Shipping: All items will be packed safely in a sturdy package for safe shipping.
We ship internationally and offer combined shipping for multiple purchases. Expedited, Priority Mail and FedEx shipping available
Once payment is received, we ship your item on the next business day.

 

A series of great  JAZZ Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records

 

THE NEXT CRAZE after the CHARLESTON, THE BLACK BOTTOM

 

Here in the most famous recording with JOHNNY HAMPS Kentucky Serenaders:

(5)
(Buddy De Sylva / Lew Brown / Ray Henderson) 6-28-1926 New York, New York Victor
20101-B

George Olson and his Music: Lucky Day

 

 10" 78 rpm record

Condition:

EXCELLENT MINUS,  scuffs, BUT 2mm dig on BOTTOM causes 5 clicks, plays very quiet lightest crackle

A GREAT COPY

Legend has it that Johnny Hamp became the leader of the Kentucky Serenaders one night while attending a dance at the Hershey Ballroom, in Hershey, Pennsylvania. The previous leader of the band had a disagreement with the musicians and skipped out on them early in the evening, leaving them unpaid. Johnny Hamp offered to lead the band that night, and afterwards became the new leader of the band. The Kentucky Serenaders had a big hit in 1926 with the dance craze tune "Black Bottom". Johnny Hamp continued to lead bands throughout the 1920s and 1930s and early 1940s. In 1930 they visted England. From 1931 onwards they recorded as Johnny Hamp and his Orchestra.

 

Black Bottom refers to a dance which became popular in the 1920s, during the period known as the Flapper era.

The dance originated in New Orleans in the 1900s. The theatrical show Dinah brought the Black Bottom dance to New York in 1924, and the George White's Scandals featured it at the Apollo Theater in Harlem 1926 through 1927 where it was introduced by dancer Ann Pennington. Jelly Roll Morton, jazz player and composer, wrote the tune "Black Bottom Stomp" with its name referring to DetroitÆs Black Bottom area. The dance became a sensation and ended up overtaking the popularity of the Charleston, eventually becoming the number one social dance.

ôThe Original Black Bottom Danceö was printed in 1919. It came from an earlier dance called ôJacksonville RoundersÆ Danceö printed in 1907. The word ôRounderö was a synonym for ôpimpö. Both ôdance-songsö were written by black pianist/composer/dancer Perry Bradford [1] and were based on a dance done in Jacksonville, Florida ôway backö. One professional dancer stated, ôThat dance is as old as the hillsö The dance was well known among semi-rural Negroes across the South. A similar dance with many variations had been commonly used in tent show performances, and "Bradford and Jeanette" had used it as a finale. The dance was featured in the Harlem show Dinah in 1924, and then ôThe Scandals of 1926" , whereupon it became a national craze.

BradfordÆs version printed along with the sheet music

Hop down front then Doodle back, (Doodle means slide)
Mooch to your left then Mooch to the right
Hands on your hips and do the Mess Around,
Break a Leg until youÆre near the ground (Break a Leg is a hobbling step)
Now thatÆs the Old Black Bottom Dance
Instructions for the Mooch are ôShuffle forward with both feet. Hips go first, then feet.ö

The rhythm of the Black Bottom is based solidly on the Charleston. [1]

"Ma Rainey's Black Bottom" is a song by Ma Rainey which makes obvious allusions rather than being dance music. The title Ma Rainey's Black Bottom was used for a 1982 play by August Wilson, showing the exploits and experiences of African-Americans.

The comedy musician Spike Jones who became popular in the 1940s performed a jaunty cover of the "Black Bottom". His version released on 78 RPM records repeated a single measure of a piano solo in the middle of the song several times, each time continuing with a loud "crack!" as a joke to make the record sound broken.

 

 

CHARLESTON
=========

So, by 1923, people were ready for something new, and it arrived in the form of a dance called the "Charleston" , composed by James Price Johnson, and lyricist Andy Razaf. The song was featured in the 1923 Afro-American Broadway musical "Running Wild" , and was sung by Elizabeth Welch, but did not catch on with the public until the all-Black cast of "Running Wild" appeared in "Florenz Ziefeld's Follies of 1923". No other dance epitomizes the spirit and joyous exhuberance of the 1920's more than the "Charleston". The dance became so widely popular that even to this day, it is still the main symbol of the 1920s Jazz Age. "Tin Pan Alley" turned out hundreds of "Charleston" variations, and Charleston contests, were a regular part of Dance halls and hotels everywhere. Hospitals began receiving patients complaining of "Charleston knee." Interestingly, the Stodgier ballrooms tried to discourage the frenetic "Charleston" by posting signs that read simply, "PCQ" ("Please Charleston Quietly"). Today, in our mind's eye, we visualize Flappers with their knock knees, crossing hands, and flying beads dancing the Charleston.

