Entries tagged with “Charles Avery”.


ARTISTSONGALBUM
Lil Johnson w/ Charles Avery You'll Never Miss Your Jelly Lil Johnson Vol. 1 1929-1936
Lil Johnson w/ Charles Avery Rock That Thing Lil Johnson Vol. 1 1929-1936
Lil Johnson w/ Charles Avery House Rent Scuffle Lil Johnson Vol. 1 1929-1936
Lucille Bogan w/ Charles Avery Whiskey Sellin' Woman Lucille Bogan Vol. 11923-1930
Lucille Bogan w/ Charles Avery They Ain't Walking No More Lucille Bogan Vol. 2 1930-1933
Lucille Bogan w/ Charles Avery Alley Boogie Lucille Bogan Vol. 2 1930-1933
Freddie ''Redd'' Nicholson w/ Charles Avery Tee Rolller's Rub Boogie Woogie & Barrelhouse Piano Vol. 1 1928-1932
Freddie ''Redd'' Nicholson w/ Charles Avery I Ain't Sleepy Boogie Woogie & Barrelhouse Piano Vol. 1 1928-1932
Freddie ''Redd'' Nicholson w/ Charles Avery Freddie's Got The BluesBoogie Woogie & Barrelhouse Piano Vol. 1 1928-1932
Red Nelson w/ Charles Avery Detroit Blues Red Nelson 1936-1947
Red Nelson w/ Charles Avery Grand Trunk Blues Red Nelson 1936-1947
Big Bill Broonzy w/ Black Bob Good Liqueur Gonna Carry me DownThe Young Big Bill Broonzy 1928-1935
Big Bill Broonzy w/ Black Bob Keep Your Hands Off Of HerWhen The Sun Goes Down
Charlie West w/ Black Bob Hobo Blues Rare 1930s & '40s Blues Vol. 3 1937-1948
Charlie West w/ Black Bob Rolling Stone Blues Rare 1930s & '40s Blues Vol. 3 1937-1948
Tampa Red w/ Black BobMean Old Tom Cat BluesTampa Red Vol. 6 1934-1935
Tampa Red w/ Black BobSomebody's Been Using That ThingTampa Red Vol. 6 1934-1935
Tampa Red w/ Black Bob Shake It About LittleTampa Red Vol. 6 1934-1935
Charlie McCoy w/ Black Bob Let My Peaches BeThe McCoy brothers
Vol. 1 1934-1936
Lil Johnson w/ Black Bob I'm Betting On YouLil Johnson Vol. 1 1929-1936
Fats Hayden w/ Teddy Bunn Brownskin Gal Is The Best Gal After AllTeddy Bunn 1929-1940
Ben Franklin w/ Teddy Bunn Crooked World BluesTeddy Bunn 1929-1940
Jimmie Gordon w/ Teddy Bunn Sail With MeJimmie Gordon Vol. 1938-1938
Hot Lips Page w/ Teddy Bunn Thirsty Mama BluesThe Very Best of Teddy Bunn
Cow Cow Davenport w/ Teddy Bunn That'll Get ItThe Very Best of Teddy Bunn
Lizzie Miles w/ Teddy Bunn Yellow Dog Gal BluesLizzie Miles Vol. 3 1928-39
Lizzie Miles w/ Teddy Bunn Too SlowLizzie Miles Vol. 3 1928-39
Trixie Smith w/ Ikey Robinson Trixie's Blues Trixie Smith Vol. 2 1925-1939
Victoria Spivey w/ Ikey Robinson Baulin' Water Blues, Pt. 1Victoria Spivey Vol. 3 1929-1936
Georgia White w/ Ikey Robinson The Blues Ain't Nothin' But...???The Piano Blues Vol. 13: Central Highway
Johnnie Temple w/ Ikey Robinson Jelly Roll Bert Johnnie Temple Vol. 2 1938-1940
Frankie Jaxson w/ Ikey RobinsonRock Me Mama Frankie 'Half-Pint'Jaxon Vol. 1 1926-1929

Show Notes:

Lil Johnson: Rock That ThingOn today’s program we shine the light on some superb session musicians who backed blues artists in the pre-war era. We spotlight two fine pianists in Charles Avery and Black Bob. We know little about both men, with Avery making his debut on record in 1929 and Black Bob in 1934 and both dropped off the radar by the late 30’s. Both backed many o the popular blues singers of the era, with Avey cutting just one side under his name and Black Bob cutting nothing under his own name. We also spotlight two very fine guitarists who straddled both the blues and jazz worlds, Teddy Bunn and Banjo Ikey Robinson. Both men backed both jazz musicians and blues singers in the 20’s and 30’s and both cut just a handful of sides under their own names. I'll be doing a sequel, of sorts, where we focus on famous names who were active sessions artists such as Tampa Red, Lonnie Johnson, Roosevelt Sykes, Big Bill Broonzy, Kokomo Arnold and others.

