Document Records - Vintage Blues and Jazz

Document Records
Bertha Chippie Hill 1925 - 1929

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Bertha 'Chippie' Hill

01 - Low land blues Listen
02 - Kid man blues Listen
03 - Lonesome, all alone and blue Listen
04 - Trouble in mind (9510) Listen
05 - Georgia man Listen
06 - Leavenworth blues Listen
07 - Panama limited blues Listen
08 - Street walker blues Listen
09 - Pleadin` for the blues Listen
10 - Pratt City blues (9950) Listen
11 - Mess, Katie, mess Listen
12 - Lovesick blues Listen
13 - Lonesome weary blues Listen
14 - Do dirty blues Listen
15 - Sport model mama Listen
16 - Some cold rainy day Listen
17 - Weary money blues Listen
18 - Hard time blues Listen
19 - Christmas man blues Listen
20 - Trouble in mind (c-2509 Listen
21 - Hangman blues Listen
22 - Non-skid tread Listen
23 - I ain`t gonna do it no more Listen
24 - Pratt City blues Listen

Bertha “Chippie” Hill 1925-1929

Bertha “Chippie” Hill, vocal

With contributions by;
Louis Armstrong, cornet.
Richard M Jones, piano.
Georgia Tom, piano.
Tampa Red, guitar.
Scrapper Blackwell, guitar.
Leroy Carr, piano.
Ikey Robinson, banjo.
And others…

Genres; Female Blues Vocal / Jazz.
Extensive, detailed booklet notes by CoIin J. Bray.
Detailed discography.

The majority of Bertha Chippie Hill's records were made for the General Phonograph Corporation and later for the Okeh Phonograph Corporation, and issued on their Okeh label. Consequently the company's A. and R. man in Chicago, Richard M. Jones influenced the choice of material Chippie Hill was to record, the majority of the songs being written by him. Fortunately he wrote some excellent blues and was a fine pianist too, being present on many of the tracks on this CD. Ten selections also feature the remarkable cornet playing of Louis Armstrong. Louis had taken a tough decision to break away from King Oliver's band in late 1924 and soon thereafter joined Fletcher Henderson's orchestra in New York. On his return to Chicago in early November 1925, the very first records he was to make were Low Land Blues and Kid Man Blues accompanying Chippie Hill. The first of his classic Hot Five records were made for Okeh just three days later. Within a few months Louis was back in the Okeh studios to accompany Chippie again. This session produced one of the most outstanding jazz inspired blues records of alt time Trouble In Mind. Louis' long introduction sets the theme for Chippie, who passionately belts out the words. Rudi Blesh, in his book "Shining Trumpets' was absolutely right in describing her singing on this record as fervent.

Jones' own band accompanies Chippie on five titles. As was the case for any New Orleans musician, Jones surrounded himself with other men from the crescent city including Preston Jackson, Cliff "Snag" Jones and the outstanding Johnny St. Cyr. Shirley Clay had the unenviable task of filling in Louis' shoes in which he does a creditable job.

The first two sides made for Vocalion in mid-October 1928. Some Cold Rainy Day and Weary Money Blues, find Chippie with Georgia Tom and Tampa.
The two final sides bring Georgia Tom and Tampa Red back into the studio to accompany Chippie in her last recordings from the early stage of her career. Fortunately the veteran jazz pioneer Bill Johnson (he was 56 when this record was made) was present on string bass. His big, sonorous tone drives these two sides and is as good an example of superlative New Orleans bass playing that has ever been recorded. I Ain't Gonna Do lt No More is a lovely slow blues, beautifully sung by Chippie with Bill Johnson slapping the bass strings, moving back and forth between 2/4 and 4/4 time. Pratt City Blues is an absolute gem with the usual expected fine vocal from Chippie but it is Bill Johnson again who drives the band accompaniment. He slaps the bass in the introduction and then, in typical New Orleans bass style, switches to bowing a single chorus before returning to slapping the strings throughout the rest of the side. At one point a band member cries out, "pull it boy", referring to the time honoured New Orleans style of pulling the strings away from the bass and allowing them to snap back against the neck.

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