Document Records - Vintage Blues and Jazz

Document Records
Papa Charlie Jackson Vol 2: February 1926 to September 1928

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Papa Charlie Jackson
Freddie Keppard's Jazz Cardinals


Papa Charlie Jackson
01 - Mumsy mumsy blues (take 2) Listen
02 - Butter and egg man blues Listen
03 - The Judge Cliff Davis blues Listen
04 - Up the way bound (take 1) Listen
05 - Up the way bound (take 2) Listen
06 - Four eleven forty four Listen
07 - Your baby ain`t sweet like mine Listen
08 - Bad luck woman blues Listen
09 - Salty dog (take 2) (with Freddie Keppard's Jazz Cardinals) Listen
10 - Gay cattin` (take 2) Listen
11 - Fat mouth blues Listen
12 - She belongs to me blues Listen
13 - Coal man blues Listen
14 - Skoodle um skoo Listen
15 - Sheik of Displaines Street Listen
16 - Look out papa don`t tear your pants Listen
17 - Baby don`t you be so mean Listen
18 - Bright eyes Listen
19 - Blue Monday morning blues Listen
20 - Long gone lost John Listen
21 - I`m looking for a woman who knows how to treat me right Listen
22 - Ash tray blues Listen
23 - No need of knockin` on the blind Listen
24 - I like to love my baby Listen
25 - Baby - papa needs his lovin` Listen
26 - Lexington Kentucky blues Listen

Papa Charlie Jackson, vocal, banjo, guitar.
Includes 1 track by Freddie Keppard's Jazz Cardinals.
Genres: Per-war blues, blues banjo, early Chicago blues, jazz.
Informative booklet notes by Chris Smith.
Detailed discography.

Twenty-six of Papa Charlie Jackson’s recordings dating between February 1926 and September 1928, and an extraordinary volume this is. Now firmly ensconced in the electrical recording era, the sound on these records brings out the rich texture of Jackson’s banjo playing, and his singing is thoroughly enjoyable, as he runs through thinly veiled topical songs (Judge Cliff Davis Blues), playful romantic pieces (Butter and Egg Man Blues), bouncy rags (Look Out Papa Don’t Tear Your Pants), and more ambitious remakes of his early songs, most notably an outtake of Salty Dog, cut with Freddie Keppard’s Jazz Cardinals (with New Orleans jazz great Johnny Dodds on clarinet). The two-part Up the Way Bound, dating from the spring of 1926, isn’t quite as well recorded as some of the rest, featuring Jackson on guitar, but his vocal performance carries the song well enough — unfortunately, the second half of this piece, from side two of the original Paramount release, is neither as well recorded nor as well preserved as the first half.

There’s lots of little slice-of-black-urban-life material here worth noting as well, including Jackson’s homage to the numbers racket, Four Eleven Forty Four. Jackson’s vocal skills are vividly displayed in his extraordinarily impassioned singing on Bad Luck Woman Blues, one of his finest performances. We also get his first version of Skoodle-Um-Skoo, an upbeat dance number reminiscent of his earlier “Shake That Thing,” awhich he recut some seven years later — this record also demonstrates better than almost any other side the full measure of advantage that the banjo had over the guitar in those days of blues recording, with a solo that fairly leaps out at the listener.

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