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Dizzy
Gillespie (John Birks) on 52nd Street.
(Photograph copyright by William P. Gottlieb.)
Ella
Fitzgerald and Dizzy Gillespie. In the background at left bass player
Ray Brown.
(Photograph copyright by William P. Gottlieb.)
Slam
Stewart and...
..Eddie
South, the dark angel, swing the strings.
(Photographs copyright by William P. Gottlieb.)
Sarah
Vaughan swings and Ethel Waters sings.
(Photograph of Sarah Vaughan copyright by William P. Gottlieb.)
Ethel
Waters on the cover of a late reissue of RLP 1025.
Don
Byas
Picture taken from the LP of the French label Black & Blue 33.003
U: "Don Byas 1945" on which he plays with J.C. Heard, Buck
Clayton, Eddie Safranski, Denzil Best, John Garnieri, Billy Taylor and
Cozy Cole.)
Remington RJ 500 with the re-release of the first recordings of Sarah
Vaughan. The session was organized by Leonard Feather for Continental
Records and recorded on December 31st, 1944.
See
Leonard Feather on World News
Cozy
Cole on Plymouth with Red Norvo (vibra harp), Don Byass (tenor sax)
and Clyde Hart (piano). And on Remington.
Bebop
and Blues original reissue on Remington R-1031 (cover by Curt John Witt)
and on Plymouth P-12-113 (cover by Otto Rado).
See
also the 
Classic Jazz
Guitar site.
See
the many Continental 78 rpm labels at the Majestic
78 rpm labels site.
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In
1942 Don Gabor enlisted in the US Navy and became a US citizen. In
that same year he founded Continental Record Company Inc. One
year later Billboard lists the company's address at 263rd West 54th
Street. Home Office Executives are Donald H. Gabor, President, and
Mrs. Donald H. Gabor, Vice-president.
While
serving in the navy, his uncle took care of the newly founded business.
The catalog was small of course but would soon grow in significance
as Continental was releasing 78 RPM shellac recordings with ethnic
music aimed at immigrants of various nationalities. And there were
a few performers of classical music - mostly emigrants too, and refugees
- who made recordings in the 1940s like pianists Lili Miki and Andor
Foldes, the latter recorded in the 1950s in Europe for Deutsche Grammophon
Gesellschaft.
But
Donald Gabor
soon found his way into the New York Jazz Scene where many of his
Continental jazz recordings were made. If he himself was not the instigator
of some of the recordings, he obtained the acetates to be processed
to discs. Sessions were cut in clubs in "The Street" - not
far from Gabor's office - and in the Cafe Society at Sheridan Square.
Selections were played and sung by a variety of jazz artists, artists
who had already earned some recognition or were more or less new to
the game and were exploring a new style and sound named bebop.
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"A
single New York City block - 52nd Street and Sixth Avenue -
was the very center of the jazz world during much of the Golden
Age. The ground floors of the brownstone houses that lined The
Street were jammed with night clubs, some featuring girly shows
and comedians but most specializing hot music.
For a decade The Street was heaven on earth to jazz fans. There
were the Onyx, the 3 Deuces, Downbeat, the Famous Door, Jimmy
Ryan's, Kelly's Stable, and - nearby - the Hickory House. They
formed a peripatetic audience, strolling from club to club to
check out the living legends performing on any given night."
William
P. Gottlieb in The Golden Age of Jazz, Simon
& Schuster, New York, 1979. (Photograph courtesy William
P. Gottlieb)
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The
Continental Record Catalogue contained jazz recordings (speed
78 RPM) made from 1944 on, and names like those of trumpet players
Louis Armstrong and Harry James; violinist Enoch Light;
humming bass player Leroy "Slam" Stewart; famous
singer Ethel Waters; drummer William "Cozy" Cole;
young Sarah Vaughan; pianists Dorothy Donegan, Clarence
Williams, Clyde Hart, Johnny Guarnieri, Hank Jones.  And
there was pianist(!) Leonard Feather.
