous!It was copyrighted (unpublished) as simply“Ain’t I Good to You,” but it was “published”(the original McKinney’s record) as “Gee Ain’t IGood to You.”I expected I’d find that the “Gee Baby” hadcrept in from the lyrics, so I listened to it. Theline “baby, ain’t I good to you” is sung twice,just that way.So the “Gee,” got added to the record labelout of sheer fancy, and later recordings pickedup the “baby” from the lyrics and threw themin in all possible combinations of punctuation.The only one that adhered to the originalcopyright was Don’t Redman’s in 1939 (butI’m relying on Rust to have that right, althoughRHJA and Online 78 agree, but he did add thequestion mark.So I’ll go with the original “published” version,but put the Baby in as alternative title since itappears to frequently, especially in therecording that revived the song, by Nat KingCole, who also had the “Gee” in his lyrics.And it appears it was published as sheetmusic in 1944 with Cole on the cover as “GeeBaby, Ain’t I Good to You.” (I couldn’t find anyevidence of a sheet music issue in 1929.)Gee, It’s Wonderful (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Georgia Blues (W. Benton Overstreet–Billy Higgins)Leigh–Dapogny Mysterious Babies 1087Rec. Ethel Waters 5/22, Black Swan 14120,Paramount 12177. Again 6/7/29, Columbia14565-D.Lanin’s Arkansas Travelers, 5/24, OKeh 40124.Black Swan label confirms, as does OKeh,Copyright has was it presented as a very oddgenre marker:Georgia blues; lovesick moan, w BillyHiggins, m W. Benton Overstreet. of U.S.Mark bro. ed. © Sept. 15, 1923; 2 c. Sept.17; E 569381: Edward B. Marks music co.,New York.Georgia Bo-Bo (Fats Waller–Jo Trent)New Yankee Rhythm Kings 1015Tomas Örnberg’s Blue Five 1043Minerva JB 1117Jacques Gauthé’s Creole Rice YBJB 1170Grosz–Ingham Paswonky Serenadrs 1214Black Eagle JB 1346South Side Jazz Serenaders 1420Rec. Lil’s Hot Shots, 5/28/26, Vocalion 1037,Oriole 1009, Brunswick 80060 et al.Jelly James & His Fewsicians, 1/25/27,Gennett 6045, Champion 15216, Silvertone5023 et al.Aha:Georgia bo-bo; words and music by JoTrent and Fats Waller [pseud, of ThomasWaller] © Apr. 23, 1926; 2 c. Apr. 24; E637273; Shapiro, Bernstein & co., inc., NewYork.[and in copyright cat discovered Jo’s fullname is Joseph H. Trent.But how about this: Lil’s Vocalion label hadthe hyphen, but Brunswick 80060 did not. Soeither is acceptable, but let’s add it to matchthe copyright reg.Georgia Cabin (Mary E. Karoley–Sidney Bechet)South Side Jazz Serenaders 14201420 had just Bechet.Rec. Bechet’s N.O.F. 4/28/41, Victor 27904,HMV K-8664.Oops, found the Victor label: composers areMary E. Karoley-Sidney Bechet! Not in 1941-41 copyright books.

Georgia Gigolo (Spencer Williams–Howard Johnson)Rusty Taylor’s New Jazz Review 1186Des Plantes’ Washboard Wizards 1409ASM, 1929, Triangle.Georgia Grind (Ford T. Dabney)Wally Rose 1057Red Rose Ragtime Band 1128ASM, 1915, Jos. W. Stern.Georgia Grind (Spencer Williams)Peruna Jazzmen 1003Pam Pameijer’s New Jazz Wizards 1350Georgia Grind [Palmer’s GeorgiaGrind] (Frank Melrose)Jim Snyder /Georgia Grinders 1068Grand Dominion JB 1189South Frisco JB 1240

and "Boy Friend." Kinkle agrees. It’s not inS&P or Lissauer. I’d say it’s likely.--4>8/20/30 copyright reg. has girl friend/boyfriend, as do practically all online sources.Girl on the Magazine [Cover], The(Irving Berlin)Bob Pelland & Bob Pilsbury 1232Canary Cottage Dance Orchestra 14151232 had “cover,” but 1415 had “The Girl onthe Magazine” - I tracked down the sheetmusic and found that that’s exactly right--the“Cover” is in the lyrics only. Will leave “Cover”here as an alternative form of title, since justabout everybody “knows” it that way.Girl Who Moved Away, The(David Thomas Roberts)Red Rose Ragtime Band 1412Plenty of online confirmations, including DTR’sown publications of his compositions.Girls Go Crazy, The [All the Girls Go Crazy][All the Whores Like the Way I Ride] (“BigEye” Louis Nelson Delisle))Canal Street JB 1005Butch Thompson & Hal Smith 1075Hal Smith’s Creole Sunshine Orch 1078Turk Murphy JB 1155Smith–Tyle Frisco Syncopators 1211In August 2002 I heard Marty Frankel cite acomposer for this song, which was the themesong of his Federal Jazz Commission. Iemailed him asking for details:I named the composer of “All the Girls GoCrazy” (actually it’s “All the Whores Like theWay I Ride”) as “Big Eye” Louis NelsonDelisle, a New Orleans clarinetist. Theinformation came from American MusicRecords, 10 inch LP No. 644, titled Bunk:1945-46. The album notes state: “‘All theWhores’ was composed by Bunk’s friendBig Eye Louis, who was one of the first totake a band into the Storyville red lightdistrict. In later years, Big Eye refusedrequests to play this tune because everyonehad forgotten how the third strain went.”According to bio on allmusic.com by ScottYanow, he later dropped his last name andwas known as just Big Eye Louis Nelson.I think it’s unlikely we’ll find a LC cy card onthis, but those liner notes sound pretty likely.Can anybody else confirm this story?This might be another title for which a (?)attribution is suitable.Give Me a Call (Steve Lane)Rusty Taylor’s Jazz Makers 1082Lane wasn’t on this session, but Taylor spentmost of her singing career with his SouthernStompers, so she’d certainly know if he wasthe composer. Lane himself recorded the tunein 1981.Give Me an Old Fashioned Swing(see Old Fashioned Swing)Give Me Your Telephone Number(J. C. Higginbotham)Golden State JB 1006Bob Helm’s JB 1310Rec. Higginbotham & His Six Hicks, 2/5/30,OKeh 8772; Hot Record Society 14; OdeonPO-67 et al.Confirmed by 4/15/30 copyright reg.Glad Rag Doll (Milton Ager–Dan Dougherty–Jack Yellen)Prague Jazzphonics 1236Ingham–Grosz Hot Cosmopolites 1323San Francisco Starlight Orchestra 1364Charleston Chasers 1376Barbara Rosene 1431

Burke. And see the Kinkle entries for JohnnyBurke and for Sonny [Joseph Francis] Burke.Copyright reg. 6/27/39 confirms Johnny.Go Home and Tell Your Mother(Dorothy Fields–Jimmy McHugh)Barbara Rosene 14315/7/30 copyright reg. confirms.Goanna March (Graeme Bell)Steve Waddell’s Creole Bells 1230Many confirmations, including earlyParlophone R.3445 label and a couple ofAussie web sites listing Australian jazzcompositions. Evidently first recorded in U.K.God Leads Us Along(George A. Young)Grand Dominion JB 1291

soul all human beings feel. That the lyricopening theme of the Largo shouldspontaneously suggest the words 'Goin'home, goin' home' is natural enough, andthat the lines that follow the melody shouldtake the form of a negro spiritual accordswith the genesis of the symphony.-- William Arms Fisher, Boston, July 21,1922.There's no break, there's no end,Jes'a livin' on;Wide awake, with a smileGoin' on and on.Some have written that "Goin Home" wasbased on a spiritual written by HarryBurleigh. But there is no evidence to supportthat claim, even though Burleigh knewDvorak. Instead, it is William Arms Fisherwho should be credited with adapting andarranging this song in "the form of a negrospiritual."Fisher described his song as: "a movingexpression of that nostalgia of the soul allhuman beings feel." Thus, it might besuitable for a funeral or any other occasion"of the soul."But, like the words of the song, the falseclaims for this beautiful and poignant songjust keeping"Goin' on and on."More recordings and copyrights:1923 Edna Hicks, acc. by Porter Grainger,Ajax 17012 (from Lord, wasn’t in Rust)1923Goin' home; words and melody by PorterGrainger and Bob Ricketts [of U.S.], arr. byP. Grainger. © 1 c. Apr. 20, 1923; E 561756;Zipf music pub. co., New York.Article on Porter Grainger confirms this as thesong that Edna Hicks recorded, also the 1924song by Rosa Henderson.1924 Rosa Henderson Emerson 107471928 Joe Venuti’s Blue Four OKeh 41251,Vocalion 3043. Credit on the OKeh isBloom-Lang-Venuti, but not in copyrightbooks.1928I'm goin' home ; negro spiritual, by ClarenceCameron White, arr. by Chas. J. Roberts[pseud, of Charles Kraushaar]; full orch.,with pf. conductor. © Sept. 21. 1928; 2 c.Nov. 19 : E—Pub. 774; Carl Fischer. inc.,New York. 23660Not sure what to make of this: The “spiritual”version of Dvorak’s melody is the one byFisher, but his lyrics repeat the line “I’m goin’home” over and over, so his version ends upgetting referred to frequently as “I’m Goin’Home.”1934 Boswell Sisters Brunswick 6951. Creditis Fisher-Dvorak--and it sure sounds like aspiritual to me. They’re singing Fisher’slyrics.1937 Tommy Dorsey Victor 25600. Rust:“Adapted from Largo—2nd movement ofSymphony ‘From the New World’ by AntonDvorak, arr. by Carmen Mastren).” Actually,the credit on that record is Dvorak--Arr. byDorsey & Mastren.” Makes it swing a lot.1940-45 Glenn Miller on several radio showslater issued on LP/CD. Miller’s version muchcloser to the Dvorak original, with stringsection.1944 Woody Herman Coral CRL56090,Brunswick BL54024, Ajax 2311947 Wynonie Harris & Big Joe TurnerImperial (French) 1561311949 Art Tatum Capitol H-269 (10" LP?)c. 1952 Argo Singers Trumpet 1631952 Lynn Hope Alladin 31341952 Harry James Columbia 39846, Ajax C-6611952 Sharkey Bonano Storyville (Denmark)SLP-6015. Found the first 20 seconds or soof this online, doesn’t sound like our tune.And LCSONIC says the credit for the Capitol1452 78 release is Mares-Stitzel-Vidacovich.1953 Ken Colyer Decca (UK) LF-1152,reissued many times, including Lake LPsand CDs My Lake CD reissue carries acredit of Dvorak/Colyer, which matches whatRouse saw on an earlier LP reissue.1955 Ken Colyer Live recording in Dusseldorfevidently issued first on Upbeat (UK) URCD-1801955 for BBC, issued on Upbeat (UK) URCD-111, URCD-1731956 Jack Teagarden Capitoll T-820, MosaicMD4-168 (CD)Many more recordings in Lord after this invarious genres.Actually turned out to be easy enough, sinceColyer himself never claimed more than creditfor rearranging the old Dvorak warhorse.Goin’ Out in a Blaze of Glory(Ted des Plantes)Des Plantes’ Washboard Wizards 1409Goin’ Places (Joe Venuti–Eddie Lang)Andy Stein & Friends 11461146 said just Venuti.Rec. Venuti 5/4/27, OKeh 40825; ParlophoneR-2632, R-3352; Odeon 193014, A-189141.Odd: the flip side, “Doin’ Things,” recorded atthe same session, is in 1927 copyright book,but not this one, nor in 1926 or ’28.Several sources say Venuti-Lang . . . Aha,found the OKeh 40825, and credit is indeedVenuti-Lang.Goin’ to Town (Burton Lane–Harold Adamson)Alex Hassan 1322From 1931 Earl Carroll Vanities, says Alex innotes. But the Internet Broadway Databasesays the title is “Going to Town with Me.” Theonly two “Goin’ to Town” songs I could findwere by Ellington-Miley and by HaroldMooney and Hughie Prince, also from 1931,but they don’t seem to have had any part inEarl Carroll Vanities 1931.But no, here it is:Goin' to town; from Earl Carroll vanities, 9thed., lyric by Harold Adamson, music byBurton Lane; with ukulele arr. by May SinghiBreen. © Oct. 1, 1931; 2 c. Oct. 3; E pub.25534; Metro-Goldwyn-Mayer Corp., NewYork.Gold Digger (Will Donaldson–Duke Ellington)Lande’s Rhythm Club Orchestra 1327Rec. Johnny Ringer’s Rosemont Orch (huh?),9/16/27, Gennett 6280; Superior 310;Champion 15366 (as Wally Spencer’sGeorgians).Gold digger; stomp or fox trot, by WillDonaldson and Duke Ellington, arr. by Ourgang; orch. 4to. © Aug. 13, 1927; 2 c. Aug.25; E 670985; Denton & Haskins music pub.co., inc., New York.Gold Dust (Twins) (Nat Johnson)Tom Brier 12748/18, Nancy Wyndham: Our original covershows Gold Dust in all caps, with Twins Rag insmaller caps beneath it, as Jasen & Tichenor’scover shows. The copyright page has GoldDust in all caps, with (Twins) in smaller, darkercaps beneath it. There are two black childrenon the cover.8/30: Ed Sprankle describes it just like Nancydid, i.e.,

GOLD DUST(TWINS)Looks like it’s really Gold Dust (Twins), then,but let’s see if Trebor comes up with anythingdifferent.9/3: Trebor mentions third line, a genremarker:GOLD DUST(TWINS)Rag – Two Step**this matches ASM, copy.Gold Rush Rag(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284He was guest conductor for the session, sohe’d know.Golden Lily (Tiny Parham)Jungle Crawlers 1084Pam Pameijer’s New Jazz Wizards 1281Rec. Parham 10/25/29, Victor 23426. FrankieFranko & His Louisianians (as “Golden LilyBlues”), Melotone M-12009; Polk P-9030;Biltmore 1037 et al.No copyright--typical for Parham., but Victorlabel and Victor Project confirm him..Gondolier, The (W. C. Powell*)Glenn Jenks & Dan Grinstead 1292ASM, 1903, W. C. Polla.Gone Daddy Blues (Ma Rainey)Down Home JB 1273Helm–Leigh Jazz & Blues Review 1331Rec. Rainey 8/27, Paramount 12526, 3; JazzCollector (UK) L-120.No copyright 1926-28. And Sandra R. Lieb, inMother of the Blues: A Study of Ma Rainey,goes on at great length about Rainey’scompositions and collaborations, mentioningdozens and dozens of lead sheets andcopyright entries she’s found at Library ofCongress. But in a list of Rainey’s recordedsongs including composer credits, this standsout as one of the few marked “untraced.”However, the Paramount label credits Rainey,so we can go with that.Gonna Get a Girl (Howard Simon–Paul Ash–Al Lewis)Ernie Carson & the Castle JB 1277Rec. Gilt-Edged Four in London 9/13/27,Columbia 4611; Lud Gluskin in Paris 6/21/28,Pathe X-8549; Jackie Souders aho in LosAngeles, 2/17/27, Columbia 905-D. Samesong? Evidently yes; Ted des Plantes’s linernotes mention Gluskin’s as the most notableearly recording of it. And sure enough:Gonna get a girl; words by Al Lewis, musicby Howard Simon and Paul Ash; pf. andukulele acc. © Feb. 10, 1927; 2 c. Feb. 15; E658270; Villa Moret, inc., San Francisco.Goober Dance (Lil Hardin)Pam Pameijer’s Classic Jazz Aces 1194Pam Pameijer’s New Jazz Wizards 1382Rec. Johnny Dodds 2/7/29, Bluebird B-10240;HMV JK-2138; Biltmore 1093; Victor 23396; etal.Not in copyright files 1928-30. Victor Projectconfirms. Bluebird B-10240 label agrees.Good Feelin’ Blues (J. V. DeCimber–Charles Boulanger)Back Bay Ramblers 1262

Magnolia JB 1016Turk Murphy JB 1161Golden Eagle JB 1192John Gill’s Dixieland Serenaders 1295Blue Rhythmakers 1373Rec. Maggie Jones, 12/17/24, Columbiaa14055-D; British Rhythm Society 6; JazzClassic 507.The copyright:Good time flat blues; w and m SpencerWilliams, of U.S. © Jan. 31, 1925 2 c. Jan.30; E 606863; Lincoln music co., New York.Everybody agrees that it’s also known as“Goodbye to Storyville,” but why? She singsabout how things have gotten tough and she’sgonna leave this town, but she doesn’t say“farewell” or “Storyville” in the lyrics. Ah, I see:They called it “Farewell to Storyville” whenthey used it in the 1947 film New Orleans.Good-bye Broadway, Hello France!(C. Francis Reisner–Benny Davis–Billy Baskette)Canary Cottage Dance Orchestra 1400Not in Rust. From The Passing Show of 1917,says Levinson. Copyright:Good-bye Broadway—hello France; wordsby Chuck Reisner and Benny Davis, musicbv Billy Baskette. of U.S. © 1 c. June 20,1917; E 408076; Leo. Feist, inc., New York.Our title matches copyright page of sheetmusic; cover is same but without theexclamation point.Goodnight, Angeline (Eubie Blake–Noble Sissle–James Reese Europe)Hall Brothers JB 1062Jimmy Mazzy & Eli Newberger 1109Independence Hall JB 1386Which was the case until . . .4/16/11 Audrey Van Dyke has three differentpublications of the sheet music. All bearcopyright date 1919 and were published byWitmark.1. has photo of Jim Reese Europe’sHellfighters band on cover--this appears to bethe oldest of the three pubs, but can’t tell forabsolute sure. NO COMMA, both cover andcy page.2. From Shuffle Along, which was staged in1921. COMMAS on cover & cy page.3. Generic looking cover with gal singer.COMMAS on cover & cy page.The comma is grammatically logical and twoof three editions have it; even if you can arguethat the “Hellfighters” edition without commacame first, you can argue that Eubie noticedhis mistake in 1921 and corrected it.The comma goes back!Goody Goody (Johnny Mercer–Matty Malneck)Tom Pletcher & the Classic Jazzband 1353Duke Heitger’s Big Four 1367ASM, 1936, De Sylva, Brown & Henderson.Goofus (Wayne King–William Harold–Gus Kahn)Delirium Tremolo 1177Confirmed by sheet music, Leo Feist, 1930.Goofy Dust (Bennie Moten)Down Home JB 1316Rec. Moten 11/29/24, OKeh 8184; Wax Shop109. But see also New Goofy Dust Rag ]typo“Now” on label], 7/18/29, Victor V-38091, HMVR-14374.Oops: No copyright in books 1923-25; nocomposer credit on OKeh label, and myreissue in Chronological Classics series sayscomposer is unknown. However, in liner notesto Toe-Tappin’ Ragtime (Folkways LP), DaveJasen does name Moten as composer.Now see this 1929 copyright:Now goofy dust; melody by Benny Moten. ©1 c. Dec. 26, 1929; E unp. 14934; Southernmusic pub. co., inc., New York.Found the Victor label, it is “Now Goofy Dust”by Benny [sic] Moten. (Rag is added as genremarker). And the Victor Project agrees, butspells Bennie right.Most references to the 1929 tune call it “New”(RHJA does not), but on what basis? Thecopyright, the Victor Project, and the recordlabel all say “Now.”But never mind that: I tracked it downbecause it is the same tune as “Goofy Dust,”just arranged more for band (the earlierversion featured Moten’s piano solo). Andsince we can definitely confirm Moten for theNow/New version, we can safely assigned himto the 1924 tune as well.Goose Pimples (Fletcher Henderson–Jo Trent)New Orleans Classic Jazz Orch 1145Marty Grosz’s Orphan Newsboys 1225Rec. Bix & his gang, 10/25/27, OKeh 8544;Columbia 35334, DO-2245; Parlophone R-127et al. Dixie Stompers, 10/24/27, Harmony 545-H. NO Owls, 10/26/27, Columbia 1261-D.Confirmed by 7/12/27 copyright reg.Got a Bran’ New Suit (Arthur Schwartz–Howard Dietz)Prague Jazzphonics 1236Paris Washboard 1359Rec. Armstrong aho, 10/3/35, Decca 579,Brunswick A-9931 et al. Tommy Dorsey,10/11/35, Victor 25173 et al. Fats Waller,8/10/35, Victor 25123 et al.Confirmed by 9/19/35 copyright reg., w.HD/m. AS, from At Home Abroad.Got a Great Big Date (with aLittle Bitta Girl) (Joe Sanders)Rent Party Revellers 12202013 review: rec. Coon-Sanders (as “Gotta,”says Rust), 7/26/29, Victor 22123. But he’swrong: Victor label is “Got a . . .” and VictorProject confirms.Copyright isGot a great big date, with a little bitta girl;words and music by Joe Sanders; pf. andukulele acc. © Aug. 1, 1929; 2 c. Aug. 5; Epub. 8087; Villa Moret, inc., San Francisco.which agrees with Tex’s sheet music and AlexHassan’s.Got Butter on It (Ikey Robinson)Jazz O’Maniacs 1046Hot Antic JB 1099Original Salty Dogs JB 1233

Got No Blues (Lil Hardin)Minerva JB 1117Mike Daniels’ Delta Jazzmen 1203Pam Pameijer’s New Jazz Wizards 1350Rec. Hot 7 12/9/27, OKeh 8551,Vocalion/OKeh 3204, Columbia 37536, et al.Got no blues; melody by Lill Hardin. © 1 c.May 10, 1928; E 690493; Consolidatedmusic pub. house, Chicago.John Gill also reports 5/10/28 copyrightdeposit, showing Lill Hardin.Got No Time (Gus Kahn–Richard A. Whiting)Barbara Rosene & Her New Yorkers 1422Confirmed 3/23/25 copyright, also sheetmusic.Got to Cool My Doggies Now (Got toCool My Puppies Now)(Bob Schafer–Babe Thompson–Spencer Williams)John Gill’s Original Sunset Five 1126Neville Dickie 1269And now we know why the confusion. ASMcopy (1922, Clarence Williams) hasGot to Cool My Doggies Now(Got to Cool My Puppies Now)(c) is like this, cover doesn’t have parens, butsecond line is much smaller.Gothenburg Rag (Peter Lundberg)Jack Rummel 1118Written by Swede Lundberg in 1966 after tripto Missouri in 1963, says Rummel. Pub. OakPublications, NY, he says. No 1965-66copyright. Lots of online confirmations, andpublished in 2nd ed of They All PlayedRagtime.Gotta Be, Gonna Be Mine(Fats Waller–Andy Razaf)Neville Dickie 1397Rec. Washboard Rhythm Kings, 12/14/32,Vocalion 1729, Decca F-3781, Brunswick A-81318, A-86017.Confirmed by 7/29/32 pub. copyright reg.Gotta Darn Good Reason Now(for Bein’ Good) (Milton Berle–Leonard Wilson–Doris Tauber)Back Bay Ramblers 12621262 had “Gotta Darn Good Reason Now” byDe Priest Wheeler-Lammar Wright.Frank Powers in notes says first rec. by CabCalloway under his own name, 1930, byWright, his trumpeter, and Wheeler, histrombonist.Oops, Rust says it’s got subtitle (for Bein’Good). Cab Calloway, 7/24/30, Brunswick4936, Lucky 5001. Rust also mentions (asdoes the extensive published Brunswickdiscography), that the original pressing of4936 was by The Jungle Band, but laterpressings were by Cab Calloway and HisOrchestra.But here’s what the copyright catalog has:Gotta darn good reason now for bein' good;lyric by Milton Berle and Leonard Wilson,music by Doris Tauber; pf. and ukulele acc.© Aug. 7. 1930; 2 c. Aug. 30; E pub. 17506;Mills music, inc., New York.An extensive search found at least five copiesin online collections or in the hands of privatecollectors. All were the early pressing by theJungle Band and all did indeed credit Berle-Wilson Tauber. (And had the subtitle)Unless I can find a copy of the later CabCalloway pressing, we can speculate thatmight have carried the credit of Wheeler-Wright. If so, we can speculate that perhapsthose two did the arrangement of the Berle-Willson-Tauber song that Calloway recordedand were being rewarded for that with credits.That certainly would account for all the onlinerefs to the recording that show Wheeler-Wrightas composers.But that really wouldn’t deter us from using theBerle-Wilson-Tauber credit: It was thecopyright credit, and it was the credit on theoriginal record release. That other credits gotput on a later release shouldn’t change that--although, if I were indeed to learn for sure thatthe later Calloway label carried the othercredits, it would merit a note in this entry toindicate that fact.The merriment continues: The credit on theBritish release (Brunswick 01574, as CabCalloway aho) is Burns-Schilling!Gotta Feelin’ for You (Louis Alter–Jo Trent)Ingham–Grosz Hot Cosmopolites 1323Rec.Frankie Trumbauer (as “Got A . . .,” says Rust),5/21/29, OKeh 41252, Parlophone R-434 etal. OKeh label is Gotta.Hot Air Men (Phil Napoleon), 5/23/29,Columbia 1850-D, 5562 et al. 1850-D labelis Gotta.High Hatters, 7/11/29, Victor 22041, HMV B-5719. Victor label is Gotta.Reuben Reeves, 7/22/29, Vocalion 15837.Teddy Joyce, 9/11/29, Harmony 1009-H.CopyrightGotta feelin' for you; from Hollywood revueof 1929, lyric by Jo' Trent, music by LouisAlter; pf. acc., with ukulele arr. by HankLinet. © May 27, 1929; 2 c. May 28; E pub.6348; Metro Goldwyn-Mayer corp., NewYork.Well, Rust indexes it under both titles, andsince the first release, by somebody asimportant as Trumbauer, had the variation, Isuppose we should include it.2013 review: have learned can’t always trustRust for getting record titles correct, so let’slook for them directly [notes inserted inrecording list above].And sure enough, Rust had it wrong forTrumbauer, so there’s no need to respect the“Got a . . .” variant.Gouge of Armour Avenue, The(W. C. Handy)Red Rose Ragtime Band 1399Rec. Faye Barnes, 5-6/24, Paramount 12209.Rust also says it’s on p. 715, which would beFletcher Henderson in 2nd half of 1924, butit’s not there or anywhere else in Hendersonlistings. But Online 78 says Hendersonrecorded it 7/31/24, on Vocalion 14859, asession that Rust presumably intended toprint, but dropped it for some reason.6/30/24 copyright reg. confirms it, as doesHenderson’s Vocalion label.Grace and Beauty Rag (James Scott)Waldo’s Gutbucket Syncopators 1032Red Rose Ragtime Band 1360ASM, 1909, Stark, has (A Classy Rag) insmaller type under title on (c) page, but thatlooks closer to a publicity blurb/genre markerthan to a subtitle.Grampa’s Rag (William R. Hayes)River Raisin Ragtime Revue 1417Hayes is music director of the band, wrote thisin 2003.Grand Boubousse (Sammy Price)Trevor Richards New Orleans Trio 1222Record credited Price-Omer Simeon.Looks like Omer Simeon Trio, with SammyPrice & Zutty Singleton, rec. 1955, Jazztone J-1014 (10" LP).The 1955 copyright book attributes it just toSammy Price. Only mention of Simeon in thebook is for “Lagniappe,” which he and Pricedid collaborate on.I queried Butch Thompson (who was on therecord), who forwarded my query to Richards.He responded that the Jazztone label had nocomposer information, he credited Simeonbecause the titles on that LP were in CreoleFrench and he didn’t figure that Sammy Price,a Texan, would know French. No label, so wego by the copyright, drop Simeon.

Grandpa’s Spells (Jelly Roll Morton)Uptown Lowdown JB 1030European Classic JB 1070Fenix JB 1129Queen City Ragtime Ensemble 1138Down Home JB 1241John Gill’s Dixieland Serenaders 1304Paris Washboard 1326Le Petit Jazzband de Mr Morel 1344Chalumeau Serenaders 1394Rec. pno solo 7/18/23, Gennett 5218, Biltmore1069 et al. RHP 12/16/26, Bluebird B-2712,Victor 20431, et many al.Confirmed 8/20/23 copyright reg.Grass Is Always Greener, The (in theOther Fellow’s Yard) (Richard A.Whiting–Raymond B. Egan)Rosy McHargue 1253Dan Levinson’s Roof Garden JB 1361Rec. Fletcher Henderson, 7/21/24, Banner1388, Domino 370, Regal 9683, Apex 8233.Orig Memphis 5, 7/25/24, Columbia 186-D.Confirmed 6/25/24 copyright reg., w. Egan, m.Whiting. And the MTSU index listing shows itthat way too.Gravier Street Blues(Clarence Williams)Magnolia JB 1016Keith Nichols Cotton Club Orchestra 1210New Jazz Wizards 1244Albion JB 1249Black Eagle JB 1346Neville Dickie 1366Grand Dominion JB 1408

was originally called S.O.L. Blues, a title whichoffended the tender sensibilities of theproducers at Okeh records. As a result, TheHot Seven was convinced by thepowers-that-be to rerecord the tune a day laterwith new lyrics and the new title Gully LowBlues. S.O.L. Blues was not released untilyears later."On pattern of many other tunes in this list,shouldn’t we list all recordings of it at S.O.L.,with Gully Low in brackets, and entry at GullyLow saying see S.O.L.?Essex: yes, put AFTER composer.Bob, in telcon 8/3 you wanted to go withseparate entries because of differences inlyrics between the two titles. And in fact the1046 version has the "Gully Low" lyrics, while1043 is instrumental.However, most people, including musicians(e.g., Dave Ostwald), accept the explanationthat they’re the same tune, with the "GullyLow" version just a rerecording with cleanedup title and lyrics because of recordcompany’s squeamishness.I could see going either way here, but if wedo list them separately, I think we owe it tousers to have "(see also S.O.L. Blues)" at GullyLow and "(see also Gully Low Blues)" atS.O.L.--3>And John Gill reports 11/26/27 copyrightdeposit showing Louis.Note sent by Bill Haesler 6/4/13: be sure tosee this link when I get to this/these tunes:http://dippermouth.blogspot.com.au/2012/11/85-years-of-hot-seven-sol-bluesgully.html.The author of this very serious assessmentargues that the legend above is hogwash,since there’s nothing remotely risque in thelyrics that Louis sings on “S.O.L.” If it was thetitle that the OKeh producers objected to, itwould have been simple enough to change itfor publication. He argues instead that thethree takes on May 13, 1927, were simply notup to snuff, so they took another whack at itthe next day and got it right.Gundagai (see Along the Roadto Gundagai)Gut Bucket Blues (Louis Armstrong)Jacques Gauthé’s Creole Rice YBJB 1170Smith–Tyle Frisco Syncopators 1211Pam Pameijer’s New Jazz Wizards 1350Yerba Buena Stompers 1369Rec. Hot Five, 11/12/25, OKeh 8261, Columbia36152, et many al.Gut bucket blues; melody, by L. Armstrong.© 1 c. Apr. 30, 1926; E 640490; LouisArmstrong, Chicago.Gypsy Blues (Eubie Blake–Noble Sissle)John Gill’s Novelty Orchestra 1270Dan Levinson’s Roof Garden JB 1361Neville Dickie 1423ASM, 1921, Witmark.Gypsy Love Song (Slumber On, MyLittle Gypsy Sweetheart)(Victor Herbert–Harry B. Smith)John Gill’s Novelty Orchestra 1270Dan Levinson’s Roof Garden JB 1361Aha again: recheck of that sheet music sayssubtitle (Slumber On, My Little GypsySweetheart). This is cover, not copyrightpage, but it’s typeset rather than an artist’sdrawing, so probably can trust it. Aha, foundthe original 1898 sheet online at IN Harmony.In addition to cover, it has a separate lyricsonlypage, then the regular title-copyrightpage. All have the subtitle.Gypsy Without a Song, A(Duke Ellington–Lou Singer–Juan Tizol–Irving Gordon)Le Petit Jazzband de Mr Morel 1343Milano Hot Jazz Orchestra 1354

Waldo’s Jazz Entertainers 1377Conf. 3/15/30 from King of Jazz, w. Yellen/m.Ager.Happy-Go-Lucky You and BrokenHearted Me (Jack Murray–Al Goodhart–Al Hoffman)John Gill Sentimental Serenaders 1424CD had (And Broken Hearted Me) in parens assubtitle.Rec. Glen Gray Casa Loma, 5/10/32,Brunswick 6318 et al. Copyright:Happy-go-lucky you aud broken-heartedme; words and melody by Jack Murray, AlGoodhart and Al Hoffman. © 1 c. Feb. 27,1932; E unp. 52378; Phil Kornheiser, inc.,New York.Oh, rats: found the Brunswick label, which hadthe second part of title as subtitle, but omittedthe hyphen in broken-hearted. Only realanswer is to order the sheet music from MTSU(at a rate of $5 per hyphen--I”m mad!).OK, cover isHappy-Go-Lucky YouAnd Broken Hearted Mebroken across two lines, but in same fontexcept for And, which was much smaller..Copyright page isHappy-Go-Lucky YouAndBroken Hearted MeThe “And” is in smaller type, but main twolines are same, so I read this as one long title,not title and subtitle.Happy Mose (Phil Kussel)Lake Arrowhead Early JB 1365

That label is Harlem Hotcha, credits onlyJohnson as composer.Harlem Joys (Walter Bishop–Willie“The Lion” Smith–Clarence Williams)Louis Mazetier & François Rilhac 1218Paris Washboard 1391Les Red Hot Reedwarmers 1416Rec. Willie & the Cubs 4/23/5, Decca 7074,1144; Brunswick 02513. Confirmed by5/28/35 copyright reg., w. CW & WB/m. WS.Harlem Rag (Tom Turpin)Zenith Hot Stompers 1191Albion JB CD 1206Confirmed by 1899 sheet music.Harlem Rhythm Dance (ClarenceWilliams–Andy Razaf)Jacobi’s Bottomland Orchestra 1336Rec.Clarence Williams aho, 11/10/33, Vocalion2602--this label says Razaf-Williams. Oddly,missed in Rust index.Herman Chittison, 5-6/34 in Paris, BrunswickA-500439, 01960.Claude Hopkins, 1/11/34, Columbia 2880-D,Parlophone R-2283, A-3838. Very blurredphoto of Columbia label online showsWilliams and somebody. Parlophone labelis clear: Williams-Razaf.Oddly, not in copyright books 1932-36: howcould a publisher like Williams have missedcopyrighting it? Jasen’s notes to Folkwaysreissue LP cite Williams alone, no Razaf.Harlem Strut, The (James P. Johnson)Wally Rose 1057Neville Dickie 1176Paris Washboard 1182Neville Dickie & Louis Mazetier 1302The Harlem Strut, says Rust, rec. James P.8/21, Black Swan 2026; Paramount 12144,1409; Jazz Collector (UK) L-60.Indeed, the Black Swan label is The HarlemStrut. Couldn’t find Paramount 12144 label,but Paramount discography has the The, asdoes entry for that disc in LC SONIC.Harlemania (Dorothy Fields–Jimmy McHugh)Des Plantes’ Washboard Wizards 1409Rec. Ellington 2/18/29, Victor V-38045,Bluebird B-6306. Victor label confirms;strangely, not in copyright books 1928-35.Harlem’s Araby (seeIn Harlem’s Araby)Harmonica Dance (Billy Mayerl)Tony Caramia 1313One of his Three Dances in Syncopation.Confirmed by 3/12/30 copyright reg.Harmony Blues (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. Morton 3/19/30, Victor V-38135, 40-0121;HMV EA-3680 et al. Confirmed 7/18/30copyright reg.Harmony Blues (Bennie Moten)Keith Nichols & the Blue Devils 1387Les Rois du Fox-Trot 1429Rec. Moten 12/13/26, Victor 20406; HMV B-5302. Confirmed 5/18/27 copyright reg.Harp of the Winds, The (Billy Mayerl)Tony Caramia 1313No The on copyright reg.:Harp of the winds; by Billy Mayerl; pf. © July3, 1939; E for. 59830; Keith, Prowse & co.,ltd., London.Perfesser Bill shows it with The, as does theBilly Mayerl Society’s Mayerl discography.Alex Hassan confirms as well.Harry’s Tune (Remco van der Gugten)Fried Potatoes 1163He’s the reed player/bandleader, wrote halfthe tunes on the LP.Harvey (Hoagy Carmichael–Irving Mills)Des Plantes’ Washboard Wizards 1357

We’ve not included arrangers as composersanywhere else, so I don’t see how we can doso here.He Likes It Slow (W. Benton Overstreet)Carol Leigh & Jim Dapogny 1064Red Onions & Ottilie 1090Rec. Butterbeans & Susie, 6/18/26, OKeh8355. Trixie Smith, 12/25, Paramount 12336,Broadway 5006, Silvertone 3525 et al.Confirmed by 8/13/26 copyright reg.He Used to Be Your Man But He’sMy Man Now (Robert Kelly)Neville Dickie 1324Rec.Edith Wilson, acc. by her Jazz Hounds, incl.Johnny Dunn, 12/13/22, Columbia A-3787.Label says by Bradford, no comma.Lizzie Miles, 1/23, OKeh 8048. Label credit isKelly.Lena Wilson, 1/31/23, Pathe Aktuelle 020910,Perfect 12044. Perfect label credit is Kelly.Copyright has a comma:HE USED TO BE YOUR MAN, BUT HE'S MYMAN NOW; from the Plantation review,words and music by Robert Kelley [of U.S.]© Nov. 25, 1922; 2 c. Dec. 11; E 552686;Blues music co., New York.Columbia Master Book Discocgraphy has thecomma. BUT it is not on the Columbia A3787label, the first issue of the record.BUT wait a minute: Credit on Columbia A-3787 is Bradford. Perfect 12044 is Kelly. AndOKeh 8048 is Robert Kelly. All three with nocomma, no parens.Internet Broadway Database confirmsPlantation Review in summer 1922, includedEdith Wilson, and Johnnie Dunn as the“eccentric cornetist,” but says music by RoyTurk and J. Russel Robinson and makes nomention of this title. But those are openingnight credits, and we know that revues like thishad plenty of new songs interpolated intothem throughout their run.And aha, there’s a more complete review ofPlantation Revue athttp://www.keepingscore.x10.mx/plantationrevue1922.html.It mentions that the show included HawaiianBlues by Perry Bradford (above), and givesthis title as “He Used to Be Your Man (But He’sMy Man Now)” by Robert Kelly.And aha! This Kelly ends up in the 1922copyright book with two different spellings:He’s Kelly for “Bugle Blues,” also in this show,and Kelley for “He Used to Be” and “ThatDog.” It appears that Kelly is the most likelyspelling, so that’s what we’ll stick with.Bradford’s credit on the Edith WilsonColumbia has to be in error, probably as aresult of the fact that he wrote some of theother songs in the show and, primarily,published all of them. Bill Haesler found someinfo in Bradford’s biography that points thisway:Earlier today I went looking for the PerryBradford autobiography to see if he refers to"He Used to be Your Man But He's My ManNow"He does, in connection with a request fromSophie Tucker for "some man song you hadpublished [my emphasis]."And mentions:"He Used To Be Your Man—But He BelongsTo Me Now" [sic]"He's A Mean-Mean Man—But He's So GoodTo Me"and"He May Be Your Man—But He Comes ToSee Me Sometimes".No claim that he composed them.Head Hunter’s Dream, The (AnAfrican Fantasy) (Tiny Parham)Jungle Crawlers 1084Minerva JB 1117Red Rose Ragtime Band 1128Rec Parham 7/2/28, Victor 21553.Copyright doesn’t have a subtitle:Head (The) hunter's dream; melody by H. S.Parham. © 1 c. Aug. 1928; E 696848; H.Strathdene Parham, Chicago.But the Victor label has it!Headin’ for Better Times(Charles Tobias–Murray Mencher)John Gill’s Novelty Orchestra 1270Rec. Ted Lewis 1/12/31, Columbia 2378-D,2721D, CB-304 et al. Confirmed by 12/26/30copyright, w/m both.Heah’ Me Talkin’ (Lil Hardin)Mojo Jazzin’ Five 1086Pam Pameijer’s New Jazz Wizards 1395We had Heah before.Rec. Johnny Dodds Orch w/Lil on pno, 2/7/29,Victor V-38541, Bluebird B-10241 et many al.(OOPS: the Victor label is “Heah’ Me Talkin’.”And Victor Project confirms it. This is a donedeal. AND it matches the copyright entry:Heah' me talkin' ; melody by Lillian Hardin. ©1 c. Dec. 7, 1929; E unp. 14379; Southernmusic pub. co., inc., New York.Heah Me Talkin’ to Ya? [Hear MeTalkin’ to Ya] (Don Redman–Louis Armstrong)Black Eagle JB 1356Pam Pameijer’s New Jazz Wizards 1363

ASM, 1926, Consolidated Music.Copyright:Heebie jeebies; fox trot, words and music byBoyd Atkins and Richard M. Jones, arr. byChas. L. Cooke orch. 4to. © July 16, 1926; 2c. Aug. 6; E 645170; Consolidated musicpub. house, Chicago.What? Did I overlook Jones when I checkedthat sheet in Audrey’s collection in June 2011?But see this old note from Vince Saunders,sent when the Heebie Jeebies first startedpiling up:Boyd Atkins, 1926 (I have sheet music).There was a recording by Tommy Ladnierwith Lovie Austin’s Blues Serenaders(Paramount 12283) in 1925 of a tune withthe same title but a different melody andarrangement--this is the one that Art Hodesdid on SOS 1184, not Boyd Atkins’s tune.Surely if Vince had the sheet music, hewouldn’t also have overlooked a co-composer,would he? No. 6/14/13 he double-checked,says Consolidated, 1926, w & m Atkins, nomention of Jones. Also, “A Rube Bennettarrangement,” no mention of Chas. L. Cookeas in the copyright.And the Armstrong/Hot Five labels had onlyAtkins. For some reason, between the filing ofthe copyright and the later recording of thetune and publishing of the music, Jones wentbye-bye.7/3/13 Audrey confirms that 1926 sheet hasAtkins only, points out that the copyright Icited was for an orchestration, not the originalcomposition, so perhaps Jones hadsomething to do with that.Heebie Jeebies (Tommy Ladnier)Art Hodes Blues Serenaders 1184Rec. Lovie Austin (w/Ladnier in group), 4/25,Paramount 12283, Silvertone 3551, JazzCollector (UK) L-64. Paramount & JC labelscredit Ladnier, but I couldn’t find a Ladniercopyright 1924-27.Heebie Jeebies (Harry Reser)Howard Alden with Dick Hyman 1200

“Hello Montreal” (but surely it’s more likelythat a researcher would have droppedpunctuation rather than making it up).The Brunswick discography says thatDenny’s recording also was “Hello, Montreal!”The New Harmonians Harmony label is“Hello Montreal!”So it was copyrighted by longer title earlyMarch 1928, but then recorded and released(and recopyrighted) by the two-word title, withpunctuation at the whim of the record label. Isay let’s use both the punctuation marks ingay abandon.Hell’s Bells and Hallelujah(Arthur Young–Val Valentine)Andy Stein Blue Five 1390Rec. Venuti in London 9/20/34, RegalZonophone MR-1452, Columbia DO-1317 etal.Not in copyright books 1933-35. Butamazingly, I found the Regal Zonophone label,and it credits “Young & Valentine.” All Musicsite has those first names. And I found othercopyrights by the two, so we’re OK.Hen Cackles (Harry Reser)Howard Alden with Dick Hyman 1200Confirmed 4/21/33 copyright reg.Henderson Stomp, The(Fletcher Henderson)Keith Nichols Cotton Club Orchestra 1275CD had just Henderson StompRec. Henderson (as The HS, says Rust),3/11/26, Columbia 817-D, 4421, DB/MC5030,J-132; Nipponophone 17150. 1940 rec. byGoodman without The.Copyright 12/18/26 as The Henderson Stomp.AND that’s the title on Columbia 817-D.Here Comes Emaline (Charles O’Flynn–Fred Phillips–Al Sherman)Steve Waddell’s Creole Bells 1348Joe Candullo, 5/17/26, Harmony 208-H.Calif. Ramblers 5/19/26, Pathe Aktuelle 36459(as Palace Garden Orch), Perfect 14640.Rec Buffalodians 5/24/26, Columbia 665-D.Confirmed by 2/1/26 copyright reg., w&m all 3.Here Comes Marjorie(Henry Woode–Bennie Moten)Back Bay Ramblers 1355Rec. Bennie Moten 10/21/30, Victor 23391.Copyright:Here comes Marjorie ; melody, HenryWoode and Bennie Moten. © 1 c. June 5,1933; E unp. 72926; Southern music pub.co.,incAnd we screwed up and spelled it Bennysted of Bennie.Here Comes My Blackbird(Jimmy McHugh–Dorothy Fields)West Jesmond Rhythm Kings 1255Keith Nichols Cotton Club Orchestra 1320Confirmed by 12/8/28 copyright reg, w. DF/m.JM, from Blackbirds of 1928.Here Comes the Band (see Bring Onthe Band)Here Comes the Hot Tamale Man(Fred Rose–Charlie Harrison)Swedish–American Hot Jazz Collab. 1136John Gill’s Novelty Orchestra 1270Chris Tyle’s Silver Leaf JB 1311Rec. Cookie’s Gingersnaps, 6/22/26, OKeh8369. Then Cook’s Dreamland Orchestra(with ! on title), 7/10/26, Columbia 727-D.Coon-Sanders, 3/9/26 for Victor was rejected.Copyright isHere comes the hot tamale man; w andmelody Fred Rose and Charlie Harrison. © 1c. Feb. 26, 1926; E 633822; Leo Feist, inc.,New York.OKeh label has no parens, no !, Columbiadoes have the !, no parens in title.Victor ledgers for 3/9/26 recording also noparens, no ! Guess we stick with that.Here or There as Long as I’m with You(Benny Davis–Jesse Greer)Barbara Rosene & Her New Yorkers 1393Rec. Annette Hanshaw (as just Here or There),2/2/27, Pathe Aktuelle 32235, 11433; Perfect12314. Perfect label confirms short title.Copyright is short too:Here or there; words and melody by BennyDavis and Jesse Greer. © 1 c. Nov. 24,1926; E 652102; Irving Berlin, inc., NewYork.But MTSU listing for it is the long title. I cansmell this already: I’ll bet that the “as Long asI’m with You” is on the cover, but not thecopyright page. But no, Alex has the sheetand cofnrims it’s one long title both cover andcopyright page.Here Lies Love (Leo Robin–Ralph Rainger)Terry Waldo’s Gotham City Band 1201Confirmed by 7/6/32 copyright reg.He’s a Colonel from Kentucky(Charles Tobias–Jack Scholl–Murray Mencher–Abel Baer)Des Plantes’ Washboard Wizards 1325Rec. Clarence Williams, 1/17/34, Vocalion2629, Edison Bell Winner (UK) W-121.Oops, no Baer in copyright:He's a colonel from Kentucky; fox-trot, wand m Charles Tobias, Jack Scholl andMurray Mencher; with ukelele arr. © Dec.29, 1933; E pub. 39860; Leo Feist, inc.BUT updated copyright adds him:He's a colonel from Kentucky; fox trot, wCharles Tobias and Jack Scholl, m AbelBaer and Murray Mencher. arr. Art McKay;orch. pts., with male trio arr. B. Faighes. Jan.26, 1934; E pub. 40241; Leo Feist, inc.___________ with ukulele arr. Rev. version.© Feb. 1, 1934; E pub. 40275; Leo Feist,inc.Couldn’t find label, but LCSONIC says all fourcomposers are on label.He’s a Cousin of Mine (Chris Smith–Silvio Hein–Cecil Mack*)Minstrels of Annie Street 1272

Oh, hell, the CD had Val Valentino, but it’sValentine. These same two guys wrote Hell’sBells and Hallelujah. 7/30/30 copyright reg.confirms it.He’s Not Worth Your Tears(Harry Warren–Mort Dixon–Billy Rose)Dry Throat Five 1151Les Red Hot Reedwarmers 1416Rec. Goodman, 11/7/30, Melotone M12023,Panachord P-12000. Jimmie Noone, 1/12/31,Vocalion 1580. Ben Selvin, 1/15/31, Columbia2381-D, Regal G-20963.No Rose on copyright:He's not worth your tears; words by MortDixon, melody by Harry Warren. © 1 c. Apr.19, 1930; E unp. 20562; Remick musiccorp., New York.But he got in later:He's not worth your tears; lyric by Mort Dixonand Billy Rose, music by Harry Warren. ©Nov. 14, 1930; 2 c. Nov. 19; E pub. 19253;Remick music corp., New York.And all three names are on alll three recordsHe’s So Unusual (Al Sherman–Al Lewis–Abner Silver)Back Bay Ramblers 1279Rec. Annette Hanshaw, 10/28/29, Harmony104-H. Hal Kemp, 10/30/29, OKeh 41326;Parlophone R-557, A-2915, A-89298. FredRich aho, 11/15/29, Columbia 2043-D, A-8308;Regal MR-14.Confirmed by 1/9/29 copyright reg.He’s the Different Type of Guy(Gideon Honore)Chicago Rhythm 1059Les Red Hot Reedwarmers 14251425 had had “He’s a Different...Rec. Jimmie Noone as the, 1/15/36,Parlophone R-2303, PZ-11115; Decca 18439,60379, M30859; Odeon 286228, OR-2303.Gideon Honore was pianist on the date.No copyright 1935-37. Brian Wright has itindexed in detail in his collection, confirms theand composer for the Decca 18439 disc.LC SONIC confirms the on the Parlophone R-2303 and Decca 18439, confirms Honore onDecca; no composer credit on Parlophone.He’s the Last Word (Walter Donaldson–Gus Kahn)Chicago Rhythm 1026Marty Grosz /Keepers of the Flame 1158Rusty Taylor’s New Jazz Review 1186Neely’s Royal Society Jazz Orch 1250Confirmed 1/18/27 copyright reg.; w. Kahn, m.Donaldson.Hesitating Blues, The (W. C. Handy)[same melody as Hesitation Blues(Oh! Baby, Must I Hesitate), byBilly Smythe–Scott Middleton,published at same time]Magnolia JB 1016Ray Skjelbred 1124Gauthé–Marquet Clarinet Serenadrs 1216Down Home JB 1264Yerba Buena Stompers 13812013 review: Copyrights?Hesitating (The) blues; words and music byW. C. Handy, of U.S. Memphis, Pace &Handy music co. © May 5, 1915; 2 c. June30, 1915; E 365270; William C. Handy,Memphis, Tenn.The very next day:Hesitation blues; or, Oh ! baby, must Ihesitate, words and music by ScottMiddleton and Billy Smythe, of U.S. © May5, 1915; 2 c. May 6, 1915; E 362252; BillySmythe music co., inc., Louisville, Ky.Then laterHesitation blues; one-step by Billy Smythe,of U.S. © Aug. 28, 1915; 2 c. Sept. 2, 1915;E 370180; Billy Smythe music co., inc.,Louisville, Ky.(Couldn’t find the last one in 1926-27)Well, with only one day’s difference in theircopyright dates, it’s hard to state for sure thatSmythe & Middleton stole it from Handy, ifHandy thought they’d done so, he’d havesued their socks off, wouldn’t he? Sounds likethat wandering musician wandered pastSmythe & Middleton as well as Handy andthat they independently came up with thetune.And Handy himself concedes that they cameup with it independently from him.Well, it seems unfair to give it all to Handy andshut Smythe & Middleton out entirely, thus theawkward formalation above.Hey! Hey! And Hee! Hee! (I’mCharleston Crazy) (R. Arthur Booker–Charles A. Matson–Irving Mills)Neville Dickie 1324ASM, 1924, Jack Miills. “and” is lower-casedon (c) page, but that looks silly, since it followsa strong punctuation mark.Hiawatha (A Summer Idyl)(Neil Morét*) [also published in songversion with lyrics by James O’Dea]Black Eagle JB 1091John Gill’s Dixieland Serenaders 1321New Century Ragtime Orchestra 1385River Raisin Ragtime Revue 1417

1903 sheet could mean that it’s a reissue toplug the singer that made it a hit, somethingthat happened all the time in those days.Hickory Smoked Rag (Trebor Tichenor)St. Louis Ragtimers 1267Tichenor is pianist with the Ragtimers, so theyshould know.High and Dry (Hoagy Carmichael)Keith Nichols Cotton Club Gang 1242Confirmed by 2/18/30 copyright reg.High Brown (James P. Johnson)Keith Nichols Cotton Club Orchestra 1320Confirmed 9/10/34 copyright reg. Foundpublished sheet music for sale (“excellentcondition”) for $300. Whew.High Fever (Joe Sanders–Charlie Harrison)Henry’s Bootblacks 11491149 has just Joe Sanders.ASM, 1926, Ted Browne; w. CharlieHarrison/m. Joe Sanders. Has two copies,one with photo of Scheuerman’s ColoradoOrchestra, another with Irving Aaronson & HisCommanders -- so where’s Coon-Sanders?But copyright is just Sanders:High fever; fox trot, by Joe Sanders, arr. byChas. L. Cook; orch. 4to. © Aug. 5, 1926; 2c. Aug. 30; E 645131; Ted Browne musicco., inc., Chicago.Harrison was cocomposer of Here Comes theHot Tamale Man with Cook, so there’s aconnection.Rec.Cookie’s Gingersnaps, 6/22/26, OKeh 8369.Label credit is Sanders.Cook Dreamland Orch, 7/10/26, Columbia813-D, 4338. Columbia 813-D credit isSanders.Sam Lanin, 8/20/26, Cameo 996. Label credit(LCSONIC) Joe Sanders.Fess Williams Royal Flush Orch, 11/18/26,Vocalion 1058, 15942.Coon-Sanders, 12/8/26, Victor 20461. Labelcredit is Charlie Harrison-Joe Sanders!Obviously, it started as Joe Sanders alone, butby the time Coon-Sanders recorded and it waspublished in sheet form, it had picked up lyricsby Charlie Harrison.High Jinks (Con Conrad–Jay Whidden)Chrysanthemum Ragtime Band 1123ASM, 1910, Leo Feist, by Whidden & Conrad--no first names. Copyright reads the sameway. British site has bio of Whidden, calls himAmerican bandleader who was a big hit inEngland. Real name James, but went by Jay.As a self taught violinist attuned toimprovisation it’s not surprising that hebecame enamoured of ragtime whichbecame the rage in America in the firstdecade of the twentieth century. At this timehe struck up a close and lasting friendshipwith composer/lyricist to be Con Conrad,born Conrad K. Dober, on 18 June 1891 inNew York.High Society (Porter Steele)Ray Smith 1012Louisiana Repertory Jazz Ensemble 1055Hal Smith’s Creole Sunshine Orch 1078Orpheon Celesta 1083Pam Pameijer – Duet /Trio/Quartet 1134Humphrey Lyttelton & His Band 1160Paris Washboard 1182Swedish Jazz Kings 1188Louisiana Repertory Jazz Ensemble 1197Black Eagle JB 1224Yerba Buena Stompers 1381Paul Asaro & Neville Dickie 1404

The cy card in LC says, “see under Chas. M.Alexander.” Claimant card from Alexandersays “w/m Charles H. Gabriel. 7/3/05.”12/28/03 followup: Story in today’s WashPostsays, “The words, by Civilla D. Martin....” Aha,web searches prove beyond a doubt thatCivilla Durfee Martin wrote the words, CharlesHutchinson Gabriel the music.]Hittin’ the Bottle (Harold Arlen–Ted Koehler)Hotel Edison Roof Orchestra 1169Confirmed by 7/14/30 copyright reg.; from EarlCarroll Vanities, 8th, ed.; w. TK/m. HA.Hobby-Horse Parade, The (Cliff Hess)Alex Hassan 13221322 said Hobby Horse Parade, but copyrightand Alex’s actual sheet music say it’s “TheHobby-Horse Parade.”Hobo, You Can’t Ride This Train(Louis Armstrong)Des Plantes’ Washboard Wizards 12901290 had exclamation point, creditedArmstrong and Onah Spencer.Rec. Armstrong aho 12/8/32, Victor 24200,Bluebird B-6501, Montgomery Ward M5041,HMV B-6315. Rust doesn’t show the !Copyright doesn’t square with 1290:Hobo, you can't ride this train; w and mLouis Armstrong, song version cho. rev.Clarence Gaskill; with ukulele arr. © Apr. 13,1933; E pub. 35840; Shapiro, Bernstein &co., inc.Well, the Victor 24200 label says justArmstrong. Ditto Bluebird. And neither labelhad an exclamation mark. In fact, I find thatOnah Spencer was a journalist specializing injazz around 1940, writing for the WPA FederalWriters’ Project, but I can’t find any evidencethat he ever composed anything.Des Plantes reports that he either took it off anLP reissue or Erdos did.Hobo’s Prayer, The (Boyd Senter–Walter Hirsch)State Street Aces 1011A big bunch of rcordings in Rust in early 1926,some with The, some without. Copyright isHobo's (The) prayer; lyric by Walter Hirsch.m by Boyd Senter. © Jan. 15, 1926: 2 c.Mar. 2; E 634858; Melrose bros. music co.,inc., Chicago.Hobson Street Blues (Bob Zurke)John Gill 1066Confirmed by 1940 sheet music.Hold Me (Little Jack Little–DaveOppenheim–Ira Schuster)Barbara Lashley & Ray Skjelbred 1152Confirmed by 1/18/33 copyright reg.Hold My Hand (Fats Waller–J. C. Johnson)Paris Washboard 1280Rec. Fats 4/12/38, Victor 26045; HMV EA-2296, JO-89 et al.Confirmed by 5/20/38 copyright reg., w.Johnson, m. Waller.Hold Up Rag, The (Egbert Van Alstyne–Edward Madden)Waldo’s Ragtime Orchestra 1069ASM, 1912, Jerome Remick; w. EM/m. EVA)Holding My Savior’s Hand(Yolanda Reed–Robert Anderson)New Orleans Rascals 1113Grand Dominion JB 1291{2013 review: Actually copyrighted with a The:Hole (The) in the wall; words and music byShelton Brooks. [Words and melody only] ©1 c. Nov. 30, 1928; E—Unp. 1905; ClarenceWilliams music pub. co., inc., Chicago.Rec. Sara Martin, w/Cl. Williams aho, 11/28,QRS R-7035. NO The on the record label.And note that Red Norvo wrote and recordeda tune of the same title in 1933.Hollywood Shuffle (Richard M. Jones)New Jazz Wizards 1244Rec. Jones 6/13/27, Victor 20812. Confirmedby 6/20/27 copyright reg.Hollywood Stars (Lothar Perl)Alex Hassan 1322Confirmed 8/12/32 copyright reg.Holy Moses (Cy Seymour*)David Thomas Roberts 1021Confirmed 1906 sheet music: Cy Seymour oncover, just C. on copyright page.Home Again Blues (Irving Berlin–Harry Akst)John Gill’s Original Sunset Five 1094Bob Pilsbury with Friends 1265John Gill’s Dixieland Serenaders 1295Neville Dickie 1423ASM, 1921, Irving Berlin.Home in Pasadena (Harry Warren–Grant Clarke–Edgar Leslie)Thompson, Smith & DeVore 1116Manhattan Ragtime Orchestra 1419

2013 review: We can do better than an LPreissue of a piano roll, can’t we? Rec. WallerRhythm, vcl by Fats, 6/28/39, Bluebird B-10346; Montgomery Ward M-8394; HMV B-10191 et al.Oddly, copyright reg. is indeed w. Kirkeby, m.Waller, 7/18/39; but a piano roll recordingwould have been a long time before that,wouldn’t it? LC SONIC also reports bothnames on Bluebird label.Honey Moon Rag (James Scott)Elite Syncopators 1358Confirmed by 1926 sheet music, pub. Stark.Beware there was a Honeymoon Rag byLawrence B. O’Connor in 1910, and anotherby Abe Olman in 1908.Honey Rag (Egbert Van Alstyne)Neville Dickie 1096Confirmed 1909 sheet music, pub. JeromeRemick.Honey, When It’s Sunny (CharlotteBlake–Arthur Gillespie–Collin Davis)River Raisin Ragtime Revue 1417No comma on CD, but 1909 copyright hascomma, and sheet music (pub. JeromeRemick) has no comma on cover but commaon copyright page.Honey Where You Been So Long?(Tom Delaney)Golden Eagle JB 1080Rec. Ma Rainey, 3/24, Paramount 12200, JazzCollector (UK) L-82. (no comma or Q mark inRust)Only thing in 1924 book is mechanicalreproduction claim:Honey where you been so long. © Chicagomusic pub. co., Chicago. Notice rec'd Aug.15. 1924; recorded, v. 6, p. 70.Paramount label is clear: no comma, yesquestion mark by Tom Delaney.Honeymoon Rag (Abe Olman)Down Home JB 1316Confirmed by sheet music, pub. 1908 by W. B.Morrison, Indianapolsi.Honeysuckle Rose (Fats Waller–Andy Razaf)Keith Nichols 1159James Dapogny & Butch Thompson 1183ASM, 1929, Santly Bros.; w. AR/m. FW.Honky-Tonk (A RhythmicalAbsurdity) (Billy Mayerl)Tony Caramia 1313Billy Mayerl Society discography saysPiano SoloPetty France, London, 11 October 1928WA 7968-2 Honky Tonk, A RhythmicalAbsurdity (Billy Mayerl) Col 5154Oops found the cover. Honky-Tonk big at top,then large drawing of guy whacking away onpiano. Two lines at bottomA Rhythmical Absurdity for the PianoBy Billy MayerlI would not call it a subtitle. But Alex says yesto hyphen, yes to subtitle.Honolula Rag, The(Egbert Van Alstyne)Red Wing Blackbirds 1018Chrysanthemum Ragtime Band 1123Heliotrope Ragtime Orchestra 1411We had Honolulu, which is what’s on thecover, but the copyright page is Honolula Rag,and that’s how it’s spelled in the lyrics; it’s arelatively common variation on Honolulu, sowe must presume it’s not just a typo. ASM,1910, Jerome Remick; w. HW/m. EVA.Honolulu Blues (Nat Goldstein–Maurice J. Gunsky)Red Roseland Cornpickers 11022013 review: This makes no sense. LP creditwas just Goldstein--from 1927 Red Nicholsrecording, said the notes. But clear back atthe 3rd edition in 1993 I changed it to LewGold–Sidney Caine–Eli Dawson with noexplanation. All I had was a parentheticalcomment about a different song with sametitle:Also a Honolulu Blues by w. Grant Clarke/m.Jimmy V. Monaco, 1916, Leo Feist (ASM)So what was I thinking of? Starting over . . .Rec.Russo & Fiorito’s Oriole Orch, 5/22/ Brunswick2398. Aha: label credit is Gunsky-Goldstein!Miff Mole’s Little Molers (incl. Red Nichols),9/1/27, OKeh 40984, Brunswick 8243 et al.OKeh credit is Goldstein.Jack Pettis (as New Orleans Black Birds),11/6/28, Victor V-38026, Bluebird B-7881.Victor V-38026 credits M. J. Gunsky-NatGoldstein, and Victor Project entry expandsit to Maurice J. Gunsky & Nat Goldstein.Red Nichols, 9/16/31, Brunswick 6198, 1233,A-9170. The 6198 and 1233 (UK) labelsboth say Gunsky-Goldstein.AND here’s the copyright:Honolulu blues; words by Maurice J.Gunsky, music by Nat Goldstein [of U.S.] ©Sept. 1, 1922; 2 c. Sept. 19, 1922; E 548083;Nat Goldstein music pub. co., SanFrancisco.Next question is where the hell I got Gold-Caine-Dawson. Maybe here: RHJA reportsthat Jack Chapman’s Drake Hotel Orchestrarecorded that title in 1923 on Victor 19237 withcredits Lew Gold-Sidney Caine-E. Dawson.AND Online 78 says the same thing. BUTthat’s a mistake--that label says Nat Goldstein.I can’t find any other evidence linking thosethree guys to that title, so I must presume I gotit from one or both of those sources 20 yearsago. And it’s been sitting here ever since, amonumental blunder.Mea culpa, mea maxima culpa.Honourable Hazard (Chris Herrmann)Bruno’s Salon Band 1251Herrmann was clarinetist/leader of the band.Hooking Cow Blues(Douglass Williams)Down Home JB 1300ASM has it too; it’s Douglas on the cover, butDouglass on (c) page.Hoola Boola Dance (Shelton Brooks)Des Plantes’ Washboard Wizards 1409Rec. Perry Bradford’s Jazz Phools, 2/24,Paramount 20309, Claxtonola 40309,Harmograph 912, Puritan 11309.Not in copyright books 1923-25. Couldn’t findlabel, but LC SONIC for Paramount 20309confirms our title & composer.Hoosier Sweetheart (Joe Goodwin–Paul Ash–Billy Baskette)Kustbandet 1294Rec. Goldkette, 1/31/27, Victor 20471, HMVEA-157 et al. Confirmed 1/26/27 copyrightreg., w/m all three.Hop Head (Duke Ellington)Charleston Chasers 1287Kustbandet 1294Rec. Ellington 3/22/27, Columbia 953-D, 4420;Parlophone R-2202 et al.Confirmed 7/12/27 copyright reg.Hop Off (Clarence Williams?–Fats Waller?–Joe Jordan?)Red Roseland Cornpickers 1153Keith Nichols Cotton Club Orchestra 12752013 review: Rec.Fletcher Henderson (as Louisiana Stompers),9-10/27, Paramount 12550. Label says byJoe Jordan!

FH aho, 11/4/27, Columbia 35670, BF-563;Parlophone R-2783, A-7397, PZ-11134.Columbia 35670 says Williams-Waller--andnotes that this take was unissued in 1927.Parlophone R-2783 also W-W.FH aho, 9/14/28, Brunswick 4119, 1004,A-8044, A-500389. 4119 label says Waller.Well, copyright is; by Clarence Williams: pf. © Jan. 23, 1928;2 c. Feb. 17; E 686068; Clarence Williamsmusic pub. co., inc., New York.Looked for later reregistrations adding othernames, which does happen, through 1930with no luck.Two of my Henderson reissues say justWilliams; third says just Waller. Grrrr!And for what it’s worth, the big multivolumereissue of Fletcher Henderson recordings putout by Columbia in 1961 credits Fats Waller-Spencer Williams for the 11/4/27 recording,didn’t even include the other two.Haesler reports:This copyright is not shown in TomLord's'Clarence Williams' book in Chapter17C: CWMPC Compositions Recorded ByOtherArtists, compiled from "a fewmiscellaneous sources."However, the title only is listed in Chapter17D: Compositions by Clarence Williams,Owned Ny CWMPC.But is not under Thomas 'Fats' Waller inChapter 17E: Selected list of ComposersAnd Compositions Od CWMPC.Does anybody have anything to contributehere? At this point, I think the prudent thing isto reject both Waller and Jordan asaberrations and go with the copyright:Clarence Williams.Hop-Scotch (George L. Cobb)George Foley 1088LP had Hop ScotchBrier says never published as single sheet,only in Melody magazine. And has hyphen,which agrees with most of the refs to it on theweb.Hopfrog (Humphrey Lyttelton)Creole JB 1051Humphrey Lyttelton & His Band 1160Black Eagle JB 1346Pam Pameijer’s New Jazz Wizards 1432Rec. by Lyttelton 4/26/50, Parlophone R3286,label confirms Lyttelton.Hoppin’ Mad (Humphrey Lyttelton)Pam Pameijer’s New Jazz Wizards 1432Rec. Lyttelton 9/25/51, Parlophone R3460,label confirms Lyttelton.Hors d’Oeuvre (Dave Comer)Marty Grosz’s Orphan Newsboys 1225CD was Hors d’Oeuvres.Rec. Ambrose, London, 1/4/35, Decca F-5375,F-7204; Brunswick A-9724 et al. Comer &Blanche, London, 4/15, Regal G-6936.Murray’s Ragtime Trio, Hayes, Middlesex,4/8/15, HMV C-399. And six of my otherrecordings of this tune show Comer--amazingin their unanimity.But oops, the copyright is singular:Hors d'oeuvre; fox trot by David Comer, ofEngland; piano. © Apr. 21, 1915; 1 c. Apr.23, 1915; E 351836; B, Feldman & Co.,London.And well, well, well: In yahoo chat group onnon-U.S. ragtime composers, we find:Hors d'oeuvre (fox trot)David ComerLondon; B. Feldman & Co., 1915[I have a photocopy of the original 1915sheet music I could scan]Many online refs to the Ambrose recordinghave it in the singular. Likewise refs. to Comer& Blanche recording. And Murray. AND Ihave recordings of it in singular by DickZimmerman, Lou Busch, and Brit. Geoff Love.Obviously Comer wrote it singular and it’sbeen changed to plural inadvertently bypeople (i.e., nearly all of us) who never see theexpression in the singular.Further research: No! The final “plural” s is anEnglish bastardization to begin with. FromWikipedia entry on the term:The French (singular and plural) is horsd’œuvre; in English, the œ ligature is usuallyreplaced by the digraph oe with the pluraloften written as hors d’oeuvres andpronounced the same.My God, the things you learn when you pokearound!Horse Feathers (Cliff Jackson–Marvin Smolev)Keith Nichols Cotton Club Orchestra 1320Red Rose Ragtime Band 1399Rec. Cliff Jackson Krazy Kats, 1/30/30, GreyGull/Globe 1839, Madison 5098, Radiex/VanDyke 923, Van Dyke 81839. (Good God, talkabout obscure!)Not in copyright books 1929-32. Chrono.Classics reissue says Jackson-Smolev forGlobe 1839. Madison label says Smolev-Jackson. And Van Dyke 81839 label isSmolev-Jackson!Horseshoe Rag (Julia Lee Niebergall)Wally Rose 1057ASM, 1911, J. H. Aufderheide; Horse Shoe oncover, but Horseshoe on (c). Also on 4/1/11copyright reg.Hot Aire (Elmer Schoebel)New Century Ragtime Orchestra 1385Les Rois du Fox-Trot 1407Confirmed by 10/8/25 copyright reg.Hot and Ready (Richard M. Jones)New Jazz Wizards 1244Rec. Jones Jazz Wizards 10/28, Paramount12705, 14001, Jazz Collector (UK) L-75, AF(Association Francaise...) A-050 .No copyright 1927-29. Paramount 12705label has no composer credit, nor doParamount 20928 (not mentioned in Rust) or14001, but all secondary sources say Jones.But, tellingly, neither of my Jones reissues hasa composer credit. Nor does it make sensethat Jones, both a composer and publisher,would fail to copyright one of hiscompositions.Haesler notes:The monograph “Richard M. Jones.Forgotten Man of Jazz” by ChristopherHillman and Roy Middleton (1997, CygnetProductions) includes a list of the "known"compositions of Richard M Jones. Hot AndReady (and It's A Low Down Thing) are notmentioned.Jones seems more and more questionable--atbest might cite him as a “maybe” (?)composer. Can anybody tie him to this tunewith a primary source?Hot Cabbage (Homer Denney)John Hancock 1025Confirmed 7/21/08 copyright reg.Hot Cinders (Joseph F. Lamb)Bob Wright 1239Matthew Davidson 1252Unpublished in his lifetime, posthumouslypublished in Joseph F. Lamb, RagtimeTreasures Piano Solos (New York, NY: MillsMusic, 1964), now out of print.And confirmed by 11/16/59 copyright reg.Hot Coffee (Bennie Krueger–Bartley Costello)West End JB 1042Rec. Five Musical Blackbirds, 3/26, PatheAktuelle 36404, Perfect 14585. Also couple ofLondon bands.Copyright isHot coffee ; fox trot, words by BartleyCostello, music by Bennie Krueger, arr. byMerle T. Kendrick. © Jan. 2, 1926; 2 c. Dec.

21, 1925; E 627852 Triangle music pub. co.,inc., New York.Costello (our old friend!) was on the recordlabel as well.Hot Fingers (Joe Gold)Tony Caramia 1209Confirmed by 10/15/25 copyright reg.Hot Hands (Charley Straight)George Foley 1088Down Home JB 1273ASM, 1916, Jerome Remick.Hot Heels (Jack Pettis–Al Goering–Irving Mills)Back Bay Ramblers 1355Rec.Dunk Rendleman & the Alabamians, 7/26/27,Gennett 6233; Universal 40103; Silvertone5052, 25052.Jack Pettis, 6/20/28, Vocalion 15073.Ed Lang aho 5/22/29, OKeh 8696, 41253;Parlophone R-596, 22429 et al.Irving Mills, 6/14/29, Cameo 9207, Lincoln3234, Romeo 1009.Confirmed by 4/16/29 copyright reg. Therewas also a “Hot Heels” in 1927 by Lee David-Billy Rose-Ballard Macdonald, which is whatDunk Rendleman recorded.Label of OKeh 8696 had only Pettis-Goering,Romeo 1009 had all three. .Hot-House Rag (Paul Pratt)Wally Rose 1057Yerba Buena Stompers 1418Les Rois du Fox-Trot 1434BUT ASM, 1914, Stark, is Hot-House on bothcover and (c) page.Hot Ivories (Ray Sinatra)Tony Caramia 1209Tony Caramia 1328Confirmed 4/11/27 copyright reg.Hot Lips (Henry Busse–Lou Davis–Henry Lange)John Gill’s Dixieland Serenaders 1295Bob Oliver’s Hot Seven 1312High Society JB 1396Le Petit Jazzband 1403

Hot Time in the Old Town, A [There’llBe a Hot Time in the Old TownTonight] (Theodore A. Metz–Joe Hayden)Ophelia Ragtime Orchestra 1108St. Louis Ragtimers 1267Down Home JB 1273ASM, 1896, Willis Woodward, as “A Hot Timein the Old Town,” m. Theo. A. Metz/w. JoeHayden.Also has 1897, same publisher, without lyricsorl yricist credit.Hotter Than That (Lil Hardin)Pierre Atlan’s Piccadilly Revelers 1181Bob Helm’s JB 1310Pam Pameijer’s New Jazz Wizards 1363Rec. Hot Five 12/13/27, OKeh 8535, Vocalion3237, Parlophone R-2704 et many al.Hotter than that; melody by Lill Hardin. © 1c. May 10, 1928; E 690496; Consolidatedmusic pub. house, Chicago.John Gill reports 5/10/28 copyright deposit,showing Lill Hardin.House of David Blues, The (BillyMeyers–Elmer Schoebel–Irving Mills)Down Home JB 1264Orig. Memphis Melody Boys, 5/30/23,Columbia A3923, Regal G8096.Broadway Syncopators, 8/14/23, Vocalion14670, Beltone 371, Guardsman 1425.The Virginians, 9/6/23, Victor 19140,Zonophone 3629.Synco JB, 9/14/23, Pathe Aktuelle 021075,Perfect 14178.Orig. Memphis 5, 10/25/23, Banner 1282,Regal 9573, Apex 8132, Imperial 1249.Greenwich Village Orch, 11/26/23, Paramount20288, Claxtonola 40288, Harmograph 886,Pennington 1288.Fletcher Henderson (as The House...),7/17/31, Banner 32733; Domino 127;Melotone M-12216, Oriole 2677; Perfect15753 et al.Labels: First recording, Columbia A3923, noThe. But of the 15 recordings I could find, 9had The, 6 did not.Copyright:House of David blues; by Billy Meyers,Elmer Schoebel and Irving Mills of U.S.;melody with piano acc. © 1 c. June 26,1923; E 563315; Jack Mills, inc., New York.But then later the The was added:House (The) of David blues; w and m ElmerSchoebel, Billy Meyers and Irving Mills, ofU.S. © Aug. 23, 1923; 2 c. Sept. 4; E570807; Jack Mills, inc., New York.Obviously, it could go either way, but since thecopyright was updated (evidently) for theexpress purpose of adding The to the title, weshould as well.House Rent Blues (The Stomp)[Copyrighted and published asThe Stomp (House Rent Blues)but recorded using the subtitle](De Koven Thompson–Will H. Hendrickson)Des Plantes’ Washboard Wizards 1325Le Petit Jazzband 1403On both CDs as “House Rent Blues (TheStomp” by Reginald DeKoven Thompson andWill H. Hendrickson.Rec. Monette Moore, 10/24, Ajax 17064.Bessie Smith, 7/23/24, Columbia 14032-D. Cl.Williams Blue 5, 11/14/23, OKeh 8171.According to Rust, only the Williams recordhad (The Stomp) subtitle.Couldn’t find any of the labels, but the usuallyreliable index at LC SONIC says composerTed Wallace on Columbia, DeKovenThompson on OKeh 8171 (and confirms thesubtitle).Ah, here it is:Stomp (The); house rent blues, words bvWill H. Hendrickson, music by De KovenThompson iof U.S. © Feb. 15, 1923; 2 c.Feb. 19: E 560145 ; Ted Browne music co.,Chicago.Note that De Koven split in this entry, but Ifound many others, and it jumps aroundbetween solid and split. Same is true of othersearches for his name.And aha: Found the cover at IN Harmony.Title is“THE STOMP”(HOUSE RENT BLUES)And it’s m. De Koven Thompson, w. Will H.Hendrickson. Ted Brown Music Co., 1923.So this is a quandary: It was copyrighted andpublished as “The Stomp” with a subtitle, butthe world, at least the jazz/blues world, knowsit the other way around. OK, we’ll keep itunder House Rent, but with an explanationand a cross-ref from real title.ALSO, the Reginald was a mistake from thestart. In searching the copyright books for ourguy, I learned that there was another veryprolific composer in the same years namedReginald DeKoven.How Am I to Know? (Jack King–Dorothy Parker)Ingham–Grosz Hot Cosmopolites 1323Copyright 8/9/29, from film Dynamite, w.Parker, m. King but no question mark oncopyright.MTSU listing shows the ? as do all the otheronline indexes, and it’s on the cover as well.How Can You Face Me? (Fats Waller–Andy Razaf)Butch Thompson /Berkeley Gang 1127Neville Dickie 1176Prague Jazzphonics 1236Paris Washboard 1261Neville Dickie 1397Rec. Rhythm 9/28/34, Victor 24737, BluebirdB-10143 et al.Couldn’t find a copyright entry 1933-35, butthese and other labels at LC SONIC agree ontitle and composers.How Could I Be Blue?(Dan Wilson–Andy Razaf)James Dapogny & Butch Thompson 1183Neville Dickie & Louis Mazetier 1302Des Plantes’ Washboard Wizards 1325We had Daniel Wilson, but...ASM, 1926, pub. by Clarence Williams. DanWilson & Andy Razaf. We also have DanWilson & Andy Razaf for “Mama Stayed Outthe Whole Night Long,” so he must be Danhere too.How High the Moon (Morgan Lewis–Nancy Hamilton)Baker–Baldwin Radiogram Wshbrds 1243Confirmed 1/30/40 copyright reg., w.Hamilton/m. Lewis, from Two for the Show.How Long How Long Blues(Leroy Carr)Golden State JB 1006Butch Thompson 10371006 was How Long, How Long Blues byLeRoy Carr 1037 was How Long Blues byLeroy.2013 review: Rust lists it under “How Long,How Long Blues,” has a zillion recordings,and notes, “There are several variations onthis title.” Also note that none of the LeroyCarr recordings are listed in Rust; I took themfrom Online 78. (In listing below, titlecharacterization after performer name is from

Rust; if it comes after record number, it’s fromthe actual label.)Daisy Martin, 8/1/21, OKeh 8009. (label “HowLong? How Long? (Absent Blues)”; thisevidently a different song--label sayscomposer is ? Everett White)Alberta Brown, 4/25/28, Columbia 14321-D.(label just “How Long,” no credit)Leroy Carr, 6/19/28, Banner 32557, Perfect215, Vocalion 1191 (label is How Long -How Long Blues, by Carr); 12/19/28,Vocalion 1241 (label is 5 words, no comma,credit Carr); 12/20/28, Vocalion 1279 (labelis 5 words, no comma)Benson Orch (5 words, no comma), 8/31/28 ,OKeh 8612.Sonny Porter, 10/5/28, Columbia 14366-D.(label “How Long — How Long Blues”; nocredit)Walter Barnes RoyalCreolians, 12/14/28,Brunswick 4187 (label 5 words, no comma,credit Carr)Tampa Red’s Hokum Jug Band (5 words, nocomma), 1/16/29, Vocalion 1258.Jed Davenport (5 words no comma), 9/19/29,Vocalion 1440, Supertone S-2229.Red Nichols, 6/11/31, Brunswick 6160 (label 5words, no comma, credit Carr), 01213, A-9117.Boots & His Buddies (in two parts), pt 18/14/35, Bluebird B-6132; pt 2 2/25/36,Bluebird B-6301 (label How Long? - part 2,no credit).Count Basie, 11/9/38, Decca 2355, Brunswick02762 (label 3 words, credit ARMSTRONG!)et al.; again 6/24/39, Vocalion 5010 (label 3words, credit Rushing-Basie!; again 7/24/42,Columbia 36710 (label 3 words, creditCARR).Peter Johnson (as How Long, How Long),4/16/39, Solo Art 12004, Circle J-1049.Jimmy Yancey (3 words), 4/39, Riverside RLP-1062 (LP) et al.Wingy Manone (3 words), 9/6/39, Bluebird B-10749.Varsity Seven, 1/15/40, Varsity 8173 (label 5words, comma, credit Carr-Williams), Elite5032 (5 words, no comma, no credit) et al.First recording 1921 (although that turned outto be another song), so I started looking forcopyright reg. that year. Nothing 1921-24.Found “How Long Blues” by Ted Nixon in1925. First Leroy Carr hit came in 1928:(1928)How long blues; words and music by LeroyCarr and J. M. Williams. [Words and melodyonly] © 1 c. Aug. 23, 1928; E 704111; Statestreet music pub. co., Chicago.(1929a)How long, how long blues; no. 3, by LeroyCarr, music by Leroy Carr and J. M.Williams. [Words and melody only] © 1 c.Feb. 13, 1929 E unp. 3712; State streetmusic pub. co., inc., Chicago.(1929b)How long how long blues; words and musicby Leroy Carr. [Words and melody only] © 1c. Aug. 1, 1929; E unp. 9438; State streetmusic pub. co., inc., Chicago.What are we to make of this? If the first 1929entry was no. 3, where was no. 2? In 1929b,did Carr revise it and remove the notes that J.Mayo Williams had contributed? That’s nutty.(No further entries through 1935)There’s a Leroy Carr specialty site on the webat www.wirz.de/music/carrfrm.htmSUMMARY:Obviously, there’s ammunition here for everyconceivable permutation on the title, and forcomposer credit of Carr-Williams or just Carr.But we do have evidence to push us gently(certainly not forcefully) toward How LongHow Long Blues by Carr: (1) That was thefinal copyrighted version, and (2) That was theversion on two out of three of Carr’s ownrecordings of it (at least the ones we can findlabels for).How Many Times? (Irving Berlin)Bob Pelland & Bob Pilsbury 1212Confirmed by 5/20/26 copyright reg., but noquestion marks or exclamation points incopyright books. Couldn’t find a copyrightpage, but cover and all the collection indexeshave the ? HSM has the ?How ’Ya Gonna Keep ’em Down onthe Farm? (After They’ve SeenParee) (Walter Donaldson–Sam M. Lewis–Joe Young)Ingham–Grosz Hot Cosmopolites 1237Down Home JB 1264Aha! On the cover the question mark comesafter “Paree” in the subtitle, but on thecopyright page, it’s the way we have it, after“Farm.” w. SML-JY/m. WD, Waterson, Berlin &Snyder, 1919.Howdy! (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.How’m I Gonna Do It (If I Don’tKnow What It Is That You Crave)(Bob Helm–Weldon Kees)Down Home JB 1217Rec. by Helm’s Riverside Roustabouts on 8October 54 for issue on Riverside RLP 2510.[This LP issued in England on London H-APB1039 in 1955.] A note on the DJML says thatall the tracks on this LP were Helmcompositions. Found the cover on eBay.Looks like might have been 10" LP, coverblurb says, “The San Francisco clarinet starplays his own jazz compositions with EverettFarey, cornet; Hank Ross, piano; BobThompson, washboard; Bill Stanley, bass.Text notes that “Ev Farey wrote an eight-piecearrangement of the tune and recorded it withhis Bay City Jazz Band for Good Time Jazz in1956.”Amazingly, found a copyright reg.:HOW’M I GONNA DO IT, IF I DON’T KNOWWHAT IT IS THAT YOU CRAVE; w & m RobertHelm & Weldon Kees (c) ContemporaryMusic, a division of Good Time Jazz RecordCo., Inc. 1Aug56 EU448798.Obviously, this copyright filed in conjunctionwith the 1956 version. I did not find anythingin the 1955-56 books.Huggin’ and Chalkin’ [A Huggin’and A Chalkin’] (Clancy Hayes–Kermit Goell)Bob Schulz & His Frisco JB 1288I have it by Tarnished Six as "A Huggin’ and aChalkin’"; by Bob Scobey (on reissue CD) as"Huggin’ and a Chalkin’"; by Southern Comfortas "Huggin’ and a-Chalkin’." Kinklealphabetizes under A, calling it "A-Huggin’ anda-Chalkin’" (date 1946).Erdos: Lissauer is probably mistaken; Hoagywrote and recorded his own similar songcalled "Huggin’ and Chalkin’" (no A’s). TheHayes-Goell song has the A’s.Baker: I find that very difficult to believe.Hoagy wouldn’t have to plagiarize; and Hayeswouldn’t dare plagiarize from somebody sowell known.Bruyninckx discography shows first recordingby Clancy Hayes Dixieland Band, Chicago,1960, for Audio Fidelity AFLP1937 as "Huggin’and Chalkin’."Great Song Thesaurus: Huggin’ and Chalkin’,1946, w/m Kermit Goell, Clarence LeonardHayes.Aha: Chris Tyle has the sheet music, reportsthat both the cover and copyright page show

"Huggin’ and Chalkin’." He agrees with myspeculation that the lyrics, which do indeedread "a-huggin’ and a-chalkin’," areresponsible for the title confusion.But certainly many do know it as "A-Huggin’and a-Chalkin’," and that title could/should befound under A rather than H (as Kinkle does),so we must have cross-ref from that title.--later----oh, no--Erdos telcon 8/14 says that John Gillhas the sheet, and it’s "Huggin’ and Chalkin’"on the cover but "A Huggin’ And A Chalkin’" oncopyright page. Johnny Mercer’s picture oncover. Tex Wyndham has same sheet,copyrighted 1946, confirms this. 1946 is dategiven in all indexes.But how could music being published for firsttime have picture of the person who was tomake hit recording of it? Tyle reports that hismusic was dated 1941, which I discounted atthe time--but maybe he’s right!8/17: And now, the Bamberger report:Your theory--that there were two versions ofthe same song--is indeed supported bycopyright records. But you’re not going tobe happy about the punctuation on thecards....On Aug. 31, 1946, Clarence Hayes andKermit Goell copyrighted "Huggin’ andchalkin." [no capital "C"] Another card,dated Nov. 7, 1946, noting "additional lyricsand changes in music" from the previousfiling, now records the song as titled "Ahuggin’ and a chalkin’." [that’s right--nohyphens!]So here’s the Baker theory as of Aug 17:Song originally published as "Huggin’ andChalkin’." Song recorded and was national hitby Carmichael/Mercer. Song republished withMercer’s picture on cover to take advantage ofthat hit recording. The "additional lyrics andchanges in music" probably were done tomake the new published version match therecorded version exactly.--4>8/22, Jim Riley quotes from Who Wrote ThatSong? by Dick Jacobs:Huggin’ and Chalkin’ (1946). Words &music by Clancy Hayes, Kermit Goell.Introduced by Clancy Hayes. Popularizedby Hoagy Carmichael, No. 1 chart record.Cover record by Johnny Mercer.Odd--if Hoagy had the No. 1 chart hit, why’dthey put Mercer’s picture on cover?Hula Lou (see New Orleans Hula)Hullabaloo (Robert Emmett Dolan–Walter O’Keefe)Henry’s Bootblacks 11492013 Review: Rec University Orch (SamLanin), 7/14/30, Gennett 7257, Champion16039, Silvertone 9744. McKinney’s CP,7/30/30, Victor 22511, HMV JF-24. And threeBrit. recordings.Oops, copyright isHullabaloo; from Three flights up, lyric byWalter O'Keefe, music by Bobby Dolen; pf.and ukulele acc. © Apr. 19, 1930; 2 c. Apr.21; E pub. 14946; M. Witmark & sons, NewYork.Dolen could be a typo; he’s in the same year’sbook for two other songs as Bobby Dolan andsix more as R. E. Dolan.He’s definitely Dolan, but used severalvariations on music: Bobby, Robert, or—andfar most often—Robert Emmett Dolan.Hum and Strum (Do, Do, Do, That’sWhat I Do) (Elmer Schoebel–Billy Meyers)Hot Antic JB 1058A bonus for Bob Erdos, lover of silly subtitles:ASM, 1928, Forster, has subtitle on both coverand copyright page:(Do, Do, Do, That’s What I Do)Hummer Rag, The (J. Rollie Bibb)Elliott Adams 1299Confirmed by Adams sheet music and 1917copyright reg.(I’ve Got the Words – I’ve Got theTune) Hummin’ to Myself(Sammy Fain–Herb Magidson–Monty Siegel)Chicago Rhythm 1026

Found sleeve cover for 45 on Pye-Vogue(evidently a French Pye record). It is listed asChris Barber JB, not Sunshine, rec. # is PNV24043, no hyphens. BUT oops, the recorditself credits Sunshine as composer.Also found Pye-Nixa (another foreign Pye) 78,rec. NJ.2011, also no hyphens, creditSunshine. But the Pye-Nixa 45, 7NJ.2011,credits Sunshine-Barber. But we’ve seenenough to keep it Hushabye/Sunshine.Huskin’ Time (A Rural One-Step)(George L. Cobb)George Foley 1088ASM, 1914, H. C. Weasner, has, on cover andcopyright page,(A Rural One-Step)I’m ambivalent on this one: It’s not anabsolutely plain vanilla genre marker, but it’san iffy subtitle. I’ve put it in for now.Hustlin’ and Bustlin’ for Baby(Harry Woods)Hall Brothers JB 1062Jim Cullum JB 1148Rec. Armstrong aho, 1/26/33, Victor 24233,Bluebird B-5173, Elektradisk 2067, HMV B-4978. Adrian Rollini aho, 2/14/33, Banner32699, Melotone M-12630, Oriole 2652,Perfect 15736, Decca F-3518 et al.Washboard Rhythm Band, 3/8/33, ColumbiaCB-611, DF-1262.Confirmed 1/7/33 copyright reg.Hyena Stomp (Jelly Roll Morton)Fenix JB 1129Trevor Richards NO Trio CD 1222Pam Pameijer’s New Jazz Wizards 1335Rec. RHP 6/4/27, Victor 20772, Biltmore 1059HMV JK-2760. Then in 1938 LC/Lomaxinterviews, Circle 8-55. Confirmed copyrightreg. 6/8/27.II Ain’t Gonna Give Nobody None o’This Jelly Roll (Clarence Williams–Spencer Williams)Wally Fawkes & His Soho Shakers 1144Neville Dickie 1324Newberger–Mazzy–Thompson 1352Bob Schulz & His Frisco JB 1349

Australia”--no indication it was printed there,but clearly was printed for distribution there.The verse of the above copies starts with the(to us) familiarThere’s a saying going ’round,And I begin to think it’s true,It’s awful hard to love someoneWhen they don’t care ’bout you.The chorus of both the above copies starts,I ain’t got nobody much,And nobody cares for me.(Try to sing that with the much in it--it justdoesn’t scan.)THREE. Another version of #2, essentiallysame cover, same Australasian Agents line;the cameo photo is some man; the publisheris still Frank K. Root. BUT the lyricist credithas changed from Graham to David Youngand the music credit from Williams to Chas.Warfield!.The cover and copyright pages are bothI AIN’T GOT NOBODY(And Nobody Cares for Me)The copyright credits at bottom of page havechanged just slightly:(c) 1914 by David Young(c) 1916 by Frank K. RootBritish copyright secured.The lyrics in the verse are strange to me:I had a sweetheart once I loved,And I was happy as could be,But now he’s gone and left me hereFor someone else you see.But the chorus has dropped the “much” andnow match what we’ve always heard:I ain’t got nobody,And nobody cares for me.The above three copies were in the earlierlarge format. Now comes, in small format,FOUR.I Ain’t Got Nobody(And Nobody Cares for Me)The credits are back to Graham-Williams. Thecover is a drawing of a woman in a paddedeasy chair. The copyright line is(c) 1925 by Triangle MusicPublished by Triangle Music.AND the lyrics have ended up with the oneswe know today:Verse is the originalThere’s a saying going ’round,And I begin to think it’s true,It’s awful hard to love someoneWhen they don’t care ’bout you.Chorus is the original minus the rhythmicallyoffending much (i.e., the David Youngmodification):I ain’t got nobody,And nobody cares for me.2013 review, provoked by what Haesler foundon the Wikipedia entry for this tune:Composer Charles Warfield claimed to haveoriginally written the song.[3] A copyrightentry from April 1914 credits Warfield withthe music, David Young with the lyrics, andMarie Lucas with the arrangement. The titleof the song is given as "I Ain't Got Nobodyand Nobody Cares for Me". Williams'scopyright entry from 1916 for the shorter titlecredits the composition to Williams andDave Peyton, and the lyrics to publisherRoger Graham.[4]Haesler also found a fascinating essay onWilliams the composer/collaborator/publisher/and possibly thief athttp://www.jazzstandards.com/compositions-2/babywontyoupleasecomehome.htm.That piece incidentally mentions that Warfieldclaims he was cheated out of “I Ain’t GotNobody” by Spencer Williams.Alas, I wasn’t able to look up all the copyrightswhen I was doing the research above, basedon sheet music.1914:I ain't got nobody and nobody cares for me;words by D. Young, music by CharlesWarfield, arr. by Marie Lucas. Melody only.© 1 c. Apr. 8, 1914; E 338070; David Young,New York.1915:I ain't got nobody much; words and musicby D. Peyton and S. Williams. © 1 c. Jan. 28,1915; E 355535; Dave Peyton & SpencerWilliams, Chicago, Ill. [BUT despite hisappearance in the copyright here and belowin 1916, Dave Peyton never made it onto thesheet music--wonder what that’s all about.]1916:I ain't got nobody; words by Roger Graham,music by Spencer Williams and DavePeyton, of U.S. © Feb. 7, 1916; 2 c. Feb. 21,1916; E 377653; Craig & co., Chicago.But two months laterI ain't got nobody and nobody cares for me;words by David Young, music by Chas.Warfield, of U.S. © Apr. 3, 1916; 2 c. Apr. 10,1916; E 379474; Frank K. Root & co.,Chicago.Was this Peyton & Warfield trying to reclaim/reestablish their rights to it? But then what isthis one all about?I aint got nobody; words and music by C. E.Brandon, of U.S. © June 21, 1916; 2 c. June24, 1916; E 388042; Syndicate music co., St.Louis. [Copyright is claimed on correction inmelody and changes in harmony]1917:I ain't got nobody much; jazz fox-trot, byWilliams, played by Victor Arden, of U.S.Rythmodik record music rolls, D 17102) ©Feb. 20, 1917; 2 c. June 9, 1917; E 405989;American piano co., New York. [Copyright isclaimed on interpretation.]But Williams cited as composer.[F. Henri Klickmann & Jack Frost copyrighted“I Ain’t Got Nobody Blues” in 1923]1925:I ain't got nobody and nobody cares for me;fox trot, w Roger Graham, m SpencerWilliams, of U.S.; pf. acc., with ukulele arr.,May Singhi Breen. © June 2, 1925; 2 c.June 1; E 618459; Triangle music pub. co.,inc., New York.1928:I ain't got nobody; words by Roger Graham,music by Spencer Williams. © June 20,1928; 2 c. June 19; E 693463; Trianglemusic pub. co., inc., New York.andI ain't got nobody; by Spencer Williams; pf.© Aug. 13, 1928; 2 c. Aug. 11; E 696964;Triangle music pub. co., inc., New York.1943 Renewals:I ain't got nobody; w Roger Graham, mSpencer Williams & D. Peyton. © DavePeyton, Chicago. R 116177, Mar. 11, 1943.andI ain't got nobody and nobody cares for me;song, w David Young. © Charles Warfield,Chicago. R 117040, Apr. 3, 1943. 193So here’s the story, as I reconstruct it:David Young & Charles Warfield wrote “I Ain’tGot Nobody and Nobody Cares for Me” in1914.Graham & Williams wrote “I Ain’t Got NobodyMuch” in 1915.Both versions were published in 1916, with thesecond phrase of the full Young-Warfield titleplaced in parens as a subtitle.Later (certainly by 1925 with the Trianglepublication)), it came out with the title weknow today [“I Ain’t Got Nobody (And NobodyCares for Me”], the Graham-Williams credits,and the Graham-Williams lyrics, the ones weassociated with the song today, with the muchremoved.Remember, titles can’t be copyrighted, so I’veelected to show the longer title that originatedwith the Young-Warfield version of the songwith the Graham-Williams credits, since it’stheir version of the song that we know today.

Actually, it appears that the chorus is the sameon both versions; it’s just the verse that’sdifferent. Now I’m wondering how much themusic itself is alike. If that too is the same, weshould at least create a credit like some otherswe’ve had here (by Williams-Graham, basedlargely on song of same title by David Young& Charles Warfield).Later Haesler did a careful analysis of all therecordings; only two carried the nameWarfield, and one of those (Ida Cox,Paramount 12334) sings the Graham verse.The simple fact is that it was the Graham-Spencer version that the world came to know.One site that specialized in earlier versionsmakes the point that Root published themboth to let them compete—and Graham-Williams won the competition.I Ain’t Takin’ Orders from No One(Fred Rose–Ted Shapiro)Fried Potatoes 11631163 said Ted Shapiro-Billy Rose.Oops, not in Rust--that’s odd. And oopsagain, copyright :I ain't taking orders from no one; words andmusic by Fred E. Rose, arr. by RubeBennett; pf. and ukulele acc. © Oct. 15,1927; 2 c. Oct. 17; E 678561; Milton Weilmusic co., Chicago.So Fred, not Billy. But did takin’ come fromlabel? What label and by whom? Ah, SophieTucker (thus not in Rust) on OKeh 41249 istakin’ according to Online 78. Only Okeh41249 label I could find is blurred but surelooks like composer credit is Rose-somebody.Aha, the Parlophone R-423 label of Sophiedoes look like Rose-Shapiro, also takin’—andit is clear that Ted Shapiro is on the piano!I Am Pecan Pete (Turk Murphy)Uptown Lowdown JB 1030From Bill Haesler on DJML"I Am Pecan Pete" was indeed composedby Turk Murphy. Its first outing on recordwas an LP made in Adelaide, Australia on 29>December 1978, 'OZ Turk'. (Jazz & JazzRecords 6357 903 with notes by Bill Haesler.Now available on a 2CD set 'Oz Turk Plus'BAC-07-2 with notes by the late RonHalstead).The Turk Murphy band was on a tour ofthe eastern Australian states and attendedthe 33rd Australian Jazz Convention inAdelaide as special guests. As they featured"I Am Pecan Pete" on several occasionswhile here, I have always assumed that thetune was, at that time, a recent composition.Therefore, I have always dated it at 1978.And Goggin’s book Turk Murphy on Recordhas talk with Turk about how/why he wrote it.I Believe in Miracles (Pete Wendling–George W. Meyer–Sam M. Lewis)Jean-François Bonnel & Friends 1131James Dapogny’s Chicagoans 1263Paris Washboard 1308Rec. Dorsey Bros., 12/21/34, Decca 335;Brunswick RL-225, A-9764.Wingy Manone, 3/8/35, Vocalion 2913,Brunswick A-999. Fats-Rhythm, 1/5/35, Victor24846, JA-489; HMV EA-1482, JK-2796.Confirmed by 10/31/34 copyright reg., w.Lewis, m. Wendling-Meyer.I Breathe on Windows (Billy Mayerl–Frank Eyton–Desmond Carter)Alex Hassan 1322From show Over She Goes, 1936, says Alex.Confirmed by 9/1/36 copyright reg., w. Eyton-Carter, m. Mayerl.I Can Beat You Doing What You’reDoing Me (Armand J. Piron–Clarence Williams)Des Plantes’ Washboard Wizards 1174We had Doin’ both places, butASM, 1916, Clarence Williams, has Doing bothplaces.And online I found an earlier copy, 1915 pub.by Williams & Piron, that matches this.I Can’t Believe That You’re in Lovewith Me (Jimmy McHugh–Clarence Gaskill)Ray Skjelbred 1097ASM, 1926, Jack Mills.I Can’t Dance (I Got Ants in My Pants)(Clarence Williams–Charlie Gains)Jacobi’s Bottomland Orchestra 1336

But here’s the copyright:I can't stop loving you; words and music byD. C. Nelson. [Words and melody only] © 1c. Nov. 21,1929; E unp. 13499; Davidson C.Nelson, New York.Dave wrote and copyrighted it, but forwhatever reason, Oliver got co-credit on thepublished record.(The country classic is Don Gibson, 1958.)I Didn’t Raise My Boy to Be a Soldier(Al Piantadosi–Alfred Bryan)Ian Whitcomb & His Merry Bands 1276ASM, 1915, Leo Feist; w. Bryan/m. Piantadosi.I Don’t Care (Jean Lenox–Harry O. Sutton)Canary Cottage Dance Orchestra 14151415 had Harry C. Sutton. Hmm, copyrightsays Harry O.:I don't care; words by Jean Lenox:; music bvHarry O. Sutton. C 90601, Mar. 15, 1905; 2c. Mar. 16, 1905.)(Did find H. O. Sutton several other times in1905 book, no H. C.)From The Sambo Girl, says Levinson, thesignature song of Eva Tanguay. However, theInternet Broadway database entry on SamboGirl says Harry C. But it’s wrong! IN Harmonyhas this and two other songs by Harry O.Sutton, one of them with Jean Lenox.Jerome Remick, 1905.I Don’t Know and I Don’t Care Blues(George Brooks*)Scaniazz 1038Neville Dickie 1324Rec.Edith Wilson, acc. by band with FH, 1/12/24,Columbia 14008-D, Diva 6025-G, VelvetTone 7051-V. (Velvet Tone had blues on title(says LC SONIC), Columbia might have:I Don’t Know and I Don’t CareBlues(George Brooks)Blues in same font as rest of title, so you couldread this as title or genre-marker.Viola McCoy acc. by Henderson, 4/18/24,Domino 364 (as Bessie Williams acc. byEmmett Taylor). Careful Black RecordingArtist discography says no blues, but Rusthas it.Trixie Smith acc. by FH orch, 5/24, Paramount12208, Silvertone 3534. Probably had blues.Fletcher Henderson, 5/21/24, Vocalion 14828,Silvertone 3024. LC SONIC for the Vocalionadds the (Blues) in parens, perhaps genremarker, perhaps on a second line line likeEdith Wilson.Oops, no “Blues” in the copyright:I don't know and I don't care; w and melodyG. B., of U.S. © 1 c. Feb. 25, 1924; E579770; George Brooks, New York.Ah, hell, just leave the blues on the title.Wasn’t in copyright but was on most of therecords.I Don’t Mind Walkin’ in the Rain (WhenI’m Walkin’ in the Rain with You)(Max Rich–Al Hoffman)Back Bay Ramblers 1374Barbara Rosene & Her New Yorkers 1422

So far, still solidly in the “unknown” column.I Don’t Want Your Kisses (If I Can’tHave Your Love) (Fred Fisher–Martin Broones)Paul and His Gang 1329Rec. Fred Rich, 7/26/29, Columbia 1979-D,01798. Jesse Stafford, 6/14/29, Brunswick4548. (Three other recordings, all rejected bytheir labels!)Copyright isI don't want your kisses if I can't have yourlove; words and music by Fred Fisher andMartin Broones. © June 7, 1929; 2 c. June10; E pub. 6622 ; Metro-Goldwyn-Mayercorp., New York.Aha: found sheet music on sale and displayedon eBay, from the MGM production So This IsCollege. No subtitle on cover, but definitelythere, in smaller type and parens, on copyrightpage.I Double Dare You (Jimmy Eaton–Terry Shand)Keith Nichols’ Hot Six 1063Peter Ecklund’s Melody Makers 1175M ’N’ M Trio 1319ASM, 1937, Shapiro, Bernstein.I Fell in Love with You(Henry “Red” Allen)Red Roseland Cornpickers 1153Des Plantes’ Washboard Wizards 1357Rec. Allen 7/15/30, Victor 23338; HMV B-4985,B-6426, K7171Only copyright in 1930 isI fell in love with you; words and melody byDonald Heywood. © 1 c. Feb. 25, 1930; Eunp. 17628; Southern music pub. co., inc.,New York.Two more in 1931, but neither by Red Allen.But RHJA, Online 78, German index all sayVictor 23338 is by Allen. Strange: LC SONIChas two recordings of it by Henry Allen Jr.,Gramophone B-4985 and B-6426, both creditHenry Allen Jr. as composer. Was Red AllenHenry Jr.? Yes, found his biography.I Found a Million Dollar Baby (in aFive and Ten Cent Store) Billy Rose–Mort Dixon–Harry Warren)John Gill Sentimental Serenaders 1424Oops, Hassan’s sheet music says m. FredFisher, w. Rose, 1926 Leo Feist.And that’s what the copyright says:I found a million dollar baby; words andmelody by Billy Rose and Fred Fisher. © 1 c.Aug. 19, 1926; E 645426; Leo Feist, inc.,New York.Aha, here’s the answer, in Wikipedia:The music was written by Harry Warren, thelyrics by Mort Dixon and Billy Rose. Thesong was published in 1931, though thesame lyric with different music had beenpublished five years earlier. It wasintroduced in the Broadway musical BillyRose's Crazy Quilt, which opened in May,1931, where it was sung by Fanny Brice.And sure enough, in the 1931 book:I found a million dollar baby, in a five and tencent store; from Billy Rose's crazy quilt, lyricby Billy Rose and Mort Dixon, music byHarry Warren. © May 4, 1931; 2 c. May 7; Epub. 22856; Remick music corp., New York.And according to Wikipedia, the 1931 versionis what took off, primarily from recordings byWaring’s Pennsylvanians and Bing Crosby,and we know that’s the version Gill sang onthis Crosby tribute CD.I Found a Round-a-bout Way toHeaven (Abner Silver–HarryRichman–Harry De Costa)Charleston Chasers 1287Record had “Roundabout” by Silver, Richmanand Leon DeCosta.Not in Rust--who wrote the liner notes for thisCD. Says barely noticed when came out in1926. But it was copyrighted, with hyphensand a different first name for De Costa:I found a round-a-bout way to heaven; w byHarry De Costa and Harry Richman, melodyby Abner Silver. © 1 c. Mar. 12, 1926; E635190; Irving Berlin, inc.., New York.And later in same book, a rereg. with nochanges (why?):I found a round-a-bout way to heaven;words by Harry De Costa and HarryRichman, music by Abner Silver. © Apr. 6,1926; 2 c. Apr. 7; E 635908; Irving Berlin,inc., New York.There is a Leon De Costa (not DeCosta) in the1926 books with four songs, but Harry DeCosta has six. AND the MTSU index has it,confirms hyphens and Harry.I Found You Out When I Found You In(Somebody Else’s Arms)(Charles O’Flynn–Phil Ponce)Back Bay Ramblers 1279CD was I Found You “Out” When I FoundYou “In” Somebody Else’s ArmsRec. Ted Weems, 9/21/28, Victor 21773, HMVB-5613. Tom Gerunovitch & His Roof GardenOrch, LA, 12/13/28, Brunswick 4179. Didn’tfind labels, but good evidence that Weemslabel was the way we show it (Victor Projectshows it that way, saying source is disc label)and likely is the source of our title), butGerunovitch is “I Found You Out When IFound You In (Somebody Else’s Arms).”MTSU omits quotes, 1928, A. J. Stasny.UMaine library has no quotes, implies that“somebody else’s arms” is subtitle. Pub.Ponce, 1924.The 1924 copyright isI found you out, when I found you insomebody else's arms; m Charles O'Flynn,of U.S. ukulele acc. w Phil Ponce; pf. and ©Aug. 26, 1924; 2 c. Aug. 25; E 595170;Philip Ponce publications, New York.1928 rereg. just loses the comma:I found you out when I found you insomebody else's arms; song, new lyrics byCharles O'Flynn and Phil Ponce; pf. andukulele acc. Rev. ed. © July 26, 1928; 2 c.Aug. 8; E 699200; A. J. Stasny music co.,inc., New York.Well, I bought the 1928 Stasny sheet musicfrom MTSU: It’s the piano part of anorchestration by Neil Roberts. The cover isI FOUND YOU OUTWHEN I FOUND YOU INSOMEBODY ELSE’S ARMSBut cy page isI Found You Out When I Found You In(SOMEBODY ELSE’S ARMS)And Hassan has the original sheet pub. byPonce, which was the same.I Get the Blues When It Rains(Harry Stoddard–Marcy Klauber)John Gill’s Calif. Sunshine Boys 1156Grand Dominion JB 1337Charleston Chasers 1376Here’s a strange one. ASM has three copies.1. credits Klauber & Stoddard; has photo ofJerry Sellers (?);(c) 1928 Forster Music.2. credits w. Klauber/m. Stodard; same coverdesign, but photo now is unnamed group ofmen and there’s a blurb: “Featured by Ford &Glenn.”(c) transferred 1929 to Forster Music(c) 1928 by Harry Stoddard(c) 1928 by Ford and Glenn.3. Same design, but photo now is Ford &Glenn; credits are Maide Weaver and Ford &Glenn.(c) transferred 1929 to Forster Music(c) 1928 by Ford & GlennThe dates are contradictory, but I’m guessingthis all means that Klauber & Stoddard wroteit; Ford & Glenn performed it, then bought it.Our listing can stay the same unless we learnsomething else.I Go So Far with Sophie and SophieGoes So Far with Me (see Sophie)I Got a Misery (Larry Yoell–Herb Scharlin–Al Jacobs)

Jimmy Noone Jr/Davies Rhythmic 5 1121Rent Party Revellers 1220Les Red Hot Reedwarmers 14359/10/96, LC copyright card confirms these plusHerb Scharlin. 1929I Got It Bad (and That Ain’t Good)(Duke Ellington–Paul Webster)Paris Washboard 1347ASM, 1941, Robbins; m. DE/w. PW showsI Got It BadAnd That Ain’t GoodOn both cover and (c) page.I Got the Stinger (Jabbo Smith)Scaniazz 1038Hot Antic JB 1044Rec. Jabbo 6/9/29, Brunswick 7120, JHCAHC-97. Confirmed by 10/14/29 copyright reg.and Brunswick label.I Got What It Takes (but It BreaksMy Heart to Give It Away)[I’ve Got What It Takes (It BreaksMy Heart to Give It Away)](Clarence Williams–Hezekiah Jenkins)Susan LaMarche/Waldo’s Gut. Sync. 1032Banu Gibson NO Hot Jazz Orch 1073Rusty Taylor’s Jazz Makers 1082Steve Waddell’s Creole Bells 12301st three as I Got, Waddell as I’ve got; both(but it breaks...)In Rust under I’ve Got... And if you lookaround, you’ll very commonly find both. Andit’s no wonder why:1. On May 13, 1929, Williams copyrighted it as“I've got what it takes, but it breaks my heart togive it away”2. Two days later, Bessie Smith recorded it onColumbia 14435-D as “I got what it takes (butit breaks my heart to give it away).”3. Then in October, Williams himself recordedit on OKeh 8738 as “I’ve got what it takes (itbreaks my heart to give it away).We’ll keep the Bessie version we had as theprimary title (it was, after all, the first“publication” of the song), but we must makenote of the fact that the composer himselfrecorded it under a slightly different title.(And note that in 1922, Lucille Hegaminrecorded the exact Williams copyright title onCameo 254, but that was a song by Turk &Robinson from Plantation Revue.). AND also in1925 there was “I've got what it takes, but itbreaks my heart to give it away, words &music by Charlie Jackson.I Got Worry (Love Is on My Mind)(Peter De Rose–Jo Trent)Back Bay Ramblers 1279HSM confirms subtitle; 1927, Broadway Music;w. Trent/m. De Rose.I Had Someone Else Before I Had You(and I’ll Have Someone After You’reGone) (Jack Stanley–Harry Harris–Joe Darcy)South Frisco JB 1035ASM has that sheet music too; 1924, LeoFeist.I Hate a Man Like You(Jelly Roll Morton)Newberger–Mazzy–Thompson 1352Rec. Lizzie Miles, acc. by JRM, 12/11/29,Victor V38571, Biltmore 1023. JRM in LC-Lomax interview, released on Circle 86-58.Confirmed by 1/2/30 copyright reg.I Hate Myself for Loving You(Billy Price*)Newberger–Mazzy–Thompson 1352Rec. Halfway House Orch, 4/26/28, butreleased only on VJM (Vintage Jazz Musiic)VLP-22.Confirmed by 11/22/26 copyright, which alsoconfirms our pseudonym listing.I Hate to Lose You(Archie Gottler–Grant Clarke)Down Home JB 1273ASM, 1918, Waterson, Berlin & Snyder; w.Clarke/m. Gottler. Cover has subtitle “I’m SoUsed to You Now,” but it’s not on thecopyright page.I Have to Have You (Leo Robin–Richard A. Whiting)Back Bay Ramblers 1355Barbara Rosene 1368Confirmed 11/13/29 copyright reg., w.Robin/m. Whiting, from Pointed Heels.I Just Want a Daddy (I Can CallMy Own) (Thomas A. Dorsey)Bob Oliver’s Hot Seven 1312Rec.Monette Moore, 1/23, Paramount 12028.Evidently no subtitle.Alice Carter, 6/1/23, OKeh 8076. Evidently nosubtitle.Chas. A. Matson Creole Serenaders, 7/30/23,Edison 51224. Label does have the subtitle.Maggie Jones, 8/23, Black Swan 14153,Paramount 12136. Evidently no subtitle.Copyright:I just want a daddy I can call my own; w andm Thomas Dorsey, of U.S. © July 20, 1923;2 c. July 26; E 568182; Jack Mills, inc., NewYork.OK, subtitle on copyright and at least onerecording, so we keep it.I Know Gabriel Hates That Music(Jean-Pierre Morel)Les Rois du Fox-Trot 1429Morel’s the cornetist/bandleader.I Know That My Baby Is Cheatin’ on Me(Chick Endor–Harry Steinberg–Eddie Lambert)Rusty Taylor’s Jazz Makers 1082Neely’s Royal Society Jazz Orch 1208And composers on 1208 were Endor-Steinberg.2013 review: Reminder: This wasmisidentified on 1082 as the Pollack-Yellen“Cheatin’ on Me” from 1925. This one is 1928,says Neely, rec. by Sophie Tucker (that’s whyit’s not in Rust). Confirmed 10/10/28 copyrightreg., w/m by both, and it’s Baby Is.But wait a minute: The Sophie Tucker labelColumbia 4995, British issue) confirms Baby Isbut says composers are Endor-Steinberg-Lambert; made in London with her pianist TedShapiro as Ted Shapiro aho (probably usingBritish musicians). I searched long and hard,

can find no evidence she ever did anotherrecording of it.And the copyright starts in London too:I know that my baby is cheatin' on me;words and music by Chick Endor and HarrySteinberg; pf. acc. with banjulele banjo andukulele arr. by Kel Keech. [Staff and tonicsol-fa notations]; © Oct. 10, 1928; 2 c. Oct.22: E—Pub. 452; Music pub. co., ltd.,London.But all the online citations of the song credit allthree. So who’s Lambert? Aha, it must beEddie, who collaborated with Endor andSteinberg on “If I Didn’t Miss You,” which wascopyrighted just two months after “I KnowThat My Baby Is Cheatin’ on Me,” also pub. byMusic pub co. London.I Know That You Know(Vincent Youmans–Anne Caldwell)Paris Washboard 1182Les Red Hot Reedwarmers 1416Confirmed 12/16/26 copyright reg., w. AC/m.VY, from Oh, Please.I Left My Sugar Standing in the Rain(and She Melted Away)(Sammy Fain–Irving Kahal)Marty Grosz /Keepers of the Flame 1158Confirmed by Alex Hassan’s 1927 sheetmusic, Waterson, Berlin & Snyder. w. IK/m.SF.I Like Bananas Because They HaveNo Bones (Chris Yacich)Terry Waldo & Bo Grumpus 1339

I May Be Wrong (but I ThinkYou’re Wonderful) (Henry Sullivan–Harry Ruskin)Don Ewell 1077Copyright isI may be wrong, but I tbink you're wonderful;from Almanac, words by Harry Ruskin,music by Henry Sullivan; pf. acc., withukulele arr. by Dan Dougherty. © Aug. 10,1929; 2 c. Aug. 12; E pub. 8314; Ager,Yellen & Bornstein, inc.. New York.That comma in copyright reg. normallyindicates that what follows is a subtitle, andthat’s the way the Wikipedia article on thesong treats it, also the MTSU index.I Miss My Swiss (My Swiss MissMisses Me) (Abel Baer–L. Wolfe Gilbert)Henry’s Bootblacks 1149Confirmed by Hassan sheet music, w/m both,1925, Feist.I Must Have It (Joe Oliver)Des Plantes’ Washboard Wizards 1290Red Rose Ragtime Band 1399John Gill’s Jazz Kings 1401Rec.Hociel Thomas, 4/6/25, Gennett 3006, Buddy8020.Sippie Wallace, 8/25/25, OKeh 8381.Oliver, 3/18/30, Victor V-38124, 62-0061.Ramona Hicks, 5/15/39, Bluebird B-8173.1930 copyright isI must have it; melody by King Oliver. © 1 c.June 5, 1930; E unp. 22880; Southern musicpub. co., inc., New York.Victor label confirms Oliver. The 1925 song ofsame name was by George W. Thomas.I Must Have That Man(Jimmy McHugh–Dorothy Fields)Chicago Rhythm 1059Rusty Taylor’s Jazz Makers 1082Keith Nichols 1159Moonlight Broadcasters 1193Confirmed 6/9/28 copyright reg., fromBlackbirds of 1928.I Need Lovin’ (James P. Johnson–Henry Creamer)Chicago Rhythm 1059New Yankee Rhythm Kings 1067Jimmy Noone Jr/Davies Rhythmic 5 1121Dry Throat Five 1151Paramount JB of Boston 1247Keith Nichols Cotton Club Orchestra 1275Les Red Hot Reedwarmers 1435ASM, 1936, Jerome Remick; w. Creamer/m.Johnson.I Need Some Pettin’ (Robert King–Ted Fiorito–Gus Kahn)Waldo’s Gotham City Band 1201Paul and His Gang 1329Confirmed 5/3/24 copyright reg. w. GK, m. TF-RK.I Need Someone Like You(Fats Waller)Three Deuces 1185Le Petit Jazzband 1389

tune attributed to Pecora, even under the “INever Knew” title.I Never Knew What the MoonlightCould Do (Sam Coslow–Larry Spier)Barbara Rosene & Her New Yorkers 1405ASM, 1926, Irving Berlin.I Never Miss the Sunshine (I’m SoUsed to the Rain) (Neil Pardette–Norman Jay Harvey)Paul and His Gang 1329Confirmed by 1/2/23 copyright reg. (withcomma after sunshine), and confirmed byHassan sheet music.I Really Miss You, Baby (Tony Pringle)Albion JB 1249Pringle was in the band, so he’d know.I Remember the Year That ClaytonDelaney Died (see The Year ThatClayton Delaney Died)I Remember When (seeSi tu vois ma mère)I Said I Wasn’t Gonna Tell Nobody(see Said I Wasn’t Gonna Tell Nobody)I Saw Her at Eight o’Clock(Johnny Mercer–Matty Malneck)Alex Hassan 1322Well, the copyright isI saw her at 8 o'clock; from To beat theband, w and melody John Mercer and MattMalneck. © 1 c. Sept. 12, 1935; E unp.109846; Irving Berlin, inc., New York.In spite of ‘8' in copyright, IMDB, Georgia StateLibrary sheet music index, Songwriters Hall ofFame list for Mercer all show it as Eight.(I Scream – You Scream – We AllScream for) Ice Cream) [Ice Cream](Robert A. K. King–Howard E.Johnson–Billy Moll)Steve Waddell’s Creole Bells 1301ASM, 1927, Shapiro Bernstein isI Scream – You Scream – We All Scream ForICE CREAMsame on cover and (c) page.I Surrender, Dear (Harry Barris–Gordon Clifford)Delirium Tremolo 1177John Gill Sentimental Serenaders 1424ASM, 1931, Richard J. Powers; w. Gordon/m.Barris.I Thank You, Mr. Moon (DaveOppenheim–Dolly Morse*–Abel Baer)Barbara Rosene & Her New Yorkers 1405CD had Oppenheim-Baer, Dolly Morse.Confirmed by 10/28/31 copyright reg, w & mall three. Michael Steinman’s notes say DollyMorse also used pseudonyms DorotheaMorse, Dorothy Terriss, D. A. Esrom, mostlikely to avoid comparison with her husband,the successful (and much older) composer/publisher Theodore Morse.But oh, crap! We’ve had Dorothy Terriss aspseudonym for Theodora Morse. I’ll sure betthat’s wrong, now that we know who herhusband was. However, the Wikipedia articleon her says Theodora and that Dolly was oneof her pseudonyms. But it’s a helluva stretchto believe that a Theordora married aTheodore. And sure enough, the VictorProject reports,Dolly Morse (composer): Married toTheodore Morse. Born Alfreda Strandberg,she also wrote under the names D. A.Esrom, Dorothy Terriss, and TheodoraMorse.Found another source for maiden nameAlfreda Strandberg, so actually, it’s NOT sucha stretch that she would choose TheodoraMorse as her primary professional name. Buthell, they’re all pseudonyms. Why should weconsider Dolly or Theodora real and the othersnot?But I’ve found Theodora far more often—and, tellingly, the Associated Press obituaryfor her, dated Nov. 11, 1953, refers to her asTheodora, says she was a charter member ofASCAP, and wrote under the names ofDorothy Terris and Dolly Morse. Actually, itshould have said also wrote under thosenames, since much of stuff was written asTheodora.I Think You’ll Like It (Richard A.Whiting–(George Marion, Jr.)Barbara Rosene & Her New Yorkers 1422Actually, 10/23/29 copyright reg. identifies himas George Marion, Jr. -- whom we hadcollaborating with Fats back at Breezin’.I Thought I Heard Buddy Bolden Say(see Buddy Bolden’s Blues)I Thought I Heard Jimmy Yancey Say(Wally Fawkes)Wally Fawkes & the Rhythm Kings 1060I Used to Call Her Baby (HowardJohnson–Murray Roth–Cliff Hess)Terry Waldo & Bo Grumpus 1339Confirmed by 9/27/19 copyright reg.I Wanna Go Back to Indiana(Halsey K. Mohr)Back Bay Ramblers 1262Credits on CD were De Sylva-Brown-Henderson. Notes say inspired by 1928 BillyJames recording, which is in Rust: 5/29/28,Banner 7165 (as Imperial Dance Orch), Oriole1288. But it’s not in copyright books 1927-31.But wait, Online 78 says somebody namedHelen Richard recorded that title on Banner7064 on 2/23/28 and that composer is HalseyMohr. And it says same thing about Banner7165. An online Oriole discography sayssame thing about Helen Richard and DaisyKing--even that it’s Halsey K. Mohr. There isan H. K. Mohr in copyright books for 1930 &‘31.LC SONIC had five recordings of it: Daisy Kingon Jewel 5247; Helen Richards on Banner7064; Imperial Dance Orch on Banner 7165and Oriole 1284; and Daisy King on Oriole1186. ALL say Halsey K. Mohr. Later foundthe Oriole 1284 label, confirmed Halsey K.Mohr.Don’t know where the band got that credit, butit’s flat wrong.I Wanna Go Places and Do Things(Richard A. Whiting–Leo Robin)West End JB 1085Well, the copyright has an odd hyphen:I wan-na go places and do things; themesong of Close harmony, words by LeoRobin, music by Richard A. Whiting; pf. andukulele acc. © Mar. 28, 1929; 2 c. Mar. 30; Epub. 4670; Famous music Corp., New York.But I found two early recordings and the sheetmusic cover, none had a hyphen in wanna.I Wanna Jazz Some More(Tom Delaney)Neville Dickie 1324Rec. Kitty Brown, 9/29/24, Banner 1437,Domino 412, Regal 9733. Helen Gross, 5-6/24, Ajax 17042. Monette Moore, 9/15/24,Vocalion 14903. Johnny Sylvester, 4/4/24,Pathe Aktuelle 036154, Perfect 14335.Confirmed 5/31/24 copyright reg.I Want a Big Butter and Egg Man(see Big Butter and Egg Manfrom the West)I Want a Girl (Just Like the GirlThat Married Dear Old Dad)(Harry Von Tilzer–Will Dillon)Bob Schulz & His Frisco JB 1315Canary Cottage Dance Orchestra 1400Delta Stompers 1426ASM, 1915, Harry Von Tilzer; m. Von Tilzer/w.William Dillon. But he’s definitely just WillDillon on lots of other sheets I found, including“My Little Girl,” which we have on SOS.

I Want to Be Bad (B. G. De Sylva–Lew Brown–Ray Henderson)Charleston Chasers 1314Confirmed by 12/4/28 copyright reg., fromFollow Thru.I Want to Be in Dixie (Ted Snyder–Irving Berlin)Dave Dallwitz Ragtime Ensemble 1098ASM confirms, 1912.I Want to Be Your Lovin’ Man(Ray Scheller–Joe Bresland)Jim Snyder /Georgia Grinders 1068

(Harry Woods–Billy Rose–Mort Dixon)Down Home JB 1190Bob Schulz & His Frisco JB 1349LP & CD as Peoria.Odd--not in S&P or Rust. Maybe becauseHassan’s sheet music says title is “I Wish’t IWas in Peoria,” w. BR-MD/m. HW, 1925, IrvingBerlin.Copyright agrees:wish't I was in Peoria; w Billy Rose and MortDixon, m Harry Woods, of U.S. © Nov. 12,1925; 2 c. Nov. 13; E 628528; Irving Berlin,inc., New York.And that’s the way Rust lists it: rec. Bailey’sLucky Seven, 12/18/25, Gennett 3224,Champion 15062. Sam Lanin, 12/29/25,Banner 1674, Domino 3647 et al. Russo &Fiorito, 12/19/25, Victor 19924. Jack Stillman,11/25, Bell 382.Finally, found the sheet music in the Arpincollection in Canada. That’s indeed title oncover and copyright page.I Wonder (Ikey Robinson)Original Salty Dogs JB 1233(RUST): Jacksonville Harmony Trio (as IWonder?), Savannah, 8/13/27, Victor 21204(but Victor Project says this by Robert H.Cloud).Robinson didn’t record it himself, according toRust. Looked through copyright books from1927 to 1929 (first year Robinson recorded) to1935 (last year he recorded), found no fewerthan 34 registrations of that title, but none byRobinson. But then in Google searching onthe title and Robinson, I fell into the 1943 bookonline:I wonder; w & melody. © 1 c. Feb. 23, 1943;E unp. 324823; Ikey L. Robinson, Chicago.I Wonder If You Still Care for Me?(Ted Snyder–Harry B. Smith–Francis Wheeler)Bo Grumpus 1388CD said by Snyder, from 1921, no ? at end.Hmmm...not in Rust. Aha, online found labelof Victor 18806, “I Wonder If You Still Care forMe?” by Harry B. Smith-Ted Snyder, recordedby Charles H. Hart, 8/30/21. Bound to besame tune. AND found the sheet music atTempleton, pub. Waterson, Berlin & SnyderCo., 1921. No ? on cover, but definitely thereon copyright page. AND it’s lyrics Harry B.Smith & Francis Wheeler, music Snyder. Notethat the 1921 copyright reg. indeed said justSnyder-Smith, but obviously Wheeler got ahand in before it was published, and sheetmusic always wins out when it’s concurrentwith other sources.I Wonder What’s Become of Joe?(Maceo Pinkard–Roy Turk)Dry Throat Five 1151Rosy McHargue 1253ASM has it too: 1926, Shapiro, Bernstein; w.Turk/m. Pinkard.(And let the record show that I just added the? to the title above based on the sheet music;it’s not a question either.)I Wonder Where My Baby Is To-night(Walter Donaldson–Gus Kahn)Marty Grosz /Keepers of the Flame 1158I Wonder Where My Easy Rider’s Gone(Shelton Brooks)Le Petit Jazzband de Mr Morel 1344ASM, 1913, Will Rossiter.(I Would Do) Anything for You(Claude Hopkins–Alex Hill–Bob Williams)Humphrey Lyttelton Rhythmakers 1111Dry Throat Five 1151Charleston Chasers 1376 2013 addition: S&P andLissauer are technically correct according tothe Chicago Style Manual, but we decided toalphabetize under the name we think peopleare most likely to know it by. However, thisdoes remind me that we really should have across-ref from the “correct” title of “Anythingbut you.”2013 review: Copyright isI would do anything for you; fox-trot, wordsand music by Alexander Hill, Bob Williamsand Claude Hopkins. © Jan. 25, 1932; 2 c.Jan. 25; E pub. 28105; Joe Davis, inc., NewYork.But this could be trouble: Rust has a zillionentries for it, but notes that it is “sometimesshows as “I’d do anything for you,” “I woulddo most anything for you,” and “Anything foryou.” But in this case there’s original sheetmusic to go by...except that1. The copy at U. Maine is pub. by Joe Davis,1932, has Red McKenzie on cover, and title oncover isI WOULD DOANYTHING FOR YOUbut I can’t see copyright page. And bizarrely,Red McKenzie is not among the 23 differentrecordings of it listed in Rust. Davis wasobviously proud that McKenzie performed thesong, but he’s the only guy who didn’t recordit!2. Copy at MTSU is pub. by George Simon,1932. Bought it: cover page is same asDavis/McKenzie cover above, but copyrightpage is clear:(I WOULD DO)ANYTHING FOR YOUIce and Snow (or Don’t Leave Mein the Ice and Snow)(Tony Jackson)Mahogany Hall Stompers 1221ASM, 1917, Will Rossiter clearly shows it thisway:Ice and Snow(or Don’t Leave Me in the Ice and Snow). We previously had it under “Don’t LeaveMe...”)Ice Cream (see I Scream, You Scream)(I’d Climb the Highest Mountain) If IKnew I’d Find You (Lew Brown–Sidney Clare)Dick Sudhalter & Connie Jones 1207

subtitles in smaller fonts. But Lissauer puts itonly under title "I’d Climb the HighestMountain," turning above logic on its head, solet’s stay with what we’ve got. --4>And let’s take another look around for bettersource, such as sheet music.And we found it. ASM, 1926, Irving Berlin, isclear:I’D CLIMB THE HIGHEST MOUNTAINIF I KNEW I’D FIND YOU2nd line is 50% bigger on cover but 300%bigger on copyright page (as shown here).I’d Give a Dollar for a Dime (EubieBlake–Andy Razaf–Johnny Finke)Terry Waldo & Bo Grumpus 1339CD said Milton Reddie-Eubie Blake.Yoicks--my two other recordings credit Blake-Razaf (Spokane Falls Brass Band) and Blake-Razaf-Johnny Finke (Black Swan Classic JB) .But this is proving damned hard to find.Maryland Historical Society web site says ithas five copies of music, dated 1940, byEubie. But it wasn’t copyrighted 1939-41 andthere’s no copy of it in any of the big onlinecollections, so I suspect they have private, notpublished, copies. Got response confirmingw/ Razaf, m. Blake. But I had written to himasking about “I’d Give a...” before I discoveredthat it seemed to have been missing thosewords in Tan Manhattan. Guy at library didn’tsay anything about the title, so I don’t know ifthe sheet music was indeed “I’d Give a” or ifhe just didn’t notice the discrepancy.Perfesser Bill says 1941 with Razaf, which islikely. I’m finding many refs to it under Razaf’sname, no mention so far of Milton Reddie orJohnny Finke. No, wait: Bolcom & Morrisrecorded it on Columbia M34504 (LP), andthey also credited Eubie-A. Razaf/J. Finke.6/24/13 emailed Bolcom to ask him. Alsoemailed Terry Waldo.Wait a minute! It occurred to me to look inReminiscing with Sissle and Blake by Bolcomand Robert Kimball. It says this song was aBlake-Razafa collaboration for a 1940 showcalled Tan Manhattan (but the title listed in thebook is just “A Dollar for a Dime”).The book next mentions that Eubiecollaborated with Joshua Milton Reddie onover a hundred songs for several musicals, butthis is not among the several specificallymentioned. It also mentions five othercollaborators with whom Blake worked, butJohnny Finke was not among them. But oops,Tan Manhattan is not in the Internet BroadwayData Base. But it is in ovrtur.com, thedatabase that Bill Haesler uses. It confirmsBlake-Razaf, and title “A Dollar for a Dime.” Sowhere did “I’d Give” come from? Presumablythe lyrics. But DAMN: if this was written forBroadway show, why in the world wouldn’tEubie copyright it? In fact, I can’t findcopyrights for any of the songs in TanManhattan.6/25 Waldo responds with same info: writtenwith Razaf for Tan Manhattan, and notes that itnever was published. Sent him follow-up noteabout title discrepancy.Strangely, looks like the most famousrecording of it didn’t come until Joe Williams,1987.Online mentions have the “I’d Give” version alot more often, but by no means exclusively.Blake-Razaf predominates, but Finke jumps upfrom time to time. AHA: later, in searching fora Waller-Razaf song that didn’t get publisheduntil 1953, I stumbled across John Finke.Several compositions on his own and twocollaborations with Andy Razaf!But Eureka! I had included Bob Pinsker on anearly group note about “Mo’ Lasses,” and hewas moved to prowl through my notes onlineand was intrigued by this problematic entry.He wrote to me on 8/7/13:CATALOG OF COPYRIGHT ENTRIESUnpublished Music Jan.-Dec. 1953 3D SerVol 7 Pt 5B p. 627:I'D GIVE A DOLLAR FOR A DIME ; w AndyPaul Razaf m Eubie Blake & Johnny Finke cAndy Paul Razaf, Eubie Blake & JohnnyFinke 13Oct1953 EU 334271On Johnny Finke: from Black and Blue:The Life and Lyrics of Andy Razaf, by BarrySinger (1992). Singer quotes from a letterRazaf wrote to a "friend Lillian", on July 3,1952:"In the meantime, I have my writing,reading, and other wholesome pursuits tokeep me busy and make life interesting andworthwhile. To date, with the help of mypartner, Johnny Finke, who is a brilliantcomposer-pianist-arranger, I've turned out abatch of new manuscripts (songs of alltypes) just waiting for some artist, publisher,or recording firm to consider."So you see, I think Razaf must have hadJohnny Finke arrange a score for the tune in1953 when he redid the lyric. Remember, atthis point Razaf is living in Los Angeles andis quite ill, while Blake is back in Brooklyn,so it wasn't convenient to have Blakearrange the score for him. I think that all isclear now, except perhaps for the smallmystery of why Blake and Razaf didn'tcopyright the show's tunes right after theywrote them back in 1940.I don’t know what prompted Pinsker to look in1953, but I’m glad he did. And while Finke’scontribution came 13 years after the originalpublic introduction of the song, the fact is thatit was neither published nor recorded in 1940-41, so it was in effect new and first publishedwhen Razaf updated it in 1953. Which wouldhave been how the Bolcoms acquired it whichis why their credit included Finke.I’d Love It (Don Redman–Will Hudson)Vince Giordano’s Nighthawks 1260Chalumeau Serenaders 1394Rec. McK’s Cotton Pickers, 11/6/29, Vicitor V-38133; 40-0115, 62-0083; Bluebird B-11590;HMV B-4990.Confirmed by 6/5/30 copyright reg. (as justRedman & Hudson); also Victor Project withfirst names.I’d Rather Be the Girl in Your Arms(Harlan Thompson–Harry Archer)Back Bay Ramblers 1279Rec. Goldkette, 10/15/26, Victor 20273, HMVK-5095. Ross Gorman, 3/24/26, Columbia615-D. Confirmed 4/9/26 copyright reg., w.Thompson/m. Archer.I’d Rather Charleston (GeorgeGershwin–Desmond Carter)San Francisco Starlight Orchestra 1364Only rec. in Rust is British, part of Gershwinmedley. And here’s why:From the London show "Lady Be Good"1926) (George Gershwin / Desmond Carter)Confirmed by 3/29/26 copyright reg., w.Carter, m. Gershwin.I’d Rather Cry Over You (Than Smileat Somebody Else) (Jack Yellen–Dan Dougherty–Phil Ponce)Lande’s Rhythm Club Orchestra 1327Rec. Whiteman, 6/10/28, Columbia 1496-D,4980, 07005 & 2 others. Also two UKrecordings.Ciopyright isI'd rather cry over you; words by Phil Ponce,mus'c by Dan Dougherty; pf. and ukulele orbanjulele banjo acc. © May 9, 1928; 2 c.May 10; E 691635; Ager, Yellen & Bornstein,inc., New York.No subtitle Rust and copyright, but it doesn’tmake sense without one, so let’s find it.Wasn’t hard: Whiteman Columbia 1496-D:I’D RATHER CRY OVER YOU(Than Smile At Somebody Else)But wait: credits on label are same ascopyright: Dougherty & Ponce. So where didwe get Yellen?MTSU has music indexed as just Ponce-Dougherty, pub. Ager, Yellen & Bornstein1928. But oh, hell, Washington Univ. in St.Louis collection index says words Yellen &

Ponce, also pub. Ager, Yellen & Bornstein1928; same credits for the copy in IndianaState Univ. library. And Songwriters Hall ofFame entry for Yellen attributes it to him plusPonce & Dougherty. And then there’s this bitof international intelligence: The label of thisrecording by Vivien Lambelet and Padbury’sCosmo Six recording of the song on Curry 198in 1929 (how did Rust miss this?) creditsYellen, Ponce, Dougherty. And a very detailedBing Crosby discography credits theWhiteman recording to Yellen-Ponce-Dougherty.OK, I give up: Somehow or other, Yellen gothis name on there very early on.Ida! Sweet As Apple Cider(Eddie Munson–Eddie Leonard)Ian Whitcomb & Dick Zimmerman 1049Thompson, Smith & DeVore 1116Des Plantes’ Washboard Wizards 1174Yerba Buena Stompers 1375Canary Cottage Dance Orchestra 1400ASM confirms, 1930, Edward B. Marks.Idawanna (Newell Chase)Frederick Hodges 1333Confirmed by 5/2/29 copyright reg.Idle Hour Special (Jimmy Blythe)South Side Jazz Serenaders 1420Rec. Jimmy Bertrand’s Washboard Wizardswith Blythe 9/16/26, Vocalion 1060. Confirmed5/11/27 copyright reg.Idolizing (Sam Messenheimer–Irving Abrahamson–Ray West)Bruno’s Salon Band 1251John Gill’s Novelty Orchestra 1270Barbara Rosene & Her New Yorkers 1393Confirmed ASM, 1926 West Coast Music.If Dreams Come True(Edgar Sampson–Benny Goodman–Irving Mills)Louis Mazetier & Neville Dickie 1289Paris Washboard 1326Oops, 1st copyright isIf dreams come true; pf. with w. © 1 c. Dec.28, 1933; E unp. S1156; Edgar MelvinSampson.Later, still just Sampson:If dreams come true; by Edgar Sampson; pf.© Nov. 9, 1934; E pub. 44736; Milsonsmusic pub. corp., New York.But I found a “professional copy” published inEngland, that says music Sampson &Goodman, lyrics Mills. Wikipedia article onSampson mentions this song, co-creditsGoodman Mills. And just about all online refscredit all three, so how can we document it?Guess we better look for record labels:Chick Webb, 1/15/34, Columbia CB-754,2883-D. (CB-754 label credits just Sampson)Goodman, 12/14/37, MGM E/X-3789, C-807,C-6078; Verve V/V6-8582. Wait a minute:found Goodman version on Canadian Victor,and it credited just Sampson.Chick Webb again, 12/17/37, Decca 1716;Brunswick 02793, A-82202; Polydor A-61260. (Well, Decca 1716 also credits justSampson)Bobby Hackett, 2/16/38, Vocalion/OKeh 4047.James P. solo, 6/14/39, CBS CL-1780 & otherLP issues.Artie Shaw, 2/15/38, Thesaurus 500, 1143(EPs?)Something odd, though: I keep running intomentions of Billie Holiday recording this song,but it’s not in Rust. Is hers the one that creditsall three? What label & when?Aha, here’s the answer: Although Rustdoesn’t list it (possibly because it was done asan encore), “If Dreams Come True” was one ofthe tunes played at Goodman’s famousJanuary1938 Carnegie Hall concert. Thatoverwhelmingly famous performance waswhere it was listed as Sampson-Goodman-Mills and it has carried that credit ever since.AND at about the same time as the CarnegieHall concert, Billie Holiday recorded it onBrunswick 8053 with Teddy Wilson with creditsto all three. Between Goodman and Holiday,the triple credit would have erased all memoryof the original Sampson-only credit.So there’s your chronology: Edgar Sampsonwrote it with lyrics in 1934; it was recorded byChick Webb in 1934 and 1937, and byGoodman in 1937, all credited properly toSampson; but then Goodman put it in his 1938Carnegie Hall concert with additional musicalcredit to himself and lyrics credit to Irving Mills,and Billie Holiday recorded it the same way atthe same time, and that 1938 version has beenthe one that has dominated ever since. Alas,we must submit to the King of Swing, althoughit pains me.If Ever I Cease to Love(George Leybourne)Acker Bilk & Ken Colyer 1119Albion JB 1206What the heck? The credit on both recordingsis just Connoly. Yet in 2013 review I foundHarry Y. Owen-Dave Frank-John P. Robichauxhere in the index with no idea how it got there.Well, here’s the answer, from the 1936copyright book:If ever I cease to love; w D. Frank and H. Y.Owen, melody J. P. Robichaux. © 1 c. Jan.22, 1936; E unp. 116829; Dave F'rank, HarryY. Owen and John P. Robichaux, NewOrleans.But when I googled the title, the very first hitwas this, from the New Orleans Times-Picayune, Feb. 20, 2009, by Maria C. Montoya:"If Ever I Cease to Love" has been theroyal anthem of the Rex organization sinceits first procession in 1872. . . . Firstpublished in 1871 in England, the sheetmusic identified it as a "Comic Song" written,composed and sung by George Leybourneof Newcastle. Leybourne, also known as"Champagne Charlie, " is not exactly alegend in the annals of music history -- hisclaim to fame possibly the fact he wrote"The Daring Young Man on the FlyingTrapeze." . . .According to research published in ArthurHardy's 1989 Mardi Gras Guide, the songwas pirated in New York, by a performernamed Lydia Thompson, who made it partof her highly successful burlesque showBlue Beard, which went on tour around thecountry. A songbook of her most popularsongs, titled If Ever I Cease to Love, waspublished.Coincidentally, she and her troupe wereperforming in New Orleans at the time of thefirst Rex parade.The song and composer are for real, I evenfound an 1873 sheet music cover for it. Thearticle above and others talk at length abouthow its lyrics are repeatedly updated/changedto suit the season. One site presenting lyricsfor it says,If Ever I Cease To Love - comic song byGeorge Leybourne circa 1870, Published byWhite, Smith & Perry, Boston, MA. Thisparticular set of lyrics is from a 1946"Souvenir Edition" published by DaveFrank, New Orleans.All the New Orleans sites that deal with this(and there are many of them) agree onLeybourne c. 1970, not one of them mentionsthe chaps in our copyright. This is akin to theseveral different copyrights I found for“Frankie & Johnny”: Anybody’s free tocopyright their own arrangement or lyrics,although that’s normally done with folk songsof uncertain heritage, not with publishedsongs.So we must dismiss our crew as Johnnies,Harrys and Daves come lately and installLeybourne on his rightful Rex throne.Be we still have to wonder where Connolycame from..

