INSTRUMENT ABBREVIATIONS

The musicians who are known to have participated on the recording sessions with Jelly Roll Morton are shown in black typeface. The names of musicians shown in red italic typeface indicates that there is some uncertainty as to their actual presence on the recording.

(as)
(bj)
(bc)
(cl)
(cm)
(c)
(d)
(g)
(k)
(kl)

—   alto saxophone
—   banjo
—   bass clarinet
—   clarinet
—   c-melody saxophone
—   cornet
—   drums
—   guitar
—   kazoo
—   klaxon

(p)
(ss)
(sb)
(ts)
(tb)
(tp)
(bb)
(vn)
(voc)
(wb)

—   piano
—   soprano saxophone
—   string bass
—   tenor saxophone
—   trombone
—   trumpet
—   tuba or sousaphone
—   violin
—   vocal
—   washboard

RECORDINGS AND DISCOGRAPHY

The New York Recording Laboratories
Chicago, Illinois

Recorded : June 1923



Jelly Roll Marton and His Orchestra

Tommy Ladnier or Bernie Young (c); Roy Palmer (tb); Wilson Townes or Arnett Nelson or Horace Eubanks (cl); Arville Harris (ts); Jelly Roll Morton (p); Jasper Taylor (wb or woodblocks).

Note: Jelly Roll Morton, in Alan Lomax’s book Mister Jelly Roll, offers the following personnel:

“About the time, in 1923, Fritz Pollard, the famous baseball [sic] player, introduced me to Ink Williams who was then a scout for the Paramount Recording Company.  I got together a band (Nick Dominique — cornet, Roy Palmer — trombone, Townes — clarinet, Jasper Taylor — drums) and those records sold very big . . . We used a washboard in this record played by a crazy guy from New Orleans named Brown . . .” [MJR 298]

Jelly Roll refers to Fritz Pollard (above) as the “famous baseball player.” Frederick Douglass (Fritz) Pollard (1894-1986) was an All-American in football at Brown University. He was the first African-American to play and coach in the National Football League. [JS]

Several musicians have been attributed to the above session, including Natty Dominique (c); Bernie Young (c); Arville Harris, Charles Harris and Paul "Stump" Evans (as). Note that Roy Palmer, Wilson Townes, Charles Harris and Jasper Taylor were all former members of W.C. Handy’s orchestra in Memphis. [FOB 172]

 As regards the saxophonist, thanks to inspired work by Steven Lasker and Lewis Porter with assistance from Dan Weinstein and Dan Levinson, whose findings were published in Vintage Jazz Mart 189 in February 2021, we now have compelling evidence that 1) the saxophonist is Arville Harris and 2) he plays tenor saxophone rather than an alto on both titles recorded at this session. In summary, compare the solo on Muddy Water Blues with Arville Harris's solo on Harlem Fuss with 'Fats Waller and His Buddies' from 1929 (Victor 38050-B). For their full analysis, see the Vintage Jazz Mart article Blues For Jelly Roll & Fats, by Steven Lasker and Lewis Porter here: https://www.vjm.biz/189-blues-for-jelly-roll-.pdf. [Z]

Note: See also Peter Hanley’s essay of Ferd Joseph Morton accompanied by his WWI Draft Registration Card.

Note: See also Brian Goggin’s essay of Thomas James Ladnier accompanied by his WWI Draft Registration Card.

Note: See also Hal Smith’s essay of Jasper Taylor accompanied by his WWI Draft Registration Card.

Only two copies labelled Muddy River Blues have been located on Paramount 12050-B. [MJL 13]

Paramount 12050-A should, of course, be labelled Big Foot Ham and despite the advert shown below, no copies have so far been located which show this title. [MJL 14]

Note: One unusual orchestra of this period, however, remained intact barely long enough for any recording company to set down its music in wax. This was the Morton-Handy Band, headed by both Jelly Roll Morton and William Christopher Handy. The personnel included, besides pianist Morton and cornetist Handy, cornetist Tig Gray (Thomas “Tick” Gray), trombonist Roy Palmer, bassist Baby Williams, banjoist Walter Dixon, drummer Johnny Bell; the clarinet posts were held by Jimmie O’Bryant, Horace Eubanks and one who is remembered by his contemporaries only as “Balls”. The date of the band is about 1923, the place, Chicago, where it was organized for tours throughout the Midwest. As might be expected, disputes soon arose over the “rights” position and billing of the two leaders. That they were temperamentally incompatible soon became evident: the venture collapsed after, at the most, two months. The band did however, play some engagements in the Chicago area; but, as is so often the case, recording company talent scouts were not so alert (or perhaps it was the recording companies’ executive attitude that frowned on Jazz?). [EJB 21]

Note: The clarinet player named “Balls” mentioned above is probably “Balls” Ball who appeared, along with Roy Palmer, on the “Jelly Roll Morton’s Kings of Jazz” session c. September 1924. [KOJ]

Note: I have not been able to locate the precise address of The New York Recording Laboratories in Chicago. Adam Dubin and Tom Fischer have confirmed that there are no entries in both the 1923 and 1924 Chicago City Directories, nor the Telephone Directories from this period. Robert Morritt, who specialises in the history of recording companies, says that it was common during this period for record companies to hire hotel rooms and ballrooms, or other similar locations to carry out field recordings, until they established their own permanent studios. Chicago recording sessions by The New York Recording Laboratories were contracted out to the Marsh Recording Laboratories, Inc., the Rodeheaver Record Company and other independent studios. [ARL 300]

Gennett Recording Company
South First and A Streets, Richmond, Indiana
Recording Engineer : Ezra C. A. Wickemeyer

Recorded : 17th July 1923



New Orleans Rhythm Kings

Paul Mares (c); George Brunis (tb); Leon Roppolo (cl); Jack Pettis (cm); Glenn Scoville (as–ts); Don Murray (ts); Jelly Roll Morton (p); Bob Gillette (bj); Chink Martin (bb); Ben Pollack (d).