Feather, who came from Great Britain, started out as a jazz musician,
became a producer at the same time and an important reviewer before
he gave the world his "Encyclopedia of Jazz" in 1955
with appreciations by Duke Ellington, Benny Goodman and John Hammond
- and did not write an entry on himself in the book but only on the
jacket of this unique and fantastic compendium.
The
following list of Continental jazz records is not at all complete.
But the reference numbers were compiled from catalogs and publications
and the list shows that sales must have been significant in those
days of the 78 RPM shellac and became the foundation of Continental
Records Inc. and later Remington Records Inc., New York.
#CR-1001:
Louis Armstrong - The Night before Christmas + When the Saints go
Marching in.
#C
1175: Enoch Light and his Orchestra; Loren Becker - Laughing on
the Outside + Got a Date with a Disc
#C
10000: Slam Stewart Quintet - Mood to be Stewed + Slammin' the
Gate
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In
the category "sepia swing" is The Slam Stewart
Quintet with Slam Stewart (singing bass), Red Norvo (vibraharp),
Johnny Guarnieri (piano), Morey Feld (drums), and Chuck Wayne
(guitar). The titles are TALKING BACK (Red Norvo) and THE ONE
THAT GOT AWAY (Leonard Feather) on Continental C-10005.
The label pictured above is of the Dutch Continental release,
Made in Holland.
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#C
10001:
Slam Stewart Quintet - The Voice of the Turtle + Time on My Hands
#C
10002: Slam Stewart Quintet - A Bell for Norvo + On the Upside
Looking Down
#C
10003: Slam Stewart Quintet - Jingle Bells + Honeysuckle Rose
#C
10004: Slam Stewart Quintet - Haw haw + Dozin'
#C
10005: Slam Stewart Quintet - Talkin' back + The One that Got
Away
#C
10006: Ethel Waters; J.C. Heard Orchestra - Taking a Chance on
Love + Cabin in the Sky
#C
10007: Ethel Waters; J.C. Heard Orchestra - Dinah + Man Wanted
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Remington
REP-77:
Cozy Cole: Look Here (rec. NYC, 14 November 1944) with Charlie
Shavers (trumpet) and Coleman Hawkins (tenor); Comes the Don
(Harlem Nocturne) (rec. NYC, 21 November 1944) with Budd Johnson
(tenor) and Emmett Berry (trumpet).
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J.C.
Heard: Bouncing for Barney (rec. NYC, 20 March 1946) with Budd
Johnson (tenor) and Jimmy Jones (piano). Timmie Rosenkrantz
and His Barons: Timme Time (rec. NYC, 22 August 1945) with Otto
Hardwick (alto), Charlie Ventura (tenor) and Red Norvo (vibes),
and a drummer (probably Specs Powell).
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#C
10008: Ethel Waters; J.C. Heard Orchestra - Am I Blue? + You took
My Man
#S
3284: Cozy Cole's All Stars Charlie Shavers - trumpet
Hank D'Amico - clarinet
Coleman Hawkins, Walter "Foots" Thomas - tenor saxes
Tiny Grimes - guitar
Clyde Hart - piano
Slam Stewart - bass
Cozy Cole - drums
- Memories of You + Comes the Don
#C
3009: Harry James and his Orchestra - Swanee River + El Rancho
Grande
#C
6000: Cozy Cole's All Stars - Look Here + I don't Stand a Ghost
of a Chance with You
#C
6001: Cozy Cole's All Stars - Take it on Back + Willow Weep for
Me.
