The Demand for Music
The women of the classic blues era of the 1920s helped open the door to the recording of the country blues. Mamie Smith’s 1920 recording of “Crazy Blues” incited a demand for the classic blues. Record companies, however, soon realized that “race records,” records marketed to black audiences, could be the next big thing. Furthermore, there was an increased demand for records. In 1921, record sales reached an all-time high of 100 million.This demand for music sparked an interest among the seven main labels producing “race music.” Columbia, Okeh, Paramount, Vocalion, Brunswick, Gennett, and Victor all set out to record the country blues. The country blues was recognized by the use of the acoustic guitar, which was played in various ways that ranged from fingerpicking to slide playing. Contrary to the female dominated classic blues style, the country blues was played mainly by men.
Field Recordings Trips
Record companies found that locating country blues singers was more difficult than their discovery of female classic blues singers. While record producers had found classic singers in tent shows and theaters, male blues singers were not usually found in these venues. Some toured with medicine shows, but most were found in cities.As a result, beginning in 1923, record labels dispatched representatives on field trips to the South in search of talented country singers. Once a musician was discovered, he was either sent north to the company’s recording studio or the artist was recorded by the mobile recording unit when they reached the area.
Within a year after field trips began, Okeh made the first recording of a male country blues singer. In March or April 1924, Ed Andrews, a twelve-string guitarist, was discovered. Andrews, however, never reached the popularity of Papa Charlie Jackson, the first male artist to achieve notable commercial success. Papa Charlie, a tent show veteran, recorded in Chicago for Paramount in August 1924.Whileplaying a six-string banjo, Charlie sang the popular tunes “Shake That Thing” and “I’m Alabama Bound.”
The Discovery of Blind Lemon Jefferson
It was not long after the discovery of Papa Charlie that Paramount made a discovery of another blues star named Blind Lemon Jefferson. By 1920, Jefferson was already known locally throughout the South. He had traveled from his home state of Texas to Oklahoma, Louisiana, Mississippi, and Alabama, where he played his guitar and sang at picnics and in small towns and cities. In December 1925 or January 1926, after being discovered by a Dallas store owner, Jefferson arrived in Chicago to record at Paramount’s studio. His initial recordings of two spirituals reflected little of his blues background; much like other blues artists, Jefferson had a varied repertoire. A few months later he returned and recorded “Long Lonesome Blues.” It was an instant hit.
The Discovery of Blind Blake
Blind Lemon Jefferson’s success led to an ever-growing search by talent scouts for other male singers. Blind Blake, a Jacksonville, Florida musician who was making a living performing on the streets of Chicago, made his first recording for Paramount in August 1926. His recordings of “West Coast Blues” and “Early Morning Blues” conveyed his quiet, relaxed singing style. Once again, Paramount had another hit. Blake went on to record over 80 titles under various names. Many of his recordings incorporated other styles, such as jazz and ragtime, with the blues.
Blues Musicians in Atlanta
After the successful recordings of Jefferson and Blake, talent scouts searched the cities for other blues artists. The Great Migration, the exodus of 1.5 million blacks from the South between 1915 and 1925, had led to the burgeoning population of blacks in the cities. Atlanta, Georgia drew in black migrants because of its close proximity to the Deep South and to cities in the North East. An additional factor was also the employment opportunities created by the commercial growth. Musicians were also attracted to the city, and they found their music welcomed on Decatur Street. The street was known for its bustling nightlife that was home to saloons, taverns, the 81 Theatre, and the musicians who played for tips on the street.Peg Leg Howell
Blues musicians playing on Decatur Street, such as Peg Leg Howell, brought with them the old sounds of the rural South. A Columbia talent scout discovered Powell, who was given his nickname after his leg was amputated due to a gunshot wound inflicted by his brother. In November 1926, Howell recorded “New Prison Blues,” a song he heard the year before while serving time in prison for selling whisky. Howell was one of the first musicians from Atlanta to record.
Blind Willie McTell
Another singer who played on Decatur Street was Blind Willie McTell. With a clear voice and while playing the twelve-string guitar, McTell could play the blues fast or slow and was more than proficient at playing minstrel songs and religious tunes. McTell, who was often seen performing on Decatur Street, was first recorded by Victor Records in October 1927. At the time his records were not big sellers, but his song “Statesboro Blues” is considered a classic.
Barbecue Bob
While Howell and McTell were playing on Decatur Street, Barbecue Bob, who worked at a drive-in barbecue stand, was busy playing a twelve-string slide guitar in his leisure time. Bob, also known as Robert Hicks, had moved to Atlanta in the early 1920s with his brother who also played a twelve-string guitar and later recorded as Laughing Charley. A Columbia talent scout discovered Bob. He made his first recordings “Barbecue Blues” and “Cloudy Sky Blues” in March 1927. Bob’s records were top sellers for Columbia. In fact, Columbia was so confident about the potential success of “Barbecue Blues” that it initially pressed 20,850 copies.
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