William Ezell: Difference between revisions

From Wikipedia, the free encyclopedia
Browse history interactively
← Previous edit
Content deleted Content added
VisualWikitext
No edit summary
m Removing from Category:American male jazz musicians has subcat using Cat-a-lot
 
(29 intermediate revisions by 13 users not shown)
Line 1: Line 1:
{{short description|American songwriter}}

{{Infobox musical artist
{{Infobox musical artist
| name = William Ezell
| name = William Ezell
| image =
| landscape = <!-- yes, if wide image, otherwise leave blank -->
| alt =
| alias = Will Ezell
| caption =
| birth_date = {{birth date|1892|12|23|mf=y}}
| image_size =
| birth_place = [[Brenham, Texas]], U.S.
⚫
| death_date = {{death date and age|1963|8|2|1892|12|23|mf=y}}
| landscape = <!-- yes, if wide image, otherwise leave blank -->
| background = solo_singer
| death_place = [[Chicago]], Illinois, U.S.
| birth_name =
| genre = {{flatlist|
* [[Blues]]
| alias = Will Ezell
* [[jazz]]
| birth_date = {{birth date|1892|12|23|mf=y}}
* [[ragtime]]
| birth_place = [[Brenham, Texas]], [[United States]]
* [[boogie-woogie]]
| origin =
}}
⚫
| death_date = {{death date and age|1963|8|2|1892|12|23|mf=y}}
| occupation = {{flatlist|
| death_place = [[Chicago]], [[Illinois]], United States
* [[Pianist]]
| genre = [[Blues]], [[jazz]], [[ragtime]], [[boogie-woogie]]
* [[singer-songwriter]]
| occupation = [[Pianist]], [[songwriter]], [[singing|singer]]
}}
| instrument = [[Piano]]
| years_active = 1910s–1940s
| instrument = [[Piano]]
| years_active = 1910s–1940s
| label = [[Paramount Records|Paramount]]
| label = [[Paramount Records|Paramount]]
| associated_acts =
| website =
}}
}}


'''William Ezell''' (December 23, 1892 – August 2, 1963),<ref name="bare">{{cite book| first1= Bob| last1= Eagle| first2= Eric S.| last2= LeBlanc| year= 2013| title= Blues: A Regional Experience| publisher= Praeger | location= Santa Barbara, California| page=362 | isbn= 978-0313344237}}</ref><ref name="Edwards"/> was an [[United States|American]] [[blues]], [[jazz]], [[ragtime]] and [[boogie-woogie]] pianist and occasional singer, who was also billed as '''Will Ezell'''. He regularly contributed to [[sound recording and reproduction|recordings]] made by [[Paramount Records]] in the late 1920s and early 1930s. Ezell was noted by the [[music journalism|music journalist]] Bruce Eder as "a technically brilliant pianist, showing the strong influence of jazz as well as blues in his work".<ref name="AMG">{{cite web |url={{Allmusic|class=artist|id=william-ezell-p74780/biography|pure_url=yes}} |title=William Ezell: Biography |author=Eder, Bruce |publisher=[[Allmusic]] |accessdate=October 27, 2011}}</ref>
'''William Ezell''' (December 23, 1892 – August 2, 1963),<ref name="bare">{{cite book| first1= Bob| last1= Eagle| first2= Eric S.| last2= LeBlanc| year= 2013| title= Blues: A Regional Experience| publisher= Praeger | location= Santa Barbara, California| page=362 | isbn= 978-0313344237}}</ref><ref name="Edwards"/> was an American [[blues]], [[jazz]], [[ragtime]] and [[boogie-woogie]] pianist and occasional singer, who was also billed as '''Will Ezell'''. He regularly contributed to [[sound recording and reproduction|recordings]] made by [[Paramount Records]] in the late 1920s and early 1930s. Ezell was noted by the [[music journalism|music journalist]] Bruce Eder as "a technically brilliant pianist, showing the strong influence of jazz as well as blues in his work".<ref name="AMG">{{cite web |url={{AllMusic|class=artist|id=william-ezell-p74780/biography|pure_url=yes}} |title=William Ezell: Biography |author=Eder, Bruce |publisher=[[Allmusic]] |access-date=October 27, 2011}}</ref>


