1,957 shellac records · mostly British pressings, 1900s–1950s
1,957 records matching · page 38 of 41
Stuff Smith, the swing violinist, with 'It Ain't Right' and 'Old Joe's Hittin' the Jug' in British Vocalion's Swing Series.AI summary
Vocalion S72 Jazz
Stuff Smith was a pioneering African-American jazz violinist and bandleader, active from the late 1920s onwards, known for swing-era innovation. 'Stop look listen/Humoresque' and 'Lagwood Walk' (featuring Red Norvo) are recorded on V-Disc 426, a label used for servicemen's distribution during the Second World War; V-Disc pressings are typically scarce.AI summary
VDisc 426 Jazz
Polygon P1038 Jazz
Sugar Chile Robinson was an American child prodigy boogie-woogie pianist who had a brief burst of fame in the late 1940s; this German Telefunken pressing carries his 'Numbers Boogie' and 'After School Blues'.AI summary
Telefunken 80094 Jazz
Parlophone DP152 Jazz
Svend Asmussen, a virtuoso Danish jazz violinist, performing 'My Blue Heaven' and 'Tiger Rag' on His Master's Voice X4570. Asmussen was one of Europe's finest jazz violinists from the 1930s onward; his HMV recordings are collectible.AI summary
His Master's Voice X4570 Jazz
Svend Asmussen, a Danish jazz violinist and bandleader, performing two jazz standards on Odeon Records.AI summary
Odeon D398 Jazz
Sidney Bechet and his Feetwarmers with 'It Had to Be You' and 'Please Don't Talk About Me When I'm Gone' on Esquire.AI summary
Esquire 10-179 Jazz
Sylvester Ahola was an American jazz trumpeter prominent in 1920s hot dance and early jazz recording; this Zonophone disc pairs two popular ballads of the period.AI summary
Zonophone 5474 Jazz
T-Bone Walker's mid-1940s recordings for the small American Black & White label defined modern electric blues guitar; UK copies of B&W pressings are scarce since the label had little direct distribution in Britain.AI summary
B&W 110 Jazz
Tommy Dorsey, a leading American jazz trombonist and bandleader of the swing era, recording on Brunswick—two popular ballads arranged in the relaxed style Dorsey favoured.AI summary
Brunswick 05757 Jazz
Tab Smith, an American saxophone player and bandleader, recorded these two sides for United, a tiny American label; Smith was a minor jazz-influenced musician of the 1940s.AI summary
United 113 Jazz
Tab Smith, the alto saxophonist of Count Basie and Lucky Millinder's bands, with 'Tab Steps Out' and 'All the Things You Are' on the American Regis label.AI summary
Regis 7000 Jazz
Tab Smith was an American alto saxophonist who recorded for several US labels in the 1930s–40s. This United Records side, a small independent label, pairs 'Can't we take a chance' and 'It's no sin', representing minor American jazz-swing output.AI summary
United 107 Jazz
Tab Smith's orchestra recorded for the United label, a small American independent. Smith was a saxophonist and bandleader active in the 1940s–1950s, but recordings from this period remain scarce in UK collections.AI summary
United 153 Jazz
This Manor Records pressing captures Dizzy Gillespie's mid-1940s sextet, with arrangements by Tadd Dameron, playing 'Good Bait', one of the defining tunes of early bebop; Manor was a small independent New York label active only briefly in the 1940s.AI summary
Manor M503 Jazz
Taft Jordan, the trumpeter of Chick Webb's band, with 'If the Moon Turns Green' and 'Night Wind' — catalogue S1, the first issue in British Vocalion's Swing Series.AI summary
Vocalion S1 Jazz
Tampa Blue Three, a small jazz ensemble, on Parlophone (R3532) with 'Wait a little longer love-bird' and 'Man I love'; an obscure hot-dance coupling.AI summary
Parlophone R3532 Jazz
Tampa Red, a pioneering slide guitarist and blues composer, recorded 'Since Baby's been gone' and 'Pretty Baby blues' for His Master's Voice. This JO series pressing is from the early 1930s, when Tampa Red was at the height of his influence on Chicago blues and hokum style.AI summary
His Master's Voice JO301 Jazz
Jack Teagarden, the legendary American jazz trombonist and singer, on 'Blues have got me' and 'Prelude to the Blues'. Released on Decca M2033, a mid-1930s UK pressing. Teagarden is a central figure in jazz history and his recordings remain highly collectable.AI summary
Decca M2033 Jazz
Teagarden (likely Jack Teagarden, the pioneering jazz trombonist) performing 'Swinging on the Teagarden Gate' and 'Beale Street Blues' on Parlophone (catalogue R2735). These are jazz sides from the early 1930s–1940s, the peak of hot jazz recording.AI summary
Parlophone R2735 Jazz
Jack Teagarden was the greatest jazz trombonist of the 1920s and 1930s, and one of the finest jazz singers. This Parlophone R side preserves two of his performances.AI summary
Parlophone R2762 Jazz
Teagarden's identity is unclear from the label alone, but "Muddy River Blues" and "Wolverine Blues" suggest a jazz or blues musician of the 1920s–1930s. This Parlophone R2739 is from a series popular with dance and jazz enthusiasts in Britain.AI summary
Parlophone R2739 Jazz
