Show Notes:

Some piano player, I’ll tell you that
(Ivy Smith, Alabama Strut)

Read Liner Notes

On December 4, 2009 Francis Wilford-Smith died and today we pay tribute to him. Smith was an avid collector of 78 records, a broadcaster on BBC Radio 3 (Aspects of the Blues) and the compiler of some excellent piano blues LP’s on the British label Magpie Records, drawing all the material from his own collection. Today’s selections all come from Smith’s groundbreaking 21 volume series he started in 1977 and issued on the Magpie label, a subsidiary o of the Flyright label. Subsequently his collection was used for a piano blues series on Yazoo issued on CD. He had one of the largest collections of piano blues 78′s in the world. Smith also field recorded Roosevelt Sykes and Little Brother Montgomery at his home in Sussex in 1960, yielding two 1980s LP’s of the latter: These Are What I Like: Unissued Recordings Vol. 1 and Those I Liked I Learned: Unissued Recordings Vol. 2. Smith made a good living from cartoons published under the pen name ‘Smilby’ in Playboy, which allowed him to outbid others for rare 78s. Wilford-Smith was 82, had suffered from Parkinson’s disease since 1994, and spent his last years in a nursing home. He died asleep in bed.

On a personal note, it was through the Magpie series that I became a life long fan of piano blues. I came to the series late, my first purchase was volume 20 and I must have been around 16. The album made a huge impression on me and I even remember exactly where I purchased it – Tower Records on West 4th St., NYC. I went back and picked up as many of the rest of the albums I could find and over the years completed the entire series. The series had everything you would want; each thematically well assembled, excellent liner notes (brief introductions by Smith) by Bob Hall, Paul Oliver and Richard Noblett and superb transfers.

Read Liner Notes

Before I give some background on the individual volumes, its worth quoting Wilford-Smith from his introduction to the series:  “The well-merited reissue of so many excellent blues guitar records over the past few years has had, perhaps, one unfortunate and unintentional – in that it caused the pianist to be unfairly overshadowed. This album marks the start of a series which, it is hoped, will put into perspective the role of the piano in blues history and do justice to the memory of the many fine pianists who have so enriched the music. We are only using 78 originals from my own collection, thus giving the listener the rare chance to hear records; at their best. No dubs, no tape-tracks that have wandered in and out of   half-a-dozen tape collections before being issued with that all too familiar dead and muffled cotton-wool-in-the-ears sounds. No ordinary filtering of any sort has been done in any misguided attempt t0 ‘improve’ the quality, and each listener is left free to filter to his own taste. Surface noise there may be, but freshness and vitality are not strained away. The selection of records both here and throughout the series will be essentially subjective and reflect my own taste, but l shall endeavor to include a wide-ranging variety of piano styles and treatments to give as broad as possible a picture of the whole blues piano scene.”

More or less, we work our way through the series volume by volume. The first volume and volume 17 are devoted to Paramount and as Smith writes: “…We start with Paramount, almost unchallenged as the greatest blues label, and its piano content lives up to its reputation. Here are joys indeed  -  and some of the greatest blues piano ever recorded.  Spand, Little Brother, Ezell,  Louise Johnson, Wesley Wallace, Garnett.  …I think the playing here must satisfy the most critical lover of the blues.” From those volumes we spin tracks by Little Montgomery, Charles Avery, Charlie Spand, Louise Johnson, Henry Brown and Jabo Williams.

“…The second volume”, Smith writes, “in our Piano Blues Series, will  be found very different in character to Volume One.  … Here on Brunswick a large  proportion of  the  piano blues bear a strong family resemblance and emotional  unity. This perhaps because several of the artists would seem to hail from the St. Louis area, and share that  hollow-chorded easy-rocking piano style.” The Piano Blues Vol. 3 is devoted to the Vocalion label which was founded in 1916 and acquired by Brunswick in 1925. These are particularly strong volumes and we included several tracks from these collections including Eddie Miller, Charles “Speck” Pertum, Lucille Bogan, Mozelle Alderson, Romeo Nelson and Joe Dean among others.