If I Could Be with You (James P.Johnson–Henry Creamer)Louis Mazetier & François Rilhac 1218Trevor Richards NO Trio CD 1222Duke Heitger’s Big Four 1367Paul Asaro & Neville Dickie 1404ASM, 1926, Jerome Remick. Subtitle “(OneHour To-night)” is on cover but not copyrightpage.If I Ever Cry (You’ll Never Know)(Sylvia Clark–Bobbie Kuhn–Eddie Kuhn)John Gill’s Novelty Orchestra 1270ASM, 1925, Milton Weil.If I Had a Million Dollars(Matty Malneck–Johnny Mercer)Rusty Taylor’s New Jazz Review 1186Dick Sudhalter & Connie Jones 1207San Francisco Starlight Orchestra 1334Rec. Boswell Sisters, 10/4/34, Brunswick 7302,01957, A-9672; Columbia 36523 et al. JoeHaymes, 10/9/34, Banner 33222, Melotone13189, Oriole 3016, Perfect 16008 et al. GeneKardos, 10/8/34, Vocalion 2814.Confirmed 8/30/34 copyright reg., w/m both.If I Had a Talking Picture of You(B. G. De Sylva–Lew Brown–Ray Henderson)Peter Ecklund’s Melody Makers 1175Ingham–Grosz Hot Cosmopolites 1285San Francisco Starlight Orchestra 1364Confirmed by my 1928 sheet music.If I Had My Way (James Kendis–Lou Klein)Ronn Weatherburn 1107Canary Cottage Dance Orchestra 1400ASM, 1913, James Kendis; w. Klein/m. Kendis.If I Had You (Ted Shapiro–Jimmy Campbell–Reg. Connelly)John Gill Sentimental Serenaders 1424Interesting: Wikipedia says that it’s by IrvingKing (pseudonym for Campbell & Connelly)and Shapiro, and from 1928. And it’s not to beconfused with the Irving Berlin song of thesame title. Strangely, all of my recordings of itthat mention composers mention our three,none mentions Irving King.Rec. by Crosby in 1929, says Gill (and this isa Crosby tribute).Copyright reg. isIf I had you; fox-trot, words and music byTed. Shapiro, Jimmy Campbell and Reg.Connelly; pf. acc., with ukulele arr. by HankLinet. © Dec. 28, 1928; 2 c. Dec. 29: E pub.2627; Robbins music corp., New York.And MTSU has sheet, makes no mention ofIrving King. Same with IN Harmony. To hellwith the Irving King red herring.If I Let You Get Away with It Once,You’ll Do It All of the Time(Fred Rose–Jack Frost)Newberger–Mazzy–Thompson 1352CD has second part of title in parens assubtitle, and did not have “of.”Rec. Margaret Johnson, 10/19/23, OKeh 8107,Parlophone E-5187. Not in copyright catalog1923-24, but I did learn that Jack Frost really isH. G. Frost. Odd: Rust indexes using ourcomplete title, although with commaseparator, while the entry for Johnson is just “IfI let you get away with it.”Aha! The OKeh 8107 label isIF I LET YOU GET AWAY WITH IT ONCEYOU’LL DO IT ALL OF THE TIME(Fred Rose-Jack Frost)both lines same font, so it’s one long title, nota subtitle.It was copyrighted in 1921:IF I LET YOU GET AWAY WITH IT ONCE,YOU'LL DO IT ALL OF THE TIME; lyric byJack Frost, music by Fred Rose [of U.S.] ©May 2, 1921; 2 c. May 6, 1921; E 510472;McKinley music co., Chicago.I’ll suggest that they didn’t put that comma onthe record label because the line break camethere--the comma would look odd hanging outthere. But both the record label and thecopyright indicate that it’s all one long title, nota title and subtitle.If It Ain’t Love (Fats Waller–Andy Razaf–Don Redman)Grosz–Ingham Paswonky Serenadrs 1214James Dapogny & Butch Thompson 1183Independence Hall JB 1386Neville Dickie 1397ASM, 1932, Davis, Coots & Engel.(Gee, I’d Be Happy) If SomeoneWould Only Love Me (Ben Garrison–Harrison G. Smith)South Frisco JB 1143< Bob, your Jan 2000 note says to changecomposer to Ben Garrison on the firm basis of“I can’t recall why I know this; I think from JimDapogny. I’ll call him.”Clear back at the 2nd edition, VinceSaunders told us:If Someone Would Only Love Me (ThenI’d Be Happy) by Ben Garrison/HarrisonSmith. Morton’s business partnerssupposedly stole this from him.Your response at the time was just, “Wright’sMr. Jelly Lord confirms our current title,” withno mention of the composer discrepancy.Looks like we need to go back to work on thisone.Morton recorded it in 1930, Victor 23321.Victor Project says Morton is composer, basedon Victor ledgers; LCSONIC agrees.Anderson fake book: If Someone WouldOnly Love Me [no subtitle mentioned], BenGarrison/Harrison Smith, 1930; rec. by JellyRoll Morton.9/1/00: LC copyright card is If SomeoneWould Only Love Me, melody by Jelly Roll(pseud. of Ferd) Morton, 3/22/32, SouthernMusic Co., NY, unpublished.This gets hard. Our ears tell us it’s a Mortoncomposition, and he did indeed submit it forcopyright, but perhaps two years after twoother fellows.Sheet music collectors, was this everpublished?11/9/00: Dave Jasen is sure it was neverpublished, so Garrison-Smith credit inAnderson fake book isn’t worth much. I mustconfess that I overrated it in my notes above.After all, there is a Jelly Roll card in LC cy files;there is not a Garrison-Smith card.11/15/00: But now comes copy of copyrightpage of sheet music (from Tex W.), dated1930, that calls it (Gee, I’d Be Happy) IfSomeone Would Only Love Me, music Ben.Garrison, words Harrison Smith. Seems to mewe have to go with this unless we getsomething more definitive.If the Rest of the World Don’t WantYou (Go Back to Mother and Dad)(Dave Dreyer–Alex Gerber)Ernie Carson & the Castle JB 1277Convoluted story, this one: Gerber (w) &Dreyer (m) copyrighted it 10/30/23 as “If therest of the world don’t want you (go back toyour mother and dad). Then on Nov. 17 theyreregistered it without the your in the title.The sheet music was published by IrvingBerlin without the your in the title.Albert Hunter recorded it 2/24 on Paramount12093 with the “your” title, but many otherrecordings in Jan. 1924 either without the yourin the title or with just a shortened title withoutthe subtitle.In any case, the published sheet music willout.If Those Lips Could Only Speak(Charles Ridgwell–Will Godwin)Grand Dominion JB 1330We had Ridgewell, which appears to be acommon mistake--but the 1906 copyright andthe serious sheet music indexes tell us he’sactually Ridgwell.

If Winter Comes (W. R. Williams–John Alden–Harold Leonard)Levinson’s Trans-Atlantic Saxtette 1430Confirmed by 1922 copyright reg. and bysheet music, w. Williams, m. Alden-Leonard.If You Can’t Be Good, Be Careful(Fats Waller–Andy Razaf)Neville Dickie 1397Neville’s notes say it was never recorded andthat he found it in a folio of Wallercompositions. And turns out it was finallycopyrighted in 1953 by Mills Music, NY.If You Can’t Hold the Man You Love(Don’t Cry When He’s Gone)(Sammy Fain–Irving Kahal)Neville Dickie 1324Rust shows the “Don’t Cry” part as aparenthetical subtitle in index, but not allentries have it. Rec.Evelyn Preer acc. by Ellington orch, 1/10/27,Tax LP-9, Victor 731043, both LPs. VictorProject confirms composers andparenthetical subtitle, source Victor ledgers.Ethel Waters, 2/20/26, Columbia 14134-D.Label has no subtitle, credit Fain onlyEllington, 3/30/26, Gennett 3291, Buddy 8010.(both labels omit subtitle)Alberta Hunter, 8/11/26, OKeh 8365,Parlophone R-3255.Copyright is “If you can’t hold the man youlove, don’t’ cry when he’s gone. Comma incopyrights generally introduces subtitle.If You Don’t Believe I Love You (LookWhat a Fool I’ve Been)(Clarence Williams)Neville Dickie 1366CD was “(If You Don’t Believe I Love You)Look What a Fool I’ve Been”

Terry Waldo 1002ASM, 1911, Jerome Remick; w. Brown/m.Ayer.If You Talk in Your SleepDon’t Mention My NameThese lines same size on cover, but copyrightpage seems clear.If You Want My Heart (You Got to’Low It, Babe) (George John Marcie–P. W. Beaulieu)Chris Tyle’s Silver Leaf JB 12982013 review: rec. King Oliver 10/5/23, Gennett5276, but never issued, says Rust. Says Tylein CD notes:King Oliver’s band recorded several tunesthat, for whatever unknown reason, werenever issued. [This] is one of those, whichthey recorded for Gennett Records onOctober 5, 1923 . . . Written by GeorgeJohn Marcie and P. W. Beaulieu andpublished in New Orleans, this may be theironly composition, as they are not familiarnames among the group of New Orleanscomposers. The original sheet music to thistune is very rare, and it would have beenimpossible to play this tune if John Gill hadnot unearthed a copy in New Orleansseveral years ago. This is the first time thistune has ever been recorded since Oliver’s.If You Want the Rainbow (You MustHave the Rain) (Billy Roe–Mort Dixon–Oscar Levant)Barbara Rosene 1431S&P confirms, m. OL/w. BR-MD, Remick,1928, from film My Man by Fanny Brice.If You Want to Be My Sugar Papa(Anthony Wayne–Bob Schafer–Irving Mills)Neville Dickie 1341

Crawford set phrases chanted by MardiGras Indians to music for the song. Crawfordhimself states that he has no idea what thewords mean, and that he originally sang thephrase "Chock-a-mo," but the title wasmisheard by Chess Records and CheckerRecords president Leonard Chess, whomisspelled it as "Jock-a-mo" for the record'srelease."Jock-a-mo" was the original version of thesong "Iko Iko" recorded by The Dixie Cups in1965. Their version came about by accident.They were in a New York City studio for arecording session when they began animpromptu version of "Iko Iko," accompaniedonly by drumsticks on studio ashtrays.The Dixie Cups, who had learned "Iko, Iko"from hearing their grandmother sing it, alsoknew little about the origin of the song and sothe original authorship credit went to themembers, Barbara Ann Hawkins, her sisterRosa Lee Hawkins, and their cousin JoanMarie Johnson.After the Dixie Cups version of the "Iko Iko"was released in 1965, they and their recordlabel, Red Bird Records, were sued by JamesCrawford, who claimed that "Iko Iko" was thesame as his composition "Jock-a-mo."[2]Although The Dixie Cups denied that the twocompositions were similar, the lawsuit resultedin a settlement in 1967 with Crawford makingno claim to authorship or ownership of "IkoIko",[3] but being credited 25% for publicperformances, such as on radio, of "Iko Iko" inthe United States. Even though a back-to-backlistening of the two recordings clearlydemonstrates that "Iko Iko" was practically thesame song as Crawford’s "Jock-a-mo",Crawford's rationale for the settlement wasmotivated by years of legal battles with noroyalties. In the end, he stated, "I don’t evenknow if I really am getting my just dues. I justfigure 50 percent of something is better than100 percent of nothing."2013 review: Oops, we missed the boat bynot including “Jock-a-mo” as an alternativetitle.Il Golfo Incantato (Federigo Fiorillo)Waldo’s Jazz Entertainers 1377By “unknown” on CD.Rec. by the Detitto Italian Orchestra for Victoron 2/20/28. The Victor Project does not showa composer credit, so it shall indeed remainunknown.BUT WAIT: Previously recorded by the SenecaInstrumental Quartet for Victor on 9/28/27, andon that session, the composer was recordedin Victor ledgers as Federigo Fiorillo. Therecord was “made on approval” and notreleased.BUT WAIT: Before that recorded for Victor bythe International Novelty Quartet on 12/11/25,also by Fiorillo, although title on session was“Il Golfe Incantato.” The golfe here is clearly atypo, as the tune--and the place in Calabria--iswell known, but the composer seems now tobe clear.(I’ll Be a Friend) With Pleasure(Maceo Pinkard)Charleston Chasers 1314

another says 1930 on Banner label. Looks likevocal was by Scrappy Lambert.Here’s where Douglas may have come from:Online 78 shows this song by Roy Carlson’sDance Orchestra, Romeo 1318, 1930, byDouglas.There is, though, a song of that titlecopyrighted in 1930, but it’s w. Dollo Sargent,m. Bobbie Freshman. GLC SONIC is all over the map. Songs of thattitle by [artist/composer/year?]Goldie Hill/Floyd Tillman/ Decca 45Guido Deiro/Rose/Columbia 78Connie Boswell/Floyd Tillman/Decca 78Roy Carlson/Douglas/Romeo 78Louis Cohen aho/V. Rose/Arto 78Tiny Hill/Tillman/OKeh 78Max Fells’ Della Robbia Orch/Rose-Zany-Brown/Edison 78MTSU music collection has one by VincentRose & Richard Coburn, 1921; Floyd Tillman,1939. Aha, found the lyrics to the 1921 Rose-Coburn song, it is NOT the Adrian Schubertrecording.Aha, though: Roy Carlson’s Dance Orchestrais a pseudonym used by Adrian Schubert.And Online 78 says that the Roy Carlsonrecording of this title on Banner 694 is Rose-Zany-Brown-Douglas! It shows same four onthe Regal 10007 release of the same side.So we’re still stuck. Can’t really rely on Carlfor Douglas. Zany would be King. Brown &Rose could be anybody.Queried Vince Giordano, who was on therecord and is the major collecltors in that area.His response was not encouraging:Without a time machine...we will neverknow the info.I had Alex Hassan go to the Library ofCongress a few years ago and check 8 or socomposers that show up on those "B" sidesof those late 1920s / early 30s cheap-olabels . . . names like Reynolds [who wasalways paired with Lou Gold on Lou Goldsides] Maguire, Clarkson, Manning, Rizziand even known names : Andy Sannella,Mike Mosiello, Willie Creager . . . no musicor copyright listing show up for the tunes ornames that we know are listed on thoserecords.I think those guys got a flat fee / nocopyright / no royalties and . . ..we will neverknow many of their first names unless apayroll register or cancelled checks fromthose small record companies turn up onthese guys.This is painful. I think the only answer is to gowith the four last names that seem to havebeen attached to various early recordings.I’ll Keep Sittin’ on It (If I Can’t Sell It)(Andy Razaf–Alex Hill)Original Salty Dogs JB 1233Rec. Georgia White, 5/12/36, Decca 7192.Subtitle and composers Hill-Razaf confirmedby Decca label. Not in copyright books 1935-37--nor should it be. This is another old folksong that has been repeated in dozens ofvariations. Razaf-Hill put their names on theirversion, but I’m sure they didn’t really write it.I’ll Make Fun for You (John Nesbitt–Charlie Stanton)Roaring Seven JB 1019Lande’s Rhythm Club Orchestra 1327

I’m All Bound ’Round with the MasonDixon Line (Jean Schwartz–Sam M. Lewis–Joe Young)Rosy McHargue 1253Oops, the logical hyphen is not on the coveror the copyright page of the 1917 sheet music,pub. Berlin & Snyder. m. JS/w. SML-JY.I’m Alone Without You (unknown)Chicago Rhythm 1059

Mathew says, we had the title by Henry aloneand also with Gillespie & Reilly as lyrics. Wealso had by Hodgkins and Coonan and a thirdone by Joe Jordan. Tom [Brier] says there areTWO “That Raggedy Rags” and both we(ARC) and you (SOS) have them mixed up.LC cy cards explain it all:1. (published) That raggedy rag, lyric by ArthurGillespie & Jas. M. Reilly, music by S. R.Henry. 1/22/12, Jos. W. Stern.2. (published) That raggedy rag, medley.March & two step by S. R. Henry [and] I’mcrazy for love; medley march and two-step byGene Hodgkins and Jack Coogan, arr. by EarlF. Williams, orchestra. 5/7/12, Jos. W. Stern,NY. “copyright claimed on arrangement fororchestra.”3. (published) That raggedy rag [and] I’mcrazy for love; by S. R. Henry and GeneHodgkins; band. 6/27/28 by Jos. W. Stern, NY.“copyright claimed on arrangement for band.”4. (published) That raggedy rag. dance songw/m by Joe Jordan. 3/12/10, Harry Von Tilzer.So there it is: In January 1912, Sternpublished “That Raggedy Rag” byHenry/Gillespie-Reilly. In May 1912, Sternpublished an orchestration combining “ThatRaggedy Rag” with “I’m Crazy for Love” byHodgkins-Coogan. In 1928 Stern published aband arrangement of the same medley, butdropped some of the composer credits from it.Obviously, the band that recorded it for StompOff got hold of one of that 1928 bandarrangement.Note too that I accidentally corrected an Erdosmistake: The CD label said the second tunewas named “And I’m Crazy for Love.” Ioverlooked the “And,” which turned out to bewrong anyway!I’m Down in the Dumps(Wesley Wilson)Rusty Taylor’s Jazz Makers 10822013 review: Rec. Bessie Smith backed byBuck and his Band, 11/24/33, OKeh 8945;Columbia 37575, DS-1538; et al.Strange--S&P say it was copyrighted byNorthern Music, 1933, confirms recorded byBessie, but it’s not in the 1933 book, andthere’s no Northern Music at all in that book orin 1932 or ’34.But OKeh label confirms Wilson, as do all thenotes I accumulated under “Do Your Duty.”I’m Feelin’ Devilish (Oh By Golly Oh)(Maceo Pinkard)Waldo’s Gutbucket Syncopators 1001Des Plantes’ Washboard Wizards 1421

Telcon 8/28: OK, do the two = threepseudonym trick; use & like Barney &Seymour--3>

Alberta Hunter (& Eubie Blake, as “I’m GoingAway Just to Wear You Off My Mind”), 7/22,Paramount 12006, 12043.Leona Williams (as “I’m Goin’ Away (Just toWear You Off My Mind)),” 1/11/23, ColumbiaA-3815.Eva Taylor (as “I’m Going Away Just to WearYou Off My Mind,” 2/8/23, OKeh 8051.Edna Hicks (as “I’m Goin’ Away (Just to WearYou Off My Mind), 3/21/23, Victor 19083.King Oliver,(as “I’m Going Away to Wear YouOff My Mind”), 4/6/23 Gennett 5134,Brunswick 02201 et al.Lloyd Smith aho (as “I’m Going Away Just toWear You Off My Mind”), 10/27/30, Vocalion1573.8/25, Mike Montgomery sends copy of original1922 music (that Tex had described in earlierphone call).Cover isI’M GOIN AWAYJUST TO WEAR YOU OFF MY MINDCopyright page isI’M GOING AWAYJUSTTO WEAR YOU OFF MY MIND(perhaps this version is what led Rust to put“Just” in parentheses)8/28, Caulfield: I’m Going Away Just to WearYou Off My Mind is how the sole card in thefile (10-25-22) reads, with no parentheses.[Confirmed in 1922 book 7/13]2013 review: Early copyright reg. isI'm goin' away to wear you off my mind;words and melody by Warren Smith, L.Smith, and Clarence Johnson [of U.S.]; arr.by Clarence Alvarez Johnson [of U.S.;piano, with words. © 1 c. Nov. 21, 1921; E523100; Lloyd Smith, Chicago.But then comesI'M GOING AWAY JUST TO WEAR YOU OFFMY MIND; words and music by L. Smith,Clarence Johnson and Warren Smith [ofU.S.] Chicago, Ill., original home of jazzpublisher. © Oct. 25, 1922 ; 2 c. Oct. 30; E547600; Lloyd Smith, Chicago.But published sheet music trumps copyrightreg, and the font usage above sort of makes itlook like they wanted this to be “I’m GoingAway” plus subtitle.But it’s not absolutely clear, and there’s no telltalecomma in either copyright reg. thatnormally indicates a subtitle, I guess I’ll leave itas is, as one long title.I’m Gonna Charleston Back toCharleston (Lou Handman–Roy Turk)John Gill’s Calif. Sunshine Boys 1156ASM, 1925, Jerome Remick.I’m Gonna Gitcha (Lil Hardin)Swedish–American Hot Jazz Collab. 1136Pam Pameijer’s New Jazz Wizards 1350Rec. Hot Five, 6/16/26, OKeh 8343, BRS 13,HJCA HC-10, VJR 13, JS AA-519.Confirmed by OKeh label (didn’t find incopyright books 1925-27).John Gill reports that 7/19/26 copyrightdeposit says “I’m Gonna Get Cha” by LillianHardin. Did I miss it in 1926 book? YES!Revisit shows it was there all the time:I'm gonna get cha; melody by L. Hardin. © 1c. July 19, 1926; E 643161; Lillian Hardin,Chicago.I’m Gonna Meet My Sweetie Now(Benny Davis–Jesse Greer)Back Bay Ramblers 1279Barbara Rosene & Her New Yorkers 1393Rec. Charleston Chasers, 2/14/27, Columbia911-D. Jean Goldkette, 1/31/27, Victor 20675,25354; HMV B-5363.Jane Green, 2/18/27, Victor 20509, HMV B-2482. Harry Pollack, 2/10/27, Gennett 6067,Champion 15229.Confirmed by 1/28/27 copyright reg.w. & m.by both. And from both Goldkette Victorlabels.I’m Growing Fonder of You(George W. Meyer–Pete Wendling–Joe Young)Marty Grosz’s Orphan Newsboys 1225Rec. Fats W, 11/7/34, Victor 24801; HMV BD-117, EA-1510. Ted Weems, 11/11/34,Columbia 2975-D, FB-1009 . . .Confirmed by 9/18/34 copyright reg., w & m allthree.(I’m in) Seventh Heaven(B. G. De Sylva–Lew Brown–Ray Henderson–Al Jolson)Peter Ecklund’s Melody Makers 1175Ingham–Grosz Hot Cosmopolites 12859/8: saw sheet at Alex’s. On the cover, it’sI’m inSeventh Heavenwith the subtitle much smaller than the title.The copyright page is a little closer,something likeI’m inSeventh Heavenbut still clearly a subtitle, which would explainthe S&P comment. Let’s be consistent andput it in parentheses, but still keep it hereunder I (in proofreading, I find that we havequite a few songs with preceding subtitles thatwe’ve alphabetized under the subtitle ontheory that the tune is better known that way).I’m in the Market for You (James F.Hanley–Joseph McCarthy)Down Home JB 1264Rec.Ben Selvin, 4/9/30, Columbia 2187-D, RegalG-20757.Smith Ballew, 4/16/30, Parlophone R-690, ArielGrand 4580.Sammy Fain, 5/14/30, Harmony 1163-H,Clarion 5016-C.Armstrong, 7/21/30, OKeh 41442, Vocalion3370, Parlophone PNY-34129 as TedShawne aho).Harry James, 11/30/39, Columbia 35340,Parlophone R-2926.Confirmed by 1/28/30 copyright reg., w. JM,m. JFH.I’m in Training for You (Abel Baer–L. Wolfe Gilbert)Barbara Rosene 1368Confirmed by 2/17/30 copyright reg., m/wboth, from Paramount on Parade.I’m Just Wild About Harry(Eubie Blake–Noble Sissle)Neville Dickie 1096Newberger–Mazzy–Thompson 1352Dan Levinson’s Roof Garden JB 1361ASM, 1921, M. Witmark.I’m Looking for a Little Bluebird(Jelly Roll Morton)John Gill’s Dixieland Serenaders 1295Pam Pameijer’s New Jazz Wizards 1335Both CDs said by Ben Garrison–Harrison G.Smith.

Smith, an article titled “Jelly Roll Morton --Plagiarist?”-- www.vjm.biz/new_page_8.htm:[Describes the later 1929-30 recordings byMorton as popularly and commerciallyunsuccessful.] The titles recorded in 1929and 1930 [in NY] were "published" by theVictor-affiliated Southern Music Company.The word published is given in quotes asthey were never actually published but onlyregistered at the Library of Congress (andnot at the time of recording but at the time ofissue which meant up to five years later!).So, while King Oliver was quite successfulwith "his" Mule Face Blues and BoogieWoogie (published as stocks by SouthernMusic; actually written by Dave Nelson),Morton was left out in the cold.How can this decline be explained? Had helost his creative ability to compose when hereached New York? Certainly none of the1929-1940 tunes was outstanding. Is thiswhy he apparently stole tunes? According toHarrison Smith (the West Indian sharingoffice with Jelly mentioned in Lomax’ book),18 of the 26 tunes he recorded for Victorbetween December, 1929 and October,1930 and three of the titles recorded forGeneral in 1940 were stolen. In two articlesin Record Research in 1957 (# 11 and 13)he listed these and showed what he claimedwere the original titles. I repeat this list belowas many present-day VJM readers may nothave these RR issues.[Goes on to list 21 titles, listing the “real”composers and in many cases the “real”titles. Claims that he and Ben Harrisonwrote “Bluebird.”]Harrison Smith (1895- c. 1980) was active inthe music business in New York from 1913.He was manager, agent and, from 1925,music publisher. According to his owntestimony, he never composed anything butwrote many lyrics, so the composer of themajority of these titles would be BenGarrison. He was "a ghost writer for Jelly RollMorton, was formerly a staff arranger for[Arthur] Fields – [Fred] Hall, ClarenceWilliams, etc. He was a native of Columbia,South Carolina" (HS in RR # 13). No furtherinformation is available.The author, Björn Englund, then points outthat several of the tunes claimed claimed bySmith had been recorded and copyrightedsome years before by Morton, so it’s hard toknow how much credence to give his claim.But from his copyright remarks, I presumewe’ll find Smith & Garrison holding thecopyright to “Bluebird,” whether they wrote itor not.The other titles in the Smith list are...Blue Blood Blues -- “really” Majestic Stompby Hector MarcheseDon’t Tell Me Nothing ’bout My Man -- reallyby Smith-GarrisonEach Day -- Sing A Little Song Each Day bySmith-GarrisonFickle Fay Creep -- Just A Lonely Echo bySmith-GarrisonGambling Jack -- All Girls Are Beautiful Girlsby Smith-GarrisonHarmony Blues -- Honeymoon Farm byGarrisonIf Someone Would Only Love Me --(Gee I BeHappy) If Someone Would Only Love Meby Smith-GarrisonMushmouth Shuffle -- You Taught Me HowTo Love by Billie RossMy Little Dixie Home -- by Smith-GarrisonOil Well -- I Know Something Now (That IDidn’t Know Before) by Gene BackPonchatrain -- I’m Always Sharing You byHector MarchesePrimrose Stomp -- Aunty, Got A Border Nowby Charley PearsonSmilin’ The Blues Away -- by Smith-GarrisonStrokin’ Away -- Kisses From You by HectorMarcheseThat’ll Never Do -- Ne Var by Smith-GarrisonThat’s Like It Ought To Be --(There’s NothingFunny About That) That’s Like It OughtaBe by Roy Evans & Harrison SmithTurtle Twist -- Turtle Walk by Tosh Hammed& Ben GarrisonMy Home Is In A Southern Town -- byJohnny Lee LongSweet Substitute -- by Hector MarcheseSwingin’ The Elks -- The Old Swimming Holeby Hector MarcheseVictor does have Morton as composer on hisrecording of it (23004, 12/17/29), but theprimary Jelly Roll Morton site(www.doctorjazz.co.uk) links to that sameHarrison Smith article, so it must give somecredence to it.However, in the book for 1930 we findI'm looking for a little bluebird; melody by J.R. Morton. © 1 c. Sept. 26, 1930; E unp.28396; Southern music pub. co., inc., NewYork.But in the University of Chicago Library we findthis sheet music:“I’m Looking for a Little Bluebird (To CheerMe Up With a Little Song),” Harrison Smith,music by Ben Garrison; Harrison SmithMusic Publisher, 1949.And indeed, in the 1949 copyright book wefindI'm looking for a little bluebird, to cheer mewith a little song; words by Harrison Smith,music by Ben Garrison, arr. by Aletha MaeRobinson. © Harrison Godwin Smith;24Dec49; EP42924.And note that athttp://memory.loc.gov/service/music/eadxmlmusic/eadpdfmusic/mu2005.wp.0027.pdfunder the rubric Guides to Special Collectionsin the Music Division of the Library ofCongress, we find Jelly Roll Morton Collection.I divides its Jelly Roll holdings into twocategories: “Music Composed or Arranged byJRM” and “Music Performed by JRM,Composed by Others.” “Bluebird” is in the“composed by” section, citing “manuscriptlead sheet” and the 1930 copyright asevidence.I’m sorry, but this smells to high heaven.Harrison Smith pops up in 1947 claiming thatJelly stole “Bluebird” from him clear back in1929; then in 1949 he copyrights the pieceand publishes it--himself. In the 1947 articlehe gives no evidence, but seeks to impuneJelly’s claim by stating that Jelly & SouthernMusic didn’t “publish” the tune (in sheet musicform) but only registered a copyright.Well here’s what: the vast majority of thepure jazz titles in this index weren’t publishedas sheet music either. Ragtime and Tin PanAlley pop songs were published first, thenrecorded, but jazz titles generally wererecorded first (and probably never publishedin print): The record itself was theirpublishing.Jelly Roll copyrighted and recorded the tunein 1929; Victor “published” the work on itsrecord number 23004 with his name on it ascomposer.Why didn’t Harrison speak up at the time? Acompany as big as Victor publishing a workby an artist as well kn own as Morton surelywouldn’t have gone unnoticed, but Harrisoncomes along 18 years later (conveniently afterMorton had died) and claims he really wroteit? Phooey!I’ll bounce this off Butch Thompson andJames Dapogny, but for now I’m switchingthis back to JRM. [Butch responded, agreeswith me entirely.]I’m More Than Satisfied (Fats Waller–Raymond Klages)Keith Nichols Cotton Club Gang 1242Red Rose Ragtime Band 1360ASM, 1927, Robbins; m. Waller/w. Ray Klages,but we’re using Raymond everywhere else..I’m Nobody’s Baby (Benny Davis–Milton Ager–Lester Santly)Keith Nichols Cotton Club Gang 1242Barbara Rosene 1368Rec. Mildred Bailey, 4/2/40, Columbia 35626.Tommy Dorsey, 4/10/40, Victor 26609, HMVEA-2603. Benny Goodman 4/10/40, Columbia

35472. Joseph Samuels’ JB, 3/21, OKeh/Apex4302, Odeon 311972.When I saw the gap from 1921 to all therecordings in 1940, I figured the Samuels tunehad to be different, so I was amazed when IfoundI'm nobody's baby; fox-trot, by Benny Davis,Milton Ager and Lester Santley [of U.S.], arr.by Frank E. Barry [of U.S.]; orch. with piano.4to.© Mar. 10, 1921; 2 c. Mar. 11, 1921; E503650; Leo Feist, inc., New York.[Copyright is claimed on arrangement]______words and melody by Benny Davis,Milton Ager and Lester Santley [of U.S.], arr.by M. Ager.© 1 c. Mar. 5, 1921; E 501704; Leo Feist,inc., New York.And Rosene specifically mentions that it’s the1921 song she’s singing. But what in theworld prompted that 1940 spasm of reinterestin this 1921 song? (The Samuels recordingdidn’t even have a vocal.) (And I checked:The Bailey and Goodman records did creditthe same three composers.)I’m Not Rough (Lil Hardin)Pierre Atlan’s Piccadilly Revelers 1181Pam Pameijer’s New Jazz Wizards 1350Hot Five, 12/10/27, OKeh 8551, Vocalion 3237,Columbia 37536.Confirmed by 5/10/28 copyright reg. AndJohn Gill reports 5/10/28 copyright depositshowing Lill Hardin.I’m Not Worrying (Clarence Williams–Fats Waller)Jacobi’s Bottomland Orchestra 1336Neville Dickie 1397Rec. Williams 6/21/29, Columbia 14447-D.Confirmed by Columbia label and 7/1/29copyright reg.I’m Now Prepared to Tell TheWorld It’s You [It’s You](Fats Waller–Andy Razaf)Ray Skjelbred 1124On LP as “It’s You” by Razaf-Waller.Rec.Boswell Sis., 7/8/31, Brunswick 6151, 80014,01181, A-9112.Jimmie Noone, 7/27/31, Brunswick 6192, A-9135.Calif. Ramblers, 5/19/36, Pathe Aktuelle36453, Perfect 14634.Ray says he associates it with Noone &Boswell Sisters, so Calif. Ramblers could havebeen different tune entirely.Oops, not in copyright books 1929-33. Oopsagain: Just ran across “I’m now prepared totell the world it’s you” (Waller-Razaf), rec. 1932by Cab Calloway. Could it be same song?That record is 6/7/32, Banner 32483; MelotoneM-12489, 91367; Oriole 2495; Perfect 15623;Romeo 1868. Certainly wouldn’t be surprisingif the other labels chose not to use such a longtitle and shortened it. Here’s the copyright forit:I'm now prepared to tell the world it's you; wAndy Razaf, m Thos. Waller. © July 8, 1932;E pub. 31232; Mills music, inc.AND Eureka! The Boswells and Cab Callowayare singing the same song. Online search onboth titles shows--surprisingly--far morereferences to the full title, so we must move itthere and make a cross-ref. from “It’s You.”I’m on the End of the Phone(Raina Reid–Andy Leggett)Charleston Chasers 1314Reid was member of band, Leggett wasformer member.I’m Putting All My Eggs in One Basket(Irving Berlin)Neville Dickie 1052Bob Pelland & Bob Pilsbury 1232Copyright 1/10/36, from film Follow the Fleet.I’m Riding to Glory (with a GloriousGirl) (Mort Dixon–Harry Woods)Neely’s Royal Society Jazz Orch 1250Rec. Lou Raderman, 4/4/28, Banner 7082,Domino 4134, Imperial 1969. WilliardRobison, 4/4/28, Cameo 8205, Lincoln 2860,Romeo 628 et al.Copyright reg. 1/3/28, w. MD, m. HW, but nosubtitle there. RHJA show subtitle for theRaderman record. Online Robisondiscography shows it for his Cameo. Couldn’tfind the labels for any of these from Rust, butLC SONIC has five other recordings of it, allwith subtitle, and sheet music listing at INimplies the subtitle.I’m Somebody’s Somebody Now(Abner Silver–Al Sherman–Howard Johnson)Back Bay Ramblers 1279Rec. Annette Hanshaw, 6/27, Pathe Aktuelle36664, 11485; Perfect 14845.Confirmed by 3/25/27 copyright reg., w/m allthree.I’m Sorry I Made You Cry (N. J. Clesi)Ian Whitcomb & Dick Zimmerman 1049Mahogany Hall Stompers 1221Trevor Richards New Orleans Trio 1222Ian Whitcomb & His Merry Bands 1276Independence Hall JB 1386John Gill’s Jazz Kings 1401

2013 review: Rec.Clarence Williams as I’m Through 11/28, QRSR-7040, Paramount 14024. (no credit onParamount)Bechet with Bob Wilber band as I’m Through,Goodbye, 6/8/49, Circle J-1059, L-406;Riverside RLP-12-216, 139 et al. TheRiverside LP jacket credits Bechet.Claude Luter as I’m Through, Goodbye,6/5/61, Vogue (French) LD-555.. . . and many bands since under theexpanded title that Bechet used when herevived the tune in 1949. It’s actually far betterknown under that title that the original shorterone.They’re all the same tune.I’m Through with Love (Gus Kahn–Matty Malneck–Fud Livingston)John Gill Sentimental Serenaders 1424ASM, 1931, M-G-M; w. Kahn/m. Malneck-Livingston.I’m Tickled Pink with a Blue Eyed Baby(Pete Wendling–Charles O’Flynn)Neely’s Royal Society Jazz Orch 1208CD had “Blue-eyed baby”Rec. Roy Evans, 10/31/30, Columbia 2338-D.Red Nichols Big Ten, 11/18/30, Victor 23026,HMV B-5977. Fred Rich, 11/19/30, OdeonONY-36179, A-221334; Parlophone PNY-34155, R-856; Harmony 1246-H; Clarion 5179-C; Regal G-20945. (some had hyphen, somedidn’t in Rust)Copyright reg. 9/20/30 did NOT have ahyphen; w. O’Flynn/m. Wendling. Couldn’tfind any actual labels, but according to LCSONIC, Nichols record had hyphen, Evans didnot; two other recordings split one each. ButMTSU lists it without hyphen, AND I found thecover online--without a hyphen. So sheetmusic and copyright overrules Red Nichols.I’m Travelin’ - don’t have this on SOS yet, butlearned from Bob Pelland at Chattanooga2012 that it’s really a hymn called “When IMove to the Sky,” but that when Ken Colyerand the Crane River JB recorded it c. 1950,Colyer couldn’t remember the real title so hemade one up. Should be easy to check, sinceit’s been recorded under “sky” title by gospelsingers and even Bunk Johnson.I’m Watching the Clock [Watchin’the Clock] (Joe Oliver–ClarenceWilliams)Jacobi’s Bottomland Orchestra 1336Rec. King Oliver, 9/12/28, Brunswick 4469,Vocalion V-1033. Cl. Williams Orch (as just“Watchin’ the Clock”), 12/19/28, OKeh 8663.Here’s the copyright reg.:I'm watching the clock; by Joe Oliver andClarence Williams. [Melody only] © 1 c. Mar.2, 1929; E unp. 4228 ; Clarence Williamsmusic pub. co., inc., New York.Oliver Brunswick label is I’m Watching,composer credit only Oliver! This isinteresting: The Williams OKeh label is indeedjust “Watchin’ the Clock,” and the composercredit is . . . Oliver!Only two recordings, both by majorperformers (and presumably co-composers): Ithink we must put in “Watchin’ the Clock” asan alternative title.I’m Wild About That Thing(Spencer Williams)Rusty Taylor /Southern Stompers 1028Red Onions & Ottilie 1090Barbara Rosene 1431Rec. Bessie Smith, 5/8/29, Columbia 14427-D,DZ-378; Harmony 1086; Biltmore 1009.Confirmed by 4/29/29 copyright reg.I’m Wonderin’ Who (Albert Von Tilzer–Peter De Rose–Jo Trent–Edward Grant)Prague Jazzphonics 1236Neely’s Royal Society Jazz Orch 1250Imagination (Fud Livingston)Hot Antic JB 1099Terry Waldo’s Gotham City Band 1120Lande’s Rhythm Club Orchestra 1327Les Rois du Fox-Trot 1429Confirmed by sheet music and 10/6/27copyright reg. Beware that Rust has sixdifferent imaginations, delineated by year.First is this one 1927, recorded by Livingstonand by Red Nichols and Miff Mole bands.Imagination (Sterling Russell)Les Red Hot Reedwarmers 1435Notes say this is the B ennie MotenImagination, which Moten rec. 12/13/32, Victor23378, Bluebird B-5078. And Sterling Russellis the leader of the Sterling Russell Trio ofvocalists.BUT I couldn’t find any copyright in the books1931-36 (name Sterling Russell not there forany other titles either), nor could I find either ofthe record labels. Oddly, not even LC SONIChas either of them, and they have dozens ofMoten records. Only secondary confirmation Ihave is RHJA and Russell credit onChronological Classics Moten reissue. Guessthat’ll have to suffice, but I’m suspicious.Russell’s name could have been on the labelas featured vocalist, and that could have beenpicked up--possibly incorrectly--as acomposer credit.Well, Bill Haesler did fearsome battle with thistoo. He never found a primary source (i.e.,actual Moten Victor or Bluebird record labels),but he found a little more secondary evidencefor Sterling Russell as the composer, so wemust settle for that. And later he put the icingon the cake: The label of Victor 23378,“Imagination,” by Sterling Russell Trio andOrchestra, composed by . . . S. Russell!Immigration Blues (Duke Ellington)Moonlight Broadcasters 1193Rec. Ellington 12/29/26, Vocalion 1077, Oriole1010, Biltmore 1004.Confirmed by 2/25/27 copyright reg., alsoVocalion label.Impecunious Davis (Kerry Mills)Glenn Jenks & Dan Grinstead 1292

for Siras shows just two songs, Dance of thePaper Dolls and Shanty in Old Shanty Town.Lissauer has no separate entry for John Siras,but lists both these songs under Ira Schuster.SO John Siras is pseudonym for Ira Schuster.Joe’s a separate fellow in both books.In Harlem’s Araby (Fats Waller–Jo Trent)Scaniazz 10562013 review: Copyright isIn Harlem's Araby; w and in Jo Trent andTom (Fats) Waller, both of U.S. © July 24,1924; 2 c. July 23; E 594173; Equitablemusic Corp., New York.Rust lists following recordings under “(In)Harlem’s Araby,” with cross-ref from “Harlem’sAraby” to this listing:Porter Grainger (acc. by Fats W. on pno), 5/24,Ajax 17039 (IN).Leroy Smith, 9/24, Everybody’s 2010;Globe/Grey Gull/Nadsco/Radiex 1283(Harlem’s Araby).Get-Happy Band (with Bechet), 7/17/25,Columbia 14099-D (as just “Harlem’sAraby”)Memphis Jazzers, 11/29, GreyGull/Radiex/Supreme 1804; Biltmore 1024 etal (IN).Adrian Schubert, 1/7/30, Banner 0569, Cameo0169, Jewel 5824 (IN).OK, copyright and first recording are “InHarlem’s Araby,” so that’s the title. BUT twoearly recordings went out as just “Harlem’sAraby,” so we should include a cross-ref fromthat title.In Honeysuckle Time (WhenEmmaline Said She’d Be Mine)(Eubie Blake–Noble Sissle)Ophelia Ragtime Orchestra 1108John Gill’s Original Sunset Five 1126ASM, 1921, M. Witmark, has subtitle on bothcover and (c) page.In My Harem (Irving Berlin)Bob Pelland & Bob Pilsbury 1232ASM, 1913, Waterson, Berlin & Snyder.In My Heart—On My Mind—All DayLong (Bert Kalmar–Harry Ruby)Bo Grumpus 1388Rec. Bailey’s Lucky 7, 12/21, Gennett 4815,Connorized 3045, Rich-Tone 7022, Starr 9193.Copyright uses dashes:In my heart— on my mind—all day long;words and music by Bert Kalmar and HarryRuby [of U.S.l © Oct. 15, 1921; 2 c. Oct. 17,1921; E 521415; Waterson, Berlin & Snyderco., New York.(but the later registration for mechanicalreproduction rights used commas instead ofdashes.)Hassan’s index shows it with dashes. AND theBerlin-Waterson-Snyder sheet music for“Sheik of Araby” has a blurb/ad for it showingthe music, with the title divided by dashes.In New Orleans (Daphne King–Clancy Hayes)Bob Schulz & His Frisco JB 1349See extended notes at “Broken Promises.”In Old California with You (E. ClintonKeithley–F. Henri Klickmann)San Francisco Starlight Orchestra 1271Confirmed by 1/23/22 copyright reg. w.Keithley, m. Klickmann, also sheet music.In Our Cottage of Love(Frank Milne–Bob Schafer)Paramount JB of Boston 1247Des Plantes’ Washboard Wizards 1421Oops, Victor Project says Milno, rec. 5/22/29for Victor V-38063, but the 2/5/29 copyrightreg. confirms Milne for m., Schafer for w. LCSONIC says it was indeed Milno on the Victorlabel by CW Washboard Band, rec. 5/22/29,but Milne on Columbia 14434-D, rec. 5/28/29.And note that Rust has typo in his index,Cottage of Dreams sted Love.In the Alley Blues (Lovie Austin)Art Hodes Blues Serenaders 1184Rec. Austin 8/26, Paramount 12391, AmericanMusic 4, Jazz Collector (UK) L-30, AssociationFrançaise A-04.Not in copyright books 1925-28, althoughmany other Austin compositions are listed.Found AM 4 label; no composer credit.Couldn’t find the other labels, but LC SONIChas them all. Lists no composer credit for firstthree, but shows Austin as composer for AF A-04. Guess we’ll have to settle for that.In the Garden (C. Austin Miles)Louisiana Repertory Jazz Ensemble 1029Grand Dominion JB 1291Well, well, well: Great Song Thesaurus says(He Walks with Me) In the Garden. 1912.w.m. C. Austin Miles. "3rd most popularhymn among Protestant churchgoers"according to poll by the Christian Herald.[placed alphabetically under In...Variety Music Cavalcade says just "In theGarden," C. Austin Miles, Hall-Mack, 1912.8/25: Mike Montgomery sends a 1917republication of the sheet music, with just "Inthe Garden." But it’s a republication by theoriginal publishers, Hall-Mack, so theyprobably wouldn’t be changing it.We must go with that. 1940 repub. byRodeheaver-Hall-Mack also “In the Garden.”8/28, Caulfield: Only registration card is aspublished tune, 10-17-17, plus later 1928arrangement, as In the Garden, C. AustinMiles.In the Gloaming (Annie FortescueHarrison–Meta Orred)Mahogany Hall Stompers 1221CD had A. F. Harrison.Rec. Armstrong 3/10/41, Decca 3825, M-30681; Brunswick 04298. Waller 4/12/38,Victor 25847, HMV EA-2167. LC SONIC saysDecca label was Annie F. Harrison-MetaOrred.Pistorius says they took it from Bunk JohnsonTrio recording of 1946.Hmmm...Duke Univ. has three copies, all sayby Annie Fortescue Harrison and Meta Orred,but none is dated . . . a sign that it could bevery old (I’ve seen other 19th century & oldersheets that had no date).Aha, we’re getting closer. Fats Rhythm onreissue on RCA Vintage LP credits Harrison,and it’s definitely same as our tune. And myBunk Johnson reissue on Brit. Jazz Greatslabel credits Harrison-Orred.The Lied, Art Song, and Choral Texts Archivesays it’s text by Meta Orred, music by AnnieFortescue Harrison and gives pub. date of1877. Hyperion Records website says thesame thing. And wikipedia says"In the Gloaming", an 1877 song composedby Annie Fortescue Harrison with lyricstaken from a poem by Meta Orred.Guess that settles it.In the Good Old Summertime(George Evans–Ren Shields)John Gill’s Dixieland Serenaders 1295Grand Dominion JB 1337Canary Cottage Dance Orchestra 1400ASM, 1902, Howley, Haviland & Dresser.In the Groove (Willie “The Lion” Smith)Neville Dickie 1176There was also a Bechet tune of that title.Rec. Andy Kirk, 2/15/37, Decca 1261, 60522;Brunswick 02441. Wingy Manone, 10/1/36,Bluebird B-6616.

Confirmed 8/18/36 copyright reg.In the Land of Harmony (Bert Kalmar–Ted Snyder)Bo Grumpus 1388Confirmed by 1911 sheet music, w. BK, m. TS,pub. Snyder.In the Pines (see Black Girl)In the Shade of the Old Apple Tree(Egbert Van Alstyne–Harry Williams)Down Home JB 1264Aces of Syncopation 1372Yerba Buena Stompers 1375ASM confirms, 1905, Shapiro, Remick.In the Sweet Bye and Bye (see SweetBy and By)Incandescent Rag, The(George Botsford)George Foley 1187Confirmed by sheet music, pub. Remick,1913.Independence Day Rag(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284He was guest conductor for the session, sohe’d know.India (Al Piantadosi–Sam H. Stept)Dan Levinson’s Roof Garden JB 1380Confirmed by 5/22/19 copyright reg., w. AP/m.SHS. And by Yerkes Novelty Five ColumbialabelIndian Sagwa [Indian Sagua](Thomas S. Allen)Hall Brothers JB 1031Note on DJML from guy in Gota RiverJazzmen (Gothenburg, Sweden), says hisband recorded it, was by Thomas S. Allen,says it’s Sagwa (also spelled Sagua),published 1914. And sure enough:Indian sagwa; characteristic march by Thos.S. Allen; orch. with piano acc. 4to. © Jan.29, 1914; 2 c. Feb. 11, 1914; E 330920;Walter Jacobs, Boston.Everybody seems to know it as Saguabecause that’s the way George Lewisrecorded it, although I see that the NewOrleans Ragtime Orchestra called it Sagwa.I didn’t see the sheet music, but found itindexed as sagwa, pub. 1914 by WalterJacobs of Boston, in three different librarycollections. Obviously, Sagwa is right, butbecause of Lewis and all the bands thatlearned it from his recording, we must includeSagua as alternative.Indian Summer (Victor Herbert–Al Dubin)Neville Dickie 1052Rec. Bechet NO Feetwarmers, 2/5/40, BluebirdB-10623, HMV B9061 et al. T. Dorsey,9/27/39, Victor 26390, 20-2446; HMV EA-2469.Jan Savitt, 10/4/39, Decca 2821, X-1868;Brunswick 02972.Wikipedia article:Herbert composed the tune in 1919, but itdid not become a standard until much later. .. . Dubin wrote his lyrics for the song in1939, and in 1940 Tommy Dorsey'sorchestra, with vocalist Frank Sinatra, took itto number one on the American Hit Parade.S&P says the same thing.Sure enough, it was copyrighted 7/22/1919 byHerbert, described as an “American idyl.” Butthis is interesting: in the 1939 copyright bookwe findIndian summer; American idyl, VictorHerbert, arr. Robert Cary; band. Condensedsc. & pts. B set.© May 23, 1939; E pub.77867; Harms, inc., New York. 23259Revived in band form, but where’s Dubin? Ah,here we are, later in the book:Indian summer; fox trot, w Al Dubin, m VictorHerbert, arr. Jack Mason orch. pts.© Oct.18, 1939; E pub. 80492; Harms, inc., NewYork.________ w Al Dubin, m Victor Herbert, pfarr. Joe Dubin. © Oct. 9, 1939; E pub.80203; Harms, inc., New York.Normally, we’d ignore a credit for a lyricist whoadded works to a long-standing jazz standard,but I think it’s obvious that in this case, Dubinand the arrangers of 1939 turned a 1919 “idyl”into a jazzy foxtrot.Indiana (James F. Hanley–Ballard Macdonald)Vince Giordano’s Nighthawks 1260Indianola (S. R. Henry*–D. Onivas*)Chris Tyle’s Silver Leaf JB 13112013 review: 10/5/17 copyright reg. confirmswhat we show. Also issued in song versionwith words by Frank H. Warren.Indigo Blues (Isham Jones)Elliott Adams 1299Adams says he confirms all composers on thisCD, but just for the heck of it . . .rec.Ford Dabney, 1/19, Aeolian Vocalion 12097(Isham Jones in 1919?). Five BirminghamBabies (Red Nichols, Adrian Rollini et al.),10/27/25, Pathe Aktuelle 36349, Perfect14530. Orig. Memphis 5, 9/27/22, Arto 9177,Bell P-177, Globe 7177.And here is is:Indigo blues; fox trot, by Isham Jones [ofU.S.]; piano. New York, Tell Taylor. © Dec.31, 1918; 2 c. Jan. 2, 1919 E 444016; Taylormusic pub. inc., Chicago.Inka Dinka Doo (Jimmy Durante–Ben Ryan)Classic Jazz Quartet 1125Confirmed by 11/7/33 copyright reg., w. Ryan,m. Durante.Inner Space (Luckey Roberts)Tom Roberts 13451958 says Roberts, transcribed (presumablyfrom recording) by another fellow. Not incopyright book for 1958 (no surprise); is fromthe Luckey & the Lion LP that I used to have;credit there is Roberts. Perfesser Bill confirmsit, along with Outer Space, which is also in thisindex.

Innocent Ingenue Baby (Brian Hooker–William Daly–George Gershwin)Frederick Hodges 1333Confirmed by 12/6/22 copyright reg., w. BH/m.WDGG. From Hayseed.Instantaneous (Walter P. English)Pierce College Symphonic Winds 1297Aha, actually copyrighted as “Instantaneous”;“rag” is a genre marker:INSTANTANEOUS; rag, by W. P. English, ofU.S.; band. 4to. © June 8, 1915; 2 c. June 8,1915; E 364229; J. W. Jenkins sons musicco., Kansas City, Mo.International Rag, The(Irving Berlin)Bob Pelland & Bob Pilsbury CD 1212On CD as “International Rag.” Oops, the 1914sheet music cover (pub. Waterson, Berlin &Snyder) isTHATINTERNATIONAL RAGBut the copyright page is (and most of myrecordings adhere to this usage), isThe International RagInto Each Life Some Rain Must Fall(Allan Roberts–Doris Fisher)Albion JB 1249CD said Allen Roberts.2013 review: Strange, vast number of sourcesagree that it’s Allan Roberts-Doris Fisher 1944,pub. Sun Music Co., but it’s not in copyrightbooks 1943-45. Found several copies of thesheet music on sale online, all agree.Irish Black Bottom (Percy Venable)Peruna Jazzmen 1003Bent Persson’s London Stompers 1167Down Home JB 1171St. Louis Ragtimers 1267Bob Schulz & His Frisco JB 1315M ’N’ M Trio 1319Pam Pameijer’s New Jazz Wizards 1363All our records showed Venable-Armstrong ascomposers.Rec. Hot Five, 11/27/26, OKeh 8447, Odeon279787, HJCA HC-3.OOPS, copyright isIrish black bottom; pf. by Percy Venable; ©1 c. Dec. 20, 1926; E 654631; Consolidatedmusic pub. house, Chicago.AND the composer credit on OKeh 8447 is justVenable. This is another case where theperformer who popularizes a tune getscredited as a co-composer. This wasformalized earlier when Percy Venable’s“Butter and Egg Man” was republished manyyears later as by Armstrong and Venable.That’s nuts! Half the jazz titles in this index areknown today because a great jazz musicianrecorded them and made them popular/famous. We can’t go back and make the jazzstar a co-composer in all those cases.Irish Confetti (George L. Cobb)George Foley 1088Confirmed by 1918 sheet music in folio--odly,not in 1918 copyright book.Irresistible Blues, The (Luckey Roberts)Tom Roberts 1345Confirmed by Vocalstyle 11463 piano roll label(but not in copyright book for 1918-20).Is It True What They Say About Dixie?(Gerald Marks–Irving Caesar–Sammy Lerner)Peter Ecklund’s Melody Makers 1175Confirmed 1/22/36 copyright reg., w. IC-SL/m.GM. No ? in copyright book, but it’s on boththe cover and copyright page of severaleditions of the sheet.Isle of Capri (Will Grosz–Jimmy Kennedy)Pam Pameijer Trio 1172Zenith Hot Stompers 1248Confirmed by 7/27/34 copyright reg., w. JK/m.WG.It All Belongs to Me (Irving Berlin)Keith Nichols Cotton Club Gang 1242Confirmed by 7/15/27 copyright reg.It All Depends on You (B.. G. De Sylva–Lew Brown–Ray Henderson)Barbara Rosene 1368ASM, 1928, De Sylva, Brown & Henderson.It Belongs to You (Albert Brunies–Glyn Lea Long)One More Time JB 1410

Alstyne-Williams] via your note of 5/29/93.Lissauer confirms these composers.}--3>BUT Kinkle lists it as It Looks Like a Big NightTonight by Van Alstyne-Kahn, 1908.But wait: I just rechecked Lissauer, and thetitle there is really It Looks to Me Like a BigNight Tonight, Van Alstyne-Williams, 1908.Warren Craig, Sweet and Lowdown: America’sPopular Songwriters (1978), says, “It LooksLike a Big Night Tonight from 1908 show‘Nearly a Hero,’ Egbert Van Alstyne & HarryWilliams.”OK, found the 1908 sheet music in Levy onlinecollection: It’s It Looks Like a Big Night Tonight(note the hyphen, but on the cover it’sspelled as two words [TO NIGHT]) words byHarry Williams (no initial; see below); music byEgbert Van Alstyne. Wonder how all thoseother listings came about.And here’s our answer to where Time camefrom: Long before they recorded it for you,Bilk and Colyer had recording that tune underthe Time title, and other Brits followed suit,including Brits who came to America andrecorded for Stomp Off, such as the Albionand Grand Dominion bands. But clearly thetune is well known under the Time title, so wemust put that here as an alternative title.MORE ON HARRY [H.] WILLIAMSBob, I think we may have gotten misdirectedon his middle initial. I did in fact find it on thecopyright page (although not the cover) of Inthe Shade of the Old Apple Tree. This camewhen we were trying to sort out whether theAmerican Harry Williams was the same chapwho co-wrote It’s a Long Way to Tipperary,so it seemed logical to apply the H. toAmerican Harry to help make the distinction.But since then I’ve run into Harry Williams onother sheet music (see above), in articles, inbooks, and he’s never referred to as anythingbut Harry Williams, with no initial.Which is logical, since with rare exceptions,people don’t use a middle initial with anickname: Dick A. Baker and Bob R. Erdoslooks strange. Unless we can find that H. onsome other sheet music, I’m going to kill theH.It Makes My Love Come Down(Bessie Smith)Pierre Atlan’s Piccadilly Revelers 1181Pam Pameijer’s New Jazz Wizards 14322013 review: Rec. Bessie 8/20/29, Columbia14464-D, Biltmore 1038. Confirmed by9/27/29 copyright reg. And aha: LC SONICshows Bessie as composer on Columbia14464-D, but a Humphrey Lyttelton onParlophone credited Clarence Williams, whichis what Elvers must have seen.It Makes No Difference Now(Floyd Tillman–Jimmie Davis)Chris Tyle’s NO Rover Boys 12358/23, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:Unpub. 5-25-38, w/m by Floyd Tillman; pub.1-29-39, w/m by Jimmie Davis & FloydTillman.It Must Be Love (Harry Dial)Hot Antic JB 1058Rec. by Harry Dial’s Blusicians, 5/15/30,Vocalion 1515.Copyright:It must be love; words and music by H. Dial.© 1 c. Oct. 9, 1930; E unp. Harry Dial,Chicago.But note that there were four more songs ofthat title copyrighted in 1930, most notablyone by Mack Gordon & Abner Silver for SwingHigh. But Hot Antics specifically said they’replaying the Harry Dial tune.It Takes a Good Woman (to Keep aGood Man at Home) (Jack Yellen–Milton Ager)Helm–Leigh Jazz & Blues Review 1331We missed the subtitle on this one. Rustshows it, and LC SONIC has a bunch ofrecordings, all showing it.Copyright reg. 9/22/26 w. Yellen/m. Ager, asjust “It Takes a Good Woman,” but later rereg.for mechanical reproduction rights adds “tokeep a good man at home” to the title,obviously because that had been put on mostof the recordings of it.It Takes Love to Cure the Heart’sDisease (James P. Johnson)Marquet–Persson Melody Boys 1229Definitely on a Johnson piano roll (Biographhas reissued it twice). YouTube video ofplayer piano says QRS, 1921, and says it’sone of his own songs. Not in copyright books1920-22. Never found a primary source, butPerfesser Bill and zillions of other refs say hewrote this.It Was Only a Sun Shower(Irving Kahal–Francis Wheeler–Ted Snyder)Barbara Rosene & Her New Yorkers 1422Confirmed by 1927 sheet music pub.Waterson, Berlin & Snyder. w. IK-FW/m.Snyder.It’s a Long [Long] Way to Tipperary(Jack Judge–Harry Williams)Chris Tyle’s Silver Leaf JB 1258Bob Schulz & His Frisco JB 1315Canary Cottage Dance Orchestra 1400

BUT: Great Song Thesaurus saysIt’s a Long (Long) Way to Tipperary, 1912,w/m Jack Judge, Harry H. Williams.BUT some more: Of course, we must alsonail down the co-composer of "Slow andEasy." Harry H.?Variety Music Cavalcade says Jack Judge-Harry H. Williams, London, 1912. Bob, is itpossible that familiar old Harry H. Williams hadthis particular tune published in London, andthat this somehow is bound up in the historyyou remember?8/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:All registrations show Jack Judge and HarryWilliams, never with middle initial of any kind;clearly a British song, with most copyrightsbeing by London publishers.8/25, Montgomery sends two different 1912releases, both English, both showing JackJudge and Harry (NMI) Williams, both showing"It’s a Long, Long Way to Tipperary." But bothclearly indicate that they are republications ofsong that’s already become popular. So I’mstill confident in our earlier finding that it waspublished in 1911 with just one Long.

Benny Goodman–Jack Teagarden)State Street Aces 1041Rec. Mills Merry Makers, 6/6/29, Banner 6483,Conqueror 7382, Domino 4369, Jewel 5685,Oriole 1668, Romeo 8813 et al. Confirmed by6/6/29 copyright (although copyright says“melody only” yet JT sang on it, according toRust. Banner, Oriole labels confirmcomposers.It’s the Girl (Abel Baer–Dave Oppenheim)Ernie Carson & the Castle JB 1277Confirmed 6/13/31 copyright reg., w. DO/m.AB; also sheet music cover.It’s Tight Jim (Preston Jackson)Bob Oliver’s Hot Seven 1312Oops--1/3/02 Durham calls [really?] to say thatthere definitely is NO comma on theParamount 78, but that a Paramountadvertisement touting the record does havethe comma.2013 review: Well, the Preston Jacksonrecording is the only one of this tune in Rust:9/26, Paramount 12400, Century 3014, TempoR-26 (UK), AF A-025 (Fr.).No copyright in books 1925-28, so the labelsare all we have. Found the Paramount label--NO comma. Nor on Century label. Alas, thecomma has to go.It’s Tight Like That (Thomas A. Dorsey–Hudson “Tampa Red” Whittaker)Zenith Hot Stompers 1191Dry Throat Fellows 1226Helm–Leigh Jazz & Blues Review 1332Le Petit Jazzband de Mr Morel 1343Les Red Hot Reedwarmers 1435ASM, 1928, State Street Music. Also 11/21/28copyright reg. Note also same title that yearcopyright by Blind Lemon Jefferson.It’s Unanimous Now (Sam H. Stept–Bud Green)West End JB 1085Back Bay Ramblers 1374Confirmed by 9/6/29 copyright reg., w/m both.It’s You (see I’m Now Prepared toTell the World It’s You)I’ve Been Floating Down the OldGreen River (Joe Cooper–Bert Kalmar)Gauthé–Marquet Clarinet Serenadrs 1216Frisco Syncopators 1245Bob Schulz & His Frisco JB 1315ASM, 1915, Waterson, Berlin & Snyder; w.Kalmar/m. Cooper.I’ve Found a New Baby (SpencerWilliams–Jack Palmer)Baker–Baldwin Radiogram Wshbrds 1243Newberger–Mazzy–Thompson 1352ASM, 1926, Clarence Williams.(I’ve Got a) Cross-eyed Papa (ButHe Looks Straight to Me)(Roy Ingraham–King Zany*–Billy Du Val)Neville Dickie 1423Aha. ASM, 1923, M.Witmark; w. King Zany &Billy Du Val/m. Roy Ingraham (we had onlyIngraham.I’VE GOT ACROSS-EYED PAPABUT HELOOKS STRAIGHT TO MEon (c) page; cover is same except the relativesize diff betwen the middle line and the othersis even greater than shown above.I’ve Got a Feeling I’m Falling(Fats Waller–Harry Link–Billy Rose)John Gill’s Calif. Sunshine Boys 1156James Dapogny & Butch Thompson 1183Louis Mazetier & Neville Dickie 1289Paris Washboard 1308ASM, 1929, Santly Bros.; w. Rose/m. Waller-Link.I’ve Got “It” (But It Don’t Do Me NoGood) (Sammy Fain–Irving Kahal–Pierre Norman)Susan LaMarche/Waldo’s Gut. Sync. 1032LP was I Got It, But It Don’t Do Me No Good.2013 review: Well, Rust hasI Got It, by Jimmie Lunceford, 5/9/40,Columbia 35510, DS-1602; Parlophone R-2924; Odeon A-22390, D-6822.I’ve Got “It,” by Jack Teagarden aho, 7/29/33,Columbia 2913-D, DB/MC-5035.I’ve also got a recording of it by our “last” titleby Helen Kane, shows same composers.LaMarche puts “that’s all” at the end,presumably emulating Annette Hanshaw.Kane & Hanshaw both recorded it in 1930.Hanshaw was on OKeh, also Harmony 1155-H, Velvet Tone 2155-V.The copyright reg. isn’t much help:I've got it, but it don't do me no good fromYoung man of Manhattan, words and musicby Sammy Fain, Irving Kahal and PierreNorman. © May 10, 1930; 2 c. May 12; Epub. 15552; Famous music corp., New York.In googling around on Hanshaw and Kane, Ifind lots without the quotes, but more withthem. And I find lots of mistaken “I’ve got itbad, but it don’t do me no good”--presumablypeople confusing it with Ellington’s I’ve got itbad and that ain’t good. And found subtitle inboth parens and set off by comma. So I justordered the sheet music from MTSU. Bothcover and cy page areI’ve Got “It”(But It Don’t Do Me No Good)I’ve Got My Captain Working forMe Now (Irving Berlin)High Society JB 1010Bob Pilsbury with Friends 1265Dan Levinson’s Roof Garden JB 1380Confirmed by 7/26/19 copyright reg.I’ve Got My Eye on You(Sam H. Stept–Bud Green)Ian Whitcomb & Dick Zimmerman 1017From 1929, says Whitcomb in notes.Confirmed by 1/2/29 copyright reg., fromShow Girl in Hollywood, w/m both, but no sillysubtitle as on the LP: “(Ooh, Ooh, Ooh,Ooh!).” I looked for it, couldn’t find itanywhere attached to title, but the lyrics dohave some “ooh, ooh’s.”2013 review: No recordings of this one inRust, just many 1939-40 recordings of “I’veGot My Eyes on You” by Cole Porter. MTSUhas it, so I just ordered the darned thing to seeif there’s really a stupid subtitle there. Nosubtitle cover or copyright page.I’ve Got My Fingers Crossed(Jimmy McHugh–Ted Koehler)Prague Jazzphonics 1236Confirmed by 12/9/35 copyright reg., w. TK/m.JM. From King of Burlesque.I’ve Got Rings on My Fingers (or,Mumbo Jumbo Jijjiboo J. O’Shea)(Maurice Scott–F. J. Barnes–R. P. Weston)St. Louis Ragtimers 1267

Did you get the initials for Barnes & Westonfrom the Ragtimers? The sheet music hasonly “Words by Barnes & Weston” on coverand copyright page.Aha: Jablonski clearly implies via cross-refsfrom index that it’s F. J. Barnes and R. P.Weston. This may well be where I got thoseinitials last time; just failed to annotate it.I’ve Got Somebody Now(Spencer Williams)Barbara Rosene 1431Rec. Black Diamond Orch, 3/31/28, Gennett6442, Bell 595, Champion 15475, Supraphone2503. Rosa Henderson, 5-6/26, Vocalion1025, Oriole 1001.Confirmed by 6/17/26 copyright reg.I’ve Got Someone (Charles H. Brookes)Evergreen Classic JB 1202Dry Throat Fellows 1226Keith Nichols Cotton Club Orchestra 1320Rec. Missourians, 8/1/29, Victor V-38103, HMVR14399. Confirmed by 1/22/30 copyright reg.I’ve Got the Blues for Home SweetHome (George W. Meyer–M. K. Jerome–E. Ray Goetz–George W. Meyer)Barbara Lashley & Ray Skjelbred 1152

Jazz Baby (M. K. Jerome–Blanche Merrill)Banu Gibson NO Hot Jazz Orch 1073ASM, 1919, Waterson, Berlin & Snyder; w.Merrill/m. Jerome.Jazz Battle (Jabbo Smith)Charquet & Co 1053Hot Antic JB 1099Peter Ecklund’s Melody Makers 1175Rec. Jabbo 1/29/29, Brunswick 4244, UHCA43, AF A-042.Confirmed by 6/5/29 copyright reg.Jazz-Dance Repertoire, The(Chris Smith–Shelton Brooks)Ian Whitcomb & Dick Zimmerman 1049ASM: Jazz-Dance with hyphen, cover andcopyright page; 1920, Jerome Remick; w.Smith/m. Brooks.Jazz Holiday, A (W. Benton Overstreet–Walter Melrose)Marty Grosz /Keepers of the Flame 1158Keith Nichols Cotton Club Gang 1242John Gill’s Novelty Orchestra 1270Rec. Joe Candullo, 7/16/28, Banner 7169,Domino 4167, Jewel 5335, Oriole 1287, Regal8595. Benny Goodman 1/23/28, Vocalion15656, Brunswick 80027. Ted Lewis, 4/3/28,Columbia 1525-D, A-8023. Abe Lyman,11/28/28, Brunswick 4155.Confiremed by 1/30/28 copyright reg., m.Overstreet, w. Melrose.Jazz Lips [Zonky Blues](Duke Ellington)Black Eagle JB 1303Rust says “Jazz Lips (Zonky Blues),” rec.Ellington 11/14/29, Victor V-38129; Bluebird B-6396; HMV B-4939 et al. Copyright reg.5/20/30, just Jazz Lips. Found the Victor andtwo diff. versions of the Bluebird label atEllington labels site--no mention of ZonkyBlues. Where’d Rust get that?But I’ll be damned: do a google search onduke ellington zonky blues and you’ll get azillion hits on either “Jazz Lips (Zonky Blues)”or just “Zonky Blues” by itself. Oops, and nowI see that both “Jazz Lips” and “Zonky Blues”are listed (separately) as 1930 compositions inthe Ellington bio list of compositions.And when I went back and looked for “ZonkyBlues” in 1930 copyright book, I found it,dated 2/18/30, actually earlier than “JazzLips.”Well, the Duke Ellington Society of Swedenweb site has a listing of primary/alternativetitles for Ellington compositions, and theyshow Zonky Blues as an alternative title forJazz Lips. I guess we do the same.Jazz Lips (Lil Hardin)Jazz O’Maniacs 1071Abi Hübner’s Low Down Wizards 1093Pam Pameijer’s New Jazz Wizards 1350Rec. Hot Five, 11/16/26, OKeh 8436, Odeon279828. Confirmed by 12/6/26 copyright reg.Jazz Master, The (Billy Mayerl)Tony Caramia 1313Billy Mayerl Society discography confirms, rec.HMV B-2131, 9/15/25. And there’s a U.S.copyright reg. from 8/4/25.Jazz Me Blues, The (Tom Delaney)Andy Stein & Friends 1146ASM has 3 copies:1. The Jazz-Me Blues on (c) but no hyphen oncover, (c) 1921 Palmetto Music & pub.Palmetto. The original edition, presumably.2. The Jazz Me Blues, (c) 1921 PalmettoMusic, pub. Edw. B. Marks.3. The Jazz Me Blues, (c) 1919 PalmettoMusic, (c) renewed 1958 by Top Delaney, (c)assigned 1958 to Edward B. Marks MusicCorp.Jazz Parade, The (Ade Monsbourgh)Steve Waddell’s Creole Bells 1348CD had Monsbourgh-Dallwitz.List of Australian Jazz Compositions says justMonsbourgh. Queried Bill Haesler, learnedthat it’s just Monsbourgh, no doubt about it.Jazzapation (Edward B. Claypoole)George Foley 1088ASM, 1920, Jerome Remick.Jazzbo Brown from Memphis Town(George Brooks*)Steve Lane’s Southern Stompers 10402013 review: Rec. Bessie 3/18/26, Columbia14133-D, Biltmore 1095, HJCA HC-81.Copyright was just Jazzbo Brown:Jazzbo Brown; words and melody by G.Brooks. © 1 c. July 13, 1926; E 644480;George Brooks, New York.BUT the Columbia label was Jazzbo Brownfrom Memphis Town!Jazzbo Jenkins (Shelton Brooks)M ’N’ M Trio 1319Rec Ollie Powers, 10/23, Paramount 12059,Harmograph 874. Young’s Creole JB, 10/23,Paramount 12059 (!?), Harmograph 874.(Rust: Pm 12059 as Ollie Powers, Hg 874 asClarence Young [this still doesn’t make muchsense])Not in copyright books 1922-24. But theParamount label credits Brooks, as do manyother sources.Jazzin’ Babies Blues(Richard M. Jones)Peruna Jazzmen 1003South Frisco JB 1027Minerva JB 1117Jacques Gauthé’s Creole Rice YBJB 1170Down Home JB 1199Chris Tyle’s NO Rover Boys 1235New Jazz Wizards 1244Chris Tyle’s Silver Leaf JB 1298Neville Dickie 1309Yerba Buena Stompers 1381High Society JB 1396John Gill’s Jazz Kings 1401But copy in Jones folder at LC MRR did NOThave the apostrophe.4/16/11: This must be referring to anapostrophe after Babies.2013 review: Rec. (usage acc. to Rust unlessotherwise noted):Ethel Waters, 5/22, Black Swann 14117,Paramount 12175, Victor Electrola RE-45,Babies--conf. by BS label.Alberta Hunter & Eubie Blake, 7/22,Paramount 12006, 12043, Baby--conf. byParamount label.King Oliver, 6/23/23, OKeh 4975, Biltmore1051, HJCA HC26, Babies’--confirmed byOKeh label.Eva Taylor, 9/29/23, OKeh 8129, ParlophoneE-5261, Babies--conf. by OKeh label.Johnny Dunn, 10/30/23, Columbia 13004-D,Babies--conf. by LC SONIC.RMJones Jazz Wizards, 11/7/27, Victor 21203,Baby--conf. by Victor label.Georgia White, 4/18/40, Decca 7741, Babies--conf. by Decca label.Copyright is Babies:Jazzin' babies blues; w and m R. M. Jones,of U.S. (Clarence Williams blues edition) ©Apr. 22, 1924; 2 c. Apr. 26; E 587697;Clarence Williams music pub. co., inc., NewYork.What a mess! First rec. as Babies andcopyrighted as Babies, so we’ll stick with that,but noteworthy that it had already beenrecorded as Baby and Babies’ before Jonescopyrighted it, and even more noteworthy thatwhen Jones recorded it himself, even he usedBaby rather than the title he had copyrighted itunder.

Jazzing the Blues Away (Dick Heinrich–Jeff Branen)Canary Cottage Dance Orchestra 1400ASM: Cover and (c) are Jazzing (we hadJazzin’); w. Branen/m. Heinrich; 1918, A. J.Stasny.Jeanie with the Light Brown Hair(Stephen Foster)Canary Cottage Dance Orchestra 1415This is strange...IN Harmony had two copies,one titled Jeannie with the light brown hair, theother I dream of Jeannie. But I couldn’t viewthem. What’s more bizarre is other sites thathad dozens and dozens of Stephen Fostersongs but not this one, under either title!In LC collection I found Pretty Tunes for LittleFolks No. 14: Beautiful Melodies by StephenFoster Arranged by James Bellak, pub. 1884.In there it was “Jeannie with the Light BrownHair.”At UCLA Consortium found several copiestitled “Jeannie with the Light Brown Hair,” allreissues in the 20th century, as well as an “IDream of Jeannie, with the Light Brown Hair.”But aha, the Wikipedia article on Fosterreproduced the original 1854 cover, which wasindeed “Jeannie with the Light Brown Hair.”Jeannine (I Dream of Lilac Time)(Nat Shilkret–L. Wolfe Gilbert)Dick Sudhalter & Connie Jones 1207Ingham–Grosz Hot Cosmopolites 1323Canary Cottage Dance Orchestra 1415Barbara Rosene & Her New Yorkers 1422Found this several ways online--as one solidtitle, with comma after Jeannine, with subtitlein parens, so I just bought the sheet music(Leo Feist, 1928): Cover and copyright pageare the same:Jeannine(I Dream of Lilac Time)Jelly Bean Blues (Ma Rainey–Lena Arrant)Uptown Lowdown JB 1030Golden Eagle JB 1080Jimmy Mazzy & Eli Newberger 1109Original Salty Dogs JB 1115Magnolia Jazz Five/Jimmy Mazzy 1137Lyttelton–Fawkes Troglodytes 1238Black Eagle JB 1257Grand Dominion JB 1268Red Rose Ragtime Band 14122013 review: Rec. Rainey 10/16/24, Paramount12238, 14016; UHCA 84, et al. Clara Smith,5/3/26 Columbia 14292-D. Copyright isJelly bean blues; w and rn Lena Arrant, ofU.S. © 1 c. Dec. 4, 1924; E 601943; Chicagomusic pub. co., Chicago.(and note that Mother of the Blues: A Study ofMa Rainey, by Sandra R. Lieb, also refers toher as Arrant.)The Rainey Paramount label does have bothnames, but label I found wasn’t clear enoughto distinguish Arant or Arrant. Label on Pm14016 had no composer credits. Oh, NO: Ifound a different copy of 12238 that creditsonly Rainey! LC SONIC has several of theother Rainey issues, on Jazz Collector L-10(Rainey), Jazz Info 8 (Rainey-Arant), UHCA 84(Rainey), AFCDJ A 02 (Rainey).Found evidence that Lena has been spelledboth ways--we have her on See See Rider aswell with same query about spelling. So let’sbreak off here for now and investigate thatsong.And it’s the same story in both cases: LenaArrant with 2 r’s copyrighted the song. Raineyrecorded it and either made changeswarranting her inclusion as composer or justinsisted on a cut for recording it (notuncommon)--or even worse, on some issuesgrabbed sole credit). On the record label,Lena’s name was misspelled.Jelly Roll Blues [Original Jelly RollBlues] [Chicago Blues](Jelly Roll Morton)London Ragtime Orchestra 1081Paramount Theatre Orchestra 1089Turk Murphy JB 1161Jim Cullum JB 1254Ted Shafer’s Jelly Roll JB 1278Black Eagle JB 1303Pam Pameijer’s New Jazz Wizards 1335Yerba Buena Stompers 13752013 review: The one thing we never did waslook for copyrights, record labels, publishedsheet music.Rust indexes it under Jelly-Roll Blues, butactual listings show it both with and withouthyphen, and also as Original J-R Blues.JRM pno, as J-RB, 6/9/24, Gennett 5552 et al.Gennett label is Jelly Roll Blues by Ferd (JR)Morton.JRM RHP, as OJ-RB, 12/16/26, Victor 20405,Bluebird B-10255 et al. Victor is Original J-RBlues by J-R Morton’s RHP.Huh? No recordings by Jelly Roll asChicago Blues? Many recordings of ChicagoBlues in Rust, but none has JRM as sideman.Bucktown Five, 2/25/24, Gennett 5419 is byBiese-Altieve-Williams.Lillian Goodner, 12/23, Ajax 17020.Fletcher Henderson, 2/24, Pathe 036069,Perfect 14250 is Biese-Altiere-Williams.James P., 6/18/28, Columbia 14334-D is byBiese-Altiere-Williams.Luella Miller, 8/1/28, Vocalion 1234. By Millersays Online 78Clara Smith, 1/31/24, Columbia 14009-D, is byBiese-Altiere-Williams.In Jelly’s Blues, Gaines and Reich write ofJelly in Chicago:Nor had anyone else published the jazzmusic that was starting to win convertsacross the country, until Morton did onSeptember 22, 1915, when Will Rossiterreleased “Jelly Roll Blues” both as a writtenpiano solo and in orchestrated form. . . .“Jelly Roll Blues swept [Chicago], requestedso often by listeners that Morton brieflyretitled it “The Chicago Blues.”And Lomax quotes Jelly as saying,Up to this time the published arrangementsof hot music were simply a matter of writingdown the ragtime tunes played by sometheater band. Then “Jelly Roll Blues”became so popular with the people ofChicago that I decided to name it in honor ofthe Windy City.Several web site references (like Saundersearly on in our research) describe it the otherway around, that “Chicago Blues” was Jelly’s“original” name for “Jelly Roll Blues,” but thatseems to be a fiction.Copyrights:Jelly (The) roll blues; by Ford. Morton, ofU.S.; piano. © Sept. 22, 1915; 2 c. Sept. 25,

1915; E 372536; Will Rossiter, Chicago.[Says Lomax: “Written in 1905, arranged1912? First published jazz composition?”]Chicago blues; twentieth century chant, wand m Paul Biese, James Altiere and S.Walter Williams, of U.S. New York, Melodymusic co. © Jan. 10, 1924; 2 c. Jan. 31; E581988; Maison-Blanche music co., NewYork.Well, the bottom line is that neither Jelly noranybody else ever recorded his tune as“Chicago Blues,” and he never copyrighted itthat way, but obviously that name for it gotbandied about, if never codified, so we canleave it here, I suppose.Jenny’s Ball (see There’ll Be NoFreebies)Jersey Joe (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. RHP 11/13/29, Victor 23402, HMV JK-2862 et al.Copyrighted 1933, says Lomax, and indeed Ifound this:Jersey; fox-trot, Jelly Roll Morton, trombone,clarinet and guit. [Conductor] © 1 c. July 8,1933; E unp. 73940; Southern music pub.co., inc.So no Joe in the copyright (a typo? Nobodywould name a tune “Jersey,” would he?). Butfull title confirmed by Victor Project.Jersey Lightning (Luis Russell)Black Eagle JB 1224Rec. Russell 9/6/29, OKeh 8734, Columbia35960, Parloplhone R-740 et al. Confirmed by3/23/29 copyright reg. (in 1930 book).Jersey Walk (Shake ’em Up, Kid)(James F. Hanley–Eddie Dowling–Henry Creamer)Neville Dickie 1324Rec. Roger Wolfe Kahn (intro. The Little WhiteHouse), 9/24/26, Victor 20231, HMV B-5431.Lee Mors (The Jersey Walk), 11/9/26, PatheAktuelle 25202, 11410; Perfect 11636.Copyright isJersey walk; from Honeymoon lane, wordsand music by Henry Creamer, EddieDowling and James F. Hanley. © Sept. 13,1926; 2 c. Sept. 14; E 650088; Shapiro,Bernstein & co., inc., New York.Subtitle’s not on the Kahn Victor label. OK,here’s the ridiculous story. Subtitle was onEdison 51841-R, “The Ukulele Ace,” who wasa Cliff Edwards imitator. I rather doubt he wasthe source of Neville Dickie’s inspiration. But Ifound a copy (couldn’t view it, still incopyright) in Univ. of Maine collection, andtheir index implies that subtitle, so I’ll grit myteeth and keep it. Elsewhere found cover, andit did NOT have the subtitle.Jerusalem Blues (George Lewis?)Grand Dominion JB 1378Not in Rust, nothing in CD notes. YouTube(audio only) post says by GL JB, “Thiswonderfully haunting blues was recorded inNew Orleans in 1950 at a jam sessionarranged by Dr Edmund Souchon.” Seems tohave been a Filiberto’s Music Store in N.O.Had Elmer Talbert on tp.Bruyninckx says 5/22/50, released onParadox/Pax LP6001. Discogs.com says alsoJazztone J-1212 (LP). When this version wasreleased on Tempo Record Society J12-03was credited to “traditional.” (But then theBrits would always do that when they couldget away with it to keep from paying royalties.The version on BBC radio for download iscredited to Lewis.But later recorded again with differentpersonnel (“Kid” Howard on tp) “taped at theNBC studios in San Francisco.” Released asGeorge Lewis NO Ragtime Band. Looks likethis was 6/18/53, issued on Esq. 20-73, DL203, Esq. EP 125 (?). Also Antone LP 2,reissued on Delmark 203. A Brit reissue of thiswas credited to M. Fig.Well, maybe really by Lewis, maybe justsomething he remembered from youngerdays, but credit has stuck to him and I can’tfind anything to contradict it.But Dave Robinson reports:I no longer have the original LP. The GHBreissue CD has no attributions, while theStoryville reissue CD just says "trad". In anyevent, Jerusalem Blues isn't really a "tune" or"composition" at all; it's just an improvisationaljam on the standard 12-bar bluesform, presumably given a name after the factfor the LP issue. Lewis takes it in, playingimprovised blues choruses that containquotes from his Burgundy Street Blues aswell as a bit of Chimes Blues. From there it'sjust a series of improvised blues solosfollowed by a couple of ensemble outchoruses--stillno melody, just groupimprovisation. In the Grand Dominionversion, the clarinet takes it in in a similarvein, largely copying Lewis' style but not hisexact notes on the original recording, andthen it's solos and improvised ensemble,again with a similar feel to the original butnot copying anything specific--except thatthey do make repeated use of the ChimesBlues quote.The problem is with the only terms we have athand to describe this:“Traditional” implies that it’s a known themewhose origins are not known--an old folkmelody.“Unknown” implies that somebodycomposed it, but we don’t know who.What Dave describes doesn’t really fit either ofthese concepts. Presuming it was reallycreated at the moment, you could argue forthe credit of George Lewis (evidently theleader of the session) or even George LewisJazz Band, which implies that the band as awhole created it.A possible third “term” above would be a“provisional/questionable/guess” credit thatwould include a name and a question markGeorge Lewis (?)to indicate that we’ve got an idea for a creditbut can’t confirm it.I’m curious to hear what approach our variousexperts would take, so we’ll leave this open fornow.Jig Walk (Duke Ellington–Jo Trent)State Street Aces 1106Keith Nichols Cotton Club Orchestra 1320Charleston Chasers 1376ASM, 1925, Robbins-Engel; w. Trent/m.Ellington.Jim Dandy (Duke Ellington–Jo Trent)Keith Nichols Cotton Club Orchestra 1320Charleston Chasers 1376

Rec. Parham 7/2/28, Victor V-38009, BluebirdB-8130 et al.Oops, copyrighted with a hyphen:Jogo-rhythm; melody by H. S. Parham. © 1c. Aug. 8, 1928; E 696849; H. StrathdeneParham. Chicago.No hyphen on Victor label, though.Johnson “Jass” Blues(Arnold Johnson)Dan Levinson’s Roof Garden JB 1380CD said E. Arnold Johnson.Rec. Frisco JB (only musician Rust knows forsure is Rudy Wiedoeft), 5/10/17, Edison50470, Edison Blue Amberol 3254.Copyright is different:Johnson's jazz blues; A. Johnson, of U.S.;fox-trot, by E. piano. © 1 c. June 21, 1917; E406255; E. Arnold Johnson, New York.But aha! Edison (Diamond Disc) 50470 says“Johnson ‘Jass’ Blues.” Looks like R. ArnoldJohnson on disc; look at another copyconfirms it was R. Looks like Johnson is thepiano player.Most places just call him Arnold, though. Infact, a lot of googling reveals he was abandleader in his own right in1920s, has somelistings in Rust. All other sources (evenanother song copyright) except this onerecord and one copyright refer to him assimply Arnold Johnson; so should we.Jones Law Blues, The(Bennie Moten–Count Basie)South Frisco JB 1103South Frisco JB CD 1143Keith Nichols & the Blue Devils 1387

For what it’s worth, Ellington’s Music Is MyMistress, which has a very extensive andaccurate (we discovered before) list of hiscompositions, does not have a "Jungle Blues."--4>Jungle Crawl (Tiny Parham)Jungle Crawlers 1084Charquet & Co 1195Rec. Parham 7/22/29, Victor V-38082,BluebirdB-5146 et al. Clarence Williams, 9/11/34,Vocalion 2909.Confirmed by 12/7/29 copyright reg. andVictor Project. Clarence Williams record is diff.tune, by Clarence & Ernie Williams.Jungle Jamboree (Fats Waller–Andy Razaf–Harry Brooks)Charquet & Co 1076Rec. Harlem Footwarmers (from EllingtonBand), 8/2/29, OKeh 8720, Parlophone R-1946et al.Oops, title different on copyright reg.:That jungle jamboree; lyric by Andy Razaf,music by Thomas Waller and Harry Brooks.© 1 c. Sept. 17, 1929; E unp. 11050; Millsmusic, inc., New York.But found several versions of the label,including OKeh 8720, all are “JungleJamboree,” from Connie’s Hot Choclates.Jungle Nights in Harlem(Duke Ellington)Charleston Chasers 1287Oops, not in Rust--no, it’s there under 1930,just not in index: 6/4/30, Victor 23022,Bluebird B-6335 et al.But not in copyright books for 1929-31.Confirmed by the Victor and Bluebird labels.Jungle Time (E. Philip Severin)Jack Rummel 1118Confirmed by 2/23/05 copyright reg. Foundcover, which has “A Geniune Rag” as obviousgenre-marker.Junk Man (Joseph Meyer–Frank Loesser)State Street Aces 1011Rec. Benny Goodman, 2/2/34, Columbia 2298-D et al. Five Spirits of Rhythm, 9/14/34, Decca160, Brunswick 01944. Jack Teagarden,9/18/34, Brunswick 7652, Parlophone R-2599et al.Confirmed 1/12/34 copyright reg., w. FL/m JM.Junk Man Rag, The (Luckey Roberts)New Orleans Ragtime Orchestra 1213Tom Roberts 1345New Century Ragtime Orchestra 1385Manhattan Ragtime Orchestra 1402ASM, 1914, Jos. Stern, as “C. LuckythRoberts.Junk Man’s Blues (Red Nichols–Phil Dooley)Des Plantes’ Washboard Wizards 1357Rust says rec. as Junk Man Blues byKing Oliver 10/15/23 for Columbia (but notreleased).Red Nichols 10/2/31, Brunswick 6219 et al.But Rust was wrong, label is Junk Man’sBlues, credit Nichols-Dooley.Lew Stone, London, 11/29/32, Decca F-3313.Label is indeed Junk Man Blues, creditDooley-Nichols.Rust has separate listing for Junk Man’s Blues:Nat Gonella, London, 1/29/36, Parlophone F-392, A-6418; Odeon 031046 et al. Couldn’tfind label, but lots of evidence that it wasindeed Junk Man’s Blues.LC copyright cards:1. Junk man blues melody by J.O. of U.S.10/25/23. Copyright claimed by JosephOliver, Chicago. unpubl.2. Junkman’s blues, w/m Phil Dooley & RedNichols. unpub. 8/18/31, Joe Davis, NY.3. Junk man’s blues (fox-trot) w/m RedNichols & Phil Dooley. 2/8/32, Joe Davis Inc.,NY. published.It appears that Dooley & Nichols firstcopyrighted it as Junkman’s Blues, but whenthey published it, it became Junk Man’s Blues.Seems to me we have to go with that unlesswe learn otherwise.Des Plantes says they got it from Lew Stoneaho in England, but that’s the one record of itthat had title of Junk Man, so I wonder howDes Plantes bunch knew to change it to JunkMan’s Blues.Just a Bird’s Eye View (of My OldKentucky Home) (Walter Donaldson–Gus Kahn)Back Bay Ramblers 1374We had as all solid title, no parens.rec. Jean Goldkette, 9/28/26, Victor 20268,HMV EA-151. Don Voorhees, 11/25/26,Edison, rejected. Jesse Crawford, 1/21/27,Victor 20458.Copyright is shorter:Just a bird's eye view; words by Gus Kahn,melody by Walter Donaldson. © 1 c. Sept.22, 1926; E 650388; Leo Feist, inc., NewYork.Found the cover online and lots of indexlistings for this in collections. It’s title plussubtitle, which is how the majority of therecordings of this at LC SONIC read. Ah, andHassan sheet music confirms it.Just a Cottage Small (by a Waterfall)(B. G. De Sylva–James F. Hanley)Canary Cottage Dance Orchestra 1415Rec. Lada’s Louisiana Lads, 12/25, Sunset1151. Sam Wooding in Berlin, 9/26, DeutscheGrammophon/Polydor 20693. (Rust lists bothwithout subtitle)Copyright implies subtitle:Just a cottage small, by a waterfall; w B. G.DeSylva. m James F. Hanley, of U.S. © Aug.21, 1925; 2 c. Aug. 24: E 622669; Harms,inc., New York.Wooding has the subtitle in parens; of severalrecordings in LC SONIC, half are the shorttitle, half have the subtitle in parens. As withprevious song, cover and a raft of online indexentries make it clear that (by a Waterfall) is aparenthetical subtitle.Just a Little While to Stay Here(E. M. Bartlett)New Orleans Rascals 1113Zenith Hot Stompers 1191Louisiana Repertory Jazz Ensemble 1197All three credited “traditional.”

Steve Abrams: arranged by E. M. Bartlett onthe sheet music.But Don Rouse: E. M. Bartlett, E.M.B. [implieswords & music by E. M. Bartlett]. Copyright1921 by E. M. Bartlett. Stamps-Baxter Music &Ptg. Co., owners. From a photocopy I have ofthe music in one of the Stamps-Baxter gospelhymnals.Bob: I’m beginning to lean toward givingBartlett the credit. The fact that somewhere healso was credited as arranger doesn’t meanhe didn’t write the hymn.telcon 8/28: yes, go with Bartlett--3>2013 review:Eugene Monroe Bartlett1884 - 1941Southern Gospel Music Association Hall ofFame credits him. Many others do too.Was mentor to Albert E. Brumley, also a greatwriter of religious music.Just a Mood (Spencer Williams–Benny Carter)Paris Washboard 1428Rec. Carter in London, 4/36, Vocalion S-11,Imperial 6009 et al. Willie Lewis in Paris,1/1/36, PA PA-816, Columbia DB-5019 et al.Garland Wilson in London, 9/7/36, Brunswick03115, Decca F-42101.Rust adds in index, “See also BLUE MOOD”(does that mean he thinks it’s the sametune?):Ellington, 9/19/32, Columbia 37298. Mills BlueRhythm Band, 12/20/35, Jazz Panorama (LP)LP-3. Teddy Wilson [as “Just a Mood (BlueMood),” parts 1 & 2, 9/5/37, Brunswick 7973.Went through books from 1932-38, foundthese entries:Just a mood; w Spencer Williams, m BennyCarter. © Dec. 18, 1937; E pub. 66180; Millsmusic, inc., New York.Blue mood; by Edgar Hayes and Irving Mills;pf. © Feb. 7, 1936; E pub. 53350; Milsonsmusic pub. Corp., New York.Benny Carter’s Vocalion S-11 credited onlyCarter. Ellington’s Columbia credits Hayes-Mills. Teddy Wilson’s Brunswick has no credit.Rust was leading us on a wild goose chase.Just an Hour of Love (Albert VonTilzer–Peter De Rose–Jo Trent)Terry Waldo’s Gotham City Band 1201San Francisco Starlight Orchestra 1271Rec. Frankie Trumbauer, 9/30/27, OKeh40912, Parlophone R-3464 et al.Just an hour of love ; from Burlesque, wordsby Jo Trent, music by Albert Von Tilzer andPeter De Rose. © Sept. 12, 1927; 2 c. Sept.13; E 673859; Shapiro, Bernstein & co., inc.,New York.Just Another Day Wasted Away(Waiting for You) (Charles Tobias–Roy Turk)Charleston Chasers 1314CD had no subtitle.2013 review: 5/23/27 copyright reg has nosubtitle. Rec. CA Ramblers, 5/27/27, Banner6007, Broadway 1081, Challenge 736 et manyal. Annette Hanshaw, 10/27, PA 32309,Perfect 12388 et al.About half the many recordings of it at LCSONIC, including one by Kate Smith, had thesubtitle. MTSU index listing shows it assubtitle too.Just Around the Corner(Harry Von Tilzer–Dolph Singer)Ernie Carson & the Castle JB 1277Rec. Lou Gold, 12/24/25, Cameo 860, Lincoln2466. Art Landry (with subtitle May besunshine for you), 1/8/26, Victor 19930. JackLinx, 3/12/26, OKeh 40587, Odeon 03351.5/13/25 copyright has no subtitle; w. DS/m.HVT.Victor Project says Landry record had thesubtitle (“source: disc label”), shows only VonTilzer as composer.HSM sheet music shows no subtitle--could ithave been only on that one record label?Found two covers at IN Harmony, both pub.by Harry Von Tilzer. First has simple coverwith title (and no subtitle) in text on page ofwhite. Next has cover art with inset photo ofTed Lewis. Bluebird under title holds smallribbon in beak that says “May Be Sunshine forYou.” Wonder if it’s on the copyright page.No, it’s not--got it from MTSU.Just Ask Me (Charles Hunter)Tom McDermott 1024David Thomas Roberts 1317Confirmed by 1902 sheet music reproduced inTichenor’s Ragtime Rarities.Just Because (Hubert A. Nelson–James D. Touchstone)Frisco Syncopators 1245CD had Bob Shelton-Joe Shelton-SydneyRobin.2013 review: Hmm, the copyright reg. is justthe Sheltons:Just because ; w and m Shelton bros. [i.e.Bob and Joe Shelton]; with voc. trio withbass and arr. for guit., etc. © Mar. 8, 1937; Epub. 60813; Jenkins music Co., KansasCity, Mo.No updated reg. in rest of 1937 or 1938 thatadds Robin. So where did S&P & band get it?(I have Turk Murphy recording from 1982 thatshows Robin too.) Only rec. in Rust is DickStabile, 1/29/36, Decca 716, 25376, 28127.Couldn’t find that, but LC SONIC has a fewrecordings of it: Happy Jesters on Dot 45 saysShelton-Shelton-S. Robbin. Al Tercek Orch onDelta International 45 says Shelton-Shelton-Sid Robin.But now it gets more than a little nutty.Wikipedia says,"Just Because" is a song written by JoeShelton, Sydney Robin and Bob Sheltonand originally recorded by Nelstone'sHawaiians (Hubert Nelson and James D.Touchstone) in 1929 and later recorded byThe Shelton Brothers in 1933. Somesources say that Sydney Robin wrote thesong alone and the Sheltons added theirname when they recorded it.The song has been covered many times,especially since the Shelton Brothersrecording. In 1933, RCA Victor released aversion of the song done by the LonestarCowboys, Nelstone's Hawaiians, VictorV40273 (1929).But wait, the Hawaiians were not only the firstto record it, but they copyrighted it first too:Just because; words and melody byNelson-Touchstone. © 1 c. July 1, 1930; Eunp. 24336; Southern music pub. co., inc.,New York.And sure enough, the Victor Project shows itrec. by Nelstone’s Hawaiians in Atlanta on11/30/29, written by Hubert A. Nelson andJames Touchstone.Here’s Wikipedia on the Sheltons:The Shelton Brothers, Bob, Joe and Merle,were pioneer country musicians andrenowned recording artists based out ofTexas from the mid-1930s through the1960s. They created and popularized thesongs “Johnson's Old Gray Mule,” “DeepElm Blues,” “These Shoes Are Killing Me,”“Oh Monah,” “Match Box Blues” and “MyHeart Oozes Blood For You,” "What's TheMatter With Deep Elm,” "I'm A Handy ManTo Have Around" and "Henpecked HusbandBlues." The Shelton Brothers (Joe and Bob)also wrote (their names appear asco-writers, but the writer was actually,individually, Sydney Robin) and were thesecond to record "Just Because" (Decca46008), a song that has since beenrecorded numerous times by various artistsincluding Elvis Presley, who included it onhis very first album titled Elvis Presley. Theoriginal recording was by Nelstone'sHawaiians, comprising Hubert Nelson and

James D. Touchstone. The song's openingline reads: Just because you think you're sopretty, just because you think you're sohot..... "Just Because" was the Sheltons’ firstrelease on Decca but, due to theirpopularity, they went on to cut over 150sides for the label. They also recorded sidesfor Victor Records and King Records. TheShelton Brothers would become one of themost successful country acts of the era.Sheet music? Indiana University has this byShelton-Shelton-Sid Robin, pub. by LeedsMusic Corp. . . . in 1941Ah, now it gets curiouser. MTSU has severalcopies of it (ID’ing them here by MTSU ItemID, which is how you order music from MTSU):010475-CPMSM - Shelton-Shelton-Robin,Leeds, 1937005738-UCLAS - Shelton-Shelton-Robin,Leeds, 1941, 1937007600-SMVOL - Nelson-Touchstone, Peer-Southern, 1957, 1948, 1930 (“This piece isincluded in a bound volume of professionalcopies of 481 songs published by Peer-International. This second edition of the BigBlue Book was compiled and distributed in1966 or later.”) [Later got copy of these pagesin that book; the copyright page is clearenough: w/m Hubert A. Nelson-Jas. D.Touchstone; copyright 1930 by PeerInternational Corp, copyright renewed 1957 byPeer International Corp., copyright 1948 byPeer International Corp.--further evidence formy decision to switch to Nelson-Touchstone.]THIS SEEMS TO BE ASS-BACKWARDS:Nelson & Touchstone were the first to recordthis song (1929) and the first to copyright it(1930). The Shelton Brothers came along andrecorded it in 1933—the recording thatevidently made the song famous—andcopyrighted it in 1937 through Jenkins Musicin Kansas City. Then Leeds publishes it in1937, and it comes out with Sid Robin addedas a contributor.My guess is that when the Shelton record hitbig in the charts, Leeds bought it from Jenkinsso they could publish it in sheet music form,and had Robin polish the lyrics a bit while theywere at it.BUT it sure seems to me that Nelson &Touchstone got robbed, although it’s possiblethat Jenkins bought it from legitimately fromSouthern Music before Leeds bought it fromthem. The only real evidence for a pre-1937publication of the song is Peer-Southern’s BigBlue Book, but we can’t be sure that “JustBecause” was in it in 1930 or got added in1948 . . . or 1957, or 1966+.What’s bizarre is that everybody who hascommented on it has presumed that it was bySheltons-Robin because that’s how sheetmusic reads, even though Nelson &Touchstone were on the first, 1929, recordingas composers and they copyrighted it in theirnames.And aha! The Nelstone’s Hawaiians recordingis on YouTube atwww.youtube.com/watch?v=lv5v9xafkHIAnd it’s absolutely our song!It finally dawned on me to search for“Just Because” Nelson Touchstone(I’d previously been searching on title plusSheltons and/or Robin) at which point Ilearned that plenty of sources, especially inthe country music field, credit those two for thesong, and it’s even been published that way.And I found a biography of Sid Robin thatcredits him with writing it in 1937, even thoughit had been written, recorded and copyrighteight years before. To hell with this, I’mchanging it!Just Before Daybreak(James P. Johnson)Neville Dickie 1269Got this email from Charles Davis, player ofand expert on things Waller:In your catalog you list "Just BeforeDaybreak" and "Jersey Sweet" together.They are two separate pieces. One wascopyrighted in 1943 and the other in 1946.Reference point would be the Folkways lpDave Jasen issued several years ago or themore recent cd released from Folkwaysmasters which is much more completeregarding James P,'s solo recordings(on theSmithsonian label).Sent the recording to Davis, who reportedback::Track #13 is Just Before Daybreak. Itwas copyrighted in 1946 by Mills Music. Thetitle Jersey Sweet on the notes ismisleading since it is entirely another piece,copyrighted in 1943 by Mills.Charles, did you mess this up? The Brown &Hurlburt book on James P. says it’s the sametune. And Erdos compared the Neville Dickierecording to James P. Johnson’s recording ofJersey Sweet, says they’re exactly the same.Does anyone else have anything to add onthis?11/9/00 Dave Jasen telcon: Chas. Davis isright, they are definitely not the same tune.Early November series of emails from Charlessays he discovered long ago that the tuneswere confused/mislabeled on initial issues,which has muddied the waters ever since. Hesent sheet music to both, which I sent toRobbie Rhodes with the Dickie recording;we’ll let him confirm Charles’s argument.11/20/00: Robbie Rhodes confirms beyonddoubt that (a) the tunes are different; (b)Dickie plays Just Before Daybreak; (c) theoriginal LP and even CD reissue had themmislabeled.Just Blues (Fletcher Henderson)Keith Nichols Cotton Club Orchestra 1275Fletcher Henderson, 3/24, Ajax 17029, Apex658; again 4/10/31 as Connie’s Inn Orch,Melotone M-12239, Brunswick 01212, 80037A-9912.Grey Gull studio band headed by MikeMosiello, 5-6/29, Madison 1649 (as CottonPickers Orch); Van Dyke 71739 (asMemphis Jazzers); Radiex 909, as MeanestKind of Blues by Mike Mosiello’s RadioStars).Ocie Stockard, 9/11/37, Bluebird B-7716.Well, not in 1923-32 books--at least not byHenderson. One online listing of theHenderson Ajax 17029 specifically says “nonelisted” for composer, but another says Morris.RHJA says Henderson for later Brunswick12239 (odd, that’s the number Rust shows forthe Melotone release). Southern Ill. Univ. atEdwardsville does show Henderson ascomposer for several of the Brunswick releasenumbers.Grey Gull/Cotton Pickers Orch on Madisonlabel says Mosiello--could well be diff. tune.No composer credit on the Stockard/Bluebird.Couldn’t find any of the Henderson labels, butLC SONIC says Melotone M-12239, Brunswick1212, 70037 & A-9912 are Henderson.I have two Henderson reissues, both of the1931 version. One credits Henderson, theother credits . . . Henderson-Henderson!Nichols: we just transcribed LP reissue of1931 version; composer info came fromErdos.2013: Looks like the LC SONIC reports on the1931 Henderson/Connie’s Inn labels are asdefinitive as we’ll get. Hard to imagine thatFletcher Henderson would have failed tocopyright his tune, though.Just Gone (Joe Oliver–Lil Hardin[known as Lil Johnson at the timethe record was released])Black Bottom Stompers (Switz.) 1130Mahogany Hall Stompers 1221Neville Dickie 1309

Helm–Leigh Jazz & Blues Review 1332Miss Lulu White’s Red Hot Creole JB 13702013 review: Rec. Oliver 4/6/23, Gennett5133, Brunswick 02202, et al. The credit onthe Gennett label is Oliver-Johnson, andeverybody since then has presumed that“Johnson” was Bill Johnson, the banjo playeron the session (who also played bass and wasa bandleader in his own right).Copyright isJust gone; melody, by J. Oliver [of U.S.], arr.by Lillian Harding [of U.S.] © 1 c. May 21,1923; E 563941; Joseph Oliver, Chicago.BUT what I never found, but Bill Haesler did,wasJust GONE; melody, by J. Oliver [of U.S.],arr. by Lillian Johnson [of U.S.] © 1 c. Apr.11, 1923; E 561597; Joseph Oliver, Chicago.[Beware that this entry in the online 1923acatalog has many typos, including spellingthe title Just GO’NE, thus foiling mostsearches for it.]And here’s the explanation: Lil Hardin was, atthe time she rejoined the King Oliver band andmet Louis, married to singer Jimmy Johnson.She divorced Johnson, and helped Louisdivorce his first wife, Daisy; Louis & Lil weremarried in 1924. We must guess that thecopyright was filed with her as Johnson first,then resubmitted to reflect her divorce andreversion to her maiden name. (Seehttp://womenshistory.about.com/od/musicjazzblues/a/lil_armstrong.htm..)So now we can be pretty sure that theJohnson on the label was Lil. Now how toreflect it? If we put it down as Lil Hardin, it’llconfuse the hell out of everybody, so I guesswe make it Lil with an explanation.There was alsoJust gone rag. © Joseph Oliver, Chicago.Notice rec'd May 21, 1923; recorded, v. 5, p.169. 145.Just Imagine (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285Confirmed by 1927 sheet music; from GoodNews.Just Like a Butterfly (That’s Caught inthe Rain) (Mort Dixon–Harry Woods)Canary Cottage Dance Orchestra 1400Confirmed by my 1927 sheet music, w. MD/m.HW.Just Like a Melody Out of the Sky(Walter Donaldson)Barbara Rosene & Her New Yorkers 1422Confirmed by Hassan sheet music, 1928.Just Once Again (Walter Donaldson–Paul Ash)Grand Dominion JB 1379Confirmed by Hassan sheet music, 1927.Just One More Chance (Sam Coslow–Arthur Johnston)John Gill Sentimental Serenaders 1424Confirmed by Hassan sheet music, 1931.Just Over in the Glory-Land [Over inthe Gloryland] (Emmett S. Dean–James W. Acuff)Black Eagle JB 10928/20: Rouse has music & lyrics in twohymnals: One is "Over in the Glory-Land," byW. S. Nickle, copyright 1894 held by Chas. H.Gabriel. Other is "Just Over in the Glory-Land,"by James W. Acuff and Emmett S. Dean,copyright 1906 held by Acuff-Dean.Rouse: The Dean/Acuff "Just Over..." is theone all the bands play; it’s the one SamMorgan and Bunk Johnson recorded and theone the [Sunshine] Skiffle Band recorded.Haven’t heard the Stomp Offs, so I don’t know.Bands play both strains. The Nickle "Over inthe..." has a strain similar to one of the strainsin the Dean/Acuff, but that’s about it. Thereare many, many copyrights with Gloryland inthe title by many different composers.So we’ll consider "Over in the Gloryland" to bean often-encountered, but mistaken,misrepresentation of the title of the Dean-Acuffsong. That it also is very similar to thepublished title of the W. S. Nickle song issomething we can do nothing about.8/28, Caulfield: No Acuff-Dean registration forOver in the Gloryland. Registration for JustOver in the Glory-Land, 4-6-06, with Dean &Acuff in the publisher line. Looking it up in theclaimant file shows the title written with Glory-Land being Glory Land (two unhyphenatedwords) and credits: music: Emmett SidneyDean, words: James Warren Acuff.Just Peachy (Tom Brier)Tom Brier 1274Just Wait Till You See My Baby Dothe Charleston (see Wait Till YouSee My Baby Do the Charleston)Just You, Just Me (Jesse Greer–Raymond Klages)Don Ewell 1077Paul Asaro & Neville Dickie 1404Odd: S&P confirm composers, w. RK/m. JG,say pub. 1929 from film Marianne, but not incopyright books 1925-30. IMDB confirms too.MTSU lists it, pub. Robbins 1929.KKalamity Kid (Ferd Guttenberger)David Thomas Roberts 1021Elite Syncopators 1358I’m suspicious of DTR’s Ferdinand Alexander.All my other recordings say just Ferd, andsurely that comes from the sheet music,which, surprisingly, I was unable to find online.Brier reports Ferd G. He also has three otherpieces by Guttenberger, two as Ferd and oneas F. A. I think DTR was getting fancy; as arag composer, the guy generally was Ferd.Kamaquit (unknown)Minstrels of Annie Street 1272

Online search found FAR more hits on the1915 rag than the 1916 song--perhaps thesong didn’t go anywhere.Kansas City Blues (Euday L. Bowman–George H. Bowles)Chrysanthemum Ragtime Band 1196Chris Tyle’s Silver Leaf JB 1311Heliotrope Ragtime Orchestra 1411ASM has two versions:1. By Bowman (no lyrics)](c) 1915 Euday L. Bowman(c) transferred to J. W. Jenkins Sons,Kansas City, Mo.2. [song version] m. Bowmanw. BowlesPub. 1915 J. W. Jenkins.Looks the piano/song versions wereessentially concurrent and that Handy got itlater for his Anthology.Kansas City Breakdown(Bennie Moten–Woody Walder)State Street Aces 1106Le Petit Jazzband de Mr Morel 1344Keith Nichols & the Blue Devils 1387Rec. Moten 9/7/28, Victor 21693, HMV JF-17.Not in 1928-29 books, but Victor Project andlabel confirm composers. Walder played tenorsax on the side.Kansas City Frank (Ray Skjelbred)Ray Skjelbred 1097Kansas City Kitty (Walter Donaldson–Edgar Leslie)Roaring Seven JB 1019State Street Aces 1106Keith Nichols Cotton Club Orchestra 1234ASM, 1929, Donaldson, Douglas & Gumble; w.Leslie/m. Donaldson.Kansas City Man Blues (ClarenceWilliams–Clarence Johnson)Red Onions & Ottilie 1090Original Salty Dogs JB 1115Bob Schulz & His Frisco JB 1288Bob Helm’s JB 1310South Frisco JB 1342Rec. Edna Hicks, 11/23, Paramount12069.Josie Miles, 9/15/23, Gennett 5261.Clara Smith, 10/2/23, Columbia 12-D. MamieSmith, 8/5/23, OKeh 4926. CW Blue Five,7/30/23, OKeh 4925, Biltmore 1096 et al. CWJug Band, 9/9/30, OKeh 8826.Confirmed by 8/14/23 copyright reg. and BlueFive OKeh label.Kansas City Shuffle (Bennie Moten)John Gill’s Calif. Sunshine Boys 1156Keith Nichols & the Blue Devils 1387Rec. Dixie Jassers wb band, 7/27, PA 7539,Perfect 139. Moten 12/13/26, Victor 20485.Confirmed by 2/8/27 copyright reg.Kansas City Stomp [Kansas CityStomps] (Jelly Roll Morton)New Yankee Rhythm Kings 1015South Frisco JB 1035Neville Dickie 1096Peruna Jazzmen 1105Mike Daniels’ Delta Jazzmen 1203Jim Cullum JB 1254Paris Washboard 1280Pam Pameijer’s New Jazz Wizards 1335Yerba Buena Stompers 1369Independence Hall JB 1371Paul Asaro & Neville Dickie 14042013 review: The copyright is singular, eventhough Lomax shows it as plural in his list ofJRM compositions:Kansas City stomp; by Ferd (Jelly Roll)Morton, of U.S.; pf. © 1 c. Aug. 20, 1923; E570418; Melrose bros. music co., Chicago.Rec. JRM pno solo 7/18/23, Gennett 5218,singular on label. But then with RHP 6/11/28,Victor V-38010 as Stomps.So copyright and first recording are Stomp,but clearly the plural form is a legitimatealternative title.Karnival on the Keys(Willie “The Lion” Smith)Tom Roberts 13921945, says Roberts. Alas, not in copyrightbooks 1945-66. Found it mentioned in twosheet music collections as by Smith, but didn’tfind an individual piece of sheet music. AndBob Pinsker attributed it to Smith (“from a1945 transcription by Harold Potter”) when heplayed it at the June 2003 meeting of theOrange County Ragtime Society. That’ll haveto do. But transcribed from what? I can’t findany evidence that Smith ever recorded it.Kater Street Rag (Bennie Moten)Down Home JB 1316Keith Nichols & the Blue Devils 1387Rec. Moten 5/14/25, Okeh 8242.Not in 1925-26 books. Actually, the composercredit on OKeh label is “Bennie Moten’sKansas City Orchestra.”Keep a Song in Your Soul(Fats Waller–Alex Hill)Grosz–Ingham Paswonky Srndrs CD 1214ASM, 1930, Joe Davis; m. Waller/w. AlexanderHill.Keep Fingering(Willie “The Lion” Smith)Neville Dickie 1176Confirmed by 3/11/38 copyright reg.Keep Moving (William White)Lake Arrowhead Early JB 1365ASM, 1915, Jos. Stern.Keep Off the Grass(James P. Johnson)Louis Mazetier & François Rilhac 1218Rec. Johnson 10/18/21 at his secondrecording session, OKeh 4495.Not in 1921-22 copyright books. But Jasen’sRags & Ragtime says pub. 1926, and sureenough, it’s in the 1926 copyright books(7/1/26, pub. by Clarence Williams).Keep Smiling at Trouble (Trouble’sa Bubble) (Lewis E. Gensler–B. G. De Sylva–Al Jolson)Marty Grosz’s Orphan Newsboys 1225But Variety Music Cavalcade says subtitle is(Big Boy). Pub. Harms, 1924.8/22-23, Alex Hassan: Keep Smiling atTrouble (Trouble’s a Bubble) is correct; BigBoy is name of show song was in.8/25: Montgomery sends sheet musicconfirming this, 1924.Keep Sweeping the Cobwebs Off theMoon (Oscar Levant–Sam M. Lewis–Joe Young)Barbara Rosene 1368Confirmed by 12/27/27 copyright reg. andHassan’s sheet music. w. SML-JY/m. OL.Keep Your Hand on the Plow(traditional)Grand Dominion JB 1379From Wikipedia:"Keep Your Eyes on the Prize" is a folksong that became influential during theAmerican civil rights movement of the 1950sand 1960s.Although the song was composed as ahymn well before World War I, the lyrics tothis version were written by civil rightsactivist Alice Wine in 1956. It is based on thetraditional song, "Gospel Plow", also known

as "Hold On", "Keep Your Hand on the Plow",and various permutations thereof. The title isa reference to the Bible verse in Phillipians3:17 "keep your eyes on those who live aswe do" and verse 14, "I press on toward thegoal for the prize of the upward call of Godin Christ Jesus."Famous recording of the original “Plow” songby Mahalia Jackson.Keep Your Temper (Willie “The Lion”Smith) (The tune labeled Keep YourTemper on 1327 is really Cotton ClubStomp No. 2)Neville Dickie 1052George Foley 1088Lande’s Rhythm Club Orchestra 1327Paris Washboard 1391Tom Roberts 1392Le Petit Jazzband 1403Les Rois du Fox-Trot 1434Rec. Blue Rhythm Orch (w/Smith on pno),10/29/25, PA 36364, Perfect 14545 et al. GulfCoast 7, 11/5/25, Columbia 14107-D.Confirmed by 9/19/25 copyright reg.Keepin’ Myself for You(Vincent Youmans–Sidney Clare)Ingham–Grosz Hot Cosmopolites 1323Rec. Bert Lown, 1/30/30, Banner 0597,Broadway 1357 et many al. Artie Shaw,9/3/40, Victor 26762 et al. Paul Specht,1/23/30, Columbia 2106-D et al.Confirmed 12/24/29 copyright reg., w. SC/m.VY, from Hit the Deck.Keepin’ Out of Mischief Now(Fats Waller–Andy Razaf)Neville Dickie 1052Keith Nichols 1159James Dapogny & Butch Thompson 1183Louis Mazetier & François Rilhac 1218Trevor Richards New Orleans Trio 1222Paris Washboard 1293Charleston Chasers 1314ASM, confirms apostrophe; w. Razaf/m.Waller; (c) 1932 Con Conrad, pub. 1936 JoeDavis.Keeps On a Rainin’ (Papa, He Can’tMake No Time) (Spencer Williams–Max Kortlander)John Gill’s Dixieland Serenaders 1321ASM: CD had “a-Rainin’,” but 1923 ClarenceWilliams sheet has no hyphen.Kentucky (Clint R. Carpenter)Des Plantes’ Washboard Wizards 1174Jacobi’s Bottomland Orchestra 1266Rec CW Washboard Band, 11/11/30,Parlophone PMC-7049.Confirmed by 9/25/30 copyright reg.Kentucky Blues (Frank Melrose)Jim Snyder /Georgia Grinders 1068There’s also a Kentucky Blues by Babe E. Lion& Dot T. Steed, 1917, Louisville.2013 review: Rec. State Street Ramblers,3/13/31, Champion 16320, 40007; Superior2670 (as Speed Jeffries & His Night Owls);Savoy 503, Jazz Classic 515, Jazz Collector L-83. Fess Williams, 4/22/29, Victor V-38077.(The Fess Williams record is a different tune,by Walter H. Brown, copyrighted in 1929.)Neither RJHA or Online 78 show composercredit for the State Street Ramblers record onChampion, but Online 78 does show Melrosefor the Speed Jeffries version on Superior2670. But Online 78 has been so flaky oncomposer credits that I hate to give it morethan a nickel’s worth of credence. However,Haesler reports that George Kay’s Superiorcatalog also reports Frank M. as composer onthis label: “from the George Kay 'Superior'Catalog Listing Part 4 in my copy of RecordResearch magazine No. 42.”Well, hell—I found a very poor photo of theChampion 40007 label, which has a credit.First name totally unreadable, but last namelooks like it could be Melrose. But oops, YaleUniversity library has an index listing forChampion 40007 that shows Lester Melroseand Frank Melrose as composers. Could theillegible “first name” I saw have been“Melrose-“? I don’t think so, but it couldpossibly have been Frank, so I guess we stickwith this for now.Kentucky Sunrise (Karl L. King)Pierce College Symphonic Winds 1297Confirmed by 4/2/19 copyright reg.Kentucky’s Way of Sayin’ Good Mornin’(Gus Kahn–Egbert Van Alstyne)New Century Ragtime Orchestra 1385Confirmed by 10/23/25 copyright reg.Kermit’s Rag (Tom McDermott)Tom McDermott 1024Kerry Mills Rag Time Dance(Kerry Mills)South Frisco JB 1027Watergate Seven Plus One 1165Smith–Tyle Frisco Syncopators 1211Bob Schulz & His Frisco JB 1288Yerba Buena Stompers 1418

Ondippermouth.blogspot.com/2012/11/85-yearsof-hot-seven-keyhole-blues.html,which looksto be a pretty serious discussion ofArmstrong’s music, we read:"Keyhole Blues" was composed by WesleyWilson, better known as "Kid Wilson" in thelegendary vaudeville blues team of CootGrant and Kid Wilson. Louis met thehusband and wife team in New York duringhis tenure with Fletcher Henderson. InOctober 1925, Louis backed Grant andWilson on four numbers for ParamountRecords. Pianist Wilson was also a giftedsongwriter, the man behind "Prince of Wails"(which Henderson recorded) and Louis'slater Decca recording, "Do You Call That aBuddy," as well as Bessie Smith classics "DoYour Duty," "I'm Down in the Dumps" and"Gimme a Pigfoot." Wilson obviouslyadmired Armstrong, penning the number"Toot It, Brother Armstrong," which, alas,was never recorded by Pops.We're going to leave the chronology a bitand listen to Coot Grant and Kid Wilson dotheir version of "Key Hole Blues" onColumbia, recorded September 27, 1928:Well, the writer then gives links to the Grant-Wilson recording and the Hot Seven, and theysure don’t sound anything alike to me. TheGrant-Wilson record is Columbia 14363-D, rec.9/27/28, and presumably isn’t listed in Rust(although other of the Wilsons’ work is)because there’s no jazz content.This is a hell of a puzzle: OK 8496 label doesNOT have a composer credit, nor doesVocalion 3137. Columbia 20028 is Spanishfrom Argentina, and the credit there is indeedW. Wilson. LC SONIC doesn’t have a copy atall.The Columbia/Legacy 4-CD Hot 5/7 set saysN. Wilson, but where did they get that, sinceit’s not on any of the records. That’s the onlyrecording besides the Stomp Offs that doeshave N. Wilson. I did find two references to aColumbia 39243 45-rpm release that had N.Wilson.AllMusic.com says N. Wilson, as does anonline Hot 5/7 site(michaelminn.net/armstrong/index.php?section2), but the former cites no source and thelatter citesOkeh 8496.Also asked Dave Robinson to compare thetunes:The Grant/Wilson tune is a standard 12-barblues; the Louis tune isn't. No commonground. But the ASCAP site seems to thinkLouis recorded the Wilson tune; seeattached screen shot. I suspect maybeLouis and the boys put a tune together forthe session and called it Keyhole Blues, andthen someone at Okeh, in prepping it forissue, looked up the title for label credits andassumed it was the Wilson tune.Got the same response from Robbie Rhodes:No way: the melody recorded by WesleyWilson and Coot Grant is a simple 12-barblues. The Hot Seven melody is a verse +chorus structure, each section being 16bars.The title, "Keyhole Blues", is too good notto use over and over. So what's happeningon the Armstrong Hot Seven recording ofMay 13, 1927?I hear Louis trying unsuccessfully to get"Wild Man Blues" out of his head as they dothe recording. In the opening theme afterthe 8-bar intro I hear Louis playing avariation on "Wild Man Blues" in G-minorwhile the rest of the band plays Lil Hardin'schords in B-flat-major (the "relative major") --and there is considerable disagreement. Onthe second time around the same thinghappens again (and I imagine Lil is gnashingher teeth).Who wrote Keyhole Blues? My conclusionis "Unknown". Lil Hardin wrote out copyrightdepositions for King Oliver; she surely knewabout the copyright process. If the songrecorded by the Hot Seven wasn'tcopyrighted then I'm confident there's a derngood reason. But Lil isn't talking...And I got this response back from RickyRiccardi, the blogger who claimed they werethe same tune:Hi Dick and thanks for writing with this veryinteresting information on "Keyhole Blues."You're right about Louis's version beingdifferent from Wesley Wilson's version; I didmention that in the blog saying that Wilson'sis a standard blues and Louis's is somethingdifferent. I guess I followed conventionalwisdom that Louis knew Wilson, they were inChicago, they both recorded a "KeyholeBlues" and Louis's was attributed to "Wilson"so that was good enough for me. But clearly,they're different in just about every regard.So where does the "Wilson" come from?Beats me! When was the first time "Wilson"was attributed to Armstrong's recording if itwasn't on the original OKeh 8496 record? Iwonder if someone like George Avakianlooked in the files, saw a "Keyhole Blues"written by Wilson and gave it that creditduring one of his 1940s Columbia reissues?That wouldn't explain the N. vs. W. Wilsonconfusion, except maybe it was a typo?Hmmm, I'm sorry, I'm just providing morespeculation instead of anything definitive,but thanks for broaching the subject. If Icome across anything else pertaining to thesubject, I'll let you know (we have some ofLouis's contracts for OKeh recordings withE.A. Fearn at the Archives and maybe there'ssomething there).Thanks again for writing and thanks foreverything you do at Stomp Off, one of myvery favorite labels!Also heard back from Michael Minn, proprietorof the other site on Hot 5/7, who says to thebest of his recollection, the N. Wilson creditcame from the Columbia/Legacy reissue.7/15/13 provisional summation: WesleyWilson is out for sure. And there seems to beno explanation for N. Wilson except that it’s amistaken reference to Wesley Wilson thatpicked up a typo. Unless I hear somethingnew, I’m taking Robbie’s suggestion to makeit “unknown.”Key-Stone (Willie Anderson)Red Rose Ragtime Band 1399Confirmed by my 1921 sheet music fromStark. “Rag” is clearly a genre-marker.King Bolden’s Tune (see Makin’ Runs)King Chanticleer (Nat D. Ayer–A. Seymour Brown) (see alsoTexas Tommy Dance)Ian Whitcomb & Dick Zimmerman 1049Ian Whitcomb & His Merry Bands 1276King Joe (Bud Scott)Chicago Rhythm 1026Dry Throat Five 1114Jimmy Noone Jr/Davies Rhythmic 5 1121Magnolia Jazz Five/Jimmy Mazzy 1137Paramount JB of Boston 1340Les Red Hot Reedwarmers 1416Rec. Jimmie Noone (w/Scott on bjo), 8/25/28,Vocalion 1229 et al.Copyright doesn’t make sense:King Joe; by A. Scott; 1st violin. © 1 c. Jan.3, 1928; E 679776; Arthur Scott, Chicago.My Decca LP reissue says Arthur Scott. Andthe discogs.com bio profile says Arthur “Bud”Scott, as does a longer jazzbanjo.com biosketch, so I guess it’s the same/right guy. Butwhy a 1st violin part submitted for copyright?King of the Zulus, The (At aChit’lin’ Rag) (Lil Hardin)South Frisco JB 13078/22, Jim Riley sends copy of handwrittensheet, which says "The King of the Zulus," nosubtitle. Riley says, "This a LofC copy of LilHardin’s manuscript for King of the Zulus, withher title. I have never seen a published

version. I copied it surreptitiously from theRare Documents Section."8/25: Montgomery doubts it ever waspublished, notes that Richard M. Jones wrotesong with essentially the same title (add"Blues"). He’ll compare Lil’s manuscript andSouth Frisco recording (I sent him my copy ofCD) with the Jones piece, which he’s recentlydone research on and knows well.9/3: Steve Abrams sends Xerox of the firstOkeh reissue 41581 (original was Okeh 8396),and it matches our subtitle.9/5, DB at LC: copyright registration card:The King of the Zulus, Lil Hardin, unpublished,7-19-26. (c) Lil Hardin, Chicago.Reasons for not using the subtitle:1. It clearly was not the way Lil Hardin, thecomposer, named her tune. She didn’t writeit on the manuscript, and she didn’t put it incopyright registration. It would appear tohave been a cute idea by the recordcompany.2. We’ve stated that LC copyrightregistrations take precedence over 78record labels. [NO! In the serious 2013review, in which I looked at hundreds ofcopyright registrations, I found manyinstances in which the copyright was“provisional” (marked “unpub.”) and latersuperceded by published sheet music. ANDI came to believe that in the absence ofsheet music, the first record label wasindeed the original “publication” of the tune.So I now feel that record labels outrankcopyright registrations. And this is definitelyon the original label, OKeh 8396 But ofcourse, that same label says “Zulu’s,” whichI’m ignoring—so much for my logic.]Reasons for using the subtitle:1. It would break Bob Erdos’s heart to loseit.2. It doesn’t really contradict or conflict withthe proper title.Your call.9/9: keep it, says Erdos, predictably.Oops: 10/31/00, while reviewing notes from4th edition, I found a xerox copy of the originalOkeh record label, copied out of a book bySteve Abrams. It does indeed show thatsubtitle, so let’s keep it.8/29/13 note from John Gill reports that he hasthe 7/19/26 copyright deposit. Title is “King ofthe Zulus” (Chief Boneo Boo, crossed out).Lillian Hardin.King Porter Stomp (Jelly Roll Morton)West End JB 1042Turk Murphy JB 1155Trevor Richards New Orleans Trio 1222South Frisco JB 1240Rec JRM pno solo 7/17/23, Gennett 5289 et al.Again 4/20/26, Vocalion 1020, Oriole 1007,Brunswick 80067 et al. Again 12/17/39,General 4005.Confirmed by copyright reg. 12/6/24 inarrangement by Elmer Schoebel.Kinklets (Arthur Marshall)Ray Smith 1012Frank French & Scott Kirby 1306Manhattan Ragtime Orchestra 1402Heliotrope Ragtime Orchestra 1427ASM, 1906, John Stark.Kinky & Sweet (Terry Waldo)Terry Waldo & Bo Grumpus 1339Kipling Walk, The (Nat D. Ayer–Clifford Grey)Ian Whitcomb & Dick Zimmerman 1017Kipling (The) walk; from The Bing boys arehere, words by Clifford Grey, music by Nat.D. Ayer, of U.S. © June 27, 1916; 2 c. June27, 1916; E 388128; B. Feldman & co.,London.Kismet [Thou Mighty Kismet theGolden Sunset] (Herschel Henlere–Guido Deiro)Levinson’s Trans-Atlantic Saxtette 1430We had Kismet (Thou Mighty Kismet theGolden Sunset).Hmm, the copyright isKismet, thou mighty kismet; words andmelody by Herschel Henlere and GuidoDiero [of U.S.], arr. by F. Henri Klickmann [ofU.S.] © 1 c. Mar. 17, 1920; E 473190; WillRossiter, Chicago.AlsoKismet; Arabian song and fox-trot, wordsand music by Herschel Henlere and GuidoDiero [of U.S.] © Apr. 21, 1920; 2 c. Apr. 24,1920; E 478682; Will Rossiter, Chicago.Also found copyright for a piano roll version byCharley Straight, using just “Kismet” as title.Found sheet music at IN Harmony. Cover isjust Kismet, but copyright page is a bit odd:Thou mighty KISMET the golden sunsetAn Arabian Song and Fox-TrotThis hurts. Technically speaking, this is eitherThou Mighty Kismet the Golden Sunset or(Thou Mighty) Kismet (the Golden Sunset),neither of which is very appealing, and Kismetwould be an alternative title. But I suggest wecheat and make Kismet the primary title andthe longer title an alternative.Kismet Rag (Scott Hayden–Scott Joplin)Frank French & Scott Kirby 1306Confirmed by my 1913 sheet music.Kiss Me My Honey, Kiss Me(Ted Snyder–Irving Berlin)Bob Pilsbury with Friends 1265ASM, 1910, Ted Snyder; w. Berlin/m. Snyder.Cover isKISS MEMY HONEY, KISS MEbut copyright isKiss Me My Honey, Kiss Mei.e., is missing the logical comma after firstKiss Me. (But Erdos loves missing logicalcommas!)Kiss Me Sweet (Armand J. Piron–Steve Lewis)Butch Thompson 1037New Yankee Rhythm Kings 1067Leigh–Dapogny Mysterious Babies 1087Charquet & Co 1195Mahogany Hall Stompers 1221Jacques Gauthé’s Creole Rice YBJB 1256Neville Dickie 1324Milano Hot Jazz Orchestra 1354Manhattan Ragtime Orchestra 14021037 & 1195 were Armand J. Piron; 1067 wasLouis-Piron; 1087, 1324, 1354, 1402 wereArmand J. Piron-Steve Lewis; 1221, 1256 wereArmand J. Piron-Steve J. Lewis.

