Friday, January 13, 2012

MP3 Monologue 3 & 4 - Charleston Cabin; Mattie Hite

Since I have, so far, received no objections to these monologues, here are the 3rd and the 4th installments of this oral exploration of (some aspects of) St. James Infirmary.

A few years before "St. James Infirmary" entered the recording studio a song with completely different lyrics but using part of the SJI melody was popular. I wrote about this briefly in an earlier post. To listen to a (two minute) discussion of a precursor to the recorded SJI, "In A Charleston Cabin," click here: "Charleston Cabin" MP3

In 1930, within a day of each other, the smooth crooner Gene Austin and the blues singer Mattie Hite both recorded SJI. They borrowed the lyrics from Carl Sandburg's transcript, and each of them seemed to be insisting that the song should be in the public domain. To listen to something about them (three minutes), click here: "Mattie Hite and SJI" MP3

Monday, January 9, 2012

A Recommendation - Max Morath in concert!

I have mentioned the name Max Morath a couple of times in recent posts. His name will come up at least once or twice more in the near future because he is a really interesting individual with much to offer fans of "St. James Infirmary" and the period in which the song originated.

 Max has a DVD, available at places like eBay, that I watched this evening and which I recommend wholeheartedly. Morath is a well-known ragtime pianist, but is also a remarkable raconteur and performer. On this DVD, a one-man show recorded in concert in 1992, Morath is clearly in his element, talking, jesting, educating, playing, singing. I was utterly impressed with the way Max inhabits the songs he sings and plays. He knows how to get to the center of a tune, how to transcend the notes and get to the heart of the characters he sings about. It's been a long time since I have enjoyed so many belly laughs in such a short time (the film runs about 116 minutes). For a well-spent fifteen dollars, you will learn a lot about the popular music of the early 20th century, and thoroughly enjoy yourself in the process. A delight!

Friday, January 6, 2012

MP3 Another Porter Grainger Song: "Song From A Cotton Field"

I was going to post a 1927 recording by Porter Granger entitled, suitable for this time of year, "I Wonder What This New Year's Gonna Bring To Me." Unfortunately I have been unable, so far, to render a listenable mp3 from the 78 rpm record. So, instead I am posting this:

Back in November I posted a Porter Grainger song - one that, as far as I am aware, has never been made available since its release in 1927. Here is the other side of that record, "Song From A Cotton Field" as performed by "The Singin' Piano Man" himself, Porter Grainger. This one has a more serous lyric:

Ain't no use kickin' 'cause I'll be pickin'
'Til all my chillun is grown
By then I'll shuffle and skimp and scuffle
To have a field of my own

All my life I've been makin' it
All my life white folks takin' it
This old heart they jus' breakin' it
Ain't got a thing to show for what I've done done

What follows is a direct transfer, using my turntable, of a 78 rpm record that is 84 years old. What you hear has been saved at 128 kbps, which is the lowest sound resolution I find tolerable.

So, to hear The Singin' Piano Man" Porter Grainger, click on "Song From A Cotton Field" MP3

You can follow the full lyric in the post below.

Lyric: Porter Grainger's "Song From A Cotton Field"


Mmmmm mmmmm
Hay Hee Hi Ho Pickin' Cotton all day
Hay Hee Hi Ho Just a-pickin' away
The white folks knows I'm workin'
They knows won't be no shirkin'
Hee Hi Ho I knows I'll get my pay
Ain't no use kickin' 'cause I'll be pickin'
'Til all my chillun is grown
By then I'll shuffle and skimp and scuffle
To have a field of my own
All my life I've been makin' it
All my life white folks takin' it
This old heart they jus' breakin' it
Ain't got a thing to show for what I've done done
Things gets brighter and load gets lighter
So I'll keep a-pluggin' away
Sing my song like I'm happy and gay
All day
Jus' tell the world for me
My soul done set me free
That's the song I'll sing 'til they puts me under the clay
Ohhh chillun stop your grumblin'
No no, 'cause that's a block for stumblin'
Mmmm mmmm Jus keep on workin' and prayin'
You'll see that you'll conquer some day

Ain't no use kickin' 'cause I'll be pickin'
'Til all my chillun is grown
By then I'll shuffle and skimp and scuffle
To have a field of my own
All my life I've been makin' it
All my life the white folks takin' it
This old heart they jus' breakin' it
Ain't got a thing to show for what I've done done
But things gets brighter and load gets lighter
So I'll keep pluggin' away
Sing my song like I'm happy and gay
All day
Jus' tell the world for me
My soul done set me free
That's the song I'll sing 'til they puts me under the clay

Monday, December 19, 2011

"Stack O' Lee Blues" - the first sheet music (and more)

I have recently had some very interesting email exchanges with Max Morath, who I urge you to look into. I encountered him while ordering some sheet music that Mills Publishing produced back in 1924.

