PAPA CHARLIE JACKSON — Complete Recorded Works In Chronological Order ★ Volume 1 ∙ 1924-1926 | DOCD-5087 (1991) RM | FLAC (image+.cue), lossless

The first 27 of Papa Charlie Jackson's recorded works is, on about ten counts, one of the most important blues documents you can find, dating all the way back to August of 1924, before there was even electrical recording or a true definition to "blues." Indeed, the popular highlight is a dance number called "Shake That Thing," which fairly overwhelmed a lot of Jackson's truer blues records with its beat. The opening number, "Papa's Lawdy Lawdy Blues," shows a kind of formative blues, with it and its B-side "Airy Man (aka "Hairy Man") Blues" closer in spirit to comic novelty numbers. The hybrid banjo-guitar that Jackson played was an absolute necessity on these and his other early records, for it was more audible than any guitar of the era would have been, and serves to keep a beat as well as provide full accompaniment. "Salt Lake City Blues" is closer to our modern definition of blues, a romantic lament that's as honest and cheerful as it is sexist. Jackson's first version of "Salty Dog Blues" is here, along with what is probably the earliest reference to Chicago's outdoor blues Mecca in "Maxwell Street Blues," dating from September of 1925. Other topical references to the future blues capital city can be heard in "Jackson's Blues," dealing with a local politician, and also worth checking out in that regard is "Mama Don't Allow It," telling of a country girl's descent into prostitution after coming to the big city. Also here is one of the earliest known source records for Willie Dixon's composition "Spoonful," tentitled "All I Want Is a Spoonful" (though anyone only familiar with the versions by Cream won't really recognize it), and a primordial incarnation of "I'm Alabama Bound" (later immortalized by Leadbelly). The audio quality is amazingly good throughout this disc (the only big exceptions, unfortunately, being the two duets with Ida Cox and the two takes of "Texas Blues," which are really in rough shape), and the sessionography and annotation are reasonably thorough, given how little we actually know about Jackson. Bruce Eder