2013 review: Confirmed by 11/26/23 copyrightreg. as Steve J. Lewis & A. J. Piron.Kiss Your Pretty Baby Nice(Edgar Dowell–Corrine Dowell–Mamie Medina)Carol Leigh & Jim Dapogny 1064Barbara Rosene 14312013 Copyright book search:KISS YOUR PRETTY BABY NICE; words andmelody by J. Edgar Dowell and Corrine [ofU.S.], arr. by J. Edgar Dowell [of U.S.]. © 1c. Nov. 8, 1921; E 521999; Albury & Delaneymusic pub. co., New York.And laterKiss your pretty baby nice; w MamieMedina, melody Edgar Dowell, of U.S. © 1 c.Sept. 24, 1923; E 569580; Clarence Williamsmusic pub. co., inc., New York.But several years ago, looking in card files,Matthew Caulfield reported slightly differententries:1921 unpub: by J. Edgar Dowell & CorrineDowell. 1923 unpub: w. Mamie Medina, m.Edgar Dowell.Aha, so Corrine-Edgar Dowell really meansCorrine & Edgar Dowell. When Mamie addedlyrics two years later, Corrine was left off thecopyright card for some reason.And I see now that clear back at the 2ndedition, I had note:Erdos: skip Medina as later lyricist.2013 review: Can find no evidence it waspublished in sheet form, so let’s see therecords: Ethel Waters, 8/21, Black Swan2038, Paramount 12170. Hah! Black Swanlabel says composers are Corrine and Dowell!So it was wrong from the start.I don’t like this a bit. I’ve looked everywhereand can find no evidence of a Corrine Dowellever being associated with a piece of music,and there’s not even a Corrine Dowell in thecopyright files except as reported by Caulfieldfor entries I can’t find. Did he perhaps seeCorrine-Edgar Dowell and presume that thatequated to Corrine & Edgar Dowell? Ofcourse, I supposed it’s possible that “by J.Edgar Dowell and Corrine” in that 1921copyright is a stilted way of saying J. Edgarand Corrine Dowell. But it’s also possible thatthe 1923 reregistration was done to correct aflawed earlier copyright.Most references to this song credit Corrine-Dowell, right off the label; the rest creditDowell-Medina, which certainly is safe, sincethere’s a copyright that way and MamieMedina collaborated with Edgar Dowell onother songs. I believe I’ll finesse the issue byciting all three.Kitchen Tom (Eubie Blake)Ophelia Ragtime Orchestra 1108Not in copyright books 1905-09, but BlakeCollection at Maryland Historical Society hashandwritten score dated 1908. Laterconfirmed by 20Oct62 copyright reg.--seePinsker note at Baltimore Todolo.Kitten on the Keys (Zez Confrey)Tony Caramia 1209Tony Caramia 1328ASM, 1922, Jack Mills.Klondike Rag (George Botsford)Trebor Tichenor 1282Confirmed by 1/23/08 copyright reg. and sheetmusic cover reproduced in CD booklet.Klu-Lukum (Carl T. Williams–Claude P. Christopher)Elliott Adams 1198LP said Klu-Lukum Rag, but copyright page isclear:KLU-LUKUM.Rag.Knee Drops (Lil Hardin)Weatherbird JB 1034European Classic JB 1070Black Eagle JB 1092Pierre Atlan’s Piccadilly Revelers 1181Mahogany Hall Stompers 1221Pam Pameijer’s New Jazz Wizards 1363Rec Hot 5 7/5/28, OKeh 8631, 41157,Parlophone R-2438.Confirmed by 7/16/28 copyright reg. and Okeh8631 label.Knock-out Drops (F. Henri Klickmann)Waldo’s Ragtime Orchestra 1007We had Knock Out Drops. Actually, cover isKnockout Drops and copyright page is KnockoutDrops. ASM, 1910, (c) Victor Kremer, pub.Carl Laemmle.Kobe (Robert Veen)Aces of Syncopation 1372Veen is the band’s clarinet player.Kof-Kof (Emmanuel Hussenot)Orpheon Celesta 1083Hussenot is the cornetist/bandleader.Koontown Koffee Klatsch [Satan’sCakewalk] (J. P. Greenberg)Red Rose Ragtime Band 13991904, says CD notes, but rec. 1950 undersecond title by Turk Murphy.Confirmed by 1904 Jos. Stern sheet music.But LC copyright books have only copyrightsfor two arrangements. And the brew gotspelled every possible way on differentrecordings: Koffee, Kaffee, Kaffe, and maybeKoffe.Famous recording was by the Ossman-DudleyTrio.Koonville Koonlets (A. J. Weidt)Lake Arrowhead Early JB 1365Confirmed by 12/1/1899 copyright reg. andsheet music cover found online.Krooked Blues (They Ain’t Straight)(Dink Johnson–John C. Spikes–Benjamin F. Spikes)Peruna Jazzmen CD 1003Peruna Jazzmen 1020Butch Thompson & Hal Smith 1075John Gill’s Original Sunset Five 1126Louisiana Repertory Jazz Ensemble 1140Down Home JB 1199John Gill’s Dixieland Serenaders 1295Southern Stompers 1414Manhattan Ragtime Orchestra 1419And to my surprise, the copyright reg. saysthe same thing:Krooked blues, they ain't straight; words bySpikes bros., music by Spikes bros. andDink Johnson [of U.S.] © July 7, 1922; 2 c.July 15, 1922; E 541953; Spikes bros. pub.co., Los Angeles.LL and N Rag [Sleeping Lulu](traditional)Bo Grumpus 1388Credit on CD was Alex Hood.From 1928, says CD notes.Strange...there’s “The L and N Blues” in Rust,rec. Clara Smith, 3/27/25, Columbia 14073-D.Jimmie Gordon and his Vip Vop Band, 6/4/40,Decca 7764;.Not in copyright books for either 1925 or1928.But aha, here’s “L and N Rag” by Alex Hoodand his Railroad Boys, Vocalion 5463, rec.4/?/30, released 11/15/30. Turns out that theywere from Corbin, Kentucky, and all workedfor the L & N Railroad. They recorded this and“Corbin Slide” on the same day, the only twotunes they ever recorded. Hood was the

anjo player. Banjohangout.org has detailedessay on the session, says L & R Rag was apoplular fiddle tune of that area that wasusually called Sleeping Lulu, and wasrecorded under that title by fellow KentuckiansRichard D. Burnett and Oscar Rutledge.(http://www.banjohangout.org/topic/265760)Found many other references to the Hoodrecording, but not a one of them named himor anybody else as composer. Searching forSleeping Lulu, I found it should have beenRuttledge, sted of Rutledge. AND therecording, Columbia 15567-D (rec. 4/19/30),was attributed to Burnett & Ruttledge.It was also recorded by Gid Tanner and theSkillet Lickers, on Columbia 15777-D,10/24/31.OK, here’s the obvious answer on this one:This tune was floating around with no obviousfather like a lot of jazz/blues songs in thosedays. Ventresco found the Alex Hood recordso he credited Hood; if he’d learned it off theBurnett-Ruttledge disc, he’d have creditedthem.. I found a poor photo of the Tannerrecord; it doesn’t appear to have a composercredit.So it’s unknown, although I’ll bounce this offVentresco to see if he knows something Idon’t know. But “traditional” seems a bettercredit than unknown.La Danza Appassionata(Clarence M. Jones)Heliotrope Ragtime Orchestra 1411Levinson’s Trans-Atlantic Saxtette 1430From mid-1910s, says leader Vermazen,picked up by Six Brown Brothers for ChinChin, which ran 10/20/14-7/3/15.Confirmed by 4/14/16 copyright reg. andsheet music pub. by Frank K. Root. “(PassionDance)” is under the title on both cover andcopyright page, but that’s just a translation,not a subtitle.2013 update--discovered that Levinson hadrecorded it on 1430 under English title andthat I’d original put it there, but havingascertained that it was copyrighted andpublished under the Spanish? title, I moved ithere and put a cross-ref. from Passion Dance.La Harpe Street Blues (Ken Colyer)Albion JB 1206

Confirmed by 4/10/35 copyright reg.; from InCaliente.Lady Love (Natty Dominique)South Frisco JB 1103South Frisco JB CD 1143Pam Pameijer’s New Jazz Wizards 1382John Gill’s Jazz Kings 1401Rec. Chi. Footwarmers (with Dominique),7/4/28 (working on a holiday!), OKeh 8613,Odeon GO-7941, Biltmore 1081 et al.Confirmed by 7/9/28 copyright. No composercredit on OKeh or Biltmore labels.Lady, Need Your Ashes Hauled?(unknown)Evergreen Classic JB 1202Title on LP was “Want Your Ashes Hauled”--sowhy did we change it here? I have noexplanatory note.2013 review: Rust has it as “Want Your AshesHauled” by Willie “Scarecrow” Owens,5/15/30, Gennett 7209, Champion 16014,Varsity 6041. Varsity label has no composercredit; performer credit is just Scare Crow.Mike Schwimmer’s liner notes say,“Want Your Ashes Hauled,” on which DavieLoomis performs vocally, is one of those“naughty” black blues tunes that proliferatedaround 1930. Fats Waller and Andy Razafwrote some, as did both Clarence andSpencer Williams. These were published byJoe Davis Music in little song booklets calledSongs My Father Taught Me NOT to Sing andSongs They DON’T Sing in School. The title,of course, is a euphemism for “a little lovin’.”The only references I can find to the recordingare on Online 78 and don’t show composercredit--no surprise. So unknown is definitelyright.But, BOB ERDOS, if the only recording in Rustmatches the title the band used on the LP,why did we change it? This could only havecome from you: Do you remember why youdid it?Lady of the Evening (Irving Berlin)Bob Pelland & Bob Pilsbury C 1212Confirmed by 11/2/22 copyright reg., fromMusic Box Revue 1922-23.Lady’s in Love with You, The(Burton Lane–Frank Loesser)Neville Dickie 1052Peter Ecklund’s Melody Makers 1175Confirmed by 1/24/39 copyright reg., fromSome Like It Hot, w. FR/m. BL.Lagniappe (Omer Simeon–Sammy Price)Trevor Richards New Orleans Trio 1222See Grand Boubousse above. Looks likeOmer Simeon Trio, with Sammy Price & ZuttySingleton, rec. 1955, Jazztone J-1014 (10" LP).My note there wasThe 1955 copyright book attributes [GrandBoubousse] just to Sammy Price. Onlymention of Simeon in the book is for“Lagniappe,” which he and Price didcollaborate on.Lakeside Stomp (John Hancock)John Hancock 1025Lament of the Lioness(Willie “The Lion” Smith)Tom Roberts 1392Confirmed by 4/12/40 copyright reg. A lovelystory, related by Roberts:Written for the woman whom The Lion calledhis soul mate, Jane Williams. “Silvertop,” ashe affectionally called her, became TheLioness although he was never officiallydivorced from his first wife. . . . [He] statedthat meeting her was the turning point in hislife.Land O’Lingo Blues (Elmer Schoebel–Billy Meters)Les Rois du Fox-Trot 1407ASM, 1925, Milton Weil.’Lasses Candy (Nick LaRocca)High Society JB 1166Dan Levinson’s Roof Garden JB 1361

No Martin on copyright reg:Last (The) time; words and melody by BillyV. Ewing. © 1 c. May 26, 1926; E 641187;Clarence Williams music pub. co., inc., NewYork.Well, the live album of Wynton Marsalis andEric Clapton at Carnegie Hall included thistune, credited to Ewing-Martin. Big Columbia/Legacy Hot 5/7 set the same. It’s thinner thanI like, but I’m worn out from all thoseproblematic ‘K’ tunes of recent days.Last Time Blues. This not on SOS yet, butJohn Gill reports finding 10/14/27 copyrightdeposit for this title by Lilliam Hardin.Laughin’ Cryin’ Blues(Porter Grainger–Bob Ricketts)Neville Dickie & Louis Mazetier 1302ASM, 1923, Zipf Music.Laughing at Life (Cornell Todd–Bob Todd–Nick Kenny–Charles Kenny)Kustbandet 1178Marty Grosz’s Orphan Newsboys 1225John Gill’s Novelty Orchestra 1227Keith Nichols Cotton Club Gang 12422013 review: Confirmed by 8/5/30 copyrightreg.Laughing at You (Bud Jacobson–Eddie Condon–Shorty Fall)Chicago Rhythm 1026Rec. Bud Jacobson’s Jungle Kings, 3/9/41,Signature 106, Century 4015.Powers says written 1926 but not recordeduntil 1941, and sure enough:Laughing at you; words by Eddie Condonand Shorty Fall, music byBud Jacobson,Shorty Fall and Eddie Condon, arr. by RubeBennett; pf. and ukulele acc. © Oct. 22,1926; 2 c. Nov. 1; E 651376; Consolidatedmusic pub. house, Chicago.Laughing Hyena (Ted Fiorito)John Gill’s Original Sunset Five 1094Rec. Harry Yerkes Novelty Five, 4/20, Vocalion14061, Homochord H-220 (as The MississippiCoons).Confirmed 4/5/20 copyright reg.Laughing Water (Frederick W. Hager)Chrysanthemum Ragtime Band 1079Imperial Serenaders 1351Both had Fred W. Hager.Copyright reg. full name:Laughing water; characteristic for piano, byFrederick W. Hager. C 51863, July 23, 1903;2 c. Aug. 1,1903. Boosey & co., London,England.Aha, sheet music issued two ways, both bySol Bloom, NY:(a) instrumental version.(b) song version, w. George Totten Smith/On both he’s Frederick W. Hager. And I thinkit’s safe to assume that these ragtime bandswere indeed playing the instrumental version.Lawd, You Made the Night Too Long(Victor Young–Sam M. Lewis)Chris Tyle’s NO Rover Boys 12352013 review: S&P also agree on w. SML/m.VY, 1932. And notes that “Sam, You Made thePants Too Long” was a parody of this song.2/13/32 copyright reg confirms.Lawns of Louisiana (Ian Whitcomb)Ian Whitcomb & His Merry Bands 1276Lazy (Irving Berlin)Scaniazz 1004Bob Pelland & Bob Pilsbury 1232ASM, 1924, Irving Berlin.Lazy Daddy (Nick LaRocca–Larry Shields–Henry Ragas)Paul and His Gang 1329Dan Levinson’s Roof Garden JB 1380ASM, 1918, Leo Feist.Lazy Jazz Waltz [Sweet HawaiianMoonlight] (F. Henri Klickmann)Heliotrope Ragtime Orchestra 1411CD had this as “Lazy Jazz Waltz (SweetHawaiian Moonlight)”Odd copyright entries, and plenty of them.In 1917:Hawaiian moonlight; valse pathetique, by F.Henri Klickmann [of U.S.]; instrumental. © 1c. Oct. 8, 1917; E 410577; Frank K. Root &co., Chicago.In 1918,a copyright for a piano roll version, sametitle, by Klickmann, played by HerbertJones.In 1919:Sweet Hawaiian moonlight; lazy jazz waltz,by F. Henri Klickmann [of U.S.]; piano. © 1c. Dec. 22, 1919; E 466132; McKinley musicco., Chicago.In 1920:Lazy jazz waltz. See Sweet Hawaiianmoonlight.Then . . .Sweet Hawaiian moonlight; lazy jazz waltz,by F. Henri Klickmann [of U.S.]; piano. ©Apr. 22, 1920; 2 c. Apr. 23, 1920; E 478612;McKinley music co., Chicago. [this justseems to be a repeat of the 1919 copyright][This implies strongly that intended correcttitle is Sweet Hawaiian Moonlight and thatLazy Jazz Waltz is a subtitle. Let’s look for thesheet music.]Later copyright entries seem to confirm this:Soirs d' Hawaï (Sweet Hawaiian moonlight);tell her of my love, words by Harold G. Frost,adaptation franchise de Pierre d'Amor,musique de F. Henri Klickmann [of U.S.] ©Feb. 16, 1920 ; 1 c. Mar. 2, 1920 E 472911;Chappell & co., ltd., Paris.Sweet Hawaiian moonlight; pathetique, byF. Henri Klickmann, arr. by H. M. Higgs [ofGreat Britain]; violin and piano. London.Chappell & co., ltd. © Jan. 14, 1920; 1 c.Jan. 24, 1920; E 468917; Frank K. Root &co., Chicago. [Copyright is claimed onarrangement]________ (Soirs d' Hawaï); par F. HenriKlickmann [of U.S.]; piano. © Feb. 16, 1920;1 c. Mar. 2, 1920; E 472912; Chappell & co.,ltd., Paris.Now search for sheet music confuses thingseven further:(a) Sweet Hawaiian Moonlight (Tell Her of MyLove), w. Harold G. Frost, m. F. HenriKlickmann, pub. Frank K. Root, 1918. (songversion, solo or duet). This at UCLA. INHarmony has three copies of the title, all thissame song version. Washington Univ. in St.Louis has the song version, as does DukeUniv.—found many more copies of this samesong version, and discovered that it wasacquired ay republished by Joe Davis in 1936.Then I got to another version at UCLA:(b) “(I’ve Got the) Sweet Hawaiian MoonlightBlues” (“By the writers of ‘Sweet HawaiianMoonlight, Tell Her of My Love),” pub. 1920.

Eureka, I finally found the instrumental version,but it’s titled just “Hawaiian Moonlight” onboth cover and copyright page, with a genremarkerof Valse Pathétique. It’s dated 1917,and can be found athttp://webapp1.dlib.indiana.edu/inharmony/detail.do?action=detail&fullItemID=/lilly/devincent/LL-SDV-221074Lord, what a mess:1917: instrumental copyrighted and publishedas “Hawaiian Moonlight” by Klickmann.1918: published in song version as “SweetHawaiian Moonlight (Tell Her of My Love),”with lyrics by Frost, but no copyrightregistered.1919: Instrumental version reregistered as“Sweet Hawaiian Moonlight” with subtitle“Lazy Jazz Waltz.”1920: Song version copyright registrationfinally catches up with the 1918 sheet music.Next big question is what version Vermazencould have been using. He dated it 1920, andup popped that so-far overlooked Jazzy Waltzsubtitle.Aha, the word from Vermazen:We were using a published orchestration,bearing a 1920 copyright date, which helater sent:SWEET HAWAIIAN MOONLIGHTLAZY JAZZ WALTZAS PLAYED BY THE SIX BROWN BROTHERSI, too, was puzzled by this strangeness, soI did some research. The song "SweetHawaiian Moonlight" was copyrighted in1917, then in 1919 copyrighted again, withsome slight changes, as you noted. By thetime the orchestration came out, "Lazy JazzWaltz," seemingly a subtitle, had beenelevated to the title. The slight changesmostly have to do with changing the notevalues here and there from duples of eighthnotes to dotted-eighth-and-sixteenthpatterns. To make it jazzy, no doubt. Butharmonically and melodically, they are justtwo pieces with the same name.Well, since we’ve recorded a publishedorchestration, we must keep that title, but:“Sweet Hawaiian Moonlight” is not a propersubtitle on the orchestration, but an indicationof the song that was being orchestrated, sowe change that to an alternative title and put across-reference from it.Lazy Luke (A Raggy Drag) [RedFlannel Rag] (George J. Philpot)Turk Murphy JB 1155Down Home JB 1316

Copyright file shows title as Leavin’ thismornin’ blues, and continues words bySelma Davis (pseud. of Aletha Dickerson);music by Gertrude Rainey. unpublished:Nov. 30, 1928. (But sheet not in MRR)[But in 2013 search through 1928 book, I findLeavin this morning blues; words by SelmaDavis [pseud, of Aletha Dickerson], musicby Gertrude Rainey. [Words and melodyonly] © 1 c. Nov. 30, 1928; E—Unpub. 1717;Chicago music pub. co., inc., Chicago.]Bob, I just (Sept. 1) confirmed this entry.Shouldn’t we make the change to match thecopyright card?1/25/01: Oops. LC dug up the hand-writtensheet submitted for cy. The music lead sheet,on which the notes are hand-written but thetitle, composers and lyrics are typed in, saysLeavin’ This Morning Blues. The attachedlyric sheet, which is typed out, says Leavin’This Mornin’ Blues.2013 review: Only rec. in Rust is Leaving ThisMorning, Ma Rainey, 9/28, Paramount 12902.And aha, the label says Leaving This Morning,by Rainey.OK, shame on me for following the unpub.copyright and not tracking down the actualpublished version, i.e., the record label. Theband was right to begin with.Leaving Me (Fats Waller–Andy Razaf–Irving Mills)Neville Dickie 1397CD says just Waller-Razaf.Rec. Jimmie Lunceford, 1/26/34, Victor 24586,HMV B-6493 et al.Only Leaving Me in 1934 book is by LouHarris. HOWEVER, the label of Victor 24586 isWaller-Razaf-Mills, and Dickie says he’splaying the Lunceford tune, so there it is. AndI’m presuming it’s Irving.’Lectric Chair Blues (see Send Meto the ’Lectric Chair)Left All Alone Again Blues(Jerome Kern–Anne Caldwell)Chrysanthemum Ragtime Band 1079ASM, 1920, T. B. Harms; w. Caldwell/m. Kern.Left All Alone with the Blues(James P. Johnson–Spencer Williams)Des Plantes’ Washboard Wizards 1325Jacobi’s Bottomland Orchestra 1336Neville Dickie 1366

Let’s Have Another Cup of Coffee(Irving Berlin)Bob Pelland & Bob Pilsbury 1232Confirmed by 2/17/32 copyright reg. FromFace the Music, 1932.Let’s Misbehave (Cole Porter)Banu Gibson NO Hot Jazz Orch 1073Rusty Taylor’s New Jazz Review 1186San Francisco Starlight Orchestra 1364Confirmed by 6/21/27 copyright reg.Let’s Ride with Bob (Bob Wills)Chris Tyle’s NO Rover Boys 12351235 credit was Strickler-WillsHal Smith in AFCDJS Rambler says based on“Savoy Blues.” I don’t hear that, but it was firstrecorded in 1942. But I don’t find this song orany other copyrighted by Strickler in 1941-43books. Online 78 says rec. 7/16/42, releasedon Columbia 20132 & 37405 and on OKeh6692.The online “Benny Strickler Story”(http://jazzhotbigstep.com/89801.html) says,On "Let's Ride with Bob" Benny gave awayhis usual featured solo to Alex Brashear on atune that he helped conceive. Nonetheless,Alex played it closer to Benny's style, openhorn and direct.But the OKeh label credits Wills as composer.Found a bad photo of the Columbia 37405label; credit seems to be a first initial plus ashort (4-5 letters) last name, but it also lookslike it could be preceded by “arr.”But that same story credits Hal Smith forextensive research into Strickler, provides linksto four articles Hal wrote for San FranciscoTraditional Jazz Foundation. In the first ofthose, Hal says Strickler “contributed to” theWills theme song, but later says that it was“largely written” by Strickler.In San Antonio Rose: The Life and Music ofBob Wills, by Charles R. Townsend, we read:While Bob Wills had a band for nearly thirtyfiveyears, this big orchestra of the earlyforties was the one he would have keptforever had the war not broken it up. Heeven wrote a new song to fit its big-bandsound. “Let’s come up with a nice big fullhornthing for a theme song,” he told theboys. They tried various tunes andarrangements and finally came up with whatBob wanted, a theme that would feature thehorn and string band. It was based on“what they call the B-flat blues pattern,twelve-bar blues,” [Danny] Alguireexplained. Benny Strickler set a riff on thetrumpet, and they “started kicking it around,playing it through, and it resulted in thetheme ‘Let’s Ride with Bob.’ . . . One goodfeature was the horns would take a section.Then Leon MacAuliffe would fill in with thesteel guitar. It was just slow blues and a keytune for Bob to holler on. We used it to startour dances.” It was, Alguire concluded,“real jazz.”7/18/13 wrote to Hal Smith to see if he has anymore “official” confirmation of Strickler, but fornow, I fear we must remove him ascocomposer and revert to the guy on OKeh6692, Bob Wills.Let’s Sow a Wild Oat (Byron Gay)Jimmy Noone Jr/Davies Rhythmic 5 1121Hot Antic JB 1154Waldo’s Jazz Entertainers 1377Rec. Jimmie Noone, 12/27/28, Vocalion 1238,Jazz Society (France) AA-522..Well, hell: RHJA says Gay, Online 78 says T.Dorsey-H. Whitaker [i.e., Tampa Red].No copyright registrations of that title 1927-30,although each year contains other registrationsby Byron Gay--very suspicious.But allmusic.com credits Gay; listing for theJazz Society AA-522 disc in Stanford U. librarycredits Byron Gay and Tampa Red (i.e.,Hudson Whittaker, as in the Online 78 listingfor Vocalion 1238.Several other sources say Gay, but some sayTampa Red/Hudson Whittaker, which isbizarre, since I can’t find any indication thatTampa Red recorded the song.Aha, LC SONIC provides the answer: It hasboth releases, and in both cases it show s Gayfor the “Let’s Sow” side, and either Dorsey-Whitaker (Vocalion) or Whittaker (JazzSociety) for the flip side, which is “It’s TightLike That.”And later, somehow, Bill Haesler came up withthe Vocalion label, which does indeed sayGay.Let’s You and I Just Say Goodbye(George M. Cohan)Canary Cottage Dance Orchestra 1415Confirmed by 6/4/23 copyright reg., from TheRise of Rosie O’Reilly.Levee Rag, The (Charles E. Mullen)Elliott Adams 1299The Levee Rag on CD.Oops, no The on copyright:Levee rag; dance characteristic, by Chas. E.Mullen, for piano. Copyright by Will Rossiter,Chicago, 111. Class C, XXc, no. 33749,Sept. 29, 1902; 2 copies rec'd Sept. 29,1902.Most online refs just LR, but a few TLR.Answer from Adams is no The on cover, buton copyright page.’Leven-Thirty Saturday Night(Earl Burtnett–Jess Kirkpatrick–Bill Grantham)Back Bay Ramblers 1262. Note the hyphen.11/15/00 Tex Wyndham sends that samecopyright page: ’Leven-Thirty Saturday Nightis right. And ASM, 1930, Sherman, Clay.Lights Out (Billy Hill)Grand Dominion JB 1378Confirmed by 11/23/35 copyright reg. Intro’dby Ozzie & Harriett, says S&P.Like a Cat with a Mouse(Billy Mayerl–Frank Eyton)Alex Hassan 1322Well, hell--not in copyright books, couldn’t findsheet music. Mayerl Society web site calls itthis in some places, “Just Like a Cat with aMouse” in others--including another Hassanrecording of it. Only Mayerl recordingappears to be Decca F 7355, rec. Jan. 1940,on which it’s titled “Just Like...”. Comes fromlate 1939 show Runaway Love.Queried Hassan 7/19/13: Tune wasunpublished as a stand-alone songsheet, buttranscribed by the composer for one of hissyncopation-school magazines. The “JustLike” variant seems to come from that Deccarecording of Runaway Love songs.Like Ordinary People Do(Richard Rodgers–Lorenz Hart)Ingham–Grosz Hot Cosmopolites 1323Confirmed by 8/13/30 copyright reg., w.Hart/m. Rodgers. From The Hot Heiress.Lila (Charles Tobias–Maceo Pinkard–Archie Gottler)Ernie Carson & the Castle JB 1277Paul and His Gang 1329Confirmed by 2/23/28 copyright reg., w/m all3.Lily Langtry Comes to the Midwest(David Thomas Roberts)David Thomas Roberts 1072Lily of the Valley (traditional)Acker Bilk & Ken Colyer 1119Grand Dominion JB 1139

ecordings by Acker Bilk/Ken Colyer and bythe Grand Dominion Jazz Band. I can't speakto the J. Dorsey recording, but the trad jazzbands presumably are playing the Barbarintune. For what it's worth -- and as a glimpse atthe kind of sleuthing one can get into in doingresearch like this, I'll reproduce below theseries of notes I made several years ago whenworking on this one. I'll try to insert someexplanations of who's saying what, but Iapologize that it will have to be a bit cryptic;the "speaker" if not otherwise noted is myself:Baker note to Erdos:

Limehouse Blues (Philip Braham–Douglas Furber)Gauthé–Marquet Clarinet Serenadrs 1216Paris Washboard 1326Lande’s Rhythm Club Orchestra 1327Independence Hall JB 1386ASM, 1922, (c) Ascherberg, Hopwood & Crew;pub. Harms, w. Furber/m. Braham.Lina Blues (Jabbo Smith)Scaniazz 1056Hot Antic JB 1058Black Eagle JB 1065Jimmy Mazzy & Eli Newberger 1109Original Salty Dogs JB 1233Louisiana Washboard Five 1398Rec. Smith 4/17/29, Brunswick 7087.Confirmed by 10/21/29 copyright reg. andrecord label.Linger Awhile (Vincent Rose–Harry Owens)Paris Washboard 1261ASM, 1932, Leo Feist; w. Owens/m. Rose.Listen to That Dixie Band(George L. Cobb–Jack Yellen)John Gill’s Dixieland Serenaders 1321ASM, 1914, Elizabeth Murray; w. Yellen/m.Cobb.Little Annie Rooney (Michael Nolan)Imperial Serenaders 1351Orig. published 1889-90, but earliest editionsundated; reregistered as arrangement by W.C. Polla in 1925. All sources agree on title andcomposer.Little Bit Closer, A (Tiny Parham)Pam Pameijer’s New Jazz Wizards 1281Rec. Parham 12/27, Paramount 12586,Century 3005. Priscilla Stewart, 12/28,Paramount 12740.Evidently not copyrighted, but Paramount12586 label confirms Parham.Little Bit of Rag (Hawaiian Drag)(Paul Pratt)Tom Brier 1274Unpub., says Brier; exists only as piano roll.Perfesser Bill says it’s “A Little Bit of Rag (AHawaiian Drag),” from roll U.S. Music 8005B,1916. But onwww.bluesrolls.com/Rags_K-Z.htmlI find a very poor image of the roll label: I don’tthink there’s an ‘A’ on title, and it does looklike it might be “A Hawaiian Drag” or just“Hawaiian Drag” under title.Aha: Frank Himpsl has the roll, reports thattitle subtitle is Little Bit of Rag (Hawaiian Drag)Little Bits (Jimmy Blythe)Ray Skjelbred 1124Pam Pameijer’s Classic Jazz Aces 1194Two Clarinet Stompers 1259One More Time JB 1410Rec. Jimmy Bertrand’s wb wizards (w/Blytheon pno), 5/29/26, Vocalion 1035, Oriole 1008,Brunswick A-164.Confirmed by 3/18/27 copyright reg., butname on copyright is Jimmie Blythe. Odd--hehas nine tunes copyrighted that year, seven asJames Blythe, two as Jimmie. And Rust’ssection on him notes that “this artist issometimes credited on his records as JimmieBlythe or James Blythe.Little by Little (Robert Emmett Dolan–Walter O’Keefe)Ingham–Grosz Hot Cosmopolites 1323Back Bay Ramblers 1355See note at Hullabaloo. He was Bobby,Robert, but most often Robert Emmett.Little Girl (Madeline Hyde–Frances Henry)James Dapogny’s Chicagoans 1263Confirmed by 4/23/31 copyright reg., w/mboth; popularized by Guy Lombardo, saysS&P.Little Jack’s Rag (Arthur Marshall)Terry Waldo 1007Pub. for first time in Waldo’s This Is Ragtime,1976. Says it had recently been discovered byMildred Stewart (Marshall’s daughter,presumably).Little John’s Rag (Turk Murphy)South Frisco JB 1240Jazzology bio of Turk says written in 1950 inhonor of birth of Lester Koenig’s son, rec.1951 SFTJF agrees on Turk, says 1949.Little Lawrence (Jelly Roll Morton)State Street Aces 1041South Frisco JB 1103South Frisco JB CD 1143Mike Daniels’ Delta Jazzmen 1203Pam Pameijer’s New Jazz Wizards 1335Back Bay Ramblers 1374Rec. 3/19/30 RHP, Victor V-38135, HMV EA-3680 et al. Confirmed by 7/18/30 copyrightreg. and Victor label.(Everyone in Town Loves) Little MaryBrown (Benny Davis–Jesse Greer)Keith Nichols Cotton Club Orchestra 1234Rec. Eddie Deas & His Boston Brownies as(Everyone in Town Loves) Little Mary Brown,10/22/31, Victor 22844. Ben Selvin, 10/16/31,Columbia 2554-D.Copyright reg. isLittle Mary Brown; words and melody byBenny Davis and Jesse Greer. © 1 c. Sept.16, 1931; E unp. 44966; Irving Berlin, inc.,New York.But then . . .Everyone in town loves little Mary Brown;words and music by Benny Davis and JesseGreer. © Oct. 8, 1931; 2 c. Oct. 9; E pub.25673; Irving Berlin, inc., New York.Eddie Deas Victor label does have theparenthetical pretitle--AND full names ofcomposers as Bennie Davis-Jesse Greer. Butit’s not on the Selvin Victor label.Got the music from MTSU: cover isEVERYONE IN TOWNLOVES LITTLE MARY BROWNcopyright page isLittle Mary BrownThis one kind of hurts. Properly speaking, nopretitle, since it’s not on copyright page andsheet music copyright page is ultimatestandard. But it WAS on the first record labeland the pub. copyright and the cover of thesheet music. I think I’ll just cheat and keep ithere, although technically the version with thepretitle should be an alternative version of thetitle, which would result in the insanelyawkwardLittle Mary Brown [(Everyone in TownLoves) Little Mary Brown]Little Pal (B. G. De Sylva–Lew Brown–Ray Henderson–Al Jolson)Newberger–Mazzy–Thompson 1352Confirmed by 3/5/29 copyright reg., w/m allthree. Introduced by Jolson in Say It withSongs.Little Rock Getaway (Joe Sullivan)John Gill 1066Ray Skjelbred 1097ASM, 1938-39, Leo Feist.Little Wabash Special (Tom Shea)Tom Shea 1022David Thomas Roberts 1132Little White Lies (Walter Donaldson)John Gill’s Calif. Sunshine Boys 1157Confirmed by 6/27/30 copyright reg.Little Willie Blues (Jabbo Smith)Scaniazz 1056Jazz Classics 1061Abi Hübner’s Low Down Wizards 1093Hot Antic JB 1099Original Salty Dogs JB 1233Rec. Jabbo 2/22/29, Brunswick 7058.Confirmed by 6/5/29 copyright reg.

Little Wonder (Butch Thompson)Hall Brothers JB 1062Written by Thompson 1964 in honor of the oldwashing machine.Livery Stable Blues (Ray Lopez–Alcide Nunez) [also publishedin song version with lyrics byMarvin Lee]Louisiana Repertory Jazz Ensemble 1055ASM has two copies, song version andinstrumental, both 1917 Roger Graham, soconcurrent. Instrumental is Lopez-Nunez,song adds w. Marvin Lee.Livin’ High (Sometimes)(Maceo Pinkard–Alex Belledna*)Swedish Jazz Kings 1188Bent Persson’s London Stompers 1167West Jesmond Rhythm Kings 1255Bob Helm’s JB 1310South Side Jazz Serenaders 14202011: Then wait a minute! Why would Pinkardsign the work with his real name AND apseudonym? Doesn’t make sense. Even ifwe’re still sure that Alex Belledna = MaceoPinkard, we must get a look at that sheetmusic to make sure both names are on it.Aha, look what I found at great sitejazzstandards.com:David A. Jasen and Gene Jones in Spreadin’Rhythm Around: Black Popular Songwriters,1880-1930, explain the mystery surroundingEdna Alexander, variously credited as EdnaAlexander Pinkard and Edna B. Pinkard. In1919 a song crediting “Alex Belledna” waspublished, and in 1920 the name appearedon another composition, but in the smallworld of Tin Pan Alley no one knew thisperson. “In 1921 ‘Belledna’ shared creditwith Maceo Pinkard and William Tracey on‘’Tain’t Nothing Else But Jazz.’ To putspeculation about the mysterious composerto rest, Variety reported on June 3, 1921,that ‘Alex Belledna’ was a pseudonym forMaceo Pinkard.” No one questioned whyboth Pinkard’s real name and pseudonymappeared on the same songs. [Well, I justdid!—DB] “What the trade paper apparentlydid not know was that Pinkard had recentlymarried an aspiring songwriter named EdnaBelle Alexander.” She lists songs with thispseudonym in her ASCAP biography,including one with Andy Razaf, the“raunchy” “Kitchen Man” recorded byBessie Smith. “Edna Alexander’s nameappears on two Pinkard songs (‘Make ThoseNaughty Eyes Behave,’ in 1925, and ‘Sugar,’in 1926), and the ‘Belledna’ alias appears onsix unpublished songs with Pinkard.”Our pseudonyms list followed the Varietymistake above and equated Belledna toPinkard. Now we know.Did find an entry for it at Indiana University.Only cover is online (still in copyright, so can’tshow the rest), showing “By Maceo Pinkard,”but the detailed description lists Alex Bellednaas lyricist, so presumably she’s on thecopyright page.Copyright 6/17/25 is w. Alex Belledna/m.Pinkard.Livin’ in the Sunlight, Lovin’ in theMoonlight (Al Sherman–Al Lewis)Barbara Rosene & Her New Yorkers 1405Oops, S&P use em-dash between phrases.3/22/30 copyright reg. uses comma (but itnever uses other punctuation), w. AS/m. AL.Sheet music cover has dash, but can’t seecopyright page.So bought it from MTSU: And aha, whilecover has dash, copyright page has comma,just the way we had it.Liza (Eddie Condon–Red McKenzie–George Rubin)Chicago Rhythm 1026European Classic Jazz Trio 1142Three Deuces 11851026 had Condon-McKenzie-Rubin; the nexttwo were just Condon.

Confirmed by 7/10/29 copyright reg., w. GK-IG/m. GG. From Show Girl.Load of Coal (Jelly Roll Morton)Keith Nichols Red Hot Syncopators 1135Pam Pameijer’s New Jazz Wizards 1335Rec. RHP, 6/2/30, Victor 23429, Biltmore 1060.[Rust has “(Load of Cole)” after this entry.]Not in copyright books 1929-32. Victor Projectconfirms it (source = disc label). Lomaxlisting does not show that he ever copyrightedit. Biltmore listing in Online 78 discography,like Rust, gives title as “Load of Coal (Load ofCole).” What could that be about? But LCSONIC has the disc, shows title as simplyLoad of Cole. Online 78 probably got it fromRust.Lock and Key (James P. Johnson–Henry Creamer)Hot Dogs /Victoria Varekamp 1033Rec, Bessie 4/1/27, Columbia 14232-D.Confirmed by 4/4/27 copyright reg., w. HC/m.JPJ.Log Cabin Blues (Tom Delaney)Peruna Jazzmen 1003Swedish Jazz Kings 1122Evergreen Classic JB 1202Le Petit Jazzband de Mr Morel 1362Rec. Trixie Smith, 3/23, Black Swan 14142,Paramount 12167. CW wb 5, 4/18/28, OKeh8572, 16310 et al.Confirmed by 2/1/23 copyright reg. Note thatthere was also a tune of this title by GeorgeHamilton Green.Lolly Pops (Harry Reser)Paramount Theatre Orchestra 1089Howard Alden with Dick Hyman 1200Rec. Reser 10/19/26, Victor 20439. VictorProject confirms Reser (source=disc label).Couldn’t find copyright 1926-27.London Blues [London (Cafe)Blues] [Shoe Shiner’s Drag](Jelly Roll Morton)Peruna Jazzmen CD 1003Peruna Jazzmen 1020Pam Pameijer Trio 1172Down Home JB 1199Peruna Jazzmen 1204Pam Pameijer’s New Jazz Wizards 1318Independence Hall JB 1384Southern Stompers 1413

assume that they were already in the PublicDomain when recorded, except in the veryrare instances where a composer is knownfor certain for a particular tune. If you feellike you have to attribute it to someone/something, giving the tune to the Revelersen masse makes the most sense to me,though I think assigning attribution this longafter the recording date and with no hardevidence to back up the attribution is ofdubious validity. --John MillerSounds like “unknown” or “traditional” to me.Lonesome Blues (Lil Hardin)Tomas Örnberg’s Blue Five 1043Pam Pameijer’s Classic Jazz Aces 1194Bob Helm’s JB 1310Dabney’s Band, 9/19, Aeolian Vocalion 12211(RHJA says this is the Perry Bradford tune).Ida Cox, 8/25, Paramount 12307. (Online 78says by Cox)Hot Five, 6/23/26, OKeh 8396, 41581;Columbia DB-3340 and many more. RHJAsays Hardin for OKehs. AND 41581 label isdefinitely Hardin.Bechet Blue Note Quartet, 3/27/40, Blue Note13.There’s also a Lonesome Blues by PerryBradford (see Dabney’s band above).BUT 7/19/26 copyright reg. also confirmsHardin. And John Gill says his copy of the7/19/26 copyright deposit also confirms Lil.Lonesome Mama [Blues] (Anna WelkerBrown–E. Nickel–Billie Brown)Frisco Syncopators 12458/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:Titled "Lonesome Mama Blues."1921 unpub: w. Anna Welker Brown (pseud.of E. Nichel), m. Billy Brown.1922 pub: w. Anna Welker Brown & E.Nickel, m. Billie Brown (inconsistentspellings of Nichel and Billie not typos).8/25: Montgomery sends 1922 sheet music(Riley had sent copyright page previously,which he got from LC). Later found in ASM,too, 1922, C. Nickel.Cover showsCopyright page isLonesome Mama(Blues)Lonesome MamaBluesCover & copyright agree on m. Billie Brown, w.Anna Welker Brown & E. Nickel. And E. Nickelof Kansas City is the publisher!Seems to me we go with 1922 publishedversion, ignore unpublished entry. Also,"Blues" clearly falls in category of genremarker,like a simple "Rag" or "March" aftertitle, thus we should ignore it. But if you dothink the song is also known as "LonesomeMama Blues," then we can very well leave it aswe have it.Lonesome Road, The (Nat Shilkret–Gene Austin)Marty Grosz’s Orphan Newsboys 1225Confirmed by 1/24/28 copyright reg., w. GA/m.NS.Long, Deep and Wide (Fats Waller)Black Bottom Stompers (Switz.) 1130Keith Nichols Cotton Club Orchestra 1210Black Eagle JB 1224Les Rois du Fox-Trot 1434Confirmed by 2/10/27 copyright reg. Nocomposer credit on orig. Cl. Williams QRSlabel.Long Lost Mama (Harry Woods)Le Petit Jazzband de Mr Morel 13441344 had Harry M. Woods, but ASM, 1923, M.Witmark, has no middle initial, and he’s justHarry Eoods everywhere else.Longshoreman’s Blues(unknown)Back Bay Ramblers 1262CD original had unknown, and that’s the way itwas listed in the 3rd edition, but for somereason we changed it to Clarence Williams forthe 4th edition. Alas, I didn’t document why,which means almost for sure that I got a notefrom Erdos saying to do so..Rec. CW aho, 11/28, QRS R-7040, Paramount14024, Jazz Collector L-69 (UK).Well, not in copyright books 1927-30. And theJazz Collector label has no composer credit.LC SONIC reports no composer credit onParamount label. Doubt QRS had a credit, asothers in same number range did not, nor didthe flip side of this one (“I’m Through”). Sohow do we know CW wrote it?Band took it from the CW recording on QRS,so they (or Erdos) just presumed CW wrote it.But the very fact that he didn’t copyright itmakes me suspicious, since he was apublishers and VERY well acquainted with thecopyright procedure--each of the years 1927-30 had many other of his tunes listed.Farmed this out to Bill Haesler for help; asusual, he did a lot of good work:Tom Lord's Clarence Williams 'bible'confirms that there is no composer credit onthe QRS label of R-7040-B for"Longshoreman's Blues".Therefore, it is not on the 1940s-50sreissue 78s - John Steiner's Paramount14024 or the English Jazz Collector JC L69.Nor on the Riverside, London, LP reissuesor Frog DGF48 CD.A check of the Lord book also reveals thatnone of the August 1928 - January 1929Clarence Williams QRS record sessionlabels have composer credits. And heappears to have checked them all.In fact, without checking, if would seemthat QRS did not bother with composercredits at all.The QRS sessions were recorded in theGennett studios in New York. And, with theexception of several Gennett masters, thematerial on the QRS label was recordedexclusively for QRS.Some items were later reissued on the(original) Paramount, Broadway and relatedlabels without composer credits. However,the meticulous Tom Lord did providecopyright details for many in the ClarenceWilliams' QRS series.Unfortunately some go back earlier thanyour 1927-29 search. For instance, thecopyright for "Wildflower Rag" has threedates: 1916, 1922 and June 1929. The Aside of QRS R-7040 ("I'm Through") goesback to November, 7 1924.Although, if Tom didn't find the composerfor "Longshoreman's Blues" I suspect that itis probably not in 'The Books' or on a card atthe LoC.This one looks like a case of (unknown).Haesler also came up with all three of thelabels listed in Rust:1. Original QRS R-7040 called itLongshoreman’s Blues, the way we haveit.2. Reissue on Paramount 14024, from 1940s-‘50s, says Longshoreman Blues.3. Reissue on British Jazz Collector, also‘40s-‘50s, says Longshoremans Blues.Which means we had it right to begin with andthen started getting clever. Well, it’s back tounknown unless somebody can come up with

some mighty obscure evidence to thecontrary.Look at ’em Doing It! (A Little Bitof Jazz) (Larry Shields)Dan Levinson’s Roof Garden JB 1380We had simply Look at ’em Doing It, which isall lthat’s on cover, but ASM shows a bangerand a subtitle on the copyright page. 1918,Leo Feist.Look Who’s Here (Burton Lane–Harold Adamson)Alex Hassan 1322Well, the sheet music cover has anexclamation point. And Hassan’s data basehas one--and I know he takes his info fromcopyright pages. And some online collectionindexes have it. I think it must be there.Queried Hassan 7/21/13: says cover has !, butnot copyright page.(Lookie, Lookie, Lookie) HereComes Cookie (Mack Gordon)Jean-François Bonnel & Friends 1131Keith Nichols Cotton Club Gang 1242Hmmm. IN Harmony index shows “HereComes Cookie” as an “alternative title, i.e.,subtitle. But MTSU doesn’t. Levy collectionreverses it: (Lookie, Lookie, Lookie) HereComes Cookie.” And the copyright is “Lookielookie lookie, here comes cookie.”Bought the sheet music at MTSU: Cover isLookie, Lookie, Lookie,HERE COMES COOKIECopyright page isLookie, Lookie, LookieHERE COMES COOKIESo I make it (Lookie, Lookie, Lookie) HereComes Cookie, but we’ll leave it alphabetizedunder L.Lookin’ Good but Feelin’ Bad(Fats Waller–Lester Santly)Grosz–Ingham Paswonky Serenadrs 1214Le Petit Jazzband de Mr Morel 1343Les Red Hot Reedwarmers 1425

Losantiville Blues (Frank Powers)Waldo’s Gutbucket Syncopators 1001Powers was in the band. Losantiville is anorthern suburb of Cincinnati, where Powerslived.Lost (Phil Ohman–Johnny Mercer–Macy O. Teetor)Jean-François Bonnel & Friends 1131Swedish–American Hot Jazz Collab. 1136Paramount JB of Boston 1205We had “Lost (A Wonderful Girl),” but there’sno subtitle either on the cover or the copyrightpage, and the words “wonderful girl” don’tappear anywhere in the lyrics. 1936, RobbinsMusic.Aha, found the answer online: There wasindeed a “Lost (A Wonderful Girl),” but it waswritten in 1922 by Benny Davis & JamesHanley.Lots o’ Mama (Esther Weber–Billy Meyers–Elmer Schoebel)Les Rois du Fox-Trot 1429ASM & HSM, 1924, Jack Mills: Words & Musicby Esther Weber, Billy Meyers & ElmerSchoebel (we just had Schoebel)Lotta Sax Appeal (John Williams)Back Bay Ramblers 1262On CD John A. Williams.Rec. Andy Kirk, 3/2/36, Decca 1046, 3883.John Williams Synco Jazzers, 11/9/29,Vocalion 1453.6/5/30 copyright reg. is just John Williams,which is how Rust knows him, as do all theother refs I could find. We must lose themiddle initial.Lotus Blossom (see Marahuana)Lotusland (Ian Whitcomb)Ian Whitcomb 1049Louise (Richard A. Whiting–Leo Robin)Ingham–Grosz Hot Cosmopolites 1323Confirmed 3/22/29 copyright reg., w. LR, m.RAW. Sung by Maurice Chevalier in filmInnocents of Paris.Louisiana (J. C. Johnson–Bob Schafer–Andy Razaf)New Yankee Rhythm Kings 1050Banu Gibson NO Hot Jazz Orch 1073Mike Daniels’ Delta Jazzmen 1203Prague Jazzphonics 1236Tom Pletcher & the Classic Jazzband 1353ASM, 1928, Al Piantadosi; w. Razaf-Schafer/m.Johnson.Louisiana (L’Albert*)George Foley 1187

Keith Nichols Cotton Club Orchestra 1234CD had just Simons & Whiting.2013 review: went went around and aroundover this (Holme? Holmes? first name Tayloror Ralph?)Finally able to find the copyright reg.:Lovable; words and melody by RalphHolmes, Seymour Simons, and Richard A.Whiting. © 1 c. Feb. 15, 1928; E 683318;Leo Feist inc., New York.But beware that much better known and inmore collections is the “Lovable” written in1932 by Harry Woods (music) & Gus Kahn(lyrics).Lovable and Sweet (Oscar Levant–Sidney Clare)Roaring Seven JB 1019Barbara Rosene 1368Confirmed by 7/24/29 copyright reg., w. SC/m.OL, from Street Girl.Love (Your Spell ls Everywhere)(Edmund Goulding–Elsie Janis)Les Red Hot Reedwarmers 1425CD Had (Your Magic Spell IsNotes say from Jimmie Noone. There is“Love” by Noone, 11/19/29, Vocalion 1439--issue as by Jimmy’s Blue Melody Boys, with“Love Me” on flip side.And RHJA confirms our title & composer lastnames, notes that is from film The Trespasser.But wait, the copyright is:Love, your spell is everywhere; words byElsie Janis, music by E. Goulding. [Wordsand melody only] © 1 c. Aug. 2, 1929; Eunp. 9469; Irving Berlin, inc., New York.And sure enough, I keep finding asa Love, Your Magic Spell Is Everywhereb Love (Your Magic Spell Is Everywhere)c Love, Your (Magic) Spell Is EverywhereGot sheet from MTSU. Cover iscopyright isLOVEYOUR SPELL IS EVERYWHERELOVE(Your Spell Is Everywhere)First line of the refrain is “Love, your magicspell is everywhere,” which obviously is wherethat title variation is coming from.Love Ain’t Nothin’ but the Blues(Louis Alter–Joe Goodwin)Back Bay Ramblers 1355ASM, 1929, M-G.-M; w. Goodwin/m. Alter.Love and Learn (Ray Landsberg–Mark Krunosky)San Francisco Starlight Orchestra 1334Landsberg is violinist and vocalist on thenumber.Love for Sale (Cole Porter)Paris Washboard 1326Confirmed by S&P, 1930, from The NewYorkers, and 11/24/30 copyright reg.Love Is Good for Anything That AilsYou (Cliff Friend–Matty Malneck)Henry’s Bootblacks 11492013 review: Based on the Kinkle entry I foundback in 1989-90, I changed this from right towrong:Rec. Casa Loma Orch, 3/5/37, Decca 1180,Brunswick 02432 (Decca label confirmsFriend-Malneck). Johnny Hamp aho, 2/16/37,Bluebird B-6848 et al. Artie Shaw, 2/15/37,Brunswick 7841, 5098; Vocalion 548(Brunswick label confirms Friend-Malneck).Copyright reg. isLove is good for anything that ails you; wand melody Cliff Friend and Matt Malneck. ©1 c. Dec. 23, 1936; E unp. 136951; Santlybros.-Joy, inc., New York.Kinkle definitely does credit it to Handman-Hirsch, and Ellingtonia.com web site saysDuke recorded it and has that same credit, asdoes ellingtonweb.ca. VERY strange...foundseveral references to this title attributed toHandman-Hirsch and recorded by Duke in1937 film The Hit Parade. IMDB entry showsus that Duke did perform this tune in thatmovie, but the composer credit there too isFriend-Malneck. Somewhere, somehow,Handman-Hirsch got incorrectly associated inconjunction with that Ellington performance inthat film. It got into Kinkle, and I unknowinglygot it from there.Love Is Just Around the Corner(Leo Robin–Lewis E. Gensler)Don Ewell 1077Love Is the Sweetest Thing(Ray Noble)Barbara Rosene & Her New Yorkers 1393Rec. Ziggy Elman, 11/27/39, Bluebird B-10741. Confirmed by 8/23/33 copyright reg.,from Say It with Music.Love Me or Leave Me (WalterDonaldson–Gus Kahn)Ingham–Grosz Hot Cosmopolites 1237Paris Washboard 1280Barbara Rosene & Her New Yorkers 1422Confirmed by 11/30/28 copyright, w. GK/m.WD, from musical Whoopee. But note sametitle registered same year for song from LuckyGirl by Douglas Furber, W. P. Weston, BertLee (w.) & Philip Charig (m.).Love Me Tonight (Victor Young–Bing Crosby–Ned Washington)Ray Skjelbred 1124James Dapogny’s Chicagoans 1263Barbara Rosene & Her New Yorkers 1422Oops, this a bit of a problem. S&P confirmsYoung-Crosby-Washington, 1932, introducedby Bing Crosby, but it’s not in copyright books1929-34. But 1932 book has same title byother well-known writers, such as Rodgers &Hart and Allie Wrubel.Rust has rec. Mildred Bailey, 8/18/32, Victor24117, Bluebird B-6945. Annette Hanshaw,8/18/32, Banner 32541 et al. Art Jarrett,6/7/32, Columbia 2691-D (label confirmsYoung-Washington-Crosby). Gene Kardos,8/30/32, Metrotone M-12479, Conqueror 8020,Perfect 15672 et al. Chronological Crosbysays rec. by him 5/26/32, Brunswick 6351.Found Anson Weeks recording creditingCrosby-Washington-Young).This is nuts too: LC SONIC doesn’t have asingle recording of it by Crosby or anybodyelse that credits it to our guys. I’ve got 11recordings of it, 8 of which, included severalwell-documented reissues of Crosby, say it’sby Crosby-Washington-Young.Checked all the online collections, VERY fewcopies of this title, all of which are by othercomposers.Wikipedia credits it to Crosby-Washington-Young in Crosby bio.Aha: The Melody Lingers On: GreatSongwriters and Their Movie Musicals has alengthy article on the 1932 “Love Me Tonight”by Rodgers & Hart for a movie musical of thesame name in 1932 starring Nelson Eddy &Jeanette McDonald. It says,The title song, the most operetta-ish of thescore, never caught on at all, despiteconsiderable promotion by Paramount.Neither did another another song of thesame title with which it sometimes getsconfused, composed by Victor Young withlyrics by Ned Washington and Bing Crosby,which came out in the spring of 1932 (just afew months before the release of Love MeTonight).

OK, we know our credit is good, but how inthe world did a song written by those worthiesand recorded on a major label like Brunswicknot get copyrighted?Love Me with a Feeling(Sidney Bechet)Hot Antic JB 1058Rent Party Revellers 1220South Frisco JB 1240Too late for Rust. Chrono Classics says rec.6/8/49, Circle J1060, by Bechet with BobWilber & His JB; credits Bechet. Bruyninckxconfirms this. Circle J 1060 appears to be oneof three 78s (1059-61) in Circle S-27, a threediscalbum.Hmm...Not in copyright books 1949-50, and—according to Bruyninckx and Lord—neverrecorded by Bechet again. Makes me thinkthis was something off the top of Bechet’shead at and for that session with Wilber. Andyet it had great influence: I have two reissuesof the Bechet-Wilber session plus that tune oneight other albums.Really no way to confirm this, although noreason to doubt it. No mention of it inBechet’s biography, other than listing it at thatsession. Couldn’t find the Circle label, but LCSONIC has the record, confirms Bechet ascomposer credit on it.Love Nest, The (Louis A. Hirsch–Otto Harbach)Wally Fawkes & His Soho Shakers 1144Louis Mazetier & François Rilhac 1218Paris Washboard 1308Black Eagle JB 1356Confirmed by 4/9/20 copyright reg., w. OH/m.LAH, from Mary.Love Remembers(Willie “The Lion” Smith)Tom Roberts 1392ASM, 1935, Leo Feist.Love Songs of the Nile (NacioHerb Brown–Arthur Freed)Black Eagle JB 1048New Orleans Rascals 1074Golden Eagle JB 1192Red Rose Ragtime Band 1399Confirmed by 3/6/33 copyright reg, w. AF/m.NHB.Love Will Find a Way (Eubie Blake–Noble Sissle)New Orleans Ragtime Orchestra 1213Louis Mazetier & François Rilhac 1218John Gill’s Novelty Orchestra 1270Dan Levinson’s Roof Garden JB 1361ASM, 1921, M. Witmark.Love, You’re Not the One for Me(Benny Carter)Jean-François Bonnel & Friends 1131LP credited Carter-Mezzrow.Rec. Carter 3/14/33, Columbia CB-636, DO-987; Prestige PR 7643 (LP). Mezzrow 11/6/33,Brunswick 6778, 01762, A-500370.Copyright isLove, you're not the one for me; w andmelody. E unp. 57237; © 1 c. June 6, 1932;Bennie Carter.LC SONIC says Carter CB 636 creditedCarter; Mezzrow Brunswick 6778 creditedCarter-Mezzrow. Jazz Classics for BennyCarter credits him alone for CB 636. Found aGerman list that said Carter-Mezzrow for theBrunswick 6778.Well, here we have it. Carter copyrighted it inJune 1932, recorded it the next March, with hisname alone. Eight months after that, Mezzrowrecorded it and put both names on the label.I’d be tempted to reject Mezzrow’s claimexcept for one thing: playing reeds andsinging the vocal on that Mezzrow and hisorchestra recording was . . . Benny Carter.One must presume that he acquiesced ingiving Mezzrow co-credit.But Mezzrow doesn’t claim any credit for it. Inhis autobiography, Really the Blues, Mezzrowdescribes what happened after he negotiatedthat recording session with Jack Kapp:Then I flew over to see Benny Carter. Weonly had a week to prepare ourarrangements, so I sat down and wrote“Dissonance, and also dug up one Alex andI had done called “Swingin’ with Mezz.”Benny came up with two of his own, “FreeLove” and “Love, You’re Not the One forMe.”Loved One (see I Like That)Loveless Love (see Careless Love)ASM has it by W. C. Handy, pub. 1921 Pace &Handy. But we’ve established, I believe, thatit’s really same as Careless Love.Lovely Oriental (Tom McDermott)Tom McDermott 1024Lover Man (Oh, Where Can You Be?)(Jimmy Davis–Roger “Ram” Ramirez–Jimmy Sherman)Ray Skjelbred 11242013 review: Surprisingly, couldn’t find incopyright books. MTSU has sheet, confirmscomposers, renders title as “Lover man.|Oh,where can you be?” which is the equivalent ofours in their format. Wikipedia article on songagrees too.Wait a minute! discography.com refers toJimmy Houston “Lover Man” Davis, formergovernor of Louisiana. We know him here as“Jimmie” Davis. Same guy? Separate entrythere calls him James Houston “Jimmie”Davis. But the extensive article on Gov.Jimmie at Wikipedia doesn’t mention “LoverMan,” so maybe not. Especially since the Wikiarticle on this tune refers to Jimmy Davis withno suggestion that he’s Gov. Jimmie. AndLover Man was copyrighted by Ram Ramirez& Jimmy Davis, New York.And definitely NO: article athttp://illkeepyouposted.typepad.com/ill_keep_you_posted/2012/02/jimmy-davis-lover-man-1.html confirms that Jimmy Davis was a“Julliard-trained pianist and a close, intimatefriend of both Langston Hughes and Carl VanVechten.” Not the same guy.Lover’s Lane Glide(C. L. Woolsey)David Thomas Roberts 1317Pub. by the composer in 1914, says Roberts.And confirmed by 10/19/14 copyright reg.Loves of Yesterday, The (J. RusselRobinson–Marguerite A. Robinson)Ian Whitcomb & Dick Zimmerman 1017ASM, 1911, So. Cal. Music, m. J. RusselRobinson/w. M. A. Robinson. GuessWhitcomb & Zimmerman knew her first name.And I confirmed it online.Lovey Came Back (Lou Handman–Sam M. Lewis–Joe Young)Back Bay Ramblers 1279ASM, 1923, Irving Berlin; m. Handman/w.Lewis-Young.Lovin’ Sam (The Sheik of Alabam’)(Milton Ager–Jack Yellen)John Gill’s Novelty Orchestra 1270

But copyright page isLow Bridge! — Everybody DownorFifteen Years on the Erie CanalLow Down Dirty Shame Blues(Humphrey Lyttelton)Creole JB 1051Black Bottom Stompers (Switz.) 1130Humphrey Lyttelton & His Band 1160Something badly screwed up here: all threebands use title “Low Down Dirty ShameBlues,” 1051 (which is a Lyttelton tribute LP) &1130 credit Henry Turner-Joe Sullivan; 1160credits Lyttelton.The records: Rust says that “Low Down DirtyShame” was rec. Joe Sullivan band thatincluded Henry Turner, b, and Joe Turner, vcl,2/9/40, Vocalion/OKeh 5531, Parlophone R-2773. The Vocalion label readsLOW DOWN DIRTY SHAMEBlues Fox TrotVocal Chorus by Joe Turner– Turner – Sullivan –But my record collection tells me that inHumphrey Lyttelton recorded “Low Down DirtyShame Blues (Parlophone R3351. The verycarefully researched Lyttelton reissue seriescredits Lyttelton as composer (as does theLyttelton record on Stomp Off). Somethingtells me that either (a) Lyttelton played theSullivan song and got incorrectly credited withit or, more likely, (b) Lyttelton’s tune is adifferent one entirely.Neither the Sullivan song or the Lyttelton tuneare in Library of Congress copyright books, sono help there.The answer, as I expected, is (b) -- Lyttelton’s1950 tune is nothing like the 1940 Sullivan-Turner song, and all three bands are playingthe Lyttelton tune. Clearly, when the CreoleJB recorded it for Stomp Off in 1983, Erdoslooked in Rust or on his record shelves, foundthat title, and took the credits off it. Repeatsame with Black Bottom Stompers in 1986.When Lyttelton himself recorded it later in1986, the credit got on the LP correctly. But,Bob, you really should have noticed thecomposers discrepancy at that time andflagged it. These bad credits have been in theindex since the very beginning.Low Down on the Bayou (Nat Leslie–Irving Mills)Charleston Chasers 1376Rec. King Carter, 6/25/31, Columbia 2638-D.Connie’s Inn Orch (Fletcher Henderson), 8/31,Crown 3194, Varsity 8053. [Mills] BlueRhythm Boys, 5/12/31, Banner 32240, Oriole2318 et al.Confirmed by 9/18/31 copyright reg., w/mboth.Low-Down Papa (Spencer Williams)Neville Dickie 1269ASM, 1923, Spencer Williams, shows LowDown (as we had it before) on cover, but Low-Down on (c) page.Low Gravy (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1335Rec. RHP 7/14/30, Victor 23334, Bluebird B-8302, HMV JK-2763 et al.Confirmed by 8/10/32 copyright reg. andVictor label.Lucky Boy (Irving Berlin)Barbara Rosene & Her New Yorkers 1393Confirmed by 8/12/25 copyright reg.Lucky Day (B. G. De Sylva–Lew Brown–Ray Henderson)Bruno’s Salon Band 1251James Dapogny’s Chicagoans 12632013 review: S&P says 1926, intro’d in GeorgeWhite’s Scandals of 1926.Rec. Evelyn Preer, 9/8/26, Banner 1848.(Needless to say, I didn’t find that record label)Interesting: Songwriters Hall of Fame tunelistfor Henderson has an entry under “This Is MyLucky Day” that says, “see ‘Lucky Day.’”Lucky Day entry has details, including“Variation: This Is My Lucky Day.” Somethingis afoot.All the online indexes call it just lucky day withno mention of sub- or variant title, but manymention that the first line of the chorus endswith “This is my lucky day,” which is where thevariation obviously comes from. I don’t thinkwe need to fool with it.Lucky Kentucky (Ray Henderson–Billy Rose–Mort Dixon)John Gill’s Original Sunset Five 1094Rec. Bailey’s Lucky 7, 12/23/24, Gennett 5625.Johnny De Droit, 1/12/25, OKeh 40285.Confirmed by 12/22/24 copyright reg., w. BR-MD/m. RH.Lucky Lukacs (Remco van der Gugten)Fried Potatoes 1163Composer is the bandleader/reed player.Lucky Rock Blues (Lillie Taylor*–Katie Winters)Black Eagle JB 1092LP had Ma Rainey as composer.Rec. Rainey 3/24, Paramount 12215, acc. byLovie Austin’s Blues Serenaders.Interesting copyright:Lucky rock blues; w K. W., melody CoraLovie Austin, of U.S. © 1 c. Feb. 9, 1924; E581620; Katie Winters, Chicago.Oh, fer Chrissake: Credit on Paramount labelis “Lillie Taylor-Kattie Winters.” Probably apretty safe bet that Lillie Taylor is pseudonymfor Austin, and that Kattie is a typo.RHJA also lists Lillie Taylor as composer of“Last Time Blues,” rec. Ida Cox 2/24,Paramount 12212, with—guess who?—LovieAustin’s Blues Serenaders. AND the copyrightfor Last Time Blues is w/m by Lovie Austin,registered by Lovie Austin. Time to declarethat Taylor=Austin.Oops, should have looked here first: Motherof the Blues: A Study of Ma Rainey also showsw. Katie Winters, m. Lovie Austin for this song.Lucky “3–6–9” (Tiny Parham)Jungle Crawlers 1084Red Onions & Ottilie 1090Rec. Parham 7/22/29, Victor V-38082, Creole13, and Rust puts the number series inquotes.Oops, the copyright isLucky–3–6–9; melody by Tiny Parham. © 1c. Dec. 7, 1929; E unp. 14378; Southernmusic pub. co., inc., New York. [and thoseare en-dashes, not hyphens]But the record label will be the “published”version, so let’s try to find it. Bingo! And Rustwas right:LUCKY “3–6–9”(again, clearly en-dashes, not hyphens.)Lucy Long (Perry Bradford)Des Plantes’ Washboard Wizards 1231ASM, 1925, Perry Bradford.Lucy’s Sextette (A Ragtime Travestyon the “Sextette from Lucia”)(Harry L. Alford)Heliotrope Ragtime Orchestra 1427Well, darn. My Paragon Ragtime Orchestrarecording of this shows the subtitle as “ARagtime Travesty on Donizetti.” Both RickBenjamin and Bruce Vermazen aremeticulous, but presumably they can’t both beright unless, perhaps, they’re working offdiffererent orchestrations (and they do givedifferent dates, 1913 for PRO, 1914 for HRO).

The copyright isLucy's sextette: a ragtime travesty on thesextette from Lucia by Harry L. Alford; orch.4to. © Mar. 3, 1913; 2 c. Mar. 8, 1913; E305269: Alford-Colby co., Chicago.Conway’s Band recorded it for Victor in July1916, Victor 18219, with subtitle “A RagtimeTravesty on the ‘Sextette from Lucia.’”OK, we’ve got HRO agreeing with copyrightand that old record, so I’ll just presume thatPRO simplified the title.Lull at Dawn, A (Duke Ellington)Black Eagle JB 1346Credit on CD was Barney Bigard.Rec. Bigard & Orch (small group of Ellingtonsidemen), 11/11/40, Bluebird B-10981, HMV B-9185 et al.Composition list in Ellington bio claims it forDuke, date 1940, but that’s supposedly thecopyright date, and it’s just not in the books1940-42. BUT both the Bluebird and HMVlabels credit Ellington, so it’s his!Lullaby of the Leaves(Bernice Petkere–Joe Young)Tom Stuip & Delirium Tremolo 1433Confirmed by 3/22/32 copyright reg., w. JY/m.BP.Lulu White (Brun Campbell)Elite Syncopators 1286This could be tough, as Campbell neverpublished anything. “rec. by Campbell in the1950s,” say the notes (but Campbell died in1952). I used to have it on The Professors LPfrom Euphonic, now have it on a reissue ofthat stuff from Delmark, but no hard evidence.Wikipedia article on BC confirms it; PerfesserBill says he wrote it sometime 1900-08. We’lljust settle for that.Richard Egan (see note at Barber Shop Rag):Lulu White - just like Barber Shop andCampbell Cakewalk: first released inrecorded form on The Professors Vol. 1 butnot published until 1993.Lulu’s Back in Town(Harry Warren–Al Dubin)Don Ewell 1077Paris Washboard 1261Confirmed by 5/24/35 copyright reg. andsheet music reproduced in two folios; w.AD/m. HW.Lyin’ (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.MMa Curly-Headed Baby(George H. Clutsam)Grand Dominion JB 1330On record as My Curly-Headed Baby.Not in Rust or S&P. Liner notes say rec. byPaul Robeson in London in 1932 and was abig hit in Britain, but never issued in U.S.,probably because of Robeson’s politics. Notin 1932 copyright book, but no fewer than 19other songs by Clutsam are there, filed as bothG. H. Clutsam and George H., with the lattermore frequent. And aha, here’s our song in1933:Ma curly-headed babby; pt.-song or quartet,w and m G. H. Clutsam, arr. William Stickles;female voices. © Aug. 9, 1933: E pub.37834; Chappell & co., ltd.Babby? Not just a typo in this spot, it was inthree other places in the book spelled thesame way.AND a Robeson record was labeled the sameway: Columbia MM 732, Paul Robeson withthe Columbia Concert Ochestra—but this is a1948 reissue, not the 1932 original, accordingto the guy who placed it on YouTube. ButRobeson doesn’t sing it with any dialect, just“my curly-headed baby” with standardpronunciation.But here’s the label of a different release on78: HMV B.4309, and it’s Ma Curly-HeadedBaby. But a presumably later Philips 45 saidBabby. But aha again: at a Robesondiscography site, I learned that the HMV labelwas indeed the original Robeson recording in1932.Oops, the Library of Congress has two copiesof the original sheet music, athttp://memory.loc.gov/cgi-bin/query/S?ammem/aasm:@field(TITLE+@od1(Ma+curly-headed+babby+))a “professional” copy (not to be sold) and acommercial copy. Pro copy dated 1897 byGeorge H. Clutsam; commercial copy dated1900 by G. H. Clutsam. It’s subtitled“Plantation Song” and is written in dialect:We’ll sit below de sky and sing a song to demoon.Oh, ma babby ma little nigger babby,yo’ daddy’s in de cotton field,a-workin’ for de coon.OK, Robeson sings different, unoffense lyricsfor the verse:Oh, my baby, my curly headed baby,We'll sit below the sky and sing a song tothe moon.Oh, my baby, my curly headed baby,Your daddy's in the cotton fields a-workin'late and soon.Then sings the original lyrics for the chorus,although without the dialect pronunciation:So lulla lulla lulla lulla bye byeDoes you want the moon to play withOr the stars to run away with?They'll come if you don't cry.So lulla lulla lulla lulla bye byeIn your mammy's arms be creepin'And soon you'll be a-sleepin'Lulla lulla lulla lulla lulla bye.Except he sings do you want (not does) andmother’s not mammy’s.Now that I know how old it is, I looked in the1897 copyright book and found it as “Macurly-headed baby”!This is a conundrum: Almost all thereferences to it I could find observedClutsam’s “Ma” instead of “My” (and so shallwe), and the majority rendered it “Baby” not“Babby.” The sheet music is normally ahands-down authority, and there’s no doubtit’s Babby there. It got into Americancopyright book in 1897 as Baby, but wasreregistered in 1933 (presumably because ofthe Robeson recording) as Babby. The firstRobeson record seems to have been Baby,but subsequent releases reverted to Babby. Iguess we’ll stick with Baby with our fingerscrossed behind our backs.Ma Rag Time Baby (Fred S. Stone)Ophelia Ragtime Orchestra 1108Imperial Serenaders 1351River Raisin Ragtime Revue 1417ASM, 1898, Whitney-Warner.Ma Ragtime Queen (John F. Barth)Elite Syncopators 12861907 says Parrish, but not in copyright books1906-08. Aha, actually, from 1902. Foundcover (pub. Rogers & Eastman, Cleveland)and then copyright in 1902 book..Mabel (from Coral Gables)(Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Mabel’s Dream (Ike Smith)New Yankee Rhythm Kings 1015South Frisco JB 1035Black Bottom Stompers (England) 1045Acker Bilk & Ken Colyer 1119

Louisiana Repertory Jazz Ensemble 1140James Dapogny & Butch Thompson 1183Southern Stompers (France) 1215Steve Waddell’s Creole Bells 1230Down Home JB 1264Neville Dickie 1269Neville Dickie 1309High Society JB 1396Southern Stompers 1413Rec. King Oliver, 10/26/23, OKeh 3285,Biltmore 1050 et al. Then again 12/24/23,Paramount 20292, 14014, Decca 60279 andmany others.Confirmed by 11/16/23 copyright reg. andParamount 20292 label.Mad (’Cause You Treat Me This Way)(Jimmy McHugh–Bobby Heath)High Society JB 1166Tom Pletcher & the Classic Jazzband 1353High Society JB 1396Or is it by Lil Hardin? 1396 says so. Wheredid we get McHugh-Heath to begin with?OK, that original NORK recording (the onlyone of a “Mad” in Rust, was Gennett 5221,which says by McHugh-Heath, but title thereonly MAD (and they show subtitles on othertunes). Same take was issued on Temple 533--wonder if Rust found the subtitle there.But there are zillions of online hits confirmingthe subtitle and McHugh-Heath, so I presumeLil was a blunder.2013 review: Found the copyright:Mad, 'cause you treat me this way; words byBobby Heath, music by Jimmy McHugh [ofU.S.] © Jan. 10, 1923: 2 c. Jan. 15; E553379; Jack Mills, inc., New York.Mad Dog (Lil Hardin)Mojo Jazzin’ Five 1086Red Onions & Ottilie 1090Jean-François Bonnel & Friends 1104Dry Throat Five 1114Golden Eagle JB 1192Miss Lulu White’s Red Hot Creole JB 13702013 review: Rec. Bootblacks 7/14/26,Columbia 14337-D and many other issues,backed by Flat Foot. Composer credit onboth sides of Columbia 14337-D is“Armstrong.”Aha, copyright reg. is 1/14/27, by LillianArmstrong.Madame est servie(Emmanuel Hussenot)Orpheon Celesta 1083Hussenot is cornetist/bandleader.Madison Heights Girl(David Thomas Roberts)Jack Rummel 1118Well, DTR claimed it on his own recordings,Wikipedia dates it to 1979. On his website,and he’s selling the sheet music.Magnetic Rag (Scott Joplin)Terry Waldo 1002Ronn Weatherburn 1107Manhattan Ragtime Orchestra 1402Confirmed ASM.Magnolia (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285Confirmed by 4/28/27 copyright reg.Magnolia’s Wedding Day(Jimmy McHugh–Dorothy Fields)Monty Sunshine JB 1110Keith Nichols 1159Red Rose Ragtime Band 1412Les Rois du Fox-Trot 1429Confirmed by 12/8/28 copyright reg., w. DF/m.JM, from Blackbirds of 1928.Mag’s Rag (Tom Shea)Tom Shea 1022Mahogany Hall Stomp(Spencer Williams)Hal Smith’s Creole Sunshine Orch 1078Humphrey Lyttelton & His Band 1160Marquet–Persson Melody Boys 12292013 review: Rec. LA Savoy Ballroom Five,3/5/29, OKeh 8680, Vocalion 3055, ColumbiaColumbia 35879 et al. LA aho 1/28/33, Victor24232, Bluebird B-5086 et al; again 5/18/36,Decca 824 et al.Oops, get a load of the copyright:Mahogany hall blues; by Spencer Williams;pf. © 1 c. Apr. 15, 1929; E unp. 5720;Triangle music pub. co., inc., New York.But the original OKeh 8680 label said Stomp(composer Williams); Victor 24232 also stomp,and Spencer Williams in full.Main Street Rag (Gale Foehner)Gale Foehner 1023Majestic Rag (Ben Rawls–Royal Neel)Elliott Adams 1299Confirmed by 5/14/14 copyright reg.Make a Country Bird Fly Wild(Henry “Red” Allen–Paul Barbarin)Des Plantes’ Washboard Wizards 1357Rec. Henry Allen orch + Victoria Spivey andthe Four Wanderers vcl group), 9/24/29, VictorV-38017, 760-0000; HMV JF-57 et al.Confirmed by 3/5/30 copyright reg, w/m both.Victor Project confirms.Make Believe (Jerome Kern–Oscar Hammerstein II)Paul and His Gang 1329Well, well, see the hyphenated copyright:Make-believe; from Show boat, words byOscar Hammerstein, 2d., music by JeromeKern; pf. and ukulele acc. © Nov. 30, 1927;2 c. Dec. 2; E 675934; T. B. Harms co., NewYork.In spite of the hyphen above, I find noevidence the hyphen made it into print or intothe show. Sheet music cover no hyphen,sheet music in my Hammerstein folio nohyphen,Make Me a Pallet on the Floor (seeAtlanta Blues)Make Me Know It (If You MeanWhat You Say) (Fess Williams–Harry D. Squires)Leigh–Dapogny Mysterious Babies 1087ASM, 1926, Harry D. Squires.(Make My Cot) Where the Cot-Cot-Cotton Grows (Jack Le Soir–Ray Doll–Sol Klein)Neely’s Royal Society Jazz Orch CD 1208Marty Grosz’s Orphan Newsboys CD 1225Tom Stuip & Delirium Tremolo 1433< 1st two had this title; 1433 was just Wherethe... Google search finds our full title mostly,but also quite a few of the 1433 version, andeven “(Make My Cot) Where...The copyright doesn’t indicate a pre- orsubtitle:Make my cot where the cot-cot-cottongrows; words by Jack LeSoir and Sol Klein,music by Ray Doll; pf. © 1 c. Sept. 9, 1927;E 073730; Broadway music corp., New York.But I found the sheet music online. Thecopyright page isMake My CotWhere The Cot-Cot-Cotton GrowsCover also quite different in size:

MAKE MY COTWHERE THECOT-COT-COTTONGROWSWords and Music by Jack Le Soir, Ray Dolland Sol Klein.Makin’ Runs [King Bolden’s Tune](traditional)Butch Thompson & Hal Smith 1075Chris Tyle’s Silver Leaf JB 1258Manhattan Ragtime Orchestra 14191/18/01 telcon, Bob elaborates: Bunk wasremembering a tune that Bolden played, buthe didn’t remember the title, so he called itKing Bolden’s Tune and claimedcomposership. But that’s just the kind of thinghe did elsewhere and we shouldn’t let it stand.So composer to traditional and alt title of KingBolden’s Tune, since it did get recordedunder that title several times.Malinda’s Weddin’ Day(Frank Weldon)Jimmy Mazzy & Friends 1219we had WeddingRec. Fl. Henderson, 7/31/31, Victor 22775,Bluebird B-5518.Oops, copyright has apostrophe:Malinda's weddin' day; words and melodyby Frank Weldon. © 1 c. July 13, 1931; Eunp. 42186; Joe Davis, inc., New York.AND that’s the way it was on the Victor label.Mama I Wanna Make Rhythm(Walter Kent*–Richard Byron–Richard Jerome)Keith Nichols’ Hot Six 1063Rec.Ben Pollack, 8/31/37, Decca 1476, X-1457;Panachord 25976. Decca label has nocomma.Cab Calloway, 8/31/37, Variety 644, Vocalion3788. No comma on Vocalion label.Bunny Berigan, 9/3/37, Victor 25677, HMV EA-2010. No comma on the Victor labelThe copyright is more formal:Mama, I want to make rhythm; w andmelody Jerome Jerome, Richard Byron andWalter Kent [pseud. of Walter M. Kaufman*]© 1 c. May 20, 1937; E unp. 144890; Santlybros.-Joy, inc.. New York.But then comes the published rereg.:Mama I wanna make rhythm; fromManhattan merry go round, w and m JeromeJerome, Richard Byron and Walter Kent. ©Sept. 24, 1937; E pub. 64717; SantlyBros.—Joy, inc., New York.but it lost the logical comma in the rereg.*and sure enough, the listing in the index is W.M. Kaufman, so we have indeed found a newpseudonym.Well, neither the “as published” copyright reg.nor any of the record labels have the logicalcomma, so I fear we must remove it..Mama [Daddy] Let Me Lay It On You(Walter Coleman)Original Salty Dogs JB 1233Rec. w/vocal by Carol Leigh as “Daddy Let MeLay It On You”Rec. Georgia White, 5/11/36, Decca 7323No copyright 1936. Decca label saysColeman.Copyright isMama let me lay it on you ; w and melodyWalter Coleman. © 1 c. Nov. 6, 1986; E unp.134780; State street music pub. co.,Chicago.Now here’s the story. Walter Coleman wrote itand recorded it--as “Mama”--on 2/8/36 inChicago--just guitar/vocal. Then GeorgeWhite recorded it as “Daddy” three monthslater, and Carol did too.Simple fact is that the “real” title is “Mama,”and that “Daddy” is an alternative, so we moveit to the M’s and put a cross-ref. at Daddy. Ifound that while the jazz world may know it asDaddy from the Georgia White record, it’s farmore common in the folk-blues world due torecordings by Blind Boy Fuller, Bob Dylan(after it was altered to Baby Let Me Follow YouDown), many others.Mama Stayed Out the Whole NightLong (Dan Wilson–Andy Razaf)Jacobi’s Bottomland Orchestra 1336Hmmm: Rust index shows it as Mama StayedOut All Night Long/the Whole Night Long.Butterbeans & Susie (the Whole), 3/5/26,OKeh 8319, Parlophone R-3255.Caroline Johnson (the Whole, but with subtitle“but mama didn’t do no wrong”), 4/26, PA7503, Perfect 103.Maggie Jones (the Whole), 6/22/26, Columbia14167-D.Barrel House Five (as just Mama Stayed Out),1/29, QRS R-7059, Paramount 12851.Cl. Williams aho (All), 7/14/33, Vocalion 25009.Copyright reg. 2/8/26 is Mama stayed out thewhole night long, w/m both. We can ignorethat odd-ball “All Night” variation by CW late inthe game.Mamma’s Baby Boy (Johnny St. Cyr–Armand J. Piron)Swedish Jazz Kings 1188See note at Do What Ory SayMama’s Gone, Good Bye(Peter Bocage–Armand J. Piron)Charleston Chasers 1287Steve Waddell’s Creole Bells 1301Tom Pletcher & the Classic Jazzband 1353Manhattan Ragtime Orchestra 1402ASM has three copies:1. Mama’s Gone, Good Bye [cover & (c)1924, Clarence Williams.2. Mama’s Gone, Good Bye [cover & (c)]1924, Clarence Williams, “standardedition--no art on cover.3. Mama’s Gone, Goodbye [cover & (c)](c) 1923, ‘24 Pickwick Music Corp(c) renewed 1950, ‘501, assigned toPickwick(c) 1953 Pickwickpubl. Pickwick.We had “Goodbye” as one word, but we mustswitch to the original printings.Mama’s Got a Baby (Tee Nah Nah)[If You Don’t Shake] (Jelly Roll Morton,based largely on Dixie Queen byRobert Hoffman)Butch Thompson & Hal Smith 1075Minstrels of Annie Street 1272Yerba Buena Stompers 1418On 1075 as If You Don’t Shake. On 1272 &1418 as Mama’s Got a Baby (Tee Nah Nah).And for what it’s worth (probably nothing),ASM has “Te-Na-Na (from New Orleans,” w.Marguerite Kendall/m. J. Russel Robinson;1912, I Seidel; “Successfully featured by theTwo Robinsons in Vaudeville.” Nothing abouta baby.2013 review: Wonder where Erdos got thisinfo—surely he told me at the time, but I didn’t

document it. Ah: Thompson’s liner notesexplain that Morton assembled it from distantlyremembered sources, called it Mama’s got...—“here retitled as ‘If You Don’t Shake.’”“Here retitled”? By Butch? Why?Ah, here’s the answer: In Jelly’s Lomax/LCrecordings he sings a vulgar song called “IfYou Don’t Shake You Don’t Get No Cake” tothe melody of “Mama’s Got a Baby.”Mama’s Got It (Clarence Williams-Armand J. Piron)Neville Dickie 1366

On LP as Joplin-Morton, but properlyspeaking, it’s Joplin, arr. Morton. After all,they didn’t collaborate on it, it was just Jelly’sinterpretation of Joplin.Marahuana [Lotus Blossom](Sam Coslow–Arthur Johnston)South Frisco JB 1180Steve Waddell’s Creole Bells 1348Black Eagle JB 1356

BUT notice alsoMarket Street Blues, Chas. Creath, 12/2/24,OKeh 8201. (RJHA says by Creath, LCSONIC agrees.)The Market Street Blues, Clara Smith,11/10/25, Columbia 14108-D. (RHJA saysCreath, confirms “The”, as does LC SONIC.Now see these copyrights:Market street blues; w and m GeneRodemich and Larry Conley, both of U.S.;pf. acc., with ukulele in D and G. © Mar. 12,1924; 2 c. Mar. 20; E 586552; M. Witmark &sons, New York.ThenMarket street blues; by Chas. Creath, ofU.S., arr. Z. T. Randolph; cornet. © 1 c. Apr.13, 1925; E 613570; Artophone corp., St.Louis.ThenMarket street stomp; melody, by C. Creathand H. Eubanks. © 1 c. Apr. 8, 1926; E635915; Chas. Creath and Horace Eubanks,St. Louis.The Bottom Line: Giordano suggested I writeto Peer Music, which bought out SouthernMusic. Six weeks later, I got a response fromPeer:Unfortunately, we do not have sheet musicavailable on files but the agreement covering"Market Street Stomp" is signed by R.Q.Dickerson.So it was just a typo on the part of the Libraryof Congress.Martha (see Mazie)(What Are You Waiting For) Mary?(Walter Donaldson)John Gill’s Calif. Sunshine Boys 1156Ingham–Grosz Hot Cosmopolites 1237San Francisco Starlight Orchestra 1271Chalumeau Serenaders 13942013 review: Found cover online, isWhat Are You Waiting ForMARY?But wait--MTSU has a copy of it, so why don’t Ijust buy the darned thing and make sure thecopyright page is as Tex describes. Ordered12/26/13. And Tex was right. Copyright is(What Are You Waiting For)MARY?which is pretty stupid.Mary Wore a Golden Chain(traditional)Grand Dominion JB 13782013 review: Looks like it came to jazz viaGeorge Lews, but mostly recorded by Brits.And listed in American Negro Folk Songs, byNewman Ivey White. Also known in early folkmusic as “Mary Wore Three Links of Chain.”Marzipan (Ian Whitcomb)Ian Whitcomb 1017Masculine Women! Feminine Men!(James V. Monaco–Edgar Leslie)Red Rose Ragtime Band 1128Les Rois du Fox-Trot 1436Hmmm...found the cover, which isMASCULINE WOMEN!FEMININE MEN!WHICH IS THE ROOSTER? WHICH IS THE HEN?but copyright page is the way we have it. w.EL/m. JVMMashed Potatoes(C. L. Woolsey)David Thomas Roberts 1021Confirmed by my 1911 sheet music, wherehe’s C. L.Maxixe Briolette (H. Vincenzo Luzerno*)Heliotrope Ragtime Orchestra 1411Hmmm, the copyright has an accent mark:Maxixe briolètte; composée par H. VincenzoLuzerno; piano. Continental ed. © Apr. 21,1914; 2 c. Apr. 22, 1914; E 338609; JeromeH. Remick & co., New York.But I’m suspicious of that accent mark--ette isa common ending for French nouns, and Idon’t recall every seeing an accent therebefore.BUT it’s been published in sheet form and ison sale at amazon.com and other places asMaxixe briolètte, so I guess that’s for real.BUT then see this from 1941 copyright book,RENEWALS section:Maxixe briolette; by H. Vincenzo Luzerno(pseud. of H. Frey); pf. (c) Hugo Frey, NewYork. R95889, May 9, 1941.FIRST, the accent. It is indeed incorrect, anaffection of the composer (a briolette is aparticular cut of gemstone), so we’ll ignore it.But what about Frey as Luzerno? Frey’s hereas composer of a rag, “Uncle Tom,” as ismentioned several times in these notes as acomposer or arranger.But I just found an original publishedorchestration for sale online of “Avec moi?”which says written by Luzerno, arranged byFrey (and indeed it’s in the 1914 copyrightbook as composed by Luzerno). I suspectthat Hugo Frey concocted a fancy pseudonymfor these tunes with French titles. A googlesearch on H. Vincenzo Luzerno reveals NOhits other than in conjunction with these twotitles.I’m going to believe the copyright renewal andenter the pseudonym, but I’ll bounce it offVermazen just for the hell of it. His response:That is indeed interesting. I, too, tried to findH. Vincenzo Luzerno once with no success,but I just assumed that he was too obscureto appear on the internet. My rough guesswas that he was an Argentine of Italianextraction (like L. Logatti), who wrote aBrazilian maxixe in order to cash in on thelatest craze. Instead, he was an Americanpretending to be an Argentine of Italianextraction etc. The only thing I knew aboutHugo Frey before this is that he is givencredit for piano solos on some dance-bandrecords in the teens (on Victor?) and that hewas one of the founders of ASCAP. I hadn'teven heard of "Uncle Tom."May Irwin’s “Bully” Song(Charles E. Trevathan)St. Louis Ragtimers 1267

Since his sheet music is at best "semi-official"(no publisher or date), I'm inclined to stick with(traditional).Erdos agrees.--4>

James V. Monaco)Frederick Hodges 1333S&P confirms, as does 9/22/24 copyright reg.,w. SC/m. JVM. Sheet music cover calls himJimmie Monaco.Me and the Man in the Moon(Edgar Leslie–James V. Monaco)Barbara Rosene & Her New Yorkers 140511/5/28 copyright reg. confirms w. EdgarLeslie/m. Jimmie Monaco. 1405 had Edgar A.Leslie, but we’ve not used that initialelsewhere.Me and the Moon (Walter Hirsch–Lou Handman)Barbara Rosene & Her New Yorkers 1405Confirmed by 7/16/36 copyright reg., w.WH/m. LH.Me Minus You (Paul Francis Webster–Abel Baer–John Jacob Loeb)Barbara Rosene 1368Confirmed by 8/30/22 copyright reg., w.PFW/m. AB-JJL.Meadow Lark, The (Thomas Pitts)Chrysanthemum Ragtime Band 1168Strangely, not in copyright books 1916-17, butfound reprint (by the Ragtime Society ofToronto) of the original copyright page, pub.Chas. N. Daniels, 1916.Mean Blues (Billy Smythe–Art Gillham)Peruna Jazzmen 1020Jazz Classics 1061Pierre Atlan’s Piccadilly Revelers 1181Black Eagle JB 1224Jacques Gauthé’s Creole Rice YBJB 1256Le Petit Jazzband de Mr Morel 1344Southern Stompers 1414ASM, 1923, J. W. Jenkins.Mean Daddy Blues (Irving Bloom–Jimmy Durante–Fred Hamburger)Neville Dickie 1324ASM, 1922, Triangle Music; w. Hamburger/m.Bloom-Durante.Mean Mean Mama (Why Don’t YouMean What You Say?) (EleanorYoung–Harry D. Squires–Mitchell Parish)West Jesmond Rhythm Kings 1255Just Young-Squires on 1255, comma betweenmeans, no ? in subtitle.Rec. (no subtitle in Rust)Benson Orchestra, 8/21/23, Victor 19138, HMVB1717, Zonophone 3635.Vic Meyers aho (no sub), 8/21/23, Brunswick2501.Orig. Indiana Five, 9/7/23, PA 021070, Perfect14173.Bob Ricketts’ Band, 5/14/23, Gennett 5156,Starr 9403.But see the copyright:Mean mean mama, why don't you meanwhat you say; words by Mitchell Parish,music by Eleanor Young and Harry D.Squires tof U.S]i © May 31, 1923; 2 c. June1; E 562731; Joe Morris music co., NewYork. 10946And aha, I found a “professional” copy titlepage:Mean Mean Mama(WHY DON’T YOU MEAN WHAT YOU SAY?)So I just bought the commercial copy fromMTSU: No comma or ? on the cover, butcopyright page matchs the above, w. Parish,m. Young-Squires, pub. Joe Morris, 1923.Meanest Blues (Phil Napoleon–Frank Signorelli)Dave Dallwitz JB 1112LP was Meanest Blues, Napoleon-Signorelli.Rust index says “The Meanest Blues,” rec.under that title byOrig. Memphis Five, 9/11/24, PA 036142,Perfect 14323, Harmograph 975. TILT:Pathe label is “The Meanest Blues, butcomposer credit is blurred. Definite letters= “Ja???on.” Letters 3 and 5 hint at ‘c’ and‘s’, so I’d guess Jackson. LC SONIC has thePerfect, confirms Jackson as composer.But also 10/1/24 as “Meanest Blues,” Victor19480. Victor label confirms title, creditsNapoleon-Signorelli; Victor Project confirms.And again sometime 10/24 as “The MeanestBlues,” Emerson 10815; Broadway/Triangle11445 et al. Broadway 11445 confirms title,composers Signorelli-Napoleon.Oops, copyright isMeanest (The) blues; melody L. K., of U.S. ©1 c. Sept. 10, 1924; E 597231; LouisKatzman, New York.Katzman also collaborated on “The MeanestKind of Blues” that same year; both titles are inRust. Napoleon & Signorelli copyrighted threetunes in 1924 book, but not this one; theywrote two more in 1925, but not this one.Says Dallwitz in notes:I came across Phil Napoleon and FrankSignorelli’s “Meanest Blues” in a recordingfrom about 1924 by the Memphis Five.And Dallwitz is indeed playing the samemelody to be found on Victor 19480.But in Tin Pan Alley: An Encyclopedia of theGolden Age of American Song, Dave Jasenspecifically credits Napoleon & Signorelli.The only way any of this makes sense is if (a)the tune they recorded on 9/11/24 as “TheMeanest Blues” is in fact a different tuneentirely (“The meanest kind o’ blues” byJackson, below) or (b) the the same tune butPathe & Perfect got confused by the othersimilar title that year and credited Jackson.(Obviously, variant b is FAR more likely.)But we won’t have to worry about that unlesssome band comes along and records the tunefound on one of those other records. We havethe Victor and the label, so we can keep ourcredit. But why in the hell didn’t Signorelli andNapoleon copyright it?On next trip to LC, must look for the Katzmancopyright deposit, see if it’s our tune; mustalso look for a Signorelli-Napoleon or aJackson copyright for our tune.Meanest Kind o’ Blues, The(B. Lou Jackson)Keith Nichols Cotton Club Orchestra 1275Les Rois du Fox-Trot 1434

up as composer in several online references toothers’ recordings of it.Evidence enough: Copyrighted as o’ byJackson and first recorded as o’ by Jackson.Meat on the Table (SiegfriedChristensen–Pinky Vidacovich)Louisiana Repertory Jazz Ensemble 1055New Orleans Classic Jazz Orch 11451055 was A. Christianson & P. Vidacovich.1145 was Sigfree C. & Pinky Vidacovich.Earlier editions of this index had Sigfre, whichis how Rust spells it. (The correct Germanicspelling is, of course, Siegfried.)Rec. N.O. Owls, 4/15/27, Columbia 1158-D.Oops from copyright book:Meat on the table; words and music by G. E.O'Rourke. © 1 c. Dec. 6, 1927; E 679217;George Edward O'Rourke, New Orleans.Neither Christensen nor Vidacovich are in1927 book at all.BUT in 1928 we findMeat on the table; melody by S. B.Christensen. © 1 c. Jan. 3, 1928; E 679772;Siegfried B. Christensen, New Orleans.No Vidacovich in this book either.Well, Vidacovich stays only if we can find himon that record label. Yes: “(Christensen andVidacovich).”Mecca Flat Blues (Jimmy Blythe–Alexander Robinson)P. T. Stanton’s Stone Age JB 1228Down Home JB 1241John Gill’s Dixieland Serenaders 13211228 & 1241 says Blythe; 1321 said Blythe,Robinson & Steve Graham.2013 review: Rec. Priscilla Stewart w/BlytheAugust 1924, Paramount 12224. First letter ofcredit line is blurred on label I found, but it stillconfirms: Looks like “G. Blythe & A.Robinson.”Later by Albert Ammons, 4/8/39, Solo Art12001. LC SONIC says credit is J. Blythe-A.Robinson.CopyrightMecca flat blues; w Alexander Robinson,melody James Blythe, of U.S. © 1 c. Oct. 4,1924: E 602097; Chicago music pub. co.,Chicago.No Steve Graham in 1924-25 copyright booksat all.I have three other recordings that credit allthree, and two of which are boogiewoogie/blues guys. Online 78 says Blythe-Robinson, as does LC SONIC, which also saysBlythe Robinson for the Ammons on Solo Art.So where did Steve Graham come from?Aha...I found all three names on a TurkMurphy recording issued by S.F. Trad JazzFoundation. But Turk also put it on his NewOrleans Jazz Festival LP for Columbia, withcredits Blythe-Robinson. Perhaps the realinfluence was the Anderson fake book whichcredits all three. This book is widely used, butI’ve not found it to be especially credible onsuch things.I’ve got a bad feeling about this--if the originalsource for Graham is the Anderson fake book,I’ll throw him out in a heartbeat. But first, I’llcontact John Gill, Marty Frankel, & SonnyLeyland, the three guys who put it on theirrecords (the fourth, Charlie Booty, is dead.Frankel isn’t positive, but thinks it likely he gotthe credit from Anderson. John Gill says,I have no idea about the Steve Grahamconnection. I may have gotten it fromAnderson. I would agree that if you can't findany historical record of this Graham fellow,that it may come from a reissue recording orfrom a re issue blues songbook of somekind. I have not seen any original music onthis one.Didn’t hear back from Sonny, but have sincefound the LC SONIC report that the credit onhis record also was Blythe-Robinson, so I thinkwe can safely kill the Steve Graham credit asan abberation in the Anderson fake book.Medic Rag (C. L. Woolsey)David Thomas Roberts 1317ASM, 1910, Jerome Remick. He wrote only afew rags, and he seems to be C. L. Woolsey.He also published as C. L. Woolsey. I wonderif we should adopt that usage, the way we didwith M. L. (Mayhew Lester) Lake.Meditation (Lee Sims)Frederick Hodges 1333A dozen or so compositions with this titleregistered in 1927, including one by FatsWaller, but there’s also one by Lee Sims,12/14/27.Meet Me at the San FranciscoFair. Nineteen Fifteen.(Don J. A. Gono)Chrysanthemum Ragtime Band 1168LP was Don J. A. Gono. Copyright:Meet me at the San Francisco fair, nineteenfifteen; words and music by J. A. Gono. [SanFrancisco] San Francisco publishers. ©Nov. 9, 1914; 2 c. Nov. 18, 1914 E 353030;Juan Alvarado Gono, San Francisco.(He’s J. A. Gono in the index too)But found sheet music online for his “Flying,”1915, on which he’s Don J. A. Gono bothcover and copyright page. And found oneBay a souvenir postcard from fair, called“Meet Me at the San Francisco Fair 1915,”featuring a poem by Don A. J. Gono. And alibrary listing in Calif. State Library has theDon. Never saw the actual sheet music, butthis title looks OK, although you couldprobably argue for the year being a subtitle inparentheses.Meet Me To-night in Dreamland(Leo Friedman–Beth Slater Whitson)Canary Cottage Dance Orchestra 1415ASM, 1909, Will Rossiter; w. Whitson/m.Friedman. “To-night” on both cover andcopyright page.Meet Miss America (Johnny Mercer–Matty Malneck)Alex Hassan 1322Confirmed by 8/28/35 copyright reg., w/m.both.Melancholy [Blues] (Marty Bloom–Walter Melrose)Black Bottom Stompers (England) 1045Don Ewell 1077Fenix JB 1129Humphrey Lyttelton & His Band 1160Gauthé–Marquet Clarinet Serenadrs 1216Down Home JB 1217Neville Dickie 1341Pam Pameijer’s New Jazz Wizards 1350Copyright isMelancholy; by Marty Bloom and WalterMelrose; pf. (c) June 8, 1927; E 665815;Melrose bros. music co. inc., Chicago.Very first rec. by Johnny Dodds asMelancholy, second rec. by Hot Seven asMelancholy Blues.Melancholy Lou (Ray Hibbeler)Charleston Chasers 1314Rec.Little Ramblers, 7/14/25, Columbia 423-D.Fred Hall, 9/25/25, OKeh 40482.Howard Lanin, 9/29/25, Victor 19797, HMV B-5047. Victor label says Ray Hibbeler.NOJB, 10/8/25, Apex 8411, Domino 21091,Banner 1624, Domino 3594 et al. Apex labelsays Ribbeler. But Oriole 497, as Six BlackDiamonds, says Hibbeler.Orig. Indiana 5, 10/8/25, Gennett 3165,Champion 15049.Confirmed by 6/29/25 copyright reg., definitelyRay Hibbeler.

Melancholy Stomp (Don Ewell)European Classic Jazz Trio 1142Ewell recorded his “Melancholy Stomp” on anow impossible to get ten-inch LP on theWindin’ Ball label in the early 1950sConfirmed by 6/18/52 copyright reg. byDonald Tyson Ewell.Melody from the Sky, A(Louis Alter–Sidney D. Mitchell)Classic Jazz Quartet 1125Confirmed by 1/29/36 copyright reg., w/mboth. S&P says introduced by that famousromantic balladeer Fuzzy Knight in The Trail ofthe Lonesome Pine.Melrose Rag, The (Hubert Bauersachs)Glenn Jenks & Dan Grinstead 1292ASM, 1922, H. T. Bauersachs, adds “The” totitle.Memories (Gus Kahn–Egbert Van Alstyne)Canary Cottage Dance Orchestra 1400Confirmed by 1915 sheet music, w. GustaveKahn/m. EVA.Memories of You (Eubie Blake–Andy Razaf)Terry Waldo’s Gotham City Band 1120Paris Washboard 1391ASM, 1930, Shapiro, Bernstein; w. Razaf/m.Blake.Memphis Blues, The [Mister Crump](W. C. Handy–George A. Norton)Neville Dickie 1052Steve Waddell’s Creole Bells 1173Down Home JB 1190Zenith Hot Stompers 1248John Gill’s Dixieland Serenaders 1304Chris Tyle’s Silver Leaf JB 1311Bob Schulz & His Frisco JB 1349Yerba Buena Stompers 1369Manhattan Ragtime Orchestra 1402Paris Washboard 1428

Schaefer also made connection withAnderson, but Anderson has nothing.The copyright isMerry makers twine; words and melody byD. C. Nelson. © 1 c. Dec. 22, 1926; E654704; Chicago music pub. co., inc.,Chicago.Is this King Oliver’s nephew Dave Nelson?Yes, Dave Nelson’s full name is Davidson C.Nelson, so looks good. And yes, label of“Olga” says composers Joe Oliver-D. C.Nelson.--3>2013 review: Rec. Lovie Austin 8/26,Paramount 12391. Couldn’t find label, but LCSONIC has two reissue 78s, neither of whichlists a composer credit, so I doubt theParamount did either. Which is perhaps whyMike Durham reported no apostrophe on thatbut didn’t mention a composer credit. Thecopyright reg. will have to serve.But when I google for that title I do keeprunning into the credits we started with, C. A.Nelson or N. C. Nelson and Billy Mack., butmost seem to be associated with reissues ofthe title in Johnny Dodds collections. Notably,the one site that seems discographic, and oneI’ve found before but can’t quite figure out—copyrightencyclopedia.com—also sayscomposed by D. C. Nelson.Aha, Bill Haesler weighs in with more info: Hequotes Max Vreede’s very compellinglyresearched Paramount discography, sayingthe credit on the Paramount was indeed N. C.Nelson-Billy Mack. He also includes a veryrough scan of the label, which could well sayN. C. Nelson and Billy Mack.As to my “who the hell is Billy Mack?”question, he has that answer too:Chris Hillman, Ron Middleton and RichardRains, in the booklet "Dave Nelson andOthers" (Cygnet Productions), suggest that . . .Dave Nelson, probably mis-typed N.C. on theParamount label, is connected with the LovieAustin recording because of "his knownconnection with [wait for it] Mack's MerryMakers show, of which Henry Williams[vocalist on “Merry Makers Twine”] was amember. The Merry Makers played at theMonogram Theatre from June 14 1926 - thesame date as the Okeh Clarence Williams'[Chippie Hill] sessions above." It seems thatDC Nelson led the Merry Makers stage bandat this time.But what about Billy Mack, you ask?“When Jelly first came there,” she toldRussell, “he was with a little shownBilly Mackand Mary Mack, from New Orleans. MaryMack always carried a little four-piece bandwith her show, and Jelly played in this band.”Billy and Mary Mack (shortened from McBride)had a traveling show from 1908-1959 whichthey called “Mack and Mack,” not to beconfused with “Mack's Merry Makers” (whichwas led by Thomas Mack, a trumpet playerfrom New Orleans). Their specialty was NewOrleans music. Mary McBride (nee Thacker)was born in Algiers, Louisiana, and sang theblues. “Mack and Mack” were popular at theMonogram, and would settle in Chicago in the1930s, as did many other New Orleansmusicians that [Lovie] Austin, herself asouthern migrant to Chicago, met and workedwith on TOBA or while playing for acts at theMonogram and other theaters."The above reference to Thomas Mack, maybe incorrect, as other reliable sources (and aChicago Defender advert I have) tie Mary andBilly Mack as 'owning' the "Merry Makers.Tom Lord, in his Clarence Williams'discography, says [in part]:MACK, Billy (vocal) part team of Billy andMary Mack which toured with group known asMack's Merry Makers....Billy apparently was in charge of producingthe shows.Further checking also finds Billy Mackinvolved with Clarence Williams and otherOkeh recordings. (Incidentally, I have all theBilly and Mary Mack records on CD.)So: Dave Nelson, on the assumption (basedon copyright) that N. C. Nelson was a typo forD. C. Nelson, and that D. C. Nelson is Dave.Billy Mack because most of the secondarycitations name him and because of his clearconnection to Dave Nelson.Merry Widow Rag (Eubie Blake)John Gill 1066Looks like Eubie recorded this “live” for a QRSpiano roll (CEL-125) but that may be a reissueseries number). Perfesser Bill lists it as aBlake composition, but has no date, says“unpublished or uncopyrighted.” Obviouslyand admittedly a travesty on Lehar. Severalsources say “issued in 1974,” which I thoughtunlikely, but Robbie pointed out that the oldQRS marking piano was restored in 1972 andproduced new “hand-played” rolls byLiberace, Peter Nero, Ferrante & Teicher,George Shearing, Roger Williams . . . andEubie Blake.Mesa ’Round [Road Apple Rag](Turk Murphy)West End JB 1085Minstrels of Annie Street 1272Independence Hall JB 13862013 review: Note directly above writtenbefore 1386 was released with Road AppleRag!Well, I’m torn. It’s all well and good to knowthat originally Turk called it, informally, “RoadApple Rag,” but that fact is that he “published”(i.e., recorded) it as “Mesa ‘Round” in 1951. Itdidn’t get recorded under the title “RoadApple Rag” until the Natural Gas JB did so in1979. I couldn’t find a copyright under eithertitle, but I’ll look again at LC. If I don’t find acopyright for this in 1951 as “Road Apple,” wemust leave its primary location here at “Mesa’Round.”Also—for what it’s worth—in Turk Murphy:Just for the Record, by Turk and Jim Goggin,they devote more than four pages todiscussing the July 10, 1951, recordingsession that produced Little John’s Rag,Minstrels of Annie Street, Bay City, and Mesa’Round, but Mesa ’Round doesn’t getmentioned once. If Turk had any lingeringpassion about being “forced” to change hisRoad Apple Rag to Mesa ’Round, surely he’dhave brought it up.Mess-a-Stomp (Andy Kirk–John Williams)Keith Nichols Dreamland Syncoptrs 1150Back Bay Ramblers 1262Both records credit Mary Lou Williams.Rec. Andy Kirk, 11/729, Brunswick 4694, A-500162; Vocalion 3255. Again 9/9/38, Decca2204, M-30204; Brunswick 02707, A82000.Credit on first Brunswick and Vocalion labelsfor the 11/7/29 recording is just Williams.Oops, the copyright:Messa-a-stomp; melody by Andy Kirk andJohn Williams. © 1 c. July 3, 1930: E unp.24462; State Street music pub. co., inc.,Chicago.John Williams played reeds in Kirk band, washusband of Mary Lou, and was composer ofmany tunes in his own right, including many ofthe others rec. by the Kirk band at that sametime. I think Mary Lou’s a screw-up becauseshe later became more famous as a composerand arranger. And Frank Powers’s liner notessay that though it appeared under the name ofJohn Williams and his Memphis Stompers

(where’d he get that?), it was arranged byMary Lou.Sorry, but composers get composer credits,not arrangers.Messin’ Around (Charles L. Cooke–Johnny St. Cyr)Scaniazz 1004Charquet & Co 1039Chicago Rhythm 1164Rusty Taylor’s New Jazz Review 1186Paramount JB of Boston 1205Chris Tyle’s Silver Leaf JB 1311Le Petit Jazzband de Mr Morel 1344Copyright reg. for this shown below, in thesecond Messin’ Around. Audrey’s sheetmusic confirms this version, pub. Will Rossiter1926.For what it’s worth, the Blake-Sissle Messin’Around was recorded by Meade Lux Lewis in1938.Cooke or Cook? RHJA says really Charles L.Cooke (and really had a doctorate in music),but often performed as Doc Cook. Wikipediaarticle on him says same thing. So whyCharles L. Cook on that copyright reg.?Longer biography at answer.com saysCharles L. Cooke (he dropped the final "e"from his last name early in his career) wasborn in Louisville, Kentucky, on September3, 1891.Both Blame It on the Blues and this tune(Audrey rechecked her sheet music, bothcover and copyright page, were Cooke, sowhile he performed as Doc Cook, hecomposed as Charles L. Cooke, in spite of themissing ‘e’ in the copyright registration.Messin’ Around (Tiny Parham)South Frisco JB 1035Mojo Jazzin’ Five 1086Pam Pameijer’s Classic Jazz Aces 1194Two Clarinet Stompers 1259One More Time JB 1410Blythe on all Stomp Off recordings, althoughIv’e seen Blythe-Smith several other places.Rec. Jimmy Blythe & His Ragamuffins, withTrixie Smith vcl, June-July 1926, Chicago,Paramount 12376, Century 3029, Signature906, Jazz Classics L-28, Association FrancaiseA-051, with Adams Apple on flip side.Not copyrighted, although Blythe registeredtwo other tunes that year and (and 14 in 1925and 9 in 1927). The other two Blythe tunes in1926 were registered by Chicago Music Co.(see Tiny Parham below). Couldn’t find any ofthe Blythe labels. RHJA says Jimmy Blythe-Trixie Smith for Paramount 12376. LC SONIIChas Jazz Collector L-28 (no credits); Century3029 and Signature 906 (no credit on Messin’Around, but—tellingly—credit of Blythe onAdam’s Apple) on both discs.Other Messin’ Arounds copyrighted 1926:Messin' around; words and melody byStrathdene Parham. © 1 c. Aug. 3, 1926: E643490; Chicago music pub. co.. inc.,Chicago.Messin' around; words and music by JohnA. St. Cyr and Charles L. Cook; pf. andukulele acc. © July 21, 1926; 2 c. July 21; E644628; Will Rossiter, Chicago.Messin' around; words and melody by NobleSissle and Eubie Blake. © July 1, 1926; E644168; Clarence Williams music pub. co.,inc., New York.I’m going to have to see the originalParamount label before I’ll be sure that Blytheor Blythe-Smith should get credit for this.There’s simply no other evidence for it.Haesler responds with data from Vreede’sParamount book: no apostrophe, nocomposer credits, and it’s RAGMUFFINS, notRAGAMUFFINS, which is in error in Rust. ANDaha! Both Haesler and Sonny McGown founda photo of the label in a Frog CD reissue ofBlythe: As Vreede said, Ragmuffin, noapostrophe, and no composer credit. BUT getthis: the flip side, Adam’s Apple, does have acomposer credit of Blythe according toVreede, so it’s not just a case of Paramount’schoosing not to give credits.For now, this changes to unknown, but I’mreally keen to pursue another theory:Southern Music Co. filed copyrights for twotunes by Jimmy Blythe in 1926 (Anna MinaForty and Thirty Eight and Two), and acopyright for Tiny Parham’s Messin’ Around.But Parham didn’t record a Messin’ Around,while Blythe did. Isn’t it more than a littlepossible that for some reason, Southern Musicclient Parham’s song was given to SouthernMusic client Blythe to record? Perhaps theywanted Trixie Smith to sing it and shepreferred to work with Blythe.Obvious solution lies in finding the Parhamlead/lyric sheet that was filed with copyrightdeposition to see if it’s the Blythe-Smith song.And this is interesting: Finally thought to dogoogle search on that title plus Parham, andfound that a Polish LP set, released in 1979,reissued the Blythe recording with credit toTiny Parham. Seehttp://www.discogs.com/Various-Jazz-Legends/release/35969838/2/13--Bingo! I learned from Alex Hassan thatMarty Eggers had done extensive research inMusic Reading Room, so I sent my theory tohim. His response:Your copyright info is correct. The Parham"Messin' Around" is the one recorded byTrixie Smith with Blythe et al.While at the LoC this past May, I didsearch for Parham and found a lead line withlyrics plus a lyric sheet for "Messin' Around."The copyright number and date match yourinfo.As to why the tune was recorded the wayit was done, there is nothing in my findingsto indicate the answer. Unfortunately,without a statement from one of theinterested parties or some other sort ofpositive evidence, we can only conjectureabout the reason Parham didn't record it.For example, another possibility is thatBlythe was an established recording artistby 1926 whose records would presumablysell, while Parham was just beginning torecord. Along that line, maybe Blythe likedParham and recorded it to help him out. Ormaybe he just liked the tune. Or some otherreason. In other words, we may never knowthe real reason Parham didn't record it whileBlythe did.Hope this helps you in some way. At thevery least, the composer credit for theBlythe record of "Messin' Around" should goto Parham and no one else.8/16/13 Eggers followed up with scans of theParham copyright deposits and an analysisconfirms that it’s Parham’s tune.Messin’ Around with the Blues(Fats Waller–Phil Worde)Neville Dickie 1176LP said just Waller.Rec. Waller 1/14/27, Victor 20655.Oops, the copyright:Messin' around with the blues; by PhilWorde and Thomas Waller, arr. by P.Worde; pf. © 1 c. July 21, 1927; E 672293;Ralph Peer, New York.Worde’s for real, he wrote music for sevenother songs in 1927, with lyricists such asAndy Razaf, Sidney Easton, Edgar Dowell.Also co-wrote two melodies wth ThomasMorris and one with Allie Moore. And the flipside of Victor 20655 is one of those, Stompin’the Bug, by Mercedes Gilbert & Phil Worde.Couldn’t find label for Messin’ Around with theBlues, but Victor Project confirms cocomposerPW.Meteor Rag (Arthur C. Morse)Elite Syncopators 1286Confirmed by my 1920 sheet music.Mexicali Rose (Jack B. Tenney–Helen Stone)Ernie Carson & the Castle JB 1283

Confirmed by 1923 sheet music online and3/10/23 copyright reg., w. HS/m. JBTMezz’s Tune (Humphrey Lyttelton)Lyttelton–Fawkes Troglodytes 1238Miami (Con Conrad–B. G. De Sylva–Al Jolson)Canary Cottage Dance Orchestra 1415Confirmed by 1925 sheet music, pub. Harms,w/m all three. Also 9/1/25 copyright reg.Michigan Water Blues(Clarence Williams)Grand Dominion JB 1268Paris Washboard 1326Bob Schulz & His Frisco JB 1349Confirmed S&P, 1923, rec. Sara Martin onOKeh. And 4/23/23 copyright reg.Michigander Blues (Jabbo Smith)Hot Antic JB 1044Black Eagle JB 1065Abi Hübner’s Low Down Wizards 1093Bob Oliver’s Hot Seven 1312Louisiana Washboard Five 1398Rec. Smith 3/30/29, Brunswick 7069. Andoops, no blues on copyright title:Michigander; melody by Jabbo Smith. © 1c. June 5, 1929; E unp. 7593; State streetmusic pub. co., inc., Chicago.But the Brunswick label says MICHIGANDERBLUES.Midnight Blues (A Wee Hour Chant)(Spencer Williams–Babe Thompson)Des Plantes’ Washboard Wizards 1231

listing as an alternative title. However, I see noneed to peer down the peehole.Military Mike (Elmer Schoebel)Dan Levinson’s Roof Garden JB 1361Rec. Jud Hill, 11/20/25, Gennett 3200 (T N Ton flip side--that’s also by Schoebel, isn’t it?).Orig. Memphis 5, 9/17/25, Victor 19805; again3./1/26 Pathe 36413, 11097; Perfect 14594.Confirmed by 11/23/25 copyright reg.Mim’s Rag (Jack T. Rummel)Jack Rummel 1118Mindin’ the Baby (Pauline Alpert)Alex Hassan 1322Tony Caramia 1328Confirmed by 4/27/38 copyright reg.Mine – All Mine (Herman Ruby–Rubey Cowan–Sam H. Stept)Paramount JB of Boston 1340Barbara Rosene & Her New Yorkers 1422MacDonald.2013 review: Definitely Rubey Cowan; he wasa publisher as well as a composer.*Here’s where “She’s Mine All Mine” camefrom: song by Bert Kalmar-Harry Ruby, 1921.Hassan has the music, confirms the dash onboth cover and copyright page.Miner’s Dream of Home, The(Will Godwin–Leo Dryden)Albion JB 1206On CD as “A Miner’s. . .”Looks like rec. by Colyer’s Crane River JB on77 Records (produced by Doug Dobell) 77LP4 (10" LP, Vol. 1 of a series of 4) from early1950s. Only 99 copies of each pressed (a taxavoidance scheme), so they’re rare. Also onRistic 16 (label of John R. T. Davies), but I sawthe label and it has no composer credit.Aha, found a discussion of it on Mudcat.org.Looks like 1891. AND Aha! The sheet musicas published in Australia says “The Miner’sDream of Home” on both cover and copyrightpage. Seems to have started in UK, prob.Wales. And from an English folk music site:Will Godwin and Leo Dryden wrote “TheMiner's Dream of Home” in 1891. LeoDryden sang it in the Music Hall andrecorded it on August 27, 1898 on a Berlinercylinder E2013.. . . alsoThe words to this extremely popular songwere written by the Music Hall singer LeoDryden (1863-1939), with music by WillGodwin. According to Music Hall specialistTony Barker, “Dryden must immediatelyhave realised the song's immense appealfor, in an Era advert, dated 31st October,1891, he announced it as a ‘song that will besung in every home where the mothertongue is spoken’. The rousing melody andsentimental lyrics telling of a homesickprospector dreaming of ‘England's valleysand dells’, certainly made such an impactwith the British public that it passed almostat once into the canon of popular song.Dryden claimed that Francis, Day andHunter paid £20, the most they had paid upto that time, for the publication right.And even found the original sheet music coverdisplayed on Brit. eBay. The there too.Minnie the Moocher’s Weddin’ Day(Harold Arlen–Ted Koehler)Susan LaMarche/Waldo’s Gut. Sync. 10321032 had Wedding.Oops, the copyright has a secondapostrophe:Minnie the Moocher's weddin' day; w TedKohler, m Harold Arlen; with ukulele arr. ©May 26, 1932; E pub. 30542; Mills music,inc.Can’t see it, but Baylor U. copy is indexed withthat 2nd apostrophe too. AND MTSU. Lookslike Cab Calloway’s recording of it (Brunswick6321 is the only one that used Wedding; sixothers, including Boswell Sisters, were allWeddin’.Minor Drag, The (Fats Waller)Golden Eagle JB 1080Red Roseland Cornpickers 1133Dry Throat Fellows 1226Paris Washboard 1280Des Plantes’ Washboard Wizards 1421

Wonder why I never questioned it. (DB,11/17/04)Minstrel Days (Duke Ellington)Keith Nichols Cotton Club Orchestra 1320“Around 1930, exists in manuscript for only”says Nichols. Smithsonian has it somewhere;their index says “Minstrel days is contained inone folder consisting of 1 four page shortscore in D Major concert -- in pencil -- inunidentified hand (DE?).” Nichols explains:I found Minstrel Days in the Library ofCongress in Washington when I wasresearching music for the Harlem's ArabianNights CD.It is an unpublished manuscript, butgenuine Ellington as it has a handwrittennote from Duke to his mother on the back.My guess is that it was planned for one ofthe cotton club themed shows, but moreresearch would have to be done to find out ifthe show was ever produced. Hence notbeing on any list of compositions.Minstrel Man, The (J. Russel Robinson)London Ragtime Orchestra 1081John Gill’s Novelty Orchestra 1227ASM, 1911, J. Stark.Minstrels of Annie Street(Turk Murphy)South Frisco JB 1143Down Home JB 1241John Gill’s Dixieland Serenaders 1304Rec. for Good Time LP 1951, credited to Turk--first recording of it? No, rec. by YBJB on GTJL-12001 in May-June 1946. Big YBJB reissueset from GTJ credits Turk. Couldn’t find acopyright reg.Mint Julep (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Black Eagle JB 1346Rec. RHP 11/13/29, Victor 23402, Biltmore1061 et al.Confirmed by 8/10/32 copyright reg. andVictor Project ledgers.Minute Rag (John Hancock)John Hancock 1025Miserere (Giuseppe Verdi)Thompson, Smith & DeVore 1116We had MiseréreBut do we have that accent right? Just foundthe original Enrico Caruso Victrola 89030label, and it says Miserère.. BUT get this:The Italian Wikipedia article for miserere says,Miserere (pronounced Miserère) is a Latinphrase which is used in Italian because it isthe opening words of Psalm 51 in theversion of the Vulgate. . . . Miserere can alsorefer to various musical works, including acomposition of Gregorio Allegri, an album ofSugar and a single from the same albumduet with Luciano Pavarotti. We should alsomention the magnificent Miserere from ActIV of Il Trovatore by Giuseppe Verdi,performed by the male choir a cappella.And the English Wikipedia article on IlTrovatore also refers to it as Miserere. Thenwhen I searched on it without an accent mark,I found many more hits, including sheet musicvarious places that had no accent.Misery Blues (Ma Rainey)Waldo’s Gutbucket Syncopators 1036Golden Eagle JB 1100Down Home JB 1273South Frisco JB 13072013 review: Rec.Ida Cox, 1/25, Paramount 12258. (Found nolabel, but many sources confirm Cox ascomposer.)Ma Rainey, 8/27, Paramount 12508.Paramount label confirms Rainey ascomposer.Copyrights:Misery blues; w and music Cox; of U.S.; © 1c. Feb. 26, 1925; E 607632; Chicago musicpub. co., Chicago. 2285.[No Rainey copyright 1926-29.]Strangely, couldn’t find a recording of Cox’ssong in my collection or online. But all oursare the Rainey version, because all havevocals that sing the Rainey lyrics..Misery Rag (Carleton L. Colby)Waldo’s Ragtime Orchestra 1069Misery rag; a ragtime travesty on the famousMiserere from Il trovatore by Carleton L.Colby; orch. with piano acc. 4to. © Mar. 4,1914; 1 c. Mar. 19, 1914; 1 c. Mar. 11, 1914;E 331649; Alford-Colby music library,Chicago.(Who’s Wonderful, Who’s Marvelous?)Miss Annabelle Lee (Lew Pollack–Harry Richman–Sidney Clare)Marty Grosz /Keepers of the Flame 1158Erdos: good pre-title, although keep here inM’s...if someone can confirm your idea onsheet8/22, Hassan: Miss Annabelle Lee: you’reright about the smaller type above the maintitle. And his sheet music confirms HarryRichman as second lyricist.Great Song Thesaurus says "(Who’sWonderful, Who’s Marvelous?) Miss AnnabelleLee."8/25, Montgomery sends music:WHO’S WONDERFUL, WHO’S MARVELOUS?MISS ANNABELLE LEEis how the copyright page reads, while thecover is the same except that the comma isreplaced by a dash and there’s no questionmark.(And May Singhi Breen did the ukearrangement!.Mathew questions Harry Richman ascocomposer. Montgomery’s sheet music hasRichman.I did web search, found that Tennessee StateMurfreesboro has two copies, both publishedby Irving Berlin in 1927, one with Richman andone without. So checked LC copyright files.LC copyright files have no entry under M, butunder W we find1. (unpublished) Who’s wonderful - who’smarvelous. Words by Sidney Clare, melodyby Lew Pollack. 1 June 27, cy Irving Berlin,Inc. NY.2. (published) Who’s wonderful, who’smarvelous? Miss Annabelle Lee. W&M bySidney Clare and Lew Pollack. 7/22/27, IrvingBerlin.In the Irving Berlin claimants (publishers) file,it’sWho’s wonderful - who’s marvelous; song.6/23/27. Composer of music: Lew Pollack.Author of words: Sidney Clare. Title: “Who’sWonderful - Who’s Marvelous” (MissAnnabelle Lee).Interesting: In copyright stage, title wasclearly Who’s wonderful..., with MissAnnabelle Lee as an afterthought/answer, buton sheet music, MISS ANNABELLE LEE isplayed far more prominently, with Who’sWonderful...in much smaller type.Note too that on cover it’s “WHO’SWONDERFUL--WHO’S MARVELOUS” whileon copyright page its “WHO’S WONDERFUL,WHO’S MARVELOUS?”

2013 review: It appears that I never did solvethe mystery of why some copies of sheetseem to have just Pollack-Clare (the JohnArpin copy at York University has like that--Ican see the cover only at site), while otherscredit Pollack-Clare-Richman. Just dug outthe Xerox copy of cover and copyright pagethat Montgomery sent, compared it to cover atYork University: The basic cover art is exactlythe same (a flapper on the right being aimedat by a Cupid on the lower left with Cupid’sclassic bow-and arrow). In the York edition,BYSIDNEY CLAREANDLEW POLLACKis in the open space above the Cupid. In theMontgomery version, there’s a photo ofFrankie Masters with the overline “Featured byFrankie Masters” over the Cupid, and thecreditsBYSIDNEY CLARELEW POLLACKANDHARRY RICHMANhave now been moved down and to the right,tucked in between Cupid and Flapper. Seemsclear that Clare-Pollack came first but thatRichman got added early on.But here’s a curiosity: In the 1928 copyrightbook, Annabelle Lee is used as a pseudonymfor Leonore Greer for “The Little Brown Shoe”and “A Mother’s Plea”; and as a pseudonymfor Vaughn De Leath for “The Empty Cradle.”What the hell’s that all about?Miss Chrysanthemum (O Kiko San)(William Loraine)Chrysanthemum Ragtime Band 1047“Miss Chrysanthemum (A JapaneseIntermezzo)” on LP. Copyright isMiss Chrysanthemum. O Kiko San. AJapanese intermezzo, by William Loraine.Copyright by M. Witmark & sons, New York,N.Y. Class C, XXc, no. 3768, Mar. 12, 1901;2 copies rec'd Mar. 12, 1901.And aha! “O Kiko San” is on both cover andcopyright page as subtitle.Miss Otis Regrets (She’s Unable toLunch Today) (Cole Porter)Humphrey Lyttelton & His Band 1160Jimmy Mazzy & Friends 1219Newberger–Mazzy–Thompson 13521160 & 2329 were just “Miss Otis Regrets.”Then 1352 added the subtitle “She’sunable...”)2013 review: Copyright indicates no subtitle:Miss Otis regrets she's unable to lunchtoday; w and m Cole Porter ; with arr. forukulele, etc. © Apr. 18, 1934; E pub. 41533;Harms, inc.Updated fox-trot arrangement from late 1935shows title the same, no punctuation. ButHassan sheet music shows it’s title + subtitle.Miss Trombone (A Slippery Rag)(Henry Fillmore)Chrysanthemum Ragtime Band 1079Confirmed by 8/28/08 copyright reg. and bycopyright page of conductor’s part ofpublished score.Mississippi Blues (Home TownToddle) (Lucille Hegamin–Spencer Williams)Swedish Jazz Kings 1122Des Plantes’ Washboard Wizards 1325

Confirmed by 9/8/27 copyright reg. and Victorlabel.Missourian Gal(Remco van der Gugten)Fried Potatoes 1163Composer is bandleader/reed player in band.Mistah Jim (James P. Johnson–Cecil Mack*)Keith Nichols Cotton Club Orchestra 1320

For Christ’s sake! Wikipedia has an entry forArthur Whetsol that begins, “Arthur Whetselwas an early ‘sweet’ trumpeter for DukeEllington's Washingtonians.”BUT an extended article on the subject at theDuke Ellington Music Society website comesdown for Whetsel. They have two examples ofhis signature, clearly Whetsel. And he’s calledthat numerous times in the InternationalMusician, the official publication of AFM.And aha: New York’s Woodlawn Cemeteryweb site has a special page devoted to jazzmusians interred there. Among them is ArthurWhetsel.Mixy Rag (Raina Reid)Charleston Chasers 1314Reid is pianist/arranger for the band.Mizzoura Mag’s Chromatic Rag(H. H. Fariss)David Thomas Roberts 1021

Confirmed by copyright reg. 1/15/30.Moanin’ (Harry White–Irving Mills–Mitchell Parish)New Yankee Rhythm Kings 1067Rec. King Carter, 6/25/31, Columbia 2504-D.Mills Blue Rhythm Band, 3/30/31, Polydor580015 (and as House Hop on Panachord25047. Again 6/18/31, Victor 22800, HMV EA-1078.Oops, two apostrophes in copyright:Moan'n' ; words and music by MitchellParish, Irving Mills and Harry White: withukulele arr. © Sept. 5, 1931; 2 c. Sept. 28; Epub. 25385; Gotham music service, inc.,New York.But it’s Moanin’ on the Victor 22800, by HarryWhite-Irving Mills--no Parish. And Rust missedby Benny Carter & His Royal Orchestra,Columbia DB-5034, which is all threecomposers (this must be the same recordingas shown for King Carter above).Moanin’ Low (Ralph Rainger–Howard Dietz)Roaring Seven JB 1019Barbara Rosene & Her New Yorkers 1393Les Rois du Fox-Trot 1434Confirmed by 5/1/29 copyright reg., w. HD/m.RR.Mobile Blues (Fred Rose–Albert E. Short)Wally Fawkes & the Rhythm Kings 1060Evergreen Classic JB 1202ASM, 1924, Melrose Bros., says Albert E.Short.Mobile Stomp (Sam Morgan)Magnolia JB 1016Fenix JB 1129Louisiana Repertory Jazz Ensemble 1140Grand Dominion JB 1268Rec. Morgan, 4/14/27, Columbia 14258-D etal.Oops, copyright search almost stumped me:Mobile stump; melody, by S. Morgan. © 1 c.Feb. 4, 1928; E 682860; Sam Morgan, NewOrleans.(was same way in index)This presumably a typo in copyright book; inany case, the Columbia label is Stomp.Modernistic (see You’ve Got to BeModernistic)Mojo Blues (Tommy Ladnier)Orpheon Celesta 1083Mojo Jazzin’ Five 1086Art Hodes Blues Serenaders 1184Le Petit Jazzband de Mr Morel 1343Pam Pameijer’s New Jazz Wizards 1395Rec. Lovie Austin Blues Serenaders (Ladnieron cnt), 4/25, Paramount 12283. JimmieGordon Vip Vop Band as “The Mojo Blues,”4/28/39, Decca 7702.RHJA & Online 78 agree on Ladnier forParamount 12283. But Paramount label itselfcredits “Tommie Ladinier.”Mojo Strut (Tiny Parham)Ted Shafer’s Jelly Roll JB 1278Rec. Pickett-Parham Apollo Syncopators,12/26, Paramount 12441.As before, couldn’t find label or copyright reg.,RHJA & Online 78 say Parham, but LC SONICdoesn’t have it. Here, too, Haesler finds “S.Parham” in Vreede’s Paramount discography(Strathdene, Tiny’s real name).Mon homme (see My Man)Monday Date, A [My Monday Date](Earl Hines)Jimmy Noone Jr/Davies Rhythmic 5 1121Butch Thompson /Berkeley Gang 1127Les Red Hot Reedwarmers 14251121 & 1127 had just Hines, which is what allmy other recordings say, but 1425 addedcocomposer/lyricist Sid Robin.2013 review: Wait a minute! First, is this A orMy Monday Date? Rust says under AMONDAY DATE: also known as MY MONDAYDATE and OUR MONDAY DATE. S&P saysMY, no mention of Robin.Rec. as A Monday DateHines (pno solo), 12/8/28, QRS R-7037. (nocomposer credit on label)Hines (pno solo), 12/9/28, OKeh 8832,Columbia 2800-D. (credit Hines on OKehlabel)Hot Five w/Hines (vocal Armstrong-Hines),6/27/28, OKeh 8609, Columbia 36375.(credit Hines on both labels)Noone’s Apex Club Orch with Hines, 8/23/28,Vocalion 1229. (credit Hines on label)Rec. as Our Monday DateArmstrong aho, 4/25/39, Decca 2615.Rec. as My Monday DateNoone’s Apex Club Orch with Hines, 8/23/28,Vocalion V-1026 [same take as Vocalion1229 above].Joe Venuti aho, 12/26/334, London HMG5023(LP)COPYRIGHT ISMy Monday date; melody by Earl Hines. © 1c. June 16, 1928; E 696268; Consolidatedmusic pub. house, Chicago.Christ, what a mess. Copyrighted as My butimmediately recorded as A on piano solo, withHot Five and with Jimmy Noone. Andcopyrighted as melody only, but Louis singsthe lyrics we associate with the song, so theymust have come pretty early. But where’s theevidence for Sid Robin? I do know that I have27 other recordings of the tune (18 A, 8 My, 1Our), and not one of them mentions a lyricist.LC SONIC has record of it by Julius La Rosathat credits Hines-Robin. But all its manyother records of the tune credit HInes only.Only way out now is sheet music. Well, crap:MTSU has “My Monday Date,” w/m Hines-Robin, but published by Leeds in 1956. I can’tbuy this. Sid Robin was born in 1912, whichwould have made him 16 years old whenLouis sang those lyrics in 1928. Tellingly, theonly record in LC ONLINE with Robin of it wasJulius La Rosa with Hugo Winterhalter on aVictor 45; La Rosa recorded it in 1958!In spite of the copyright reg., we must call thisA Monday Date because that was on all theearly recordings of it, all Hines solo or Hines ingroups. And we must reject Sid Robin aslyricist, at best, he polished up the lyrics forLeeds when it was published in sheet musicform in 1956. (I could find no evidence of anyearlier published sheet.)But the copyright reg. and th 1956 sheet dorequire us to show My Monday Date as analternative title and have a cross-ref. from it.Moneda from Breda (Jabbo Smith)Red Roseland Cornpickers 1101Pam Pameijer’s Classic Jazz Aces 1194From the 1970s says 1101 note writer ClausJacobi. I think we’re going to have to acceptthe Germans’ word on this one. We know thatJabbo was “rediscovered” by the Europeansin the 1970s, especially the Hot Antic JB ofFrance, and would likely have made at leastone appearance at the big Breda JazzFestival.Yes, Lord discography shows first (and onlyprior) recording of the title at Breda, 12/22/76,by Joep Peeters (pno) and Jabbo Smith (vcl).Released on Jazz Crooner (Holland)JC104781.Money Blues (Daddy I Need Money)(Dave K. Leader–Glenn M. Coleman–Harry Eller)Rusty Taylor /Southern Stompers 1028Mojo Jazzin’ Five 1086Keith Nichols Cotton Club Orchestra 1275Charleston Chasers 1287Kustbandet 1294

Steve Abrams: 1924 by Kapp-Coleman-Eller.I don’t have Leader. This is from Hendersoniabook.telcon 8/10: Tune recorded 1925 by FletcherHenderson Orchestra credited Coleman-Eller-Leader. Same tune recorded 1926 by BessieSmith with Henderson on piano creditedColeman-Eller-Kapp. But Dave Kapp (if that’sthe Kapp) was well-known as A&R man, notcomposer. Perhaps he was associated with2nd recording, stuck his name on. But alsonote that tune of same title was recorded in1917 as drum solo by Howard Kopp withpiano accompaniment by Frank Banta.So for now go with D. K. LeaderErwin Elvers: LP Atlantic ATL 50.241 byLaVern Baker credits Dave Leader, G. M.Coleman, Harry Eller.Bob: What the hell, let’s go with LaVernBaker’s credits. Seems likely. telcon 8/28:OK--3>2013 review: Rec.Howard Kopp, drum solo with Frank Banta,pno, 3/17/17, Columbia A-2241. (This bysomebody named Frey--not our song)Fletcher Henderson, 5/19/1925, Columbia383-D, Brunswick 8223 et al. (Columbialabel says Leader-Coleman-Eller)Bessie Smith, 5/4/26, Columbia 14137-D,3174-D; Parlophone R2478. (Indeed,Columbia label says Kapp-Coleman-Eller.Copyright is:Money blues; daddy I need money, w and mDave K. Leader, G. M. Coleman and HarryEller, all of U.S. © July 2, 1925; 2 c. July 6; E619721; Glenn M. Coleman, Chicago.And we’ve got the subtitle on the copyrightreg., but no evidence it ever got used in print.Was this published in sheet form? A, here’sthe answer in LC SONIC The FletcherHenderson recording was also issued onColumbia 35669, and that label has thesubtitle.Monograms (Homer Denney)John Hancock 1025From 1911 say notes (Perfesser Bill confirms),but no copyright 1911-12, no trace of it in theonline databases. Jasen’s big book says selfpublished.Both Brier and Adams confirmDenney 1911.Montpellier (Ian Whitcomb)Ian Whitcomb 1049Monrovia (see New Orleans Bump)Mooche, The [The Mooch](Duke Ellington–Irving Mills)Original Salty Dogs JB 1115James Dapogny & Butch Thompson 1183Paramount JB of Boston 1247Paris Washboard 13472013 review: Maybe now we can sort outMooche/Mooch variants. Acc. to Rust, all rec.as “The Mooche”:Ellington, 10/1/28, OKeh 8623, Brunswick8241 et al. OKeh & Brunswick labels = TheMooche/Ellington; Odeon 194191 creditsEllington-Mills.Ellington, 10/28, Cameo 9032, Lincoln 3061,Pathe 36899, Perfect 15080 et al.Ellington, 10/17/28, Brunswick 4122, 6518,80002, 01235 et al. Brunswick 4122, 01235& Polydor 580.011 = The Mooche/Ellington-Mills.Ellington, 10/30/28, Victor V-38034, 24486, 20-1531 et al. Victor 24486, HMV B.4920 = TheMooche/Ellington-Mills.Ellington 4/3/30, as Mills’ Ten Black Berries,Diva 6046-G, Velvet Tone 7072-V, BRS 1007.Ellington 11/7/40, Palm 30-03, Temple M-551.Sidney Bechet, 10/14/41, Victor 20-1510.BUT look at the copyright:Mooch (The); by Duke Ellington and IrvingMills; pf. © Dec. 31, 1928; 2 c. Jan. 17,1929; E pub. 2738; Gotham music service,inc., New York.which is also how it’s listed in Ellington’sautobiography.And here’s what Terry Teachout says in hisEllington biography:The piece is known today as “The Mooche,”but Ellington originally spelled the titlewithout a terminal “e,” thereby intending tosuggest (in his words) “a certain lazy gaitpeculiar to some of the folk of Harlem.” Thewas copyrighted as “The Mooch,” and is stillidentified as such on sheet music. The title,however, was spelled “The Mooche” on 78labels when it was first recorded in 1928,and the alternate spelling . . . is now inuniversal use.I’m sure that Riley had a piece of sheet musictitled “The Mooch,” since I found lots of refs tothe music under both titles. But earliest“Mooch” I found that had an original-lookingcopyright line was dated 1938 (pub. GothamMusic Service). Another was (c) 1928,renewed 1956 by Famous Music, whichmakes me suspect that the sheet wasn’tpublished until many years after the tune wasoriginally “published” in 78 rpm record form,so I’m inclined to treat “Mooche” as theoriginal title and “Mooch” as a variation.Mood Indigo (Duke Ellington–Irving Mills–Barney Bigard)Andy Stein & Friends 1146Pam Pameijer’s Classic Jazz Aces 1194Paris Washboard 1347ASM, 1931, Gotham Music; Ellington, Millsand Albany Bigard.Mood That I’m In, The(Abner Silver–Al Sherman)Classic Jazz Quartet 1125Confirmed by 2/1/37 copyright reg., w/m both.Moodus Blues (Daniel Barda)Paris Washboard 1308Barda is the band’s trombonist/leader.Moon Song (That Wasn’t Meant forMe) (Sam Coslow–Arthur Johnston)Barbara Rosene & Her New Yorkers 1405S&P say there’s a subtitle, (That Wasn’t Meantfor Me), 1932, w. SC/m. AJ, intro’d by KateSmith in film Hello, Everybody!Copyright reg. has it part of title:Moon song that wasn't meant for me; w SamCoslow, m Arthur Johnston. © 1 c. Dec. 1,1932; E unp. 64735; Famous music corp.[Then re-reg. 12/24/32 to add ukulelearrangement.]And yep, that sub’s on cover and title page inmuch smaller type in line below title.Moonburn (Edward Heyman–Hoagy Carmichael)Barbara Rosene & Her New Yorkers 1405Confirmed by 7/30/35 unpub. copyright reg.,w. EH/m. HC. S&P say intro’d by Crosby inAnything Goes. 12/24/35 pub. copyright reg.adds the film mention and arr. for guitar.Moonglow (Will Hudson–Eddie De Lange–Irving Mills)Barbara Rosene & Her New Yorkers 1405Odd copyright:Moongiow; song, Will Hudson, Eddie DeLange and Irving Mills; with ukulele arr. ©May 10, 1934; E pub. 42400; Exclusivepublications, inc. [Copyright is claimed onwords][don’t think I’ve seen that last phraseanywhere else]Moon Got in My Eyes, The(Johnny Burke–Arthur Johnston)Barbara Rosene & Her New Yorkers 1405Confirmed by 7/16/37 copyright reg., w. JB/m.AJ. S&P say intro’d by Crosby in Double orNothing.Moonlight (Con Conrad)Magnolia Jazz Five/Jimmy Mazzy 1137Paramount JB of Boston 1340Copyright reg.:Moonlight; words and music by Con Conrad[of U.S.] © Apr. 2, 1921; 2 c. Apr. 4, 1921; E508355; Waterson, Berlin & Snyder co., NewYork.and this one:

'Moonlight; fox trot, by Conrad, played byCharley Straight [of U.S.] (Imperial playerrolls, no. 91308) [Music roll] [11739 © May25, 1921; 2 c. 1921; E 511184; May 27,Imperial player roll co., Chicago. [Copyrightis claimed on interpretation.]Moonlight and Roses (Bring Mem’riesof You) (Edwin H. Lemare–Ben Black–Neil Morét*)Barbara Rosene & Her New Yorkers 1405

More Than That (Ben Barnett–Clarence Williams)Red Onions & Ottilie 1090Des Plantes’ Washboard Wizards 1409

South Frisco JB C/CD 1035Down Home JB 1241Grand Dominion JB 13781241 as Blue Mama’s Suicide Wail; rest asMountain Top Blues.Only rec. in Rust is Bessie Smith 7/22/24,Columbia 14031-D as Mountain Top Blues.No recordings in Rust of Blue Mama’s SuicideWail. So where’d it come from?Credit on Columbia 14031-D is SpencerWilliams. Aha, the copyright reg. isMountain top blues; blue mama's suicidewail, w and m Spencer Williams, of U.S. ©Aug. 6, 1924; 2 c. Aug. 5; E 596296; Maison-Blanche music co., New York.The copyright is oddly formed: Generally inthe copyright books, what we’d call a subtitleis separated from the main title by a comma; asemicolon after the main title usually meansthat what follows is a genre-marker. But “bluemama’s suicide wail” couldn’t conceivably bedescribed as a genre-marker, so we must treatit as a subtitle.Looks like Gene Mayl’s Dixieland RhythmKings recorded it as Blue Mama, which couldhave had a wide influence. I have severalother revival band recordings under that title,but all are later than Gene Mayl.We’ll change it to subtitle, but still have crossreffrom Blue Mama to here.Mournful Serenade (Joe Oliver)Vince Giordano’s Nighthawks 1260Pam Pameijer’s New Jazz Wizards 1335ASM confirms, 1928, Melrose Bros.Mournin’ Blues (Tony Sbarbaro)Down Home JB 1300Dan Levinson’s Roof Garden JB 13611300 just Sbarbaro, 1361 Sbarbaro-Robinson.

