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Re: [RedHotJazz] Frog Spawn RE: PAUL DAVIS matrix# 18910 .. and matrix #18911

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  • Howard Rye
    I have now got hold of the Gennett ledger sheet relating to this session. It offers no support for the seductive notion that this may be the Jimmy Raschel band
    Message 1 of 16 , Feb 24, 2010
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      I have now got hold of the Gennett ledger sheet relating to this session.

      It offers no support for the seductive notion that this may be the Jimmy
      Raschel band under pseudonym. The Raschel masters are clearly marked ³Race²,
      the Davis masters are not. This is not absolutely conclusive because this is
      a marketing assignment not a cultural one. 99% of the time this will
      coincide but it is not a necessary relationship.

      What is apparently conclusive is the arrival of the first volume of Richard
      J. Johnson & Bernard Shirley¹s ³American Dance Bands on Records and Film
      1915-1942² (Fairplay, CO, Rustbooks, 2010). This reveals what no one has
      apparently ever bothered to mention before. This was Davis¹s first session
      and is the only one in Jazz Records. The band actually made thirteen more
      sessions for Gennett up to 29 July 1933, producing twenty-eight more issued
      titles. Nineteen of these were issued in a special series for use at skating
      rinks. Most of these are waltzes, so are many of the others though there is
      a version of Shuffle Off To Buffalo on Champion 16591.

      Not only that, but Johnson and Shirley have a personnel for the band from
      December 1931, which is nearly a year before Black & Tan.

      I think we have to accept that this is an amazingly idiomatic reading of an
      arrangement by a white territory band which usually spent its time in other
      areas of music entirely.

      Incidentally there is no doubt that the Jimmy Raschel band were
      African-Americans. These are not pseudonymous Davis items. I have several
      personnels of Raschel¹s band and they include known names like the great
      Chicago drummer Hillard Brown.

      It is not inconceivable that Davis might have hired the Raschel band to
      produce idimomatic versions of this material and issued it under the name of
      his own band, but there is no supporting evidence for this theory and what
      evidence there is is against it. To completely rule out skullduggery on
      somebody¹s part, we need to hear Davis¹s ŒUnderneath The Harlem Moon¹.
      Anyone seen it around?


      on 20/11/2009 01:09, yves francois at aprestitine@... wrote:

      >
      >
      >
      >
      >
      > Hello, Nick, Michael and all else concerned about Paul Davis CHAMPION 40038  
      >   I just purchased Frog Spawn, and will have more  to say in the next day or
      > so, but in the meantime, I see mention in the liner notes about Paul Davis. I
      > agree with the liner notes that it sounds like a black band (the names were
      > usually pseudonymous probably to save money, or have an "anglo" name to sell
      > the record better). The name "Paul Davis" was used on a variety of records on
      > the Champion label - much as certain names were used on ARC etc. I have an
      > interesting theory here regarding this recording (matrix# 18910, you will see
      > why I am taking about matrix # here in a second), when I look for what band a
      > pseudonymous (this is probably just that considering Champion's track record
      > with that name) issue on a record, I look at the matrix numbers, and then play
      > the record you have next to it (easier said than done here!). Well I do not
      > have Champion matrix # 18911, but
      > look what it is ...
      > Jimmy Raschel and His orchestrano dertails except Jimmy Raschel, Estelle
      > Galloway vocalRichmond Indiana November 28 193218911 It Don't Mean A Thing (If
      > It Ain't Got That Swing) (eg vcl) CHAMPION 1653418912 Nobody's sweetheart (jr
      > vcl) (unissued)
      > It is too bad this record is phenomenally rare, it would be instructive to
      > compare it. Think about it - 2 matrix numbers recorded (or mastered) within 3
      > days of each other, a known black band in Jimmy Raschel (Raschel's bands -
      > territory band Detroit - included such alumni as George Johnson, Henry Savage,
      > Milt Buckner, Bernie Peacock and Howard McGhee over a 17 year period of time),
      > and one that sounds pretty much like a black territory band of that part of
      > the country in the early 1930's - makes one wonder - any one who does own
      > Champion 16534 please check on this (while we are at it were there any
      > references to Raschel by the Argentine guitarist bandleader Ahmed Ratip - who
      > was in detroit in the early middle 1930's?) - too bad I don't have that one,
      > or else I would have. more soon and all the bestYves Francois
      > PS Nick wonderful work on the remastering on this CD - I have to admit the
      > "Jackson's Southern Stompers" Marathon 227 never sounded better - but that is
      > another story I will continue tomorrow from last week (and surprised no one
      > was interested in the gentleman's response - esp 1933 broadcasts of the
      > Johnson band!!)
      >
      > --- On Fri, 9/11/09, Nick Dellow <nick.dellow@...
      > <mailto:nick.dellow%40gmail.com> > wrote:
      >
      > From: Nick Dellow <nick.dellow@... <mailto:nick.dellow%40gmail.com> >
      > Subject: Re: [RedHotJazz] Frog Spawn - a first opinion
      > To: RedHotJazz@yahoogroups.com <mailto:RedHotJazz%40yahoogroups.com>
      > Date: Friday, September 11, 2009, 1:57 PM
      >
      >  
      >
      > Firstly, many thanks to Michael for his in-depth review. As Howard correctly
      >
      > surmised, the Paul Davis transfer was taken from Champion 40038.
      >
      > And Michael is also correct in his belief that there is another take of the
      >
      > Dixie Stompers' "Jackass Blues" which has still not made it onto CD.
      >
      > Nick
      >
      > 2009/9/11 Michael Rader <Rader.Michael@ web.de>
      >
      >> >
      >
      >> >
      >
      >>> > > No dissent, but, two supplementary questions.
      >
      >> >
      >
      >> > I can only adress one:
      >
      >>> > >
      >
      >>> > > Has anyone ever heard the other Paul Davis (Underneath The Harlem
      >
      >>> > > Moon)? I
      >
      >>> > > assume Frog only have access to the reissue on Champion 40038 or they
      >
      >>> > > would
      >
      >>> > > have issued the original reverse. As nothing whatever is known about
      >
      >>> > > this
      >
      >>> > > band any notion about them is merely a vagrant assumption. On Gennett
      >
      >>> > > labels
      >
      >>> > > issue numbers provide no clue to the intended market, not that that is
      >
      >>> > > conclusive anyway.
      >
      >> >
      >
      >> >
      >
      >> >
      >
      >> > Nick might be able to answer this, depending what Frog gave him to work on.
      >
      >> > The previous reissue on Harrison B gives Champion 16524 as its source, but
      >
      >> > refrains from including the other side, for whatever reason. 78 Quarterly
      >
      >> > (under?) estimates 3 known copies, so someone must know the side.
      >
      >> >
      >
      >> > Michael Rader
      >
      >
      >
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      > [Non-text portions of this message have been removed]
      >
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      >


      Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
      howard@...
      Tel/FAX: +44 20 8521 1098




      [Non-text portions of this message have been removed]
    • Howard Rye
      Sorry, Yves. Reviewing this I realize you did mention there were other sides on Champion by Paul Davis & His Orchestra, though they are not in the original
      Message 2 of 16 , Feb 24, 2010
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        Sorry, Yves.

        Reviewing this I realize you did mention there were other sides on Champion
        by Paul Davis & His Orchestra, though they are not in the original edition
        of the American Dance Band Discography.

        So the crucial piece of new information here is that this was a real
        bandleader and a real band, but I agree that it would not be the only
        instance of a bandleader¹s nme being borrowed for records with which he had
        only a nominal connection. I only know of this happening on New York labels.
        Do we know of any instances of it happening on Gennett?

