MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 1 • 1920-1921 | DOCD-5357 (1995) RM | FLAC (tracks+.cue), lossless

In 1995, Document Records devoted four CDs to the complete recorded works of legendary cabaret vocalist Mamie Smith. In the words of multi-instrumentalist Garvin Bushell, "Mamie Smith wasn't a real blues singer like Bessie Smith. She didn't get in between the notes like Bessie did. Mamie was what we called a shouter. But the white people called it blues!" A native of Cincinnati OH, Mamie Robinson came up in traveling variety shows, landed in Harlem in 1912 and obtained her second surname by marrying one William Smith, a theatrical tenor professionally known as Sweet Singing Smitty. One night in early 1920, William asked pianist Willie "The Lion" Smith to put together a band to accompany Mamie during an Okeh recording session at the General Phonograph Corporation on West 45th Street, in a time slot initially reserved for Sophie Tucker. The Lion went and heard Smith in performance at Digg's Cafe, noted that "she was O.K." and set about organizing a quintet using part of the house band at the Orient, a nightclub on 135th Street between Lenox and Fifth Avenues. The first group ever to record as Mamie Smith's Jazz Hounds consisted of The Lion, clarinetist Ernest Sticky Elliott, either Addington Major or Ed Cox on cornet, and trombonist Ward "Dope" Andrews, who had recorded with Noble Sissle and James Reese Europe in 1919; Andrews had a very talented and famous nephew in trumpeter Charlie Shavers. Partly because it was believed that the recording equipment wouldn't pick up the string bass and couldn't handle a full drum kit, the addition of violinist Leroy Parker was deemed sufficient to complete the ensemble. On February 14, 1920 this unit recorded "You Can't Keep a Good Man Down" and "That Thing Called Love", employing a subdued style that was typical of theater pit orchestras throughout New York. Conflicting theories abound as to the actual identity of this group; its rather staid accompaniments have led Brian Rust and others to conclude that it was really an unidentified white studio ensemble. Perhaps a more accurate assessment would take into account similar-sounding records made during this period by African American groups under the leadership of Wilbur Sweatman, W.C. Handy, James P. Johnson, and Fletcher Henderson.