Read Liner Notes

Next to St. Louis, one of the most musically rich piano regions was Texas as Paul Oliver observed:  “Texas was as rich in piano blues as Mississippi was in guitar blues …A cursory glance through the discographies will emphasize the fact that a remarkable number of blues pianists came from Texas.” Four volumes in the series are devoted to the piano blues of Texas: The Piano Blues Vol. 4 – The Thomas Family 1925-1929, The Piano Blues Vol. 8 – Texas Seaport 1934-1937, The Piano Blues Vol. 11 – Texas Sante Fe 1934-1937 and The Piano Blues Vol. 15 – Dallas 1927-1929. The Texas pianists, Oliver notes, “…can be grouped into ‘schools’, characterized by certain similarities of style and approach, that were partly a reflection of the environments in which they worked, of their friendships and associations with other pianists, and by the isolation of Texas from other states.” One school was the so-called “Santa Fe group” who were based in the southwestern part of the state where the cities of Galveston, Houston and Richmond lie. Here was where the music thrived and pianists could be found like Pinetop Burks, Son Becky, Rob Cooper, Black Boy Shine, Andy Boy, Big Boy Knox, Robert Shaw, Buster Pickens and the singers who worked with them like Walter “Cowboy” Washington and Joe Pullum. The other important school was a cluster of pianists and singers based in Dallas such as Alex Moore, Texas Bill Day, Neal Roberts Willie Tyson, and singer Billiken Johnson. The earlier Texas piano tradition is documented on The Piano Blues Vol. 4 – The Thomas Family 1925-1929. As David Evans states: “It is likely that no family has contributed more personalities to blues history than the Thomas family of Houston, Texas, whose famous members included George W. Thomas, his sister Beulah “Sippie” Wallace, their brother Hersal Thomas, George’s daughter Hociel Thomas, and Moanin’ Bernice Edwards who was raised up in the family.”

Several volumes in the series are devoted to individual artists or a cluster of artists: The Piano Blues Vol. 6 – Walter Roland 1933-1935, The Piano Blues Vol. 7 – Leroy Carr 1930-1935, The Piano Blues Vol. 9 – Lofton-Noble 1935-1936 (Cripple Clarence Lofton and George Noble), The Piano Blues Vol. 12 – Big Four 1933-1941 (Little Brother Montgomery, Walter Davis, Roosevelt Sykes, Springback James) and The Piano Blues Vol. 18 – Roosevelt Sykes/Lee Green 1929-1930.

Read Liner Notes

Among the other volumes in the series we play tracks from The Piano Blues Vol. 5 – Postsript 1927-1935, The Piano Blues Vol. 13 – Central Highway 1933-1941, The Piano Blues Vol. 14 – The Accompanist and The Piano Blues Vol. 20 – Barrelhouse Years 1928-1933. Among the tracks we spin from these collections are Turner Parrish’s remarkable “The Trenches” who Bob Hall calls “an eccentric and probably unschooled pianist with nevertheless a considerable technique”, Georgia White accompanying herself on piano on the boisterous “The Blues Ain’t Nothin’ But…”, the obscure Pigmeat Terry who sings magnificently on the moving “Black Sheep Blues” accompanied by his own piano and the wonderful Pinetop and Lindberg’s “East Chicago Blues.”

The piano blues series officially concluded with The Piano Blues Vol. 21 – Unfinished Boogie 1938-1945 which collects unreleased recordings of Albert Ammons, Pete Johnson and Meade Lux Lewis. As mentioned previously two collections of recordings by Little Brother Montgomery were made at Smith’s home in 1960 and were the final albums issued on the Magpie imprint. Yazoo Records launched their own piano blues series also using 78’s from Smith’s collection. As far as I can tell the series has stopped but they issued seven excellent collections.

Related Articles:

Notes to The Piano Blues Vol. 8 – Texas Seaport 1934-1937, The Piano Blues Vol. 11 – Texas Sante Fe 1934-1937 and The Piano Blues Vol. 15 – Dallas 1927-1929 (Word Doc)

Show Notes:

When a woman get the blues, she goes to her room and hides (2x)
When a man gets the blues, he catches a freight train and rides
(Trixie Smith, Freight Train Blues)

For southern Blacks the appeal of the railroads has always been both a real and a symbolic one. For them the train was a symbol of power, of freedom and escape.  As blues historian Paul Oliver wrote: “In the slavery periods when they were unable to travel between districts without written ‘bonds’ from their owners, the snorting engines, with brilliant furnaces traces their progress and clouds of black smoke that hung in the still air above the tracks long after the screaming whistles had died away, inspired them in awe which their descendants still retain.” This image carried on, in the hard times of the 1920′s and 1930s’, when the southern Blacks struggled to make a living and saw the northern cities as their saviors, where work was plentiful and a better life was to be had. As the blues developed, the railroad featured prominently in the songs. Numerous songs were sung about individual trains such as the Flying Crow, the Sunshine Special and the Panama Limited, many simply abbreviated like the C&O (Chesapeake and Ohio), T&P (Texas Pacific) or the L&N (Louisville and Nashville), many songs dealt with the hobos who rode the rails, others dealt with working for the railroad while other songs retold the famous railroad ballads of John Henry, Railroad Bill and Casey Jones. Today’s show will spotlight all of these types of railroad blues.

