A SAD SONG THE BLUES! BUT WHO HAD THE SWEETEST DEEPEST VOICES, WITH THE MOST VIBRANT LYRICS?

CLARA SMITH (billed as : "The Queen of the Moaners") BLUES SINGER 13-3-1894 to 2-2-1935 Clara was born in Spartanburg, South Carolina. As far as it is known Clara did not attend school, but apparently could read and write, so possibly she was home-taught. Clara began working on the theatre/vaudeville circuit ~1910, spending the next 13 years learning her craft, refining her skills at every opportunity, as she toured, entertained the folks throughout the south. She started in the chorus, moving up the ranks as she got noticed, receiving bigger parts as her voice grew with her. Then finally headlining some vaudeville reviews, as she became a popular performer on the TOBA(Theatre Owners Booking Association). Then in 1923, Clara went to Harlem, New York to get into recording/making music, on discovering her Columbia signed her up on the spot. Within a year of arriving Clara had got her own club, The Clara Smith Theatrical Club. Clara also around this time wrote and appeared in a revue she created for herself, "The Clara Smith Revue," as well as performing/singing in other revues in and around Harlem. Also on 1924-25, Clara performed on the West-Coast, which was unusual for a Blues Singer, at that time. From 1925 to 1928 she recorded for Columbia, her throbbing, deep-throated, moaning voice was backed by : Louis Armstrong-coronet, Coleman Hawkins-saxophone, Don Redman-clarinet, James p. Johnson-piano. Clara recorded 2 duets with Bessie Smith, preferring suffering, tragic heroines as her subject matter; such as "Every Woman Blues," Awful Moaning Blues." Clara recorded over 125 songs in her career, her last recording s made in 1932. Clara Smith was also a mentor For the Fabulous Josephine Baker, before she was well-known; taking the young girl on as her dresser at 13. On Saturday 2-2-1935, Clara was on her way to Detroit, when she had a heart attack and passed away. According to Roger Kinkle(author of "The Complete Encyclopaedia of Popular Music 1900-1950), he notes that, " Among the early female blues singers, she was probably only surpassed by Bessie Smith and Ma Rainey." Clara Smith is buried at : Lincoln Memorial Park, Clinton Township, Macomb County, Michigan. At : adp.library.ucsb.edu/smithclara it displays The Discography of American Historical Recordings. It shows 145 items of Clara Smith dating from 31-5-1923 to 25-3-1932. discogs.com/Clara-Smith displays 62 items. YouTube displays : Clara Smith Don't Advertise Your Man 1924 3minutes 13seconds. Kitchen Mechanic Blues 1925 3minutes 29seconds. Nobody Knows The Way I Feel This Morning 1924 3minutes 21seconds. Clara Smith and Her 5 Black Kittens Black Cat Moan 1927 2minutes 39seconds. LUCILLE HEGAMIN(nee : Nelson) BLUES SINGER(billed as The Georgia Peach) 29-11-1894 to 1-3-1970 Lucille was born in Macon, Bibb County, Georgia, first getting her chance to sing in church/local theatres, before leaving home at 15 to tour with Leonard Harper Revue billed as, "The Georgia Peach." Sometime later she got stranded in Peoria, Illinois, where she made her own way to Chicago, where she performed in various clubs with sidemen Tony Jackson/Jelly Roll Morton/Bill Hegamin-pianist.(she married in ~1914, they divorced ~1923) Lucille moved west to Los Angeles with Bill + with her own band, making extensive appearances in Seattle, Washington, Pennsylvania, West Virginia, Ohio. In late-1919 she returned to New York, to sing/lead/record with her band, The Blue Flame Syncopaters. 1920 saw Lucille become the 2nd African female Blues singer, to release a record, following behind Mamie Smith Lucille 1st recorded for the Victor label in October 1920, but her version of "Dallas Blues," was rejected. Her recording career proper started in November 1920, with the Arto Lable. In 1921, Lucille made a solo appearance at, The Shuffle Inn, fronting her own Dixie Daisies. Lucilles' 1st record "Everybodys' Blues," was for the Arto Label. But when they went bust in 1923, the next 3 years Lucille recorded for the Manhattan-based Cameo Label, recording 75 sides for them, picking-up the sorbriquet "The Cameo Girl." 1922, Lucille recorded 6 sides for the Paramount label, from 1926-27 she sang with The Sunnyland Cottonpickers. During the 1920s Lucille appeared in several Broadway shows, one being "Creole Follies." Lucille Hegamin also sang under the name, "Fanny Baker," recording a single record for Okeh in 1932. in the mid-1930s she also had her own radio show. After a brief appearance at The Paradise Cafe, Atlantic City 1933-34, Lucille became a registered nurse in 1938. Lucille made her final public performance in 1964, at The Celebrity Club, New York. During this period of Blues/Folk revival, Lucilles long term friend Victoria Spivey, "Queen Vee," coaxed her back into performing, also recording for her label Spivey Records, Lucille also recorded for Bluesway. During to her failing health Lucille passed away at The Harlem Hospital Centre, New York. Lucille Hegamin is Buried at : The Evergreen Cemetery, Brooklyn, Kings County, New York. Memorial ID : 6657759. Lucille can also be viewed at : adp.library.ucsb.edu/lucillehegamin-Discography of American Historical Recordings-from 11-10-1920 to 4-3-1932. discogs.com/lucillehegamin 25 items to view. syncopatedtimes.com/lucillehegamin 34 items to view, with a list of her band members/sidemen. YouTube.com Lucille Hegamin : Jazz Me Blues 2minutes 36seconds. Jazz Me Blues 2minutes 36 seconds. Arkansas Blues 3minutes 30seconds.

