Stomp Off 1001 - Dickbaker.org

the Country” and has no composer credit. Healso found a British Brunswick 03520 reissueof this take by WM aho as “Up the Country”(no blues), by Johnny Miller. LC SONIC saysDecca 7366 is “Up the Country,” no composercredit.Barbecue Joe version is hotter tempo, andindeed Chicago Rhythm is playing it. But whatabout Thomas-Wallace? Simply must find thatrecord to compare. I did, and they’re nothingalike.BUT see this copyright:Up the country blues : words by J.Mannone, melody by Breua and Ryan. © 1c. Sept. 7, 1927; E 671541; Joe Mannone,New York.AND that’s how they’re listed in index, just lastnames.But elsewhere in 1927 book we findRingside stomp; melody by Mike Ryan,Steve Brua and J. Mannone. © 1 c. Apr. 27,1927; E 666730; Joe Mannone, Biloxi, Miss.And TILT: Just noticed that a Steve Brou wasguitarist on the 1927 recording. But wait,there’s more: Steve Brou’s only other mentionin Rust is on banjo with Johnnie Miller’s NewOrleans Frolickers in April 1928 (Miller is thepianist).Checked books for 1927 and 1928-31; severalmore compositions by Mannone alone or withothers, but no rereg. of Up the country, and nomentions at all of Mike Ryan or Breua/Brua.Does anybody have any idea what’s going onhere? If it’s by Manone-Ryan-Brua/Breua/Brou, how did Sacks (or Sackman) and Millerget on the 1927 Joe Mannone’s HarmonyKings label? And is it Brua or Breua? Hasanybody ever heard of him? [If no betterintelligence comes in, I guess I’ll go withWingy Manone-Steve Brua-Mike Ryan.]VVariety Stomp (Fletcher Henderson–Jo Trent–Abel Green)Roaring Seven JB 1019Neely’s Royal Society Jazz Orch 1250Les Rois du Fox-Trot 1434Les Red Hot Reedwarmers 14352013 review: Copyright isVariety Stomp; melody by Abel Green, JoTrent and Fletcher Henderson. c 1 c. Mar.29, 1927; E 659470; Robbins-Engel, inc.,New York.Varsity Drag, The (B. G. De Sylva–Lew Brown–Ray Henderson)Ingham–Grosz Hot Cosmopolites 1285San Francisco Starlight Orchestra 1334ASM, 1927, De Sylva, Brown & Henderson.Victory House Drag(Humphrey Lyttelton)Humphrey Lyttelton & His Band 1160Villain, The (Lu Watters)Down Home JB 1316Notes by Marty Eggers say,Best known as a piano number, again withWally Rose as its main interpreter (thoughRalph Sutton actually recorded it first, in1949). Another parallel is its adaptation onthis album to a band number. Frank’s[Powers] chart was based on RobinWetterau’s 1953 arrangement for theDixieland Rhythm Kings.Was performed by Rose with rhythm on theBlues over Bodega LP. And Sutton 1949 isfirst recording shown in Lord, Down Home 7,1003; MGD4. Blues Over Bodega was 1963.Dixieland Rhythm Kings was 1968, Red OnionLP1.Alas, I don’t have the liner notes for Blues OverBodega, just the music. A post on DJMLidentifed Villain as by Watters on that LP, and Idid find a Fantasy 45 rpm issue of that tunefrom the 1963 recording that ID’s Watters ascomposer. And Terry Waldo in his This IsRagtime book writes,One of Lu Watters’s piano tunes, “TheVillain,” was arranged for the band by theDRK’s pianist, Robin Wetterau, into a fullensemble speciality.Vine Street Drag (Andrew J. Brown)Neely’s Royal Society Jazz Orch 1250Vince Giordano’s Nighthawks 12601250 says Andrew Brown; 1260 Andrew J.Rec. Missourians (Andrew Brown on reeds),8/1/29, Victor V-38103, HMV AE-4365 et al.Tennessee Chocolate Drops, Knoxville, 3-4/30,Vocalion 1517, 5472 (in white hillbilly series asTennessee Trio).Oops, the copyright says just J. Brown:Vine Street drag; melody by J. Brown. © 1 c.Jan. 22, 1930; E unp. 16018; Southernmusic pub. co., inc., New York.In the index, it’s also just J. Brown. There’s noAndrew or Andrew J. or A. J. Brown in theindex. Nor in 1929 or 1931. And the label onthe Victor disk says J. Brown.Most telling is that the Victor Project pageshows composer J. Brown, cl/tsax playerAndrew Brown.Later in 1930 book found what looks to be acopyright for an arrangement of it:Vine street drag; stomp, arr. byBrewster-Raph; orch. pts. 4to. © Sept. 16,1930; 2 c. Oct. 6; E pub. 18176; Southernmusic pub. co., inc., New York.Strangely, “Brewster-Raph” are in book 1930book as arrangers of a dozen or so tunes;index definitely treats them as two differentpeople, neither of whose first name is known.10/23/13 queried Neely and Giordano. Nevergot a response--inquired again 1/15/24.Vintner’s Dream, A (Trebor Tichenor)Trebor Tichenor 1282Viper Mad (see Pleasure Mad byBechet–Simmons)Viper’s Drag (Fats Waller)John Gill 1066Red Roseland Cornpickers 1101Terry Waldo’s Gotham City Band 1120Gauthé–Marquet Clarinet Serenadrs 1216Neville Dickie & Louis Mazetier 1302Back Bay Ramblers 1374Rec.Cab Calloway (The), 11/12/30, Domino 4686,Jewel 6185, Oriole 2185, Perfect 15412 et al.FW Rhythm (no The), 11/16/34, Victor 25015,277678; Bluebird B-10133 et al.Copyright isViper's drag; by Thomas Waller; pf. © 1 c.Nov. 19, 1930; E unp. 30874; Joe Davis,inc., New York.Now this is strange:Viper's drag; by Fats Waller; pf. © Dec. 17,1934; E pub. 45375; Joe Davis, inc., NewYork.Also strange is that Calloway’s 1930 “TheViper’s Drag” doesn’t sound at all like theWaller tune to me. AND that I couldn’t findany of these labels online. How can that be?Obviously, time to determine (a) if our bandsare playing the Waller or Calloway version, (b)if the two versions can possibly be based onthe Waller composition, and (c) if (b) not true,then who the hell wrote the Calloway version?A keen-eared friend of Bill Haesler says theyare not the same and that the Calloway is atypical "minnie the moocher minor rave" thatCab did at that time.If I work at it, I think I can hear traces of Wallerburied deep in Calloway, but I can’t trustmyself on such things. As for SOS versions:1066 John Gill obviously Waller1101 Red Roseland Cornpickers obviouslyCalloway, but Haesler notes that it “neatlyinserts (tongue-in-cheek) the Wallercomposition into its arrangement.” The linernotes by Claus Jacobi say, “Fats Waller’spiano composition is transformed into a