What kind of Rhythm is That? - part 2

This is part of two of three of a compilation from Frog entitled "What Kind of Rhythm is That - Territory Bands". In the first part, I covered the sides by George E. Lee and his sister Julia Lee. For today's post, readers will recognize the Chickasaw Syncopators as the band formed by Jimmie Lunceford while the other two are lesser known.  Part three will cover Walter Page's Blue Devils, Grant Moore and his Black Devils and Hunter's Serenaders. 

The Chickasaw Syncopators

"Chickasaw Stomp" and "Memphis Rag" were recorded on December 13, 1927 for Columbia and featured the band that the great Jimmie Lunceford (1902-1947) started.  Leading one of the great Swing bands of the 1930s and 1940s, Lunceford had just completed his studies at Fisk University in 1926, having spent time in Denver with George Morrison's Jazz Orchestra where he met Andy Kirk.  After receiving his degree, he got a job soon afterwards teaching at Manassa High School in Memphis and there he started band heard on this compilation known as The Chickasaw Syncopators.  "Chickasaw" is the Indian name for the Memphis bluff upon which the city was built on, so along with "Memphis Rag", there seemed to be a deliberate attempt in showcasing their hometown. 

"Chickasaw Stomp" is the better of the two tracks and is a mix of ragtime, blues, and gospel with a mock fire and brimstone sermon from tubist Moses Allen (1907-1983).  Gospel preachers were very popular and would often record their sermons on 78 which were sold like music.  They became stars and the passionate and forceful manner of preaching would have a resounding effect on African American popular music for decades.  This is an early example of superimposing gospel on ragtime which must have been quite novel.  Later, the group would re-arrange this piece and it was recorded in 1930 as "In Dat Morning".  

Besides his preaching, tubist Moses Allen would later add bass and together with drummer Jimmy Crawford (1910-1980), would hold down the rhythm section in the Jimmie Lunceford orchestra for the next fifteen years.  In the liner notes John Capes praises Crawford who is best heard behind the trumpet solo likely played by Henry Clay.  The same player solos on the other track and they are strong statements and highlights of both tracks.  

Bill Brown and his Brownies

Bill Brown was a trombonist and bandleader who is represented by four songs from two different recording sessions, one in 1927 and the other in 1929.  Though the recordings were done in New York, he was active in Newark, Pittsburgh, Chicago, and Philadelphia between 1924 and 1927.  Information on him is quite scarce and during quarantine I rely on the internet and my few jazz history resources.  One of my trusted websites for early jazz is redhotjazz.com but it is down at the time of this writing.  Perhaps at a later date, I will update this post.  His four songs feature good bands with notables figures including John Kirby and Ovie Alston.  

Oliver Tines

The first session from March 17, 1927 features Brown on trombone with a strong band whose names are mostly unknown to me.  Tenor saxophonist Ralph James toured with Sam Wooding and trumpeter Charlie Johnson might be the same person who played in Duke Ellington's band at this time.  There is documentation of a George DeLeon on tuba dating back Jim Europe's Society Orchestra, as in James Reese Europe, in 1914 when the bandleader was working with dancers Vernon and Irene Castle.  Both trumpeter Billy Hicks and drummer Oliver Tines would go on to work and tour with violinist Leon Abbey and to record with Louis Armstrong's Orchestra in the early 1930s.   As a sidenote, Abbey brought the first "all-negro" band to Bombay, India.  Tines also performed in India and I assume he was a part of that band.   

The first session from March 17, 1927 yielded  "Bill Brown Blues" and two takes of Henry Busse's "Hot Lips", both for Vocallion.  Both songs are ragtime dance pieces with solos from everyone, including some tuba and hi-hat features in the first tune.  There is also some fancy banjo work by Harry Stevens who strums chords and mutes the strings for percussive effect.   "Hot Lips" was a hit for Paul Whiteman in 1922 and we are treated to the rare inclusion of a second take.  In listening to both takes, one realizes that there is very little improvisation going on.  All of the solos are practically the same and even Ralph James' clarinet fills on the closing theme is similarly executed.  The first take is considerably better as the piano and clarinet solos seem aimless in the second take---perhaps showing that the musicians were not adept improvisers.  Still the ensembles are strong and the music is spirited.