Active in Chicago in the 20's and 30's, Charles Avery worked as a session musician backing artists such as Lil Johnson, Freddie 'Red” Nicholson, Red Nelson and others. He cut one record under his own name, 1929's “Dearborn Street Breakdown.” We here him on several tracks todays including backing blues ladies Lil Johnson and Lucille Bogan as well as singers  Freddie "Redd" Nicholson and Red Nelson.

LIl Johnson first recorded in Chicago in 1929, accompanied by pianists Montana Taylor and Charles Avery on five songs. She did not return to the recording studio until 1935. From her second session onwards, she hit up had partnership with the ragtime influenced pianist "Black Bob" Hudson, who provided ebullient support to Johnson's increasingly suggestive lyrics. In 1936 and 1937, she recorded over 40 songs, mostly on the Vocalion label, some featuring Big Bill Broonzy on guitar and Lee Collins on trumpet.

Lucille Bogan recorded for OKeh in 1923, for Paramount in 1927, and for Brunswick in 1928, 1929, and 1930. Although she had an uncommonly large Depression era output, she made no recordings at all in 1931 and 1932. When she switched to ARC for the 1933, 1934, and 1935 sessions, she had to use the pseudonym Bessie Jackson for contractual reasons. After the Second World War Bogan made some trial discs for a New York company. She was mad when the records were rejected and died shortly afterward in 1948. Her records find her back with fine pianists like Charles Avery, Will Ezell and later, Walter Roland.

Banjo Ikey Robinson
Banjo Ikey Robinson

The obscure singer Freddie "Redd" Nicholson recorded eight sides in 1930 (three were not issued) all backed by pianist Charles Avery. Nothing seems tobe known about him.

There's not much information on Red Nelson outside of what I gleaned from the Encyclopedia of the Blues: "Nelson Wilborn, better known as Red Nelson, or Dirty Red, was born in Sumner, Mississippi, in 1907. A fine, capable vocalist, he moved to Chicago in the early 1930's and was a prominent recording artist from 1935 to 1947. His recordings with pianist Clarence Lofton, especially "Streamline Train" and "Crying Mother Blues," are probably his best work. In the 1960's he performed locally with the Muddy Waters Band."

Very little is known about Black Bob Hudson, except that he was a ragtime-influenced blues pianist who was active from the 1920's and 1930's, and worked with a who's who of Chicago talent including  Big Bill Broonzy, Bumble Bee Slim, Jazz Gillum, Lil Johnson, Washboard Sam, Casey Bill Weldon and  Tampa Red. He was the brother of banjoist Ed Hudson, and the two frequented the same circles and recording sessions, and sometimes ended up accompanying the same singers. Both brothers were part of the Memphis Nighthawks, and Bob Hudson was also a member (with Tampa Red and other luminaries) of the Chicago Rhythm Kings. Broonzy and Black Bob cut dozens of sides together between 1934 and 1937 and Black Bob is featured on quite a number of Tampa Red sides between 1934 and 1937 .

Teddy Bunn played with many of the top jazzmen of that period on guitar or banjo and sometimes he provided vocals. Teddy Bunn rubbed shoulders with many top jazz musicians aas well as blues singers in the pre-war era. As he noted: "I have a very good ear and can usually sense what the cats are going to play a split second before they do it." Among the notable blues singers he accompanied were artists such as  Cow Cow Davenport, Lizzie Miles, Peetie Wheatstraw, Johnnie Temple and Victoria Spivey among others. In addition to an active session career, Bunn was a member of the jazz groups the Spirits of Rhythm and June 1939, and was among the very first musicians ever to record for the Blue Note record label, first as a soloist, then as a member of the Port of Harlem Jazzmen. Today we hear Bunn backing several blues singers including a pair of excellent numbers by Lizzie Miles.

Teddy Bunn
Teddy Bunn

Lizzie Miles was a fine classic blues singer from the 1920s who survived to have a full comeback in the 1950s. She started out singing in New Orleans during 1909-1911 with such musicians as King Oliver, Kid Ory, and Bunk Johnson. She recorded extensively between1922-1930. She recorded in 1939 but spent 1943-1949 outside of music and in 1950 began a comeback recording for labels such as Circle, Cook, Capitol, Verve and others before retiring in 1959.

Ikey Robinson was an excellent banjoist and singer who recorded both jazz and blues from the late '20s into the late '30s. After working locally, Robinson moved to Chicago in 1926, playing and recording with Jelly Roll Morton, Clarence Williams, and Jabbo Smith during 1928-1929. He led his own recording sessions in 1929, 1931, 1933, and 1935. His groups included Ikey Robinson and his Band (w/ Jabbo Smith), The Hokum Trio, The Pods of Pepper, Windy City Five, and Sloke & Ike. Robinson also accompanied blues singers such as Frankie "Half Pint" Jaxon, Georgia White, Eva Taylor and Bertha "Chippie" Hill among others.