Abridged from this album’s original booklet notes. As the first solo, self-accompanied male blues singer to be a record star, Papa Charlie Jackson paved the way for the likes of Blind Blake and Blind Lemon Jefferson on his own label, and for all their successors; but his music was from a different tradition. For one thing, he generally played the banjo-guitar, a hybrid instrument whose six strings were tuned and fingered like a guitar’s, but whose banjo body gave it a light, staccato sound. For another, Jackson’s songs were those of a vaudeville entertainer, with a background in tent, theatre and medicine shows. Airy Man Blues (correctly “Hairy Man Blues”) contains the first of his many references to Chicago landmarks, in this case State Street. Salt Lake City Blues, by Gertrude Davis, was a mildly daring joke at the expense of the Mormons, not known for their tolerance of blacks. Its flipside, Salty Dog Blues, was that song’s debut on disc, and its sales established Papa Charlie Jackson as a star. Takes 1, 2 and 3 are variously shown in the wax of surviving copies, though they are in fact identical, like all “alternate” takes that could be examined for this album, suggesting that repressing from the original master is indicated, rather than the use of different takes. The Cats Got The Measles, credited to Murphy and Smiley, is largely a collection of traditional verses; its double entendre flipside, unrelated except in its opening line to the Clarence Williams composition later recorded by Bessie Smith, is a woman’s song, which Papa Charlie doesn’t bother to amend. Shave ‘Em Dry had been previously recorded by Ma Rainey, and was probably an attempt to generate further sales; Coffee Pot Blues, on the reverse, starts with traditional verses, but surprisingly becomes a murder ballad. By this time, Papa Charlie Jackson was a big enough name to be coupled in duet with Ida Cox, Paramount’s other female star alongside Ma Rainey, but it was with Shake That Thing that his career really took off. This light-hearted dance tune was the forerunner of the late 20s hokum craze, was widely covered, and is part of the blues to this day: “Old Uncle Jack, the jelly roll king” gave his name to Frank Frost‘s band. When Paramount produced a two-part promotional record in 1929, featuring brief performances by their stars, Papa Charlie Jackson and Shake That Thing opened and closed the Hometown Skiffle. The Faking Blues, on the reverse of Shake That Thing, is largely made up of traditional verses, and uses “faking” as an intensifier, rather like “mamlish” in other contexts. I’m Alabama Bound and Drop That Sack feature two banjos, the unknown duettist often drowning out Jackson’s playing with his excellent flatpicking; to hear that there are, indeed, two banjos, listen to the break just before the last verse of Drop That Sack, where Jackson’s characteristic fast bass runs come through clearly. Alabama Bound is, again, the song’s debut on record. The 12-bar Hot Papa Blues was backed with the cheerful eight-bar insult song Mama Don’t You Think I Know?. Similarly, the traditional Take Me Back Blues was coupled with a remarkable rewrite of the jazz warhorse Mama Don’t Allow, which turns the song into a tale of a country girl coming to town and being entrapped by a pimp. This topic continues on Maxwell Street Blues, as Jackson asks the desk sergeant to release his girl, arrested for soliciting at the famous Sunday market. That song’s reverse was yet another first recording of a famous song, All I Want Is A Spoonful, like Salty Dog an obscurely sexual lyric. Paul Carter‘s I’m Going Where The Chilly Winds Don’t Blow, on the other hand, was an original lyric in an unusual 12- bar verse plus 16-bar chorus format, and has affinities with hillbilly music (compare Earl Johnson‘s All Night Long). On Texas Blues, Jackson plays guitar, although he achieves an unusual sound, allegedly by using a banjo g’ string, an octave higher than the guitar’s normal third string. Intriguingly, Jackson’s Blues features a piano walking bass on guitar; equally intriguing is its lyric, praising the ability of a Chicago ward heeler, coincidentally named Palmer Jackson, to get people out of jail and look after their rights (a sadly rare word in blues). DOCD-5087
Tracklist :
1    Charlie Jackson –    Papa's Lawdy Lawdy Blues 2:32
Vocals, Banjo – Papa Charlie Jackson
2    Charlie Jackson –    Airy Man Blues 2:39
Vocals, Banjo – Papa Charlie Jackson
3    Charlie Jackson –    Salt Lake City Blues 2:44
Vocals, Banjo – Papa Charlie Jackson
4    Charlie Jackson –    Salty Dog Blues 3:03
Vocals, Banjo – Papa Charlie Jackson
5    Charlie Jackson –    The Cats Got The Measles 2:57
Vocals, Banjo – Papa Charlie Jackson
6    Charlie Jackson–    I Got What It Takes But It Breaks My Heart To Give It Away 3:02
Vocals, Banjo – Papa Charlie Jackson
7    Charlie Jackson –    Shave 'Em Dry 2:40
Vocals, Banjo – Papa Charlie Jackson
8    Charlie Jackson –    Coffee Pot Blues 2:15
Vocals, Banjo – Papa Charlie Jackson
9    Ida Cox And Papa Charlie Jackson–    Mister Man -- Part I 2:56
Vocals [vocal duet] – Ida Cox
Vocals [vocal duet], Banjo – Papa Charlie Jackson
10    Ida Cox And Papa Charlie Jackson–    Mister Man -- Part II 2:43
Vocals [vocal duet] – Ida Cox
Vocals [vocal duet], Banjo – Papa Charlie Jackson
11    Papa Charlie Jackson–    Shake That Thing 2:57
Vocals, Banjo – Papa Charlie Jackson
12    Papa Charlie Jackson–    The Faking Blues 2:36
Vocals, Banjo – Papa Charlie Jackson
13    Charlie Jackson –    I'm Alabama Bound 3:01
Banjo [2nd bj.] – Unknown Artist
Vocals, Banjo – Papa Charlie Jackson
14    Charlie Jackson –    Drop That Sack 2:28
Banjo [2nd bj.] – Unknown Artist
Vocals, Banjo – Papa Charlie Jackson
15    Charlie Jackson –    Hot Papa Blues 2:44
Vocals, Banjo – Papa Charlie Jackson
16    Charlie Jackson –    Take Me Back Blues 3:03
Vocals, Banjo – Papa Charlie Jackson
17    Charlie Jackson –    Mama Don't Allow It (And She Ain't Gonna Have It Here) 2:50
Vocals, Banjo – Papa Charlie Jackson
18    Charlie Jackson –    Mama, Don't You Think I Know? 2:49
Vocals, Banjo – Papa Charlie Jackson
19    Ida Cox–    How Long Daddy, How Long?
Banjo – Papa Charlie Jackson
Vocals – Ida Cox
20    Charlie Jackson –    Maxwell Street Blues 2:45
Vocals, Banjo – Papa Charlie Jackson
21    Charlie Jackson –    All I Want Is A Spoonful 2:38
Vocals, Banjo – Papa Charlie Jackson
22    Charlie Jackson –    I'm Going Where The Chilly Winds Don't Blow 3:22
Vocals, Banjo – Papa Charlie Jackson
23    Charlie Jackson –    Texas Blues (Take 1) 2;38
Vocals, Banjo – Papa Charlie Jackson
24    Charlie Jackson –    Texas Blues (Take 2) 2:51
Vocals, Guitar – Papa Charlie Jackson
25    Papa Charlie Jackson–    I'm Tired Of Fooling Around With You 2:39
Vocals, Banjo – Papa Charlie Jackson
26    Papa Charlie Jackson–    Jackson's Blues 2:48
Vocals, Guitar – Papa Charlie Jackson
27    Charlie Jackson –    Let's Get Along 2:36
Vocals, Banjo – Papa Charlie Jackson

