Entries tagged with “Sippie Wallace”.


ARTISTSONGALBUM
Julia MoodyPolice BluesTight Women And Loose Bands
Julia MoodyMidnight DanTight Women And Loose Bands
Leroy CarrEleven Twenty-Nine BluesWhiskey Is My Habit, Women Is All I Crave: The Best of Leroy Carr
Furry LewisJudge Harsh BluesWhen The Sun Goes Down
Romeo Nelson1129 Blues (The Midnight Special)Boogie Woogie & Barrelhouse Piano Vol. 2 1928-1930
Big Joe WilliamsAll I Want Is My Train Fare Home A Man Sings The Blues Vol. 1
Big Joe WilliamsCow Cow BluesA Man Sings The Blues Vol. 2
Scott Dunbar It's So Cold Up NorthBlues From The Delta
Lee KizartDon't Want No Woman Telling Me What To DoBlues From The Delta
Lovey WilliamsTrain I RideBlues From The Delta
Roosevelt SykesJivin' the JiveRoosevelt Sykes Vol. 7 1941-1944
Hal SingerDisc Jockey BoogieHal Singer 1948-51
J.B. Lenoir Everybody Is Crying About VietnamBye Bye Bird
Junior WellsVietnam BluesLookout Sam
Smoky BabeBoss Man BluesWay Back in the Country Blues
Smoky BabeGoin' Home BluesWay Back in the Country Blues
Scrapper BlackwellAlley Sally BluesScrapper Blackwell Vol. 2 1934-1958
Robert WilkinsNew Stock Yard BluesMasters of the Memphis Blues
Rocky Fuller (Louisiana Red)The Moon Won't Go DownForrest City Joe & Rocky Fuller: Memory Of Sonny Boy
Robert Pete WilliamsMidnight BoogieBye Bye Bird
Mississippi Fred McDowellI Walked All The Way From East St LouisGood Morning Little Schoolgirl
Arizona DranesI Shall Wear A CrownVintage Mandolin Music
Otis SpannMake A WaySweet Giant of the Blues
Blind Willie McTellLay Some Flowers On My GraveThe Best Of
Peetie WheatstrawBring Me Flowers While I'm LivingPeetie Wheatstraw Vol. 7 1940-1941
Sippie WallaceUp The Country BluesSippie Wallace Vol. 1 1923-1925
Blind Willie McTellStatesboro BluesThe Best Of
De Ford Bailey Up The Country BluesHistory Of Blues Harmonica 1926-2002
Co Cow DavenportPlenty Gals BluesCow Cow Davenport - The Accompanist 1924-1929
Lil JohnsonMinor BluesLil Johnson Vol. 1 1929-1936
Sippie WallaceWoman Be WiseUp The Country

Show Notes:

Julia Moody - Midnight DanToday's mix show has several themes and featured artists running throughout. On deck today we play songs revolving around the term "11-29" and spin a trio of songs based on Sippie Wallace's "Up The Country Blues." We also feature twin spins form Julia Moody, Big Joe Williams and Blind Willie McTell. We hear some fine down-home blues including previously unreleased sides from Smoky Babe and a trio of tracks from the long out-of-print Blues From The Delta album. We spin some fine piano blues by Otis Spann, Arizona Dranes, Cow Cow Davenport, Montana Taylor and Roosevelt Sykes. In addition we play several recordings from the American Fol Blues Festival.

Sippie Wallace made her first record in 1923 and her last in 1984. Thomas grew up in Houston, Texas where she sang and played the piano in her father's church. While still in her early teens she and her younger brother Hersal and older brother George began playing and singing the Blues in tent shows that traveled throughout Texas. In 1915 she moved to New Orleans and lived with her older brother George. During her stay there she met many of the great Jazz musicians like King Oliver and Louis Armstrong who were friends of her brother George. During the early 1920s she toured the TOBA vaudeville circuit where she was billed as "The Texas Nightingale". In 1923 she followed her brothers to Chicago and began performing in the cafes and cabarets around town. In 1923 she recorded her first records for Okeh and went on to record over forty songs for them between 1923 and 1929. “Up The Country Blues b/w Shorty George Blues” was her debut and an immediate success. The songs were written by her brother George. Blind Willie McTell borrowed part of the lyrics for his classic "Statesboro Blues." "Statesboro Blues" was covered famously by Taj Mahal in 1968 and The Allman Brothers in 1971. We also play De Ford Bailey's superb instrumental of "Up The Country Blues" from 1927.Interestingly, in December 1923, just a few months after Sippie's recording, a singer by the name of Tiny Franklin cut six sides backed by Wallace's brother George on piano which included versions of "Up The Country Blues" and "Shorty George Blues,”

"11-29," is a reference found in a number of blues songs dealing with the subject of court sentencing in southern states for criminal behavior. The sentence was often the maximum for a misdemeanor crime, thus keeping the convict in local confinement as long as possible. This interpretation is borne out in a number of blues songs. Blac ks were often given more severe sentences than whites in a local court of law. And the experience of either county or state incarceration during the historical period that shaped early blues lyrics was, in reality, very cruel. We play a trio of songs using the theme including Leroy Carr's "Eleven Twenty-Nine Blues", Furry Lewis' "Judge Harsh Blues" and Romeo Nelson's "1129 Blues (The Midnight Special)."  Charley Patton refers to the "11-29" jail sentence of eleven months and twenty-nine days in "Jim Lee Blues, Part 1" recorded in 1929 which I've played several tomes on the show: "When I got arrested what do you reckon was my fine?/Say they give all coons eleven twenty-nine."

A Man Sings The Blues Vol. 1
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We spotlight twin spins today by Big Joe Williams and Julia Moody. Thes Big Joe Williams  songs were released two four-song EP's on the British Jen label (A Man Sings The Blues Vol. 1 & 2). These sides were recorded in the summer of 1957 in Chicago by Erwin Helfer who plays the piano on these sides.

Not much is know about Julia Moody who cut sixteen sides between 1922 and 1925. She was known to have been involved in the stage prior and after her brief recording career. Our two songs "Midnight Dan" and "Police Blues" come from her final 1925 session and find her backed by a fine jazz band called the Dixie Wobblers. "Midnight Dan" has a dramatic feel which probably owes to Moody's stage background while Police Blues" is a wonderfully sung slow blues:

I walked to the corner, 31st and State (2x)
I was so worried til' I stayed too late
Just standing on the corner, I didn't mean no harm (2x)
Along come the policeman, and took me by my arm
Carried me to the station, and I was full of booze (2x)
That's why I'm worried about those police blues

We play a trio of songs from the album Blues From the Delta which was the companion album to the book of the same name by William Ferris. The recordings were made in the summer of 1968 and included the debut recordings James “Son” Thomas. The album also includes excellent recordings by under-recorded artists such as Lovey Williams, Scott Dunbar and Lee Kizart.

