1920 TEST PRESSING TED LEWIS JAZZ BAND Take 1A OH BY JINGO 78

$

76

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A series of great  JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records

 Jazz Pioneer Ted Lewis and Jazz Band

here in a real, pre production test pressing

 TEST PRESSING  Matrix 79046 Take 1A Stamped on Label OK for Stamping Matrix

OH BY JINGO

The take 1A is not shown in the discography

Take Date and Place Take Status Label Name/Number Format Note Hide Additional Titles
3/14/1920 New York, New York 1 Unknown   
3/14/1920 New York, New York 2 Unknown   
3/14/1920 New York, New York 3 Unknown

10" 78 rpm record

Condition:

VERY GOOD PLUS PLUS, unworn, but fine scratches, faint lam crack

Plays quiet w light crackle

From RedhotJazz Site

 This early African-American Jazz record was released on the flip side of a Ted Lewis' record "Somehow Fox-Trot". George Morrison's Jazz Orchestra was from Denver, Colorado. The band was a popular vaudeville attraction and played a long residency at the Albany Hotel in Denver during the 1920s. Morrison was billed as the "Black Paul Whiteman". Whiteman was also originally from Denver. Morrison's Jazz Orchestra also recorded three takes of "Royal Garden Blues" (matrix 79097) for Columbia on April 2, 1920, but none of these recordings were issued. Morrison himself did not record until March of 1950 for the Denver-based Hum records.

Thanks to Al Simmons and Uncle Dave Lewis for their help with this page.
 

Title Recording Date Recording Location Company
I Know Why
(Introducing My Cuban Dreams)
(Davis / Morgan / Warshauer) 4-13-1920 New York, New York Columbia A2945

Artist Instrument
Culbert Byrd Alto Saxophone
Ed Carwell Trombone
Leo Davis Trumpet
Andy Kirk Tenor Saxophone
Mary E. Kirk or Jesse Andrews or Desdemona Davis Piano
Jimmy Lunceford Alto Saxophone, Violin
Eugene Montgomery Drums
George Morrison Violin, Leader
Lee Morrison Banjo

Ted was called the "High Hat Tragedian of Song". He was a true Vaudevillian. He had no voice, but could "put over" a song. He played what he himself called a "gashouse" clarinet, yet he had one of the best of the commercial Dixieland bands, with a real feel for the Blues (billing himself as "The Medicine Man of the Blues"). Perhaps his best hits were "When My Baby Smiles at Me" and "Me and My Shadow". He really didn't 'sing' these songs, he spoke them. (Diseuse - Sprechgesang). Even today's listeners still tap their feet and smile while listening to his music.

Ted Lewis and his Band was one of the best selling Jazz bands of the 1920s and Lewis was Columbia Records best selling artist. Lewis got his start with Earl Fuller's Famous Jazz Band in 1917, but his clarinet antics soon made him the star of the group and he went solo in 1919, taking most of the musicians from Fuller's band with him. In 1924 Lewis hired George Brunies of the New Orleans Rhythm Kings and in 1928 he hired Muggsy Spainer. Over the years many up-and-coming Jazz greats like Benny Goodman, Jack Teagarden and Jimmy Dorsey passed through the band early in their careers. With all of this talent passing through the band they were really starting to swing by the early 1930s as evidenced in tunes like Jazznocracy, White Heat and Rhythm, but as the Depression worn on Lewis had become more of a Pop vocalist and Jazz was not figuring as prominently in the mix. Most modern Jazz histories overlook or downplay  Ted Lewis' role in the development of Jazz. When he is mentioned he is often dismissed as being commercial and corny, but Lewis was a true Jazz pioneer and on his best songs like Dip Your Brush In Sunshine it is easy to understand why he was so popular.

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