Jack Teagarden, the American jazz trombonist and singer, performing jazz novelties on Parlophone; likely 1930s–1940s.AI summary
Parlophone R2694 Jazz
Ted Lewis, the renowned 'Me and My Clarinet' entertainer and bandleader, recorded 'Blues' and 'I can't get over a girl like you' for Columbia 4239, classic early swing and jazz material from the 1920s–30s.AI summary
Columbia 4239 Jazz
Ted Lewis, the American 'crying saxophonist' and bandleader, on Regal G7783 performing 'Marie' and 'leave me with a smile' from his Happy period.AI summary
Regal G7783 Jazz
Ted Lewis, 'the High-Hat Tragedian of Jazz', recorded 'I wonder what's become of Sally' and 'Before you' for Regal, a UK budget label; Lewis was a popular American vaudeville and recording artist of the 1920s.AI summary
Regal G8232 Jazz
Ted Lewis, the American clarinettist and entertainer known as 'Mr. Jazz', performs two blues classics, 'The Memphis Blues' and 'Beale Street Blues', on Columbia 4609—an acoustic-era recording that captures some of the earliest jazz idiom on disc.AI summary
Columbia 4609 Jazz
Ted Lewis, the American jazz clarinetist and 'King of Jazz', recorded these two standards for Columbia CB136, the earlier British Columbia series. Lewis was an influential early jazz and dance-band musician of the 1920s.AI summary
Columbia CB136 Jazz
Ted Lewis, American jazz clarinetist and vocalist, recorded 'Jazznochracy' and 'White Heat' for Decca's early catalogue (107), capturing the spirit of 1920s jazz novelty and hot playing.AI summary
Decca 107 Jazz
Ted Lewis, the American 'King of Jazz' (a sobriquet he shared with Paul Whiteman), was a clarinetist and bandleader popular in the 1920s–1930s. This Columbia side dates from the early dance-band era.AI summary
Columbia 4309 Jazz
Ted Lewis was an American jazz and novelty entertainer popular in the 1920s and 1930s; this Columbia recording pairs 'Aunt Hagar's Blues' and 'Dinah'.AI summary
Columbia CB64 Jazz
Ted Lewis, 'The Man with a Clarinet', the American jazz and novelty entertainer, recorded these two blues classics for Columbia, likely in the late 1920s.AI summary
Columbia CB446 Jazz
Ted Lewis, a highly recorded vaudeville entertainer and bandleader, on Columbia 4609 with 'The Memphis Blues' and 'Beale Street Blues', canonical early jazz standards.AI summary
Columbia 4609 Jazz
Ted Lewis was an American jazz clarinetist and bandleader known as 'The High Hat Hottentot', famous for his clarinet style and novelty arrangements. 'Limehouse Blues' and 'Allah's Holiday' are jazz standards of the 1920s era. This is a Columbia pressing from the 5000 series, probably mid-1920s.AI summary
Columbia 5330 Jazz
Ted Lewis and his band performing 'She's Funny That Way' and 'Glad Rag Doll' on Columbia 5268. Ted Lewis was a celebrated American jazz clarinetist and bandleader of the hot-jazz era, and this Columbia recording dates to the 1920s.AI summary
Columbia 5268 Jazz
Columbia 5268 Jazz
Teddy Foster and his Kings of Swing on His Master's Voice BD5301. Foster was a British bandleader and recording artist of the swing era; his sides were pressed in moderate quantities.AI summary
His Master's Voice BD5301 Jazz
Teddy Hill's orchestra with 'Uptown Rhapsody' and 'At the Rug Cutters' Ball' in British Vocalion's Swing Series.AI summary
Vocalion S30 Jazz
His Master's Voice Jazz
Teddy Wilson, the pioneering jazz pianist, recorded 'Sailin'' and 'I can't give you anything but love' (with Billie Holiday) for Brunswick 7781, from the important mid-1930s small-group swing sessions.AI summary
Brunswick 7781 Jazz
Teddy Wilson, the pioneering Black jazz pianist and bandleader, accompanied by vocalist Ella Fitzgerald, performing 'A-Tisket, A-Tasket', Fitzgerald's first hit recording, for Parlophone. This is a UK pressing of an important swing-era jazz recording.AI summary
Parlophone R2582 Jazz
Billie Holiday with Teddy Wilson's orchestra on "This Year's Kisses", one of the celebrated 1937 small-group sides that made Holiday's reputation, issued in Britain on Vocalion's "S" series.AI summary
Vocalion S101 Jazz
Teddy Wilson on piano with Billie Holiday on vocals, recorded for Parlophone's R-series during the swing era. 'I'll get by' and 'I cried for you' are both standards of the 1920s–30s; these Wilson-Holiday sides are among the most sought-after swing recordings by British collectors.AI summary
Parlophone R2823 Jazz
Bluebird 6758 Jazz
The Tennessee Tooters with Sweet Man and, by a band, My Carmenita on Beltona 1080.AI summary
Beltona 1080 Jazz
Tex Beneke, the American bandleader and saxophonist who fronted the Glenn Miller orchestra in the 1940s and led his own band thereafter, recorded 'Sunrise Serenade' and 'An Old Sombrero' for His Master's Voice; 'Sunrise Serenade' was a Glenn Miller signature tune.AI summary
His Master's Voice BD1198 Jazz
Texas Ten on Perfection, a British budget label, performing novelty and jazz-influenced dance material from the late 1920s. G Hall is credited as composer on one side.AI summary
Perfect 14995 Jazz