LILLIE MAE GLOVER(birth name : Lillie Mary Hardison) BLUES SINGER 9-9-1906 to 27-3-1985 Lillie was born in Columbia, Tennessee, she ran away from home ~1920 at the tender age of 13, to join The Tom Simpson Travelling Medicine Show, so she could sing the Blues

. As young as she was she did a lot of travelling, with a lot of tent/side-shows they included : The Rabbit Foot Minstrels, The Bronze Mannequins, The Vampin' Baby Show, Georgia Minstrels, Harlem in Havana, Nina Bensons Medicine Show,. Her father was a preacher, with young Lillie-Mae singing the Blues it would have brought disgrace upon the family. She worked in several road shows before landing in Memphis, Tennessee, in the late-1920s. She became a regular performer on the citys' famed Beale Street, picking up the nick-name, "The Mother of Beale Street." Eventually when Lillie did record she used several names, : Lillian Mae Glover, Mae Glover, Sister Jones, Bessie Jones, Mae Muff, May Armstrong. Memphis became home for Lillie in 1928, she married a cook Willie Glover. She performed at : The Midnight Rambles, Peabody Hotel, Coca-Cola Club, Citizens Club, Manhattan Club. Lillie-Mae recorded for the Gennett lable-July 1929 + the Champion label-February1931. Here in Richmond Lillie recorded 8 songs for Supertone + Champion. Later a copy of "Forty-Four Blues," recorded at this session, emerged under the alias "Mae Muff," as "Big Gun Blues," on the Varsity Record Label. Lillie also recorded in Memphis April 1927, 2 tracks-"Joe Boy Blues + Nobody Can Take," under the name of-May Armstrong. In 1953, she used the name Big Memphis Ma Rainey, to record some favourite tracks for Sun Records. Lillie-Mae died in 1985 leaving no immediate family, at The Tishomingo County Hospital, Iuka, Mississippi. Lillie Mae Glover is buried at Elmwood Cemetery, Memphis, Shelby County, Tennessee. Memorial ID : 37716865. Inscription on the Headstone reads : I'm Ma Rainey 2/Mother of Beale Street/I'm 78 Years Old/Ain't Never Had Enough of Nothing/And It's Too Damn Late Now. Since 1939, Miss Glover performed as Ma Rainey II, after the legendary Blues Singer died that year and, who Miss Glover emulated. "I wanted to sing the blues, but my father was a pastor and the blues were looked on in those days, as dirty music. And for me to stay in Nashville would have been a disgrace for my family." Lillie said in an 1982 interview. Miss Lillie Mae Glover received The Beale Street Music Festival Award in 1977. She also received Tennessees' Outstanding Achievement-1979. She was also inducted into, The Hall of Fame of Music and Entertainment in Chicago-1981. The actual dates she recorded for : Supertone Label : 29-7-1929. Gennett Label : 29-7-1929. Champion Label : 24-2-1931. You can hear her on YouTube : Mae Glover Shake It Daddy 29-7-1929-2minutes 51seconds. Gas Man Blues 2minutes 46seconds. Bessie Jones(Mae Glover) Shake It Daddy + Ain't Given-double side.

