Paramount 12252 – Ma Rainey Acc. by Her Georgia Jazz Band – 1924

Posted on April 26, 2018 by R. Connor Montgomery

Madam “Ma” Rainey, as pictured in The Paramount Book of Blues, 1927. Perhaps the most flattering portrait of Rainey.

Earning the honorific “The Mother of the Blues”, Madam “Ma” Rainey is Indisputably a legend of the blues. Her jazz-inflected vaudevillian blues served to define the genre as it was to be on records and helped to pave the way for future blues recordings by male and female artists alike.

“Ma” Rainey was born Gertrude Pridgett on April 26, 1886 (according to most sources, with September 1882 being another possibility). By her own account, she was born in Columbus, Georgia, though latter-day research implicates Russell County, Alabama as the place of her birth, though the former was her hometown in any event. She began her career in the show-business in her early teenage years, when she won a talent contest in Columbus. By the turn of the century, she was performing in southern minstrel shows. In 1904, Pridgett married William “Pa” Rainey and the two toured as part of the Rabbit’s Foot Minstrels troupe, later forming an act called Rainey and Rainey, Assassinators of the Blues. In her travels across the southern states, Rainey encountered a young Bessie Smith in Chattanooga and took her under her wing, teaching her the blues. Come December of 1923, traveled to Chicago and began recording for Paramount Records, an association which lasted through 1928 and produced nearly one hundred recordings. On records, she was accompanied at first by Lovie Austin’s Blues Serenaders, Paramount’s “house” jazz band, before beginning to front her own “Georgia Jazz Band” which at times included the likes of Louis Armstrong, Kid Ory, Buster Bailey, and Fletcher Henderson, with occasional collaborations with Blind Blake, Papa Charlie Jackson, and Tampa Red and Georgia Tom on the side. In the middle of the 1920s, she toured on the T.O.B.A. vaudeville circuit. After the onset of the Great Depression in the 1930s, Rainey retired from performing and returned home to Georgia, managing two or three theaters in Columbus and Rome. Gertrude “Ma” Rainey died in Rome, Georgia on December 22, 1939.

Paramount 12252 was recorded on October 15 and 16, 1924 in New York City. Ma Rainey’s Georgia Jazz Band is made up of members of Fletcher Henderson’s orchestra, including Howard Scott on cornet, Charlie Green on trombone, Don Redman on clarinet, Fletcher Henderson on piano, and Charlie Dixon on banjo. On the second date, Scott and Redman are replaced by Louis Armstrong and Buster Bailey on cornet and clarinet, respectively.

First up is “Jealous Hearted Blues”, a largely “floating verse” twelve-bar blues song containing lyrics like “it takes a rockin’ chair to rock, a rubber ball to roll,” later notably included in “Jim Jackson’s Kansas City Blues”. It made enough of an impact to be covered by Barbecue Bob’s brother Charley Lincoln in 1927 and was later adapted by the Carter Family as “Jealous Hearted Me” in 1936.

Jealous Hearted Blues, recorded October 15, 1924 by Ma Rainey Acc. by Her Georgia Jazz Band.

On the reverse, Ma Rainey sings a legendary performance of her immortal “See See Rider Blues”—often in later years (incorrectly) called “C. C. Rider”, here erroneously titled “See See Blues” on the label. Later pressings corrected this error.

See See [Rider] Blues, recorded October 16, 1924 by Ma Rainey Acc. by Her Georgia Jazz Band.

Updated with improved audio on July 5, 2024.

Columbia 14258-D – Sam Morgan’s Jazz Band – 1927

Posted on April 14, 2018 by R. Connor Montgomery

Of all the hundreds of bands to record jazz, there were only a relative handful that stayed home in New Orleans instead of traveling away to Chicago, Los Angeles, or New York, and were recorded playing what might be described as pure, unadulterated jazz, perhaps akin to what was played by the legendary Buddy Bolden’s band. Among the New Orleans hometown bands were those of Armand J. Piron, “Papa” Oscar Celestin, and among the finest of them all, Sam Morgan.

