Post 422: 'LET THE LIGHT FROM THE LIGHTHOUSE SHINE ON ME'

I first heard the gospel song Let the Light from the Lighthouse Shine on Me in 1965. It was being played by one of the English traditional jazz revival bands.

I discovered that some think it was composed by Blind Willie Johnson (pictured above) who died in 1945. He certainly recorded it but it is probably an old gospel tune dating back to before even his time.

The correct title could be Let YOUR Light from the Lighthouse Shine on Me. That's what Blind Willie sings.

This is how I now play it on my keyboard. 

Post 421: 'LIKE' A CHALLENGE? - COMPLETE WITH ANSWERS

I invited you to come up with tunes from the traditional jazz repertoire that include the word 'like' (or 'likes') in the title.

Here's a list of all that were sent in - some by several people. (I must admit there are a few titles I had never heard of.) Thanks to the many readers who contributed. Robert Duis and Marinus-Jan van Langevelde were specially prolific.

Ain't Nobody Got The Blues Like Me
All I Need is Just a Girl Like You
Almost Like Being in Love
A Pretty Girl is Like a Melody
As You Like It
Exactly Like You
He Likes It Slow
How Come You Do Me Like You Do?
How Could You Do a Thing Like That?
I Hate a Man Like You
I Hope Gabriel Likes My Music
I Like Bananas Because They Have No Bones
I Like New Orleans
I Like to Go Back in the Evening
I Wanna Be Like You
I Want A Girl, Just Like the Girl Who Married Dear Old Dad
I Wish I Could Shimmy Like My Sister Kate
It Looks Like a Big Time Tonight
It Looks Like Rain in Cherry Blossom Lane
It's Tight Like That
Just Like The Ivy
Like Someone in Love
Moments Like This
Seems Like Old Times
Sometimes I Feel Like a Motherless Child
Sweet Like This
There Ain't No Land Like Dixieland
Tight Like This
Would You Like To Take a Walk?

Post 420:THE CITY STEAM JAZZ BAND

Regular readers will know I often complain about the poor quality of traditional jazz currently being played in pubs by elderly English bands.

So I'm pleased to tell you I have today found on YouTube an elderly English band that plays in the pubs of the South-West of England and really is quite good. The musicians make an effort to play the music in a tasteful, restrained way, with some delicacy and decent teamwork.

This is The City Steam Jazz Band and you may watch and listen to an example of their work BY CLICKING HERE. Note especially the ensemble Chorus beginning at 2 minutes and 41 seconds. Not exactly Tuba Skinny, perhaps, but very pleasant nevertheless.

According to the band's website, The City Steam Jazz Band has been operating for three decades in the Exeter region. It took its name from an old laundry box in which the drummer carried his kit!

You can learn more about the band from its website BY CLICKING HERE. The 'main man' seems to be Dave Martin who plays the cornet, more or less manages the band, and has produced its pad of arrangements. 

Almost 60 years ago I spent a few months living in Exeter and I remember once hearing a very young traditional jazz band performing there. I wonder whether any of those players went on to become members of the City Steam.

Footnote: Friend and correspondent Ernest James Buck has sent me this further information:

Thanks for drawing the clip of The City Steam Jazz Band to my attention.  It was good to see Dave Martin in action.   Did you know that he also runs/ran a band called  The Jabbo Five which concentrates on playing the music of Jabbo Smith?   I have also heard him (but not recently) in a classic band run by Steve Graham with a two trumpet/cornet front line playing the Oliver/Armstrong  repertoire.

While looking at some of his Youtube clips I saw his playlist of clips and found it interesting, with a band  from New York playing "Once In A While".

Post 419: HARUKA KIKUCHI

That great young Japanese trombone player Haruka Kikuchi was very proud as we approached the latter stages of 2016. Why? Because, although she had played on many recordings and with the best bands, she then - for the first time - became the Producer of a fine new recording; and she intended it to be the first of a series. She called it JAPAN: NEW ORLEANS COLLECTION SERIES Volume One.

