CHOCOLATE KIDDIES
The show that brought jazz to Europe
and Russia in 1925
by Bjrn Englund
Fifty years ago a Negro musical entitled
Chocolate Kiddies created something of a
sensation in Europe and Russia. This musical
(which was never performed in the U.S.) is
important for a number of reasons:
introduced Duke Ellington's music, although
his name meant nothing to Europeans at
that time, of course; it gave Europe its first
glimpse of what a real jazz band sounded
like (as opposed to the "symphonic" sounds
of the Will Marion Cook and Paul Whiteman
orchestras, who had toured the Continent in
1919 and 1923 respectively); and finally
created a demand for Negro shows which led
directly to the arrival of the equally famous
Reuue Negre in Paris later that same year
with Josephine Baker, Sidrrey Bechet and
others.
In his autobiogmphyl , Duke Ellington
tells how he came to write this show'
Appar_ently he met lyricist Jo Tlent (L892-
195q2 one day on Broadway, and that
same night they wrote the show. Actually'
one might wonder how many songs Ellington
did write, for as we shall see later, the bulk
of the show as it appeared was made up of
tunes by other composers and Ellington
may, in fact, have written only four songs.
At that time he was still only a "song-writet''
rather than "composer", and the orchestrat-
ion for the whole sho-w was by Arthur J'
Johnston (1898-1954)" and the book by
Arthur S. Lyons, who also directed the show.
Exactly when the work was written is
impossible to determine, but it was some-
time in the autumn of 1924. Around
November Trent recorded one of the songs
with Ellington at the pianoa. Ellingion's
piano/nickelodeon roll of Jig WaIk may also
be from this periods.
Publisher Jack Robbins purchased the
rights to the score, but only brought out
three tunes: Jig Walh, Jim Dandy and With
It You. They appeared in L925, but whether
before or after the European tour is not
known to this writer.
One might wonder why Chocolate
Kiddies was not produced on Broadway or
even at some Harlem theatre, but we must
bear in mind that by late 1924 the novelty
of the Negro musical had worn thin and they
it no longer drew the crowds.^(Marshall Stearns
has discussed this declinel) Between 1921
and L924 ten Negro musicals had been
presented on Broadway, but after the
sensational run of Shuffle Along (premiere'
21 May L92l;504 performances), there was
just a single one which reached more than
100 performances, this being .Llzq which
enjoyed 169 performances in the 1922-23
season. It is therefore understandable if the
producers thought twice before backing
Chocolate Kiddies by an almost unknown
composer. In fact the only Negro musical to
open in 1925 was Freddy Johnson's Luchy
Sambo, which had a dismal run of onlY
ser;en performances.
The decision to Present the show in
Europe was to be the turning point in the
career of pianist-bandleader Sam Wooding
(b. 1895). It is probably true to say that had
his band not been chosen to accompany the
the revue, his name would be little more
than a footnote in the history ofjazz.
So deep was the impression the Wooding
band made, that he continued to bill his
band as the "Chocolate Kiddies Orchestra"
right up to the end of his European tours in
CHOCOLATE KIDDIES
November, 1931. Wooding had brought his
orchestra to the Club Alabam on 13 July'
L924, replacing Fletcher Henderson'. The
personnel at this time was: Bobby Martin,
Maceo White, tpts; TeRoy Williams, tbn;
Willie Lewis, Garvin Bushell, altos; Gene
Sedric, ten; Sam Wooding, pno/ldr; John
Mitchell. bio; John Warren, bbs; George
Howe, dms8. When the orchestra was con'
tracted for the Chocolate Kiddies show,
Wooding apparently felt he tacked a first-
class hot soloist, so he sent for Tommy
Ladnier (then with King Oliver in Chicago)
in April 1925. Ladnier arrived and was
successfully auditioned, but apparently was
not permitted to play with the Wooding
band in New York because of the usual
union restrictions, so perhaps he worked on
non-union "gigs" until the show was ready
to leave for Europe' The brass section was
further strengthened by the replacement of
Maceo Whit Maceo Edwards and of
by
TeRoy Williams (who joined the Elmer
Snowden orchestra) by Herb Flemming'
The troupe consisted of 32 of the best
singers ancl dancers plus Wooding's 11-piece
orchestra. The headliners were the dancers
Rufus Greenlee and Thadeus Drayton, who
have a whole chapter devoted to them in
Stearns' booklo. Most of the other names
will mean nothing to the present day record
collector, except Adelaide Hall. In an article
on famous cabaret singer Mabel Mercer",
there is a photo of her in a blonde wig
purporting to be from this show, but is
doubtful. Alihough Herb Flemming" "this
and
others say the show opened in Berlin, it is
now known, thanks to Bernhard Behncke's
article in Storyuille 64 that this is incorrect'
and I wilt pass over this period and move on
to Berlin where the show opened at the
Admiralspalast on Monday, May 25th and
were a Eeat success. The opening had been
originally announced for the 26th," and
but
posters to this effect had been printed'",
it *ut actually moved back a day. I've
checked with Berlin newspape$ of the time'
and a review appeared in the Berliner Tage'
posl dated May 26ih. Soon all Berlin was
bharleston crazy and the show ran for 65
45
performances, the closing show being on the
20th July. The cast had worked seven nights
a week, 8.30 to 11.30 plus a Sunday matinee
between 3.30 and 6.30.
This seems an appropriate point at which
to give a run-down of what the show
comprised as performed in Sweden, and it
will be seen that there are considerable
differences from that given in Hamburg, and
possibly from that as originally conceived' I
have taken my information mainly from the
Swedish programme and it will be seen that
several titles are given only in Swedish, and
these I have had to translate back into
English, which may have led to some errors.
Ii will also be seen that several titles have
not been identified and it is not always clear
whether a particular number is sung or
danced.
The following list gives only the tune
tittes; for performers see the illustration of
the programme.
Act I. Night life in a Negro cafe in Harfem in
New York: Deacon Jazz (Ellington-Trent);
The Red Rose (no details); Street Singers (d':.
o); Apache Dance (d:o\; Two HaPPY BoYs
(d: o); Mrssrss iPPi PeoPIe (d:o).
ct'II. Asymphonic iazz concert by the
Sam Wooding orchestra at the Club Alabam
in New Yorli: 1. Medley Of American Hits
(no details); 2. Indinn Loue CalI (Rudolf
Friml); 3. Shanghai Shuffle (Gene Rodemich'
Larry'Conley); 4. Some Other Day, S-ome
Othr Girt (no details); 5. St' Louis Blues
(Handy).
Act III. Scene 1: A plantation in the South,
where the black people sing their songs and
dance their dances and joke in the sunset.
Scene 2: Back in Harlem in New York: Old
Blach Joe (Stephen Foster); Joshua Fit The
Battle Of Jericho (ttad-); Heauen, Heauen (d:
o); Swanee Riuer (Stephen Foster); '?ssence
bance" (no details); Farewell To The Plant'
ation (d:o\; Grab Your Grrl (d: o); Blach Dtto
(d:o); Jungle Nights In Dixie (d:o); Jim.
bany (Ellington-Trent); "Sfer Henrietta"
(no details); Loue Is Just A Dream (d:o)i
Unspecified Negro Spirituals; Chocolate
Kiddies Parade (d:o); (Loue Is Just A Wish)
With You (Ellington-Trent\; If I Cannot Get
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A KT I E AO LAGET
t"sb.'d av vrldtns fdrnnsta
Op.r.hb!.t
orksttr' NOFDISKA POLYPHON KTIEBOL. :-: STOCKHOLM

