Thanks for pointing me towards Whiskey Selling Woman. I have enjoyed Lucille Bogan s records for many years without coming across this one. How strange givenMessage 1 of 10 , Feb 3View SourceThanks for pointing me towards Whiskey Selling Woman. I have enjoyed Lucille Bogan's records for many years without coming across this one. How strange given its quality that it doesn't appear on many compilations of her work (or other compilations for that matter). The phrase (Bob's I think) that meant I HAD to seek it out was this one: "Each verse is treated like a variation on its own, with an evolutionary sense of brilliance throughout." Well put! It made me think of the really accomplished accompanists - Blind Blake's guitar backing to his own Police Dog Blues, for instance, where each instrumental break between his singing is unique. But it also made me go to my LP collection to find a track I had had similar thoughts about when I first heard it many years ago: Irene's Bakershop Blues by Wiley and Wiley [Irene and Arnold]. Arnold Wiley does similarly inventive things as he accompanies each verse with a new variation. Thanks, RedHotJazz.
Hello, I d like to contact Mike Meddings. If you have his email, please send it off-list. Cheers, AndrewMessage 1 of 10 , Feb 3View SourceHello,
I'd like to contact Mike Meddings.
If you have his email, please send it off-list.
For new every chorus in a blues/ barrelhouse accompaniment try Robert McCoy accompanying Peanut the Kidnapper c. 1937. I don t have the details to hand, butMessage 1 of 10 , Feb 4View SourceFor new every chorus in a blues/ barrelhouse accompaniment
try Robert McCoy accompanying "Peanut the Kidnapper" c. 1937.
I don't have the details to hand, but the accompaniment is startling resourceful.
I have seen reviews in which Delmark's CD of McCoy material was mis-described as a combination of the two LPs recorded by the enthusiast Pat Cather in the 1960s, when he had found McCoy.
Actually it's only the first of the LPs, with additional material from even later. Wonderful performer, of an Alabama piano school between Jabo Williams and Walter Roland, whose style he echoes on another pre-war recording. His recorded connection with Ms. Bogan, who achieved a startling stridency by singing fractionally off the note, seems to have been confined to playing piano on sides by a band under her name.
Alas no return for Charles Avery!
Robert R. Calder
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