Conference turris::womannotes-v5

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Sunday, March 02, 1997 9:15 PM
To: 	Multiple recipients of list BLUES-L
Subject: 	Women's History Month w/a blues edge...

March is officlally recognized as  "Women's History Month" and what better
way to celebrate then by highlighting some of the women of the blues. Women
have vastly contributed to this music we love.  This being so, they are often
"missing in action" when it comes to being adaquetly represented in past and
even present publications, musical anthologies, etc.

Although unsolicited, during this month, I plan to briefly highlight a woman
blues artist daily.  This will include historical as well as contemporary
musicians and even including women who _write_about the blues.  In
researching my book project (interviews with contemporary blues women) , I
have been very lucky to speak with some fascinating ladies and I am thrilled
to share.

I hope this will enlighten, entertain_and_encourage you to support blues by
women artists!

Thanks...

Lea Gilmore
Baltimore, MD
(Looking for a new, cool "signature"! :-)

*To Steve Levine: Sorry!  I am still dealing with this post-pheumonia crap
and singing is not what I am doing best at this time.  Hope all went well!
:-)

I miss ya Dick...

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Monday, March 03, 1997 10:56 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	"Memphis Minnie" - Women's History Month

<"Memphis Minnie" is the first of several blues women  I will profile during
Women's History Month !   All biographical and discographical information is
excerpted from the _brilliantly_written book WOMEN WITH GUITAR: MEMPHIS
MINNIE BLUES by Paul and Beth Garon.  This is an EXCELLENT and thoroughly
researched book that I highly recommend. >

Memphis Minnie was born in Algiers,Louisiana  June 3, 1897 to Abe and
Gertrude Douglas.  She was the oldest of 13 children.  Minnie's given name
was "Lizzie Douglas."  She didn't care for it much and eventually became
known professionally and personally as Memphis Minnie.

The blues of the infamous Beale Street drew Minnie "up north" to Memphis.
Beale Street and most blues clubs could be rough places.  Johnny Shines
recalls,
" Any men fool with her she'd go right after them right away.  She didn't
take no foolishness off them.  Guitar, pocket-knife, pistol, anything she get
her hand on she'd use it; y'know Memphis Minnie used to be a hell-cat...."
(Garon, pg. 15)

The Garons, state, "Minnie was among the first twenty performers to be
elected to the Hall of Fame in the inaugural W.C. Handy awards in 1980 and
she won the top female vocalist award in the first Blues Unlimited Reader's
Poll in 1973, finishing ahead of Bessie Smith and Ma Rainey...Many blues
artists date an entire era in their lives by referring to her.  As Koko
Taylor said. 'the first blues record I ever heard was ME AND MY CHAUFFEUR
BLUES, by Memphis Minnie'  " (Garon, pgs. 3-4)

Minnie is perhaps the most famous female country blues artist of our time.
 Her songs were about the "hard times", the "happy times" and the "love
times."  She wrote and recorded hundreds of songs.  Among them, "Bumble Bee
Blues,"  "You Got to Move,"  "Hole in the wall" and many more.   Muddy
Waters, Chuck Berry, Johnny Shines, Big Mama Thorton among the many diverse
artists who  have counted her as being one of their main influences.

The Garons so effectively say, " Memphis Minnie, a black working-class woman,
called no man master, defied gender stereotyoes and exemplified a radically
adventurous life-style that makes most careers of the '20s and '30s seem dull
by comparison."

Minnie died in 1973.

To learn more about Memphis Minnie and for a complete discography, please
read WOMEN WITH GUITAR: MEMPHIS MINNIE BLUES by Paul and Beth Garon,
published by Da Capo Press * New York.

FYI
Did ya know...that the first ever blues recording was "Crazy Blues," recorded
in 1920 by Mamie Smith?

Lea Gilmore
Baltimore, MD

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Tuesday, March 04, 1997 6:36 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Ida Cox (Women's History Month)

<This is the second woman blues artist to be highlighted during Women's
History Month>

IDA COX!  Ms. Cox,  one of the "Classic Blues" female performers of the
1920's, was often billed as "The Sepia Mae West" and "The Uncrowned Queen of
the Blues."  Married three times (all three were musicians - go figure? :-),
Ida was known as  "sexy and red hot" by her many male admirers.  Quoting an
unknown gentleman, "she used her full hips to sink ships...."

Born  Ida Prather in Tocca, Georgia in 1896 (the same year as the infamous
Plessy vs. Fergurson U.S. Supreme Court case making "separate but equal" the
law of the land"), her family moved to Cedartown, GA where the young Ida soon
became interested in music.  She sang in the church choir  at the local
African Methodist Church.  She later ran away from home and joined the "White
& Clark, Black & Tan Minstrels (as a black-face "Topsy") working with the
theatre circuit until 1910; toured with the Rabbit Foot Minstrels (of "Ma
"Rainey fame) and finished her touring  during that period of her life in her
late teens with the Florida Cotton Blossom Minstrels.

After trying to "play it straight" as the manager of a hotel in Macon, GA,
she found the music again in 1920 performing with influential jazz musician
Jelly Roll Morton.  Ida toured throughtout the south; working with Bessie
Smith; touring in her own show revue entitled "Raisin Cain" and recording
sides for Vocalian records; recording such songs as: "Bama Bound," Love My
Man Better Than I Love Myself," Lawdy Lawdy Blues" and many many more.

Ida Cox died in 1967 of cancer in Knoxville, TN.  In 1976, Chris Hillman of
"Storyville Magazine" states, "Ida Cox (combined) the poise and the artistry
of vaudeville with the passion of the blues and with an armour plated
cynicism of her own."

To find out more about Ida Cox, please read BLACK PEARLS, by Daphne Harrison.
 This book explores the lives of the  1920's "Classic Blues" singers (more
about these interesting women later!).
You can ask your local record store for information on how to get her
recordings of Ida Cox which are on CD or contact The Blues Archives at the
University of Mississippi in Oxford.

FYI:
From a fabulous web site that I highly recommend at
http:///www.island.net/~blues/women.html  - "Women of the Blues"

 Blues Women also employed the bragging, signifying language of males to
boast of fine physical attributes and high powered sexual ability.  In these
blues are found metaphors that liken automobiles, foods, weapons, trains and
animals  and use these as double-entendres.  These red hot mamas brag about
sexual moves and for example,  Lil Johnson tells her man to move on because
he ain't much of a partner:

                          " Back your horse out of my stable, back him out
fast,
                             I got another jockey, get yourself another mare.
                             Now, you can't ride, honey, you can't ride this
train,
                             I'm the engineer, I'm gonna run it like a
Stavin' Chain."
                                              "Stavin Chain" Lil Johnson,
Copulating Blues
                                                                   (Page 2 of
5, Women of the Blues)

Wow!  I had to sing this song entitled "Handy Man"

"He shakes my ashes, grinds my griddle,
Churns my butter and strokes my fiddle.
My Man is a Handy Man...."

This song was recorded (written?) by Alberta Hunter (tomorrow's profile!).  I
find myself to be a pretty "open" lady, but those lyrics even made_me_blush!
(and if any of you know what I look like, you know that is quite an
accomplishment. :-)

Lea Gimore
Baltimore, MD
(Still looking for a cool "signature".  Any suggestions? :-)

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Wednesday, March 05, 1997 6:55 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Alberta Hunter (Women's History Month)

<This is the third profile of blues women for Women's History Month (WHM).
 Reminder: I will also be profiling current (those ladies out there singing
their hearts out *now*!)  and "obscure" performers for the remainder of the
month of March>

ALBERTA HUNTER is one of my personal favorites.  She personified "energy."
 Her life directly reflects that as my grandmother use to say "Lord willing
and the creek don't rise..." you are never too old to follow your dream.

Alberta was born April 1, 1895 in Memphis, TN to Laura Peterson and Charles
Hunter. She was one of four children and frequently sang at local concerts as
a child.  While still a child, her family moved to Chicago, IL where she was
saturated with "good time" music and the life that surrounded it.

During the late teens and 1920's Alberta performed at a feverish pace.  In
1922 she replaced Bessie Smith in the musical comedy HOW COME; 1924 she
recorded with Louis Armstrong's Red Onion Jazz Babies; 1927 she performed her
cabaret act in London, England to rave revues; 1928 she appeared with Paul
Robeson and Edith Wilson in the London production of SHOWBOAT; in 1929 she
headlined The Cotton Club in Paris and on and on and on.

Alberta sings a song she wrote, "I Got a Mind to Ramble and I Just Don't Know
Where to Go."  She _knew _where she was going when it came to her music.
 Alberta was a prolific and very talented song writer.  She knew how to turn
a phrase.  Some of her songs include: "I  Want a, Two-Fisted, Double-Jointed,
Rough and Ready Man" (well, Like I said, she_knew_what she wanted:-),  "You
Got to Reap Just What You Sow," "Amtrak Blues,"  " I Got Myself a Working
Man," "Now I Am Satisfied, " "Down-Hearted Blues" and so many more.  She was
a brilliant lyricist with a great sense of humor and just a  touch (sometime
a big touch!) of "naughtinesss" thrown in for good measure.

During the 1949's, Alberta was awarded the medal for MERITORIOUS SERVICE for
her work with the USO.

After WWII,  Alberta gave up "the biz" to take care of her mother who was
quite sick at the time.  At the age of 59, Ms. Hunter enrolled into a
practicle nursing program in Harlem.  She worked for 20 years as a nurse.
"She lied about her age as a youngster and she lied about it for reverse
reasons and began a new career at an age when most people retire. Many
friends urged her to perform again but she stoutly refused, saying her life
was dedicated to helping others." (Harrison, BLACK PEARLS, BLUES QUEENS of
the 1920's)

At the age of 81, Alberta Hunter retired from nursing (many of her colleagues
thought she was 61!) and in 1977 returned to the stage.  She was feisty and
fearless, wowing audiences around the world.  She received world-wide acclaim
and the recognition she so deserved.

