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Confirmed by 2/16/31 copyright reg., w/m all3.One More Time! (Daniel Barda)Paris Washboard 1338Barda is the trombonist/leader of the band.One Night in Montparnasse(Buck Evans)Brahmin Bellhops 1305See the note about Evans at Blue Bungalow.Turns out that all 19 tracks on 1305 werewritten by Evans, who played piano on thesession.One o’ Them Things! (Leroy Smith–James Chapman)David Thomas Roberts 1132Well, the copyright isOne of them things! rag time two step, by J.Chapman and L. Smith. (C 74813, July 22,1904: 2 c. July 22, 1904.) Chapman (EmmaH.), Adrian, Mich.Aha, the original 1904 sheet music (pub. Jos.Placht & Son, St. Louis), is reproduced inTichenor’s Ragtime Rarities. Get this: Thecover ends in banger, like copyright, but thecopyright page title ends in question mark.I’m going to hold my breath and cheat on anotherwise consistent rule, and decidearbitrarily that the ? is a mistake. Exclamationpoints in copyrights are exceedingly rare, sothat must really be what they wanted. Andputting ? on a title like this seems silly.One Spring Day(Stephen Kent Goodman)Univ. of Wisconsin Symphony Band 1284Goodman is guest conductor of the band.One Step to Heaven [Windy CityStomp] (Jesse Greer–Raymond Klages)Chicago Rhythm 11642013 review: How in the world did we decideon an alternative title without my making anote here about it?Rec. Hal’s (Kemp) Dixie Collegians, 11/29/28,Duophone (UK) D-4054. Mole’s Molers,7/6/28, Hot Record Society 15*; Columbia35953. *as Windy City Stomp.Copyright isOne step to heaven; from Say when, wordsby Raymond Klages, music by Jesse Greer;pf. acc., with ukulele arr. by Hank Linet. ©June 15, 1928; 2 c. June 16; E 693430;Robbins music corp., New York.Time-Life Giants of Jazz Teschemacher setsays Georgia Avakian found unlabeled Molersmaster at a Columbia pressing plant; he gaveit to Steve Smith, who released it as “WindyCity Stomp” on his Hot Record Society label.Only later did somebody recognize the tune as“One Step to Heaven.”One Sweet Letter from You (HarryWarren–Lew Brown–Sidney Clare)Magnolia JB 1016Confirmed by 3/7/27 copyright reg., w. LB-SC/m. HW.Onion Bender’s Lament, The(Roger Bell)Ernie Carson & the Castle JB 1283No definite article on CD, but I found it manyother places. Queried Bill Haesler 8/21/13,who responded:The Onion Bender’s Lament: Recorded byRoger Bell & His Pagan Pipers for W&G(WG-B-1704) in Melbourne on 7 July 1963.Reissued on English LP (77 LEU-12/12) andSwaggie S1286.The erudite 'Jolly' Roger (he always was)was a prolific composer and regularly gavehumorous titles to his compositions. Often,on the spot, at recording sessions: Honi SoitQui Mallee Root; The Devil Bends HisElbow; Roar Like A Prawn; Turkey Lolly; AllShe Wore Was A Hectic Flush; LaughingGravy; Give Me That Old Malpractice; JustLike a Rubber Duck and so on.Ernie Carson liked Oz jazz and would havepicked up the tune from the Roger Bell LP.Ooh That Kiss (Harry Warren–Mort Dixon–Joe Young)Barbara Rosene & Her New Yorkers 1422CD had banger after Ooh.S&P don’t show banger. Says 1931, from TheLaugh Parade revue.9/23/31 copyright reg. confirms, also nobanger, w. MD-JW/m. HW.Got the sheet from MTSU 8/21/13: No banger,cover or copyright page.Oo–Oo–Ooh! Honey! (What You Doto Me!) (Cliff Friend–Harry Tobias–Neil Morét*)Barbara Rosene & Her New Yorkers 1422CD has Oo-oo-oo! Honey (What You Do toMe).Yikes, most places show this as Oo-Oo-Oohbut then multiple variations on commas,bangers, parentheses.Looks like rec. Marion Harris, in London,3/29/34, Decca F-3954, as “Oo-Oo-Ooh!Honey (What You Do to Me).”Copyright reg. isoo-oo-OOH honey what you do to mefox-trot, w and m Cliff Friend, Harry Tobiasand Neil Moret, arr. Art McKay; orch. pts.,with male trio arr. B. Faighes. © Nov. 13,1933; E pub. 38797; Leo Feist, inc.But Alex has the sheet, so I asked him:As to the song you're inquiring about,LOTSA exclamation points, and varyingsized fonts. The 2nd "OO" is 1/2 larger thanthe first, and 50% smaller than the 3rd.VERY unusual for an inner title. I can't quiteduplicate it, but here's a semblance:OO-OO-OOH! HONEY! (WhatYou Do to Me!)Alas, I have no way to duplicate using thealready small 8 point font we have here--printer just won’t go any smaller than 6 point.Open House (Humphrey