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WXDU 88.7 FM
PO Box 90689
Duke Station
Durham, NC 27708
919-684-2957
wxdu@duke.edu
| Artist | Song | Album | Label | Comments | |||
|---|---|---|---|---|---|---|---|
| Al Jolson | When The Red Red Robin Comes Bob-Bob Bobbin' Along | Brunswick-3222 | Brunswick | Jolson was the biggest star of the day. This song was a big hit in 1926 | |||
| Don Clark's Biltmore Hotel Orchestra v/ Bing Crosby and Al Rinker | I've Got the Girl | Rhythm King: The Earliest Recordings | Naxos Nostalgia | This is Crosby's very first recording although his voice isn't distinguishable here. His first solo would be in 1927, "Muddy Water" | |||
| Fred Astaire w/ George Gershwin (piano) | The Half of It Dearie Blues | The Complete London Sessions | EMI | Astaire's first recording. He is accompanied by George Gershwin on piano. Gershwin and the Astaires (Fred and his sister Adele) were good friends in the early-mid 20s. They dreamed of putting on a Broadway show together, which they did with Lady Be Good. Note Astaire and Gershwin talking to each other during the dancing portion of the recording | |||
| Josephine Baker | Brown Eyes, Why Are You Blue | Josephine Baker 1926-1927 | Document | This is from Baker's second recording session (both were I think in October 1926). In the first session she was backed by a band; the second was simply Baker accompanying herself on banjo | |||
| Ben Pollack & His Californians | He's the Last Word | Victor 20425-B | Victor | band features Benny Goodman and Glenn Miller, who both made their recording debuts with the Pollack orchestra a few weeks before this recording was made. I choce this one because Goodman has a solo making this the first recording where you can really hear him | |||
| Jelly Roll Morton's Red Hot Peppers | Black Bottom Stomp | Jazz Greats Vol. 17 | this was the first recording session of the Red Hot Peppers (though not for Morton himself, he had been recording for several years). Sadly, Morton's influence on the jazz world was already coming to an end | ||||
| Blind Lemon Jefferson | Long Lonesome Blues | Blind Lemon Jefferson - Complete Recordings 1925-1929 Vol. 1 | Document | Jefferson's recording debut was actually in Dec 1925 when he made two gospel recordings. This in January 1926 was from his first blues recording session | |||
| Bessie Smith w/ Buster Bailey & Fletcher Henderson | Jazzbo Brown From Memphis Town | The Complete Recordings, Vol. 3 | Columbia | Smith was a major star at this time, with a lavish, successful touring show | |||
| Carlos Gardel | Del barrio de las latas | La Historia Completa de Carlos Gardel Vol. 27 | Gardel is the single most important figure in the history of tango | ||||
| Paul Robeson w/ Lawrence Brown | On Ma Journey | Songs Of My People | RCA | Robeson has recorded this song multiple times, but this performance is my favorite of all his recordings | |||
| Duke Ellington and His Kentucky Club Orchestra | East St. Louis Toodle-Oo | Vocalion A 1094 | Vocalion | Ellington's first hit and his first important composition. He re-recorded this the following year for (I think) Okeh; that recording is better known today | |||
| Fats Waller | The Rusty Pail | The Complete Recorded Works Volume. 1 | JSP | fascinating to hear Waller turn the pipe organ into a jazz instrument | |||
| Bennie Moten's Kansas City Orchestra | Kansas City Shuffle | The Bennie Moten Collection 1923-32 | Acrobat | Moten was the most prominent band in the Kansas City music scene which also included the "territory bands" who toured the central part of the US, as far south as Dallas | |||
| The Dixie Stompers (Fletcher Henderson's orchestra) | The Stampede | Fletcher Henderson The Definitive Collection | At this time the Henderson band included Coleman Hawkins | ||||
