Benton Overstreet - Musical Nomad By John Wilby

of Bizness , which was registered on December 26, 1914. He joined comedian Billy King’s Stock Company in January 1914, [5] , and probably travelled with King’s company until early 1915. [6] He was music director for a show appearing at the Lyric Theater in Kansas City from May until at least July 1915. The orchestra was comprised of Overstreet (piano and leader), Joe Sudler (cornet), Chas. Washington (trombone), Geo. Wilks [Wilkson] (clarinet), Hamp Harper (violin) and Curtis Mosby (drums). [7] A report in the Indianapolis Freeman noted that, in addition to “his new composition, ‘My Place of Bizness,’” Overstreet “has others too numerous to mention, which he intends to put on the market soon.” [8] The Freeman subsequently reported that the team of Mills & Frisbee was singing his I Am Going Home at the Crown Garden Theater in Indianapolis in September 1915 and characterized the song as “one of Benton Overstreet’s late successes,” [9] an indication of his growing reputation as a composer.

By October 1915 he had renewed his association with Billy King, appearing as part of King’s Stock Company in the show “Hearts of Men” at Chicago’s Grand Theater. [10] In March 1916, King’s company appeared at the Howard Theater in Washington, presenting the show “Neighbors” which featured Overstreet and King as two bickering neighbors. The Freeman reported that “King and Overstreet are natural Photo: Roger Misiewicz comedians and kept the house in a roar from start to finish,” [11] confirming that Overstreet’s talents as a performer William Benton Overstreet led a nomadic life working in went well beyond his musical and compositional vaudeville — from the heyday of the 1910s to the late 1920s contributions. By late April, King’s Company had returned to — and writing songs that spanned popular music, jazz and Chicago to present “The Last Rehearsal” at the Grand Theater, blues. His compositions, numbering more than fifty, included this one featuring three songs by Overstreet, New Dance There’ll Be Some Changes Made and A Jazz Holiday , both (later renamed The Jazz Dance ), Alabama Todelo (sic) and still recognized as standards in traditional jazz circles today. Hello Everybody .[12] Later in 1916 he served as music As a pianist, he led jazz bands in vaudeville throughout the director for two shows presented by King at Chicago’s Grand United States, accompanied singers on recordings for Theater, “A Mother-in-Law’s Disposition” and “Now I Am a Brunswick and Black Patti, and even participated in a “cutting Mason,” both featuring some Overstreet-King songs. [13] contest” witnessed by no less than Jelly Roll Morton. Yet he Another of King’s performers was the singer Estelle (or Estella remains a shadowy figure; an important composer in the or Stella) Harris, whom Overstreet married, probably late in history of jazz and popular music, but little known today. 1916 or early 1917. [14]

Overstreet, an African-American, was born on April 3, 1888 in Atchison, Kansas, a small town on the Missouri River, approximately 50 miles northwest of Kansas City. Nothing is known of his early years, though they must have included musical studies as he was active leading bands and playing piano by the time he was in his early twenties. Pianist Norman (sometimes known as Norma) Thomas recalled in a letter to the Chicago Defender [1] that he first met Overstreet when the two were working with William McCabe’s Georgia Troubadours, a travelling variety troupe active from 1900 to at least 1913. A November 1910 report in the New York Age [2] noted that “Professors Norma Thomas and W.M. (sic) Overstreet” were the “kings of ivory manipulators” with the Richards and Pringles Minstrels, then appearing in Kansas, with William McCabe and Edna McCabe in the cast, as well as another Overstreet, Carrie, a dancer whose relationship to Benton is not known. By September 1911, both Overstreets were in Iowa with McCabe’s Georgia Troubadours, Benton as the troupe’s orchestra leader. [3]

Overstreet continued to move around the country on his own, serving as music director for an ensemble at the Lincoln Theater in Galveston, Texas, in the summer of 1913, [4] and living in Mobile, Alabama, when he made his first submission The ‘new’ Grand Theater, South State Street, Chicago, a familiar to the Library of Congress for copyright protection, My Place venue to scores of early jazz and blues performers.

3 performed as a duo in Philadelphia; with the Defender reporting in July 1917 that they “were a real sensation at the Standard theater last week,” adding that “[Harris’] rendition of Overstreet’s new number ‘The Alabamalevi [Alabama Levi] Glide,’ was a near riot and called for so many encores that the show was virtually stopped. The act will open in New York soon, where they will feature the great hit, ‘The Jazz Dance.’” [26] It again is clear that other artists were by this time taking notice of Overstreet’s compositions; The Jazz Dance was recorded for Columbia by W.C. Handy’s orchestra in September, and by Blake’s Jazzone Orchestra in November 1917.

