1,956 shellac records · mostly British pressings, 1900s–1950s
1,956 records matching · page 9 of 41
The Cotton Pickers on Brunswick, this pressing of 'Walk Jenny Walk' and 'Mama Goes Where Papa Goes' is another example of their 1920s jazz output.AI summary
Brunswick 2490 Jazz
Cotton Pickers performing 'Do Yo Dooty Daddy' and 'Blue Rose' on Brunswick. Cotton Pickers recordings from this era are typically jazz or jazz-inflected dance sides.AI summary
Brunswick 2532 Jazz
Count Basie's orchestra with '9:20 Special' and 'Basie Boogie' on British Parlophone.AI summary
Parlophone R2836 Jazz
Count Basie's 'Hallelujah I Love Her So' and 'Tell Me Your Troubles' on Roulette. Basie is canonical; Roulette pressings are common.AI summary
Roulette 4103 Jazz
Count Basie performing 'Jitters' and 'Royal Garden Blues' on Parlophone DPE118, a British release of the great swing orchestra.AI summary
Parlophone DPE118 Jazz
Count Basie and his orchestra with 'It's Torture' and 'I Want a Little Girl' on American OKeh.AI summary
Okeh 5773 Jazz
Count Basie with Hallelujah I Love Her So and Tell Me Your Troubles on Roulette 4103.AI summary
Roulette 4103 Jazz
Count Basie, the legendary American jazz bandleader, performing two big-band swinging numbers on Parlophone, a British pressing of American jazz.AI summary
Parlophone R2951 Jazz
Count Basie with Tell Me Your Troubles and Hallelujah I Love Her So on Roulette 4103.AI summary
Roulette 4103 Jazz
Count Basie's 'Royal Garden Blues' and 'Song of the Islands' on Mercury 89061. Basie is canonical; Mercury swing sides are common.AI summary
Mercury 89061 Jazz
Count Basie's 'Shoeshine Swing' and 'Lady Be Good' are prized early sides from the debut period of his band in the mid-1930s, issued here on UK Vocalion.AI summary
Vocalion S68 Jazz
Count Basie, the legendary American jazz bandleader, on Columbia performing 'April in Paris' and 'Roll 'em Pete'. This is a later Basie recording on the LB series, from the 1950s.AI summary
Columbia LB10022 Jazz
Count Basie's orchestra on Parlophone, 'Moten Swing' and 'Louisiana'—two classic sides from the Kansas City swing orchestra that became one of the most important big bands in American jazz history.AI summary
Parlophone R2768 Jazz
Count Basie, the legendary jazz pianist and bandleader, on His Master's Voice. 'One O'Clock Boogie' and 'Meet Me at No Special Place' are recordings from his Basie orchestra.AI summary
His Master's Voice B9593 Jazz
Count Basie recording "Café Society Blues" and "St Louis Blues", titles that place this among his most-recorded repertoire, though the label and catalogue information are not recorded here.AI summary
Jazz
Count Basie's 'Taxi War Dance' and 'Twelfth Street Rag', on Parlophone R2862; these are reissues of Basie's early swing-era recordings, among the most influential big-band sides of the 1930s.AI summary
Parlophone R2862 Jazz
Cow Cow Davenport, the boogie-woogie pianist, with 'Easy Rider Blues', backed by Leroy Carr's 'Aliki Blues', on Jazz Collection.AI summary
Jazz Collection 58 Jazz
Cow Cow Davenport was a blues and boogie pianist; 'Don't you loudmouth me' captures his earthy humour and piano style on Brunswick, a major American label that pressed UK copies.AI summary
Brunswick 03509 Jazz
Cripple Clarence Lofton, the Chicago boogie-woogie pianist, recorded "The Fives" and "Sound End Boogie" for Session, a small American label that captured important blues and boogie recordings in the 1940s.AI summary
Session 10.002 Jazz
Liberty L240 Jazz
Daisy Taylor performing two jazz or dance numbers, 'Everybody loves our Baby' and 'Sergeant Macadoo', on Regal catalogue 7129, likely a mid-1920s pressing.AI summary
Regal 7129 Jazz
Dan Williams and his Orchestra on 'Big Sambo Gal/Mattie Rag' and 'Dip and fall back', from the unidentified label MRS 3. MRS is not a known British label; this appears to be a very small or obscure imprint. The catalogue number is extremely low, suggesting an early release.AI summary
MRS 3 Jazz
An anonymous dance band performing the jazz-novelty numbers 'Everybody's Jazzing now' and 'That big Jazz Band' on Zonophone, a British label owned by the Gramophone Company. The catalogue number 1912 places this in Zonophone's early series, likely from the mid-1920s.AI summary
Zonophone 1912 Jazz
Danny Polo, an American clarinetist who recorded extensively in Europe, recorded 'More Than Somewhat' and 'Stratton Street Strut' for Decca. Polo was active in the 1920s–1930s European jazz scene and recorded prolifically under various names.AI summary
Decca F6518 Jazz
Danny Polo, an accomplished clarinetist and saxophonist of the jazz era, on Decca F6550 performing 'Blue Murder' and 'That's a Plenty'.AI summary
Decca F6550 Jazz
Danny Polo, a clarinetist and jazz musician, recorded two instrumental pieces for Decca.AI summary
Decca F6578 Jazz
Danny Polo, an American jazz clarinetist and saxophonist, on Decca F7126, performing 'Polonaise' and 'China Boy', likely mid-1930s.AI summary
