Collectors Guide to Jazz  on Bootleg & Reissue 78 R.P.M. Records 1932 to 1952.
by Geoffrey Wheeler, Hillbrook Press, Ft. Wayne, IN, 2009.

The following excerpt from Collector's Guide was kindly made available by Geoffrey Wheeler and is presented here with permission from the author. Uploaded Aug 29, 2009.
H.R.S. Album No. 2: Young Man With a Horn Bix Beiderbecke and the
Wolverines
“Featuring reissues of Gennett records by Bix Beiderbecke and the
Wolverines. Five records in a beautiful three-color album, with a
special illustrated booklet by Charles Edward Smith. Individual records
75 cents; complete album with booklet, $4.25.” The right side of the
album cover lists the selections in the album, but not in the same
order in which they appear in the album. As listed on the cover,
selections are: Davenport Blues, Tia Juana, Jazz Me Blues, Fidgety
Feet, Big Boy, Royal Garden Blues, Sensation, Toddlin’ Blues, Oh Baby,
Tiger Rag. Label is the yin-and-yang red-and-white design. As shown on
the labels, dubbing matrix numbers as provided by Decca’s Chicago
studio do not have letters; as stamped in the runoffs, all matrix
number include a letter suffix. With the exception of the “B” on “Tia
Juana,” all runoff matrix numbers have the letter “A.” Pressings were
done by Decca Record Inc. The album was originally sold by mail and
over the counter in the HRS Record Shop in New York City. In 1942,
General Records Co. also handled distribution of the HRS line,
including singles and albums.

This is a landmark album. According to Heywood Hale Broun, who was
part-owner of H.R.S. at the time these were issued in 1940, only about
400 albums were pressed. Today, these records may sell for thirty or
more dollars each, and the complete album in good to excellent
condition, for hundreds of dollars. This album is historically
important because Decca Records itself never reissued any “Bix” Gennett
sides in the U.S. under its own name or in Canada under the Compo
Company Ltd. name, despite licensing the rights from Gennett. This
album also represents the first time that “Sensation” by Bix
Beiderbecke and his Rhythm Jugglers, and “Tia Juana” by The Wolverine
Orchestra had been reissued. Both had been recorded for the Gennett
label in 1924. Although the group shown on the HRS label is “Bix
Beiderbecke and The Wolverines,” on the (E) Brunswick labels it is
correctly shown as “Wolverine Orchestra.” The remaining eight sides had
been reissued only in England and were thus generally unavailable to
American collectors, except for the lucky few who could afford to
travel to England and buy them directly or who had a friend purchase
the records for them in England as either singles or in albums.
Although foreign records were reviewed in The New Yorker magazine of
the 1930s, imports were to be found only in a few record stores, such
as The Gramophone Shop Inc. stores at 18 East 48th Street and 290 Park
Avenue, and Liberty Music Shop in New York City. Liberty even had its
own 78 store label devoted to show tunes, little reviews, and
personalities.

The book Jelly Roll, Bix, and Hoagy: Gennett Studios and the Birth of
Recorded Jazz by Rick Kennedy (Indiana University Press, 1994) gives
scant mention of these English Brunswick reissues and no mention
whatsoever of these Hot Record Society reissues. Kennedy also refers
only to one Classic Swing Album, not two.

HRS 22 Bix Beiderbecke and the Wolverines
These are all dubs of Gennett masters and the dubbing was done in the
Chicago studios of Decca Records in 1935. Dubbing was done on four
dates: October 14, October 24, November 5, and November 27. The dubbing
dates for each side are indicated after the dubbing matrix number.

Fidgety Feet (Edwards-Shields-LaRocca) (dub mx. 90362A; Decca, October
14, 1935)
Original issue: Gennett 5408 (February 18, 1924)

Note: The first reissue of “Fidgety Feet” was on (E) Brunswick 02204-A
in 1936. The master used to press this HRS issue is the same used for
the English Brunswick issue—dub mx. 90362A.

Bix Beiderbecke and his Rhythm Jugglers
Davenport Blues (Bix Beiderbecke) (dub mx. 90430A; Decca, November 5,
1935)
Original issue: Gennett 5654 (January 26, 1925)
Pressing: Decca Records Inc.

