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Storyville 049 0005

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6
STORYVILLE
purporting to be take 2 turns out to be the usual take 1.
2. Max was likewise unable to obtain confirmation of take 1 of Salty Dog by the Paramount Pickers on Pm 12779. Some six copies of this and one or two of the co-issue Herwin 93015 all show take 2. John MacKenzie said in his Herwin listing in 78 Quarterly No. 1 that both had been issued, but this was probably just copied from Rust.
I have never come across a copy of the other co-issue on Broadway 5069 which might be our last hope. In 78 Quarterly No. 1 there was an article by Pete Whelan entitled “The Rarest 78s” in which he stated there were no known copies of this issue. However, his listing was not always reliable.
3. There is a report of an alternate take of There'll Come A Day by the Dixieland Thumpers, which apparently exists on the Challenge 806 co-issue. Such a copy was
jazz
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offered in a private auction in 1970 but no confirmation could be obtained. At least three other copies of this rare issue bear the usual take 3.
4. On the recent LP Jazum 6 the take for I've Stopped My Man by Hociel Thomas (from OK) is given as 9476-C. A comparison with the previously known take A, however, revealed no differences, and I suspect that the -C on the LP sleeve is just a printing error. Unfortunately, a query to Bill Love on this point remains unanswered as I write.
5. The Record Changer of April 1947 contains an article by Albert McCarthy with the following passage: “An extremely important second master has been found by Captain Arthur Kinnear while looking through the German Odeon factory. It is of Hotter Than That by the Hot Seven. As far as I know, this is the first time that a second master of any Hot Seven has been found and I hope to be able to report further on this later.”
Does anyone know of a follow-up?
6. Jazz Records lists an alternate matrix (20286-3) of Oriental Man by the Dixieland Thumpers on Pm 12594. Brian Rust is unable to give the source and I have heard of no other report.
7. It was reported in Matrix 35/36 that according to Lennie Esterdahl, banjoist with the Wingie Mannone band, Johnny Dodds recorded eight unissued sides with the band around 1925. This would seem most unlikely and Walt Allen wrote in a later issue of Matrix that Esterdahl probably remembered only that the clarinetist was a well-known Negro from New Orleans and mistakenly named Dodds instead of Nicholas. (I asked Wingy about this when he came over a few years ago, and he vehemently denied the story....see Storyville 10 - L.W.)
8. The assumption that Dodds was playing on the unissued Gennett sides by Melrose Dixieland Thumpers recorded in 1927 must be regarded as wishful thinking in the absence of any positive evidence.
9. The same must also apply to the unissued Alberta Hunter recording of Don't Pan Me When I'm Gone for Vocalion which is reputed to feature Dodds.
LEON ABBEY
7
10. John R.T. Davies swears that many years ago a copy of Jimmy Bertrand’s Vo 1060 with take 30 (E-3830-W) of Idle Hour Special passed through his hands. There are no other reports and I have checked some 15 copies without success.
11. The new Jazz Records gives -A as well as the usual -B for Brown Bottom Bess by The Chicago Footwarmers (OK 8613). Once again Brian is unable to recall the source but says that he knows it exists as he heard it a long time ago. I know of no other report.
12. Last, but not least, there is the legendary Keppard Paramount test 2652-2 of Messin Around. This would fit nicely into the September 1926 session, but does it exist? The source of the legend-is an advert in the Record Changer of January 1947 by one George Laufer, 2079 Wallaee Avenue, New York. The minimum price of this test was 3200 and the auction contained only one other record (Keppard’s Pm 12399 quoted as N). Laufer no longer lives at the address given, and although older U.S. collectors do faintly recall him, no-one seems to know of his present whereabouts. When checking back through old Record Changers I found several excellent auctions by Laufer, but none after the one with the test. It could be
Leon Abbey and his
by Bjorn Englund
Leon Abbey is one of the more obscure musicians of the pre-war scene. He is not even rated a biography in John Chilton’s “bible” but is referred to constantly in other biographies in that book. Swing Out (a poorly written but iconographically interesting book by Gene Fernett, published by Pendell Publishing Co. in 1970) does have a short but inaccurate biography, which even lacks such basic details as place and date of birth (even though the author had interviewed Abbey).
While this short piece will go some way towards correcting this lack of information,
that he wanted to make one last killing with a phony auction and then disappear, but I feel it is more likely that this was the last remnant of his collection (one would keep such a'test to the last!). If he had really wanted to make big money in a phony auction, he could easily have included some other prime items he did not have. (Surely if anyone had paid for these items and not received them the collecting world would have quickly been aware of this....which suggests that either Laufer retained them, or they were purchased by a wealthy collector who wished to remain anonymous — LW) There remains the possibility of a hoax — but for what reason? For myself, I believe that the test exists and probably lies forgotten in a U.S. “garage” collection. So many of the “impossible” records have turned up in recent years that I remain optimistic.
I would be very interested and most grateful to hear from any and all collectors who can shed light on any of the above or on any other Doddsiana. Please write to me at: Buchzelgstrasse 39, CH-8053 Zurich, Switzerland. All letters answered!
Finally my thanks for invaluable tapes to Sherman Tolen, Norman Stevens and Chris Hillman.
recordings
the full story of Abbey’s career should b? left to someone who is prepared to go and interview Abbey in depth — as far as is known he’s still living and playing in Chicago.
Rust lists only three record sessions with Abbey. The first is a Clara Smith session on 8 January, 1925 and the second a Savoy Bearcats date in August 1926. Abbey left the Bearcats soon after this session and started his own band which sailed to South America in May 1927 (a photo from this period is shown on page 131 of Fernett’s book). The band played in Buenos Aires,