1926 BLACK BOTTOM Johnny Hamp s Kentucky Serenaders 78

$

51

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:

George Olson and his Music: Lucky Day

 10" 78 rpm record

Condition:

EXCELLENT, faintest needle run on Bottom

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 Detroit’s Black Bottom area. The dance became a sensation and ended up overtaking the popularity of the Charleston, eventually becoming the number one social dance.

“The Original Black Bottom Dance” was printed in 1919. It came from an earlier dance called “Jacksonville Rounders’ Dance” printed in 1907. The word “Rounder” was a synonym for “pimp”. Both “dance-songs” were written by black pianist/composer/dancer Perry Bradford [1] and were based on a dance done in Jacksonville, Florida “way back”. One professional dancer stated, “That dance is as old as the hills” 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 “The Scandals of 1926", whereupon it became a national craze.

Bradford’s 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 you’re near the ground (Break a Leg is a hobbling step)
Now that’s the Old Black Bottom Dance
Instructions for the Mooch are “Shuffle forward with both feet. Hips go first, then feet.”

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
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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.

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A note to grading Victrola/ Pathe/ Shellac 78 rpm discs:

Pls note that I try to be extremely careful and consistent in my grading. All records are graded with the same criteria, regardless of genre.

My grading should give you a good idea how the record you receive will look like.

Surface VISUAL GRADING:

EXCELLENT - clean and shiny, as new. E minus is the same, with light scuffing.

Very Good Plus - Clean, with a little more scuffing. Some grooves spots may have some light greying. Little if any distortion.

Very Good - a clean copy, some scuffing, some greying on a single groove or a few small groove bands. Enjoyable record, maybe light distortion on some top notes.

=> Everything up to here is a great and enjoyable record

Very Good Minus - May have areas of visible wear, may have some scuffing or dulled surface. Still a great record, but ticks, pops and some distortion.

Good Plus - a worn and scuffed copy. May have other defects separately stated. Plays well, but with noise, may require filtering.

All other defects (if any: Chips, cracks, scratches, lamination cracks, label damage, needle digs) will be stated SEPARATELY. "BUT" means that they are significant. "Faint" usually does not sound.

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Count the records that you have won, for albums count each record. Remember that a Diamond Disc counts as TWO records, e.g. 2 Diamond Discs -> 10$ shipping charge.