Ezell's "Pitchin' Boogie" and [[Cow Cow Davenport]]'s "Cow Cow Blues" were amongst the earliest boogie-woogie recordings. However, [[Pinetop Smith]]'s "[[Pinetop's Boogie-Woogie]]" was the first to use the phrase in the title of a song.<ref name="Trail"/>
Ezell's "Pitchin' Boogie" and [[Cow Cow Davenport]]'s "Cow Cow Blues" were amongst the earliest boogie-woogie recordings. However, [[Pinetop Smith]]'s "[[Pinetop's Boogie Woogie]]" was the first to use the phrase in the title of a song.<ref name="Trail"/>


Two of Ezell's more notable solo recordings, "Heifer Dust" and "Barrel House Woman" (both 1929), have been noted for containing "elements of both blues and barrelhouse [[boogie-woogie]] in their form".<ref name="Silvester"/>
Two of Ezell's more notable solo recordings, "Heifer Dust" and "Barrel House Woman" (both 1929), have been noted for containing "elements of both blues and barrelhouse [[boogie-woogie]] in their form".<ref name="Silvester"/>


==Biography==
==Biography==
Ezell was born in [[Brenham, Texas]], [[United States]],<ref name="bare"/><ref group="note">There has been speculation and supposition concerning details of Ezell's birth. Bill Edwards noted, "While [[Fullerton, Louisiana]] has been cited, this singular reference comes from a 1972 conversation with blues guitarist [[Jesse Thomas (musician)|Jesse Thomas]], who included that information in a sentence about Ezell. Thomas was at least 15 years younger, and did not meet Ezell until late in Will's career. There is another reference to him being from [[East Texas]] in the same published source. Such conflicting information has to logically lean more towards concrete findings than word of mouth, so any origin of Ezell that suggests a Louisiana birthplace and upbringing is very suspect. Both a 1917 and 1942 draft record appear to provide the most correct information and initial lead on Ezell, citations of which were not found in any other source while researching this article. However, the author's findings were directly in line with research done by Alex van der Tuuk in 2003".</ref> one of six children to Lorenza Ezell, a farm laborer, and his wife Rachel. According to the [[1900 United States Census]], the family were still living in Brenham. The same source showed that Ezell's mother had died at some point between 1901 and 1910. Ezell found loose employment as a barrelhouse pianist and, by 1917, had relocated to [[New Orleans]], [[Louisiana]], according to his [[Conscription in the United States|draft record]], and was working as a self-employed musician. There is no evidence that Ezell was conscripted at any time. He continued his itinerant work, finding employment at riverside sawmill camps in Louisiana and [[East Texas]].<ref name="Edwards">{{cite web |url=http://ragpiano.com/comps/wezell.shtml |title=William Ezell |author=Edwards, Bill |date= |work= |publisher=Ragpiano.com |accessdate=October 27, 2011}}</ref><ref name="Trail">{{cite web |url=http://www.thebluestrail.com/artists/mus_wez.htm |title=Will Ezell |author= |date= |work= |publisher=Thebluestrail.com |accessdate=October 27, 2011}}</ref>
Ezell was born in [[Brenham, Texas]], [[United States]],<ref name="bare"/><ref group="note">There has been speculation and supposition concerning details of Ezell's birth. Bill Edwards noted, "While [[Fullerton, Louisiana]] has been cited, this singular reference comes from a 1972 conversation with blues guitarist [[Jesse Thomas (musician)|Jesse Thomas]], who included that information in a sentence about Ezell. Thomas was at least 15 years younger, and did not meet Ezell until late in Will's career. There is another reference to him being from [[East Texas]] in the same published source. Such conflicting information has to logically lean more towards concrete findings than word of mouth, so any origin of Ezell that suggests a Louisiana birthplace and upbringing is very suspect. Both a 1917 and 1942 draft record appear to provide the most correct information and initial lead on Ezell, citations of which were not found in any other source while researching this article. However, the author's findings were directly in line with research done by Alex van der Tuuk in 2003".</ref> one of six children to Lorenza Ezell, a farm laborer, and his wife Rachel. According to the [[1900 United States Census]], the family were still living in Brenham. The same source showed that Ezell's mother had died at some point between 1901 and 1910. Ezell found loose employment as a barrelhouse pianist and, by 1917, had relocated to [[New Orleans]], [[Louisiana]], according to his [[Conscription in the United States|draft record]], and was working as a self-employed musician. There is no evidence that Ezell was conscripted at any time. He continued his itinerant work, finding employment at riverside sawmill camps in Louisiana and [[East Texas]].<ref name="Edwards">{{cite web |url=http://ragpiano.com/comps/wezell.shtml |title=William Ezell |author=Edwards, Bill |date= |publisher=Ragpiano.com |access-date=October 27, 2011}}</ref><ref name="Trail">{{cite web |url=http://www.thebluestrail.com/artists/mus_wez.htm |title=Will Ezell |author= |date= |publisher=Thebluestrail.com |access-date=October 27, 2011}}</ref>


