INSTRUMENT ABBREVIATIONS

Musicians who are known to have participated on the recording sessions with Jelly Roll Morton are shown in black typeface. The names of musicians which appear in red typeface indicates some uncertainty as to their actual presence on the recording.

as
bj
bc
cl
cm
c
d
g
k
kl

—   alto saxophone
—   banjo
—   bass clarinet
—   clarinet
—   c-melody saxophone
—   cornet
—   drums
—   guitar
—   kazoo
—   klaxon

p
ss
sb
ts
tb
tp
bb
vn
voc
wb

—   piano
—   soprano saxophone
—   string bass
—   tenor saxophone
—   trombone
—   trumpet
—   tuba or sousaphone
—   violin
—   vocal
—   washboard

DISCOGRAPHY

Jelly Roll Marton and His Orchestra

New York Recording Laboratories
Unknown Recording Studio
Chicago
Illinois

June 1923

Tommy Ladnier or Freddie Keppard (c): Roy Palmer (tb): Wilson Townes (cl): Charles Harris (as): Jelly Roll Morton (p): Jasper Taylor (woodblocks)

Note: Jelly Roll Morton, in Alan Lomax’s book Mister Jelly Roll, offers the following personnel:

“About the time, in 1923, Fritz Pollard, the famous baseball [sic] player, introduced me to Ink Williams who was then a scout for the Paramount Recording Company.  I got together a band (Nick Dominique - cornet, Roy Palmer - trombone, Townes - clarinet, Jasper Taylor - drums) and those records sold very big . . . We used a washboard in this record played by a crazy guy from New Orleans named Brown . . .” [MJR 298]

Jelly Roll refers to Fritz Pollard (above) as the “famous baseball player.” Frederick Douglass (Fritz) Pollard (1894-1986) was an All-American in football at Brown University. He was the first African American to play and coach in the National Football League. [JS]

New Orleans cornetist Chris Tyle and California drummer Hal Smith believe that Freddie Keppard may well be the cornet player on Big Fat Ham and Muddy Water Blues. They also suggest that the ragtime phrasing, as on the “out-chorus” of Big Fat Ham, bears no resemblance to Ladnier’s playing of this era and that there is a characteristic Keppard lick on Muddy Water Blues, which is heard a couple years later on Keppard’s recording of Salty Dog.

I have also seen the names of several other musicians attributed to the above session, including Natty Dominique (c) Bernie Young (c): and Arville Harris (as).

Roy Palmer, Wilson Townes, Charles Harris and Jasper Taylor, were all former members of W.C. Handy’s orchestra in Memphis. [FOB 172]

Jelly Roll probably named Big Fat (Foot) Ham in tribute to vaudeville artist Hamtree Harrington, who wore a pair of outsize shoes in his act. Harrington was also associated with W.C. Handy.

Only two copies labelled Muddy River Blues have been located on Paramount 12050-B. [MJL 13]

Paramount 12050-A should, of course, be labelled Big Foot Ham and despite the advert shown below, no copies have so far been located which show this title. [MJL 14]

The Chicago Defender dated 5th January 1924 12050 Muddy Water Blues and Big Foot Ham Jelly Roll Morton and his orchestra [R]

Note: One unusual orchestra of this period, however, remained intact barely long enough for any recording company to set down its music in wax. This was the Morton-Handy Band, headed by both Jelly Roll Morton and William Christopher Handy. The personnel included, besides pianist Morton and cornetist Handy, cornetist Tig Gray, trombonist Roy Palmer, bassist Baby Williams, banjoist Walter Dixon, drummer Johnny Bell; the clarinet posts were held by Jimmie O’Bryant, Horace Eubanks and one who is remembered by his contemporaries only as “Balls”. The date of the band is about 1923, the place, Chicago, where it was organized for tours throughout the Midwest. As might be expected, disputes soon arose over the “rights” position and billing of the two leaders. That they were temperamentally incompatible soon became evident: the venture collapsed after, at the most, two months. The band did however, play some engagements in the Chicago area; but, as is so often the case, recording company talent scouts were not so alert (or perhaps it was the recording companies’ executive attitude that frowned on Jazz?). [EJB 21]