The title of today’s program comes from the song by Henry Thomas. Thomas, nicknamed “Ragtime Texas”, was born in 1874 in Big Sandy, Texas. The 1874 date marks him as one of the eldest-born blues performers on record. Thomas was the archetypal rambling musician who went wherever the railroads would take him. According to Mack McCormick, as told to him from a former railroad conductor, “Ragtime Texas was a big fellow that used to come aboard at Gladewater or Mineola or somewhere in there. I’d always carry him, except when he was too dirty. He was a regular hobo, but I’d carry him most of the time. That guitar was his ticket.” Speaking of his famous “Railroadin’ Some”, William Barlow calls it the most “vivid and intense recollection of railroading” in all the early blues recorded in the 1920’s.

Among the famous railroad songs featured today are two associated with Leadbelly, “Rock Island Line” and ‘Midnight Special”, and the folk ballads Casey Jones, John Henry and Railroad Bill. John Lomax recorded “Rock Island Line” at the Cummins State Prison farm, Gould, Arkansas, in 1934 from its convict composer, Kelly Pace. Leadbelly, who was with Lomax at the time, rearranged it in his own style, and made commercial recordings of it in the forties. The song refers to the Chicago, Rock Island and Pacific Railroad. Lyrics appearing in the “Midnight Special” were first recorded in print by Howard Odum in 1905. The song was first commercially recorded on the OKeh label in 1926 as “Pistol Pete’s Midnight Special” by Dave “Pistol Pete” Cutrell and the following year by bluesman Sam Collins. In 1934 Lead Belly recorded a version of the song at Angola Prison for John and Alan Lomax, who mistakenly attributed it to him as the author. Leadbelly recorded at least three versions of the song, including the one we feature with the Golden Gate Quartet.

John Luther “Casey” Jones was an American railroad engineer from Jackson, Tennessee who worked for the Illinois Central Railroad. On April 30, 1900, he alone was killed when his passenger train collided with a stalled freight train at Vaughan, Mississippi on a foggy and rainy night. His dramatic death trying to stop his train and save lives made him a folk hero who became immortalized in a popular song. We spin two versions on today’s program: “Kassie Jones Pt. 1″ by Furry Lewis and “Southern Casey Jones” by Jesse James.

John Henry is an American folk hero, notable for having raced against a steam powered hammer and won, only to die in victory with his hammer in his hand. He has been the subject of numerous songs, stories, plays, and novels. The truth about John Henry is obscured by time and myth, but one legend has it that he was a slave born in Missouri in the 1840s and fought his notable battle with the steam hammer along the Chesapeake and Ohio Railway in Talcott, West Virginia. On today’s show we play a version by the duo The Two Poor Boys.

The legend of Railroad Bill arose in the winter of 1895, along the Louisville and Nashville (L&N) Railroad line in southern Alabama. Based loosely on the exploits of an African American outlaw known as “Railroad Bill,” tales of his brief but action-filled career on the wrong side of the law have been preserved in song, fiction, and theater. He has been variously portrayed as a “Robin Hood” character, a murderous criminal and a nameless victim of the Jim Crow South. He was never conclusively identified, but L&N detectives claimed he was a man named Morris Slater. Today we spin  “Railroad Bill” by Will Bennett.