SARA MARTIN BLUES SINGER(aka : The Famous Moanin' Mama + The Coloured Sophie Tucker

) Sara was born in Louisville, Kentucky. It is said that Sara started her vaudeville career, in Illinois ~1915. Sara was a mature performer/actress/singer at 38, when the blues entered her life and performance. Her big rich voice, stylish stage presence/material, shrewd publicity, elegant long gowns/jewellery which cast her as a wise/experienced Diva knowing where she was going. When the record companies saw the hunger for the African Blues, they were all out looking for the artists who could portray its' story. Sara was signed by the Okeh label in 1922. One of her 1st recordings was, "Tain't Nobodys' Business If I Do," with Fats Waller at the piano. In 1923, Okeh released 17 records by Sara; the sheer quantity would dictate that some of results were far from perfect. But when Sara gained more control over her material, she proved to be the star that shone. Billed as "The Coloured Sophie Tucker," she could really swing the songs, showing her sensitivity/Blues sensibility, all through her stylish work. Sara Martin was a consistent best seller. Her duets with Sylvester Weaver-and his guitar, are said to be the 1ST TIME a single guitar was used to back a Blues Song. Saras' reputation grew as a performer/recording artist, she performed all over the south + east coast. Sara recorded for other labels under various pseudonyms, "Margaret Johnson, " "Sally Roberts," being a couple. It was in 1927, that Okeh dropped Sara Martin from their catalogue. But her spectacular stage show/presence/maturity assured of her of continuing live work. In the late-1920s Sara toured Cuba, Jamaica, Puerto Rico, along with major US cities. Sara appeared in a very early sound film, "Hello Bill-1929." Saras' last stage appearance was in, "Darktown Scandal Review-1930." In the early-1930s Sara retired to Louisville to run a nursing home there. Sara herself passed away in her hometown with a stroke. Her initial burial was in an unmarked grave in her own township. Then in 2015! "Kentuckiana Blues Society + National Jug Band Jubilee," raised funds to install a pictorial headstone, to mark the resting place of this "Blues Diva," for all time.(all information is available on kfw.org/saramartin : there is a superb photo there as well) So I can now proudly say, Sara Martin is buried at : Louisville Cemetery, Louisville, Jefferson County, Kentucky. Memorial ID : 6657687. Sara also appears in the following : adp.library.ucsb.edu/saramartin : Discography of American Historical Recordings 139 items to view starting 18-11-1922 to 6-9-1927. discogs.com/saramartin 38 items to view. syncopatedtimes.com/saramartin showing 81 song titles along with the musicians who accompanied her on the records. YouTube.com : Sara Martin Roamin' Blues-1923 3minutes 4seconds. Kitchen Man Blues 2minutes 35seconds. Blind Man Blues 3minutes 16seconds.

GERTRUDE "MA" RAINEY(birth name : Gertrude Pridgett) BLUES SINGER-SONGWRITER(billed as : Mother Of The Blues) DANCER 26-4-1886 to 22-12-1939 Gertrude was born in Columbus, Georgia to minstrel troopers, Thomas Pridgett + Ella-Allan Pridgett. Gertrude worked at The Springer Opera House ~1900, as a singer/dancer in the local talent show, "A Bunch of Blackberries." On Tuesday 2-2-1904, Ma married comedy songster William "Pa" Rainey, then they were billed as "Ma and Pa Rainey," they as a couple toured the southern tent/cabaret, vaudeville shows. By 1905, Ma Raineys' extensive travels brought her into contact with authentic country blues, which she was able to work into her repertoire. Her inane ability to capture the essence/emotion/drudgery of the African rural southern life, endeared her immensely to throngs of followers down south. While performing with The Moses Stokes troupe in1912, the Raineys' were introduced to Bessie Smith, 8 years young than Ma Rainey. ~1915 Ma + Pa toured with Fat Chappelles' Rabbit Foot Minstrels. A year later Ma + Pa separated going their own way. Ma subsequently toured with her own band, "Madam Gertrude Ma Rainey and Her Georgia Smart Sets." It featured a chorus line, A Cotton Blossom Show + Donald McGregor Carnival Show. Then with the help of Mayo "Ink" Williams, Ma 1st recorded for Paramount in 1923.(3 years after Mamie Smiths historic 1st recording), already a popular singer in the southern theatre circuit. Ma Rainey entered the recording industry a stylistically mature/experienced/confident artist/singer. Her 1st session was cut with Cora "Lovie" Austin + Her Blue Serenaders, it was "Bo-Weevil Blues." Fellow Blues singer/Record Label owner Victoria Spivey said, "Ain't nobody in the world been able to holler, Boweevil like her. Not like Ma. Nobody!" Ma Rainey cut/recorded 94 records for Paramount before 1928. At least 47 of those were her own compositions. Unlike many other Blues artists, Ma earned a reputation as a professional on stage/business-minded as well. It was said of her, "Ma Rainey was a shrewd business woman, no-one ever tried to put any swindles on her." Ma took part in the Paramount promotional tour, that featured a new band, "The Wild Cats Jazz Band." They debuted at The Chicago Grand Theatre, State Street. Ma draped in a long gown, covered in diamonds, a necklace of gold pieces, Ma was in complete control of her audience. They clamoured to see her, rocked, swayed, they all felt the blues in Ma and, it affected all of them emotionally. Until 1926, Ma Rainey performed with The Wild Cats, on the TOBA(Theatre Owners Booking Association), following the death of her mother and sister, Ma retired from the music business in 1935. Settling in Columbus, for the next few years, she devoted her time to the ownership of 2 entertainment venues : The Lyric Theatre, The Airdome, as well as activities in The Friendship Baptist Church. Gertrude "Ma" Rainey passed away in Rome, Georgia, of a heart disease. Ma Rainey was inducted into : The Blues Foundation Hall of Fame -1983. The Rock N' Roll Hall of Fame-1990. Ma Rainey is buried at : Porterdale Cemetery, Columbus, Muscogee County, Georgia. Memorial ID :2477. "Ma Raineys House," 805 5th Avenue, Columbus, GA31901 Not so much a Museum. More a Memorial to A Blues Legend. When it became HOME.(exploregeorgia.org/Ma Raineys House.) More of Ma Rainey can be viewed at : adp.library.ucsb.edu/marainey from 7-4-1924 to 4-12-1930. syncopatedtimes.com/marainey 5-band leader, 22-solo records + the musicians that accompanied her. discogs.com/marainey 86 items to view.