Note: I have not been able to locate the precise address of The New York Recording Laboratory in Chicago. Adam Dubin and Tom Fischer have confirmed that there are no entries in both the 1923 and 1924 Chicago City Directories, nor the Telephone Directories from this period. Robert Morritt, who specialises in the history of recording companies, says that it was common during this period for record companies to hire hotel rooms and ballrooms, or other similar locations to carry out field recordings, until they established their own permanent studios. Chicago recording sessions by The New York Recording Laboratory were contracted out to Marsh Recording Laboratories Inc., the Rodeheaver Record Company and other independent studios. [ARL 300]

New Orleans Rhythm Kings

Gennett Recording Company
South First and A Streets
Richmond
Indiana

17th July 1923

Recording Engineer : Ezra C. A. Wickemeyer

Paul Mares (c): George Brunis (tb): Leon Roppolo (cl): Jack Pettis (cm): Glenn Scoville (as–ts): Don Murray (ts): Jelly Roll Morton (p): Bob Gillette (bj): Chink Martin (bb): Ben Pollack (d)

Gennett Recording Company
South First and A Streets
Richmond
Indiana

17th July 1923

Recording Engineer : Ezra C. A. Wickemeyer

Jelly Roll Morton (p)

New Orleans Rhythm Kings

Gennett Recording Company
South First and A Streets
Richmond
Indiana

17th July 1923

Recording Engineer : Ezra C. A. Wickemeyer

Paul Mares (c): George Brunis (tb): Leon Roppolo (cl): Jack Pettis (cm): Glenn Scoville (as–ts): Don Murray (ts): Jelly Roll Morton (p): Bob Gillette (bj): Chink Martin (bb): Ben Pollack (d)

The Chicago Defender dated 20th October 1923 “Mr Jelly Lord”  —  “Clarinet Marmalade” Real Dance Played by New Orleans Rhythm Kings “Grandpa [sic] Spells”  —  “Kansas City Stamp” [sic] Jelly Roll Morton Makes the Old Piano Talk [X]

Gennett Recording Company
South First and A Streets
Richmond
Indiana

18th July 1923

Recording Engineer : Ezra C. A. Wickemeyer

Jelly Roll Morton (p)

The Chicago Defender dated 24th November 1923 WOLVERINE BLUES Another Wonderful “Jelly Roll” Morton Piano Solo [W]

New Orleans Rhythm Kings

Gennett Recording Company
South First and A Streets
Richmond
Indiana

18th July 1923

Recording Engineer : Ezra C. A. Wickemeyer

Paul Mares (c): George Brunis (tb): Leon Roppolo (cl): Jack Pettis (cm): Glenn Scoville (as–ts): Don Murray (ts): Jelly Roll Morton (p): Bob Gillette (bj): Chink Martin (bb): Ben Pollack (d)

Note: In the Polk, Richmond City Directory for 1923 - 1924 the following addresses applied to the Starr - Gennett business locations:

The Starr Piano Co.

Warerooms - Corner Tenth & Main Streets.

Factories

South First from A to D Streets.

Manufacturers of Phonographs - Grand - Upright - Player Pianos - Gennett Phonograph Records.

At nowhere in the City Directory is a more precise street address given for the factory complex than South First and A, B, C, D (and sometimes E) Streets. The Telephone Directory for 1923 also gives the address as South First and A Streets.

The Warerooms were the retail outlet and showrooms for the Starr Piano Company and were located at 931-935 East Main.

The complex was all that was in the gorge south of Main Street. To access the complex one would turn south on First Street. First Street ran between a railroad overpass and the Main Street bridge. For all purposes, it might as well have been a private drive. [F]

The Gennett Recording Studios were located at the southern end of the Starr Piano Company factory. On many occasions recording was interrupted when trains passed by the recording studio. [JRBH 28]

JELLY ROLL MORTON’S JAZZ BAND

General Phonograph Corporation
216 North Michigan Avenue
Chicago
Illinois

October 1923

Natty Dominique (c): Zue Robertson (tb): Horace Eubanks (cl): Jelly Roll Morton (p): W. E. “Buddy” Burton (d)

Note: Natty Dominique recalled that, “Buster Bailey, a great clarinetist, played with us, and another little fellow, named Shot, a very nice drummer, a good musician, and myself on trumpet. Jelly Roll on piano.” [NOS 159]

JELLY ROLL MORTON’S
STEAMBOAT FOUR

Marsh Recording Laboratories Inc.
Suite 625 Kimball Building
306 South Wabash Avenue
Chicago
Illinois