Related Articles:

-Charlie West  (Blues World 44, Autumn 1972)

Share
ARTISTSONGALBUM
Pinetop SmithPine Top's Boogie WoogieShake Your Wicked Knees
Meade Lux LewisHonky Tonk Train BluesHey! Piano Man: Selected Boogie Woogie Sides Remastered
Jimmy YanceyState Street Special Jimmy Yancey Vol. 1 1939-1940
'Crippple' Clarence LoftonHouse Rent StruggleCripple Clarence Lofton Vol. 2 1935-1939
Charles AveryDearborn Street BreakdownShake Your Wicked Knees
Albert Ammons Chicago In MindHey! Piano Man: Selected Boogie Woogie Sides Remastered
Romeo Nelson Gettin Dirty Just Shakin' That ThingShake Your Wicked Knees
Cow Cow DavenportCow Cow BluesThe Essential
Hersal ThomasSuitcase BluesRoots 'N' Blues: The Retrospective 1925-1950
Pinetop Smith Jump Steady Blues
Shake Your Wicked Knees
Jimmy BlytheBoogie Woogie BluesBoogie Woogie Blues
Crippple' Clarence LoftonCrying Mother Blues Cripple Clarence Lofton Vol. 1 1935-1939
Montana TaylorIndiana Avenue StompShake Your Wicked Knees
Charles Avery, Tampa Red & Lil JohnsonHouse Rent ScuffleTampa Red Vol. 2 1929
Clarence "Jelly" JohnsonJelly's BluesLow Down Papa
Freddie ShayneOriginal Mr. Freddie BluesMontana Taylor & 'Freddy' Shayne 1929-1946
Doug SuggsDoug's Jump Piano Blues Vol. 21927-1956
Cow Cow Davenport State Street BluesCow Cow Davenport Vol. 1 1925-1929
Jimmy YanceyRolling The StoneJimmy Yancey Vol. 1 1939-1940
Jimmy BlytheChicago Stomp Boogie Woogie Blues
Pinetop SmithI'm Sober NowShake Your Wicked Knees
Clarence "Jelly" Johnson You're Always Messin' Round With My ManLow Down Papa
Romeo NelsonHead Rag HopShake Your Wicked Knees
Charles AveryChain 'Em DownBoogie Woogie & Barrelhouse Piano Vol. 2 1928-1930
Montana Taylor Detroit RocksShake Your Wicked Knees
'Crippple' Clarence Lofton Streamline TrainCripple Clarence Lofton Vol. 1 1935-1939
Pinetop SmithPinetop BluesPiano Blues Vol. 20
Meade Lux LewisBear Cat CrawlHey! Piano Man: Selected Boogie Woogie Sides Remastered
Cow Cow DavenportBack In The AlleyShake Your Wicked Knees
Jimmy Yancey Yancey LimitedJimmy Yancey Vol. 1 1939-19
Albert AmmonsShout For JoyHey! Piano Man: Selected Boogie Woogie Sides Remastered

Show Notes:

During the period of today's recordings , there was a mass migration of blacks from the southern states looking for regular employment and the chance to start a new life. Thousands headed to Chicago. They, together with the emerging school of pianists, took jobs as taxi drivers, hotel porters, dish washers and other menial occupations, working at these occupations during the daytime, they supplemented their earnings by playing at rent parties in the evenings and at weekends. The boogie pianists reigned supreme at these functions and the more proficient of them were able to find additional work at the many dives and clubs which became a part of Chicago’s night life. Today's show spotlights the Chicago boogie and barrelhouse who made records in the 20's and 30's. For more detailed information on today's performers check out Peter J. Silvester's seminal The Story of Boogie-Woogie: A Left Hand Like G od.

As Silvester wrote: "For the purposes of clarifying the several phases which the music underwent in reaching its state of perfection in the I940's, it is helpful to consider the first generation of pianists as being active in the period up to about 1930. This would include among its members Hersal Thomas, Lemuel Fowler, Jimmy Blythe, Jimmy Yancey, Clarence Lofton, Charles Davenport, Doug Suggs, Eurreal Montgomery, Roosevelt Sykes, many'one-record pianists' and other still unknown and unrecorded piano players. It was some time after 1930 that a number of these esteemed players made their first recordings, although their influence on later pianists as leading practitioners of the art is now clearly recognizable."

Considered to be the originator of the boogie -woogie style of piano playing, Clarence "Pine Top" Smith was a vaudeville performer. From around 1920 Smith was based in Pittsburgh, and the following years he traveled with minstrel and vaudeville shows as a dancer, singer and comedian. Smith’s work on the circuits took him throughout the south where he worked with artists such as Butterbeans & Susie and Ma Rainey. In an interview with Downbeat magazine in 1939, Smith’s wife Sarah Horton said that her husband first started playing "Pine Top's Boogie Woogie" in Pittsburgh. Cow Cow Davenport recommended Smith to Mayo Williams of Brunswick/Vocalion records. Smith then moved with his family to Chicago in 1928. On December 29, 1928 Smith recorded his two breakthrough hits: "Pine Top Blues" and "Pine Top's Boogie Woogie." This was the first time the phrase "boogie woogie" appeared on record. He began to devote more of his energies to playing piano and, at the urging of Charles "Cow Cow" Davenport, made a few records. On January 14 and 15, 1929 Smith recorded six more sides of his vaudeville repertoire for Vocalion records, including “I'm Sober Now” and “Jump Steady Blues.” On March 13, 1929 Pine Top made an unissued recording of "Driving Wheel Blues." Two days later, at age 25, his rising career ended. Smith was accidentally shot by a man named David Bell during a fight.

