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“BLUE GOOSE”RAGThis says to me that "RAG" is not properly partof the title--it’s there as a guide to the potentialpurchaser as to what kind of tune it is.Copyright agrees:BLUE GOOSE; rag by Raymond Birch, ofU.S.; piano. © Jan. 3, 1916; 2 c. Jan. 7,1916; E 375280; Forster music publishers,Chicago.Blue Grass Blues (Elmer Schoebel–Billy Meyers)Bent Persson’s London Stompers 1167Chris Tyle’s Silver Leaf JB 1311ASM-HSM, 1923, Jack Mills.Blue Hawaii (Leo Robin–Ralph Rainger)John Gill Sentimental Serenaders 1424We can presume Gill recorded the one thatBing did on this Bing tribute, which is indeedRobin & Rainger. But note that Paul Whitemanalso recorded a Blue Hawaii by Abel Baer-Irving Caesar-Ira Schuster, 1929, Leo Feist.Blue Hoosier Blues (Cliff Friend–Jack Meskill–Abel Baer)San Francisco Starlight Orchestra 1271HSM, 1923, Leo Feist; m. LF/w. CF-JM.Blue Is the Night (Fred Fisher)Rosy McHargue 1253HSM, 1930, Robbins.Blue Jeans (Lou Traveller–Harry D. Kerr)Ian Whitcomb & Dick Zimmerman 1049Good God! There’s a Wikipedia article just forthis song, with reproduction of cover. w. Kerr,m. Traveller.Blue Lightning (Claude Lapham)Tony Caramia 1328Looks like Lapham was composer, performer,author of mail-order piano course in ‘20s-‘30s.Several online bio sketches mention BlueLightning.Confirmed by 5/14/28 copyright reg.Blue Mama’s Suicide Wail (seeMountain Top Blues)Blue Moments (Fletcher Henderson)Kustbandet 1178Have three other recordings (one a FletcherHenderson reissue)—all credit Henderson ascomposer. Mosaic CD reissue creditsHenderson--but that’s another secondarycitation. Same true of Columbia CXK 85470 orC4L-19, a four-LP box set of Hendersonreleased in 1961; its individual records wereCL-1682-85.2013 review: Rec. Connie’s Inn Orch, 3/11/32,Melotone M-12368 (never issued), ColumbiaCL-1685 (see above).Well, there’sBlue moments; w Morey Davidson andBuddy Fields, melody Art. Berman. © 1 c.Aug. 11, 1932; E unp. 59948; Harry Bloom,inc.But that was later reregistered asBlue moments without you dear; w BuddyFields and Morey Davidson, m Art Berman;with ukulele arr. © Oct. 31, 1932; E pub.32850; Harry Bloom, inc.and rereg. again as Blue Moments in 1934.But no FH Blue Moments 1930-34.And I see that Ted Fiorito recorded theDavidson-Berman-Fields Blue Moments--Brunswick 6479, 11/1/32. And other bluemoments in online 78 are Will Osborne,Melotone 12585, 12/15/32; Romeo 1994, BlueMoments (WYD) Osborne Banner 32645,Perfect 15714.Just to be sure, I compared the Hendersonrecording with Fiorito’s, and they don’t soundanything alike, so I must presume thatHenderson’s is his alone and take everybody’sword that he wrote it. Sure can’t figure outwhy he didn’t copyright it, though--hecopyright three other tunes that year and twothe next year, so he knew the drill.Haesler’s Hendersonia by Walt Allen has thisto say:Page 308. The discography.BLUE MOMENTS (F. Henderson)Recorded Friday , March 11, 1932Melotone M 12340 (scheduled but neverissued.)"A trumpet solo was so bad that it wasdeleted from the Columbia LP issue." CLP1685.Tentatively ascribed to Leora Henderson[tp].A test pressing of take-B exists.Page 514. The 'Orch-ography'.BLUE MOMENTS (Coleman Hawkins?)Although labelled on the LP as FHcomposition and arr., Sandy Williams namesHawkins as composer.Arr. credit seems questionable.Sandy Williams was the trombonist on thesession. Well, Allen appears to come down onthe side of Henderson as composer, and he’sthe best we have.Blue Moon of Kentucky (Bill Monroe)Yerba Buena Stompers 1406My History of