In a letter to the Defender dated July 23, 1917 sent from the Howard Theater, Washington, DC, Overstreet reported that he was working on a play called “The Grocery Man,” and had completed the third of what he intended to be five acts. [27] The letter also revealed his wariness with respect to the music business, the result of seeing some of his work “used considerably without my permission,” and of being determined to keep his compositions “out of the hands of the music pirates.” He noted that “I have just received evidence that a certain one of my numbers was sold to an ‘Ofay [white] act.’” While 1917 was a busy year for Overstreet the composer, with five known songs, only one, The Jazz Dance , appears in the Library of Congress Catalogue of Copyright Mark Berresford Collection Entries. Another, On The Rockin’ Rosa Lee , was published by Frank Root of Chicago and recorded by two white artists, Jelly Roll Morton recalled hearing Overstreet at a “cutting” Arthur Collins and Byron G. Harlan, later that year; [28] contest in Chicago; while the date is uncertain, it probably perhaps this was the song sold to the “Ofay act” to which happened in 1915 or 1916. “Will Overstreet was a newcomer Overstreet had referred. in Chicago, coming with Billy King’s stock company. He was rated as a great pianist,” Morton wrote later, [15] Harris and Overstreet appeared at the Ivy Theater in substantiating Overstreet’s reputation among musicians, and Newport News, Virginia during December 1917 [29] and his fellow pianists in particular. Overstreet himself had January 1918 [30] . In 1918, Overstreet wrote That Alabama cryptically reported that he “was the originator of the long Jazbo Band , which was published by Will Rositer of Chicago. bass which was introduced in K.C. some years ago.” [16] By May 1919, he and Harris were in Philadelphia, where they Morton, however, was not impressed. “He was carved the appeared at the Standard Theater; [31] Overstreet was still first day he came in town by every decent pianist in town and there in September according to the Defender , which does reduced down to his natural size.” [17] not, however, mention Harris, [32] perhaps a sign that their partnership, both professional and personal, had ended Harris and Overstreet left Billy King’s company after the around this time. Indeed, in August 1920, the Defender summer season and were back at the Grand in early October announced that Overstreet, “leader of the Standard theater 1916, this time appearing in their own show, “Walking The orchestra of Philadelphia,” was to marry Miss Eva Walker “of Dog,” featuring the musical numbers Shima Sha Wabble the Mills & Frisby stock company” on September 1. [33] (Shim-Me-Sha-Wabble) , Don’t Leave Me, Daddy and Seven years later, the Defender reported that “Overstreet and Overstreet’s I Wonder If Your Loving Heart Still Pines for Me , Harris” were part of six “all-star acts” appearing in a Happy Shout and New Dance [18] . Columnist Bob Hayes, in vaudeville show held at the Washington Theater in a tribute to Harris following her death in 1934, noted that she Indianapolis during July 1927; [34] it is likely that this reunion “was at one time regarded as one of the greatest of our was a one-time event or, at best, short-lived. ragtime singers, a mode of singing that preceded the present day blues singers.” [19] For his part, Overstreet’s compositions During 1921 and 1922, Overstreet remained in from this period were very much popular songs and novelty Philadelphia, “still plunking along in the Old Quaker city,” as numbers appropriate to the vaudeville stages on which the he put it in letter to the Defender in 1921 .[35] By December bands he was leading regularly appeared. of that year he was directing the house orchestra at the Dunbar Theater there. [36] It was also during 1921 that he While Harris and Overstreet were at the Grand, another composed his most famous song, There’ll Be Some Changes company, led by Butler “String Beans” May and Baby Made , with fellow vaudevillian, the popular comedian Billy Benbow, were appearing at another Chicago venue, The Higgins, providing the lyrics. It was submitted to the Library Monogram. [20] By mid-October, the String Beans and of Congress on Overstreet’s behalf by Harry Pace of the Pace Benbow company was appearing at the Washington Theatre Phonograph Corp, producer of Black Swan records, on in Indianapolis. Overstreet joined that company for a very September 16, 1921, just after it had been recorded for the brief period and, in addition to playing piano, was first time by Ethel Waters for Black Swan. The song was responsible for composing most of the music. [21] Soon he published by Edward B. Marks Music Co. of New York in was back in Chicago, appearing again at the Grand with 1923, and became a jazz standard, recorded over the Harris in “Walking The Dog.” [22] They also appeared at the following decades by such diverse artists as Josie Miles, Edith Lido theater and Victoria theater in late 1916. [23] Wilson, Eddie Lang, Fats Waller, the Boswell Sisters, Benny Goodman, Eddie Condon, Art Tatum, Oscar Peterson, and Early 1917 found Overstreet directing the orchestras, and Billie Holiday. Harris also appearing, at two benefits held at Chicago’s States Theater. [24] The first was on either February 16 or 23 in Overstreet and Higgins collaborated on another important honour of actor Billy Caldwell, and the next a March 24 composition in 1922, Early Every Morn’ (I Want My Lovin’) . charity event where Overstreet conducted Curtis Mosby’s This song, published by Harry Pace, is well known for the orchestra. After a stint at the Washington Theater in 1924 recordings made by urban blues singers Alberta Hunter Indianapolis in May 1917, [25] Overstreet and Harris and Maggie Jones, with Hunter’s version featuring the cornet

4 of a young Louis Armstrong.