Note: The first reissue of “Davenport Blues” was on (E) Brunswick 02206
A [no hyphen] in 1936. Tom Tsotsi reports that his copy shows 02206-A,
with a hyphen. The master used to press this HRS issue is the same one
used for the English Brunswick issue—dub mx. 90430A. “Davenport Blues”
and “Toddlin’ Blues” (see HRS 23) were offered on the Sesson label in
March 1944 as Session No. 6 as by “Bix and his RHYTHM JUGGLERS,” and
under the saqme name on the Reissue label in October 1946 as Reissue
No. 6. Reissue was an imprint of Session Records. Note also that the
issues on (E) Brunswick numbers 02200 to 02213 show the dub matrix
number on the label with the prefix letter “C” indicating Chicago
(example: C.90430).

HRS 23 Bix Beiderbecke and the Wolverines
Sensation (Edwards) (dub mx. 90398A; Decca, October 24, 1935)
Original issue: Gennett 5542 (September 18, 1924)

Bix Beiderbecke and his Rhythm Jugglers
Toddlin’ Blues (LaRocca-Edwards) (dub mx. 90431A; Decca, November 5,
1935)
Original issue: Gennett 5654 (January 26, 1925)
Pressing: Decca Records Inc.

Note: “Toddlin’ Blues” was also reissued on (E) Brunswick 02501-B using
the same master 90431A, and included in seven-record Album One of 21
Years of Swing Music, issued in June 1937. The recordings in the two
albums span the years 1917 to 1937 and were numbered 02500 through
02515. Unlike three previous albums issued on English Brunswick, which
contained no personnel information on the record labels, all the
records in albums One and Two of 21 Years of Swing Music list
personnel. (See below for more information.)

HRS 24 Bix Beiderbecke and the Wolverines
Big Boy (Ager) (dub mx. 90426 A; Decca, November 5, 1935)
Original issue: Gennett 5565-B (October 8, 1924)

Note: The first reissue of “Big Boy” was on (E) Brunswick 02203 B [no
hyphen because “B” is stacked beneath “02203”] in 1936. The master used
to press this HRS issue is the same one used for the English Brunswick
issue—mx. 90426A.

Tiger Rag (no composer credit) (dub mx. 90486A; Decca, November 27,
1935)
Original issue: (E) Brunswick 02205-B (June 20, 1924)
Pressing: Decca Records Inc.

Note: The first issue of “Tiger Rag” was on (E) Brunswick 02205-B in
1936 [see section devoted to English Brunswick reissues]. The master
used to press this HRS issue is the same one used for the English
Brunswick issue—dub mx. 90486A. For whatever reason, “Tiger Rag” was
never issued by Gennett. Collector-enthusiast attorney and later
Central Intelligence Agency officer, Edwin “Squirrel” Ashcraft III,
acquired one of two test pressings made from the master. While taking
it to Decca Studios in Chicago in 1935 for the purpose of making this
dub master, he dropped the pressing and it cracked. A note on page 406
of Bix—Man and Legend, by Richard M. Sudhalter, Philip R. Evans with
William Dean Myatt, incorrectly refers to the studios as “Brunswick
Studios.” While Brunswick did have recording studios in Chicago in
1935, they were part of the American Record Corporation conglomerate,
not Decca. After its startup in July 1934, Decca opened its own studios
in Chicago. The existence of a second (uncracked) test pressing was not
known at the time so the cracked test pressing was used because of the
recording’s rarity. It was originally issued in the first of two
seven-record albums by English Brunswick in 1936, called “Classic
Swing,” volumes I and II. In an article on “Perspectives for Jazz”
published in 1946, Charles Edward Smith says: “I recall tossing discs
across the Atlantic for English Brunswick’s ‘Swing Classic’ [sic]
series: I’m glad Oliver, Rappolo and Bix were included, but that ‘swing
classic’ term still burns my ears—I sent that over, too.” These albums
were later sold on a very limited basis in the United States through
Marconi Brothers in New York because the Brunswick trademark was still
owned by American Record Corporation and thus English Brunswick issues
were in potential conflict with the American Brunswick label franchise.
Where noted, HRS used the same dubs used in producing reissue
recordings in the U.K. on English Brunswick. In effect, HRS’
Beiderbecke album became the American issue of the English material.
Decca may have chosen not to issue an American album of the Beiderbecke
recordings on Decca because of the expectation of limited appeal and
limited sales.

