With NORK 1922: Eccentric, Farewell Blues, Discontented Blues, Bugle Call Blues, Panama, Tiger Rag, Livery Stable Blues, Oriental. With Original Memphis Melody Boys, Midway Dance Orchestra, etc. 1923: There Ain't No Gal Like My Gal, Blue Grass Blues, I Never Knew What a Gal Could Do, Lots O' Mama, House of David Blues, Black Sheep Blues, Sobbin' Blues, Cotton Picker's Ball, Buddy's Habits, Wonderful Dream.
You are welcome. All the Schoebel that is readily collected is here in one bite. Feel good Jazz, you a hit song writer on a foundation of New Orleans polyphony, riverboat, vaudeville, for a market of fox trot dancers. Like Morton his tunes tell a story. Here comprises his 1922-23 product as a band leader and arranger.
The Friars Society Orchestra pointed the way forward from ODJB. His deployment of multiple saxophones, banjo, iconic front three, later with Art Kassel, and melodic hooks is already a big band jazz on a polyphonic base. Unlike Redman whose counterpoint was non-New Orleans, Schoebel worked with frontline polyphony and a driving banjo.
There’s a kind of easy dance mobility as a genre to itself. a feel good music like polka or Western Swing. His version of Eccentric is definitive. He interpreted the ODJB and New Orleans songbook influencing the Original Memphis Five and the Wolverines. Of course there is no best selling biography. But maybe there will be one available from some Ph.D candidate organizing the library collection. There is here the originality of approach that defines jazz. Morton invented jazz as the music of either you are inventing it or it isn’t jazz.
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