Bunk Johnson

Bunk Johnson
1910
Background information
Birth name	William Gary Johnson
Also known as	Bunk
Born	December 27, 1879
Origin	New Orleans
Died	July 7, 1949
Genres	Jazz
Instruments	trumpet
Associated acts	George Lewis Louis Armstrong

Willie Gary “Bunk” Johnson (December 27, 1879 – July 7, 1949) was a prominent early New Orleans jazz trumpet player in the early years of the 20th century who enjoyed a revived career in the 1940s.

Bunk gave the year of his birth as 1879, although there is speculation that he may have actually been younger by as much as a decade.

Education and early musical career

Bunk received lessons from Adam Olivier and began playing professionally in Olivier’s orchestra. Bunk probably played a few adolescent jobs with Buddy Bolden, but was not a regular member of Bolden’s Band for any length of time (contrary to Bunk’s claim). Bunk was regarded as one of the top trumpeters in New Orleans in the years 1905–1915, in between repeatedly leaving the city to tour with minstrel shows and circus bands. After he failed to appear for a New Orleans Mardi Gras parade job in 1915, he learned the krewe members intended to do him bodily harm, and so he left town, touring with shows and then settling in New Iberia, Louisiana. In 1931 he lost his trumpet and front teeth when a violent fight broke out at a dance inRayne, Louisiana, putting an end to his playing. He thereafter worked in manual labor, occasionally giving music lessons on the side when he could.

Career revival and first recordings

In 1938 and 1939 the researchers/writers of the first book of jazz history, Jazzmen, interviewed several prominent musicians of the time, includingLouis Armstrong, Sidney Bechet, and Clarence Williams, who spoke very highly of Bunk in the old days in New Orleans. The writers tracked down Bunk’s address, and traded several letters with him, where Bunk recalled (and possibly embellished) his early career. Bunk stated that he could play again if he only had new teeth and a new trumpet. A collection was taken up by writers and musicians, and Bunk was fitted with a set of dentures (by Bechet’s dentist brother, Leonard) and given a new trumpet, and in 1942 made his first recordings.

Bunk (left) with Lead Belly in New York City, 1946

Later touring career

These first recordings propelled Bunk (along with clarinetist George Lewis) into public attention, attracting a cult following. Bunk and his band played in New Orleans, San Francisco, Boston, and New York City and made many more recordings. Bunk’s work in the 1940s show why he was well regarded by his fellow musicians—on his best days playing with great imagination, subtlety, and beauty—as well as suggesting why he had not achieved fame earlier, for he was unpredictable, temperamental, with a passive-aggressive streak and a fondness for drinking alcohol to the point of serious impairment.

Death and legacy

Bunk suffered from a stroke in late 1948 and died in New Iberia the following year.

Jazz fans and historians still debate Bunk’s legacy, and the extent to which his colorful reminiscences of his early career were accurate, misremembered, exaggerated, or untrue.

The majority of his recordings remain in print on CD reissues, and his playing is an important influence on many contemporary traditional jazz musicians. Johnson plays a small, but significant, role in Alan Schroeder’s picture book “Satchmo’s Blues.” In that book, Johnson serves as a source of musical inspiration to the young Louis Armstrong.

(Courtesy Wikipedia)

Think Summer! Think the Pal Portable Phonograph 1929

The Pal Phonograph was a portable phonograph that was advertised as the one you could take with you anywhere in the Summer, even on canoe trips! The Spokane Daily Chronicle carried this insert on July 18, 1929.

 

 

 

The Zon-o-phone Phonograph 1900

Here is a rare 1900 advertisement for the Zon-o-phone phonograph, as a special offer to subscribers of McClure’s Magazine in their November issue.

 

Louis Armstrong and his Hot Seven “Wild Man Blues” 1927

The July 16, 1927 edition of The Afro-American, Baltimore, Maryland carried this advertisement about Louis Armstrong’s latest recording on the Okeh race record series.

 

The Wurlitzer Phonograph 1924

Here is a rare glimpse of the Wurlitzer Phonograph, with two different offers, that included six Victor Records, a novelty dancing doll attachment, needles, a gold plated record repeater, and a mirror. I do apologize for not being able to enlarge the advertisement to show all that was included in the two offers. This advertisement appeared in the March 12, 1924 edition of the Greensburg Daily Tribune, Greensburg, Pa.

 

The Sears, Roebuck and Company Silvertone Phonographs and Records for Christmas 1920

Sears, Roebuck and Company of Seattle, Washington, advertised their various Silvertone phonograph models and the latest Silvertone records, just in time for Christmas, in the December 12, 1920 Spokesman-Review, Spokane, Washington.

 

The Brooks Automatic Repeating Phonograph 1920

The Spokesman-Review of Spokane, Washington carried this interesting ad for the Brooks phonograph in its December 12, 1920 edition. The Brooks phonograph was made by Brooks Manufacturing Company, Saginaw, Michigan.

 

The Meteor Phonograph 1920

This Meteor phonograph advertisement was placed in the Middletown, Ohio News-Signal on October 20, 1920 as part of a larger advertisement by Cappel’s Furniture. The Meteor was made by the Meteor Motor Car Company of Piqua, Ohio.

 

The Singer Phonograph 1916

In response to a request from a Facebook group member, I have managed to find an advertisement for a Singer phonograph being sold by Adams, in Milwaukee. This was in the December 8, 1916 edition of the Milwaukee Journal. The Singer was made by the Singerphone Company, Milwaukee, Wisconsin.

 

The Windsor Phonograph 1916

The December 6, 1916 edition of The Milwaukee Sentinel carried this advertisement for the Windsor Phonograph, which was made by  The Windsor Furniture Company, Chicago, Illinois.

 

Discontinuing Widdicomb Phonographs 1921

Dinwoodey’s Good Furniture is making room for more furniture by offering the Widdicomb phonograph at half price. The store, located in Salt Lake City, Utah, put this large advertisement in the July 15, 1921 Deseret News. The Widdicomb was manufactured by Widdicomb Furniture Company, Grand Rapids, Michigan.

 

 

The Blue Bird Phonograph Arrives In Time For The Holidays 1919

The Berkeley California’s Daily Gazette carried this announcement about the Blue Bird phonograph in its November 21, 1919 edition.

 

The Blue Bird was made by the Blue Bird Talking Machine Company, Los Angeles, California.

The Artophone Phonograph for Christmas 1917

The Maxine Co., of Toledo, Ohio announced that they were the Toledo agents for the Artophone, just in time for Christmas. The advertisement itself was found in the December 18, 1917 edition of the Toledo News-Bee. The Artophone went into production in 1916, and was made by the Artophone Company, St. Louis, Missouri.

Kimball and Paramount Phonographs 1920

As Christmas approaches the phonograph manufacturers of the Kimball and the Paramount take out large advertisements in The Milwaukee Journal on November 28, 1920, as shown below. For your information the Kimball was produced by W.W. Kimball Company of Chicago, Illinois, and the Paramount was manufactured by the Paramount Talking Machine Company, Port Washington, Wisconsin.

 

The Best Antique Markets, Flea Markets, etc. in the United States to Find 78’s

Your editor is  searching for recommendations as to where collector’s can find an abundance of 78’s in the United States. Your information should include as much as possible about location, hours of operation, etc. I am planning to share this information in the near future, so please e-mail me, Ken, at:

kennethmcpherson@hotmail.com

 

Thank-you for your help!!

 

 

 

 

Fate Marable’s Cotton Pickers Moonlight Excursion 1931

 

Fate Marable led many bands on the Mississippi river boat lines, which served as a training ground for many important figures in the early history of jazz. He played both the calliope and piano. His only recording for the Okeh label was made in 1924. This newspaper clipping is from the September 15, 1931 edition of the Southeast Missourian.

Silvertone Phonographs and Silvertone Records 1920

This newspaper advertisement for Silvertone records and phonographs and records was placed in The Spokesman Review of Washington state,  November 7th, 1920, by Sears, Roebuck and Company.

Paul Whiteman Old Gold Cigarette Commercial from 1929

American recording artist Paul Whiteman, the King of Jazz and his orchestra appeared on the Columbia Broadcasting System for “Old Gold” cigarettes in this 1929 Buffalo, New York, newspaper clipping.

 

Berliner Records by Steven C. Barr (courtesy CAPS)

Berliner Records History of Recorded Sound in Canada by Steven C. Barr      The one characteristic of the earliest “made in Canada” records that makes them both recognizable and in demand by collectors, particularly those in the United States, is the fact that from 1900 to about 1910 the Montreal-pressed records of Emile Berliner were, unlike any others at the time, on a light to medium brown material, known to collectors as “brown wax”, although wax was never used for disc records and only for the earliest cylinders. These records were apparently introduced in early 1900, shortly after Berliner set up operations in Montreal. The first issues, like the U.S. Berliners in size and often in musical content, were 7-inch records which, unlike their earlier American counterparts, had a brown and gold paper label. They were known as “Gram-O-Phone” or “Improved Gram-O-Phone” records, crediting the Berliner Gram-O-Phone Company of Montreal.     In the following year, 1901, the U.S. Victor firm introduced the 10-inch “Monarch” record and these appeared in Canada as the “Berliner Concert Grand” record. Shortly thereafter, probably late 1902 or 1903, the familiar figure of Nipper appeared on a label similar to the Victor/ Monarch label, then in use in America, and the brand name was simplified to “Concert Record” while the label colour was lightened to match the milk-chocolate colour of the actual record. During this period, and probably until 1904, the Canadian records differed from their U.S. counterparts in two respects; first, they were numbered in their own sequence, with most in a 5000 series (even though the majority were pressed from Victor matrices), and second, the centre holes of the records were protected by a brass ferrule – a feature which would have saved many a record for today’s collectors, as the automatic changers introduced in the late 1930s had a tendency to chew away at the hole in the record! In early 1905 the “Monarch” and “Deluxe” labels, identifying 10 and 12-inch Victor records respectively, were replaced by the Victor name, which henceforth appeared on virtually all the records of the company. At the same time or shortly later, the “Concert” label was replaced by a “Victor” label on Berliner’s records from U.S. matrices, with a notice announcing that the record was specifically “for sale or use in Canada only”. (It is not known just who dealt with the offenders, – and how – , who were bold enough to play one of these in Detroit or Buffalo!) It was at or near this time that the Canadian number sequences were dropped and Victor numbers were used. Somewhat later, the phrase “His Master’s Voice” was added above the “Victor Record” which appeared on each side of the centre hole, so that the trade name appeared to read “His Master’s Voice-Victor”, a phrasing which was used until 1947 on Canadian Berliner and Victor products, with the exception of Berliner’s Montreal-recorded products from 1918 until 1924 and a handful of records pressed from U.S. matrices which possibly used leftover labels from the Canadian records. These bore the legend”His Master’s Voice” without “Victor”. The use of brown material for records continued through at least most, if not all, of 1909, and through the first 100-odd double-sided issues in the 16000 series. At some point late in 1909 or early 1910, the brown records were quietly discontinued, and Berliner’s products appeared in the familiar black. This was the last North American appearance of brown or “red” records until Aeolian Vocalion introduced their label in late 1918. Ironically, the Canadian equivalent of this label appeared on black records! There were two rather odd types of records of the “brown wax” period. The first is the pre-1909 Canadian Red Seal series, brown material but with the familiar crimson label; the second apparently resulted from some frugal manager in Berliner’s operation being unwilling to discard the brown labels left over from the matching records, and appears as occasional black records bearing two (or less often, one) brown labels. In late 1909, Berliner introduced the first of their Canada-only issues since Victor masters had replaced the early Montreal-recorded sides. These were, however, not recorded in Montreal but were European (French) and English recordings which the firm felt would appeal to Canadian talking machine owners. Several series were introduced: the fairly common 120000 (10″) and 130000 (12″) black-label series, the violet label 100000 (10″) and 110000 (12″) single-sided series and a 183000 Red Seal series, with the 121000 series (which included but one record, the “puzzle record”) added shortly thereafter. These were broken up into blocks which appear almost without logical reason, so that establishing dates for them by number is a frustrating task. The initial records (or at least the initial numbers) were all European-recorded French-language sides; however, the French records were shortly thereafter assigned to the 120/130500 block, and then made obsolete by Montreal-recorded material after 1918. Although the French records are seldom found in Ontario, the 120-130000 series records turn up often enough to indicate that material from “The Old Country” proved quite popular with British and Scottish record buyers. In 1914, the more patriotic selections, along with a handful of records from the regular catalogue, acquired a fanciful red-white-and-blue label with the Union Jack prominently displayed. Once the patriotic fervour of wartime had diminished, the series reverted to the usual label which it would wear from then on. Around this time, the numbering was started at 120700 for the 10″ series and continued from there until it jumped to 120800 when electric recording was introduced (with the 12″ electrics starting at 130800). Moogk’s Roll Back the Years lists two oddities in this series: numbered 120900 and 120901, they are apparently sides recorded in the U.S. during WWI for Canadian issues! In 1916 the Berliners resumed recording in Montreal on a regular basis, and began issuing another series, the Canadian-recorded 216000 series. This started slowly, with a pair of poems recorded experimentally much earlier and three records by one “Canadian Cohen” (actually Herbert Berliner!) but picked up once the war ended. Although Canadian talent was used to some extent, many of the records were made by established American artists, and a fair number were, in fact, “cover versions” of records on competing labels, using artists such as Billy Jones, Milo Rega and Harry Raderman who did not record for Victor. By 1920, the majority of Berliner’s black label issues were in this series, and the Victor company in the U.S. began to look askance at the situation. This was responsible for another unique Canadian item: when a popular U.S. record duplicated one of Berliner’s own sides, he simply deleted that side from the Canadian version of the Victor record and substituted a different pairing. For that reason, a number of Canadian Victors have a different pairing of songs than the U.S. issue with the same catalogue number!      Finally, in late 1921, pressure from the Victor firm slowed the 216000 issues to a trickle once again. In the meantime, Emile’s son, Herbert, had resigned from his father’s firm, moving to the Compo Company which he had started in 1918. Victor was evidently still somewhat less than happy about being dependent on the independent company for its Canadian operations, and continued pressure on Berliner until Victor finally acquired the company in early 1924, renaming the operation “The Victor Talking Machine Company of Canada” and making the Victor name more prominent on an altered label.

Vogue Records

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The first and most popular release from Vogue in the U.S.

Vogue Records was a short-lived United States-based record label of the 1940’s, noted for the artwork embedded in the records themselves. Founded in 1946 as part of Sav-Way Industries of Detroit, Michigan, the discs were initially a hit, because of the novelty of the colorful artwork, and the improved sound compared to the shellac records dominant at the time. The discs were manufactured by first sandwiching printed illustrations around a core of aluminum, then coating both sides with clear vinyl upon which the grooves were stamped.

The company went out of business the following year, having released between 67 and 74 double-sided 78 rpm gramophone records. Some of the Vogue issues were re-releases of recordings originally issued by other companies.

The colorful artwork on the records have made Vogue Records a collector’s item.

Two releases on the Vogue label have been the source of much collector debate over the years: the 1946 releases by the country swing group the Down Homers “Who’s Gonna Kiss You When I’m Gone?” and “Boogie Woogie Yodel” have often been cited as featuring the earliest recorded performances by future rock and roll pioneer Bill Haley, who was a member of the group in 1946. However this rumor was later debunked by surviving members of the Down Homers as well as Haley researchers. Nonetheless, the Vogue Down Homers releases are considered among the more collectable of the label’s releases.

(Source: Wikipedia)

Majestic Record Corporation

Majestic Record Corporation was a United States record label in 1916 and 1917.

Majestic was incorporated in the state of New York on September 25, 1916 with a capitalization of $10,000. Three names behind the start of Majestic were J.C. Reis, R.V. Schoenfeld and D. Green. They had their corporate office and their manufacturing site at two separate locations in New York City.

Majestic was part of the miniature record fad of this era that was started by Little Wonder Records in 1914. They initially produced 7 inch 78 rpm vertical cut records and would later also produce 9.25 inch vertical cut records. Both records had an etched label design. They marketed heavily to the trade looking for distributors for their records throughout the country. The 7 inch record sold for 25 cents while the 9.25 inch record sold for 50 cents. The selling point for Majestic was both the selling price and that they had 165 threads to the inch (or grooves to the inch) which was a very fine groove. This meant they played as long as their competitors’ standard 10 inch records for a fraction of the price. The 9.25 inch records claimed four and half minutes of music. Since these records were vertical cut they also sold the Majestic Adaptor so that the records could be played on any phonograph.

One of the companies they did strike a distribution deal with was the King Talking Machine Company, also of New York City, makers of the Harrolla line of phonographs. This was announced to the trade in February 1917. It is not clear when but by June 1917 both of these companies appear to have folded.

(Source: Wikipedia)

W.C. Handy

 

(From Wikipedia)

 

 

W. C. Handy
In July 1941, by Carl Van Vechten
Background information
Birth name	William Christopher Handy
Also known as	The Father of Blues
Born	November 16, 1873 Florence, Alabama, U.S.
Origin	Memphis, Tennessee, U.S.
Died	March 28, 1958 (aged 84) New York City, New York, U.S.
Genres	Blues, Jazz
Occupations	Composer, songwriter, musician,bandleader, author
Instruments	Piano, cornet, trumpet, guitar,vocals
Years active	1893–1948

William Christopher Handy (November 16, 1873 – March 28, 1958) was a blues composer and musician. He was widely known as the “Father of the Blues”.

Handy remains among the most influential of American songwriters. Though he was one of many musicians who played the distinctively American form of music known as the blues, he is credited with giving it its contemporary form. While Handy was not the first to publish music in the blues form, he took the blues from a regional music style with a limited audience to one of the dominant national forces in American music.

Handy was an educated musician who used folk material in his compositions. He was scrupulous in documenting the sources of his works, which frequently combined stylistic influences from several performers.

 

Early life

 

English: W. C. Handy, age 19. Photo courtesy of University of North Alabama, Collier Library. Photographer unknown. Русский: Уильям Кристофер Хэнди в возрасте 19 лет (Photo credit: Wikipedia)

 

W.C. Handy at age 19

Handy was born in Florence, Alabama. His father was thepastor of a small church in Guntersville, another small town in northeast central Alabama. Handy wrote in his 1941 autobiography, Father of the Blues, that he was born in the log cabin built by his grandfather William Wise Handy, who became an African Methodist Episcopal(AME) minister after emancipation. The log cabin of Handy’s birth has been saved and preserved in downtown Florence.

Growing up he apprenticed in carpentry, shoemaking andplastering.

Handy was a deeply religious man, whose influences in his musical style were found in the church music he sang and played as a youth, and in the natural world. He later cited the sounds of nature, such as “whippoorwills, bats and hoot owls and their outlandish noises”, the sounds of Cypress Creek washing on the fringes of the woodland, and “the music of every songbird and all the symphonies of their unpremeditated art” as inspiration.

Handy’s father believed that musical instruments were tools of the devil. Without his parents’ permission, Handy bought his first guitar, which he had seen in a local shop window and secretly saved for by picking berries, nuts and making lye soap. Upon seeing the guitar, his father asked him, “What possessed you to bring a sinful thing like that into our Christian home?” Ordering Handy to “Take it back where it came from”, his father quickly enrolled him in organ lessons. Handy’s days as an organ student were short lived, and he moved on to learn the cornet. Handy joined a local band as a teenager, but he kept this fact a secret from his parents. He purchased a cornet from a fellow band member and spent every free minute practicing it.

Musical development

He worked on a “shovel brigade” at the McNabb furnace, and described the music made by the workers as they beat shovels, altering the tone while thrusting and withdrawing the metal part against the iron buggies to pass the time while waiting for the overfilled furnace to digest its ore. “With a dozen men participating, the effect was sometimes remarkable…It was better to us than the music of a martial drum corps, and our rhythms were far more complicated.” He wrote, “Southern Negroes sang about everything…They accompany themselves on anything from which they can extract a musical sound or rhythmical effect…” He would later reflect that, “In this way, and from these materials, they set the mood for what we now call blues”

In September 1892, Handy traveled to Birmingham to take a teaching exam, which he passed easily, and gained a teaching job in the city. Learning that it paid poorly, he quit the position and found industrial work at a pipe works plant in nearby Bessemer.

During his off-time, he organized a small string orchestra and taught musicians how to read notes. Later, Handy organized the Lauzetta Quartet. When the group read about the upcoming World’s Fair in Chicago, they decided to attend. To pay their way, group members performed at odd jobs along the way. They arrived in Chicago only to learn that the World’s Fair had been postponed for a year. Next they headed to St. Louis but found working conditions very bad.

After the quartet disbanded, Handy went to Evansville, Indiana, where he helped introduce the blues. He played cornet in the Chicago World’s Fair in 1893. In Evansville, Handy joined a successful band that performed throughout the neighboring cities and states. His musical endeavors were varied: he sang first tenor in a minstrel show, worked as a band director, choral director, cornetist andtrumpeter.

At age 23, Handy became band master of Mahara’s Colored Minstrels. In their three-year tour, they traveled to Chicago, throughoutTexas and Oklahoma, through Tennessee, Georgia and Florida, and on to Cuba. Handy earned a salary of $6 per week. Returning from Cuba, the band traveled north through Alabama, and stopped to perform in Huntsville. Weary of life on the road, he and his wife Elizabeth decided to stay with relatives in his nearby hometown of Florence.

Marriage and family

In 1896 while performing at a barbecue in Henderson, Kentucky, Handy met Elizabeth Price. They married shortly afterward on July 19, 1896. She had Lucille, the first of their six children, on June 29, 1900 after they had settled in Florence, Alabama, his hometown. Henderson’s W.C. Handy Music Bar B Q and Blues Festival is held annually in June. There is also a 10 day, 200 event W.C. Handy Music Festival in Handy’s hometown of Florence, Alabama annually the last week of July. http://www.wchandymusicfestival.org

Teaching music

 

W.C. Handy, ca. 1900, Director of the Alabama Agriculture & Mechanical College Band

Around that time, William Hooper Councill, President of Alabama Agricultural and Mechanical College for Negroes (AAMC) (today named Alabama Agricultural and Mechanical University) in Normal, Alabama, recruited Handy to teach music at the college. Handy became a faculty member in September 1900 and taught through much of 1902.

His enthusiasm for the distinctive style of uniquely American music, then often considered inferior to European classical music, was part of his development. He was disheartened to discover that the college emphasized teaching European music considered to be “classical”. Handy felt he was underpaid and could make more money touring with a minstrel group.

Studying the blues

In 1902 Handy traveled throughout Mississippi, where he listened to the various black popular musical styles. The state was mostly rural, and music was part of the culture, especially of the Mississippi Delta cotton plantation areas. Musicians usually played the guitar, banjo and to a much lesser extent, the piano. Handy’s remarkable memory enabled him to recall and transcribe the music heard in his travels.

After a dispute with AAMC President Councill, Handy resigned his teaching position to rejoin the Mahara Minstrels and tour theMidwest and Pacific Northwest. In 1903 he became the director of a black band organized by the Knights of Pythias, located inClarksdale, Mississippi. Handy and his family lived there for six years. In 1903 while waiting for a train in Tutwiler in the Mississippi Delta, Handy had the following experience:

“A lean loose-jointed Negro had commenced plunking a guitar beside me while I slept… As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars….The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard.”

About 1905 while playing a dance in Cleveland, Mississippi, Handy was given a note asking for “our native music”. He played an old-time Southern melody, but was asked if a local colored band could play a few numbers. Three young men with a battered guitar, mandolin, and a worn-out bass took the stage.

“They struck up one of those over and over strains that seem to have no beginning and certainly no ending at all. The strumming attained a disturbing monotony, but on and on it went, a kind of stuff associated with [sugar] cane rows and levee camps. Thump-thump-thump went their feet on the floor. It was not really annoying or unpleasant. Perhaps “haunting” is the better word.”

Handy noted square dancing by Mississippi blacks with “one of their own calling the figures, and crooning all of his calls in the key of G.” He remembered this when deciding on the key for “St Louis Blues”.

“It was the memory of that old gent who called figures for the Kentucky breakdown—the one who everlastingly pitched his tones in the key of G and moaned the calls like a presiding elder preaching at a revival meeting. Ah, there was my key – I’d do the song in G.”

In describing “blind singers and footloose bards” around Clarksdale, Handy wrote, “[S]urrounded by crowds of country folks, they would pour their hearts out in song … They earned their living by selling their own songs – “ballets,” as they called them—and I’m ready to say in their behalf that seldom did their creations lack imagination.”

Transition: popularity, fame and business

In 1909 Handy and his band moved to Memphis, Tennessee, where they started playing at clubs on Beale Street. The genesis of his “Memphis Blues” was as a campaign tune written for Edward Crump, a successful Memphis mayoral candidate in 1909 (and future“boss”). Handy later rewrote the tune and changed its name from “Mr. Crump” to “Memphis Blues.”

 

 

 

 

 

 

 

 

 

Handy’s first popular success, “Memphis Blues”. Recorded by Victor Military Band, July 15, 1914.

The 1912 publication of his “Memphis Blues” sheet music introduced his style of 12-bar blues; it was credited as the inspiration for the foxtrot dance step by Vernon and Irene Castle, a New York–based dance team. Some consider it to be the first blues song. Handy sold the rights to the song for US$100. By 1914, when Handy was 40, he had established his musical style, his popularity increased significantly, and he composed prolifically.

Handy wrote about using folk songs:

“The primitive southern Negro, as he sang, was sure to bear down on the third and seventh tone of the scale, slurring between major and minor. Whether in the cotton field of the Delta or on the Levee up St. Louis way, it was always the same. Till then, however, I had never heard this slur used by a more sophisticated Negro, or by any white man. I tried to convey this effect… by introducing flat thirds and sevenths (now called blue notes) into my song, although its prevailing key was major…, and I carried this device into my melody as well… This was a distinct departure, but as it turned out, it touched the spot.”

W. C. Handy with his 1918 Memphis Orchestra: Handy is center rear, holding trumpet.

“The three-line structure I employed in my lyric was suggested by a song I heard Phil Jones sing in Evansville … While I took the three-line stanza as a model for my lyric, I found its repetition too monotonous … Consequently I adopted the style of making a statement, repeating the statement in the second line, and then telling in the third line why the statement was made.”

Regarding the “three-chord basic harmonic structure” of the blues, Handy wrote the “(tonic, subdominant, dominant seventh) was that already used by Negro roustabouts, honky-tonkpiano players, wanderers and others of the underprivileged but undaunted class”. He noted,

“In the folk blues the singer fills up occasional gaps with words like ‘Oh, lawdy’ or ‘Oh, baby’ and the like. This meant that in writing a melody to be sung in the blues manner one would have to provide gaps or waits.”

Writing about the first time “St Louis Blues” was played (1914), Handy said,

“The one-step and other dances had been done to the tempo of Memphis Blues … When St Louis Blues was written the tango was in vogue. I tricked the dancers by arranging a tango introduction, breaking abruptly into a low-down blues. My eyes swept the floor anxiously, then suddenly I saw lightning strike. The dancers seemed electrified. Something within them came suddenly to life. An instinct that wanted so much to live, to fling its arms to spread joy, took them by the heels.”

His published musical works were groundbreaking because of his ethnicity, and he was among the first blacks to achieve economic success because of publishing. In 1912, Handy met Harry H. Pace at the Solvent Savings Bank in Memphis. Pace was valedictorian of his graduating class at Atlanta University and student of W. E. B. Du Bois. By the time of their meeting, Pace had already demonstrated a strong understanding of business. He earned his reputation by recreating failing businesses. Handy liked him, and Pace later became manager of Pace and Handy Sheet Music.

W.C. Handy Place in Yonkers, NY

While in New York City, Handy wrote:

“I was under the impression that these Negro musicians would jump at the chance to patronize one of their own publishers. They didn’t… The Negro musicians simply played the hits of the day…They followed the parade. Many white bands and orchestra leaders, on the other hand, were on the alert for novelties. They were therefore the ones most ready to introduce our numbers.” But, “Negro vaudeville artists…wanted songs that would not conflict with white acts on the bill. The result was that these performers became our most effective pluggers.”

In 1917, he and his publishing business moved to New York City, where he had offices in the Gaiety Theatre office building in Times Square. By the end of that year, his most successful songs: “Memphis Blues”, “Beale Street Blues“, and “Saint Louis Blues“, had been published. That year the Original Dixieland Jazz Band, a white New Orleans jazz ensemble, had recorded the first jazz record, introducing the style to a wide segment of the American public. Handy initially had little fondness for this new “jazz”, but bands dove into his repertoire with enthusiasm, making many of them jazz standards.

Handy encouraged performers such as Al Bernard, “a young white man” with a “soft Southern accent” who “could sing all my Blues”. Handy sent Bernard to Thomas Edison to be recorded, which resulted in “an impressive series of successes for the young artist, successes in which we proudly shared.” Handy also published the original “Shake Rattle and Roll” and “Saxophone Blues”, both written by Bernard. “Two young white ladies from Selma, Alabama (Madelyn Sheppard and Annelu Burns) contributed the songs “Pickaninny Rose” and “O Saroo”, with the music published by Handy’s company. These numbers, plus our blues, gave us a reputation as publishers of Negro music.” 

 

 

 

 

 

 

 

 

 

“Ole Miss Rag”, a ragtime composed by W. C. Handy and recorded by Handy’s Orchestra of Memphis in 1917 in New York.

Expecting to make only “another hundred or so” on a third recording of his “Yellow Dog Blues” (originally titled “Yellow Dog Rag”, Handy signed a deal with the Victor company. The Joe Smith recording of this song in 1919 became the best-selling recording of Handy’s music to date.

Handy tried to interest black women singers in his music, but initially was unsuccessful. In 1920 Perry Bradford persuaded Mamie Smith to record two of his non-blues songs, published by Handy, accompanied by a white band: “That Thing Called Love” and “You Can’t Keep a Good Man Down”. When Bradford’s “Crazy Blues” became a hit as recorded by Smith, African-American blues singers became increasingly popular. Handy found his business began to decrease because of the competition.

In 1920 Pace amicably dissolved his long-standing partnership with Handy, with whom he also collaborated as lyricist. As Handy wrote: “To add to my woes, my partner withdrew from the business. He disagreed with some of my business methods, but no harsh words were involved. He simply chose this time to sever connection with our firm in order that he might organize Pace Phonograph Company, issuing Black Swan Records and making a serious bid for the Negro market. . . . With Pace went a large number of our employees. . . . Still more confusion and anguish grew out of the fact that people did not generally know that I had no stake in the Black Swan Record Company.”

Although Handy’s partnership with Pace was dissolved, he continued to operate the publishing company as a family-owned business. He published works of other black composers as well as his own, which included more than 150 sacred compositions and folk song arrangements and about 60 blues compositions. In the 1920’s, he founded the Handy Record Company in New York City. Bessie Smith‘s January 14, 1925, Columbia Records recording of “Saint Louis Blues” with Louis Armstrong is considered by many to be one of the finest recordings of the 1920’s. So successful was Handy’s “Saint Louis Blues” that in 1929, he and director Kenneth W. Adams collaborated on a RCA motion picture project of the same name, which was to be shown before the main attraction. Handy suggested blues singer Bessie Smith have the starring role, since she had gained widespread popularity with that tune. The picture was shot in June and was shown in movie houses throughout the United States from 1929 to 1932.

In 1926 Handy authored and edited a work entitled Blues: An Anthology—Complete Words and Music of 53 Great Songs. It is probably the first work that attempted to record, analyze and describe the blues as an integral part of the U.S. South and the history of the United States.

The genre of the blues was a hallmark of American society and culture in the 1920s and 1930s. So great was its influence, and so much was it recognized as Handy’s hallmark, that author F. Scott Fitzgerald wrote in his novel The Great Gatsby that “All night the saxophones wailed the hopeless comment of the “Beale Street Blues” while a hundred pairs of golden and silver slippers shuffled the shining dust. At the gray tea hour there were always rooms that throbbed incessantly with this low, sweet fever, while fresh faces drifted here and there like rose petals blown by the sad horns around the floor.”

Later life

Following publication of his autobiography, Handy published a book on African-American musicians entitled Unsung Americans Sing(1944). He wrote a total of five books:

1. Blues: An Anthology: Complete Words and Music of 53 Great Songs
2. Book of Negro Spirituals
3. Father of the Blues: An Autobiography
4. Unsung Americans Sing
5. Negro Authors and Composers of the United States

During this time, he lived on Strivers’ Row in Harlem. He became blind following an accidental fall from a subway platform in 1943. After the death of his first wife, he remarried in 1954, when he was eighty. His new bride was his secretary, the former Irma Louise Logan, whom he frequently said had become his eyes.

In 1955, Handy suffered a stroke, following which he began to use a wheelchair. More than eight hundred attended his 84th birthday party at the Waldorf-Astoria Hotel.

The grave of W.C. Handy at Woodlawn Cemetery

On March 28, 1958 he died of bronchial pneumonia at Sydenham Hospital in New York City.^[26] Over 25,000 people attended his funeral in Harlem’s Abyssinian Baptist Church. Over 150,000 people gathered in the streets near the church to pay their respects. He was buried in the Woodlawn Cemetery in Bronx, New York.

Compositions

Handy’s songs do not always follow the classic 12-bar pattern, often having 8- or 16-bar bridges between 12-bar verses.

• “Memphis Blues”, written 1909, published 1912. Although usually subtitled “Boss Crump”, it is a distinct song from Handy’s campaign satire, “Boss Crump don’t ‘low no easy riders around here”, which was based on the good-time song “Mamma Don’t Allow It.”
• “Yellow Dog Blues” (1912), “Your easy rider’s gone where the Southern cross the Yellow Dog.” The reference is to the crossing at Moorhead, Mississippi, of the Southern Railway and the local Yazoo and Mississippi Valley Railroad, called the Yellow Dog. By Handy’s telling locals assigned the words “Yellow Dog” to the letters Y.D.(for Yazoo Delta) on the freight trains that they saw.
• “Saint Louis Blues” (1914), “the jazzman’s Hamlet.”
• “Loveless Love”, based in part on the classic, “Careless Love“. Possibly the first song to complain of modern synthetics, “with milkless milk and silkless silk, we’re growing used to soulless soul.”
• “Aunt Hagar’s Blues”, the biblical Hagar, handmaiden to Abraham and Sarah, was considered the “mother” of the African Americans.
• “Beale Street Blues” (1916), written as a farewell to the old Beale Street of Memphis (actually called Beale Avenue until the song changed the name); but Beale Street did not go away and is considered the “home of the blues” to this day. B.B. King was known as the “Beale Street Blues Boy” and Elvis Presley watched and learned from Ike Turner there. In 2004 the tune was included as a track on the Memphis Jazz Box compilation as a tribute to Handy and his music.
• “Long Gone John (From Bowling Green)”, tribute to a famous bank robber.
• “Chantez-Les-Bas (Sing ‘Em Low)”, tribute to the Creole culture of New Orleans.
• “Atlanta Blues”, includes the song known as “Make Me a Pallet on your Floor” as its chorus.
• “Ole Miss Rag” (1917), a ragtime composition, recorded by Handy’s Orchestra of Memphis.

Performances and honors

• On April 27, 1928, he performed a program of jazz, blues, plantation songs, work songs, piano solos, spirituals and a Negro rhapsody in Carnegie Hall.
• In 1938 he performed at the National Folk Festival in Washington, DC, his first national performance on a desegregated stage.
• He performed at the Chicago World’s Fair in 1933 and 1934 and the New York World’s Fair in 1939 and 1940.
• In 1940, NBC broadcast an all-Handy program as part of its weekly series The Chamber Music Society of Lower Basin Street. His songs were performed by Dinah Shore and by the composer himself.
• On September 1, 1951, Handy and Dizzy Dean were among the guest stars on the CBS live variety series, Faye Emerson’s Wonderful Town.
• Louis Armstrong Plays W.C. Handy (1954)
• He is referenced in Prof. Harold Hill’s lead-in to the song Seventy-Six Trombones in Meredith Willson‘s 1957 musical The Music Man.
• In 1958, a movie about his life – appropriately entitled St. Louis Blues – was released starring legendary African-Americans Nat “King” Cole (in the main role), Pearl Bailey, Mahalia Jackson, Ruby Dee, Cab Calloway, Ella Fitzgerald, and Eartha Kitt. It was released the year of Handy’s death.

US Postage Stamp 1969

• On May 17, 1969, the United States Postal Service issued a commemorative stamp in his honor.
• Inducted in the National Academy of Popular Music Songwriters Hall of Fame in 1970.
• He was inducted into the Nashville Songwriters Hall of Fame in 1983.
• He is referenced in Joni Mitchell‘s 1975 song Furry Sings the Blues.
• He is referenced in Marc Cohn‘s 1991 song Walking in Memphis, covered by Lonestar, Cher, and other artists. “…Touched down in the land of the Delta Blues, in the middle of the pouring rain. W.C. Handy, won’t you look down over me?”
• He received a Grammy Trustees Award for his lifetime achievements in 1993.
• He was inducted into the Alabama Jazz Hall of Fame in 1985, and was a 1993 Inductee into the Alabama Music Hall of Fame, with the Lifework Award for Performing Achievement.
• Citing 2003 as “the centennial anniversary of when W.C. Handy composed the first Blues music…” the United States Senate in 2002 passed a resolution declaring the year beginning February 1, 2003 as the “Year of the Blues.”
• Each November 16, Handy’s birthday is celebrated with free music, birthday cake and free admission to the W.C. Handy Museum in Florence, Alabama. The hand-hewn log cabin made by his grandfather is his birthplace and museum.
• An autographed 1937 photo from W.C. Handy to Anton Lada of Lada’s Louisiana Orchestra sold for $850 in 2006.

Awards, festivals and memorials

Bronze Statue of W.C. Handy in Handy Park, Beale Street, Memphis

• The Blues Music Award, widely recognized as the most prestigious award for blues artists was known as the W. C. Handy Award until the name change in 2006.
• The W. C. Handy Music Festival is held annually in Florence, Alabama and the greater Shoals area. The festival has evolved into a 10-day long celebration that includes a parade, various artists at restaurants and venues around town, and larger music events at Wilson Park in downtown Florence. The park features a statue of Handy and is close to his birthplace and museum. Previous festivals have featured jazz and blues legends including Jimmy Smith, Ramsey Lewis, Dizzy Gillespie, Bobby Blue Bland, Diane Schuur, Billy Taylor, Dianne Reeves and Charlie Byrd, Ellis Marsalis and Take 6. The festival also features a roster of annual regulars, called the W. C. Handy Jazz All-Stars.
  
• W. C. Handy Park is a city park located on Beale Street in Memphis, Tennessee. The park contains a life-sized bronze statue of Handy.
• The W.C. Handy Blues & Barbeque Festival is a week-long musical event that features blues and Zydeco bands from across the U.S and is held every June on the banks of the Ohio River in downtown Henderson, Kentucky.

The footstone of W.C. Handy inWoodlawn Cemetery

• In 1979, New York City joined the list of institutions and municipalities to honor Handy by naming one block of West 52nd Street in Manhattan “W.C. Handy Place”.

The Story of Louie Metcalf (Record Research 46 1962)

Vernon Dalhart

 

(From Wikipedia)

Vernon Dalhart
Background information
Born	April 6, 1883
Origin	Jefferson, Texas, USA
Died	September 14, 1948 (aged 65) Bridgeport, Connecticut, USA
Genres	Country
Occupations	Singer
Instruments	Vocals
Labels	Edison; RCA Victor

Vernon Dalhart (April 6, 1883 – September 14, 1948),^[1] born Marion Try Slaughter, was a popular American singer and songwriter of the early decades of the 20th century. He is a major influence in the field of country music.

Biography

Early life

Dalhart was born in Jefferson, Texas. He took his stage name from two towns, Vernon andDalhart in Texas, between which he punched cattle in the 1890s. Dalhart’s father, Robert Marion Slaughter was killed in a fight with his brother-in-law, Bob Castleberry, when Vernon was age 10.

When Vernon was 12 or 13, the family moved from Jefferson to Dallas, Texas. Vernon, who already could play the jaw harp and harmonica, received vocal training at the Dallas Conservatory of Music.

He married Sadie Lee Moore-Livingston in 1901 and had two children, a son and a daughter. Around 1910 the family moved to New York City. He found employment in apiano warehouse and took occasional singing jobs. One of his first roles was in Giacomo Puccini‘s opera Girl of the Golden West; following this he played the part of Ralph Rackstraw in a production of HMS Pinafore. He also played the part of Lieutenant Pinkerton in Madame Butterfly.

Professional career

He saw an advertisement in the local newspaper for singers and applied, and was auditioned by Thomas Alva Edison; he would thereafter make numerous records for Edison Records. From 1916 until 1923, using numerous pseudonyms, he made over 400 recordings of light classical music and early dance band vocals for various record labels. He was already an established singer when he made his first country music recordings which cemented his place in music history.