I"Her blues was fine and mellow or low-down and gutsy, demonstrating her
versatility
...If she ever had the blues (and who has not), she sang them right into the
ground and kept on moving until her death in the summer of 1984." (Harrison)

In 1957, Barry Ulanov in the book "A Handbook to Jazz" states that Ms. Hunter
was  " perhaps the most influential of all American blues singers in
Europe..."   I say, not only in Europe - she was a *true* pioneer of the
music and should be recognized as such.

I HIGHLY recommend that you take a listen to Alberta Hunter.  You will be
hooked for sure!

Tommorrow: Sara Martin

Lea A. Gilmore
Baltimore, MD
"I got a mind to ramble and I just don't know where to go."

Unfortunately, the profiles of the blues women this month are not exaustive,
but I hope they will be the catalyst for you to just "take a listen" to some
great, but often ignored music.  I do _not_ profess to being a  historical
scholar (at least, not yet!:-) , so if you real historicals scholars would
like to add more, I greatly appreciate it!

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Thursday, March 06, 1997 7:53 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Sara Martin (WHM)

<This is the fourth profile of blueswomen during Women's History Month.  I
hope you are enjoying reading about these great ladies as much as I enjoy
writing about them!>

SARA MARTIN is mostly identified as being a pioneer gospel singer who worked
with Thomas Dorsey (Once known as "Georgia Tom" a blues pianist  (who I
believed performed regularly with "Tampa Red?") and later referred to as "The
Father of Gospel Music;" He is the writer of one of the most popular gospel
songs of all times "Precious Lord.").  Like Mr. Dorsey, Sara started her
career in the blues.

Born in Louisville, KY to William Dunn and Katie Pope in 1884, Sara
eventually moved north to form her own singing act working the vaudeville
circuit outside  of Chicago, IL.

In 1922, she with Fats Waller (of "Ain't Misbehavin' fame) on the T.O.B.A.
circuit (sarcastically and humoursly referred to as being the "Tough On Black
As--" circuit), toured together and wowed the mostly black and southern
aucdiences. In 1923 she toured with the W.C. Handy Band and worked
extensively  throughout the South, Mid-West and Texas. She recorded on the
Okeh and Columbia labels.

Sara was also an accomplished musical theatre performer, appearing in 1927
with Eva Taylor in the musical comedy BOTTOM LAND at the Savoy Theatre in
Atlantic City, NJ.  The same year she appeared in the film HELLO BILL and
toured in William Benbow's GET HAPPY FOLLIES Revue working theatres in Cuba
and Jamaica.

Some of her songs include: " Can't Find Nobody to Do Like My Daddy," Good Bye
Blues," "Sad and Sorrow Blues," "I'm Gonna Hoodoo You,"  " It's Too Late Now
To Get Your Baby Back," "What More Can A Monkey Woman Do?" and many many
more.

By 1931, Sara worked mostly with Thomas Dorsey in local church/gospel
activities in Chicago, IL.

From 1932 on, Ms. Martin worked mostly outside of music in New York City.
 Later in her life, into the 1940's, she owned and operated a private nursing
home back in her hometown of Louisville, KY.  Sara Martin died of a stroke in
1955.

During her career in the blues, she was billed as "The Blues Sensation From
the West."  Brian Rust (Swaggie album S-1240) calls her "one of the more
dramatic of blues artists."   Whether singing blues or gospel music, Sara
knew how to take control of the stage!

Tomorrow: The first profile of a lady out there performing _now_.  St. Louis'
own "Big" Clara McDaniel.  Clara wows them in St. Louis and has performed at
the Utecht festival in Holland with her band.  Interesting lady...

Lea Gilmore
Baltimore, MD
"Still looking for a 'signature'  " :-)

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Friday, March 07, 1997 6:42 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	"Big" Clara McDaniel (WHM)

<This is the fifth profile and the first _contemporary_(performing now!)
blueswoman to be profiled for Women's History Month - Enjoy!>

Clara McDaniel is a funny, talented and compassionate young woman; and one
thing -  she can do sing the blues!  I *so* enjoyed our talk...

Clara was born November 26, 1953 in Pontiac Michigan.  She was born into a
very large and musical family.  She began singing along with records ever
since she could remember.  Before she could read, her grandfather and father
would tell her what records they would want to hear and she would remember
them by color.  While they were dancing, she would sing along.  Her uncle,
Dusty Brown (blues harp), recorded for Parrot Records in the fifties and at
one time owned "Dusty's Lounge" in Chicago. IL.  She was saturated by the
music

As a child, Clara sang and played in the church.  At 13, she moved to St.
Louis to take care of a sick aunt.  As a teenager Clara began hanging out and
dancing in blues clubs.  There she met some of the true legends of the blues.
 She says, "When I came to St. Louis, the first person that I met was Muddy
Waters.  I met him on Garrison and Franklin...He was real nice...I got a
chance to sit on his lap and sing a song with him. (laughs)  he called me up
there and said 'come on sing with me little girl' ...He call hisself likin'
me...."

Clara was also very close to Albert King.  Her grandfather helped to raise
Mr. King.  Not only did she work for Albert at his cab company, but she
toured with him also. " I went down to Arizona and Mississippi.  Even
Hollywood, Mississippi.  I didn't even know there_was_a Hollywood, MS.  I
thought I was going to California(laughs) and I ended up in MS way back out
in the woods somewhere in a jook joint!  Them people scared me so bad...,"
she enthusiastically recalls.

She has sang a few times with Bobby "Blue" Bland, she got to know him well by
doing his hair for the concerts! "He use to have a permanent.  I would curl
it up all over and style it for him.  He is really nice to work with."

All of these experiences and Clara was _still_only a teenager.  Now, she
performs with her own band The Magnatones where her husband is the keyboard
player.  In addition she is a full-time foster mother, having cared for over
80 kids.  She has a natural daughter who is twelve and has adopted four of
her former foster children.

Clara has recorded one song written by a heart surgeon named Mark Freed.  It
is entitled "P.M.S. Blues."  It is very funny. (and true! :-)  Some lyrics:

" My belly starts to bloat, I'm starting to retain
My feet, my ankles, face and breasts are driving me insane
You don't know when it starts, you don't know when it is gonna stop
But sister let me tell you, there ain't no workmen's comp.
I got the P.M.S. Blues!"

In 1995, "Big" Clara and the Magnatones made their European debut at the
BLUES ESTAFETTE in Utrecht, Holland.  She received rave revues.  Clara also
performed at the London Blues Festival this past year.

Clara has a repertoire of over five hundred songs!  She belts out the songs
of Koko Taylor, Little Milton, Denise Lasalle, Muddy Waters, with her
favorite being Elmore James.  She has written a haunting and very personal
song, "Unwanted Child," telling of her experience as being one of 21 children
and having her mother walk off and leave; hence, her deep devotion to
children, especially to the ones she feels to be "unwanted."

Clara McDaniel is someone to look out for.  She is one of the _nicest_people
I have ever had the opportunity to interview.  After spending countless years
in very small nightclubs, she is finally starting to make her mark.  When I
asked Clara, How do you want to be remembered?  She stated, " That I gave it
my all, because I LOVE the blues. I LIVE the blues.  I AM the blues."

To find out more about Clara McDaniel and to find out about when and where
she will be appearing, you can contact her manager (and zeller!) Joel
Slotnikoff at:
[email protected]
She also has a page on the web.  You can get there by going to:
http://www.bluesworld.com

Tomorrow: Gertrude "Ma" Rainey.  Miss "See See Rider" herself! :-)

Lea Gilmore
Baltimore, MD

P.S. - I would like to profile some of the women performers who are also
members of blues-l.  If you are interested, please drop me a line.  Thanks!

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Tuesday, March 11, 1997 7:43 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Dinah Washington (WHM)

<This is the sixth profile for Women's History Month.  If you would like to
read the previous submissions, just drop me a line.  Oh yes, THANKS to
Jessica, Jane, Stuart and Bonnie for the kind words!>

Dinah Washington was billed as being the "Queen of the Blues."  She knew how
to turn a phrase and make you _believe_what she was singing about.  Whether
it was the seriousness of "Willow Weep for Me" or the sassiness of " Salty
Papa Blues," Dinah knew how to sing.

Dinah Washington was born Ruth Brown, August 29, 1924 in Tuscaloosa, Alabama.
[In a later post, Lea corrects this to Ruth Jones.  E]
 She moved to Chicago when she three years old and began singing in the
church.  She toured churches until the 1930's and often played the piano at
St. Luke's Baptist Church in Chicago.  In 1939/40, she sang with one of the
most acclaimed gospel singers, Salle Martin, where she toured the gospel
circuit with the Sallie Martin Gospel Singers.


Alrthough she was deep into gospel music, after winning a talent contest at
the age of 15 at the Regal Theatre in Chicago, she also sang in local
nightclubs.  While touring with Sallie Martin, she had the opportunity to
audition for jazz band leader Lionel Hampton.  Lionel Hampton grabbed the
young singer, changed her name and helped to make her a star.  She toured
with Lionel from 1943 to 1946.  Dinah then embarked on her solo career and
"became known as the best jazz and blues singer of the age." (Alabama Music
Hall of Fame <AMHF, 1886>)

Dinah's biggest single and signature song is "What a Difference a Day Makes."
 She also recorded: "Evil Gal Blues," "Muddy Water,"  "Trouble in Mind,"
 "Maybe I'm a Fool," " I Wanna Be Loved" and so many more heart-felt  (and
even_raunchy_!:-)  songs.  In her delivery, you can hear her gospel roots as
she belts out a phrase and/or adds the proper melismatic touch, giving the
listener "goosebumps."
She also performed a series of duets with Brook Benton, including "Baby,
You've Got What it Takes."

Dinah was married reportedly_nine_times (although these are not all
confirmed!) and had two children.

Like so many others, Dinah Washington died too young in 1963 after an
accidental overdose of prescription drugs in Detroit, MI.

