Entries tagged with “Tampa Red”.


ARTISTSONGALBUM
B.B. King My Own Fault, Darlin aka It's My FaultThe Vintage Years
B.B. King Dark Is The Night Pt.1 & 2The Vintage Years
Freddie Brown Whip It To A JellyBarrelhouse Mamas
Rosa Henderson Papa If You Can't Do Better (I'll Let A Better Papa Move In)The Essential
Olive Brown Lookin For A HomePeacock Chicks & Duchesses
King Queen & JackStack-O-Lee BluesHawaiian Guitar Hot Shots
Casey Bill Weldon Go Ahead BuddyBottleneck Guitar Trendsetters Of The 1930's
Hauulea EntertainersRailroad Blues Hawaiian Guitar Hot Shots
Oscar WoodsCome On Over To My House BabyTexas Slide Guitars: Oscar Woods & Black Ace
Big Joe TurnerJohnson and Turner BluesHave No Fear, Big Joe Turner Is Here
Henry GrayI Declare That Ain't RightKnights Of The Keyboard: Chicago Piano Blues
Meade Lux LewisRising Tide BluesMeade Lux Lewis 1940-1944
Mississippi John HurtCow Hooking BluesD.C. Blues: The Library of Congress Recordings Vol. 2
Wilbur Sweatman and His OrchestraThe Hooking Cow BluesWilbur Sweatman Vol. 2
Ace Holder Leave My Woman Alone R&B On Lakewood Boulevard
Elmore NixonA Hepcat's AdviceLyons Avenue Jive
Sam Morgan's Jazz BandShort Dress Girl Breaking Out Of New Orleans 1922-29
Danny BarkerChocko Mo Feendo HeyHistory Of New Orleans Rhythm & Blues Vol. 1 29-49
Forest City JoeDown on the Levee BluesSounds of the South
Boy Blue I Got To GoSounds of the South
Texas AlexanderTexas Troublesome BluesTexas Troublesome Blues
Josh White Josh And Bill BluesJosh White: The Remaining Titles 1941-1947
Tampa Red Black Hearted BluesDown In Black Bottom
Big Joe Turner Poor HouseSinging The Blues
Roy BrownHard TimesThe Blues Are All Brown
Lela BoldenSouthern Woman Blues Piron's New Orleans Orchestra
Lela BoldenSeawall Special Blues Piron's New Orleans Orchestra
Mississippi John Hurt FrankieAvalon Blues, The Complete 1928 OKeh Recordings
Nick Nichols & Whistlin Moore AlexFrankie And Johnny (The Shooting Scene) Part 1Whistlin' Alex Moore 1929-1951
Jewell Long Frankie And Albert Rural Blues Vol. 2 1951-1962
Joe Callicot Frankie And Albert Ain't A Gonna Lie To You
Tiny Grimes Frankie And Johnny (Boogie)Tiny Grimes Vol.4 1950-53

Show Notes:

Lela Bolden - Seawall Special BluesAn eclectic show on tap for today including several songs with a New Orleans connection which is not surprising after just spend the last week in the crescent city. In addition we spin a pair of vintage numbers by B.B. King,  a batch of Hawaiian flavored blues, sets revolving around W.C. Handy's "The Hooking Cow Blues", Frankie and Johnny", a pair of tracks from the Bluesway vaults, several fine woman singers and some outstanding piano players.

From New Orleans we spin tracks by Sam Morgan, Armand Piron and Danny Barker. The recordings by Sam Morgan's Jazz Band for Columbia Records in 1927 are some of the best regarded New Orleans classic jazz recordings of the decade.The band was one of the most popular territory bands touring the gulf coast circuit (Galveston, Texas to Pensacola, Florida).

In New Orleans he Danny Barker was dubbed "Banjo King of New Orleans." In 1930 Barker moved north to New York City where he switched from banjo to guitar and in 1938 joined Benny Carter's Big Band and from 1939 to 1949 was the rhythm guitarist for Cab Calloway. He also worked as a freelance rhythm man around New York playing and recording with Sidney Bechet and Mezz Mezzrow, Bunk Johnson, Edmond Hall and Henry "Red" Allen. By 1965, Barker, back in New Orleans, had married singer Blue Lu Barker. He split his time between performing with his wife and the Fairview Baptist Church Christian Band which he founded, lecturing on traditional jazz and working as Assistant to the Curator of the New Orleans Jazz museum up until his death in 1994.In the 1980's Barker published the wonderful autobiography A Jazz Life. From 1945 we play his "Chocko Mo Feendo Hay" a New Orleans classic recorded by others as "Jockamo."

After touring briefly with W.C. Handy in 1917, Armand Piron started an orchestra under his own name. Piron's New Orleans Orchestra quickly became the best paid African American band in New Orleans. In 1923, Piron took his band to New York City as part of his ambition to make the group nationally known. He succeeded in making a hit there, landing a residency at the Roseland Ballroom, and making recordings for three different companies, Okeh, Victor and Columbia. Lela Bolden cut one 78 for Okeh backed by Piron on violin and Steve Lewis who played Piano in Piron's band.The Hooking Cow Blues

B.B. King was in hospice care Friday at his home in Las Vegas, according to a longtime business associate with legal control over his affairs. Probably my first blues album was B.B.'s Live At The Regal which I picked up for $3.99 at Tower Records in NYC. After that I started picking up those great reissue albums put out by Ace Records which collected his 50's sides. Ace has done a great job collecting B.B.'s early sides on well over dozen CD's including a 4-CD box set called The Vintage Years which I highly recommend. We open the show with a couple of early gems, the two-part "Dark Is The Night" and "My Own Fault, Darlin'."

