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| 1. | Nobody But My Baby Is Getting My Love
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| 2. | Candy Lips
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| 3. | Cushion Foot Stomp
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| 4. | P.D.Q. Blues
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| 5. | Anywhere Sweetie Goes (I'll Be There)
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| 6. | Cushion Foot Stomp
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| 7. | Cushion Foot Stomp
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| 8. | Take Your Black Bottom Outside
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| 9. | Yama Yama Blues
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| 10. | (Norfolk) Church Street Sobbin' Blues
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| 11. | Sweet Emmalina
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| 12. | Log Cabin Blues
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| 13. | Shake It Down
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| 14. | Red River Blues
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| 15. | Walk That Broad
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| 16. | Have You Ever Felt That Way?
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| 17. | Mississippi Blues (Home Town Toddle)
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| 18. | Steamboat Days
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| 19. | In Our Cottage of Love
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| 20. | Lazy Mama
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| 21. | High Society
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| 22. | Whoop It Up
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| 23. | You've Got to Give Me Some
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| 24. | I've Got What It Takes
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| 25. | You Don't Understand
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Jazz
Clarence Williams - Piano, Vocals
Arville Harris - Clarinet, Sax (Alto), Sax (Tenor)
Bennie Moten - Clarinet
Buster Bailey - Clarinet, Sax (Alto)
Charlie Gaines - Trumpet
Clarence Lee - Vocals
Claude Hopkins - Piano
Cyrus St. Clair - Brass Band
Ed Allen - Cornet
Floyd Casey - Washboard
James P. Johnson - Celeste, Piano
King Oliver - Cornet
Margaret Webster - Vocals
* Alan Taylor - Remastering
* Gary Atkinson - Compilation
* Joe Moore - Liner Notes
* Kevin Witt - Graphic Design
Clarence Williams made his living as a music publisher, pianist, accompanist and organizer of recording ensembles during the 1920s and '30s. His variously sleepy, scruffy or gritty little jazz bands were usually driven by cornet, clarinet, tuba, jug and washboard players. Whoop It Up! is the Document label's first installment in a projected Clarence Williams retrospective presenting his best recordings grouped according to instrumentation. The star of this volume is Missouri-born washboard wizard Floyd Casey, who rustles up a good head of steam on each of 25 tracks recorded for the Okeh, Brunswick, Columbia and Victor labels during 13 sessions that took place between January 29, 1927 and November 19, 1929. Note that unlike many previous Document issues, great care has obviously been taken to remaster these old records so they sound practically new. For best results, go directly to track seven, the third and best rendition of the "Cushion Foot Stomp." Clarence Williams consistently brought together many of the greatest performers in early jazz. Present on this compilation are cornetists King Oliver and Ed Allen; trumpeter Charlie Gaines; reedmen Buster Bailey and Arville Harris; tuba wrestler Cyrus St. Clair and composer/pianist James P. Johnson. The jug blowers seem to have been saved up for a different specially focused chapter in this exciting historical reissue series.
--- arwulf arwulf, All Music Guide
Clarence Williams
Active Decades: '20s, '30s and '40s
Born: Oct 08, 1893 in Plaquemine, LA
Died: Nov 06, 1965 in New York, NY
Genre: Jazz
Styles: Classic Jazz
Although he was quite spirited playing jug, Clarence Williams was only a decent pianist and a likable but limited vocalist. However, he was also a talented composer, writing or co-writing dozens, of memorable songs like "Royal Garden Blues," "Everybody Loves My Baby," "West End Blues," "Sugar Blues," "Tain't Nobody's Business If I Do," and "Baby Won't You Please Come Home," and he was also a masterful organizer, responsible for scores of hot recordings issued under his name in the 1920s and '30s.
A superior businessman and an inventive hustler, Williams worked at all kinds of odd jobs in New Orleans, where he moved in 1906. He played piano in Storyville, always keeping aware of the latest hits from New York; he was a singer, dancer, and emcee with a minstrel show, and ran his own cabaret. He also co-ran a small publishing company with Armand J. Piron and soon realized its potential. Williams moved at first to Chicago, where he ran a music store, and then to New York, where he had great success with his publishing house. He composed songs, put together all-star groups to record them, and was also involved in selling sheet music of his hits; each activity helped the others. Williams managed some artists on the side, including Bessie Smith (whom he helped get started) for a brief time. Starting in 1923, he was also an A&R man for Okeh Records, and frequently accompanied blues singers.
A fascinating figure and one of the most successful black businessmen of the era, Clarence Williams had a real ear for talent. Among the more notable classic jazz musicians who appeared on his records (many of which were issued as being by his Blue Five or Blue Seven) were soprano saxophonist Sidney Bechet; trumpeters Louis Armstrong, Joe Smith, Bubber Miley, Tommy Ladnier, Louis Metcalf, King Oliver, Red Allen, and Ed Allen; trombonists Charles Irvis, Tricky Sam Nanton, and Jimmy Harrison; clarinetists Buster Bailey and Cecil Scott; flutist Albert Socarras; tenors Coleman Hawkins and Benny Waters; Cyrus St. Clair on tuba; drummer/washboard player Floyd Casey; pianists James P. Johnson and Willie "The Lion" Smith; and Eva Taylor (whom he married in 1923) on vocals. Quite remarkably, all of Clarence Williams' recordings as a leader have been made available by the Classics label on 14 CDs.
At the height of his power in the early '30s, Clarence Williams' importance waned as the decade continued and swing took over. After 1937, he only appeared on one final session (two songs in 1941), concentrating on the business side of music. In 1943, he sold his company to Decca and became a shop owner in Harlem. Williams was seriously injured when hit by a taxi in 1956 and passed away in 1965. The 1976 bio-discography -Clarence Williams by Tom Lord gives one an idea of his many accomplishments.
--- Scott Yanow, All Music Guide |
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