Great Record Labels: Document Records

[Ojai Sam]

Various Artists - Barrelhouse Women vol. 1 (1925-1930)

Five obscure artists introduce us to the bonhomie of barrelhouses and the joy of juke joints. With titles like "Blues Rode Me All Night Long", "My Man Is Somebody Else's Too" and "Did She Fall Or Was She Pushed?" you get the idea.

 

[Ojai Sam]

Joe Pullum - Complete Recorded Works In Chronological Order Vol. 1 (1934-1935)

Pullum's unusual high-pitched vocal style, recorded with just a piano for accompaniment, has been described as "ethereal". This makes for a notable contrast with his tales of debauchery and violence.

Wikipedia sez:

Pullum, an Alabama-born nightclub singer, was one of the more obscure blues stars. His major success was with his self-written song, "Black Gal What Makes Your Head So Hard?" (1934). It sold in large quantities and was covered by Leroy Carr, Skip James, Mary Johnson, Josh White, Bumble Bee Slim, the Harlem Hamfats, Smokey Hogg, Jimmie Gordon, and James Crutchfield. His subsequent recordings did not fare as well.

Pullum recorded four sessions, which yielded a total of 30 tracks, between April 1934 and February 1936. The tracks included two intended sequels to "Black Gal", but overall sales were modest. He relocated to Los Angeles, California in the 1940s, and he further interpreted "Black Gal" into "My Woman", accompanied by Lloyd Glenn, on Swingtime Records in 1948. He also reputedly recorded a demo with Specialty Records in 1953.

Although he was a gifted songwriter, few of his contemporaries seemed able to recall him.
Pullum died in 1964, aged 58, and was buried in Houston, Texas.

 

[Ojai Sam]

Alberta Hunter - Complete Recorded Works In Chronological Order Vol. 2 (1923-1924)

Alberta Hunter had a fascinating life story. From her early days singing in a bordello to her retirement and subsequent comeback after working as a nurse, Alberta showed amazing tenacity. Read about it here.

These Paramount sides from the early 1920's find Alberta forging a fusion between blues and jazz, backed by Fletcher Henderson, Fats Waller and Duke Ellington.

 

[Ojai Sam]

Margaret Johnson - In Chronological Order (1923-1927)

Bessie Smith is such a large figure that she tends to eclipse every other female blues singer of her era. That's a shame, because Bessie's blustery style was far from universal. Margaret Johnson represents a case in point. Little is known about her life, but she was popular enough to make 10 sessions in four years for major labels, including prestigious Victor. Margaret adopts a far more nuanced approach than Bessie, reflecting the fact that she performed on the vaudeville circuit. Some of the finest jazz musicians of the day recorded with her, including Louis Armstrong, Sidney Bechet, Clarence Williams and Bubber Miley. It is not an overstatement to say that Margaret Johnson was really the godmother of all female jazz singers.

on the Sam-O-Meter. Who'll Chop Your Suey (When I'm Gone)?

 

[Ojai Sam]

Alberta Hunter - Complete Recorded Works In Chronological Order Vol. 4 (1927-1946)

Since we're in a jazzy mood, let's hear again from Alberta Hunter accompanied by the likes of Lil Armstrong, Charlie Shavers, Buster Bailey and Eddie Heywood. This collection begins with nine standout sides on which Alberta is backed by the piano and organ of Fats Waller.

 

[Ojai Sam]

Rev. Emmett Dickinson - Complete Recorded Works (1929-1930)

Nothing is known about Reverend Dickinson but his small recorded output offers answers to important questions like "Is There Harm In Singing The Blues?"

Spoiler

The answer according to Rev. Dickinson is "no".

AMG sez:

Rev. Dickinson was obviously unafraid of going where no other preacher had gone before, particularly on a commercial record. Besides the blues, he candidly addressed other contemporary subjects of Southern black culture, from the numbers game to the "boogilie-woogilie," and euphemistically approached topics rare among other recorded sermons of the period, such as miscegenation and lesbianism.