Stomp Off 1001 - Dickbaker.org

Hodges, but the Black Berries Oriole 1849 andBanner 0594 labels say just Ellington.Rhumba Negro (see Rumba Negro)Rhythm Club Stomp (Curwiship Glide)(Joe Oliver–Dave Nelson)John Gill’s Jazz Kings 1401Rust shows a bizarre subtitle, “CurwishipGlide,” rec. Oliver 3/18/30, Victor V-38137,760-0004.Confirmed by 7/1/30 unpub. copyright reg,melody by Oliver-Nelson [sic, i.e., no firstnames or initials], no subtitle.No subtitle on Victor label. But Victor Projectsays,Title SourceRhythm Club stomp (Primary title) Disc labelFox trot (Title descriptor)Victor ledgersCurwiship glide (Alternate title) Victor ledgersIf you’ll look ahead to “Rumba Negro,” you’llsee another case in which Rust lists a subtitlethat wasn’t on the copyright reg. and wasn’ton the record label, but was on the Victorledgers. But for this one, we have somethingof an explanation, courtesy of jazz writer PhilSchaap, writing on Facebook March 2013:I am alone in being amused by KingOliver’s real title for what was issued as“Rhythm Club Stomp” on Victor V-38137 asrecorded on March 18, 1930 (just 83 yearsago). King Oliver called it “Curwiship Glide”and the Victor file cards still show that initialname. I guess it’s reasonable that a big firmsuch as Victor Records thought better aboutusing it.I was good buddies with the drummer onthat record, Freddie Moore. Moore was notthe only musician from those days – ClydeBernhardt was another from Oliver’s band –to tell me that curwiship was the sound thata log made as one tossed it in the river,lending it to float down river to the saw mill.That floating to the saw mill is where the“glide” came in.I accepted their testimony and continuedto understand why Victor changed it to amore self explanatory title such as “RhythmClub Stomp”.As to curwiship, I felt that it wasn’t a realword but a made-up one that wasonomatopoeia. Indeed, that’s what FreddieMoore thought: a made-up word that KingOliver knew that described a sound thatseveral understood and had even heard.It might not be a real word but it has aonce employed first syllable that is sorelatable in purpose and definition that I’llentertain that “curwiship” or somethingclose to that spelling is or once was a realword.That’s because curglaff is a real word. Ithas fallen out of disuse but is right there inthe John Jamieson’s Etymological ScottishDictionary, published in 1808. Curglaff isdefined as the shock felt in bathing whenone first plunges into the cold water.Plunging into water and a “cur” pre-fixseems to be a real linguistic device. At leastit was in Scotland in 1808 and with KingOliver in the first third of the 20th Century.The question is whether we include it here.Well, I reluctantly kept the (Spanish Stomp)subtitle for “Rumba Negro” on the theory thatit’s widely known. Do a Google search forrumba negro bennie motenand you’ll find the subtitle attached on wellover a third of the hits you get. Do the samething torhythm club stomp king oliverand you’ll find Curwiship Glide a few times. Isaw it eight times on four pages of hits, sowhat the hell—and because Erdos is crazyabout bizarre subtitles—we might as wellinclude it.RETHINK THIS: This is another case in whichRust dredged up an alternative title (NOT asubtitle) that he found in the Victor ledgers, atitle never got copyrighted and never got on arecord label. It’s a bit of arcana, but not a title.Rhythm Is Our Business(Jimmie Lunceford–Saul Chaplin–Sammy Cahn)Limehouse JB 1014ASM, 1935, Select Music.Rhythm King (Joe Hoover*–Jo Trent)New Yankee Rhythm Kings 1050Terry Waldo’s Gotham City Band 1120ASM, 1928, Waterson, Berlin & Snyder; w.Trent/m. Hoover.Rhythmic Dream, A (Donald Lindley)Keith Nichols Cotton Club Orchestra 1275Rec. Larry Gomar (vibe solo), 4/11/33,Brunswick 6565 (no indef. article). FletcherHenderson aho (w/ Donald Lindley, arranger),11/4/27, Columbia rejected. But says Nicholsin notes: “Considered at the time to be toomodernistic for a dance recording, it wasshelved, and remained in the vaults for overfifty years.” Sure enough, the Lorddiscography shows it on several CD reissues.And sure enough, copyright 11/22/27,Robbins Music. Corp.Richard M. Jones Blues (seeAll Night Blues)Richmond Rag, The (May Aufderheide)Chrysanthemum Ragtime Band 11231908 sheet music pub. by J. H. Aufderheidehas The on cover and copyright page.Ridin’ but Walkin’ (Fats Waller)Back Bay Ramblers 1374Rec. Waller & His Buddies 12/18/29, Victor V-38119, HMV B-4971 et al.Confirmed by 4/9/30 unpub. copyright reg.and Victor Project records.Ridin’ de Goat (Jim Fisk*)Heliotrope Ragtime Orchestra 1411What? How is it we have a pseudonym but noexplanatory note? Ah, because Vermazensays in the credits that Fisk is pseudonym forCharles Lloyd Barnhouse.But wait, the copyright:Ridin' de goat; trombone smear, by Jim Fisk[of U.S.]; band. 4to. © Apr. 2, 1919; 2 c.Dec. 19, 1919; E 466081; C. L. Barnhouse,Oskaloosa, la.He’s also C. L. Barnhouse in the index. AndMTSU has four titles (not this one) publishedby C. L. Barnhouse, one of them written byC. L. Barnhouse. Indiana U. has yet anotherwritten and published by C. L. Barnhouse.OK, he’s Barnhouse, and he goes by C.L.,even if we happen to know he’s Charles Lloyd(see, e.g., M. L. Lake).Riffs (James P. Johnson)Paris Washboard 1293Rec. JPJ pno solo, 1/29/29, OKeh 8770,Parlophone R-1072 et al.OKeh label credits Johnson, confirmed by8/27/30 unpub. copyright reg.Right Key but the Wrong Key Hole(see You’ve Got the Right Key,but the Wrong Keyhole)Right Kind of Man, The (L. WolfeGilbert–Abel Baer)Back Bay Ramblers 1374Rec. Calif. Ramblers, 9/24/29, Harmony 1016-H. Annette Hanshaw, 10/18/29, OKeh 41327,Parlophone R-546, et al.Confirmed by 7/15/29 unpub. copyright reg.,w. LWG/m. AB, from Frozen Justice.Ring Dem Bells (Duke Ellington–Irving Mills)Paris Washboard 1347Rec. Ellington aho 8/20/30, Victor RD-7731,74048, 20-1532 et al. Then as HarlemFootwarmers, 10/30/30, OKeh 41468 et al.Confirmed by 10/20/30 copyright reg., w/mboth, from Check and Double Check.(A Ring to the Name of) Rose(George M. Cohan)