Oriole 8122 – Bessie Jackson – 1930

Posted on April 1, 2016 by R. Connor Montgomery

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.

Hailing from Birmingham, Alabama was the blues singer Lucille Anderson, better known by her married name Lucille Bogan, or her commonly used pseudonym, Bessie Jackson. Born on April Fools’ Day of 1897 in Amory, Mississippi, Bogan is sometimes considered among the “big three” of blues singing, along with Ma Rainey and Bessie Smith (though I would argue that Lizzie Miles deserves a position among them). She was known for her unadulterated singing with lyrics ranging from raunchy to downright filthy, often much more so than those of her contemporaries. This record contains some of her tamer material, but there’s one record floating around out there with lyrics that would put some of the present day’s songs to shame for their “explicit content”. However, this is a family website, so I’m not going to go into detail on that one. Bogan died of coronary sclerosis in 1948.

Oriole 8122, issued in their “race records” series, was recorded in Chicago sometime in March of 1930. It features Lucille Bogan under her typical pseudonym Bessie Jackson, accompanied by boogie woogie piano player Charles Avery. This record was originally issued as Brunswick 7210, this issue likely dates to 1931.

First up, Bogan sings on the boogie woogie piece “Alley Boogie”, probably one of the earliest instances of a song title using the term “boogie”, following “Pine Top’s Boogie Woogie”.

Alley Boogie, recorded March 1930 by Bessie Jackson.

Labeled here as the “B” side, but generally and more properly serving as the “A” side on most issues of this pair is the quintessential “Sloppy Drunk Blues”, one of Bogan’s signature numbers.

Sloppy Drunk Blues, recorded March 1930 by Bessie Jackson.

Okeh 8571 – Troy Floyd and his Plaza Hotel Orchestra – 1928

Posted on March 18, 2016 by R. Connor Montgomery

The Lone Star State in the 1920s was home to a host of fantastic territory jazz bands, such as those of Alphonso Trent, Eddie Fennell and Sugar Lou Morgan, Fred Gardner, Jimmie Joy, and Le Roy Williams. One of the most outstanding of these territory bands, both in musical virtuosity and history, was that of Troy Floyd. Floyd’s eleven piece orchestra played at the Plaza Hotel in San Antonio, and gigged on-the-side at the Shadowland, a notorious speakeasy and one of the most successful jazz clubs in Texas.

Troy Floyd was born around San Antonio, Texas on January 5, 1901, and learned to play the saxophone and clarinet. He organized his first group, a sextet, in 1924. The group expanded over time, and by 1928, Floyd’s orchestra was playing at the Plaza Hotel and broadcasting on KTSA. Floyd’s band made two released records, both featuring one song broken up into two parts, plus an unissued recording of “Wabash Blues” on two of Okeh Records’ field trips to San Antonio. Floyd’s band holds special significance in Texas’ musical legacy, for, in addition to its own merit, it helped to launch the careers of at least two musicians of note; in the 1930s, New Orleans born trumpeter Don Albert started his own Texas-based swing band, and banjoist J.H. Bragg founded a jazz group of his own, both of which made several records with Vocalion in the 1930s. Troy Floyd disbanded his orchestra in 1932, and later worked as a pool hall operator in San Diego, California, where he died on July 16, 1953.

Okeh 8571, part of their legendary race series, was recorded March 14, 1928 in San Antonio, Texas. The personnel features future band leader and trumpet virtuoso Don Albert and Willie Long on trumpets, Benny Long providing unique solos on trombone, Troy Floyd and N.J. “Siki” Collins on clarinet and alto sax, Scott Bagby on clarinet and tenor sax, John Henry Bragg on banjo, Allen Vann on piano, Charlie Dixon (a different one from Fletcher Henderson’s banjoist) on trombone and tuba, John Humphries on drums, and the bellowing Kellough Jefferson singing the vocal refrain.

The title of “Shadowland Blues” refers to the San Antonio speakeasy of the same name, though the lyrics, sung by Kellough Jefferson, make no reference to the club. This amazing territory band recording is characterized by what has been called the “gut bucket” trombone playing of Benny Long, which some have said mars the performance, but I disagree, I think it gives it a unique and rural character, as opposed to homogenized classically-trained, Whiteman-esque jazz.

A two-parter, they play “Shadowland Blues (Part 1)” on the first side…

Shadowland Blues (Part 1), recorded March 14, 1928 by Troy Floyd and his Plaza Hotel Orchestra.

…and “Shadowland Blues (Part 2)” on the back.

Shadowland Blues (Part 2), recorded March 14, 1928 by Troy Floyd and his Plaza Hotel Orchestra.

Updated with improved audio on July 9, 2017, and again on June 11, 2024.

Columbia 13001-D – Bessie Smith – 1923

Posted on March 6, 2016 by R. Connor Montgomery

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.

I often notice that there’s no balance between the jazz and the and the blues (and country) that’s posted here, unfortunately the category for blues tunes on this site is terribly barren and bereft. What better way to remedy that than with the aid of the Empress of the Blues herself, Madam Bessie Smith. Here Bessie sings two fine songs on one of Columbia’s first issues in their series dedicated to “race records”, pressed with their beautiful “flags” label design.

Columbia 13001-D was recorded September 26 and October 10, 1923 in New York City and was the second issue in Columbia’s first Race series which ran only from 13000-D to 13007-D in 1923 and was soon abandoned in favor of their more successful 14000-D series. These sides are two of Bessie’s earlier sides, her twenty-fifth and thirtieth to be precise, and her first in Columbia’s specifically designated “race” series.

First, Bessie moans her way through Sid Laney’s “Cemetery Blues”, backed by Jimmy Jones on piano, and recorded on the September 26 date. This song was later adapted to the western swing style in 1928 by the Paradise Joy Boys of Dallas, Texas. Sid Laney was apparently a pseudonym used by prolific piano roll player J. Lawrence Cook. Does that mean this piece was written by Cook, or was there a real Laney?

Cemetery Blues, recorded September 26, 1923 by Bessie Smith.

On the flip, Bessie sings Lovie Austin’s “Any Woman’s Blues”, accompanied on piano by the great Fletcher Henderson, recorded on the October 10 date.

Any Woman’s Blues, recorded October 10, 1923 by Bessie Smith.

Black Swan 2005 – Lulu Whidby – 1921

Posted on February 16, 2016 by R. Connor Montgomery

In honor of Black History Month, I present to you a Black Swan phonograph record, from the first line “race records” made by and for African American people, featuring the early sounds of vaudevillian female blues, with an early appearance by Fletcher Henderson’s Orchestra.

The story of Black Swan began during the Harlem Renaissance in 1920, when few black entertainers were afforded opportunities to record for any of the major record labels. A man by the name of Harry Herbert Pace, previously a business partner of W.C. Handy, founded the Pace Phonograph Corporation in New York, and began to produce phonographs and records. Pace also brought in a young song plugger from Handy’s company to serve as recording director and leader of the house orchestra, Fletcher Henderson. Early on, Pace had difficulty finding a company that would agree to press records from the masters he recorded. Eventually, Pace was able to contract his record pressing to the Wisconsin Chair Company of Port Washington, Wisconsin, makers of Paramount records. From 1921 to 1923, Black Swan offered records recorded by black entertainers and intended for black audiences. Some of the top artists on Black Swan included Alberta Hunter, Ethel Waters, and W.C. Handy’s Band. Unfortunately, the company folded at the end of 1923, and all of their assets were purchased by Paramount Records, who began their 12000 legendary race records series shortly thereafter, reissuing many recordings from Black Swan on some of the earliest releases.

Black Swan 2005 was recorded circa April 1921 in New York City by Lulu Whidby with Henderson’s Novelty Orchestra. It was later reissued on Paramount 12127, and also appeared on Claxtonola 40055. The early Fletcher Henderson band includes Chink Johnson or George Brashear on trombone, Edgar Campbell on clarinet, probably Cordy Williams on violin, Fletcher Henderson on piano, and possibly John Mitchell or Sam Speed on banjo; the trumpet and tuba players are unknown. It has been suggested that Garvin Bushell played clarinet at this session, but he did not recall participating. These are takes “2” and “1”, respectively, of two issued takes for each side.

It has been suggested that the standard 78.26 RPM is too fast for this record, and I can agree to that. If anyone has a suggestion as to what the correct speed may be, I’ll add new transfers with it corrected.

First, Lulu Whidby sings the classic Harry Creamer and Turner Layton song, “Strut Miss Lizzie”.

Strut Miss Lizzie, recorded circa April 1921 by Lulu Whidby.

On the reverse, Whidby sings Irving Berlin’s “Home Again Blues”. Henderson’s orchestra really shines on this one.

Home Again Blues, recorded circa April 1921 by Lulu Whidby.

Okeh 8557 – Lonnie Johnson – 1928

Posted on February 8, 2016 by R. Connor Montgomery

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.

On this fine day we celebrate a man whom I consider to be one of the finest jazz and blues guitarists of all time, Mr. Lonnie Johnson, who was born on this day in 1899. Here are two great guitar blues songs from earlier in his career.

Alonzo “Lonnie” Johnson was born February 8, 1899 in cradle of jazz, New Orleans, Louisiana into a family of musicians. After touring Europe in 1917, Lonnie returned home to find his family dead from a flu epidemic, except for his brother, James “Steady Roll” Johnson. Leaving New Orleans, Lonnie and his brother settled in St. Louis some years after, and performed as a duo. In 1925, Lonnie Johnson signed a contract to record with Okeh Records, with whom he stayed until the 1930s. Working both as an solo artist, accompanist, and sometimes band member, he went on to have a long career in music, continuing to perform until near his death in 1970.

Okeh 8557 was recorded November 9, 1927 in New York by Lonnie Johnson, accompanied by his own guitar. Both songs are Johnson’s own compositions.

First we hear Johnson sing a tale of the high seas on “Life Saver Blues”.

Life Saver Blues, recorded November 9, 1927 by Lonnie Johnson.

Next, Lonnie sings of being intimidated by firearm wielding ghosts in “Blue Ghost Blues”. Lonnie Johnson later re-recorded this song for Decca in March of 1938.

Blue Ghost Blues, recorded November 9, 1927 by Lonnie Johnson.

Updated with improved audio on April 27, 2018.