Jilson Setters (J.W. Day) - Victor 40127 (1928)

Great write-up on Kentuckian Jilson Setters here.

Setters fiddle / Carson Robison g.

Recorded in New York on February 27, 1928.

Big Bob Kornegay - Herald 506 (1957)

Bob Kornegay recorded with:

Julian Dash Orchestra as 'Texas Bob' (Mercury)
The Du-Droppers (Red Roin, RCA Victor, Groove)
Back up for Big John Greer (RCA Victor)
The Dixiaires (Harlem)
The Bells (Rama)
? The 4 Loggers (Van Ryder)
The Ravens (Argo)
The Valiants (Joy)

...and on his own as Big Bob:

Benny Goodman & His Orchestra - Victor 25442 (1936)

Benny Goodman cl, dir / Gordon Griffin, Zeke Zarchy, Ziggy Elman t / Red Ballard, Murray McEachern tb / Hymie Schertzer, Bill DePew as / Arthur Rollini, Vido Musso ts / Jess Stacy p / Allen Reuss g / Harry Goodman sb / Gene Krupa d / Helen Ward v.

Recorded in New York on October 7, 1936.

Peetie Wheatstraw (The Devil's Son-In-Law) - Decca 7798 (1940)

When the blues meets jazz...

Peetie Wheatstraw v / Jonah Jones t / ? Lil Armstrong p / Sid Catlett d.

Recorded in New York on April 4, 1940.

Taskiana Four - Victor 20852 (1927)

Wonder if there is any relation between bass vocalist James Ricks here and bass vocalist Jimmy Ricks of The Ravens.

The Taskiana Four are:

Norman Allen tenor / Edward Foster baritone / Daniel Johnson tenor / James Ricks bass / Mike Jackson p (Dixie Bo Bo)

Recorded in New York on July 18, 1927.

Smiley Lewis - Imperial 5268 (45 RPM) (1954)

Recorded in January of 1954.

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.