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

BLIND BLAKE — Complete Recorded Works In Chronological Order ★ Volume 2 : 1927-1928 | DOCD-5025 (1991) RM | FLAC (tracks+.cue), lossless

Guitarist/singer Blind Blake's entire recorded output has been made available on four Document CDs. Vol. 2 covers a busy seven-month period and features Blake in several different diverse but equally rewarding settings. He performs solo; backs singers Elzadie Robinson, Bertha Henderson, and Daniel Brown; and holds his own with clarinetist Johnny Dodds and percussionist/xylophonist JImmy Bertrand in a jazz set. There are many memorable numbers among the 25 songs on this CD, including "Southern Rag," "He's in the Jailhouse Now," "Hot Potatoes" (an exuberant instrumental with Dodds), "Southbound Rag," and "No Dough Blues." Blind Blake at his best, but get all four volumes. Scott Yanow

Blind Blake’s guitar brilliance shines in this collection, featuring collaborations with top jazz and blues talents. His mastery of “ragtime guitar” dazzles on “Southern Rag”, where he blends African rhythms, Gullah influences, and sharp chord changes. This track reflects his roots and pioneering style. Blake’s versatility is evident in his accompaniment of artists like Elzadie Robinson and Bertha Henderson, where he switches effortlessly between guitar and piano. His one-man band approach on “Panther Squall”, using harmonica and guitar simultaneously, showcases his ingenuity. Blind Blake Complete Recorded Works Vol 2  Highlights include:

    Johnny Dodds: Clarinet brilliance on “Hot Potatoes” and “Southbound Rag”
    Jimmy Bertrand: Slide whistle and xylophone adding texture
    Bertha Henderson: Vocals complemented by Blake’s piano on “Let Your Love Come Down”
    Elzadie Robinson: Energetic performance on “Pay Day Daddy”

This volume captures Blake’s unique blend of blues, ragtime, and early jazz, solidifying his place as a guitar legend. DOCD-5025
Tracklist :
1    Blind Blake–    You Gonna Quit Me Blues 2:43
Guitar, Vocals – Blind Blake
2    Blind Blake–    Steel Mill Blues 3:10
Guitar, Vocals – Blind Blake
3    Blind Blake–    Southern Rag 2:50
Guitar, Speech – Blind Blake
4    Blind Blake–    He's In The Jailhouse Now 2:42
Banjo – Gus Cannon
Guitar, Vocals – Blind Blake
5    Blind Blake–    Wabash Rag 2:51
Guitar, Vocals – Blind Blake
6    Blind Blake–    Doggin' Me Mama Blues 3:11
Guitar, Vocals – Blind Blake
Xylophone, Vocals, Speech – Jimmy Bertrand
7    Blind Blake–    C.C. Pill Blues 3:11
Clarinet – Johnny Dodds
Guitar, Vocals – Blind Blake
Slide Whistle – Jimmy Bertrand
8    Blind Blake–    Hot Potatoes 3:01
Clarinet – Johnny Dodds
Guitar, Vocals – Blind Blake
Slide Whistle, Wood Block, Vocals, Speech – Jimmy Bertrand
9    Blind Blake–    Southbound Rag 3:19
Clarinet – Johnny Dodds
Guitar, Vocals – Blind Blake
Xylophone – Jimmy Bertrand
10    Elzadie Robinson–    Pay Day Daddy Blues 2:51
Clarinet – Johnny Dodds
Guitar, Whistle – Blind Blake
Vocals – Elzadie Robinson
Xylophone – Jimmy Bertrand
11    Elzadie Robinson–    Elzadie's Policy Blues 3:10
Clarinet – Johnny Dodds
Guitar – Blind Blake
Vocals – Elzadie Robinson
Xylophone – Jimmy Bertrand
12    Blind Blake–    Goodbye Mama Moan 2:46
Guitar, Vocals – Blind Blake
13    Blind Blake–    Tootie Blues 2:59
Guitar, Vocals – Blind Blake
14    Blind Blake–    That Lovin' I Crave 2:40
Guitar, Vocals – Blind Blake
15    Bertha Henderson–    That Lonesome Rave 3:09
Guitar – Blind Blake
Vocals – Bertha Henderson
16    Bertha Henderson–    Terrible Murder Blues 2:58
Guitar – Blind Blake
Vocals – Bertha Henderson
17    Bertha Henderson–    Leavin' Gal Blues 2:49
Guitar – Blind Blake
Vocals – Bertha Henderson
18    Blind Blake–    No Dough Blues 2:52
Guitar, Vocals – Blind Blake
19    Bertha Henderson–    Lead Hearted Blues 2:33
Guitar – Blind Blake
Vocals – Bertha Henderson
20    Bertha Henderson–    Let Your Love Come Down 2:27
Piano – Blind Blake
Vocals – Bertha Henderson
21    Blind Blake–    Rumblin' And Ramblin' Boa Constrictor Blues 2:49
Guitar, Vocals – Blind Blake
22    Blind Blake–    Bootleg Rum Dum Blues 2:54
Guitar, Vocals – Blind Blake
23    Blind Blake–    Detroit Bound Blues 3:06
Guitar, Vocals – Blind Blake
24    Daniel Brown –    Beulah Land 3:08
Guitar – Blind Blake
Piano – Tiny Parham
Vocals – Daniel Brown
Washboard – Unknown Artist
25    Blind Blake–    Panther Squall Blues 2:52
Guitar, Vocals, Harmonica [possibly] – Blind Blake
Harmonica [possibly] – George "Bullet" Williams

