 Исполнитель: Perry Bradford Название альбома: A Panorama 1923-1927 Год выпуска: 2005, CBS Формат файлов: Mp3, 128 Размер архива: 95 Mb Скачать с: rusfolder
John Henry Perry Bradford was born in Montgomery, Alabama, in 1895.1 His family moved to Atlanta in 1901.
FORMATIVE YEARS.
In Atlanta, the Bradford family lived adjacent to the Fulton Street Jail where, as a youth, Perry heard black inmates singing Blues and other black folk songs.
He would often visit Decatur Street, the black district in Atlanta, to learn singing, dancing and piano from the black entertainers.
In 1906 he joined Allen's New Orleans Minstrels, and then worked a spell as a solo pianist in Chicago.
From about 1909–1918 he performed in a song -and-dance duo with Jeanette Taylor — Bradford and Jeanette. They travelled widely and Bradford absorbed much black culture which he incorporated into his songs. He published these songs as sheet music,2 which he sold after his performances.
In 1918 he settled in New York City and, instead of peddling his own sheet music, sold his songs to white publisher, Frederick V. Bowers.
In that same year, to publicize his songs, he and other actors produced the Made in Harlem Revue which featured cabaret singer, Mamie Smith, singing his title song, Harlem Blues.
SELLING BLUES TO BLACKS.
Bradford was impressed with Mamie, and felt she could help him sell his conviction that there was a huge, untapped black audience eager to buy authentic black recordings sung by blacks.
He finally convinced Fred Hager at OKeh Records to schedule a recording session for February 14, 1920, to record Mamie Smith singing two Bradford songs, That Thing Called Love 4 and You Can't Keep A Good Man Down. Both songs were backed by OKeh's white studio band, the Milo Rega Orchestra. Essentially these were two Pop songs with a slight Jazz and Blues feel.
The two songs sold 10,000 copies within a month, which was enough to prove Bradford's point, and to warrant a follow-up session, on August 10, 1920, to record another two of Bradford's songs, It's Right Here For You and Crazy Blues. But this time both songs were backed by Bradford's hand-picked black band, the Jazz Hounds.
CRAZY BLUES KICKS OFF THE CLASSIC BLUES ERA.
Crazy Blues was a sensation, quickly selling 75,000 copies.
Other record labels scrambled to sign black female singers. This marked the beginning of the Classic Blues era and, more importantly, opened the door for all black Blues and Jazz musicians on the newly-created "race" labels.
Lena Wilson With Bradford's Jazz Phools
New York City, early Aprill 1923
1. Deceitful Blues
2. I Don't Let No One Man Worry Me
Lena Wilson With Bradford's Jazz Phools
New York City, later Aprill 1923
3. Here's Your Opportunity
4. Memphis, Tennessee
The Gulf Coast Seven
New York City, 17 May 1923
5. Fade Away Blues
6. Daybreak Blues
Perry Bradford's Jazz Phools
New York City, May-June 1923
7. Fade Away Blues
8. Daybreak Blues
Perry Bradford's Jazz Phools
New York City, February 1924
9. Charleston, South Carolina
10. Hoola Boola Dance
Perry Bradford's Jazz Phools
New York City, 2 November 1925
11. Lucy Long
12. I Ain't Gonna Play No Second Fiddle
Perry Bradford & His Gang
New York City, 21 Aprill 1926
13. Just Met A Friend
14. So's Your Old Man
Georgia Strutters
New York City, 6 August 1926
15. Ev'rybody Mess Aroun'
16. Georgia Grind
21 October 1926
17. Wasn't It Nice
18. Original Black Bottom Dance
Perry Bradford & His Gang
New York City, 16 February 1927
19. All That I Had Is Gone
20. Lucy Long
Jimmy Wade's Club Alabam Orchestra
New York City, 5 Aprill 1927
21. All That I Had Is Gone,
22. Original Black Bottom Dance
Georgia Strutters
New York City, 23 May 1927
23. Rock, Jenny Rock, Georgia Strutters
24. It's Right Here For You
Johnson's Jazzers
New York City, 2 September 1927
25. Skiddle De Scow
26. Can I Get It Now?
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