Bessie Smith, the "EMPRESS OF THE BLUES", (July 9, 1892 or April 15, 1894 ? September 26, 1937) was an American blues singer. Bessie Smith was the most popular female blues singer of the 1920s and 1930s, she is often regarded as one of the greatest singers of her era, and along with Louis Armstrong, a major influence on subsequent jazz vocalists. Lyrics: I hate to see the ev'nin' sun go down Hate to see the ev'nin' sun go down, 'cause my baby, he done left this town Feelin' tomorrow like I feel today Feel tomorrow like I feel today, I'll pack my trunk, make my getaway St. Louis woman with her diamond rings Pulls that man 'round by her apron strings, 't'want for powder and for store-bought hair The man I love, would not gone nowhere, got the St. Louis blues just as blue as I can be That man got a heart like a rock cast in the sea, or else he wouldn't have gone so far from me Been to the gypsy to get my fortune told To the gypsy, to get my fortune told, 'cause I'm most wild about my jelly roll Gypsy done told me, "Don't you wear no black" Yes, she done told me, "Don't you wear no black, go to St. Louis, you can win him back" Help me to Cairo, make St. Louis by myself Gone to Cairo, find my old friend Jeff Goin' to pin myself close to his side, if I flag his train, I sure can ride I love that man like a schoolboy loves his pie Like a Kentucky Colonel loves his mint and rye1 I'll love my baby till the day I die You ought to see that stovepipe brown of mine, like he owns the .... + Informações

Nobody Knows You When You're Down And Out (1929) Bessie Smith (Vocal) Ed Allen (Cornet) Garvin Bushell (as) Greely Walton or Arville Harris (ts) Clarence Williams (Piano) Cyrus St-Clair (tu). + Informações

Bessie Smith (jul 9,1892 or apr.15,1894 - sep.26,1937) was Americas most popular female blues singer of the 1920s and '30s. Smith is often regarded as one of the greatest singers of her era, and along with Louis Armstrong, a major influence on subsequent jazz vocalists. As a way of earning money for their impoverished household, Smith and her brother Andrew began performing on the streets of Chattanooga as a duo, she singing and dancing, he accompanying on guitar; their preferred location was in front of the White Elephant Saloon at Thirteenth and Elm streets in the heart of the city's African-American community. In 1904, her oldest brother, Clarence, covertly left home by joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child." In 1912, Clarence returned to Chattanooga with the Stokes troupe and arranged for its managers, Lonnie and Cora Fisher, to give her an audition. She was hired as a dancer rather than a singer, because the company also included Ma Rainey. By the early 1920s, Smith had starred with Sidney Bechet in How Come?, a musical that made its way to Broadway, and spent several years working out of Atlanta, Georgia's 81 Theater, performing in black theaters along the East Coast. Following a run-in with the producer of How Come?, she was replaced by .... + Informações

a very good song original sang by "the band" this is the version of norah jones in the house of blues of new orleans. + Informações

Bessie Smith... Joe Smith (c), Charlie Green (tb), Buster Bailey (cl), Coleman Hawkins(ts), Fletcher Henderson (p), Charlie Dixon (bjo), Bob Escudero (bb) 1925. + Informações

When celebrating my birthday this month, it was pointed out to me that my birth was not the only disaster to occur in 1929; there was also the Wall Street Crash and the subsequent Great Depression!! So, here is Bessie singing in 1929 of the hard times (we?) caused. With Ed Allen; cnt. Garvin Bushell; alt.sax. Greely Walton; ten.sax. Clarence Williams; pno and Cyrus St-Clair; tuba.. + Informações

