Blind Lemon Jefferson


Blind Lemon Jefferson

Blind Lemon Jefferson
Blindlemonjeffersoncirca1926.jpg

The only known photograph of “Blind” Lemon Jefferson (circa 1926)
Background information
Birth name Lemon Henry Jefferson
Also known as Deacon L. J. Bates
Born September 24, 1893
Origin Coutchman, Texas, U.S.
Died December 19, 1929(aged 36)
Chicago, Illinois, U.S.
Genres Blues
Occupations Singer-songwriter, guitarist
Years active 1926–1929

“Blind” Lemon Jefferson (Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920’s, and has been titled “Father of the Texas Blues“.

Jefferson’s singing and self-accompaniment were distinctive as a result of his high-pitched voice and originality on the guitar Although his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as they could other commercially successful artists.  Later blues and rock and roll musicians attempted to imitate both his songs and his musical style.

 

 

Biography

Early life

Lemon Henry Jefferson was born blind near Coutchman, Texas in Freestone County, near present-day Wortham, Texas, one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson’s birth date is indicated as September 1893 in the 1900 census.  The 1910 census, taken in May before his birthday, further confirms his year of birth as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson’s birthplace.

In his 1917 draft registration, Jefferson gave his birth date as October 26, 1894, further stating that he then lived in Dallas, Texas and had been blind since birth.  In the 1920 Census, he is recorded as having returned to Freestone County and was living with his half-brother, Kit Banks, on a farm between Wortham and Streetman.

Jefferson began playing the guitar in his early teens, and soon after he began performing at picnics and parties. He became a street musician, playing in East Texas towns, in front of barbershops and on street corners. According to his cousin, Alec Jefferson, quoted in the notes for Blind Lemon Jefferson, Classic Sides:

They were rough. Men were hustling women and selling bootleg and Lemon was singing for them all night… he’d start singing about eight and go on until four in the morning… mostly it would be just him sitting there and playing and singing all night.

By the early 1910’s, Jefferson began traveling frequently to Dallas, where he met and played with fellow blues musician Lead Belly.  In Dallas, Jefferson was one of the earliest and most prominent figures in the blues movement developing in the Deep Ellum section of Dallas. Jefferson likely moved to Deep Ellum in a more permanent fashion by 1917, where he met Aaron Thibeaux Walker, also known as T-Bone Walker. Jefferson taught Walker the basics of blues guitar, in exchange for Walker’s occasional services as a guide. By the early 1920’s, Jefferson was earning enough money for his musical performances to support a wife, and possibly a child.  However, firm evidence for both his marriage and any offspring is unavailable.

Beginning of recording career

Prior to Jefferson, very few artists had recorded solo voice and blues guitar, the first of which was vocalist Sara Martin and guitarist Sylvester Weaver. Jefferson’s music is uninhibited and represented the classic sounds of everyday life from a honky-tonk to a country picnic to street corner blues to work in the burgeoning oil fields, a further reflection of his interest in mechanical objects and processes.

Jefferson did what very few had ever done – he became a successful solo guitarist and male vocalist in the commercial recording world. Unlike many artists who were “discovered” and recorded in their normal venues, in December 1925 or January 1926, he was taken to Chicago, Illinois, to record his first tracks. Uncharacteristically, Jefferson’s first two recordings from this session were gospel songs (“I Want to be like Jesus in my Heart” and “All I Want is that Pure Religion”), released under the name Deacon L. J. Bates. This led to a second recording session in March 1926. His first releases under his own name, “Booster Blues” and “Dry Southern Blues”, were hits; this led to the release of the other two songs from that session, “Got the Blues” and “Long Lonesome Blues,” which became a runaway success, with sales in six figures. He recorded about 100 tracks between 1926 and 1929; 43 records were issued, all but one for Paramount Records. Unfortunately, Paramount Records’ studio techniques and quality were bad, and the resulting recordings sound no better than if they had been recorded in a hotel room. In fact, in May 1926, Paramount had Jefferson re-record his hits “Got the Blues” and “Long Lonesome Blues” in the superior facilities at Marsh Laboratories, and subsequent releases used that version. Both versions appear on compilation albums and may be compared.

Success with Paramount Records

Label of a Blind Lemon Jefferson Paramount record from 1926

It was largely due to the popularity of artists such as Blind Lemon Jefferson and contemporaries such as Blind Blake and Ma Rainey that Paramount became the leading recording company for the blues in the 1920s.  Jefferson’s earnings reputedly enabled him to buy a car and employ chauffeurs (although there is debate over the reliability of this as well); he was given a Ford car “worth over $700” by Mayo Williams, Paramount’s connection with the black community. This was a frequently seen compensation for recording rights in that market. Jefferson is known to have done an unusual amount of traveling for the time in the American South, which is reflected in the difficulty of pigeonholing his music into one regional category.

Jefferson’s “old-fashioned” sound and confident musicianship made him easy to market. His skillful guitar playing and impressive vocal ranges opened the door for a new generation of male solo blues performers such as Furry Lewis, Charlie Patton, and Barbecue Bob. He sticks to no musical conventions, varying his riffs and rhythm and singing complex and expressive lyrics in a manner exceptional at the time for a “simple country blues singer.” According to North Carolina musician Walter Davis, Jefferson played on the streets inJohnson City, Tennessee, during the early 1920’s at which time Davis and fellow entertainer Clarence Greene learned the art of blues guitar.

Jefferson was reputedly unhappy with his royalties (although Williams said that Jefferson had a bank account containing as much as $1500). In 1927, when Williams moved to OKeh Records, he took Jefferson with him, and OKeh quickly recorded and released Jefferson’s “Matchbox Blues” backed with “Black Snake Moan,” which was to be his only OKeh recording, probably because of contractual obligations with Paramount. Jefferson’s two songs released on Okeh have considerably better sound quality than on his Paramount records at the time. When he had returned to Paramount a few months later, “Matchbox Blues” had already become such a hit that Paramount re-recorded and released two new versions, under producer Arthur Laibly. In 1927, Jefferson recorded another of his now classic songs, the haunting “See That My Grave Is Kept Clean” (once again using the pseudonym Deacon L. J. Bates) along with two other uncharacteristically spiritual songs, “He Arose from the Dead” and “Where Shall I Be”. Of the three, “See That My Grave Is Kept Clean” was so successful that it was re-recorded and re-released in 1928.

 

(Courtesy Wikipedia)

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