While in Philadelphia, Overstreet renewed his association with Billy King’s company. He admired King’s shows for their energy and humour, and referred to King in a letter to the Defender as the “old wizard.” [37] King’s show “Moonshine,” with Overstreet leading the “Famous Dark Day Orchestra,” appeared during September 1922 in small towns in the east, including Reading, Pennsylvania, Penn Yan, New York, and Batavia, New York. [38]

Overstreet’s success as a songwriter brought him to the attention of the Clarence Williams Publishing Company, which published six of his songs in 1923: I’m Boss of The Shimmie Gang , Shakin’ , Do It , Way down Home upon the Swanee Shore , Play It [or Do It ] A Long Time Papa , and Happy Shout (co-composed by Virginia Liston). Overstreet also wrote arrangements of songs by other composers published by Williams, including Mistreated Blues (by Donald Heywood), King Tut Blues (by Eddie Green), Yodeling Blues (by Clarence Williams) and The Bachelor Blues (by Howard Giels Thomas). [39] Another four Overstreet compositions were published by Williams in 1924: Easy Ridin’ Papa , Mandy O’Mine , Hide and Go Seek Blues and It’s Gonna Take a Long Time Papa . By this time his writing had taken on a decidedly urban blues style. Mark Berresford Collection By late 1923, Overstreet had renewed his association with “show business” and “entertainer’s” lifestyle. Perhaps this theater owner John Trusty Gibson, a prominent African- lifestyle explains a cryptic 1924 item in the Defender that American entrepreneur who owned the North Pole, the New reported Overstreet as saying that “he has forgotten the Standard (also known as the Standard, where Overstreet and ‘goods’ and is now riding the well known water-wagon.” [44] Estelle Harris had appeared in 1919) and the Dunbar Theater The term “water wagon” meant then what “the wagon” came (later renamed the Gibson) in Philadelphia and the New to mean in later years, suggesting that Overstreet was an Dunbar in Pittsburgh. The show, “Swanee River Home,” with alcoholic, and that his loss of the “goods” was an allusion to music by Overstreet, played the New Dunbar for two weeks a deterioration of his skill at the keyboard. Nonetheless, his in December 1923. [40] By January 1924, Overstreet had constant touring continued unabated. returned from Pittsburgh to Philadelphia to direct the orchestra at the Dunbar [41] , and later that year he toured In August 1925, Overstreet was jailed in Hot Springs, with yet another show, “Creole Follies,” which played Arkansas on a charge of grand larceny leveled against him by Chicago’s Grand Theater [42] and Gibson’s New Dunbar [43] a former partner, William Sellman. The Defender reported in September. that the charge was based on Sellman’s discovery that costumes and other items had gone missing after the closing Despite the numerous reports in the African-American press of an un-named touring show in Graysonia, Arkansas, and relating to Overstreet’s activities, there are few indications as before the next opening in Arkadelphia, Arkansas. [45] to his personality. His frequent touring and prolific Overstreet was bailed out by his Philadelphia employer, John songwriting suggest a driven man who fully embraced the T. Gibson; it appears that the charges were soon dropped, as Overstreet continued to tour during the Fall of 1925, now with the S.H. Gray and Virginia Liston Company. Overstreet’s association with Liston, a blues singer, dated back to at least 1923, when the two composed Happy Shout , recorded that year by Liston with Clarence Williams at the piano. The Gray and Liston tour included stops in September 1925 at the Ella B. Moore Theater in Dallas, Texas, [46] and in December in Oklahoma. [47]

By mid-1926, Overstreet had returned to Chicago and was directing a troupe called Wharton’s Snappy Gingers. [48] Dave Peyton, a bandleader and a columnist with the Defender , wrote in July that Overstreet was “spending the summer in Chicago,” and went on to say that he was “recording for the Paramount company.” [49] There are no known recordings by Overstreet for Paramount, however, although at least two of his songs had been recorded by Paramount artists in 1925: Brand New Charleston by clarinetist Jimmie O’Bryant and He Likes It Slow by blues singer Trixie Smith. The latter title is best known for the 1926 version by Butterbeans & Susie, featuring Louis Armstrong. Another of Overstreet’s 1926 compositions, What’s that Thing They Are Shaking , was recorded by Jeanette James for Paramount in 1927.