By the early 1920s, Ezell was working with the blues singer [[Elzadie Robinson]]. Around 1925, Ezell moved to [[Chicago]], [[Illinois]], and made friends with [[Blind Blake]] and [[Charlie Spand]].<ref name="Edwards"/> Ezell, along with others such as Spand,<ref name="Oliver">{{cite book
By the early 1920s, Ezell was working with the blues singer [[Elzadie Robinson]].<ref name="Devil">{{cite book|title=The Devil's Music|author=Giles Oakley|publisher=[[Da Capo Press]]|page=[https://archive.org/details/devilsmusichisto00oakl_0/page/73 73]|isbn=978-0-306-80743-5|date=1997|url-access=registration|url=https://archive.org/details/devilsmusichisto00oakl_0/page/73}}</ref> Around 1925, Ezell moved to [[Chicago]], [[Illinois]], and made friends with [[Blind Blake]] and [[Charlie Spand]].<ref name="Edwards"/> Ezell, along with others such as Spand,<ref name="Oliver">{{cite book
| first= Paul
| first= Paul
| last= Oliver
| last= Oliver
| year= 1997
| year= 1997
| title= The Story of the Blues
| title= The Story of the Blues
| url= https://archive.org/details/isbn_9781555533540
| url-access= registration
| edition= new
| edition= new
| publisher= [[Northeastern University Press]]
| publisher= [[Northeastern University Press]]
| location= [[Boston]], [[Massachusetts]]
| location= [[Boston]], [[Massachusetts]]
| isbn= 1-55553-354-X
| isbn= 1-55553-354-X
| page= 89}}</ref> was one of the boogie-woogie pianists who, in the 1920s, performed on Brady Street and Hastings Street in [[Detroit]], [[Michigan]].<ref name="Silvester">{{cite book
| page= [https://archive.org/details/isbn_9781555533540/page/89 89]}}</ref> was one of the boogie-woogie pianists who, in the 1920s, performed on Brady Street and Hastings Street in [[Detroit]], [[Michigan]].<ref name="Silvester">{{cite book
| first= Peter J.
| first= Peter J.
| last= Silvester
| last= Silvester
Line 50: Line 53:
| location= Lanham, Maryland
| location= Lanham, Maryland
| isbn= 978-0-8108-6924-0
| isbn= 978-0-8108-6924-0
| page= 57}}</ref> By 1926, Ezell started work for Paramount in Chicago, as they provided regular work for [[black people|black]] musicians, which was not always available elsewhere.<ref name="Edwards"/> There is some doubt as to his first recording, but he wrote "Sawmill Blues", which was recorded by Elzadie Robinson (under the pseudonym of Bernice Drake) in October that year.<ref>{{cite web |url={{Allmusic|class=artist|id=bernice-drake-p119348/biography|pure_url=yes}} |title=Elzadie Robinson: Biography |author=Layne, Joslyn |publisher=[[Allmusic]].com |accessdate=October 27, 2011}}</ref> His flexibility in playing differing styles proved popular, and one of his earliest duties was accompanying [[Lucille Bogan]] on "Sweet Petunia", a song full of Bogan's trademark double entendres.<ref name="Edwards"/> There is evidence that Ezell and Bogan's relationship went beyond the [[recording studio]], to the extent that Bogan's husband considered divorce proceedings.<ref name="Edwards"/><ref name="Trail"/>
