About R. Connor Montgomery

R.C. Montgomery is a writer and folklore collector from North Texas, and the creative force and 78 RPM phonograph record collector behind Old Time Blues. Everything found here—for better or worse—is his doing. You may read more about his eccentric proclivities on the site's "About" page.

Victor 21549 & V-40017 – “Buddy” Baker – 1928

Posted on May 17, 2019 by R. Connor Montgomery

There are fair number of artists who might have achieved the success of Jimmie Rodgers, but, for whatever reason, did not. Some, like Atlanta’s Ernest Rogers, were not musicians by profession, and only recorded a few songs on the side. Others perhaps lacked something that Rodgers had, be it talent, charisma, ambition, or maybe simply luck. Regardless of the circumstances, in the wake of the Singing Brakeman’s monumental success were a drove of excellent-yet-underappreciated artists who left behind recorded legacies ranging from one song to dozens. One such artist is “Buddy” Baker, a vaudevillian performer who made only two records for Victor in 1928, about whom there have previously existed nary any publicized biographical details, and about the same number of decent sounding recordings of his work.

Baker pictured in the 1930 Victor “Old Familiar Tunes” catalog.

Research reveals that “Buddy” was in fact Ernest H. Baker, and was born on May 17, 1902, in Escambia County, Alabama, the son of John and Rebecca Baker. In his teenage years he worked in a mill, but he pursued a career in music when he came of age. He traveled to Chicago in June of 1928 to record for the Victor Talking Machine Company, and cut six sides on the twenty-first and two more the following day. Of those eight, only four were released: “Penitentiary Blues” and “Box Car Blues” on Victor 21549, and “Matrimonial Intentions” and “Alimony Blues” on Victor V-40017. Of the four unissued sides were “I Want My Mammy”, “Nobody Knows What’s On My Mind Blues”, and “Razor Jim”. Baker returned to the Victor studio one year later in Camden, New Jersey to wax four more, including “It’s Tough on Everybody” and “The Rambling Cowboy”, but this time, none were released. His four surviving recordings depict an artist with a clever sense of diction and a penchant for simplistic scat singing, and a unique approach to a guitar method typical of his time. At the time of his recording career, he was living with his family in Mobile, Alabama, and began performing on radio station WODX around the time of its inauguration in 1930. Later, he seems to have taken up in Ohio, where he found work as a welder for Babcock and Wilcox. Probably in 1932, he married a woman named Jessie. Baker died from peritonitis, resulting from a perforated ulcer, in Barberton, Ohio, on May 24, 1937, and his body was shipped back home to Alabama to be buried in his family’s plot in Mobile’s Magnolia Cemetery. Like Jimmie Rodgers, Buddy Baker was gone from the world at only thirty-five.

Victor 21549 and V-40017 were recorded on June 21, 1928 at 952 North Michigan Avenue in Chicago, Illinois. On both, Ernest “Buddy” Baker sings and accompanies himself on guitar. 21549 purportedly sold a total of about 9,400 copies, while sales figures for V-40017 are not available.

Baker’s “Penitentiary Blues” is one of many renditions of the old folk ballad “Little Sadie”—also known as “Bad Lee Brown”—which was later adapted into the western swing repertoire as “Cocaine Blues” (not to be confused with the unrelated Luke Jordan and Dick Justice song of the 1920s). Preceding Clarence Ashley’s “Little Sadie” (which used a different melody) by more than a year, this version is likely the earliest recording of the classic folk song, though the song itself existed for at least several decades prior to first being recorded. Other early (pre-“Cocaine”) recordings of the song include “Seven Foot Dilly” John Dilleshaw’s unissued “Bad Lee Brown” for Okeh in 1929 and Riley Puckett’s “Chain Gang Blues” for Bluebird in 1934. Woody Guthrie must have had a copy of Baker’s record, because he recorded a nearly identical version under the title “Bad Lee Brown” in 1944. As “Cocaine Blues”, it was introduced in 1947 by T.J. “Red” Arnall as a member of W.A. Nichol’s Western Aces on the S & G label. It inspired contemporary covers by Roy Hogsed on both Coast and Capitol and Billy Hughes on King, and was famously revived by Johnny Cash in his 1968 Folsom Prison concert.

Penitentiary Blues, recorded June 21, 1928 by “Buddy” Baker.

On the reverse, Baker sings a real blues number, “Box Car Blues”, with some clever songwriting and a little Emmett Miller style yodeling added in for flavor.

Box Car Blues, recorded June 21, 1928 by “Buddy” Baker.

On the first side of his second (and final) record, Baker sings “Matrimonial Intentions”, showcasing more of his guitar playing. This song was covered by Jack White in the 2017 American Epic Sessions, which saw modern artists recording covers of 1920s and ’30s songs on 78 RPM with acoustic instrumentation. White put together a fine performance of it, and he’ll always have my respect for digging up such an obscure old title.

Matrimonial Intentions, recorded June 21, 1928 by Buddy Baker.

Finally, Baker concludes his brief career on records with “Alimony Blues”, bemoaning divorce with some fairly inventive guitar work. Guess those matrimonial intentions didn’t turn out too well for old Buddy, after all.

Alimony Blues, recorded June 21, 1928 by Buddy Baker.

Victor 79174 – Orquesta Típica Mexicana “Anahuac” – 1926

Posted on May 5, 2019 by R. Connor Montgomery

On the fifth of May—Cinco de Mayo—we here in the United States celebrate General Ignacio Zaragoza’s 1862 victory over the French invaders at Puebla, for some reason. I’d like to use the opportunity to dedicate a moment of time at Old Time Blues to a culture that I truly appreciate and admire—that of our neighbors south of the border, down Mexico way.

On this record, the Orquesta Típica Mexicana “Anahuac”, from Mexico City, plays two instrumental melodies of their homeland. As such, it is in typical orquesta típica style, that is to say a small orchestra, usually comparable in size and function to an American dance band, albeit with different instrumentation. Numerous típica orchestras representing various Hispanic nations made hundreds of records for Victor and other American record labels during the 1910s to 1930s. The “Anahuac” orchestra made a total of eight sides, all recorded on two consecutive days in 1926. Unlike the countless Mexican recordings made within the borders of the United States, such as the one featured here two years ago today. these were actually cut in Mexico and exported to the United States for pressing, only to be exported back to Mexico. Unfortunately, original documentation for these recordings is lost, so I can offer precious little information regarding their history.

Victor 79174—in their 70000 “export” or “ethnic” series—was recorded on December 14 and 15, 1926, in Mexico City. It was released in 1927 and remained in Victor’s catalog all the way until 1949. This particular pressing dates to around the late 1930s or early 1940s.

Firstly, the Orquesta Típica Mexicana “Anahuac” plays a rather dramatic marcha (march) composed by José Briseño, titled “Patria”, or “Native Country”.

Patria, grabado diciembre 14, 1926 by Orquesta Típica Mexicana “Anahuac”.

On the reverse, they play a melody which you may recognize, a baile mexicano (Mexican dance) titled “Jarabe Tapatío”, better known to anglophone audiences as the “Mexican Hat Dance”.

Jarabe Tapatío, grabado diciembre 14, 1926 by Orquesta Típica Mexicana “Anahuac”.

Paramount 12417 – Elzadie Robinson – 1926

Posted on April 24, 2019 by R. Connor Montgomery

Elzadie Robinson, pictured in the Paramount Book of Blues, circa 1927.

When asked to imagine “country blues,” what image springs to mind? Probably that of a lone man with an acoustic guitar busking on some southern street corner, or hiking down a lonesome dusty road. But ubiquitous as that description may seem, a woman and a piano can make for just as much of “country” blues as a man and a guitar, as proven by Elzadie Robinson on the pair of haunting, down home blues songs herein.

Elzadie Robinson is believed to have been born on the twenty-fourth of April in either 1897 or 1900, and in Logansport, Louisiana, right on the border with Texas. Little is known of her early life, or what brought her into the world of the blues. Paramount promotional material reported that she began singing professionally around the age of twelve, and was popular in Houston and Galveston area cabarets. She and her accompanist Will Ezell were discovered in 1926 by Art Laibly of Paramount Records and referred to Chicago record. From then until 1929, she sang for the label, making a total of sixteen records. Singing mostly songs of her own composition, Robinson was most often accompanied by pianists such as Will Ezell or Bob Call, sometimes joined by more musicians such as Blind Blake or Johnny Dodds. She was distinguished alongside Ma Rainey and Ida Cox as one of Paramount’s most prominent blues ladies, and as such was honored with a segment dedicated to her in their circa 1927 publication The Paramount Book of Blues. She married Perry Henderson of Flint, Michigan, in 1928, and retired from music the following year. As with her upbringing, details surrounding her later life are obscure. Many years later, Ezadie Henderson died on January 17, 1975.

William Ezell, Robinson’s most frequent accompanist, hailed from the eastern half of Texas; he was born in the town of Brenham on December 23, 1892. He got his start as an itinerant pianist in turpentine camp barrelhouses and the like deep in the Piney Woods of east Texas, the birthplace of the musical style known as boogie woogie. Traveling with Elzadie Robinson to Chicago in 1926, Ezell began recording extensively for Paramount Records in the five years that followed, both as an accompanist to singers like Robinson, Lucille Bogan, and others, and as a solo pianist and occasional vocalist, making several recordings with Blind Roosevelt Graves. Recordings such as “Pitchin’ Boogie” and “Heifer Dust” helped to define the boogie woogie genre in its early years on records. It has been reported that following the death of Blind Lemon Jefferson in the winter of 1929, Ezell accompanied the musician’s body as it was transported by train back from Chicago to Wortham, Texas. He made his final recordings in 1931, as Paramount was faltering under the burden of the Great Depression, accompanying vaudevillian vocalist Slim Tarpley. He is said to have returned south to Louisiana after the demise of Paramount Records, but soon came back to Chicago, and continued playing professionally until at least the 1940s, at which time he was reportedly employed by the WPA as a watchman. Will Ezell died in Chiago on August 2, 1963.

Paramount 12417 was recorded around October of 1926 in Chicago, Illinois. Of the two takes issued for both sides, these are “1” and “2”, respectively. It is the first record of both Robinson and Ezell.

First, Robinson and Ezell make a blues straight out of the East Texas lumber camps: “Sawmill Blues”. Robinson’s lazy vocals, seeming to hang behind Ezell’s piano playing, lend a candid, even dreamlike quality to the recording, as if we just stepped into a Piney Woods juke joint at the end of the night following a hard working day.

Sawmill Blues, recorded c. October 1926 by Elzadie Robinson.

On the reverse, Elzadie’s vocal drifts in and out on the classic “Barrel House Man”—the melody of which was later appropriated for Lucille Bogan’s “Sloppy Drunk Blues” (this one’s better though, I say)—to Ezell’s strong accompaniment, making ample use of the sustain pedal for that genuine barrelhouse sound.

Barrel House Man, recorded c. October 1926 by Elzadie Robinson.

Updated with improved audio on June 29, 2024.

Silvertone 4042 – Daddy Stove Pipe – 1924

Posted on April 12, 2019 by R. Connor Montgomery

The illustrious “Daddy Stove Pipe” (not to be confused with “Stove Pipe No. 1” or “Sweet Papa Stovepipe”) holds a number of important distinctions; he was one of the earliest male country blues performers to record, he may have been the oldest, and while definitely not the most prolific, he was surely among the longest-lived.

The man ‘neath the stove pipe, Johnny Watson, was reputedly born on April 12, 1867, in Mobile, Alabama. He’s said to have begun his musical life in Mexico around the turn of the twentieth century, playing twelve-string guitar in a mariachi band. Later, he trouped with the Rabbit’s Foot Minstrels, which produced a fair number of prominent black entertainers of the era, including “Ma” Rainey, Bessie Smith, and Butterbeans and Susie. By the 1920s, he had taken up performing on Chicago’s Maxwell Street as a one-man band, playing guitar and harmonica and singing. In the spring of 1924, Stove Pipe traveled to Richmond, Indiana, to cut a record at the Starr Piano Company’s “shack by the track” studio. There, he laid down three sides, “Sundown Blues”, “Stove Pipe Blues”, and “Tidewater Blues”, of which only the first two were released. It is evident that he hit the road after his first session, because by the time he recorded again, in 1927, he was in Birmingham, Alabama, where he waxed three more sides (of which, again, only two were issued) for Starr when they brought down their mobile recording unit. This time around, he was billed as “Sunny Jim” and was joined by an unidentified whistler known only as “Whistlin’ Pete”. In the 1930s, Stove Pipe settled down in Greenville, Mississippi with his wife Sarah, who joined him on the remainder of his pre-World War II recordings as Mississippi Sarah, singing and blowing the jug. They made their first records as a duo for Vocalion in Chicago in October of 1931, waxing eight sides, all of which were released this time. They returned to Chicago four years later for another session—which turned out to be their last—this time for Bluebird, yielding four sides, two more records. Sarah met an untimely demise in 1937, and Daddy Stove Pipe took to traveling again, playing with Cajuns in Louisiana and Texas and returning to Mexico. Eventually, he returned to Chicago’s Maxwell Street, and he became known as a fixture there. He was recorded once last time in 1960 by Björn Englund and Donald R. Hill, playing and singing songs such as “The Tennessee Waltz”, producing four tracks which were released on the Heritage label LP Blues From Maxwell Street (later reissued on a number of other labels). Watson contracted pneumonia following a gallbladder operation, and he died in Chicago on November 1, 1963.

Silvertone 4042 was recorded in Richmond, Indiana, on May 10, 1924, and originally released on Gennett 5459. It was also issued on Claxtonola 40335. Unfortunately, it is recorded rather faintly, which causes the harmonica and guitar to be somewhat drowned out by the surface noise on this worn copy, especially near the beginning of each side, though Watson’s vocals are still relatively prominent. I will defend its merits in saying that I have never yet encountered a particularly clean-playing example of these sides.

On the “A” side, Watson plays and sings the delightful “Sundown Blues”. Examination of the contemporaneous photograph depicting Daddy Stove Pipe seated next to an acoustical recording horn reveals him holding an unusual nine-string guitar, with the first, second, and third strings doubled as would be on a twelve-string guitar (as opposed to Big Joe Williams’ unique configuration), which may be the instrument played herein.

Sundown Blues, recorded May 10, 1924 by Daddy Stove Pipe.

On the reverse, Stove Pipe sings his eponymous “Stove Pipe Blues”, another arrangement of “floating” verses. “Got the Stove Pipe Blues [and] I can’t be satisfied.”

Stove Pipe Blues, recorded May 10, 1924 by Daddy Stove Pipe.

Updated with improved audio on February 21, 2023.

Bluebird B-5775 – Milton Brown and his Musical Brownies – 1934

Posted on April 4, 2019 by R. Connor Montgomery

Milton Brown, during his tenure with the Light Crust Doughboys. Circa 1931.

The fourth of April, 2019, marks a historic occasion, for on this day eighty-five year prior, Milton Brown and his Musical Brownies made their debut recordings, and they surely did so with a bang.

Milton Brown first cut a record in Dallas, Texas on February 9, 1932, while still a member of “Pappy” O’Daniel’s original Light Crust Doughboys. He left that band not long afterward, and started his own, the Musical Brownies, which would gain him considerable renown. When the Victor record company returned to Texas in April of 1934, Brown and his Brownies traveled to San Antonio for a session at the Texas Hotel. The Brownies’ musical excellence was demonstrated by their first track, “Brownie’s Stomp”, played masterfully and hotter than anything, and laid down in one take without a hitch. Thereafter, they submitted a total of seven additional sides to hot wax, including the classics “Four, Five or Six Times” and “Garbage Man Blues”. The following August, they returned to San Antone and recorded once again for RCA Victor, immortalizing a further ten performances, including blues songs like Memphis Minnie’s “Talking About You” and the Mississippi Sheiks’ “Just Sitting On Top of the World”, pop songs like “Girl of My Dreams” and “Loveless Love”, the old-time number “Get Along, Cindy”, and the waltz “Trinity Waltz”. That session concluded the Brownies engagement with the Victor company; in 1935, they made a longer journey to Chicago, to begin a longer and more fruitful contract with Decca, which lasted until 1937, holding one final session after Milton Brown’s untimely demise the previous year.

Bluebird B-5775 was recorded at the Texas Hotel in San Antonio, Texas on April 4, 1934, the first two sides from Brown’s first session with his Musical Brownies. The Musical Brownies consist of Cecil Brower on fiddle, Derwood Brown on guitar, Ocie Stockard on tenor banjo, Wanna Coffman on string bass, and “Papa” Fred Calhoun on piano. Both are instrumental numbers, so Milton sits them out aside from an occasional holler or shout.

The Brownies’ “Joe Turner Blues”—a different melody than the 1915 W.C. Handy composition, apparently attributed (though both names are misspelled on the label) to the Brownie’s fiddler Cecil Brower and Milton Brown himself—is a superbly orchestrated blues instrumental, beautifully demonstrating their musical talent. This “Joe Turner Blues” became a standard of Texas string band repertoires and was later recorded in 1937 by the Hi-Flyers and in 1940 by Adolph Hofner and his Texans.