#C
6002: Hot Lips Page and hisOrchestra with Lucky Thompson (sax),
Hot Lips Page (trumpet), Vick Dickenson (trombone), Hank Jones (piano),
Sam Allen (guitar), Jessie Price (drums), Carl "Flat top"
Wilson (bass): - Gee Baby, ain't I Good to You + The Lady in Bed
#C
6003: Hot Lips Page and his Orchestra - Big "D" blues + It ain't
Like That
#C
6004: Cozy Cole's
All Stars - Comes
the Don + Memories of You
#C
6005: Seventh Avenue (written by Gordon "Specs" Powell
- Irene Higginbotham - recorded January 4, 1945) James Trummie Young's
All Stars - Trummie Young (trombone & vocals), Don Byas (tenor
sax), Dizzy Gillespie (trumpet), Charlie Parker (alto sax), Mike Bryan
(guitar), Specs Powell (drums), Al Hall (bass), Clyde Hart (piano).
Listen to the recording on
YouTube.
The recording date of C 6005 is mentioned on
Dan
Miller Jazz.
#C
6006:
All Star Bedroom Blues and Living oom Romp by the Leonard Feather
All Stars
#C
6007A: Leonard Feather, Dan Burley; with Tiny Grimes (guitar),
Morey Feld (drums): Part 1 - A Suite in Four Comfortable Quarters
(bedroom, living room, kitchen, bath) - Part 2: Kitchen Connipt +
A suite in Four Comfortable Quarters ... - Pt. 4: Bathroom Boogie
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Leonard
Feather who was a pianist himself, became at one time Duke Ellington's
press agent, joined the staff of Esquire magazine as a writer,
made recordings for the Continental label of Sarah Vaughan (December
31st, 1944) and of many more artists for Gabor's label.
Feather was the promotor of so many but forgot to write an entry
about himself in his Encyclopedia of Jazz.
Picture taken from the jacket of Encyclopedia of Jazz - Bonanza
Books, New York, 1955/1960. Photo by Bengt H. Malmquist.
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#C
6008:
Sara Vaughan - What More Can a Woman do + I'd Rather Have a Memory
than a Dream.
#C
6009: Leonard Feather and his All Stars and Esquire Stomp.
#C
6012A: Timmie Rosenkrantz and His Barons play Bouncy and Blue
at Dawn
#C
6013: Clyde Hart's All Stars - What's the Matter Now + That's
the Blues (recorded January 4, 1945 - See www.danmillerjazz.com)
#C
6014: Cozy Cole's All Stars - When Day is Done + The Beat
#C
6015: Hot Lips Page and his orchestra - The Lady in Bed + Sunset
Blues
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French
jazz label Disques Black & Blue issued Continental recordings
made on 1 December 1944 (Buck Clayton, Edmond Hall, Leonard
Feather), 20 March 1946 (J.C. Heard, G. Treadwell, R.D. Harris,
Bunk Johnson, Jonah Jones), an undated recording session from
1945 (Dizzy Gillespie, Trummy Young, Charlie Parker, Don Byas,
Claude Hart, Mike Bryan, Al Hall, Specs Powell), 14 November
1944 (Charlie Shavers, Hank D'amico, Walter Thomas, Coleman
Hawkins, Claude Hart, Tiny Grimes, Slam Stewart, Cozy Cole)
and 21 November 1944 (Charlie Shavers, Hank D'amico, Don Byas,
Coleman Hawkins, Johnny Garnieri, Tiny Grimes, Slam Stewart,
Cozy Cole). The vocals must be by Trummy Young.
The liner notes are by Jacques Morgantini, Vice President of
Hotclub de France.
Release 3.009 was later reissued the sides swapped.
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"In
1954, Gene Krupa partnered with Cozy Cole to open a drum school
in New York City on West 54 St. in a second-floor walkup. In
two years, the school averaged 135 to 150 students per week.
"The more you study," Cozy said, "the more you
find out you don't know…" They offered complete courses
for both beginners and advanced students, in percussion instruments,
Vibraphone and Latin-American rhythms, as well as drums. Beginners
did not use drums, just the pads. Gene followed his book, "The
Gene Krupa Drum Method" and Cole used his "The Cozy
Cole-William V. Kessler Sensational Drum Book", but their
teaching was basically the same.  The
youngest pupil was a seven-year-old and the oldest, who was
also the first pupil, was a lady in her forties."
