Entries tagged with “Monette Moore”.


ARTISTSONGALBUM
The Sparks BrothersEveryday I Have The Blues The Sparks Brothers 1932-1935
Memphis SlimNobody Loves Me Rockin' This House: Chicago Blues Piano 1946-53
Lowell FulsonEveryday I Have The BluesLowell Fulson 1948-49
Joe Williams & Count BasieEverydayComplete Clef-Verve Count Basie Fifties Studio Recordings
B.B. KingEveryday I Have The Blues Ladies & Gentlemen... Mr. B.B. King Disc
James (Beale Street) ClarkGet Ready To Meet Your Man 78
Jazz Gillum Look On Yonder Wall When The Sun Goes Down
Boyd GilmoreJust An Army BoyThe Modern Downhown Blues Sessions Vol. 1
Elmore James Look On Yonder Wall King of the Slide Guitar
Charlie SegarKey To The HighwayPiano Blues Vol. 2 1927-1956
Jazz Gillum Key To The HighwayBill ''Jazz'' Gillum Vol. 2 1938-1941
Big Bill BroonzyKey To The HighwayThe War & Postwar Years 1940-1951
Little WalterKey To The HighwayThe Complete Chess Masters 1950-1967
Madlyn Davis & Her Hot ShotsKokola BluesParamount Jazz
Scrapper BlackwellKokomo BluesThe virtuoso Guitar Of Scrapper Blackwell
Kokomo ArnoldOld Original Kokomo BluesThe Road To Robert Johnson
Charlie McCoy Baltimore BluesThe McCoy Brothers Vol. 1
Freddie SpruellMr. Freddie's Kokomo BluesMississippi Blues Vol.2 1926-1935
Robert Johnson Sweet Home ChicagoThe Centennial Collection
Big Boy Knox Eleven Light City Blues San Antonio 1937
Roosevelt SykesSweet Home ChicagoRoosevelt Sykes Vol. 10 1951-1957
Robert Lockwood Aw Aw Baby (Sweet Home Chicago)Rough Treatment: The J.O.B. Records Story
Earl HookerSweet Home Chicago Sweet Black Angel
Sara MartinAlabamy BoundSara Martin Vol. 4 1925-1928
Charles Johnson’s Original Paradise Ten & Monette MooreDon't You Leave Me HereThe Complete Charlie Johnson Sessions 1925-1929
‘‘Papa’’ Harvey Hull and Long ‘‘Cleve’’ ReedDon't You Leave Me Here Never Let The Same Bee Sting You Twice
Charlie Patton Elder Greene BluesScreamin' & Hollerin' The Blues: The Worlds Of Charley Patton
Big Joe WilliamsBaby Please Don't GoBig Joe Williams Vol. 1 1935 - 1941
Sam MontgomeryBaby Please Don't GoEast Coast Blues in the Thirties 1934-1939
Tampa KidBaby Please Don't GoThe McCoy Brothers Vol. 2
Vera Hall Another Man DoneThe Beautiful Music All Around Us
Muddy Waters Turn Your Lamp Down LowThe Complete Chess Recordings

Show Notes:

Today's show is a rather obvious one but for some reason I have never got around to it until now. Today we trace the origins and evolution of several classic blues songs. We provide the history and context behind classics like “Everyday I Have The Blues”, “Look On Yonder Wall”, “Key To The Highway”, “Sweet Home Chicago” and “Baby, Please Don't Go.” The impetus for this show came from blues expert Alan Balfour who I've been corresponding with for many years. While discussing Jazz Gillum he reminded me that  James Clark's  "Get Ready to Meet Your Man" was the first incarnation of "Look on Yonder Wall." To my surprise the song does not seem to have been reissued and Alan was nice enough to send an MP3 of the song which he took from a 78 copy he owned before selling it for a "silly" amount.

