” A Monday Date” – Earl Hines solo (1928)

Q.R.S.; Long Island City, December 8, 1928: piano solo.

I don’t know anything specific about the Q.R.S record label but according to them, their “PRODUCTS are Better.”

I agree, that if you have Earl Hines on your label, your product is better!

Link to a 10 minute YouTube video clip with Earl Hines explaining his influences and demonstrating his signature “trumpet style” here. I think the clip’s been pulled from an episode of “Jazz Casual.” If you enjoy the piano style of Earl Hines, it’s definitely worth watching and hearing him speak about early jazz and his development.


“Louisiana” – Paul Whiteman And His Orchestra w/Bix (1928)

Victor; New York, April 23, 1928: Paul Whiteman-dir/Henry Busse-Charlie Margulis-Eddie Pinter-t/Bix Beiderbecke-c/Jack Fulton-tb-v/Boyce Cullen-Wilbur Hall-Bill Rank-tb/Izzy Friedman-cl-as-ts/Rube Crozier-cl-ss-as-bsn/Chester Hazlett-cl-bcl-ss-as/Frank Trumbauer-Cm-ss/Charles Strickfaden-cl-as-ts-bar/Red Mayer-cl-ts/Kurt Dieterle-Mischa Russell-Mario Perry-Matt Malneck-John Bowman-vn/Charles Gaylord-vn-v/Roy Bargy-Lennie Hayton-p/Mike Pingitore-bj/Min Leibrook-bb-bsx/Mike Trafficante-b/Harold McDonald-d/Bill Challis-d.

Bing Crosby-Jack Fulton-Charles Gaylord-Austin Young-vocals.

Arranged by Bill Challis. Worked into shape by Paul Whiteman.

I’ve never been to Louisiana and maybe the song is really about a girl anyway. But even after 50 listenings or so, I still find myself getting lost in the nuances and details of the arrangement.

Everyone in Whiteman’s band had to play their part straight except for Bix. Paul Whiteman would give him eight bars or so and let him be creative. Bix couldn’t read or write music and even found it difficult playing the same cornet riff twice with the same emotion and tambour

Many of the members in the orchestra, especially the established ones, resented Whiteman’s “favoritism” in allowing the young Bix such creative freedom and as a result, Bix never really was able to fit in fully with the other members of the ensemble.

This should have marked the apex of his career, as there was no greater honor at the time than to be asked to join Paul Whiteman’s orchestra.

But perhaps joining Whiteman’s orchestra, and confronting all of the challenges and demands that came with a touring, entertaining and professional organization, proved detrimental to his psychological and physical health–as seen with his decline into his alcoholism, of which he ultimately died from, three years later. Rejection and isolation seem to be a recurring themes in the story of Bix. 

“There Ain’t No Sweet Man That’s Worth The Salt Of My Tears” – Paul Whiteman And His Orchestra (1928)

Victor; Camden, New Jersey, February 8, 1928: Charles Margulis, Henry Busse-t/Bix Beiderbecke-c/Boyce Cullen, Wilbur Hall, Bill Rank, Jack Fulton, tb/Jimmy Dorsey, Hal McLean-cl-as/Chet Hazlett-reeds/Charles Strickfaden-cl-bar/Rube Crozier-bassoon-as-flute/Frank Trumbauer-bassoon-c mel/Kurt Dieterle, Mischa Russell, Mario Perry, Matty Malneck, Charles Gaylord, John Bowman-vn/Harry Perrella, Roy Bargy-p/Mile Trafficante-bb/Mike Pingitore-bj/Steve Brown-sb/Hal McDonald-d/Bing Crosby with Jack Fulton, Austin Young, Charles Gaylord, Al Rinker, Harry Barris-vocal.

Bix Beiderbeck and Frankie Trumbauer paying their bills in Paul Whiteman’s “Jazz Orchestra.”


“South” – Bennie Moten’s Kansas City Orchestra (1928)

Victor; Camden, NJ, September 7, 1928: Bennie Moten-p-dir;Ed Lewis-Booker Washington-c/Thamon Hayes-tb/Harlan Leonard-cl-ss-as/Jack Washington-cl-as-bar/Woody Walder-cl-ts/Leroy Berry-bj/Vernon Page-bb/Willie McWashington-d.

Kansas City jazz, recorded in New Jersey.

Bennie Moten died, in 1935, after an unsuccessful tonsillectomy procedure. Soon after, Count Basie left the Bennie Moten’s Kansas City Orchestra to start his own band, taking many of his colleagues from the Moten band with him.




“Milenberg Joys” – McKinney’s Cotton Pickers (1928)

Victor; Chicago, July 11, 1928: Don Redman-cl-as-bar-a-dir/ John Nesbitt-t/Langston Curl-t/Claude Jones-tb/Milton Senior-cl-as/George Thomas-cl-ts/Prince Robinson-cl-ts/Todd Rhodes-p-cel/Dave Wilborn-bj-g/Ralph Escudero-bb/Cuba Austin-d.

“According to Jelly Roll Morton, Walter Melrose (his publisher) ‘inserted words to some of my hit tunes without my knowledge or permission’ (including Milenberg Joys). This sheet music was produced by Melrose Bros. of Chicago.

In 1923, the New Orleans Rhythm Kings recorded Milenberg Joys. The band included Paul Mares, George Brunies, Jelly Roll Morton, and Leon Rappolo. ‘Milenberg’ was the common New Orleans pronunciation for Milneburg. Jelly Roll Morton, although given credit for the composition, claimed only to have written the introduction.”  —www.websitesneworleans.com

A Youtube repost.