The recordings issued in the two albums were all dubbed in Chicago at
the direction of Jack Kapp, formerly of Brunswick and now the new
president of American Decca Records Inc. and then taken to England
where they were mastered. The 28 sides included in the two English
Brunswick albums all came from Gennett. Decca Records had licensed
exclusive rights to the catalog of the by-now-defunct Gennett Record
Company and its subsidiary label, Champion. Not included in the deal
were Gennett’s recordings of special sound effects and birdcalls. The
reason for the relationship between American Decca and English
Brunswick is that most of the start-up financing for American Decca
came from Decca Records Ltd. While the concept of albums was not new to
the English and European markets, Kapp was the innovator in the United
States of packaging popular music in albums, having produced two
previous hits for (American) Brunswick—Show Boat and Blackbirds of
1928. These particular recordings issued by HRS are part of the 90000
range of matrix numbers that identify them as a product of Decca’s
Chicago facility. Decca had studios in New York, Chicago, Los Angeles,
and San Francisco.

As reported by Jim Hayes of Liverpool, England, the Chicago Decca
matrix series appears to have begun with mx. 9289 August 13, 1934 when
The Mississippi Mudder (Mud Dauber Joe, i.e. Joe McCoy) recorded “I Got
to Have a Little More,” released on Decca 7008. The range reached 9997
by May 7, 1935 when The Log Cabin Boys recorded “When It’s Prayer
Meetin’ Time in the Hollow,” released on Decca 5110. The matrix series
then jumped to 90000 on May 15, 1935 with “Stingaree Mama Blues” by
Springback James on Decca 7119. The earliest matrix number used for a
Beiderbecke dub is mx. 9773A “Copenhagen,” dubbed February 2, 1935 for
issue on UHCA 46.” U.S. Decca matrix numbers appeared on such English
labels as Brunswick, Columbia, Decca, Panachord, Parlophone, Rex, and
Vocalion, and on labels in Australia, Canada, Germany, India, Ireland,
and South Africa. [Jim Hayes Publications, J. G. Hayes, 22 Empire Road,
Liverpool, L21 8HR, England; 34 pages; price 4/6, or about 60¢ at the
time. Hayes also covered English Brunswicks “2000” range. This dates
from 02000 (December 1934) to 02999 (July 1940). More than 250 artists
are presented in the range. While the monthly English publication The
Gramophone covers records 02496 and 02497 just before the start of
02500-02515, the next issue begins with 02539. While the February 1938
issue would seem to be the correct one in which to see 02500-02515
covered, there is a jump from 02497 to 02539. There is also no
advertising mentioning this range of numericals.]

HRS 25 Bix Beiderbecke and the Wolverines
Jazz Me Blues (Delaney) (dub mx. 90361A; Decca, October 14, 1935)
Original issue: Gennett 5408 (February 18, 1924)

Note: The first reissue of “Jazz Me Blues” was on (E) Brunswick 02203-A
in 1936 titled as “The Jazz Me Blues.” The master used to press this
HRS issue is the same used for the English Brunswick issue—mx. 90361A

Oh Baby (DeSylva-Donaldson) (dub mx. 90427A; Decca, November 5, 1935)
Original issue: Gennett 5453-A (May 6, 1924)
Pressing: Decca Records Inc.

Note: “Oh Baby” was also reissued on (E) Brunswick 02501-A as “Oh!
Baby” in June 1937 using the same master 90427A and was included in
Album One of 21 Years of Swing Music. This is not the same “Oh, Baby”
recorded by Benny Goodman in 1946 on two-part 12-inch Columbia 55039.
Written by Owen Murphy, it was arranged by Mel Powell and features a
fine drum solo by a young Louie Bellson.

