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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
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6th editionWORKING DRAFT WITH NOTES
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Further background notes in case I
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Absolutely (Jabbo Smith)Grand Domin
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Ah-Ha! (James V. Monaco-Sidney Clar
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Zenith Hot Stompers 1248Black Eagle
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Tex’s original-looking 1920 sheet
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(this is not the popular Smith-Burr
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Barrel House Rag - Campbell hand-wr
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seen often both ways, so will chang
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Aug. 22, 1919; E 458166; Spencer Wi
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ecording was Bob Hudson. This may w
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Carroll Dickerson’s Savoy Orch, 5
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Al Dubin)Paul and His Gang 1329Bles
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“BLUE GOOSE”RAGThis says to me
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No composer credit on label. Chilto
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Lathair is the guy who worked in Ch
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Bouncing Around (Armand J. Piron-Pe
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Bright Star Blues (Armand J. Piron-
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Thought I Heard Buddy Bolden Say)."
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But fellow researchers out there, c
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Aha, LC cy catalog of 1929 says,Cal
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Did find the LC copyright:Candy lip
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Not in Rust. Ted des Plantes’ lin
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So it was copyrighted by Oliver alo
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Chicken Reel (Joseph M. Daly)Helm-L
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Kinkle shows it as "Ciribiribin (It
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Becket’s composition or followed
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ASM, 1931, Santly Bros.; w. AF/m. F
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John Gill reports 1/18/24 copyright
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Frankie Trumbauer aho, 6/24/31, Bru
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ut Bob says it never felt comfortab
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the second 32-bar theme is my own,
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’Deed I Do (Walter Hirsch-Fred Ro
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Rec. Moten 6/12/27, Victor 21199--a
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Why Bring That Up? Internet Movie D
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Rhodes: "’Get It Right’ = ‘Do
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At Bessie’s request, all of the c
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“Don’t Go ’Way Nobody,” a s
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migrated northward up the Mississip
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1915; 2 c. July 24, 1915; E 363546;
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Woode on two other titles. So obvio
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all four posibilities we’d have t
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Echoes from the Snowball Club(Harry
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Music by Sadie Koninsky, arranged b
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OH, hell. After all this I thought
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Farmerette (Jesse Greer)George Fole
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Firechief Rag (Danny Alguire)Smith-
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and cy page) (You’ll Miss Me in t
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Gambling Jack (Jelly Roll Morton)Pa
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and "Boy Friend." Kinkle agrees. It
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soul all human beings feel. That th
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Magnolia JB 1016Turk Murphy JB 1161
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Grandpa’s Spells (Jelly Roll Mort
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Waldo’s Jazz Entertainers 1377Con
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We’ve not included arrangers as c
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“Hello Montreal” (but surely it
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1903 sheet could mean that it’s a
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2013 review: We can do better than
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21, 1925; E 627852 Triangle music p
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Rust; if it comes after record numb
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Found sleeve cover for 45 on Pye-Vo
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Actually, it appears that the choru
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So far, still solidly in the “unk
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can find no evidence she ever did a
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tune attributed to Pecora, even und
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(Harry Woods-Billy Rose-Mort Dixon)
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Ponce, also pub. Ager, Yellen & Bor
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If Winter Comes (W. R. Williams-Joh
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Crawford set phrases chanted by Mar
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I’m All Bound ’Round with the M
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Telcon 8/28: OK, do the two = three
Page 150 and 151: Smith, an article titled “Jelly R
Page 152 and 153: 2013 review: Rec.Clarence Williams
Page 154 and 155: Confirmed 8/18/36 copyright reg.In
Page 156 and 157: Alstyne-Williams] via your note of
Page 158 and 159: Benny Goodman-Jack Teagarden)State
Page 160 and 161: Jazz Baby (M. K. Jerome-Blanche Mer
Page 162: 1915; E 372536; Will Rossiter, Chic
Page 165 and 166: For what it’s worth, Ellington’
Page 167 and 168: James D. Touchstone. The song's ope
Page 169 and 170: Online search found FAR more hits o
Page 171 and 172: Ondippermouth.blogspot.com/2012/11/
Page 173 and 174: 2013 review: Confirmed by 11/26/23
Page 175 and 176: Confirmed by 4/10/35 copyright reg.
Page 177 and 178: Eureka, I finally found the instrum
Page 179 and 180: Let’s Have Another Cup of Coffee(
Page 181 and 182: Limehouse Blues (Philip Braham-Doug
Page 183 and 184: Confirmed by 7/10/29 copyright reg.
Page 185 and 186: some mighty obscure evidence to the
Page 187 and 188: Keith Nichols Cotton Club Orchestra
Page 189 and 190: But copyright page isLow Bridge!
