Earl Fuller was a jazz pioneer - Bix Beiderbecke



The Last Two Recordings of Earl Fuller’s Band.

Submitted by Albert Haim

In January 1917, Earl Fuller organized a “society” band consisting of about a dozen musicians.

[pic]

The band had a successful run in the famous Rector Restaurant at Broadway and Forty-fourth Street in Times Square. Between 1917 and 1919, the band recorded about three dozen sides for Columbia Records under the name of Earl Fuller’s Rector Novelty Orchestra.

Earl Fuller was also a jazz pioneer. His smaller band, Earl Fuller’s Famous Jazz Band, made its first recording on June 4, 1917, Slippery Hank/Yah-De-Dah, Victor 18321.

According to Scott Alexander, Slippery Hank is absolutely manic in its pace and instrumentation. [1] Earl Fuller’s Famous Jazz Band consisted of Earl Fuller, p, dir; Walter Kahn, c; Harry Raderman, tb; Ted Lewis, cl; John Lucas, d. [2]



Courtesy Red Hot Jazz Archive

The instrumentation of the band was identical to that of the early Original Dixieland Jazz Band: cornet, trombone, clarinet, piano and traps. This is not surprising. Following the seminal ODJB recording of Livery Stable Blues/Dixie Jass Band One Step, Victor 18255, jazz music became the craze in America. Tim Gracyk, [3] suggested that Earl Fuller’s Famous Jazz Band was organized at the urging of Victor executives who wanted to capitalize on the success of jazz music. Although the musicians in Fuller’s smaller band were not the same as those in the larger band, Earl Fuller’s Famous Jazz Band could be viewed as perhaps the first example of “a band within a band.”

Earl Fuller’s Famous Jazz Band recorded several sides for Victor, Gennett and Edison between Jun 1917 and Jun 1918. The tunes often had the name “jazz” in the title, e.g., Jazzbo Jazz, Jazz De Luxe, Jazzin’ Around, etc. [4]

After a two-year hiatus, on June 17, 1921, Earl Fuller recorded two sides for Edison under the name of Earl Fuller’ New York Orchestra. This was to be the last recording session made by Fuller under his own name. [5]

Just Because, Matrix 8076, Edison 50824-R.

[pic]

I Wonder Where My Sweet Sweet Daddy's Gone, Matrix 8077, Edison 50824-L.

[pic]

The latter recording was also issued on a cylinder, Edison Blue Amberol 4392, dubbed from Edison Diamond disc matrix 8077.

These two records are listed in Brian Rust’s American Dance Bands discography, but the instrumentation and musicians are not identified. An article in the Daily Independent, Monessen, PA, May 12, 1921, provides the identification of the musicians as follows: Ernie Wray (c); Francis Zimmoch, (tb); Harold Sturr and Mutt Hayes (as, cl); Eddie Sheasby, (vn); Dewey Bergman, (p); Earl Fuller, (d). The article follows here in full.

Many Attend Dance

The cool weather of last evening did not prevent the lovers of good music from attending the dance at Eldora Park last evening, where: Earl Fuller's orchestra, of Victor record fame, played. The floor was comfortably filled and praise was heard from all present of the wonderful Fuller music. The company is composed of ten artists and every member has a record in the musical world that attracts real interest.

Earl Fuller, himself, at the drums, directs the orchestra, while supporting him are Eddie Sheasby, violinist: Dewey Bergman, the whirlwind pianist, whose playing would have made Wagoner [sic], Litz [sic], and the rest of the long haired artists give up in disgust. There are two saxophone players, Harold Sturr and Mutt Hays[sic], who also plays a clarinet. Hank Stern, who has just finished a tour with Sousa. and who is surely the "longest"winded man in the world, plays a bass, tuba. Ernie Wray plays the cornet, while Frank Zimnock [sic] has the trombone. They just can't be beat. Ben Fields, the greatest baritone comedian on the road, delighted the audience with several selections which were received with hearty applause.

The ground surrounding the pavilion was crowded with people eager to hear these famous boys who truly made a fine impression with everyone. Earl Fuller and his orchestra appear in Kennywood tonight, and then will go east playing different cities, after which they will fill a summer engagement at Harrisburg, occasionally playing in some outside city.

Most to the musicians in Earl Fuller’s New York Orchestra had good careers after 1921. Two of the musicians were members of the Jean Goldkette orchestra a few years later, Bergman in 1924, [6] Sheasby in 1927. Bergman was a member of Ted Weems’ orchestra in 1923. Sheasby with his own orchestra had a successful radio program in the 1930s. Bassist Hank Stern made dozens of recordings with Ben Selvin, the Dorsey Brothers, Sam Lanin, Joe Venuti, The Wabash Dance Orchestra, Annette Hanshaw, Bing Crosby, the Boswell Sisters, etc., between 1926 and 1931. Hank played viola in the 1936 Bill Challis Circle album. In 1945 he recorded two old numbers, San and Wang Wang Blues, with Paul Whiteman. Francis Zimmoch played trombone in two recordings cut by Vincent Lopez’s band on Sep 18, 1928, Br 4059. Harold Sturr was a versatile reed player, a member of Arnold Johnson’s orchestra in 1922-1923, the Benson Orchestra of Chicago, 1923-1925, and the Roger Wolfe Kahn orchestra in 1925-1927. Vernon “Mutt Hays was active between 1923 and 1935 with Russo and Fiorito’s Oriole orchestra, Earl Harlan’s orchestra, Smith Ballew’s Orchestra, Paul Ash’s orchestra, the ARC-Brusnwick Studio bands and Frank Trumbauer’s orchestra.

