Kid Thomas – Living New Orleans Jazz 1973 – Smoky Mary Phonograph Company – 1973

Kid Thomas - Living New Orleans Jazz 1973 - Smoky Mary Phonograph Company - 1973

Kid Thomas Valentine was a New Orleans trumpet player. He’s not to be confused with Louis Thomas Watts who was also known as Kid Thomas. Kid Thomas Valentine and his band were pretty cool. There’s a joyfull exhuberance to the music. I love Kid Thomas. On this record he’s also joined by gospel singers Sister Annie Pavageau and Sister Alma Anderson.

I really can’t remember when or where I found this record. One of the cool things about it is that the cover is signed by Kid Thomas himself and by six other people. Some of those other autographs I can’t decipher and the ones I can didn’t play on the record. I’m presuming that they were in a band with Mr Thomas and an audience member bought the record at a gig they were playing at so they all just signed it anyway. One of the signatures reads “Dr. Paul Polo Barnes – jazzologist”. Polo Barnes was a jazz saxophinist and clarinetist who played a lot in the 20s and 30s. He died in 1981. On the subject of death, Kid Thomas passed on in 1987. Not many people make music like this anymore. In many ways jazz has become too highbrow lately. It’s lost the joy and freedom that it used to have.

I know very Little about the Smoky Mary Phonograph Company but I have one other album that was on that label. I think it is one of the coolest names ever for a record label.

I’m glad that I own this. With the old time musicians playing old 1920s style jazz in the 1970s and with their autographs on the cover it feels like a nice slice of history.

Leadbelly – Shout On – 1972 – XTRA

Leadbelly - Shout On - 1972 - XTRA

This was the first Leadbelly album I ever bought. I was a teenager in high school back then. I’d read about Leadbelly but had never heard him before. Back in those days I didn’t know anyone who liked the music I liked and there was no internet and radio stations weren’t catering to my tastes so the only way for me to hear new sounds was to buy the records. It wasn’t like these days with Spotify or Youtube or things like that. There’s more accessibility to obscure music now than there was then. Back then it was a chore just to be able to hear the stuff. I can’t remember where I bought this record from, probably one of the secondhand record stores that were on Pitt Street. Most of them are gone now but there used to be a little pocket of record shops all together. I used to fossick through them regularly. It was heaven. When I took this home and first listened to it I was amazed. Leadbelly was great. His voice was incredible and his guitar playing was good too. The first thing I noticed was that he wasn’t a regular blues singer. In fact he wasn’t really a blues singer at all. He seemed to be singing songs that were older than the blues. It was a revelation for me, a teenager growing up in the 80s, to hear these recordings from the 40s of a performer who in many ways was archaic back then. Though he was great Leadbelly wasn’t that successful in his day partly because the material he was doing was seen as out of date. It is a shame. The songs were great, like nothing else I’d heard. John Henry, Ain’t Going Down to the Well No More, You Can’t Lose a Me Charlie. Amazing songs. This record really opened up many doors for me. It pointed the way down so many musical paths I could follow. It also got me thinking a lot about Leadbelly and his life. The few things I knew about him made it sound like a really difficult but incredible life and it had always seemed like the greatest irony to me that Goodnight Irene became a huge hit for the Weavers about 6 months after Leadbelly died. It still seems like a strange twist that he never got to experience that success. But anyway, I digress… One of the interesting things about these recordings was that they were live radio broadcasts from New York station WNYC-FM. They were from 1948, just a year before Leadbelly died. In the liner notes Fredrick Ramsey Jr talks of taping these at home with his Brush Soundmirror which was an early reel to reel tape machine. It always amazes me when there is one person out there who just happens to preserve something like that. So these recordings are sort of bootlegs in a way, though the album itself was licensed through Folkways. Thank you Mr Ramsey for preseving these. They opened my ears to so many musical possibilities.