It's still Wednesday, actually--but not for long. And Lady Domi needs some wake-up music. Hope these haven't arrived too late. All four selections are from 78s I've been working on. It's hard to get used to that huge recording horn, though--singing into it is such a weird experience. And I'm nearly deaf from standing in front of the piano.
No, actually, I've been sound-restoring 78s, not making them (Fooled you, didn't I?). Lots of clicks, pops, and BOOMS to splice out, but I made it through in one piece--in distinct contrast to the sliced-and-diced files. You'll hear a few bumps and pops here and there, but they are but a faint remnant of the noises I rid the world of.
Wait a minute--there are five selections. The four, plus a file I didn't put up last time. That leftover file is called Prince of Wails, and it's the best version thereof I've ever heard. From a 1924 78 that someone wore to the core from repeated plays, but I got a nice lo-to-medium-fi file, regardless:
Prince of Wails (Elmer Schoebel), Ralph Williams and His Rainbo Orchestra, 1924. From Victor 78.
May the next copy I find be in M- condition. What a great dance side.
This next 78, by the great Earl Fuller Orchestra, plays much better than it looks. Which is good, because it looks like hell. Yet, in spite of some surface noise, the music rings through bright and clear. Interestingly, this is more jazzy than some of the Earl Fuller sides labeled as jazz:
Down Home Rag (Wilbur Sweatman), Earl Fuller's Rector Novelty Orchestra, 1918. From Columbia 78.
Here's the flip, which the label lists as I Ain't Got Nobody Much. I don't know what's up with the Much in the title--as far as I know this is I Ain't Got Nobody by Roger Graham and Spencer Williams. (No, wait--my source lists an additional composer.) Oh, heck. Don't ask me. It's terrific; that's all that matters....
I Ain't Got Nobody Much (Graham-Williams), Earl Fuller's Rector Novelty Orchestra, 1917. From Columbia 78.
A quick Google check suggests that I Ain't Got Nobody and I Ain't Got Nobody Much are/is the same tune. Well, I'm glad I solved that little mystery. I'm glad we didn't have to wait until the cows came home....
Wait Till the Cows Come Home, Harold Veo's Orchestra, 1917. From Victor 78.
A very nice record, and nice to have, as Harold Veo didn't make too many sides. He did a couple of 1917 sides that are very jazzy in their own way--to my ears, they sound like The Original Dixieland Jazz Band played at 45 RPM. I'll have to post those sometime.
Lastly, here's the Van Eps Trio with a cool performance of Lee S. Roberts Ching Chong, which we heard not too long ago by Prince's Dance Orchestra. Be happy you don't have to endure the pops and booms (like your poor sound restorationist):
Ching Chong (One-Step) (Lee S. Roberts), Van Eps Trio, 1917. From Victor 78.
Brian Rust tells us that the Van Eps Trio consisted of: Fred Van Eps (banjo), Nathan Glantz (alto sax), and Frank Banta (piano). A very entertaining team.
Lee
3 comments:
Listening to the Van Eps Trio with the headphones while the blackbirds are chirping in the background is a lovely experience...
Thank you!
Lee,
Was Fred Van Eps the father--or any relative--of jazz guitarist George Van Eps? Listening to this record, I kept thinking the last name is more than coincidence. If so, why not post some father-and-son 78s. There are lots of George's golden moments preserved on record. Anyway, great selections as of late. Your painstaking restorations make me realize there was always high fidelity at every stage of recording's development.
David,
Fred is indeed George's father, but my disco makes no mention of father & son recordings.
But if such a recording exists, I know that Lee will find it!
Have a nice day,
Lady Domi.
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