Blues in the Night...

Clockwise: Bessie Smith, Gertrude 'Ma' Rainey, Memphis Minnie, and Mamie Smith.

Normally, Saturday night is Torch night here at Soundtrack to my Day. But this weekend, I thought I would change things up just a little bit. I thought I would reach back to the same time I often do, but come out with a slightly different sound. Instead of the Jazz standards I often look to post, I went back to the 1920s and 30s, and went to the Blues. During that time, women were just starting to sing Blues, up until then reserved for men, at least according to the record companies. And I will start with a favorite of mine, the amazing Bessie Smith. I decided to share with you a sexy little number written by Clarence Williams, Dally Small, and Tim Brymn, and recorded by Bessie in 1931. I just find it too much fun, yet so delicious, in all the right ways. This is Bessie Smith singing "I Need A Little Sugar in My Bowl".

Next up, I am so happy to share with you the talents of one Gertrude Rainey. Early in her career, Rainey was billed as a 'Coon Shouter', referring to her style of Blues singing. She started recording in the mid-1920s, and quickly became a popular artist. But by the end of the decade, styles had changed, and Rainy was dropped by her record company. And while married, some of her songs had lesbian messages, and it was generally accepted she was a lesbian herself. She continued to tour the country, retiring in 1934 to her hometown. There, she ran two theaters. In 1939, she died of a heart attack. In 1923, Rainey began her recording career, her first single being "Bad Luck Blues". In 1924, Ma Rainey recorded "Honey, Where You Been So Long", released that same year.

Up third, we have a remarkable woman to be sure. Mamie Smith performed in vaudeville, using her talents as a singer, dancer, actor, and pianist to full advantage. But in 1920, Mamie did something no other African American woman had done to date. She made a Blues record, recording "Crazy Blues", and if being first weren't significant enough, the record went on to sell over a million copies in less than a year. This made it possible for other ladies, including the two above, to enter the recording studios. This is Mamie Smith with her impressive recording of "Crazy Blues".

Finally, the last entry is a woman I discovered for this post, Memphis Minnie. Born in 1897, Minne started playing guitar at the age of 8. She loved it, and when she turned 13, she ran away from home to play for money on Beale Street in Memphis. Soon she was touring with the Ringling Brothers Circus. When she returned to Beale Street, she tried to make it work as a musician, but as most woman knew, she wasn't being paid as much as the men, and needed to supplement her income with prostitution. Later in the 1920s, she recoded with her then husband, Kansas Joe McCoy. Together, they were quite successful, recording with several different record labels. They divorced in 1935, and the following year, Minnie released a new single, one she apparently related to all too well. This is Memphis Minnie singing "I'm A Bad Luck Woman".

Enjoy your weekend!

Carrying the Olympic Torch

Clockwise: Ella Fitzgerald, Jo Stafford, Bessie Smith, and Dinah Shore.

As the Winter Olympics are winding to an end, I thought about what songs might be sung to the athletes. After all, The Olympic Games have been around almost as long as there has been music. And since there is no greater honor than winning a gold medal, it was a no brainer for me to include Ella Fitzgerald singing "Lover's Gold". The song was written by Morty Nevins and Bob Merrill and appeared on Fitzgerald's 1955 album, 'Miss Ella Fitzgerald & Mr Gordon Jenkins Invite You to Listen and Relax'. Here is Ella singing "Lover's Gold".

And while there is always a discussion about who should play in the games, and how they should do it, I always think it is best to keep it simple. And so I thought it was only right to include the next song written by the great Irving Berlin for the 1914 musical, 'Watch Your Step'. "Play A Simple Melody" was also included in the soundtrack to the iconic movie musical, 'There's No Business Like Show Business'. In 1950, vocalist Jo Stafford sang the song with Paul Weston and his Orchestra recorded the song, and did a great job. Here is Jo Stafford singing "Play A Simple Melody".

The next song first was heard in the 1938 Broadway musical 'Right This Way'. "I'll Be Seeing You" had music by Sammy Fain and lyrics by Irving Kahal, and while the show was not a hit, the song proved to have great staying power. It quickly became a standard many were wanting to sing and record, for years to come. I thought this song would be a perfect choice, as something the athletes would say to one another, hoping to see one another again at the next Olympiad. I picked a version from 1957 by Dinah Shore, that has a wonderfully haunting feel to it. IT also shows off the wonderful range and depth of Shore's vocals. This is Dinah Shore singing "I'll Be Seeing You".