In spite of Morgan’s excellence in music, not much is known about his life. He was born in Bertrandville, Louisiana in the late part of the nineteenth century—most sources state 1895, others offer the date of December 18, 1887. Part of a musical family, his younger brothers Isaiah “Ike”, Al, and Andrew also turned out to be musicians. Sam, like his brother Ike and so many New Orleans greats, took up the cornet. Morgan grew up playing in the brass bands in Plaquemines Parish, and took up residence in New Orleans in the mid-1910s, where he became the director of the Magnolia Brass Band. A stroke around 1925 forced a year of convalescence, but he soon returned to music as a member of Ike’s band, the leadership of which soon became his own. With a sound characterized by a strong reed section at the forefront and a walking bass plucked out on the bullfiddle, Morgan’s band became a popular group in the Crescent City, as Morgan touted in his verse of the eponymous song: “ev’rybody’s talkin’ ’bout Sammy, ’cause Morgan’s got the best go here” (or something to that effect, he’s rather hard to understand). Their repertoire consisted of both hot jazz tunes like “Mobile Stomp” and “Bogalousa Strut” (both of which incidentally drew their names from nearby towns) and traditional hymns and negro spirituals like “Over in the Glory Land” and “Down By the Riverside”. On the side, Morgan ran some kind of a treasure-hunting service. When the Columbia Phonograph Company made a field trip to New Orleans in April of 1927, Sam Morgan’s Jazz Band cut four sides at Werlein’s Music Store, followed by another four that October. Morgan continued to lead his band until 1932, when he suffered a second stroke that put him out of music permanently. Following several years of ill health, Sam Morgan died on February 25, 1936.

Columbia 14258-D—in the “race” series—was recorded on April 14, 1927 at Werlein’s Music Store on Canal Street in New Orleans. The band consists of Sam Morgan and Isaiah “Ike” Morgan on cornets, Big Jim Robinson on trombone, Earl Fouche on alto sax, Andrew Morgan on clarinet and tenor sax, Tink Baptiste on piano, Johnny Davis on banjo, Sidney Brown on string bass, and Nolan Williams on drums.

On the first side—also the first recorded at Morgan’s first session—is “Steppin’ On the Gas”, a different piece than the 1925 tune of the same name that Jimmie O’Bryant recorded for Paramount.

Steppin’ On the Gas, recorded April 14, 1927 by Sam Morgan’s Jazz Band.

On the reverse, they play another hot Sam Morgan composition: “Mobile Stomp”.

Mobile Stomp, recorded April 14, 1927 by Sam Morgan’s Jazz Band.

Updated with improved audio on June 9, 2025.

Okeh 41571 – Chick Webb and his Orchestra – 1934

Posted on February 10, 2018 by R. Connor Montgomery

February 10th marks the anniversary of the birth of one of several men who may well have been the father of swing music—the incomparable Chick Webb.

Chick was born William Henry Webb in Baltimore, Maryland. The year of his birth has been disputed, with 1902, 1905, 1907, and 1909 all suggested, though ’05 is the most likely candidate. As a child, tuberculosis of the spine stunted his growth and led to his hunchbacked appearance. His doctor suggested the young Webb take up the drums to help alleviate his condition, so he worked as a newsboy to save up enough money for a kit. By the mid-1920s, he was leading a band in Harlem. After one unissued side for Vocalion in ’27, Webb cut his first record for Brunswick in 1928, issued under the pseudonym “The Jungle Band” (a name usually reserved for Duke Ellington’s recordings on that label). These two Brunswick sides, titled “Dog Bottom” and “Jungle Mama” were stomping hot jazz. In 1931, Webb’s orchestra became the house band of the famed Savoy Ballroom in Harlem, Following a ’31 date with Vocalion, Webb signed with Columbia, waxing thirteen sides in 1933 and ’34, four of which appeared on their subsidiary Okeh label. Two months after completing his final Okeh recordings in July of 1934, Webb signed with Decca, which would last him the remainder of his career. Not too long after beginning his contract with Decca, Webb brought on a new girl singer by the name of Ella Fitzgerald. In a number of “battles of the bands” at the Savoy, Webb and his orchestra bested the likes of Benny Goodman and Count Basie, though he once lost to Duke Ellington’s band. By the end of the 1930s, however, Webb’s condition was catching up to him. Following an operation at Johns Hopkins Hospital, Chick Webb died on June 16, 1939 in his hometown of Baltimore.

Okeh 41571 was recorded on July 6, 1934 in New York City by Chick Webb and his Orchestra. Purportedly, matrices W 152770 and W 152772 were the last masters recorded by the Columbia Phonograph Company before its absorption into the American Record Corporation. Webb’s Orchestra is made up of Mario Bauza, Bobby Stark, and Taft Jordan on trumpets, Sandy Williams and Fernando Arbello on trombones, Pete Clark and Edgar Sampson an alto saxes, Elmer Williams and Wayman Carver on tenor saxes, Joe Steele on piano, John Trueheart on banjo and guitar, John Kirby on string bass, and of course Chick Webb on drums.

First up, baritone Charles Linton delivers a wonderful vocal on Webb’s all-around magnificent rendition of the 1932 “Fats” Waller, Don Redman, and Andy Razaf standard “If it Ain’t Love”.

If it Ain’t Love, recorded July 6, 1934 by Chick Webb and his Orchestra.

Next, trumpet man Taft Jordan performs a Satchmo style vocal on “True”.

True, recorded July 6, 1934 by Chick Webb and his Orchestra.

Decca 7815 – Peetie Wheatstraw (The Devil’s Son-in-Law) – 1940

Posted on December 21, 2017 by R. Connor Montgomery

Though he wasn’t the most talented instrumentalist, nor the most able vocalist, the popular blues musician Peetie Wheatstraw—the Devil’s Son-in-Law, the High Sheriff from Hell—achieved great success in his time, and made a considerable impact on fellow musicians for years to come.

Contrary to the events presented in the 1977 film Petey Wheatstraw, Peetie Wheatstraw was not born as a walking, talking child. Rather, he was born as William Bunch on December 21, 1902, likely in Ripley, Tennessee or Cotton Plant, Arkansas. He learned to play the piano and guitar and in 1929 took up residence in East St. Louis, assuming the moniker “Peetie Wheatstraw, the Devil’s Son-in-Law”. Some have suggested the “Peetie Wheatstraw” name traces its roots back to early Afro-American folklore, yet others suggest that Bunch himself was the originator. Brought to the studio by bluesman and talent scout Charley Jordan, Wheatstraw made his first record for Vocalion in 1930—”Tennessee Peaches Blues”, assisted by an unidentified fellow by the name of “Neckbones” (possibly J.D. “Jelly Jaw” Short)—and he continued to record for them until 1936, with a handful of recordings made for Victor in 1931 on the side. While still featured on Vocalion, Wheatstraw began recording for Decca in 1934, soon switching to that label exclusively. Peetie Wheatstraw died in a car accident on his thirty-ninth birthday—he was sitting in the back seat of a Buick driven by a friend, when it struck a standing freight train, killing all passengers—less than one full month after recorded the prophetic seeming “Bring Me Flowers While I’m Living”.

With an idiosyncratic and formulaic style of singing and playing piano, Peetie Wheatstraw maintained a position as one of the top-selling and most prolific blues artists throughout the decade of the 1930s, alongside Blind Boy Fuller, Big Bill, and Bumble Bee Slim. Influences of Wheatstraw’s signature piano style, mumbled vocals, and “hoo-well-well” holler could be heard in the music of many less successful blues artists across the land, such as Alabama’s Peanut, the Kidnapper (whose stage name is one of the few to rival “Peetie Wheatstraw”). A testament to his success, fellow blues musician Robert Nighthawk was billed by Decca for a time as “Peetie’s Boy”. Even noted Texas bluesman Andrew “Smokey” Hogg started out veritably copying Wheatstraw’s vocals and guitar playing, and was known as “Little Peetie Wheatstraw”.

Decca 7815 was recorded on April 4, 1940 and August 28, 1940 in New York City. Peetie Wheatstraw is accompanied by Jonah Jones on trumpet, possibly Lil Armstrong on piano, and Big Sid Catlett on drums.

First up, Peetie Wheatstraw sings one of his more famous recordings, the swing infused “Gangster’s Blues”. The noted accompanists account for the reason why these two songs don’t sound just like most every other song Wheatstraw recorded.

Gangster’s Blues, recorded April 4, 1940 by Peetie Wheatstraw (The Devil’s Son-in-Law).

Next, Wheatstraw sings “Look Out for Yourself”, one of countless blues songs echoing the melody of “Sitting On Top of the World”.

Look Out for Yourself, recorded August 28, 1940 by Peetie Wheatstraw (The Devil’s Son-in-Law).

Columbia 2586-D – Fletcher Henderson and his Orchestra – 1931

Posted on December 18, 2017 by R. Connor Montgomery

So the time again come again to pay tribute to one of the forefathers of swing music and leader of one of the finest jazz orchestras of the 1920s and ’30s, the incomparable Fletcher Henderson.

Fletcher Hamilton Henderson, Jr., was born on December 18, 1897 into a middle class family in Cuthbert, Georgia in a home built by his father. Like so many, Fletcher learned to play piano as a boy, along with his brother Horace, who also went on to become a noted jazz musician and bandleader. Henderson graduated from Atlanta University in 1920 with a bachelor’s in chemistry and mathematics, and thereafter moved to New York City with intention to attend Columbia University. He got sidetracked soon after arriving however, and instead made his entry into the world of Harlem’s jazz music; while lodging with a riverboat musician, Fletcher filled in for him from time to time. He soon began working as a song plugger for W.C. Handy, which led his getting his big break in 1921. When publisher Harry Pace broke with Handy to form Black Swan Records, he made Henderson the musical director for the fledgling “race” label. At Black Swan, Henderson led his first orchestra, and he continued to lead after the company folded in 1923. Henderson began to record prolifically on most every record label in existence, both as a bandleader and as an accompanist to early blues singers. In its heyday, his band often included jazz luminaries such as Don Redman, Coleman Hawkins, and, for a stretch in 1924 and ’25, Louis Armstrong. A car accident in August of 1928 left Henderson with a few broken bones, and by some accounts a depression that caused his work to decline in quality. Nonetheless, his orchestra continued to perform and record for another decade. In 1931, his became the house band of Connie’s Inn, a prominent Harlem nightclub comparable to the famed Cotton Club. As the swing era began to swing later in that decade, rising star Benny Goodman began purchasing arrangements from Henderson for his own orchestra to play; Goodman’s legendary rendition of Jelly Roll Morton’s “King Porter” is practically a recreation of Henderson’s recordings of the same from 1928, ’32, and ’33. He continued to lead his own band as well until 1939, at which point he disbanded his group to join Goodman’s as a staff arranger, but re-formed an orchestra and recorded sporadically throughout the 1940s. A stroke in 1950 left Henderson partially paralyzed, and he retired from music. Fletcher Henderson died two years later on December 29, 1950.

Columbia 2586-D was recorded on December 2, 1931 in New York City. The orchestra consists of Russell Smith, Rex Stewart, and Bobby Stark on trumpets, Jimmy Harrison and Claude Jones on trombone, Benny Carter on clarinet and alto sax, Harvey Boone on alto sax, Coleman Hawkins on tenor sax, Fletcher Henderson on piano, Clarence Holiday (that’s Billie’s father) on banjo and guitar, John Kirby on string bass and tuba, and Walter Johnson on drums.

First up, Henderson’s orchestra plays what is in a constant struggle with “Copenhagen” for the title of my favorite of their tunes, Smack’s jazzed up fox trot arrangement of the old Paul Dresser waltz “My Gal Sal”.