April 1924

“Memphis” (comb): Jack Russell (k): Boyd Senter (cl): Jelly Roll Morton (p)

JELLY ROLL MORTON’S
JAZZ KIDS

Marsh Recording Laboratories Inc.
Suite 625 Kimball Building
306 South Wabash Avenue
Chicago
Illinois

April 1924

“Memphis” (comb): Russell Senter (k): Jack Russell (k): Boyd Senter (k–bj)

Jelly Roll Morton’s
Stomps Kings

Note: This is the only known recording session in which Morton took no active participation, despite the records being issued under his name. [MJL 25]

Jelly Roll Morton

Marsh Recording Laboratories Inc. (see footnote)
Suite 625 Kimball Building
306 South Wabash Avenue
Chicago
Illinois

April 1924

Jelly Roll Morton (p)

Note: The two piano solos above have been widely, but erroneously cited as Marsh matrices. They are acoustical recordings, made by the Rodeheaver Recording Laboratories in Chicago, which was occasionally contracted for Paramount recording sessions. [AS]

JELLY ROLL MORTON

Marsh Recording Laboratories Inc.
Suite 625 Kimball Building
306 South Wabash Avenue
Chicago
Illinois

April / May 1924

Jelly Roll Morton (p)

Fred (Jelly Roll) Morton

The Chicago Defender dated 11th October 1924 Rialto un-numbered “I Never Miss The Sunshine When There’s MOONSHINE Around” Fred Collins and Backbone Elleson “LONDON BLUES” With Jelly Roll Morton on His STOOL at the piano [M]

Note: The Rialto Music House was located at 330 S. State Street and 168 N. State Street, Chicago, Illinois, with an additional store at 1446 Broadway, Gary, Indiana. Frog-I-More Rag on Steiner Davis 103-A was not issued until 1944. [MJL 26]

Gennett Recording Company
South First and A Streets
Richmond
Indiana

9th June 1924

Recording Engineer : Ezra C. A. Wickemeyer

Jelly Roll Morton (p)

The Indianapolis Star dated 24th July 1924 5486 Perfect Rag New Orleans (Blues) Joys Ferd (Jelly Roll) Morton [B]

JELLY ROLL MORTON’S
KINGS OF JAZZ

Marsh Recording Laboratories Inc.
Suite 707
7th Floor
Lyon & Healy Building
78 East Jackson
Chicago
Illinois

September 1924

Lee Collins (c): unknown (?) (c or tp 1): Roy Palmer (tb): “Balls” Ball (cl): Alex Poole (as): Jelly Roll Morton (p)

Note: Swedish alto saxophone and banjo player Göran Eriksson, who has a very sharp knowledge of jazz of the 1920s, has pointed out that on Weary Blues, there is a second cornet or trumpet player. He is not present on the other three tunes of this session and can only be heard in two choruses of Weary Blues. Firstly, during the stop chorus (at 1 min. : 40 sec.) and then in the collective improvisation chorus which follows. [Y]

Cornet Solo
KING OLIVER
Piano Accompaniment
Jelly Roll Morton

Marsh Recording Laboratories Inc.
Suite 707
7th Floor
Lyon & Healy Building
78 East Jackson
Chicago
Illinois

December 1924

Joe “King” Oliver (c): Jelly Roll Morton (p)

Jelly Roll Morton
and his Jazz Trio

Marsh Recording Laboratories Inc.
Suite 707
7th Floor
Lyon & Healy Building
78 East Jackson
Chicago
Illinois

May 1925

Voltaire de Faut (cl): W. E. “Buddy” Burton (k): Jelly Roll Morton (p)

Clarinet Solo
Voltaire de Faut
Piano Accompaniment
Jelly Roll Morton

Voltaire de Faut (cl): Jelly Roll Morton (p)

Jelly Roll Morton’s
Incomparables

Gennett Recording Company
South First and A Streets
Richmond
Indiana

24th February 1926

Recording Engineer : Ezra C. A. Wickemeyer

Ray Bowling (tp): unknown (tb): Walter Barnes (as): unknown (ts): Jelly Roll Morton (p): Clay Jefferson (d)

Jelly Roll Morton
(Piano Solo)

