J. RUSSELL ROBINSON

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noted that he is now engaged in a very remunerative music publishing com

songs. To name a few: ("I'll Be In My Dixie Home Again) Tomorrow", "Just Because Of You", "Aggravatin' Papa', "Beale Street Mama"-and many others. Then followed a series of blues 'songs, most of which were recorded by Mamie Smith, Bessie Smith, Lucille Hagamin and others. Some of these were: "Mama Whip, Mama Spank", "St. Louis Gal" (this with Phil Napoleon), "If I Were Your Daddy", and "Rampart Street Blues".

pany, with offices at 59 East 72nd Street, New York, and he is a mem

bee of ASCAP. His ready response with data which has enabled us to

being you up to date on his very successful and active life is most appre

ciated. Also, it is quite refreshing and so in contrast to an opposite attitude

which is found only too often in many men who have the knowledge and position in jazz history.

In 1927, Bix Beiderbeck and Frankie Trumbauer recorded their immortal interpolation of "Singin' the Blues". Bix was with Whiteman at the Palais Royal and used to come over to the "Follies Bergere" to listen between

Appreciation for his work is shown by the fact that the State of Indiana has passed a resolution commending Me. Robinson for his contributions to the field of music. Also, the "Indianapolis Star" is preparing a story of his life for their Sunday magazine section (The Pulliam Press).

sets. He was introduced to this new composition of Robinson's, and it became one of Bix's greatest efforts. (Of great interest here:-it might be noted, the similarity of another great composition, "Stardust" is not just superficial and accidental. They might be played almost simultaneous, with very little discoed. This publication date was much later than "Singin' the Blues").

We of New Orleans are also grateful to him, and would welcome a visit by him to the city to which he contributed so much so many years ago.

Space prevents us from itemizing all the interesting facts of Me. Robinson's subsequent life. But it must be

EDITORIAL

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JOURNAL, stopped his completely jammed-up curriculum to write the special article on Billy Jones.

We hope, by this issue, to contribute something towards placing the ODJB in the true light that they deserve, and to bring to jazz fans parts of history that have been entirely overlooked. But without the teamwork and cooperation which these men have shown, this would not have been possible-Editor.

30   Annual New Orleans Jazz Club Festival, Friday, October 7, 1955