HRS 26 Bix Beiderbecke and the Wolverines
Tia Juana (Conley-Rodernick) (dub mx. 90363 B; Decca, October 14, 1935)
Original issue: Gennett 5565-A (October 8, 1924)

Royal Garden Blues (Clarence and Spencer Williams) (dub mx. 90428A;
Decca, November 5, 1935)
Original issue: Gennett 20062 (June 20, 1924)
Pressing: Decca Records Inc.

Note: The first reissue of “Royal Garden Blues” was on (E) Brunswick
02204-B in 1936. The master used to press this HRS issue is the same
used for the English Brunswick issue—mx. 90428A.

Background: (The following edited text is excerpted from the Internet
and from Popular American Recording Pioneers 1895-1925, by Tim Gracyk,
published by Victrola and 78 Journal Press, 1999, pages 401-404
inclusive.)

Seven Wolverines discs with Beiderbecke were made by Gennett. Six were
issued in Gennett's normal 5000 series (three were announced in the
trade press, three were not). A seventh disc, Gennett 20062, features
“I Need Some Pettin'” and “Royal Garden Blues.” Discs in Gennett's
20000 series were presumably never available in shops since this was
the company's "personal" series, the records being specially made for
the individuals who ordered them. The Wolverines may have paid to have
the two songs pressed (artists sometimes sold such records when playing
in dance or concert halls). The label for Gennett 20062, probably
pressed in July 1924, is the same in color and design as that of 5000
series Gennetts. [The Starr Gennet Records Complete Catalogue dated
November 1923 announced that all $1.00 and $1.25 records were now 65¢,
and all $1.50, $1.65, and $1.75 records were now $1.15.]

  “Tiger Rag,” recorded at the same June 20 session as “I Need Some
Pettin'” and “Royal Garden Blues,” was never issued. It exists on test
pressings only, possibly only two or three existed. Frank Powers
reports that surviving members of the Gennett family had one test
pressing of "Tiger Rag." It has a plain white label with the title and
band’s name written in ink in long hand. The first disc featured
“Fidgety Feet” and “Jazz Me Blues,” two Original Dixieland Jazz Band
numbers. They were issued on Gennett 5408, which normally would have
been listed in "Advance Record Bulletins" of the May 1924 issue of
Talking Machine World but does not because the record company did not
issue the disc to its dealers nationwide. Instead, it issued it only to
some Mid-West shops. It is a rare disc today.

Gennett 5453 “Oh Baby” and “Copenhagen” sold better than all other
Wolverines discs, although the Victor version of "Copenhagen" by the
Benson Orchestra became the most popular recorded version of the 1920s.
Cut September 8, 1924, four months after the Wolverines recorded it,
the Benson Orchestra's version was issued on November 7, 1924. The
second reference to the Wolverine Orchestra in TMW is in the October
1924 issue, which announces the November release of “Sensation” and
“Lazy Daddy” on Gennett 5542. It was another disc that couples two
Original Dixieland Jazz Band compositions. The Wolverines cut the two
numbers on September 16. Gennett announced the disc a month after the
session and the two titles were issued on 5542 only six weeks after
being recorded.

The third and final reference to the Wolverine Orchestra in TMW is in
the November issue, which announced the December release of “Tia Juana”
and “Big Boy” on Gennett 5565. Composers are cited after song titles.
“Tia Juana” is credited to “Conley-Rodernick [sic].” This refers to
Larry Conley and Gene Rodemich. Conley, a trombonist in Rodemich's
popular orchestra, composed many songs with Rodemich around this time.
Gene Rodemich and His Orchestra had recorded “Tia Juana” June 10 for
Brunswick 2680. The record was issued in November, so the Wolverines
could not have known Rodemich's recorded version when cutting their own
in early October for Gennett. Orchestras at the time may have been
playing it at dances. Hope Conley Lang, daughter of Larry Conley,
reports that at least one stock band arrangement of “Tia Juana“ was
copyrighted by May 5, 1924. Jelly Roll Morton recorded “Tia Juana” June
9, a day before the Wolverines. Gennett did not issue it (5632) until
1925. Emil Coleman and His Club Trocadero Orchestra recorded it for
Vocalion in late August 1924. It was issued as Vocalion 14879 in
November--too late for the record to have influenced the Wolverines.
[Author’s note: “Tia Juana” was also recorded by Smith Ballew and His
Orchestra (Me M 13240), and Bud Freeman and the Summa Cum Laude
Orchestra (De 18066)]

