Bessie Smith: influences, peers and legacy

Every connection with its receipt

Bessie Smith rose from Chattanooga street corners through Southern tent-show vaudeville to become Columbia's biggest-selling artist of the 1920s, the "Empress of the Blues." This mix traces the tent-show and vaudeville women who made her possible, the Harlem jazz players who framed her voice, and the singers from Billie Holiday to Janis Joplin who carried her weight of tone forward.

The Kynda mix for Bessie Smith

• Key Influence · Ma Rainey's Black Bottom by Ma Rainey (1927). Smith toured as a teenager with the Moses Stokes company around 1912, where Gertrude "Ma" Rainey was the star attraction; the two worked the same Theater Owners Booking Association tent circuit for years. Rainey's moaning, deliberately unhurried delivery and her repertoire of self-possessed, bawdy working-woman songs set the template for the classic blues Smith then sold in unprecedented numbers for Columbia.
• Influencia Obscura · Sing 'Em Blues by Charles Anderson (1923). Anderson was a female-impersonating vaudeville yodeler who shared TOBA bills with Smith in the late 1910s and early 1920s and was admired by blues singers for his falsetto "blues yodel" and his "Baby Seals Blues." Almost forgotten today, he was part of the working theatrical world that taught Smith breath control, projection and the art of bending a note for an audience without amplification.
• Local Roots · Memphis Blues by W. C. Handy (1912). Handy, working in Memphis up the Tennessee line from Smith's Chattanooga, published the sheet music that turned regional blues into national commerce. Smith's most famous recording is of his "St. Louis Blues," cut in 1925 with Louis Armstrong, and she starred in the 1929 film built around the song. Handy's twelve-bar frameworks were the raw material her voice made monumental.
• Beyond the Medium · Swing Low, Sweet Chariot by Fisk Jubilee Singers (1909). Smith grew up in Chattanooga churches, and Nashville's Fisk singers had already carried the spiritual from Tennessee to the world's concert halls. The melisma, the held and bent notes, the moan that swells on a single syllable — critics from the 1920s onward heard preacher-and-congregation cadence in Smith's secular laments. Her "Back Water Blues" functions as much as a sermon as a song.
• Peer · Wild Women Don't Have the Blues by Ida Cox (1924). Cox was Smith's direct contemporary on the TOBA circuit and Paramount's answer to Columbia's Empress, billed as "The Uncrowned Queen of the Blues." Her defiant, independent-woman lyric is the clearest sibling to Smith's "Young Woman's Blues." Both women ran their own touring companies, hired their own musicians and controlled their own shows at a time when few performers of any color did.
• From the Canon · Downhearted Blues by Bessie Smith (1923). Her first released Columbia side, cut in February 1923 after earlier auditions elsewhere had gone nowhere, with Clarence Williams on piano. It became an enormous seller and made her the label's most profitable artist of the decade. Hearing it explains everything that follows: the enormous unamplified tone, the deliberate behind-the-beat phrasing, and the refusal to prettify a line of grief.
• Key Collaborator · West End Blues by Louis Armstrong (1928). Armstrong played cornet behind Smith on nine sides in 1925, including the celebrated "St. Louis Blues," where his lines shadow and spar with her voice; both were feeling out how a soloist and a singer could trade phrases. The experience fed the vocalized trumpet and sung improvisation he unveiled on his own Hot Five masterpieces, and it shaped jazz singing permanently.
• Legacy · Fine and Mellow by Billie Holiday (1939). Holiday repeatedly named Smith and Louis Armstrong as her two formative influences, saying she wanted Bessie's big sound and Louis's feeling. Growing up in Baltimore she absorbed Smith's records, and her habit of pulling a lyric behind the beat and treating a song as personal testimony descends directly from them. "Fine and Mellow" is Holiday's own blues, the clearest sound of that inheritance.