Dinah Washington is one of my favorite singers of all time.  Her phrasing and
dedication to "telling the story" is unequaled.  She was a direct descendent
of the "Bessie Smiths" and "Ma Raineys." of the Classic Blues age.  Do
yourself a favor and take a listen to the music of Dinah Washington.  You are
in for a treat.

Tomorrow: Fellow Zeller, Lily Sazz

Lea Gilmore
Baltimore, MD

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Wednesday, March 12, 1997 7:30 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Re: "Big Maybelle" (WHM)



 <This is the seventh profile of blueswomen during Blues History Month.  Hey,
and we are only half-way through!>

 She sang with a powerful voice with a stage precense to match.  Full-figured
and powerful,  "Big" Maybelle sang the blues with controlled abandon and a
flair of style.

 Born Maybelle Louis Smith May 1, 1924 in Jackson, TN to Frank Smith and
Alice Easley,  she grew up singing in the local Sanctified Church choir in
Jackson.

 In 1932, Maybelle won first prize at the Cotton Carnival singing cabaret in
Memphis, TN.  A woman before her time, she toured with an all girl band
called the Sweethearts of Rhythm.  They played dances from Mississippi to
Indiana.  From 1936 to 1940, she toured with the Christine Chatman Orchestra
and in 1944 she recorded with Christine on the Decca Label.

During the 1950's, Maybelle sang with such greats as: The Quincy Jones
Orchestra; the Kelly Owens Orchestra; the Danny Mendelsohn Orchestra and she
also graced the stages of the Apollo Theatre in NYC and in 1958 Newport Jazz
festival in Newprot, RI.

 Maybelle recorded many songs and hit the charts when in 1953 "Gabbin Blues"
hit number three.  "Although she had several more chartmakers, Maybelle was
never able to achieve the stardom that her talent deserved.  At her best, she
was so strong that Billie Holiday once refused to follow her opening act.
 She could be awesomely powerful one moment and break your heart the next."
(From the liner notes in the "Essential Women - HOB" recording,

 Like so many talented ladies (and gentlemen!) before and after her, Maybelle
struggled with a heroine habit that later dibilitated her.  From the late
1960's, she performed infrequently.  She died in 1971 of a diabetic coma.

 FYI: I would like to offer my sincere condolences to "Big" Clara McDaniel
(profiled last week) on the death of her husband.  (who was also the keyboard
player in her band.  For information on how to send cards and words of
encouragement, please email her manager, Joel Slotnikoff at:
[email protected]

 Lea Gilmore
Baltimore, MD

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Friday, March 14, 1997 6:26 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Lily Sazz (WHM)

<This is the NINTH (Thanks "E" for getting me right with the count!) profile
    
[why *do* people insist on putting quotation marks around me name?!  E]
    
for Women's History Month and the FIRST  "zeller" (I know some you you hate
that term :-) to be highlighted.>

Lily Sazz is one of our Canadian blues ladies.  She is keeping the cold
country "hot" with her burning piano as a member of the blues band "The
Trailblazers."

Lily is a concert pianist by training.  When I asked how she got from
classical (which I love also!) to blues she said, " I was in (my) second year
of University when I happened to see a band called Crowbar (best known for
their hit "Oh What A Feeling.") I had the opportunity to meet members of the
band and often took orchestration homework, etc. to Crowbar gigs...Kelly Jay
was the leader and the piano player, and he encouraged me to join the band
and give it a try.  To quote him, ' Why don't you sell your harpsichord and
get yourself a DX7?'  Today, the guitar player from that band, Alex
MacDougall, is my co-leader in the Trailblazers.  I guess you could say I've
come a long way, baby..."

Lily has also been involved in the production of a major film.  She was the
piano coach for Bridget Fonda for several weeks on a major film project.  The
film also starred Jessica Tandy.  " I had many nice conversations with
(Bridget) and also Jessica Tandy.  Bridget is a true professional and we
worked very hard to help her look convincing as a musician for her role."

In 1996, Lily led the band for Toronto's Blues Society's WOMEN'S BLUES REVUE.
 This is the Blues Society's largest event of the year.  "There are eight
female vocalists invited to participate, ranging from the well-known figures
like Sue Foley, to women at the dawn of their careers."  This sounds like a
_fantastic_event!

Lily is also the associate editor for the Toronto Blues Society newsletter.
 In addition, as a freelance writer, she has written for several magazines,
 written promotional materials and reviews.

Lily Sazz (what a great name!) is ticklin' those ivories and promoting the
blues in Canada and beyond.  Lily, thanks for taking the time to "talk" to me
(via the cyber highway).  To find out more about this talented lady and her
band the TRAILBLAZERS, go to:
http://www.tblazers.com

FYI: Thanks to the the zeller who asked me to profile myself, but I don't
think so - kinda weird...;-)

Lea A. Gilmore
Baltimore, MD
" Life is just...well, it's "JUST". :-)

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Monday, March 10, 1997 9:38 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Fwd: Gertrude "Ma" Rainey (WHM)

It MUST be Monday!  I mis-typed and today's profile ended up floating in
space.  Here it is...
---------------------
Forwarded message:
Subj:    Gertrude "Ma" Rainey (WHM)
Date:    97-03-10 07:19:45 EST
From:    LeaGil
To:      [email protected]
CC:      [email protected]

<  HAPPY MONDAY!!!  Hello everyone.  I hope everyone had a great weekend.  A
new week - a new profile. :-)  This is the fifth profile for Women's History
Month.>

    [actually, it is number 6 - E]
"See See Rider, See what you done done, lawd lawd lawd
Made me love you, now ya gal done come..."

There she was. This short ("vertically challenged" _ that's what I call
myself:-), full-figured woman in her 35 pound sequined dress and ostrich
feather hat singing those blues in a tent set up in a cotton field.  "See See
Rider" - this was one of Gertrude "Ma" Rainey's most famous songs.  Known as
"The Mother of the Blues," " The Black Nightingale," "The Songbird of the
South" and several other names, she is _undoubtedly_one of the most important
and influential artists in the history of the blues.

Ma was born April 26, 1886 in Columbus, Georgia.  She was one of five
children who spent their Sundays singing at the First African Baptist Church.
 In 1902, Gertrude found "the blues" and also "found" comedian William "Pa"
Rainey. They began touring as a song and dance team working with tent
shows/levee camps and cabarets throughout the south.  They were married in
1904.  The couple toured with the Rabbit Foot Mistrels billed as "Ma and Pa
Rainey - Assasinators of the Blues."  "Ma has been noted as the first singer
to use blues in minstrel acts.  Her earthy, powerful voice enabled her to
capture the essential quality of rural black life." (Snow, Blues Online)

Ma enjoyed extraordinary success in the south.  When folks found out that "Ma
Rainey was coming to town,"  it became an "event."  This being so, Ma was
mostly unknown in the north.  In 1923, she recorded with the Paramount Label.
 She now enjoyed success in the north and extended her touring to the
northern cities and began to refer to herself as "Madame" Rainey.

Ma had an interesting relationship with the young Bessie Smith.  Bessie
joined the Rabbit Foot Minstrels in 1914 and Ma supposedly was her coach.
  Both were reported as being bi-sexual, but an affair between the two has
never been proven.   Although there were many singers during this period
singing the same style of music, Bessie was her only rival.  The two
supposedly shared a love-hate relationship.

Although Ma was not considered "beautiful" by todays standards, she knew how
to "strut her stuff."  She was known for her glittering outfits, wild
head-dress and a penchant for gold jewelry.  When she performed, she took
over the stage.  Some of her songs include: "Shave 'em Dry Blues,"  "
Hustlin' Blues,"  " Weepin' Woman Blues," " Stromy Sea Blues," and many more.
 Big Mama Thorton and Dinah Washington have sited her as being one iof their
primary influences.

In 1935, Ma Rainey retired from music and began living with brother Thomas
Pridgett, a deacon at the Friendship Babptist Church in Columbus, GA.  She
became very involved in church activities.  She was a very good
businesswoman.  She owned and operated The Lyric/Airdrome Theatres in
Rome/Columbus, GA.  She also became the foster mother to seven children.

"Ma Rainey made 92 recordings for Paramount in her career.  She was
accompanied by greats like Louis Armstrong, Lovie Austen, Buster Bailey,
Georgia Tom Dorsey and many more. " (Snow, 1996)

Ma Rainey was a trailblazer in the blues.  She died of a heart-attack in
1939, leaving us her legacy, her music  and her love for the blues.

To find out more about Ma Rainey, please check out BluesOnline authored by
Joel Snow; (sorry I don't have the URL, but you can do a "search" and find it
with no problem) and her biography is listed in most blues/jazz/music
oriented reference publications.  Her music is still available!

Tomorrow: Dinah Washington!

Lea A. Gilmore
Baltimore, MD
"Insert profound statement here..." :-)

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Tuesday, March 11, 1997 7:43 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Dinah Washington (WHM)

<This is the sixth [7th - E]  profile for Women's History Month.  If you would like to
    read the previous submissions, just drop me a line.  Oh yes, THANKS to
    Jessica, Jane, Stuart and Bonnie for the kind words!>

Dinah Washington was billed as being the "Queen of the Blues."  She knew how
to turn a phrase and make you _believe_what she was singing about.  Whether
it was the seriousness of "Willow Weep for Me" or the sassiness of " Salty
Papa Blues," Dinah knew how to sing.

Dinah Washington was born Ruth Brown, August 29, 1924 in Tuscaloosa, Alabama.
 She moved to Chicago when she three years old and began singing in the
church.  She toured churches until the 1930's and often played the piano at
St. Luke's Baptist Church in Chicago.  In 1939/40, she sang with one of the
most acclaimed gospel singers, Salle Martin, where she toured the gospel
circuit with the Sallie Martin Gospel Singers.