The selection of “Big Boy” for the session in early October [Brian Rust
says October 7, but other sources indicate October 8] is not surprising
given the song's popularity at the time. Nearly a dozen versions were
available by the time Gennett 5565 was issued in December 1924. “

The band's earliest sessions had been in Gennett's studio in Richmond,
Indiana, but the last three sessions (two with Beiderbecke, one
without) were in Gennett's New York studio on East 37th Street. The
band had traveled eastward for an engagement at a popular dance hall,
an event noted on page 70 of the October 1924 issue of Metronome:  “The
Wolverines came to New York and opened at the Cinderella [Ballroom],
where they were one of the biggest hits that ever hit New York. The
Wolverines, under the direction of Richard Voynow, have been the
favorite orchestra of all the college and fraternity houses throughout
Ohio, Indiana, Kentucky, and Michigan..." Tom Griselle supervised the
New York City sessions. According to the March 1924 issue of Talking
Machine World, Griselle had taken a year's absence (Frederick Woods had
served as musical director since September 1923) and was by March of
1924 “again in charge of the Gennett record-making activities of the
Starr Piano Co. in the New York laboratories.” All told, Bix recorded
273 sides between February 18, 1924 and September 15, 1930.

Addenda by Albert Haim

 http://www.78discography.com/HRS.htm

http://www.time.com/time/magazine/article/0,9171,757842,00.html

Music: Hot Society

Jazz, blowsiest of the arts, has been disgracefully lax about keeping her barrelhouse in order. The master recordings of hundreds of notable numbers, played by inspired but informal groups of musicians in obscure studios, have been lost or destroyed. Copies of records made in Swing's golden age, the 1920s, by bands like the Wolverines, Friars Society Orchestra and New Orleans Rhythm Kings, are therefore as rare as Gutenbergs and, to lovers ofAmerica's native music, as valuable.

Last winter Victor repressed a series of early jazz masterpieces, sold them as the Bix Beiderbecke Memorial Album. The late great Trumpet Player Leon Bismarck ("Bix") Beiderbecke's effortless glissando, accompanied by various old bands, was to be heard sprinkling graceful, spontaneous melody through all twelve sides of the set. Two non-commercial enterprises, the Hot Club of France and the New York Hot Club, have repressed a few scarce swing classics for their members. But the commercial record companies are chiefly interested in making and selling new records, and the hot clubs are composed of amateurs uninterested in administrative detail. Wide open, therefore, was the place which a brand new Hot Record Society undertook last week to fill.

The Hot Record Society, with an office in Room 1306 at No. 303 Fifth Avenue, Manhattan, intends to issue limited editions of six famed and unavailable old recordings each year. Members are charged $6 annually, which includes the cost of the records. If the venture prospers, record dividends will be declared. Headed by Artist Stephen W. Smith and advised by a board of leading spirits from the United Hot Clubs of America, the Society seemed assured of a welcome from the nation's half-million serious jazz fanciers. "We will choose," haughtily announces the Society's first bulletin, "to reprint discs that are distinguished both by greatness of performance and by rarity, leaving the corn to the hillbillies and the more accessible hot records to the assiduousness of individual collectors."

The Society's first reissue, out this week, is Three Blind Mice played by the Chicago Loopers, a disc full of the sad harmonics and eccentric lyrical twists characteristic of the great Chicago-style. Such masters as Beiderbecke, Frankie Trumbauer (saxophone), Carl Kress (guitar), and Don Murray (clarinet) formed the band. On the two sides of the record, the masters take turns showing what they can do with variations on the common mouse theme.

http://ms.cc.sunysb.edu/~alhaim/ArticlesinMagazines.htm#weeklymagazinejazz

 http://www.shellac.org/wams/wcollct1.html