Dalhart’s 1924 recording of “The Wreck of the Old 97“—a classic American railroad ballad about the September 27, 1903 derailment of Southern Railway Fast Mail train No. 97 near Danville, Virginia—for the Victor Talking Machine Company, became a runaway hit, alerting the national record companies to the existence of a sizable market for country-style vocals. It became the first Southern song to become a national success. The double-sided single eventually sold more than seven million copies, a colossal number for a mid-1920s recording. It was the best-selling single to its time, and was the biggest-selling non-holiday record in the first 70 years of recorded music. Research by Billboard statistician Joel Whitburn determined “The Prisoner’s Song” to have been a No. 1 hit for 12 weeks in 1925-26. In 1998, “The Prisoner’s Song” was honored with a Grammy Hall of Fame Award and the Recording Industry Association of America named it one of the Songs of the Century. It was the desire of the Victor Talking Machine Company to duplicate the sales success of ‘Wreck/Prisoner’ that led them to contract with Ralph S. Peer to go to the southern mountains in the Summer of 1927 to facilitate ‘The Bristol Sessions’, arguably the single-most important recording event in the history of country music, where Jimmie Rodgers and the original Carter Family were first discovered, and after which, Peer’s royalty model would become the standard of the entire recorded music industry.

He recorded under a host of pseudonyms given to him by recording managers. On Grey Gull Records he often used the pseudonym Vel Veteran, which was however also used by other singers, including Arthur Fields (Fields also used the pseudonym “Mr. X”). It is thought that Dalhart had the most recordings of any person in history.

To some, Dalhart’s Southern accent seemed artificial. In a 1918 interview Dalhart said, “When you are born and brought up in the South your only trouble is to talk any other way…the sure ‘nough Southerner talks almost like a Negro, even when he’s white. I’ve broken myself of the habit, more or less, in ordinary conversation, but it still comes pretty easy.”^[2]

While some country music purists always viewed Dalhart with some suspicion because of his light opera background and a vocal style that was closer to pop than country, he was inducted into the Nashville Songwriters Hall of Fame in 1970, into the Country Music Hall of Fame in 1981 and into the Gennett Records Walk of Fame in 2007.

Dalhart died in Bridgeport, Connecticut in 1948 and is interred there in the Mountain Grove Cemetery.

Columbia Records-History of Recorded Sound in Canada (courtesy CAPS)

Columbia Records History of Recorded Sound in Canada by Steven C. Barr

Although Columbia, the second pioneer company in the field of disc records, started production of them in late 1901, the firm did not set up a Canadian operation until 1904, by which time they were already established in New York, London and other major European cities. Roll Back the Years gives Columbia’s initial address as 107 Yonge Street in Toronto. Further, as near as can be established, the Canadian operation served only as a distributor of American (and, later, English) records, although it was not too long until the records were pressed in Toronto from imported stampers, in all probability due to tariff considerations. To my knowledge, there is no evidence that any records were cut in Canada, as will be discussed throughout this series of articles, although I suspect the possibility that some of the French-Canadian material issued on the green-label (E-) “International” series may possibly have been recorded in Montreal.   In any case, Columbia’s “Canadian connection” was kept relatively unknown. Many of the records apparently used U.S. labels (or were themselves imported) as the records are marked with both U.S. and Canadian prices, while those pressed in Canada are only identified by a slight alteration in the license statement, which reads “… this record may not be sold in Canada …”. The similarity of the label and the typography suggest the labels may well have been imported also! English Columbia records, known at this point as “Columbia-Rena” were pressed in Toronto also, using imported labels; one unusual pressing, in fact, couples a U.S. military band number with a U.K. version of “It’s A Long Way To Tipperary”, with each side bearing the label and number of its original issue! Other than this oddity, the first items appearing in the Canadian Columbia catalogue not in either of the parent catalogues were a direct result of Canada entering World War I long before the U.S. This was the “Patriotic” series, bearing an ornamental red/white/blue label and numbers in a “P” series. The material, of course, was all war songs, varying from marches to more plebeian fare, and all that I have seen were recorded either in London or New York. The English sides may well have appeared also on U.K. Columbia, while the American sides seldom if ever appeared in their home country. Some thirty odd records appeared in this series, which inspired Berliner to deck some of his patriotic material in a similar label. In mid 1916, probably shortly after Berliner introduced his Canadian-content (nominally!) 216000 series, Columbia introduced an R-4000 series. Unlike Berliner records, the Columbias used American and English masters, although many if not all were made especially for Canadian issue. The scope of material was not as wide as Berliner’s, either; it consisted of much English material, mostly standard, the usual national songs, and a very few popular numbers. Furthermore, while Berliner issued close to 500 records between 1916 and 1924, Columbia issued less than 60 in virtually the same period, and judging from their relative availability today, the Berliner HMV’s far outsold the Columbia counterparts. In the meantime, the Patriotic series was apparently dropped in 1917 or 1918, with the last issues bearing a simpler blue-on-white version of the label. It was apparently around this same time that Columbia in Canada quit pressing the English Rena records as such and substituted an R-series using the North American label. The records were issued under their U.K. number with an R- prefix (indicating Rena?). It is not clear at this point if these were issued similarly in the U.S. As with R-4000 series, the majority of the issued material is of minimal interest to all but the most dedicated musical masochist, with the exception of sides by Joe Hayman (of “Cohen” fame) and Billy Williams. Shortly thereafter, in late 1916, Canadian Columbias became slightly more recognizable. The labels still bore no mention that a Canadian operation existed, other than the slight rewording of price and license information, but the typography of the credits began differing noticeably from the U.S. issues, apparently indicating that Canadian-manufactured labels were in use. This produced at least one interesting situation: the Canadian issue of the Dance version of “Whispering” was issued with titles (not labels) reversed, which must have confused the north-of-the-border buyer somewhat! One interesting sidelight of Columbia’s Canadian operation, at least to some collectors, is the existence of two specifically Canadian demonstration records (one and one half, in reality). When the second of the two records extolling Columbia Double-Discs appeared, it appeared in both an American and Canadian version, with the Canadian records selling for 30 cents rather than 25 cents. Further, when the Patriotic series was introduced about 18 months later, Columbia took advantage of the interest in it to recouple the promotional announcement with one of these sides. One further visible, bit not audible, variation exists: apparently at some point the Canadian operation either ran out of their demonstration records or were delayed in issuing them, and copies of the U.S. issue have been noted with the price overstamped with “30 cents”. The entire Columbia operation in North America was, however, falling on hard times by the early 1920s, as economic slowdown and the coming of radio combined to seriously affect the record market. Columbia issues grew less in number and major artists moved to other labels. Finally, in late 1923, a rescue operation was called for. New Process, Viva-tonal and Royal Blue In the fall of 1923, the Columbia Graphophone Company went into receivership, having previously sold its English subsidiary. The English operation, in turn, helped to provide the financing to reorganize the successor Columbia Phonograph Company. In 1924, the Canadian operation was sold to Canadian owners, although there was no change in the basic operation of the relationship to American and English firms. The English operation had, in fact, salvaged their American counterpart primarily to retain rights which were being negotiated with the Western Electric Company to a new electrical recording process. The changeover in North America was marked by two things: the introduction of a unique label, primarily in various metallic colours (bronze for popular records) and decorated by tricolour banners (and hence known as the “flag” label); and the change of record numbers from an A- prefix to a D- suffix. The R-4000 series was replaced by a 16000-D series, still primarily (if not entirely) from English sources and still using a minimum of popular material. Released only in Canada, the 16000-D series, appears to have included some Canadian material, at least toward the end of its life in 1932. They appear to be primarily, if not entirely, recordings made at a yet undetermined site for issue originally on the 34000-F French series, comprising various country dance records; artists include Ben Hokea, and several French-Canadian performers of traditional Québécois material. The highest number seen so far in this series is 16129-D released early in 1933. In May 1925, the first electrical recordings were introduced, and shortly thereafter the “flag” label was replaced by a gold-on-black label based closely on the English Columbia label introduced earlier. The label did not mention electrical recording, however, until about a year later, in spite of the fact that Victor’s Canadian operation (now no longer Berliner) had “jumped the gun” by announcing the “V.E.” (Electrical) process as soon as the first records appeared. During the use of the black label, Columbia apparently reverted to the use of U.S. manufactured labels (or exact duplicates) with no mention of Canada at all. This was not true, at least for a short time, of Columbia’s “bargain” Harmony label. It has been assumed that the lower-priced Harmony label was created due to Columbia’s having completely redesigned their acoustic recording equipment just before the introduction of electrical recording rendered it obsolete. Certainly the Harmony records have a high quality of sound for acoustic recording, and Harmony was the last label to convert to electrical recording, using acoustically-cut masters into early 1930; both of these would tend to verify the possibility. In any case, the first records on the label in the U.S. were priced on the label at “Fifty cents, fifty-five cents west of the Rockies”, while the first hundred-odd Canadian issues bore the equivalent legend, “Fifty cents, fifty-five cents west of Great Lakes” and a manufacturer’s credit with a Toronto address. The issues thereafter, like their Columbia counterparts, bore identical labels to their American counterparts, as did all Velvet-Tone records, with only the record sleeves admitting to their Canadian origin. Another event involving Canada, although this time less directly, occurred also in 1925. The Compo Company had set up a U.S. subsidiary around 1922 to sell records to the large French-Canadian population in New England, using Montreal-recorded masters issued under the “Apex” name rather than the Starr label on which they appeared in Canada. In 1925, Columbia in the U.S. bought out Compo’s New England operations and used Compo masters on their 34000-F French-Canadian series, this being one of the few times that a non-Columbia master was used on Columbia records and lending credence to the assumption that Columbia’s Canadian operations did not have recording capability. Sometime later, probably in 1928, the masters changed to an 110000 series; it is not clear if these are Columbia-recorded masters (and if so where the recording was done) or control numbers to disguise the use of Compo material. The 1929 crash, the ensuing depression, and the ever-increasing popularity and availability of radio seriously affected the record market, and Columbia was in an even worse position than Victor, with no radio connection. In 1932, Columbia was acquired by the Grigsby-Grunow Company, who manufactured Majestic radios in the U.S. Shortly thereafter, Columbia introduced “Royal Blue” records as a sales gimmick. Since Columbia’s records, unlike most, consisted of two plastic sides laminated to a coarse shellac core, this could be done easily. The public, however, could no more afford expensive blue records than expensive black records, and the parent radio firm was itself in trouble, attempting to survive in a crowded radio industry. Finally, in 1934, the Grigsby- Grunow Company failed, and the Columbia record division was put up for sale. One of the prospective purchasers was Herbert Berliner, but the money was not available, with his Compo Company itself struggling. The Columbia operations were finally purchased by the American Record Corporation, one of the two firms at the time still in the record business to any extent in the U.S., for the amazing sum of $70,000. Since ARC was already issuing the Brunswick label, the Columbia issues virtually disappeared, except for the classical “Masterworks” series and a few artists under long term contract. Columbia’s Canadian operations were dropped entirely, as Compo issued ARC material in Canada until 1935-36, and what few Columbia records were sold in Canada were imported U.S. pressings. Finally, in 1938, the American Record Corporation was itself sold. The Reds Take Over! As previously mentioned, the operations of Columbia in Canada came to a complete halt in 1934, after the record division of the bankrupt Grigsby-Grunow firm in the U.S. was acquired by the American Record Corporation, whose material was being issued in Canada by the Compo Company. Compo, in fact, is said to have been interested in themselves acquiring the defunct Columbia operation – an event which would certainly have changed the Canadian recording industry – but did not have the money, even though the entire operation finally sold for $70,000, including not only the catalogue, masters and trade names of Columbia but one of the best available recording and pressing facilities. From the July 1934 takeover onward, U.S. Columbia issues in the popular series dwindled. From this point until mid 1935, about 100 records were issued on Columbia. Sometime in mid 1935, the unique blue laminated pressings were replaced by standard black, and during the following twelve months about 75 items were pressed on Columbia. The last period brought another 25 records, and new issues ceased appearing in the fall of 1937 with 6 sides by Fred Astaire which also appeared (as did other Astaire Columbias) on Brunswicks. The last 9 items were special issues: four sides by Benny Goodman on a special “All-Star” label, one Ted Lewis pairing of reissued material and a commemorative album of twelve Bessie Smith songs which ended the D-suffix series in late 1937. ARC was using Columbia primarily as a classical label, with much English and European material issued on the Masterworks series to compete with Victor’s Red Seal records; this meant that classical issues on the Brunswick label were virtually discontinued – a listing for 1935 shows a total of five records, four of which were standard songs by James Melton. None of these Columbias were pressed in Canada, as Columbia or ARC had no Canadian operations. It is reasonable to assume, however, from the fact that the Masterworks records and albums of this era are regularly found in Canada, that the records were imported, although through what arrangement is not currently known. Whether this arrangement included the popular series is also unknown, as the post-1934 Columbia records are scarce even in the U.S. In 1938, the Columbia Broadcasting System acquired the American Record Corporation. For obvious reasons they chose to revive Columbia as the “flagship” label of the operation, and in September 1939 an all-new Columbia record was , including not only the Brunswick artists but several name bands, the most important of which was Benny Goodman. Vocalion was at first carried over as the 35 cent companion label, but it was replaced in 1940 by Okeh, which had been a Columbia subsidiary for a number of years after 1925. The Columbia numbers started at 35200, for some unknown reason, while the Okeh, on a violet label, continued the Vocalion numbers. The Brunswick label was carried on until mid-1940 as a specialty label, then dropped and finally sold, with rights to pre-1932 masters, to Decca in 1943. In early 1940, Columbia made arrangements with the firm Sparton of Canada, in London, Ontario, to press a series of Canadian Columbia records, using the familiar red labels. At first, this consisted primarily of sides released on Vocalion/Okeh in the U.S. – Columbia records were presumably imported – but within a short time the more popular Columbia records also appeared in this series. The records were numbered differently than their U.S. counterparts, with numbers starting at C-1 for the red-label series, and the Sparton firm credited below the trade mark. These sold for 50 cents, as did their American counterparts. A very few records, such as some by Canadian George Formby, had no U.S. equivalent. There were several other series. Records in albums carried a green label, a number in a C-6000 series and a 75 cent price (!); this series also included a handful of issues, ranging from jazz reissues with no U.S. equivalent to British material. There was a second green label series, with C-8000 numbers, which appears to include material by certain artists, most prominent among which was Dinah Shore. This may also have carried a premium price. 12″ red label issues, of which there were very few, were numbered in the C-25000 series. Masterworks records had blue labels, appearing at first in C-10000 (10″) and C-15000 (12″) series, to which a C-12000 and C-2000 series, both in 12″, were added. The reason for the various series is not clear, unless they related to U.S. Masterworks series, as all the 10″ Masterworks sold for $1.00 and the 12″ for $1.25. Albums also carried different numbers, with popular albums in an A- series and Masterworks as D- and J-. Not all U.S. albums or records had a Canadian counterpart, however. At or near the end of 1954, Columbia set up a Canadian subsidiary and ended the pressing arrangement with Sparton. By this time, the popular series had reached the 2500’s, the album series the 6600’s and the main Masterworks series through 15000 and well into 16000. At this time the C- numbers were dropped and Canadian Columbias began appearing under the U.S. numbers. This label, although essentially similar to the familiar red Columbia labels, is slightly different, both in colour and typography, from the Sparton and U.S. labels. One significant difference is the display of the date of issue on the label. Sparton, meanwhile, launched its own label, drawing mainly from independent U.S. labels for masters.      In 1958, Columbia introduced a new “modern” label in both U.S. and Canada. The Canadian version is silver on wine-red. The label was in use for a very short time in the U.S., as 78s were dropped there in July 1958; however, Columbia continued issuing 78s until at least August 1959, although it is likely that not all items appeared on 78, with Country records apparently being the last thus issued. This concludes the segment on Columbia.

Duke Ellington

 

(From Wikipedia)

“Duke” Ellington
circa 1940s
Background information
Birth name	Edward Kennedy Ellington
Born	April 29, 1899 Washington, D.C., United States
Died	May 24, 1974 (aged 75) New York City, New York, United States
Genres	Orchestral jazz, swing, big band
Occupations	Bandleader, pianist, composer
Instruments	Piano
Years active	1914–1974
Website	www.dukeellington.com

Edward Kennedy “Duke” Ellington (April 29, 1899 – May 24, 1974)  was an American composer, pianist, and jazz-orchestra leader. His career spanned more than 50 years: Ellington led his orchestra from 1923 until his death.

Though widely considered to have been a pivotal figure in the history of jazz, Ellington himself embraced the phrase “beyond category” as a “liberating principle,” and referred his music to the more much more general category of “American Music,” rather than to a musical genre such as “jazz.”  Born in Washington, D.C., he was based in New York City from the mid-1920s onwards, and gained a national profile through his orchestra’s appearances at the Cotton Club. In the 1930s they toured in Europe.

Some of the musicians who were members of Ellington’s orchestra, such as saxophonist Johnny Hodges, are still, in their own right, considered to be among the best players in jazz, but it was Ellington who melded them into the best-known jazz orchestral unit in the history of jazz. Several members of the orchestra remained members for several decades. A master at writing miniatures for the three-minute 78 rpm record format, Ellington often composed specifically for the style and skills of his individual musicians, such as “Jeep’s Blues” for Hodges, and “Concerto for Cootie” for trumpeter Cootie Williams, which later became “Do Nothing Till You Hear from Me” with Bob Russell‘s lyrics.

Ellington originated over 1,000 compositions, often in collaboration with others; his extensive oeuvre is also the largest recorded legacy in jazz, with much of his extant work having passed into standards. Ellington also recorded songs written by his bandsmen, such asJuan Tizol‘s “Caravan” and “Perdido” which brought the “Spanish Tinge” to big-band jazz.

After 1941, Ellington collaborated with composer-arranger-pianist Billy Strayhorn, whom he called his “writing and arranging companion”.^[3] With Strayhorn, he composed many extended compositions, or “suites”, as well as further shorter pieces. Following an appearance at the Newport Jazz Festival in July 1956, he enjoyed a major career revival and, with his orchestra, now embarked on world tours. Ellington recorded for most American record companies of his era at some point, and appeared in several films. scoring several, and composed stage musicals.

Due to his inventive use of the orchestra, or big band, and thanks to his eloquence and extraordinary charisma, he is generally considered to have elevated the perception of jazz to an art form on a par with other traditional genres of music. His reputation increased after his death and the Pulitzer Prize Board bestowed on him a special posthumous honor in 1999.

Gunther Schuller wrote in 1989: “Ellington composed incessantly to the very last days of his life. Music was indeed his mistress; it was his total life and his commitment to it was incomparable and unalterable. In jazz he was a giant among giants. And in twentieth century music, he may yet one day be recognized as one of the half-dozen greatest masters of our time.”

Early life

Edward Kennedy Ellington was born on April 29, 1899 to James Edward Ellington and Daisy Kennedy Ellington. Daisy and J.E. were both pianists. Daisy primarily played parlor songs and J.E. preferred operatic arias. They lived with his maternal grandparents at 2129 Ida Place (now Ward Place), NW in the West End neighborhood of Washington, D.C. His father, James Edward Ellington, was born in Lincolnton, North Carolina on April 15, 1879 and moved to Washington, D.C. in 1886 with his parents.  Daisy Kennedy was born in Washington, D.C. on January 4, 1879, and was the daughter of a former American slave.  James Ellington made blueprints for the United States Navy.

At the age of seven, Ellington began taking piano lessons from Marietta Clinkscales. Daisy surrounded her son with dignified women to reinforce his manners and teach him to live elegantly. Ellington’s childhood friends noticed that “his casual, offhand manner, his easy grace, and his dapper dress gave him the bearing of a young nobleman”,  and began calling him Duke. Ellington credited his “chum” Edgar McEntree for the nickname. “I think he felt that in order for me to be eligible for his constant companionship, I should have a title. So he called me Duke.” 

Though Ellington took piano lessons, he was more interested in baseball. “President Roosevelt (Teddy) would come by on his horse sometimes, and stop and watch us play”, he recalled.  Ellington went to Armstrong Technical High School in Washington, D.C. He got his first job selling peanuts at Washington Senators baseball games.

In the summer of 1914, while working as a soda jerk at the Poodle Dog Cafe, he wrote his first composition, “Soda Fountain Rag” (also known as the “Poodle Dog Rag”). Ellington created “Soda Fountain Rag” by ear, because he had not yet learned to read and write music. “I would play the ‘Soda Fountain Rag’ as a one-step, two-step, waltz, tango, and fox trot”, Ellington recalled. “Listeners never knew it was the same piece. I was established as having my own repertoire.”  In his autobiography, Music is my Mistress (1973), Ellington wrote that he missed more lessons than he attended, feeling at the time that playing the piano was not his talent. Ellington started sneaking into Frank Holiday’s Poolroom at the age of fourteen. Hearing the poolroom pianists play ignited Ellington’s love for the instrument and he began to take his piano studies seriously. Among the many piano players he listened to were Doc Perry, Lester Dishman, Louis Brown, Turner Layton, Gertie Wells, Clarence Bowser, Sticky Mack, Blind Johnny, Cliff Jackson, Claude Hopkins, Phil Wurd, Caroline Thornton, Luckey Roberts, Eubie Blake, Joe Rochester, and Harvey Brooks.

Ellington began listening to, watching, and imitating ragtime pianists, not only in Washington, D.C., but in Philadelphia and Atlantic City, where he vacationed with his mother during the summer months. Dunbar High School music teacher Henry Lee Grant gave him private lessons in harmony. With the additional guidance of Washington pianist and band leader Oliver “Doc” Perry, Ellington learned to read sheet music, project a professional style, and improve his technique. Ellington was also inspired by his first encounters withstride pianists James P. Johnson and Luckey Roberts. Later in New York he took advice from Will Marion Cook, Fats Waller, and Sidney Bechet. Ellington started to play gigs in cafés and clubs in and around Washington, D.C. and his attachment grew to be so strong that he turned down an art scholarship to the Pratt Institute in Brooklyn in 1916. Three months before graduating he dropped out of Armstrong Manual Training School, where he was studying commercial art.

Working as a freelance sign-painter from 1917, he began assembling groups to play for dances, and in 1919 met drummer Sonny Greer from New Jersey who encouraged Ellington’s ambition to become a professional musician. Through his day job, Ellington’s entrepreneurial side came out: when a customer would ask him to make a sign for a dance or party, he would ask them if they had musical entertainment; if not, Ellington would ask if he could play for them. He also had a messenger job with the U.S. Navy and State Departments. Ellington moved out of his parents’ home and bought his own as he became a successful pianist. At first, he played in other ensembles, and in late 1917 formed his first group, “The Duke’s Serenaders” (“Colored Syncopators”, his telephone directory advertising proclaimed).  He was not only a member, but also the booking agent. His first play date was at the True Reformer’s Hall, where he took home 75 cents.

Ellington played throughout the Washington, D.C. area and into Virginia for private society balls and embassy parties. The band included childhood friend Otto Hardwick, who started on string bass, then moved to C-melody sax and finally settled on alto saxophone; Arthur Whetsol on trumpet; Elmer Snowden on banjo; and Sonny Greer on drums. The band thrived, performing for both African-American and white audiences, a rarity at the time.

Music career

 

“East St. Louis Toodle-Oo” (1927)

Early career

When his drummer Sonny Greer was invited to join the Wilber Sweatman Orchestra in New York City, Ellington made the fateful decision to leave behind his successful career in Washington, D.C., and move to Harlem, becoming one of the figures of the Harlem Renaissance. New dance crazes like the Charleston emerged in Harlem, as well as African-American musical theater, including Eubie Blake‘s Shuffle Along. After the young musicians left the Sweatman Orchestra to strike out on their own, they found an emerging jazz scene that was highly competitive and hard to crack. They hustled pool by day and played whatever gigs they could find. The young band met stride pianist Willie “The Lion” Smith who introduced them to the scene and gave them some money. They played at rent-house parties for income. After a few months, the young musicians returned to Washington, D.C., feeling discouraged.

In June 1923, a gig in Atlantic City, New Jersey, led to a play date at the prestigious Exclusive Club in Harlem. This was followed in September 1923 by a move to the Hollywood Club – 49th and Broadway – and a four-year engagement, which gave Ellington a solid artistic base. He was known to play the bugle at the end of each performance. The group was initially called Elmer Snowden and his Black Sox Orchestra and had seven members, including trumpeter James “Bubber” Miley. They renamed themselves “The Washingtonians”. Snowden left the group in early 1924 and Ellington took over as bandleader. After a fire, the club was re-opened as the Club Kentucky (often referred to as the “Kentucky Club”).

Ellington made eight records in 1924, receiving composing credit on three including “Choo Choo”.  In 1925, Ellington contributed four songs to Chocolate Kiddies starring Lottie Gee and Adelaide Hall,  an all-African-American revue which introduced European audiences to African-American styles and performers. Duke Ellington and his Kentucky Club Orchestra grew to a group of ten players; they developed their own sound by displaying the non-traditional expression of Ellington’s arrangements, the street rhythms of Harlem, and the exotic-sounding trombone growls and wah-wahs, high-squealing trumpets, and sultry saxophone blues licks of the band members. For a short time soprano saxophonist Sidney Bechet played with them, imparting his propulsive swing and superior musicianship to the young band members.

Cotton Club engagement

In October 1926, Ellington made a career-advancing agreement with agent-publisher Irving Mills,  giving Mills a 45% interest in Ellington’s future.  Mills had an eye for new talent and early on published compositions by Hoagy Carmichael, Dorothy Fields, and Harold Arlen. After recording a handful of acoustic titles during 1924-1926, Ellington’s signing with Mills allowed him to record prolifically, although sometimes he recorded different versions of the same tune. Mills often took a co-composer credit. From the beginning of their relationship, Mills arranged recording sessions on nearly every label including Brunswick, Victor, Columbia, OKeh, Pathê (and its Perfect label), the ARC/Plaza group of labels (Oriole, Domino, Jewel, Banner) and their dime-store labels (Cameo, Lincoln, Romeo), Hit of the Week, and Columbia’s cheaper labels (Harmony, Diva, Velvet Tone, Clarion) labels which gave Ellington popular recognition. On OKeh, his records were usually issued as “The Harlem Footwarmers”, while the Brunswick’s were usually issued as The Jungle Band. “Whoopee Makers” and the “Ten Black Berries” were other pseudonyms.

In September 1927, King Oliver turned down a regular booking for his group as the house band at Harlem’s Cotton Club;  the offer passed to Ellington after Jimmy McHughsuggested him and Mills arranged an audition.  Ellington had to increase from a six to eleven-piece group to meet the requirements of the Cotton Club’s management for the audition,  and the engagement finally began on December 4.  With a weekly radio broadcast, the Cotton Club’s exclusively white and wealthy clientele poured in nightly to see them. At the Cotton Club, Ellington’s group performed all the music for the revues, which mixed comedy, dance numbers, vaudeville, burlesque, music, and illegal alcohol. The musical numbers were composed by Jimmy McHugh and the lyrics by Dorothy Fields (later Harold Arlen and Ted Koehler), with some Ellington originals mixed in. Weekly radio broadcasts from the club gave Ellington national exposure, while Ellington also recorded Fields-JMcHugh and Fats Waller–Andy Razaf songs.

Although trumpeter Bubber Miley was a member of the orchestra for only a short period, he had a major influence on Ellington’s sound.  An early exponent of growl trumpet, his style changed the “sweet” dance band sound of the group to one that was hotter, which contemporaries termed “jungle” style. In October 1927, Ellington and his Orchestra recorded several compositions with Adelaide Hall. One side in particular, “Creole Love Call” became a worldwide sensation and gave both Ellington and Hall their first hit record. Miley had composed most of “Creole Love Call” and “Black and Tan Fantasy”. An alcoholic, Miley had to leave the band before they gained wider fame. He died in 1932 at the age of 29, but he was an important influence on Cootie Williams, who replaced him.

In 1929, the Cotton Club Orchestra appeared on stage for several months in Florenz Ziegfeld‘s Show Girl, along with vaudeville stars Jimmy Durante, Eddie Foy, Jr., Ruby Keeler, and with music and lyrics by George Gershwin and Gus Kahn. Will Vodery, Ziegfeld’s musical supervisor, recommended Ellington for the show, and, according to John Hasse’sBeyond Category: The Life and Genius of Duke Ellington, “Perhaps during the run of Show Girl, Ellington received what he later termed ‘ valuable lessons in orchestration from Will Vodery.’ In his 1946 biography, Duke Ellington, Barry Ulanov wrote:

From Vodery, as he (Ellington) says himself, he drew his chromatic convictions, his uses of the tones ordinarily extraneous to the diatonic scale, with the consequent alteration of the harmonic character of his music, its broadening, The deepening of his resources. It has become customary to ascribe the classical influences upon Duke – Delius, Debussy and Ravel – to direct contact with their music. Actually his serious appreciation of those and other modern composers, came after his meeting with Vodery.

Ellington’s film work began with Black and Tan (1929), a nineteen-minute all-African-American RKO short  in which he played the hero “Duke”. He also appeared in the Amos ‘n’ Andy film Check and Double Check released in 1930. That year, Ellington and his Orchestra connected with a whole different audience in a concert with Maurice Chevalier and they also performed at the Roseland Ballroom, “America’s foremost ballroom”. Australian-born composer Percy Grainger was an early admirer and supporter. He wrote “The three greatest composers who ever lived are Bach, Delius and Duke Ellington. Unfortunately Bach is dead, Delius is very ill but we are happy to have with us today The Duke”. Ellington’s first period at the Cotton Club concluded in 1931.

The early 1930’s

Ellington led the orchestra by conducting from the keyboard using piano cues and visual gestures; very rarely did he conduct using a baton. As a bandleader, Ellington was not a strict disciplinarian; he maintained control of his orchestra with a combination of charm, humor, flattery, and astute psychology. A complex, private person, he revealed his feelings to only his closest intimates and effectively used his public persona to deflect attention away from himself.

Ellington signed exclusively to Brunswick in 1932 and stayed with them through late 1936 (albeit with a temporary 1933-34 switch to Victor), when Irving Mills moved him from Brunswick to Mills’ new Master label. As the Depression worsened, the recording industry was in crisis, dropping over 90% of its artists by 1933.  Ivie Anderson was hired as their featured vocalist in 1931, she is the vocalist on “It Don’t Mean a Thing (If It Ain’t Got That Swing)” (1932) among other recordings. Sonny Greer had been providing occasional vocals and continued to do in a cross-talk feature with Anderson. Radio exposure helped maintain popularity as Ellington and his orchestra began to tour. The other records of this era include: “Mood Indigo” (1930), “Sophisticated Lady” (1933), “Solitude” (1934), and “In a Sentimental Mood” (1935)

While the band’s United States audience remained mainly African-American in this period, the Ellington orchestra had a huge following overseas, exemplified by the success of their trip to England in 1933 and their 1934 visit to the European mainland. The English visit saw Ellington win praise from members of the “serious” music community, including composer Constant Lambert, which gave a boost to Ellington’s interest in composing longer works. Those longer pieces had already begun to appear. He had composed and recorded Creole Rhapsody as early as 1931 (issued as both sides of a 12″ record for Victor and both sides of a 10″ record for Brunswick), and a tribute to his mother, “Reminiscing in Tempo”, took four 10″ record sides to record in 1935 after her death in that year. Symphony in Black (also 1935), a short film, featured his extended piece ‘A Rhapsody of Negro Life’. It introduced Billie Holiday, and won an Academy Award as the best musical short subject.  Ellington and his Orchestra also appeared in the features Murder at the Vanitiesand Belle of the Nineties (both 1934),

For agent Mills the attention was a publicity triumph, as Ellington was now internationally known. On the band’s tour through the segregated South in 1934, they avoided some of the traveling difficulties of African-Americans by touring in private railcars. These provided easy accommodations, dining, and storage for equipment while avoiding the indignities of segregated facilities. Competition was intensifying though, as swing bands like Benny Goodmans, began to receive popular attention. Swing dancing became a youth phenomenon, particularly with white college audiences, and “danceability” drove record sales and bookings. Jukeboxes proliferated nationwide, spreading the gospel of “swing”. Ellington’s band could certainly swing, but their strengths were mood and nuance, and richness of composition; hence his statement “jazz is music; swing is business”.

The later 1930s

From 1936, Ellington began to make recordings of smaller groups (sextets, octets, and nonets) drawn from his then-15-man orchestra and he composed pieces intended to feature specific instrumentalist, as with “Jeep’s Blues” for Johnny Hodges, “Yearning for Love” for Lawrence Brown, “Trumpet in Spades” for Rex Stewart, “Echoes of Harlem” for Cootie Williams and “Clarinet Lament” for Barney Bigard. These small groups within Ellington’s band recorded on Mills’ Variety label. In 1937, Ellington returned to the Cotton Club which had relocated to the mid-town Theater District. In the summer of that year, his father died, and due to many expenses, Ellington’s finances were tight, although his situation improved the following year.

After leaving agent Irving Mills, he signed on with the William Morris Agency. Mills though continued to record Ellington. After his Master and Variety labels collapsed in late 1937, Mills placed Ellington back on Brunswick and those small group units on Vocalion through to 1940. Well known sides continued to be recorded, “Caravan” in 1937, and “I Let a Song Go Out of My Heart” the following year.

 

Ellington in 1939

Billy Strayhorn, originally hired as a lyricist, began his association with Ellington in 1939. Nicknamed “Swee’ Pea” for his mild manner, Strayhorn soon became a vital member of the Ellington organization. Ellington showed great fondness for Strayhorn and never failed to speak glowingly of the man and their collaborative working relationship, “my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine”.  Strayhorn, with his training in classical music, not only contributed his original lyrics and music, but also arranged and polished many of Ellington’s works, becoming a second Ellington or “Duke’s doppelganger”. It was not uncommon for Strayhorn to fill in for Duke, whether in conducting or rehearsing the band, playing the piano, on stage, and in the recording studio. The 1930s ended with a very successful European tour just as World War II loomed in Europe.

Ellington in the early to mid-1940’s

 

Duke Ellington at the Hurricane Club in New York, May 1943

Some of the musicians who joined Ellington at this at time created a sensation in their own right. The short-lived Jimmy Blantontransformed the use of double bass in jazz, allowing it to function as a solo rather than a rhythm instrument alone. Terminal illness forced him to leave by late 1941 after only about two years. Ben Webster, the Orchestra’s first regular tenor saxophonist, whose main tenure with Ellington spanned 1939 to 1943, started a rivalry with Johnny Hodges as the Orchestra’s foremost voice in the sax section.

Trumpeter Ray Nance joined, replacing Cootie Williams who had “defected”, contemporary wags claimed, to Benny Goodman. Additionally, Nance added violin to the instrumental colors Ellington had at his disposal. Recordings exist of Nance’s first concert date on November 7, 1940, at Fargo, North Dakota. Privately made by Jack Towers and Dick Burris, these recordings were first legitimately issued in 1978 as Duke Ellington at Fargo, 1940 Live; they are among the earliest of innumerable live performances which survive. Nance was also an occasional vocalist, although Herb Jeffries was the main male vocalist in this era (until 1943) while Al Hibbler (who replaced Jeffries in 1943) continued until 1951. Ivie Anderson left in 1942 after eleven years: the longest term of any of Ellington’s vocalists.

Once again recording for Victor (from 1940), with the small groups recording for their Bluebird label, three-minute masterpieces on 78 rpm record sides continued to flow from Ellington, Billy Strayhorn, Ellington’s son Mercer Ellington, and members of the Orchestra. “Cotton Tail“, “Main Stem”, “Harlem Airshaft”, “Jack the Bear”, and dozens of others date from this period. Strayhorn’s “Take the “A” Train” a hit in 1941, became the band’s theme, replacing “East St. Louis Toodle-Oo”. Ellington and his associates wrote for an orchestra of distinctive voices who displayed tremendous creativity.  Mary Lou Williams, working as a staff arranger, would briefly join Ellington a few years later.

Ellington’s long-term aim though was to extend the jazz form from that three-minute limit, of which he was an acknowledged master. While he had composed and recorded some extended pieces before, such works now became a regular feature of Ellington’s output. In this, he was helped by Strayhorn, who had enjoyed a more thorough training in the forms associated with classical music than Ellington. The first of these, “Black, Brown, and Beige” (1943), was dedicated to telling the story of African-Americans, and the place of slavery and the church in their history. Ellington debuted Black, Brown and Beige in Carnegie Hall on January 23, 1943, beginning an annual series of concerts there over the next four years. While some jazz musicians had played at Carnegie Hall before, none had performed anything as elaborate as Ellington’s work. Unfortunately, starting a regular pattern, Ellington’s longer works were generally not well received.

A partial exception was Jump for Joy, a full-length musical based on themes of African-American identity, debuted on July 10, 1941 at the Mayan Theater in Los Angeles. Hollywood luminaries like actors John Garfield and Mickey Rooney invested in the production, and Charlie Chaplin and Orson Welles offered to direct.  At one performance though, Garfield insisted Herb Jeffries, who is light skinned, should wear make-up. Ellington objected in the interval, and compared Jeffries to Al Jolson. The change was reverted, and the singer later commented that the audience must have thought he was an entirely different character in the second half of the show.

Although it had sold-out performances, and received positive reviews, it ran for only 122 performances until September 29, 1941, with a brief revival in November of that year. Its subject matter did not make it appealing to Broadway; Ellington had unfulfilled plans to take it there.  Despite this disappointment, a Broadway production of Ellington’s Beggar’s Holiday, his sole book musical, premiered on December 23, 1946 under the direction of Nicholas Ray.

The settlement of the first recording ban of 1942–43, leading to an increase in royalties paid to musicians, had a serious effect on the financial viability of the big bands, including Ellington’s Orchestra. His income as a songwriter ultimately subsidized it. Although he always spent lavishly and drew a respectable income from the Orchestra’s operations, the band’s income often just covered expenses.

Early post-war years

The music industry’s focus was shifting away from the big bands to the work of solo vocalists such as the young Frank Sinatra gaining popularity. Ellington’s wordless vocal feature “Transblucency” (1946) with Kay Davis was not going to have a similar reach. The new small-group form of jazz, bebop allowed club owners of smaller venues to draw in the jazz audience at a fraction of the cost of hiring a big band.

Ellington poses with his piano at the KFG Radio Studio November 3, 1954.

Ellington continued on his own course through these tectonic shifts. While Count Basie was forced to disband his whole ensemble and work as an octet for a time, Ellington was able to tour most of Western Europe between 6 April and 30 June 1950, with the orchestra playing 74 dates over 77 days. During the tour, according to Sonny Greer, the newer works were not performed, though Ellington’s extended composition, Harlem (1950) was in the process of being completed at this time. Ellington later presented its score to music-loving President Harry Truman.

In 1951, Ellington suffered a significant loss of personnel: Sonny Greer, Lawrence Brown, and most importantly Johnny Hodges left to pursue other ventures, although only Greer was a permanent departee. Drummer Louie Bellson replaced Greer, and his “Skin Deep” was a hit for Ellington. Tenor player Paul Gonsalves had joined in December 1950 after periods with Count Basie and Dizzy Gillespie and stayed for the rest of his life, while Clark Terry joined in November 1951.

Although Ellington’s career was generally at a low ebb in the early 1950s, Ellington’s reputation did not suffer in comparison with younger figures of the time. André Previn said in 1952: “You know, Stan Kenton can stand in front of a thousand fiddles and a thousand brass and make a dramatic gesture and every studio arranger can nod his head and say, ‘‘Oh, yes, that’s done like this.’’ But Duke merely lifts his finger, three horns make a sound, and I don’t know what it is!” However by 1955, after three years of recording for Capitol, Ellington lacked a regular recording affiliation.

Career revival

Ellington’s appearance at the Newport Jazz Festival on July 7, 1956 returned him to wider prominence and exposed him to new audiences. The feature “Diminuendo and Crescendo in Blue” comprised two tunes that had been in the band’s book since 1937 but largely forgotten until Ellington, who had abruptly ended the band’s scheduled set because of the late arrival of four key players, called the two tunes as the time was approaching midnight. Announcing that the two pieces would be separated by an “interlude” played by tenor saxophonist Paul Gonsalves, Ellington proceeded to lead the band through the two pieces, with Gonsalves’ 27-chorus marathon solo whipping the crowd into a frenzy, leading the Maestro to play way beyond the curfew time despite urgent pleas from Festive organizer George Wein to bring the program to an end.

The concert made international headlines, led to one of only four Time magazine cover stories dedicated to a jazz musician  (Thelonious Monk, Dave Brubeck, and Wynton Marsalis are the others) and resulted in an album produced by George Avakian  that would become the best-selling long-playing recording of Ellington’s career.

Ironically though, much of the music on the vinyl LP was, in effect, “simulated”, with only about 40% actually from the concert itself. According to Avakian, Ellington was dissatisfied with aspects of the performance and felt the musicians had been under rehearsed.  The band assembled the next day to re-record several of the numbers with the addition of artificial crowd noise, none of which was disclosed to purchasers of the album. Not until 1999 was the concert recording properly released for the first time. The revived attention brought about by the Newport appearance should not have surprised anyone, Johnny Hodges had returned the previous year, and Ellington’s collaboration with Strayhorn had been renewed around the same time, under terms more amenable to the younger man.

The original Ellington at Newport album was the first release in a new recording contract with Columbia Records which yielded several years of recording stability, mainly under producer Irving Townsend, who coaxed both commercial and artistic productions from Ellington.

