BOOGIE WOOGIE / SOUTH SIDE CHICAGO
(Volume 5 and 6 of THE RIVERSIDE HISTORY OF CLASSIC JAZZ)
JIMMY YANCEY – MEADE LUX LEWIS – JOHNNY DODDS
FREDDIE KEPPARD – TOMMY LADNIER
Jazz Archives #100(12”)
Boogie Woogie (vol. 5)
WESLEY WALLACE: No. 29 (3:12)
JIMMY YANCEY: The Fives (3:02)
CRIPPLE CLARENCE LOFTON: Blue Boogie (2:51)
MEADE LUX LEWIS: Far Ago Blues (4:05)
ART HODES: South Side Shuffle (2:58)
PETE JOHNSON: Lone Star Blues (3:06)
South Side Chicago (vol.6)
JOHNNY DODDS and TINY PARHAM: Oh, Daddy (2:27)
FREDIE KEPPARD: Salty Dog (2:45)
BARRELHOUSE FIVE: Mama Stayed Out (3:09)
STATE STREET RAMBLERS: Careless Love (3:21)
LOVEI AUSTIN’S Blues Serenaders: Jackass Blues (3:04)
DOC COOK’s Dreamland Orch.: The Memphis Maybe Man (2:39)
That portion of the vast body of jazz that can properly be designated as “classic” makes up a rich and glorious musical heritage. It stretches over many years and much geography: from the work songs and Negro church music that preceded jazz; through ragtime and the early blues; through the great formative years of New Orleans jazz and the “Golden Age” of jazz in Chicago; embracing elements as diverse as barrelhouse “boogie woogie” piano and the music of the white Chicagoans; on through the romping rent-party piano men of Harlem; the birth of big-band jazz; up to present-day Dixieland and the “revivalists” who re-create and adapt the earlier styles.
All of this is copiously represented on records – but in many cases on records that have long been obscure, virtually unobtainalbe rareties. Riversie has, through its: Jazz Archives” series of reissues, made available much of this great traditional jazz. The History of Classic Jazz is in a sense the culmination of this unparalleled reissue program, using outstanding examples of the work of the greats (Louis, Basie, Bix, Fats, Jelly Roll and many others) and of numerous less famous but highly significant figures to build a vital panorama that reaches from pre-jazz to the present.
Each of the five LPs that make up the History is complete in itself, containing two unified “volumes.” But those who find this album a valuable and enjoyable listening experience will surely want to include in their jazz libraries its four companion LPs –
Backgrounds / Ragtime (Vols, 1 & 2): Blind Lemon Jefferson, Jelly Roll Morton, Scott Joplin, etc. (RLP 12-112)
The Blues / New Orleans Style (vols. 3 & 4): Louis Armstrong, Bessie Smith, Jelly Roll Morton, King Oliver, etc. (RLP 12-113)
Chicago Style / Harlem (vols. 7 & 8): Bix Beiderbecke, Muggsy Spanier, James P. Johnson, Fats Waller, duke Ellington etc. (RLP 12-115)
New York Style / New Orleans Revival (vols. 9 & 10): Red Nichols, Bunk Johnson, Kid Ory, George Lewis, Lu Watters, ets. (RLP 12-116)
*The original edition of the History of Classic Jazz is still available as a single complete five-LP unit, in a sealed, deluxe album package – Riverside SPD-11 – which also contains jazz histoiran Charles Edward Smith’s 20,000-word essay; “An Introduction to Classic Jazz.”)
WESLEY WALLACE: No.29. Piano solo. Chicago; 1929 (Paramount 12958: master number 184) Trains – signifying travel, separation hope of new opportunity – have always been favored subject matter for blues and boogie woogie numbers. This recording, on which a St. Louis pianist tells of a trip from Cairo to East St. Louis, has become a classic of its kind and a collector’s item.
