Stomp Off 1001 - Dickbaker.org

Yerba Buena Stomp (Lu Watters)Original Salty Dogs JB 1115Yerba Buena Strut (Lu Watters)Steve Waddell’s Creole Bells 1173Down Home JB 1217Paramount JB of Boston 1247John Gill’s Dixieland Serenaders 1304South Frisco JB 1342Well, Turk Murphy’s liner notes say,“Yerba Buena Stomp” (Lu Watters) wasarranged from an early sketch given me byLu. This is an excellent job of arranging byTom Bartlett. Lu did a considerable rewriteon this tune for later use. The three-hornfront line stacks up well against the fourhornfront line which was, of course, theWatters configuration. Solos by Lew andKim are perfectly in line with the overallsound of the tune as is the backing by therhythm.I’m holding my nose and leaving this with the“Stomp” title, but it’s affectation as far as I’mconcerned.Yes! I’m in the Barrel(Louis Armstrong)Jim Cullum JB 1148Helm–Leigh Jazz & Blues Review 1332Pam Pameijer’s New Jazz Wizards 1350Rec. Hot Five, 11/12/25, OKeh 8261, Columbia36152 et al.Oops! Not in the copyright books 1924-28,even though its companion “Gut BucketBlues” (flip side, same session) wascopyrighted in 1926. However, the OKeh labelsays clearly “Yes! I’m in the Barrel” byArmstrong.BUT SEE THIS: Haesler found the followingcopyright:I am in the barrel, who don't like it? fox trot,L. A., of U.S., arr. Lillian Hardin, of U.S. © 1c. Dec. 8, 1923; E 577785; Louis Armstrong,Chicago.And this is interesting, what looks like amechanical rights copyright using that 1923title long after the tune was recorded as Yes!I’m in the Barrel:I'm in the barrel who don't like it. ©Consolidated music pub. house, Chicago.Notice rec'd Aug. 7, 1926; recorded, v. 7. p.49.No other mentions 1923-27.Not hard to see why OKeh would want tosimplify that awkward title when they issuedthe record, but it’s odd that not only wasn’t thetune reregistered under the published title, butthat old title was reregistered in 1926. Why?Yes, Lord, I’m Crippled (traditional)Grand Dominion JB 12918/28, Matthew Caulfield from LC copyrightregistration file:Yes, Lord, I’m Crippled, registered 4-30-63,music adapted and arranged by BunkJohnson (Willie G. Johnson).Yes, Lord, I’ve found good evidence for mycomma--but it doesn’t look like Bunk tried toclaim composer credit for this.2014 review: Well, Lord says Bunk recorded itwith his Original Superior Band 6/11/42, JazzMan 17; Limited Edition NO2, S60; Good TimeJazz 12048 (this would be an LP); et al.And indeed, the credit on Jazz Man 17 was“traditional.”Yes! We Have No Bananas(Frank Silver–Irving Cohn)John Gill’s Novelty Orchestra 1270ASM, 1923, Skidmore.Yes, Yes! (Con Conrad–Cliff Friend)Alex Hassan 1322From 1931 film musical Palmy Days. CDshows title as “(My Baby Said) Yes Yes.” Rustlists it as “Yes Yes (My Baby Said ‘Yes’)” forAmbrose, same but no quotes around last Yesfor Roy Fox. The IMDB entry for it underPalmy Days says “Yes, Yes (My Baby SaidYes, Yes).”Rec,. Ambrose aho, London, 10/1/31, HMV B-6079, EA-983. Roy Fox, London, 10/16/31,Decca F-2609.Well, the copyright isYes, yes ! from Palmy days, words andmusic by Con Conrad and Cliff Friend; withukulele arr. © Aug. 10, 1931; 2 c. Aug. 11; Epub. 24618; Con Conrad music publisher,ltd., New York.Got the sheet music from MTSU. Cover issimplyYes, YesCopyright page is same plus banger.Yonder Come the Blues (Ma Rainey)Jazz Classics 1061Down Home JB 1273Rec. Rainey 1-3/26, Paramount 12357,Signature 908.Strange--there’s a mechanical reproductioncopyright in 1926...Yonder comes the blues. © Chicago musicpub. co., inc., Chicago. Notice rec'd Sept.10, 1926; recorded, v. 7, p. 55.but no proper copyright in books 1925-28.Couldn’t find the Paramount label, but did findthe Signature label, which credits Rainey.BUT OH HELL - 1/17/14 after studying this atleast twice in the past, probably more, I justnoticed that both SOS recordings said YonderComes the Blues, while Rust lists it as YonderCome the Blues. OK, it’s Yonder Come byRainey on Jazz Collector L 73, a reissue of theParamount; and on Signature 908, anotherreissue. Didn’t find the Paramount label, butLC SONIC reports that it’s Yonder Come,credit to Ma Rainey.But it’s Comes in RHJA, and I found thatusage on many mentions of the song,probably because most people, at least mostAmericans, tend to think of “the blues” as asingular concept, a mood, and so probablyinstinctively and unwittingly put the singularverb form after it (not after them).BUT there’s still no copyright in the booksexcept for that mechanical reproductioncopyright, and it does indeed say Comes.You (Harold Adamson–Walter Donaldson)M ’N’ M Trio 1319CopyrightYou; from The great Ziegfeld, w HaroldAdamson, m Walter Donaldson, arr. FrankSkinner, with male trio arr. Frank E. Barry;orch. pts. © Mar. 5, 1930; E pub. 53878; LeoFeist, inc., New York.BEWARE that tune was mistitled on the CD as“You Wonderful You” by Brooks-Chaplin-Warren, which was written in 1950 for filmSummer Stock.You Ain’t the One (Charlie Johnson–Arthur D. Porter)West End JB 1042Keith Nichols Cotton Club Orchestra 1210San Francisco Starlight Orchestra 1364Rec. Johnson’s Paradise Ten, 1/24/28, Victor430687, 21247.Confirmed by 1/3/28 copyright reg., w.Porter/m. Johnson, and Victor Projectarchives.