Gennett Recording Company
South First and A Streets, Richmond, Indiana
Recording Engineer : Ezra C. A. Wickemeyer

Recorded : 17th July 1923



Ferd (Jelly Roll) Morton

Jelly Roll Morton (p).

Note: See also Brian Goggin’s essay of Ezra C. A. Wickemeyer accompanied by his WWI Draft Registration Card.

Gennett Recording Company
South First and A Streets, Richmond, Indiana
Recording Engineer : Ezra C. A. Wickemeyer

Recorded : 17th July 1923



New Orleans Rhythm Kings

Paul Mares (c); George Brunis (tb); Leon Roppolo (cl); Jack Pettis (cm); Glenn Scoville (as–ts); Don Murray (ts); Jelly Roll Morton (p); Bob Gillette (bj); Chink Martin (bb); Ben Pollack (d).

Gennett Recording Company
South First and A Streets, Richmond, Indiana
Recording Engineer : Ezra C. A. Wickemeyer

Recorded : 18th July 1923



Ferd (Jelly Roll) Morton

Jelly Roll Morton (p).

Gennett Recording Company
South First and A Streets, Richmond, Indiana
Recording Engineer : Ezra C. A. Wickemeyer

Recorded : 18th July 1923



New Orleans Rhythm Kings

Paul Mares (c); George Brunis (tb); Leon Roppolo (cl); Jack Pettis (cm); Glenn Scoville (as–ts); Don Murray (ts); Jelly Roll Morton (p); Bob Gillette (bj); Chink Martin (bb); Ben Pollack (d).

Note: Milenberg Joys is, in part, the same tune as Golden Leaf Strut, with the omission of Jelly Roll’s name as composer for the latter.

Note: In the Polk, Richmond City Directory for 1923—1924 the following addresses applied to the Starr — Gennett business locations:

The Starr Piano Co.

Warerooms — Corner Tenth & Main Streets.

Factories

South First from A to D Streets.

Manufacturers of Phonographs — Grand — Upright — Player Pianos — Gennett Phonograph Records.

At nowhere in the City Directory is a more precise street address given for the factory complex than South First and A, B, C, D (and sometimes E) Streets. The Telephone Directory for 1923 also gives the address as South First and A Streets.

The Warerooms were the retail outlet and showrooms for the Starr Piano Company and were located at 931—935 East Main.

The complex was all that was in the gorge south of Main Street. To access the complex one would turn south on First Street. First Street ran between a railroad overpass and the Main Street bridge. For all purposes, it might as well have been a private drive. [F]

The Gennett Recording Studios were located at the southern end of the Starr Piano Company factory. On many occasions recording was interrupted when trains passed by the recording studio. [JRBH 28]

General Phonograph Corporation
216 North Michigan Avenue, Chicago, Illinois

Recorded : October 1923



JELLY ROLL MORTON’S JAZZ BAND

Natty Dominique (c); Zue Robertson (tb); Horace Eubanks (cl); Jelly Roll Morton (p); W. E. “Buddy” Burton (d).

Note: Natty Dominique recalled that, “Buster Bailey, a great clarinetist, played with us, and another little fellow, named Shot, a very nice drummer, a good musician, and myself on trumpet. Jelly Roll on piano.” [NOS 159]

Note: See also Brian Goggin’s essay of Anatie Dominique accompanied by his WWI Draft Registration Card.

Note: See also Howard Rye’s essay of Horace Eubanks accompanied by his WWI Draft Registration Card.

Rodeheaver Recording Laboratories
218 South Wabash Avenue, Chicago, Illinois

Recorded : c. April 1924



JELLY ROLL MORTON’S
STEAMBOAT FOUR

“Memphis” (comb); Jack Russell (k); Boyd Senter (cl); Jelly Roll Morton (p).

Rodeheaver Recording Laboratories
218 South Wabash Avenue, Chicago, Illinois

Recorded : c. April 1924



Jelly Roll Morton’s
Stomps Kings

“Memphis” (comb); Russell Senter (k); Jack Russell (k); Boyd Senter (k–bj).

Note: This is the only known recording session in which Morton took no active participation, despite the records being issued under his name. [MJL 25]

Rodeheaver Recording Laboratories
218 South Wabash Avenue, Chicago, Illinois

Recorded : c. April 1924



Jelly Roll Morton

Jelly Roll Morton (p).

Note: The two piano solos above have been widely, but erroneously cited as Marsh matrices. They are acoustical recordings, and the matrix numbers are in a series usually associated with the Rodeheaver Recording Laboratories in Chicago, which was occasionally contracted for Paramount recording sessions. [AS]

Marsh Recording Laboratories, Inc.
Suite 625 Kimball Building, 306 South Wabash Avenue, Chicago, Illinois

Recorded : April—May 1924



JELLY ROLL MORTON

Jelly Roll Morton (p).

Fred (Jelly Roll) Morton

Marsh Recording Laboratories, Inc.
Suite 707, 7th Floor, Lyon & Healy Building, 78 E. Jackson Blvd, Chicago, Illinois

Recorded : c. September 1924



JELLY ROLL MORTON’S
KINGS OF JAZZ

Lee Collins (c); unknown (?) (c or tp 1); Roy Palmer (tb); “Balls” Ball (cl); Alex Poole (as); Jelly Roll Morton (p).

 Note: Brian Goggin sends the following information regarding the clarinet player “Balls” Ball. Lee Collins remembered “Balls” Ball as follows in an interview from November 1951 in Paris:

That was a picked-up band with Roy Palmer on trombone, and an old guy named ‘Balls’ Ball on clarinet. Roy is still in Chicago, doing a little teaching, but Ball is dead. He’d be about seventy-five if he was living. I didn’t know of him as a musician before those records, and didn’t see anything of him afterwards. I just don’t know where Jelly got him from. But he played High Society, and at that time when you heard a clarinet play High Society you didn’t ask him where he was from. You knew he was from New Orleans. [TJ 101]

Note: Swedish alto saxophone and banjo player Göran Eriksson, who has a very sharp knowledge of jazz of the 1920s, has pointed out that on Weary Blues, there is a second cornet or trumpet player. He is not present on the other three tunes of this session and can only be heard in two choruses of Weary Blues. Firstly, during the “stop chorus” at 1:40 and then in the “collective improvisation chorus” that follows. [Y]

Joe “King” Oliver (c); Jelly Roll Morton (p).