Robert Johnson: Sweet Home Chicago"Every Day I Have the Blues" was written by Pinetop Sparks and his brother Milton. The song was first performed in the taverns of St. Louis by the Sparks brothers and was recorded July 28, 1935 by Pinetop with Henry Townsend on guitar. In 1949 Memphis Slim recorded the song as "Nobody Loves Me." Although he used the Sparks brothers' opening verse, he rewrote the remainder of the lyrics. "Nobody Love Me" was released as the B-side to Memphis Slim's "Angel Child" single for Miracle — "Angel Child" became a hit (number six Billboard R&B chart), but "Nobody Loves Me" did not chart. However, when Lowell Fulson with Lloyd Glenn adapted Memphis Slim's arrangement, but used Sparks' earlier title, it became a hit and spent twenty-three weeks in the R&B chart, where it reached number three in 1950 Fulson's version, with sax and guitar solos, influenced B.B. King's later rendition of the song. Jazz singer Joe Williams had hits with two different recordings of the song. The first version, recorded with the King Kolax Orchestra in 1952, reached number eight in the R&B chart. In 1955 in New York, he recorded a second and perhaps the most famous version of the song with the Count Basie Orchestra, titled "Every Day." It spent twenty weeks in the R&B chart, where it reached number two. Also in 1955, B.B. King recorded "Every Day I Have the Blues" for RPM. King attributes the song's appeal to arranger Maxwell Davis: "He [Davis] wrote a chart of 'Every Day I Have the Blues' with a crisp and relaxed sound I'd never heard before. I liked it so well, I made it my theme … Maxwell Davis didn't write majestically; he wrote naturally, which was my bag. He created an atmosphere that let me relax."

"Look on Yonder Wall", or "Get Ready to Meet Your Man" as it was first named, was first recorded in 1945 by James "Beale Street" Clark.  Clark, also known as "Memphis Jimmy", was a blues pianist from Memphis, Tennessee. During the 1940's, he appeared on recordings by Jazz Gillum, Red Nelson, and an early Muddy Waters session, as well as several singles in his own name. Jazz Gillum, with whom the song is often associated, recorded a version on February 18, 1946, four months after Clark. Although the release was re-titled, it credits "James Clark" as the composer. In 1952 Boyd Gilmore cut “Just An Army Boy”, his version of the song, backed by Ike Turner on piano for the Modern label. In 1961, Elmore James recorded his version of "Look on Yonder Wall" as the flip side of "Shake Your Moneymaker" for the Fire label.

B.B. King: Everyday I Have The Blues

"Key to the Highway" was first recorded by blues pianist Charlie Segar in 1940. The song was also recorded by Jazz Gillum and Big Bill Broonzy and it was later a R&B record chart success for Little Walter in 1958. "Key to the Highway" is usually credited to Charles "Chas" Segar and William "Big Bill" Broonzy. Both Broonzy and Gillum claimed authorship of the song which was an enduring source of bitterness for Gillum. According to Broonzy, it is likely based on traditional songs: "Some of the verses he [Charlie Segar] was singing it in the South the same time as I sung it in the South. And practically all of blues is just a little change from the way that they was sung when I was a kid … You take one song and make fifty out of it … just change it a little bit." Segar's lyrics are similar or in some cases identical to those recorded by Broonzy and Jazz Gillum.

In 1941 Broonzy recorded "Key to the Highway" with Gillum on harmonica, Horace Malcolm on piano, Washboard Sam on washboard, and an unknown bassist.  Shortly after his friend Broonzy's death in 1958, in an apparent tribute to him, Little Walter recorded "Key to the Highway" as a Chicago blues. The session took place sometime in August and backing Walter (vocals and harmonica) were Muddy Waters (slide guitar), Luther Tucker (guitar), Otis Spann (piano), Willie Dixon (bass), and George Hunter or Francis Clay (drums). The song was a hit, spending fourteen weeks in the Billboard R&B chart where it reached #6 in 1958. In 2010, Big Bill Broonzy's version of "Key to the Highway" was inducted into the Blues Foundation Hall of Fame in the "Classics of Blues Recordings" category; in 2012, it received a Grammy Hall of Fame Award.

"One Time Blues" was recorded in March 1927 by Blind Blake for Paramount. Freddie Spruell had sung it as an alternate theme to end his record ‘‘Milk Cow Blues’’ on June 25, 1926. Several groups of blues were to use this melody. The most prominent was "Kokomo Blues,’’ first recorded by Madlyn Davis in November 1927 (mistitled "Kokola Blues,"), with a second recording by guitarist Scrapper Blackwell in June 1928. "Ko Ko Mo Blues" parts 1 and 2 was recorded by Jabo Williams for Paramount in 1932. Other "Kokomo" versions include Lucille Bogan' 1933 unissued number, Charlie McCoy (as "Baltimore Blues," 1934), Kokomo Arnold ("Kokomo Blues", 1934), and Big Boy Knox (as ‘"Eleven Light City", 1937). The set of lyrics with which the tune has long flourished is "Sweet Home Chicago," first recorded by Robert Johnson in November 1936. The lyrics evolving from the "Kokomo" group of songs.  Frank Busby cut "'Leven Light City (Sweet Old Kokomo)" in 1937 for Decca. The first post-war versions of the song were ‘‘Sweet Home Chicago’’ by Roosevelt Sykes recorded in 1954 followed by Robert Lockwood's "Aw Aw Baby (Sweet Home Chicago)" in 1955.

