JIM JACKSON — Complete Recorded Works In Chronological Order ★ Volume 2 • 1928-1930 | DOCD-5115 (1992) RM | FLAC (tracks+.cue), lossless

This second volume in Document's project to reissue the complete recorded works of Jim Jackson in chronological order isn't quite as necessary as the first, since that volume contains what are arguably his most important and interesting songs ("Kansas City Blues," "He's in the Jailhouse Now," "Old Dog Blue'," "I'm Wild About My Lovin'"). True, there are some worthwhile tracks here as well, including "What a Time," "Traveling Man," "Hesitation Blues," and a particularly impassioned version of W.C. Handy's "St. Louis Blues," but Jackson wasn't a striking enough guitarist or singer to overcome mediocre and cliché-ridden material, and there's plenty of that here, too. Document has also issued both of these volumes in a double-disc set, which may be preferable to collectors and blues scholars, but until someone issues a decent single-disc overview of Jackson's recordings, casual listeners should probably stick with the first volume. Steve Leggett
 
Abridged from this album’s original booklet notes. Jim Jackson‘s seemingly innocuous medicine show songs often combine subversion of white stereotypes with an apparent acceptance of them. Consider What A Time, with its references to gluttony, chicken stealing and laziness; so far, so submissive. Then comes the final verse:

“There stand a man, standin’ over there, With a blue coat on and lookin’ pretty fair, Got his collar all round his throat, I bet he smells like a billy goat.”

It never seems to have occurred to supremacists that black songs carried a meaning, and no doubt the white policeman referred to by this verse enjoyed the music just as much as the black audience he was supervising. Traveling Mart, too, has its points to make about the foolishness of the powerful. Most telling of all, perhaps, are the calmly resigned lines in Bye Bye Policeman, about the aftermath of a crap game (more stereotypical activity):

“He said, “Stop there boys, I’m the law, I’ll shoot to kill!” I turned around and looked at him, said “Reckon you will”.