| page= 57}}</ref> By 1926, Ezell started work for Paramount in Chicago, as they provided regular work for [[black people|black]] musicians, which was not always available elsewhere.<ref name="Edwards"/> There is some doubt as to his first recording, but he wrote "Sawmill Blues", which was recorded by Elzadie Robinson (under the pseudonym of Bernice Drake) in October that year.<ref>{{cite web |url={{AllMusic|class=artist|id=bernice-drake-p119348/biography|pure_url=yes}} |title=Elzadie Robinson: Biography |author=Layne, Joslyn |publisher=[[Allmusic]].com |access-date=October 27, 2011}}</ref> His flexibility in playing differing styles proved popular, and one of his earliest duties was accompanying [[Lucille Bogan]] on "Sweet Petunia", a song full of Bogan's trademark double entendres.<ref name="Edwards"/> There is evidence that Ezell and Bogan's relationship went beyond the [[recording studio]], to the extent that Bogan's husband considered divorce proceedings.<ref name="Edwards"/><ref name="Trail"/>
During 1927, Ezell's status at Paramount grew, and he operated under the stewardship of Aletha Dickerson, who had replaced [[J. Mayo Williams]] as the head of Paramount's Chicago operations. As well as being an accompanist, arranger, and part-producer for other musicians, Ezell recorded his own material for the label between 1928 and 1929. These tracks included his two best-known recordings, "Mixed Up Rag" and "Heifer Dust".<ref name="Edwards"/> Ezell's playing style was similar to that of [[Jimmy Blythe]].<ref name="AMG"/> However, he was a popular musician who was warmly recalled by [[Little Brother Montgomery]], who had a similar route to notability. Over his time with Paramount, Ezell's own recordings and his association with Charlie Spand, Baby James and [[Blind Roosevelt Graves]], were amongst the highest quality ever issued by that label, which earlier had a reputation for substandard recordings.<ref name="Edwards"/>
During 1927, Ezell's status at Paramount grew, and he operated under the stewardship of Aletha Dickerson, who had replaced [[J. Mayo Williams]] as the head of Paramount's Chicago operations. As well as being an accompanist, arranger, and part-producer for other musicians, Ezell recorded his own material for the label between 1928 and 1929. These tracks included his two best-known recordings, "Mixed Up Rag" and "Heifer Dust".<ref name="Edwards"/> Ezell's playing style was similar to that of [[Jimmy Blythe]].<ref name="AMG"/> However, he was a popular musician who was warmly recalled by [[Little Brother Montgomery]], who had a similar route to notability. Over his time with Paramount, Ezell's own recordings and his association with Charlie Spand, Baby James and [[Blind Roosevelt Graves]], were amongst the highest quality ever issued by that label, which earlier had a reputation for substandard recordings.<ref name="Edwards"/>
Line 70: Line 73:
!Paramount Records<br/>catalog reference
!Paramount Records<br/>catalog reference
|-
|-
|1926
| rowspan="2" |1926
|"Barrel House Man"
|"Barrel House Man"
|Elzadie Robinson
|Elzadie Robinson
|P3053
|P3053
|-
|-
|1926
|"Sawmill Blues" (composer credits only)
|"Sawmill Blues" (composer credits only)
|Elzadie Robinson (billed as Bernice Drake)
|Elzadie Robinson (billed as Bernice Drake)
|P3054
|P3054
|-
|-
|1927
| rowspan="12" |1927
|"Stormy Hailing Blues"
|"Stormy Hailing Blues"
|Marie Bradley
|Marie Bradley
|P4219
|P4219
|-
|-
|1927
|"Sweet Petunia"
|"Sweet Petunia"
|[[Lucille Bogan]]
| rowspan="2" |[[Lucille Bogan]]
|P4309
|P4309
|-
|-
|1927
|"Levee Blues"
|"Levee Blues"
|Lucille Bogan
|P4324
|P4324
|-
|-
|1927
|"Jailhouse Moan"
|"Jailhouse Moan"
|Ora Brown
| rowspan="2" |Ora Brown
|P4563
|P4563
|-
|-
|1927
|"Restless Blues"
|"Restless Blues"
|Ora Brown
|P4564
|P4564
|-
|-
|1927
|"Whiskey Blues"
|"Whiskey Blues"