Born in Itta Bena, Mississippi, Robert Brown AKA Smoky Babe had found his way to Scotlandville, Louisiana by the age of 20. It was there that Harry Oster recorded him on several occasions between 1959-1961 with material appearing on the labels Folk-Lyric, Storyville and Bluesville. Smoky cut two full length albums: Smoky Babe and His Friends and Hottest Brand Goin' plus a few scattered sides on different anthologies. The recordings featured today are previously unreleased and have just been issue on Way Back in the Country Blues on Arhoolie Records. As the notes state: "Upon Harry’s death in 2001, his widow Caroline shipped what was understood to be the balance of his tapes. Nowhere in the pile were the unissued Smoky Babe recordings. Recently, in the early stages of preparing a box set of Harry’s work, we noticed that many other known recordings of his were missing from our collection, and reached out again to Caroline to see if any had been overlooked. The following week, a shipment of boxes arrived filled with tapes dating back to Harry’s Louisiana days. Among this last batch were several reels of Smoky Babe containing many unissued recordings as strong as anything previously available. This record represents what we feel is the best of those long lost performances."

The American Folk Blues Festival (AFBF) was an annual event, beginning in 1962, that featured the cream of American blues musicians barnstorming their way across Europe. The recordings from these tours have been collected on numerous anthologies over the years. Toda's AFBF recordings come from the Scout label which was Horst Lippmann's and Fritz Rau's label preceding L + R Records. Lippmann' and Rau were the men responsible for organizing the AFBF. Just about everything on the label was from the concerts and today we feature the following collection: Look Out Sam!Bye Bye Bird…and Up The Country!.

Blues From The Delta
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We feature terrific piano blues and gospel piano today from Otis Spann, Arizona Dranes, Cow Cow Davenport, Montana Taylor and Roosevelt Sykes. Leaving Muddy Waters’ group in 1968, Otis Spann made a flurry of recordings, including an album with Fleetwood Mac as his backing band. It was at this point Bob Thiele invited him to record for his Bluestime label. The album, Sweet Giant Of The Blues, has now been reissued by Ace Records. Unfortunately, his health had been compromised by years of alcohol abuse and he died a few months after these recordings at the age of 40.

Arizona Dranes born was born blind in 1889 or 1891. Between 1926 and 1928, Dranes recorded sixteen numbers for OKeh Records and soon became a gospel music star. Unfortunately, her recording career suffered due to misunderstandings between Dranes and the record company’s executives. After 1928 and until her death in 1963, Dranes served the Church of God in Christ by performing at churches around the country, quickly falling into near-complete obscurity (her last public appearance, where she was billed as the “Famous Blind Piano Player,” was in 1947).

Cow Cow Davenport, Montana Taylor and Roosvelt Sykes were some of the great early piano players. We hear Taylor playing superbly behind Lil Johnson's debut record "Minor Blues" which went unissued and hear Davenport on "Plenty Gals Blues" backing obscure singer Memphis Joe (Joe Byrd). Roosevelt Sykes is heard on the jumping "Jivin' the Jive" from 1944 backed by a combo that included Ted Summit on guitar and Jump Jackson on drums.

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ARTISTSONGALBUM
James "Pee wee" MadisonLast NightThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Otis SpannWonder WhyThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Muddy Waters BandBlues For SpiveyThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Otis SpannDiving MamaThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Otis SpannShe's My BabyThe Bluesmen of the Muddy Waters Chicago Blues Band, Vol. 2
Babe StovallMy Brown Is A MistreaterEncore! for the Chicago Blues
Big Joe WilliamsMove Your HandEncore! for the Chicago Blues
John Henry BarbeeSix Week Old BluesEncore! for the Chicago Blues
Olive BrownWoman's LamentEncore! for the Chicago Blues
J.B Lenoir Korea BluesEncore! for the Chicago Blues
Roosevelt SykesDirty Mother Fuyer Encore! for the Chicago Blues
Big Joe WilliamsDrifting BluesKings and the Queen Volume Two
Memphis SimEuropean BluesKings and the Queen Volume Two
Roosevelt SykesSleeping All Day BluesKings and the Queen Volume Two
Bukka White Brownsville Tennessee Spivey's Blues Cavalcade
Johnny Shines, Big Walter Horton & Sunnyland SlimNidnight DarlingSpivey's Blues Cavalcade
Buster BentonI Must Have A Hole In My HeadThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Carey BellOne Day You're Going To Get LuckyThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Larry JohnsonMy Hoodoo DoctorThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Victoria SpiveyI'm Taking OverThe All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band
Otis SpannI'm AccusedUp in the Queen's Pad
Otis SpannVicksburg BluesUp in the Queen's Pad
Sunnyland SlimBlues Drive Me Out Of My MindVictoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
Cryin' Marie DixonThree O'Clock In The MorningVictoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo
Lonnie JohnsonBe CarefulKings and the Queen Volume Two

Show Notes:

Victoria Spivey
Victoria Spivey


Spivey Records was a blues record label, founded by blues singer Victoria Spivey and her partner and jazz historian Len Kunstadt in 1961. The label was originally called Queen Vee Records, changing the name to Spivey records the following year. I believe only a couple of 45's were issued under the Queen Vee imprint. Spivey Records released a series of blues and jazz albums between 1961 and 1985. Most sessions took place at New York’s famous Cue Studios, some happened late at night at Victoria and Lenny's home studio while others took place at informal setting like hotel rooms or even at Willie Dixon's home in Chicago. Spivey put out some very eclectic records, with varying quality but through Spivey's connections she managed to get top notch artists to record for her including Big Joe Williams, Lonnie Johnson, Roosevelt Sykes, Otis Spann, Memphis Slim among many others. Spivey died in 1976 but the label continued until the death of Len Kunstadt in 1996. The whole catalog included some forty albums. Today is part two of our selective look at the Spivey label, focusing on the records and sessions done before Spivey passed away. The bulk of the Spivey catalog has never been issued on CD. Below is a summary of today's featured albums.