Bye Bye Policeman, like a number of Jackson’s songs (eg. “Long Gone”), turns out to be a medley; it begins with a verse from Ernest Hogan’s “Pas Ma La”, published in 1895, cataloging then popular dances: the Bombashay, the World’s Fair, the Turkey Trot, and the Pas-a- ma-la itself. As well as preserving material from the songster era, like this and Going ‘Round The Mountain, Jim was also keeping up with fashion; Hey Mama – It’s Nice Like That, reworking material from What A Time. He was also still cutting sequels to his hit, Kansas City Blues; I’m Gonna Move To Louisiana was an obvious one, though he added a pretty guitar flourish to the basic tune. Ain’t You Sorry Mama? was a less blatant reworking, keeping only the tune, and abandoning the “moving away” theme in favour of largely traditional verses about a relationship in difficulties. On this song, Jackson was joined by a pianist, thought to have been Speckled Red (Rufus Perryman), who didn’t record under his own name until September 1929, but who credited Jim Jackson with getting him onto records. If Red was the pianist on this session, he was unlike his usual extrovert self, confining himself to restrained chording. The piano player on the 16 July date is rather more lively, especially on the pop-structured I Ain’t Gonna Turn Her Down; he clearly doesn’t know the song, waiting until Jackson has run through the song once before playing, but joins in with verve and assurance. None of the eight songs from this session was issued on 78, so the two musicians may not have blended as successfully on all titles; it’s a pity, for Dicty Blues sounds interesting, and Bring It On Home To Your Grandma may be the song recorded by the Mississippi Mud Mashers in 1935. Crazy ‘Bout Nancy Jane was recorded by the Famous Hokum Boys, but not until 1930, which may indicate that Georgia Tom Dorsey brought it along to both sessions, and so may help to identify the piano player on this date. Both Speckled Red and Georgia Tom were present on 14th October 1929, as was Tom’s partner Tampa Red, “the man with the gold guitar” (a gold plated National. See http://www.resonatorguitarguide.com/the-golden-guitar-of-tampa-red/ ). They assembled in Memphis to cut a promotional record, with Jackson’s name as the selling point, though Tom and Tampa were by now surely the bigger stars on race records. Georgia Tom narrated; as well as the inevitable It’s Tight Like That, Speckled Red contributed a roaring “Pinetop’s Boogie Woogie”, and Tampa adapted his Chicago Moan into a version that Dan Pickett knew, and recalled on disc in 1949. Jim Jackson himself was heard only briefly, singing a verse of a twelve-bar blues. Prior to this session, Jackson had done some moonlighting at Columbia, accompanying the lively crosstalk act of Liza Brown and Ann Johnson. Their sparring, which evidently played on one of them being large and the other small, remains lively and spontaneous sounding; on Let’s Get It Straight, Jim Jackson joins the conversation as the bemused object of the women’s rivalry. Jackson’s last session was in February 1930, when he cut powerful versions of two of the best known songs adapted by W. C. Handy from folk traditions; they stand as a neat summation of Jim Jackson‘s own career, with its tensions between the preservation of folk material, and accommodation to the demands of mass culture. DOCD-5115
Tracklist :
1    Jim Jackson–    What A Time    3:23
2    Jim Jackson–    What A Time    3:22
3    Jim Jackson–    This Ain't No Place For Me    3:02
4    Jim Jackson–    I'm Gonna Move To Louisiana - Pt. 1    3:36
5    Jim Jackson–    I'm Gonna Move To Louisiana - Pt. 1    3:35
6    Jim Jackson–    I'm Gonna Move To Louisiana - Pt. 2    3:43
7    Jim Jackson–    Traveling Man    3:20
8    Jim Jackson–    Going 'Round The Mountain    3:14
9    Jim Jackson–    Bye, Bye, Policeman    3:02
10    Jim Jackson–    Long Gone    2:40
11    Jim Jackson–    Hey Mama - It's Nice Like That - Pt. I 3:02
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
12    Jim Jackson–    Hey Mama - It's Nice Like That - Pt. II 2:57
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
13    Jim Jackson–    Ain't You Sorry Mama? - Pt. 1 2:54
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
14    Jim Jackson–    Ain't You Sorry Mama? - Pt. 2 3:13
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
15    Jim Jackson–    Foot Achin' Blues 3:04
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
16    Jim Jackson-    Love Sick Blues 2:51
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
17    Jim Jackson–    Santa Fe Blues 3:06
Piano – Unknown Artist
Vocals, Guitar – Jim Jackson
18    Jim Jackson–    I Ain't Gonna Turn Her Down 2:37
Piano – Unknown Artist
Vocals, Guitar – Jim Jackson
19    Liza Brown And Ann Johnson–    Get On Out Of Here 3:15
Guitar – Jim Jackson
Piano – Unknown Artist
Vocals – Ann Johnson, Liza Brown
20    Liza Brown And Ann Johnson–    Let's Get It Straight 3:23
Piano – Unknown Artist
Vocals – Ann Johnson, Liza Brown
Vocals, Guitar – Jim Jackson
21    Jim Jackson–    Jim Jackson's Jamboree - Part I 3:11
Vocals – Jim Jackson
Vocals, Guitar – Tampa Red
Vocals, Piano – Speckled Red
Vocals, Piano, Speech [probably] – Georgia Tom Dorsey
22    Jim Jackson–    Jim Jackson's Jamboree - Part II 3:05
Vocals – Jim Jackson
Vocals, Guitar – Tampa Red
Vocals, Piano – Speckled Red
Vocals, Piano, Speech [probably] – Georgia Tom Dorsey
23    Jim Jackson–    Hesitation Blues (Oh! Baby, Must I Hesitate?)    3:21
24    Jim Jackson–    St. Louis Blues     2:43

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 1 • 1928-1929 | DOCD-5073 (1991) RM | FLAC (tracks+.cue), lossless