Mule Walk, The [Mule Walk Stomp](James P. Johnson)Tom McDermott 1024Louis Mazetier & François Rilhac 1218Baker 2011 afterthought: Well, if he recordedhimself under a different title, we must showthat as an alternate title here the way we’vedone with so many others, especially JellyRoll.2013 review:1. At Carnegie Hall, 12/23/38, performed as“Mule Walk,” released on Vanguard 8523LP, obviously much later.2. JPJ pno solo as The Mule Walk, 6/14/39,CBS CL-1780, LP issued in 1962. LP labelconfirms “The Mule Walk.”3. Pno solo for 12/15/43 for Blue Note 27. 78label readsMULE WALK—STOMPAs far as I’m concerned, that’s just Mule Walkwith a genre marker.Well, copyright is just Mlule Walk:Mule walk; melody James P. Johnson. © 1c. Feb. 28, 1940; E unp. 216429; Bregman,Vocco & Conn, inc., New York.I have 5 recordings as Mule Walk (one by JP),4 as The Mule Walk (one by JP), 3 as MuleWalk Stomp, 2 as Mule Walk (Stomp) (one byJP), 1 as Mule Walk--Stomp (by JP), 1 asMule-Walk Stomp.Chrono Classics confirms that Columbiarecording in Rust as “The Mule Walk,” butdates it 3/14/39. Chrono Classics also has“Mule Walk (Stomp)” rec. 12/15/43, Blue Note27. (Blue Note’s LP reissue of this rec. titles itjust “Mule Walk,” which would be right, as the(Stomp) on the orig. 78 label would have beena genre-marker, not a subtitle or part of thetitle. Safe to say that “Stomp” got added tothis title the same way that “Rag” got added totitle of many rags that didn’t have that word intheir copyrighted title.For all this, though, I think we can stick withour original titlesMuscle Shoals Blues(George W. Thomas)Minstrels of Annie Street 1272Neville Dickie 1269Bob Oliver’s Hot Seven 1312ASM, 1921, Geo. W. Thomas.Mushmouth Shuffle (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. RHP 7/14/30, Victor 23004, Bluebird B-8201, HMV B-10328 et al.Confirmed by 9/26/30 unpub. copyright reg.Music Box Rag (Luckey Roberts)Tom Roberts 1345Elite Syncopators 1358ASM, 1914, Jos. W. Stern, by “C. LuckythRoberts.”Music Has Charms(Jack Yellen–Milton Ager)San Francisco Starlight Orchestra 1296Not in Rust or S&P. Ah, opening theme ofKing of Jazz, confirmed by 3/15/30 copyrightreg., w. JY/m. MA.Muskrat Ramble (Kid Ory)Chris Tyle’s NO Rover Boys 1235Yerba Buena Stompers 1381ASM has that 1950 version: w. Ray Gilbert, m.Edward “Kid” Ory; (c) 1926, 1937, 1950 byGeorge Simon.She’s also got it by Edward Ory, “A modernpiano arrangement of a rhythm classic”(c) 1926 by Edward Ory(c) assigned 1937 to Melrose Bros.(c) assigned 1939 to George Simon, pub.Simon.Ory’s copyright registration is clear enough:Muskrat ramble; melody by E. Ory. © 1 c. May1, 1926; E 637451; Edward Ory, Chicago.But Phil Schaap’s Facebook still pushes analternative story that’s been around a while:Kid Ory only named “Muskrat Ramble”:LOUIS ARMSTRONG wrote it. And Ory’sname was “Muscat Ramble”: carryings-onfueled by muscatel wine. “Muskrat Ramble”has prevailed as the official title. [Thisassertion is clearly contradicted by Ory’sown copyright registration. --DB]“Muskrat Ramble” was recorded by LouisArmstrong’s Hot Five on February 26, 1926and issued quickly by OKeh Records underthe catalog number 8300. It was a“two-sided hit” as “Muskrat Ramble” was thereverse side of OKeh 8300 whose ‘A’ sidewas the legendary prototype for all scatsinging - “Heebie Jeebies”.OKeh Records must have realized that“Muskrat Ramble”, a title conveying animage of a particular type of rodent, was amistake, as all issues and reissues until thestart of the 1950s, entitled the recording as“Muskat Ramble”. This title conveyedanother image – albeit musket is misspelled– but seems to be an attempt to use Ory’sactual title though in a spelling that blurs itsmeaning.Rust does confirm that all the Hot Fivereissues after the initial OKeh 8300 were titled“Muskat Ramble.”But I say to hell with this story. The originalHot Five record was labeled “MuskratRamble” by Ory, and Ory copyrighted it as“Muskrat Ramble.” If OKeh did havemisgivings about the title and try to “change”it in subsequent issues, they didn’t persuadeanybody: Rust lists ten later recordings of thetune, all as “Muskrat Ramble” except forBenny Goodman’s “Muskrat Scramble”version, presumably a joke (it did credit Ory).My Baby (Jimmy Blythe–Mary Slaughter))Golden Eagle JB 1192West Jesmond Rhythm Kings 1255Pam Pameijer’s New Jazz Wizards 1395Well I’m not, thus a 2013 review: Rec.Chicago Footwarmers, 12/15/27, OKeh8548.Alexander Robinson, 2/28, Paramount12649.Tillie Johnson, 3/23/28, Gennett 6471.Blythe’s wb wizards, 3/30/28, Vocalion 1180.State Street Ramblers, 4/23/28, Gennett6454.Copyrights -- 1926:w/m W. A. Holmes, Chicago, 10/13/26.1927:w. Goldie M.Conner/m. Fred W. Petrie,Kalamazoo, 2/25/27.w. Edna E. Lowrey/m. David Reed, Lafayette,Wisc., 10/13/27.My baby; melody by James Blythe. © 1 c.Dec. 29, 1927; E 679749; Lester Melrose,Chicago.THIS HAS to be it. Blythe is on every one ofthose recods except Tillie Johnson, and hisWashboard Wizards bandmate W. E. “Buddy”Burton is on her record.BUT oops: The Chicago Footwarmers OKeh8548 label says Blythe-Slaughter. Who thehell is Slaughter? We learned that already:She’s Mary Slaughter, Blythe’s sister, who cowrote“Have Mercy!” with him.

Alexander Robinson on Paramount has nocomposer credit, but Online 78 says Blythe-Roberts-Johnson for it--where’d they get that?Perfesser Bill’s site says Blythe-Roberts (withno first name for “My Baby,” but we’ve gotearlier OKeh label to contradict that.OK, I think I know where some of theconfusion is coming from. The composercredits on the flip side of “My Baby” byBlythe’s Washboard Wizards is Blythe-Robinson. I’ve seen more that a few indexlistings that show all the composers for bothsides of a record in the same grouping. I’ll betsomebody named Roberts is a composer onthe flip side of one of the other recordings of“My Baby.”But enough: We have Blythe copyright andBlythe-Slaughter on the first recording.My Baby Just Cares for Me(Walter Donaldson–Gus Kahn)Ingham–Grosz Hot Cosmopolites 1237ASM, 1930, Donaldson, Douglas & Gumble;m. Donaldson/w. Kahn.My Baby Knows How (Benny Davis–Harry Akst–Harry Richman)Chris Tyle’s Silver Leaf JB 1311Des Plantes’ Washboard Wizards 1357Barbara Rosene & Her New Yorkers 1422Confirmed by 9/29/26 copyright reg., w/m allthree, and cover of sheet pub. by Irving Berlin.My Baby’s Arms (Harry Tierney–Joseph McCarthy)Dan Levinson’s Roof Garden JB 1361Rec. ODJB, London, 1/8/20, Columbia 805.Synco JB, 3/19, Empire 5002.Confirmed by 6/21/19 copyright reg., w. JM/m.HT. In Sept. came copyright for arrangementby Jos. Sauter (of Sauter-Finnegan fame?) forZiegfeld’s Follies of 1919.My Blackbirds Are Bluebirds Now(Cliff Friend–Irving Caesar)Charquet & Co 1195John Gill’s Novelty Orchestra 1227Charleston Chasers 1287Barbara Rosene & Her New Yorkers 1393Confirmed by 9/18/28 copyright reg., w. IC/m.CF. Sung by Cantor in Ziegfeld musicalWhoopee and by Jolson in film Lucky Boy.My Blue Heaven (Walter Donaldson–George Whiting)Gauthé–Marquet Clarinet Serenadrs 1216Ingham–Grosz Hot Cosmopolites 1237Confirmed by music cover and 10/10/27copyright reg., w. GW/m. WD.My Bucket’s Got a Hole in It(Clarence Williams)Hal Smith’s Creole Sunshine Orch 1078New Orleans Rascals 1113St. Louis Ragtimers 1267Grand Dominion JB 14081/15/01: Oh boy. In the Clarence Williamssheet collection at LC MRR I found MyBucket’s Got a Hole in It, (supposedly) byClarence Williams, with the lyric that I’vealways associated with the song (well, they’rethe lyrics that Ricky Nelson recorded in thelate 1950s):(chorus)My bucket’s got a hole in it,My bucket’s got a hole in it,My bucket’s got a hole in it,I can’t buy no beer.(verse)Well I went up on a mountain,I looked down in the sea.I seen the crowds and the fishesDoin’ the be-bop bee.Wasn’t H. Alf Kelly a turn-of-the-century guymore at home in the St. Louis Ragtimerssongbook? Would he have written “be-bopbee”?1/17/01: Well, in our St. Louis Ragtimersrecording, Al Stricker sings only the chorus.And the liner notes say,A very old Mississippi Valley folk tunerecalled by some of the last survivors of theearliest days of New Orleans jazz. The tunefirst appeared in 1914 as Long Lost Blues,claimed by New Orleans pianist J. Paul Wyerwith lyrics by J. Alf Kelly. It was“successfully introduced” by ragtimepioneer Ben Harney, pictured on the cover.We must get this sheet music and compare itwith the song as published by ClarenceWilliams and figure out how to treat this.Seems to me that if we’re going to give Kellyand Wyer composer credit, then we also oughtto list it under the title Long Lost Blues ratherthan My Bucket’s Got a Hole in It.1/25/01, no LC cy listing for My Bucket, butthere is one for The Long Lost Blues: w/H. A.Kelley, m/J. P. Wyer, arr. W. H. Dorsey.Published 7/7/14 Wyer & Kelley, Chicago.1/25/01 got a copy of The Long Lost Bluesfrom Audrey Van Dyke. There is nothing in thelyrics about a bucket. I think we’ve been hadby the Ragtimers on this composer credit.Even if Clarence Williams borrowed liberallyfrom Wyer for the melody, the words areentirely different. If there’s much difference inthe melodies, we must change the composercredit to Williams. If the melody is very similar,we might consider something like we did withUgly Chile:My Bucket’s Got a Hole in It (newlyrics by Clarence Williams toThe Long Lost Blues byJ. Paul Wyer)I’ll ask Robbie Rhodes to compare themelodies.1/27/01: here’s what Jasen & Jones say about“My Bucket” in their chapter in Spreadin’Rhythm Around about Clarence Williams:“. . . the old New Orleans folk tune, ‘MyBucket’s Got a Hole in It,’ which Williamsremembered and copyrighted in 1933.”I couldn’t find a copyright card for “MyBucket,” but the original copyright date on thePickwick publication of it that I found is indeed1933.Note too that even if we decide that Williamsjust took a melody & lyrics that had beenfloating around New Orleans for a long time,the fact is that he copyrighted it that way. Ifthis approach is valid for W. C. Handy andothers, how can we deny it to ClarenceWilliams. The Ragtimers’ liner notes implystrongly that the melody actually predatedWyer & Kelley, so one presumes that all theydid was take an old melody and write somelyrics for it. If that same old melody was stillfloating around in 1933, either with other “folk”lyrics about a leaky bucket that Williams wasthe first to write down, I’m all for giving himcredit.2/1/01: Bob, I skipped my airplane clubmeeting to go meet Audrey Van Dyke andfetch the sheet music to “A Bunch of Blues,”because you seemed to feel it would confirmyour argument for J. Paul Wyer for My Bucket,but it does not. (NOTE: All my conclusionsand recommendations are based on thepresumption that J. Paul Wyer did notcompose the Bucket melody himself, aconclusion that hardly seems in doubt.)Here’s the research of the past few days,mainly from Robbie Rhodes.On Jan 30, he wrote,I agree with St. Louis Ragtimers Tichenorand Stricker that the simple refrain, both themelody and the words, was around before1914 and probably should be considered afolk melody and folk lyrics.The sheet music entitled "Long Lost Blues"(H. Alf Kelley - J. Paul Wyer, (C) 1914)seems to be the first time the simple refrainwas copyrighted and published. Indeed,the published refrain is the same melody towhich the familiar "Bucket" words are sung.But we believe Wyer was not the realcomposer.The verse of "Long Lost Blues" is muchmore sophisticated than the refrain, somuch that I say it bears no artistic

connection with the refrain. The verse mayvery well be an original melody composedby Wyer; therefore, when the verse isperformed, credit should be given J. PaulWyer.[On 2/1/01 I called Trebor to ask again aboutWyer as original composer. He agrees thatWyer is not the creator of the “Bucket” strain,just the first guy to write it down.]Robbie continues,If some vocalist ever sings the publishedlyrics by Alf Kelley (Heaven forbid! They'reawful!) then the song is certainly "Long LostBlues" (H. Alf Kelley - J. Paul Wyer).Otherwise Kelley needn't be mentioned.At this point, Robbie had not yet examined theClarence Williams version that I had sent him.After reviewing that sheet music, he reported,Ref the "Words and Music ClarenceWilliams", c'right 1933. This edition does notuse the verse melody of "Long Lost Blues"by Wyer. Each of Clarence's 8-measuresections imply identically the same melodyand chords, give or take a doubled melodynote to fit the lyrics. Clarence's melody isindeed the same chorus melodycopyrighted by Wyer and sung by countlessvocalists. The refrain ("chorus") words inClarence's edition sound very traditional.So what do we in fact have from J. Paul Wyer& H. Alf Kelley as compared with the song thatjazz bands long have played and that we knowfrom those jazz bands as “My Bucket’s Got aHole in It”?Their 1914 song incorporates the “My Bucket”melodic strain into a larger composition thathas nothing else to do with it. Their lyricsdon’t have anything to do with “My Bucket,”nor, obviously, does their title.[A diversion for “A Bunch of Blues,” whichJohn Gill mentioned to Erdos as confirmationof Wyer’s credit for the melody. The 1915Bunch of Blues just quotes the previous year’sLong Lost Blues. Robbie, I presume you’llconfirm that the part quoted is the “Bucket”strain, but, even if it is, the fact is that this isjust a case of a melodic strain being quoted aspart of a larger compositon and that has no“Bucket” lyrics or “Bucket” title.]If incorporating that existing folk strain(remember, this is all based on the premisethat Wyer appropriated the strain rather thancomposing it himself) counts for that much,then we’ll have to re-write a hell of a lot ofother credits in this index. Simple strainspopping up in multiple jazz compositions areall over the place. Go listen to “St. LouisTickle” (by Theron C. Bennett, writing asBarney & Seymour) and compare it to “BuddyBolden’s Blues,” which we credit to Jelly RollMorton.The “Buddy Bolden” strain is clearly to befound in “St. Louis Tickle,” which waspublished in 1904. In that tune, it is part of alarger composition that is not named “BuddyBolden’s Tickle” and does not have any BuddyBolden lyrics. So we have no problem withJelly Roll coming along later (certainly wellafter 1904) and using that strain as the basisfor his song. Would you propose we changeour entry toBuddy Bolden’s Blues (I ThoughtI Heard Buddy Bolden Say)(Barney & Seymour*, later lyricsby Jelly Roll Morton)This would be beyond pedantry; it would bewhat Winston Churchill, when criticized forending a sentence with a preposition, called“arrant pedantry, up with which I shall not put.”The fact is that Clarence Williams is the fellowwho set down the title, melody, and lyrics thatwe know as “My Bucket’s Got a Hole in It.”[As for the lyrics, by the way, we don’t knowfor sure that Clarence Williams created them.But Wyer & Kelley didn’t mention a bucket.Trebor doesn’t know of any “Bucket” lyricsbefore Williams. And Don Rouse reports thathe can’t find any evidence of the “Bucket”lyrics having been recorded before 1940.]But even if we could find evidence that those“Bucket” lyrics had been floating aroundbefore 1933, the fact still remains thatClarence Williams is the guy who publishedthe title, lyrics, and melody in the form that weknow as “My Bucket’s Got a Hole in It” today.2/3/01, some more info from Don Rouse:Bucket has been around at least since theturn of the century (the other one) and wasin common use in New Orleans andelsewhere, under many different titles, sameor similar melody, same I-V chordprogression. Note that it is not a blues bytechnical definition (it is not a 12 bar I-IV-Vchord progression). It is an 8 bar tune. 8 bartunes were common at the time. Also at thattime some 8 bar tunes were designated asblues; the technical definition was lessrigorous and blues apparently just meant away of playing a tune. Clarence Williamsdidn't write it. He just copyrighted it.Ear witnesses remember Bolden playing thetune (before 1910). Kid Ory interpolated itinto his medley that his band recorded in1922 (Spikes Seven Pods of Pepper),Society Blues.It also apparently went by the name LittleRed Wagon, among other titles. A NewOrleans trumpet player, Hipolyte Christian,recorded it in 1928 under the title Texas andPacific Blues. The second strain of KerryMills' Red Wing is very similar to the Bucketmelody, and the 8 bar strain is repeated tocreate a 16 bar melody. All the Whores Likethe Way I Ride is a slight variation alsoextended the same way to 16 bars. The laststrain of Joplin's Maple Leaf Rag is avariation on the Bucket melody. [This isespecially obvious in Kid Ory’s 1944recording of Maple Leaf. --DB]After listening to W. C. Handy’s 1917recording of A Bunch of Blues, Rousecommented,As we heard, following along with the sheetmusic, it is a recording of the publishedmedley, A Bunch of Blues. The last tune inthe medley, Long Lost Blues, is in its secondstrain the bucket melody [the first strain wasthe verse of Long Lost that Robbiepresumes is Wyer’s own composition].Wyer played in Handy's Memphis Band,toured with Handy, and quite possibly wasassociated with him in other ways. It is veryunlikely that Wyer originated the music toBucket's Got A Hole In It, a melodyassociated with Bolden, for one, way before1914.My Buddy (Walter Donaldson–Gus Kahn)Bob Schulz & His Frisco JB 1315Grand Dominion JB 1378Confirmed by 9/6/22 copyright reg., w. GK/m.WD. And by 1922 sheet music pub. by JeromeRemick (labeled on cover and cy page “SongVersion,” so there must have been aninstrumental version as well). Note that therewas a “My Buddy” by Neil Moret and ByronGay in 1919.My Castle in Spain (Isham Jones)Canary Cottage Dance Orchestra 1400Confirmed by 12/26/25 copyright reg., fromrevue By the Way.My Castle in Spain Is a Shack in theLane (Irving Caesar–Cliff Friend)Ernie Carson & the Castle JB 1283Confirmed by 1/16/29 unpub. copyright reg.,w/m both, but later pub. copyright reg. andcover of sheet music say w. IC/m. CF.My Conversational Man (seeConversational Man)My Curly-Headed Baby (see MaCurly-Headed Baby)My Cutey’s Due at Two-to-Two To-Day(Albert Von Tilzer–Leo Robin)Neely’s Royal Society Jazz Orch 1208Frisco Syncopators 1245We had “My Cutey’s Due at Two to TwoToday” by Von Tilzer-Bibo-Robin.Well, I found the cover (rest won’t displaybecause it’s still in copyright) at IN Harmony.Cover isMY CUTEY’S DUEAT TWO-TO-TWOTO-DAY

They have two different copies of the cover,differing only in the cut-in photo in the artwork.The cover with Vaughn DeLeath says “By LeoRobin, Albert Von Tilzer & Irving Bibo. Thecopy with Radio Bobby Lee says “Words byLeo Robin, Music by Albert Von Tilzer.”both the same. But in the details listing, onesays w. Robin/m. Von Tilzer, but the other saysw/m Von Tilzer & Bibo!But they list three other copies in their files, forwhich they don’t show covers. Details are w.Robin/m. Von Tilzer for one, but w/m Bibo-VonTilzer-Robin for the other two.But all five copies are 1926, Bibo, Bloedon &Lang.THIS IS NUTTY.Must look elsewhere.Levy has one copy: “My Cutey's Due AtTwo-To-Two To-Day” (matches the cover Isaw), w. Robin/m. Von Tilzer, also 1926, Bibo,Bloedon & Lang.Well, Middle TN State has a copy and moredetails.“My cutey's due at two-to-two to-dayCreator: Albert Von Tilzer (composer)Additional Author:Robin, Leo. lyrBibo, Irving.Breen, May Singhi. arrThis implies that there’s some kind of credit forBibo on the thing somewhere, but that it’sneither as composer or lyricist. Same pub.credits.I suspect that these are all copies of the samesheet and that something on the copyrightpage is confusing the issue as to whether Bibois a genuine participant. 6/28/11 sent off toMTSU for a photocopy.Well, I got that copy from MTSU, and the plotthickens. The cover is identical to the one atIN Harmony, with the photo of Radio BobbyLee, but the credits are different: “By LeoRobin, Albert Von Tilzer & Irving Bibo.”BUT the copyright page just says “By LeoRobin & Albert Von Tilzer.” I guess we keepBibo in the credits . . . and stay puzzled.But one thing is clear from the copyright page:My Cutey’s Due at Two-to-TwoTo-Day“To-Day” is on a separate line, but it’s thesame font as 1st line, so we’ll consider it alltitle.2013 review. We have the copyright now:My cutey's due at two-to-two to-day; noveltyfox-trot, from Greenwich Village follies,words by Leo Robin, music by Albert VonTilzer; pf. acc., withukulele arr. by May Singhi Breen © June 5,1926: 2 c. June 7 E 642203; Bibo, Bloedon &Lang, New York.OK, to heck with Bibo. He’s not on thecopyright page of the music and he’s not onthe copyright registration.My Daddy Rocks Me (with OneSteady Roll) (J. Berni Barbour)Susan LaMarche/Waldo’s Gut. Sync. 1032Grand Dominion JB 1139Chris Tyle’s Silver Leaf JB 1311Le Petit Jazzband de Mr Morel 1362Les Red Hot Reedwarmers 1416Subtitle (With One Steady Roll) is on bothcover and copyright page. ASM, 1924, JackMills.My Fate Is in Your Hands(Fats Waller–Andy Razaf)Three Deuces 1185ASM, 1929, Santly Bros. w. Razaf/m. Waller.My Fox-Trot Girl (Jack Frost–Paul Biese–F. Henri Klickmann)Levinson’s Trans-Atlantic Saxtette 1430ASM, 1907, Frank K. Root; w. Frost/m. Biese-Klickmann. Fox-Trot with hyphen on coverand copyright page.My Gal Is a High Born Lady(Barney Fagan)St. Louis Ragtimers 1267ASM, 1896, M. Witmark & Sons. High-Born oncover, but not (c).My Gal Sal (They Called HerFrivolous Sal) (Paul Dresser)State Street Aces 1011Des Plantes’ Washboard Wizards 1174Zenith Hot Stompers 1191Marquet–Persson Melody Boys 1229Original Salty Dogs JB 1233Grand Dominion JB 1268Black Eagle JB 1303Paris Washboard 1308(Oh Gee! Say Gee! You Ought to See)My Gee Gee from the Fiji Isle(Albert Von Tilzer–Lew Brown)Steve Waddell’s Creole Bells 1173Steve Waddell’s Creole Bells 1348Erdos: This from Rust. If no one has sheetmusic, should we change to S&P? I think so.8/24: Jim Riley sends the music:Oh Gee! Say Gee! You Ought To SeeMy Gee Gee From the Fiji IsleI think Shapiro & Pollock are right on subtitle:(Oh Gee! Say Gee! You Ought to See)My Gee Gee from the Fiji IsleAs for where we alphabetize it--my instinctssay under My, which is where S&P puts it, butI see that Rust puts it under Oh. Note alsothat sheet music says Isle, as does Rust index;entry on p. 1351 of Rust is Isles.8/25: Montgomery sends music, includingrevealing cover, in which the tiny print of thesubtitle (12 point) is completelyovershadowed by the 60-point type of themain title:OH GEE ! SAY GEE ! YOU OUGHT ! TO SEEMY GEE GEEFROM THEFIJI ISLEMontgomery’s note says, "The title is `My GeeGee from the Fiji Isle.’" I’m with him. In spiteof what got put on a record label, and thusinto Rust, I’d put it under "My."My Good Man Sam (Joe Oliver)Evergreen Classic JB 1202Credit on LP was “unknown.”

Ray Smith: credit should go to Oliver and hisnephew, Dave Nelson.OK - go with Oliver-Nelson--3>But look again for more than anecdotalconfirmation.2013 review: Rec. Oliver 2/25/29, Victor V-38049. Oho, the Victor label doesn’t have acomposer credit, nor is one listed in the VictorProject. Very rare.Copyright:My good man Sam; melody by King Oliver.© 1 c. Nov. 29, 1930; E unp. 31486;Southern music pub. co., inc., New York.With the copyright reg. in hand (and the LaurieWright book on Oliver), and no evidence forany other composer to be found, we shallcredit this to Oliver and Oliver alone.My Handy Man (Andy Razaf)Barbara Rosene 1431Confirmed by 8/29/28 copyright reg.My Handy Man Ain’t Handy No More(Andy Razaf–Eubie Blake)Barbara Rosene 1431Confirmed by 8/26/30 copyright reg., w. AR/m.EB. From Blackbirds of 1930.My Heart [My Heart Will AlwaysLead Me Back to You] (Lil Hardin)Peruna Jazzmen 1003Down Home JB 1171St. Louis Ragtimers 1267John Gill’s Dixieland Serenaders 1321Neville Dickie 1341Pam Pameijer’s New Jazz Wizards 1350Independence Hall JB 1384Red Rose Ragtime Band 1412

Then comes this from Bolerium Books inlisting titled African American ReligiousStudies:369. Morris, Kenneth, words and music.Twelve gospel song "hits" and their stories;the complete words and music of the twelvebest songs of this noted composer, also thestories of these songs, written by the author,compiled and edited by Sallie Martin,special autographed edition. Chicago,Martin and Morris, 1944. 24p,, 7x10.25inches, slightly worn wraps that are signedby Kenneth Morris on the front. OCLC listsone copy (Chicago Public Library). 125.00Jesus I love you -- He's a friend of mine --I'll let nothing separate me from His love --Does Jesus care -- My life will be sweetersomeday -- If I can just make it in -- Yesgod is real -- Jesus prayed for you and I --It's worth it -- Jesus is the ruler of my life -- Ican put my trust in Jesus -- I feel the Spirit.Now we’re getting somewhere. Searching onour title and Kenneth Morris Found quite a fewsites selling or mentioning Twelve GospelSong “Hits” and their Stories by KennethMorris. And in the book Black Hymnody: AHymnological History of the African-AmericanChurch, by Jon Michael Spencer, we readabouta collection of hymody titled The JacksonBible Universal Selected Gospel Songs, thework of Elder H. C. Jackson [of the Churchof God in Christ]. . . . Most of the thirty-fivesongs in the volume do not acknowledgeauthorship. Among the few hymnistscredited are Thomas A. Dorsey (“The LittleWooden Church on the Hill”), KennethMorris (“My Life Will Be Sweeter SomeDay”), and J. H. Brewster (“I’m Leaning andDepending on the Lord”).Morris turns out to be major composer,arranger and publisher of gospel music,including many sung by Mahalia Jackson thatwe’d all recognize.Found refs to title as both Someday and SomeDay -- I suspect it was the latter, but we cankeep the modern standard spelling for now.My Little Bimbo (Down on theBamboo Isle) (Walter Donaldson–Grant Clarke)Watergate Seven Plus One 1165Bob Schulz & His Frisco JB 1349Confirmed by 7/24/20 copyright reg., w.GC/m. WD. “Interpolated by Aileen Stanley inSilks and Satins (musical),” says S&P.But both cover and copyright page of sheetmusic play second part as subtitle:My Little BimboDown on the Bamboo IsleAnd half the collections that own it index it astitle (subtitle).My Little Dixie Home (Bob Cloud–Ben Garrison–Harrison G. Smith)Pam Pameijer – Duet /Trio/Quartet 1134European Classic Jazz Trio 1142Hmmm: S&P saysWords by H. G. Smith, music by Bob Cloudand Ben Garrison. Unpublished, copyrightheld by Harrison Godwin Smith. Firstrecording by the Grand Central Red Caps.Best-known version by the Jelly Roll MortonTrio (Victor).But it’s copyrighted as published:My little Dixie home; words by H. G. Smith,music by Bob Cloud [i.Robert Cloud] andBen Garrison [i.e. Benjamin Garrison] ©Mar. 15, 1929; 2 c. Mar. 12; E pub. 4177;Harrison Godwin Smith, New York.Rec. by JRM 12/17/29, Victor V-38601.Evidently no composer credit on label.My Little Girl (Albert Von Tilzer–Sam M. Lewis–Will Dillon)Golden Eagle JB 1192Rent Party Revellers 1220ASM, 1915, Broadway Music; w. Lewis-Dillon/m. Von Tilzer.My Little Pride and Joy (Joe Sullivan)Neville Dickie 1052Rec. Sullivan 8/8/35, Brunswick 02136, A-505038.Odd: no Joe Sullivan at all in 1935-36copyright books. Time-Life Giants of Jazz JoeSullivan set says he wrote it. LC SONIC saysboth Brunswicks and a Decca that Rust didn’tmention credit Sullivan.Wikipedia article on 1953 LP saysNew Solos by an Old Master is an album byAmerican jazz pianist Joe Sullivan recordedin 1953 and released on the Riverside label.[credits this tune to him in tunelist]My Mamma’s in Town! (Walter Hirsch–Louis Panico–Anthony C. Nuzzo)Back Bay Ramblers 1279Bob Oliver’s Hot Seven 13122013 review: Rec. Ted Lewis, 6/3/26,Columbia 697-D. Lloyd Turner, 6/24/26, OKeh40674, Parlophone E-5703. Fess Williams,5/24/26, Harmony 189-H. (All as “Mama’saccording to Rust).But the copyright had two m’s:My mamma's in town; words and melody byWalter Hirsch, Louis Panico and A. Nuzzo. ©1 c. Feb. 11, 1926; E 634487; Leo. Feist,inc., New York.And Rust must have been wrong: LC SONICreports Mamma’s for Fess Williams Harmony,Ted Lew Columbia, and Lloyd TurnerParlophone. And by golly, it WAS publishedin sheet music form, with two m’s and theexclamation point.My Man [Mon Homme](Maurice Yvain–Channing Pollock)John Gill’s Novelty Orchestra 12702013 review:We had this under “Mon Homme,” but welisted the English lyricist, Channing Pollock.Must reconsider that.S&P saysMy Man (Mon Homme) (American-French.Eng. w. Channing Pollack, Fr. w. AlbertWillemetz and Jacques-Charles, m. MauriceYvain. Pub. Salabert S. A. Paris, 1920/LeoFeist 1921.Introduced by Mistinguett in Paris in 1920revue, then by Fanny Brice in Ziegfeld Girls of1920, then sung by her in Ziegfeld Follies of1921. Then rec. by her three times for Victor,then sung by her in film My Man (1928) andThe Great Ziegfeld (1936).It appears that some Feist U.S. editions gaveall four credits:Words byA. Willemetzand Jacques CharlesMusic byMaurice YvainEnglish Lyric byChanning PollockBut other Feist editions just showedYvain/Pollock. All seem to have English titlebig, French title in parens.To hell with “Mon Homme” as the primarylisting: we know this song in America becauseFannie Brice sang Channing Pollock’s lyrics toit. We don’t list “Autumn Leaves” under itsFrench title or “Glow Worm” under its Germantitle.My Man from Caroline(Walter Donaldson)Rusty Taylor’s New Jazz Review 1186Back Bay Ramblers 1355Confirmed by 8/29/30 copyright reg.

My Man o’ War (Andy Razaf–Spencer Williams)Barbara Rosene 1431Rec. Lena Wilson, 2/6/30, Columbia 14618-D.Confirmed by copyright reg. 1/16/30, w/mboth.My Maryland (W. S. Mygrant)Chris Tyle’s Silver Leaf JB 1298

The change in time of the added chorus,and the slight variation in the base of theaccompaniment, there being no change inthe tune or lyrics, would not be a ‘new work’.All that remains is the change in title, which,under the instant circumstances, would notadd anything.”The appeals court held that “Burnett andNorton were joint co-authors of the 1912composition,” the follow-up district court didnot dispute this, and the validity of therenewal of all the parts of the 1912 copyrightcould underpin the continued validity of thecopyrights to the entirety of the 1914version.Seems to me that Maybelle got into the act atsome point, hard to say when, although oneaccount puts her there on Day one. Absenceof any copyrights before 1939 (which in itselfis bizarre, but I could very well haveoverlooked one or more, since I didn’t lookthrough every year, just the years for which Ifound published sheets) makes it hard to sayfor sure.So we’ll include her just to be safe.My Memphis Baby (Narvin Kimball–Harry Godwin)Black Eagle JB 1303Grand Dominion JB 1330Not in Rust. Black Eagle bandleader TonyPringle writes,“My Memphis Baby” came tome on a tapefeaturing Sammy Rimington and Geoff Bull.It was writtenby the left-handed banjoistNarvin Kimball and Harry Godwin in the1960s. It is a typical New Orleans march forwhich Peter Bullis has since obtained thesheet music. As written, it features a versenot heard in this recorded version.I doubt we’ll ever find any betterdocumentation than this. But I did: in theindex listing for the Tulane University library:Author: Godwin, Harry Easton, 1906-Title: My Memphis baby / Harry Godwin andNarvin Kimball.Edition: Special dedication ed.Published: New York : Rayster Music Pub.Co., c1966.LC Subject(s): Blues (Music); Louisianacomposers; Memphis (Tenn.)--Songs andmusic.Other Author(s):AR; Kimball, Narvin, 1909-Description: [4] p. of music ; 31 cm.Notes: Lead sheet: words and melody, withchord symbols. Cover title. Reproducedfrom manuscript. Printed on cover: "Allproceeds from sale of this edition will bedonated to the Beale Street Elks ChristmasFund." On p. 2: letter from Memphis MayorWm. B. Ingram Jr. concerning Beale StreetDesignation Program. On p. 3:Reproduction of Ms. note: "We offer thissong to the memory of W.C. Handy and toBeale Street, Memphis" ; "BealeStreet--where it is always Saturday night" ;"Beale Street--where the blues began."[Signed by] Harry E. Godwin [and] NarvinH. Kimball. Al Rose Collection.My Monday Date (see A Monday Date)My Old Daddy’s Got a Brand NewWay to Love (Mike Jackson)Neville Dickie 1324Rec. Dixie Jassers Washboard Band(w/Jackson on pno), 7/27, Pathe 7536, 11530;Perfect 136. Alberta Hunter (acc. by Jackson),2/26/27, Victor 20651. Maude Mills (acc. byFats Waller), 6/27, Banner 6019, Domino 3987et al.Confirmed by 1/1/27 copyright reg. and theAlberta Hunter Victor label--and it was way tooeasy.My Old Kentucky Home, Good Night(Stephen Foster)Canary Cottage Dance Orchestra 1415ASM, 1853, Firth Pond & Co., says “My OldKentucky Home, Good Night.” The Library ofCongress historical sheet music collection (runout of Duke University, has later editions from1896, 189? and 1909. Ones from 1890s havea hyphen (i.e., Good-night, on copyright page;“Good-night” doesn’t appear on cover); 1909agrees with 1853. Levy also has the 1853sheet--looks like that’s the oldest available.My Papa Doesn’t Two-Time No Time(Walter Donaldson)Carol Leigh & Jim Dapogny 1064Confirmed by 3/26/24 copyright reg. Notessay rec. Rosa Henderson acc. by FletcherHenderson 1923, but it was really 1924.My Pet (Jack Yellen–Milton Ager)Red Rose Ragtime Band 1399Confirmed by 3/14/28 copyright reg., w. JY/m.MA.My Pretty Girl (Charlie Fulcher)Moonlight Broadcasters 1193Charleston Chasers 1314Paul and His Gang 1329Rec. Fulcher 9/30/25, Columbia 551-D. GeneGoldkette, 2/1/27, Victor 20588 et al. FletcherHenderson, 2/5/31, Columbia 2586-D et al.Washboard Rhythm Kings, 6/1/33, Victor23408.Confirmed by 10/10/25 copyright reg. andseveral of the labels from the aboverecordings.My Regular Gal (Harry Warren–Bud Green)Back Bay Ramblers 1279ASM, 1927, Shapiro, Bernstein; w. Green/m.Warren.My Sin (B. G. De Sylva–Lew Brown–Ray Henderson)Barbara Rosene & Her New Yorkers 1393Confirmed by 3/5/29 copyright reg., w/m all 3.My Sunday Girl (Herman Ruby–Bud Cooper–Sam Stept)Keith Nichols Cotton Club Orchestra 1234Confirmed by 1/17/27 copyright reg., w. HR-BC/m. SS.My Sunny Tennessee (Bert Kalmar–Harry Ruby–Herman Ruby)Canary Cottage Dance Orchestra 1400CD said Kalmar-Harry Ruby, but my 1921sheet music, pub. Waterson, Berlin & Snyder,says Bert Kalmar-Harry Ruby-Herman Ruby.My Suppressed Desire(Chester Cohn–Ned Miller)Keith Nichols Cotton Club Orchestra 1234Confirmed by 10/9/28 copyright reg., w.NM/m. CC.My Sweet (Hoagy Carmichael–Stuart Gorrell)Independence Hall JB 1386CD says just Carmichael.Rec. Armstrong aho 4/5/30, OKeh 41415,Vocalion 3308, Parlophone R-1718 et al.(Strange--CD notes say rec. by Louis withCarroll Dickerson, but that’s not in Rust orOnline 78 books.)Something fishy here. My Hoagy CarmichaelKey Cuts four-CD set on JSP CD has theArmstrong aho record, but attributed toCarmichael-Gorrell. Yet it’s not in 1930copyright book at all. Aha, very low-res copyof OKeh 41415 label does indeed seem tocredit Carmichael-Gorrell. And aha, accordingto S&P Stuart Gorrell is cocomposer withHoagy on “Georgia (On My Mind),” 1930—butI can’t find that in 1930 copyright book either!What the hell?The Armstrong discography atmichaelminn.net/armstrong/index.php?section3 also credits S. Gorrell as cocomposer of thistune, so I’m more than confident of it, but amstill mystified as to why I can’t find it incopyright books. It’s not in 1929 or 1931either.My Sweet Lovin’ Man [Sweet Lovin’Man] (Lil Hardin–Walter Melrose)Louisiana Repertory Jazz Ensemble 1029Louisiana Repertory Jazz Ens. CD 1055Minerva JB 1117Jacques Gauthé’s Creole Rice YBJB 1170South Frisco JB 1180Neville Dickie 1309

Dan Levinson’s Roof Garden JB 1361Miss Lulu White’s Red Hot Creole JB 1370High Society JB 1396All through 1309 were Sweet Lovin’ Man,Hardin-Melrose. Last three were My SweetLovin’ Man.< Bob, your Jan 2000 note says to make it[My] Sweet Lovin’ Man based on sheet musiccopyright page. Actually, clear back at the2nd edition, Vince Saunders pointed out thatthe correct title is My Sweet Lovin’ Man,Kinkle, Rust, and your Oliver book all had it asSweet Lovin’ Man, so we went with that.Anderson fake book also confirms MySweet...And Audrey Van Dyke has copy of the leadsheet in Lil’s handwriting from Library ofCongress Music Reading Room, confirmingMy Sweet Lovin’ Man.2013 review: Rust has no entry for “My SweetLovin’ Man,” only for “Sweet Lovin’ Man” --and this may well be where the confusionstarted. Rec. NORK 3/12/23, Gennett 5104 etal. King Oliver, 6/22/23, OKeh 4906 et al.Couldn’t find the NORK Gennett label, butmany secondary references, including thehighly authoritative LC SONIC, say that it was“Sweet Lovin’ Man.” Oliver OKeh is definitely“Sweet Lovin Man.”Copyright is clear:My sweet lovin' man; words and melody byWalter Melrose and Lillian Hardin [of U.S],arr. by Dave Payton [of U.S.] 6927 © 1 c.Feb. 19, 1923; E 558660; Melrose bros.,Chicago.John Gill reports having the copyright deposit,but his note is a bit confusing:My Sweet Lovin' Man (My Sweet Smillin'Man, My Sweet Smellin' Man) 12/4/22Walter Melrose and Lillian HardinNo reason for us to react to those titlevariations, but they’re interesting.But I can’t find that sheet music anywhere. If itreally was published at the time, 1923, as “MySweet Lovin’ Man,” the the sheet music wouldtake precedence and that would be the title,with “Sweet Lovin’ Man” an alternative thatpopped up on record labels.BUT if it wasn’t published in sheet form, thenthe record labels take precedence, making thetitle “Sweet Lovin’ Man,” with the copyrightreg. an unpub. title that was superceded by apublished version, the record labels.Dan Levinson weighs in with link to ASCAP,which lists My Sweet as primary title, Sweet asalternate title. “Publishers/administrators” areLouis Armstrong Music Pub. Co and Edwin H.Morris & Co. With all this, I think My Sweetmust be primary title, Sweet an alternative.My Sweet Tooth Says I Wanna(But My Wisdom Tooth Says No)(Sam H. Stept–Joe Young–Sidney Clare)Henry’s Bootblacks 1149LP had quotes around “I Wanna” and “No.”Copyright reg. 7/1/31 has no quotes, noparens--but it usually doesn’t have suchpunctuation.Rec. Fletcher Henderson, 7/31/31, Victor22786, HMV B-4911 (Victor label has parens,no quotes). Ben Selvin, 7/14/31, Columbia2501-D (Rust shows parens and “I Wanna” inquotes).Obviously, this one will be decided by thesheet music. And Frederick Hodges providedit. Cover isMY SWEET TOOTH SAYS I WANNA(BUT MY WISDOM TOOTH SAYS NO)Copyright page isMy Sweet Tooth Says I WannaBut My Wisdom Tooth Says NoMy Sweeter Than Sweet(Richard A. Whiting–George Marion, Jr.)Back Bay Ramblers 1355S&P confirms, as does 10/23/29 copyrightreg., w. GMJr./m. RAW.My Sweetie Went Away (She Didn’tSay Where, When or Why)(Lou Handman–Roy Turk)Marty Grosz /Keepers of the Flame 1158Steve Waddell’s Creole Bells 1301Helm–Leigh Jazz & Blues Review 13321158 was just “My Sweetie Went Away”; 1301was “My Sweetie Went Away (She Didn’t SayWhere—When—Or Why).”Hah! Stumbled across this quite accidentallywhile looking at big collection in Alexandria.Usage above is cover art, but copyright pageisMy Sweetie Went Away (She Didn’tSay Where, When or Why)My Troubles Are Over (James V.Monaco–Edgar Leslie)San Francisco Starlight Orchestra 1271Confirmed by 11/10/28 copyright reg., w.Edgar Leslie/m. Jimmie Monaco.My Wife Is Dancing Mad(Archie Gottler–Coleman Goetz–Howard Johnson)Ian Whitcomb & Dick Zimmerman 1049Ian Whitcomb & His Merry Bands 1276ASM, 1914, Broadway Music; w. Goetz-Johnson/m. Gottler.My Wild Irish Rose (Chauncey Olcott)New Orleans Rascals 1074Canary Cottage Dance Orchestra 1400Confirmed by 1899 sheet music, pub. M.Witmark & Sons. From Olcott’s production ARomance of Athlone.My Wonderful You (Halsey K. Mohr)Back Bay Ramblers 1262Not in S&P or Rust. Inspired by 1928 BillyJames record, say notes. Online 78 saysBanner 7247, 10/1/28, by Missouri JB(pseudonym for?/Billy James. Givescomposer credit of “[Halsey K.] Mohr”-- butthat’s suspicious.Copyright books 1927-29 don’t have a HalseyK Mohr at all.But a detailed German listing site(musiktiteldb.de) has recordings of the tuneby Roy Collins Dance Orch, Harold WhiteOrch and Missouri JB, all Halsey K. Mohr, andLC SONIC has the Roy Collins record (creditMohr) and Harry’s Melody Men (H. K. Mohr),so I guess it’s for real.Mystery (Joe Venuti)Terry Waldo’s Gotham City Band 1120Andy Stein Blue Five 1390Rec. Venuti Blue Four, 3/20/35, Decca 625,Brunswick 02018 et al.Oops, no composer credit on Decca 625label, although there is a composer credit ofAdrian Rollini for the flip side, “Tap RoomBlues.”In fact, six sides were recorded at thatsession, released on Decca 624, 625 and 629.I found all six labels: Four of them (Mello as a’Cello, Vibraphonia No. 2, Nothing but NotesTap Room Blues) had a composer credit ofAdrian Rollini; the other two, Mystery andSend Me, did not have a composer credit atall. And none of the six was copyrighted.Don’t like the look of this--must consult Waldoand Stein--done 8/6/13. Alas, neither hadanything to contribute. Does anybody elsehave any hard evidence that Venuti wrote it?(could end up a candidate for a “Venuti?” typecredit.NNagasaki (Harry Warren–Mort Dixon)Neville Dickie 1176Paris Washboard 1308Confirmed by my repro sheet music and7/13/28 copyright reg., w. MD/m. HW.

Naked Dance (Tony Jackson–Jelly Roll Morton)Tom Shea 1022Clopyright 12/20/39 by Jelly Roll alone, but hefreely cknowledged that he got it from TonyJackson. (See Mamie’s Blues)Nancy Jane (Thomas A. Dorsey)Jim Snyder /Georgia Grinders 10689/5, DB at LC: Nancy Jane, w/m ThomasDorsey, unpub., 10-2-30. (c) Lester Melrose,Chicago. No doubt in my mind at all--this is it.June 2010 another round of research withDave Robinson. Fort Worth Doughboys(including Milton Brown & Bob Wills) recordedit in 1932, with credit to Brown, or possiblyBrown-Wills. But Dave says it’s the same tuneas this one and the same as the Roy Palmerversion (recorded with the Memphis NightHawks 1931). (Found Melotone 7-01-63label—not mentioned in Rust—by AlabamaRascals; no composer credit.My report to dave:So now we have...1930, May - Big Bill Broonzy recording,unissued1930, Oct - Thomas A. Dorsey copyright entryin Library of Congress1932, Feb - Fort Worth Doughboys recording,credited to Milton Brown by ProperBox, toBrown-Wills in my 20-volume History ofCountry Music set1932, Mar - Memphis Night Hawks recordingIf we had the Memphis Night Hawks record,we could look for a composer credit on thelabel. According to Rust, it was issued on fourlabels, but of the four, only Perfect is to befound in the Online 78 rpm DiscographicalProject (http://www.78discography.com/), andI can't find this record there (although I didlearn that the Famous Hokum Boys recorded it[or another "Nancy Jane"] for Perfect on April9, 1930, which predates everything we've seenso far). AND the Famous Hokum Boys were infact Tom Dorsey and Bill Broonzy! So ThomasA. Dorsey still looks right.As near as I can learn, Brown didn't form aband until 1931 and didn't record until 1932,so it's hard to believe that Broonzy and theHokum Boys recorded a Milton Brown song in1930. Georgia Tom, on the other hand, hadbeen around quite a few years.Nanette (Adam Carroll)Wally Rose 1057Confirmed by 7/14/27 copyright reg.Naughty Man (Don Redman–Charlie Dixon)Charleston Chasers 1314Les Rois du Fox-Trot 1429Rec. Fletcher Henderson, 11/7/24, Vocalion14935;11/14/24, Columbia 249-D; 11/24/24,Oriole 437 as Sam Hill aho. Not in copyrightbooks 1924-25. Only label I could find was theOriole, which was indeed Redman-Dixon, butLC SONIC confirms Dixon-Redman for bothColumbia and Vocalion.Navy Blues (Fred Ahlert–Roy Turk)Ingham–Grosz Hot Cosmopolites 1323Rec. Hot Air Men (Phil Napoleon group),1/9/30, Columbia 2092-D for film Navy Blues.Miff Mole, 2/6/30, OKeh 41371 et al. Online 78says Turk-Ahlert for Columbia; RHJA saysTurk-Ahlert for Okeh.Confirmed by 7/23/29 copyright reg., w. RT/m.FA--had been recorded by Fred Waring forVictor in 1929, Victor Project confirms Turk-Ahlert.Near North Side Blues (Ray Skjelbred)Ray Skjelbred 1124Near the Cross [Jesus, Keep MeNear the Cross] (William HowardDoane–Frances Jane Crosby)Grand Dominion JB 12919/2, Bob, I failed to comment on these figuringthat I’d hear from Rouse or Montgomery (healso says he’s got lots of hymnals and askedfor that list). Haven’t heard from either ofthem, but the two entries I’ve found lead me toaccept the subtitle; also, I believe we shoulduse the full formal names of composers asfound in both sourcebooks.9/12: Montgomery finds hymnal that saysspecifically that title is Near the Cross, but thatsong also is known as Jesus Keep Me Nearthe Cross.Need a Little Sugar in My Bowl(Clarence Williams–W. A. D. “Danny”Small–J. Tim Brymn)Rusty Taylor /Southern Stompers 10282013 review: What? All second-handsources? Let’s look for copyright and recordlabels. Rec. Bessie Smith, 11/20/31,Columbia 14634-D. Record label I found wasblurred, seems to say “Williams, Byrne andSmall.” LC SONIC says it’s Byrns, and it couldbe that as well. Title definitely Need a...Oops, now comes the copyright:I need a little sugar in my bowl words andmelody by C. Williams, Dally Small and J. T.Brymn. © 1 c. Jan. 14, 1932; E unp. 50141;Clarence Williams music pub. co., inc., NewYork.And he was “Dally” in the index as well. Andthat’s how he’s listed in the Clarence Williamscomposition list at Songwriters Hall of Fame.And if you do a google search on clarencewilliams + dally small you find MANY hits onthose names in conjunction with this tune title--but no others. Lots of singers have recordedit using those credits--presumably lifted off thecopyright.And WOW: The Library of Congress reportswhat looks like to be the copyright deposit, as“I Need a Little Sugar in My Life” by SallySmall, Clarence Williams, and J. Tim Brymn.Says “Performing Arts Reading Room(Madison, LM113)”--is that what I know asMusic Reading Room? And the date on it isJan. 14, 1932, same as the entry I found. Willbe exciting to look for this at LC.Neglectful Blues (Everett Sanderson)Chrysanthemum Ragtime Band 1123ASM, 1919, Everett Sanderson.Nellie Kelly I Love You(George M. Cohan)Canary Cottage Dance Orchestra 1400Neither copyright nor cover nor copyrightpage had the logical comma.Nervous Tension (Tiny Parham)Jungle Crawlers 1084Rec. Parham 11/4/30, Victor 23386.Not copyrighted 1929-31, but Victor labelconfirms Parham.

Never Again (Isham Jones–Gus Kahn)Paramount JB of Boston 1205Rec. Isham Jones, 1/17/24, Brunswick 2577.Bailey’s Lucky 7, 5/9/24, Gennett 5452. AltaCates, 8/24, Vocalion 14874. Tommy Dorsey12/30/39. Victor 26148.Confirmed by 3/14/24 copyright reg., w. GK/m.IJ.Never Heard of Such Stuff (Fats Waller)Neville Dickie 1397Not in Rust. Dickie says he found it in a folioof Waller compositions pub. in 1953. And loand behold, it was copyrighted 1April1953 byMills Music.Never Swat a Fly (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285Confirmed by 3/31/30 copyright reg., w/m all3.New Black Eagle Rag, The(Glenn Jenks)Glenn Jenks 1179New Call of the Freaks, The (seeThe Call of the Freaks)New Down Home Blues (seeDown Home Blues)New Kind of Man, A (with a NewKind of Love for Me) (Leon Flatow–Sidney Clare)Leigh–Dapogny Mysterious Babies 1087Neville Dickie 12692013: Rust indexes with the subtitle,, butlistings vary. Rec.Arkansas Trio, 6/20/24, Edison 51373, BlueAmberol 4004 (no subtitle).Georgians, 5/10/24, Columbia 136-D, full titleno parens.Fletcher Henderson, 8/29/24, Vocalion 14880et al. (as index)Sax Holtsworth’s Harmony Hounds, 7/6/24,Gennett 5508 (no subtitle).George Olsen & His Music, 6/5/24, Victor19375 (no subtitle).Varsity Eight, 9/10/24, Cameo 602, Lincoln2256 ( as Varsity Sextette) (no subtitle.Copyright shows the subtitle:New (A) kind of man, with a new kind of lovefor me; w and m Sidney Clare and LeonFlatow, both of U.S. © June 11, 1924; 2 c.June 14; E 589235; Jerome H. Remick &co., New York.LC SONIC confirms the subtitle in parens forArkansas Trio, Varsity Sextette, FletcherHenderson; many others divided between nosubtitle or full title with no parens.And found sheet music online: Cover hassubtitle smaller and in parens; copyright pagehas subtitle on second line in smaller font, butno parens.New Moon, The (Irving Berlin)Bob Pilsbury with Friends 1265New Moten Stomp (See Moten Stomp)New Orleans (Hoagy Carmichael)Paris Washboard 1280ASM, 1932, Southern Music.New Orleans Blues (Johnny de Droit)Charquet & Co 1076Le Petit Jazzband 1403Les Rois du Fox-Trot 1434Confirmed by 3/15/24 copyright reg., but notethat his last name is spelled solid in copyrightentry (DeDroit) but clearly De Droit in index,and he’s De Droit in Rust name index as well.2013 review: Rec.Johnny de Droit, 3/15/24, OKeh 40090. Labelcredits “DE DROIT” (note space).Dan Stewart, 12/7/29, Vocalion 1536.Blue Lu Barker, 8/11/38, Decca 7538. Labelcredit is Barker.New Orleans Blues (Morton) (seeNew Orleans Joys)New Orleans Bump [Monrovia](Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1335Back Bay Ramblers 1355Rec. Morton aho, 7/10/29, Victor V-38078,Bluebird B-7757, HMV JK-2737 et al. Rustcalls it “New Orleans Bump (Monrovia)”--what’s that about? The answer lies in theVictor Project files: Primary title for Victor38078 was “New Orleans Bump”; the primarytitle for British Rhythm Society 1001was“Monrovia (A New Orleans Bump).” ButJelly Roll expert Mike Meddings claimed on aDJML post that the Swiss HMV JK 2737 issuealso carried that title. And oops, it appearsthat it came out that way on Victor LPV-546.So I guess we ought to treat that as alegitimate alternative title and show it here.NO Bump confirmed by 12/7/29 copyright reg.New Orleans Feels Like Home(Andy Leggett)Henry’s Bootblacks 1149Leggett was reed player/vocalist in the band.New Orleans Hop Scop Blues(George W. Thomas)Morten Gunnar Larsen 1009Ian Whitcomb & Dick Zimmerman 1017Fenix JB 1129Golden Eagle JB 1192Marquet–Persson Melody Boys 1229New Jazz Wizards 1244Confirmed by 10/10/23 copyright reg.. & coverof sheet music.New Orleans Hula (George Lewis,based largely on Hula Lou by JackYellen–Milton Charles–Wayne King)Monty Sunshine JB 11102013 review: Seems to me like there’s a gapin the trail above. There is a “Hula Lou” in the1924 copyright book (1/2/24, w. JackYellen/m. Milton Charles-Wayne King, fromArtists and Models.Rec. Bailey’s Lucky 7, Calif. Ramblers,Georgians, Clarence M. Jones, Isham Jones,New Orleans JB, Sophie Tucker, Varsity 8 allJan-Feb 1924.Presumably then another case of an old NewOrleanian (Lewis and Bunk Johnsonespecially) dredging up a title he’d hearddecades before, either getting the title wrongand not remembering the composers orfiguring with so much time past, he could getaway with claiming it for himself.I don’t have the George Lewis record, buthave NO Hula by Canadian George Berry, aLewis disciple. Listened to Isham Jones “HulaLou,” then Berry, then Sunshine. You canhear patterns of the 1924 record in Berry, andin Sunshine’s case, he plays the “Aloha Oe”melody as an intro before going over to theGeorge Lewis NO Hula. I guess we’re OK inour credits.New Orleans Joys [New OrleansBlues] (Jelly Roll Morton)Oakley’s Lakeshore Serenaders 1013Louisiana Repertory Jazz Ensemble 1029Louisiana Repertory Jazz Ens. CD 1055Paramount JB of Boston 1247

John Gill’s Novelty Orchestra 1270Frank French & Scott Kirby 13062013 review: We have been listing this underBlues as primary, Joys as alternative, but wemust reverse that. The tune was“published”—on a Gennett record—as “NewOrleans Joys” in 1923. It was copyrighted as“Joys” two years later, but it wasn’t publishedas Joys until Jelly recorded it for Lomax in1938 and it was released on Circle recordssome time later.New Orleans Shuffle (Bill Whitmore)New Orleans Classic Jazz Orch 1223Down Home JB 1300Yerba Buena Stompers 1381One More Time JB 1410Rec. Halfway House Orch (Albert Brunies ldr,Bill Whitmore piano), 9/25/25, Columbia 541-D, BRS 997.Confirmed by 11/27/25 copyright reg. byWilliam Augustus Whitmore of New Orleans.New Orleans Stomp [New OrleansCut-Out] (Louis Armstrong–Lil Hardin)Canal Street JB 1005South Frisco JB 1027Louisiana Repertory Jazz Ensemble 1055Keith Nichols’ Hot Six 1063Black Eagle JB 1091Turk Murphy JB 1161Down Home JB 1171Jacques Gauthé’s Creole Rice YBJB 1256John Gill’s Dixieland Serenaders 1304Neville Dickie 1309Paris Washboard 1338Le Petit Jazzband 1389

New Orleans wiggle; by Peter Bocage andA. J. Piron, of U.S.; pf. Clarence Williamsblues ed. © Jan. 21, 1924; 2 c. Jan. 19; E578996; Clarence Williams music pub. co.,New York.Not sure what to make of this Jan. 21copyright. It doesn’t mention lyrics, andnothing on the sheet music says anythingabout it’s being a “blues edition.” I lookedback through 1925 without finding a follow-uprereg.This one pains me: (a) I feel that thepublished sheet music is the gold standard ofauthority; (b) the record and the sheet musicwould have been released in the same year(recorded 12/11/23, so couldn’t have been outuntil 1924), and (c) the sheet music clearlysays by Bocage, Piron & Williams on bothcover and copyright page. And yet, strangely,Williams didn’t copyright the version hepublished with lyrics.I’ve argued against this in the case of manyTin Pan Alley ragtime songs, but I guess I’lljoint Erdos in his proclivity toward declaringWilliams a later lyricist that we need notinclude. The push of a feather would take meover the line toward including him.New Tulsa Blues, The(see Tulsa Blues)New Twister, The (Teddy Krise–Ralph Lillard)New Orleans Classic Jazz Orch 1223Rec.Little Molers, 9/1/27, OKeh 40984, Vocalion3074, Parlophone R-3441 et al.Original Wolverines, 10/12/27, Brunswick3707, Vocalion 15635 et al.NO Owls, 10/26/27, Columbia 1547-D.Alabama Red Peppers, 1/20/28, Cameo 8132,Lincoln, 2786, Romeo 555.Confirmed by 10/8/27 copyright reg.New Vine Street Blues (Bennie Moten–Count Basie)Keith Nichols & the Blue Devils 1387Here we go again (see [New] Moten Stompand [New] Tulsa Blues above.Rec. by Moten as Vine Street Blues 11/29/24,OKeh 8194; composer credit is “BennieMoten’s Kansas City Orchestra.” Then as NewVine Street Blues 10/24/29, Victor 23007,Bluebird B-6710; composer credit is BennieMoten-Count Basie according to Victor Projectand RHJA.No copyright reg. of either title 1924-31.I’m not as sure that these are really similar--arrangements are quite different to my ears.Queried Nichols 8/7/13, but he’ll be onvacation until Sept. 8, unwired except for cellphone. [Never responded, but I decided notto repeat question--see final 12/28/13 notehere.]But after all this I began to have secondthoughts. You certainly cannot argue thatwriting an arrangement of an old song for yourband that differs in many places from theoriginal gives you the right to affix “New” toand imply that it’s yours--it’s just what jazzbands do. You’d think a bandleader nuts if heintroduced every tune in a concert of jazzstandards as the “New” this and the “New”that, or even if he introduced every tune as“Our version” or “Our arrangement” of thosetunes. That part of it is given, unless they’replaying off a transcription of the originalrecording without changing a note.But what about a bandleader/composer(specifically, Bennie Moten) who writes anupdated arrangement for a tune he recorded afew years before and decides to call it the“New” Moten Stomp or “New “ Tulsa Blues?You could argue that it’s his right to do so if hethinks it’s substantially different. (Or the callmay have been made by a record companythat worries that potential buyers will presumethat the 1927 Tulsa Blues is just a reissue ofthe 1924 Tulsa Blues and not buy it.)In the case of Moten’s updating his owncompositions, I’m ambivalent.But a couple of cases stand out, such asMoten writing Moten Stomp with ThamonHayes, then later recording a “New”arrangement and leaving Hayes off the credits.That seems simply unethical.Especially egregious is Clarence Williamsrecording Tom Delaney’s song at a hottertempo without the vocal, calling it the “NewDown Home Blues,” and not putting Delaney’sname on the record, thus implying that it’sWilliams’s creation.12/28/13 revisit: Since we don’t have anyrecordings that we’ve called Vine Street Blues,we don’t—for now—have to agonize overwhether the “New” version is substantiallydifferent from the old version. Nichols clearlyemulated the 1929 “New” version, whichclearly credits Moten-Basie on the label, solet’s just stop there.New York Hippodrome, The(John Philip Sousa)Chrysanthemum Ragtime Band 1047Copyright reg. has The:New York (The) hippodrome; march by JohnPhilip Sousa, of U.S.; piano. © Sept. 28,1915; 2 c. Sept. 28, 1915; E 372557; T. B.Harms & Francis, Day & Hunter, New York.No The on cover, but copyright page has it, atleast the 1915 piano version pub. by samepublishers mentioned in copyright.New York Rag (Dave Dallwitz)Dave Dallwitz JB 1112Nickel in the Slot (Zez Confrey)David Thomas Roberts 1132ASM, 1923, Leo Feist; w. Leo Wood/m. ZezConfrey. Cover has subtitle (Drop a Nickel),but it’s not on (c) page. Blurb on cover is“Also published as a piano solo.” I’m torn:Generally, I’ve argued that the public of theday thought of “ragtime” as a song genre, andin many cases it appears that the songwritersworked jointly on a composition that came outas a song, but then also did a piano soloversion at the same time. Which drove which?But in this case, (a) I have never heard lyricssung to this piece, and (b) Perfessor BillEdwards’s description of it gives us an out,implying that the lyrics were written just tocash in on an already popular piece:“[Confrey’s] recording, released concurrentlywith the music, displays . . . his flawlesstechnique. . . . It was popular enough that itwas released as a song also, with lyrics byLeo Wood, composer of ‘Somebody Stole MyGal.’”Niddapark Strut (Reimer von Essen)Jazz Classics CD 1061Von Essen is the clarinet player.Night in Tunisia, A (Dizzy Gillespie–Frank Paparelli)Les Rois du Fox-Trot 1429CD said just Gillespie.From Wikipedia:"A Night in Tunisia" is a musicalcomposition written by Dizzy Gillespie andFrank Paparelli in 1942 while Gillespie wasplaying with the Earl Hines Band. It hasbecome a jazz standard.It is also known as "Interlude", under whichtitle it was recorded (with lyrics) by SarahVaughan (from the EP "Hot Jazz (album)",1953) and Anita O'Day. Gillespie himselfcalled the tune "Night in Tunisia", althoughthe song is usually titled "A Night in Tunisia".It appears as the title track of 30 CDs and isincluded in over 500 currently available CDs.In January 2004, The Recording Academyadded the Dizzy Gillespie & his Sextet’s1946 Victor recording to its Grammy Hall ofFame.Not in 1942-43 copyright books. Online 78says Boyd Raeburn 1945 record with Dizzy ontrumpet titled “Interlude (Night in Tunisia).”Composer Paparelli-Gillespie-Laveen. OK,found published copyright sheet, m. DizzyGillespie-Frank Paparelli/w. Raymond Leveen,

dated 1944, so I looked in 1944 copyrightbook and foundNight in Tunisia; w Sid Robin, melody Dizzy[i.e. John] Gillespie & Frank Paparelli. © 1c. May 29, 1944; E unp. 376830; Leedsmusic Corp., New York.[couldn’t find any later registrations of it.]Book on the subject of the song claims thatDizzy probably wrote it before 1942, that it wascertainly being played 1942-44, but the vocalby Sarah Vaughn in 1944 was the firstrecording on wax. Then Gillespie’s recordwith Boyd Raeburn in 1945.Another book, The Jazz Standards, saysEarl Hines later claimed that he came upwith the name “A Night in Tunisia,” butGillespie rebuts this, nothing that he hadperformed the song under its eventual titlebefore joining Hines’s band [1942]. . . .Frank Paparelli is usually credited as cocomposer,but Gillespie adds a footnote tothis as well, insisting that Paparelli played norole in writing the song, but was given apiece of the action in exchange fortransribing some Gillespie solos forpublication.Which explains this later copyright entry:The Dizzy Gillespie trumpet style;transcribed by Frank Paparelli. Trumpetsolos with piano accompaniment; pianoscores by F. Paparelli. New York, Leedsmusic corporation. © substitution of "52ndStreet" for "Night in Tunisia," 21Feb46;publisher; EP1456.What a mess. Robin got on copyright and onat least one V-disc label. Leveen got onseveral labels, including Dizzy’s Boyd Raeburnrecord in 1945, but more labels said just Dizzy-Paparelli. But I haven’t been able to find theDizzy-Sarah Vaughan label from 1944.I’ going to add Paparelli, because rightly orwrongly he made his way into the copyrightreg. and most of the early record labels, butI’m going to skip the lyricist credit, because it’sproblematic, and the lyrics clearly were writtenafter the melody by some time.Nightmare, The (Al Handler–Len Riley–Billy Meyers)New Orleans Classic Jazz Orch 1223Charleston Chasers 1287John Gill’s Jazz Kings 1401Confirmed by 7/17/26 copyright reg., w/m althree.Nimble Fingered Gentleman(Billy Mayerl)Tony Caramia 13133/22/34 copyright reg. filed by English Keith,Prowse & Co. Ltd. has no hyphen. Nor isthere one on the cover of the published sheetmusic.1919 [1919 March] [1919 Rag](unknown)High Society JB 1010Uptown Lowdown JB 1030West End JB 1042Yerba Buena Stompers 1369

Turk: "That was a tune called '1919 Rag'. Itwas originally a French march. I can'tpronounce the name [unintelligible] if I knewit. I think the reason people in New Orleansgave it up originally was that they couldn'tsay it either."...Turk: "This happened to be a French marchthat they later named '1919'." [I actuallyfound this interview online on a web site andcan confirm this report of it. --Dick]So I gather that this was one of thosemarches in a book of marches, with somehard-to-pronounce French title in which theydon't pronounce half of the letters andmispronounce (at least to American ears)the rest. They couldn't say the name, sothey gave it another name, the "1919 March"(possibly in that year), and later made itinto a rag.[Dave Robinson later added this to Turk’scomments above:I see that mention is made of Turk Murphycrediting French composers in his JazzCasual remarks, but the composer credit onthe CD of that program isn't shown ordiscussed. The credit, in case you haven'tseen it, is”Michel Jouve - Frank Terran, BMIWoodchuck Music Inc.” A thread worthpulling if you haven't already.And then from Don Mopsick a few days later:Many thanks for everyone's interest andeffort on this topic. I will add a little more tothe pile of knowledge: Jim Cullum had in hispossession a complete (and I meancomplete) arrangement of 1919 Rag by PaulCrawford that had never been performed bythe JCJB, although Chuck Reilly had anabbreviated version of it that he used withhis Alamo City Jazz Band. Jim gave me thescore and I extracted all the parts on Finale.We began playing the chart several weeksago when we began rehearsals for theupcoming Riverwalk recording in December.Ron Hockett and I agree that if played at afaster tempo (close to a gallop), thisarrangement does indeed soundsuspicioiusly like a circus march thatCOULD have been composed by Karl L.King (Ron and I both have experienceplaying this type of music, Ron obviouslymore than I since he was in the "President'sOwn" USMC Band in DC for 29 years). Also,Crawford's arrangement has two interludes,one of them a bugle call, that are notincluded in the Watters/Murphy chart.I asked Jim what he knew of the origin of thetune, and he said he thought that Crawfordhad learned it in New Orleans. It's interestingthat Crawford wrote out ALL the parts,including all the horn parts on the ride-outchorus, leaving no spaces for improvisedensemble playing. Could he have taken allof that from the original march? If so, myguess is that he was working from apublished score. In any case, Crawford'schart was clearly a labor of love.2013 review. As an afterthought, I decided todo a google search on “march michel jouvefrank terran.” I found several jazz-oriented hitsthat could have stemmed from the TV showcredits mentioned above, but then I found alink into the 1976 Library of Congresscopyright book, where I found1919 rag. Piano £ chant. Paroles de PrankTerran, pseud, of Andre clergeat, m:traditlonnel, arrangeur: M, Jouve, pseud, ofnichel Vlllard, France, it p. French. Nn: arr. £words, O Editions nusicales VogueIrternational; 8Aug76; EPO-185263,I won’t even try to sort out all the scanningtypos in this online version of the copyrightbook, but I suspect it means that in 1976Jouve did an arrangement of a “traditionell”tune, and Terran wrote some lyrics. For all weknow, they were writing for the French versionof the Swingle Singers. I suspect that theproducers of that TV show looked in thecopyright books, found this, and decided itwas the copyright for 1919. In that same 1976book, we find Jouve wrote the music andTerran the lyrics for “Goodbye Ponpano”;Terran the lyrics and Jouve and John Brendanthe music for “Captain Nartine’s Stick,”“Cockatoo camp meeting,” and “BrazilianTwirling”; and Terran the lyrics and Jouve thearrangement for “He’ll Balk [sic] through thestreets of the city by “traditional.” I think wecan dispense with them as potentialcomposers of 1919.Later Robinson adds a little to the Turkinterview:On the show, Turk alludes to an earlier(unpronounceable) French title. I wonderwhether the Jouve arrangement might makereference to the tune's original title? Turksays it appeared in little green books ofEuropean marches that musicians in NewOrleans used as source material in the earlydays of jazz, and that High Society came outof those books too. (But High Society isn'tof European origin.)No Complaints (Ray Skjelbred)Ray Skjelbred 1097No, No, Nora (Ted Fiorito–Ernie Erdman–Gus Kahn)Paul and His Gang 1329No! No! Nora! on cover, but what we have ison copyright page. ASM, 1923, Leo Feist; w.Kahn/m. Fiorito-Erdman.No One But You Knows How to Love(May Singhi Breen–Peter De Rose–Jo Trent–Allan Frazer)Charleston Chasers 1287Only rec. in Rust as No-One but You (KnowsHow to Love) by Johnny Sylvester aho,9/21/26, Gennett 3384, 6061; Champion15174* (*as Twin City Bell-Hops).RJHA shows no hyphen, but has the parensfor Gennett. And now I notice that Rusthyphenates all his “no ones,” so ignore himon this point.Copyright:No one but you knows how to love; wordsby Jo' Trent and Allan Frazer, music by MaySinghi Breen and Peter De Rose. © 1 c.Aug. 5, 1926; E 643516; Broadway musiccorp., New York._____________. pf.acc., with ukulele arr. byM. S. Breen. © Aug. 25, 1926; 2 c. E643891; Broadway music corp., New York.Bought the sheet from MTSU: cover is== NO ONE BUT YOU ==KNOWS HOW TO LOVEBut copyright page has entire title on one line,no hyphen, no parentheses.No One Else But You (Don Redman)Jimmy Noone Jr/Davies Rhythmic 5 1121Hot Antic JB 1154Neville Dickie 1341Pam Pameijer’s New Jazz Wizards 1363Rec. LA Savoy Ballroom 5 (w/ Redman onreeds), 12/4/28, OKeh 8669, 41204; Columbia35662; Vocalion 3085 et al.Confirmed by 3/23/29 copyright reg. byDonald Redman, melody only, unpub.No, Papa, No! (Victoria Spivey)Pam Pameijer’s New Jazz Wizards 1363Rec. Spivey 10/17/28, OKeh 8634.Confirmed by 12/31/38 copyright reg.AND you’ve been pronouncing her namewrong all these years. According to RaySkjelbred, who worked with her in the 1970s,she pronounced it to rhyme with “privvy.” Sothere.Noalimba Breakout (Eric Holroyd)Steve Waddell’s Creole Bells 1301Holroyd was “guest” cornetist on some tracksof the CD.Composed in 1992 and winner of the OriginalTunes competition at the Australian JazzConvention. Named after a run-down hotel inNoalimba, south of Perth, the scene of a WestAustrialia Jazz Festival.Nobody But My Baby Is GettingMy Love (Clarence Williams–

Andy Razaf)Leigh–Dapogny Mysterious Babies 1087Neville Dickie 1096Dick Hyman 1141West Jesmond Rhythm Kings 1255Paris Washboard 1293Neville Dickie 1324Des Plantes’ Washboard Wizards 14092011: Surely by now we can find betterconfirmation, sheet music or cy card.Copyright reg. 8/31/26 has it all run together inone long title, Getting. Rec.Bessie Brown, 9/26, acc. by Williams et al.,Banner 1859, Domino 3829 et al. Bannerlabel matches copyright.Lucille Hegamin, 9/28/26, acc. by Williamsband, Columbia 14164-D. Label has full title,no parens, gettin’.Eva Taylor, 10/5/26, acc. by Williams band,OKeh 8407. Label matches the weirdtypography of the copyright page below.Williams washboard 4, 1/29/27, OKeh 8440 etal. Label also matches the copyright pagebelow.Sheet music: Cover isNOBODY BUT MY BABY(IS GETTIN’ MY LOVE)Copyright page isNobody ButMy Baby Is Getting My LoveASM, 1926, Clarence Williams; w/m Williams &Razaf. Too absurd to deal with, so let’s justleave it the way we have it. Well thetypography on the copyright page and two ofthe recordings is just too weird tocontemplate, so I’m breaking my rule andgoing with the wording of the copyright andthe first recording.Nobody Cares If I’m Blue(Harry Akst–Crant Clarke)Back Bay Ramblers 1279Barbara Rosene & Her New Yorkers 1393ASM, 1929, M. Witmark; w. Clarke/m. Akst.Nobody Knows (and Nobody Seemsto Care) (Irving Berlin)Bob Pelland & Bob Pilsbury 1212Copyright isNobody knows, and nobody seems to care;words and music by I. Berlin [of U.S.] © 1 c.July 16, 1919; E 454999; Irving Berlin, inc.,New York.Comma generally means transition to subtitle.Yep, published sheet music has subtitle onboth cover and copyright page.Nobody Knows the Way I Feels DisMornin’ (Tom Delaney–Pearl Delaney)Wally Fawkes & His Soho Shakers 114410/18/02: Audrey found both the 1924 lead &lyric sheets in LC and the 1925 publishedversion. Lead & lyric sheets say NOBODYKNOWS THE WAY I FEEL THIS MORNIN’, butpublished version is NOBODY KNOWS THEWAY I FEELS DIS MORNIN’.Nobody Knows What a Red HeadMamma Can Do (Irving Mills–Al Dubin–Sammy Fain)Neville Dickie 1423CD was Nobody Knows What a Red-HeadedMama Can Do.Well, the copyright says “red-head,” which ishow Rust lists the tune, but Rust says mamastead of copyright’s mamma::Nobody knows what a red-head mammacan do; w and m Irving Mills, Al Dubin andSammy Fain, all of U.S. © Dec. 29, 1925; 2c. Jan. 12; E 606424; Jack Mills, inc., NewYork.Well, hell: MTSU lists it as “red head mamma”;U. Maine library calls it “red-head mamma.”So I bought the music and discovered thereason for the confusion. Cover is Red HeadMamma, but copyright is Red-Head Mamma.Nobody Knows You When You’reDown and Out (Jimmie Cox)Rusty Taylor /Southern Stompers 1028Smith–Tyle Frisco Syncopators C 1211Two Clarinet Stompers 1259Rec. Bessie, 5/15/29, Columbia 14451-D et al.Oops, copyright isNobody knows you when you're down andout; words and music by Pinetop ClarenceSmith. [Words and melody only] © 1 c. Feb.13, 1929; E unp. 3706; State street musicpub. co., inc., Chicago.Ah, but here’s another one:Nobody knows you when you're down andout; words and music by Jimmie Cox. ©June 3, 1929; 2 c. June 26; E pub. 7071;Clarence Williams music pub. co., inc., NewYork.Columbia label confirms Cox. Seems like Isee him more often as Jimmy, but bothcopyright and U. Maine library index for theircopy of the published sheet agree on Jimmie.Nobody’s Business (How I Love ThatMan) [It’s Nobody’s Business](Gladys Rodgers)Jacobi’s Bottomland Orchestra 1336Rec. Barrel House Five (w/Cl. Williams on pno;this CD is a Williams tribute), 1/29, QRS R-7057, Paramount 12851, Jazz Classics 539.Oops, Gladys Rodgers has six songs in 1929book, but not this one. But here it is in 1928:It's nobody's business; words and melodyby Gladys Rodgers. © 1 c. May 2, 1928; E691191; Clarence Williams music pub. co.,inc., New York.But I keep seeing our subtitle all over theplace, including on the Chrono Classicsreissue of Clarence Williams, whichspecifically states the QRS source. But I alsosee it many places as It’s Nobody’s Business(no subtitle). Could those sources possibly begetting it from the copyright registration?Aha: Record collector Whip Williams reportsthat the QRS 7057 label is indeed the way wehave it! And Bill Haesler reports that theParamount reissue of the QRS original carriedthe copyright title of “It’s Nobody’s Business.”I had previously found that the Jazz Classics539 reissue had that title too.Nobody’s Sweetheart (Elmer Schoebel–Billy Meyers–Ernie Erdman–Gus Kahn)Gauthé–Marquet Clarinet Serenadrs 1216Down Home JB 1264Confirmed by my 1924 sheet music.Nobody’s Using It Now (Clifford Grey–Victor Schertzinger)Barbara Rosene & Her New Yorkers 1422Rec. Philip Lewis aho, London, 3/31/30, DeccaF-1716.Confirmed by 11/8/29 copyright reg., from TheLove Parade.Nog’s March (Ian Pearce)Steve Waddell’s Creole Bells 1301Waddell: “written in 1949 by Ian Pearce andgiven, untitled, to Graeme Bell, who recordedit in 1952. Ian’s nickname is nog.”Indeed, that’s the way it appears on the Bellrecord and on the list of Australian jazzcompositions.

Norfolk Church Street Sobbin’ Blues(see Church Street Sobbin’ Blues)Nostalgia (Ade Monsbourgh)Dave Dallwitz Ragtime Ensemble 1098Written 1981, says Dallwitz, rec. byMonsbourgh on recorder with rhythm.Victorian (Australia) Jazz Archive confirms rec.1991 by Ade Monsbourgh’s Late Hour Boys,composer credit to Monsbourgh.Nothin’ [Park Avenue Polka](Luckey Roberts)Tom Roberts 13451908, says Tom Roberts, but no other details.Not in 1907-9 copyright books. Luckeyrecorded it in his 1960 Luckey and the LionLP, crediting himself. Perfesser Bill also givesc. 1908 for its composition by Roberts.According to Jasen,Not copyrighted or published. First rec. onLP Harlem Piano Solos, Good Time Jazz M-12035, March 1958. . . From around 1908,Roberts dug it out of his archives just for thisrecording session.But I later heard from Tom Roberts:One thing that I have learned in these pastfew years is that these guys lied! Or ,another possibility is that some of the writershad pre-determined ideas and agendasabout the music and some of the ragtimeguys gave up and just let them writewhatever they felt like. Eubie Blake hadmade that comment.The tune Nuthin is not from 1908 likeLuckey said. It is probably from the late1940s. He did copyright it under the titlePark Avenue Polka [and I found that as analternative title on one web site --DB]. I sawthe publisher’s proof copy with Luckey'shand written notes and additions.I think this tune was part of one of his latershows.Perfesser Bill shows separate entry for PAP,dated 1949, but I looked in every year 1945-60without finding it. Tom R. confirms 1949, but Ilooked through 1949-50 especially carefullywithout finding it. Yet lots of people seem to“know” about it.I guess we should add Park Avenue Polka asan alternative title and put a cross-ref from it.12/16/13 -- still can’t let this go. I did find acopyright reg. forPARK AVENUE POLKA; M. Allan Caron ©The Mello-Music Pub. Co. 10Nov50EU220904.Nothin’ (Roy Turk–Lou Handman)Barbara Rosene 1431CD said Nuthin’.Oops, not in Rust. 1927 says notes, but noother info. But copyright reg. says it’sNothin'; words and music by Roy Turk andLou Handman; pf. acc., with ukulele arr. byAnthony J. Franchini. © Apr. 11, 1927; 2 c.Apr. 12; E 659776; Shapiro, Bernstein & co.,inc., New York.OK, closing in . . . Annette Hanshaw and NatShilkret recordings of the Turk-Handman“Nothin’” are in my collection, but strangely,it’s not listed in Rust. ASV Living Era Hanshawreissue says rec. 4/14/27 with Red Nichols,Miff Mole, George Bohn, Frank Signorelli, RayBauduc.No, wait--Rust has it listed as “Nothin’” underOriginal Memphis Five, Pathe 11471.And yep, that’s the song she’s singing.Nothin’ Does-Does Like It Used toDo-Do-Do (Sammy Fain–Irving Kahal–Manny Ross)San Francisco Starlight Orchestra 1334CD had Nothing, Kahal-Fain)Rust index says Nothin’Goofus Five, 8/10/27, OKeh 40997,Parlophone R-3490 et al. Nothin’Red Heads, 9/16/27, Pathe 36707, 11515;Perfect 14888. Nothin’Calif. Ramblers, 9/20/27, Columbia 1148-D,0957; Nothin’Copyright isNothin' does-does like it used to do-do-do;words by Irving Kahal and Manny Ross,music by Sammy Fain; pf. acc., with ukulelearr. by Harry Tiedeman. © Aug. 24, 1927; 2c. Aug. 23; E 670945; Waterson, Berlin &Snyder co., New York.Sheet music indexes agree.Nothing but Notes (Adrian Rollini)Andy Stein Blue Five 1390CD had Nothin’.Rec. Joe Venuti Blue Four, 3/20/35, Decca 624(Nothing, says Rust). Decca label also saysNothing, and it wasn’t copyrighted, so Nothingshall it be.Notoriety (Kathryn L. Widmer)Chrysanthemum Ragtime Band 1047ASM, 1913, Jerome Remick.Novelette (Zez Confrey)Tony Caramia 1328This is part of “Three Little Oddities” andwasn’t copyrighted separately:Confrey (Edward Elzear) Three little oddities;a suite, by Z. Confrey [i.e., E. E. Confrey, ofU.S.]; piano. Contents: 1. Impromptu. — 2.Novelette.— 3. Romanza. © June 18, 1923;2 c. June 22; E 565043 ; Boston music co.,Boston.Novelty Blues (Richard M. Jones)New Jazz Wizards 1244Rec. Jones 2/8/29, Victor V-38040, Bluebird B-6627. Confirmed by 6/27/29 unpub. copyrightreg. and Victor label.(Potatoes Are Cheaper – TomatoesAre Cheaper) Now’s the Time toFall in Love (Al Sherman–Al Lewis)John Gill’s Novelty Orchestra 1227Nuclear Rag (John Hancock)John Hancock 1025Numb Fumblin’ (Fats Waller)George Foley 1088Rec. Fats pno solo, 3/1/29, Victor V-38508,27768; HMV B-4347 et al.Confirmed by 9/29/30 copyright reg.Nutcrackers (Glenn Jenks)Glenn Jenks 1179OO (Oh!) (Byron Gay–Arnold Johnson)John Gill’s Original Sunset Five 1094Dan Levinson’s Roof Garden JB 1380This one’s rather absurd. We had Oh! on1094 and O [Oh!] on1380.In fact, the cover is(Oh!)Oand the (c) is“O”(Oh!)ASM, 1919, Leo Feist, w. Gay/m. Gay-ArnoldJohnson (don’t know where Levinson got theinitial E.).’O Sole Mio! (E. Di Capua–G. Capurro–Alfredo Mazzucchi)

Dan Levinson’s Roof Garden JB 1380

Oh, baby; from Rain or shine, words andmusic by Owen Murphy; pf. acc., withukulele arr. by May Singhi Breen. © Feb. 9,1928; 2 c. Feb. 11 E 683111; Ager, Yellen &Bornsiein, inc., New York.MTSU collection index agrees on Oh, Baby!But this has been rendered every possible wayon recordings, so I boutght it from MTSU tonail it down for sure. Cover:Copyright page:OH BABYOH, BABY!Oh, Baby! (Don’t Say No – Say May-Be)(Walter Donaldson–B. G. De Sylva)Mike Daniels’ Delta Jazzmen 1203Cover isOH BABY(DON’T SAY NO — SAY MAYBE)Copyright isOH, BABY!(Don’t Say No — Say May-Be)ASM, 1924, Irving Berlin; w. De Sylva/m.Donaldson.[and note that there was an “Oh Baby” (cypage, cover had banger), w. Benny Davis/m.Lou Herscher-Joe Burke, in 1922.](Oh! By Gee! By Gosh, By Gum, ByJuv) Oh By Jingo! Oh By Gee!(You’re the Only Girl for Me)(Albert Von Tilzer–Lew Brown)Jacques Gauthé’s Creole Rice YBJB 1256CD had same words, slightly differentpunctuation.Oh Daddy [Blues] (You Won’t Have NoMamma at All) (William Russell–Edward Herbert)Waldo’s Gutbucket Syncopators 1001John Gill’s Original Sunset Five 1126High Society JB 1166Jacques Gauthé’s Creole Rice YBJB 1170Marquet–Persson Melody Boys 1229Paris Washboard 1338Southern Stompers 1413

Chris Tyle’s Silver Leaf JB 1298Grand Dominion JB 1378

2013 review: Found the copyright:O me! O my ! fox-trot, w and m Arnie Barr[i.e. Arnold Barr] of U.S. © Apr. 18, 1924; 2c. Apr. 22; E 585594; Great western musicco., Chicago.And aha: found the actual N.O. Owls Columbia489-D label, and it matched Giordano’s reportof “Oh Me! Oh My” with no secondexclamation point.Oh, Miss Hannah! (Jessie L. Deppen–Thekla Hollingsworth)High Society JB 1010Marty Grosz /Keepers of the Flame 1158

Paramount Theatre Orchestra 1089No banger on LP.2013 review: Well, Rust indexes it withbanger. Rec.Billy Banks, 8/18/32, Victor 24148. Label isOh! You Sweet Thing.Earl Hines aho, 7/14/32, Brunswick 6345 et al.No bangers on Br 6345 label, but there isone on Br 1464; credit Waller-Razaf on both.Washboard Rhythm Kings, 12/14/32, Vocalion1730. Title here has two bangers: “Oh! YouSweet Thing!”Joe Haymes, 10/9/34, ARC 35-10-07.Aha, copyright isOh! you sweet thing; w Andy Razaf, mThomas Waller; with ukulele arr. © July 29,1932; E pub. 31032; Lawrence musicpublishers, inc.Well, we have examples of no bangers, 1banger, 2 bangers, but let’s stick withcopyright and first record label.Ohio River Blues (Ted des Plantes–Katie Laur)Des Plantes’ Washboard Wizards 1290Des Plantes email 8/18/13:"Ohio River Blues" was composed in 1992for a CD album by a variety of Cincinnatimusicians commemorating the Tall Stacksriverboat festival held in October of that year,a big civic event held every few years todraw attention nationally to Cincinnatiutilizing its rich river heritage. Katie Laur andI wrote the song in one evening andrecorded it a week or two later for that albumwith me on piano accompanying her vocal.Katie's a local country/folk/bluegrass singerwho was singing swing standards at thattime. Although she's still around town so I'mtold, I haven't seen her in years although weworked together regularly thoughout the1980's thru the mid-90's. She wrote most ofthe lyrics and I wrote the music. I liked thetune so I wrote an arrangement for myself toperform with the Washboard Wizards onStomp Off.Oil Well (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. RHP, 6/2/30, Victor 23321.Confirmed by 3/22/32 unpub. copyright reg.and Victor label.Okay, Baby (Maceo Pinkard–William Tracey)San Francisco Starlight Orchestra 1364Chalumeau Serenaders 1394ASM, 1930, Mills Music; w. Tracey/m. Pinkard.Okay Toots (Walter Donaldson–Gus Kahn)Ingham–Grosz Hot Cosmopolites 1237Rec. Dorsey Bros.(Okay, Toots), 9/28/34,Decca 259, Brunswick 01954. no commaGene Kardos (O. K. Toots), 10/8/34, Vocalion2815.No comma in copyright:Okay Toots; from Kid millions, w Gus Kahn,melody Walter Donaldson; pf acc.; with arr.for ukulele, etc., May Singhi Breen. © Oct. 4,1934; E pub. 44067; Samuel Goldwyn, inc.,New York.No comma on sheet music cover either, andnone of the collections that hold it (I found 4-5)show a comma.Ol’ King Razzamatazz(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284Goodman was guest conductor of the band.Old Pigeon-toed Joad(Willard Robison–Jack Palmer)Dick Sudhalter & Connie Jones 1207LP had “Ol’.”Not in Rust. Aha, 1940 sheet music(amazingly) online at U. Maine library, pub.Shapiro Bernstein, shows that it’s Old, on bothcover and copyright page. AND that’s the waythe copyright was registered 9/12/40.Old Adam (William Bolcom)River Raisin Ragtime Revue 1417Plenty of google hits cite Bolcom for title.Pytheas Center for Contemporary Music sitesays this is one of four pieces in Garden OfEden (Suite), piano (1969), many other hitsconfirm that. Diff. site said 1974. (But notcopyrighted 1969 or ‘74.) Well, sheet is forsale separately, not just part of suite.Old Bones (John Hadley)Ernie Carson & the Castle JB 1283Evidently quite new. Zillions of hits on it onGoogle, many agreeing that it was written in1980 and rec. by George Burns in 1980 andDean Martin in 1983. It was performed onPrairie Home Companion in 2012, and PHCweb site gives some publishing details ofsongs it uses: “w/m: John Hadley © JohnHadley Songs (BMI)/ Sony/ATV/Tree (BMI).”Sheet music on a barbershop site says,Composer/songwriter John Hadley haswritten 178 songs, several of which havereceived BMI “Award Winning Song”mention.Old Dan Tucker (Dan D. Emmett)Chris Tyle’s NO Rover Boys 1235

Rec. Sharkey Bonano, 1/29/37, Vocalion 3450,S-112. Woody Herman, with hyphen, 1/10/36,Decca 1064.Both records had vocals by the bandleader.Black Eagle CD refers to the Sharkey record.Not in copyright books 1936-37. Wait aminute . . . looked for Herman first, sincerecorded first, found refs to its having beenwritten by Tharp-Bishop, so figured it wasn’tthe tune we wanted. But then I found a listingof Vocalion labels that showed Tharp-Bishopfor the Sharkey record. So went to thecopyright books and looked again, findingGive me an old fashioned swing; w WinkyTharp, m Joe Bishop; pf. treble. © 1 c. July23, 1936; E unpub. 128879; Isham Jonesmusic Corp., New York. [Joe Bishop wasflugelhornist and arranger for Herman on thesession]Now back to one of the refs I found for theWoody Herman record, which unclearlysuggested it was (Give Me an) Old FashionedSwing. Must keep looking. Aha, LC SONIChas the Herman Decca, confirms title is “(GiveMe an) Old Fashioned Swing” by Joe Bishop-Winky Thorp. AND it has the Sharkey Bonanorecord: Same title, credit Tharp-Bishop.And final aha! Tracked down the Herman andBonano records: They’re the same song.God only knows where Rollini came from ascomposer—perhaps because he wrote “TapRoom Swing” and recorded “Old FashionedLove.”Old Folks at Home (Stephen Foster)Grand Dominion JB 1189Couldn’t view the music online—somehow it’sback in copyright—but earliest publication Icould find indexed was at Washington U. in St.Louis, c. 1851, pub. Oliver Ditson, Boston, withnote “as sung by E. P. Christy.” But strangely,many other copies of it in various librariescredited E. P. Christy.AND then I found the cover of a 15th edition ofit, slugged “Entered according to an Act ofCongress A.D. 1951" by Firth Pond & Co., “assung by Christy’s Minstrels; written andcomposed by E. P. Christy”!Ah, that was in the Wikipedia article, whichsays right next to it:"Old Folks at Home" (also known as"Swanee River," "Swanee Ribber" [from theoriginal lyrics] or "Suwannee River") is aminstrel song written by Stephen Foster in1851. It is the official state song of Florida.Written for performance by the New Yorkblackface troupe Christy's Minstrels, thesong has E. P. Christy, the troupe's leader,appearing as its creator on early printings ofthe sheet music. Christy had paid Foster tobe credited, something Foster himself hadsuggested though later regretted.Foster had composed most of the lyricsbut was trying to give a name to the river ofthe opening line and asked his brother tosuggest one. The first suggestion was"Yazoo" (in Mississippi), which despite fittingthe melody perfectly, Foster rejected. Thesecond suggestion was "Pee Dee" (in SouthCarolina), to which Foster said, "Oh pshaw! Iwon't have that." His brother then consultedan atlas and called out "Suwannee!" Fostersaid "That's it exactly!" He wrote it inimmediately (misspelling it "Swanee" to fitthe melody).Old Folks Shuffle (Fats Waller–Clarence Williams)Keith Nichols’ Hot Six 1063State Street Aces 1106Grosz–Ingham Paswonky Srndrs CD 1214Jacobi’s Bottomland Orchestra 1266Neville Dickie 13661063 had Folk’s.Confirmed by cy card [checked & reconfirmedfrom cy book, reg. 6/18/26, w/m both, noapostrophe]2013 review: Rec.Blue Grass Foot Warmers, 6/21/26, Harmony248-H. Harmony label is Folks’.)Joe Jordan’s Ten Sharps and Flats, 7/26,Domino 3791, Oriole 717*, Banner 1821.(*as Dixie JB). No apostrophe on Dominolabel, or Banner.Jimmy Lytell, 11/20/26, Pathe 36568, Perfect14749.CW Blue Fiive, 4/14/27, OKeh 8465. Label hasno apostrophe.Old Grey Mare (traditional)Lyttelton–Fawkes Troglodytes 1238Pam Pameijer’s New Jazz Wizards 14321238 was Trad., 1432 was Frank Panella.

did Lyttleton-Fawkes nor Pameijer. I think wemust lose it.Old Home Rag, The (Joseph F. Lamb)Elite Syncopators 1286Unpublished in his lifetime, posthumouslypublished in Joseph F. Lamb, RagtimeTreasures Piano Solos (New York, NY: MillsMusic, 1964), now out of print.And confirmed by 3/27/59 copyright reg.Old Man of the Mountain, The(Victor Young–George Brown*)Des Plantes’ Washboard Wizards 1290Copyright is...Old (The) man of the mountain; w GeorgeBrown, m Victor Young; with ukulele arr. ©July 5., 1932; E pub. 31274; Lawrencemusic publishers, inc.BUT wait: while in the 1932 book, I looked forBilly Hill in the index. No Billy, but did find aW. J. Hill with a lot of likely titles, so I searchedon one of them to see if he was Billy in theactual registration. No, he was George Brown!Then looked for George Brown in index andfound that he’s a pseudonym for W. J. Hill!Obviously, S&P thinks W.J.=Billy, but how toconfirm it? S&P lyricists index under Hillshows George Brown as pseudonym, and listsmany of those W. J. Hill songs under Billy.And Wikipedia article on Billy says he’s WilliamJoseph Hill. So we have a new pseudonym.Old Man Sunshine (Little Boy Bluebird)(Mort Dixon–Harry Warren)Canary Cottage Dance Orchestra 1400Copyright runs title together, illogically:Old man Sunshine little Boy Blue bird; wordsby Mort Dixon, music by Harry Warren. ©May 12, 19282; c. June 14; E 694416;Remick music corp., New York.Cover of music has subtitle in parens, andcopyright page shows itOLD MAN SUNSHINELittle Boy BluebirdOld New Orleans Blues(Manuel Manetta)Butch Thompson & Hal Smith 1075LP had Manuel Manetta.2013 review: Only rec. in Rust is by vocalistWillie Jackson, acc. by Steve Lewis on piano,New Orleans, 4/14/26, Columbia 14136-D. Butthe record label credits Jackson & Lewis.And oops, check the copyright:Old New Orleans blues; words and melodyby W. Jackson and S. Lewis. © 1 c. Sept. 8,1926; E 648136; Willie Jackson and SteveLewis, New Orleans.Could it be that Thompson found it on arecord by Manetta with no composer creditand presumed that Manetta wrote it?But look what I found in the Manuel ManettaPapers, MSS 516, Williams Research Center,The Historic New Orleans Collection:Folder 518 “Old New Orleans Blues.” byProf. Manetta.Violin [i.e. violin].[4]pp. Ms. (pencil) (P.[4] blank)On cover: “Original Ms. Old N.O. Blues.”(With reproduction on page.)2 ItemsFolder 521 “Old New Orleans Blues.” byProfessor Manuel Manetta. [For violin andpiano].As performed by William Russell, violin andProfessor Manetta, piano. Pianotranscription by Richard (“Butch”)Thompson.Score (for violin and piano).4pp. Ms. (arranger?s) (ink and pencil).(With copy-reproduction; cover not presentin above ms.)(With original of cover).(With large envelope - used to mail thearrangement to Russell? - envelope isaddressed to him).4 ItemsQueried Butch, got detailed response:The Jackson/Lewis recording is not thesame tune as the Manetta piece. Both are12 bar blues, but that is the sum total of theirsimilarity. Here's an explanation of sorts:During the mid 1950s, Bill Russell wasinterviewing Manetta at length, with an eyetoward making a book out of it. Along theway, they also became close friends. Billengaged a number of people to takelessons on various instruments from Manettaat his Algiers studio. These pupils luggedBill's ungainly Ampex (I think) tape recorderto the studio and turned over the recordedsessions to Bill as part of his research.Among these pupils were Charlie DeVore(then stationed in Algiers with the US Navy)and Dick Allen, who "studied" trombone.Erwin Helfer was another of these students,and several more, including Russell himselfwho signed up for violin lessons.As part of his students' homework,Manetta used to write out things for thestudents to work on. During one of hislessons, Bill mentioned that he was hopingManetta could teach him to play the blueson the violin. Viola! Manetta came up with amanuscript of vintage blues choruses whichhe said were played by various trumpetersin the old days. They got to work on thepiece and of course recorded it with theAmpex when they had it worked out.Manetta's piano accompaniment, it's safe tosay, was improvised, but Bill could only readhis chart carefully.Forward from c. 1957 to c. 1968 or so: Igot a very carefully wrapped package by USmail from Russell. Inside was a tapedrecording of Russell and Manetta playingthe tune in question at one of their weeklylessons. Could I try to transcribe it? Ofcourse I said yes, and worked very hard atit. The result was a transcription of oneparticular performance.Long story. Anyway, I am not sure whocame up with the title Old N.O. Blues, but Isuspect Russell.Old North State, The (Tom Shea)Tom Shea 1022Old Rag I Know, An (Kenny Kotwitz)Minstrels of Annie Street 127211/18/00: John Gill writes: words & musicKenny Kotwitz, 1979.This and a bunch of other songs of his(Kenneth Roy Kotwitz, born 1941) are found atthatcopyrightencyclopedia.com site that Ikeep bumping into. One of KK’s songs waswritten with Art Van Damme.Old Rugged Cross, The(George Bennard)Magnolia JB 1016Confirmed by 2/13/13 copyright reg. He wasfrom Albion, MI.Old Stack o’Lee Blues (Sidney Bechet)Hot Dogs /Victoria Varekamp 103311/15/00: Tex sends “The CompleteDiscography of Sidney Bechet” from thebooklet of the Mosaic Blue Note Bechet set. Itshows that the Bechet-Nicholas Blue Fiverecorded Old Stack O’Lee Blues in 1946.Says Tex:Composer credit on label of Bluenote BLP-1202 is Bechet; Mosaic MR6-110 LP boxedset label credits “Trad.” I personally believeBechet wrote it. This recording is the

earliest example I know of that uses thismelody on a Stacker Lee tune.Old Time Blues (Perry Bradford)Chris Tyle’s Silver Leaf JB 1258Rec. Edith Wilson, 10/6/21, Columbia A-3506.Mamie Smith, 2/21/21, OKeh 4296, Odeon A-312908.Confirmed by 11/19/21 copyright reg.Old Town Pump, The (Harry Reser)Howard Alden with Dick Hyman 1200Rec. W. C. Handy, 9/22/17, Columbia A-2417,2911 (surely a different tune).Confirmed by 11/18/27 copyright reg. andlabel on Reser’s Edison 52139-R record of it.(Harry Von Tilzer wrote tune of this title in1917, which is what the credit on the HandyColumbia says.)Old Yazoo (Fats Waller)Neville Dickie 1397Confirmed by 8/8/32 copyright reg.Ole Miss (W. C. Handy)Lyttelton–Fawkes Troglodytes 1238Independence Hall JB 1371Aces of Syncopation 1372We had Ole Miss, but Handy’s Orchestra ofMemphis recorded it as “Old Miss Rag”(according to Rust), 9/22/17, Columbia A-2420, 2913. But then he recorded it as “OleMiss Blues” 8/23, OKeh 8110. Often known as“Ole Miss Rag,” but the sheet music is clear,cover and copyright page:OLD MISSRAGOlympia Rag (Kathi Backus)Tom Brier 1274Confirmed by Brier and in a conversation atSutter Creek 2013, by Backus..On a Clear Day (You Can SeeForever) (Burton Lane–Alan Jay Lerner)Alex Hassan 1322Hmmm, according to S&P, the song is “On aClear Day (You Can See Forever)” from themusical On a Clear Day You Can See Forever.And that’s exactly how the 8/31/65 copyrightreg. reads, as well the sheet music in mySongs of the American Stage folio. wAJL/mBL.On a Chinese Honeymoon (se eShanghai Honeymoon)On Mobile Bay (Earle C. Jones–Charles N. Daniels)Manhattan Ragtime Orchestra 1402Confirmed by 7/6/10 copyright reg., JeromeRemick, w ECJ/mCND, and by sheet musicfound online.On Revival Day (Andy Razaf)Moonlight Broadcasters 1193Kustbandet 1294ASM, 1930, Joe Davis.On San Francisco Bay(Gertrude Hoffmann–Vincent Bryan)Chrysanthemum Ragtime Band 1168LP just had Gertrude Hoffman.

Confirmed by 2/16/31 copyright reg., w/m all3.One More Time! (Daniel Barda)Paris Washboard 1338Barda is the trombonist/leader of the band.One Night in Montparnasse(Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.One o’ Them Things! (Leroy Smith–James Chapman)David Thomas Roberts 1132Well, the copyright isOne of them things! rag time two step, by J.Chapman and L. Smith. (C 74813, July 22,1904: 2 c. July 22, 1904.) Chapman (EmmaH.), Adrian, Mich.Aha, the original 1904 sheet music (pub. Jos.Placht & Son, St. Louis), is reproduced inTichenor’s Ragtime Rarities. Get this: Thecover ends in banger, like copyright, but thecopyright page title ends in question mark.I’m going to hold my breath and cheat on anotherwise consistent rule, and decidearbitrarily that the ? is a mistake. Exclamationpoints in copyrights are exceedingly rare, sothat must really be what they wanted. Andputting ? on a title like this seems silly.One Spring Day(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284Goodman is guest conductor of the band.One Step to Heaven [Windy CityStomp] (Jesse Greer–Raymond Klages)Chicago Rhythm 11642013 review: How in the world did we decideon an alternative title without my making anote here about it?Rec. Hal’s (Kemp) Dixie Collegians, 11/29/28,Duophone (UK) D-4054. Mole’s Molers,7/6/28, Hot Record Society 15*; Columbia35953. *as Windy City Stomp.Copyright isOne step to heaven; from Say when, wordsby Raymond Klages, music by Jesse Greer;pf. acc., with ukulele arr. by Hank Linet. ©June 15, 1928; 2 c. June 16; E 693430;Robbins music corp., New York.Time-Life Giants of Jazz Teschemacher setsays Georgia Avakian found unlabeled Molersmaster at a Columbia pressing plant; he gaveit to Steve Smith, who released it as “WindyCity Stomp” on his Hot Record Society label.Only later did somebody recognize the tune as“One Step to Heaven.”One Sweet Letter from You (HarryWarren–Lew Brown–Sidney Clare)Magnolia JB 1016Confirmed by 3/7/27 copyright reg., w. LB-SC/m. HW.Onion Bender’s Lament, The(Roger Bell)Ernie Carson & the Castle JB 1283No definite article on CD, but I found it manyother places. Queried Bill Haesler 8/21/13,who responded:The Onion Bender’s Lament: Recorded byRoger Bell & His Pagan Pipers for W&G(WG-B-1704) in Melbourne on 7 July 1963.Reissued on English LP (77 LEU-12/12) andSwaggie S1286.The erudite 'Jolly' Roger (he always was)was a prolific composer and regularly gavehumorous titles to his compositions. Often,on the spot, at recording sessions: Honi SoitQui Mallee Root; The Devil Bends HisElbow; Roar Like A Prawn; Turkey Lolly; AllShe Wore Was A Hectic Flush; LaughingGravy; Give Me That Old Malpractice; JustLike a Rubber Duck and so on.Ernie Carson liked Oz jazz and would havepicked up the tune from the Roger Bell LP.Ooh That Kiss (Harry Warren–Mort Dixon–Joe Young)Barbara Rosene & Her New Yorkers 1422CD had banger after Ooh.S&P don’t show banger. Says 1931, from TheLaugh Parade revue.9/23/31 copyright reg. confirms, also nobanger, w. MD-JW/m. HW.Got the sheet from MTSU 8/21/13: No banger,cover or copyright page.Oo–Oo–Ooh! Honey! (What You Doto Me!) (Cliff Friend–Harry Tobias–Neil Morét*)Barbara Rosene & Her New Yorkers 1422CD has Oo-oo-oo! Honey (What You Do toMe).Yikes, most places show this as Oo-Oo-Oohbut then multiple variations on commas,bangers, parentheses.Looks like rec. Marion Harris, in London,3/29/34, Decca F-3954, as “Oo-Oo-Ooh!Honey (What You Do to Me).”Copyright reg. isoo-oo-OOH honey what you do to mefox-trot, w and m Cliff Friend, Harry Tobiasand Neil Moret, arr. Art McKay; orch. pts.,with male trio arr. B. Faighes. © Nov. 13,1933; E pub. 38797; Leo Feist, inc.But Alex has the sheet, so I asked him:As to the song you're inquiring about,LOTSA exclamation points, and varyingsized fonts. The 2nd "OO" is 1/2 larger thanthe first, and 50% smaller than the 3rd.VERY unusual for an inner title. I can't quiteduplicate it, but here's a semblance:OO-OO-OOH! HONEY! (WhatYou Do to Me!)Alas, I have no way to duplicate using thealready small 8 point font we have here--printer just won’t go any smaller than 6 point.Open House (Humphrey Lyttelton)Creole JB 1051Evidently reissued on The Other Parlophones1951-1954, Sackville, SKCD 2-6067, 2008. Itsnotes say by Lyttelton, rec. by the Bell-Lyttelton Jazz Nine, 11/6/51, Parlophone18607 (this number doesn’t look right foreither matrix or record number, according tothe Lyttelton discography in the big TheParlophones 1949-59 four-CD set. No, the 78record was R-3475. And I’ll be damned: foundthe label, confirms Lyttelton.Operatic Rag (Julius Lenzberg)Heliotrope Ragtime Orchestra 1411ASM, 1914, Jerome Remick.Ophelia Rag (James Scott)London Ragtime Orchestra 1081ASM confirms.Organ Grinder Blues(Clarence Williams)Abi Hübner’s Low Down Wizards 1093Dick Hyman 1141Rec. CW pno solo 7/2/28, OKeh 8604. CWJug Band, 8/7/33, Columbia 2863-D,Parlophone A-3805. CW aho, 7/6/34, Vocalion2871, Brunswick A-86009.Confirmed by 8/18/28 copyright reg., w & m.CW.Oriental (Elmer Schoebel–Billy Meyers)Les Rois du Fox-Trot 1407Rec. NORK, 8/30/22, Gennett 4966 et al.Confirmed by 10/23/22 copyright reg.Oriental Blues (see Tiny’s Stomp)Oriental Jazz (see Soudan)Oriental Man (Jimmy Blythe–Alexander Robinson)Peruna Jazzmen 1105Jacques Gauthé’s Creole Rice YBJB 1170Gauthé–Marquet Clarinet Serenadrs 1216

West Jesmond Rhythm Kings 1255All SOS recordings credited Blythe.Rec.Dixieland Thumpers (w/Blythe), 12/27,Paramount 12594 et al. No credit on recordlabel. Record on RHJA--no vocal.Chi. Footwarmers (w/Blythe), 12/15/27, OKeh8548 et al. Credit on Okeh 8548 is alsoBlythe-Robinson, but there’s no vocal on therecord.Blythe’s WB Wzrds, 3/30/28, Vocalion 1180.Credit on label is Blythe-Robinson, and thereis a vocal on this recording.State St. Ramblers (w/Blythe), 4/23/28,Gennett 6692; Champion 15676, 40023 etal. Credit on Champion 15676 & 40023 (asBlythe’s Blue Boys) is Blythe-Robertson. Novocal on record (found at RHJA).But Bill Haesler found this:However, in the absence of the Gennettlabel we have the following (usually) reliablesources for Gennett 6692:•From 'Paramount Piano. A Discography'by Hillman, Middleton with Swinton.(Minor-Blythe)Coleman L. Minor collaborated with Blythe on“Weary WayBlues” in 1927.Copyright isOriental man; melody by James Blythe. © 1c. Dec. 19, 1927; E 679443; Melrose &Montgomery, Chicago.So Blythe copyrighted it in his own name atabout the same time he first recorded it--butno composer credits on that label. By the timehe recorded it again (three times) a fewmonths later, it had picked up a cocomposer.But who?A pretty good guess would be AlexanderRobinson, who collaborated with Blythe onMecca Flat Blues, that is was misspelled onthe Champion label but corrected on thesubsequent two recordings that year.(Robinson and Blythe also cowrote “You’reNot the Kind I Thought You Were” in 1928.)What’s strange is that I have 16 recordings ofthe “Oriental Man” that give composer credits,and 14 of them are also Blythe alone; the twothat say Blythe-Robinson are a BlytheWashboard Wizards reissue and a recordingby Federal Jazz Commission. How can thedouble-credit be on all the recordings and yethave nobody pick it up?Haesler did some extensive research thatprovides info that come in handy here andelsewhere:So far as Alex Robinson was concerned myfirst reaction was to check the excellent Alexvan der Tuuk 2003 book, 'Paramount's Riseand Fall'.Relevant extracts:Aletha Dickerson (1902-1994) was MayoWilliams' secretary at Paramount Recordsand also handled the copyright registrationsthrough Chicago Music PublishingCompany. At this time (about 1924) she alsoplayed piano at the Indiana Theatre andco-owned a record store with her husband,Alexander Robinson (1894-1970), himself acomposer. She tried to get her husband intoWilliams' office but he rejected this, afraid ofthe possibility that together the couplewould gain to great an influence in hisbusiness. Part of her job was to send both"lyrics and music to the Copyright Division ofthe Library of Congress. As secretary,Dickerson put her name or, in later years,her alias, Selma Davis) on 43 titles listed forcopyright—in most cases as a co-writer!"Eventually she was put in charge ofrecording.From an interview with Aletha: "Alex hadmade a a test for Paramount and that'swhere [Thomas] Dorsey heard him sing, andasked him to form a trio with him." And theHokum Boys trio started recording.For five months, from 6 June 1929Paramount hired the Gennett studios forrecording. Including a two-day session on16-17 August 1929 for 25 recordings. (I havenot yet looked for this.)"In some cases Aletha Dickerson was sentdown to supervise recording sessions,sometimes in the company of AlexRobinson. Dickerson in later years said thather husband was known as a songwriter,composing songs for future recordingartists, indicating that the couple were moreand more becoming part of the NYRL[Paramount] nucleus, responsible forsupervising sessions..."Dickerson and Robinson even hid themselvesbehind the pseudonyms "SelmaDavis" and "A. La Moore', respectively. Note112 also mentions that her first use of thealias was on October 1, 1928, so "as it tookabout five weeks from recording a song tothe final registration,we may presume earlySeptember as the date Dickerson started asrecording manager.And "..Thomas A Dorsey recounted thatAlex Robinson typed some of the leadsheets using the "A. Lamoore"/"La Mooore"alias...""Thomas Dorsey confirmed that Robinsonand Dickerson not only ran the Race RecordDepartment, as he put it, but also managedthe Hokum Boys. He also said the Alex Hilland Jimmy Blythe did some playing for thecompany. The Gennett files confirm this, asboth Hill and Blythe recorded in the Gennettstudio as part of the Hokum Boys, with atwo-and-a half month interval between theJune 27 session (with Robinson and DanRoberts) and the September 6 session (withBob Robinson," a psuedonym for AlexRobinson, as stated by his wife Aletha).""Dickerson was also present during twoBlind Blake sessions—one on June 20,during which Alex Robinson accompaniedhim on piano..."There is no doubt in my mind that(Robertson) on the record labels =Alexander Robinson.A couple of later additional notes by Bill:For some reason, the usually reliable'Paramount Piano. A Discography' byHillman, Middleton with Swinton has (JimmyBlythe, Robinson), yet includes a pic of theVocalion label (Blythe-Robinson).Ross Laird's 'Brunswick Records'Discography provides (Blythe & Robinson)for Oriental Man. And, incidentally, for itssession mate: My Baby (Slaughter,Robinson & Blythe) (M&M) = Melrose &Montgomery, Chicago, Ill.Well, it seems clear that early on in the life ofthis tune it acquired lyrics, since a lyricist wascredited on the second December 1927recording (Chicago Footwarmers), eventhough there was no vocal, and on the March1928 recording, which did have a vocal. SinceRobinson was the credit on the first tworecords with a composer credit, and sinceAlexander Robinson was a regularcollaborator with Blythe, we must presume it’she. The Robertson on those Champion labelshas to be an error.Oriental Strut (Johnny St. Cyr)South Frisco JB C/CD 1027Peruna Jazzmen 1105Zenith Hot Stompers 1191Bob Schulz & His Frisco JB 1288Neville Dickie 1341Steve Waddell’s Creole Bells 1348Tom Stuip & Delirium Tremolo 1433

Harmony 311-H. Sadie Jackson (vcl acc.James P.), 11/20/26, Columbia 14181-D.Jimmy Wade, 4/5/27, Gennett 6105 et al.Confirmed by 8/5/26 copyright reg. (in 1927book!), w. PB/m. GH, from Broadway Gaieties.Original Charleston Strut(Thomas Morris–William Russell–Clarence Williams)Neville Dickie 1324Le Petit Jazzband 13891/15/01: Aha, from published sheet music inCW folder at MRR:by Thomas Morris-William Russell-ClarenceWilliams, 1923. [8/1/23 copyright reg. is thesame]Bob, when you gonna give up on that Lordbook?Original Dixieland One-Step (seeDixieland Jass Band One-Step)Original Jelly Roll Blues (seeJelly Roll Blues)Original Rags (Scott Joplin)Down Home JB 1316South Frisco JB 1342Confirmed by 1899 sheet music.Original Tuxedo Rag [Tuxedo Rag](unknown)Minstrels of Annie Street 1272South Frisco JB 1342Le Petit Jazzband de Mr Morel 1362Yerba Buena Stompers 13812013 review: Rec. Original Tuxedo JazzOrchestra, NO, 1/23/25, OKeh 8215 et al.Oops: neither this nor anything else byCelestin is in copyright books for 1924-26.Oops again: OKeh 8215 does not have acomposer credit on label. (Flip side is PapaDe-Da-Dah by Cl. Williams Blue Five, and itDOES have a composer credit.HJCA HC-6 also no composer credit.More evidence: I have four reissues of this onserious CD labels with serious notes:Memphis Archives, Azure, JSP, and JazzGreats series (UK). Three have no composercredit, last one says “Trad.” That last one ain’tright, but “unknown” sure is, which is where I’llleave it unless one of our reviewers can comeup with some hard evidence.Originola (Hunter L. Kahler)Alex Hassan 1322Confirmed by 7/2/34 copyright reg., Hunter L.Kahler.Copyright reg. isOriginola; by Hunter L. Kahler; pf. in rhythm.© July 2, 1934; E pub. 42660 ; M. M. Colepub. co., Chicago.Other H. L. Kahler registrations in 1934 areFree and Easy, Keyboard Kapers, KleverKapers, Nana, Ripples. The National Library ofAustralia has a folio titled Novelty Solos for thePiano in Rhythm, by Hunter L. Kahler, pub. inSydney by J. Albert & Son, c. 1934. Itcontains all six of these 1934 tunes. And onthe back of “Foolish,” pub. by M. M. Cole inChicago in 1940, I found an ad that folio (for50 cents, obviously the Chicago, not Sydneyversion).Hassan says little known about Kahler, thatthis piece is Bantaesque but that none ofKahler’s other published pieces bear anyresemblance to it.www.allmusic.com/artist/hunter-kahler-mn0000529230 says, in bio sketch of Frank Banta,He was an active composer of instrumentalpieces as well as an interpreter, evenchurning out titles under other names. Thecomplex piano solo "Originola," for example,is a Banta composition credited to thefictitious Hunter Kahler.But the copyright book index gives noindication that Kahler’s a pseudonym (theyusually do), nor could I find any other onlinesite that made such an allegation, so we cansafely ignore it unless and until we find furtherevidence.Orinoco (C. Duane Crabb)Elliott Adams 11981914 says Adams, but it’s not in copyrightbooks 1913-15. Supposedly pub. J. H.Aufderheide, Indianapolis. Aha, found it inYork, Ontario, in the John Arpin collection: It’smarked “Copyright MCMIX by WortendykePublishsing Co. . . . Transferred MCMXI to J.H. Aufderheide & Co., Indianapolis.”Sure enough, the 1909 Wortendyke copyrightis in LC book.Ory’s Creole Trombone (Kid Ory)Canal Street JB 1005Hot Dogs /Victoria Varekamp 1033High Society JB 1166Frisco Syncopators 1245Neville Dickie 1341South Frisco JB 1342Yerba Buena Stompers 1381Rec. Hot Five, 9/2/27, Columbia 35838 etmany al. Spikes’ Seven Pods of Pepper Orch.(w/Ory), 6/22, Nordskog 3009, 5001*;Sunshine 3003*; Paradox 3*; Jazz Collector(UK) L-33; Association Francaise A-032. *asKid Ory’s Sunshine Orch; **as Ory’s Sunshine(or Sunshinne) Orch.I’ll be damned: found the original (andevidently rare) Nordskog 3009 label, whichindeed credits Ory.Not in copyright books 1922-23 or 1927-28.In 1945 Ory rec. it on Crescent 6, and thatrecord does credit Ory.Ostrich Walk (Nick LaRocca–Larry Shields)Red Roseland Cornpickers 1102Watergate Seven Plus One 1165Zenith Hot Stompers 1191Smith–Tyle Frisco Syncopators 1211Chris Tyle’s NO Rover Boys 1235ASM, 1918, Leo Feist confirms Shields-LaRocca with no first names, but we know it’sLarry.Ottoline (George Foley)George Foley 1187Our Boys Will Shine Tonight(unknown)Minstrels of Annie Street 1272

2013 review: Couldn’t find anything new.Found several more refs to this havingbecome the first strain of GA Campmeeting.Our Director (F. E. Bigelow)Louisiana Repertory Jazz Ensemble 1197ASM, 1901, Jean M. Missud.Our Favorite Rag (Will Huff)Univ. of Wisconsin Symphony Band 12461913 say notes. Confirmed by 1/14/21copyright reg.Our Love Was Meant to Be(Fats Waller–Alex Hill–Joe Davis)Paris Washboard 1359Rec. Count Basie, 8/9/37, Decca 1446 et al.Tommy Dorsey, 6/12/37, Victor 25607.Confirmed by 7/12/37 copyright reg., w. AH-JD/m. FW.Out in the Cold Again (Rube Bloom–Ted Koehler)Grand Dominion JB 1337Rec. Chick Bullock, 10/24/34, Banner 33249 etal. Glen Gray, 8/16/34, Brunswick 6964 et al.Dorsey Bros, 9/24/34, Decca 206 et al.Confirmed by 6/25/34 copyright reg., w. Ed.Koehler/m. Rube Bloom.Out of the Gallion (Sidney Bechet–Mezz Mezzrow)Swedish Jazz Kings 1188Aces of Syncopation 1372Not in Rust. Rec. Mezzrow-Bechet Quintet,8/30/45 (UK Jazz Greats series doesn’t listoriginal labels). Label of Royal Jazz 701confirms Mezzrow-Bechet; LC SONIC has thison King Jazz 142, confirms Mezzrow-Bechet(King Jazz label owned by Mezzrow).Not in copyright books 1945-46.Out of Nowhere (Edward Heyman–Johnny Green)John Gill Sentimental Serenaders 1424

ecorded it both as Ozark Blues and “A FewRiffs,” so make few riffs an alt. title.ASM has same sheet music, 1923, Sherman,Clay.Ozark Mountain Blues(R. Q. Dickerson)State Street Aces 1041Keith Nichols Dreamland Syncoptrs 1150Le Petit Jazzband de Mr Morel 13442013 review: Rec. the Missourians, 6/3/29,Victor -38071. Confirmed by 9/28/29copyright reg.--as R. Q. Dickerson.Ozark Rag (Trebor Tichenor)Trebor Tichenor 1282PPacific Coast Blues (Bill Hegamin–Tausha Hammed)Le Petit Jazzband de Mr Morel 1362

Paddle-wheelin’ Along (A SacramentoRiver Cakewalk) (Bob Helm)Down Home JB 1300Rec. on Turk Murphy’s 1961 Let the GoodTimes Roll LP, [RCA Victor LST-2501, which Ihave, although I show it as1962; it creditsHelm], but the tune is older than that, saysnote-writer Hal Smith. Helm was clarinetist onthis session.Copyright reg. isPADDLE WHEELIN' ALONG; w m Bob Helm(Robert M. Helm) © Contemporary Music;23Apr62; EU715659.[But orig. LP had the hyphen, as used here.]Paddlin’ Madelin’ Home (Harry Woods)Charleston Chasers 1314Confirmed by 6/20/25 copyright reg.Pagan Love Song (Nacio Herb Brown–Arthur Freed)Ingham–Grosz Hot Cosmopolites 1323Confirmed by 4/13/29 copyright reg., w. AF/m.NHB.Painting the Clouds with Sunshine(Joe Burke–Al Dubin)John Gill’s Novelty Orchestra 1270Confirmed by 4/14/29 copyright reg., w. AD/m.JB.Palesteena [Lena from Palesteena](Con Conrad–J. Russel Robinson)Rosy McHargue 1253New Century Ragtime Orchestra 1385Tom Stuip & Delirium Tremolo 1433

lackface, and the audience loved the act somuch that they were called for many repeatengagements throughout the United States.Brother Newton was famous for his duetsin which he played two trumpetssimultaneously, using variations with doubleand triple tonguing. The Exposition Fourmembers were accomplished musicians,thus accounting in part for their audienceappeal.Both Russell and Woodruff were frequentlytreated in tuberculosis sanitariums. Russell,despite his health problems, continued tocompose. He finally succumbed to thedisease, however, at a sanitarium in Liberty,New York, on October 1, 1915. He was only38 years of age.Alexander has come to be regarded asone of the greatest composers of circusmusic and was elected to the WindjammersHall of Fame in 1978. It is a sad footnote tothe history of band music that his widow,Eleanor, was penniless and sold all rights tohis compositions to C.L. Barnhouse for amere $125.Barnhouse(http://www.barnhouse.com/composers.php?id=-100) has several dozen Alexandercompositions for sale in various arrangement;Wikipedia(http://en.wikipedia.org/wiki/Russell_Alexander) lists 42 titles for him. This piece could be anyof them.Well, the Chatsfield Brass Band & MusicLending Library(http://chatfieldband.lib.mn.us/) can providethe entire 15 parts of either the 1897 or 1926arrangement of “International Vaudeville” for amembership fee of $15 plus $15 for all 15parts or c. $2 for an individual part. If pushcomes to shove, could do that.Panama (William H. Tyers)Canal Street JB 1005Kustbandet 1178James Dapogny & Butch Thompson 1183Grand Dominion JB 1189Louisiana Repertory Jazz Ensemble 1197P. T. Stanton’s Stone Age JB 1228Terry Waldo & Bo Grumpus 1339South Frisco JB 1342Imperial Serenaders 1351Red Rose Ragtime Band 1360Yerba Buena Stompers 1381Heliotrope Ragtime Orchestra 1411ASM, 1911, Leo Feist.Panama Rag (Cy Seymour*)Chrysanthemum Ragtime Band 1079ASM, 1904, Albright, is just C. Seymour.Where’d Chrysanthemum get “by NewOrleans composer Cy Seymour”? TheAlbright Music Company was in Chicago.Panamericana (Victor Herbert)Evergreen Ragtime Quartet 1383CD had Pan Americana.Not this or any other Victor Herbert in 1900-01.But the sheet music is in the Pan-AmericanExposition collection cited above, pub. by M.Witmark, 1901. And the title is Panamericanaon both cover and copyright page.Pane in the Glass, A(Clarence Williams)West End JB 1042Rec.Williams aho (no A says Rust), 12/28,Paramount 12870, Broadway 5067.CW pno solo, 2/12/29, Victor V-38524.CW Jazz Kings, 8/26/29, Columbia 14460-D.Paramount 12870 indeed no A, no composercredit. Victor A Pane, credit Williams, same forColumbia.Copyright as the A:Pane (A) in the glass; by Clarence Williams.[Melody only] © 1 c. Dec. 19, 1928; E—Unp.2143; Clarence Williams music pub. co.,inc., New Y ork.Papa Better Watch Your Step(Gilbert Wells–Bud Cooper)Leigh–Dapogny Mysterious Babies 1087Neville Dickie 1269ASM, 1923, Goodman & Rose; alas, nocomma cover or copyright page.Papa-De-Da-Da (A New OrleansStomp) (Clarence Williams–Clarence Todd–Spencer Williams)Weatherbird JB 1034Hot Antic JB 1044Black Eagle JB 1054Golden Eagle JB 1080Keith Nichols Red Hot Syncopators 1135Dick Hyman 1141Hot Antic JB 1154Gauthé–Marquet Clarinet Serenadrs 1216West Jesmond Rhythm Kings 1255Two Clarinet Stompers 1259Milano Hot Jazz Orchestra 1354Neville Dickie 1366Des Plantes’ Washboard Wizards 14218/22-23: Jim Riley sends copy of copyrightpage (alas, with date cut off bottom--but he’ssure it was the original publication of thetune). Title there isPAPA-DE-DA-DA(A New Orleans Stomp)8/22-23, Alex Hassan: Papa-De-Da-Da (A NewOrleans Stomp) is how the inner title pagereads, which I consider more authoritativethan the cover page, which leaves out the firsthyphen, as well as the subtitle. My sheet(1930) has Blackberries of 1930 show cover.8/25: Montgomery sends 1925 cover andcopyright page. Copyright page matchesRiley’s and Hassan’s. ASM also has the 1925Clarence Williams publication. “PA PA DE DA-DA” on cover, but PAPA-DE-DA-DA oncopyright page, with the subtitle on thecopyright page only.Papa Dip (Lil Hardin)Black Bottom Stompers (England) 1045Jean-François Bonnel & Friends 1104Zenith Hot Stompers 1191Down Home JB 12642013 review: Rec. NO Wanderers w/Lil,7/13/26, Columbia 735-D et many al.Confirmed by 7/19/26 copyright reg. John Gillhas the copyright deposit, says it confirms too.Papa, If You Can’t Do Better (I’ll Leta Better Papa Move In) (Les Miller–Fred Longshaw)Black Bottom Stompers (England) 1045LP had subtitle (I’ll Let a Better Man Move In),credit just Miller-Longshaw.

