Document Records - Vintage Blues and Jazz

Document Records
Blind Blake Vol 1 1926 - 1927


7.49    7.49 New

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FEATURED ARTIST / S
Blind Blake

    TRACK LIST

Blind Blake
01 - Dying blues Listen
02 - Ashley St. blues Listen
03 - Early morning blues (2668) Listen
04 - West coast blues (3056-1) Listen
05 - Early morning blues (3057-1) Listen
06 - Too tight Listen
07 - Blake`s worried blues Listen
08 - Come on boys let`s do that messin` around (take 2) Listen
09 - Tampa bound Listen
10 - Skeedle Loo Doo Blues (take 1) Listen
11 - Skeedle loo doo blues (take 2) Listen
12 - Stonewall street blues Listen
13 - State Street men blues Listen
14 - Down the country Listen
15 - Black biting bee blues Listen
16 - Wilson dam Listen

Blind Blake
17 - Buck-town blues Listen
18 - Black dog blues Listen
19 - One time blues Listen
20 - Bad feeling blues Listen
21 - Dry bone shuffle (take 3) Listen
22 - That will never happen no more Listen
23 - Brownskin mama blues (take 2) Listen
24 - Hard road blues Listen
25 - Hey hey daddy blues Listen
26 - Sea board stomp Listen

DOCD-5024 Blind Blake Vol 1 (July 1926 to October 1927)
 
Blind Blake, vocal, guitar.
Includes: Leola B. Wilson, vocal; Jimmy Blythe, piano; And others…
Genres: Country Blues, Country Blues Guitar, Ragtime Guitar.
Informative booklet notes by Alan Balfour.
Detailed discography.
 
Over a six year period Blind Blake recorded eighty-four titles together with numerous as “house” guitarist to artists like Papa Charlie Jackson, Ma Rainey, Leola B. Wilson and Irene Scruggs. This compilation covers his formative years and it has been surmised that initially he made three visits between August and December 1926 to Paramount’s Chicago studio. Blake’s first record West Coast Blues / Early Morning Blues was released on October 2 1926, the former title being basically a dance piece with Blake’s jaunty voice exhorting his listeners to “do that old country rock”, underpinning the spoken lyric with sophisticated, ragtime guitar accompaniment, taking the opportunity to incorporate a popular advertising slogan of the day (“Good to the last drop, just like Maxwell House coffee”). Early Morning Blues, on the other hand, was lyrically far more menacing, his warm, wistful and insinuating voice, at times reminiscent of Lonnie Johnson’s approach, giving lie to the seriousness of the subject (“When you see me sleeping, baby don’t you think I’m drunk, I got one eye on my pistol, the other one on your trunk”).
Blake’s role as accompanist to Leola B. Wilson, an artist who sang on the vaudeville circuit, displays his ability to use double and stop time phrases, as well as managing to copy her vocal range on Down The Country Blues, a number inspired by a Bessie Smith song. The instrumental, Buck Town Dance, with kazoo playing from Dad Nelson, was probably the model for the piece so often recorded by John Hurt and Gary Davis during the 1960s while Dry Bone Shuffle and That Will Never Happen No More have noticeable echoes of minstrel and white influence. As both were recorded as part of a hillbilly session by the Kentucky Thorobreds perhaps Paramount were hoping to sell Blake to both markets. Blind Blake’s true guitar genius is evinced with Sea Board Stomp (perhaps the basis for some of Big Bill Broonzy’s “stomps”) where, not satisfied with emulating instruments like cornet, saxophone and trombone, he also treats his audience to a lesson in the syncopations of Dixieland Jazz.
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