IDA COX WITH THE COLEMAN HAWKINS QUINTET — Blues for Rampart Street (1961-1990) RM | Original Jazz Classics Limited Edition Series | FLAC (tracks+.cue), lossless

Classic blues singer Ida Cox had not recorded since 1940 nor performed regularly since the mid-'40s when she was coaxed out of retirement to record a date for Riverside in 1961. At 65 years old (some books list her as being 72), Cox's voice was a bit rusty and past its prime, but she still had the feeling, phrasing, and enough tricks to perform a strong program. With assistance from trumpeter Roy Eldridge, tenor saxophonist Coleman Hawkins, pianist Sammy Price, bassist Milt Hinton, and drummer Jo Jones (swing-era veterans who came up after Cox was already a major name), the singer does her best on such numbers as "Wild Women Don't Have the Blues," "Blues for Rampart Street," "St. Louis Blues," and "Death Letter Blues." Since she passed away in 1967, this final effort (reissued on CD) was made just in time and is well worth acquiring by 1920s jazz and blues collectors. Scott Yanow
Tracklist :
1 Blues for Rampart Street 3:00
Ida Cox
2 St. Louis Blues 3:24
W.C. Handy
3 Fogyism 4:32
Ida Cox
4 Wild Women (Don't Have the Blues) 3:19
Ida Cox
5 Hard Times Blues 4:16
Ida Cox
6 Cherry Pickin' Blues 3:32
Ida Cox
7 Hard, Oh Lord 3:49
Ida Cox
8 Lawdy Lawdy Blues 5:55
Ida Cox
9 Death Letter Blues 3:41
Ida Cox
10 Mama Goes Where Papa Goes 3:24
Milton Ager / Jack Yellen
Credits :
Bass – Milt Hinton
Drums – Jo Jones
Piano – Sammy Price
Tenor Saxophone – Coleman Hawkins
Trumpet – Roy Eldridge
Vocals – Ida Cox

IDA COX — Complete Recorded Works in Chronological Order • Volume 1 (1923-38) DOCD-5322 (1995) FLAC (tracks+.cue), lossless