The music was very well recorded, with fine acoustics and balance. Haruka's band comprised five musicians and had a distinctive brassy sound, with trumpet, sousaphone and trombone and no reeds. On trumpet was Naho Ishimura, yet another brilliant young Japanese musician, whose playing is nimble and lyrical. Steven Glenn made a solid and melodic contribution on sousaphone; and who better to provide the chords and percussion than Albanie Falletta (guitar) and the highly-experienced Gerald French on drums (and vocals)? So for the link to some fresh performances of old favourites, CLICK HERE.

You will even hear (and be able to learn) the vocals to Struttin' With Some Barbecue and Muskrat Ramble. That's something that doesn't often happen!

Then in March 2017 Haruka produced JAPAN: NEW ORLEANS COLLECTION SERIES Volume Two, featuring Gospel Jazz. Haruka made this recording with fellow musicians who play gospel music with her in church every Sunday morning:
CLICK HERE FOR MORE INFORMATION.
I specially enjoyed the lusty performance of Jesus on the Main Line - a spiritual I have always liked, ever since the late great Milton Batiste introduced me to it in the 1990s.

In September 2017, Haruka added a third volume, with Shingo Kano from Osaka on piano and Grayson Brockamp  on bass. The trio swings very pleasantly through When It's Sleepy Time Down South, Back Home Again in Indiana and the rarely-heard Small Fry, which Hoagy Carmichael composed for a cartoon film in 1938. To sample these tracks,  CLICK HERE.

Haruka Kikuchi -
about to play with The Audacity Brass Band
at The French Quarter Festival, 2016

.

When I visited New Orleans in April 2016, a great pleasure was meeting and hearing Haruka Kikuchi again. This young lady, though slight of build, is one of the best and most powerful trombone players in the world. She is also one of the most versatile. Haruka was very kind and helpful during my visit, giving me a warm welcome and also supplying me with tips about bands and gigs that I might enjoy.

In April of the previous year, I met her for the first time - when I came across her playing with The Shotgun Jazz Band. In 2015, she was also playing regularly with Kermit Ruffins and the BBQ Swingers and with The Swamp Donkeys.Haruka toured with The Swamp Donkeys in England, Scotland, France, Holland and Spain during July and August 2015.

Since the  start of 2016, she has become much more independent and freelance. She now plays from time to time with even more bands but she has also started running a band of her own. Her diary is so full: it seemed to me that she was averaging seven gigs a week - sometimes with seven different bands.

In May 2016, Haruka toured in Japan, where she was the guest star in a series of jazz concerts with Japanese bands.

Haruka grew up in Chiba - a few miles east of Tokyo - and settled happily in New Orleans at the end of 2013.

During my 2015 visit, I heard her playing a couple of times with the dynamic and energetic Shotgun Jazz Band. Haruka seemed to have become rapidly integrated into Marla Dixon's very happy Shotgun family.

The Shotgun Jazz Band

What a team they were - driving each other to ever greater heights. Haruka's powerful, creative playing - remarkable from a young woman of her stature - was a mainstay of the band's success.

Haruka started learning to play the piano, violin and cornet from an early age. But when she was 15 she was bowled over by discovering the early recordings of New Orleans jazz. Haruka was greatly encouraged and supported by Ken Aoki - the internationally-renowned banjo player. She decided the 'tailgate trombone' was for her, her hero being Kid Ory. She studied at Tokyo University of Fine Arts, graduating in 2010 with a degree in Music Science. But, while studying, she also joined and played at the Jazz Club (that has existed for many decades) at the nearby Waseda University.

Earlier, Haruka had formed a dixieland jazz band with school friends. And she set about serious study of New Orleans jazz from the earliest times up to the Revival. On YouTube there is some good evidence of the music she was playing with her teenage friends in those days: CLICK HERE.

During a visit to a New Orleans Mardi Gras, she was stunned by the atmosphere and enthusiasm for the music in the City. This led to her organising a Mardi Gras event in Matsue City, Japan, complete with Big Parade, Second Line, and all the usual beads and brollies. Quite an achievement for a young woman.

Today Haruka is one of the best and most exciting trombonists in the world of traditional jazz. If you want to understand how traditional jazz works or if you are learning to play in a traditional jazz band, you could hardly do better than study Haruka's playing. Just notice the line she takes - how well it supports the melody. Notice how she phrases the music and where she takes a breath. Notice how she drives the band along, both in her ensemble work and in her exciting solos. Start with this video, which shows her in close-up: CLICK HERE TO VIEW.

In 2017, Haruka joined and made a great contribution in the wonderful all-ladies Shake 'Em Up Jazz Band, which has evolved into one of the best bands in the world today. THIS VERSION (Click on) of 'Savoy Blues' may be the best you will ever hear.

At the 2016 French Quarter Festival, she even appeared with the veterans in an old-style New Orleans Brass Band. I did my best (despite difficult filming conditions) to make a video of them playing Bugle Boy March and hope you may care to watch it. You can do so BY CLICKING HERE.

How lucky I have been to meet Haruka! On top of all her other achievements, she has also mastered English, so I have had most enjoyable conversations with her.

My most recent meeting with Haruka
- on 18 February 2017

When I was in New Orleans on 20 October 2016, I was very pleased to hear her band play. I took this picture of her and also informed her that I am adopting her as my grand-daughter. She now calls me 'Grandpa'!

Have a look at this well-made video to appreciate Haruka's versatile and venturesome approach to music making: CLICK HERE.

In 2018, Haruka married Yoshitaka Tsuji, a virtuoso jazz pianist, who had moved from Osaka to New Orleans in 2010 to seek his fortune. In recent years, he had played with several bands, but most notably Kermit Ruffins and the Barbecue Swingers. He and Haruka met in 2012. They now live in Treme, New Orleans, with their son Shouta. Here are Haruka and Shouta in 2020, watching a Parade.

Post 418: THE HISTORY OF NOTTINGHAM

Here in Nottingham, where I have lived for the last ten years, one of the most famous buildings is The Bell Inn.

It is situated right in the City Centre, at 18, Angel Row. The inn dates from the Fifteenth Century and is the oldest pub in the City. Its cellars include hand-carved caves dating from the Twelfth Century.

The Bell Inn is of special importance to lovers of our music because for many years on Sunday lunchtimes a traditional jazz band has played at The Bell Inn. So it is a popular local venue.

Although the personnel has changed slightly over the years, there is a resident band and the quality of its music is high.

It was a special pleasure for me to be invited to deputise in the band on 13 September 2015 and again on 3 July 2016 and 11 September 2016, when the regular trumpet player was away on holiday. It was one of the best six-piece bands in which I have had the privilege of playing. There were on all occasions about 100 customers in the pub and many of them were obviously the core of regulars - seriously interested in the music and attentive to everything. Many customers were also enjoying the excellent Sunday lunch provided.

But telling you all this is just a crafty way of getting round to an un-jazzy subject that appeals to me. It is about Nottingham itself - a city which I have come to love. I want to share with you an interesting aspect of its history - how it got its name.

Fifteen hundred years ago, quite close to where I am typing right now, there lived Old Man Snotta.

To make a living, Snotta did a lot of trading. He set up Snotta’s Trading Centre where he bought and sold meat, animal fats, pigs, sheep, pottery, simple farming equipment, and especially garments, many of which had been made by his wife, his daughters and his sisters, who did their own weaving. His shop looked like this.

He also sold a nice line in designer footwear made from cattle skins by his son Wulfran.

Snotta was the local Mr. Big. So it is not surprising that the area round Snotta’s Trading Centre became known as Snottastun (Anglo-Saxon for Snotta’s Town).

Snotta built himself a home nearby (not too close, as he considered the Trading Centre a somewhat downmarket area). He chose a site conveniently near the river. The frame of the house was constructed from wood, cut from more than a dozen tree trunks. The house was basically one large room. For insulation, his brother – who was good at thatching – made him a thatched roof. They filled in the walls with planks and with wattle and daub. It must have been rather like this modern replica.

Being relatively prosperous, Snotta opted for a wooden floor, too. And he had a form of interior lighting – lamps burning animal fat. The house had no glass windows; people were still ignorant of glass, Mr. Snotta made do with vellum as a cover for his primitive 'window'.

In the centre of the home was a fire, built on a raised clay hearth. This was somewhat hazardous, but in the winter the Snottas were too cold to worry about the danger of the house burning down.

The house was built facing south, to make the most of the sun’s warmth.

As Mr. Snotta was quite somebody in the small community, the place where he lived became known at Snottasham. (Anglo-Saxon for Snotta’s Home).

In those days, just as today, when men such as Mr. Snotta died, the descendants often continued to run the business and live in the home. Descendants were indicated in Anglo-Saxon by the suffix ‘ing’. So his Trading Centre became Snotta-ing-tun; and his home became Snotta-ing-ham.

Other examples in England are to be found in Dersingham [the home of the descendants of Deorsige] and Walsingham [the home of the descendants of Wal].

A few centuries later, the Normans invaded England and they were particularly attracted to Snottaingham, where they developed a town and a castle of their own. But they were unfamiliar with words beginning 'Sn – ' and found them difficult to pronounce. So they dropped the 'S'. Thus, the place name eventually became simplified to Nottingham, which it is still called today.

I bet Old Man Snotta was rejoicing in his grave in 1980 when the Nottingham Forest Football Team – still bearing his name – won the European Cup.

But what about Snotta's trading centre at Snottaingtun? Well, the Normans weren’t so keen on that part of the region and left it to the Anglo-Saxons, with whom they soon integrated well. The Anglo-Saxons had no reason to drop the ‘S’, so it remained as Snottaingtun. And all that happened over the next thousand years was that its pronunciation and spelling were smoothed into the present-day Sneinton.

So today (no kidding) we have the glorious City of Nottingham, and – just a mile east of its centre – the suburb of Sneinton.

Well done, Mr. Snotta. Your name is thus curiously perpetuated in two adjoining locations.

Post 417: KING OLIVER'S CREOLE JAZZ BAND: THE GENNETT RECORDINGS

Some of the most important recordings in the history of our music were made in 1923. I am referring to the 14 tunes King Oliver's Creole Jazz Band recorded in April and October that year for Gennett Records in Richmond, Indiana.

You can enjoy all of the tunes on YouTube and I hope you will have great pleasure discovering them - or exploring them again - for yourselves. You could start by clicking here.

The Gennett Company had been set up only six years earlier and was still using fairly primitive pre-electric recording methods.

The tunes were:
Alligator Hop
Canal Street Blues
Dippermouth Blues (King Oliver was nick-named 'Dippermouth' because he used to keep on the bandstand a bucket of water with a dipper in it)
Chimes Blues
Just Gone
Snake Rag
Sugarfoot Stomp
Working Man Blues
Zulu's Ball
(all the above were composed or co-written by Oliver himself)
AND
Froggie More
I'm Going Away to Wear You Off My Mind
Krooked Blues
Mandy Lee Blues
Weatherbird Rag.

We have only to read that list to appreciate what a contribution Oliver made to the history and repertoire of traditional jazz. (It is often forgotten that he also wrote Doctor Jazz. I have sometimes heard band-leaders, announcing this tune, wrongly say that it was composed by Jelly Roll Morton. We must also remember that it was Oliver who later composed those classics Snag It and West End Blues.)

But these Gennett recordings are also important because they are regarded as the first to document well an authentic black traditional New Orleans jazz band. (In fact, Kid Ory's band had made half a dozen recordings just  a few months earlier - for the Nordskog company.)

So who was Oliver?

Cornet player Joe Nathan 'King' Oliver was born on 11 May 1885. Unfortunately, he lost the sight of one eye in his childhood. But by 1908 he was playing in several bands in New Orleans, including the famous marching bands. He worked with Kid Ory and the two of them moved to Chicago in 1918. They joined Bill Johnson's Original Creole Jazz Band. Bill Johnson at the time was 47 years old. He played bass and banjo and was an elder statesman and entrepreneur in the music business. He had toured and made New Orleans jazz known outside the South. His band currently played at The Dreamland Ballroom in West Van Buren Street, close to the centre of the City of Chicago. (The building has long since disappeared.)

We have to remember that, in those days, the movies and radio were in their infancy; television and computers were things of the future. Most people went out for entertainment. So this was a boom time for dancing, for dance bands and for jazz bands. In Chicago there were plenty of cafés, bars, ballrooms and clubs where you could hear such bands.

As well as The Dreamland Ballroom, think of The Royal Gardens Ballroom, The De Luxe Café, The Sunset Café, Kelly's Stables, The Nest (later The Apex Club - of 'Apex Blues' fame), The Plantation and Friar's Inn. The Royal Gardens Ballroom (which regularly accommodated 1000 people) burned down and was replaced by The Lincoln Gardens; and that is where Oliver's Creole Jazz Band had its residency.

This was some way south from The Dreamland Ballroom - at 459 East 31st Street. As far as I can tell, the Lincoln Gardens Ballroom was bulldozed years ago and - with the help of Mr. Google - I find a glass office block on the site today. 

It seems that Bill Johnson was quite happy to hand on his own band to the younger man - King Oliver - to develop in his own way and then to evolve it into King Oliver's Creole Jazz Band.

Who played in Oliver's Creole Jazz Band?

Everyone thinks first of Louis Armstrong, because he went on to become a big star in the entertainment world and in the movies. He was to develop a phenomenal technique, a great tone, and virtuoso skill in improvising solo choruses. But in 1923, he was a junior member of Oliver's band - and we should not forget that. However, there's a clear and very enjoyable hint of future glories in the famous solo that Armstrong takes in Chimes Blues. Oliver had invited him to move to Chicago from New Orleans and this was the launching pad for Armstrong's stellar career. When you think of the energy and stamina needed for the band's performances (playing for dances long into the night), it is easy to understand why Oliver invited Armstrong to join and help him: it must have been a huge strain on Oliver's lip to sustain such long, hard gigs, with few breaks from playing.

But more important than Armstrong at the time, in my opinion, was the clarinet player Johnny Dodds (1892 - 1940). He had also worked with Kid Ory in New Orleans from 1912. Dodds made a huge contribution to the ensemble style and sound of Oliver's band: his fluency and his soulful, bluesy playing and tone have been an inspiration to generations of clarinet players. In a tune such as Canal Street Blues, his decorative runs around the melody and his memorable solo are outstanding. But listen for him even on lesser-known numbers such as Just Gone and Mandy Lee Blues and you will be impressed. I suppose it was Johnny's good fortune that the clarinet could be heard so clearly, despite the primitive recording process of the time.

Then there was Bill Johnson himself (1872 - 1972), the bass player and former leader who had achieved much even before King Oliver (at Johnson's invitation) became established in Chicago. It is said that he had to switch to banjo in the Gennett studio because the bass would record badly and spoil the sound.

Of enormous importance (and much under-rated by jazz history in my opinion) was the band's pianist Lil Hardin. She had been born in Memphis on 3 Feb 1898 and had worked for some time on the Chicago music scene: she had studied music at Fisk University, obtaining a diploma there (she also obtained a qualification later from the New York College of Music), and had played with various bands, including one of her own, even before her partnership with Oliver.

Lil Hardin's Band playing at The Dreamland Ballroom

I think hers must have been one of the principal 'brains' shaping the band's music-making. Lil was also the co-composer (with Oliver) of Alligator Hop, Just Gone and Working Man Blues. The label on 'Just Gone' gives the composers as 'Oliver and Johnson' but it seems that the 'Johnson' was in fact Lil (not the band member Bill Johnson), because at that time she was very briefly married to a singer called Jimmie Johnson. My guess is that she had a big say in the arrangements of the band's tunes and possibly even in organizing the many two-bar breaks that occur in several of them and which listeners have often thought to be magically spontaneous (such as the famous breaks involving Joe and Louis together in Snake Rag). Lil's playing throughout these recordings is a model for all later pianists in New Orleans-style bands - solidly providing the chords on the beat and yet capable of a pretty solo chorus if required, as in I'm Going Away to Wear You Off My Mind. And how moving it is to hear those piano chimes of hers coming to us across more than nine decades in Chimes Blues!

Within the next three years, after marrying Louis Armstrong, Lil composed (originally for Louis' Hot Five) such core tunes in our repertoire as Knee Drops, I'm Not Rough, Lonesome Blues, Skid-Dat-De-Dat, Two Deuces, Hotter Than That, Jazz Lips, Droppin' Shucks and Struttin' With Some Barbecue. Her other compositions include Perdido Street Blues, Papa Dip, Tears, and Gatemouth. What an achievement!

Lil died on 27 August 1971.

The trombonist in Oliver's band was Honoré Dutrey (1894 - 1935). He had played in bands in New Orleans. He joined the Navy in 1917 and had an accident that damaged his lungs and eventually caused his premature death. Dutrey strikes me as just right for this band - keeping things simple but always accurate. A good clear illustration of his style is to be heard on Working Man Blues.

Warren 'Baby' Dodds, 24-years-old at the time of the recordings, is one of the all-time best drummers. He too had started in New Orleans and had played with Ory there, before working on the riverboats. He was of course the younger brother of Johnny Dodds. In these Gennett recordings, you do not hear the full range of his kit but his presence is strongly felt throughout. Enjoy his breaks on the wood blocks in Weather Bird Rag.

Other occasional band members (only on the October Gennett recordings) were Johnny St. Cyr (banjo) and the less-known Paul Anderson 'Stump' Evans (C melody sax).

The recordings were made without the benefit of electricity or microphones. The sound had to be picked up through a large megaphone-funnel. Certain musical instruments had to be omitted or restricted in use because their effect would spoil or unbalance the recording (Baby Dodds could use only part of his drum kit, and Johnson could not use his string bass). The players had to be positioned at various distances from the funnel, to achieve some kind of balance. This photo of a Gennett recording studio (alas, not of King Oliver's Band) gives some idea of the conditions. Note the funnel picking up the sounds.

Clearly, what we hear on the records is not exactly how the band normally sounded at Lincoln Gardens. But the wonderful polyphony and energy are captured really well.

The tunes are all multi-part, with tricky head arrangements, including introductions and codas. There's none of the simple repetition of one 32-bar theme, such as we are offered these days in most performances by traditional jazz bands. 

Oliver was proud and professional in his attitude to work and expected the  highest standards from his musicians. He was strongly self-disciplined. He drove his band hard. Baby Dodds in an interview years later  stated how strenuously all the band members worked at gigs: they would really exhaust themselves. Sure enough, all members of the band sound constantly so busy. Listen again to Dippermouth Blues and judge for yourself.

Oliver's personal interest in tone (he produced a throaty vocal sound on his cornet) and the use of mutes have had a massive influence on brass players ever since. You can sample his tone and his mutes throughout but of course they are specially conspicuous in Dippermouth Blues.

On top of all this, also in 1923, calling his band simply King Oliver's Jazz Band (drawn from a pool of players that included Barney Birgard, Paul Barbarin, Kid Ory, Luis Russell and others as well as those of the Creole Jazz Band), Oliver also recorded in Chicago for the Okeh, Paramount and Columbia labels a total of 23 numbers, such as Riverside Blues, Mabel's Dream, Southern Stomps, Tears, Buddy's Habit, Sweet Lovin' Man, High Society, Sobbin' Blues, and Camp Meeting Blues  - and others.

But Oliver's Creole Jazz Band of 1923 was short-lived. It disintegrated the following year. Oliver went on to play in various combinations and bands (sometimes run by himself). His struggles and decline have been well documented. And it is sad to think he died in poverty on 10 April 1938.

Listening to all these Gennett recordings again has made me realise what an example to us all King Oliver's band of 1923 was. That's the way to do it. Many others have set out to emulate  his music. But there's nothing quite like the originals.
------------------
FOOTNOTE
Reader Barrie Marshall sent me this email:
Hi Ivan,

King Oliver was the mute master. Considering Louis' massive respect for his playing, I have never heard Louis use a mute.

Regards

Barrie 

Post 416: ONE TUNE - TWO TITLES?

It is surprising how many tunes in the traditional jazz repertoire have with the passage of time acquired more than one title. There must have been various reasons for this, one of which was that a later performer wanted to disguise the fact that he was plagiarising a tune from an earlier band. But I am sure there were other reasons too, that had more to do with mere memory loss.

Here are over fifty examples. Maybe you can send me some more?

Algiers Strut is You're all I Want for Christmas (composed by Glen Moore and Seger Ellis)

Astoria Strut is also known as Climax Rag

Atlanta Blues (final strain) is also known as Make Me a Pallet on the Floor

Babik is a variation on I Got Rhythm

Barnyard Blues is also known as Livery Stable Blues

Black Bottom Stomp is also known as Queen of Spades

Blame it on the Blues is also known as Quincy Street Stomp

Blue Bells Goodbye was actually composed in 1905 as Bright Eyes Goodbye

Bogalusa Strut is a re-interpretation of the first two strains of Scott Joplin's Rose Leaf Rag

Bugle Boy March is also known as American Soldier

California Blues is also known as Blue Yodel No. 4

Can I Sleep in Your Arms Tonight, Lady? is the same tune as Red River Valley and is the same tune as We Shall Walk Through the Streets of the City

Chant of the Tuxedos is virtually the same as Ol' Man Mose

Chicago Breakdown is the same as Stratford Hunch

Chimes Blues is also known as Mournful Serenade

Corrinne Corrinna is also known as Alberta Blues

Creole Love Call is basically the middle theme from Camp Meeting Blues

Creole Song is also known as L'Autre Can Can and is also known as Madame Pedoux

Dauphine Street Blues (first strain) is also known as Nobody Knows the Way I Feel This Morning

Deep Bayou Blues is also known as The Three Sixes

Dippermouth Blues was re-created by the Fletcher Henderson Orchestra as Sugarfoot Stomp

Do Lord (tune) is also known as It Takes a Worried Man to Sing a Worried Song

Don't Go 'Way, Nobody (tune) is also known as  How Come You Do Me Like You Do Do Do? and  is also known as Everybody's Talking About Sammy and  is also known as I'm a Ding Dong Daddy from Dumas and  is also known as If It Don't Fit, Don't Force It and is much the same as Walk Right In

Don't You Feel My Leg is also known as Don't Make Me High

Down Home Rag is also known as Black Rag

Duke's Place is also known as C-Jam Blues

Fidgety Feet is also known as War Clouds

Frogimore Rag (trio) is also Sweetheart of Mine

Frosty Morning Blues is also known as Lost Your Man Blues

The Eyes of Texas (tune) is also known as I've Been Working on the Railroad

Garbage Man Blues is also known as Call of the Freaks and is also known as New Call of the Freaks 

Get a Working Man is identical to Pinchbacks, Take 'Em Away (and the chorus is harmonically the same as It's a Long Way to Tipperary)

Golden Leaf Strut is also known as Milenberg Joys

Good Time Flat Blues is also known as Farewell to Storyville

Hesitating Blues is also known as How Long, How Long Blues

Hiawatha Rag  is also known as Lizard on a Rail and as A Summer Idyll

San Jacinto Stomp is based on You Can't Escape from Me and is also known as In the Groove and  is also known as Baby, I Don't Mean Maybe and is harmonically identical to The Kat's Got Kittens

I Hope Gabriel Likes My Music is also known as I Hope You Like My Music

In The Highways (I'll Be Somewhere Working for My Lord) is pretty much the same as Down By The Riverside

In The Sweet By and By is also known as The Preacher and the Slave

Joe Avery's Piece is also known as Victory Walk and also as The New Second Line

Jones Law Blues is also known as Muscles Blues

La Harpe Street Blues (theme) is also known as We Sure Do Need Him Now

Lily of the Valley is also known as Everybody Ought To Know and was probably plagiarized from the final theme of Red Onion Drag

London Blues is also known as Shoe Shiner's Drag

Lotus Blossom is also known as Sweet Lotus Blossom (it started out as Sweet Marijuana, of course; but that title came to be considered politically incorrect)

Loveless Love is also known as Careless Love

Love Me Tender is also known as Aura Lee

Martha is also known as Mazie

Memphis Blues is also known as Mr. Crump

Milneberg Joys is usually mis-spelt Milenberg Joys [The New Orleans suburb took its name from Scotsman Alexander Milne]

Midnight Mama - see under Tom Cat Blues

Mississippi Wobble is also known as Quality Shout

Montmartre is also known as Django's Jump

Mood Indigo is also known as Dreamy Blues

Moonlight and Roses is actually Lemare's 'Andantino'

The chorus of Celestin's My Josephine (1926) is remarkably similar to Some of These Days

New Orleans Bump is also known as Monrovia

Old Stack o'Lee Blues (not Stack o'Lee Blues) is virtually identical to Faraway Blues

Oriental Jazz was called Soudan by its composer

The 1919 March is also known as The Rifle Rangers

China Boy is also known as Pacific Rim Stomp

Poor Old Joe is also known as Old Black Joe

Lazy Luke (composed in 1905 by George J. Philpot) was misleadingly renamed Red Flannel Rag by Turk Murphy when he recorded it many years later

Moanful Blues is actually Some Day Sweetheart

My Good Man Sam is virtually identical to Doctor Jazz

After You've Gone (1917) seems to have plagiarized Peg o' My Heart (1913)

Riverboat Shuffle was originally Free Wheeling

Riverside Blues is also known as Dixieland Shuffle

Root Hog or Die is virtually the same as Bei Mir Bist Du Schoen

The final theme of Royal Garden Blues is also the main theme of Georgia Bo Bo

Savoyager's Stomp is also known as Muskrat Ramble

Sidewalk Blues is also known as Fishtail Blues

Silver Bell (second theme) is also known as Sometimes My Burden's Too Hard to Bear

Si Tu Vois Ma Mère is also known as Lonesome

Soap Suds is also known as Fickle Fay Creep

South is also known as Pork Chop

Storyville Blues is also known as Those Drafting Blues  and is also known as Bienville Blues

Gully Low Blues is also known as S.O.L. Blues

Original Dixieland One-Step (final strain) is also known as That Teasing Rag

Take My Hand, Precious Lord is the same tune as Maitland

Tar Paper Stomp is also known as Hot and Anxious (one theme) and is also known as In The Mood

The Midnight Special is also known as Shine a Light on Me

Till Times Get Better and Smokehouse Blues are almost identical to Up a Lazy River

Ting-a-ling started its life as Waltz of the Bells

Tom Cat Blues is also known as Midnight Mama (or Midnight Papa)

Two Nineteen Blues is also known as Mamie's Blues

Uptown Bumps was originally The Long Lost Blues (by Paul Wyer, 1914). Its final theme is also known as The Bucket's Got a Hole in It. It also became Keep a Knockin' But You Can't Come In. The Bucket's Got a Hole in It is also known as Ta-Wa-Bac-A-Wa and was used again in If You Don't Want Me, Please Don't Dog Me Around

Viper Mad is also known as Pleasure Mad

Washington and Lee Swing is also known as Tulane Swing and Louisiana Swing

Way Down upon the Swanee River is also known as The Old Folks at Home

Weary Blues is also known as Travelling Blues and much of it is often played as Shake It And Break It (but note there is also a different Shake It And Break It recorded by King Oliver)

When Shadows Fall is also known as Home

Yaaka Hula Hickey Dula is also known as Hawaiian Love Song

BUT:
Please note that Red Onion Rag (by Abe Olman, 1912) is a quite different tune from Louis Dumaine's Red Onion Drag.

Correspondent Robert Duis writes:

Dear Ivan, 

1) BLACK ORPHEUS
MANHA DO CARNAVAL

2) MOULIN A CAFE
THE COFFEE GRINDER

3) OLD FOLKS AT HOME
SWANEE RIVER

4) SEE SEE RIDER 
EASY RIDER

5) QUIET NIGHTS OF QUIET STARS 
CORCOVADO

Best regards, 

Robert Duis.