MAE GLOVER – Inc. MAY ARMSTRONG, SIDE WHEEL SALLY DUFFIE — Complete Recorded Works In Chronological Order 1927-1931 | DOCD-5185 (1993) RM | FLAC (tracks+.cue), lossless

Born September 9, 1907 in Columbia, Tennessee, Lillie Mae Glover ran away from home in 1920 when she was only 13 to join the Tom Simpson Traveling Medicine Show. Her father was a preacher and she wanted to sing the blues, so that was that. She worked in several road shows before landing in Memphis, Tennessee in the late '20s, becoming a regular performer on the city's famed Beale Street, where she was known as "the Mother of Beale Street." She recorded and performed under several different names, including Lillian Mae Glover, Mae Glover, and Big Memphis Ma Rainey, the name under which she tracked a few sides for Sun Records in 1953. She died in 1985 at Tishomingo County Hospital in Iuka, Mississippi at the age of 77. Steve Leggett
 
Abridged from this album’s original booklet notes. Mae Glover was probably one of many professional or semi-professional female singers working the tent shows and vaudeville stages in the 1920s. In order to survive, these entertainers had to be versatile, as they might perform for a rural audience one week and a more sophisticated city crowd the next. Like most of these singers, Glover was reliant upon outside musicians for her backing, and the availability of good accompanists was not guaranteed. In John Byrd she found an ideal partner. Byrd was from rural Jefferson County in south Mississippi and was known to have performed on occasion with Tommy Johnson in Jackson, an active musical centre in the state. He reportedly moved from town to town playing for the sawmill workers in that vicinity (Blues Unlimited No. 142, Summer 1982 interviews with Ishmon Bracey and Johnny Temple). Although Dixon and Godrich (Blues & Gospel Records 1902-1943) are reluctant to identify Walter Taylor as Washboard Walter, John Byrd is listed as having recorded with both entities and an association with Taylor’s small string band from Louisville, Kentucky is probable. As “Walter And Byrd” they recorded a tribute to Blind Lemon Jefferson: Wasn’t It Sad About Lemon for Paramount (Document DOCD-5641 ‘Rare Country Blues Vol 2 1929 – 1943’). Byrd’s only issued solo efforts were the intriguing blues ballads Billy Goat Blues and Old Timbrook Blues (DOCD-5641) which suggest he was a songster from the pre- blues generation. When he recorded his duets with Mae Glover in July 1929 Byrd also cut two religious titles for Gennett which were credited to Rev. George Jones And Congregation (DOCD-5641). It is possible that the Sister Jones appearing on this record is Mae Glover, and this speculation coupled with the genuine rapport on their duets is fuel for a theory that their relationship was more than professional. Byrd’s powerful twelve string guitar playing (an uncommon choice of instrument for a Mississippian) and Glover’s strong vocals appear to be overloading the recording microphone, creating a hot signal on the verge of distortion on the duet titles. All four are outstanding, but of particular interest are the blue yodel Pigmeat Mama, which attests to the enormous popularity of country star Jimmie Rodgers among both white and black audiences, and Gas Man Blues, a hilarious battle of the sexes loaded with double-entendre in the vaudeville style popularized on records by Butterbeans and Susie. It is most unfortunate that Glover didn’t have more inspired accompaniment for her session in February 1931. Pianist Charles O’Neil and trumpet player James Parker never rise above mere competence, and Parker’s lacklustre singing on the vocal duet Grasshopper Papa spoils a potentially good number. Glover’s version of “Forty-Four Blues” is, as Paul Oliver points out in Screening The Blues, the first recording of that theme by a woman and is related to the versions by Lee Green. The last verse: “I got the blues, will last me nine months from today” (presumably a reference to pregnancy) supports Oliver’s theory that “Fourty-Four” (at least the Lee Green version) was originally sung by a woman and that Glover’s version is closer to the original form. It’s just a pity that a pianist the calibre of Roosevelt Sykes or Little Brother Montgomery wasn’t present to help Glover out on her version. Whether May Armstrong and Side Wheel Sally Duffie were pseudonyms for May Glover is a question open for discussion. They were both strong vocalists in the raw and rugged Ma Rainey fashion and Duffie had the benefit of solid piano backing from Will Ezell, a Paramount scout and recording artist who had recently supplied sympathetic accompaniment at sessions with Ora Brown, Lucille Bogan, Elzadie Robinson, and Bertha Henderson. Whatever their true identities may have been, Armstrong and Duffie were fine vocalists and this is a welcomed opportunity to hear their impossibly rare discs. DOCD-5185
Tracklist :
1    May Armstrong–    Joe Boy Blues 3:14
Piano [Poss.] – Lonnie Johnson
Violin – Unknown Artist
Vocals – May Armstrong
2    May Armstrong–    Lonesome Atlanta Blues 2:31
Piano [Poss.] – Lonnie Johnson
Violin – Unknown Artist
Vocals – May Armstrong
3    May Armstrong–    Woodchopping Blues 2:39
Guitar [Erroneous] – Unknown Artist
Mandolin – Unknown Artist
Piano [Poss.] – Lonnie Johnson
Vocals – May Armstrong
4    May Armstrong–    Nobody Can Take His Place 2:57
Guitar [Erroneous] – Unknown Artist
Mandolin – Unknown Artist
Piano [Poss.] – Lonnie Johnson
Vocals – May Armstrong
5    May Armstrong–    Don't Beg Your Man Back 3:09
Guitar [Erroneous] – Unknown Artist
Mandolin – Unknown Artist
Piano [Poss.] – Lonnie Johnson
Vocals – May Armstrong
6    May Armstrong–    Sweetest Man Blues 2:33
Piano [Poss.] – Lonnie Johnson
Vocals – May Armstrong
7    Side Wheel Sally Duffie–    Kind Papa Blues 2:35
Piano – Will Ezell
Vocals – Side Wheel Sally Duffie
8    Side Wheel Sally Duffie–    Treat 'Em Right Blues 2:36
Piano – Will Ezell
Vocals – Side Wheel Sally Duffie
9    Side Wheel Sally Duffie–    Thinking Blues 2:48
Piano – Will Ezell
Vocals – Side Wheel Sally Duffie
10    Side Wheel Sally Duffie–    Kid Man Blues 2:42
Piano – Will Ezell
Vocals – Side Wheel Sally Duffie
11    Mae Glover–    Shake It Daddy 2:50
Guitar, Speech – John Byrd
Vocals – Mae Glover
12    Mae Glover–    Pig Meat Mama 2:46
Guitar – John Byrd
Vocals, Yodeling – Mae Glover
13    Mae Glover–    I Ain't Givin' Nobody None 2:45
Guitar, Speech – John Byrd
Vocals – Mae Glover
14    Mae Glover–    Gas Man Blues 2:45
Guitar, Vocals – John Byrd
Vocals – Mae Glover
15    Mae Glover–    My Man Blues 2:58
Piano – Charles O'Neil
Trumpet – James Parker
Vocals – Mae Glover
16    Mae Glover–    Grasshopper Blues 2:38
Piano – Charles O'Neil
Vocals – James Parker, Mae Glover
17    Mae Glover–    Forty-Four Blues (Big Gun Blues) 2:18
Piano – Charles O'Neil
Trumpet – James Parker
Vocals – Mae Glover
18    Mae Glover–    Skeeter Blues 2:48
Piano – Charles O'Neil
Trumpet – James Parker
Vocals – Mae Glover
19    Mae Glover–    The Country Farm Blues 2:38
Piano – Charles O'Neil
Trumpet – James Parker
Vocals – Mae Glover
20    Mae Glover–    Hoboken Prison Blues 2:29
Piano – Charles O'Neil
Trumpet – James Parker
Vocals – Mae Glover
21    Mae Glover–    Two Timin' Woman (Two Timing Blues) 2:46
Piano – Charles O'Neil
Vocals – Mae Glover
22    Mae Glover–    Good Hearted Woman 2:49
Piano – Charles O'Neil
Vocals – Mae Glover