C&W Music CD set creditsMonroe, as does Columbia Country Classicsseries and Wikipedia article on the song.Blue Notes for Jim (Matthias Seuffert)Pam Pameijer’s New Jazz Wizards 1395Seuffert was on the recording, so they/heshould know.Blue Orchids (Hoagy Carmichael)Bruno’s Salon Band 1251HSM, 1939, Famous Music.Blue Prelude (Joe Bishop–Gordon Jenkins)Susan LaMarche/Waldo’s Gut. Sync. 1032ASM-HSM, 1930, Isham Jones; w. GJ/m. JB.Blue Reed Blues (Richard Hadlock–Butch Thompson–Ray Skjelbred–Mike Duffy–Hal Smith)Butch Thompson /Berkeley Gang 1127Blue River (Joseph Meyer–Alfred Bryan)Classic Jazz Quartet 1125San Francisco Starlight Orchestra 1271Tom Stuip & Delirium Tremolo 1433ASM-HSM, 1927, Jerome Remick; w. AB/m.JM.Blue Shadows (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.Blue Shivers (Ted des Plantes)Des Plantes’ Washboard Wizards 1231Guess we can trust Ted to know.Blue, Turning Grey Over You(Fats Waller–Andy Razaf)Pam Pameijer Trio 1172Paris Washboard 1359ASM-HSM, 1930, Joe Davis.Blue Washboard Stomp(Johnny Dodds)Jean-François Bonnel & Friends 1104I have two Johnny Dodds reissues that credithim. Rec. 7/6/28, Victor 21552. Victor Projectconfirms Dodds as composer.Not in copyright books 1927-30.Blue Yodel No. 4 (see California Blues)Blueberry Rhyme (James P. Johnson)Paul Asaro & Neville Dickie 1404All three of my James P. reissues credit him.Rec. 6/14/39, CBS CL-1780, BPG-62090 (LPs--
presumably 10"). But found it on Signature28105, 78, credit JPJ. Also found in his listingat Songwriters Hall of Fame.And confirmed by 2/28/40 unpub. copyrightreg.Bluer Than Blue (Lil Hardin–Avon Long)European Classic Jazz Trio 1142Barbara Rosene 1368We had just Lil Hardin before 6/11Rec. Lil 4/15/37 Decca 1299, Brunswick02465.Red Hot Jazz Archive credits Lil Hardin/AvonLong for Decca 1299.BUT LC copyright listing shows “Bluer thanblue; w and melody. (c) 1 c. Apr. 9, 1937; Eunp. 141677; Avon Long, New York.Could be just Long’s song, with Hardinattached accidentally because she recorded it,or maybe Lil got co-credit for recording it, asoften happens. Would be nice to be able tosee the LC cy card catalog entry to look for asecond, “published” entry. Google search didfind several more refs to Hardin/Long.Hah! Found the Decca label; credit is “(Lil andAvon).” Australian researcher Bill Haeslerwrote this on DJML about Avon Long:ASCAP provides the following compositionsto his credit, but he is not mentioned in mycopy (1952) of the ASCAP BiographicalDictionary:Bad Boy [with Lil Armstrong], Breathless,Let's Get Happy Together [a Lil tune],Topsy (I Ain't Gonna Be No), When I WentBack Home [with Lil Armstrong]. He alsogets credit with Lil for a few other songsfrom 1936-40 and Lil Armstrong's period asa staff person at Decca.Also “Brown Gal” with Lil.Blues for an Unknown Gypsy [Play,Gypsy, Play] (Emmerich Kalman)Humphrey Lyttelton & His Band 1160Pam Pameijer’s New Jazz Wizards 1432Rec. by Lyttelton c. 1950, Parlophone R3424.My reissue of his old Parlophones creditsLyttelton himself. 1160 credits “E. Kalman,” noexplanation in credits.Ah, 1432 gives these details:The melody for this piece originates with thesong “Play, Gypsy, Play,” from EmmerichKalman’s operetta Countess Maritza[Vienna, 1924]. . . . Humph first presentedthe tune at a concert in Royal Festival Hall inJuly 1951.And indeed, that concert was recorded andreleased on an LP, Dormouse DM10. Adetailed online listing of tunes and personnelscredits Kalman as composer. And plenty ofonline confirmations for “Play, Gypsy, Play” byKalman.Blues for Frank Chace (Jim Snyder)Waldo’s Gutbucket