Marjorie Moore and "Deacon" Radio, revisited

Readers of this site will know that Carl Moore is intimately tied to the fascinating history of "St. James Infirmary." I received a telephone call from his wife Marjorie Moore this afternoon. Although we exchanged letters while I was writing I Went Down to St. James Infirmary, this is the first time we've actually spoken to each other. This was an exciting moment, and in celebration I am revisiting one of the earliest posts on this blog.

While Carl Moore was born in 1902 Marjorie Moore, who he married in 1941, was quite a bit younger than him. Margie, now 92, is a warm and energetic woman. About Carl she said, "He was one neat guy - very kind and loving and caring." Whether as a singer and big band leader or as a country music DJ, she says that Carl always had time for his fans. During his later career as a country dj, he hosted an influential amateur show on Sunday mornings. Margie told me that, "After a show people would line up to see him, and he would stay as long as they wanted to talk. He was a down-to-earth guy; he didn't put on airs." When I first wrote to her, asking about SJI, she wrote back, "'St. James Infirmary' is a mystery to me, also. I always understood that Carl wrote the words to it." She also remembered "Carl telling me that someone took several songs to Chicago and sold them but did not put his name on them."

Margie sent me a number of photographs and press clippings, including this photo that I did not include in the book. This is Carl as a California country radio dj "The Squeakin' Deacon."

Moore's first radio job was an early morning show on Cincinnati's WLW radio station. This station was originally built to help sell radios and used such a powerful transmitter that it interfered with Canadian radio signals. From Cincinnati the Moore's moved to St. Louis (where Carl hosted a country show called "The Shady Valley Gang"). By 1947 the Moore's (Carl, Margie, and their daughter Carole) made California their permanent home. The hillbilly persona he adopted in the dance halls of America served him well in the increasingly popular world of country music. It is still possible to see Carl "The Squeakin' Deacon" Moore on some of the Bear Family videos of the 1950s country TV show, Town Hall Party, making brief appearances to tell jokes and advertise his Sunday morning amateur hour. On the August 8th, 1959 show you can not only see the Deacon telling a couple of his jokes, but also watch a 27 year old Johnny Cash doing an impersonation of Elvis Presley.

Carl "Deacon" Moore - "A Woman Gets Tired" mp3 - and Margie Moore turns 93!

A recent photograph of Marjorie Moore, with her daughter Carol

As readers of this blog, or of the book, know - Carl Moore was credited as co-composer of "Gambler's Blues" when it was recorded by Fess Williams in 1927. "Gambler's Blues" would soon become known as "St. James Infirmary" - and credit for authorship would change; first to Don Redman, and then to Joe Primrose.

But Carl Moore (along with Phil Baxter) was the first of these. He is one of the most interesting of the characters that I explore in I Went Down to St. James Infirmary. After many years as a big band leader - and dapper, tuxedoed, comical hillbilly hick - he became one of the first (and one of the most popular) country music djs. Although he retired in 1969, Dave Sichak's website Hillbilly-Music dawt com announced that in 2008 Carl "Squeakin' Deacon" Moore had the most visited page of the many disk jockeys the site features.

Carl Moore was born in Paragould, Arkansas in 1902. He died in

Huntington Beach, California, in 1985. I telephoned his wife, the lovely Margie Moore, a few days ago. She celebrated her 93rd birthday this past weekend!

Happy Birthday Marjorie!!

In celebration of Margie's birthday, I am posting the fourth - and last - song of Carl's complete recorded output. Much of Carl's inspiration came from the vaudeville and minstrel stages, and this song - written by Paul Carter and C.H. Barker (who are today as obscure as songwriters can get) - was popular on vaudeville. Deacon drawls, the orchestra swings.

To hear this song, click on: "A Woman Gets Tired" MP3. Be warned that a few seconds in it might sound like the recording skips a beat. I edited the file a bit in order to removed a loud click.

Carl Moore as The Squeakin' Deacon - photograph

Moore as radio personality "The Squeakin' Deacon"

Back in the mid nineteen-twenties Carl Moore, along with Phil Baxter, claimed authorship of "Gambler's Blues" (aka "St. James Infirmary"). You can read more about each of those fascinating individuals elsewhere on this blog (and, of course, in the book).

I recently received a message from Cecil Warren, who noticed that once upon a time I started to create a family tree for Carl, at Ancestry.com. Moore was one of the central characters in I Went Down to St. James Infirmary, and I closely researched his early years.

