Listen to the part between 2:21 and 2:29. This is one of the most difficult things about the so-called "stride piano" school, especially with regards to such stellar practicioners as James P. Johnson and Donald Lambert.
Very few people can understand, much less correctly play, a complicated syncopation like this.
I'm not even sure it can be correctly notated, although I welcome music nerds to try and to please show me their best efforts.
You're right. I know the recording well but juxtaposed it with Harlem Strut, which is acoustic. Electrical recordings started in earnest in '26 and were standard by '27. I have listened to this material for a good 30+ years.
There's a whole new generation of classically trained pianists that are discovering stride.. I will be introducing it to young pianists here in Holland next year. I like James P because he was one of the founding father of stride. But his left hand kept playing that oompah rhythm. Fats, on the other hand, had the most gentle and versatile left hand I've ever heard. He only played straight stride when he sang. For the rest he played the most beautiful things.
Listening to this I can hear bits and pieces of different stride pieces composed by Fats Waller, namely, "California Here I Come" and "Handful of Keys". Not surprising given the fact that Fats was a student of Johnson.