Some Scholars have suggested that the slide style was directly influenced by the “diddley bow” or “jitter-bug,” a single-stringed instrument they say was carried to America by West African slaves. The more likely story, John W. Troutman argues in his article Steelin’ the Slide: Hawaii‘i and the Birth of the Blues Guitar (the article can be found below) is that the musical technique popularized in the Mississippi Delta came from traveling Native Hawaiian musicians who laid the guitar flat on their lap and played it with a piece of metal slid across the strings. Oral testimony, newspaper clippings, and other evidence show that Hawaiian musicians frequented southern cities from Fayetteville, Arkansas, to Memphis, to New Orleans, and sometimes collaborated with black musicians. Most of the earliest documented African-American slide guitarists, and certainly the most significant, understood their style as that of playing ‘Hawaiian guitar. Casey Bill Weldon, for example, was even billed as the Hawaiian Guitar Wizard.

“The Hooking Cow Blues” was a tune was written by Memphis bandleader Douglas Williams in 1917, published and recorded by WC Handy and recorded for Columbia  by him the same year. The recorded was listed as a fox trot. "The Hooking Cow Blues" was recorded by Wilbur Sweatman and his Orchestra with vocal by Corky Williams and ssued in 1935 on Vocalion. Mississippi John Hurt recorded the song in the 1960's. It's unclear who put lyrics to the song.

ABC-Paramount formed the BluesWay subsidiary in 1966 to record blues music. The label lasted into 1974, with the last new releases coming in February, 1974. The label issued over 70 albums, numerous 45's plus several titles that remain unreleased. To give the new label legitimacy B.B. King, who was recording for ABC at the time, saw his releases put out on BluesWay (his Blues Is King was the label's first release). BluesWay seemingly signed every major bluesman available. I did a feature on Bluesway in 2010 and will finally get around to a belated sequel this year. Today we play cuts from Big Joe Turner's Singing The Blues from 1967 and Roy Brown's Hard Times from 1968 (also issued on Bluesway in 1973 as The Blues Are All Brown and reissued on Charly as The Bluesway Sessions).

The song "Frankie and Johnny" was inspired by one or more actual murders. One of these took place in an apartment building located at 212 Targee Street in St. Louis, Missouri, at 2:00 on the morning of October 15, 1899. Frankie Baker a 22-year-old woman, shot her 17-year-old lover Allen (also known as "Albert") Britt in the abdomen. Britt had just returned from a cakewalk at a local dance hall, where he and another woman, Nelly Bly (also known as "Alice Pryor"), had won a prize in a slow-dancing contest. Britt died of his wounds four days later at the City Hospital. On trial, Baker claimed that Britt had attacked her with a knife and that she acted in self-defense; she was acquitted and died in a Portland, Oregon mental institution in 1952. In 1899, popular St Louis balladeer Bill Dooley composed "Frankie Killed Allen" shortly after the Baker murder case. The first published version of the music to "Frankie and Johnny" appeared in 1904.The song has also been linked to Frances "Frankie" Stewart Silver, convicted in 1832 of murdering her husband Charles Silver in Burke County, North Carolina. Unlike Frankie Baker, Silver was executed.Hundreds of versions of the recording have been made in all genres. We feature an eclectic mix of versions by Mississippi John Hurt, Jewell Long, Nick Nichols with Whistlin Moore Alex, Joe Callicot and Tiny Grimes.

Share
ARTISTSONGALBUM
Jimmy And Mama Yancey Monkey Woman Blues Chicago Blues Piano Vol. 1
Otis Spann It Must Have Been The Devil Genesis: Beginnings Of Rock Vol. 3
Al Winter Boogie 88 Hollywood Boogie: Obscure Piano Blues & Boogie Woogie From Los Angeles
Mable Hillery Lonesome Road It's So Hard To Be A Nigger
Mable Hillery Mr. President It's So Hard To Be A Nigger
Jimmy WitherspoonBig Family Blues 1950s R&B From Dolphin's Vol. 2; Toast Of The Coast
Tony AllenYou're A Mean And Evil Woman 1950s R&B From Dolphin's Vol. 1; On With The Jive
Lucille Bogan and Papa Charlie Jackson Jim Tampa Blues Papa Charlie Done Sung That Song
Laura DukesBricks In My PillowTennessee Blues Vol. 1
Elmore James Strange Angels Something Inside Of Me
Wild Jimmy Spruill Hard GrindScratchin': Wild Jimmy Spruill Story
Guitar Gable Long Way from HomeRhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies
Pee Wee CraytonRockin the Blues Texas Blues Jumpin' In Los Angeles: The Modern Music Sessions 1948-51
John Lee Hooker I Don't Be Welcome HereThe Complete1948-51 Vol. 3
Blind Joe Hill Highway 13 First Chance
Jimmy Reed I'm Just Trying To Cop A Plea Soulin'
Tampa Red I Still Got California On My MindThe Bluebird Recordings 1934-1936
Lane HardinCalifornia Desert Blues Blues Images Vol. 9
Jesse Thomas Gonna Move to California Jesse Thomas 1948-1958
Lawyer Houston Out In CaliforniaLightning Hopkins: Lightning Special Vol. 2
Howlin' WolfCalifornia BoogieSmokestack Lightning: The Complete Chess Masters
Johnny WoodsSo Many Cold MorningsSo Many Cold Mornings
John Tinsley Cotton Picking BluesCountry Blues Roots Revisted
Walter Davis Strange Land BluesWalter Davis 1930-1932
Roy HawkinsStrange LandBad Luck Is Falling
Roger (Burn Down) GarnettLighthouse BluesThe Frog Blues And Jazz Annual No. 1
Dorothy Everetts Macon Blues The Frog Blues And Jazz Annual No. 1
Irene Wiley Bo Hog BluesThe Frog Blues And Jazz Annual No. 1
Jimmy RushingSomebody's Spoiling These WomenBlues & Gospel Kings Vol. 4