What influenced Bessie Smith

• Billie Holiday (1915). Rees places Billie Holiday after Smith in a lineage of singers. (also via Empty Bed Blues, Fine and Mellow) “From Ma comes Bessie, from Bessie comes Billie, from Billie comes Nina Simone.” (HBO Watch)
• Nina Simone. Rees places Simone in a musical lineage that passes through Smith and Holiday. “From Ma comes Bessie, from Bessie comes Billie, from Billie comes Nina Simone.” (HBO Watch)
• The Weary Blues by Langston Hughes (1926). The Weary Blues (Langston Hughes) — culture for Bessie Smith “But more importantly, the two met Bessie Smith in Macon.” (en.wikipedia.org)
• Ma Rainey's Black Bottom by Ma Rainey (1927). Ma Rainey's Black Bottom (Ma Rainey) — titan for Bessie Smith “She began touring and performed in a group that included Ma Rainey, and then went out on her own.” (en.wikipedia.org)
• Crazy Blues by Mamie Smith (1920). Crazy Blues (Mamie Smith) — titan for Bessie Smith “At the time, sales of over 100,000 copies of "Crazy Blues", recorded for Okeh Records by the singer Mamie Smith (no relation), pointed to a new market.” (en.wikipedia.org)
• He May Be Your Man but He Comes to See Me Sometimes by Lucille Hegamin (1922). He May Be Your Man but He Comes to See Me Sometimes (Lucille Hegamin) — ghost for Bessie Smith “According to Derrick Stewart-Baxter, "Lucille's clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide." Like Mamie Smith, Hegamin sang classic female blues in…” (en.wikipedia.org)
• Nobody by Bert Williams (1905). Nobody (Bert Williams) — titan for Bessie Smith (musicbrainz.org)
• Sing 'Em Blues by Charles Anderson (1923). Sing 'Em Blues (Charles Anderson) — ghost for Bessie Smith
• Chattanooga Blues by Hartman's Heartbreakers (1925). Chattanooga Blues (Hartman's Heartbreakers) — culture for Bessie Smith
• Swing Low, Sweet Chariot by Fisk Jubilee Singers (1909). Swing Low, Sweet Chariot (Fisk Jubilee Singers) — culture for Bessie Smith