Syncopators 1036. Credit on 1036 was J. Snyder,who was playing trombone, so we mustaccept it.2013 review: Oops, no note as to how welearned that he was really Frank Chace, butobviously we had a good reason. And therewas a clarinetist named Frank Chace veryactive in Chicago in the 1950s, so he must bethe guy.Blues for J. W. (Mike Durham)West Jesmond Rhythm Kings 1255Durham was leader of WJRK, John Wheatleywas a former string bass/tuba player in theband.Blues for Jimmie Noone [Jimmie’sBlues] [Blues for Jimmy](Kid Ory)Hal Smith’s Creole Sunshine Orch 1078Well known story is that Noone was in bandled by Ory that played on Orson Welles’s radioshow in LA. Noone died suddenly in April1944, and on the next show (April 19) theyplayed this as a tribute to him. All sourcescredit Ory, but the title?I think it probably was first recorded onGood Time Records. I found a Good Time 45issue that used the “Jimmy Noone” title, but Ialso found Crescent Number 2 (label of JazzMan Record Shop in LA?) with title “Blues forJimmy.” And I have three recordings of it withthat title, including a Kid Ory reissue on a CBSLP. Also found a Good Time EP cover thatshowed it as “Jimmie Noone.”Well, crap, I found two sources (one isBruyninckx; it’s not in Rust) that show it wascalled “Jimmie’s Blues” on that original radiobroadcast; Bruyninckx says that broadcastversion was released on Jazz Pan LP8, Joy((E)1264, and Folklyric 2008. Found theFolklyric LP online, and it is indeed “Jimmie’sBlues.”And Bruyninckx’s first mention of a studiorecording of it by Ory was that Crescent 78(Crescent 2), rec. 8/3/44. Bruyninckx titles itBlues for Jimmie, but the Crescent label isJimmy, as noted above. Also notes that samesession was released on Good Time Jazz 77,and Online 78 says GTJ77 title was “Blues forJimmie Noone,” which is seconded by thevery detailed jazzdicco.org entry for GoodTime Jazz 77, which it calls a “reissue ofCrescent 2.”Well . . . a great case can be made for calling it“Jimmie’s Blues,” the title the original radiobroadcast recording was issued under, or“Blues for Jimmy,” the first title used for theAugust 1944 studio recording. But “Blues forJimmie Noone” was around early on and hasthe virtue of using Noone’s complete nameand spelling his first name correctly, so we’llstick with it. But I believe I’ll put thosealternative titles there as well, just to bepunctillious and pedantic.Blues for Lovie Austin (Art Hodes)Art Hodes Blues Serenaders 1184Hodes would know. It’s in an album devotedto the music of Austin.Blues for the Duchess (Oakley’sLakeshore Serenaders)Oakley’s Lakeshore Serenaders 1013Blues for the King (unknown)Imperial Serenaders 1351
Page 1 and 2: 6th editionWORKING DRAFT WITH NOTES
Page 3 and 4: Further background notes in case I
Page 5 and 6: Absolutely (Jabbo Smith)Grand Domin
Page 7: Ah-Ha! (James V. Monaco-Sidney Clar
Page 14 and 15: Zenith Hot Stompers 1248Black Eagle
Page 16 and 17: Tex’s original-looking 1920 sheet
Page 18 and 19: (this is not the popular Smith-Burr
Page 20 and 21: Barrel House Rag - Campbell hand-wr
Page 22 and 23: seen often both ways, so will chang
Page 24 and 25: Aug. 22, 1919; E 458166; Spencer Wi
Page 26 and 27: ecording was Bob Hudson. This may w
Page 28 and 29: Carroll Dickerson’s Savoy Orch, 5
Page 30 and 31: Al Dubin)Paul and His Gang 1329Bles
Page 34 and 35: No composer credit on label. Chilto
Page 36 and 37: Lathair is the guy who worked in Ch
Page 38 and 39: Bouncing Around (Armand J. Piron-Pe
Page 40 and 41: Bright Star Blues (Armand J. Piron-
Page 42 and 43: Thought I Heard Buddy Bolden Say)."