Ida Cox was one of the most powerful blues singers of the 1920s, ranking just below Bessie Smith. The Document label has reissued all of Cox's 1920s recordings on four CDs, leaving out many of the alternate takes (since there are a great deal from 1923-24) to be put out on a later series. The first CD has the master takes of all of Cox's recordings from 1923, plus four alternates. Except for the closing "Bear-Mash Blues," which finds the singer joined by her future husband Jesse Crump on piano, the music either features accompaniment by pianist Lovie Austin (an underrated blues player) or assistance from Austin, the great cornetist Tommy Ladnier and clarinetist Jimmy O'Bryant. Cox was one of the few singers from this early period who could overcome the technical limitations of the primitive recording equipment and really communicate with the listener. Among the highlights from her first year on records are "Any Woman's Blues," "Graveyard Dream Blues" (which is heard in three versions), "Ida Cox's Lawdy, Lawdy Blues," "Moanin' Groanin' Blues," "Come Right In" (which has some lines that would become quite familiar in later songs) and "I've Got the Blues for Rampart Street." Highly recommended. Scott Yanow 
Tracklist :
1 Any Woman's Blues 3:36
2 Bama Bound Blues 3:17
3 Lovin' Is The Thing I'm Wild About 3:01
4 Graveyard Blues [Take 1] 2:55
5 Graveyard Blues [Take 2] 2:55
6 Weary Way Blues 2:47
7 Blue Monday Blues 2:48
8 I Love My Man Better Than I Love Myself 2:56
9 Ida Cox's Lawdy, Lawdy Blues [Take 3] 2:51
10 Ida Cox's Lawdy, Lawdy Blues [Take 4] 2:41
11 Moanin' Groanin' Blues 2:44
12 Chattanooga Blues 2:47
13 Chicago Bound Blues [Take 2] 2:41
14 Chicago Bound Blues [Take 3] 2:31
15 Come Right In 2:44
16 I've Got The Blues For Rampart Street [Take 3] 2:45
17 I've Got The Blues For Rampart Street [Take 4] 2:48
18 Graveyard Dream Blues [Take 2] 2:52
19 Mama Doo Shee Blues 3:03
20 Worried Mama Blues 3:15
21 So Soon This Morning Blues 2:59
22 Mail Man Blues 3:01
23 Confidential Blues 2:58
24 Bear-Mash Blues 2:47

IDA COX — Complete Recorded Works In Chronological Order • Volume 2 (1924-1925) DOCD-5323 (1996) FLAC (tracks+.cue), lossless

