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Alabama Black Secular & Religious Music 1927 - 1934
DOCD-5165 Alabama Black Secular & Religious Music (1927-1934) Wiley Barner, vocal; accompanied by Jimmy allen, piano; Will Jennings, guitar. Moses Mason (Red Hot ole Man Mose, Rev. Moses Mason), vocal, guitar, banjo. Edward Thompson (Tenderfoot Edwards), vocal guitar. Slim Duckett and Pig Norwood, vocal guitar duet. Marshall Owens, vocal, guitar. Tom Bradford, vocal, guitar. Genres; Pre-warCountry Blues, Country Blues Guitar. Guitar Evangelists. Informative booklet Notes by Ken Romanowsky Detailed discography. Alabama’s significance as a region supporting a fertile blues tradition has been somewhat overshadowed by the surrounding states of Mississippi, Georgia, the Carolinas, and even Tennessee. This is partly the result of the bias of latter-day historians and record collectors who have favoured the Mississippi guitarists and partly due to the strength of other aspects of the black vernacular tradition in Alabama. Birmingham, the state’s largest city was famous for its pianists - from the mysterious “Lost John” (who was credited by Perry Bradford with introducing the bass patterns associated with boogie woogie to Chicago) through Cow Cow Davenport and Pine Top Smith to Walter Roland. Another dominant musical force in Alabama in the period between the World Wars was a vocal quartet tradition, with groups like the Birmingham Jubilee Quartet recording far more frequently than any of the area’s blues artists. Still, with its pioneering pianists, two major rural harmonica stylists (Jaybird Coleman and George “Bullet” Williams), a guitarist as recognizable as Ed Bell/Barefoot Bill, and the distinction of having some of the earliest recorded blues performers hail from the vicinity (Lucille Bogan/Bessie Jackson, and Daddy Stovepipe), it is hard to fathom why Alabama is not better known for the blues. Continued...



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