| Artist |
Song |
Album |
Label |
Comments |
| Fletcher Henderson Orchestra |
Everybody Loves My Baby |
"Satchmo" Ambassador of Jazz |
Verve |
Divaville Lounge Wayback Machine: All songs today were recorded in 1924! This was one of the songs Louis Armstrong recorded after he left King Oliver, moved to NYC and joined the Fletcher Henderson Orchestra. This is my personal favorite of Armstrong's recordings with Henderson |
|
| Fletcher Henderson Orchestra |
Copenhagen |
Fletcher Henderson & Louis Armstrong 1924-25 |
Timeless Historical |
this is considered Armstrong's most important recording with Henderson, and the most important recording by Henderson in this era |
| Josephine Beatty (Alberta Hunter) w/ The Red Onion Jazz Babies |
Cake Walking Babies From Home |
Alberta Hunter Vol. 3 1924-1927 |
Document |
besides the Fletcher Henderson Orchestra, in 1924 Armstrong also worked as a session musician in several other bands. The Red Onion Jazz Babies featured Louis Armstrong, Lil Hardin Armstrong and Sydney Bechet |
| Clarence Williams' Blue Five |
Texas Moaner Blues |
The Essential Sidney Bechet |
RCA/Legacy |
I believe this session is the first time Armstrong and Bechet recorded together |
| Ma Rainey & Her Georgia Jazz Band |
See See Rider Blues |
Ma Rainey |
Yazoo |
the band in this recording: Louis Armstrong cornet, Charlie Green trombone, Buster Bailey clarinet, Fletcher Henderson piano, Charlie Dixon banjo |
| Jelly Roll Morton & King Oliver |
King Porter Stomp |
Jelly Roll Morton 1923-24 |
|
King Oliver's career fell apart after Louis Armstrong left his band; he did make some important recordingspost-Armstrong including this duet with Jelly Roll Morton of Morton's composition "King Porter Stomp" |
|
| The Wolverine Orchestra |
Riverboat Shuffle |
Hoagy Carmichael: First of the Singer-Songwriters |
Proper UK |
Bix Beiderbecke's first recording "Fidgety Feet" was in 1924, but I chose to play this, the first recording Beiderbecke made of asong by his friend Hoagy Carmichael |
| Original Memphis Five |
Mobile Blues |
Columbias 1923-1931: "The Complete Set" |
Challenge |
Though jazz was primarily the work of Black performers at this time, there werea few white jazz bands including the Original Memphis Five. included Frank Signorelli of the Original Dixieland Jazz Band, their first record was under the Original Dixieland Jazz Band name. The band was named after the W.C. Handy composition "Memphis Blues." None of the members was from Memphis or even the South |
| Bennie Moten's Kansas City Orchestra |
South |
The Bennie Moten Collection 1923-32 |
Acrobat |
Important recording by Bennie Moten, one of the architects of the Kansas City jazz sound and one of the biggest jazz bands in the midwest at this time |
| Fletcher Henderson Orchestra v/ Don Redman |
My Papa Doesn't Two-Time No Time |
Anthology of Scat Singing Vol 1 |
|
Popular legend has it that Louis Armstrong spontaneously invented scat singing while recording "Heebie Jeebies" in 1926, bu this recording from two years earlier disproves the legend |
| Jimmy Blythe |
Chicago Stomps |
Jazz & Blues Piano Vol. 2 (1924-1927) |
|
this is considered the first boogie woogie piano solo recording |
|
| Al Jolson o/ Isham Jones |
California, Here I Come |
Brunswick 2569 |
Brunswick |
every song in this set was a charting hit in 1924 |
| Fred Waring's Pennsylvanians v/ Tom Waring |
Memory Lane |
Victor 19393 |
Victor |
|
| Isham Jones Orchestra |
It Had To Be You |
Isham Jones Plays His Own Compisitions |
Swing Time |
|
| Paul Whiteman Orchestra |
What'll I Do |
Irving Berlin - The Music You Need |
|
Paul Whiteman was hugely important to popular music in this period |
| Ted Weems & His Orchestra |
Somebody Stole My Gal |
The Essential Ted Weems 1923-1930 |
Challenge |
one of the first jazz recordings to be a charting hit |
|
| Duke Ellington's Washingtonians |
Choo Choo |
Duke Ellington With The Washingtonians |
|
