Document Records - Vintage Blues and Jazz

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Yonder Come The Blues

Informative booklet notes by Paul Oliver.
Detailed discography.

Paul Oliver is internationally recognised as being one of the most prolific and authoritive writers of the history and development of blues music. In the early 1970s an excellent series of paperback books were published by Studio Vista known as "Blues Paperbacks". The series covered many aspects of the music and included several biographies including a book on Charley Patton written by John Fahey, Tommy Johnson by Dave Evans and Peetie Wheetstraw by Paul Garon. The series also featured three books which looked at the development of the music; Savannah Syncopators by Paul Oliver, Blacks Whites and Blues by Tony Russell and Recording the Blues by the blues discographer Robert M.W. Dixon. To compliment his book Yonder Come the Blues, based on those three books, Paul Oliver personally invited Document to produce this CD illustrating many musical examples drawn upon in the book. Continued...

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Blues, Blues Christmas 1925 - 1955

Various artists
Double album with full colour 20 page booklet by Jeff Harris. 
Detailed discography
The idea of Christmas themed blues and gospel numbers stretches back to the very dawn of the recorded genres. “Hooray for Christmas” exclaims Bessie Smith to kick off her soon to be classic “At The Christmas Ball”, which inaugurated the Christmas blues tradition when it was recorded in November 1925 for Columbia. A year later, circa December 1926, the gospel Christmas tradition was launched when the Elkins-Payne Jubilee Singers recorded “Silent Night, Holy Night” for Paramount Records. After these recordings it was off to the races with numerous Christmas blues numbers recorded by singers of all stripes, a pace that continued as blues evolved into R&B and then rock and roll. Continued...

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Montana Taylor 1929 - 1946 and the complete

Montana Taylor 1929 – 1946 and the complete “Freddie” Shayne 1935-1946

Montana Taylor, vocal, piano.
Bertha “Chippie” Hill, vocal.
Harry “Freddie” Shayne, vocal, piano.
With contributions by: Almond Leonard, washboard, kazoo; Baby Dodds, drums; Lee Collins, trumpet, John Lindsay, stand-up bass.

Informative booklet notes by Karl Gert zur Heide
Detailed discography.

Well into the '60s, Arthur "Montana" Taylor and Henry "Freddie" Shayne, two Midwestern blues cum boogie pianists whose names were familiar from some "race" records, were rumoured to be still living around Cleveland and Chicago respectively. Paul Affeldt, editor of Jazz Report and producer of the Euphonic piano LP series, tried to locate them, obviously without success. Two decades earlier, architect and author Rudi Blesh was more fortunate and recorded Taylor and Shayne for his revivalist Circle label in Chicago. Two decades before that, both musicians had cut their first sides there for the one and only Mayo Williams (who was probably responsible for Shayne's 1935 session, too) after their recording potential had been spotted in St. Louis (Shayne, 1924) and Indianapolis (Taylor, 1929), two cities with strong piano traditions.

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Bertha Chippie Hill 1925 - 1929
DOCD-5330 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. Continued...

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