JIMMY YANCEY: The Fives. Piano solo. Chicago; 1939 (Solo Art 12008; mx. No. R2418)
CRIPPLE CLARENCE LOFTON: Blue Boogei. Piano solo. Chicago; 1939 (Solo Art; not previously issued; no known master number)
MEADE LUX LEWIS: Far Ago Blues. Piano solo. New York; 1938 (Solo Art 12004; mx.no. R2096)
ART HODES: South Side Shffle. piano solo. New York; probably August, 1939 (Solo Art 12007; mx.no. R2198)
PETE JOHNSON: Lone Star Blues Piano solo. New York; probably April, 1938 (Solo Art; not previously issued; mx.no. R122)
These selections by five of the best boogie woogie pianists were recorded by jazz enthusiast Dan Qualey just before the “eight to the bar” music – a variation of the blues that originated in early-century Southern rural work camps and had flourished at Mid-Western rent parties during the ‘20s – surged into prominence as a nationwide craze. Self-effacing “Papa” Yancey is recognized as having been the leading performer of this style’s 1920s Chicago period, and mentor to now much more widely known figures – such as Meade Lewis, who (along with Albert Ammons) spear-headed boogie woogie’s late ‘30s rise to popularity. Johnson made his mark in the back rooms of free-wheeling Kansas City, later teamed with Ammons and Johnson. Lofton, a pianist of unsur-passedly savage drive who has become something of a living legend, can still be heard in obscure Chicago bars. Hodes, known also for his work in Chicago and Dixieland veins, is one of the very few white musicians to grasp and covey the full impact of boogie woogie.
South side Chicago:
JOHNNY DODDS and TINY PARHAM: Ohm Daddy. Clarinet and piano duet.Chicago; late 1926 (Para 12471; mx.no. 4332) Dodds, among the greatest of the New Orleans-style clarinetists, was a leading figure in the highly rhythmic, relaxed – and, eventually and undeservedly, virtually forgotten – jazz style that developed in Chicago’s Negro district in the 20s. Pianist Parham was best known as a leader of large club and theatre bands.
FREDDI KEPPARD’S JAZZ CARDINALS: Salty Dog #1. Freddie Keppard (cnt) Eddie Vinson (tb) Jimmy O’Bryant (cl) Arthur Campbell (p) Jasper Taylor (woodblocks) Vocal by “Papa” Charlie Jackson Chicago; Sept. 1926 (Para 12399; mx.no. 2653) Keppard, a “king” in New Orleans, was past his prime and rarely recorded in the Chicago period, but his power is, at least, strongly suggested on this version of Charlie Jackson’s jazz-classic song. (The “#1” designation distinguishes this particular rare ‘take’ from an alternate take, much more frequently reissued.)
BURRELLHOUSE FIVE: Mama Stayed Out. Natty Dominique (tp) Jimmy O’Bryant (cl) Jimmy Blythe (p) Jasper Taylor (drs) Chicago; 1928 (Para 12851; mx.no. 1414)
STATE STREET RAMBLERS: Careless Love. Roy Palmer(tb) Jimmy Blythe (p) inknown (bj) possibly Albert Bell (kazoo) Darnell Howard (cl, as) Jimmy Bertrnd (wbd) Vocal by Ed Hudson Richmond; March 13,1931 (Champion 16464; mx.no. CE 18622).
Two selections among many by South Side groups led by pianist Blythe, featuring a relaxed spirit and such odd instruments, on occasion, as washboard and kazoo. Stand-outs among Blythe’s colleagues included Dominique, a driving (if unpolished) horn man, and Palmer, a near-legendary veteran of the riverboats who played incredibly low-down, gutteral trombone.
LOVIE AUSTIN’S BLUES SERENADERS: Jackass Blues. Tommy Ladnier (cnt) Johnny Dodds (cl) uknown (tb) Lovie Austin (p) Chicago; April, 1926 (Para 12361; mx. no. 11096) A remarkable instrumental blues that allows the spotlight to be turned on two of the richest South Side talents: Dodds and Ladnier.
DOC COOK’S DREAMLAND ORCHESTRA: The Memphis Maybe Man. Freddie Keppard, Elwood Graham (cnt) Fred Garland (tb) Jimmy Noone (cl) Clifford King, Joe Poston, Jerome Pasquall (saxes) Tony Spaulding (p) Jimmy Bell (vln) Bill Newton (tu) Bert Green (drs) Richmond; Jan. 21, 1924 (Ge 5347; mx.no. 11731) Among the most notable of the several large orchestras of the period, probably because jazz greats like Keppard and clarinetist Noone, from New Orleans, were part of the lineup.
LP produced by BILL GRAUER and ORRIN KEEPNEWS
Notes by ORRIN KEEPNEWS
These recordings from source material either owned by Bill Grauer Productions, Inc. or exclusively controlled by special arrangement
Tape editing by RAY FOWLER. Re-mastered by Reeves Sound Studios
(The slight surface noise audible on several of these selections is due to the limitations of early recording processes; it has not been entirely removed in order to preserve highest fidelity possible and to give more faithful reproduction of original tone qualities.)
Cover designed by PAUL BACON
RIVERSIDE RECORDS are produced by BILL GRAUER PRODUCTIONS, Inc.
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