1,957 shellac records · mostly British pressings, 1900s–1950s
1,957 records matching · page 36 of 41
Shirley Abicair with Humphrey Lyttelton on Parlophone R4347, combining a folk-influenced Australian female singer with a leading British jazz trumpeter, an unusual partnership.AI summary
Parlophone R4347 Jazz
Sid Phillips was a British jazz clarinettist and bandleader; this His Master's Voice side pairs two classic jazz numbers of the 1920s–1930s.AI summary
His Master's Voice BD6174 Jazz
Sid Phillips was a British bandleader and xylophonist who led a popular swing band in the 1940s. This His Master's Voice BD-series side of Rodgers and Hart standards shows his swing style. Phillips' recordings are moderately sought by British swing enthusiasts.AI summary
His Master's Voice BD6050 Jazz
Sid Phillips' Quintet on Decca F8147, a trad jazz recording from the 1950s. Phillips was a British traditional jazz musician and bandleader, and his recordings are sought by trad and swing collectors.AI summary
Decca F8147 Jazz
Sidney Bechet with 'Joshua Fit the Battle of Jericho' and 'Tailgate Ramble' on British Vogue.AI summary
Vogue V2246 Jazz
Sidney Bechet, the soprano saxophonist, recorded for Esquire in London after the war. Esquire 10-095 ('Ooh Boogie' and 'After You've Gone') is from a small British label and is scarce.AI summary
Esquire 10-095 Jazz
Sidney Bechet, the pioneering New Orleans soprano saxophonist and clarinettist, recorded 'Lay Your Racket' and 'I Want You Tonight' for Bluebird in the 1940s.AI summary
Bluebird 10472 Jazz
Sidney Bechet was an American jazz pioneer, one of the first great soprano saxophone soloists. This His Master's Voice recording of 'Sweetie Dear' and 'Maple Leaf Rag' captures him in his prime, likely from the late 1920s or early 1930s.AI summary
His Master's Voice B9408 Jazz
Sidney Bechet, the New Orleans soprano saxophonist, with Claude Luter's Crescent City Jazz Band on Vogue V2310 ('Wabash Blues' and 'Strike up the Band'). Bechet recorded extensively for Vogue in Paris in the late 1940s–50s; these are collectable European pressings.AI summary
Vogue V2310 Jazz
Sidney Bechet, the pioneering soprano saxophonist, and Mugsy Spanier, the cornet player, recorded 'Sweet Sue' and 'Squeeze Me' for Jazz Selection, documenting two major figures of New Orleans and Chicago jazz.AI summary
JazzSelection 504 Jazz
Sidney de Paris et al performing 'Who's Sorry Now' and 'Ballin' the Jack' for JazzParade E2. De Paris was a New Orleans trumpet player; JazzParade was a small label.AI summary
JazzParade E2 Jazz
Silverman recorded two blues numbers for Victor, the dominant American recording company. The catalogue number suggests a 1920s recording. Silverman is not a documented major blues or jazz artist.AI summary
Victor 19237 Jazz
Silvester Jive on Columbia FB 2989, with two jazz novelty numbers. The artist name appears to be a pseudonym or stage billing for a jive band or small ensemble.AI summary
Columbia FB2989 Jazz
Silvester Jive on Columbia FB, performing 'Way down yonder in New Orleans' and 'Stompin at the Savoy'. FB pressings are from the swing era of the late 1930s–40s.AI summary
Columbia FB2980 Jazz
Silvester Jive is credited with 'Please Do It Again' and 'Blue Lou' on Columbia FB3019, a jive or jazz-influenced number typical of the 1940s swing era. The artist or group cannot be confidently identified from the credit.AI summary
Columbia FB3019 Jazz
Sioux City Six performing 'Flock o' Blues' and 'I'm Glad' on Brunswick, catalogue 02207. The Sioux City Six were a jazz ensemble active in the late 1920s; this is an early Brunswick jazz recording.AI summary
Brunswick 02207 Jazz
Sippie Wallace was a classic blues singer of the 1920s whose Okeh recordings, including this "I'm a Mighty Tight Woman" coupling, are part of the label's celebrated 8000 race series.AI summary
Okeh 8439 Jazz
Sis Phillips was a 1920s jazz and blues singer who recorded "My Sweetie Went Away" and "Royal Garden Blues" for His Master's Voice. These are early jazz-era vocal recordings.AI summary
His Master's Voice B9904 Jazz
Sissle recorded 'Camp Meeting Day' and 'Miranda' for HMV in the early 1930s; this is likely Noble Sissle, the American jazz and vaudeville performer and Shuffle Along star.AI summary
His Master's Voice B5709 Jazz
Noble Sissle and Sidney Bechet, two of the most important figures in early jazz, recorded together for Brunswick 02652 in the late 1920s. 'Viper Mad' and 'Sweet Patootie' are hot jazz titles from the peak of the jazz age.AI summary
Brunswick 02652 Jazz
Noble Sissle and Sidney Bechet, pioneering African-American jazz musicians, on Brunswick 02702 performing 'Blackstick' and 'Southern Sunset'.AI summary
Brunswick 02702 Jazz
Sissle and Blake, the famous African American song-and-dance team, recorded 'Why?' and 'Oh Boy What a Girl' for Winner, catalogue 4337. Noble Sissle (vocalist and bandleader) and Eubie Blake (pianist and composer) were pioneers of African American music and theatre in the 1920s-1930s, and their recordings are highly sought.AI summary
