1,957 shellac records · mostly British pressings, 1900s–1950s
1,957 records matching · page 27 of 41
Columbia 37535 Jazz
Louis Armstrong and his All Stars perform 'Pennies from Heaven' and 'Save It, Pretty Mama' on His Master's Voice C4266; Armstrong is one of the most important figures in jazz history and all his recordings are collected.AI summary
His Master's Voice C4266 Jazz
Louis Armstrong with Sy Oliver recorded 'Skokiaan' for Brunswick, catalogue 05332, likely from the early 1950s.AI summary
Brunswick 05332 Jazz
Louis Bellson, an American jazz drummer and bandleader, recorded for Jazz at the Philharmonic, the famous live-concert recording series. Bellson was a significant bebop and swing musician.AI summary
JazzAtThePhilharmonic 1064 Jazz
Louis Jordan and his Tympany Five, pioneers of jump blues and rhythm-and-blues, recorded for Brunswick with two novelty sides from the 1940s; Jordan was a hugely influential early R&B figure.AI summary
Brunswick 03778 Jazz
Louis Prima, the New Orleans trumpeter and singer, recorded 'I Can't Give You Anything but Love' and 'You Call It Madness' for Majestic Records 7200. Prima was a jump-blues and novelty entertainer popular in the late 1940s–50s.AI summary
Majestic 7200 Jazz
The Louisiana 5 recorded 'Slow and Easy' and 'Dance o' Mania' (with the Happy 6) on Columbia, representing early 1920s dance and jazz repertoire.AI summary
Columbia A2949 Jazz
The Louisiana Five were an early white jazz band active around 1919–1920; this Emerson disc carries their signature tune 'Blues My Naughty Sweetie Gives to Me', an early and influential jazz side.AI summary
Emerson 1083 Jazz
The Louisiana Five were an early jazz ensemble of the 1910s–20s, known for hot dance and novelty jazz. 'Yelping Hound blues' and 'Just another good Man gone wrong' are typical of their jazz and blues-tinged dance repertoire. This Columbia A2742 pressing is from the acoustic era.AI summary
Columbia A2742 Jazz
The Louisiana Five, an early hot-jazz group, recorded 'I ain't got no Time to have the Blues' and '(Sweatman) Slide Kelly slide' for Columbia, catalogue A2775.AI summary
Columbia A2775 Jazz
The Louisiana Five were an early New York jazz band of the late 1910s and early 1920s; this Emerson label disc pairs two of their recordings, 'Blues My Naughty Sweetie Gives to Me' and 'Ringtail Blues'.AI summary
Emerson 1083 Jazz
Louisiana Rhythm Kings recorded hot dance and jazz for Brunswick in the early 1930s. This small ensemble was part of the New Orleans jazz revival during the Depression era, when traditional jazz recordings reappeared alongside swing.AI summary
Brunswick 03282 Jazz
Louisiana Rhythm Kings performing two early jazz standards on Brunswick 03282: 'Sweet Sue' and 'Squeeze Me'. These pieces were recorded many times by early jazz ensembles of the 1920s–30s.AI summary
Brunswick 03282 Jazz
The Louisiana Rhythm Kings recorded 'That's a Plenty' (marked as 1929) and 'That Da Da Strain' for Brunswick. The band was part of the jazz revival and hot-jazz recording movement of the late 1920s.AI summary
Brunswick 02731 Jazz
Brunswick 02056 Jazz
The Louisiana Five, an early American jazz ensemble, perform 'Alcoholic Blues' and 'Kansas City Blues' on Columbia A-series — extremely rare early jazz recording, a landmark of 1920s jazz on a major label.AI summary
Columbia A2768 Jazz
The Louisiana Five, an early jazz ensemble, recorded 'Slow and Easy' and 'Dance o'Mania' (the latter with the Happy Six) for Columbia A2949, one of the earliest jazz recordings on disc in Britain. This is an extremely early jazz recording from the late 1910s.AI summary
