Articles

Clarence M. Jones Player Piano Rolls Part 2 – Jazz and Blues

Clarence M. Jones was one of those rare musicians able to adapt both his playing and compositional styles to new musical trends.  As Jones’ piano roll recordings are the only known examples of his playing prior to 1923, these provide valuable insight into his adaptability and innovative ideas.  Moreover, they clearly demonstrate how his playing was of seminal importance in the development of the Chicago South Side style.

One of the best examples to demonstrates Jones’ innovativeness in bridging the gap between ragtime and jazz/blues playing is his Imperial roll of “12th Street Rag” by Texas ragtime and blues composer Euday L. Bowman.  Certainly everyone is familiar with this tune, which is usually played at a fairly fast tempo.  But few have heard it in Jones’ rendition.

Stencil autograph usually stamped on his Imperial rolls

Clarence Jones played “12th Street Rag” as a blues/jazz number from start to finish. He added original introductions to the first theme and trio section, along with numerous jazz embellishments.  Most notable is his playing of the trio section, which is so highly refined as to be essentially as much Jones as Bowman.  Since this version of “12th Street Rag” was issued as a “word roll,” i.e. with lyrics printed on the roll to sing, the trio section would normally have been eliminated. Knowing the full score from his ragtime playing days, Jones chose to include the trio, which is really every bit as much his original interlude section.

Jazz influences created by Jones and later used by Jimmy Blythe on his records and rolls abound.  For example, the very characteristic introduction to “A Good Man Is Hard To Find” on Jones’ Imperial roll (from 1919) was used by Blythe on his Capitol A-roll and 88-note rolls versions of the same tune, but dating some 6-8 years later.  Also, the original jazz interlude which Jones played on his Imperial roll of Clarence Williams’ beautiful “Play ‘Em For Mama, Sing ‘Em For Me” from 1922 begins with a triplet lick that Blythe (and Clarence Johnson as well) used innumerable times on their many piano roll recordings.

Jones also played a number of George W. Thomas compositions, and in most cases his rolls represent the definitive versions of these tunes.  His versions of “Houston Blues” and “Muscle Shoals Blues” were issued under the “Chet Gordon” pseudonym , which Clarence Johnson and others used as well (ref. Johnson section), but this is very clearly Jones’ playing style.  His Vocalstyle roll of Thomas’ “Up The Country Blues” is possibly one of the finest examples of blues playing on any 88-note roll. As will be seen, Jones similarly championed the music of blues and jazz composers such as Perry Bradford, Clarence Williams, Armand Piron, Steve J. Lewis, Charles Warfield, Spencer Williams and numerous others.

Tishomingo Blues (as Clarence M.) Rolla Artis

Clarence Jones had an incredible melodic gift, and frequently would play an interlude section of his own composition on many of his piano rolls.  These original interludes are to be found on both his popular rolls as well as the blues/jazz oriented material.  One which I’ve always found hauntingly beautiful is in his Imperial roll of “Jelly Bean – The Curbstone Cutie” by New Orleans composer Joe Verges.  That interlude could have easily been turned into a popular jazz song or novelty rag, but to Jones it was simply an idea “tossed off.”  Fortunately it is preserved on this roll.  There are many other examples of Jones’ melodic creativity preserved on these roll performances.

As stated in the first section, Clarence Jones started his roll recording career ca. 1916 with the Wurlitzer Co. of Chicago, who issued his playing on their “Rolla Artis” label.  He played ragtime, popular songs, one-steps and later jazz/blues oriented material on that label.  About 1919 (probably when Wurlitzer ceased their hand-played recording operations) Jones moved on to the Imperial Piano Roll Co., also of Chicago.  He became one of their staff artists, along with Charley Straight, Roy Bargy, Al Eldridge, Arnold Johnson and others.  It is notable that Jones was the only Black artist on the regular Imperial staff at this early date, (although both Jack Palmer (as “Deering H. Palmer”) and John W. “Blind” Boone each made a single roll for Imperial).

Jazzin’ Baby Blues – Columbia

Jazzin’ Baby Blues – Browne(Staffnote)

Jones’ recording activities with Imperial seem to have ended ca. 1922.  At the same time Imperial went over to the practice of issuing “generic” artist credits such as “Jack Clyde” or “Burt Franklin,” who may have been unique individuals but cannot be positively confirmed as such. Shortly thereafter, Imperial dropped artist credits altogether.  It was at about this time that J. Lawrence Cook started making arrangements for Imperial.  This subject will be discussed in greater detail in the section on J.Lawrence Cook.

In 1924 Jones resumed piano roll recording, now for the Vocalstyle Music Co. of Cincinnati, Ohio.  Vocalstyle had previously recorded and issued the hand-playing of Black artists Charles Luckyth “Luckey” Roberts and Amanda “Mandy” Randolph in 1919.  Many regard Jones’ Vocalstyle performances as his most “life-like.”  It is likely that “Up The Country Blues” was his first issued roll, dating from ca. June-July, 1924.  He continued recording for Vocalstyle until May 1926, producing just under 30 titles. During Jones’ tenure at Vocalstyle, other legendary Black pianists also recorded for them, including Ferdinand “Jelly Roll” Morton, Edgar Hayes and Charles “Cow Cow” Davenport.

Part 2 – Clarence M. Jones Jazz and Blues Piano Rolls.