Featured today are several songs about specific trains or railroad lines. Our opening track “Sunshine Special” by Blind Lemon Jefferson refers the train of the same name which was inaugurated by the Missouri Pacific Railroad on December 5, 1915, providing service between St. Louis, Little Rock, and destinations in Texas. The Sunshine Special served as the flagship of Missouri Pacific Railroad’s passenger train service. Several songs make reference to the Flying Crow, a train line connecting Port Arthur, Texas to Kansas City with major stops in Shreveport and Texarkana. Black Ivory King, Carl Davis & the Dallas Jamboree Jug Band, Dusky Dailey, Washboard Sam and Oscar Woods all recorded songs about the train. Other songs dealing with specific trains featured today include Jack Ranger’s “T.P. Window Blues” ( Texas Pacific Railroad), Lucille Bogan’s “T& NO Blues” (Texas and New Orleans Railroad), Sparks Brothers‘ “I.C. Train Blues” (Illinois Central Railroad), Little Brother Montgomery’s “A. & V. Railroad Blues” (Alabama & Vicksburg Railroad), Willie Brown’s “M&O Blues” (Mobile and Ohio Railroad), Billiken Johnson’s “Sun Beam Blues” (Sunbeam was a named passenger train operated from 1925 to 1955 between Houston and Dallas by the Texas and New Orleans Railroad), Andrew and Jim Baxter’s “K C Railroad Blues” (Kansas City Southern Railway), George Noble’s “The Seminole Blues” (Seminole Gulf Railway), and Pink Anderson & Simmnie Dooley’s “C.C. and O. Blues” (Chesapeake and Ohio). Sam Collins’ “Yellow Dog Blues” seems to refer to two trains. In 1903 W.C. Handy related how he heard a lean, raggedy, black guitarist in Tutwiler’s railroad depot, singing of going to where the “Southern cross the Yellow Dog.” The “Southern” was the Southern Railway which began operations in 1894.“The Dog” was the Yellow Dog, a name for the Yazoo Delta Railroad which opened in 1897.

Several songs like Bukka White’s ” Special Streamline” and Cripple Clarence Lofton’s “Streamline Train” refer to streamliners. A streamliner is any vehicle that incorporates streamlining to produce a shape that provides less resistance to air. The term is most often applied to certain high-speed railway trainsets of the 1930′s to 1950′s. For a short time in the late 1930s, the ten fastest trains in the world were all American streamliners.

Other trains immortalized in blues songs will be featured in the sequel to today’s show; trains such as the Cannon Ball (an Illinois Central passenger train routing between Chicago and New Orleans, now known as the City of New Orleans), the Santa Fe (Atchison, Topeka and Santa Fe Railway), the Seaboard (The Seaboard Coast Line Railroad), the Katy (the Missouri, Texas, Kansas, Texas line), the Big four (Cleveland, Cincinnati, Chicago & St. Louis Railroad ) and the New York Central among others.

Show Notes:

Blues writer Chris Smith wrote the following regarding Alabama blues: “Alabama attracted many folklorists, from John Lomax on down, seeking the oldest styles of black music in a state which long had a reputation for backwardness, poverty and racism. …Despite flourishing gospel quartet and piano traditions, the state’s blues are comparatively under-represented on ‘race’ records.”  As Paul Oliver noted: “For the recording men on their infrequent field trips, Memphis, Dallas and Atlanta were adequate (recording) centres. With talent scouts in each centre, and one placed in Jackson, they had the south ‘covered’ – for the commercial business of supplying enough talent for recording.  But the outcome of this was that Alabama was largely neglected by the location recording units and even by the talent scouts…” Nonetheless several Alabama artists cut records in the 20’s and 30’s including Ed Bell, Jaybird Coleman, George “Bullet” Williams, Ollis Martin, the Birmingham Jug Band, Lucille Bogan, Daddy Stovepipe and Pillie Bolling. There were also a number of excellent piano players based around Birmingham who got on record including Cow Cow Davenport, Jabbo Williams, Walter Roland and Robert McCoy. In addition there were some non-commercial recordings made including recordings made for the Library of Congress by John Lomax.

Ed Bell grew up in Greenville, Alabama, where he learned from an older cousin.  As well as sides under his own name, Bell also cut sides using the name Barefoot Bill and Sluefoot Joe. He cut sessions in 1927, 1929 and 1930 for Paramount, Columbia and the QRS label. He reportedly gave up the blues to become a Baptist minister in Montgomery, Alabama. Pillie Bolling was a Greenville associate of Ed Bell who cut two duets with Bell in 1930 and two solo sides.