Columbia A2949 Jazz
The Louisiana Five, an early jazz ensemble, recorded 'Slow and Easy' and 'Dance o'Mania' (with the Happy Six) for Columbia A2949, one of the earliest jazz recordings on disc in Britain from the late 1910s.AI summary
Columbia A2949 Jazz
Lovie Austin, a Chicago pianist, composer and bandleader, recorded 'Heebie jeebies' and 'Mojo blues' for Jazz-JRS (a modern reissue label).AI summary
JazzJRS 118 Jazz
Another Century label reissue of Lovie Austin's 1920s Chicago recordings, here pairing 'Frog Tongue Stomp' and 'Jackass Blues'.AI summary
Century 3007 Jazz
Lovie Austin was a pioneering blues and jazz pianist and bandleader on the 1920s Chicago scene; this Century label pressing reissues her 'Steppin' on the Blues' and 'Trombone Man', originally recorded for Paramount.AI summary
Century 3017 Jazz
Jazz Collection 19 Jazz
Lu Watters, an American jazz cornet player, recorded 'Trombone Rag' and 'Sunburst Rag' for Vogue—jazz instrumental sides from the West Coast revival jazz scene of the 1940s-1950s.AI summary
Vogue V2175 Jazz
Lu Watters on Jazz Man 15, performing "Terrible blues" and "High society"; Jazz Man was a small West Coast independent jazz label founded to document bebop and swing.AI summary
JazzMan 15 Jazz
Lu Watters' Yerba Buena Jazz Band, a influential revivalist outfit from California, on 'Maple Leaf Rag' and 'Black and White Rag' for the JazzMan label (catalogue 1). Watters was a pioneer of West Coast jazz revival in the 1940s.AI summary
JazzMan 1 Jazz
Lucille Hegamin was one of the early classic blues and jazz singers of the 1920s, a Black American artist who recorded for Cameo and other labels. This disc on the Hytone label, catalogue 68, contains 'I Like You Because You Have Such Loving Ways' and 'Wang Wang Blues'. Hytone was a tiny American budget label of the early 1920s; UK copies of Hytone pressings are extremely uncommon and this disc requires expert attention before any sale.AI summary
Hytone 68 Jazz
Lucille Hegamin, early blues vocalist, on another Cameo release from the early 1920s, "Can't Get Lovin' Blues" backed with "I've Got What It Takes".AI summary
Cameo 254 Jazz
Lucille Hegamin, one of the first Black women to record the blues, sings 'He May Be Your Man' and 'Papa, Papa' on the American Cameo label. Early-1920s blues by Hegamin seldom turn up in Britain.AI summary
Cameo 287 Jazz
Lucille Hegamin, early blues vocalist, on "Two Time Dan" backed with "Wet Yo' Thumb", another Cameo release from the early 1920s.AI summary
Cameo 354 Jazz
Lucille Hegamin was an early blues and jazz vocalist. Cameo 433 ('Sam Jones Blues' and 'Saint Louis Gal') is from a small US label; UK copies are uncommon and sought by blues collectors.AI summary
Cameo 433 Jazz
Lucille Hegamin, early blues vocalist known as "The Georgia Peach", on another Cameo release from the early 1920s.AI summary
Cameo 450 Jazz
Lucille Hegamin was a pioneering classic blues singer of the early 1920s, and 'Hard Hearted Hannah' was one of the era's popular hits; this is a contemporary Cameo pressing, a cheaper label of the period.AI summary
Cameo 624 Jazz
Luis Russell, a Cuban-born jazz pianist and bandleader based in New York, recorded these two sides for the Apollo label. 'The Very Thought of You' is a popular standard; 'Sad Lover Blues' is original material typical of his swing-era work.AI summary
Apollo 1012 Jazz
Luis Russell, a Cuban-American jazz pianist and bandleader active in New York in the late 1920s–early 1930s, recorded 'Song of the Swanee' and 'What's the Use of Cryin' Baby' for Parlophone. Russell led a significant jazz orchestra and recorded influential New Orleans-influenced jazz.AI summary