Later that year Overstreet left Chicago, and by December was in Kansas City. [50] However, he returned to Chicago in Photo: John Wilby 1927 and made his first recordings, accompanying blues singer Elnora Johnson on four titles issued on the Black Patti

5 Photo: John Wilby returned to Chicago in September “looking like a million bucks,” according to the Defender columnist Bob Hayes, [54] and accompanied blues singer Lovin’ Sam Theard in a recording session on September 9th that produced two titles, I’m Goin’ Back and Get Some More and Huggin’ and Kissin’ and Gwine on . He was back in Chicago for a second session with Theard on October 10, completing two more sides, Ain’t Nobody Got Nothin’ and Get it in Front , the latter, a double- entendre song typical of the period, one of his own compositions. His playing, as with the Elnora Johnson sides from two years earlier, is competent but not particularly impressive. By November 1929, he had moved on again to Milwaukee, where he served as music director of a show at the Columbia Theater [55] and taught piano from his own studio. [56]

Despite his constant involvement with music and stage shows dating back to 1910, Overstreet’s first known gig as a sideman with a jazz band occurred only in 1930, when he was hired by Jimmy Wade while the Chicago trumpeter’s band was working in Milwaukee. The Defender ’s Bob Hayes noted in May, with regard to this engagement, that Overstreet had been advised by his doctor that “it was either the water label. [51] All were Overstreet compositions: Blue Black wagon or an eternal rest in some soft spot.” [57] Whether he Bottom Blues , Freakish Papa , I Like that Thing and Red Cap was able to stay on the “water wagon” is unknown, but he Porter Blues . The piano playing on these recordings supports continued working with Wade until late 1930. Jelly Roll Morton’s assessment; it is competent but shows no evidence of the sort of virtuoso player who would frequent Overstreet probably returned to Milwaukee after the Wade “cutting” contests. band appeared between September 25 and October 27, 1930, at the Recreation Music Box Ballroom in Toledo, In January 1928, Overstreet submitted another important Ohio. [58] In 1931 he co-composed two songs, Bound by song to the Library of Congress, A Jazz Holiday , featuring his Love and Fair Weather Baby , the second of which was a melody with words by Walter Melrose. The song was collaboration with one Louis Rich of Milwaukee. Overstreet published by the Melrose Bros. Music Co. Inc. of Chicago, was still in that city in 1932 and residing at 1428 N. Sixth and was recorded first by Benny Goodman’s Boys on January Street, according to the Defender , which noted in January that 23, 1928. It was later a hit for popular bandleader Ted Lewis he was recovering from an operation and in October that he and remains a jazz standard. Overstreet noted the song’s early was appearing with Rankford Holly’s Holly Hocks. [59] success to the Defender ’s Dave Peyton in a letter dated April 7, 1928, and written while travelling with yet another show. By May 1933 he appears to have moved to Detroit. He gave his address at the time as the Lincoln Theater in According to the Defender , he was the orchestra leader for Winston-Salem, North Carolina. [52] David Wiles and his Lucky Girl Company at the Castle Theater and the M.D.L. club. [60] While the Defender did not By the middle of 1929, Overstreet seems to have settled in name the city, Detroit is known to have had venues by those Madison, Wisconsin, where he was reported by the Defender names. He was definitely there by February 1934, playing at to be “quietly resting.” [53] This may have been an attempt to the New Villa café. [61] The Defender ’s Bob Hayes referred deal with his apparent drinking problem by avoiding the in 1934 to a letter from Buddy DeLoach in which the inevitable temptations associated with the touring shows and comedian, then appearing in Windsor, Ontario, mentioned life as a working musician in Chicago. Nonetheless, he seeing Overstreet, among several other entertainers, on a trip 6 across the Detroit River. [62] Also in 1934, a new Overstreet Mister Jelly , 58-59 song, Just Say Hello , with words by J. Franklyn Frye, was 16 “W. Benton Overstreet to Go in Vaudeville Coming Season,” published by Frye-Ryan-Frankel Inc. of Detroit; Frye Indianapolis Freeman , April 24, 1915, 6 submitted another Overstreet song, Tap Dancers on Parade , 17 Jelly Roll Morton, “History of the Elite No. 2” in William Russell Oh, to the Library of Congress after Overstreet’s death. Mister Jelly , 58-59 18 Tony Langston, “Theatrical Review,” Chicago Defender , October 7, After a nomadic life dating back to at least 1910, Benton 1916, 4 Overstreet made what was probably his final move, this time 19 Bob Hayes, “Here and There,” Chicago Defender , August 25, 1934, 8. to New York City, in late 1934 or 1935. His last known Hayes refers to Harris as “widow of Benton Overstreet;” this is erroneous as compositions (aside from Tap Dancers On Parade ), were Overstreet did not die until June 23, 1935. published there by the Clarence Williams Publishing 20 Tony Langston, “Theatrical Review,” Chicago Defender , October 7, Company in 1935: Down Georgee Way , From Now on I’m 1916, 4 Freeman Lovin’ Nobody but You and I’m So Glad I Never Had the 21 “String Beans and Benbow,” Indianapolis , October 14, 1916, 5 Blues . Overstreet died in Manhattan on June 23, 1935. 