Madyln Davis: Kokola Blues

Big Joe Williams will forever be identified with "Baby Please Don’t Go," his own composition , but the melody actually emerged in 1925 out of Tin Pan Alley as "Alabamy Bound" by Ray Henderson, with lyrics by B. G. DeSylva and Bud Green. Both Lucille Hegamin and Sara Martin recorded versions of the song in 1925. The song soon found its way into more rural and downhome repertoires, sometimes as "Alabamy Bound" and sometimes as "Elder Greene." Charlie Patton recorded "Elder Greene Blues" in 1929 and Pete Harris recorded "Alabama Bound" for the Library of Congress in 1934. Harris’s version of "Alabama Bound" includes several lines about Elder Greene. Leadbelly also recorded "Alabama Bound" for the Library of Congress in 1935.

An intermediate step in the evolution of "Alabamy Bound" into "Baby, Please Don’t Go" was its almost immediate transformation into "Don’t You Leave Me Here." In this new guise, Thomas Morris was credited with writing the music, with Freddie Johnson composing the lyrics, first performed by Monette Moore, vocalist for Charles Johnson’s Original Paradise Ten, in 1927. The song became quite popular with down-home singers as either "Don’t Leave Me Here" or "Don’t You Leave Me Here.""Papa" Harvey Hull and Long "Cleve" Reed recorded a version on the Black Patti label the same year as Moore. Henry Thomas recorded it in 1929 and included a few lines from "Alabama Bound." Tampa Red recorded his version in 1932, Merline Johnson recorded hers in 1938, and Washboard Sam recorded a version in 1937. The most influential version, however, was Big Joe Williams’s 1935 recording of "Baby Please Don’t Go" which he cut again in 1941 and 1947, both backed by Sonny Boy Williamson. The first two artists to record "Baby Please Don’t Go" after Big Joe Williams were Sam Montgomery, who recorded it in the spring of 1936 and Tampa Kid, who recorded it in the fall of 1936. By the end of the Korean War, "Baby Please Don’t Go" had become a blues standard, and more than fifty versions were recorded. From the post-war era we spin Muddy Waters' 1953 version titled "Turn Your Lamp Down Low."

Another song that ties into this family of song is “Another Man Done Gone” first recorded by Vera Hall by John Lomax for the Library of Congress. In his book The Beautiful Music All Around Us author Stephen Wade talks bout this song: "When Vera recorded "Another Man Done" she told John Lomax that she learned it from her guitar-playing husband. …When writer-collector Harold Courlander came to Livingston in February 1950, he recorded both Vera singing 'Another Man Done,' as well as someone she knew: Willie Turner, a twenty-seven-year-old  confined at Camp Livingston. With his two fellow inmates, he sang and recorded 'Now Your Man Done Gone,' a piece they otherwise sang on the county road gang. …Two days before Courlander recorded Willie Turner at Camp Livingson, he stopped forty miles away in Marion, Mississippi. There he recorded a singer identified in his notes "only as Cora, who sang 'Baby Please Don't Go' . . . the same song, but with some variance in the lyrics."

