The Vinyl Records Exchange & Market Place

Isham Jones Orchestra - Wabash Blues and Ma

Label: The Brunswick Balke Collender Company | Catalogue No. 5065 | Format: 78rpm, 10 inch, shellac | Country: US, Chicago, Illinois | Released: 10.1.1921 | Genre: Jazz | Credits: Meinkin and Conrad | Media Condition: Good (G) Good Plus (G+) | Sleeve Condition: Good (G) Good Plus (G+) | Delivery from: United States | Additional notes and remarks: This is an old 78 rpm record that my father had. It hasn’t been played in a long time so I don’t know if it still does. There are no scratches on it.

10 EURO plus shipping cost.

Contact the seller:  jwurster at comcast.net | Sellers web site: http://www.jwurster.us

Good (G) Good Plus (G+)

Generally worth 10-15 percent of the Near Mint value. Good does not mean Bad! A record in Good or Good Plus condition can be put onto a turntable and will play through without skipping. But it will have significant surface noise and scratches and visible groove wear (on a styrene record, the groove will be starting to turn white). A cover or sleeve will have seam splits, especially at the bottom or on the spine. Tape, writing, ring wear or other defects will start to overwhelm the object. It is a common item, you’ll probably find another copy in better shape eventually. Pass it up. But, if it’s something you have been seeking for years, and the price is right, get it…but keep looking to upgrade.

“Wax” and “shellac” are terms we still associate in popular language with phonograph records. But not only has wax vanished as a medium for the actual cutting of records; shellac, too, is almost gone in favor of the new synthetic plastic products. For that matter, no record was ever made of pure shellac. The old-stlye 78rpm “shellac” record was made of a molding material that we now call a thermoplastic (”melts with heat”), in which shellac was greatly extended by assorted neutral filler materials, among them the carbon black which gives the black look to most records. Formulas for record material were and still are highly controversial and highly variable-quiet surface, hardness, resistance to breakage, and other features being more or less at odds with each other. Whatever a record material is compounded of, it must be both hard and smooth in the cold state, and capable of melting or softening to the proper degree with heat.

Isham Jones

(31 January 1894 – 19 October 1956) was a United States bandleader, violinist, bassist and songwriter.

Jones was born in Coalton, Ohio, and grew up in Saginaw, Michigan, where he started his first band. In 1915 he moved to Chicago, Illinois, which remained his base through 1924. After that he toured England before reestablishing himself in New York City.

The Isham Jones band made a series of popular gramophone records for Brunswick throughout the 1920s. Isham Jones led one of the most popular dance bands in the 1920s and 1930s. Noted musicians who played in Jones’ band included Louis Panico, Benny Goodman (although he did not make any records during the short time he was with them), Woody Herman, Walt Yoder, and Roy Bargy. There was a gap from October 1927 to June 1929 where Jones did not record (probably due to disbanding and reorganization).

From 1929 to 1932, his Brunswick recordings became even more sophisticated with often very interesting arrangements (probably by Gordon Jenkins; Jones was not known to have been an arranger, but he certainly had an ear for offbeat arrangements). During this period, Jones started featuring violinist Eddie Stone as one of his regular vocalists. Stone had an unusual, almost humorous tone to his voice. It seems that Jones was indifferent to vocalists until he started using Frank Sylvano and Eddie Stone starting in 1929 and in 1932, Joe Martin. About this time, a young Bing Crosby recorded “Sweet Georgia Brown” with Isham’s group. Crosby at this point in his career was still singing in a jazz idiom, not yet in his better known “crooner” style.

In 1932, Jones signed with Victor and these records are generally considered among the very best arranged and performed commercial dance band records of the Depression era. Victor’s recording technique was especially suited to Jones’ band. His Victors had an almost symphonic sound. He stayed with Victor until July 1934, when he signed with Decca. (Jones’ recordings during this period rivaled Paul Whiteman and other dance orchestras as examples of the very best dance music of the era.)

Jones’ compositions (he wrote the music, Charles Newman and Gus Kahn were among his lyricists ) included:

• * “I’ll See You in My Dreams”
• * “The One I Love (Belongs to Somebody Else)”
• * “Swingin’ Down The Lane”
• * “On the Alamo”
• * “It Had To Be You”
• * “What’s The Use?”
• * “Indigo Blues”
• * “Not A Cloud In The Sky”
• * “Spain”
• * “You’re Just A Dream Come True” (his theme song)
• * “I Wouldn’t Change You For The World”
• * “Let That Be A Lesson To You”
• * “I Can’t Believe It’s True”
• * “One Little Word Led To Another”
• * “The Wooden Soldier And The China Doll” (strangely, Jones did not record this song)
• * “I’ll Never Have To Dream Again”
• * “Pretending You Care”
• * “There’s Nothing Left To Do But Say Goodbye”
• * “You’ve Got Me Crying Again”
• * “Old Lace”
• * “Something Seems To Tell Me”
• * “All Mine, Almost”
• * “You’re Welcome”
• * “Bubbles In The Wine”
• * “There Is No Greater Love”

After he left Decca, he signed with ARC and recorded a handful of records under the Melotone, Perfect and Banner labels from 1937 to 1938, when he retired and his orchestra was taken over by band member Woody Herman.

Isham Jones died in Hollywood, Florida in 1956. His grand-nephew is the noted jazz drummer Rusty Jones.

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