        It¹s going off the point but at this time Jimmy Raschel¹s band was not out
        of Detroit, but out of Cincinnati, though some members including Raschel
        himself apparently belonged to the white AFM local at Benton Harbor,
        Michigan, which is weird beyond weird! As I have noted the Local number
        consistenty over several occurrences I doubt it¹s a typo but it would
        possibly bear re-checking. According to Albert McCarthy (quoting saxophonist
        George Johnson) the band was originally based at Danvillie, Illinois. My
        reference to Hillard Brown should be ignored. This is a misreading of
        Willard Brown who was a saxophonist. Didn¹t do too well with this one!


        on 24/02/2010 11:18, Howard Rye at howard@... wrote:

        >
        >
        >
        >
        >
        > I have now got hold of the Gennett ledger sheet relating to this session.
        >
        > It offers no support for the seductive notion that this may be the Jimmy
        > Raschel band under pseudonym. The Raschel masters are clearly marked ³Race²,
        > the Davis masters are not. This is not absolutely conclusive because this is
        > a marketing assignment not a cultural one. 99% of the time this will
        > coincide but it is not a necessary relationship.
        >
        > What is apparently conclusive is the arrival of the first volume of Richard
        > J. Johnson & Bernard Shirley¹s ³American Dance Bands on Records and Film
        > 1915-1942² (Fairplay, CO, Rustbooks, 2010). This reveals what no one has
        > apparently ever bothered to mention before. This was Davis¹s first session
        > and is the only one in Jazz Records. The band actually made thirteen more
        > sessions for Gennett up to 29 July 1933, producing twenty-eight more issued
        > titles. Nineteen of these were issued in a special series for use at skating
        > rinks. Most of these are waltzes, so are many of the others though there is
        > a version of Shuffle Off To Buffalo on Champion 16591.
        >
        > Not only that, but Johnson and Shirley have a personnel for the band from
        > December 1931, which is nearly a year before Black & Tan.
        >
        > I think we have to accept that this is an amazingly idiomatic reading of an
        > arrangement by a white territory band which usually spent its time in other
        > areas of music entirely.
        >
        > Incidentally there is no doubt that the Jimmy Raschel band were
        > African-Americans. These are not pseudonymous Davis items. I have several
        > personnels of Raschel¹s band and they include known names like the great
        > Chicago drummer Hillard Brown.
        >
        > It is not inconceivable that Davis might have hired the Raschel band to
        > produce idimomatic versions of this material and issued it under the name of
        > his own band, but there is no supporting evidence for this theory and what
        > evidence there is is against it. To completely rule out skullduggery on
        > somebody¹s part, we need to hear Davis¹s ŒUnderneath The Harlem Moon¹.
        > Anyone seen it around?
        >
        > on 20/11/2009 01:09, yves francois at aprestitine@...
        > <mailto:aprestitine%40yahoo.com> wrote:
        >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> > Hello, Nick, Michael and all else concerned about Paul Davis CHAMPION
        >> 40038  
        >> >   I just purchased Frog Spawn, and will have more  to say in the next day
        >> or
        >> > so, but in the meantime, I see mention in the liner notes about Paul Davis.
        I
        >> > agree with the liner notes that it sounds like a black band (the names were
        >> > usually pseudonymous probably to save money, or have an "anglo" name to
        >> sell
        >> > the record better). The name "Paul Davis" was used on a variety of records
        >> on
        >> > the Champion label - much as certain names were used on ARC etc. I have an
        >> > interesting theory here regarding this recording (matrix# 18910, you will
        >> see
        >> > why I am taking about matrix # here in a second), when I look for what band
        a
        >> > pseudonymous (this is probably just that considering Champion's track
        >> record
        >> > with that name) issue on a record, I look at the matrix numbers, and then
        >> play
        >> > the record you have next to it (easier said than done here!). Well I do not
        >> > have Champion matrix # 18911, but
        >> > look what it is ...
        >> > Jimmy Raschel and His orchestrano dertails except Jimmy Raschel, Estelle
        >> > Galloway vocalRichmond Indiana November 28 193218911 It Don't Mean A Thing
        >> (If
        >> > It Ain't Got That Swing) (eg vcl) CHAMPION 1653418912 Nobody's sweetheart
        >> (jr
        >> > vcl) (unissued)
        >> > It is too bad this record is phenomenally rare, it would be instructive to
        >> > compare it. Think about it - 2 matrix numbers recorded (or mastered) within