In 1957, CBS (Columbia Record’s parent corporation) aired a live television production of A Drum Is a Woman, an allegorical suite which received mixed reviews. His hope that television would provide a significant new outlet for his type of jazz was not fulfilled. Tastes and trends had moved on without him. Festival appearances at the new Monterey Jazz Festival and elsewhere provided venues for live exposure, and a European tour in 1958 was well received. Such Sweet Thunder (1957), based on Shakespeare’s plays and characters, and The Queen’s Suite (1958), dedicated to Britain’s Queen Elizabeth II, were products of the renewed impetus which the Newport appearance helped to create, although the latter work was not commercially issued at the time. The late 1950s also saw Ella Fitzgerald record her Duke Ellington Songbook (Verve) with Ellington and his orchestra—a recognition that Ellington’s songs had now become part of the cultural canon known as the ‘Great American Songbook‘.

Jimmy Stewart and Ellington in Anatomy of a Murder.

Ellington at this time (with Strayhorn) began to work directly on scoring for film soundtracks, in particular Anatomy of a Murder(1959), with James Stewart, in which Ellington appeared fronting a roadhouse combo, and Paris Blues (1961), which featuredPaul Newman and Sidney Poitier as jazz musicians. Detroit Free Press music critic Mark Stryker concludes that the work ofBilly Strayhorn and Ellington in Anatomy of a Murder, a trial court drama film directed by Otto Preminger, is “indispensable, [although] . . . too sketchy to rank in the top echelon among Ellington-Strayhorn masterpiece suites like Such Sweet Thunderand The Far East Suite, but its most inspired moments are their equal.”

Film historians have recognized the soundtrack “as a landmark – the first significant Hollywood film music by African Americans comprising non-diegetic music, that is, music whose source is not visible or implied by action in the film, like an on-screen band.” The score avoided the cultural stereotypes which previously characterized jazz scores and rejected a strict adherence to visuals in ways that presaged the New Wave cinema of the ’60s”.  Ellington and Strayhorn, always looking for new musical territory, produced suites for John Steinbeck‘s novel Sweet Thursday, Tchaikovsky‘s Nutcracker Suite and Edvard Grieg‘s Peer Gynt.

In the early 1960s, Ellington embraced recording with artists who had been friendly rivals in the past, or were younger musicians who focused on later styles. The Ellington and Count Basie orchestras recorded together. During a period when he was between recording contracts, he made records with Louis Armstrong (Roulette), Coleman Hawkins, John Coltrane (both for Impulse) and participated in a session with Charles Mingus and Max Roach which produced the Money Jungle (United Artists) album. He signed to Frank Sinatra‘s new Reprise label, but the association with the label was short-lived.

Musicians who had previously worked with Ellington returned to the Orchestra as members: Lawrence Brown in 1960 and Cootie Williams in 1962.

“The writing and playing of music is a matter of intent…. You can’t just throw a paint brush against the wall and call whatever happens art. My music fits the tonal personality of the player. I think too strongly in terms of altering my music to fit the performer to be impressed by accidental music. You can’t take doodling seriously.”

He was now performing all over the world; a significant part of each year was spent on overseas tours. As a consequence, he formed new working relationships with artists from around the world, including the Swedish vocalist Alice Babs, and the South African musicians Dollar Brand and Sathima Bea Benjamin (A Morning in Paris, 1963/1997).

Ellington wrote an original score for director Michael Langham‘s production of Shakespeare’s Timon of Athens at the Stratford Festival in Ontario, Canada which opened on July 29, 1963. Langham has used it for several subsequent productions, including a much later adaptation by Stanley Silverman which expands the score with some of Ellington’s best-known works.

Last years

 

Ellington receiving the Presidential Medal of Freedom from President Nixon, 1969.

Ellington was nominated for a Pulitzer Prize in 1965, but was turned down.  His reaction at 67 years old: “Fate is being kind to me. Fate doesn’t want me to be famous too young.”  The Pulitzer Prize for music was eventually awarded posthumously in 1999.

In September of the same year, the first of his Sacred Concerts was given its premiere. It was an attempt to fuse Christian liturgy with jazz, and even though it received mixed reviews, Ellington was proud of the composition and performed it dozens of times. This concert was followed by two others of the same type in 1968 and 1973, known as the Second and Third Sacred Concerts. This caused controversy in what was already a tumultuous time in the United States. Many saw the Sacred Music suites as an attempt to reinforce commercial support for organized religion, though Ellington simply said it was “the most important thing I’ve done”. The Steinway piano upon which the Sacred Concerts were composed is part of the collection of the Smithsonian‘s National Museum of American History. Like Haydn and Mozart, Ellington conducted his orchestra from the piano – he always played the keyboard parts when the Sacred Concerts were performed.

Ellington continued to make vital and innovative recordings, including The Far East Suite (1966), New Orleans Suite (1970), Latin American Suite (1972) and The Afro-Eurasian Eclipse (1971), much of it inspired by his world tours. It was during this time that Ellington recorded his only album with Frank Sinatra, entitled Francis A. & Edward K. (1967).

Ellington was awarded the Grammy Lifetime Achievement Award in 1966. He was later awarded several other prizes, the Presidential Medal of Freedom in 1969, an Honorary PhD from the Berklee College of Music in 1971, and the Legion of Honor by France in 1973, the highest civilian honors in each country.

Although he made two more stage appearances before his death, Ellington performed what is considered his final “full” concert in a ballroom at Northern Illinois University on March 20, 1974.

Ida Cox

Ida Cox
Birth name	Ida Prather
Born	February 25, 1896
Origin	Toccoa, Habersham County,Georgia, United States
Died	November 10, 1967 (aged 71) Knoxville, Tennessee
Genres	Jazz, blues
Instruments	Vocalist
Years active	1910s–1960

Ida Cox (February 25, 1896 – November 10, 1967)  was an African American singer andvaudeville performer, best known for her blues performances and recordings. She was billed as “The Uncrowned Queen of the Blues”.

Life and career

Cox was born in February, 1896 as Ida Prather in Toccoa, Habersham County, Georgia,United States (Toccoa was in Habersham County, not yet Stephens County at the time), the daughter of Lamax and Susie (Knight) Prather, and grew up in Cedartown, Georgia, singing in the local African Methodist Church choir. She left home to tour with travelingminstrel shows, often appearing in blackface into the 1910s; she married fellow minstrel performer Adler Cox.

By 1920, she was appearing as a headline act at the 81 Theatre in Atlanta, Georgia; another headliner at that time was Jelly Roll Morton.

After the success of Mamie Smith‘s pioneering 1920 recording of “Crazy Blues”, record labels realized there was a demand for recordings of race music. The classic female blues era had begun, and would extend through the 1920’s. From 1923 through to 1929, Cox made numerous recordings for Paramount Records, and headlined touring companies, sometimes billed as the “Sepia Mae West”, continuing into the 1930’s.  During the 1920’s, she also managed Ida Cox and Her Raisin’ Cain Company, her own vaudeville troupe. At some point in her career, she played alongside Ibrahim Khalil, a Native American and one of the several jazz musicians of that era who belonged from the Ahmadiyya Muslim Community.

In the early 1930s “Baby Earl Palmer” entered show business as a tap dancer in Cox’s Darktown Scandals Review.

In 1939 she appeared at Café Society Downtown, in New York‘s Greenwich Village, and participated in the historic Carnegie Hall concert, From Spirituals to Swing. That year, she also resumed her recording career with a series of sessions for Vocalion Records and, in 1940, Okeh Records, with groups that at various times included guitarist Charlie Christian, trumpeters Hot Lips Page and Henry “Red” Allen, trombonist J. C. Higginbotham, and Lionel Hampton.

She had spent several years in retirement by 1960, when record producer Chris Albertson persuaded her to make one final recording, an album for Riverside titled Blues For Rampart Street. Her accompanying group comprised Roy Eldridge, Coleman Hawkins, pianist Sammy Price, bassist Milt Hinton, and drummer Jo Jones. The album featured her revisiting songs from her old repertoire, including “Wild Women Don’t Have the Blues“  which found a new audience, including such singers as Nancy Harrow and Barbara Dane, who recorded their own versions. Cox referred to the album as her “final statement,” and, indeed, it was. She returned to live with her daughter in Knoxville, Tennessee, where she died of cancer in 1967.

American Record Company

 

(From Wikipedia)

Label of an “American Record Company” disc record, first decade of the 20th century. Recorded title “Happy Heinie”. (Photo credit: Wikipedia)

American Record Company label

The American Record Company was a United States record label, in business from about 1904 to 1908. Then re-activated in 1979.

The American Record Company was founded by Ellsworth A. Hawthorne andHorace Sheble (formerly dealers for Edison Records who had been blacklisted for their questionable business methods) and Frederick M. Prescott. It was based in Springfield, Massachusetts. They produced single-sided lateral-cut-groove disc records.

The principals were connected with the Odeon Records firm (some export pressings carried the “American Odeon Record” name). Most of the records are single sided, but there are also two-sided records known on the label; one researcher stated that the company would press any two sides paired, if the buyer met the minimum-order qualification. As well, these records are notable for being blue in color, rather than the usual black. Several variations of the “Indian” label exist, differing only in minor details. The records appear to have been numbered using a sequence which began at (or near) 030000; the numbers had reached the mid 031000’s by the end of operation. The records exist in 7-inch, 10-inch and 10.75-inch sizes, with the latter size being derived from its connection with Odeon (which also used that size). The seven-inch discs used a different numbering sequence, and seemed to have only been produced for a short time. The double-faced issues used the numbers of each side when issued.

The company was closed after unfavorable judgments on patents which the American Record Company had violated from Emile Berliner, Columbia Records, and the Victor Talking Machine Company.

The label of the discs featured artwork depicting a Native American with a smoking pipe listening to a front-mount disc phonograph of undeterminable manufacture.

 

Eubie Blake

Eubie Blake
The image of composer, Eubie Blake (1887-1983). (Photo credit: Wikipedia)
Background information
Birth name	James Hubert Blake
Born	February 7, 1887 Baltimore, Maryland, USA
Died	February 12, 1983 (aged 96) Brooklyn, New York, USA
Genres	Jazz, popular, ragtime
Occupations	Composer, pianist
Labels	Emerson, Victor
Associated acts	Noble Sissle

James Hubert Blake (February 7, 1887 – February 12, 1983), better known as Eubie Blake, was an American composer, lyricist, and pianist of ragtime, jazz, and popular music. In 1921, Blake and long-time collaborator Noble Sissle wrote the Broadway musical Shuffle Along, one of the first Broadway musicals to be written and directed by African Americans. Blake’s compositions included such hits as, “Bandana Days”, “Charleston Rag”, “Love Will Find A Way”, “Memories of You“, and “I’m Just Wild About Harry“. The musical Eubie! featured the works of Blake and opened on Broadway in 1978.

Biography

Early years

Blake was born at 319 Forrest Street in Baltimore, Maryland, to former slaves John Sumner Blake (1838–1917) and Emily “Emma” Johnstone (1861–1927). He was the only surviving child of eight, all the rest of whom died in infancy. In 1894, the family moved to 414 North Eden Street, and later to 1510 Jefferson Street. John Blake worked earning US $9.00 weekly as a stevedore on the Baltimore docks.

In later years, Blake claimed to have been born in 1883, but his Social Security application and all other official documents issued in the first half of his life list his year of birth as 1887. Many otherwise reliable sources mistakenly give his year of birth as the earlier year, reprinting the false information that had been printed before these official documents and census records came to light.

Music

Cover page for “I’m Just Wild About Harry” from the musical Shuffle Along byNoble Sissle and Eubie Blake, 1921.

Blake’s musical training began when he was just four or five years old. While out shopping with his mother, he wandered into a music store, climbed on the bench of an organ, and started “foolin’ around”. When his mother found him, the store manager said to her: “The child is a genius! It would be criminal to deprive him of the chance to make use of such a sublime, God-given talent.” The Blakes purchased a pump organ for US$75.00, making payments of 25 cents a week. When Blake was seven, he received music lessons from their neighbor, Margaret Marshall, an organist from the Methodist church. At age fifteen, without knowledge of his parents, he played piano at Aggie Shelton’s Baltimore bordello. Blake got his first big break in the music business when world champion boxer Joe Gans hired him to play the piano at Gans’ Goldfield Hotel, the first “black and tan club” in Baltimore in 1907.

According to Blake, he also worked the medicine show circuit and was employed by a Quaker doctor. He played a Melodeon strapped to the back of the medicine wagon. Blake stayed with the show only two weeks, however, because the doctor’s religion didn’t allow the serving of Sunday dinner.

Blake said he first composed the melody to the “Charleston Rag” in 1899, when he would have been only 12 years old. It was not committed to paper, however, until 1915, when he learned to write musical notation.

In 1912, Blake began playing in vaudeville with James Reese Europe‘s “Society Orchestra” which accompanied Vernon and Irene Castle‘s ballroom dance act. The band played ragtime music which was still quite popular at the time. Shortly after World War I, Blake joined forces with performer Noble Sissle to form a vaudeville music duo, the “Dixie Duo.” After vaudeville, the pair began work on a musical revue, Shuffle Along, which incorporated many songs they had written, and had a book written by F. E. Miller and Aubrey Lyles. When it premiered in June 1921, Shuffle Along became the first hit musical on Broadway written by and about African-Americans. The musicals also introduced hit songs such as “I’m Just Wild About Harry” and “Love Will Find a Way.”

In 1923, Blake made three films for Lee DeForest in DeForest’s Phonofilm sound-on-film process. They were Noble Sissle and Eubie Blake featuring their song “Affectionate Dan”, Sissle and Blake Sing Snappy Songs featuring “Sons of Old Black Joe” and “My Swanee Home”, and Eubie Blake Plays His Fantasy on Swanee River featuring Blake performing his “Fantasy on Swanee River”. These films are preserved in the Maurice Zouary film collection in the Library of Congress collection.

Personal and later life

In July 1910, Blake married Avis Elizabeth Cecelia Lee (1881–1938), proposing to her in a chauffeur-driven car he hired. Blake and Lee met around 1895 while both attended Primary School No. 2 at 200 East Street in Baltimore. In 1910, Blake brought his newlywed to Atlantic City, New Jersey, where he had already found employment at the Boathouse nightclub.

Headstone of Blake’s grave in Cypress Hills Cemetery, Brooklyn, (inscription has false birth date)

In 1938, Avis was diagnosed with tuberculosis and died later that year at 58. Of his loss, Blake is on record saying, “In my life I never knew what it was to be alone. At first when Avis got sick, I thought she just had a cold, but when time passed and she didn’t get better, I made her go to a doctor and we found out she had TB … I suppose I knew from when we found out she had the TB, I understood that it was just a matter of time.”

While serving as bandleader with the United Service Organizations (USO) during World War II, Blake met and married Marion Grant Tyler, widow of violinist Willy Tyler, in 1945. Tyler, also a performer and a businesswoman, became his valued business manager until her death in 1982.

In 1946, as Blake’s career was winding down, he enrolled in New York University, graduating in two and a half years. Later his career revived again, culminating in the hit Broadway musical, Eubie!.

In the 1950s, interest in ragtime revived and Blake, one of its last surviving artists, found himself launching yet another career as ragtime artist, music historian, and educator. Blake signed recording deals with 20th Century Records and Columbia Records, lectured and gave interviews at major colleges and universities all over the world, and appeared as guest performer and clinician at top jazz and rag festivals.

He was a frequent guest of The Tonight Show Starring Johnny Carson and Merv Griffin. Blake was featured by leading conductors such as Leonard Bernstein and Arthur Fiedler. By 1975, he had been awarded honorary doctorates from Rutgers, the New England Conservatory, the University of Maryland, Morgan State University, Pratt Institute, Brooklyn College, and Dartmouth. On October 9, 1981, he received the Presidential Medal of Freedom, awarded by President Ronald Reagan.

On March 10, 1979, Blake performed with Gregory Hines on Saturday Night Live.

Blake claimed that he started smoking cigarettes when he was 10 years old, and continued to smoke all his life. The fact that he smoked for 85 years was used by some politicians in tobacco-growing states to build support against anti-tobacco legislation.

Death

Eubie Blake continued to play and record into late life, until his death February 12, 1983, in Brooklyn, just five days after celebrating his (claimed) 100th birthday (actually his 96th—see below). He was interred in the Cypress Hills Cemetery in Brooklyn, New York. His head stone, engraved with the musical notation for “I’m Just Wild About Harry”, was commissioned by the African Atlantic Genealogical Society (AAGS). The bronze sculpture of Blake’s bespectacled face was created by David Byer-Tyre, curator/director of the African American Museum and Center for Education and Applied Arts, Hempstead NY. The original inscription indicated his correct year of birth, but individuals close to him insisted that Blake be indulged; and paid to have the inscription changed.

“	If I’d known I was going to live this long, I would have taken better care of myself.	”
	— Eubie Blake

While Blake was reported as having said this on his birthday in 1979, it has been attributed to others, and appears in print at least as early as 1966 (where it is attributed to an anonymous 90-year-old golf caddie).

Sylvester Weaver

Sylvester Weaver
Sylvester Weaver with Sara Martin. (Photo credit: Wikipedia) Sylvester Weaver with Sara Martin.
Background information
Born	July 25, 1897 Louisville, Kentucky, United States
Died	April 4, 1960 (aged 62) Louisville, Kentucky, United States
Genres	Blues, country blues
Occupations	Guitarist
Instruments	Slide guitar, guitjo
Associated acts	Sara Martin, Walter Beasley,Helen Humes

Sylvester Weaver (July 25, 1897 – April 4, 1960) was an American blues guitar player and pioneer of country blues.

Biography

On October 23, 1923, he recorded in New York City with the blues singer Sara Martin“Longing for Daddy Blues” / “I’ve Got to Go and Leave My Daddy Behind” and two weeks later as a soloist “Guitar Blues” / “Guitar Rag”. Both recordings were released on Okeh Records. These recordings are the very first country-blues recordings and the first known recorded songs using the slide guitar style. “Guitar Rag” (played on a Guitjo) became a blues classic and was covered in the 1930s by Bob Wills and the Texas Playboys as “Steel Guitar Rag” and became a country music standard too.

Weaver recorded until 1927, sometimes accompanied by Sara Martin, about 50 additional songs. On some recordings from 1927 he was accompanied by Walter Beasley and the singer Helen Humes. Weaver often used the bottleneck-style method, playing his guitar with a knife. His recordings were quite successful but in 1927 he retired and went back to Louisville until his death in 1960. Though many country blues artists had a revival from the 1950s on, Weaver died almost forgotten.

In 1992 his complete works were released on two CDs, the same year his (up to then anonymous) grave got a headstone by engagement of the Louisville-based Kentuckiana Blues Society (KBS). Furthermore the KBS has annually honored since 1989 persons who rendered outstanding services to the blues with their Sylvester Weaver Award.

Pee Wee Russell

Pee Wee Russell
Pee Wee Russell, New York, 1946
Background information
Birth name	Charles Ellsworth Russell
Born	March 27, 1906 Maplewood, Missouri, United States
Origin	Muskogee, Oklahoma, United States
Died	February 15, 1969 (aged 62) Alexandra, Virginia, United States
Genres	Jazz, bebop, dixieland, swing,post-bop, free jazz
Occupations	Clarinetist, saxophonist,composer
Instruments	Clarinet, saxophone
Associated acts	Red Nichols, Bobby Hackett,Thelonious Monk, Marshall Brown, Eddie Condon

Charles Ellsworth Russell, much better known by his nickname Pee Wee Russell, (27 March 1906 – 15 February 1969) was a jazz musician. Early in his career he played clarinet and saxophones, but he eventually focused solely on clarinet.

With a highly individualistic and spontaneous clarinet style that “defied classification”, Russell began his career playing Dixieland jazz, but throughout his career incorporated elements of newer developments such as swing, bebop and free jazz. In the words ofPhilip Larkin, “No one familiar with the characteristic excitement of his solos, their lurid, snuffling, asthmatic voicelessness, notes leant on till they split, and sudden passionate intensities, could deny the uniqueness of his contribution to jazz.”

Early life

Pee Wee Russell was born in Maplewood, Missouri and grew up in Muskogee, Oklahoma. As a child, he first studied violin, but “couldn’t get along with it”, then piano, disliking the scales and chord exercises, and then drums – including all the associated special effects. Then his father sneaked young Ellsworth into a dance at the local Elks Club to a four- or five-piece band led by New Orleans jazz clarinetist Alcide “Yellow” Nunez. Russell was amazed by Nunez’s improvisations: “[He] played the melody, then got hot and played jazz. That was something. How did he know where he was or where he was going?” Pee Wee now decided that his primary instrument would be the clarinet, and the type of music he would play would be jazz. He approached the clarinettist in the pit band at the local theatre for lessons, and bought an Albert-system instrument. His teacher was named Charlie Merrill, and used to pop out for shots of corn whiskey during lessons.

His family moved to St. Louis, Missouri in 1920, and that September Russell was enrolled in the Western Military Academy in Alton, Illinois. He remained enrolled there until October the following year, though he spent most of his time playing clarinet with various dance and jazz bands. He began touring professionally in 1922, and travelled widely with tent shows and on river boats. Russell’s recording debut was in 1924 with Herb Berger’s Band in St. Louis, then he moved to Chicago, where he began playing with such notables as Frankie Trumbauer and Bix Beiderbecke.

Pee Wee Russell, Muggsy Spanier, Miff Moleand Joe Grauso, Nick’s (Tavern), New York, ca. June 1946

Career

From his earliest career, Russell’s style was distinctive. The notes he played were somewhat unorthodox when compared to his contemporaries, and he was sometimes accused of playing out of tune. In 1926 he joined Jean Goldkette‘s band, and the following year he left for New York City to join Red Nichols. While with Nichols’s band, Russell did frequent freelance recording studio work, on clarinet, soprano, alto and tenor sax, and bass clarinet. He worked with various bandleaders (including Louis Prima) before beginning a series of residences at the famous jazz club “Nick’s” in Greenwich Village, Manhattan, in 1937. He played with Bobby Hackett‘s big band, and began playing with Eddie Condon, with whom he would continue to work, off and on, for much of the rest of his life – though he complained, “Those guys [at Nick’s and Condon’s] made a joke, of me, a clown, and I let myself be treated that way because I was afraid. I didn’t know where else to go, where to take refuge”.

From the 1940s on, Russell’s health was often poor, exacerbated by alcoholism – “I lived on brandy milkshakes and scrambled-egg sandwiches. And on whiskey … I had to drink half a pint of whiskey in the morning before I could get out of bed” – which led to a major medical breakdown in 1951, and he had periods when he could not play. Some people considered that his style was different after his breakdown: Larkin characterized it as “a hollow feathery tone framing phrases of an almost Chinese introspection with a tendency to inconclusive garrulity that would have been unheard of in the days when Pee Wee could pack more into a middle eight than any other thirties pick-up player”.

He played with Art Hodes, Muggsy Spanier and occasionally bands under his own name in addition to Condon. In his last decade, Russell often played at jazz festivals and international tours organized by George Wein, including an appearance with Thelonious Monk at the 1963 Newport Festival, a meeting which has a mixed reputation (currently available as part of the Monk 2-CD set Live at Newport 1963–65). Russell formed a quartet with valve trombone player Marshall Brown, and included John Coltrane and Ornette Coleman tunes in his repertoire. Though often labeled a Dixieland musician by virtue of the company he kept, he tended to reject any label. Russell’s unique and sometimes derided approach was praised as ahead of its time, and cited by some as an early example of free jazz. At the time of their 1961 recording Jazz Reunion (Candid), Coleman Hawkins (who had originally recorded with Russell in 1929 and considered him to be color-blind) observed that ‘”For thirty years, I’ve been listening to him play those funny notes. He used to think they were wrong, but they weren’t. He’s always been way out, but they didn’t have a name for it then.”

By this time, encouraged by Mary, his wife, Russell had taken up painting abstract art as a hobby. Mary’s death in the spring of 1967 had a severe effect on him. His last gig was with Wein at the inaugural ball for President Richard Nixon on 21 January 1969. Russell died in a hospital in Alexandria, Virginia, less than three weeks later.

(From Wikipedia)

Lyric Records (US)

From Wikipedia

Lyric Records label, 1919. “Oh By Jingo” sung by Billy Murray. (Photo credit: Wikipedia)

U.S. Lyric label

Lyric Records was a record label based in the United States of America from about 1917 to 1921.

The parent company of Lyric Records was initially listed on the label as the Lyraphone Company of America, New York City, although actually headquartered in Newark, New Jersey. Later labels reflected the actual location. The label artwork featured a drawing of a white cat (perhaps inspired by the dog Nipper of the Victor Talking Machine Company‘s His Master’s Voice logo) seated on a gramophone record, with the legend “Never Scratches”. Lyric Records actually seem to be exactly as prone to scratching as any other shellac 78rpm record of the era.

The first Lyric records were vertical-cut with an unusually narrow groove that required using steel needles, related to that used by British “Marathon” discs, which according to company publicity yielded a playing time of four-and-a-half minutes per 10-inch side and seven minutes per 12-inch side. Over 1000 titles were available by September 1917, including popular vocal, dance, operatic, and orchestral selections. J. Louis von der Mehden was the company’s chief conductor, and his diaries (now at theUniversity of Connecticut) detail recording sessions with a 40-player orchestra which he personally recruited, a much larger ensemble than most American recording groups. The recorded sound of Lyric vertical-cut discs is superior to most other contemporary American “hill-and-dale” records. From 1919 Lyric records were double-sided lateral-cut 10-inch discs which have slightly above-average sound quality for the era. The company went into receivership in the fall of 1921 and ceased operations sometime the following year.

Among those recording for Lyric were soprano Regina Vicarino, tenor Mario Rodolfi, Vaudeville comedian and prolific earlysound recording star Billy Murray and Harry Yerkes‘ band featuring early jazz trombonist Tom Brown.

Recent 78 RPM Record Findings

In a previous post I may have mentioned that a few weeks ago I had the opportunity to visit a pack rat of records who had 47 boxes of records for me to inspect, unseen by anyone before. He was an hour and a half away from me by car, north of Peterborough, Ontario. I brought home 36 boxes of single records and binders and the back of the Jeep looked a it was moving day.

I had a huge task ahead of me when I got home, unloading the records, and sorting through the 2000 or more 78’s to see what I wanted to keep and sell off the rest. The second day of looking through the records was when I found a few gems, but the most important finding, in my opinion, was a copy of Jack Teagarden’s second recording with his own orchestra, from October 1, 1930. “You’re Simply Delish” is a cheery tune, backed by Eddie Gale on vocals, with Charlie Spivak and Tommy Thunen-trumpet, Jack Teagarden, trombone, Gil Rodin and Matty Matlock-clarinet and alto sax, to name a few of the musicians that were in the session. Rust lists takes 1,2,3 under matrix 10102.

To add more excitement, the recording was on a Canadian Compo Crown label, number 81497, under the name “Imperial Dance Orchestra”. The Crown has take 3 on it, which shows up on its American counterparts.  Even more good news was that this record had never been found before on Crown, only on Apex, another Canadian Compo label. 

Crown 81497  Imperial Dance Ochestra

HMV Victor Records Advertisements 1923-1929

The following advertisements were placed in the Montreal Gazette, between 1923 and 1929 to bolster sales of certain records.

American Race Record Newspaper Advertisements

Here is a cross section of Race Record advertisements that ran between 1922 and 1931 for Paramount, Okeh, Victor, and Vocalion records.

 

Libby Holman

From Wikipedia

Libby Holman
Born	Elizabeth Lloyd Holzman May 23, 1904 Cincinnati, Ohio, United States
Died	June 18, 1971 (aged 67) Stamford, Connecticut
Other names	Elizabeth Holman
Occupation	Actress, singer
Spouse(s)	Zachary Smith Reynolds (1931-1932) Ralph Holmes (1939-1945) Louis Schanker (1960-1971) (her death)

Libby Holman (May 23, 1904 – June 18, 1971) was an American torch singer and stage actress who also achieved notoriety for her complex and unconventional personal life.

Early life

Elizabeth Lloyd Holzman was born May 23, 1904, in Cincinnati, Ohio to a Jewish lawyer and stockbroker, Alfred Holzman (August 20, 1867 – June 14, 1947) and his wife, Rachel Florence Workum Holzman (October 17, 1873 – April 22, 1966).  Their other children were daughter Marion H. Holzman (January 25, 1901 – December 13, 1963) and son Alfred Paul Holzman (March 9, 1909 – April 19, 1992). In 1904, the wealthy family grew destitute after Holman’s uncle Ross Holzman embezzled nearly $1 million of their stock brokerage business. At some point, Alfred changed the family name from Holzman to Holman.  She graduated from Hughes High School on June 11, 1920, at the age of 16. She graduated from the University of Cincinnati on June 16, 1923, with a Bachelor of Arts degree. Libby Holman later subtracted two years from her age, insisting she was born in 1906. She gave the Social Security Administration 1906 as the year of her birth.

Theatrical career

In the summer of 1924, Holman left for New York City, where she first lived at the Studio Club. Her first theater job in New York was in the road company of The Fool. Channing Pollock, the writer of The Fool, recognized Holman’s talents immediately and advised her to pursue a theatrical career. She followed Pollock’s advice and soon became a star. An early stage colleague who became a longtime close friend was future film star Clifton Webb, then a dancer. He gave her the nickname, “The Statue of Libby.” Her Broadway theatredebut was in the play The Sapphire Ring in 1925 at the Selwyn Theatre, which closed after thirteen performances. She was billed as Elizabeth Holman. Her big break came while she was appearing with Clifton Webb and Fred Allen in the 1929 Broadway revue The Little Show, in which she first sang the blues number, “Moanin’ Low” by Ralph Rainger, which earned her a dozen curtain calls on opening night, drew raves from the critics and became her signature song.  Also in that show she sang the Kay Swift and Paul James song, “Can’t We Be Friends?” The following year, Holman introduced the Howard Dietz and Arthur Schwartz standard “Something to Remember You By” in the show Three’s a Crowd, which also starred Allen and Webb.  Other Broadway appearances included The Garrick Gaieties (1925), Merry-Go-Round (1927), Rainbow (1928), Ned Wayburn’s Gambols (1929), Revenge with Music (1934), You Never Know (1938, score by Cole Porter), and the self-produced one-woman revue Blues, Ballads and Sin-Songs (1954).

One of Holman’s signature looks was the strapless dress, which she has been credited with having invented,  or at least being one of its first high profile wearers.

Personal life

Holman enjoyed a variety of intimate relationships with both men and women throughout her lifetime.  Her famous lesbian lovers included the DuPont heiress Louisa d’Andelot Carpenter, actress Jeanne Eagels and modernist writer Jane Bowles.  Carpenter was to play a significant part throughout Holman’s lifetime. They raised their children and lived together and were openly accepted by their theater companions. She scandalized some by dating much younger men, such as fellow American actor Montgomery Clift, whom she mentored.

Holman took an interest in one fan, Zachary Smith Reynolds, the heir to the R. J. Reynolds‘s tobacco company. He was smitten with her from the start, despite their seven-year age difference. They met in Baltimore, Maryland in April 1930 after Reynolds saw Holman’s performance in a road company staging of the play The Little Show. Reynolds begged friend Dwight Deere Wiman, who was the show’s producer, for an introduction to Holman. Reynolds pursued her all around the world in his plane. With the persuasion of her former lover, Louisa d’Andelot Carpenter, Holman and Reynolds, who went by his middle name, married on Sunday, November 29, 1931 in the parlor of Monroe, Michigan. Reynolds wanted Holman to abandon her acting career, she consented by taking a one-year leave of absence. During this time, however, his conservative family was unable to bear Holman and her group of theater friends, who at her invitation often visited Reynolda, the family estate near Winston-Salem, North Carolina. Accusations and arguments among them were common.

Husband’s death

In 1932, during a 21st birthday party Reynolds gave at Reynolda for his friend and flying buddy Charles Gideon Hill, Jr., a first cousin to Reynolds’s first wife Anne Ludlow Cannon Reynolds, Holman revealed to her husband that she was pregnant. A tense argument ensued. Moments later, a shot was heard. Friends soon discovered Reynolds bleeding and unconscious with a gunshot wound to the head. Authorities initially ruled the shooting a suicide, but a coroner’s inquiry ruled it a murder. Holman and Albert Bailey “Ab” Walker, a friend of Reynolds’s and a supposed lover of Holman’s, were indicted for murder.

Louisa Carpenter paid Holman’s $25,000 bail in Wentworth, North Carolina, appearing in such mannish clothes that bystanders and reporters thought she was a man. The Reynolds family contacted the local authorities and had the charges dropped for fear of scandal. Holman gave birth to the couple’s child, Christopher Smith “Topper” Reynolds, on January 10, 1933.

Journalist Milt Machlin investigated the death of Smith Reynolds and argued that Reynolds committed suicide. In his account Holman was a victim of the anti-Semitism of local authorities, and the district attorney involved with the case later told Machlin that she was innocent.

In 1934, Broadway producer Vinton Freedley offered Holman the starring role in the Cole Porter musical Anything Goes,  but she declined.

A 1933 film, Sing, Sinner, Sing, was loosely based upon the allegations surrounding Reynolds’ death.

Later years

Holman married her second husband, film and stage actor Ralph (pronounced “Rafe”) Holmes, in March 1939. He was twelve years her junior. She had previously dated his older brother, Phillips Holmes. In 1940, both brothers, who were half-Canadian, joined the Royal Canadian Air Force. Phillips was killed in a collision of two military planes in August 1942. When Ralph returned home in August 1945, the marriage quickly soured and they soon separated. On November 15, 1945, Ralph Holmes was found in his Manhattan apartment, dead of a barbiturate overdose at age 29.

Holman adopted two sons, Timmy (born October 18, 1945), and Tony (born May 19, 1947). Her natural son Christopher (“Topper”) died on August 7, 1950 after falling while mountain climbing. Holman had given him permission to go mountain climbing with a friend on California‘s highest peak, Mount Whitney, not knowing that the boys were ill-prepared for the adventure. Both died. Those close to Holman claim she never forgave herself. In 1952 she created the Christopher Reynolds Foundation in his memory.

In the 1950s, Holman worked with her accompanist, Gerold Cook, on researching and rearranging what they called earth music. It was primarily blues and spirituals that were linked to the African American community. Holman had always been involved in what later became known as the Civil rights movement. During World War II, she tried to book shows for the servicemen with her friend, Josh White, but they were turned down on the grounds that “we don’t book mixed company.”

“Libby and Josh were beyond brave, although perhaps she did not quite realize what she was taking on in 1940s America. When they started rehearsals for their first show in a New York club, she arrived at the front door and was welcomed. Josh was directed to the staff entrance round the back. Libby waited till the day they were due to open, after the owners had spent a vast amount on publicity, and told them she was not going to sing in their club until they changed their racial door policy. She won.

In Philadelphia, Josh was refused a room at the hotel in whose bar they sang nightly. Libby ranted and told them: ‘Take down the American flag outside and fly the fucking swastika, why don’t you!’

When they were told by officials that the US Army did not tolerate mixed shows, Libby replied: ‘Mixed? You mean boys and girls?’”

In 1959, through the Christopher Reynolds Foundation, she underwrote a trip to India by Martin Luther King, Jr. and his wife, Coretta Scott King, both of whom became close friends with Holman and her husband, Louis Schanker. Holman also contributed to the defense of Dr. Benjamin Spock, the pediatrician and writer arrested for taking part in antiwar demonstrations.

Her third and last husband was well known artist/sculptor Louis Schanker. They married on December 27, 1960. Although Holman did not have to work after her marriage to Reynolds, she never completely gave up her career, making records and giving recitals. One of her last performances was at the United Nations in New York in 1966. She performed her trademark song, “Moanin’ Low.”

Death and Legacy

For many years, Holman reportedly suffered from depression from the combined effects of the deaths of President Kennedy and Dr. Martin Luther King Jr., the recent presidential election loss by Eugene McCarthy, the deaths of young men in the Vietnam War, her anguish over the untimely death of her own son and the illness and rapid deterioration of her friend Jane Bowles.  She also was considered never the same after the death of Montgomery Clift in 1966. Friends said that she lost some of her vitality.

On June 18, 1971, Holman was found nearly dead in the front seat of her Rolls Royce by her household staff. She was taken to the hospital where she died hours later.  Holman’s death was officially ruled a suicide due to acute carbon monoxide poisoning.  In view of her frequent bouts with depression and reported past suicide attempts, none of Holman’s friends or relatives were surprised by her death.

The Treetops Mansion viewed from Treetops State Park.

Holman’s papers are at the Howard Gotlieb Archival Research Center of Boston University. In 2001, a successful effort was made by local citizens to save her Connecticut estate, Treetops, from development. It straddles the border of Stamford and Greenwich. As a result, the pristine grounds were preserved. Treetops is part of the Mianus River State Park, which is overseen by the Connecticut Department of Environmental Protection. Treetops is located just south of the Mianus River Park.  The mansion itself is now in private ownership, The grounds are magnificent and the house has undergone extensive restoration. In 2006, Louis Schanker’s art studio, located on a hill overlooking the property, began a new life as the home of the Treetops Chamber Music Society.

Musical theater credits

• The Sapphire Ring – Selwyn Theatre (1925)
• Garrick Gaeties – Garrick Theatre (1925)
• Greenwich Village Follies – Shubert Theatre (1926)
• Merry-Go-Round – Klaw Theatre (1927)
• Rainbow – Gallo Theatre (1928)
• Ned Wayburn’s Gambols – Knickerbocker Theatre (1929)
• The Little Show – Music Box Theatre (1929)
• Three’s a Crowd – Selwyn Theatre (1930)
• Revenge with Music– New Amsterdam Theatre (1934)
• You Never Know – Winter Garden Theatre (1938)
• Blues, Ballads, and Sin Songs (1954)

Jan Savitt

From Wikipedia

Jan Savitt
Birth name	Jacob Savetnick
Born	September 4, 1907 Shumsk, Russian Empire
Origin	Philadelphia, Pennsylvania, USA
Died	October 4, 1948 (aged 41) Sacramento, California
Genres	Jazz
Occupations	Bandleader, arranger, musician
Instruments	Violin
Associated acts	The Top Hatters; George Tunnell

Jan Savitt (born Jacob Savetnick; September 4, 1907 – October 4, 1948) was an American bandleader, musical arranger, and violinist.

Savitt was born in Shumsk, then part of the Russian Empire (now part of Ukraine). He was invited to join the Philadelphia Orchestra when he was nineteen, having studied at the Curtis Institute and in Europe. His band The Top Hatters was formed in 1937 and began touring the following year. Their songs include “720 in the Books”, “It’s A Wonderful World” and his theme songs “Quaker City Jazz” and “From Out Of Space”. Savitt was one of the first of the big band leaders to feature an African American vocalist, George Tunnell(“Bon Bon”). His other vocalists were Carlotta Dale, Allan DeWitt, Joe Martin, and Gloria DeHaven. His band names include Jan Savitt & His Top Hatters, the Jan Savitt String Orchestra and Jan Savitt & His Orchestra.

Savitt recorded short pieces for the National Broadcasting System’s Thesaurus series, probably in the 1940s. These were pieces radio stations used as ‘fillers’ just prior to network programs, which would begin precisely on the hour or half-hour. Disc 1143 in the Thesaurus catalogue features four selections by the Jan Savitt Orchestra on one side of the 33 1/3 transcription: “The Masquarade is Over I’m Afraid”; “If I Didn’t Care”; “Ring Dem Bells”, and “Romance Runs in the Family”.

Shortly before arriving in Sacramento, California, with his orchestra on Saturday, October 2, 1948, for a concert scheduled for that evening at Memorial Auditorium, Savitt was stricken with a cerebral hemorrhage and taken to Sacramento County Hospital. Savitt died on October 4, with his wife at his bedside.

RCA Victor Phonograph/Radio Combo-Spiegel Catalog_16 May Stern Co. 1933 Chicago, Illinois

Recently, scanning through the internet, I came across an interesting 1933 Spiegel Catalog from Chicago, Illinois, depicting an RCA Victor Phonograph/Radio combination with an offer to include 78 rpm dance records with it.

 

Freddy Martin

From Wikipedia

Freddy Martin
Martin in the 1943 film Stage Door Canteen
Background information
Born	December 9, 1906
Origin	Cleveland, Ohio, United States
Died	September 30, 1983 (aged 76)
Genres	Jazz
Occupations	Musician, bandleader
Instruments	Saxophone

Frederick Alfred (Freddy) Martin (December 9, 1906 – September 30, 1983) was an American bandleader and tenor saxophonist.

Early life

Martin was born in Cleveland, Ohio.  Raised largely in an orphanage and with various relatives, Martin started out playing drums, then switched to C-melody saxophone and later tenor saxophone, the latter the one he would be identified with. Early on, he had intended to become a journalist. He had hoped that he would earn enough money from his musical work to enter Ohio State University, but instead, he wound up becoming an accomplished musician. Martin led his own band while he was in high school, then played in various local bands. After working on a ship’s band, Martin joined the Mason-Dixon band, then joined Arnold Johnson and Jack Albin. It was with Albin’s “Hotel Pennsylvania Music” that he made his first recordings, for Columbia‘s Harmony, Velvet Tone, and Clarion 50 cent labels in 1930.