CORA "LOVIE" AUSTIN(birth name : Cora Calhoun) BANDLEADER BLUES PIANIST COMPOSER-SINGER ARRANGER SESSION-MUSICIAN 19-9-1887 to 8-7-1972 Cora was born in Chattanooga, Tennessee. Coras father was Professor Calhoun, a great musician and teacher in New York, we know nothing about her mother, she lived with her 8 brothers and sisters, Cora had been raised by her grandmother Cornelia Taylor, who always called her "Lovie." So she was tagged by that name the rest of her life, how beautiful is that

? Cora was childhood friends with Bessie Smith, when they had the chance, they would sneak off together to listen to their idol Ma Rainey. Cora attended The Roger William College, until it burnt down on Tuesday 24-1-1905. Cora then completed her studies at Knoxville College. With her formal music education which was unusual for African women of her generation, Cora could have become a music teacher, but like her contemporary Lil Hardin Armstrong(2nd wife of Louis Armstrong-bandleader/arranger/composer), opted for the professional music market. "Lovie" played piano/performed in variety acts on the African vaudeville circuit. In the early part of the 20th century, many female musicians made a living from performing in family bands/novelty variety acts, via tent/carnival/circus shows, as they were all the chief venues for the African audience, prior to WW I. After 1918, vaudeville thrived became stronger, all-African theatres were built as the demand increased for their entertainment. "Lovie" Austin joined the TOBA(Theatre Owners Booking Association-it also garnered the nick-name : Tough On Black Asses) circuit, where they gained the reputation for overworking/underpaying/mistreating the African performers and artists. But its theatres were the only entertainment arenas, that were allowed to have mixed audiences. "Lovie" found work on the TOBA circuit, but her hidden talents as an arranger/performer came to light, when she led her own ensemble, "The Blue Serenaders," directing her own shows, "The Sunflower Girls," "Lovie Austins Revue," which enjoyed a long-run at the New York showcase Club Alabam. Mary Lou Williams(jazz pianist-composer-arranger) was still a schoolgirl, when she was inspired by the sight of Cora Austin, at a Pittsburgh Theatre. She recollects, "One Saturday night I went to a theatre on Frankstown Avenue. But I hardly noticed any part of the show, for all my attention was focussed on the lady pianist, who worked there. She sat crossed-legged at the piano, a cigarette in her mouth, writing music with her right hand, while accompanying the show with her swinging left." That lady pianist turned out to be "Lovie" Austin, who was working with the pit-band and making orchestrations. Having finally a more settled life at The Monogram Theatre, Chicago. "Lovie" had escaped the monotony/tedium of travelling, living from a suitcase daily, but not a glamorous life at all for Cora, as musical director for >20 years. There were several shows a day, the theatre was a bare-bone, un-cared for establishment with no finesse. The performers had to change deep-down in the basement, then climb a ladder to get to the stage. While she directed music at The Monogram, Mayo Williams of Paramount Records, hired "Lovie" to scout talent in the Blues genre; then learn the songs by ear, then to transfer that to musicians/singers, with the proper pitch/arrangements , then transcribe all that information to the studio, so they could put it onto sheet music. "Lovie" had also developed a strong/rhythmic/ percussive playing style, ideal for raunchy, rocking Blues. "Lovie" found herself in demand in her own right, leading her group/band The Blue Serenaders; together they recorded 16 sides for Paramount, between 1924-26. From the 1920s to the late-1940s Cora recorded with the Blues pioneers : Chippie Hill(short-lived Blues singer 1925-29-recorded 23 tracks), Ida Cox(early Blues singer recorded >78 tracks between September 1923-October 1929 for Paramount ), Edmonia Henderson(short lived blues singer-recorded 7 songs-between 1924-26, then left for the church)/ Alberta Hunter(early Blues singer travelled/toured in Paris/London 1917, recorded for HMV.) Ma Rainey(Blues singer-composer). "Lovie" herself composed dozens of Blues numbers, co-writing several hits such as, "Down Hearted Blues-Alberta Hunter," "Chirping The Blues-Alberts Hunter," "Bo Weevil Blues-Ma Rainey," "Bama Bound Blues-Ida Cox." Bessie Smiths recording of "Down Hearted Blues," 1923, Columbia Records sold 780,000 copies in 6 months, which launched her as a major star. Bessie went on to record many of Coras' other songs including : "Bleeding Heart Blues," "Any Woman Blues." Alberta Hunter one of the biggest names in Blues, featured soloist at The Dreamland Cafe for 5 years, remained grateful to Cora Austin all her life, for obtaining copyright protection for Downhearted Blues. Alberta said of Cora Austin, "Don't ever forget Lovie Austin. She wrote and played a mess of Blues. Lovie wrote Graveyard Blues for Bessie Smith and made hundreds of these early records. And it was Lovie who helped me copyright my Blues." Lovie Austin was not so