Okeh 8794 – Little Hat Jones – 1929

Posted on October 5, 2018 by R. Connor Montgomery

Decades before the latter day country music hero, the state of Texas produced another music maker called George Jones: an outstanding early blues guitarist and singer who went by the name “Little Hat”.

One of about three known photographs of Little Hat Jones. Published in The Naples Monitor, November 22, 1962. Courtesy University of North Texas Libraries, The Portal to Texas History. Copyrighted image used under fair use doctrine (17 U.S.C. § 107).

George Jones (misidentified by many outdated sources as “Dennis”) was born on his formerly enslaved grandfather’s farm in Bowie County, Texas—in the farthest northeastern corner of the state bordering Arkansas—on October 5, 1899, the only child of George Sr. and Lela Jones. He dropped out of school after the sixth grade to help his ailing father on the farm after a loss of the season’s crop of cotton. Jones claimed to have started out playing piano at church, but switched instruments after his mother “done gone and found an old guitar for [him] to pick.” Influenced by Blind Lemon Jefferson, he learned to play in a peculiar fast, melodic, and uniquely rural style rather reminiscent of Mississippi John Hurt, albeit rougher, more driving and more formulaic, marked by occasional injections of a boogie-woogie beat. His habit of starting out a song at a breakneck tempo and slowing down before beginning to sing, intentional or not, added a certain sense of tension to his recordings. Probably around the age of seventeen, after his father and the farm recovered, Jones started making money with his music, but continued to make his living by means of various employment as a laborer throughout all of his life. While working a construction job in Garland, Texas, Jones was nicknamed “Little Hat” by his boss (who reportedly even made out Jones’ paychecks to that name) because of the cut-down brim on his work hat. When the Okeh record company made a field trip to San Antonio in 1929, Little Hat Jones cut his first recordings as an accompanist to fellow Texas blues man Alger “Texas” Alexander, who had been recording with Okeh since ’27. On the fifteenth of June of that year, Jones recorded eight sides backing Alexander and a further two solo. He was behind the microphone again six days later to cut four more solo sides, and again four more when Okeh returned to San Antonio the following year, netting a total of five records issued under his own name. Though he never again recorded commercially after 1930, Little Hat Jones continued to play at juke joints and booger roogers in and out of the state of Texas alongside the likes of J.T. “Funny Paper” Smith and, reputedly, Jimmie Rodgers and T. Texas Tyler. Jones claimed that Okeh invited him to record further in New York, but that evidently fell through. He settled down with his wife in Naples, Texas in 1937, where he remained for the rest of his life, eventually finding steady employment at the nearby Red River Army Depot. In 1964, Jones was interviewed by local newspaper man Morris G. Craig of the Naples Monitor and recorded—still in fine form though a little rusty on the guitar—playing several more songs, including a re-recording of his 1929 “New Two Sixteen Blues” and a rendition of Jimmie Rodgers’ “Waiting for a Train”. Little Hat Jones died on March 7, 1981 in the Municipal Hospital in Linden, Texas, and is buried in the Morning Star Cemetery in Naples.

In spite of his relative obscurity, the music of Little Hat Jones was remarkably influential, perhaps thanks in no small part to his association with Texas Alexander. Echoes of Jones’ “Two String Blues”—in particular the lyric “I’m goin’ to Lou’siana, get me a hoodoo hand… I’m gonna stop my woman and fix it so she can’t have another man”—were heard later in Lightnin’ Hopkins’ famous song “Mojo Hand” (which Jones, in turn, may have learned from Alexander). Jones’ music gained later fame outside of record collecting and blues circles for the inclusion of his “Bye Bye Baby Blues” in Terry Zwigoff’s 2001 motion picture Ghost World.

Little Hat Jones recorded Okeh 8794 on June 21, 1929 in San Antonio, Texas, his second record date, a week after his first recordings accompanying Texas Alexander. It was released in 1930.

First up, Jones plays and sings the outstanding “Rolled From Side to Side Blues”, borrowing its name from a stanza within his debut recording “New Two Sixteen Blues”, which he reused in this song. It’s a wonder that guitar didn’t catch fire—just listen to those descending runs!

Rolled From Side to Side Blues, recorded June 21, 1929 by Little Hat Jones.

On the reverse, he combines the classic railroad song with the blues for lost love on his eponymous “Little Hat Blues”, most certainly my favorite of Jones’ recordings, and in my opinion one of the great masterworks of country blues (though that “Bye Bye Baby” is a dilly, no doubt).

Little Hat Blues, recorded June 21, 1929 by Little Hat Jones.

Updated with improved audio on June 15, 2024.

Vocalion 03139 & 03206 – Bob Wills and his Texas Playboys – 1935

Posted on September 24, 2018 by R. Connor Montgomery

Bob Wills, pictured in the 1940 Okeh Country Dance and Folk catalog.

Fresh from Cain’s Dance Academy in Tulsa, Oklahoma, it is Old Time Blues’ pleasure to bring you a program with Bob Wills and his famous Texas Playboys!

Bob Wills (then known as Jim Rob) made his first recordings for Brunswick/Vocalion in 1929, a pair of fiddle solos accompanied by guitarist Herman Arnspiger, but none were released and remain unheard. It would be three years before Wills recorded again, this time with Milton Brown as a member of the original Light Crust Doughboys. Still that lone 1932 session only yielded two recordings which didn’t sell too well under the Depression conditions, and both Wills and Brown parted ways with the Doughboys soon after. It wouldn’t be for another three years that Wills began his recording career in earnest. By that time, he had taken his fiddle band to Tulsa to make a name for himself as leader of the “Texas Playboys” at Cain’s Ballroom, and along the way had added a horn section and drums to the ensemble. When the American Record Corporation came to Dallas in 1935, the Playboys returned to Texas. On September 23, 1935, Wills and his Texas Playboys recorded eight titles, starting with “Osage Stomp”, borrowing from the Memphis Jug Band’s “Memphis Shakedown” and “Rukus Juice and Chittlin'”, followed by twelve more the following day. On the third day, Wills returned to the studio solo to cut four fiddle solos backed on guitar by Sleepy Johnson. This time, as the record industry was beginning to recover with the beginning of the swing era, his records sold many more copies, and the Texas Playboys traveled to Chicago almost exactly one year later for another three sessions. producing thirty-one more sides, including the famous “Steel Guitar Rag”. Soon the Playboys skyrocketed to national fame, drawing larger crowds than Benny Goodman or Tommy Dorsey with hits like “New San Antonio Rose”, and making a string of successful motion picture appearances, ultimately winning him the title “King of Western Swing” (that Spade Cooley never deserved it if you ask me).

Vocalion 03139 and 03206 were recorded in Dallas, Texas on September 24, 1935, the second day of the Texas Playboys’ first session. In the band are Bob Wills, Jesse Ashlock, and Art Haynes on fiddles, Robert “Zeb” McNally on alto saxophone, Sleepy Johnson and Herman Arnspiger on guitars, Leon McAuliffe on steel guitar and guitar, Johnnie Lee Wills on tenor banjo, Al Stricklin on piano, Thomas “Son” Lansford on string bass, and William “Smokey” Dacus on drums.

To start us out, the Playboys swing a hot instrumental: “Black and Blue Rag”, with Bob addressing his Playboys by name as they take their instrumental solos.

Black and Blue Rag, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

On the back of 03139, Bob sings the vocal himself on the Mississippi Sheiks’ blues standard “Sittin’ On Top of the World”.

Sittin’ On Top of the World, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

Tommy Duncan joins the show on “I Ain’t Got Nobody”, giving a wild Emmett Miller-style yodeling performance.

I Ain’t Got Nobody, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

Finally, Duncan sings again on the Playboys’ rendering of the popular song of one year prior, “Who Walks in When I Walk Out”, surely one of the hottest, wildest, most driving western swing performances ever recorded. It’s also the first time we hear Bob holler those immortal words “take it away, Leon!”

Who Walks in When I Walk Out, recorded September 24, 1935 by Bob Wills and his Texas Playboys.

Okeh 05668 – Ted Daffan’s Texans – 1940

Posted on September 21, 2018 by R. Connor Montgomery

In Old Time Blues’ continuing cavalcade of Texas’ native music, western swing, we turn our spotlight to the accomplished steel guitarist and composer of such standard songs as “Born to Lose”: Ted Daffan.

Ted Daffan and his Texans, pictured in the Hillbilly Hit Parade of 1941. From left-to-right standing: Buddy Buller, Chuck Keeshan, probably Elmer Christian; seated: Ralph Smith, Ted Daffan, and probably Harry Sorensen.

Theron Eugene Daffan was born in the Beauregard Parish of Louisiana on September 21, 1912, but he got across the border to Texas as fast as he could. He graduated from high school in Houston and later found work there in a musical instrument shop. Inspired by Milton Brown’s music, Daffan became a pioneering user of the electrified steel guitar, following in the footsteps of the Musical Brownies’ Bob Dunn. During the days of the Great Depression, he played steel guitar in Hawaiian radio bands before moving on to Texas swing bands like Shelly Lee Alley’s Alley Cats and the Bar-X Cowboys. In 1939, Daffan composed “Truck Driver’s Blues”, one of the earliest examples of what was to become a common theme in country music—supposedly Daffan would see truck drivers come into restaurants while he was dining and go straight for the jukebox, and he wanted a part of that racket—which became a hit for Cliff Bruner’s Boys and the Light Crust Doughboys. As a result of that success, Daffan was signed by CBS in 1940 to record with his own band, the Texans, for their Okeh label. With his Texans, Daffan had hits with “Worried Mind”, “I’m a Fool to Care”, and “Born to Lose”, all compositions of his own, and all of which became standards in their own right. Like Bob Wills, Daffan relocated to California in the 1940s and led a band there, but only stayed for a couple of years before returning to Texas. After World War II, he began shifting his career focus away from playing and recording music and more toward songwriting and publishing, and he founded and owned both record and music publishing companies. Ted Daffan died in Houston on October 6, 1996.

Okeh 05668 was recorded on April 25, 1940 at the Burrus Mill Studio in Saginaw, Texas. It is Ted Daffan and his Texans’ first record. Daffan’s Texans are made up of Ted Daffan on lap steel guitar, Sidney “Buddy” Buller on electric tenor guitar, Chuck Keeshan on second guitar, Harry Sorensen on accordion, Ralph Smith on piano, and Elmer Christian on string bass.

The first side the Texans recorded, Chuck Keeshan sings the Tommy Duncan-style vocal on Daffan’s own composition, the classic “Worried Mind”.

Worried Mind, recorded April 25, 1940 by Ted Daffan’s Texans.

On the flip-side, Daffan showcases his steel-guitar playing abilities on the instrumental “Blue Steel Blues”.

Blue Steel Blues, recorded April 25, 1940 by Ted Daffan’s Texans.

Okeh 40339 – Jack Gardner’s Orchestra – 1924

Posted on August 14, 2018 by R. Connor Montgomery

In Old Time Blues’ continuing series honoring the musical heritage of Texas, we pay due tribute to the bandleader whose orchestra bears the distinction of producing the earliest commercial recordings made within the borders of the Lone Star State: the Dallas-based pianist and songwriter Jack Gardner.

Jack Gardner and his Orchestra, pictured on 1925 sheet music for “Dallas, I Love You”.

Jack was born Francis Henry Gardner on August 14, 1903, in Joliet, Illinois. He took up playing piano while a young boy, and began playing professionally after the family relocated to Denver, Colorado, reportedly appearing with Boyd Senter’s band. He was also a competent and relatively prolific songwriter best remembered for the 1927 hit “Bye-Bye, Pretty Baby”. Many sources state that Gardner moved to Chicago in 1923 and remained there until 1937, but, unless there were two different pianists named Jack Gardner, that cannot be accurate as at least in the middle years of that decade, he was director of the house band at the stately Adolphus Hotel in Dallas, Texas. (Editor’s note: as it turns out, there were two Jack Gardners, so this article is inaccurate. Please take it with a grain of salt, it will be rewritten in due time!) When Ralph S. Peer of the Okeh record company brought mobile recording equipment to a dealer’s warehouse in Dallas in 1924, Gardner and his orchestra had the special privilege of being the first to make commercial recordings in the state of Texas. Upon Okeh’s return to Dallas the following year, his orchestra had another session, this time introducing the talent of local singer Irene Taylor, who would later go on to be featured by the most popular orchestra in the United States: Paul Whiteman’s. Gardner may have been in Chicago as early as the end of 1925, at which time he is suggested as a possible instrumentalist with Fred Hamm’s orchestra, one of a number of groups managed by Chicago impresario Edgar A. Benson. He had definitely made it to the toddling town by 1928, at which time he began sitting in with jazz bands such as those of Wingy Manone and Jimmy McPartland. In 1939, Gardner went to New York City to assume the role of pianist first with Sandy Williams, then in Texas-raised trumpeter Harry James’s orchestra, a position which he held for around a year before returning to Chicago. After an active period there, Jack Gardner returned to Dallas, where he remained until his death on November 26, 1957.

Okeh 40339 was recorded around the middle of October of 1924 (though Brian Rust’s Jazz and Ragtime Records suggests September), in Dallas, Texas, the Gardner band’s first session. Though the orchestra’s personnel is only tentatively identified, it probably includes at least some of the following members: Johnnie Mills and Charlie Willison cornets, Stanton Crocker on trombone, Robert B. Dean, Robert K. Harris, and Bernie Dillon on reeds, Jack Gardner on piano, Earl D. McMahan on banjo, Ralph W. “Cricket” Brown on tuba, and Bob Blassingame on drums. Dillon White sings the vocal on side “A”, and may also be an instrumentalist.

First, Dillon White sings the vocal on “Who? You?”, one of Jack Gardner’s own compositions. I must admit that White’s vocal gives me a little chuckle every time I listen to it (“Who? Yoouu!“), but that band sure could play!

Who? You?, recorded c. October 1924 by Jack Gardner’s Orchestra.

They follow with a wild, eccentric jazz tune, another Gardner original: “Who’d a Thunk It”. One thing you can say for certain: the folks in Texas did like their jazz played hot!

Who’d a Thunk It, recorded c. October 1924 by Jack Gardner’s Orchestra.

Victor 19813 – Carl T. Sprague – 1925

Posted on August 3, 2018 by R. Connor Montgomery

It’s come time we heard again from one of my favorite cowboy singers: Carl T. Sprague. This is a record that I’ve had since my earliest days of collecting, one of about a hundred that I inherited from my great-great-grandfather. As such, it’s been in my family since its original purchase in 1925. Like many of that bunch however, the condition leaves something to be desired. I’ve been searching fruitlessly for a replacement copy for some time, but as of yet no cigar. (If you happen to have a copy you’re looking to get rid of, let’s talk.) It escaped my interest for a long while after it arrived in my possession; before I’d listened to it, I assumed it was just a run of the early vocal record like all the Henry Burr and John Steel and whatnot that the old folks seemed so fond of. Once it finally made its way onto my turntable, I realized I had been missing out. It piqued my interest in old folk music and introduced me to Carl T. Sprague. I later delved deeper to uncover more about the history of both songs, and became even more enthralled. Suffice to say, it’s since become one of my favorite folk music records. Both songs were popular comical songs in the second half of the nineteenth century, and both were scarcely recorded in the next century. Though Sprague is credited on the labels as composer of both sides, the songs actually predate his birth by quite a few years. Both were originally published on broadside song sheets, as was common practice in the several centuries preceding 1900.

Since original publication, I was finally able to procure a near mint copy of this record upgrading from my previously rather lacking one, so I have updated the audio and label scans accordingly.

Victor 19813 was recorded in Camden, New Jersey on August 3 and 5, 1925. It was released in December of that year, and cut from the catalog in 1928. They are among the earliest electrical recordings made, only a few months after Victor introduced their new process. The Discography of American Historical Recordings notes Victor’s “Special Booklet 1925” as a source. I’m not entirely sure what that means, but it’s possible that this record never saw widespread release. Obviously staples of his repertoire, Sprague re-recorded both these sides in 1972 for his eponymous LP.

First, is Sprague’s first recorded side, “Kisses”, a song which dates back to the days of broadside song sheets. It was originally published in 1882 as “Sock Her on Her Kisser”. Another version was recorded in 1941 by Lewis Winfield Moody for the Library of Congress by Robert F. Draves, under the title “Everybody Has a Finger in the Pie”. Chubby Parker of WLS recorded a version of the song as “The Kissing Song” in 1931. Canadian folklorist MacEdward Leach collected a version of the song as “Turtle Dove” in Newfoundland in 1951. The DAHR makes note that a re-make (take “5”) of “Kisses” was recorded on June 22, 1926; this take appears to be the originally issued one (“3”). Sprague’s 1972 re-recording of the song was titled “Kissing”.

Kisses, recorded August 3, 1925 by Carl T. Sprague.

On “B”, Sprague sings another popular humorous ditty titled “The Club Meeting”, also known as “I’ve Only Been Down to the Club”, seemingly the first of only a very few recordings of the song. Like the previous, this song was originally published on a broadside; it appears to have been originally published by E.H. Harding of New York in 1876, words and music by Joseph P. Skelly, also known for the memorable 1884 song “A Boy’s Best Friend is his Mother”, recorded by Vernon Dalhart and others. Al Hopkins’ Buckle Busters (a.k.a. Hill Billies) recorded the song as “Down to the Club” in 1927 for Brunswick, the lyrics to which were transcribed and printed in the songbook “The Roaming Cowboy”, Book No. 2, published by the “border blaster” radio station XEPN of Piedras Negras, Coahuila, Mexico in the mid-to-late 1930s. Another version was sung by Sam Bell of Tuolumne County, California for the Library of Congress in 1939, recorded by Sidney Cowell Robertson. Additional recordings were made by Walter Coon for Gennett in 1930 as “The Club Had a Meeting” and Billy Vest for Columbia in 1931 as “The Club Held a Meeting”, but neither were released.

The Club Meeting, recorded August 5, 1925 by Carl T. Sprague.