Image and description courtesy
Mike
Aubrecht.
The
building left of the drum school is where the Gabor family lived
and what much later became Ye Olde Tripple Inn, a famous New
York dive bar. In the 1950s the residence is also the office
of Gabor's Plymouth Record Corporation and Merit Record Corporation.
He obviously liked to create a conglomerate of companies. His
"Advertising Associates" most likely produced the
advertisements
to be inserted in Schwann Long Playing Record Catalog, The Long
Player, High Fidelity Magazine and other printed media.
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#C
6016: Leonard Feather and his All Stars - Scram + Thanks For the
Memory
#C
6017: Hot Lips Page and
his orchestra - They raided the joint + Florida Blues
 #C
6018:
Edmond Hall and his Cafe Society Orchestra - Continental Blues + Face
#C
6019 - 6020
#C
6021: Mary Osborne; with Mary Lou Williams Girl Stars - (She's)
He's Funny That Way.
#C
6022: J.C. Heard & His Cafe Society Orchestra - The Walk +
Heard But Not Seen D.D.T.
#C
6023
#C
6024: Sarah Vaughan; with Dizzy Gillespie and his Orchestra -
Mean to Me + Signing Off
#C
6025B: Hot Lips Page and his Orchestra - Corsicana + Race Horse
Mama Blues
#C
6026 ?
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J.C.Heard
(second from left) a few decades later with Eddie Davis, Bill
Doggett, Milt Hinton and Eddie Vinson in the open air studio of
Disques Black & Blue, France. Image taken from the cover of
a 1978 release.
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#
C 6027B:
J.C. Heard and his Cafe Society Orchestra (J.C.Heard, drums, Budd
Johnson)
#C
6028 thru 6030
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Remington
REP-35:
Interlude, East of the Sun, Signing Off, No Smokes Blues.
Titles recorded December 31, 1944, New York. Sarah Vaughan (vocals),
Dizzy Gillespie (trumpet, and in East of the Sun and No Smokes on
piano), Aron Sachs (clarinet), Georgie Auld (tenor sax), Leonard
Feather (piano in Interlude and Signing Off), Chuck Wayne (guitar),
Jack Lesberg (bas), Morey Feld (drums). |
#C
6031B: Sarah Vaughan; Dizzy Gillespie and his Orchestra - Interlude
(= A Night In Tunisia; 31st December, 1944 ) + East of the sun (George
Treadwell, sax) - Azure + Bouncing for Barney + Continental Blues
Read
Alvin
Blackshear's blog of which I have copied 3 paragraphs
about the Sarah Vaughan sessions:
On
the last day of 1944, Sarah made her first recordings under
her own name. Leonard Feather, an early devotee to Sarah's vocal
art, had been hawking around various record companies with a
demo that Sarah had cut on Dizzy Gillespie's "Night In
Tunisia", then called "Interlude". Finally Donald
Gabor at Continental Records agreed to bankroll a session. As
usual independent labels at the time, the session was to be
a low budget affair. Feather received $12.50 per side as pianist
and arranger, while Sarah received twenty dollars for each of
the four songs.
Sarahs
first two 78's for Continental had done well enough for Donald
Gabor to authorize Leonard Feather to line up another date with
her. For the May 25,1945 session Feather lined up a formidable
frontline of Dizzy Gillespie, Charlie Parker and Woody Herman's
tenor, star Flip Phillips, backed by a strong rhythm section
of guitarist Bill De Arango, bassist Curley Russell and drummer
Max Roach. Pianist Nat Jaffe had some difficulty with the part
Tadd Dameron had written on "I'd Rather Have A Memory Than
A Dream", another Feather/Russell) collaboration. Dameron
takes over on piano here.
