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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,
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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
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Smith, an article titled “Jelly R
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2013 review: Rec.Clarence Williams
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Confirmed 8/18/36 copyright reg.In
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Alstyne-Williams] via your note of
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Benny Goodman-Jack Teagarden)State
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Jazz Baby (M. K. Jerome-Blanche Mer
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1915; E 372536; Will Rossiter, Chic
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For what it’s worth, Ellington’
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James D. Touchstone. The song's ope
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Online search found FAR more hits o
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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 and 200: Melancholy Stomp (Don Ewell)Europea
Page 201 and 202: (where’d he get that?), it was ar
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: Never Again (Isham Jones-Gus Kahn)P
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
Page 251 and 252: (Sidney Bechet-Rousseau Simmons)Pam
Page 253 and 254: Porcupine Rag (Charles L. Johnson)R
Page 255 and 256: Ray Smith 1162Promenade aux Champs-
Page 257 and 258: Rag Time ChimesWell, very clear on
Page 259 and 260: Oops, not in copyright books 1929-3
Page 261 and 262: But Kassel had many other copyright
Page 263 and 264: Hodges, but the Black Berries Oriol
Page 265 and 266: Alabama Red Peppers, 4/28, Cameo 82
Page 267 and 268: But wait: I remember that I have BG
Page 269 and 270: Moulin à café as alt. title, of c
Page 271 and 272: Sadness Will Be Gladness(Wingy Mano
Page 273 and 274: 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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