Early career

Cropped screenshot of Freddy Martin from the film Stage Door Canteen. (Photo credit: Wikipedia)

Martin in 1943

After a couple of years, his skill began attracting other musicians. One such musician was Guy Lombardo, who would remain friends with Martin throughout his life. After graduation from high school, Martin accepted a job at the H.N. White musical instrument company. When Lombardo was playing in Cleveland, Martin tried giving Lombardo some saxophones, which proved unsuccessful. Fortunately, Lombardo did get to hear Freddy’s band. One night, when Guy could not do a certain date, he suggested that Freddy’s band could fill in for him. The band did very well and that’s how Martin’s career really got started. But the band broke up and he did not form a permanent band until 1931 at the Bossert Hotel in Brooklyn.

At the Bossert Marine Room, Freddy pioneered the “Tenor Band” style that swept the sweet-music industry. With his own tenor sax as melodic lead, Martin fronted an all-tenor sax section with just two brasses and a violin trio plus rhythm. The rich, lilting style quickly spawned imitators in hotels and ballrooms nationwide. “Tenor bands”, usually with just the three tenors and one trumpet, could occasionally be found playing for older dancers well into the 1980s.

The Martin band recorded first for Columbia Records in 1932. As the company was broke and signing no new contracts, the band switched toBrunswick Records after one session and remained with that label till 1938. Afterwards Martin appeared on RCA‘s Bluebird and Victor Records. The band also recorded pseudonymously in the early ’30s, backing singers such as Will Osborne.

Martin took his band into many prestigious hotels, including the Roosevelt Grill in New York City and the Ambassador Hotel in Los Angeles. A fixture on radio, his sponsored shows included NBC‘s Maybelline Penthouse Serenade of 1937. But Martin’s real success came in 1941 with an arrangement from the first movement of Tchaikovsky‘s B-flat piano concerto. Martin recorded the piece instrumentally, but soon lyrics were put in and it was re-cut as “Tonight We Love” with Clyde Rogers’ vocal—becoming his biggest hit.

The success of “Tonight We Love” prompted Martin to adopt other classical themes as well, which featured the band’s pianists Jack Fina, Murray Arnold and Barclay Allen. At this time Freddy enlarged the orchestra to a strength of six violins, four brasses and a like number of saxes.

Musical style

Freddy Martin was nicknamed “Mr. Silvertone” by saxophonist Johnny Hodges. Chu Berry named Freddy Martin his favorite saxophonist. He has also been idolized by many other saxophonists, including Eddie Miller. Although his playing has been admired by so many jazz musicians, Freddy Martin never tried to be a jazz musician. Martin always led a sweet styled band. Unlike most sweet bands that just played dull music, Martin’s band turned out to be one of the most musical and most melodic of all the typical hotel-room sweet bands. According to George T. Simon, Freddy’s band was “one of the most pleasant, most relaxed dance bands that ever flowed across the band scene.”

He used the banner “Music In The Martin Manner.” Russ Morgan used a similar banner when he finally landed a radio series with his own band in 1936. (Morgan’s title was “Music In The Morgan Manner”.) Russ had been playing in Freddy’s band and the two were good friends for years. Russ even used some of Freddy’s arrangements when he started his band.

Later career

Martin also had a good ear for singers. At one time or another, Martin employed Merv Griffin, Buddy Clark, pianists Sid Appleman and Terry Shand, saxophonist Elmer Feldkamp, Stuart Wade (his most impressive male singer), violinist Eddie Stone, and many others. Helen Ward was a singer for Martin just before she joined Benny Goodman‘s new band.

Martin’s popularity as a bandleader led him to Hollywood in the 1940s where he and his band appeared in a handful of films, including Seven Days’ Leave (1942), Stage Door Canteen (1943) and Melody Time (1948), among others.

In the 1950s and 1960s Martin continued to perform on the radio and also appeared on TV. Untroubled by changing musical tastes, he continued to work at major venues and was musical director for Elvis Presley‘s first appearance in Las Vegas. Still in demand for hotel work, Martin entered the 1970s with an engagement at the Ambassador Hotel in Los Angeles. In the early 1970s, he was part of two tours of one-nighters that were known as The Big Band Cavalcade. Among the other performers on the show were Margaret Whiting,Bob Crosby, Frankie Carle, Buddy Morrow, Art Mooney and George Shearing. When the tours ended, Martin returned to the West Coast. In 1977, Martin was asked to lead Guy Lombardo’s band when Lombardo was hospitalized with a heart condition.

Martin continued leading his band until the early 1980s, although by then, he was semi-retired. Freddy Martin died on September 30, 1983, in a Newport Beach hospital after a lingering illness. He was 76 years old.

The 1947 song “Pico and Sepulveda” was recorded by Martin under the alias of “Felix Figueroa and his Orchestra” and was frequently featured on Dr. Demento‘s syndicated radio show.  It was also featured in the surrealist film Forbidden Zone.

Pinetop Smith

From Wikipedia

Pinetop Smith
Birth name	Clarence Smith
Also known as	“Pine Top” or “Pinetop” Smith
Born	June 11, 1904 Troy, Alabama, United States
Died	March 15, 1929 (aged 24) Chicago, Illinois, United States
Genres	Boogie-woogie, blues
Occupations	Pianist, vocalist, comedian
Instruments	Piano
Years active	c. 1920–1929
Labels	Vocalion
Associated acts	Ma Rainey Albert Ammons Meade Lux Lewis Cow Cow Davenport

Clarence Smith, better known as Pinetop Smith or Pine Top Smith  (June 11, 1904 – March 15, 1929) was an American boogie-woogie style blues pianist. His hit tune, “Pine Top’s Boogie Woogie,” featured rhythmic “breaks” that were an essential ingredient ofragtime music.

He was a posthumous 1991 inductee of the Alabama Jazz Hall of Fame.

Career

Smith was born in Troy, Alabama and raised in Birmingham, Alabama.  He received his nickname as a child from his liking for climbing trees.  In 1920 he moved to Pittsburgh, Pennsylvania,  where he worked as an entertainer before touring on the T. O. B. A.vaudeville circuit, performing as a singer and comedian as well as a pianist. For a time he worked as accompanist for blues singer Ma Rainey  and Butterbeans and Susie.

In the mid 1920s he was recommended by Cow Cow Davenport to J. Mayo Williams at Vocalion Records, and in 1928 he moved, with his wife and young son, to Chicago, Illinois to record.  For a time he, Albert Ammons, and Meade Lux Lewis lived in the same rooming house.

On 29 December 1928 he recorded his influential “Pine Top’s Boogie Woogie,” one of the first “boogie woogie” style recordings to make a hit, and which cemented the name for the style. Pine Top talks over the recording, telling how to dance to the number.  He said he originated the number at a house-rent party in St. Louis, Missouri. Smith was the first ever to direct “the girl with the red dress on” to “not move a peg” until told to “shake that thing” and “mess around”. Similar lyrics are heard in many later songs, including “Mess Around” and “What’d I Say” by Ray Charles.

Smith was scheduled to make another recording session for Vocalion in 1929, but died from a gunshot wound in a dance-hall fight in Chicago the day before the session.  Sources differ as to whether he was the intended recipient of the bullet. “I saw Pinetop spit blood” was the famous headline in Down Beat magazine.

No photographs of Smith are known to exist.

Influence

Smith was acknowledged by other boogie woogie pianists such as Albert Ammons and Pete Johnson as a key influence, and he gained posthumous fame when “Boogie Woogie” was arranged for big band and recorded by Tommy Dorsey & His Orchestra in 1938.  Although not immediately successful, “Boogie Woogie” was so popular during and afterWorld War II that it became Dorsey’s best selling record, with over five million copies sold. Bing Crosby also recorded his version of the song.

From the 1950s, Joe Willie Perkins became universally known as “Pinetop Perkins” for his recording of “Pinetop’s Boogie Woogie”.  Perkins later became Muddy Waters‘ pianist and later, when in his nineties, recorded a song on his 2004 Ladies’ Man album, which played on the by-then-common misconception that Perkins had himself written “Pinetop’s Boogie Woogie”.

Ray Charles adapted “Pine Top’s Boogie Woogie” for his song “Mess Around”, for which the authorship was credited to “A. Nugetre“, Ahmet Ertegun.

In 1975 the Bob Thiele Orchestra recorded a modern jazz album called I Saw Pinetop Spit Blood that included a treatment of “Pinetop’s Boogie Woogie” as well as the title song.

Gene Taylor recorded a version of “Pinetop’s Boogie Woogie” on his eponymous 2003 album.

Claes Oldenburg, the pop artist, proposed a Pinetop Smith Monument in his book, Proposals for Monuments and Buildings 1965-69. Oldenburg described the monument as “a wire extending the length of North Avenue, west from Clark Street, along which at intervals runs an electric impulse colored blue so that there’s one blue line as far as the eye can see. Pinetop Smith invented boogie woogie blues at the corner of North and Larrabee, where he finally was murdered: the electric wire is “blue”and dangerous.”

Thomas A. Dorsey

From Wikipedia

Thomas Andrew Dorsey
Background information
Birth name	Thomas Andrew Dorsey
Also known as	Georgia Tom, Barrelhouse Tom, Texas Tommy
Born	July 1, 1899 Villa Rica, Georgia, United States[1]
Origin	Tampa, Florida, United States
Died	January 23, 1993 (aged 93) Chicago, United States
Genres	Gospel, blues
Instruments	Piano

Thomas Andrew Dorsey (July 1, 1899 – January 23, 1993) was known as “the father of black gospel music” and was at one time so closely associated with the field that songs written in the new style were sometimes known as “dorseys.”  Earlier in his life he was a leading blues pianist known as Georgia Tom.

As formulated by Dorsey, gospel music combines Christian praise with the rhythms of jazz and the blues. His conception also deviates from what had been, to that time, standard hymnal practice by referring explicitly to the self, and the self’s relation to faith and God, rather than the individual subsumed into the group via belief.

Dorsey, who was born in Villa Rica, Georgia, was the music director at Pilgrim Baptist Church in Chicago from 1932 until the late 1970s. His best known composition, “Take My Hand, Precious Lord“, was performed by Mahalia Jackson and was a favorite of the Rev.Martin Luther King Jr.. Another composition, “Peace in the Valley“, was a hit for Red Foley in 1951 and has been performed by dozens of other artists, including Queen of Gospel Albertina Walker, Elvis Presley and Johnny Cash. Dorsey died in Chicago, aged 93.

In 2002, the Library of Congress honored his album Precious Lord: New Recordings of the Great Songs of Thomas A. Dorsey (1973), by adding it to the United States National Recording Registry.

Life and career

Dorsey’s father was a minister and his mother a piano teacher. He learned to play blues piano as a young man. After studying music formally in Chicago, he became an agent for Paramount Records. He put together a band for Ma Rainey called the “Wild Cats Jazz Band” in 1924.

He started out playing at rent parties with the names Barrelhouse Tom and Texas Tommy, but he was most famous as Georgia Tom. As Georgia Tom, he teamed up with Tampa Red (Hudson Whittaker) with whom he recorded the raunchy 1928 hit record “Tight Like That”, a sensation, eventually selling seven million copies.  In all, he is credited with more than 400 blues and jazz songs.

Dorsey began recording gospel music alongside blues in the mid-1920s. This led to his performing at the National Baptist Convention in 1930, and becoming the bandleader of two churches in the early 1930s.

His first wife, Nettie, who had been Rainey’s wardrobe mistress, died in childbirth in 1932. Two days later the child, a son, also died. In his grief, he wrote his most famous song, one of the most famous of all gospel songs, “Precious Lord, Take My Hand”.

Unhappy with the treatment received at the hands of established publishers, Dorsey opened the first black gospel music publishing company, Dorsey House of Music. He also founded his own gospel choir and was a founder and first president of the National Convention of Gospel Choirs and Choruses.

His influence was not limited to African American music, as white musicians also followed his lead. “Precious Lord” has been recorded by Albertina Walker, Elvis Presley, Mahalia Jackson, Aretha Franklin, Clara Ward, Dorothy Norwood, Jim Reeves, Roy Rogers, and Tennessee Ernie Ford, among hundreds of others. It was a favorite gospel song of the Rev. Martin Luther King, Jr.; and was sung at the rally the night before his assassination, and, per his request, at his funeral by Mahalia Jackson. It was also a favorite of PresidentLyndon B. Johnson, who requested it to be sung at his funeral. Dorsey was also a great influence on other Chicago-based gospel artists such as Albertina Walker and The Caravans and Little Joey McClork.

Dorsey wrote “Peace in the Valley” for Mahalia Jackson in 1937, which also became a gospel standard. He was the first African American elected to the Nashville Songwriters Hall of Fame and also the first in the Gospel Music Association‘s Living Hall of Fame. In 2007, he was inducted as a charter member of the Gennett Records Walk of Fame inRichmond, Indiana. His papers are preserved at Fisk University, along with those of W.C. Handy, George Gershwin, and the Fisk Jubilee Singers.

Dorsey’s works have proliferated beyond performance, into the hymnals of virtually all American churches and of English-speaking churches worldwide.

Thomas was a member of the Omega Psi Phi fraternity.

He died in Chicago, Illinois, and was interred there in the Oak Woods Cemetery.

Vincent Lopez

From Wikipedia

Vincent Lopez
Lopez speaking! Vincent Lopez at radio microphone in the early 1920s
Background information
Birth name	Vincent Lopez
Born	December 30, 1895
Origin	Brooklyn, New York
Died	September 20, 1975 (aged 79)
Genres	Jazz
Occupations	Bandleader
Instruments	Piano
Associated acts	Jimmy Dorsey, Tommy Dorsey,Gloria Parker

Vincent Lopez and his band in the early 1920s.

Vincent Lopez (30 December 1895 – 20 September 1975) was an American bandleader and pianist.

Vincent Lopez was born of Portuguese immigrant parents in Brooklyn, New York  and was leading his own dance band in New York City by 1917. On November 27, 1921 his band began broadcasting on the new medium of entertainment radio; the band’s weekly 90-minute show on Newark, NJ station WJZ boosted the popularity of both himself and of radio.  He became one of America’s most popular bandleaders, and would retain that status through the 1940s.

He began his radio programs by announcing “Lopez speaking!”.His theme song was “Nola,” Felix Arndt‘s novelty ragtime piece of 1915, and Lopez became so identified with it that he occasionally satirized it. (His 1939 movie short for Vitaphone, Vincent Lopez and his Orchestra, features the entire band singing “Down with Nola.”) Lopez worked occasionally in feature films, notably The Big Broadcast (1932). He was also one of the very first bandleaders to work in Soundies movie musicals, in 1940. He made additional Soundies in 1944.

Noted musicians who played in his band included Artie Shaw, Xavier Cugat, Jimmy Dorsey, Tommy Dorsey, Mike Mosiello and Glenn Miller. He also featured singers Keller Sisters and Lynch, Betty Hutton and Marion Hutton. Lopez’s longtime drummer was the irreverent Mike Riley, who popularized the novelty hit “The Music Goes Round and Round.”

Lopez’s flamboyant style of piano playing influenced such later musicians as Eddy Duchin and Liberace.

In 1941 Lopez’s Orchestra began a residency at the Taft Hotel in Manhattan that would last 20 years.

In the early 1950s, Lopez along with Gloria Parker hosted a radio program broadcast from the Taft Hotel called Shake the Maracas in which audience members competed for small prizes by playing maracas with the orchestra.

Vincent Lopez died in Miami Beach, Florida.

Big Band/Swing Era Music

• Early In The Morning, recorded by Vincent Lopez on Columbia Records, lyrics and music by Gloria Parker.
• Here Comes That Mood, recorded by Vincent Lopez, music and lyrics by Gloria Parker.
• In Santiago by the Sea, recorded by Vincent Lopez and his Orchestra, music and lyrics by Gloria Parker.
• I Learned To Rumba, recorded by Vincent Lopez and his Orchestra, music and lyrics by Gloria Parker.
• My Dream Christmas, recorded by Vincent Lopez, lyrics and music by Gloria Parker.
• Shake The Maracas, name of a radio program on WABC hosted by Vincent Lopez and Gloria Parker, lyrics and music by Gloria Parker.
• When Our Country Was Born, recorded by Vincent Lopez, lyrics and music by Gloria Parker.

Zez Confrey

From Wikipedia

The sheet music for “Dizzy Fingers” by Zez Confrey, one of the most popular of the novelty piano composers. (Photo credit: Wikipedia)

The sheet music for “Dizzy Fingers”.

Edward Elzear “Zez” Confrey (April 3, 1895 – November 22, 1971)  was an American composer and performer of piano music. His most noted works were “Kitten on the Keys,” and “Dizzy Fingers.”

Life and career

Confrey was born in Peru, Illinois, United States, the youngest child of Thomas and Margaret Confrey. After World War I he became a pianist and arranger for the QRS piano roll company.  He also recorded for the AMPICO Company, which made piano rolls for their reproducing player piano mechanisms, which were installed in pianos such as the Mason&Hamlin, and Chickering to name a few. His novelty piano composition “Kitten on the Keys,” released in 1921, became a hit, and he went on to compose many other pieces in the same genre.  This piece was inspired by a cat at his grandmother’s house that he discovered prancing up and down the piano keyboard. “Dizzy Fingers” (1923) was Confrey’s other ragtime biggest seller.

After the 1920s he turned more and more toward composing for jazz bands. He retired after World War II but continued to compose occasionally until 1959. He died in Lakewood, New Jersey after suffering for many years from Parkinson’s disease.  He left behind more than a hundred piano works, miniature operas, and songs, plus numerous piano rolls, music publications, and recordings.

Ted Weems

From Wikipedia

Ted Weems
Ted Weems publicity photo
Background information
Birth name	Wilfred Theodore Wemyes
Also known as	Ted Weems
Born	September 26, 1901 Pitcairn, Pennsylvania
Origin	Philadelphia
Died	May 6, 1963 (aged 61) Tulsa, Oklahoma
Genres	Jazz, big band
Occupations	Bandleader
Instruments	violin, trombone
Years active	1923–1953
Labels	Victor Records, Bluebird Records, Mercury Records
Associated acts	Perry Como, Elmo Tanner, Red Ingle, Marilyn Maxwell, Joe Haymes

Wilfred Theodore (Ted) Weems (originally Wemyes) (26 September 1901 – 6 May 1963) was an American bandleader and musician. Weems’ work in music was recognized with a star on the Hollywood Walk of Fame.

Born in Pitcairn, Pennsylvania, Weems learned to play the violin and trombone. Young Ted’s start in music came when he entered a contest, hoping to win a pony. He won a violin instead and his parents arranged for music lessons.  He was a graduate of Lincoln School in Pittsburgh. While still in school at Lincoln, Weems organized a band there, initially providing some instruments himself. His teacher offered young Ted and his band a penny each if they would play when the alarm sounded for fire drills. Weems kept the monies of the band and in turn charged each band member a penny for membership. He used the money to purchase better instruments than those the band started out with. When the family moved to Philadelphia, young Weems entered West Philadelphia High School. He joined the school’s band and became its director.

Biography

He attended the University of Pennsylvania, where he and his brother Art organized a small dance band that became the “All American Band”. The brothers sought the most talented college musicians for the group. The All American Band soon started receiving offers to perform in well-known hotels throughout the United States. Weems, who had originally intended to become a civil engineer, found himself being attracted to a musical career. His band had a contract to play four weeks at a Philadelphia restaurant; the owner was able to keep Weems and his band there for four months by making Ted a partner in his business.  They were one of the bands that played at the inaugural ball of President Warren Harding.  Going professional in 1923, Weems toured for the MCA Corporation, recording for Victor Records.  “Somebody Stole My Gal” became the band’s first #1 hit in early 1924.

Weems was a Victor band from 1923 through 1933,  although the final 3 sessions were released on Victor’s newly created Bluebirdlabel. He then signed with Columbia for 2 sessions in 1934 and subsequently signed with Decca from 1936. Weems also co-wrote several popular songs: “The Martins and the McCoys”, “Jig Time”, “The One-Man Band”, “Three Shif’less Skonks”, and “Oh, Monah!”, which he co-wrote with band member “Country” Washburn.^]

Ted Weems and his Orchestra on theFibber McGee and Molly NBC Radio show, 1937.

Weems moved to Chicago with his band around 1928.  The Ted Weems Orchestra had more chart success in 1929 with the novelty song “Piccolo Pete”, and the #1 hit “The Man from the South”. The band gained popularity in the 1930s, making regular radio broadcasts. These included Jack Benny‘s Canada Dry program on CBS and NBC during the early 1930s, and the Fibber McGee & Molly program in the late 1930s.

In 1936, the Ted Weems Orchestra gave singer Perry Como his first national exposure; Como recorded with the band (on Decca Records), beginning his long and successful career. Among Weems’ other discoveries were whistler-singer Elmo Tanner, sax player and singer Red Ingle, Marilyn Maxwell, who left the band for an acting career; and arranger Joe Haymes, who created the band’s unique jazz-novelty style. Weems also signed 14 year old ventriloquist Paul Winchell to a contract, after seeing him with one of the Major Bowes touring companies.  The first season of the Beat the Band radio show (1940–1941) included Weems and his orchestra as part of the cast.

In November 1942, Ted Weems and his entire band enlisted in the United States Merchant Marine, directing the Merchant Marine Band.  Reorganizing his big band in 1945,  he made records for Mercury, including the hits “Peg O’ My Heart” and “Mickey”. However, the biggest hit of Weems’ career was a reissue on his former Victor label: the Weems Orchestra’s 1933 recording of “Heartaches” topped the national charts for 13 weeks.

Ted Weems (right) with William P. Gottlieb, WINX Studio, Washington, D.C., ca. 1940.

For his August 4, 1933 session, Weems recorded 6 tunes, including “Heartaches”. Since Victor wanted the recording made quickly, Weems and his band had time for only one rehearsal session prior to this. Weems did not like the song at first, and decided to have Elmo Tanner whistle rather than use a vocalist. While rehearsing, someone came up with an idea of trying the song at a faster tempo than it was written for. The recording attracted very little attention after its release. In 1947, a Charlotte, North Carolina overnight disc jockey named Kurt Webster found it in a box of old records he had recently received. He played it on the air and the radio station’s phones never stopped ringing; the callers wanted to hear the song again. The calls continued, now joined by record stores wanting to know how to order copies of the record. Other radio markets began playing the song, while Victor searched for its old masters to press copies. Since the Weems orchestra had also recorded “Heartaches” when the band moved to Decca, the company decided to re-release its version of the song also. “Heartaches” topped the Hit Parade on April 19, 1947; 14 years after it was first recorded.

Decca Records seized the moment, and it also reissued “I Wonder Who’s Kissing Her Now” with vocals by Perry Como, which became another major chart hit. The new-found popularity of the 1933 recording came at a time when Weems was struggling to re-form his band; many former members had other music-related jobs, others were no longer interested in performing. Two of his band members were killed in World War II. Weems was then able to recruit new band members and was again being asked to play at the same venues as before the war.  In a 1960 interview, band member Elmo Tanner related that he and Weems received nothing for the reissue as both men had let their contracts expire while they were in the Merchant Marine.

Despite this sudden surfeit of popularity, the hits dried up after 1947. Weems toured until 1953. At that time he accepted a disc jockey position in Memphis, Tennessee,  later moving on to a management position with the Holiday Inn hotel chain. Perry Como played host to his old boss, Elmo Tanner, and three other Weems band members on his Perry Como’s Kraft Music Hall show of October 18, 1961.

Ted Weems died of emphysema in Tulsa, Oklahoma, in 1963.  He had been operating a talent agency in Dallas with his son which also served as his band’s headquarters. Weems was in Tulsa with his band for an engagement the day he was taken ill.  His son Ted Jr. led a revival band at times during the 1960s and 1970s.

A Review of Recording Artists as Printed in Radio Broadcast, February, 1928

RB_feb_1928-OCR-Page-0026

 

Please click on the above link to open the article in pdf  format. Use magnifying glass to enlarge the print size.

Vaughn De Leath

From Wikipedia

Vaughn De Leath
Vaughn De Leath in the 1920s
Background information
Birth name	Leonore Vonderlieth
Born	September 26, 1894 Mount Pulaski, Illinois, United States
Died	May 28, 1943 (aged 48) Buffalo, New York, United States
Genres	Jazz, crooner, Dixieland
Occupations	Singer, musician, radio performer, broadcasting executive
Years active	1920s-1930s
Labels	Various

Vaughn De Leath (September 26, 1894 – May 28, 1943)^[1] was an American female singer who gained popularity in the 1920s, earning the sobriquets “The Original Radio Girl” and “First Lady of Radio.” Although popular in the 1920s, De Leath is little known today.

De Leath was an early exponent of a style of vocalizing known as crooning. One of her hit songs, “Are You Lonesome Tonight?,” recorded in 1927, achieved fame when it became a hit for Elvis Presley in 1960.

Life and career

Early life

She was born as Leonore Vonderlieth in the town of Mount Pulaski, Illinois in 1894. Her parents were George and Catherine Vonderlieth. At age 12, Leonore relocated to Los Angeles with her mother and sister, where she finished high school and studied music. While at Mills College, she began writing songs, but dropped out to pursue a singing career. She then adopted the stage name“Vaughn De Leath.” Her vocals ranged from soprano to deep contralto. De Leath adapted to the emerging, less restrictive jazz vocal style of the late 1910s and early 1920s.

Main career

In January 1920, the inventor and radio pioneer Lee DeForest, brought her to his studio in New York City‘s World Tower, where De Leath sang “Swanee River” in a cramped room. Most radio listeners at the time were only equipped with crystal radio, which limited audio fidelity. This performance is sometimes cited as the first live singing broadcast (although this is disputed by some historians). According to some historical accounts of this incident, having been advised that high notes sung in her natural soprano might shatter the fragile vacuum tubes of her carbon microphone’s amplifier, De Leath switched to a deep contralto and in the process invented “crooning”, which became the dominant pop vocal styling for the next three decades.

By 1921, in the formative years of commercial radio, De Leath began singing at WJZ, in Newark, New Jersey (a station later known as WABC in New York City). She also performed on the New York stage in the early to mid 1920s, but radio became her primary medium, and she made a name for herself as a radio entertainer.

Her recording career began in 1921. Over the next decade she recorded for a number of labels, including Edison, Columbia, Okeh, Gennett, Victor, and Brunswick. She occasionally recorded for major label subsidiaries under various pseudonyms.  These included Gloria Geer, Mamie Lee, Sadie Green, Betty Brown, Nancy Foster, Marion Ross, Glory Clark, Angelina Marco, and Gertrude Dwyer. De Leath had a highly versatile range of styles, and as material required could adapt as a serious balladeer, playful girl, vampish coquette, or vaudeville comedienne.

De Leath’s recording accompanists included some of the major jazz musicians of the 1920s, including cornetist Red Nichols, trombonist Miff Mole, guitarists Dick McDonough and Eddie Lang, and bandleader Paul Whiteman. She demonstrated a high level of instrumental ability on the ukulele, and occasionally accompanied herself on recordings. In performance she played banjo, guitar, and piano. She also recorded ukulele instruction records.

In 1923, she became one of the first female executives to manage a radio station, WDT, in New York City, on which she also performed. In 1928, she appeared on an experimental television broadcast, and later became a special guest for the debut broadcast of Voice of Firestone Radio Hour. She also was one of the first American entertainers to broadcast to Europe via transatlantic radio transmission.

De Leath made her last recording in 1931 for the Crown label. She made her final nationwide network performances in the early 1930s. In her waning years, she made radio appearances on local New York stations, including WBEN in Buffalo.

Her 1925 hit recording, “Ukulele Lady“, was used in the 1999 film, The Cider House Rules.

Lawsuit

In 1931, De Leath sued Kate Smith for using the “First Lady of the Radio” designation.  Although Smith desisted for a time, she resumed the mantle after De Leath’s death.

Marriages and death

De Leath was married twice, to Leon Geer (an artist whom she married in 1924, and from whom she was divorced in 1935), and then to Irwin Rosenbloom, a musician.

Prior to her death in Buffalo, New York, she had had considerable financial difficulties, complicated by a drinking problem which contributed to her early death. Her obituary in The New York Times stated her age at death as 42. Her ashes were buried in her childhood home of Mount Pulaski, Illinois.

Paramount Record Discography

Discography

This list is an attempt to compile all artists’ names and all song titles as listed on the actual labels of the discs in Paramount’s 12000 and 13000 series.

This list is based on the information contained in The Online Discographical Project (Steven Abrams) and the research of Max Vreede, published in his book “Paramount 12000/13000 Series Discography” (Storyville, 1971). Max Vreede had access to the original Paramount file cards. But in some cases the names or song titles on the file cards deviate from the names and song titles as printed on the record labels. Ongoing research by Echo Park attempts to merge the information from the existing discographies and to check artists’ names and song titles against the names and song titles as printed on the record labels.

Paramount 12000 series (1922–1930):

12001 ALBERTA HUNTER – DADDY BLUES
12001 ALBERTA HUNTER – DON’T PAN ME

12002 SISSLE & BLAKE – IF YOU’VE NEVER BEEN VAMPED BY A BROWNSKIN GAL
12002 SISSLE & BLAKE – BANDANA DAYS

12003 HARLEM HARMONY KINGS – HARD TIME BLUES
12003 HARLEM HARMONY KINGS – JOHN HENRY BLUES

12005 EUBIE BLAKE ORCH w A.HUNTER – DOWNHEARTED BLUES (v A. Hunter)
12005 ALBERTA HUNTER – GONNA HAVE YOU, AIN’Y GONNA LEAVE YOU ALONE

12006 ALBERTA HUNTER – JAZZIN’ BABY BLUES
12006 ALBERTA HUNTER – I’M GOING AWAY TO WEAR YOU OFF MY MIND

12007 ALBERTA HUNTER – LONESOME MONDAY MORNING
12007 SISSLE & BLAKE – CRAZY BLUES

12008 ALBERTA HUNTER – YOU CAN’T HAVE IT ALL
12008 ALBERTA HUNTER – WHY DID YOU PICK ME UP WHEN I WAS DOWN

12009 FOUR HARMONY KINGS – DOAN YA CRY MA HONEY
12009 FOUR HARMONY KINGS – SWEET ADELINE

12010-A ALBERTA HUNTER – DON’T TALK ABOUT ME
12010-B ALBERTA HUNTER – AFTER ALL THESE YEARS

12011 KATHERINE HANDY – EARLY EVERY MORNING
12011 KATHERINE HANDY – LOVELESS LOVE

12012 HENDERSON NOVELTY ORCH – HOW LONG SWEET DADDY (A.Hunter)
12012 ALBERTA HUNTER – SOME DAY SWEETHEART

12013 ALBERTA HUNTER – AGGRAVATIN’ PAPA
12013 ALBERTA HUNTER – COME ON HOME

12014 ALBERTA HUNTER – BRING BACK THE JOY
12014 ALBERTA HUNTER – HE’S A DARNED GOOD MAN

12015 MONETTE MOORE – BEST FRIEND BLUES
12015 MONETTE MOORE – SUGAR BLUES

12016 ALBERTA HUNTER – TAIN’T NOBODY’S BUSINESS
12016 ALBERTA HUNTER – IF YOU WANT TO KEEP YOUR DADDY HOME

12017 ALBERTA HUNTER – SOMEONE ELSE WILL TAKE YOUR PLACE
12017 ALBERTA HUNTER – CHIRPING THE BLUES

12018 ALBERTA HUNTER – BRING IT WITH YOU WHEN YOU COME
12018 ALBERTA HUNTER – YOU CAN HAVE MY MAN IF HE COMES TO SEE YOU TOO

12019 ALBERTA HUNTER – LOVELESS LOVE
12019 ALBERTA HUNTER – I’M GOING AWAY TO WEAR YOU OFF MY MIND

12020 ALBERTA HUNTER – YOU CAN TAKE MY MAN BUT YOU CAN’T KEEP HIM LONG
12020 ALBERTA HUNTER – VAMPING BROWN

12021 ALBERTA HUNTER – BLEEDING HEARTED BLUES
12021 ALBERTA HUNTER – YOU SHALL REAP WHAT YOU SOW

12022 JANE SMITH (IDA COX) – COME RIGHT IN
12022 IDA COX & LOVIE AUSTIN – GRAVEYARD DREAM BLUES

12023 EDNA HICKS – HARD LUCK BLUES
12023 EDNA HICKS – I DON’T LOVE NOBODY

12024 EDNA HICKS – SAVE YOUR MAN AND SATISFY YOUR SOUL
12024 EDNA HICKS – MISTREATIN’ DADDY

12025-A JOSIE HARLEY – I’M THROUGH WITH YOU As I Can Be
12025-B JOSIE HARLEY – TWO A.M. BLUES

12026 GLADYS BRYANT – YOU’VE GOT TO SEE MAMA EVERY NIGHT
12026 GLADYS BRYANT – LAUGHIN’ CRYIN’ BLUES

12027 GLADYS BRYANT – TRIFLIN’ BLUES
12027 GLADYS BRYANT – DARKTOWN FLAPPERS BALL

12028 MONETTE MOORE – I JUST WANT A DADDY
12028 MONETTE MOORE – COME HOME PAPA BLUES

12029 LENA WILSON – DECEITFUL BLUES
12029 LENA WILSON – DON’T LET NO ONE MAN WORRY ME

12030 MONETTE MOORE – GULF COAST BLUES
12030 MONETTE MOORE – DOWN HEARTED BLUES

12031 GLADYS BRYANT – TIRED O’ WAILIN’ BLUES
12031 GLADYS BRYANT – BEALE STREET WOMAN

12032 NORFOLK JUBILEE QT – RAISE RUKUS TONIGHT
12032 NORFOLK JUBILEE QT – AIN’T IT A SHAME

12033 HANNA SYLVESTER – MIDNIGHT BLUES
12033 HANNA SYLVESTER – FAREWELL BLUES

12034 HANNA SYLVESTER – WICKED DIRTY FIVES
12034 MONETTE MOORE – BEST FRIEND BLUES

12035 JUBILEE QT – MY LORD’S GONNA MOVE THIS WICKED RACE
12035 JUBILEE QT – FATHER PREPARE ME

12036 ALBERTA HUNTER- DOWN SOUTH BLUES
12036 ALBERTA HUNTER – MICHIGAN WATER BLUES

12037 CARROLL CLARK (tenor) – BYE AND BYE
12037 CARROLL CLARK (tenor) – OH DIDN’T IT RAIN

12038 CARROLL CLARK (tenor) – SWING LOW SWEET CHARIOT
12038 CARROLL CLARK (tenor) – I STOOD ON DE RIBBER JORDAN

12039 MADAM HURD FAIRFAX – THE SWALLOWS
12039 MADAM HURD FAIRFAX – THEY NEEDED A SONGBIRD IN HEAVEN

12040 MADAME HURD FAIRFAX – I’M SO GLAD TROUBLE DON’T LAST ALWAYS
12040 MADAME HURD FAIRFAX – SOMEBODY’S KNOCKING AT YOUR DOOR

12041 PERRY BRADFORD JAZZ PHOOLS – FADE AWAY BLUES
12041 PERRY BRADFORD JAZZ PHOOLS – DAY BREAK BLUES

12042 LENA WILSON – HERE’S YOUR OPPORTUNITY
12042 LENA WILSON – MEMPHIS TENNESSEE

12043 ALBERTA HUNTER – I’M GOING AWAY TO WEAR YOU OFF MY MIND
12043 ANNA JONES – YOU CAN’T DO WHAT MY LAST MAN DID

12044 IDA COX – GRAVEYARD DREAM BLUES
12044 IDA COX – WEARY WAY BLUES

12045 IDA COX – BAMA BOUND BLUES
12045 IDA COX – LOVIN’ IS THE THING I’M WILD ABOUT

12046 MONETTE MOORE – I’LL GO TO MY GRAVE WITH THE BLUES
12046 MONETTE MOORE – GOIN’ DOWN TO THE LEVEE

12047 OLLIE POWERS – PENSACOLA JOE
12047 OLLIE POWERS – THAT OLD GANG OF MINE

12048 MAE SCOTT – SQUAWKIN’ THE BLUES
12048 MAE SCOTT – I’LL GET EVEN WITH YOU

12049 ALBERTA HUNTER – STINGAREE BLUES
12049 ALBERTA HUNTER – YOU CAN’T DO WHAT MY LAST MAN DID

12050 JELLY ROLL MORTON – BIG FAT HAM
12050 FERDINAND MORTON – MUDDY WATER BLUES

12051 Unknown

12052 ANNA JONES – TRIXIE BLUES
12052 ANNA JONES – SHIMMY LIKE SISTER KATE

12053 IDA COX – ANY WOMAN’S BLUES
12053 IDA COX – BLUE MONDAY BLUES

12054 NORFOLK JUBILEE QT – SAD BLUES
12054 NORFOLK JUBILEE QT – STOP DAT BAND

12055 NORFOLK JUBILEE QT – QUARTETTE BLUES
12055 NORFOLK JUBILEE QT – DIXIE BLUES

12056 JANE SMITH – CHICAGO BOUND BLUES
12056 IDA COX – I LOVE MY MAN BETTER THAN I LOVE MYSELF

12057 EDNA TAYLOR – JELLY’S BLUES
12057 EDNA TAYLOR – GOOD MAN BLUES

12058 EDMONIA HENDERSON – I’M BROKE FOOLING WITH YOU
12058 ROSA HENDERSON – I AIN’T NO MAN’S SLAVE

12059 OLLIE POWERS HARMONY SYNCOPATS – PLAY THAT THING
12059 OLLIE POWERS HARMONY SYNC – JAZZBO JENKINS

12060 ANNA OLIVER – WHAT’S THE USE OF LOVIN’?
12060 YOUNG’S CREOLE BAND – EVERY SATURDAY NIGHT

12061 HORACE GEORGE-ROSCOE KENNELL – TIME TALKING WITH ANGELS
12061 GEORGE & ROSCOE – HARD TRIALS

12062 Unknown

12063 JANE SMITH (IDA COX) – CHATTANOOGA BLUES
12063 JANE SMITH – I’VE GOT THE BLUES FOR RAMPART STREET

12064 JANE SMITH (IDA COX) – MOANING GROANING BLUES
12064 JANE SMITH (IDA COX) – LAWDY LAWDY BLUES

12065 ALBERTA HUNTER – SAD AND LONELY
12065 ALBERTA HUNTER – EXPERIENCE BLUES

12066 ALBERTA HUNTER – MAYBE SOMEDAY
12066 ALBERTA HUNTER – MISS ANNA BROWN

12067 MONETTE MOORE – TREATED WRONG BLUES
12067 MONETTE MOORE – MUDDY WATER BLUES

12068 Unknown

12069 EDNA HICKS – KANSAS CITY MAN BLUES
12069 EDNA HICKS – UNCLE SAM BLUES

12070 ELKINS-PAYNE JUBILEE SINGERS – STANDING IN NEED OF PRAYER
12070 PARAMOUNT JUBILEE SINGERS – COULDN’T HEAR NOBODY PRAY

12071 ELKINS-PAYNE JUBILEE SINGERS – GONNA SHOUT ALL OVER HEAVEN
12071 ELKINS-PAYNE JUBILEE SINGERS – DOWN BY THE RIVERSIDE

12072 PARAMOUNT JUBILEE SINGERS – STEAL AWAY TO JESUS
12072 PARAMOUNT JUBILEE SINGERS – MY SOUL IS A WITNESS FOR MY LORD

12073-A PARAMOUNT JUBILEE SINGERS – WHEN All THE SAINTS COME MARCHING IN
12073-B PARAMOUNT JUBILEE SINGERS – THAT OLD TIME RELIGION