According
to Feather, this session began disastrously, when Charlie Parker
casually arrived an hour late with an apology but no explanation
for his late appearance. Due to this, there was only time for
three songs, instead of the planned four. Peggy Lees "What
More Can A Woman Do" demonstrates Sarah's superb ballad
mastery, but "Mean To Me" is the crowning achievement
of this date, in which Sarah's great vocal is set alight by
Bird s introduction and solo. - Alvin Blackshear - whyalmost50.blogspot
(added April, 2017)
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#C 6032 ?
#C
6033B: Dorothy Donegan (piano), Oliver Coleman (drums), Rail Wilson
(bass) - Yesterday + Dorothy's Boogie Woogie
#6034:
Dorothy Donegan (piano), Oliver Coleman (drums), Rail Wilson (bass)
- Limehouse Blues, Tiger Rag
#6035
thru 6050 ?
#C
6051: Dorothy Donegan (piano) - Little Girl from St. Louis (boogie
woogie); Jumping Jack
#C
6052 thru 6055 ?
#6056:
Dorothy Donegan (piano) - Some of These Days; Kilroy Was Here
#6057:
Dorothy Donegan (piano) - How High the Moon ; Schubert's Boogie Woogie
#6058:
Dorothy Donegan (piano) - Two Loves Wuz One Too Many for me + The
Man I Love
#C
6059 - 6060 ?
#6061:
Sarah Vaughan - No Smokes-blues + Willie Mae Willow Foot Special (boogie
woogie)
#6064,
6065, 6066: Jack Dupre. Check out 
Stefan Wirz's website.
#8479:
Clarence Williams ( piano) and Pinewood Tom (guitar) - Black Gal +
Milk Cow Blues
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Remington
issue 1024 still with the Continental prefix CLP
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RLP
1025
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These
recordings were transferred to LP and issued on the Continental label
and later cleverly reissued on Remington long playing records in all
sorts of combinations. Originally seven ten inch Remington LPs were
released:
R-1024
Hot Jazz With Sarah Vaughan and the All Star Band
With Dizzy Gillespie (trumpet), Charlie Parker (alto sax), Flip Phillips
(tenor sax), Bill de Arango (guitar), Max Roach (drums), (released
in the fall of 1950, that was the time when Sarah Vaughan still was
listed in the section "popular music"). Mean to Me, Interlude,
What Can a Woman Do?, No Smokes Blues, East of the Sun, I'd Rather
Have a Memory Than a Dream, Signing Off, a.o.
R-1025
Ethel Waters in Shades of Blue
Taking A Chance On Love, Honey In A Hurry, You Took My Man, Cabin
In The Sky, I Shoulda Quit, Man Wanted, Am I Blue, Dinah
(released in the fall of 1950; dubbings of C 10006, 10007, 10008 plus
2 other songs).
R-1031
The Birth of Bebop and Blues.
On SIDE 1:
Heard But Not Seen, The Beat Bouncy, What's The Matter Now
(performed by Roy Eldridge (tr), Slam Stewart (b), Cozy Cole (dr),
Red Norvo (vibes), Clyde Hart (p), J.C. Heard (dr), Clyde Hart and
Timme Rosenkrantz Orchestras)
On SIDE 2:
That's The Blues, I Want Every Bit Of It, 4 F Blues - performed by
Dizzy Gillespie (tr), Charlie Parker (alto), Don Byas (tenor), Trummy
Young (tr), Clyde Hart (pi), Mike Bryan (guitar), Al Hall (cl), Specs
Powell (dr), "Rubberlegs" Williams Orchestra. (recorded
January 4, 1945 - See www.danmillerjazz.com)
R-1032
Cafe Society Swing.
Timme Rosenkrantz, Cozy Cole, and Sabby Lewis orchestras: Bouncing
For Barney, Timme Time, DDT, Cafe Society Blues, Look Here, Comes
The Don, Are You Coming Home John, Boston Bounce.