22 Sylvester Russell, “Chicago Weekly Review,” Indianapolis Freeman , October 14, 1916, 5. Thanks to Mark Miller for his encouragement and assistance 23 Sylvester Russell, “Chicago Weekly Review,” Indianapolis Freeman , with the research for this article. November 25, 1916, 5. 24 “Caldwell Benefit,” Chicago Defender , February 24, 1917, 7 Notes 25 Lynn Abbott and Doug Seroff, The Original Blues (Jackson, University Press of Mississippi 2017), 227 1 “Norma Writes,” Chicago Defender , December 8, 1923, 6 26 “Harris & Overstreet,” Chicago Defender , July 7, 1917, 14 2 Lester A. Walton, “Music and The Stage,” New York Age , November 27 “Overstreet Kicks,” Chicago Defender , July 28, 1917, 8 10, 1910 28 On October 22, 1917 for the Victor Talking Machine Company. 3 Lester A. Walton, “Music and The Stage,” New York Age , September 7, 29 “A Note or Two,” Chicago Defender , December 8, 1917, 4 and 1911 December 22, 1917, 9 4 “W. Benton Overstreet,” Indianapolis Freeman , August 30, 1913 30 “A Note or Two,” Chicago Defender , January 19, 1918, 4 5 “New Additions to the Billy King Stock Company,” Savannah Tribune , 31 “New Song Hit,” Chicago Defender , May 24, 1919, 8 January 31, 1914, 1 32 “A Note or Two,” Chicago Defender , September 20, 1919, 7 6 “W. Benton Overstreet to Go in Vaudeville Coming Season,” 33 “To Wed,” Chicago Defender , August 28, 1920, 4 Indianapolis Freeman , April 24, 1915, 6. This report, ascribed to 34 “Naptown Doings,” Chicago Defender , July 23, 1927, 7 Overstreet himself, states that he was “formerly musical director with Billy 35 “Letters,” Chicago Defender , April 30, 1921, 7 King’s incomparable stock company.” 36 “Lafayette Players,” The Billboard , December 3, 1921, 65 7 “The Lyric Theater, Kansas City, MO. ” Indianapolis Freeman , May 22, 37 “Letters,” Chicago Defender , April 8, 1922, 6 1915, 5 and June 5, 1915, 5. The show opened on May 3, 1915, and will 38 “Moonshine,” Reading Eagle , August 28, 1922; Advertisement, Penn still running at the time of the July 3, 1915 report in the Freeman . Yan Democrat , September 15, 1922, 8; Advertisement, Batavia Times , 8 “Lyric Theater,” Indianapolis Freeman , July 3, 1915 September 16, 1922 9 “Mills & Frisbie,” Indianapolis Freeman , September 4, 1915 39 Library of Congress Catalogue of Copyright Entries, Music , 1923-1924 10 Sylvester Russell, “Chicago Weekly Review,” Indianapolis Freeman , 40 Advertisement, Pittsburgh Courier , December 15, 1923, 12 October 9, 1915, 5 41 “Overstreet”, Chicago Defender , January 26, 1924, 7 11 R.W. Thompson, “The Passing Show in Washington,” Indianapolis 42 “Creole Follies at the Grand”, Chicago Defender , September 13, 1924, Freeman , March 11, 1916, 7 6 12 Sylvester Russell, “Billy King Returns to Grand,” Indianapolis Freeman , 43 “Gibson’s New Dunbar Re-Opens for Season,” Pittsburgh Courier , May 6, 1916, 5. This article gives the title of Overstreet’s composition as September 15, 1924, 12 Alabama Todelo ; however it was submitted to the Library of Congress in 44 “Overstreet”, Chicago Defender , January 26, 1924, 7 1916 as The Alabama Toledo . 45 “Benton Overstreet Out of Jail; Claims False Charge”, Chicago 13 Tony Langston, “Theatrical Review,” Chicago Defender , August 26, Defender , August 15, 1925, 6 1916, 4 46 “A Note or Two,” Chicago Defender , September 5, 1925, 7; “Texas 14 Overstreet’s draft registration card, dated June 5, 1917, states that he was Tattles,” Chicago Defender , September 12, 1925, 6 married. 47 Dave Peyton, “The Musical Bunch,” Chicago Defender , January 2, 15 Jelly Roll Morton, “History of the Elite No. 2” in William Russell Oh, 1926, 7 48 “Shots From the Lake Shore,” Pittsburgh Courier , July 3, 1926 49 Dave Peyton, “The Musical Bunch,” Chicago Defender , July 10, 1926, 7 50 “Wm. Benton Overstreet”, Chicago Defender , December 4, 1926, 5 51 A Black Patti advertisement in the Defender on August 13, 1927 includes a caricature of Johnson and Overstreet. 52 Dave Peyton, “The Musical Bunch,” Chicago Defender , April 7, 1928, 7 53 “Hits and Bits”, Chicago Defender , September 7, 1929, 6 54 Bob Hayes, “Here and There With Bob Hayes,” Chicago Defender , September 14, 1929, 6 55 Bob Hayes, “Here and There With Bob Hayes,” Chicago Defender , November 23, 1929, 6 56 Lynn Abbott and Doug Seroff, The Original Blues (Jackson, University Press of Mississippi 2017), 228 57 Bob Hayes, “Here and There With Bob Hayes,” Chicago Defender , May 24, 1930, 10 58 “Orchestras” and “Hits and Bits,” Chicago Defender , October 25, 1930, 5. The dates for this engagement are included in online database jazztourdatabase.com. 59 “Hits and Bits,” Chicago Defender , January 30, 1932, 5; “Hits and Bits,” Chicago Defender , October 29, 1932, 5 60 “Hits and Bits,” Chicago Defender , May 20, 1933, 5 61 “The Orchestras,” Chicago Defender , February 24, 1934, 8 62 Bob Hayes, “Here and There,” Chicago Defender , September 1, 1934, 9 Photo: Roger Misiewicz 7 Photo: John Wilby Courtesy Brenda Miller

