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A series of great  JAZZ Blues and R&B Records from early Ragtime to Beb-Bop on 78 rpm Victrola Records

 

Hot ragtime mandolin by Dr CLARENCE PENNY w piano  by Felix Arndt:

Hot ragtime mandolin that predates the genre by nearly a decade! Dr. Clarence Penney (circa 1865-?) was president of Columbia University's mandolin club during the 1920s and wrote a few musicals for the University during the 1910s. "Indianola Patrol" was written by B. Hartz, and Penney is joined on this record by the wonderful pianist and composer Felix Arndt (1889-1918). 

Dr. Clarence Penney – Indianola Patrol / Toots

Label: Victor – 17694
Format: 
Shellac, 10", 78 RPM, Repress
Country: US
Released: 1916
Genre: Jazz, Folk, World, & Country
Style: Ragtime
A  Indianola Patrol
Composed By – B. Hartz
3:41
B  Toots
Composed By – Felix Arndt
2:59
Record Company – Victor Talking Machine Co.
Mandolin – Dr. Clarence Penney
Piano – Felix Arndt
Recorded August 31, 1914
Side A and B: One-step
A ragtime mandolin sound


Great Victor Batwing 10" 78 rpm record

Condition:

EXCELLENT MINUS unworn, but light rubs, plays E EXCEPTIONALLY QUIET

A SUPERB COPY

Dr. Clarence Penney & Felix Arndt-"Indianola Patrol" b/w "Toots" (1914 Victor 78)

This is one of the most interesting-and historically significant-recordings that Victor Records ever issued, as this may be the first known recording of a music genre that later would be known as "ragtime mandolin", popular in the late 1920s with jazz and solo artists into the 1960s with country bands. This 78 was issued in 1914, pre-dating the popularity of the genre by nearly a decade.

I have no idea of who Dr. Clarence Penney was or what he was a doctor of, but I sure would like to know more information about him-his playing kicks some serious ass and he's so good that it sounds like a mandolin duet! Felix Arndt (1889-1918) accompanies him on piano with graceful power on both sides and composed "Toots". For anyone who's interested in this genre or is just curious about what it sounds like, this 78 should be a must-have item in your music collection.

Dr. Clarence J. Penney, a ragtime mandolinist and composer who recorded three sides for Victor with Felix Arndt in 1914 and (sadly) never recorded again. His playing is delightfully spirited and quite complex for the era, pre-dating the instrument's role in jazz and ragtime by nearly a decade! Of course, the mandolin had been recorded before as a solo instrument (like Samuel Siegel's recordings), but those were mostly "folk" arrangements of popular tunes - Penney's recordings take the mandolin in a more "hot" direction and give more than a hint of the jazz era that followed WWI.

All I know for certain about him is that he was president of Columbia University's mandolin club during the 1920s (he also graduated there in 1901, presumably with a DMA or Ph.D. in Music) and wrote a few musicals for the University during the 1910s.

August 24, 1905 edition of the Monmouth Inquirer newspaper, published in Freehold, New Jersey. It turns out the good doctor was not John Clarence Penney, but Clarence John Penney. And he wasn’t born in 1893, but on October 9, 1877 in New York City to William Penney, a bookeeper and expert cellist, and his wife Antoinette Hexter, a well known church singer.

Clarence took up the violin when he was nine years old and was playing in public concerts at 15. In the late 1880s a mandolin craze began in the US and one day Clarence’s father brought home one of the instruments. Without any formal training, Clarence was quickly able to master the instrument and when he entered Columbia College he also applied for admission to the mandolin club and was enthusiastically accepted. Within a year he was elected President of the club and held the post for the duration of his time at Columbia.

Penney wrote music for the club and he was able to have several of his compositions published by the famous banjoists Ruby Brooks and Harry Denton who also owned Brooks and Denton Music Publishing Company. In 1894, Columbia’s oldest performing arts tradition, the Varsity Show, began as a fundraiser for the school’s athletic teams. Penney wrote the entire score for two of the annual shows, “The Mischief Maker” in 1903 and “The Isle of Illusia” the following Year. Another of Penney’s compositions was Ingomar, an intermezzo, recorded in 1905 as a bells solo by Chris Chapman but rejected by Victor.

While he was a Dr., Clarence J. Penney was not an M.D. At the time of the 1910 census, Dr. Penney was a dentist with a private practice in Manhattan. On August 19, 1918 he married Elsie C. Borroto, a New York City public school teacher and twelve years his junior, in a ceremony in Lake George, New York. In 1942 at age 64 he was still working as a dentist in the office of Dr. T. Holland Adam on East 61st St., in New York. It was through Brooks and Denton that he was introduced to the folks at the Victor Talking Machine Company and in 1914 he landed a recording contract. In four sessions, Dr. Clarence J. Penney made six sides, only three of which were issued and he never recorded again. You heard one of those sides last week, here are the other two.

 

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