Document Records - Vintage Blues and Jazz

Document Records
Female Blues Singers Vol 13 R/S 1921 - 1931


7.49    7.49 New
 

FEATURED ARTIST / S
Nettie Robinson
Laura Rucker
Gertrude Saunders
Mary Stafford

    TRACK LIST

Nettie Robinson
01 - I`ve got the right man now
02 - I never loved but one woman`s son

Laura Rucker
03 - Little Joe
04 - St. Louis blues

Gertrude Saunders
05 - I`m craving for that kind of love
06 - Daddy, won`t you please come home
07 - Potomac River blues
08 - Love me
09 - Don`t let your love come down
10 - You can`t have it unless I give it to you

Mary Stafford
11 - Royal garden blues
12 - Crazy blues
13 - I`m gonna jazz my way right straight thru paradise
14 - Down where they play the blues
15 - If you don`t want me send me to my ma
16 - Strut Miss Lizzie
17 - Wild weeping blues
18 - I`ve lost my heart to the meanest girl in town
19 - Arkansas blues
20 - Down home blues
21 - Blind man blues
22 - Monday morning blues
23 - Ain`t got nobody to grind my coffee in the morning
24 - Take your finger off it

DOCD-5517
Female Blues Singers Vol 13 R/S 1921 – 1931

Genres: Blues, Classic Blues, Female Blues, Jazz.
Informative booklet notes by David Evans
Detailed discography.

Volume 13 of this outstanding fourteen volume series features two major stars of the vaudeville era, one shadowy figure who kept popping up on records over two decades and one complete obscurity. Between them there is a heady mix of low down blues and hot jazz.

Laura Rucker had a productive and eventful career. On her records she can be heard with Blind Blake and Emmet Mathews (Document DOCD-5027 and 5345), Georgia Tom (DOCD-5526), and Earl Hines. Her first recordings were with Paramount and later in 1949 she re-emerged as one of the first recording artists on Chicago’s independent Aristocrat label, later to become Chess records.

Gertrude Saunders was a genuine star over a long period of time. Her life was also eventful but for her it was on and off the stage. Two years after her final recordings featured on this album were made she struck up a relationship with Jack Gee, husband of Bessie Smith who became the producer of Gertrude’s stage show Hot Mama, which was being financed by Bessie.

Blues recording pioneer Mary Stafford was Columbia’s secret weapon rivalling her to Okeh’s Mamie Smith. She was advertised as “The first coloured girl to record for Columbia” and she proved herself to be a worthy competitor with her big voice and excellent accompaniments by Charlie Johnson’s jazz band.

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