Many of this singer's earliest recordings used material composed by Perry Bradford, a rather aggressive businessman who acted as her band's manager and conductor. It was Bradford who named them the Jazz Hounds. "Crazy Blues" has often been cited by jazz historians as the first record that proved to the people running the racially segregated recording industry that African American artists were capable of generating hit records; that a paying clientele existed for such stuff, and that money could apparently be made by selling any record with the word "blues" in the title. Within one month of its release "Crazy Blues" had sold 10,000 units and Mamie Smith had broken the color bar while helping Okeh get established as a viable recording enterprise. The melody was initially called "Harlem Blues," and like James P. Johnson's "Mama's and Papa's Blues" of 1916, had its roots in a bawdy old cathouse number called "Baby, Get That Towel Wet." The flipside, "It's Right Here for You" was revisited by young Tommy Dorsey in 1928 (on his first session as a leader, blowing trumpet) and by Eddie Condon's band in 1939. Smith's original vocal take stands as a pleasant prelude to those masterful cover versions. While Bradford and a pushy specimen named Ocie Wilson each tried to oust the other so as to prevail as Mamie Smith's manager, the Jazz Hounds were largely directed by Memphis cornetist Johnny Dunn throughout most of the period covered by this album, with appearances by clarinetist Buster Bailey, trombonist Herb Fleming, pianist Phil Worde, xylophonist Mort Perry, and tuba tackler Chink Johnson. Dunn conducted the Jazz Hounds at the Lafayette Theater while perched on a high stool with horn in hand. For those who would like to savor the sounds of the Jazz Hounds without Mamie Smith, the instrumental tracks on Volume 1 are "Royal Garden Blues," "Shim-Me-King's Blues," a remake of "That Thing Called Love," "Old Time Blues," "Baby, You Made Me Fall for You," and "You Can't Keep a Good Man Down." The final three tracks on this collection find Mamie Smith backed by a group of white men led by saxophonist Joseph Samuels, which accounts for the title "Sax-O-Phoney Blues." arwulf arwulf
Tracklist :
1    Mamie Smith–    That Thing Called Love (7275) 3:09
Bass Saxophone – Unknown Artist
Clarinet – Ernest Elliott
Cornet – Ed Cox
Orchestra – Rega Orchestra
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
2    Mamie Smith–    You Can't Keep A Good Man Down 3:15
Bass Saxophone – Unknown Artist
Clarinet – Ernest Elliott
Cornet – Ed Cox (3)
Orchestra – Rega Orchestra
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
3    Mamie Smith, Acc. Her Jazz Hounds–    Crazy Blues 3:18
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
4    Mamie Smith, Acc. Her Jazz Hounds–    It's Right Here For You 2:50
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
5    Mamie Smith, Acc. Her Jazz Hounds–    Fare Thee Honey Blues 2:42
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
6    Mamie Smith, Acc. Her Jazz Hounds–    The Road Is Rocky 3:01
Clarinet – Ernest Elliott
Cornet [Either/Or] – Addington Major, Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Willie "The Lion" Smith
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
7    Mamie Smith, Acc. Her Jazz Hounds–    Mem'ries Of You Mammy 3:13
Clarinet – Ernest Elliott
Cornet – Johnny Dunn
Drums [Erroneous] – George Howell
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
8    Mamie Smith, Acc. Her Jazz Hounds–    If You Don't Want Me Blues 3:15
Clarinet – Ernest Elliott
Cornet – Johnny Dunn
Drums [Erroneous] – George Howell
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
9    Mamie Smith, Acc. Her Jazz Hounds–    Don't Care Blues 2:57
Banjo – Unknown Artist
Clarinet – Ernest Elliott
Clarinet, Alto Saxophone – Unknown Artist
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
10    Mamie Smith, Acc. Her Jazz Hounds–    Lovin' Sam From Alabam 2:42
Banjo – Unknown Artist
Clarinet – Ernest Elliott
Clarinet, Alto Saxophone – Unknown Artist
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Porter Grainger
Trombone – Dope Andrews
Violin – Leroy Parker
Vocals – Mamie Smith
11    Mamie Smith's Jazz Hounds–    Royal Garden Blues 3:04
Clarinet – Garvin Bushell
Cornet – Johnny Dunn
Orchestra – Mamie Smith's Jazz Hounds
Piano – Unknown Artist
Trombone – Dope Andrews
Violin [Prob.] – Leroy Parker
Xylophone – Mort Perry
12    Mamie Smith's Jazz Hounds–    Shim-Me-King's Blues 3:08
Clarinet – Garvin Bushell
Cornet – Johnny Dunn
Orchestra – Mamie Smith's Jazz Hounds
Piano – Unknown Artist
Trombone – Dope Andrews
Violin [Prob.] – Leroy Parker
Xylophone – Mort Perry
13    Mamie Smith, Acc. Her Jazz Hounds–    Jazzbo Ball 2:56
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
14    Mamie Smith, Acc. Her Jazz Hounds–    What Have I Done? 2:59
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
15    Mamie Smith, Acc. Her Jazz Hounds–    That Thing Called Love (7790) 3:14
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
16    Mamie Smith, Acc. Her Jazz Hounds–    Old Time Blues 2:55
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums – Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
17    Mamie Smith, Acc. Her Jazz Hounds–    Baby, You Made Me Fall For You 3:24
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Xylophone, Drums – Mort Perry
18    Mamie Smith, Acc. Her Jazz Hounds–    You Can't Keep A Good A Good Man Down 3:14
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Xylophone, Drums – Mort Perry
19    Mamie Smith, Acc. Her Jazz Hounds–    Frankie Blues 2:57
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
Xylophone, Drums – Mort Perry
20    Mamie Smith, Acc. Her Jazz Hounds–    "U" Need Some Lovin' Blues 2:54
Brass Bass [Either/Or] – Chink Johnson, Harry Hull
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Orchestra – Mamie Smith, Acc. Her Jazz Hounds
Piano – Phil Worde
Trombone – Unknown Artist
Violin – Leroy Parker
Vocals – Mamie Smith
Xylophone, Drums – Mort Perry
21    Mamie Smith, Acc. Her Jazz Band–    Dangerous Blues 3:13
Clarinet – Buster Bailey
Cornet – Johnny Dunn
Drums, Xylophone – Mort Perry
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Phil Worde
Trombone [Poss.] – Herb Flemming
Vocals – Mamie Smith
22    Mamie Smith, Acc. Her Jazz Band–    Daddy, Your Mama Is Lonesome For You 2:54
Brass Bass – Unknown Artist
Clarinet – Unknown Artist
Cornet – Johnny Dunn, Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Unknown Artist
Trombone [Poss.] – Herb Flemming
Violin [Poss.] – Leroy Parker
Vocals – Mamie Smith
23    Mamie Smith, Acc. Her Jazz Band–    I Want A Jazzy Kiss 2:51
Brass Bass – Unknown Artist
Clarinet – Unknown Artist, Unknown Artist
Cornet – Johnny Dunn, Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Unknown Artist
Trombone [Poss.] – Herb Flemming
Violin [Poss.] – Leroy Parker
Vocals – Mamie Smith
24    Mamie Smith, Acc. Her Jazz Band–    Sax-O-Phoney Blues 2:51
Alto Saxophone – Unknown Artist
Bass Saxophone – Unknown Artist
Cornet – Unknown Artist, Unknown Artist
Orchestra – Mamie Smith, Acc. Her Jazz Band
Piano – Unknown Artist
Soprano Saxophone, Alto Saxophone – Unknown Artist
Violin – Unknown Artist
Vocals – Mamie Smith