10084 10104
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Spivey's companion Len Kunstadt was the editor and publisher of Record Research magazine, which he founded in the late 1950's and was Spivey's agent, manager and long time partner. In an interview with Norbert Hess he had this to say: "Victoria knew the musicians and scouted for new talent. This went on for 16 years. In my opinion, from 1961 up to her death in 1976, she was more creative than ever before. Her fantastic way of winning over Willie Dixon and Muddy Waters for our company, and her concern for Bob Dylan. Sometimes I thought she was crazy. I could tell a lot of stories. The musicians would have killed for her. At first, they didn't like her, but after a split second they became her fans up to the very end. She was sometimes a little difficult because she was a genius."

Victoria Spivey & Muddy Waters Band
Photo from Otis Spann's 1967 Bluesway session: l to r – Otis Spann, Lucille Spann, Len Kunstadt, Victoria Spivey and Muddy Waters (photo by Denns Chalkin).

Before summarizing today's featured albums it's worth giving some background on Spivey's career. Spivey learned to play piano and sing when she was quite small, and by age twelve she was performing at the Lincoln Theatre, until the manager discovered she couldn’t read music. She continued to play at house parties and clubs, learning from local musicians such as John Calvin, and occasionally sharing a gig with Blind Lemon Jefferson. By age twenty, she had moved to St. Louis, where she made her first record for OKeh, the legendary "Black Snake Blues." The year 1928 saw Spivey teaming up with Lonnie Johnson to record a number of double-entendre vocal duets that sold quite well, but she continued to write songs and record for OKeh until she took time off to appear in King Vidor’s film Hallelujah in 1929. When she returned to the recording studio in late 1929, she was under contract to Victor. Spivey continued to record throughout the 1930s, for both Decca and Vocalion, and as her recording career ended, she hit the road, traveling with the Olsen and Johnson’s "Hellzapoppin’" troupe, owning a club in East St. Louis, and finally retiring to work in the church. But in the 1960's she came out of retirement to appear at clubs such as Gerdes Folk City. Before forming her label she reunited with Lonnie Johnson appearing on his album Idle Hours for Bluesville in 1961, he in turn backed her on her album Woman Blues and she also appeared on Songs We Taught Your Mother alongside Alberta Hunter and Lucille Hegamin. There was also a session for Folkways in 1962. Beginning in 1962 Spivey wrote a semi-regular column in Record Research called Blues Is My Business.

Victoria Spivey Presents The All Stars BLUES WORLD of Spivey Records in Stereo was the eleventh record on the Spivey label. The album comprises of sessions recorded at Willie Dixon home in Chicago in 1969 and sessions done in New York in 1970. Dixon is helped out by hs Blues All Stars which include Sunnyland Slim, Johnny Shines, Clifton James and Cryin’ Marie Dixon. Accoring to the notes there's big news: "ATTENTION: SMOKEY HOGG IS NOT DEAD!!" At least that's what Victoria Spivey thought when she "rediscovered" him in Brooklyn, N.Y. and what Len Kunstadt thought when he penned the liner notes for the album. Smokey actually passed in 1960 and this was Willie Anderson Hogg. He calimed to have recorded in the pre-war era but these sides for Spivey are his only know legacy.

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The Muddy Waters band cut two albums for Victoria Spivey's Spivey label: The Bluesmen of the Muddy Waters Chicago Blues Band (1966) and The Bluesmen of the Muddy Waters Chicago Blues Band Vol. 2 (1968). The Muddy Waters records are the only ones I know that have been issued on CD. These came out on the Japanese P-Vine label with several extra tracks. Today we feature tracks from the second volume. Muddy Waters is listed as "Main Stream" for contractual reasons and probably doesn't play on all the tracks. These sessions were recorded after a 1966 date at New York's Cafe Au Go Go. The performance was written up by Len Kunstadt in Record Research 83 (1967) and concludes with "Victoria Spivey, perhaps their greatest fan, and a lucky devil, was fortunate to capture some of the sounds of Otis, George, Luther, Sammy and Francis for the latest release on the Spivey label." As Kunstadt wrote of their live performance: "There was a combustible spark in the atmosphere – and every time Muddy would hit the stand and tell the throng 'He Had Been Mistreated' or he was the 'Hootchie Cootchie Man' or he would confide in you about his 'Five Long Years' the audience exploded into applause and rapport. Muddy and his band were keyed to greatness. OTIS SPANN, Muddy's 'Little Brother', was the anchor man and cohesive agent of the group with his brilliant dominant blues piano."

Otis Spann appears on several Spivey albums including both volumes of the The Bluesmen of the Muddy Waters albums, The Everlasting Blues vs. Otis Spann and Up In The Queen's Pad. As Spivey wrote in a column in Record Research magazine in 1970 shortly after Otis' passing: “He was like a son, a brother and what a pal. Otis came into my life in 1963 during that American Folk Blues Festival (same one with Lonnie!) that toured all over Europe. …The European tour was really fine but Otis and his crazy lovable ways made it wonderful.”

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Encore! for the Chicago Blues was the ninth album on the Spivey label and a sequel to Chicago Blues
A Bonanza All Star Blues LPreleased in 1964. According to the notes: "This album is a sequel anthology to Spivey LP 1003 which commentated Victoria Spivey's first visit to Chicago in over 25 years. An informal blues party was given by host Willie Dixon in which such colorful talented artists as Homesick James, St. Louis Jimmy, Sunnyland Slim, Washboard Sam, Koko Taylor, Evans Spencer, John Henry Barbee and Willie himself, Miss Spivey by recording for her youthful record company. …Most of the artists are back again. In addition bonus tracks from studio and field recordings by other fine performers supplement the 'regulars'."

Kings And The Queen Volume Two was issued in 1970 and a sequel to Three Kings And The Queen issued several years earlier. Some of these sessions are likely from the same as the first volume and others probably later. Once again Bob Dylan appears alongside Victoria and Big Joe on a couple of songs. Alos appearing are Lonnie Johnson, Memphis Slim and Roosevelt Sykes. Both volumes of have been reissued on the European Doxy label on 180 gram vinyl only releases.

Spivey's Blues Cavalcade was issued in 1970 and the fifteenth album on the Spivey label. This is a grab bag of tracks with some of these recorded in the 60's – leftover tracks from previous Spivey albums.

By the end of the 1960s, Willie Dixon was eager to try his hand as a performer again, a career that had been interrupted when he'd gone to work for Chess as a producer. He recorded an album of his best-known songs, I Am the Blues, for Columbia Records, and organized a touring band, the Chicago Blues All Stars, to play concerts in Europe. Among the albums he cut during this period was 1973's Victoria Spivey presents The All Star Blues World of Maestro Willie Dixon and his Chicago Blues Band. This is a terrific outing spotlighting a great band that included Buster Benton, Carey Bell, Lafayette Leake and Larry Johnson.