Appendix A W. Benton Overstreet Compositions

Sources:

Library of Congress Catalogue of Copyright Entries, Music, 1910-1945 Various periodicals

Copyright Date or Year Composed Song Title /Remarks Pre-1943 Recordings December 26, 1914 My Place Of Bizness Words and music, W. Benton Overstreet, Mobile, Ala. May 20, 1915 (The) Grocery Man Words and music, W. Benton Overstreet, Kansas City, Mo. 1915 I Am Going Home Words and music, W. Benton Overstreet. Not found in L of C. March 9, 1916 (The) Alabama Toledo Words and music, W. Benton Overstreet, Kansas City, Mo. March 9, 1916 To The Front For The Good Old U.S.A. Words by Estelle Harris. Music by W. Benton Overstreet, Kansas City, Mo. November 25, 1916 I Wonder If Your Loving Heart Still Pines For Me Words by Pasquale Forte, music by W. Benton Overstreet and Jas. Altiere. Published by Royal Music Co., Chicago. Used in show “A Mother-In-Law’s Disposition” 1916 Hello Everybody Not found in L of C. See Freeman , May 26/16. Used in show “The Last Rehearsal” 1916 If I Said I Would Marry You, I Must Have Been Out of My Head Not found in L of C. See Abbott & Seroff, p. 223. Used in show “The Undertaker’s Daughter” 1916 A Mother-In-Law’s Disposition Not found in L of C. See Defender , Aug 26/16. Co-composed by Billy King. Used in show “A Mother-In-Law’s Disposition” 1916 Now I Am A Mason Not found in L of C. See Chicago Defender , Aug 26/16. Co-composed by Billy King. Used in show “Now I Am A Mason” 1917 On The Rockin’ Rosa Lee Words and music by W. Benton Overstreet. Published by Frank Root, Chicago. Not found in L of C. Collins and Harlan (1917) 1917 The Alabama Levi Glide See Defender, July 28/17. Co-composed by Estella Harris 1917 Loving Man See Defender , July 28/17. Co-composed by Estella Harris 1917 Here Comes The Boat From New Orleans See Defender , July 28/17. Co-composed by Estella Harris May 14, 1917 (The) Jazz Dance (The Little Jazz Dance Ev’rybodys Crazy ‘Bout) Words and music, W. Benton Overstreet. Published by Will Rositer, Chicago. Blake’s Jazzone Orch (1917) W.C. Handy (1917) Monday Morning Blues, recorded by the Norfolk Jazz Quartet (OK 4345) and Mary Stafford (Col A3511) and credited on both to the former, uses both the melody and lyrics of the chorus of The Jazz Dance.