Note: See also Peter Hanley’s essay of Joseph Nathan Oliver accompanied by his WWI Draft Registration Card.

Voltaire De Faut (cl); W. E. “Buddy” Burton (k); Jelly Roll Morton (p).

Clarinet Solo
Voltaire De Faut
Piano Accompaniment
Jelly Roll Morton

Voltaire De Faut (cl); Jelly Roll Morton (p).

Gennett Recording Company
South First and A Streets, Richmond, Indiana
Recording Engineer : Ezra C. A. Wickemeyer

Recorded : 24th February 1926



Jelly Roll Morton’s
Incomparables

Ray Bowling (tp); unknown (tb); Walter Barnes (as); unknown (ts); Jelly Roll Morton (p); Clay Jefferson (d).

The Brunswick-Balke-Collender Co.
6th Floor, Brunswick Building, 623–633 South Wabash Avenue, Chicago, Illinois

20th April 1926



Jelly Roll Morton
(Piano Solo)

Jelly Roll Morton (p).

General Phonograph Corporation
unknown Recording Studio location, St. Louis, Missouri

Recorded : 12th May 1926



ST. LOUIS LEVEE BAND

unknown (c); unknown (tb); Walter Barnes (cl–ts); unknown (as); Jelly Roll Morton (p); unknown (d).

Note: The St. Louis Local History librarian has checked the St. Louis City Directories for the years around 1926 for entries of the General Phonograph Corporation, who issued records on their own OKeh label. No entries were listed in the City Directories. [G]

Robert Morritt says it was common for a recording company to hire a portable studio. The equipment would be brought in by rail and set up in a hotel suite or some other rented space to record artists who were performing in St. Louis at the time.

Brian Goggin, colleague and long-time member of Storyville, believes that there are two reed players present — one playing alto saxophone throughout and the other doubling tenor saxophone and clarinet. They are heard as follows: At the beginning, when the alto and tenor are playing long notes and also from the beginning of the trombone solo until the start of the straight-muted cornet solo. Then, between the trombone break and the cornet break, the clarinet and alto are heard. The clarinet and tenor saxophone man starts on clarinet, switches to tenor for the long notes sequence, then reverts to clarinet after the trombone break and finally, switches back to tenor again after the cornet break. [BG]

Edmonia Henderson (voc–voc effects 1); unknown (c); Walter Barnes (as); Jelly Roll Morton (p).

The Victor Talking Machine Company
The Webster Hotel, 2150 Lincoln Park West, Chicago, Illinois

Recorded : 15th September 1926



Jelly-Roll Morton’s Red Hot Peppers

George Mitchell (c); Edward “Kid” Ory (tb); Omer Simeon (cl); Jelly Roll Morton (p–dialogue 1); Johnny St. Cyr (bj); John Lindsay (sb); Andrew Hilaire (d).

Note: Regarding the instrument George Mitchell plays on the Red Hot Peppers recordings:

“When I made the records with Jelly Roll, I used a Harry B. Jay cornet, made here in Chicago. The reason I bought that Jay cornet was, I was working with Jimmie Noone at an after-hours club down on 35th Street, and Muggsy Spanier used to come and sit in with us. One night I was telling him that my horn was going bad and that I needed a new one. He mentioned the Jay he had and said, “You can play that tonight.” He left the cornet there, and I liked the tone so much that I went to the factory the next day and bought one, a Jay. That’s what I used on those records. I just used a regular, ordinary Holton mouthpiece, not too deep, just a medium mouthpiece.” [OMJ 364]

This is the instrument he seen is holding in the action photograph of the “Red Hot Peppers”. [BG 1]

Note: See also Brian Goggin’s essay of George William Mitchell accompanied by his WWI Draft Registration Card.

Note: The Chant 36241-1 is a Mel Stitzel composition and is wrongly credited to Morton on the dubbed French issue of Hot Jazz Club of America # HC45.

George Mitchell (c); unknown (c or tp 1); Edward “Kid” Ory (tb); Omer Simeon (cl); Barney Bigard (cl); Darnell Howard (cl); Jelly Roll Morton (p–dialogue); Johnny St. Cyr (bj–dialogue); John Lindsay (sb); Andrew Hilaire (d); Marty Bloom (kl–whistle–effects).

Note: See also Peter Hanley’s essay of Martin Blumenthal accompanied by his WWI Draft Registration Card.

George Mitchell (c); Edward “Kid” Ory (tb); Omer Simeon (cl); Jelly Roll Morton (p–dialogue); Johnny St. Cyr (bj–dialogue); John Lindsay (sb); Andrew Hilaire (d).

Note: See also Brian Goggin’s essay of John Alexander St. Cyr accompanied by his WWI Draft Registration Card.

Note: See also Hal Smith’s essay of Andrew Henry Hilaire accompanied by his WWI Draft Registration Card.

Note: Steamboat Stomp is a Boyd Senter composition and is incorrectly credited to Morton on Victor 20296-B.

George Mitchell (c); Edward “Kid” Ory (tb); Omer Simeon (cl–bc); J. Wright Smith (vn); Clarence Black (vn); Jelly Roll Morton (p); Johnny St. Cyr (g); John Lindsay (sb); Andrew Hilaire (d).

The Victor Talking Machine Company
The Webster Hotel, 2150 Lincoln Park West, Chicago, Illinois

Recorded : 16th December 1926



Jelly-Roll Morton’s Red Hot Peppers

George Mitchell (c); Edward “Kid” Ory (tb); Omer Simeon (cl); Jelly Roll Morton (p–voc 1); Johnny St. Cyr (g); John Lindsay (sb); Andrew Hilaire (d).