Show Notes:

ctf10024 (1)
Read Liner Notes

A wide ranging mix show today  including songs a pair of sides by singer Mabel Hillery, sets of piano blues, some heavy duty guitar slingers, a pair of sets revolving around specific lyrical themes, music from the vaults of King Records and west coast record man John Dolphin and a batch of outstanding early pre-war blues sides.

Shortly after the death of folklorist Tary Owens on September 21, 2003, Brad Buchholz, wrote that, “Tary Owens devoted most of his life to music, though only rarely to his own. The greater mission, to Owens, was to champion the music of forgotten or unsung Texas bluesmen—to put their songs on records, to place them on a stage, to encourage a larger public to celebrate their artistry.” Owens operated the Catfish and Spindletop labels issuing some fine recordings of neglected Texas artists. We spotlight two tracks from Texas Piano Professors by little recorded piano men Dr. Hepcat, Grey Ghost and Erbie Bowser. I want to thank Gerrit Robs for making this album available to me.

We spin a trio of tracks from the Frog Blues And Jazz Annual No. 1, which I recently picked up along with the second and third issues. The magazine does a great job filling the hole left by the late lamented 78 Quarterly. The Annuals are something between a magazine and a softbound book, roughly 8.5 inches by 11.75 inches with 178 pages. They are edited (and  contributed to) by Paul Swinton, owner of Great Britain’s Frog Records, one of the  premier prewar jazz and jazz/blues reissue record companies. Each Annual comes with a companion CD featuring 26 cuts that reflect the articles in the Annual.  Most of the blues tracks have appeared on other collections, but Roger Garnett's marvelous "Lighthouse Blues" (recorded for the Library of Congress in 1939) and Irene Wiley's fantastic "Bo Hog Blues" (with a probable late 1940's recording date) have not been issued before. We also spin Dorothy Everetts terrific "Macon Blues" from her lone 1928 78 record.

A member of The Georgia Sea Island Singers (she joined in 1961), Mable Hillery was less known than leader, Big John Davis or Bessie Jones, who also had her own performing career. Between 1961 and 1965 she toured the college circuit of campuses, coffee houses, church basements, and festivals, from Berkeley to Philadelphia, from the Ash Grove in Los Angeles to the Café à Go-Go in New York City. Hillery was very active in civil rights issues during the 60's. In 1968, after touring in England, where she did TV and concert dates, Hillery made a her only album for the record label Xtra, It's So Hard To Be A Nigger, which has never been issued on CD. This is a (The Frog Blues And Jazz Annual No. 1)wonderful record and Hillery was a tremendously expressive singer. The acapella title track sounds like a lost field recording by the Lomax's or Lawrence Gellert. A few other sides by her appear on various anthologies. She died at the age of 46 in 1976. 

We spin several songs with lyrical themes including several revolving around "California" and several using the title "Strange Land." In 1936 Robert Johnson famously sang the lines "But I'm cryin' hey baby, Honey don't you want to go/Back to the land of California, to my sweet home Chicago." This line always seemed a bit confusing too me but I think many blues singers viewed California as an idyllic, almost mystical place far from the Jim Crow south. From 1934 we spin Tampa Red's jaunty "I Still Got California On My Mind", Lane Hardin's "California Desert Blues" ("When I reach old Los Angeles, Californy, you oughta heard me jump and shout"),  Jesse Thomas' "Gonna Move to California", Howlin' Wolf's "California Boogie" and "Out In California" by Lawyer Houston:

Well I'm going out on Central
Going to get me a room at the hotel Dunbar
And then I'm going out to Hollywood to become a movie star

"Way out in California, that's where I long to be" sings Walter Davis in "Strange Land Blues." Roy Hawkins cut the doomy "Strange Land" in 1948 and updated it 1961.

We spin three tracks from the series Blues & Gospel Kings which spotlight early blues and gospel from King records. There are four volumes in the series spanning the years 1945 through 1952. Founded by Syd Nathan in 1943, King Records was one of the most influential independent labels of the 1940s and 1950s. By the end of the latter decade, it had become the nation's sixth largest record company. The label originally specialized in country music and." King advertised, "If it's a King, It's a Hillbilly – If it's a Hillbilly, it's a King." The company also had a "race records" label, Queen Records (which was melded into the King label within a year or two) and most notably (starting in 1950) Federal Records which launched the singing career of James Brown. In the 1950s, this side of the business outpaced the hillbilly recordings.