8 Dec 4, 1918 That Alabama Jazbo Band Words and melody by W. Benton Overstreet. Published by Will Rositer, Chicago. Sept 16, 1921 There’ll Be Some Changes Made Words by William (Billy) Higgins, melody by Benton Overstreet. Arranged by Fletcher Hamilton Henderson, Jr. Filed by Harry Herbert Pace, NY; Published by Edward B. Marks Music Co., NY in 1923 Ethel Waters (1921) Amanda Randolph (1923) Josie Miles (1924) Ben Selvin (1924) Ted Lewis (1924) Edith Wilson (1925) Red McKenzie (1927) Chicago Rhythm Kings (1928) Ed Lang (1928) Eddie & Sugar Lou (1929) Boswell Sisters (1932) Arthur Briggs (1935) Fats Waller (1935) Benny Carter (1936) Ocie Stockard (1937) Pee Wee Russell (1938) Mildred Bailey (1939) Bunny Berigan (1939) Eddie Condon (1939) Benny Goodman (1939) Clarence Profit (1939) Chick Bullock (1941) Mark Berresford Collection Una Mae Carlisle (1941) Gene Krupa (1941) Oct 18, 1921 Jazbo Johnson’ Syncopating Band Words and music by W. Benton Overstreet. Published by Handy Bros. Music Co. Inc., NY

July 26, 1922 Early Every Morn’ (I Want My Lovin’) Words by Billie Higgins, melody by W. Benton Overstreet. Published by Harry H. Pace, NY Katherine Handy (1922) Etta Mooney (1922) Alberta Hunter (1924) Maggie Jones (1924) March 26, 1923 I’m Boss Of The Shimmie Gang Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY March 26, 1923 Shakin’ Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY April 27, 1923 Do It Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY July 9, 1923 When Elder Greene Does The Shimmey (sic) With Sister Brown Words and melody by W. Benton Overstreet, arranged by George R. Holman. Published by Fred Fisher Inc., NY July 13, 1923 Way Down Home Upon The Swanee Shore Words and music by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY

September 15, 1923 Georgia Blues (Lovesick Moan) Words by Billy Higgins, music by W. Benton Overstreet. Published by Edward B. Marks Music Co., NY Ethel Waters (1922) Clara Smith (1923) Arkansas Travelers (1924) October 4, 1923 Play It A Long Time Papa (Blues) [Do It A Long Time Papa] Words and music by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY. Maggie Jones (1923)

Clara Smith (1923) Eva Taylor (1923) December 17, 1923 Happy Shout Words and melody by Virginia Liston and W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY Virginia Liston (1923) January 14, 1924 Easy Ridin’ Papa Words by Dorothy Ling, music by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY 9 January 14, 1924 Mandy O’ Mine Words by Dorothy Ling, music by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY March 12, 1924 Hide And Go Seek Blues Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY March 12, 1924 It’s Gonna Take A Long Time Papa Words and melody by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY March 20, 1924 Plug Ugly, The Worst Lookin’ Man In Town Words and music by Benton Overstreet and George Baquet. Published by Rainbow Music Corp., NY Hazel Meyers (1924) August 12, 1924 Take It Easy Words and melody by W. Benton Overstreet. Published by Joe Davis Music Co., NY. Copyrighted again on Oct 19, 1925 with words and music by Joe Davis and W. Benton Overstreet, published by Triangle Music Pub. Co. Inc., NY. Monette Moore (1925) January 24, 1925 I’m (Just) A Cabaret Nightingale Words and melody by Benton Overstreet. Published by Triangle Music Pub. Co. Inc., NY Josie Miles (1924) March 23, 1925 Brand New Charleston Words and melody by Benton W. Overstreet. Published by Chicago Music Pub. Co., Chicago. Jimmie O’Bryant (1925) August 11, 1926 Any Kinda Blues Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. August 11, 1926 I’ve Just Found Out How To Keep My Man Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. August 11, 1926 What’s That Thing They Are Shaking Words and melody by Benton W. Overstreet. Published by Chicago Music Pub. Co., Chicago. Jeanette James (1927) ? Papa Charlie Jackson (1934) August 13, 1926 He Likes It Slow (My Daddy Likes It Slow) Words and melody by William Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. Trixie Smith (1925) Butterbeans and Susie (1926) August 23, 1926 Got Nobody Blues Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. August 23, 1926 South Carolina Blues Words and melody by W. Benton Overstreet. Published by Consolidated Music Pub. House, Chicago. December 1, 1927 Blue Black Bottom Blues Words and melody by Benton Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora Johnson (1927) with Overstreet-p December 1, 1927 Freakish Papa Words and melody by Benton W. Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora Johnson (1927) with Overstreet-p December 1, 1927 I Like That Thing Words and melody by Benton W. Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora Johnson (1927) with Overstreet-p December 1, 1927 Red Cap Porter Blues Words by Elnora Johnson, melody by Benton Overstreet. Published by State Street Music Pub. Co. Inc, Chicago. Elnora Johnson (1927) with Overstreet-p

