Papa Celestin: Original Tuxedo Rag, Careless Love, Black Rag. Brownlee's Orch: Dirty Rag. Halfway House Orch: Barataria, Maple Leaf Rag. Eddie Cantor: Palesteena. Arcadia Peacock Orch.: I Wouldn’t Be Crying Now, Waiting for the Moon, Lovie Austin's Blues Serenaders: Steppin’ On the Blues, Travelin’ Blues. Charles H. Booker: Hot Sax, West Texas Blues. Fletcher Henderson: TNT, Carolina Stomp. The Goofus Five: Yes Sir That’s My Baby. Cal Ramblers: Sweet Georgia Brown. Coon-Sanders: Yes Sir That’s My Baby.

Every new year seems to bring entirely new musical trends. 1925 brings new dimensions of clever arrangements but also unbuttoned free improvisation. Sound is vastly improved and stars get their audio spotlight. Probably not enough has been said by jazz enthusiasts about Eddie Cantor. Perhaps his misfortune to work early on in an era of minstrelsy is pardoned by his apprenticeship with Bert Williams who invented what would become jazz singing with George Walker on records around 1901. Cantor’s was the first LP album I bought. Not himself a jazz singer although he worked with Jimmy Durante but with all the chops of a great personality with his comic intimacy. Similar to the Mills Bros who perfected modern jazz singing alongside Armstrong. And never leave Redman out of this discussion.

Not to ignore Henderson, this 1925 band is a highlight in history. Like Oliver in 1923 or Moten in 1924 this band is for all time.If we compare Oliver’s sudden burst of hit records (with Armstrong, Dodds, Hardin) to the Beatles then the combination of Armstrong with Henderson is like Elvis. The singular genius Armstrong with the Henderson band defined jazz solo form. Somewhat like aria form like how Elvis made a living after Mario Lanza’s example.

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