Peers and kindred spirits

• James P. Johnson. Whitehead notes Johnson's role as Bessie Smith's best accompanist. (also via Backwater Blues, Carolina Shout) “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• Ma Rainey. Smith and Rainey performed in the same touring group. (also via Ma Rainey's Black Bottom) “She began touring and performed in a group that included Ma Rainey , and then went out on her own.” (Wikipedia)
• Louis Armstrong. Armstrong recorded with Smith. (also via St. Louis Blues, West End Blues) “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• Hoyt Axton. Axton performed a collection of Smith's songs. (also via Hoyt Axton Sings Bessie Smith) “Released on Exodus Records in 1965, Hoyt Axton Sings Bessie Smith is another collection of Smith's songs performed by folk singer Hoyt Axton .” (Wikipedia)
• Fletcher Henderson. Henderson is named among musicians who accompanied Smith's recordings. (also via Sugar Foot Stomp) “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• Coleman Hawkins. Hawkins is named among musicians who accompanied Smith's recordings. “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• West End Blues by Louis Armstrong (1928). West End Blues (Louis Armstrong) — collaborator for Bessie Smith “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong, Coleman Hawkins, Fletcher Henderson, James P.” (en.wikipedia.org)
• Joe Smith. Joe Smith is named among musicians who accompanied Bessie Smith's recordings. “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• Jack Teagarden. Teagarden played in the band for Smith's final recordings. “The band included such swing era musicians as the trombonist Jack Teagarden , the trumpeter Frankie Newton , the tenor saxophonist Chu Berry , the pianist Buck Washington , the guitarist Bobby Johnson, and the bassist Billy Taylor .” (Wikipedia)
• Carolina Shout by James P. Johnson (1921). Carolina Shout (James P. Johnson) — collaborator for Bessie Smith “He developed into a sensitive and facile accompanist, the favorite accompanist of Ethel Waters and Bessie Smith.” (en.wikipedia.org)
• Buck Washington. Washington played piano in the band for Smith's final recordings. “The band included such swing era musicians as the trombonist Jack Teagarden , the trumpeter Frankie Newton , the tenor saxophonist Chu Berry , the pianist Buck Washington , the guitarist Bobby Johnson, and the bassist Billy Taylor .” (Wikipedia)
• Dudley Murphy. Smith starred in a film directed by Murphy. “In November 1929, Smith made her only film appearance, starring in a two-reeler , St. Louis Blues , based on composer W. C. Handy 's song of the same name . In the film, directed by Dudley Murphy” (Wikipedia)
• Hoyt Axton Sings Bessie Smith by Hoyt Axton. Axton’s album page identifies his recording project and lists its tracks. “Hoyt Axton Sings Bessie Smith by Hoyt Axton supported by PsychFolk / Digital Album” (Bandcamp)
• Bobby Johnson. Johnson played guitar in the band for Smith's final recordings. “The band included such swing era musicians as the trombonist Jack Teagarden , the trumpeter Frankie Newton , the tenor saxophonist Chu Berry , the pianist Buck Washington , the guitarist Bobby Johnson, and the bassist Billy Taylor .” (Wikipedia)
• Frankie Newton. Newton played in the band for Smith's final recordings. “The band included such swing era musicians as the trombonist Jack Teagarden , the trumpeter Frankie Newton , the tenor saxophonist Chu Berry , the pianist Buck Washington , the guitarist Bobby Johnson, and the bassist Billy Taylor .” (Wikipedia)
• Billy Taylor. Taylor played bass in the band for Smith's final recordings. “The band included such swing era musicians as the trombonist Jack Teagarden , the trumpeter Frankie Newton , the tenor saxophonist Chu Berry , the pianist Buck Washington , the guitarist Bobby Johnson, and the bassist Billy Taylor .” (Wikipedia)
• Charlie Green. Green is named among musicians who accompanied Smith's recordings. “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong , Coleman Hawkins , Fletcher Henderson , James P. Johnson , Joe Smith , and Charlie Green .” (Wikipedia)
• John Henry Hammond. Hammond arranged for Smith to record four sides. “In 1933, John Henry Hammond , who also mentored Billie Holiday , asked Smith to record four sides for Okeh (which had been acquired by Columbia Records in 1925).” (Wikipedia)
• Chu Berry. Berry played in the band for Smith's final recordings. “The band included such swing era musicians as the trombonist Jack Teagarden , the trumpeter Frankie Newton , the tenor saxophonist Chu Berry , the pianist Buck Washington , the guitarist Bobby Johnson, and the bassist Billy Taylor .” (Wikipedia)
• Hall Johnson Choir. The choir accompanied Smith's performance in St. Louis Blues. “In the film, directed by Dudley Murphy and shot in Astoria, Queens , she sings the title song accompanied by members of Fletcher Henderson 's orchestra, the Hall Johnson Choir, the pianist James P. Johnson and a string section” (Wikipedia)
• Memphis Blues by W. C. Handy (1912). Memphis Blues (W. C. Handy) — geography for Bessie Smith “Handy suggested blues singer Bessie Smith for the starring role because the song had made her popular.” (en.wikipedia.org)
• Sugar Foot Stomp by Fletcher Henderson (1925). Sugar Foot Stomp (Fletcher Henderson) — collaborator for Bessie Smith “She made 160 recordings for Columbia, often accompanied by the finest musicians of the day, notably Louis Armstrong, Coleman Hawkins, Fletcher Henderson, James P.” (en.wikipedia.org)
• Downhearted Blues by Alberta Hunter (1922). Downhearted Blues (Alberta Hunter) — geography for Bessie Smith “Both sides of her first record, "Downhearted Blues" backed with "Gulf Coast Blues", were hits (an earlier recording of "Downhearted Blues" by its co-writer Alberta Hunter had previously been released by Paramount Records).” (en.wikipedia.org)
• Wild Women Don't Have the Blues by Ida Cox (1924). Wild Women Don't Have the Blues (Ida Cox) — peer for Bessie Smith “Wolcott and based after 1918 in Port Gibson, Mississippi, were important not only for the development of Cox's performing career but also for launching the careers of her idols Ma Rainey and Bessie Smith.” (en.wikipedia.org)
• Dinah by Ethel Waters (1925). Dinah (Ethel Waters) — peer for Bessie Smith “Benny Goodman, who happened to be recording with Ethel Waters in the adjoining studio, dropped by and is barely audible on one selection.” (en.wikipedia.org)
• Every Woman's Blues by Clara Smith (1923). Every Woman's Blues (Clara Smith) — peer for Bessie Smith “She recorded three duets with Bessie Smith: "Far Away Blues" and "I'm going back to My Used To Be" (Columbia 13007-D), on October 4, 1923 and "My Man Blues" (Columbia 14098-D), on September 1, 1925.” (en.wikipedia.org)
• Stealin' Stealin' by Memphis Jug Band (1928). Stealin' Stealin' (Memphis Jug Band) — geography for Bessie Smith
• Marian Anderson (1897). Downhearted Blues (Bessie Smith) — geography for Marian Anderson (via Downhearted Blues)