We also feature tracks from west coast record man John Dolphin and King Records. The legendary John Dolphin, also known as Lovin’ John, was one of the first and most well respected, black business man who made his way in the music business of Los Angeles in the 1940s and 50s. Dolphin first entered the music business as a retailer where in 1948, when he opened Dolphin’s of Hollywood, a record store on Vernon Avenue that would stay open 24 hours a day.The store featured deejays broadcasting on the local station of KRKD, in front of the huge, glass window. In 1950, John Dolphin mounted his own label, Recorded In Hollywood, eventually selling the label to Decca. Dolphin launched follow-up labels including Lucky, Money and Cash. In 1958 Dolphin was shot and killed by a disgruntled songwriter. The Ace label has issued two volumes of recordings made by Dolphin: On With The Jive! 1950s R&B From Dolphin's Of Hollywood Vol. 1 and Toast Of The Coast: 1950s R&B From Dolphin's Of Hollywood Vol. 2.

Mabel Hillery
Read Liner Notes

We play a set of guitar heavy hitters today, most from some recent reissues. The track by Wild Jimmy Spruill comes from a great 2-CD set, Scratchin’: The Wild Jimmy Spruill Story. After arriving in New York in 1955 Spruill went on to play guitar on a staggering number of records notably for Bobby and Danny Robinson’s group of labels, including Fire, Fury, Enjoy, Everlast and Vim. He also cut some terrific sides under his own name. Our Pee wee Crayton cut comes from Texas Blues Jumpin' In Los Angeles: The Modern Music Sessions 1948-51, the third CD on the Ace label of Crayton's Modern sides. "Long Way From Home" by Guitar Gable comes from another recent Ace reissue, Rhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies the tenth volume in the “By The Bayou” series, pulling sides from the  vaults of J.D. Miller’s Crowley studio.

 

Share
ARTISTSONGALBUM
Bo Carter Who's Been Here?Greatest Hits 1930-1940
Big Bill BroonzyGood Time TonightGood Time Tonight
Kokomo ArnoldGoin' Down in Galilee (Swing Along With Me)Kokomo Arnold Vol. 4 1937-1938
Merline Johnson & The Louisiana KidSeparation BluesMerline Johnson Vol. 2 1938-1939
Trixie SmithFreight Train BluesCharlie Shavers & The Blues Singers 1938-1939
Rosetta TharpeRock MeThe Original Soul Sister
Pete Johnson Roll 'EmPete Johnson 1938-1939
Meade Lux LewisHonky Tonk Train BluesFrom Spirituals To Swing
Joe Turner & Pete JonsonLow Down DogFrom Spirituals To Swing
Washboard SamYellow, Black And BrownWashboard Sam Vol. 2 1937-1938
Jazz Gillum Boar Hog BluesThe Bluebird Recordings 1934-1938
Blind John DavisJersey Cow BluesBlind John Davis 1938-1939
Shorty Bob ParkerThe Death of Slim GreenKid Prince Moore 1936-1938
Tampa RedLove with a FeelingThe Essential
Lonnie JohnsonBlue Ghost BluesLonnie Johnson Vol. 1 1937-1940
John Henry BarbeeSix Weeks Old BluesMemphis Blues 1927-1938)
Big Joe WilliamsPeach Orchard MammaBig Joe Williams Vol. 1 1935-1941
Blind Boy Fuller Funny Feeling Blues Blind Boy Fuller Remastered 1935-193
LeadbellyNoted Rider BluesLeadbelly - The Remaining LOCR Vol. 5 1938-1942
Monkey JoeNew York CentralMonkey Joe Vol. 1 1935-1939
Curtis JonesAlley Bound BluesCurtis Jones Vol. 2 1938-1939
Memphis MinnieGood BiscuitsMemphis Minnie Vol. 4 1938
Georgia WhiteThe Blues Ain't Nothin' But...???Georgia White Vol. 3 1937-1939
Speckled RedEarly In The MorningSpeckled Red 1929-1938
Peetie WheatstrawShack Bully StompThe Essential
Cow Cow DavenportRailroad BluesThe Essential
Oscar WoodsJames Session BluesTexas Blues: Early Masters From the Lone Star
Harlem HamfatsI Believe I'll Make A ChangeHarlem Hamfats Vol. 3 1937-1938
Jimmie GordonFast LifeJimmie Gordon Vol. 2 1936-1938
George CurryMy Last Five DollarsFrank ''Springback'' James & George Curry 1934-1938
Johnnie TempleGonna Ride 74Johnnie Temple Vol. 1 1935-1938
Son BondsOld Bachelor BluesSon Bonds & Charlie Pickett 1934-1941
Sleepy John EstesSpecial Agent (Railroad Police Blues)I Ain't Gonna Be Worried No More 1929-1941
Sonny Boy WilliamsonDecoration BluesThe Bluebird Recordings 1937-1938
Yank RachelI'm Wild And Crazy As Can BeThe Original Sonny Boy Williamson Vol.1

Show Notes:

 1938 Decca Cataloge
1938 Decca Catalog

Today’s show is the twelfth installment of an ongoing series of programs built around a particular year. 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. To feed the demand other record companies conducted exhaustive searches for new talent, which included making trips down south with field recording units. The Depression, with the massive unemployment it brought, had a shattering effect on the pockets of black record buyers. Sales of blues records plummeted in the years 1931 through 1933. Things picked up again in 1934 with the companies recording full-scale again. During this period there was far less recording in the field during this period and in view of the popularity of Chicago singers there was less need. From 1934 until 1945 there were three main race labels, all selling at 35 cents: Decca, the Brunswick Record Corporation's Vocalion, and RCA-Victor's Bluebird. There were two other labels that featured a fair number of blues during this period; the store group Montgomery Ward, with a label of the same name, drew at various times on Gennett, Decca and Bluebird and Sears Roebuck used ARC material on its Conqueror label. Race record sales were up around 15 per cent in 1937. Sales were a bit down by 1938 with an average of eight race records a week, down from seven a week from the previous year.

From 1934 until 1945 there were three main race labels, all selling at 35 cents: Decca, the Brunswick Record Corporation's Vocalion, and RCA-Victor's Bluebird. There were two other labels that featured a fair number of blues during this period; the store group Montgomery Ward, with a label of the same name, drew at various times on Gennett, Decca and Bluebird and Sears Roebuck used ARC material on its Conqueror label. Race record sales were up around 15 per cent in 1937: Decca and Bluebird each put out around 120 items whilst BRC-ARC issued almost on Vocalion and another 100 on the dime-store labels.

According to John Godrich and Robert M.W. Dixon in their classic book Recording The Blues, the record companies "had three way of unearthing new talent: by placing advertisements in local newspapers, especially just before a field unit was due in a nearby town; by just relying on chance comments from singers, concerning other who might be good recording propositions; and by employing their own talent scouts, who carry out steady, systematic searches. The last method was intensively employed in the the thirties – Roosevelt Sykes, for instance, would find likely artists for Decca (or, sometimes, for Lester Melrose). But despite this, race catalogs in the thirties relied more heavily on a small nucleus of popular singers than they had in the twenties. It was the urban style of blues that now dominated the market – and as in the previous years it was artists such as Tampa Red, Spirituals to Swing ConcertKokomo Arnold, Washboard Sam, Jazz Gillum, Memphis Minnie, Big Bill Broonzy, Peetie Wheatstraw and the Harlem Hamfats who dominated the market. Tampa cut 26 sides, the Hamfats cut around numbers under there own name as well as backing other singers, Peetie Wheatstraw cut 17 sides, Washboard Sam cut over two-dozen sides, Jazz Gillum cut a dozen numbers and Broonzy cut around two-dozen sides. Several big name artists had their careers end during this period including Bumble Bee Slim who's last sides were cut in 1937 (he would record again in the 50's and 60's), while Kokomo Arnold and Casey Bill weldon cut their finals sessions in 1938.

We spin  a few tracks today from a groundbreaking concert held in New York City in 1938. From Spirituals to Swing was the title of two concerts presented by John Hammond in Carnegie Hall on 23 December 1938 and 24 December 1939. The event was dedicated to singer Bessie Smith, who died a year before in a car accident in Virginia. The concerts included performances by Count Basie, Benny Goodman, Big Joe Turner and Pete Johnson, Helen Humes, Meade Lux Lewis, Albert Ammons, Mitchell's Christian Singers, the Golden Gate Quartet, James P. Johnson, Big Bill Broonzy and Sonny Terry. The idea was a history, starting with spirituals and leading up to big swing bands, involving African American performers. Hammond had difficulty gaining sponsorship for the event because it involved African American artists and an integrated audience. However, The New Masses, the journal of the American Communist Party, agreed to finance it. The boogie-woogie craze of the late 1930s and early 1940s dates from these concerts. Johnson and Turner, along with Lewis and Ammons, continued as an act after the concerts with their appearances at the Cafe Society night club, as did many of the other performers.

As in the previous year the blues market was dominated by Chicago singers but there several down-home singers recorded. wo down home singers who could hold their own in terms of popularity against the urban artists were Sleepy John Estes and Blind Boy Fuller. Fuller cut twenty-two sides in 1938 for Vocalion. Estes cut an eight song session on April 22, 1938 and at the same session Son Bonds cut one 78 backed by Estes. Other down-home singers featured today include Big Joe Williams, Leadbelly and John Henry Barbee.

