Showing posts with label Ethel Waters. Show all posts
Showing posts with label Ethel Waters. Show all posts

Thursday, June 07, 2018

On Memphis Minnie's Birthday-***Her Castle's Rocking- The Blues Of Alberta Hunter

Click on title to link to YouTube's film clip of Alberta Hunter performing "Nobody Knows You When You're Down And Out". Ain't that the truth.

DVD REVIEW

February Is Black History Month

March Is Women’s History Month

Alberta Hunter, Alberta Hunter (Jazz Masters Series), Shanachie Productions, 20005

The ideas in the first couple of paragraphs have been used elsewhere in this space in reviewing the works of other women of the early blues period.


One of the interesting facts about the development of the blues is that in the early days the recorded music and the bulk of the live performances were done by women, at least they were the most popular exponents of the genre. That time, the early 1920's to the 1930's, was the classic age of women blues performers. Of course, when one thinks about that period the name that comes up is the legendary Bessie Smith. Beyond that, maybe some know Ethel Waters. And beyond that-a blank.

Yet the blues singer under review, Alberta Hunter, probably had almost as a productive career (with a long gap in between while pursuing a nursing career after the death of her mother) as either of the above-mentioned names. That ‘second’ career got a big boost by her performance in the Geraldine Chaplin film “Remember My Name”. And here is the kicker. If you were to ask today's leading women blues singers about influences they will, naturally, give the obligatory Bessie response, but perhaps more surprisingly will also praise Ms. Alberta, as well.

This nice little archival DVD compilation, while not technically the best, will explain the why of the above paragraph. Alberta worked the cabaret circuit with many back up players over the years, some good some bad, but her style and her energy carried most of the production. She, like Memphis Minnie and others, was the mistress of the double entendre so popular in old time blues- you know phrases like `put a little sugar in my bowl'. Here we have a late performance in 1982 by Alberta Hunter just a few years before her death. While she had lost a few steps her voice held up well, and more importantly, that little sparkle in here eyes and in her devil-may-care manner carry this effort.

So what sticks out here? Well, a nice interview with Alberta between sets for one. As for the songs how about the now appropriate “Nobody Knows You When You’re Down And Out”. Bessie’s “Down Hearted Blues” works. As does “My Castle’s Rocking” and the salacious “My Handy Man”. A nice hour for those who love the old women blues singers.



"Nobody Knows You When You're Down And Out"

(by Jimmie Cox)


Once I lived the life of a millionaire,
Spent all my money, I just did not care.
Took all my friends out for a good time,
Bought bootleg whisky, champagne and wine.

Then I began to fall so low,
Lost all my good friends, I did not have nowhere to go.
I get my hands on a dollar again,
I'm gonna hang on to it till that eagle grins.

'Cause no, no, nobody knows you
When you're down and out.
In your pocket, not one penny,
And as for friends, you don't have any.

When you finally get back up on your feet again,
Everybody wants to be your old long-lost friend.
Said it's mighty strange, without a doubt,
Nobody knows you when you're down and out.

When you finally get back upon your feet again,
Everybody wants to be your good old long-lost friend.
Said it's mighty strange,
Nobody knows you,
Nobody knows you,
Nobody knows you when you're down and out.

"My Handy Man"

Whoever said a good man was hard to find,
Postively, absolutely sure was blind;
I found the best that ever was,
Here's just some of the things he does:

He shakes my ashes, greases my griddle,
Churns my butter, strokes my fiddle;
My man is such a handy man!

He threads my needle, creams my wheat,
Heats my heater, chops my meat;
My man is such a handy man!

Don't care if you believe or not,
He sure is good to have around;
Why, when my furnace gets too hot,
He's right there to turn my damper down!

For everything he's got a scheme;
You ought to see his new starter that he uses on my machine;
My man is such a handy man!

He flaps my flapjacks, cleans off the table, He feeds the horses in my stable; My man is such a handy man!

He's God's gift!

Sometimes he's up long before dawn,
Busy trimming the rough edges off my lawn;
Oooh, you can't get away from it! He's such a handy man!

Never has a single thing to say,
While he's working hard;
I wish that you could see the way
He handles my front yard!

My ice don't get a chance to melt away,
He sees that I get that old fresh piece every day;
Lord, that man sure is such a handy man!

Wednesday, March 04, 2009

*A "Torch Singer" Revisted-Ethel Waters

Click on title to link to Ethel Waters performing "Eye On The Sparrow" in "Member Of The Wedding"

CD REVIEW

February is Black History Month. March is Women's History Month

Cabin In The Sky: Le Hot Club De France Archival Series, Ethel Waters, 1991


Readers of this space know that I consider Billie Holiday above all, doped up or straight, the undisputed “Queen” of female jazz singers. From a Cole Porter tune like “Let’s Do It” to a soulful “Strange Fruit” her timing and sense of the song was uncanny. However, even a great singer like Billie had earlier singers that influenced her and that is where we pick up the career of the jazz singer under review here, Ethel Waters. Her name may not be known today, except to early jazz aficionados or those who recall her award-winning role as a force of Mother Nature housekeeper in “Member Of The Wedding” who had her hands full supervising characters played by the very young Julie Harris and Brandon DeWilde. Well, if that is your only recollection then do you remember the song that she sings there “Lonesome Swallow”? Okay, that's Ethel Waters.

Ms. Waters performed many early jazz classics here in America and in the more racially and culturally friendly Paris of the 1930’s, a place of exile for more than one creative black talent, and had a fair career as a movie actress and theatrical performer (given the extremely limited role selection, mainly housekeeper or servant roles, and the extremely stereotyped characteristics expected of black actors and actresses during her prime). This CD gives a good cross section of her musical work over three decades (about 1925 to 1955). More importantly, it also displays the talented musicians whom she worked with and who wanted to work with her. A review of the liner notes lists Benny Goodman, Tommy Dorsey, the fabled Fletcher Henderson (of early Bessie Smith fame) and James Johnson. Not bad company, right?

Ms. Waters is another one of those performers, like the early Bessie Smith, who you don’t necessarily get a feel for right away. However, about half way through this CD you start to wonder whether you will have time to play the damn thing again. Here’s why. Put “ Brother You’ve Got Me Wrong” together with the above-mentioned “Lonesome Swallow” mix in “My Handy Man” and a beautiful rendition of “West End Blues” stir and pick up the pace with “Dinah” and top off with a bouncy version of “Am I Blue” (although Billie’s version is the cat’s meow for me). That’s the ticket. Enjoy.