DUKE ELLINGTON AND HIS ORCHESTRA – 1928 | The Classics Chronological Series – 550 (1990) FLAC (tracks+.cue), lossless

During 1928, the main stars of Duke Ellington's orchestra (in addition to the leader/pianist/composer/arranger) were trumpeter Bubber Miley, trombonist Joe Tricky Sam Nanton, clarinetist Barney Bigard, and (starting in June) altoist Johnny Hodges. All of the master takes (including ones for different labels) are being reissued in the Classics series. This disc is highlighted by "Black Beauty" (particularly Ellington's solo piano version), the heated "Hot and Bothered" (featuring guest guitarist Lonnie Johnson and singer Baby Cox), "Louisiana," and "I Can't Give You Anything but Love." Two songs feature singer Ozie Ware backed by a small combo taken from Ellington's big band. This CD has plenty of timeless classics, most of which are also available in other reissue programs. Scott Yanow  Tracklist :

DUKE ELLINGTON AND HIS ORCHESTRA – 1928-1929 | The Classics Chronological Series – 559 (1990) FLAC (tracks+.cue), lossless

 The main change for the Duke Ellington Orchestra during this period was that the increasingly unreliable Bubber Miley (an alcoholic) was fired by Ellington in January 1929 and quickly replaced by Cootie Williams. Otherwise, the personnel was stable, featuring trombonist Joe Tricky Sam Nanton, altoist Johnny Hodges, and clarinetist Barney Bigard as key soloists along with trumpeters Miley, Arthur Whetsol, and Freddie Jenkins. Most of the selections from this era border on the classic, with highlights including Miley's spot on "Bandanna Babies," "I Must Have That Man," "Harlemania," and a two-part version of "Tiger Rag." Scott Yanow    Tracklist + Credits :

EDDIE LANG – 1927-1932 | The Chronogical Classics – 1357 (2004) FLAC (tracks+.cue), lossless

This delightful set collects the earliest sides released by jazz guitarist Eddie Lang under his own name (or as Blind Willie Dunn, but more on that in a moment), which means it doesn't include any of his famous duets with fellow guitarist Lonnie Johnson, since all of those were officially released under Johnson's name. Lang does play with Johnson here on two tracks, though, under the name Blind Willie Dunn as part of the Gin Bottle Four (which also included pianist J.C. Johnson and horn man King Oliver), and his two striking duets with guitarist Carl Kress ("Pickin' My Way" and "Feeling My Way") are also here. One can't help but wonder where Lang might have gone on his instrument as the era of the electric guitar dawned, but his early death leaves nothing but "what if" conjecture on that subject. Lang was a much sought-after session player during his short life, and the sides released under his own name aren't necessarily his most influential, but it's nice to have them all in one set like this. Steve Leggett
Tracklist + Credits :

McKINNEY'S COTTON PICKERS – 1928-1929 | The Chronogical Classics – 609 (1991) FLAC (tracks+.cue), lossless

 This is the first of three Classics CDs featuring all of the master takes by McKinney's Cotton Pickers, one of the finest big bands of the late '20s. The inventive arrangements of leader Don Redman (who also plays alto and clarinet in addition to taking some vocals) are even better than the individual solos. Highlighted by such numbers as "Four or Five Times," "Milenberg Joys," "Cherry," "Don't Be Like That," "There's a Rainbow 'Round My Shoulder," and a surprisingly hard-swinging version of "It's a Precious Little Thing Called Love," the Cotton Pickers feature tight ensembles, spirited vocals, and concise, hot solos. All three of their Classics CD's are well worth picking up. Scott Yanow
Tracklist + Credits :

HELEN HUMES – 1927-1945 | The Classics Chronological Series – 892 (1996) FLAC (tracks+.cue), lossless

When she was just 13 and 14 years old, Helen Humes made her recording debut, cutting ten risque, double entendre-filled blues, naughty tunes that she later claimed to understand at the time. Until the release of this Classics CD in 1996, those numbers (which have backup in various settings by either De Loise Searcy or J.C. Johnson on piano, and Lonnie Johnson or the guitar duo team of Sylvester Weaver and Walter Beasley) had never been reissued on the same set before. Humes sounds fairly mature on the enjoyable blues sides. Her next session as a leader would not take place until 15 years later, when she was 28 and a veteran of Count Basie's Orchestra. The singer is heard here with groups in 1942 and 1944-1945, performing three numbers with altoist Pete Brown's sextet (a band including trumpeter Dizzy Gillespie, who unfortunately does not solo), Leonard Feather's Hiptet (which has some rare solos from trumpeter Bobby Stark), and Bill Doggett's spirited octet. The latter date is highlighted by classic renditions of "He May Be Your Man" and "Be-Baba-Leba." Highly recommended. Scott Yanow
Tracklist + Credits :

JIMMIE NOONE – 1934-1940 | The Classics Chronological Series – 651 (1992) FLAC (tracks+.cue), lossless

On the fifth of Jimmie Noone's five CDs on the Classics label, the New Orleans clarinetist is heard on his final 24 selections as a leader (with the exception of a slightly later live session). The first six numbers close the book on his Apex Club Orchestra, featuring Eddie Pollack (in Joe Poston's old place) playing the melody on alto and sometimes baritone behind Noone's solos; trumpeter Jimmy Cobb and pianist Zinky Cohn get some solo space. Noone is also heard in 1936 with a freewheeling New Orleans group featuring trumpeter Guy Kelly and trombonist Preston Jackson, holding his own the following year with the dynamic young trumpeter Charlie Shavers and altoist Pete Brown, and doing his best in 1940 to overcome the weak cornet playing of Natty Dominique. The final four numbers (also from 1940) are dominated by Ed Thompson's dated vocals. No matter what the setting, Noone (who passed away in 1944) is heard in prime form. Scott Yanow  
Tracklist + Credits :

CLARENCE WILLIAMS – 1930-1931 | The Classics Chronological Series – 832 (1995) FLAC (tracks+.cue), lossless