Rosa Henderson, 8/26, Banner 18892*,Domino 3852*, Oriole 772**, Regal 8196*.*as Sara Johnson; **as Gladys White. Aha,according to LC SONIC, the Banner issuehad that “I’ll let a better papa move in”subtitle, as did the Oriole.Martha Copeland, 9/14/26, Columbia 14161-D.Viola McCoy, 11/9/26, Cameo 1066, Romeo302, Variety 5048. “I’ll let a better man movein” subtitle according to Rust. Actually, itappears to be “I’ll let a better papa move in.”Couldn’t find the label, but found lots of refsto it, including authoritative LC SONIC forthe Romeo.Amazing: Googling this gets Stanley Miller thevast majority of the time, but I also saw Leoand Bob. For the record, the copyright reg. isPapa, if you can't do better ; words by LeslieMiller, melody by Fred W. Longshaw. © 1 c.June 22, 1926; E 642705; Miller andLongshaw, Philadelphia.Later in book registered by Triangle:Papa if you can't do better; words andmelody by Les Miller and Fred Longshaw. ©1 c. Oct. 20, 1926; E Triangle music pub.co., inc., New York.Papa, Mama’s All Alone Blues(Billy Higgins–Clarence Williams)One More Time JB 1410Rec. Margaret Johson (as “Papa, Mama’s AllAlone” according to Rust, acc. by CW’s BlueFive with LA), 11/25/24, OKeh 8185.Well, the copyright isPapa, mama is all alone blues; lyric WilliamHiggins, melody C. W., of U.S. © 1 c. Sept.24, 1923; E 569564; Clarence Williamsmusic pub. co., inc., New York.The “blues” at the end may mean it’s a genremarker,but I think those are usually separatedby some punctuation in copyrights. Reallymust see music or record label.Finally found it: Blues is definitely part of thetitle; and composer credit is ClarenceWilliams-William Higgins.Papa What You’re Trying to Do to Me I’veBeen Doing It for Years. Not in SOS yet, butJohn Gill has the 12/13/23 copyright deposit,says it shows Preston McDonald & LouisArmstrong.Paprika (Hot Stuff) (Luella LockwoodMoore)River Raisin Ragtime Revue 1417CD had Paprika “Hot Stuff” Two-StepNotes date this to 1914, but it’s not in thecopyright book, and say itwas sent to R4 in its piano arrangementformat by Nora Hulse, the noted scholar ofragtime’s women composers. It has beenorchestrated by R4's music director WilliamHayes.I found lots of other LLM sheets in collections,but not this title, which may very well neverhave been published.Couple of other places say 1909, but not inthat book either. And aha, World Cat reports acopy of the sheet music, pub. Grinnell Bros,Detroit., 1909, which finds it at U. of SouthFlorida indexed asPaprika : hot stuff : march two-stepTo me that says Paprika (Hot Stuff), a twostep.USF entry also notes, "To my brother LeBaron Lockwood"--Caption. Cover illustrationof red chili peppers.8/23/13 sent email to Nora Hulse, who hasrecorded the tune and who supplied the pianoscore to R4. She sent cover and copyrightsheets. Cover:Copyright:PAPRIKA(HOT-STUFF)MARCH - TWOSTEPPAPRIKA“HOT STUFF.”March Two-StepParadise (Nacio Herb Brown–Gordon Clifford)Barbara Lashley & Ray Skjelbred 1152Confirmed by 12/22/31 copyright reg., w. GC-NHB/m. NHB.Paradise Wobble (Freddie Johnson–Thomas Morris)Keith Nichols Cotton Club Orchestra 1210

Bob, where in the world did you get Emory C.Lukas? According to Google, he neverexisted.Parham’s Blues (Tiny Parham, arr.Ted des Plantes)Jungle Crawlers 1084Credit on LP was Tiny Parham.2013 review: Ouch! This has been misleadingsince Day 1. Writes bandleader Ted desPlantes in liner notes:Tiny Parham never wrote or recorded aselection called “Parham’s Blues,” althoughtwelve of his compositions featured bluesthemes. Because there is not enough timeor space on this LP to present them all, I’vearranged a medley utilizing five of the best.What you hear as “Parham’s Blues” includes“Echo Blues,” “Blue Island Blues,” “BlueMoon Blues,” “Black Cat Moan,” and “BlueMelody Blues.”Paris Blues (Jacques Gauthé–Alain Marquet)Gauthé–Marquet Clarinet Serenadrs 1216Paris Washboard Strut(Louis Mazetier)Paris Washboard 1308Mazetier is pianist for the band.Park Avenue Polka (see Nothin’)Parkway Stomp (Albert Wynn–Thomas A. Dorsey)Chicago Rhythm 1059Rec. Albert Wynn Gutbucket Five, 10/9/28,Vocalion 1220, V-1018; Brunswick 80041.Oops, copyright isPark way stomp; by Thomas Dorsey andAlbert Wynn. [Melody onlv] © 1 c. Feb. 13,1929; E unp. 3687; State street music pub.co., inc., Chicago.But Vocalion and Brunswick labels were clear:Parkway.Parlor Social (Don Ewell)Ray Smith 1162I have two reissues of the Ewell recording,both credit Ewell. Rec. Ewell 1946, GoodTime Jazz EP 1004, GTJ S 10046; Herwin 403(which I had but gave away). Not in 1946copyright book.There’s a site selling (later) sheet music, creditEwell. And LC SONIC has GTJ EP 1004,credits Ewell. Good enough.Pass Out Lightly (There Ain’t Nothin’to It) (Jack Washington)State Street Aces 1041Keith Nichols & the Blue Devils 13872011 afterthought: French RCA ain’t much ofan authority. Let’s look for sheet music andLC cy card.2013 review: Rec. Bennie Moten’s KC Orch(with the subtitle, says Rust, but Nothin’ ratherthan Nothing, and with Jack Washington onreeds), 6/12/27, Victor 21199.Well, my Chronological Moten reissue(Classics 558) has subtitle (Nothin’), creditsJack Washington.But copyright isPass out lightly; melody by Bennie Moten. ©1 c. Feb. 17, 1928; E 686088; Ralph Peer,New York.There’s no James or Jack Washington in1927-28 copyright books.Aha: The Victor label credits J. Washington,but it does not have a subtitle. But the VictorProject confirms subtitle (as Nothin’, “source:Victor ledgers”) and credits Jack Washington.But here’s a damned good question: Wheredid Rust get the subtitle if it wasn’t on theVictor 21199 record label? Could he havebeen working off the Victor ledgers rather thanthe actual labels? Not impossible.This is problematic. I guess I’ll keep thesubtitle based on Rust and Victor ledgers, butconsidering that it was on neither the originalrecord nor the copyright, I’m on damned thinice. And while I always give equal credit tocopyright registrations and record labels whenit comes to composer credits, I’ve seenevidence before that Moten played fast andloose with such things (see Moten Stomp/NewMoten Stomp), so I’ll leave Jack Washingtonas sole composer.Later checked with bandleader Nichols andarranger Claus Jacobi, but they had nothing toadd.RETHINK THIS AND SEE TINY’S STOMP(ORIENTAL BLUES). Do we really want toshow a subtitle or alternate title based only ona note in the Victor ledgers, a sub-alt title thatwasn’t copyrighted and never got on a recordlabel?Pass the Pickles (Grace Le Boy)Chrysanthemum Ragtime Band 1123LP had Grace Le BoyBUT June 2011 found the sheet music to Passthe Pickles, and it is Le Boy. So using the newpower of the internet I started looking for theactual sheet music for her other compsitions.By the time I had found six of them, the scorewas five for Le Boy, one for LeBoy, so Le Boyit is. That has to trump any listings in books.Passion Dance (see La DanzaAppassionata)Passionette (Willie “The Lion” Smith)Tom Roberts 1392ASM, 1935, Leo Feist.Passport to Paradise (Sidney Bechet)South Side Jazz Serenaders 1420Not in Rust. CD says 1956, that it’s music tofilm Ah, quelle équipe! Lord discography says6/26/56, Bechet with Reweliotty Orch, Vog(Vogue?) (F)LD307. And IMDB says Bechet infact had a role in that movie--playing asaxophonist. Dozens of secondaryconfirmations of Bechet as composer, but noprimary ones. Guess we accept it.Pastel Blue [Why Begin Again](Artie Shaw–Charlie Shavers–Don Raye)P. T. Stanton’s Stone Age JB 1228Rec.John Kirby (w/Shavers), Rust says “PastelBlue (Blue Dilemma”), 10/28/38, Decca2367, M-30340; Vocalion S-226; Brunswick03203. Found small photo of Decca 2367label, looked like Charlie Shavers-ArtieShaw (LC SONIC confirms). Serious archiveproject at SIUE shows Shavers-Shaw forBrunswick 03203 (LC SONIC confirms).Shaw 3/12/39, Bluebird B-10178; MW M-7957;HMV B-8936, EA-2375, JO-255 (titled “WhyBegin Again? on the HMV labels, says Rust).Bluebird B-10178 credits Shavers-Shaw.Found two different HMV B8936 labels:both Why Begin Again (No ?), one hadPastel Blue underneath title in smaller font

and in parens), credits Raye-Shavers-Shaw,the other just the main title and credits justShaw. LC Sonic has another Artie Shawrelease of it, Gramophone B-8936, as WhyBegin Again (Pastel Blue) with Raye-Shavers-Shaw.Tommy Dorsey, as Why Begin Again (PastelBlue), 5/1/39, Victor 26246. LC SONICconfirms Pastel Blue in parens, credits Raye-Shavers-Shaw.LC SONIC has two other recordings of it asWhy Begin Again (Pastel Blue), both creditRaye-Shavers-Shaw--Dick Todd, 4/24/39, VicLewis and Jack Parnell’s Jazz Men, London1940.Strange copyright reg.:Blue dilemna [?]; melody Charles Shavers.© 1 c. Nov. 28, 1938; E unpub. 184238;Leeds music corp., New York.Well, this is a hell of a mess: Shavers writesand copyrights it as Blue Dilemma, butrecords it with John Kirby as Pastel Blue, withcocredit to Artie Shaw--and somehow Rustknows about the Blue Dilemma title. We’dpresume that Shaw made some additionssuggestionsbefore it got recorded, but therecording session preceded the copyright bya month.Then Shaw records it as Pastel Blue, creditShaw-Shavers, except the HMV releases call itWhy Begin Again (why?) and some come adda credit to Raye, whoever the hell he is. Thenthree other bands recorded it by the WhyBegin Again title, conceding on their labelsthat it’s really Pastel Blue, but also creditingRaye.1. Blue Dilemma -- it was never issued thatway, so we can ignore it.2. Why Begin Again -- clearly, we must addthis as an alternative title, since the Shawrecording went out under both titles andothers used it while conceding that it wasreally Pastel Blue. And in spite of Rust’srepeated use of the question mark, none ofthe labels had it.3. Raye: I was about to write that we don’treally know how, why or even when he gotinvolved, or even who he is. BUT then Idecided to look for that name in the copyrightbooks and found this:Why begin again; w Don Raye, m Artie Shaw& Charles Shavers. © May 18, 1939; E pub.77162; Leeds music Corp., New York.Don Raye was a very busy man at Leeds; he’son many of their publications in 1938 &especially 1939.So there’s the answer: Don Raye was broughtin to add lyrics to the tune that Kirby and Shawhad recorded as instrumentals. I suspect thatby the time HMV released its issues inEngland, the tune had turned into Why BeginAgain and they went ahead and used the newtitle and credits even though they werereissuing the Artie Shaw Pastel Blue/instrumental version.Pastime Rag No. 2 (Artie Matthews)Hall Brothers JB 1062ASM confirms.Pastime Rag No. 3 (Artie Matthews)Evergreen Classic JB 1202Evergreen Ragtime Quartet 1383Manhattan Ragtime Orchestra 1419Pastime Rag No. 4 (Artie Matthews)Dave Dallwitz Ragtime Ensemble 1098Yerba Buena Stompers 1375Pastime Rag No. 5 (Artie Matthews)South Frisco JB 1180Frank French & Scott Kirby 1306Paswonky (Fats Waller)Paris Washboard 1359Rec. Fats 6/8/36, Victor 25652, HMV BD-5354et al. Confirmed by 9/2/36 unpub. copyrightreg.Patrol Wagon Blues (Porter Grainger)Red Roseland Cornpickers 1101Kustbandet 1294Rec. Red Allen 7/15/30, Victor 23006 et al.Margaret Johnson, 7/30/37, ARC 7-10-64,Conqueror 8921, Vocalion 03677.Confirmed by 10/6/30 unpub. copyright reg.and Victor label.Patsy (Earl Burtnett–Dick Coburn–Dick Winfree)San Francisco Starlight Orchestra 1334ASM, 1924, Sherman, Clay; w. Coburn-Winfree/m. Burtnett.Pauvre Moquette (Emmanuel Hussenot)Orpheon Celesta 1095Peaceful Henry (E. Harry Kelly)Chrysanthemum Ragtime Band 1196Elite Syncopators 1286ASM, 1901, Carl Hoffman.Peaches and Cream (Percy Wenrich)Red Wing Blackbirds 1018ASM, 1905, Jerome Remick has a delectablesubtitle — (A Delectable Rag) — but only onthe cover.Pearls, The (Jelly Roll Morton)South Frisco JB 1035Don Ewell 1077Ray Smith 1162Jim Cullum JB 1254Chris Tyle’s Silver Leaf JB 1298Paramount JB of Boston 1340Red Rose Ragtime Band 1399Rec. JRM pno solo, 7/18/23, Gennett 5323.Again 4/20/26, Vocalion 1020, Oriole 1007,Brunswick 80067 et al. RHP, 6/10/27, Victor20948, Bluebird B-10252 et al.Confirmed by 8/20/23 copyright reg.Peek-A-Boo Rag (Charles L. Johnson)Dick Zimmerman 1049ASM, 1914, Forster.Peepin’ Blues (Lovie Austin)Art Hodes Blues Serenaders 1184Rec. Austin 4/25, Paramount 12277, Silvertone3572 (as Carolina Shuffle by the Hot Dogs), etal.Not in copyright books 1925-26, althoughmany other Austin pieces are there.Paramount label confirms Lovie Austin ascomposer. Detailed Tommy Ladnierdiscography confirms that Silvertone 3572appeared as Carolina Shuffle by The HotDogs, but I suspect it had extremely smalldistribution and can be ignored.Pegasus (James Scott)Matthew Davidson 1252Confirmed by 1920 sheet music reproduced inDover folio.Peggy (Bismer*–Buckley*–Head*)Kustbandet 1178Neely’s Royal Society Jazz Orch 12502013 review: For God’s sake, how could Ihave figured out that all three composernames were pseudonyms and not made anykind of notation to that effect here? I see: thetune list in 1250 spelled out the pseudonymsin detail: Bismer = John Nesbitt, Buckley =Dave Wilborn, Head = George Thomas (allmembers of the band). Presumably Neelyknew what he was talking about.Orig rec. was by McKinney’s Cotton Pickers,11/7/29, Victor V-38133, Bluebird B-10706 etal. Credit on Victor label is Bismer-Buckley-Head; Victor archives are no help: “Unverifiedcomposer information: Bismer; Buckley;Head.Composer information source: Disc label.”The 1/5/30 unpub. copyright reg. says just“melody by Bismer-Buckley-Head,” in itselfvery suspicious.Will try to query Neely, but it’s possible theinfo came straight from Erdos. But whence?No amount of googling on my part raised ahint. Neeley pleads ignorance, must askErdos.Pelican Drag (Harry Carney)Paris Washboard 1347

Rec. Bigard’s Jazzopators (w/Carney on bari),2/14/40, Epic LN-3237; Philips BBL-7163, BO-7421-L. (diff. index of Ellingtonia says EpLN-32337, CBS 88522, Mc MD7-235) FoundEpic LN2425, pub. France, back cover, whichcredits Carney.Not in copyright books 1939-41. LargeMosaic multi-CD set called Duke Ellington:1936-40 Small Group Sessions says byCarney. Steve Hancoff guitar CD says Carney.Northeast Public Radio program guide says byCarney. “Duke on the Web” (French) site saysCarney.Pen Pals, The (David Thomas Roberts)David Thomas Roberts 1132Penn Beach Blues (Joe Venuti–Eddie Lang)Andy Stein Blue Five 1390JV Blue Four, 11/15/27, OKeh 40947,Parlophone R-109, Vocalion 3160 et al.Not in copyright books 1926-29. BUT OKehlabel confirms Venuti-Lang.Pennies from Heaven (ArthurJohnston–Johnny Burke)Andy Stein & Friends 1146John Gill Sentimental Serenaders 1424Confirmed by 5/1/36 unpub. copyright reg., w.JB/m. AJ, from film of same name.Peoria (see I Wish’t I Was in Peoria)Pep (Jelly Roll Morton)Ray Smith 1012West End JB 1085Red. JRM pno solo 7/8/29, Victor V-38627,Bluebird B-10257 et al. Later in Lomaxinterviews.Confirmed by 1/10/31 unpub. copyright reg.and Victor label.Pepper Sauce (H. A. Fischler)Chrysanthemum Ragtime Band 1047Well, hell--how and why did I learn that H. A.Fischler is pseudonym for Harry Lincolnwithout nothing it here? 1911, says Vermazen.Copyright:Pepper sauce; a hot rag, by H. A. Fischler,arr. by F. H. Losey; orchestra with piano acc.4to. © Mar. 17, 1911; 2 c. Mar. 18, 1911; E252971; Vandersloot music pub. co.,Williamsport, Pa.Also a Black Wasp Rag by Fischler in 1911,and Chili Sauce, and Hot Scotch Rag.Hmmm, there’s also “My Old Plantation Home,by H. A. Fischler, arr. Harry J. Lincoln. Samefor “Some Day, Some One Will Whisper, I LoveYou.”But we’ve got him here under his own namefor a couple of rags, also pub. by Vandersloot.But aha, while Chili Sauce says by H. A.Fischler on cover, Indiana Harmony site lists itas by Harry J. Lincoln. Interesting, but far fromproof.Aha, from the Perfesser Bill site:Harry A. Fischler was born in Wellsboro,Pennsylvania to German immigrant parentsFrank R. Fischler and Zwila Fischler, whowere among many that had settled in centralPennsylvania during the mid 19th century.[Goes on to detailed bio sketch] . . .Some sources have incorrectly citedFischler as a pseudonym of Harry J. Lincoln,the composer and general manager ofVandersloot Music. This may be in partbecause he was also published as H.A.Fischler, never using his full first or middlename. Yet his name did show up in thepapers. A July 22, 1914 article in theWilliamsport Gazette and Bulletin reviewed arecent concert in which "Every number wasgood with several standing outpre-eminently. It opened with a rattlingmarch, "Keefer's Grenadier," by HarryFischler. This march was well received, andwas enjoyed by everyone. It is brand newand last night was its first rendition, but itgives promise of being extremely popular.Mr. Fischler has dedicated it to Bura C.Keefer." As further proof of his not beingLincoln, his final two songs were publishedby Star Music in Eldred, Pennsylvania, notby Vandersloot..Percolatin’ Blues (Lemuel Fowler)Chalumeau Serenaders 1394Rec. Fowler’s Washboard Wonders, 7/5/27,Columbia 14230-D. Clara Smith (acc. byFowler et al), 11/23/26, Columbia 14202-D.Confirmed by 11/23/26 copyright reg. andClara Smith record label.Perdido Street Blues (Lil Hardin)Tom Shea 1022Black Bottom Stompers (England) 1045Black Eagle JB 1048Louisiana Repertory Jazz Ensemble 1055Abi Hübner’s Low Down Wizards 1093South Frisco JB 1103Jean-François Bonnel & Friends 1104Peruna Jazzmen 1105Wally Fawkes & His Soho Shakers 1144Turk Murphy JB 1161Steve Waddell’s Creole Bells 12302013 review: Copyright isPerdido St. blues; melody, by L. Armstrong.© 1 c. July 19, 1926; E 643157; LillianArmstrong, Chicago.Stop the Show! The Columbia 698-D label bythe NO Wanderers says composer is LouisArmstrong! That’s a powerful clue. But forwhat it’s worth, according to LC SONIC theColumbia M-199 release by the Wandererssays Lil. Armstrong, as did the Columbia DB-2860 release.But back to the copyright book: In the indexat the back of the book, both composers andthose registering the copyrights (which can beindividuals or publishers) are listedalphabetically, with the compositions they hada hand in listed after their names. Perdido St.is listed only after Lillian’s name, but not afterLouis’s (unlike it’s flip side, Gate Mouth, whichis listed only under Louis’s name.).This indicates that the folks compiling thebook felt that Lil was the composer, not Louis.But how in the world do we argue with thatvery clear composer credit on Columbia 698-D?But now let’s look for the 1940 recording byLouis’s orchestra: The labels of both Decca18090 and 25099 credit Lillian Armstrong.Here’s my theory: The original Columiba 698-D by the Wanderers got it wrong when theycredited Louis, who was, we now know, thecorrect composer for the flip side, “GateMouth.” Columbia corrected the mistake withsubsequent releases on M-199 and DB-2860;and Decca credited Lil on its releases of theArmstrong orchestra version in 1940.So we stick with Lillian. It would be nice,however, to have the original copyrightdeposit for the tune, such as the one found byJohn Gill for Gate Mouth. Well, Gill hascopyright depost, confirms Perdido St. steadStreet, says Lillian.Perfect Rag [Sporting House Rag](Jelly Roll Morton)Black Eagle JB 1048John Gill 1066Paramount Theatre Orchestra 1089JRM pno solo 6/9/24, Gennett 5486 et al.(oddly, this listed in Rust but not in Lomax’sdiscography). Evidently rec. as SportingHouse Rag 12/14/39, General rejected, butlater issued by Commodore.Lomax says not copyrighted as Perfect Rag,but as Sporting House Rag in 1939. Andindeed the copyright isSporting house rag; melody Jelly Roll [i.e.Ferdinand J.] Morton. © 1 c. Dec. 20, 1939;E unp. 209912; Tempo-music pub. co.,Washington.

The Commodore reissue of all the last Generalsessions called it Sporting House Rag (PerfectRag). And everybody agrees, including all theplaces selling the sheet music as both titles.Perils of Pauline (Pauline Alpert)Alex Hassan 1322Tony Caramia 1328Confirmed by 6/22/27 copyright reg.Peroxide (C. L. Woolsey)Trebor Tichenor 1282Confirmed by 5/3/10 copyright reg. as C. L.Persian Rug (Neil Morét*–Gus Kahn)Dick Sudhalter & Connie Jones 1207San Francisco Starlight Orchestra 1296Independence Hall JB 1386Tom Stuip & Delirium Tremolo 1433Oops, copyright isPersian rug; words by Al. Dubin, melody byNeil Moret. © 1 c. May 31, 1927; E 666928;Villa Moret, inc., San Francisco.But then later it’sPersian rug; words by Gus Kahn, music byNeil Moret; pf. and ukulele acc. © Oct. 24,1927; 2 c. Oct. 29; E 675162; Villa Moret,inc., San Francisco.But index didn’t list it under Kahn or Dubin!Question then is how it was published.Found it indexed in three libraries, all as Kahn-Moret, so obviously that’s the version that gotpublished.Peter Gink (George L. Cobb)Levinson’s Trans-Atlantic Saxtette 1430Confirmed by 8/27/18 copyright reg. (in 1919book!).Petticoat Lane (Euday L. Bowman)Bob Wright 1239Confirmedy 8/14/15 copyright reg., pub. byBowman in Ft. Worth, TX. Only copy in theworld is at MTSU!Phantom Fingers (Jack Wilson)Alex Hassan 1322Confirmed by 11/26/34 copyright reg. filed byChappell & Co. Ltd., LondonPiaf (Steve Lane)Steve Lane’s Southern Stompers 1040Piano Marmalade(Willie “The Lion” Smith)Neville Dickie 1176Not in Rust. Confirmed by 6/8/37 copyrightreg. Strange--I find several references to thecomposition/sheet music, but no refs to arecording of it. And in fact, Lord discographyshows this to be the only recording of it ever.Piano Poker (Pauline Alpert)Tony Caramia 1328Confirmed by 10/15/35 copyright reg.Piccadilly (Elmer Schoebel)New Orleans Classic Jazz Orch 1145Rec. NO Owls, 4/14/26, Columbia 1158-D.Confirmed by 2/22/26 copyright reg. andColumbia label.Piccadilly (Fats Waller)John Gill 1066Paramount Theatre Orchestra 1089Keith Nichols 1159Part of London Suite, rec. 6/13/39 in London.Piccalilli Rag (George A. Reeg, Jr.)Tom Brier 1274ASM, 1912, Jos. M. Daly.Pickaninnies on Parade(George Barnard)River Raisin Ragtime Revue 14171906 says CD, but not in copyright book. Anonline ref. said 1897, and sure enough it doespop up in 1897 book. Seems to be always G.D. Barnard in copyright book, but most refs tohim show George D. Barnard.(Are They) Pickin’ On Your Baby(’Cause I'm a Pickaninny Rose)(Paul Reynolds–Billy James)Dry Throat Fellows 1226Rec.CW Blue Five (as by Eva Taylor), 1/8/25, OKeh40330. Label is “Pickin’ On Your Baby,”credits Paul Reynolds-Billy James--mostlikely the source for the Dry Throat Fellows.Five Birmingham Babies, 2/10/25, Pathe036218, Perfect 14399. LC SONICconfirms title, composers on both labels.Georgians (as “Are They Pickin’ On YourBaby?”), 6/20/25, Columbia 407-D. LCSONIC confirms title, credit James-Reynolds.Yoicks, copyright is this:Are they pickin' on your baby, 'cause I'm apickaninny rose; w Paul V. Reynolds, m BillyJames, of U.S. [Cover title: Pickin' on yourbaby 'cause I'm a pickaninny rose] © Oct.28, 1924; 2 c. Nov. 10; E 601342; ClarenceWilliams music pub, co., inc., New York.Have never seen a note like that in acopyright; surely it means that the piece waspublished in sheet form--but I bet I’ll never findit. And strangely, Reynolds is not in index.Definitely published. Baylor U. library has it as“Are you pickin’ on your baby : (‘cause I’m apickaninny rose), w. by Paul V. Reynolds/m.Billy James. NY, Clarence Williams, c. 1924.Line in description says, “Cover Title: Pickin'on your baby 'cause I'm a pickaninny rose.”Found the cover, and it matches Baylor’s“cover title” description, except that thesubtitle is in parens.Well, I guess I should insist on seeingcopyright page of sheet music beforeswitching to Are you or Are they, but wecertainly can add the subtitle. 9/4/13 got thesheet music.CoverPICKIN’ ON YOUR BABY(’CAUSE I’M A PICKANINNY ROSE)But the copyright page is the awkwardAre TheyPickin’ On Your Baby(’Cause I’m a Pickaninny Rose)One could argue that the “Are They” is aproper part of the title, since they did not put itin parens like the Pickaninny Rose line); butthey did put it in smaller print, as sub- andsupertitles often are, and it wasn’t on thecover, so I’m going to treat “Are They” as asupertitle.Pickin’s (Harry Reser)Terry Waldo’s Gotham City Band 1120Howard Alden with Dick Hyman 1200Confirmed by 11/23/22 copyright reg.Pickles and Peppers(Adaline Shepherd)New Orleans Ragtime Orchestra 1213John Gill’s Dixieland Serenaders 1304Evergreen Ragtime Quartet 1383ASM, 1916, Adaline Shepherd. Cover hassubtitle (A Rag Oddity) but not copyright p.Piggly Wiggly [Blues] (Junie Cobb)Scaniazz 1038Dry Throat Five 1151Paris Washboard 1182Pam Pameijer’s New Jazz Wizards 1395Rec.Windy Rhythm Kings (as Piggly Wiggly Blues,w/Cobb on cl/tsax), 4/29, Paramount 12770,Broadway 1294, Century 3009. Paramountlabel definitely Blues as part of title, nocomposer credit. Broadway same title, butas Lee’s Black Diamonds, also no credit.Century same as Paramount.Beale Street Washboard Band, 7/24/29,Vocalion 1403, V-1016;p Banner 32388;Brunswick 80076; Decca MB-22050.Vocalion just Piggly Wiggly, credit Cobb.Copyright isPiggly wiggly; melody by Junie C. Cobb. ©1 c. May 1, 1929; E unp. 6259; LesterMelrose, Chicago.

Pig’s Feet and Slaw (Tiny Parham)Red Rose Ragtime Band 1128Pam Pameijer’s New Jazz Wizards 1281--4>2013 review: rec. Parham 10/25/29, Victor23410. Strange, not in copyright books 1928-30 even though Parham had a dozen or sotitles copyrighted in each of those years.Oops! The generally quite precise VictorProject ledgers confirms Parham as composerbut says title is “Pig’s Feet and Slaw” (sourceis disc label). And of my three Parhamreissues, two are Pig’s and one is Pigs’. Quitefrankly, I trust the Victor Project to copy thattitle off the record more than I trust Rust. Fornow must switch to Pig’s, but I’ll look aroundfor the disc.Found it! Or Bill Haesler did. Victor Projectwas right: Victor label is Pig’s Feet and Slaw.Pile of Logs and Stone(Called Home) (Maceo Pinkard)Scaniazz 1004Minerva JB 1117Des Plantes’ Washboard Wizards 1325Le Petit Jazzband 1389ASM confirms this cover & (c), 1925, ClarenceWilliams.Pine Apple Rag (Scott Joplin)South Frisco JB 1143Evergreen Ragtime Quartet 1383Red Rose Ragtime Band 1399Confirmed by my 1908 sheet music.Pink Poodle (Charles L. Johnson)Dick Zimmerman 1017ASM, 1914, Forster.Pirate Rag, The (E. A. Windell)David Thomas Roberts 13171904, says Roberts, pub. in Enid, Okla. Not incopyright book--poss. self-published. Butwait: found it in 1905:Pirate (The) "rag"; for piano, by E. A. Windell.© 86691, Jan. 14, 1905; 2 c, Jan. 14, 1905.)Windell (E. A.), Enid, Okla.But Brier has a copy of the sheet music,confirms title contains Rag.Pirouette (Tom Stuip)Tom Stuip & Delirium Tremolo 1433Plantations Joys (Luis Russell)Jazz O’Maniacs 1046Le Petit Jazzband de Mr Morel 1344We had Plantation Joys.Rec. Russell 11/17/26, OKeh 8424. Strange--only find what looks like a mechanical rightscopyright:Plantation joys. © Consolidated music pub.house, Chicago. Notice rec'd Dec. 9, 1926;recorded, v. p. 75.Stop the show: Found the OKeh label online,and title is definitely PLANTATIONS JOYS, andcomposer is Russell. RJHA calls it Plantationsto, and several indexing site have it that way.Rust screwed up.Planxty Jim Stewart (Glenn Jenks)Glenn Jenks 1179Play a Simple Melody (see SimpleMelody)Play Me Slow (Milt Hagen–Charles O’Flynn)Les Rois du Fox-Trot 1436Rec. Jean Goldkette, 11/25/24, Victor 19664.Fletcher Henderson, 1/23/25, Columbia 292-D.Mound City Blue Blowers, 2/9/25, Brunswick2849.Confirmed by 3/23/24 copyright reg., w/mboth.Wait a minute! Victor Project adds a thirdcomposer, Al Moquin, “source: Victorledgers.” He’s a real guy, with multiplecompositions to his credits in 1924-26copyright books.Oddly, couldn’t find the actual label, but LCSONIC has it, reports credits of O’Flynn-Hagen, so we’ll stick with that.Play That Barber Shop Chord(Lewis F. Muir–William Tracey–Ballard Macdonald)Chris Tyle’s Silver Leaf JB 1311Well, I’ve got the sheet music in hand fromASM, 1910, J. Fred Helf, which says w.Tracey/m. Muir, no Macdonald. MTSU has the1910 J. Fred Helf edition, and another, 1910by Shapiro, Bernstein, with same credits.Kinkle says Play That Barber Shop Chord,music Lewis Muir, lyrics William Tracey-BallardMacDonald, 1910. Lissauer agrees withKinkle exactly. Waldo’s This Is Ragtime has aphoto of the cover on p. 99; it is most likely alater reprinting of the song, but it says[...Barber Shop...], music by Lewis F. Muir,words by Wm. Tracey. Should Macdonald getthe boot?Erdos: Chris Tyle confirms the threecomposers shown by Kinkle & Lissauer. --4>Aha, here’s our answer: Parlorsongs.com hasa bio sketch of J. Fred Helf:In 1910 Helf published Play ThatBarbershop Chord, by Lewis Muir andWilliam Tracey, or at least that is how Helfpublished it. Songwriter Ballard Macdonaldhad begun work on the song and hadwritten dummy lyrics before leaving thesong behind. The piece was finished byLewis Muir and William Tracey, andMacdonald was incensed that Helf left hisname off the sheet music. He sued Helfsuccessfully, and the award of $37,500forced Helf into bankruptcy thus ending hisforay into publishing.Presumably Macdonald’s name was added tolater reprints and that’s what Tyle was lookingat. And I think we can leave Macdonald here,since a court of law ruled that he was acocomposer (see “O Sole Mio”). By the way,the typography on the original Helf cover hasvery tight spacing on words in the title, whichpresumably why many read it as solid, i.e.,Barbershop.Pleasant Moments (Scott Joplin)New Orleans Ragtime Orchestra 1213Bob Wright 1239Confirmed by 1910 sheet music.Please (Ralph Rainger–Leo Robin)Kustbandet 1178John Gill Sentimental Serenaders 1424Confirmed by 7/6/32 copyright reg., w. LR/m.RR, unpub.Please Don’t Talk About Me WhenI’m Gone (Sam H. Stept–Sidney Clare–Bee Palmer)Paris Washboard 11821182 said Stept & Clare.ASM, 1930, Remick, by Sidney Clare, Sam H.Stept and Bee Palmer. But Middle TN Statehas several copies (also 1930 Remick) andshows just Clare-Stept. But get this: Hassanhas both! Both copies 1930 Remick, one withClare as lyricist, one with Clare & Palmer. Iguess we must add her.FYI, she’s not on the 12/15/30 copyright reg.Pleasure Mad [Viper Mad]

(Sidney Bechet–Rousseau Simmons)Pam Pameijer Trio 1172Lyttelton–Fawkes Troglodytes 1238Charleston Chasers 1287Paris Washboard 1308Neville Dickie 1324Le Petit Jazzband de Mr Morel 1362Duke Heitger’s Big Four 1367Aces of Syncopation 1372ASM, 1924, Fred Fisher.But note the copyright:Pleasure mad; w and melody Sidney Pechet[sic], arr. George Holman, both of U.S. © 1c. May 20, 1924; E 590487; Fred Fisher, inc.,New York.Then later in book:Pleasure mad; w Rousseau Simmons, mSidney Bechet, of U.S.; pf. acc., with ukulelearr. May Singhi Breen. © July 23, 1924; 2 c.July 24; E 596098; Fred Fisher, inc., NewYork.2013 review: Oops, I have Viper Mad here asan alternative title with no explanation.Where’d it come from?Only recording of Viper Mad in Rust is byNoble Sissle’s Swingsters, with Bechet oncl/ssax, 2/10/38, Decca 7429, 3521 et al.;Brunswick 02652, 82587.Well, I found & compared the Ethel Waters1924 Pleasure with this Bechet-Sissle ViperMade, and they’re singing the same lyrics.Pleasure Mad (Archie Giillam)Jazz Classics 1061Jim Snyder /Georgia Grinders 10682011 afterthought: We never did have morethan the notes on 1061 to attribute this toGillham. Must look for LC cy card.Now here’s our copyright for the “Gillham”tune:Pleasure mad; words and melody by A.Gillam [sic]. © 1 c. Feb. 23, 1928; E 686238';Archie Gillam, Chicago.And that’s the way he’s listed in the index,Archie Gillam. There is an Art Gillham in theindex with five songs to his credit (one ofwhich is named “Pussy”). And for what it’sworth, Art Gillham has several songscopyrighted each year 1927-29, but there areno other Archie Gillam entries. He appearsone other place in this index, with Billy Smytheon “Mean Blues” from 1923.Well, shit! The Gennett 6454 label saysGillans too. But I’m going to stick with Gillambased on the copyright reg. It’s more likelythat the Gennett label introduced the typothan the copyright book, and since theChampion was just a reissue of the Gennett,they’d of course have copied the label infofrom Gennett.Pliny, Come Kiss Yo’ Baby(Dave Reed, Jr.)Bo Grumpus 1388CD had “Pliny, Come Kiss Your Baby.”1899, says the CD. Found in 1900 book:Pliny come kiss yo' baby. Words and musicby Dave Reed, jr. Copyright by Jos. W. Stern& co., New York. 1899, no 63351, Sept. 29;2 copies rec'd Jan. 4, 1900.Many other Reed songs in 1899, mostly coonsongs with dialect, so yo’ is fittin’.And aha, it was published. Cover is more orlessPlinyCOME KISS YOUR BABYBut the copyright page isPliny, Come Kiss Yo’ BabyPoison (Harry Dial)Blue Rhythmakers 1373

all as Harry Dial, Chicago. None of the tunesfrom the final session was copyrighted.Bill Haesler found the label from the flip side ofPoison, which does indeed credit Dial. And hehas Dial’s own liner notes from an earlySwaggie 7" LP (which contained the sixpublished tracks), in which Dial recounts thatI had no organized band when theserecords were made. I had gotten the idea ofrecording my own compositions after acouple of sessions with Junie Cobb. [Thentells where the sidemen came from.]He also reports thatRoss Laird's Brunswick Discography,allegedly using the Brunswick files, has -Harry Dial - for both titles.I think it’s more than safe to attribute this titleto Dial, in spite of the various reports of Smith,which may have come from John R. T. Davies,since a Frog CD reissue, evidently sourcedfrom 78s provided by Davies also quotes theSmith credit for both sides of 1594, while weknow from seeing label that the side oppositePoison is credited to Dial.And Haesler says the 1996 Frog CD (DGF7)reissue of a series of obscure Vocalionrecordings in Chicago 1929-30 may havebeen the culprit. The Harry Dial sessions arefollowed immediately in their title list by aseries f recordings by Lloyd Smith, with Smithcredited as composer on all titles. Very likelythat a misdirected glance got that Smith creditapplied also to the two Dial sides right aboveLloyd Smith.Poison Rag (C. L. Woolsey)David Thomas Roberts 1317Confirmed by 5/3/10 copyright reg.Polly (J. S. Zamecnik)Wally Rose 1057Confirmed by 4/19/26 copyright reg., repeated6/18/26 with no changes!Ponchatrain [Pontchartrain Blues](Jelly Roll Morton)South Frisco JB 1027South Frisco JB C/CD 1035Black Eagle JB 1048European Classic JB 1070State Street Aces 1106Le Petit Jazzband de Mr Morel 13622013 review: 1st rec. as Ponchatrain with RHP3/20/30, Victor V-38125. Victor label readsPONCHATRAIN—Blues Fox TrotCopyrighted (with a banger!) 6/5/30:Ponchatrain [!]; melody by Jelly Roll Morton[pseud, of Ferd Morton] 1 c. June 5, 1930; Eunp. 22882; Southern music pub. co., inc.,New York.(Jelly doesn’t seem to have recorded it as“Pontchartrain Blues”—so where did that titlecome from?)No recordings of it as Pontchartrain Blues inRust, and first one in Lord isn’t until 1958, but Ihave more of that version of the title on myshelves than any other. My guess is that laterrecorders of the tune accidently or gratuitously“corrected” the spelling of the lake, thenadded Blues because it’s a blues tune orbecause that saw that word (as a genremarker) following the title on the Victor 78.Poor Butterfly (John Golden–Raymond Hubbell)Paris Washboard 1428From Wikipedia:"Poor Butterfly" . . . was inspired by GiacomoPuccini's opera Madame Butterfly andcontains a brief musical quote from the act 2duet Tutti i fior in the verse. The music waswritten by Raymond Hubbell, the lyrics byJohn Golden. The song was published in1916. It was introduced in the Broadwayshow The Big Show, which opened inAugust 1916, and was sung in the show bySophie Bernard.Copyright book confirms.Poor House Blues (Spencer Williams)Helm–Leigh Jazz & Blues Review 1331Rec. Maggie Jones, 12/9/24, Columbia 14050-D.Confirmed by 10/30/24 copyright reg.Poor Jimmy Green (Eubie Blake)Morten Gunnar Larsen 1009Matthew Davidson 1252Based on a strain heard by Eubie from Greenc. 1900, but not recorded by Eubie until 1968on the 86 Yyears Of LP) (Eubie says this inliner notes). Virginia dates it in her CD to1969. And sure enough, found it in thecopyright book dated 10/13/69.Poor Li’l Me (Paul Barbarin–Henry “Red” Allen)Limehouse JB 10142013 review: Rec. Russell 5/29/30, OKeh8830, Parlophone R-2212. And Limehousewas right:Poor li'l me; melody by H. Allen, jr., and P.Barbarin. © 1 c. May 24, 1930; E unp.22323; Henry Allen, jr and Paul Barbarin,New York.However, the record label said only Barbarin.Same for Parlophone.Poor Papa (He’s Got Nuthin’ at All)(Harry Woods–Billy Rose)Jimmy Mazzy & Friends 1219

Porcupine Rag (Charles L. Johnson)Red Wing Blackbirds 1018ASM, 1909, Witmark.Porgy (Jimmy McHugh–Dorothy Fields)Charquet & Co 1076Confirmed by 6/23/28 copyright reg., w. DF/m.JM, from Blackbirds of 1928.Pork and Beans (Theron C. Bennett)Trebor Tichenor 1282Univ. of Wisconsin Symphony Band 1284Confirmed by 1/26/09 copyright reg. AlsoASM, 1909, Victor Kremer, & on cover, but andon copyright page.Pork and Beans (Luckey Roberts)Morten Gunnar Larsen 1009Tom Roberts 1345Confirmed by 1913 sheet music pub. by Jos.Stern. Also 6/24/13 copyright reg.Porter’s Love Song to a Chambermaid,A (James P. Johnson–Andy Razaf)Dry Throat Five 1151Les Red Hot Reedwarmers 1416HSM confirms it that way, 1930, Joe Davis.Alas, I felt I had to hyphenate Chambermaidabove because it would have wrapped sooddly if I’d forced it to next line. Can onlyhope that readers don’t presume this meansthat it was Chamber-maid in the original.Porto Rico (Ford T. Dabney)Chrysanthemum Ragtime Band 1047George Foley 1187Chris Tyle’s Silver Leaf JB 1258Manhattan Ragtime Orchestra 1402Strange--found cover on a site, with blurb“Featured by Miss Aida Overton Walker in ‘TheSmart Set,’” with a picture of her, pub. byMaurice Shapiro. Later found full sheet music,confirmed 1910, but it’s not in 1910 book. Ah,copyright reg. is 12/14/10, in the 1911 book.But also on first page noted above was a linkto a sheet music cover of “Porto Rico,” m. Jas.T. Brymn/w. Cecil Mack, “Sung by AidaOverton Walker with the ‘Smart Set Co.,’” pub.by Gotham-Attuck. And I did find that one inthe 1910 book!Amazing: There were definitely two different“Porto Rico” songs, and Ada Overton Walkersang both of them.Portrait of a Silver Lady(Jack T. Rummel)Jack Rummel 1118(Does She Love Me) Positively –Absolutely (Sam Coslow–Jean Herbert)Neely’s Royal Society Jazz Orch 12088/22, Hassan: (Does She Love Me?)Positively-Absolutely is correct8/24, Jim Riley sends copy of music (fromfolio), showing(DOES SHE LOVE ME)Positively – Absolutely8/26, Nancy W. describes her 1927 originalvery carefully, says both cover and copyrightpage have the supra-title, but that only coverhas the ? in it. Alex was obviously looking athis cover.9/8: check sheet at Alex’s house. Nancy wasright.Possum and Taters(Charles Hunter)David Thomas Roberts 1317

time we played that tune, but did not recordit.I did record it in '86 with a band calledFried Potatoes, on the Dutch Cat Jazz label(Ct LP 56).. The same band recorded analbum (Breeze) for Stomp Off later.It was never published and I do not knowof any other recordings.Pozzo (Vincent Rose)Dan Levinson’s Roof Garden JB 1380ASM, 1916, Jerome Remick.Praying Mantis (Billy Mayerl)Tony Caramia 1313From suite or set called “Insect Oddities,”1940, says Caramia. Hassan’s list of Mayerlcompositions at Mayerl Society website saysthe oddities were “Beetle in the Bottle,”“Ladybird Lullaby,” “Praying Mantis,”“Wedding of an Ant.” This one confirmed by6/12/40 copyright reg., as is Beetle andWedding; Ladybird date is 4/25/40. Allcopyrighted separately, no reference to InsectOddities rubric.Precious Little Thing Called Love, A(J. Fred Coots–Lou Davis)Ian Whitcomb & His Merry Bands 1276Confirmed by 12/12/28 copyright reg., w/mboth.Prelude in C Sharp Minor(Serge Rachmaninoff)Red Roseland Cornpickers 1102From Wikipedia:Its first performance was by the composeron September 20, 1892, at a festival calledthe Moscow Electrical Exhibition, whichRachmaninoff considered his debut as apianist.Prelude No. 3 (George Gershwin)Jimmy Mazzy & Eli Newberger 1109Wikipedia:Three Preludes are short piano pieces byGeorge Gershwin, which were firstperformed by the composer at the RooseveltHotel in New York in 1926. Each prelude is awell-known example of early-20th-centuryAmerican classical music, as influenced byjazz.3. Agitato - Early listeners called the thirdPrelude, in E flat minor, "Spanish", butmodern ears may find this descriptionpuzzling.Pretty Baby (Tony Jackson–Egbert Van Alstyne–Gus Kahn)South Frisco JB 1035Ronn Weatherburn 1107Thompson, Smith & DeVore 1116Mahogany Hall Stompers 1221Down Home JB 1264Bob Schulz & His Frisco JB 1315Milano Hot Jazz Orchestra 1354Canary Cottage Dance Orchestra 1400ASM, 1916, Jerome Remick; w. Kahn/m.Jackson-Van Alstyne.Pretty Baby (I’m in Love with You)(Louis Moisselle–Francis C. Chantereau–Bert Lowe–Bernardo Fazioli)New Orleans Classic Jazz Orchestra 1145LP was just Pretty Baby by anon.

Ray Smith 1162Promenade aux Champs-Élysées(Sidney Bechet)Steve Waddell’s Creole Bells 1301Looks like first rec. by Bechet w/Claude Luterband 5/4/51, issued on Vogue (F)V5059,(F)EPL7671 and many others. Then ClaudeBolling 1956 7127. Not in 1951-52 copyrightbooks.Did find back cover of Vogue EPL 7.663 of the1951 recording, credits Bechet.Proud (of a Baby Like You)(Chris Schoenberg–Leonard Stevens–Paul R. Helmick)Charleston Chasers 1287San Francisco Starlight Orchestra 1296Paul and His Gang 1329Rec. (without parentheses, says Rust) JeanGoldkette, 1/28/27, Victor 20469 (take 4, thatis--take 1 was later issued on several LPs).Hmmm...copyright is justProud; words by Chris. Schonberg andLeonard Stevens, music by Paul R. Helmick;pf. and ukulele acc. © Dec. 2, 1926 ; 2 c.Dec. 7; E 652290; Villa Moret, inc.,SanFrancisco.Victor Project confirms full title withoutparentheses, and our composers. And label isclear, no parens. So where’d we get ’em?From the sheet music. Cover isproudcopyright isOF A BABY LIKE YOUPROUDOf A Baby Like YouPunch (from Puppets) (Billy Mayerl)Tony Caramia 13131927, from Puppet’s [sic] Suite, says Caramia.Looks like, unlike Insect Oddities, Mayerlcopyright this as the suite:Puppets; suite, by Billy Mayerl, of GreatBritain; pf. 1. Golliwog. [2 others] © June 1,1927; 1 c. June 1; E 663678; Keith, Prowse& co., ltd., London.Hassan’s list of Mayerl compositions says theparts were Golliwog / Judy / Punch. Andsheet music cover is clear: Puppets. “Suite”is much smaller and below as genre marker.Purple Rose of Cairo (Armand J.Piron–Steve Lewis–Jimmie Dupre)Black Eagle JB 1048Mahogany Hall Stompers 1221New Orleans Classic Jazz Orch 1223We had just Piron.2013 review: Wow! Rust says Piron’s NO orchtried twice to record it for Victor, on 1/23/24and 2/7/24, but both were rejected. Myearliest recording seems to be Peter BocageCreole Serenaders, 1/26/61, Riverside RLP379, which credits Lewis-Piron-Dupre, butLord shows Paul Barbarin’s JB, 3/3/56,American Music AMCD35 (really no LPrelease?). My New Orleans Ragtime Orch onArhoolie 1971 says Piron-Steve Lewis;AND aha, not successfully recorded in 1924,but copyrighted, and Bocage was right in1961:Purple rose of Cairo; w and m J. Dupre, A. J.Piron and Steve J. Lewis, all of U.S.Clarence Williams blues ed. © June 18,1924; 2 c. June 19; E 589349; ClarenceWilliams music pub. co., inc., New York.In index, it’s J. C. Dupre--but who is he? Aha:The piece was published, and the index for thecopy in the British Library at St. Pancras saysw. Jimmie Dupre/m. AJP & SL. Jasen’s ACentury of American Popular Music: 2000Best-loved and Remembered Songs has thesame info.Pussy Cat Rag (Albert Brunies–Charlie Cordella–Mickie Marcour)New Orleans Classic Jazz Orch 1223CD said by Abbie Brunies, Mickie Marcour,Charlie Cordilla.The Brunies/Halfway House page athttp://www.vjm.biz/new_page_19.htm says,The next year, in January 1925 OKeh cameback [to New Orleans] and again recorded amix of black and white artists. Among thewhite groups was the Halfway HouseOrchestra. On Thursday, January 22, 1925,Abbie’s band recorded Pussy Cat Rag andBarataria. Pussy Cat Rag was a compositionof Abbie Brunies together with two of hisband members, reed player Charlie Cordellaand pianist Mickie Marcour.OOPS! Cordilla or Cordella? The pageaddresses that too:There is some confusion over the correctspelling of Charlie Cordella’s surname. HisWorld War One Draft Registration cardclearly shows ‘Charles Joseph Cordella,’and the 1930 Census also shows his nameas Cordella. The 1920 Census gives thename as ‘Condela’ or ‘Cordela’ (thehandwriting is poor and hurried), but hisbrother Anthony, on the line following, isclearly shown as ‘Cordella.’ His SocialSecurity Death Index shows ‘Cordilla’ but asthe original is not available to view onAncestry.com, this may be suspect. Theweight of evidence tips firmly in favour of‘Cordella’ and that is the spelling we haveconsequently chosen to use throughoutAlas, not in copyright books 1924-27. OKehnumber is 40318, also on Jazz Classic 524.OKeh label says Brunies-Cordilla-Marcour, butRust personnel listing says Charlie Cordella,Mickie Marcour.Finally, Abbie or Albert. While the author ofthe Halfway House article always calls himAbbie, several posters and other documentsshown in the article make it clear that as abandleader, he was Albert.Put and Take (Joe Venuti)Andy Stein Blue Five 1390Rec. JV’s Blue Four, 5/730, OKeh 41432,Parlophone R-973 et al.Typical Venuti--not copyrighted 1929-31. BUTthe OKeh label credits Venuti.Put Another Log on the Fire(Shel Silverstein)Ernie Carson & the Castle JB 1277Not in Rust. “Contemporary country poptune,” says notes-writer Ted des Plantes,“written in 1985 by David A. Nye.”HOWEVER, the Wikipedia article on ShelSilverstein says,Silverstein's passion for music was clearearly on as he studied briefly at ChicagoCollege of Performing Arts at RooseveltUniversity. His musical output included alarge catalog of songs; a number of whichwere hits for other artists, most notably therock group Dr. Hook & The Medicine Show.He wrote Tompall Glaser's highest-chartingsolo single "Put Another Log on the Fire."Don’t know how Ted got it so wrong, butpresumably via Carson. This is definitely thesame song that Tompall Glaser and WaylonJennings and Kinky Friedman recorded, allcrediting it to Shel Silverstein.Put ’em Down Blues(Eloise J. Bennett)Jimmy Mazzy & Eli Newberger CD 1109Swedish–American Hot Jazz Collab. 1136Jim Cullum JB 1148Black Eagle JB 1224Steve Waddell’s Creole Bells 1230Ernie Carson & the Castle JB 1277Bob Helm’s JB 1310Pam Pameijer’s New Jazz Wizards 1363Grand Dominion JB 13791136 says by Lil Armstrong.

named Bennett, or even Louis? Erdos: E.Bennett is best guess, from Columbia CDreissue.--2>

Rag Time ChimesWell, very clear on cy page, but all-caps coverisRAG TIMECHIMESand the space between the two words is VERYtight and certainly could be read as solidunless you study it with a micrometer eye.Ragamuffin Rag (Will Huff)Univ. of Wisconsin Symphony Band 1246Confirmed by 1/3/13 copyright reg.Ragbone Rascals(Stephen Kent Goodman)Pierce College Symphonic Winds 1297Goodman was guest conductor of the band.Ragged Rapids Rag (Joseph F. Lamb)Elite Syncopators 1286Confirmed by 7/9/61 copyright reg.Ragging at the Rumbo(Ronn Weatherburn)John Gill 1066LP said Raggin’.Says liner-note writer Ted des Plantes:“Raggin’ at the Rumbo,” is by one of JohnGill’s closest musical influences, RonWeatherburn. During the 1960s,Weatherburn was the pianist with Kenny Balland His Jazzmen. . . . Since leaving thatband he’s become known as an expertragtime performer with a very personal andpropulsive style. During the middleseventies John Gill lived, studied andperformed as a duo piano act with him for atime.Lord says Weatherburn recorded it forRediffusion (0100170) in 1974 as Ragging atthe Rumbo. Must be that way--lots of onlinehits on that LP all show it as Ragging. Andoops, I had that very LP at one time; mydatabase shows Ragging; and shows Ronn,even though most online hits on his namecome up Ron. Perhaps he changed it fromRon to Ronn in mid-career, because all threeof my early Kenny Ball LPs identify him asRon. But wait: I found the cover of Rediffusion0100170 online, and it’s really Ron; did Ichange it to Ronn in my database because I“knew” that he should be Ronn? Perhapsbecause by then Erdos had put him on LP asRonn? (SOS 1107)I’ve got a bad feeling about this: Googlesearch on Ronn Weatherburn seems to pull uponly references to the Stomp Off LP. 1/5/14telcon with Erdos, who pulled out hiscorrespondence file from SOS 1107:Weatherburn definitely signed his name Ronn.Why? One theory comes from Paul Adams ofLake Records:I didn't know him personally, but I have onlyever known him as 'Ron'. He was christenedRonal John. Trumpet player John Chilton,who compiled the Who's Who Of BritishJazz, and who is as meticulous over detailas you are over composers, called him 'Ron'.I had some correspondence with Ron'ssister, Betty Bartlett, because I sent her anyCDs I had released on which Ron played,and she calls him 'Ron' in her letters. In aseries of articles for Just Jazz about hisexperiences in the Kenny Ball bandtrombonist John Bennett called him 'Ron'. Icould make a wild guess and that is thatalthough he had been married and had sonshe was gay and once he had 'come out' itmight have been an affectation he adoptedwith his name. More than that I know not!Ragging the Baby to Sleep(Lewis F. Muir–L. Wolfe Gilbert)Pierce College Symphonic Winds 1297Rats--we had Muir-Gilbert-Kerry Mills before,but this is one of those “Tune A, introducingTune B” combinations. This part of it is m.Muir/w. Gilbert, pub. F. A. Mills 1912.Ragging the Scale(Edward B. Claypoole)Paramount JB of Boston 1340Blue Rhythmakers 1373Andy Stein Blue Five 1390< Chuck Stewart told you to add Dave Ringleas co-composer, but he must be full of beans.I don’t have the sheet music, but there is aphoto of the first-edition cover in Jasen &Tichenor’s Rags and Ragtime (following p.250). No mention of Ringle there or on any ofthe 16 recordings I have of that tune.Also, I queried Audrey Van Dyke (sheetmusic collector & friend of Hassan), whoreported,Claypoole is the only name listed on mycopy, and the only name listed in DaveJasen's latest book with its huge table ofrags. Wasn't Dave Ringle the lyricist forWabash Blues? Maybe sometime afterClaypoole wrote Ragging the Scale Ringlestuck some lyrics on it, and that's what theband was looking at.Added 7/17/03: Erdos questions our Raggingor Raggin’, which he sees frequently. Foundsheet music at Levy; it’s Ragging on bothcover & cy page.ASM confirms Ragging and Claypoole only,1915, Broadway Music.Ragtime “Betty,” The (James Scott)Jack Rummel 1118Aha! We had The Ragtime Betty, but it’s RagTime Betty on the cover and The Ragtime“Betty” on the copyright page. ASM, 1909,Stark. Many sheets put the entire title inquotes on the copyright page, but when justone word is singled out this way, we mustreplicate it.Ragtime Bobolink (Joseph F. Lamb)George Foley 1187Unpublished in his lifetime, posthumouslypublished in Joseph F. Lamb, RagtimeTreasures Piano Solos (New York, NY: MillsMusic, 1964), now out of print.And confirmed by 7/14/60 copyright reg.Ragtime Dance (see Kerry MillsRag Time Dance)Rag-Time Dance (Scott Joplin)London Ragtime Orchestra 1081We had “The Ragtime Dance,” but sheetmusic is clear: “The Ragtime Dance” oncover, but “Rag-Time Dance” on copyrightpage.Ragtime Dream, The (Joe Goodwin–Lew Brown)Chrysanthemum Ragtime Band 1079LP said 1914, Nacio Herb Brown-AlPiantadosi-Al Goodwin but those composernames also covered an “introducing” tune,“You Look Just Like Your Mother, Mary.”ASM has a “The Ragtime Dream” by JoeGoodwin-Lew Brown, 1913, Leo Feist.2013 review:: And I confirmed the copyrightfor that one:Ragtime (The) dream; words and music byJoe Goodwin and Lew Brown. © Dec. 12,1913; 2 c. Dec. 12, 1913; E 321725; Leo.Feist, inc., New York.AND then in 1914 we find the two-tunearrangement that Vermazen was using:Ragtime (The) dream; medley march,two-step, one-step or trot intro. You look justlike your mother Mary, by Goodwin-Brown-Piantadosi, arr. by Calvin Grooms; band.4to. © Apr. 29, 1914; 2 c. Apr. 30, 1914; E338813; Leo. Feist, inc., New York.It would appear that the arrangement had onlylast names, and Vermazen guessed wrong onGoodwin and Brown.And I suspect we’ll find that Al Piantadosi isthe composer of “You Look Just Like YourMother, Mary.” Yep, found the sheet music,pub. Leo Feist 1913: w. Howard Wesley/m. Al.Piantadosi, and the comma is there on bothcover and copyright page. So we had thisone pretty bolluxed up.Ragtime Eyes (W. C. Powell*)Elliott Adams 1299Confirmed by 1907 sheet music found online.

Ragtime Hermit Thrush, The(Glenn Jenks)Glenn Jenks 1179Ragtime Nightingale [NightingaleRag] (Joseph F. Lamb)Dave Dallwitz Ragtime Ensemble 1098Down Home JB 1190Rag-Time Nightmare, A (Tom Turpin)Trebor Tichenor 1282Aha! We had “A Ragtime Nightmare.” But it’s“Rag Time Nightmare” on the cover; “A Rag-Time Nightmare” on the copyright page. ASM,1900, Will Rossiter.Ragtime Oriole (James Scott)Down Home JB 1316ASM confirms.Ragtime Rag (see TroublesomeIvories)Ragtime Reverie (Joseph F. Lamb)Trebor Tichenor 1282Tichenor:Copyright and published 1993. This is anearly lost rag by Joseph Lamb, composedin his “heavyweight” classic style. It wasdiscovered recently by his daughter PatConn, in a long-forgotten musicalsketchbook in Joe’s hand. Untitled andundated, Pat suggested “Ragtime Reverie.”I suspect we’ll never find anything moredefinitive than this.Ragtime Rufus (see When RagtimeRufus Rags the Humoresque)Rag-Time Skedaddle, A(George Rosey)New Century Ragtime Orchestra 1385ASM, 1899, Jos. Stern.Rag-Time Special, The (Joseph F. Lamb)Elite Syncopators 1286CD had Ragtime Special, but Tom Brier hasxerox of original manuscript, which reads "TheRag-Time Special (A Slow Drag Time Step)."Has no copyright info.Ragtime Violin! (Irving Berlin)Bob Pilsbury with Friends 1265

Oops, not in copyright books 1929-30. ButColumbia label credits Waller.Rainbow (Percy Wenrich) [Alsopublished in song version with lyricsby Alfred Bryan)Gale Foehner 1023Found sheet in Arpin collection, pub. JeromeRemick, w. Alfred Bryan/w. PW, but sheetmarked “song,” so there could well have beenan instrumental version, and this looks like thecopyright of it:Rainbow; an Indian intermezzo by PercyWenrich, for piano. Jerome H. Remick & co.,Detroit, Mich. C 181305, May 12, 1908.Separate copy filed July 25, 1908, addinglyrics by Bryan. Foehner just cited Wenrich,so I presume he’s playing the instrumentalvlersion.Later found the “pure” Indian intermezzosheet, so I know it was published both ways.Rainbow Dreams (Eddie Lang)Blue Rhythmakers 1373Rec. Lang 3/29/28, Parlophone R-208, R-2646,A-2990.Not in copyright books 1927-29. But theParlophone R-208 label confirms Lang ascomposer.Rainy Day Blues (Tom Brier)Tom Brier 1274Raisin’ the Roof (Jimmy McHugh–Dorothy Fields)Back Bay Ramblers 1355Rec. Fletcher Henderson, 4/29, Cameo 9175,Lincoln 3202, Romeo 977. Frankie Trumbaueraho, 3/8/29, OKeh 41209, Parlophone R-2644et al.Confirmed by 6/13/29 copyright reg., fromZiegfeld Midnight Frolic, w. DF/m. JM.Ramble, The (Charlie Lawrence)Vince Giordano’s Nighthawks 1260Pam Pameijer’s New Jazz Wizards 1395Des Plantes’ Washboard Wizards 1421Rec. Paul Howard’s Quality Serenaders(w/Lawrence on reeds), 4/28/29, Victor V-38068, Bluebird B-5804.Confirmed by 9/28/29 unpub. copyright reg.Ramona (Lee Johnson)Chrysanthemum Ragtime Band 1168ASM, (c) 1903 John Donegan; (c) 1905assigned to C. R. Forster.Rampart St. Blues [I’ve Got theBlues for Rampart Street](Lovie Austin)Art Hodes Blues Serenaders 1184South Frisco JB 1307On both as Rampart Street Blues.

1. The tune by J. Russel Robinson bears norelation to the tune by Lovie Austin.2a. The 1923 version (Ida Cox accomp. byLovie Austin) is a simple verse and chorus.2b. The 1925 Lovie Austin version is thesame verse and chorus as 1923 plus adouble 8-bar "habañera" patter chorus isadded in the middle.2c. South Frisco JB plays a double 12-barblues as the patter chorus (instead of thehabañera of the 1925 recording) -- MikeBaird wails on clarinet while I try to soundlike Lil Hardin!Assessing the various Stomp Off recordings,he reports:1988 Art Hodes: Austin with habañerapatter1989 Moonlight Broadcasters: Robinson1996 South Frisco: Austin with blues patter2002 Blue Rhythmakers: RobinsonSUMMARYThe original 1923 title was unwise: "I've Gotthe Blues for Rampart Street" just doesn't rolloff the tongue or stick in the mind, and as aslow blues it's kinda ho-hum! But LovieAustin kept playing it and two years later itwas a jolly stomp.None of the Stomp Off bands play thesimpler 1923 version sung by Ida Cox, andthey all use the title from Lovie Austin's 1925recording, so I'd say "Rampart Street Blues(Austin)" is appropriate, along with "RampartStreet Blues (Robinson)".Street vs. St.:Actually, in this last pass through the subject, Isee a consistent pattern that we overlookedbefore. Both the copyright and the recordlabel for the 1925 Austin version is “RampartSt. Blues,” a distinction they might well havemade to distinguish it, if only slightly, fromRobinson’s “Rampart Street Blues.” Whetherthat was their intention or not, it’s a distinctionthat we might as well honor.Ramshackle Rag (Ted Snyder)Pierce College Symphonic Winds 1297Manhattan Ragtime Orchestra 1419Confirmed by 1911 sheet music pub. Snyder.Randolph Turpin Stomp(Humphrey Lyttelton)Humphrey Lyttelton & His Band 1160Rapid Transit (Joseph F. Lamb)Bob Wright 1239Elite Syncopators 12868/26, Nancy Wyndham:Probably not much help, but we have axerox copy of this [tune] showing a 1959copyright to Robert Russell Darch.... (SlowDrag) appears under the title at the top ofthe page. It is also noted at the bottom thatthe tune was composed 1907-14.9/3: Trebor reports...Rapid – TransitSlow Drag...from copy of unpublished manuscript.Tom Brier also has xerox copy of originalmanuscript, reports it to beRapid Transit(Slow Drag)Says typewritten copyright at bottom of pageis by Bob Darch, 1959.Wonder where Trebor got his dash.Rastus (H. A. Fischler)Pierce College Symphonic Winds 1297Confirmed by 1901 sheet music pub.Vandersloot. Has “Rag” on cover & copyrightpages, but clearly a small genre-marker.Rastus on Parade (Kerry Mills)River Raisin Ragtime Revue 1417ASM, 1895, F. Mills.Rathskeller Drag, The(Walter C. Dunn)Trebor Tichenor 1282No The on CD.1910, pub. by self in Atlanta says Jasen’s bigbook. Well, copyright isRathskeller (The) drag; piano. © Dec. 31,1910; 2 c. Dec. 31, 1910; E 247559; WalterL. Dunn, Atlanta, Ga.Seems to me that if he published it himself, hispublished title would be likely to match hiscopyright title, so I’m going to add his definitearticle to our title. Later Tom Brier confirms theThe from sheet music.Raunchy Rag (Tom McDermott)Tom McDermott 1024Ravenna (Scott Kirby)Frank French & Scott Kirby 1306Razzazza Mazzazza (Arthur Pryor)Chrysanthemum Ragtime Band 1079Confirmed by 1906 sheet music.Reaching for Some-One (and NotFinding Anyone There) (WalterDonaldson–Edgar Leslie)Ingham–Grosz Hot Cosmopolites 1237San Francisco Starlight Orchestra 12961237 was Someone plus subtitle in parens;1296 no subtitle.2013 review: The copyright reg. agrees withS&P:Reaching for some-one and not findinganyone there; words by Edgar Leslie, musicby Walter Donaldson; pf. and ukulele acc. ©April 22, 1929; 2 c. April 22; E pub. 5281;Donaldson, Douglas & Gumble, inc., NewYork.Got the sheet music from MTSU. Cover is theway we had it:REACHING FOR SOMEONE(AND NOT FINDING ANYONE THERE)Copyright page isReaching for Some-OneAnd Not Finding Anyone ThereReaching for the Moon (Irving Berlin)Bob Pelland & Bob Pilsbury 1212Confirmed by 12/4/30 copyright reg.Ready for the River (Neil Morét*–Gus Kahn)Jean-François Bonnel & Friends 1131Chris Tyle’s NO Rover Boys 1235Confirmed by 2/20/28 copyright reg., w.GK/m. NM.Ready Hokum (Ikey Robinson)Hot Antic JB 1058Original Salty Dogs JB 12332013 review: Rec. IR & His Band (w. Jabbo),1/22/29, Brunswick 4963, 7057.Confirmed by 6/5/29 unpub. copyright reg.and label of HJCA 79 reissue.Really a Pain (Art Kassel–Harold Sturr–Muggsy Spanier)Dan Levinson’s Roof Garden JB 1361CD just had last name for Sturr.Oops--not in LC copyright files or MRR.11/20/00: Aha, good guess from Erwin Elvers:I think the second composer is Harold Sturr.Art Kassel (cl, ts) and Harold Sturr (as, ts,flute) recorded together as members of theBenson Orchestra of Chicago in 1924 and1925 (but not “Really a Pain”).2013 review: Rec. Bucktown Five (MuggsySpanier group), 2/25/24, Gennett 5419 et al.Indeed, not in copyright books 1923-25, butHarold Sturr and and Art Kassell co-wrote“Doodle Doo Doo” in 1924. And Sturrarranged Kassel and Vic Berton’s “MyMammy’s Lullaby Blues” in 1923.

But Kassel had many other copyrights in theseyears, so you have to wonder how he missedReally a Pain.And aha, the Gennett 5419 label creditsKassell [sic]-Sturr-Spanier.Really Blue (Joe Venuti–Eddie Lang)Andy Stein Blue Five 1390

Red Lips — Kiss My Blues Away(Alfred Bryan–James V. Monaco–Pete Wendling)Barbara Rosene & Her New Yorkers 1422We had comma, but it’s a dash (on copyrightpage only, not cover), says ASM, 1927, HenryWaterson.Red Man Blues (Armand J. Piron–Peter Bocage)Louisiana Repertory Jazz Ensemble 1055London Ragtime Orchestra 1081South Frisco JB 11802013 review: Rec. Piron’s NO Orch 3/25/25,Victor 19646. Hah! Label credits PeterBocage-A. J. Piron, and that’s just how the5/18/25 copyright reg. reads.Red Onion Blues (this tune on 1016is really Gravier Street Blues)Red Onion Rag (Abe Olman)Down Home JB 1316ASM, 1912, Geo. W. Meyer. (2013: but oops--looks like I failed to notice that his name wasspelled Oleman on this song, one of a handfulto carry that variation or typo--see WinterGarden Rag).Red Pepper (A Spicy Rag)(Henry Lodge)Neville Dickie 1096New Orleans Ragtime Orchestra 1213Waldo’s Jazz Entertainers 1377Evergreen Ragtime Quartet 1383Manhattan Ragtime Orchestra 14198/18, Nancy Wyndham: Both the cover andcopyright page of our original read RedPepper, with A Spicy Rag underneath.Looks like Red Pepper (A Spicy Rag) then.Confirmed ASM, 1910, Witmark.Red Peppers (Imogene Giles)Tony Caramia 1209Tony Caramia 1328ASM, 1907, Giles Bros.Red River Blues (Clarence Williams)Peruna Jazzmen CD 1003Peruna Jazzmen 1020Jazz Classics 1061Jazz O’Maniacs 1071Charquet & Co 1076Abi Hübner’s Low Down Wizards 1093Swedish Jazz Kings 1122Dry Throat Fellows 1226Le Petit Jazzband de Mr Morel 1343One More Time JB 1410Les Rois du Fox-Trot 1429Rec.Laura Smith (acc. by Clarence Jones), 6/7/27,Victor 20945. Oops, Victor Project sayscomposer is Edgar Dowell (source: disclabel).CW Washboard Five, 5/23/28, OKeh 8584,then again 5/29/28, Columbia 14326-D. Bothlabels confirm Williams, and no The as incopyright.Well, here’sRed River blues; words and melody byCharlie Nelson. © 1 c. Dec. 27, 1926; E654869; Chicago music pub. co., inc.,Chicago.AndRed River blues; words and melody by J.Edgar Dowell. © 1 c. Nov. 19, 1927; E675572; Ralph Peer. New York.Ah, but here’s our (presumably) tune:Red (The) River blues; words and melody byClarence Williams. © 1 c. Apr. 14, 1928; E687741; Clarence Williams music pub. co.,inc., New York.Red Rose Rag, The (Percy Wenrich–Edward Madden)Elite Syncopators 1286Red Rose Ragtime Band 1412The Red Rose Rag, both cover and copyrightpage. ASM, 1911, Jerome Remick; w.Madden/m. WenrichRed Sails in the Sunset(Hugh Williams*–Jimmy Kennedy)John Gill Sentimental Serenaders 1424ASM, 1935, Shapiro Bernstein. Thepseudonym was given away right from thestart: w. Jimmy Kennedy/m. Hugh Williams—with “(Will Grosz)” right under “Hugh Williams”on the upper-right side of the copyright page.Red Wing (An Indian Intermezzo)(Kerry Mills) [also published in songversion with lyrics by ThurlandChattaway)Red Wing Blackbirds 1018St. Louis Ragtimers 1267Heliotrope Ragtime Orchestra 1427all three were subtitled An Indian IntermezzoWow, what a confuser. Published both assong and instrumental in 1907 by F. A. Mills.covercopyrightcovercopyrightINSTRUMENTALRed WingAn Indian IntermezzoRed Wing(An Indian Intermezzo)SONGRed WingAn Indian IntermezzoRed Wing(An Indian Fable)To add to the confusion, the cover for thesong version is the same as the instrumental,including the credit “By Kerry Mills” -- nomention of Chattaway.Reindeer (Joseph F. Lamb)Zenith Hot Stompers 1191Confirmed ASM.Remarkable Girl (Lou Handman–Henry Creamer)New Yankee Rhythm Kings 1067Keith Nichols Cotton Club Orchestra 12342013 review: Rec. Fred Hamm aho, 12/13/29,Brunswick 4689. Ted Weems, 9/13/29, Victor22157, HMV B5758.w. HC/m. LH confirmed by 8/30/29 copyrightreg., Brunswick 4689 label and Victor Project.Rent Party Blues (Duke Ellington–Johnny Hodges)Roaring Seven JB 1019Fried Potatoes 1163Pam Pameijer Trio 1172Lyttelton–Fawkes Troglodytes 1238San Francisco Starlight Orchestra 1271Kustbandet 1294Rec. Duke 3/1/29 as The Jungle Band,Brunswick 4345, 6807, Decca M-39025 et al.Then 1/29/30 as The Ten Black Berries,Banner 0594; Cameo 0194; and many others.Confirmed by 5/25/29 copyright reg.Brunswick 4345 label confirms Ellington-

Hodges, but the Black Berries Oriole 1849 andBanner 0594 labels say just Ellington.Rhumba Negro (see Rumba Negro)Rhythm Club Stomp (Curwiship Glide)(Joe Oliver–Dave Nelson)John Gill’s Jazz Kings 1401Rust shows a bizarre subtitle, “CurwishipGlide,” rec. Oliver 3/18/30, Victor V-38137,760-0004.Confirmed by 7/1/30 unpub. copyright reg,melody by Oliver-Nelson [sic, i.e., no firstnames or initials], no subtitle.No subtitle on Victor label. But Victor Projectsays,Title SourceRhythm Club stomp (Primary title) Disc labelFox trot (Title descriptor)Victor ledgersCurwiship glide (Alternate title) Victor ledgersIf you’ll look ahead to “Rumba Negro,” you’llsee another case in which Rust lists a subtitlethat wasn’t on the copyright reg. and wasn’ton the record label, but was on the Victorledgers. But for this one, we have somethingof an explanation, courtesy of jazz writer PhilSchaap, writing on Facebook March 2013:I am alone in being amused by KingOliver’s real title for what was issued as“Rhythm Club Stomp” on Victor V-38137 asrecorded on March 18, 1930 (just 83 yearsago). King Oliver called it “Curwiship Glide”and the Victor file cards still show that initialname. I guess it’s reasonable that a big firmsuch as Victor Records thought better aboutusing it.I was good buddies with the drummer onthat record, Freddie Moore. Moore was notthe only musician from those days – ClydeBernhardt was another from Oliver’s band –to tell me that curwiship was the sound thata log made as one tossed it in the river,lending it to float down river to the saw mill.That floating to the saw mill is where the“glide” came in.I accepted their testimony and continuedto understand why Victor changed it to amore self explanatory title such as “RhythmClub Stomp”.As to curwiship, I felt that it wasn’t a realword but a made-up one that wasonomatopoeia. Indeed, that’s what FreddieMoore thought: a made-up word that KingOliver knew that described a sound thatseveral understood and had even heard.It might not be a real word but it has aonce employed first syllable that is sorelatable in purpose and definition that I’llentertain that “curwiship” or somethingclose to that spelling is or once was a realword.That’s because curglaff is a real word. Ithas fallen out of disuse but is right there inthe John Jamieson’s Etymological ScottishDictionary, published in 1808. Curglaff isdefined as the shock felt in bathing whenone first plunges into the cold water.Plunging into water and a “cur” pre-fixseems to be a real linguistic device. At leastit was in Scotland in 1808 and with KingOliver in the first third of the 20th Century.The question is whether we include it here.Well, I reluctantly kept the (Spanish Stomp)subtitle for “Rumba Negro” on the theory thatit’s widely known. Do a Google search forrumba negro bennie motenand you’ll find the subtitle attached on wellover a third of the hits you get. Do the samething torhythm club stomp king oliverand you’ll find Curwiship Glide a few times. Isaw it eight times on four pages of hits, sowhat the hell—and because Erdos is crazyabout bizarre subtitles—we might as wellinclude it.RETHINK THIS: This is another case in whichRust dredged up an alternative title (NOT asubtitle) that he found in the Victor ledgers, atitle never got copyrighted and never got on arecord label. It’s a bit of arcana, but not a title.Rhythm Is Our Business(Jimmie Lunceford–Saul Chaplin–Sammy Cahn)Limehouse JB 1014ASM, 1935, Select Music.Rhythm King (Joe Hoover*–Jo Trent)New Yankee Rhythm Kings 1050Terry Waldo’s Gotham City Band 1120ASM, 1928, Waterson, Berlin & Snyder; w.Trent/m. Hoover.Rhythmic Dream, A (Donald Lindley)Keith Nichols Cotton Club Orchestra 1275Rec. Larry Gomar (vibe solo), 4/11/33,Brunswick 6565 (no indef. article). FletcherHenderson aho (w/ Donald Lindley, arranger),11/4/27, Columbia rejected. But says Nicholsin notes: “Considered at the time to be toomodernistic for a dance recording, it wasshelved, and remained in the vaults for overfifty years.” Sure enough, the Lorddiscography shows it on several CD reissues.And sure enough, copyright 11/22/27,Robbins Music. Corp.Richard M. Jones Blues (seeAll Night Blues)Richmond Rag, The (May Aufderheide)Chrysanthemum Ragtime Band 11231908 sheet music pub. by J. H. Aufderheidehas The on cover and copyright page.Ridin’ but Walkin’ (Fats Waller)Back Bay Ramblers 1374Rec. Waller & His Buddies 12/18/29, Victor V-38119, HMV B-4971 et al.Confirmed by 4/9/30 unpub. copyright reg.and Victor Project records.Ridin’ de Goat (Jim Fisk*)Heliotrope Ragtime Orchestra 1411What? How is it we have a pseudonym but noexplanatory note? Ah, because Vermazensays in the credits that Fisk is pseudonym forCharles Lloyd Barnhouse.But wait, the copyright:Ridin' de goat; trombone smear, by Jim Fisk[of U.S.]; band. 4to. © Apr. 2, 1919; 2 c.Dec. 19, 1919; E 466081; C. L. Barnhouse,Oskaloosa, la.He’s also C. L. Barnhouse in the index. AndMTSU has four titles (not this one) publishedby C. L. Barnhouse, one of them written byC. L. Barnhouse. Indiana U. has yet anotherwritten and published by C. L. Barnhouse.OK, he’s Barnhouse, and he goes by C.L.,even if we happen to know he’s Charles Lloyd(see, e.g., M. L. Lake).Riffs (James P. Johnson)Paris Washboard 1293Rec. JPJ pno solo, 1/29/29, OKeh 8770,Parlophone R-1072 et al.OKeh label credits Johnson, confirmed by8/27/30 unpub. copyright reg.Right Key but the Wrong Key Hole(see You’ve Got the Right Key,but the Wrong Keyhole)Right Kind of Man, The (L. WolfeGilbert–Abel Baer)Back Bay Ramblers 1374Rec. Calif. Ramblers, 9/24/29, Harmony 1016-H. Annette Hanshaw, 10/18/29, OKeh 41327,Parlophone R-546, et al.Confirmed by 7/15/29 unpub. copyright reg.,w. LWG/m. AB, from Frozen Justice.Ring Dem Bells (Duke Ellington–Irving Mills)Paris Washboard 1347Rec. Ellington aho 8/20/30, Victor RD-7731,74048, 20-1532 et al. Then as HarlemFootwarmers, 10/30/30, OKeh 41468 et al.Confirmed by 10/20/30 copyright reg., w/mboth, from Check and Double Check.(A Ring to the Name of) Rose(George M. Cohan)

Canary Cottage Dance Orchestra 1400CD had “A Ring in the Name of Rosie.”Oops, the copyright reg. isRing (A) to the name of Rose; fox trot song,from The rise of Rosie O'Reilly, words andmusic by George M. Cohan [of U.S.] © May21, 1923; 2 c. June 1; E 562717; M. Witmark& sons, New York.But second entry isRing (A) to the name of Rosie; lyrics andmusic by George M. Cohan. © M. Witmark& sons, New York. Notice rec'd June 29,1923; recorded, v. 5, p. 160. 208But in the index it’s Rosie.Presumably means written as Rose, but alsoperformed or recorded or published as Rosie.Well, the copyright page shows it asA Ring To The Name OfROSEpub. Witmark, 1923.And two of three sites that indexed, did sounder “Rose.” But we can leave it here if wefeel that it’s better known by its subtitle (and“Rose” alone would be a hopeless title).Ordered the music 9/6/13 to see if it helps, butI rather doubt it. Well, that music turned out tobe a reissue in conjunction with the 1968musical George M.Cover isCopyright page isROSE(A Ring to the Name of Rose)“A Ring to the Name of Rose”RoseBut the page indicates that changes havebeen made since 1923.Technically speaking, we should do what a lotof online refs do and make it “Rose (A Ring tothe Name of Rose),” but I think we can cover itmore gracefully by choosing to emulate the1923 copyright page and make it “(A Ring tothe Name of) Rose.”Rip-Off Rag (Scott Joplin, arr.Tom McDermott)Tom McDermott 1024LP said Joplin-McDermott, but I can’t abidethat: the two of them most certainly did notcollaborate on a composition. SaysMcDermott:“The Rip-Off Rag” steals phrases from over15 Joplin creations. Impress your friends bynaming them all.Ripples of the Nile (Luckey Roberts)Tom Roberts 1345Notes say 1912, but it’s not in copyright book1912-13. Tichenor-Jasen says rec. 1946 onCircle, and reproduce the record label, whichcredits Roberts. But it wasn’t copyrighted in1946 either.Rippling Waters(Willie “The Lion” Smith)Tom Roberts 1392Paris Washboard 1428Not copyrighted or published, say Tichenor-Jasen, rec. c. 1950, Commodore 30.003,Original Compositions.Odd--I had this on the Luckey & the Lion LP(gave it away when left DC), but it wassingular, Rippling Water, there and on the1991 Good Time Jazz CD reissue of that LP.LC SONIC has it on Commodore 522 (78).Waters, and Smith there. Same credits onJack Teagarden record, Columbia 35727.Ah, was on 7-record set on Commodore thatincluded 522; all were billed as originalcompositions of Smith.Riptide (Walter Donaldson–Gus Kahn)Ingham–Grosz Hot Cosmopolites 1237Confirmed by 4/4/34 copyright reg., w. GK/m.WD. S&P says from film Riptide, andcopyright registered by M-G-M.Rising Star (Tom Brier)Tom Brier 1274River and Me, The (Harry Warren–Al Dubin)Back Bay Ramblers 1262Rec. Ellington, 1/16/31, Victor 22614, HMV B-4884 et al. Sid Garry, 1/13-14/31, Melotone M-12069.Hmmm, no def. article on copyright:River and me; lyric by Al Dubin, music byHarry Warren. © Dec. 23, 1930; 2 c. Dec. 26;E pub. 20057; Remick music corp., NewYork.But the Ellington Victor and two differentversions of the HMV labels confirm the articleand the composers, as do the index entries forthe sheet music at Duke U. library and MTSU.River, Stay ’way from My Door(Mort Dixon–Harry Woods)Les Red Hot Reedwarmers 1425Confirmed by 5/11/31 copyright reg., w.MD/m. HW, from film Swanee River. MTSUindex entry for sheet music reads exactly thesame way.Riverboat Shuffle [Free Wheeling]Hoagy Carmichael–Dick Voynow–Irving Mills)Tom Pletcher & the Classic Jazzband 1353Gee, what do we do with this? ASM hasBy Hoagy Carmichael, Dick Voynow, IrvingMills & Mitchell Parish.(c) 1925 by Mills Music.“Republished containing new copyrightmaterial, 1939, by Mills Music.”MTSU has an original 1925 version publishedby Mills, which credits Carmichael-Voynow.And it is a song version.But Indiana university also has a song version,1925, Jack Mills, by Carmichael-Mills as wehad it.Helluva can of worms. 6/26/11 queried JohnEdward Hasse. If no response from him, mustlook for essays on the song after the move toCalifornia. [Never heard from him.]2013 review:S&P confirm it as Audrey’s sheet music has it,Carmichael-Voynow-Mills-Parish, Mills1939/Everbright Music Co. 1925. Then theyadd,Originally a jazz instrumental entitled “FreeWheeling.” Introduced by the Wolverines,featuring Bix Beiderbecke on trumpet. Lyricby Mitchell Parish added 1939.That allows us to remove Parish from theequation, in any case. But what about therecordings and the copyrights and the sheetmusic?Incredibly, the only recording of it as “FreeWheeling” listed in Rust is by Artie Shaw ,7/22/37, Brunswick 7976; Vocalion/Okeh4198.As “Riverboat Shuffle,” a zillion recordings:Wolverine Orchestra (w/Voynow,pno/director), 5/6/24, Gennett 5454 et al.Gennett label credits just Carmichael!Isham Jones aho, 3/12/25, Brunswick 2854.Aha, record label shows River Boat Shuffle,credits Voynow-Carmichael-Mills.Cotton Club Orch, 4/27/25, Columbia 374-D,3717 (as Hannan Dance Band. 374-D labelcredits Voynow-Carmichael-Mills.Richard Hitter’s Cabineers, 5/25, Everybody’s1063.Benson Orch of Chi, 5/23/25, Victor 19688.Label credits Voynow-Carmichael-Mills.Jimmy Joy’s St.Anthony’s Hotel Orch, KC,5/25, OKeh 40388.Frankie Trumbauer aho, 5/9/27, OKeh 40822,Columbia 37805 et al. OKeh label creditsVoynow-Carmichael-Mills.Red Nichols’ Five Pennies (vcl FudLivingston), 8/15/27, Brunswick 3627 etmany al. No credits on Brunswick 3627, butCapitol EBF-215 says Voynow-Carmichael-Mills, as does Brunswick 01806.

Alabama Red Peppers, 4/28, Cameo 8204,Lincoln 2859 et al.Berlyn Baylor Orch, 4/20/28, Champion 16422,15477 et al. Champion label creditsVeynow-Carmichael Mills.Adrian Rollini aho, 10/23/34, Decca 265,Brunswick 02510, A-82586. Decca 265 andBrunswich 02510 labels credit Voynow-Carmichael-Mills.Joe Horse and the Milkmen, 3/27/37, Variety553.Hoagy Carmichael (vcl with Perry Botkin aho),10/18/38, Brunswick 8255,Columbia DB-5053 et al. (Later Carmichael with BuddyCole credited Voynow-Carmichael-Mills.)Casa Loma Orch, 1/27/39, Decca 2398 et al.Muggsy Spanier Ragtime Band, 11/22/39,Bluebird B-10532, Victor 62-0075 et al.Copyrights:Riverboat shuffle; by Hoagland Carmichael,of U.S. © 1 c. July 31, 1924; E 596194;Hoagland Howard Carmichael, Indianapolis.ThenRiverboat shuffle; by Dick Voynow, HoagieCarmichael and Irving Mills, all of U.S.; pf. ©June 17, 1925; 2 c. June 24; E 619111; JackMills, inc., New York.ThenRiverboat shuffle; song, by Hoagie [i.e.Hoagland] Carmichael, Dick Voynow, IrvingMills & Mitchell Parish. © Nov. 28, 1939; Epub. 81498; Mills music, inc., New York.Sheet Music:Ouch--can’t reconfirm what I thought I found atMTSU in earlier research. They have twocopies, crediting all four, dated 1925, pub.Mills, but this is bound to be the 1939 reissueadding Parish that Audrey has in hercollection.Indiana Historical Society has a copy that theydate to 1925, pub. by Jack Mills, by Voynow,Carmichael & Mills, but all they show is thecover, no copyright page. It does, however,call the piece “Novelty Piano Solo,” so nolyrics until Parish wrote them in 1925. We canonly guess what Dick Voynow and Irving Millscontributed to get their names added toHoagy’s when it was published.Interesting: Hogan Archive at Tulane has a “c.1924, pub. Jack Mills" arrangement for danceorchestra by Elmer Schoebel that listscomposers as Voynow, Carmichael, Mills.This has the virtue of matching the 1925copyright registration. That 1925 copyrightreg. ought to mean that it was published assheet music that way, but it’s possible, Isuppose, that the reference was to this bandarrangement.Well, even if we don’t find any 1925 “pure”sheet music, we’ve seen enough, between the1925 copyright and all the early recordings, tocredit this to Voynow-Carmichael-Mills. (Isn’t itodd, though, that Voynow always gets firstbilling ahead of Carmichael?)And a couple of weeks after the above,Haesler came up withhttp://www.network54.com/Forum/27140/message/1378227821/Speaking+of+%26quot;Riverboat+Shuffle.%26quot;a page by a chap named Albert Haim who didall the same research and came to prettymuch the same conclusions that I did.Jan 2014 afterthought: Oops, since Artie Shawand the Salty Dogs, among others, haverecorded this by its earlier name, we mustinclude that as an alternative title.Riverina Dreams (Roger Bell)Steve Waddell’s Creole Bells 13481949 in one place, 1959 in another, saysWaddell in liner notes.1949 may be right, says Haesler, confirmingthe circumstances for Roger Bell’s havingwritten it. First recorded by Dave Dallwitz June1951, then by Graeme Bell’s band in April1952.Riverside Blues (Thomas A. Dorsey–Richard M. Jones)Peruna Jazzmen 1105High Society JB 1166Southern Stompers (France) 1215Chris Tyle’s NO Rover Boys 1235Chris Tyle’s Silver Leaf JB 1298Independence Hall JB 1384Southern Stompers 14132013 review: Rec.King Oliver, 10/26/23, OKeh 40034, Odeon03197 et al.Sodarisa Miller, 8/24, Paramount 12243 (as“Down by the River Blues”); Silvertone 3568(as “Riverside Blues”)Alice Moore, 8/18/34, Decca 7028.Oops, copyright just Dorsey:River side blues; w and m T. A. D., of U.S. ©1 c. July 27, 1923; E 568131; ThomasAndrew Dorsey, Chicago.So how did R. M. Jones get into the act? Ihave 54 recordings of the tune: 5 creditDorsey only; 31 say Dorsey-Jones; 1 is Jonesalone and several are Oliver.Well, here’s where Jones comes from: Theoriginal Oliver OKeh 40034 label credits Thos.Dorsey-Rich. M. Jones Strangely, many laterreissues of this track don’t have any composercredits at all, but you can’t argue with thisoriginal label.Riverside Rag (Charles Cohen)Uptown Lowdown JB 1030Jack Rummel 1118Glenn Jenks & Dan Grinstead 1292Confirmed by 8/8/10 copyright reg.Riverside Shake (Bob Helm)West End JB 1085Down Home JB 1217Says Wayne Jones in 1085 notes:Bob Helm’s “Riverside Shake” was writtenfor his own recording date [as the RiversideRoustabouts] for Riverside during theMurphy band’s first visit to New York (1954),to celebrate the session.Confirmed that this tune indeed on RiversideRLP 2510, and earlier determined that alltracks on it were Helm compositions.Road Apple Rag (see Mesa ’Round)Roberto Clemente(David Thomas Roberts)Morten Gunnar Larsen 1009Ophelia Ragtime Orchestra 1108Red Rose Ragtime Band 1128Red Rose Ragtime Band 1412Brier has the sheet, dated 1979.Robin’s Ribbons (Tom Shea)Tom Shea 1022Robinson Crusoe’s Isle(Benjamin Hapgood Burt)Ian Whitcomb & His Merry Bands 1276Confirmed by 1905 sheet music pub. by Jos.W. Stern.Robots (Billy Mayerl)Tony Caramia 1313Confirmed by 6/8/28 copyright reg. and sheetmusic cover.Rock Island (David Thomas Roberts)David Thomas Roberts 1072Rock-a-Nova (Wally Fawkes)Bent Persson’s London Stompers 1167Fawkes played cl & asax on the recording.Rockin’ Chair (Hoagy Carmichael)Paris Washboard 1293Kustbandet 1294Confirmed by 12/11/29 unpub. copyright reg.Rockin’ in Rhythm (Duke Ellington–Irving Mills–Harry Carney)Paramount JB of Boston 1247CD had just E.llington.2013 review: Rec. Jungle Band, 1/14/31,Brunswick 6038 et al. Then DE aho 1/16/31,

Victor 26310, HMV B-9253 et al. DE aho,3/18?37, CC 16 (LP).Confirmed by 4/9/31 copyright reg. andoriginal Brunsnwick and Victor labels.Rocky Ford Melon Pickers(Garfield Wilson)Queen City Ragtime Ensemble 1138Confirmed by 11/6/02 copyright reg. (RockyFord is a place in Colorado.)Rocky Mount Breakdown(John Hancock)John Hancock 1025Rocky Mountain Blues (FletcherHenderson–Patty Carroll–Ken Macomber)Keith Nichols Cotton Club Orchestra 1275Rec. Fletcher Henderson, 1/21/27, Columbia970-D, J-261 (flip side of “Tozo”)Ellington, 10/14/30, OKeh 8836, Columbia35682 et al.Confirmed by 3/7/27 copyright reg. forarrangement by Don Redman.Rocky Mountain Fox (Les Copeland)Elite Syncopators 13581917, not pub. as sheet music, released onlyas piano roll, says Parrish. Not in 1917-18copyright books.Found roll label, Uni-Record 202725, playedand composed by Copeland. Lots of otherconfirmations.Roll Along Prairie Moon (Ted Fiorito–Harry MacPherson–Albert Von Tilzer)Grand Dominion JB 1379Rust shows a comma; rec. Red Allen, 7/19/35,Vocalion 2997, Brunswick A-86046. BobCrosby, 8/19/35 Decca 544.Confirmed by 4/8/35 copyright reg., nocomma, w/m all three, filed by M-G-M (from afilm?).Indiana U. has copy of music, indexed with nocomma, pub. Robbins 1935. Templeton/Mississipp copy also no comma, 1935 by M-G-M. MTSU has four copies, all M-G-M, nohyphen—but indexes aren’t always that goodat including minor punctuation.Found the Robbins sheet on eBay, includingscans of cy page, no comma on either coveror copyright page. And aha, the Robbinscopyright blurb at bottom of copyright pagesays 1935 M-G-M, assigned 1935 to Robbins.Roll, Jordan, Roll (traditional)Jacques Gauthé’s Creole Rice YBJB 1256Bob Schulz & His Frisco JB 1315

But wait: I remember that I have BG On theRecord: A Bio-Discography of BennyGoodman by D. Russell Connor and WarrenH. Hicks, who describe the Room 1411session in detail, then add:“Room 1411" was originally titled “Goin’ toTown.” It was renamed to commemorateroom 1411 of the Whitby hotel, New York,where the Pollack bandsmen, at liberty andbroke, had moved in en masse on Benny.But here’s the copyright:Room 14-11; by Benny Goodman and GlennMiller; violin. © 1 c. Nov. 1, 1928; E—Unpub.809; Melrose bros. music co., inc., Chicago.So to hell with what they called it informallybefore they went into the recording studio. Itcame out of the recording session as Room1411 and was copyrighted that way (althoughthe hyphen was lost on the record labels).This is like all those Vicitor “alternative titles”that are historical curiosities, not reallyalternative titles..Room Rent Blues (Irving Newton)Creole JB 1051Minerva JB 1117Bent Persson’s London Stompers 1167Three Deuces 1185Peruna Jazzmen 1204John Gill’s Novelty Orchestra 1270Neville Dickie 1309Miss Lulu White’s Red Hot Creole JB 1370High Society JB 1396John Gill’s Jazz Kings 1401Southern Stompers 1413Yerba Buena Stompers 1418Rec. King Oliver, 10/25/23, OKeh 8148, Odeon03198, Biltmore 1049 et al. Margaret Johnson,5/7/29, Brunswick 7093.Copyright is a bit garbled:Room rent blues; words and music by LNewton [of U.S] © Mar. 16, 1923; 2 c. Mar.27; E 558864; Irving Newton, Chicago.But index clearly repeats Room rent blues byIrving Newton. Next question: Who the hell isIrving Newton? That’s his only copyright entryfor 1923. And the record label is clear, givinghis full name for credit.Room with a View, A (Noël Coward)Roaring Seven JB 1019Frederick Hodges 1333ASM, 1928, Chappell, has the accent mark onboth the cover and (c) pages--and all theserious Coward web sites do as well, includingnowelcoward.com.Rooster Rag (Muriel Pollock)Frederick Hodges 1333Confirmed by 2/26/17 copyright reg. and Jos.W. Stern sheet music.Rose Blossoms (Tom Brier)Tom Brier 1274Rose in a Garden of Weeds, A(R. B. Saxe–Hubert W. David)Grand Dominion JB 1378CD had Saxe-Davies.Yoicks--nothing in CD notes. Found cover forsale on eBay, composers are R. B. Saxe &Hubert W. David, pub. by Cox & Cox, London,1926. Found same info in index listing forcopy pub. in Australia. Not in 1926-27copyright books, although 1926 has two otherpieces by Saxe.Discovered that David’s music publishingcompany was named H. Worton David Ltd. orsimply Worton David Ltd.Rose Leaf Rag (Scott Joplin)Matthew Davidson 1252Confirmed by 1907 sheet music.Rose of Bombay (Sam Ward–Hal Dyson)Dan Levinson’s Roof Garden JB 1361Rec. Southland Six, 5/24/22, Pathe 020805,10360; Perfect 14038. But Levinson’s says hegot it off 1922 record by Rudy Wiedoeft’sCalifornians, not mentioned in Rust. Online 78has ten records by the band, all on Brunswick,but this isn’t among them. But two copies arein the UCSB Cylinders collection: Edison BlueAmberol 4660 and Edison record 8495, 1923,which lists Dyson and Ward’s names on labelalong with Wiedoeft, presumably ascomposers. Syracuse University also hascylinder, specifically lists Dyson and Ward ascomposers.Confirmed by 4/21/22 copyright reg., w/mboth, pub. by Irving Berlin.Rose of Spain (Tom Brown–Billy Fazioli–Ray Miller–Fred Fisher)Dan Levinson’s Roof Garden JB 1361

RAGThere’s no hyphen, and WOOD is tight upagainst ROSE, but the W is nearly as high asthe initial R. Really need to see the copyrightpage to decide on this one. And aha, ElliottAdams reports (and Tom Brier confirmsseparately from his own copy):On the copyright page the title is ROSEWOOD RAG with a small space betweenROSE and WOOD equal to the spacebetween WOOD and RAG. Copyright dateis 1909 by Victor Kremer Co.Roses of Picardy (Haydn Wood–Frederick E. Weatherly)Mahogany Hall Stompers 1221Marquet–Persson Melody Boys 1229Canary Cottage Dance Orchestra 14002013 review: Confirmed by 12/4/16 copyrightreg. from England, and sheet pub. Chappell &Chappell Ltd.Rosy Cheeks (Seymour Simons–Richard A. Whiting)John Gill’s Novelty Orchestra 1227Ian Whitcomb & His Merry Bands 1276Rec.University Six, 2/7/27, Harmony 399-H.Six Hottentots (Red Nichols et al.), 3/23/27,Banner 1962; Broadway 1070; Domino 3931et al.Ben Bernie, 4/8/27, Brunswick 3528, A-422;Vocalion 15578 (as Al Goering’s Collegians).Annette Hanshaw, 4/29/27, Pathe 32259,11517; Perfect 12338.Henry Halstead, 5/16/27, Victor 20691.Confirmed by 2/25/27 copyright reg., w/mboth, also Harmony 399-H label.Rough House Blues(Nelson L. Kincaid)Des Plantes’ Washboard Wizards 1357Rec.Rosa Henderson (with subtitle “A RecklessWoman’s Lament,” says Rust), 6-7/26,Vocalion 1038. Four-CD completeHenderson reissue on Document includesthe subtitle. And Brunswick Records: ADiscography of Recordings, 1916-1931 byRoss Laird cites the subtitle. It must havebeen there.Kitty Waters, 6/27, Pathe 7351, Perfect 131.Louisiana Stompers (F. Henderson group), 9-10/27, Paramount 12550. (This is source forSOS 1357) Couldn’t find label; Online 78credits N. Kincaid-S. Williams. But Haesler’shighly reliable Paramount discography byVreede says credit is N. L. Kincaid, and headds that it’s also confirmed by Walter C.Allen’s Hendersonia.Well, the copyright has the subtitle--but has adifferent composer:Rough house blues; a reckless woman'slament, w and melody Spencer Williams, ofU.S. © 1 c. May 26, 1925; E 618280;Triangle music pub. co., inc., New York.Haesler reports that Godrich and Dixon’sBlues & Gospel Records confirms the subtitle.Who was Kincaid? Reed player in Handy’sOrchestra of Memphis, September 1917; inPlantation Orchestra, London, December1926; Feb-Oct 1921; in Mary Stafford backupband Jan-Mar 1921.Not in 1925 or 1927 copyright books, but is in1926 book as arranger of two tunes, one inGreat Britain; other is “Harem Blues” by AttlerCox and A. W. GriffinWhattya wanna bet that Kincaid’s name wason a stock arrangement that Des Planteswandered into? Or possibly even listed asarranger on record label?Moanin' Low: A Discography of Female PopularVocal Recordings, 1920-1933 by Ross Lairdcredits Spencer Williams.9/7/13 queried Des Plantes, Haesler, and myrecord collectors. I think we can take thesubtitle as a given--it surely was on the originalrecording of the title, and it’s on the copyright.But that composer credit is a real poser.Nope, because the redoubtable Bill Haeslersorted it out:The blues renditions were authored bySpencer Williams.The Fletcher Henderson Paramount is byKincaid as stated on the label.They are different tunes. No relation to eachother.Listening confirms this for me.The vocal version has an undistinctive bluesmelody using the lyrics for its appeal.The Henderson was written as an arrangedband chart.Problem solved.Roumania (Clarence Williams–Spencer Williams–Dave Peyton)Neville Dickie & Louis Mazetier 1302Rec. Clarence Williams10/11/21, OKeh 8021.Confirmed by 5/10/20 copyright reg., w/m all3. S&P agree (but why in the world wouldthey have this?)Royal Garden Blues (ClarenceWilliams–Spencer Williams)Chrysanthemum Ragtime Band 1123Two Clarinet Stompers 1259Chris Tyle’s Silver Leaf JB 1298Southern Stompers 1414ASM, Shapiro, Bernstein, 1919.Royal Telephone, The (FrederickMartin Lehman)Magnolia Jazz Five/Jimmy Mazzy 1137

Moulin à café as alt. title, of course, becauseSidney Bechet recorded it with Claude Luterunder that title in 1950 and many laterrevivalist bands, especially French ones,learned it from Bechet by that title.Rufus Rastus Johnson Brown (seeWhat You Goin’ to Do When theRent Comes ’Round?)Rukus Juice Shuffle (unknown)Jim Snyder /Georgia Grinders 1068

But where did that subtitle come from? TheVictor label hasRUMBA NEGRO – Stomp(Baile Negro)Moten–BasieBennie Moten and HisKansas City OrchestraBut RJHA has the subtitle, as does a prettyauthoritative audio archive site.This may be the answer: The Victor Projectsite, in its Title section for this session, says,TitleRumba negro (Primary title)Spanish stomp (Alternate title)SourceDisc labelVictor ledgersSo they wrote down “Spanish Stomp” as asubtitle, but it wasn’t on the copyright reg. andit wasn’t on the label.Aw, hell, I guess it won’t hurt to leave it there,even though technically it doesn’t belongthere.NO, RETHINK THIS and all the other cases likethis, in which Rust has dredged an “alternativetitle” (it’s not really a subtitle) out of the Victorledgers. Not copyrighted, not on any recordlabel (except later reissues), so does it reallybelong here?But one thing’s clear: We must correct thespelling, and we probably should have across-ref from Rhumba to Rumba, sinceanybody who’s heard the title will presume it’sspelled Rhumba and look for it that way.Rump Steak Serenade (Fats Waller–Ed Kirkeby)Paris Washboard 1359Rec. Waller R&O, 7/1/41, Bluebird B-11296,HMV B-9582 et al.Not in 1940-42 copyright books, but Bluebirdlabel confirms both names in full.Rumpus Rag (Don Ewell)Ray Smith 1162First rec. 1947 Good Time Jazz says Smith;EP1004 or (E)EPG1167, says Lord. I have allfour tracks from that EP reissued on GTJCD-10046-2, credit is Ewell. AND LC SONIC hasEP 1004, crediting Ewell.Runnin’ Ragged (Bamboozlin’ theBassoon) (Joe Venuti–Eddie Lang–Frank Trumbauer–Lennie Hayton)Andy Stein Blue Five 1390CD had subtitle, but only Venuti as composer.Rust shows subtitle title the way we have it,Venuti Blue Four, 10/18/29, OKeh 41361,Parlophone R-531 et al. (And Trumbauer doesplay a bassoon on the record.)Not in copyright books 1928-32.OKeh label credits all four as composers(Venuti-Trumbauer-Hayton-Lang), no subtitle.Found the Parlophone label online, which hasthe subtitle and also credits all four ascomposers.Runnin’ Wild! (An Ebony Jazz Tune)(A. Harrington Gibbs–Joe Grey–Leo Wood)Paris Washboard 1338Paramount JB of Boston 1340

Sadness Will Be Gladness(Wingy Manone–Terry Shand)Back Bay Ramblers 1374Rec. Manone, 4/11/27, Columbia 14282-D.Mart Britt aho, Memphis, 9/13/28, Victor V-40012.Copyright is under Wingy’s original spelling:Sadness will be gladness; melody by J.Mannone and Terry Shand. © 1 c. Oct. 8,1926; E 648944; Joe Mannone, El Paso,Tex.Record label confirms, also Joe Mannone.Sage Hen Strut (Lu Watters)South Frisco JB 1143John Gill’s Dixieland Serenaders 1295Lord says first rec. by YBJB 5/6/46, but notissued until GTJCD-12001-2. Then 5/20/46,issued on West Coast 116 [LC SONIC hasthis, confirms Watters], GTJ L-12001 LP.No Watters titles at all in 1946-47 copyrightbooks. Written by Lu in 1944, says VinceSaunders, but no Lu in 1944-46 books either.Supposedly written on the Antigua.I have the complete Good Time Jazz set,which includes 12001, and it credits Watters.Sahara (Horatio Nicholls*–Jean Frederick)Charquet & Co 10082013 review: What the heck? LP just saidNichols, but I have Horatio Nicholls here aspseudonym for Lawrence Wright. Where’d Iget that--and why didn’t I note it?Erdos liner notes say it’s a “period foxtrot,” butonly recording in Rust is Larry Clinton aho,1/8/41, and that label credits Clinton asarranger.What the hell do I do now?Temperance Seven recorded Sahara, by “H.Nicholls/J. Frederick, [copyright] L. WrightMusic Co Ltd.”Well, there’s a “Delilah” by Horatio Nicholls,pub. by Lawrence Wright Music Co. Ltd inLondon, but it’s dated 1947.Aha, from Wikipedia:Lawrence Wright (15 February 1888 – 19May 1964) was a British popular musiccomposer and publisher. He was born inLeicester and opened a music shop in thecity in 1906. A short time later his first song,"Down By The Stream", was published, andby 1912 he had established the LawrenceWright Music Co in Denmark Street, London.Wright went on to write (or co-write) over600 songs under his own name and asHoratio Nicholls.But where did Temperance Seven get thecocomposer, J. Frederick.H. Nicholls bio on discogs.com shows“Sahara” as a song Wright wrote as Nicholls(no mention of cocomposer), rec. by BernardEtté on Vox and by Jack Hylton on DiscoGrammofono.There’s also a “When the Sahara Sleeps” byHoratio Nicholls and Fred Godfrey from 1926,but that presumably is a different song.But oh, my God, the power of Google. Fromanother Wright/Nicholls bio site, we read,Wright's promotional publicity stunts werelegendary. For “Me And Jane In A Plane,”written by Joe Gilbert and Edgar Leslie, heflew the entire Jack Hylton Orchestra, whohad made a recording of the song, aroundthe Blackpool Tower, dropping copies of thesheet music. For “Sahara,” his own song,written with Jean Frederick, and alsorecorded by Hylton, he rode a camel inPiccadilly Circus.Said I Wasn’t Gonna Tell Nobody[I Said I Wasn’t Gonna Tell Nobody][I Wasn’t Gonna Tell Nobody](Alex Bradford)Albion JB 1249Black Eagle JB 1346Switched to Alex Bradford as composer for 5thedition because Pringle’s notes for 1346,which titled it “Said I Wasn’t Gonna TellNobody,” say,After this session in Mount Gretna, I receiveda copy of the sheet music from a fan whohad been in the audience that night. It waswritten by Alex Bradford, a gospel performerwho had worked with Sister Rosetta Tharpeback in the early 40s and who had a majorpopular music hit later in the 60s.2013 review: I don’t know. Elvers sure seemsto have done his homework. What’s thesource of Pringle’s sheet music, an originalpublication or some later reissue in a hymnbook or gospel anthology?Well, the Internet Movie Data Base reports thatit was used in the 1999 film Crazy in Alabamaand gives these credits:Said I Wasn't Gonna Tell NobodyWritten by Alex BradfordPerformed by The Abyssinian BaptistGospel ChoirCourtesy of Columbia RecordsBy Arrangement with Sony Music LicensingFilmmakers have to be DAMNED careful aboutsecuring rights, so this is probably the“gospel.” But no date, dammit.Allmusic.com describes a CD reissue ofTwo 1962 Vee-Jay sessions that feature theProfessor [Bradford] working with suchstalwarts of the Bradford recording groupsas Willie James McPhatter (also a greatorganist), Calvin White, and Madeline Bell.The CD shows the title as “I Wasn’t Gonna TellNobody” by Bradford; most of the titles on theCD were by Bradford except one, “Can’t TrustNobody” by Richard King. Not hard to seehow confusion could jump across those titles.Most other hits on the tune are “Said I wasn’t,”although I did find a few “I wasn’t,” so it lookslike we’ve got it right.Never got a date associated with the title, sotried 1962-63, but no luck, although manyother Bradford songs in 1962. But anothersite says that John Hammond himself went toNewark to record the Abyssinian BaptistChoir, led by Bradford. But doesn’t say whattunes recorded. So looked in 1960 copyrightbook and EUREKA!SAID I WASN'T GONNA TELL NOBODY; w &m Alex Bradford, arr. Kenneth Morris. Score.(Martin and Morris new choral series) ©Mar-tin & Morris Music, Inc.; 15Aug60;EP14-5285.So actually, we had it right. Bradfordcopyrighted it and recorded it in 1960 as “SaidI Wasn’t Gonna Tell Nobody” for Columbiaand Hammond, which is why the IMDB creditis to Columbia. Then in the 1962 Vee-Jaysessions he recorded it as “I Wasn’t GonnaTell Nobody.” And I found several otherrecordings of it as “I Said I Wasn’t,” the variantthat was on the Albion LP.Sailin’ Along) (Frank Banta)Elite Syncopators 1358CD had “Sailin’ Along Over the Keys” inTerry’s text, but “Sailin’ Along (Over the Keys)”in the tune list at the back of the booklet.

Hmm, Parrish says unpub., rec. 1927 byBanta. Not in Rust. Pub. on 78 or piano roll?Not in 1926-28 copyright books. Not in Online78.But it’s in the well-researched KeyboardWizards of the Gershwin Era series by ArtisWodehouse on Pearl, by Banta, rec. 8/2/27,Banner 6066--but no subtitle. Nor was there asubtitle on my old Black & White Ragtime LPon Biograph. Also on Rivermont reissue ofBanta titles, but without subtitle.Oddly, Online 78 says Sailing Along onBanner, and I saw that title variant elsewhere,but it may represent just an inadvertent oroverly punctilious correcting of Sailin’.BUT I can’t find any use of an extended orsubtitle anywhere. Terry, where’d you get it?A detailed listing in Tantalizing Tingles: ADiscography of Early Ragtime, Jazz andNovelty Piano Recordings 1889-1934, by RossLaird (why haven’t I seen this before?--because it’s a $90 specialty book ), revealsthat he was Jimmy Andrews on Banner 6066and Imperial 1831, and R. Lawton on Oriole1002.Aha--Jasen & Tichenor list a “Sailing AlongOver the Keys” by Silvio De Rienzo, March 5,1928. Pub. Bibo, Bloedon & Lang, NY.And sure enough, it’s in the copyright bookthat way. (His other tune that year,copyrighted the same day, was “SpinalChords,” a brilliant title!)Sent Parrish a query 9/8/13, but I think it’spretty safe to remove that subtitle from outlisting. It just had to have slipped in from theother tune. 1/7/14 realized no response fromParris; repeated request.Sailing Down the Chesapeake Bay(George Botsford–Jean C. Havez)Terry Waldo 1002Gale Foehner 1023Ronn Weatherburn 1107ASM, 1913, Jerome Remick; w. Havez/m.Botsford.St. Germain Dance (Claude Luter)Jacques Gauthé’s Creole Rice YBJB 1256This won’t be easy. Only other recording ofthis tune in Lord is by Luter Quartet, Paris,1959, Vogue (F)EPL7727, LD499. Bruyninckxsays same thing.Found the Vogue EPL.7.727 cover, but itdoesn’t have composer credits. Mustconcede this one without hard evidence, butscarcely seems in doubt. Gauthè was an oldchum of Luter, so he should know as well asanybody.St. James Infirmary (Joe Primrose*)Keith Nichols Red Hot Syncopators 1135Yerba Buena Stompers 1369Independence Hall JB 1371

Found sheet music at U. Maine, confirmsRoland E. Llab, copyright 1921 Witmark &Sons. But there’s nothing on the sheet thatwould give away Llab’s identity. Countlessonline sites identify Llab as Ball, but nobodyexplains it, not even the guy who wrote amultipage blog about the song.That mysterious copyrightencyclopedia.comsite shows renewals of the copyright in 1978and 1979 (which makes no sense); one saysby Ball & Whiting, the other Llab (pseudonymof Ball) & Whiting.The Songwriters Hall of Fame article on Ballcredits it to him, but no mention lf Llab. S&Plist it and the composer as Llab, no mention ofpseudonym.Finally must give in, but it’s stunning to methat you can Google both composer namesand saloon every which way, get hundreds ofhits, and not one of them addresses thisdirectly.9/22/13 got note from Adams:I found my copy of Saloon in the 1921folder, and I saw that Saloon was publishedby M. Witmark. I have the history bookabout the Witmarks by Isidore Witmark. In itI found that Ernie Ball only publishedthrough the Witmarks, and his middle namewas Roland.Salty Bubble (Ray Ronnei)Ted Shafer’s Jelly Roll JB 1278Shafer’s notes:“Salty Bubble,” composed by cornetist RayRonnei, is the first number on JerryKaehele’s Good Time Levee Stompers,which was recorded for Merry MakersRecord Company [in 1962].Lord agrees. Ronnei was a member of theGTLS, and Shafer is the owner of MerryMakers.Salty Dog Blues(“Papa” Charlie Jackson)Humphrey Lyttelton & His Band 1160Mahogany Hall Stompers 1221John Gill’s Dixieland Serenaders 1321Grand Dominion JB 1408Delta Stompers 14262013 review: Rec.Papa Charlie Jackson, as Salty Dog Blues,1924, Paramount 12236. This not in Rust,but found refs to it all over the place. Labelis Salty Dog Blues, by Charlie Jackson andcomposer credit Charlie Jackson.Lem Fowler, 10/28/25, Columbia 14111-D.Label says Salty Dog by Jackson.Clara Smith, 5/26/26, Columbia 14143-D.Found very small label, but clearly Salty Dogand looks like Jackson.Paramount Pickers, 2/29, Paramount 12779,Broadway 5069 et al.Keppard’s Jazz Cardinals (vcl by Jackson),9/26, Paramount 12399 et al. Label SaltyDog, credit Charlie Jackson.Booker Orch, 9/7/27, Gennett 6375. LabelSalty Dog, credit Jackson.Copyrights:1924, no proper copyright, but this claim formechanical reproduction rights to the title:Salty dog blues.© Chicago music pub. co.,Chicago. Notice rec'd Oct. 27, 1924;recorded, v. 6, p. 78.1925--aha!Salty dog blues; w and m Charlie Jackson,of U.S.; in C. © 1 c. Feb. 28, 1925; E607717; Chicago music pub. co., Chicago.and then another mechanic reproductionrights coopyright:Salty dog. © Chicago music pub. co.,Chicago. Notice rec'd June 8, 1925;recorded, v. 6, p. 156.Story’s simple now:a. 1924 Jackson records it as Salty Dog Blues,Chicago Music Co. files reproductioncopyright under that title.b. 1925 Jackson copyrights it as Salty DogBlues.c. Everybody starts recording it as simply“Salty Dog,” so Chicago Music Co. filesanother reproduction rights registration forthat version of the title.Salutation March (Roland F. Seitz)Black Eagle JB 10914/23/11 confirmed at the Classical Archivesweb site, which even had a sample to listen to.Roland Forrest Seitz.2013 review: Not in Rust. That site above isn’tproof of anything, it just reports lthat the piecewas recorded twice by modern brass bands.Aha, NO Ragtime Orch recorded it, dated it to1914. Whereupon I foundMarch salutation; by Roland F. Seitz; band.4to. © Apr. 15, 1914; 2 c. Apr. 18, 1914; E338620; R. F. Seitz, Glen Rock. Pa.Well, French & Brit bands recorded a“Salutation” in 1950s-‘70s, but don’t know ifit’s the same tune. Many New Orleansorientedbands (especially Brits) recorded itas “Salutation March” beginning with OriginalZenith Brass Band in 1946.Most places selling current publications of thesheet music call it either “March Salutation” orjust “Salutation,” but plenty of SalutationMarch” as well. American Legion Bandrecorded it for Victor in 1926 as “MarchSalutation.”But look at this: In 1916 he came back andcopyrighted it again as Salutation March:Salutation march; by Roland F. Seitz, ofU.S.; orch. 4to. © Jan. 24, 1916; 2 c. Jan.26, 1916; E 375832; R. F. Seitz, Glen Rock,Pa.Maybe he realized himself that “MarchSalutation” was unwieldy.Sam Jones’ Blues (You Ain't Talkin'to Mrs. Jones) (Al Bernard–Roy Turk–J. Russel Robinson)Leigh–Dapogny Mysterious Babies 1087

Red Onions & Ottilie 1090Delirium Tremolo 1177Down Home JB 1190Terry Waldo’s Gotham City Band 1201Charleston Chasers 1314Tom Pletcher & the Classic Jazzband 1353Les Red Hot Reedwarmers 1425ASM confirms, didn’t get pub. details.San Andreas Fault [San AndreasShake] (Lu Watters)Down Home JB 1199South Frisco JB 1342“Fault” on 1199, “Shake” on 1342.On the Blues Over Bodega LP, Fantasy S8-5016, Homespun H-105, GTJ 12066, rec. May1963.Issued as “San Andreas “Fault,” but VinceSaunders in 1342 notes says,“Shake” was the title on an originalmanuscript by Lu in the collection of the SanFrancisco Traditional Jazz Foundation.Oddly, Watters copyrighted another tunewritten for that session, “Blues Over Bodega,”but not San Andreas Fault/Shake. Alsorecorded as “Shake” by Natural Gas JB (1979)and the New Hot Frogs (1991).San Antonio Rose (Bob Wills)John Gill’s Novelty Orchestra 1270Rec. Bob Wills & His Texas Playboys,11/28/38, Columbia 20035--with slug “HotString Dance (Instrumental).” Became big hitwhen lyrics added and recorded as “New SanAntonio Rose” in 1940.Confirmed by 6/5/40 copyright reg.San Antonio Shout (Sidney Arodin–Terry Shand)Louisiana Repertory Jazz Ensemble 1055New Orleans Classic Jazz Orch 1223Odd: 1055 credited T. Shand; 1223 wasSidney Arodin, but I’ve had just Arodin herewith no explanation of the contradiction.Rec. NORK, 9/12/34, Decca 161, Brunswick02040 et al.Not copyrighted 1933-36, but Decca 161 andBrunswick 02040 labels say by Shand-Arodin.That would be Terry Shand.San Francisco Bay Blues(Jesse Fuller)South Frisco JB 1180Yerba Buena Stompers 1406Not in Rust. Because it’s “modern”: 1958.Strange, though: S&P say 1958, “Introducedby Jesse Fuller (Good Time Jazz),” but theearliest recording in Lord discography is thatBlues Over Bodega session by Wattersin1963.Wikipedia calls him a “one-man-bandmusician,” but cites album Good Time Jazz S-10051, 1963, liner notes by Lester Koenig.Looks like he’d been singing it and wasrecorded informally as far back as mid-1950s.It was on a Good Time Jazz 45 in1961. GoodTime LP in 1958 doesn’t seem to haveincluded that title. Known as “The Lone Cat.”San Francisco Glide (Joe McCarthy–Al Piantadosi)Chrysanthemum Ragtime Band 1047Confirmed by 8/15/10 copyright reg., w. JM/m.AP.San Jacinto Stomp (see You Can’tEscape from Me)Sand-Dancers, The(William Christopher O’Hare)Elliott Adams 1299No hyphen on CD.Well, it was copyrighted as “The Sanddancers”(in 1907, the date Elliott gives). Andthe name on the copyright is Wm. ChristopherO’Hare, although he’s in the 1907 bookdozens of times as an arranger, almost alwaysas W. C. O’Hare, a few times as Wm. C.Couldn’t find the sheet music online, but founda lot of refs to it, and all included the hyphen,and most called him William Christopher.9/8/13 queried Adams, but I suspect that hejust overlooked the hyphen. Indeed, hereports “The Sand-Dancers” on both coverand copyright pages, and Wm. ChristopherO’Hare on both.Sandman Blues (Spencer Williams–Ray Miller)Paramount JB of Boston 1340CD had just Williams.Rec. Ray Miller, 3/21, OKeh 4304.Oops, copyright is Sandman blues; log-cabinlullaby, words and music by Ray Miller andSpencer Williams [of U.S.] © Feb. 28, 1921; 2c. Feb. 14, 1921; E 503324; Francis Cliffordmusic co., Chicago.AND the OKeh label credits both by fullnames: Ray Miller-Spencer Williams.Santa Claus Blues (Charley Straight–Gus Kahn)New Yankee Rhythm Kings 1067Jazz O’Maniacs 1071Down Home JB 1190Southern Stompers (France) 1215Bob Schulz & His Frisco JB 1315M ’N’ M Trio 1319Pam Pameijer’s New Jazz Wizards 1363Le Petit Jazzband 1403Southern Stompers 1413ASM confirms Saunders; didn’t note pub.details.2013 review: Rec.Red Onion Jazz Babies (w/ L. Armstrong),11/26/24, Gennett 5607, Brunswick 80062 etal. Gennett label credits Straight-Kahn, asdoes Brunswick.Clarence Williams Blue Five, 10/8/25, OKeh8245. (Straight-Kahn, says LC SONIC.Blue Rhythm Orch, 11/4/25, Pathe 36350,Perfect 14531.Gulf Coast Seven, 11/5/25, Columbia 14107-D.The earlier Bargy copyright isI've got the Santa Glaus blues; fox trot, byMarion and Bargy, played by Roy Bargy [ofU.S.] (Imperial song record, no. 9953) ©Nov. 18, 1919; 2 c. Nov. 21, 1919; E 464923;Imperial player roll co., Chicago. [Copyrightis claimed on interpretation.]Only question is who Marion is: he/she islisted as Marion with first name unknown inindex.There was a Santa Claus Blues in 1922, buthere’s our song:Santa Claus blues; w and melody CharleyStraight and Gus Kahn, both of U.S. © 1 c.Nov. 1, 1924; E 602777; Clarence Williamsmusic pub. co., inc., New York.Santa Claus Came in the Spring(Johnny Mercer)Alex Hassan 1322CD said just Mercer.Rec.Benny Goodman, 9/27/35, Victor 25195.Putney Dandridge, 10/21/35, Vocalion 3083.Joe Haymes, 10/28/35, Thesaurus 194 (10"LP?)Oops, copyright says,Santa Claus came in the spring; words andmelody Matt Malneck and John Mercer. © 1c. July 17, 1935; E unp. 106992; IrvingBerlin, inc., New York.But then there’sSanta Claus came in the spring; from Tobeat the band, w and m Johnny Mercer;

with arr. for guit., etc. © Oct. 15, 1935; Epub. 50877; Irving Berlin, inc., New York.What’s this? Is Malneck getting the shaft?And note the copyright for another song:Eeny meeny miney mo; from To beat theband, w and m Johnny Mercer and MattMalneck; with arr. for guit., etc. © Oct. 15,1935; E pub. 50878; Irving Berlin, inc., NewYork.IMDB credits lyrics Mercer, music Malneck.This is strange: LC SONIC says that both theGoodman Victor and Dandridge Vocalionrecords had “Santa Claus” on one side and“Eeny Meeny Miney Moe” on the other, andboth said Mercer only for “Santa Claus” andMercer-Malneck for “Eeny Meeny.”But to hell with the above: MTSU has the sheetmusic, which credits both Mercer and Malneckand says it comes from To Beat the Band.But then to hell with MTSU, Alex Hassan hassheet music that credits only Mercer. SanJose library has it indexed as Mercer only. Asdoes SIU at Edwardsville. And U. of Oregon.And cover of music on sale at eBay. And GAState U. Can it be that it’s Mercer only oncover but Malneck too on copyright page, andthat of all those university libraries, only MTSUcaught that? Really doesn’t seem possible.More likely that MTSU is mistake and that forwhatever reasons, it was decided that Malneckdidn’t deserve credit when it went to sheetmusic and the recording studio. Fact thatMercer & Malneck collaborated in general onmusic for that film could be cause for Malneckgetting attached to one song that for somereason was Mercer’s alone.And that seems to be what happened. Gotsheet from MTSU: w/m Mercer only, pub.Irving Berlin, (c) 1935.Santa Fe Summer (Jack T. Rummel)Jack Rummel 1118Santiago Waltz (A. Corbin)Bo Grumpus 13881894, says the CD. And it’s in 1894 bookunder publisher H. E. McMillen, Cleveland,OH. There’s an A. Corbin in the book ascomposer of “Nymphs and Satyrs.” And he’sour Corbin, according to the Victor Project—the Victor Dance Orchestra recorded it twice,in 1904 and 1911. Columbia Orchestra onColumbia A-0152 in 1902.I even found the sheet music, but he’sidentified only as A. Corbin on it. And foundmany other references online, but nobody hasmore than the first initial.Saratoga Shout (Luis Russell–Charlie Holmes)Hall Brothers JB 1062Rec. Russell 1/24/30, OKeh 8780, ParlophoneR-2225.Confirmed by 2/28/30 unpub. copyright reg.,w/m both, also OKeh label.Saratoga Swing (Barney Bigard)Pam Pameijer Trio 1172Grand Dominion JB 1189Mike Daniels’ Delta Jazzmen 1203All three LPs credit Bigard-Ellington.2013 review: Rec. Ellington (as theWashingtonians), 3/15/29, Cameo 9175,Lincoln 3202, Romeo 977. Again 5/3/29,Victor V-38058, Bluebird -6565 et al.6/5/29 copyright reg. is by Bigard alone.Cameo 9175 label credits Bigard-Mills, asdoes Romeo 977. Victor V-38058 credits justBigard, as do all the Bluebird and HMV labels.Victor Project ledgers say that Irving Mills wasa “session supervisor.” Ellington is obviouslyout, and I’ll do the math and decide that Victor+ copyright outweighs the Cameo-Romeolabels.Sashay, Oh Boy! (Cecil Scott–Don Frye)Dry Throat Five 1151

Savoy Blues (Kid Ory)Hal Smith’s Creole Sunshine Orch 1078New Orleans Classic Jazz Orch 1223South Frisco JB 1240John Gill has the 3/9/28 copyright deposit forthis, confirms Ory. Copyright reg. in book isdated 4/9/28.Savoy Rag, The (Pete Mandell)Rent Party Revellers 1220Confirmed by 2/4/27 copyright reg. Mandellwas British banjo player. Even found the firstrecording by Phil Russell, on Edison Bell 4647.Saxarella (Rudy Wiedoeft)Waldo’s Jazz Entertainers 1377Confirmed by 4/23/23 copyright reg. and labelof original 1923 Victor 19167 recording.Saxophobia (Rudy Wiedoeft)Delirium Tremolo 1177Terry Waldo & Bo Grumpus 1339Confirmed by 4/15/20 copyright reg. andVictor 18728 label.Saxophone Sam (Jack Frost–Paul Biese–F. Henri Klickmann)Levinson’s Trans-Atlantic Saxtette 1430ASM, 1917, Frank K. Root.Saxophone Sobs (Ernie Erdmann)Levinson’s Trans-Atlantic Saxtette 1430Confirmed by 5/9/16 copyright reg. and Victor18140 label.Saxophonic Blues (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Sax-O-Phun (Rudy Wiedoeft)San Francisco Starlight Orchestra 1271Waldo’s Jazz Entertainers 1377He used hyphens in lots of “Sax-“ titles, butthe copyright on this one has none:Saxophun; novelty fox-trot, Rudy Wiedoeft,arr. Hugo Frey, both of U.S.; E flat altosaxophone with orch. acc. 4to. © June 2,1925; 2 c. June 3; E 618516; Robbins-Engel,inc., New York.BUT the original Columbia 4037 recording hadthe hyphens.Say Arabella (What’s a “Fella” to Do?)(Ted Fiorito–Gus Kahn)Ernie Carson & the Castle JB 1283Bob Oliver’s Hot Seven 1312I’d rather see some confirming sheet music.Aha: 4/23/11 found the cover online (1925,confirms composers): no comma, but “Fella”is in quotes, which stresses the pun, since Ibelieve that fella (or fellah) is Arabic for man----source of our word fellow?). Couldn’t findsheet music online, but surely somebody hasa copy. Queried Nancy W. 4/23/11.Nancy Wyndham:Tex does not have an original song sheet of"Say Arabella". However, the music to itappears in Irving Berlin Inc. Universal DanceFolio For Piano Special Edition For 1926 No.10. Dance folios may not list the title andcomposers exactly as they appeared on thecopyright page of the original song sheet. Inparticular, because dance folios usually didnot include the lyrics, the lyricists andcomposers are often lumped together, with noindication as to which is which. (This issomething one also finds on original songsheets, but it is much more common in dancefolios.)Having said that, I can tell you that the titlereads as follows:Say Arabella(What's A "Fella" To Do)This squares with cover, which presents itSAY ARABELLAWHAT’S A “FELLA” TO DO?Just noticed no ? in my notes from Nancy W.,above; don’t know if that was an oversight onone of our parts of not there, but to heck withit.Say It Isn’t So (Irving Berlin)Barbara Rosene & Her New Yorkers 1422Confirmed by 8/23/32 unpub. copyright reg.Say It with Liquor (Halsey K. Mohr–BillyTracey–Eddie Buzzell)Ernie Carson & the Castle JB 1277CD had Halsey Mohr-Billey Tracey-EddieBuzzel2013 review: Not in Rust. 1922 says DesPlantes’ liner notes, but it’s not in 1922 book.Found 1922 sheet music pub. by Jack Mills,w/BT-EB/m. HM, BUT it’s Halsey Mohr oncover, Halsey K. Mohr on copyright page; andBilly Tracy on cover, Billy Tracey on copyrightpage; Buzzell on cover, Buzzel on copyrightpage: a blunder Trifecta!Found it at end of 1921 copyright book:Say it with liquor; lyric by Billy Tracey andEddie Buzzel, music by Halsey K. Mohr [ofU.S.] © Dec. 12, 1921; 2 c. Dec. 13, 1921; E523683; Jack Mills inc., New York.But there’s no Eddie Buzzel in the index, justan E. N. Buzzell credited for a different song.Billy: we’ve got him William everywhere else,and he’s William in the 1922 index. Notethat we’ve found him spelled Tracy onanother coverHalsey: We had him several times elsewherewith the middle initial.Eddie: Well, he’s Eddie Buzzell on “SweetKisses” with Lew Brown & Albert Von Tilzer.He’s Eddie Buzzell when cited as acollaborator with Gus Edwards in theASCAP bio blurb on Edwards. Looks like, ofall things, he directed Neptune’s Daughter,starring Esther Williams, in 1949! HisWikipedia blurb (as Buzzell) describes himas a directory, born in 1895 and got his starton Broadway, so he could well havedabbled in songwriting in his 20s.And Encylopedia Brittanica says:Edward Buzzell, byname Eddie (bornNovember 13, 1895, Brooklyn, New York,U.S.—died January 11, 1985, Los Angeles,California), American filmmaker, songwriter,and actor who directed a number of Bmovies and musicals, earning a reputationfor speed and economy.But I found several other instances of himspelled as Buzzel, so he either used bothnames or the mistake was committed morethan once.Say It with Music (Irving Berlin)Waldo’s Jazz Entertainers 1377Canary Cottage Dance Orchestra 1415ASM, 1921, Irving Berlin.Say It with Your Feet (Fats Waller–Andy Razaf–Harry Brooks)Grosz–Ingham Paswonky Serenadrs 1214Keith Nichols Cotton Club Orchestra 1320Not in Rust. 1929, says 1320; from HotChocolates, says 1214.Copyright confirms both:Say it with your feet; from Connie's hotchocolates, words by Andy Razaf, music byThomas Waller and Harry Brooks; pf. acc.,with ukulele arr. by M. Kalua. © July 27,1929; 2 c. Aug. 27; E pub. 8678; Mills music,inc., New York.Say Yes (Fats Waller–J. C. Johnson)Grosz–Ingham Paswonky Serenadrs 1214Not in Rust. 1939 says 1214.Confirmed by 2/27/39 copyright reg.Scandinavian Stomp (James Alston)Le Petit Jazzband de Mr Morel 1362Les Rois du Fox-Trot 1436Rec. Williamson’s Beale Street FrolicOrchestra (Alston on pno), 2/27/27, Victor21410.