There were several fine pianists based in Birmingham including Cow Cow Davenport,  Jabbo Smith, Robert McCoy and Walter Roland. Cow Cow Davenport is remembered most for his famous song “Cow Cow Blues” which is one of the earliest recorded examples of the Boogie-Woogie. Davenport learned to play piano and organ in his father’s church and was supposedly expelled from the Alabama Seminary in 1911 for playing Ragtime at a church function. 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 briefly teamed up with Blues singer Ivy Smith in 1928 and worked as a talent scout for Brunswick and Vocalion records in the late 1920s and played rent parties in Chicago. He moved to Cleveland, Ohio in 1930 and toured the TOBA vaudeville circuit and recorded with Sam Price. In 1938 he 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 1942 Freddie Slack’s Orchestra scored a huge hit with “Cow Cow Boogie” with vocals by Ella Mae Morse which sparked the Boogie-Woogie craze of the early 1940s. Davenport 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.

Jabbo Williams hailed from Birmingham Where he was likely discovered by Paramount in 1932. He also spent time in St. Louis. He cut eight sides during the depths of the depression all of which are exceedingly rare. Little is known about his background. “Polock Blues” takes its name form an area of East St. Louis while “Pratt City” refers to a suburb of Birmingham.

Robert McCoy spent virtually all his life in Birmingham and knew  the above pianists. At a Birmingham session in 1937 he backed artists Guitar Slim, Charlie Campbell and Peanut The Kidnapper. McCoy didn’t record under his own name until the late 50’s when a teenaged Birmingham blues fan recorded two albums by McCoy issued on his Vulcan label. Most of this material has be reissued on the Delmark CD Bye Bye Baby.

Likely born in or around Birmingham circa 1900, Walter Roland first emerged on the city’s blues circuit during the 1920s, presumably running in the same circles as Jabo Williams; a skilled, versatile pianist whose repertoire ran the gamut from slow blues to boogie-woogies, Roland was also a fine vocalist and even a talented guitarist. He went to New York City three times between 1933 and 1935 to record for ARC; during this same period he also accompanied Lucille Bogan, additionally recording with Josh White and Sonny Scott. Guitarist Sonny Scott cut fourteen sides for Vocalion in 1933 all backed by Walter Roland. After 1935 Roland activities remain unknown.

Lucille Bogan often focused on explicit sexual themes, like prostitution, adultery and lesbianism, and social ills such as alcoholism, drug addiction and abusive relationships. She was born in Mississippi but grew up in Birmingham. In 1923 she made her debut but the records apparently didn’t sell well because she didn’t record again until 1927 for the Paramount and Brunswick labels after moving to Chicago. Between 1933 and 1935 she performed and recorded under the pseudonym Bessie Jackson and worked with Walter Roland. Bogan’s recording career came to an end in 1935. In the late 1930s or early l940s, Bogan moved to the West Coast. She died in Los Angeles in 1948.

There were several fine harmonica blowers who hailed from Alabama including Jaybird Coleman, George “Bullet” Williams, Daddy Stovepipe and Ollis Martin. Jaybird Coleman was born in Gainsville, Al  and would perform at parties, both for his family and friends. Coleman served in the Army during World War I and after his discharge, he moved to the Birmingham, AL area. Coleman made recordings in 1927 and 1930 for Black Patti, Silvertone, Gennett and Columbia with all of the sessions recorded in Birmingham except his last which was cut in Atlanta. During the 30s and 40s, Coleman played on street corners throughout Alabama. He died in 1950.

Originally from Alabama, George “Bullet” Williams included superb train imitations and also an atmospheric “The Escaped Convict” at his only session in 1928. The latter title referred to the harsh convict-lease system in the South, which was still on the Alabama statute book in 1930.

Johnny Watson, alias Daddy Stovepipe, was born in Mobile, Alabama, on April 12th 1867 and died in Chicago, November 1st 1963. A veteran of the turn of the century medicine shows, he was in his late fifties when he became one of the first blues harp players to appear on record in 1924. He cut further sessions in 1927, 1931 and 1935. He later recorded with his wife, Mississippi Sarah, in the 1930s and spent his last years as a regular performer on Chicago’s famous Maxwell Street, where he made his last recordings in 1960.

Among the unknowns where harmonica artist Ollis Martin who cut one record in 1927 for Gennett. The Birmingham Jug Band recorded 9 sides at a single session in 1930 with a fine unknown harmonica player. It was once though Jaybird Coleman was a member of the group.  Bob Campbell cut four issued sides in 1934 including the fine “Starvation Farm Blues.”

