Feature Song: “Sugar Blues”
“Sugar Blues” was written in 1919 by Clarence Williams with lyrics by Lucy Fletcher. The first recording of the song was by Leona Williams (not to be confused with the country singer legend) and her Dixie Band in August of 1922. As one can imagine, it has since been covered by a wide range of artists and bands such as: Bob Wills and his Texas Playboys, Fats Waller, and Ella Fitzgerald with Chuck Webb and his Orchestra (1939). As an instrumental, it was also recorded by Count Basie, Johnny Mercer, and The Preservation Hall Jazz Band.
Clarence Williams (1898 or 1893 – 1965) was an American jazz pianist, composer, vocalist, theatrical producer, and publisher. By the early 1910s, he was a well-regarded local entertainer also playing piano. By 1913, he was composing his own tunes. He had a knack for business and worked arranging and managing entertainment at the local African American vaudeville theater as well as at various saloons and dance halls around Rampart Street (on the northern fringe of the French Quarter in New Orleans), and at clubs and houses in Storyville (New Orleans’ red light district from 1897 – 1917). Williams had several bands going at the same time depending on the type of music. He mostly used “Clarence Williams’ Jazz Kings” for his “hot band” sides, and “Clarence Williams Washboard Five,” for his “washboard” sides. He produced and participated in early recordings by Louis Armstrong, Sidney Bechet, Bessie Smith, and Virginia Liston, among others. Two of his 1924 recording bands, “The Red Onion Jazz Babies” and “Clarence Williams’ Blue Five,” featured cornetist Armstrong and soprano saxophonist Bechet, at the time two of the most important early jazz soloists, in their only recordings together before the 1940s. There was a full-blown rivalry between Armstrong and Bechet, and they always tried to outdo each other on solo breaks, which is exemplified in “Cake Walkin’ Babies from Home,” recorded by both of the aforementioned bands.
My feature cover for this song comes from, fittingly enough, a New Orleans all-female ensemble of traditional jazz musicians, assembled by Shaye Cohn in 2016 to perform for Girls Rock New Orleans. After that performance, requests to play started pouring in, and the band agreed that they would love to continue working together, and we are all the lucky benefactors of that decision. Although Shaye would not be able to continue as a full-time member, Haruka Kikuchi joined up for trombone duties, joining Marla Dixon (cornet), Choloe Feoranzo (clarinet & vocals), Molly Reeves (guitar), Julie Schexnayder (double bass), and Dfne ‘Dizzy’ Incirlioglu (washboard). Chloe Feoranzo has also teamed up with Postmodern Jukebox, and in DUTC#84 at the end of August, I featured them with Feoranza covering a Depeche Mode tune. There is an expression used for musicians who are extremely talented – we often say she/he’s got “chops.” Although this applies to all instruments, the origin of this phrase comes from the word embouchure, which is defined as “the position and use of the lips, tongue, and teeth in playing a wind instrument” or the mouthpiece of any musical instrument. I have referred to guitarists in the past as having “chops,” but I guess that would only apply to someone like Hendrix, who I am sure at some point used his tongue to shred! All this to say that these women in the Shake ‘Em Up Jazz Band have definitely got some serious “chops.” Enjoy!
Clarence Williams and his Orchestra (1933-37). “Sugar Blues.”
Leona Williams & Her Dixie Band (The Original Memphis 5 – 1922-27). “Sugar Blues.”
Ella Fitzgerald & her Famous Orchestra. “Sugar Blues” cover circa 1940.
Shake ‘Em Up Jazz Band. “Sugar Blues” cover 2016
And just because I can, here are Louis Armstrong and Sidney Bechet showing off their “chops” on “Cake Walking Babies.”
Los Angeles 2024
My favorite performance of them all is the one by Shake ‘Em Up Jazz Band.
It’s really good!
These are all fabulous!