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- AAfter the Storm
- B(Onivas) The Grass is always Greener
Fletcher Henderson, whose orchestra was the most important big band of the 1920s, plays 'After the Storm', backed by Onivas with 'The Grass Is Always Greener', on Homochord.AI summary
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- AAint she sweet
- BSnag it
Fletcher Henderson was a central architect of big-band jazz arranging; Harmony was Columbia's budget subsidiary label, which often issued his sides under pseudonyms.AI summary
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- ACharley My Boy
- B(Band) Doodle-doo-doo
Fletcher Henderson's orchestra on Imperial 1321, with 'Charley My Boy' and 'Doodle-Doo-Doo' — a mid-1920s hot-dance coupling. Imperial was a British label that licensed American material, and Henderson sides on British pressings are scarce; Henderson himself is a foundational figure in big-band jazz and his 1920s recordings are keenly sought by hot-jazz collectors.AI summary
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- AChristopher Columbus
- BBlue Lou
Fletcher Henderson, one of the most important big-band leaders and arrangers, recording 'Christopher Columbus' and 'Blue Lou' on Vocalion 3211.AI summary
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- AClarinet Marmalade(26)
- BFidgety Feet(27)
Fletcher Henderson's orchestra, one of the most important American jazz ensembles of the 1920s, recorded for Brunswick on 'Clarinet Marmalade' and 'Fidgety Feet' — both seminal hot jazz recordings. This UK pressing (catalogue 02634) represents a significant early jazz issue.AI summary
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- ADo doodle Oom
- BDicty Blues
'Dicty Blues' and 'Do Doodle Oom' are among Fletcher Henderson's earliest recordings as a bandleader, important documents of the formative big-band jazz sound of the 1920s.AI summary
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- AHoneysuckle Rose
- BUnderneath the harlem Moon
Fletcher Henderson's orchestra performing 'Honeysuckle Rose' and 'Underneath the Harlem Moon' on Columbia CB584, from the jazz hot-dance era of the late 1920s.AI summary
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- AHop off(27)
- BSnag it
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- AQueer Notions
- Bit's the Talk of the Town
Fletcher Henderson's orchestra performing jazz on Columbia, a British pressing of the American hot-jazz pioneer.AI summary
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- AStampede (26)
- BMoney blues (25)
Fletcher Henderson, a pioneering jazz bandleader, recorded 'Stampede' (matrix 26) and 'Money Blues' (matrix 25) for Columbia, catalogue 35669, likely early 1920s.AI summary
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- ASud Bustin' Blues
- BWar Horse Mama
Fletcher Henderson was one of the most important figures in jazz history — a pioneering bandleader, arranger and pianist whose Roseland Ballroom orchestra in the 1920s was a foundational big band. Brunswick 2592 is from the early to mid-1920s, in Henderson's most creative period. UK pressings of Henderson's Brunswick sides are less common than American copies and are sought by hot-jazz and early big-band collectors. This is one of the more significant jazz items in the list.AI summary
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- ASugar Foor stomp(25)
- B(Bessie Smith)Young Woman's blues(26)
Fletcher Henderson, a pioneering hot-dance and jazz bandleader, recorded 'Sugar Foot Stomp' (1925) and 'Young Woman's Blues' with Bessie Smith (1926) for Columbia S10002, representing some of the most important jazz and blues of the mid-1920s; UK copies of the OKeh 8000 series are extremely uncommon, and this Columbia special issue brings serious jazz collector attention.AI summary
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- AThere's a rickety rackety Shack
- B(Reser)You sing that Song to Somebody else
Fletcher Henderson, the influential jazz bandleader and arranger, recorded for the Imperial label; 'There's a Rickety Rackety Shack' represents dance-band material from Henderson's prolific recording career.AI summary
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- AWhiteman Stomp
- BI'm coming Virginia
Fletcher Henderson, the pioneering African-American bandleader and arranger, leading his orchestra on 'Whiteman Stomp' and 'I'm Coming Virginia' on Columbia 4561. Both are important early jazz recordings from the mid-1920s hot-jazz era.AI summary
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- AYeah Man
- BCan you take it
Fletcher Henderson, the pioneering jazz bandleader and arranger, recorded these sides for Brunswick. Henderson's orchestra was one of the most influential groups in early jazz, and these recordings document hot jazz from the late 1920s.AI summary