There were a number of non-commercial recordings made in Alabama including sessions by John Lomax for the Libray of Congress.  Among those Lomax recorded were Tom Bell, Tom Bradford and Vera Hall. Lomax met Hall in the 1930s in Alabama and and recorded her for the Library of Congress. Lomax wrote that she “had the loveliest voice [he] had ever recorded.” She cut sides in 1937, 1939, 1940 and was recorded by Lomax’s son Alan in late 40′s and 50′s.

Show Notes:

Today’s show is the second installment of an ongoing series of programs built around a particular year. The bulk of the information for today’s show notes comes from the books Recording The Blues (reprinted along with two other titles in Yonder Come The Blues) by Robert M.W. Dixon and John Godrich and Blues & Gospel Records, 1890-1943 by Robert M.W. Dixon, John Godrich and Howard Rye.

The first year we spotlighted was 1927 which was the beginning of a blues boom that would last until 1930; there were just 500 blues and gospel records issued in 1927 and increase of fifty percent from 1926 a trend that would continue until the depression. The average blues or gospel record had sales in the region of 10,000. In 1928 the figure was 1,000 or so lower which was still a thriving market. Paramount, the market leader at the time, brought talent up to their northern studios. To feed the demand other record companies conducted exhaustive searches for new talent, which included making trips down south with field recording units. Between 1927-1930 Atlanta was visited seventeen times, Memphis eleven times, Dallas eight times, New Orleans seven times and so on. The record companies advertised their record in black newspapers, mainly in the Chicago Defender, which was the nation’s most influential black weekly newspaper.

During the peak years there were five major companies issuing records for the race market: Okeh, Columbia, Paramount, Brunswick-Balke-Collender (encompassing Brunswick and Vocalion (a division of Gennett). Victor was the only label  to systematically exploit the the blues talent around Memphis. Their second visit there, in January and February 1928, yielded three times as much material as their initial 1927 visit. Among those recorded were Blind Willie McTell, Jim Jackson, Memphis Jug Band, Frank Stokes, Tommy Johnson, Ishman Bracey, Furry Lewis, Cannon’s Jug Stompers among many others. In August alone the label cut some 180 sides, mostly by black artists.

Jim Jackson’s “Kansas City Blues” was the massive hit of 1927 and in 1928 that honor went to “How Long How Long Blues” by Leroy Carr and “It’ Tight like That” by Tampa Red and Georgia Tom, both records issued by Vocalion. The highly suggestive “It’ Tight like That” was cut in September of 1928 which was just a few months after Vocalion dropped their tag “Better and Cleaner Race Records.” Vocalion also cut several sides by Leroy Carr’s guitarist, Scrapper Blackwell in 1928. In 1928 Brunswick recorded Bo Carter, Fannie Mae Goosby and Hattie Burleson among others.

In 1926 Columbia and OKeh merged but the labels were run by separate management for three years after the merger and did not compete for the same artists. Since 1927 OKeh had been issuing a new record every six weeks by Lonnie Johnson and issued some two-dozen sides by him in 1927 and about half that number in 1928. After the takeover by Columbia, OKeh made no field recordings until 1928 when they visited Memphis where they recorded blues singers such as Tom Dickson and the now legendary recordings by Mississippi John Hurt. They also recorded Sloppy Henry and Uncle Bud Walker in Atlanta a few months afterwards. Lonnie Johnson went with the unit, himself recording in both Memphis and san Antonio. In San Antonio he backed Texas Alexander who OKeh had initially recorded in New York the previous August. Columbia also made field recordings in Atlanta and Dallas where they recorded blues singers such as Barbecue Bob and his brother Charley Lincoln, Pink Anderson with Simmie Dooley, Peg Leg Howell, Curley Weaver, Lillian Glinn among many others.

The only race company that made no field trips was Paramount. Despite this Paramount remained the market leader in records released and singers recorded. Paramount issued records by the many of the blues biggest stars.