        3
        >> > days of each other, a known black band in Jimmy Raschel (Raschel's bands -
        >> > territory band Detroit - included such alumni as George Johnson, Henry
        >> Savage,
        >> > Milt Buckner, Bernie Peacock and Howard McGhee over a 17 year period of
        >> time),
        >> > and one that sounds pretty much like a black territory band of that part of
        >> > the country in the early 1930's - makes one wonder - any one who does own
        >> > Champion 16534 please check on this (while we are at it were there any
        >> > references to Raschel by the Argentine guitarist bandleader Ahmed Ratip -
        >> who
        >> > was in detroit in the early middle 1930's?) - too bad I don't have that
        >> one,
        >> > or else I would have. more soon and all the bestYves Francois
        >> > PS Nick wonderful work on the remastering on this CD - I have to admit the
        >> > "Jackson's Southern Stompers" Marathon 227 never sounded better - but that
        >> is
        >> > another story I will continue tomorrow from last week (and surprised no one
        >> > was interested in the gentleman's response - esp 1933 broadcasts of the
        >> > Johnson band!!)
        >> >
        >> > --- On Fri, 9/11/09, Nick Dellow <nick.dellow@...
        >> <mailto:nick.dellow%40gmail.com>
        >> > <mailto:nick.dellow%40gmail.com> > wrote:
        >> >
        >> > From: Nick Dellow <nick.dellow@... <mailto:nick.dellow%40gmail.com>
        >> <mailto:nick.dellow%40gmail.com> >
        >> > Subject: Re: [RedHotJazz] Frog Spawn - a first opinion
        >> > To: RedHotJazz@yahoogroups.com <mailto:RedHotJazz%40yahoogroups.com>
        >> <mailto:RedHotJazz%40yahoogroups.com>
        >> > Date: Friday, September 11, 2009, 1:57 PM
        >> >
        >> >  
        >> >
        >> > Firstly, many thanks to Michael for his in-depth review. As Howard
        >> correctly
        >> >
        >> > surmised, the Paul Davis transfer was taken from Champion 40038.
        >> >
        >> > And Michael is also correct in his belief that there is another take of the
        >> >
        >> > Dixie Stompers' "Jackass Blues" which has still not made it onto CD.
        >> >
        >> > Nick
        >> >
        >> > 2009/9/11 Michael Rader <Rader.Michael@ web.de>
        >> >
        >>>> >> >
        >> >
        >>>> >> >
        >> >
        >>>>>> >>> > > No dissent, but, two supplementary questions.
        >> >
        >>>> >> >
        >> >
        >>>> >> > I can only adress one:
        >> >
        >>>>>> >>> > >
        >> >
        >>>>>> >>> > > Has anyone ever heard the other Paul Davis (Underneath The Harlem
        >> >
        >>>>>> >>> > > Moon)? I
        >> >
        >>>>>> >>> > > assume Frog only have access to the reissue on Champion 40038 or
        they
        >> >
        >>>>>> >>> > > would
        >> >
        >>>>>> >>> > > have issued the original reverse. As nothing whatever is known
        about
        >> >
        >>>>>> >>> > > this
        >> >
        >>>>>> >>> > > band any notion about them is merely a vagrant assumption. On
        Gennett
        >> >
        >>>>>> >>> > > labels
        >> >
        >>>>>> >>> > > issue numbers provide no clue to the intended market, not that
        that is
        >> >
        >>>>>> >>> > > conclusive anyway.
        >> >
        >>>> >> >
        >> >
        >>>> >> >
        >> >
        >>>> >> >
        >> >
        >>>> >> > Nick might be able to answer this, depending what Frog gave him to
        >>>> work on.
        >> >
        >>>> >> > The previous reissue on Harrison B gives Champion 16524 as its source,
        but
        >> >
        >>>> >> > refrains from including the other side, for whatever reason. 78
        >>>> Quarterly
        >> >
        >>>> >> > (under?) estimates 3 known copies, so someone must know the side.
        >> >
        >>>> >> >
        >> >
        >>>> >> > Michael Rader
        >> >
        >> >
        >> >
        >> > Recent Activity
        >> >
        >> >
        >> >  3
        >> > New Members
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> > Visit Your Group
        >> >
        >> >
        >> >
        >> >
        >> >
        >> > Yahoo! News
        >> > Odd News
        >> > You won't believe
        >> > it, but it's true
        >> >
        >> > Share Photos
        >> > Put your favorite
        >> > photos and
        >> > more online.
        >> >
        >> > Yahoo! Groups
        >> > Small Business Group
        >> > Share experiences
        >> > with owners like you_._,___
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> >
        >> > [Non-text portions of this message have been removed]
        >> >
        >> >
        >> >
        >> >
        >> >
        >
        > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
        > howard@... <mailto:howard%40coppermill.demon.co.uk>
        > Tel/FAX: +44 20 8521 1098
        >
        > [Non-text portions of this message have been removed]
        >
        >
        >
        >
        >


        Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
        howard@...
        Tel/FAX: +44 20 8521 1098




        [Non-text portions of this message have been removed]
      • Bob Eagle
        I have a sense of deja vu about this, so my apologies if it has been posted in the past.  Raschel s real name was Rachels.  He seems to have been born in
        Message 3 of 16 , Feb 24, 2010
        • 0 Attachment
          I have a sense of deja vu about this, so my apologies if it has been posted in the past. 

          Raschel's real name was Rachels.  He seems to have been born in 1910 in Mexico, Missouri, but by 1918 the family was at Danville, Illinois, and they were still there in 1930.  Jimmy's brother, Arthur W. Rachels, was also a musician.  Their father was a physician and surgeon.  And the family was shown as Mu (mulatto) in 1910, B (black) in 1920 and Neg (Negro) in 1930 - despite the mother being Ivory!

          Bob



          ________________________________
          From: Howard Rye <howard@...>
          To: red hot jazz <RedHotJazz@yahoogroups.com>
          Sent: Thu, 25 February, 2010 2:24:44 AM
          Subject: Re: [RedHotJazz] Frog Spawn RE: PAUL DAVIS matrix# 18910 Apologies

           
          Sorry, Yves.

          Reviewing this I realize you did mention there were other sides on Champion
          by Paul Davis & His Orchestra, though they are not in the original edition
          of the American Dance Band Discography.

          So the crucial piece of new information here is that this was a real
          bandleader and a real band, but I agree that it would not be the only
          instance of a bandleader¹s nme being borrowed for records with which he had
          only a nominal connection. I only know of this happening on New York labels.
          Do we know of any instances of it happening on Gennett?

          It¹s going off the point but at this time Jimmy Raschel¹s band was not out
          of Detroit, but out of Cincinnati, though some members including Raschel
          himself apparently belonged to the white AFM local at Benton Harbor,
          Michigan, which is weird beyond weird! As I have noted the Local number
          consistenty over several occurrences I doubt it¹s a typo but it would
          possibly bear re-checking. According to Albert McCarthy (quoting saxophonist
          George Johnson) the band was originally based at Danvillie, Illinois. My
          reference to Hillard Brown should be ignored. This is a misreading of
          Willard Brown who was a saxophonist. Didn¹t do too well with this one!

          on 24/02/2010 11:18, Howard Rye at howard@coppermill. demon.co. uk wrote:

          >
          >
          >
          >
          >
          > I have now got hold of the Gennett ledger sheet relating to this session.
          >
          > It offers no support for the seductive notion that this may be the Jimmy
          > Raschel band under pseudonym. The Raschel masters are clearly marked ³Race²,
          > the Davis masters are not. This is not absolutely conclusive because this is
          > a marketing assignment not a cultural one. 99% of the time this will
          > coincide but it is not a necessary relationship.
          >
          > What is apparently conclusive is the arrival of the first volume of Richard
          > J. Johnson & Bernard Shirley¹s ³American Dance Bands on Records and Film
          > 1915-1942² (Fairplay, CO, Rustbooks, 2010). This reveals what no one has
          > apparently ever bothered to mention before. This was Davis¹s first session
          > and is the only one in Jazz Records. The band actually made thirteen more
          > sessions for Gennett up to 29 July 1933, producing twenty-eight more issued
          > titles. Nineteen of these were issued in a special series for use at skating
          > rinks. Most of these are waltzes, so are many of the others though there is
          > a version of Shuffle Off To Buffalo on Champion 16591.
          >
          > Not only that, but Johnson and Shirley have a personnel for the band from
          > December 1931, which is nearly a year before Black & Tan.
          >
          > I think we have to accept that this is an amazingly idiomatic reading of an
          > arrangement by a white territory band which usually spent its time in other
          > areas of music entirely.
          >
          > Incidentally there is no doubt that the Jimmy Raschel band were
          > African-Americans. These are not pseudonymous Davis items. I have several
          > personnels of Raschel¹s band and they include known names like the great
          > Chicago drummer Hillard Brown.
          >
          > It is not inconceivable that Davis might have hired the Raschel band to
          > produce idimomatic versions of this material and issued it under the name of
          > his own band, but there is no supporting evidence for this theory and what
          > evidence there is is against it. To completely rule out skullduggery on
          > somebody¹s part, we need to hear Davis¹s ŒUnderneath The Harlem Moon¹.
          > Anyone seen it around?
          >
          > on 20/11/2009 01:09, yves francois at aprestitine@ yahoo.com
          > <mailto:aprestitine %40yahoo. com> wrote:
          >
          >> >
          >> >
          >> >
          >> >
          >> >
          >> > Hello, Nick, Michael and all else concerned about Paul Davis CHAMPION
          >> 40038  
          >> >   I just purchased Frog Spawn, and will have more  to say in the next day
          >> or
          >> > so, but in the meantime, I see mention in the liner notes about Paul Davis.
          I
          >> > agree with the liner notes that it sounds like a black band (the names were
          >> > usually pseudonymous probably to save money, or have an "anglo" name to
          >> sell
          >> > the record better). The name "Paul Davis" was used on a variety of records
          >> on
          >> > the Champion label - much as certain names were used on ARC etc. I have an
          >> > interesting theory here regarding this recording (matrix# 18910, you will
          >> see
          >> > why I am taking about matrix # here in a second), when I look for what band
          a
          >> > pseudonymous (this is probably just that considering Champion's track
          >> record
          >> > with that name) issue on a record, I look at the matrix numbers, and then
          >> play
          >> > the record you have next to it (easier said than done here!). Well I do not
          >> > have Champion matrix # 18911, but
          >> > look what it is ...
          >> > Jimmy Raschel and His orchestrano dertails except Jimmy Raschel, Estelle
          >> > Galloway vocalRichmond Indiana November 28 193218911 It Don't Mean A Thing
          >> (If
          >> > It Ain't Got That Swing) (eg vcl) CHAMPION 1653418912 Nobody's sweetheart
          >> (jr
          >> > vcl) (unissued)
          >> > It is too bad this record is phenomenally rare, it would be instructive to
          >> > compare it. Think about it - 2 matrix numbers recorded (or mastered) within
          3