Alrthough she was deep into gospel music, after winning a talent contest at
the age of 15 at the Regal Theatre in Chicago, she also sang in local
nightclubs.  While touring with Sallie Martin, she had the opportunity to
audition for jazz band leader Lionel Hampton.  Lionel Hampton grabbed the
young singer, changed her name and helped to make her a star.  She toured
with Lionel from 1943 to 1946.  Dinah then embarked on her solo career and
"became known as the best jazz and blues singer of the age." (Alabama Music
Hall of Fame <AMHF, 1886>)

Dinah's biggest single and signature song is "What a Difference a Day Makes."
 She also recorded: "Evil Gal Blues," "Muddy Water,"  "Trouble in Mind,"
 "Maybe I'm a Fool," " I Wanna Be Loved" and so many more heart-felt  (and
even_raunchy_!:-)  songs.  In her delivery, you can hear her gospel roots as
she belts out a phrase and/or adds the proper melismatic touch, giving the
listener "goosebumps."
She also performed a series of duets with Brook Benton, including "Baby,
You've Got What it Takes."

Dinah was married reportedly_nine_times (although these are not all
confirmed!) and had two children.

Like so many others, Dinah Washington died too young in 1963 after an
accidental overdose of prescription drugs in Detroit, MI.

Dinah Washington is one of my favorite singers of all time.  Her phrasing and
dedication to "telling the story" is unequaled.  She was a direct descendent
of the "Bessie Smiths" and "Ma Raineys." of the Classic Blues age.  Do
yourself a favor and take a listen to the music of Dinah Washington.  You are
in for a treat.

Tomorrow: Fellow Zeller, Lily Sazz

Lea Gilmore
Baltimore, MD

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Wednesday, March 12, 1997 7:30 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Re: "Big Maybelle" (WHM)

In a message dated 97-03-12 07:24:44 EST, you write:

NOTE: This is the version that was to_suppose_to be mailed.  I can't BELIEVE
the other version (verisison - lol!) has been listed :-0 )  Sorry!


    <This is the seventh [8th - E] profile of blueswomen during Blues
    History Month.  Hey, and we are only half-way through!>

 She sang with a powerful voice with a stage precense to match.  Full-figured
and powerful,  "Big" Maybelle sang the blues with controlled abandon and a
flair of style.

 Born Maybelle Louis Smith May 1, 1924 in Jackson, TN to Frank Smith and
Alice Easley,  she grew up singing in the local Sanctified Church choir in
Jackson.                                                   

 In 1932, Maybelle won first prize at the Cotton Carnival singing cabaret in
Memphis, TN.  A woman before her time, she toured with an all girl band
called the Sweethearts of Rhythm.  They played dances from Mississippi to
Indiana.  From 1936 to 1940, she toured with the Christine Chatman Orchestra
and in 1944 she recorded with Christine on the Decca Label.

During the 1950's, Maybelle sang with such greats as: The Quincy Jones
Orchestra; the Kelly Owens Orchestra; the Danny Mendelsohn Orchestra and she
also graced the stages of the Apollo Theatre in NYC and in 1958 Newport Jazz
festival in Newprot, RI.

 Maybelle recorded many songs and hit the charts when in 1953 "Gabbin Blues"
hit number three.  "Although she had several more chartmakers, Maybelle was
never able to achieve the stardom that her talent deserved.  At her best, she
was so strong that Billie Holiday once refused to follow her opening act.
 She could be awesomely powerful one moment and break your heart the next."
(From the liner notes in the "Essential Women - HOB" recording,

 Like so many talented ladies (and gentlemen!) before and after her, Maybelle
struggled with a heroine habit that later dibilitated her.  From the late
1960's, she performed infrequently.  She died in 1971 of a diabetic coma.

 FYI: I would like to offer my sincere condolences to "Big" Clara McDaniel
(profiled last week) on the death of her husband.  (who was also the keyboard
player in her band.  For information on how to send cards and words of
encouragement, please email her manager, Joel Slotnikoff at:
[email protected]

 Lea Gilmore
Baltimore, MD

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Friday, March 14, 1997 6:26 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Lily Sazz (WHM)

<This is the NINTH (Thanks "E" for getting me right with the count!) profile
for Women's History Month and the FIRST  "zeller" (I know some you you hate
that term :-) to be highlighted.>

    [oy!  This is the 10th!  I must have messed Lea all up! E]
Lily Sazz is one of our Canadian blues ladies.  She is keeping the cold
country "hot" with her burning piano as a member of the blues band "The
Trailblazers."

Lily is a concert pianist by training.  When I asked how she got from
classical (which I love also!) to blues she said, " I was in (my) second year
of University when I happened to see a band called Crowbar (best known for
their hit "Oh What A Feeling.") I had the opportunity to meet members of the
band and often took orchestration homework, etc. to Crowbar gigs...Kelly Jay
was the leader and the piano player, and he encouraged me to join the band
and give it a try.  To quote him, ' Why don't you sell your harpsichord and
get yourself a DX7?'  Today, the guitar player from that band, Alex
MacDougall, is my co-leader in the Trailblazers.  I guess you could say I've
come a long way, baby..."

Lily has also been involved in the production of a major film.  She was the
piano coach for Bridget Fonda for several weeks on a major film project.  The
film also starred Jessica Tandy.  " I had many nice conversations with
(Bridget) and also Jessica Tandy.  Bridget is a true professional and we
worked very hard to help her look convincing as a musician for her role."

In 1996, Lily led the band for Toronto's Blues Society's WOMEN'S BLUES REVUE.
 This is the Blues Society's largest event of the year.  "There are eight
female vocalists invited to participate, ranging from the well-known figures
like Sue Foley, to women at the dawn of their careers."  This sounds like a
_fantastic_event!

Lily is also the associate editor for the Toronto Blues Society newsletter.
 In addition, as a freelance writer, she has written for several magazines,
 written promotional materials and reviews.

Lily Sazz (what a great name!) is ticklin' those ivories and promoting the
blues in Canada and beyond.  Lily, thanks for taking the time to "talk" to me
(via the cyber highway).  To find out more about this talented lady and her
band the TRAILBLAZERS, go to:
http://www.tblazers.com

FYI: Thanks to the the zeller who asked me to profile myself, but I don't
think so - kinda weird...;-)

Lea A. Gilmore
Baltimore, MD
" Life is just...well, it's "JUST". :-)

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Monday, March 17, 1997 6:59 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Viola McCoy (WHM) + some gospel stuff

<Happy Monday Everyone! (I wonder if that is an oxymoron...)  This is the
eleventh profile of blues-women for Women's History Month. >

Viola McCoy is not as well known as many of her contemporaries  (Bessie
Smith, "Ma" Rainey, Mamie Smith, etc. ) who performed during the "Classic
Blues' period of the 1920's.

Viola, born c1900 in Memphis, TN. was a beautiful woman who sang her songs
and played the kazoo (!) with flair and fashion.  Her true name may have been
Amanda Brown, but was also known as (get this): Daisy Cliff, Fannie Johnson,
Gladys Johnson, Violet McCoy, Clara White, Bessie Williams and Susan
Williams.  Several of the women performing during this period used an
"alias."

During the early twenties, she reportedly settled in New York City to work in
the local clubs.  In 1922, she appeared in the MOONSHINE REVUE at Lafayette
Theatre. From 1923 to 1924, she recorded on several record Labels (Vocalian,
Pathe/Banner, Gennett/Columbia/Ajax and Edison) with Fletcher Henderson's
Jazz Five, Choo Choo Jazzers and the Kansas City Five.

Viola was also a seasoned musical theatre and musical comedy performer.  She
was a regular on the TOBA /RKO circuits and  peformed in cabaret and
vaudeville shows throughout the 1920's.

In the early 1930's, Viola continued  singing and performing in musical
revues.  She worked such venues as the Harlem Opera House and The Apollo
Theatre.  Around 1938, Ms. McCoy settled in Albany, NY and  from that time on
remained mostly inactive in music.  She died c1956.

Unfortunately, Viola McCoy, like many of her "sisters" remain virtually
unknown, even to those of us in the "blues community."  During her career,
she entertained and brought smiles to many.

I watched the most_incredible_Gospel  music program last night on PBS.  It
included _extensive_footage of: Thomas Dorsey,  James Cleveland, Sister
Rosetta Tharpe (an incredible guitarist!), The Fairfield Four, The Clara Ward
Singers, John P. Kee and so many more.  FYI: Since we have been discussing
Gospel music semi-regularly, I believe I will profile some of the great women
of gospel during this month also.

Speaking of Gospel: the choir from Maryland that I was a soloist with this
past December in Vienna, Austria has been invited on an extensive tour that
will include several cities in Germany, Saltzburg(sp?) and ending in Vienna
for Advent.  To us, singing Gospel is like "breathing,"  so when the
enthusiam of the Europeans permeates anything within 50 feet, it just makes
me...well, speechless (And that is a hard thing to do! :-).

Tomorrow: Lane Wilkens (Keeping the acoustic blues alive.  Just a voice and a
guitar.  She's very good and a funny lady too. )

Lea Gilmore
Baltimore, MD
"Happy St. Patrick's Day"
(Especially, to my_favorite_Irish dude! :-)

This was a reply to Lea's post on Viola McCoy, with a review.  E
    
From: 	Eric LeBlanc-CISTI[SMTP:[email protected]]
Sent: 	Monday, March 17, 1997 3:51 PM
To: 	Multiple recipients of list BLUES-L
Subject: 	Re: Viola McCoy

 First, thank you Lea for this great series on the Ladies of The Blues.
 Since Viola McCoy is one of my favorites, here's a review of her complete
 recordings. Like all those early recordings, some of it is rough going but
 it's worth the effort. Her two masterpieces, "I"ve Got The World
 In a Jug" and "If Your Good Man Quits You, Don't Wear No Black", should
 be heard by all serious Vaudeville blues fans. The reviews were published in
 the Roots & Rhythm Newsletter <http://www.bluesworld.com/roots.html>.
 I'll also be posting a review of the 1921-1946 Alberta Hunter Document
 series.