Bessie Smith (jul.9,1892 or apr.15,1894 - sep.26,1937) was Americas most popular female blues singer of the 1920s and '30s. Smith is often regarded as one of the greatest singers of her era, and along with Louis Armstrong, a major influence on subsequent jazz vocalists. As a way of earning money for their impoverished household, Smith and her brother Andrew began performing on the streets of Chattanooga as a duo, she singing and dancing, he accompanying on guitar; their preferred location was in front of the White Elephant Saloon at Thirteenth and Elm streets in the heart of the city's African-American community. In 1904, her oldest brother, Clarence, covertly left home by joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child." In 1912, Clarence returned to Chattanooga with the Stokes troupe and arranged for its managers, Lonnie and Cora Fisher, to give her an audition. She was hired as a dancer rather than a singer, because the company also included Ma Rainey. By the early 1920s, Smith had starred with Sidney Bechet in How Come?, a musical that made its way to Broadway, and spent several years working out of Atlanta, Georgia's 81 Theater, performing in black theaters along the East Coast. Following a run-in with the producer of How Come?, she was replaced by .... + Informações

Down Hearted Blues (1923) Bessie Smith (Vocal) Clarence Williams (Piano). + Informações

Bessie Smith is the best-known of the female "classic blues" (or "city blues") singers from the 1910s and 1920s (others include Ma Rainey, Ethel Waters, Clara Smith, and Mamie Smith). Known as the"Empress of the Blues," Bessie Smith's first recording, "Down-Hearted Blues," from 1923, was very successful, and helped her to become the leading African-American performer of the time. She performed in various minstrel and black vaudeville shows, and as her reputation and fame grew, she performed with many of the other leading early jazz musicians of her time: Louis Armstrong, Fletcher Henderson, and James P. Johnson, just to name a few. Johnson was instrumental in the development of the piano style that emerged from Harlem in the 1920s known as "stride." In the age before sound amplification and microphones, a successful singer needed to be able to project. Smith's voice not only had this quality, it also possessed a rich timbre and tremendous emotive power. Her ability to use "blue notes" and other vocal embellishments, along with a loose melodic phrasing, became hallmarks of jazz and blues inflection that other musicians (singers and instrumentalists) emulated. In this recording of "Backwater Blues," we can hear these techniques at work, and they stand in contrast to the very structured twelve-bar blues form of the song. Notice, however, that although the form remains the same throughout, pianist James P. Johnson's accompaniment style frequently changes during different .... + Informações

At last I have found the FULL version of this classic by Bessie and am posting it for all of her many fans who have so kindly commented on my earlier postings of her. It was recorded at the Columbia studios in New York on the 20th. March 1928 and includes her favourite trombone player; Charlie Green and Porter Grainger on piano.. + Informações

The Art of LOVE! Love's the best thing there is. Here's 1000 years of international art to prove it. It's all hugs and kisses in this video, and who could possibly have problems with that? As proof that love is a human family affair, here are sculptures from India, Tibet, France, and Tahiti; prints from China, Persia, and Japan; and paintings, film stills, and photos from France, Spain, India, Russia, Germany, and Mexico. Testifying to love's sacredness are artistic greats like Hiroshige, Frida Kahlo, Pablo Picasso, Tamara de Lempicka, the Manasse Studio, Marguerite Gerard, Salvadore Dali, Egon Schiele, Gustave Courbert, Jean Cocteau, and Auguste Rodin. BESSIE SMITH was "the empress of the Blues". In the music's infancy it was women like her who actually broke it through to the mainstream and propelled its popularity. Bessie and friends like Ma Rainey, Lucille Bogan, and Gladys Bently expressed their sensuality boldly and without barriers or apologies to prudes. She was the forerunner for women like Mae West, Bettie Page, Janis Joplin, Betty Davis, Millie Jackson, Grace Jones, Madonna, Lil' Kim, and Peaches. See also: BETTY DAVIS -"They Say I'm Different" (1974) www.youtube.com (All rights reserved by the copyright owners. Fan-made nonprofit video made solely to promote the artists, and more love and tolerance in the world.). + Informações

