This session is Clarence Williams’ first for Victor involving a cleverly-named tune that he first recorded three months earlier for Paramount with King Oliver sitting in with his Blue Five. He would go on to record it one more time with his Jazz Kings for Columbia a few months later (a recording I will post later today!)
In “Clarence Williams”, Tom Lord reports: “it was recorded in their 46th Street Studio between 10:45 and 12:45. Two takes were recorded of each performance. It’s hard to decide just why Victor decided to begin with two piano solos. I don’t imagine that piano solos were very big sellers in any market. Perhaps Victor decided on them for reasons of economy.”
Also curious, as Williams was not known as a flashy stride player like James P. Johnson or a showman like Jelly Roll Morton. In fact, a good many jazz writers have described Williams as “only a fair pianist.” Yet one and all are quick to recognize his ability as a stylist and composer.
In the book “New Orleans Style” by Bill Russell, Frank Walker at Columbia Recordings described Williams’ piano style:
“Clarence [Williams] really wasn’t much of a pianist though, he’ll tell you that himself. When he was back home in New Orleans he played piano in one of those honky-tonks and could only play by ear-maybe knowing a half-dozen songs. Then some inebriate might come in and ask for a song he didn’t know, and Clarence would say, “Come back tomorrow night.” The next day he’d go down to the five-and-ten-cent store, to the sheet music counter, and pull out the song for the piano player to demonstrate. He would hear it once and know it. If that customer came back, Clarence would play the song and maybe pick up a dime tip.
I find this solo work interesting as a lens into hearing a work as he likely originally composed it – and then listening to the other recorded versions arranged for small combos. It gives you a sense of his compositional style and a window into the aesthetics of his arrangement choices.
This release was a part of the Victor V-38500 series, which mainly was full of recordings by jug band, blues and gospel artists such as Memphis Jug Band, Cannon’s Jug Stompers, Frank Stokes, and Victoria Spivey.
Recorded in New York City on February 12, 1929.
Released as Victor V-38524.
Credits:
Clarence Williams – piano
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