Page 44 and 45: But fellow researchers out there, c
Page 46 and 47: Aha, LC cy catalog of 1929 says,Cal
Page 48 and 49: Did find the LC copyright:Candy lip
Page 50 and 51: Not in Rust. Ted des Plantes’ lin
Page 52 and 53: So it was copyrighted by Oliver alo
Page 54 and 55: Chicken Reel (Joseph M. Daly)Helm-L
Page 56 and 57: Kinkle shows it as "Ciribiribin (It
Page 58 and 59: Becket’s composition or followed
Page 60 and 61: ASM, 1931, Santly Bros.; w. AF/m. F
Page 62 and 63: John Gill reports 1/18/24 copyright
Page 64 and 65: Frankie Trumbauer aho, 6/24/31, Bru
Page 66 and 67: ut Bob says it never felt comfortab
Page 68 and 69: the second 32-bar theme is my own,
Page 70 and 71: ’Deed I Do (Walter Hirsch-Fred Ro
Page 72 and 73: Rec. Moten 6/12/27, Victor 21199--a
Page 74 and 75: Why Bring That Up? Internet Movie D
Page 76 and 77: Rhodes: "’Get It Right’ = ‘Do
Page 78 and 79: At Bessie’s request, all of the c
Page 80 and 81: “Don’t Go ’Way Nobody,” a s
Page 82 and 83:
migrated northward up the Mississip
Page 84 and 85:
1915; 2 c. July 24, 1915; E 363546;
Page 86 and 87:
Woode on two other titles. So obvio
Page 88 and 89:
all four posibilities we’d have t
Page 90 and 91:
Echoes from the Snowball Club(Harry
Page 92 and 93:
Music by Sadie Koninsky, arranged b
Page 94 and 95:
OH, hell. After all this I thought
Page 96 and 97:
Farmerette (Jesse Greer)George Fole
Page 98 and 99:
Firechief Rag (Danny Alguire)Smith-
Page 101 and 102:
and cy page) (You’ll Miss Me in t
Page 103 and 104:
Gambling Jack (Jelly Roll Morton)Pa
Page 106 and 107:
and "Boy Friend." Kinkle agrees. It
Page 108 and 109:
soul all human beings feel. That th
Page 110 and 111:
Magnolia JB 1016Turk Murphy JB 1161
Page 112 and 113:
Grandpa’s Spells (Jelly Roll Mort
Page 114 and 115:
Waldo’s Jazz Entertainers 1377Con
Page 116 and 117:
We’ve not included arrangers as c
Page 118 and 119:
“Hello Montreal” (but surely it
Page 120 and 121:
1903 sheet could mean that it’s a
Page 122 and 123:
2013 review: We can do better than
Page 124 and 125:
21, 1925; E 627852 Triangle music p
Page 126 and 127:
Rust; if it comes after record numb
Page 128 and 129:
Found sleeve cover for 45 on Pye-Vo
Page 130 and 131:
Actually, it appears that the choru
Page 132 and 133:
So far, still solidly in the “unk
Page 134 and 135:
can find no evidence she ever did a
Page 136 and 137:
tune attributed to Pecora, even und
Page 138 and 139:
(Harry Woods-Billy Rose-Mort Dixon)
Page 140 and 141:
Ponce, also pub. Ager, Yellen & Bor
Page 142 and 143:
If Winter Comes (W. R. Williams-Joh
Page 144 and 145:
Crawford set phrases chanted by Mar
Page 146 and 147:
I’m All Bound ’Round with the M
Page 148 and 149:
Telcon 8/28: OK, do the two = three
Page 150 and 151:
Smith, an article titled “Jelly R
Page 152 and 153:
2013 review: Rec.Clarence Williams
Page 154 and 155:
Confirmed 8/18/36 copyright reg.In
Page 156 and 157:
Alstyne-Williams] via your note of
Page 158 and 159:
Benny Goodman-Jack Teagarden)State
Page 160 and 161:
Jazz Baby (M. K. Jerome-Blanche Mer
Page 162:
1915; E 372536; Will Rossiter, Chic
Page 165 and 166:
For what it’s worth, Ellington’
Page 167 and 168:
James D. Touchstone. The song's ope
Page 169 and 170:
Online search found FAR more hits o
Page 171 and 172:
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:
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 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 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
Page 275 and 276:
with arr. for guit., etc. © Oct. 1
Page 277 and 278:
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
Page 289 and 290:
John Gill’s Novelty Orchestra 122
Page 291 and 292:
Lillian Johnson?! Yes, that was Lil
Page 293 and 294:
Abrams follow-up: I had this record
Page 295 and 296:
she were a composer, she’d have m
Page 297 and 298:
South African Blues (Lester Melrose
Page 299 and 300:
Audrey Van Dyke. It is a lead sheet
Page 301 and 302:
with ukulele arr. Dick Konter. © J
Page 303 and 304:
Cover also notes “Also Published
Page 305 and 306:
ditto. Bunk never wrote nothin’.
