Document Records - Vintage Blues and Jazz

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Piano Discoveries 1928 - 1943

 

 

 

This compilation disc contains an astonishing array of blues and boogie-woogie piano artists that will be of interest to anyone who has an ear for this genre of music. Some of the selections are outtakes, while others are never-before-released recordings. The latter are from vinyl records that were made in the ’40s. Among the artists featured are Lee Green, Judson Brown with Charlie “Bozo” Nicherson, Leroy Carr with Scrapper Blackwell, Charles “Cow Cow” Davenport, Georgia Tom with Tampa Red, Memphis Slim, Little Brother Montgomery, Roosevelt Sykes with Walter Davis, Thomas A. Dorsy, Ivy Smith, Ezra Howelett Shelton, Cripple Clarence Lofton, Jimmy and Mama Yancey, and Alonzo Yancey. The quality of the recordings is variable, but listening to them is still worthwhile for their historical and musical value. The repertoire ranges from the well-known The Girl I’m Looking For, Beer Drinking Woman, and Church House Blues to the more obscure Mama and Jimmy Blues, Deep End Boogie, and Poor Old Bachelor Blues. Dialogue by various artists is interspersed throughout this fascinating historical document. – Rose of Sharon Witmer.




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Memphis Blues 1927 - 1938
DOCD-5159 The Memphis Blues Vol 2 (1927-1928) Includes: Ollie Rupert, vocal, accompanied by possibly Will Weldon, guitar and possibly Will Shade, guitar. Walter Rhodes, vocal, accordion accompanied by “Pet” and “Can”, guitar duet. Pearl Dickson, vocal, accompanied by “Pet” and “Can”, guitar duet. Madelyn James, vocal accompanied by Judson Brown, piano; And others… Charlie “Bozo” Nickerson, vocal, piano Sam Townsend, vocal, guitar Hattie Hart, vocal, accompanied by Allen Shaw, vocal guitar; Willie Borum, vocal guitar. George Torey, vocal guitar. John Henry Barbee, vocal, guitar, accompanied by Willie Bee James; Unknown, stand-up bass Genres: Country Blues, Memphis Blues, Country Blues Guitar, Country Blues Piano, Informative booklet notes by Kip Lornell. Detailed discography. The city of Memphis has been linked with the blues since W.C. Handy updated 'Boss' Crump's political campaign song of 1909 and published it as 'The Memphis Blues' in 1912. This was, of course, a formal composition but when 'race' recordings really took off in the 1920's a whole underworld of blues activity was discovered to be in existence in the city, centred on the 'black' thoroughfare of Beale Street. Beale was rough; joints such as Pee Wee's, The Hole In The Wall and Jim Kanane's revelling in a reputation for having a man for breakfast' everyday - even though 'you never find a dead Nigger on Beale'; the implication being that bodies were quickly hauled out and dumped elsewhere. But there was another side to the Memphis Blues. It was born from the Country Blues, predominantly from the south, Tennessee and north Mississippi areas, which were drawn in by Afro-Americans from outlying rural areas looking for work and bringing their music with them. Memphis was evidently a lively town and that reflected in the music that could be found there, particularly in blues and jazz that could be found in the Beale Street area. The second of two powerful volumes (see also Document DOCD-5014), this CD presents another twenty five tracks of superb country blues from the “pre-war” period. Continued...



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