The Brunswick-Balke-Collender Co.
6th Floor
Brunswick Building
623 - 633 South Wabash Avenue
Chicago
Illinois

20th April 1926

Jelly Roll Morton (p)

The Chicago Defender dated 19th June 1926 Vocalion 1020 The Pearls King Porter Stomp Piano Solo Jelly Roll Morton [S]

ST. LOUIS LEVEE BAND

General Phonograph Corporation
Unknown Recording Studio
St. Louis
Missouri

12th May 1926

unknown (c): unknown (tb): Walter Barnes (cl–ts): unknown (as): Jelly Roll Morton (p): unknown (d)

Note: The St. Louis Local History librarian has checked the St. Louis City Directories for the years around 1926 for entries of the General Phonograph Corporation, who issued records on their own OKeh label. No entries were listed in the City Directories. [G]

Robert Morritt says it was common for a recording company to hire a portable studio. The equipment would be brought in by rail and set up in a hotel suite or some other rented space to record artists who were performing in St. Louis at the time.

Brian Goggin, colleague and long-time member of Storyville, believes that there are two reed players present — one playing alto saxophone throughout and the other doubling tenor saxophone and clarinet. They are heard as follows: At the beginning, when the alto and tenor are playing long notes and also from the beginning of the trombone solo until the start of the straight-muted cornet solo. Then, between the trombone break and the cornet break, the clarinet and alto are heard. The clarinet and tenor saxophone man starts on clarinet, switches to tenor for the long notes sequence, then reverts to clarinet after the trombone break and finally, switches back to tenor again after the cornet break. [BG]

Edmonia Henderson
Contralto, with Piano, Cornet and Saxophone

The Brunswick-Balke-Collender Co.
6th Floor
Brunswick Building
623 - 633 South Wabash Avenue
Chicago
Illinois

21st July 1926

Edmonia Henderson (voc–voc effects 1): unknown (c): Walter Barnes (as): Jelly Roll Morton (p)

The Chicago Defender dated 27th November 1926 Vocalion 1043 “DEAD MAN BLUES” “GEORGIA GRIND” sung by EDMONIA HENDERSON [T]

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
The Webster Hotel
2150 Lincoln Park West
Chicago
Illinois

15th September 1926

George Mitchell (c): Edward “Kid” Ory (tb): Omer Simeon (cl): Jelly Roll Morton (p–dialogue 1): Johnny St. Cyr (bj): John Lindsay (sb): Andrew Hilaire (d)

Note: The Chant 36241-1 is a Mel Stitzel composition and is wrongly credited to Morton on the dubbed French issue of Hot Jazz Club of America # HC45.

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
The Webster Hotel
2150 Lincoln Park West
Chicago
Illinois

21st September 1926

George Mitchell (c): unknown (?) (c): Edward “Kid” Ory (tb): Omer Simeon (cl): Barney Bigard (cl): Darnell Howard (cl): Jelly Roll Morton (p–dialogue): Johnny St. Cyr (bj–dialogue): John Lindsay (sb): Andrew Hilaire (d): Marty Bloom (kl–whistle–effects)

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
The Webster Hotel
2150 Lincoln Park West
Chicago
Illinois

21st September 1926

George Mitchell (c): Edward “Kid” Ory (tb): Omer Simeon (cl): Jelly Roll Morton (p–dialogue): Johnny St. Cyr (bj–dialogue): John Lindsay (sb): Andrew Hilaire (d)

The Chicago Defender dated 1st January 1927 20252 Sidewalk Blues Dead Man Blues 20221 Black Bottom Stomp The Chant 20296 Smoke House Blues Steamboat Stomp Jelly-Roll Morton’s Band  [U]

Note: Steamboat Stomp 36285-3 is a Boyd Senter composition and is wrongly credited to Morton on Victor 20296-B.

