1922 selected standards

________________________________

Carolina in the Morning (m. Walter Donaldson, w. Gus Kahn)
Toot, Toot, Tootsie Goo’ bye (Dan Russo, Gus Kahn & Ernie Erdman)
Limehouse Blues (Philip Braham, Douglas Furber)
Way Down Yonder in New Orleans (Turner Layton, Henry Creamer)
Chicago (That Toddlin’ Town) – words and music by Fred Fisher
Lovesick Blues (Cliff Friend, Irving Mills)
My Buddy (Walter Donaldson, Gus Kahn)

________________________________

Carolina in the Morning (m.Walter Donaldson, w. Gus Kahn)

See the separate feature page:

• Carolina in the Morning

_____________________

Toot, Toot, Tootsie Goo’ bye (Dan Russo, Gus Kahn & Ernie Erdman)

One of the major hits from the show Bombo and a show stopper according to Parlorsongs.com’s “The Music of Al Jolson, Page 2,” which says:

The song has long been associated with Jolson as well as the age and image of the “flapper” during the roaring twenties. Our copy shows Kahn, Erdman & Russo as the writers but Lissauer’s Encyclopedia of Popular Music in America as well as other sources credit Ted Fiorito and Robert King and makes [sic] no mention of Russo. Of course, Jolson recorded the song for Columbia on CO A-3564 with the Frank Crumit orchestra and “True Blue Sam” on the flip side. As with many of his top hits, this song appeared in both Jolson movies, The Jazz Singer and Rose of Washington Square.

______________

Billy Murray and Ed Smalle

.

Benson Orchestra of Chicago

.

Al Jolson – in The Jazz Singer (1929)

_______________________

Limehouse Blues (Philip Braham, Douglas Furber)

from the Gertrude Lawrence page at Wikipedia:

In 1923, Noël Coward developed his first musical revue, London Calling!, specifically for the actress and vocalist Gertrude Lawrence. Charlot agreed to produce it, but brought in more experienced writers and composers to work on the book and score. One of Coward’s surviving songs was “Parisian Pierrot,” another tune that was to be identified closely with Lawrence throughout her career. The show’s success led its producer to create André Charlot’s London Revue of 1924, which he brought to Broadway with Lawrence, Lillie, Buchanan, and Constance Carpenter. It was so successful it moved to a larger theater to accommodate the demand for tickets and extended its run. After it closed, the show toured the US and Canada, although Lawrence was forced to leave the cast when she contracted double pneumonia and pleurisy and was forced to spend fourteen weeks in a Toronto hospital recuperating.

The success of Limehouse Blues on Broadway lead to instrumental recordings by various dance orchestras, including those by Paul Whiteman & his Orchestra, the California Ramblers, and Carl Fenton’s Orchestra.

Paul Whiteman & his Orchestra — recorded on 22 January, 1924; issued on the 78 rpm single Victor 19264

.

Quintette du Hot Club de France — recorded in Paris on 4 May 1936 — Stephane Grappelly (v), Django Reinhardt, Joseph Reinhardt, Pierre Ferret (g), Lucien Simoens (b), Freddy Taylor (vo)

______________________

Way Down Yonder in New Orleans (Turner Layton, Henry Creamer)

First published in 1922, Creamer and Layton advertised it as “A Southern Song, without A Mammy, A Mule, Or A Moon”, a dig at some of the Tin Pan Alley clichés of the era. The song was performed at The Winter Garden Theater in New York in Act 2 of the Broadway musical production, “Spice of 1922.” The original 1922 sheet music featured a drawing of a girl on a spice bottle on the front cover, referring to the musical in which the song eventually made its public debut. – Wikipedia excerpts

______________________

The Peerless Quartet – recorded June 1922

Band identified only as “The Cotton Pickers” – 1923. This is not McKinney’s Cotton Pickers who didn’t begin recording until 1928.

.

Gene Fosdick’s Hoosiers – 1923

.

Layton & Johnstone — 1927 — The provider attaches the opinion: “This performance by the composer Turner Layton and his partner Clarence (Tandy) Johnstone must be the most definitive version.”

___________________

Chicago (That Toddlin’ Town) — words and music by Fred Fisher

Paul Whiteman & his Orchestra – circa 1922

.

Player Piano Roll – QRS Roll #9172 made by: J. Lawrence Cook – played on a Kimball Electramatic player piano

.

Frank Sinatra – not a very good quality audio, but the only one I was able to find in video format. slide show.

_______________________

Lovesick Blues (Cliff Friend, Irving Mills)

Wikipedia says:

The song first appeared in the 1922 musical Oh, Ernest. It was first recorded by Elsie Clark and then by Jack Shea (both 1922). Emmett Miller recorded it in 1925 and 1928, followed by country music singer Rex Griffin circa 1938. The recordings by Griffin and Miller inspired Hank Williams to perform the song during his first appearances on the Louisiana Hayride radio show in 1948. Receiving an enthusiastic reception from the audience, Williams decided to record his own version despite initial push back from his producer Fred Rose and his band.

Emmett Miller accompanied by his Georgia Crackers, vocals: Emmett Miller, Dan Fitch – 12 June 1928

The spoken introduction:

Man: Sam, you sure do look like you’ve got the miseries.

Sam: Man, I ain’t got no miseries. I’m got the blues. That’s what’s the matter with me.

M: Birds singin’ in the trees, and the sun am shinin.’  You shouldn’t have no blues.

S: I know I shouldn’t have ’em, but I’ve got every known indication of being in that condition.

M: What’s the matter then, they lock up your bootlegger?

S: No, it wasn’t that. I went home this morning and peaked through the window…That sweet thing of mine had done called out. So now I’ve got them lovesick blues.

.

.

Rex Griffin — 1939

.

Hank Williams – 1949

A commenter on the video above containing the Griffin recording says: “Hank was aware of both versions [Miller’s and Griffin’s] as indicated in a letter Fred Rose sent to Hank prior to Hank’s session.”

_______________

My Buddy (Walter Donaldson, Gus Kahn)

Henry Burr – 1922

.

Doris Day – 1952