James "Boodle It" Wiggins

Last updated

James "Boodle It" Wiggins
Also known asJames Wiggins, "Boodle It" Wiggins
Bornprobably Louisiana, United States
Genres Blues
Occupation(s)Singer, musician
InstrumentsVocals, kazoo, harmonica
Years activeLate 1920s
Labels Paramount Records

James "Boodle It" Wiggins was an American blues singer and musician. His best known recordings were "Keep Knockin' An You Can't Get In", a precursor of both "Keep A-Knockin'" and "I Hear You Knocking"; plus his versions of "Corrine, Corrina" and "Shave 'Em Dry", albeit slightly re-titled.

Contents

Wiggins recorded eight tracks that were released in his lifetime by Paramount Records, and another six that were not issued until later. [1] The latter six were originally earmarked for Vocalion Records or Brunswick Records. [1] [2] [3] His accompanists on his recorded work are thought to include variously Bob Call, Blind Leroy Garnett, and Charlie Spand on piano. [1] Little is known of his life outside of music.

Life and career

It is generally thought that Wiggins was born in Louisiana, United States, and is credited as such in several sources. [1] [4] [5] His acquired nickname of "Boodle It" appears to come from his association with a style of dance, although there was also an assumed sexual connotation. [6]

Wiggins is believed to have been discovered in Dallas, by R. L. Ashford, a scout for Paramount Records. However, Big Bill Broonzy told Paul Oliver that Wiggins originally came from Louisiana. Wiggins subsequently recorded eight sides, in three separate sessions, for Paramount between 1928 and 1929. [7] His first recording session produced "Keep Knockin' An You Can't Get In", which was recorded in Chicago, Illinois, around February 1928 and released by Paramount (12662) that year. [8] [1] Wiggins sang and played the kazoo on the track. [1] The pianist on the track is believed to be Bob Call, who some time later played accompaniment to Big Bill Broonzy, Jazz Gillum, Robert Nighthawk, and Arbee Stidham. [9] In his autobiography. Born With The Blues, Perry Bradford claimed to be composer of the song, but the first recorded version would seem to be that by Wiggins. [7] Variations were then recorded by Lil Johnson in 1935 and Louis Jordan in 1939. According to Rolling Stone , Jordan had heard the James Wiggins and Kokomo Arnold versions. [8] "Keep Knockin' An You Can't Get In" was a precursor of both "Keep A-Knockin'" and "I Hear You Knocking". [8] The other track recorded at the same session was "Evil Woman Blues". [1]

There were two further recording sessions undertaken by Wiggins in Chicago on November 13 and 14, 1928. This resulted in six unissued sides. [7] [10] These were originally earmarked for Vocalion Records or Brunswick Records. [1] [11]

On October 12, 1929, in Richmond, Indiana, Wiggins recorded another four sides, "Forty-Four Blues", "Frisco Bound", "My Lovin' Blues" and "Weary Heart Blues" for Paramount, plus another two in Grafton, Wisconsin that the same month. [1] Paramount placed two advertisements in The Chicago Defender ; the first on November 30, 1928 (promoting "Keep A Knockin' An You Can't Get In" b/w "Evil Woman Blues") and then on January 25, 1930 (for "Weary Heart Blues" b/w "My Lovin' Blues"). [7] [10] Blind Leroy Garnett played piano accompaniment on the four tracks recorded in Richmond. [9] Whereas in Grafton, Wiggins recorded his version of "Gotta Shave 'Em Dry", and "Corrine Corrina Blues" [1] with a boogie-woogie accompaniment by the pianist, Charlie Spand. [12] These were also issued by Paramount (12916). [1]

