1,957 shellac records · mostly British pressings, 1900s–1950s
1,957 records matching · page 28 of 41
Mamie Smith made the first blues vocal recording, 'Crazy Blues', in 1920 for Okeh, a landmark moment in recorded music; this disc preserves two further sides from her pioneering sessions, and British copies of these American Okeh pressings are uncommon.AI summary
Okeh 4295 Jazz
Mamie Smith made the first blues vocal recording by an African American singer in 1920 and remained a popular Okeh artist through the decade; this disc pairs 'Daddy Your Mama Is Lonesome for You' with 'Saxophoney Blues'.AI summary
Okeh 4416 Jazz
Mamie Smith, the first black singer to record a blues vocal commercially in 1920, cut "Arkansas Blues" and "Down Home Blues" for Okeh in the early 1920s, part of the pioneering race-record catalogue she helped launch.AI summary
Okeh 4446 Jazz
Mamie Smith recorded "Wabash Blues" for Okeh in the early 1920s, part of the catalogue that followed her groundbreaking 1920 recording "Crazy Blues".AI summary
Okeh 4578 Jazz
Mamie Smith, the pioneering blues singer whose 1920 recordings opened the race-record market, cut "Mean Daddy Blues" for Okeh in the early 1920s.AI summary
Okeh 4631 Jazz
Margaret Young, an American blues and vaudeville singer who recorded prolifically in the early 1920s, sings 'I Ain't Got Nobody to Love' and 'Nobody Knows What a Red-Head Mamma Can Do' on Brunswick 2806. Young recorded for several labels in the early 1920s and her Brunswick sides are of interest to collectors of American vaudeville blues.AI summary
Brunswick 2806 Jazz
Margaret Young performing two novelty jazz vocals, 'Red Hot Henry Brown' and 'Yes Sir That's My Baby', on Brunswick in the late 1920s—early 1930s.AI summary
Brunswick 2939 Jazz
Marie Bryant, an American novelty and blues vocalist, performing two uptempo novelty numbers on Monogram, a minor American label; the material reflects the race-record and novelty traditions of the early 1930s.AI summary
Monogram 888 Jazz
Marie Bryant, an African-American singer, performing 'Tomato' and 'Rhumboogie Anna' on Lyragon J701, a UK reissue of her swing-era recordings.AI summary
Lyragon J701 Jazz
Mario Harp Lorenzi and his Rythmics recorded jazz standards for Columbia in the 1930s. Harp Lorenzi was an Italian-American jazz ensemble leader of minor standing.AI summary
Columbia FB1168 Jazz
Marion Harris was one of the earliest and most important American jazz-influenced female vocalists of the 1920s, known for her contralto and her recordings of jazz standards. This Brunswick pressing captures her singing "It Had To Be You" and "How Come You Do Me Like You Do".AI summary
Brunswick 2610 Jazz
Marion Harris, an influential American jazz and blues vocalist of the 1920s, recorded 'I'm a Jazz Vampire' and 'Never Let No One Man Worry Your Mind' on Columbia A3328. Harris was one of the earliest white singers to record jazz and blues material.AI summary
Columbia A3328 Jazz
Marion Harris, the pioneering 1920s jazz vocalist (see 3481), recorded "Tea for Two" and "Blues Have Got Me" for Brunswick, capturing her signature style during the jazz age.AI summary
Brunswick 2747 Jazz
Marion Harris, American jazz and popular singer of the 1920s, performing the jazz standards 'Aggravatin Papa' and 'Hot Lips' on Brunswick.AI summary
Brunswick 2345 Jazz
Marion Harris was an American jazz and popular singer of the 1920s; this Brunswick recording captures her voice during the early jazz era when she was one of the first white female singers to record jazz material.AI summary
Brunswick 2370 Jazz
Marion Harris, a popular American jazz and blues singer of the 1920s, on Columbia catalogue A3367, performing 'Look for the Silver Lining' and 'I'm gonna do it if I like'. Harris was among the first white singers to record jazz material and had significant commercial success.AI summary
Columbia A3367 Jazz
Marion Harris, an American jazz and popular singer of the 1920s, on Decca F3954 with 'Oo ooh Honey' and 'One Morning in May'.AI summary
Decca F3954 Jazz
Marion Harris, the American jazz-age vocalist admired for her early blues-inflected pop style, sings 'Somebody Loves Me' and 'Charleston Charlie' on Brunswick.AI summary
Brunswick 2735 Jazz
Marion Harris, an American jazz and blues vocalist of the 1920s, recorded two standards—'Blue Again' and 'Ten Cents a Dance'—for Brunswick in the late 1920s.AI summary
Brunswick 01086 Jazz
Marlow and Maple recorded 'At the Jazz Town Novelty Ball' and 'Jazz' on Bulldog, an obscure British label of the late 1920s-early 1930s. The artists are not well documented.AI summary
Bulldog 658 Jazz
Mary Lou Williams, the American jazz pianist and composer, recorded two swing piano pieces for Columbia in the 1940s, from her prolific recordings of that decade.AI summary
Columbia DB5003 Jazz
Mary Stafford recorded early blues and jazz novelty numbers for Columbia; a blues and jazz recording from the early acoustic era.AI summary
Columbia A3365 Jazz
Mary Stafford singing two jazz-blues numbers, 'Down where they play the Blues' and 'I'm gonna jazz my Way right straight thru Paradise', on Columbia A3390. Little is known of Stafford; she appears to have recorded only briefly in the early 1920s.AI summary
Columbia A3390 Jazz
Trumpeter Max Kaminsky with 'Black and Blue' and 'Havin' a Ball' on Century, a small American label of the 1940s.AI summary
Century 4003 Jazz
