Jazz Crazy Records

An Archive of Early Jazz on 78 RPM

Tag: Gladys Bentley

  • “Before Midnight” – Gladys Bentley (1952)

    “Before Midnight” – Gladys Bentley (1952)

    In celebration of Pride month πŸ³οΈβ€πŸŒˆ all of my posts this month will feature the music of LGBTQ+ artists of the 78 rpm era!

    A final disc from our LGBTQ+ heroine of the week, Gladys Bentley (the “Toast of the East Coast”). This one from much, much later in her career, coinciding with an article in Ebony magazine called “I’m a Woman Again” in which she renounced her “abnormal life” as a “male impersonator”, under duress from the conservative repression of the McCarthy era 1950s.

    It is difficult to imagine the pressure she must have been under at that time – trying to continue her career as a performer but under new trying circumstances. Perhaps that is why it is so telling that this record has no lyrics – just Bentley scatting along with her trademark trumpet-like voice to the backing of a soul-infused R&B quintette.

    The optimism and exuberance of her performance speaks volumes.

    The Flame label was owned by Jack Lauderdale, who started the Down Beat label in 1947. Only a handful of records were released from 1952-53 on this short-lived label.

    Believe it or not, I actually got this record as a packer record – a disc that is part of a record sandwich to protect a third inner disc. Often used by 78 sellers as an insurance policy to guard against damage during shipment. Thankfully, it survived the trip – and I was absolutely delighted to get it for free!

    Happy Pride!! πŸ³οΈβ€πŸŒˆπŸ³οΈβ€βš§οΈ

    Recorded circa 1952 in Cincinnati, Ohio (?).
    Released as Flame 1001.

    Credits:
    Gladys Bentley – vocals
    Unknown Artists – sax, piano, bass, drums

  • “Red Beans and Rice” – Gladys Bentley (1929) πŸ³οΈβ€πŸŒˆ

    “Red Beans and Rice” – Gladys Bentley (1929) πŸ³οΈβ€πŸŒˆ

    In celebration of Pride month πŸ³οΈβ€πŸŒˆ all of my posts this month will feature the music of LGBTQ+ artists of the 78 rpm era!

    One of my favorite artists of the Harlem renaissance is Gladys Bentley – a wildly popular black lesbian who performed in men’s clothing and sang cleverly worded risquΓ© songs that scandalized and enthralled listeners.

    Unfortunately for us, only a small part of her career found her actively recording her music. This disc was one of four that Bentley recorded for Okeh in 1928-1929. During the height of her career in the 1930s – when she was at her most transgressive – no recordings exist.

    Here, we find Bentley singing about a male partner who is stingy with money and love.

    “He don’t buy no clothes – he don’t keep his laundry clean.
    He’s short on his lovin’ – stingiest man I ever seen!”

    Though singing about a heteronormative relationship, Bentley positions herself as the breadwinner who financially supports and puts up with her man’s insistence on “red beans and rice” though she yearns for chicken. She undermines the power of the heteronormative relationship by enumerating the many unsatisfying aspects of it and further hinting at her own unspoken desires.

    Recorded in New York City on March 26, 1929.
    Released as Okeh 8707.

    Credits:
    Gladys Bentley – vocals
    J. C. Johnson – piano

    Sources:
    Jazz and Ragtime Records (1897-1942), Brian Rust, 6th Ed
    “In My Well of Loneliness: Gladys Bentley’s Bulldykin’ Blues” from Bulldaggers, Pansies, and Chocolate Babies: Performance, Race, and Sexuality in the Harlem Renaissance, James F. Wilson, University of Michigan Press, 2010

  • “How Long How Long Blues” – Gladys Bentley (1928)

    “How Long How Long Blues” – Gladys Bentley (1928)

    The wonderful Gladys Bentley singing the Leroy Carr tune “How Long How Long Blues”, which had just been released as a single on the Vocalion label by Carr and guitarist Scrapper Blackwell a few months earlier.

    Bentley is accompanied by guitarist Eddie Lang and an unidentified pianist. Bentley was an excellent pianist in her own right, but the piano here sounds a bit distant in the recording.

    Recorded in New York City on August 31, 1928.
    Released as Okeh 8612

    Credits
    Gladys Bentley – vocals
    Eddie Lang – guitar
    Unidentified – piano

  • “Big Gorilla Man” – Gladys Bentley (1929)

    “Big Gorilla Man” – Gladys Bentley (1929)

    The wonderful Gladys Bentley delivers “Big Gorilla Man” with such a remarkable charisma it is clear why she was such a popular nightclub performer in the late 20s and early 30s.

    Released as Okeh 8707
    Recorded in New York, New York on March 26, 1929.

    Lyrics:
    That big gorilla – a woman killer – and I ought to know.
    He mistreats me – knocks and beats me – till I love him so
    Cause he’s got that something that I need so bad.

    Every morning when day is dawning I get so dog-gone scared
    That he’ll wake me – he might shake me – until I lose my head
    He’s got that something that I need so bad.

    It’s so distressing – keeps me guessing – holds my breath so long
    All my sweetness – he knows my weakness – he’s so big and strong
    He’s got that something that I need so bad.

    Hear me sayin’ – he keeps me weighin’ one hundred and ten
    His devotion and slow motion – keeps me awful thin.
    He’s got that something that I need so bad.

    When excites me, he may bite me – got his habits on
    His eyes gleaming, and I start screaming when my love comes down.
    He’s got that something that I need so bad.

    His nerves are steady – he’s always ready – that big gorilla man.
    He loves a whole lot and I use all he’s got – like no other can.
    He’s got that something that I need so bad.

    Learn more about Gladys Bentley at:
    https://www.nytimes.com/interactive/2019/obituaries/gladys-bentley-overlooked.html