Ellington's first recording as bandleader. Incredibly, Bubber Miley and Sonny Greer were already in the band! |
| Porter Grainger w/ Fats Waller |
In Harlem's Araby |
Complete Recorded Works Vol. 1 |
JSP |
at this time Waller was mostly working as an accompanist to blues singers |
| Bessie Smith |
Ticket Agent, Ease Your Window Down |
The Essential Bessie Smith |
Columbia Legacy |
|
| Mound City Blue Blowers |
Deep Second Street Blues |
Brunswick 2804 |
Brunswick |
song begins with Eddie Lang's first solo. Lang was the first great jazz guitarist; before him banjo was the primary rhythm instrument |
| Vernon Dalhart |
The Prisoner's Song |
Billboard Pop Memories: 1920's |
|
This was a hit for Dalhart, who copyrighted the song for cousin Guy Massey who had heard it from his brother, but it is believed that neither of them wrote it, the brother likely heard it in jail |
| Marion Harris |
Tea for Two |
1920s Blues and Jazz Vocals |
|
song was written for the show No No, Nanette |
|
| Eric Borchard's Jazzband |
Aggravatin' Papa |
Schallplatte Grammophon 20116 |
Schallplatte Grammophon |
Borchard was a popular jazz bandleader in Germany in the 1920s. Mostly he recorded American jazz compositions like this one |
| Bert Firman and the "Midnight Follies" Orchestra |
Pasedena |
Zonophone 2450 |
Zonophone |
Firman was one of a few British bandleaders who were performing jazz. Like the German bandleaders they mainly imitated US bands and recorded compositions from the US |
| Max Dolin's Orchestra |
Cielito Lindo |
Victor 19329-A |
Victor |
Dolin was a Cuban bandleader who moved to the US and recorded with an American band for the Victor label. He was trying to introduce Latin music to American audiences. A few years after this he became the first music director of the NBC Pacific Coast Network |
| Juan de la Cruz y Bienvenido Leon |
Que partes el alma |
Edison Diamond Disc 60035-L |
Edison |
note the difference between this, Cuban musicians performing for a Cuban audience, vs the previous song, a Cuban bandleader with US musicians performing for an American audience |
| Carlos Gardel |
Sombras nada mas |
El Mago del tango, Vol. 4 |
|
Singer/composer/actor Gardel was a tango legend, called the most prominent figure in tango music in history. Tragically he died young in 1935, but he did record prolifically in the 20s and early 30s |
|
| Okeh Syncopators (Harry Reser Orchestra) |
Nobody's Sweetheart |
Okeh 40072 |
Okeh |
the Okeh Syncopators were led by Harry Reser, the greatest banjo player of the 20s if not of all time. Reser performed and recorded under many, many different band names often using pseudonyms |
| Ben Selvin & His Orchestra |
There'll Be Some Changes Made |
Sounds from the Roaring Twenties |
Timeless Historical |
Selvin is often overlooked today as not being "true jazz" but many jazz greats recorded with him: Benny Goodman, Jimmy Dorsey, Fats Waller, Joe Venuti were all in his band in the mid-late 20s |
| Sioux City Six |
Flock O'Blues |
Bix Beiderbecke and the Wolverines 1924-1925 |
Timeless Historical |
this recording session was the first time Bix Beiderbecke and Frankie Trumbauer recorded together. Miff Mole was also in the band. The band name is apparently a prank by Trumbauer on Beiderbecke, who wanted to name the band "Davenport Six" after his hometown. Sioux City is on the other side of Iowa and Trumbauer changed the name while Beiderbecke was out of the room |
| Cliff 'Ukulele Ike' Edwards |
Fascinatin' Rhythm |
Singin' In The Rain |
ASV Living Era |
Edwards originated this song in the Broadway show Lady, Be Good that same year |
| Ben Bernie & His Hotel Roosevelt Orchestra |
Lady, Be Good |
Vocalion A-14955 |
Vocalion |
|
|
| Paul Whiteman Orchestra |
Rhapsody in Blue |
Gershwin Plays Gershwin |
Naxos |
Paul Whiteman commissioned Gershwin to write this for his orchestra in 1924. This is the first recording, second performance of the piece. (the first performance was the day before). Gershwin performs the piano solos |