Show Notes:

I’ve been trying to get a handle on my record collection in the last couple of weeks which seems to have escaped from my record room to take over the house. I still haven’t tamed my collection but did stumble upon some interesting records that are featured on today’s program. Among those are the following LP’s which are not available on CD: A Basket Of Blues (Spivey), James Brewer (Philo) and Indianapolis Jump (Flyright). A Basket of Blues is the the first album to be issued on Victoria Spivey’s Spivey record label and features sides by Lucille Hegamin, Hannah Sylvester, Victoria Spivey backed by a fine band featuring sax man Buddy Tate. A classic blues singer from the 1920′s, Lucille Hegamin survived long enough to be recorded again in the 1960′s. After performing in Seattle for a long period, Hegamin became one of the first blues singers to record in Nov. 1920, shortly after moving to New York. In addition to performing at clubs, Hegamin appeared in several Broadway shows in the 1920′s. She eventually left music, becoming a nurse in 1938. In the 1960′s she emerged, appearing at a few charity benefits before retiring from music again. In all, Lucille Hegamin recorded 68 selections between1920-26, two songs in 1932 and appeared on part of the1961 Bluesville album Songs We Taught Your Mother. She died in 1970. James Brewer was born in Brookhaven, Mississippi, moved to Chicago in the 1940′s where he spent the latter part of his life busking and performing both blues and religious songs at blues and folk festivals, on Chicago’s Maxwell Street and other venues. He was recorded by Swedish Radio in 1964, cut sides for the Heritage label and Testament plus cut the full-length albums Jim Brewer for Philo and Tough Luck for Earwig. Shirley Griffith learned first hand from Tommy Johnson as a teenager in Mississippi. Griffith missed his opportunity to record as a young man but recorded three superb albums: Indiana Ave. Blues (1964, with partner J.T. Adams), Saturday Blues (1965) and Mississippi Blues (1973), all of which are out of print.

Also while trying to organize my collection I stumbled upon a pile of CD’s on the Classics label which I evidently had plans to listen to at some point before they got buried. The Classics label is a French label that specializes in jazz and blues. Their Classics R&B series focuses on chronological resissues of post-war blues – essentially a post-war version of what the Document label does for pre-war blues. At this point the label probably has a couple of hundred releases out. The label provides a valuable service to collectors by resurrecting the output of many forgotten blues artists. Some are forgotten for a reason, others deserve a better fate but over all most don’t benefit from the chronological approach. To be fair these records were never intended to be listened to in this way, instead listeners back in the day bought the records one 78 at a time.

From the Classics catalog we spin records today by J.T. Brown, Andrew Tibbs, Tom Archia, King Perry and Jo Jo Adams. Andrew Tibbs got his start singing in church choirs. When he surreptitiously began singing blues in clubs, he used his middle name and his mother’s maiden name, becoming “Andrew Tibbs.” He was singing at Jimmy’s Palm Garden when Sammy Goldberg saw him at the club and signed him to Aristocrat; Leonard Chess saw commercial potential in recording Tibbs, and decided to invest in the company. Tibbs’ debut session has always been said to be the first one that Leonard Chess attended. After Aristocrat he cut sides for a variety of labels up until 1963. Sax man Tom Archia performed mostly in jazz and swing bands. He cut some R&B sides for Aristcrat in 1947-48 as well as backing blues singers Andrew Tibbs and Jo Jo Adams. Jo Jo Adams was among the most flamboyant singers of Chicago’s South Side who sang an urbane style of blues that prevailed in the 1940′s. He also danced, told dirty jokes, and showed off his wardrobe of loudly colored formal wear with extra-long coattails. More often than not he doubled as MC at the clubs he played. Between 1946 and 1953 he cut sides for Hy-Tone, Aristocrat, Aladdin, Chance and Parrot. Mississippi-born John T. Brown was a member of the Rabbit Foot Minstrels down south before arriving in the Chicago. By 1945, Brown was recording behind pianist Roosevelt Sykes and singer St. Louis Jimmy Oden, later backing Eddie Boyd and Washboard Sam for RCA Victor. He debuted on wax as a bandleader in 1950 on the Harlem label, subsequently cutting sessions in 1951 and 1952 for Chicago’s United logo as well as JOB. Brown also backed artists like Elmore James and pianist Little Johnny He issued sides on Meteor and a final 1956 date for United that laid unissued at the time. In January of 1969, he was part of Fleetwood Mac’s Blues Jam at Chess album, even singing a tune for the project, but he died before the close of that year.  King Perry played violin as a child, but switched to alto sax when he wished to join a local band. In 1945 he went to Los Angles, appearing in a show with Dorothy Donegan and Nat King Cole; while there he made his first recordings as a leader. He led a band called the Pied Pipers through the middle of the 1950′s, making many records and touring across the United States multiple times. He recorded for Melodisc, United Artists, Excelsior, De Luxe, Specialty, Dot, RPM, Lucky, Unique, Look, and Hollywood during this period. After 1954 Perry went into a hiatus from music, but returned to play after moving to Bakersfield in 1967. In the 1970s he played as a one-man band with organ, saxophone, and percussion. Around this time he also released a number of comedy albums for his own label, Octive.