Meade Lux Lewis was one of the three great boogie-woogie pianists (along with Albert Ammons and Pete Johnson) whose appearance at John Hammond's 1938 Spirituals to Swing concert helped start the boogie-woogie craze. He played regularly in Chicago in the late '20s and his one solo record of the time, "Honky Tonk Train Blues" (1927), was considered a classic. After cutting his classic "Honky Tonk Train Blues" in 1927 Lewis gained little extra work and slipped into obscurity. John Hammond heard Lewis' record in 1935 and, after a search, found Lewis washing cars for a living in Chicago. Soon, Lewis was back on records and after the 1938 Spirituals to Swing concert he was able to work steadily, sometimes in duets or trios with Ammons and Johnson. After the boogie-woogie craze ended, Lewis continued working in Chicago and California, recording as late as 1962. Lewis led sessions through the years that have come out on MCA, Victor, Blue Note, Solo Art, Euphonic, Stinson, Atlantic, Storyville, Verve, Tops, ABC-Paramount, Riverside, and Philips.

One of the seminal boogie-woogie pianists, Jimmy Yancey was active in and around Chicago playing house parties and clubs from 1915, yet he remained unrecorded until May 1939, when he recorded "The Fives" and "Jimmy's Stuff" for a small label. By then, Yancey's work around Chicago had already influenced such younger and better-known pianists as Meade "Lux" Lewis, Pinetop Smith, and Albert Ammons. Yancey was a musician's musician, remaining mostly unknown and unheard outside of Chicago until 1936, when Meade Lux Lewis recorded one of his tunes, "Yancey Special." Three years later, producer Dan Qualey became the first to record Yancey for his new Solo Art label. After the Victor recordings, Yancey went on to record for OKeh and Bluebird. In later years, Yancey performed with his wife, blues singer Estelle "Mama" Yancey; they appeared together at Carnegie Hall in 1948. Although Yancey attained a measure of fame for his music late in life, he never quit his day job, remaining with the White Sox as a groundskeeper until just before his death.

Active in Chicago in the 20's and 30's, Charles Avery worked as a session musician backing artists such as Lil Johnson, Freddie 'Red” Nicholson, Red Nelson and others. He cut one record under his own name, 1929's “Dearborn Street Breakdown.”

Albert Ammons is best remembered as an exciting pianist who inaugurated the Blue Note record label by hammering out blues and boogie duets with Meade "Lux" Lewis. His main influences were Jimmy Blythe, Jimmy and Alonzo Yancey, Hersal Thomas, and Clarence "Pinetop" Smith, who personally encouraged the aspiring pianist. By 1934 Ammons was leading his own little group at the Club De Lisa on the South Side. Ammons became strongly identified with the boogie-woogie style after recording "Boogie Woogie Stomp" and "Swanee River Boogie" for Decca with his Rhythm Kings in 1936. Ammons next decided to take himself to New York, where he gigged regularly at Café Society (Downtown and Uptown) with Meade "Lux" Lewis and the Kansas City contingent of Pete Johnson and Big Joe Turner. In 1938 Ammons, along with Lewis and Pete Johnson created a sensation at the Spirituals to Swing concert in Carnegie Hall. Ammons, who had cut a few sides for Vocalion in 1938, recorded a series of solos and duets with Meade "Lux" Lewis on January 6, 1939, now established as the very first titles in the catalog of Alfred Lion's newly founded Blue Note label. Ammons remained active through the 40's but illness forced off the scene and when he passed away on December 2, 1949, he was only 42 years old.

Romeo Nelson moved to Chicago at the age of six. For most of his life he played piano at rent parties in the city, although he also lived in East St. Louis for a while in the early 1920s. In 1929 he made his only series of recordings for Vocalion Records: "Gettin' Dirty Just Shakin' That Thing"and "Head Rag Hop", featuring talking by Tampa Red and Frankie Jaxon.

