Stomp Off 1001 - Dickbaker.org

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