Frank Trumbauer (cms): with Ray Miller's Orch.: Mama's Gone Goodbye, I Can’t Get the One I Want, Doodle Doo Doo, The Cotton Pickers: Jimtown Blues, Benson Orch.: I Never Miss the Sunshine, Mound City Blue Blowers: San, Red Hot, Lanin’s Arkansaw Travelers: Lost My Baby Blues, Ray Miller; Where is that Old Girl of Mine (Billy Jones Voc.), The Cotton Pickers: Prince of Wails, Ray Mlller: Red Hot Mama, Lotsa Mama, Come on Red, Sioux City Six: Flock of Blues, I'm Glad. Trumbauer solos and section work as a sideman from 1923-24. Joined by Andy Sannella and Miff Mole in the Miller Orch. Bix and Miff with the Sioux City Six. Frank Signorelli with the Cotton Pickers. Tram was adept in duets and here particularly with Miff Mole and Andy Sannella.

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Henderson: Hard Hearted Hannah, Houston Blues, A New Kind of Man (Redman on goofus), Driftwood, The Oriole Terrace Orchestra, Sobbin' Blues, Oh Mabel (Nick Lucas voc.), Copenhagen, Back Where the Daffodils Grow, Mandy Make Up Your Mind, Isham Jones: Land O' Lingo Blues, Gene Rodemich: Choo Choo, OTO: I Need Some Pettin', Abe Lyman: A New Kind of Man, OTO: That Lullaby Strain, Arnold Johnson: Sweet Lovin' Mama, Bennie Krueger: Wet Yo' Thumb, Abe Lyman: If You Do What You Do.

Although jazz is associated with alcohol in the Prohibition era, the OTO seem more to be about caffeine. Nick Lucas lays a strong foundation on banjo and guitar. Rodemich gives a fun rendering of the Ellington train song.The durable Brunswick product (Henderson recorded on Brunswick but those are not included here) are of a high level of production quality.

Henderson is included here because hit dance band records like exactly these Brunswicks as to song and style, are his genre. Henderson was not so invested in the hot jazz band category as were Clarence Williams or Moten. Paul Whiteman and hotel bands dominated the charts that Henderson competed in. Although Henderson and his band made top blues records, this apparently did not influence his dance band recording strategy although it made his bands sound fuller and freer than bands without that deep blues experience. Moten had that free blues sound also.

On “A New Kind of Man” Redman borrows from the Goofus 5 comic model, does a good job with the goofus and the amazing Charlie Green makes magic on the trombone. We hear the violin of Allie Ross on Driftwood. Hawkins steps up on these tunes.

The arrival of Bailey, Green and Armstrong represented not so much a new evolution of jazz than a way of competing against the wealthy dance bands like OTO. The ultimate glue guy Hawkins could not deliver a large sound by himself without reinforcements. Hawkins in 1924 was more a team player and not a solo star but he does have a style in his solos here.

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James P. Johnson solo piano: Bleeding Heart Blues, Carolina Shout, You Can't Do What My Last Man Did, Harlem Strut, Worried and Lonesome Blues, Weeping Blues, Toddlin', Scouting Around, Keep Off the Grass. C. Williams: Achin' Heart Blues, Texas Moanin' Blues, Richard M. Jones: Jazzin' Babies Blues. For your next house rent party.

Johnson, although he was classically trained, is a rhythm section by himself, stage showman of magic, and in the front car of your roller coaster ride. You have entered an amusement park of careening new sounds. The promise of novelty piano is not a far jump later to Monk and of course Jaki Byard. Contemporaneous band tunes are added here in deference to the horns and old king banjo that gave a pianist an orchestra. Assembled by Clarence Williams is the all time All Star lineup of Armstrong and Bechet. Then composer Richard M. Jones delivers his composition in a blues styling not too far afield from Johnson’s.

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Ellington (Sonny Greer, Alberta Hunter voc): Social Parlor Deluxe, Armstrong with Bechet (Alberta Hunter voc.) Cakewalkin Babies, The Old Southern Jug Band: Hatchet Blues, Ma Rainey: Countin Blues, Sippie Wallace: Baby I Can’t Use You No More, Trouble Eveywhere I Roam, Off and On Blues, Alberta Hunter: Mandy Make Up Your Mind, Benny Kreuger: Pleasure Mad.

Mucho Bechet and Armstrong together-thank you Clarence Williams.

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AJ Piron: West Indies Blues, Sud Bustin' Blues, New Orleans Wiggle, Mama's Gone Goodbye, NORK: That Da Da Strain, Piron: Sittin' on the Curbside, Doo Doodle Oom, Kiss Me Sweet, Louisiana Swing, Bouncing Around, Wolverines: Lazy Daddy, Richard M. Jones: Jazzin' Babies Blues, 12th St. Rag, Morton: Tia Juana, Mamanita.

Peter Bocage on trumpet, AJ Piron on violin, Lorenzo Tio, Jr. on clarinet. A glimpse at the unexpected diversity of New Orleans music. Piron played for dancing seemingly rather than for listening. There is none of the section work of Redman but rather the polyphony of 5 or 6 voices expanding the basic New Orleans model to a larger band expression.

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Jimmy Joy: Milenberg Joys, Clarinet Marmalade, Mama Will Be Gone. Dick Long: Hoop Em Up Blues, Bring Back Those Rock- A -Bye-Baby Days (Max Covert on trumpet). Goofus 5: Oh Mabel (voc, Billy Jones), Henderson: Jealous, Do That Thing (voc. Rosa Henderson), Mobile Blues, Chicago Blues, I Never Care About Tomorrow, Somebody Stole My Gal, He's the Hottest Man in Town, Lots O’ Mama, Red Nichols: Back Where the Daffodils Grow.

This is all 1924 pre-Armstrong for the Henderson Orchestra. Do That Thing was a top selling hit that helped propel the the brand. Jimmy Joy had a creative Austin,Texas band and Dick Long led a talented Minneapolis band. Five weeks at #1 as a hit for Ted Weems, Somebody Stole My Gal leads the way here in comic personality. Also in Mobile Blues we seem to hear a shoe shine towel. Red Nichols makes his debut with a Ramblers tune. He would eventually become a Rambler. Hawkins delivers a strong solo in Hottest. Lotsa Mama was a tune introduced by Schoebel who also provided Henderson with Prince of Wails. The 1924 Armstrong sides are featured on an earlier episode titled Pops.

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