Share
ARTISTSONGALBUM
The Nic Nacs with Mickey ChampionGonna Have A Merry Xmas Blues, Blues Christmas Vol. 2
Mabel ScottBoogie Woogie Santa Claus Blues, Blues Christmas
Frankie ''Half-Pint'' JaxonChrist Was Born On Christmas Morn Blues, Blues Christmas
Titus Turner Christmas Morning BluesBlues, Blues Christmas
Jimmy ButlerTrim Your TreeBlues, Blues Christmas
Cecil GrantHello Santa Claus Blues, Blues Christmas
Harman Ray Xmas Blues Blues, Blues Christmas
Champion Jack DupreeSanta Clause BluesBlues, Blues Christmas Vol. 4
Jimmy McCracklinChristmas Time Part 1Blues, Blues Christmas Vol. 3
Roy Milton & His Solid SendersNew Year's Resolution BluesBlues, Blues Christmas Vol. 2
Johnny Otis OrchestraHappy New Year, BabyBlues, Blues Christmas
Jimmy ButlerTrim Your Tree Blues, Blues Christmas
Big Joe TurnerChristmas Date BoogieBlues, Blues Christmas
Lil McClintockDon't Think I'm Santa Claus Blues, Blues Christmas Vol. 4
LeadbellyChristmas Is CominBlues, Blues Christmas Vol. 3
Leroy CarrChristmas In Jail (Ain't It A Pain)
Tampa RedChristmas & New Year's BluesBlues, Blues Christmas
Rev. J.M. Gates Did You Spend Christmas Day In JailBlues, Blues Christmas
Rev. Edward ClaybornThe Wrong Way to Celebrate ChristmasBlues, Blues Christmas
Black AceChristmas TimeBlues, Blues Christmas
Lowell FulsonLonesome CBlues, Blues Christmas Vol. 2hristmas Part 1Blues, Blues Christmas Vol. 2
Hop WilsonNew Merry Christmas Baby Blues, Blues Christmas Vol. 3
Charles BrownChristmas Blues Legend!
Goree Carter Christmas BluesBlues, Blues Christmas Vol. 4
Lonnie JohnsonHappy New Year DarlingBlues, Blues Christmas
Robert NighthawkMerry ChristmasBlues Southside Chicago
Jimmy WitherspoonHow I Hate To See Christmas Come Around Blues, Blues Christmas
Larry DarnellChristmas Blues Blues, Blues Christmas
Butterbeans & SusiePapa Ain't No Santa ClausBlues, Blues Christmas
Mary Harris w/ Peetie Wheatstraw & Charlie JordanHappy New Year BluesBlues, Blues Christmas
Julia LeeChristmas SpiritsBlues, Blues Christmas
Bukka WhiteChristmas Eve Blues Memphis Swamp Jam
Lightnin’ HopkinsMerry ChristmasBlues, Blues Christmas Vol. 2
Gatemouth Moore Gate’s Christmas BluesGreat Rhythm & Blues Oldies Vol. 7
Harry ''Fats'' Crafton w Doc Bagby Orchestra Bring That Cadillac BackBlues, Blues Christmas
J.B. SummersI Want A Present For ChristmasBlues, Blues Christmas
Fats WallerSwingin’ Them Christmas BellsBlues, Blues Christmas Vol. 2

Show Notes:

Paramount Christmas Greetings Ad

I've been doing a Christmas blues show for many years and was always frustrated with the lack of a really good collection of early blues Christmas songs. In 2005 I hooked up with the Document label to put together a 2-CD, 52 track collection of blues and gospel songs from the 1920's to the 1950's called Blues, Blues Christmas. The record proved to be popular and a second volume was released in 2009,  a third volume in 2013 and this year sees the fourth volume. You can read the notes to these by visiting my writing page. Many of today's tracks come from those collections.

On October 30, 1889 banjoist Will Lyle made history by recording "Jingle Bells" – the very first Christmas record. Although no known copies of this recording survive, one of the earliest vocal examples of "Jingle Bells" does survive on an Edison brown wax cylinder entitled, "The Sleigh Ride Party." The first commercial Christmas blues record was cut by Bessie Smith. Her classic "At The Christmas Ball" inaugurated the Christmas blues tradition when it was recorded in November 1925 for Columbia. A year later, circa December 1926, the gospel Christmas tradition was launched when the Elkins-Payne Jubilee Singers recorded "Silent Night, Holy Night" for Paramount Records. After these recordings it was off to the races with numerous Christmas blues numbers recorded by singers of all stripes, a pace that continued as blues evolved into R&B and then rock and roll. It’s almost certainly the case that many of these songs were recorded at the prompting of the record companies. Like any business they were always looking for a new angle or gimmick to sell records and advertised these Christmas records boldly, often with full-page ads, in black newspapers like the Chicago Defender and magazines like Billboard.

Perhaps more than any other music, the blues is deeply enmeshed in a particular culture, entangled in the era of segregation, in the era of Jim Crow and in the era of slavery. In his classic Screening The Blues Paul Oliver wrote “for the Negro, Christmas has a deep-rooted significance beyond that of the religious meaning of the celebration itself; a more worldly one of which has none the less firmly established itself in his folkways. Since far back in slavery Christmas has signified a rest, a break in the year's routine which no other festival affords, proving an opportunity for a man to be with his family and, for a brief period at any rate, from the rigorous monotony of rural labor.” The annual Christmas Ball was something looked forward to all year and as Oliver astutely notes “there may have been a change of venue–a Harlem cellar dive for the 'quarters' and a jazz band instead of the fiddles, but there was probably little difference in kind and certainly in spirit at the Christmas Ball described by Bessie Smith…”

