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Discography Compiled by Evert (Ted) Kaleveld and Lily Coleman

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Discography Compiled by Evert (Ted) Kaleveld and Lily Coleman Abbreviations ts tenor saxophone arr arranger v vocal as alto saxophone vib vibraphone ~s baritone saxophone vn violin bs bass saxophone wb washboard bj banjo Country of record origin eel celesta (Where no country of origin is given, USA is cl clarinet understood.) d drums E England db double bass F France H flute I Italy flh Hugel hom N Netherlands g guitar Sz Switzerland ldr leader Record types org organ EP 45 rpm extended play p piano ss soprano saxophone (Issue numbers of78 rpm records are shown in roman t trumpet type; those oflong-playing records are shown in italic.) tb trombone 1929 57712-1 Springfield Stomp Victor V 38117 Sep 6 New York Luis Russell and his Orchestra 1931 Bill Coleman, Henry .. Red" Allen (t); J .C. Higgin­ Sep23 NewYork botham(tb, v); AlbertNicholas(cl, as); Charlie Holmes Don Redman and his Orchestra (as, ss); Teddy Hill (ts); Luis Russell (p, ldr); Walter Bill Coleman, Henry .. Reel" Allen, Leonard Davis (t); Johnson (llj); Pops Foster (db); Paul Barbarin ( d, vib) Claucle]ones, Fred Robinson, Benny Morton (tb); Ed­ 402938-c The New Call of the Freaks Okeh 8734 ward lnge, Rupert Cole (cl, as); Don Redman (as, v, 402939-c Feeling the Spirit GCH:v) Okeh 8766 ldr, arr); Robert Carroll (ts); Horace Henclerson (p, 402940-b Jersey Lightning Okeh 8734 arr); Talcott Reeves (llj, g); Bob Ysaguirre (db, tuba}; Manzie]ohnson(d, vib); Lois Deppe(v} 1929 E 37222-A I Heard Unissued Sep13 NewYork E 37223-A Trouble, why pick on me? Lou and his Ginger Snaps [ = Luis Russell and his (LD:v) Brunswick 6233 Orchestra] E 37224-A Shakin' the African (DR:v) Brunswick A same personnel as session of6 September 1929 9250 9006-1 Broadway Rhythm Banner 6536 E 37224-B Shakin' the African (DR:v) Brunswick E 9007-1 The way he loves is just too bad Banner 6540 01244 9007-2 The way he loves is just too bad E 37225-A Chant of the Weed Brunswick 6211 1929 E 37225-B Chant of the Weed Brunswick A 500160 Nov 19 New York Cecil Scott and his Bright Boys 1934 Bill Coleman, Frankie Newton (t); Dicky Wells (tb); Nov 7 Camden, NJ Cecil Scott(cl, ts, bars, bs,ldr);]ohn Williams, Harold Fats Waller and his Rhythm McFerran (as); Don Frye ( p ); Rudolph Williams (bj, g); Bill Coleman (t); Gene Sedric (cl, as}; Fats Waller (p, Mack Walker (tuba); Llayd Scott (d) eel, org, v); Albert Casey (g); Billy Taylor (db); Harry 57709-1 Lawd, Lawd (hand:v) Victor V 38098 Dial ( d, vib) 57710-1 In a Corner 8492I-1 Honeysuckle Rose Victor 24826 57711-1 Bright Boy Blues Victor V 38117 84922-1 Believe it Beloved Victor 24808 SELECTIVE DISCOGRAPHY I 231 84923-1 Dream Man Victor 24801 OLA 851-2 Joe Louis Stomp 84924-1 I'm growing fonder of you OLA852-1 Coquette 84925-1 If it isn't love Victor 24808 OLA 852-2 Coquette 84926-1 Breakin' the Ice Victor 24826 1936 1935 Apr 17 Paris Jan 5 Camden, NJ Joan Warner (v) with Willie Lewis and his Orchestra Fats Waller and his Rhythm Bill Coleman, Bobby Martin ( t); Billy Burns ( tb ); Willie same personnel as session of 7 November 1934, except Lewis(as, v, ldr); George]ohnson(as);Joe Hayman (as, Charlie Turner (db) replaces Billy Taylor ts, bars); Frank "Big Boy" Goudie (ts); Herman Chitti­ 87082-1 I'm a hundred