Confirmed by 5/24/27 copyright reg. andVictor label, which has his name in full.Scatter-Brain (Johnny Burke–FrankieMasters–Kahn Keene–Carl Bean)Humphrey Lyttelton Rhythmakers 1111Hmmm. 1111 had Scatterbrain by Keane-Bean-Masters-Burke. Don’t know where wegot their first names, but they seem to becorrect. But ASM (and online databases)shows us that it’s Scatter-Brain (cover andcopyright page), and the credits are w. JohnnyBurke/m. Keene-Bean and Frankie Masters.Which matches the odd copyright entry:Scatter-brain ; lyric Johnny Burke, mKeene-Bean & Frankie Masters. © Sept. 19,1939; E pub. 79790; Bregman, Vocco &Conn, inc., New York.So I ask again, where’d I get the first names?And why didn’t I document it?Well, elsewhere in 1939 book we find thatFrankie Masters wrote “Lost in a Dream” withMitchell Parish and Carl Bean.Several Keenes in book, but none looks likely.And this is a sort of a clue:Whisper you care; w Jack Lawrence, melodyKeene Bean & Frankie Masters. © 1 c. Feb.6, 1940; E unp. 213414 ; Robbins musicCorp., New York.And thenCharming little faker; w Johnny Burke, mKeene-Bean & Frankie Masters. © 1 c. Feb.28, 1940; E unp. 216430; Bregman, Vocco &Conn, inc., New York.But look at this:Key to my heart, if you will marry me; w & mFrankie Masters, Kahn Keene & Fay Boswell.© Feb. 29, 1940; E pub. 84032; Famousmusic Corp., New York.Looks like I did this the hard way: Any numberof online sites break out the names as theypresent the lyrics or try to sell modern digital(Kindle!) versions of the sheet music.Schlafe, mein Prinzchen [Wiegenlied](Bernhard Flies–Friedrich WilhelmGotter)Red Rose Ragtime Band 1412

Confirmed by 9/28/29 unpub. copyright reg.and Victor label.Second Line Stomp (based on JoeAvery’s Piece, lyrics by John Gill)Yerba Buena Stompers 1381Traditional, lyrics by John Gill. It sure soundsfamiliar. And if it’s “traditional,” how come thisis the only recording of it (according to Lorddiscography).Aha, I thought I recognized the tune, and DaveRobinson confirms that it’s “Joe Avery’sPiece,” already in this index by “traditional.”Sedalia Joys (Glenn Jenks–PeterLundberg–Wally Rose–Edward Berlin)Glenn Jenks 1179Each contributed a strain, in the order listed,says Jenks.See See Rider Blues (Ma Rainey–Lena Arrant)New Yankee Rhythm Kings 1015South Frisco JB 1035Steve Lane’s Southern Stompers 1040Watergate Seven Plus One 1165Frisco Syncopators 1245(See notes at Jelly Bean Blues as well)Rec. Rainey 10/16/24 (same session as JellyBean), Paramount 12238, 14016; UHCA 85;Jazz Information 8; Jazz Collector L-10; AF A-02.HELLO! Copyright isSee see blues; w and m Lena Arrant, of U.S.© l c. Dec. 24, 1924; E 603948; Chicagomusic pub. co., Chicago.Same story as Jelly Bean: Paramount 12238credits both, looks like spelling is Arant, title isSee See Rider Blues. Reissue of UHCA onCommodore credits Rainey-Arant, also SeeSee Rider Blues. LC SONIC has UHCA 85(Rainey-Arant), Ampersand R 101 (no credits),And it’s the same story in both cases: LenaArrant with 2 r’s copyrighted the song. Raineyrecorded it and either made changeswarranting her inclusion as composer or justinsisted on a cut for recording it (notuncommon). On the record label, Lena’sname was misspelled. And along the way,Arrant’s title was changed to “See See RiderBlues,” which is what’s on all the labels—Sowhy do most bands (41 of my 49 recordings ofthe song) leave the “Blues” off the title?Presumably because it’s not in the lyrics.Seeking Blues (Leatha McAllister)Le Petit Jazzband de Mr Morel 1344CD credited Ma Rainey.Rec. Rainey 3/26, Paramount 12352.Aha. Not copyrighted 1925-27, but I did find amechanical reproduction rights claim byChicago Music Co., dated 9/10/26. Thatwould be for Paramount 12352, the label ofwhich credits Leatha McAllister as composer!Online 78 has Leotha, RHJA has Lesilie, butlabel is quite clear.Send Back My Honeyman(Lou Handman–Henry Creamer)Dan Levinson’s Roof Garden JB 1361

The Bluebird ODJB 75th Anniversary CD,issued in 1992, calls it "Sensation Rag" andcredits Edwards.My other recordings credit either Edwards orthe entire ODBJ (4-3 in favor of Edwards).None credits LaRocca.--4>2013 review: What we need is copyright andsheet music. And here it is.The copyright isSensation; jazz one step, by the originalDixieland jazz band, arr. by William J. C.Lewis, of England, domiciled at New York;piano. © 1 c. May 12, 1917; E 403139; MaxHart, New York.Later comes rereg. to transfer ownership fromHart to Feist:Sensation; jazz one step by the originalDixieland jazz band; piano. © Sept. 12,1917; 2 c. Sept. 13, 1917; E 409998; LeoFeist, inc., New York.And updated again in 1918:Sensation; jazz one-step, by the originalDixieland jazz band, arr. by Leroy Walker [ofU.S.]; orch. 4to. © Sept. 21, 1918; 2 c. Sept.23, 1918; E 431222; Leo Feist, inc., NewYork. [Copyright is claimed on arangement.]The sheet music:Published in 1917 (Leo Feist, publisher of allthe original ODJB tunes) as “Sensation”composed by “Dixieland Jazz Band, bothcover & copyright page. The first recordingwas on Victor 18483 in June 1918, as“Sensation Rag” with composer credit ofEddie Edwards.Well, sheet music trumps all other sources,especially when the sheet music and thecopyright predate the record label.Sentimental Baby (Jack Palmer)Marty Grosz /Keepers of the Flame 1158Rec.Ben Pollack, 12/3/28, Victor 21827. Labelcredits Jack Palmer.Frankie Trumbauer, 10/5/28, OKeh 41128,Parlophone R-298. OKeh label creditsPalmer.Seger Ellis (not in Rust), OKeh 41119. Labelcredits Palmer.And 4/10/28 copyright reg. confirms Palmer.Sentimental Gentleman from Georgia(Frank Perkins–Mitchell Parish)Bruno’s Salon Band 1251Lande’s Rhythm Club Orchestra 1327Grand Dominion JB 1330ASM, 1932, Mills; w. Parish/m. Perkins.Serenade Blues (Noble Sissle–Eubie Blake)Canary Cottage Dance Orchestra 1400Confirmed ASM, but I didn’t note thepublishing info.Sergeant Dunn’s Bugle Call Blues(Johnny Dunn)Bob Oliver’s Hot Seven 1312Rec. Dunn 3/13/28, Columbia 14306-D,Biltmore 1076.No copyright, but confirmed by Columbialabel.Settle Down in a One Horse Town(Irving Berlin)Ian Whitcomb & Dick Zimmerman 1017ASM, 1914, Irving Berlin. Logical hyphen(One-horse) is on cover, but not on copyrightpage.Shabby Gal Rag (Ade Monsbourgh)Steve Waddell’s Creole Bells 1230Looks like first rec. by Graeme Bell band(w/Monsourgh) Paris, 2/7/48, issued onCelson (Aus) QB-7010, Swaggie S1395.Again in Sydney, 3/10/49, Parlophone A-7725.Careful index of the big Stone 78 collectionlists Monsbourgh as composer of A-7725. Sodoes Victorian Jazz Archive index. And theAustralian Jazz Compositions list.Shake Em Up (Clarence Williams)Jacobi’s Bottomland Orchestra 1336Rec. CW 10/27, Paramount 12587 (without thelogical apostrophe, says Rust).Very strange: not in copyright books 1926-29,very unlike Clarence Williams. RHJA alsoomits apostrophe, credits Williams-SidneyBechet; same for Online 78.BUT LC ONLINE reveals a “Shake ’Em Up” bySidney Bechet Quartet, Columbia 38321,credited to Bechet. This is 1947; probably notour tune, but could have confused RJHA andOnline 78.But aha: Williams Paramount 12587 is clear:Shake Em Up, by Clarence Williams. With thisas sole source, we must lose the apostrophe.Shake It and Break It (H. Qualli Clark–Lou Chiha)High Society JB 1010Keith Nichols Red Hot Syncopators 1135West Jesmond Rhythm Kings 1255Charleston Chasers 1287Chris Tyle’s Silver Leaf JB 1298Dan Levinson’s Roof Garden JB 1361San Francisco Starlight Orchestra 1364Independence Hall JB 1386

Rosa Henderson, 7/28, Marathon 045 (7").Label says Williams-Urquhart.Bill Haid & His Cubs, 9/28, Paramount 20661,Broadway 1220. Paramount label =Williams-Urquhart.Carl Fenton aho, 1/30, QRS Q-1023. Label =Urquhart-Williams.Confirmed by 5/27/28 copyright reg.Shake That Jelly Roll (Junie Cobb–Lester Melrose)Le Petit Jazzband de Mr Morel 1362Rec. Cobb 2/7/29, Vocalion 1263.Oops, copyright is just Melrose:Shake that jelly roll; melody by L. Melrose. ©1 c. Feb. 25, 1929; E unp. 3983; LesterMelrose, Chicago.Cobb is in book for other tunes, but not thisone.However, the label credits Cobb-Melrose, sowe go with that.Shake That Thing(“Papa” Charlie Jackson)Red Rose Ragtime Band 1128Magnolia Jazz Five/Jimmy Mazzy 1137Chris Tyle’s NO Rover Boys 1235Down Home JB 1273Terry Waldo & Bo Grumpus 1339ASM confirms, but I didn’t note the publicationinfo.Turns out that Tampa Red & Georgia Tomrecorded the title in 1928 on Paramount--maybe that’s how Whittaker got on 1128.2013 review: Wait a minute--see thesecopyrights:Shake that thing: w and m Charlie Jackson,of U.S. © 1 c. June 8, 1925; E 618578;Chicago music pub. co., inc., Chicago.ThenShake that thing; w Charlie Jackson, m J.Mayo Williams, of U.S. © 1 c. July 22, 1925;E 619881; Chicago music pub. co., inc.,Chicago.BUT THENShake that thing; words and music byCharlie Jackson. © Jan. 21, 1926; 2 c. Jan.22; Shapiro, Bernstein & co., inc., New York.This copyright has to be the one associatedwith the sheet music publication, which isShapiro, Bernstein, 1926. (I didn’t note itwhen I saw Audrey’s copy, but found it atMTSU, also credit only to Jackson. Unless wefind J. Mayo Williams’s name on those earlyrecord labels, we must ignore that firstcopyright and continue to treat this as byJackson only.Rats! I’ve always considered it to have comefrom Papa Charlie Jackson, but Jackson isn’tin Rust, possibly because he was consideredcountry or blues.Jackson rec. it 5/25, Paramount 12281. Label= Charlie Jackson. Then everybody jumpedon it, the following jazzers in Rust and alsoblues/string band artists:Jim-Dandies, 10/24/25, Harmony 55-H. Label= Jackson.Bill Wirges, 12/2/25, Pathe 36352, Perfect14533. Perfect label = Charlie Jackson.Clarence Williams Blu Five, 12/15/25, OKeh8267. Label = Jackson.Ethel Waters, 12/23/25, Columbia 14116-D.No composer on label.Busse’s Buzzards, 12/28/25 Victor rejected,but Victor ledgers credit Jackson.Viola McCoy, 1/6/26, Vocalion 15245.Fred Rich, 1/20/26, Cameo 872.Viola Bartlett, 1/26, Paramount 12345.Jimmie O’Bryant, 1/26, Paramount 12346.Abe Lyman, 2/1/26, Brunswick 3069. Label =Jackson.Dixie WB Band, 2/26, Domino 3671.OK, the copyright with J. Mayo Williams was afalse start. Stick with Jackson alone.Shaking the Blues Away (Irving Berlin)Keith Nichols’ Hot Six 1063Neely’s Royal Society Jazz Orch 1208San Francisco Starlight Orchestra 1334Confirmed by 6/8/27 copyright reg.Shallow Waters (Billy Mayerl)Tony Caramia 1313Confirmed by sheet music cover at BillyMayerl Society website and 9/14/36 copyrightreg.Shame on You (Chris Smith–John Larkins)Down Home JB 12411241 had Smith-Larkin, but ASM, 1914, Jos.Stern, shows Smith and Larkins. There’s alsoa “Shame on You” by Edward Heyman &Harold Arlen, 1933, Harms.Shamrock Rag (Euday L. Bowman)Bob Wright 1239Confirmed by 1/21/16 copyright reg. andcover of sheet music.Shanghai Honeymoon [On a ChineseHoneymoon] (William L. Shockley–Charles J. Hausman–Lester Melrose)Jim Snyder /Georgia Grinders 1068Ernie Carson & the Castle JB 1283Barbara Rosene & Her New Yorkers 1405

ig questions is this: Is she singing the “On aChinese Honeymoon” version with Shockley’slyrics or the later “Shanghai Honeymoon”version with the Melrose lyrics?Well, I bought both sheets, and we’ve still gota bit of a mystery, since what Barbara andMilton Brown sing is quite a bit (but certainlynot entirely) different from either of the above.The 1923 On a Chinese Honeymoon chorus isOn a Chinese honeymoonIn the merry month of JuneAnd together we will wanderWhere the lotus flowers bloomWe’lll buy a toy baloonAnd sail up to the moonAnd together we will wanderOn a Chinese honeymoonThe 1926 Shanghai Honeymoon chorus isShanghai honeymoonIn the merry month of JuneWe will always be togetherWhere lotus flowers bloom.There beneath a Chinese moonWe will croon an old love tuneAnd together we will wanderOn our Shanghai honeymoon.I can only guess that she learned it off theMilton Brown recording, and that he simplyaltered the lyrics of Chinese Honeymoon tosuite himself. What he sings is closer toChinese Honeymoon than to ShanghaiHoneymoon.But the next big question is, are the melodiesthe same? Robbie Rhodes answered that:Chinese is in waltz time, 3/4; Shanghai is in cuttime, 2/2, for dancing the fox trot. AND all ourrecordings use the 1926 ShanghaiHoneymoon melody.Shanghai Lil (Harry Warren–Al Dubin)West Jesmond Rhythm Kings 1255Confirmed by 8/28/33 copyright reg., fromFootlight Parade.Shanghai Shuffle (Larry Conley–Gene Rodemich)Charquet & Co 1053Keith Nichols Cotton Club Orchestra 1275Paramount JB of Boston 1340San Francisco Starlight Orchestra 1364New Century Ragtime Orchestra 1385Les Rois du Fox-Trot 1429Rec.Charlie Frye, 10/7/24, Edison 51416.Fletcher Henderson, 10/13/24, Pathe 036157,Perfect 14338; again 11/7/24, Vocalion14935 et al.Sam Wooding, Berlin, 7/25, Vox 01890.Fletcher Henderson, 9/11/34, Decca 158 et al.Buster Bailey, 12/28/34, Vocalion 2887; DeccaF-5492; Parlophone R-2612; Brunswick A-500525; Columbia 35677 & DO-2262. How?Confirmed by 10/20/24 copyright reg., w/mboth.Shave ’em Dry (Sam Wishnuff)Elliott Adams 1299Confirmed by 5/10/17 copyright reg., enteredby Stark in St. Louis!She Lives Down in Our Alley(Charles R. McCarron–Charles A. Bayha)Ian Whitcomb & His Merry Bands 1276ASM, 1915, Shapiro, Bernstein; but no middleinitials for either composer. Found tenMcCarron songs on Levy, they were 5/5 R./noR. Bayha too is A./No A. on different sheets,so we’ll keep his initial too.She May Have Seen Better Days(James Thornton)Imperial Serenaders 1351Not in Rust, will be early--Buddy Bolden era—Looks like pub. T. B. Harms 1894, and it’s inthe 1894 copyright book as well.She Was Just a Sailor’s Sweetheart(Joe Burke)Rent Party Revellers 1220Rec. Calif. Ramblers,9/16/25, Banner 1623,Domino 3595 et many al. Earl Gresh, 6/30/25,Columbia 424-D. University Six, 9/18/25,Harmony 36-H, Regal G-8517 as CoronaDance Orch.Confirmed by 1/9/25 copyright reg.She Winked at You (Nicolas Montier)Les Rois du Fox-Trot 1434Montier is a reed player with the band.Sheik (of Araby), The (Ted Snyder–Harry B. Smith–Francis Wheeler)Magnolia Jazz Five/Jimmy Mazzy 1137LP had “Sheik of Araby.”

Jelly Roll expert, Rich Rouchard [sp?],collaborator with Laurie Wright on bio of JellyRoll, writing liner notes for meticulouslydocumented Jelly Roll reissue series onFrench Media 7 series:“Victor 38024 Georgia Swing/MournfulSerenade... This piece, copyrighted by JRM15 Aug 28 as piano solo and on 1 June 29 asorchestration, is in fact a reworking of ‘She’sCrying for Me (Blues),’ which Santo Pecorahad recorded with the New Orleans RhythmKings on 23 January 1925. Morton hadupdated it by adding riffs and generallyrearranging it.”LC copyright cards:1. (published) She’s crying for me. By SantoPecora. 5/20/25, Melrose Bros. Music co.2. (published) Georgia swing by Ferd, JellyRoll, Morton and Santo Pecora. 8/15/28,Melrose Bros. Music Inc. Chicago.These entries are ample evidence for treatingthem separately and for crying instead ofcryin’.2013 review: All our experts on this passthrough the book have argued in favor of“breaking out” similar tunes as differentcompositions if they were recorded underdifferent titles/composers rather than nitpickingto find a degree of difference. Thisone’s a lot easier, since both titles werecopyrighted.(I Got a Woman, Crazy for Me)She’s Funny That Way (Neil Morét*–Richard A. Whiting)Dry Throat Five 1114Louis Mazetier & François Rilhac 1218Charleston Chasers 1314Le Petit Jazzband 1389ASM, 1918, Villa Morét; w. Whiting/m. Morét.She’s Got It All (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.She’s No Trouble (Thamon Hayes)Keith Nichols & the Blue Devils 1387Record had She’s No Trouble (Sweetheart).Rec. Moten (with this odd title, says Rust, andwith Hayes on tb), 9/7/28, Victor V-38021,24893, A-1046.Copyright has no sub-/alt-title:She's no trouble; melody by T. Hayes. © 1 c.Dec. 17, 1930; E unp. 32287; Southernmusic pub. Co., inc., New York.Victor V-38021 label has no “Sweetheart” nordoes 24893.The Victor Project shows “Sweetheart” as analternate title based on ledgers, but since thatdidn’t get in the copyright or record labels, wemust assume it’s one of those cases where theband called it “Sweetheart” before they got inthe studio, but the record was released as“She’s No Trouble” and that’s how thecopyright was filed. “Sweetheart” is ahistorical curiosity, not a subtitle or alternativetitle.She’s One Sweet Show Girl(Edward Grossman–Ted Ward)San Francisco Starlight Orchestra 1271CD had Ed Grossman, Ted Ward.Rec. Ben Pollack, 10/15/28, Victor 21743, HMVB-5596.Copyright isShe's one sweet show girl; theme song ofShow girl, words and music by EdwardGrossman and Ted Ward [pseud. of EdwardDenver Ward]; pf. and ukulele acc. © Oct.31, 1928; 2 c. Nov. 2; E—U.S. pub. 307;Famous music corp., New York.Of course, Ted’s not a pseudonym, just anickname. But we may want to think about Edvs. Edward for Grossman.Lots of other entries for them in 1928 book,always Edward Grossman & Ted Ward. MtSUhas the sheet, and indexes them as Ted Ward& Edward Grossman, so we must follow that.She’s Still Dizzy (George Temple)Des Plantes’ Washboard Wizards 1409CD said just George Temple.Rec. Fess Williams Royal Flush Orch(w/Temple on tp), 4/18/30, Victor 23025, HMVB4839. Victor Project says composersWilliams and Temple (source disc label)--butit’s wrong! The 23025 label is just Temple.12/20/30 unpub. copyright was just Temple.She’s the Hottest Gal in Tennessee(James P. Johnson–Henry Creamer)Keith Nichols Cotton Club Orchestra 1320Oops, not in Rust. Published, but notrecorded, says Nichols. 1926, says PerfessorBill.Confirmed!She's the hottest gal in Tennessee; words byHenry Creamer, music by Jimmy Johnson.© Nov. 9, 1926; 2 c. Nov. 10; E 649824;Shapiro, Bernstein & co., inc., New York.Shiftless Sam (Carlotta Williamson)Tom Brier 1274ASM, 1904, G. M. Blandford.The Shim Sham Shimmy Dance(Clarence Williams–Andy Razaf)(see also Do It Baby)Rusty Taylor’s New Jazz Review 1186Des Plantes’ Washboard Wizards 1325Neville Dickie 1366See extended notes on both tunes at Do ItBaby.Shim-Me-Sha-Wabble(Spencer Williams)Chicago Rhythm 1026Hot Antic JB 1058Black Eagle JB 1092Orpheon Celesta 1095Humphrey Lyttelton Rhythmakers 1111High Society JB 1166Louis Mazetier & François Rilhac 1218New Orleans Classic Jazz Orch 1223Steve Waddell’s Creole Bells 1230Zenith Hot Stompers 1248Aces of Syncopation 1372Yerba Buena Stompers 1375Heliotrope Ragtime Orchestra 1411ASM, 1917, Jos. Stern.Shine (see That’s Why They CallMe “Shine”)Shine On, Harvest Moon (NoraBayes-Norworth–Jack Norworth)John Gill’s Novelty Orchestra 1227Canary Cottage Dance Orchestra 1400Barbara Rosene & Her New Yorkers 1405

Shine on Your Shoes, A(Arthur Schwartz–Howard Dietz)Butch Thompson /Berkeley Gang 1127Confirmed by 9/6/32 copyright reg., w/m both.Shivaree (George L. Cobb)Levinson’s Trans-Atlantic Saxtette 1430Confirmed by 5/14/21 copyright reg.Shivery Stomp (Seger Ellis)Bob Oliver’s Hot Seven 1312Rec. Ellis pno solo 3/21/30, OKeh 41447;Parlophone R-714; Odeon A-2318, A-286019.Confirmed by 11/23/29 unpub. copyright reg.and OKeh label.Shoe Shiner’s Drag (seeLondon Blues)Shootin’ the Pistol (ClarenceWilliams–Chris Smith)Des Plantes’ Washboard Wizards 1325Jacobi’s Bottomland Orchestra 1336ASM confirmed, but I missed the pub. data.Short Dress Gal (Sam Morgan)Black Eagle JB 1054Fenix JB 1129Grand Dominion JB 1379Rec. Sam Morgan’s JB, 10/22/27, Columbia14351-D et al.Confirmed by Columbia label and 1/15/29unpub. copyright reg.[Short’s Portland Tuba ]Should I (Nacio Herb Brown–Arthur Freed)Golden Eagle JB 1192Ingham–Grosz Hot Cosmopolites 1323ASM, 1929, M-G-M; w. Freed/m. Brown; “FromLord Byron of Broadway,” NO ? on cover orcopyright page.Shout ’em, Aunt Tillie(Duke Ellington–Irving Mills)Limehouse JB 1014Paramount JB of Boston 1205Grand Dominion JB 1337Le Petit Jazzband de Mr Morel 1343Rec. Ellington 6/4/30, Victor 23041, BluebirdB-10242 et al.Hmmm . . . not in 1929-31 copyright books,and not in list of copyrighted Ellingtoncompositions in his autobiography, butconfirmed by Victor and HMV record labels.Shout, Sister, Shout! (ClarenceWilliams–Alex Hill–J. Tim Brymn)Dick Hyman 1141Bent Persson’s London Stompers 1167Des Plantes’ Washboard Wizards 1174Rec.Clarence Williams Washboard Band, 7/20/30,OKeh 8821. Label says “Shout, Sister,Shout!” by Williams-BrymnHill.CW aho, 11/24/30, Banner 32063, Jewel 6164,Oriole 2164.Boswell Sisters, 4/23/31, Brunswick 6109,6847 and many other numbers.Tiny Bradshaw, 4/19/34, Decca 456,Brunswick 01919.Confirmed by 7/8/30 copyright reg., w/m all 3.Showboat Shuffle (Duke Ellington)Ted Shafer’s Jelly Roll JB 1278Rec. Ellington, 4/30/35, Brunswick 7461,Columbia 36112 et many al.Confirmed by 8/15/35 copyright reg. andBrunswick & Columbia labels.Shreveport Stomps (Jelly Roll Morton)Pam Pameijer – Duet /Trio/Quartet 1134Ray Smith 1162Jim Cullum JB 1254James Dapogny’s Chicagoans 1263Aces of Syncopation 1372Waldo’s Jazz Entertainers 1377Paris Washboard 1428We had this in singular . . .2013 review: Rust indexes it as “Shreveport(Stomp(s)”! Rec.JRM pno solo, Shreveport Stomps, 6/9/24,Gennett 5590, Biltmore 1073 et al.RHP as simply Shreveport, 6/11/28, Victor21658, Bluebird B-5707 et al.Only rec. in Rust as “Shreveport Stomp” is byGregoire Nakchounian and His Russian NorthStar Orchestra, Berlin, 1926.Copyrights?Lomax says he copyrighted it as ShreveportStomps in 1925, but in fact the copyrightreads:Shreeveport stomps; by Jelly Roll Morton,[pseud. of Ferd Morton] arr. ElmerSchoebel, both of U.S.; orch. 4to. 1 c. Apr.27; © Apr. 1, 1925; 1 c. May 21; E 618138;Melrose bros. music co., inc., Chicago.but I think it’s safe to write off the ee as a typo.Record labels?Gennett 5590 is indeed Shreveport Stomps.Victor 21658 is indeed just Shreveport. Butaha! I see where the singular misinterpretationof the title comes from. Victor 21658 actuallyreadsSHREVEPORT—StompThat’s obviously a genre-marker—Shreveport(a stomp tune)—not a title or subtitle.Shuffles and Taps (Byrnes–Winne)Red Wing Blackbirds 1018

Si tu vois ma mère [If You See MyMother] [I Remember When][Lonesome] (Sidney Bechet–Jean Broussole)Paramount JB of Boston 1247Grand Dominion JB 1379Sic ’em Tige (Roy Palmer)State Street Aces 1011Wait a minute, Bob. Your Jan 2000 notescalled for attributing this to Roy Palmerbecause you found it that way on a CygnetCD. But we started with Palmer and foundample reason to reject him as composer ofthis tune and many others (if you’ll remember,you credited him as composer for all the tuneson 1068, the Roy Palmer tribute by the StateStreet Aces.I did the following research when we firstbegan to suspect Palmer as composer:Also, what about Roy Palmer, the presumedcomposer of all those tunes on SOS 1068?We’re now pretty sure he didn’t createPleasure Mad. In Paige Van Vorst’s coverstory on Palmer in the March 1978Mississippi Rag, he mentioned Palmer’s3/13/31 recording session with the StateStreet Ramblers: "They recorded ninetimeless sides [six of which--Tiger Moan,Georgia Grind, Kentucky Blues, I Want to BeYour Lovin’ Man, Me and the Blues, SouthAfrican Blues--ended up on SOS 1068]....The tunes were all very familiar, beingmostly based on existing folk tunes or NewOrleans themes." Doesn’t sound like Palmerthe composer to me. Later, Van Vorstmentions two other tunes that pop up on1068: "’Come On In, Baby’ and ‘Nancy Jane’were both tunes that had been recorded byblues artists before, the former by GeorgiaTom, the latter by Big Bill [Broonzy?]."[Erdos: No Palmer as composer should beshown. We lazied out on 1068.And this is my previous note at Sic ‘em Tige:I can’t help suspecting that the Cygnet justrepeated our old mistake. Or is there someevidence of genuine research on it?Eureka: 9/9/13 Bill Haesler found theChampion 40070 label, credit is Palmer.Sidewalk Blues (Jelly Roll Morton–Walter Melrose)Ray Smith 1012South Frisco JB 1027Louisiana Repertory Jazz Ensemble 1029South Frisco JB C/CD 1035New Yankee Rhythm Kings 1050Bob Schulz & His Frisco JB 1315Le Petit Jazzband de Mr Morel 1362Les Rois du Fox-Trot 1436ASM, 1926, Melrose Bros., confirms; w.Melrose/w. Morton; has subtitle (My Baby’sGone and I’ve Got the Blues) on cover but notcopyright page.Rec. 9/21/26 JRM’s RHP, Victor 20252. Labelcredit just Morton; Victor Project confirms.10/22/26 copyright says w. Walter Melrose, m.Morton, arr. Charlie Rider--this is anorchestration, pub. Melrose. Couldn’t find anyother copyright for it.HAPPY NEW YEAR 2014: just learned fromDave Robinson that this is the same as FishTail Blues. Sure enough, JRM’s Kings of Jazzrecorded Fish Tail Blues in September 1924on Autograph 606; and the Autograph labelconfirms this, with composers Morton andCollins (presumably Lee Collins, who playedcornet on the session). Rust’s index entry forthis title says “see also Sidewalk Blues.” Nocopyright for Fish Tail.Have asked Robbie to comment on thesubject. If they’re the same, it’s awkward,since Fish Tail preceded Sidewalk by twoyears, not to mention the extra composercredit. His report:I agree it's certainly a direct ancestor of"Sidewalk Blues" as performed by Jelly'sRed Hot Peppers.The difference is that the 1926 recordingdisplays much more maturity and solidstructure. In both recordings the Trio isreally the well-known melody of"Liebestraum" by Franz Liszt.I vote to retain the title "Sidewalk Blues".Dave Robinson feels they’re even more similarthan Robbie suggests:I have it on CD, and yup, it's the sametune…all three strains plus intro, interlude,and tag. The intro, interlude, and tag are alittle different but it's the same tune. The '26recording eclipsed the '24 recording and thetune has been called Sidewalk Blues eversince; nobody calls it Fishtail.Well, I’ll make a rare retreat from my usualinclination toward pedantry, which reallydictates this treatment:Sidewalk Blues (Jelly Roll Morton–Walter Melrose; based on Fish TailBlues by Jelly Roll Morton–Lee Collins)Of course, we can only get away with thisbecause nobody’s recorded Fish Tail Bluessince that one excursion by Morton, Collins, etal. If “Fish Tail” ever shows up here, we’llhave to show the connection between the twowith the note above.Silks and Rags (Fred S. Stone)River Raisin Ragtime Revue 1417ASM, 1901, Whitney-Warner.Silver Bell (Percy Wenrich)

[also published in song versionwith lyrics by Edward Madden)Steve Waddell’s Creole Bells 1230Ernie Carson & the Castle JB 1277Yerba Buena Stompers 1375Great Song Thesaurus says Wenrich/Madden,no mention of subtitle. Ditto Variety MusicCavalcade, which gives pub. date 1910.8/18, Nancy Wyndham: We have both thesong version and the instrumental. Theinstrumental says Intermezzo on the cover,Indian Intermezzo on the copyright pagebeneath the title. Neither place uses An.(Jim Riley sends copy of (presumably the)same instrumental sheet, dated 1910. Title is“Silver Bell”Indian Intermezzo8/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield:6/11/10 registration has no subtitle, w.Madden, m. Wenrich. 6/14/10 registration has"Indian intermezzo by Percy Wenrich."Bob: Clearly, we use Wenrich-Madden. But Ithink we must lose “Indian Intermezzo”because it’s really a genre-marker. The samephrase is used to describe the instrumentalversion of “Silver Heels” just below. And thefact that the copyright card called it “Indianintermezzo by Percy Wenrich” shows theyconsidered it a song type rather than asubtitle.ASM also has the song version, 1910, JeromeRemick.In June-July ’11 review looking for rag tunespublished simultaneously as songs, I foundthe note above by Nancy Wyndham. I’venever laid eyes on an instrumental version of“Silver Bell,” but obviously it exists. But theubiquity of the song version over theinstrumental sure makes me suspect that ourbands are playing the song version.But I was wrong. I did track down theinstrumental version in Rag Classix folio editedby Darch, asked Robbie Rhodes to to seewhat our bands played:The instrumental "Intermezzo" version hasthree sections: verse, chorus and Trio.The song version has only the verse andchorus (Refrain).Steve Waddell is the instrumental version,performed faithfully to the sheet music.Ernie Carson plays the instrumental version.Yerba Buena Stompers play the verse andrefrain.Summary: since no Stomp Off band singsthe lyrics you don't have to credit EdwardMadden.Silver Dollar (Clarke Van Ness–Jack Palmer)Down Home JB 1241Jacques Gauthé’s Creole Rice YBJB 1256Hah! Had occasion to look for this whenworking on Two Ton Baker 3/06, found lots ofevidence that it’s indeed Clarke Van Nessm./Jack Palmer w.then even found sheet music online.Silver Empire Rag: A ComstockCacophony (Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1246Goodman was guest conductor of the band.Silver Heels (Neil Morét)[also published in song version withlyrics by James O’Dea]Waldo’s Jazz Entertainers 13771377 said by Henry Tally.Is Waldo sure? “Silver Heels” was publishedin 1905 by Jerome Remick in instrumental(“Indian Intermezzo--Two Step)” version byNeil Morét and song (“An Indian Ballad”)version by Morét-James O’Dea. (Note thatboth were “Silverheels” on cover, even thoughthey had different art, but “Silver Heels” oncopyright page.Note this line below the title on the copyrightpage of the instrumental version: “Melodytaken from the popular Indian intermezzo.”This clearly implies that the song version camefirst.I’ve looked far and wide and can’t find anyevidence of a Henry Tally.BUT here’s the answer: First, Waldo is in factplaying the Moret-O’Dea “Silver Heels.” Butguess who recorded that song for Victor in1905 when it first came out: Arthur Pryor’sBand (Victor 4552) and . . . Harry Tally (Victory4579). Tally was a tenor who sang the songversion.Silver Threads Among the Gold(H. P. Danks–Eben E. Rexford)Imperial Serenaders 1351ASM, 1873, C. W. Harris; w. Rexford/m.Danks.Simple Melody [Play a SimpleMelody] (Irving Berlin)Bob Pelland & Bob Pilsbury 1212On CD as “Play a Simple Melody.”Oops, it’s even simpler than we thought:Simple melody; from the musical comedyWatch your step, words and music by IrvingBerlin. © Dec. 2, 1914; 2 c. Dec. 2, 1914; E349927; Irving Berlin, inc., New York.Sheet music agrees (1914, pub. by Berlin.Cover isWON’T YOU PLAYA SIMPLE MELODYCopyright page matches copyright reg.:Simple MelodyIt appears, though, that it was reissued in 1942and again in 1950, both times as “Play aSimple Melody,” so that’s why we see it underthat name. But we must be pure!Since My Best Gal Turned Me Down(Ray Lodwig–Howdy Quicksell)South Frisco JB C/CD 1027Paramount JB of Boston 1247Down Home JB 1264Charleston Chasers 1314Rust indexes it with “Gal/Girl” in title. Rec.Bix & His Gang (Girl), 10/25/27, OKeh 41001,Vocalion 3149, Parlophone R-3503 et al.OKeh label is actually Gal, so is Vocalion.Winegar’s Penn. Boys (Gal), 1/25/28, Edison52241. Label also Gal.Garber-Davis Orch (Girl), 2/14/28, Columbia1306-D, 4912. Label also Gal.Jimmie Lunceford (Gal), 12/17/34, Decca 453.and others later.Copyright is Gal:Since my best gal turned me down; wordsby Howdy Quicksell, melody by Ray Lodwigand H. Quicksell. © 1 c. Oct. 22, 1927; E678180; Denton & Haskins music pub. co.,New York.Later expanded copyright with arranger credit,same title & composers.Wonder what Rust was smoking to list Girl forBix and Garber-Davis when it really wasconsistently Gal.Sine Nomine Rag (Tom McDermott)Tom McDermott 1024Sing On (traditional)New Orleans Rascals 1113Louisiana Repertory Jazz Ensemble 1197

Black Eagle JB 1356

Skit-dat-de-dat; melody by Lillian Hardin. ©1 c. Dec. 6, 1926; E 654276; Consolidatedmusic pub. house, Chicago.BUT it clearly got on OKeh 8436 as Skid, sothat’s the published title.Skip the Gutter (Spencer Williams)Pam Pameijer’s New Jazz Wizards 1363Rec. Hot Five, 6/27/28, OKeh 8631,Parlophone R-2438 et al.Confirmed by 6/29/28 copyright reg.Skylark (Hoagy Carmichael–Johnny Mercer)Trevor Richards New Orleans Trio 1222Tom Pletcher & the Classic Jazzband 1353Paris Washboard 1391ASM, 1942, Edwin Morris; w. Mercer/m.Carmichael.Sleep (Come On and Take Me)(Boyd Bunch–Joseph Young,additional lyrics by Ted des Plantes)Des Plantes’ Washboard Wizards 12312013 review: Wait a minute, what was Ithinking? “Additional lyrics by” doesn’t implythat he cowrote it with Bunch and Young, onlythat he added to their composition. We’vedone similar things elsewhere with lyrics or“arr. by” credits.But let’s confirm Bunch & Young: Rust indexshows “Come On and Take Me” asparenthetical subtitle, rec.Roane’s Pennsylvanians (as Sleep, Come...),6/2/32, Victor 24039. Label confirms this.ARC-Brunswick studio band, 6/14/32,Melotone M-12409 (as Owen Fallon and HisCalifornians), Perfect 15626 (also OwenFallon), Romeo 1871 (as Smith Ballew aho).Joseph Robechaux NO Rhythm Boys (asSleep, Come...), 8/24/33, Vocalion 2881.Label confirms.Ben Selvin, Columbia 2676-D, rec. 6/23/32,shows it as subtitle with usageS L E E PCome On and Take MeCopyright isSleep come on and take me ; w Joe Young,m Boyd Bunch ; with ukulele arr. © May 11,1932; E pub. 30023; Olman music corp.Sheet music pub. in 1932 by Olman, cover isclearlySLEEP, COME ON AND TAKE MEBut copyright page is what matters. Alex H.has the sheet, reports that it’sSLEEPCome On and Take MeSleeper, The (Remco van der Gugten)Fried Potatoes 1163Composer is leader/reed player with the band.Sleepy Head (Ikey Robinson)Original Salty Dogs JB 1233Rec.Ben Pollack, 5/29/34, Columbia 2929-D.Chick Bullock, 7/13/34, Banner 33018,Melotone M-13075, Perfect 13019 et al.Pat Hyde, London, 7/20/34, Parlophone R-1890, A-6017.BUT these are bound to be the Gus Kahn-Walter Donaldson song of same title.Salty Dogs CD was devoted to music of Ikey,and Paige Van Vorst’s notes say that SleepyHead is “an Ikey Robinson compositionrecorded here for the first time..” And it’sdefinitely different tune & lyrics from the Kahn-Donaldson song. Tom Bartlett says Ikey sangthe lyrics to him, gave him a handwritten leadline.Sleepy Piano (Billy Mayerl)Tony Caramia 1313ASM confirms, didn’t get pub. details.Sleepy Time Blues (Jabbo Smith)Jazz Classics CD 1061Rec. Jabbo, 2/22/29, Brunswick 7058.Confirmed by 6/5/29 unpub. copyright reg.Sleepy Time Gal (Ange Lorenzo–Richard A. Whiting–Joseph R. Alden–Raymond B. Egan)Bruno’s Salon Band 1251Down Home JB 1264Grand Dominion JB 1408ASM, 1925, Leo Feist; w. Alden-Egan/m.Lorenzo-Whiting.Slick Slide (A Trombone Tone Poem)(Fred K. Huffer)Univ. of Wisconsin Symphony Band 1284Oops, the copyright says Frank:Slick slide; a trombone tone poem, by FrankK. Huffer [of U.S.]; military band. 4to. © Oct.22, 1917; 2 c. Oct. 27, 1917; E 411737; Dixiemusic house, Chicago.But that was a typo; he’s Fred K. in all hisother entries in the book, and on the copy ofthe Bb cornet part I found on eBay (tempo didraggioso), which also confirms the subtitle.Slide, Frog, Slide (Paul Barbarin–Waldren “Frog” Joseph)Albion JB 1249Not in Rust. Lord says rec.Dukes of Dixieland, 1951-52, Imperial LP3005.Then again 1956-57, Audio Fidelity AF1840,Carnegie Hall late 1959, Audio FidelityAF1918.Then several others before, finally, PaulBarbarin & His Jazz Band (with Waldron“Frog” Joseph on tb), 7/5/62 in NO, AtlanticSD1410.Then 2/14/64 Frog Joseph band (withBarbarin on drums), Nobility 704.Not in copyright books 1951-53.Well, according to AllMusic.com, this tune byBarbarin Band on 2000 Collectables CD iscredited to traditional. Other than that, can’tfind the remotest hint of a composer credit onany of a zillion hits on it. But it was on lots ofearly Dukes of Dixieland and other NO bandLPs, so perhaps somebody can find a crediton one of them. 9/12/13 queried DaveRobinson and DJML.Haesler found detailed online description of1962 LP by Papa Celestin, Imperial LP-9199,that credited P. Barbarin-W. C. Joseph, surelyright off the LP disc label (opposite side ofdisc is reproduced on the site.).Marek Boym (of DJML) reports: ThePreservation Hall recording (Atlantic) reads"traditional," but I've seen it attributed toBarbarin more than once. Later he came backwith, “I've found another version--by the NewOrleans Heritage Hall Jazz Band (DixielandJubilee 512), apparently from 1973, whichattributes [it] to both Barbarin and Joseph.”And then a blurb from the Dukes of Dixielandweb site: “First Dixieland Jazz Band to record2 Jazz classics written by Paul Barbarin,Bourbon Street Parade and Slide Frog Slide.”Alan Roy of NZ reports, “In the liner notes onmy 1973 GNP Crescendo LP 512 the tune isattributed to Barbarin/Joseph (Travis MusicBMI).” That would be Louis Cottrell’s HeritageHall JB, with Joseph on tb and Barbarin ondrums. Bound to be right.And Dave Robinson had just about all the oldLPs containing the tune:

Dukes of Dixieland, Imperial 9086:"Barbarin-Joseph"Dukes, Audio Fidelity 5840: "Barbarin"Dukes, Audio Fidelity 5918:"Barbarin-Joseph"Celestin, Imperial 9199: "P. Barbarin-W.C.Joseph" (Frog's real name was Waldren)Barbarin, Atlantic 1410: "Traditional"Joseph, Nobility 704: no attribution!Haesler’s chum in Oz has a slightly differentset of Dukes albums:•The Phenomenal Dukes of Dixieland Vol. 2.AFLP1840. No credit•The Dukes Of Dixieland At Carnegie Hall.Vol. 10. AFLP 5918 (Barbarin-Joseph)•The Dukes Of Dixieland. Collectors' EditionC,. Hindsight HVD 244. No credit.•Tailgating with the Dukes Of Dixieland.Audio Fidelity AFLP2172.(Barbarin-Joseph)Slidin’ Easy (Harry L. Alford)Univ. of Wisconsin Symphony Band 1246Confirmed by 9/1/25 copyright reg.Slidus Trombonus (A TromboneComedy) (M. L. Lake)Chrysanthemum Ragtime Band 11961915 says LP--and has subtitle “A TromboneComedy.” But not in 1915 copyright book.Rec. Sodero’s Band, 3/1/16, Edison DiamondDisc 50937-R. Conway’s Band, 7/10/16, Victor18117. Victor Project shows subtitle (“source= disc label”), confirms Mayhew Lake. Andindeed, the subtitle is on the Victor label.Confirmed by 12/2/15 copyright reg.Slip-Horn Stuff (B. B. Barnes)Waldo’s Ragtime Orchestra 1069

John Gill’s Novelty Orchestra 1227ASM, 1931, De Sylva, Brown & Henderson; w.O’Flynn-Meskill/m. Rich.Smile, Smile, Smile (see Pack UpYour Troubles in Your Old Kit Bag)Smiler, The (Joplin–Rag)(Percy Wenrich)Uptown Lowdown JB 1030Dave Dallwitz Ragtime Ensemble 1098Chris Tyle’s Silver Leaf JB 1258Univ. of Wisconsin Symphony Band 1284Elite Syncopators 1286Glenn Jenks & Dan Grinstead 1292Red Rose Ragtime Band 13608/18, Nancy Wyndham: Our originals agree.ASM confirms.Smiles (Lee S. Roberts–J. Will Callahan)Grand Dominion JB 1330New Century Ragtime Orchestra 1385

Glenn Jenks & Dan Grinstead 1292Tony Caramia 1328Confirmed by 1901 sheet music—no The oncover, but is on copyright page.Smo-o-o-oth One, A(B enny Goodman)Paris Washboard 1428Rec. in Rust:Cab Calloway (Smo-o-oth), 11/3/41, OKeh6720, Columbia C-568. BG Sextet, (Smo-o-ooth),3/13/41, Columbia CL-652, 36099,291473; Parlophone R-2816 et al.Copyright has four o’s but no A:Smo-o-o-oth one; melody Benny Goodman.© 1 c. June 27, 1941; E unp. 262889;Regent music corp., New York.But Parlophone R-2812 has the indef. articleand four o’s, although LC SONIC leaves outone of them. Amazingly, couldn’t find any ofthe many other labels it was released on, butLC SONIC had several and confirmed title with4 o’s, and A. And Benny Goodman on Recordconfirms it.(We’re Gonna Have) Smooth Sailing(Al Sherman–Al Lewis–Milton Ager)Magnolia Jazz Five/Jimmy Mazzy 1137Paramount JB of Boston 13401137 had the pretitle, 1340 didn’t.Rust shows (We’re Gonna Have) SmoothSailing, Red Allen band, 1/23/35, Banner33355, Melotone 13322, Oriole 3097, Perfect16080, Romeo 2471, Vocalion S-18 and acouple more. Then just Smooth Sailing,Horace Henderson, 10/23/40, OKeh 5900.Here’s our song:We're gonna have smooth sailing; w and mAl Sherman, Al Lewis and Milton Ager; witharr. for guit., etc. © Jan. 23, 1935; E pub.45183; Ager,Yellen & Bornstein, inc., NewYork.Online indexes and Hassan’s database showsclearly that we have title right.Snag ’em Blues (Spencer Williams)Charquet & Co 1039Le Petit Jazzband 1389

Lillian Johnson?! Yes, that was Lil Hardin’smarried name during a short marriage she hadbefore divorcing Johnson and marrying Louis.Snakes Hips (A Jungle Jazz)(Spencer Williams)Neville Dickie 1269Dan Levinson’s Roof Garden JB 1361

Sobbin’ Blues (Art Kassel–Vic Berton)Hot Antic JB 1044Wally Fawkes & His Soho Shakers 1144Black Eagle JB 1147High Society JB 1166John Gill’s Novelty Orchestra 1270Neville Dickie 1309High Society JB 1396Yerba Buena Stompers 1406ASM, 1923 Melrose: Arthur Kassell-VictorBurton on cover, but Kassel-Berton oncopyright page.Social Polecat [Turk’s Blues](Turk Murphy)Hot Antic JB 1155Down Home JB 1199Bob Schulz & His Frisco JB 12882013 review: This had been listed under Turk’sBlues before now, with a cross-ref from SocialPolecat [Blues]. Couldn’t find any evidence ofthat title being used, so killed [Blues]. Now Isee--that title went on 1199. But it was anaberration (nobody else seems to have doneit, and Turk didn’t), so we’ll ignore it. “Blues”gets added to blues titles and “Rag” to rags allthe time.But then following research led to my movingit here.Looks like first rec. May 1949 as TB, issuedon GTJ L-12026 in 1950. Record Changermagazine selected it as “Record of the Year.”Then as SP in April 1957 for Verve MGV-1013 LP Music for Losers. Alas, Jim Gogginand Turk discuss that session at length in TurkMurphy: Just for the Record, but nothing wassaid about why or how TB turned into SP.Doesn’t look like turn ever recorded it againunder either title; later bands have done itunder both titles.Mike Duffy’s notes to 1199 suggest that thetune actually started out as Social Polecat:Hal Smith thinks the number may havecirculated at Hambone Kelly’s in the daysprior to Turk’s departure.And Eureka! In Turk’s own words in his notesto a 1979 Natural Gas JB LP:“Social Polecat” was merely a commentaryon myself and a few of my close friends, aswas the other tune, “Brother Low-Down.”My good friend Les Koenig of Good TimeJazz/Contemporary Records thought the titlea bit degrading (little did he know) andinsisted that it be recorded as “Turk’sBlues.” I personally like the tune, but wehave had little luck in playing it since werecorded it with Bob Scobey on trumpet.So there you have it: SP is the “true” title, TBjust one forced on Turk for that 1949 record.We must honor Turk by making his originaltitle our primary one and Turk’s Blues analternative. [But I realize I’m being inconsistenthere, since I normally argue that the“published” title is the original-genuine title.]Society Blues (John C. Spikes)Canal Street JB 1005Dan Levinson’s Roof Garden JB 1361

Abrams follow-up: I had this record by theState Street Ramblers on a re-issue Championlabel made by Decca Records under the nameof Blythe Blue Boys and it showed Burton asthe composer on the label. This was alsoreported in Joslin Jazz Journal (The AmenCorner).Full name?Erdos at San Diego 2000: It’s William E.“Buddy” Burton.2013 review: Found fuzzy copy of Champion15551 label by Blythe’s Blue Boys, and it lookslike Burton, confirming Abrams’s old report.2013 review: Rec. Barrel House Five Orch,1/29, QRS R-7019, Paramount 12875 et al.State Street Ramblers (W. E. Burton, wb/vcl),4/23/28, Gennett 6552, Champion 15551,Decca 7225.Very strange, this: Buddy Burton has six tunescopyrighted in 1928, but this is not amongthem. And he’s not in the 1927, ‘28, ‘29 booksat all. Time to look at record labels.Well, Gennett 6552 says Burton. Nocomposer credit on Paramount 12875.Champion 15551 says Burton (LC SONIC).Some of These Days (Shelton Brooks)Rusty Taylor /Southern Stompers 1028South Frisco JB 1143Paris Washboard 1182Yerba Buena Stompers 1375ASM, 1915, Will Rossiter.Some Rainy Day (John C. Spikes–Benjamin F. Spikes–Walter Melrose)Des Plantes’ Washboard Wizards 1290CD had just the Spikes bros.Rec. Abe Lyman, 11/28/28,Brunswick 4155.Jimmie Noone, 12/6/28, Vocalion 1240. FatsWaller, 3/9/39, Bluebird B-10192.Oops, add yet another publisher to thecomposer list:Some rainy day; lyric by Walter Melrose,music by John C. Spikes and BenjaminSpikes; pf. and ukulele acc.; © Feb. 2, 1929;2 c. Feb. 18; E pub. 3587; Melrose bros.music co., inc., Chicago.Well, the only credit on Vocalion 1240 is“Spikes.” Same for Brunswick 4155 (LCSONIC). But Brunswick 4214 by Nick Lucas isSpikes-Spikes-Melrose. (The later Waller tuneis by Carmen Lombardo & John Jacob Loeb.)Some Sunny Day (Irving Berlin)Bob Pelland & Bob Pilsbury 1232Canary Cottage Dance Orchestra 1400Confirmed by 3/10/22 copyright reg. and 1922sheet music pub. Berlin.Some Sweet Day (Ed Rose–Tony Jackson–Abe Olman)Black Eagle JB 1065Waldo’s Ragtime Orchestra 1069Red Roseland Cornpickers 1153John Gill’s Calif. Sunshine Boys 1156Turk Murphy JB 1161Terry Waldo’s Gotham City Band 1201Lande’s Rhythm Club Orchestra 1327San Francisco Starlight Orchestra 1334South Frisco JB 1342Independence Hall JB 1386Heliotrope Ragtime Orchestra 1411Manhattan Ragtime Orchestra 1419ASM, 1917, Forster. She also has a “SomeSweet Day” by Nat Shilkret & Lew Pollack,1929, Remick.Somebody Else Is Taking My Place(Dick Howard–Bob Ellsworth–Russ Morgan)Golden Eagle JB 1100Red Rose Ragtime Band 1412ASM, 1937, Back Bay Music Co.Somebody Loves Me(George Gershwin–BallardMacdonald–B. G. De Sylva)Keith Nichols Cotton Club Orchestra 1275Blue Rhythmakers 1373ASM, 1924, Harms; w. Macdonald-De Sylva/m.Gershwin.Somebody Stole My Gal (Leo Wood)Limehouse JB 1014Des Plantes’ Washboard Wizards 1174Paris Washboard 1182Original Salty Dogs JB 1233Tom Pletcher & the Classic Jazzband 1353ASM, 1922, Denton & Haskins.Somebody’s Coming to My House(Irving Berlin)Bob Pelland & Bob Pilsbury 1232ASM, 1913, Waterson, Berlin & Snyder.(Some Day) Somebody’s Gonna Get You(Carrie Morgan–L. Wolfe Gilbert)Ian Whitcomb & Dick Zimmerman 1017Aha...We had “Some Day Somebody’s GonnaGet You,” but actually it’sSome DaySomebody’s Gonna Get Youcover and copyright page. ASM, 1917, Jos.W. Stern.Somebody’s Wrong(Richard A. Whiting–Henry I. Marshall–Raymond B. Egan)Chris Tyle’s NO Rover Boys 1235Well, the copyright had everybody’s middleinitials; shouldn’t we?Somebody's wrong ; words by Raymond B.Egan, music by Richard A. Whiting andHenry I. Marshall [of U.S.] © June 29, 1923;2 c. July 2; E 565395; Jerome H. Remick &co., New York. 11703Confirmed by 1923 Jerome Remick sheetmusic that middle inits of all three were onmusic.Someday Sweetheart (John C. Spikes)Steve Lane’s Southern Stompers 1040Orpheon Celesta 1095Neville Dickie 1096Red Roseland Cornpickers 1101Red Roseland Cornpickers 1102Original Salty Dogs JB 1115Pam Pameijer – Duet /Trio/Quartet 1134Southern Stompers (France) 1215Pam Pameijer’s New Jazz Wizards 1318Tom Pletcher & the Classic Jazzband 1353High Society JB 1396Southern Stompers 1413

Spikes bros. and Carter music house, LosAngeles.and later yet:Someday sweetheart; words and music byJohn C. Spikes, rev. by Harold Weeks [ofU.S.]Seattle, Melody shop. © Jan. 18,1922; 2 c. Jan. 30, 1922; E 530806; HaroldWeeks, Seattle. [Copyright is claimed onnew matterand later yet:Someday sweetheart; w and m John C.Spikes and Benjamin Spikes, both of U.S.© Mar. 1, 1924; 2 c. Mar. 3; E 584645;Melrose bros. music co., Chicago.Pinsker continues:The fact that the listed composer is just JohnC. Spikes (not including his brother "Reb"(Benjamin) is in agreement with my sheet.This one has an extremely complicatedhistory, in fact. If we listen to what Mortonactually tells Lomax in 1938, he doesn'texactly lay credit to composing the tune,either! He says that it was in part based on atune that his buddy "Kid" North gave him,called "Tricks Ain't Walkin' No More". Hedemonstrates the tune a cappella, and it'snot at all clear that the chorus has anythingmuch to do with "Someday Sweetheart". It isthe verse, to which he can't quite rememberthe lyric, that is used as the verse of"Someday Sweetheart". To further complicatematters, Clarence Williams andSpencer Williams copyrighted a tune entitled(guess what!) "Trix Ain't Walking No More" in1919, which has a little bit to do with thetune Morton sings, which he said he gotfrom (Robert) "Kid" North. I would concludethat Morton doesn't make a strong case forhimself as a composer of any of "SomedaySweetheart". Certainly no one thinks weshould put "Robert North" as a co-composeron this tune, do they?Recording is JRM JB, 10/30/23, OKeh 8105,Biltmore 1058 et al. OKeh title spelled as threewords: Some Day Sweetheart, credit just J. C.Spikes.Aha, Pinsker sends his copy, which explainsHarold Weeks. It’s actually the secondpublished version. Composer credit on titlepage is Original by John C. Spikes, revised byHarold Weeks. Copyright credits at bottomareCopyright 1919 by Spikes Bros. and CarterCopyright transferred 1922 to Harold WeeksPublished by the Melody Shop—HaroldWeeks—Seattle.Or as Pinsker puts it:But of course, Harold Weeks indeed is goingto sneak in! What I have is the REVISEDversion, revised and published by, ofcourse, Harold Weeks in Seattle in 1922. Iguess those rascally Spikes Bros. tripledippedon this song, first publishing in LAthemselves in 1919, then selling it to HaroldWeeks in January 1922, then sold it again toMelrose Bros. in 1924!So it was copyrighted and published bySpikes Bros., and recorded by Jelly Roll, witha single composer, John C. Spikes. Then itwas sold to Weeks, who republished—andrecopyrighted—it, again crediting just John C.Spikes. Finally, it was sold to Melrose, whorepublished and recopyrighted it addingBenjamin Spikes as composer.Well, the Spikes Brothers had it to begin with,and they certainly would know if Benjamin hadanything to do with it. And it was bothpublished as sheet music and recorded byJelly Roll with the John C. Spikes credit, so Ithink we must reject the later edition withBenjamin added, although, clearly, that’s theedition (since it was published by Melrose)that got the most copies into circulation.So I’m going back to just John C.Somersault (Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1246Goodman was guest conductor of the band.Something Doing (Scott Hayden–Scott Joplin)Frank French & Scott Kirby 1306Confirmed by my 1903 sheet music.Something for Annie (Turk Murphy)Steve Waddell’s Creole Bells 1301The poignant copyright:SOMETHING FOR ANNIE; m Turk Murphy.© Anne Moon; 4Feb64; EU809790.In Jim Goggin’s Turk Murphy: Just for theRecord, Turk tells of rushing to get it written asshe lay dying of cancer.Sometimes My Burden Is So Hard toBear (traditional)Grand Dominion JB 1291

she were a composer, she’d have more than apassing name in this anecdote.We must change this to traditional.Song Is Ended, The (But the MelodyLingers On) (Irving Berlin)Bob Pelland & Bob Pilsbury 1212Barbara Rosene & Her New Yorkers 1393ASM, 1927, Irving Berlin.Song of the Islands (Na Lei o Hawaii)(Charles E. King)Red Roseland Cornpickers 1153San Francisco Starlight Orchestra 1364Manhattan Ragtime Orchestra 1419

Sophomore, a collegiate prance; words andmelody by Alexander Hill. © 1 c. Aug. 1,1930; E unp. 25725; Joe Davis, inc., NewYork.Then rereg. after publication:Sophomore; collegiate prance, words andmusic by Alexander Hill; with ukulele arr. byMay Singhi Breen. © Sept. 22, 1930; 2 c.Sept. 22; E pub. 17943; Joe Davis, inc., NewYork.So where does Causer come from? From theBrunswick label: Hill-Causer.But who the hell is Causer? Can this be theanswer:Sophomore strut; words and music by HenriBerchman, Wesley Ryan and Bob Causer.[Words and melody only] © 1 c. Sept. 24,1929; E unp. 12056; Shapiro, Bernstein &co., inc., New York.But this still makes no sense. If Causer, one ofthree composers of Sophomore Strut, latercollaborated with Alex Hill to write Sophomore,why didn’t Causer’s name get on the copyrightfor Sophomore? Or if Brunswick checked thebooks for a prior copyright of Sophomore,how/why did they pluck out Causer’s nameand ignore Berchman and Ryan?But the bottom line remains that the credit onthe record was Hill-Causer, and it seemslogical to assume that the Causer was Bob.Then got final answer when looked in the AlexHassan collection: Sophomore: w. BobCauser, m. Alexander Hill, pub. Joe Davis1930. So why in the hell didn’t Causer’s nameget on the copyright?Sorry (Howdy Quicksell–Raymond Klages)Peter Ecklund’s Melody Makers 1175Paul and His Gang 1329Louisiana Washboard Five 1398Rec.Bix & His Gang, 10/25/27, OK 41001, Vocalion3149, Parlophone R-3503 et al.Fletcher Henderson, 11/26/27, Banner 6154,Broadway 1122 et many al.Ray Miller, 2/1/28, Brunswick 3828, 3749.Maynard Baird, Knoxville, 8/28/29, Vocalion15834.Jimmy Johnson & His Band, 3/5/29, Columbia14417-D.Confirmed by 11/1/27 copyright reg., w. RK/m.HQ.. But OKeh 41001 label credits justQuicksell.Soudan [Sudan] [Oriental Jazz](Gabriel Šebek)Louisiana Repertory Jazz Ensemble 1055Dave Dallwitz JB 1112Oriental Jazz by W. Hall on 1055; by Dinwittyon 1112.Rec. ODJB 12097, Aeolian Vocalion 12097.Label credit is Dinwitty.Rec. ODJB as Soudan in London, 5/14/20,Columbia 829. Blurred credit is either Sebekor Šebek.Also a Soudan by the Happy Six, 4/6/20,Columbia A-2934 (strange--credit on this labelis Pollack!). Sudan by Art Hickman, England,12/14/20, HMV B-1208, but this is a differenttune.8/23, Matthew Caulfield from Library ofCongress copyright records: Soudan is byGabriel Sebek, of Germany.8/24, Frank Dutton confirms this: Horst H.Lange’s The Fabulous Fives (Storyvillerevision) says, "Oriental Jazz is the same tuneas Soudan," and gives (Sebek) for Soudan.Wow! Here’s our breakthrough, Bob. Clearly,the tune is Soudan by Sebek. Soudan ismerely the French spelling of Sudan; thiscame at a time when French still was far moreand international language than was Englishand would account for why a German wouldcopyright it that way (the German spelling, bythe way is the same as English.So, odd as it may look, this leads usinexorably toSoudan [Sudan] [Oriental Jazz](Gabriel Sebek)with cross-ref from Oriental Jazz, of course.8/28, Matthew Caulfield follow-up to my queryof reg. date for Soudan: File saysSoudan; Eastern fox trot, by Gabriel Sebek(of Germany); arranged by Alolf [Caulfield’stypo?] Lotter (of Austria). March 2, 1920.Oops: ODJB recorded Oriental Jass 11-24-17, then Soudan 5-14-20 (London). Don’tthink this info changes earlier assessment.12/13/03: Another AHA! moment. Found thesheet music at Audrey Van Dyke’s house. Oncover and cy page it’sSoudanEastern Fox-TrotComposer is G. Šebek (note hachek) on cypage, Gabriel Šebek on cover. Pub. Hawkes& Son, London, 1920. Slug across top ofcover says “Created by the Original DixielandJazz Band”.Also found“Soudan” (also known as “Oriental Jass”and “Oriental Jazz”), 1920, recorded inLondon in the UK in May 1920 and releasedas English #Columbia 829; “Soudan” wascomposed by Czech composer GabrielSebek in 1906 as “In the Soudan: A DervishChorus” or “Oriental Scene for Piano, Op.45?. The B- side was “Me-Ow” by theLondon Dance Orchestra.Actually, it must be older than 1906, sinceSousa’s Band recorded it for Victor 2463 in1903 under title “In the Soudan (DervishChorus) by Gabriel Sebek.Sounds of Africa (see Charleston Rag)South (Bennie Moten–Thamon Hayes)Wally Fawkes & the Rhythm Kings 1060Black Eagle JB 1092Humphrey Lyttelton & His Band 1160Smith–Tyle Frisco Syncopators 1211Neely’s Royal Society Jazz Orch 1250Bob Schulz & His Frisco JB 1288Yerba Buena Stompers 1369Naw. It was recorded 1924 Okeh 8194 withcredits Moten-Hayes. It was evidentlycopyrighted in 1930 as Moten-Hayes, thenpublished and recopyrighted in 1941 by PeerInternational (ASM has the 1941 sheet) withlyrics by Ray Charles.2013 review: Rec.Bennie Moten, 11/9/24, OKeh 8194.Moten again 9/7/28, Victor V-38021, 24893, A-1046.Well, OKeh 8194 flip side, Vine Street Blues,carries composer credit of Bennie Moten’sKansas City Orchestra, so it’s a sure bet thatthe South side does too. But Victor credit is B.Moten-T. Hayes, Victor Project confirms fullnames (Hayes was his trombone player).Strangely, though, no copyright in books1923-30.

South African Blues (Lester Melrose;based on Beale Street Mama byRoy Turk–J. Russel Robinson))Jim Snyder /Georgia Grinders 1068Black Bottom Stompers (Switz.) 11309/5: Bob--see earlier notes above. Obviously,we were guessing. Now see what I found inLC copyright registration file:South African Blues. Junie C. Cobb. 4/29.Copyright Lester Melrose.2013 review: Haesler actually found theVocalion studio session records for therecording of this as “South African Stomp” byJunie Cobb & His Grains of Corn, 7/13/29,which shows Cobb as composer. But the cardnotes that this is a remake of master #C3781,which was Cobb’s recording of it as “SouthAfrican Blues” on July 5, shown in Rust as“rejected.” And the “Stomp” version also wasrejected, not released.And he continues:I've had a listen to the several recordings of"South African Blues/Stomp" and offer thefollowing:•The State Street Ramblers/Speed Jefferies/Jim Snyder renditions are the same - andvery similar to the J. Russel Robinson song"Beale Street Mama".•Both the Windy Rhythm Kings/Junie CCobb Grains Of Corn versions are the same,but different from the State StreetRamblers/etc. tune. (Junie Cobb)Oh, hell! That means that the State StreetRamblers were playing a different tune withthe same title! So our Cobb as composer isout the window and we’re back to square 1.And because I thought I had it solved with thatCobb copyright, I didn’t work hard to trackdown record labels. State Street Ramblersrec. 3/13/31, Champion 16279, 40070;Superior 2755 (as Speed Jeffries and HisNight Owls); Savoy 504; Jazz Collector L-83,Jazz Classic 516.LC SONIC says Melrose for 40070. Other thanthat, not a single hit anywhere (Haeslercouldn’t find them either, and he’s better atthis than I am.). Early on, Erdos speculated onFrank M. as likeliest, we’ve since confirmedhim as composer of Georgia Grind andKentucky Blues, two other tunes recorded atthat same 3/13/31 session by the State StreetRamblers.But Haesler has other evidence that points toLester Melrose, if not definitely.Rick Kennedy's excellent 1994 book JellyRoll, Bix And Hoagy contains a wealth ofinformation regarding Gennett and theMelrose brothers. Including that it wasLester who took Jimmie Bythe under hiswing, and also organised the State StreetRamblers' sessions. And collected theroyalties (page 188).And he cites a Superior discography byGeorge Kay serialized in Record Researchmagazine. No 43, May 1962 issue has listingsfor Superior 2755, Tiger Moan and SouthAfrican Blues. The Tiger Moan entry had theextremely obscure Tony “Tee” Cingeranacredit, so I’m inclined to believe its “L.Melrose” for South African Blues. But I’mstaying open to other evidence. I still thinkFrank is more logical, but that’s just a feeling,while this is a source, even if it is secondary atbest. For what it’s worth, Online 78 saysLester Melrose; RHJA says just Melrose.10/22/13 Robbie Rhodes compared theRamblers/Melrose tune with Beale StreetMama and reports,[Ramblers’ SAB] sure sounds like "BealeStreet Mama", by Roy Turk and J. RusselRobinson, and it's so close that across-reference might be warranted.[Cobb’s SAB] is a different tune. It openswith a quote from Morton's "MidnightMama/Tom Cat Blues", otherwise it's a sortof pastiche of blues themes.I'd say [Ramblers’ SAB] and [Cobb SAB]are different tunes entirely. [Ramblers’ SAB]is essentially "Beale Street Mama".Dave Robinson concurs, and points out thatthe Junie Cobb tune too is a pastiche of stolenbits:I agree, the SSR side is the same as BealeStreet Mama (which itself borrows from SeeSee Rider and Tishomingo Blues).The WRK side is a 12-bar blues with twostrains (melodic themes), the first of which isknown as Nobody Knows the Way I Feel DisMornin' (recorded by Bechet), which is alsoheard in Jelly Roll Morton's Midnight Mamaand in George Lewis' Dauphine Street Blues.Not sure who originated it (not Lewis)…probably Morton…but I guess you don'tneed that one sorted out for thediscography.Thievery ran rampant in those days!Does our brain trust have any good ideasabout whether it should be Lester or Frankwho stole Beale Street Mama and made itSouth African Blues?South Bound (Alex Hill–Clarence Williams)Chicago Rhythm 1026Des Plantes’ Washboard Wizards 1231Baker–Baldwin Radiogram Wshbrds 1243Vince Giordano’s Nighthawks 1260We had Southbound by Hill.Rec. Hill aho, 2/8/30, Vocalion 1465,Supertone S-2237. Sam Lanin (as SouthBound), 5/17/28, Cameo 8227, Lincoln 2875.Super Syncopators, 3/25, Autograph 625.[Lanin & Super Syncopators played a 1925Billy Meyers-Elmer Schoebel “South Bound.]Oops, copyright isSouth-bound; words and melody by AlexHill and C. Williams. © 1 c. May 29, 1930; Eunp. 22591; Clarence Williams music pub.co., inc., New York. (although in the index,it’s south-bound under Williams but Southbound under Hill)But what’s on the label? South Bound on theoriginal Vocalion 1465, and composer creditjust Hill.South Bound Rag (Blind Blake)Pam Pameijer’s New Jazz Wizards 1382

unless other of our brain trust can weigh in onthis one.South ’Frisco Blues (Mike Baird)South Frisco JB 1180Baird is clarinetist with the band.South Mississippi Glide, The(David Thomas Roberts)David Thomas Roberts 1072South Rampart Street Blues(Buddy Christian–Bob Fuller)Le Petit Jazzband 1389Rec. Buddy Christian’s Jazz Rippers(Christian, bjo; Fuller, ssax), 8/26, Pathe 8518,Perfect 118. New Orleans Blue Five(w/Christian & Fuller), 11/2/26, Victor 20653.Oops!South Rampart street strutt; melody byBuddy Christian [i.e., N. J. Christian] andBob Fuller. © 1 c. Feb. 24, 1926; E 635157;Narcisse Joseph Christian, New York.Interesting--that’s several times now I’ve comeacross strutt as a musical or dance formspelled this way, so it must have beencommon usage at the time; and I alwaysthought his first name was Narcissus.But then later we findSouth Rampart street blues; melody byBuddy Christian. © 1 c. Jan. 10, 1927; E655325; Ralph S. Peer, New York.First reg. doesn’t say “unpub.” (they don’talways), but note that it was registeredpersonally by Christian, while the later onewas registered by a publisher. Probablymeans it title was changed on its way toshellac, but why did Fuller get dropped?Next big question is what’s on the labels?Victor definitely Blues and both composers’names in full, confirmed by Victor loedgers.Same for Perfect 118 (LC SONIC).Very clear that they lost the strut and got theblues.South Side Strut (Don Ewell)European Classic Jazz Trio 1142Ray Smith 1162Neville Dickie 1269“From 1956 Good Time Jazz session with histrio” says 1142. But Ray Smith’s Ewell tributeLP says recorded 1952. Neville agrees with1952. But not in 1952-57 copyright books.Windin’ Ball LP 101, Chicago 1952.Don Ewell Trio, Oakland, 1956, Good TimeJazz L12021.Dave Robinson reports that both labels creditEwell.South Wind (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 12851285 had Southwind.

Audrey Van Dyke. It is a lead sheetconsisting of only the melody.And here’s the copyright registration that goeswith that deposit:Spanish rag; melody Willie Smith, of U.S. ©1 c. Sept. 19, 1925; E 623377; ClarenceWilliams music pub. co., inc., New York.Spanish Shawl (Elmer Schoebel–Billy Meyers–Walter Melrose)Charquet & Co 1076Red Rose Ragtime Band 1128Red Roseland Cornpickers 1133New Jazz Wizards 1244Grand Dominion JB 1337Miss Lulu White’s Red Hot Creole JB 1370Les Rois du Fox-Trot 1407Delta Stompers 1426First three just Schoebel; rest all Schoebel-MeyersASM, 1925, Melrose Bros.; w. Billy Meyers-Walter Melrose/m. Elmer Schoebel. Searchreveals this to be the first edition, so I don’tsee how we take Melrose off without removingMeyers as well.Copyright show it starting as Schoebelinstrumental, then soon picking up lyrics forpublication:Spanish shawl; fox trot, Elmer Schoebel, ofU.S.; orch. 4to. © Aug. 15, 1925; 2 c. Sept.15; E 620868; Melrose bros. music co., inc.,Chicago.Spanish shawl; fox-trot, w Billy Meyers andWalter Melrose, m Elmer Schoebel, of U.S.© Nov. 20, 1925; 2 c. Nov. 30; E 627142;Melrose bros. music co., inc., Chicago.Spanish Singe (Don Ewell)Ray Smith 1162From 1952, says Smith. Not in 1951-54copyright books, of course. Oops, norecording before this one in Lord discography.This is another in the bizarrecopyrightencyclopedia.com database: dated11/29/2004. Says composed by Ewell, “Titleappears in Document: Your love is burning &11668 other titles, musical compositions.” AndI’ll be damned: it’s on that same Windin’ Ball101 LP that contained “South Side Strut.”Robinson has LP, confirms credit to Ewell.Spanish Venus (Luckey Roberts)George Foley 1187Tom Roberts 1345Transcribed from The Lion’s great recording ofit in 1966, says Foley. 1905, says Roberts [butit wasn’t copyrighted, because Roberts didn’tyet know how to read and write sheet music,and publishers wouldn’t publish it becausenobody could play it except Luckey andEubie]; Tom Roberts plays both the Smith andEubie Blake versions on this CD. In fact, manycredit Eubie’s learning it and reintroducing itmany years later as the main or only reason forthe tune’s survival, since Luckey himself neverseems to have recorded it. Eubie did in thelate 1940s, and Smith in 1966.Sparklets (Walter E. Miles)Tom Roberts 1392CD said Sparklets by Willie “The Lion” Smith-Tim Brymn.Only Smith recording (says Lord) is Paris,11/30/65, on LPs (poss. titled Jazz in Paris)Decca (F)154.158, SSL40158S, CD Music onMy Mind, EmArcy (F)014032-2.Discogs.com credits Smith on its listing for theDecca LP.But beware that a guy on eBay selling a 1911rag called “Sparklets on the Piano” by WalterE. Miles claims it’s the same tune that Willieplayed. Have asked Brier to research itAND get a load of this: When asked TomRoberts for his composer source, he replied,I found out from Bob Pinsker that it is notwritten by the Lion. It is some Novellete.maybe the ebay tune is exactly the samething. Who knows if the Lion wittinglyplagiarized?So I tracked down the Miles sheet music, theLion 1965 recording, and a midi file preparedby Warren Trachtman of an Ampico piano roleof the Miles Rag played by Felix Gerdts. Theysure sound like the same tune to me.Dave Robinson was the first to respond:Congratulations Sherlock, that's a fine pieceof sleuthing! Yes, absolutely: the sheetmusic, piano roll, Lion recording, andRoberts recording are the same tune. Whatfascinates me is that the tune sounds to melike a Willie the Lion composition! Perhapsthis tune had a big influence on Willie whenhe was just a cub? But if so, I wonder whyhe didn't record it until '65.Pinkser also listened, agrees.For the record: “on the Piano” was on cover asa likely genre-marker, but not on copyrightpage; published by Sam Fox, Cleveland,copyright 1911, but it was not in the 1910-12copyright books.Speakeasy [Blues] (Joe Oliver–Clarence Williams)Des Plantes’ Washboard Wizards 1325Jacobi’s Bottomland Orchestra 1336

Sponge rag: by W. C. Simon; pf. Rev. ed. ©May 6, 1912 ; 2 c. Apr. 29. 1912; E 283962;W. C. Simon, Detroit, Mich. [And he’s onlyW. C. Simon, not Walter, in the index aswell.]No sure what to make of this. One edition ofthis was published by Tichenor in RagtimeRarities:Sponge [the word rag doesn’t even appearon the sheet, just two step as a genremarkerat the bottom of the cover],composed by W. C. Simon and pub. byW. C. Simon, 733 Canal St., New Orleans,La.And I found QRS 31139 piano roll, titleSponge, by W. C. Simon. But the BritishLibrary in St. Pancras indexes a copy dated1912 and titled Sponge Rag, by Walter C.Simon, published by W. C. Simon. That couldwell be the 1912 copyrighted version.The only two copies I found online (andviewable), unlike St. Pancras library), were ofthe Ragtime Rarities version.But, typically, comprehensive collector TomBrier has “the rest of the story”:Yes, there ARE three different publishedversions of "Sponge" by W. C. Simon (he isnever credited as "Walter", either ascomposer or publisher). It was originallypublished in 1910 by L. Grunewald Co. ofNew Orleans. It was published in 1911 inNew Orleans by the composer. It was thenpublished AGAIN by the composer in 1912in Detroit, Michigan, with the address beingthe Melville Clark Piano Co. (manufacturersof QRS Piano Rolls!!!). Each version of thepiece is arranged differently (I think all threeare in different keys, no less). Interestingly,the cover of the Detroit edition gives thesubtitle of the piece as "NOTARAG"!Sporting House Rag (seePerfect Rag)S’posin’ (Paul Denniker–Andy Razaf)Jimmy Mazzy & Eli Newberger CD 1109ASM, 1929, Triangle; w. Razaf/m. Denniker.Springfield Stomp (Cecil Scott–Don Frye)Keith Nichols Dreamland Syncoptrs 11502013 review: Rec. Cecil Scott and His BrightBoys Orch, 11/9/29, Victor V-38117. And hereit is:Springfield stomp; melody by C. Scott andD. Frye. © 1 c. Mar. 5, 1930; E unp. 18095;Southern music pub. co., inc., New York.And found the Argentina Victor label (!),crediting C. Scott-Frye. Victor Project ledgersconfirm both.Spring-time Rag (Paul Pratt)London Ragtime Orchestra 1081Oops, the copyright has a hyphen:Spring-time rag; U.S.; by Paul Pratt, ofpiano. © Jan. 4, 1916; 2 c. Jan. 17, 1916; E375526; Stark music co., St. Louis.Typically, collector Tom Brier has the answer:Cover is Spring Time Rag, but copyright pageis Spring-time.Squabblin’ [There’s a Squabblin’](Count Basie)Keith Nichols Dreamland Syncoptrs 1150LP credited Count Basie.Rec. Walter Page’s Blue Devils (but withCharlie Washington on pno), 11/10/29,Vocalion 1463.Not in copyright books 1928-32. RHJA saysBasie. My British Jazz Greats reissue of therecord says Basie. But New World Records’very authoritative reissue on Big and TerritoryBands of the ’20s says it’s called “There’s aSquabblin’” by Basie.Well, the Musicians Local 627 web site ofKansas City cites the recording as “There’s aSquabblin’.”from NW record: Copyright © 1930 byNorthern Music Company, 445 Park Avenue,New York, N.Y. 10022. Used By permission. Allrights reserved. But that’s not reflected incopyright books. And the use of a zip code of10022 bespeaks a date much later than 1930.Bill Haesler did extensive research (admittedlywith secondary sources, as he (to oursurprise) also failed to find a single image ofthe record label. His research all leads toSquabblin’, says There’s a Squabblin’ seemsto come mostly from European sources.We stay with ”Squabblin’,” but it seems worthadding the longer title as an alternative.Amazon.com sells it that way, and FrankDrigg’s book on KC jazz uses that title.BUT wait: look at the copyright reg. thatHaesler dug up!Squablin [!]; by James Johnson andWalter Page. [Chords, single staff] © 1 c.June 5, 1930; E unp. 22910; State Streetmusic pub. co., inc., Chicago.Yes, one b, no apostrophe, and that [!] wasactually in the copyright entry—LC evidentlythought it as odd as we do.This simply has to be the tune that the BlueDevils recorded. And when I went searchingfor the Squablin spelling plus Walter Page, Igot lots of hits on Squablin or Squablin’, andeven There’s a Squablin’, so I’ll bet that thelabel had it one of those ways. I even found avery scholarly article in The Jazz Review from1958 that referred to the tune as “Squablin.”In the absence of a label to prove somethingelse, I’m going to change this to match thecopyright.Which didn’t last long. Sonny McGown cameup with the label, which is Squabblin’ byBasie. Presumably the people who called itSquablin were looking at the copyright ratherthan the record label, but not a one of themmentioned Johnson & Page as composers.Squaty Roo (Johnny Hodges)Paris Washboard 1347Rec. Hodges aho 7/3/41, Bluebird B-11447,Victor 62-0070, HMV B-9283.Confirmed by 6/19/42 copyright reg. and HMVlabels.Squeeze Me [(When You) Squeeze Me](Fats Waller–Clarence Williams)Banu Gibson NO Hot Jazz Orch 1073Paris Washboard 1182Neville Dickie 1341Paul Asaro & Neville Dickie 1404Some of rec. in Rust, titled Squeeze Me unlessotherwise marked:Buster Bailey, 5/20-27/25, Banner 1563,Domino 3534, Oriole 442, Regal 9863.Halfway House Orch, 9/25/25, Columbia 541-D. BRS 997 = Waller-Williams (LC SONIC)Clarence Williams Blu Five (vcl Eva Taylor),10/26/25, OKeh 8254. Williams-Waller (LCSONIC)BessieSmith, 3/5/26, Columbia 14133-D,Biltmore 1095. Columbia = Williams-Waller(LC SONIC)Hightower’s Night Hawks, 7/20/27, Black Patti8045, Champion 15491.Armstrong Hot Five, 6/29/28, OKeh 8641,Columbia 35661, Parlophone R-2242 et al.OKeh label Williams-Waller, same forParlophone (LC SONIC)Clarence Williams Orch, 8/28, QRS R-7005,Broadway 1348, Paramount 12885 et al.QRS label no credits.Lousiana Rhythm Kings, 1/20/30, Brunswick4953, 03282. Brunswick 03282 Waller-Williams.Waller ahr, 8/10/39, Bluebird B-10405, Victor20-2217, HMV AL-5020 et al. Victor (WhenYou) Squeeze Me, Razaf-Williams-Waller;Bluebird When You Squeeze Me, samecomposers (LC SONIC, which may just havebeen ignoring the parentheses)Here’s the copyright:Squeeze me; w and m Clarence Williamsand Thos. Waller, both of U.S.; © pf. acc.,

with ukulele arr. Dick Konter. © July 31,1925; 2 c. Dec. 21; E 627848; ClarenceWilliams music pub. co., inc., New York.Not in 1938-41 copyright books. Detaileddiscography in Fats Waller on the Air: TheRadio Broadcasts And Discography byStephen Taylor (Scarecrow, 2006) shows titleas[When You] Squeeze MeDetailed discography of a reissue on Naxossays Razaf-Waller-Williams. And aha! TheVictor label by Fats and His Rhythm reads(When You)SQUEEZE MERazaf-Williams-WallerWikipedia entry for song says"Squeeze Me" is a 1925 jazz standardcomposed by Fats Waller. It was based onan old blues song called "The Boy in theBoat". The lyrics were credited to publisherClarence Williams, although Andy Razaf hasclaimed to have actually written the lyrics.This is a bit of a challenge -- to add the WhenYou subtitle as an alternative title and to addRazaf to the composers. Normally, if we foundsuch an aberrant label 14 years after theoriginal copyright and spate of recordings, I’dreject it out of hand. BUT this later recordingis the one and only recording of it by Wallerhimself.I’m going to spit the difference: Add thesubtitle since it did appear on the Fats Wallerrecording, but not Razaf, because his name onthe Waller record was truly an anomaly: Itdidn’t get reflected in an updated copyright,and even more to the point, nobody elsefollowed suit: I tracked down no fewer than 15other recordings during the 78 era, from 1935to the late ‘40s, and every last one creditedWilliams-Waller.1/11/14: Just looked this up in Black and Blue:The Life and Lyrics of Andy Razaf, by BarrySinger. Singer reports that Razaf claimed tohave written the lyric, but goes no farther thanjust reporting the claim--no supportingevidence.’Stamboul Rose (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Stampede (Fletcher Henderson)Hot Antic JB 1154John Gill’s Calif. Sunshine Boys 1157Evergreen Classic JB 1202Charleston Chasers 13762013 review: Rec.Fletcher Henderson (The Stampede), 5/14/26,Columbia 654-D, 35669 et al. Columbia654-D label does have THE, but 35669doesn’t (LC SONIC).Ken Moyer’s Novelty Trio (Stampede),10/1/26, Banner 1872, Domino 3841 et al.No THE on Regal label.Savoy Bearcats (Stampede), 10/11/26, Victor20460. No THE on label.Red & Miff’s Stompers (Stampede), 10/13/26,Edison 51854, Steiner-Davis 106. No THE oneither label.Joe Candullo (Stampede), 10/26, Pathe36540, Perfect 14721.Fletcher Henderson (Stampede), 3/22/37,Vocalion 3534, Brunswick A-81216 et al. NoTHE on Vocalion label.Copyright no The:Stampede; by Fletcher Henderson;instrumental. © 1 c. May 27, 1926; E642080; Robbins-Engel, inc., New York.We simply must lose the The: Not oncopyright, not on any other lab el, includingHenderson’s own second recording of it, andnot even on all the 1926 Henderson labels. Itwas a fluke.Star Dust (Hoagy Carmichael–Mitchell Parish)Golden State JB 1006Kustbandet 1294John Gill Sentimental Serenaders 1424ASM, 1929, H. C. Mills. AND like so manyother songs I’ve run into from the period, itwas published simultaneously as aninstrumental by Carmichael and has a song byCarmichael & Parish. And each cover has ablurb for the other version. This to me isfurther reason why we should include lyricistcredits unless we can be very sure that theycame much later, such as was the case with“South” just above.Star of the East Rag (Gale Foehner)Gale Foehner 1023Starvation Blues (Jesse Stone)Keith Nichols Dreamland Syncoptrs 1150Rec. Jesse Stone & His Blue Serenaders, St.Louis, 4/27/27, OKeh 8471.Confirmed by 8/15/27 copyright reg.State and Madison (A ChicagoStomp) (Jelly Roll Morton–Charles Raymond–Bob Peary)Pam Pameijer Trio 1172In 1938 Lomax LC recordings, issued on Circle56-70. Also Joe Herlihy aho, 6/20/27, Edison52076.And here’s the copyright:State & Madison; busy stomp melody, byBob Peary, C. Raymond and Jelly Roll Morton[i.e. Fred [sic] Morton], arr. by F. Morton. © 1c. Aug. 7, 1926; E 643539; Charles Raymond,Chicago.Well, the original Edison label used andinstead of the copyright’s ampersond, and ithad a subtitle that we could use: “A ChicagoStomp.” And confirmed all three composernames in full.Static Strut (Jack Yellen–Phil Wall)John Gill’s Calif. Sunshine Boys 1156San Francisco Starlight Orchestra 1334Paramount JB of Boston 1340Pam Pameijer’s New Jazz Wizards 1363Duke Heitger’s Big Four 1367Independence Hall JB 1384

Not quite: ASM has it (1927, Harold Dixon).coverIf You Want to Miss a Heaven on EarthStay Out of the South(c) pageStay Out of the South!(If You Want to Miss a Heaven on Earth)Stayin’ Home (Andy Stein)Andy Stein Blue Five 1390Steady Roll Blues (Mel Stitzel–George Bates)Dan Levinson’s Roof Garden JB 1361

Cover also notes “Also Published for FullMilitary Band and Piano Solo.”Also, it turns out there was a “StockyardBlues” by Minnie Tiller and Spencer Williamsin 1926, so you never know if that’s pushingpeople toward spelling Pinkard’s tune solid.Stock Yards Strut (Jasper Taylor)Black Bottom Stompers (England) 1045Louisiana Repertory Jazz Ensemble 1140Albion JB 1206Rec. F. Keppard’s Jazz Cardinals (w/Taylor onwoodblocks), 9/26, Paramount 12399 et al.Well, Taylor’s in the 1926 book for “Stacko’Lee”; 1925 book for four tunes, not in 1927-28 books at all.But Paramount label is clear, has Taylor’sname in full.Stockade Strut (Geoff Bland)Steve Waddell’s Creole Bells 1173Bland was Australian pianist who played withRoger Bell and many other bands, includingWaddell’s band in earlier years. Waddell saysBland wrote it in Ballarat in 1985, “dedicated toLola Montez”; the title refers to the battle at theEureka Stockade, the only organized armedrebellion in Australia against the Britishcolonial government at the time of the BallaratGold RushStockholm Stomp (Jack Pettis–Al Goering)Limehouse JB 1014Rec.Jack Pettis & His Band (Goering on pno),12/16/26, Banner 1907, Domino 3883, Oriole804 (as Dixie Jazz Band).Orig. Indiana Five, 12/24/26, Harmony 387-H.Fl. Henderson aho, 1/22/27, Brunswick 3460,Vocalion 15532.Jimmy Lytell, 10/24/27, Pathe 36741, Perfect14922.Confirmed by 11/20/26 copyright reg., w/mboth.Stomp De Low Down (Dink Johnson)Butch Thompson 1037Not in Rust. It was attributed to Johnson onthe old The Professors, Vol. 2 LP on Euphonic,which may very well have been its firstrecording. No, Lord has Johnson recording itwith rhythm section in LA 3/16/46, released onDan VC4021 (Jap.), VC7025; American Music515; Storyville (Dan) SEP390 (same sessionas “So Dif’rent” above, so on American Music515 or 516). Then again 11/12/50, releasedon Nola LP12. And 11/50 that went onEuphonic and a Delmark CD reissue.I’ll be darned: Found the 515 label withcomposer credit to Johnson.Stomp Miss Hannah(Ade Monsbourgh)Back Bay Ramblers 1262Milano Hot Jazz Orchestra 13541951, confirmed by Australian Jazz Compositionsdirectory.Stomp Off! (Ted des Plantes)Three Deuces 1185Des Plantes was the piano-playing Deuce.Stomp Off, Let’s Go (Elmer Schoebel)Weatherbird JB 1034Tomas Örnberg’s Blue Five 1043Black Bottom Stompers (England) 1045New Orleans Classic Jazz Orch 1145John Gill’s Calif. Sunshine Boys 1157Charleston Chasers 1314Les Rois du Fox-Trot 1407< Look for sheet music -- is there anexclamation point? Pinsker reports:Stomp Off, Let's Go - we (HeliotropeRagtime Orchestra) have been playing thislately, and the sheet music does not have anexclamation point. [Yes, but they’d beplaying off an orchestration published forbands rather than the sheet that was issuedto the public. A quick search reveals thiswith and without banger, and with eitherdash or comma between the two phrases.]Rec. Stomp Off, Let’s Go* unless otherwisenoted:Fred Hamm aho, 4/30/25, Victor 19672. Label= Stomp Off, Let’s Go!Richard Hitter’s Blue Knights, 9/11/25, Gennett3149, Champion 15030.Vincent Lopez, 9/19/25, OKeh 40478,Parlophone E-5519 et al. *OKeh.New Orleans Owls, 9/24/25, Columbia 489-D.Label = Stomp Off—Let’s GoSam Lanin, 10/7/25, Banner 1621, Domino3592, Regal 9925The Cotton Pickers, 11/19/25, Brunswick 2981.Label = Stomp Off—Let’s GoErskine Tate’s Vendome Orch, 5/28/26,Vocalion 1027, 15372; Oriole 1004;Brunswick A-183, 80061, 03594. *Vocalion1027, *Oriole 1004,Copyright is like we have it:Stomp off, let's go; by Elmer Schoebel, ofU.S.; pf. © July 20, 1925; 2 c. July 23; E617657; Jack Mills, inc., New York.OK, the bangers and dashes are in smallminority, so we stick with simple comma asper copyright.Stomp Time Blues (Tiny Parham)Hot Antic JB 1099Le Petit Jazzband de Mr Morel 1343Pam Pameijer’s New Jazz Wizards 1382

Stomp your stuff; by Bill Krenz; pf. © 1 c.Mar. 11, 1926; E 636059 Melrose bros.music co., inc., Chicago.And thenStomp your stuff; by Bill Krenz; orch. 4to. ©Apr. 10, 1926; 2 c. Apr. 26; E 640403;Melrose bros. music co., inc., Chicago.Two titles by Blythe in 1926 book, but not thisone. 9 Blythe in 1927, 8 in 1928, 2 in 1929, 1in 1930, 0 in 1931-32. And NO Stomp YourStuff after 1927.The two tunes are entirely different, butHaesler found the Superior label, and it creditsBlythe. And Robbie Rhodes points out thatthe Blythe tune is a dead steal from “Nobody’sSweetheart Now.”Stompin’ ’em Down (Alex Hill–Otis René–Leon René)Ray Skjelbred 1124Elite Syncopators 1286Rec. Hill, 3/30/29, Vocalion 1270, V-1027;Brunswick 80034.Oops, looks like he had help:Stompin' 'em down; words and melody by A.Hill, O. J. René and L. T. René. © 1 c. Apr.13, 1928; E 688747; Leon T. René, Otis J.René and Alexander Hill, Los Angeles.Vocalion 1270 label just Hill, also Brunswick.Stompin’ On Down (Tiny Parham)Jungle Crawlers 1084Rec. Parham 2/1/29, Victor V-38060.Confirmed by 9/12/29 unpub. copyright reg.,Victor Project confirms.Stompin’ the Grapes (Trebor Tichenor)Trebor Tichenor 1282Stone Age Blues (Stone Age JB)P. T. Stanton’s Stone Age JB 1228Stop It! (George L. Cobb)Waldo’s Ragtime Orchestra 1007LP had no banger.1920, says Waldo, but and there are multipletunes with that title in the 1920 copyright book,and there multiple rags by George L. in the1920 book, but no Stop It by Cobb.ragtimepiano.ca page on Cobb says copyrightWalter Jacobs, Boston, 1919, and pub. inMarch 1919 Melody magazine. But it’s not inthe 1919 book either. Site shows reset musicwith banger on title and slugged fox trot, but ithas no copyright info. June 1921 issue ofJacobs’ Band Monthly advertises bandarrangement for sale, confirms banger andCobb.Bound to be right, but I’m flabbergasted that Ican’t find it in copyright books or any onlinecollections. Brier says it was probably neverpublished as a single sheet; most WalterJacobs output in this period was published insilent movie music folios and in Jacobs’sMelody magazine.Stop Kidding (Neckbones andSauerkraut) (John Nesbitt)Lande’s Rhythm Club Orchestra 1327Rec. McKinney’s Cotton Pickers (w. Nesbitt tp& arr.), 7/12/28, but released only on Victorand Swaggie LPs, says Rust: X LVA-3031[1954, but seems to have been just “StopKidding” on this LP]; Victor RA-5314; SwaggieJCS-33758 [7" mini-LP, six tracks at 33 1/3rpm, evidently just “Stop Kidding”], and Rustshows the subtitle.Victor Project notes also reissued on FrogDGF 25 (CD, pub. 1999, which does have theNeckbons & Sauerkraut subtitle). But this isodd: Collectorsfrenzy.com is selling Victor V-38025, depicting the label of the A side, whichis Stop Kidding (no subtitle). Says B side isPut It There. Rust shows Put It There as on V-38025 but gives no hint that Stop Kidding isthere too. Found both labels on a different siteselling that 78 as well. So Rust just missedthis. But what about the neckbones & sourcabbage?No neckbones in the copyright:Stop kidding; by John Nesbitt. [Melodyonly] © 1 c. June 12, 1929; E unp. 7830;Southern music pub. co., inc., New York.Now back to the Victor Project and this oddentry:Stop kidding (Primary title) - Source: Disclabel (BHC verso)Fox trot (Title descriptor) - Source: Disc label(BHC verso)Neckbones and sauerkraut (Subtitle) -Source: Blue history cardMy 1991 Chronological Classics reissue hasthe subtitle, says source is X LVA-3031.Normally, I’d dismiss a subtitle that didn’tappear in public for several decades after theoriginal recording, but (a) it’s a delightful one,(b) it has appeared on at least some reissuesfrom which people will be learning the tune forthe first time, and (c) it was, after all, attachedto the tune clear back in July 1928 as shownby the Victor ledgers.My scenario: Band comes into studio withnew tune to record, tells engineer the title is“Neckbones and Sauerkraut.” Incredulousengineer responds, “Stop kidding! What’s itreally called?”BUT MUST RECONSIDER THIS: Rust dredgesalt title (not really subtitle) from Victor ledgers,a title that wasn’t copyrighted and wasn’t onany record labels until later reissuers eitherread it in Rust or saw the Victor ledgersthemselves. KILL IT? or at least convert it from(subtitle) to [alt title]?And really must make list of such titles andpresent them to reviewers to ask for theiropinion.Stop That Dog (He’s Goin’ Mad)(James P. Johnson–Andy Razaf)State Street Aces 1041No subtitle on LP.1932 from Harlem Hotcha [a revue at Connie’sInn] says LP. Only rec. Bob Pope & His HotelCharlotte Orch, with subtitle (He’s Goin’ Mad)according to Rust, Charlotte, NC, 2/13/36,Bluebird B-6300.No subtitle on copyright:Stop that dog; w Andy Razaf, melody JamesP. Johnson. © 1 c. Sept. 22, 1932; E unp.61745; Handy bros. music co., inc.Then pub. follow-up:Stop that dog; w Andy Razaf, m James P.Johnson; with ukulele arr. © Nov. 1, 1932; Epub. 32992; Handy bros. music co., inc.No further reg. through 1937.Indeed, the Bluebird label includes thesubtitle.Stoppin’ the Traffic (Leroy Maxey)Vince Giordano’s Nighthawks 1260Rec. The Missourians, 2/17/30, Victor V-38120,760-0002.Confirmed by 4/9/30 unpub. copyright reg.and Victor Project.Storm Warning Rag(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1246Goodman was guest conductor of the band.Story Book Ball, The(Billie Montgomery–George Perry)Hot Antic JB 1154Hot Antic JB 1155Dry Throat Fellows 1226Down Home JB 1300Milano Hot Jazz Orchestra 1354ASM, 1917, Will Rossiter.Storyville Blues (see Those Draftin’Blues)

ditto. Bunk never wrote nothin’. But see mysurprise under "Those Draftin’ Blues."--2>9/4/00: Earlier, we had note here, “StoryvilleBlues includes additional music by TurkMurphy,” but John Gill is quite sure that Turkdidn’t do enough “arranging” to deserve anyco- or additional composer credit, so we’redropping that comment.Stotternde Rhythmen (Ernst Fischer)Tony Caramia 1328

a Sailor) (Charles B. Ward–Andrew B. Sterling)Imperial Serenaders 1351Aha! Found online at Duke University, 1900,Charles B. Ward Music Pub. Co.; w.Sterline/m. Ward. And there’s a subtitle onboth cover and copyright page: (Here Comesa Sailor)ASM has the more commonly known tune ofthe same title, by George & Ira Gershwin.Stringin’ the Blues (Joe Venuti–Eddie Lang)Andy Stein Blue Five 1390Rec. Venuti-Lang 11/8/26, Columbia 914-D,4451 et al.Confirmed by 12/4/26 copyright reg.Strokin’ Away (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. JRM RHP 7/14/30, Victor 23351, BluebirdB-8302, HMV JK-2763 et al.Confirmed by 12/22/32 unpub. copyright reg.;LC SONIC confirms Morton for Bluebird andtwo later reissues on 78.And I see why I couldn’t find the actual labels:This record (flip side is Each Day) shows upon web page “Victor’s Worst Sellers — Early1930s Race and Country Music SalesFigures.” Only 490 copies were ever sold.Struggling (Jimmy Blythe)Pam Pameijer’s Classic Jazz Aces 1194LP had Struggling, but the copyright reads:Strugglin'; melody by Jimmie Blythe. c 1 c.Mar. 18, 1927; E 660932; Glen M. Colemanco., ChicagoStrange: in Rust index as Strugglin’, but onlyrecording of it is by Jimmy Bertrand’sWashboard Wizards as Struggling: 5/29/26,Vocalion 1035, Oriole 1008, Biltmore 1008,Brunswick A-164, et al.HOWEVER, it went on the original Vocalion1035 label as Struggling. Brunswick A-164was German release, also Struggling.Strut Miss Lizzie (Turner Layton–Henry Creamer)Jimmy Mazzy & Eli Newberger CD 1109Steve Waddell’s Creole Bells 1173Down Home JB 1264Duke Heitger’s Big Four 1367Manhattan Ragtime Orchestra 1419Neville Dickie 1423Aha--12/5/08 found sheet music at Indiana U.library--there’s a comma on the cover, butNOT on the copyright page.ASM agrees, 1921, Jack Mills.Struttin’ with Some Barbecue(Lil Hardin)Peruna Jazzmen 1105Neville Dickie 1341We had Louis.John Gill has the 7/9/28 copyright deposit--Nocomposer listed!Rec. Hot Seven 12/9/27, OKeh 8566;Columbia 37535, DS-1428; Parlophone R-2829 et al. Later LA aho, 1/12/38, Decca 1661,3795 et al.Copyright is clear:Struttin' with some barbecue; melody by LillHardin. © 1 c. July 9, 1928; E 695307;Consolidated music pub. house, Chicago.BUT OKeh label clearly says Hardin, so howdid we get Armstrong?Study War No More (seeDown by the Riverside)Stuff (Harvey Brooks)State Street Aces 1011Rec. Paul Howard’s Quality Serenaders,4/29/29, Victor V-38070, 22001. CarsonRobison’s Kansas City Jack-Rabbits, 7/31/29,Victor V-38074, HMV R-14545. CarsonRobison’s Madcaps, 10/2/29, Edison 14085.Frank Powers says they’re playing a stockorchestration of the Paul Howard tune byHarvey Brooks. No Harvey Brooks in 1929book, but there is a Harry Brooks, wellrepresented in this index.Ah, here it is:Stuff; melody by Harvey O. Brooks. © 1 c.Apr. 9, 1930; E unp. 19989; Southern musicpub. co., inc., New York.And here’s the copyright for theirorchestration:Stuff; by Harvey Brooks, arr. by Brewster-Raph; orch. pts. 4to. © Oct. 2, 1930; 2 c.Oct. 6; E pub. 18179; Southern music pub.co., inc., New York.Robison tune of same name was written byRobison.Stuff Is Here and It’s Mellow, The(Willie “The Lion” Smith–WalterBishop–Clarence Williams)Original Salty Dogs JB 1233CD had “The Stuff is Here” by Alex Hill. Notessay by Alex Hill, recorded by Georgia White--and Carol Leigh sings the vocal.Pinsker reportsThe Stuff Is Here - this is incredible.Obviously, must have been one of thosesuddenly popular slang phrases in the early1930s - in 1934, there are at least 3 tuneswith about this title, and at least one in 1935- and the one I know is the 1935 tune. Whichone is the one in the StompOff recording?Can you send me an MP3 of that track orsomething?Stuff (The) is here; by Joe Garland; pf. cDec. 4, 1934 E pub. 45282; Exclusivepublications, inc., New YorkStuff (The) is here; w and melody DickPorter and Sammy Mysels; c 1 c. Dec. 29,1934; E unp. 97360; Rialto music pub. co.,New YorkStuff (The) is here, let's get gay; w and mAlex Hill and Jay M. Williams. c 1 c. Oct.24, 1934; E unp. 94768; State Street musicpub. co., ChicagoThe stuff is here and it's mellow; by WillieSmith, Walter Bishop and ClarenceWilliams, Copyright 1935 by ClarenceWilliams Music Pub. Co. Inc., New York(from the first page of the sheet music (it'sthe LoC copy, and it carries E pub 51202).The CCE shows more specifically that thewords are by Walter Bishop and ClarenceWilliams, music by Willie Smith (this isindeed the Lion, by the way).Recordings in Rust are...Mills Blue Rhythm Band as “The Stuff Is Here(and It’s Mellow),” 2/20/34, Bluebird B-5688.But the Bluebird label is just “The Stuff IsHere,” composer is Jos. Garland.Cl. Williams aho as “The Stuff Is Here and It’sMellow” by Eva Taylor and Her Boyfriends(even though she doesn’t sing on it),8/22/34, Banner 33261, Melotone M-13228,Oriole 3041, Perfect 16032, Romeo 2415.Melotone label confirms title, says by Smith-Williams.Cleo Brown as “The Stuff Is Here and It’sMellow,” 3/12/35, Decca 410, 3683;Brunswick 02021. Decca 410 label confirmstitle, says Smith-Bishop-Williams.Georgia White, as “The Stuff Is Here,” 10/5/37,Decca 7436. Couldn’t find the Decca label,but LC SONIC says credit is Hill.AHA: a 1937 blunder caught at last. I trackeddown all the recordings above and as ithappens, I also have a copy of the Smith-Bishop-Williams sheet music. The song thatGeorgia White (and Carol Leigh) sings is thesong that those gentlemen wrote and thatCleo Brown recorded in 1935. Presumablybad credit got on the Decca 7436 label andfrom there, directly or via a reissue, to CarolLeigh and the Salty Dogs. My reissue of theGeorgia White song is on a Stash compilationof “reefer” songs, and the credit there is Hill.

Sure wish we could track down the Hill sheetmusic or lead sheet to see what he wrote.But Bob Pinsker has a far more conspiratorialtake on the subject:What happened in this case? Ok, here's aconjectural reconstruction.First of all, the Mills Blue Rhythm Band'sarranger and sax player Joe Garland writesaninstrumental for the band, which they recordin Feb. 1934. For the title they use a currentpiece of slang. Garland does not copyrightthe tune yet.Next, Willie the Lion writes a tune, as aninstrumental, using the same piece of slangfor the title. But he wants a mellow mood (hewrites a tune a few years later that he in factentitles "Mellow Moods"), so he adds "But It'sMellow" to the phrase to indicate the mood.CW has his studio band record it, and cutshimself into the credit, as was his practice,by his own admission. They don't yet bothercopyrighting their tune, either.After their record comes out, Garlandrealizes that he hasn't copyrighted his tune.So Mills' subsidiary Exclusive copyrights andpublishes Garland's instrumental "The StuffIs Here" in December 1934.Maybe it is Hill that is guilty of pettythievery, at the same time. Realizing that thetune on CW's record has not yet beencopyrighted, he changes the feel of the tune,removing the mellowness and turning it intoan uptempo dance number and writes alyric, with the "let's get gay" bit in it. This isdifferent enough, and after all, CW's boyshadn't copyrighted it, so it's legal (ifunethical). J. Mayo Williams cuts himself inon the copyright, as always.Cleo Brown ends up recording in March1935 something that I bet is the Hill version(remember, Willie's tune that the CW bandhad recorded in August 1934 had had nolyric), but CW is ok with that as long as theirrecord uses the "But It's Mellow" title andpresumably pays them to use it. But they'vegot to copyright the tune in some way thatcannot be infringing on Hill's copyright!They are the ones who labelled their record"But It's Mellow". So their buddy WalterBishop comes in and helps them concoct alyric that heavily features the "But It's Mellow"phrase. This is done after the Brownrecording is already out. They also write averse that never gets used in any of therecords. Now they can copyright this tunewithout fear of copyright infringement anddo so in July 1935. They put Cleo Brown'spicture on their cover.Georgia White has learned the tune fromCleo Brown's record, and that's what sherecords. You can see that their A and R manis mightily confused as to what to put ontheir label for the song's composers, andwho to pay!How to explain Porter and MyselsDecember 1934 copyright? Probably thesame thing as what I'm theorizing Hill did thesame month - they realized that CW hadn'tcopyrighted the tune, they changed it insome way and added their own lyric. Theirversion is still probably unsung.Certainly one of the most involved cases ofhow the pop music business worked in the1930s I've ever seen!Thank you for digging up the records!Have you got Willie the Lion's own, muchlater version? He calls it - The Stuff Is Here -no "But It's Mellow"! But it's a very mellowversion, nonetheless. He does do the verseas well.Later afterthought: I might have gone off halfcockedon this one because I just gave acursory listen to the Cleo Brown/GeorgiaWhite versions. Bill Haesler comes to more orless the same conclusion as Pinsker:I don't believe it is "the same song thatSmith-Bishop-Williams wrote..."Nor is the MBRB tune.But it is the song that Cleo Brown sang.However, if you listen to the words to thelyrics you will hear that Carol uses a GeorgiaWhite line not on the Cleo Brown record("take the rug up off the floor"). Therefore, Isuggest that this was her source.None of the vocal versions use the line"And It's Mellow".Therefore I further suggest that Deccastuffed up by attributing the Cleo Brownversion to Smith-Williams, but corrected it forthe later Georgia White release.Stuff (The) is here, let's get gay; w and mAlex Hill and Jay M. Williams. c 1 c. Oct.24, 1934; E unp. 94768; State Street musicpub. co., ChicagoThe "let's get gay" bit seems to nail itdown.Haesler later recapitulated his thinking thisway:My conclusion is that Cleo sang Alex Hill'scomposition, Decca stuffed up ownership,Georgia reprised and improvised on it itseveral years later (and Decca corrected thecopyright error). Carol sang Georgia'sversion using its tempo and introduction.The MBRB and Eva Taylor tunes aredifferent - and red herrings.We need the Alex Hill dots.Christ this is crazy, and I don’t see how we candecide anything without seeing the lyrics thatAlex Hill and J. Mayo Williams submitted withthe copyright.But one thing’s clear, before deciding, I musttranscribe the lyrics of all three vocal versionsand the published Smith-Bishop-Williamslyrics and put them in four columns across alandscape page so we can compare the lyricsStumbling (Zez Confrey)Butch Thompson & Hal Smith 1075ASM, 1923, Leo Feist; “words and music byZez Confrey”—so even this was written as asong!Stuttering Blues (Tiny Parham)Pam Pameijer’s New Jazz Wizards 1281Rec. Parham 7/2/28, Victor V-38009, BluebirdB-8130 et al.Oops, we may need an apostrophe:Stutterin' blues; melody by H. S. Parham. ©1 c. Aug. 8, 1928; E 696851; H. StrathdeneParham, Chicago.No, the Victor label says Stuttering, as doesBluebird. Victor Project agrees.Subway Sobs (Tiny Parham)Pam Pameijer’s New Jazz Wizards 1281Rec. Parham 2/2/29, Victor V-38041, BluebirdB-6031.Confirmed by 12/17/30 unpub. copyright reg.and Victor label.Sud Buster’s Dream (Tiny Parham)Pam Pameijer’s New Jazz Wizards 12812013 review: Rec. Parham 10/25/29, Victor22778, HMV B-6150.Confirmed by 9/15/31 unpub. copyright reg.and Victor label.Sudan (see Soudan)Suffolk Air (Wally Fawkes)Humphrey Lyttelton & His Band 1160Fawkes was clarinetist on the session.Sugar (Maceo Pinkard–Sidney D.Mitchell–Edna Alexander)Barbara Lashley & Ray Skjelbred 1152Paris Washboard 1182Dry Throat Fellows 1226Neville Dickie & Louis Mazetier 1302Keith Nichols & the Blue Devils 1387In earlier editions, we had subtitle (That SugarBaby o’ Mine).

jazzstandards.com confirms our composers;says 1927. Found the cover, says musicPinkard, lyrics Alexander-Mitchell. Thisconfirmed by ASM copy. NO subtitle; “thatsugar baby o’ mine” are last words of thechorus.And here’s the copyright:Sugar; words by Sidney Mitchell and EdnaAlexander, music by Maceo Pinkard; pf. andukulele acc. © Apr. 19, 1927; 2 c. Apr. 23; E664080; W. C. Handy music publisher, NewYork.Did notice in web search that she pops uprepeatedly as “F. Alexander,” which makes nosense from what we’ve seen so far.Bob, I think we must abandon the idea ofusing (That Sugar Baby o’ Mine) as a subtitleas a way to distinguish this for other tunescalled “Sugar.” That might make sense on anLP jacket, but it’s just not a real subtitle, andwe have many other titles in this catalog thathave two or even three entries; for all of them,we rely on different entries with differentcomposer credits to tell the reader that thereare multiple different songs with the same title.Sugar (Jack Yellen–Milton Ager–Frank Crum–Red Nichols)Marty Grosz /Keepers of the Flame 1158San Francisco Starlight Orchestra 1296Chalumeau Serenaders 1394Copyright reg. isSugar; words and music by Jack Yellen,Milton Ager, Frank Crum and Red Nichols;pf. acc., with ukulele arr. by May SinghiBreen. © Oct. 1, 1927; 2 c. Oct. 1; E 671768;Ager, Yellen & Bernstein, inc., New York.Sugar Babe (Boyd Senter–Walter Melrose)Scaniazz 1056Rec. Jimmie O’Bryant, 11/25, 12321. BoydSenter and his Zo-Bo-Ka-Zoos, 8/25, Pathe36320, Perfect 14501.Confirmed by 9/25/25 copyright reg., w.WM/m. BS.Sugar Babe I’m Leaving(Sonny Clapp–Sol Lewis)Back Bay Ramblers 12791279 had Leavin’, by Sonny Clapp-Sol Lewis.

had become a hit, would have been publishedin large numbers--which is why that’s what Ifound in ASM and online, and why laterrecordings end up adding Melrose to the mix.I think in this case we can safely revert to theoriginal Oliver-Armstrong credit and ignore thelater song version. Unfortunately Gill can’tdocument his arrangements story:I don't have the stock arrangements in mypossesion, just working from memory. Thesong version is around and has beenpublished in some older Melrose dixielandsong books, and more recently ChasHanson's book of Dixieland tunes whichcontains all old Melrose hits. It was probablyOliver who changed the name to "SugarFoot Stomp" and took Armstrong's name offthe composer credits because he wasunhappy with Louis' decision to leave theband and go to New York. Anyway it's notclear that Louis had anything to do withcomposing the tune despite it originallybeing named in his honor 'DippermouthBlues" . I guess we'll never know the realstory.Sugar Foot Strut (Billy Pierce–Henry Myers–Charles M. Schwab)Golden State JB 1006Terry Waldo’s Gotham City Band 1120Bob Helm’s JB 1310Neville Dickie 1341Steve Waddell’s Creole Bells 1348Recordings in Rust byWalter Anderson and His Golden PheasantHoodlums, St. Paul, 9/29/27, Gennett 6278,Champion 15363.LA Hot Five, 6/28/28, OKeh 8609, Vocalion3148, Parlophone R-2449 et al.Hmmm:Sugar foot strut; words and melody by T.Delaney and B. Pierce. © 1 c. May 24, 1927;E 666685; Tom Delaney and Billy Pierce,New York.And thenSugar-foot strut; words and melody by BillyPierce, Henry Myers and Charles M.Schwab. © 1 c. June 27, 1927; E 667683;Edward B. Marks music co., New York.15334In two months, Delaney out, Myers, Schwaband a hyphen in!And againSugar foot strut; words and music by BillyPierce, Henry Myers and Charles M.Schwab; pf. acc., with ukulele arr. by T.Kahana. © Aug. 15, 1927; 2 c. Aug. 16; E670763; Edward B. Marks music co., NewYork.Did they overhaul it for the Armstrongrecording, then change copyright to reflect thechanges? Would be nice to see both theAnderson and Armstrong labels, but I ratherdoubt we’ll find Anderson.Armstrong OKeh is Pierce-Myers-Schwab; as Isuspected, the Golden Pheasant Hoodlumswere nowhere to be found, although I foundtwo copies of the flip side of that record.Sugar Plum (L’Albert*)Bo Grumpus 1388Aha, ASM , 1908, Jerome Remick, shows thatit’s by L’Albert, a pseudonym for Daniels thatwe have on “Louisiana.”Sugar Rose (Fats Waller–Phil Ponce)Neville Dickie 1397Rec. Fats Waller ahR, 2/1/36, Victor 25266,HMV BD-5062, B-9885 et al; and a couple ofBritish bands.Confirmed by 3/11/36 copyright reg., w. PP/m.FW.Sun Flower Slow Drag (Scott Joplin–Scott Hayden)St. Louis Ragtimers 1267Minstrels of Annie Street 1272Frank French & Scott Kirby 1306New Century Ragtime Orchestra 1385And Audrey’s 1901 John Stark original showsthe same.Sunburst Rag (James Scott)Down Home JB 1316Elite Syncopators 1358Confirmed by my 1909 sheet music.Sunday (Chester Cohn–Jules K. Stein*–Bennie Krueger–Ned Miller)Don Ewell 1077Neely’s Royal Society Jazz Orch 1208Louis Mazetier & Neville Dickie 1289Charleston Chasers 13142013 review: 9/19/26 copyright by Leo Feistalso identifies composers as w/m ChesterConn, Jules Stein and Bennie Krueger,Sunday Rag (Eurreal Montgomery–Butch Thompson)Butch Thompson & Hal Smith 1075Butch Thompson:Little Brother came to Minneapolis andstayed at my house in (I think) 1975, maybe76. He was in town to visit Barry Martyn,who was performing at the Emporium ofJazz (the Hall Brothers' old club) thatweekend. Needless to say he spent sometime at the piano, and tried to show mesome tricks. At some point he played anuntitled piece that I really liked, and wefooled around with it until I pretty much hadit under control.Sometime a few months later, I got anamazing document from him by mail. A!soon as he realized that I might actuallyperform the piece or -- more importantly --might record it, he copyrighted it but -- getthis! -- this paperwork gave me half of anyroyalties as co-composer! It was a greatmoment, and a complete surprise. As itturned out later, the Stomp Off LP didgenerate some royalty payments. When thecheck arrived at my house, I forwarded thecash to Brother, and this was timelybecause he had some rather large medicalbills at the time. I think it was around $500.I didn't think I had earned it and was happyto help him out of course.I aso played the tune for him at a concertin Racine, Wisconsin. He took a bow. Itwas nice. Then years later, I got a cassettefrom Wayne Jones. This was recorded at aparty in Chicago sometime during themid-to-late 50s (wish I still had it) withbrother regaling a bunch of fans at the

piano. And there was Sunday Rag -- in agreat, highly decorated version.Sundown Mama (K. O. Eckland)Frisco Syncopators 1245Was on Merry Makers LP by Turk in 1984,which calls it a “recent composition” byEckland. And Lord says that was the firstrecording of it, so I guess that’s the hardestevidence of authorship we’ll get.Sunny Disposish (Philip Charig–Ira Gershwin)Chalumeau Serenaders 1394Rec. Goldkette, 2/3/27, Victor 20493, HMV5289. New Yorkers Tanzorchester, Berlin,9/28/27, Homochord 4-2420 (as GeorgeCarhart’s New Yorkers Jazz Orch.BG, 10/19/37, Columbia ML-4590, et al.Confirmed by 8/16/26 copyright reg., w. IG/m.PC, from Americana.Sunny Side Up (B. G. De Sylva–Lew Brown–Ray Henderson)San Francisco Starlight Orchestra 1364Oops, copyright is odd:Sunnyside up; words and music by B. G. DeSylva, Lew Brown and Ray Henderson.[Words and melody only] © 1 c. June 18,1929; E unp. 8124; De Sylva, Brown &Henderson, inc., New York.And later the pub. version:Sunnyside up; from the photoplay, wordsand music by B. G. De Sylva [pseud, ofGeorge Gard De Sylva], Lew Brown and RayHenderson. © July 29, 1929; 2 c. July 31; Epub. 8017; De Sylva, Brown & Henderson,inc., New York. 16835S&P say from film Sunny Side Up. Andseveral other tunes from the film are in thisbook and flagged as “from Sunny Side Up”(I’m a Dreamer, Aren’t We All?; You Find theTime, I’ll Find the Place; Carnival Prelude;Melodrame). But If I Had a Talking Picture ofYou is flagged as “from Sunnyside Up,” somaybe LC is confused.That must be the case: found copies in threedifferent library collections, all showed “SunnySide Up.”Sunset Cafe Stomp (Percy Venable)Peruna Jazzmen CD 1003Peruna Jazzmen 1020South Frisco JB 1035Scaniazz 1038Tomas Örnberg’s Blue Five 1043Leigh–Dapogny Mysterious Babies 1087Down Home JB 1190Bob Schulz & His Frisco JB 1288Bob Helm’s JB 1310Neville Dickie 1341Pam Pameijer’s New Jazz Wizards 1363Yerba Buena Stompers 1369John Gill’s Jazz Kings 14012011 hindsight says that’s very poor authority,to be used when all else fails. Sheet music?LC cy card?2013 review: Pinsker’s take:Apparently, the manager of the Sunset Cafeentertainment was Percy Venable, whocopyrighted just the tune as "Sunset Stomp":Sunset stomp; melody by Percy Venable;c 1 c. Dec. 20, 1926; E 654632; Consolidatedmusic pub. house, Chicago.Actually, I cannot find a copyright for SunsetCafe Stomp, hence I cannot identify thelyricist.Rec. Hot Five (vcl May Alix), 11/16/26, OKeh8423, Odeon 279788 et al. Lu Watters YBJB,3/29/42, Jazz Man 14. Hard to imagine noothers in Rust.Original OKeh label saysSUNSET CAFE STOMP(From “Sunset Cafe Revue”)(Venable)Watters JM 14 also Cafe, Venable.So Louis never should have been there tobegin with. And in spite of the copyright title, itwas published as “Sunset Cafe Stomp.”Sunshine (Irving Berlin)Keith Nichols Cotton Club Orchestra 1234ASM, 1928, Irving Berlin.Sunshine (Ikey Robinson)Original Salty Dogs JB 1233The original release on Champion 50073 byRobinson credited him as composer. I’m surewe’ll never see sheet music for it.Sunshine Capers (Roy Bargy)Elliott Adams 1299Confirmed by Victor 19320 label; not in 1923-26 copyright books.Sunshine of Your Smile, The(Lilian Ray–Leonard Cooke)Albion JB 1249Rec.Fred Allen (really Fred Brown, sax + orch),8/29/16, Columbia A2099.Quintette of HotClub of France, as Ton DouxSoorire, 4/35, Ultraphon AP-1484, 14288;Oriole LV-104, LB-1004; Joe Davis DA-17-2;Royale 1807; Varsity 8380.T. Dorsey (vcl Sinatra), 9/26/41, Victor 27638,HMV BD-1230 et al.These dates are hard to believe: MyArcheophone reissue of Six Brown Bros.credits Cooke-Ray, as does my reissue of theSinatra/Dorsey record 35 years later!Chronological Classic Django reissue creditsRay.But the sheet music is in several libraries:Indiana has w. LC/m. LR, (c) Francis, Day &Hunter; pub. T. B. Harms & Francis, Day &Hunter.And sure enough, they’re all playing the sametune.Sunshine on My Black and Blue Bottom(medley arr. by Andy Stein of Sunshineand Black and Blue Bottom, both byJoe Venuti–Eddie Lang)Andy Stein Blue Five 1390Hmmm...Not in Rust. Oh, Christ, it’s becauseStein took two Venuti-Lang tunes andcombined them in an ABCB medley. Blackand Blue Bottom was 9/29/26, Columbia 914-D et al (copyright 12/4/26). Sunshine was1/24/27, OKeh 40762; Parlophone R-3340, R-2493 (copyright 4/8/27).Superior Rag (Jelly Roll Morton)Ophelia Ragtime Orchestra 1108Oops, not in Rust. Ophelia leader MortenGunnar Larsen calls it “very obscure,” says,The piece was mentioned in the Blesh andJanis book They All Played Ragtime (1950),where it was listed as an unpublishedcomposition from circa 1915. “SuperiorRag” has been recorded in later years by“Knocky” Parker, but otherwise it has beenpaid little attention to. The first two strainsare both in G minor and do not resembleanything else by Morton. The form of thetrio is similar to those found in “ShreveportStomps,” “Chicago Breakdown” and “Pep,”but has also its own individuality, e.g., theuse of the Charleston rhythms. The nameindicates that the piece was probablycomposed in conjunction with “PerfectRag,” when the “Lord of New Orleanspiano” was traveling about proving that hewas far more “superior” and “perfect” thanthe ragtimers, on whose playing he loved tolook down.Indeed, it’s on Parker’s complete Morton set.The “mention” on TAPR is just that, the title ona list of Morton compositions, no amplification.I guess we have to take Knocky’s word for it.Supraton in Marrakouch(François Rilhac)Paris Washboard 1338

Rilhac was a pianist and recording partner ofParis Washboard pianist Louis Mazetier (SOS1218). He died young in 1992.Susie (Clayton Naset–Gus Kahn)Terry Waldo’s Gotham City Band 1120Paramount JB of Boston 1205Paul and His Gang 13298/25: Montgomery sends music (1924, JeromeRemick), cover & copyright page just show"Susie." (Both have "Song" in smaller typeunder the title, but that’s obviously not asubtitle. It also has C. Naset on both coverand copyright page; I presume thatsomewhere we learned correct first name.This keeps popping up on Bix reissues asSusie of the Islands, but Kinkle and Rust andthe sheet music itself agree that it’s just Susie.So where’d the “of the Islands” come from? Isit in the lyrics? (I don’t have full sheet music,just cover & copyright page)11/15/00: Tex sends lyrics. Alas, Susie’s just agirl from around the corner, no exotic islandheritage.Only recordings in Rust areWolverines with Bix, Gennett 5454, Claxtonola40339, HRS 9, Temple 536, Vinylite JazzReissues 19, Tempo (UK) R-44. NeitherGennett nor Tempo had “of the islands,”couldn’t find the others.Bud Freeman, 3/25/40, Decca 18067,Brunswick 03228, Odeon 286256. None ofthese had extended title.Susquehanna Home (Dave Ringle)Les Rois du Fox-Trot 1434Rec. 1924 by Oliver Naylor’s Seven Aces saysthe band. Actually, 1/3/25, Gennett 5638.Confirmed by 6/14/24 copyright reg.Suwanee Echoes (Al W. Brown)Heliotrope Ragtime Orchestra 1427Copyright isSuwanee echoes; waltzes, by Al. Brown forpiano. (C 76509, Aug. 22, 1904; 2 c. Aug.20, 1904. Shapiro, Remick & Co., New York.But Univ. of Oregon has a copy, showscomposer as Al. W. Brown like Vermazen, sopretty sure middle initial must have been onsheet music.Seems also to have been issued on Aeolian65775 piano roll. Canadian Patent Office hasit registered to as Al. W. Brown.Swamp Blues (Burke Bivens–Andrew B. Sterling)John Gill’s Calif. Sunshine Boys 1156Charleston Chasers 1376ASM, 1927, Denton-Haskins, w. Sterling/m.Bivens.Swanee (George Gershwin–Irving Caesar)Charleston Chasers 1314ASM, T. B. Harris, w. George/m. Ira; missedyear.Swanee Butterfly (Walter Donaldson–Billy Rose)Ingham–Grosz Hot Cosmopolites 1237Rec. CA Ramblers, 1/28/25, Columbia 293-D.Fletcher Henderson, 1/30/25, Banner 1508,Domino 3475, Empire 10852 et al.Confirmed by 2/2/25 copyright reg., w. BR/w.WD.Swanee Shuffle (Irving Berlin)Ingham–Grosz Hot Cosmopolites 1323Confirmed by 8/21/29 copyright reg.Sweep ’em Clean (Natty Dominique)Pam Pameijer’s New Jazz Wizards 1382Rec. Chi Footwarmers (w. Dominique), 7/4/28,OKeh 8792, Biltmore 1079 et al.Confirmed by 7/9/28 copyright reg. by A.Dominique, which elsewhere is shown tostand for Anatie.Sweeper, The (Wally Fawkes)Pam Pameijer Trio 1172Fawkes was cl on the LP.Sweet and Lovely (Gus Arnheim–Harry Tobias–Jules Lemare*)Paris Washboard 1326ASM, 1931 “revised edition,” M-G-M.Sweet ’n Low Blues (Jabbo Smith)Hot Antic JB 1058We had Sweet and Low Blues.Rec. Jabbo 2/23/29, Brunswick 7061.No blues on copyright:Sweet and low; melody by Jabbo Smith. © 1c. Aug. 29, 1929; E unp. 10436; State Streetmusic pub. co., inc., Chicago.Label? Oh, hell, it’sSWEET ’N LOW BLUESAll the indexers call it Sweet and Low, butthere’s no denying that label, the only one itwas released on.[But I’m going to quietly leave it here in thealpha order because this is where people willexpect to find it.]Sweet and Low-Down(George Gershwin–Ira Gershwin)Barbara Lashley & Ray Skjelbred 1152LP was Sweet and Lowdown.Copyright has a hyphen:Sweet and low-down; from Tip-toes, w IraGershwin, m George Gershwin, of U.S. ©Dec. 9, 1925; 2 c. Dec. 11; E 629203;Harms, inc., New York.But later a mechanical reproduction copyrightwithout the hyphen:Sweet and low down. © Harms, inc., NewYork. Notice rec'd Jan. 19, 1926; recorded,v. 6, p. 199.And another one:Sweet and low down; from Tip toes, wordsby Ira Gershwin, music by GeorgeGershwin. © Harms, inc., New York. Noticerec'd Feb. 19, 1926; recorded, v. 7, p. 7.Bought the sheet from MTSU, and both coverand copyright page saySWEET AND LOW-DOWNSweet Anita Mine [Sweet Aneta Mine](Jelly Roll Morton)Steve Lane’s Southern Stompers 1040Pam Pameijer’s New Jazz Wizards 13352013 review: Rec. JRM aho, 7/10/29, Victor V-38093, HMV R-14433. Victor label does sayAneta, Victor Project shows it as Aneta too.Take 1 on the 78s, take 2 issued on Victor LP.But wait a minute, he copyrighted it as Anetatoo:Sweet Aneta mine; melody by Jelly-RollMorton [pseud, of Ferd Morton] © 1 c. Dec.26, 1929; E unp. 14983; Southern musicpub co., inc., New York.Lomax lists copyright and recording underAnita, with no comment. I always thought itwas dedicated to his lover Anita Gonzales, butthe Lomax chapter on her just mentionsanother tune, “Mama Nita.”Jelly Roll site (doctorjazz.co.uk) says take 2was spelled Anita on the LP issue. I found it onCD issues on amazon.com under both titles.

6/19/13 queried Butch as to possible sheetmusic (which I claimed to know about in myfirst note above, but which I can’t documentnow). He says he doubts it was everpublished, also considers this a misspellingbut wonders where it came from.We probably ought to be calling it Aneta tobegin with, but we must at least concede thatit’s known by that spelling with an alternativetitle note.Sweet Baby Doll (George W. Thomas–Wilbur LeRoy)Down Home JB 1199Peruna Jazzmen 1204John Gill’s Dixieland Serenaders 1304Neville Dickie 1309Southern Stompers 1414Yerba Buena Stompers 1418< All recordings credit George W. Thomasexcept 1414, which added Wilbur LeRoy ascocomposer. Who’s he? Why? The originalKing Oliver JB recording credited onlyThomas.However, the Charles Anderson list sayslyricist is Wilbur Leroy, and that it waspublished in 1919, predating Oliver’srecording.2013 review: Pinsker reports:Sweet baby doll; words by Wilbur Leroy,music by G. W. Thomas of U.S., NewOrleans, La., Geo. W. Thomas music co. (c)Feb. 10, 1919, 2 c. Feb. 3, 1919; E 444071,Geo. W. Thomas, New Orleans.then again (!)[same] (c) Mar. 3, 1919 2 c. Mar. 1, 1919; E443024and years laterSweet baby doll; words and music byGeorge W. Thomas [words and melodyonly] c 1 c. Dec. 19, 1928; E -- Unp. 2142;Clarence Williams music pub. co., inc., NewYorkPinsker:The thing about George W. Thomas was thathe was quite sloppy in business, apparently.He registered the published 1919 edition forcopyright twice, a couple of weeks apart,and then he sold it again to ClarenceWilliams nine years later (apparently havingcut his 1919 lyricist out of the deal that time.)Rec. King Oliver, 10/26/23, OKeh 8235 et al.Tiny Franklin (vcl, acc. by G. W. Thomas),12/10/23, rejected.Never got to see the sheet music, but found itindexed in two libraries, incl. Tulane in NO.But said it was LeRoy. Near as I can tell, henever wrote anything else.Sweet By and By (Joseph P. Webster–S. Fillmore Bennett)Black Eagle JB 1048Monty Sunshine JB 11104/23/11: Oops, none of the text aboveexplains how we got to Fillmore for Bennett’smiddle name, but web search quickly confirmsit.Sweet Emmalina (Clarence Williams–Jack Palmer–Andy Razaf)Weatherbird JB 1034Orpheon Celesta 1095Hot Antic JB 1099Peruna Jazzmen 12041034, 1099 were Razaf-Palmer; 1095 wasRazaf-Palmer-S. Williams, 1204 was Palmer-Razaf-Spencer Williams.Rec. (with spellings according to Rust) byCl. Williams Jazz Kings, (Emmalina), 4/10/28,Columbia 14314-D. Label is Emmalina,credits are Williams, Palmer and Razaf.CW WB Five (Emmalina), 4/18/28, Okeh 8572,16310; Creole 17. OKeh 8572 is Emmaline,Razaf-Palmer, same for Hot Jazz Clubreissue (LC SONIC).Jimmy Lytell, 6/28, Pathe 36824, Perfect15005 (Emmalina); Pathe 11557(Emmaline). Jazz Oracle says reissue saysfrom Perfect 15005, credits Williams-Palmer-Razaf, LC SONIC confirms.King Oliver & His Dixie Syncopators(Emmalina, vcl & pno Cl. Williams), 6/11/28,Vocalion 1190. Label says Razaf-Palmer.Andy Pendleton (Emmaline, w/Cl. Williams onpno), 6/26/28, OKeh 8625. No, title on labelis Emmalina, by Williams-Palmer-Razaf.