Victoria Spivey began endorsing Otis Spann, telling the world of his genius – in her own inimitable way – via the pages of of her column in Record Research, and sporadically recording him for her Spivey Records label between 1967 and 1969. The sessions that comprise Up In The Queen's Pad were recorded in 1968 and 1969 at Spivey's home in Brooklyn backed by guitarist Sammy Lawhorn. The album was issued posthumously, possibly around 1980. One other song from this session appears on the album Spivey's Blues Showcase.

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ARTIST
SONG
ALBUM
Ivy SmithGin House Blues Ivy Smith & Cow Cow Davenport 1927-1930
Clara SmithWoman to Woman The Essential
Issie RinggoldBe On Your Merry WayBlue Girls Vol. 2 1925-1930
Frank BusbyPrisoner BoundBill Gaither Vol. 2 1936-1938
Keghouse Canned Heat Blues Piano Blues Vol. 4 1923-1928
Eugene Powell Pony Blues (Santa Fe) Blues At Home Vol. 3
John JacksonPoor BoyThe Blues Revival Vol. 1 1963-1969
Nugrape TwinsThe Road Is Rough & RockySinners & Saints 1926-1931
Mississippi John Hurt Praying On The Old Camp Ground Avalon Blues: The Complete 1928 OKeh Recordings
Eddie Head & His FamilyDown On MeAmerican Primitive Vol. I
Louisiana Red I'm a Roaming StrangerThe Lowdown Back Porch Blues
Howlin' Wolf Poor BoySmokestack Lightning: The Complete Chess Masters 1951-1960
Big Moose Walker Footrace to a Resting Place/Wrong Doing WomanTo Know A Man
Samuel Brooks Oh the Sun's Goin' Down and I Won't Be Here LongField Recordings Vol. 3: Mississippi 1936-1942
George BoldwinCountry Girl Blues Mississippi Blues & Gospel 1934-1942
Willie Ford & Lucious CurtisHigh Lonesome HillMississippi Blues 1940-42
Joe Linthecome Humming BluesHokum, Blues & Rags 1929-1930's
The Three Stripped Gears1931 Depression BluesThe Stuff That Dreams Are Made Of
Jesse AndersonYou'd Better Think TwiceWelcome To The Club
Johnny Twist WilliamsTeach Me HowDown On Broadway And Main
Jimmy NolenStrollin' with Nolen Strollin' with Nolen
Unknown Female SingerAngel ChildField Recordings Vol. 3: Mississippi 1936-1942
Mattie DorseyStingaree BluesBarrelhouse Women Vol. 2 1924-1928
Frank StokesNehi Mama Best OfSara Martin Vol. 4 1925-1928
Blind Joe ReynoldsNehi Mama Blues Blues Images Vol. 5
Joe Turner with Albert Ammons Rock Of Gibraltar Blues Albert Ammons: Alt. Takes, Radio Perfs & Uniss. Home Recordings
Duke HendersonBeggin And PleadinDust My Rhythm & Blues: Flair Records R&B Story
Gene ParrishScreamin' In My SleepRhythm 'n' Blues Shouters
Sippie Wallace Parlor Social De LuxeI Can't Be Satisfied Vol. 2
Sara MartinDown At The Razor BallSara Martin Vol. 3 1924-1925
Blind Willie McTellRazor Ball The Great Race Record Labels Vol. 2: Columbia
Washboard SamDown At The Bad Man's HallWashboard Sam Vol. 5 1940-1941
Bill Gaither Wintertime BluesBill Gaither Vol. 4 1939
Lightnin' SlimWintertime BluesWe Gotta Rock Tonight

Show Notes: 

Our first mix show of the new year finds us digging deep into the pre-war blues catalog featuring several fine artists who left us with only a few 78's, several well known artists like Clara Smith and Blind Willie McTell and some interesting field recordings. From he post-war era some excellent Chicago blues, a few blues shouters, some down-home blues and a few gospel items. We also explore the origins of a well known blues theme.

Frank Busby" 'Leven Light CityWe hear from several superb blues ladies including Ivy Smith and Clara Smith. Ivy Smith hailed from Birmingham, Alabama and primarily worked with pianist Cow Cow Davenport. She was a good singer who cut close to two-dozen sides between 1927-1930. Clara Smith was a much bigger name although perennially eclipsed by Bessie Smith. In 1923 she settled in New York, appearing at cabarets and speakeasies there and that same year made her first records for Columbia Records, for whom she would continue recording through to 1932. She cut over a hundred sides often with the backing of top musicians like Louis Armstrong, Charlie Green, Joe Smith, Fletcher Henderson, Lonnie Johnson and James P. Johnson. Today we feature the lovely "Woman to Woman" from 1930 that features Smith's voice at her best with sympathetic cornet work from Ed Allen.

Then there's the lesser knowns such as Issie Ringgold who waxed one 78 in 1930 for Columbia and was the sister of Muriel, a star on Broadway, Mattie Dorsey who cut four sides for Paramount in 1927 and the unknown field recording of a woman singing "Angel Child" recorded by Alan Lomax in 1942.

Several of the of the male singers featured today are also one hit wonders: Joe Linthecome was an expressive, light voiced singer who cut one marvelous 78  ("Humming Blues b/w Pretty Mama Blues") for Gennett in 1929, Frank Busby was a sensitive singer who cut one 78 ("'Leven Light City b/w Prisoner Bound") in 1937 for Decca backed by Bill Gaither (we also spin Gaither's "Wintertime Blues" today) on guitar and Honey Hill on piano, the Three Stripped Gears were a string band possibly from Georgia, and possibly white, who cut four superb instrumentals and pianist Keghouse who waxed ten sides in 1928 for Okeh and Vocalion, only four of which were issued. Keghouse also recorded a couple of numbers backed by Lonnie Johnson and Thomas "Jaybird" Jones. Jones also made field recordings for Lewis Jones in Clarksdale, Mississippi in 1941-1942 and performs "The Keghouse Blues." In the spoken introduction he talks about his friend Keghouse and how they went to Memphis to make records for Okeh and how he died shortly afterwards.