percent for you Victor 24863 son (p); john Mitchell (g); Louis Vola (db); Ted Fields 87082-3 I'm a hundred percent for you (nov) Victor (d) 24867 CPT 2612-1 Le Coo-coo-coo Pathe (F) 888 87083-1 Baby Brown Victor 24846 CPT 2613-1 Magie de Ia danse 87083-3 Baby Brown (nov) Victor 24867 87084-1 Night Wind Victor 24853 1936 87085-1 Because of once upon a time Victor 24846 Apr 28 Paris 87086-1 I believe in miracles Victor 24853 Willie Lewis and his Orchestra 87087-1 You fit into the picture Victor 24863 same personnel as 17 April 1936, except omit joan Warner 1935 CPT 2630-1 Stompin' at the Savoy Pathe (F) 898 Feb26 NewYork CPT 2631-1 Christopher Columbus Teddy Hill and his Orchestra 1936 Bill Coleman, Roy Eldridge (t); Bill Dillard(t, v); Dicky May 15 Paris Wells (tb); Russell Procope (cl, as); Howard johnson Willie Lewis and his Orchestra (as); Teddy Hill (ts, ldr); Chu Berry (ts); Sam Allen (p); same personnel as 28 April1936, except add Adelaide john Smith (g); Richard Fullbright (db); Bill Beason (d) Hall, Alice Mann (v) 16923-1 Here comes Cookie Perfect 16093 CPT 2649-1 I'm shooting high (AH:v) Pathe (F) 914 16924-1 Got me doin' things (BD:v) CPT 2650-1 Lost (WL:v) 16925-1 When the robin sings his song again Perfect CPT 2651-1 Alone (AM:v) Pathe (F) 915 16101 CPT 2652-1 Say you're mine (AH:v) 16926-1 When love knocks at your heart (BD:v) 1936 1935 Oct 15 Paris Nov 25 Paris Willie Lewis and his Orchestra Garnett Clark and his Hot Club's Four same personnel as session of 28 April 1936, except Bill Coleman (t, v); George johnson (as, cl); Garnett Arthur Briggs (t) replaces Bobby Martin Clark (p); Django Reinhardt (g); june Cole (db) CPT 2900-1 Au rythme dujazz, Part 1 Pathe (F) 1027 OLA 730-1 Rosetta Gramophone (F) K 7618 CPT 2901-1 Au rythme dujazz, Part 2 OLA 731-1 Stardust Gramophone (F) K 7645 CPT 2602-1 Sing, sing, sing Pathe (F) 1029 OLA 732-1 The Object of my Affection CPT 2603-1 Knock, knock, who's there? (BC:v) Gramophone (F) K 7618 CPT 2604-1 Sweet Sue Pathe (F) 1030 CPT 2605-1 Organ Grinder's Song 1936 Jan 24 Paris 1937 Bill Coleman Trio Jul7 Paris Bill Coleman (t); Herman Chittison (p); Eugene d'Hel­ Dicky Wells and his Orchestra lemmes(db) Bill Coleman, Bill Dillard, ShadCollins(t); Dicky Wells 77624 What's the Reason? Ultraphone (F) AP 1235 (tb, ldr); Django Reinhardt (g); Richard Fullbright 77625 Georgia on my Mind (db); Bill Beason (d) OLA 1884-1 Bugle Call Rag Swing (F) 6 1936 OLA 1885-1 Between the Devil and the Deep Blue Jan 31 Paris Sea Bill Coleman Trio OLA 1886-1 I got rhythm Swing (F) 27 same personnel as session of24 january 1936 OLA 1887-1 Sweet Sue* Swing (F) 16 OLA 849-1 I'm in the mood for love* Gramophone OLA 1888-1 Hangin' around Boudon (BC:v)* (F)7764 OLA 1889-1 Japanese Sandman* Swing (F) 27 OLA 849-2 I'm in the mood for love* *omit Bill Dillard and Shad Collins OLA 850-1 After you've gone OLA 850-2 After you've gone 1937 *omit Eugene d'Hellemmes Oct4 Paris Alix Combelle et son Orchestre 1936 Bill Coleman (t, v); Alix Combelle (ts, cl, ldr); David Jan 31 Paris Marlin ( p); Roger Chaput (g); Wilson Myers (db); jerry Bill Coleman et son Orchestre Mengo(d) Bill Coleman (t); Edgar Courance (cl, ts);Jean Ferrier OLA1955-l ExactlyLikeYou Swing(F)52 (p); Oscar Aleman (g); Eugene d'Hellemmes (db); Will­ OLA 1956-1 Alexander's Ragtime Band Swing (F) ll iam Diemer (d) OLA 1957-1 Hangover Blues (BC:v) OLA 851-1 Joe