Unlike most of her contemporaries, who spent at least part of their time singing vaudeville-type material and pop songs, Ida Cox stuck throughout her career to the blues. On the second of four Document CDs that reissue all of her 1920s material (although some of the many alternate takes are bypassed), Cox is mostly accompanied by either Lovie Austin's Blues Serenaders (which usually includes cornetist Tommy Ladnier and clarinetist Jimmy O'Bryant, although the great Johnny Dodds is on six selections) or, on one date, members of Fletcher Henderson's Orchestra. The recording quality of these Paramount 78s (which cover a 13-month period) is erratic, but there are a few classics here, including "Chicago Monkey Man Blues" (which has some lyrics that would later be used for "Going to Chicago"), "Blues Ain't Nothin' Else But," "Wild Women Don't Have the Blues" and "Death Letter Blues." Throughout, Ida Cox (who was second to Bessie Smith at the time) is quite consistent, making the most of her limitations. Recommended. Scott Yanow
Tracklist  :
1 Mean Lovin' Man Blues (Take 3)  2:49
Accompanied By – The Pruit Twins
Banjo – Milas Pruitt
Guitar – Miles Pruitt
Vocals – Ida Cox
2 Down The Road Bound Blues (Take 2)  3:20
Accompanied By – The Pruit Twins
Banjo – Milas Pruitt
Guitar – Miles Pruitt
Vocals – Ida Cox
3 Last Time Blues (Take 2)  2:58
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano, Leader – Lovie Austin
Vocals – Ida Cox
4 Worried Any How Blues  3:04
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano, Leader – Lovie Austin
Vocals – Ida Cox
5 Chicago Monkey Man Blues (Take 1)  2:58
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano, Leader – Lovie Austin
Vocals – Ida Cox
6 Chicago Monkey Man Blues (Take 2)  2:52
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano, Leader – Lovie Austin
Vocals – Ida Cox
7 Mean Papa Turn Your Key  3:03
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano, Leader – Lovie Austin
Vocals – Ida Cox
8 Blues Ain't Nothin' Else But! (Take 2)  3:13
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Unknown Artist
Cornet – Unknown Artist
Piano – Lovie Austin
Tenor Saxophone – Unknown Artist
Trombone – Unknown Artist
Vocals – Ida Cox
9 Worried In Mind Blues (Take 1)  2:58
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone [Poss.] – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant, Stump Evans
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
10 My Mean Man Blues (Take 1)  2:42
Accompanied By – Lovie Austin And Her Blues Serenaders
Alto Saxophone [Poss.] – Charles Harris 
Clarinet [Prob.] – Jimmy O'Bryant, Stump Evans
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
11 Kentucky Man Blues  2:58
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
12 Cherry Picking Blues  3:19
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
13 Wild Women Don't Have The Blues  2:27
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
14 Worried In Mind Blues (Take 3)  3:00
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
15 Death Letter Blues  3:04
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
16 My Mean Man Blues (Take 4)  2:36
Accompanied By – Lovie Austin And Her Blues Serenaders
Clarinet – Johnny Dodds
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
17 Those Married Man Blues  2:52
Accompanied By – Her Five Blue Spells
Banjo – Charlie Dixon
Clarinet, Soprano Saxophone – Don Redman
Cornet – Elmer Chambers
Drums [Prob.] – Kaiser Marshall
Piano – Fletcher Henderson
Trombone – Charlie Green
Vocals – Ida Cox
18 Misery Blues  3:13
Accompanied By – Her Five Blue Spells
Banjo – Charlie Dixon
Clarinet, Soprano Saxophone – Don Redman
Cornet – Elmer Chambers
Drums [Prob.] – Kaiser Marshall
Piano – Fletcher Henderson
Trombone – Charlie Green
Vocals – Ida Cox
19 Graveyard Bound Blues  3:20
Accompanied By – Her Five Blue Spells
Banjo – Charlie Dixon
Clarinet, Soprano Saxophone – Don Redman
Cornet – Howard Scott 
Drums [Prob.] – Kaiser Marshall
Piano – Fletcher Henderson
Trombone – Charlie Green
Vocals – Ida Cox
20 Mississippi River Blues  3:12
Accompanied By – Her Five Blue Spells
Banjo – Charlie Dixon
Clarinet, Soprano Saxophone – Don Redman
Cornet – Howard Scott 
Drums [Prob.] – Kaiser Marshall
Piano – Fletcher Henderson
Trombone – Charlie Green
Vocals – Ida Cox
21 Georgia Hound Blues  3:12
Accompanied By – Her Five Blue Spells
Banjo – Charlie Dixon
Clarinet, Soprano Saxophone – Don Redman
Cornet – Howard Scott 
Drums [Prob.] – Kaiser Marshall
Piano – Fletcher Henderson
Trombone – Charlie Green
Vocals – Ida Cox
Whistle – Unknown Artist
22 Blue Kentucky Blues  2:54
Accompanied By – Her Five Blue Spells
Clarinet, Soprano Saxophone – Don Redman
Cornet – Elmer Chambers
Drums [Prob.] – Kaiser Marshall
Piano – Fletcher Henderson
Trombone – Charlie Green
Vocals – Ida Cox
23 Black Crepe Blues  2:53
Accompanied By – Lovie Austin And Serenaders
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox
24 Fare Thee Well Poor Gal  2:50
Accompanied By – Lovie Austin And Serenaders
Clarinet [Prob.] – Jimmy O'Bryant
Cornet – Tommy Ladnier
Piano – Lovie Austin
Vocals – Ida Cox