Decca F7126 Jazz
Danny Polo was a respected American clarinet and saxophone player who led swing sessions in the early 1930s; this Decca side pairs 'Don't try your Jive on me' with the Yiddish tune 'Mozeltov'.AI summary
Decca F6604 Jazz
Danny Polo leading the 'Swing Stars' on two jazz standards for Decca—'If You Were the Only Girl in the World' and 'Jazz Me Blues'. This is a continuation of Polo's prolific 1930s recording output, here with a pick-up band.AI summary
Decca F6615 Jazz
Dany Kaye (also known as Danny Kaye) recorded these two French-language jazz sides for Ducretet, a French label. This appears to be a French pressing; Kaye was a versatile performer and entertainer of the mid-20th century.AI summary
Ducretet 790V087 Jazz
The Darktown Strutters performing 'Everybody's Doing It' and 'I Never Knew' on His Master's Voice BD5050, early jazz and dance from the 1920s.AI summary
His Master's Voice BD5050 Jazz
Dave Brubeck, the pioneering modern jazz pianist. Vogue V2089 ('That Old Black Magic' and 'Undecided') is from a French label with moderate scarcity in the UK.AI summary
Vogue V2089 Jazz
Dave Nelson was an American bandleader and trumpeter who recorded dance and novelty sides in the late 1920s and 1930s; this His Master's Voice side includes an Ellington number, 'Shout 'em Aunt Tillie', reflecting the hot-jazz fashion of the period.AI summary
His Master's Voice B4853 Jazz
Dave Nelson, an early jazz violinist, in two recordings on Victor — 'I Ain't Got Nobody' and 'When Day Is Done' — likely from the mid-1920s.AI summary
Victor 22639 Jazz
Dick McDonough, the New York jazz guitarist, with 'Between the Devil and the Deep Blue Sea' and 'Dardanella' on Vocalion.AI summary
Vocalion C4 Jazz
Dick McDonough, the New York jazz guitarist, with 'Dear Old Southland' and 'Way Down Yonder in New Orleans' on Vocalion.AI summary
Vocalion C0012 Jazz
Dickie Wells' orchestra recorded 'Hello Babe' and 'Linger Awhile' for Sig (Signature), a small American label; Wells was a respected jazz trombonist.AI summary
Signature 28115 Jazz
Dicky Wells was a pioneering jazz trombonist; these sides on HMV represent his sophisticated jazz work, likely from the early 1930s when his influential Harlem style was at its peak.AI summary
His Master's Voice B8826 Jazz
Dink Johnson, the New Orleans pianist and clarinettist and brother-in-law of Jelly Roll Morton, plays 'Las Vegas Stomp' on American Music, Bill Russell's small 1940s label devoted to veteran New Orleans musicians. The label was pressed in very small runs, and its records are seldom found in Britain.AI summary
American 524 Jazz
Dink Johnson, a New Orleans pianist and composer, recorded for American Music Records, a New Orleans jazz label founded in 1943 to document early jazz. This UK pressing of 'Frisco dreams' and 'Dink's blues' is uncommon outside the US.AI summary
AmericanMusic 526 Jazz
Columbia 829 is an early British acoustic pressing credited to the 'Dixieland Jazz Band' — a generic name used on several UK labels in the early 1920s to capitalise on the jazz craze, not necessarily the Original Dixieland Jazz Band itself. The titles 'Soudan' and 'Meow' (attributed to Windeatt) suggest a light novelty-dance coupling typical of the period.AI summary
Columbia 829 Jazz
A British hot-jazz recording credited to Dixieland Jazz Group on HMV BD5827, a two-part jazz side with Lena Horne as guest vocalist.AI summary
His Master's Voice BD5827 Jazz
The Dixieland Jazz Group recorded these two New Orleans jazz standards—St Louis Blues and Beale Street Blues—for His Master's Voice, part of the wider 1920s-30s hot jazz catalogue that HMV built in competition with American labels.AI summary
His Master's Voice BD5819 Jazz
The Dixieland Jug Blowers recorded 'Memphis Shake' for HMV, an important early American jazz and folk-blues ensemble of the 1920s. UK copies of 1920s American jazz on HMV are less common than the American originals.AI summary
His Master's Voice B10707 Jazz
The Dixieland Jug Blowers were an early jazz ensemble from Memphis; this His Master's Voice pressing of 'Memphis Shake' and '(Goodrich) So Will I' is a hot-jazz recording from the late 1920s.AI summary
His Master's Voice B5249 Jazz
The Dixieland Jug Blowers' 'Hen Party Blues' and 'Carpet Alley Breakdown' on His Master's Voice, catalogue B10727; an American jazz-novelty group recorded for British release in the late 1920s.AI summary
His Master's Voice B10727 Jazz
The Dixieland Pipers perform 'Shake It and Break It' and 'Dauphine Street Blues'—New Orleans jazz classics—on Columbia. The group is not well documented in standard sources.AI summary
Columbia DC534 Jazz
Dixieland Thumpers was a small jazz group of the late 1920s; this Jazz Collector pressing, from an extremely obscure British reissue label, carries two syncopated jazz numbers.AI summary
Jazz Collection 6 Jazz