Irving Mills was, of course, Joe Primrose, pseudonymous and imaginary composer of "St. James Infirmary." Irving, along with his brother Jack, was also the proprietor of Mills Music, which early established itself as a purchaser and publisher of "blues" music. As I wrote in the book, I Went Down to St. James Infirmary, "Once it became clear to Irving and Jack Mills that there was money to be made from song copyrights, they were buying songs from black writers and reaping the profits from this newly popular musical form. . . . Musicians hoping to sell songs tramped the byways of Tin Pan Alley. They knew that if no one else would buy their songs, there was a good chance Irving Mills would."

As we know, Irving made a bundle off "St. James Infirmary" even though nobody in particular wrote it.

So I was intrigued when I saw this sheet music. This was the first time "Stack O' Lee" (or Stagger Lee, Stagolee, etc.) had been published, and I wondered if the Mills brothers were, back in 1924, attempting the same obfuscation they later performed with "St. James Infirmary." I mean, here was this old blues song, one that had arisen from the streets with no discernible original composer, being offered for sale as written by Ray Lopez and Lew Colwell. In fact, in a kind of synchronistic fashion, I had also been reading the recent book by Cecil Brown titled Stagolee Shot Billy (Harvard University Press, 2003) - an account of the history of the Stagolee song. Colwell wrote that, "In 1924 songwriters Ray Lopez and Lew Colwell published a sheet-music version called 'Stack O' Lee Blues.' This fact alone attests to the popularity of the song." (p 135).

I was surprised to find that this original publication of the "Stack O' Lee" song had almost nothing to do with its title. It is a silly dance tune which only mentions its supposed protagonist in the chorus: "Stack O' Lee Blues I don't know what it means. Come on honey let's be stepping, 'cause my feet won't keep still, I've just got to dance until I've had my fill. Stack O' Lee Blues. Play it over for me, I go crazy when I hear it, anywhere I may be, I long to hear them play that Stack O' Lee."

Here are some other lyrics: "Eeny, meeny, miney mo, they'll play some more, now let us catch a nigger by the toe, one more encore. We've got to left foot, right foot, hop and skip, Oh Lordy! hear that tune, ain't that a pipp . . ."

Oh dear me.

So, while this sheet music for Stack O' Lee wasn't an out-and-out ripoff, at least one of the authors had a history of entanglement in copyright issues. As recounted by one of the best music sites on the Web, www.redhotjazz.com, Ray Lopez had tried to copyright what is generally recognized as the first jazz record, "Livery Stable Blues," later known as "Barnyard Blues." The Original Dixieland Jass Band had neglected to copyright their smash hit, and Lopez scrambled to profit from it - although testimony showed that the Dixieland Jass Band had based their song on one of Lopez's earlier compositions.

Songwriting was like gold and prospectors everywhere were hoping to profit from it.

Here is the score for "Stack O' Lee Blues" as published in 1924. The pages should enlarge if you click on them.





Tuesday, December 13, 2011

MP3 Monologue 2 - The "Let Her Go" Verse

Well - as you can see from the comments section of the previous entry, the response to my question, "Is anyone interested in hearing more?" is a resounding "YES!" In fact 100% of respondents voted this way.

So, dear listeners, here is part two of this blog's SJI audio monologue series. In this episode, continuing where we left off, we consider some - and I emphasize "some" - of the history of the "Let Her Go" verse in SJI. It's about three minutes long. To listen, click on the following: "Let Her Go" MP3.

Next time, we'll take a break from these aural discussions and look at something else entirely.

Wednesday, December 7, 2011

MP3 Monologue - Carl Sandburg and "Those Gambler's Blues" (aka "St. James Infirmary")

I am trying an experiment here. A little over two years ago a writer/broadcaster/music-historian asked me to record some monologues about "St. James Infirmary" for a possible radio show. I wound up recording sixteen entries, ranging in length from five minutes to one minute. Topics covered such areas as a history of the "Let Her Go" verse, Fess Williams, Don Redman & Louis Armstrong, The Hokum Boys, Irving Mills, and, of course, the significance of SJI.

