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Interracial Jazz Recording (#58) Fess Williams and Frank Marvin

Fess Williams and his Royal Flush Orchestra were a popular outfit that played at Harlem's Savoy Ballroom for most of its life. They recorded for a number of labels, including Victor, Vocalion, Gennett, Okeh, Brunswisk, Champion and Harmony. 

                                &...

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Interracial Jazz Recording (#57) Little Mike McKendrick and Gene Austin

Black guitarist  "Little Mike" McKendrick was one of four musical brothers, Reuben Michael (guitar and banjo), Richard Michael (trombone), Daniel Michael (violin), and James Michael (piano). To add to the confusion of anyone trying to track their careers, at one time or another, they all worked as Mike McKendrick.  

“Little Mike” was w...


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Interracial Jazz Recording (#56): Charlie Creath and Sonny Lee

Charles Cyril "Charlie" Creath, born in 1890 in Ironton, Missouri was a multi-instrumentalist and bandleader. He started out in circus and theatre bands in the early 1900's. Sources give different dates, but sometime in the early 1920's, he began to lead bands on Steckfus riverboats out of St. Louis and continued doing that for a number of years.

He was a...


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Interracial Jazz Recording (#55) Pinkard-Yellen-Moore-King

I'm spotlighting a tune written by the interracial writing team of Jack Yellen (lyrics) and Maceo Pinkard (music). Yellen wrote the words for "Happy Days Are Here Again" and "Ain't She Sweet." Pinkard wrote a number of tunes, including "Sweet Georgia Brown," the history of which I write about 


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Interracial Jazz Recording (#54) Wingy Manone and Dicky Wells

This session are under the leadership of trumpeter Joe 'Wingy' Manone. Manone was a Sicilian from New Orleans, who acquired his nickname because he lost an arm in a streetcar accident at age 10. He had a decent prosthesis, which allowed him to play without too much distraction on his part or the part of the audience. Wingy didn't have a great range, but he swung like crazy.


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