More recently, Blues Unlimited , in an article headed "A Handful of Keys: Boodle It One Time?", reported that Bob Hall and Richard Noblett had analyzed Wiggins' recordings, and cast doubts on the accepted identifications of the pianists. They accepted Garnett's presence on "My Lovin' Blues" and "Weary Heart Blues", but cast some doubt as to whether he played on "Forty-Four Blues". Similarly they agreed on Bob Call as the pianist on "Evil Woman Woman Blues", but not necessarily "Keep Knockin' An You Can't Get In". For Wiggins's final recording "Corinne Corinna" and "Gotta Shave 'Em Dry", Charlie Spand had been suggested but no firm conclusions were drawn. Bob Call, was identified on the two unissued Wiggins sessions. [7] [10]

Wiggins survived a lynching in Bogalusa, Louisiana, in 1929, when a white woman took offence at his refusal to step aside for her on a public street. A local mob shot him four times and lynched him, although he survived the ordeal. [5]

It is supposed that Wiggins died in c. 1930, although details are unknown. [1]

Several of his tracks have appeared on various compilation albums, including Boogie Woogie & Barrelhouse Piano Vol. 2 (1928-1930) (Document Records, 1992). [1] [9]

Lyrical similarities

Wiggins, in common with some other blues musicians, tended to recycle some of his song lyrics, with the lines "I wake up every morning..." and "I woke up this morning...", identified in three of his songs - "Evil Woman Blues" and "Forty-Four Blues", and the latter deviation in "Frisco Bound". [13]

Discography

YearA-sideB-sideRecord label
1928"Evil Woman Blues""Keep Knockin' An You Can't Get In" Paramount Records
1929"Forty-Four Blues""Frisco Bound"Paramount Records
1929"My Lovin' Blues""Weary Heart Blues"Paramount Records
1929"Corrine Corrina Blues""Gotta Shave 'Em Dry"Paramount Records

[1]

See also

Related Research Articles

James Edwards Yancey was an American boogie-woogie pianist, composer, and lyricist. One reviewer described him as "one of the pioneers of this raucous, rapid-fire, eight-to-the-bar piano style".

Boogie-woogie is a music genre of blues that became popular during the late 1920s, developed in African-American communities in the 1870s. It was eventually extended from piano, to piano duo and trio, guitar, big band, country and western music, and gospel. While standard blues traditionally expresses a variety of emotions, boogie-woogie is mainly associated with dancing. The lyrics of one of the earliest hits, "Pinetop's Boogie Woogie", consist entirely of instructions to dancers:

Meade Lux Lewis

Anderson Meade Lewis, known as Meade Lux Lewis, was an American pianist and composer, remembered for his playing in the boogie-woogie style. His best-known work, "Honky Tonk Train Blues”, has been recorded by many artists.

Harry Gibson

Harry "The Hipster" Gibson, born Harry Raab, was a jazz pianist, singer, and songwriter. Gibson played New York style stride piano and boogie woogie while singing in a wild, unrestrained style. His music career began in the late 1920s, when under his real name, he played stride piano in Dixieland jazz bands in Harlem. He continued to perform there throughout the 1930s, adding the barrelhouse boogie of the time to his repertoire.

Pete Johnson

Pete Johnson was an American boogie-woogie and jazz pianist.

I Hear You Knocking Song first recorded by Smiley Lewis

"I Hear You Knocking" is a rhythm and blues song written by Dave Bartholomew. New Orleans rhythm and blues singer Smiley Lewis first recorded the song in 1955. The lyrics tell of the return of a former lover who is rebuffed.

Rufus George Perryman, known as Speckled Red, was an American blues and boogie-woogie piano player and singer noted for his recordings of "The Dirty Dozens", exchanges of insults and vulgar remarks that have long been a part of African-American folklore.

"Keep A-Knockin' " is a popular song that has been recorded by a variety of musicians over the years. The lyrics concern a lover at the door who will not be admitted; some versions because someone else is already there, but in most others because the knocking lover has behaved badly.

Vince Weber was a German blues and boogie-woogie pianist.

Robert 'Bob' Milne is an American ragtime musician and concert pianist. Considered as a "very good specialist of ragtime boogie", he was referred to as a "national treasure" after he was interviewed and documented for future generations by the U.S. Library of Congress in 2004.