Louis Stomp Gramophone (F) 7705 OLA 1958-1 Sometimes I'm happy HMV (E) N-4451 232 I TRUMPET STORY 1937 1938 Oct 18 Paris May 4 Hilversum Willie Lewis and his Entertainers Willie Lewis and his Orchestra Bill Coleman, jacques Butler(t); Billy Burns(tb); Willie same personnel as session of 18 October 1937 Lewis (as, cl, v, ldr); Joe Hayman (as, bars); Frank AM 482-1 The Maid's Night Off Panachord (N) H "Big Boy" Goudie (ts, cl); Herman Chittison (p); john 1037 Mitchell (g); Wilson Myers (db); Ted Fields (d) AM483-1 Who's sorry now? CPT3474-1 Ol'ManRiver Pathe(F)1297 AM 484-1 Swinging at Chez Florence Panachord CPT 3475-1 Swing, brother, swing Pathe (F) 1295 (N) H 1038 CPT 3476-1 Swing Time AM 484-2 Swinging at Chez Florence Panachord CPT3477-1 Doin'theNewLowDown Pathe(F) (N)H 2008 1296 AM485-3 Coquette (WL,BC, TF:v) Panachord (N) H CPT 3478-1 Swinging for a Swiss Miss 1038 CPT 3479-1 Basin Street Blues Pathe (F) 1297 AM 486-2 Memphis Blues (WL,BC,TF:v) Panachord(N) H 1036 1937 AM 487-1 A Shanty in Old Shanty Town Nov 12 Paris (BC:v) Bill Coleman et son Orchestre AM 487-2 A Shanty in Old Shanty Town Bill Coleman (t); Stephane Grappelli (vn, p); joseph (BC:v) Panachord (N) H 2008 Reinhardt(g); Wilson Myers (db); Ted Fields (d) OLA 1974-1 Back home again in Indiana Swing (F) 42 1938 OLA 1975-1 Rose Room Swing (F) 9 June 13 Paris OLA 1976-1 Bill Street Blues Swing (F) 22 Eddie Brunner and his Orchestra OLA 1977-1 After you've gone Bill Coleman(t); Eddie Brunner(cl, ts, ldr); Alix Com­ OLA 1978-1 The merry-go-round broke belle, Noel Chiboust (ts); Herman Chittison (p); Oscar down Swing (F) 9 Aleman (g); Roger Grasset.( db); Tommy Benford (d) OSW 27-1 In a Little Spanish Town Swing (F) 55 1937 OSW 28-1 I double dare you Swing (F) 30 Nov 19 Paris OSW 29-1 Bagatelle Swing (F) 41 Bill Coleman et son Orchestre OSW 30-1 Montmartre Blues Swing (F) 30 Bill Coleman (t, v); Christian Wagner (cl, as); Frank OSW31-1 Margie Swing(F)41 "Big Boy" Goudie (cl, ts); Emile Stem (p); Django Reinhardt(g); Lucien Simaens(db);]erry Mengo (d) 1938 OLA 1979-1 I ain't got nobody Swing (F) 14 June 13 Paris OLA 1980-1 Baby, won't you please come home Greta Keller (v) OLA 1980-2 Baby, won't you please come Bill Coleman (t); Joe Hayman (cl); Herman Chittison home Unissued (p);]ohn Mitchell(g); Wilson Myers(db); Tommy Ben­ OLA 1981-1 Big Boy Blues Swing(F)32 ford(d) OLA 1982-1 Swing Guitars 4453 Goodby to Summer (GK:v) Brunswick A 81859 4454 I'm gonna lock my heart 1937 (GK, band:v) Nov 19 Paris Bill Coleman with Django Reinhardt (g) 1938 OLA 1983-1 Bill Coleman Blues Swing (F) 42 Sep 28 Paris Bill Coleman et son Orchestre 1938 Bill Coleman (t); Edgar Courance (ts); john Mitchell Jan 12 Paris (g); Wilson Myers(db, v); Tommy Benford(d) Alix Combelle et son Orchestre OSW 43 Way Down in New Orleans Swing (F) 214 [personnel uncertain:] Bill Coleman (t, v); Pierre OSW 44 Sister Kate (VM:v) Allier, Alix Rewail(t); unknown(tb); Alix Combelle(ts, ldr); Christian Wagner (cl, as); Frank "Big Boy" 1940 Goudie (ts, cl); unknown (p); Oscar Aleman (g); un­ Apr4 NewYork known (db); Tommy Benford (d) Joe Marsala and his Delta Four Acetate Daphne TDF (I) 5010 Bill Coleman (t, v); joe Marsala (cl, ldr); Pete Brown Acetate My Melancholy Baby (as); Carmen Mastren (g); Gene Traxler (db); Dell St Acetate Alexander's Ragtime Band (BC:v) John (v) Acetafe Don't be that way R 2796-2 Wandering Man Blues (DSJ:v) General1717 R 2797-3 Salty Mama Blues (BC:v) 1938 R 2798-2 Three O'Clock Jump (DSJ :v) General3001 Apr 29 Hilversum.