This CD is the ninth in an extensive series that reissues all of the recordings led by pianist/composer Clarence Williams. Since Williams headed a wide variety of exciting small groups in the 1920s and '30s that utilized the playing of many top jazz players, all of the CDs are worth acquiring by collectors of classic jazz. The 22 selections on this particular CD range from novelty Williams solo performances to groups featuring trumpeters Red Allen and Ed Allen, Albert Socarras on several reeds (including flute), clarinetists Buster Bailey and Cecil Scott, Prince Robinson doubling on clarinet and tenor, pianist Herman Chittison, Ikey Robinson on banjo, the great tuba player Cyrus St. Clair, singer Eva Taylor, Floyd Casey on washboard, the Bingie Madison big band and Williams himself on vocals, piano and jug. Highlights of this spirited program include "You're Bound to Look like a Monkey When You Get Old," "High Society Blues," "Hot Lovin, '" "Baby, Won't You Please Come Home" and four different versions of "Shout Sister Shout." Scott Yanow  
Tracklist :
1    Clarence Williams' Novelty Band–    He Wouldn't Stop Doin It 2:56
Vocals – Clarence Williams
Written-By – Hill, Williams
2    Clarence Williams' Novelty Band–    You're Bound To Look Like A Monkey When You Get Old 3:03
Vocals – Clarence Williams
Written-By – Hill, Williams
3    Clarence Williams–    You Rascal You 3:38
Vocals – Clarence Williams
Written-By – Sam Theard
4    Clarence Williams–    Michigan Water Blues 3:20
Vocals – Clarence Williams
Written-By – Clarence Williams
5    Lazy Levee Loungers–    If I Could Be With You (One Hour Tonight) 3:11
Vocals – Clarence Williams
Written-By – Creamer, Johnson
6    Lazy Levee Loungers–    Shout, Sister, Shout! 2:48
Vocals – Clarence Williams
Written-By – Hill, Williams, Brymn
7    Clarence Williams’ Washboard Band–    Where That Ol' Man River Flows 3:03
Vocals – Eva Taylor
Written By – West / Verges
8    Clarence Williams’ Washboard Band–    Shout, Sister, Shout! 2:59
Vocals – Eva Taylor
Written-By – Hill, Williams, Brymn
9    Clarence Williams And His Jazz Kings–    High Society Blues 3:01
Written-By – Clarence Williams
10    Clarence Williams And His Jazz Kings–    Lazy Levee Loungers 2:45
Written-By – Willard Robison
11    Clarence Williams' Jug Band–    Sitting On Top Of The World 2:59
Written-By – Young, Henderson, Lewis
12    Clarence Williams' Jug Band–    Kansas City Man Blues 2:57
Written-By – Johnson, Williams
13    Clarence Williams And His Orchestra–    Hot Lovin' 2:58
Vocals – Clarence Todd, Clarence Williams, Eva Taylor, Ward Pinkett
Written-By – Charles Warfield
14    Clarence Williams And His Orchestra–    Papa De-Da-Da 3:00
Vocals – Clarence Todd, Clarence Williams, Eva Taylor, Ward Pinkett
Written-By – Todd, Williams, Williams
15    Clarence Williams And His Orchestra–    Baby, Won't You Please Come Home? 2:39
Vocals – Clarence Todd, Clarence Williams, Eva Taylor
Written-By – Warfield, Williams
16    Clarence Williams’ Washboard Band–    Kentucky 2:53
Written-By – Clarence Williams
17    Clarence Williams’ Washboard Band–    Papa De-Da-Da 3:12
Written-By – Todd, Williams, Williams
18    Clarence Williams’ Washboard Band–    Loving 3:00
Written-By – Charles Warfield
19    Clarence Williams And His Orchestra–    Shout, Sister, Shout! 2;43
Vocals – Eva Taylor
Written-By – Hill, Williams, Brymn
20    Clarence Williams And His Jazz Kings–    Shout, Sister, Shout! 2:48
Vocals – Bingie Madison, Clarence Williams, Fred Skerritt, Goldie Lucas
Written-By – Hill, Williams, Brymn
21    Clarence Williams And His Jazz Kings–    Papa De-Da-Da 3:24
Vocals – Bingie Madison, Fred Skerritt, Ward Pinkett
Written-By – Todd, Williams, Williams
22    Clarence Williams And His Jazz Kings–    Baby, Won't You Please Come Home? 2:53
Vocals – Clarence Williams
Written-By – Warfield, Williams
Credits :    
Alto Saxophone – Henry Jones (tracks: 13 to 15, 19 to 22)
Alto Saxophone, Baritone Saxophone – Fred Skerritt (tracks: 13 to 15, 19 to 22)
Banjo – Ikey Robinson (tracks: 1, 2), Leroy Harris (tracks: 5, 6, 9, 10)
Banjo, Guitar – Goldie Lucas (tracks: 13 to 15, 19 to 22)
Brass Bass – Cyrus St. Clair (tracks: 5, 6), Unknown Artist (tracks: 9, 10)
Brass Bass, Bass [String Bass] – Richard Fullbright (tracks: 13 to 15, 19 to 22)
Clarinet – Cecil Scott (tracks: 1, 2)
Clarinet, Alto Saxophone – Buster Bailey (tracks: 16 to 18)
Clarinet, Alto Saxophone, Flute – Albert Socarras (tracks: 5, 6, 9, 10)
Clarinet, Alto Saxophone, Tenor Saxophone – Unknown Artist (tracks: 9 to 12)
Clarinet, Tenor Saxophone – Arville Harris (tracks: 9, 10), Bingie Madison (tracks: 13 to 15, 19 to 22), Prince Robinson (tracks: 5 to 8, 16 to 18)
Cornet – Ed Allen (tracks: 7, 8, 11, 12, 16 to 18)
Drums – Bill Beason (tracks: 13 to 15, 19 to 22)
Guitar – Lonnie Johnson (tracks: 11, 12)
Jug – Clarence Williams (tracks: 1, 2, 11, 12)
Piano – Clarence Williams (tracks: 3 to 10, 16 to 18), Gene Rodgers (tracks: 13 to 15, 19 to 22), Herman Chittison (tracks: 1, 2), Unknown Artist (tracks: 11, 12)
Tenor Saxophone – Unknown Artist (tracks: 9, 10)
Trombone – Jimmy Archey (tracks: 13 to 15, 19 to 22), Unknown Artist (tracks: 5, 6)
Trombone [?] – Charlie Irvis (tracks: 11, 12)
Trumpet – Bill Dillard (tracks: 13 to 15, 19 to 22), Charlie Gaines (tracks: 5, 6), Unknown Artist (tracks: 5, 6), Ward Pinkett (tracks: 13 to 15, 19 to 22)
Trumpet [Or] – Charlie Gaines (tracks: 9, 10), Henry "Red" Allen (tracks: 9, 10), Roy Eldridge (tracks: 9, 10)
Washboard – Floyd Casey (tracks: 7, 8, 16 to 18)

LOUIS ARMSTRONG & HIS HOT FIVE & HOT SEVEN - 1926-1927 {CC, 585} (1991) FLAC (tracks+.cue), lossless

Louis Armstrong's Hot Five was the most influential jazz band of the mid-'20s. The first volume of Armstrong's complete works reissued by Classics followed this group's trail of recordings from November of 1925 through those made almost exactly one year later. Opening this second volume of vintage Armstrong, the Hot Five's last three records of 1926 are peppered with hot vocals intended to entertain and amuse. May Alix shouts the lyrics to "Sunset Cafe Stomp" and Armstrong puts across an interesting tune referencing two downtrodden ethnic groups, Irish and Afro-American. "You Made Me Love You" is not the venerable vaudeville number recorded by Al Jolson in 1913, but a punchy Armstrong original similar to the quaint syncopated love songs he had cooked up with Lil Hardin when they were still working for King Oliver. In May 1927 Armstrong expanded his ensemble for the first time to become the Hot Seven. The addition of Pete Briggs on tuba and Baby Dodds at the drums resulted in a full-bodied sound that made "Willie the Weeper" and "Potato Head Blues" so remarkably and enduringly potent. Armstrong's version of Fats Waller's "Alligator Crawl" is a miracle of perfect timing and immaculate ease. If Lil Hardin Armstrong's references to domestic violence seem a bit reckless during "That's When I'll Come Back to You," listeners should be advised that Afro-American music has always caused consternation by openly referring to topics usually swept under the rug. During the autumn and winter of 1927 Armstrong scaled his band back to five pieces, revisiting Kid Ory's 1922 novelty rag "Ory's Creole Trombone," adding a sixth player in guitarist Lonnie Johnson on "I'm Not Rough," and introducing to the world one of Lil Hardin Armstrong's all-time greatest compositions, "Struttin' with Some Barbecue." by arwulf arwulf
Tracklist :
1     Sunset Cafe Stomp 2:53
Louis Armstrong / Percy Venable
2     You Made Me Love You 2:59
Louis Armstrong / Percy Venable
3     Irish Black Bottom 2:45
Louis Armstrong / Percy Venable
4     Willie the Weeper 3:10
Marty Bloom / Walter Melrose / Grant Rymal
5     Wild Man Blues 3:17
Louis Armstrong / Jelly Roll Morton
6     Chicago Breakdown 3:27
Big Maceo Merriweather / Jelly Roll Morton
7     Alligator Crawl 3:05
Joe Davis / Andy Razaf / Fats Waller
8     Potato Head Blues 2:58
Louis Armstrong
9     Melancholy Blues 3:04
Marty Bloom / Walter Melrose / Elmer Schoebel
10     Weary Blues 3:03
Artie Matthews
11     Twelfth Street Rag 3:12
Euday L. Bowman
12     Keyhole Blues 3:31
Wesley Wilson
13     S.O.L. Blues 2:59
Louis Armstrong
14     Gully Low Blues 3:22
Louis Armstrong
15     That's When I'll Come Back to You 3:00
F. Biggs / Frank Biggs
16     Put 'Em Down Blues 3:12
E. Bennett / E.J. Bennett
17     Ory's Creole Trombone 3:06
Edwin H. Morris / Kid Ory
18     The Last Time 3:27
Bill Ewing / Sara Martin
19     Struttin' with Some Barbecue 3:04
Lil Hardin Armstrong / Louis Armstrong / Lil Hardin / Don Raye
20     Got No Blues 3:22
Lil Hardin Armstrong / Lil Hardin
21     Once in a While 3:14
William Butler
22     I'm Not Rough 2:59
Lil Hardin
23     Hotter Than That 3:01
Lil Hardin Armstrong / Lil Hardin
24     Savoy Blues 3:24
Kid Ory