R-1033
Modern American Musicians
Red Norvo, Johnny Guarnieri, Morey Feld, Chuck Wayne, Eddie South
Trio. (Released in November 1952.)
R-1035
Moods in Blues
With Edmond Hall, Timme Rosenkrantz, "Hot Lips" Page
Orchestra: Continental Blues, Blues At Dawn, Big Trees Blues, Florida
Blues, Big D Blues, It Ain't Like That, Race Horse Mama Blues.
R-1037
Sax Appeal
With Morris Lane and Eddie "Lockjaw" Davis.
Eventually
several titles were issued simultaneously on the Remington and on
the Plymouth label.
Side One of Remington RJ 500 features Sarah Vaughan singing
at her first, own record session on December 31st, 1944, produced
by Leonard Feather.
REMINGTON
RJ-500
On SIDE 1:
What More Can A Woman Do (P. Lee - D. Barbour), I'd Rather Have A
Memory Than A Dream (L. Feather - J. Russel), Mean To Me (R.Turk -
F. Ahlert), Signing Off (L. Feather - J. Russel), East Of The Sun
(B. Bowman)
Interlude (D. Gillespie - Paparelli - Leveen)
On SIDE 2:
Bouncy (Rosenkrantz - Jones - Cavanaugh), What's The Matter Now (Clyde
Hart), Continental Blues (E. Hall), Heard But Not Seen (B. Johnson
- J.C. Heard), Bouncing For Barney (G. Treadwell - J.C. Heard)
Bouncy and Blues At Dawn also appear on Side 2 of Plymouth P-12-155.
REMINGTON
RJ-504
On SIDE 1: Ethel Waters with the J.C. Heard Orchestra:
Taking a Chance on Love, Cabin in the Sky, Dinah, Man Wanted, A I
Blue?, You Took My Man.
On SIDE 2: Selections performed by various artists:
Boston Bounce (Society Swing Orchestra)
Edna (Sabby Lewis Orchestra), Jumping Jack (Dorothy Donegan), Special
(Dorothy Donegan), Little Girl from Saint Louis (Dorothy Donegan),
Schubert's Boogie Woogie (Dorothy Donegan), The beat (Cozy Cole).
And
there were several Plymouth releases following the same strategy so
you never were sure if you did already own a certain performance.
It just could have been another take or the same one. Some where also
released on Pontiac, not listed in the Schwann and Long Player record
catalogs.
 PLYMOUTH
P-12-122
On SIDE 1:
Am I Blue (Ethel Waters), It Ain't Like That (Hotlips Page), They
Raided The Joint (Hot Lips Page), Heard But Not Seen (J.C. Heard),
Edna (Sabby Lewis)
Jumping Jack Special (Dorothy Donogan)
On SIDE 2:
Bell For Norvo (Red Norvo), Willie Mae Willow Foot (Hot Lips Page),
House Rocking (Frank Culley), Talking Back (Red Norvo), Schubert's
Boogie (Dorothy Donogan), Ready For Action (Frank Culley), Lockjaw's
Bounce (Eddie Davis)
PLYMOUTH
P-12-155
On SIDE 1:
This release lists on SIDE 1:
Look Here (Cole - Thomas - Hart), Take It Back ( Cole - Thomas - Hart),
Comes The Don (Thomas - Cole - Byas), Bouncy (Rosenkrantz - Jones
- Cavanaugh), Blues At Dawn (Rosenkrantz - Jones - Cavanaugh), The
Drag (Thomas - Cole - Byas)
On SIDE 2:
Saul (H. Sandy), Squint Look (H. Sandy), Diggin' Chick (H. Sandy),
Stick Around (H. Sandy), Fand And Sand (H. Sandy), Black Rose Blues
(Carels - Fennis)
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Masterseal
MSLP 5013: Sarah Vaughan, Dizzy Gillespie, Red Norvo, Cozy Cole,
Charlie Ventura, Dorothy Donegan, Coleman Hawkins, Don Byas.