The findings in the present article illustrate the value of searching old newspapers in finding obscure discographical information.

[1]

[2] When Ted Lewis’ Jazz Band began recording on Sep 5, 1919, the band consisted of the same musicians, except that Earl Fuller was replaced by Ernie Cutting.

[3] Tim Gracyk with Frank Hoffman, Popular American Recording Pioneers 1895 -1925, Haworth Press, Inc., 2000.

[4] Two numbers, JazOrient and Jazology (one “z”), were recorded by Earl Fuller’s Celebrated Novelty Orchestra in Dec 1919, Arto 9009 and Earl Fuller 1001, a special picture label.

[5] On February 9, 1929, Earl Fuller, on piano, recorded two sides with Junie Cobb and His Grains of Corn , Vocalion 1289.

[6] Dewey Bergman was the pianist in the first recording that Bix Beiderbecke cut with Jean Golkdette and His Orchestra, I Didn’t Know, Nov 24, 1924.

.

|Title: |I wonder where my sweet sweet daddy's gone |

|Performer(s): |Earl Fuller's New York Orchestra. |

|Issue Number/Label: |4392: Edison Blue Amberol |

|Issue Number/Label: |8077: Edison Record |

|Year of Release: |[1921] |

| | |

|Audio: |Cylinder has not been digitized for online access. - (Why not?) - (Adopt this |

| |cylinder!) |

| | |

|Note: |Edison Blue Amberol: 4392. |

|Note: |Dubbed from Edison Diamond Disc matrix 8077. |

|Note: |Year of release from Edison Blue Amberol cylinders: U.S., special, and foreign|

| |issues, 1912-1929 / Allan Sutton, 2009. |

|Note: |Dance music. |

|Personal Name: |Hammed, T. A. |

|Personal Name: |Stark, Ray H. |

|Group Name: |Earl Fuller's New York Orchestra. |

|Subject: |Dance music. |

|Subject: |Foxtrots. |

|Subject: |Popular instrumental music--1921-1930. |

|Subject: |Dance orchestra music. |

|Original Item Location: |Special Coll., Performing Arts - Cylinder 10103 (Take 2) |

| |  |



 50824-R, "Just because - Fox trot" (Stevens, Frosini), Earl Fuller's New York Dance Orchestra, Recorded June 17, 1921.

Edison 50824-L, "I wonder where my sweet daddy's gone? - Fox trot" (Hammed, Stark), Earl Fuller's New York Dance Orchestra, Recorded June 17, 1921.

Also on BA 4392

From

|Viewing details for Earl Fuller's New York Orchestra: I Wonder Where My | |[pic] |

|Sweet Sweet Daddy's Gone / Earl Fuller's New York Orchestra: Just | | |

|Because | |Vinyl 1 |

| | | |

| | |[pic] |

| | | |

|Side Specific Details | |Vinyl 2 |

| | | |

|A Side | | |

|B Side | | |

| | | |

|Artist | | |

|Earl Fuller's New York Orchestra | | |

|Earl Fuller's New York Orchestra | | |

| | | |

|Track | | |

|I Wonder Where My Sweet Sweet Daddy's Gone | | |

|Just Because | | |

| | | |

|Catalog # | | |

| 50824-L [M] | | |

| 50824-R [M] | | |

| | | |

|Genres | | |

| | | |

| | | |

| | | |

|Styles | | |

|Fox Trot | | |

|Fox Trot | | |

| | | |

|Notes | | |

| | | |

| | | |

| | | |

| | | |

| | | |

|Overall Details | | |

|Record Label | | |

|Edison | | |

| | | |

|Catalog # | | |

| 50824 | | |

| | | |

|Originally Released | | |

| | | |

| | | |

|Country | | |

|United States | | |

| | | |

|Size | | |

|10" | | |

| | | |

|Format | | |

|78 (Diamond Disc) | | |

| | | |

|Speed | | |

|80 RPM | | |

| | | |

|Collection | | |

|COL_00012 | | |

| | | |

|Quantity Received | | |

|1 | | |

| | | |

|Quantity In Stock | | |

|1 | | |

| | | |

|Status | | |

|In Stock | | |

| | | |

|Archival History | | |

| | | |

| | | |

|Notes | | |

| | | |

| | | |

|Just Because |1921 |New York, New York |Olympic |

|(Stevens / Frosini) | | |15116-B |

| | | |Symphony Concert Record |

| | | |21180-B |

|Ain't We Got Fun |1921 |New York, New York |Olympic |

|(Kahn / Egan / Whiting) | | |15116-A |

| | | |Symphony Concert Record |

| | | |21180-A |

|Melody in F |1921 |New York, New York |Olympic |

|(Will B. Morrison) | | |15118 |

| | | |Black Swan |

| | | |2058-B |

"Melody in F" was issued under the name of Haynes' Harlem Syncopators.