Pevytcaterrr i Girku- ALLECRITTA ANDERSON

vroL^ BRANCI{ .. ..
PF:ARI- .. ....
AROVI{
MARIE AUSHETL , ..,....
PAOEDlll THlt.rla .. ... .
GREEN .
D?r 3m.ritrnrl" NeE.. Trlpro Lin Nc{ Yo'L o'd rcqn aF:RNTCE -,.. ...
MILES Prcbl6.l dans*r !rr" N.* Yo.k3
RITA VALKER .....,
"Chocolate Kiddies" D"l'
IIiELTIA VATKINS,,
MAIItE SAVOY.........
JT]SSIE CRAWFORD ..
hzr\,I'Lre,"-;1 I t &'.;''*' 4'rntr 5 /von\ i1"''[ Jo' /"n'o'\ ROBBE VINCENT , .....
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WILLY ROBBINS .,, . .,.r.'I'u'
JESS{E CR{VFORD ,, . Ir. ,Phntrhon. Th.rl'., N.* Yorl. dri{er lillLrLa"a;ll"';
lil! Sydrlrt"'nx
\RABEIL'\ FIII,D .. i. ,Phnlalion. Thertr., N.! York

nyhctcrni ,rn Amcrila och lonLi..rr'n

Berns' Saloner
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Nordiska Musi kfrlaget dcn bctmdr rJ9tcnrtkapellmistron