| Louis Armstrong and the Hot Five | Cornet Chop Suey | "Satchmo" Ambassador of Jazz | Verve | Armstrong's work with the Hot Five and Hot Seven in this era are the most important recordings of his career and among the most important jazz recordings ever made. This one really show off his chops | |||
| Louis Armstrong and the Hot Five | Heebie Jeebies | "Satchmo" Ambassador of Jazz | Verve | there is a myth that during this recording Armstrong spontaneously invented scat singing. This is not true, scat had been around for years before, but it's a terrific story & a great example of Armstrong's mythos | |||
| Johnny Dodd's Black Bottom Stompers | Wild Man Blues | Definitive Dodds 1926-1927 - The Complete Stompers | Retrieval | Johnny Dodds and his brother Baby Dodds were New Orleans musicians who were in the King Oliver band along with Louis Armstrong. Dodds also recorded with the Hot Five and Hot Seven | |||
| Nathan Glantz | Yiddisha Charleston | From Avenue A to the Great White Way | Columbia Legacy | this song isn't historically significant, I just love it | |||
| Ted Weems & His Orchestra | Chick, Chick, Chick, Chicken (Lay a Little Egg For Me) | Essential Ted Weems 1923-1930 | Retrieval | another song that's in this show because I love it. Weems was a moderately successful hot bandleader, in the 30s he started doing "sweet" music and gave Perry Como his first big break | |||
| Jean Goldkette & His Orchestra | Sunday | Legendary Bands of the 20's | Pro Arte | at this time Bix Beiderbecke was in the Goldkette orchestra, having left the Wolverines | |||
| Sexteto Occidente | Miguel, los hombres no lloran | The Music of Cuba: 1909-1951 | there was a long and vibrant musical history in Cuba that went largely unrecorded until the mid-20s when recordings started being made. The Sextetro Occidente was founded by Maria Teresa Vera | ||||
| Joe Venuti & Eddie Lang | Black and Blue Bottom | Eddie Lang & Joe Venuti: The New York Sessions 1926-33 | JSP | Lang & Venuti pioneered the use of their instruments in (guitar for Lang, violin for Venuti) jazz. They were boyhood friends who recorded together often until Lang's death in 1933 | |||
| Ruth Etting | 'Deed I Do | Love Me Or Leave Me | ASV Living Era | Etting was a major star in the 20s, known as "America's sweetheart of song," but largely forgotten today. Doris Day starred in LOVE ME OR LEAVE ME, a movie about her life | |||
| Sophie Tucker w/ Ted Lewis and His Band | Some of These Days | Sophie Tucker: Jazz Age Hot Mama | Tucker was the queen of vaudeville, known for her raunchy songs and comedy. Her nickname was "The Last of the Red Hot Mamas" | ||||
| Paul Whiteman & His Orchestra | Valencia | Billboard Pop Memories: 1920s | Rhino | according to the charts in Wikipedia (which is never wrong) this was the top song of 1926 | |||
| Jan Garber and His Orchestra v/ Benny Davis | Baby Face | Victor 20105-B | Victor | every song in this set was a hit in 1926 according to Wikipedia | |||
| Gene Austin | Bye Bye Blackbird | The Voice of the Southland | ASV Living Era | this is how Wikipedia says they come up with these charts: "The following songs achieved the highest positions in Joel Whitburn's Pop Memories 1890-1954 and record sales reported on the "Discography of American Historical Recordings" website during 1926:[6] Numerical rankings are approximate, they are only used as a frame of reference." | |||
| Ted Lewis and His Band | I've Found a New Baby | Masterpiece Collection | this is the most jazz of any charting recording in 1926 - it's not the Hot Five but it's pretty good jazz! | ||||
| Paul Whiteman & His Orchestra | The Birth of the Blues | Paul Whiteman & His Orchestra: The King of Jazz | compare this to "I've Found a New Baby" and it seems all the more baffling that Whiteman called himself the King of Jazz | ||||
| Gertrude Lawrence | Someone to Watch Over Me | I Got Rhythm: The Music of George Gershwin | Smithsonian Collection | Lawrence was primarily a stage actress, her singing style exemplifies the acoustic era | |||