lucky, she gained very little financial benefit from reissued recordings/compositions, as the copyrights had been sold-on without her knowledge . In the 1930s, The Great Depression changed everything, especially music. In WW II Cora worked in a munitions plant, then post-1945, became a pianist at Jimmy Paynes Dancing School. In 1961, jazz critic Chris Albertson brought Alberta Hunter & Cora "Lovie" Austin back to the studios to record, Alberta Hunter with Lovie Austin and her Blue Serenaders, in which they performed "Down Hearted Blues," the 1st time since 1922. That was Coras' last recording, she continued to perform through the 1960s, finally retiring in the early 1970s. Sadly passing away in Chicago 10-7-1972. Alberta Hunter remembered Lovie Austin as, "A wonderful woman. She was kind-hearted. She tried to help anyone she could." Mary Lou Williams said of her, "She was a fabulous woman and a fabulous musician too. I don't believe there is a woman around now who could compete with her. She was a greater talent than many of the men." Cora "Lovie" Austin is buried at : Mount Glenwood Memory Gardens South, Glenwood, Cook County, Illinois. Memorial ID : 146037267 "Lovie" Austin can be viewed at : adp.library.ucsb.edu/lovieaustin 33 items from 15-2-1923 to 17-8-1928 also at : syncopatedtimes.com/lovieaustin YouTube.com : Cora "Lovie" Austin Hidden Figures 4minutes 23seconds. Travelling Blues 2minutes 41seconds. With Alberta Hunter + The Blue Serenaders 2minutes 59seconds.

LIZZIE MILES AFRO-CREOLE BLUES SINGER (birth name :Elizabeth Mary Landreaux) HALF-SISTER TO EDNA HICKS-Blues Singer & HERB MORAND-Trumpet Player. 31-3-1895 to 17-3-1963. Lizzie lived at 1508 Pauger Street(formerly Bourbon Street), her speciality was singing in both English/New Orleans Creole French patois. Lizzie was billed as "The Creole Songbird." Lizzie was born and raised in Faubourg, Marigny, a neighbourhood bordering the Mississippi, downriver from the French quarter. French was Lizzies' Mother-Tongue, she performed to both white/African audiences. Her talent was realised very early, nurtured to maturity in her early teens She was singing while a teenager with/for New Orleans jazz bands of cornetist Joe"King" Oliver(mentor to Louis Armstrong), trombonist Edward "Kid" Ory-also Creole, A.J. Piron, she also worked as a song-plugger for Clarence Williams & A J Pirons' publishing company. The New Orleans cultural atmosphere was rich in working-class venues, for jazz/blues performances. In the South, tent shows/travelling circuses/touring vaudeville/minstrel acts were popular. Touring the vaudeville circuit, she worked in a circus/ minstrel shows, establishing a reputation that warranted her moving to Chicago, post-WW I. In Chicago, she worked/performed with Elgars Creole Orchestra, Freddie Keppard & King Olivers' Jazz Band. In 1922, Lizzie relocated to New York, where she began a rewarding career, playing clubs/cabarets, with The Sam Wooding Orchestra, Pirons New Orleans Orchestra. 1922, is when Lizzie made her recording debut for Okeh Records, throughout the 1920/30s Lizzie recorded nearly 70 tracks for the well known labels, the smaller independents as well, she also had her own group, "The Creole Jazz Hounds;" she also used the pseudonyms "Mandy Smith & Jane Howard," on some of her tracks. In 1924, Lizzie toured Europe playing Paris, at Louis Mitchells Club Chez Mitchell/other venues, for a couple of years. In 1927, she returned to New York, where she spent the rest of the 1920 + 30s. In the late-1930s, Lizzie returned to New Orleans, as an illness curtailed her career. During The Great Depression/WW II she reappeared occasionally to perform/record. Then Lizzie re-emerged in the 1950s to kick-start her career once again. Lizzie did have 1 stipulation when she returned to sing, that she insisted on performing from the side of the stage/or in-front of it. Because she said she had prayed for healing when she was ill, then pledged never to set foot on a stage again. She nonetheless acquired a renewed reputation, as an important vibrant musical figure, enough for Cook Records, to record 3 albums in 1956. Lizzie performed with The Bob Scobey Band, until she retired in 1959. Lizzie Miles appeared in The Monterey Jazz Festival 1958. Lizzie died of a heart attack in New Orleans. Lizzie Miles said of her own work, "To me I sing love songs-sad songs-torchy songs better. Guess its because I had such a hard, sad life from as far back as I can remember, is why." You can hear Lizzie sing at : jazzhouse.prc.yourcultureconnect.com/lizziemiles. you can view her at : syncopatedtimes.com/lizziemiles 67 items + plus the musicians that accompanied her. imdb.com/lizziemiles filmography. adp.library.ucsb.edu/lizziemiles Discography Of American Historical Recordings : 45 items from 2-2-1922 to 27-2-1930. discogs.com/lizziemiles 42 items to view. YouTube.com : Lizzie Miles : My Man O' War 3minutes 31seconds. Salty Dog + Lizzies Blues 5minutes 6seconds. Rare 1957 TV performance of Bill Bailey 2minutes 23seconds. A Good Man Is Hard To Find 2minutes 54seconds. Cotton Belt Blues Lizzie Miles + Clarence Johnson on piano.