 Document 5416 VIOLA MCCOY
 Complete Recorded Works Vol. 1 (1923)
 24 tracks, 69 min., recommended

 Vaudeville blues have not been favored by reissue companies, and now with
 this 1st volume (of 3), Document Records has offered the (near) complete
 recordings of Viola McCoy except for a few undiscovered titles.  The late
 critic Derrick Stewart-Baxter was of the opinion (as I am) that she
 scarcely ever made a bad record. If it wasn't for the fact that we know
 very little about her, I'm sure her recordings would be better known.
 Until this series, all that was available was one track on Rosetta Records,
 and the rare Bateau Chinois/Ristic album. Accompanied mostly by
 pianist Porter Grainger, this volume contains the 1st recordings of
 "Just Thinkin'" (covered by both Edna Hicks & Sara Martin), "Sad And Lonely
 Blues" (covered by both Alberta Hunter & Edna Hicks) "Strut Long Papa",
 "Tain't No Telling What The Blues Will Make You Do" (covered by Lena Wilson)
 and "Wish I Had You (And I'm Gonna Get You Blues)" (covered by both Fletcher
 Henderson and Hazel Meyers). As was the custom, she also recorded titles
 (dare I say, returning a favor!) associated with Ida Cox, Josie Miles,
 Monette Moore, Trixie Smith and Ethel Waters.

 Document 5417 VIOLA MCCOY
 Complete Recorded Works Vol. 2 (1924-1926)
 24 tracks, 66 min., recommended

 Continuing from volume 1, this set contains her original versions of "I Don't
 Want Nobody That Don't Want Me", "Mamma, Mamma (Don't Love Her Papa No More)",
 "Stomp Your Blues Away", and her two masterpieces,  "I"ve Got The World In a
 Jug" and "If Your Good Man Quits You, Don't Wear No Black" (with Fletcher
 Henderson's Jazz Five).  As with the previous volume, McCoy also recorded
 titles associated with other singers of the day, including "You Don't Know
 My Mind" (with guitarist Charlie Dixon, and originally recorded by
 Virginia Liston) and "How Come You Do Me Like You Do" (originally recorded
 by Marjorie Royce).

 Document 5418 VIOLA MCCOY
 Complete Recorded Works Vol. 3 (1926-1929) and
 JULIA MOODY Complete Recorded Works (1922-1925)
 25 tracks, 71 min., recommended

 This, the final volume of Viola McCoy's recordings has our lady accomanied by
 stellar players like cornetist Rex Stewart ("Fortune Teller"), Canadian-born
 pianist Louis Hooper ("Slow Up Papa") and pianist Cliff Jackson ("Git goin'").
 But it's the songs again that (should) win you over : her version of "Dyin'
 Crap Shooter's Blues" (with Louis Hooper) holds up against Martha Copeland's
 original version, and those of us who only know versions by Blind Willie
 McTell/David Bromberg, should listen up and check out these great classic
 blueswomen. Also included are versions of Victoria Spivey's "Black Snake
 Blues", and Rosa Henderson's "Gay-Catin Daddy". The CD is completed with
 13 titles by one Julia Moody, including her original versions of "Cootie
 Crawl" (with the awesome cornetist Joe Smith), "Good Man Sam" and "Mad Mama's
 Blues". It's a shame we know nothing about her as nearly all of these 13 songs
 were only recorded by her.

                                           HAND (Have A Nice Day!)

                                           eRIC

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Tuesday, March 18, 1997 6:46 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Lane Wilkens (WHM)

<This is the twelth profile of blues-women for Women's History Month.
 (Carol: Could you give me your e-mail address once again please?) Now back
to our regularly scheduled profile...:-)>

Lane Wilkens is 'infectious' to say the least.  This woman has "personality"
to the utmost.  Last March, on my first trip to the Mississippi  Delta (going
back in June!) I met Lane while she was recording her CD at Rooster Records
in Clarkesdale, MS.  Jim O'neal, one of the true "guru's" of the blues and a
very nice man, was producing.   We later went to Jim's house for dinner with
his lovely wife and then new baby, sat on the porch, talked up a storm, sang
some blues and later went to a Jook Joint in Bobo, MS.  When I look back now,
it seems like a dream...a very cool dream.

Lane, born in Memphis, TN., is the granddaughter of legendary bluesman turned
COGIC preacher Rev. Robert Wilkens (Died in May of 1987). While growing up,
Lane was blessed enough to be saturated by the music.  She was _very_close to
her grandfather.  "He promised me that he would live to be 100.  I knew what
true pain was when he passed away," she sadly recalls. (Lane has written the
definitive biography about her grandfather's life and music.)

Lane worked for Federal Express for several years and left in 1991.  She
began "wandering" as she called it and was struggling with the idea of giving
it all up for something so uncertain as a life in music.   " I refused to
obey my calling.  I worked for as long as I could, but the music kept getting
louder and louder.  I just couldn't do my job."

Well,  we are the fortunate ones that Lane has "obeyed her calling" and has
just completed her first CD " KEEPER OF THE BLUES"  produced by Rooster
Records which will be released this coming June. (She played a Memphis Minnie
song for me "Girlish Days" over the phone and I can say that it is
_powerful_stuff.  Lane wants to bring back the "purity" of the music. "I'm
trying to bring back that old African-American sound of a voice and an
instrument.  No extra stuff.  You know, the sound of the cotton field...,"
she excitedly states.  We discussed how although niether one of us
experienced the unbearable pain and anguish of daily life of a sharcropper,
somehow, someway, it is imbedded in the soul and can be conveyed through the
music.

Lane's inlfuences have included many different singers and musicians in
addition to her grandfather.  She admits to being "obsessed" with Patsy Cline
as a child.  She says, "no one sings a ballad like Patsy Cline."

Lane performs regularly mostly in the Memphis area.  She has performed at
several Blues festivals, including the Chicago Blues Festival last year and
will be performing at the King Bisquit Festival in Arkansas this fall.  A
natural born teacher, she also has shared the music with children in the
schools.

Lane Wilkens is doing something _very_important for blues music.  Being a
member of the "under 50" generation,  she is continuing the tradition of the
Delta blues.  "I have learned through success and failure, trials and errors,
stumbling and falling that love and pride can live in the same place.  This
is why I sing.  And when I learned that lesson, that is when I became a
*true* singer of the Delta blues."

For more information about this great lady and how to purchase a copy of her
CD,  you can contact:
Jim O'Neal at Rooster Records
(601) 627-2209
To contact Lane Wilkens directly ( for booking information or to purchase a
copy of one of her books): (901) 743-8275

Tomorrow: Sister Rosetta Tharpe

Lea A. Gilmore
Baltimore, MD
"Hate is not a Family Value!"  (a very cool bumber sticker)

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Wednesday, March 19, 1997 10:29 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Bonnie Lee (WHM)

<Hello zeller types.  It is _snowing_in Maryland and someone told me that it
is _supposed_to be Spring!  This the 13th profile for Women's History Month.
 I am 'cheating' a little today (it could be that 2.5 hours of sleep I
had...).  This profile is taken from the liner notes written by Sandra
Pointer-Jones on the 1995  Bonnie Lee CD SWEETHEART OF THE BLUES.  Enjoy!>

Many great blues artists have come from the Texas area, but arguably, none so
adorable as Ms. Bonnie Lee.  With a career that has spanned more than fifty
years, Lee stirs the mixture of jazz sophistication, deep rooted blues
feeling and southern charm to come with a style that is all her own.

Playing piano in Beaument, TX for her church at a very young age was the
genesis of her musical experience.  The professional bug bit after the young
Lee backed up gospel artist Lillian Glinn who was visiting.  She did such an
excellent job that Glinn offered to take her on the road.  Lee's mother
declined the offer, but this gave Bonnie the determination to work hard
towards a professional career.

As a teen Lee began honing her skills in a club where blues luminaries such
as "Gatemouth" Brown and T-Bone Walker were frequent visitors.  "They had
talent concerts and all the boys and girls would go there.  I would win
sometimes and they would let me sit in. "

In 1958, as a joke, Lee asked a friend who owned a truck to take her to
Chicago and he agreed.  Without revelaing the punchline she made a quick stop
to pick up her  clothes amd was headed to the big city.  Upon arrival she
began working in a club waiting tables where guitarist Byther Smith was a
featured artist.  He allowed Bonnie to do a few numbers during her shift.
 Soon she was sitting in all over town in such places as Theresa's, the 708
Club and the Trocadero Hotel's jazz room.  These informal performances
resulted in her gracing the stage with Junior Wells, Eddie Clearwater, Guitar
Jr., Jimmy Johnson and others.

Lee first recorded in the early sixties for producer J. Mayo Williams,
cutting four songs on the Ebony label released under the unwanted moniker
 Bonnie "Bombshell" Lee.  In '67, Bonnie met legendary pianist Sunnyland
Slim.  Under his direction Lee's career took shape.  She began touring across
the country and Canada.  In '74 Lee returned to the studio recording
"Standing on the Corner," "Sad and Evil Woman," and backup vocals on
Sunnyland's "Got A Thing Goin' On" for his Airway label.
<End liner notes written by Sandar Pointer-Jones>

Bonnie Lee is still performing in the Chicago area and beyond.  I greatly
enjoy her CD SWEETHEART OF THE BLUES which contains such favorites as Jimmy
Reed's " Baby What You Want Me to Do" (I LOVE this wong!), Buddy Johnson's
"Since I Fell for You,"  Jimmie Rodger's "That's All Right" and songs
writtten by Ms. Lee.

To read more about this talented blues-lady, a ten page story with photos is
in the February '95 issue of LIVING BLUES magazine (#119).

Tomorrow: Sister Rosetta Tharpe (for real! :-)

Lea Gilmore
Baltimore, MD
"You got me runnin' , You got me hidin'..."

It really is #14.  E
    
From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Thursday, March 20, 1997 7:20 PM
To: 	Multiple recipients of list BLUES-L
Subject: 	Sister Rosetta Tharpe (WHM)

<I apologize for the late posting of this profile, but sometimes we have to
do the "work" thing.  Also, I must go back and revise my count.  I believe
that _this_is the 13th profile for Women's History Month. (E can you do a
count also? Thanks!).  I have so enjoyed sharing these very talented women
with you and I hope that you have enjoyed reading about them.>

Warning: For all the "blues-police" out there, this profile contains marginal
blues content, but I don't believe it merits a "NBC."    You cannot deny the
blues influences on this great musician.