Page 307 and 308:
Sure wish we could track down the H
Page 309 and 310:
had become a hit, would have been p
Page 311 and 312:
Rilhac was a pianist and recording
Page 313 and 314:
Copyright goes to Emmalina, but no
Page 315 and 316:
Weatherbird JB 1034Kustbandet 1178D
Page 317 and 318:
Dick Zimmerman confirms our origina
Page 319 and 320:
Pretty sure without having heard it
Page 321 and 322:
Les Rois du Fox-Trot 1436< Is this
Page 323 and 324:
were Feldman 6D black and white edi
Page 325 and 326:
Confirmed by 10/1/31 unpub. Copyrig
Page 327 and 328:
Men Now Days (see Ain’t MuchGood
Page 329 and 330:
Cover isThere’s Something Nice Ab
Page 331 and 332:
title? Every rag that doesn’t inc
Page 333 and 334:
eproduces the sheet music cover, wh
Page 335 and 336:
Too Tight (Natty Dominique)Pam Pame
Page 337 and 338:
Bozo-blues; words and melody by Boz
Page 339:
and Donald Lambert, MC'd by Rudi Bl
Page 342 and 343:
Now that’s the way my folks would
Page 344 and 345:
the Country” and has no composer
Page 346 and 347:
Must go with copyright reg. and som
Page 348 and 349:
Goodman reports: I have 1917 bandar
Page 350 and 351:
influential label, the MicKinney’
Page 352 and 353:
Band also spell West Lawn as two se
Page 354 and 355:
Ida Cox, but more to our point is t
Page 356 and 357:
2013 review: Well, it was recorded
Page 358 and 359:
John Gill’s Calif. Sunshine Boys
Page 360 and 361:
When You Walked OutSomeone Else Wal
Page 362 and 363:
actual Parlophone label of the Hyde
Page 364 and 365:
That’s a bizarre mistake for Mazz
Page 366 and 367:
Written 1979, plenty of online conf
Page 368 and 369:
At the time [i.e., shortly after hi
Page 370 and 371:
Keith Nichols Cotton Club Orchestra
Page 372 and 373:
You Broke Your Promise (George Wyle
Page 374 and 375:
Louis Cottrell Trio, NO, 1/27/61, R
Page 376 and 377:
ASM, 1932, Witmark & Sons; w. Dubin
Page 378 and 379:
[And Klein Tindull is for real. His
Page 380 and 381:
In that same book on page 257 thefo
Page 382 and 383:
“Put Your Arms Around Me, Honey
Page 384 and 385:
Si tu vois ma mère [If You See My
Page 386 and 387:
At this point (June 30, 2011), I wi
Page 388 and 389:
Black Mountain Blues - copyright in
Page 390 and 391:
VICTOR ALTERNATIVE TITLES(Victor te
Page 392 and 393:
CHECK COPYRIGHT CARDSAfrican Hunch
Page 394 and 395:
Galion stomp - lovie austin?Gates B
Page 396 and 397:
meanest blues - napoleon & signorel
Page 398 and 399:
slide, frog, slidesnakes hips spenc
Page 400:
Wild and wooly (or woolly) willie -
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