Winner 4337 Jazz
Sissle and Blake, the pioneering African American songwriting and recording duo, performing 'Ukelele Baby' and 'Ukelele Lullaby' on Winner—jazz-age material from the 1920s.AI summary
Winner 4356 Jazz
Six Black Diamonds on Imperial 1159, a jazz ensemble, performing 'Farewell blues' and 'Peggy dear'.AI summary
Imperial 1159 Jazz
The Six Brown Brothers, a famous novelty saxophone sextet from the 1910s, recorded 'That moaning Saxophone Rag' and an Original Fox Trot on His Master's Voice B526; an iconic early jazz-age ensemble.AI summary
His Master's Voice B526 Jazz
The Six Brown Brothers on Victor 18189, 'Chicken Walk' / Pietro's 'San Francisco Souvenir March'. The Six Brown Brothers were a renowned 1910s saxophone sextet, among the earliest commercial jazz and novelty recordings.AI summary
Victor 18189 Jazz
'Six Hottentots' on Perfection Records, performing 'I'm in love again' and 'Sometimes I'm happy'.AI summary
Perfect 306 Jazz
The Six Jumping Jacks on Brunswick 3684, performing 'Here Comes the Show Boat' and 'Go Home and Tell Your Mother' — a jazz or novelty dance number from the Brunswick catalogue.AI summary
Brunswick 3684 Jazz
Six Swingers recorded 'Hot Pie No. 1' for Regal, a British budget label. The MR-series catalogue number suggests the 1930s, and the title indicates hot jazz or swing-styled dance music.AI summary
Regal MR1567 Jazz
The Six Swingers on Regal MR1841, performing "Swingin the lead" and "Weather man".AI summary
Regal Zonophone MR1841 Jazz
Snap and Crack perform novelty jazz numbers on Hi-Tone 292 from the early 1920s. Hi-Tone was a minor American label.AI summary
Hi-tone 292 Jazz
Columbia DB5033 Jazz
Sonny Greer, the celebrated drummer of Duke Ellington's orchestra, on Columbia DB5033 performing 'Beggars' Blues' and 'Saturday Night Function'.AI summary
Columbia DB5033 Jazz
Sonny Greer on Apollo, catalogue 355. Greer was the influential jazz drummer from Duke Ellington's orchestra, active as a leader and sideman in the 1940s–50s. Apollo was a small American jazz and R&B label.AI summary
Apollo 355 Jazz
Sonny Stitt, the bebop saxophonist, leads his quartet in 'This Can't Be Love' and 'P.S. I Love You' on Esquire.AI summary
Esquire 10-245 Jazz
Sonny Terry, the blind harmonica virtuoso, with 'All Alone Blues' and 'Whoopin' the Blues' on Capitol.AI summary
Capitol 40003 Jazz
Sonny Terry was an African-American harmonica player and blues vocalist, a pioneer of the instrument who worked extensively with Brownie McGhee and later the folk-revival movement; this Parlophone side captures his powerful blues harmonica work.AI summary
Parlophone R3598 Jazz
The Sophiatown Septet recorded this side for Columbia's South African or Commonwealth 'YE' series, likely in the 1950s; Sophiatown was a pivotal centre of South African jazz and township music during that era.AI summary
Columbia YE190 Jazz
Southern Rag-a-Jazz, a dance band, recorded for Winner 3625, performing 'Crooning' and 'Coal Black Mammy'. Winner was a British label. This appears to be from the 1920s jazz age.AI summary
Winner 3625 Jazz
Muggsy Spanier with the Chicago jazz of 'Friars Point Shuffle' from 1927 and 'Darktown Strutters' Ball' on Jazz Collection.AI summary
Jazz Collection 93 Jazz
Paul Specht's orchestra on Columbia 3599—a jazz-age dance band from the mid-to-late 1920s.AI summary
Columbia 3599 Jazz
Paul Specht's orchestra on Columbia 3930, performing 'Clap Hands here comes Charley' and 'Pretending' — a prominent American hot-dance band of the 1920s, with limited UK distribution.AI summary
Columbia 3930 Jazz
Spike Hughes, British bandleader of the 1930s, on Decca F2735 with vocals by Edith Carlisle. This is a well-produced swing-era recording. Hughes' Decca sides are sought by British jazz collectors.AI summary
Decca F2735 Jazz
Spike Hughes was a significant British jazz arranger and composer of the early 1930s, and this Decca side showcases his sophisticated orchestral approach to 'Limehouse Blues' — a piece he wrote and was closely associated with.AI summary
Decca F3004 Jazz
Spike Hughes, a British bandleader, composer and music critic, on Decca F2373 performing two spirituals arranged for dance band. Hughes was a significant figure in British jazz and dance music of the 1930s; his recordings, though not numerous, are respected by jazz historians.AI summary
Decca F2373 Jazz
Spike Hughes, a British jazz musician and composer, performing two sides—'Dancing Time' and 'Kalua'—on Decca in 1936. Hughes was an accomplished reed player and bandleader active in the early British jazz scene; his Decca recordings are sought by enthusiasts of the period.AI summary
Decca F1816 Jazz
Spike Hughes, a British jazz musician and composer, performing the spirituals 'Joshua Fit de Battle of Jericho' and 'Roll Jordan' on Decca F2373.AI summary
Decca F2373 Jazz
Spike Hughes, a British jazz bandleader and composer, recorded 'Poor Butterfly' and 'Margie' for Decca F1815 in the mid-1930s. Hughes was influential in British jazz.AI summary
Decca F1815 Jazz