Stomp Off 1001 - Dickbaker.org

which started out in the West Coast Rag in1994 and ended up as Ch. 40 of his bookTexas Shout: How Dixieland Jazz Works.Robbie dug up this item:GATEMOUTH. AKA and see "Get It Right,""Mamma's Baby Boy," "Pork Chops Rag."Old-Time. USA, Louisiana. Harry Smith(1952) identifies this as a regional Louisianatune known by a variety of titles.and this oneGEORGIA STOMP. Old Time, Breakdown.Composed by African-American fiddler JimBaxter. Harry Smith (Folkways FA2952,1952) says the recording is “structurallyintermediate between the early rural stringband style and the syncopated urban stylethat was perfected about 1880." Interpolatednear the end of the recording is the"Louisiana regional melody" variously called"Gatemouth," "Get it Right," "Mamm's BabyBoy," or "Pork Chops Rag." FolkwaysFA2952, Andrew and Jim Baxter "Anthologyof American Folk Music, vol. Two: SocialMusic" (1952. Orig. rec. 1929, VictorV-38002B).And Robbie draws this conclusion:Therefore I conclude all the songs warranttheir own identities, while acknowledgingthat the chorus of all the songs incorporatethe same street melody or folk melody.And also this from John Gill:I guess that there must have been lots oftunes floating around New Orleans wayback when. "Salty Dog", "Girls Go Crazy","Alabama Bound" just to name a few.Judging from how many versions of "Get ItRight"/"Mamma's Baby Boy"/"Gatemouth" areout there, this must have been one of themost popular. I believe that there was a lot ofborrowing going on, and I think that mosteverybody just accepted it as part of thegame. I doubt if there was much arguingabout ownership until the famous lawsuitbetween Nick LaRocca and Yellow Nunezover ownership of "Livery StableBlues"/"Barnyard Blues". But by then jazzhad broken into the big time and there wasmoney to be made with records, sheetmusic, and piano rolls.You probably all know that SidneyBechet's " Egyptian Fantasy" is lifted in it'sentirety from an Abe Olman compositioncalled "Egyptia" composed I think in 1911.Just recently I came across a military bandarrangement for Olman's "Egyptia" and lobehold there was a part for Soprano Saxsolo. There it was for Sidney and ready toplay! I think the famous "Creole Band"played this number too. Not to be too hardon Bechet because I LOVE his playing, but Ihave a French edition of the sheet music for"Wabash Blues" from the 1950's and guesswho the listed composer is? Sidney Bechet!Now we all know that Sidney didn't write thatone either. So I guess that the borrowing ofothers music has been going on for a longtime.So we let them stay as they are. At somepoint, I must decide whether to leave all foursets of notes here for easy comparison orreturn them to their various places in the book.Do What You Did Last Night(Andy Razaf–J. C. Johnson)Barbara Rosene 1431Rec. Ethel Waters (acc. by James P. Johnson),8/21/28, Columbia 14380-D. Alice Clinton (accby J. C. Johnson), 4/19/28, Gennett 5601,Champion 15510 (as Lillian Rush), Supertone9284.Do what you did last night; words by AndyRazaf, melody by J. C. Johnson. © 1 c. Feb.21, 1928; E 683373; J. C. Johnson, NewYork.Do You Believe in Love at Sight?(Gus Kahn–Ted Fiorito)San Francisco Starlight Orchestra 1334Oops, no ? on copyright:Do you believe in love at sight; lyric by GusKahn, music by Ted Fiorito, arr. by E. Chas.Eggett; with ukulele arr. by May SinghiBreen. (c) Apr. 18, 1931; 2 c. Apr. 21; E pub.22578; Red star music co., inc., New York.Rec. McKinney’s Cotton Pickers 9/8/31, Victor22811. The label did have the ?, so we’ll use ithere.Do You Ever Think of Me?(Earl Burtnett–John Cooper–Harry D. Kerr)Chris Tyle’s Silver Leaf JB 1258Rec.Southern Rag-A-Jazz Band, London, 9/21,Edison Bell Winner 3592.Claude Hopkins, 11/9/34, Decca 353,Brunswick 02120.Red Norvo, 7/9/37, Brunswick 7932, VocalionS-108.Bob Crosby, 2/6/40, Decca 3040, Coral 60056,Brunswick 04310, Odeon 286062.I was sure we’d discover that the 1921 Londonrecording was of a different tune, but here’sthe copyright:Do you ever think of me; fox trot, by Kerr,Cooper, and Burtnett, played by CharleyStraight and Roy Bargy [of U.S.] (Imperialplayer rolls, no. 91282) [Music roll] © Mar.18, 1921; 2 c. Mar. 28, 1921 E 504602;Imperial player roll co., Chicago. [Copyrightis claimed on interpretation.]Wikipedia list of Blue Amberol records showsit on 4246 by Raderman’s Jazz Orchestra (nodate), gives full names of composers as wehave them - w. JC-HDK, m. EB. And has thequestion mark.It’s not in Rust, but Whiteman recorded it forVictor in 1921; that label had Burnett-Kerr, noCooper, and did have the question mark.(Do You Know What It Means toMiss) New Orleans (Louis Alter–Eddie De Lange)Hot Antic JB 1058Paris Washboard 1338Strange: S&P say pub. 1946 (Edwin H. MorrisCo.); no ?; introduced by Billie Holiday, withLouis Armstrong and his band, in New Orleans(film, 1947). But I can’t find a copyright entryfor any year 1945-47. MTSU confirms aboveexactly, including absence of ?No, wait: this must be it:New Orleans: New Orleans [excerpt] Lyricby Eddie De Lange. 10Dec46; Edwin H.Morris & co., inc., New York; EP 10255. Forvoice and piano, with chord symbols.And for what it’s worth, the IN Harmony database says that the title is “New Orleans,”nothing that the first line of the chorus is “Doyou know . . .” The IMDB listing is “‘Do YouKnow What It Means to Miss New Orleans’(also known as ‘New Orleans’).”Aha: Bought the sheet music from MTSU, andboth the cover and copyright are clear:Do You Know What It Means To MissNew OrleansAnd the fact that the first words are really asubtitle is why it makes no sense to have aquestion mark. Also, the fact that HoagyCarmichael had a hit song named “NewOrleans” would push people to use the longertitle for the De Lange-Alter song to distinguishit.Do You Take This Woman for YourLawful Wife? (I Do, I Do)(Andrew B. Sterling–Harry Von Tilzer)Heliotrope Ragtime Orchestra 1427ASM, 1913, Harry Von Tilzer; w. Sterling/m.Von Tilzer.Do Your Duty (Wesley Wilson)Rusty Taylor’s New Jazz Review 1186Rec. Bessie Smith (with Buck and His Band),11/24/33, OKeh 8945; Columbia 37575, DS-538; Parlophone R-1793; Odeon 026927.Lether McGraw, 3/24/39, Decca 7580,Vocalion S-238.Bessie’s OKeh label says Wilson.Looked through years 1932-35, couldn’t find acopyright entry. The Time-Life set on Bessie(booklet by Chris Albertson), says, of theNovember 24, 33, OKeh session, which wasBessie’s last,