12074 BIRLEANNA BLANKS – MASON DIXON BLUES
12074 BIRLEANNA BLANKS – POTOMAC RIVER BLUES

12075 WISEMAN SEXTET – YOU BETTER RUN
12075 WISEMAN SEXTET – WITNESS

12076 WISEMAN SEXTET – LORD I CAN’T STAY AWAY
12076 WISEMAN SEXTET – ON CALVARY

12077 WISEMAN SEXTET – SIGN OF JUDGEMENT
12077 WISEMAN SEXTET – HUSH SOMEBODY’S CALLING MY NAME

12078 WISEMAN SEXTET – DO YOU THINK I’LL MAKE A SOLDIER
12078 WISEMAN SEXTET – COULDN’T HEAR NOBODY PRAY

12079 ELKINS – PAYNE JUBILEE SINGERS – ELDER TAKE IT ALL
12079 ELKINS – PAYNE JUBILEE SINGERS – ELDER TAKE IT ALL PT. 2

12080 MA RAINEY – BO WEAVIL BLUES
12080 MA RAINEY – LAST MINUTE BLUES

12081 MA RAINEY – THOSE ALL NIGHT LONG BLUES
12081 MA RAINEY – BAD LUCK BLUES

12082 MA RAINEY – BARRELHOUSE BLUES
12082 MA RAINEY – WALKING BLUES

12083 MA RAINEY – SOUTHERN BLUES
12083 MA RAINEY – MOONSHINE BLUES

12084 EDMONIA HENDERSON – BLACK MAN BLUES
12084 EDMONIA HENDERSON – WORRIED BOUT HIM BLUES

12085 JANE SMITH – WORRIED MAMA BLUES
12085 JANE SMITH – MAMA DOO SHEE BLUES

12086 JANE SMITH – SO SOON THIS MORNING
12086 JANE SMITH – CONFIDENTIAL BLUES

12087 JANE SMITH – BEAR MASH BLUES
12087 JANE SMITH – MAIL MAN BLUES

12088 KING OLIVER’S CREOLE JAZZ BAND – SOUTHERN STOMPS
12088 YOUNG’S CREOLE BAND – DEARBORN STREET BLUES

12089 EDNA HICKS – CEMETERY BLUES
12089 EDNA HICKS – POOR ME BLUES

12090 EDNA HICKS – WHERE CAN THAT SOMEBODY BE?
12090 EDNA HICKS – IF YOU DON’T GIVE ME WHAT I WANT

12091 J. CHURCHILL – SLEEP, BABY, SLEEP
12091 J. CHURCHILL – MAD MAN BLUES

12092 MADAME LAWRENCE – HIS EYE IS ON THE SPARROW
12092 MADAME LAWRENCE – STAND BY ME

12093 ALBERTA HUNTER – IF THE REST OF THE WORLD DON’T WANT YOU
12093 ALBERTA HUNTER – OLD FASHIONED LOVE

12094 IDA COX – DOWN THE ROAD BOUND
12094 JANE SMITH – MEAN LOVING MAN BLUES

12095 EDMONIA HENDERSON – BROWNSKIN MAN
12095 EDMONIA HENDERSON – TRAVELING BLUES

12096 FLORENCE TALBERT – HOMING
12096 FLORENCE TALBERT – SWISS ECHO SONG

12097 IDA COX – MEAN PAPA TURN IN YOUR KEY
12097 EDMONIA HENDERSON – IF YOU SHEIK ON YOUR MAMA

12098 MA RAINEY – LOST WANDERING BLUES
12098 MA RAINEY – DREAM BLUES

12099 FAYE BARNES – GOODBYE BLUES
12099 FAYE BARNES – YOU DON’T KNOW MY MIND BLUES

12100 REVELLA HUGHES – AT DAWNING
12100 REVELLA HUGHES – THANK GOD FOR A GARDEN

12101 REVELLA HUGHES – WITH THE COMING OF TOMORROW
12101 REVELLA HUGHES – AH WONDROUS MORN

12102 C. CARROLL CLARK – DEAR LITTLE BOY OF MINE
12102 C. CARROLL CLARK – FOR ALL ETERNITY

12103 C. CARROLL CLARK – SWING LOW SWEET CHARIOT
12103 C. CARROLL CLARK – ONE SWEET SOLEMN THOUGHT

12104 FOUR HARMONY KINGS – AIN’T IT A SHAME
12104 FOUR HARMONY KINGS – GOODNIGHT ANGELINE

12105 INEZ ROBINSON – MY JUNE LOVE
12105 INEZ ROBINSON – LOVE WILL FIND A WAY

12106 HELEN WOODRUFF – STEAL AWAY
12106 MANHATTAN HARMONY FOUR – LIFT EVERY VOICE & SING

12107 MANHATTAN HARMONY FOUR – MY WAY IS CLOUDED
12107 HELEN WOODRUFF – LORD I WANT TO BE A CHRISTIAN

12108 CHARLES W. WOOD – HONEY YO SHO LOOKS BAD
12108 CHARLES W. WOOD – WHEN DE CON PONES HOT

12109 CHARLES W. WOOD – GETTIN UP IN THE MORNING
12109 CHARLES W. WOOD – HIGH CULTURE

12110 A. E. GREENLAW – HIS EYE IS ON THE SPARROW
12110 A. E. GREENLAW – OPEN THE GATES OF THE TEMPLE

12111 GEORGE LEON JOHNSON – VOICE IN THE WILDERNESS
12111 GEORGE LEON JOHNSON – OVER THE TOP WITH JESUS

12112 MARIANNA JOHNSON – THE ROSARY
12112 MARIANNA JOHNSON – SORTER MISS YOU

12113 HARRY DELMORE (tenor) – MACHUSLA
12113 HARRY DELMORE (tenor) – MORNING

12114 J. ARTHUR GAINES – SINCE YOU WENT AWAY
12114 J. ARTHUR GAINES – WHO KNOWS

12115 ARCHIE HARROD – WHEN MALINDA SINGS
12115 ARCHIE HARROD – THE DOG, THE FLEA AND THE BUMBLE BEE

12116 HARROD’S JUBILEE SINGERS – JOSHUA FOUGHT THE BATTLE OF JERICHO
12116 HARROD’S JUBILEE SINGERS – JACOB’S LADDER

12117 HARROD’S JUBILEE SINGERS – HALLELU
12117 HARROD’S JUBILEE SINGERS – LIVE HUMBLE

12118 HARROD’S JUBILEE SINGERS – RISE AND SHINE
12118 HARROD’S JUBILEE SINGERS – WAY OVER JORDAN

12119 NETTIE MOORE – SONG OF INDIA
12119 NETTIE MOORE – DEEP RIVER

12120 IVAN BROWNING – MY TASK
12120 IVAN BROWNING – CHRISTIANS AWAKE

12121 ARTHUR WILLIAMS – WALT JOHNSON – JESUS, I COME
12121 ARTHUR WILLIAMS – WALT JOHNSON – THE HOLY CITY

12122 CARLTON BOXHILL – SUNRISE AND YOU
12122 CARLTON BOXHILL – OH PROMISE ME

12123 HERBERT BLACK (baritone) – LEAD KINDLY LIGHT
12123 HERBERT BLACK (baritone) – FLEE AS A BIRD

12124 GEORGE JONES JR. – NIGHT AND YOU
12124 GEORGE JONES JR. (baritone) – SO LONG BERT

12125 EARL WESTFIELD – NO ONE WOULD DO IT NOW
12125 EARL WESTFIELD – ASLEEP FIVE YEARS

12126 KATIE CRIPPEN – BLIND MAN’S BLUES
12126 KATIE CRIPPEN – PLAY EM FOR MAMA

12127 LULU WHIDBY – STRUT MISS LIZZIE
12127 LULU WHIDBY – HOME AGAIN BLUES

12128 CREAMER & LAYTON – IT’S GETTIN SO YOU CAN’T TRUST NOBODY
12128 CREAMER & LAYTON – I’M WILD ABOUT MOONSHINE

12129 KATIE CRIPPEN – THAT’S MY CUP BLUES
12129 KATIE CRIPPEN – WHEN IT’S TOO LATE

12130 MARION HARRISON w BELASCO ORCH – HONEY LOVE
12130 MARION HARRISON w BELASCO ORCH – CARIBBEAN MOON

12131 EXCELSIOR NORFOLK QT – JELLY ROLL BLUES
12131 EXCELSIOR NORFOLK QT – CONEY ISLAND BABE

12132 MARY STRAINE – AIN’T GOT NOTHING BLUES
12132 JOHN VIGAL (tenor) – FOWLER TWIST

12133 WILLIAM FARRELL – COWBELLS
12133 WILLIAM FARRELL – LUCY

12134 LENA WILSON – WICKED FIVES BLUES
12134 LENA WILSON – YOU’VE GOT EVERYTHING A SWEET DADDY NEEDS BUT ME

12135 ISABELLE WASHINGTON – THAT’S WHY I’M LOVIN’ YOU
12135 ISABELLE WASHINGTON – I WANT TO

12136 FAYE BARNES – I JUST WANT A DADDY
12136 FAYE BARNES – DO IT A LONG TIME PAPA

12137 EDDIE GRAY – I LIKE YOU
12137 EDDIE GRAY – WHY DID YOU MAKE A PLAYTHING OF ME?

12138 EDDIE GRAY w J.JOHNSON ORCH – YOU’VE GOT WHAT I’VE BEEN LOOKING FOR
12138 EDDIE GRAY w J.JOHNSON ORCH – UKELELE BLUES

12139 ANDREW COPELAND – DOWN IN DIXIELAND
12139 ANDREW COPELAND – BUZZ MIRANDY

12140 MARION HARRISON – BABY CANT YOU UNDERSTAND
12140 MARION HARRISON – SO BLUE

12141 GEORGIA HARVEY – CAST AWAY ON AN ISLAND OF LOVE
12141 GEORGIA HARVEY – JUST BECAUSE YOU’RE YOU, THAT’S WHY

12142 GEORGIA HARVEY – WHAT COULD BE SWEETER DEAR
12142 GEORGIA HARVEY – THAT SWEET SOMETHING DEAR

12143 FLETCHER HENDERSON – I WANT TO
12143 FLETCHER HENDERSON – CHIMES BLUES

12144 FLETCHER HENDERSON – UNKNOWN BLUES
12144 JAMES P.JOHNSON – HARLEM STRUT

12145 INEZ WALLACE w piano – AGGRAVATIN’ PAPA
12145 INEZ WALLACE w piano – RADIO BLUES

12146 INEZ WALLACE w piano – KISSING DADDY
12146 INEZ WALLACE w piano – GO GET IT

12147 MAUD DeFORREST – ROAMING BLUES
12147 MAUD DeFORREST – DOO DEE BLUES

12148 MAUD DeFORREST – CRUEL PAPA BLUES
12148 MAUD DeFORREST – I’M GONNA SEE YOU

12149 MARY STRAINE – LAST GO ROUND BLUES
12149 MARY STRAINE – SHIMMY LIKE SISTER KATE

12150 MARY STRAINE – CHIRPIN’ THE BLUES
12150 MARY STRAINE – DOWNHEARTED BLUES

12151 ETTA MOONEY – EARLY EVERY MORNING
12151 ETTA MOONEY – LONESOME MONDAY MORNING

12152 ETTA MOONEY – COOTIE FOR YOUR TOOTIE
12152 ETTA MOONEY – HARMONY BLUES

12153 JULIA MOODY – JA DA BLUES
12153 JULIA MOODY – COOTIE CRAWL

12154 JULIA MOODY – LAUGHIN’ CRYIN’ BLUES
12154 JULIA MOODY – STARVIN’ FOR LOVE

12155 JULIA MOODY – GOOD MAN SAM
12155 INEZ WALLACE (J. MOODY) – COME BACK DEAR

12156 JOSIE MILES – PLEASE DON’T TICKLE ME
12156 JOSIE MILES – WHEN YOU’RE CRAZY OVER DADDY

12157 JOSIE MILES – YOU’RE FOOLING WITH THE WRONG GAL NOW
12157 JOSIE MILES – IF YOU WANT TO KEEP YOUR DADDY HOME

12158 JOSIE MILES – I DON’T WANT YOU
12158 JOSIE MILES – WHEN I DREAM OF OLD TENNESSEE BLUES

12159 JOSIE MILES – FOUR O’CLOCK BLUES
12159 JOSIE MILES – HOW I’VE GOT THEM TWILIGHT BLUES

12160 JOSIE MILES – LOVE ME IN YOUR OLD TIME WAY
12160 JOSIE MILES – LOW DOWN BAMA BLUES

12161 TRIXIE SMITH – TRIXIE BLUES
12161 TRIXIE SMITH – DESPERATE BLUES

12162 TRIXIE SMITH – LONG LOST WEARY BLUES
12162 TRIXIE SMITH – YOU MISSED A GOOD WOMAN

12163 TRIXIE SMITH – PENSACOLA BLUES
12163 TRIXIE SMITH – HE MAY BE YOUR MAN

12164 TRIXIE SMITH – GIVE ME THAT OLD SLOW DRAG
12164 TRIXIE SMITH – MY MAN ROCKS ME

12165 TRIXIE SMITH – TAKE IT DADDY, IT’S ALL YOURS
12165 TRIXIE SMITH – I’M THROUGH WITH YOU

12166 TRIXIE SMITH – TWO A.M. BLUES
12166 TRIXIE SMITH – I’M GONNA GET YOU

12167 TRIXIE SMITH – VOODOO BLUES
12167 TRIXIE SMITH – LOG CABIN BLUES

12168 TRIXIE SMITH – TIRED OF WAITING BLUES
12168 TRIXIE SMITH – TRIFLING BLUES

12169 ETHEL WATERS – OH DADDY
12169 ETHEL WATERS – DOWN HOME BLUES

12170 ETHEL WATERS – ONE MAN NAN
12170 ETHEL WATERS – THERE’LL BE SOME CHANGES MADE

12171 ETHEL WATERS – WHO BELIEVED IN YOU?
12171 ETHEL WATERS – ROYAL GARDEN BLUES

12172 ESSIE WHITMAN – IF YOU DON’T BELIEVE I LOVE YOU
12172 ELSIE WHITMAN JAZZ MASTERS – SWEET DADDY IT’S YOU I LOVE

12173 ETHEL WATERS – FRISCO JAZZ BAND BLUES
12173 ETHEL WATERS – BUGLE BLUES

12174 ETHEL WATERS – DYING WITH THE BLUES
12174 ETHEL WATERS – KISS YOUR PRETTY BABY NICE

12175 ETHEL WATERS JAZZ MASTERS – JAZZIN’ BABIES BLUES
12175 ETHEL WATERS JAZZ MASTERS – KIND LOVIN’ BLUES

12176 ETHEL WATERS JAZZ MASTERS – AT THE NEW JUMP STEADY BALL
12176 ETHEL WATERS JAZZ MASTERS – OH JOE PLAY THAT TROMBONE

12177 ETHEL WATERS JAZZ MASTERS – THAT DA DA STRAIN
12177 ETHEL WATERS JAZZ MASTERS – GEORGIA BLUES

12178-A ETHEL WATERS and Her Jazz Masters – BROWN BABY
12178-B ETHEL WATERS (F. H. Henderson, piano) – I AIN’T GONNA MARRY

12179 ETHEL WATERS – MEMPHIS MAN
12179 ETHEL WATERS – MIDNIGHT BLUES

12180 ETHEL WATERS – LONG LOST MAMA
12180 ETHEL WATERS – IF YOU DONT THINK I’LL DO SWEET

12181 ETHEL WATERS – YOU CAN’T DO WHAT MY LAST MAN DID
12181 ETHEL WATERS – LOST OUT BLUES

12182 ETHEL WATERS – SWEET MAN BLUES
12182 ETHEL WATERS – ETHEL SINGS EM

12183 BELASCO SOUTH AMERICAN ORCH – SUSPIRO DE AMOR
12183 BELASCO SOUTH AMERICAN ORCH – LUCILLE

12184 BELASCO SOUTH AMERICAN ORCH – ALMA MIA
12184 BELASCO SOUTH AMERICAN ORCH – SWEET CHARLIEE

12185 BELASCO SOUTH AMERICAN ORCH – PARA TI
12185 BELASCO SOUTH AMERICAN ORCH – MARIE

12186 HARRELD KEMPER – SOUVENIR
12186 HARRELD KEMPER – SWANEE RIVER

12187 MADAME FLORENCE TALBERT – LAST ROSE OF SUMMER
12187 MADAME FLORENCE TALBERT – THE KISS

12188 ANTOINETTE GARNES – CARO NOME
12188 ANTOINETTE GARNES – AH FORS E LUI

12189 ETHEL WATERS – ALL THE TIME
12189 ETHEL WATERS – WHO’LL GET IT WHEN I’M GONE

12190 Unissued

12191 Unissued

12192 Unissued

12193 Unissued

12194 Unissued

12195 Unissued

12196 Unissued

12197 Unissued

12198 Unissued

12199 Unissued

12200 MA RAINEY – HONEY, WHERE YOU BEEN SO LONG?
12200 GERTRUDE MA RAINEY – MA RAINEY MYSTERY RECORD

12201 LOTTIE BEAMAN – HONEY BLUES
12201 LOTTIE BEAMAN – RED RIVER BLUES

12202 IDA COX – WORRIED ANY HOW BLUES
12202 IDA COX – CHICAGO MONKEY MAN BLUES

12203 EDMONIA HENDERSON – MAMA DON’T WANT SWEET MAN ANYMORE
12203 EDMONIA HENDERSON – HATEFUL BLUES

12204 EDNA HICKS – LONESOME WOMAN BLUES
12204 EDNA HICKS – DOWN ON THE LEVEE BLUES

12205 PRISCILLA STEWART – YOU AIN’T FOOLIN’ ME
12205 PRISCILLA STEWART – TRUE BLUES

12206 THELMA LaVIZZO – FIRE IN THE MOUNTAIN
12206 THELMA LaVIZZO – TROUBLE IN MIND

12207 JIMMIE BLYTHE – CHICAGO STOMP
12207 JIMMIE BLYTHE – ARMOUR AVE STRUGGLE

12208 TRIXIE SMITH – SORROWFUL BLUES
12208 TRIXIE SMITH – I DON’T KNOW AND I DON’T CARE

12209 FAYE BARNES – GOUGE OF ARMOUR AVE
12209 FAYE BARNES – CHICAGO GOUGE

12210-A MONETTE MOORE – ROCKING CHAIR BLUES
12210-B MONETTE MOORE – FRIENDLESS BLUES

12211 TRIXIE SMITH – DON’T SHAKE IT NO MORE
12211 TRIXIE SMITH – FREIGHT TRAIN BLUES

12212 IDA COX – LAST TIME BLUES
12212 IDA COX – BLUES AIN’T NOTHIN’ ELSE BUT

12213 ANNA CHISHOLM – GEORGIA SAM BLUES
12213 ANNA CHISHOLM – COOL KIND DADDY BLUES

12214 ETHEL WATERS – TELL ‘EM ABOUT ME WHEN YOU REACH TENNESSEE
12214 ETHEL WATERS – YOU’LL NEED ME WHEN I’M LONG GONE

12215 MA RAINEY – THOSE DOGS OF MINE
12215 MA RAINEY – LUCKY ROCK BLUES

12216 JELLY ROLL MORTON – THIRTY FIFTH STREET BLUES
12216 JELLY ROLL MORTON – MAMAMITA

12217 NORFOLK JUBILEE QT – EZEKIEL SAW DE WHEEL
12217 NORFOLK JUBILEE QT – CRYING HOLY UNTO THE LORD

12218 NORFOLK JUBILEE QT – JELLY ROLL’S FIRST COUSIN
12218 NORFOLK JUBILEE QT – PLEADING BLUES

12219 CHARLIE JACKSON – AIRY MAN BLUES
12219 CHARLIE JACKSON – PAPA LAWDY LAWDY BLUES

12220 IDA COX – DEATH LETTER BLUES
12220 IDA COX – KENTUCKY MAN BLUES

12221 SUNSET FOUR QT – DO YOU CALL THAT RELIGION
12221 SUNSET FOUR QT – JERUSALEM MORNING

12222 GERTRUDE MA RAINEY – SHAVE EM DRY
12222 MA RAINEY – FAREWELL DADDY BLUES

12223 KITTY BROWN – HE’S NEVER GONNA THROW ME DOWN
12223 KITTY BROWN – KEEP ON GOING

12224 PRISCILLA STEWART – MR. FREDDIE BLUES
12224 PRISCILLA STEWART – MECCA FLAT BLUES

12225 NORFOLK JUBILEE QT – I’M A PILGRIM
12225 NORFOLK JUBILEE QT – SWING LOW SWEET CHARIOT

12226 BILLIE WILSON – I’M LEAVING YOU
12226 BILLIE WILSON – I’M SORRY FOR IT NOW

12227 GERTRUDE MA RAINEY – SOUTH BOUND TRAIN
12227 GERTRUDE MA RAINEY – LAWD SEND ME A MAN BLUES

12228 IDA COX – CHERRY PICKING BLUES
12228 IDA COX – WILD WOMEN DON’T HAVE THE BLUES

12229 GRACE TAYLOR w FRED HALL ORCH – SWEET WILLIE
12229 SAM MANNING – AFRICAN BLUES

12230 ETHEL WATERS – BLACK SPATCH BLUES
12230 ETHEL WATERS – I WANT SOMEBODY ALL MY OWN

12231 SODARISA MILLER – HOT SPRING WATER BLUES
12231 SODARISA MILLER – WHO’LL DRIVE MY BLUES WAY

12232 TRIXIE SMITH – ADA JANE’S BLUES
12232 TRIXIE SMITH – PRAYING BLUES

12233 NORFOLK JUBILEE QT – I’M GOING TO MEET MY MOTHER
12233 NORFOLK JUBILEE QT – ROLL JORDAN ROLL

12234 NORFOLK JUBILEE QT – I’M GONNA BUILD RIGHT ON DAT SHORE
12234 NORFOLK JUBILEE QT – WHERE SHALL I BE

12235 LOTTIE BEAMAN – MAMA CAN’T LOSE
12235 LOTTIE BEAMAN – REGULAR MAN BLUES

12236 CHARLIE JACKSON – SALTY DOG BLUES
12236 CHARLIE JACKSON – SALT LAKE CITY BLUES

12237 IDA COX – WORRIED IN MIND BLUES
12237 IDA COX – MY MEAN MAN BLUES

12238 MA RAINEY & GEORGIA JAZZ BAND – COUNTING THE BLUES
12238 MA RAINEY & GEORGIA JAZZ BAND – JELLY BEAN BLUES

12239 EDMONIA HENDERSON – JELLY ROLL BLUES
12239 EDMONIA HENDERSON – LAZY DADDY BLUES

12240 PRISCILLA STEWART – I NEVER CALL MY MAN’S NAME
12240 PRISCILLA STEWART – DELTA BOTTOM BLUES

12241 SUNSET FOUR QT – DIDN’T HE RAMBLE
12241 SUNSET FOUR QT – BARNUM STEAM CALLIOPE

12242-A MA RAINEY acc. Her GEORGIA JAZZ BAND – BOOZE AND BLUES
12242-B MA RAINEY acc. Her GEORGIA JAZZ BAND – TOAD FROG BLUES

12243 SODARISA MILLER – DOWN BY THE RIVER BLUES
12243 SODARISA MILLER – DON’T DOG ME ‘ROUND (Doggin’ Me Blues)

12244 FORD & FORD – I’M THREE TIMES SEVEN
12244 FORD & FORD – SKEEG-A-LEE BLUES

12245 TRIXIE SMITH – CHOO CHOO BLUES
12245 TRIXIE SMITH – RIDE JOCKEY RIDE

12246 JIMMY O’BRYANT WASHBOARD BAND – DRUNK MAN’S STRUT
12246 JIMMY O’BRYANT WASHBOARD BAND – RED HOT MAMA

12247 UKELELE BOB WILLIAMS – GO LONG MULE
12247 UKELELE BOB WILLIAMS – WEST INDIAN BLUES

12248 JULIA DAVIS – SKE-DA-DE
12248 JULIA DAVIS – BLACK HAND BLUES

12249 TRIXIE SMITH – HOW COME YOU DO ME LIKE YOU DO
12249 FLETCHER HENDERSON & HIS ORCH – EVERYBODY LOVES MY BABY

12250 THELMA LaVIZZO – THE STOMPS
12250 THELMA LaVIZZO – NEW ORLEANS GOOFER DUST

12251 IDA COX – GRAVEYARD BOUND BLUES
12251 IDA COX – MISSISSIPPI RIVER BLUES

12252 MA RAINEY GEORGIA JAZZ BAND – JEALOUS HEARTED BLUES
12252 MA RAINEY & GEORGIA JAZZ BAND – SEE SEE RIDER BLUES

12253 PRISCILLA STEWART – TALL BROWN PAPA
12253 PRISCILLA STEWART – THE WOMAN AINT BORN

12254 LOTTIE BEAMAN – SUGAR DADDY BLUES
12254 LOTTIE BEAMAN – LOW DOWN PAINFUL BLUES

12255 LOVIE AUSTIN BLUE SERENADERS – STEPPIN’ ON THE BLUES
12255 LOVIE AUSTIN BLUE SERENADERS – TRAVELING BLUES

12256 TRIXIE SMITH – YOU’VE GOT TO BEAT ME TO KEEP ME
12256 TRIXIE SMITH – MINING CAMP BLUES

12257 MA RAINEY & GEORGIA JAZZ BAND – CELL BOUND BLUES
12257 MA RAINEY – YA DA DO

12258 IDA COX – MISERY BLUES
12258 IDA COX – BLUE KENTUCKY BLUES

12259 CHARLIE JACKSON – I GOT WHAT IT TAKES
12259 CHARLIE JACKSON – THE CAT’S GOT THE MEASLES

12260 JIMMY O’BRYANT – MIDNIGHT STRUTTERS
12260 JIMMY O’BRYANT WASHBOARD BAND – SKOODLUM BLUES

12261 SODARISA MILLER – BROADWAY DADDY BLUES
12261 SODARISA MILLER – CONFESSION BLUES

12262 TRIXIE SMITH – RAILROAD BLUES
12262 TRIXIE SMITH – THE WORLD’S JAZZ CRAZY AND SO AM I

12263 IDA COX – THOSE MARRIED MAN BLUES
12263 IDA COX – GEORGIA HOUND BLUES

12264 CHARLIE JACKSON – SHAVE EM DRY
12264 CHARLIE JACKSON – COFFEE POT BLUES

12265 RUTH COLEMAN w JIMMY O’BRYANT – BRAND NEW CHARLESTON
12265 JIMMY O’BRYANT WASHBOARD BAND – WASHBOARD BLUES

12266 NORFOLK JUBILEE QT – WHEN I WAS A MOANER
12266 NORFOLK JUBILEE QT – WHAT YOU GONNA DO WHEN THE WORLDS ON FIRE

12267 NORFOLK JUBILEE QT – THROW OUT THE LIFELINE
12267 NORFOLK JUBILEE QT – I’M GONNA MAKE HEAVEN MY HOME

12268 NORFOLK JUBILEE QT – GET ON BOARD LITTLE CHILDREN, GET ON BOARD
12268 NORFOLK JUBILEE QT – EVERY TIME I FEEL THE SPIRIT

12269 Unknown

12270 Unknown

12271 Unknown

12272 LEOLA WILSON – COOT GRANT – CRYING WONT MAKE HIM STAY
12272 LEOLA WILSON – COOT GRANT – ROCK AUNT DINAH

12273 SUNSET QT – GOOD NEWS, CHARIOT’S COMIN’
12273 SUNSET FOUR – WADE IN THE WATER

12274 REV. COOKE – LIFT UP YOUR HEADS
12274 REV. COOKE w J. WESLEY JONES – TWENTY THIRD PSALM

12275 IDA COX – MISTER MAN
12275 IDA COX – MISTER MAN PT. 2

12276 SODARISA MILLER – SUNSHINE SPECIAL
12276 SODARISA MILLER – BE YOURSELF

12277 LOVIE AUSTIN BLUE SERENADERS – PEEPING BLUES
12277 JIMMY O’BRYANT WASHBOARD BAND – GEORGIA BREAKDOWN

12278 PRISCILLA STEWART – CHARLESTON SOUTH CAROLINA
12278 PRISCILLA STEWART – CHARLESTON MAD

12279 JONES PARAMOUNT CHARLESTON 4 – OLD STEADY ROLL BLUES
12279 JONES PARAMOUNT CHARLESTON 4 – HOMEWARD BOUND BLUES

12280 Unknown

12281 CHARLIE JACKSON – SHAKE THAT THING
12281 CHARLIE JACKSON – FAKING BLUES

12282 IDA COX – SOMEDAY BLUES
12282 IDA COX – COLD BLACK GROUND BLUES

12283 LOVIE AUSTIN BLUE SERENADERS – HEEBIE JEEBIES
12283 LOVIE AUSTIN BLUE SERENADERS – MOJO BLUES

12284 MA RAINEY & GEORGIA JAZZ BAND – EXPLAINING THE BLUES
12284 MA GERTRUDE RAINEY – ARMY CAMP HARMONY BLUES

12285 SUNSET QT – OH LORD WHAT A MORNING
12285 SUNSET FOUR – HAND ME DOWN MY SILVER TRUMPET

12286 PRISCILLA STEWART – I WAS BORN BROWNSKIN
12286 PRISCILLA STEWART – PRISCILLA BLUES

12287 JIMMY O’BRYANT WASHBOARD BAND – BACK ALLEY RUB
12287 JIMMY O’BRYANT – CLARINET GETAWAY

12288 JIMMY O’BRYANT WASHBOARD BAND – BLUE EYED SALLY
12288 JIMMY O’BRYANT WASHBOARD BAND – WASHBOARD BLUES

12289 CHARLIE JACKSON – I’M ALABAMA BOUND
12289 CHARLIE JACKSON – DROP THAT SACK

12290 MA GERTRUDE RAINEY – GOODBYE DADDY BLUES
12290 MA GERTRUDE RAINEY – LOUISIANA HOODOO BLUES

12291 IDA COX – BLACK CREPE BLUES
12291 IDA COX – FARE THEE WELL POOR GAL

12292 SUNSET QT – YOU MUST HAVE TRUE RELIGION
12292 SUNSET QT – WALK IN JERUSALEM LIKE JOHN

12293 SODARISA MILLER – NOBODY KNOWS
12293 SODARISA MILLER – FIGHTIN’ BLUES

12294 JIMMY O’BRYANT WASHBOARD BAND – THREE J BLUES
12294 JIMMY O’BRYANT WASHBOARD BAND – STEPPING ON THE GAS

12295 GERTRUDE MA RAINEY – STORMY SEA BLUES
12295 MA RAINEY – LEVEE CAMP MOAN

12296 CHARLIE JACKSON – MAMA DON’T ALLOW IT
12296 CHARLIE JACKSON – TAKE ME BACK BLUES

12297 JIMMY O’BRYANT WASHBOARD BAND – SWITCH IT MISS MITCHELL
12297 JIMMY O’BRYANT WASHBOARD BAND – THE JOYS

12298 IDA COX – SOUTHERN WOMAN BLUES
12298 IDA COX – MISTREATIN’ DADDY BLUES

12299 PRISCILLA STEWART – SWITCH IT MISS MITCHELL
12299 PRISCILLA STEWART – GOING TO THE NATION

12300 LOVIE AUSTIN BLUE SERENADERS – RAMPART STREET BLUES
12300 LOVIE AUSTIN BLUE SERENADERS – DON’T SHAKE IT NO MORE

12301 NORFOLK JUBILEE QT – SIT DOWN SIT DOWN
12301 NORFOLK JUBILEE QT – SOMEBODY’S ALWAYS TALKING ABOUT ME

12302 REV. W. A. WHITE – DIVINE RELATIONSHIP
12302 REV. W. A. WHITE – PRAYER

12303 GERTRUDE MA RAINEY – FOUR DAY HONORY SCAT
12303 GERTRUDE MA RAINEY – NIGHTIME BLUES

12304 JIMMIE BLYTHE – JIMMIE BLUES
12304 JIMMIE BLYTHE – FAT MEAT AND GREENS

12305 CHARLIE JACKSON – HOT PAPA BLUES
12305 CHARLIE JACKSON – MAMA, DON’T YOU THINK I KNOW?

12306 SODARISA MILLER – RECKLESS DON’T CARE MAMA BLUES
12306 SODARISA MILLER – MIDNIGHT SPECIAL

12307 IDA COX – LONG DISTANCE BLUES
12307 IDA COX w LOVIE AUSTIN SEREN. – LONESOME BLUES

12308 JIMMY O’BRYANT WASHBOARD BAND – I FOUND A GOOD MAN AFTER ALL
12308 JIMMY O’BRYANT WASHBOARD BAND – DOWN TO THE BRICKS

12309 GRACE OUTLAW SUNSET FOUR – PLANTATION DAYS PT. 2
12309 GRACE OUTLAW SUNSET FOUR – PLANTATION DAYS

12310 RAY LOGAN – LOST JOHN BLUES
12310 RAY LOGAN – YOU CAN’T SHAKE IT IN HERE

12311 GERTRUDE MA RAINEY – ROUGH AND TUMBLE BLUES
12311 GERTRUDE MA RAINEY – MEMPHIS BOUND BLUES

12312 JIMMY O’BRYANT WASHBOARD BAND – CHARLESTON FEVER
12312 JIMMY O’BRYANT WASHBOARD BAND – EVERYBODY PILE

12313 ETHEL WATERS – CRAVING BLUES
12313 LOVIE AUSTIN BLUE SERENADERS – TOO SWEET FOR WORDS

12314 SUNSET QT – WHEN I CAME OUT OF THE WILDERNESS
12314 SUNSET FOUR – YOU MUST COME IN AT THE FRONT DOOR

12315 WOOD’S JUBILEE SINGERS – LORD I’M TROUBLED
12315 WOOD’S JUBILEE SINGERS – THIS TRAIN IS BOUND FOR GLORY

12316 WOOD’S JUBILEE SINGERS – BRIGHT BROWN CROWN
12316 WOOD’S JUBILEE SINGERS – RUN TO MY LORD

12317 COOT GRANT – WESLEY WILSON – HAVE YOUR CHILL – I’LL BE THERE
12317 LEOLA WILSON – COME ON COOT, DO THAT THING

12318 IDA COX – RAMBLING BLUES
12318 IDA COX – COFFIN BLUES

12319 DANNY SMALL – UKELELE MAYS – SWEET GEORGIA BROWN
12319 DANNY SMALL – LOUD SPEAKING PAPA

12320 CHARLIE JACKSON – ALL I WANT IS A SPOONFUL
12320 CHARLIE JACKSON – MAXWELL STREET BLUES

12321 JIMMY O’BRYANT WASHBOARD BAND – SUGAR BABE
12321 JIMMY O’BRYANT – MILENBERG JOYS

12322 VIOLA BARTLETTE – GO BACK WHERE YOU STAYED LAST NIGHT
12322 VIOLA BARTLETTE – TENNESSEE BLUES

12323 MAE MOORE – EVERYTIME I FEEL DE SPIRIT
12323 MAE MOORE – AIN’T GONNA STUDY WAR NO MORE

12324 LEOLA WILSON – YOU DIRTY MISTREATER
12324 LEOLA WILSON – SPEAK NOW OR FOREVER HOLD YOUR PEACE

12325 IDA COX – HOW LONG DADDY
12325 IDA COX – ONE TIME WOMAN

12326 REV. M. R. WARD – THE CHURCH GOER
12326 M. R. WARD SINGERS – VANITY IN THIS TOWN

12327 OZIE McPHERSON – YOU GOTTA KNOW HOW
12327 OZIE McPHERSON – OUTSIDE OF THAT

12328 MAGDALENA LAWRENCE – WHAT ARE THEY DOING IN HEAVEN TODAY?
12328 MAGDALENA LAWRENCE – I DO, DON’T YOU?

12329 JIMMY O’BRYANT – PLEASE DON’T BREAK ‘EM DOWN
12329 JIMMY O’BRYANT – THIRTY EIGHT AND TWO

12330 TRIXIE SMITH – EVERYBODY’S DOING THAT CHARLESTON NOW
12330 TRIXIE SMITH – LOVE ME LIKE YOU USED TO DO

12331 C. A. TINDLEY BIBLE SINGERS – TELL ME, WHERE ARE YOU BUILDING?
12331 C. A. TINDLEY BIBLE SINGERS – WHEN THE GATES SWING OPEN WIDE

12332 GERTRUDE MA RAINEY – OH MY BABE BLUES
12332 GERTRUDE MA RAINEY – SLAVE TO THE BLUES

12333 DANNY SMALL – SWEET MAN
12333 DANNY SMALL – CECELIA

12334 IDA COX – HOW CAN I MISS YOU WHEN I’VE GOT DEAD AIM
12334 IDA COX – I AIN’T GOT NOBODY

12335 CHARLIE JACKSON – TEXAS BLUES
12335 CHARLIE JACKSON – I’M GOING WHERE CHILLY WINDS DON’T BLOW

12336 TRIXIE SMITH – BLACK BOTTOM HOP
12336 TRIXIE SMITH – HE LIKES IT SLOW

12337 LEOLA WILSON – FIND ME AT THE GREASY SPOON
12337 LEOLA WILSON – WHEN YOUR MAN IS GOING TO PUT YOU DOWN

12338 GERTRUDE MA RAINEY – WRINGING AND TWISTING
12338 GERTRUDE MA RAINEY – CHAIN GANG BLUES

12339 JIMMY O’BRYANT – CHICAGO SKIFFLE
12339 JIMMY O’BRYANT – MY MAN ROCKS ME

12340 WOOD’S JUBILEE SINGERS – SEEK AND YE SHALL FIND
12340 WOOD’S JUBILEE SINGERS – YOU MUST BE CONVERTED

12341 WOOD’S JUBILEE SINGERS – OH LORD HAVE MERCY
12341 WOOD’S JUBILEE SINGERS – THE LORD’S PRAYER

12342 NORFOLK JUBILEE QT – PHAROAHS ARMY GOT DROWNED
12342 NORFOLK JUBILEE QT – GREAT JEHOVAH

12343 MAGDALENA LAWRENCE – BIG BUSINESS IN GLORY
12343 MAGDALENA LAWRENCE – I AM ON THE BATTLEFIELD

12344 IDA COX – TROUBLE TROUBLE BLUES
12344 IDA COX – I’M LEAVING HERE BLUES

12345 VIOLA BARTLETTE – QUIT KNOCKIN AT MY DOOR
12345 VIOLA BARTLETTE – SHAKE THAT THING

12346 JIMMIE BLYTHE – PUMP TILLIE
12346 JIMMY O’BRYANT – SHAKE THAT THING

12347 BLIND LEMON JEFFERSON – BOOSTER BLUES
12347 BLIND LEMON JEFFERSON – DRY SOUTHERN BLUES

12348 CHARLIE JACKSON – JACKSON BLUES
12348 CHARLIE JACKSON – I’M TIRED OF FOOLIN AROUND

12349 REV. W. A. WHITE – WHAT IS LOVE
12349 REV. W. A. WHITE – WHAT IS MAN

12350 OZIE McPHERSON – STANDING ON THE CORNER
12350 OZIE McPHERSON – HE’S MY MAN – HE’S YOUR MAN

12351 VIOLA BARTLETTE – YOU CAN NEVER TELL WHAT YOUR GOOD MAN WILL DO
12351 VIOLA BARTLETTE – ANNA MINA FORTY

12352 GERTRUDE MA RAINEY – SEEKING BLUES
12352 GERTRUDE MA RAINEY – MOUNTAIN JACK BLUES

12353 IDA COX – NIGHT AND DAY BLUES
12353 IDA COX – DO LAWD DO

12354 BLIND LEMON JEFFERSON – LONG LONESOME BLUES
12354 BLIND LEMON JEFFERSON – GOT THE BLUES

12355 OZIE McPHERSON – NOBODY ROLLS THEIR JELLY ROLL LIKE MINE
12355 OZIE McPHERSON – I’M SO BLUE SINCE MY SWEETIE WENT AWAY

12356 NORFOLK JUBILEE QT – I’M GONNA DO ALL I CAN FOR MY LORD
12356 NORFOLK JUBILEE QT – JESUS LAY YOUR HEAD IN THE WINDOW

12357 GERTRUDE MA RAINEY – STACK O LEE BLUES
12357 GERTRUDE MA RAINEY – YONDER COME THE BLUES

12358 CHARLIE JACKSON – LET’S GET ALONG
12358 CHARLIE JACKSON – BUTTER AND EGG MAN BLUES

12359 HOTTENTOTS – LOT’S O’ MAMA
12359 AUSTIN MUSICAL AMBASSADORS – DON’T FORGET TO MESS AROUND WHEN YOU CHARLESTON

12360 PRISCILLA STEWART – IT MUST BE HARD
12360 PRISCILLA STEWART – SOMEBODY’S CHEWIN’ YOU TOO

12361 LOVIE AUSTIN’S SERENADERS – FROG TONGUE STOMP
12361 LOVIE AUSTIN’S SERENADERS – JACKASS BLUES

12362 OZIE McPHERSON – I WANT MY LOVING
12362 OZIE McPHERSON – DOWN TO THE BOTTOM WHERE I STAY

12363 VIOLA BARTLETTE – YOU DON’T MEAN ME NO GOOD
12363 VIOLA BARTLETTE – OUT BOUND TRAIN BLUES

12364 GERTRUDE MA RAINEY – JEALOUSY BLUES
12364 MA RAINEY – BROKEN HEARTED BLUES

12365 WOOD’S JUBILEE SINGERS – ONE MORNING SOON
12365 WOOD’S JUBILEE SINGERS – THE LITTLE WHEEL IS ROLLING IN MY HEART

12366 CHARLIE JACKSON – MUMSY MUMSY BLUES
12366 CHARLIE JACKSON – JUDGE CLIFF DAVIS BLUES

12367-A BLIND LEMON JEFFERSON – BLACK HORSE BLUES
12367-B BLIND LEMON JEFFERSON – CORINNE BLUES

12368 JIMMIE BLYTHE – BOHUNKUS BLUES
12368 JIMMIE BLYTHE – BUDDY BURTON’S JAZZ

12369 VIOLA BARTLETTE – SUNDAY MORNING BLUES
12369 VIOLA BARTLETTE – WALK EASY CAUSE MY PAPA’S HOME

12370 JIMMIE BLYTHE – MR FREDDIE BLUES
12370 JIMMIE BLYTHE – LOVIN’S BEEN HER AND GONE TO MECCA FLAT

12371 NORFOLK JUBILEE QT – REVIVAL DAY
12371 NORFOLK JUBILEE QT – SEE A SIGN OF JUDGEMENT

12372 CORA HOPSON – ANTE BELLUM PT. 2
12372 CORA HOPSON – ANTE BELLUM SERMON

12373 BLIND LEMON JEFFERSON – CHOCK HOUSE BLUES
12373 BLIND LEMON JEFFERSON – JACK O DIAMOND BLUES

12374 GERTRUDE MA RAINEY – TITANIC MAN BLUES
12374 MA RAINEY – BESEMER BOUND BLUES

12375 CHARLIE JACKSON – UP THE WAY BOUND
12375 CHARLIE JACKSON – FOUR ELEVEN 44

12376 JIMMY BLYTHE’S RAGAMUFFINS – ADAM’S APPLE
12376 JIMMY BLYTHE’S RAGAMUFFINS – MESSIN’ AROUND

12377 KLIEN TINDULL PARAMOUNT SERENADERS – DOWN ON THE AMAZON
12377 KLIEN TINDULL PARAMOUNT SERENADERS – SO IS YOUR OLD MAN