Abridged from this album’s original booklet notes. Through Train Blues was a strange one to kick off a recording career with and one cannot help but wonder if the gentle huffing and puffing of a tuba to fill out a bass rhythm was Tampa’s idea or that of someone else trying to be creative at the recording session for Paramount records. Either way, it kind of works, depending on one’s mood and at least it gets Tampa off the mark with some characteristic slide guitar playing and a song. For the moment, that was it’, one side and no more! The recording was issued as a flip side to Blind Lemon Jefferson ‘How Long How Long’ (Document DOCD-5019) maybe as a ploy to encourage the market to listen to Tampa. After four months Tampa Red was in the recording studio again but this time only as a session man for Foster And Harris (Ma Rainey’s Boys) as they played out The Alley Crap Game a performance which would be taken up by the two blues brothers from Georgia Robert ‘Barbecue Bob’ Hicks and Charlie “Laughing Charlie” Hicks in 1930 with their ‘Dark Town Gamblin’  Part 1 (The Crap Game) ” (Document DOCD-5048). Dodging the ricocheting dices, Tampa provides a gentle slide guitar accompaniment and keeps out of the arguing between the two gamblers. A month later, in September 1928, Tampa arrived at the Vocalian studios with a piano player called “Georgia Tom” (Thomas A. Dorsey). In the same month, like Tampa, Tom had been on the fringe of trying to make recording part of his musical career having had two sessions for the Vocalion label. Of six sides cut only one was released coupled with a single recording made for the label later that year. Their first recording of Tampa Red and Georgia Tom which took place in 1928 was a bawdy ragtime number, It’s Tight Like That. It was an instant and massive hit with record sales catapulting into the hundreds of thousands. It has been reported that the sales breached the million mark and went much higher. The sessions on this album see two revisits to the Tight Like That theme but there are other recordings which added greatly to their success including the lively Selling That Stuff and Beedle Um Bum both of which were subsequently covered by many other blues, jazz and hokum artists. The duo are found in accompanying role providing backing for recordings with vocalists Madylyn (Red Hot Shakin’) Davis, Frankie “Half-Pint” Jaxon as lead vocalist for Tampa Red’s Hokum Jug Band, Papa Too Sweet, and Junie Cobb as vocalist for the State Street Stompers. Many of the recordings are “good time”, raucous performances and it doesn’t take much of the imagination to think of them being the dance music of parties and in particular the rent parties of the time as described by Big Bill Bronnzy in his autobiography. The last five of the twenty five tracks presented here are solid blues performed by Tampa Red with his partner, Georgia Tom. Having had something of an uncertain start to their recording careers, they are assured and confident in their performances, having already been established by their first recording together as one of the most successful piano / guitar duos from the “pre-war blues” era. DOCD-5073
Tracklist :
1    Tampa Red–    Through Train Blues 2:44
Tuba – Unknown Artist
Vocals, Guitar – Tampa Red
2    Foster & Harris (Ma Rainey's Boys)–    The Alley Crap Game 3:00
Guitar – Tampa Red
Vocals [Male Vcl Duet] – Foster & Harris (Ma Rainey's Boys)