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Masterseal
MSLP 55: Sarah Vaughan with some of the selections from Masterseal
MS-5013 and Remington RJ-500.
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MASTERSEAL
MSLP 5013
On SIDE 1:
Mean To Me (R.Turk - F. Ahlert), Bouncy (Rosenkrantz - Jones - Cavanaugh),
Blues At Dawn (Rosenkrantz - Jones - Cavanaugh), What (Don Byas),
Every Bit (Dizzy Gillespie), Rose Noir (H. Carels)
On SIDE 2:
Comes The Don (Thomas - Cole - Byas), Beat Bounce (Red Norvo), Cravin'
(Hen Gates and His Gaters), Kilroy Was Here (Dorothy Donegan), Edna
(Sabby Lewis), Swinging the Blue (Eddie South).
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Gabor
issued the same titles on different labels and in different combinations.
These were not necessarily different takes. Adding some reverberation
to the signal could give the listener the idea that a different
recording was used. The same material from MSLP 5013 was issued
on the Paris label.
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MUSIC
APPRECIATION LIBRARY VOLUME 10 (Paris Label - The World of Living
Music - Notes by Joseph P. Muranyi)
On SIDE 1:
Mean To Me (R.Turk - F. Ahlert), Bouncy (Rosenkrantz - Jones - Cavanaugh),
Blues At Dawn (Rosenkrantz - Jones - Cavanaugh), What's The Matter
Now (Don Byas), Every Bit (Dizzy Gillespie), Rose Noir (H. Carels).
On SIDE 2:
Comes The Don (Thomas - Cole - Byas), Beat Bounce (Red Norvo), Cravin'
(Hen Gates and His Gaters), Kilroy Was Here (Dorothy Donegan), Edna
(Sabby Lewis), Swinging the Blues (Eddie South).
MASTERSEAL
MS-55
"Sarah Vaughan Sings Sweet and Sultry", a later Masterseal
release.
On SIDE 1
Mean To Me - Sarah Vaughan with Charlie Parker, Flip Phillips, Dizzy
Gillespie, Bill De Aranzo, Max Roach, Curley Russell, Nat Jaffe.
Bouncy - Red Norvo, Timme Rosenkrantz, Charlie Ventura, Harry Carney,
Johnny Bothwell, Otto Hardwick, Jimmy Jones, Specs Powell and John
Levy.
Blues At Dawn - (the same group).
What - Henry Rubberlegs Williams singing in the old tradition of Bessie
Smith, Dizzy Gillespie, Charlie Parker, Don Byas, Trummie Young,
Every Bit - (same group)
Rose Noire - H. Carel's combo.
On SIDE 2:
Comes The Don - Coleman Hawkins, Don Byas, Hank D'Amico, Charlie Shavers,
Tiny Grimes, Slam Stewart, Johnny Garnieri, Cozy Cole
Beat Bounce - Same artists as for Bouncy and Blues at Down
Cravin' - Hen Gates' Combo
Kilroy Was Here - Dorothy Donegan
Edna - Sabby Lewis Band
Swinging The Blues - Eddie South, Hank Jones, Leonard Garkin.
MASTERSEAL
MS-75
This was another compiltaion with reshuffled songs.
On SIDE 1
Sarah Vaughan: East Of The Sun, Mean To Me - Sarah Vaughan
A Bell For Norvo, Time On My Hands - Red Norvo
Blues At Mary Lou's, D.D.T. - Mary Lou Williams
On SIDE 2
Little Girl From St. Louis, Kilroy Was Here - Dorothy Donogan
Thanks For The Memory, Esquire Jump - Coleman Hawkins
I Want Every Bit, That's The Blues - Trummie Young
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Dizzie
Gillespie (at far left, with glasses, looking up), Don Byas (thumbs
up) and Sarah Vaughan, together again, but now in Paris, 1953.
