1,956 shellac records · mostly British pressings, 1900s–1950s
1,956 records matching · page 1 of 41
Two Ella Fitzgerald records on Brunswick: 'Petootie Pie' and 'Stone Cold Dead in the Market', her duets with Louis Jordan, and 'Later' with 'Lullaby of Birdland'.AI summary
Brunswick 05392/03746 Jazz
A. Starita, the Italian jazz accordionist and bandleader, recorded 'I want to be bad' and 'You wouldn't fool me would you' for Columbia 5551, a UK pressing from the late 1920s. Starita led a popular dance band in London and recorded prolifically.AI summary
Columbia 5551 Jazz
A.W. Baskcomb (also known as Paul Bascomb) and his group on Brunswick, an American label distributed in the UK.AI summary
Brunswick 210 Jazz
Jazz and popular standards recorded by Aaronson on His Master's Voice (catalogue B5667), likely from the late 1920s. The artist may be Carl Fenton's Aaronson or a similar early jazz figure, but attribution is uncertain.AI summary
His Master's Voice B5667 Jazz
An accompanist or group performed 'Some of These Days' and 'Nobody's Sweetheart' with Edgar Jackson for Brunswick 02146, a jazz or dance recording from the late 1920s.AI summary
Brunswick 02146 Jazz
Adelaide Hall was an American jazz vocalist who recorded extensively in Europe in the 1930s–50s, known for her scat singing and jazz interpretations. This Decca side pairs a popular song with Cole Porter's standard, recorded in the late 1930s.AI summary
Decca F7636 Jazz
Adelaide Hall, jazz vocalist and performer, recording 'A Touch of Voodoo' and 'Hush-a-bye' for Philips. Hall was an important figure in 1930s jazz and cabaret.AI summary
Philips PB219 Jazz
Adelaide Hall, a renowned jazz vocalist, and Fats Waller, the stride pianist and entertainer, recorded 'I Can't Give You Anything but Love' and 'That Old Feeling' for His Master's Voice, catalogue B8849, likely early 1930s.AI summary
His Master's Voice B8849 Jazz
Adrian Rollini recorded 'Honeysuckle Rose' and 'Bouncin' in Rhythm' for His Master's Voice JF series (39), a swing-era side from the 1930s. Rollini was a multi-instrumentalist (vibraphone, saxophone) and a respected swing musician, and his HMV sides are sought by jazz collectors.AI summary
His Master's Voice JF39 Jazz
Adrian Rollini, a virtuoso multi-instrumentalist (saxophone, harmonica, xylophone) and important figure in 1920s–30s jazz and hot dance, on His Master's Voice B8660. Rollini's recordings are collected by jazz and dance-band enthusiasts.AI summary
His Master's Voice B8660 Jazz
Adrian Rollini, accomplished jazz saxophonist and bandleader of the 1920s–1930s, recorded for Decca in the early swing era; this F-series pressing couples two popular standards.AI summary
Decca F3848 Jazz
Adrian Rollini (1903–1956) was an accomplished American multi-instrumentalist and bandleader who recorded dance and jazz sides for various labels in the 1930s; this Decca side showcases his versatility on two novelty numbers.AI summary
Decca F3702 Jazz
Adrian Rollini, virtuoso multi-instrumentalist (bass saxophone, hot fountain pen, vibraphone), recording for Brunswick in the mid-1920s with the New Orleans Rhythm Kings on 'No Lovers Allowed'. These jazz sides document an important chapter in early white New Orleans jazz.AI summary
Brunswick 02510 Jazz
Adrian Rollini, a pioneering jazz vibraphonist and saxophonist, recorded 'Sugar' and 'Davenport Blues' on Brunswick 01942. Rollini was a significant early jazz figure and his records are sought by hot jazz collectors.AI summary
Brunswick 01942 Jazz
Adrian Rollini, an American jazz musician and composer known for the vibraphone, xylophone, and bass saxophone, on Brunswick 01750: 'Get Goin'' and 'Keep On Doin' What You're Doin''. Rollini was an innovative early jazz player and bandleader active in the 1920s and 1930s.AI summary
Brunswick 01750 Jazz
Adrian Rollini, a pioneering jazz vibraphonist and saxophonist, recorded two jazz pieces for His Master's Voice: 'Weather Man' and 'Bouncin' in Rhythm', probably in the early 1930s.AI summary
His Master's Voice B8660 Jazz
Al Calman (possibly Joe Haynes) recorded 'Jazz Pie' and the Russo composition 'I'm a Ding Dong Daddy' for Regal, catalogue MR806. Calman was a minor American jazz or dance singer of the late 1920s-1930s.AI summary
Regal MR806 Jazz
Al Haig, the bebop pianist who worked with Charlie Parker and Dizzy Gillespie, leads a sextet in 'Pinch Bottle' and 'Earless Engineering'.AI summary
BlueTone HL1 Jazz
Al Sears was an American jazz saxophonist and bandleader popular in the 1940s–50s; this Vogue side showcases his ensemble sound and jazz sensibility.AI summary
Vogue V2142 Jazz
Al Starita on Columbia 4908, performing 'How long has this been going on' and 'It don't do nothin' but rain', jazz-influenced popular recordings from the 1920s.AI summary
Columbia 4908 Jazz
Al Starita recorded jazz and light orchestral material for Columbia's early numbered series around the mid-to-late 1920s.AI summary
Columbia 5108 Jazz
Alabama Jug Band performing 'My Gal Sal' and 'Somebody stole my Gal' on Brunswick, the major American label's British pressing, catalogue 05092.AI summary
Brunswick 05092 Jazz