EDNA HICKS(birth name : Edna Landreaux) HALF-SISTER TO LIZZIE MILES-Blues Singer, FULL SISTER TO HERB MORAND-Trumpet Player. 14-10-1895 to 16-8-1925. Born in New Orleans, left home ~1916, where she worked in a selection of vaudeville/musical comedy shows. Edna appeared in Chicago, Cincinnati, during 1910/20s where she was popular. Edna began recording in in 1923 with Victor Records, then she moved onto Gennett, Brunswick, Vocalion, Ajax, Columbia, Paramount labels. Sadly her career was cut down in its prime. 1 night she was helping her husband refuel their car, she was holding the candle so he could see, the flame ignited the fumes badly burning Edna. Rushed her to hospital, but were unable to save her. you can view other information at : syncopatedtimes.com/ednahicks session leader 3 solo records 22 who she was accompanied by. discogs.com/ednahicks 10 items 1923-24. rateyourmusic.com/15 items to view. YouTube.com : Edna Hicks : Poor Me Blues 3minutes 11seconds. I'm Going Away 4minutes 34seconds.

ALBERTA HUNTER BLUES SINGER-WRITER 1-4-1895 to 17-10-1984 Alberta was born in Memphis where she attended Grant Elementary School-off Auction Road. She had a very difficult childhood, her father Charles E Hunter leaving her when she was still a child. To support the family her mother Laura Peterson, worked as a domestic in a Memphis brothel. Alberta had a sister La Tosca 2 years older. Laura was ashamed of the fact that Charles had left her, that she had to work in a bordello, so the family could eat. Mum never discussed her job/her feelings/sex/male relationships, with her 2 daughter so both were ill-prepared for the outside world. Alberta was later sexually assaulted, by a boyfriend of their landlady; as well as her school principal. Alberta spent her early years between her strict disciplinarian mother and, Nancy Peterson her grandmother. Her early music education came from Beale Street bands/musicians, then when William Christopher Handy(Father of the Blues, musician-trumpet player composer, band-leader) came to town in 1905, Alberta raced down to see them play. Although Laura married again, when Alberta was ~11, her step-father already having a daughter Josephine, Alberta being a serious child was somewhat deprived of the attention she needed at home, she also started getting unwarranted attention from men/boys outside of home. At 16, Alberta ran away from home with a family friend to Chicago, where another friend got her a job in the kitchen of a boarding house, for $6 a week/board. Of her blues career Alberta, is quoted in a Calliope on-line article. "The blues? Why, the blues are part of me. When we sing the blues, we're singing out our hearts, we're singing out our feelings. When I sing, what I'm doing is letting my soul out." Alberta got her start in 1911, at "Dago Franks,"(a club run by notorious gangster Francisco Cirofici), a bordello frequented by pimps/gangsters/crooks. The young Alberta was much impressed/influenced by the women, who safeguarded/protected her from the pimps/customers. Alberta started with a repertoire of 2 songs she had taught herself, stayed until 1913 when it was closed, due to a murder happening there. She then made a move to The Hugh Hoskins Club, where once again she was introduced to confidence tricksters/ pick-pockets/all sorts of low-life. It was also possible that Alberta, had her piano accompanist killed by a stray bullet at this club, due to 1 of the local disagreements. By this time Laura(mum) had left her husband, so Alberta had her come to Chicago and live with her. From here Albertas' career advanced, as she got several jobs in several of the African clubs. During this period she got to know the prominent jazz pianist Tony Jackson, who helped expand her repertoire and compose her own songs. Alberta also made friends with "King" Olivers' pianist Lillian "Lil" Hardin. In 1915, Alberta was hired by Panama Cafe&eacute, one of Chicagos' top-spots mainly with white clientele. She became very popular, even to the point where composers paid her to debut their latest compositions, among the most interesting were WC Handy asking her to plug St. Louis Blues. When the Panama Cafe closed in 1917, due to a shooting, Alberta moved around for a while, until The Dreamland Ballroom hired her. She spent 5 joyful years singing with Joseph "King" Oliver, her salary started at $17.50 a week, rising to $35. Alberta also got tip money, which could reach $400-500 a night, which was supposed to be shared with all the musicians. But Alberta would tuck notes into the top of her blouse, flirt with particular customers. Once when the lights went out, a man was shot