1,957 shellac records · mostly British pressings, 1900s–1950s
1,957 records matching · page 29 of 41
Meade Lux Lewis, the great boogie-woogie pianist, recorded two seminal pieces on Parlophone's R-series: his signature "Honky Tonk Train Blues" and a barrelhouse number, likely 1930s.AI summary
Parlophone R2187 Jazz
Meade Lux Lewis was an American blues and boogie-woogie pianist whose 'Honky Tonk Train Blues' is a landmark recording of the 1930s; this Parlophone pressing brought his music to the British market.AI summary
Parlophone B8579 Jazz
Mel Torme, the American jazz vocalist and composer, on Brunswick — from his prolific recording career in the late 1940s–50s.AI summary
Brunswick 03831 Jazz
The Metronome All Star Leaders was a pickup ensemble of jazz musicians recorded for Columbia; "I Got Rhythm" and "Royal Flush" are swing-era standards.AI summary
Columbia 63499 Jazz
The Metronome All Stars recorded 'Nat meets June' (with Nat King Cole) and 'Sweet Loraine' (with Frank Sinatra) for Columbia, DB2355; this is a notable session pairing major artists, likely from the late 1940s.AI summary
Columbia DB2355 Jazz
Mezz Mezzrow, the American jazz clarinetist and saxophonist, recorded 'The Panic is On' and 'Mutiny in the Parlour' for Regal (MR2440). Mezzrow was an important figure in hot jazz and blues from the 1920s onwards, and a fierce advocate for jazz authenticity.AI summary
Regal MR2440 Jazz
Mezz Mezzrow, the New Orleans clarinetist and jazz entrepreneur, recorded 'Hot Club Stomp' and 'The Swing Sessions Called to Order' for HMV during the swing era; Mezzrow was a significant figure in hot jazz and later in the bebop and revival movements, though his playing remained rooted in traditional New Orleans style.AI summary
His Master's Voice B8626 Jazz
Mezz Mezzrow and Sidney Bechet recorded 'Ole Miss' and material for King Jazz Records, a tiny American label founded to document hot jazz in the late 1930s; UK copies of this early American jazz label are extremely uncommon.AI summary
KingJazz 1 Jazz
Mezzrow and Bechet, a legendary early jazz pairing, performing on King Jazz Records, a small American label.AI summary
KingJazz 10 Jazz
Milton Mezzrow (clarinet) and Sidney Bechet (soprano saxophone) were two of the most important jazz innovators of the 1920s and 1930s. This King Jazz pressing documents one of their collaborative sessions and is a major jazz recording.AI summary
KingJazz 141 Jazz
Mezzrow and Bechet on King Jazz 143 with 'Blood on the Moon' and 'House Party', a notable pairing of two influential early jazz musicians on a specialist jazz reissue label.AI summary
KingJazz 143 Jazz
Mezz Mezzrow, the Chicago-born clarinetist and jazz historian, and Tommy Ladnier, the New Orleans trumpet legend, recorded two classic hot-jazz sides for HMV in 1938. Both 'Everybody Loves My Baby' and 'I Ain't Gonna Give Nobody None of This Jelly Roll' are recognised jazz standards. This is a significant jazz document and UK copies are scarce.AI summary
His Master's Voice B9447 Jazz
Mick Gill performing 'Milenberg Joys' and 'Careless Love' for 'dub', a label name that remains unidentified and undated.AI summary
dub Jazz
Mick Mulligan and his band on Tempo, performing 'Introduction: Origins' and 'Jazz: A Folk Music' — a two-part recording exploring the origins and character of jazz.AI summary
Tempo S1A Jazz
Mick Mulligan and his band, the British traditional jazz group, on Tempo S2A, with Early Social Influences (side 2) and Digression (side 9) from a Tempo set.AI summary
Tempo S2A Jazz