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
The Webster Hotel
2150 Lincoln Park West
Chicago
Illinois

16th December 1926

George Mitchell (c): Edward “Kid” Ory (tb): Omer Simeon (cl–bc): J. Wright Smith (vn): Clarence Black (vn): Jelly Roll Morton (p): Johnny St. Cyr (g): John Lindsay (sb): Andrew Hilaire (d)

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
The Webster Hotel
2150 Lincoln Park West
Chicago
Illinois

16th December 1926

George Mitchell (c): Edward “Kid” Ory (tb): Omer Simeon (cl): Jelly Roll Morton (p–voc 1): Johnny St. Cyr (g): John Lindsay (sb): Andrew Hilaire (d)

Note: The building, formally known as The Webster Hotel is now called Webster House and has been converted into apartments. The lobby is quite bare, but otherwise apparently has not been altered too much, with the checkout desk and mailboxes in place, as well as a lot of very characteristic 1920s ornamental plaster work. The Ballroom where the 1926 Red Hot Peppers recordings were made, has not been used for anything in several years. If what I was told was true, it most recently functioned as a restaurant. It is situated on the first floor and is accessible from the lobby about seventy feet from the entrance. [H]

The Webster Hotel’s place in jazz history would have been secured if only the Morton recordings had been made there. But other jazz artists recorded there too, including the Ben Pollack band (with Benny Goodman), the Coon-Sanders Orchestra, the Dixieland Jug Blowers (with Johnny Dodds on some titles), and Bennie Moten’s Kansas City Orchestra, as well as blues singer Sodarisa Miller. During its several months of using the Webster Hotel, Victor also recorded dance bands, ethnic groups, humor, gospel music, concert and military band music and popular music vocals.

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
952 North Michigan Avenue
Chicago
Illinois

4th June 1927

George Mitchell (c): Gerald Reeves (tb): Johnny Dodds (cl): Paul “Stump” Evans (as): Jelly Roll Morton (p–dialogue 1): Bud Scott (g): Quinn Wilson (bb): Warren “Baby” Dodds (d): Lew La Mar (dialogue-laughing 2): (goat imitation 3): (dialogue 4)

Note: Bernard F. Reilly of the Chicago Historical Society has checked the Chicago classified and regular telephone directories for 1926 and 1927. According to these sources The Victor Talking Machine Company occupied the following addresses.

1045 West Monroe Street - 1926.
The Webster Hotel, 2150 Lincoln Park West - 1926.
952 North Michigan Avenue - 1927.

The Victor Recording Sheet for the 4th June 1927 session, courtesy of Roger Richard, shows that the recordings took place at the Victor Talking Mach. Recording Lab. Chicago Ill. It was usual for the studio clerk to type in the location address. However, in this instance, no detailed street address is given. Note the spelling of Louis Armstrong’s name as co-composer for Wild Man Blues on the recording sheet.

The Master Dispositions are:  D = Destroy.  M = Master.  HI = Hold Indefinitely.

Warren “Baby” Dodds, talking about this particular session, has stated that . . . “They were recorded in the Chicago Victor studios on Oak Street near Michigan Avenue, and the acoustics there were very good. It was one of the best studios I ever worked in . . .” [BDS 75]

Bernard Reilly has not been able to trace a listing for the location mentioned by “Baby” Dodds. However, Oak Street does intersect with North Michigan Avenue and there may have been an entrance from Oak Street to the Victor complex at 952 North Michigan Avenue.

The Chicago Defender dated 1st October 1927 Victor 20772 Hyena Stomp Billy Goat Stomp Jelly-Roll Morton’s Red Hot Peppers [I]

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
952 North Michigan Avenue
Chicago
Illinois

10th June 1927

George Mitchell (c): Gerald Reeves (tb): Johnny Dodds (cl): Paul “Stump” Evans (as): Jelly Roll Morton (p): Bud Scott (g): Quinn Wilson (bb): Warren “Baby” Dodds (d)

Jelly-Roll Morton
Piano Solo with clarinet and traps

The Victor Talking Machine Company
952 North Michigan Avenue
Chicago
Illinois

10th June 1927

Johnny Dodds (cl): Jelly Roll Morton (p): Warren “Baby” Dodds (d)

Levee Serenaders
Vocal Chorus by Frances Hereford

The Brunswick-Balke-Collender Co.
6th Floor
Brunswick Building
623 - 633 South Wabash Avenue
Chicago
Illinois

21st January 1928

Edwin Swayze (tp): Louis Taylor (tb): Walter Thomas (reeds): Jelly Roll Morton (p): Leslie Corley (bj): Hayes Alvis (bb): Walter Bishop (d): Frances Hereford (voc)

JOHNNY DUNN
and His Band

Columbia Phonograph Co. Inc.
23rd Floor
Gotham Bank Building
1819 Broadway
New York City
New York