IDA COX — Complete Recorded Works in Chronological Order • Volume 3 (1925-1927) DOCD-5324 (1995) FLAC (tracks+.cue), lossless

The third of four "complete" Ida Cox CDs from Document has 14 selections from 1925, six from 1926 and four from 1927. Most of the sessions feature the masterful blues singer assisted by Lovie Austin's Blues Serenaders, whose personnel was changing during this era -- they featured either Tommy Ladnier, the underrated Bob Shoffner, Bernie Young or Shirley Clay on cornet, Jimmy O'Bryant or (on two songs) Johnny Dodds on clarinet, and other unidentified musicians, including a trombonist. In addition, there are three duets with banjoist Papa Charlie Jackson, a couple of numbers in which Cox is joined by cornetist Dave Nelson and Jesse Crump on reed organ, and the first four tunes from a lengthy 1927 set that has Cox accompanied only by Crump's piano. Most interesting is "How Long Daddy, How Long," which was the basis of Leroy Carr's famous "How Long Blues." Other highlights include "Long Distance Blues," "Southern Woman's Blues," "Coffin Blues" and Cox's famous "'Fore Day Creep." All four of the discs in this valuable series are easily recommended to serious blues collectors. Scott Yanow
Tracklist :
1 Cold Black Ground Blues 2:54
2 Someday Blues 2:55
3 Mister Man - Part 1 2:59
4 Mister Man - Part 2 2:45
5 Mistreatin' Daddy Blues (Take 1) 3:01
6 Long Distance Blues 3:01
7 Southern Woman's Blues (Take 2) 3:13
8 Lonesome Blues 2:52
9 How Long Daddy, How Long 2:58
10 How Can I Miss You When I've Got Dead Aim (Take 2) 2:44
11 I Ain't Got Nobody (Take 2) 2:56
12 Coffin Blues 3:16
13 Rambling Blues (Take 2) 2:36
14 One Time Woman Blues 2:56
15 Trouble Trouble Blues 2:56
16 Do Lawd Do (Take 1) 2:53
17 I'm Leaving Here Blues (Take 1) 3:06
18 Night And Day Blues (Take 2) 2:52
19 Don't Blame Me 3:04
20 Scottle De Doo 3:01
21 Fore Day Creep 2:26
22 Gypsy Glass Blues 2:41
23 Mojo Hand Blues 3:14
24 Alphonsia Blues 2:42

IDA COX — Complete Recorded Work in Chronological Order • Volume 4 (1927-1938) DOCD-5325 (1995) FLAC (tracks+.cue), lossless

The fourth and final CD in Document's extensive Ida Cox series features the classic blues singer in a variety of settings: backed by her future husband Jesse Crump on eight selections from 1927; accompanied by a variety of mostly unknown players on a dozen numbers from 1928; joined by a trio (including trombonist Roy Palmer) on two 1929 sides; and, finally, assisted by five Count Basie sidemen (trumpeter Shad Collins, trombonist Dickie Wells, tenorman Buddy Tate, bassist Walter Page and drummer Jo Jones) and pianist James P. Johnson during her two songs at the 1938 Spirituals to Swing Concert. Unfortunately, Document did not put out a Vol. 5 to cover Cox's 1939-40 recordings (which were reissued by Affinity). Although none of these individual selections became that famous, she is heard in prime form throughout, and she is at her best during the duets with Crump. In fact, Cox is in such fine form during her 1938 concert appearance that it makes one wonder why she was not more active on records during the 1930s and '40s. The first two CDs in this series get the edge, but all four will be wanted by vintage blues fans. Scott Yanow  
Tracklist :
1 Pleading Blues 3:00
2 Lost Man Blues 2:46
3 Hard Oh Lawd 2:33
4 Mercy Blues 3:00
5 Seven Day Blues 3:05
6 Cold And Blue 2:47
7 Midnight Hour Blues 2:51
8 Give Me A Break Blues 2:53
9 Bone Orchard Blues 2:57
10 Sobbing Tears Blues 3:29
11 Booze Crazy Man Blues 3:05
12 Broadcasting Blues 2:44
13 Western Union Blues 2:33
14 Fogyism 2:44
15 Separated Blues 2:40
16 Tree Top Tall Papa 2:25
17 Marble Stone Blues 2:41
18 Crow Jane Woman 2:44
19 Worn Down Daddy Blues 2:38
20 You Stole My Man 2:42
21 I'm So Glad 3:10
22 Jail House Blues 3:21
23 Four Day Creep 3:28
24 Low Down Dirty Shame 2:35