|Elzadie Robinson
|Elzadie Robinson
|P4667
|P4667
|-
|-
|1927
|"Black Bordered Letter Blues"
|"Black Bordered Letter Blues"
|Bertha Henderson
| rowspan="2" |Bertha Henderson
|4680
|4680
|-
|-
|1927
|"Six Thirty Blues"
|"Six Thirty Blues"
|Bertha Henderson
|P4681
|P4681
|-
|-
|1927
|"Bunker Hill Blues"
|"Bunker Hill Blues"
|Sally Duffie (possibly a pseudonym for Ezell)
|Sally Duffie (possibly a pseudonym for Ezell)
|P4728
|P4728
|-
|-
|1927
|"West Coast Rag"
|"West Coast Rag"
|[[Blind Blake]]
|[[Blind Blake]]
|P4787
|P4787
|-
|-
|1927
|"Tick Tock Blues"
|"Tick Tock Blues"
|Elzadie Robinson
| rowspan="2" |Elzadie Robinson
|20067
|20067
|-
|-
|1927
|"Hour Behind the Gun"
|"Hour Behind the Gun"
|Elzadie Robinson
|20068
|20068
|-
|-
|1928
| rowspan="4" |1928
|"Old Mill Blues"
|"Old Mill Blues"
|William Ezell
| rowspan="8" |William Ezell
|20823
|20823
|-
|-
|1928
|"Mixed Up Rag"
|"Mixed Up Rag"
|William Ezell
|20824
|20824
|-
|-
|1928
|"Ezell's Precious Five"
|"Ezell's Precious Five"
|William Ezell
|21065
|21065
|-
|-
|1928
|"Crawlin' Spider Blues"
|"Crawlin' Spider Blues"
|William Ezell
|21066
|21066
|-
|-
|1929
| rowspan="12" |1929
|"Barrel House Woman"
|"Barrel House Woman"
|William Ezell
|21143
|21143
|-
|-
|1929
|"Bucket of Blood"
|"Bucket of Blood"
|William Ezell
|21144
|21144
|-
|-
|1929
|"Heifer Dust"
|"Heifer Dust"
|William Ezell
|21145
|21145
|-
|-
|1929
|"Playing the Dozen"
|"Playing the Dozen"
|William Ezell
|21146
|21146
|-
|-
|1929
|"This Is Your Last Night With Me"
|"This Is Your Last Night With Me"
|Elzadie Robinson
| rowspan="3" |Elzadie Robinson
|21186
|21186
|-
|-
|1929
|"Cheatin' Daddy"
|"Cheatin' Daddy"
|Elzadie Robinson
|21187
|21187
|-
|-
|1929
|"My Pullman Porter Man"
|"My Pullman Porter Man"
|Elzadie Robinson
|21190
|21190
|-
|-
|1929
|"Just Can't Stay Here"
|"Just Can't Stay Here"
|[[Blind Roosevelt Graves]] / Baby James
| rowspan="2" |[[Blind Roosevelt Graves]] / Baby James
|G15649
|G15649
|-
|-
|1929
|"Pitchin' Boogie"
|"Pitchin' Boogie"
|Blind Roosevelt Graves / Baby James
|G15650
|G15650
|-
|-
|1929
|"Freakish Mistreater Blues"
|"Freakish Mistreater Blues"
|William Ezell
| rowspan="2" |William Ezell
|G15654
|G15654
|-
|-
|1929
|"Hot Spot Stuff"
|"Hot Spot Stuff"
|William Ezell
|G15655
|G15655
|-
|-
|1929
|"Hometown Skiffle Part One: Mixed Up Rag"
|"Hometown Skiffle Part One: Mixed Up Rag"
|Paramount All Stars
|Paramount All Stars
|21453
|21453
|-
|-
|1931
| rowspan="2" |1931
|"Try Some of That"
|"Try Some of That"
|Slim Tarpley
| rowspan="2" |Slim Tarpley
|L0733
|L0733
|-
|-
|1931
|"Alabama Hustler"
|"Alabama Hustler"
|Slim Tarpley
|L0734
|L0734
|}
|}
Line 237: Line 197:
!Album title
!Album title
!Record label
!Record label
|-
|1985
|''Pitchin' Boogie - Complete Recordings 1927–1929''
|[[Oldie Blues]]
|-
|-
|1992
|1992
|''Complete Recorded Works (1927–31)''
|''Complete Recorded Works (1927–31)''
|[[Document Records|Document]]
|[[Document Records|Document]]
|}<ref name="Album">{{cite web|author= |url=http://www.allmusic.com/album/complete-recorded-works-1927-31-mw0000921628 |title=William Ezell, ''Complete Recorded Works (1927–31)'' |publisher=AllMusic.com |date= |accessdate=2014-01-31}}</ref>
|}<ref name="Album">{{cite web|author= |url=http://www.allmusic.com/album/complete-recorded-works-1927-31-mw0000921628 |title=William Ezell, ''Complete Recorded Works (1927–31)'' |publisher=AllMusic.com |date= |access-date=2014-01-31}}</ref>