Note: The building, formerly known as The Webster Hotel is now called Webster House and has been converted into apartments. The lobby is quite bare, but otherwise apparently has not been altered too much, with the checkout desk and mailboxes in place, as well as a lot of very characteristic 1920s ornamental plaster work. The Ballroom where the 1926 Red Hot Peppers recordings were made, has not been used for anything in several years. If what I was told was true, it most recently functioned as a restaurant. It is situated on the first floor and is accessible from the lobby about seventy feet from the main entrance of the hotel. [H]

The Webster Hotel’s place in jazz history would have been secured if only the Morton recordings had been made there. But other jazz artists recorded there too, including the Ben Pollack band (with Benny Goodman), the Coon-Sanders Orchestra, the Dixieland Jug Blowers (with Johnny Dodds on some titles), and Bennie Moten’s Kansas City Orchestra, as well as blues singer Sodarisa Miller. During its several months of using the Webster Hotel, Victor also recorded dance bands, ethnic groups, humor, gospel music, concert and military band music and popular music vocals.

George Mitchell (c); Gerald Reeves (tb); Johnny Dodds (cl); Paul “Stump” Evans (as); Jelly Roll Morton (p–dialogue 1); Bud Scott (g); Quinn Wilson (bb); Warren “Baby” Dodds (d); Lew La Mar (dialogue-laughing 2); (goat imitation 3); (dialogue 4).

Note: Bernard F. Reilly of the Chicago Historical Society has checked the Chicago classified and regular telephone directories for 1926 and 1927. According to these sources The Victor Talking Machine Company occupied the following addresses.

1045 West Monroe Street — 1926.
The Webster Hotel, 2150 Lincoln Park West — 1926.
952 North Michigan Avenue — 1927.

The Victor Recording Sheet for the 4th June 1927 session, courtesy of Roger Richard, shows that the recordings took place at the “Victor Talking Mach. Recording Lab.” Chicago Ill. It was usual for the studio clerk to type in the location address. However, in this instance, no detailed street address is given. Note the spelling of Louis Armstrong’s name as co-composer for Wild Man Blues on the recording sheet.

The Master Dispositions are:  D = Destroy.  M = Master.  HI = Hold Indefinitely.

Warren “Baby” Dodds, talking about this particular session, has stated that . . . “They were recorded in the Chicago Victor studios on Oak Street near Michigan Avenue, and the acoustics there were very good. It was one of the best studios I ever worked in . . .” [BDS 75]

Bernard Reilly has not been able to trace a listing for the location mentioned by “Baby” Dodds. However, Oak Street does intersect with North Michigan Avenue and there may have been an entrance from Oak Street to the Victor complex at 952 North Michigan Avenue.

Note: See also Brian Goggin’s essay of John Dodds accompanied by his WWI Draft Registration Card.

Note: See also Peter Hanley’s essay of Louis August La Mar accompanied by his WWI Draft Registration Card.

The Victor Talking Machine Company
952 North Michigan Avenue, Chicago, Illinois

Recorded : 10th June 1927



Jelly-Roll Morton’s Red Hot Peppers

George Mitchell (c-tp); Gerald Reeves (tb); Johnny Dodds (cl); Paul “Stump” Evans (as); Jelly Roll Morton (p); Bud Scott (g); Quinn Wilson (bb); Warren “Baby” Dodds (d).

Note: See also Brian Goggin’s essay of Arthur Scott accompanied by his WWI Draft Registration Card.

Note: See also Bill Haesler’s essay of Warren Dodds accompanied by his WWI Draft Registration Card.

Johnny Dodds (cl); Jelly Roll Morton (p); Warren “Baby” Dodds (d).

The Brunswick-Balke-Collender Co.
6th Floor, Brunswick Building, 623–633 South Wabash Avenue, Chicago, Illinois

Recorded : 21st January 1928



Levee Serenaders
Vocal Chorus by Frances Hereford

Edwin Swayze (tp); Louis Taylor (tb); Walter Thomas (reeds); Jelly Roll Morton (p); Leslie Corley (bj); Hayes Alvis (bb); Walter Bishop (d); Frances Hereford (voc).

Columbia Phonograph Co. Inc.
23rd Floor, Gotham Bank Building, 1819 Broadway, New York City, New York

Recorded : 13th March 1928



JOHNNY DUNN
and His Band

Johnny Dunn (tp); Herb Flemming (tb); Garvin Bushell (reeds); Jelly Roll Morton (p); John “Speed” Mitchell (bj); Harry Hull (bb); Mert Perry or Sidney Catlett (d).

Note: Brian G. Andersson, Commissioner, New York City Department of Records and Information Services, has checked the New York City Directories and found the following entry in the 1924 and 1925 editions:

Columbia Phonograph Co. (NY)
H. L. Wilson, Pres., F. J. Ames, Sect., H. C. Cox, Treas.
1819 Broadway and 121 W. 20

The next available year was 1933-34 and that directory had the Columbia Phonograph Company located at 55 Fifth Avenue and 121 West 20th Street.

Brian also checked a 1921 map for the 1819 Broadway address and found it was indeed the Gotham Bank Building. It was located on West 59th Street, right on Columbus Circle, with an entrance on Broadway, where demolition is currently (July 2000) taking place of the old New York Coliseum, making way for a new hotel, retail and entertainment complex.

In a personal letter to Roger Richard dated 1969, Herb Flemming recalled that the above recordings took place on the 23rd floor of the Gotham Bank Building.  Roger also confirms the spelling of Herb Flemming’s name as shown above.

Note: See also Brian Goggin’s essay of John Henry Dunn accompanied by his WWI Draft Registration Card.

Note: See also Brian Goggin’s essay of Lee Perry accompanied by his WWI Draft Registration Card.

Ward Pinkett (c); Julius “Geechie” Fields (tb); Omer Simeon (cl); Jelly Roll Morton (p); Lee Blair (bj); Bill Benford (bb); Tommy Benford (d).

The Victor Talking Machine Company
Liederkranz Hall, 111 East 58th Street, New York City, New York

Recorded : 11th June 1928



Jelly-Roll Morton’s Red Hot Peppers

Omer Simeon (cl); Jelly Roll Morton (p); Tommy Benford (d).

