Thanks to the ever-surprising Tim Gracyk, here is a new piece of history. (Tim, for those of you who don’t know, posts rare records, poetry, and philosophical commentary regularly on YouTube — in profusion.)
The “buff Bluebird” label is very appealing to the eye and nostalgic for me, so I paused while scrolling through Tim’s latest cornucopia. Then I saw the band title, which was another inducement — because of its suggestion that hot jazz might be lurking behind that general monicker.
I started the video and listened very casually: nice band, good trumpet and clarinet, both familiar, but it wasn’t until the drummer hit an accent that I started to pay attention. “That’s Stan King! And it certainly sounds like Marty and Joe Marsala. . . . ”
The band was “Tempo King And His Kings Of Tempo” : Marty Marsala, trumpet; Joe Marsala, clarinet; Queenie Ada Rubin, piano; Eddie Condon, guitar; George Yorke, string bass; Stan King, drums; Tempo King, vocal, leader: another one of the swing combos, their roots in Fifty-Second Street, to emulate and ride alongside the Fats Waller phenomenon.
I couldn’t find out much about Frank Ryerson, except that he also was one of the composers of BLUE CHAMPAGNE, and what we used to call The World Wide Web (remember?) told me that he was a trumpeter in Glen Gray’s orchestra.
Why the alias? Ordinarily bands recorded four sides in a three-hour session; this one was particularly fertile, and this band turned out seven usable sides. So Bluebird 6690 had this recording on one side; on the other, a performance by Frank Tanner (leader of a Texas-based orchestra), SAILOR MAN RHYTHM.
The song isn’t memorable, but I find it intriguing. For reasons that are somewhat amorphous eighty years later, there was a spurt of novelty songs with mock-historical themes: CHRISTOPHER COLUMBUS, QUEEN ISABELLA, THE MIDNIGHT RIDE OF PAUL REVERE, and others even less well known. Stuff Smith, not surprisingly, had the riposte with I DON’T WANT TO MAKE HISTORY (I JUST WANT TO MAKE LOVE.)
Before this session, Mal Hallet, Jimmy Dorsey, and perhaps other bands had taken this one on; after, on a 1937 radio transcription from Hilversum, the Ramblers with Coleman Hawkins performed it, then Max Rumpf in Berlin, and Seger Ellis and his Choirs of Brass. Hallet may even have taken it as his theme song; there’s a 1944 V-Disc which is introduced by this song. (Another V-Disc, which I’ve never heard, is called AFTER ALL THAT GIN, which is promising.)
It’s a good record, a lot of fun, and an otherwise hidden performance. Thanks, Tim.
May your happiness increase!