After ascending to stardom with hits like “Sleep Baby Sleep” and “Blue Yodel”, Jimmie Rodgers began relentlessly touring across the United States, often to his own physical detriment. In the summer of 1930, Rodgers was in Hollywood. While there he had a total of ten recording sessions between the thirtieth of June and the sixteenth of July. During that time, he recorded a total of fourteen sides, including such classics as “Moonlight and Skies”, “Pistol Packin’ Papa”, and “Blue Yodel No. 8 (Mule Skinner Blues)”, and was backed by a variety of talent including Lani McIntire’s Hawaiians and Bob Sawyer’s Jazz Band. On his final Hollywood session, Rodgers recorded only a single title, another installment in his “Blue Yodel” series titled “Standin’ On the Corner”. For accompaniment, he was joined by a young trumpeter who had just arrived in California for an engagement at Frank Sebastian’s New Cotton Club in Culver City, an up-and-coming talent named Louis Armstrong, and his wife Lil on piano. How exactly this rather unlikely collaboration came to be is lost to time; Armstrong in later years recounted that he’d “been knowin’ Jimmie for a long time,” and “Jimmie said, ‘man, I feel like singin’ some blues,’ [and Louis] said ‘okay daddy, you sing some blues, and I’m gonna blow behind you,’ and that’s the way the record started!” It certainly wasn’t the first time Rodgers had been backed by jazz players. Likely, the session was engineered by Ralph Peer, who was acquainted with Armstrong as well as Rodgers. In any event, the resulting music etched into hot wax that day became the stuff of legend, three great American styles of music—jazz, blues, and “hillbilly”—all crossed paths to make something even greater, brought together by two of the greatest figures in all of America’s rich musical legacy: Jimmie Rodgers and Louis Armstrong.
Victor 23580 was recorded in two separate sessions, the first on July 16, 1930 in Hollywood, California, and the second on June 15, 1931 in Louisville, Kentucky. Victor files report a total of 25,071 copies sold—not bad for 1931. The 78 Quarterly included the disc in their “Rarest 78s” section of the tenth issue, suggesting “less than fifteen?” Frankly, I suspect that there are quite a few more copies out there than that, but it is regardless one of Rodgers’ more sought after records due to the accompaniment. On the “A” side, Rodgers is accompanied by Louis and Lil Armstrong on trumpet and piano, respectively. On “B” he is accompanied by Cliff Carlisle on steel guitar, Wilber Ball on guitar, and his own ukulele.
On the “A” side, Jimmie sings and yodels that rough-and-tumble blues number, the ninth entry in his famous series, “Blue Yodel Number 9 (Standin’ On the Corner)”. The song bears considerable resemblance to another blues song on which Louis played four years prior: “The Bridwell Blues” by Nolan Walsh, which featured a similar piano and trumpet accompaniment and the opening lines, “I was standing on the corner, did not mean no harm… and a police came, nabbed me by my arm,” raising questions over whether Rodgers was familiar with Armstrong’s work, or, conversely, that Armstrong had an uncredited hand in composing the song. “The Bridwell Blues” itself was preceded by “Standing On the Corner Blues” by Ozie McPherson, further cementing Jimmie Rodgers’ foundation in the blues, and the “standin’ on the corner” lyric dates back at least to the 1895 Ben Harney and John Biller composition “You’ve Been a Good Old Wagon but You’ve Done Broke Down”, likely earlier.
On the reverse, Jimmie sings another dilly: “Looking for a New Mama”. This is one of only two recorded sides that have Jimmie playing ukulele (the other being “Dear Old Sunny South By the Sea” from 1928). Ralph Peer in later years opined that Rodgers’ peculiar chording techniques on the guitar were carried over from his skill on the ukulele. Jimmie also claimed proficiency on banjo and steel guitar, though he was never recorded playing either.