The Victor Talking Machine Company
Liederkranz Hall, 111 East 58th Street, New York City, New York

Recorded : 11th June 1928



Jelly-Roll Morton’s Red Hot Peppers

Julius “Geechie” Fields (tb); Omer Simeon (cl); Jelly Roll Morton (p); Tommy Benford (d).

The Victor Talking Machine Company
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 6th December 1928



Jelly-Roll Morton and His Orchestra

Edward Anderson (tp); Edwin Swayze (tp); William Cato (tb); Russell Procope (cl–as); Paul Barnes (ss–as); Joe Garland (ts); Jelly Roll Morton (p); Lee Blair (g); William Moore (bb); Manzie Johnson (d).

Victor Talking Machine Division, Radio-Victor Company of America,
Studio #1 (possibly Studio #2), Trinity Baptist Church, 114 North 5th Street, Camden, New Jersey

Recorded : 8th July 1929



Jelly-Roll Morton
Piano Solo

Jelly Roll Morton (p).

Note: Matrix 49450 was recorded as Fat Frances (and the test is so inscribed) and issued under that title on Bluebird B-10257-A, HMV Scandinavia B-10619, HMV Swiss JK2201 and HJCA 609 (a 12" 4-title record). On BRS 1010 it is FAT FRANCIS. [MJL 62]

Victor Talking Machine Division, Radio-Victor Company of America
Studio #1 (possibly Studio #2), Trinity Baptist Church, 114 North 5th Street, Camden, New Jersey

Recorded : 9th July 1929



Jelly-Roll Morton and His Orchestra

Walter Briscoe (lead tp); Boyd Rosser (solo tp); Charlie Irvis (tb); George Baquet (cl); Walter Thomas (as); Paul Barnes (as); Joe Thomas (ts); Jelly Roll Morton (p–shouts 1); Barney Alexander (bj); Harry Prather (bb); William Laws (d).

Victor Talking Machine Division, Radio-Victor Company of America
Studio #1 (possibly Studio #2), Trinity Baptist Church, 114 North 5th Street, Camden, New Jersey

Recorded : 10th July 1929



Jelly-Roll Morton and His Orchestra

Walter Briscoe (lead tp); Boyd Rosser (solo tp); Charlie Irvis (tb); George Baquet (cl); Walter Thomas (as); Paul Barnes (as); Joe Thomas (ts); Jelly Roll Morton (p); Barney Alexander (bj); Harry Prather (bb); William Laws (d).

Note: Monrovia was the original title for New Orleans Bump, and may be seen inscribed under the label of HMV Swiss JK2737. [MJL 66]

Victor Talking Machine Division, Radio-Victor Company of America
Studio #1 (possibly Studio #2), Trinity Baptist Church, 114 North 5th Street, Camden, New Jersey

Recorded : 12th July 1929

Jelly-Roll Morton and His Orchestra

Walter Briscoe (lead tp); Boyd Rosser (solo tp); Charlie Irvis (tb); George Baquet (cl); Walter Thomas (as); Paul Barnes (as); Joe Thomas (ts); Jelly Roll Morton (p); Barney Alexander (bj); Harry Prather (bb); William Laws (d).

Note: The Victor Talking Machine Co. recording studios #1 and #2 were located in Trinity Baptist Church, 114 N. 5th Street, Camden, New Jersey. Victor purchased the church in February 1918 and they originally intended it to be used for storage purposes. However, with its fine acoustic qualities, and the 3-manual, 21-rank Estey Pipe Organ present in the building, the church was converted to a recording studio and named Building #22. The two studios were part of the huge Victor manufacturing complex. Victor was taken over by R.C.A. in January 1929. By 1936, all recording in Camden, including this building, ceased because the Delaware River Bridge trains began operations and the deep-ground vibrations wrought havoc with the recordings. The building later served as a gymnasium for R.C.A. employees. Unfortunately the building has succumbed to urban renewal and is now a parking lot.

Note: See also the excellent in-depth article titled: Victor’s Church Studio, Camden (1918—1935): Lost and Found? by Ben Kragting Jr. and Harry Coster.

Note: Band member Harry Prather recalls that Jelly Roll Morton and members of his orchestra stayed at the Attucks Hotel in Philadelphia, Pa., while waiting for a recording session to come up. [MJL 64] “Nick” Rodriguez also remembers that, “. . . we were going to make some records and we stayed in Philadelphia and rode over to Camden — that’s an R.C.A. plant.” [J 91]

Note: The identity of the two trumpet players of this newly-formed orchestra remained unresolved for many years. However, due to research by Theo Zwicky and Al Vollmer, positive identification of the orchestra members can now be confirmed as: Walter Briscoe (tp); Boyd Rosser (tp); Charlie Irvis (tb); George Baquet (cl); Walter Thomas, Paul Barnes (as); Joe Thomas (ts); Jelly Roll Morton (p); Barney Alexander (bj); Harry Prather (tu) and William Laws (d). [N 204-205] The extra pianist, Nick “Rod” Rodriguez, should not be forgotten; even though he does not play on the issued records, he did participate in the rehearsals.

Henry Allen (tp); J. C. Higginbotham (tb); Albert Nicholas (cl); Jelly Roll Morton (p); Will Johnson (g); Pops Foster (sb); Paul Barbarin (d).

RCA Victor Company, Inc.
Liederkranz Hall, 111 East 58th Street, New York City, New York

Recorded : 2nd December 1929

Wilton Crawley and His Orchestra

Unknown (tp); unknown (tp); unknown (tb); Wilton Crawley (cl); Charlie Holmes (as); Jelly Roll Morton (p); Luis Russell (p); unknown (bj); unknown (g); Pops Foster (sb); Paul Barbarin (d).

RCA Victor Company, Inc.
Liederkranz Hall, 111 East 58th Street, New York City, New York

Recorded : 2nd December 1929



Wilton Crawley
Clarinet with orchestra

Unknown (tp); Freddie Jenkins (tp); unknown (tb); Wilton Crawley (cl); Charlie Holmes (as); Jelly Roll Morton (p); Luis Russell (p); unknown (bj); unknown (g); Pops Foster (sb); Paul Barbarin (d).