Maxine Sullivan was an American jazz and swing vocalist celebrated for her sophisticated interpretations of popular standards and folk material. This Columbia recording captures her in the late 1930s, a period of creative peak.AI summary
Columbia CQ1454 Jazz
Maxine Sullivan, an American jazz and popular singer, recorded "St. Louis Blues" and "L'Amour Toujours l'Amour" for His Master's Voice B8789 in the late 1930s.AI summary
His Master's Voice B8789 Jazz
Maxine Sullivan, the swing singer who made her name with a jazz Loch Lomond, sings You Went to My Head and It's Wonderful on Vocalion S194.AI summary
Vocalion S194 Jazz
Maxine Sullivan, the swing singer who made her name with a jazz Loch Lomond, sings Nice Work If You Can Get It and Easy to Love on Vocalion S137.AI summary
Vocalion S137 Jazz
Maxine Sullivan sings 'Dark Eyes' and 'A Brown Bird Singing' in British Vocalion's Swing Series.AI summary
Vocalion S144 Jazz
Maxine Sullivan's swing version of 'Loch Lomond', the 1937 record that made her name, with 'I'm Coming Virginia' in British Vocalion's Swing Series.AI summary
Vocalion S116 Jazz
Maxine Sullivan sings 'Annie Laurie' and 'Blue Skies' in British Vocalion's Swing Series.AI summary
Vocalion S122 Jazz
Maxine Sullivan's swing version of 'Loch Lomond', the 1937 record that made her name, with 'I'm Coming Virginia' in British Vocalion's Swing Series.AI summary
Vocalion S116 Jazz
Maxine Sullivan, an American jazz vocalist known for her interpretations of Scottish and folk material, recorded 'Loch Lomond' and 'Just Like a Gypsy' for Brunswick, probably in the late 1930s. Sullivan was a sophisticated jazz singer and the Loch Lomond recording became one of her known sides.AI summary
Brunswick 03246 Jazz
Maxine Sullivan was an American jazz singer (1911–1987) famous for her light, swinging interpretations of jazz standards and Scottish material; this Columbia pressing of 'Loch Lomond' and 'I'm Coming Virginia' captures her distinctive style.AI summary
Columbia DB5045 Jazz
McCoy recorded 'Sugar Blues' and 'Wah Wah Lament' for Brunswick 02056, part of Brunswick's early 1930s British catalogue.AI summary
Brunswick 02056 Jazz
McKenzie & Condon, prominent American hot-jazz musicians, recording 'China Boy' and related material for Parlophone; this represents a rare UK pressing of American jazz talent.AI summary
Parlophone R1033 Jazz
McKenzie & Condon's 'China Boy' and Casa Loma's 'China Girl' on Parlophone R1033; McKenzie and Condon were important figures in hot jazz of the late 1920s and early 1930s, and their recordings are sought by serious collectors.AI summary
Parlophone R1033 Jazz
The McKenzie and Condon Chicagoans on Parlophone DP211, a classic jazz group from the late 1920s recording two jazz standards; UK copies of jazz from this period on smaller labels are uncommon, and collectors of early hot jazz and Chicago style actively seek these recordings.AI summary
Parlophone DP211 Jazz
McKinney's Cotton Pickers, one of the finest big bands of the late 1920s, play 'I Miss a Little Miss' and 'After All, You're All I'm After' on American Victor.AI summary
Victor 23024 Jazz
McKinney's Cotton Pickers, one of the most important Black jazz orchestras of the 1920s, recorded for His Master's Voice. Both titles are known ragtime and jazz standards, and UK copies of McKinney's sides are uncommon.AI summary
His Master's Voice B9228 Jazz
McKinney's Cotton Pickers, one of the most important hot jazz bands of the late 1920s, performing 'Talk to Me' and 'Minnie the Moocher' on His Master's Voice. The group recorded prolifically and their sides are actively collected, though British HMV pressings are less scarce than American originals.AI summary
His Master's Voice B6087 Jazz
McKinney's Cotton Pickers, one of the finest American jazz orchestras of the 1920s, recorded for His Master's Voice in Britain; a hugely important hot-dance and jazz ensemble.AI summary
His Master's Voice B4967 Jazz
McKinney's Cotton Pickers on His Master's Voice, one of the most important American jazz orchestras of the late 1920s, with 'Shim Me Sha Wabble' and 'Milenberg Joys'—classic hot jazz sides from the swing era's precursor.AI summary
His Master's Voice B9228 Jazz
McKinney's Cotton Pickers, one of the leading African-American jazz orchestras of the late 1920s, on Victor—a label now highly sought by collectors of early hot jazz.AI summary
Victor 38013 Jazz
Meade Lux Lewis, the great boogie-woogie pianist, performing 'Denapas Parade' and 'Glendale Glide' on the Asch label. Asch was an independent American folk and jazz label founded in the 1940s; this is likely a scarce recording.AI summary
Asch 352 Jazz
Meade Lux Lewis, the pioneering boogie-woogie pianist, performing his signature piece 'Honky Tonk Train Blues' on Parlophone. A key recording of the style that would come to dominate American blues and jazz in the late 1930s.AI summary
Parlophone R2187 Jazz
Meade Lux Lewis was an African-American boogie-woogie pianist and a pioneer of the genre; these sides capture the driving left-hand style that made him influential on jazz and blues pianists.AI summary
His Master's Voice B8579 Jazz
Meade Lux Lewis, a pioneering boogie-woogie pianist (1905–1964), performing 'Honky Tonk Train Blues' (his signature piece) and 'Barrelhouse' on Parlophone (catalogue R2187). These are classic early electric boogie-woogie recordings from the 1930s–1940s.AI summary
Parlophone R2187 Jazz