John Kirby

"Zonky" and "What Kind of Rhythm is That" were recorded for Brunswick on December 26, 1929.  The band seems somewhat stronger and considerably more modern, like the difference in George E. Lee's sessions from 1927 and 1929.  The key to the modern sound is the addition of John Kirby (1908-1952) on string bass and tuba.  His sound on string bass is deep with a solid pulse and it considerably changes the nature of the music.  "What Kind of Rhythm is That" might refer to the walking bass that Kirby shows off throughout the tune.  But after a brief solo piano spot for Charles Washington, Kirby comes back in on tuba, before switching back to walking string bass for Rupert Cole's excellent solo on baritone saxophone, before returning to tuba for the ending ensemble chorus.  I've heard of doublers but this is something else!  Doesn't sound like it's two different people as there are actually a few bars of no bass before Kirby comes back in on tuba after the bari solo.  Perhaps he was playing sousaphone and had someone hold the bass for him as he switched back and forth.  Either way, it sounds experimental and a way to indirectly showcase Kirby.

l-r:Bob Merril, Rupert Cole, Willis Jackson,
Julius Watson, Cootie Williams

Saxophonist Rupert Cole takes excellent solos on both tracks (alto for the first and bari for the second).  Born and raised in the West Indies, most musicians from this area migrated to England, but Cole left for the United States in 1924.  After playing and recording with Brown, Cole would go on to work with the bands of Horace Henderson, Louis Armstrong, and Cootie Williams into the 1940's but his longest tenure was with with Don Redman.  Ovie Alston (1905-1989) is the other known name here and he plays trumpet and sings on an excellent performance of "Zonky" (a composition by Fats Waller and Andy Razaf about the intoxicating effects of 'dancing').  Alston would work with various bands through the 1950's but is best known as a member of Claude Hopkins band from 1931 through 1936.

Maynard Baird and his Southern Serenaders

Maynard Baird was a leading jazz bandleader in the 1920's based in Knoxville, Tennessee.  Originally from Memphis, Baird (c.1896-1965) led one of the best jazz bands in the area and this is clear from the tight ensemble work heard on on this compilation.  His band's entire output of four songs from two recording sessions are included here and they display a well-rehearsed band playing dance music that qualifies as sweet and sentimental. There aren't too many solos, but the ensemble sections are well-played and a delight to hear.  "Just For You" is from the first session from August 31, 1929, and features a vocal trio and some nice trumpet playing.  "Postage Stomp", likely written by trumpeter Sam Goble and pianist Vic Johnson, is from the second session from April 7, 1930 and is decidedly more upbeat.  "I Can't Stop Loving You", co-written by Baird who is also, I believe, the singer, is slower and sentimental.  

There exists some silent film footage from this era that floated around the internet, and even though I couldn't find it, it gives us a good indication of how well regarded he was.  According to an interview with his son, Baird's career suffered with the onslaught of the Great Depression and he spent his remaining days involved with the Knoxville Musicians Union.  

In terms of territory bands, Knoxville is hardly mentioned thereby providing a fuller picture of different bands forming around the country.  Knoxville is not a traditional jazz town and more known for its influence on Nashville as well as producing some of the biggest country stars such as fiddler Roy Acuff and guitarist Chet Atkins.  I'm not familiar with country music from that era but there must be some cross-cultural influence with jazz.  Louis Armstrong recorded with Jimmie Rogers and he can't be the only jazz musician to have appreciated country.  Other Tennessee bands can also be heard on Texas and Tennessee Territory Bands 1928-1931 from Retrieval and The Knoxville Sessions 1929-1930 from Bear Family Records.