Note: In an article titled: “Paul Barbarin Talks About Jelly Roll” — as told by Paul Barbarin in 1969, he says, “In New York I finally made some records with Jelly when be recorded with Wilton Crawley. The guys were mostly from the Luis Russell band. Once while we were recording, Crawley was playing his clarinet his false teeth fell out to the floor and made so much noise the man in the control room stopped the record. The guys all started laughing, and it must have been ten minutes before any of them could play again. We had no special rehearsals for the recordings I made with Jelly.”

Anton Crouch, colleague and long-time member of Storyville, believes there is little doubt as to the identity of the drummer on the 2nd December 1929 session above. In correspondence with me, he wrote:

Aural comparison is made difficult by the different ambiences of the recording studios — 13th November 1929 in Victor’s 46th Street, New York City studio, and 2nd December 1929 in the Liederkranz Hall, New York City studio. The 46th Street studio is more “lively” and the matter is complicated by the fact that Pops Foster is more closely miked on the 13th November recording than on 2nd December recording. It follows that, due to Foster’s prominence on the 13th November session, the feel of the rhythm section is different on the two recording dates.

Based on aural comparison between the Crawley/Russell session of 3rd October 1929, (also recorded for Victor, but without Jelly Roll) and the Crawley/Morton/Russell session above, then Barbarin is the drummer on the 2nd December date. [AC]

Note: See also Hal Smith’s essay of Paul Adolph Barbarin accompanied by his WWI Draft Registration Card.

Lizzie Miles (voc); Jelly Roll Morton (p).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 17th December 1929



Jelly-Roll Morton Trio
Instrumental

Barney Bigard (cl); Jelly Roll Morton (p); Zutty Singleton (d).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 17th December 1929



Jelly-Roll Morton Trio
Piano, Clarinet and Traps

Barney Bigard (cl); Jelly Roll Morton (p); Zutty Singleton (d).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 5th March 1930



Jelly-Roll Morton and His Red Hot Peppers

Ward Pinkett (tp); Bubber Miley (tp); Wilber de Paris (tb); unknown (cl–bc); Jelly Roll Morton (p); Bernard Addison (g); Billy Taylor or Bill Benford (bb); Zutty Singleton (d).

Note: Trevor Richards, noted drummer and jazz historian, believes there is absolutely no doubt as to the identity of the drummer on the session above. In correspondence with me, he wrote:

My reasoning is as follows:

(a) The rhythmic patterns and the dynamics are typical of Zutty Singleton’s style of that period. It is very obviously a drummer from New Orleans, which excludes most other contenders.

(b) The sonority of the instrument is very individual. In evidence are the bass drum, snare, Chinese tom tom, cowbell and cymbal. If a direct comparison is made with the session of 17th December 1929, only seven weeks previously, where Zutty is long acknowledged to be present, each component part of the drums will be found to match tonally.

(c) Zutty was free-lancing around New York City at that time and Jelly would have been pleased to have a “home boy” available, who was probably glad of the extra income. [TR]

Ward Pinkett (tp); Bubber Miley (tp); Wilber de Paris (tb); unknown (cl); Jelly Roll Morton (p); Bernard Addison (g); Bill Benford (bb); Tommy Benford (d).

RCA Victor Company, Inc.
Victor Laboratory, 44th Street, New York City, New York

Recorded : 20th March 1930



Jelly-Roll Morton and His Red Hot Peppers

Ward Pinkett (tp); Bubber Miley (tp); Wilber de Paris (tb); unknown (cl–bc); Jelly Roll Morton (p); Bernard Addison (g); Bill Benford (bb); Tommy Benford (d).

RCA Victor Company, Inc.
Liederkranz Hall, 111 East 58th Street, New York City, New York

Recorded : 3rd April 1930

Miss Billie Young
Blues Singer with piano accomp. by Jelly-Roll Morton

Billie Young (voc); Jelly Roll Morton (p).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 2nd June 1930

Jelly-Roll Morton and His Red Hot Peppers

Ward Pinkett (tp); unknown (tp); Julius “Geechie” Fields (tb); unknown (cl–as); Walter Thomas (cl–as); Joe Thomas (cl–ts); Jelly Roll Morton (p); Lee Blair (bj); Billy Taylor (bb); Cozy Cole (d).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 2nd June 1930



Jelly-Roll Morton and His Red Hot Peppers

Ward Pinkett (tp); Louis Bacon or Shelton Hemphill (tp); Julius “Geechie” Fields (tb); Happy Cauldwell (cl–as); Walter Thomas (cl–as); Joe Thomas (cl–ts); Jelly Roll Morton (p); Lee Blair (bj); Billy Taylor (bb); Cozy Cole (d).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 3rd June 1930

Wilton Crawley and His Orchestra

Henry Allen (tp); unknown (tp); Wilton Crawley (cl–voc 1); Charlie Holmes (as); Jelly Roll Morton (p); Teddy Bunn (g); unknown (bb); Bruce Johnson (d–wb).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 3rd June 1930

Wilton Crawley and The Washboard Rhythm Kings

Henry Allen (tp); unknown (tp); Wilton Crawley (cl–voc 1); Charlie Holmes (as); Jelly Roll Morton (p); Teddy Bunn (g); unknown (bb); Bruce Johnson (d–wb).

RCA Victor Company, Inc.
Victor Studio, 16 West 46th Street, New York City, New York

Recorded : 3rd June 1930

Wilton Crawley and His Orchestra

Henry Allen (tp); unknown (tp); Wilton Crawley (cl); Charlie Holmes (as); Jelly Roll Morton (p); Teddy Bunn (g); unknown (bb); Bruce Johnson (d-wb).

RCA Victor Company, Inc.
Studio #2, 155 East 24th Street, New York City, New York

Recorded : 14th July 1930



Jelly-Roll Morton and His Red Hot Peppers

Ward Pinkett (tp); Julius “Geechie” Fields (tb); Albert Nicholas (cl); Jelly Roll Morton (p); Howard Hill (g); Pete Biggs (bb); Tommy Benford (d).