as the club, when the lights came back on, Alberta was caught with her hand in the tip jar. She never forgot the lessons from her past. As Alberta continued her career, she sang in as many clubs as possible, even after hours in her free time. She met/worked with some of the most talented musicians of the time, but in the world of excesses she stayed an outsider looking-in. Albertas' reserved nature/she didn't drink/didn't smoke/didn't do drugs, plus she was NOT what they termed, "A Dirty Blues Singer," which kept her a little distant from the immoral pleasures that were there to be enjoyed. In 1919, Alberta met Willard Townsend in Cincinnati, they crossed over into Kentucky to get married. They lived for 2 months together in Chicago, before Alberta kicked him out-then divorced him 4 years later. In the 1920/30s Albertas' career took-off, travelling between New York/Chicago, performing with Louis Armstrong, Sidney Bechel, Fats Waller, Sophie Tucker, Bessie Smith. Style & glamour were Albertas stage attractions, she always dressed in the latest fashions with a sparkling personality, when she performed. In New York, ~1921, she first recorded for Black Swan records, becoming 1 of the first African artists to join the label. Albertas first song, "How Long Daddy, How Long," is credited with saving the label from bankruptcy, then switching to Paramount in 1922, she writing most of the songs she recorded for Paramount. In 1923, Paramount released 12 Alberta Hunter songs. Amongst those releases Alberta, became the 1ST AFRICAN FEMALE BLUES SINGER, TO BE BACKED BY A WHITE BAND. In 1924, Alberta moved to the Okeh Label, as she had been duped of her royalties, from the song "Down Hearted Blues." At the same time she recorded for the Biitmore label as "Alberta Prime," then for the Gennett label as "Josephine Beatty." Alberta also started to appear in stage shows, on-off Broadway, in 1922, she was appearing in "Dumb Luck," with Ethel Waters, which closed out of town. Stranding the cast until Alberta found the money to get them all home. In April 1923, Alberta moved to New York, 4 days later she was opened in Eddie Hunters' "How Come," at The Apollo Theatre. In 1924, she was in Washingtons' Howard Theatre performing in Eddie Hunters, "Strut-tin." Besides singing and writing songs, Alberts could dance. She is credited with teaching the Charleston to the white folks of West Virginia. She may actually have invented the "Black Bottom," another dance craze in the 1920s. Also in the 1920s, Alberta was appearing in vaudeville, being belittled by the stereotypical parts played by the African performer. By the late-1920s, Alberta and her companion Lottie Tyler toured in Europe, beginning in Paris, France, then moving onto the Riviera. In 1928, they moved to London, where she performed in a myriad of clubs, in May 1928, she opened as Queenie in Showboat, in The Drury Lane Theatre, West End, London. The leading man was Paul Robeson, it was a stunning success, lasting 350 performances. In May 1929, she returned the States going back to performing in New York/Chicago at various clubs/stage plays/vaudeville. In 1930, Alberta moved her mother into her Harlem apartment, where she stayed keeping house for her beautiful child, until she passed away. Alberts spent the 1930s, travelling from Europe to Asia performing in France/England, then moving onto Russia/Middle East. She also did several Royal Command performances which were well received. Then they had to return to the USA, because of the threat of war. Alberta joined the USO, to entertain the troops in Europe, India, China; then later in Korea. The highlight of the tour was a performance on June 11th, for General Eisenhower + Soviet Marshall Zhukov. Alberta Hunter was 1 of the recipients of Asiatic Pacific Campaign Ribbon, for "Outstanding Service," for her work with the troops. Back in New York in the early-1950s, she was still performing in clubs/plays, but her appeal was waning. So Alberta changed direction, she joined a church then started doing volunteer work at The Joint Disease Hospital, Harlem; being named Volunteer of the Year-1956. Alberta was devastated when her mother passed away in 1954, realising she needed another fulfilment at 62. She studied to pass her elementary school equivalency exam, subtracted 12 years from her age, took her nurses course/exam at Harlem YWCA, then received her practical nurses license in August 1957. Then for the next 20 years was a scrub nurse at The Goldwater Memorial Hospital, Roosevelt Island. During that 20 years, she maintained only casual relationships with her prior life, recorded only a few songs, taped