The orchestra preserved on this record appears to be something of an enigma. Once in a blue moon—in only the most dedicated of record collecting and researching circles—the question arises: ” Who is Abe McDow?” Alas, no definitive answers have ever been uncovered, and even the most dedicated of researchers have been unable to crack the case.
Whatever their story, Abe McDow and his Band Southern cut five recordings—”I Idolize My Baby’s Eyes”, “Shine On Harvest Moon”, “Minnie the Moocher”, “I Apologize”, and “(With You On My Mind I Find) I Can’t Write the Words”—for the New York Recording Laboratories (manufacturers of Paramount records) in Grafton, Wisconsin, in 1931, near the last days of the company’s existence. Presumably, they were a territory dance band, likely touring in the Midwest, as did many of their contemporaries that recorded for Paramount. Though called the “Band Southern”, it is possible, perhaps even probable, that they did not hail from below the Mason-Dixon Line, but rather adopted the sobriquet to evoke certain images of Dixieland that were so popular at the time—much in the fashion of Henny Hendrickson’s so-called Louisville Serenaders. Paramount scholar Alex van der Tuuk has tentatively proposed that the orchestra may have hailed from Iowa. It is also possible that “Abe McDow” was actually “McDowell”—as is reportedly credited on the label of Broadway 1483—and his name was either misprinted or shortened by the people at Paramount (whose competence in record-making was often rather questionable), though research on that name, too, has returned little information.
Broadway 1482 was recorded in November of 1931 in Grafton, Wisconsin. Regrettably, the personnel of the band is entirely unidentified, aside from vocalists Roy Larsen and Bob Lilley, who presumably make up two-thirds of the trio singing on the “A” side.
First, the Band Southern plays a downright marvelous rendition of that evergreen 1908 vaudeville classic “Shine On Harvest Moon”, one of my personal favorite versions of the ubiquitous melody.
Shine On Harvest Moon, recorded November 1931 by Abe McDow and his Band Southern.
Next, they play a colorful version of Cab Calloway’s big hit, “Minnie the Moocher” (with his name misspelled on the label), using an arrangement remarkably similar to the one played by King Carter and his Royal Orchestra, so I would presume it’s more-or-less a stock arrangement. It’s a tough call, but I might actually like this one better than Cab’s—it certainly stays true to the song’s lowdown roots. (“Well it must have been of ‘plat-in-um.’ ‘Cause it says it was of ‘plat-in-um.’ So it must have been of ‘plat-in-um.'”)
Minnie the Moocher, recorded November 1931 by Abe McDow and his Band Southern.
Blind Blake was one of the most prolific male blues artists of the 1920s, and one of the most skilled guitarists of all time, yet today details about his life and times are even scarcer than his records. He turned up in Chicago, recorded one-hundred-and-twenty-some-odd sides, both solo and as an accompanist, then disappeared from sight of the prying eyes of history. Even among his contemporaries, Blind Blake seemed to be something of an enigma, though they universally hailed his musical abilities. With all the mystery surrounding Blake, all that is certainly clear is that his virtuosity was second-to-none.
Blind Blake, as pictured in The Paramount Book of Blues, 1927. A cropped version of the only known photograph of him.
Arthur Blake, misidentified by some sources—including Blind Willie McTell—as Arthur Phelps, was born, reportedly, in 1896. Paramount’s 1927 Book of Blues stated that he hailed from “Jacksonville, in sunny Florida,” but his death certificate placed his birth in Newport News, Virginia. Either way, it is probable that Florida served as his home for a large portion of his life. Whether or not he was born blind is also the subject of speculation; the aforementioned Book of Blues suggested as much, but some have proposed that he was born sighted, but or developed his condition later in life (perhaps as a result of some bad bootleg). Purportedly on the recommendation of a Florida record dealer, Blake traveled to Chicago and made his recording debut for Paramount Records in July of 1926, accompanying singer Leola B. Wilson, and cut his first solo record a month later: “Early Morning Blues” and “West Coast Blues” appearing on Paramount 12387. He was noted for his ability to play a guitar like a piano, capable of producing intricate fingerpicked ragtime melodies with a Charleston rhythm—exemplified in such pieces as his tour de force “Blind Arthur’s Breakdown” (Paramount 12892)—and indeed he was also a skilled pianist, though he only demonstrated that ability on one recording: “Let Your Love Come Down”, accompanying Bertha Henderson. Alongside Blind Lemon Jefferson and Papa Charlie Jackson, Blake became one of the most successful male blues artists on Paramount’s roster, and he collaborated periodically with other artists such as Gus Cannon on titles like “Poor Boy, Long Ways from Home” and “My Money Never Runs Out” (Paramount 12588 and 12604), Charlie Spand on the stomping boogie-woogie “Hastings St.” (Paramount 12863), Charlie Jackson on “Papa Charlie and Blind Blake Talk About It” (Paramount 12911), and jazz clarinetist Johnny Dodds on several sides including “C.C. Pill Blues” (Paramount 12634). Blake concluded his recording career with “Champagne Charlie is My Name” and “Depression’s Gone from Me Blues”, the latter set to the popular melody of “Sitting On Top of the World”, recorded in Grafton, Wisconsin around June of 1932 and released on Paramount 13137. To add further mystery, there is question as to whether the performer of “Champagne Charlie is My Name” actually is Blake at all, or some unknown artist masquerading under his name (personally, I’m under the impression that it probably is Blake, though it is below his usual quality; maybe he was hitting the bottle that day). Not long after that last session, Paramount Records folded, and Blake never recorded again. He remained in Wisconsin in the 1930s, living in Brewer’s Hill in Milwaukee with his wife Beatrice, though he was unable to find work during the hard times of the Great Depression. Blake fell ill with pneumonia in 1933 and died from complications of tuberculosis on December 1, 1934.
Blind Blake’s virtuoso ragtime guitar playing served as a major influence on subsequent generations of blues guitarists, particularly on the style of blues playing that has since come to be associated with the Piedmont, and he exerted a direct influence on more than a few prominent musicians hailing from that region, including Blind Boy Fuller, Josh White, and Buddy Moss, as well as—directly and indirectly—on countless other musicians from around the United States, and even abroad, in the decades since. Renowned guitarist Rev. Blind Gary Davis drew considerable inspiration from Blake, and once mused that he “ain’t never heard anybody on a record yet beat Blind Blake on guitar. [He liked] Blake because he plays right sporty.” In later years, Gus Cannon later recalled that Blake “could see more with his blind eyes than [Cannon] with [his] two good ones.” Georgia Tom Dorsey remembered Blake as “a good worker and a nice fellow to get along with.” Race records executive J. Mayo Williams stated that Blake “liked to get drunk and fight.”
Paramount 12565 was recorded in Chicago, Illinois, in November and October of 1927, respectively. It also appeared on Broadway 5053 under the pseudonym “Blind George Martin”. On side “A”, Blake is accompanied on banjo by Gus Cannon, who was recording for Paramount at the time as “Banjo Joe”, and in fact it is Cannon’s first recording. Alas, the record is afflicted by a condition endemic to these Paramounts; though not in particularly poor condition and the music is mostly clear and undistorted, poor pressing quality and decades of less-than-optimal storage have resulted in a high level of surface noise behind the music. To make things worse, both sides were recorded at a rather low volume. As such, both sides are most assuredly audible (and even enjoyable to my desensitized ears), but I apologize for not being able to offer better quality sound.
First, Blake sings the medicine show favorite “He’s in the Jail House Now”, later popularized by Jimmie Rodgers’ two landmark recordings, though I would consider Blake’s version here to be the definitive. Other notable versions of the vaudeville staple were recorded by Whistler’s Jug Band in 1924, Earl McDonald’s Louisville Jug Band in 1927, Jim Jackson in 1928, Boyd Senter’s Senterpedes in 1929, the Memphis Jug Band and Bill Bruner, the latter of which drew both on Rodgers and Blake’s versions, in 1930, Eliot Everett’s Orchestra in 1932, and Billy Mitchell in 1936, not counting outright copies of Rodgers’ rendition by the likes of Gene Autry and Frankie Marvin, and the song remains popular on the roots music scene today, with performances by such artists as Dom Flemons and Pokey LaFarge.
He’s in the Jail House Now, recorded c. November 1927 by Blind Blake.
On the reverse, another of Blake’s best, he shows off his guitar-playing prowess on “Southern Rag”, punctuated by spoken interjections in Geechee dialect. “Now we goin’ on an old Southern r… rag!”
Southern Rag, recorded c. October 1927 by Blind Blake.
Papa Charlie Jackson, as he appeared in the Paramount Book of Blues, circa 1927.
The time has come to pay tribute to one of the greatest and most prolific “songster” musicians to record, as well as one of my own personal favorites: the incomparable Papa Charlie Jackson.
“Papa” Charlie Jackson was born in New Orleans, purportedly on November 10, 1887 and by the name William Henry Jackson. The Paramount Book of Blues described his character as “witty—cheerful—kind hearted,” and armed with a commanding voice and banjo-playing skills to match, he started out playing in tent shows and vaudeville, eventually winding up in Chicago. Rather than the more common guitar or five-string banjo, Jackson opted for the somewhat unconventional six-string banjo-guitar, though he occasionally switched to a standard acoustic guitar. In Chicago, Jackson performed at various local establishments and busked on Maxwell Street. Signed to Paramount Records in the summer of 1924, Jackson became the first male blues artist on the label’s roster—as well as one of the earliest male blues artists to record for anybody—and quickly one of its most successful regardless of sex. In addition to his solo records, Jackson recorded in duet with Ida Cox, Ma Rainey, Blind Blake, and Hattie McDaniel on separate occasions, and provided banjo and vocals for jazz bands such as Freddie Keppard’s Jazz Cardinals and Tiny Parham’s “Forty” Five. A few of his songs, notably “Shake that Thing” and “Salty Dog”, achieved huge success. From 1924 until 1930, Jackson recorded around seventy hokum, blues, and folk songs for Paramount, not counting those where he was an accompanist or instrumentalist. Well into the Great Depression and after four years of recording silence, Jackson concluded his recording career with two sessions for Okeh in 1934 yielding two records, followed by one unconfirmed 1935 session for Bluebird backing Big Bill Broonzy. Falling thereafter into a period of total obscurity, Charlie Jackson died in Chicago on May 7, 1938.
Paramount 12296 was recorded around August of 1925 in Chicago, Illinois by Charlie Jackson, singing with accompaniment by his own banjo-guitar.
First up, Papa Charlie sings a little hokum on the classic “Mama Don’t Allow It (And She Ain’t Gonna Have it Here)”, a variant of the timeless “Mama Don’t Allow”, usually attributed to Cow Cow Davenport. Here the composer is credited as William Henry Jackson.
Mama Don’t Allow It (And She Ain’t Gonna Have it Here), recorded c. August 1925 by Charlie Jackson.
Next, Jackson sings his own “Take Me Back Blues”, one of his many compositions. Evidently a popular number, he later followed this tune up with “Take Me Back Blues No. 2” in 1929, issued on Paramount 12797, that time on an ordinary acoustic guitar and with considerably less energy.
Take Me Back Blues, recorded c. August 1925 by Charlie Jackson.
Rex Kelley, a.k.a. Buck Nation, pictured on the cover of Songs Sung by Oklahoma Buck Nation and Tex Ann, circa 1935.
It’s time now to pay a visit to the Great Depression days of guitar strumming cowboy singers in ten-gallon hats and Mexican radio stations blasting their music thousands of miles past the border into United States, free from the auspices of the Federal Radio Commission. Many of those countless, fairly small time folk singers made their fame on the radio and were never recorded for posterity, and of those who were, many only recorded sparsely. Falling into the latter category is the performer who appears on the record presented herein: the one relatively prolific but now long forgotten Buck Nation.
Buck was born Rex Frederick Kelley on September 12, 1910 in the American badlands: Burke, South Dakota, a settlement of about three-hundred situated in-between the Missouri River and the Rosebud Indian Reservation. Dropping the “e” from his last name, Kelly went to traveled to Grafton, Wisconsin early in 1932 to make his debut recordings for the faltering Paramount Records, resulting in six sides. Adopting the stage name “Buck Nation”, he returned to the studio three years later, this time for Decca, resulting in twenty-two recordings made in January and February of 1935, some solo and others in duet with fellow singing cowboy Ray Whitley, plus several more playing guitar behind Tex Ritter. Likely around the same time, he and his wife Louise—who performed with him as “Tex Ann”, and later divorced him and married Merle Travis—published a collection of songs titled Songs Sung by Oklahoma Buck Nation and Tex Ann, which included many of the songs he recorded. Sometime in the 1930s or ’40s, he was one of the numerous cowboy singers to appear on “border blaster” radio, on XEPN in Piedras Negras, Coahuila. He recorded another ten sides for Bluebird in 1940 and ’41 with Ed and Lloyd West as a member of a Sons of the Pioneers style vocal group and string ensemble called the Airport Boys, which predicted the styles of folksinging groups of the 1950s such as the Kingston Trio. During World War II, Kelley served as a corporal in the United States Army. After the war’s end, he recorded once again as a member of the the Six Westernaires with Porky Freeman and Slim Duncan, appearing on the Black and White label in 1946. Rex Kelley reportedly suffered from a drinking problem, and he died on January 11, 1965.
Broadway 8323 was recorded in January or February of 1932 at the New York Recording Laboratories’ studio in Grafton, Wisconsin by Rex Kelly, accompanying himself on guitar. It was the fifteenth to last record issued in Broadway’s 8000 “hillbilly” series, and operations at the NYRL ceased around six months later. Being from 1932 and a Paramount product to boot, it can’t have sold too many copies
On the “A” side, Kelly sings an amiable rendition of a traditional cowboy ballad which you may recognize as the familiar “Streets of Laredo”, under the title that it was given by its purported writer Frank H. Maynard: “Cowboy’s Lament”. The ballad evolved from the British folk song “The Unfortunate Rake”, the same source that gave way to the famous “St. James Infirmary”, with which it has a degree of lyrical similarity.
Cowboy’s Lament, recorded January/February 1932 by Bud Kelly.
On the “B” side, he sings “Broncho [sic] Mustang”, a song that bears more than a little topical resemblance to its contemporary “Strawberry Roan”, which Kelly recorded previously at the same session. His style of delivery leads me to believe Mr. Kelly drew considerable inspiration from Frank Crumit (coupled with the fact that he also recorded Crumit’s “Down By the Railroad Tracks”).
Broncho Mustang, recorded January/February 1932 by Bud Kelly.
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.