RCA Victor Company, Inc.
Studio #2, 155 East 24th Street, New York City, New York

Recorded : 9th October 1930

Jelly-Roll Morton and His Orchestra

Ward Pinkett (tp); Sandy Williams (tb); Lorenzo Tio (cl); Jelly Roll Morton (p); Bernard Addison (g); Billy Taylor (bb); Bill Beason (d).

RCA Victor Company, Inc.
Studio #2, 155 East 24th Street, New York City, New York

Recorded : 9th October 1930



Jelly-Roll Morton and His Red Hot Peppers

Ward Pinkett (tp); Sandy Williams (tb); Lorenzo Tio (cl); Jelly Roll Morton (p); Bernard Addison (g); Billy Taylor (bb); Bill Beason (d).

American Record Corporation
Broadway and 57th Street, New York City, New York

Recorded : 15th August 1934



WINGY MANNONE and his ORCHESTRA

Wingy Manone (tp–dialogue 1); Dicky Wells (tb); Artie Shaw (cl); Bud Freeman (ts); Jelly Roll Morton (p); Frank Victor (g); John Kirby (sb); Kaiser Marshall (d).

The Baltimore field recordings are surely amongst the least well-researched of Jelly Roll Morton’s recordings. A combination of poor quality recording equipment, together with a hastily assembled pick-up group, certainly did not deter the ever-optimistic Jelly, as he desperately attempted to recapture the musical (and financial) success of the Red Hot Pepper sessions of 1926-30. The sessions are contemporary with the Library of Congress recordings he made with Alan Lomax.

These very rare documents are published here for the first time, by kind permission of Prof. Lawrence Gushee, who sends the following excerpts of letters, which relate to the Baltimore acetates, and are taken from Xerox copies supplied to him by Vernacular Music Research, Cambridge, Maryland. (Owned and operated by Thornton Hagert).

unknown Recording Studio location
East Baltimore, Maryland

Recorded : April (?) 1938

The Baltimore Acetates

Eddie or Teddy Smith (as); Jelly Roll Morton (p).

unknown Recording Studio location
East Baltimore, Maryland

Recorded : April (?) 1938

The Baltimore Acetates

Dick Burg (tp); Eddie or Teddy Smith (as); Jelly Roll Morton (p–voc 1 - shouts 2).

Note: There is also a third take of My Melancholy Baby, which stops after a few measures. There are two other takes with false starts: Spoken Introduction, which introduces a couple of musicians and a few words from Morton, and Sugar, which breaks off after twelve measures. [V]

Dick Burg (tp); Eddie or Teddy Smith (as); Jelly Roll Morton (p–shouts 1); Biddy Fleet (g); unknown (sb); unknown (d).

Hammann Music Store (?)
2nd Floor Recording Studio, 206 N. Liberty Street, Baltimore, Maryland

Recorded : August (?) 1938

The Baltimore Acetates
Organ Solo

Jelly Roll Morton (Hammond Organ).

Hammann Music Store (?)
2nd Floor Recording Studio, 206 N. Liberty Street, Baltimore, Maryland

Recorded : August (?) 1938

The Baltimore Acetates
Piano Solo

Jelly Roll Morton (p).

United States Recording Company
Radio Station (?) WINX, Rialto Theater Building, Ninth and G Streets, NW, Washington DC

Recorded : December 1938



JELLY-ROLL MORTON
Piano Solo

Jelly Roll Morton (p–voc 1).

RCA Manufacturing Company, Inc.
Studio #3, 155 East 24th Street, New York City, New York

Recorded : 14th September 1939



Jelly-Roll Morton’s New Orleans Jazzmen

Sidney de Paris (tp); Claude Jones (tb–preaching 1); Sidney Bechet (ss); Happy Cauldwell (ts); Jelly Roll Morton (p–voc 2); Lawrence Lucie (g); Wellman Braud (sb); Zutty Singleton (d–preaching 3).

RCA Manufacturing Company, Inc.
Studio #3, 155 East 24th Street, New York City, New York

Recorded : 28th September 1939



Jelly-Roll Morton’s New Orleans Jazzmen

Sidney de Paris (tp); Fred Robinson (tb); Albert Nicholas (cl); Happy Cauldwell (ts); Jelly Roll Morton (p–voc 1); Lawrence Lucie (g); Wellman Braud (sb); Zutty Singleton (d).

WABC Radio Station, CBS Network
1926 Broadway, New York City, New York

Broadcast : 31st October 1939



“We, The People”

Gabriel Heatter (show host–dialogue); Jelly Roll Morton (p–dialogue); unknown (studio orchestra).

Note: On Tuesday, 31st October 1939, Jelly Roll Morton appeared as a guest artist on a CBS network radio broadcast, sponsored by Sanka Coffee. During the programme “We, The People” Jelly Roll was interviewed by the show host, Gabriel Heatter. He then joined the studio orchestra to perform Tiger Rag.

In May 1959, Roy Carew, in a letter to Jan van Ellinkhuizen of Holland wrote, [and I quote] . . .

Yes, I knew about the radio program you mention. The title was We, the People, the first three words of the Preamble of the United States Constitution. The program presented people, more or less prominent, who had accomplished worthwhile things, people with special talents, people who had interesting experiences, etc. Jelly sent me a message that he would be on the program, but it reached me the next morning, so I missed the program. His message to me was:

“I will be on ‘We the People’ program Tuesday Oct. 31st. I am sorry to have to play the Tiger Rag, but it will help & serve some other way, it is considered the biggest program on the air, if possible, tune in.”

He would have liked to play some of the tunes he turned over to me, but they wanted the tiger as he played it with his left forearm. I like his version of that number very much, and regret missing the show. [MJL 99-100]

Note:  See also Brian Goggin’s essay of Gabriel Heatter accompanied by his WWI Draft Registration Card.

Jelly Roll Morton (p–voc 1).

Reeves Sound Studios
1600 Broadway, New York City, New York
Recording Engineer : Hazard E. Reeves

Recorded : 16th December 1939



JELLY ROLL MORTON

Jelly Roll Morton (p–voc 1).

