Bessie Smith, even on the evidence of her earliest recordings, well deserved the title "Empress of the Blues" for in the 1920s there was no one in her league for emotional intensity, honest blues feeling, and power. The second of five volumes (the first four are two-CD sets) finds her accompaniment improving rapidly with such sympathetic sidemen as trombonist Charlie Green, cornetist Joe Smith, and clarinetist Buster Bailey often helping her out. However, they are overshadowed by Louis Armstrong, whose two sessions with Smith (nine songs in all) fall into the time period of this second set; particularly classic are their versions of "St. Louis Blues," "Careless Love Blues," and "I Ain't Goin' to Play Second Fiddle." Other gems on this essential set include "Cake Walkin' Babies From Home," "The Yellow Dog Blues," and "At the Christmas Ball."
On the third of five volumes (the first four are double-CD box sets) that reissue all of her recordings, the great Bessie Smith is greatly assisted on some of the 38 selections by a few of her favorite sidemen: cornetist Joe Smith, trombonist Charlie Green, and clarinetist Buster Bailey. But the most important of her occasional musicians was pianist James P. Johnson, who makes his first appearance in 1927 and can be heard on four duets with Bessie, including the monumental "Backwater Blues." Other highlights of this highly recommended set (all five volumes are essential) include "After You've Gone," "Muddy Water," "There'll Be a Hot Time in the Old Town Tonight," "Trombone Cholly," "Send Me to the 'Lectric Chair," and "Mean Old Bed Bug Blues." The power and intensity of Bessie Smith's recordings should be considered required listening; even 80 years later they still communicate.
The fourth of five volumes (the first four are two-CD sets) that reissue all of Bessie Smith's recordings traces her career from a period when her popularity was at its height down to just six songs away from the halt of her recording career. But although her commercial fortunes might have slipped, Bessie Smith never declined and these later recordings are consistently powerful. The two-part "Empty Bed Blues" and "Nobody Knows You When You're Down and Out" (hers is the original version) are true classics and none of the other 40 songs (including the double-entendre "Kitchen Man") are throwaways. With strong accompaniment during some performances by trombonist Charlie Green, guitarist Eddie Lang, Clarence Williams's band and on ten songs (eight of which are duets) the masterful pianist James P. Johnson, this volume (as with the others) is quite essential.
Bessie Smith cut 160 sides for the Columbia and OKeh labels between 1923 and 1933, and the four previous two-CD/cassette box sets of her complete recordings released in the 1990s covered 154 of them, which introduces the question, what can a fifth two-CD/cassette box set contain in addition to the remaining six cuts? First, there are five previously unreleased alternate takes; second, there is the 15-minute low-fi soundtrack to the two-reel short St. Louis Blues, which constitutes the only film of Smith; and third, taking up all of the second CD/cassette, there are 72 minutes of interview tapes of Ruby Smith, Bessie Smith's niece, who traveled as part of her show. The box contains a "Parental Advisory – Explicit Lyrics" warning because of the nature of Ruby Smith's reminiscences. You won't learn much about Bessie Smith's music from her niece's remarks, but you will learn a lot about her sexual preferences.
In the 1970s, Bessie Smith's recordings were reissued on five double LPs. Her CD reissue series also has five volumes (the first four are double-CD sets) with the main difference being that the final volume includes all of her rare alternate takes (which were bypassed on LP). The first set (which, as with all of the CD volumes, is housed in an oversize box that includes an informative booklet) contains her first 38 recordings. During this early era, Bessie Smith had no competitors on record and she was one of the few vocalists who could overcome the primitive recording techniques; her power really comes through.
Bessie Smith was an American blues singer. Nicknamed the Empress of the Blues, she was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and was a major influence on other jazz singers.
This document of Smith's first year in the studio reveals a blues giant in full command of her talents. And while later dates - especially the epochal 1925 sessions with Louis Armstrong - offer more in the way of the era's horn-blowing royalty, these early sides nicely showcase Smith in the unadorned company of a variety of top pianists like Clarence Williams and Fletcher Henderson. The Empress of the Blues flexes her vocal muscle throughout, ranging from Broadway fare like "Baby Won't You Please Come Home" to the dark-hued rumblings of "Graveyard Dream Blues." She also revels in the provocative ambiguities of "Nobody in Town Can Bake a Sweet Jelly Roll" and puts her stamp on the future blues warhorse "'Tain't Nobody's Bizness If I Do…
This is an album that should not have worked. LaVern Baker (a fine R&B singer) was joined by all-stars from mainstream jazz (including trumpeter Buck Clayton, trombonist Vic Dickenson, tenor-saxophonist Paul Quinichette and pianist Nat Pierce) for twelve songs associated with the great '20s blues singer Bessie Smith. Despite the potentially conflicting styles, this project is quite successful and often exciting. The arrangements by Phil Moore, Nat Pierce, and Ernie Wilkins do not attempt to re-create the original recordings; Baker sings in her own style (rather than trying to emulate Bessie Smith), and the hot solos work well with her vocals.