Lucille Hegamin – Complete Recorded Works Vol. 4 / Document CD-1011

Description

Document Records Compact Disc-CDDOC1011

1920- 1926 w/ Alternate Takes & Remaining Titles

01 – The jazz me blues (take 1)
02 – I`ll be good but I`ll be lonesome (take 2)
03 – I’ve got the wonder where he went (and when he`s coming back blues) (take 2)
04 – I`ve got the wonder where he went (and when he`s coming back blues) (take 3)
05 – He may be your man (but he comes to see me) (997-1)
06 – State Street blues (take 1)
07 – State Street blues (take 3)
08 – High brown blues (take 1)
09 – High brown blues (take 3)
10 – I`ve got to cool my puppies now (take 2)
11 – Send back my honey man (take 1)
12 – Send back my honey man (take 2)
13 – You can have him I don`t want him blues
14 – Voo-doo blues
15 – Papa papa (I don`t want to be your mama no more) (take b)
16 – Now you`ve got him can you hold him (I don`t think you know your business blues) (take b)
17 – Arkansas blues (?-2)
18 – Jazz me blues (485-2)
19 – Alabamy bound (take a)
20 – Every time I pick a sweetie (take b)
21 – No man`s mama (take a)
22 – Dinah (take a)

Lucille Hegamin Volume 4: Alternative Takes & Remaining Titles (1920-1926)
Featuring:
Lucille Hegamin with Harris’ Blues and Jazz Seven
Lucille Hegamin and Her Blue Flame Syncopators
Lucille Hegamin with Woodling’s Society Entertainers
Lucille Hegamin with the Dixie Daises
and others…

Informative booklet notes by Chris Smith

The life and career of Lucille Hegamin (1894-1970) are dealt with in detail in the notes to Document DOCD-5419/20/21. Her chief claim to fame is as the second African- American blues singer to record, after Mamie Smith; she is also noteworthy for a more bluesy delivery than Smith generally managed, albeit often on songs that are close to the pop end of the blues. In those early days, the interaction that generated recordings took place between stage and vaudeville artists, usually female, the record companies, and Tin Pan Alley composers, both white and black. For many years neglected by comparison with the folk blues singers, and even with the more consistently jazzy stage performers, artists like Lucille Hegamin may perhaps be finally accorded their true place, and their true merits, thanks to the Document series which is now approaching its conclusion.