==See also==
==See also==
Line 256: Line 220:
==External links==
==External links==
* [http://www.wirz.de/music/ezell.htm Illustrated Will Ezell discography]
* [http://www.wirz.de/music/ezell.htm Illustrated Will Ezell discography]

{{Authority control}}


{{DEFAULTSORT:Ezell, William}}
{{DEFAULTSORT:Ezell, William}}
Line 262: Line 228:
[[Category:American jazz musicians]]
[[Category:American jazz musicians]]
[[Category:American blues pianists]]
[[Category:American blues pianists]]
⚫
[[Category:American male jazz pianists]]
[[Category:American blues singers]]
[[Category:American blues singers]]
⚫
[[Category:American male singers]]
[[Category:Songwriters from Texas]]
[[Category:Songwriters from Texas]]
[[Category:Boogie-woogie pianists]]
[[Category:Boogie-woogie pianists]]
Line 273: Line 239:
[[Category:20th-century American singers]]
[[Category:20th-century American singers]]
[[Category:20th-century American pianists]]
[[Category:20th-century American pianists]]
[[Category:Jazz musicians from Texas]]
[[Category:20th-century American male singers]]
[[Category:American male songwriters]]
[[Category:20th-century American songwriters]]

Latest revision as of 08:53, 11 April 2024

William Ezell
Also known asWill Ezell
Born(1892-12-23)December 23, 1892
Brenham, Texas, U.S.
DiedAugust 2, 1963(1963-08-02) (aged 70)
Chicago, Illinois, U.S.
Genres
Occupation(s)
Instrument(s)Piano
Years active1910s–1940s
LabelsParamount

William Ezell (December 23, 1892 – August 2, 1963),[1][2] 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".[3]

Ezell's "Pitchin' Boogie" and Cow Cow Davenport's "Cow Cow Blues" were amongst the earliest boogie-woogie recordings. However, Pinetop Smith's "Pinetop's Boogie Woogie" was the first to use the phrase in the title of a song.[4]

Two of Ezell's more notable solo recordings, "Heifer Dust" and "Barrel House Woman" (both 1929), have been noted for containing "elements of both blues and barrelhouse boogie-woogie in their form".[5]

Biography[edit]

Ezell was born in Brenham, Texas, United States,[1][note 1] one of six children to Lorenza Ezell, a farm laborer, and his wife Rachel. According to the 1900 United States Census, the family were still living in Brenham. The same source showed that Ezell's mother had died at some point between 1901 and 1910. Ezell found loose employment as a barrelhouse pianist and, by 1917, had relocated to New Orleans, Louisiana, according to his draft record, and was working as a self-employed musician. There is no evidence that Ezell was conscripted at any time. He continued his itinerant work, finding employment at riverside sawmill camps in Louisiana and East Texas.[2][4]