Hersal Thomas was among the earliest architects of the boogie-woogie style leaving such a powerful impression that pianists as highly regarded as Jimmy Yancey, Albert Ammons, and Meade "Lux" Lewis claimed him as a prime influence. It was his father George who taught Hersal the fundamentals of the blues, and the youngster gave his first public performances on the streets of Houston with his big sister Beulah, who would come to be known as Sippie Wallace. When George relocated to New Orleans in 1915, he brought Beulah and Hersal with him. Word spread quickly, and Hersal was soon gigging with the region's top jazz players, including King Oliver and his promising young protégée Louis Armstrong. On February 22, 1925 he recorded his only two piano solos,"The Suitcase Blues" and "Hersal's Blues." Two days later, he and Joe Oliver backed Sippie on three Okeh recordings, and in April and June, he accompanied Hociel on her first records. In August, Hersal and Sippie traveled to New York to cut more records, with alto saxophonist Rudolph "Rudy" Jackson sitting in on the first of Hersal's only two recording sessions that took place outside of the Chicago area. On November 11, 1925 Hersal, clarinetist Johnny Dodds and banjoist Johnny St. Cyr backed Hociel as members of Louis Armstrong's Jazz Four. Armstrong and Hersal worked together on two more occasions, accompanying Hociel and Sippie during February and March 1926. Hersal's last known studio session took place on the fourth of March when he accompanied Lillian Miller on her Okeh recording of "The Kitchen Blues." The short life of Hersal Thomas came to an abrupt conclusion on July 3, 1926 while he was performing at Penny's Pleasure Palace in Detroit MI. The exact cause of his sudden death has never been verified.

Considering how many fine recording sessions he was on in Chicago in the 1920s (particularly with Johnny Dodds), it is surprising how little is known about the mysterious Jimmy Blythe. He moved to Chicago in 1918, and studied with pianist Clarence Jones. Blythe recorded dozens of piano rolls in the early '20s. He began cutting records in 1924 (Blythe's "Chicago Stomp" from that year is considered by some to be the first full-length boogie-woogie recording). During the next seven years, he made a few piano solos; backed singers Viola Bartlette and Alexander Robinson; teamed up with Dodds in several settings; led Blythe's Sinful Five; recorded with the Midnight Rounders, Jimmy Bertrand's Washboard Wizards, Lonnie Johnson, and the State Street Ramblers; and cut piano duets with Buddy Burton and Charlie Clark. Jimmy Blythe died at the age of 30 from meningitis.

Owing his nickname to a limp from which he suffered, Clarence Lofton became a favorite of early jazz collectors during the boogie-woogie craze of the late 1930's along with Meade Lux Lewis, Jimmy Yancey, Cow Cow Davenport, and many others. Born in Tennessee he lived most of his life in Chicago becoming a fixture on the Chicago nightlife scene. He owned his own nightclub called the Big Apple where he ran his own boogie school teaching youngsters the art form. Between 1935 and 1943 Lofton cut close to forty sides for Vocalion, Swaggie, Solo Art and Session. The bulk of these were solo sides with guitarist Big Bill Broonzy adding support for two sessions. In addition Lofton provided accompaniment to Red Nelson, Sammy Brown, Al Miller and Jimmy Yancey. Lofton remained on the scene cutting sides for the Gennett, Vocalion, Solo Art, Riverside, Session and Pax labels. He stayed around Chicago until his death in 1957 from a blood clot in the brain.

Montana Taylor was born in Butte, Montana, where his father owned a club. The family moved to Chicago and then Indianapolis, where Taylor learned piano around 1919. In 1929 he recorded a few tracks for Vocalion Records, including "Indiana Avenue Stomp" and "Detroit Rocks". Later he moved to Cleveland, Ohio in 1936. He then disappeared from the public record for some years, during which he may have given up playing piano. However, in 1946 he was rediscovered by jazz fan Rudi Blesh, and was recorded both solo and as the accompanist to Bertha "Chippie" Hill. His final recordings were from a 1948 radio broadcast. Taylor died in 1954.

Clarence "Jelly" Johnson became an in-demand piano roll performer, cutting many performances in Chicago during the mid to late 1920's fory the Capitol Music Roll Company and issued as nickelodeon piano rolls. Johnson never cut any 78's under his own name but did back several singers including Edna Hicks, Sara Martin, Lizzie Miles, Monette Moore and others. Recently Delmark records release Low Down Papa, a collection of twenty of Johnson's piano rolls.

Freddie Shayne is a shadowy figure who spent his life working in Chicago. He first time on record was backing singer Priscilla Stewart on “Mr. Freddie Blues.” Shayne also made a very rare piano roll of this song. In 1935 Shayne recorded a solo record, “Original Mr. Freddie Blues b/w Lonesome Man Blues.” “Mr. Freddie Blues” became something of a boogie standard covered by many artists including Meade Lux Lewis, Pete Johnson, Jimmy Blythe, Art Tatum and others. In the 40's he made some recordings for the Circle label where he also backed singer Bertha “Chippie” Hill.

