Stomp Off 1001 - Dickbaker.org

migrated northward up the Mississippi RiverValley and westward to Texas. It first showsup as “I’m Alabama Bound” published inNew Orleans in 1909, credited to a whitetheatre pianist named Robert Hoffman. Thetune can be viewed as a version of an AABblues with the first two lines compressed inlength, but retaining the convention ofstarting each line respectively with asuggestion of the tonic, subdominant, anddominant harmonies (I, IV and V). BlindBoone used the melody also in 1909 as oneof the strains in his “Boone’s Rag Medleyno. 2.” New Orleans pianist Jelly RollMorton claimed to have created the tune inMobile, Alabama, in 1905, but this probablyhas as much accuracy as his claim to haveinvented jazz in 1902. Nevertheless, itsuggests an early acquaintance with thistune by a New Orleans musician. Mortoncalled it “Don’t You Leave Me Here,” and it isa well known tune under this title.Early versions of “Don’t You Leave MeHere,” or, in some cases, entitled moresimply “Don’t Leave Me Here,” wererecorded by Monette Moore (February 25,1927, Victor 20653), Laura Smith (ca. March1927, Banner 1977), Papa Harvey Hull (April3, 1927, Gennett 6106 or Black Patti 8002),Henry Thomas (ca. October 7, 1929,Vocalion 1443), Washboard Sam [RobertBrown] (March 14, 1938, Bluebird B7501),and Merline Johnson (July 7, 1938, Vocalion04331), most of them differing textually fromone another.12/12: Oh, hell, all this surfaced again, and therevisit above prompted, when Erdos found theMorris/Johnson credits on a Charles Andersonlead sheet. [see “Don’t You Leave Me Herenotes.txt” in the Soscat6 directory.] Myargument at this time is that whatever camebefore--folk melodies, Robert’s song, whateverMorris/Johnson did--Jelly Roll gets credit forthe version that the jazz world knows, but we’llgive a “based on” credit like the one at “BlueBells Goodbye.”This will turn out like Do What Ory Say. Themelody, and probably some versions of thelyrics, were lying around in the street forsomebody to pick up. It appears that Hoffmanwas the first to publish the melody, but therewere plenty of others later. Each’s claim is asgood as the other.Doodle Doo Doo (Art Kassel–Mel Stitzel)Bruno’s Salon Band 1251Rec. by nine bands May-Oct 1924 (and that’sjust the jazz bands listed in Rust).Confirmed 5/15/24 copyright.Do-Re-Mi (Richard Rogers–Oscar Hammerstein II)Paris Washboard 1280From 1959 musical Sound of Music.Confirmed 9/25/59 copyright.Dormouse, The (Humphrey Lyttelton)Pam Pameijer’s New Jazz Wizards 1432My Lyttelton Parlophone reissues onCalligraph credit Lyttelton. Rec. 2/28/51,Parlophone R-3398. Guess we’ll have to settlefor that.Double Fudge (Joe Jordan)Elite Syncopators 1358Confirmed by my 1902 sheet music.Double Talk (A Fugue) (Lou Singer,based on themes by JohannSebastian Bach)Red Roseland Cornpickers 1101Well, we can’t imply that Bach wrotesomething called “Double Talk.” How topresent it?Notes: “Again a tune from John Kirby’srepertoire (1937). The music is a swingingadaptation of compositions by JohannSebastian Bach (organ phantasy [sic] andviolin concerto), with a typical baroqueending.”Bach wrote several organ fantasies and quite afew violin concertos, so we daren’t try to getspecific without a helluva trained classicist tofigure out which ones Kirby used.What did Kirby do? My Complete Columbia &Victor reissue of Kirby calls it “Double Talk (AFugue)” and credits it to L. Singer, rec.1/15/41, Columbia 35998 (flip side of “Bounceof the Sugar Plum Fairy”) Found lots of refs tothis recording, none mentioned a composercredit. Couldn’t find label online. BUT theLibrary of Congress detailed index forColumbia 35998 does credit Singer. (no init.),confirms the subtitle.We must presume that “Singer” wascredited on the record and that the reissueproject had some way to know that his firstinitial was L.Aha! This in a note from Bill Haesler oncomposer scholarship in general:As a matter of interest, some years ago wasintrigued by the name 'L Singer' on the JohnKirby records and wondered who he was.Thanks to Warren Vaché snr and his bookThe Unsung Songwriters and the ASCAPBiographical Dictionary (I have the 1952edition) I found that it was Louis [Lou] CSinger. (1912-1966) who wrote "One MeatBall" and "Sleepy Serenade". Apart from"Double Talk"his contribution to the JohnKirby songbook included "Lass With TheDelicate Air", "Night Whispers", "Bugler'sDilemma", "Keep Smilin'", "Blue Fantasy" and"If I Had A Ribbon Bow".Appears that Singer used Lou rather thanLouis C. for professional purposes, so that’swhat we’ll use here.http://www.traditionalmusic.co.uk/music-search/music-songs-composers%20-%200562.htmDown a Little Moonlight Lane(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.Down Among the Sheltering Palms(James Brockman–Abe Olman)Acker Bilk & Ken Colyer 1119Down Home JB 1264Canary Cottage Dance Orchestra 1400Delta Stompers 1426Confirmed by sheet music, w JB, m AO, pub.La Salle, 1914.(When I’m Walkin’ with My Sweetness)Down Among the Sugar-Cane(Charles Tobias–Sidney Clare–Peter De Rose)Back Bay Ramblers 1262ASM, 1929, Irving Berlin; w. Tobias-Clare/m.De Rose.Down and Out Blues (W. EarthmanFarrell–Arthur Sizemore)Charquet & Co 1008ASM, 1925, L. B. Curtis; w. Farrell/m.Sizemore.Down by the Old Mill Stream(Tell Taylor)Aces of Syncopation 1372Confirmed by sheet music, pub. Taylor 1910.Down by the Riverside [Ain’t GonnaStudy War No More] (Paul Barnes)Down Home JB 1199Delta Stompers 1426