Big Maybelle, "Jinny Mule" c/w "Send For Me," OKeh 4-6998 (rel. 8/1953)

 

SORRY FOLKS, THE MUSIC LINKS DIDN'T TAKE WHEN THIS POST WAS CREATED YESTERDAY. IT'S A FIVE-CLICK PROCESS TO EMBED EACH LINK, AND THAT CAUSES FAILURE QUITE OFTEN. I APOLOGIZE. IT'S A FLAWED SYSTEM AND I'M AT ITS MERCY.

Born Mabel Louise Smith in 1924, Big Maybelle made her debut with OKeh Records, Columbia's subsidiary, which they purchased in 1926, let go of in 1934 and then absorbed in a corporate merger for years later. OKeh became a home for country and blues material with the odd pop record (and some rockabilly) in the 1950s. In 1953, it was a major r&b concern with a stable of artists that rivaled Atlantic Records'.
        Ahmet Ertegun would have died to sign Big Maybelle to Atlantic; she was one major talent who never graced that label. Her early singles for OKeh are a powerful body of work--raw, uncompromised performances that give this commanding vocalist all the elbow room she needs and feature sympathetic backing with all the best session cats in support. In place of the ubiquitous Mickey Baker is veteran bluesman Brownie McGhee on guitar. Sam "The Man" Taylor is on sax, and arranger Leroy Kirkland (who de facto produced this session) created a fitting frame for Maybelle's performance. 
        Unlike many early 45s, this is mastered for microgroove, and doesn't spare the volume. It's a treat to hear early microgroove material that isn't compromised by poor or incorrect mastering. 
        With an Afro-Cuban beat, the comical put-down "Jinny Mule," co-written by Kirkland and Sid Wyche, is made to order for the blues diva. She berates her guy for his stubborn streak. "You won't say you love me/you're just like an ol' Jinny mule," she sneers.
        Kudos to pianist Lee Anderson and drummer Marty Wilson, who put the rock in bedrock; a vocalist couldn't long for better accompaniment. And dig the long, long fade-out--a work of art in itself. This was done by a technician "riding the gain" with slow, steady increments down to zero. I've heard few recordings that achieve this painstaking effect with such elegance, and Maybelle plays to it with a show-person's savvy.

The Cash Box review refers to the original version of "Hound Dog," a 1953 hit by Big Mama Thornton. That debut version is one of the most hard-hitting, sinister r&b decks of all time.

"Send For Me" was penned by Bill Cook, whose "You Can Have Her" became a pop and blues standard. An exquisite acoustic guitar intro by Brownie McGhee opens this mid-tempo grinder with a gospel feeling. Trombonist Eli Robinson is featured on this gritty rocker (in the literal version, as to sway back and forth) which Maybelle delivers with blues shout and indoor voice. A section has her speaking, as if on a telephone, delivering an ultimatum with quiet urgency. 
     This side got more radio and jukebox action and is considered one of Big Maybelle's finest moments on record. I concur!
        Fucking link is fixed. I despise Blogger's clunky set-up, but if I put the links in as is, I risk them getting discovered by copyright thugs. Here it is!

Back in the golden age of the reissue CD, Columbia's Legacy Rhythm and Soul imprint issued a complete disc of Big Maybelle's OKeh material. This 1994 disc remains an essential item. I bought it the day it came out; it took me a while to get Big Maybelle, but once got I remained so. If you like these two sides, seek out this CD. It will reward you for years to come.
        The liner notes tell the tragic trajectory of Ms. Smith's life, which inspired an award-winning Broadway revue and is too intense a story to lay down in brief form here. 

Starting tomorrow: It's Black Vocal Group Week at the Jukebox. Seven days of terrific r&b which begins with a fan-freakin-tastic 1961 Asnes Records platter by The Dorsets. Don't miss it!