Heypally's 78 RPMs

Lillian Glinn - Columbia 14275 (1927)

From wikipedia...

Lillian Glinn (c. 1902 – unknown) was an American classic female blues and country blues singer and songwriter. She spent most of her career in black vaudeville. Her most popular recordings were "Black Man Blues," "Doggin' Me Blues" and "Atlanta Blues." The blues historian, Paul Oliver, commented that there are a number of women blues singers who "deserve far greater recognition than they have had" and that one such was Lillian Glinn.

Glinn was born in Hillsboro, Texas, United States, and later moved to Dallas.

She was first noticed singing spirituals in church by her future fellow performer Hattie Burleson. Under Burleson's guidance, Glinn became successful in vaudeville, and by 1927 was signed to a recording contract by Columbia. Glinn took part in six separate recording sessions in a two-year period up to 1929. She recorded a total of twenty-two tracks. Her speciality was singing slow blues ballads utilising her rich and heavy contralto voice. Her songs concentrated on the harsher side of life and sometimes included sexual innuendo. Her recordings gained her national recognition, and included her April 1928 recording of "Shake It Down". Her sessions took place variously in New Orleans and Atlanta, as well as her home base of Dallas.

The author and researcher, David Evans, noted that "it is quite likely that many of Lillian Glinn's blues without any listed composer were her own material. If so, she would be the exception among Columbia's female blues singers", he concluded.

Following this period of activity, Glinn retreated back to church based life, and moved to California where she married the Rev. O.P. Smith. Her future became distant from her previous professional career.

The date and place of her death and all other whereabouts remain unknown, although she was interviewed and photographed by Paul Oliver in 1971.

Lillian Glinn v / Willie Tyson p / Octave Gaspard bb / unknown g (Brown Skin Blues).

Recorded in Dallas on December 2, 1927.

Ethel Waters With Benny Goodman's Orchestra - Columbia 2853 (Blue Wax) (1933)

Ethel Waters v / Charlie Teagarden, Shirley Clay t / Jack Teagarden tb / Benny Goodman cl / Art Karle ts / Joe Sullivan p / Dick McDonough g / Artie Bernstein sb / Gene Krupa d.

Recorded in New York on November 27, 1933.

Tampa Red's Hokum Jug Band - Vocalion 1228 (1928)

Marcel Pettiford k, g / Thomas A. Dorsey p / Hudson Whittaker (Tampa Red) g / Carl Reid jug, jazzhorn / Herman Brown wb / Frankie 'Half Pint' Jaxon v.

Recorded in Chicago on October 31, 1928.

Peetie Wheatstraw Acc. By Kokomo Arnold - Decca 7228 (1936)

I never find these blues 78s in halfway decent shape...and this one is par for the course.

From wikipedia...

Peetie Wheatstraw (December 21, 1902 – December 21, 1941) was the name adopted by the singer William Bunch, an influential figure among 1930s blues singers. Although the only known photograph of Bunch shows him holding a National brand tricone resonator guitar, he played the piano on most of his recordings.

Born to parents James Bunch and Mary (Burns) Bunch, Wheatstraw is assumed to have been born in Ripley, Tennessee, but was widely believed to have come from Arkansas. His body was shipped to Cotton Plant, Arkansas for burial, and fellow musician Big Joe Williams stated that this was his home town.

The earliest biographical facts come from fellow musicians such as Henry Townsend and Teddy Darby who remember Wheatstraw moving to St Louis, Missouri in the late 1920s. He was already a proficient guitarist, but a limited pianist. He was commonly found entertaining audiences at a club called Lovejoy in the east St. Louis area or at a juke joint over a barbershop on West Biddle Street. By the time Sunnyland Slim moved to St Louis in the early 1930s, Wheatstraw was one of the most popular singers with an admired idiosyncratic piano style.

Wheatstraw began recording in 1930 and was so popular that he continued to record through the worst years of the Great Depression, when the numbers of blues records issued was drastically reduced. It was blues musician Charlie Jordan who broke Wheatstraw into the recording world, setting him up with both Vocalion and Decca Records in a duet entitled “Tennessee Peaches Blues” with an artist called Neckbones. The time following this first recording in August 1930 was especially prolific for him—he produced twenty-one songs in two years including solos like “Don’t Feel Welcome Blues,” Strange Man Blues,” “School Days,” and “So Soon.”, He made no records between March 1932 and March 1934, a period in which he perfected his mature style.

For the rest of his life, he was one of the most recorded blues singers and accompanists. His total output of 161 recorded songs was surpassed by only four pre-war blues artists: Tampa Red, Big Bill Broonzy, Lonnie Johnson and Bumble Bee Slim (Amos Easton). Among the clubs of St Louis and East St Louis his popularity was outstanding, rivalled only by Walter Davis. Despite rumours of his touring, there is little evidence that he worked outside these cities, except to make records.

Recorded in Chicago? on February 20 & 21, 1936.

Jim Jackson - Vocalion 1144 (1927)

From wikipedia...

Jim Jackson (c.1884 - 1937) was an African American blues and hokum singer, songster and guitarist, whose recordings in the late 1920s were popular and influential on later artists.

Jackson was born in Hernando, Mississippi, United States, and was raised on a farm, where he learned to play guitar. Around 1905 he started working as a singer, dancer, and musician in medicine shows, playing dances and parties often with other local musicians such as Gus Cannon, Frank Stokes and Robert Wilkins. He soon began traveling with the Rabbit Foot Minstrels, featuring Ma Rainey and Bessie Smith, and other minstrel shows.

He also played clubs on Beale Street in Memphis, Tennessee. His popularity and proficiency secured him a residency at Memphis's prestigious Peabody Hotel in 1919. Like Lead Belly, Jackson knew hundreds of songs including blues, ballads, vaudeville numbers, and traditional tunes, and became a popular attraction.

In 1927, talent scout H. C. Speir signed him to a recording contract with Vocalion Records. On October 10, 1927, he recorded "Jim Jackson's Kansas City Blues."

Jackson's first record, "Jim Jackson's Kansas City Blues, Part 1 & 2" (recorded 10 October 1927 for Vocalion Records) was one of the first, and biggest race hits. The song's melody line was re-used and developed by Charlie Patton ("Going To Move To Alabama") and Hank Williams ("Move It On Over") before emerging in "Rock Around The Clock", and its lyrical content presaged Leiber and Stoller's "Kansas City." The song contains the line "It takes a rocking chair to rock, a rubber ball to roll..." and is mentioned as one of the candidates to the First rock and roll record.

Janis Joplin later recorded a song she called "Kansas City Blues," singing "...goin' to Kansas City to bring Jim Jackson home."

Jim Jackson, v, g.

Recorded in Chicago on October, 10, 1927.

Bix & His Rhythm Jugglers - Decca 02206 (1925)

Celebrating Bix Beiderbecke's birthday today (3/10/14).

Bix Beiderbecke c / Tommy DOrsey tb / Don Murray cl / Paul Mertz p / Howdy Quicksell bj / Tom Gargano d.

Recorded in Richmond, IN on January 26, 1925.

Leroy Carr (With Scrapper Blackwell) - Vocalion 1241 (1928)

Click here for another Carr / Blackwell Vocalion from the same haul.

Leroy Carr v, p / Scrapper Blackwell g.

Recorded in Chicago on December 19 & 20, 1928.