ARTIST | SONG | ALBUM |
---|---|---|
Julius Daniels | I'm Goin' to Tell God How You Doin' | Atlanta Blues |
Julius Daniels | Slippin' And Slidin' Up The Golden Street | Atlanta Blues |
Julius Daniels | My Mamma Was A Sailor | Atlanta Blues |
Julius Daniels | Ninety-Nine Year Blues | American Epic: The Collection |
Memphis Jug Band | Beale Street Mess Around | The Best Of Memphis Jug Band |
Memphis Jug Band | I'll See You In The Spring, When The Birds Begin To Sing | Memphis Jug Band Vol. 1 |
Memphis Jug Band | Kansas City Blues | Memphis Jug Band Vol. 1 |
Memphis Jug Band | State of Tennessee Blues | Memphis Jug Band Vol. 1 |
Blind Willie McTell | Stole Rider Blues | Best Of |
Blind Willie McTell | Mr. McTell Got The Blues | The Classic Years 1927-1940 |
Blind Willie McTell | Writing Paper Blues | Best Of |
Blind Willie McTell | Mamma, Tain't Long Fo' Day | Best Of |
Julius Daniels | Crow Jane Blues | Atlanta Blues |
Julius Daniels | Richmond Blues | Atlanta Blues |
Julius Daniels | Can't Put the Bridle on the Mule, This Morning | Atlanta Blues |
Will Weldon | Turpentine Blues | Memphis Jug Band Vol. 1 |
Will Weldon | Hitch Me To Your Buggy, And Drive Me Like A Mule | Memphis Jug Band Vol. 1 |
Vol Stevens | Vol Stevens Blues | Memphis Jug Band Vol. 1 |
Vol Stevens | Baby Got The Rickets | Memphis Jug Band Vol. 1 |
Palmer McAbee | Lost Boy Blues | The Great Harp Players 1927-1936 |
Palmer McAbee | McAbee's Railroad Piece | The Great Harp Players 1927-1936 |
Blind Willie McTell | Three Women Blues | Best Of |
Blind Willie McTell | Statesboro Blues | Best Of |
Blind Willie McTell | Dark Night Blues | Best Of |
Blind Willie McTell | Loving Talking Blues | Best Of |
Andrew & Jim Baxter | Georgia Stomp | String Bands 1926-1929 |
Andrew & Jim Baxter | Forty Drops | String Bands 1926-1929 |
Blind Willie McTell | Drive Away Blues | Best Of |
Blind Willie McTell | Love Changing Blues | Best Of |
Alfoncy and Bethenea Harris | Teasing Brown | The Classic Years 1927 -1940 |
Alfoncy and Bethenea Harris | This Is Not The Stove To Brown Your Bread | The Classic Years 1927 -1940 |
Andrew & Jim Baxter | Done Wrong Blues | Black Fiddlers 1929-c1970 |
Andrew & Jim Baxter | Treat Your Friends Right | Black Fiddlers 1929-c1970 |
Eli Framer | Framer's Blues | Never Let The Same Bee Sting You Twice |
Eli Framer | God Didn't Make Me No Monkey Man | Never Let The Same Bee Sting You Twice |
Show Notes:
Today’s program, like last week’s, continue a series of shows I call Great Recording Sessions spotlighting notable mobile recording sessions conducted by the major record companies of the day. In the mid to late 1920’s, the major record companies discovered that there was an appetite with the record buying public for blues. To feed the demand record companies conducted exhaustive searches for new talent, which included making trips down south with field recording units. They set off for destinations such as Memphis, Atlanta, New Orleans, and Dallas. According to John Godrich and Robert M.W. Dixon in their classics Recording The Blues, the record companies “had three ways 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.”
Today we turn our attention to five trips Victor made to Atlanta between 1927 and 1929. These were fruitful sessions with several sides in 1927 by fine 12-string guitarist Julius Daniels, sides by Blind Willie McTell and a batch of tracks by the Memphis Jug Band and Vol Stevens and Will Weldon who were members of the group. Earlier in the year Ralph Peer of Victor Records went to Memphis to audition talent and his first discovery was the Memphis Jug Band. In 1928 sides were cut by harmonica virtuoso Palmer McAbee, string band music by Andrew & Jim Baxter, more ides by McTell and a gospel number by Blind Penny Paris And Wife. In 1929 McTell and Andrew & Jim Baxter were recorded again, Alfoncy and Bethenea Harris and Eli Framer.