Lots of piano blues on deck including sides by Sammy Brown, Roosevelt Sykes, Dr. Hepcat, Little Brother Montgomery, Cow Cow Davenport and Sunnyland Slim. Sammy Brown cut two issued sides for Gennett in 1927 possibly backed by pianist Cripple Clarence Lofton or his own piano. Charlie McFadden waxed two-dozen sides for a variety of labels between 1929-1937 backed by pianist Roosevelt Sykes on most. Lavada Durst Known as more colorfully as Dr. Hepcat was the first black disc jockey in Texas on Austin‘s KVET. He published The Jives of Dr.Hepcat based on his outlandish radio patter. As a piano player he was influenced by Pete Johnson, Meade Lux Lewis, and locally by Robert Shaw. He cut early records on Peacock, Uptown and later recordings on Documentary Arts. Cow Cow Davenport is remembered most for his famous song “Cow Cow Blues” which is one of the earliest recorded examples of the Boogie-Woogie. 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 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. He moved to Cleveland, Ohio in 1930 and toured the vaudeville circuit and recorded with Sam Price. In 1938 he 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. He died in 1955. Hound head Henry was a singer who cut eight issued sides in 1928 all backed by pianist Cow Cow Davenport and proves himself an expressive singer on “My Sweet Silver Dollar Mama.”

As usual a good dose of pre-war blues including sides by Tom Bell, Blind Boy Fuller, Memphis Minnie, JT Funny Papa Smith and Clifford Gibson. Gibson cut ten sides (four have either never been found or were never issued) in June 1929, four sides in November 1929, eight sides in December 1929 and two sides in 1931. In addition he did some session work and lasted long enough to wax a few scattered post-war sides in the 1950′s and 60′s. Funny Papa Smith who cut twenty issued sides between 1930 and 1931. He was a superb singer/guitarist and a marvelous lyricist. Tom Bell recorded eight sides for John Lomax and the Library of Congress in 1937 and 1940. Speaking of Lomax we jump to 1959 and a recording made of Boy Blue by Alan Lomax. Blue’s real name was Roland Hayes. “Joe Lee’s Rock” and a reading of John Lee Hooker’s “Boogie Chillen” are part of a treasure trove of recordings he made in the deep South in 1959. “By nine o’clock the stereo machine was sitting on the bar,” Lomax recalled. “Forrest City Joe and his two-piece orchestra, Boy Blue and his two accompanists, along with their girlfriends and other connoisseurs of the blues, were lapping up the liquor and the music. No New York technician would have approved of the acoustics. Between takes the place was a bedlam. …The crowd danced during all the playbacks.”

Babe Stovall

Also worth mentioning are sides by two very different artists; Blu Lu Barker and Babe Stovall. Singer Blue Lu Barker was born, raised, and buried in New Orleans. In both the 1930′s and 40′s she was one of the more popular blues performers, often appearing alongside artists such as Cab Calloway and Jelly Roll Morton. Barker’s most famous recordings were done in 1938. The early Barker material features her husband Danny on banjo and guitar and the couple would continue performing together until his death. Her career continued after that, all the way up to a last recording taped live in 1998 at the New Orleans Jazz and Heritage Festival. Born in 1907 in Tylertown, MS, Babe Stovall was the youngest of 11 children, most of them musicians. Stovall learned guitar when he was around eight years old, and was soon playing breakdowns, frolics, and parties in the area, even meeting and learning “Big Road Blues” from Tommy Johnson. In 1964 he moved to New Orleans, where he was “discovered” working as a street singer in the French Quarter. He recorded an LP for Verve in 1964, simply titled Babe Stovall, and did further sessions in 1966 and with Bob West in 1968 (which form the basis of The Old Ace, (released on Arcola in 2003 and the only collection currently available on CD), and became active on the folk and blues college circuit. He died in 1974.

Related Articles: (Word Docs)

-The Jives of Dr. Hepcat by Mike Rowe (Blues Unlimited no. 129, 1978)

-The Piano Blues of Dr Hepcat by Alan Govenar (Liner Notes, 1994)

-Lucille Hegamin – Blues & Views by Derrick Stewart-Baxter (Jazz Journal, 1970)