Who Bessie Smith influenced

• The Death of Bessie Smith. The circumstances surrounding Smith's death formed the basis of Albee's play. “The 1948 short story " Blue Melody ", by J. D. Salinger , and the 1959 play The Death of Bessie Smith , by Edward Albee , are based on Smith's life and death, but poetic license was taken by both authors” (Wikipedia)
• Stone for Bessie Smith. Previn's song concerns the tombstone placed on Smith's grave. “Isn't it amazing shakes you to the bone she bought a stone for Bessie Smith she bought Bessie Smith a stone she got it for her gravesite on a temporary loan” (wussu.com)
• Bessie. The film depicts Smith's life, with Queen Latifah portraying her. “Like Alike Freeman in “Pariah,” bringing Bessie Smith’s personality to life was about mining her core for the unspoken longings, fears and loves that she experienced and trying to “get behind her eyes” and understand her world view.” (HBO Watch)
• Queen Latifah. Queen Latifah portrayed Smith on film. “I listened to the music. I had to find her in the music, because there’s not a lot of footage . . .” (Vanity Fair)
• Dinah Washington. Washington released an album paying tribute to Smith. (also via Dinah Washington Sings Bessie Smith) “Dinah Washington and LaVern Baker released tribute albums to Smith in 1958.” (Wikipedia)
• Langston Hughes (1902). The Complete Bessie Smith recordings (Bessie Smith) — culture for Langston Hughes (via The Complete Bessie Smith recordings, The Weary Blues) “But more importantly, the two met Bessie Smith in Macon.” (en.wikipedia.org)
• LaVern Baker. Baker released an album paying tribute to Smith. “Dinah Washington and LaVern Baker released tribute albums to Smith in 1958.” (Wikipedia)
• Fine and Mellow by Billie Holiday (1939). Fine and Mellow (Billie Holiday) — legacy for Bessie Smith “==== Swing era ==== In 1933, John Henry Hammond, who also mentored Billie Holiday, asked Smith to record four sides for Okeh (which had been acquired by Columbia Records in 1925).” (en.wikipedia.org)
• Blue Melody. Salinger's short story is stated to be based on Smith's life and death. “The 1948 short story " Blue Melody ", by J. D. Salinger , and the 1959 play The Death of Bessie Smith , by Edward Albee , are based on Smith's life and death, but poetic license was taken by both authors” (Wikipedia)
• Bill T. Jones (1952). Jones references a Bessie Smith song as emotionally resonant with his current state of mind. (via The Best of Friends Sure Has Got to Part) “You know, "The Best of Friends Sure Has Got to Pan," you know, that old Bessie Smith song?” (Bill T. Jones - Still/Here (public broadcasting))
• Indian Summer. Indian Summer sampled Smith's song throughout their EP. (via See If I'll Care) “Her song "See If I'll Care" was sampled by Indian Summer throughout their self-titled EP , released in 1993.” (Wikipedia)
• Angela Davis. Down Hearted Blues (Bessie Smith) — culture for Angela Davis (via Down Hearted Blues) “Blues Legacies and Black Feminism: Gertrude "Ma" Rainey, Bessie Smith, and Billie Holiday, Pantheon Books (1998), ISBN 0-679-77126-3.” (en.wikipedia.org)
• Dinah Washington Sings Bessie Smith by Dinah Washington (1958). Dinah Washington Sings Bessie Smith (Dinah Washington) — legacy for Bessie Smith “Dinah Washington and LaVern Baker released tribute albums to Smith in 1958.” (en.wikipedia.org)
• Ball and Chain by Big Brother and the Holding Company (1968). Ball and Chain (Big Brother and the Holding Company) — legacy for Bessie Smith “"I remember being amazed that this white woman was singing like Bessie Smith," said Michelle Phillips once.” (en.wikipedia.org)
• Moms Mabley (1894). Empty Bed Blues (Bessie Smith) — culture for Moms Mabley (via Empty Bed Blues) (musicbrainz.org)
• Redd Foxx. Empty Bed Blues (Bessie Smith) — culture for Redd Foxx (via Empty Bed Blues) (musicbrainz.org)
• Mae West. Empty Bed Blues (Bessie Smith) — culture for Mae West (via Empty Bed Blues) (musicbrainz.org)
• Abbey Lincoln. Empty Bed Blues (Bessie Smith) — titan for Abbey Lincoln (via Empty Bed Blues) (musicbrainz.org)
• Count Basie. Downhearted Blues (Bessie Smith) — culture for Count Basie (via Downhearted Blues)
• James Baldwin (1924). Backwater Blues (Bessie Smith) — culture for James Baldwin (via Backwater Blues)