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ARTISTSONGALBUM
Magic Slim She Is Mine 45
Magic Slim Scufflin Grand Slam
Alberta Brown How LongI Can't Be Satisfied Vol 2
Monette Moore Black Sheep BluesMonette Moore Vol. 2 1924-1932
Jenny Pope Bullfrog BluesMemphis Blues Vol. 4 1929-1953
Louis Armstrong Blues for Yesterday C'est Si Bon: Satchmo in the Forties
Louis Armstrong Back o' Town BluesC'est Si Bon: Satchmo in the Forties
Frank Tannehill Rolling Stone BluesRare Country Blues Vol. 4 1929-c.1953
Tommy McLennan Baby, Please Don't Tell On Me Bluebird Recordings 1939-1942
Washboard SamEvil BluesRockin' My Blues Away
Fluffy Hunter Hi Jinks BluesTough Mamas
Madonna Martin Rattlesnakin' Daddy Tough Mamas
James Russell I Had Five Long YearsPrison Worksongs
Big Joe Williams These Are My Blues (Gonna Sing ´Em For Myself)These Are My Blues
Blind Arvella GrayWalking BluesBlues From Maxwell Street
Precious Bryant Precious Bryant's Staggering BluesNational Downhome Blues Festival Vol. 1
Precious Bryant That's The Way The Good Thing Go George Mitchell Collection Box Set
'Talking' Billy Anderson Lonely Bill Blues The Great Race Record Labels Vol. 2
Blind Willie McTell Stole Rider BluesBest Of
Charley JordanHunkie Tunkie Blues Charley Jordan Vol.1 1930-1931
Teddy Darby She Thinks She's Slick Blind Teddy Darby 1929-1937
Zuzu Bollin Headlight BluesR&B Guitars 1950-1954
Jimmy Babyface Lewis Last NightComplete Recordings 1947-1955
Big Joe Turner Wine-O-Baby BoogieTell Me Pretty Baby
Al "Cake" Wichard Sextette & Jimmy Witherspoon Geneva BluesCake Walkin’: The Modern Recordings 1947-1948
Lee Roy LittleI''m a Good Man But a Poor Man Blues From The Apple
Charlie SaylesVietnamThe Raw Harmonica Blues Of
Johnny MomentKeep Our Business To YourselfI Blueskvarter Vol. 3
Robert Pete Williams Freight-Train Blues Louisiana Blues
Hammie NixonViola Lee Blues 2Way Back Yonder Vol. 1
Eugene Powell Poor Boy Blues Mississippi Delta & South Tennessee Blues
Magic Slim Stranded On The HighwayLiving Chicago Blues Vol. II
Magic Slim Ain't Doing Too BAdRaw Magic

Show Notes:

Magic Slim
Magic Slim

It seems these mix show end up as tributes to an increasing number of blues artists who've passed recently. This time out we pay our respects to Magic Slim and Precious Bryant. Along the way we spin a pair of bluesy numbers by Louis Armstrong, play a few sets of pre-war blues, spotlight some interesting field recordings as well as some jump blues from the post-war era.

I was lucky enough to catch Magic Slim on several occasions and he always delivered the goods, which is to say a good dose of gutbucket blues. After battling health problems Slim passed at the age of 75 on Feb. 21st. His mentor was Magic Sam, whom he knew as a child in Mississippi and who offered early encouragement. “Magic Sam told me don’t try to play like him, don’t try to play like nobody,” he once recalled. “Get a sound of your own.” It was also Magic Sam who gave a teenager named Morris Holt the stage name Magic Slim when the two performed together in Chicago in the 1950's. He recorded his first single, “Scufflin’,” in 1966 and formed the Teardrops with his younger brothers a year later. Magic Slim and the Teardrops eventually became the house band at a local nightclub, Florence’s. They went on to tour and record regularly, headlining blues festivals all over the world, and to win numerous awards, including the 2003 Blues Music Award as band of the year. Magic Slim recorded prolifically, cutting his first album for the French MCM label in 1977 with follow-ups on labels like Blind Pig, Alligator and Wolf. Among my personal favorites of Slim voluminous discography would be Grand Slam (Rooster), Raw Magic (Alligator) and the series on Wolf titled Live At The Zoo Bar (five vols. I think?) which really capture Slim and the Teardrops in prime form.

Unfortunately I never got to see Precious Bryant who passed away on January 12th. She was born in Talbot County, GA and went on to play numerous festivals including the Chattahoochee Folk Festival, the National Down Home Blues Festival in Atlanta (recordings by her appear on the companion albums), the King Biscuit Blues, Newport Folk Festival, Utrecht Blues Festival in Utrecht, Holland and others. She never went on tour and didn't release an album until Fool Me Good in 2002 although a few scattered sides were recorded in the field by George Mitchell. It was Mitchell, who discovered her in 1969 while documenting the lower Chattahoochee scene. She cut a follow-up album, The Truth, in 2005 and the same year cut an album on the Music Maker label.

Precious Bryant
Precious Bryant

When not listening to blues I do listen to quite a bit of jazz, particularly the older stuff, and have listened to Louis Armstrong's hot Fives and Hot Sevens countless times. I suspect, like many, I haven't really listened to many of his recordings after this period. Some time back I picked up the 4-CD box set C'est Si Bon: Satchmo in the Forties on the Proper label which is where today's tracks come from. Satchmo set the bar so high on those early recordings they're pretty much unsurpassable but this set very worthwhile.  Lots of good stuf from big band sides, duets with Ella Fitzgerald, Billie Holiday and great live recordings from the Town Hall and Symphony Hall with the All Stars. One of the songs, "Back o' Town Blues", was first recorded as an instrumental by the Original Memphis Five in 1923 on the Edison label.