IDA COX — Complete Recorded Works in Chronological Order • Volume 5 (1939-1940) DOCD-5651 (1999) FLAC (tracks+.cue), lossless

Other than an album from 1961, this CD has blues singer Ida Cox's final recordings. The first seven selections (which include a previously unreleased "One Hour Mama") has four additional alternate takes. Cox is heard in 1939 backed by an accurately-titled "all-star band" that consists of trumpeter Hot Lips Page, trombonist J.C. Higginbotham, clarinetist Edmond Hall, either James P. Johnson or Fletcher Henderson on piano, guitarist Charlie Christian, bassist Artie Bernstein and Lionel Hampton on drums. Although her prime was considered the 1920s, Ida Cox on "Death Letter Blues" and "Four Day Creep" still sounds pretty strong. The remainder of this CD is taken from a 1940 session with trumpeter Red Allen, Higginbotham, Hall, pianist Cliff Jackson, bassist Billy Taylor, and drummer Jimmy Hoskins that resulted in four titles and four alternate takes; only two performances were released previously, but Cox's singing is excellent. It is a pity that because musical styles had changed, Ida Cox was largely forgotten during this period. Scott Yanow

Tracklist
1 Deep Sea Blues (Take 1) 3:20
Ida Cox
2 Deep Sea Blues (Take 2) 3:24
Ida Cox
3 Death Letter Blues (Take 1) 3:17
Ida Cox
4 Death Letter Blues (Take 4) 2:46
Ida Cox
5 One Hour Mama (Take 4) 2:56
Ida Cox / Porter Grainger
6 One Hour Mama (Breakdown) (Take 5) 0:17
Ida Cox
7 One Hour Mama (Take 6) 3:07
Ida Cox / Porter Grainger
8 Four Day Creep 3:28
Ida Cox
9 Pink Slip Blues 3:01
Porter Grainger
10 Hard Times Blues 3:00
Ida Cox
11 Take Him Off My Mind 3:05
Porter Grainger
12 Last Mile Blues (Take 1) 3:12
Ida Cox / Jesse Crump
13 Last Mile Blues (Take 2) 3:19
Ida Cox / Jesse Crump
14 I Ain't Gonna Let Nobody Break My Heart 3:21
Ida Cox
15 I Can't Quit That Man (Take 1) 2:55
16 I Can't Quit That Man (Take 2) 3:00
17 I Can't Quit That Man (Take 3) 3:17
18 You Got To Swing And Sway (Take 1) 2:57
Ida Cox
19 You Got To Swing And Sway (Take 2) 2:33
Ida Cox

Credits

Henry "Red" Allen - Trumpet

Artie Bernstein - Bass, Sax (Bass)

Charlie Christian - Guitar

Ida Cox - Composer, Primary Artist, Vocals

Edmond Hall - Clarinet

Lionel Hampton - Drums

Fletcher Henderson - Piano

J.C. Higginbotham - Trombone

Jimmie Hoskins - Drums

Cliff Jackson & His Crazy Cats - Piano

James P. Johnson & His Orchestra - Piano

James P. Johnson - Piano

Hot Lips Page - Trumpet

Billy Taylor - Sax (Bass)

Billy Taylor, Sr. - Bass