1,956 shellac records · mostly British pressings, 1900s–1950s
1,956 records matching · page 2 of 41
Louis Armstrong on Decca F5936, performing "I hope Gabriel likes my Music" and "Shoe Shine Boy" — F-series Deccas were standard British pressings from the late 1930s–40s. Armstrong is universally collected, though British pressings of his hot jazz sides are more prized than later popular recordings.AI summary
Decca F5936 Jazz
Louis Armstrong for Decca, performing 'Mexican Swing' and 'Satchel Mouth Swing'. Armstrong recorded prolifically for Decca in the 1930s–40s; these two sides showcase his trumpet and distinctive delivery on swing-era material.AI summary
Decca F7428 Jazz
Art Hickman and his orchestra performing two standards on Columbia. Hickman was an early jazz and dance band leader of the 1920s, and his original recordings are collected by jazz and dance music historians. Columbia 3000-series issues were early pressings.AI summary
Columbia 3017 Jazz
Art Hodes, an American jazz pianist, performing two New Orleans-style jazz pieces on Jazz Record, a small American jazz label of the late 1940s.AI summary
JazzRecord 1003 Jazz
Art Hodes, an American jazz pianist and bandleader, recorded 'Doctor Jazz' and 'Shoe Shiners Drag' for Blue Note, the legendary jazz label. Hodes was a central figure in the Chicago jazz revival of the 1940s.AI summary
BlueNote 507 Jazz
Art Hodes was an important Chicago blues and jazz pianist; this Brunswick pressing of 'Liberty Inn Drag' and 'Georgia Cakewalk' represents early jazz material from the 1920s-early 1930s. UK copies of Brunswick's early American jazz issues are uncommon.AI summary
Brunswick 03438 Jazz
Artie Shaw and his New Music play 'The Blues' in two parts on American Vocalion.AI summary
Vocalion 4401 Jazz
Art Tatum's 'Battery Bounce' and 'Lucille', recorded for Brunswick in the 1940s by the virtuoso jazz pianist.AI summary
Brunswick 03430 Jazz
Art Tatum, one of the greatest jazz pianists of the twentieth century, recorded 'Humoreske' and 'Elegie' for Brunswick—two of the classical-influenced pieces Tatum favoured alongside his blues and jazz improvisations.AI summary
Brunswick 03162 Jazz
Arthur Castro with a jazz band performing samba material on Imperial Imperador, a Brazilian-oriented sub-label; two dance numbers with Portuguese titles.AI summary
Imperador 1039 Jazz
Arthur Young with Stéphane Grappelli, the legendary French jazz violinist, recorded 'Mind the Handle's Hot' and 'Dearest I Love You' for Decca. Grappelli was one of the most important European jazz musicians of the 1930s; his recordings, even those in supporting roles, remain of high interest to jazz collectors. UK Decca pressings of jazz material from this period are actively sought.AI summary
Decca F7591 Jazz
Arthur Young and Stéphane Grappelly, the pioneering swing violinist, performing 'Blue Skies' and 'I Cried For You' on Decca F7644. Grappelly was central to European hot jazz in the 1930s and a much-recorded musician; this appears to be a solo or small-group recording.AI summary
Decca F7644 Jazz
Artie Shaw, the virtuoso clarinetist and bandleader, recorded "Serenade to a Savage" and "Traffic Jam" for His Master's Voice. Shaw was one of the most important big-band leaders of the 1930s–1940s.AI summary
His Master's Voice B9006 Jazz
Artie Shaw, the legendary American clarinetist and bandleader, recorded 'In the Still of the Night' and 'What Is This Thing Called Love' (featuring Mel Tormé) for Parlophone, catalogue R3032.AI summary
Parlophone R3032 Jazz
Artie Shaw with 'Same Old Line' and 'Thou Swell' in British Vocalion's Swing Series.AI summary
Vocalion S54 Jazz
Artie Shaw, the clarinet virtuoso and big-band leader, recorded 'I Surrender Dear' and 'Lady Be Good' for His Master's Voice. Shaw was a major American swing star; this HMV B9018 is a standard swing-era pressing.AI summary
His Master's Voice B9018 Jazz
Artie Shaw's clarinet-led orchestra on "King for a Day" and "April in Paris" for HMV B9105. Shaw was one of the finest hot-jazz and swing clarinetists of the 1930s–1940s, leading one of the most popular American dance orchestras.AI summary
His Master's Voice B9105 Jazz
Artie Shaw, the American clarinetist and swing bandleader, recorded 'Moonglow' and 'My Blue Heaven' for His Master's Voice in the late 1930s; this is a British pressing of one of the swing era's major figures.AI summary
His Master's Voice B9269 Jazz
Artie Shaw, the virtuoso clarinetist and bandleader, recorded 'Carnival' and 'Needlenose' for HMV.AI summary
His Master's Voice B9291 Jazz
Artie Shaw, one of the finest swing clarinetists of the 1930s and 1940s, recorded 'Who's excited' and 'Alone together' for His Master's Voice; both were popular standards of the swing era.AI summary
His Master's Voice B9341 Jazz
Artie Shaw, the American jazz clarinetist and bandleader, recorded 'Say It with a Kiss' for His Master's Voice; this represents early swing from one of jazz's major figures.AI summary
His Master's Voice B9351 Jazz