STOC(HOLM cTEBoRc
Sdr: nrmng.lan 45
MALM
Cu.l Aa Torg {3 JOHA NIT S TR A T/S S
Above & rlgbt: Six pages from the programme of the show as performed !r Stockholm'
The Girl I Loue (no details); Jig Walk Berlin premiere, wooding.vas offeredl
4a
iniiington-rtent); Rabbit Hop'(no
recording contract with the Vox company'-' details).
The following tunes were also used in the Four tunes were recorded and' although
,t o*, Uut hw, or in which act is not only one of these was listed in the pro'
lnt*n, g&oo (itris may Ue Whoo, Tillie, gramme, one might assume that all were, or
had been part of the show (but see my
iake your f;m (unf<nwn
'(James composer);
Old
iashioned Loue P. Johnson-Ceeil comments later on revisions)' The- tunes
Mack, from the 1928 **i Runnin'Wild); were O Katharino, ShanghaiShuffle, By The
Waters of Minnetonka and Alabamy Bound,
Swing Low Sweet Chariof (trad.).
-itt. hve been the
The greatest hit seems'to and two versions were cut of each; a ten
Charleston, danced to iun" of Jig WaIk inch (25cm) and a twelve inch (30cm)' The
in the third act. Generally, the dancers were larger disc, of course, gave an extension of
three minutes to
more praised than ilr."'.i"gr", and all pla-yi1g time lrom roughly
agreed tirat the tnlo*;t greatest ioughly five, but on the only tune of which
reviewers
asset was the Wooding otchestra.
td1.r.u., I hive heard both versions (Alabamy Bound'
the show went, it **'t*i.*"0 at length by a \924 Ray Henderson tune, by the way),
,,serious,, music critics, uruuffy favou"rably. the extra playing time is not used to extend
Of course, they all .;i; tit. ut. t the piece by an additional chorus' Instead'
ielf-same arrangement as on the three
i*riA-ip Wugn, ttreme such rui the Song the
ToTheEueningsrorfrom Tannhtiuserinlhe minute disc is used, but played at a*much
overture, but to u 1nun lrr.v ugreed
-music,that this slower tempo. In the-case of Alabamy Bound
was a vital anO -i.r"a"vi
stimuialig albeit neither tempo sounds "right" - the ten-inch
;*ila * u*t*our". after the version too fast, the twelve-inch too slow' so
48
perhaps the tempo used in the show fell
in between these, The only good soloist _i.,s
Tommy Ladnier, whose inspired cornetro
chorus on Shanghai Shuffle (with Flemming
on the bridge) is the high-point of the
session. The reed section (which was stated
to on a total of 25 woodwind
double
is certainly fluid, but not
instrumentsl6)
much more so than good contemporary
dance orchestras such as Coon-Sanders, and
solo passages are disappointing. Sedric's slap-
tongueing and the "laughing clarinet"
passages (possibly by the same musieian)
give these discs a very much "dated" sound
- in the negative sense of the word. Nothing
is heard of the drummer. and the banio
performs adequately, if no morel?. The tuba
pla;rer is good for the period, but of course
the readers of this magazine have been
"spoiled" by the "magical sounds" of Cyrus
St. Clair, and will find this work to be
several classes below his. The only "modem"
or perhaps we should say "timeless"
musician, apart from Ladnier, seems to be
trombonist Herb Flemming, but he is
featured very little. I don't know if it has
been established exactly which reedman
played what; according to Rust, Bushell
played clarinet, alto and oboe, Lewis alto
and baritone saxes and Sedric tenor sax and
clarinet. Yet the photo shows lhat all three
men doubled on clarinet, bass clarinet, oboe
and soprano sax. Sedric also has a bass sax
on his stand, Lewis a baritone and Bushell a
bassoon. After the straight coqqet solo in By
The Waters Of Minnetoncre there is a
16-bar solo which my ears tell me is by
bassoon, hence Bushell. In _t-he earlier
lvJui
ensembles and in a solo passagen after this
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STORYVILLE
bassoon solo an oboe can be heard, but
whether Bushell doubled bassoon and. oboe
on this tune or whether one of the other
men played the latter instrument, I cannot
say, The photo also shows that Martin and
Edwards doubled on mellophones, but they
do not appear to have been used on the
records. Nor can I hear the soprano, baritone
and bass saxes. All in all, it must be said that
the session is disappointing. It's a pity they
were not allowed to record some of the
better tunes from the show such as Jig Walh
and Sf. Louis Blues.
As early as the end of June, the adverts
in the daily press f.or Chocolate Kiddies
were stating that the programme was
"entirely new". I have only a copy of the
Swedish programme, so I am unable to say
how often revisions were made or what their
effect might have been, and it may be that
the troupe were back to their original score
by the time they reached Scandinavia.
After conquering Berlin, the show
returnedto Hamburg, where they played
through most of August. They then moved
to Stockholm, where they opened at the
Cirkus theatre on August 25th and were
such a success that their stay was extended
until the 13th of September, during which
time they gave a total of 21 performances.
There was great press coverage and Margareta
Sims was even "cover $rl" on an upper-class
Swedish weekly of. the Vanity Fon type, and
a local popular song-writer was even moved
write a song entitled Chocolate Kiddies.
Whilst playing in Stoekholm they were
approached by te manager of the Scala
theatre in Copenhagen who offered them a
ten-day contract to appear at his theatre.
|
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O BI LT I L L B E I1 R
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,fu
TUDOR SEDAN
A14ERIKANSKA GUMMI AKTIEBOLAGET
Sroxjrl JoR16arNC