Today is a very special day for blues and gospel music lovers everywhere.
 Today we celebrate Sister Rosetta Tharpe's birthday.  I am sure that all of
us have something to say about this trailblazer in _American_music.  Her
music has influenced so many all over the world.  And I would love to hear
the perspective on Sister Tharpe's music from the many guitarist on the list.


Rosetta Tharpe was born in Cotton Plant, Ark as Rosetta Nubin in 1915 where
she grew up hearing her mother, Katie Bell Nubin, playing the Mandolin.  As a
four year old..."she stood on  boxes playing a guitar only slightly smaller
than herself singing "Jesus on the Main Line, Tell Him What You Want."  While
there was no doubt that she had an extraordinary voice - bright and clear,
sonorous, warm, slightly brassy - and an easy delivery, she also knew at that
tender age how to sing.  Her pitch was solid; she knew the melody and could
even add extra notes of her own.  Her rhythm was as accented, symcopated and
intricate as any of the blues singers 'in the bottoms'  "  (HOW SWEET THE
SOUND, by Horace Boyer, 1995.  Pg. 154)

Rosetta was an incredible singer.  But as she scould sing, she was a
_phenomenal_ guitar player.  She was one of the first to use the instrument
as an instrument for melody-plucked lines.  Her guitar playing was rich an
intricate.  With the exception of Memphis Minnie, no other woman gained the
prominence that Rosetta Tharpe did prior to the 1930's playing the guitar.

While still a young child, Rosetta's mother began "preaching" (although women
could not be referred to as "preachers" in the sanctified church.)  She
traveled from church to church spreading the gospel.  "Her hook for drawing
people to her services was 'Little Rosetta Nubin, the singing and
guitar-playing miracle'  " (Boyer, 1995)

In the late 1920's the Nubins moved to Chicago.  Rosetta became saturated by
the music that was all arund her.  She took every oppportunity to perform.
 Be it jazz, blues or folk, she wanted to play.  There was no doubt that she
was greatly influenced by the blues singers and musicians she heard in
Arkansas and the jazz that was everywhere in Chicago.   But still, the church
was her foundation and she continued 'singing the songs of zion.'

Encouraged by friends, Rosetta soon moved to New York City.  On October 31,
1938, she recorded four sides for Decca Records: Thomas Dorsey's " Hide Me In
Thy Bosom,"  but with the title "Rock Me"; "That's All":  "My Man and I"; and
"Lonesome Road."   This is the first time she was billed as "Sister Rosetta
Tharpe".  The first release was "Rock Me" and in addition to her guitar, she
was backed by a full orchestra (Lucius "Lucky" Millinder jazz orchestra)
(Boyer, '95).

Rosetta Tharpe would reach superstar status in New York City.  This was a
'new' sound and a new singer.   But she was not without controversy.  Some of
the more conservative listeners, especially in the south, did not like the
idea of her recording with a full orchestra and developing a "worldy" sound.
 She responded to the protests by asking the recording company if she could
record with just her guitar.  Decca did not allow her to only use her guitar
accompaniment, but agreed to have just a trio with piano, bass and drum, with
Samuel "Sammie" Blythe Price, a boogie-woogie musician, on piano.   They
began touring together.  With this tour she developed a unique sound that
traveled across the nation.

The church folk still weren't happy.  Rosetta's love for the music was the
catalyst for her to perform one week with Cab Calloway and the next in the
sanctified church.  Depsite the controversy, she was the biggest gospel star
of that time period.

In 1951, she married Russell Morrison who was the former manager of the Ink
Spots.  The wedding was an extravaganza.  The publicity of the wedding
furthered her career and her music attained an even more "secular" sound. But
as her music became more "worldly," such group as the Davis Sisters, Dorothy
Love Coates and the Original Gospel Harmonettes became more popular with
their traditional sound and concert presentation. (Boyer)

In 1970, she suffered a stroke that robbed her of the majority of her
dexterity. She passed away in 1973.

As mentioned before, Sister Rosetta Tharpe's music has inlfuenced so many
musicians all over the world (A blues-l member mentioned that even Johnny
Cash was influenced by her virtuosity).  The only other gospel singer to
rival her world-wide prominence was Mahalia Jackson.

As many of you know, my grandmother and Sister Tharpe were "fishing
partners."  It is a shame that I heard the stories in detail after my
grandmother's passing five years ago.   There is no doubt that her life and
musical contributions should be detailed in a full-length book.  I sincerely
hope some of you fine writers out there choose this project.

FYI:  If you would like to read a comprehensive and _enjoyable_history of
 African-American gospel music, please get your hands on a copy of HOW SWEET
THE SOUND, written buy Dr. Horace Boyer with outstanding photography by Lloyd
Yearwood.  1995 by Elliot & Clark Publishing.

Lea Gilmore
Baltimore, MD
"My soul looks back and wonders how I got over..."

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Thursday, March 13, 1997 6:49 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Candye Kane (WHM)

<This is the seventh [9th - E] profile for Women's History Month of the very 
    cool, hot and rockin' ladies of the blues!   I hope those who have been
    reading have gained a new appreciation for the _vasts_contributions
    made by women to "da blues!" NOTE: Very little "original" thought in
    this post.  The profile is taken directly from the liner notes of the
    House of Blue's release ESSENTIAL WOMEN which I must admit is pretty
    darn good, offerring an eclectic bunch of blues. You get from Mamie
    Smith singing 1920's "CRAZY BLUES" to Becky Barksdale performing a
    sweltering and sensual version of "SATISFY ME". >

To be honest,  I find Candye Kane to be one of the more "interesting" of the
lady blues performers of today.  BUT she is actually a good singer and I hear
from a male friend of mind (who also enjoys her "proportions" above the waist
:-) is a great and high energy performer:

"A big-sized, brassy, wild, flamboyent, bi-sexual woman. " The words roll
rapid-fire and righteous from Candye Kane, blues belter and outspoken
sex-positive feminist.  "I didn't know that white women sang the blues, but I
felt I had lived a blues life."

Born in an East Los Angeles barrio, a tough Latino part of town where girls
grow up fast, Candye was a precocious entertainer.  In here early teens she
appeared on the Ted Mack Amateur Hour and The Gong Show, singing "I Am
Woman".  "When I look back, it is ironic that I chose that song  I'd never
dreamed that one day I'd be using my act to help women see their sexuality as
a gift."

By 16, she was an unwed mother with few prospects.  She turned to the x-rated
domain, working as a stripper and a nude model.  Soon she was on the cover of
HUSTLER and HIGH SOCIETY.  "Here I was, someone who thought of herself as a
fat girl, suddenly making money, getting fan mail.  It was rush.  I was able
to get off welfare, put food on the table and provide for my son.  For the
first time in my life, I felt a sense of power."

Eventually she found the strength to leave that world behind and get back to
music.  "I tried it as a country singer, but they kept telling me to lose
weight, downplay the sexuality, sweep my past under the rug.  But that just
wasn't me.  My size, my sex life and my history come in one package.  Then I
heard about "Ma" Rainey and Bessie Smith - big, bold, bi-sexual, passionate,
women who didn't apologize to anyone for who or what they were."  Candye saw
her reflection in those ladies and embraced the blues.

Signed to the Antone's Label in 1994 she debuted with the album HOME COOKIN',
featuring the jump swing steamroller "No, I Ain't Gonna Take it No More!"
(That is one_rockin'_number!.), a song written by comedienne "Mom's" Mabley.


Today the blues scene hears loud and clear from Candye kane.  "I send a
message in my show that it's wonderful to be orgasmic.  We all need to feel
free to express our individuality - emotionally, sexually, artistically.
 That's what I get from the blues."
(End liner noted from HOB's ESSENTIAL WOMEN recording.  Written by Mick
Kleber)

I must admit that I was pleasantly suprised by Candye Kane's music.  I love
her individualism and direct approach to the music.  I rec. her first
recording HOME COOKIN' .  Ahe has one other KNOCK OUT and her newest CD to be
released this month is DIVA LA GRANDE.  Candye enjoys success in Europe as
well as the US.
For more information (and photo!) go to:
http://www.pencomputing.com/dim/images/stars/candye_kane/cbdye.html

Thanks again to all who have written me with kind words!

Lea Gilmore
Baltimore, MD
"One Monkey Don't Stop No Show!"

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Friday, March 21, 1997 6:38 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Mamie Smith (WHM)

< This is the 15th profile for Women's Histroy Month. (for real!)  Thanks E,
with us both on the case, we are keeping these numbers straight. :-)  >

" I can't sleep at night
I Can't Eat A Bite
'Cause the man I love
He don't treat me right..."

These words are eternal. With the horns giving their "jazzy" overture, so
begins the 1920 recording of "Crazy Blues on the Okeh Label.  Mamie Smith and
her recording of "Crazy Blues" has the distinct honor of being the first
vocal blues to be recorded by an African-American.

Mamie was more than likely born Cincinnati, OH on May 26, 1883.  She grew up
to be an attractive lady in search of the stage.  She left home to tour with
The Smart Set Company working all over the US in 1912.

Mamie eventually became a Harlem cabaret star and was billed as "Queen of the
Blues."  She appreared in Perry Bradford's musical revue MADE IN HARLEM at
the Lincoln Theatre from 1918-20.  In 1920, she began recording extensively
on the Okeh label.

Perry Bradford was a savvy black business man who knew that there_must_be a
market for "negros" singing the blues.  He wrote "Crazy Blues" in 1912, but
when he gave it to Mamie Smith to record, after release, the product almost
immediately sold 75,000 copies!  (All things being relative - that is  A LOT
of records) This was a turning point in recording history.  The business men
realized that there *was* a market in selling music performed by blacks.
  This record launched the era we now refer to as the "Classic Blues."

