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Georgia Tom Vol 1 1928 - 1930

 



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Yonder Come The Blues

Various.
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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Blind Blake Vol 3 1928 - 1929

Blind Blake, vocal, guitar.

 

With contributions by; Elzadie Robinson, vocal, Charlie Spand, piano, Jimmy Bertrand, xylophone.

 

Genre: Country Blues, Ragtime Guitar, Blues Guitar

 

Informative booklet notes by Alan Balfour

Includes detailed discography.

 

From this CD's booklet notes:

By 1928 Blind Blake had gathered a faithful following, his appeal probably being due to the scope of his material, his popularity rivalling that of Blind Lemon Jefferson. The third volume in the series opens featuring Blind Blake in the role of sideman, lending his brilliant guitar leads in support of Elzadie Robinson on "Elzadie's Policy Blues" and "Pay Day Daddy Blues." Returning to recording under his own name, a session, or sessions, held during September 1928 seemed to find Blake obsessed by women and the problems they were causing him, at times sounding lachrymal and despondent “Search Warrant”, “Back Door”, desperate “Walkin’ Across The Country” and positively violent as in “Notoriety Woman”, “To keep her quiet I knocked her teeth out her mouth, that notoriety woman is known all over the south”. The final number recorded that month, “Sweet Papa Low Down”, with its cornet, piano and xylophone accompaniment, evoke the kind of bouncy tune popular with practitioners of the Charleston dance craze. It was to be a further nine months before Blake recorded again, this time in company with pianist Alex Robinson. The five titles cut were of a far less suicidal nature than previous and on one number in particular, “Doin’ A Stretch”, his approach owed much to the style of Leroy Carr.




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Tampa Red Vol 1 1928 - 1929

Tampa Red, vocal, bottleneck slide guitar

With contributions by: “Georgia Tom” (Thomas A. Dorsey) vocal, piano; Forster & Harris, vocal; Madlyn (Red Hot Shakin’) Davis, vocal; Frankie “Half-Pint” Jaxon, vocal; Martell Pettiford, guitar; Herman Brown, kazoo, washboard; Carl Reid, jazzhorn, jug.

Genres; Country blues, Pre-war Chicago blues, hokum, blues guitar, blues piano, bottleneck slide guitar.

Informative booklet notes by Teddy Doering.
Includes detailed discography.

From this CDs booklet notes.
Through Train Blues was a strange one to kick off a recording career with and one cannot help but wonder if the gentle huffing and puffing of a tuba to fill out a bass rhythm was Tampa’s idea or that of someone else trying to be creative at the recording session for Paramount records. Either way, it kind of works, depending on one’s mood and at least it gets Tampa off the mark with some characteristic slide guitar playing and a song.

For the moment, that was it…, one side and no more! The recording was issued as a flip side to Blind Lemon Jefferson “How Long How Long” (Document DOCD-5019) maybe as a ploy to encourage the market to listen to Tampa. After four months Tampa was in the recording studio again but this time only as a session man for Foster And Harris (Ma Rainey’s Boys) as they played out The Alley Crap Game a performance which would be taken up by the two blues brothers from Georgia Robert “Barbecue Bob” Hicks and Charlie “Laughing Charlie” Hicks in 1930 with their “Dark Town Gamblin’ – Part 1 (The Crap Game)” (Document DOCD-5048). Dodging the ricocheting dices, Tampa provides a gentle slide guitar accompaniment and keeps out of the arguing between the two gamblers. Continued...




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Tampa Red Vol 2 12th January to 27th June 1929

Tampa Red, vocal, guitar, bottleneck-slide guitar.

The Hokum Boys: Tampa Red, vocal, guitar; Georgia Tom Dorsey, piano.
Tampa Red’s Hokum Jug Band: Tampa Red, vocal guitar; unknown, piano; Bill Johnson, stand-up bass; Herman Brown, washboard; Carl Reid, jazzhorn, jug; Frankie “Half Pint” Jaxon, vocal.
Gospel Camp Meeting singers: Vocal group; accompanied by Tampa Red, guitar; possibly Georgia Tom Dorsey, piano.
Lil Johnson, vocal

Genres: Blues, Blues Guitar, Blues piano, Hokum Blues.

Informative booklet notes by Teddy Doering.
Detailed discography.

From this CDs booklet notes.
The first session included here is a remake of a session that took place in December 1928. Why the original titles were not released, is not quite clear. Anyway, the January 1929 session showed a mixture of straight, low down blues and so-called “hokum blues”. This was to become Tampa Red’s trademark for the next three or four years. Following the success of “It’s Tight Like That”, Tampa Red and Georgia Tom recorded a couple of titles in mid-tempo with a refrain and double-entendre lyrics, often combined with a tongue-in-cheek-way of looking at things. (What about this as a definition for “hokum”?) On five titles we also hear Frankie “Half-Pint” Jaxon, an enigmatic singer, who fits perfectly in Tampa’s hokum concept. Continued...




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Big Bill Broonzy Vol 4 1935 - 1936

Big Bill Broonzy, vocal, guitar.

With contributions from: Black Bob, piano; Jazz Gillum, vocal, harmonica; Carl Martin, guitar; Zeb Wright, violin; Louis Lasky, guitar; and others.

Genres: Blues, Early Chicago blues, blues guitar, blues harmonica.

Informative booklet notes by Keith Briggs.
Detailed discography.

From this album's booklet notes.
Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill's first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. Continued...



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Big Bill Broonzy Vol 5 1936 - 1937

Big Bill Broonzy, vocal, guitar.

With contributions from: Black Bob, piano; Jazz Gillum, vocal, harmonica; Carl Martin, guitar; Zeb Wright, violin; Louis Lasky, guitar; and others.

Genres: Blues, Early Chicago blues, blues guitar, blues harmonica.

Informative booklet notes by Keith Briggs.
Detailed discography.

From this album's booklet notes.
Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill's first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. Continued...



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The Hokum Boys Vol 1 1929



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The Hokum Boys & Bob Robinson 1935 - 1937



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Too Late Too Late Vol 4 c. 1892 - 1937



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