          >> > days of each other, a known black band in Jimmy Raschel (Raschel's bands -
          >> > territory band Detroit - included such alumni as George Johnson, Henry
          >> Savage,
          >> > Milt Buckner, Bernie Peacock and Howard McGhee over a 17 year period of
          >> time),
          >> > and one that sounds pretty much like a black territory band of that part of
          >> > the country in the early 1930's - makes one wonder - any one who does own
          >> > Champion 16534 please check on this (while we are at it were there any
          >> > references to Raschel by the Argentine guitarist bandleader Ahmed Ratip -
          >> who
          >> > was in detroit in the early middle 1930's?) - too bad I don't have that
          >> one,
          >> > or else I would have. more soon and all the bestYves Francois
          >> > PS Nick wonderful work on the remastering on this CD - I have to admit the
          >> > "Jackson's Southern Stompers" Marathon 227 never sounded better - but that
          >> is
          >> > another story I will continue tomorrow from last week (and surprised no one
          >> > was interested in the gentleman's response - esp 1933 broadcasts of the
          >> > Johnson band!!)
          >> >
          >> > --- On Fri, 9/11/09, Nick Dellow <nick.dellow@ gmail.com
          >> <mailto:nick. dellow%40gmail. com>
          >> > <mailto:nick. dellow%40gmail. com> > wrote:
          >> >
          >> > From: Nick Dellow <nick.dellow@ gmail.com <mailto:nick. dellow%40gmail. com>
          >> <mailto:nick. dellow%40gmail. com> >
          >> > Subject: Re: [RedHotJazz] Frog Spawn - a first opinion
          >> > To: RedHotJazz@yahoogro ups.com <mailto:RedHotJazz% 40yahoogroups. com>
          >> <mailto:RedHotJazz% 40yahoogroups. com>
          >> > Date: Friday, September 11, 2009, 1:57 PM
          >> >
          >> >  
          >> >
          >> > Firstly, many thanks to Michael for his in-depth review. As Howard
          >> correctly
          >> >
          >> > surmised, the Paul Davis transfer was taken from Champion 40038.
          >> >
          >> > And Michael is also correct in his belief that there is another take of the
          >> >
          >> > Dixie Stompers' "Jackass Blues" which has still not made it onto CD.
          >> >
          >> > Nick
          >> >
          >> > 2009/9/11 Michael Rader <Rader.Michael@ web.de>
          >> >
          >>>> >> >
          >> >
          >>>> >> >
          >> >
          >>>>>> >>> > > No dissent, but, two supplementary questions.
          >> >
          >>>> >> >
          >> >
          >>>> >> > I can only adress one:
          >> >
          >>>>>> >>> > >
          >> >
          >>>>>> >>> > > Has anyone ever heard the other Paul Davis (Underneath The Harlem
          >> >
          >>>>>> >>> > > Moon)? I
          >> >
          >>>>>> >>> > > assume Frog only have access to the reissue on Champion 40038 or
          they
          >> >
          >>>>>> >>> > > would
          >> >
          >>>>>> >>> > > have issued the original reverse. As nothing whatever is known
          about
          >> >
          >>>>>> >>> > > this
          >> >
          >>>>>> >>> > > band any notion about them is merely a vagrant assumption. On
          Gennett
          >> >
          >>>>>> >>> > > labels
          >> >
          >>>>>> >>> > > issue numbers provide no clue to the intended market, not that
          that is
          >> >
          >>>>>> >>> > > conclusive anyway.
          >> >
          >>>> >> >
          >> >
          >>>> >> >
          >> >
          >>>> >> >
          >> >
          >>>> >> > Nick might be able to answer this, depending what Frog gave him to
          >>>> work on.
          >> >
          >>>> >> > The previous reissue on Harrison B gives Champion 16524 as its source,
          but
          >> >
          >>>> >> > refrains from including the other side, for whatever reason. 78
          >>>> Quarterly
          >> >
          >>>> >> > (under?) estimates 3 known copies, so someone must know the side.
          >> >
          >>>> >> >
          >> >
          >>>> >> > Michael Rader
          >> >
          >> >
          >> >
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          > Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
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          Howard Rye, 20 Coppermill Lane, London, England, E17 7HB
          howard@coppermill. demon.co. uk
          Tel/FAX: +44 20 8521 1098

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