LOUIS ARMSTRONG—Solo Style
Knocking a Jug, Save it Pretty Mama, Squeeze Me (in Columbia Album C-28) West End Blues, Tight Like This, Muggles (in Columbia Album C-73) Stardust, Wrap Your Troubles in Dreams (Columbia Reissue) I Can’t Give You Anything But Love (Columbia 38052) That’s My Home (Victor 40-0102)
BIX BEIDERBECKE
Louisiana, Thou Swell, Goose Pimples, Old Man River (in Columbia Album C-29) Way Down Yonder in New Orleans, Clarinet Marmalade, Singing the Blues (in Columbia Album C-144) I’m Coming Virginia (Columbia 36280)
FRANK TESCHEMACHER
China Boy, Nobody’s Sweetheart, Shim-me-sha-wobble, Oh Baby (in Columbia Album C-43) There’ll Be Some Changes Made, I Found a New Baby, Wailing Blues, Barrelhouse Stomp (in Brunswick Album B-1017)
THOMAS “FATS” WALLER
Everybody Loves My Baby, Squeeze Me (Victor 20-2217) You’re Not the Only Oyster in the Stew (Victor 20-2218) The Meanest Thing (Victor 20-2219) Honeysuckle Rose, Blues (A Jam Session at Victor) (Victor 25559)
FLETCHER HENDERSON
Money Blues, Stampede, Hop Off, Coming and Going, New King Porter Stomp, Snag It (in Columbia Album C-30)
Examples of the small Negro-white recording groups and of the Chicago-Dixieland music are not listed here, because outstanding examples have already been listed under other headings in previous chapters. They include the HRS records of “Pee Wee” Russell’s Rhythmakers, the Bechet-Spanier Big Four, the Rex Stewart Big Seven and Jack Teagarden Big Eight; the Commodore series including “Wild” Bill Davison, George Brunis, Eddie Condon, “Pee Wee” Russell, Max Kaminsky, Edmund Hall, Albert Nicholas, George Wettling and others; the various groups gotten together by Blue Note, including Art Hodes, Rod Cless, Sidney Bechet, Vic Dickenson, James P. Johnson, Max Kaminsky and others.
Fine Teagarden may be heard in the Brunswick Red Nichols album (Vol. 1, В 1001) and Columbia’s “Comes Jazz” (C-40), although the surrounding performances are less inspired. He has a special flair for the nostalgic, semi-sweet blues song, such as “Aunt Hagars Blues” “Yellow Dog Blues,” “Basin Street Blues” (his fine recording of this with the Louisiana Rhythm Kings should be reissued), “St. James Infirmary.” His own original blues style (“Making Friends,” Columbia 36010) is in similar character.
Most of the outstanding Bix solos are found on available records, but there should be some method of concentrating on a few records the fine little choruses and half choruses scattered through many otherwise worthless records. Tesch is almost completely represented on available records.