As anyone who's listened to this program knows I have a huge interest in field recordings, devoting several shows to the topic and interviewing several of the men who made the recordings. The Albatros  label was active from Eugene Powell: Blues At Home Vol. 3the 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  in the 70's and 80's in Tennessee and Mississippi. These albums are long been out-of-print. Recently Marcucci has issued some CD's on he Mbirafon imprint including one by singer Van Hunt, Sam Chatmon and now has issued collections by Eugene Powell (Eugene Powell: Blues At Home Vol. 3and Memphis Piano Red (Memphis Piano Red: Blues At Home Vol.4). The latter two are available only digitally via  iTunes, Amazon and CD Baby. We spin a superb track off the Eugene Powell collection which contains unissued numbers plus tracks from the Albatros LP Police In Mississippi.  I finally tracked down some missing records from Albatros and will be doing an entire show devoted to the label shortly.

Other field recordings come from the pre-war era and were recorded by John Lomax:  Samuel Brooks' "Oh the Sun's Goin' Down and I Won't Be Here Long" (1942) recorded in Edwards, Mississippi and Willie Ford and Lucious Curtis on "High Lonesome Hill." Ad David Evans writes "Lucious Curtis was making a precarious living as a musician while his partner, Willie Ford, worked at a sawmill when John A. Lomax encountered them in 1940 for their only recording session."

In our first show of he new year we traced the origins of several classic blues songs. Today we spin a quartet of related blues songs from the 20's, 30's and 40's that draw from a much earlier source. Around the term of the century there was the "bully song" or more formally "The Bully of the Town" or "Looking for the Bully." There were several songs published with 'Bully" in the title around this period. Paul Oliver noted that the song "reinforced the stereotypes of the razor-totin', watermelon-suckin', chicken-stealin' 'nigger' of that period." The core of the story is an altercation, usually with a razor, between the bully and a rival with the action usually happening at a dance or ball.  Oliver has written about this both in Songsters & Saints and in a chapter titled Lookin' For That Bully in the book Nobody Knows where the Blues Come from: Lyrics and History (the entire chapter is available on Google Books).  In the blues era several songs drawn on these earlier sources including Sara Martin's "Down At The Razor Ball" (1925), Blind Willie McTell's "Razor Ball" (1930) and Washboard Sam's "Down At The Bad Man's Hall" (1941).  Oliver mentions all the songs but one he seems to have overlooked is Sippie Wallace's "Parlor Social De Luxe" (1925) which seems to me at least marginally related. The most famous related song, however, is the Willie Dixon penned "Wang Dang Doodle" (1960) which draws its inspiration from the Sara Martin number. As Dixon recalled "the one Wolf hated most of all was 'Wang Dang Doodle.' He hated that 'Tell Automatic Slim and Razor-Totin' Jim.' He'd say, 'man, that's too old-timey, sound like some old levee camp number.'" In 1966 Koko Taylor had a big hit with the song.

In addition to the down-home blues we also spin some Chicago and jump blues. We play the Howlin' Wolf gem "Poor Boy" (1957) a terrific updating of this old number and Big Moose Walker on "Footrace To A Resting Place" and "Wrong Doing Woman." The Walker tracks were recorded at Elmore James' last sessions for Fire in 1961 and come from the 2-LP set To Know A Man on Blue Horizon. At the time these songs were just attributed to "Bushy Head."

Nugrape Twins: The Road Is Rough And RockyWe spin some great blues shouters including Big Joe Turner on the magnificent "Rock Of Gibraltar" (1936) with Albert Ammons on piano,  Gene Parrish's jumping, raunchy "Screamin' In My Sleep" ("she'd slip and slide and I keep moaning low") featuring Maxwell Davis and superb guitar from West Coast ace Chuck Norris. Parrish cut a dozen sides in 1950-1951 for RPM and Victor.

We also hear from Big Duke Henderson & His Orchestra on "Beggin And Pleadin"from a new 2-CD set on Ace called Dust My Rhythm & Blues: The Flair Records R&B Story. In 1945 Henderson made his debut for the Apollo label on a recommendation by Jack McVea. He was backed on the recording dates by several notable Los Angeles session musicians including McVea, Wild Bill Moore and Lucky Thompson (saxophones), Gene Phillips (guitar), Shifty Henry and Charlie Mingus (bass violin), plus Lee Young and Rabon Tarrant (drums). The recordings were not a commercial success and Henderson lost his recording contract with Apollo. In 1947 Al "Cake" Wichard recorded for Modern Records billed as the Al Wichard Sextette, and featured vocals by Henderson. Henderson subsequently recorded material for a number of labels over several years including Globe, Down Beat, Swing Time, Specialty,] Modern, Imperial and Flair. Later in the decade, Henderson renounced his past, and commenced broadcasting as Brother Henderson as a gospel DJ. After his DJ career, Henderson went on to become a preacher.Henderson died in Los Angeles in 1972.

We also slip in a few gospel numbers: Mississippi John Hurt's "Praying On The Old Camp Ground", Eddie Head and His Family's "Down On Me" which Paul Oliver notes "was notable for the fluent guitar which imparted an easy swing to the recording, and from Eddie Head's skillful harmonizing to his family's singing" and the Nugrape Twins' "The Road Is Rough & Rocky" credited in the Columbia files to "Mark and Matthew (The Nugrape Twins)." The duo recorded eight sides at sessions in 1926 and 1927 for Columbia.

 

 

 

 

 