great blues woman. + Informações

Bessie Smith (jul 9,1892 or apr.15,1894 - sep.26,1937) was Americas most popular female blues singer of the 1920s and '30s. Smith is often regarded as one of the greatest singers of her era, and along with Louis Armstrong, a major influence on subsequent jazz vocalists. As a way of earning money for their impoverished household, Smith and her brother Andrew began performing on the streets of Chattanooga as a duo, she singing and dancing, he accompanying on guitar; their preferred location was in front of the White Elephant Saloon at Thirteenth and Elm streets in the heart of the city's African-American community. In 1904, her oldest brother, Clarence, covertly left home by joining a small traveling troupe owned by Moses Stokes. "If Bessie had been old enough, she would have gone with him," said Clarence's widow, Maud. "That's why he left without telling her, but Clarence told me she was ready, even then. Of course, she was only a child." In 1912, Clarence returned to Chattanooga with the Stokes troupe and arranged for its managers, Lonnie and Cora Fisher, to give her an audition. She was hired as a dancer rather than a singer, because the company also included Ma Rainey. By the early 1920s, Smith had starred with Sidney Bechet in How Come?, a musical that made its way to Broadway, and spent several years working out of Atlanta, Georgia's 81 Theater, performing in black theaters along the East Coast. Following a run-in with the producer of How Come?, she was replaced by .... + Informações

Bessie Smith (1892 - 1937) was a rough, crude, violent woman. She was also the greatest of the classic Blues singers of the 1920s. Bessie started out as a street musician in Chattanooga. In 1912 Bessie joined a traveling show as a dancer and singer. The show featured Pa and Ma Rainey, and Smith developed a friendship with Ma. Ma Rainey was Bessie's mentor and she stayed with her show until 1915. Bessie then joined the TOBA vaudeville circuit and gradually built up her own following in the south and along the eastern seaboard. By the early 1920s she was one of the most popular Blues singers in vaudeville. In 1923 she made her recording debut on Columbia, accompanied by pianist Clarence Williams. They recorded "Gulf Coast Blues" and "Down Hearted Blues." The record sold more than 750000 copies that same year, rivaling the success of Blues singer Mamie Smith (no relation). Throughout the 1920s Smith recorded with many of the great Jazz musicians of that era, including Fletcher Henderson, James P. Johnson, Coleman Hawkins, Don Redman and Louis Armstrong. Her rendition of "St. Louis Blues" with Armstrong is considered by most critics to be one of finest recordings of the 1920s. Bessie Smith was one of the biggest African-American stars of the 1920s and was popular with both Whites and African-Americans, but by 1931 the Classic Blues style of Bessie Smith was out of style and the Depression, radio, and sound movies had all damaged the record companies' ability to sell records .... + Informações

Bessie Smith (1892 - 1937) was a rough, crude, violent woman. She was also the greatest of the classic Blues singers of the 1920s. Bessie started out as a street musician in Chattanooga. In 1912 Bessie joined a traveling show as a dancer and singer. The show featured Pa and Ma Rainey, and Smith developed a friendship with Ma. Ma Rainey was Bessie's mentor and she stayed with her show until 1915. Bessie then joined the TOBA vaudeville circuit and gradually built up her own following in the south and along the eastern seaboard. By the early 1920s she was one of the most popular Blues singers in vaudeville. In 1923 she made her recording debut on Columbia, accompanied by pianist Clarence Williams. They recorded "Gulf Coast Blues" and "Down Hearted Blues." The record sold more than 750000 copies that same year, rivaling the success of Blues singer Mamie Smith (no relation). Throughout the 1920s Smith recorded with many of the great Jazz musicians of that era, including Fletcher Henderson, James P. Johnson, Coleman Hawkins, Don Redman and Louis Armstrong. Her rendition of "St. Louis Blues" with Armstrong is considered by most critics to be one of finest recordings of the 1920s. Bessie Smith was one of the biggest African-American stars of the 1920s and was popular with both Whites and African-Americans, but by 1931 the Classic Blues style of Bessie Smith was out of style and the Depression, radio, and sound movies had all damaged the record companies' ability to sell records .... + Informações

