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| Jimmie Rodgers | Track Performer |
| Cal Smith | Guitar |
| Benny Goodman | Clarinet |
| James P. Johnson | Piano |
| Carl Kress | Guitar |
| Clifford Hayes | Violin |
| George Allen | Clarinet |
| Emmett Miller | Track Performer |
| Louis Armstrong | Trumpet |
| Lil Armstrong | Piano |
| Rube Bloom | Piano |
| Dean Bryan | Guitar |
| Garvin Bushell | Clarinet, Alto Saxophone |
| Jimmy Dorsey | Clarinet |
| Tommy Dorsey | Trombone |
| C.L. Hutchison | Cornet |
| J.C. Johnson | Piano |
| Manny Klein | Trumpet |
| George MacMillan | Bass, String Bass |
| Earl McDonald | Jug |
| James Rikard | Clarinet |
| Bob Sawyer | Piano |
| Frank Signorelli | Piano |
| John Westbrook | Steel Guitar |
| Arthur Whetsol | Cornet |
| Roy Evans | Piano, Vocals |
| James P. Johnson & His Orchestra | Piano |
| Fred E. Smith | Guitar |
| Gene Cobb | Vocals |
| Jimmie Rodgers | Composer |
| W.C. Handy | Composer |
| Haven Gillespie | Composer |
| Bob Sawyer | Composer |
| Tony Baldwin | Original Material |
| Paul Biese | Composer |
| Arthur Sizemore | Composer |
| John R.T. Davies | Original Material |
| Harry Coster | Original Material |
| Lulubelle White | Composer |
| Waldo O'Neal | Composer |
| Marcel van den Broek | Artwork |
Airplane_Fan
Posted October 1, 2010
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What the site here doesn't give you is that the 1st eight songs are 1928, 1929 & 1930 recordings by Jimmie Rodgers, the next nine are 1928 to 1931 recordings by Roy Evans and the last four are Emmett Miller's last recording session for Bluebird in 1936 and includes three tunes and one dialogue (minstrelsy "skit") "The Gypsy." To fully appreciate the connection between these musicians, who were progenitors of country, blues and jazz blends, you really must read Nick Toches "Where Dead Voices Gather" in which he expounds on the probable influence Emmett Miller's earlier recordings had on Jimmie Rodgers. (Emmett Miller most definitely influenced Hank Williams.) Tosches also notes that Roy Evans may or may not have been influenced by Miller but he just as easily could have developed his vocal style independently of Miller. The reproduction sound quality is excellent with minimal noise and are quality transfers. The only disappointment is that the Emmett Miller tunes are not as vibrant and haunting as his earlier 1928 & 1929 Okeh sessions with the Georgia Crackers, which were contemporary with the Rodgers' & Evans' recordings here, but those are owned by Columbia(Sony) and "The Minstrel Man of Georgia" issued in 1996 is out of print. If you want to hear some "trick" vocals with instrumental backings that blend jazz, blues and country, get "Blue Yodelers."
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Editorial Reviews
All Music Guide - Scott Yanow
The crossover between jazz and country music was at its peak in the late 1930s with the rise of Western swing, which was essentially swinging jazz that utilized the instruments (and sometimes the melodies) of rural white America. However a decade earlier, a few vocalists who helped pioneer country music sometimes sang blues and used jazz musicians. This CD has eight numbers by Jimmie Rodgers (including "Blue Yodel No. 9" with Louis Armstrong), nine songs from Roy Evans (assisted along the way by pianist James P. Johnson, the Dorsey Brothers and Benny Goodman), and the final rare session by minstrel singer Emmett Miller from 1936. Although it can be a bit disconcerting to ...