Obs.: trlcLhn I och II r[en .nd,r/ 3 frin uppchdLl. tr. AKTE^_.

CLUB ALABAil NIW
En symlonrk ir!.kois.il v Srn woodi0!i orlesl.r pl Club Al:bm i Srd Voodin! n.d od'estcr'
1- trl.dl.y Ahdk.n Hik, 4. Son olh.r day ,!tri lh.r lirl
2 Ind'at Loee C|l 5. St. Loui! Btuca.
i. Ta61ir En pirli(c i Sydntriern, dr Iollcl !iun(.r tinr vLor och
dirsrr sintr drnr.. dr dc sLrrlln !ch rkntr i,oln.d{lnl.n.
2 Trbli. ,D.lrr itc.i(en i Nev Yorks Had.il

I. AKTEN III, AKTEN.

"llARLEil CAFt' I a Tabln
irll tr i .ll Ne6.rkal i N.w York ,
Plantoe.n e:,1
.u"m'c ,i"rrq Jrc ' A ' ' ' P- '
Adc'lide Hall o.' 'Clocolle Kiddi.r, '1
LOrie'nJl N?aer",- .Old blact Joe'l
::..:; t"np'\d. brld ,,d J?riho. .. I el'' DD'. r' ?1" i
M!r(arci. Siil., Addaidt Hall, thdnr 1Ned.o.!Dnlual ori('n:ll
Vilkini & B.rnlc. Mil.., .r.i.i,ti * .,.. . .. . .. A/' , (r'1, r"'ne
BoFFr och Bak Coinr. IN.gro spLilual onginllJ
Riv.r" . .. ,. ..
|-ircinGE]'i;RiJkiffin]-l "Slanee betnd ne{.cAodl
lGanmrl
del"idc llrll Bobb! Coin5 llr.jv!
. . Arthur Robbin! och Chlck Hoa.Y. I r...rr.* r.* I
D.'., Ih.(irct 5im5, Brbc CoiD. och
... . Evelyn Doy., AdJrid. Hdl d..irnbk I E,**".p"*" I
r,.'lO rl l \lDd.. . H IA LNSEMBLE AYsled lrn Planra{cn Grcnle" .h Lrillo^ cd ri..mbl. -
GK.n,ec ,.h 0rJyio, C.o:!. \hlon )-
rdr 'Tr( din llich' .
R .