Mick Mulligan's band in sides 3 and 8 of an illustrated history-of-jazz set on Tempo: 'Spirituals, Work Songs, Blues' and 'The Advent of Swing'.AI summary
Tempo S3A Jazz
Mick Mulligan's band with Ragtime: Spasm Bands and Exodus from New Orleans, sides from a Tempo jazz-history set.AI summary
Tempo S4A Jazz
Mick Mulligan and his band, the British traditional jazz bandleader's group, on Tempo S5A, with spoken and played sides on the instrumentation of brass bands and The Nature of Jazz (sides 5 and 6 of a set).AI summary
Tempo S5A Jazz
Mick Mulligan, the trumpeter whose band featured George Melly, plays 'Candy Lips' and 'Savoy Blues' on Tempo.AI summary
Tempo AA66 Jazz
Miff Mole, a pioneering jazz violinist and bandleader, recorded 'After You've Gone' and 'Tempo di Barrel' (a Joe Venuti composition) for Parlophone, catalogue R1063, in the late 1920s.AI summary
Parlophone R1063 Jazz
Miff Mole's hot-dance sides 'I've got a feeling I'm falling' and 'That's a plenty' on Parlophone R421. Mole was a prominent American jazz trombonist and composer of the 1920s–30s; these titles are standard jazz repertoire of the period.AI summary
Parlophone R421 Jazz
Miff Mole, the American jazz trombonist, on Premium 853 with 'Light as a feather' and 'High society' — hot-jazz numbers.AI summary
Premium 853 Jazz
Miff Mole, a pioneering American jazz trombonist of the 1920s, recorded 'Shimme-sha wabble' and 'One Step to Heaven' for Columbia. Mole was one of the first jazz soloists to demonstrate the expressive capabilities of the trombone in small-group jazz.AI summary
Columbia 35953 Jazz
Miff Mole, the American jazz trombonist of the 1920s, recorded these hot-jazz classics for Parlophone, a major British label. Mole was a pioneer of jazz trombone and a central figure in New York jazz of the 1920s, known for his technical facility and inventive solos.AI summary
Parlophone R421 Jazz
Mildred Bailey, the Rockin' Chair Lady and a pioneering American jazz and swing vocalist, recorded for Brunswick in the 1930s. Bailey was a major white jazz singer of the swing era and remains highly collected.AI summary
Brunswick 02106 Jazz
Mildred Bailey, 'The Rockin' Chair Lady', an innovative jazz vocalist. Vocalion S88 records two signature songs from the swing era. Vocalion S-series is scarce.AI summary
Vocalion S88 Jazz
Mildred Bailey, the swing singer nicknamed the Rockin' Chair Lady, with Me and the Blues and I'll Close My Eyes on Majestic 1093.AI summary
Majestic 1093 Jazz
Mildred Bailey, the 'Rockin' Chair Lady' of swing, on Brunswick; these ballad interpretations showcase her intimate vocal style and sophisticated taste.AI summary
Brunswick 01564 Jazz
Mildred Bailey, the pioneering American jazz and swing vocalist, performing "All Too Soon" and "Everything Depends on You" on Decca SAMPLE25462, described as a sample copy.AI summary
Decca SAMPLE25462 Jazz
The Mills Blue Rhythm Band, one of Irving Mills's Harlem big bands, with Jungle Madness and Blue Rhythm Fantasy on Variety 503, from Mills's short-lived Variety label.AI summary
Variety 503 Jazz
Okeh 6119 Jazz
Mills Blue Rhythm Band performing 'Low Down on the Bayou' and 'Futuristic Jungleism' on Decca F2728, a mid-1930s pressing; the Mills Blue Rhythm Band were a swinging Harlem dance orchestra.AI summary
Decca F2728 Jazz
The Mills Blue Rhythm Band was an accomplished American swing orchestra of the 1930s; this Decca side pairs two adventurous jazz numbers, 'Low down on the Bayou' and 'Futuristic Jungleism', reflecting the band's sophisticated jungle-jazz style.AI summary
Decca F2728 Jazz