3    Tampa Red And Georgia Tom–    It's Tight Like That 3:01
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
4    Madlyn (Red Hot Shakin') Davis–    Gold Tooth Papa Blues 2:38
Guitar – Tampa Red
Piano – Georgia Tom
Vocals – Madlyn (Red Hot Shakin') Davis
5    Madlyn (Red Hot Shakin') Davis–    Death Bell Blues 2:50
Guitar – Tampa Red
Piano – Georgia Tom
Vocals – Madlyn (Red Hot Shakin') Davis
6    Madlyn (Red Hot Shakin') Davis–    It's Red Hot 3:07
Guitar – Tampa Red
Piano – Georgia Tom
Vocals – Madlyn (Red Hot Shakin') Davis
7    Madlyn (Red Hot Shakin') Davis–    Too Black Bad 3:08
Guitar – Tampa Red
Piano – Georgia Tom
Vocals – Madlyn (Red Hot Shakin') Davis
8    Tampa Red's Hokum Jug Band–    Good Gordon Gin 2:47
Guitar – Martell Pettiford, Tampa Red
Horn [Jazzhorn] – Carl Reid
Kazoo, Washboard – Herman Brown
Piano – Georgia Tom
Vocals – Frankie "Half-Pint" Jaxon
9    Tampa Red's Hokum Jug Band–    Down The Alley 3:09
Guitar – Martell Pettiford, Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Kazoo, Washboard – Herman Brown
Piano – Georgia Tom
Vocals – Frankie "Half-Pint" Jaxon
10    Tampa Red's Hokum Jug Band–    It's Tight Like That 2:45
Guitar – Martell Pettiford, Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Kazoo, Washboard – Herman Brown
Piano – Georgia Tom
Vocals – Frankie "Half-Pint" Jaxon
11    Tampa Red's Hokum Jug Band–    How Long How Long Blues 3:10
Guitar – Martell Pettiford, Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Kazoo, Washboard – Herman Brown
Piano – Georgia Tom
Vocals – Frankie "Half-Pint" Jaxon
12    Tampa Red's Hokum Jug Band–    You Can't Come In 3:04
Guitar – Martell Pettiford, Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Kazoo, Washboard – Herman Brown
Piano – Georgia Tom
Vocals – Frankie "Half-Pint" Jaxon
13    Tampa Red "The Guitar Wizard" With Georgia Tom–    It's Tight Like That No. 2 2:40
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
14    Papa Too Sweet–    (Honey) It's Tight Like That 2:36
Guitar – Tampa Red
Piano – Georgia Tom
Vocals – Harry Jones, Papa Too Sweet
15    Papa Too Sweet–    Big Fat Mama 3:36
Guitar – Tampa Red
Piano – Georgia Tom
Vocals – Papa Too Sweet
16    The Hokum Boys–    Selling That Stuff (Matrix 21035-3) 2:49
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
17    The Hokum Boys–    Beedle Um Bum (Take 3) 2:46
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
18    State Street Stompers–    Rolling Mill Stomp (Take 1) 3:12
Drums – Jimmy Bertrand
Guitar – Tampa Red
Piano – Alex Hill
Vocals, Soprano Saxophone, Tenor Saxophone – Junie Cobb
19    State Street Stompers–    Rolling Mill Stomp (Take 2) 3:10
Drums – Jimmy Bertrand
Guitar – Tampa Red
Piano – Alex Hill
Vocals, Soprano Saxophone, Tenor Saxophone – Junie Cobb
20    State Street Stompers–    Panama Blues 3:08
Drums – Jimmy Bertrand
Guitar – Tampa Red
Piano, Speech – Alex Hill
Soprano Saxophone, Tenor Saxophone – Junie Cobb
21    Tampa Red–    Juicy Lemon Blues 3:02
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
22    Tampa Red–    Chicago Moan Blues 3:07
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
23    Tampa Red–    Strange Woman Blues 2:32
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
24    Tampa Red–    Jelly Whippin' Blues 3:08
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
25    Tampa Red–    Train Time Blues (Matrix C-2782) 3:16
Piano – Georgia Tom
Vocals, Guitar – Tampa Red

