Dolly Kay acc. Frank Westphal's Rainbo Orch. "You've Got to See Mama Ev'ry Night" (Chicago, 1923)

Описание: Dolly Kay, v acc: Frank Westphal, p, dir: Charles Burns, t / Herb Winfield, tb / Bill Richards, ts
Chicago, January 3, 1923.

80759-2 “You’ve Got to See Mama Ev’ry Night” (Billy Rose–Con Conrad) Col A-3808

Transferred with 3.0ML lateral stylus in Audiotechnica VMN70SP cartridge via Audiotechnica AT-LP120 Turntable. Declicked and EQ’d by Colin Hancock. Discographical Info and Research from Brian Rust’s Jazz Records, Newspapers.com, The National Jukebox (LOC), Mark Berresford, Bryan Wright, and Colin Hancock. Recordings and Images from the Colin Hancock Collection.

Pairing name artists with popular recording bands was a practice going back to the late 1890s when Edison and Columbia frequently paired Len Spencer and Arthur Collins with their popular select orchestras such as Issler’s or the Peerless. Continuing into the jazz age with both James Reese Europe’s Hellfighters and Ford Dabney’s band featuring vocal refrains from various stars (Noble Sissle the former, Arthur Fields and Billy Murray the latter), Columbia records became a leader in putting together its top acts, and recording them whenever and wherever possible. Indeed, they were the first to send mobile recording units to both San Francisco and Kansas City, in 1921, as well as Chicago to record local acts such as Paul Biese’s orchestra, and touring acts like the Ted Lewis band. In January of 1923, they took another trip to Chicago to record Lewis and the local bandleader Frank Westphal who was based at the Rainbow Gardens, having replaced Isham Jones there. In addition to Westphal, that winter the famed vocalist Dolly Kay was performing there as part of the seasonal review. Wanting to capitalize on both Westphalia and Kay’s recording popularity, utilizing the fact that they had been performing together at the same venue, and seeing a solid match of blues shouter and gritty early 20s Chicago jazz, the Columbia executives scheduled a session on January 3rd with Kay backed by a very small contingent of the Westphal band. As such, both Kay and Westphal’s men were able to stretch out musically, resulting in two very hot and woefully overlooked sides. “You’ve Got to See Mama Ev’ry Night” was a relatively new song at this time, and this version gives us a chance to hear Kay’s interpretation, some syncopated piano from Westphal during the patter, and a hot double time instrumental chorus from the band. Of note is tenor saxophonist Bill Richards, who provides an interesting textural difference from most little jazz bands of the day on record.