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ARTIST
SONG
ALBUM
Hersal ThomasHersal BluesThe Piano Blues Vol. 4: The Thomas Family 1925-1929
Sippie WallaceMurder's Gonna be My CrimeThe Piano Blues Vol. 4: The Thomas Family 1925-1929
Hociel ThomasWorried Down With The BluesThe Piano Blues Vol. 4: The Thomas Family 1925-1929
George Thomas Fast Stuff BluesThe Piano Blues Vol. 4: The Thomas Family 1925-1929
Moanin' Bernice EdwardsLong Tall Mama The Piano Blues Vol. 4: The Thomas Family 1925-1929
Bernice Edwards, Black Boy Shine & Howling SmithHot Mattress Stomp The Piano Blues Vol. 11: Texas Santa Fe 1934-1937
Bert Mays Michigan River Blues Down In Black Bottom
Bert Mays You Can't Come In Down In Black Bottom
Fred Adams & Bilikin Johnson Frisco BluesThe Piano Blues Vol. 15: Dallas 1927-1929
Texas Bill Day & Bilikin JohnsonElm Street Blues Dallas Alley Drag
Texas Bill Day Good Morning Blues The Piano Blues Vol. 15: Dallas 1927-1929
Hattie HudsonDoggone My Good Luck Soul Dallas Alley Drag
Jack RangerTP Window Blues Dallas Alley Drag
Jack RangerThieving Blues Dallas Alley Drag
Bessie TuckerThe Katy Dallas Alley Drag
Bessie TuckerPenitentiaryI Can't Be Satisfied Vol. 1
Ida May MackElm Street BluesThe Piano Blues Vol. 15: Dallas 1927-1929
Ida May MackGoodbye Rider Barrelhouse Mamas
Whistlin Moore AlexHeart Wrecked Blues Dallas Alley Drag
Whistlin Moore AlexBlue Bloomer Blues Dallas Alley Drag
Whistlin Moore AlexIce Pick Blues Dallas Alley Drag
Black Ivory KingThe Flying CrowBlack Boy Shine & Black Ivory King 1936-1937
Duskey DaileyThe Flying CrowThe Piano Blues Vol. 10: Territory Blues 1934-1941
Frank TannehillRolling Stone BluesThe Piano Blues Vol. 10: Territory Blues 1934-1941
Black Boy Shine Dog House BluesBlack Boy Shine & Black Ivory King 1936-1937
Black Boy Shine Ice Pick And Pistol Woman BluesBlack Boy Shine & Black Ivory King 1936-1937
Black Boy Shine Brown House BluesBlack Boy Shine & Black Ivory King 1936-1937
Joe PullumCows, See That Train Comin'Joe Pullum Vol. 1 1934-1935
Joe PullumMcKinney Street StompJoe Pullum Vol. 1 1934-1935
Rob Cooper West Dallas DragThe Piano Blues Vol. 8: Texas Seaport 1934-1937
Joe PullumHard-Working Man BluesJoe Pullum Vol. 1 1934-1935
Joe PullumDixie My HomeJoe Pullum Vol. 1 1934-1935

Show Notes:

Back when I started this show in 2007 one of the first programs I did was one devoted to the pre-war Texas piano tradition. My interest in this was sparked again recently when I was doing research and writing the notes for a reissue of pianist Buster Pickens long out-of-print album for the Document label (just reissued  as Edwin "Buster" Pickens: The 1959 to 1961 Sessions).  Pickens was an active member of the  'Santa Fe group' of pianists, knew all players but unlike some of them did not get the opportunity to record until the post-war era. In our two-part feature on Texas piano I'll be spotlighting the tradition in more depth that I did the first time out, surveying both  pre-war and post-war artists.

Hersal Thomas
Hersal Thomas

The Texas piano tradition flowered in the 1920’s and was at its peak during the 1930’s when a number of the tradition’s best players were recorded. Paul Oliver observed that “Texas was as rich in piano blues as Mississippi was in guitar blues” and “a cursory glance through the discographies will emphasize the fact that a remarkable number of blues pianists came from Texas." The pianists can be roughly grouped into schools; there was the remarkable Thomas family who made the bulk of their recordings between 1923 and 1928, one based around Dallas which included Whistlin Alex Moore, a regional style that developed around Shreveport and 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. Today’s show is part one of a two-part feature, spotlighting recordings made between 1925 and 1941.

As piano expert Francis Smith noted: “With the two major recording centers of New York and Chicago a thousand miles to the North, it was extremely fortunate that so many pianists of this important close knit Texas group were recorded—all three record companies of the time being involved.” The three companies were Columbia, Victor and Vocalion in addition to Bluebird and Okeh. These companies, either singularly or in various combinations, made field trips to Dallas, Fort Worth and San Antonio between 1927 and 1941.

The early Texas piano tradition was based around the remarkable Thomas family who made the bulk of their recordings between 1923 and 1928. The music sounds quite different from those who recorded in the 30's. 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.”

Hersal, is described by Francis Smith: "That Hersal, the child prodigy, was a highly influential pianist among his peers there is no doubt; even though he left Houston in his very early 'teens he had established a reputation there which remains still in the folk memory."Hersal was busy between 1925 & 1926 cutting a dozen titles with Hociel, fifteen with Sippie and backing singers Lillian Mller and Sodarisa Miller. Hersal died tragically at the age of 16 in 1926 of food poisoning.

Hersal's older brother George also left behind a slim legacy; a few jazz titles with his Muscle Shoals Devils, some sides backing singer Tiny Franklin, a recording of "The Rocks" made in 1922 under the name Clay Custer and the coupling ""Don't Kill Him In Here" from 1929 and our selection “Fast Stuff Blues."

Moanin' Bernice Edwards possessed a beautiful, deep, lowdown voice and piano style  that fell within the Santa Fe school of pianists. Edwards waxed twelve sides for Paramount in 1928 and six more for Vocalion in 1935.

Whistlin  Alex Moore: West Texas WomanDallas was the home of a number of distinctive piano players and singers they accompanied. Among them were Texas Bill Day, Neal Roberts, Willie Tyson, Whistlin' Alex Moore and singer Billiken Johnson. The hub of the black community was an area known as Central Tracks, where honky-tonks 'saloons, beer-parlours and brothels were wedged between warehouses, furniture stores and places of entertainment like Ella B. Moore's Park Theatre, or Hattie Burleson's dance hall. In addition many railroads whose names are familiar to blues collectors had termini there. It's not surprising that the railroad figure prominently in the blues of Dallas.

Not much is known about several of the Dallas pianists. Pianist/singer Texas Bill Day cut six sides for Columbia. Tyson cut two solo piano numbers for Columbia in 1927 which went unissued. The next day he backed singer Hattie Hudson on “Black Hand Blues” and the classic “Doggone My Good Luck Soul.” Tyson also backed Gertrude Perkins, Bilikin Johnson and Lillian Glinn. Jack Ranger cut three songs for Okeh in Dallas in 1929. it's unknown if he accompanies himself on piano but he was a sensitive singer and songwriter.

Pianist K.D. Johnson became famous backing the outstanding Texas singers Bessie Tucker and Ida May Mack. Johnson backs them on their legendary session for Victor on August 29th and 30th 1928 in Memphis. He was remembered as '49' by Alex Moore and not only did Mack call him 'Mr. 49' during his solos, she even named a song after him called "Mr. Forty-Nine Blues."

The most famous of the Dallas pianists was Alex Moore. Of Moore, Paul Oliver wrote: "He is a true original, a folk blues singer of the city who can sit at the piano improvise endlessly piano themes and blues verses that are sometimes startling, sometimes comic, sometimes grim, and very often pure poetry." Moore began performing in the early '20s, playing clubs and parties around his hometown of Dallas. In 1929, he recorded his first sessions for Columbia Records and also accompanied several artists on record. Moore didn't record again until 1937, when he made a few records for Decca.

