MAMIE SMITH — Complete Recorded Works In Chronological Order ★ Volume 4 • 1923-1942 | DOCD-5360 (1995) RM | FLAC (tracks), lossless

Mamie Smith's approach to putting over a song was developed in vaudeville houses and theaters before microphones were used to amplify the human voice, a fact which places her in league with stentorian characters like Sophie Tucker, Ethel Merman, Al Jolson, and Jimmy Rushing. Her high-pitched, theatrically mannered delivery compares most accurately with that of Ethel Waters, Lucille Hegamin, Lavinia Turner, and Eva Taylor. The fourth and final volume in Document's complete Mamie Smith retrospective combines the last of her works from the 1920s with material from a little-known session that took place in 1931 and a couple of intriguing movie soundtracks, the last recorded during the spring of 1940. This stunningly beautiful woman was the primary star of Okeh Records from August 1920 through August of 1923. Partially eclipsed by the rise of young Bessie Smith, Mamie cut a half-dozen titles for the Ajax label in September of 1924 with members of the Choo Choo Jazzers (cornetist Louis Metcalf, pianist Louis Hooper, clarinetist Bob Fuller, and banjoist Elmer Snowden) and an expanded seven-piece edition of her Jazz Hounds. Her next recording dates took place in August 1926 with a similar unit that featured cornetist Tom Morris and trombonist Charlie Irvis. The remaining recorded evidence finds her singing in front of various orchestras and on vintage motion picture soundtracks. "The Jail House Blues", which features an unnamed single-string violinist backed by pianist Porter Grainger, comes from a Columbia short that was shot and released in 1929. Mamie's interpretation of Fats Waller's "Keep a Song in Your Soul" was waxed in 1931, right around the time she actually performed with Waller and some of his friends. "Harlem Blues" and "Lord! Lord!" were drawn from the soundtrack of the Jubilee motion picture Paradise in Harlem, directed by Joseph Seiden, with Lucky Millinder's orchestra and additional vocals by the Alphabetical Four. Mamie Smith's final years were a far cry from the prosperous luxury and fame of her heyday. Although she initially invested in quite a bit of real estate, a manipulative predatory louse by the name of Ocie Wilson weaseled practically every dollar out of her. Crippled with arthritis and virtually destitute, she passed away in a cheap boarding house on Eighth Avenue in 1946. Long ignored because her vocal style predated the vogue for gutsy blues and hot jazz, Mamie Smith's complete works have now been made available to those who are willing to listen with unbiased ears. arwulf arwulf
Tracklist :
1    Mamie Smith–    My Mammy's Blues 2:45
Piano – Porter Grainger
2    Mamie Smith–    My Sweet Man (Tickles The Ivories For Me) 2:40
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper
3    Mamie Smith–    What You Need Is Me (And What I Need Is You) 2:57
Cornet [Prob.] – Louis Metcalf
Orchestra – Choo Choo Jazzers
Piano – Louis Hooper
4    Mamie Smith, Acc. Her Jazz Hounds–    Just Like You Took My Man Away From Me 2:25
Alto Saxophone – Bob Fuller
Banjo – Elmer Snowden
Piano – Louis Hooper
5    Mamie Smith, Acc. Her Jazz Hounds–    Remorseful Blues 2:43
Alto Saxophone – Bob Fuller
Banjo – Elmer Snowden
Drums – Norman Buster
Piano – Louis Hooper
6    Mamie Smith, Acc. Her Jazz Hounds–    Lost Opportunity Blues 3:01
Banjo – Elmer Snowden
Bass Saxophone – Alex Jackson
Cornet – Gus Aiken, Horace Holmes
Drums – Norman Buster
Piano – Leslie A. Hutchinson ("Hutch")
Saxophone – Ernie Bullock, Percy Glascoe
Trombone – Jake Frazier
7    Mamie Smith, Acc. Her Jazz Hounds–    Good Time Ball 2:22
Banjo – Elmer Snowden
Bass Saxophone – Alex Jackson
Cornet – Gus Aiken, Horace Holmes
Piano – Leslie A. Hutchinson ("Hutch")
Saxophone – Ernie Bullock, Percy Glascoe
Trombone – Jake Frazier
8    Mamie Smith–    Goin' Crazy With The Blues (Take 1)    2:59
9    Mamie Smith–    Goin' Crazy With The Blues (Take 2)    3:11
10    Mamie Smith–    Sweet Virginia Blues    2:49
11    Mamie Smith–    What Have You Done To Make Me Feel This Way? (Take One)    2:47
12    Mamie Smith–    What Have You Done To Make Me Feel This Way? (Take Two)    2:55
13    Mamie Smith–    I Once Was Yours I'm Somebody Else's Now    3:18
14    Mamie Smith–    Wonderful Mammy 3:13
Orchestra – Billy Fowler Orchestra
15    Mamie Smith–    My Sportin' Man 2:56
Orchestra – Billy Fowler Orchestra
16    Mamie Smith–    The Lure Of The South 2:46
Orchestra – Billy Fowler Orchestra
Vocals [Vocal Group] – Unknown Artist
17    Mamie Smith–    The Jail House Blues 1:17
Piano – Porter Grainger
18    Mamie Smith–    Golfing Papa    2:44
19    Mamie Smith–    Jenny's Ball    3:12
20    Mamie Smith–    Keep A Song In Your Soul    2:49
21    Mamie Smith–    Don't You Advertise Your Man    3:16
22    Mamie Smith–    Harlem Blues 2:53
Orchestra – Lucky Millinder And His Orchestra
23    Mamie Smith–    Lord! Lord! 2:14
Orchestra – Lucky Millinder And His Orchestra

FATS WALLER – 1922-1926 | The Chronogical Classics – 664 (1992) FLAC (tracks+.cue), lossless

Anyone who's fallen in love with Fats Waller's music and wants to delve a bit deeper than "greatest hits" should explore what young Mr. Waller managed to achieve on phonograph records during the 1920s. American labels have been frustratingly slow to release material from this fascinating period in Waller's artistic evolution, despite the fact that he began recording at the age of 18, a full 12 years before the first Fats Waller & His Rhythm sessions initiated his fairly rapid rise to fame. Two piano solos from 1922 grant listeners an exciting glimpse of a solidly able young Waller, fresh from his personal training under James P. Johnson's wing. These two solos belong at the head of any Fats Waller piano anthology, yet they didn't make it onto Bluebird's Turn on the Heat, an otherwise excellent double CD mainly devoted to the commercially issued Victor solos from 1927-1941.
Much of the material on Classics 664 consists of female vocals (mostly blues, a few topical jazz novelties, and a somber pair of spirituals) accompanied by Waller's piano. The art of accompanying was an essential component of the Harlem stride pianist's job description, and Waller did it as skillfully as James P. Johnson. Alberta Hunter's duet with Waller is one of the best examples here, along with two titles featuring the amazing Rosa Henderson. Even the sleepier numbers featuring less-punchy vocalists are still worth absorbing and appreciating. There's a very rare example of Porter Grainger taking a vocal on Waller's "In Harlem's Araby" and a pair of funny duets featuring Sara Martin and Clarence Williams. "Squabbling Blues" must be rare indeed, as the original 78 rpm platter used in this compilation has a very rough start and even skips briefly -- -collectors expect this sort of thing from the Document label, but never from Classics. Fortunately, the song is so satisfying, one quickly forgets the technical foibles.
But the main reason to obtain a copy of this CD is for the two titles featuring Clarence Williams and his friend Clarence Todd on kazoos, with Waller's sure-footed piano and an eccentric percussionist named Justin Ring (he shows up on certain Eddie Lang sessions from the late '20s). "West Indies Blues," in particular, is the prize in this package; the sound of two grown men unashamedly wailing away on their kazoos is guaranteed to help prevent listeners from taking reality too seriously. A must for collectors and a healthy experience for all who are interested in early jazz. arwulf arwulf  
Tracklist + Credits :

BESSIE SMITH – 1927-1928 | The Classics Chronological Series – 870 (1996) FLAC (tracks+.cue), lossless

By the spring of 1927 Bessie Smith was making some of the toughest records of her entire career. Whoever lined her up with a sextet led by Fletcher Henderson did the world a great service, for here we get to enjoy Smith's handling of selections directly from the heart of the jazz repertoire. "After You've Gone" takes on all the majesty of Smith's best blues, and she seems to relish providing us with the verse in addition to the familiar chorus. "Alexander's Ragtime Band" is suddenly more substantial than ever before. This woman could sing anything. Even "Muddy Water (A Mississippi Moan)" completely transcends its Tin Pan Alley origins, becoming a fine slow drag without any vestiges of kitsch. "There'll Be a Hot Time in the Old Town Tonight" has been described by military historians as the theme song for the Spanish-American War. Hearing Smith sing it is one of the cardinal experiences in all of traditional music. She made every song into something peculiarly her own. That's Coleman Hawkins back there with a clarinet. On the following day, March 3 1927, Smith teamed up with her tried-and-true Blue Boys. "Trombone Cholly" is a tribute to Charlie Green, also known as "Big Green." His well-timed interactions with the singer's powerful voice, supported by the cornet of Joe "Fox" Smith and Fletcher Henderson's piano, are a wonder to behold. Green lovingly nudges her along through the verses of "Send Me to the 'Lectric Chair," a harrowing tale of knife-inflicted double homicide. "Them's Graveyard Words" carries a similar murderous current, something Smith was always happy to convey. Few vocalists have ever been able to express honestly troubled feelings with this blend of gravity and humor. April 1, 1927 found the singer once again in the distinguished company of pianist James P. Johnson. Bessie Smith specialized in the artful portrayal of the pissed-off woman archetype. "Lock and Key," a hilarious indictment of a cheater, has Smith stripping her unfaithful man of nearly every article of clothing she bought him. At one point the scenario is garnished with a colorful threat: "I'll shoot them off if I hear you cough!" This is one of Smith's very best pieces of theatrical entertainment, especially on account of her excellent working relationship with James P. Johnson. "Mean Old Bed Bug Blues" takes things down to a funkier texture of piano and glib blues guitar. Smith's reading of "A Good Man Is Hard to Find" might be the most soulful version ever caught on record. "Homeless Blues," dealing specifically with Mississippi floodwater disaster, is an extension of "Back Water Blues." Even as her accompaniments change from date to date, Smith's blues are consistently fine, as when Tommy Ladnier's trumpet finds common ground with the tuba of June Cole. It simply doesn't get much better than this. arwulf arwulf  
Tracklist + Credits :

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

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

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)