Mamie became a huge star with a huge temperment to match.  She toured the
country with her jewels and fancy outfits, wowing the black crowds eager to
see an elegant and sophisticated black woman singing songs about their lives.
 "She was a very high class entertainer, as well as being one of the
best-looking women in the business, " stated Willie Smith in his 1964 book
MUSIC ON MY MIND (Doubleday).

After spending frivously (over $100,000), her star began to fade in 1923.
  Although she had some small parts in a few movies in the 1930's, Mamie
eventually melted into obscurity.  After a lengthy illness, she died in New
York in 1946.

I think this sums it up  when Derrick Stewart-Baxter said in his 1970 book MA
RAINEY AND THE CLASSIC BLUES SINGERS (Studio Vista Ltd.)  "It was her work
that paved the way for every blues artist, regardless of style."

Mamie Smith's recording of "Crazy Blues" is on several blues collection CD,s
including ESSENTIAL WOMEN produced by the House of Blues.

Interesting trivia:  It seems that "Smith" was a very popular name for blues
singers during the 1920's: Mamie Smith, Bessie Smith, Clara Smith *and*
Trixie Smith.  None were related.

Question: Do any zellers have contact information for Rory Block?  Thanks!

FYI - Women Profiled this Month:

Memphis Minnie
Ida Cox
Alberta Hunter
Sara Martin
"Big" Clara McDaniel
Gertrude "Ma" Rainey
Dinah Washington
"Big" Maybelle
Candye Kane
Lily Sazz
Viola McCoy
Lane Wilkens
Bonnie Lee
Sister Rosetta Tharpe
Mamie Smith

With the help of a very kind zeller, we are going to transform these profiles
into a web-site.  If anyone else is interested in helping out a "Java" and
"Frame" challenged lady,  just drop me a line. :-)

Have a Great Weekend!

Lea A. Gilmore
Baltimore, MD
" I Got the Crazy Blues..."

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Monday, March 24, 1997 6:05 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Lucille Hegamin (WHM) + "thank you's"

<Happy Monday!  This is the 16th profile for Women's History Month.  This is
also the last week of profiles.  Thank you so much to the many who have told
me they have enjoyed learning more about these women of song.  I also thank
you for your patience as I often descended into "typo-hell":-).
  Unfortunately, there are so many women who have contributed so much.  We
are just running out of days...

MORE:  Special thanks to zeller ANDY ALLEN who had me join him on his two
hour blues radio program (WTMD, FM89, Sundays 3-5pm)  Two hours of women
blues artists.  Yes!  I had a ball Andy! :-)  Now back to our regularly
scheduled profile...>

LUCILLE HEGAMIN was one of the bright stars of the Classic Blues era during
the 1920's.  She was billed as the " Blues Singer Supreme ,"  "The Cameo
Girl,"  "Chicago Cyclone,"  "Georigia Peach" and "Harlem's Favorite."  She
had a powerful voice combined with a strong and assured stage presence.

Lucille was born in Macon, Georgia November 29, 1984 to John Nelson and
Minnie Wallace.  She was one of five children.  Like so many others, she
began singing in church and performing at local events around Macon while
still a child.  As her musical calling grew stronger, she traveled throughout
the South with the Laurel Harper Minstrel Stock Company as a singer and
entertainer.

Lucille made the move that so many African-American performers from the South
had made before by moving to Chicago around 1909.  In 1914 she teamed with
Bill Hegamin (who would later become her husband) and worked frequently at
many cabarets and nightclubs.  In 1918 she moved to New York City and within
a year was a part of the HAPPY RHONE's ALL STAR SHOW.

She began recording in the early 1920's on the Victor label (unissued).  In
1920, she formed the Blue Flame Syncopators Band (w/Bill Hegamin) and toured
the vaudeville circuit thoroughout Pennsylvania, West Virginia and Ohio.  In
1922, Lucille became a member of the cast of the extrememly successful
musical comedy SHUFFLE ALONG written by Noble Sissle and Eubie Blake.

Through the 1920's and early 1930's, Lucille continued to sing and perform in
musical revues.  She worked constantly and was in great demand.  By 1933 and
as the Great Depression took hold of the country, Lucille worked mostly
outside of music as a registered nurse in New York City (Alberta Hunter also
chose nursing as a profession after her_first_musical career).  She did not
give up music totally and continued to perform at special events.  From 1934
through the 1950's, she recorded with Willie the Lion and his Clubs on the
Bluesville label; 1961, recorded on the Spivey label in New York Vity; 1962,
worked a Mamie Smith Benefit Concert at the Celebrity club also in in New
York.  As she grew older, her voice still remained strong. " She displayed a
vigorous powerful voice, deep and resonant, youthful and exuberant.  If
anything, the passing years added conviction to her blues presentation", said
Len Kunstadt in Nov. 1961's issue of RECORD RESEARCH magazine.

After 1964, Lucille did little perfroming due to illness.  She died March 1,
1970.

"She was an extremely good singer of jazz and blues," states Derrick
Stewart-Baxter form his book MA RAINEY AND THE CLASSIC BLUES SINGERS.

Like her Classic Blues sisters, Lucille Hegamin leaves to us the evidence of
her gifts in her many recordings and a legacy of greatness.

To read more about Lucille Hegamin and the other Classic Blues singers,
please read BLACK PEARLS written by Daphne Wilson.  Her music is available in
the larger music stores and on several historical anthologies.

FYI: Maybe after Women's History Month, I can profile one woman blues artist
a week (two weeks?).  There are just so many stories to tell.  Is this
something you would be interested in?

BTW, I _know_that the piano is a percussion instrument!  That is why I used
quotations around the word "string" in an earlier post.  Thanks though... :-)

Tomorrow: Denise Lasalle

Lea A. Gilmore
Baltimore, MD
" The Call It Stormy Monday...:"

From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Tuesday, March 25, 1997 11:29 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Willie Mae "Big Mama" Thorton

<This is the 17th profile for Women's History Month.  There will be no
profiles Thursday andFriday of this week and Monday of next week.  Going
'down South' for the holiday. (Hey, any good blues in Hamlet, NC? :-)   So, I
will continue the profiles until the end of next week.  BTW, today was
suppossed to be Denise Lasalle, but she will be the end of next week.
 Thanks!>

"Large and in charge."  This is the best way to describe Willie Mae "Big
Mama" Thorton.  She was a strong, brassy, no mess takin' mama who continued
the legacy of "toughness" established earlier by the Classic Blues singers Ma
Rainey and Bessie Smith.

Willie Mae was born December 11, 1926 in Montgomery, AL.  Her father, George
Thorton, was a preacher and her mother, Mattie Hughes, was a singer.  She
became interested in music at a very young age and frequently sang in church.
By the age of 14, she learned to play harmonica and drums. She eventually won
a local amateur talent show.  After her mother's death around 1939, Willie
Mae had to work outside to support the family, but she did not give up her
dream of performing.

In 1940, she toured with SAMMY GREEN'S HOT HARLEM REVUE working as a singer,
dancer and comedian in clubs and theatres throughout the South.  In 1948, she
moved to Houston, TX.   While singing at the Eldorado Club in Houston, she
was discovered by flashy African-American promoter  Don Robey.  Mr. Robey was
notorious and was alleged to be a 'big-time' gambler.  He believed in Wille
Mae's talent and eventually arranged fro her to be signed to the Peacock
label in 1951.   Robey was impressed by Wille Mae's exciting stage
performance and 'take charge' attitude.

She toured constantly.  In 1951, she joined with the JOHNNY OTIS RHYTHM AND
BLUES CARAVAN SHOW working one-nighters in clubs, theatres, dance halls and
auditoriums across the U.S.  In 1952,  she worked the world famous Apollo
Theatre in New York City and formed her own trio working local club dates.
 On her tours, she often shared billing with Bobby "Blue" Bland, Clarence
"Gatemouth" Brown, Junior Parker, Johnny Ace and many more.  It is reported
that she was backstage the night that Johnny Ace killed himself playing
Russian Roulet on Christmas Eve in 1954 (She and ace recorded the duet "Yes
Baby" together).  (Mary Katherine Alden, 1994)

Big Mama recorded many songs, with possibly the most famous being  Leiber and
Stoller's (who were still teenagers when this song was written) "Hound Dog" .
 Johnny Otis produced and 'Hound Dog' rocketed to the top of the R&B charts.
 Elvis had a HUGE hit with the same song in 1957.  This is the perfect time
to discuss whites covering African-American songs and making_loads_of money,
but I fear I need much more time to give it the discussion it deserves.

Some of her recordings: "Ball and Chain" (later receiving renewed fame when
recorded by singer Janis Joplin), " How Come," " They Call Me Big Mama,"
 "Watermelon Man"; "Sweet Little Angel", "Sassy Mama,"  and many many more.

During the late 1950's Big Mama's career began to falter.  It was given new
life in the 1960's with the blues revival of the 1960's.  In 1965, she toured
with the AMERICAN F0LK BLUES FESTIVAL. working concert dates through England
and all of Europe.  In the same year, she recorded with the Chicago Blues
Band on the Arhoolie label.  She conintued to peform until the late 1970's.

In her later years, Big Mama Throton became a shadow of her former self.
  She was virtually forgotten by the artistic community and was suffering the
ravages of years of alcohol and drug abuse.  She died penniless in a nursing
home July 25, 1984 in Los Angeles, CA.

Wille Mae Thorton contributions to American music are vast.  She was raw and
 powerful, but reportedly according to those who knew her best, had a kind
and giving heart.  She is one of my favorite singers and one helluva blues
harpist.

For an_extensive_and incredibly well done discography of her work, please
contact zeller Gorgen Antonsson.  He has given me pernission to give his
e-mail address:
[email protected]

Mary Katherine Alden, a former member of blues-l, has also written
extensively about the career of Big Mama Thorton.

Till tomorrow...

Lea Gilmore
Baltimore, MD
"Got Me A Sweet Little Angel, I Love the Way He Flaps His Wings..."

