Document Records - Vintage Blues and Jazz

Document Records Special Offers

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Big Bill Broonzy Vol 6 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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Big Bill Broonzy Vol 7 1937 - 1938

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 8 1938 - 1939

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Big Bill Broonzy Vol 9 1939

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 10 1940

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 11 1940 - 1942

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

Blind Joe Taggart Vol 2 1929 - 1934
Blind Joe Taggart CDs

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Rev Edward W Clayborn 1926 - 1928
DOCD-5155 Rev. Edward W. Clayborn (The Guitar Evangelist) 1926 – 1928 Rev. Edward W. Clayborn (The Guitar Evangelist), vocal, guitar. Genres: Gospel, Guitar Evangelist, Bottleneck-slide guitar. Informative booklet notes by Ken Romanowski. Detailed discography. The Rev. Edward W. Clayborn played an open tuned guitar, a simple and insistent alternating bass line, a melody confidently stated on the treble strings with a bottleneck and homespun, homiletic, lyrics which were the ingredients that combined to produce the success of Vocalion 1082, "Your Enemy Cannot Harm You (But Watch Your Best Friend)". Continued...

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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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Gospel Classics 1927 - 1931
Gospel Classics CDs

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Country Gospel 1946 - 1953

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Electric / Slide Guitar Gospel - Rev. Utah Smith & Rev. Lonnie Farris (1944 - 1964)
DOCD-5222 Electric / Slide Guitar Gospel; Rev. Utah Smith & Rev. Lonnie Farris (1944 – 1964) Rev. Utah Smith (The Traveling Evangelist), vocal, electric guitar. Rev. Lonnie Farris, vocal, electric steel “Hawaiian” guitar. Also includes; Rev. Le Vol Franklin, vocal, electric bass guitar. Rev. Grimes, washboard. Deacon McMillian, drums. Thelma William, vocal. Rev. Elliott Keyes, tenor sax. Genres; Gospel, Electric Steel “Hawaiian” Guitar Informateive booklet notes by Ken Romanowski. Detailed discography. One of the most animated of the post-war crop of gospel evangelists was Shreveport, Louisiana’s Elder Utah Smith.This evangelistic dynamo whose volatile guitar pyrotechnics are enough to distract a discerning listener from the fact that none of it is affected with a slide. The dynamic Hawaiian guitar of Reverend Lonnie Farris should be proof enough of the resilience and adaptability of modern gospel music. Continued...

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