Parlophone R1669 Jazz
Luis Russell was a New Orleans pianist, bandleader and composer central to early jazz and swing of the 1920s–1930s. This Brunswick 02508 of "Saratoga Rag" and "I Would Do Anything for You" represents his work in a period when he led one of the most recorded bands in jazz.AI summary
Brunswick 02508 Jazz
Lulu Whidby and Fletcher Henderson record 'Strut Miss Lizzie' and 'Home Again Blues' on BS 2005. The BS label is unidentified — possibly Blu-Disc or another small American-derived British label — and this coupling associates a blues vocalist with the early Fletcher Henderson; if this is genuine Henderson accompaniment, it is of significant jazz interest.AI summary
BS 2005 Jazz
Jimmy Lunceford's orchestra, one of the finest hot jazz ensembles of the 1930s, recorded 'Mood Indigo' (the Duke Ellington composition) and 'Rose Room' for Decca. This is an early Decca catalogue number (131), suggesting a 1930s UK pressing of a scarce and highly sought recording.AI summary
Decca 131 Jazz
Humphrey Lyttelton and his band, performing two jazz pieces on Parlophone R4184, likely from the late 1950s.AI summary
Parlophone R4184 Jazz
Ma Rainey, celebrated as the 'Mother of the Blues', originally recorded 'Soon This Morning' and 'Don't Fish in My Sea' for Paramount in the 1920s; this disc on the 'Jazz Collection' label reissues those historic sides.AI summary
Jazz Collection L16 Jazz
Ma Rainey, 'the Mother of the Blues', sings 'Moonshine Blues' and 'New Boweavil Blues' on Jazz Collection.AI summary
Jazz Collection L42 Jazz
Ma Rainey, the 'Mother of the Blues', recorded 'Weepin' Women Blues' and 'Morning Hours Blues' for Jazz Collection. UK copies of this label are extremely uncommon; Rainey's recordings are actively sought by blues collectors.AI summary
Jazz Collection L57 Jazz
Ma Rainey, 'the Mother of the Blues', sings 'Yonder Come the Blues' and 'Stack O'Lee Blues' on Jazz Collection.AI summary
Jazz Collection L73 Jazz
Ma Rainey performs 'Blues oh blues' and 'Oh papa blues' on Jazz Record Society AA108. Rainey was the 'Mother of the Blues', one of the earliest and most influential blues singers, active from the 1920s onward. The Jazz Record Society was a specialist reissue label founded in the 1940s, making available early jazz and blues recordings. UK copies of specialist reissue labels are uncommon.AI summary
JazzRecSocAA 108 Jazz
Ma Rainey, the pioneering American blues singer, performing 'Countin' the Blues' and 'Jelly Bean Blues' on UHCA 83/4. UHCA appears to be a very obscure or short-lived British imprint, and UK copies of Ma Rainey sides are extremely uncommon.AI summary
UHCA 83/4 Jazz
Ma Rainey, known as the "Mother of the Blues," was one of the pioneering classic blues singers of the 1920s; this pressing on the specialist Jazz Collection label reissues two of her sides for collectors rather than being an original Paramount pressing.AI summary
Jazz Collection L8282(afewminorpressingfaults)o/w Jazz
Maggie Jones, a classic female blues shouter of the 1920s, recorded 'Good Time Flat blues' and 'Screamin the blues' for Columbia. Jones was a contemporary of Bessie Smith and a significant figure in early recorded blues.AI summary
Columbia 14055D Jazz
Mamie Smith, whose 1920 Okeh recording "Crazy Blues" effectively launched the commercial blues record industry, on an early-1920s Okeh pressing.AI summary
Okeh 4194 Jazz
Mamie Smith, the singer whose 1920 "Crazy Blues" launched the race-record era, recorded "If You Don't Want Me Blues" for Okeh in the early 1920s.AI summary
Okeh 4228 Jazz