Lyttelton)Creole JB 1051Evidently reissued on The Other Parlophones1951-1954, Sackville, SKCD 2-6067, 2008. Itsnotes say by Lyttelton, rec. by the Bell-Lyttelton Jazz Nine, 11/6/51, Parlophone18607 (this number doesn’t look right foreither matrix or record number, according tothe Lyttelton discography in the big TheParlophones 1949-59 four-CD set. No, the 78record was R-3475. And I’ll be damned: foundthe label, confirms Lyttelton.Operatic Rag (Julius Lenzberg)Heliotrope Ragtime Orchestra 1411ASM, 1914, Jerome Remick.Ophelia Rag (James Scott)London Ragtime Orchestra 1081ASM confirms.Organ Grinder Blues(Clarence Williams)Abi Hübner’s Low Down Wizards 1093Dick Hyman 1141Rec. CW pno solo 7/2/28, OKeh 8604. CWJug Band, 8/7/33, Columbia 2863-D,Parlophone A-3805. CW aho, 7/6/34, Vocalion2871, Brunswick A-86009.Confirmed by 8/18/28 copyright reg., w & m.CW.Oriental (Elmer Schoebel–Billy Meyers)Les Rois du Fox-Trot 1407Rec. NORK, 8/30/22, Gennett 4966 et al.Confirmed by 10/23/22 copyright reg.Oriental Blues (see Tiny’s Stomp)Oriental Jazz (see Soudan)Oriental Man (Jimmy Blythe–Alexander Robinson)Peruna Jazzmen 1105Jacques Gauthé’s Creole Rice YBJB 1170Gauthé–Marquet Clarinet Serenadrs 1216
West Jesmond Rhythm Kings 1255All SOS recordings credited Blythe.Rec.Dixieland Thumpers (w/Blythe), 12/27,Paramount 12594 et al. No credit on recordlabel. Record on RHJA--no vocal.Chi. Footwarmers (w/Blythe), 12/15/27, OKeh8548 et al. Credit on Okeh 8548 is alsoBlythe-Robinson, but there’s no vocal on therecord.Blythe’s WB Wzrds, 3/30/28, Vocalion 1180.Credit on label is Blythe-Robinson, and thereis a vocal on this recording.State St. Ramblers (w/Blythe), 4/23/28,Gennett 6692; Champion 15676, 40023 etal. Credit on Champion 15676 & 40023 (asBlythe’s Blue Boys) is Blythe-Robertson. Novocal on record (found at RHJA).But Bill Haesler found this:However, in the absence of the Gennettlabel we have the following (usually) reliablesources for Gennett 6692:•From 'Paramount Piano. A Discography'by Hillman, Middleton with Swinton.(Minor-Blythe)Coleman L. Minor collaborated with Blythe on“Weary WayBlues” in 1927.Copyright isOriental man; melody by James Blythe. © 1c. Dec. 19, 1927; E 679443; Melrose &Montgomery, Chicago.So Blythe copyrighted it in his own name atabout the same time he first recorded it--butno composer credits on that label. By the timehe recorded it again (three times) a fewmonths later, it had picked up a cocomposer.But who?A pretty good guess would be AlexanderRobinson, who collaborated with Blythe onMecca Flat Blues, that is was misspelled onthe Champion label but corrected on thesubsequent two recordings that year.(Robinson and Blythe also cowrote “You’reNot the Kind I Thought You Were” in 1928.)What’s strange is that I have 16 recordings ofthe “Oriental Man” that give composer credits,and 14 of them are also Blythe alone; the twothat say Blythe-Robinson are a BlytheWashboard Wizards reissue and a recordingby Federal Jazz Commission. How can thedouble-credit be on all the recordings and yethave nobody pick it up?Haesler did some extensive research thatprovides info that come in handy here andelsewhere:So far as Alex Robinson was concerned myfirst reaction was to check the excellent Alexvan der Tuuk 2003 book, 'Paramount's Riseand Fall'.Relevant extracts:Aletha Dickerson (1902-1994) was MayoWilliams' secretary at Paramount Recordsand also handled the copyright registrationsthrough Chicago Music PublishingCompany. At this time (about 1924) she alsoplayed piano at the Indiana Theatre andco-owned a record store with her husband,Alexander Robinson (1894-1970), himself acomposer. She tried to get her husband intoWilliams' office but he rejected this, afraid ofthe possibility that together the couplewould gain to great an influence in hisbusiness. Part of her job was to send both"lyrics and music to the Copyright Division ofthe Library of Congress. As secretary,Dickerson put her name or, in later years,her alias, Selma Davis) on 43 titles listed forcopyright—in most cases as a co-writer!"Eventually she was put in charge ofrecording.From an interview with Aletha: "Alex hadmade a a test for Paramount and that'swhere [Thomas] Dorsey heard him sing, andasked him to form a trio with him." And theHokum Boys trio started recording.For