BESSIE SMITH ANY WOMANS BLUES. + Informações

Young Woman's Blues (Bessie Smith) Bessie Smith (vocals) (born 15th April 1894, died 26th September 1937) with Joe Smith (cornet) Buster Bailey (clarinet) Fletcher Henderson (piano) recorded 26th October 1926 142878-3 CO 14179-D. 35673 "Woke up this mornin', when chickens were crowin' for day; And on the right side of my pillow my man had gone away; By his pillow he left a note Reading, I'm sorry dame, you got my goat; No time to marry, no time to settle down; I'm a young woman and ain't done runnin' round; I'm a young woman and ain't done runnin' round; Some people call me a hobo, some call me a bum; Nobody knows my name, nobody knows what I've done; I'm as good as any woman in your town; I ain't no high yellow, I'm a deep killer brown; I ain't gonna marry, ain't gonna settle down; I'm gonna to drink good moonshine, and run these browns down; See that long lonesome road, Lord you know it's gotta end; And I'm a good woman, and I can get plenty men.". + Informações

Careless Love Blues (1925) Bessie Smith (Vocal) Louis Armstrong (Cornet) Charlie Green (Trombone) Fred Longshaw (Piano). + Informações

Careless Love Blues. One of my favorite songs.. + Informações

How is this not up yet?. + Informações

Here's another from my old collection. It is the 1927 recording of Bessie's tribute to her trombone player Charlie Green. Also on this recording are:- Joe Smith; tpt. and Fletcher Henderson; pno. There are other recordings of this number by Bessie, but I like this one best! So, I thought it would be a nice contrast to the trombone on my last posting (Santo Pecora). + Informações

1929. + Informações

Columbia 14634-D - 11-20-1931 - Need A Little Sugar In My Bowl (Clarence Williams / D. Small / Tim Brymn) Bessie Smith (April 15, 1894 -- September 26, 1937) was an American blues singer. Sometimes referred to as The Empress of the Blues, Smith was the most popular female blues singer of the 1920s and 1930s. She is often regarded as one of the greatest singers of her era and, along with Louis Armstrong, a major influence on subsequent jazz vocalists.. + Informações

Bessie Smith (July 9,1892 or April 15,1894 - Sept.26,1937) was Americas most popular female blues singer of the 1920s and '30s. Smith is often regarded as one of the greatest singers of her era, and along with Louis Armstrong, a major influence on subsequent jazz vocalists. n 1920, sales figures for "Crazy Blues," an Okeh Records recording by singer Mamie Smith (no relation) pointed to a new market. The recording industry had not directed its product to blacks, but the success of the record led to a search for female blues singers. Bessie Smith was signed by Columbia Records in 1923 and her first session for Columbia was February 15, 1923. For most of 1923, her records were issued on Columbia's regular A- series; when the label decided to establish a "race records" series, Smith's "Cemetery Blues" was the first issued. She scored a big hit with her first release, a coupling of "Gulf Coast Blues" and "Downhearted Blues," which its composer Alberta Hunter had already turned into a hit on the Paramount label. Smith became a headliner on the black TOBA circuit and rose to become its top attraction in the 1920s. Working a heavy theater schedule during the winter months and doing tent tours the rest of the year (eventually traveling in her own railroad car), Smith became the highest-paid black entertainer of her day. Columbia nicknamed her "Queen of the Blues", but a PR-minded press soon upgraded her title to "Empress". She made some 160 recordings for Columbia, often .... + Informações

Here is the first of two video podcast episodes featuring Emily Jane White, from a performance recorded in Herons Head Park in San Francisco. earlier this year. Simply put, White is one of the best singer-songwriters weve heard. Her songs capture emotionally powerful moments in a sound thats moving and melodic. In this video, her band performs Bessie Smith from her debut album Dark Undercoat, which you are highly encouraged to purchase on iTunes. The video was shot and edited by the talented gentlemen of Bank of Karma; the audio was recorded and mixed by The Bay Bridged.. + Informações