Contact Us
WXDU 88.7 FM
PO Box 90689
Duke Station
Durham, NC 27708
919-684-2957
wxdu@duke.edu
WXDU 88.7 FM
PO Box 90689
Duke Station
Durham, NC 27708
919-684-2957
wxdu@duke.edu
Artist | Song | Album | Label | Comments | |||
---|---|---|---|---|---|---|---|
James P. Johnson | Caroina Shout | Classic James P. Johnson Sessions (1921-1943) | Mosaic | Divaville Lounge Wayback Machine! Every song today recorded in 1921 unless otherwise marked | |||
Mamie Smith & Her Jazz Hounds | Crazy Blues | 1921: Make Believe & Smile | Archeophone | rec. 1920 this was the first blues recording | |||
Esther Bigeou | St. Louis Blues | Ester Bigeou 1921-1923 | Document | ||||
The Original Dixieland Jazz Band | Royal Garden Blues | 1917-1936 | Jazz Tribune | this band is known for making the very first jazz recordings in 1917 | |||
Eubie Blake & the Shuffle Along Orchestra | Baltimore Buzz | Sissle & Blake Sing Shuffle Along | Harbinger | Shuffle Along, the first all-Black show on Broadway, premiered in 1921 and was a huge success. Before Shuffle Along, no one would back a Black production on Broadway because they didn't believe it could succeed | |||
Harry Raderman's Jazz Orchestra | Shuffle Along | 78" | Edison | ||||
Vaughn de Leath | I'm Just Wild About Harry | 1922: An Angel's Voice I Hear | Archeophone | rec. 1922 this song was the biggest hit from Shuffle Along | |||
Club Royal Orchestra | The Sheik | 1922: An Angel's Voice I Hear | Archeophone | this is "The Sheik of Araby," the song was originally titled "The Sheik" as it was inspired by the movie of the same name | |||
Paul Whiteman Orchestra | Song of India | King of Jazz 1920-1927 | Timeless | ||||
Van & Schenck | Ain't We Got Fun? | 1921: Make Believe & Smile | Archeophone | ||||
Eddie Cantor | Margie | Cocktail Hour | Columbia River | rec Dec. 1920, Eddie Cantor was one of the biggest stars of the era | |||
Maria Teresa Vera & Manuel Corona | El Yambu Guaguanco | Cuba Libre: ¡el Más Selecto Coctel Musical!: Yo Soy el Punto Cubano | Quimbaya | rec 1920. This is possibly the first recording of a traditional rumba | |||
Al Jolson | April Showers | April Showers | Imports | ||||
The Benson Orchestra of Chicago | San | 1921: Make Believe & Smile | Archeophone | ||||
Nora Bayes | Make Believe | 1921: Make Believe & Smile | Archeophone | She was one of the biggest stars of the 1900s and 1910s | |||
Clarence Williams | If You Don't Believe I Love You, Look What a Fool I've Been | The Clarence Williams Collection 1921-1937 | Fabulous | Williams was a pianist, singer, composer and publisher who helped develop the careers of many artists in the 1920s | |||
Mary Stafford | I'm Gonna Jazz My Way Straight Through Paradies | 78" | Columbia | ||||
Lionel Belasco | Bajan Girl | Calypso Legends | ARC | Belasco was from Trinidad; song co-written by Belasco and Clarence Williams | |||
Mamie Smith | Jazzbo Ball | Mamie Smith Vol. 1 (1920-1921) | Document | ||||
James P. Johnson's Harmony Eight | Dear Old Southland | Classic James P. Johnson Sessions (1921-1943) | Mosaic | ||||
Fanny Brice | Second Hand Rose | 1922: An Angel's Voice I Hear | Archeophone | Brice introduced this song in Ziegfeld Follies of 1921. It was popularized again when Barbra Streisand starred as Brice in Funny Girl | |||
Leo Reisman Orchestra | Bright Eyes | 1921: Make Believe & Smile | Archeophone | ||||
Selvin's Orchestra | Canadian Capers | 78" | Brunswick | Doris Day also recorded this song in the late 40s. Selvin went on to give Benny Goodman his first job in a touring band | |||
American Quartet | Mandy 'n Me | 1922: An Angel's Voice I Hear | Archeophone | Featured Billy Murray, the most successful male singer of the 1900s and 1910s | |||
Lanin's Southern Serenaders | Aunt Hagar's Blues | Dance the 1920s, Vol. 1 | Van Up | ||||
Ada Jones & Billy Murray | When Frances Dances with Me | 1922: An Angel's Voice I Hear | Archeophone | Jones and Murray were both huge stars in the 1910s and early 1920s | |||
Isham Jones & His Orchestra | Wabash Blues | 1921: Make Believe & Smile | Archeophone | in the late 1920s Isham Jones recorded the first ballad arrangement of "Star Dust," changing forever the way it was recorded | |||
Frank Crumit | I Used to Love You But It's All Over Now | 1921: Make Believe & Smile | Archeophone | ||||
Clyde Doerr | Wimmin (I've Got to Have 'Em, That's All) | 78" | Victor | ||||
Revella Hughes | Thank God for a Garden | 78" | Black Swan | This was the first ever release by Black Swan, the first Black-owned and operated music label | |||
Four Harmony Kings | Ain't It a Shame | 78" | Black Swan | ||||
Alberta Hunter & Henderson's Novelty Orchestra | Bring Back the Joys | Alberta Hunter Vol 1 (1921-1923) | Document | Henderson was Fletcher Henderson, who was music director for Black Swan | |||
Ethel Waters w/ Cordy Williams' Jazz Band | Oh Daddy | Down Home Blues (Original Recordings 1920-1921) | JazzAge | This was the B side of "Down Home Blues," this record was Black Swan's biggest seller | |||
Florence Cole-Talbert | Il Baccio | Black Swans: The First Recordings of Black Classical Music Performers | Parnassus | Black Swan produced blues, jazz, gospel and classical music. The label was named after 19th century Black opera star Elizabeth Taylor Greenfield who was known as The Black Swan | |||
Lavinia Taylor w/ James P. Johnson | You Never Miss a Good Thing Till It's Gone | Classic James P. Johnson Sessions (1921-1943) | Mosaic |