Jimmy Yancey 1946

Cow Cow Davenport learned to play piano and organ in his father's church from his mother who was the organist. Davenport's early career revolved around carnivals and vaudeville. He toured TOBA with an act called Davenport and Company with Blues singer Dora Carr and they recorded together in 1925 and 1926. Davenport didn't cut a 78 record until 1927 although prior to that he made a number of piano rolls between 1925 and 1927 including three versions of "Cow Cow Blues." Davenport briefly teamed up with Blues singer Ivy Smith in 1928 and worked as a talent scout for Brunswick and Vocalion records in the late 1920's and played rent parties in Chicago. They formed an act called the Chicago Steppers which lasted for some months and, in 1928, the partnership began to record for the Paramount Company. Daven venport moved to Cleveland, Ohio in 1930 and toured the TOBA vaudeville circuit and recorded with Sam Price. In 1938 Davenport suffered a stroke that left his right hand somewhat paralyzed and affected his piano playing for the rest of his life, but he remained active as a vocalist until he regained enough strength in his hand to play again. In the early 1940's Cow Cow briefly left the music business and worked as a washroom attendant at the Onyx Club on 52nd Street in New York. In 1942 Freddie Slack's Orchestra scored a huge hit with "Cow Cow Boogie" with vocals by seventeen year old Ella Mae Morse which sparked the Boogie-Woogie craze of the early 1940s; this led to a revival of interest in Davenport's music. He tried to make a "comeback" in the forties and fifties but his career was often interrupted by sickness. He died in 1955 of heart problems in Cleveland.

Related Articles:

-Tell My Story: The Life and Music of Meade Lux Lewis by Michi Hortig (Blues & Rhythm #201) [PDF]

Share
ARTISTSONGALBUM
Georgia WhiteSinking Sun BluesGeorgia White Vol. 2 1936-1937
Georgia WhiteGet 'Em From the Peanut Man (Hot Nuts) Sings & Plays
Georgia WhiteNew Dupree BluesGeorgia White Vol. 11930-1936
Lucille BoganJim TampaLucille Bogan Vol. 1 1923-1929
Lucille BoganCoffee Grindin' BluesThe Essential
Lucille BoganAlley BoogieThe Essential
Hattie HartWon't You Be Kind To Me?Memphis Masters: Early American Blues Classics
Hattie HartI Let My Daddy Do That Memphis Masters: Early American Blues Classics
Hattie HartI'm Missing That Thing Memphis Blues 1927-1938
Geeshie WileyLast Kind Word Blues The Best There Ever Was
Geeshie WileySkinny Legs Blues Stuff That Dreams Are Made Of
Georgia White Black Rider
Georgia White Vol. 2 1936-1937
Georgia WhiteRattlesnakin' Daddy Georgia White Vol. 1 1930-1936
Georgia White I'm So Glad I'm 21 TodayGeorgia White Vol. 2 1936-1937
Lucille BoganThey Ain't Walking No MoreThe Essential
Lucille BoganBaking Powder BluesThe Essential
Lucille BoganPig Iron SallyShave 'Em Dry: The Best of Lucille Bogan
Mattie Delaney Down The Big Road Blues I Can't Be Satisfied Vol. 1
Mattie Delaney Tallahatchie River BluesMemphis Masters: Early American Blues Classics
Hattie HartColdest Stuff In TownMemphis Blues 1927-193
Hattie HartPapa's Got Your Water OnI Can't Be Satisfied Vol. 1
Hattie HartCocaine Habit Blues Blues Image Presents Vol. 4
Georgia WhiteWalking The StreetGeorgia White Vol. 2 1936-1937
Georgia WhiteAlley Boogie Sings & Plays
Georgia WhiteThe Blues Ain't Nothin' But???The Piano Blues Vol. 13
Lucille BoganReckless WomanShave 'Em Dry: The Best of Lucille Bogan
Lucille BoganShave 'em DryShave 'Em Dry: The Best of Lucille Bogan
Lucille BoganBarbecue BessShave 'Em Dry: The Best of Lucille Bogan
Geeshie WileyEagles On A Half I Can't Be Satisfied Vol. 1
Geeshie WileyPick Poor Robin Clean I Can't Be Satisfied Vol. 1
Hattie HartMemphis Yo Yo BluesMemphis Jug Band and Cannon's Jug Stomper
Lucille BoganStew Meat BluesShave 'Em Dry: The Best of Lucille Bogan
Georgia WhiteLittle Red Wagon Georgia White Vol. 2 1936-1937

Show Notes:

On today's program we spotlight five tough blues ladies from the 1920's and 1930's; Lucille Bogan and Georgia White recorded extensively with Bogan cutting over sixty sides between 1923 and 1935, and White cutting over 80 sides between 1930 and 1941. Memphis singer Hattie Hart cut a handful of terrific sides under her own name and several with the Memphis Jug Band. We dip down to Mississippi to hear the only known record by mysterious guitar player Mattie Delaney and the equally shadowy, under-record and brilliant Geeshie Wiley.