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 2 • 1929 | DOCD-5074 (1991) RM | FLAC (tracks+.cue), lossless

The second volume in Document's series of Complete Recorded Works covers barely six months in the career of Tampa Red, though the range of material is quite wide. The slide guitar legend recorded a few guitar solos, led the Hokum Boys through several songs, did two sides of gospel, and invited high-profile guests including Georgia Tom, Frankie "Half Pint" Jaxon, and Lil Johnson. Thom Owens

Abridged from this album’s original booklet notes. The first session included here is a remake of a session that took place in December 1928. Why the original titles were not released, is not quite clear. Anyway, the January 1929 session showed a mixture of straight, low down blues and so-called “hokum blues”. This was to become Tampa Red’s trademark for the next three or four years. Following the success of “It’s Tight Like That”, Tampa Red and Georgia Tom recorded a couple of titles in mid-tempo with a refrain and double-entendre lyrics, often combined with a tongue-in-cheek-way of looking at things. (What about this as a definition for “hokum”?) On five titles we also hear Frankie “Half-Pint” Jaxon, an enigmatic singer, who fits perfectly in Tampa’s hokum concept. A good example for Tampa’s guitar style is the aptly titled Voice Of The Blues. Georgia Tom handles the vocals here, and Tampa Red can concentrate on his guitar playing. His delicate slide playing, full of subtleties, conveys the right atmosphere for a real low down blues. It becomes evident that Tampa could get across much more of his feelings to the listener by his slide than by his singing (he never was much of a singer). The last session on this album displays another specialty of Tampa Red. Under the name of “The Guitar Wizard” that was to reappear time and again in his long career, he demonstrated all his abilities as a solo guitarist. And a true “guitar wizard” he was indeed!. DOCD-5074
Tracklist :
1    Tampa Red "The Guitar Wizard" With Georgia Tom–    It's Tight Like That No. 3 2:48
Piano – Thomas A. Dorsey (Georgia Tom)
Vocals, Guitar – Tampa Red
2    Tampa Red "The Guitar Wizard" With Georgia Tom–    Uncle Bud (Dog-Gone Him) 2:37
Vocals, Guitar – Tampa Red
Vocals, Piano – Thomas A. Dorsey (Georgia Tom)
3    Tampa Red "The Guitar Wizard" With Georgia Tom–    Train Time Blues (Matrix TC-2792-A) 3:28
Piano – Thomas A. Dorsey (Georgia Tom)
Vocals, Guitar – Tampa Red
4    Tampa Red "The Guitar Wizard"–    How Long, How Long Blues 3:03
Guitar – Tampa Red
5    Tampa Red "The Guitar Wizard"–    It's Tight Like That 2:48
Guitar – Tampa Red "The Guitar Wizard"
6    The Hokum Boys–    Selling That Stuff (Matrix 21156-1) 2:50
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
7    Tampa Red's Hokum Jug Band–    Mess, Katie, Mess 2:56
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
8    Tampa Red's Hokum Jug Band–    Sho' Is Hot 3:10
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
9    Tampa Red's Hokum Jug Band–    Boot It Boy 2:56
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
10    Tampa Red's Hokum Jug Band–    My Daddy Rocks Me (With One Steady Roll) 3:28
Bass – Bill Johnson
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Unknown Artist
Vocals – Frankie Jaxon
Washboard – Herman Brown
11    Tampa Red And Georgia Tom–    Givin' It Away 3:04
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
12    Tampa Red And Georgia Tom–    What You Gonna Do? 2:52
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
13    Tampa Red And Georgia Tom–    It's So Nice 3:17
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
14    Tampa Red And Georgia Tom–    Voice Of The Blues 3:00
Guitar – Tampa Red
Vocals, Piano – Georgia Tom
15    Gospel Camp Meeting Singers–    Come And Go To That Land 2:50
Guitar – Tampa Red
Piano [Poss.] – Georgia Tom Dorsey
Vocals [Vocal Group] – Unknown Artist
16    Gospel Camp Meeting Singers–    Hold To His Hand 2:57
Guitar – Tampa Red
Piano [Poss.] – Georgia Tom Dorsey
Vocals [Vocal Group] – Unknown Artist
17    Tampa Red, Georgia Tom–    The Duck Yas-Yas-Yas 2:52
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
18    Tampa Red, Georgia Tom–    Pat That Bread 2:37
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
19    Frankie "Half-Pint" Jaxon–    It's Heated 3:27
Guitar – Tampa Red
Piano [Prob.] – Georgia Tom Dorsey
Vocals, Scraper – Frankie "Half-Pint" Jaxon
20    Frankie "Half-Pint" Jaxon–    Jive Man Blues 2:48
Guitar – Tampa Red
Piano [Prob.] – Georgia Tom Dorsey
Vocals, Scraper – Frankie "Half-Pint" Jaxon
21    Tampa Red–    What Is It That Tastes Like Gravy? 2:48
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
22    Tampa Red–    You Better Tighten Up On It 2:44
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
23    Tampa Red "The Guitar Wizard"–    Prison Bound Blues 3:26
Guitar – Tampa Red "The Guitar Wizard"
24    Tampa Red "The Guitar Wizard"–    You Got To Reap What You Sow 3:17
Guitar – Tampa Red "The Guitar Wizard"
25    Lil Johnson–    House Rent Scuffle 2:47
Guitar – Tampa Red
Piano – Charles Avery
Vocals – Lil Johnson

