Merritt Brunies & His Friars Inn Orchestra - 1924-26 (LP, Comp)

A1: 613-2; Autograph (un-numbered); Chicago, September, 1924
A2: 614; Autograph (un-numbered); Chicago, September, 1924
A3: 661; Autograph 610-B; Chicago, November, 1924
A4: 662; Autograph 610-A; Chicago, November, 1924
A5: 793; Autograph 624-B; Chicago, May, 1925
A6: 817; Autograph 624-A, Chicago, June, 1925
A7: 9491-A; Okeh 40526-B; Chicago, November 14, 1925
A8: 9492-B; Okeh 40526-A; Chicago, November 14, 1925
A9: 9493-A; Okeh Test; Chicago, November 14, 1925
B1: 9494-A; Okeh Test; Chicago, November 14, 1925
B2: 9539-A; Okeh 40576-A;
B3: 9540-B; Okeh 40576-B;
B4: 9541-A; Okeh 40579-A;
B5: 9542-A; Okeh 40579-B;
B6: 9549-A; Odeon A.60268; Chicago, March 2, 1926
B7: 9551-A; Okeh 40593-B; Chicago, March 2, 1926
B8: 9552-A; Okeh 40593-A; Chicago, March 2, 1926

Note on A6: Examined microscopically, the grooves of 793 and 817 appear to be of identical pitch, width and conformation. This could suggest that the two sides of Autograph 624 were cut on the same day; further than that they may have been made on the same day as the Morton - de Faut duets (791/792). Alas, examination of Autograph 623 has not been possible. The extraordinarily Mortonesque piano solo on "Clarinet Marmalade" (the structure of the chords, notably that in the third bar and the short "rip" in the seventh) suggests that Morton may have sat in as he did with the New Orleans Rhythm Kings some two years earlier.