Svi vid SVARTA som VITA kons ert et ato

ST'EINw.AY & FLYELAR & PIANINOH{]
S O NS
DET TONGIVANE,E MRKET
Ensam:.senlur: L UNDHOLMS PI ANO ITTAG A SIN r: f akobsbetgsgalan 39, Slockholm

5r,1,,,, p,:
Kastenhof
" -,"i1.,,,i.' O./."',,,".
sr*+, N-l-re:Ja4 P r II s r CONEY ISLAND BAND
KoDr.rt..,! fr, o. e. den L.pt, dslis.r
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B-'ilh;rhl6tr
r!L.s ]\1 J',rdnis
-exrna sur,6 73'189 DANS Tisdagar & Lrdagar, TfiE DA\SANT Sndar{ar kl

ArrbrLLr FilJr & Arlhur Slrdr Prync

SKOCEN
.. Ad.ttrid HatL & "chocotate Kiddhs- ,Chr.l.non. r ei a' Cbnes Da"c "TIc Cho.o tr1" N,i],e'. !rlttrni!trre
Larrid nv n,odcCa.s. Dc hir drniindc 6ilettli,ls crE(iLlo \iJ lei tl.ri, cri\ri\.
fi*-lt-D=il lr., srm irhnll! i Hippdromcn i Ne\-Yo.I drn 1 AtnL 1t25 ar !o ].Lc'iilL.
n.ll r.] fRSTA FRISIf
. Jesric Craw'ord & ,Chocolalc K,ddics, , A :.. i .. C :"c
',..1
1c"",(;fiq FINAL
,RABBJT I{OP. ., Iltrr{rr.1 Sin,s E\rL)n Do'. .{Celrri!
HJll Brbc G.iis orh "CiojLtrl. \iC
LM i NE\\ YOR(.
. .. Evelrn Do'.. ,THE CHOCOLATE KIDDIES, HLLA ENSE\LBII
,rh,. Si,"l Prv... Sndagar kl. 2 s. m. natt{f .es1llning
Cfane! Davtr, Chi.k H(.t J.!i. tlll hal% prt6er.
Cra"lord & "Chdcdh{e Kiddi.r'.
Bd'aca Bobhr Nh Brh. Coinli D. D.tt. progrrm r tryc[t ho3
d/r,onop T.ddv Dr.rion o(h M.r{!r.i TRYCKERI AKTIEBOLAG
SinB. Madtn: Udyn Dov Bt.Dbilo. WILLE HEPBIRqS
r?n Eari. Rati Sprintpo/hn; Arlhur
vr ro,.-,. a"li;"..-,...
r".
TR.il;;;;;?;:] Fol&l.rl..n, Md!.br.t., Diursl.dsl":1rf, , Iol&cls lius, P,lhs.
Sd.rn:ln n. ,. l.rlrnr-

I-1stens populraste melodier:

"Chacolate Kiddies" 1n" Ia hort{ ht
"My little BungaIow" av N Ks b.r.r'r? r!.
leisl verr. nt lr rjd N
en I'jrtrusrnJe Ii!'ilLan \\;llz br ir h.T m rili -..d
Teri orh n,usil( ;v Linrr \\'crtling I Rr. 2. -. F 1e.l.r, o.r 0rr p_.
senl I Ld. vrin&
;l-Kr\N a' SCTJII-DKNECI'lT, EMIL CARELIUS 'B roRo s(i Ko!!f tT
K. IIol,U!sikhandel ., Srockhcim
 CHOCOLATE KI DDIES
SHIMMY
EJNAN WESTLING.
Tempo di Foxtrot.

PIANO.