BLIND BLAKE — Complete Recorded Works In Chronological Order ★ Volume 3 : 1928-1929 | DOCD-5026 (1991) RM | FLAC (tracks+.cue), lossless

The third volume in the series opens with a pair of mid-1928 tracks featuring Blind Blake in the role of sideman, lending his brilliant guitar leads in support of Elzadie Robinson on "Elzadie's Policy Blues" and "Pay Day Daddy Blues." Blake's next session, from later that same year, returns him to the fore, yielding the mesmerizing "Notoriety Woman," one of the most menacingly violent tracks he ever cut; the same date also produced the comparatively lighthearted "Sweet Papa Low Down," a seeming attempt to cash in on the Charleston dance craze. The real jewel of the set, however, is a 1929 session teaming him with pianist Charlie Spand; "Hastings St." is a lively, swinging guitar and piano duet, while "Police Dog Blues" is among Blake's most vividly lyrical efforts, further galvanized by his haunting instrumental work. Jason Ankeny

Abridged from this album’s original booklet notes. Blind Blake, one of the top blues guitarists and singers of the 1920s, is a mystery figure whose birth and death dates are not definitively known. He recorded 84 selections in six years (1926-1932), and all have been reissued on four Document albums (DOCD-5024, DOCD-5025, DOCD-5026, DOCD-5027). By 1928 Blind Blake had gathered a faithful following, his appeal probably being due to the scope of his material, his popularity rivaling that of Blind Lemon Jefferson. The third volume in the series opens featuring Blake in the role of sideman, lending his brilliant guitar leads in support of Elzadie Robinson on Elzadie’s Policy Blues and Pay Day Daddy Blues. Returning to recording under his own name, a session, or sessions, held during September 1928 seemed to find Blake obsessed by women and the problems they were causing him, at times sounding lachrymal and despondent Search Warrant, Back Door, desperate Walkin’ Across The Country and positively violent as in Notoriety Woman, “To keep her quiet I knocked her teeth out her mouth, that notoriety woman is known all over the south”. The final number recorded that month, Sweet Papa Low Down, with its cornet, piano and xylophone accompaniment, evoke the kind of bouncy tune popular with practitioners of the Charleston dance craze. It was to be a further nine months before Blake recorded again, this time in company with pianist Alex Robinson. The five titles cut were of a far less suicidal nature than previous and on one number in particular, Doin’ A Stretch, his approach owed much to the style of Leroy Carr. There then followed a session in August 1929 which teamed him with Detroit pianist Charlie Spand that was to produce some of Blind Blake’s most vital and memorable recordings of his career. Hastings St., a swinging, boogie based piano and guitar duet, is primarily a showcase for the talents of Spand with the vocal banter between the pair celebrating the good times to be found in Detroit’s Black Bottom, “Out on Hastings Street doing the boogie, umm, umm, very woogie” in much the same manner as John Lee Hooker did in “Boogie Chillun” twenty years later. One of the best known mythical themes in black folklore is that of Diddie Wa Diddie, a kind of heaven on earth, a utopia of no work, no worries and all the food one could wish for. Blind Blake, while playing some mesmerising guitar, pokes fun at the idea, claiming that as far as he’s concerned it’s a “great