Charlie Spand was an American blues and boogie-woogie pianist and singer, noted for his barrelhouse style. He was deemed one of the most influential piano players of the 1920s. Little is known of his life outside of music, and his total recordings amount to only thirty-three tracks.

Walter Roland was an American blues, boogie-woogie and jazz pianist, guitarist and singer, noted for his association with Lucille Bogan, Josh White and Sonny Scott. The music journalist Gérard Herzhaft stated that Roland was "a great piano player... as comfortable in boogie-woogies as in slow blues," adding that "Roland – with his manner of playing and his singing – was direct and rural."

Jabo Williams was an American boogie-woogie and blues pianist and songwriter. His total recorded output was a mere eight sides, which included his two best-known "stunningly primitive" songs, "Pratt City Blues" and "Jab's Blues" (1932). Details of his life outside of music are scanty.

William Ezell, was an American blues, jazz, ragtime and boogie-woogie pianist and occasional singer, who was also billed as Will Ezell. He regularly contributed to recordings made by Paramount Records in the late 1920s and early 1930s. Ezell was noted by the music journalist Bruce Eder as "a technically brilliant pianist, showing the strong influence of jazz as well as blues in his work".

<i>Three of a Kind</i> (album) 1998 studio album by Rob Agerbeek

Three of a Kind is an album by Dutch boogie-woogie and jazz pianist Rob Agerbeek.

"Shave 'Em Dry" is a dirty blues song, first recorded by Ma Rainey in August 1924 in Chicago. It was released on Paramount Records on September 6, 1924. Rainey was accompanied on the recording by two unknown guitarists. The record was advertised in The Chicago Defender on the same date as the record's release.

Leroy Roscoe Garnett, known professionally as Blind Leroy Garnett was an American boogie-woogie and ragtime pianist and songwriter. His two solo recorded compositions were "Louisiana Glide" and "Chain 'Em Down", although scant details of his life and career are known.

Arthur Migliazza is an American blues and boogie woogie pianist.

Thomas F. McFarland, known professionally as Barrelhouse Buck McFarland was an American blues and boogie-woogie pianist, singer and composer. He first recorded material in the early 1930s, but had to wait until three decades later, before providing his 'barrelhouse' swan song.

References

  1. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 "Illustrated James 'Boodle It' Wiggins discography". Wirz.de. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  2. "James Wiggins". Api.discogs.com. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  3. Laird, Ross (August 8, 2001). Brunswick Records: Chicago and regional sessions. Greenwood Publishing Group. p. 1042. ISBN   9780313318689.
  4. "James "Boodle It" Wiggins discography". Rateyourmusic.com. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  5. 1 2 Komara, Edward M. (August 8, 2006). Encyclopedia of the Blues. Psychology Press. p. 641. ISBN   9780415926997.
  6. Evans, David (October 1, 2010). Ramblin' on My Mind: New Perspectives on the Blues. University of Illinois Press. pp. 192, 199. ISBN   9780252091124.
  7. 1 2 3 4 5 D'Souza, Ajay. "James 'Boodle It' Wiggins | Big Road Blues". Sundayblues.org. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  8. 1 2 3 Prince, Patrick (July 4, 2010). "James Wiggins came 'Knocking' long before Little Richard did". Goldminemag.com. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  9. 1 2 3 "Boogie Woogie and Barrelhouse Piano, Vol. 2 (1928-1930) - Various Artists | Release Info". AllMusic . Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  10. 1 2 3 "Boogie Woogie & Barrelhouse Piano Vol. 2 (1928-1930)". Thedocumentrecordstore.com. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  11. "James Wiggins". Api.discogs.com. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  12. "Shave 'Em Dry". Philxmilstein.com. Retrieved August 9, 2019.CS1 maint: discouraged parameter (link)
  13. Taft, Michael (January 11, 2013). The Blues Lyric Formula. Routledge. p. 179. ISBN   9781135778033.