Perry Bradford-nicknamed "Mule," was a performer, songwriter, pianist and entrepreneur. He approached Fred Hager, recording director at Okeh records to try and convince him to record Mamie Smith. Bradford told him there were fourteen million Negroes who would buy records made by Negro musicians playing in their indigenous styles.
Hager agreed to record Smith, but miscalculated by backing her with a white in-house group, the Rega Orchestra. On February 14, 1920, that group accompanied Mamie Smith on her recording debut and the record went nowhere.
On her next session, Hagar agreed to let Smith record with black musicians who knew her music. This August 10 session included Bradford's tune "Harlem Blues," retitled "Crazy Blues." "Crazy Blues" was a runaway hit, selling 75,000 copies during its first two months of release.
The stage was set for the recording industry to pay closer attention to newer styles of non-minstrel, non-coon, non-ragtime black music. Because a link had already been forged between black composers of those earlier styles of music (including Perry Bradford) and publishing companies, there was a pool of experienced songwriters available for what became known as "race records."
It seems a good idea to play tracks from both sessions. She sounds great on both, but the difference in feel is enormous. First, "You Can't Keep a Good Man Down."
Mamie Smith acc. by Rega Dance Orchestra. New York, 2.14.20
- That Thing Called Love- Okeh 4296
- You Can't Keep a Good Man Down-Okeh 4305
Now, the second session.
Mamie Smith and her Jazz Hounds. Johnny Dunn, c / Dope Andrews, tb / Ernest Elliott, cl / Leroy Parker, vn / ? Perry Bradford, p. New York, August 10, 1920.
- 7529-C Crazy Blues OK / Phonola 4169, Od 311902
- 7539-B It's Right Here For You (If You Don't Get It, 'Tain't No Fault Of Mine), OK / Phonola 4169
All entries are from my book “As Long as They Can Blow. Interracial Jazz Recording and Other Jive Before 1935.”
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