Read Liner Notes: Pt. 1Pt. 2Pt. 3

In the 1982 liner notes to Georgia White: Sings & Plays the Blues (the first collection of White's recordings) Rosetta Reitz wrote: "Is Georgia White alive or dead? [she died in 1980] Nobody seems to know. If she is alive she is living in obscurity and would be 80 years old. If she is dead, her death went unnoticed for there were no obituaries. I checked and double checked with people who might know. I've been looking for her. I would like to tell her how important I think she is, important to to the history of American music (even though hardly anyone knows her name today)." Thirty years after these notes were written virtually nothing has changed, White is still forgotten and nothing of significance has been written about her in the intervening years. I suppose I should backtrack and mention that the Document label has issued her complete recordings spread over four volumes which is the source of several of today's recordings.

White reportedly moved to Chicago in the 1920's and began working as a singer in the nightclubs during the late '20s. She first recorded in May 1930 for the Vocalion label with Jimmie Noone's Apex Club Orchestra recording one song, "When You're Smiling, the Whole World Smiles With You."  After her initial session, White didn't return to the studios until 1935, but recorded regularly from then on through the early '40s for the Decca label (the label billed her as "the world's greatest blues singer"). In 1935, she also recorded a couple of songs, including "Your Worries Ain't Like Mine," under the alias Georgia Lawson. From her first sessions until the late '30s, White was accompanied by herself on piano then pianist Richard Jones, great bassist John Lindsay plus outstanding guitarists like Banjo Ikey Robinson, Les Paul, Teddy Bunn and Lonnie Johnson. White had a good repertoire of songs, many of which sold well and many risque such as I'll Keep Sitting on It, "Mama Knows What Papa Wants When Papa's Feeling Blue" and "Hot Nuts." She was also one of the blues' first revivalists, reaching way back to cover Mamie Smith's "Crazy Blues", covering the like of Bessie Smith,  Ethel Waters, Sara Martin, Ma Rainey but more surprisingly are covers of Lucille Bogan's "Alley Boogie" and borrowing from Leadbelly ("Pigmeat Blues") and the obscure Joe Dean ("I'm So Glad I'm 21 Today").

Blues scholar Paul Oliver was on of the few others who wrote about White. In Jazz On Record published in 1968 he wrote: "Undeservedly neglected in recent years, Georgia White was one of the most popular of the recording blues singers in the thirties. She had a strong contralto voice with a keen edge to her intonation and was a capable pianist in the barrelhouse house tradition."

There was mention of White's passing in Arnold Shaw's Honkers And Shouters when he talks about Broonzy. White worked with Broonzy at the Bee Hive and another club in Chicago in a group called The Laughing Trio in 1949-1950. Shaw writes: "There was also Georgia White, a gorgeous Georgia Peach of a blues singer herself whom Big Bill credits with launching 'Trouble In Mind'"  (Bertha "Chippie" Hill cut the first version in 1926). Shaw quotes Broonzy: "When I say Georgia White", Big Bill murmurs, in introducing his version of 'Trouble In Mind', "she was a real nice-looking gal. All the musicians liked her. But there was no way of getting to her because her husband was always around. He was her valet-dressed her, brought her all of her food. Was no chance of anybody getting close to her."

Lucille Bogan, Circa 1933

In the late '40s, White formed an all-women band. She also worked with Big Bill Broonzy from 1949-50, and returned to singing in the clubs during the 1950's. Georgia Her last known public performance was in 1959, after which she retired from the music business.

Lucille Bogan got off to a rather shaky start on her two 1923 sessions. The feisty, boisterous singing she became known for came into much better focus when she returned to the studio in 1927 backed by papa Charlie Jackson on fine numbers like "Sweet Patinua", "Jim Tampa Blues" and "Cravin' Whiskey Blues." As Tony Russell writes in the Penguin Guide To Blues: "Over the next few years she constructed a persona of a tough-talking narrator – 'They call me Pig Iron Sally, 'cause I live in Slag Iron Ally, and I'm evil and mean as I can be,' she sings in 'Pig Iron Sally' – who knew the worlds of the lesbian and the prostitute. She reports from the former in 'Women Don't Need No Men' and 'B.D. Woman's Blues', and the latter in 'Tricks Ain't Walking no More' – best heard in the affectingly sombre version titled 'They Ain't Walking No More' …and 'Barbecue Bess.' Other notable recordings are 'Coffee Grindin' Blues' …and the first recording of  'Black Angel Blues,' which after a great change became a blues standard."  On these recordings she finds strong backing from pianists Will Ezell and Charles Avery. "…Thanks to the generally better sound quality and the ever sympathetic accompaniment of Walter Roland, her mid-30s recordings …are the most approachable. " Notable from this period are "Baking Powder Blues", "Reckless Woman", "Stew Meat Blues" and "Shave 'em Dry" which also exists in an extremely dirty version never intended for commercial release and one that can't be played on the air.

Bogan was born as Lucille Anderson in 1897 in Monroe county, Mississippi. In about 1914 she married Nazareth Bogan, Sr., a blues singer who also worked as a railroad man. The following year a son was born. In 1974 Bogan's son was interviewed by Bob Eagle (Lucille Bogan: Bessie Jackson, Living Blues no. 44, 1979) so quite a bit is known about her.