January 30, 1928 A Jazz Holiday Words by Walter Melrose, music by W. Benton Overstreet. Arranged by Mel Stitzel. Published by Melrose Bros. Music Co. Inc., Chicago. Benny Goodman (1928) Joe Candullo (1928 Ted Lewis (1928) Abe Lyman (1928) First recording is by Goodman’s Boys on January 23, 1928 March 19, 1930 Huggin’ And Kissin’ And Gwine On Words and melody by Sam Theard. Published by State Street Music Pub. Co. Inc, Chicago. Sam Theard (1929) with Overstreet-p. The composer credit on Brunswick 7117 includes both Theard and Overstreet; however, the Library of Congress entry does not mention Overstreet. March 19, 1930 Get It In Front Words and melody by Benton Overstreet, arranged by James Alston. Published by State Street Music Pub. Co. Inc, Chicago. Sam Theard (1929) with Overstreet-p October 17, 1931 Bound By Love Words and melody by William Austin, Louis Rich (Milwaukee) and Benton Overstreet. Dec 28, 1931 Fair Weather Baby Words and melody by William Austin, Louis Rich (Milwaukee) and Benton Overstreet. Dec 12, 1934 Just Say Hello Words by J. Franklyn Frye, melody by Benton Overstreet. Published by Frye-Ryan-Frankel Inc., Detroit. Apr 19, 1935 Down Georgee Way Words and melody by Benton Overstreet. Published by Clarence Williams Pub. Co., NY Apr 19, 1935 From Now On I’m Lovin’ Nobody But You Words and melody by Benton Overstreet. Published by Clarence Williams Pub. Co., NY Apr 19, 1935 I’m So Glad I Never Had The Blues Words and melody by Benton Overstreet. Published by Clarence Williams Pub. Co., NY Feb 20, 1936 Tap Dancers On Parade Music by Benton Overstreet. Unpublished, John Franklin Frye, Detroit.

10 Appendix B W. Benton Overstreet Arrangements

Source:

Library of Congress Catalogue of Copyright Entries, Music, 1910-1945

Copyright Date Song Title Remarks Feb 26, 1917 Midnight Dreams Music by Leroy Edwards (Chicago), arranged by Benton Overstreet. Mar 10, 1917 I Don’t Want That Big Boy Words and music by Porter P. Grainger (Chicago), arranged by W. Benton Overstreet. May 23, 1917 When The Boys Of Uncle Sam Come Home From War Words and music by Porter P. Grainger (Chicago), arranged by W. Benton Overstreet June 23, 1917 That Jazz Melody Words and music by Carrie Webster Bell (Chicago), arranged by W. Benton Overstreet. Jan 2, 1920 You Can’t Keep A Good Man Down Words and music by Perry Bradford (New York), arranged by Benton Overstreet. Jan 26, 1920 You Can’t Keep A Good Girl Down Words and music by Perry Bradford (New York), arranged by Benton Overstreet. March 30, 1923 King Tut Blues Words and melody by Eddie Green, arranged by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY March 31, 1923 Yodeling Blues Words and melody by Clarence Williams, arranged by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY July 3, 1923 Mistreated Blues Words and music by Donald Heywood, arranged by Benton Overstreet. Published by Clarence Williams Pub. Co., NY May 10, 1924 (The) Bachelor Blues Words and melody by Howard Giels Thomas (Philadelphia), arranged by W. Benton Overstreet. Published by Clarence Williams Pub. Co., NY November 10, 1924 How You Think I Am Going To Miss You Words and melody by Hezekiah Jenkins (Washington), arranged by W. Benton Overstreet.

Appendix C Known Recordings of W. Benton Overstreet

Elnora Johnson

Elnora Johnson (v), accompanied by W. Benton Overstreet (p). Chicago, c. July 13, 1927 12921 Blue Black Bottom Blues BP 8039 12922 Red Cap Porter Blues BP 8039

Chicago, July, 1927 Freakish Papa BP 8033 85390-A I Like That Thing (Called The Black Bottom) BP 8033

Lovin’ Sam From Down In ‘Bam (Sam Theard)

Sam Theard (v), accompanied by W. Benton Overstreet (p). Chicago, September 9, 1929 C-4400 I’m Goin’ Back And Get Some More Brunswick 7117 C-4401 Huggin’ And Kissin’ And Gwine On Brunswick 7117

Chicago, October 10, 1929 C-4635 Ain’t Nobody Got Nothin’ Brunswick 7131 C-4636 Get It In Front Brunswick 7131

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