Document Records - Vintage Blues and Jazz

Document Records Special Offers

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Blues, Blues Christmas Bundle

3 DOUBLE CDs of Festive Cheer

DOCD-32-20-09.Blues, Blues Christmas 1925 - 1955.
DOCD-32-20-15.Blues, Blues Christmas Volume 2.
DOCD-32-20-18.Blues Blues Christmas Volume 3 1927 - 1962.

Informative booklet notes for all volumes by Jeff Harris. Detailed discography


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Elder Curry & Elder Beck 1930 - 1939

Elder Curry and Elder Beck both were singing evangelists, solid instrumentalists (Curry on guitar, Beck on piano and trumpet), and with their fervent, stomping approach to a sort of blues-tinged gospel, they inadvertently prefigured rock & roll. Many have sited Curry’s 1930 recording of Memphis Flu (which features Elder Beck on piano) as the first glimmer of rock & roll, and with its relentless 4/4 drive and the energy of Curry’s clapping and foot-stomping congregation added in, it certainly rocks, although the message is a little sobering, as Curry tells his listeners in a fire-and-brimstone style that influenza is a manifestation of God’s wrath at sinners. Given that some 700,000 Americans died during the influenza outbreak of 1918/1919, the tone of Memphis Flu seems to lack any degree of compassion, but it is a fascinating song, full of an odd, contrary joy that seems to belie its intent, and it definitely gets your feet moving. This release from Document Records contains Memphis Flu as well as the rest of Curry’s recorded work, done for Okeh Records in 1930. Continued...


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The Unissued 1951 Yancey Wire Recordings

Jimmy Yancey, piano vocal.
Mama Yancey, vocal.
Includes Dick Mushlitz, piano (1 track)

 Genres: Blues piano, boogie-woogie piano.

Informative, 24 page, illustrated booklet, with booklet notes written by Dick Mushlitz.
Detailed discography.

We arrived at Yanceys sometime before midnight. It was still June 16. The party had probably been in progress for some time. Jimmy had been feeling ill for the past few weeks, and when we got there he was resting in the small bedroom just off of the living room where the piano was located, but he soon joined the rest of us. After being introduced to those whom we didn't know, Phil set up the wire recorder and, after asking for and getting an extension cord for the machine from Estelle, began recording. This CD contains all of what was captured on the wires that night.


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Mighty Day - 25 Gospel Greats (1928 - 1958)
Various Artists
Genres: Gospel
16 Page colour, illustrated booklet by Gillian George.
Detailed discography.
Includes "Mighty Day" by The Bessemer Sunset Four, featured in the film "Fun With Dick and Jane"
 
The Document catalogue can truly boast that it covers the birth and ensuing development of recorded gospel music. It is a fascinating musical journey. Yet despite the music's unwavering popularity for the last hundred years, it has not spawned the same magnitude of analytical literature, articles and papers, so beloved of the Blues and Jazz fans, that one can turn to for musical guidance in discussing its development as a definative musical genre. So, perhaps it is true to say that the Document Catalogue spans the earliest recorded religious black music with a formal feel of "Spirituals" to the later urban religious recordings that we would now call "Gospel". Continued...

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Big Bill Broonzy Vol 1 1927 - 1932

Big Bill Broonzy, guitar, vocal.

Including: John Thomas, guitar, speech; Frank Brasswell, guitar.; "Georgia Tom" Dorsey, piano; Steele Smith, banjo, vocal.

Genres: Country Blues, Country Blues Guitar, Hokum.
Informative booklet notes by Keith Briggs.
Detailed discography.

When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still "country" but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. Continued...


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Big Bill Broonzy Vol 2 1932 - 1934

Big Bill Broonzy, vocal, guitar.

With contributions by: probably Black Bob, piano; Steele Smith, vocal, banjo; Roy Palmer, trombone, Jimmy Bertrand, washboard; probably Charlie Jackson, banjo and others.

Genres: Pre-war Blues, Mississippi Blues, Chicago Blues, Blues Guitar, Jug Band.

Informative booklet notes by Keith Briggs.
Detailed discography.

From this album's booklet notes.
By 1932 Big Bill Broonzy had got the measure of the music business. He was well known in Chicago and, with his winning ways and talent, had become intimate with the leading musicians of his time and place and was laying down the base of the edifice he graced so easily in later years when he became a father figure for the post war blues. Continued..


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Big Bill Broonzy Vol 3 1934 - 1935

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 Earliest Negro Vocal Quartets 1894 - 1928

Various artists.

Genre; Vocal quartets, spirituals and secular. Acapella, or with guitar or banjo accompaniment.

Informative booklet notes by Ray Funk.
Includes detailed discography.

Before blues, before jazz, the tradition of black male quartets, four-part harmony singing by African Americans was an established tradition of richness and complexity. Little recognised, almost all of the earliest aural artefacts of music by African Americans were quartet selections. All known examples of these extremely rare recordings are presented on this collection. Several of these are the only copies of a particular artefact and the listener must appreciate that these recordings stem from the dawn of recording technology and many are in poor shape such as the only known surviving cylinder by the Standard Quintette, Keep Movin. The Standard Quintette who recorded several cylinders for Columbia in 1894 were active on the concert stage at the time. This is the first Nineteenth Century recording of African American music that has been recovered and is an event despite the fact that what music remains is buried under a great deal of surface noise. Continued...


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Guitar Evangelists 1928 - 1951

Various artists.

Genres; Guitar Evangelists, Gospel, Religious, Bottleneck Slide Guitar.

Informative booklet notes by Ken Romanowski.

Includes detailed discography.

Willie Mae Williams accompanies herself with adept and precise slide guitar on Don't Want To Go There and Where The Sun Never Goes Down, in the meantime cleaving to older principles. As does Brother Willie Eason, his gruff voice lending emotion to There'll Be No Grumblers There and I Want To Live (So God Can Use Me), his slide completing some of the vocal lines. Sister Elizabeth Phillips is impressively accompanied by Estis King's acoustic guitar, her music indeed 'A Little Old-Fashioned' but, a quarter century later, keeping faith with Benny Paris. Benny and Pauline Parrish were two blind religious singers originally from Woodcliff. It is likely that Blind Willie McTell was responsible for their session as he also recorded for Victor at that time and was somewhat of a pivotal figure in the area. Continued...


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Sinners & Saints 1926 - 1931

Various artsts.

Informative booklet notes by Paul Oliver.
Detailed discography.

Review by Burgin Mathews:

Document’s Sinners and Saints (1926-1931) presents the complete recorded works of nine artists and groups, whose combined repertoires and performance styles serve as a brief but fascinating lesson in the history of black music, expanding common conceptions of the musical continuum that created the blues. The CD presents minstrel and medicine show material, religious songs, two work songs, a few so-called “blues,” and a bad man blues ballad, exhibiting a wide scope of black musical traditions dating back to the 19th century and still in circulation during the 1920s and ’30s. The performers not only represent a variety of genres, but demonstrate highly individualized styles that reflect their own personal aesthetics as much as any traditional form. The tones of their offerings range from the bizarre and the mirthful to the plaintive and deeply spiritual; the total effect of the album is hilarious, dark, and genuinely moving. 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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Was 7.49
Our Price 5.49

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...

More Info >>
Was 7.49
Our Price 5.49

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