J. Russel Robinson (with only 1 “L”) was a pianist and songwriter from Indianapolis. Robinson started his profession in vaudeville around 1908 within an act known as the Robinson Brothers; his initial published structure was “Dynamite Rag,” which made an appearance in 1910. Robinson’s initial hit is at 1912 with “That Eccentric Rag,” and in 1916 he gained a co-writing credit with W.C. Helpful on “Ole Miss Rag.” Although white, J. Russel Robinson collaborated a good deal with African-American music artists and performers throughout his profession, including Noble Sissle, Jo Trent, Adam P. Johnson, Extra fat Waller, and Cab Calloway, so when an accompanist to blues performers Lucille Hegamin and Lizzie Kilometers. Extraordinarily prolific, Robinson was with the capacity of composing lyrics and music, rating a lot more than two dozen strikes in his four years like a pop songwriter. From about 1916, Robinson was also an employee arranger for the QRS Organization and ultimately slice a many piano rolls to them. In early 1919 Henry Ragas, pianist for the initial Dixieland Jazz Music group, passed away of influenza within the eve from the band’s first Western tour. Robinson elected to complete and finished up residing in the ODJB until it dissolved under acrimonious conditions in 1923. In 1920 the ODJB produced a two-sided record for Victor of “Margie” using the melody “Singin’ the Blues” put in the center of it and “Palesteena” within the turn. All three tunes were compiled by Robinson, which was undoubtedly and away typically the most popular record released in 1920, offering almost a million copies. Actually prior to the ODJB split up, Robinson was documenting with Rudy Wiedoeft within the Wiedoeft-Wadsworth Quartet, and later on he would synergy with vocalist Al Bernard on information, mostly for Routeé, as an take action known as the Dixie Celebrities. Although Robinson added songs for make use of within the London stage, he appears to not have fulfilled with much achievement like a Broadway songwriter — one of is own biggest strikes, “Aggravatin’ Papa (NOT Make an effort to Two-Time Me),” was launched in Plantation Revue, an all-black solid musical that passed away in under per month in the summertime of 1922. It had been with lyricist Roy Turk that Robinson loved his biggest successes, but he also caused Bernard, Sissle, Con Conrad, among others. Two of Robinson’s 1920s strikes, “Margie” and “Mary Lou,” had been used because the jumping-off stage for two sentimental feature movies produced under those game titles shortly after Globe War II. Within the 1930s Robinson worked well in radio and in 1932 published the notorious track “Reefer Guy” for Cab Calloway. Robinson’s last strike was “Match Me at No Particular Place (And I’M GOING TO BE There at No Particular Period)” in 1944. He also rejoined the initial Dixieland Jazz Music group when it started its ill-fated reunion in 1936. Although Robinson hardly ever led an archive time under his very own name, he documented eight ragtime piano solos for Rudi Blesh’s Group label in 1947.