Now, while I have focused on the athletes, I saved this last one for the families of the men and women left at home. "Baby, Won't You Please Come Home" was a Blues song written by Charles Warfield and Clarence Williams in 1919, and it is a great song. But it wasn't a hit until 1923, when it was recorded and released by the great Bessie Smith. Smith was legendary for many reasons, but first and foremost was her ability to sing a song like few others could. She was the most popular female singer of the 1920s and 1930s, and had a profound influence on the singers that followed. Smith also had a live hard, play hard philosophy, which most likely added to her ability to sing the Blues. This is Bessie Smith singing her 1923 hit, "Baby, Won't You Please Come Home".

Have a great weekend!

The Big Hits of 1923

Clockwise: Wendell Hall; Paul Whiteman; Eddie Cantor; and Bessie Smith

When I was thinking about this Saturday night post, I decided I would deviate from the normal Torch-inspired songs and just go back in time. Randomly, I told myself 90 years, and went off to see what was all the rage in 1923. There was plenty of great music from which to choose, and I had fun listening and making up my mind. While I loved songs like "The Charleston", which brought no a dance craze, I went with four others that were popular, fun, or a little of both. And I will start with Wendell Hall, a man of many talents. He was an American country singer, vaudeville artist, songwriter, pioneer radio performer, Victor recording artist and ukulele player. While he became known for his interpretations of Stephen Foster Classics, I decided to go with his recording of "It Ain't Gonna Rain No Mo'" from 1923. Not only did he write and sing the song, Wendell also played the ukelele! Here is "It Ain't Gonna Rain No Mo'".

Bandleader Paul Whiteman and his Orchestra where known for being one of the most popular dance bands of the 1920s, it was also had to miss their recordings of of Pop and Jazz standards. During the 1920s and 1930s, many applauded his Jazz recordings, although later some questioned if he was doing little more that reinterpreting Jazz in a Pop format. However, in his autobiography, legendary Jazz great Duke Ellington said, "Paul Whiteman was known as the King of Jazz, and no one as yet has come near carrying that title with more certainty and dignity." Here I offer you his 1923 recording of "Felix The Cat", a composition by Alfred Bryan, Pete Wendling and Max Cortlander, inspired by the popular cartoon cat of the time. On the recording Skin Young handles the vocals.

The next song is not only a great one, it is also a rarity for the time. You see, it is a song written by two legendary Jazz ladies, and sung by another one! "Down Hearted Blues" was written by Alberta Hunter and Lovie Austin, both of whom had strong careers on their own. And it was sung by the then unknown singer by the name of Miss Bessie Smith. Of course, Bessie would go on to become an icon in Jazz and Blues, but was just beginning her recording career. Smith, had previously made a name for herself in vaudeville as a dancer, but was on her way to becoming one of the most popular singers of the time. And it all started with great recordings like "Down Hearted Blues".

When it comes to novelty songs, most disappear from your memory 10 minutes after first hearing them. However, there are some that live on way longer than anyone could have predicted. But there are a few that become a part of the Zeitgeist, and you can find yourself singing them at the oddest times. I cannot tell you the first time I heard the song "Yes, We Have No Bananas", nor could I even come close to remembering the circumstances. But I can tell you that I have sung the title and/or the chorus on many an occasion, both sober and not so sober. Perhaps I heard it in a cartoon, or maybe it was my parents singing it. The song was written by Frank Silver and Irving Cohn for the 1922 Broadway revue 'Make It Snappy', featuring the talents of Eddie Cantor. The song was sung by many people and went to #1 on the music charts in 1923, and stayed there for five weeks! Here is the recording of Eddie Cantor singing "Yes, We Have No Bananas".

Have a great weekend!

Jeffrey Johnson at the Black Fox Lounge

A few weeks ago, I had the pleasure of seeing yet another performer for the first time, something I just love. DC-based Jeffrey Johnson shared the billing with Tom Goss at the Black Fox Lounge. They put together Under The Covers, a show littered with some of their favorite songs, making for an eclectic playlist. And that would be clearly shows in my favorite selection by Jeffrey on the evening, Easy Money. I remember when Rickie Lee Jones released her debut album in 1979, cause I purchased it. This song along with Coolsville were my favorites from the album. Here is Johnson's wonderful performance.



Another favorite of mine was Jeffrey's cover of the Bessie Smith tune, Kitchen Man. There is a delicious and bawdy quality to the song, and Jeffrey delivers it perfectly, with a flirty wink reminiscent of vaudeville.



They also planned to duet on several songs, and this next clip is from one of those very special performances. The evocative and touching Why Should The Fire Die? by the folk band Nickel Creek. While the original had more of a Roots music feel, the aching in this version is palpable.



For more about Jeffrey Johnson, check out his official website at here. This evening, I will have clips highlighting Tom Goss' performance.