Discographical Ramblings

  by Ate van Delden

It may surprise the uninformed but discographical discoveries are still being made daily. Please let me know about yours!



I had had a copy of Br 4701 in my (Rollini) collection for a long time, when I noticed that it was a Canadian pressing (as shown on the label). I knew that this might differ from a US pressing on the title Hallelujah. So when another copy was auctioned, I placed a bid and won. Its arrival brought a surprise: not only Hallelujah was a different take (as hoped for), but also the flip side, Sometimes I’m Happy, turned out to be different. With Han Enderman’s help, this second copy has been identified now as a West coast pressing. Ross Laird’s Brunswick discography shows that both titles were recorded in two takes only, A and B. Although the records do not show any take numbers, they have probably been identified now, as follows:

Sometimes I’m Happy: assuming LP MCA 1518 correctly identifies its as take A (they used original metal), then the Canadian pressing and Br 6028 are take A, and the  Westcoast pressing therefore must be take B.

Hallelujah: John R.T. Davies in ‘Re-reminting the Pennies’ (Storyville 80) mentions a test of take A and if this was used for the Jazz Oracle CD set, for which an East coast pressing was used, then the West coast pressing and 6028 are the same take A and the Canadian pressing is take B.

  Can someone send me recordings taken from the East coast pressing, or from Br 4701 (Argentine), Br 41057, Br A8673 please? I will gladly supply my takes as mp3s (or CDR).



Normally Sunset 1142 couples Keep On Croonin’ A Tune by Owen Fallon’s Californians with a mildly hot version of That Certain Party, labelled as being by Owen Fallon and His Collegians, Direction of Lee McCarthy, but aurally they are the same band. However, Henry Parsons (US) reports a remarkable, possibly unique, pressing, with That Certain Party as a full-on hot instrumental by a completely different band with, as Henry writes, a “ro-ro-ro” scat vocal by members of the band at the end. Furthermore, it is a primitive early electric recording. Mark Berresford has listened to it and is convinced  that it is by the same band that plays I’ll Say No (also a primitive electrical recording) on Sunset 1143, which is credited to  - wait for it - Owen Fallon’s Collegians, Direction of Lee McCarthy! Mark’s theory is that Sunset 1142 was initially pressed with the ‘hot’ version by the Collegians, but as the melody of this extremely popular tune of the time is so engulfed by the hot treatment, it was remade by the regular Fallon band in a more ‘conservative’ and saleable style. Can anyone supply information on this latter group - they are certainly well worth further investigation!



Björn Englund notes that recording dates for Federal records are not correct as given in ADBORAF for the 5331-5376 range, They were issued in December 1923 (5331-5344), January 1924 (5345-5354), February 1924 (5355-5367), March 1924 (5368-5376). Fed 5373 (Hackel-Berge) for instance is given as May 1924 even though it was issued two months earlier.

Fed 5333, coupling Take, Oh Take Those Lips Away (mx 2237/8/9) and Home-town Blues (mx 2240/1/2) was issued in December 1923 and probably recorded by late October 1924. Though labelled Golden Gate Orchestra, this was not by the California Ramblers but probably by a Federal studio band.



Björn also sends a general warning for some Bluebird issues. He writes that there are several instances where JR6 lists a Bluebird as a master pressing where it is in fact a dub. As an example he gives Bennie Moten’s The Count, issued as BB B6719. On December 14, 1936 the following dubbings was made in Camden: BS-03617-1R , used for Bluebird B-6719, and BS-03617-2R, which was not processed (Moten’s Sweetheart of Yesterday is another - Ed).


Original Memphis Five Stephen Paget (UK): has unissued matrix 35325-2 Tampeekoe.

Vincent Lopez: Hans Eekhoff (UK/NL) has Stomp Off, Let’s Go on Odeon A 60930 coupled with Fred Hall’s Charleston Baby (A 60212). Hans also has T.N.T./ Black Horse Stomp on Od 49.116/7, in an unlisted Odeon series.

Three Bits of Rhythm (4 1941 titles for Decca). Björn Englund found first names in the Billboard 1943 Music Yearbook (p. 216). The magazine of the Belgian Record Memory Club (Aug. 2017) adds family names: Theodore “Fate” Rudolph, bass, vibes; Solomon Langenour, el. guitar; Bruce Williams, el., haw., steel guitars, bass.

Harry James: more from Björn: at the session of 20 Feb 1939 a fifth title was recorded: BW 24518-1/2, an untitled original (listed in the HJ disco by Charles Garrod and Peter Johnston, 1996).

Johnny Hodges’ session shown as on 19 Dec. 1938, actually took place a day later.

Fletcher Henderson’s session of 2 March 1937: Horst Lange’s German discography gives mx 20754-2 for Slumming On Park Avenue, issued on Br A81157 and A81164. This take is reported nowhere else. Can it be confirmed? And were both Brunswicks actually issued?


SMALL CHANGE(S) - THE UK (all from Björn Englund)

Ray Ventura: the last Ventura session in JR6, of 29 March 1938, though listed as Paris, must have been in London: the CM matrix series was British Columbia’s Continental series and the May 1938 issue of Rhythm Magazine has two photos of Ventura and Louis Vola in Columbia’s London Studios.

Jay Wilbur: Temptation Rag is as take F1286 on Rex (UK) 8485 but F1286-2 on Kristall (Germany) 21867 and (Sweden) 245. They are different takes.

Nat Gonella: the two titles from 30 October 1940 on HMV X6544 are dubs. The take numbers were changed from 1 to 0, which indicates a dub.

Six Swingers: the drummer at  the 18 March 1937 session is Sid Heiger according to the review in The Gramophone for May 1937 (and not Max Abrams as given in JR6). Col SW4468 should be Col DW 4468, a German issue.

Bond Street Swingers: recorded for the rare Octacros label, c. Oct 1936. Their two titles were issued on Swedish Cameo 2050, a master pressing, issued December 1936.

Carl Brisson, a popular stage and screen star, has one title, Thanks, in JR6, due to the accompaniment, which included Max Goldberg, t. Takes 1 and 2 were recorded on 18 October 1933 and rejected. Take 3 was recorded on 21 November 1933 and issued as Decca F3759.



Jelly Roll Morton’s Shreveport Stomp on Victor 21658 (VJM #178). It appears that both take 1 and take 2 exist on East coast Victors. West coast Victor pressings so far as is known only feature the rare take 1; Canadian pressings just the regular take 2.

Richard M. Jones on Gennett (VJM #178). The two titles have been reported as from one catalogue number Spanish Champion 40114 but Bernard Shirley quotes from Richard Johnson’s Gennett Spanish catalog, which was used for ADBORAF. It says:-

40113 Coulter y su Orquestra - Las De Hollywood

40114 Coulter y su Orquestra - Buena Cosa

Both titles were coupled with a recording by Orquestra de Los Algonderos. So it seems that there really were two catalog numbers. Can a collector supply recordings from any Gennett issue?

 Lucille Hegamin on National 12108 (VJM #178): uses takes 996-3/997-2 (from Howard Rye).



There are enough open questions to fill a full Ramblings issue, but this time I prefer to invite you to send any unpublished discographical data on Rollini that you might have. You’re welcome!


Comments (and please refer to the relevant VJM issue!) and new information to me at my new email address - a.vandelden@onsmail.nl Thanks