BESSIE SMITH – 1923 | The Classics Chronological Series – 761 (1994) FLAC (tracks+.cue), lossless

This document of Smith's first year in the studio reveals a blues giant in full command of her talents. And while later dates -- especially the epochal 1925 sessions with Louis Armstrong -- offer more in the way of the era's horn-blowing royalty, these early sides nicely showcase Smith in the unadorned company of a variety of top pianists like Clarence Williams and Fletcher Henderson. The Empress of the Blues flexes her vocal muscle throughout, ranging from Broadway fare like "Baby Won't You Please Come Home" to the dark-hued rumblings of "Graveyard Dream Blues." She also revels in the provocative ambiguities of "Nobody in Town Can Bake a Sweet Jelly Roll" and puts her stamp on the future blues warhorse "'Tain't Nobody's Bizness If I Do." From the opening strain of her first best-seller, "Downhearted Blues," until the end of the disc, lovers of classic female blues will find plenty here to keep them enthralled. Stephen Cook
Tracklist + Credits :

BESSIE SMITH – 1928-1929 | The Classics Chronological Series – 897 (1996) FLAC (tracks+.cue), lossless

One of the greatest partnerships in all of recorded blues was the teaming up of Bessie Smith and champion trombone man Big Charlie Green. Their collaboration is well represented by the opening tracks on this volume of the chronologically reissued recordings of Bessie Smith. "Empty Bed Blues, Pt. 2" opens with a lurching, grinding trombone ostinato that matches perfectly the spirit and texture of Smith's testimonial. "Put It Right Here" could serve as the best example on record of this singer's irresistible way of presenting a song. The timing is perfect and the humorous lyrics are accentuated by the trombone with great precision. Somebody ought to put out a CD consisting of every record these two people ever made together. The next session in Smith's story took place on August 23, 1928. "Yes Indeed He Do" would be closely imitated four years later in the group singalong "Yes Suh!" as performed by Billy Banks and Jack Bland's Rhythmakers. Five records cut on August 24th handle the topics of social inequality, interpersonal relationships, and alcoholism. On "Poor Man's Blues" Smith speaks directly to the wealthy, and during "Washerwoman's Blues" she discusses the combined problems of race and class. "Me and My Gin" paints a grim portrait of the addict and her mental condition. Cornered and besotted, Smith vows to take on the Army and the Navy armed only with her bottle of fermented spirits. On May 8, 1929, guitarist Eddie Lang and pianist Clarence Williams assisted in the creation of three delightfully smutty sides dwelling on Smith's sexual appetite. The sound of Lang's guitar percolating along with her voice makes these selections especially nice. "I've Got What It Takes" and "Nobody Knows You" are two of Smith's toughest performances on record. Having what amounted to Clarence Williams' Blue Five backing her up seems to have given the singer solid support for self-expression. Anyone who has seen the motion picture St. Louis Blues will cherish the film soundtrack included in this chronology. The singer stands at the bar in a saloon, crying -- and singing -- into a mug of beer. The drama of a strong woman at the mercy of a man without any conscience is played out on the screen and can be envisioned by the listener. The 40-voice Hall Johnson Choir roars away behind Smith as she sways miserably. A hot band led by James P. Johnson wails with abandon as acrobatic waiters spin and tumble through the crowd without upsetting their trays full of drinks. Smith's no-good man shows up, appears to reconcile with her, and does a slow dance in her arms, but then pushes her away and laughs derisively while brandishing a wad of cash he has snatched from her purse! Everyone ought to see this film at least once. There are distortion problems with the soundtrack as presented here, and the nearly 11-minute sequence has been unnecessarily portioned into four segments -- a too-faithful reproduction of the Circle Records issue -- even though the uninterrupted soundtrack is available elsewhere. The disc closes with "Take It Right Back" -- featuring one of Clarence Williams' best piano accompaniments -- and a pair of lusty tunes with even finer piano by James P. Johnson. arwulf arwulf  
Tracklist + Credits :