Ring Out Their Names: Moore, Settle, Cayson, DeLyons

We have a much better idea than ever before of who was in the various iterations of the Unique Quartette, as well as some pretty good guesses as to which of the members participated in the group’s recordings. Good as his work was in Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919 (Urbana: University of Illinois Press), Tim Brooks faced significant limitations back in 2004. After all, there was no newspapers.com or genealogybank.com all those years ago. It is exciting to update the record. But it will be difficult to beat down all the misinformation out there on the Web by people who have uncritically repeated the guesswork.

Tim identified ten men who participated in the quartet over a ten-year period: Joseph M. Moore, William H. Tucker, Samuel G. Baker, J. E. Carson [sic], James Settles [sic], Walter A. Dixon, Ben Hunn, Burt Lozier, Thomas Craig, and Frank DeLyons. As happens in news accounts, names often get mangled, so Carson should really be “Cayson” and Settles should be “Settle.” It turns out that these two misapprehended gentlemen, in addition to the founder and leader Joe Moore,  are essential to the story of the quartet. Our research indicates that Moore (second tenor), Settle (first tenor), and Cayson (baritone) had the longest tenures of anyone in the Unique Quartette. That means, for one thing, they would have been very comfortable singing together.

The bass singer changed several times, but the biggest revelation is that Frank DeLyons, whom Brooks found to be a minor player who served a short time in 1898, actually had first sung with the group in 1893. The lineup of Settle, Moore, Cayson, and DeLyons was verifiably intact from late 1893 through 1895, and probably into 1896 as well. That means their union stretched from the end of the North American period (think: “Mamma’s Black Baby Boy” from Lost Sounds) through the period when they recorded for U.S. Phonograph and Walcutt and Leeds, which is covered by our Celebrated vinyl release. So it is highly probable these four made at least some of the records we have restored and issued.

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Celebrated—what it is, and what it isn’t

At the time Tim Brooks published Lost Sounds: Blacks and the Birth of the Recording Industry, 1890-1919 (Urbana: University of Illinois Press) in 2004, he was aware of three extant cylinders made by the Unique Quartette. First was “Mamma’s Black Baby Boy,” made ca. 1893 for the North American Phonograph Company. Two others were made ca. 1895-96 for an unknown company: “Who Broke the Lock” and “Down on the Old Camp Ground.”

The first two, “Mamma’s Black Baby Boy” and “Who Broke the Lock,” we included on our Grammy-winning companion CD to Tim’s book, Lost Sounds: Blacks and the Birth of the Recording Industry, 1891-1922. The third was far too rough to be included on the set.

Since the 2005 appearance of Lost Sounds two collaborators have unearthed several additional cylinders by the Unique Quartette that date to this 1895-96 period, again made by unknown companies, but very likely by Walcutt and Leeds or the United States Phonograph Company. Five one-of-a-kind recordings by the Unique are heard on Celebrated by the public for the first time.

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The Hunt for the Banjo Orchestra Records

Guest blog by Colin Hancock

            The six sides recorded by Gus Haenschen’s Banjo Orchestra in 1916 are rare—very rare. In fact, before The Missing Link project was compiled, chances are no one had heard all six of them since they were first released. Gus himself stated that he never personally owned copies of the discs, and the Haenschen family currently doesn’t own any copies either. Only around 200 of each title were pressed in the first place, and it took locating them to realize just how rare they really are.

St. Louis Post-Dispatch June 27, 1916

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One Night in June . . . Looking for the First Jazz Records in Scott Joplin’s Stomping Ground

It’s only been a little more than a year since Colin Hancock first wrote us up with a rough idea about reissuing the six personal records made by Gus Haenschen and his banjo orchestra in 1916. We’d already released one of them, “Sunset Medley,” on our 2003 issue, Stomp and Swerve—and we’re big fans. So, had Colin located the other five discs?

Well, not exactly.

He had a line on four of the six, thanks to David Sager and Mike Kieffer, with a strong likelihood of the fifth. When that fifth came through, from Rob Chalfen in Boston, we were all getting pretty excited. So close! There was one more, elusive, with rumors of it being in the collections of two mutual friends: “Maple Leaf Rag,” the legendary piece by Joplin, performed by one of his students while the master was still alive. Sager knew where to find it. He told us to go to Joplin’s one-time home, St. Louis, and there we would find it in the collection of the late St. Louis Ragtimer, the great Trebor Tichenor.

Trebor’s daughter Virginia and son-in-law Marty Eggers took David’s advice, went searching among his thousands of 78s and found it! Marty and Virginia, who are spending time between Oakland and St. Louis, graciously worked out a time for us all to meet, Colin drove up from Texas, and we were joined by the fantastic musician T. J. Müller to do a transfer session.

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Meet Johnnie Myers

Some of you like to research the old acoustic-era artists, searching for authoritative answers to their dates of birth and death or greater details on their lives than has been known heretofore. Maybe you have had the experience of digging in on an artist in newspapers, genealogy records, and other online archival databases, only to come up completely empty after hours and hours of fruitless, exasperating effort. Then, after a few weeks, a few months (years even), you decide—silly you—to try again, against your best inclinations.

A couple of weeks ago, we dug in again for the umpteenth time on J. W. Myers, about whom the only general wisdom seems to be “born ca. 1864, Wales; died ca. 1919.” Well, this time, we got a bit lucky.

J. W. Myers

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