13th March 1928

Johnny Dunn (tp): Herb Flemming (tb): Garvin Bushell (reeds): Jelly Roll Morton (p): John “Speed” Mitchell (bj): Harry Hull (bb): Mert Perry or Sidney Catlett (d)

Note: Brian G. Andersson, Commissioner, New York City Department of Records and Information Services, has checked the New York City Directories and found the following entry in the 1924 and 1925 edition:

Columbia Phonograph Co. (NY)
H. L. Wilson, Pres., F. J. Ames, Sect., H. C. Cox, Treas.
1819 Broadway and 121 W. 20

The next available year was 1933-34 and that directory had the Columbia Phonograph Company located at 55 Fifth Avenue and 121 West 20th Street.

Brian also checked a 1921 map for the 1819 Broadway address and found it was indeed the Gotham Bank Building. It was located on West 59th Street, right on Columbus Circle, with an entrance on Broadway, where demolition is currently (July 2000) taking place of the old New York Coliseum, making way for a new hotel, retail and entertainment complex.

In a personal letter to Roger Richard dated 1969, Herb Flemming recalled that the above recordings took place on the 23rd floor of the Gotham Bank Building.  Roger also confirms the spelling of Herb Flemming’s name as shown above.

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
Liederkranz Hall
111 East 58th Street
New York City
New York

11th June 1928

Ward Pinkett (c): Julius “Geechie” Fields (tb): Omer Simeon (cl): Jelly Roll Morton (p): Lee Blair (bj): Bill Benford (bb): Tommy Benford (d)

Jelly-Roll Morton’s Red Hot Peppers

The Victor Talking Machine Company
Liederkranz Hall
111 East 58th Street
New York City
New York

11th June 1928

Omer Simeon (cl): Jelly Roll Morton (p): Tommy Benford (d)

The Victor Talking Machine Company
Liederkranz Hall
111 East 58th Street
New York City
New York

11th June 1928

Julius “Geechie” Fields (tb): Omer Simeon (cl): Jelly Roll Morton (p): Tommy Benford (d)

Jelly-Roll Morton and His Orchestra

The Victor Talking Machine Company
Victor Studio
16 West 46th Street
New York City
New York

6th December 1928

Edward Anderson (tp): Edwin Swayze (tp): William Cato (tb): Russell Procope (cl–as): Paul Barnes (ss–as): Joe Garland (ts): Jelly Roll Morton (p): Lee Blair (g): William Moore (bb): Manzie Johnson (d)

Victor Talking Machine Division
Radio-Victor Company of America
Studio #1
Trinity Baptist Church
114 North 5th Street
Camden
New Jersey

8th July 1929

Jelly Roll Morton (p)

Victor Talking Machine Division
Radio-Victor Company of America
Studio #1
Trinity Baptist Church
114 North 5th Street
Camden
New Jersey

9th July 1929

Walter Briscoe (lead tp): Boyd Rosser (solo tp): Charlie Irvis (tb): George Baquet (cl): Walter Thomas (as): Paul Barnes (as): Joe Thomas (ts): Jelly Roll Morton (p–shouts 1): Barney Alexander (bj): Harry Prather (bb): William Laws (d)

Victor Talking Machine Division
Radio-Victor Company of America
Studio #1
Trinity Baptist Church
114 North 5th Street
Camden
New Jersey

10th July 1929

Walter Briscoe (lead tp): Boyd Rosser (solo tp): Charlie Irvis (tb): George Baquet (cl): Walter Thomas (as): Paul Barnes (as): Joe Thomas (ts): Jelly Roll Morton (p): Barney Alexander (bj): Harry Prather (bb): William Laws (d)

Victor Talking Machine Division
Radio-Victor Company of America
Studio #1
Trinity Baptist Church
114 North 5th Street
Camden
New Jersey

12th July 1929

Walter Briscoe (lead tp): Boyd Rosser (solo tp): Charlie Irvis (tb): George Baquet (cl): Walter Thomas (as): Paul Barnes (as): Joe Thomas (ts): Jelly Roll Morton (p): Barney Alexander (bj): Harry Prather (bb): William Laws (d)

Note: The Victor Talking Machine Co. recording Studio #1 was located in Trinity Baptist Church, 114 N. 5th Street, Camden, New Jersey. Victor purchased the church in February 1916 and they originally intended it to be used for storage purposes. However, with its fine acoustic qualities, and the three-manual, twenty-one rank Estey Pipe Organ present in the building, the church was converted to a recording studio and named Building #22. The studio was part of the huge Victor manufacturing complex. Victor was taken over by RCA in January 1929. By 1936, all recording in Camden, including this building, ceased because the Delaware River Bridge trains began operations and the deep-ground vibrations wrought havoc with the recordings. The building later served as a gymnasium for RCA employees. Unfortunately the building has succumbed to urban renewal and is now a parking lot.