Around Shreveport another regional style flourished. Among the pianists who recorded from this region were Dave Alexander who recorded as Black Ivory King and Duskey Dailey. Both recorded in 1937 with Dailey cutting an additional session in 1939. Both men cut version of a regional railroad number called “The Flying Crow.”

Two pianists who fall outside the Texas piano schools are Bert Mays and Frank Tannehill. Mays recorded four titles for Paramount in Chicago in 1927. He cut a final ten sides in 1928 and 1929 for Vocalion although only two were released. Tannehill was born in Austin and made his debut backing Perry Dickson in 1932. Under his own name he recorded for Vocalion in Chicago in 1937, in 1938 for Bluebird in San Antonio and a final session in Dallas in 1941.

Joe Pullum: Dixie Is My HomeIn part two of our feature we'll be going more in depth into the recordings of the Santa Fe group but we do feature a number of songs today by men associated with that group. ARC Records made field recordings in 1936 in San Antonio where they recorded Harold Holiday, known as Black Boy Shine. He was one of the acknowledged leaders among the Santa Fe group of pianists. He recorded more prolifically then the rest; cutting 18 issued sides in 1936 and 1937.

Among the best of the Santa Fe group were Andy Boy of Galveston and Rob Cooper of Houston. Andy Boy had a rough, expressive voice offset with his sprightly blues piano laced with ragtime flourishes. He waxed eight sides in 1937 under his own name as well as backing singer Joe Pullum on eleven sides in 1935 and the obscure Walter 'Cowboy' Washington.

Rob Cooper was an accomplished pianist with strong links to ragtime and stride piano. He also recorded behind the popular singer Joe Pullum on three sessions in 1934, 1935 and 1936. He recorded two version of “West Dallas Drag”, his version of the seminal, technically complex Santa Fe number “The Ma Grinder.”

 

 

 

 

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ARTIST
SONG
ALBUM
Ida Cox I Got The Blues For Rampart Street The Essential
Bertha Chippie Hill Pratt City BluesHow Low Can You Go?: Anthology of the String Bass
Victoria SpiveyBlack Snake SwingMen Are Like Street Cars: Women Blues Singers 1928-1969
Harlem Hamfats Oh Red!Harlem Hamfats Vol. 11936
Brown Bombers of Swing (Casey Bill Weldon) Walkin' In My SleepCasey Bill Weldon Vol. 3 1937-1938
Frankie "Half-Pint" JaxonDown At Jasper's Bar-B-QueFrankie 'Half-Pint' Jaxon Vol. 1 1926-1929
Laura Smith Don't Leave Me HereLaura Smith Vol. 1 1924-1927
Sippie WallaceI'm A Mighty Tight Woman First Time I Met the Blues (When the Sun Goes Down series)
Rosetta HowardMen Are Like Street CarsMen Are Like Street Cars: Women Blues Singers 1928-1969
Texas Alexander Tell Me Woman BluesTexas Alexander Vol. 2 1928-1930
Peetie Wheatstraw Gangster's BluesPeetie Wheatstraw Vol. 7 1940-1941
Wingy Carpenter Preachin' Trumpet Blues
Jazzin' The Blues Vol. 2 1939-1946
Oliver Cobb Cornet Pleading Blues Male Blues Of The Twenties
Blind John DavisJersey Cow BluesBlind John Davis 1938-1952
Edna Winston I Got A Mule To RideLeona Williams & Edna Winston 1922-1927
Edith Wilson He Used To Be Your Man But He's My Man NowJohnny Dunn Vol. 1 1921-1922
Mamie SmithGoin' Crazy With The BluesJazz The World Forgot Vol. 1
Blind BlakeCC Pill Blues All The Published Sides
Frenchy's String BandTexas And Pacific BluesSunshine Special: Texas 1927-1929
Freddie Keppard's Jazz Cardinals & Papa Charlie JacksonSalty DogBreaking Out of New Orleans 1922-1929
Louis Armstrong & The Hot FivesI'm Not Rough The Complete Hot Five And Hot Seven Recordings
Original Washboard Band & Julie Davis Jasper Taylor BluesJohnny Dodds 1927-1928
Oscar "Papa" Celestin & Sam MorganShort Dress GalBreaking Out of New Orleans 1922-1929
Elizabeth Johnson Empty Bed Blues Part 1American Primitive Vol. 1
Sara Martin Death Sting Me BluesSara Martin Vol. 4 1925-1928
Teddy PetersGeorgia ManKing Oliver: Sugar Foot Stomp
Hot Lips Page Down On The LeveeHot Lips Page: 1938-1940
Washboard Rhythm KingsI'm Gonna Play Down by the OhioWashboard Rhythm Kings Vol. 2 1932
Ben NorsingleRover's BluesSunshine Special: Texas 1927-1929
Joe PullumWoman Trouble BluesJoe Pullum Vol. 2 1935-1951
Bessie SmithGimmie A Pigfoot Bessie Smith Volume 8 (Frog)
Trixie SmithMy Daddy Rocks MeTrixie Smith Vol. 2 1925-1929
Ma RaineyYonder Comes The BluesMother Of The Blues

Show Notes:

Today show is call Jazzin' The Blues and as the title suggests, we explore the jazzy side of early blues recordings and the bluesy side of jazz. Not surprisingly we play a number of women blues singers of the 1920's who were often backed by jazz bands. When Mamie Smith cut “Crazy Blues”, the first recorded blues by a black singer, her band was called the Jazz Hounds. Following in that tradition, singers like Bessie Smith, Ma Rainey and Victoria Spivey were often paired with top flight jazz musicians such as King Oliver, Louis Armstrong, Sidney Bechet, Johnny Dodds, Coleman Hawkins and others. As the era of the classic woman blues singers faded the men gained the spotlight, first playing and singing solo, then evolving to bigger bands that often included horns and elements of jazz and swing. Many of the jazz outfits of this period incorporated plenty of blues and today we hear the bluesier side of artists such as Louis Armstrong, Hot Lips Page, Freddie Keppard and others.