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    ISCOGRAPHIE de ROGER GUÉRIN D Par Michel Laplace et Guy Reynard ● 45 tours ● 78 tours ● LP ❚■● CD ■●● Cassette AP Autre prise Janvier 1949, Paris 3. Flèche d’Or ● ou 78 Voix de son Maitre 5 février 1954, Paris Claude Bolling (p), Rex Stewart (tp), 4. Troublant Boléro FFLP1031 Jacques Diéval et son orchestre et sex- 5. Nuits de St-Germain-des-Prés ● ou 78 Voix de son Maitre Gérard Bayol (tp), Roger Guérin (cnt), ● tette : Roger Guérin (tp), Christian Benny Vasseur (tb), Roland Evans (cl, Score/Musidisc SCO 9017 FFLP10222-3 Bellest (tp), Fred Gérard (tp), Fernard as), George Kennedy (as), Armand MU/209 ● ou 78 Voix de son Maitre Verstraete (tp), Christian Kellens (tb), FFLP10154 Conrad (ts, bs), Robert Escuras (g), Début 1953, Paris, Alhambra « Jazz André Paquinet (tb), Benny Vasseur Guy de Fatto (b), Robert Péguet (dm) Parade » (tb), Charles Verstraete (tb), Maurice 8 mai 1953, Paris 1. Without a Song Sidney Bechet avec Tony Proteau et son Meunier (cl, ts), Jean-Claude Fats Sadi’s Combo : Fats Sadi (vib), 2. Morning Glory Orchestre : Roger Guérin (tp1), Forhenbach (ts), André Ross (ts), Geo ● Roger Guérin (tp), Nat Peck (tb), Jean Pacific (F) 2285 Bernard Hulin (tp), Jean Liesse (tp), Daly (vib), Emmanuel Soudieux (b), Aldegon (bcl), Bobby Jaspar (ts), Fernand Verstraete (tp), Nat Peck (tb), Pierre Lemarchand (dm), Jean Paris, 1949 Maurice Vander (p), Jean-Marie Guy Paquinet (tb), André Paquinet Bouchéty (arr) Claude Bolling (p), Gérard Bayol (tp), (tb), Sidney Bechet (ss) Jacques Ary Ingrand (b), Jean-Louis Viale (dm), 1. April in Paris Roger Guérin (cnt), Benny Vasseur (as), Robert Guinet (as), Daniel Francy Boland (arr) 2.
  • French Stewardship of Jazz: the Case of France Musique and France Culture

    French Stewardship of Jazz: the Case of France Musique and France Culture

    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
  • Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)

    Black North American and Caribbean Music in European Metropolises a Transnational Perspective of Paris and London Music Scenes (1920S-1950S)

    Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s-1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 15 April 2019 European University Institute Department of History and Civilization Black North American and Caribbean Music in European Metropolises A Transnational Perspective of Paris and London Music Scenes (1920s- 1950s) Veronica Chincoli Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Professor Stéphane Van Damme, European University Institute Professor Laura Downs, European University Institute Professor Catherine Tackley, University of Liverpool Professor Pap Ndiaye, SciencesPo © Veronica Chincoli, 2019 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I Veronica Chincoli certify that I am the author of the work “Black North American and Caribbean Music in European Metropolises: A Transnatioanl Perspective of Paris and London Music Scenes (1920s-1950s). I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297).
  • 100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE

    100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE

    100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd.