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2016. november 27., vasárnap

27-11-2016 19:01 # 60 blues songs from the BLUES_circle 1920s & 1930s / 2h 58m


27-11-2016 19:01  
BLUES:MiX from the BLUES_circle 1920s & 1930s # Blind Blake, Cab Calloway, Barbeque Bob, Country Jim, Lost John Hunter, Beverly Scott, Furry Lewis, Mississippi John Hurt, Blind Blake, Blind Lemon Jefferson, Bessie Smith, Ma Rainey, King Oliver's Creole Jazz Band, Original Dixieland Jazz Band, Alice Leslie Carter, Clara Smith, Sylvester Weaver, Sara Martin, Big Bill Broonzy, Earl Hines, Bumble Bee Slim, Kokomo Arnold, Robert Wilkins 258m



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from 1920s & 1930s


Blind Blake is a figure of enormous importance in American music. Not only was he one of the greatest blues guitarists of all-time, Blake seems to have been the primary developer of "finger-style" ragtime on the guitar, the six-string equivalent to playing ragtime on the piano. Blake mastered this form so completely that few, if any, guitarists who have learned to play in this style since Blake have been able to match his quite singular achievements in this realm...  Blind bluesman's intricate, syncopated style of guitar playing led him to be dubbed "King Of The Ragtime Guitar."
Blind Blake
Early Morning Blues (Blind Blake) 3:03
West Coast Blues (Blind Blake) 3:12 
Blake's Worried Blues (Blind Blake) 3:06
Come on Boys Let's Do That Messin' Around 2:46
from All the Published Sides Rec: 1926-1932 (2003)
As with many comprehensive pre-1940s blues sets, especially those devoted to artists who recorded on the old Paramount label, the five-CD All the Published Sides set is both a godsend and a study in frustration. Paramount wasn't known for its high-quality pressings when it was in business, and its bankruptcy in the early '30s and the destruction of its masters completed the picture, as far as sound quality...

 Flamboyant swing bandleader and gifted scat singer who featured great musicianship in his orchestras and long personified 1930s Harlem style. 
Cab Calloway
Gotta Darn Good Reason Now (For Bein' Good) (De Priest Wheeler / Lamar Wright) 3:13 
St. Louis Blues (W.C. Handy
Blues in My Heart (Benny Carter / Irving Mills) 2:55 
from Complete Jazz Series 1930 - 1931 (1990)
Cab Calloway is long overdue for a reappraisal. Long put down by some writers as a mere entertainer, he was actually a superior jazz-influenced singer whose vocal abilities were often overshadowed by his showmanship...


Barbeque Bob - Barbeque Blues 3:12
Country Jim - Sad and Lonely 2:29
Lost John Hunter - Cool Down Mama 2:13
Beverly Scott - Southern California Blues 2:26
from Lost Blues & Old Time Folk Songs









 Great blues storyteller and slide guitarist, recorded sides in the 1920s, relegated to history, revived to sensation in the '60s...  Furry Lewis was the only blues singer of the 1920s to achieve major media attention in the '60s and '70s. One of the most recorded Memphis-based guitarists of the late '20s, Lewis' subsequent fame 40 years later was based largely on the strength of those early sides. One of the very best blues storytellers, and an extremely nimble-fingered guitarist into his seventies, he was equally adept at blues and ragtime, and made the most out of an understated, rather than an overtly flamboyant style.
Furry Lewis
Everybody's Blues 2:53 (Chicago, 20 April 1927)
Furry's Blues 3:14 (Memphis Tenn., 28 August 1928)
John Henry (The Steel Driving Man) -1 2:51 (Peabody Hotel, Memphis Tenn., 22 September 1929)
from I Will Turn Your Money Green 1927-1929 (2010)






 Early country blues legend whose warm, amiable sound and longevity also made him a major figure during the '60s blues revival... No blues singer ever presented a more gentle, genial image than Mississippi John Hurt. A guitarist with an extraordinarily lyrical and refined fingerpicking style, he also sang with a warmth unique in the field of blues, and the gospel influence in his music gave it a depth and reflective quality unusual in the field.
Mississippi John Hurt
Frankie 3:28
Nobody's Dirty Business 2:59
Stack O' Lee 2:59
Big Leg Blues 2:50
from Candy Man Blues Recorded 1928 (2004)
With an intricate, delicate guitar style and a soft, gentle voice, Mississippi John Hurt benefited mightily from the recording technology of the day when he recorded 20 tracks for OKeh Records in three sessions (one in Memphis and two in New York City) in 1928. In a genre known for slashing bottleneck stylists and gruff-voiced shouters suited to street corners and gin mills, Hurt was an unassuming front porch performer, and the recording studio microphones allowed the gentle nuances of his songs to be heard...


Little is known of Blake's life. Promotional materials from Paramount Records indicate he was born blind and give his birthplace as Jacksonville, Florida, and it seems that he lived there during various periods. He seems to have had relatives in Patterson, Georgia. Some authors have written that in one recording he slipped into a Geechee or Gullah dialect, suggesting a connection with the Sea Islands. Blind Willie McTell indicated that Blake's real name was Arthur Phelps, but later research has shown this is unlikely to be correct...
Blind Blake
Righteous Blues 2:55
Bad Feeling Blues 2:31
Bootleg Rum Dum Blues 3:01
from Righteous Ragtime Blues 1920s
...Blind Blake wasn’t a typical bluesman. Instead of playing slide like Blind Willie Johnson from Texas or the Delta legend Son House, Blake put notes together almost like a ragtime piano player. He was one of the primary practitioners of Piedmont blues, or Piedmont fingerstyle playing, which focused on alternating-thumb bassline patterns with rhythmic figures and single lines on the top strings, while singing something completely different, sometimes at furious tempos... (americansongwriter.com)



 One of the earliest and most influential rural blues singers to record... Country blues guitarist and vocalist Blind Lemon Jefferson is indisputably one of the main figures in country blues. He was of the highest in many regards, being one of the founders of Texas blues (along with Texas Alexander), one of the most influential country bluesmen of all time, one of the most popular bluesmen of the 1920s, and the first truly commercially successful male blues performer.
Blind Lemon Jefferson
I Want to Be Like Jesus in My Heart  3:27
Booster Blues (Blind Lemon Jefferson) 2:51
Black Horse Blues 2:57 
from The Complete Classic Sides Remastered: Chicago 1926
...Listeners wishing to appreciate the spellbinding, primal sound of Blind Lemon Jefferson can start here, except they may never want to finish; 70-some years since his death, and nearly 80 years since his first record, Jefferson's voice and guitar effortlessly cut through the decades... (allmusic)



 The greatest female blues singer of all time, with a passionate voice and thundering delivery...  The first major blues and jazz singer on record and one of the most powerful of all time, Bessie Smith rightly earned the title of "The Empress of the Blues." Even on her first records in 1923, her passionate voice overcame the primitive recording quality of the day and still communicates easily to today's listeners (which is not true of any other singer from that early period). At a time when the blues were in and most vocalists (particularly vaudevillians) were being dubbed "blues singers," Bessie Smith simply had no competition.
Bessie Smith
Weeping Willow Blues (Paul Carter) 3:11 
Sing Sing Prison Blues (Porter Grainger / Everett Robbins) 3:05 
Sinful Blues (Perry Bradford) 3:11
Careless Love Blues (W.C. Handy / Martha E. Koenig / Spencer Williams) 3:27
from Complete Jazz Series 1924 - 1925
This portion of the Bessie Smith chronology begins on September 26, 1924, and follows her progress through August 19, 1925. Several of New York's best jazz musicians, most of whom were active with Fletcher Henderson & His Orchestra at that time, assisted the singer in making records that still sound remarkably colorful and dramatic...


 The "Mother of the Blues," an icon of the genre, a flamboyant figure whose name is not bygone... Ma Rainey wasn't the first blues singer to make records, but by all rights she probably should have been. In an era when women were the marquee names in blues, Rainey was once the most celebrated of all; the "Mother of the Blues" had been singing the music for more than 20 years before she made her recording debut (Paramount, 1923)
Ma Rainey
Bad luck blues 3:03
Lucky rock blues 3:00
from Ma Rainey Vol. 1 (1923-1924)
Born and raised in Columbus, Georgia, Ma Rainey (born Gertrude Pridgett) began singing professionally when she was a teenager, performing with a number of minstrel and medicine shows. In 1904, she married William "Pa" Rainey and she changed her name to "Ma" Rainey. The couple performed as "Rainey and Rainey, Assassinators of the Blues" and toured throughout the south, performing with several minstrel shows, circuses, and tent shows. According to legend, she gave a young Bessie Smith vocal lessons during this time...


King Oliver's Creole Jazz Band
with Louis Armstrong and Johnny Dodds
Mandy Lee Blues 2:11
Dipper Mouth Blues 2:28
from Dipper Mouth Blues (Original Recordings 1923)
King Oliver's Creole Jazz Band was one of the best and most important bands in early Jazz. The Creole Jazz Band was made up of the cream of New Orleans Hot Jazz musicians, featuring Baby Dodds on drums, Honore Dutrey on trombone, Bill Johnson on bass, Louis Armstrong on second cornet, Johnny Dodds on clarinet, Lil Hardin-Armstrong on piano, and the band's leader, King Oliver on cornet...

Original Dixieland Jazz Band
Crazy Blues 2:35
from The Ultimate Jazz Archive Vol. 1 1917-1921
The band consisted of five musicians who had played in the Papa Jack Laine bands, a racially integrated group of musicians who played for parades, dances, and advertising in New Orleans. ODJB billed itself as the "Creators of Jazz". It was the first band to record jazz commercially and to have hit recordings in the new genre. Band leader and trumpeter Nick LaRocca argued that ODJB deserved recognition as the first band to record jazz commercially and the first band to establish jazz as a musical idiom or genre.


Alice Leslie Carter was an American classic female blues singer, active as a recording artist in the early 1920s. Her best-known tracks are "Decatur Street Blues" and "Aunt Hagar's Children Blues".[1] She was a contemporary of the better-known recording artists Ma Rainey, Bessie Smith, Clara Smith, Victoria Spivey, Sippie Wallace, and Bertha "Chippie" Hill. Little is known of her life outside music.
Alice Leslie Carter
Heart Broken Blues 3:10
You'll Think of Me Blues 2:56
Down Home Blues 3:18
from Heart Broken Blues / early 1920s
 While many people carry their middle names around like an unnecessary extra identification card, there are times when the use of a middle name clearly saves the day. Such is the case with Alice Leslie Carter, who made a series of excellent classic blues sides in 1921 including the perilous "Dangerous Blues", the demanding "I Want Some Lovin' Blues" and the demonstrative "Also Ran Blues". If she had remained just plain Alice Carter there would have inevitably been confusion with another female blues singer who recorded a scant four sides in 1923--although the resulting imbroglio might have been considered minor in a genre where some artists recorded under dozens of pseudonyms, sometimes even pretending to be each other. 


One of the legendary unrelated Smith singers of the 1920s, Clara Smith was never on Bessie's level or as significant as Mamie but she had something of her own to offer. She began working on the theatre circuit and in vaudeville around 1910, learning her craft during the next 13 years while traveling throughout the South. In 1923 Clara Smith came to New York and she recorded steadily for Columbia through 1932, cutting 122 songs often with the backing of top musicians (especially after 1925) including Louis Armstrong, Charlie Green, Joe Smith, Freddy Jenkins and James P. Johnson (in 1929).
Clara Smith
I Got Everything a Woman Needs (Clara Smith) 2:56 
Kind Lovin' Blues (Clara Smith) 2:59
All Night Blues (Clara Smith) 3:38
from Clara Smith Vol. 1 (1923-1924)
A native of Spartanburg, SC, Clara Smith was an inspired blues vocalist with a persuasive voice that could be wonderfully disarming when combined with some of her tougher lyrics. A nearly exact contemporary of her friend Bessie Smith, Clara was born in 1894, began performing in theater and vaudeville at the age of 14, and worked in that environment for 13 years. Legend has it that in 1920 she employed a nubile young Josephine Baker as a wardrobe assistant, and that the two became romantically involved... Most of the remaining titles on this collection have instrumental backing by groups identified as Clara Smith's Jazz Band (a quintet with Stanley Miller at the piano) or her Jazz Trio...

Sylvester Weaver was a versatile guitarist of Louisville origin who made the first solo recordings of blues guitar playing. Information is lacking on Weaver's early years, though it is not unreasonable to assume that during this time he may have had some connection to the Louisville Jug Bands led by Earl MacDonald and Clifford Hayes.
Sylvester Weaver
Black Spider Blues 2:55
Toad Frog Blues 2:57
Bottleneck Blues 2:57
from 1920s Blues (The Roots of Robert Johnson)
Sylvester Weaver first turns up in New York in 1923, where on October 23 of that year he accompanied vaudeville blues singer Sara Martin on two numbers, "Longing for Daddy Blues" and "I've Got to Go and Leave My Daddy Behind," for Okeh. Two weeks later, Weaver cut his first pair of solo recordings, "Guitar Blues" and "Guitar Rag" for the same concern...
Sara Martin and Sylvester Weaver
 Known in her heyday as "the blues sensation of the West," the big-voiced Sara Martin was one of the best of the classic female blues singers of the '20s. Martin began her career as a vaudeville performer, switching to blues singing in the early '20s. In 1922, she began recording for OKeh Records
Sara Martin
Your Going Ain't Giving Me the Blues (Sara Martin / Clarence Williams) 3:15 
The Prisoner's Blues (Clarence Williams) 2:48
Mistreatin' Man Blues 2:48
from Sara Martin Vol. 4 (1925-1928)
It is ironic that so many classic female blues singers recorded a ton of material between 1921 and 1924 and, when the recording techniques had advanced greatly and the musicianship of their accompaniments had vastly improved, the vocalists had much less opportunity to be documented... Martin was at her best during the latter period, but she only had three recording sessions in 1926, one in 1927, and three in 1928 before her recording career came to an end. She was accompanied by many impressive players during this era including several groups led by Clarence Williams (which had such musicians as King Oliver, Charlie Irvis, Bubber Miley, and Benny Waters), Richard M. Jones' Jazz Wizards, the piy Pleaseano of Eddie Heywood...

 Intelligent, versatile early blues guitarist possessed an unmistakable, hollering voice with remarkable range... Big Bill Broonzy was born William Lee Conley Broonzy in the tiny town of Scott, Mississippi, just across the river from Arkansas.
Big Bill Broonzy
Baby Please Don't Go 3:17
Bad Luck Blues 3:11
Black Widow Spider 2:55
from Big Bill's Blues Vol. 1 - [The Dave Cash Collection] 1930s
During his childhood, Broonzy's family -- itinerant sharecroppers and the descendants of ex-slaves -- moved to Pine Bluff to work the fields there. Broonzy learned to play a cigar box fiddle from his uncle, and as a teenager, he played violin in local churches, at community dances, and in a country string band. During World War I, Broonzy enlisted in the U.S. Army, and in 1920 he moved to Chicago and worked in the factories for several years. In 1924 he met Papa Charlie Jackson, a New Orleans native and pioneer blues recording artist for Paramount. Jackson took Broonzy under his wing, taught him guitar, and used him as an accompanist.


 Charismatic pianist of the early days of jazz whose unusual rhythms changed the course of music... Once called "the first modern jazz pianist," Earl Hines differed from the stride pianists of the 1920s by breaking up the stride rhythms with unusual accents from his left hand. While his right hand often played octaves so as to ring clearly over ensembles, Hines had the trickiest left hand in the business, often suspending time recklessly but without ever losing the beat. One of the all-time great pianists, Hines was a major influence on Teddy Wilson, Jess Stacy, Joe Sullivan, Nat King Cole, and even to an extent on Art Tatum.
Earl Hines
Blues In Thirds (Caution Blues) 12-08-28 2:54
Caution Blues (12-09-28) 2:53
from Complete Jazz Series 1928 - 1932








 Gentle philosopher was one of the most popular blues recording artists of the 1930s...  Popular and prolific, Bumble Bee Slim parlayed a familiar but rudimentary style into one of the earliest flowerings of the Chicago style. Much of what he performed he adapted from the groundbreaking duo Leroy Carr and Scrapper Blackwell -- Slim built on Carr's laconic, relaxed vocal style and Blackwell's guitar technique. During the mid-'30s, Bumble Bee Slim recorded a number of sides for a variety of labels, including Bluebird, Vocalion, and Decca, becoming one of the most-recorded bluesmen of the decade.
Bumble Bee Slim
How Long, How Long Blues (Bumble Bee Slim) 2:53 
New B & O Blues 2:49
My Old Pal Blues 3:07
Sloppy Drunk Blues (Leroy Carr) 2:47
from Bumble Bee Slim Vol. 5 1935-1936






 Slide guitarist and blues singer cut 88 sides for Decca in the 1930s and was an influence on Robert Johnson...  "Kokomo" was a popular brand of coffee early in the 20th century, and was the subject of Francis "Scrapper" Blackwell's first recorded blues in 1928. When slide guitar specialist James Arnold revamped this number as "Old Original Kokomo Blues" for Decca in 1934, little did he know that this would soon become his permanent handle -- Kokomo Arnold. 


just illustration
Kokomo Arnold
Wild Water Blues 3:16
Long and Tall 2:49
Laugh and Gin Blues 3:12
from Blues Experience, Vol. 14 / 1903s
 Kokomo Arnold was born in Georgia, and began his musical career in Buffalo, New York in the early '20s. During prohibition, Kokomo Arnold worked primarily as a bootlegger, and performing music was a only sideline to him. Nonetheless he worked out a distinctive style of bottleneck slide guitar and blues singing that set him apart from his contemporaries. In the late '20s, Arnold settled for a short time in Mississippi, making his first recordings in May 1930 for Victor in Memphis under the name of "Gitfiddle Jim." Arnold moved to Chicago in order to be near to where the action was as a bootlegger, but the repeal of the Volstead Act put him out of business, so he turned instead to music as a full-time vocation.


...A mix of Afro-American and Cherokee Indian, Wilkins hailed from De Soto County, MS, famous stomping grounds for Delta blues. His later fight with the powerful Rolling Stones probably didn't seem like much of a hassle compared to what he went through growing up. His father was kicked out of the state due to bootlegging activities. His mother made a better choice with her second husband, the fine guitarist Tim Oliver, who taught his new stepson plenty...
Robert Wilkins
Rolling Stone, Pt. 1 (Robert Wilkins) 2:55
Jail House Blues (Robert Wilkins) 3:33
That's No Way to Get Along (Robert Wilkins) 2:54
from Masters Of Memphis Blues CD D 1927-1939
JSP's Masters of Memphis Blues compiles four CDs of performances by Furry Lewis, Stokes & Sane, Gus Cannon as Banjo Joe, Frank Stokes, Allen Shaw, Robert Wilkins, and Little Buddy Doyle. It's hard to go wrong with these 101 recordings cut between 1927 and 1939. The tracks have been remastered, making the majority of this material sound great. Unlike other packages of this type, the liner notes are informative, listing personnel and dates and providing concise histories without going on ad nauseam. As an extra bonus, this is a budget-priced set, making it highly recommended, especially for the blues novice.

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