five months, from 6 June 1929Paramount hired the Gennett studios forrecording. Including a two-day session on16-17 August 1929 for 25 recordings. (I havenot yet looked for this.)"In some cases Aletha Dickerson was sentdown to supervise recording sessions,sometimes in the company of AlexRobinson. Dickerson in later years said thather husband was known as a songwriter,composing songs for future recordingartists, indicating that the couple were moreand more becoming part of the NYRL[Paramount] nucleus, responsible forsupervising sessions..."Dickerson and Robinson even hid themselvesbehind the pseudonyms "SelmaDavis" and "A. La Moore', respectively. Note112 also mentions that her first use of thealias was on October 1, 1928, so "as it tookabout five weeks from recording a song tothe final registration,we may presume earlySeptember as the date Dickerson started asrecording manager.And "..Thomas A Dorsey recounted thatAlex Robinson typed some of the leadsheets using the "A. Lamoore"/"La Mooore"alias...""Thomas Dorsey confirmed that Robinsonand Dickerson not only ran the Race RecordDepartment, as he put it, but also managedthe Hokum Boys. He also said the Alex Hilland Jimmy Blythe did some playing for thecompany. The Gennett files confirm this, asboth Hill and Blythe recorded in the Gennettstudio as part of the Hokum Boys, with atwo-and-a half month interval between theJune 27 session (with Robinson and DanRoberts) and the September 6 session (withBob Robinson," a psuedonym for AlexRobinson, as stated by his wife Aletha).""Dickerson was also present during twoBlind Blake sessions—one on June 20,during which Alex Robinson accompaniedhim on piano..."There is no doubt in my mind that(Robertson) on the record labels =Alexander Robinson.A couple of later additional notes by Bill:For some reason, the usually reliable'Paramount Piano. A Discography' byHillman, Middleton with Swinton has (JimmyBlythe, Robinson), yet includes a pic of theVocalion label (Blythe-Robinson).Ross Laird's 'Brunswick Records'Discography provides (Blythe & Robinson)for Oriental Man. And, incidentally, for itssession mate: My Baby (Slaughter,Robinson & Blythe) (M&M) = Melrose &Montgomery, Chicago, Ill.Well, it seems clear that early on in the life ofthis tune it acquired lyrics, since a lyricist wascredited on the second December 1927recording (Chicago Footwarmers), eventhough there was no vocal, and on the March1928 recording, which did have a vocal. SinceRobinson was the credit on the first tworecords with a composer credit, and sinceAlexander Robinson was a regularcollaborator with Blythe, we must presume it’she. The Robertson on those Champion labelshas to be an error.Oriental Strut (Johnny St. Cyr)South Frisco JB C/CD 1027Peruna Jazzmen 1105Zenith Hot Stompers 1191Bob Schulz & His Frisco JB 1288Neville Dickie 1341Steve Waddell’s Creole Bells 1348Tom Stuip & Delirium Tremolo 1433
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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/
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2013 review: Confirmed by 11/26/23
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Confirmed by 4/10/35 copyright reg.
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Eureka, I finally found the instrum
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Let’s Have Another Cup of Coffee(
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Limehouse Blues (Philip Braham-Doug
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Confirmed by 7/10/29 copyright reg.
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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
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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: earliest example I know of that use
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
Page 275 and 276: with arr. for guit., etc. © Oct. 1
Page 277 and 278: Confirmed by 5/24/27 copyright reg.
Page 279 and 280: The Bluebird ODJB 75th Anniversary
Page 281 and 282: ig questions is this: Is she singin
Page 283 and 284: Shine on Your Shoes, A(Arthur Schwa
Page 285 and 286: [also published in song versionwith
Page 287 and 288: 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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