tumblr_lwm4ghP6Of1qd94ffo1_1280

Among Paramount's biggest blues stars of the 1920's were Blind Lemon Jefferson and Blind Blake who made their debuts for the label several months apart – Jefferson in December 1925 or January 1926 and Blake around August of 1926. Paramount ramped up their blues and gospel recordings considerably in 1927 and a new Jefferson and Blake record appeared every month. Paramount resorted to several novel promotions for their big artists; In 1924 Ma Rainey's sixth release was labeled "Ma Rainey's Mystery Record" with prizes given to the best title while Charlie Patton's "Screamin' And Hollerin' The Blues" was listed as by The Masked Marvel with a corresponding advert that bore a drawing of a blindfolded singer – looking nothing like Patton – and the clue that he was an exclusive Paramount artist. Similarly, so successful was Jefferson, that a special yellow and white label was produced for Paramount 12650, "Piney Woods Money Mama" b/w ‘Low Down Mojo Blues" which bore his picture and the wording "Blind Lemon Jefferson's Birthday Record." In a similar vein Christmas records can be seen as just another promotional tool with ads for these records appearing annually in black newspapers every holiday season. Befitting his stardom, Lemon's lone holiday record "Christmas Eve Blues" b/w "Happy New Year Blues", was given a full-page advertisement in the December 12th, 1928 edition of the Chicago Defender. In Paramount's 1928 late fall Dealers' Supplement the label advertised scores of "CHRISTMAS, SPIRITUAL AND SERMON RECORDS THAT ARE DEPENDABLE SALES PRODUCERS" and warned that they "SHOULD BE IN YOUR STOCKS NOW." Blind Blake received the large sized treatment in the 1929 edition of the paper for his "Lonesome Christmas Blues," (also sharing the page was Leroy Carr's "Christmas In Jail – Ain't That A Pain?") his only Christmas record. The flip was "Third Degree Blues" – apparently Blake only had enough holiday spirit for one side!

Blind Blake wishes you a Merry X-mas

The trend continued with more frequency in the 30's. Here are a few notable songs: Butterbeans & Susie "Papa Ain’t No Santa Claus" (1930), Charlie Jordan "Santa Claus Blues" ["Christmas Christmas, how glad I am you are here/ Well I ain’t had a chicken dinner for this whole round year/Shiny bones and naked bones gleaming from around my plate/ …So pass me that chicken, the turkey, duck and the goose/Well all you birds gonna be one legged when I turn you-a-loose"] (1931) and "Christmas "Christmas Blues" (1935), Kansas City Kitty & Georgia Tom "Christmas Morning Blues" (1934), Verdi Lee "Christmas "Tree Blues" (1935), Tampa Red "Christmas And New Years Blues" (1934), Peetie Wheatstraw "Santa Claus Blues" (1935), Bumble Bee Slim's "Christmas And No Santa Claus and "Santa Claus Bring Me A New Woman" (1936), Black Ace "Christmas Time Blues (Beggin' Santa Claus)" (1937), Casey Bill Weldon "Christmas Time Blues" (1937), Bo Carter "Santa Claus" (1938), Walter Davis "Santa Claus" (1935), Sonny Boy Williamson I "Christmas Morning Blues" (1938).

Mary Harris, who cut two sides for Decca at an October 31, 1935 session is most certainly Verdi Lee who cut sides on the exact same date, also in the company of fellow St. Louis musicians Peetie Wheatstraw and Charlie Jordan. It was a holiday themed session with the group cutting "Christmas Tree Blues", "No Christmas Blues", "Happy New Year Blues", "Christmas Christmas Blues" and "Santa Claus Blues" (the latter two with vocals by Jordan and Wheatstraw respectively). Paul Oliver noted that "it would be pleasant to think that each singer was inspired by the others to create a blues on the same subject but at this date, with Christmas two months away, it is more likely that it was a deliberate promotional device by Rev. J.M. Gates: Will The Coffin Be Your Santa Claus[producer] Mayo Williams."

In the 40's there was of course more blues Christmas songs but there was a new music brewing called R&B. Evolving out of jump blues in the late '40's, R&B laid the groundwork for rock & roll. The era's biggest Christmas song was undoubtedly the immortal "Merry Christmas, Baby" cut by Charles Brown & The Blazers in 1947. This perennial classic has been covered numerous times including versions by Elvis Presley, Chuck Berry, Lena Horne , Lou Rawls, Booker T. & the MG's, Otis Redding, James Brown and countless others. Charles Brown's smooth ballad style has become synonymous with Christmas ever since remaking "Merry Christmas, Baby" many times, cutting many other Christmas songs and full length albums including 1961's Charles Brown Sings Christmas Songs and Cool Christmas Blues in 1994.

Notable blues and R&B songs from this period include: Champion Jack Dupree's "Santa Claus Blues" (1945), Gatemouth Moore "Christmas Blues" (1946) [recut in 1977 as "Gate's Christmas Blues"], Little Willie Littlefield "Merry Xmas" (1949), Mabel Scott "Boogie Woogie Santa Claus" (1947), Harman Ray "Xmas Blues" ["Hold it, hold it man/Don’t play me no jingle bells the way I feel this Christmas/Only kind of bells I want to have anything to do with is some of them mission bells/Man, play me the blues long, loud and lowdown"] (1947), Boll Weavil "Christmas Time Blues" (1947), Big Joe Turner "Christmas Date Boogie "(1948), Thelma Cooper "I Need A Man (For Xmas)" (1948), Smokey Hogg "I Want My Baby For Christmas" (1949), Amos Milburn "Let's Make Christmas Merry Baby" (1949), Harry Crafton "Bring That Cadillac Back" ["I let you eat my turkey on Christmas morn/When I looked around you and my Cadillac was gone"] (1949), Felix Gross "Love For Christmas" ["You can have your turkey and your dressing/Sweet cakes and apple pie/Blue Champagne and Rock & Rye/Everything that money can buy"] (1949), J.B. Summers "I Want a Present For Christmas" (1949 ["Santa Claus, Santa Claus/Hear my plea/Open up your bag and give a fine brown baby to me/ …You can stop by my chimney/Drop her in the chute/ Leave your reindeer outside/Come in and get my loot"] .

