1923 BLUES Charles MATSON's CREOLE SERENADERS I JUST WANT A DADDY EDISON 51224

$

75

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NEGRO BAND playing NEGRO BLUES
A great blues composed by Negro Composer Thomas Dorsey played by the Negro Band Charles MATSON's CREOLE SERENADERS
in their ONLY recording

This is one of the great Jazz combos recording for Edison in 1923 :

I JUST WANT A DADDY

(Tommy. Dorsey)

Recorded on 1923.07.30

in New York City 

by Charles A. Matson Creole Serenaders
(Jazz Orchestra)

TAKE A

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Edison DD 51224-R

Rose of Brazil Fox trot tango
Raymond Klages (songwriter) 
Billy Fazioli (songwriter) 


Broadway Dance Orchestra (Musical group) 
Description: Jazz/dance band

6/28/1923 New York, New York TAKE B Master Edison 51224



Charles A. Matson was an African-American pianist and arranger who was very active in New York during the mid-twenties. He accompanied various blues singers as a pianist, including Mamie Smith and Clara Smith. Besides these two songs on the Edison label his other records were released under the names of Matson’s Lucky Seven which was recorded for the Paramount label in January of 1924 and Ted Claire’s Snappy Bits Band for Gennett in January of 1923.Superb Original issue paper label pressing

Edison Diamond Disc Vertical 10" 78 rpm record

Condition: VERY GOOD PLUS PLUS just a hint of greying, DADDY has some edge chipping does not touch grooves, DADDY surface has rubbing , plays E-/ VG++ very quiet, Daddy plays with some ticks

Thomas Andrew Dorsey (July 1, 1899 – January 23, 1993) was an American musician, composer, and Christian evangelist influential in the development of early blues and 20th-century gospel music. He penned 3,000 songs, a third of them gospel, including "Take My Hand, Precious Lord" and "Peace in the Valley". Recordings of these sold millions of copies in both gospel and secular markets in the 20th century.[1]

Born in rural Georgia, Dorsey grew up in a religious family but gained most of his musical experience playing blues at barrelhouses and parties in Atlanta. He moved to Chicago and became a proficient composer and arranger of jazz and vaudeville just as blues was becoming popular. He gained fame accompanying blues belter Ma Rainey on tour and, billed as "Georgia Tom", joined with guitarist Tampa Red in a successful recording career.

After a spiritual awakening, Dorsey began concentrating on writing and arranging religious music. Aside from the lyrics, he saw no real distinction between blues and church music, and viewed songs as a supplement to spoken word preaching. Dorsey served as the music director at Chicago's Pilgrim Baptist Church for 50 years, introducing musical improvisation and encouraging personal elements of participation such as clapping, stomping, and shouting in churches when these were widely condemned as unrefined and common. In 1932, he co-founded the National Convention of Gospel Choirs and Choruses, an organization dedicated to training musicians and singers from all over the U.S. that remains active. The first generation of gospel singers in the 20th century worked or trained with Dorsey: Sallie Martin, Mahalia Jackson, Roberta Martin, and James Cleveland, among others.

Author Anthony Heilbut summarized Dorsey's influence by saying he "combined the good news of gospel with the bad news of blues".[2] Called the "Father of Gospel Music" and often credited with creating it, Dorsey more accurately spawned a movement that popularized gospel blues throughout black churches in the United States, which in turn influenced American music and parts of society at large.