Albert Harris and Ivor Mairants were British jazz and swing musicians; this novelty instrumental side for Brunswick plays on the contrast between popular tune and classical form, typical of 1930s light jazz.AI summary
Brunswick 02350 Jazz
Albert Wynn, a Chicago jazz trombonist, with 'She's Crying for Me' from 1928, backed by Jimmy Wade's band playing 'Gates Blues', on British Vocalion.AI summary
Vocalion V1029 Jazz
Alberta Hunter, the blues and jazz singer, on two blues recordings: Don't want no Man that's lazy and Your Bread may be good but it ain't as good as mine, on the obscure label JukeBox 511.AI summary
JukeBox 511 Jazz
Alex Hill, the pianist and arranger, with 'Let's Have a Jubilee' from 1934, coupled with 'Swingin' for the King' by Haynes, in British Vocalion's Swing Series.AI summary
Vocalion S70 Jazz
Alice Moore recorded blues numbers 'Prison Blues' and 'My Man Blues' for Gennett (listed as Cent). Moore was one of many blues singers recorded in the 1920s, contributing to the race records tradition. Gennett pressings of early blues are sought by collectors of the genre, though British copies are considerably scarcer than American issues.AI summary
Century 3022 Jazz
The All Star Trio on His Master's Voice B1262, performing 'Twelfth Street Rag' and Hylton's 'Campanas', jazz-influenced instrumental pieces from the 1920s-30s.AI summary
His Master's Voice B1262 Jazz
The Henry 'Red' Allen–Coleman Hawkins orchestra plays 'Someday Sweetheart' and 'I Wish I Could Shimmy Like My Sister Kate', from their 1933 collaboration.AI summary
Private 13184A Jazz
Alstone is not identified in standard discographies. 'Black Joe' and 'Cinquième Avenue' are recorded on His Master's Voice K8716, a K-series catalogue number consistent with the early 1920s.AI summary
His Master's Voice K8716 Jazz
Ambrose and his orchestra performing the Duke Ellington composition 'Caravan' and 'Cotton Pickers Congregation' on Decca F6458, from the late 1930s.AI summary
Decca F6458 Jazz
Ambrose, one of the finest British dance-band leaders of the 1930s, recording the novelty instrumental duo 'Jazz Pizzicato' and 'Jazz Legato' on Decca F8912 in the swing era.AI summary
Decca F8912 Jazz
Ambrose and the Boswell Sisters on Brunswick 02046, performing "Things Might Have Been So Different" and "I'll Never Say Never Again Again" — Ambrose was the London-based leader of a fashionable dance orchestra in the 1930s; the Boswell Sisters were American jazz vocalists. A transatlantic collaboration.AI summary
Brunswick 02046 Jazz
American Jazz Band (an unidentified ensemble) with 'Meet me in Cubble Land' and 'Mystery' on Odeon 308415/6, likely from the 1920s.AI summary
Odeon 308415/6 Jazz
Parlophone R967 Jazz
Two tracks ('Creep' and 'Young Blood') credited to anonymous artists on a label marked only 'dub', with no catalogue number.AI summary
dub Jazz
Little Black Cupid and Flanagan's Night Off on Britannic 0028.AI summary
Britannic it0028 Jazz
An anonymous dance band or orchestral ensemble performing instrumental pieces for the Rub label, a small or obscure British marque of which little is documented.AI summary
Rub 100078 Jazz
'They can't find Kelly' and 'Girls Wives & Kids' credited to Anon on Rub Records, catalogue 100115. The Rub imprint is unidentified and extremely obscure.AI summary
Rub 100115 Jazz
Anonymous novelty or novelty recording 'Now are we all here? Yes!' and 'Merry Wedding Bells' on Cameo C, catalogue 92, early acoustic era.AI summary
Cameo C92 Jazz
Anonymous dance or novelty recording 'Somebody Else is crazy 'bout Me' and 'She's waiting for you' on Cameo Z, catalogue 46, likely early 1920s.AI summary
Cameo Z46 Jazz
'Tin roof blues' and 'Black sheep blues', anonymous artists and performers, on a transcription disc with no catalogue number. Transcription discs were made for broadcast or studio use and are rarely issued for public sale.AI summary
Transcription Jazz
Arden-Ohman (likely referring to Victor Arden and Phil Ohman, the American piano duo) recording 'Should I' and the High Hatters' 'A Bundle of Old Love Letters' for His Master's Voice B5791, mid-1920s.AI summary
His Master's Voice B5791 Jazz
Arden-Ohman, a jazz duo active in the late 1920s, recorded 'Looking for a Boy' and 'That certain Feeling' for Brunswick 3035. Both are Gershwin standards.AI summary
Brunswick 3035 Jazz
New Orleans pianist Armand Hug and drummer Ray Bauduc with 'Breezin' Along' and 'Little Rock Getaway' on American OKeh.AI summary
Okeh 6802 Jazz
Armstrong (forename not given) performing two jazz sides for His Master's Voice: 'I hate to leave you now' and 'Hello (McKinney)'.AI summary
His Master's Voice B6335 Jazz
Louis Armstrong, the most influential jazz musician of the 20th century, recorded these early jazz sides for Columbia. 'Lonesome blues' and 'King of the Zulus' are from his classic period. Columbia DB3340 is a later UK pressing, not an original 1920s release.AI summary
Columbia DB3340 Jazz
Armstrong performing 'Dusky Stevedore' and 'Mississippi Basin' on His Master's Voice B6387, likely Louis Armstrong in the mid-1920s.AI summary
His Master's Voice B6387 Jazz