Reeves Sound Studios
1600 Broadway, New York City, New York
Recording Engineer : Hazard E. Reeves

Recorded 18th December 1939



JELLY ROLL MORTON

Jelly Roll Morton (p–voc 1).

Reeves Sound Studios
1600 Broadway, New York City, New York
Recording Engineer : Hazard E. Reeves

Recorded : 4th January 1940



JELLY ROLL MORTON SEVEN

Henry Allen (tp); Joe Britton (tb); Albert Nicholas (cl); Eddie Williams (as); Jelly Roll Morton (p–voc 1); Wellman Braud (sb); Zutty Singleton (d).

Reeves Sound Studios
1600 Broadway, New York City, New York
Recording Engineer : Hazard E. Reeves

Recorded : 23rd January 1940



THE MORTON SEXTET

Henry Allen (tp); Albert Nicholas (cl); Eddie Williams (as); Jelly Roll Morton (p–voc 1); Wellman Braud (sb); Zutty Singleton (d).

Reeves Sound Studios
1600 Broadway, New York City, New York
Recording Engineer : Hazard E. Reeves

Recorded : 30th January 1940



THE MORTON SEVEN

Henry Allen (tp); Claude Jones (tb); Albert Nicholas (cl); Eddie Williams (as); Jelly Roll Morton (p–voc 1); Wellman Braud (sb); Zutty Singleton (d).

Gene Hamilton (master of ceremonies–dialogue); Henry Levine (tp); Jack Epstein (tb); Alfie Evans (cl); Rudolph Adler (ts); Jelly Roll Morton (p); Tony Colucca (g); Harry Patent (sb); Nat Levine (d).

Gene Hamilton (master of ceremonies–dialogue); Jelly Roll Morton (p); Nat Levine (d).

Note: On Sunday, 14th July 1940 in New York City, Jelly Roll Morton made a guest appearance on the weekly 30-minute NBC radio programme The Chamber Music Society of Lower Basin Street. Gene Hamilton, the “Master of Ceremonies” introduced Morton by announcing:

“When the final story of the birth of America’s blues is written, a large chapter undoubtedly will be given over to a musician whose name you all know. He was in New Orleans when the blues began and he took an important part in the event. At the age of twenty he was a piano professor on Basin Street. He wrote music for King Porter; he knew Buddy Bolden and Stalebread LaCoume and he remembers Louis Armstrong in short trousers. And both as a performer and personality, he has been an active American classicist ever since. It is now our privilege to present from our concert stage, Doctor Ferdinand Jelly Roll Morton, playing one of his own compositions, Winin’ Boy.”

Jelly Roll Morton joins the studio house band who include: Henry Levine (tp); Jack Epstein (tb); Alfie Evans (cl); Rudolph Adler (ts); Tony Colucca (g); Harry Patent (b); and Nat Levine (d).

At the conclusion of Winin’ Boy, Gene Hamilton continues: “As an encore, we have asked Doctor Ferdinand Jelly Roll Morton to play one of the most famous of all his many compositions, the King Porter Stomp.” Only the drummer, Nat Levine, accompanies Morton on this number.

Finally, Gene Hamilton says: “Thank you Professor Ferdinand Jelly Roll Morton.”

According to an article, which appeared in the Pickup magazine, dated February 1946, Morton ignored time cues and played well over his allotted time. The result being that another featured artist, Dinah Shore, was unable to perform a blues arrangement by Leonard Feather, the then assistant editor of the Metronome magazine. [MJL 102]

RECORDING STUDIOS AND RADIO STATIONS

American Record Corporation
Broadway and 57th Street, New York City, New York.

The Brunswick-Balke-Collender Co.
6th Floor, Brunswick Building, 623–633 S. Wabash Avenue, Chicago, Illinois.

Coolidge Auditorium
Thomas Jefferson Building, Library of Congress,
1st and Independence Streets, SE, Washington, D.C.

Columbia Phonograph Co. Inc.
23rd Floor, Gotham Bank Building, 1819 Broadway, New York City, New York.

General Phonograph Corporation
216 N. Michigan Avenue, Chicago, Illinois.
Unknown Field Recording Studio address, St. Louis, Missouri.

Gennett Recording Company
S. First and A Streets, Richmond, Indiana.

Hammann Music Store (?)
2nd Floor Recording Studio, 206 N. Liberty Street, Baltimore, Maryland.

Marsh Recording Laboratories, Inc.
Suite 625, Kimball Building, 306 S. Wabash Avenue, Chicago, Illinois.
Suite 707, 7th Floor, Lyon & Healy Building, 78 E. Jackson Blvd, Chicago, Illinois.

The New York Recording Laboratories
Unknown Recording Studio address, Chicago, Illinois.

RCA Manufacturing Company, Inc.
155 E. 24th Street, New York City, New York.

RCA Victor Company, Inc.
16 West 46th Street, New York City, New York.
44th Street, New York City, New York.
Liederkranz Hall, 111 E. 58th Street, New York City, New York.

Reeves Sound Studios
1600 Broadway, New York City, New York.

Rodeheaver Recording Laboratories
218 South Wabash Avenue, Chicago, Illinois

United States Recording Company
Rialto Theater Building, Ninth and G Streets, NW, Washington, D.C.

Unknown Recording Studio address (?)
East Baltimore, Maryland.

The Victor Talking Machine Company
The Webster Hotel, 2150 Lincoln Park West, Chicago, Illinois.
952 N. Michigan Avenue, Chicago, Illinois.
Liederkranz Hall, 111 E. 58th Street, New York City, New York.
16 W. 46th Street, New York City, New York.

Victor Talking Machine Division — Radio-Victor Company of America
Trinity Baptist Church, 114 N. 5th Street, Camden, New Jersey.

WABC Radio Station, CBS Network
1926 Broadway, New York City, New York.

WEAF Radio Station, NBC-Blue Network
RCA Building, Radio City, Rockefeller Center, New York City, New York.

WNBF Radio Station
Arlington Hotel, Lewis and Chenango Streets, Binghamton, New York.

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