Page 191 and 192: Louisiana Repertory Jazz Ensemble 1
Page 193 and 194: document it. Ah: Thompson’s liner
Page 195 and 196: BUT notice alsoMarket Street Blues,
Page 197 and 198: James V. Monaco)Frederick Hodges 13
Page 199: Melancholy Stomp (Don Ewell)Europea
Page 203 and 204: listing as an alternative title. Ho
Page 205 and 206: 2013 review: It appears that I neve
Page 207 and 208: For Christ’s sake! Wikipedia has
Page 209 and 210: Steve Abrams: 1924 by Kapp-Coleman-
Page 211 and 212: More Than That (Ben Barnett-Clarenc
Page 213 and 214: Mule Walk, The [Mule Walk Stomp](Ja
Page 215 and 216: connection with the refrain. The ve
Page 217 and 218: Ray Smith: credit should go to Oliv
Page 219 and 220: My Man o’ War (Andy Razaf-Spencer
Page 221 and 222: Dan Levinson’s Roof Garden JB 136
Page 223 and 224: Never Again (Isham Jones-Gus Kahn)P
Page 225 and 226: New Orleans wiggle; by Peter Bocage
Page 227 and 228: Turk: "That was a tune called '1919
Page 229 and 230: Norfolk Church Street Sobbin’ Blu
Page 231 and 232: Oh, baby; from Rain or shine, words
Page 233 and 234: 2013 review: Found the copyright:O
Page 235 and 236: Rec. Sharkey Bonano, 1/29/37, Vocal
Page 237 and 238: earliest example I know of that use
Page 239 and 240: West Jesmond Rhythm Kings 1255All S
Page 241 and 242: 2013 review: Couldn’t find anythi
Page 243 and 244: Paddle-wheelin’ Along (A Sacramen
Page 245 and 246: Rosa Henderson, 8/26, Banner 18892*
Page 247 and 248: and in parens), credits Raye-Shaver
Page 249 and 250: The Commodore reissue of all the la
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(Sidney Bechet-Rousseau Simmons)Pam
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Porcupine Rag (Charles L. Johnson)R
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Ray Smith 1162Promenade aux Champs-
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Rag Time ChimesWell, very clear on
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Oops, not in copyright books 1929-3
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But Kassel had many other copyright
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Hodges, but the Black Berries Oriol
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Alabama Red Peppers, 4/28, Cameo 82
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But wait: I remember that I have BG
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Moulin à café as alt. title, of c
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Sadness Will Be Gladness(Wingy Mano
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Found sheet music at U. Maine, conf
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with arr. for guit., etc. © Oct. 1
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Confirmed by 5/24/27 copyright reg.
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The Bluebird ODJB 75th Anniversary
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ig questions is this: Is she singin
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Shine on Your Shoes, A(Arthur Schwa
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[also published in song versionwith
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Skit-dat-de-dat; melody by Lillian
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John Gill’s Novelty Orchestra 122
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Lillian Johnson?! Yes, that was Lil
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Abrams follow-up: I had this record
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she were a composer, she’d have m
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South African Blues (Lester Melrose
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Audrey Van Dyke. It is a lead sheet
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with ukulele arr. Dick Konter. © J
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Cover also notes “Also Published
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ditto. Bunk never wrote nothin’.
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Sure wish we could track down the H
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had become a hit, would have been p
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Rilhac was a pianist and recording
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Copyright goes to Emmalina, but no
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Weatherbird JB 1034Kustbandet 1178D
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Dick Zimmerman confirms our origina
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Pretty sure without having heard it
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Les Rois du Fox-Trot 1436< Is this
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were Feldman 6D black and white edi
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Confirmed by 10/1/31 unpub. Copyrig
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Men Now Days (see Ain’t MuchGood
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Cover isThere’s Something Nice Ab
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title? Every rag that doesn’t inc
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eproduces the sheet music cover, wh
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Too Tight (Natty Dominique)Pam Pame
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Bozo-blues; words and melody by Boz
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and Donald Lambert, MC'd by Rudi Bl
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Now that’s the way my folks would
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the Country” and has no composer
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Must go with copyright reg. and som
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Goodman reports: I have 1917 bandar
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influential label, the MicKinney’
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Band also spell West Lawn as two se
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Ida Cox, but more to our point is t
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2013 review: Well, it was recorded
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John Gill’s Calif. Sunshine Boys
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When You Walked OutSomeone Else Wal
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actual Parlophone label of the Hyde
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That’s a bizarre mistake for Mazz
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Written 1979, plenty of online conf
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At the time [i.e., shortly after hi
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Keith Nichols Cotton Club Orchestra
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You Broke Your Promise (George Wyle
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Louis Cottrell Trio, NO, 1/27/61, R
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ASM, 1932, Witmark & Sons; w. Dubin
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[And Klein Tindull is for real. His
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In that same book on page 257 thefo
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“Put Your Arms Around Me, Honey
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Si tu vois ma mère [If You See My
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At this point (June 30, 2011), I wi
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Black Mountain Blues - copyright in
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VICTOR ALTERNATIVE TITLES(Victor te
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CHECK COPYRIGHT CARDSAfrican Hunch
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Galion stomp - lovie austin?Gates B
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meanest blues - napoleon & signorel
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slide, frog, slidesnakes hips spenc
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Wild and wooly (or woolly) willie -
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