(Picture taken from the French Vogue double LP
DP15 "Memorial" Don Byas.)
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Bell For Norvo and Jingle Bells by
the Slam Stewart Orchestra, together with Swinging the Blues and Eddie's
Blues by Eddie South Trio, were released on a 45 rpm disc.
 Since
"The" All Star Jazz Band was led by Dizzy Gillespie and
also by Cozy Cole and on other occasions by Leonard Feather, some
of the same material can
be found on Plymouth P-12-155, but then the names of Red Norvo, Don
Byas and Clyde Hart are explicitly mentioned. Pianist Clyde Hart who
was born in 1910 in Baltimore, died of tuberculosis at the age of
thirty five on March 19th, 1945 in New York. (Images of Clyde Hart
taken from record covers and edited.)
Mark
Conlan wrote that there is another CONTINENTAL LP, called
"Hot and Cozy". However I did not find a listing
of it in the 1950s editions of Schwann Long Playing Record Catalog.
On SIDE 1: Six recordings by Oran "Hot Lips" Page
-
The Lady In Bed, Gee, Baby, Ain't I Good To You, Big 'D' Blues, They
Raided The Joint, Corsicana (an instrumental named after Page's home
town), Sunset Blues.
On SIDE 2: Four selections led by Cozy Cole and two by Red
Norvo:
Look Here, Take It On Back, Comes The Don, Beat Bounce, Bouncy, Blues
at Dawn.
Some
of the recordings by Hot Lips Page and Rubberlegs Williams
made in 1944 and 1945 were issued on the French label Disques
Back and Blue, LP 33.008. These must have been licensed by
Don Gabor in 1966: Big D Blues, Gee Baby Ain't I Good To You, The
Lady In Bed, It Ain't Like That, Florida Blues, Race Horse Mama Blues,
The Lady In Debt, Corsicana, Willie Mae Willow Foot, Sunset Blues,
They Raided The Joint. On 33.008 there are four numbers by Rubberlegs
Williams: That's The Blues, I Want A Every Bit Of It, What's The Matter
Now, 4 F Blues.
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Anthony
Barnett's book on Eddie South: BLACK GYPSY.
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TRIP
Jazz Record TLP-5803 has a selection of recordings made by The
Dark Angel of the Fiddle and His Trio in 1944: Mad Monk, Rose
Room, Yesterdays, Rhapsody in Blue, Idaho, Tzigani in Rythm,
Dear Old Southland, Daybreak, Deep Purple, and Solace..
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Eddie
South specialist
Anthony Barnett told me:
"The appearance of a title does not necessarily mean that on
shellac and vinyl the same take was used. For example: Eddie’s
Blues and Twelve O’Clock At Night are different takes on 78 and
LP. But Swinging the Blues is the same take on 78 RPM and LP. I can’t
Give You Anything but Love was only released on 78 RPM, not on LP.
I have not yet found out on which vinyl LPs these were released. However,
all the Ethel Waters takes are the same on 78 RPM and on LP."
Editions
of Schwann Long Playing Record Catalog from the early nineteen fifties
mention these Continental LPs, later released on Remington:
CLP
16004 - Charlie Parker: Bird Live with Sarah Vaughan
CLP 16005 - Red Norvo: Mainstream Jazz
CLP 16008 - Ethel Waters sings with Heard
Rudolf
A. Bruil. Page first published March 6th, 2001.
Added
(April, 2017) three paragraphs of Allen Blackshear's blog.
Newly
added, June 2021, the picture and text of the Krupa-Cole-Drumschool.
Black and White
Photographs of Ella Fitzgerald, Slam Stewart, Dizzy Gillespie, Eddie
South and Sarah Vaughan all courtesy William P. Gottlieb
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