Stomp Off 1001 - Dickbaker.org

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: