Document Records - Vintage Blues and Jazz

Document Records
The Unissued 1951 Yancey Wire Recordings

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This album can be downloaded, fully or by individual tracks, directly from these recommended on-line retailers. Cover artwork may differ to that shown here.

Available as a download on iTunes

Available as a download on eMusic


Mama Yancey
Jimmy Yancey
Walter Joplin
Unknown Pianist
Dick Mushlitz


Unknown Pianist
01 - Lux`s boogie Listen

Mama Yancey
02 - Make me a pallet on the floor Listen
03 - Chicago in mind Listen

Unknown Pianist
04 - Cow Cow blues Listen

Mama Yancey
05 - Tomorrow morning - damaged Listen
06 - Four o`clock blues - damaged Listen
07 - Shave `em dry - fragment Listen

Jimmy Yancey
08 - Elephant rag Listen
09 - Mellow blues Listen

Walter Joplin
10 - Scott Joplin`s new rag Listen

Mama Yancey
11 - Royal Garden blues Listen
12 - Hurry sundown Listen
13 - Don`t you wanna know Listen
14 - How long blues Listen

Jimmy Yancey
15 - Yancey`s bugle call - damaged Listen
16 - Fives Listen

Dick Mushlitz
17 - Blues Listen

Mama Yancey
18 - Chicago in mind Listen
19 - Don`t you wanna know Listen
20 - How long blues Listen

Jimmy Yancey, piano vocal.
Mama Yancey, vocal.
Includes Dick Mushlitz, piano (1 track)

 Genres: Blues piano, boogie-woogie piano.

Informative, 24 page, illustrated booklet, with booklet notes written by Dick Mushlitz.
Detailed discography.

We arrived at Yanceys sometime before midnight. It was still June 16. The party had probably been in progress for some time. Jimmy had been feeling ill for the past few weeks, and when we got there he was resting in the small bedroom just off of the living room where the piano was located, but he soon joined the rest of us. After being introduced to those whom we didn't know, Phil set up the wire recorder and, after asking for and getting an extension cord for the machine from Estelle, began recording. This CD contains all of what was captured on the wires that night.

I might note at this point that wire recorders did not have any recording meters on them, so it was difficult to adjust the recording gain properly. Also, the microphone cord on wire recorders was only about four feet long which made microphone placement mostly a matter of luck, and there seemed to be extraneous noises that could have come from a possible "intermittent" short in the microphone connection. It is also quite possible that Phil had to move the microphone around in order to capture the vocals as they were sung. But as one can tell from listening to the recordings, the gatherings at Yanceys were the epitome of informality. If you were a musician and wanted to play, you played. If you just wanted to sit and listen, you listened. There was always much conversation going on between the attendees, and at times it tended to overpower the recording. Nobody minded the recorder, and Estelle moved about the room, sometimes singing, sometimes exhorting a musician to play, sometimes talking. As I said, informality reigned. On a couple of occasions, as I remember, Jimmy returned to the bedroom to rest and listen to the other musicians from there. The party was still in full swing when we left, which was probably between three and four A. M.

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