Julius Daniels was born in Denmark, South Carolina and lived in Pineville, North Carolina, from 1912 to 1930, when he moved to Charlotte, North Carolina. Recording for the first time, in 1927, Daniels was accompanied by guitarist Bubba Lee Torrence, with whom he shared billing. During his second recording session, Daniels was joined by guitarist Wilbert Andrews. He had eight issued songs for Victor plus sides unissued at the time at session made in February and October 1927.
The Memphis Jug Band was one of the most popular musical groups of the late 1920’s and early 1930’s and arguably the most important jug band in the history of the blues. Born in Memphis in 1894, Will Shade (also known as Son Brimmer) was the founder of the Memphis Jug Band. Shade formed the group in the mid-1920’s after being inspired by the records of the influential Louisville jug band, the Dixieland Jug Blowers. The band initially played in the city’s parks, streets and taverns. As their fame spread, they performed at political rallies, store openings and other civic affairs. In February 1927 Ralph Peer of Victor Records went to Memphis to audition talent. His first discovery was the Memphis Jug Band. Between 1927 and 1934, the Memphis Jug Band made over some 80-odd sides for Victor, Champion, and OKeh, achieving considerable fame and commercial success. In addition to the sides cut under the Memphis Jug Band name, several members who worked with the band, cut sides under their own name but usually backed by members of the band.
Vol Stevens played guitar, mandolin and fiddle with the Memphis Jug Band. Stevens takes the vocal on two band numbers: “Beale Street Mess Around” and “I’ll See You In The Spring, When The Birds Begin To Sing.” The following day solo sides were cut by Stevens and Wil Weldon, each backing the other on his session. We spin Weldon’s “Turpentine Blues” and “Hitch Me To Your Buggy And Drive Me Like A Mule” and Steven’s colorfully titled “Baby Got The Rickets (Mama’s Got The Mobile Blues)” and his “Vol Stevens Blues.” Whether Will is the Casey Bill Weldon who recorded prolifically in Chicago throughout the 30’s has been the object of much speculation. Current evidence suggests they are two different performers. Weldon played guitar on some twenty sides with the Memphis Jug Band between 1927 and 1928.
“I continued my playing up until Nineteen and Twenty-Seven, the eighteenth day of October, when I made records for the Victor Record people. And from then up until 1932 I played with the Victor people alone, by myself…And at meantimes, my different managers that I worked under – started under Mr. Ralph S. Peer of 1619 Broadway of New York,’ So stated Blind Willie McTell to folklorist John A„ Lomax in 1940, recalling every detail perfectly”, wrote blues historian Evans. “Peer had made several trips to Atlanta to record blues, starting in 1923 when he was working for Okeh Records. He was there in February 1927 for Victor, but was seeking religious and hillbilly acts. How he discovered McTell is unknown, but McTell was one of the first artists recorded on the first day of Victor’s Atlanta sessions in October.”
After his debut in 1927, with his records selling moderately well, he recorded for Victor again a year later. As David Evans writes “This time, McTell sounded even more confident, and all of his songs were gems. ‘Three Women Blues’ again contained slide guitar and visual imagery focusing on differences in skin color. ‘Dark Night Blues’ was also about three different women but was gloomier in its mood. It was at this 1928 session that he recorded ‘Statesboro Blues,’ not a big hit for him at the time (just over four thousand copies) but the piece that would eventually become his best known song.
Columbia Records come to Atlanta in October of 1929 and McTell used the opportunity to record for them under the alias of Blind Sammie. McTell cut two songs for Victor in 1929 and backed Alfoncy and Bethenea Harris on two numbers. McTell did not record for Victor during the next two years. Meanwhile, McTell continued to record for Columbia as Blind Sammie and for Okeh as Georgia Bill, doing a mixture of blues and ragtime tunes. Victor returned to Atlanta in February 1932, for one final go-round with McTell.
Andrew and Jim Baxter were a father and son fiddle and guitar duet from Gordon County, Georgia. The Georgia Yellow Hammers and the Baxters traveled to Charlotte, North Carolina, to record for Victor in the summer of 1927. Because of the Jim Crow laws, the Baxters had to ride several cars behind the Yellow Hammers on the train ride to Charlotte. In Charlotte, each group recorded their individual sessions, with one exception: Andrew Baxter played fiddle on “G Rag” with the Yellow Hammers. It is thought that “G Rag” is one of the earliest integrated recordings of Georgia musicians. In all eleven sides were issued with one session on October 16, 1928 left unissued.
Little information is know about Palmer McAbee, Blind Penny Paris and Eli Framer. McAbee cut two sides on February 21, 1928. It has often been assumed from the style of his music that he was African-American. However, on his 1917 draft registration card, he is described as “Caucasian.” Blind Penny Paris recorded four spirituals (two of which remain unissued). Framer recorded four songs on November 30, 1929, two of which were unissued.