The identity of the two trumpet players who participated in the above sessions of the 9th, 10th and 12th July 1929, remained unresolved for many years.

Theo Zwicky and Al Vollmer have since positively identified members of the orchestra for the Camden sessions of 9th, 10th and 12th July 1929 as: Walter Briscoe (tp): Boyd Rosser (tp): Charlie Irvis (tb): George Baquet (cl): Walter Thomas, Paul Barnes (as): Joe Thomas (ts): Jelly Roll Morton (p): Barney Alexander (bj): Harry Prather (bb) and William Laws (d). [Q 204]

The extra pianist Nicholas “Rod” Rodriguez should not be forgotten, even though he does not play on the issued records, he did participate in the rehearsals.

RCA Victor Company, Inc.
Victor Studio
16 West 46th Street
New York City
New York

13th November 1929

Henry Allen (tp): J. C. Higginbotham (tb): Albert Nicholas (cl): Jelly Roll Morton (p): Will Johnson (g): Pops Foster (sb): Paul Barbarin (d)

RCA Victor Company, Inc.
Liederkranz Hall
111 East 58th Street
New York City
New York

2nd December 1929

Unknown (tp): unknown (tp): unknown (tb): Wilton Crawley (cl): Charlie Holmes (as): Jelly Roll Morton (p): Luis Russell (p): unknown (bj): unknown (g): Pops Foster (sb): Paul Barbarin (d)

RCA Victor Company, Inc.
Liederkranz Hall
111 East 58th Street
New York City
New York

2nd December 1929

Unknown (tp): Freddie Jenkins (tp): unknown (tb): Wilton Crawley (cl): Charlie Holmes (as): Jelly Roll Morton (p): Luis Russell (p): unknown (bj): unknown (g): Pops Foster (sb): Paul Barbarin (d)

Note: In an article titled: “Paul Barbarin Talks About Jelly Roll” — as told by Paul Barbarin in 1969, he says, “In New York I finally made some records with Jelly when be recorded with Wilton Crawley. The guys were mostly from the Luis Russell band. Once while we were recording, Crawley was playing his clarinet his false teeth fell out to the floor and made so much noise the man in the control room stopped the record. The guys all started laughing, and it must have been ten minutes before any of them could play again. We had no special rehearsals for the recordings I made with Jelly.”

Anton Crouch, colleague and long-time member of Storyville, believes there is little doubt as to the identity of the drummer on the 2nd December 1929 session above. In correspondence with me, he wrote:

Aural comparison is made difficult by the different ambiences of the recording studios — 13th November 1929 in Victor’s 46th Street, New York City studio, and 2nd December 1929 in the Liederkranz Hall, New York City studio. The 46th Street studio is more “lively” and the matter is complicated by the fact that Pops Foster is more closely miked on the 13th November recording than on 2nd December recording. It follows that, due to Foster’s prominence on the 13th November session, the feel of the rhythm section is different on the two recording dates.

Based on aural comparison between the Crawley/Russell session of 3rd October 1929, (also recorded for Victor, but without Jelly Roll) and the Crawley/Morton/Russell session above, then Barbarin is the drummer on the 2nd December date. [AC]

RCA Victor Company, Inc.
Victor Studio
16 West 46th Street
New York City
New York

11th December 1929

Lizzie Miles (voc): Jelly Roll Morton (p)

RCA Victor Company, Inc.
Victor Studio
16 West 46th Street
New York City
New York

17th December 1929

Barney Bigard (cl): Jelly Roll Morton (p): Zutty Singleton (d)

RCA Victor Company, Inc.
Victor Studio
16 West 46th Street
New York City
New York

17th December 1929

Barney Bigard (cl): Jelly Roll Morton (p): Zutty Singleton (d)