big mystery”, his Diddie Wa Diddie is one for sexual gratification. The following year he cynically accepted the meaning (see Document DOCD-5027). The theme was taken up by in the 5Os by popular R&B singer, Bo Diddley. The unmistakable resonance of the steel-bodied National guitar introduces Police Dog Blues, one of Blake’s most lyrical songs and is notable for his use of the harmonics during the instrumental breaks, where he makes the guitar sound “most like a piano” (to borrow Leadbelly’s description of the technique). The haunting melody of Georgia Bound is common to the blues having been used by Charlie Patton (“Tom Rushen” – Document DOCD- 5009), Big Bill Broonzy (“Shelby County Blues” – document DOCD-5051) and Robert Johnson (“From Four Till Late”), to name but some, the sentiments of the song bearing an air of weary resignation suggesting that Blind Blake had more than just a passing acquaintance with the State. Despite the onset of the Depression, Blake went on recording, albeit sporadically, until 1932, lasting longer than many others as demonstrated in the final Document album of his work, Volume 4 (DOCD-5027). DOCD-5026
Tracklist :
1    Elzadie Robinson–    Elzadie's Policy Blues 3:12
Clarinet – Johnny Dodds
Guitar, Whistle – Blind Blake
Vocals – Elzadie Robinson
Xylophone – Jimmy Bertrand
2    Elzadie Robinson–    Pay Day Daddy Blues 3:07
Clarinet – Johnny Dodds
Guitar – Blind Blake
Vocals – Elzadie Robinson
Xylophone – Jimmy Bertrand
3    Blind Blake–    Walkin' Across The Country 3:06
Vocals, Guitar – Blind Blake
4    Blind Blake–    Search Warrant Blues 2:59
Vocals, Guitar – Blind Blake
5    Blind Blake–    Ramblin' Mama Blues 2:48
Vocals, Guitar – Blind Blake
6    Blind Blake–    New Style Of Loving 2:37
Vocals, Guitar – Blind Blake
7    Blind Blake–    Back Door Slam Blues 2:45
Vocals, Guitar – Blind Blake
8    Blind Blake–    Notoriety Woman Blues 2:45
Vocals, Guitar – Blind Blake
9    Blind Blake–    Cold Hearted Mama Blues 2:50
Vocals, Guitar – Blind Blake
10    Blind Blake–    Low Down Loving Gal 3:09
Vocals, Guitar – Blind Blake
11    Blind Blake–    Sweet Papa Low Down 3:13
Cornet, Piano – Unknown Artist
Vocals, Guitar – Blind Blake
Xylophone – Jimmy Bertrand
12    Blind Blake–    Poker Woman Blues 2:40
Piano [possibly] – Alex Robinson
Vocals, Guitar – Blind Blake
13    Blind Blake–    Doing A Stretch 2:36
Piano [possibly] – Alex Robinson
Vocals, Guitar – Blind Blake
14    Blind Blake–    Fightin' The Jug 2:53
Piano [possibly] – Alex Robinson
Vocals, Guitar – Blind Blake
15    Blind Blake–    Hookworm Blues 2:54
Piano [possibly] – Alex Robinson
Vocals, Guitar – Blind Blake
16    Blind Blake–    Slippery Rag 2:44
Guitar, Speech [probably] – Blind Blake
Piano [possibly] – Alex Robinson
17    Blind Blake–    Hastings St. 3:12
Guitar, Speech – Blind Blake
Piano – Charlie Spand
18    Blind Blake–    Diddie Wa Diddie 2:56
Vocals, Guitar – Blind Blake
19    Blind Blake–    Too Tight Blues, No. 2 2:54
Vocals, Guitar – Blind Blake
20    Blind Blake–    Chump Man Blues 2:49
Vocals, Guitar – Blind Blake
21    Blind Blake–    Ice Man Blues 3:09
Vocals, Guitar – Blind Blake
22    Blind Blake–    Police Dog Blues 2:50
Vocals, Guitar – Blind Blake
23    The Hokum Boys –    I Was Afraid Of That -- Part 2 3:14
Piano [possibly] – Aletha Dickerson
Vocals, Guitar – Blind Blake
24    Blind Blake–    Georgia Bound 3:20
Vocals, Guitar – Blind Blake
25    Blind Blake–    Keep It Home
Vocals, Guitar – Blind Blake

JOHNNY DODDS – 1926 | The Chronogical Classics – 589 (1991) FLAC (tracks+.cue), lossless

Dodds was one of the very finest New Orleans clarinetists, and the only non-Creole among them. The peak experiences here, and some of the finest small-group recordings ever made, are the New Orleans Wanderers sessions -- Armstrong's Hot Five with George Mitchell instead of Armstrong. Also present are Freddie Keppard's only two recordings and a bunch of marginally lesser cuts that Dodds transmutes into gold. John Storm Roberts
Tracklist + Credits :

JOHNNY DODDS – 1927 | The Chronogical Classics – 603 (1991) FLAC (tracks+.cue), lossless

For those who wish to develop a strong relationship with early jazz, there are certain records that may help the listener to cultivate an inner understanding, the kind of vital personal connection that reams of critical description can only hint at. Once you become accustomed to the sound of Johnny Dodds' clarinet, for example, the old-fashioned funkiness of South Side Chicago jazz from the 1920s might well become an essential element in your personal musical universe. Put everything post-modern aside for a few minutes and surrender to these remarkable historic recordings. It is January 1927, and the band, fortified with Freddie Keppard and Tiny Parham, is calling itself Jasper Taylor & His State Street Boys. The exacting chronology works well here as we are given detailed access to the records made by Dodds and a closely knit circle of musicians during the month of April 1927. Three duets with pianist Parham lie at the heart of Dodds' recorded legacy. Four trio sides feature Lil Armstrong at the piano and some very expressive guitar playing by Bud Scott. "The New St. Louis Blues" is particularly impressive, in fact downright hypnotizing. Scott sounds a lot like Bobby Leecan as he strums and strikes the strings with great deliberation. Speaking of Louis Armstrong, get a load of how he cooks and swings through four incredible stomps with Jimmy Bertrand's Washboard Wizards. Bertrand himself was a lively character, Jimmy Blythe was one of the best pianists in town at the time, and by 1927, Louis was well on his way to becoming the most influential -- and painstakingly imitated -- jazz musician of his generation. The sheer vitality of these records is incredible. Each performance is a delight, and Fats Waller fans will enjoy the Wizards' spunky interpretation of Waller's "I'm Goin' Huntin'." The very next day, Johnny Dodds' Black Bottom Stompers made four records in a Crescent City groove. "Weary Blues" positively percolates, and a perusal of the personnel is illuminating. Cornetist Louis Armstrong, trombonist Roy Palmer and clarinetist Johnny Dodds are joined by Barney Bigard, who boots away on a tenor saxophone. 1927 was the year that Bigard joined Duke Ellington & His Orchestra, there to distinguish himself by playing the clarinet like nobody else before or since. How interesting to hear him laying down basslines and occasionally soloing with a big sweaty sax. The presence of Bud Scott, Earl Hines at the piano and Warren "Baby" Dodds behind the drums rounds out one of the most intriguing ensembles in the entire Johnny Dodds discography. The remaining eight sides, variously attributed to the State Street Ramblers, the Dixie-Land Thumpers and to Jimmy Blythe & His Owls, are scruffy stomps with washboard percussion by Baby Dodds, elegant piano from Jimmy Blythe, and the chattering cornet of Natty Dominique. These are among the best records that Johnny Dodds ever made, and the producers of the Classics Chronological Series are to be commended for having released them in this outstanding package. arwulf arwulf  
Tracklist + Credits :