Above: title and first few bars of the score of the tune w'ritten fux tribute to the show. Reproduced bv
T?re
kind permisslon of Messs' Elkan & Schildknecht' Emll Carelius. Stockholm.
They opened there on September 15th, but offer to play at the Ufa Palace in Berlin2a.
due to a number of disputes with their Ladnier left the orehestra soon after and
managerz, they stayed only seven days. retumed to the United States. Flemming
From this point on, I have been unable had previously been taken ill in Russia2{
to track down the exact itinerary of the but his replacement, if any, is not known,
show, but they probably played in Hanover and he rejoined the band in Berlin. Sam
from late September. After that they may Wooding's orchestra continued to tour
have played in Spait In the spring of 1926 Europe until the spring of 1927, when it
thev toured Russiazz until late May. Rufus went to South America
Grnlee states23 that the audience in Half a Century has Passed since the
Moscow included no less a person than Chocolatc Kiddies tour of Europe, and it
Stalin! (Lenin had by this time been dead is still the best-remembered and most talked
for two years,) After the final performance about NeEo show to have visited our shores'
on May 23rd in Leningrad, the show went even though it was neither the fint'" nor
to Danzig, and here it broke up; Wooding's even neces;arilY the best2?.
orchestra left the show and accepted an
NqE!
1 El]lngton, Muclc Ic My Mhtreca, 1973' p,?1
2 See the ASCAP blographtcal dlctlonary, 1966' p'739
B Ibld, p,369-3?0, Af[hough only one year Elllngton's sonlor, Jobnston was estebllshed on te New
York scene as an arranger as early as 1916, ana h fSZe he wrote the score for the musical Dtrte
To Broadway whtch inaluded two tunes immortallsed by Clarence Williams' Blue Flve: Mandv'
Make Up Your Mlnd and I'm A Ltttte Bhckblrd. In 1929 he moved to Hollywood and ln 1934 he
came to be lnvolved with Elllngton again, for he wrote the songs for Belle Of The Ninetles ar:d
Murder At The Vanlttec, two fllms ln whlch te ElltDgton orchestra appeared, We must assume
that hlq part ln crcating the success of I'be Chocolate Klddlee wag a major one'
4 Rust, Jazz Recorde, p,1666
6 The Dttcophlle, No 64 and, Doctor Jazz, No 66
6 M, Stearns. Jdzz Dance,1968. chapter 19
7 w.C. AlJen Hendereonla, 1973,p.ll2
8 Apboto lsreproducedirr Recotd Reoosch,No 65, 1963
9 J. Chilton, Who'c Who Of Jazz, 1970. p,231
10 Stearns. chapter 36
11 Stereo RevIeu, February, 1975
L2 Doctot Jaz.z, No 66
13 lbid, No 64
14 Rust,p,1862. quotesVaflety datedl?Junelg26totheeffectthattheWoodlnsorchest_rahad-.-
recorded for ihe "Germanbranch ol ctot" and he then glves tJrese as unlssued recordings of the
Deutsche Grammophon company, I think there ls a double mlstake here. FlrstJy' HMV (and hence
by extension, Victor) had loel control of DG by 191?. Tbe German affiltate was Electrola' lounded
50 STORYVILLE
in May 1925, However, to the best of my knowledge, thls label made no local recotdlngs until
1926. I think that the Varlety writer is ln ertor also and trhat, in fact" he was reporting on te Vox
recordings. Rust quotes a JuIy date for these lattet, but I don't know his sowce for this.
15 The well-known Copenhagen photo (reproduced on the cover of the Biograph LP, in Plctorlal
Illttory Of Jazz and elsewhere) shows Ladnier holding a cornet, the others trumpets. Apparently
he did not change over to trumpet until he joined Hendergon,
16 This same photo shows a total of only 23, as far as I can teU.
L7 Wooding's 1929 Spanish recordlngs show how very much Sedrlc had impioved, while MitchelJ was
still a rather poor musician (c,1. Tiget Rag),
18 See15/16
