Paramount 12872 – Blind Lemon Jefferson – 1929

A crop of the only known photograph of Lemon Jefferson, as was pictured in the Paramount Book of Blues.

On this day, we celebrate the probable birthday of the great blues man Blind Lemon Jefferson, so for this momentous occasion, I present to you a great treasure of the Old Time Blues collection, which happened to have been recorded on Lemon’s thirty-sixth birthday.

Lemon Henry Jefferson was born most likely on September 24, 1893 (though, as is so often the case with early blues people, this date is disputed), one of seven children born to a family of poor sharecroppers in Coutchman, Texas (or “Couchman” as the locals seem to spell it, though the former is correct according to the Texas Almanac), near Tehuacana Creek and about five miles west of Streetman, in Freestone County.  He was blind from infancy, though the full extent of his visual impairment is debatable—some, including Victoria Spivey, have suggested that he may have had limited sight, and he was reputed to have been able to fire a gun with considerable accuracy.  Lemon took up the guitar in his teens and played at picnics and rent parties, or “booger roogers” as he called them, in East Texas.  He later took up in Dallas, and in the 1910s worked frequently in Deep Ellum, often playing with fellow musicians such as Huddie “Lead Belly” Ledbetter and Alger “Texas” Alexander.  In late 1925 or early ’26, a time when most of recorded blues consisted of the vaudevillian variety of women singing with a jazz band backing, Blind Lemon traveled to Chicago to record for Paramount records.  Between 1926 and 1929, Jefferson recorded around a hundred songs for Paramount, and made one additional record with Okeh.  In addition to recording, Lemon also gigged all around the southeastern United States, along the way meeting other blues musicians like King Solomon Hill, who would later record as “Blind Lemon’s Buddy”.  Blind Lemon Jefferson died under mysterious circumstances in Chicago at 10:00 AM on December 19, 1929, Paramount paid for his body to be shipped back to Texas, where he was buried in the Wortham Negro Cemetery.

Paramount 12872, featuring “Bed Springs Blues” and “Yo Yo Blues”, was recorded September 24, 1929—Lemon’s birthday—in either Chicago, Illinois, or Richmond, Indiana.  This proved to be Blind Lemon Jefferson’s final recording session.  The condition’s pretty rough on this one, but I think the music still comes through.  Now, two years after my original posting, a new Grado cartridge has facilitated a much finer quality of transfers than my originals.  Though still plagued by some groove stripping and plenty of pops and clicks, they are now much crisper and clearer, and those pesky skips have been all-but-eliminated.

First, Lemon’s “Bed Springs Blues” provides an excellent demonstration of Lemon’s unique style of playing guitar.  “Tell me why do them springs tremble so on your bed, baby!”

Bed Springs Blues, recorded September -, 1929 by Blind Lemon Jefferson.

Bed Springs Blues, recorded September 24, 1929 by Blind Lemon Jefferson.

On the flip, Lemon performs his own “Yo Yo Blues”.  A number of songs carrying the same title were recorded around the same period—most notably by Barbecue Bob—opening with “got up this morning, my yo-yo mama was gone,” but Lemon’s is a different song, instead starting with “I would go yo-yoin’, but I broke my yo-yo string.”

Yo Yo Blues, recorded September -,1929 by Blind Lemon Jefferson.

Yo Yo Blues, recorded September 24, 1929 by Blind Lemon Jefferson.

Updated with improved audio on July 28, 2017, and again on February 21, 2023.

Hit of the Week 1046 – Harlem Hot Chocolates – 1930

Please note: this article dates to Old Time Blues’ first year and does not meet the standard of quality to which more recent postings are held.  Thank you for your understanding.

To coincide with the beginning of economic downturn in 1930, a company called Durium began producing a line of one-sided laminated paper records known as “Hit of the Week”, which were sold at newsstands rather than traditional stores.  These new creations sold fairly well initially and featured some top name artists including Rudy Vallée and Morton Downey.  On this particular Hit of the Week, Duke Ellington’s Cotton Club Orchestra plays under the moniker “Harlem Hot Chocolates”

Hit of the Week 1046 was recorded sometime in March of 1930, the exact date is unknown, in New York City.  It went to the newsstands on May 15, 1930.  The all-star Ellington lineup includes Duke on piano and directing, Arthur Whetsel, Cootie Williams, and Freddie Jenkins on trumpets, Joe “Tricky Sam” Nanton, and Juan Tizol on trombones, Barney Bigard on clarinet and tenor sax, Johnny Hodges on clarinet, soprano sax, and alto sax, Harry Carney on clarinet, alto sax, and baritone sax, Fred Guy on banjo, Wellman Braud on string bass, and Sonny Greer on the drums.  Ellington’s manager, the music mogul Irving Mills sings the vocal.  This session also produced a recording of “Sing You Sinners”, and was Ellington’s sole session for Hit of the Week.

Here Ellington and the boys play a fine rendition of “St. James Infirmary”, this record’s only side.

St. James Infirmary, recorded March 1930 by the Harlem Hot Chocolates.

St. James Infirmary, recorded March 1930 by the Harlem Hot Chocolates.

Updated with improved audio on March 31, 2018.

Victor 21142 – Jimmie Rodgers – 1927

On this day, September eighth, in the year of our Lord 1897, the Father of Country Music, America’s Blue Yodeler, the great Jimmie Rodgers was born. Rodgers began recording at Victor’s legendary Bristol sessions, and became one of America’s most popular singing stars throughout the late 1920s and early 1930s, until his tragic demise from tuberculosis at the age of thirty-five.

James Charles Rodgers was born in Meridian, Mississippi or Geiger, Alabama; after his mother died when he was a child, the young Jimmie spent much of his youth with various relatives before returning to live with his father, a railroad man.  Following in his father’s footsteps, Jimmie began working as a water boy, and later a brakeman for the New Orleans and Northeastern Railroad, though his first love was entertainment.  Working on the railroad, Jimmie Rodgers learned the ways of music from the likes of gandy dancers and hobos.  After tuberculosis put his railroad work on hiatus, Rodgers turned to entertaining, and organized various groups and shows on vaudeville and radio.

In 1927, Ralph Peer headed a recording field trip for Victor records in Bristol, Tennessee, and on August 4 of that year, from 2:00 to 4:30 in the afternoon, Rodgers recorded his first sides, Sleep, Baby, Sleep and The Soldier’s Sweetheart.  After his first record’s moderate success, Jimmie Rodgers traveled north to record further sides and held his second session in Camden, New Jersey.  Achieving great success with his records over the next few years, Rodgers became one of the nations most popular artists, earning nicknames such as “America’s Blue Yodeler” and “The Singing Brakeman”, and later “The Father of Country Music.”  He was also one of the first artists to popularize country music, after Vernon Dalhart.  Ultimately, his tuberculosis caught up with him, and a mere two days after his final recording session, Jimmie Rodgers died in the Taft Hotel in New York City.

Victor 21142, from Jimmie Rodgers’ second recording session, was recorded November 30, 1927 at Victor’s Camden, New Jersey studio and issued in May of 1928.  The record was a hit, and remained in Victor’s catalog for many years, well into the 45 RPM era.

On the first side, Jimmie sings his first of thirteen “Blue Yodels”, this one simply titled “Blue Yodel” here, but also frequently known by the title “T for Texas”.

Blue Yodel, recorded November 30, 1927 by Jimmie Rodgers.

On the flip, Rodgers sings Kelly Harrell’s “Away Out on the Mountain”, which features some of his more elaborate yodeling.

Away Out On the Mountain, recorded November 30, 1927 by Jimmie Rodgers.

Updated with improved audio on November 30, 2018.

Columbia 2504-D – King Carter and his Royal Orchestra – 1931

Please note: this article dates to Old Time Blues’ first year and does not meet the standard of quality to which more recent postings are held.  Thank you for your understanding.

In today’s post, it is my pleasure to present to you what I consider to be one of the finest examples of early Depression-era jazz ever recorded.  Two quite different, but both superb pieces played by a band billed as “King Carter and his Royal Orchestra”, which was in actuality a pseudonym for the always excellent (and unfortunately oft overlooked) Mills Blue Rhythm Band.

Columbia 2504-D was recorded June 25, 1931 in New York City, and the orchestra includes Wardell Jones, Shelton Hemphill, and Ed Anderson on trumpets, Harry White and Henry Hicks on trombone, Charlie Holmes on clarinet and alto sax, Ted and Castor McCord on clarinet and tenor sax, Edgar Hayes on piano, Benny James on banjo, Hayes Alvis on string bass, and Willie Lynch on drums.  George Morton provides the vocal on “Moanin'”.

For these two sides, I found that my usual equalization hindered the crispness of the music, especially the trumpets and cymbals, so these transfers are presented straight off the record, no equalization whatsoever.  I hope you’ll find the increased crispness outweighs the slight crackle.

The first side of this disc introduces us to the sizzling hot, and also quite modernistic tune “Blue Rhythm”, a fitting title for this band, even if they’re not using their actual name.

Blue Rhythm, recorded June 25, 1931 by King Carter and his Royal Orchestra.

Blue Rhythm, recorded June 25, 1931 by King Carter and his Royal Orchestra.

Don’t let the worn label fool you, the flip side, “Moanin'”, is in just as good or better condition.  This side seems to have some kind of “wobbly” effect to it, it’s not a flaw with this particular copy, but is in fact a fault in the engineering, and is present on all pressings.  Maybe the needle on the cutting lathe was worn out when it was recorded.

For me, this side conjures up the images of sitting a smoke-filled Harlem jazz club in the years after the stock market crash, as swing begins to evolve from its primordial soup of hot jazz, taking it slow and easy as the fast paced world passes by outside the door.

Moanin', recorded June 25, 1931 by King Carter and his Royal Orchestra.

Moanin’, recorded June 25, 1931 by King Carter and his Royal Orchestra.