Stomp Off 1001 - Dickbaker.org

Confirmed by 10/1/31 unpub. Copyright reg.That Twentieth Century Rag(Ian Whitcomb, based largely on I’veGot a White Man Working for Meby Andrew B. Sterling)Ian Whitcomb & His Merry Bands 1276CD said based on a melody by Andrew V.Sterling.That Wonderful Something (Is Love)(Louis Alter–Joe Goodwin)Back Bay Ramblers 12621262 had just “That Wonderful Something.”ASM, 1929, M-G-M, w. Goodwin/m. LouisAlter; “Title by Jo’ Trent” (what’s that mean?).But there’s a subtitle on both cover andcopyright page (Is Love).That Woodbourne Strut (Roger Bell)Steve Waddell’s Creole Bells 1173Bell wrote the liner notes, and says this is thefirst tune he ever wrote.That’ll Never Do (Jelly Roll Morton)Pam Pameijer’s New Jazz Wizards 1318Rec. JRM RHP 3/5/30, Victor 23019, HMV B-4836.Confirmed by 1/10/31 unpub. copyright reg.and Victor label.That’s–a–Plenty (Lew Pollack)New Orleans Classic Jazz Orch 1145Down Home JB 1190South Frisco JB 1307Chris Tyle’s Silver Leaf JB 1311Paris Washboard 1338Heliotrope Ragtime Orchestra 14273/20/03: Aha, Audrey has 1914 sheet music(pub. Joe Morris), shows hyphens on bothcover and copyright page. Lew Pollack alone.If Mr. Gilbert added lyrics, he did it later.Note there’s also a “That’s a Plenty” by HenryCreamer (w.) & Bert Williams (m.), 1909.That’s All Right (Arthur “Big Boy”Crudup)John Gill’s Jazz Kings 1401Rec. Crudup 9/6/46, RCA Victor 22-2205and/or 22-2307.Not in copyright books 1946-47. Butconfirmed by Victor 22-2205 and 45 releaselabels.That’s All There Is (ThereAin’t No More) (Henry Woods)Jimmy Mazzy & Friends 1219ASM, 1925, Witmark.That’s Georgia (Larry Shay–Haven Gillespie–George A. Little)Banu Gibson NO Hot Jazz Orch 1073Charleston Chasers 1376Rec. CA Ramblers, 9/6/24, Paramount 20349and many others. Bernie Cummins aho,9/29/24, Gennett 5555. Fletcher Henderson,8/21/24, Columbia 202-D. Isabella Patricola,9/24, Vocalion 14886.Confirmed by 5/23/24 copyright reg., w. HG-GAL/m. LS.That’s Got ’em (Wilbur Sweatman)Down Home JB 1300Rec. Jim Europe, 5/17/19, Pathe 22146.Sweatman, 2/10/19, Columbia A-2721, LaBelleAL-5040. Synco JB, 3/19, Operaphone/Empire 31117.Confirmed by 1/14/19 copyright reg.That’s Like It Ought to Be(Roy Evans–Harrison G. Smith)European Classic Jazz Trio 1142Pam Pameijer’s New Jazz Wizards 1335Both CDs had Roy Evans-Harrison G. Smith.Rec. JRM Trio, 12/17/29, Victor V-38601, HMVJK-2861.Oops, copyright differs:That's like it ought to be; words and musicby Roy Evans and Samuel Cloud; pf . © 1 c.Apr. 3, 1930; E unp. 19621; HarrisonGodwin Smith, Brooklyn.*And now it gets sticky:That's like it ought to be; melody by JellyRoll Morton [pseud, of Ferd Morton] © 1 c.May 11, 1931; E unp. 39801; Southernmusic pub. co., inc., New York.We know that Smith has accused Jelly ofstealing from him; see notes at “If SomeoneWould Only Look After Me” and especially“I’m Looking for a Bluebird.”I was afraid this would be tough. No credit onVictor V-38601, nor does Victor Project namea composer.The Guide to the Jelly Roll Morton Collectionat Library of Congress has in section calledMusic Composed or Arranged by JRM, withthis odd entry:Manuscript lead sheetIn pencil: Wrong / J. R. M.Copyright: [Southern], 1931“Wrong”?Finally, this is on the list of tunes that HarrisonG. Smith specifically claimed that Jelly stolefrom him (see link at “I’m Looking for...”)The earlier copyright claim and the fact thatVictor tellingly did not credit this to Mortonseems evidence enough to go with thecopyright info.*But that’s a problem, too. Samuel Cloud?He was Bob Cloud on “My Little Dixie Home.But that copyright was clear and so is this one,so we must treat them as different people, Isuppose. They may even really be twodifferent people in a bizarre coincidence.And it just gets worse: the extended articlementioned above about Harrison G. Smith’sclaims against Jelly Roll does include severalrefs to Bob/Robert Cloud, but it also says,about our tune,Roy Evans recorded “That’s Like It Ought ToBe” for Grey Gull in October, 1929 (issuedon GG and Radiex 2512 under thepseudonym “Sammy Cloud” – not listed inthe Mainspring Press pseudonym book!).Though Smith in his article gives Evanscredit as composer, the label only lists"Harrison Smith". [And I found the Grey Gulllabel, which confirms this.]But that doesn’t add up. If Sammy Cloud is apseudonym for Roy Evans, what’s the point ofour copyright here by Roy Evans and SamuelCloud. And the list of stolen titles thatHarrison Smith gave the author of this linkcites Roy Evans-Harrison Smith as thecomposers of this tune. Could Sammy Cloudbe a pseudonym for Harrison Smith ratherthan Roy Evans? But no, Online 78 also saysthat Sammy Cloud is Roy Evans.So screw it--I’ll leave what we had, Evans-Smith, which is what Harrison claimed in hisinterview with the author of the link I’m citing.