Hoagy Carmichael Orch One Night In Havana 48899-1 RARE Jazz 78 Only known copy?
$
72
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Description
ARTIST: Hoagy Carmichael and His Columbia Club Orchestra
LABEL: Victor Unissued Vinyl Test 48899-1
TITLES: One Night In Havana
CONDITION: E, grooves look really nice but a lot of micro-clicks throughout, plays to grade
DESCRIPTION:
Chicago, IL, 952 Michigan Ave, February 19, 1929
Hoagy Carmichael, p, v, dir: Ray Connolly, Andy Anderson, c / Warren Carr, tb, a / Chauncey Goodwin, cl, as / George Harper, ts / Fizz Goodrich, bar / Eddie Wolfe, vn / Harry Werner, bj, g / Charles Dowling, sb / Bob Vollmer, d / Frank Sylvano v.
Paraphrased from Duncan Schiedt's The Jazz State of Indiana Hoagy Carmichael leads his band that resided at the Columbia Club in Indianapolis playing for a conservative, upscale clientele.
Most of the personnel were well known to Hoagy, some from IU bands. On trombone was ex-Crimson Serenader Warren Carr; Ed Wolfe, also of the former IU band, was on violin, doubling on sax; Chauncey Goodwin had been working with Amos Otstot's band on campus the previous school year. Drummer Bob Vollmer was a familair sight at college dances, and a friend of Hoagy's. Ohio's Charles Dowling was on bass. Both Ray Connolly and Andy Anderson took trumpet solos. It was to be the last band with which Hoagy would work in Indiana. Though well-known to local musicians, public exposure was limited. The band played a mixture of Hoagy's own arrangements and those borrowed from Don Redman of McKinney's Cotton Pickers tunes.
Hoagy later commented that he regretted being lazy about making new arrangements and thought with some work they could have developed into one of the first 'swing' bands. He thought the Chicago date showed up his weakness for proper voicing. The band had a real finesse; very little drive, but Carmichael's musical personality. Per Carmichael, the arrangements were "for a smaller-type band which was really my meat. Voicing each part was easier in the small band".
Although, as mentioned, the band's one recording session, for Victor, was not released, Hoagy recalled it was an outstanding band, one which, with a little luck, might have made history. He felt that they tried too hard in the studio. To add insult to injury, Victor later declined to reissue the session in a special album due to lack of 'critical mass'. Of the session, Bob Vollmer recalled, "I don't know how many tests were made, but there were a hell of a lot of them, I'll tell you. We got out of the recording place about 10:00 at night; we went over to see Louis Armstrong at the Sunset, or something. Hoag'd tried every place in Chicago that day to get hold of some maracas and a gourd--you know, for a rhumba rhythm. This was back in 1929, remember, when few people had ever heard a rhumba!" Carmichael commented that Chauncey Goodwin played better on this date than any saxophone player he had ever heard, even Trumbauer...especially one Sweet Lorraine, which is now the only missing recording from this session.
78 GRADING: We use the universally recognized VJM (Vintage Jazz Mart) 78 rpm system in grading our 78s with some streamlining as noted, eliminating some of the hair splitting on records graded V- and below (G+, G, G-, F).
E+
Highest grade used. A record that might have minor handling marks but has no visible signs of wear. N, N- and E+ records will all be graded as E+.
E
Record has slight signs of handling and use but groove wear should be barely detectable and grooves should still be glossy and black.
E-
Light groove wear with grey rubbing and light circular gray grooves starting to appear, but record should still retain glossy black grooves for almost all of the surface.
V+
Grey wear, handling and groove wear more apparent, but much of the groove area will still have black.
V
Record is approaching an overall grey surface with uniform wear, but will still play well even though the level of surface noise and distortion could be distracting.
V-
Record has wear throughout, and was subject to continual playing to wring more sound out of it, so even the grey is in a more advanced state of deterioration with groove walls disappearing.
P
This grade generally indicates poor condition on a good title.
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