Artie Shaw was an American jazz clarinetist and bandleader, a major figure in swing music from the mid-1930s onward. 'Dancing in the Dark' and 'Yolanda' are swing standards. This His Master's Voice B9476 pressing is from the late 1930s–early 1940s.AI summary
His Master's Voice B9476 Jazz
Artie Shaw, the American clarinetist and bandleader, recorded 'You're a Little Headache' and 'I Have Eyes' for Regal MR2977, likely mid-1930s.AI summary
Regal MR2977 Jazz
Artie Shaw, the American swing bandleader and clarinetist, on His Master's Voice; the titles and catalogue number suggest late 1930s–early 1940s.AI summary
His Master's Voice B8869 Jazz
Artie Shaw, the American clarinetist and bandleader, recorded 'Summit Ridge Drive' and 'Special Delivery Stomp' for His Master's Voice, representing the swing era and Shaw's sophisticated jazz arrangements.AI summary
His Master's Voice B9146 Jazz
Artie Shaw, the virtuoso clarinetist and bandleader, recorded 'Moonglow' and 'My blue heaven' for HMV; 'Moonglow' was one of his signature tunes.AI summary
His Master's Voice B9269 Jazz
Artie Shaw, the American clarinet virtuoso and big-band leader, performing two jazz standards on Parlophone in the late 1930s or early 1940s.AI summary
Parlophone R2934 Jazz
Artie Shaw, the jazz clarinetist and bandleader, recorded 'Comin' On' and 'Copenhagen' for His Master's Voice B8880. Shaw was one of the most important American jazz figures of the swing era, and both sides are well-documented recordings.AI summary
His Master's Voice B8880 Jazz
Artie Shaw was an American clarinetist and bandleader central to swing jazz, known for both instrumental and vocal recordings; this Brunswick disc from the early 1940s carries two standards in swing style.AI summary
Brunswick 04628 Jazz
Artie Shaw, clarinet virtuoso and bandleader of the swing era. Vocalion S131 ('Fee Fi Fo Fum' and 'Sweet Adeline') is from a scarce series.AI summary
Vocalion S131 Jazz
Artie Shaw with 'Free for All' and 'Monsoon' in British Vocalion's Swing Series.AI summary
Vocalion S140 Jazz
Artie Shaw's The Blues in two parts on Vocalion S124, a UK issue of one of the clarinettist's early recordings.AI summary
Vocalion S124 Jazz
Artie Shaw with 'Copenhagen', and Mildred Bailey singing 'Trust in Me' on the reverse, in British Vocalion's Swing Series.AI summary
Vocalion S67 Jazz
Artie Shaw, one of the most important American clarinettists and bandleaders of the swing era, on Brunswick 04596 with two popular songs.AI summary
Brunswick 04596 Jazz
Artie Shaw and his ensemble performing two numbers on His Master's Voice B8894. Shaw (1910–2004) was an American clarinetist and bandleader; one of the major swing era bandleaders of the late 1930s–40s.AI summary
His Master's Voice B8894 Jazz
Artie Shaw and Mel Torme performing jazz standards on Musicraft, a small American label of the 1940s. Shaw was a leading swing clarinetist and Torme a young and gifted vocalist, making this a notable pairing.AI summary
Musicraft 412 Jazz
Aunt Jemima — the stage name of Alberta Hunter, one of the most significant American blues and jazz singers — performing 'Can't Help Lovin' Dat Man' from Jerome Kern's Show Boat and 'Didn't I Tell You?' on Columbia catalogue 4917. Hunter's Columbia recordings are of genuine collector interest to students of early American jazz and blues.AI summary
Columbia 4917 Jazz
B Jones and E Hare for Vocalion, performing the jazz novelties 'How She Loves Me Is Nobody's Business' and 'Flamin' Mamie'. Both are unrecognised jazz performers.AI summary
Vocalion X9772 Jazz
Bailey's Lucky 7 on Westport, an obscure American label, performing 'Way Down Yonder in New Orleans' and 'Who Did You Fool After All'. The band is unrecognised.AI summary
Westport 2070 Jazz
Bailey's Lucky 7 on Westport, performing 'Homesick' and 'Japanese Moon'. Westport was an obscure American label; the band is unrecognised.AI summary
Westport 2099 Jazz
Bailey's Lucky 7 on Gennett 5258, performing 'Oh you little sunuvergun' and 'Stealing to Virginia' — a hot-dance side from the mid-1920s on the American Gennett label.AI summary
Gennett 5258 Jazz
His Master's Voice BD5041 Jazz
An unidentified band on Citizen 701, performing 'Musical Switch' parts 1 and 2, likely 1920s.AI summary
Citizen 701 Jazz
An unnamed band on Rub (Rhubarb?) label, this pressing of 'The Season's Plums' (parts 1 and 2) is unidentified; the title and label are obscure.AI summary
Rub 138 Jazz
German-language dance or folk song, credited only to 'Band', on Rub 201, an obscure label. No artist or date information available.AI summary
Rub 201 Jazz
Credited only to 'Band' on Perfection label (Perf 331). 'Yale Blues' and 'Deep River Blues' are blues numbers. The label, catalogue number and minimal attribution suggest an obscure early 1920s recording.AI summary
Perfect 331 Jazz
Oly 1015 Jazz
Barney Bigard, the clarinettist of Duke Ellington's orchestra, with 'Can't Help Lovin' Dat Man' and 'Please Don't Talk About Me When I'm Gone' on Black & White, an American label of the 1940s.AI summary
B&W 14 Jazz