PRICE

SI.25
IN D.SJt.
 Im provisations O n A n Orig-inal Them e

Wordsby 0 1 1 0 A D TDT T T T 7 0 Music by

LUCY FLETCHER O U O A K D L U J C /b CLARENCE W ILLIAM S
Arranged fo r Piano Solo by
Slowly but rhythmically Lewis Raymond

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THE CLAREN CE W ILLIAMS M U S IC PUBLISHING C O M P A N Y , Inc.

145 West 45th Street New York, N. Y., U. S. A.
 CLARENCE WILLIAMS Pn c M .
The "BOOGIE WOOGIE” BLUES FOLIO
First “Boogie Woogie” Tunes of Clarence Williams,
George Thomas and Charles “Cow Cow” Davenport

With Annotations by CLARENCE WILLIAMS

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

RED O N IO N BLUES ............................................................................................................................................. 16

COW COW BLUES - ............................................................................................................................ ......

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

"NEW ORLEANS HOP SCOP BLUES"

— 0O 0 —
The "Boogie Woogie" originated in Texas many
years ago. It wasn’t called the "Boogie Woogie"
then. George Thomas was the fellow who used this
style and first wrote it down.

I met Thomas in 1911, in Houston, Texas.

Although I was in my teens and Thomas was old
enough to be my father, we became staunch
friends. We used to like to get together after
our work was finished for "jam sessions". At that
time I was playing vaudeville with the Benbow stock
Company. The orchestra consisted of a drum and
piano. Sometimes a trombone was added. Many times
I had to play the piano in the pit and double on
the stage. Thomas played during pictures and the
intermissions. Later we played in various places
in Houston and were brought together in the ’wee’
(George Thomas) hours of the morning, for our much loved ’jam sessions’.

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.

In 1913 I went back to New Orleans and established a publishing company

under the name "WILLIAMS & PIRON". My friend, Thomas, joined me in New
Orleans in 1914. Inspired by my success, he opened a music publishing house
and in 1916, published "NEW ORLEANS HOP SCOP BLUES", which was originally
his "HOP SCOP BLUES". He wrote lyrics to it and named it after New Orleans
because the Crescent City was the music center of the south. Therefore, he
wanted to get the good will of the music buying public and increase the
sales value.

It was funny how George followed me around. We went around plugging

our songs and even sold them from door-to-door together. In 1918 I moved
to Chicago and opened a publishing house in the Chicago loop, and three
music stores on the south side. George came to Chicago too. In 1923 I
bought "NEW ORLEANS HOP SCOP BLUES" from him. A few years later he died.

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:

Columbia #14516-D - Bessie Smith, vocalist — Clarence Williams at piano.

OKeh #8085-B - Sarah Martin, vocalist — Clarence Williams at the piano.
OKeh - Virginia Liston, vocalist — Clarence Williams at the piano.
OKeh #4975 - Clarence Williams Blue Five (October 1923)
Brunswick - Clarence Williams Blue Five ( February 1934)
 3

New Orleans Hop Scop Blues

Words and Music by
GEO. W. THOMAS
Writer of “Muscle Shoals Blues' etc.
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International Copyright Secured. -^Printed inU. S.A. All Rights Reserved.

4

N e w Orleans Hines 8
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New Orleans Blues 3

6

"ORGAN GRINDER BLUES"

I got the inspiration for the "ORGAN GRINDER

BLUES" from the street organ grinder down in New
Orleans. Around noon down there everyone would
stop to eat lunch and gather in front of saloons
restaurants, eto. The organ grinders, most of whom
were colored, would rush to make it to the best
spots and liveliest corners. The people would sit
or stand around and listen to the music, and would
give the organ grinder money when he had his hat
passed around.

There were two outstanding characters in New

Orleans at the time I was there; one was "Nicodemus"
an organ grinder; and the other was "Black Benny",
noted for his bass drum beating. Nicodemus was
quite picturesque; he was short, very dark complex-
ioned and pigeon toed. He carried a bucket for water
or beer which hung on his organ, as was the custom of
those of his profession. He would dance as he played
his organ — then stop to wipe the pespiration from
his brow. There was a girl who was very muoh in love
with Nicodemus. Everyday she would bring his lunch
to him and then take his bucket to be filled (but not
(Clarence Williams) with water).

Nicodemus had an art in grinding the organ. He would give it a little

jerk to bring out a certain rhythm. His inimitable style made him outstanding
and everyone’s favorite organ grinder.

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:

"Organ grinder, organ grinder

Way down on Rampart Street,
Your sweet music
Is really hard to beat.

Organ grinder, organ grinder

Your sweet music, seems to ease my mind
It’s not only your music,
But it’s the way you grind."

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:

Columbia #14365-D - Ethel Waters, Clarence Williams at the Piano

OKeh #8617 - Clarence Williams* Orchestra
Columbia #2863-D - Williams Jug Band with the Lowland Singers
 As Played on OKEH R eco rd N2 8 6 0 4

Organ G rinder Blues By CLARENCE WILLIAMS

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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.

This boarding house was very gay. There was

gambling, dancing and beautiful women, who acted as
hostesses. In fact, everyting to keep the workers
happy* as there was no other place of amusement for
miles around.

This fellow was a happy-go-lucky (John Henry)

type character whom you couldn’t help but notice.
He liked the money that he made in the south, but
he always had the blues for his home state, Michigan.
Whenever he was feeling blue, his favorite expression
would be:

"I*d rather be up in Michigan

Sleeping in a hollow log,
Than to be down here in Texas
Treated like a dog.
(Clarence Williams) Michigan water, tastes like sherry wine."

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.

"RED ONION BLUES"

Down in New Orleans on Rampart Street, there was a place of amusement

which was called the "RED ONION” . It was right alongside the old "Basin".
The railroad workers and section gangs would come there from work. The
proprietor of the "RED ONION" gave them credit for drinks, food, etc.
Some of the men who unloaded bananas from the boats for him, spent their
money back with him, so that when pay day came they had very little, or no
money coming to them.

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

Copyright MCMXXIV by CLARENCE WILLIAMS Music Pub.Co.jl 45 W.4 5 th St.,N.Y.

International Copyright Secured. Made in U .S .A .
All Rights Reserved Including the right o f Public Perform ance for P rofit.
 ^ Fmi A^7 Fmi E^7 13

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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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 15
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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

Cow Cow B lu e s By CHARLES (Cow Cow) DAVENPORT

Tempo di Boogie

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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
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Cow Cow Blues. 3-2

 21

cry..
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child.
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Cow Cow Blues. 3-3

22

RATTLING RHYTHM by
Connie Berry and
Clarence Williams
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24

CLARENCE WILLIAMS patent*

FOUR UNIQUE. ULTRA-MODERN. STANDARD FOLIOS
IM PROVE YOU
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LEARN TO SING
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H O W TO CRASH HOW YOUR PLAY

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