[Dixielandjazz] Re: Different takes of 'Jazzbo Jenkins'

[Bill Haesler]

(Warning. More discographal stuff, which may prove to be long and boring to
some DJMLers. However it may also help to flush out additional information.)
Dear Bob,
The Collectors Classic LP CC33 version of "Jazzbo Jenkins" appears to be a
dubbed copy of the same 2 'takes' on the better quality Biograph BLP 12007,
including the 'skips' on the alleged take -1.
It is not uncommon for producers of jazz reissues to copy other records
(with or without permission). Then - as now.
The Biograph (produced by Arnold S Caplin) states: "All selections
remastered from the original 78 records from the collection of Arnold S
Caplin, in cooperation with John Steiner, New York recording Laboratories."
John Steiner was a Chicago-based pioneer jazz researcher and collector who
bought the rights to Paramount (which had ceased production in 1932) in the
early 1940s. Unfortunately, there were no recording logs and very few (if
any) original masters. But, I believe, that there were some test pressings.
John produced a Paramount reissue label in the late 1940s, followed by a
short-lived LP series in the 1950s.
But back to "Jazzbo Jenkins".
These sides were recorded in Chicago for Paramount Records. The company also
had studios in New York and Grafton.
As you indicate, CC33 does neglected to mention the name of the vocalist but
in my earlier post I indicated that the side was originally issued under
drummer/singer/dancer Ollie Powell's' name as 'Ollie Powers' and says 'Tenor
with Orchestra' [Bernie Young's band].
The alleged two 'takes' may have have come from different 78 originals, as
it would seem from the disposition of the various takes of Paramount 12059
("Play That Thing/Jazzbo Jenkins") that it was repressed quite a few times.
This invariably led to the use of alternate 'takes', particularly, in this
instance, of "Play That Thing".
Alternatively, Paramount may have been forced to dub the side (due to wear
or damage to the  master) and allocated a take -2.
Only one way to find out. Locate copies of Paramounts with both takes and
compare them aurally and visually.
"Jazzbo Jenkins" was also released by the St Louis-based company Harmograph,
(851) which, during the 1920s, reissued material from Cameo, Paramount and
Pathe-Perfect. They did no recording of their own.
It may be significant that sides leased from Paramount by Harmograph were
frequently alternate masters. It could also be that Harmograph used a new
take number. Or dubbed from the original to produce a 'new master'.
Unfortunately, I do not know which take appears on the Harmograph issue, so
can only guess at this point.
The Oct 1923 date you mention does appear to be correct. I based my Sept
date on misinformation in my files, where I had used the US numerical system
10/11/23 (month/day/year) instead of our system of 10/11/23
(day/month/year). Which is why I never use it, preferring 10 Nov 1923. The
first mention of the Ollie Powers' "Jazzbo Jenkins" release in the 'Chicago
Defender' occurred on the above date. Hence the 'calculated' date.
You also mention the Anna Oliver item from the same session. There are two
reported takes of her "What's The Use Of Lovin'" which I have. I have just
checked these and they are different.
I still accept that two takes of "Jazzbo Jenkins" exist, as discographer Max
Vreede states in his invaluable book on the Paramount 12000'13000 series. It
is just that they are not on the 2 LPs mentioned above.
It is about time my friend David French reissued all the Ollie Powers/Bernie
Young Paramounts in his excellent 'Frog' CD series.
Or perhaps our Canadian mates at 'Jazz Oracle' could do it.
Maybe, as you suggest, Paramount did have dual cutting turntables, although
I have not heard of this before for the budget-priced Paramount company. But
that is not to say they did not.
Further to your comment that it has been suggested: "that two such masters
could be combined electronically to produce a genuine stereo recording!"
As you probably know already, US Victor and English HMV used 2 cutting
turntables and varying microphone placings in the late 1920s-early 1930s to
produce identical mono records which, when combined, gave a stereo sound.
You are also probably familiar with the 'Everybodys' LP EV-3005 where, in
1984, Brad Kay and Jack Towers combined and transformed two Feb 1932 Duke
Ellington 78 'medley' sides into a stereo performance.
But Paramount, acoustically, in 1923?
Mmmmmmmmm.
There is a book about Paramount Records just published which may shed more
light on their recording techniques. A friend has it, but is away. I will
ask him when he returns.
I hope I am not coming over as a 'smarty', but I have been studying this
particular aspect of jazz since the mid 1940s. I started with 78s and
progressed from LPs to CDs.
Classic jazz and blues is my life's passion.
Very kind regards,
Bill.