Document Records - Vintage Blues and Jazz

Trixie Smith Vol 2 1925 - 1939

7.49   
 

FEATURED ARTIST / S
Trixie Smith

    TRACK LIST
01 - Everybody loves my baby (take 6) Listen
02 - How come you do me like you do? (take 6) Listen
03 - You`ve got to beat me to keep me Listen
04 - Mining camp blues (take 1) Listen
05 - Mining camp blues (take 2) Listen
06 - The world`s jazz crazy and so am I (take 1) Listen
07 - The world`s jazz crazy and so am I (take 2) Listen
08 - Railroad blues (take 1) Listen
09 - Railroad blues (take 2) Listen
10 - Everybody`s doing that Charleston now (take 1) Listen
11 - He likes it slow (take 2) Listen
12 - Black bottom hop Listen
13 - Love me like you used to do Listen
14 - Messin` around (take 1) Listen
15 - Messin` around (take 2) Listen
16 - Freight train blues Listen
17 - Trixie blues Listen
18 - My daddy rocks me Listen
19 - My daddy rocks me no. 2 Listen
20 - He may be your man (but he comes to see me sometime) Listen
21 - Jack I`m mellow Listen
22 - My unusual man Listen
23 - No good man note: see also docd-5573. Listen

DOCD-5333
Trixie Smith Vol. 2 – 1925-1939

Trixie Smith, vocal.

 

With contributions by;

Miff Mole, trumpet.

Jimmy Lyell, clarinet

Louis Armstrong, cornet.

Charlie Green, trombone.

Buster Bailey, clarinet.

Fletcher Henderson, piano.

Charlie Dixon, banjo.

Joe Smith, clarinet

Johnny Dodds, clarinet, alto sax

Jimmy Blythe, piano.

Sidney Bechet, clarinet, alto sax

Sammy Price, piano.

Teddy Bunn, guitar.

Richard Fullbright, stand-up bass.

And others…

 

Genre: “Classic Blues”, Female Blues, Jazz.

Inforamtive booklet notes by Keith Briggs.

Includes detailed discography.

 

Paramount continued to record Trixie Smith up until 1926. During this period her vocal prowess on record gained in strength, although the discs’ appeal to latter day collectors was centred more on the accompanists rather than the featured vocalist and their appearance on LP was usually due to the presence of such luminaries as “Trombone Cholly” Green, Don Redman, Miff Mole, Buster Bailey and particularly, Louis Armstrong. Her repertoire continued to be varied, she could record a pop song such as “Everbody Loves My Baby”, a dance number such as “Everbody’s Doing That Charleston Now”, then cap it with one of the toughest and most chilling songs ever committed to wax; the unnerving, masochistic anthem, “You’ve Got To Beat Me To Keep Me”. High spots were provided by her justly famous “Railroad Blues”, “Freight Train Blues” and the somewhat less satisfying "Choo Choo Blues". The first of these is a variation on the “Alabamy Bound” theme while the second became one of Paramount’s biggest sellers leading to “cover” versions being produced on Columbia by Clara Smith (‘the World’s Champion Moaner’, no less) (Document DOCD-5365), on Vocalion by Lena Henry (Document DOCD-5513) and on Ajax by Josie Miles (Document-5466). “How Come You Do Me Like You Do?”, on the other hand, found an interpreter in Walter “Buddy Boy” Hawkins whose countrified version was also issued on Paramount in 1929 as “How Come Mama Blues (Deeble Bum Blues)” (Document DOCD-5035).

In 1938 she entered Decca’s New York studios to cut eight tracks with an all star line-up which included Sidney Bechet, clarinet, Charlie Shavers, trumpet, Teddy Dunn, guitar and Sam Price, piano. For most of these recordings she reprised the better known hits of her earlier career. She revamped “Freight Train Blues” dropping some choruses and shuffling the verses around. Perhaps her own taste was better illustrated by the one track from this session that was never issued; the standard “Lady Be Good”. The following year Decca employed her on what was to be her last session. Only one track was issued.

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