Really number 18.
    
From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Wednesday, March 26, 1997 11:37 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Rosa Henderson (WHM)+CD rec.

<Howdy there zeller-types!  This is the 17th profile for Women's History
Month.  There will be no profiles until next Tuesday, April 1 (April Fools!).
 I will continue with the profiles (although Women's History month will be
"technically" over next week) until the end of next week.  I will then
profile one woman a week into infinity, or until my fingers fall off or until
I get fired for being on the"net" too much - whichever comes first. :-)
  Next week, we will end with some of the more contemporary blues divas.>

Rosa Henderson is another one of those Classic Blues singers who's musical
accomplsihments have remained relatively obscure..  She was also known as:
Flora Dale, Rosa Green, Mae Harris, Mamie Harria, Sara Johnson. Sally Ritz,
Josephine Thomas, Gladys White and Bessie Williams (Viola McCoy also used the
pseudonym "Bessie Williams").  Whew!

She was born Rosa Dechamps on November 24, 1896 (the year of Plessy vs.
Fergurson :-I)  in Henderson, KY.  Her uncle was the owner of a carnival.
 She left home early to travel with the show throughout the South.

In c1918, she teamed with comedian Douglas "Slim" Henderson who she married
the same year..  They had two children (he died in 1928)   Together they
worked with John Mason and formed the Mason-Henderson peforming troupe
touring across the U.S.

Later moving to New York City, Rosa appeared in the "GO GET IT" REVUE and
c1923, recorded on the Victor/Paramount/Vocalian/Columbia/Ajax and
Pathe-Actuelle labels.. Needless to say, Rosa was a busy woman and her voice
was in demand.

Throughout the 1920's she continued to perform in such shows as: THE
PRICELESS FUNNY REVUE, QUINTARD MILLER'S REVUE, SEVENTH AVENUE AFFAIRS, THE
HARLEM ROUNDERS REVUE, BRUNETTES PREFERRED and many more.

By the early 1930's, after working at a feverish pace, Rosa worked mostly
outside of music in New York City.

Bill Daynes-Wood in the July 1968 "Jazz Journal Magazine" (UK) said," Rosa
was one of the most outstanding of the many early women vaudeville-blues
singers to record for the race record companies in the early twenties."

NOTE: I have been using as a reference for many of the "obscure" peformers,
the BLUES WHO'S WHO.  Great book and is available in most of the larger book
stores.

FYI: I HIGHLY recommend the recording "SONGS WE TAUGHT YOUR MOTHER"
(available on CD and cassette tape) on Bluesville Records featuring: Alberta
Hunter, Lucille Hegamin and Victoria Spivey.  This is a fantastic
introduction to those who want to learn more about these talented blues
singers/writers and musicians.  Featuring the following songs:

" I Got Myself A Workin' Man"  ( Hunter)
" St. Louis Blues" (Handy)
" Black Snake Blues" (Spivey)
" I Got A MInd to Ramble" (Hunter)
" You'll Want My Love" (Hegamin-Williams)
" Going Blues" (Spivey)
" You Gotta Reap What You Sow" (Hunter)  <-----one of my favorites
" Arkansas Blues" (Williams)
" Got the Blues So Bad" (Spivey)
" Chirpin' the Blues" (Hunter)
" Has Anybody Seen My Corinne" (Roger-Lukle)
" Let Him Beat Me" (Spivey)   <---what a title, huh?

Ok, that's all folks!

Lea Gilmore
Baltimore, MD
"Happy to be 'blue'...:-)

Number 19.
    
    
From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Tuesday, April 01, 1997 6:38 AM
To: 	Multiple recipients of list BLUES-L
Subject: 	Trixie Smith (WHM)

<<Hello there Zeller types!  I hope all who celebrated had a happy holiday
and those who don't had a great five days while I was gone.  Atlanta was 83
degrees and I come home to _snow_.   This is the *18th* profile for Women's
History Month.  Although it is April (can you believe it!?) I will continue
doing a profile a day until the end of this week and will then do two a week.
 Again, thank you  SO MUCH to those who have told me that they have enjoyed
this series.  Believe me, it is a labor of love. :-)>

Trixie Smith is one of those "singing Smiths" (Bessie, Clara and Mamie - none
related) who graced the stage during the Classic Blues period (1920's).  This
was such a rich time in American history amd these women contributed to  the
hightened
cultural awareness that permeated the country.

Trixie was born in Atlanta, GA in 1895.   She was exposed to music at an
early age.  Unlike many of her singing sisters, she attended college at Selma
Univeristy in Selma, AL.

As a young woman, she moved to New York City and began to perform at the
Lincoln Theater and worked the New Standard theater in Philadelphia, PA.   In
1916, she began performing on the T.O.B.A. circuit as a featured singer (this
is the same circuit covered by "Ma" Rainey, Bessie Smith, Clara Smith and so
many other African-American performers during that time period.  LOL, I guess
this is what my family referred to -and still does - as the '"Chitlin'
 Circuit").   From 1918 to the 1920's Trixie worked with the popular comedy
team of Edwards and Edwards (Butterbeans & Susie).  With the Edwards and
Mabel Whitman, Trixie toured theatres around the country.

The 1920's were an extremely prolific time for Ms. Smith.  In 1921, she
recorded on the Black Swan label in New York City.  1922; toured in 7-11
revue, 1923; recorded with the Fletcher Henderson Orchestra and the Down Home
Syncopators on the Paramount label.  She continued to record throughout the
1920's.

Ms. Smith was also an accomplished actress and stage performer.  She appeared
in MOONLIGHT FOLLIES REVUE (1927); NEW YORK REVUE (1928); HIGH LIGHTS OF
HARLEM REVUE (1928); she had a non-singing role in the show LILY WHITE (1928)
and in 1931 appeared with Mae West in the show THE CONSTANT SINNER and in the
same year appeared in the film THE BLACK KING.

Ms. Smith worked in music and the theatre throughout the 1930's even
recording for the Decca label in 1938 to '39.  As the 1940's approached,
Trixie began to work mostly outside of music and only made rare appearances
at charity events.  After a short illness, she died September 21, 1943 in New
York City.

That very nice blues-l guy Barry Silverberg and I have been talking about
archiving these profiles and placing them on the web for the world to see!
 More details as they come...

It's good to be back after a few days and I am looking forward to continuing
the profiles.  I hope you are too. :-)

Lea A. Gilmore
Baltimore, MD
"What a difference a day makes..."

Actually #20.  You should love this one, Meg.  One of my favorites, also.
    
From: 	Lea A. Gilmore[SMTP:[email protected]]
Sent: 	Wednesday, April 02, 1997 4:01 PM
To: 	Multiple recipients of list BLUES-L
Subject: 	Koko Taylor (WHM)

---------------------
Forwarded message:
Subj:    Koko Taylor (WHM)
Date:    97-04-02 14:47:22 EST
From:    LeaGil
To:      [email protected]

<THIS is the *18th* profile for Women's History Month which actually ended in
March, but I will continue daily until the end of the week.  As a reminder, I
will continue to do two profiles a week.  Kudos to Al Kanda for compiling a
list of Women in the Blues on his web page!  The URL was given by Eric <the
list king!> in an earlier post.>

Koko Taylor, that "Wang Dang Doodle-ing", singing sister is often referred to
as being the present day "Queen of the Blues."  Usually, when those who are
not deeply involved in blues music think of a contemporary woman blues
singer, they think Koko Taylor.    Koko has enjoyed international success as
a blues singer.  As soon as one hears her trademark growl, you know it's Koko
getting ready to set her man straight or get the party jumping.

Born Cora Walton  ("Koko" is reportedly a childhood mirpronounciation of
Cora) in Memphis, TN on September 28, 1935, Like many others, Koko received
her early musical training singing in the church choir.   When she turned 18
she moved to Chicago, IL.  where the blues was "plugged in" and bold.  After
arriving in Chicago, she initially worked outsideof music as a housekeeper.
  Koko decided to pursue her dream and performed on weekends in the clubs on
the Southside of Chicago.  Here she met and eventually performed with  Buddy
Guy, Muddy Waters, Junior Wells and so many others.

From 1953 into the 1960's, Koko recorded with J.B. Lenoir on the USA label;
1963 on the Spivey label; 1964 on the Checker label and  from 1964-73
appeared on THE BEAT  on WPIX-TV, a syndicated show from New York City.  IN
1966, ahe toured England and many other places in Europe with the AMERICAN
FOLK BLUES FESTIVAL.

In1966. Koko recorded Willie Dixon's (to me a TRUE blues legend) "Wang Dang
Doodle."  This is reportedly her only hit that made it to the charts and has
become her trademark song.  Howlin' Wolf also recorded "Wang Dang Doodle"
five years earlier.

During the 1960's and 70's, Koko became a fixture at the many blues festivals
around the U.S. and in Europe.  But until the mid-70's when she was picked up
by Alligator records under the direction of Bruce Iglauer, this is when she
began to experience real success in the blues world.  Bruce Iglauer allowed
her to take her "Chicago" style and run with it.  Here she developed her
signature sound.

In the 1980's Koko Taylor further cemented her place in blues history.  She
has won an incredible_ten_W.C. Handy Awards!

Tragedy struck in 1989, when she was involved in a devastating car accident
where she almost lost her life.  But she is a survivor.  Koko continues to
thrill blues fans world-wide with her hard-edged, "take no prisoners"
delivery.  She is a direct decsendent of Bessie Smith, "Big Mama" Thorton and
  Memphis Minnie.  Powerful women who knew what they wanted, knew how to get
and to our benefit - knew how to sing about it.

I am sure that many zellers are experts on Ms. Taylor and her music.  I would
love for them to share their knowledge and/or experiences.

Some of my favorite songs: "Mother Nature,"  " Hound Dog,"  "I Cried Like A
Baby," Jump for Joy" and many others.

Till tomorrow...

Lea A. Gilmore
Baltimore, MD
" Gonna Wang Dang Doodle all Night Long..."