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 3 • 1929-1930 | DOCD-5075 (1991) RM | FLAC (tracks+.cue), lossless

Document's Complete Recorded Works, Vol. 3 (1929-1930) wraps up a year in the life of Tampa Red, finding the Chicago bluesman recording a parade of blues, including "Chicago Moan Blues" and "Whiskey Drinkin' Blues." He also takes on several tracks of lighthearted hokum ("I Wonder Where My Easy Rider's Gone?," "Mama Don't Allow No Easy Riders Here"), along with the traditional standard "Corrine, Corrina."  Thom Owens

Abridged from this album’s original booklet notes. You might call it a period of transition, for after a fulminate start with their success of “It’s Tight Like That” and a period of follow-ups, the duo of Tampa Red and Georgia Tom gradually left the “hokum” genre and concentrated more and more on two easy things: the swinging, jazz-influenced up-tempo pieces like Easy Rider, and they got deeper and deeper into the real slow blues numbers, exploring several aspects of blues playing, and it is plain to hear that especially Tampa Red was getting more and more self confident in his playing refining his guitar style to a degree that he really became a champion, or in other words, a “guitar wizard”. The very first title included here, I Wonder Where My Easy Rider’s Gone (also known as “Easy Rider Blues), shows him as a leader of a small band that foreshadows his later “Chicago Five“. The flip side of this song was Come On Mama, Do That Dance it becomes evident that the swinging impetus of the two records comes not from the bass and washboard accompaniment, but from Tampa’s guitar. The same can be said for another track called Mama Don’t Allow to a degree that the listener doesn’t miss any rhythm instruments. Another side to Tampa Red‘s playing is revealed in the slow blues numbers such as Moanin’ Heart Blues, Chicago Moan Blues or I.C. Moan Blues. The moaning is not accomplished by his vocals, as is done by so many other blues singers, but by his guitar. Tampa is able to hold long notes with his slide, and then bend them in long melody bows. The two tracks Dying Mercy Blues and Black Hearted Blues have fine piano accompaniment, the later by Bill O’Bryant, a boogie specialist, plays the accompaniment. DOCD-5075
Tracklist :
1    Tampa Red And His Hokum Jug Band–    I Wonder Where My Easy Rider's Gone? 2:45
Bass – Bill Johnson
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
Vocals – Frankie Jaxon
Washboard [Prob.] – Jasper Taylor
2    Tampa Red And His Hokum Jug Band–    Come On, Mama, Do That Dance 2:48
Bass – Bill Johnson
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
Vocals – Frankie Jaxon
Washboard [Prob.] – Jasper Taylor
3    Tampa Red And Georgia Tom–    Friendless Blues 3:05
Bass [Poss.] – Bill Johnson
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
4    Tampa Red And His Hokum Jug Band–    Mama Don't Allow No Easy Riders Here 3:11
Kazoo, Jug – Unknown Artist
Piano [Prob.] – Cow Cow Davenport
Vocals – Frankie Jaxon
Vocals, Guitar – Tampa Red
Washboard [Prob.] – Jasper Taylor
5    Tampa Red And His Hokum Jug Band–    Saturday Night Scrontch 3:12
Guitar – Tampa Red
Kazoo, Jug – Unknown Artist
Piano [Prob.] – Cow Cow Davenport
Vocals – Frankie Jaxon
Washboard [Prob.] – Jasper Taylor
6    Tampa Red And Georgia Tom–    Mama Don't Allow No Easy Riders Here 2:53              
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
7    Tampa Red And Georgia Tom–    Strewin' Your Mess 2:48
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
8    Tampa Red "The Guitar Wizard"–    Dying Mercy Blues 3:07
Piano [Prob.] – Romeo Nelson
Vocals, Guitar – Tampa Red
9    Jenny Pope–    Whiskey Drinkin' Blues 3:12
Guitar – Tampa Red
Piano – Georgia Tom Dorsey
Vocals – Jenny Pope
10    Jenny Pope–    Doggin' Me Around Blues 3:04
Guitar – Tampa Red
Piano – Georgia Tom
11    Tampa Red–    Worried Man Blues 3:17
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
12    Tampa Red–    Mrs. Baker's Blues 3:10
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
13    Tampa Red And Georgia Tom–    Corrine Corrina 2:57
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
14    Georgia Tom, Tampa Red And Frankie Jaxon (The Black Hill Billies)–    Kunjine Baby 3:05
Vocals – Frankie Jaxon
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
15    Tampa Red–    That Stuff You Sell 2:17
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
16    Tampa Red–    Station Time Blues 3:02
Vocals, Guitar – Tampa Red
17    Tampa Red "The Guitar Wizard"–    Moanin' Heart Blues 2:48
Guitar – Tampa Red
18    Tampa Red "The Guitar Wizard"–    Chicago Moan Blues 3:15
Guitar – Tampa Red
19    Tampa Red–    Black Hearted Blues 2:57
Piano – Bill O'Bryant
Vocals, Guitar – Tampa Red
20    Tampa Red And Georgia Tom–    But They Got It Fixed Right On 2:54
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
21    Tampa Red And Georgia Tom–    Corinne Corinna No. 2 2:43
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
22    Tampa Red And Georgia Tom–    The Dirty Dozen No. 2 3:14
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
23    Tampa Red And Georgia Tom–    I. C. Moan Blues 2:58
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
24    Tampa Red And Georgia Tom–    Cryin' Shame Blues 3:04
Vocals – Georgia Tom
Vocals, Guitar – Tampa Red

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 4 • 1930-1931 | DOCD-5076 (1991) RM | FLAC (tracks+.cue), lossless

Volume four in the Document series of Tampa Red's Complete Recorded Works reissues two dozen sides originally recorded during late 1930 and most of 1931. During this period, he introduced two career classics ("Boogie Woogie Dance," "Things 'Bout Coming My Way"), did several versions of "You Rascal You," and took on boogie-woogie with a pair of novelties. Still, only collectors and serious blues fans should feel the need to pursue this compilation, instead of the excellent It Hurts Me Too collection available on Indigo. Thom Owens