12378 C. A. TINDLEY BIBLE SINGERS – THE OLD RUGGED CROSS
12378 C. A. TINDLEY BIBLE SINGERS – WHOSOEVER WILL MAY COME

12379 LEOLA WILSON – SCOOP IT
12379 LEOLA WILSON – STEVEDORE MAN

12380 LOVIE AUSTIN BLUE SERENADERS – CHICAGO MESS AROUND
12380 LOVIE AUSTIN BLUE SERENADERS – GALION STOMP

12381 IDA COX – SCOTTLE DE DOO
12381 IDA COX – DON’T BLAME ME BLUES

12382 JUNIE COBB’S HOMETOWNN BAND – EAST COAST TROT
12382 JUNIE COBB’S HOMETOWNN BAND – CHICAGO BUZZ

12383-A CHARLIE JACKSON – YOUR BABY AIN’T SWEET LIKE MINE
12383-B CHARLIE JACKSON – BAD LUCK WOMAN

12384 GERTRUDE MA RAINEY – BROKEN SOUL BLUES
12384 MA RAINEY – SISSY BLUES

12385 VANCE DIXON’S PENCILS – HEADACHE BLUES
12385 VANCE DIXON’S PENCILS – K. D. BLUES

12386 DEACON L. J. BATES (BLIND LEMON JEFFERSON) – I WANT TO BE LIKE JESUS IN MY HEART
12386 DEACON L. J. BATES (LEMON JEFFERSON) – ALL I WANT IS PURE RELIGION

12387 BLIND BLAKE – WEST COAST BLUES
12387 BLIND BLAKE – EARLY MORNING BLUES

12388 C. A. TINDLEY BIBLE SINGERS – STOP LOOK AND LISTEN
12388 C. A. TINDLEY BIBLE SINGERS – YES HE DID

12389 BO JACKSON – YOU CAN’T KEEP NO BROWN
12389 BO JACKSON – PISTOL BLUES

12390 BO JACKSON – WHEN THE SAINTS COME MARCHING HOME
12390 BO JACKSON – I’M ON MY WAY TO THE KINGDOM LAND

12391 LOVIE AUSTIN BLUE SERENADERS – MERRY MAKERS TWINE
12391 LOVIE AUSTIN BLUE SERENADERS – IN THE ALLEY BLUES

12392 LEOLA WILSON – ASHLEY STREET BLUES
12392 LEOLA WILSON – DYING BLUES

12393 BIDDLEVILLE QT – WASN’T THAT A MIGHTY DAY?
12393 BIDDLEVILLE QT – OH WHY NOT TONIGHT

12394 BLIND LEMON JEFFERSON – BEGGIN BACK
12394 BLIND LEMON JEFFERSON – OLD ROUNDER BLUES

12395 MA RAINEY – TRUST NO MAN
12395 GERTRUDE MA RAINEY – DOWN IN THE BASEMENT

12396 BIDDLEVILLE QT – I HEARD THE VOICE OF JESUS
12396 BIRMINGHAM JUBILEE SINGERS – FIGHT ON YOUR TIME AIN’T LONG

12397 GRACE BISHOP – RESURRECTION OF A FRIEND
12397 GRACE BISHOP – YOU MAY BE HEALED

12398 ARDELL BRAGG – CANEBREAK BLUES
12398 ARDELL BRAGG TEXAS BLUE BLOWER – PIGMEAT BLUES

12399 FREDDIE KEPPARD JAZZ CARDINALS – STOCKYARD STRUT
12399 FREDDIE KEPPARD JAZZ CARDINALS – SALTY DOG

12400 PRESTON JACKSON UPTOWN BAND – HARMONY BLUES
12400 PRESTON JACKSON UPTOWN BAND – IT’S TIGHT JIM

12401 CHARLES NELSON – RED RIVER BLUES
12401 CHARLES NELSON – COTTON FIELD BLUES

12402 PRISCILLA STEWART – BISCUIT ROLLER
12402 PRISCILLA STEWART – JEFFERSON COUNTY

12403 LEOLA WILSON – DISHRAG BLUES
12403 LEOLA WILSON – ROLLING MILL BLUES

12404 PAPA STOVEPIPE – MAMA’S ANGEL CHILD
12404 PAPA STOVEPIPE – ALL BIRDS LOOK LIKE CHICKEN TO ME

12405 DIXON’S JAZZ MANIACS – TIGER RAG
12405 DIXON’S JAZZ MANIACS – DAD BLUES

12406 BIDDLEVILLE QT – HEAVEN IS MY VIEW
12406 BIDDLEVILLE QT – WAY DOWN IN EGYPTLAND

12407 BLIND LEMON JEFFERSON – STOCKING FEET BLUES
12407 BLIND LEMON JEFFERSON – BLACK SNAKE MOAN

12408 WILSON TOBA CIRCUIT ORCH – BACKYARD BLUES
12408 LEWIS,WILLIE – STEADY ROLL BLUES

12409 JASPER TAYLOR STATE ST BOYS – IT MUST BE THE BLUES
12409 JASPER TAYLOR STATE ST BOYS – STOMP TIME BLUES

12410 ARDELLE BRAGG – DON’T FAIL ON ME BONES
12410 ARDELLE BRAGG – BIRD NEST BLUES

12411 PRESTON JACKSON UPTOWN BAND – TROMBONE MAN
12411 PRESTON JACKSON UPTOWN BAND – YEARNING FOR MANDALAY

12412 ELOISE BENNETT – LOVE ME MR STRANGE MAN
12412 ELOISE BENNETT – EFFERVESCENT DADDY

12413 BLIND BLAKE – COME ON BOYS LET’S DO THAT MESSIN’ ROUND
12413 BLIND BLAKE – SKEEDLE LOO DOO BLUES

12414 GRACE OUTLAW – IN SOME LONESOME GRAVEYARD
12414 GRACE OUTLAW – I’VE GOT A HOME IN THE ROCK

12415 PARAMOUNT LADY’S FOUR – GOD’S GONNA SET THE WORLD ON FIRE
12415 PARAMOUNT LADY’S FOUR – SHINE FOR JESUS

12416 REV. J. M. GATES – BAPTIZE ME
12416 REV. J. M. GATES – AFTER AWHILE

12417 ELZADIE ROBINSON – BARREL HOUSE MAN
12417 ELZADIE ROBINSON – SAW MILL BLUES

12418 ELKINS QT – CHRISTIANS AWAKE
12418 ELKINS QT – SILENT NIGHT, HOLY NIGHT

12419 MA RAINEY – GRIEVING HEARTED BLUES
12419 MA RAINEY – LITTLE LOW DOWN MAMA BLUES

12420 ELZADIE ROBINSON – HOUSTON BOUND
12420 ELZADIE ROBINSON – HUMMING BLUES

12421 NORFOLK JUBILEE QT – DO YOU WANT TO BE A LOVER OF THE LORD?
12421 NORFOLK JUBILEE QT – OH SHOES LORD GAVE ME

12422 CHARLIE JACKSON – GAY CATTING
12422 CHARLIE JACKSON – FAT MOUTH BLUES

12423 BO JACKSON – WHY DO YOU MOAN
12423 BO WEAVIL – SOME SCREAM HIGH YELLOW

12424 BIRMINGHAM JUBILEE QT – WHOSOEVER WILL MAY COME
12424 BIDDLEVILLE QT – SHOW PITY LORD

12425 BLIND LEMON JEFFERSON – BOOGER ROOGER BLUES
12425 BLIND LEMON JEFFERSON – WARTIME BLUES

12426 LEOLA WILSON – WILSON DAM
12426 LEOLA WILSON – STATE STREET MAN BLUES

12427 REV. J. M. GATES – DYING GAMBLER
12427 REV. J. M. GATES – PRAYING FOR THE PASTOR

12428 JIMMIE BLYTHE – YOUR FOLKS
12428 JIMMIE BLYTHE – APE MAN

12429 ARDELL BRAGG TEXAS BLUE BLOWER – THAT’S ALRIGHT
12429 ARDELLE BRAGG – WHAT MAKES YOU TREAT ME THIS WAY

12430 CHARLES NELSON – MISSISSIPPI STRUT
12430 DAD NELSON & HIS GUITAR – COON CAN BLUES

12431 BLIND BLAKE – TOO TIGHT
12431 BLIND BLAKE – STONEWALL STREET BLUES

12432 HOMER SMITH QT – GO DOWN MOSES
12432 HOMER SMITH QT – I WANT JESUS TO WALK TO ME

12433 KAAI SERENADER – HULA SHAKE THAT THING
12433 KAAI SERENADER – HULA MAMA BLUES

12434 REV. HARDUP – THE ALMIGHTY DOLLAR
12434 REV. HARDUP – RETURN OF BONDED LIQUOR

12435 CLARENCE WILLIAMS – SHUT YOUR MOUTH (J. Sims)
12435 JOE SIMS – WHAT DO YOU KNOW ABOUT THAT

12436 IVY SMITH – MY OWN MAN BLUES
12436 IVY SMITH – RISING SUN BLUES

12437 REV. W. A. WHITE – PRAYER
12437 REV. W. A. WHITE – GOD SO LOVED THE WORLD

12438-A MA RAINEY AND HER GEORGIA BAND – SOON THIS MORNING
12438-B MA RAINEY (JAMES BLYTHE, PIANO) – DON’T FISH IN MY SEA

12439-A COW COW DAVENPORT (B. T. WINGFIELD, CORNET) – GOIN’ HOME BLUES
12439-B COW COW DAVENPORT (B. T. WINGFIELD, CORNET) – JIM CROW BLUES

12440 REV. J. M. GATES – FUNERAL TRAIN’S A-COMIN’
12440 REV. J. M. GATES – I KNOW I GOT RELIGION

12441 PICKETT – PARHAM APOLLO SYNC. – ALEXANDER WHERE’S THAT BAND?
12441 PICKETT – PARHAM SYNCOPATORS – MOJO STRUT

12442 BLIND BLAKE (GEO MARTIN) – BLAKE’S WORRIED BLUES
12442 BLAKE BLIND – TAMPA BOUND

12443 BLIND LEMON JEFFERSON – BAD LUCK BLUES
12443 BLIND LEMON JEFFERSON – BROKE AND HUNGRY BLUES

12444 LEOLA WILSON – DOWN THE COUNTRY
12444 LEOLA WILSON – BLACK BITING BEE

12445 NORFOLK JUBILEE QT – SWING LOW SWEET CHARIOT
12445 NORFOLK JUBILEE QT – DOWN BY THE RIVERSIDE

12446 VANCE DIXON’S PENCILS – MY MAN JUST WONT DONT
12446 VANCE DIXON’S PENCILS – CRAZY QUILT

12447 IVY SMITH – THIRD ALLEY BLUES
12447 IVY SMITH – SAD AND BLUE

12448 BIDDLEVILLE QT – JACOB SENT JOSEPH
12448 BIDDLEVILLE QT – THIS TRAIN IS BOUND FOR GLORY

12449 REV. BEARD – MEMORY OF DEPARTED FRIENDS
12449 REV. BEARD – MAN’S INGRATITUDE

12450 W. L. JAMES – RIVER ROUSTY SONG
12450 W. LAWRENCE JAMES – OH CAP’N

12451 JEANETTE JAMES SYNCO JAZZERS – THE BUMPS
12451 JAMES JEANETTE – WHAT’S THAT THING

12452 CHARLES DAVENPORT – NEW COW COW BLUES
12452 CHARLES DAVENPORT – STEALIN’ BLUES

12453 NORFOLK JAZZ QT – LOUISIANA BO BO
12453 NORFOLK JUBILEE QT – QUEEN STREET RAG

12454 BLIND LEMON JEFFERSON – RABBIT FOOT BLUES
12454 BLIND LEMON JEFFERSON – SHUCKIN’ SUGAR BLUES

12455 MA RAINEY – MORNING HOUR BLUES
12455 MA RAINEY – WEEPING WOMAN BLUES

12456 MARIE BRADLEY – DOWN HOME MOAN
12456 MARIE BRADLEY – BACK TO TOWN BLUES

12457 JOHN WILLIAMS – DOWN IN THE GALLION
12457 JOHN WILLIAMS – GOOSE GREASE

12458 ARDELLE BRAGG – DOGGIN’ ME
12458 ARDELLE BRAGG – WOLF MAN

12459 LUCILLE BOGAN – LEVEE BLUES
12459 LUCILLE BOGAN – SWEET PATUNIA

12460 REV. J. M. GATES – I’VE LEFT THE WORLD BEHIND
12460 REV. J. M. GATES – I’M GOING IF IT TAKES ALL MY LIFE

12461 CHARLIE JACKSON – SHE BELONGS TO ME
12461 CHARLIE JACKSON – COAL MAN BLUES

12462 BIDDLEVILLE QT – PRODIGAL SON
12462 BIDDLEVILLE QT – IN THE GARDEN OF GETHSEMANIE

12463 PRISCILLA STEWART – NEW MR FREDDIE BLUES
12463 PRISCILLA STEWART – LONESOME HOUR BLUES

12464 BLIND BLAKE – BUCKTOWN BLUES
12464 BLIND BLAKE – BLACK DOG BLUES

12465 PRISCILLA STEWART – SOMEDAY SWEETHEART
12465 PRISCILLA STEWART – P. D. Q. BLUES

12466 MARIE BRADLEY – STORMY HAILING BLUES
12466 MARIE BRADLEY – MAMA’S IN A STRAIN

12467 CHARLES NELSON – TRAVELING DADDY
12467 CHARLES NELSON – MICHIGAN SHOE BLUES

12468 NORFOLK JUBILEE QT – IF ANYBODY ASKS YOU WHO I AM
12468 NORFOLK JUBILEE QT – LET THE CHURCH ROLL ON

12469 ELZADIE ROBINSON – BALTIMORE BLUES
12469 ELZADIE ROBINSON – TROUBLED WITH THE BLUES

12470 JEANETTE JAMES – MIDNIGHT STOMP
12470 JEANETTE JAMES – DOWNHEARTED MAMA

12471 VANCE DIXON’S PENCILS – SWEET PATUNIA
12471 DODDS & PARHAM – OH DADDY

12472 IVY SMITH – CINCINATTI SOUTHERN BLUES
12472 IVY SMITH – BARREL HOUSE MOJO

12473 SISTER CUNNINGHAM – YOU BETTER RUN
12473 E. CUNNINGHAM – SIGN OF JUDGEMENT

12474 BLIND LEMON JEFFERSON – EASY RIDER BLUES
12474 BLIND LEMON JEFFERSON – MATCH BOX BLUES

12475 BUDDY BOY HAWKINS – NUMBER THREE BLUES
12475 WALTER HAWKINS – SNATCH IT BACK BLUES

12476 REV. C. H. GATEWOOD – WELL OF SALVATION
12476 REV. C. H. GATEWOOD – THE NEW BIRTH

12477 REV. J. M. GATES – WAITING AT THE BEAUTIFUL GATE
12477 REV. J. M. GATES – I’M SO GLAD TROUBLE DON’T LAST ALWAYS

12478 T. C. I. SECTION CREW – TRACK LININ
12478 T. C. I. SECTION CREW – SECTION GANG SONG

12479 BLIND BLAKE – ONE TIME BLUES
12479 BLIND BLAKE – DRY BONE SHUFFLE

12480 BIDDLEVILLE QT – RECEIVING THE MESSAGE
12480 BIDDLEVILLE QT – COMING TO CHRIST

12481 ORA BROWN – TWE TWA TWA BLUES
12481 ORA BROWN – JINX BLUES

12482 REV. T. T. ROSE – I’VE GOT A HIDING PLACE
12482 REV. T. T. ROSE – IF I HAD MY WAY

12483 DODDS & PARHAM – NINETEENTH STREET BLUES
12483 DODDS & PARHAM – LOVELESS LOVE

12484 BLIND CONNIE ROSEMOND – WILL MY MOTHER KNOW ME THERE
12484 BLIND CONNIE ROSEMOND – THE ROYAL TELEPHONE

12485 PACE JUBILEE SINGERS – IT PAYS TO SERVE JESUS
12485 PACE JUBILEE SINGERS – I’LL BE SATISFIED

12486 FLETCHER HENDERSON & HIS ORCH – OFF TO BUFFALO
12486 FLETCHER HENDERSON & HIS ORCH – SWAMP BLUES

12487 BLIND LEMON JEFFERSON – TEDDY BEAR BLUES
12487 BLIND LEMON JEFFERSON – RISING WATER BLUES

12488 IDA COX – GYPSY GLASS BLUES
12488 IDA COX – FOUR DAY CREEP

12489 WALTER HAWKINS – JAILHOUSE FIRE BLUES
12489 WALTER HAWKINS – SHAGGY DOG BLUES

12490 REV. JAMES BEARD – JUSTICE CONDEMNED
12490 REV. JAMES BEARD – HE WILL CARRY US SAFELY HOME

12491 T. C. I. WOMEN’S FOUR – THAT GREAT DAY
12491 T. C. I. WOMEN’S FOUR – I’VE GOT A HOME IN THE ROCK

12492 CHARLES NELSON – SCOVILLE AVE BLUES
12492 CHARLES NELSON – CLEVELAND STOMP

12493 BLIND LEMON JEFFERSON – WEARY DOG BLUES
12493 BLIND LEMON JEFFERSON – HOT DOGS

12494 NELSON’S SERENADERS – PHILLIPS STREET STOMP
12494 NELSON’S SERENADERS – NELSON BLUES

12495 MISSISSIPPI JUBILEE SINGERS – JESUS SAID IF YOU GO
12495 MISSISSIPPI JUBILEE SINGERS – YOU BELONG TO THE FUNERAL TRAIN

12496 IVY SMITH – NINETY NINE YEARS BLUES
12496 IVY SMITH – TOO MEAN TO CRY

12497 BLIND BLAKE – BAD FEELING BLUES
12497 BLIND BLAKE – THAT WILL NEVER HAPPEN NO MORE

12498 MADLYN DAVIS – CLIMBING MOUNTAIN BLUES
12498 MADLYN DAVIS – WORRIED DOWN WITH THE BLUES

12499 NORFOLK JUBILEE QT – THE OLD ACCOUNT WAS SETTLED LONG AGO
12499 NORFOLK JUBILEE QT – DANIEL IN THE LION DEN

12500 ORA BROWN – RESTLESS BLUES
12500 ORA BROWN – JAILHOUSE MOAN

12501 CHARLIE JACKSON – SHEIK OF DESPLANES STREET
12501 CHARLIE JACKSON – SKOODLE UM SKOO

12502 KATIE LEWIS (IDA COX) – MERCY BLUES
12502 KATIE LEWIS – HARD O LORD

12503 PACE JUBILEE SINGERS – YOU’D BETTER MIND
12503 PACE JUBILEE SINGERS – HE’S THE ONE

12504 LUCILLE BOGAN – JIM TAMPA BLUES
12504 LUCILLE BOGAN – KIND STELLA BLUES

12505 WILLIAM & VERSY SMITH – EVERYBODY HELP THE BOYS COME HOME
12505 WILLIAM & VERSY SMITH – WHEN THE GREAT SHIP WENT DOWN

12506 BIDDLEVILLE QT – JESUS GONNA SHAKE MY RIGHTEOUS HAND
12506 BIDDLEVILLE QT – I’M TORMENTED IN THE FLAME

12507-A ALICE PEARSON (F. Coates, piano) – MEMPHIS EARTHQUAKE
12507-B ALICE PEARSON (F. Coates, piano) – WATER BOUND BLUES

12508 MA RAINEY – DEAD DRUNK BLUES
12508 LILLA PATTERSON (MA RAINEY) – MISERY BLUES

12509 BERNICE DUKE – BACK DOOR BLUES
12509 ELZADIE ROBINSON – WHISKEY BLUES

12510 BLIND LEMON JEFFERSON – RIGHT OF WAY BLUES
12510 BLIND LEMON JEFFERSON – BLACK SNAKE DREAM

12511 BERTHA HENDERSON – SIX THIRTY BLUES
12511 BERTHA HENDERSON – BLACK BORDER LETTER BLUES

12512 REV. T. T. ROSE – TIME
12512 REV. T. T. ROSE – GOODBYE I LEFT THE WORLD BEHIND

12513 IDA COX – LOST MAN BLUES
12513 IDA COX – PLEADING BLUES

12514 LUCILLE BOGAN (BESSIE JACKSON) – OKLAHOMA MAN BLUES
12514 LUCILLE BOGAN – DOGGONE WICKED BLUES

12515 NORFOLK JUBILEE QT – I WILL GUIDE THEE
12515 NORFOLK JUBILEE QT – SHEPARD WHERE IS YOUR LAMB

12516 WILLIAM & VERSY SMITH – SINNER, YOU’LL NEED KING JESUS
12516 WILLIAM & VERSY SMITH – I BELIEVE I’LL GO BACK HOME

12517 CLARENCE WILLIAMS ORCH – SHOOTING THE PISTOL
12517 CLARENCE WILLIAMS ORCH – BOTTOMLAND

12518 BEALE STREET SHIEKS (STOKES) – IT’S A GOOD THING
12518 FRANK STOKES – YOU SHALL

12519 SALLY DUFFIE – KIND PAPA BLUES
12519 SALLY DUFFIE – TREAT EM RIGHT BLUES

12520 FAMOUS JUBILEE SINGERS – SINNER DON’T LET THE HARVEST PASS
12520 ERNA MAE CUNNINGHAM – IN THE PRESENCE OF THE LORD

12521 MATTIE DORSEY – OH WASN’T IT NICE
12521 MATTIE DORSEY – MATTIE BLUES

12522 Unknown

12523 ALICE PEARSON – GREYHOUND BLUES
12523 ALICE PEARSON – THIRD STREET BLUES

12524 ED BELL – MAMLISH BLUES
12524 ED BELL – HAMBONE BLUES

12525 DIXIE THUMPERS – WEARY WAY BLUES
12525 DIXIE THUMPERS – THERE’LL COME A DAY

12526 MA RAINEY GEORGIA JAZZ BAND – SLOW DRIVIN’ MAN — BLUES
12526 MA RAINEY – GONE DADDY BLUES

12527 JOHNNIE BLAKEY – SCARLET THREAD IN THE WINDOW
12527 REV. J. BLAKEY – ON THIS ROCK I WILL BUILD MY CHURCH

12528 MADLYN DAVIS – LANDLADY’S FOOTSTEPS
12528 MADLYN DAVIS RED HOT SHAKERS – HURRY SUNDOWN BLUES

12529 REV. W. A. WHITE – WHERE WERE YOU JOB
12529 REV. W. A. WHITE – MANY ROB GOD

12530 COTTONBELT QT – TALK ABOUT DIXIE
12530 COTTONBELT QT – HALLELUJAH

12531 FRANK STOKES & SANE – SWEET TO MAMA
12531 BEALE STREET SHEIKS – HALF CUP OF TEA

12532 ELMO TANNER – SONG OF HAWAII
12532 ELMO TANNER – AFTER I CALLED YOU SWEETHEART

12533 ELMO TANNER – SING ME A BABY SONG
12533 ELMO TANNER – SO BLUE

12534 DEMPSEY TUNNEY FIGHT – ROUND 1 (Chicago, 9/22/1927)
12534 DEMPSEY TUNNEY FIGHT – ROUND 2 (Chicago, 9/22/1927)

12535 DEMPSEY TUNNEY FIGHT – ROUND 3 (Chicago, 9/22/1927)
12535 DEMPSEY TUNNEY FIGHT – ROUND 4 (Chicago, 9/22/1927)

12536 DEMPSEY TUNNEY FIGHT – ROUND 5 (Chicago, 9/22/1927)
12536 DEMPSEY TUNNEY FIGHT – ROUND 6 (Chicago, 9/22/1927)

12537 DEMPSEY TUNNEY FIGHT – ROUND 7 (Chicago, 9/22/1927)
12537 DEMPSEY TUNNEY FIGHT – ROUND 8 (Chicago, 9/22/1927)

12538 DEMPSEY TUNNEY FIGHT – ROUND 9 (Chicago, 9/22/1927)
12538 DEMPSEY TUNNEY FIGHT – ROUND 10 (Chicago, 9/22/1927)

12539 BUD HAWKINS – RAGGIN’ THE BLUES
12539 WALTER HAWKINS – AWFUL FIX BLUES

12540 IDA COX – MOJO HAND BLUES
12540 IDA COX – ALPHONSIA BLUES

12541 BLIND LEMON JEFFERSON – STRUCK SORROW BLUES
12541 BLIND LEMON JEFFERSON – RAMBLER BLUES

12542 FAMOUS JUBILEE SINGERS – WAIT TIL I PUT ON MY ROBE
12542 FAMOUS JUBILEE SINGERS – THERES NO HIDING PLACE

12543 NELSON’S SERENADERS – COO COO STOMP
12543 NELSON’S SERENADERS – NEW ORLEANS BREAKDOWN

12544 ELZADIE ROBINSON – TICK TOCK BLUES
12544 ELZADIE ROBINSON – HOUR BEHIND THE GUN

12545 SALLY DUFFIE – PLANTATION BLUES
12545 SALLY DUFFIE – BUNKER HILL BLUES

12546 ED BELL – MEAN CONDUCTOR BLUES
12546 ED BELL – FRISCO WHISTLE BLUES

12547 ALICE PEARSON – GREENVILLE LEVEE BLUES
12547 ALICE PEARSON – BLACK SOW BLUES

12548 MA RAINEY – DAMPER DOWN BLUES
12548 MA RAINEY – BIG BOY BLUES

12549 WILL EZELL – BARREL HOUSE MOAN
12549 WILL EZELL – WEST COAST RAG

12550 FLETCHER HENDERSON & HIS ORCH – HOP OFF
12550 LOUSIANA STOMPERS (HENDERSON) – ROUGH HOUSE BLUES

12551 BLIND LEMON JEFFERSON – DECEITFUL BROWNSKIN
12551 BLIND LEMON JEFFERSON – CINCH BUG BLUES

12552 FRANK STOKES – BLUES IN D
12552 FRANK STOKES – MR CRUMP DONT LIKE IT

12553 CHARLIE JACKSON – LOOK OUT PAPA DON’T TEAR YOUR CLOTHES
12553 CHARLIE JACKSON – BABY, DON’T YOU BE SO MEAN

12554 MATTIE DORSEY – LOVE ME DADDY BLUES
12554 MATTIE DORSEY – STINGAREE BLUES

12555 REV. M. L. GIPSON – SYMPATHETIC CHRIST
12555 REV. M. L. GIPSON – JOHN SAW A HOLY NUMBER

12556 IDA COX – COLD AND BLUE
12556 IDA COX – SEVEN DAY BLUES

12557 PARAMOUNT SACRED FOUR – HEABEN
12557 PARAMOUNT SACRED FOUR – GET AWAY JORDAN

12558 WALTER HAWKINS – YELLOW WOMAN BLUES
12558 WALTER HAWKINS – WORKING ON THE RAILROAD

12559 REV. W. M. CLARK – SATAN AT CHURCH
12559 REV. W. M. CLARK – THE WORD EAGLE

12560 LUCILLE BOGAN – WAR TIME MAN BLUES
12560 LUCILLE BOGAN – WOMEN WON’T NEED NO MEN

12561 ELMO TANNER – HERE I AM BROKEN HEARTED
12561 ELMO TANNER – DAWN OF TOMORROW

12562 WISCONSIN ROOF ORCH – DEEP RIVER BLUES
12562 WISCONSIN ROOF ORCH – WHO’S THAT KNOCKIN’ AT MY DOOR

12563 ELMO TANNER – MY BLUE HEAVEN
12563 ELMO TANNER – JUST ONCE AGAIN

12564 ELMO TANNER – GIVE ME A NIGHT IN JUNE
12564 ELMO TANNER – CALLING ME HOME

12565 BLIND GEORGE MARTIN (BLAKE) – HE’S IN THE JAILHOUSE NOW
12565 BLIND BLAKE – SOUTHERN RAG

12566 MA RAINEY – OH PAPA BLUES
12566 MA RAINEY – BLUES OH BLUES

12567 KATIE DANIELS – GOD DONT LIKE IT EITHER
12567 KATIE DANIELS – COME DOWN OUTA THAT TREEE

12568 JIMMY O’BRYANT WASHBOARD BAND – DRUNK MAN’S STRUT
12568 BOYD SENTER – MOBILE BLUES

12569 ELMO TANNER – I’M WAITING FOR SHIPS THAT NEVER COME IN
12569 ELMO TANNER – DEAR OLD GIRL

12570 ELMO TANNER – MARVELOUS
12570 ELMO TANNER – SWEETHEART OF SIGMA CHI

12571 BANJO JOE (J. CANNON) – CAN YOU BLAME THE COLORED MAN
12571 BANJO JOE – POOR BOY, LONG WAYS FROM HOME

12572 REV. BOONE – PRESENT YOUR BODY
12572 REV. ROSE SANCTIFIED SINGERS – BLIND BARTHEMUS

12573 ELZADIE ROBINSON – SANTA CLAUS CRAVE
12573 ELZADIE ROBINSON – ST. LOUIS CYCLONE BLUES

12574 CHARLIE JACKSON – BLUE MONDAY MORNING BLUES
12574 CHARLIE JACKSON – BRIGHT EYES

12575 REV. PERCY WEBB – MOSES WAS RESCUED BY A NEGRO
12575 REV. PERCY WEBB – SOMEBODY’S WRONG ABOUT THE BIBLE

12576 FRANK STOKES – BEALE TOWN BOUND
12576 BEALE STREET SHEIKS – CHICKEN YOU CAN’T ROOST BEHIND THE MOON

12577 LUCILLE BOGAN – CRAVING WHISKEY BLUES
12577 LUCILLE BOGAN – NICE AND KIND BLUES

12578 BLIND LEMON JEFFERSON – ONE DIME BLUES
12578 BLIND LEMON JEFFERSON – GONE DEAD ON YOU

12579 REV. BLAKEY – THE SAINTED DEVIL
12579 REV. JOHN BLAKEY – SETTLING TIME

12580 PULLMAN PORTERS QT – EVERY TIME I FEEL DE SPIRI
12580 PULLMAN PORTERS QT – GOOD NEWS, CHARIOT’S COMIN’

12581 SALLY DUFFIE – KIND MAN BLUES
12581 SALLY DUFFIE – THINKING BLUES

12582 IDA COX – MIDNIGHT HOUR BLUES
12582 IDA COX – GIVE ME A BREAK BLUES

12583 BLIND BLAKE – SEA BOARD STOMP
12583 BLIND BLAKE – HARD ROAD BLUES

12584 BLIND PERCY – COAL RIVER BLUES
12584 BLIND PERCY – FOURTEENTH STREET BLUES

12585 BLIND LEMON JEFFERSON – SEE THAT MY GRAVE’S KEPT CLEAN
12585 BLIND LEMON JEFFERSON – WHERE SHALL I BE
12585 DEACON L. J. BATES – HE AROSE FROM THE DEAD

12586 TINY PARHAM & HIS 45’S – JIM JACKSON’S KANSAS CITY BLUES
12586 TINY PARHAM & HIS 45’S – A LITTLE BIT CLOSER

12587 CLARENCE WILLIAMS ORCH – JINGLES
12587 CLARENCE WILLIAMS ORCH – SHAKE EM UP

12588 BANJO JOE (CANNON) – MADISON STREET RAG
12588 GUS CANNON – JONESTOWN BLUES

12589 NORFOLK JUBILEE QT – KING JESUS STAND BY ME
12589 NORFOLK JUBILEE QT – I HAVE ANCHORED MY SOUL

12590 MA RAINEY’S GEORGIA JAZZ BAND – MA RAINEY’S BLACK BOTTOM
12590 MA RAINEY – GEORGIA CAKEWALK

12591 BEALE STREET SHEIKS – JAZZIN’ THE BLUES
12591 BEALE STREET SHIEKS – LAST GO ROUND

12592 RUBY PAUL – LAST FAREWELL BLUES
12592 RUBY PAUL – RED LETTER BLUES

12593 BLIND LEMON JEFFERSON – LONESOME HOUSE BLUES
12593 BLIND LEMON JEFFERSON – SUNSHINE SPECIAL

12594 DIXIE THUMPERS – ORIENTAL MAN
12594 DIXIE THUMPERS – SOCK THAT THING

12595 BOBBY GRANT – LONESOME ATLANTA BLUES
12595 BOBBY GRANT – NAPPY HEAD BLUES

12596 JACK RICHMOND (tenor) – TOMORROW
12596 JACK RICHMOND (tenor) – AMONG MY SOUVENIRS

12597 BLIND BLAKE – YOU GONNA QUIT ME
12597 BLIND BLAKE – WABASH RAG

12598 LUCIUS HARDY – JELLY BEAN MAN
12598 LUCIUS HARDY – MR BLUES

12599 DEVINE’S WISCONSIN ROOF ORCH – TIGER RAG
12599 DEVINE’S WISCONSIN ROOF ORCH – NEW ST LOUIS BLUES

12600 LEWIS MEEHAN – THE SONG IS ENDED
12600 LEWIS MEEHAN – MARY ANN

12601 MOSES MASON – RED CROSS THE DISCIPLE OF CHRIST TODAY
12601 MOSES MASON – JUDGEMENT DAY IN THE MORNING

12602 CHARLIE JACKSON – LONG GONE LOST JOHN
12602 CHARLES CARTER – I’M LOOKING FOR A WOMAN WHO KNOWS HOW TO TREAT ME

12603 MA RAINEY GEORGIA JAZZ BAND – MOONSHINE BLUES
12603 MA RAINEY – NEW BOLL WEAVIL BLUES

12604 GUS CANNON – JAZZ GYPSY BLUES
12604 BANJO JOE (CANNON) – MY MONEY NEVER RUNS OUT

12605 MOSES MASON – MOLLY MAN
12605 MOSES MASON – SHRIMP MAN

12606 BLIND BLAKE – HEY HEY DADDY BLUES
12606 BLIND BLAKE – BROWNSKIN MAMA BLUES

12607 PULLMAN PORTERS QT – PULLMAN PASSENGER TRAIN
12607 PULLMAN PORTERS – JOG ALONG BOYS

12608 BLIND LEMON JEFFERSON – SEE THAT MY GRAVE’S KEPT CLEAN
12608 BLIND LEMON JEFFERSON – ELECTRIC CHAIR BLUES

12609 RAMBLIN’ THOMAS – BACK GNAWING BLUES
12609 RAMBLIN’ THOMAS – NO JOB BLUES

12610 SHARLIE ENGLISH – TRANSOM BLUES
12610 SHARLIE ENGLISH – TUBA LAWDY BLUES

12611 BLIND JOE TAGGART – GOIN’ TO REST WHERE JESUS IS
12611 BLIND JOE TAGGART – BEEN LISTENING ALL DAY

12612 MA RAINEY GEORGIA JAZZ BAND – ICE BAG PAPA
12612 MA RAINEY – HELLISH RAG

12613 BILL MOORE – TILLIE LEE
12613 BILL MOORE – BARBERSHOP RAG

12614 BERT MAYS – TROUBLESOME MIND BLUES
12614 BERT MAYS – MAMA’S MAN BLUES

12615 MADLYN DAVIS – WINTER BLUES
12615 MADLYN DAVIS – KOKOLA BLUES

12616 RAMBLIN’ THOMAS – SAWMILL MOAN
12616 RAMBLIN’ THOMAS – RAMBLING MIND BLUES

12617 MARY BRADFORD – AWFUL LAWDY LAWDY BLUES
12617 MARY BRADFORD – LOAFING BLUES

12618 REV. R. M. MASSEY – OLD TIME BAPTISM #2
12618 REV. R. M. MASSEY – OLD TIME BAPTISM

12619 CHARLIE PIERCE & HIS ORCH – BULLFROG BLUES
12619 CHARLES PIERCE & HIS ORCH – CHINA BOY

12620 BERNICE EDWARDS – SOUTHBOUND BLUES
12620 BERNICE EDWARDS – MOANING BLUES

12621 LINCOLN QT – WADE IN THE WATER
12621 LINCOLN QT – I HOPE I JOIN THE BAND

12622 BLIND LEMON JEFFERSON – PRISON CELL BLUES
12622 BLIND LEMON JEFFERSON – LEMON WORRIED BLUES

12623 JACK RICHMOND (tenor) – AUF WIEDERSEHN
12623 JACK RICHMOND (tenor) – BELOVED

12624 JACK RICHMOND (tenor) – CHLOE
12624 JACK RICHMOND (tenor) – WEARY FEET

12625 BUDDY BURTON – HAM FATCHET # 2
12625 BUDDY BURTON – HAM FATCHET BLUES

12626 JACK RICHMOND (tenor) – LAUGH CLOWN LAUGH
12626 JACK RICHMOND (tenor) – I CAN’T DO WITHOUT YOU

12627 ELZADIE ROBINSON – YOU AIN’T THE LAST MAN
12627 ELZADIE ROBINSON – LOVE CRAZY BLUES

12628 JOHNNIE HEAD – FARE THEE BLUES
12628 JOHNNIE HEAD – FARE THEE BLUES # 2

12629 RUBEN LACEY – MISSISSIPPI JAILHOUSE GROAN
12629 RUBEN LACY – HAM HOUND CRAVE

12630 NORFOLK JUBILEE QT – I WOULDN’T MIND DYING
12630 NORFOLK JUBILEE QT – HIS EYE IS ON THE SPARROW

12631 BLIND LEMON JEFFERSON – BALKY MULE BLUES
12631 BLIND LEMON JEFFERSON – MEAN JUMPER BLUES

12632 BERT MAYS – MIDNIGHT RAMBLER BLUES
12632 BERT MAYS – OH OH BLUES

12633 BERNICE EDWARDS – MEAN MAN BLUES
12633 BERNICE EDWARDS – LONG TALL MAMA

12634 BLIND BLAKE – C. C. PILL BLUES
12634 BLIND BLAKE – GOODBYE MAMA MOAN

12635 ELZADIE ROBINSON – PAY DAY DADDY BLUES
12635 ELZADIE ROBINSON – ELIZALDE POLICY BLUES

12636 BILL MOORE – RAGTIME MILLIONAIRE
12636 BILL MOORE – MIDNIGHT BLUES

12637 RAMBLIN’ THOMAS – LOCK AND KEY BLUES
12637 RAMBLIN’ THOMAS – SO LONESOME

12638 REV. M. L. GIPSON – GOD WILL PROTECT HIS OWN
12638 REV. M. L. GIPSON – JUDGEMENT IS COMING AFTERWHILE

12639 BLIND LEMON JEFFERSON – CHANGE MY LUCK BLUES
12639 BLIND LEMON JEFFERSON – LEMON’S CANNON BALL BLUES

12640 CHARLES PIERCE & HIS ORCH – JAZZ ME BLUES
12640 CHARLES PIERCE & HIS ORCH – SISTER KATE

12641 WISCONSIN SKYROCKETS – SLOW BEEF
12641 WISCONSIN SKYROCKETS – IT’S A SIN

12642 WISCONSIN SKYROCKETS – DIZZY CORNERS
12642 WISCONSIN SKYROCKETS – POSTAGE STOMP

12643 BLIND BLAKE – THAT LOVING I CRAVE
12643 BLIND BLAKE – TOOTIE BLUES

12644 SHARLIE ENGLISH – BROKE WOMAN BLUES
12644 SHARLIE ENGLISH – DOWN ON THE SANTE FE

12645 BERTHA HENDERSON – SO SORRY BLUES
12645 BERTHA HENDERSON – TERRIBLE MURDER BLUES

12646 MOSES MASON – HORSE PAWETH IN VALLEY
12646 MOSES MASON – CHRIST IS COMING AGAIN

12647 MA RAINEY – BLUES WORLD FORGOT # 2
12647 MA RAINEY – BLUES THE WORLD FORGOT

12648 BILL MOORE – ONE WAY GAL
12648 BILL MOORE – RAGTIME CRAZY

12649 ALEXANDER ROBINSON – MY BABY
12649 ALEXANDER ROBINSON – YOU’RE NOT THE KIND I THOUGHT YOU WERE

12650 BLIND LEMON JEFFERSON – PINEY WOODS MONEY MAMA
12650 BLIND LEMON JEFFERSON – LOW DOWN MOJO BLUES

12651 GEORGE WILLIAMS – FRISCO LEAVIN’ BIRMINGHAM
12651 GEORGE WILLIAMS – THE ESCAPED CONVICT

12652 T. N. T. BURTON – LET GOD FIGHT YOUR BATTLES
12652 T. N. T. BURTON – HIS WRATH WILL SURELY COME

12653 BERNICE EDWARDS – LONESOME LONGING BLUES
12653 BERNICE EDWARDS – SUNSHINE BLUES

12654 JUNGLE KINGS – THE DARKTOWN STRUTTER’S BALL
12654 JUNGLE KINGS – FRIAR POINT SHUFFLE

12655 BERTHA HENDERSON – LEAD HEARTED BLUES
12655 BERTHA HENDERSON – LET YOUR LOVE COME DOWN

12656 BIG BILL – BIG BILL BLUES
12656 BIG BILL – HOUSE RENT STOMP

12657 BLIND BLAKE – RUMBLIN’ AND RAMBLIN’ BOA CONSTRICTOR BLUES
12657 BLIND BLAKE – DETROIT BOUND BLUES

12658 BLIND WILLIE DAVIS – WHEN THE SAINTS GO MARCHING IN
12658 BLIND WILLIE DAVIS – ROCK OF AGES

12659 LOUIS WARFIELD (F. MARVIN) – JIMMY RODGERS BLUE YODEL
12659 LOUIS WARFIELD (F. MARVIN) – WAY OUT ON THE MOUNTAIN

12660 CHARLIE JACKSON – ASH TRAY BLUES
12660 CHARLIE JACKSON – NO NEED OF KNOCKIN’ ON THE BLIND

12661 DIXIE FOUR – ST LOUIS MAN
12661 BUDDY BURTON – KENTUCKY STOMP

12662 JAMES WIGGINS – EVIL WOMAN BLUES
12662 BOODLE IT WIGGINS – KEEP KNOCKING AND YOU CAN’T GET IN

12663 DANIEL BROWN – NOW IS THE NEEDY TIME
12663 DANIEL BROWN – BEULAH LAND

12664 IDA COX – BONE ORCHARD BLUES
12664 IDA COX – WESTERN UNION BLUES

12665 FREDDIE SPRUELL – LOW DOWN MISSISSIPPI BOTTOM MAN
12665 FREDDIE SPRUELL – TOM CAT BLUES

12666 BLIND LEMON JEFFERSON – LONG LASTIN’ LOVIN’
12666 BLIND LEMON JEFFERSON – PENITENTIARY BLUES

12667 FAMOUS JUBILEE SINGERS – EZEKIEL PROPHESIZED TO THE DRY BONES
12667 FAMOUS JUBILEE SINGERS – HE LOCKED A LION’S JAW