The show, to my knowledge, was never produced, and having heard nothing lately I doubt it ever will be. So I have decided to post one, a few, or all of my entries on this blog.

First, though, I want to see if there is interest in this endeavor. I am including the first of those recordings: musings on Carl Sandburg's 1927 book of traditional songs, The American Songbag, which featured the first publication of "Those Gambler's Blues" (and which, as you know, would later become "St. James Infirmary"). This is, at five minutes, by far the longest of the entries. Is anyone interested in hearing more?

To listen, don your headphones and click on: "Monologue on Carl Sandburg and Those Gambler's Blues" MP3

Monday, December 5, 2011

MP3 problems??

I have recently discovered that, because of reorganization at the site I store the MP3 files for this blog, none of the music links were working. I have recently renewed those links and think I managed to find and fix them all. If you know of any MP3 files that still don't work, please let me know.

Monday, November 28, 2011

Max Morath and St. James Infirmary

This illustration is a detail from a painting by the author
Not long ago, in my continuing research into SJI, I bought some sheet music on eBay. (More about that in an upcoming post.) When the vendor informed me that the sheet music was on the way I wrote back, I don't know why, and told him the reason I had purchased the music. We've enjoyed a few email correspondences since then. He once told me, in passing, that "I forgot to mention that I recorded Porter Grainger's Ain't Nobody's Business...for George Buck's SoloArt label back in 1994. I re-wrote it a bit." Recorded? I looked into that, and lo and behold there he was on emusic, and any number of websites, many devoted to ragtime piano. That's when I found out I was chatting with the Max Morath, who Wikipedia introduces like this: (He) "is an American ragtime pianist, composer, actor and author. He is best known for his piano playing, and is referred to as 'Mr. Ragtime'. He has been a devoted and prolific performer, writing several plays and productions, as well as being variously a recording artist, actor and radio and television presenter. Rudi Blesh billed Morath as a 'one-man ragtime army' . . ."

Max, I found out, has quite a presence in places like amazon.com and eBay - by which I mean he has recorded a lot, written some books, and so on. He seems a tireless fellow who also, I venture to say, feels a primal connection to music of the early SJI period. Max sent me the following delightful anecdote about playing SJI:

Years ago I was working with a melodrama company in Phoenix. After the show I'd stay late at the piano doing requests, hustling the drunks for tips. One night a well-dressed guy staggered over and asked me if I knew St James. I said yes, and sang two choruses -- "I went down..." and "Let her go...etc." He was ecstatic. "Nobody knows that song.!" He stuck a five dollar bill in my cup, (a huge brandy glass) and said he'd give me another five for every other verse I knew. I didn't know ANY more, but I figured by then I knew my donor well enough (and he was blotto enough) that I could increase my evening's net considerably if I took my time and used my imagination. . So I MADE UP three more verses on the spot. I have no idea what they were, but he kept the fives coming!  I venture to say we were both happy.

I'd love to have been there!

Tuesday, November 22, 2011

MP3 Porter Grainger Song: "Nothin' But A Double Barrel Shot-Gun ('S Gonna Keep Me Away From You)"

As promised on a posting eight months ago, I am uploading an MP3 of a song Porter Grainger recorded on October 4, 1927. I have found this nowhere on CD (or anywhere else, for that matter).

I set up my old Revolver turntable, connected it to a USB interface and transferred the original 78 rpm recording to my hard drive. I did try to remove some of the scratches and other noises, but decided against it as the result was worse than you will find here.

So here is Porter Grainger, the composer of "Dyin' Crapshooter's Blues," here billed as "The Singin' Piano Man," performing his composition (click on the title) "Nothin' But A Double Barrel Shot-Gun ('S Gonna Keep Me Away From You)" MP3. You can read along if you want - the lyrics are in the post below.