Abridged from this album’s original booklet notes. Tampa Red had been a permanent resident of Chicago since 1925. The same is true for some of his colleagues, like Bumble Bee Slim or Big Bill Broonzy. Those were the people who created what I would like to call the First Chicago Blues. Common to them was an urban approach to the blues, a more sophisticated siyle. Their singing was less expressive, but full of subtleties. There was no “shouting” or “grumbling” in between the vocals. Their lyrics were less concerned with cows, mules, crops or other important things of country life, but rather dealt with attributes of the city. The use of the piano as an accompaniment to guitar playing is another characteristic trait. Thus Leroy Carr and Scrapper Blackwell, though residents of Indianapolis, were able to appeal to the musical taste of urban blacks. And this also explains the success of the duo of Tampa Red and Georgia Tom in Chicago. Tampa Red also enlarged his repertoire with songs not strictly taken from the blues field. Songs like Mama Don’t Allow or Corrine Corrina were taken from folk sources. Another typical feature of the early City Blues is the adaption of material originally taken from the pop or jazz sphere (in the 1920s this was just about the same thing). So we can hear on this album three versions of You Rascal You (also recorded by people like Louis Armstrong or Cab Calloway). The third version, where the duo is augmented by jug player Carl Reid (of Philipp’s Louisville Jug Band) and, again, by Frankie Jaxon, is the best one, in a really exuberant mood, with new lyrics and a fine jug solo. This is jazz-influenced “hokum” at its best! They Call It Boogie Woogie has nothing to do with the musical form of that name, but it is another song in the “Tight Like That” vein, using the name, because it was fashionable at the time. Boogie Woogie Dance, on the other hand, must have been the first guitar boogie on record, performed with artistic fervor, a true masterpiece indeed. Finally, there is evidence that Tampa Red also wrote topical songs of the day. Sad News Blues and especially Depression Blues reflect political events that were going to affect the black community (and not only them). DOCD-5076
Tracklist :
1    Tampa Red–    You Rascal You No. 2 2:35
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
2    Tampa Red–    You Rascal You No. 1 3:10
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
3    Sweet Papa Tadpole–    Have You Ever Been Worried In Mind? - Part 1 3:08
Guitar – Tampa Red
Vocals – Sweet Papa Tadpole
4    Sweet Papa Tadpole–    Have You Ever Been Worried In Mind? - Part 2 3:04
Guitar – Tampa Red
Piano – Unknown Artist
Vocals – Sweet Papa Tadpole
5    Sweet Papa Tadpole–    You Baby Can't Get Enough 3:09
Guitar – Tampa Red
Vocals – Sweet Papa Tadpole, Unknown Artist
6    Sweet Papa Tadpole–    Keep Your Yes Ma'am Clean 2:38
Guitar – Tampa Red
Piano – Unknown Artist
Vocals – Sweet Papa Tadpole
7    Tampa Red And His Hokum Jug Band–    You Rascal You 2:53
Guitar – Tampa Red
Jug – Carl Reid
Piano – Georgia Tom (Thomas A. Dorsey)
Vocals – Frankie Jaxon
8    Tampa Red And His Hokum Jug Band–    She Can Love So Good 3:15
Guitar – Tampa Red
Horn [Jazzhorn], Jug – Carl Reid
Piano – Georgia Tom
Vocals – Frankie Jaxon
9    Tampa Red–    Bear Cat's Kittens 2:45
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
10    Tampa Red–    Unhappy Blues 2:54
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
11    Tampa Red–    Jealous Hearted Mama Blues 2:55
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
12    Tampa Red–    They Call It Boogie Woogie 2:26
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
13    Tampa Red–    Toogaloo Blues 2:54
Speech, Piano – Georgia Tom
Vocals, Guitar – Tampa Red
14    Tampa Red–    Jinx Doctor Blues 3:04
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
15    Tampa Red "The Guitar Wizard"–    Boogie Woogie Dance 3:10
Guitar – Tampa Red
16    Tampa Red "The Guitar Wizard"–    Bumble Bee Blues 3:25
Guitar – Tampa Red
17    Tampa Red–    New Strangers Blues 3:03
Vocals, Guitar – Tampa Red
Vocals, Piano – Georgia Tom
18    Tampa Red–    Georgia Hound Blues 3:09
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
19    Tampa Red–    Things 'Bout Coming My Way 3:26
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
20    Tampa Red–    Cotton Seed Blues 2:53
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
21    Tampa Red–    Stop And Listen Blues 2:54
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
22    Tampa Red–    Down In Spirit Blues 2:56
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
23    Tampa Red–    Sad News Blues 3:18
Piano – Georgia Tom
Vocals, Guitar – Tampa Red
24    Tampa Red–    Depression Blues 2:56
Piano – Georgia Tom
Vocals, Guitar – Tampa Red

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 5 • 1931-1934 | DOCD-5077 (1991) RM | FLAC (tracks+.cue), lossless

Abridged from this album’s original booklet notes. This fifth volume of Tampa Red‘s early recordings marks two important events in his career: the splitting up of his duo with Georgia Tom, and the end of his Vocalion recordings. The album starts as a continuation of his earlier recordings, featuring hokum songs and down home blues. Don’t Leave Me Here can be heard in two versions, the first being recorded in Chicago in October 1931 and the second recorded in February 1932 in New York! On the May 7,1932 session, Tampa Red is solo again, and he plays two wonderfully relaxed blues. Then there is a gap of almost two years, probably caused by the Depression, as it happened to so many other blues and jazz artists. When the gap was over, things had changed. In March 1934, Tampa Red had a new partner, pianist Black Bob. This first session for Bluebird, this new “race” label of the RCA Victor company, also featured one of his greatest guitar solos, Kingfish Blues. Then the next day, there was one last session for Vocalion, again with Black Bob. There wasn’t a duo any more, just a singer/guitarist with piano accompaniment. The last Vocalion session is remarkable for two reasons: First, there is Tampa’s Black Angel Blues, the first of so many versions of the song. In the course of the following years, it has become somewhat of a classic of modern Chicago Blues, and artists like Robert Nighthawk, Earl Hooker and B. B. King had or have it in their repertoire. This also shows another aspect of Tampa’s creativity: that of a prolific songwriter. Many more of these classic tunes were to follow. And then there is Denver Blues, another wonderful guitar solo, Tampa’s good-bye present to Vocalion. DOCD-5077 