12668 MA RAINEY GEORGIA JAZZ BAND – PROVE IT ON ME BLUES
12668 MA RAINEY – HEAR ME TALKIN TO YOU

12669 NORFOLK JUBILEE QT – OUR FATHER
12669 NORFOLK JUBILEE QT – RIDE ON KING JESUS

12670 RAMBLIN’ THOMAS – NO BABY BLUES
12670 RAMBLIN’ THOMAS – HARD TO RULE WOMEN BLUES

12671 TUB JUG WASHBOARD BAND – SAN
12671 TUB JUG WASHBOARD BAND – TUB JUG RAG

12672 DIANA DELL – IF YOU DON’T LOVE ME
12672 DIANA DELL – OLD MAN SUNSHINE

12673 BLIND BLAKE – HOT POTATOES
12673 BLIND BLAKE – DOGGIN’ ME MAMA BLUES

12674 DIXIE FOUR (B. BURTON) – FIVE O’CLOCK STOMP
12674 DIXIE FOUR – SOUTH SIDE STOMP

12675 CHARLIE JACKSON – I LIKE TO LOVE MY BABY
12675 CHARLIE JACKSON – BABY PAPA NEEDS HIS LOVING

12676 ELZADIE ROBINSON – MAD BLUES
12676 ELZADIE ROBINSON – PLEADING MISERY BLUES

12677 IDA COX – BOOZE CRAZY MAN
12677 IDA COX – BROADCASTING BLUES

12678 PACE JUBILEE SINGERS – CERTAINLY LORD
12678 PACE JUBILEE SINGERS – HEAVEN’S DOOR GONNA BE CLOSED

12679 BLIND LEMON JEFFERSON – LOCK STEP BLUES
12679 BLIND LEMON JEFFERSON – HANGMAN BLUES

12680 GEORGE WILLIAMS – TOUCH ME LIGHT MAMA
12680 GEORGE WILLIAMS – MIDDLIN’ BLUES
12680 COLEMAN JAY – SAVE YOUR MONEY

12681 BLIND BLAKE – STEEL MILL BLUES
12681 BLIND BLAKE – SOUTHBOUND RAG

12682 WASHBOARD TRIO – WASHBOARD RAG
12682 TUB JUG WASHBOARD BAND – LADY QUIT HER HUSBAND

12683 CLARENCE BLACK – BLESS YOU SISTER
12683 CLARENCE BLACK SAVOY TRIO – CAUSE I FEEL LOW DOWN

12684 STAR PAGE – I AIN’T PUTTIN’ OUT
12684 STAR PAGE – GEORGIA BLUES

12685 BLIND LEMON JEFFERSON – HOW LONG HOW LONG
12685 TAMPA RED – THROUGH TRAIN BLUES

12686 WISCONSIN ROOF ORCH – MEMPHIS BLUES
12686 WISCONSIN ROOF ORCH – FAREWELL BLUES

12687 MA RAINEY – BLACK CAT HOOT OWL
12687 MA RAINEY – VICTIM OF THE BLUES

12688 WILL EZELL – MIXED UP RAG
12688 WILL EZELL – OLD MILL BLUES

12689 ELZADIE ROBINSON – WICKED DADDY
12689 ELZADIE ROBINSON – IT’S TOO LATE NOW

12690-A IDA COX & HER BAND – FOGYISM
12690-B IDA COX – TREE TOP TALL PAPA

12691 REV. FRANK COTTON – BORN AGAIN
12691 REV. FRANK COTTON – PRAYER FOR SINNERS

12692 BLIND LEMON JEFFERSON – HAPPY NEW YEAR BLUES
12692 BLIND LEMON JEFFERSON – CHRISTMAS EVE BLUES

12693 BEN COVINGTON – ADAM & EVE IN THE GARDEN
12693 BEN COVINGTON – I HEARD THE VOICE OF A PORKCHOP

12694 NORFOLK JUBILEE QT – I WANT TO CROSS OVER TO SEE THE OTHER SIDE
12694 NORFOLK JUBILEE QT – I’M NEARER MY HOME

12695 BLIND BLAKE – LOW DOWN LOVING GAL
12695 BLIND BLAKE – BOOTLEG RUM DUM BLUES

12696 WINKFIELD SENTIMENTAL SINGERS – OH JUDGEMENT
12696 WINKFIELD SENTIMENTAL SINGERS – GOING TO SEE MY FRIEND AGAIN

12697 BERTHA HENDERSON – THAT LONESOME RAVE
12697 BERTHA HENDERSON – LEAVIN’ GAL BLUES

12698 EARL BABCOCK – OYSTER KING OF THE SEA
12698 EARL BABCOCK – JAKE THE PLUMBER

12699 FRANK COTTON – BY THE POOL OF SILOAM
12699 FRANK COTTON – JESUS HEALED THE SICK WOMAN

12700 CHARLIE JACKSON – GOOD DOING PAPA BLUES
12700 CHARLIE JACKSON – LEXINGTON KENTUCKY BLUES

12701 ELZADIE ROBINSON – ARKANSAS MILL BLUES
12701 ELZADIE ROBINSON – GOLD MANSION BLUES

12702 REV. MOSES MASON – GO WASH IN THE BEAUTIFUL STREAM
12702 MOSES MASON – JOHN THE BAPTIST

12703 MADLYN DAVIS – IT’S RED HOT
12703 MADLYN DAVIS – TOO BLACK BAD

12704 IDA COX – YOU STOLE MY MAN
12704 IDA COX – WORN DOWN DADDY BLUES

12705 RICHARD M. JONES – IT’S A LOW DOWN THING
12705 RICHARD JONES JAZZ WIZARDS – HOT AND READY

12706 MA RAINEY – TRAVELING BLUES
12706 MA RAINEY – DEEP MOANING BLUES

12707 BIG BILL – STARVATION BLUES
12707 BIG BILL – DOWN IN THE BASEMENT BLUES

12708 RAMBLING THOMAS – HARD DALLAS BLUES
12708 RAMBLIN’ THOMAS – JIG HEAD BLUES

12709 FOSTER & HARRIS – CROW JANE ALLEY
12709 FOSTER & HARRIS – ALLEY CRAP GAME

12710 BLIND BLAKE – BACK DOOR SLAM BLUES
12710 BLIND BLAKE – COLD HEARTED MAMA BLUES

12711 SOUTHERN JUBILEE SINGERS – I COULDN’T HEAR NOBODY PRAY
12711 SOUTHERN JUBILEE SINGERS – LISTEN TO THE LAMBS

12712-A BLIND LEMON JEFFERSON – D. D. BLUES
12712-B BLIND LEMON JEFFERSON – MALTESE CAT BLUES

12713 BERNICE EDWARDS – JACK OF ALL TRADES
12713 BERNICE EDWARDS – TWO WAY MIND BLUES

12714-A HOKUM BOYS – SELLING THAT STUFF
12714-B HOKUM BOYS – BEEDLE UM BUM

12715 NORFOLK JUBILEE QT – YOU’RE GOIN’ TO NEED THAT PURE RELIGION
12715 NORFOLK JUBILEE QT – WONDER WHERE IS THE GAMBLIN’ MAN

12716-A CLARENCE JONES SOCK FOUR – I’VE GOT IT ALL
12716-B CLARENCE JONES & HIS SOCK 4 – MID THE PYRAMIDS

12717 JOE DONNELL (TAGGART) – THERE’S A HAND WRITING ON THE WALL
12717 BLIND JOE TAGGART – I’VE CROSSED THE SEPARATION LINE

12718 MA RAINEY – BIG FEELING BLUES
12718 MA RAINEY – MA AND PA POORHOUSE BLUES

12719 HANDY’S SACRED SINGERS – AFRAMERICAN HYMN
12719 HANDY SINGERS – LET’S CHEER THE WEARY TRAVELER

12720A ELMO TANNER – MARIE
12720B ELMO TANNER – MY OLD GIRL’S MY NEW GIRL NOW

12721 CHARLIE JACKSON – JUNGLE MAN BLUES
12721 CHARLIE JACKSON – CORN LIQUOR BLUES

12722 RAMBLIN’ THOMAS – POOR BOY BLUES
12722 RAMBLIN’ THOMAS – RAMBLIN’ MAN

12723 BLIND BLAKE – PANTHER SQUALL BLUES
12723 BLIND BLAKE – NO DOUGH BLUES

12724 ELZADIE ROBINSON – GOING SOUTH BLUES
12724 ELZADIE ROBINSON – ROWDY MAN BLUES

12725 JOHN BERTRAND – COUSIN LILLY
12725 JOHN BERTRAND – MISERABLE

12726 BLIND WILLIE DAVIS – I’VE GOT THE KEY TO THE KINGDOM
12726 BLIND WILLIE DAVIS – YOUR ENEMY CAN’T HARM YOU

12727 IDA COX – SOBBING TEARS BLUES
12727 IDA COX – SEPARATED BLUES

12728 BLIND LEMON JEFFERSON – COMPETITION BED BLUES
12728 BLIND LEMON JEFFERSON – SAD NEWS BLUES

12729 WILL EZELL – CRAWLIN’ SPIDER BLUES
12729 WILL EZELL – EZELL’S PRECIOUS FIVE

12730 Unknown

12731 BOB COLEMAN – CINCINATTI UNDERWORLD WOMAN
12731 CINCINATTI JUG BAND – TEAR IT DOWN

12732-A ELMO TANNER – PLEASE LET ME DREAM IN YOUR ARMS
12732-B ELMO TANNER – MY MOTHER’S EYES

12733-A ELMO TANNER – TRUE BLUE
12733-B ELMO TANNER – WHO DO YOU MISS

12734-A NORFOLK JUBILEE QT – HE JUST HUNG HIS HEAD
12734-B NORFOLK JUBILEE QT – LORD I DON’T CARE WHERE THEY BURY MY BODY

12735-A MA RAINEY – TOUGH LUCK BLUES
12735-B MA RAINEY – SCREECH OWL BLUES

12736-A CHARLIE JACKSON – DON’T BREAK DOWN ON ME
12736-B CHARLIE JACKSON – BABY PLEASE LOAN ME YOUR HEART

12737-A BLIND BLAKE – SEARCH WARRANT BLUES
12737-B BLIND BLAKE – SWEET PAPA LOW DOWN

12738-A IDA COX – CROW JANE WOMAN
12738-B IDA COX – MARBLE STONE BLUES

12739-A BLIND LEMON JEFFERSON – EAGLE EYED MAMA
12739-B BLIND LEMON JEFFERSON – DYNAMITE BLUES

12740-A PRISCILLA STEWART – A LITTLE BIT CLOSER
12740-B PRISCILLA STEWART – I WANT TO SEE MY BABY

12741-A BERNICE EDWARDS – BORN TO DIE BLUES
12741-B BERNICE EDWARDS – LOW DOWN DIRTY SHAME

12742 REV. P. W. WILLIAMS – TESTIFYING MEETING
12742 REV. P. W. WILLIAMS – TESTIFYING MEETING

12743-A CINCINATTI JUG BAND – NEWPORT BLUES
12743-B CINCINATTI JUG BAND – GEORGE STREET STOMP

12744-A BLIND JOE TAGGART – RELIGION IS SOMETHING WITHIN YOU
12744-B BLIND JOE TAGGART – MOTHER’S LOVE

12745-A ELZADIE ROBINSON – UNSATISFIED BLUES
12745-B ELZADIE ROBINSON – NEED MY LOVIN’ – NEED MY DADDY

12746-A HOKUM BOYS – I HAD TO GIVE UP THE GYM
12746-B HOKUM BOYS – PAT-A-FOOT BLUES

12747-A CLARENCE JONES & HIS SOCK 4 – HOLD IT BOY BLUES
12747-B BEVERLY SYNCOPATORS – SUGAR

12748-A JOHN H. BERTRAND – VALSE DE GUEYDAN
12748-B JOHN H. BERTRAND – UPSTAIRS

12749-A NORFOLK JUBILEE QT – I’M GOING THROUGH
12749-B NORFOLK JUBILEE QT – SINNER YOU CAN’T HIDE

12750-A GEORGE CARTER – RISING RIVER BLUES
12750-B GEORGE CARTER – HOT JELLY ROLL BLUES

12751-A HATTIE McDANIEL – DENTIST CHAIR BLUES
12751-B HATTIE McDANIELS & JACKSON – DENTIST CHAIR BLUES PT.2

12752-A RAMBLIN’ THOMAS – GOOD TIME BLUES
12752-B RAMBLIN’ THOMAS – NEW WAY OF LIVING BLUES

12753-A WILL EZELL – BARREL HOUSE WOMAN
12753-B WILL EZELL – HEIFER DUST

12754-A BLIND BLAKE – NOTORIETY WOMAN
12754-B BLIND BLAKE – WALKIN’ ACROSS THE COUNTRY

12755-A MADLYN DAVIS – DEATH BELL BLUES
12755-B MADLYN DAVIS – GOLD TOOTH PAPA

12756-A BLIND LEMON JEFFERSON – BLACK SNAKE MOAN #2
12756-B BLIND LEMON JEFFERSON – TIN CUP BLUES

12757-A REV. C. H. WELSH DEVIL IN THE CHURCH
12757-B REV. WELSH (BEAUMONT) – JESUS HEALED THE BLIND

12758-A BEALE STREET SHEIKS – WASN’T THAT DOGGIN’ ME
12758-B FRANK STOKES – ROCKIN’ ON THE HILL – BLUES

12759-A NOLAN WELCH – LARCENY WOMAN BLUES
12759-B BARREL HOUSE WELCH – DYING PICKPOCKET BLUES

12760-A MA RAINEY – BLAME IT ON THE BLUES
12760-B MA RAINEY – SLEEP TALKING BLUES

12761-A BILL MOORE – OLD COUNTRY ROCK
12761-B BILL MOORE – RAGGIN’ THE BLUES

12762-A JOHN BERTRAND & ROY GONZALES – ATTENDRE POUR UN TRAIN
12762-B JOHN BERTRAND & ROY GONZALES – JE VEUX MACHETE

12763 Unknown

12764-A BROADWAY RASTUS (F. MELROSE) – ROCK MY SOUL
12764-B BROADWAY RASTUS – WHOOPEE STOMP

12765-A CHARLIE JACKSON – HOT PAPA BLUES # 2
12765-B CHARLIE JACKSON – WE CAN’T BUY IT NO MORE

12766-A BERNICE EDWARDS – HARD HUSTLING BLUES
12766-B BERNICE EDWARDS – HIGH POWERED MAMA

12767-A BLIND BLAKE – NEW STYLE OF LOVING
12767-B BLIND BLAKE – RAMBLIN’ MAMA BLUES

12768-A ELZADIE ROBINSON – CHEATIN’ DADDY
12768-B ELZADIE ROBINSON – THIS IS YOUR LAST NIGHT WITH ME

12769-A GEORGE CARTER – GHOST WOMAN BLUES
12769-B GEORGE CARTER – WEEPING WILLOW WOMAN

12770-A WINDY RHYTHM KINGS – SOUTH AFRICAN BLUES
12770-B LEE BLACK DIAMONDS – PIGGLY WIGGLY BLUES

12771-A BLIND LEMON JEFFERSON – OIL WELL BLUES
12771-B BLIND LEMON JEFFERSON – SATURDAY NIGHT SPENDER BLUES

12772-A REV. WELSH (BEAUMONT) – COOL MY SCORCHING TONGUE
12772-B REV. WELSH – ABRAHAM OFFERS HIS SON

12773-A WILL EZELL – BUCKET OF BLOOD
12773-B WILL EZELL – PLAYING THE DOZEN

12774-A BEALE STREET SHIEKS – AIN’T GOIN’ TO DO LIKE I USED TO
12774-B FRANK STOKES – HUNTING BLUES

12775-A NOBBIE NEAL & AL LYONS – GO TO IT
12775-B NOBBIE NEAL & AL LYONS – COME FROM IT

12776 JOHN BERTRAND – LA DELAISSER
12776 JOHN BERTRAND – LA POND DE NANTE

12777-A HOKUM BOYS – CAUGHT HIM DOING IT
12777-B HOKUM BOYS – BETTER CUT THAT OUT

12778-A HOKUM BOYS – SELLING THAT STUFF
12778-B AL MILLER – I WOULD IF I COULD

12779-A PARAMOUNT PICKERS – SALTY DOG
12779-B PARAMOUNT PICKERS – STEAL AWAY

12780-A JOE TAGGART & JOSHUA WHITE – SCANDALOUS AND SHAME
12780-B BLIND JOE TAGGART – LORD DONT DRIVE ME AWAY

12781-A TRIANGLE QT – DOODLIN’ BACK
12781-B TRIANGLE QT – SHE DONE QUIT ME

12782-A REV. J. M. GATES – AMAZING GRACE
12782-B REV. J. M. GATES – MY SOUL IS RESTING IN THE PRESENCE OF THE LORD

12783-A JOE’S HOT BABIES – BEANS AND GREENS (TWIN BLUES)
12783-B JOE’S HOT BABIES – LAZYBONE BLUES (toledano)

12784-A COLONEL PHILLIPS (PICKARD) – SWEET THING
12784-B FRANK LUTHER – LEVEN CENT COTTON

12785-A NORFOLK JUBILEE QT – HOW IS IT WITH ME
12785-B NORFOLK JUBILEE QT – I WANT TO KNOW WILL HE WELCOME ME THERE

12786-A GEORGE HANNAH – SNITCHERS BLUES
12786-B JACK-O-DIAMOND – THE DUCKS YAS YAS

12787-A CLIFF MOORE – M. MOMAN – W. BURTON – ST LOUIS BLUES
12787-B CLIFF MOORE – M. MOMAN – W. BURTON – FUZZY WUZZY

12788-A GEORGE HANNAH – GUTTER MAN BLUES
12788-B GEORGE HANNAH – WOBBLIN’ IN THE MUD

12789-A W. E. BURTON – MARCUS MOMAN – ROLL THAT JELLY
12789-B BUDDY BURTON – MARCUS MOMAN – DO DO LADY

12790 CHARLES SPAND – FETCH YOUR WATER
12790 CHARLIE SPAND – SOON THIS MORNING

12791-A BOB COLEMAN – SING SONG MAN BLUES
12791-B JACK-O-DIAMOND – SMILING BLUES

12792-A CHARLEY PATTON – PONY BLUES
12792-B CHARLEY PATTON – BANTY ROOSTER BLUES

12793-A CHARLIE TURNER – WINSTON HOLMES DEATH OF HOLMES MULE
12793-B CHARLIE TURNER – WINSTON HOLMES – DEATH OF HOLMES MULE # 2

12794-A BLIND BLAKE – HOOKWORM BLUES
12794-B BLIND BLAKE – SLIPPERY RAG

12795-A ELZADIE ROBINSON – MY PULLMAN PORTER MAN
12795-B ELZADIE ROBINSON – I AIN’T GOT NOBODY

12796-A HOKUM BOYS – SOMEBODY’S BEEN USING THAT THING
12796-B HOKUM BOYS – IT’S ALL WORN OUT

12797-A CHARLIE JACKSON – TAILOR MADE LOVER
12797-B CHARLIE JACKSON – TAKE ME BACK BLUES #2

12798-A HOLMES – TURNER – ROUNDERS LAMENT
12798-B WINSTON HOLMES – CHAS. TURNER – KANSAS CITY CALL

12799-A CHARLEY PATTON – PRAYER OF DEATH
12799-B ELDER J. J. HADLEY – PRAYER OF DEATH PART 2

12800-A CHARLES DAVENPORT – CHIMES BLUES
12800-B COW COW DAVENPORT – SLOW DRAG

12801-A BLIND LEMON JEFFERSON – PEACH ORCHARD MAMA
12801-B BLIND LEMON JEFFERSON – BIG NIGHT BLUES

12802-A WALTER HAWKINS – HOW COME MAMA BLUES
12802-B WALTER HAWKINS – VOICE THROWING BLUES

12803-A FREEZONE – INDIAN SQUAW BLUES
12803-B RAYMOND BARROW – WALKING BLUES

12804-A MA RAINEY – LOG CAMP BLUES
12804-B MA RAINEY – HUSTLIN’ BLUES

12805-A CHARLEY PATTON – SCREAMIN’ AND HOLLERIN’ THE BLUES
12805-B CHARLEY PATTON – MISSISSIPPI BOLL WEAVIL BLUES

12806-A GUY SMITH – SOUTHLAND BLUES
12806-B GUY SMITH – SAD STORY BLUES

12807 ROY GONZALES – ATTENDRE POUR UN TRAIN
12807 ROY GONZALES – UN PUSSY QUI BRILLE

12808-A SOLIEAU & ROBIN – MA CHERIE TITE FILLE
12808-B LEO SOILEAU – EASY RIDER BLUES

12809-A RAY WYNN – LIITLE PAL
12809-B FRED LANTRY & HIS ORCHESTRA – I’M IN SEVENTH HEAVEN

12810-A BLIND BLAKE – DOING A STRETCH
12810-B BLIND BLAKE – POKER WOMAN BLUES

12811-A HOKUM BOYS – PUT YOUR MIND ON IT
12811-B HOKUM BOYS – HOKUM BLUES

12812-A FEATHERS AND FROGS – HOW’D YOU GET THAT WAY
12812-B FEATHERS AND FROGS – SWEET BLACK DOG

12813-A BIDDLEVILLE QT – DIP IN THE BEAUTIFUL STREAM
12813-B BIDDLEVILLE QT – I’M TORMENTED IN THE FLAME

12814-A WALTER HAWKINS – SNATCH IT AND GRAB IT
12814-B WALTER HAWKINS – RAG BLUES

12815-A W. HOLMES & C. TURNER – SKINNER
12815-B HOLMES – TURNER – KANSAS CITY DOG WALK

12816-A HENRY BROWN – IT HURTS SO GOOD
12816-B IKE RODGERS – SCREENIN’ THE BLUES

12817-A CHARLES SPAND – BACK TO THE WOODS BLUES
12817-B CHARLES SPAND – GOOD GAL

12818-A NORFOLK JUBILEE Quartette – WAY DOWN IN EGYPTLAND
12818-B NORFOLK JUBILEE Quartette – I’M GONNA SERVE GOD TILL I DIE

12819-A ALICE MOORE – BLACK AND EVIL BLUES
12819-B ALICE MOORE – BROADWAY STREET WOMAN

12820-A ROOSEVELT GRAVES – GUITAR BOOGIE
12820-B ROOSEVELT GRAVES – NEW YORK BLUES

12821-A HOKUM BOYS – AIN’T GOING THAT WAY
12821-B HOKUM BOYS – YOU CAN’T GET ENOUGH OF THAT STUFF

12822-A CARVER BOYS – SISCO HARMONICA BLUES
12822-B CARVER BOYS – WANG WANG HARMONICA BLUES

12823-A EDITH JOHNSON – HONEY DRIPPER BLUES
12823-B EDITH JOHNSON – NICKEL WORTH OF LIVER

12824-A BLIND BLAKE – TOO TIGHT BLUES # 2
12824-B BLIND BLAKE – GEORGIA BOUND

12825-A HENRY BROWN – TWENTY FIRST STREET STOMP
12825-B HENRY BROWN – HENRY BROWN BLUES

12826-A GEORGE THOMAS – FAST STUFF BLUES
12826-B GEORGE THOMAS – DON’T KILL HIM IN HERE

12827-A DOBBY BRAGG (R. SYKES) – FIRE DETECTIVE BLUES
12827-B DOBBY BRAGG (R. SYKES) – SINGLE TREE BLUES

12828-A TED DARBY – LAWDY LAWDY WORRIED BLUES
12828-B TEDDY DARBY – MY LEONA BLUES

12829-A JESSE JOHNSON – I WISH I HAD DIED IN EGYPTLAND
12829-B JESSE JOHNSON – I WISH I HAD DIED IN EGYPTLAND

12830-A ROBIN & SOILEAU – LA VALSE DE RUE DE CANAL
12830-B ROBIN & SOILEAU – MA MAUVAIS FILLE

12831-A COOT GRANT & SOCK WILSON – BIG TRUNK BLUES
12831-B LEOLA WILSON – AIN’T GOING TO GIVE YOU NONE

12832-A ROY GONZALES – ANUITANT ET BLEUE
12832-B ROY GONZALES – CHOCTAW BEER BLUES

12833-A COOT GRANT & SOCKS WILSON – CAN I GET SOME OF THAT
12833-B LEOLA WILSON – UNCLE JOE

12834-A SOUTH CAROLINA QT – PAUL AND SILAS
12834-B SOUTH CAROLINA QT – I HEARD MY MOTHER CALL MY NAME

12835-A JUBILEE GOSPEL TEAM – DRY BONES IN THE VALLEY
12835-B JUBILEE GOSPEL SINGERS – THESE BONES ARE GOIN’ TO RISE AGAIN

12836-A JUBILEE GOSPEL TEAM – LET JESUS LEAD THE WAY
12836-B JUBILEE GOSPEL TEAM – STATION WILL BE CHANGED

12837-A JUBILEE GOSPEL TEAM – DON’T KNOW WHEN DEATH WILL COME
12837-B JUBILEE GOSPEL TEAM – I KNOW THE LORD HAS LAID HIS HAND UPON ME

12838-A JUBILEE GOSPEL TEAM – I HAVE CROSSED THE SEPARATING LINE
12838-B JUBILEE GOSPEL TEAM – YOU’VE GOT TO MEET YOUR GOD SOMEWHERE

12839-A CLARENCE WILLIAMS ORCH – WILDFLOWER
12839-B CLARENCE WILLIAMS ORCH – MIDNIGHT STOMP

12840-A KATHERINE HENDERSON – DO IT BABY
12840-B KATHERINE HENDERSON – IF YOU LIKE ME

12841-A SARA MARTIN – DEATH STING ME BLUES
12841-B SARA MARTIN – MISTREATING MAN BLUES

12842-A STUMP JOHNSON – DUCK’S YAS YAS
12842-B JAMES STUMP JOHNSON – SNITCHERS BLUES

12843-A GEORGE WILSON – CHICKEN WILSON BLUES
12843-B GEORGE WILSON & JIMMY HINTON – HOUSE SNAKE BLUES

12844-A NORFOLK JUBILEE QT – PLEASE GIVE ME SOME OF THAT
12844-B NORFOLK JAZZ QT – WHAT IS THE MATTER NOW

12845-A BIDDLEVILLE QT – WASN’T THAT A MIGHTY DAY?
12845-B BIDDLEVILLE QT – I HEARD THE VOICE OF JESUS SAY

12846 BIDDLEVILLE QT – HOLY IS MY NAME
12846 BIDDLEVILLE QT – WAY DOWN IN EGYPTLAND

12847-A BIDDLEVILLE QT – THE DAY IS PAST AND GONE
12847-B BIDDLEVILLE QT – GOT HEAVEN IN MY VIEW

12848-A BIDDLEVILLE QT – DIDN’T IT RAIN?
12848-B BIDDLEVILLE QT – PHAROAHS ARMY GOT DROWNED

12849-A BIDDLEVILLE QT – THE LORD GIVETH
12849-B BIDDLEVILLE QT – JESUS IS GONNA SHAKE MY RIGHTEOUS HAND

12850-A LOTTIE KIMBROUGH – ROLLING LOG BLUES
12850-B LOTTIE KIMBROUGH – GOING AWAY BLUES

12851-A BARREL HOUSE FIVE – HOT LOVIN’
12851-B BARREL HOUSE FIVE – MAMA STAYED OUT ALL NIGHT

12852-A BLIND LEMON JEFFERSON – BAKERSHOP BLUES
12852-B BLIND LEMON JEFFERSON – LONG DISTANCE MOAN

12853-A CHARLIE JACKSON – TAIN’T WHAT YOU DO BUT HOW YOU DO IT
12853-B CHARLIE JACKSON – FORGOTTEN BLUES

12854-A CHARLIE PATTON – DOWN THE DIRT ROAD
12854-B CHARLES PATTON – IT WON’T BE LONG NOW

12855-A WILL EZELL – PITCHIN’ BOOGIE
12855-B WILL EZELL – JUST CAN’T STAY HERE

12856-A CHARLIE SPAND – AIN’T GONNA STAND FOR THAT
12856-B CHARLIE SPAND – MOANIN’ THE BLUES

12857-A McKENZIE & CRUMP – WHO’S GONNA DO YOUR JELLY ROLLIN’
12857-B McKENZIE & CRUMP – THAT’S A MARRIED MAN’S WEAKNESS

12858-A HOKUM BOYS – LET ME PAT THAT THING
12858-B HOKUM BOYS – WENT TO HIS HEAD

12859-A ROOSEVELT GRAVES – BUSTING THE JUG
12859-B ROOSEVELT GRAVES – CRAZY ABOUT MY BABY

12860-A JAMES WIGGINS – FORTY FOUR BLUES
12860-B JAMES HARRIS – FRISCO BOUND

12861-A TOO BAD BOYS – CORRINNE CORRINNA
12861-B TOO BAD BOYS – BALLIN’ THE JACK

12862-A STUMP JOHNSON – WOULD YOU DO WHAT I ASKED YOU TO
12862-B STUMP JOHNSON – KIND BABE BLUES

12863-A BLIND BLAKE – FIGHTING THE JUG
12863-B BLIND BLAKE – HASTINGS STREET

12864-A EDITH JOHNSON – GOOD CHIB BLUES
12864-B EDITH WILSON – CAN’T MAKE ANOTHER DAY

12865-A LEE GREEN – DOWN ON DEATH ALLEY
12865-B LEE GREEN – FIVE MINUTE BLUES

12866-A CLIFFORD GIBSON – TIRED OF BEING MISTREATED
12866-B CLIFFORD GIBSON – TIRED OF MISTREATED #2

12867-A BLIND BLAKE – LONESOME CHRISTMAS BLUES
12867-B BLIND BLAKE – THIRD DEGREE BLUES

12868-A ALICE MOORE – PRISON BLUES
12868-B ALICE MOORE – MY MAN BLUES

12869-A CHARLIE PATTON – SHAKE IT AND BREAK IT BUT DON’T LET IT FALL
12869-B CHARLIE PATTON – A SPOONFUL BLUES

12870-A CLARENCE WILLIAMS – PANE IN THE GLASS
12870-B CLARENCE WILLIAMS – SATURDAY NIGHT RAG

12871-A LONNIE CLARK – BROKE DOWN ENGINE
12871-B LONNIE CLARK – DOWN IN TENNESSEE

12872-A BLIND LEMON JEFFERSON – BED SPRINGS BLUES
12872-B BLIND LEMON JEFFERSON – YO YO BLUES

12873-A TENDERFOOT EDWARDS – SEVEN SISTER BLUES
12873-B TENDERFOOT EDWARDS – FLORIDA BOUND BLUES

12874-A BLIND ARTHUR GROOM (JACKSON) – TAKE YOUR BURDEN TO THE LORD
12874-B ARTHUR GROOM (R. SYKES) – TELEPHONE TO GLORY

12875-A BARREL HOUSE FIVE – ENDURANCE STOMP
12875-B BARREL HOUSE FIVE – SOME DO AND SOME DON’T

12876-A REV. P. C. EDMONDS – TELL THE FOX I AM HERE
12876-B REV. P. C. EDMONDS – THERE IS A HOLE IN THE WALL

12877-A CHARLIE PATTON – PEA VINE BLUES
12877-B CHARLIE PATTON – TOM RUSHEN BLUES

12878-A JAMES WIGGINS – MY LOVIN’ BLUES
12878-B JAMES WIGGINS – WEARY HEART BLUES

12879-A LEROY GARNETT – CHAIN EM DOWN
12879-B LEROY GARNETT – LOUISIANA GLIDE

12880-A BLIND LEMON JEFFERSON – PNEUMONIA BLUES
12880-B BLIND LEMON JEFFERSON – THAT CRAWLIN’ BABY BLUES

12881-A CLARA BURSTON – WEAK AND NERVOUS BLUES
12881-B CLARA BURSTON – GEORGIA MAN BLUES

12882-A HOKUM BOYS – I WAS AFRAID OF THAT
12882-B BLIND BLAKE – I WAS AFRAID OF THAT # 2

12883-A CHARLIE PATTON – LORD I’M DISCOURAGED
12883-B CHARLIE PATTON – I’M GOING HOME

12884-A CLARENCE WILLIAMS – LONG DEEP AND WIDE
12884-B CLARENCE WILLIAMS – SPEAKEASY

12885-A CLARENCE WILLIAMS – SQUEEZE ME
12885-B CLARENCE WILLIAMS – NEW DOWN HOME BLUES

12886-A PARAMOUNT ALLSTARS – HOME TOWN SKIFFLE
12886-B PARAMOUNT ALLSTARS – HOMETOWN SKIFFLE PT. 2

12887-A CHARLES SPAND – IN THE BARREL BLUES
12887-B CHARLIE SPAND – LEVEE CAMP MOAN

12888-A BLIND BLAKE – POLICE DOG BLUES
12888-B BLIND BLAKE – DIDDLE WA DIDDLE

12889-A BLUE HARMONY BOYS – TAKE IT OUT TOO DEEP
12889-B RUFUS & BEN QUILLIAN – JERKING THE LOAD

12890-A NORFOLK JUBILEE QT – WHEN THE MOON GOES DOWN
12890-B NORFOLK JUBILEE QT – MOANIN’ IN THE LAND WILL SOON BE OVER

12891-A ROOSEVELT GRAVES – STAGGERING BLUES
12891-B ROOSEVELT GRAVES – LOW DOWN WOMAN

12892-A BLIND ARTHUR – GUITAR CHIMES
12892-B BLIND ARTHUR – BLIND ARTHUR BREAKDOWN

12893-A FRANK PALMES – TROUBLED BOUT MY SOUL
12893-B FRANK PALMES – AIN’T GONNA LAY MY ‘LIGION DOWN

12894-A FRANK STOKES – FILLIN IN BLUES
12894-B BEALE STREET SHEIKS – FILLIN IN BLUES # 2

12895-A REV. BEAUMONT – WAKE UP
12895-B REV. BEAUMONT – SPEAK LORD THY SERVENT HEARS YOU

12896-A MEADE LUX LEWIS – HONKY TONK TRAIN BLUES
12896-B CHARLES AVERY – DEARBORN STREET BREAKDOWN

12897-A HOKUM BOYS – GAMBLERS BLUES
12897-B HOKUM BOYS – LET ME HAVE IT

12898-A KANSAS CITY FRANK FOOTWARMERS – ST JAMES INFIRMARY
12898-B KANSAS CITY FRANK FOOTWARMERS – WAILING BLUES

12899-A BLIND LEMON JEFFERSON – SOUTHERN WOMAN BLUES
12899-B BLIND LEMON JEFFERSON – MOSQUITO MOAN

12900-A ELZADIE ROBINSON – DRIVING ME SOUTH
12900-B ELZADIE ROBINSON – PAST AND FUTURE BLUES

12901-A BLUE HARMONY BOYS – GOOD FEELING BLUES
12901-B BLUE HARMONY BOYS – SWEET MISS STELLA

12902-A MA RAINEY – LEAVING THIS MORNING
12902-B MA RAINEY – RUNAWAY BLUES

12903-A BIDDLEVILLE QT – JUDAS AND JESUS WALK TOGETHER
12903-B BIDDLEVILLE QT – HANDWRITING ON THE WALL

12904-A BLIND BLAKE – ICE MAN BLUES
12904-B BLIND BLAKE – CHUMP MAN BLUES

12905-A CHARLIE JACKSON – PAPA DO DO BLUES
12905-B CHARLIE JACKSON – I’LL BE GONE BABE

12906-A STUMP JOHNSON – SOAKING WET BLUES
12906-B STUMP JOHNSON – TRANSOM BLUES

12907-A TEDDY DARBY – LOSE YOUR MIND
12907-B TEDDY DARBY – WHAT AM I TO DO

12908 Unknown

12909-A CHARLIE PATTON – HIGH WATER EVERYWHERE
12909-B CHARLIE PATTON – HIGH WATER BLUES PART 2

12910-A FREDDIE BROWN – RAISED IN THE ALLEY BLUES
12910-B FREDDIE BROWN – WHIP IT TO A JELLY

12911-A CHARLIE JACKSON – PAPA CHARLIE & BLIND BLAKE TALK ABOUT IT
12911-B CHARLIE JACKSON – TALK ABOUT IT PT. 2

12912-A HENRY SIMS – COME BACK CORRINNA
12912-B HENRY SIMS – FARRELL BLUES

12913-A ROOSEVELT GRAVES – HAPPY SUNSHINE
12913-B ROOSEVELT GRAVES – I’M PRESSING ON

12914-A WILL EZELL – FREAKISH MISTREATER BLUES
12914-B WILL EZELL – HOT SPOT STUFF

12915-A EDITH JOHNSON – HONEY DRIPPER # 2
12915-B EDITH JOHNSON – NICKEL WORTH OF LIVER # 2

12916-A JAMES WIGGINS – CORINNE CORINNA BLUES
12916-B JAMES WIGGINS – GOTTA SHAVE EM DRY

12917-A CHARLES SPAND – GOT TO HAVE MY SWEETBREAD
12917-B CHARLIE SPAND – MISSISSIPPI BLUES

12918-A BLIND BLAKE – BABY LOU BLUES
12918-B BLIND BLAKE – COLD LOVE BLUES

12919-A HOKUM BOYS – SOMEBODY’S BEEN USING THAT THING NO. 2
12919-B HOKUM BOYS – GAMBLER’S BLUES NO. 2

12920-A SMOKY HARRISON – IGGLY OGGLY BLUES
12920-B SMOKY HARRISON – HOP HEAD BLUES

12921-A BLIND LEMON JEFFERSON – CAT MAN BLUES
12921-B BLIND LEMON JEFFERSON – FENCE BREAKIN YELLIN BLUES

12922-A BESSIE MAE SMITH – FAREWELL BABY BLUES
12922-B BESSIE MAE SMITH – ST LOUIS DADDY

12923-A CLIFFORD GIBSON – STOP YOUR RAMBLING
12923-B CLIFFORD GIBSON – SUNSHINE MOAN

12924-A CHARLIE PATTON – RATTLESNAKE BLUES
12924-B CHARLIE PATTON – RUNNIN’ WILD BLUES

12925-A REV. EMMET DICKINSON – SERMON ON TIGHT LIKE THAT
12925-B REV. EMMET DICKINSON – IS THERE HARM IN SINGING THE BLUES