Lyric: Porter Grainger's "Nothin' But A Double Barrel Shot-Gun ('S Gonna Keep Me Away From You)"

I'm mad, I'm mad today
I can't see nothin' but red
So mad yes I'm sad today
I'd just as doggone soon be dead
My gal just said she was through with me
She didn't even say what for
I know there'd been some dirty work,
So here's what I says to her

T'ain't nothin' but a double barrel shot-gun
Gonna keep me away from you
Now sister you'll think I'm the Battle of Bull Run
If you quit me like you said you'd do
Now listen: Even if I didn't want ya'
Just get this under your hat
Ain't nobody else gonna have ya'
So momma that's that
'Cause nothin' but a double barrel shot-gun
Gonna keep me away from you

Now I'm mean and I'm evil
As a jealous man can be
When it comes to a piece of furniture
What belongs to me
And I don't mind no funeral
'Cause I ain't scared to die
And I couldn't be no different
If I doggone try

Neither lightnin' nor thunder don't scare me a bit
Bring on your six-shootin' pistols
I ain't even bothered about it
I'd just take my bare hands and hit a lion on his jaw, grrrrgh
I ain't even scared of a mother-in-law, no sir
Now I'll fight a nest of hornets with four rattlesnakes throwed in
I'll grab a tiger by his whiskers and I'll smack him on his chin
But two long steel barrels with its triggers pulled back
Make me run clean on down the railroad track, yessir
But nothin' but a double barrel shot-gun
Gonna keep me away from you

Friday, November 18, 2011

A.L. Lloyd and SJI

This interesting illustration accompanied Lloyd's article in Keynote Magazine, 1947.
Well, it feels good to be back on this SJI blog. I have been so busy over the past year renovating the small house Pam and I now live in, here in remote Southern Saskatchewan, that I have had no time to pursue much in the way of other interests. The main house, at a little over 800 square feet, is too small to comfortably accommodate visitors, and so I have worked hard over the summer to turn a shed into a comfortable living area. But winter is descending, the temperature today is -15C (5F), and it is too cold for me to work on further renovations to the small cabin which will eventually serve as our guest house. And so here I am, back at I Went Down To St. James Infirmary, after a pretty long absence.

Correspondent Alan Balfour (thank you Alan!), from the UK, recently wrote a comment on this blog mentioning that he has a copy of the original article that the revered music historian, A.L. Lloyd, wrote for the January, 1947 edition of Keynote: The Music Magazine. Although I had tried, I was never able to find the original article, but did read it through secondary accounts. Alan sent me scans of the original document.

Now, I have to emphasize that this article was a pivotal event in our understanding of the history of "St. James Infirmary." Written twenty years after the song was first recorded (and who knows how many years after it first appeared), A.L. Lloyd crystallized the notion that "St. James Infirmary" was a direct descendent of the much older song "The Unfortunate Rake." According to Lloyd "The Unfortunate Rake" also gave rise to the archetypal cowboy song "Streets of Laredo" (aka "The Cowboy's Lament," etc.) as well as to "St. James Infirmary." Since then the history of SJI has been traced, with nary a doubt, from "The Unfortunate Rake" to "Streets of Laredo" to "Saint James Infirmary."

Re-reading this article I was again struck by Lloyd's peculiar logic, for he concentrates on the relation (which is, I am sure, indisputable) between "The Unfortunate Rake" and "Streets of Laredo." Then, through some process of, uhm, magical thinking, inserts "St. James Infirmary" into the mix with very little in the way of transitional or supportive argument. Even so, this is the moment that SJI became fixed in history as a direct descendent of "The Unfortunate Rake."

But A.L. Lloyd was mistaken.

Wednesday, March 23, 2011

1927 Porter Grainger songs

I've just received a 78 rpm record by Porter Grainger with side A titled, "Nothin' But A Double Barrel Shot-Gun ('s Gonna Keep Me Away From You)," and side B titled, "Song From A Cotton Field." This is OKEH 8516, and so recorded October 4th, 1927. That's the same year his "Dyin' Crapshooter's Blues" was recorded.

On the label of this record Grainger is called "The Singin' Piano Man." I plan to transfer these two songs into MP3 files, but we're still a little unsettled here in Saskatchewan. I've been busy renovating our new home while we live in friend James Page's house (aka Wild Prairie Man), and expect to move in in a couple of weeks. Then, once Pam and I get the study set up, and I'm able to find my trusty Revolver turntable, I will be able to, first, listen to this recording and then post it on this site. Meanwhile, if anyone has any information about these tracks we shall, of course, more than welcome your comments!
Inquiries into the early years of SJI