The Mills Brothers were an American vocal group famous for their close harmony and novelty effects; this Rex disc is from their early recording period in the late 1920s.AI summary
Rex 8896 Jazz
The Mills Brothers with Chinatown, My Chinatown and Bugle Call Rag on Perfect 13061.AI summary
Perfect 13061 Jazz
Mills Brothers performing 'Tiger Rag' and 'Nobody's Sweetheart' on Brunswick 1229. The Mills Brothers were one of the most popular and recorded American vocal groups of the 1930s–40s, celebrated for their tight harmonies and innovative whistling effects. This appears to be an early Brunswick recording from the late 1920s or early 1930s.AI summary
Brunswick 1229 Jazz
Monette Moore was a classic blues singer recording through the 1920s for several race labels; this Vocalion disc is typical of that catalogue.AI summary
Vocalion 14911 Jazz
Mound City Blowers on Parlophone R1003 with 'I Can't Believe That You're in Love with Me' and 'Little Girl' (credited to Joe Venuti). The Mound City Blowers were an early jazz ensemble featuring members of the Chicago jazz scene, recording in the late 1920s; this Parlophone release represents an important period of early jazz recording.AI summary
Parlophone R1003 Jazz
Mound City Blowers performing two early jazz numbers on Brunswick 2648: 'You Ain't Got Nothin' I Want' and 'Barb Wire Blues'. The Mound City Blowers were an important American jazz ensemble of the 1920s–early 1930s.AI summary
Brunswick 2648 Jazz
The Mound City Blowers, a hot dance and jazz group of the 1920s, performing 'Tailspin Blues' and Duke Ellington's 'Creole Love Call' on His Master's Voice—significant jazz material of the hot-jazz era.AI summary
His Master's Voice B6252 Jazz
The Mound City Blowers, a hot-jazz ensemble of the 1920s, recorded 'Muskrat Ramble' and 'High Society' for Decca F7808, both standards of the New Orleans jazz repertoire. This is a later Decca pressing than their original recordings.AI summary
Decca F7808 Jazz
The Mound City Blowers, an American jazz and novelty band of the 1920s, recorded 'Arkansaw blues' and 'Blue blues' for Brunswick. The group was known for hot dance and novelty jazz sides in the New Orleans and early jazz idiom.AI summary
Brunswick 2581 Jazz
The Mound City Blowers, a hot-jazz group of the late 1920s, recorded 'Red hot' and 'San' for Brunswick, catalogue 2602.AI summary
Brunswick 2602 Jazz
The Mound City Blowers were an early hot-dance and jazz novelty ensemble; this Brunswick coupling captures their energetic style on two blues-tinged dance numbers from the late 1920s, part of the label's important catalogue of early American jazz.AI summary
Brunswick 2648 Jazz
Mound City Blowers, a jazz novelty ensemble from the 1920s, performing classic New Orleans jazz numbers 'Muskrat Ramble' and 'High Society' on Decca.AI summary
Decca F7808 Jazz
The Mound City Blowers, a small jazz ensemble, recorded 'What Do I Care What Somebody Said' and 'Nervous Puppies' for Brunswick in the late 1920s or early 1930s. The ensemble was a minor jazz group of the early swing era.AI summary
Brunswick 3484 Jazz
The Mound City Blue Blowers, a novelty harmonica ensemble and jazz group from New York, recorded 'Hello Lola' (marked as 1929) and 'One Hour' for His Master's Voice. The group was famous for their mouth-organ sound and recordings.AI summary
His Master's Voice B8952 Jazz
Muggsy Spanier, a pioneering Chicago jazz trumpeter, recorded "I Wish I Could Shimmy Like My Sister Kate" and "Eccentric" for His Master's Voice (B9047), likely dating to the late 1920s. These are early hot-jazz recordings from a key figure in early American jazz.AI summary
His Master's Voice B9047 Jazz