12926-A MA RAINEY – SWEET ROUGH MAN
12926-B MA RAINEY – BLACK DUST BLUES

12927-A BLIND JOE REYNOLDS – NEHI BLUES
12927-B BLIND JOE REYNOLDS – OUTSIDE WOMAN BLUES

12928-A CHARLIE McFADDEN – GROCERIES ON THE SHELF
12928-B CHARLIE McFADDEN – PEOPLE PEOPLE BLUES

12929-A NORFOLK JUBILEE QT – TELL ME WHAT YOU SAY
12929-B NORFOLK JUBILEE QT – OH WHAT A BEAUTIFUL CITY

12930-A CHARLES SPAND – ROOM RENT BLUES
12930-B CHARLES SPAND – FORTY FIFTH STREET BLUES

12931-A MARY JOHNSON – MEAN BLACK MAN BLUES
12931-B MARY JOHNSON – DREAM DADDY BLUES

12932-A WESLEY LONG – DOWN ON THE FARM
12932-B WESLEY LONG – NOBODY’S SWEETHEART NOW

12933-A BLIND LEMON JEFFERSON – CHEATER’S BALL
12933-B BLIND LEMON JEFFERSON – DISGUSTED BLUES

12934-A HENRY BROWN – BLUES STOMP
12934-B HENRY BROWN – BLIND BOY BLUES

12935-A HOKUM BOYS – FOLKS DOWN STAIRS
12935-B HOKUM BOYS – SELLING THAT STUFF # 2

12936-A SMOKEY HARRISON – ST PETERS BLUES
12936-B SMOKEY HARRISON – ST PETERS BLUES # 2

12937-A BIDDLEVILLE QT – JESUS IS A ROCK IN THE WEARY LAND
12937-B BIDDLEVILLE QT – I STRETCH MY HAND TO THEE

12938-A STUMP JOHNSON – YOU BUZZARD YOU
12938-B STUMP JOHNSON – BABY B BLUES

12939-A EDITH JOHNSON – EIGHT HOUR WOMAN
12939-B EDITH JOHNSON – THAT’S MY MAN

12940-A HENRY SIMS – BE TRUE BE TRUE BLUES
12940-B HENRY SIMS – TELL ME MAN BLUES

12941-A ISHMAN BRACEY – JAKE LIQUOR BLUES
12941-B ISHMAN BRACEY – FAMILY STARVING

12942-A BARRELHOUSE 5 – SCUFFLIN’ BLUES
12942-B BARREL HOUSE FIVE – IT’S NOBODY’S BUSINESS

12943-A CHARLIE PATTON – MEAN BLACK CAT BLUES
12943-B CHARLIE PATTON – MAGNOLIA BLUES

12944-A CHOCOLATE BROWN (SCRUGGS) – STINGAREE MAN
12944-B CHOCOLATE BROWN (SCRUGGS) – ITCHING REEL

12945-A WASHBOARD WALTER & BYRD – WASN’T IT SAD ABOUT LEMON
12945-B REV. EMMET DICKINSON – DEATH OF BLIND LEMON

12946-A BLIND LEMON JEFFERSON – BOOTIN’ ME ‘BOUT
12946-B BLIND LEMON JEFFERSON – EMPTY HOUSE BLUES

12947-A ALICE MOORE – SERVING TIME BLUES
12947-B ALICE MOORE – LOVING HEART BLUES

12948-A DELTA BIG FOUR – WHERE WAS EVE SLEEPING
12948-B DELTA BIG FOUR – I KNOW MY TIME AINT LONG

12949-A CHARLIE TAYLOR – ISHMAN BRACEY – WHERE MY SHOES AT?
12949-B CHARLIE TAYLOR – ISHMAN BRACEY – TOO DAMP TO BE WET

12950-A TOMMY JOHNSON – ALCOHOL AND JAKE BLUES
12950-B TOMMY JOHNSON – RIDIN’ HORSE

12951-A GEECHIE WILEY – LAST KIND WORDS BLUES
12951-B GEECHIE WILEY – SKINNY LEG BLUES

12952-A EDWARD THOMPSON – UP ON THE HILL BLUES
12952-B TENDERFOOT EDWARDS – WHEN YOU DREAM OF MUDDY WATER

12953-A CHARLIE PATTON – MEAN BLACK MOAN
12953-B CHARLIE PATTON – HEART LIKE RAILROAD STEEL

12954-A WASHBOARD WALTER – INSURANCE MAN BLUES
12954-B WASHBOARD WALTER – NARROW FACE BLUES

12955-A ARNOLD WILEY – SPIDER IN YOUR DUMPLING
12955-B ARNOLD WILEY – JUMPING BLUES

12956-A CHARLIE JACKSON – YOU GOT THAT WRONG
12956-B CHARLIE JACKSON – SELF EXPERIENCE

12957-A NORFOLK JUBILEE QT – THERE WILL BE GLORY
12957-B NORFOLK JUBILEE QT – I’M GONNA OPEN MY MOUTH TO THE LORD

12958-A WESLEY WALLACE – NO. 29
12958-B WESLEY WALLACE – FANNY LEE BLUES

12959-A REV. EMMET DICKINSON – SERMON FOR MEN ONLY
12959-B REV. EMMET DICKINSON – WHAT THE MAN WANTED

12960-A GEORGE ALLISON – HOW I FEEL MY LOVE
12960-B WILLIE WHITE & G.ALLISON – I’LL BE MEAN TO YOU BLUES

12961-A ROOSEVELT GRAVES – SAD DREAMING BLUES
12961-B ROOSEVELT GRAVES – ST LOUIS RAMBLER

12962 Unknown

12963-A MA RAINEY – BLACK EYE BLUES
12963-B MA RAINEY – DADDY GOODBYE BLUES

12964-A BLIND BLAKE – KEEP IT HOME
12964-B BLIND BLAKE – SWEET JIVIN’ MAMA

12965-A IDA COX – I’M SO GLAD
12965-B IDA COX – JAIL HOUSE BLUES

12966-A REV. T. T. ROSE – ROLL THE OLD CHARIOT ALONG
12966-B REV. ROSE – SEE THE SIGN OF JUDGEMENT

12967-A CHARLES TAYLOR – LOUISIANA BOUND
12967-B CHARLES TAYLOR – HEAVY SUITCASE BLUES

12968-A SIX CYLINDER SMITH – OH OH LONESOME BLUES
12968-B SIX CYLINDER SMITH – PENNSYLVANIA WOMAN BLUES

12969-A BIDDLEVILLE QT – BLESSED BE THE TIE THAT BINDS
12969-B BIDDLEVILLE QT – I’M GOING TO LIVE WITH THE LORD

12970-A ISHMAN BRACEY – WOMAN WOMAN BLUES
12970-B ISHMAN BRACEY – SUITCASE FULL OF BLUES

12971-A REV. EMMET DICKINSON – SIN IS A MESS
12971-B REV. EMMET DICKINSON – WATCH

12972-A CHARLIE PATTON – GREEN RIVER BLUES
12972-B CHARLIE PATTON – ELDER GREEN BLUES

12973-A ALICE MOORE – HAVE MERCY BLUES
12973-B ALICE MOORE – COLD IRON WALLS

12974-A ROOSEVELT GRAVES – I SHALL NOT BE MOVED
12974-B ROOSEVELT GRAVES

12975 TOMMY JOHNSON – SLIDIN’ DELTA
12975 TOMMY JOHNSON – I WONDER TO MYSELF

12976-A BLUE HARMONY BOYS – RAGGED BUT RIGHT
12976-B BLUE HARMONY BOYS – ALL IN DOWN AND OUT

12977-A ELVIE THOMAS – MOTHERLESS CHILD BLUES
12977-B WILEY & THOMAS – OVER TO MY HOUSE

12978-A CHOCOLATE BROWN (SCRUGGS) – YOU GOT WHAT I WANT
12978-B CHOCOLATE BROWN (SCRUGGS) – CHERRY HILL BLUES

12979-A WILLIE DAVIS – TRUST IN GOD AND DO RIGHT
12979-B WILLIE DAVIS – I BELIEVE I’LL GO BACK HOME

12980-A NEW ORLEANS NEHI BOY – MOBILE STOMP
12980-B NEW ORLEANS NEHI BOY – FARRISH STREET RAG

12981-A RUDY FOSTER – BLACK GAL MAKES IT THUNDER
12981-B RUDY FOSTER – CORN TRIMMER BLUES

12982-A BUCK McFARLAND – ST LOUIS FIRE BLUES
12982-B BUCK McFARLAND – ON YOUR WAY

12983-A JOE REYNOLDS – NINETY NINE BLUES
12983-B JOE REYNOLDS – COLD WOMAN BLUES

12984-A SMOKY HARRISON – BLUB BLUB BLUES
12984-B SMOKY HARRISON – MAIL COACH BLUES

12985-A MAE BELLE MILLER – BEALE AND MAIN BLUES
12985-B MAE BELLE MILLER – LONG TALL MAN BLUES

12986-A CHARLIE PATTON – JESUS IS A DYING BED MAKER
12986-B CHARLIE PATTON – I SHALL NOT BE MOVED

12987-A REV. MOSELEY – WATCH AND PRAY
12987-B DELTA BIG FOUR – GOD WON’T FORSAKE HIS OWN

12988-A HENRY BROWN – EASTERN CHIMES BLUES
12988-B HENRY BROWN – DEEP MORGAN BLUES

12989-A REV. EMMET DICKINSON – SOMETHING’S DEAD UP THE CREEK
12989-B REV. EMMET DICKINSON – TEND YOUR OWN TROUBLES

12990-A SON HOUSE – DRY SPELL BLUES
12990-B SON HOUSE – DRY SPELL BLUES # 2

12991-A WASHBOARD WALTER – OVERALL CHEATER BLUES
12991-B WASHBOARD WALTER – DISCONNECTED MAMA

12992-A LOUISE JOHNSON – ALL NIGHT LONG BLUES
12992-B LOUISE JOHNSON – LONG WAY FROM HOME

12993-A NORFOLK JUBILEE QT – I HEARD THE VOICE OF JESUS SAY
12993-B NORFOLK JUBILEE QT – I’M PRESSING ON TO THE CITY

12994-A BLIND BLAKE – HARD PUSHING PAPA
12994-B BLIND BLAKE – DIDDIE WA DIDDIE NO. 2

12995-A ROBERT PEOPLES – WICKED DEVIL BLUES
12995-B ROBERT PEOPLES – FAT GREASY BABY

12996-A MARY JOHNSON – BARRELL HOUSE FLAT BLUES
12996-B MARY JOHNSON – KEY TO THE MOUNTAIN BLUES

12997-A JOHN BYRD – BILLY GOAT BLUES
12997-B JOHN BYRD – OLD TIMBROOK BLUES

12998-A CHARLEY PATTON – HAMMER BLUES
12998-B CHARLEY PATTON – WHEN YOUR WAY GETS DARK

12999 ALMA LILLIE HUBBARD – BLIND MAN STOOD ON THE ROAD AND CRIED
12999 ALMA LILLIE HUBBARD – WALK THE STREETS OF GLORY

Paramount 13000 series (1930–1932):

13000-A TOMMY JOHNSON – BLACK MARE BLUES
13000-B TOMMY JOHNSON – LONESOME HOME BLUES

13001 WILLIE BROWN – GRANDMA BLUES
13001 WILLIE BROWN – SORRY BLUES

13002-A OLIVER COBB – CORNET PLEADING BLUES
13002-B OLIVER COBB – CORNET PLEADING BLUES

13003-A CLARA BURSTON – C.P.BLUES
13003-B CLARA BURSTON – BEGGING MAN BLUES

13004-A DOBBY BRAGG (SYKES) – WE CAN SELL THAT THING
13004-B DOBBY BRAGG (SYKES) – THREE SIX & NINE

13005-A CHARLIE SPAND – SHE’S GOT GOOD STUFF
13005-B CHARLES SPAULDING (C. SPAND) – BIG FAT MAMA BLUES

13006-A BROTHER MONTGOMERY – VICKSBURG BLUES
13006-B BROTHER MONTGOMERY – NO SPECIAL RIDER BLUES

13007 JERRY’S TOWN & COUNTRY ORCH – THOUSAND MILES
13007 JERRY’S TOWN & COUNTRY ORCH – FRANKIE AND JOHNNY

13008-A LOUISE JOHNSON – ON THE WALL
13008-B LOUISE JOHNSON – BY THE MOON AND STARS

13009-A DELTA BIG FOUR – WE’RE ALL GONNA FACE THE RISING SUN
13009-B DELTA BIG FOUR – MOANER, LET’S GO DOWN IN THE VALLEY

13010-A FRANKIE & CLARA – FRANKIE & CLARA BLUES
13010-B FRANKIE & CLARA – FRANKIE & CLARA #2

13011 REV. EMMETT DICKINSON – DRY CLEANING THE SKUNK
13011 REV. EMMETT DICKINSON – IT’S YOUR TIME NOW

13012 JAYDEE SHORT – STEAMBOAT ROUSTY
13012 JAYDEE SHORT – GETTIN’ UP ON THE HILL

13013-A SON HOUSE – PREACHIN’ THE BLUES
13013-B SON HOUSE – PREACHIN’ THE BLUES

13014-A CHARLIE PATTON – MOON GOING DOWN
13014-B CHARLIE PATTON – GOING TO MOVE TO ALABAMA

13015-A MARIE GRIFFIN – WHAT DO YOU THINK THIS IS
13015-B MARIE GRIFFIN – BLUE AND DISGUSTED

13016-A BLIND BLAKE – WHAT A LOW DOWN PLACE THE JAILHOUSE IS
13016-B BLIND BLAKE – AIN’T GONNA DO THAT NO MORE

13017-A BEE TURNER – JIVIN’ JELLY ROLL BLUES
13017-B BEE TURNER – ROUGH TREATIN’ DADDY

13018-A EDWARD THOMPSON – WEST VIRGINIA BLUES
13018-B EDWARD THOMPSON – SHOWERS OF RAIN BLUES

13019-A BARREL HOUSE FRANKIE WALLACE – I HAD TO SMACK THAT THING
13019-B BARREL HOUSE FRANKIE WALLACE – SMOTHER ME BLUES

13020-A BLIND JOE TAGGART – WONDER WILL MY TROUBLE THEN BE OVER
13020-B BLIND JOE TAGGART – WADED IN THE WATER TRYING TO GET HOME

13021- CHARLES McFADDEN – ELECTRIC CHAIR CROW JANE
13021-B CHARLES McFADDEN – WHISKEY HEAD MAN

13022-A CHARLIE SPAND – SOON THIS MORNING #2
13022-B CHARLIE SPAND – MISTREATMENT BLUES

13023 IRENE SCRUGGS – MUST GET MINE IN FRONT
13023 IRENE SCRUGGS – GOOD MEAT GRINDER

13024-A GEORGE HANNAH – BOY IN THE BOAT
13024-B GEORGE HANNAH – FREAKISH MAN BLUES

13025 REV. EMMET DICKINSON – CHRISTMAS, WHAT DOES IT MEAN TO YOU?
13025 REV. EMMET DICKINSON – NUMBERS

13026 ANNA COLEMAN – UNKIND BLUES
13026 ANNA COLEMAN – KINGFISH BLUES

13027 ANNA BELLE COLEMAN with “KINGFISH” BILL TOMLIN – MEAN WATER BLUES
13027 ANNA BELLE COLEMAN with “KINGFISH” BILL TOMLIN – SIGNIFYING BLUES

13028-A BOB ROBINSON – THE PREACHER MUST GET SOME SOMETIME
13028-B  BOB ROBINSON – I GOT SOME OF THAT

13029 ROEBUCK RAY – SWEET MAMA
13029 ?

13030-A BOB ROBINSON – DON’T PUT THAT THING ON ME
13030-B HARUM SCARUMS – SITTIN’ ON TOP OF THE WORLD

13031-A CHARLIE PATTON – SOME HAPPY DAY
13031-B CHARLIE PATTON – YOU’RE GONNA NEED SOMEBODY WHEN YOU DIE

13032-A EDITH JOHNSON – BEAT YOU DOING IT
13032-B EDITH JOHNSON – WHISPERING TO MY MAN

13033-A ROBERT PEEBLES – DYING BABY BLUES
13033-B ROBERT PEEBLES – MAMA’S BOY

13034-A BILL TOMLIN – ARMY BLUES
13034-B BILL TOMLIN – HOT BOX

13035-A BLIND BLAKE – PLAYING POLICY BLUES
13035-B BLIND BLAKE – RIGHTEOUS BLUES

13036-A REV. T. T. ROSE – THIS HOLY TRAIN
13036-B REV. T. T. ROSE – STAY ON BOARD THE SHIP

13037-A PEGGY WALLER & GEORGE RAMSEY – BLACKSNAKE WIGGLE
13037-B PEGGY WALLER & GEORGE RAMSEY – NO JOB BLUES

13038-A ISHMAN BRACEY – BUST UP BLUES
13038-B ISHMAN BRACEY – PAY ME NO MIND

13039-A REV. EMMET DICKINSON – DEAD ARGUIN’ WITH THE DEAD
13039-B REV. EMMET DICKINSON – WOMAN

13040-A CHARLIE PATTON – CIRCLE ROUND THE MOON
13040-B CHARLIE PATTON – DEVIL SENT THE RAIN

13040 KAYDEE SHORT – DRAFTED MAMA
13040 KAYDEE SHORT – WAKE UP BRIGHT EYE MAMA
[since No. 13040 was used for the Patton disc, the Kaydee short release was probably cancelled]

13041-A ALMA LILLIE HUBBARD – NO HIDIN’ PLACE DOWN THERE
13041-B ALMA LILLIE HUBBARD – THE OLD ARK IS MOVING

13042-A SON HOUSE – MY BLACK MAMA PART 1
13042-B SON HOUSE – MY BLACK MAMA PART 2

13043-A JAYDEE SHORT – LONESOME SWAMP RATTLESNAKE
13043-B JAYDEE SHORT – TELEPHONE ARGUIN’ BLUES

13044-A DOBBY BRAGG (R. SYKES) – CONJUR MAN BLUES
13044-B DOBBY BRAGG (R. SYKES) – LITTLE SOW BLUES

13045-A CLARA BURSTON – TOO BAD FOR YOU
13045-B CLARA BURSTON – GINGER SNAPPING

13046-A IRENE SCRUGGS – BORROWED LOVE BLUES
13046-B IRENE SCRUGGS – BACK TO THE WALL

13047-A CHARLES SPAND – THIRSTY WOMAN BLUES
13047-B CHARLES SPAND – DREAMING THE BLUES

13048-A GEORGE HANNAH – MOLASSES SUPPER BLUES
13048-B GEORGE HANNAH – ALLEY RAT BLUES

13049-A TOMMY SETTLES – LOW DOWN BLUES MOAN
13049-B TOMMY SETTLES – LOW DOWN MOAN No. 2

13050-A HATTIE BURLESON – CLEARING HOUSE BLUES
13050-B HATTIE BURLESON – HIGH FIVE BLUES

13051-A KID EDWARDS – GIVE US ANOTHER JUG
13051-B KID EDWARDS – PIANO KID SPECIAL

13052-A BLACK BILLY (McPHERSON) – RED HORSE AND ITS RIDER
13052-B BLACK BILLY (McPHERSON) – THIS OLD WORLD’S IN A HELL OF A FIX

13053-A BIRMINGHAM BERTHA – GONE AWAY BLUES
13053-B BIRMINGHAM BERTHA – MAYBE IT’S THE BLUES

13054-A HARUM SCARUMS – ALABAMA SCRATCH
13054-B HARUM SCARUMS – ALABAMA SCRATCH NO. 2

13055-A REV. EMMET DICKINSON – BEWARE OF DOGS
13055-B REV. EMMET DICKINSON – IT’S NOT WHAT YOU THINK

13056-A TOMMY SETTLERS & BLUES MOANER – BIG BED BUG
13056-B TOMMY SETTLERS & BLUES MOANER – SHAKING WEED BLUES

13057-A BILL TOMLIN – DUPREE BLUES
13057-B BILL TOMLIN – MEAN AND UNKIND BLUES

13058-A PEGGY WALKER & GEORGE RAMSEY – BUSTED KEY BLUES
13058-B PEGGY WALKER & GEORGE RAMSEY – WHY DON’T YOU GIVE ME SOME

13059-A BLIND JOE TAGGART – IN THAT PEARLY WHITE CITY ABOVE
13059-B BLIND JOE TAGGART – PRESSIN’ UP THAT SHINY WAY

13060-A RUTH JOHNSON – CARELESS LOVE
13060-B RUTH JOHNSON – ROCKIN’ CHAIR

13061-A EASTON & HOWELL – CATCHING ERBS
13061-B EASTON & HOWELL – CATCHING ERBS NO. 2

13062-A SAM TARPLEY – ALABAMA HUSTLER
13062-B SAM TARPLEY – TRY SOME OF THAT

13063-A BERT HOWELL – YOU’RE DRIVING ME CRAZY
13063-B BERT HOWELL – I’LL BE SMILING WHEN YOU’RE CRYING

13064-A BOB ROBINSON – I’M GONNA MOOCHIE
13064-B BOB ROBINSON & MEADE LUX LEWIS – I DON’T WANT IT NOW

13065-A SKIP JAMES – CHERRY BALL BLUES
13065-B SKIP JAMES – HARD TIME KILLING FLOOR BLUES

13066-A SKIP JAMES – 22-20 BLUES
13066-B SKIP JAMES – IF YOU HAVEN’T GOT ANY HAY GET ON DOWN THE ROAD

13067-A MAE BELLE LEE & GEORGE RAMSEY – SITTIN’ ON TOP OF THE WORLD
13067-B MAE BELLE LEE – TIMES DONE GOT HARD

13068 MAE BELLE LEE & GEORGE RAMSEY – I’M TALKIN’ BOUT YOU
13068 MAE BELLE LEE & GEORGE RAMSEY – BUMBLE BEE

13069-A MAE BELLE LEE & GEORGE RAMSEY – BUMBLE BEE NO. 2
13069-B MAE BELLE LEE & GEORGE RAMSEY – I’M TALKIN BOUT YOU PART 2

13070-A CHARLIE PATTON – BIRD NEST BOUND
13070-B CHARLIE PATTON – DRY WELL BLUES

13071-A GEORGE RAMSEY – OH WHAT A FOOL BLUES
13071-B GEORGE RAMSEY – PERFECT MESS BLUES

13072 SKIP JAMES – YOLA MY BLUES AWAY
13072 SKIP JAMES – ILLINOIS BLUES

13073 (unknown)

13074-A GEECHIE WILEY – EAGLES ON A HALF
13074-B GEECHIE WILEY – PICK POOR ROBIN CLEAN

13075-A LAURA RUCKER – LITTLE JOE
13075-B LAURA RUCKER – ST LOUIS BLUES

13076-A CHARLIE McFADDEN – GROCERIES ON THE SHELF NO. 2
13076-B CHARLIE McFADDEN – YELLOW WOMAN BLUES

13077 MIKE BAILEY – NECK BONE BLUES
13077 MIKE BAILEY – BACK TO MEMPHIS TENNESSEE

13078-A REV. FULLBOSOM – SERMON ON SILVER DOLLAR
13078-B REV. FULLBOSOM – MOSES GO DOWN INTO PHAROAHLAND

13079 (unknown)

13080-A CHARLES PATTON – JIM LEE BLUES
13080-B CHARLIE PATTON – SOME SUMMER DAY

13081-A BLIND JOE TAGGART – HE DONE WHAT THE WORLD COULDN’T
13081-B BLIND JOE TAGGART – SATAN YOUR KINGDOM MUST COME DOWN

13082-A BLACK BILLY – CHICKENS WILL COME HOME TO ROOST
13082-B BLACK BILLY – QUIT YOUR MEANESS

13083 DOBBY BRAGG (R. SYKES) – SAIL ON LITTLE GIRL
13083 DOBBY BRAGG (R. SYKES) – DON’T LOOK STRANGE AT ME

13084 BIG BILL – HOW YOU WANT IT DONE
13084 BIG BILL BROOMSLEY – STATION BLUES

13085-A SKIP JAMES – HOW LONG BUCK
13085-B SKIP JAMES – LITTLE COW AND CALF IS GONNA DIE BLUES

13086-A KID EDWARDS – GAMBLING MAN’S PRAYER
13086-B KID EDWARDS – HARD LUCK GAMBLING MAN

13087-A EMMETT MATHEW – UPSIDE DOWN
13087-B EMMETT MATHEW – ST JAMES INFIRMARY

13088-A SKIP JAMES – DEVIL GOT MY WOMAN
13088-B SKIP JAMES – CYPRESS GROVE BLUES

13089-A REV. EMMET DICKINSON – GET INTO GOD’S RIGHTEOUSNESS
13089-B REV. EMMET DICKINSON – I HAVE PLAYED THE FOOL

13090-A WILLIE BROWN – M & O BLUES
13090-B WILLIE BROWN – FUTURE BLUES

13091 JAYDEE SHORT – FLAGGIN’ IT TO GEORGIA
13091 KAYDEE* SHORT – GEORGIA TAR ROAD BLUES *typo?

13092-A BIDDLEVILLE QT – HANDWRITING ON THE WALL
13092-B BIDDLEVILLE QT – AS I LIVE LET ME LIVE

13093 CHARLIE McFADDEN & D. BRAGG – YOU GOT THAT THING
13093 CHARLIE McFADDEN & D. BRAGG – ST LOUIS TRICKS WOMAN

13094-A BLIND JOE TAGGART – STRANGE THINGS HAPPENING IN THE LAND
13094-B BLIND JOE TAGGART – I AIN’T NO SINNER NOW

13095-A DELTA BIG FOUR – JESUS GOT HIS ARMS AROUND ME
13095-B DELTA BIG FOUR – I’LL BE HERE

13096-A SON HOUSE – MISSISSIPPI COUNTY FARM BLUES
13096-B SON HOUSE – CLARKSDALE MOAN

13097 HENRY TOWNSEND – DOCTOR OH DOCTOR
13097 HENRY TOWNSEND – JACK OF DIAMONDS

13098-A SKIP JAMES – I’M SO GLAD
13098-B SKIP JAMES – SPECIAL RIDER BLUES

13099 WILLIE BROWN – WINDOW BLUES
13099 WILLIE BROWN – KICKING IN MY SLEEP BLUES

13100-A WASHBOARD WALT – WUFFIN’ BLUES
13100-B WASHBOARD WALTER – I DON’T CARE WHAT YOU DO

13101-A CHARLES SPAND – EVIL WOMAN SPELL
13101-B CHARLES SPAND – GEORGIA MULE BLUES

13102 BUMBLE BEE SLIM (EASTON) – YO YO STRING BLUES
13102 BUMBLE BEE SLIM (EASTON) – STUMBLIN’ BLOCK BLUES

13103-A BLIND BLAKE – ROPE STRETCHING BLUES
13103-B BLIND BLAKE – ROPE STRETCHING BLUES PART 2

13104-A HARUM SCARUMS – COME ON IN
13104-B HARUM SCARUMS – WHERE DID YOU STAY LAST NIGHT?

13105 BLACK BILLY SUNDAY – WILL YOU SPEND ETERNITY IN HELL
13105 BLACK BILLY SUNDAY – THE HIGH COST OF SIN

13106-A SKIP JAMES – HARD LUCK CHILD
13106-B SKIP JAMES – FOUR O’CLOCK BLUES

13107-A ALICE MOORE – LONESOME DREAM BLUES
13107-B ALICE MOORE – KID MAN BLUES

13108-A SKIP JAMES – BE READY WHEN HE COMES
13108-B SKIP JAMES – JESUS IS A MIGHTY GOOD LEADER

13109-A BUMBLE BEE – NO WOMAN NO NICKEL
13109-B BUMBLE BEE – CHAIN GANG BOUND

13110-A CHARLIE PATTON – FRANKIE AND ALBERT
13110-B CHARLIE PATTON – SOME OF THESE DAYS I’LL BE GONE

13111 SKIP JAMES – WHAT AM I TO DO BLUES
13111 SKIP JAMES – DRUNKEN SPREE

13112-A CHARLES SPAND – HARD TIMES BLUES
13112-B CHARLES SPAND – TIRED WOMAN BLUES

13113-A JUBILEE GOSPEL SINGERS – JESUS IS MINE
13113-B JUBILEE GOSPEL SINGERS – I WANT JESUS TO WALK WITH ME

13114 SLIM BARTON & EDDIE MAPP – FOURTH AVENUE BLUES
13114 SLIM BARTON & EDDIE MAPP – WICKED TRAVELLIN’ BLUES

13115-A BLIND BLAKE – MISS EMMA LIZA
13115-B BLIND BLAKE – DISSATISFIED BLUES

13116-A KING SOLOMON HILL – WHOOPEE BLUES
13116-B KING SOLOMON HILL – DOWN ON MY BENDED KNEE

13117-A MARSHALL OWENS – TEXAS BLUES
13117-B MARSHALL OWENS – TRY ME ONE MORE TIME

13118-A BEN CURRY – BOODLE DE BUM BUM
13118-B BEN CURRY – FAT MOUTH BLUES

13119-A FAMOUS BLUEJAY SINGERS – CLANKA A LANKA
13119-B FAMOUS BLUEJAY SINGERS – I’M LEANING ON THE LORD

13120-A TOMMY SETTLES – JAZZIN’ THE BLUES
13120-B TOMMY SETTLES – BLOWING THE BUGLE

13121-A IRENE SCRUGGS – YOU GOT WHAT I WANT
13121-B CHARLES TAYLOR – P. C. RAILROAD BLUES

13122-A BEN CURRY – LAFFING RAG
13122-B BEN CURRY – HOT DOG

13123-A BLIND BLAKE – NIGHT AND DAY BLUES
13123-B BLIND BLAKE – SUN TO SUN BLUES

13124-A REV. EMMET DICKINSON – THE DEVIL AND GOD MET AT THE CHURCH
13124-B REV. EMMET DICKINSON – THE PREACHER’S BLUES

13125-A KING SOLOMON HILL – MY BUDDY BLIND PAPA LEMON
13125-B KING SOLOMON HILL – TIMES HAS DONE GOT HARD

13126-A FAMOUS BLUEJAY SINGERS – STANDING BY THE BEDSIDE OF A NEIGHBOR
13126-B FAMOUS BLUEJAY SINGERS – OH MY LORD, DIDN’T IT RAIN

13127-A JABBO WILLIAMS – KOKOMO BLUES
13127-B JABBO WILLIAMS – KOKOMO BLUES PART 2

13128-A FAMOUS BLUE JAY SINGERS – I DECLARE MY MOTHER OUGHT TO LIVE RIGHT
13128-B FAMOUS BLUE JAY SINGERS – CHILDREN WADE IN THE WATER

13129-A SOLOMON HILL – GONE DEAD TRAIN
13129-B SOLOMON HILL – TELL ME BABY

13130-A JABBO WILLIAMS – POLOCK BLUES
13130-B JABBO WILLIAMS – FAT MAMA BLUES

13131-A MARSHALL OWENS – TEXAS BLUES PART 2
13131-B MARSHALL OWENS – SEVENTH STREET ALLEY STRUT

13132 BUMBLE BEE SLIM – ROUGH RUGGED ROAD BLUES
13132 BUMBLE BEE – HONEY BEE BLUES

13133 CHARLIE PATTON – JOE KIRBY
13133 CHARLIE PATTON – JIM LEE BLUES PART 2

13134-A MISSISSIPPI SHEIKS – NEW SITTIN’ ON TOP OF THE WORLD
13134-B MISSISSIPPI SHEIKS – NEW STOP AND LISTEN BLUES

13135-A BLUEJAY SINGERS – WHO CARES
13135-B BLUEJAY SINGERS – LEAD ME ON

13136 JABBO WILLIAMS – MY WOMAN BLUES
13136 JABBO WILLIAMS – HOUSE LADY BLUES

13137-A BLIND BLAKE – CHAMPAGNE CHARLIE
13137-B BLIND BLAKE – DEPRESSION’S GONE FROM ME BLUES

13138-A LAURA RUCKER – FANCY TRICKS
13138-B HATTIE BURLESON – DEAD LOVER BLUES

13139-A BLUEJAY SINGERS – SLEEP, BABY, SLEEP
13139-B BLUEJAY SINGERS – BROTHER JONAH

13140-A BEN CURRY – NEW DIRTY DOZEN
13140-B BEN CURRY – YOU RASCAL YOU

13141-A JABBO WILLIAMS – JAB’S BLUES
13141-B JABBO WILLIAMS – PRATT CITY BLUES

13142-A MISSISSIPPI SHEIKS – HE CALLS THAT RELIGION
13142-B MISSISSIPPI SHEIKS – SHOOTING HIGH DICE

13143-A MISSISSIPPI SHEIKS – NEW SHAKE THAT THING
13143-B MISSISSIPPI SHEIKS – ISN’T A PAIN TO ME

13144-A BIDDLEVILLE QT – THE DAY IS PAST & GONE
13144-B BIDDLEVILLE QT – JESUS GONNA SHAKE MY RIGHTEOUS HAND

13145-A NORFOLK JUBILEE QT – I WANT TO CROSS OVER TO SEE THE OTHER SIDE
13145-B NORFOLK JUBILEE QT – SWING LOW SWEET CHARIOT

13146-A NORFOLK JUBILEE QT – EZEKIEL SAW DE WHEEL
13146-B NORFOLK JUBILEE QT – CRYING HOLY UNTO THE LORD

13147-A NORFOLK JUBILEE QT – LET THE CHURCH ROLL ON
13147-B NORFOLK JUBILEE QT – IF ANYBODY ASKS YOU WHO I AM

13148-A NORFOLK JUBILEE QT – I HAVE ANCHORED MY SOUL
13148-B NORFOLK JUBILEE QT – KING JESUS STAND BY ME

13149-A NORFOLK JUBILEE QT – RIDE ON KING JESUS
13149-B NORFOLK JUBILEE QT – OUR FATHER

13150-A NORFOLK JUBILEE QT – YOU’RE GOIN’ TO NEED THAT PURE RELIGION
13150-B NORFOLK JUBILEE QT – I WONDER WHERE IS THE GAMBLING MAN

13151-A NORFOLK JUBILEE QT – WAY DOWN IN EGYPTLAND
13151-B NORFOLK JUBILEE QT – GONNA SERVE THE LORD TILL I DIE

13152-A MISSISSIPPI SHEIKS – DON’T WAKE IT UP
13152-B MISSISSIPPI SHEIKS – GO WAY WOMAN

13153-A MISSISSIPPI SHEIKS – I’LL BE LONG GONE
13153-B MISSISSIPPI SHEIKS – PLEASE BABY

13154 NORFOLK JUBILEE QT – I WOULDN’T MIND DYING IF DYING WAS ALL
13154 NORFOLK JUBILEE QT – I’M GONNA SERVE GOD TILL I DIE

13155-A NORFOLK JUBILEE QT – HE JUST HUNG HIS HEAD AND DIED
13155-B NORFOLK JUBILEE QT – LORD I DON’T CARE WHERE THEY BURY MY BODY

13156-A MISSISSIPPI SHEIKS – SHE’S CRAZY BOUT HER LOVIN’
13156-B MISSISSIPPI SHEIKS – TELL ME TO DO RIGHT

Standard Disc Label, A Partial Listing

Standard Label

A Partial Listing

by Bob Huck

…originally published in the IAJRC Journal in Spring, 1992

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Phonograph Stars On The Radio: The Wireless Age Interviews, 1922-1923

American Radio Pioneers

Phonograph Stars on the Radio:

The Wireless Age Interviews, 1922–1923

Nathan Glantz  •  Aileen Stanley  •  Roger Wolfe Kahn
Rosa Ponselle  •  Tita Ruffo  •  Johanna Gadski

Reproduced from the Mainspring Press collection

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NATHAN GLANTZ
December 1922

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AILEEN STANLEY
November 1922

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ROGER WOLFE KAHN
May 1923

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ROSA PONSELLE
March 1923

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TITA RUFFO
April 1923

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JOHANNA GADSKI
May 1923

How To Avoid The Collector’s Pride and Joy Becoming a Family Burden by Mike Bryan

How to Avoid the Collector’s Pride and Joy
Becoming a Family Burden

By Mike Bryan (courtesy of The Wayback Times)

You have to admit that collecting antiques is quite a specialized activity, whether it’s furniture, porcelain, lamps, phonographs or clocks. Each field of collecting can require years of experience to become knowledgeable and be able to tell the good stuff from the junk. Most non-collectors have little idea about value, rarity and desirability, let alone are able to correctly name each item. Under normal circumstances, that doesn’t matter too much. But what if the collector passes on, leaving the collection in the hands of a now not-so-blissfully ignorant family member or friend? Let’s look at why we must face up to our mortality and how we can make life a little easier for those we leave behind. I accept that there are more important things than antiques and collectibles to worry about when a loved one passes away. However, at the risk of sounding over-dramatic, I am suggesting that your collection could become a far larger burden than you might ever imagine.

The Collector’s ResponsibilitiesIf you have a collection, however small you may think it is, put aside your modesty and ask yourself: Do you keep a detailed inventory list of every item and does it show current values, i.e. what you could realistically sell each item for today? What is the total value of your collection? Have you consulted your insurance broker to make sure your items are adequately insured? What does your nearest and dearest know about your collection and its value? If this sounds like a chore to you, just imagine the challenge it would be for a non-collector to inventory, value and dispose of your collection? Sooner or later, we are all going to pass on and a family member will have to face the emotional decision of what to do with your collection. It could become a major burden, as they weigh whether to keep all or part of it, because they know it meant so much to you, or free them of it and move on with their life. Your family will love you for providing the information and instructions that will save them unnecessary stress in their time of grief.

A Sad Story with a Valuable Lesson
All of this came home to me one day when I received a call from the widow of a recently deceased member of the Canadian Antique Phonograph Society (CAPS). She was seeking advice on disposing of her deceased husband’s collection after wrestling with what to do with the phonographs and related paraphernalia for several months. The collection had clearly become a burden, both emotionally and physically. In less stressful circumstances, the disposal would have still been a chore, but not to the same degree. The lady’s husband had left no instructions regarding disposal, so she had struggled with what he would have wanted, as well as deciding what she wanted to do with the collection. Now, having made the decision to dispose of it, I sensed her need get fair value and do justice to the years her husband had spent in building his collection. Of all the options she had considered, she agreed on an auction to give fellow CAPS members equal and fair access to her late husband’s collection. Although the collection was quite small, it was deceptive. It would have been easy to dismiss items of little apparent value and quite difficult to describe. For a non-collector, even the task of properly naming all the items would be a major challenge. Anyway, my list that started with about a dozen main items soon grew to well over 100. . In fact, this collection, initially perceived as small because there were only four phonographs, yielded 60 lots, including spare parts, records, needle tins etc.Properly organized, the collection realized a dollar value 50% higher than the guesstimate I’d made at first sight. There were several positive aspects to all this: The widow was relieved of the daunting task of disposing of her husband’s collection. The “true” value of the collection was realized through the transparent auction process and delivered in full to the widow; The collection of a Canadian Antique Phonograph Society member was disbursed in the fairest way among fellow members. His widow believed he would have wanted it so; Society members benefitted from the recycling of the deceased member’s collection.; At a time of need, the Society was able to provide a solution beneficial to all parties. Although there were positive outcomes, it could have been very different if the lady had not called the Canadian Antique Phonograph Society and made the right contact. With no inventory list and no idea of values, she was vulnerable to those who would take advantage of her situation. Sometimes we can be aware that our own ignorance leaves us vulnerable, but we still feel unable to do anything about it. That can leave us with resentment and a bitter taste. Fortunately, in this case, the right choices were made for the best possible outcome.

Options and Steps To Prevent Your Collection Becoming a BurdenThe key message in this story is to make your wishes known to someone and empower them with the information they need to handle the disposal of your treasures. Don’t assume friends and family are psychic or mistake their polite interest for knowledge. So here are some suggested steps and options on how to avoid your collection becoming a burden to your family: Make a detailed inventory of every single object, using full descriptions that will identify each item to fellow collectors. Include layman’s descriptions of items that do not carry identifying words. There are several ways to identify them, such as photographs with full names and descriptions, or a simple numbered list corresponding to the number stickers placed on the bottom of your treasures. Indicate the approximate realistic value at which you could sell each item today.Write a note with contact details of collectors, clubs or professionals who you believe to be trustworthy, knowledgeable and potentially helpful in the event of your passing. You may even choose to consult them about this. In the same note, and in your Will, state exactly what you would like to happen with your collection. Don’t assume your family will wish to keep it and please don’t consider that “no instructions” is a viable option. Common disposal options are:Ask, and get a clear answer from family and friends, if they would like to have any particular item from your collection as a bequest. Or If you want your collection sold through a professional auction house, state the name of the auction house if you have one in mind. Or Provide the names of fellow collectors who you know would be interested in acquiring all or part of your collection. Or If you live within driving distance of your antique collectors’ society or club, provide the name of a contact there, with a request that they take your collection for auction to fellow members. Or State you would like your collection to remain untouched in memory of you. OrState that you would like your collection to be advertised for sale in your antique collectors’ society newsletter or a newspaper that collectors read, like Wayback Times. No excuses, no more procrastination. Do it now. Once you have considered your options, decided on your disposal choice and compiled your inventory list, you’ll only have to make the occasional addition or deletion to keep the list current – for as long as you live.

Photo:Mike Bryan, collector and president of the Canadian Antique Phonograph Society.