Stomp Off 1001 - Dickbaker.org

Woode on two other titles. So obviously, hisname was fluid, but he was definitely HenryWoode on that other title in this book, so wemight as well make him Henry Woode here.Dreaming the Hours Away(Will E. Dulmage–Stanton Ferguson)Black Eagle JB 1065Hot Antic JB 1099South Frisco JB 1103South Frisco JB CD 1143One More Time JB 1410Rec. Andy Pendleton, 6/26/28, OKeh 8625;Clarence Williams 1/12/28, Columbia 14287-D.Dreaming the hours away; words and musicby Will E. Dulmage and Stanton Ferguson;pf. acc., with ukulele arr. by Ben Garrison. ©Dec. 20, 1926; 2 c. Mar. 7, 1927; E 660693;Clarence Williams music pub. co., inc.. NewYork.Dreamland Blues (Part 1) (Troy Floyd)Keith Nichols Dreamland Syncoptrs 1150Dreamland Blues (Part 2) (Troy Floyd)Keith Nichols Dreamland Syncoptrs 1150Rec. Troy Floyd & His Shadowland Orch,6/21/29, OKeh 8719. Couldn’t find copyright1928-30, but the OKeh label credits Floyd.Dreamy Autumn Waltz (Edward Poplin–Louise Woods?)Bo Grumpus 13881928, says CD. Not a good sign--not incopyright books 1927-30, not in Rust, not inthe big sheet music databases.Ah, but here it is in Victor Project archives:Rec. by Poplin-Woods Tennessee String Band10/4/28, Victor V-40080. Band consisted of EdPoplin (vln), Louise Woods (pno), Jack Woods(mndln), Francis Woods (gtr). No composer islisted in Victor entry, so I’ll bet dollars todoughnuts that Ventresco assumed thebandleaders were the composers (I’ve foundhim doing that on other titles).The band made eight sides for Victor that day,and the Victor ledgers definitely call them“Poplin-Woods Tennessee String Band.” Ofthe eight sides, only three show composercredits in the Victor Project listings: Pray forthe Lights to Go Out (Will E. Skidmore), AreYou from Dixie? (Yellen & Cobb), and RobertE. Lee (Luis F. Muir).Found the Victor label; as I suspected, nocomposer credits.But aha, a clue. The label on Victor isDREAMY AUTUMN WALTZPoplin-WoodsTennessee String BandBut Victor Project says also released onCanadian Aurora 222 with performer credit ofjust Tennessee String Band. And when welook at that label, we findDreamy Autumn WaltzPoplin-WoodsTennessee String BandIn the case of both those labels, and especiallythe Aurora 222 one, it would be easy forsomebody reading the label to decide thatPoplin-Woods was the composer credit andTennessee String Band the name of thegroup, but that’s clearly (from the VictorProject listings) NOT the case. I’ll bet anythingthat this is what Ventresco (or somebody) did.But even if you did have independentconfirmation that the composer credit shouldbe Poplin-Woods, your still stuck with the factthat there were three people named Woods inthat band. Piano player Louise is probably agood guess as co-composer, but still just aguess. There’s no Poplin at all or any of thoseWoodses in copyright books 1927-31, so nohelp there. This would appear to be anothercandidate for a questionable composer credit:Poplin-Woods(?) Or even unknown, or theentire band as composer.Drop Me Off at [in] Harlem(Duke Ellington–Nick Kenny)Charleston Chasers 1287Paris Washboard 13471287 was at, 1347 was in.2013 recheck: Well, I must have been ontosomething: Rust calls it “Drop Me Off at/inHarlem.” And indeed, the original Ellingtonrecording 2/17/33, Brunswick 6528. was at.The Mills Blue Rhythm Band seems to haverecorded it for Victor in December of that yearas in, but the take was rejected, not released.And here’s our answer, the copyright entry:Drop me off in Harlem ; w Nick Kenny, mDuke Ellington; with ukulele arr. © Dec. 5,1933; E pub. 39494; Mills music, inc.So Ellington copyrighted it as in and recordedit as at. We shall let the “published” versiontake precedence, but indicate that the other isa legitimate alternative title.Drop That Sack (Louis Armstrong–Philmore Holley)New Yankee Rhythm Kings 1015Hot Dogs /Victoria Varekamp 1033Jazz Classics 1061Peruna Jazzmen 1105Ray Skjelbred 1124South Frisco JB 1240Down Home JB 12641015, 1105, 1124=Armstrong; 1033=Armstrong-Holly; 1061, 1240, 1264=Armstrong-Hardin.2013 revisit: Rec. Lill’s Hot Shots, 4/20/26,Vocalion 1037; Oriole 1009, Brunswick80060 (as Louis Armstrong with Lill’s HotShots), 02502, A-184, A-500319; Decca BM-30356.The record label record:Vocalion 1037=ArmstrongBrunswick 80060 LC ONLINE saysArmstrong-Holley, but Online 78 says LouisArmstrong-Philmor HolleyBrunswick 02502 = Armstrong.Brunswick A-500319=ArmstrongEvidently also a Brunswick BL-58004 thatcredited Armstrong-Holley.The copyright record...was confusing. Turnsout that it had been copyrighted back in 1923:Drop that sack; melody L. A. and P. H., ofU.S., arr. Lillian Hardin, of U.S. © 1 c. Dec. 8,1923; E 577784; Louis Armstrong andPhilmore Holley, Chicago.And later John Gill reported finding the“12/2/?” copyright deposit (evidently date notclear from handwriting), showing LouisArmstrong and Philmore Holley.Dropping Shucks (Lil Hardin)Peruna Jazzmen 1003Tomas Örnberg’s Blue Five 1043Evergreen Classic JB 1202Pam Pameijer’s New Jazz Wizards 1350Rec Louis Armstrong Hot 5 6/16/26, OKeh8357.Copyright:Dropping shucks; melody by L. Hardin. © 1c. July 19, 1926; E 643160; Lillian Hardin,Chicago.The OKeh label confirms this. So why do somany people call it Droppin’ Shucks? TheColumbia/Legacy Hot 5-7 reissue set calls itDroppin’, as does my only other reissue of