When he was a young lad ("in the 1947/1948 time period when my parents took me to his radio program"), Mr. Warren once sat on Moore's knee, and received the photograph you see here. "Too bad it got torn," Warren wrote, "probably a result of a fight between my sister and I over who got to hold it while we listened to his radio show. It is still a piece of history that has survived these 60 plus years."

By this time, Moore had given up leading a dance orchestra (many dance orchestras dissolved due to supply and personnel shortages during World War Two), and had become the country radio personality, "The Squeakin' Deacon." The Deacon was living in California at this time, not far from Hollywood. In fact, he had a (very) minor film career, including an uncredited appearance as the Toastmaster in the Rock Hudson/Elizabeth Taylor/James Dean movie Giant. He was once considered for the title role in the Will Rogers film biography, but Rogers' son eventually played that part. Moore would have been a natural, with his down-home humor and country hick persona.

Mr Warren added, in response to my writing, that  "I am glad that his role in music history is being preserved." Thank you, Cecil

ps In her late nineties, Moore's wife Marjorie is very much alive and energetic - she will be thrilled to see that you remember Carl Moore, The Squeakin' Deacon.

Marjorie Moore and "Deacon" Radio

Carl Moore was born in 1902. Marjorie Moore, who he married in 1941, is a warm and energetic woman of 92. She remains very affectionate towards Carl, saying "He was one neat guy - very kind and loving and caring." She wrote, "'St. James Infirmary' is a mystery to me, also. I always understood that Carl wrote the words to it." She also remembered "Carl telling me that someone took several songs to Chicago and sold them but did not put his name on them."
Margie sent me a number of photographs and press clippings, including this photo that I did not include in the book. This is Carl as a California country radio dj "The Squeakin' Deacon."
Moore's first radio job was an early morning show on Cincinnati's WLW radio station. This station was originally built to help sell radios and used such a powerful transmitter that it interfered with Canadian radio signals. From Cincinnati the Moore's moved to St. Louis (where Carl hosted a country show called "The Shady Valley Gang"). By 1947 the Moore's made California their permanent home. It is still possible to see Carl "The Squeakin' Deacon" Moore on some of the Bear Family videos of the 1950s country TV show, Town Hall Party, making brief appearances to tell jokes and advertise his Sunday morning amateur hour. On the August 8th, 1959 show you can not only see the Deacon telling a couple of his jokes, but also watch a 27 year old Johnny Cash doing an Elvis impersonation.

Phil Baxter, 1925 co-composer of Gambler's Blues (aka St. James Infirmary)

Phil Baxter was a pianist and band leader in the 1920s and 1930s. He was a prolific song-writer. Among his better known compositions are the rather risque "Ding Dong Daddy from Dumas" (recorded by a host of musicians from Phil Harris to Louis Armstrong), "Piccolo Pete" and the follow-up, "Harmonica Harry" (both were major novelty hits for Ted Weems and his orchestra), as well as "A Faded Summer Love" (which was a hit for Bing Crosby in 1931).

Phil Baxter

Baxter and Carl Moore published "Gambler's Blues" in 1925. Four years earlier Baxter and Moore toured together as a duo.They would ride the train from town to town and perform skits and music, with Moore on drums, Baxter at the piano. Eventually Baxter settled in Kansas City where, leading a band at the El Torreon ballroom, he displaced the Coon-Sanders Nighthawks as Kansas City's favourite dance orchestra. Moore created his own band; with a mixture of sophisticated dance arrangements and down-home humour, he was a popular entertainer.

Baxter was unable to perform after 1933 because of arthritis in his hands. On the verge of his leaving for Texas, the Kansas City Journal-Post ran a long article about Baxter which included this comment: "Baxter has had some litigation over the authorship of one song, which has been in circulation as 'St. James Infirmary,' but which he said he composed long ago and called 'Gambler's Blues.' He said he published it privately in Texas years ago, and that a New York publisher picked it up." That New York publisher was undoubtedly Gotham Music, whose president was Irving Mills (aka Joe Primrose).

(In 1927, two years after Moore/Baxter published "Gambler's Blues," Carl Sandburg published a book of "traditional" American songs containing a very similar piece, "Those Gambler's Blues.")

I Went Down to St. James Infirmary includes a biography of Baxter. Information about him is not easy to find. Recordings of his can be discovered on CD and on streaming services, in compilations with titles like volume 2 of Jazz the World Forgot, or Texas and Tennessee Territory Bands. If anyone has information about Phil I would love to hear from you. Baxter's friend, Cliff Halliburton, wrote a biography, but I have been unable to find it and suspect it was never published.

Phil Baxter's band with his 1929 composition "I Ain't Got No Gal Now."

Original recording of Phil Baxter's 1928 "I'm a Ding Dong Daddy from Dumas."

Baxter's published version has seven verses, so this is a bit abbreviated.

Original recording of Phil Baxter's and Carl Moore's "Gambler's Blues"
(aka "St James Infirmary") 1927 - recorded one year before Louis Armstrong's
"St. James Infirmary" and two years after Moore/Baxter published it.


Louis Armstrong's original 1928 "St. James Infirmary." He recorded the song at
least twice more.

Introducing Carl "The Deacon" Moore

When, in 1927, Fess Williams and his Royal Flush Orchestra made the first recording of "St. James Infirmary" it had the title "Gambler's Blues." The record label showed a writing credit to Moore-Baxter. Carl Moore and Phil Baxter had published the song two years earlier, when both were members of Baxter's band.

Carl was a drummer. By 1927 he had left Baxter's band and was leading his own orchestra. Born in Arkansas, Carl Moore adopted the role of the hillbilly hick, injecting jokes and skits into all his performances. He recorded, for Decca, only four songs in his career - and while he performed "St. James Infirmary" throughout his band career, he never recorded the song.

During World War II, when it became impossible to maintain a touring orchestra, Moore became a radio disc jockey, specializing in the newly emerging country music. Moore always maintained that he wrote "St. James Infirmary."

You won't find these songs on Spotify- Carl "Deacon" Moore

 

I have yet to find a way to embed sound recordings into Blogger posts, so to listen to these songs please find them here: Down to St James Infirmary at Substack

Carl “Deacon” Moore was a fascinating personality who became a central character in my book, I Went Down to St. James Infirmary. Pictured here with his orchestra in 1940, Moore (leaning against the piano) was credited as co-composer, in 1925, of the first sheet music for “Gambler’s Blues” (aka “St. James Infirmary”). Born and raised in Arkansas, Moore adopted the persona of the hillbilly hick in his performances. If one were simply to listen to a Moore performance, one would expect, upon opening one’s eyes, to see a country hick in bib overalls, chewing on a bit of straw. His drawling vocalizations were in sharp contrast to the smooth sounds of his orchestra.

He made only four records, all during the same session for Decca records on August 9th, 1938.
In 2006, Big Band historian, the late Joseph E. Bennett, made cassette recordings of the original 78s for me (I transferred them to mp3s). None of his recordings have ever been commercially reproduced since those early 78s. You won’t find them on Spotify.

Carl “Deacon” Moore was a fascinating personality who became a central character in my book, I Went Down to St. James Infirmary. Pictured here with his orchestra in 1940, Moore (leaning against the piano) was credited as co-composer, in 1925, of the first sheet music for “Gambler’s Blues” (aka “St. James Infirmary”). Born and raised in Arkansas, Moore adopted the persona of the hillbilly hick in his performances. If one were simply to listen to a Moore performance, one would expect, upon opening one’s eyes, to see a country hick in bib overalls, chewing on a bit of straw. His drawling vocalizations were in sharp contrast to the smooth sounds of his orchestra.

He made only four records, all during the same session for Decca records on August 9th, 1938.
In 2006, Big Band historian, the late Joseph E. Bennett, made cassette recordings of the original 78s for me (I transferred them to mp3s). None of his recordings have ever been commercially reproduced since those early 78s. You won’t find them on Spotify.

(You will find something on Spotify, though - “Arkansas Boogie,” a rollicking piano/guitar instrumental from the 1940s, credited to Moore. Moore’s wife told me Carl played a very rudimentary piano, and that this song illicitly used his name to gain traction.)

I have yet to find a way to embed sound recordings into Blogger posts, so to listen to these songs please find them here: Down to St James Infirmary at Substack

Copyright entries for SJI, etc.

I have been searching Library of Congress copyright records for an article I am writing about the original Carter Family. I took some detours into "St. James Infirmary" territory; here are actual song copyright entries for some of these songs.

The full music sheets are

elsewhere on this blog

Gambler's blues ; w C. Moore, m P.

Baxter, of U. S. © Jan. 15, 1925

2 c. Jan. 15 ; E 605070 ; Phil Baxter

and Carl Moore, Little Rock, Ark.
1159

The first version of SJI to enter the copyright books was "Gambler's Blues," in 1925. While credited to Carl Moore and Phil Baxter, this (under the title "Those Gambler's Blues") was collected as a traditional song by the poet Carl Sandburg, in his 1927 book The American Songbag. Hmmmm.

Phil Baxter and Carl Moore

St. James' infirmary ; words and musicby Joe Primrose. © Mar. 4, 1929 ; 2 c. Mar. 26; E pub. 4595; Gotham

music service, inc., New York. 6527

This copyright, to the fictional Joe Primrose, was registered in March, 1929.

The recording, by Louis Armstrong & His Savoy Ballroom Five, was recorded in December, 1928 - three months earlier than the copyright. Something was afoot.

Irving Mills aka Joe Primrose

Porter Grainger

Dyin' crap shooter's blues ; words and

melody by P. Grainger. © 1 c. July

27, 1927; E 672418; Porter Grainger,
New York. 13674

"Dyin' Crap Shooter's Blues" was recorded three times in 1927, and then abruptly forgotten ... until resurrected by Blind Willie McTell in the 1940s. McTell was very convincing when describing how he wrote this song - but, obviously, he didn't. Bob Dylan's lyric for his song, "Blind Willie McTell" - "I'm standing in the doorway of the St. James Hotel" - was partly responsible for the writing of this book, I Went Down to St. James Infirmary.

Carl "Deacon" Moore advertisement

I thought it would be interesting to post a few old newspaper advertisements.

This one, from 1937, announces that on Sunday, for 40 cents a person, Carl "Deacon" Moore and his famous orchestra will be the grand special attraction. The woman pictured is Marge Hudson, one of the singers in his band. She is presented in this ad as "The singing artist's model. An exotic beauty of Spanish type."

But the most interesting part of this advertisement is the announcement that Carl Moore is the composer of "St. James Infirmary," "Bye Bye Blues," and "Ding Dong Daddy." As I've noted in earlier posts, Moore always maintained that he wrote the lyrics for "St. James Infirmary." A 1935 newspaper article, announcing the upcoming appearance of Moore and his orchestra, stated: "Moore and Phil Baxter were responsible for many popular melodies being composed. Among them were "Ding Dong Daddy," "St. James Infirmary," "Ride 'em Cowboy."

Coming soon: Border Radio - live feed - including Carl "Deacon" Moore!

I have been exchanging emails with Mike Kelsey, dj of a really interesting radio show at the WFHB community radio station in Bloomington, Indiana.

Readers of this blog will be familiar with the name Carl "Deacon" Moore - and probably with the recordings I have posted here. Recently Mike played some of the Carl Moore records on his show - this is probably the first time they've been heard in broadcast since sometime in the 1930s! But later this month he will be doing something even more exciting!

Mark your calendars for Friday March 27th, between 8 and 10 pm Eastern Time. Turn your digital dial to http://www.wfhb.org/ for a live broadcast patterned after the Border Radio of the 1930s and 1940s. Among the songs to be broadcast will be live covers of at least one of the Moore songs. What will it be? "Evolution Mama?" "Nobody Knows Where She's Gone?" Place your bets at the window.

There are a number of books about Border Radio, but one in particular manages to sum it up nicely in its subtitle: "Quacks, Yodelers, Pitchmen, Psychics, and Other Amazing Broadcasters of the American Airwaves." The broadcast promises to be a real treat so, see you there!

ps There is a good chance that Carl's wife, the vivacious 92 year-old Marjorie Moore, will be listening in, too.

Carl "Deacon" Moore - "Evolution Mama" mp3

Some of my earlier posts discussed Carl "Deacon" Moore, a fascinating personality who became a central character in my book, I Went Down to St. James Infirmary. Pictured here with his orchestra in 1940, Moore (leaning against the piano) was credited as co-composer on Fess Williams' 1927 recording of "Gambler's Blues." Born and raised in Arkansas, Moore adopted the persona of the hillbilly hick in his performances. His drawling vocalizations contrasted appealingly with the smooth sounds of his orchestra. He made only four records, all during the same session for Decca records on August 9th, 1938. None of his recordings have ever been reproduced since those early 78s. In upcoming posts I shall make these recordings available - here's the first one.

"Evolution Mama" is Moore's strangest record. Referring to the controversy over evolution vs creation ("Evolution Mama, don't you make a monkey out of me") the song was written by Terry Shand . . . according to the credit on Moore's record label, anyway. The song had been recorded perhaps three times between 1925 and 1927, generally credited to Doc Dasher and Eddie Heywood. Since then it has been recorded by the Even Dozen Jug Band in 1964 (credited as a traditional tune).

By clicking on the song title below, you can hear Carl "Deacon" Moore and his orchestra perform "Evolution Mama" MP3 - the song is courtesy of Moore's wife, Marjorie Moore, and was transferred to tape for me by the big band historian Joseph E. Bennett.

St. James Infirmary - musical mystery story

1925 cover of Baxter & Moore's
 Gambler's Blues sheet music

On the left you can see the 1925 cover for the original sheet music for Gambler's Blues, which later became known as St. James Infirmary. The song had long been popular, but it developed through an oral rather than a written tradition. 

Ostensibly composed by Carl Moore (lyricist) and Phil Baxter (music), this first sheet music is one small step in the evolution of the song we know now as St. James Infirmary.

Both Moore and Baxter are fascinating characters who figure largely in my book I Went Down to St. James Infirmary. They are the first in a long line of musicians claiming ownership of the song Gambler's Blues / St. James Infirmary. However, they were certainly not the composers ... but, then, where did the song come from?

Baxter and Moore copyrighted Gambler's Blues in 1925 (in Little Rock, Arkansas), three years before Louis Armstrong released his definitive version in 1928; Armstrong's was the first recording released with the title St. James Infirmary. Two titles, basically the same song.

The first-ever recording was by Fess Williams and His Royal Flush Orchestra in 1927, using the Moore/Baxter arrangement; it was a kind of tragi-comic interpretation, and still a pleasure to listen to.

A year later the Appalachian banjoist Buell Kazee put the song out with the title Gambling Blues, probably taking his version from Carl Sandburg's book of traditional songs The American Songbag (1927). But SJI had to wait for Louis Armstrong before it sped down the freeway.

Was the song always presented with different names, in the years before records, when it was played in disreputable bars and rode the band circuits from hall to hall across the continent? When did it receive it's definitive title, and who was responsible? It turns into a musical detective story.

The origins and popularization of St James Infirmary is a fascinating tale. Here we have less than scratched the surface. You can read more here, in my book I Went down to St. James Infirmary.

___________________________________________________________

Sample of Kudos for the book:

"The book is one of a kind. Bob Harwood states that this is the end of the story, as far as he has it in him to tell it. This work is unique, so if you don’t have it, get it.” — Malcolm Shaw, Editor of Jazz and Ragtime Records (1897-1942), 

“Mr Harwood opened up so many musical alleys to explore. A sparkling book!” — “Digger,”

"What bettter way to honour a great song than to tell a great story about it!" David Fulmer, author of The Dying Crapshooter's Blues and The Valentin St. Cyr Mysteries.

"A goldmine of information, with an amazing cast of characters. The definitive statement on the subject — and a very entertaining read to boot." — Rob Walker, author of Letters from New Orleans and The Art of Noticing

"Robert Harwood’s book is not the first devoted to one song, but it is the first to cross so many stylistic fences in its attempt to trace the origins of a tune, one which is lost in the mists of time." — Mark Berresford, review for VJM’s Blues and Jazz Mart

___________________________________________________________

 If you are interested in the sheet music for Moore/Baxter's "Gambler's Blues," you can find it elsewhere on this blog. (Type into the search area "Gambler's Blues," or even "sheet music," for there is a lot of that here.)

SPOTIFY playlist for I Went Down to St. James Infirmary

Image by author, using sheet music for St. James Infirmary as background

All songs, all things, are connected.

While investigating the history of "St. James Infirmary," many other songs came into view.  Because of this I created a Spotify playlist of some of the songs mentioned in my book, I Went Down to St. James Infirmary. I couldn't find everything, though. Neither Daisey Tapley nor Florence Cole-Talbert are in the list. Aside from two or three women who were part of choirs, these were the first two black women to appear in recordings (1910 and 1919). I was able to include the first recorded solo black man (also, probably, the first solo male recording artist) - George W. Johnson with "The Laughing Coon" (c. 1894). Unfortunately, his first tune, "The Whistling Coon" (1891) is not on Spotify.

Neither are any of the songs by Carl Moore, aka "The Squeakin' Deacon." Moore was the first person, in 1924, to claim co-writing credit for SJI. From Arkansas, he adopted the persona of a hillbilly hick while fronting a smooth, swinging jazz orchestra. He recorded four catchy songs, but none of them migrated beyond their original 78 rpm discs. The only place you will find them today is on this site - enter "Carl Moore mp3" into the search box.

So far I have included 55 songs on the SJI playlist. You can hear Irving Mills introducing Duke Ellington at the Cotton Club on "Cotton Club Stomp." The Hokum Boys with their lost versions of "Gambler's Blues/St. James Infirmary." Gene Austin and "My Blue Heaven" (the best-selling song of all time ... until Bing Crosby's "White Christmas") - as well as his take on SJI. Bessie Smith. Blind Willie McTell's "Dyin' Crapshooter's Blues." Bob Dylan's "Blind Willie McTell." Cab Calloway. Alphonso Trent's 1930 SJI tantrum. Sophie Tucker. Hank Williams. Ward-Bergeman's 2011 gypsy version of SJI. Jimmie Rodgers. Victoria Spivey's 1926 "Black Snake Blues."

I shall add more from the book's song index as time goes on.

If you have a Spotify account, look for "I Went Down to St. James Infirmary" in the playlists, and enjoy.

Resurrection of the El Torreon mirrored ball!

Cover for 1925 sheet music.

Phil Baxter (music), along with Carl Moore (lyrics), were the first of many to claim authorship of the song "St. James Infirmary." They printed the sheet music (then named "Gambler's Blues") in 1925. This was three years before Louis Armstrong recorded it with writing credit to Don Redman (well, until the second pressing, when Joe Primrose emerged as the "author").

Phil Baxter and Carl Moore

Both Baxter and Moore are important characters in the tale of "St. James Infirmary," and both are detailed in the book  I Went Down to St. James Infirmary.

Phil and the Texas Tommies in 1926, a year before they
became the house orchestra at the El Torreon Ballroom.
Trombone. Trumpet. Drums. Piano. Clarinet. Banjo.

Phil Baxter, a Texan, and his band "The Texas Tommies" roamed the land dressed in Stetson hats and cowboy boots, performing hot jazz in the many dance halls that spotted the landscape. Forgotten today, they were a major draw. In the years 1927-1933 they served as the house band in Kansas City's hottest dancehall, the El Torreon Ballroom.

Phil and the Texas Tommies in Kansas City c 1927 
Photo taken at the El Torreon Ballroom.

Here is an excerpt from I Went Down to St. James Infirmary:

"The El Torreon was huge. It had room for two thousand dancers. It was decorated in an exotic Spanish motif. Clouds, projected onto the high vaulted ceiling, floated across glistening stars. The dance floor was illuminated by a massive mirror ball of a hundred thousand facets that hung from the ceiling. The El Torreon's opening night featured a double bill. The Texas Tommies, now an orchestra of sixteen musicians, had traded in their cowboy gear for tuxedos. At the opposite end of the dance hall stood the Coon-Sanders Nighthawks, back in Kansas City for a three-week stint. The Nighthawks were once the most popular band in the city but had relocated to Chicago three years earlier."


That mirrored ball struck me as extraordinary, prefiguring the decorations of the disco era. It must have been a fantastic sight in the 1920s, giving the dancehall an exotic, unforgettable atmosphere.

Almost a century later the mirrored ball has been resurrected. The El Torreon underwent many changes since Phil Baxter's day. From a 1920s fancy ballroom ("the tallest building in Kansas City") to a skating rink to a rock 'n roll arena renamed "The Cowtown Ballroom" in the 1970s - where Frank Zappa, Ravi Shankar, The Nitty Gritty Dirt Band, Paul Butterfield, Van Morrison, The Byrds, BB King, King Crimson, Captain Beefheart, and many others performed.

And then the mirrored ball was taken down and put into storage.

In subsequent years (after 1974) the El Torreon served as a flea-market venue, a church, etc.

The mirrored ball has been resurrected, 45+ years later. You can see it in the Kansas City Museum.

These days, the El Torreon hosts weddings, business meetings, and special events.

Here is a link to an article about the resurrection of the mirrored ball.

Here is a link to its present incarnation.

And here is a preview to a movie about the Cowtown Ballroom of the 1970s - when the mirrored ball still spun above the stage.

  St. James Infirmary.

The Golden Grail - found! Gambler's Blues (aka St. James Infirmary), the first sheet music

 Ahhhh.

I had been looking for this sheet music for years. Dare I say, for over a decade?! It escaped me. It was as if it did not exist. I mean, I found evidence that it was locked in the archives of the New York State judicial library, as evidence in a 1930s lawsuit. But it was rare as the Dickens and I could never find the actual thing.

But eventually I did.

I found it on eBay. The starting price was ninety-nine cents (plus postage), and there were two weeks left in the bidding. "Oh dear," I thought, "this is such an important historical document, one that has eluded me for a decade, and I am sure many people will be bidding for this, waiting for the last possible moment before entering a bid. There is no chance that, with my meager resources, I shall be able to actually get my hands on this item." But, as you can see, I did win it.

For ninety-nine cents (plus postage).

What an odd thing!! This was something of considerable historical importance. And I was the only one to enter a bid. Nobody else in the world cared. It was my golden grail. Nobody else cared. There were no other bids. And so I now possess a great historical document at a cost of ninety-nine cents (plus postage).

I must be deluded. I had been pursuing this story, this history of "St. James Infirmary," for a very long time. One of the critical links in the saga of this song appeared for sale, and . . . well . . . it sold for ninety-nine cents.

I shall have to ponder this.

Maybe history depends upon who writes the story.

The year on this music sheet is 1925. It was published by Phil Baxter in Little Rock, Arkansas. My earlier research had informed me that "Harry D. Squires, Inc." was the original publisher of this song, and that Squires was the person who convinced Fess Williams to record it (the first recorded version). So it is likely that Baxter released this edition of the sheet music before finding a bona fide publisher. Also, I had noted that Baxter and Moore neglected to copyright the song (thereby leaving the way open for "Joe Primrose" to take ownership of it). But "International Copyright Secured" is printed on these pages. I had found no evidence of this when I contacted the U.S. copyright offices, so I am not sure what this means.

The 1925 sheet music with lyrics can be found here - the pages should expand when you click on them. I leave it to you to compare this music with the second oldest publication of this song in Carl Sandburg's "American Songbag," published in 1927. Whatever this comparison tells you, it will be clear that neither Phil Baxter nor Carl Moore nor Joe Primrose nor anybody else, wrote "St. James Infirmary."

Again, here is the sheet music for Baxter/Moore’s “Gambler’s Blues.”

Phil Baxter

Phil Baxter was a prolific and successful song-writer. Among his better known compositions we can include "Ding Dong Daddy from Dumas," "Piccolo Pete" (and the follow-up, "Harmonica Harry" - both were early novelty hits for Ted Weems and his orchestra), and "A Faded Summer Love" (which was a hit for Bing Crosby in 1931).

Baxter also claimed co-authorship for "St. James Infirmary." He and Carl Moore actually published the song in 1925, but they neglected to apply for copyright. Baxter, a pianist, was unable to perform after 1933 because of arthritis. On the verge of his leaving for Texas, the Kansas City Journal-Post ran a long article about Baxter, one of the town's favourite musicians, which included this comment: "Baxter has had some litigation over the authorship of one song, which has been in circulation as 'St. James Infirmary,' but which he said he composed long ago and called 'Gambler's Blues.' He said he published it privately in Texas years ago, and that a New York publisher picked it up." That New York publisher was undoubtedly Gotham Music, whose president was Irving Mills.

Information about Phil Baxter is very hard to come by. Recordings of his can still be found on CD, but in compilations with titles like volume 2 of Jazz the World Forgot, or Texas and Tennessee Territory Bands. If anyone has information about Phil, or Carl Moore, I would love to hear from you. I understand that Baxter's friend, Cliff Halliburton, wrote a biography of Phil, but I have been unable to find it and suspect it was never published.

SJI on old-time radio - Again!

You will recall, a year ago WFHB public radio in Bloomington, Indiana, hosted a live radio show featuring none other than Carl Moore, early claimant to the authorship of "St. James Infirmary."

They're doing it again!

No, no, no - not the same show! Carl Moore will be (as far as I'm aware) nowhere in sight (or sound) - although my erstwhile contact, WFHB alumnus Mike Kelsey, assures me that Cab Calloway will be there. And that a Calloway tribute will feature a version of SJI (which was, for many years, Cab's signature song).

According to music charts compiled by Record Research Inc., for the days before there were any record charts, Cab Calloway was the first (and last???) person to have a top 40 hit with St. James Infirmary - in 1931.

So cuddle up to your radios for a live broadcast, from the famous Buskirk-Chumley Theater in beautiful downtown Bloomington, at 8 pm (Indiana time), for "Digital Daze" - including a tribute to the master of scat, the wizard of radio dance music, Cab Calloway.

Or . . . tune your desktops and laptops here for a live feed. Saturday, March 13th, at 8 o'clock p.m. - Indiana time.

MP3 Monologue 6 - Fess, Phil, and Carl: the first recording of St. James Infirmary

Here is monologue 6 from the ongoing series. These were recorded two or three years ago, when I was living in urban Ontario rather than rural Saskatchewan. Here we explore (with a number of period sound clips) the first recording, from 1927, of "St. James Infirmary" - then called "Gambler's Blues."

You might be startled to hear, in this monologue, that Phil Baxter and Carl Moore wrote "Gambler's Blues." Well, they did, in a way. The song had been floating around the music halls for some time. They wrote a version of the song and had some sheet music printed. But, of course, they weren't the creators of "Gambler's Blues."

I know that a sample of their sheet music lies somewhere in the files of New York's legal vaults, where it served as evidence in a 1930 lawsuit initiated by Irving Mills (unrelated to Moore-Baxter), but search as I might I have never been able to find an actual copy. I am sure, though, that Irving Mills did have his own copy, before he disguised himself as Joe Primrose.

To listen (about 4:45 at 256 kbps) click here: Fess, Phil, Carl, and SJI MP3

Read the Introduction to "I Went Down to St. James Infirmary"

Some of the characters who appear in
I Went Down to St. James Infirmary.
(Painting and collage by the author,
with apologies to Albert Gleizes.)

We're excited about this book. But many people who read this blog might not know how I Went Down to St. James Infirmary approaches its subject. It occurred to me that a good way to address this would be to post the Introduction to this new, revised edition.

You can buy the book from our website via Paypal, using major credit cards; or you can buy it from amazon.com - although, of necessity, at a higher price. Or write to the author.

Thanks to all!
We hope to see you down at St. James Infirmary.

Phil Baxter, bandleader, 'co-composer' of Gambler's Blues (aka St. James Infirmary)

Today, I'm revisiting an earlier post about Phil Baxter, a pianist and band leader who was active in the 1920s and 1930s. Phil Baxter was a prolific and successful song-writer. Among his better known compositions we can include "Ding Dong Daddy from Dumas," "Piccolo Pete" (and the follow-up, "Harmonica Harry" - both were early novelty hits for Ted Weems and his orchestra), and "A Faded Summer Love" (which was a hit for Bing Crosby in 1931).

Baxter also claimed co-authorship for "St. James Infirmary." He and Carl Moore actually published the song in 1925, but they neglected to apply for copyright. It is possible that around 1921 Baxter and Moore toured together as a duo.They would ride the train from town to town and perform skits and music, with Moore on drums, Baxter at the piano. Baxter eventually settled in Kansas City where, leading the house band at the El Torreon ballroom, he displaced the Coon-Sanders Nighthawks as Kansas City's favourite dance orchestra.

Baxter was unable to perform after 1933 because of arthritis. On the verge of his leaving for Texas, the Kansas City Journal-Post ran a long article about Baxter which included this comment: "Baxter has had some litigation over the authorship of one song, which has been in circulation as 'St. James Infirmary,' but which he said he composed long ago and called 'Gambler's Blues.' He said he published it privately in Texas years ago, and that a New York publisher picked it up." That New York publisher was undoubtedly Gotham Music, whose president was Irving Mills.

Information about Phil Baxter is very hard to come by. Recordings of his can still be found on CD, but in compilations with titles like volume 2 of Jazz the World Forgot, or Texas and Tennessee Territory Bands. If anyone has information about Phil I would love to hear from you. I understand that Baxter's friend, Cliff Halliburton, wrote a biography of Phil, but I have been unable to find it and suspect it was never published.