Copyright goes to Emmalina, but no SpencerWilliams:Sweet Emmalina; words by Andy Razaf,music by Jack Palmer; 1st violin. © 1 c. Apr.25, 1928; E 68S989; Clarence Williamsmusic pub. co., inc., New York.Then laterSweet Emmalina; words by Andy Razaf,music by Jack Palmer; pf. acc., with ukulelearr. by Ben Garrison. © May 21, 1928; 2 c.June 13; E 694344; Clarence Williams musicpub. co., inc., New York.Well, I’m mystified by this. I have two otherrecords that say Spencer Williams-Palmer-Razaf, one that says Clarence Williams-Palmer- Razaf.IF there’s a Williams at all, Clarence makes alot more sense, since he was on four of thefive recordings of the tune.UNLESS SOMEBODY CAN TALK ME OUT OFIT, I FEAR I MUST CHANGE THE WILLIAMSHERE TO CLARENCE.Sweet Feet (Al Washington)Jim Snyder /Georgia Grinders 10689/5, Baker at LC: Sweet Feet, Al Washington,unpub., 8-5-33. copyright Lester Melrose,Chicago. Melrose? Chicago? Makes it VERYlikely that this is our tune.2013 review: rec. Memphis Night Hawks,4/1/32, Vocalion 1736, HJCA HC-73 (asDarnell Howard & the Memphis Night Hawks),Jazz Document (France) 009.No composer credit on Vocalion 1736 or HC-73 labels..Sweet Fields (traditional)Albion JB 1206Black Eagle JB 1224

Confirmed by 12/17/30 unpub. copyright reg.(to A. Dominique) and Victor label. Curious:Victor Project says composer Natty Dominiquebased on label, but label, like copyright, readsA. Dominique.Sweet Lotus Blossom (see Marahuana)Sweet Lovin’ Man (see My SweetLovin’ Man)Sweet Mama (Duke Ellington–Irving Mills)Dry Throat Fellows 1226San Francisco Starlight Orchestra 1364We had just Ellington.Whoa, have we screwed up here? There’s no“Sweet Mama” in Rust index, and in lookingthrough Ellington recording sessions, we findthat he recorded “Sweet Mama [sic] (Papa’sGettin’ Mad)” 1/9/28, Harmony 577-H.But no, there is a “Sweet Mama” by Ellington,which Rust (presumably mistakenly) listedunder the Papa’s Getting Mad listing: rec.12/10/29, Brunswick 4760, 6811 (as theJungle Band)); again 6/12/30 (as Mills’ TenBlack Berries), Clarion 5332-C, Diva 6062-G etal.But the 1928 Sweet Mamma (Papa’s GettingMad) is by Rose-Little-Frost according to theHarmony label.But copyrighted with two m’s:Sweet mamma; by Duke Ellington pf. © Feb.15, 1930; 2 c. Mar. 7; E pub. 13860; Gothammusic service, inc., New York.But one of those m’s must have stood forMills, because both Brunswick labels saySweet Mama by Ellington-Mills, as does theClarion label for the later recording. Funnybusiness here? Composition list in hisautobiography doesn’t mention Mills for thistitle.Sweet Mamma (Papa’s Getting Mad)(Fred Rose–George A. Little–Peter L. Frost)West Jesmond Rhythm Kings 1255John Gill’s Dixieland Serenaders 1321ASM, 1920, Jack MillsSweet Man (Maceo Pinkard–Roy Turk)Susan LaMarche/Waldo’s Gut. Sync. 1032Carol Leigh & Jim Dapogny 1064Banu Gibson NO Hot Jazz Orch 1073Vince Giordano’s Nighthawks 1260Paris Washboard 1338ASM, 1925, Leo Feist; w. Turk/m. Pinkard.Sweet Mumtaz (Luis Russell - or King Oliver?)Jazz O’Maniacs 1071Charquet & Co 1076Red Onions & Ottilie 1090Charquet & Co 1195New Jazz Wizards 1244Le Petit Jazzband de Mr Morel 1362All SOS records said Russell.Rec. Russell 3/10/26, Vocalion 1010, Oriole1003, Brunswick A-182 et al. Again 11/17/26,OKeh 8454.TILT! Copyright isSweet Mumtaz; melody, J. Oliver, of U.S.,arr. Luis C. Russell. © 1 c. June 6, 1925; E616496; Joseph Oliver, Chicago.I’ll be damned--I have 11 recordings of this,and only one, by Buck Creek, credits Oliver. AGerman band, the Low Down Jazz Wizards,evidently also performs it as by Oliver.Labels? Brunswick A-81003 says Russell.Biltmore 1027 no credits. OKeh 8454,Vocalion V-1015, Vocalion 1010 all = Russell(LC SONIC).What in hell do we do with this? I find itpersuasive for two reasons:(a) Russell is credited as the arranger, andit’s a lot easier to imagine how that creditcould end up on the record label than if heweren’t associated with the tune at all;(b) Luis Russell has five other tunescopyrighted in the 1926 book, and had four inthe 1925 book, so he knew about copyrightingand how to do it, and he presumably wouldhave copyrighted this tune if he’d written it.Bill Haesler’s research:Laurie Wright's 'King Oliver' discographyprovides the following information:Sweet Mumtaz, melody by J. Oliver,arranged by Luis C. Russell; E616496, 6June 1925; Joseph Oliver, Chicago.Renewed: 9 June 1952 by Mrs. Joe Oliver(W): R96004The discography in Richard M. Jones.Forgotten Man Of Jazz by eminentresearchers Christopher Hillman, and RoyMiddleton hasE 2622/3W - Sweet Muntaz (Russell)They indicate what is on the label.Ross Laird's 'Brunswick RecordsDiscography' Index has Louis C. Russell(RLJ = Richard L. Jones, 3818 Rhodes Ave.,Chicago, Ill.). Which I assume came fromthe Brunswick file card.But guess who agrees with the copyright?The Charles Anderson Fakebook!OBVIOUSLY must look for copyright deposit inOliver and Russell folders at LC.Sweet Music (Arthur Schwartz–Howard Dietz)Newberger–Mazzy–Thompson 1352Rec. Fletcher Henderson, 7/31/31, Victor22775, HMV K-6390.Confirmed by 6/5/31 copyright reg., w. HD/m.AS, from The band wagon.Sweet Papa Will Be Gone(Eddie Fennell)Back Bay Ramblers 1279Rec. Eddie [Fennell] and Sugar Lou’s HotelTyler Orch, Dallas, 10/24/29, Vocalion 1514.(vcl Fennell)Not in copyright books 1928-30. RHJA creditsCharles “Sugar Lou” Morgan and Fennell.Online 78 credits Douglas Fennell. Go figure.But I found the label (and even LC SONIC hasit), just Fennell.Sweet Peter (Jelly Roll Morton)Ray Smith 1012Pam Pameijer – Duet /Trio/Quartet 1134Pam Pameijer’s New Jazz Wizards 1318Rec. JRM RHP 11/13/29, Victor 23402,Biltmore 1061 et al.Confirmed by 7/8/33 unpub. copyright reg.and Victor Project.Sweet Pickles (Theron C. Bennett)David Thomas Roberts 1021ASM, 1907, Victor Kremer.Sweet Rhythm (Edwin Wilcox)Vince Giordano’s Nighthawks 1260Rec. Jimmie Lunceford, 6/6/30, Victor V-38141, 760-0005; Bluebird B-5350.Cab Calloway, 11/15/32, Brunswick 6473,01422, A-9340; Columbia DO-1159.CD notes say they’re playing the 1930Lunceford version.Edwin?Sweet rhythm; melody by M. Wilcox. © 1 c.July 30, 1930; E unp. 25668; Southernmusic pub. co., inc., New York.Index also M. Wilcox, no Edwin Wilcox in bookfor 1930, nor 1929 or 1932-33.Well, Victor Project says composer is M.Wilcox, but I see that Eddie Wilcox was thepiano player.Calloway Brunswick label is blurred butdoesn’t look like it could be Wilcox.However, an extended bio sketch of EdwinWilcox at allmusic.com credits pianist EdwinWilcox as composer, explains that he joinedthe Lunceford band in 1929 and stayed there,later leading the band after Lunceford’s deathin 1947. Wrote tunes and made manyarrangements for Lunceford. This must be ourguy.Sweet Savannah Sue (Fats Waller–Harry Brooks–Andy Razaf)

Weatherbird JB 1034Kustbandet 1178Down Home JB 1273Louis Mazetier & Neville Dickie 1289Paris Washboard 1359Rec.Armstrong aho, 7/22/29, OKeh 8717, Vocalion3136, Parlophone R-1573 et al.Mills’ Hotsy Totsy Gang, 7/31/29, Brunswick4482.Fats pno solo, 8/2/29, Victor 22108, BluebirdB-10264.Fess Williams, 9/20/29, Victor V-38065.Confirmed by 7/22/29 copyright reg., w. AR/m.TW-HB, from Connie’s hot chocolates.Sweet Substitute (Jelly Roll Morton)West End JB 1042Acker Bilk & Ken Colyer 1119European Classic Jazz Trio 1142Jim Cullum JB 1254Paris Washboard 1261Rec. Morton Seven, 1/4/40, General 1703,Commodore 631 et al.Confirmed by 10/29/38 copyright reg; Lomaxsays published in sheet by Tempo Music.Sweet Sue — Just You) (Victor Young–Will J. Harris)Dry Throat Fellows 1226ASM, 1928, Shapiro, Bernstein; w. Harris/m.Young.cover:(c) page:Sweet Sue Just YouSweet Sue — Just YouSweet Thing (Ralph Williams–Herman Kahn–Joe Verges)Keith Nichols Cotton Club Orchestra 1275ASM, 1926, Ted Browne; w/m all 3.Sweetest Melody (Al Goering–Jack Pettis–Irving Mills)Prague Jazzphonics 1236Vince Giordano’s Nighthawks 1260Back Bay Ramblers 1262Rec. Mills’ Musical Clowns, 2/14/29, Pathe36955; Perfect X-6277, 15136, Pettis aho,2/8/29, OKeh 41411, Parlophone R-673,Odeon A-2317 et al.Confirmed by 5/22/29 copyright reg., w/m all3.Sweetheart (Arnold Johnson–Benny Davis)Hall Brothers JB 1031ASM, 1921, Leo Feist; w. Davis/m. Johnson.Sweetheart o’ Mine (seeFrog-I-More)(I Love You – I Love You – I Love You)Sweetheart of All My Dreams(Art Fitch–Kay Fitch–Bert Lowe)Albion JB 1249ASM, 1926, Fitche Bros., assigned 1928 toShapiro, Bernstein. Cover & (c) page agree:I Love You – I Love You – I Love YouSweetheart of All My DreamsSweethearts on Parade (CarmenLombardo–Charles Newman)Marquet–Persson Melody Boys 1229Down Home JB 1273South Frisco JB 1342ASM, 1928, Milton Weil; w. Newman/m.Lombardo.Sweetie Dear (Joe Jordan)Hall Brothers JB 1031Paris Washboard 1293Black Eagle JB 1303Chris Tyle’s Silver Leaf JB 1311South Side Jazz Serenaders 1420ASM, 1914, Jos. Stern.Sweetmeats (Percy Wenrich)Chrysanthemum Ragtime Band 1079Pierce College Symphonic Winds 1297ASM, 1907, Arnett Delonais.Sweetness (Carmen Lombardo–Chester Cohn–Ned Miller)Back Bay Ramblers 1279

Keith Nichols Cotton Club Orchestra 1234Ed Berlin says there was a Scott Joplin songby that name in 1915, but it’s lost.12/6/00: Dick Zimmerman sends music to“Jungle Jambouree” by Chris Smith (1913),wonders if this is the same tune. We mustgive it a listen.12/10/00: Wayne Jones points out that this islisted in Rust, recorded by Adrian Schubert &His Salon Orchestra on 1 Apr 30.(SOS index now has a Jungle Jamboree byWaller-Razaf-Brooks.)12/24/00: Charles Davis listened to theNichols Syncopated Jamboree, comparing itto Zimmerman’s music for the Chris Smith’sJungle Jambouree, and finds them curiouslysimilar. Says Syncopated J. sounds like theearlier, march-like Jungle J. of 1913 mightsound like if it were updated in the 1920s in ajazzier, looser style. Did Chris Smith revisit hisown earlier composition?1/26/01: Another spin through the LCcopyright files finds the following progressionunder that title::12/28/12: Jungle jambouree, by Chris Smith,arr. by Will. H. Vodery, pub. 12/28/12 by Jos.W. Stern.6/24/13: Jungle jambouree; one step two stepor turkey trot by Chris Smith, violin & piano.Pub. Jos. W. Stern.10/21/13: Jungle jambouree; one step twostep or turkey trot by Chris Smith, arr. EugenePlatz. Pub Jos. W. Stern.Now a look through the Joseph W. Sterncompany’s claimant cards:12/30/12: Jungle jambouree. Smith, arr.Vodery.6/25/13: “Application for copyright--republished musical composition with newcopyright material.” Jungle jambouree; onestep two step or turkey trot. Author of newcopyright matter: Chris Smith.Then 10/22/13: “Application for copyright--republished musical composition with newcopyright material.” Jungle jambouree; onestep two step or turkey trot. Author of newcopyright matter: Eugene Platzman.All this takes us nowhere, of course, unless wecan confirm Charles Davis’s suspicion thatSyncopated Jamboree is really JungleJambouree updated to the 1920s. But I’mfascinated by the workings of that cardcatalog, and understanding it can help us inmany other places.2/1/01: Let’s call the “Jungle Jambouree”connection a red herring. Robbie Rhodescompared the Keith Nichols recording ofSyncopated with the sheet music to Jungle,reports, “I don’t hear a strong similarity exceptfor the ‘gliding’ two-step feeling. The cycle-offifthschord progression, which dominates‘Syncopated Jamboree,’ is only hinted in‘Jungle Jambouree.’”Robbie contacted Keith Nichols by email, whoreported that Claus Jacobi transcribed“Syncopated Jamboree” off the AdrianSchubert record. He didn’t specifically saythat the composer credit of “Smith” that hegave Erdos came from that same Schubertrecord, but that must be the case. On 1/31/01I asked Nichols to confirm this, and also askedDave Sager to pull the recording and checkthe label, but haven’t heard from either ofthem.Robbie Rhodes dug up the fact that the AdrianSchubert recording has been reissued on “Hotand Rare,” a CD issued by Diamond CutProductions of Hibernia, NJ, DCP-203D.Robbie Rhodes contends that we shouldchange it to “unknown,” that a composercredit of “Smith” is worse than no credit at all,but I don’t buy that. We must leave “Smith”until we learn something else.In note from Oct. ‘04, Erdos says it’s JohnSmith.Well, I’ll be darned. In review 5/5/11 found theErdos note, was about to blast him for notidentifying source of John, but then it occurredto me to consult Online 78 Project for theAdrian Schubert recording, Banner 0804, andlearned that the composer credit on it is . . .John Smith.This is called “doing it the hard way.”2013 review: The happy ending above is badlymarred by the fact that I’ve since figured outthat Online 78 is rife with bad composercredits. I’d change it back to just “Smith”before using it as a sole source. So back towork.The Adrian Schubert record was on Banner0804, Cameo 0404, Jewel 6059, Oriole 2059,Regal 10113, Crown 8149 (as Bud Carlsonaho). Couldn’t find any of those labels.But look at this: In The Dorsey Brothers:That’sIt! by Robert Stockdale, we find a detaileddiscography that includes this session (bothTommy and Jimmy were in Schubert’s band).It specifically credits John Smith as thecomposer, so I guess we quit agonizing overthis. Jazz Oracle CD reissue has it too--I’ll betthis is where Erdos found itSyncopated Troll (Tom McDermott)Tom McDermott 1024TTack Annie (Joe Oliver–Paul Barbarin)Ted Shafer’s Jelly Roll JB 1278Chris Tyle’s Silver Leaf JB 1298Neville Dickie 1309Yerba Buena Stompers 1418Rec Oliver 7/23/26, Vocalion 1049.Confirmed by 2/14/27 copyright reg.Tackin’ ’em Down (Albert Gumble–B. G. De Sylva)Chris Tyle’s Silver Leaf JB 1311ASM, 1918, Jerome Remick; w. De Sylva/m.Gumble.Tailgate Ramble, The (Wingy Manone–Johnny Mercer)Magnolia JB 1016Oops, not in Rust. Lord discography says it’s“The Tailgate Ramble,” rec. Manone’sDixieland Band 3/7/44, Capitol 15285, 1015,(S)T793, CL13327; Mosaic Select MS-028(CD).Then Bechet in 1949, Sharkey Bonano in1949, Singleton Palmer 1950, all asTailgateRamble.But look who else is here:Tailgate ramble; w & melody Johnny Mercer& Wingy Manone. © 1 c. June 30, 1944; Eunp. 381318; Capitol songs, inc.. New York.And, of course, Johnny Mercer = CapitolRecords.But oops again, Capitol Criterion 10024 (lookslike a later reissue on 78, part of a set) indeedsays The Tailgate Ramble by Mercer-Manone.And The TR on Capitol 15285, F1015, andCapitol CL.13327.Well, the fact is that the first recording of it,and the one by its composer, clearly came outas “The Tailgate Ramble.” And it wasrecorded that way before the copyright wasfiled without the The. We must go by that.’Tain’t No Sin (to Dance Aroundin Your Bones) (Walter Donaldson–Edgar Leslie)State Street Aces 1011Ingham–Grosz Hot Cosmopolites 1237

Dick Zimmerman confirms our original title.So do Mike Durham & Robbie Rhodes.--3>And ASM has the sheet music: 1929,Donaldson & Gumble; w. Leslie/m. Donaldson.’Tain’t Nobody’s Biz-ness If I Do(Porter Grainger–Everett Robbins)Jacques Gauthé’s Creole Rice YBJB 1256Neville Dickie & Louis Mazetier 1302Bob Oliver’s Hot Seven 1312M ’N’ M Trio 1319John Gill’s Dixieland Serenaders 13211/15/01: Oops, I helped lead us astray on thisone. Found the published sheet in the CWfiles at MRR, and cover and cy page bothagree that it’s Biz-ness.1/26: Bob, when we talked after 1/15, Irealized that I’d carefully checked the sheetmusic for the hyphen in Biz-ness but hadn’tnoticed the composer discrepancy, so I wentback and traced this trail:Cy card of 1/28/20: ‘Tain’t nobody’s bus’nessif I do, w/P. P. Grainger, m/P. P. Grainger &Everett Robbins. unpub. Porter P. Grainger,Chicago.Cy card of 9/25/22: ‘Tain’t nobody’s bizness ifI do; from Seven o’ Hearts. w/m PorterGrainger & Everett Robbins. pub. ClarenceWilliams Music Publishing Co. Inc.Cy card of 1/7/36: ‘Tain’t nobody’s bizness if Ido, w/mPorter Grainger, Graham Prince &Clarence Williams. Ed. by Clarence Williams &Graham Prince. pub. CWMP Co. Inc.Then found a pair of CWMP claimant cardsthat told the tale:1922: Composers Grainger & Robbins.1936: “application for copyright forrepublished musical composition with newcopyright matter.” “Author of new copyrightmatter”: Clarence Williams & Graham Prince.The copy I had found in the CW folder in theMRR was the 1936 revised version, althoughthere’s nothing on it to indicate that.Audrey Van Dyke turned out to have the 1922version in her collection (pub. ClarenceWilliams). Sure enough, the composer creditsthere are Porter Grainger & Everett Robbins.But Biz-ness has the hyphen on that copy aswell.SO: In 1936 Williams & Graham altered &republished the 1922 Grainger-Robbins tune,screwing Everett Robbins out of his credit inthe process. S&P, Lissauer, and Kinkle allrefer to this later version.We have the right listing, as shown here; I’mjust relaying all this for your information andedification.’Tain’t So, Honey, ’Tain’t So(Willard Robison)John Gill’s Dixieland Serenaders 1321ASM, 1928, Irving Berlin.Take a Good Look at Mine(Dan Dougherty– Phil Ponce)West Jesmond Rhythm Kings 12554/24/11: MANY online confirmations.2013 review: Bound to be right, be we havemore complete sources now. Goldkette Victorwas 1/24/29. 10/10/28 copyright reg. confirmsw. PP/m. DD.Take It Easy (Ken Colyer)Albion JB 1206This could be trouble. There were LOTS ofsongs by that title recorded between 1925 andColyer’s in 1960, including (but not limited to)Monette Moore, 1925; Duke Ellington, 1928;Frankie “Half Pint” Jaxon, 1929; Earl Hines,1933; Fats Waller, 1935; Orville Knapp, 1935;Isham Jones, 1936; Valaidaa Snow, 1940; BobCrosby, 1941; Glenn Miller, Harry James,Jimmy Dorsley, 1944; Vincent Lopez, 1946.We’ll be hard pressed to affirm that Colyerwasn’t playing something he heard earlier onhis America trip.Anyway, Colyer’s only recording of it was onLP titled This Is the Blues., rec. 12/7-8/60 &1/4/61, Columbia 33SX 1363. And I guesswe’re off the hook, since I found, of all things,the original liner notes of that LP by OwenBryce, who writes,And, of course, there is the lost art of playingLOUD and soft... which brings me to thevocal on Ken's own composition, “Take ItEasy.” This might almost be a sermon tothose trying to find jazz salvation: do as Kendoes, both in his singing and in his trumpetplaying. "Take it easy", as he does, in thebeautifully muted trumpet entry to his ownchorus...and then you're really with theblues.None of the other titles on the LP was byColyer, so I guess we can take this to thebank.Take It Easy (Duke Ellington)Blue Rhythmakers 1373Rec. Ellington aho, 1/19/28, OKeh 41013,Brunswick 7670, Parlophone R-144 et al.Then as The Washingtonians, Cameo 8188,Lincoln 2843, Romeo 618 et al. Then differentsession 3/21/28, Brunswick 4009 et many al.Confirmed by 7/7/28 copyright reg. and sevendifferent Ellington labels from the sessionsabove.Take It from Me, I’m Takin’ to You(Fats Waller–R. Stanley Adams)State Street Aces 1041Neville Dickie 1176Grosz–Ingham Paswonky Serenadrs 1214Neville Dickie & Louis Mazetier 1302

ecitation. © Feb. 14, 1933; E for. 28478; B.Feldman & co.Last hiss for the serpent will have to be on arecord label: Alas, Victor 24008 gives Parker’sname in full and credits Ikey for the vocalrefrain, but nothing about a viper. And there’snothing in the lyrics about a viper. RHJA andOnline 78 mention no viper. LC SONIC hasthe Bluebird release, doesn’t mention a viper.And Paul Robison recorded it in 1933 (Victor24318) with no snakes.And yet I do find a few mentions of the subtitleon web sites, including a review by ScottYanow of some CD reissue of Hendersonsides. And I have a BMG reissue ofHenderson that shows the subtitle, but no textmension of where it came from.I have to presume that this is another case likeone recent one (She’s No Trouble/Sweetheart)in which there was an alternative title shown inthe Victor ledgers for a tune that wascopyrighted and released under a differenttitle. I rejected that title as a curiosity, not forreal.I suspect that Henderson came into the Victorstudios intending to call it “Song of the Viper,”but it was vetoed by Victor as too provocative(or simply inexplicable, since—in spite ofBamberger’s speculations above—the lyricstell of a guy who’s cabin by the river isthreatened by a storm, and he pleads to theLord to take him away from the river—call that“Song of the Viper” and people would beperplexed by it).Will have Haesler check his Henderson book,which almost has to be the source for this title,but unless he sings a pretty convincing song,out it goes. Well, Henderson’s discograplhyjust repeats what I found above. Butelsewhere, in a discussion of another KayParker tune that Henderson recorded, “Songof the Swamp,” Henderson writes,I know of no recordings of this tune; perhapsthey confused it with her TAKE ME AWAYFROM THE RIVER, subtitled "Song of theViper" (rec. by Henderson, March 10, 1932).But he’s full of beans: as we’ve seen, it wasNOT subtitled “Song of the Viper.”Haesler’s later note:The more I think about it, the more I agreewith your 'theory' that it may have been asuggested alternative title in the Victor files.And we know that Walt Allen and BrianRust had access to them at one stage.ADD THIS TO THE LIST OF ALT VICTORLEDGER TITLES THAT should either be killedor converted to Alt titles (with an explanation?)Take Me for a Buggy Ride(Wesley Wilson–Leola B. Wilson?)Rusty Taylor’s Jazz Makers 1082Helm–Leigh Jazz & Blues Review 13312013 review: Rec.Bessie Smith, 11/24/33, OKeh 8949, 6893;Columbia 37574, Parlophone R-2146 et al.Georgia White, 5/26/39, Decca 7620.Not in copyright books 1932-35. One WW titlein 1932, otherwise neither of them clearthrough 1935.Oops, credit on Bessie Okeh 8949 andParlophone is just Wilson; OKeh 6893 is S.Wilson (LC SONIC, and S. would be “Sox”);White Columbia is just Wilson (LC SONIC).Wikipedia article on Wesley cites Buggy Rideas his song. S&P say just Wesley, copyright1933 by Frank Music Co. Haesler reports thatthe Bessie Parlophone and Columbia labelsalso are Wilson.And yet do a search on the title plus “Wilson”and at least half the citations credit S. and L.Wilson. My old Columbia LP cites S. & L.Wilson, so maybe that’s where it comesfrom—but a Columbia 45 reissue was just S.Wilson!This tune was recorded with Do Your Duty,Gimme a Pigfood, and I’m Down in the Dumpson 24 Nov 33, acc. by Buck & His Band, withsome top jazz stars. In his book on Bessie,Chris Albertson says of that session,At Bessie’s request, this was not a bluessession. The four selections record werewritten by Leola B. Wilson and Wesley“Socks” Wilson, a husband-and-wifevaudeville team with a long list of Paramount,OKeh, and Columbia records to theircredit.Well, at Do Your Duty, we found that the OKehlabel said only Wilson, as here, and found notan original copyright but a 1962 renewal thatsaid w&m Wesley Wilson. Same story forDown in the Dumps.Seems like we must delete Leola unlesssomebody can find some proof for her.Take Me Gently (Remcovan der Gugten)Minerva JB 1117Van der Gugten is a reed player who hadearlier composed several titles for anotherDutch band on Stomp Off, Fried Potatoes.Take Me to the Land of Jazz (EdgarLeslie–Bert Kalmar–Pete Wendling)Down Home JB 1241South Frisco JB 1342Steve Waddell’s Creole Bells 1348Yerba Buena Stompers 1406Heliotrope Ragtime Orchestra 1427ASM, 1919, Waterson, Berlin & Snyder; w.Leslie-Kalmar/m. Wendling.Take Me to the Midnight Cake WalkBall (Eddie Cox–Arthur Jackson–Maurice Abrahams)John Gill’s Dixieland Serenaders 1304ASM, 1915, Maurice Abrahamson.Take Your Black Bottom Outside(Clarence Williams-Eddie Green)Neville Dickie 1366

Pretty sure without having heard it thatJabbo didn't record a tune related to the oldJoe Jordan song!Take Your To-morrow (and Give MeTo-day) (J. C. Johnson–Andy Razaf)Peter Ecklund’s Melody Makers 1175Paul and His Gang 1329We had no hyphens before.S&P matches our title.Copyrighted as to-morrow, a common usagein those years:Take your to-morrow; words by Andy Razaf,music by J. C. Johnson. © July 20, 1928; 2c. July 19; E 695537; Triangle music pub.co., inc., New York.Rec.Arthur Ross’s Westerners, 8/30/28, Harmony723-H. Label = Take Your To-morrow (andGive Me To-day) (LC SONIC)Jackson & His Southern Stompers, 9/28,Marathon 227 (7").Emmett Miller (no subtitle), 9/14/28, OKeh41135, Parlophone R-314. OKeh label =Take Your To-morrow (and Give Me To-day)Trumbauer aho (and Give Me Today), 9/20/28,OKeh 41145; Columbia 37807, DCH-339;Parlophone R-265, R-2564, A-7534 et al.[this is the version that made it famous.]OKeh label = Take Your To-morrow (andGive Me To-day) Also found ColumbiaC 144-7, a later reissue, with the hyphensremoved.Art Payne aho (no subtitle), 10/12/28, Gennett6644.Also foundPiccadilly Players, Edison 52391-R. Label =Take Your To-morrow (and Give Me To-day)Well, the story’s clear: The copyright washyphenated, and all the early issues added thesubtitle, also hyphenated. And we’ve gotseveral other titles in the book with that olderusage for to-morrow, to-day and to-night.Takin’ It Easy (Ray Smith)Ray Smith 1012Tale of the Samovar (Rube Bloom)George Foley 1187Confirmed by 10/13/37 copyright reg.Tallahassee (David Thomas Roberts)David Thomas Roberts 1072Tambourines and Oranges(F. Henri Klickmann, adapted from LaCinquantaine by Jean Gabriel-Marie)Heliotrope Ragtime Orchestra 1411Confirmed by 1915 sheet music, which carriesline right under title of Adapted from Gabriel-Marie’s “La Cinquantaine.”And the copyright reg. absolutely defers tothe1892 melody:Tambourines and oranges; fox trot, adaptedfrom Gabriel Marie's La cinquantaine, by F.Henri Klickmann, of U.S.; piano. © Nov. 20,1915; 2 c. Nov. 24, 1915; E 374017; Frank K.Root & co., Chicago. [Copyright is claimedon adaptation]Found several copies of La Cinquantaine (c.1887) in different libraries, but sometimes it’shyphenated, sometimes not. Because his fullname was Jean Gabriel-Marie, but onlyGabriel-Marie was on the sheet music,undoubtedly tempting some readers topresume the hyphen was spurious.Tampeekoe (Elmer Schoebel–Louis Panico–Walter Melrose)Charquet & Co 1039Louisiana Repertory Jazz Ensemble 1140New Orleans Classic Jazz Orch 1145Les Rois du Fox-Trot 14075/2/11: Haven’t seen sheet music yet, butfrom web search it’s clear: (1) It was recordedfour times in 1926; two of those 78s showedSchoebel-Panico as composers (one had nocredits and I couldn’t find the other one). (2) itwas published in 1926 with Walter Melrose aslyricist. So I guess we keep him.ASM has it: w. Melrose/m. Louie Panico &Elmer Schoebel; 1926 Melrose Bros.Tango a la Caprice(Willie “The Lion” Smith)Tom Roberts 13921939, says Roberts, but not in 1939-40copyright books. According to Lord, firstrecording was Smith’s 2-LP set The Memoirsof Willie “The Lion Smith (rec. 1967, pub. 1968RCA LSP-6016. I had the set, and the crediton it was indeed Smith, so that’s probably allwe’ll get. Not in 1967-68 books either.But Songwriters Hall of Fame tunelist forClarence Williams shows him as a cocomposer.What the hell? I asked TomRoberts about it:It was published as sheet music in 1939 byLeo feist. The Lion has sole composer credit.My version is transcribed from twodifferent sessions. The 1958 Goodtime Jazzsession Luckey and the Lion as well as theMemoirs session.No way in Hell that Clarence Williams hadanything to do with this.Tango Flamingo (Dave Dallwitz)Dave Dallwitz Ragtime Ensemble 1098Tank Town Bump (Jelly Roll Morton)Ray Skjelbred 1097Pam Pameijer’s Classic Jazz Aces 1194Mike Daniels’ Delta Jazzmen 1203Mahogany Hall Stompers 1221Jim Cullum JB 1254Pam Pameijer’s New Jazz Wizards 1318Rec. JRM aho 7/12/29, Victor V-38075, HMVB-10456 et al.Confirmed by 9/28/29 unpub. copyright reg.and Victor label.Tar Babies (Charles L. Johnson)Pierce College Symphonic Winds 1297ASM, 1911, Johnson.Ta-Ra-Ra Boom-De-Ay! (RichardMorton–Angelo A. Asher)St. Louis Ragtimers 1267

Alabam Orch, 4/15/24, Vocalion 14800,Beltona (UK) 569, Guardsman (UK) 7001.Copyright isTeapot dome blues: w and m Irving Mills,Elmer Sckoebel and Geo. D. Lottman, all ofU.S. © July 7, 1924; 2 c. July 16; E 589932;Jack Mills, inc., New York.Edison label has same title, omits Lottman incredits. But Henderson Vocalion is Tea Pot,credit just Schoebel--that’s likely where LesRois du Fox-Trot found it. Recordings arenearly similtaneous, so we’ll opt for the labelthat matches the copyright.Tears (Louis Armstrong–Lil Hardin)Creole JB 1051Peruna Jazzmen 1204Ted Shafer’s Jelly Roll JB 1278Steve Waddell’s Creole Bells 1348Independence Hall JB 1384Southern Stompers 1414Gill confirms that his 10/20/23 copyrightdeposit for this tune shows Armstrong-Hardin.And indeed, the copyright readsTears; melody by A. and H., of U.S., arr.Lillian Hardin, of U.S.; © 1 c. Oct. 20, 1923;E 574291; Armstrong and Hardin, Chicago.Rec. King Oliver, 10/25/23, OKeh 40000,Biltmore 1056, HRS 12 et al. OKeh labelconfirms too.Tears in My Heart (Pete Clute)Ernie Carson & the Castle JB 1283Clute was in the band, wrote this in 1993.Teasing Rag (Paul Pratt)Elliott Adams 1198Not in copyright books 1911-13, but PerfesserBill lists it as 1912, but it’s not in the Jasen-Tichenor book, nor in any online collectionsthat I can find. But it’s in a folio edited byJasen titled Ragtime Jubilee: 42 Piano Gems,1911-21. And ample other references to thesheet’s having been published in 1912. Brier& Adams both confirm it.Teddy Bear (James H. Jackson)Evergreen Classic JB 12021202 had Teddy Bear Blues, but cover isTEDDY BEARBLUES(c) page isTEDDY BEAR(Blues)ASM, 1922, Sherman, Clay.Teddy in the Jungle(Edward J. Freeberg)David Thomas Roberts 1021Confirmed by 2/8/10 copyright reg.Teddy Trombone (Henry Fillmore)West End JB 1085Univ. of Wisconsin Symphony Band 1246Confirmed by 5/14/18 copyright reg.Tee-Us for Two (Matthias Seuffert)Chalumeau Serenaders 1394Seuffert is a reed player in the band.Tell ’em ’bout Me (When You ReachTennessee) (Sidney Easton)Jean-François Bonnel & Friends 1131Marty Grosz /Keepers of the Flame 1158Both LPs credited Waters & Easton.Rec. Ethel Waters, 3/25/24, Paramount 12214,Silvertone 3535.Copyright is dry (no Waters):Tell 'em 'bout me, when you reachTennessee; w and m Sidney Easton, of U.S.© 1 c. June 5, 1924; E 589018; Chicagomusic pub. co., Chicago.Waters had credit for one other song in 1924book, but not this one.Well, the Paramount label isTell ’Em Bout Me(When You Reach Tennessee)(Sidney Easton)Ethel WatersAcc. Piano and CornetThe credit for Easton and composer nameWaters are in the same font, so it wouldn’thard for somebody to read it as the both ofthem, but the copyright and label are clear:Easton only.What’s problematic is the missing apostropheon the label. It belongs there, and it was in thecopyright, so we’ll presume that’s a simpletypo on the label.Tell Me (Max Kortlander–J. Will Callahan)John Gill’s Original Sunset Five 1094ASM, 1919, Lee S. Roberts; w. Callahan/m.Kortlander.Tell Me Who (Merritt Brunies–HenryBrunies–Bill Paley–Norman Van Hook)Paramount JB of Boston 1340ASM, 1926, Milton Weil; w. Bill Paley &Norman Van Hook/m. M. & H. Brunies.Temptation Blues (seeCamp Meeting Blues)Temptation Rag (Henry Lodge)[also published in song versionwith lyrics by Louis Weslyn)Down Home JB 1241Evergreen Ragtime Quartet 1383ASM has two copies, both 1909, M. Witmark.1. Temptation Rag (cover and copyrightpage), by Lodge.2. Temptation (cover) / Temptation Rag(copyright page), w. Louis Weslyn/m. Lodge;blurb on cover “The Great Rag Song.”Tempus Ragorum (A Ragtime Reverie)(Marshall M. Bartholomew)Trebor Tichenor 1282Confirmed by 2/21/06 copyright reg.Ten Cents a Dance (Richard Rodgers–Lorenz Hart)Barbara Lashley & Ray Skjelbred 1152ASM, 1930, Harms; w. Hart/m. Rodgers.Ten Little Fingers and Ten Little Toes(Down in Tennessee) (Ira Schuster–Edward G. Nelson–Harry Pease–Johnny White)Ernie Carson & the Castle JB 1283ASM, 1921, Leo Feist; w. Pease-White/m.Schuster-Nelson.Ten Little Miles from Town(Elmer Schoebel–Gus Kahn)John Gill’s Calif. Sunshine Boys 1157Les Rois du Fox-Trot 1407Rec. Ben Bernie, 7/28/28, Brunswick 4020,3882, A7894. Lud Gluskin, Paris, 11/15/28,Pathe X-8584. Sam Lanin, 8/3/28, OKeh41097; Parlophone R-214, A-2604; Odeon193232.Confirmed by 7/5/28 copyright reg., w.Kahn/m. Schoebel.Ten Years (Johnny Bond)Chris Tyle’s NO Rover Boys 1235From Bob Wills & His Texas Playboys. Bondhimself recorded it in 1945; my History ofCountry Music credits it to him. Wills rec.7/15/42, Columbia 20132, 37405; Okeh 6692.Confirmed by 4/6/43 copyright reg. & J. Bondcredit on Columbia 37405.Tennessee Jubilee, A(Thomas E. Broady)David Thomas Roberts 1317Confirmed by 1899 sheet music reproduced inTichenor’s Ragtime Rarities folio.Tennessee Lazy (Joe Sanders)Moonlight Broadcasters 1193Andy Stein Blue Five 1390

Les Rois du Fox-Trot 1436< Is this by Coon and Sanders, as we had on1193, or just Joe Sanders, as on 1390?Aha--UMTenn database has listing of musicfrom 1929, says just Sanders. Andauthoritative complete Nighthawks reissue onThe Old Masters agrees.2013 review: Rec. Castle Farms Serenaders,10/’28, Paramount 20668, Broadway 1227. C-S Orch, 2/12/29, Victor 21939.Confirmed by 7/21/29 copyright reg., just JoeSanders.BUT oops, Victor label says Carleton Coon-Joe Sanders (copy I’m looking at is one ofthose with the typo Tennessee Lady asmentioned by Rust. Victor Project confirmsboth composers (lyrics Coon, m. Sanders).Normally, I defer to labels, but if the sheetmusic (have ordered copy from MTSU andcopyright both agree on Sanders only, I’mgoing to presume that Victor credit is mistakenbased on their being joint bandleaders andwriting lots of other tunes jointly. Next day:Sheet is clear: words & music by Sanders.Tennessee Maple Leaf, A(Scott Joplin, arr. Jack T. Rummel)Jack Rummel 1118Credit on LP tunelist was Rummel/ Joplin/Hunter. But I think it’s safe to say that Rummeland Joplin and Hunter never sat down to thepiano and collaborated on a tune.Rummel’s notes to tune called it “(Jack T.Rummel, 1982. With apologies to ScottJoplin and Charles Hunter.)” But hisdescription is of infusing Hunter’s ideas ofsyncopation into Joplin’s melody. Whatcomes out is clearly “Maple Leaf Rag” but withvery much a different sound. So whatever elseit is, it’s Joplin arr. Rummel. I don’t see anyeasy way to get Hunter into the credit, nor do Ithink it’s particularly important for thepurposes of this index.Tennessee Revival, The(Monroe H. Rosenfeld)Elite Syncopators 12861900, says Parish, but not in copyright book.But U. Alabama library has it as “The”Tennessee Revival, pub. Joseph Stern 1908.But British Library at St. Pancras says “A,” alsoStern 1908. Alas, neither will show it to me.Well, Rosenfeld has “Tennessee Tickler” in1908. Ah, here it is:Tennessee (A) revival; camp meeting dance,by M. H. Rosenfeld, for piano. Monroe H.Rosenfeld, New York, N.Y. C 183800, June19, 1908.But I got to the Alabama copy through anotherdoor, and here’s the confusion. “A TennesseeRevival” on cover, but “The TennesseeRevival” on copyright page. Monroe H.Rosenfeld both places.If ever I was tempted to overrule a copyrightpage, this would be it, but a pretty fair numberof the index mentions of it call it “The,” so I’mnot the only one who considers the copyrightpage to be the Bible.Tennessee Tantalizer, A(Charles Hunter)Morten Gunnar Larsen 1009David Thomas Roberts 1317

all three names. Zimmerman in one placecalls him Collis. Jasen-Tichenor book saysWelborn. Brier confirms from sheet that ascomposer he’s Callis Welborn Jackson, aspublisher he’s W. C. Jackson.(The Original) Texas Tommy Dance(“King Chanticleer”) [KingChanticleer] (Nat D. Ayer)Queen City Ragtime Ensemble 1138Down Home JB 1217Steve Waddell’s Creole Bells 1230South Frisco JB 1240Jacques Gauthé’s Creole Rice YBJB 1256Yerba Buena Stompers 1375[this from my letter to Erdos dated 11/30/93]There was one title that I knew all alongwarranted further investigation, but I just nevergot into it. Then at Robbie Rhodes’s house Ifound that he had just done the research forme. Here’s the story.“King Chanticleer” was a relatively simpleragtime song published by Nat D. Ayer(music) and A. Seymour Brown (lyrics) in1910.Then, in 1913, came the tune that looks prettymuch this way on the copyright page:The OriginalTexas Tommy Dance(“King Chanticleer”)The composer is Nat Ayer; there are no lyrics.It is the multistrain rag (two of which comefrom the 1910 song) that Turk and all theothers have played over the years. I presumethat Whitcomb and Zimmerman areperforming the 1910 song on SOS 1049 andthat all the other recordings are the 1913composition.It seems quite clear to me that we need twoentries:Texas Tommy Swing (Sid Brown–Val Harris)Tom Brier 1274ASM, 1911, Jerome Remick.Thank You Most Sincerely(Billy Mayerl–Frank Eyton)Alex Hassan 1322Confirmed by 4/27/31 copyright reg., w. FE/m.BM.Thank You Satchmo (Johan Bijkerk)Hot Dogs /Victoria Varekamp 1033Bijkerk was pianist/arranger for the band.Thank Your Father (B. G. De Sylva–Lew Brown–Ray Henderson)San Francisco Starlight Orchestra 1364ASM, 1930, De Sylva, Brown & Henderson.That Beautiful Rag (see Oh, ThatBeautiful Rag)That Certain Motion (Bennie Moten–Thamon Hayes–Leroy Berry)Lande’s Rhythm Club Orchestra 1327Rec. Moten 7/17/29, Victor V-38104.Confirmed by 1/22/30 unpub. copyright reg.That Cherry Rag (Edna Chappell Tiff)Trebor Tichenor 1282ASM, 1914, Edna Tiff.That Cowboy Band (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.That Da-Da Strain (Edgar Dowell–Mamie Medina)Scaniazz 1004Chris Tyle’s NO Rover Boys 1235Neville Dickie 1324Dan Levinson’s Roof Garden JB 1380We had Da Da.ASM, 1922, Clarence Williams, “That Da-DaStrain” both cover and copyright.That Demon Rag (Russell Smith)Elliott Adams 1299ASM, 1912, I. Seidel.That Eccentric Rag [Eccentric](J. Russel Robinson)Peruna Jazzmen 1003London Ragtime Orchestra 1081New Orleans Classic Jazz Orch 1145Red Roseland Cornpickers 1153John Gill’s Novelty Orchestra 1227Bruno’s Salon Band 1251Chris Tyle’s Silver Leaf JB 1298Duke Heitger’s Big Four 1367Heliotrope Ragtime Orchestra 1411June 2011:I wonder if Jasen & Tichenor got thisbackwards. In ASM I found two copies:1. 1912 I. Seidel.CoverTHATECCENTRICRAGbut (c) page isThat Eccentric Rag2. Eccentric(c) 1912 Seidel(c) renewed J. Russel Robinson 1940(c) reassigned 1940 to Fred Fisher Music Co.(c) 1950 by Fred Fisher.So it appears that the original 1912 editionwas “That Eccentric Rag” (although a glanceat the cover could lead one to believe that it’sjust “Eccentric”), and a later version wasreleased as simply “Eccentric.”That Flying Rag (Arthur Pryor)Univ. of Wisconsin Symphony Band 12461911 says CD, but not in copyright 1911-12copyright books. However, label of Victor17021, rec. 11/15/11, confirms Pryor, as doesVictor Project.That Futuristic Rag (Rube Bloom)Matthew Davidson 1252Rec. Bloom 2/21/28, Parlophone R-162, OKeh41073.Not in copyright books 1927-29, butconfirmed by Okeh label.That Good Old Stuff (Louis Mazetier)Paris Washboard 1391Mazetier is pianist with the band.That Jazzbo Jungle Band(Harry Carlton–Jay Whidden)Ian Whitcomb & Dick Zimmerman 1049Oops, the copyright spells it differently:That jasbo jungle band; words and music byHarry Carlton and Jay Whidden [of England]© Dec. 31, 1918; 1 c. Jan. 4, 1919; E435456; B. Feldman & co., London.Amazon reports having had copy of sheetmusic on sale as Jasbo, no longer available.Online biography of Whidden shows title thatway. Whitcomb & Zimmerman must have“Americanized” it.But No! Zimmerman writes,When in England in the 70's I found a bunchof his songs--including ragtime ones. All

were Feldman 6D black and white editions.THAT JAZZBO JUNGLE BAND was one ofthem (No. 998). I have the original edition. Itwas not spelled "jasbo."That Kind of Love (Tiny Parham)Jungle Crawlers 1084Rec. Parham 2/2/29, Victor V-38047.Confirmed by 12/17/30 unpub. copyright reg.and Victor label.That Mesmerizing Mendelssohn Tune(Irving Berlin)Chrysanthemum Ragtime Band 1196ASM, 1909, Ted Snyder.That Moaning Saxophone Rag(Tom Brown–Harry Cooke–Roger Lewis)San Francisco Starlight Orchestra 1364Levinson’s Trans-Atlantic Saxtette 1430

ASM, 1929, Mills; w. Razaf/m. Waller-Brooks.That Society Rag (Lionel Dalton–James W. Gearhart)Chrysanthemum Ragtime Band 1196Oops, LP had Gearhart and Tilton, but theywere the publishers.Copyright isThat society rag; from the musical comedyThe girl in the dark, lyrics by Lionel Dalton,music by Jas. W. Gearhart. Fresno, Cal.,Gearhart & Tilton. © May 26, 1913; 2 c. May26, 1913; E 309867; Gearhart, Tilton andDalton, Fresno, Cal.Well, he’s Jas. W. on the cover and copyrightpage of the sheet music as well.That Streamline Gal of Mine(Katherine Martin–Willie “The Lion”Smith–Walter Bishop–Clarence Williams)Charquet & Co 1008Jean-François Bonnel & Friends 1131South Side Jazz Serenaders 1420Les Red Hot Reedwarmers 14251/15/01: Aha, published sheet from theClarence Williams files in MRR:That Streamline Gal of Mine by KatharineMartin-Willie Smith-Walter Bishop-ClarenceWilliams, pub. 1937 by CW.Looks to me like we have to list it primarlyunder T asThat Streamline Gal of MineWith a cross-ref from Streamline:Streamline Gal (see That Streamline Gal ofMine)And, of course, we add the fourth composer.1/18/01 second look: oops, it’s not justadding a 4th composer; Scott’s not onpublished sheet, and Bishop & Martin are bothnew. Must recheck.1/25/01 follow-up:The cy card dated 5/28/35 says Streamline galof mine, melody Clarence Williams, WillieSmith & Cecil Scott, unpub., CWMP Co. Inc.(CWMP claimant card agrees with this.BUT the sheet music published 1937 byCWMP says That Streamline Gal of Mine, byKatherine (I misspelled her name above)Martin, Willie Smith, Walter Bishop & ClarenceWilliams.Seems to me that we have to go with thepublished music both in title and composercredits. If CW screwed Cecil Scott, he seemsto have screwed him fair & square, sincethere’s no evidence that it was ever publishedwith Scott’s name on it.2013: Pinsker adds:That Streamline Gal of Mine. Photocopy ofthe pro copy deposited for copyright atLofC. Strangely, the stamp on it is Nov. 24,1965! But, anyway, the title is THATSTREAMLINE GAL OF MINE, and it says ByKatherine Martin, Willie Smith, Walter Bishopand Clarence Williams (arr. by LewisRaymond). The copyright date at the bottomof the page is 1937 by Clarence WilliamsMusic Pub. Co., Inc.That Sweet Something Dear(John C. Spikes–Benjamin F. Spikes)Chris Tyle’s Silver Leaf JB 1298John Gill’s Jazz Kings 1401Yerba Buena Stompers 1418We had a comma after Something. Rec.Georgia Harvey, 11/22, Black Swan 14135,Paramount 12142.Ruth Lee (no comma in Rust), 6/22, Nordskog3008, Sunshine 3002. Nordskog andSunshine labels: no comma on label, creditSpikes Bros.King Oliver, 10/5/23, Gennett 5276 but notissued.No comma on copyright:That sweet something dear; fox trot, w andm John C. and Benjamin F. Spikes, of U.S.,arr. J. C. Spikes.© 1 c. July 16, 1923; E565986; Spikes bros. pub. co., Los Angeles.I know the comma’s grammatically logical, butit was on neither the copyright nor the onlylabels we can find, so it must go.That Teasin’ Rag (Joe Jordan)Waldo’s Ragtime Orchestra 1007Grand Dominion JB 1337ASM, 1909, Jos. W. Stern.That Teasin’ Squeezin’ Man of Mine(Edgar Dowell—Frank Signorelli–Phil Napoleon)Des Plantes’ Washboard Wizards 1231CD said “o’ mine” - Rec.Leona Williams, 2/5/23, Columbia A-3835.Label definitely says “of mine” and creditsDowell.Orig. Memphis Five (w. Signorelli &Napoleon), 9/6/23, Banner 1254; GreyGull/Radiex 1188; Oriole 127; Regal 9543and even more. RJHA and Online 78 say“of” by Dowell-Signorell-Napoleon for theOriole 127. Regal label is “o’ Mine,” all threecomposers.Again 12/27/23, Pathe 036043, 10662; Perfect14224; Ajax 17038. Pathe 036043 label is“of,” all three composers.Well, I did find this copyright:That teasing squeezing man; words andmelody by Edgar Dowell [of U.S.], arr. byJohn Ricketts [of U.S.] © 1 c. Apr. 5, 1923;E 559104; Bob Harris, New York.Signorelli’s in the 1923 book for four tunes,but not this one. He’s in the 1922, 1924-5books too, but not this title.OK, we (a) concede that Signorelli &Napoleon added something that justified theirnames on the label (maybe turning a songversion in to a foxtrot), but “of” predominatesover “o’ mine.” And all the labels had “teasin’squeezin’” stead of “teasing squeezing.”That Thing Called Love(Perry Bradford)Jacques Gauthé’s Creole Rice YBJB 1256Neville Dickie 1324Oops, this is awkward:ASM has it,(c) transferred 1920 to Pace & Handy, pub.Pace & Handy, which shows itThat Thing CalledLoveon both cover and copyright page. Looksodd, but we have others that are no lessawkward than (That Thing Called) Love.IN Harmony has a later edition that shows itTHAT THING CALLED LOVEall on one line. This one is(c) 1919 by The Melody Pub. Co., NY(c) renewed by Perry Bradford, NYPublished by Perry Bradford, Music Publisher,NY.I’m tempted to suggest that if Bradford himselfsaw the folly of that awkward title andchanged it, we might want to break our rulesand give it to him.That Tired Rag (Charlotte Blake)Univ. of Wisconsin Symphony Band 1284ASM, 1911, Jerome Remick.That Too, Do (Bennie Moten–Eddie Durham–Count Basie)Back Bay Ramblers 1355Rec. Moten 10/18/30, Victor 22793, HMV B-4912.

Confirmed by 10/1/31 unpub. Copyright reg.That Twentieth Century Rag(Ian Whitcomb, based largely on I’veGot a White Man Working for Meby Andrew B. Sterling)Ian Whitcomb & His Merry Bands 1276CD said based on a melody by Andrew V.Sterling.That Wonderful Something (Is Love)(Louis Alter–Joe Goodwin)Back Bay Ramblers 12621262 had just “That Wonderful Something.”ASM, 1929, M-G-M, w. Goodwin/m. LouisAlter; “Title by Jo’ Trent” (what’s that mean?).But there’s a subtitle on both cover andcopyright page (Is Love).That Woodbourne Strut (Roger Bell)Steve Waddell’s Creole Bells 1173Bell wrote the liner notes, and says this is thefirst tune he ever wrote.That’ll Never Do (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. JRM RHP 3/5/30, Victor 23019, HMV B-4836.Confirmed by 1/10/31 unpub. copyright reg.and Victor label.That’s–a–Plenty (Lew Pollack)New Orleans Classic Jazz Orch 1145Down Home JB 1190South Frisco JB 1307Chris Tyle’s Silver Leaf JB 1311Paris Washboard 1338Heliotrope Ragtime Orchestra 14273/20/03: Aha, Audrey has 1914 sheet music(pub. Joe Morris), shows hyphens on bothcover and copyright page. Lew Pollack alone.If Mr. Gilbert added lyrics, he did it later.Note there’s also a “That’s a Plenty” by HenryCreamer (w.) & Bert Williams (m.), 1909.That’s All Right (Arthur “Big Boy”Crudup)John Gill’s Jazz Kings 1401Rec. Crudup 9/6/46, RCA Victor 22-2205and/or 22-2307.Not in copyright books 1946-47. Butconfirmed by Victor 22-2205 and 45 releaselabels.That’s All There Is (ThereAin’t No More) (Henry Woods)Jimmy Mazzy & Friends 1219ASM, 1925, Witmark.That’s Georgia (Larry Shay–Haven Gillespie–George A. Little)Banu Gibson NO Hot Jazz Orch 1073Charleston Chasers 1376Rec. CA Ramblers, 9/6/24, Paramount 20349and many others. Bernie Cummins aho,9/29/24, Gennett 5555. Fletcher Henderson,8/21/24, Columbia 202-D. Isabella Patricola,9/24, Vocalion 14886.Confirmed by 5/23/24 copyright reg., w. HG-GAL/m. LS.That’s Got ’em (Wilbur Sweatman)Down Home JB 1300Rec. Jim Europe, 5/17/19, Pathe 22146.Sweatman, 2/10/19, Columbia A-2721, LaBelleAL-5040. Synco JB, 3/19, Operaphone/Empire 31117.Confirmed by 1/14/19 copyright reg.That’s Like It Ought to Be(Roy Evans–Harrison G. Smith)European Classic Jazz Trio 1142Pam Pameijer’s New Jazz Wizards 1335Both CDs had Roy Evans-Harrison G. Smith.Rec. JRM Trio, 12/17/29, Victor V-38601, HMVJK-2861.Oops, copyright differs:That's like it ought to be; words and musicby Roy Evans and Samuel Cloud; pf . © 1 c.Apr. 3, 1930; E unp. 19621; HarrisonGodwin Smith, Brooklyn.*And now it gets sticky:That's like it ought to be; melody by JellyRoll Morton [pseud, of Ferd Morton] © 1 c.May 11, 1931; E unp. 39801; Southernmusic pub. co., inc., New York.We know that Smith has accused Jelly ofstealing from him; see notes at “If SomeoneWould Only Look After Me” and especially“I’m Looking for a Bluebird.”I was afraid this would be tough. No credit onVictor V-38601, nor does Victor Project namea composer.The Guide to the Jelly Roll Morton Collectionat Library of Congress has in section calledMusic Composed or Arranged by JRM, withthis odd entry:Manuscript lead sheetIn pencil: Wrong / J. R. M.Copyright: [Southern], 1931“Wrong”?Finally, this is on the list of tunes that HarrisonG. Smith specifically claimed that Jelly stolefrom him (see link at “I’m Looking for...”)The earlier copyright claim and the fact thatVictor tellingly did not credit this to Mortonseems evidence enough to go with thecopyright info.*But that’s a problem, too. Samuel Cloud?He was Bob Cloud on “My Little Dixie Home.But that copyright was clear and so is this one,so we must treat them as different people, Isuppose. They may even really be twodifferent people in a bizarre coincidence.And it just gets worse: the extended articlementioned above about Harrison G. Smith’sclaims against Jelly Roll does include severalrefs to Bob/Robert Cloud, but it also says,about our tune,Roy Evans recorded “That’s Like It Ought ToBe” for Grey Gull in October, 1929 (issuedon GG and Radiex 2512 under thepseudonym “Sammy Cloud” – not listed inthe Mainspring Press pseudonym book!).Though Smith in his article gives Evanscredit as composer, the label only lists"Harrison Smith". [And I found the Grey Gulllabel, which confirms this.]But that doesn’t add up. If Sammy Cloud is apseudonym for Roy Evans, what’s the point ofour copyright here by Roy Evans and SamuelCloud. And the list of stolen titles thatHarrison Smith gave the author of this linkcites Roy Evans-Harrison Smith as thecomposers of this tune. Could Sammy Cloudbe a pseudonym for Harrison Smith ratherthan Roy Evans? But no, Online 78 also saysthat Sammy Cloud is Roy Evans.So screw it--I’ll leave what we had, Evans-Smith, which is what Harrison claimed in hisinterview with the author of the link I’m citing.

And which, in an odd way, is what you getwhen you add the copyright credit of Evans +Cloud/Evans) to the label credit of Smith.That’s My Home (Leon René–Otis René–Ben Ellison)Kustbandet 1294CD had Léon, but he’s Leon with no accent atStompin’ ‘em down and When it’s sleepy timedown south--prob should be that way heretoo, since I found him as Leon in copyrightbook and on Sleepy Time cover.Rec.LA aho 12/8/32, Victor 24200, 40-0102;Bluebird B-6644, B-10236.Leon Rene’s Orch, 8/19/32, Victor rejected.10/14/31 unpub. copyright reg. says w/mRene & Rene. But later rereg. (after therecording) adds Ellison:That's my home; w and m Leon Rene, OtisRene and Ben Ellison; with ukulele arr. ©Feb. 10, 1933; E pub. 35340; Southernmusic pub. co., inc.And that’s how the Victor label reads.That’s No Bargain (Red Nichols)Red Roseland Cornpickers 1102The Red Heads, 11/11/26, Pathe 36576,11331; Perfect 14757.Nichols Five Pennies, 12/8/26, Brunswick3407, 6814; Vocalion 1069 et many al.Arkansas Travelers (Nichols group), 1/4/27,Harmony 383-H.Confirmed by 2/25/27 copyright reg.That’s the Blues Old Man(Johnny Hodges–Irving Mills)Wally Fawkes & the Rhythm Kings 1060We had the logical comma after Blues.Rec. Hodges aho, 11/2/40, Bluebird B-11117,Victor 20-2542, HMV B-9229 et al.Not in 1940-42 copyright books, althoughother Hodges-Mills tunes are.No comma on BB B-11117, composersconfirmed. Nor on Vic 20-2542 (a reissue).Nor on the HMV.That’s the Good Old Sunny South(Milton Ager–Jack Yellen)John Gill’s Novelty Orchestra 1227Rec. Rhythmic Eight (UK), 3/7/29, Zonophone5346. Joe Venuti & his New Yorkers, 2/2/29,OKeh 41192, Parlophone R-340, Odeon193295 et al.Confirmed by 1/11/29 copyright reg., w/JY/m.MA.That’s the Way I Feel Today (seeThe Way I Feel Today)That’s What I Call Heaven(Alfred Solman–George Brown–Dale Wimbrow)Back Bay Ramblers 1374CD had Solman-Brown.Rec. Hal Kemp, 3/29, Brunswick 4307, 5011.Copyright adds a composer:That's what I call heaven; words and musicby Alfred Solman, Geo. Brown and DaleWimbrow, arr. by Joseph M. Weiss; pf. andukulele acc. © Feb. 27, 1929; 2 c. Feb. 28; Epub. 3775; De Sylva, Brown & Henderson,inc., New York.And this George Brown does not seem to bethe same one that we identified as a pseudonymfor Billy Hill back at “The Old Man of theMountain.”(That’s What I Call) Sweet Music(Pete Wendling–Jack Meskill–Al Hoffman)Susan LaMarche/Waldo’s Gut. Sync. 1032Oops, found a blunder. We had “That’s What ICall Sweet Music” by Jack Yellen-Milton Ager.But it’s actually w. Jack Meskill & AlHoffman/m. Pete Wendling, published 1929 byAger, Yellen & Bornstein (ASM and MTSU).No doubt, either: Susan sings the lyrics to thissong. Also, it’sThat’s What I CallSWEET MUSICThat’s Why They Call Me “Shine”(Ford Dabney–Cecil Mack*)Ronn Weatherburn 1107Fenix JB 1129

Men Now Days (see Ain’t MuchGood in the Best of Men Now Days)There Ain’t No Land Like Dixielandto Me (Walter Donaldson)Hotel Edison Roof Orchestra 1169Duke Heitger’s Big Four 1367Rec. Broadway Bell-Hops (Sam Lanin unit withBix and Trumbauer and their ilk), 9/29/27,Harmony 504-H, Davon 104, Temple 547, butRust shows no “to Me” in the title.But the copyright has ’em:There ain't no land like Dixieland to me;words and melody by Walter Donaldson. ©1 c. Aug. 18, 1927; E 673236; Leo Feist, inc.,New York.AND the Harmony label had the “to Me.”There Ain’t No Sweet Man That’sWorth the Salt of My Tears(Fred Fisher)Red Roseland Cornpickers 1102San Francisco Starlight Orchestra 1296BUT get this: ASM, 1927, De Sylva, Brown &Henderson.There Ain’t No Sweet ManThat’s Worth the Salt of My TearsBoth lines same size on both cover andcopyright page.There I Go Dreaming Again(Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285San Francisco Starlight Orchestra 13349/8: Here again, Alex’s sheet music showsthat this was by Brown & Henderson withoutDe Sylva.There Is Love (Clarence Williams)Des Plantes’ Washboard Wizards 1421Rec. CW WB Five, 10/37, Lang-Worth 399,Vintage Jazz Music (LP UK) VEP-22, JazzPanorama LP-10.Alas, not in copyright books 1937-39. But Idid find Lang-Worth 399, a 16" transcriptiondisc, and it confirms Williams as composer.VEP-22 is a small-hole 45, but couldn’t readlabel.There Must Be Somebody Else(Archie Gottler–Sidney Clare–Maceo Pinkard)Barbara Rosene & Her New Yorkers 1422CD had just Pinkard-Clare.ASM, 1927, Irving Berlin; Archie Gottler-SidneyClare-Maceo Pinkard. We didn’t have Gottlerbefore. Copyright reg. has all three too.There’ll Be a Hot Time in the OldTown Tonight (see A Hot Time inthe Old Town)

Oops, not in Rust. My Jan Garber reissuesays In my heart. And West End has Virginia(There’s a Blue Ridge ’Round) And AnimalCrackers says There Is a Blue Ridge...And oops, Rust agrees with West End JB:“Virginia (There’s a Blue Ridge In/’Round MyHeart).”Rec. (according to Rust):Eva Taylor (acc,. CW Blue Five), 8/6/26, as(There’s a Blue Ridge in My Heart) Virginia,OKeh 40671.Jay Whidden, as Virginia (There’s a BlueRidge in My Heart), London, 10/19/28,Imperial 1982.Alfredo’s Band, London, 1/29 (’Round), EdisonBell Radio (UK) 925.Arthur Rosebery (as we have it), 1/12/29,Parlophone R-277, A-2719; Ariel Grand (UK)4343 (as Ariel Grand Orch).But oops yet again: no such song in books1925-29. Now what? West End says recordedby Sophie Tucker with Al Starita’s PiccadillyPlayers in 1928.My Sophie tucker reissue of it shows “There'sa Blue Ridge Round My Heart, Virginia,” butthat’s a Usenet MP3 download with nographics or documentation. And Online78/Honking Duck doesn’t find it. But it’s verylikely the source for Rusty Taylor.Aha, found it in Hassan’s book rendered asVIRGINIA [foll.: "There's a Blue Ridge in MyHeart"], seems to describe the original EvaTaylor label usage.And I finally found the copyright, as justVirginia:Virginia; words by Ira Schuster and AlfredBryan, music by Fred Phillips; pf. acc., withukulele arr. by R. W. Konter. © Aug. 31,1926; 2 c. Sept. 15; E 648289; MauriceAbrahams, inc., New York.Alex’s index version of the title would translatetoThere’s a Blue Ridge in My HeartVIRGINIAwhich, in our style, is exactly the way EvaTaylor had it on the first recording of the song.And I found the cover online, which is thesame:(There’s a Blue Ridge in My Heart)VIRGINIASo I’ll put the subtitle in parens but keep ithere on the presumption that most peopleknow it by “There’s...” But since the title istechnically “Virginia” (both Rust and Hassanindexed it under T), I guess we need a crossreffrom there.There’s a Cabin in the Pines(Billy Hill)Jimmy Mazzy & Friends 1219LP had “(There’s a) Cabin in the Pines.”8/22, Alex Hassan: "There’s a Cabin in thePines" is the correct title8/24, Frank Dutton: British Dance Bands onRecord by Brian Rust & Sandy Forbes showsno brackets around the first two words, norcan I find them on several record labels.Bob: Obviously, the correct title is There’s aCabin in the Pines, so we move it to to the T’sand put a cross-ref from Cabin...2013 review: Now I see. Hill’s original unpub.copyright read “Cabin in the Pines,” but a laterpub. rereg. was “There’s a Cabin in the Pines,”and that’s how the sheet music cover reads.There’s a Lump of Sugar Down inDixie (Albert Gumble–Alfred Bryan–Jack Yellen)Frederick Hodges 1333Oops, the tune list in the back of the bookletsaid just Bryan-Yellen, but Frederick calledAlbert Gumble in his liner notes. It’s w. Bryan-Yellen/m. Albert Gumble. ASM, 1918, JeromeRemick.There’s a Man in My Life [There’s aGal in My Life] (Fats Waller–George Marion, Jr.)Paris Washboard 1359CD had There’s a Man [Gal] in My Life.S&P notes that the tune was written andcopyrighted as There’s a Man in My Life; itwas written for a Broadway musical that ranfrom June 1943 to May 1944, Early to Bed, andsung by Muriel Angelus. Just becausesomewhere along the line some fellowrecorded it and changed the title & lyricshouldn’t be reason for us to use that as agenuine alternative title, should it? That sort ofthing always has been done, and we don’tdocument every instance of it.BUT Fats actually recorded it as Gal (on V-disc, at least) about the time the show openedwith it as Guy, so both are contemporary andlegitimate.2013 review: Odd,not in copyright books1942-44. But published, found it in twocollections that confirm our credits.There’s a Rainbow ’Round MyShoulder (Al Jolson–Billy Rose–Dave Dreyer)San Francisco Starlight Orchestra 1271ASM, 1928, Irving Berlin. Cover hasThere’s a Rainbow’Round My Shoulderbut (c) is all on same line.There’s a Squabblin’ (see Squabblin’)There’s a Star in the Sky(Billy Mayerl–Frank Eyton)Alex Hassan 1322From film Cheer Up, 1936. Confirmed by6/26/36 copyright reg., w. FE/m. BM.There’s a Wah-Wah Gal in AguaCaliente (Walter Donaldson)Hotel Edison Roof Orchestra 1169Ingham–Grosz Hot Cosmopolites 1237Neely’s Royal Society Jazz Orch 1250We had Girl, but it’s Gal on both cover &copyright page. FYI, cover isThere’s a Wah Wah GalIn Agua (A-Wah) CalienteBut (c) is the way we have it. ASM, 1930,Donaldson, Douglas & Gumble.(There’s Something Nice aboutEveryone But) There’s EverythingNice About You (Pete Wendling–Arthur Terker–Alfred Bryan)Back Bay Ramblers 1279No pre-title on CD, composers Wendling &Bryan.

Cover isThere’s Something Nice About Everyone ButThere’s Everything Nice About YouCopyright page isThere’s Something Nice About EveryoneButThere’s Everything Nice About YouSheet music also confirms the othercomposer.There’s Gonna Be the Devil to Pay(Bob Emmerich–Billy Hueston)South Side Jazz Serenaders 1420Les Red Hot Reedwarmers 1425Paris Washboard 1428Not in Rust index, but has recordings underFW & His Rhythm as “Going to,” 6/24/35,Victor 25078. Couldn’f find label, but LCSONIC confirms it as “Going to Be” andboth our composers’ full names.Willie Smith & His Cubs (“Gonna”), 4/23/35,Decca 7073. LC SONIC confirms Gonnaand last names.Clarence Williams aho (“Gonna”), 3/7/35,Vocalion 2927. Gonna and composer lastnames confirmed by label.Confirmed by 3/25/35 copyright reg. (as“Gonna”), w. BH/m. BE, copyrighted byClarence Williams.There’s No Gal Like My Gal(Elmer Schoebel–Billy Meyers)Les Rois du Fox-Trot 1407Rec. Orig. Memphis Melody Boys (w/Schoebel& Meyers), 4/2/23, Gennett 5157.Confirmed by 4/24/23 copyright reg., w/mboth, and Gennett label.There’s Nothing Too Good for MyBaby (Eddie Cantor–Benny Davis–Harry Akst)Alex Hassan 1322Confirmed by 9/9/31 copyright reg., w/m allthree, from Palmy Days.There’s Nothing Wrong in La-La Land(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1246Goodman was guest conductor of the band.There’s Oceans of Love by theBeautiful Sea (Little Jack Little–J. Fred Coots)Independence Hall JB 1386Rec. Alex Bartha, 7/6/32, Victor 24056. JoeHaymes, 6/14/32, Electradisk 2502. DickRobertson, 6/14/32, Metrotone M-12408,Romeo 1865.Confirmed by 5/3/32 unpub. copyright reg.,w/m both, and Bartha Victor label.There’s Something in the Air(Jimmy McHugh–Harold Adamson)Barbara Rosene 1368ASM, 1936, Robbins; w. Adamson/m.McHugh.There’s Yes! Yes! in Your Eyes(Joseph H. Santly–Cliff Friend)New Orleans Rascals 1113P. T. Stanton’s Stone Age JB 1228ASM has it too, 1924, Jerome Remick.They’re Wearin’ ’em Higher in Hawaii(Higher – Higher – Higher)(Halsey K. Mohr–Joe Goodwin)Rosy McHargue 1253Ian Whitcomb & His Merry Bands 1276ASM, 1916, Shapiro, Bernstein; w.Goodwin/m. Mohr. Copyright page, but notcover, adds the subtitle.Thick Lip Stomp (Bennie Moten)Mike Daniels’ Delta Jazzmen 1203Des Plantes’ Washboard Wizards 1231Keith Nichols & the Blue Devils 1387Rec. Moten 12/13/26, Victor 20406, HMV B-5302.Confirmed by 5/15/27 copyright reg. andVictor & HMV labels.(You Can’t Take Away) The ThingsThat Were Made for Love (PeterDe Rose–Charles Tobias–Irving Kahal)Neely’s Royal Society Jazz Orch CD 1208Charleston Chasers 13762013 review: Rec. Sammy Fain, 3/26/29,Harmony 904-H. Rust shows out pretitle.Copyright isYou can't take away the things that weremade for love; words by Charles Tobias andIrving Kahal, music by Peter De Rose. ©Mar. 19,1929; 2 c. Mar. 21; E pub. 4432;Irving Berlin, inc., New York.Hassan has the sheet, confirms our title.Thinking of You (Harry Ruby–Bert Kalmar)Frederick Hodges 1333Barbara Rosene & Her New Yorkers 1393ASM, 1927, Harms; w. Kalmar/m. Ruby(I’ve Grown So Lonesome) Thinkingof You (Walter Donaldson–Paul Ash)Marty Grosz’s Orphan Newsboys 1225CD had subtitle in back.Third Rail (Vern De Mars)Prague Jazzphonics 12368/21, from Library of Congress copyrightregistration card as researched by MatthewCaulfield: Vern De Mars.2013 review: Rec. Walter Barnes, 2/27/29,Brunswick 7072. CA Ramblers, 1/27/30,Edison 52206. Cotton Pickers, 2/9/28,Gennett 6380, Champion 15438, GennettSpecial 40114.11/11/27 copyright reg. confirms De Mars.Gennett 6380 label is ambiguous, DeMars orDe Mars. Edison 55506 is clearly De Mars.Brunswick 7072 looks like DeMars.35th Street Blues (Charles Levy)Turk Murphy JB 1161Bob Schulz & His Frisco JB 1288

Recorded by Morton as a piano solo, butLaurie Wright’s Mr. Jelly Lord discographycredits Charles Levy as composer.--2>2013 review: Pinsker found copyright:35th street blues; w and m Charles Levy, ofU.S. c 1 c. June 13, 1924; E 591073;Chicago music pub. co., Chicago.31st Street Blues (Wendell Hall–Harry Geise)Charquet & Co 1008Rec. Fl. Henderson, 11/26/23, Pathe Aktuelle036042, Perfect 14223. [many otherrecordings in Rust skipped]Copyright is31st street blues; w and m Wen Hall andHarry Geise, of U.S., arr. Billy Heagney, ofU.S. © 1 c. Oct. 20, 1923; E 574296; JosephM. Davis, New York.He’s W. W. Hall in index, but Wendell Hall onhis other copyrights in the book.This Is My Sunday Off(Shelton Brooks)Des Plantes’ Washboard Wizards 1174Rec. CW aho, 5/14/35, Vocalion 3195.Confirmed by Vocalion label, but not in thecopyright books 1934-37.This Is the Missus (Lew Brown–Ray Henderson)Ernie Carson & the Castle JB 1277Ingham–Grosz Hot Cosmopolites 1285

title? Every rag that doesn’t include Rag in itstitle gets Rag tacked on in popular discourse;same with blues tunes.Through Eden’s Gates(William Bolcom)Queen City Ragtime Ensemble 1138River Raisin Ragtime Revue 1417LP says 1974, from The Garden of Eden suite.Cover of published sheet music identifies thisas one of the four rags in the suite.Through the Bottomlands(David Thomas Roberts)David Thomas Roberts 1072Throw Down Blues (Lou Jackson–Phil Napoleon–Frank Signorelli)Dave Dallwitz JB 1112Throw-Down on cover, but not (c); ASM, 1925,Elkay; by Lou Jackson-Phil Napoleon-FrankSignorelli -- we missed Jackson. 3/12/25copyright reg. specifies w. PN-FS/m. LJ, butmusic didn’t.(Victor 19594, rec. 1925 by the OriginalMemphis Five, had only Napoleon-Signorelli,so that’s where that came from.)Throwin’ the Horns (Nappy Lamare–William Bolman)New Orleans Classic Jazz Orch 1223CD said Lamare-Red Bowman.Kinkle & Rust agree with Throwin’ stedThrowing, but what about Red Bowman vs.William Bolman?Erdos: Red Bowman is right--shown on VJMLP. He sang this tune on Owls’ recording.May want to say Nappy Lamare--as he isknown.--4>2013 review: Rec. NO Owls (w/ Lamare &Bowman), 10/26/27, Columbia 1261-D. Andoops, Columbia label says Throwin’, by LaMaire and Bolman!And see the copyright:Throwing the horns; words by H. Lamare,music by W. Bolman and H. Lamare; violin.© 1 c. Feb. 4. 1928; E 682839; WilliamBolman and Hilton Lamare, New Orleans.Well, the name index in Rust shows that RedBowman had only one recording date, thatday in 1927 when he made three sides oncornet with the Owls (singing on one of them).Rust also has a listing for a Red Bolmar,trumpet, who made four sides with LouisPrima on 11/16/36.I think it’s fairly likely that Bolmar and Bowmanand Bolman are all the same guy, or maybeit’s just a coincidence that composer Bolmanand vocalist Bowman had similar names, butwe have the copyright registration AND therecord label agreeing that it was written byWilliam Bolman, which we must honor. Ifanybody got it wrong, it’s Rust in hispersonnel list.Thumpin’ ’n’ Bumpin’ (James P.Johnson–Harry White–Andy Razaf)Des Plantes’ Washboard Wizards 14098/12/13 Pinsker found the copyright:Thumpin' 'n' Bumpin'; words and music byHarry White, Andy Razaf and Jimmy (J.P.)Johnson, arr. by Teddy Raph; orch. pts. 4to.c Aug. 14, 1931 2 c. Sept. 9 E pub 25293;Southern music pub. co., inc., New York.“and” or “’n’”--what does label say? CDcredits the Eubie Blake 1931 recording as itssource, so that record label will out:Rust says “Thumpin’ and Bumpin’,” 6/3/31,Victor 22737. RHJA and Online 78 both agreeon “and,” although LC SONIC reports a testpressing from the Altshuler collection titledThumpin’ ’n Bumpin’, no composers.BUT Bill Haesler found the Victor label:Thumpin’ ’n’ Bumpin’.Thunder in My Dreams (seeAnything)Tia Juana (Gene Rodemich–Larry Conley)Butch Thompson 1037Minstrels of Annie Street 1272We meed better confirmation than Abrams.AND is it Tiajuana, Tia-Juana, or Tia Juana?Have seen it all ways.2013 review: Rec.JRM [Rust says “Tia Juana (Tee Wana)”],Gennett 5632, 3043; Silvertone 4048;Biltmore 1003 et al. Gennett label is just asRust says, by Rodemich.Wolverine Orchestra, 10/7/24, Gennett 5565.Gennett label says Conley-Rodemich.Bud Freeman, 4/4/30, Decca 18066, Y-5966;Brunswick 03227; Odeon 286255.Here’s the copyright:Tia Juana; melody, Gene Rodemich andLarry Conley, arr. Elmer Schoebel, all of U.S.© 1 c. May 5, 1924: E 588082; Melrosebros. music co., Chicago.Tia Juana Man (Leither Dickerson–Richard M. Jones)Black Eagle JB 1092Jimmy Mazzy & Eli Newberger 1109

Let’s leave it Tia Juana, Bob.Tickle the Ivories (Wallie Herzer)Chrysanthemum Ragtime Band 1123ASM, 1913, Jerome Remick.Tickled to Death (Charles Hunter)High Society JB 1010New Orleans Ragtime Orchestra 1213Glenn Jenks & Dan Grinstead 1292David Thomas Roberts 1317Evergreen Ragtime Quartet 1383Manhattan Ragtime Orchestra 1419ASM, has very primitive copy, no date, black &white cover, pub. by Hunter. Has subtitle“Why We Smile” on cover, but not (c).Then nicer copy, color, photo of pickaninnies,1899, Chas. K. Harris; here too “Why WeSmile” on cover but not (c).Tie Me to Your Apron Strings Again(Larry Shay–Joe Goodwin)Black Eagle JB 1346ASM, 1925, Milton Weil; w. Goodwin/m. Shay.Tiger Moan (Tony “Tee” Cingerana)Jim Snyder /Georgia Grinders 1068Helm–Leigh Jazz & Blues Review 13321068 implied Roy Palmer for all titles,incorrectly. 1332 said unknown.

eproduces the sheet music cover, which saysInkspots in large type but has the German titlein smaller type: Tintenkleckse.Tiny’s Stomp [Oriental Blues](Tiny Parham)Pam Pameijer’s New Jazz Wizards 12812013 review: The CD called it “Tiny’s Stomp[Oriental Blues]” without any explanation.What the hell was that all about?The Answer: Rust lists it as “Tiny’s Stomp(Oriental Blues)”: rec. Parham 2/2/29, Victor V-38060. Well, Victor label is simply Tiny’sStomp, no mysterious orient. And thecopyright isTiny's stomp; melody by H. S. Parham. © 1c. Sept. 28, 1929; E unp. 11401; Southernmusic pub. co., inc., New York.Oh, crap! Here we are again, with Rustdredging up an Alt title that never got on acopyright or on a record label. Must make alist of them and present them to experts todecide if they should be killed or somehowexplained. Doesn’t seem right to simply leavethem as (parenthetical subtitles), as theysurely weren’t that. My guess is that Victornixed the Oriental Blues title because a tune ofthat title had already been recorded by NobleSissle.Tip-Toe Thru’ the Tulips with Me(Joe Burke–Al Dubin)Barbara Rosene & Her New Yorkers 1422On 1422 as Tip Toe Through the Tulips.Found sheet music on Levy--cover was "TipToe Through the Tulips with Me", but it wasone of those generic covers for all the songsof a show ("The Gold Diggers of Broadway")with the particular tune title in a small box attop. BUT the copyright page was "Tip-ToeThru' the Tulips with Me," a bit of anabomination.Audrey has the same sheet music, seems tobe the original, so we must needs go with thecopyright page. And the 5/13/29 pub.copyright reg. reads same way: Tip-toe thru’the tulips with me, w. Dubin/m.. Burke.Tishomingo Blues (Spencer Williams)Des Plantes’ Washboard Wizards 1290Independence Hall JB 1371Paul Asaro & Neville Dickie 1404Grand Dominion JB 1408ASM, 1918, Jos. Stern.Titanic Man Blues (Ma Rainey–J. Mayo Williams)Golden Eagle JB 1100South Frisco JB 1103South Frisco JB CD 11438/12/13 Pinsker found the copyright:Titanic man blues; words and melody byJ. M. Williams and Gertrude Rainey c 1 c.Aug. 16, 1926; E 645330; Chicago musicpub. co., inc., Chicago.Pinsker:An obvious example of Mayo "Ink" Williamscutting himself in on a copyright of one ofhis recording artists, "Ma" Rainey. ChicagoMusic Pub. Co. never, I think, publishedanything - it existed just so that it could holdcopyrights of stuff Paramount recorded.T.N.T. (Elmer Schoebel)Keith Nichols Cotton Club Orchestra 1275Les Rois du Fox-Trot 1407Rec. (title usage as per Rust:Southern Serenaders (F. Henderson?),10/21/25, Columbia 509-D. T N T -confirmed by labelJud Hill’s Blue Devils, 11/20/25, Gennett 3200.T N T -- no, label is T. N. T.Varsity Eight, 1/1/26, Cameo 870. T. N. T. -confirmed by label.Vincent Lopez, 1/28/26, OKeh 40552,Parlophone E-5631. T-N-TCopyright has hyphens:T-N-T the nifty tune; by Elmer Schoebel, ofU.S. pf. © Nov. 12, 1925; 2 c. Nov. 24; E626948; Jack Mills, inc., New York.Well, two of the four recordings used theperiods, although they clearly spaced themout, but I guess we can leave it the way wehave it.To Fats with Love (Wolfgang Köhler)Red Onions & Ottilie 1090Köhler was the pianist in the band.Today’s Blues (James Dapogny–Butch Thompson)James Dapogny & Butch Thompson 1183Toddling the Todalo (E. Ray Goetz–A. Baldwin Sloane)Bo Grumpus 1388CD had Toddlin’ the Todalo. Not Todolo?Here’s copyright:Toddling the todalo; from The Hen Pecks,lyric by E. Ray Goetz, music by A. BaldwinSloane. © Jan. 30, 1911; 2 c. Jan. 28, 1911;E 250116; Chas. K. Harris, New York, N. Y.Internet Broadway Database calls it Toddlingin the Hen Pecks entry. And I found the sheetmusic at UCLA Library: Toddling on bothcover and copyright page.Together (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285ASM, 1928, De Sylva, Brown & Henderson.Tom Brown’s Saxophone Waltz(Tom Brown)Levinson’s Trans-Atlantic Saxtette 1430Oops, look at spelling in copyright:Tom Brown's saxaphone waltz; from Jacko'lantern, by Tom Brown [of U.S.];instrumental. © Mar. 9, 1918; 2 c. Mar. 12,1918; E 422377; Will Rossiter, Chicago.But it’s spelled saxophone twice in index, sothis is obviously a typo. And the sheet music,pub. Will Rossiter, confirms.Tom Cat Blues [Midnight Mama](Jelly Roll Morton)Creole JB 1051Pam Pameijer Trio 1172Down Home JB 1217Des Plantes’ Washboard Wizards 1231Original Salty Dogs JB 1233Yerba Buena Stompers 1406Pam Pameijer’s New Jazz Wizards 14322013 review: The recordings:Tom Cat Blues:JRM pno solo 6/9/24, Gennett 5515, Buddy8015, Silvertone 4040, Biltmore 1071 et al.Gennett label confirms title/composer.King Oliver (cnt solo acc. by JRM), as TomCat, 12/24, Autograph 617, Reissue 1, JazzCollector (UK) L-56. Reissue 1 confirms title“Tom Cat,” although it appears that mostlater LP/CD reissues just called it “Tom CatBlues.” Jazz Collector L-56, also a reissueon 78, called in “Tom Cat Blues.”Midnight Mama:Bennie Moten, 12/14/26, Victor 20422.Spelled Mama on the label; Victor Projectconfirms.Levee Serenaders (w/JRM on pno), 1/21/28,Vocalion 1154, V-1010; Brunswick 80040.Spelled Mama on the Vocalion V-1010 label,which was a reissue.The copyrights:Tom cat blues; slow drag, Jelly Roll Morton[pseud. of Ferd Morton], arr. ElmerSchoebel, both of [U.S.]; orch. 4to. © Apr.1, 1925; 1 c. Apr. 27; 1 c. May 21; E 618140;Melrose bros. music co., inc., Chicago.And here’s the other copyright:Midnight mamma; by Jelly Roll Morton, arr.Elmer Schoebel, both of U.S.; orch. 4to. ©Nov. 2, 1925; 2 c. Nov. 18; E 628631;Melrose bros. music co., inc., Chicago.

Hal Smith on 1217 says “also known as ‘TomCat Blues.’” Des Plantes on 1233 says,“‘Mama’ was a reworking of Morton’s earlier‘Tom Cat Blues,’ which in turn had beenappropriated from his earlier still bordello song‘Winin’ Boy Blues.’” Chris Tyle in 1432 says,“‘Tom Cat Blues’ is very similar to another ofMorton’s compositions, ‘Midnight Mamma,”copyrighted the same year. Jelly cleverlyreorganized melodies and musical segmentsto create ‘new’ compositions.”“Very similar”? EARLIER in this index, Texand other argued for respecting the differenttitles given to very similar-sounding songs(see, e.g., Do What Ory Say / Gatemouth /Get It Right / Mamma’s Baby Boy). Well, inthis case, Morton didn’t just record this undera different title but copyrighted it that way too.If they’re at all different, mustn’t we respect hisintention that they be considered differentcompositions? We could, of course, use “seealso” notes (as we did with Ballin’ the Jack—Barrel House Stomp, Dipper Mouth—SugarFoot Stomp, and Gully Low—S.O.L. Blues.Finally, see the extended discussion at “DoWhat Ory Say,” with all our experts counselingto split the tunes up and not make ourselvescrazy trying to define degrees of difference.This one’s even easier, since Morton filedseparate copyrights.But when I asked Tex Wyndham aboutdifferences/similarities, he sent a copy ofButch Thompson’s extensive notes for histranscription of Tom Cat Blues, which say thatwhile the lyrics between the songs are entirelydifferent, the melodies are the same. Texrelistened to both and agrees.(I’ll Be in My Dixie Home Again)To-morrow (J. Russel Robinson–Roy Turk)John Gill’s Novelty Orchestra 1227Down Home JB 1264

Too Tight (Natty Dominique)Pam Pameijer’s New Jazz Wizards 13822013 review: Wait a minute. We’ve had thesefive recordings in the book, all credited toNatty Dominique. Since there was no conflictor contradiction, I never looked into beforenow.First, in August 2013 John Gill sent a list of allthe Armstrong copyright deposits he’dgleaned at Library of Congress, including a7/19/26 deposit for “Too Tight Blues” showingLillian Armstrong as composer. And thecopyright registration isToo tight blues; melody, by L. Armstrong. ©1 c. July 19, 1926; E 643159; LillianArmstrong, Chicago.Then I tried to find a copyright for the 1929Dominique “Too Tight,” but it’s not there. Sotime to check the recordings:New Orleans Wanderers (Lil on pno), 7/13/26,Columbia 735-D; DB-2920, CQ-2240,DW-5080, DZ-813, GNS-5093; Biltmore 1084;HJCA HC-30; et al. Columbia 735-D labeltitle is Too Tight [no Blues], credit is LouisArmstrong (same credit on flip side, PapaDip), which we know was by Lil).Johnny Dodd’s Orch (w/Dominique), 2/7/29,Bluebird B-10240; HMV JK-2138, B-10419,EA-4122, HN-3200; Biltmore 1093; BritishRhythm Society 13; HJCA HC-61. (Allissues except Biltmore 1093 as JohnnyDodds Hot Six.) The HMV B-10419 labelsays A. Dominique. Most importantly,probably, the Victor Project page for thissession names Natty Dominique ascomposer.Now the really big question: Are we sure allour bands are playing the Natty Dominiquetune and not the Lil Hardin one? After all, theyboth were released under the same title, TooTight, despite the fact that Lil had copyrightedher tune as “Too Tight Blues.So I gathered up all our recordings plus the1926 and 1929 tunes and presented them toDave Robinson for analysis. His report:The '29 tune has two strains, one of which isa standard 12-bar blues and the other a12-bar blues variation. The '26 tune also hastwo strains, one minor and one major,neither of which is a blues. The Gill, Helm,Lulu's, and Yerba tracks are the '26 tune; thePameijer is the '29.Ouch: Means we’ve have four of our fiverecordings misidentified all this time.Too Tight Rag (James Brown)Bo Grumpus 1388All CD notes by Ventrescu say is 1927, creditis E. E. Hack.Oops, “Hack” copyright is in 1929 and sayshe’s the publisher:Too tight rag; by James Brown; pf. © 1 c.Oct. 30, 1929; E unp. 12888; E. E. Hack,Powderly, Ky.May be getting close. Columbia 15418 was bythe E. E. Hack String Band, sides Too TightRag & West KY Limited, rec. 4/17/29. IfVentresco took it off that record, he’d havepresumed Hack, but we can be pretty surethat it’s really Brown from the copyright.What’s amazing is that it was copyrighted atall.And a detailed discography of country musicrecords reports that Eugene “Buster” Hackwas the leader and played “jazzhorn,” and thatJames Brown played fiddle on the recording.Toogalou Shout (see Tougaloo Shout)Top and Bottom (F. Eugene Mikell)Back Bay Ramblers 1355Rec. Joe Steele aho, 6/4/29, Victor V-38066.Cootie Williams, 6/22/39, OKeh 6336, Blue Ace253.Confirmed by 12/17/30 unpub. copyright reg.and Victor label with Mikell’s name in full.Top Liner Rag (Joseph F. Lamb)Red Rose Ragtime Band 1412ASM, pub. Stark, missed year.Top of the Town (Charles Henderson–Frank Skinner))Back Bay Ramblers 1374CD said Harold Adamson-Jimmy McHugh.Rec. CW WB band, 4/8/37, Bluebird B-6918.Well, this gets sticky. Top of the Town was a1937 musical film. The primary songwritingteam for the film was Adamson-McHugh, andthe 1937 book is full of songs from the movieby them. But it’s also full of incidental musicfor the movie byTop of the town; main title A, Henderson andSkinner; conductor. © 1 c. June 29, 1937; Bunp. 147466; Universal music Corp., NewYork.And thenTop of the town; main title B, Frank Skinner;conductor; © 1 c. June 29, 1937; E unp.Universal music Corp., New York.But it’s also got lots of incidental musiccopyrighted, some by McHugh-Skinner,Charles Previn-Skinner, but most are just bySkinner as conductor, although there are threeby Charles Henderson as conductor, so hemust have written/conducted at least some ofit. And one by Charles Previn, conductor.Presumably the band is playing the maintheme of the movie, which, as we see, waswritten in two parts by Hendeson-Skinner andjust Skinner. And in the index, “Top of theTown” is listed under both Henderson andSkinner, but NOT under Adamson andMcHugh.The record label does credit them, though:TOP OF THE TOWN--Fox Trot(From the Universal film “Top of the Town”)(Harold Adamson-Jimmy McHugh)Clarence Williams and his Washboard BandVocal refrain by Eva Taylorbut I’m not moved by that, because it’s reallyidentifying them as composers of the film, notcomposers of the particular bit of the film thatWilliams is playing.(When You Carry) The Torch(Harry Herschel*)West End JB 1042Frisco Syncopators 1245

Robbie: This is a blatant plagiarism of theHerschel song, which has caused endlessconfusion - me included. The melody andlyrics are only slightly different from theHerschel version. What’s more, it’s the samepublisher! Sorry, no copy of the cover. Here’sthe chorus lyrics. You can sing it with thesame melody as Herschel -- Lyman’s melodyis essentially the same. Unless Harry Herscheland Tommy Lyman are the same guy, thepublisher was looking the other way! Robbieput up a web page to document this athttp://www.mmdigest.com/Robbie/torch.htmlOOPS: later note from Rhodes says that HarryHerschel is pseudonym for Harry Warren!Discovered that Victor Project note on HarryHerschel says “Note on name: May be apseudonym for Harry Warren.”But the copyright isWhen you carry the torch; words andmelody by James Hershel. © 1 c. Feb. 25,1928; E 686370; Bobbins music corp., NewYork.AlsoWhen you carry the torch ; words and musicby Harry Herschel; pf. acc., with ukulele arr.by Hank Linet. © May 9, 1928; 2 c. May 10;E 691399; Robbins music Corp., New York.BUT very strangely, James Hershel doesn’tappear in the book’s index at all, just HarryHerschel. And there is no indication in the1928 book that Herschel is a pseudonym.BUT in a later note, Robbie Rhodes mentionsthatBesides "The Torch", composer "HarryHerschel held the composer copyright on a1927 pop tune called "Levine, der groisermann".So I looked in the 1927 book and foundLevine; words by Charlie Tobias, melody byHarry Herschel [pseud. of Harry Warren] © 1c. July 20, 1927; E 672224; Shapiro,Bernstein & co., inc., New York.And in the index, we findHerschel (Harry) pseud. See Warren (Harry)Torrid Dora (George L. Cobb)George Foley 1187Confirmed by 8/17/21 copyright reg. andsheet music pub. Rossiter.Torrid Rhythm (Cliff Jackson–Marvin Smolev)Les Rois du Fox-Trot 1436Rec. Cliff Jackson & His Krazy Kats, 1/30/30,Madison 951, Radiex 951 (as TuxedoSyncopators), Van Dyke 81842.Not in copyright books 1929-32.No composer on Radiex in RHJA. Oops: TheChronological Classics Cliff Jackson CD says“unknown” composer for this and a couple ofother obscure Jackson records, even though ithas accurate and complete composer creditsfor all the other titles. But West End JBrecorded it in 2011 and said specifically thatJackson wrote it. Wonder what their sourceis? And the Jazz Oracle reissue of Jacksoncredits Jackson-Marvin Smolev!And another site that is selling Van Dyke81842 shows the label for the other side, butvery carefully lists composers Jackson-Smolevfor our side. AND aha: Popsike had the VanDyke label for Torrid Rhythm, showingSmolev-Jackson.Tougaloo Shout (Alex Hill)Blue Rhythmakers 1373On CD as Toogaloo.Rec. Hill aho 12/20/29, Vocalion 1493.Oops, copyrighted as Tougaloo:Tougaloo shout; melody by Alex Hill. © 1 c.July 28, 1930; E unp. 25535; State Streetmusic pub. co., inc., Chicago.AND guess what! The Vocalion label alsosays Tougaloo Shout. The strange thing isthat google searches on both spellingsproduce far more hits on Toogaloo thanTougalou. I can only guess that any Englishspeaker who hears the title spoken willpresume it’s Toogaloo rather than Tougaloo.Town Talk (Elmer Olson)Elliott Adams 1198ASM, 1917, Bickhart’s Song Shop.Tozo! [Bozo] (Fletcher Henderson–M. A. Cowdery)Roaring Seven JB 1019Waldo’s Gutbucket Syncopators 1036Kustbandet 1178Peruna Jazzmen 1204Keith Nichols Cotton Club Orchestra 1275Les Rois du Fox-Trot 14361036 and 1204 recorded on SOS as Bozoby Clarence Williams, but see the extended“Bozo” notes after the “Tozo!” notes thatfollow directly.TOZO NOTESThat’s not enough . . . keep looking.2013 review: Pinsker found the copyrightreg.:Tozo; words and melody by M. A.Cowdery c 1 c. Oct. 11, 1926 E 648963;M.A. Cowdery, Cleveland.No Fletcher Henderson involvement at thatpoint. Probably Fletcher did thearrangement, eh?Rust says rec. Henderson as Tozo! 1/21/27,Columbia 970-D, J-261, 4421 (numbers don’tmake sense).Well, original Columbia 970-D label doesindeed have the exclamation point and doescredit “Henderson and Cowdery,” so that’show we must list it.BOZO NOTES11/16/13: But in review of “Bozo,” credited toClarence Williams earlier in this index, I cameup with the following info.Rec. Williams Orch 11/28, QRS R-7034, Creole27, Tempo (UK) R-8. Alas, QRS label has nocomposer credit, nor does the Creole.The only Williams reissue I have that gives acomposer credit is indeed Williams on a KingOliver Riverside LP.But hello! 78 Online gives composer credit ofEdward Hite for QRS R-7034. Wonder wherethat came from.. (RHJA has no credit listed.)A google search on Clarence Williams Bozoproduces zillions of hits on CW as theperformer, but practically none as composer,which is in itself suspicious. One obscureexception is a paragraph on CW by an Italiannamed Pierro Scaruffi, which, translated intoEnglish, says, “He recorded several of hiscompositions in intriguing arrangements:Bozo (november 1928), for a big bandfeaturing both cornetists King Oliver and EdAllen, Red River Blues . . .”Obviously, we stay with Williams for now, butI’d sure like more conclusive evidence.Well, here’s where Edward Hite on Online 78may have come from:Bozo; words and music by E. S. Hite.[Photostat] © 1 c. Oct. 24, 1928; E—U.S.unpub. 542; Edward Spalding Hite,Chicago.ThenBozo; by F. Stahlberg; pf. 10, 1929; 2 c.Mar. 13; © Jan. E pub. 4211; Kalmusfilmusic edition, New York.This later reregistered as an orchestration, butreally doesn’t look likely. And later yet we find

Bozo-blues; words and melody by BozoNickerson. pts. 1 and 2. © 1 c. each Jan. 24,1931; E unp. 33653, 33654; State Streetmusic pub. co., inc., Chicago.What’s telling is that there’s no “Bozo”registered to Clarence Williams, either ascomposer or publisher, 1927-31. HE wouldn’thave failed to copyright a tune of his.Allmusic.com says composed by Les Hite, buthe was a swing band leader, wasn’t he? Well,he played reeds with Reb Spikes in 1924,Curtis Mosby 1927-28, Louis Armstrong in1930, then with Benny Goodman. But that’sprobably a dead end--search on Les Hite findsno evidence his real name was anything butLes or Lester.Well, Tom Lord’s Clarence Williams book citesEdwards as the copyright holder of the tune,but that’s not entirely definitive. It may justmean that Lord looked in the 1928 book forBozo, found Edwards, and wrote it down. I’vedone that, thereby creating a false connection,and I think we’ve caught Lord doing itelsewhere as well. It’s worth switching toEdwards for now, but the only REAL solution isto track down the Edwards copyright depositand see if it matches the Clarence WilliamsBozo.But Laurie Wright, in his Oliver biodiscography,claims that they’re the same tuneand that Bozo on the QRS by Williams is just atypo. They don’t sound anything alike to me,but I’ve put them athttp://dickbaker.org/stompoff/Bozo/ for othersto evaluate.And Eureka! Wright was right. RobbieRhodes reported 11/16/13:The song "Bozo," recorded by ClarenceWilliams in 1928, is exactly the essentialverse and chorus of the Hendersonrecording. It's a very good tune and a verygood orchestration by Henderson. I love thesolo by Coleman Hawkins.I support Laurie Wright's theoryAll composer credit for "Bozo", regardlessof the title, should be awarded M. A.Cowdery, at a minimum.We would have to compare FletcherHenderson's full arrangement withCowdery's copyright deposition todetermine which elements were contributedby Henderson. I don't hear any significantcontributions by Clarence (and note that hedidn't try to publish it as his tune).And Bill Haesler came up with a likelyexplanation for “Bozo” when he pointed outthat it was published on the flip side of QRS R-7034 from “Bimbo,” from Williams’s showBottomland. Bimbo – Bozo . . . so not a typo,but a joke, a bit of wordplay?Transatlantic Stomp (Junie Cobb)Chicago Rhythm 1164Credit on LP was Frank Melrose.Rec. E. C. Cobb and his Corn Eaters (bothCobb brothers and Frank Melrose in band),12/10/28, Victor V-38023, Creole 25.Oops, copyright says The by Cobb:Transatlantic (The) stomp; by Junie C.Cobb. [Melody only] © 1 c. Dec. 29, 1928;E—Unpub. 2391; Lester Melrose, Chicago.And the Victor label confirms full name ofJunie C. Cobb, but no The.Trapeze (Billy Mayerl)Tony Caramia 1313Part of The Big Top suite (Ringmaster,Clowning, Entrance of the Trick Cyclists,Dancing Horse, Trapeze), 1948.Copyrighted in U.S. just as the full suite:The big top; five circus sketches for piano,by Billy Mayerl. © Keith, Prowse & Co., ltd,,London; 4May48; EP9298.But amply documented at Billy Mayerl Societysite.Träumende Melodie, Die(Ernst Fischer)Tony Caramia 1328Interesting: copyrighted in U.S. as “TheDreaming Melody” by Ernest Fisher, but weknow that his works were published only inGermany, but that the publisher, wanting toappear “international,” often displayed theEnglish translation of the title even moreprominently than the German one (see“Tintenkleckse” above). Confirmed by thecatalog of the Deutsche Nationalbibliothek.And Alex H. has the sheet music, alsoconfirms that the German definite article Die ispart of title--I had noticed that all the Germansites selling the sheet music left it off.Travelin’ Shoes (Clancy Hayes–Daphne King)Bob Schulz & His Frisco JB 1315

Web site on the revue confirms it. ANDconfirmed by Brunswick 6214 label.Tricky Trix (Harry Jentes)George Foley 1187Confirmed by 6/13/23 copyright reg.Triple Stomp (Ted des Plantes)Des Plantes’ Washboard Wizards 1290Trog’s Blues (Wally Fawkes–George Webb)Grand Dominion JB 1189Pam Pameijer Trio 1172Zenith Hot Stompers 1248Pam Pameijer’s New Jazz Wizards 1432First recording surely was Humphrey Lytteltonband, 1/24/51, Parlophone R3379, Fawkes onreeds, Webb pno. And authoritativeCalligraph reissue of Lyttelton Parlophonescredits Fawkes-Webb. AND the originalrecord label confirms it.Trombadour Rag(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284Goodman was guest conductor of the band.Trombone Blues (Fred Jewell)Univ. of Wisconsin Symphony Band 1246Confirmed by 6/20/18 copyright reg.Trombone Cholly (George Brooks*)Golden Eagle JB 1192John Gill’s Dixieland Serenaders 1321Rec. Bessie 3/3/27, Columbia 14232-D, 3175-D; Parlophone R-2480 et al.Confirmed by 7/11/27 copyright reg. andColumbia label.Trombone Français (N. C. Davis)Waldo’s Ragtime Orchestra 1069LP had “Trombone François.”

and Donald Lambert, MC'd by Rudi Blesh,Blake played this piece - and called it "BlackKeys on Parade"!Now it REALLY gets messed up. Eubiehad another piece called "Tricky Fingers".You will find a recording listed as "TrickyFingers" which is - "Troublesome Ivories",and VICE VERSA! Blake plays "TrickyFingers" and shouts at the end "You don'tthink that's Troublesome? Sho' is!".Anyway, Blake finally got around tocopyrighting it - in 1971! See:TROUBLESOME IVORIES; m Eubie Blake(James Hubert Blake) 6 p. c James Hubert(Eubie) Blake; 14May71; EU254031.Then it finally saw print, in the MaxMorath-edited folio "Giants of Ragtime",Edward B. Marks Music, 1971, along with"Tricky Fingers".And he’s absolutely right. All three titles beginwith different introductory flourishes but endup being quite similar. And actually, mytunelist for my LP>CD remaster of The Wizardof the Ragtime Piano has a tunelist entry of“Ragtime Rage (Blake—Tricky Fingers)”But Pinsker followed up with this afterthought:Part of what I wrote is probably confusing.I don't mean to imply that "Tricky Fingers"and "Troublesome Ivories" are one and thesame tune.As a musician, I refer to one of them - theone MOST of the time that Blake called"Troublesome Ivories" - as the D flat tune.The OTHER one is the one that Blake MOSTof the time called "Tricky Fingers", and that Ikeep straight as "the E flat tune". It's just thaton some occasions Blake swapped the titlesof the E flat tune and of the D flat tune. TheD flat tune is also the one Blake called"Black Keys on Parade" on some occasions,and "Ragtime Rag" on that one 20th CenturyFox LP. Both the E flat tune and the D flattune are published in the Morath folio, andthe E flat tune is "Tricky Fingers" and the Dflat tune is "Troublesome Ivories". Most ofthe time!Well, since Blake himself used those two othertitles in public, and they even ended up onrecord, we must include them as alternativetitles, with their requisite cross-references.Truckin’ (Rube Bloom–Ted Koehler)Paris Washboard 1293ASM, 1935, Mills; w. Koehler/m. Bloom.True Blue Lou (Richard A. Whiting–Sam Coslow–Leo Robin)Marty Grosz /Keepers of the Flame 1158ASM, 1929, Famous Music; w/m by Whiting-Coslow-Robin.True Blue Sam (The Traveling Man)(Walter Donaldson–Lew Brown)Terry Waldo & Bo Grumpus 1339ASM, 1922, Shapiro, Bernstein; w. LewBrown/m. Walter Donaldson. We had onlyDonaldson.True I’m Just Crazy Over You (seeYou Don’t Love Me)Try Me Out (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. JRM aho 7/12/29, Victor V-38113.Confirmed by 3/5/30 unpub. copyright reg.T. S. Eliot Society Rag(Trebor Tichenor)Trebor Tichenor 1282Tuck Me to Sleep in My Old ’TuckyHome (George W. Meyer–Sam M.Lewis–Joe Young)Frisco Syncopators 1245Grand Dominion JB 1337Canary Cottage Dance Orchestra 1415Actually, it’sTuck Me to Sleep in My Old’TUCKY HOMEon the cover, but the apostrophe is missingfrom the copyright page. ASM, 1921, IrivingBerlin. But it’s so silly without the apostrophethat I’m going to quietly leave it there--we’lljust call it an oversight on the (c) page.Tuesday with Marie (Peter Ecklund)Marty Grosz’s Orphan Newsboys 1225Cornetist Ecklund was one of the Newsboys.Tulsa Blues [The New Tulsa Blues](Bennie Moten)State Street Aces 1106Keith Nichols & the Blue Devils 1387On both recordings as New Tulsa Blues.Well, here we go again with Moten (see MotenStomp above).He recorded “Tulsa Blues” on 11/29/24, OKeh8184 (confirmed by label). Then “The NewTulsa Blues” on 6/11/27, Victor 21584 (labelconfirms “The New”; credit on both is BennieMoten.Neither title copyrighted 1923-26, thenNew Tulsa blues; melody by Bennie Moten.© 1 c. Nov. 30, 1927; E 675824; Ralph Peer,New York.Well, hell, they’re the same tune. Even thoughwe don’t have a Tulsa Blues in this catalog, wemust put both under Tulsa and cross-ref.I went ahead and moved this here to TulsaBlues and combined them, but just to be safe,on 8/7/13 sent Nichols a request to compareand make sure they qualify as the same tune.His response:I've listened to Tulsa Blues and New TulsaBlues, and it's plain that they are the sametune (as in the two Moten Stomps)There's nothing new in the New TulsaBlues. The structure and solo order arevirtually the same as the original.It's just that they didn't bother to registerTulsa Blues in 1923.Turkey in the Straw (Otto Bonnell)Elite Syncopators 1286ASM, 1899, Will Rossiter.Turkey Trot, The (Ribé Danmark*)Red Wing Blackbirds 1018Confirmed by 7/2/12 copyright reg. But this isinteresting: the copyright reg. puts an accenton J. Bodewalt Lampe’s familiar pseudonym:Ribé. I don’t think I’ve seen that anywhereelse. Oops, though: his arranger credit forAlamo Rag is Ribé Danmark. Same for Songof Esmaralda. And get a Girl to Love You.And My Pony Boy. I see now that the accentis almost universally dropped in index/cataloglistings, but it’s on the sheet music.Actually, this is our only Danmark entry, butwhile I keep finding Ribé Danmark tunes withhim as arranger, I can’t find “The Turkey Trot”with him as composer. But Elliott Adamsconfirms that his 1912 (pub. Remick) copy ofTurkey Trot has the accent on both cover andcopyright page.Turkish Towel Rag (A Rub-Down)(Thomas S. Allen)Chrysanthemum Ragtime Band 1047ASM, 1912, Walter Jacobs, has a subtitle thatwe didn’t have before.Turk’s Blues (see Social Polecat)Turn on the Heat (B. G. De Sylva–Lew Brown–Ray Henderson)Rusty Taylor’s New Jazz Review 1186Prague Jazzphonics 1236Ingham–Grosz Hot Cosmopolites 1285Frederick Hodges 1333ASM, 1929, De Sylva, Brown & Henderson.Turtle Twist (Jelly Roll Morton, basedon Turtle Walk by Ben Garrison–Tausha Hammed)Pam Pameijer – Duet /Trio/Quartet 1134Trevor Richards New Orleans Trio 1222James Dapogny’s Chicagoans 1263

Street Rag” on cover but “12th St. Rag” on (c)page (which we’ll ignore). I found manycopies elsewhere, but the earliest were 1919,in two versions--piano by Bowman, song withlyrics by James S. Sumner. On those copiesthe (c) also is Street.Since, as far as we can tell from the evidenceabove, the song version came four years later,I won’t mention it here as an contemporaryalternative the way I did for Grizzly Bear,Hiawatha et al.Twenty Million People (Sam Coslow–Arthur Johnston)Barbara Rosene 1368Confirmed by 12/24/32 copyright reg., w.SC/m. AJ.29th and Dearborn (Richard M. Jones)Black Bottom Stompers (Switz.) 1130New Jazz Wizards 1244

Now that’s the way my folks would alwayssing to meWhen I was just a blossom on my fam’ly treeBut when I got around to datin’ my first chickThis is what said ’n’ did she spread it thick:Then comes a section labeled “Chorus (UglyChile),” which has the lyrics we know as “UglyChile.” The interlude and second chorus havea separate copyright credit: 1946 by Shapiro,Bernstein & Co. Inc., NY.LA Public Library Database says,The chorus of "YOU'RE SOME PRETTYDOLL" is used here as the verse to "UGLYCHILE" followed by an eight bar interlude,tying the two together. (See [AndersonFakebook] p.934 for the original version)Recorded by Johnny Mercer on Capitol No.268 (194?)I’m awfully tempted to second-guess myself.If we don’t find anything more substantial thatthe label on a Commodore 78 as evidence,how can we credit George Brunis?The sheet music evidence is that ClarenceWilliams updated his own old song. I foundsheet in CW folder in music reading room afterI’d been to copyright files, so I’ll go back andsee if anything in the copyright files sheds anyfurther light on this, but right now it looks likeour song ought to beUgly Chile (You’re Some Pretty Doll)(Clarence Williams)1/25/01: No cy card under Ugly Chile. Did findthe original cy card for You’re some pretty doll,w/m CW, pub. 10/16/17, Williams-Piron (andASM turned out to have this sheet). Odd, noclaimant card for Ugly Chile under Shapiro-Bernstein.1/29/01 got this report back from a query I puton on the Dixieland Jazz Mailing List. It’s froma chap named Stan Brager, who identifieshimself as a “Trombonist-in-Training”:I have the 78rpm recording by GeorgeBrunis and His Jazz Band of "Ugly Chile" onCommodore. The label credits ClarenceWilliams and George Brunis as composerswith Williams writing the music and Brunis asthe lyricist. I've read that when EddieCondon wanted to record Brunis' "UglyChile", Fats Waller was sitting at the pianoand objected to Brunis' parody of his friend'scomposition. They wound up recording"You're Some Pretty Doll".Bob, learning that both Brunis’s and Williams’snames were listed on the original Commodorerecording makes me inclined to leave ourcredit as it stands.Ukulele Blues, The (James P.Johnson–Merton Bories)Keith Nichols Cotton Club Orchestra 1320“Ukelele” on CD.

"noticeably more genteel," J. RosamondJohnson, his brother James WeldonJohnson, and Bob Cole were hailed as thecollective "Moses" who led "the coon songinto the promised land." In songs like"Under the Bamboo Tree," the writers,according to Rosamond Johnson himself,tried to "clean up the caricature," using only"mild dialect" to express love "in phrasesuniversal enough" to meet the "genteeldemands of middle-class America."It was lyricist Bob Cole who suggested toJohnson that "Nobody Knows the TroubleI’ve Seen" could be turned into into aragtime song. Johnson at first thought thesuggestion sacriligious, but at Cole’sinsistence, he syncopated the spiritual.I think Audrey’s two copies give us theevidence we need for all three. Both hercopies have all three on the cover. The onewith the lyrics adds Bob Cole’s name to the (c)page, which means, I believe, “We allcollaborated on the tune, but Bob wrote thewords.”2013 review: But wait! See the copyright:Under the bamboo tree; song, music by BobCole. Copyright by Jos. W. Stern & co., NewYork, N.Y. Class C, XXc, no. 32416, Sept. 5,1902; 2 copies rec'd Sept. 5, 1902.But then we find that when Arthur Collinsrecordied it for Victor in 1902, the Victorledgers show J. Rosamond Johnson,composer; Bob Cole and James WeldonJohnson, lyricists.Well, you could go either way on this. Coleand the Johnson Brothers were a verysuccessful touring act in vaudeville, so “ByCole and Johnson Bros.” on the sheet covercould simply mean that they were theperformers of it, the people who made itfamous, while the copyright page (and thecopyright itself) shows us that Cole was thesole composer in this case.And here’s my evidence for the latterinterpretation. Went back online to look forJohnsons as composers. First piece I foundwas “(Marie Cahill’s) Congo Love Song,” pub.by Stern in 1903. The cover says veryprominently, just like the Bamboo Tree cover,“By Cole & Johnson Bros.” But the copyrightpage says “Music by Rosamond Johnson;Words by J. W. Johnson.” So they did put thename of the group on the cover, even whenthe tunes were written by individuals or pairswithin the group. Then there was “Pretty LittleSquaw from Utah” in 1904. All three on cover,but words Cole, music J. Rosamond Johnsonon copyright page.Under the Moon (You-oo-oo-oo)(Ev. E. Lyn–Francis Wheeler–Ted Snyder)Barbara Rosene & Her New Yorkers 1405ASM, 1927, Waterson, Berlin & Snyder,matches 1405 except adds middle initial toLyn. That same odd name pops up on a songcalled “Flaming Ruth,” so I guess it’s for real.Copyright reg. renders the name the sameway, Ev. E. Lyn. Says w. Lyn-Wheeler, m.Snyder, arr. Harry Tiedeman. No You-oo-oooo.Under the Southern Moon(Charles L. Johnson)Elliott Adams 1198Confirmed by 1/3/10 copyright reg.Underneath Hawaiian Skies(Fred Rose–Ernie Erdman)Grand Dominion JB 1379Not in Rust or S&P; CD no help either.Lord discography says rec.Isham Jones, 3/21, Brunswick 5052(“introducing I Never Knew”).George Lewis, 11/23/49 (presumably thedirect or original source of Grand Dominionversion), New Orleans Rarities 2, JazzologyJCE24, American Music AMCD 74.Crawford-Ferguson Night Owls, c. 1967,Audiophile AP109. And various Brits.Confirmed by 12/30/20 copyright reg., IF we’resure that the 1921 Jones tune is the same asthe 1949 George Lewis tune. It was fox trotfrom The Passing Show of 1921; rec. byClarence Jones on piano roll, with copyrightsclaimed on that interpretation and onarrangement.Believe it or not, I tracked down the 1921Isham Jones and Paul Whiteman recordings,as well as the 1949 George Lewis, and canconfirm that they’re indeed the same tunes.Universal Rag (Frank Wooster)Elliott Adams 1299Odd, couldn’t find copyright in 1905 books,and not in any collections, but Perfesser Billmentions this piece, and Jasen’s big bookshows it as having been on a QRS piano roll.And there’s a listing of it with many other ragson the back page of Will Held’s Chromatic Ragpub. by Stark.[untitled fox trot] (Eubie Blake)Heliotrope Ragtime Orchestra 1411Bob Pinsker reports:I am literally the world's leading authority onthis one, because it is I who found it, and Iwho arranged it, and I who recorded it onour first Heliotrope Ragtime Orchestra CD.This is arranged from a few pages that Ifound in the collection of Blake's papers atthe Maryland Historical Society in Baltimore.The piece was never copyrighted, nor titled,nor finished for that matter. I am the one whoclaims that it is a fox trot, and that Blakedidn't give it a title, so I always say that it'san untitled fox trot, but does that mean thatits title is "Untitled Fox Trot"? Could this be aunique item in the entire StompOff catalog,in that it's an uncopyrighted, untitled,unpublished piece?Up in the Clouds (Bert Kalmar–Harry Ruby)Frederick Hodges 1333Confirmed by 7/11/27 copyright reg., w/mboth.Up Jumped You with Love(Fats Waller–Ed Kirkeby)Paris Washboard 1359Rec. Waller & His Rhythm, 7/13/42, HMV BD-1045.Oops, not in 1941-43 copyright books.Waller-Kirkeby is the credit on a 1957 RCAreissue LP, on the copy in the Hansen folioReminiscences of Fats Waller from 1967.AND I found the Bluebird label, confirmsWaller-Kirkeby.Up the Country Blues (Wingy Manone–Steve Brua–Mike Ryan?)Chicago Rhythm 1164Asks Pinsker: “Is this really Wingy Manone?Or is it the George W. Thomas tune?”Hmmm. Says Mike Duffy, in 1164 liner notes:Derived from what must have been auniversally known country blues whenWingy Mannone recorded it (for the secondtime) for Gennett with Miff Frink in 1930Rec.Sippie Wallace, 10/26/23, OKeh 8106. Labelcredits Thomas & Sippie Wallace.Tiny Franklin (vcl), acc. by George W.Thomas, 12/10/23, Gennett 5346. Couldn’tfind label, but Online Archive of Californiasays by Thomas-Wallace; LC SONICconfirms.And 10/18/23 copyright reg. confirms w/mboth.THE MANONE RECORDINGS:Joe Mannone’s Harmony Kings (vcl Wingy),4/11/27, Columbia 1044-D.What the heck? RJHA says credit Bob Sacks-Johnny Miller (Bob Sacks was tsax man onthe session, Johnny Miller was piano). BUTHaesler came up with the Columbia label,which says “Sackman and Miller”!Barbecue Joe & His Hot Dogs, 9/19/30,Gennett 7320; Champion 16127, 40054;Decca 7366; Savoy 500 (as NO RhythmKings!); Brunswick 03520 (as WMaho).RHJA says credit Miller for Gennett; andHaesler found Champion 40054, which is “Up

the Country” and has no composer credit. Healso found a British Brunswick 03520 reissueof this take by WM aho as “Up the Country”(no blues), by Johnny Miller. LC SONIC saysDecca 7366 is “Up the Country,” no composercredit.Barbecue Joe version is hotter tempo, andindeed Chicago Rhythm is playing it. But whatabout Thomas-Wallace? Simply must find thatrecord to compare. I did, and they’re nothingalike.BUT see this copyright:Up the country blues : words by J.Mannone, melody by Breua and Ryan. © 1c. Sept. 7, 1927; E 671541; Joe Mannone,New York.AND that’s how they’re listed in index, just lastnames.But elsewhere in 1927 book we findRingside stomp; melody by Mike Ryan,Steve Brua and J. Mannone. © 1 c. Apr. 27,1927; E 666730; Joe Mannone, Biloxi, Miss.And TILT: Just noticed that a Steve Brou wasguitarist on the 1927 recording. But wait,there’s more: Steve Brou’s only other mentionin Rust is on banjo with Johnnie Miller’s NewOrleans Frolickers in April 1928 (Miller is thepianist).Checked books for 1927 and 1928-31; severalmore compositions by Mannone alone or withothers, but no rereg. of Up the country, and nomentions at all of Mike Ryan or Breua/Brua.Does anybody have any idea what’s going onhere? If it’s by Manone-Ryan-Brua/Breua/Brou, how did Sacks (or Sackman) and Millerget on the 1927 Joe Mannone’s HarmonyKings label? And is it Brua or Breua? Hasanybody ever heard of him? [If no betterintelligence comes in, I guess I’ll go withWingy Manone-Steve Brua-Mike Ryan.]VVariety Stomp (Fletcher Henderson–Jo Trent–Abel Green)Roaring Seven JB 1019Neely’s Royal Society Jazz Orch 1250Les Rois du Fox-Trot 1434Les Red Hot Reedwarmers 14352013 review: Copyright isVariety Stomp; melody by Abel Green, JoTrent and Fletcher Henderson. c 1 c. Mar.29, 1927; E 659470; Robbins-Engel, inc.,New York.Varsity Drag, The (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285San Francisco Starlight Orchestra 1334ASM, 1927, De Sylva, Brown & Henderson.Victory House Drag(Humphrey Lyttelton)Humphrey Lyttelton & His Band 1160Villain, The (Lu Watters)Down Home JB 1316Notes by Marty Eggers say,Best known as a piano number, again withWally Rose as its main interpreter (thoughRalph Sutton actually recorded it first, in1949). Another parallel is its adaptation onthis album to a band number. Frank’s[Powers] chart was based on RobinWetterau’s 1953 arrangement for theDixieland Rhythm Kings.Was performed by Rose with rhythm on theBlues over Bodega LP. And Sutton 1949 isfirst recording shown in Lord, Down Home 7,1003; MGD4. Blues Over Bodega was 1963.Dixieland Rhythm Kings was 1968, Red OnionLP1.Alas, I don’t have the liner notes for Blues OverBodega, just the music. A post on DJMLidentifed Villain as by Watters on that LP, and Idid find a Fantasy 45 rpm issue of that tunefrom the 1963 recording that ID’s Watters ascomposer. And Terry Waldo in his This IsRagtime book writes,One of Lu Watters’s piano tunes, “TheVillain,” was arranged for the band by theDRK’s pianist, Robin Wetterau, into a fullensemble speciality.Vine Street Drag (Andrew J. Brown)Neely’s Royal Society Jazz Orch 1250Vince Giordano’s Nighthawks 12601250 says Andrew Brown; 1260 Andrew J.Rec. Missourians (Andrew Brown on reeds),8/1/29, Victor V-38103, HMV AE-4365 et al.Tennessee Chocolate Drops, Knoxville, 3-4/30,Vocalion 1517, 5472 (in white hillbilly series asTennessee Trio).Oops, the copyright says just J. Brown:Vine Street drag; melody by J. Brown. © 1 c.Jan. 22, 1930; E unp. 16018; Southernmusic pub. co., inc., New York.In the index, it’s also just J. Brown. There’s noAndrew or Andrew J. or A. J. Brown in theindex. Nor in 1929 or 1931. And the label onthe Victor disk says J. Brown.Most telling is that the Victor Project pageshows composer J. Brown, cl/tsax playerAndrew Brown.Later in 1930 book found what looks to be acopyright for an arrangement of it:Vine street drag; stomp, arr. byBrewster-Raph; orch. pts. 4to. © Sept. 16,1930; 2 c. Oct. 6; E pub. 18176; Southernmusic pub. co., inc., New York.Strangely, “Brewster-Raph” are in book 1930book as arrangers of a dozen or so tunes;index definitely treats them as two differentpeople, neither of whose first name is known.10/23/13 queried Neely and Giordano. Nevergot a response--inquired again 1/15/24.Vintner’s Dream, A (Trebor Tichenor)Trebor Tichenor 1282Viper Mad (see Pleasure Mad byBechet–Simmons)Viper’s Drag (Fats Waller)John Gill 1066Red Roseland Cornpickers 1101Terry Waldo’s Gotham City Band 1120Gauthé–Marquet Clarinet Serenadrs 1216Neville Dickie & Louis Mazetier 1302Back Bay Ramblers 1374Rec.Cab Calloway (The), 11/12/30, Domino 4686,Jewel 6185, Oriole 2185, Perfect 15412 et al.FW Rhythm (no The), 11/16/34, Victor 25015,277678; Bluebird B-10133 et al.Copyright isViper's drag; by Thomas Waller; pf. © 1 c.Nov. 19, 1930; E unp. 30874; Joe Davis,inc., New York.Now this is strange:Viper's drag; by Fats Waller; pf. © Dec. 17,1934; E pub. 45375; Joe Davis, inc., NewYork.Also strange is that Calloway’s 1930 “TheViper’s Drag” doesn’t sound at all like theWaller tune to me. AND that I couldn’t findany of these labels online. How can that be?Obviously, time to determine (a) if our bandsare playing the Waller or Calloway version, (b)if the two versions can possibly be based onthe Waller composition, and (c) if (b) not true,then who the hell wrote the Calloway version?A keen-eared friend of Bill Haesler says theyare not the same and that the Calloway is atypical "minnie the moocher minor rave" thatCab did at that time.If I work at it, I think I can hear traces of Wallerburied deep in Calloway, but I can’t trustmyself on such things. As for SOS versions:1066 John Gill obviously Waller1101 Red Roseland Cornpickers obviouslyCalloway, but Haesler notes that it “neatlyinserts (tongue-in-cheek) the Wallercomposition into its arrangement.” The linernotes by Claus Jacobi say, “Fats Waller’spiano composition is transformed into a

and arrangement, ending in a furious finaleadopting a part from Edvard Grieg’s PeerGynt Suite.”1120 Waldo Gotham City Band is Waller1216 Jacques Gauthe (actually piano solo byLouis Mazetier) is Waller1302 Dickie-Mazetier is Waller1374 Back Bay Ramblers seems Calloway, butI think I hear more Waller in it than inCalloway--it’s down at the Waller tempo, atleast. Liner notes say it was the Callowayversion upon which this arrangement wasbased.Never found any of the Calloway labels, butthe reliable LC SONIC reports that Waller wasindeed credited on Calloway’s Oriole 2185.Have asked Robbie Rhodes to chime in as towhether Calloway’s Viper is really from Waller.But before Robbie could reply, I played theCalloway recording for Tom Brier, who fairlyquickly recognized it as Viper’s Drag, soobviously it’s lurking in there somewhere. Andlater Haesler came up with the CallowayPerfect 15412 label, which doesn’t indeedcredit Waller.Virginia (see There’s a Blue Ridgein My Heart)Virginia Blues (Fred Meinken–Ernie Erdman)John Gill’s Original Sunset Five 1094Dan Levinson’s Roof Garden JB 1361Neville Dickie 1423ASM, 1922, Leo Feist; w. Erdman/m. Meinken.Vo-Do-Do-De-O Blues (Milton Ager–Jack Yellen)Red Roseland Cornpickers 1102Le Petit Jazzband 1403ASM, 1927, Ager, Yellen & Bornstein; w.Yellen/m. Ager.Voodoo (Tiny Parham)Orpheon Celesta 1083Jungle Crawlers 1084Rec. Parham 2/1/29, Victor V-38054.Confirmed by 9/28/29 unpub. copyright reg.and Victor label.Vox Humana Blues(Humphrey Lyttelton)Creole JB 1051Humphrey Lyttelton & His Band 1160Pam Pameijer’s New Jazz Wizards 1432WWa Wa Wa (Mort Schaeffer)Waldo’s Gutbucket Syncopators 1032European Classic JB 1070Keith Nichols Red Hot Syncopators 1135Three Deuces 1185Zenith Hot Stompers 1191Mike Daniels’ Delta Jazzmen 1203John Gill’s Dixieland Serenaders 1304Neville Dickie 1309Independence Hall JB 1384John Gill’s Jazz Kings 1401One More Time JB 1410Rec. Oliver Dixie Syncopators, 5/29/26,Vocalion 1033, V-1004; Brunswick 3373 et al.Confirmed by 4/15/26 copyright reg., w/mMort Schaeffer, arr. Mel Stitzel, no hyphens—but note that credit on Brunswick 3373 labelwas by Savannah Syncopators, with composercredit “Schaefer”; this true of both the U.S.and U.K. releases, which used the samenumber.and on Vocalion V-1004 (U.K.) was BobSchoffner, who was Oliver’s second cornetiston the recording. V-1004 also had hyphens intitle. Per LC SONIC, Vocalion was shown asby Dixie Syncopators (as per Rust), and creditthere too is Schaefer.Waakibongo (Henry Davies)Henry’s Bootblacks 1149Davies was pianist/leader of the group.Wabash Blues (Fred Meinken–Dave Ringle)Charquet & Co 1053Monty Sunshine JB 1110Wally Fawkes & His Soho Shakers 1144South Frisco JB 1240Down Home JB 1241Paris Washboard 1261ASM, 1921, Leo Feist.Wa-Da-Da (Ev’rybody’s Doin’ It Now)(Harry Barris–Jimmy Cavanaugh)Paul and His Gang 1329CD had “Everybody’s.”Rust shows title as “Wa-Da-Da (Ev’rybody’sDoin’ It Now,” rec. Bix & His Gang, 7/7/28,OKeh 41088, Columbia 35666, Parlophone R-2286 et al.No subtitle on copyright:Wa-da-da; words and music by Harry Barrisand Jimmy Cavanaugh; pf acc., with ukulelearr. by A. J. Franchini. © June 15, 1928; 2 c.June 16; E 693426; Shapiro, Bernstein &co., inc., New York.Aha: The Columbia label has “Ev’rybody’sDoin’ It Now” as subtitle in parens. Couldn’tfind clear copy of OKeh label, but refs to itinclude the apostrophy in Ev’rybody’s.Wade in de Water (traditional)Grand Dominion JB 1291

Must go with copyright reg. and some of theearly labels for Wailin’, but how to treatDeCimber/De Cimber? He was J. V.DeCimber on the copyright reg. of GoodFeelin’ Blues, but now he’s JocipiDe Cimber—and OOPS, both are in the 1929book. He’s listed in the Index twice, first as J.V. DeCimber and then right below that asJocipi De Cimber. Talk about a coin toss!(For what it’s worth, he had two titles as J. V.,one as Jocipi.)I found him as J. V. DeCimber on a 1926 sheetfor “Night,” also with Ted Lewis. But then J. V.De Cimber in 1921 on “Old FashionedSweetheart,” “Phi Gamma Sweetheart” in1933. Then he pops up other places asJoseph De Cimber, Joe di Cimber. And BillHaesler dug him up in a Missouri librariesdatabase indexing this record as JosephValentino De Cimber.It’s a damned tossup, but I guess what we hadbefore, J. V. DeCimber, is as good asanything, especially since Haesler added theZack White Gennett label confirming it.Wait for the Happy Ending(Jack Yellen–Milton Ager)San Francisco Starlight Orchestra 1334Rec. Red Nichols & His Five Pennies, 9/6/29,Brunswick 4510, 1043.Confirmed by 8/10/29 copyright reg., w. JY/m.MA, from Almanac.Wait ’till the Sun Shines, Nellie(Andrew B. Sterling–Harry Von Tilzer)Canary Cottage Dance Orchestra 1415

Univ. of Wisconsin Symphony Band 12841284 just had Glogau. Found sheet musiconline, 1916, Leo Feist. w. George Graff,Jr./m. Glogau.FYI, ASM has a “Wake Up, America” by FredG. Clark (m.) & John T. Blossom (w.). AndMTSU has two more after that!Wake Up! Chill’un, Wake Up!(Willard Robison–Jo Trent)Hot Antic JB 1058Baker–Baldwin Radiogram Wshbrds 1243Les Red Hot Reedwarmers 1425Aha: ASM, 1929, Donaldson, Douglas &Gumble; w. Trent/m. Robison. (c) matchesour usage exactly, but note that cover doesn’thave the comma after Chill’un.Walhalla (Paul Pratt)Chrysanthemum Ragtime Band 1123Confirmed by 1/3/10 copyright reg. and sheetmusic cover.Walk That Broad (Tom Delaney–Warren Frisino)Jazz Classics 1061Swedish Jazz Kings 1122Le Petit Jazzband de Mr Morel 1343All three called him Warren Frisino.Looks like it was actually published as writtenby “Woody” Frisino. Woody was Warren’snickname, and he wrote other songs asWoody, but the world seems to know himbetter as Warren, so I guess we keep that.1928, Clarence Williams. (Found ad for it onback of “West End Blues” as “Woody,” and acopy for sale on net listing author as“Woody.”)2013 review: Looks like I found sheet musicabove, but can’t find it now.Walk that broad; melody by Tom Delaneyand Woody Frisino. © 1 c. June 13, 1928; E694348; Clarence Williams music pub. co.,inc., New York.Well, googling both names gets more hits onhim as Warren than Woody, but he’s probablyWoody on this sheet music and others I found,and he’s Woody in this copyright reg., so wemust treat him that way, especially since thishis only appearance on Stomp Off.Walk That Thing (Charlie Johnson)Keith Nichols Cotton Club Orchestra 1210San Francisco Starlight Orchestra 1271Les Rois du Fox-Trot 1436Rec. Charlie Johnson, 9/19/29, on other sideof Boy in the Boat, Victor 21712.Not copyrighted 1927-30. Victor label andledgers confirm Johnson as composer.Walkin’ the Dog (Shelton Brooks–Guy Shrigley)Moonlight Broadcasters 1193Chrysanthemum Ragtime Band 1196Down Home JB 1273Heliotrope Ragtime Orchestra 1411ASM, 1916, Will Rossiter.Walking Frog, The (Karl L. King)Univ. of Wisconsin Symphony Band 1246Confirmed by 4/2/19 copyright reg.Walking with the King (traditional)Grand Dominion JB 1291

Goodman reports: I have 1917 bandarrangement and piano music that doesindeed show it to be "Nigger War Bride Blues."1918 piano score has dropped "Nigger." Bothshow Le Blanc.ASM has one dated 1917 (but that’s just thecopyright date, could be a later print), pub.Thos. Goggan, that’s just “War Bride Blues”;w. Jimmie Marten/m. “Mitch” Le Blanc.The copyright isNIGGER WAR BRIDE BLUES; words byJimmie Marten, music by Mitch Le Blanc [ofU.S.] c Nov. 12, 1917 ; 2 c. Nov. 15, 1917; E411798; Thos. Goggan & bro., HoustonWar Cloud (see Fidgety Feet)Warm Reception, A (Bert R. Anthony)Lake Arrowhead Early JB 1365Confirmed by 3/7/1899 copyright reg. andsheet music pub. G. H. MunroeWarmin’ Up in Dixie, A (E. T. Paull)Lake Arrowhead Early JB 1365

“Washboard Blues” be published. In 1926,Mills Music published piano sheet music ofthe song, with Callahan and Irving Millsllisted listed as collaborators.As noted above, the only copies of this versionI could find were published in 1928 with acopyright date of 1926.Washboard Wiggles (Tiny Parham)South Frisco JB 1027Orpheon Celesta 1083Pam Pameijer’s New Jazz Wizards 1281Paris Washboard 1308South Side Jazz Serenaders 1420Rec. Parham 7/22/29, Victor V-38076, BluebirdB-6570. Confirmed by 12/7/29 copyright reg.and Victor label.Washboard Willie (traditional)Down Home JB 1300According to note writer Hal Smith,Bob Helm says the number was heardduring the era of minstrel shows. Originallyit was played while “Mr. Bones” and “Mr.Interlocutor” engaged in repartee,accompanied by “Hambone” hand-patting.[There was a well-known musician namedWashboad Willie, born in Alabama in 1909 andlater moved to Detroit, but his career cameafter the end of the minstrelsy era.Washin’ the Blues from My Soul(Willard Robison–Dave Oppenheim)Independence Hall JB 1386We had Washing by Robison. ASM , 1930,De Sylva, Brown & Henderson; w/m by WillardRobison & Dave Oppenheim; and it’s Washin’.Washington Square (Bobb Goldsteinn–David Shire)Tom Stuip & Delirium Tremolo 1433

influential label, the MicKinney’s Victor, hastoday.Well, hell, since we put it out under a bad title,we must put a cross-ref from there to leadpeople here, but we won’t show it as alegitimate alternative title. And now I seewhere out bad title came from: almost everyverse of the song ends with “That’s the way Ifeel today.”Way Way Back (Johnny Hodges–Mercer Ellington)Bruno’s Salon Band 1251Not in Rust. AllMusic.com shows a comma,says by Hodges-Ellington, from a 1960 dateby Paul Gonsalves and other Ellington alumnicalled Ellingtonia Moods & Blues.Ellingtonweb.ca listing of Hodgescompositions also shows this, also withcomma. But no comma in the copyright:WAY WAY BACK; m Johnny Hodges &Mercer Ellington. © Tempo Music, Inc.;11May60; EU624603.Nor in the 1988 renewal shown atcopyrightencyclopedia.com.We Just Couldn’t Say Good-bye(Harry Woods)Keith Nichols Cotton Club Gang 1242Barbara Rosene 1431No hyphen on our CDs.Rec. Boswell Sisters, 8/6/32, Brunswick 6360,01347, A-929. Chick Bullock, 8/1/32, Banner32510, Conqueror 7996, Perfect 15643 et al.Annette Hanshaw, 8/16/32 (with quotesaround Goodbye, (says Rust), Banner 32541,Conqueror 8046, Perfect 12835 et al.No quotes, but hyphen, in good-bye incopyright:We just couldn't say good-bye; w and mHarry Woods; with ukulele arr, Haia Kaa. ©July 13, 1932; E pub. 31237; Keit-Engel, inc.Melotone M-12451 issue of Bullock (as RalphBennett & His Seven Aces) has Good-bye. Sodid Boswell Sisters Brunswick. HanshawPerfect has hyphen, no quotes; Panachord nohyphen or quotes.Weary Blues, The (Artie Matthews)Peruna Jazzmen CD 1003Peruna Jazzmen 1020New Yankee Rhythm Kings 1050Wally Fawkes & the Rhythm Kings 1060Black Bottom Stompers (Switz.) 1130Three Deuces 1185Zenith Hot Stompers 1248Black Eagle JB 1257Bob Helm’s JB 1310Chris Tyle’s Silver Leaf JB 1311Bob Schulz & His Frisco JB 1315Helm–Leigh Jazz & Blues Review 1331Neville Dickie 1423Weary Blues on cover, but The Weary Blueson copyright page. ASM, 1915, Stark.Weary Way Blues (Coleman L. Minor–Jimmy Blythe)Two Clarinet Stompers 1259John Gill’s Dixieland Serenaders 1295One More Time JB 1410Yerba Buena Stompers 1418CRAP: 2/7/11: 1410 has added Jimmy Blytheto Coleman Minor as co-composer. How thehell...? 1418 back to Minor alone.5/3/11 sent email to Gill asking about thatsheet music. He says it’s in storage and notretrievable now, but that he gave the info toErdos right off the sheet, which he believespredates the recordings. So we keep it WearyWay Blues by Coleman L. Minor.2013 Review, and it appears that some seriousreviewing is needed.Pinsker has a copy of the copyright deposit:"Weary Way Blues" Words by Coleman L.Minor, Music by Coleman L. Minor and JamesBlythe. It's stamped December 1 1927 E679986, and at the bottom of the page iswritten "Published by Melrose andMontgomery, 36 West Randolph St., Chicago,Ill."And the copyright reg. confirms this:Weary way blues; words by Coleman L.Minor, music by C. L. Minor and JamesBlythe. © 1 c. Dec. 1, 1927; E 679986;Lester Melrose, Chicago.Are we sure there wasn’t another song withthe same title? How else to account for LovieAustin-Ida Cox/Jimmie Cox?Rec. byMandy Randolph (vcl w/own pno acc.),5/29/23, Gennett Special (?)Ida Cox acc. by Lovie Austin, 6/23, Paramount12044. AND aha: label credits them.And this is simply a different song. Copyrightreg. isWeary (The) way blues; w Ida Cox, m LovieAustin, of U.S., arr. L Cox and L. Austin. © 1c. Aug, 27, 1923; E 570576; Chicago musicco., Port Washington, Wis.State Street Stompers (same as two below),8/12/27, Gennett 6232 (The WWB). Labelcredit is Minor.Dixie-Land Thumpers (nearly same as Owlsbelow), 8/27, Paramount 12525. Nocomposer credit on label.Jimmy Blythe’s Owls, 10/5/27, Vocalion 1135.Sidney Bechet-Albert Nicholas, 12/2/46, creditis Cox-Austin on Jazz Greats reissue. Lookslike it came from Blue Note 517, wherecredit also Cox-Austin. AND NOTE thatClaude Luter also credited Cox-Austin. Andnote that the Stomp Off with Cox-Austin wasa European record with a French clarinetplayer.The question is whether Bechet reallyrecorded the Cox-Austin song or the Minor-Blythe song. Well, that’s clear. It’s the Minor-Blythe song, and his bad credits havefollowed behind him. Claude Luter repeatedthem, as did the Two Clarinet Stompers, with aFrench clarinetist in the lead.Very clearly, Bechet and all four Stomp Offbands are playing the same arrangement thatBlythe’s Owls played. The State StreetStompers and Dixie-Land Thumpers versionsappear to be different arrangements of thetune. Thumpers much slower tempo thanothers.Weather Bird Rag (Louis Armstrong)Canal Street JB 1005Minerva JB 1117Louisiana Repertory Jazz Ensemble 1140Jim Cullum JB 1148Chicago Rhythm 1164Down Home JB 1171John Gill’s Dixieland Serenaders 1295Neville Dickie 1309Black Eagle JB 1356Red Rose Ragtime Band 1360Independence Hall JB 13842013 review: Give this another look--wemustn’t be using LP covers for composercredits.Copyright isWEATHER BIRD RAG; melody, by L.Armstrong [of U.S.], arr. by Richard M.Jones [of U.S.] c 1 c. Apr. 14, 1923 E561680; Louis Armstrong, Chicago.

and then what looks like a mechanicalreproduction rights registration:Weather bird rag. © Louis Armstrong,Chicago. Notice rec'd May 12, 1923;recorded, v. 5, p. 149.BUT much later we findWeather bird; by Louis Armstrong; 1stcornet. © 1 c. Jan. 2, 1929; E unp. 2460;Melrose bros. music co., inc., Chicago.Rec.King Oliver Creole JB, 4/6/23, Gennett 5132,Brunswick 02202 et al.Armstrong with Hines as Weather Bird,12/5/28, OKeh 41454, HRS 18, Columbia36375, et al.AHA! The title on the original 1923 Gennettwas Weather Bird Rag, and the credit was justArmstrong. But oh, for chrissake, the OKehArmstrong-Hines label credits just Oliver, butthe Columbia 36375 label credits Armstrong.But the OKeh has to be a mistake. Someoneat OKeh, knowing that it was originally a KingOliver recording, must have presumed thatOliver wrote it. This is both illogical and fiveyears after the fact; both the original copyrightand the original label said Armstrong. But atleast now we know how the confusion arose.Wedding Cakewalk (Wally Rose)Original Salty Dogs JB 1115Turk Murphy’s liner notes confirm Rose, say itwas written for wedding of Esther & CharlesCampbell, i.e., Duff Campbell of Revengefame. Rec. by Turk in 1954 but not issueduntil SF Trad Jazz Foundation 107 CD. Nocopyright reg. in 1954.Wedding of an Ant (Billy Mayerl)Tony Caramia 1313Confirmed by 6/12/40 copyright reg., part ofInsect Oddities set.Wedding of the Painted Doll, The(Nacio Herb Brown–Arthur Freed)Ingham–Grosz Hot Cosmopolites 1323ASM, 1929, Sherman, Clay; w. Freed/m.Brown.Weeping Willow Blues (Paul Carter)Ted Shafer’s Jelly Roll JB 1278Helm–Leigh Jazz & Blues Review 1331Rec.Louisiana Five, 12/19, Empire 10172.Bessie Smith, 9/26/24, Columbia 14042-D etal.Virginia Liston (acc. by Cl. Williams), 10/9/24,OKeh 8175.Monette Moore, 11/24, Ajax 17079.Well, the Weeping Willow Blues of 1919 wasby Robert King. Presumably a different song.Ours confirmed by 10/4/24 copyright reg. Andby Bessie Columbia label, name in full.We’ll Meet Again (Paul Barbarin)Rent Party Revellers 1220Black Eagle JB CD 1224Written for a 4/21/56 recording, saysWyndham. And Lord shows Paul Barbarin’sNO Band rec. that date, GTJ L-12019, Vogue(French) LD-439-30.Black Eagles say the same thing. Neverfound a copyright or record label, but noshortage of sites that are quite sure Barbarinwrote this.But beware of famous WWII song of same title,written by Ross Parker-Hughie Charles.We’re Back Together Again (MyBaby and Me) (Sidney Clare–James V. Monaco)Barbara Rosene & Her New Yorkers 1422Rec. Ray Miller aho, 2/27/25, Brunswick 2847.Copyright shows the subtitle:We're back together again, my baby andme; w Sidney Clare, m Jimmie Monaco, ofU.S. © Feb. 24, 1925; 2 c. Feb. 25; E607605; Jerome H. Remick & co., New York.But the subtitle wasn’t on the Brunswick label.Nor is it on any of the several other labels Icould find.But aha! Alex Hassan has the sheet, sayssubtitle on copyright page but not cover.We’re Goin’ Around (fromTreemonisha) Scott Joplin)St. Louis Ragtimers 1267Pinsker notes, “Surely somehow this shouldsay that it's an excerpt from his opera"Treemonisha", shouldn't it? It was neverpublished as a separate sheet.” Good point.Were You Sincere? (Jack Meskill–Vincent Rose)John Gill Sentimental Serenaders 1424Rec. Bert Lown, 3/12/31, Victor 22653. RedNichols, 2/19/31, Brunswick 6070 et al.Rhythmic Eight, 5/22/31, Zonophone 5939.Confirmed by 2/13/31 copyright reg., w. JM/m.VR.West End Blues (Joe Oliver–Clarence Williams)Waldo’s Gutbucket Syncopators 1036Black Bottom Stompers (England) 1045Jim Cullum JB 1148Albion JB 1249Duke Heitger’s Big Four 1367ASM, 1928, Clarence Williams. (c) page saysby Oliver & Williams, but cover specifies w.Williams/m. Oliver.West End Romp (Bill Padron–E. H “Mose” Ferrer)New Orleans Classic Jazz Orch 1223CD had Bill Padron-Mose Farrar.Rec. NO Owls, 4/14/26, Columbia 688-D.Hmm, copyright differs slightly:West end romp; melody, by W. G. Padronand E. H. Ferrer. © 1 c. May 14, 1926; E640920; E. C. Crumb, New Orleans.Well, Rust says that Bill Padron is on cornetand Mose Farrar on piano. So who’s right?He’s Ferrer in the index as well, and whilethere are several Farrars in the index, there’sno E. H. Farrar. RJHA says Bill Padron &Mose Farrar, which probably is where ourcredits came from. Well, wikipedia calls themby those names too.But oh, crap: The Columbia 688-D label saysPadron and Ferrar, thus splitting thedifference.heypally78rpms.com says he’s Edward“Mose” Ferrer, which squares both with thecopyright spelling and one of the initials. It’ssomething of a toss-up, but I’m going with thecopyright reg. and heypally. (And the spellingmatches that of the screen actor Jose Ferrer.)Haesler also finds that Sudhalter’s LostChords calls him Edward “Mose” Ferrer andNew Orleans Jazz: A Family Album calls himEdward Harry “Mose” Ferrer.West Indies Blues (Clarence Williams–Spencer Williams–Edgar Dowell)Louisiana Repertory Jazz Ensemble 1029Charquet & Co 1039Louisiana Repertory Jazz Ens. CD 1055New Orleans Classic Jazz Orch 1145South Frisco JB 1180Mahogany Hall Stompers 1221ASM, 1923, Clarence Williams.Westlawn Dirge (Karl L. King)Louisiana Repertory Jazz Ensemble 1197