19 A 1921 composltion by one Thurlow Lieurance, a collector of American Indian songs.
2A This same Indian folk song theme was by Dvorak in his Neu Wotld Symphony!
27 J.& Il, IJarsen, Chocolate Klddlec In Copenhdgen, Record Recearch, No 67,1965
22 See P, Gronow's letter in Storyullle 53
23 Stearns, p.296
24 Photo in H.H. Lange, Die Geschlchte DeE Jazz In Deutechland,196O
26 Doetor Jazz, No 66
26127 The Plantatlon Revue wtrlch played ln England under the name of Douet Street To DIxIe h 1923
was mdoubtably the fist, while some would perheps clalm one of the vsrious "Blackblrdc"
. revlews was the best,
BIBLI9GBAI|EY (of woths not already mentloned above)
B. Englund Chocolate Kiddies in Sweden, Orkester Journalen 1 964: 1 2
Idem Two obscure Ellington tunes. Doctor Jazz No 64,7914
H, Flemming Old Sam: The man who brought jazz to Europe, Jazz Journal 1968:5
M. Jones .{rticles on Woodingn Melody Maker, December 7 and 14, 1968
T, IJadnler Letter from Sweden, Chicago Defender, 1O October, 1925
R.E. Lotz Two obscure Ellington tunes, Doctor Jazz, Nos 66 and 67. 1974
R. Olausson Sam Wooding inten{ew, Orkester Journalen, 1963:3
R.M. Sudhalter A pioneer looks bach, Storyville I and 10, 1967
S. Wooding Elght years abroad wlth a iazz band' Etude, 1939:4
DISCQG&4":HY of recordlngr of tunes from Chocolate Klddleg
Deacon lazz: Jo Trent, Blu-Dlsc T 2OOg (November 1924)
Shanghal Shuffle: Sam Woodlng, Vox 1883. 0189O (early Jr,[cte? L924,
Some Ofer Day' Some Other Gltl: Tlre compose! of this ls now kuown to be Isham Jones nd he recorded
the number on Br 2678-(Aprtl 1924)i T'he Benson Orchestra. Vi 194?6 (30? Septembet 1924)
Jlm flandy: Dalos Bela, Od 0-3281, r-l.-7264 (26 October 1925)
(Love lr Juot 4 Wtrh) Wtth You: Bernard Ette, Vox 0196, 1971 (August 192b); Mischa SpoUensky, Od
G1466 (September 1925)
Jtg Wdk: Ben Bernle, Br 3126 (February 1926); Comedlan Harmonists. DG test (10 May 1928); Devonsbtre
Restaurant Dance Band. Zon 2866 (1O December 1926); Duke Ell{4gton! Pm 74027 (7924)i Bemard
Ette, Vox 01956. 1958 (Augus! 1926)i Jen Fesca. Ho 8.8664 (August 1925 not 1924;s in Lange)
Jean Goldkette, Vl unlssued (22 Apnl 1926)i lpana Troubadourq Co 528-D (10 - December 1925); Th
Ramblers, De F 3583 (22May 1933)t I.he Romalne Flve, EBW 4611 (October 1926); Savoy
Orphean+ HMV B 5139 (6 October 1926); Van,s Collegians, pe 14693 (March 1926j; Wenskat
_Orcbestr& DG/Pol 20502 (June 1926):
lJ!'ienerlDoucet Co 8999(Octobei 1926)
-
T'lre following under the tltle Jig TLne may be identicoli 4,f. W.C. AJlen., Hend,elsont, p,619t Gene Kardoq
Timely Tues A'7582, (1Q.June 1931)i Ted Smith, Ch 16g2]- (21 August 1981); TtIe Three Keys,
Br 6388 (8 September 1932)

Harmograph listing continued from page 54

997 Also on Perfect 14360 and Pathe 036179
1016 Final llne of this entry should read: Also on Perfect 11567 and Pathe 026133
1069 Also on Perfect 11689 and Pathe 026166
2514 Bruce Bastln has a copy of Paremount 33080 which appears to be the source of this l8sue,
Bruce has not noted any slde lette$ and states tat the first side lists five tunes and the
second only thtee, The Harmograph takes may not be te same as thts bsue. details of
which are: 734-2 Fred Van Eps Banlo Solo, Medley Of Southern Melodles
Orchestra Acc. (-)
73F3 As above Dixte Medley (-)
2684 The equlvaleut Perfect ctalogue number for tbls lssue ts 11202
It will be seen that an encowaglng amount of new materlal hag tbus come to lieht as a result of thls setlallsed
Ustins. If you can add, in any way, to the suno total of our knowledge on thls lBbel please wrlte to me. Bert
Whyatt, at Sunnyslde. Wtld Oak Lane, Ttull" Taunton, Somerset TAg ?JT, Engbnd. My thankg to all those
who have already contrlbuted and, h advance, to those who may yet wdte.