Bogan recorded for OKeh in 1923, for Paramount in 1927, and for Brunswick in 1928, 1929, and 1930. Although she had an uncommonly large Depression era output, she made no recordings at all in 1931 and 1932. When she switched to ARC for the 1933, 1934, and 1935 sessions, she had to use the pseudonym Bessie Jackson for contractual reasons. After the Second World War Bogan made some trial discs for a New York company. She was mad when the records were rejected and died shortly afterward in 1948.

Don Kent wrote in the notes to Mississippi Masters: Early American Blues Classics 1927-35: "Although Geeshie Wiley may well have been the rural South's greatest female blues singer and musician, almost nothing is known of her. …If Geeshie Wiley did not exist, she could not be invented: her scope and creativity dwarfs most blues artists. She seems to represent the moment when black secular music was coalescing into blues." Wiley recorded just two 78’s in 1930 and 1931, both highly sought after and worth a fortune to 78 record collectors. There are no known photographs and little is known about her. Ishman Bracey provides what little we know about her: "She lived 'round there on John Hart Street for a while. Charlie McCoy got her for his old lady. She could play on the guitar as good as on that record [Eagles On A Half, Pm 13074]. She said she was from Natchez; close by Natchez was her home. She didn't stay here long, couple of months and she done left." In the 1920's she spent three months in Jackson as a resident of John Hart Street; while there, she played in a medicine show. "She could play a guitar, but she had a guitar player with her," Bracey recalled. "She'd play a guitar, and a ukulele too." Wiley recorded "Last Kind Word Blues" and "Skinny Leg Blues" in Grafton, Wisconsin for Paramount Records in March of 1930, with Elvie Thomas backing her on second guitar. Thomas also recorded two songs for Paramount at the session, "Motherless Child Blues" and "Over to My House," Wiley, providing second guitar and vocal harmonies. In 1931 Wiley and Thomas returned to Grafton to record two more sides for Paramount, "Pick Poor Robin Clean" and "Eagles on a Half."

In Bengt Olsson's Memphis Blues and Jug Bands some light was shed on singer Hattie Hart: "Hattie Hart and Allen Shaw came together on record when they engaged in one memorable session in New York, in the late summer of 1934. Willie Borum was also present, playing guitar behind Shaw on some of the songs as well as singing four of his own. He and Shaw were new to the recording studio, but Hattie Hart had appeared on several of the Memphis Jug Band's discs in 1929 and 1939, singing the unforgettable 'Memphis Yo Yo Blues', 'Cocaine Habit Blues', 'Oh Ambulance Man, 'Papa's Got Your Bath Water On' and 'Spider's Nest Blues.'  Her voice was strong, sensual and moving. She was born, says Willie Borum, 'just around 1900.  She was dark skinned. She and her husband lived on Keil and Main …they were married as long as I knew them. Hattie used to throw lots of parties. " Borum recalled their New York session: "Hattie recorded just after Jack Kelly. She sang 'I Let My Daddy Do That'  and 'Travelin' Man' …but it was never out on record.  I went in the army from 1943 till 1946. When I came back Hattie had left town. I don't know what happened to her."

Her first recordings were made in Memphis for the Victor label in 1929. Three songs were recorded but only two were issued for her debut single. In 1934 she was recorded again in New York City in September of that year. In the course of four days she recorded some eighteen songs backed by guitarist Allen Shaw with the possibility of Willie Borum playing guitar on some of the cuts. Out of the eighteen songs, only four were issued giving Hattie two more records to her credit. It was also during these sessions that Shaw recorded his only issued sides. Hart may have moved Chicago where in in 1938 she cut sides as Hattie Bolten.

Mattie Delaney cut just one 78: "Down The Big Road Blues b/w Tallahatchie River Blues" for Vocalion on February 21, 1930 in Memphis, TN. Her name evoked no response from Son House or from any Delta resident when researcher Gayle Wardlow made a tri-county search of those towns which boarder the Tallahatchie. The song "Tallahatchie River Blues" was first issued on the Yazoo anthology Mississippi Blues 1927-1941 in 1968. Supposedly she was born Mattie Doyle in Tchula, MS 1905. Wardlow was the one who discovered the record: "But the prize was Mattie Delaney doing "Tallahatchie River Blues" (Vocalion 1480), a song that refers to a river flood in the Delta. My copy of this 1930 disc was the only one known to surface. I learned this from New York collectors eager for me to trade it away. " According to collector John Tefteller there are about five copies known to exist. Tefteller paid $3,000 for his copy which he says isn’t horrible but sure isn’t mint, either. He expects a like-new copy would draw $6,000 to $8,000.

Here's the two Lucille Bogan sides I couldn't play on the air and one by Walter Roland:

-Shave 'Em Dry (unreleased version)

-Till The Cows Come Home (unreleased)

-I'm Gonna Shave You Dry (unreleased)

Share