 

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 1 • 1925-1926 | DOCD-5063 (1991) RM | FLAC (image+.cue), lossless

Abridged from this album’s original booklet notes. In 1925, Alonzo “Lonnie” Johnson won a talent contest sponsored by Okeh, and acquired a seven year contract with them as a result. Male singers playing guitar were about to make the breakthrough on race records; Blind Lemon Jefferson was beginning to record about the same time as Lonnie. Nevertheless, Johnson seems to have been anxious to show his versatility on these first dates; on this album, he plays violin on more numbers than he does guitar, as well as switching to piano, banjo and harmonium. His contract with Okeh required him to work as a staff musician as well as a name artist, and he may have wanted to impress the company with his range. He also seems to have wished to promote brother James, who was at all Lonnie’s sessions until April 1927, also making some recordings of his own. James, like Lonnie, was a multi-instrumentalist, playing violin, banjo, guitar and piano. “He was better than me,” Lonnie remembered proudly in 1960, and certainly they blended admirably together, whether playing violin and guitar, violin and banjo, two guitars, or even two fiddles, as on Very Lonesome Blues.

As an accomplished professional, Lonnie didn’t limit himself to blues; the irresistible, if enigmatically named Nile Of Genago is a waltz for two guitars, straight from the 19th Century parlour tradition. From the same session, the crazily syncopated Johnson Trio Stomp crosses hillbilly music with silent movie piano. Nevertheless, from the first Lonnie Johnson made his mark as a blues singer, and one with an impeccably poised, elegant guitar style, the melody tripping along over rich chords in support of his clear, bittersweet vocals.

Already a master musician, Lonnie Johnson was also a lyricist of considerable originality, and one with decided views on the complexities of human affairs. Often, he was misogynistic: “To find a good woman, is like finding a dime in a bed of sand… Men, love will make you drink and gamble, and stay out all night long.”

Ah, you don’t see into these blues like me  I can see further into the blues, than a fish can in the deep blue sea

he proclaimed, and his appeal to his audience seems to have derived as much from his ability to analyse his and their concerns, and write coherent responses, delivered with conviction and sincerity, as from his instrumental proficiency. DOCD-5063
Tracklist :
1    Lonnie Johnson–    Mr. Johnson's Blues 2:40
Piano – John Arnold
Vocals, Guitar – Lonnie Johnson
2    Lonnie Johnson–    Falling Rain Blues  3:03
Piano – John Arnold
Vocals, Violin – Lonnie Johnson
3    Lonnie Johnson–    Very Lonesome Blues 2:57
Piano – De Loise Searcy
Violin – James Johnson
Vocals, Violin – Lonnie Johnson
4    Lonnie Johnson–    When I Was Lovin' Changed My Mind Blues 2:58
Piano – De Loise Searcy
Violin – James Johnson
Vocals – Lonnie Johnson
5    Lonnie Johnson–    Sun To Sun Blues 2:30
Piano – James Johnson
Vocals, Guitar – Lonnie Johnson
6    Lonnie Johnson–    Bed Of Sand 2:59
Piano – James Johnson
Vocals, Guitar – Lonnie Johnson
7    Lonnie Johnson–    Lonesome Jail Blues 3:06
Piano – James Johnson
Vocals, Violin – Lonnie Johnson
8    James "Steady Roll" Johnson–    No Good Blues 2:43
Banjo – Lonnie Johnson
Piano – De Loise Searcy
Vocals, Violin – James "Steady Roll" Johnson
9    James "Steady Roll" Johnson–    Newport Blues 2:43
Kazoo – Lonnie Johnson
Piano – De Loise Searcy
Vocals, Banjo – James "Steady Roll" Johnson
10    Lonnie Johnson–    Love Story Blues 2:28
Vocals, Guitar – Lonnie Johnson
11    Lonnie Johnson–    Nile Of Genago 2:40
Guitar – James Johnson, Lonnie Johnson
12    Lonnie Johnson–    Five O'Clock Blues 2:58
Banjo – James Johnson
Piano – De Loise Searcy
Violin, Kazoo – Lonnie Johnson
13    Lonnie Johnson–    Johnson's Trio Stomp 2:58
Piano – James Johnson
Violin – Lonnie Johnson
14    Lonnie Johnson–    Woman Changed My Life 3:10
Piano – James Johnson
Vocals, Violin – Lonnie Johnson
15    Lonnie Johnson–    Lonnie's Got The Blues 3:07
Piano – James Johnson
Vocals, Guitar – Lonnie Johnson
16    Lonnie Johnson–    Good Old Wagon 3:29
Piano – James Johnson
Vocals, Violin – Lonnie Johnson
17    Lonnie Johnson–    A Good Happy Home 3:15
Piano – James Johnson
Vocals, Violin – Lonnie Johnson
18    Lonnie Johnson–    Baby You Don't Know My Mind 3:12
Piano – James Johnson
Vocals, Violin – Lonnie Johnson
19    Lonnie Johnson–    I Have No Sweet Woman Now 3:13
Piano – James Johnson
Vocals, Guitar – Lonnie Johnson
20    Lonnie Johnson–    You Drove A Good Man Away 2:40
Violin – James Johnson
Vocals, Piano – Lonnie Johnson
21    Lonnie Johnson–    Ball And Chain Blues 3:01
Violin – James Johnson
Vocals, Piano – Lonnie Johnson
22    Lonnie Johnson–    You Don't See Into The Blues Like Me 2:41
Violin – James Johnson
Vocals, Piano – Lonnie Johnson
23    Lonnie Johnson–    There's No Use Of Lovin' 3:20
Vocals – Victoria Spivey
Vocals, Piano – Lonnie Johnson
24    Lonnie Johnson–    Baby, Please Tell Me 2:45
Vocals, Piano – Lonnie Johnson
25    Lonnie Johnson–    I'm Gonna Dodge The Blues Just Wait And See 3:14
Violin – James Johnson
Vocals, Harmonium – Lonnie Johnson

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 2 • 1926-1927 | DOCD-5064 (1991) RM | FLAC (image+.cue), lossless

Lonnie Johnson came into his own during the period of time covered by this CD. A brilliant blues-oriented guitarist, Johnson is heard on such instrumentals as "To Do This, You Got to Know How," "I Done Tole You," "Steppin' on the Blues," "Four Hands Are Better Than Two," and "Woke Up With the Blues in My Fingers." He is also heard backing blues singers Helen Humes (who was 13 at the time), Joe Brown, and Raymond Boyd and singing his own variety of low-down blues. Recommended.  Scott Yanow

Abridged from this album’s original booklet notes. Lonnie Johnson closed the eight title session of 13 August 1926 with two blues, one backed by the strange combination of his own harmonium and his brother James’s violin, the other with just his own guitar. This marked the end of the bewildering display of instrument switching to be heard on Volume 1 (DOCD-5063); not for nearly three years was Lonnie to accompany himself on any instrument but guitar. As if to confirm this decision, he dropped into the studio the next day, Saturday, to cut the dazzling guitar solo To Do This, You Got To Know How, based on a lose 12 bar structure, but in practice owing little to the blues. 1927 found the two brothers back in the studio, both playing guitar; I Done Tole You, unissued at the time, hints at the revolutionary series of instrumental duets Lonnie was soon to cut with Eddie Lang. (So, too, had the chromaticisms on Sweet Woman, See For Yourself.) As ever, Johnson’s lyrics were carefully structured, thoughtful essays, often on his favourite subject of the ways of women and men, and sometimes moralising (Treat ‘Em Right) or sentimental (A Broken Heart That Never Smiles). South Bound Water was testimony to his song writing ability, for it was produced even as the 1927 flood was devastating Mississippi. (In May, Johnson recorded a better known song about the flood, Backwater Blues, which had been recorded by Bessie Smith in February and released in March, before the disaster, and which was, not surprisingly, selling well.) As April gave way to May, he accompanied the 13 year old, but very assured, Helen Humes on the first of her many recordings, and backed the amateur-sounding Joe Brown and Raymond Boyd (whom he may have talent-scouted) on what proved to be their only sessions. He was continuing to cut virtuoso instrumentals, too, though Okeh seem to have been reluctant to issue them; nor did they release the ballad I Love You Mary Lou, perhaps dedicated to his wife Mary, whom he had married in 1925. 12-bar blues formed the remainder of Johnson’s recordings in August 1927. Johnson, may have been happy to work in orthodox structures on 11th and 12th August, as a rest from accompanying the wayward Texas Alexander. “He was a very difficult singer to accompany,” Lonnie told Paul Oliver. “He was liable to jump a bar, or five bars, or anything … When you been out there with him, you done nine days work in one!” Irene Higginbotham‘s Mean Old Bed Bug Blues was being hawked around race record producers at this time by publisher Joe Davis; they seem to have liked its witty lyric, for it was cut by Lonnie, Bessie Smith, Furry Lewis, Kitty Waters and Betty Gray between August and October 1927. Roaming Rambler Blues and Stay Out Of Walnut Street Alley are Johnson originals, though, with unmistakably acerbic lyrics. DOCD-5064
Tracklist :
1    Lonnie Johnson–    Oh! Doctor The Blues    2:43
2    Lonnie Johnson–    Sweet Woman, See For Yourself    2:54
3    Lonnie Johnson–    To Do This, You Got To Know How    3:07
4    Lonnie Johnson–    South Bound Water    2:43
5    Lonnie Johnson–    Treat 'Em Right    3:12
6    Lonnie Johnson–    Baby, Will You Please Come Home?    2:45
7    Lonnie Johnson–    I Done Tole You    2:56
8    Lonnie Johnson–    Steppin' On The Blues    2:51
9    Lonnie Johnson–    A Broken Heart That Never Smiles    3:17
10    Helen Humes–    Black Cat Blues    3:08
11    Helen Humes–    A Worried Woman's Blues    2:56
12    Joe Brown–    Superstitious Blues    3:07
13    Joe Brown–    Cotton Patch Blues    3:01
14    Raymond Boyd–    Blackbird Blues    2:38
15    Raymond Boyd–    Unkind Mama    3:01
16    Lonnie Johnson–    Four Hands Are Better Than Two    3:15
17    Lonnie Johnson–    Woke Up With The Blues In My Fingers    3:08
18    Lonnie Johnson–    Back-Water Blues    3:35
19    Lonnie Johnson–    I Love You, Mary Lou    3:03
20    Lonnie Johnson–    Sweet Woman, You Can't Go Wrong    2:49
21    Lonnie Johnson–    Mean Old Bed Bug Blues    2:52
22    Lonnie Johnson–    Lonesome Ghost Blues    3:07
23    Lonnie Johnson–    Fickle Mamma Blues    2:59
24    Lonnie Johnson–    Roaming Rambler Blues    3:02
25    Lonnie Johnson–    Stay Out Of Walnut Street Alley    3:10
Credits :
Guitar – James Johnson (tracks: 4 to 8), Lonnie Johnson (tracks: 2 to 25)
Harmonium – Lonnie Johnson (tracks: 1)
Liner Notes – Chris Smith
Piano – De Loise Searcy (tracks: 12 to 15), John Erby (tracks: 18), Jack Erby (tracks: 9), Lazy Harris (tracks: 16)
Piano [Poss.] – De Loise Searcy (tracks: 10, 11)
Piano [Prob.] – John Erby (tracks: 8)
Speech [Prob.] – Lonnie Johnson (tracks: 8)
Violin – James Johnson (tracks: 1)
Vocals – Helen Humes (tracks: 10, 11), Joe Brown (tracks: 12, 13), Lonnie Johnson (tracks: 1, 2, 4 to 6, 9, 18 to 25), Raymond Boyd (tracks: 14, 15)

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 3 • 1927-1928 | DOCD-5065 (1991) RM | FLAC (tracks+.cue), lossless

Abridged from this album’s original booklet notes. When Lonnie Johnson returned to Okeh’s New York studio in October 1927, he began with an account of the cyclone that had just struck St. Louis, where he had until recently been living. Elzadie Robinson recorded the same song that November, but Lonnie’s version was made a mere four days after the storm, which took 84 lives in five minutes, and caused immense damage. In a very different mood was Bedbug Blues Part 2, a sequel to the popular “Mean Old Bed Bug Blues” that he’d cut in August (see DOCD-5064). October and November found Johnson cutting more of his elegant instrumentals, and Okeh still reluctant to issue them, apparently preferring his imaginative stories in song like Life Saver Blues and Blue Ghost Blues (and, in Bitin’ Fleas Blues, yet another attempt to exploit the craze for blues about parasites). It may have been frustration with Okeh that led Lonnie Johnson to make extra contractual recordings for Gennett in December, with the pianist Jimmy Blythe. He was careful to do deep disguise; the record labels credited him as Bud Wilson or George Jefferson (and Blythe as Duke Owens or Willie Woods), while the company files noted that Wilson / Jefferson was one James O’Brien! The masquerade is transparent, though, as Lonnie spans his range; from blues, both homiletic and narrative, to hot instrumental, to sentimental ballad. Less than a week after the Gennett sessions, Johnson was back on Okeh, guesting with Louis Armstrong’s Hot Five, and furthering his campaign to define the role of the guitar as a soloing instrument in jazz. The same day, he made Sweet Potato Blues, lyrically a foretaste of the hokum duets on which he was shortly to collaborate with Spencer Williams; it’s unfair, perhaps, to compare it with “I’m Not Rough” and “Savoy Blues”. The two part Kansas City Blues, evidently recorded at Okeh’s behest in the wake of Jim Jackson’s success for Vocalion, starts with Lonnie sounding unenthusiastic, but he can be heard to warm to the song’s possibilities as it goes on. Lonnie Johnson adopts a rougher, countrified violin sound on Memphis Stomp, but is his more usual suave self on Violin Blues. More firmly blues orientated than Hayes & Prater were the vocalist “Keghouse” (possibly Gordon Keghouse) and his piano playing partner, Thomas “Jaybird” Jones, who were joined by Lonnie’s guitar (and, on an unissued title, violin). From Memphis, the unit travelled to San Antonio, where Johnson was reunited with Texas Alexander. Before recording 11 superb accompaniments to Alexander, however, he made four glorious guitar solos, very different from his work with Alexander, but equally fine; perhaps in the wake of his guest appearances with the Hot Five, Okeh seem finally to have committed themselves to Lonnie Johnson in this role, issuing all four. DOCD-5065
Tracklist :
1    Lonnie Johnson–    St. Louis Cyclone Blues    3:03
2    Lonnie Johnson–    Bedbug Blues Part 2    3:00
3    Lonnie Johnson–    6/88 Glide    2:58
4    Lonnie Johnson–    Tin Can Alley Blues    2:40
5    Lonnie Johnson–    Bitin' Flea Blues    3:16
6    Lonnie Johnson–    Life Saver Blues    3:04
7    Lonnie Johnson–    Blue Ghost Blues    3:08
8    Lonnie Johnson–    Untitled    2:46
9    Lonnie Johnson–    The St. Louis Train Kept Passing By    2:53
10    Lonnie Johnson–    When A Man Is Treated Like A Dog    2:56
11    Lonnie Johnson–    It's Hot --- Let It Alone    2:42
12    Lonnie Johnson–    Bearcat Blues    2:44
13    Lonnie Johnson–    Why Should I Grieve After You've Gone    2:48
14    Lonnie Johnson–    Low Land Moan    3:11
15    Lonnie Johnson–    Sweet Potato Blues    2:56
16    Lonnie Johnson–    Kansas City Blues -- Part 1    3:13
17    Lonnie Johnson–    Kansas City Blues -- Part 2    3:17
18    Johnson, Hayes, Prater–    Memphis Stomp    2:52
19    Johnson, Hayes & Prater–    Violin Blues    3:24
20    Keghouse–    Keghouse Blues    3:17
21    Keghouse–    Shifting' My Gear Blues    3:11
22    Lonnie Johnson–    Playing With The Strings    2:59
23    Lonnie Johnson–    Stompin' 'Em Along Slow    2:53
24    Lonnie Johnson–    Away Down In The Alley Blues    2:48
25    Lonnie Johnson–    Blues In G    2:48
Credits :
Guitar – Lonnie Johnson (tracks: 1 to 17, 20 to 25), Nap Hayes (tracks: 18, 19)
Liner Notes – Chris Smith
Mandolin – Matthew Prater (tracks: 18, 19)
Piano – Jimmy Blythe (tracks: 10 to 13), Porter Grainger (tracks: 1, 2), "Jaybird"
Piano [Poss.] – John Erby (tracks: 3, 4)
Piano [Prob.] – De Loise Searcy (tracks: 15)
Speech – "Jaybird" (tracks: 20)
Vocals – Keghouse (tracks: 20, 21), Lonnie Johnson (tracks: 1, 2, 4 to 7, 10, 13 to 17, 19), "Jaybird" (tracks: 21)

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 4 • 1928-1929 | DOCD-5066 (1991) RM | FLAC (tracks+.cue), lossless

The period of time covered in the fourth of seven Lonnie Johnson Document CDs found the guitarist/singer being well-featured as a leader in many settings. He is heard on three two-part double-entendre performances with singer Victoria Spivey ("New Black Snake Blues," "Toothache Blues," and "Furniture Man Blues"); on five guitar duets with the great Eddie Lang (during which Lang was billed as Blind Willie Dunn); in a vocal duet with Spencer Williams; on the two-part "It Feels So Good" with Lang, King Oliver, and Hoagy Carmichael; as part of Blind Willie Dunn's Gin Bottle Four; and as a solo blues performer. Everything works. Considering that this is a strictly chronological release, the music is consistently rewarding, making this one of the key Lonnie Johnson CDs to pick up. Scott Yanow

Experience the brilliance of Lonnie Johnson in Volume 4: 1928-1929 Blues and Jazz Sessions. These recordings showcase his groundbreaking guitar work and collaborations with jazz and blues legends. Highlights of this collection:

Duets with Eddie Lang, including the iconic Blue Guitars.
Vocal duets with Victoria Spivey and Spencer Williams.
Performances with King Oliver and Hoagy Carmichael.
Signature tracks like Crowing Rooster Blues and Broken Levee Blues.

Lonnie Johnson’s music bridges blues, jazz, and country traditions. His clear, logical guitar playing influenced generations of musicians. This album is essential for fans of early jazz and blues. Comprehensive Sleeve notes. DOCD-5066
Tracklist :
1    Lonnie Johnson–    I'm So Tired Of Living All Alone 3:04
Vocals, Guitar – Lonnie Johnson
2    Lonnie Johnson–    Way Down That Lonesome Road 2:40
Vocals, Guitar – Lonnie Johnson
3    Lonnie Johnson–    Crowing Rooster Blues 2:38
Vocals, Guitar – Lonnie Johnson
4    Lonnie Johnson–    Broken Levee Blues 3:23
Vocals, Guitar – Lonnie Johnson
5    Lonnie Johnson–    Wrong Woman Blues 2:52
Vocals, Guitar – Lonnie Johnson
6    Victoria Spivey & Lonnie Johnson–    New Black Snake Blues - Part 1 2:53
Vocals, Guitar – Lonnie Johnson
Vocals, Piano [Prob.] – Victoria Spivey
7    Victoria Spivey & Lonnie Johnson-    New Black Snake Blues - Part 2 2:47
Vocals, Guitar – Lonnie Johnson
Vocals, Piano [Prob.] – Victoria Spivey
8    Victoria Spivey & Lonnie Johnson–    Toothache Blues - Part 1 2:46
Piano – Clarence Williams
Vocals – Victoria Spivey
Vocals, Guitar – Lonnie Johnson
9    Victoria Spivey & Lonnie Johnson–    Furniture Man Blues - Part 1 3:05
Piano – Clarence Williams
Vocals – Victoria Spivey
Vocals, Guitar – Lonnie Johnson
10    Victoria Spivey & Lonnie Johnson–    Furniture Man Blues - Part 2 3:06
Piano – Clarence Williams
Vocals – Victoria Spivey
Vocals, Guitar – Lonnie Johnson
11    Victoria Spivey & Lonnie Johnson–    Toothache Blues - Part 2 3:20
Piano – Clarence Williams
Vocals – Victoria Spivey
Vocals, Guitar – Lonnie Johnson
12    Lonnie Johnson–    When You Fall For Some One That's Not Your Own 3:17
Vocals, Guitar – Lonnie Johnson
13    Lonnie Johnson–    Careless Love 2:54
Vocals, Guitar – Lonnie Johnson
14    Lonnie Johnson And Blind Willie Dunn–    Two Tone Stomp 2:59
Guitar – Eddie Lang, Lonnie Johnson
15    Lonnie Johnson And Blind Willie Dunn–    Have To Change Keys To Play These Blues 3:00
Guitar – Eddie Lang, Lonnie Johnson
16    Lonnie Johnson & Spencer Williams–    It Feels So Good - Part 1 3:15
Piano – J.C. Johnson
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
17    Lonnie Johnson & Spencer Williams–    It Feels So Good - Part 2 2:57
Piano – J.C. Johnson
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
18    Lonnie Johnson & Jimmy Foster–    I Want A Little Some O' That What You Got 3:25
Piano – Unknown Artist
Vocals – Jimmy Foster
Vocals, Guitar – Lonnie Johnson
19    Lonnie Johnson & Spencer Williams–    Death Is On Your Track 3:04
Piano – J.C. Johnson
Vocals – Lonnie Johnson, Spencer Williams
20    Blind Willie Dunn's Gin Bottle Four–    Jet Black Blues 2:59
Cornet – King Oliver
Guitar – Eddie Lang, Lonnie Johnson
Percussion, Vocals – Hoagy Carmichael
Piano – J.C. Johnson
21    Blind Willie Dunn's Gin Bottle Four–    Blue Blood Blues 2:58
Cornet – King Oliver
Guitar – Eddie Lang, Lonnie Johnson
Percussion, Vocals – Hoagy Carmichael
Piano – J.C. Johnson
22    Lonnie Johnson And Blind Willie Dunn–    Guitar Blues 3:13
Guitar – Eddie Lang, Lonnie Johnson
23    Lonnie Johnson And Blind Willie Dunn–    A Handful of Riffs 3:05
Guitar – Eddie Lang, Lonnie Johnson
24    Lonnie Johnson And Blind Willie Dunn–    Blue Guitars 3:10
Guitar – Eddie Lang, Lonnie Johnson 

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 5 • 1929-1930 | DOCD-5067 (1991) RM | FLAC (image+.cue), lossless

Lonnie Johnson straddled the boundaries between blues and jazz during the 1927-1930 period before deciding to stick to the former. This 22-song collection features five guitar duets with Eddie Lang (including "Bull Frog Moan" and "Hot Fingers"), vocal duets with Spencer Williams (including "It Feels So Good Parts 3 and 4" and "Once or Twice"), Victoria Spivey (the two-part "You Done Lost Your Good Thing Now") and Clarence Williams ("Wipe It Off"), and such blues numbers as "From Now on Make Your Whoopee at Home," "She's Making Whoopee in Hell Tonight," and "Another Woman Booked Out and Bound to Go." Lonnie Johnson at his best. Scott Yanow

Historic recordings featuring Lonnie Johnson’s mastery of blues and jazz guitar.
Collaborations with Eddie Lang, Victoria Spivey, Spencer Williams, and James P. Johnson.
Includes rare vocal-guitar duets and pioneering jazz-guitar pieces.
Features classics like Sundown Blues, Falling Rain Blues, and She’s Making Whoopee In Hell Tonight.
A blend of blues, hokum, jazz, and heartfelt storytelling.

Lonnie Johnson Blues and Jazz Sessions    Track Features

Sundown Blues: A reimagining of Alec Johnson’s version.
She’s Making Whoopee In Hell Tonight: Basis for King Solomon Hill’s Whoopee Blues.
Instrumentals like Bull Frog Moan showcase Lonnie’s innovative guitar techniques.
Duets with Victoria Spivey, blending playful hokum with emotional depth. DOCD-5067
Tracklist :
1    Lonnie Johnson And Blind Willie Dunn–    Bull Frog Moan 3:16
Guitar – Eddie Lang, Lonnie Johnson
2    Lonnie Johnson And Spencer Williams–    It Feels So Good - Part 3 3:10
Piano – J.C. Johnson
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
3    Lonnie Johnson And Spencer Williams–    It Feels So Good - Part 4 2:54
Piano – J.C. Johnson
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
4    Lonnie Johnson–    You Can't Give A Woman Everything She Needs 3:19
Piano – Unknown Artist
Vocals, Guitar – Lonnie Johnson
5    Lonnie Johnson–    Sundown Blues 3:03
Piano – Unknown Artist
Vocals, Guitar – Lonnie Johnson
6    Lonnie Johnson–    From Now On, Make Your Whoopee At Home 2:57
Vocals, Guitar – Lonnie Johnson
7    Lonnie Johnson–    Mr. Johnson's Blues No. 2 2:55
Piano – Unknown Artist
Vocals, Guitar, Violin – Lonnie Johnson
8    Lonnie Johnson–    Baby, Please Don't Leave Home No More 3:05
Vocals, Guitar – Lonnie Johnson
9    Lonnie Johnson–    The New Fallin' Rain Blues 3:11
Piano – Unknown Artist
Vocals, Violin – Lonnie Johnson
10    Victoria Spivey & Lonnie Johnson–    You Done Lost Your Good Thing Now - Part 1 3:02
Vocals, Guitar – Lonnie Johnson
Vocals, Piano [Prob.] – Victoria Spivey
11    Victoria Spivey & Lonnie Johnson–    You Done Lost Your Good Thing Now - Part 2 3:03
Vocals, Guitar – Lonnie Johnson
Vocals, Piano [Prob.] – Victoria Spivey
12    Blind Willie Dunn And Lonnie Johnson–    Deep Minor Rhythm Stomp 3:10
Guitar – Eddie Lang, Lonnie Johnson
13    Blind Willie Dunn And Lonnie Johnson–    Midnight Call (Blues) 3:14
Guitar – Eddie Lang, Lonnie Johnson
14    Blind Willie Dunn And Lonnie Johnson–    Hot Fingers 2:57
Guitar – Eddie Lang, Lonnie Johnson
15    Blind Willie Dunn And Lonnie Johnson–    Blue Room Blues 3:04
Guitar – Eddie Lang, Lonnie Johnson
16    Lonnie Johnson–    She's Making Whoopee In Hell Tonight 3:09
Vocals, Guitar – Lonnie Johnson
17    Lonnie Johnson–    Another Woman Booked Out And Bound To Go 3:10
Vocals, Guitar – Lonnie Johnson
18    Lonnie Johnson And Spencer Williams–    Once Or Twice 3:07
Piano – James P. Johnson
Vocals, Guitar – Lonnie Johnson
Vocals, Scraper [Prob.] – Spencer Williams
19    Lonnie Johnson And Spencer Williams–    Monkey And The Baboon 2:57
Piano – James P. Johnson
Vocals, Guitar – Lonnie Johnson
Vocals, Scraper [Prob.] – Spencer Williams
Wood Block, Vocals – Clarence Williams
20    Lonnie Johnson And Clarence Williams–    Wipe It Off 3:17
Piano – James P. Johnson
Scraper [Prob.] – Spencer Williams
Vocals – Clarence Williams
Vocals [Falsetto Vcl] – Unknown Artist
Vocals, Guitar – Lonnie Johnson
21    Lonnie Johnson–    Death Valley Is Just Half Way To My Home 3:26
Vocals, Guitar – Lonnie Johnson
22    Lonnie Johnson–    Headed For Southland 3:19
Vocals, Guitar – Lonnie Johnson 

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 6 • 1930-1931 | DOCD-5068 (1991) RM | FLAC (tracks+.cue), lossless

The music on this CD, the sixth of seven Document discs that trace Lonnie Johnson's recording career during the 1925-1932 period, alternates between blues and hokum. Johnson performs good-time vocal duets with Spencer Williams (such as "Keep It to Yourself" and "The Bull Frog and the Toad") and Clara Smith (an excellent four-song session from 1930 including "What Makes You Act Like That" and "Don't Wear It Out"), plus a variety of solo numbers. Other highlights include the two-part "I Got the Best Jelly Roll in Town," "I Have to Do My Time," and "Let All Married Women Alone." Scott Yanow

Abridged from this album’s original booklet notes. After the desperation of “Headed For Southland” (see DOCD-5067), the two part I Got The Best Jelly Roll In Town formed a light-hearted interlude in Lonnie Johnson’s 23rd January 1930 session. Featuring some impressive guitar, even by Johnson’s high standards, it’s the first tryout of a song which, as Jelly Roll Baker, he was to record again more than once. The singing on this version is remarkable, given the very slow tempo. For the last two titles of the session, Lonnie switched to piano, which he hadn’t played on disc since 1926; by 1930, he had worked out a favourite accompaniment, featuring a staccato, four-to-the-bar chordal bass part, over which are laid darting right hand figures that are clearly inspired by his guitar playing.

As 1930 continued, and the Depression worsened, Lonnie Johnson was still in demand at Okeh; he and Spencer Williams made their last hokum duets in February and May, with James P. Johnson again superb on piano, and Lonnie seeming to respond to his challenge. Hokum apart, Lonnie was still cutting solo blues; I Can’t Stand These Blues, he proclaimed, summing up the approach to lyrics that he explained to Val Wilmer in 1963: “The heartaches and the things that have happened to me in my life – that’s what makes a good blues singer.” Deep Sea Blues is a disguised version of “Empty Bed Blues”, perhaps acquired when touring with Bessie Smith in 1929. On Long Black Train and I Have To Do My Time, the accompanist is listed as “unknown” by “Blues & Gospel Records”, but there seems no reason to doubt that it’s Johnson on both piano and guitar. No More Troubles Now surely represents an attempt to sustain interest in his emotional odyssey as heard on disc, by setting up a contrast with the gloomy songs for which he was known.

In October, Johnson was paired with Clara Smith, Columbia’s “Queen of the Moaners”, for four duets on which they sparred with evident enthusiasm, their rich voices admirably suited to one another. The oddly titled Got The Blues For Murder Only can’t have done much for his sales in Mexico, with its scurrilous, if undeniably witty, view of life there. Southland is All Right With Me startles the present day listener with its defence of a region whose racist system many blacks had left with relief. DOCD-5068
Tracklist :
1    Lonnie Johnson–    I Got The Best Jelly Roll In Town - Part 1 3:19
Vocals, Guitar – Lonnie Johnson
2    Lonnie Johnson–    I Got The Best Jelly Roll In Town - Part 2 3:29
Vocals, Guitar – Lonnie Johnson
3    Lonnie Johnson–    She Don't Know Who She Wants 3:23
Vocals, Piano – Lonnie Johnson
4    Lonnie Johnson–    Don't Drive Me From The Door 3:31
Vocals, Piano – Lonnie Johnson
5    Lonnie Johnson And Spencer Williams–    The Dirty Dozen 3:06
Piano – James P. Johnson
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
Washboard [Prob.], Effects [Prob.] – Clarence Williams
6    Lonnie Johnson And Spencer Williams–    Keep It To Yourself 3:23
Piano – James P. Johnson
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
Washboard [Prob.] – Clarence Williams
7    Lonnie Johnson–    I Just Can't Stand These Blues 3:28
Vocals, Guitar – Lonnie Johnson
8    Lonnie Johnson–    Deep Sea Blues 3:26
Vocals, Guitar – Lonnie Johnson
9    Lonnie Johnson nd Spencer Williams–    The Bull Frog And The Toad 3:06
Piano [Poss.] – Clarence Williams
Vocals – Spencer Williams
Vocals, Guitar – Lonnie Johnson
10    Lonnie Johnson And Spencer Williams–    The Monkey And The Baboon - Part 2 3:10
Piano [Poss.] – Clarence Williams
Vocals, Guitar – Lonnie Johnson
Vocals, Percussion [Prob.] – Spencer Williams
11    Lonnie Johnson–    Long Black Train 2:57
Vocals, Guitar – Lonnie Johnson
12    Lonnie Johnson–    I Have To Do My Time 3:07
Vocals, Piano – Lonnie Johnson
13    Lonnie Johnson–    No More Troubles Now 3:14
Vocals, Guitar – Lonnie Johnson
14    Lonnie Johnson–    Sam, You Can't Do That To Me 3:07
Vocals, Guitar – Lonnie Johnson
15    Clara Smith And Tommy Jordan–    You're Getting Old On Your Job 3:13
Piano – Alex Hill
Vocals – Clara Smith
Vocals, Guitar – Lonnie Johnson
16    Clara Smith And Tommy Jordan–    What Makes You Act Like That? 3:06
Piano – Alex Hill
Vocals – Clara Smith
Vocals, Guitar – Lonnie Johnson
17    Clara Smith And Tommy Jordan–    You Had Too Much 3:20
Piano – Alex Hill
Vocals – Clara Smith
Vocals, Guitar – Lonnie Johnson
18    Clara Smith And Tommy Jordan–    Don't Wear It Out 3:17
Piano – Alex Hill
Vocals – Clara Smith
Vocals, Guitar – Lonnie Johnson
19    Lonnie Johnson–    Got The Blues For Murder Only 3:22
Vocals, Guitar – Lonnie Johnson
20    Lonnie Johnson–    Let All Married Women Alone 3:17
Vocals, Guitar – Lonnie Johnson
21    Lonnie Johnson–    Southland Is Alright With Me 3:00
Vocals, Piano [Prob.] – Lonnie Johnson
22    Lonnie Johnson–    Blues Is Only A Ghost 2:56
Vocals, Piano [Prob.] – Lonnie Johnson

LONNIE JOHNSON — Complete Recorded Works In Chronological Order ★ Volume 7 • 1931-1932 | DOCD-5069 (1991) RM | FLAC (tracks+.cue), lossless

Lonnie Johnson, who had played both creative blues and advanced jazz in the 1920s, was sticking exclusively to blues (with some good-time hokum) by 1931. These 21 performances ended his classic period with OKeh before Johnson disappeared from records for five years. All of the selections are solo vocal/guitar numbers with the exception of three cuts, where he switches to piano and one duet with pianist Fred Longshaw. Johnson is in excellent form on such numbers as "Low Down St. Louis Blues," "Hell Is a Name for Sinners," "Best Jockey in Town," "She's Dangerous With the Thing," and "Racketeers Blues." True blues collectors will want all seven Lonnie Johnson CDs in this valuable series. Scott Yanow

Abridged from this album’s original booklet notes. By 1931, record sales were declining catastrophically under the impact of the Depression, but Okeh, who had the Mississippi Sheiks and Bo Carter, actually put out more race records in 1931 than they had in 1930. They also had Lonnie Johnson, whose proven sales potential encouraged them to bring him in for six recording sessions in 1931 and even for four in 1932. Johnson’s lyrics remained misogynistic; on Low Down St. Louis Blues, he catalogued the allegedly violent ways of the women of his former hometown, where his wife Mary was still living and Beautiful But Dumb added to his catalogue of generalised complaints. The intriguing title From A Wash Woman On Up conceals the fitting of a new lyric to his “jelly roll” tune, while Hell Is A Name For All Sinners holds out a melodramatic warning of the life to come, delivered with gloomy relish, and the moral advice on Home Wreckers Blues is more specific. As if to repay Okeh’s confidence, Johnson was playing guitar better than ever, inserting dazzling runs made up of chromatic chords, which do something to alleviate the overstretched metaphor of Best Jockey In Town. On Sleepy Water Blues and Uncle Ned, Don’t Use Your Head, however, his playing simply makes two glorious performances even better. Sleepy Water Blues, beautifully sung, is another in Lonnie’s series of songs about “dear old Southland”; the lyrics may boggle the mind today, but as discussed in the notes to DOCD-5068, there were good reasons why this sort of song should have appealed to blacks facing economic hardship in the North. “Uncle Ned” is a rewrite of Sam Theard‘s 1929 hit “You Rascal You”; shortly, Lonnie was to reconstruct Cab Calloway‘s “Minnie The Moocher” into Winnie The Wailer. On Cat You Been Messin’ Around, Lonnie rejects another (and evidently white) man’s child, which his woman is trying to foist onto him, with some of Calloway’s fantastical exaggeration, though without a trace of humour to lighten his delivery of the lyrics. More cheerful is She’s Dangerous With That Thing, its strutting rhythms perfectly attuned to the inconsequential words. He was still lecturing his audience, though, attacking “pimps and gigolos”, and “no-good women” as well, on Men Get Wise To Yourself. On Sam, You’re Just A Rat, Johnson played piano on record for the last time until 1960, fittingly producing one of his best efforts on that instrument. The eight bar There Is No Justice finds Lonnie’s playing sounding somewhat like Big Bill Broonzy‘s, but by the time of his last session for Okeh, on 12th August 1932, he was back to sounding like his unmistakable self. DOCD-5069
Tracklist :
1    Lonnie Johnson–    Low Down St. Louis Blues    3:01
2    Lonnie Johnson–    Beautiful But Dumb    3:00
3    Lonnie Johnson–    From A Wash Woman On Up    2:52
4    Lonnie Johnson–    Hell Is A Name For All Sinners    2:52
5    Lonnie Johnson–    Home Wreckers Ball    3:04
6    Lonnie Johnson–    Not The Chump I Use To Be    3:14
7    Lonnie Johnson–    Best Jockey In Town    2:55
8    Lonnie Johnson–    Sleepy Water Blues    3:01
9    Lonnie Johnson–    Uncle Ned, Don't Use Your Head    3:03
10    Jimmy Jordan–    Cat You Been Messing' Around    2:54
11    Jimmy Jordan–    She's Dangerous With That Thing    2:52
12    Lonnie Johnson–    Men, Get Wise To Yourself    3:19
13    Lonnie Johnson–    Sam, You're Just A Rat    3:18
14    Jimmy Jordan–    Winnie The Wailer    3:10
15    Jimmy Jordan–    There Is No Justice    2:40
16    Lonnie Johnson–    I'm Nuts About That Girl    3:10
17    Lonnie Johnson–    Racketeers Blues    3:11
18    Lonnie Johnson–    Unselfish Love    3:34
19    Lonnie Johnson–    My Love Don't Belong To You    2:56
20    Lonnie Johnson–    Love Is A Song (Your Love Is Cold)    2:56
21    Lonnie Johnson–    Go Back To Your No Good Man    2:51
Credits :
Guitar – Lonnie Johnson (tracks: 1 to 3, 6 to 12, 14 to 21)
Piano – Fred Longshaw (tracks: 13), Lonnie Johnson (tracks: 4, 5, 13)
Vocals – Lonnie Johnson