Stomp Off 1001 - Dickbaker.org

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–