an interview for The Smithsonian Institute. Alberta was an excellent nurse, well liked by all her patients. Alberta would not have retired, but reluctantly was forced to by the hospital, who thought she had reached the retirement age of 70. but in actual fact her real age was 82. Then in 1977, Alberta was invited by Barney Josephson, the owner of New York jazz club "Cookery," to sing, she was an instant success. The National Review(fortnightly magazine) said at the time. "Friends persuaded her to perform again in a Manhattan Restaurant, the Cookery, she did to terrific reviews. Pretty soon you couldn't get into the place. She was spunky, and smooth." Also during the course of 1977, Alberta found the time to write songs for Robert Altmans film, "Remember My Name." Where she actually had a walk-on part. She was also invited to sing at Carnegie Hall, at The White House for President Jimmy Carter. During this tim e she also recorded 2 albums, "Amtrak Blues-1980," "Look for the Silver Lining-1983." She made appearances on TV, sang at The Kennedy Centre Lifetime Award Programme, honouring among others Marian Anderson(contralto-opera/gospel singer). By 1980, health problems began to set-in, she had broken several bones, had a pacemaker installed, but continued to perform to the very end. Alberta was performing in Denver, in the Summer of 1984, when she finally decided she could not continue, returning to her New York apartment, then passing away in October 17th. Alberta Hunter is buried at : Ferncliff Cemetery and Mausoleum, Hartsdale, Westchester County, New York. Plot : Elmwood Section 1411. Memorial ID : 2983. Albertas' come-back album, "Amtrak Blues," was honoured by The Blues Hall of Fame. Alberta was inducted into The Blues Hall of Fame-2011. Alberta was inducted into The Memphis Music Hall of Fame-2015. Alberta Hunter also had her recordings pressed for : the Puritan label, Harmograph, Silvertone. She used the psuedonyms : Anna Jones, Alberta Prime, Josephine Beatty, on various labels. You can also hear her sing, see a great selection of photos at : memphismusichalloffame.com/albertahunter. adp.library.ucsb.edu/albertahunter 57 items to view January 1923 to 3-6-1940. allaboutbluesmusic.com/albertahunter. allmusic.com/albertahunter imdb.com/albertahunter-interesting biography/filmography. discogs.com/albertahunter 51 items to view. YouTube.com/albertahunter : Nobody Knows When You are Down and Out-3minutes 58seconds. The Love I have For You-2minutes 47seconds.

MARY STAFFORD(birth name : Annie Burns) BLUES SINGER 1ST AFRICAN FEMALE TO RECORD FOR COLUMBIA RECORDS 1921-MARY STAFFORD AND HER BLUES BAND ~1895 to ~1938 1 of the earliest recorded blues singers preceding Bessie Smith by 2 years(recorded in 1923). Marys' career/contribution to the blues genre largely forgotten/ignored. The early female blues singers were more closely associated with vaudeville stage, performing a more sophisticated/hybrid-blues, backed generally by jazz combos/bands. Instead more focus/attention is placed on the more aggressive "shouters & moaners," style of blues post-1923. Mary was born in Springfield, Missouri. After moving east from Missouri in the mid-1910s, she had already started working in Atlantic City/Baltimore in 1917/19. In and around this time Mary was already performing with the likes of, Eubie Blake(jazz pianist/composer), Bessie Smith, Willie "The Lion" Smith(real name : William Henry Joseph Bonaparte Bertholf Smith, jazz pianist). Mary became popular as a performer ~1920s. In 1921, Mary recorded 13 sides for Columbia in New York, backed by The Charles Johnson Orchestra-consisting of trumpet, trombone, clarinet, alto-sax, drums(her brother George Stafford was the drummer), with Charlie on piano. Through the mid-1920s, Mary spent her time singing in New York/Maryland. The early-1930s saw Mary in revues, 1931-"The Rocking Chair," 1932-"Dear Old Southland," both performed at The Lafayette Theatre, New York. By all accounts in 1932, Mary finally settled in Atlantic City. Although Mary continued to perform until her death into the late-1930s, she only returned to the studio once. In 1926, when she recorded 2 double entendre blues songs for Pathe-Actuelle. Marys' discography can be viewed at : adp.library.ucsb.edu/marystafford Discography Of American Historical Recordings : 13 items to view from 5-1-1921 to 3-11-1921-all for Columbia. discogs.com/marystafford 5 items to view. rateyourmusic.com/marystafford 7 items to view. YouTube.com/marystafford Crazy Blues-3minutes 4seconds. Royal Garden Blues-3minutes 4seconds. Wild Weeping Blues-3minutes 12seconds. blackgrooves.org/aintgonnasettledown.