Stomp Off 1001 - Dickbaker.org

had become a hit, would have been publishedin large numbers--which is why that’s what Ifound in ASM and online, and why laterrecordings end up adding Melrose to the mix.I think in this case we can safely revert to theoriginal Oliver-Armstrong credit and ignore thelater song version. Unfortunately Gill can’tdocument his arrangements story:I don't have the stock arrangements in mypossesion, just working from memory. Thesong version is around and has beenpublished in some older Melrose dixielandsong books, and more recently ChasHanson's book of Dixieland tunes whichcontains all old Melrose hits. It was probablyOliver who changed the name to "SugarFoot Stomp" and took Armstrong's name offthe composer credits because he wasunhappy with Louis' decision to leave theband and go to New York. Anyway it's notclear that Louis had anything to do withcomposing the tune despite it originallybeing named in his honor 'DippermouthBlues" . I guess we'll never know the realstory.Sugar Foot Strut (Billy Pierce–Henry Myers–Charles M. Schwab)Golden State JB 1006Terry Waldo’s Gotham City Band 1120Bob Helm’s JB 1310Neville Dickie 1341Steve Waddell’s Creole Bells 1348Recordings in Rust byWalter Anderson and His Golden PheasantHoodlums, St. Paul, 9/29/27, Gennett 6278,Champion 15363.LA Hot Five, 6/28/28, OKeh 8609, Vocalion3148, Parlophone R-2449 et al.Hmmm:Sugar foot strut; words and melody by T.Delaney and B. Pierce. © 1 c. May 24, 1927;E 666685; Tom Delaney and Billy Pierce,New York.And thenSugar-foot strut; words and melody by BillyPierce, Henry Myers and Charles M.Schwab. © 1 c. June 27, 1927; E 667683;Edward B. Marks music co., New York.15334In two months, Delaney out, Myers, Schwaband a hyphen in!And againSugar foot strut; words and music by BillyPierce, Henry Myers and Charles M.Schwab; pf. acc., with ukulele arr. by T.Kahana. © Aug. 15, 1927; 2 c. Aug. 16; E670763; Edward B. Marks music co., NewYork.Did they overhaul it for the Armstrongrecording, then change copyright to reflect thechanges? Would be nice to see both theAnderson and Armstrong labels, but I ratherdoubt we’ll find Anderson.Armstrong OKeh is Pierce-Myers-Schwab; as Isuspected, the Golden Pheasant Hoodlumswere nowhere to be found, although I foundtwo copies of the flip side of that record.Sugar Plum (L’Albert*)Bo Grumpus 1388Aha, ASM , 1908, Jerome Remick, shows thatit’s by L’Albert, a pseudonym for Daniels thatwe have on “Louisiana.”Sugar Rose (Fats Waller–Phil Ponce)Neville Dickie 1397Rec. Fats Waller ahR, 2/1/36, Victor 25266,HMV BD-5062, B-9885 et al; and a couple ofBritish bands.Confirmed by 3/11/36 copyright reg., w. PP/m.FW.Sun Flower Slow Drag (Scott Joplin–Scott Hayden)St. Louis Ragtimers 1267Minstrels of Annie Street 1272Frank French & Scott Kirby 1306New Century Ragtime Orchestra 1385And Audrey’s 1901 John Stark original showsthe same.Sunburst Rag (James Scott)Down Home JB 1316Elite Syncopators 1358Confirmed by my 1909 sheet music.Sunday (Chester Cohn–Jules K. Stein*–Bennie Krueger–Ned Miller)Don Ewell 1077Neely’s Royal Society Jazz Orch 1208Louis Mazetier & Neville Dickie 1289Charleston Chasers 13142013 review: 9/19/26 copyright by Leo Feistalso identifies composers as w/m ChesterConn, Jules Stein and Bennie Krueger,Sunday Rag (Eurreal Montgomery–Butch Thompson)Butch Thompson & Hal Smith 1075Butch Thompson:Little Brother came to Minneapolis andstayed at my house in (I think) 1975, maybe76. He was in town to visit Barry Martyn,who was performing at the Emporium ofJazz (the Hall Brothers' old club) thatweekend. Needless to say he spent sometime at the piano, and tried to show mesome tricks. At some point he played anuntitled piece that I really liked, and wefooled around with it until I pretty much hadit under control.Sometime a few months later, I got anamazing document from him by mail. A!soon as he realized that I might actuallyperform the piece or -- more importantly --might record it, he copyrighted it but -- getthis! -- this paperwork gave me half of anyroyalties as co-composer! It was a greatmoment, and a complete surprise. As itturned out later, the Stomp Off LP didgenerate some royalty payments. When thecheck arrived at my house, I forwarded thecash to Brother, and this was timelybecause he had some rather large medicalbills at the time. I think it was around $500.I didn't think I had earned it and was happyto help him out of course.I aso played the tune for him at a concertin Racine, Wisconsin. He took a bow. Itwas nice. Then years later, I got a cassettefrom Wayne Jones. This was recorded at aparty in Chicago sometime during themid-to-late 50s (wish I still had it) withbrother regaling a bunch of fans at the