Band also spell West Lawn as two separatewords.OK - make it West Lawn. And move it up.--3>2013 review: Hah. The copyright of 4/7/10and all the sheet music on sale on the websays its Westlawn, as does the Karl King site atkarlking.usWest of the Mississippi(James Dapogny)State Street Aces 1106South Frisco JB 1180Dapogny was pianist on 1106.West of the Olgas (Dave Dallwitz–Ade Monsbourgh)Dave Dallwitz Ragtime Ensemble 1098West Texas Blues, The(Charles H. Booker, Jr.)South Frisco JB 1143John Gill’s Dixieland Serenaders 12958/25: Montgomery sends 1919 sheet music:The West Texas Blues.Westminster Rag (Ray Leake)Queen City Ragtime Ensemble 1138Leake was pianist with the Queen City JB andfounder of the Queen City Ragtime Ensemble.What a Day! (Harry Woods)Moonlight Broadcasters 1193Rec. Sammy Fain, 5/10/29, Harmony 943-H.Carl Fenton aho, 6/29, Brunswick 4421.Mason-Dixon Orch, 5/15/29, Columbia 1861-D.Ted Weems aho, 6/25/29, Victor 22038 et al.Copyright regt. 3/28/29 doesn’t have thebanger, but they seldom do. Indiana Univ.collection indexes it with banger, but doesn’tshow cover. Victor Project for Weems showsit. Fenton Brunswick shows it, as doesMason-Dixon Columbia.What a Dream (Sidney Bechet)Jean-François Bonnel & Friends 1131Rec. Bechet aho, 11/16/38, Vocalion 4575,Swing 323.Confirmed by 8/31/39 copyright reg.What a Friend [What a Friend WeHave in Jesus] (Charles C.Converse–Horatius Bonar)Grand Dominion JB 1291

What can I say after I say I'm sorry; fox-trot,words and music by Walter Donaldson andAbe Lyman, arr. by Frank Skinner; orch. 4to.© Jan. 14, 1926; 2 c. Jan. 15; E 634024; LeoFeist, inc., New York.AndAfter I say I'm sorry; words and melody byWalter Donaldson and Abe Lyman. © 1 c.Jan. 15, 1926; E 634030; Leo Feist, inc.,New York.The cover isWHAT CAN I SAYAFTER I SAY I’M SORRY?But I suspect the copyright page will have it alltogether. In any case, “(What Can I Say) AfterI Say I’m Sorry?” is stupid, because thequestion is within the parens, while itsrequisite ? is outside. If removing the subtitlecauses the primary title to make no sense, asin this case, it just can’t stay a subtitle.Well, it’s stupid, but consistent: copyrightpage is just like the cover:What Can I SayAfter I Say I’m Sorry?What-Cha-Call-’em Blues(Steve L. Roberts)West End JB 1085Red Rose Ragtime Band 1128Paramount JB of Boston 1247Keith Nichols Cotton Club Orchestra 1275South Frisco JB 1342Red Rose Ragtime Band 1412ASM, 1925, Triangle Music. Note that coverhas the apostrophe misplaced:What-Cha-Call’-Em BluesWhat Cha Gonna Do When ThereAin’t No Jazz? (Pete Wendling–Edgar Leslie)Waldo’s Ragtime Orchestra 1069

Ida Cox, but more to our point is this entryfrom A Century of Musicals in Black and White:An Encyclopedia of Musical Stage Works By,About, or Involving African Americans byBernard L. Peterson Jr.:Sons of Rest (1927). Touring show. Musicand lyrics by Sidney Easton and RobertWarfield. Prod. by Sidney Easton and JoeSimms, who also performed in the cast.and alsoClorifena’s Wedding Day (1922). Vaudevilleentertainment. Prod. by and costarringcomedians Joe Simms and Robert Warfield.And Haesler found yet other clues and pressclippings linking Simms and Warfield aspartners.It’s a little suspicious that the Paramountrecord came out with the 1919 Lew Sullyversion of the title, though.What Do You Want to Make ThoseEyes at Me For? (Joe McCarthy–Howard Johnson–James V. Monaco)Ian Whitcomb & His Merry Bands 1276ASM, 1916, Leo Feist; McCarthy, Johnson &Jimmy V. Monaco. And note this:coverWhat Do You Want to MakeThose Eyes at Me For(When They Don’t Mean What They Say!)Main part of title all on one line, no ? Butcopyright page is exactly as we have it.What D’Ye Mean You Lost Your Dog(Where’s That Dog-Gone, Dog-Gone,Dog of Mine) (Joseph M. Daly–Thomas S. Allen)Rosy McHargue 1253Oops, we had Daley. ASM, 1913 Daly Music;w. Allen/m. Daly.What Is This Thing Called Love?(Cole Porter)Lande’s Rhythm Club Orchestra 1327ASM, 1930, Harms.What Kind o’ Man Is You?(Hoagy Carmichael)Moonlight Broadcasters 1193No ? on copyright:What kind o' man is you; words and musicby Hoagy Carmichael. © Nov. 29, 1929; 2 c.Dec. 7; E pub. 11356; Mills music, inc., NewYork.but copyright entries almosts never have them.Rust lists it under“What Kinda Man Is You?”with the following entries:Sara Martin (Kinda), 9/24/24, Okeh 8191.(actually Kind’A Man, ? by Lem Fowler)Clarinet Joe & His Hot Footers (as Kinda),8/8/25, Harmony 8-H, Regal G-8539.Eddie Lang aho (as Kind o’, Hoagy on pno butMildred Bailey vcl), 10/5/29, ParlophoneR840, Odeon A-286027 et al. Aha, theParlophone label has the ?Irving Mills Hotsy Totsy Gang (as Kind of),11/7/29, Brunswick 4641, A-8645. But it’sKind A Mam, no. ?In his book on Carmichael, Sudhalter rendersit with the ? And heck, I found that I have acopy of the 1929 sheet music, with ?What Kind of Rhythm Is That?(Sidney Easton)Back Bay Ramblers 1355Rec. Bill Brown & His Brownies, 12/26/29,Brunswick 7142. (their source, say the BBRamblers)Odd copyright entry isWhat kind a rhythm [!] is that; words andmusic by S. Easton. [Words and melodyonly] © 1 c. Nov. 2, 1929; E unp. 12787;Sidney Easton, New York.Presumably [!] is LC’s version of [sic].Brunswick label is What Kind of Rhythm IsThat?What Makes Me Love You So?(Clarence Williams)Swedish Jazz Kings 1122Des Plantes’ Washboard Wizards 1325Neville Dickie 1366

Charleston Chasers Columbia ends with ! not? Hanshaw Harmony has no punctuation.Spike Hughes British Decca also has ! ANDNat’l Lib. of Australia indexes with an ! so I betit’s there. Same for San Jose Pub. Library.What You Want Me to Do? [WhatYa Want Me to Do?] (Joe Oliver–Clarence Williams)Jazz O’Maniacs 1071Dry Throat Five 1151Duke Heitger’s Big Four 1367Pam Pameijer’s New Jazz Wizards 1395John Gill’s Jazz Kings 1401Yerba Buena Stompers 1418

2013 review: Well, it was recorded by SisterRosetta in 1946...but get this: Decca 11002, bySister Rosetta Tharpe and the Sam Price Trio,credit to Rosetta Tharpe, 1946.First, shame on me for leaving this Tharp since2000--it’s Tharpe.But we’re not out of the woods yet, since allwe have is this credit on the Decca label withSam Price Trio. Another of that batch ofrecords, My Journey to the Sky, creditedTharpe, but we learned that it’s reallysomebody else, so why should we trust thisone? Still, we must leave it Tharpe for nowunless I can find some proof to the contraryelsewhere, especially since we know that shedid write some other gospel songs, mostnotably “Up Above My Head” (“there’s musicin the air”).When I Take My Sugar to Tea(Sammy Fain–Irving Kahal–Pierre Norman)Susan LaMarche/Waldo’s Gut. Sync. 1032

Tweet-Tweet-Tweet) (Gene Austin–Jimmy McHugh–Irving Mills)Down Home JB 1264Charleston Chasers 1376Great Song Thesaurus says "When My SugarWalks Down the Street, All the Birdies GoTweet-Tweet-Tweet."8/22, Hassan: When My Sugar Walks....doeshave the Shapiro & Pollack long subtitle8/25: Montgomery sends 1924 sheet, and thebirdies are tweeting on both the cover andcopyright page.When Polly Walks Through theHollyhocks (Harry Woods)Back Bay Ramblers 1374Confirmed by 7/18/28 copyright reg.When Ragtime Rosie Ragged theRosary (Lewis F. Muir–Edgar Leslie)Ian Whitcomb & Dick Zimmerman 1017Elite Syncopators 1286Terry Waldo & Bo Grumpus 1339ASM, 1911, F. A. Mills; w. Leslie/m. Muir.When Ragtime Rufus Rags theHumoresque (Harry Ruby)Down Home JB 1273Later from Nancy Wyndham:Tex does not have 'Ragtime Rufus". He'dlove to get hold of a copy. For what it'sworth, Clancy Hayes' performance appearson Down Home Records MG D-3 (an LP),"Clancy Hayes Sings" (with "Lu Watters AndHis Jass Band" listed on the sleeve), wherethe title is given as "Ragtime Rufus". Thecomposer credit on the sleeve is P.D.,meaning, we think, that the LP's producersdidn't know who wrote it.Bruyninckx's (how's that for a name?)traditional jazz discography says that Hayes'recording took place in the spring of 1950.A ragtime tune would not have gone into thepublic domain at that time unless thecopyright was not renewed at the expirationof the initial 28-year registration. (As I'm sureyou know, the copyright laws have sincebeen changed so that popular musiccopyrights run much longer.)We are not aware of any attribution ofcomposer credit to this tune, by "Ruby" oranyone else. It seems to Tex that HarryRuby would be too late for what sounds likea ragtime-era song, say from the 00s or theteens. Probably not Ruby Braff, either. :)4/26/11: Found Harry Ruby in the SongwritersHall of Fame website. They list nearly 200songs written by him, but the list does NOTinclude this one.BUT EUREKA: A researcher at Georgia Statesent me this:I checked and we do not have that title inour collection, but I did find it on the UCSanta Barbara Victor Recordings site. Iwould consider this a reliable andauthoritative resource.http://victor.library.ucsb.edu/index.php/matrix/detail/700003848/B-18793-When_Ragtime_Rufus_rags_the_humoresqueSure enough, it’s Harry Ruby!2013 review: Victor Project confirms HarryRuby for the recording by M. J. O’Connell in1916. But not in copyright books 1915-18.When Rosie Riccoola Do the HoolaMa Boola (She’s a Hit in Little Italy)(Arthur Lange–Andrew B. Sterling)Rosy McHargue 1253ASM has the sheet, 1917, Joe Morris.Actually, the (c) page has an awkward commathat’s not on the cover: “When RosieRiccoola,Do the . . .” It’s not only illogical, butlooks like an accident, jammed in betweenRiccoola and Do without any space around it.We shall ignore it.When She Cries (Billy Novick)Black Eagle JB 1147Novick is reed player in the band. “She” washis new baby daughter.When Somebody Thinks You’reWonderful (Harry Woods)Bruno’s Salon Band 1251Rec. Fats Rhythm, 11/29/35, Victor 25222,HMV BD-5040 et al.Confirmed by 3/13/35 copyright reg.When Sweet Susie Goes Steppin’ By(Whitey Kaufman–Fred Kelly–Irving Bibo)

John Gill’s Calif. Sunshine Boys 1157LP said Whitey Kaufman–Fred Kaufman–Irving Bibo).Rec.Thelma Terry Play Boys, 3/29/28, Columbia1588D, 01403.Nat Shilkret, 6/19/28, Victor 21515, HMV B-5553.Midnight Serenaders (Stepping), 7/28,Paramount 20657, Broadway 1216.Joe Candullo (Stepping), 8/17/28, Banner7218, Conqueror 7141, Domino 4201, Oriole1339 (as Dixie JB).Arthur Fields, 9/28, PA 36874, Perfect 15055.Oops, copyright say Kelly, not Kaufman:When sweet Susie goes steppin' by; wordsand music by Whitey Kaufman, Fred Kellyand Irving Bibo; pf. acc., with ukulele arr. byMay Singhi Breen. © Mar. 10, 1928; 2 c.Mar. 22; E 687052; Bibo, Bloedon & Lang,inc., New York.Sheet music index at Indiana U. confirms FredKelly.When the Bees Make Honey (Down inSunny Alabam’) (Walter Donaldson–Sam M. Lewis–Joe Young)Ian Whitcomb & His Merry Bands 1276ASM, 1919, Waterson, Berlin & Snyder; w.Sam M. Lewis-Joe Young/m. Donaldson.(c) pageWhen the Bees Make HoneyDown in Sunny Alabam’coverWHEN THE BEES MAKE HONEYDOWN IN SUNNY ALABAM’so I’ve made second line a subtitle, but I couldbe talked out of it in this case. MTSU treats itthat way.When the Buccaneers Left Old Dixie’sLand (Stephen Kent Goodman)Pierce College Symphonic Winds 1297Goodman was guest conductor of the band.When the Folks High-Up Do theMean Low-Down! (Irving Berlin)John Gill Sentimental Serenaders 1424CD had High-Up and Low-Down. Copyrighthas no hyphens:When the folks high up do the mean lowdown; words and melody by I. Berlin. 17218;© 1 c. Feb. 17, 1930; E unp. Irving Berlin,inc., New York.Later Berlin added a banger, but still nohyphens:When the folks high up do the mean lowdown ! words and melody by I. Berlin. © 1 c.Apr. 1, 1930; E unp. 19511; Irving Berlin,'inc., New York.But oops, HSM shows both hyphens and ! Mysuspicion is that both hyphens and ! are oncopyright page, but probably not cover.Nope, Sara pulled the sheet in Alex’s absenceand reported hyphens both places.When the Major Plays Those MinerMelodies (William A. Wilander–Harry De Costa)Chrysanthemum Ragtime Band 1079As does ASM, 1916, Witmark.When the Midnight Choo-ChooLeaves for Alabam’ (Irving Berlin)Bob Pilsbury with Friends 1265San Francisco Starlight Orchestra 1364We had the and Choo Choo.Copyright is That and hyphen:When that midnight choo-choo leaves forAlabam ; words and music by Irving Berlin.© Nov. 2, 1912; 2 c. Nov. 4, 1912; E 297717;Waterson, Berlin & Snyder co., New York.And notice no final apostrophe on copyright.Oh, boy, the sheet music cover has theunlikelyWHEN THAT MIDNIGHTCHOO, CHOO, LEAVES FORALABAM’Copyright page is the far more reasonableWHEN THE MIDNIGHT CHOO-CHOOLEAVES FOR ALABAM’.When the Moon Comes Over theMountain (Kate Smith–HowardJohnson–Harry Woods)Barbara Rosene & Her New Yorkers 1405ASM, 1931, M-G-M; 1405 had Howard E.Johnson, but that’s not on the sheet and we’vemade him just Howard everywhere else.When the Moon Shines in CoralGables (Charles A. Bayha)Red Rose Ragtime Band 1399We had “...on Coral Gables,” and you hearthat often, but the sheet is clear, both cover &(c). ASM, 1924, Irving Berlin.When the Moon Swings Low(Neil Morét*–John Page)Chrysanthemum Ragtime Band 1047Confirmed by 1911 sheet music, pub. Remick,w. JP/m. NM. It appears that there was alsoan instrumental version by Moret alone, whichwas common at the time.2013 afterthought: This is second tune inmedley with Oh, You Beautiful Doll. The bandsings Beautiful Doll but not Moon Swings Low.However, Vermazen supplied credits for thearrangement by J. C. McCabe that includedboth Page and Moret, so I guess we won’tagonize over whether they’re playing the songor instrumental version of the tune.When the Morning Glories Wake Upin the Morning (Then I’ll Kiss YourTwo Lips Good-night) (Fred Fisher–Billy Rose)Charleston Chasers 1376“Goodnight” on CD.Oops, copyrights are problematic. No subtitleon the primary copyright:When the morning glories wake up in themorning; words by Billy Rose, music byFred Fisher, arr. by Rube Bennett; pf. andukulele acc. © Mar. 8, 1927; 2 c. Mar. 11; E660850; Milton Weil music co., Chicago.Then mechanical rights copyright has subtitle,but different from ours:When the morning glories wake up in themorning, then I'll kiss your lips goodnight. ©Milton Weil music co., inc., Chicago. Noticerec'd Jan. 29, 1927; recorded, v. 7, p. 89.But the Indiana University index listing is closeto what we have:TitleWhen the morning glories wake up in themorningTitleThen I'll kiss your two lips good-nightBut then MTSU has good night. HSM listinghas it, but ran out of space before it got thatfar. Alex checked, reports that the hyphen isthere on both cover and copyright page.When the Saints Go Marching In(traditional)Yerba Buena Stompers 1381I didn’t even try to research this--if anybodywants to claim to know a composer credit forthis warhorse, let me know.When the Sun Sets Down South[Southern Sunset] (Sidney Bechet–Harry Brooks–Noble Sissle)Hot Antic JB 1154Waldo’s Jazz Entertainers 1377On 1154 as Southern Sunset by Bechet, whichis where I did the following research 9/15/13:According to Rust, rec.Noble Sissle’s Swingsters (w/Bechet, as Whenthe Sun Sets Down South), 2/10/38, Decca2129, 3865, M-30224, MU-60307; Brunswick80132, 02702*, 87508. *As SouthernSunset.Copyright:

When the sun sets down South; w NobleSissle, m Sidney Bechet & Harry Brooks. ©Nov. 30, 1938; E pub. 75289; ClarenceWilliams music pub. co., inc., New York.(no “Southern Sunset” in copyright books1937-40).Obviously, correct title is then longer one, HotAntics must have found that one aberrationlabel, Brunswick 02702. But let’s check thelabels anyway, if we can find them: Decca2129 credits Brooks-Bechet, as doesBrunswick 80132. Brunswick 02702 doesindeed say “Southern Sunset,” also creditsBrooks-Bechet.AHA: When I moved Southern Sunset here toWhen the...I discovered that Waldo hadrecorded it under its correct title.When the White Lilacs Bloom Again[Wenn der weiße Flieder wieder blüht](Franz Doelle)Alex Hassan 1322It appears that Doelle wrote it in 1928 or ’29. Itgained new life and picked up a co-author,Fritz Rotter, when it was featured in a 1953German film of the same name. The onlycopies I could find (ASM and online) creditedDoelle-Rotter but are much later reissues. Ifound ample evidence that it’s as well knownby it’s original German title, even in Englishlanguagesources, so I’ve put that here. But Icould be talked out of it.(When We Ride) On the Merry GoRound (Ralph Bolton–Jack Keith–Earl McCarron)Alex Hassan 1322No hyphens on the copyright:When we ride on the merry go round; wJack Keith and Earl McCarron, m Ralph W.Bolton; with ukulele arr. May Singhi Breen.© May 3, 1932; E pub. 29918; Bolton musicco., inc.Oops, both cover and copyright page treat itlike pretitle + title.Cover:WHEN WE RIDEON THE MERRY-GO-ROUNDCopyight:When We RideOn the Merry Go RoundWhen You and I Were Young,Maggie (James A. Butterfield–George W. Johnson)Black Eagle JB 1224Paris Washboard 1308Red Rose Ragtime Band 1399Grand Dominion JB 1408

When You Walked OutSomeone Else Walked Right InConsidering all the other evidence, and factthat none of the online indexes treats thosefirst four words as a pre/subtitle, I’m going tobreak my usual ruls and leave it all one title.When You Were a Girl of Seven(Hudson “Tampa Red” Whittaker)Helm–Leigh Jazz & Blues Review 1331Rec. State Street Swingers, 10/1/36, Vocalion03347, Conqueror 8765.Confirmed by 9/2/36 unpub. copyright reg. byH. Whittaker (Hudson in index).When You Wish Upon a Star(Leigh Harline–Ned Washington)Jimmy Mazzy & Eli Newberger 1109ASM, 1941, Irving Berlin; w. Washington/m.Harline.When You Wore a Tulip and I Worea Big Red Rose (Percy Wenrich–Jack Mahoney)New Orleans Rascals 1113Ian Whitcomb & His Merry Bands 1276Aces of Rhythm 1372Canary Cottage Dance Orchestra 1415

Australian National Library indexes a copyshowing those credits and the “five mile”subtitle (but spelling it tuckerbox), but I thinkjust to be safe we’ll skip the subtitle here.1/16/14 revisit: Asked the redoubtable OzzieBill Haesler about this; as usual, he camethrough:The original sheet music (cover) is “Where theDog Sits on the Tuckerbox (5 Miles fromGundagai)” by Jack O’Hagan. (Although theactual plaque on that statue shows it“TUCKER BOX” with an obvious gap betweenthe words). “Nine Miles from Gundagai isactually a different song, composer unkown.And Alf is explained by, of all things, theAMERICAN copyright:Where the dog sits on the tuckerbox fivemiles from Gundagai ; w Alf [pseud. of JackO'Hagan], m J. O'Hagan. © July 7, 1938; Efor. 56014; Allan & co., pty. ltd., Melbourne,Australia.Where the River Shannon Flows(James I. Russell)Mahogany Hall Stompers 1221Where the Shy Little Violets Grow(Harry Warren–Gus Kahn)San Francisco Starlight Orchestra 1296ASM, 1928, Remick.Where the Sweet Forget-Me-NotsRemember (Harry Warren–Mort Dixon)John Gill’s Novelty Orchestra 1270ASM, 1929, Remick.Where’d You Get Those Eyes?(Walter Donaldson)San Francisco Starlight Orchestra 1364ASM, 1916, Leo Feist.Wherever There’s a Will, Baby(Don Redman)Back Bay Ramblers 1374Rec. McKinney’s Cotton Pickers, 11/7/29,Victor V-22736, Bluebird B-10249 et al.Oops, copyright is quite a bit different:Where ever there's a will, there's a way, mybaby; words and music by Donald Redman.© Jan. 11, 1929; 2 c. Jan. 15; E pub. 2690;Empire music co., New York.BUT the Victor label matches what we have. Ipresume that Victor rejected his overly longand cumbersome original title.Wher’m I Gonna Live?(Billy Ray Cyrus–Cindy Cyrus)Ernie Carson & the Castle JB 1277Confirmed by lotsa lyrics/music sites and anonline bio of Cyrus. Cindy was his wife 1986-91.While They Were Dancing Around(Joe McCarthy–James V. Monaco)Terry Waldo & Bo Grumpus 1339Confirmed by 12/20/13 copyright reg., w.JM/m. JVM, and by sheet music pub. byBroadway Music Corp.Oddly, Monaco copyrighted a piano score forit in 1914 in his name only.Whip Me with Plenty of Love(Clarence Williams–Louis Urquhart–J. Tim Brymn) (On 1058, 1170, and1410 the tune labeled Whip Me withPlenty of Love is really Worn OutBlues)Swedish Jazz Kings 11221122 showed it as Worn Out Blues by J.Rogalle.Rec. CW WB Band, 4/23/30, OKeh 8790,Odeon ONY-36083, Parlophone R-2203.Oops, copyright says Brymn, not Williams:Whip me with plenty of love; words andmelody by Lou Urquhart and Tim Brymn. ©1 c. May 29, 1930; E unp. 22592; ClarenceWilliams music pub. co., inc., New York.But I stumbled across a previous copyright ofit by Urquhart alone two years before:Whip me with a plenty [sic] of love; wordsand melody by Lew Urquhart [i. e. L. T.Urquhart]© 1 c. July 31, 1928; E 695761;Louis Thomas Urquhart, New York.Well, Parlophone R-2203 credited Williams-Urquhart. And the OKeh says Williams-Urquhart. All my other records and mostonline sources say CW-LU, but Jim Cullumradio show says CW-TB/LU.Guess I stick with CW-LU like the labels, butit’s sure troublesome, especially since it wasWilliams Music Pub. that filed the copyrightregistration adding Brymn to the credits. No,given that fact, I think I’m going to join Cullumin adding Brymn.HOWEVER, the composer credits for “WhipMe” are the least of our troubles. It turns outthat we’ve had the “Whip Me with Plenty ofLove” and “Worn Out Blues” titles reversed—they were the two sides of OKeh 8790,recorded at the same April 23, 1930, session.In a note to DJML a few years ago, Bill Haeslerdetailed this history of this mistake: At somepoint (probably 1950s), somebody noted that“Whip Me” was at slow tempo and “Worn Out”was fast tempo, and decided that the labelsmust have been reversed on the originalrecord (the same specious argument longapplied to Waller’s Minor Drag/Harlem Fuss).Subsequent reissues and new recordings ofthe tunes most often used “Whip Me” for thefast tune and “Worn Out” for the slow tune.The late Tom Lord (not the Jazz Discographyman) in his definitive 1976 bio-discography ofClarence Williams disputes the tune reversaltheory and cites Thornton Hagert (VernacularMusic Research), who managed to locate theLou Urguhart manuscript for "Whip Me withPlenty of Love" in the Library of Congress andstated in a letter dated March 1974, "comparisonwith the recording (mx 403972-A) indicatesthat the titles are NOT reversed."On Stomp Off, Jazz O’Maniacs and GrandDominion originally had it right, recording thefast tune as “Worn Out Blues” (which is whatwas on their LP covers), but at some point inthe history of this index, we moved them to“Whip Me” and put at note at “Worn Out”explaining that change. Thus we changedthose two from right to wrong, while all theother recordings of both tunes were wrongfrom the start, i.e., the Swedish Jazz Kings’“Worn Out Blues” should have been “WhipMe,” and the “Whip Me” versions by Hot Antic,European Classic, and One More Time shouldhave been “Worn Out Bues.”Dave Robinson confirmed Haesler’sassessment the next day, and confessed thathe too had been playing the fast tune asWhipe Me all these years.Whipped Cream (Percy Wenrich)Terry Waldo & Bo Grumpus 1339CD title was Whipped Cream Rag.Copyright isWhipped cream; a rag by Percy Wenrich; pf.[2179 © Jan. 18, 1913; 2 c. Jan. 23, 1913; E304279; Wenrich-Howard co., New York.Surprised I couldn’t find it in any onlinecollections, but found more than ampleevidence that title is “Whipped Cream,” with“Rag” or “A Rag” as a genremarker.Whipping the Keys (Sam Goold)Tony Caramia 1209Tony Caramia 1328ASM, 1923, Stark & Cowan.Whisper Sweet (James P. Johnson–Jo Trent)Blue Rhythmakers 1373Neville Dickie 1423

actual Parlophone label of the Hyde recording(Parlophone R-2040) that shows both.8/9/13 Pinsker confirms w. Jo Trent/m. JPJ on1935 sheet pub. by Southern Music Co.Whispering Malvin Schonberger–John Schonberger)New Century Ragtime Orchestra 1385ASM, 1920, Sherman, Clay, San Francisco; w.Malvin/m. John. Later used in film GreenwhichVillage, republished as by John Schonberger,Richard Coburn & Vincent Rose, “revised ed.”Even though the republished sheet said wordsand music by John Schonberger, RichardCoburn and Vincent Rose, it must be the casethat John Schonbergers’s lyrics were replacedby new ones written by Coburn and Rose.Oddly, the credits for the tune in IMDB areMusic by John Schonberger (1920)Lyrics by Malvin Schonberger (1920)Adapted for "Greenwich Village" by VincentRose and Richard Coburn (1944)But two of my six reissues of the PaulWhiteman recording credit Schonberger-Rose-Coburn, further proof—as if more isneeded—that you can’t trust LP and CDreissuers to get credits right!Whistling Rufus (Kerry Mills)Lake Arrowhead Early JB 1365ASM, 1899, F. A. Mills.Whistling Willies (Harry L. Alford)Univ. of Wisconsin Symphony Band 1246Confirmed by 11/10/25 copyright reg.(There’ll Be Bluebirds Over) TheWhite Cliffs of Dover (Walter Kent–Nat Burton)Grand Dominion JB 1378We had “White Cliffs of Dover,” but ASMshows(There’ll Be Bluebirds Over)The White Cliffs of DoverCover & (c), 1941, Shapiro, Bernstein; w.Burton/m. Kent.White Ghost Shivers (Joe Tarto–Einar Swan)New Orleans Classic Jazz Orch 1145Des Plantes’ Washboard Wizards 1357

For what it’s worth, I have 11 recordings of itas Whitewash, 2 as White Wash (Turk Murphyand Tex Wyndham).OK, time for an arbitrary decision. No vocalson Stomp Off records, but we know that oftenWait a minute--perhaps we can indeed tell!1/16/15 asked Robbie to compare ourrecordings with the two versions to see if we’replaying the song or instrumental versions.Whittling Remus (Thomas E. Broady)David Thomas Roberts 1317Confirmed by 1900 sheet music.Who? (Jerome Kern–Otto Harbach–Oscar Hammerstein II)Paris Washboard 1261ASM, 1925, Harms; w. Harbach-Hammerstein/m. Kern.Who Wouldn’t Be Jealous of You?(Larry Shay–Haven Gillespie–George Frommel)Back Bay Ramblers 1355ASM, 1928, w/m Larry Shay-Haven Gillespie-George Frommel. We didn’t have Frommel.MTSU confirms.Who Wouldn’t Love You?(Joe Burke–Benny Davis)Paramount JB of Boston 1205HSM, 1925, Leo Feist; w. Davis/m. Burke.Whoa! Nellie! (George Gould)Chrysanthemum Ragtime Band 1168Confirmed by 1915 sheet music pub. Chas. N.Daniels, SF. (Strange--not in the copyrightbooks 1914-16.)Who’ll Chop Your Suey When I’m Gone(Sidney Bechet–Rousseau Simmons)Swedish–American Hot Jazz Collab. 11361138 had ? I removed it in earlier editionsbased on LC copyright lead sheet/lyrics Ifound in LC files. The actual copyrightregistration (found 5/22/13) isWho'll chop your suey when I'm gone; wRousseau Simmons, m Sidney Bechet, ofU.S. © Apr. 8. 1925; 2 c. May 15; E 618492;Clarence Williams music pub. co., inc., NewYork.Rec. Willie Jackson, 9/3/26, Columbia 14165-D. Margaret Johnson (w/Bechet in band),1/8/25, OKeh 8193. No ? on Columbia; OKehis “Who’ll Chop Your Suey (When I’m Gone).”Even though OKeh with parens published first,let’s go with Columbia and copyright. Andnote that Tulane has an orchestration of it byW. C. Polla, also indexed without parens.Who’s Been Playin’ Papa ’Round HereWhile I’ve Been Gone?(Clarence Woods)Ian Whitcomb & Dick Zimmerman 1017ASM, 1919, Seidel.Who’s Blue (Will Gould–Jimmy Rule)Dry Throat Five 1114John Gill’s Calif. Sunshine Boys 11572013 review: Rust: rec. King Oliver aho, 1/9/31,Brunswick 6046 (as Savannah Syncopators),A-9065.Lord: rec. Count Basie (arr. Benny Carter),11/1/61, Roulette R-52086, RE-118 (sametune?). Kustbandet, 1972, Kenneth KS2037.I wonder about this copyright reg.:Who's blue; you'll find me listed in the Who'sblue, lyrics by Will Gould, music by WillGould and Jimmy Rule; pf. and ukulele acc.© 1 c. Aug. 9, 1930; E unp. 27365; Green &Green music publishers, inc., New York.Brunswick 6046 label confirms Gould-Rule, no?Who’s She Jazzin’ Now? (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Who’s Sorry Now? (Ted Snyder–Harry Ruby–Bert Kalmar)Paris Washboard 1326Black Eagle JB 1346ASM, 1923, Waterson, Berlin & Snyder; w.Ruby-Kalmar/m. Snyder.Whose Honey Are You?(J. Fred Coots–Haven Gillespie)Ernie Carson & the Castle JB 1277Rec. Red Allen, 1/23/35, Banner 33355, Conq8474, Perfect 16080 et al. Waller Rhythm,3/6/35, Victor 24892, 25027; HMV EA-1500,GY-362 et al.2/6/35 copyright reg. has no ? (but theyusually don’t), w. HG/m. JFC. Indiana U.indexes it with the ? And it’s definitely on thecover.Who’sit (Beatrice Jones)Tomas Örnberg’s Blue Five 1043New Jazz Wizards 1244Paris Washboard 12802--my other records & Rust say Whosit, butErdos goes for Who’sit based on ColumbiaCD and other Hot Five reissues.--2>8/9/13 Pinsker researched this one:Whoosit; melody by B. Jones. c 1 c. Jul 19,1926 E643164; Beatrice Jones, Chicago.That is precisely how that one shows up inthe CCE, pt. III, Vol. 21, no. 2, p. 740.There's a whole paragraph about this in abook about the Hot Five records by GeneHenry Anderson.Can that really be our tune? Rec. Hot 56/16/26, Okeh 8357. YES! I found thatAnderson book online; its index has “Whoosit-- see Who’sit,” and under Who’sit it discussesthe tune. In a later section about differencesbetween copyright depositions and publishedtitles, it notes,Copyright depositions are not necessarilywritten in the owner’s hand. . . . The depositsbearing Lil’s name (given variously as LillianArmstrong or Lillian Hardin), are undoubtedlyin her hand, including Beatrice Jones’s“Whoosit,” which was submitted the same dayLil’s “I’m Gonna Getcha” and “King of theZulus.”And aha! The OKeh label is WHO’SIT.(Actually, it’s WHO’ SIT, with extra space, butthat’s silly.) Confirms Jones as composer.Why (Jelly Roll Morton–Ed Werac*)Terry Waldo’s Gotham City Band 1201Jimmy Mazzy & Friends 1219Aces of Syncopation 137210/15/02: Have sheet music, see that it’sWhy? on cover but Why on copyright page.Found it and confirmed this again, ASM, 1938,Tempo.Bob, this is not the first time that I’ve removeda logical question mark because it’s not on thecopyright page. If you were to insist, evengently, I’d restore it, at least in the cases inwhich we find that it is on the cover. If it’sneither place, we can’t make it up.2013 review:And what did the label say? Rec.JRM Six, 1/23/40, General 1706, Commodore636. The General label has no ? - confirmsMorton-Werac, calls group “The MortonSextet.”10/29/38 copyright (w. Werac/m. Morton) hasno ?, but they usually don’t.

That’s a bizarre mistake for Mazzy to make.Did I check his recording to make sure it’s thesame song as the other two? Yes, and it is.Why Begin Again (see Pastel Blue)Why Couldn’t It Be Poor Little Me?(Isham Jones–Gus Kahn)State Street Aces 1106Dick Sudhalter & Connie Jones 1207Ernie Carson & the Castle JB 1283Rec. Frank Crumit, 1/22/25, Victor 19582, no ?Arkansas Travelers, 1/10/25, OKeh 40303.Bailey’s Lucky Seven, 1/22/25, Gennett 5645,State 9621. Ben Bernie, 1/7/25, Vocalion14956 et al. CA Ramblers, 1/5/25, Columbia278-D--label has the ? Benny Goodman,12/18/33, Columbia 2871-D, no ? FletcherHenderson, 1/25, Banner 1476, Oriole 348 etal. George Olsen, 2/20/25, Victor 19573. Orig.Memphis Five, 2/6/25, PA 036210, Perfect14391. Stomp Six (as Why Can’t ...), 7/25,Autograph 626 et al.12/29/24 copyright reg. has no ? w/GK/m. IJ.Cover isWHY COULDN’T IT BEPOOR LITTLE ME?and HSM lists it that way.Why Do I Love You? (Jerome Kern–Oscar Hammerstein II)Ronn Weatherburn 1107ASM, 1927, Harms; w. Hammerstein/m. Kern.Why Don’t You Go Down to NewOrleans (Margaret Baird)John Gill’s Novelty Orchestra 1227Not in Rust. Lord says first rec. Mahogany HallStompers, New Orleans, Feb. 1989 (and Gillwas in that band). Then this CD. All googlehits come back to these and later recordings.Says Gill, “This was a tune that Steve Pistoriusfound. I think that he knew Margaret Baird, orsomething like that. I don't know anythingabout her.”First rec. (from Lord) is Mahogany HallStompers in NO in 1989 (with both Pistoriusand Gill, who were on the SOS record in 1991.12/28/13 talked to Chris Burke, who confirmsthat it was written by Margaret Baird, but saysshe never copyrighted it, and then that NOmusicians Jerry Embry & Frankie Lynn (sp?)bought it from her and copyrighted or justcopyrighted it themselves. But I couldn’t findany google hits on that title plus those names,so I think we can safely stay with Baird fornow.Why We Smile (Charles Hunter)John Hancock 1025David Thomas Roberts 1317Confirmed by my repro of 1903 sheet music.FYI, the words "Why We Smile" (in quotes)appear as subtitle on cover (but not copyrightpage) of Hunter’s earlier Tickled to Death.Tichenor & Jasen confirm that it’s differenttune, perhaps prompted by the previouscover.--4>Wie nett (Ernst Fischer)Tony Caramia 1328First copyright in U.S. in 1934 as “How Nice”by Ernest Fisher, then an orchestration in1935 as “Wie nett” by Ernst Fischer. But weknow that all Fischer’s work was publishedonly in Germany with title in English andGerman (with English often displayed moreprominently) to appeal to an “international”audience.Wiggle Rag (George Botsford)Bob Wright 1239QRS 30847 piano roll, Botsford confirmed ascomposer (arranged roll).But 1909 copyright has def. article:Wiggle (The) rag; by George Botsford, forpiano. © Oct. 15, 1909; 2 c. Oct. 15, 1909; E216692; Jerome H. Remick & co., Detroit,Mich.But all the refs to it have no The, so it must nothave got on the music. Brier & Adams bothreport The on cover, but not on copyright pageWild and Wooly Willie (Jack Pettis–Al Goering–Irving Mills)Des Plantes’ Washboard Wizards 1421

online hits report Wild Cat, making me suspectthat the sheet music was rare and that mostpeople know it from the record labels. I’ll keepit Wild Cat here, but will put Wildcat asalternative title.Wild Cat Blues (Clarence Williams–Fats Waller)Steve Lane’s Southern Stompers 1040Monty Sunshine JB 1110Dick Hyman 1141Neville Dickie 1269Paris Washboard 1359Rec. CW Blue Five, 7/30/23 OKeh 4925,Biltmore 1096 et al.Confirmed by 9/24/23 copyright reg., w/mboth, and OKeh label.Wild Cherries (Ted Snyder)[also published in song versionwith lyrics by Irving Berlin]Waldo’s Ragtime Orchestra 1069Bob Pilsbury with Friends 1265

Written 1979, plenty of online confirmations,including piano roll of Robbie Rhodes playingit. And it’s in Vol. 2 of Frost’s compositionssold by John Roache.Windy City BluesNot in book now and may never be, butGiordano found manuscript in files ofpublisher Denton & Haskins. (see note atExit Gloom) Composers are Jelly RollMorton-Jimmie Hudson-Bob Peary-Chas.Raymond.Windy City Stomp (see One Stepto Heaven)Winin’ Boy Blues (Jelly Roll Morton)Oakley’s Lakeshore Serenaders 1013Pam Pameijer – Duet /Trio/Quartet 1134New Orleans Ragtime Orchestra 1213Southern Stompers (France) 1215Jim Cullum JB 1254Paris Washboard 1293Southern Stompers 1413Rec. JRM, 1/38, Jazz Man 11. 9/14/39,Bluebird B-10429, HMV B-9217 et al.12/14/39, General 4004.Confirmed by 2/17/40 unpub. copyright reg.and Bluebird and General labels.Wink the Other Eye [Then You Winkthe Other Eye] (George Le Brunn–W. T. Lytton)Bo Grumpus 1388See Too Tight Rag. Credit on CD was E. E.Hack. Hack was string band leader. This tunerecorded Hack’s String Band, 9/29/30,Champion 45149 and 16326. CumberlandString Band, 9/29/30 [SAME DATE?], Superior2536, credit W. V. Garrett says Online 78.Aha, careful string band discography saysthese are the same recordings.Wink The Other Eye : Old Time Fiddle BandMusic From Kentucky Volume 1 has the Hackrecordings, shows W. V. Garrett was fiddleplayer in band, but says composer was W. T.Lytton.B luegrassmessengers.com has this littleessay:It's possible but not documented that thesong and tune are derived from the title andlyrics of the 1890 song by W.T. Lytton, "Winkthe other Eye." Here's some information fromAndrew Kuntz:WINK THE OTHER EYE. Old-Time,Breakdown. USA; Kentucky, Tennessee,Missouri. G Major. Standard tuning. AABB(Beisswenger & McCann, Christeson):AA'BB' (Phillips). The tune is meant to beplayed at a tempo slower than that for astandard breakdown. Charles Wolfe says itis a "fine old Sequatchie Valley (Tenn.) fiddleband tune known to area fiddlers as diverseas Tom Douglas and Curly Fox" (CharlesWolfe, The Devil's Box, vol. 15, No. 4, Dec.1981, pg. 56). Early recordings (Meade,2002) are by Theron Hale & His Daughters(1928), Jess Young’s Tennessee Band(1929) and Hack’s String Band (1930). Itappears to be well-known in those statesjust west of the Mississippi River, as it is inTennessee and Kentucky. Guthrie Meade(1980) associates the title with songwriterW.T. Lytton, who penned “When You Winkthe Other Eye” in 1890 (popularised byMarie Lloyd), a slightly risqué variety piecewhich begins:Say boys, what do you really mean whenyou wink the other eye?Why, when you tell us where you’ve been doyou wink the other eye?You tell your wives such stories, you cangive them just a few,“Just met an old acquaintance” or “The trainwas over-due.”And when the simple wife believes thatevery word it true,Then you wink the other eye.ChorusSay, boys, now is it quite the thing?Say, should we let you have your fling?Oh! When you’ve got us on a stringThen you wink the other eye.Sources for notated versions: LonnieRobertson (Ozark County, Missouri)[Christeson]; William Garett with Hack'sString Band [Phillips]; Art Galbraith(1909-1993, near Springfield Missouri), wholearned it from Lonnie Robertson[Beisswenger & McCann]. Beisswenger &McCann (Ozark Fiddle Tunes), 2008; pg. 42.R.P. Christeson (Old Time FiddlersRepertory, vol. 2), 1984; pg. 82. Phillips(Traditional American Fiddle Tunes), vol. 2,1995; pg. 172. Recorded by Jess Young(Chattanooga, Tenn.) for Columbia in 1929,but never issued. Heritage 060, Art Galbraith- "Music of the Ozarks" (Brandywine, 1984).Morning Star 45003, Hack's String Band(Muhlenberg County, Ky.) - "Wink the OtherEye: Old-Time Fiddle Band Music fromKentucky" (1980. Originally recorded in1930).But the songfacts.com site adds a composerto Lytton’s lyrics:"Wink The Other Eye" was Marie Lloyd'sfirst big hit; written by composer George LeBrunn and lyricist W.T. Lytton, it was inspiredby a chance remark by an unnamedindividual in response to an exchangebetween Le Brunn and the lady herself on aSunday night. She thought it would be agood title for a song, and according to LeBrunn "I composed the melody that night, onMonday it was written, and on the Tuesdaysuccessfully produced".The sheet music was published in Howard& Co.'s First Comic Annual. (thanks,Alexander Baron - London, England)And the Victoria & Albert Museum in Londonconfirms George Le Brunn as composer.Also, Lytton-Le Brunn wrote it as “Then YouWink the other Eye,” But instead, the songwas picked up and adapted by Marie Lloydand a new sheet music edition rushed to printwhich featuredher title line: “When You Winkthe Other Eye .”But this means nothing if the 1890 tune isn’tour tune, and I really doubt that it is. Theconnection is tenuous, since Hack’s banddoesn’t sing the lyrics.But I’ll be darned. Robbie Rhodes reports thatthe melody of Hack’s “Wink the Other Eye” isindeed Le Brunn’s melody, also the 1890version plays it like a schottische, while Hackplays it like a reel. Says Robbie,Scottish Country Dance tunes like this onecan go back and forth as a jig, reel orschottische. They're all the same tune (andfrequently a folk tune by a forgottencomposer).I’ll leave the Hack/Grumpus title, but show theoriginal title as an alternative. In this case, noneed for cross-ref., since there’s near-zerochance that a user of this index will go lookingfor that tune.Winter Garden Rag, The (Abe Olman)Down Home JB 1316CD had no The.Well, get a load of this:Winter (The) garden rag; by Abe Oleman;piano. © Dec. 5, 1912; 2 c. Dec. 5, 1912; E299045; Will Rossiter, Chicago.And the sheet music (also with The) is Olemanon both cover and copyright page. Andaccording to my notes, same is true of RedOnion Rag (1912), Tango Rag (1914), BlueBirds (1914), I Love Them All (1915), Love’sContentment (1912), Rock-a-Bye Land (1913).But he’s Olman for Down Among theSheltering Palms (1915), Cheerful Blues(1917), Moon Face (1907), Step Along Henry(1916), Sea Weeds Rag (1910), Cootie Tickle(1919), Noah’s Wife Lived a Wonderful Life(1920), Johnny’s in Town (1919), Chasing theChickens (1917), Candle-Stick Rag (1910),Not So Very Far from Zanzibar (1916), CurlyHead (1922), O-Hi-O (1920), Karavan (1919),When I Get Back Home to Home Sweet Home(1917), Blue Bird (cover is singular andOlman, but copyright page is plural andOleman, taken right from the one listed aboveas Oleman; 1914), and more.

And the two names are listed separately incopyright books 1912-15; in 1916, a cross-ref.from Oleman says see Olman.This is bizarre. All the serious bio/rag sites callhim only Olman and don’t even make mentionof the alternative spelling, even as theypresent the cover of Red Onion Rag. I guesswe must treat Oleman as a typo that got onfour songs, even if one of them was one of hisbig hits.Wise Guys (see You’re a Wise Guy)Wise Old Owl, The (Joe Ricardel)Down Home JB 1241Rec. Teddy Powell, 2/26/41, Bluebird B-11089.Dick Robertson, 2/17/41, Decca 3659, X-1990.Also Al Donahue aho, OKeh 6037. Label saysTHE Wise Old Owl by Ricardel. And just aboutall the online refs to the various recordings sayTHE, as well as four diff. recordings of it(including those above) in LC SONIC. Andmost labels credit Joe Ricardel.No def. article on copyright:Wise old owl; fox trot, Joe Ricardel, arr.Joseph P. Elsnic; concertina. May 8, 1941; Epub. 94851; Broadcast music, inc., NewYork.Wish-Bone, The (Charlotte Blake)Tom Brier 1274We had “The Wish-Bone Rag.” Actually, it’scover saysTHE WISH BONEARAGTIMETWOSTEP(c) pageThe Wish-BoneRag.So “rag” clearly a genre marker, not a part oftitle. Note no hyphen on cover. ASM, 1909,Jerome Remick.With You (Duke Ellington–Jo Trent)Keith Nichols Cotton Club Orchestra 1320Premise of CD is that all titles are tunes byEllington, Waller, Razaf, and James P. that hefound in Library of Congress files that hadnever been recorded.And sure enough, title is in Ellington autobiographycomposition listing for 1925, and thecopyright reg. isWith you; from Chocolate kiddies, w JoTrent, m Duke Ellington, of U.S. © Dec. 3,1925; 2 c. Dec. 4; E 627252; Robbins-Engel,inc., New York.Without That Gal! (Walter Donaldson)Scaniazz 1004Ingham–Grosz Hot Cosmopolites 12372013 review: Rust shows banger. 6/13/31copyright reg. doesn’t have it, but they neverdo.Hassan checked his sheet 12/13, reports thebanger on copyright page, not cover.Without You Sweetheart(B. G. De Sylva–Lew Brown–Ray Henderson)Back Bay Ramblers 1262But ASM, 1927, De Sylva, Brown & Hendersonshows no comma on cover or copyright page.Not on 11/4/27 copyright reg. either.Wizzle Dozzle (Harry Bell–Lloyd L. Johnson)Tom Brier 1274Confirmed by 4/25/10 copyright reg., comp. &arr. by both.Wob-a-ly Walk (Harry Warren–Bud Green)Neely’s Royal Society Jazz Orch 1208Prague Jazzphonics 1236Keith Nichols Cotton Club Gang 1242ASM, 1928, Shapiro, Bernstein; w. Green/m.Warren.Wocka the Fish (Frank Johnson)Steve Waddell’s Creole Bells 1173Written by famed Oz bandleader Johnson forhis first trombone player, Warwick (Wocka)Dyer. Rec. by Frank Johnson & Friends (incl.Dyer) 2/21/54 in Melbourne.Wolcott Rag (Gale Foehner)Gale Foehner 1023Wolverine Blues [The Wolverines](Jelly Roll Morton–John C. Spikes–Benjamin F. Spikes)Limehouse JB 1014Neville Dickie 1052Pam Pameijer – Duet /Trio/Quartet 1134European Classic Jazz Trio 1142Matthew Davidson 1252Black Eagle JB 1257Chris Tyle’s Silver Leaf JB 1298Paris Washboard 1326Paul Asaro & Neville Dickie 1404Pam Pameijer’s New Jazz Wizards 14322014 review: Rust shows all recordings asWolverine Blues; will confirm with WB or TWwhen possible:NORK, 3/13/23, Gennett 5102 et al. WB, creditSpikes-Morton-Spikes.Frank Westphal, 3/30/23, Columbia A-3911.Albert E. Short Tivoli Syncopators, 3/23,Vocalion 14554. WB, Spikes-MortonGene Rodemich, 6/21/23, Brunswick 2455.WB, Spikes-Spiks-MortonMorton pno solo, 7/18/23, Gennett 5289,Tempo R-47. Gennett label “WolverineBlues (Joys),” credit Morton.Benson Orch, 9/10/23, Victor 19140,Zonophone 3629. WB, J. and B. Spikes-F.Morton.JRM Jazz Trio, 5/25, Autograph 623 et al. WB,credit MortonJRM RHP, 6/10/27, Victor 21064; Bluebird B-10258 et al. WB, credit Morton.Benny Goodman’s Boys, 1/23/28, Vocalion15656, Brunswick 80027. WB, John Spikes-Benjamine Spikes-Ferd Morton.CopyrightWolverine blues; words by Ben and JohnSpikes, melody by Fred Morton [of U.S.],arr. by Harry L. Alford [of U.S.] © 1 c. Feb.14, 1922; E 560032; Melrose bros., Chicago.ThenWolverine blues : words and music by JohnSpikes, Benjamin Spikes and Ferd Morton,[of U. S.] © May 10, 1923; 2 c. May 17; E562442; Melrose bros. music co, Chicago.Copyrighted as Wolverine Blues, and all thoseearly recordings were as Wolverine Blues. Sowhere did “The Wolverines” come from?The evidence appears to be anecdotal. InJelly’s Blues: The Life, Music and Redemptionof Jelly Roll Morton (Da Capo Press, 2003),Howard Reich and William Gaines write,[A trip to Detroit in 1970 inspired Morton towrite “The Wolverines.” (p 47).[In 1923, Morton relocated to Los Angeles,renewing an acquaintance with his oldVaudeville partners, Reb and JohnnySpikes, who had started out running a musicstore, expanding into publishing in 1923.They had a habit of taking songs from naivesongwriters, adding lyrics to it andpublishing it as co-composers. If the tunegenerated interest, they’d sell it to a whitepublisher.]

At the time [i.e., shortly after his arrival inL.A.], Morton became acquainted with asong by a sharp-dressing San Diego mancalled Kid North (real name Robert North),who could play only one tune on the piano,the bawdy “Tricks Ain’t Walkin’ No More.”Knowing that Morton was real musician whocould play anything, Kid Northrecommended the tune to Morton, who, inturn, refashioned part of it with Reb Spikesas a new song titled “SomedaySweetheart”—a considerable thematicswitch.“Someday Sweetheart” because an instanthit for Alberta Hunter, who recorded it on theBlack Swan label, and the tune accruedadditional fame from recordings by artists asfar-flung as Eddie Condon and Bill [sic]Crosby. Unfortunately, when the SpikesBrothers published it, they conspicuouslyleft Morton’s name off the sheet music andits copyright. Morton shrugged off thisloss—hr hadn’t really written the pieceanyway, so he said he hoped the Spikesboys would enjoy more hits like it. At most,the Spikes brothers’ ham-handed maneuvermade him laugh/But Morton raged when the SpikesBrothers two-timed him on another tune,“The Wolverines,” which was entirely hisown creation. An exuberant work thatMorton recalled creating nearly a decadeearlier in Detroit (though Johnny St. Cyrremembered hearing Morton and othersplay it in New Orleans in 1906), by 1923“The Wolverines” had become one of themost hotly requested tunes in Chicago. . . .But “The Wolverines” had not yet beenpublished, which was why two white farmboys new to Chicago’s music businessbecame interested in the piece. Itching toget into the publishing side of the business,the Melrose Brothers decided that theycouldn’t miss by printing a song that quicklywas becoming a hit across Chicago’s SouthSide.When Walter and Lester Melrose learnedthat the Sikes brothers had published “TheWolverines in Los Angeles, they mailed aprooposal to the Spikes Brotehrs MusicStore offering three thousand dollars to buythe copyright, which the Spikes boyshappily sold. Unfortunately for Morton, theSpikes brothers added lyrics to the tune andmade themselves co-songwriters. Now theSpikes brothers were listed as Morton’ssongwriting partners on “The Wolverines”and could collected half the songwriterroyalties on a tune they had no hand inwriting.Actually, the authors go on to say, Morton wasmore incensed that the Spikes brothers hadput their names in front of his in the creditsthan that they’d chiseled him out of half theroyalties.But there’s a HUGE hole in this narrative: FirstReich and Gaines say that “The Wolverines”had not been published, thus raising theinterest of the Melrose Brothers. Then theylead the very next paragraph by saying that“The Wolverines” had been published in LosAngeles by the Spikes brothers. Well, was itpublished or not? And the next big problemwith this story is that I can find no SpikesBrothers copyright for “The Wolverines.”Looked in 1921-23 books.So the evidence wouldn’t be just “anecdotal” ifwe could find a Spikes brothers’ copyright orpublished sheet as “The Wolverines.” Whereis it?Woman in the Shoe, The(Nacio Herb Brown–Arthur Freed)Ingham–Grosz Hot Cosmopolites 1323ASM, 1929, M-G-M; w. Freed/m. Brown.Wombat, The (Roger Bell)Steve Waddell’s Creole Bells 1301Victorian Jazz Archives confirms, rec. Bell &His Pagan Pipers, 7/7/63, Melbourne.Wonderful Life Blues (Ray Skjelbred–Butch Thompson)Butch Thompson /Berkeley Gang 1127Wonderful One (Paul Whiteman–Ferde Grofé–Dorothy Terriss*)Classic Jazz Quartet 1125ASM, 1923, Leo Feist; w. Terriss/m. Whiteman& Ferdie GroféWon’t You Get Off It, Please(Fats Waller)Back Bay Ramblers 1374CD had comma and ?Rec. Waller Buddies, 12/18/29, Victor V-38119,1AC-0135 (Argentina); Gramophone B-4971,B-6549. Couldn’t find Victor label, but VictorProject says no comma, no ?, which is whatLC SONIC shows for it. LC SONIC does showcomma for both the Gramophone labels, butno ?Unpub. 4/9/30 copyright reg. has comma, no ?(but they rarely do)Looks like we can justify the comma, even if itwasn’t on the original Victor label, but I fear welose the ?Words (Otis Spencer–Al Dubin–Al Tucker)Hall Brothers JB 1062Swedish–American Hot Jazz Collab. 1136Ted Shafer’s Jelly Roll JB 1278Duke Heitger’s Big Four 1367ASM, 1924, Jack Mills; w. Dubin-Tucker/m.Spencer.Working Man Blues [Working Man’sBlues] (Joe Oliver)New Yankee Rhythm Kings 1015Butch Thompson 1037Humphrey Lyttelton & His Band 1160Southern Stompers (France) 1215Down Home JB 1217John Gill’s Dixieland Serenaders 1304South Frisco JB 1307Neville Dickie 1309Yerba Buena Stompers 1369Miss Lulu White’s Red Hot Creole JB 1370Southern Stompers 1413Les Rois du Fox-Trot 1436(10/15/02: Beware that there’s also a WorkingMan Blues by Tom Delaney--I have sheetmusic.)OUCH, this is a sticky one. Yes, Oliver’scopyright (dated August 11, 1923) saysWorking Man’s Blues. And even Oliver’scopyright deposit says Man’s (I made a copyat LC MRR). But see the informative little webpage at www.vjm.biz/articles2.htm, by RussShor, at which we learn that he first recorded itfor Gennett on 10/5/23, evidently under thattitle, and it was slated for issue on Gennett5275, but the record was never distributed.Oliver then recorded it on OKeh 40034 onOctober 26, and that record was titled“Wiorking Man Blues.”Properly speaking, the OKeh record was theoriginal published version of the tune, the onethat introduced it to the world, and should takeprecedence in titling. Overall, my recordingsof it are 25-14 in favor of Man, including thevery authoritative Archeophone reissue of theearly Olivers, so I’m going to use that title butput a note indicating that Man’s is a validalternative.Interesting sidebar: In 1925 Melrosepublished a band arrangement of this tune,but titled it “Dixieland Blues”—no mention ofits real/original title at all.World Is Waiting for the Sunrise, The(Ernest Seitz–Eugene Lockhart)Jimmy Mazzy & Eli Newberger 1109Paris Washboard 1261Hmmm...first copyright is:World (The) is waiting for the sunrise; fromPierrot players, words and music byRaymond Roberts [of Canada] and EugeneLockhart [of U.S.] © Jan. 24, 1919; 1 c. Jan.25, 1919; 1 c. Feb. 4. 1919; E 445716;Chappell & co., ltd., London.ThenWorld (The) is waiting for the sunrise; wordsby Eugene Lockhart, music by Ernest Seitz

[of Canada] in D fiat. New York, Chappell &co., ltd. © Sept. 29, 1919; 2 c. Sept. 30,1919; E 460495; Chappell & co., ltd.,London. [Copyright is claimed on newwords and music]According to Wikipedia, “Embarrassed aboutwriting popular music, Seitz used thepseudonym ‘Raymond Roberts’ when thesong was first published by Chappell in 1919.”World’s Fair Rag (Harvey M. Babcock)Chrysanthemum Ragtime Band 1168Confirmed by 5/13/12 copyright reg.World’s Jazz Crazy and So Am I, The(Jimmy Blythe– William Huff)Ted Shafer’s Jelly Roll JB 1278Down Home JB 1300Rec. Trixie Smith, 3/25, Paramount 12262.Confirmed by 3/23/25 copyright reg., w. Huff,m. Blythe.Worn Out Blues (Joseph W. Rogalle)(On 1122 the tune labeled Worn OutBlues is really Whip Me with Plentyof Love)Jazz O’Maniacs 1046Hot Antic JB 1058European Classic JB 1070Grand Dominion JB 1189One More Time JB 1410LP had Joseph C. Rogalle.Not in copyright books 1929-32. Rec. CW WBBand, 4/23/30, OKeh 8790, Odeon ONY-36083, Parlophone R-2203. But Haesler foundit clear back in 1922 with slightly different title:I've got the worn out blues; words and musicby Jos. W. Rogalle [of U.S.] © Oct. 28, 1922;2 c. Nov. 13; E 549538; Jos. W. Rogalle &co., Pittsburgh.I did find Jos W. Rogalle again in 1931; noother mentions of him.Couldn’t find the labels, but LC SONICconfirms Rogalle for OKeh and Parlophonelabels.SEE THE long disquisition at Whip Me withPlenty of Love to explain the changes in thislisting.Wouldn’t It Be Loverly(Frederick Loewe–Alan Jay Lerner)Classic Jazz Quartet 1125S&P have a ? As does the 1956 copyrightregistration. BUT all indications are that thesheet music does not; certainly the cover doesnot, so we stick with Frederick.Wouldn’t You (Owen Murphy)San Francisco Starlight Orchestra 1364CD had ?Rec. Roger Wolfe Kahn aho, 11/24/26, Victor20379.Copyright isWouldn't you; from New Greenwich villagefollies, words and music by Owen Murphy;pf. acc., with ukulele arr. by Hank Linet. ©Nov. 3, 1926; 2 c. Nov. 4; E 649577;Robbins-Engel, inc., New York.And no ? on Victor label or in Victor Projectlisting.Wrap Your Troubles in Dreams(and Dream Your Troubles Away)(Harry Barris–Ted Koehler–Billy Moll)Neville Dickie & Louis Mazetier 1302Paul Asaro & Neville Dickie 1404John Gill Sentimental Serenaders 1424Great Song Thesaurus has same subtitle.8/22, Hassan: Wrap Your Troubles in Dreamshas the Shapiro/Pollack subtitle8/25: Montgomery sends the confirming sheetmusic from 1931.And ASM, 1931, Shapiro, Bernstein; w.Koehler-Moll/m. Barris.Wrong Rag, The (Glenn Jenks)Glenn Jenks 1179Wrong Side, The (Terry Waldo)Terry Waldo’s Gotham City Band 1201XX. L. Rag (L. Edgar Settle)David Thomas Roberts 1021David Thomas Roberts 1317Can an owner of the music confirm thatnickname "Jelly" really is on copyright page?--4>8/18, Nancy Wyndham: We have an obviousreprint of this 1903 rag. It shows only L. EdgarSettle as the composer.8/24, Frank Dutton: I show J. Edgar Settle--possibly someone’s confusion over Jelly?8/31: Just discovered that I’ve got thatoriginal music too. No Jelly on it.YYa Gotta Know How to Love(Harry Warren–Bud Green)Keith Nichols Cotton Club Gang 1242Barbara Rosene & Her New Yorkers 13931242 had Ya’ Gotta’ . . .

Keith Nichols Cotton Club Orchestra 1320(see note at With You.)Copyright isYam Brown; fox-trot, words by Jo Trent,music by Duke Ellington; pf. acc., withukulele arr. by May Singhi Breen. © May 4,1926; 2 c. May 3; E 640611; Frazer-Kent,inc., New York.Yama Yama Blues (Clarence Williams–Spencer Williams)Swedish Jazz Kings 1122Des Plantes’ Washboard Wizards 1325Neville Dickie 1366

Yerba Buena Stomp (Lu Watters)Original Salty Dogs JB 1115Yerba Buena Strut (Lu Watters)Steve Waddell’s Creole Bells 1173Down Home JB 1217Paramount JB of Boston 1247John Gill’s Dixieland Serenaders 1304South Frisco JB 1342Well, Turk Murphy’s liner notes say,“Yerba Buena Stomp” (Lu Watters) wasarranged from an early sketch given me byLu. This is an excellent job of arranging byTom Bartlett. Lu did a considerable rewriteon this tune for later use. The three-hornfront line stacks up well against the fourhornfront line which was, of course, theWatters configuration. Solos by Lew andKim are perfectly in line with the overallsound of the tune as is the backing by therhythm.I’m holding my nose and leaving this with the“Stomp” title, but it’s affectation as far as I’mconcerned.Yes! I’m in the Barrel(Louis Armstrong)Jim Cullum JB 1148Helm–Leigh Jazz & Blues Review 1332Pam Pameijer’s New Jazz Wizards 1350Rec. Hot Five, 11/12/25, OKeh 8261, Columbia36152 et al.Oops! Not in the copyright books 1924-28,even though its companion “Gut BucketBlues” (flip side, same session) wascopyrighted in 1926. However, the OKeh labelsays clearly “Yes! I’m in the Barrel” byArmstrong.BUT SEE THIS: Haesler found the followingcopyright:I am in the barrel, who don't like it? fox trot,L. A., of U.S., arr. Lillian Hardin, of U.S. © 1c. Dec. 8, 1923; E 577785; Louis Armstrong,Chicago.And this is interesting, what looks like amechanical rights copyright using that 1923title long after the tune was recorded as Yes!I’m in the Barrel:I'm in the barrel who don't like it. ©Consolidated music pub. house, Chicago.Notice rec'd Aug. 7, 1926; recorded, v. 7. p.49.No other mentions 1923-27.Not hard to see why OKeh would want tosimplify that awkward title when they issuedthe record, but it’s odd that not only wasn’t thetune reregistered under the published title, butthat old title was reregistered in 1926. Why?Yes, Lord, I’m Crippled (traditional)Grand Dominion JB 12918/28, Matthew Caulfield from LC copyrightregistration file:Yes, Lord, I’m Crippled, registered 4-30-63,music adapted and arranged by BunkJohnson (Willie G. Johnson).Yes, Lord, I’ve found good evidence for mycomma--but it doesn’t look like Bunk tried toclaim composer credit for this.2014 review: Well, Lord says Bunk recorded itwith his Original Superior Band 6/11/42, JazzMan 17; Limited Edition NO2, S60; Good TimeJazz 12048 (this would be an LP); et al.And indeed, the credit on Jazz Man 17 was“traditional.”Yes! We Have No Bananas(Frank Silver–Irving Cohn)John Gill’s Novelty Orchestra 1270ASM, 1923, Skidmore.Yes, Yes! (Con Conrad–Cliff Friend)Alex Hassan 1322From 1931 film musical Palmy Days. CDshows title as “(My Baby Said) Yes Yes.” Rustlists it as “Yes Yes (My Baby Said ‘Yes’)” forAmbrose, same but no quotes around last Yesfor Roy Fox. The IMDB entry for it underPalmy Days says “Yes, Yes (My Baby SaidYes, Yes).”Rec,. Ambrose aho, London, 10/1/31, HMV B-6079, EA-983. Roy Fox, London, 10/16/31,Decca F-2609.Well, the copyright isYes, yes ! from Palmy days, words andmusic by Con Conrad and Cliff Friend; withukulele arr. © Aug. 10, 1931; 2 c. Aug. 11; Epub. 24618; Con Conrad music publisher,ltd., New York.Got the sheet music from MTSU. Cover issimplyYes, YesCopyright page is same plus banger.Yonder Come the Blues (Ma Rainey)Jazz Classics 1061Down Home JB 1273Rec. Rainey 1-3/26, Paramount 12357,Signature 908.Strange--there’s a mechanical reproductioncopyright in 1926...Yonder comes the blues. © Chicago musicpub. co., inc., Chicago. Notice rec'd Sept.10, 1926; recorded, v. 7, p. 55.but no proper copyright in books 1925-28.Couldn’t find the Paramount label, but did findthe Signature label, which credits Rainey.BUT OH HELL - 1/17/14 after studying this atleast twice in the past, probably more, I justnoticed that both SOS recordings said YonderComes the Blues, while Rust lists it as YonderCome the Blues. OK, it’s Yonder Come byRainey on Jazz Collector L 73, a reissue of theParamount; and on Signature 908, anotherreissue. Didn’t find the Paramount label, butLC SONIC reports that it’s Yonder Come,credit to Ma Rainey.But it’s Comes in RHJA, and I found thatusage on many mentions of the song,probably because most people, at least mostAmericans, tend to think of “the blues” as asingular concept, a mood, and so probablyinstinctively and unwittingly put the singularverb form after it (not after them).BUT there’s still no copyright in the booksexcept for that mechanical reproductioncopyright, and it does indeed say Comes.You (Harold Adamson–Walter Donaldson)M ’N’ M Trio 1319CopyrightYou; from The great Ziegfeld, w HaroldAdamson, m Walter Donaldson, arr. FrankSkinner, with male trio arr. Frank E. Barry;orch. pts. © Mar. 5, 1930; E pub. 53878; LeoFeist, inc., New York.BEWARE that tune was mistitled on the CD as“You Wonderful You” by Brooks-Chaplin-Warren, which was written in 1950 for filmSummer Stock.You Ain’t the One (Charlie Johnson–Arthur D. Porter)West End JB 1042Keith Nichols Cotton Club Orchestra 1210San Francisco Starlight Orchestra 1364Rec. Johnson’s Paradise Ten, 1/24/28, Victor430687, 21247.Confirmed by 1/3/28 copyright reg., w.Porter/m. Johnson, and Victor Projectarchives.

You Broke Your Promise (George Wyle–Irving Taylor–Eddie Pola)Grand Dominion JB 1408S&P confirms composers (although “Eddie”sted Edward), 1949. And sure enough, it’sEddie on the 1/17/49 copyright reg. and onthe Paula Watson disc. Lord discog. says rec.Paula Watson 1948, Kay Starr (1947-49), LouisJordan (1949), then Kid Sheik Cola in 1961 &1963 and many New Orleans-style bandsthereafter. I compared Louis Jordan withGrand Dominion, and it does sound like thesame tune.You Can Depend on Me (Earl Hines–Charles Carpenter–Louis Dunlap)Oakley’s Lakeshore Serenaders 1013ASM, 19342, Peer.You Can Have It, I Don’t Want It(May Hill–Clarence Williams–Armand J. Piron)Butch Thompson & Hal Smith 1075New Orleans Ragtime Orchestra 12131075 was “You Can Have It”; 1213 was “YouCan Have It, I Don’t Want It.” For somereason, unnotated, I previously had it here withthe second phrase as a subtitle.But 1213 was right! ASM, Williams & Piron.All one line with comma on (c) page, two linesof equal size with no comma on cover.You Can’t Cheat a Cheater(Phil Napoleon–Frank Signorelli–Jimmy Dorsey)Back Bay Ramblers 1262CD had Napoleon-Frank Signorelli-JimmyDorsey.Rec.Tom Dorsey & His Novelty Orchestra (TommyDorsey, Frank Signorelli, Eddie Lang-StanKing), 4/23/29, OKeh 41422, Odeon 238128,Parlophone A-362.Napoleon’s Emperors (with the Dorsey Bros.on tb & cl and Frank Signorelli on pno),5/23/29, Victor V-38069, Bluebird B-7039,HMV B-4955.Oh, boy--this is about to get ugly. Composercredits on label of Dorsey Novelty Orch OKeh41422 are Dorsey, Lang & Signorelli. Creditson Emperors’ Victor V-38069 are Napoleon-Signorelli-Dorsey.Now comes the copyright, with “Tom” Dorseyand possibly a different Signorelli:You can't cheat a cheater; melody by PhilNapoleon, Henry Signorelli and Tom Dorsey.© 1 c. Sept. 28, 1929; E unp. 11391:Southern music pub. co., inc. New York.And as it happens, I have a copy of theoriginal copyright deposit for this one, and it’sa little suspicious. It’s a handwritten leadsheet, with the wordsChorusVerseYou Can’t Cheat a CheaterNapoleonSignorelliDorseyBut someone came along later and enteredthe first names Phil, Henry, and Tom in front ofthose last names using a different pen; can’treally tell if it’s different handwriting.BUT wait a minute: The copyright catalogindex places this under Thomas Dorsey, whoalso wrote “Hokum Boys from Tennessee” thatyear, i.e., Thomas A. “Georgia Tom” Dorsey!And Frank and Henry Signorelli are separatelistings in the index.Well, I guess that of the conflicting labelcredits, we take the one that more or lessmatches the copyright registration. But whatabout the true composer names?The Victor Project entry also shows PhilNapoleon, Frank Signorelli & Tommy Dorseyas composers, citing as source “Disc label(BHC)” or “Victor blue history card,”presumably a recording studio document.Since there’s no other Henry Signorelli in thecopyright books 1927-31, I’m going to crossmy fingers and guess that (a) “Henry” was ajoke played by Frank and (b) “Tom Dorsey” onthe copyright was our trombonist, but thecopyright book compilers presumed he wasthe earlier Dorsey, who used “ThomasDorsey” on his other copyrights that year andwas listed in the index that way.You Can’t Do What My Last Man Did(Allie Moore–J. C. Johnson)Carol Leigh & Jim Dapogny 10648/9/13 Pinsker researched this one:The entry in CCE isYou can't do what my last man did : blues,w and m J.C. Johnson and Allie Moore, ofU.S. © June 5, 1923 2 c. July 17 E568185Chateau Music pub. co., New York [CCEpt.3 vol. 18, no. 2 1923 Music, p. 826]I have a JPG of the cover of the (rare)published sheet - it sold on eBay a while agofor too much money for me to get it. Indeed,the error that it's by JPJ rather than JCJ iscommon, doubtless because JPJ made agood record of it, and it's incorrectly listedas being by JPJ in the back of They AllPlayed Ragtime.You Can’t Escape from Me [I Can’tEscape from You] [San JacintoStomp] (Erskine Hawkins–SamuelLowe–Charles French LaFreniere)Magnolia JB 1016Grand Dominion JB 12682013 review: Not sure I understand the 1993note, which I obviously didn’t question at thetime. Now, nothing goes unquestioned!1016 Magnolia showed “I Can’t Escape fromYou” by Robin-Whiting. 1268 Grand Dominionwas “San Jacinto Stomp” by ErskineHawkins–Samuel Lowe–Charles FrenchLaFreniere; liner notes by Hal Smith say takenfrom the George Lewis recording.I Can’t Escape from YouS&P say “I Can’t--You” by Leo Robin-RichardA. Whiting, 1936, introduced by Bing inRhythm on the Range. Lord shows no fewerthan 105 recordings of it, beginning withBuddy Clark vcl with Jack Shilkret in 1936,then Bing Crosby with Jimmy Dorsey, then(oops! and aha!) Erskine Hawkins and His’Bama State Collegians (w/Sam Lowe, tp/arr.),7/20/36, Vocalion 3280. From then to 1944also recorded by Bunny Berigan, Hal Kemp,Jimmie Lunceford, and Benny Carter. Butthen comes the recording of it under I Can’t[San Jacinto Stomp] noted below under thatunder San Jacinto. What the hell? I’ve alsogot lots of other recordings of this title,credited to Robin-Whiting, by New Orleansstylebands: Max Collie, Climax, Tito Martino(Brazil), Emil Barnes, et al.AND aha, the label on Hawkins’s Vocaliondoes indeed say by Robin-Whiting fromRhythm on the Range.You Can’t Escape from Me“You Can’t--Me” rec. Erskine Hawkins aho(Lowe still tp/arr.), 10/2/39, Bluebird B-10540.But then George Lewis, 1952; but then PeterBocage, Louis Nelson and just a few other NObands also as “You Can’t--Me.”This confirmed by copyright:You can't escape from me; w CharlesFrench LaFreniere, melody Erskine Hawkins& Samuel Lowe. © 1 c. Sept. 30, 1939; Eunp. 206119; Roy music co., inc., New York.The Bluebird label shows composers asFrench-Hawkins-Lowe.

San Jacinto StompRec.George Lewis Trio, 7/27/44, Dan (Japan) VC-4014, VC-7021; American Music Book CD.Title shown in Lord discography is “I Can’tEscape from You [San Jacinto Stomp],” andfootnote says, “American Music Book CD isa CD accompanying the book Bill Russell’sAmerican Music by Mike Hazeldine.” Thispresumably is where Erdos got his “BillRussell” evidence.Later in 1944 recorded as “San JacintoStomp” by Jim Robinson and by Kid ShotsMadison, but footnote in Lord says correct titleshould be “I Can’t Escape from You.” Manyother New Orleans-style thereafter recorded itas “San Jacinto Stomp.”Yep, there’s no doubt! The 1936 “I Can’tEscape from You” by Robin-Whiting is NOTthe tune that all the New Orleans bands playas “I Can’t Escape from You” or “San JacintoStomp.” It is indeed the 1939 “You Can’tEscape from Me” by Hawkins-Lowe-Frenierethat they’re playing. And it turns out thatIngemar Wagerman of the Gotha RiverJazzmen (Sweden) had noticed and reportedthe same thing in a note to the DJML inAugust 2013. And I realize from reading hisnotes after the fact that Bunk Johnson addedhis part to screwing up the history of this tuneforever.George Lewis actually recorded it twice as“San Jacinto Stomp” in July 1944, the firsttime (making two takes) at his home with a trio(Lawrence Marrero, bjo; Alcide Pavageau, b),then a few days later at San Jacinto Hall in aband fronted by Jim Robinson. In August herecorded it yet again under that title at SanJacinto Hall in a band fronted by Kid ShotsMadison.Then Bunk Johnson recorded it as “I Can’tEscape from You” on V-Disc in 1946 at theStuyvesant Casino in New York. From thenon, most New Orleans-style bands recordedunder either “San Jacinto Stomp” or “I Can’t,”with many of them actually crediting Robins-Whting as composers. Lord clearly added tothe confusion by stating that “San JacintoStomp” really is titled “I Can’t Escape fromYou.”Peter Bocage (with Lewis in the band) finallygot it right as “You Can’t” in a recording (backin San Jacinto Hall) in 1964, but the damagehad been done. I have no recordings of itunder the correct title, but I have it as “I Can’tEscape” by Robins-Whiting by Max Collie,Climax JB, Tito Martino, Emile Barnes, andBob Greene, and as “San Jacinto Stomp” bythe Black Eagles and Norrie Cox.You Can’t Get to Heaven That Way(Irving Caesar–Seymour Simons)Keith Nichols Cotton Club Orchestra 1234Rec. Noble Sissle, London, 12/11/30,Columbia CB-193, DF-463.Confirmed by 2/28/30 copyright reg., w. IC/m.SS.You Can’t Lose a Broken Heart(James P. Johnson–Flournoy Miller)Paris Washboard 1261Note writer Ted des Plantes says written forJohnson’s last big show, Sugar Hill in 1949.Confirmed by 9/19/49 copyright reg., w.Flournoy E. Miller/m. Johnson. Looks like heused his middle initial sometimes, not others.You Can’t Shush Katie (The GabbiestGirl in Town) (Harry Warren–Harry White–Henry Creamer)Scaniazz 1038Red Onions & Ottilie 1090Bent Persson’s London Stompers 1167Down Home JB 1171Bob Schulz & His Frisco JB 1288Helm–Leigh Jazz & Blues Review 1332Rec. Peggy English (as Katy), 8/13/25,Vocalion 15118 et al. Clarence Williams(Katie, plus subtitle says Rust), ClarenceWilliams Blue Five with Eva Taylor, 10/26/25,,OKeh 8342.Copyright matches what we have:You can't shush Katie, the gabbiest gal intown; w Harry White and Henry Creamer,melody Harry Warren, of U.S. © 1 c. June20, 1925; E 616826; Shapiro, Bernstein &co., inc., New York.AND the OKeh 8342 label has the subtitle inparens.You Do Something to Me (Cole Porter)Pam Pameijer’s New Jazz Wizards 1395ASM, Harms, 1929.You Don’t Know My Mind Blues(Clarence Williams–Virginia Liston–Samuel Gray)Fried Potatoes 1163

Louis Cottrell Trio, NO, 1/27/61, RiversideRLP12-385, OJC CD1836-2.Cottrell band at Dixieland Hall, 11/15/64,Nobility LP703.Chris Burke at Hopkinton, 3/31/74, RHR 741.[skipping several country-looking bands]Golden State JB, 1980, SOS 1006!Well, hell: At that title here we already foundother sources and the copyright reg.confirming Don Albert-Louis Cottrell-LloydGlenn. And no “true” on the copyright.Well, the Black Eagles’ tune is indeed thesame as the Golden State JB’s “You Don’tLove Me” and a recording I have of it by JamieWight in New Orleans.And we have to conclude that Tony was justmistaken in naming it True I’m “Just CrazyOver You.” Cottrell copyrighted it andrecorded it in 1936 under the other title, andrecorded it twice more in the ’60s under thattitle. And even Chris Burke, whose performanceof it is where Pringle learned the tune,put it on the LP from that concert under theother title. NOBODY else nowhere has calledit True I’m Just Crazy Over You except theBlack Eagles and Albion.BUT Tony suggested that his title came fromthe lyrics. I tracked down Chris Burke (Britreed player, long in New Orleans). Heconfirmed that they usually referred to thesong as just “True” because that was the firstword of the lyrics. In fact, when he laterrecorded it for Buck in 1984, the title they usedwas “True (You Don’t Love Me).” Given that,and the Wikipedia entry, I figured it wouldn’thurt to add “True” as an alternative title.You Don’t Understand (ClarenceWilliams–Spencer Williams–James P. Johnson)Grand Dominion JB 1139Dick Hyman 1141Louis Mazetier & Neville Dickie 1289Rec. JPJ aho, 11/18/29, Victor V-38099, HMVR-14398. Bessie Smith, 10/11/29, Columbia14527-D, Biltmore 1041. Eva Taylor, 12/16/29,Victor V-38575. CWilliams wb band, 11/19/29,OKeh 8752, Parlophone R-2243.Confirmed by unpub. copyright reg. 10/16/29,w/m all three (as Jimmy Johnson).You for Me, Me for You (from Now On)(Cecil Mack–James P. Johnson)Des Plantes’ Washboard Wizards 1421CD had title You for Me, Me for You. Rec.Dixie WB Band, 5/8/26, Columbia 14141-D.Title You for Me, Me for You on label.Albert Hunter, 8/11/26, OKeh 8365,Parlophone R-3255.Copyright title is longer:You for me, me for you from now on; wordsand music by Cecil Mack and James P.Johnson; pf. acc., with ukulele arr. by R. W.Konter. © Jan. 22, 1926; 2 c. Jan. 25; E632789; Clarence Williams music pub. co.,inc., New York.And the published sheet is in the John ArpinCollection! Cover isYou for Me, Me for YouFrom Now OnCopyright page isYou for Me, Me for YouFrom Now OnYou Keep Coming Back Like a Song(Irving Berlin)Bob Pilsbury with Friends 1265ASM, 1918, Irving Berlin.You Look Good to Me (Billy Rose–Walter Donaldson)Louis Mazetier & Neville Dickie 1289Rec. Chick Bullock, 10/20/38, Vocalion 4475.Fats Rhythm, 10/13/38, Bluebird B-10008,HMV B-10297 et al.Confirmed by 10/3/38 copyright reg. w. BR/m.WD.You Look Just Like Your Mother, Mary(Howard Wesley–Al Piantadosi)Chrysanthemum Ragtime Band 1079Found the sheet music, pub. Leo Feist 1913:w. Howard Wesley/m. Al. Piantadosi, and thecomma is there on both cover and copyrightpage.You Made Me Love You(Percy Venable)Tomas Örnberg’s Blue Five 1043Pierre Atlan’s Piccadilly Revelers 1181Zenith Hot Stompers 1191Pam Pameijer’s New Jazz Wizards 1350All four credited Venable-Armstrong; all but1181 had subtitle (When I Saw You Cry)Rec. Hot Five, 11/27/26, OKeh 8447, Odeon279787.Oops, copyright has no subtitle and noArmstrong:You made me love you; by Percy Venable;pf., r'ght hand alone. © 1 c. Dec. 20, 1926; E654633; Consolidated music pub. house,Chicago.Oh, dear: the OKeh label matches thecopyright: no sub, no Armstrong. So wheredid the subtitle come from? Well, Louis’s lyricstarts, “You made me love you when I saw youcry.” The Columbia Hot Five/Seven CD sethas no subtitle, nor does Rust. I’ll bet thatpeople have just added that “subtitle” todistinguish this song from the better known1913 ballad (below). But not many people:Now I see that I have 11 recordings of thissong, and only the three Stomp Offs abovehave that subtitle, so it obviously doesn’tbelong there. And while the Columbia CD setshows Venable-Armstrong, the King Jazz CDreissue of the Okehs shows Venable only, ason the record label.Clearly, we go with the copyright and therecord label.You Made Me Love You (I Didn’tWant to Do It) (James V. Monaco–Joe McCarthy)Marty Grosz’s Orphan Newsboys 1225Confirmed subtitle, including typo, ASM, 1913,Broadway Music; w. McCarthy/m. Monaco.(I’ll Be Glad When You’re Dead) YouRascal You (Sam Theard)M ’N’ M Trio 1319Ouch, Rust has two dozen listings for this--can’t go that way.Copyright is I'll be glad when you're dead, yourascal you; words and music by Sam Theard;with ukulele arr. © Oct. 10, 1931; 2 c. Nov. 24;E pub. 26664; Gotham music service, inc.,New York.Well, the cover of the 1931 sheet pub. byGotham Music Service is clear:(I”ll Be Glad When You’re Dead)YOURASCALYOUAnd all the indexes treat it that way, so it mustbe true on copyright page as well.You Tell ’em, Ivories (Zez Confrey)Tony Caramia 1209ASM, 1921, Jack Mills.You Tell Me Your Dream, I’ll Tell YouMine (Charles N. Daniels–Seymour Rice–Albert H. Brown)

Golden Eagle JB 1080Monty Sunshine JB 1110Yerba Buena Stompers 1375Delta Stompers 1426

ASM, 1932, Witmark & Sons; w. Dubin/m.Warren.(You’re in Kentucky) Sure As You’reBorn (George A. Little–HavenGillespie–Larry Shay)Back Bay Ramblers 1262Bo Grumpus 13882011 afterthought: “Not comfortable making ita subtitle because it’s in smaller print”? I’veargued that from one end of this book to theother. I’ve also argued in favor of consistency.Practice what you preach.You’re Just My Type (Joe Oliver–Dave Nelson)Des Plantes’ Washboard Wizards 1290Rec. Oliver 3/18/30, Victor V-38124, 62-0061.Confirmed by 6/5/30 unpub. copyright reg.and Victor Project files.You’re Lucky to Me (Eubie Blake–Andy Razaf)Butch Thompson /Berkeley Gang 1127Baker–Baldwin Radiogram Wshbrds 1243Down Home JB 1264Barbara Rosene & Her New Yorkers 1393ASM, 1930, Shapiro, Bernstein; w. Razaf/m.Blake.You’re My Everything (Harry Warren–Mort Dixon–Joe Young)Barbara Rosene 1431According to Rust, rec. only by The BlueMountaineers, London, 10/32, Broadcast3261.Confirmed by 9/23/31 copyright reg., w. MD-JY/m. HW, and by the record label (didn’t thinkI could find it, did you?).You’re Next (Lil Hardin)Waldo’s Gutbucket Syncopators 1036South Frisco JB 1240Neville Dickie 1341Pam Pameijer’s New Jazz Wizards 1350John Gill has the 4/30/26 copyright deposit,which says Lillian Armstrong. Matchescopyright reg. and OKeh label.Rec. Hot Five, 2/26/26, OKeh 8299 et al.You’re No ’Count Triflin’ Man (Maxey)Helm–Leigh Jazz & Blues Review 1331CD says “You’re a No ’Count Triflin’ Man” byJoe & Susie Edwards (Butterbeans & Susie).Rust puts in a hyphen (“No-’Count”). Rec.Butterbeans & Susie, 5/6/27, OKeh 8502, acc.by Eddie Heywood Jazz Trio.Whoa, stop the show. The OKeh label is“You’re No Count Triflin’ Man” by Ma?ey --alas, the copy I found was blurred, but Maxeylooks very likely (see below). AND LC SONICreports Maxey (flip side is “Oh yeah!”composed by [Tosh] Hammed.Bob Helm notes says she’s “Susie Beavers,aka Susie Edwards of the comedy team of‘Butterbeans & Susie.’” As minstrel showsong, this could well be older than the 1927rec. date in Rust; in any case, not in copyrightbooks 1921-30.Moanin’ Low: A Discography of FemalePopular Vocal Recordings seems to say it’s byMaxey.And an index listing of this same record UNCChapel Hill says by Leroy Maxey. Where arethey getting the first name?Online 78 also says Maxey, but RJHA saysMassey.Searched copyright books 1921-30. There’s aLeroy Maxey who wrote Stoppin’ the Traffic in1930, reg. by Southern Music Co. andrecorded by the Missourians, and by VinceGiordano on SOS 1260. And Rust shows thathe was a drummer on lots of recordings (ChuBerry 1937; Cab Calloway 1930-38; CottonClub Orchestra 1925, 1927; Missourians 1929.Joe & Sue Edwards wrote “I’ve Got Your BathWater On” in 1924.But Bill Haesler suggests another Maxey thatmight be more likely: Billy, who’s already inthis book as lyricist for Sidney Bechet onI want you tonight ; w Billy Maxey, melodySidney Bechet. © 1 c. Nov. 4, 1932; E unp.63716; Southern music pub. co., inc.And Haesler also finds him as vocalist onBechet’s 1932 record “Lay Your Racket.” Andas a “speaker” (not singer) on a vaudevillecomedy sketch named “Big Business”recorded for Victor in 1929. On factor in favorof Billy is that he’s a vaudevillian, and this CDis a celebration of minstrelsy, thus comic lyricswould be more in Billy’s line than in Leroy’s.Well, our only hard evidence is the recordlabel, which gives us the ungrammatical“You’re No Count Triflin’ Man” by Maxey,which could easily be either Leroy or Billy.Rust inserted an A into the title to make itmake sense, and the only reissue ofButterbeans and Susie I could find, a twovolumeset by Document Records, does thesame thing. But in the absence of a copyright,are we not duty bound to observe the recordlabel?Bill Haesler found a curious, but ultimatelyunpersuasive, clue in “Construction Gang,”rec by Butterbeans & Susie on OKeh 8163.Credit on the label is Butterbeans and Susie,but the copyright reg. credit is “w and melodyJ. E. and Maxie, arr. Lovie Austin,” and thecopyright was filed by “Jodie Edwards,Waterloo, Ia.”Can any of our experts figure out whether thisis Billy or Leroy Maxey? Or even some otherMaxey?You’re Simply Delish (Joseph Meyer–Arthur Freed)Ingham–Grosz Hot Cosmopolites 1323ASM, 1930, M-G-M; w. Freed/m. Meyer.You’re Some Pretty Doll (seeUgly Chile)You’re the Cream in My Coffee(B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285San Francisco Starlight Orchestra 1296Barbara Rosene 1431Confirmed by 9/24/28 copyright reg., w/m all3.You’re the One I Care For (Bert Lown–Chauncey Gray–Harry Link)Keith Nichols Cotton Club Gang 1242Barbara Rosene 1368Rec.Bert Lown, 11/19/30, Victor 22583 et al.Seger Ellis, 12/20/30, OKeh 41479.

Chick Bullock, 1/12/31, Conqueror 7694,Perfect 12680.Annette Hanshaw, 1/20/31, Harmony 1273-H,Clarion 5216-C et al.Confirmed by 10/30/30 copyright reg., w.HL/m. BL-CG.You’re the Reason Why (Billy Mayerl–Frank Eyton–Desmond Carter)Alex Hassan 1322Confirmed by 1/19/34 copyright reg., filed byChappell & Co., Ltd., w. DC-FE/m. BM, fromSporting Love.You’ve Been a Good Old Wagon(John Henry*)Tom Shea 10222013 review, with great trepidation: Is thereany more to be added to/done on this?Well, the Bessie recording was 1/14/25,Columbia 14079-D. It was Ole Wagon, andcomposer credit was indeed Smith andBalcom.But here’s the copyright:You've been a good old wagon, daddy butyou done broke down; w and m John Henry,of U.S. © 1 c. Jan. 19, 1925; E 606581; EthelBradford, New York.And actually, lots and lots of online hitsattribute this to John Henry/Perry Bradford, inspite of that evidently spurious credit on theBessie record.And we learn from Bradford’s autobiographythat his full name at birth was John HenryPerry Bradford!You’ve Got Ev’ry Thing a Sweet MamaNeeds but Me (Lemuel Fowler)Carol Leigh & Jim Dapogny 1064Down Home JB 1300We had Everything, but Pinsker has the 1922sheet music, pub. Jack Mills, where title is”You Got Ev'ry Thing A Sweet Mama NeedsBut Me” by Lemuel Fowler.We had one Lemuel before, several Lems(incl. here). 8/9/13 note from Pinsker sayshe’s been working on Fowler research forsome time. Says he had a mania forrecording under pseudonyms in 1920s, sohard to find all his credits. Full name wasLemuel James Fowler, seems to have usedLemuel more than Lem on sheet publications.You’ve Got the Right Key, but theWrong Keyhole [The Right Keybut the Wrong Key Hole](Eddie Green-Klein Tindull)Rusty Taylor’s Jazz Makers 1082Jacobi’s Bottomland Orchestra 1266Barbara Rosene & Her New Yorkers 1422

[And Klein Tindull is for real. His ParamountSerenaders recorded two sides for Paramountin June 1926, although Rust spells it KlienTindull in the heading and then Kline Tyndall inthe list of personnel. He was a piano player,and other evidence besides the copyrightpoints to Klein Tindull as correct spelling.]And then, 12 years after the first copyright,comes the one that matches the sheet music Ifound:Right (The) key but the wrong key hole; wEddie Green, m Clarence Williams; pf., withguit. arr. Anthony Franchini. © Dec. 17,1935; E pub. 54826; Clarence Williamsmusic pub. co., inc., New York.Vocal on both recordings matches the sheetmusic lyrics, although Liston sings the verseonce and the 1st variant on the chorus twice,while Allen just sings 1st version of the chorus,once.I don’t hear any particular difference in themelodies, but I’ll ask Robbie to compare them.For the time being, though, I’m going to rulethat Green and Tindull wrote it in 1924 andthat Williams more or less stole the melodycredit when he acquired the rights andpublished it in 1935.Also, we must rule that “You’ve Got the RightKey, but the Wrong Keyhole” is the original,correct title; “The Right Key but the Wrong KeyHole” is the alternative.You’ve Got to Be Modernistic[Modernistic] (James P. Johnson)Jacobi’s Bottomland Orchestra 1266Neville Dickie 12698/9/13 Bob Pinsker researched this one:The first copyright is as an unpublishedwork, and it is in the catalog of copyrightentries (CCE, henceforth) asYou've got to be modernistic; words andmelody by Jimmy Johnson; violin [!] c 1 c.Jan. 6, 1930 E unp. 15279 Clarence Williamsmusic pub. co., inc., New York [CCE Vol. 25pt. 3 p. 146 (1930)]This is the vocal version that one hears onthe record with a vocal trio doing the lyric -only the trio has words, at least that theysing on the record. [JPJ aho, 11/18/29,Victor V-38099]Then JPJ made the classic side of this as apiano solo (the other side being "Jingles" -talk about your double A-side!!). [1/21/30,Brunswick 4712, also on the label as “You’veGot to Be Modernistic.”] When ClarenceWilliams got around to publishing it, he didso of the piano solo - it shows up in the CCEin 1934 as:Modernistic; syncopated solo, James P.Johnson; pf. c Nov. 3, 1933; E pub 40157;Clarence Williams music pub. co., inc., NewYork [CCE Vol. 29, pt. 3, p. 150 (1934)]This is the version that is reprinted in thefolio "Jazz, Blues, Boogie and Swing forPiano", MCA/Mills Joint Venture, 1977, p. 61.So, if one is talking about the solo, it'sperfectly alright to call it "Modernistic".At this point I listened to the two versions, andthey sounded entirely different to me. Not so,says Pinsker, pointing out that the sections arejust taken in a different order. Regarding thetitling, he says,I think it's clear that JPJ sorta had to call thesolo record by the copyrighted title "You'veGot To Be Modernistic", otherwise it wouldnot have been clear that the tune wasprotected. But when CW got around topublishing a greatly simplified version of thetune (just has the one statement of the triotune in the score), he naturally wanted a titlethat sounded less like a song title and morelike a novelty title, hence he copyrighted itas "Modernistic".You’ve Got to Give Me Some(Spencer Williams)Ray Skjelbred 1124Jacobi’s Bottomland Orchestra 1266Rec. Cl. Williams wb band, 10/9/29, OKeh8738. Bessie Smith, 5/8/29, Columbia 14427-D et al.Confirmed by 4/29/29 unpub. copyright reg.You’ve Got to See Mamma Ev’ry Night(Or You Can’t See Mamma at All)(Con Conrad–Billy Rose)Scaniazz 1004Down Home JB 11718/22, Hassan: You’ve Got to See Mamma(song has the double "m" both times)8/25, Montgomery sends 1923 sheet musicconfirming Mamma on both cover andcopyright page.ZZacatecas (Genaro Codina)Louisiana Repertory Jazz Ens. CD 11971904 says CD. No Zacatecas in 1904copyright book, but there is Golden Dream(Sueno dorado) by Codina.Confirmed by 12/30/02 copyright reg. Alsofound several editions of the music, one ofwhich misspelled his name Genero.Zebra-Stripes (Lothar Perl)Tony Caramia 1328

There is a Zig Zag Rag in from 1913 that got inthe 1914 book:Zig zag rag; words by Jack Hoehn, music byL. A. Clark. New York, Len Fleming & co. ©Sept. 25, 1913; 2 c. Jan. 12, 1914; E329631; Jack Hoehn, St. Helena, Cal.Unfortunately, I couldn’t find a copy of itonline. 11/5/13 queried Vermazen. If he can’tcome up with answer, must ask Brier/Adams ifthey have it, then get them to listen to ourrecording to see if it matches.Oops, Vermazen reports that his arrangementgives no details about either piece. It just saysGEARHART & TILTONArr. by J. Wesley TiltonAnd at the bottom of the page:Copyright MCMXIII by Gearhart & Tilton,Fresno, Cal.Publishers of Western HitsSo the identify of the second piece is still upfor grabs. Sent queries 11/6/13 to Brier,Adams, Vermazen, Pinsker. Vermazen reportsthat it’s not Zig-Zag by Andy Burke, 1907,which I had found in the copyright book. AndBrier confirms it’s not Burke, nor is it the oneby Dr. Cloyd H. Duncan of 1902. Agrees thatthe Hoehn-Clark song is likeliest candidate,and that it must have been acquired byGearhart-Tilton at some point or they probablywouldn’t have included in that medley.Another possibility for it isZig zag rag; from Lower berth thirteen,words by Gillespie and Davis, music byHilding Anderson. © Nov. 21, 1910; 2 c.Nov. 21, 1910; E 243651; Chas. K. Harris,New York, N.Y.The Zone (or On the Exposition Zone)(Don J. A. Gono)Chrysanthemum Ragtime Band 1168The copyright isZone (The); or, On the exposition zone;words and music by J. A. Gono, of Cuba,domiciled at San Francisco, Cal., arr. byChas. Albert. © Feb. 2, 1915; 2 c. Feb. 8,1915; E 359264; Juan Alvorado Gono, SanFrancisco.Wait a minute: Don? Is that a self-styled titlerather than a name? See the notes at MeetMe at the SF Fair--He’s Don J. A. Gonosometimes, J. A. [Juan Alvarado] Gono othertimes. Found the music on this one, and he’sDon J. A. Gono.But title is problematic. Clearly, title on coverand copyright page isTHE ZONEorOn the Exposition ZoneSo it’s a title plus subtitle, and the subtitle iseither “On the Exposition Zone” or “or On theExposition Zone.” Actually, it works if wecheat on the title presentation and make itThe Zone (or, On the Exposition Zone)Let’s do it.Zonky (Fats Waller–Andy Razaf)Kustbandet 1178Jacobi’s Bottomland Orchestra 1266Rec. byCW Jazz Kings, 12/3/29, Columbia 14488-D,OKeh 8918.Bill Brown & His Brownies, 12/26/29,Brunswick 7142.McKinney’s CP, 2/3/30, Victor V-38118,Bluebird B-5728 et al.Fats, 3/11/35, in medley that ended up on LPissue.Confirmed by 9/11/29 unpub. copyright reg.,w. AR/m. FW. Cl. Williams Columbia labelconfirms.Zonky Blues (see Jazz Lips)Zooch, The (Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.Zulu Blues, The (Spencer Williams–Jo Trent)Jacobi’s Bottomland Orchestra 1336Rec. Dixie WB Band 10/22/26, Columbia14171-D.No such tune by Spencer Williams or Jo Trentin books 1925-29, but there isZulu blues; words and melody by T. E.Chappelle; 1st violin. © 1 c. Apr. 14, 1926; E640121; Thomas E. Chappelle, Minneapolis.However, I found a blurred label for this side;the credits do look like “Williams and Trent.”And it’s The Zulu Blues. And LC SONICreports Williams-Trent. Just can’t figure outwhy I can’t find a copyright.Zulu Wail (Irving Bibo–Frank Skinner)Limehouse JB 1014Keith Nichols Cotton Club Orchestra 1234Vince Giordano’s Nighthawks 1260ASM, 1927, Bibo, Bloedon & Lang. Subtitle“His Zulu Gal Done Him Wrong” on cover only.Zulu’s Ball [Zulus Ball] (Joe Oliver–C. Alvin “Zue” Robertson)John Gill’s Dixieland Serenaders 1295John Gill’s Jazz Kings 1401Southern Stompers 1413

In that same book on page 257 thefollowing is stated in the chapter The OliverCopyrights:Zulu’s Ball, melody by J.O., arranged byAlvin Robertson; E57446, 25 October1923, Joseph Oliver, Chicago.Notice of use: 25 October 1923, JosephOliver, Chicago.Renewed: 30 October 1950 by StellaOliver (W): R69317.Oops, this may be is further evidence forRobinson, beyond just the record label. Alas,John Gill says he searched for this piece at LCon an earlier visit; he found the copyright card,but they were unable to locate the lead sheetthat would have been sent with the registrationapplication.Ultimately, I decided to go with Oliver-Robertsonand accept the theory that “Robinson”was mistaken for Robertson. As I wrote to BillHaesler (who had suggested that thecopyright “corrected” the Robinson on therecording card and record label)& John Gill:I don't necessarily read that as "corrected,"Bill. In the past six months of intensivesearching through copyright books from1890 to 1970, I've found a lot of copyrightregistrations that include an arranger'scredit. In fact, if you open my working draftof the index (in sig below) and search for thecharacter string "arr." you'll find a bunch ofthem. But nobody considers arrangers tobe cocomposers. In the back of mostannual copyright books there's analphabetical index of all the names cited inthat book as composers, lyricists, orcopyright registrants. Arrangers are not inthat list and not credited as contributors tothe compositions.And you very rarely see an arranger'scredit on a record label, although it has beendone.So as far as I'm concerned, the copyrighttells us only that Oliver cited Zue Robertsonas the arranger.Of course, we can now ponder overwhether the "Robinson" on that recordingcard and the Gennett label was reallyRobertson misspelled or misheard. It'scertainly possible, even likely. But that's along way from proven, especially sinceRobinson is such a common name. If therecording card had said Robartson, I'd behappy to declare it a typo for Robertson.But even as I write this, I can't help thinkingthat the Robinson on that card (which isundoubtedly the source for the Robinson onthe label) is in fact a "mishearing" ofRobertson that occurred when the engineeror A&R man or some other Gennettfunctionary in the recording studio askedJoe Oliver who wrote the tune. Oliver lateridentified Robertson as an arranger when heregistered the copyright, but the"published"* recording gave cocomposercredit to Robinson/Robertson.__________________*"Published?" As noted above, I've spent alot of time looking at registered copyrights,then at the published sheet music orrecords, noting more than a few differencesbetween what the copyright registrant putdown and what went on the "published"product that was delivered to the public. Iconsider the published information to bedefinitive, even if it conflicts with thecopyright information, since the world atlarge bought the sheet music or therecording; it did not burrow fanatically intomusty archives like I've been doing. So ifRobinson/Robertson was on the onlypublished version of that tune--Gennett5275--then the title is Zulus Ball and thecomposers are Oliver-Robinson/Robertson,period. Of course, "published" in this case isa bit of a stretch, since the recording wasrejected and never distributed by Gennett;but still, that one magical copy got out with aproper Gennett label, and it has beenreissued and rerecorded ever since. That's"published," isn't it?January 2014 afterthought: About thatdamned apostrophe. In favor of it is thecopyright registered by King Oliver himself--presumably, that’s what he named the tune.Against it is that one miraculous record label, asingle freak copy that got loose of a recordthat was never pressed and sold. One couldeasily argue that more people have seenreproductions of that record label than haveseen the copyright listing in Library ofCongress files.Oh, hell, let’s just split the difference and listthem as alternative titles.Zwei dunkle Augen, zwei Eier im Glas!(Friedrich Hollaender)Frederick Hodges 1333Hmm...the copyright is eggless:Zwei dunkle augen; tango aus der revue, Beiuns um die gedachtniskirche rum, text andmusik von Friedrich Hollaender, of Germany;pf. arr. by Otto Lindemann. © Jan. 30, 1928;1 c. Jan. 7, 1929; E for. 1900; Rondo-verlag,G.m.b.H., Berlin.Well, I can’t find any online refs to it thatinclude the Eggs, and the German version ofhis name is Holländer, as you’d expect. (He’sin this index already for “Johnny.”)11/6/13 asked Frederick to copy sheet musicfor me. He sent copyright page and 2nd pageof music, which matches what we have aboveexactly, including “English” spellingHollaender. Copyright is Rondo-Verlag, Berlin,1928, but the pages are numbered 10 & 11and there’s no cover, so I suspect that thiswas taken from a folio.Zymurgy Rag (Robin Frost)Matthew Davidson 1252CD had “Zymurgy Rag—The Last Word inRags.” But the “Last Word” phrase is just onthe hand-drawn cover page, more as acaption for the drawing than a subtitle, and it’snot on the copyright page, which is 1988 byRobin Frost.(And if you stop to think about it, making thatphrase part of the title, or even a subtitle,would logically force you to shorten the maintitle to just “Zymurgy.”)________________________*Pseudonyms:Hyman Arluck = Harold Arlen’s real nameBarney & Seymour = Theron C. BennettAlex Belledna = Edna Belle AlexanderRaymond Birch = Charles L. JohnsonBismer = John NesbittGeorge Brooks = Fletcher HendersonGeorge Brown = Billy HillLarry Buck = Lawrence Dubuclet.Buckley = David WilbornSidney Carter = Charles N. DanielsRibé Danmark = J. Bodewalt LampeSelma Davis = Aletha DickersonJim Fisk = C. L. Barnhouse)Leo Gordon = George L. CobbCoot Grant = Leola B. WilsonWill Handy = J. Rosamond Johnson–Bob ColeHead = George ThomasJohn Henry = Perry BradfordNOTE that Bradford also used pseudonymJohn Perry, which we don’t have here.S. R. Henry = Henry R. SternHarry Herschel = Harry WarrenJoe Hoover = J. Russel RobinsonPaul James = James P. Warburg

Justin RinglebenCy Seymour = William C. PollaJohn Siras = Ira SchusterJules K. Stein = Julius K. Stein, Jule Styne’sreal nameLillie Taylor = Lovie AustinDorothy Terriss = Theodora MorseH. Vincenzo Luzerno = Hugo FreyEd Werac = Roy CarewHugh Williams = Will GroszKing Zany = Charles W. (Jack) DillDRAFT NOTES FOR SIXTH EDITION:This sixth edition of the Stomp Off tune index was compiledby Dick Baker, who joins with Bob Erdos inexpressing profound gratitude to the many musicians,collectors, and scholars who contributed to the effort.There are too many to list in full, but we are especiallygrateful to Rob Bamberger, Matthew Caulfield, MikeDurham, Frank Dutton, Erwin Elvers, Alex Hassan, MikeMontgomery, Bob Pinsker, Frank Powers, RobbieRhodes, Dave Robinson, Don Rouse, Vince Saunders,Ray Smith, Trebor Tichenor, Audrey Van Dyke, NancyWyndham, Tex Wyndham, and Dick Zimmerman. Butspecial credit is reserved for Australian scholar/banjoist/bandleader Bill Haesler, who spent nearly as much timeas I did working on this edition in the course of 2013.Sources for titles and composers, roughly in order ofauthority, are original sheet music, the original issuedrecord label, Library of Congress copyright registrationfiles, the several published compilations listed below, andweb site databases. Every effort was made to learn thefirst names of less well-known composers. Initials areused when first names could not be found or when thecomposer is known by his initials, e.g., W. C. Handy. Weinvite additional information and corrections. NOTE TOSELF: Create a Stomp Off page on dickbaker.org withlink to draft index (and later to final clean index) andmailto: link. Please write to Dick Baker, 5050 Gann StoreRoad, Hixson, TN 37343 (email sos@dickbaker.org).Published Reference Sources (roughly in order of usefulness):Brian Rust. Jazz Records 1897–1942 (4th revised andenlarged edition). New Rochelle: Arlington HousePublishers, 1978. (A 5th edition was issued in 1986.)Shapiro, Nat, and Bruce Pollock. Popular Music, 1920–1979: A Revised Cumulation. Detroit: Gale ResearchCompany, 1985.Kinkle, Roger D. The Complete Encyclopedia of PopularMusic and Jazz: 1900–1950. New Rochelle, NY:Arlington House, 1974.Lissauer, Robert. Lissauer’s Encyclopedia of PopularMusic in America: 1888 to the Present. New York:Paragon House, 1991.Ewen, David. American Popular Songs: From the RevolutionaryWar to the Present. New York: Random House,1966.World Wide Web Sites (roughly in order of usefulness):REVIEW AND REDO THISThe Lester S. Levy sheet music collection at JohnsHopkins University in Baltimore:levysheetmusic.mse.jhu.edu.The Center for Popular Music at Middle Tennessee StateUniversity in Murfreesboro: popmusic.mtsu.edu/research.html.Los Angeles Public Library Songs Index (includes theChuck Anderson Fake Book): dbase1.lapl.org/pages/allsong.htm.American Memory Collections at the Library of Congress:memory.loc.gov/ammem/amhome.htmlA Note on SubtitlesAs we said above, we consider published sheet music tobe the primary, most authoritative, source for tune titlesand composer credits. But we’ve learned that sheetmusic covers occasionally differ from copyright pages,presumably due to miscommunication with, or to artisticlicense given to, the designer. (The cover says“Nightingale Rag,” for example, while the copyright pagesays “Ragtime Nightingale.”) We intend to adhere to thecopyright page when it differs from the cover.But then we have the problem of subtitles. The coverartist has a wide variety of typographical devicesavailable with which to render subtitles, while thecopyright page is more limited. Sometimes thecomposer or publisher makes his intentions obvious byputting the subtitle in parentheses for us, as in

“Put Your Arms Around Me, Honey”(I Never Knew Any Girl Like You)More often, we find what we must consider a subtitle setin smaller type under the main title, as inOh Daddy BluesYou Won’t Have No Mamma At AllSince an index in our format can’t deal with over-andundercentering and relative font sizes, we must rendersuch subtitles in parentheses, thusOh Daddy Blues (You Won’t Have No Mamma at All)Complicating the issue are the many instances in whichpublishers use the same format to place helpful hints tothe potential purchaser as to the style of the composition,e.g.,LouisianaRag Two-Step“Cleanin’ Up” in GeorgiaCake-Walk Patrol or Two-StepCoon Hollow CapersMarch and Two-StepIt is our approach that such “genre-markers” are publishers’notes to potential buyers, analogous to theubiquitous (Oriental Fox-Trot) to be found under the titlesof so many c. 1920 78s. They are not proper subtitles.The Problem of Sidney Bechet& French TitlesCe Mossieu qui parle (Sidney Bechet)Dans les rues d’Antibes (Sidney Bechet)Egyptian Fantasy (Sidney Bechet-John D. Reid)I Remember When [Si tu vois ma mère] (Sidney Bechet)I Want You Tonight (Sidney Bechet)I’m Through, Goodbye (Sidney Bechet)Love Me with a Feeling (Sidney Bechet)Out of the Gallion (Sidney Bechet-Mezz Mezzrow)Sobbin’ and Cryin’ (Sidney Bechet)Southern Sunset (Sidney Bechet)Viper Mad (Sidney Bechet)Waste No Tears (Sidney Bechet)

What a Dream (Sidney Bechet)Who’ll Chop Your Suey When I’m Gone (Sidney Bechet-RousseauSimmons)Also: Mon Homme [My Man] (Maurice Yvain-Channing Pollock)Methinks we need some consistency here, but it’s not going to be easy. Wehave most Bechet titles in English, but then come “Dans les rues d’Antibes”and “Ce Mossieu qui parle.” (First, note the capitalization -- that’s howthese titles are capitalized in French.) “Dans les rues" doesn’t bother metoo much, since it’s widely known by its French title, but what of “CeMossieu” (which means “That Man Who Is Talking”)?Lissauer & S&P both list “My Man (Mon Homme).”My instinct is to list foreign tunes (a) by English title only unlessthey’re also known by their foreign title, in which case (b) put foreigntitle in parens. On this list “Autumn Leaves,” a French tune, is anexample of (a); “My Man” probably should be treated as (b). Or list themby their foreign title only if that’s the way they’re known (“Ciribiribin”here is Italian).“Dans les rues” is an easy choice in this category; “Ce Mossieu” is a bittougher.Then there’s “I Remember When” / “Si tu vois ma mère.” Ray Smith claimsthat “I Remember When” is a loose, colloqual equivalent of “Si tu vois mamère,” which translates literally as “If You See My Mother.” That doesn’tappear to be the case. I consulted Charles-Henri Michel, senior editor ofUSIA’s worldwide French-language news and features service. He could thinkof no instance or context in which this interpretation or understandingcould be true.And I consulted my records: I have four recordings of the tune underthe French title (by Bechet with Luter, Jim Buchmann, Jacques Kerrien,Wilber’s Bechet Legacy). The Bechet/Luter record, a curious French recordthat runs at 16 2/3 rpm, has the word “Lonesome” after the French title,but none of the other French titles on the disk has English translations.I have two recordings of it under title “If You See My Mother” (Last ChanceJB, South Frisco JB). I don’t have a single recording as “I RememberWhen.”Aha! Tex Wyndham's liner notes to the newest Last Chance JB CD state thefollowing: “The poignant ‘Si Tu Vois Ma Mere’ appears to have first beenwaxed in Paris in 1952 by its composer Sidney Bechet. The title is mostcommonly translated as ‘If You See My Mother,’ but I have publishededitions of it which show two other English titles: ‘Lonesome’ and ‘IRemember When.’ French lyrics were added by Bechet and Jean Brusolle.”So here's the sum of my wisdom:

Si tu vois ma mère [If You See My Mother] [I Remember When] [Lonesome](Sidney Bechet)We have several tunes with two bracketed alternative titles in addition tomain title, so I guess it won't be the end of the world to have one withthree alternatives.Naturally, we'd have to have cross-references from each of them.Ain't scholarship fun?

CATALOG EDITION HISTORY(Or, I Can’t Even Count)Stomp Off Catalog AA - 1001-1110 - Done by Vince SaundersStomp Off Catalog BB - 1001-1185 - Done by Saunders[All subsequent updates done by Baker, but when I started, I didn’t realizethat Saunders had already done two versions, so I foolishly called my ownfirst version the “2nd Edition” of the catalog, and have kept incrementingthat wrong number ever since.]Catalog CC - 2nd Edition - 1001-1225 (worked on it 1989-91)Catalog DD - 3rd Edition - 1001-1274 (1991-3)Catalog EE - 4th Edition - 1001-1324 (1993-6)Catalog FF - 5th Edition - 1001-1366 (1996-2001)Catalog GG(?) - 6th edition - 1001-1436VERSION UPDATES (make note here before running backup.soscat63 concludes the “cleanup” of all the notes that were in the documentbefore.Next stage is to go through all the various notes that I’ve amassed myselfand received from Erdos, incorporating them into the manuscript and (insome cases?) into the extra “queries” list that I’ve always sent out toother researchers.And perhaps now’s the time to switch to soscat64. Which I did--forget thedate. soscat64 has all those notes compiled over the years; it also hasthe voluminous notes that I made while going through the 12,000 or sosheets in the Audrey Van Dyke collection, along with all the other things Inoticed and worked on while doing that.

At this point (June 30, 2011), I will switch to soscat 65, which I’ll printand send to Erdos; then -- for the most part, I’ll shut this project downuntil I get settled in Sacramento.April-November 2013 worked on soscat65, going through every title andtrying my best to resolve it. Next step: rename it soscat66, print it out,and proofread it, culling out all the unsolved items and putting them in aseparate query list to distribute to the experts.notes to self 6/10/13 and later in 6th ed:Find a place to add to research methodology: copyright registration ismighty helpful, but what counts is the actual “published” version of thecomposition, since the copyright books are full of titles copyrighted bytheir composers that ended up getting changed in the process of movingthrough a publisher to sheet music or through a recording studio to record.The gold standard is sheet music published at the time, but absent that, Iconsider the first record label to be the “published” version.names to add to contributors:Bill Haesler -- huge kudosBob Pinsker -- also large contributiondid i give proper credit to wayne jones?recipients of final list of queries (all the items marked in red):add note to effect that this is last index and likely best index of thejazz repertoire ever to exist.John GillVince GiordanoChris Tyle ?Hal SmithBill HaeslerDave RobinsonTex Wyndham (by mail)Erdos (by mail)Robbie RhodesVince SaundersPinskerBe sure to include the Victor alt titles essayAlso be sure to add URLs for any of the questions for which I’ve postedfiles.

Tunes or composers for which I really should seecopyright deposits or, if it exists, published sheetLouis Armstrong -- Lil Johnson/Hardin/ArmstrongLouis Armstrong - find lead sheet for I am in the barrel, who don’t like it, make sureit’s the same as “Yes! I’m in the Barrel.”Armstrong/Hardin files - look for deposits for New Orleans Cut-Out and New OrleansStomp -- are they the same tune?Jimmy BlytheJimmy Blythe Oriental Man - does deposit show a cocomposer?LOOK CAREFULLY in Blythe and Parham files -- lots of disputes about Bohunkus Blues,East Coast Trot, Chicago Buzz, Down Yonder.Alex HillThe stuff is here, let’s get gay - Alex Hill & Jay M. Williams, 1934 -- need to see ifthis is same song and lyrics as “The stuff is here and it’s mellow” by Lion Smith-Cl.Williams-Walter Bishop. WHEN I GET THESE LYRICS (or even if I don’t), must make aspreadsheet showing all the lyrics we have for comparison.Ssouth bound/southbound/south-bound - alex hill or hill & cl. williamsLester and Frank Melrose: Look in Lester and Frank Melrose folders and composer cards andpublishers’ cards for South African Blues. Couldn’t find a copyright for it,unfortunately.Jelly Roll folder - might be worth looking for all his published music. Especially lookfor the supposed Spikes Brothers publication of “The Wolverines.”King OliverJust Gone - was Lil’s name Johnson or Hardin before it was crossed out? And what’s thedate?Sugar Foot Stomp - look for published versions. There may be a 1925 band arrangementby Oliver-Armstrong AND a 1926 song version crediting Oliver-Melrose.Sweet Mumtaz -- TILT -- look for copyright deposit in both King Oliver and Luis Russellfolders. Can it really be by Oliver?Tiny ParhamLOOK CAREFULLY in Blythe and Parham files -- lots of disputes about Bohunkus Blues,East Coast Trot, Chicago Buzz, Down Yonder.Pigs feet and slaw - apostropheHarrison G. Smith see what can find, especially That’s like it ought to be, since thecopyright credits are a real mess. See if I can find published sheet and go with that.Clarence WilliamsBimbo from Bottomland -- I’m sure I saw all the Bottomland music in MRR--to bad Ididn’t copy it.And WOW: The Library of Congress reports what looks like to be the copyright deposit,as “I Need a Little Sugar in My Life” by Sally Small, Clarence Williams, and J. TimBrymn. Says “Performing Arts Reading Room (Madison, LM113)”--is that what I know asMusic Reading Room? LC control no.: 95701597 CALL NUMBER: M1630.2 .S CaseWesley Sox Wilson folder - look for Do Your Duty, Take Me for a Buggy Ride, Gimme aPigfoot and I’m Down in the DumpsRussell Alexander - is there anything by him that looks like Pan American ExpositionMarch?

Black Mountain Blues - copyright in book by James Crawford - but is he really J. C.Johnson? Credit on record label is [Henry] Cole - but is he really J. C. Johnson?Bozo/Tozo - Find deposit for Edward Hite’s Bozo and M. A. Cowdery’s Tozo! Looks like theBozo that Clarence Williams recorded in 1928 was really Henderson-Cowdery’s Tozo! of1927.Breakaway by Conrad-Gottler-Mitchell. Can there be a “The” on the copyright page?Hershal Brown Down Yonder - same as what Parham recorded?Brown Bottom Bess (Chicago Footwarmers, 1927). No cy in books 1926-30, but just for heckof it, look in card files and in Richard M. Jones folder--he’s the possible composermost often mentioned.Bullfrog Blues - maybe Charles Pierce, maybe Billy. Get Billy copyright deposit and seeif melody fits.Chinese Blues 1926 by Coslow - McHugh - Mills - try for sheet music or copyright depositto make sure it’s not the Chinese Blues we’re attributing to Waller-Mills.Come Back to Me - A. J. Piron or Buddy Christian (or Narcissus Buddy Christian) folder forCome Back to Me Mandy sheet music. Is there a comma after me? Is it really Narcissus?Come On In, Baby - maybe by Thos. A. Dorsey-George Ramsey. Copyright filed by LesterMelrose, but couldn’t find copyright itself.Walter Donaldson - find 1928 Borneo sheet musicHop Off - maybe cl williams, joe jordan, and or fats wallerBilly or Leroy Maxey, see if they’re attached to You’re a No Count Triflin’ Man.Meanest (The) blues; melody L. K., of U.S. © 1 c. Sept. 10, 1924; E 597231; Louis Katzman,New York. Get copyright deposit, see if it’s the same Meanest Blues the OriginalMemphis Five recorded in 1924.Nancy Jane lead sheet by Thomas A. Dorsey -- get it, make sure it’s the one in question.Billy Pierce Bull Frog Blues 1928. Is it the tune that Charles Pierce aho recorded? Butalso look for copyright by Charles Pierce.Reckless Blues - copyright says Bessie, but record label says Fred Longshaw & Jack Gee -would the copyright deposit shed any light?Rukus Juice Blues - copyright by Willie Broomzy. Can this be the tune that the MemphisNight Hawks/Alabama Rascals recorded as Rukus Juice Shuffle?Elmer Schoebel - i never knew or zeroJabbo Smith - Boston Skuffle or Shuffle?Squablin - Get copyright deposit for Squablin by James Johnson-Walter Page, 1930. Makesure it’s the same Squabblin’ that Page recorded and that has always been attributed toBasie. Any mention of There’s a squablin’ or squabblin’?Steal Away - christopher greaves?Lothair/Lothar/Lathair Stevens folder? Try to figure out what the hell his name was.Mentioned at Bohunkus Blues and Boy in the Boat.

Stock Yard/Stockyard Blues by Maceo Pinkard. Must look for the 1918 Feist sheet music forthis one.Sweet Emmalina - Razaf, Palmer, and ? Clarence Williams or Spencer? Neither? What can Ifind?Sweet Feet Al Washington 1933 - get copyright lead sheet, see if it’s the Memphis NightHawks tuneSweet Girl 1925 M. A. Cowdery & Carroll Dean - get lead sheet, see if it’s the same “SweetGirl” that Boots & His Buddies recorded in 1935.Look for music folio Twelve gospel song "hits" and their stories Kenneth Morris, compiledand edited by Sallie Martin, Some Day or Someday?Up the Country [Blues] - would Mannone’s copyright deposit shed any light on this?Vine Street Drag - J. Brown - would copyright deposit shed any light on Andrew or AndrewJ. Brown?Look for published sheets of Washboard Blues. Really a Carmichael-Callahan version? Andwhen did parish add lyrics - maybe in copyright cardsWhat Do You Know About That - Lew Sully, 1919. Is this really the song that Joe Sims &Clarence Williams sung in 1927?“What Wouldn’t I Do for That Man” Jay Gorney-E. Y. Harburg. Should be published sheet:Confusion over ! or ? at end.Wildcat by Venuti-lang, published by Robbins 1928. Look for the sheet music to confirmWildcat sted of Wild Cat.Lerner & Lowe - wouldn’t it be loverly - look for ? on copyright page.If push comes to shove, it’s at MTSU.You’ve been a good old wagon, daddy but you done broke down 1925 John Henry shown ascomposer (really perry bradford), copyright registered by Ethel Bradford. Reallyshould get this and make sure it’s the Bessie song and the Tom Shea tune.You’re No ’Count Triflin’ Man - by Billy Maxey or Leroy Maxey?Zig Zag Rag: Need music or at least lead sheet for Zig Zag Rag by L. A. Clark & JackHoehn to see if it’s the second tune in That Society Rag medley. Also look forpublishers Gearhart & Tilton, or Gearhart, Tilton & Dalton of Fresno. Or possibly LenFleming & Co. of New York.

VICTOR ALTERNATIVE TITLES(Victor term for subtitle is Secondary Title)Once I’ve filled out this list, put an extended essay at the first title in alpha order,including all subsequent items in a list. Then at each later item, simply refer back tothe note at ?Anything? Also, be sure to bounce whatever I write off Vince Giordano--believe he worked at RCA cataloging all this old stuff. In fact, I wonder if he hadanything to do with the Victor Project.and note their “Title Descriptor” entry--see soothin’ syrupALSO, add this list and the essay to the version I send out for review, ask their opinionas to whether to keep the “alternative” titles.Anything — Thunder in My DreamsThe Boy in the Boat — The RockHarlem - HarlemaniaPass Out Lightly - There Ain’t Nothin’ to ItRhythm Club Stomp - Curwiship GlideRumba Negro - Spanish StompShe’s No Trouble - SweetheartStop Kidding - Neckbones and Sauerkraut)Take Me Away from the River - Song of the ViperTiny’s Stomp - Oriental BluesAnd note a similar case: Room 1411 / Goin’ to Town, in which Rust affixed a preliminaryname to his listing, making it look like a subtitle.In essay describing this, point out two commonly known instances--War Cloud/Fidgety Feet,Turks Road Apple Rag/mesa ’round

COUNTRY/STRING BAND RECORDSCan I track down Spottswood? Find another expert source?Blackberry RagFrom 1931, says Ventresco. And yes, tune of that title recorded by The Three StrippedGears in 1931 on OKeh 45571; the mandolin player was R. W. Durden. One of only foursides made by the band.Christ, we’ll never know for sure, and I’m tired of fighting these damned obscure BoGrumpus tunes. Not copyrighted 1929-32, but we do know that R. W. Durden copyrightedtwo other tunes in 1932. Couldn’t find label of Okeh record, but several refs to itindicated it had no composer credit, as few of those old string band records did.Looks like it’s been reissued on Document Records DOCD 4561, Too Late Too Late, Vol. 6,1924-46. May have been mentioned in Mandolin Magazine, Steve Kaufman, p. 50, Winter1999.Dallas Rag - Coley Jones?Was recorded by Dallas String Band, whose nominal leader (or at least star talent) wasmandolinist Jones. But not in copyright books, and no composer credit on the Columbiarecord. How can we be sure it’s Jones?Dreamy Autumn Waltz - Poplin-Woods? Actually, the record label says Poplin-WoodsTennessee String Band, with Poplin-Woods on line above Tennessee String Band. Probablysomebody misread Poplin-Woods as composers because of that. But if it IS Poplin-Woods,how do we know it was Louise Woods and not either of the other two Woodses on therecord? And could well be a ? type credit.L and N Rag / Sleeping Lulu. Rec. as L and N by Alex Hood, as Lulu by Burnett &Ruttledge. No credit on Hood 78, Burnett & Ruttledge on their record, but it’s hard totake that seriously.Lonesome blues - we had Will Gillmer, who was leader of Leake county revelers, whorecorded the tune. Tracked down author of article about the song in Old Time Heraldmagazine, who has no idea who wrote it, suggests it’s just a traditional tune that wasfloating around.Los Aeroplanos (Hector Gomez)Los Tres Tiedres (Hector Gomez)Have never found any evidence of a recording of these titles, nor any trace of acomposer named Hector Gomez. Moreover, a Spanish-speaking friend assures me thatTiedres is not a legitimate Spanish word. What the heck?Pan-American Exposition March -- Credit we have from band is Russell Alexander. I’vefound two pieces by that title, one by an Evans and the other by a Ralph, but nothingby Russell Alexander, who was for real, best known as a composer of circus marches.This probably not really a string band tune, but it was on a Bo Grumpus recording.Stove Pipe Blues - where the hell did Ventresco’s Silar Rogers come from? The DaddyStovepipe recording credits Williams.Other things to think about:POSSIBLE questionable composer’s credit -- see note at Beedle Um Bum.

CHECK COPYRIGHT CARDSAfrican Hunch - RM Jones?Ain’t That Hateful?All night shags - RM jones?Annie street rockAntigua bluesApple Blossoms venuti et alAn Armful of youAsbestosAt the Fireman’s/Firemen’s Ball - mchugh-adamson - maybe even pull folderAtlanta rag - davenportBallin’ the/a jack by ClarkBaratariaBechet’s FantasyBlackberry Rag - Durden? 1929-32. Winter 1999 Mandolin Magazine has articleBlue washboard stompBohunkus Blues - Blythe-Stevens? Vol or Lothair StevensAlso Chicago Buzz & East Coast Trot by Blythe-Stevens--could it be Lathair stead ofVol? And publisher listings: Blythe dealt with Melrose or Melrose & Montgomery; L.Stevens with Chicago Music; Vol. Stevens with Ralph Peer.Borneo - Donaldson - 1928 - find sheet musicBring On the Band or Here Comes the Band by Smith-EdwardsBrown Bottom BessChelsea On DownChinese Blues Waller-MillsCome On In Baby - Thos. A. Dorsey-George Ramsey. rec. 1932, repro rights copyright filedby Lester Melrose 1933, but couldn’t find copyrightConcentrating by the LionCotton club stomp by Ellington, either version.Creole Lullaby Simeon or Simeon-JohnsonCuttin’ Out the Lion 1949?Daddy Do Fred LongshawDaintiness Rag - James P.

Dallas Rag Coley Jones?Dans les rues d’Antibes Bechet 1952South Bound Rag 1928 Blind Blake? Dodds? Bertrand?Also look in card cat files under State Street Music and Chicago Music (latter isParamount’s pub. co.)Decatur Street Tutti jabboDeep Harlem - Malneck, Signorelli - I. Mills or Condon? Maybe check Mills Pub.Dirty Dozen’s CousinsDiscontented Blues - Who is Miller?Do your Duty - how come I found only a 1962 renewal?Dog Bottom - chick webb?Don’t give me no goose for christmas, GrandmaDown Yonder - Parham?Dreaming ’bout my man - Henry Woode-Reuben Floyd?Dreamy autumn waltz Poplin-Woods? Which Woods?Duff Campbell’s Revenge\East coast trotEl producto by sonnanstineEmma Louise from Old Los AngelesEthiopa rag lambAn Ethiopian mardi grasFair and Square razaf/rubin?Fallen Heroes Geo. Southwell 1894Fatima - pub and/or composed by Curtis-Van AlstyneFirechief Rag - Danny AlguireFire house stomp - Kimball-goffFlock o’ blues - bloomFor a beautiful girl like you - all we know is it was “introduced” in an arrangement byWilliam Schulz 1915, published by Waterson, Berlin & Snyder. The main tune in thearrangement was “(Just Try to Picture Me) Down/Back Home in Tennessee” - words byWilliam Jerome, music by Walter DonaldsonFour o’clock groove james p.?Frog tongue stomp - lovie austin?

Galion stomp - lovie austin?Gates Blues - jimmie wade?Georgia Cabin - Bechet-Karoley?Georgia Grind - frank melrose?Get off stuff - ikey robinson?God Leads Us Along (George A. Young, 1903?)Goin’ About - waller 1929?Golden Lily - tiny parhamGood old bad old days bricusse-newleyHambone Kelly watters c. 1944Harlem - charlie lawrenceharlem rhythm dance cl williams/a razaf 1934?harlemania mchugh - fieldshave mercy blythe slaughterhawaiian blues perry bradfordheebie jeebies tommy ladnierHell’s Bells and Hallelujah (Arthur Young–Val Valentine)but rec. in england so prob. no copyright hereHe’s the Different Type of Guy (He’s a ...?)Holding my savior’s hand - reed - andersonhoola boola dance shelton brooksHop off - any chance of finding more than the cl. williams copyright?horse feathers - jackson / smolevhot and ready - why no copyright by richard m. jones in 1927?see Jones the publisher tooHot Lovin’ or possibly simply Loving by Chas. Warfield?Hot mama - poss. david “jelly” jamesi don’t wanna go home/we don’t wanna go home - poss. polka songi fell in love with you henry allen jr./redi never knew/zero by elmer schoebelif you want my heart (you got to ’low it babe) beaulieu & marcie - prob not thereif your man is like my man - armand j. piron

I’m getting my bonus in loveimagination by sterling russellin the alley blues - should be lovie austininto each life some rain must fall - roberts - fisherirish confetti george l. cobbirresistible blues luckey robertsit takes love to cure the heart’s disease - james p.?it’s jam up - oscar celestinit’s tight jimjitterbug waltzjungle nights in harlem - ellingtonjust blues - fletcher hendersonjust you, just mekansas city breakdownkarnival on the keys - willie smithkater street rag - motenkentucky blues - frank melrose? prob. not copyrighted.L and N RagLet’s ride with bob - strickler or wills?Like a cat with a mouse orJust like a cat with a mouse - mayerla little bit closer - tiny parhamlittle jack’s rag - arthur marshalllittle john’s rag turklolly pops or lollipops by reserLonesome Blues by Gillmer or some other country guy?Los Aeroplanos (Hector Gomez)Los Tres Tiedres (Hector Gomez)love me tonight - young-crosby-washingtonlove me with a feeling bechetmarbles - rec. by Herman Waldman aho, Dallas, 10/29,Brunswick 4649, A-8649.

meanest blues - napoleon & signorellimecca flat blues - look for some reason to add steve graham to blythe and robinsonmemphis minnie - need reg. for tiny parham 1930mesa ’round / road apple rag by turkminstrels of annie streetmisery blues ma raineymojo blues - ladniermojo strut - parhammoonlight becomes you - burke/van heusenmove the body overmy life will be sweeter someday (or without the someday?) should be kenneth morrisMy little pride and joy - joe sullivanmy sweet - should be carmichael-gorrellmy wonderful you - halsey k. mohr?mystery - joe venuti?naughty man - redman/dixonneed a little sugar or / i need a little sugar in my bowl or lifenervous tension - tiny parhamwhy don’t you go down to new orleans - did margaret baird copyright it? Jerry Embry andFrankie Lynn?vine street blues and new vine street blues by moten? basie?nothin’ or park avenue polka by luckey robertsnothing [nothin’?] but notes adrian rolliniO’er the Trail to Frisco Town(Banks–Breazeale–Russell R. Rice) Pub. by Russell R. Rice,Bentonville, Ark.--try looking for his publisher’s card.Once upon a time by benny carter?Out of the gallion - bechet mezzrowouter space - luckey robertsPacific coast blues - tausha hammed and which hegamin, lucille or bill?Passport to Paradise - bechetPeepin’ blues lovie austin

pelican drag - harry carneyPenn Beach Blues - venuti-lang?pigs feet and slaw parham - apostrophe?Pan-American Exposition March - another besides Evans and Ralph?the postman’s lament - johnny wiggs c. 1951pretty trix - lang/venutiPromenade aux Champs-Élysées - bechetPussy cat ragput and take - venutiput your mind right on itrailroad rhythm - wallerrainbow dreams - eddie langereally a pain kassel sturr spanierripples of the nile luckey robertsrippling water or waters? lion smitha Rose in a Garden of Weeds - saxe / davidrough house blues by nelson kincaid?rump steak serenaderunnin’ ragged venuti et alsage hen strutsalty bubble ray ronneisan andreas fault/shake lu watterssan antonio shout shand-arodinsan francisco bay blues fullersashay, oh boy!seeking blues mcallistersergeant dunn’s bugle call bluesshake em up clarence williamsshout ’em aunt tillie ellington-mills6/88 glide lonnie johnsonSleeping Lulu

slide, frog, slidesnakes hips spencer williamssneakaway - willie smithsobbin’ and cryin’ [blues?] bechetsocial polecat or turk’s blues?soda fountain rag - supposedly 1958some do and some don’tsoon this morning - bessie/raineysouth bound rag blind arthur blakesouth side strut don ewellspanish fandango luckey roberts c. 1915 but maybe much laterspanish singe ewellsqueeze me - look for a later updated copyright that addsandy razaf -- but don’t expect to find onesteal away (blues?) - christopher greaves?steamboat days - clarence williams? How could he not copyright something?steeplechase rag / over the bars - either ever copyrighted?stevedore stomp - really no ellington copyright?stomp your stuff jimmy blythe--really?stove pipe blues - williams? Is there a silar rogers in the books?stowaway - earl hinessundown mama - k.o. ecklandsunshine - ikey robinsonsunshine capers - roy bargysweet girl - anything after 1925?sweet little papa - kid ory?sweet papa will be gone - fennell?take me for a buggy ride - wesley or wesley & leola?tango a la caprice - lion or lion & clarence?The Terror - one or two composers?that flying rag - arthur pryor

that futuristic rag - bloomthat ragtime minstrel band - pearl & roth?that’s all right (no mama?) - arthur crudup c. 1946that’s the blues old manthere is love - cl. williams?there’ll come a day - blythe?there’s a man in my life - waller/marionthis is my Sunday off - shelton brooks?this little light of mine - loestorrid rhythm - jackson-smolev?trickeration - arlen / koehlertrombonium - withrowtwilight rag - james p.twist and twirl - les copelanduniversal rag - woosterup jumped you with lovevine street drag - any rereg. beyond the original? What about looking up publisherSouthern music for guidance?wailana rag - prattwaiting at the old church doorwalk that thing - charlie johnsonwalking with the king - could it be alex bradford?waste no tearswater from an ancient wellwedding cakewalk - wally rosewe’ll meet again - barbarin 1956?when i move to the sky - tharpe?when I’m with you - simon marrero?when my baby starts to shake that thingwhen ragtime rufus rags the humoresque - harry ruby?Why Don’t You Go Down to New Orleans (Margaret Baird)

Wild and wooly (or woolly) willie - pettis-goering-mills?The Wild Dog - venuti/langwill you, won’t you, be my babe? / baby? - nesbitt-quicksellThe Wolverines - is there a Spikes Brothers copyright?You’re [a] no count triflin’ man - poss. by Maxey, but who?Zulu Blues - spencer williams jo trent why no copyright?

Stomp Off 1001 - Dickbaker.org

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