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| 3.801 Ft
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| 1. | Baby Won't You Please Come Home?
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| 2. | Gulf Coast Blues
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| 3. | Wild Cat Blues
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| 4. | Kansas City Man Blues
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| 5. | 'Tain't Nobody's Bizness If I Do
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| 6. | Everybody Loves My Baby
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| 7. | Mandy, Make Up Your Mind
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| 8. | Cake Walking Babies from Home
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| 9. | Papa De-Da-Da
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| 10. | Gravier Street Blues
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| 11. | Candy Lips (I'm Stuck on You)
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| 12. | Cushion Foot Stomp
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| 13. | Red Hot Flo from Ko-Ko-Mo
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| 14. | Church Street Sobbin' Blues
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| 15. | Wild Flower Rag
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| 16. | West End Blues
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| 17. | Organ Grinder Blues
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| 18. | In the Bottle Blues
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| 19. | Breeze (Blow My Baby Back to Me)
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| 20. | Whoop It Up
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| 21. | I've Found a New Baby
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| 22. | Worn Out Blues
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| 23. | He Wouldn't Stop Doin' It
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| 24. | Shout, Sister, Shout
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| 25. | Dispossessin' Me
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Jazz
His 25 Greatest 1923-1933
Clarence Williams - Jug, Piano, Vocals
Aaron Thompson - Trombone
Albert Socarras - Clarinet, Sax (Alto)
Arville Harris - Sax (Tenor)
Ben Whitted - Clarinet
Benny Moten - Clarinet
Bessie Smith - Vocals
Bill Beason - Drums
Bill Dillard - Trumpet
Bingie Madison - Sax (Alto), Sax (Baritone), Sax (Tenor)
Buddy Christian - Banjo
Buster Bailey - Sax (Soprano)
Cecil Scott - Clarinet
Charlie Irvis - Trombone
Cyrus St. Clair - Tuba
Don Redman - Sax (Alto)
Ed Allen - Cornet
Ed Cuffee - Trombone
Ethel Waters - Performer
Eva Taylor - Vocals
Floyd Casey - Washboard
Fred Skerritt - Sax (Alto)
Gene Rodgers - Piano
George Stafford - Drums
Goldie Lucas - Banjo
Henry Jones - Sax (Alto), Sax (Baritone), Sax (Tenor)
Herman Chittison - Piano
Ikey Robinson - Guitar
Jimmy Archey - Trombone
John Mayfield - Trombone
Justin Ring - Percussion
Leroy Harris - Banjo
Louis Armstrong - Cornet
Russell Procope - Clarinet, Sax (Alto)
Sidney Bechet - Sax (Soprano)
Spencer Williams - Performer
Thomas Morris - Cornet
Ward Pinkett - Trumpet
Wilbur DeParis - Trombone
* Laurie Wright - Photography
* Phil Duffy - Design
* Tim Debney - Audio Restoration, Remastering
* Vic Bellerby - Liner Notes
Afro-Creole-Choctaw-American pianist, vocalist, washboard percussionist, comedian, composer, producer, music publisher, accompanist, and bandleader Clarence Williams played a crucial role in the development of jazz and blues in New York City during the 1920s. Often using one-shot pseudonyms for his bands and combining players from New Orleans, St. Louis, Kansas City, and Chicago with the cream of Harlem's entertainment scene, Williams presided over an astonishing number and variety of blues and jazz recording sessions between the years 1921 and 1937. Williams had an uncanny ability to get his name onto other people's tunes as co-composer simply by virtue of having published the song in question. (Note for example that "Wild Cat Blues," 19-year-old Fats Waller's first important published song, has Williams' name inserted before Waller's.) On February 16, 1923, not long after settling in New York, Williams provided piano accompaniment for archetypal blues singer Bessie Smith (who had come to New York with Williams) on her very first session for Columbia Records. The inclusion of their rendition of Williams' own "Gulf Coast Blues" may be savored as a glowing example of the many dozens of accompaniments he provided for a large number of blues vocalists. The Blue Five sessions of 1923-1925 resulted in a series of records that are regarded by historians as cardinal achievements in early jazz. The presence of young Louis Armstrong and soprano saxophonist Sidney Bechet has kept these recordings in relatively perpetual availability for decades. Seasoned early jazz heads will also thrill to the sounds of cornetist Thomas Morris, trombonist Charlie Irvis, Buster Bailey playing soprano, and Don Redman blowing the alto sax. The other important presence on many of these sides is vocalist Eva Taylor, who had married Clarence Williams in 1921. This excellent compilation proceeds chronologically, featuring quite a number of washboard-driven ensembles, Williams' solo piano realization of his own "Wildflower Rag," a pair of duets he waxed with singer Ethel Waters, and the marvelous "In the Bottle Blues" with cornetist King Oliver, guitarist Eddie Lang, and percussionist Justin Ring, who spices up the proceedings with a small crash cymbal while using a gin bottle as a drum. Clarence Williams and James P. Johnson recorded "I've Found a New Baby" on January 31, 1931. This two-piano vaudeville routine, rich in humor as well as Harlem stride piano, is the flip side of the better-known and even funnier "How Could I Be Blue?," which can be found on Living Era's excellent James P. Johnson compilation, Carolina Shout.
--- 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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