|2058-A |Hayne's Harlem Syncopators |Hawaiian Blues |

|2058-B |Haynes' Harlem Syncopators = |Earl Fuller's New York Orchestra |

|2059-A |Haynes' Harlem Syncopators = |Palace Trio & Orch. |

|2059-A |Haynes' Harlem Syncopators = |Yerkes' Jazzarimba Orch. |



The Operaphone-Olympic Transition

Operaphone's disappearance coincides neatly with Pathé's entry into the lateral-cut market with its own Actuelle brand. The last known Operaphone discs were advertised in December 1920, and in early 1921 John Fletcher arranged to sell the idle Operaphone plant to a new venture, the Olympic Disc Record Corporation. Fletcher was retained by the new company in an unspecified "executive capacity," according to the Talking Machine World, which announced Olympic's formation in March 1921. The same publication advertised Olympic's first releases on the following April 15.

Olympic got off to an unsteady start as a subsidiary of the Remington Phonograph Corporation. Philo E. Remington, president of the company and grandson of the founder of the Remington firearms and typewriter companies, apparently had plans to produce records prior to Olympic's creation. On July 20, 1920, he filed a trademark application for the Reminola brand. Although Remington's trademark application claimed use on records since May 5, 1920, no evidence has been found that the label was produced commercially.

For the new label, Fletcher was once again in charge of a studio, and from the start he repeated past mistakes. Although Olympic was marketed as a premium-priced label, it offered primarily bland pop and light classical fare by the usual studio freelancers. A short-lived opera series, with plot synopses printed on the labels, featured such lesser lights as Regina Viccarino and Henrietta Wakefield, and at one point Broadway star Greek Evans was pressed into service as an operatic baritone. Technical quality was mediocre at best, and with few stars on its roster, Olympic could not compete with Columbia, Victor, and other comparably priced labels.

The last records released under the Olympic Disc Record Corporation name appeared shortly before the parent Remington Phonograph Corporation failed in December 1921. Philo Remington attempted to reorganize as the Remington Radio Corporation in 1922 but suspended operations after being indicted for stock fraud.

Black Swan and the Fletcher Record Company

Fletcher soon attempted to regain control of the Olympic operation. In April 1922, he purchased Olympic's trademark, masters, and facilities in partnership with Harry Pace, a pioneer black record producer. Pace had introduced his Black Swan label in 1921 and had sought out independent pressing plants, including Olympic, where his business had been flatly rejected by Remington.

With Remington now out of the picture, Pace approached Fletcher, and the two acquired the idled Olympic facilities in Long Island City to form the Fletcher Record Company, Inc. In a teaming of black and white businessmen unprecedented for its day, Fletcher served as president, Pace as vice president and treasurer. Initially, the new company served only as a studio and pressing plant for Black Swan. Under the Fletcher-Pace partnership, Fletcher oversaw physical production of Black Swan, while Pace continued to determine artists and repertoire.

On July 15, 1922, the Talking Machine World announced, "There is some likelihood that in the early fall, Mr. Fletcher will revive the Olympic label." A new series of Olympic discs did indeed appear in the autumn of 1922, under the Fletcher Record Company imprint. Numbered in 1400 (dance) and 1500 (vocal) series, these Olympics featured newly recorded material as well as reissues of older Olympic masters, many of which Fletcher also licensed to Banner, Majestic, Melody, La Belle, Oriole, Phantasie Concert Record, and other minor brands. Fletcher also produced the short-lived Arthur Fields Melody Record, a custom label that recording star Fields attempted, without much success, to market through his Arthur Fields Song Shop.

By mid-1922, Fletcher's hand was beginning to show in the Black Swan operation. Pace, who in 1921 had pledged to employ only black talent, began to reissue material from the all-white Olympic catalog on Black Swan. Olympic's telltale catalog numbers remained clearly visible in the wax. Performances by white band leaders Sam Lanin, Rudy Weidoeft, and Irving Weiss were credited to Fletcher Henderson (Pace's musical director) or were issued under other pseudonyms. White freelance vocalists (including Al Bernard, Charles Hart, Aileen Stanley, and Arthur Hall, as well as whistler Margaret McKee) were also represented under assumed names. Perhaps the most blatantly misleading issues were those credited to Ethel Waters' Jazz Masters, which were actually the work of several different white novelty trios. It was a cynical approach, unworthy of Pace (although not uncharacteristic of Fletcher), and a bad miscalculation at a time when Okeh, Paramount, and Columbia were developing strong race-record catalogs with authentic black talent.

By early 1923 Pace was nearly bankrupt. Black Swan suspended operations in July of that year, depriving Fletcher of a major portion of his pressing business. The Olympic label stumbled along through the end of 1923, failing to make any inroads into an already glutted market. The last Olympic discs issued under the Fletcher Record Company imprint appeared in December 1923, the month in which John Fletcher declared bankruptcy.



gives info about Olympic label

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