From the pre-war era we spin some fine blues ladies including Monette Moore and Jenny Pope plus obscure male artists such as Frank Tannehill and 'Talking' Billy Anderson. Moore began her career accompanying silent films in Kansas City and then toured the vaudeville circuit as a pianist and singer. In the early 1920's she made her way to New York and became active in musical theater. Her recording career began in 1923. In 1927 and 1928 she was singing with Walter Page's Blue Devils in the mid-West. She returned to New York in 1929 and was very active in musical theater and cabaret work until the late 1930's. In the early 1940s, she moved to Los Angeles and performed in clubs, recorded with Teddy Bunn and the Harmony Girls and had small parts in a couple of films. From 1951 to 1953 she appeared on the Amos 'n Andy television program and recorded with George Lewis. Moore passed in 1962. From 1925 we spin her "Black Sheep Blues" (Virginia Liston cut the same song a few months later) which is not the same song as Pigmeat Terry cut in 1935 but offers a similar sentiment:

When you're thinking of black sheep
Just take a look at me
I'm the blackest of black sheep
That ever left old Tennessee

Lord from the straight and narrow path I've strayed
From the straight and narrow path I've strayed
With regrets and sorrows I have paid

Just a black sheep roamin' round the town (2x)
Like a tramp I'm always out and down

While Moore cut some fifty sides during her prime Jenny Pope was much less documented. Pope was married to Will Shade leader of the famous Memphis Jug Band. Pope cut six sides at three sessions in 1929 and 1930. She may have recorded with the Memphis Jug Band under the name Jennie Clayton. Pope delivers a great performance on "Bull Frog Blues", not to be confused with the William Harris song of the same name, with great piano playing from Judson Brown.

Little is known about Frank Tannehill and Billy Anderson. A pianist from Dallas, Texas Frank Tannehill backed Pere Dickson on his two 1932 recordings made in his hometown. Tannehill began his own recording career with two songs recorded in Chicago in 1937. 1938 found him in a San Antonio studio waxing four more songs. His third and final session was in 1941 in Dallas for a four song session. He was never heard from again. Nothing is known about Billy Anderson, other than the fact that two records were recorded under his name in 1927 and that he may have been from Georgia.

Mississippi Delta & South Tennessee Blues
Read Back Cover

Moving up the 1940's we spin some fine jump blues from ladies like Fluffy Hunter and Madonna Martin as well as Big Joe Turner and Al Wichard among others. Krazy Kat was a great British label that put out some really interesting anthologies. From the aptly title Tough Mamas we spin rocking tracks from Fluffy Hunter and Madonna Martin. Big Joe Turner's jumping  "Wine-O-Baby Boogie" features the mighty Pete Johnson on piano and comes from the album Tell Me Pretty Baby a fine collection of late 40's sides issued on Arhoolie.  Al Wichard's "Geneva Blues" features Jimmy Witherspoon on vocals. Wichard was born in Welbourne, Arkansas, on August 15th, 1919 but the steps by which he arrived in Los Angeles as a drummer in 1944 remain shadowy. He managed to record with Jimmy Witherspoon and Jay McShann within weeks of his arrival, and in April 1945 was the drummer on Modern’s first session, accompanying Hadda Brooks. Wichard's is collected on the reissue on Ace, Cake Walkin’: The Modern Recordings 1947-1948.

Last week I did a whole show devoted to great out-of-print records and today we feature a couple from the Albatros label: Mississippi Delta & South Tennessee Blues and Way Back Yonder Vol. 1. Albatros is an interesting label that has not been all that well served on CD. The label was active from the early 70's through the early 80's issuing reissues of pre-war recordings, folk material and most interestingly, to me anyway, is several volumes of field recordings by label owner Gianni Marcucci. Marcucci came to the States in the 70's and captured some fine field recordings  between 1976 and 1978 in Tennessee and Mississippi. Several of these collections have long been out-of-print including all three volumes of the Way Back Yonder series, the collections Mississippi Delta & South Tennessee and I Got The Blues This Morning and single artists albums by Eugene Powell (Police In Mississippi), Carey Tate (Blues From The Heart) and Jack Owens (Bentonia Country Blues). A while back Marcucci formed the Mbirafon imprint which so far has issued collections of field recordings of Sam Chatmon and Van Hunt. I've heard through the grapevine there was a Eugene Powell 2-CD planned. The label hasn't issued anything in awhile and I wouldn't be surprised if Marcucci got discouraged due to general lack of interest in these kinds of project. I, for one, hope he forges ahead. I should also mention that are three Albatros collections available on CD: Tennessee Blues Vol. 1, 2, and 3 which have very good performances from Laura Dukes, Dewey Corley, Bukka White and others.

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