Clarence Williams Boogie and Blues
Clarence Williams Boogie and Blues
Clarence Williams Boogie and Blues
SI.25
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CONTENTS >:
N E W O R L E A N S H O P S C O P B L U E S .................................................................................... - . . . 3
ORGAN G R IN D E R B L U E S .................................................................................................................................7
M IC H IG A N W A T E R B L U E S .................................................................................................................................12
R A T TL IN G R H Y T H M ..................................................................................................................................... .........
Copyright, M C M X L, by CLARENCE W ILLIAM S PUB. CO ., Inc., 145 W . 45th St. New York
International Copyright S ecu red. M ade in U .S .A .
All R igh ts R eserved Including the R ight o f Public Perform ance for P ro fit.
2
Thomas composed "NEW ORLEANS HOP SCOP BLUES", which was the first tune
with the "Boogie Woogie" bass movement. I first heard him play it in the
theatre in 1911. At that time he called it the "Hop Scop Blues", because
of the rolling, hopping bass. It was an instrumental tune.
That was long before the so-called "Boogie Woogie" players' time.
Pine-top smith might have given it the name, but he was not the originator.
If you will check up on some of my old recordings, you will find that I
used the now called "Boogie Woogie" style of playing. I have made several
recordings of "NEW ORLEANS HOP SCOP BLUES", namely:
Voice
mI have
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sure - ly found
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The pop - u - la - t io n there is ve - ry ve - ry fair
you can have some time They dance there ev - ’ry night u n -til b e -fo r e day-light
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slide dance itrance New Or-leans bands will make
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One day as I stood on the oorner watching Nicodemus getting ready to rush
on to a busier corner, I heard this girl say, pleadingly, "Demus, grind some
more for me", she couldn’t bear to see him go. The memory of this incident
impressed me so much that I wrote this song:
These blues are now standards and have sold thousands of copies. They
are still steady sellers, year in and year out. Some of the recordings
which have sold past the half-million mark are:
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Copyright MCMXXVIII by CLARENCE WILLIAMS Music Pub.Co.,145 W.45th.St.,,N.Y.
International,Copyright Secured. Made in U.S.A.
All Rights Reserved Including the right o f Public Performance for Profit.
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Organ Grinder 4
"MICHIGAN WATER BLUES" 11
I got the idea for the "MICHIGAN WATER BLUES"
from a turpentine worker in Louisiana. I met him
while playing piano for a boarding house maintained
for turpentine workers in a little town called Oak
dale, La., near the borderline of Texas.
That inspired me to write the song, "MICHIGAN WATER BLUES” , which was
among my first compositions. Several years later, I published it. I played
it all over the country and made several recordings.
This song was a ♦hit' back in the blues era and sold thousands of
piano copies and records. Some of the blues artists of that day who
recorded it were: Sarah Martin on OKeh, accompanied by Clarence Williams;
Bessie Smith on Columbia, accompanied by Clarence Williams; clarence
Williams and others.
The "RED ONION” was so named because it was not very large and it had
no windows, and its strong aroma typified the "red onion).
There was a blues singer, Ann Cook, who was known all over the south.
She frequented the various dives and sang. Whenever there was an excursion
or some big days in New Orleans like the "Mardi Gras” , people would come to
the "Red Onion” to get an earful of Ann Cook wailing the blues. To get a
good picture of her, — Bessie Smith was a typical Ann Cook. Her sweetheart
was her accompanist whenever he wasn’t gambling. She would sing according
to the temparament and moods of the customers and could sing endless verses
to one song.
The atmosphere of this place gave me the idea for the time "RED ONION
BLUES", which I have tried to express in music.
12
Michigan Water Blues
I mean wine
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ing back to Mich i - gan
This Miss - is - ip - pi Wat er sure
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To that gal of mine, back to that ga l of mine,
Tastes like Tur - pen tine, just like a Tur - pen - tine.
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Blieve to
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man’s got a black cat,
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I said a black cat I mean born.
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I mean born Cause ev - ’ry time I leave my gal alone
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ate so much rab - bit
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Hop like a Kang- a
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M i c h ig an Wa t e r Blues 4 - 3
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I said Kang - a I mean roo _
I mean fu n of real good news
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Ate so much rab - bit
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Hop like a Kang - a
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Please let me hop for you, Let me hop for you.
111 cure you’re blues for you, Cure your blues for you.
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Michigan Water Blues 4 -4
16 Red Onion Blues
B y CLARENCE WILLIAMS (A.S.C.A.P.)
W riter o f “ SUGAR BLUES5’
Copyright, MCMXL, by CLARENCE WILLIAMS PUB. CO., 145 W. 45th St. New Y ork.
International-Copyright Secured. Made in U .S .A .
All R ights R eserved Including the Right o f Public Performance for Profit.
Red Onion Blues. 2
Charles "COW COW" Davenport
— 0O0—
Charles "COW COW" Davenport was another among the first piano
players whom I knew, who used the bass movement now known as "Boogie
Woogie". "COW COW", being from Alabama, had a different style than
George Thomas, who was a native of Texas. In fact, he had a style
of his own. In those days you could almost tell what section of the
country a piano player came from by the style he played.
I have known "COW COW" for over twenty years — knew him in the
early days down in New Orleans and Alabama. He has been playing the
piano for over thirty years. He was formerly a partner of the well
known team of "Davenport and Carr" which played the T. 0. B. A.
Circuit.
Charles "COW COW" Davenport is very versatile. Aside from being
a pianist and singer, he is a composer and has many hits to his credit,
such as "I'LL BE GLAD WHEN YOU'RE DEAD, YOU RASCAL YOU", etc. "An
incident that happened in my natural life gave me the inspiration to
write 'COW COW'BLUES', he says. "My first wife left me, says 'COW
COW', and the words came to me and I tried to make a blue tone different
from any that I had heard. It took me two years to figure it out and
complete it."
This number was recorded by "COW COW" on the OKeh, Vocalion
Columbia, Gennett and Paramount records; also on Vocalstyle, Q.R.S.,
U.S., Imperial and Melo-art Player Piano Rolls. We published "COW COW
BLUES" in the early £0's.
His most recent recording on "COW COW BLUES" is Decca #7075.
19
STANDARD EDITION
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Copyright MCMXXVIII by CLARENCE-WILLIAMS Pub.Co., 145 W. 45th St. New York.
International Copyright Secured. Made in U .S .A .
All Rights R eserved Inciuding'the R igh t o f Public Performance for P r o fit .
20
VOICE
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mourned We nt down :he street
way Go starch ny jump - er
door Come in s.weet D a d - dj
do ^ Ma knows Jm era - zy
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RATTLING RHYTHM by
Connie Berry and
Clarence Williams
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Copyright 1039 by Clarence Williams Music Pub. Co. Inc. 145 W. 45th St N. Y C.
International Copyright Secured ^ v Made in U .S .A . m Bight* Bettrted
23
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You too, can be a successful song writer — This The secrets of playwriting told simply — and a
method revealed for the first time as told by sure method of gaining a Broadway Production
Arthur Jones to Louise Howard and Jeron Criswell, by Louise Howard and Jeron Criswell with a
with a foreword by Sammy Kaye (“ Swing & Sway” ). foreword by Barrett H. Clark.
C L A R E N C E W IL L IA M S
MUSIC PUBLISHING COMPANY, INC.
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"J IN G L E S " By JAM ES P. JOHNSON
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L^'KEEP OFF THE GRASS " JAMES P. JOHNSON^,
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