One other song from this era is the downright odd "Junior's a Jap Girl's Christmas for His Santa Claus" (1942) a Library of Congress recording by Willie Blackwell that defies categorization. Other non-R&B Christmas songs from the 40's include a few by Leadbelly such as "Christmas Is A-Coming", "The Christmas Song", "On A Christmas Day", Sylvester Cotton "Christmas Blues" (1948), Washboard Pete [aka Ralph Willis] "Christmas Blues" (1948), Alex Seward & Louis Hayes "Christmas Time Blues" (1948), Walter Davis "Santa Claus" (1949).

Clyde Lasley: Santa Came Home DrunkThere was a time you could hit the charts with an instrumental as pianist Lloyd Glenn well knew, scoring big with "Old Time Shuffle Blues" which hit #3 on the R&B charts in 1950 and "Chica Boo" which hit #1 in 1951. He seemed to have a knack for being on hit records, accompanying T-Bone Walker on his 1947 hit "Call It Stormy Monday", and in 1949 he joined Swing Time Records as A&R man, recording a number of hits with Lowell Fulson, including "Everyday I Have The Blues" and the #1 R&B hit "Blue Shadows." In sunny Los Angeles on April 1951 he waxed the shuffling "(Christmas) Sleigh Ride." Glenn's distinctive piano work can also be found on a five-song session Jesse Thomas waxed for Swingtime also in April 1951 which included "Xmas Celebration." Glenn was also present when Lowell Fulson cut his classic two-parter, "Lonesome Christmas Pt. 1 & 2 "in 1951.

The 50's produced many more Christmas gems including: Lowell Fulson's oft covered ""Lonesome Christmas" (1950), Cecil Gant "It's Christmas Time Again" and "Hello, Santa Claus" (1950), Roy Milton "Christmas Time Blues" (1950), Johnny Otis & Little Esther Phillips "Far Away Blues" [also known as "Faraway Christmas Blues"] (1950), Jimmy Liggins "I Want My Baby For Christmas" (1950), The Nic Nacs with Mickey Champion "Gonna Have A Merry Xmas" (1950), Larry Darnell "Christmas Blues" (1950), Sonny Parker with Lionel Hampton "Boogie Woogie Santa Claus" (1950), Lloyd Glenn "Sleigh Ride" (1951), Sugar Chile Robinson "Christmas Boogie" b/w "Rudolph The Red-Nosed Reindeer" (1950), Titus Turner "Christmas Morning" (1952), Lightning Hopkins "Merry Christmas" (1953), Chuck Berry "Run, Rudolph, Run" (1958) and "Merry Christmas Baby" (1958), John Lee Hooker "Blues for Christmas" (1959).

The 60's, less so in the 70's, produced a number of strong Christmas blues songs including at least one blues classic, Little Johnny Taylor's "Please Come Home For Christmas" (1969) which has become an oft covered holiday classic. Other notable 60's songs include: Sonny Boy Williamson II "Santa Claus" (1960), Lightnin' Hopkins "Santa" (1960) and "Heavy Snow" (1962), Black Ace "Santa Claus Blues" (1960), B.B. King "Christmas Celebration" (1960), Hop Wilson "Merry Christmas, Darling" (1961), Robert Nighthawk "Merry Christmas Baby" (1964), Lowell Fulson "I Wanna Spend Christmas With You" (1967), Louis Jordan "Santa Claus, Santa Claus" (1968), Charles Brown "New Merry Christmas Baby" (1969) featuring Earl Hooker, Bukka White "Christmas Eve Blues" (1969). In the 70's: Jimmy Reed "Christmas Present Blues" (1970), Lee Jackson "The Christmas Song" (1971), Clyde Lasley "Santa Came Home Drunk (1971), Albert King "Santa Claus Wants Some Lovin'" (1974) and "Christmas Comes But Once A Year" (1974), Eddie C. Campbell "Santa's Messin' with the Kid" (1977).

Freddy Ling: I Hear Jingle BellsThere seems to be a dearth of quality Christmas songs in the 70's and 80's. By the late 80's the rise of the CD caused the demise of the 45 record which was one of the main vehicles for putting out holiday songs. However in lieu of the 45 labels began releasing Christmas themed compilations and there have been a number of very good collections. Some of the best include: Austin Rhythm and Blues Christmas (1989) from the Antone's label [reissued on Epic in 1986 and Sony in 2001], Alligator Records Christmas Collection (1992), Ichiban Blues At Christmas Vol. 1-4 (1991-97) [Best of Ichiban Blues at Christmas was issued 2002], Bullseye Blues Christmas (1995), Stony Plain's Christmas Blues (2000), Blue Christmas (2000) from the Dialtone label, Blue Xmas (2001) on Evidence. A number of artists issued Christmas themed records including Charles Brown, Huey "Piano' Smith, Johnny Adams, B.B. King and Etta James. Also with the dominance of the CD age labels went back into their vaults to put together compilations of classic Christmas blues.

Share