One of the more successful variants, a dance called the "Black Bottom" , was first introduced in the 1926 Broadway edition of George White's "Scandals Listen now to a 1926 version of the "Black Bottom" , as played by Johnny Hamp's Kentucky Serenaders. Within that one year, the dance swept not only America, but the entire world. Eventually, all the early dances lost popularity and the Foxtrot became the preferred dance

 

The band was formed in early 1923. The main attraction at London's famed Savoy Hotel had been Bert Ralton's Savoy Havana Band, and when Ralton left in late 1922 for an Australian tour, the band's violinist, Reginald Batten, became the leader. (Rudy Vallee was playing the Sax and Billy Mayerl was on the Piano). In 1923, due to the great popularity of the NY Havana Band, the Savoy decided to hire still another band - called The Savoy Orpheans - with Debroy Sommers as Leader. (Vallee was still on Sax but Billy Thorburn was on the piano. Carroll Gibbons was also in the new band). Now, both the New York Havana Band and The Savoy Orpheans bands were feature attractions at the Hotel.

    Tiny Stock
    Laurie Payne
    Bert Thomas
    L. Huntington
    George Hartley
    Frank Herbin
    Jean Zamblin
    Teddy Sinclair
    Billy Barton
    Cyril Hellier
    Max Goldberg
    Unknown
    Frank Guaranti
    Eddie Bare

These bands included many notable musicians and later band leaders. Somers left the Orpheans in 1926 with Newton becoming Leader. Carroll Gibbons became the Leader in 1927. The Orpheans ended their involvement with the Savoy in 1927 (along with the Savoy Havana Band), but in the early 1930s Howard Jacobs and Carroll Gibbons, as joint leaders, formed a band known as the Savoy Hotel Orpheans. The band was later lead by Gibbons alone, and his name became added to its title.

More Great Records on sale right now:

====

A Quick NOTE ON GRADING AND SHIPPING:

As you can see from my feedback, I try hard to earn your POSITIVE FEEDBACK and FIVE STAR RATINGS.

If for any reason your transaction was NOT SATISFACTORY, pls contact me and I will work something out with you. YOU WILL NEVER HAVE A REASON TO GIVE ME A NEGATIVE RATING or a LOW STAR RATING.

Quick note on grading:

The Grade (Excellent to Poor, I don't give Mint) refers to the WEAR of the record. Any other defects are stated separately

When I listen to a record, I may also give it an aural grade (again E to P), and make a SUBJECTIVE judgment of the pressing quality for hiss and surface noise.
"SUPERQUIET" is basically noiseless, like a vinyl pressing.
"VERY QUIET" is an exceptionally quiet record for a given pressing.
"Quiet" is a record that is a great example without undue noise for a give pressing.

These judgments are SUBJECTIVE and will depend one the styli, phonograph etc. you use on your own equipment.

Multiple item shipping: I am happy to combine items for shipment in one parcel.

If you win multiple items, pls send me an INVOICE REQUEST to calculate the correct postage. Ebay check out will not give you the correct multiple item discount!

Records will be packed safely between corrugated cardboard in a sturdy box with plenty of padding for safe shipment.

Shipment is usually Media Mail, unless you request another service. Shipping is at your risk, I will be happy to insure items at your cost.

I charge actual postage plus a small fee for packing materials

As always, I guarantee your satisfaction. If you don't like the item, just return it, and I will refund the full purchase price.

If you are in the San Francisco area, I encourage pick-up in person.

US Domestic Shipping:

Here is a guideline for US Media Mail Shipping:

Prices below are for regular 78 rpm records. Up to about 5 records, I will ship Edison Discs for the same rates. Albums from Album Sets count as 1 record. Above that and for international shipments, it will be actual weight plus a small packing charge (1-3$ depending on size of shipment)

1 record: 4.75 – 5.50$

2 records: 6.50$

5 records: 8.00$

10 records: 12.00$

MANY MORE RECORDS: Don't worry. I safely ship 40 - 50 pounds of records double boxed in moving boxes, and even then Media Mail will probably not exceed 35$.

Please send me a message if you would like to get an estimate for you shipping rates!

I am very happy to ship records worldwide.

Please use the EBAY shipping cost only as a guideline. My actual charges are usually lower

One record usually ships for 25$ for 10" 25-35$ for most 12" records (Less for Canada).

 As always, I would appreciate any suggestions and corrections from you, pls contact me with any question.

Thank you very much, and good luck bidding !!!