Porter Grainger on film?

Porter Grainger pops up frequently on this blog, partly as the composer of "Dyin' Crapshooter's Blues," partly because so little is known about him, and I hold hope that someone will come forward with more information.

I am aware of only two photographs of Grainger - in one of them he is part of a large group of black composers in the 1930s, including Jelly Roll Morton and W.C. Handy. It is likely that he also appeared in a short film.

Yesterday I was reading an updated Wikipedia entry on Grainger which included these words: "He was also Mamie Smith's accompanist in the 1929 film short Jailhouse Blues." I found the video on YouTube, as an Italian upload. The pianist is briefly visible at the beginning of the film. So ... what do you think? Is this Porter Grainger?

The film lasts just over one minute. Smith was forty-six when this film was made. She was one of the pioneers of early blues recording; in her heyday she was immensely popular, appearing on stage in extravagant dresses while dancers and acrobats spun around her. Grainger was thirty-eight, and at the height of his career.

More on Blair Thomas, puppeteer

Puppeteer Blair Thomas in front of his
stage. (Image captured from Vimeo.)

A year ago I wrote two posts about puppeteer Blair Thomas who, among many ambitious undertakings (such as an adaptation of Moby Dick), has developed a St. James Infirmary puppet show. You can find my original postings here, including one in which Thomas explains his approach to the SJI show.

Yesterday I stumbled upon a video on Vimeo. It is almost half-an-hour long, and documents an entire SJI performance.

Blair Thomas, in white-face, is in front of the stage playing multiple instruments (and, I think, creating sound loops that play on while he attends to the puppet characters), carrying a coffin on his back, flying the unfortunate woman up to heaven. And, of course, he is also behind the stage, pulling the strings that animate the characters in front of a rolling backdrop.

It is a complicated choreography, and a most engaging performance. It makes me aware of how much puppetry has changed since, as a small lad in Belfast, I watched "Punch and Judy" in the park. (Here, in this SJI performance, Thomas references early puppetry techniques. In other works his approach can be very different.)

This is really interesting!  You can watch the video here: Vimeo - Blair Thomas and St. James Infirmary.

Cory Seznec: Beauty In The Dirt

The roots-music group, Groanbox, has been a friend of this blog for some time now. You can find them on YouTube performing versions of "St. James Infirmary," or their own variation, "DarlingLou." Each member of the trio are accomplished musicians (accordionist and multi-instrumentalist Michael Ward-Bergeman, percussionist and multi-instrumentalist Paul Clifford, and guitarist/banjoist and multi-instrumentalist Cory Seznec) who branch out into multiple projects of their own, some of them of a most esoteric nature. Earlier this year Seznec released his first solo album, Beauty In The Dirt.

Two of the songs on this album are covers - "East. St. Louis Blues" was written by Blind Willie McTell, and recorded by him in 1933. "East Virginia" is a traditional song with very long roots, recorded by- among many others- banjoist Buell Kazee in 1927 and guitarist David Bromberg in 2007. Seznec credits the influence of string duo The Alabama Sheiks' "Travelin' Railroad Blues"  on his song "(21st Century) Traveling Man." Well, the Alabama Sheiks were in the studio in 1931 for that one. (The Alabama Sheiks recorded a total of four songs - you don't get much more obscure than that.)

I mention this because while Seznec did not include "St. James Infirmary" on this disc, the blog you are reading covers not only the song itself, but the period in which it found popularity. And this, from the blues to Appalachia, is the musical period that resonates throughout Beauty In The Dirt. 

The CD opens with a brief instrumental, "Southern Bound 1" which, in variations, appears three more times as a kind of unifying theme. And then . . . "Dragon Tree." As with many of these songs you might find  yourself scratching your head and searching your memory: it sounds familiar, like a traditional song from the early days of American settlement. But it is an original composition. And so it goes, song after song.

For instance, "Sisyphus" opens with a traditional sort of lyric/melody:

You know I feel the spirit and I'm so glad
You know I feel the spirit and I'm so glad
You know I feel the spirit and I'm so glad
The world can't do me no harm

And then:

The stolen throne of Sisyphus hath crumbled beneath his feet
Condemned to push a giant boulder borne of his own greed and deceit

Even with a lyric like this, the song feels as if it had been written in a bygone time.

There is also a significant African influence here, both in the strength of his melodies and in the restrained use of percussion. Seznec - who spends much of his time in Africa - plays ngoni, a sort of gourd-lute, on some of these songs.

This might be the best album I have heard this year, with superlative musicianship throughout. A chorus from Seznec's "Dragon Tree" gives a hint of how we might approach these songs:

Hey children let's go down

Down to the creek get mud on our feet
Hey children let's go down
And leave the future behind us

To put a bit more of an SJI spin on this, two of the early musicians mentioned earlier, Buell Kazee and Blind Willie McTell, recorded their own versions of "St. James Infirmary." Buell Kazee was - in 1928 - the second person to record the song, which he titled "Gambling Blues." Blind Willie McTell recorded SJI for record shop owner Ed Rhodes in 1956. That recording has never been released.

MP3 - The Kenneth Terry Jazz Band updates SJI

Michael Ward-Bergeman, friend of this blog, sent me a copy of a local - that is, New Orleans - rendition of "St. James Infirmary." Now, this is a real treat, because the performer, Kenneth Terry, has given permission to post the performance on this site. A great talent, his recorded output as a feature artist is woefully inadequate. As soon as you tune in to the music below, I have no doubt you will agree. Talent and renown are not necessarily related.

At about nine minutes, Terry's rendition flows through a history of jazz, flawlessly connecting the past to the present, and includes an unabashed nod to Louis Armstrong's 1928 recording. There is not a wasted second.

Kenneth Terry is one of the premiere trumpet players in New Orleans, as a performer, as a band leader, and as a teacher. The members of the band on this recording are:

kenneth terry - vocals, trumpet
julius mcgee - tuba
keith anderson - trombone
elliott callier - saxaphone
dwane scott - drums
john michael bradford - trumpet
bruce brackman - clarinet

You can buy the CD from Kenneth if you happen upon a performance of his in New Orleans.

I feel honoured to offer this to you. At over nine minutes, here is: "Kenneth Terry Jazz Band - St. James Infirmary."

Many thanks to Michael Ward-Bergeman for alerting me to this and sending the file. Thanks to Kenneth Terry for giving permission to post the recording here.