Throughout today's backing band are quite a few jazz luminaries who backed the classic blues ladies of the 1920's. We spin several sides today featuring King Oliver and Louis Armstrong. King Oliver made his landmark recordings in 1923 with his Creole Jazz Band featuring his protege Louis Armstrong,  clarinetist Johnny Dodds, trombonist Honore Dutrey, pianist Lil Harden, and drummer Baby Dodds. Oliver continued to make recordings through 1931 although he seemed to fade from the spotlight not long after his initial recordings. From May to December, 1928, Oliver did some 22 sessions with his old friend, Clarence Williams, who had played with him around Louisiana and who had manged clubs like the Big 25 and Pete Lala's. Williams had become a music publisher, entrepreneur and early A&R man around New York. Seeing Oliver down on his luck, Williams used him as a backup player for several blues singers. Prior to 1928 Oliver had accompanied artists such as Butterbeans & Susie in 1924 ("Kiss Me Sweet b/w Construction Gang"), Sippie Wallace in 1925 ("Morning Dove Blues b/w "Every Dog Has His Day" and "Devil Dance Blues"), Teddy Peters ("Georgia Man"), Irene Scruggs ("Home Town Blues b/w Sorrow Valley blues"), Georgia Taylor in 1926 ("Jackass Blues") plus several others.

Among the notable recordings of 1928 included six sides backing Sara Martin including the superb "Death Sting Me Blues" which features a suitably mournful solo from Oliver plus equally fine playing on "Mean Tight Mama" and "Mistreating Man Blues."  His two numbers with Texas Alexander, "Tell Me Woman Blues b/w Frisco Train Blues," work surprising well with Oliver playing some beautiful, sympathetic fills on both numbers offset by the elegant guitar work of Eddie Lang. Lang and Oliver also back Victoria Spivey on "My Handy Man b/w Organ Grinder Blues" although Oliver is less prominent. Among the best recordings from this period are his backing of the terrific Elizabeth Johnson, an obscure singer who waxed only four sides at two session in 1928. "Empty Bed Blues Part 1 & 2" has Johnson's expressive vocals finding a marvelous counterpoint in Oliver's earthy responses.

In the early 1990's the Affinity label issued the comprehensive Louis Armstrong And The Blues Singers 1924-1930, a six CD set that I believe covers all the sessions Armstrong did backing blues singers. During 1924-26 (and to a lesser extent 1927-30) Armstrong made many recordings other than his own sessions, arranged by an old friend from New Orleans, pianist Clarence Williams Those he backed include some of the era's best woman blues singers like a Ma Rainey, Sippie Wallace, Bertha "Chippie" Hill, Bessie Smith, Clara Smith and Victoria Spivey. We also spin the marvelous  "I'm Not Rough" as recorded by Louis Armstrong & The Hot Fives featuring Lonnie Johnson.  This is the final recording session with the "classic" Hot Five lineup (plus Lonnie Johnson). Hereafter, the "Hot Five" would be whoever Armstrong happened to be recording with.

Other classic jazz artists who appear more than once on today's program are Freddie Keppard and Johnny Dodds. After playing with the Olympia Orchestra Keppard joined Frankie Dusen's Eagle Band, taking the place recently vacated by Buddy Bolden. Soon after Bolden was off the music scene Keppard was proclaimed "King Keppard" as the city's top horn player. About 1914 Joe "King" Oliver won a musical "cutting contest" and claimed Keppard's crown. Keppard made recordings in Chicago between 1924 and 1927 including two versions of "Salty Dog", which we feature today,  from 1926 featuring Papa charlie Jackson. Jackson first cut the song in 1924 which made him a recording star. We also hear him back Frankie "Half Pint" Jaxon on the rollicking "Down At Jasper's Bar-B-Que." Jaxon was a vaudeville singer, comedian and female impersonator. He traveled extensively throughout the United States between 1916 and 1921 and in the early 1920's he often appeared on the bill with King Oliver and Freddie Keppard in Chicago. Throughout the rest of the 1920's and 1930's he continued to tour the vaudeville circuit, and record. On record he was backed by jazz musicians such as Keppard, Punch Miller, Henry “Red” Allen and others.

Johnny Dodds was one of the greatest clarinetist of the 1920's who had a very soulful, bluesy style of playing.He worked with most of the major Hot Jazz bands of the era including the bands of Kid Ory, King Oliver amd Louis Armstrong. Dodd's appears on several of today's recordings including those with Keppard, Armstrong, as a member of Jasper Taylor's Original Washboard Band, backing Sippie Wallace on the 1929 version of her classic "I'm A Might Tight Women" and backing guitarist Blind Blake.  We hear Dodds backing singer Julia Davis who cut one 78 for Paramount in 1924 and one final terrific record in 1928, "Jasper Taylor Blues b/w Geechie River Blues", backed by the Original Washboard Band featured washboard player Jasper Taylor.

During the spring of 1928 Blind Blake cut some of his most ambitious records. Jimmy Bertrand manned xylophone for "Doggin' Me Mama Blues" and played slide whistle on our featured track,  "C.C. Pill Blues" while the great Johnny Dodds soloed on clarinet. Dodds and Bertrand provided more accompaniment on Blake's "Hot Potatoes" and "South Bound Rag." Bertrand, Dodds, and Blake were also teamed on "Elzadie's Policy Blue b/w Pay Day Daddy Blues" with singer Elzadie Robinson.

We spin several jazz artists and groups who often worked on the bluesy side of the street including Papa Celestin, Hot Lips Page and the Washboard Rhythm Kings. Papa Celestin was one of the most popular of New Orleans cornet players, and considered a major player in the development of jazz. Most of the great New Orleans players up to 1950 played for him one time or another. In 1910 Celestin started the Original Tuxedo Jazz Orchestra which would become one of the most enduring bands and featured Louis Armstrong among others. elestin began recording with his own groups for Okeh from 1925 until the Depression forced him to give up the group. With singer Sam Morgan we hear him on "Short Dress Gal."

In his early years, Hot Lips Page played in circuses and minstrel shows and backing such blues singers as Ma Rainey, Bessie Smith, and Ida Cox. Page's main trumpet influence was Louis Armstrong. He joined the Blue Devils circa 1927, staying until1931, when he joined the Bennie Moten Orchestra, the leading dance band out of Kansas City.Though not a regular member of the band, Page appeared as a vocalist, emcee and hot trumpet soloist with Count Basie's Reno Club orchestra after the Moten band finally disbanded upon that leader's sudden death in April, 1935. Page embarked upon a solo career during this period, playing with small pick up bands out of Kansas City. We hear his wonderful "Down On The Levee" cut for Decca in 1938.

The Washboard Rhythm Kings were a loose aggregation of jazz performers, many of high calibre, who recorded as a group for various labels between about 1930 and 1935. The band played good-time swinging music, featuring spirited vocals, horns, a washboard player and occasionally kazoo. Today we feature their swinging "Down by the Ohio" from 1931.

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