Tracklist :
1    Tampa Red "The Guitar Wizard"–    Mama Don't Leave Me Here (A)    3:08
2    Tampa Red "The Guitar Wizard"–    Please Mister Blues (A)        2:53
3    Tampa Red–    No Matter How She Done It (B)    3:14
4    Tampa Red–    Reckless Man Blues  (B) 2:48
5    Tampa Red–    Don't Leave Me Here (B) 2:42
6    Tampa Red–    Dead Cats On The Line (C) 2:45
7    Tampa Red–    You Can't Get That Stuff No More (C) 2:48
8    Tampa Red–    Things 'Bout Coming My Way No. 2 (C) 3:10
9    Tampa Red "The Guitar Wizard"–    Turpentine Blues (D) 3:20
10    Tampa Red "The Guitar Wizard"–    Western Bound Blues (D) 3:16
11    Tampa Red–    I'll Kill Your Soul (E) 2:55
12    Tampa Red–    If I Let You Get Away With It (E) 3:20
13    Tampa Red–    I'll Find My Way (E) 3:10
14    Tampa Red–    You've Got To Do Better (E) 3:07
15    Tampa Red–    Kingfish Blues (E)     3:05
16    Tampa Red–    You Don't Want Me Blues (E) 3:20
17    Tampa Red–    Nobody's Sweetheart Now     (E) 2:47
18    Tampa Red–    That Stuff Is Here (F) 3:20
19    Tampa Red–    Sugar Mama Blues No. 1 (F) 3:25
20    Tampa Red–    Sugar Mama Blues No. 2 (F) 3:17
21    Tampa Red–    Black Angel Blues (F) 3:24
22    Tampa Red–    Things 'Bout Coming My Way (G) 3:12
23    Tampa Red–    Denver Blues    (G) 2:53

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 1 • 1927-1932 | DOCD-5050 (1991) FLAC (tracks+.cue), lossless

This is a particularly fascinating CD, for it has the first 26 selections ever recorded by Big Bill Broonzy as a leader. The beginning of Document's complete reissuance of all of Broonzy's early recordings, the set starts with four duet numbers that Broonzy cut during 1927-28 with fellow guitarist John Thomas. Although his style was already a bit recognizable, the young guitarist/vocalist really started coming into his own in 1930. There are 15 selections from that year included on this set, with Big Bill often using the pseudonyms of Sammy Sampson or Big Bill Johnson; in fact, even the final seven numbers (from 1932) had him billed as the latter. The CD finds Broonzy evolving from a country-blues musician who already had strong technique into a star of hokum records. Among the many highlights are "Big Bill Blues" (different versions in 1928 and 1932), "I Can't Be Satisfied," "Pig Meat Strut," "Beedle Um Bum" and "Selling That Stuff." Pianist Georgia Tom Dorsey helps out on three numbers. Big Bill Broonzy fans have a right to rejoice about the existence of this wonderful series. Scott Yanow

Abridged from this album’s original booklet notes. When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still ‘country’ but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!

There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman. DOCD-5050

Tracklist :
1        House Rent Stomp (A) 2:30
2        Big Bill Blues (B) 2:57
3        Down In The Basement Blues (C) 3:27
4        Starvation Blues (C) 3:15
5        I Can't Be Satisfied (D) 2:45
6        Grandma's Farm (D) 2:23
7        Skoodle Do Do (D) 2:44
8        Tadpole Blues  (E) 2:54
9        Skoodle Do Do  (F) 2:44
10        Saturday Night Rub  (F) 2:54
11        Pig Meat Strut   (F) 2:47
12        Papa's Gettin' Hot  (F) 2:44
13        Police Station Blues  (G) 2:41
14        They Can't Do That (G) 2:48
15        State Street Woman  (H) 2:58
16        Meanest Kind Of Blues  (H) 2:58
17        I Got The Blues For My Baby  (H) 2:53
18        The Banker's Blues  (I) 2:32
19        How You Wan't Done?    (I) 2:46
20        Too Too Train Blues (J) 2:58
21        Mistreatin' Mamma  (J) 2:57
22        Big Bill Blues (J) 2:55
23        Brown Skin Shuffle (J) 2:55
24        Stove Pipe Stomp (J) 2:45
25        Beedle Um Bum (J) 3:00
26        Selling That Suff (J) 2:57