By the early 1920s, Ezell was working with the blues singer Elzadie Robinson.[6] Around 1925, Ezell moved to Chicago, Illinois, and made friends with Blind Blake and Charlie Spand.[2] Ezell, along with others such as Spand,[7] was one of the boogie-woogie pianists who, in the 1920s, performed on Brady Street and Hastings Street in Detroit, Michigan.[5] By 1926, Ezell started work for Paramount in Chicago, as they provided regular work for black musicians, which was not always available elsewhere.[2] There is some doubt as to his first recording, but he wrote "Sawmill Blues", which was recorded by Elzadie Robinson (under the pseudonym of Bernice Drake) in October that year.[8] His flexibility in playing differing styles proved popular, and one of his earliest duties was accompanying Lucille Bogan on "Sweet Petunia", a song full of Bogan's trademark double entendres.[2] There is evidence that Ezell and Bogan's relationship went beyond the recording studio, to the extent that Bogan's husband considered divorce proceedings.[2][4]

During 1927, Ezell's status at Paramount grew, and he operated under the stewardship of Aletha Dickerson, who had replaced J. Mayo Williams as the head of Paramount's Chicago operations. As well as being an accompanist, arranger, and part-producer for other musicians, Ezell recorded his own material for the label between 1928 and 1929. These tracks included his two best-known recordings, "Mixed Up Rag" and "Heifer Dust".[2] Ezell's playing style was similar to that of Jimmy Blythe.[3] However, he was a popular musician who was warmly recalled by Little Brother Montgomery, who had a similar route to notability. Over his time with Paramount, Ezell's own recordings and his association with Charlie Spand, Baby James and Blind Roosevelt Graves, were amongst the highest quality ever issued by that label, which earlier had a reputation for substandard recordings.[2]

In addition to his musical input, Ezell's duties with Paramount were far reaching.[2] In December 1929, he escorted the body of Blind Lemon Jefferson, who had been one of the label's best selling artists, by railroad back to Jefferson's homeland of Texas for burial.[3] His musical input at Paramount ceased in early 1930, except for his accompaniment of Slim Tarpley on two sides in 1931. Paramount Records was rapidly declining as the effects of the Great Depression began to be felt, and later that year Ezell was back to playing in Louisiana, accompanying Clarence Hall. Ezell's whereabouts in the later 1930s are largely unknown,[4] but the researcher John Steiner noted that Cripple Clarence Lofton, who owned a club in Chicago, hosted on stage Ezell, Spand, Leroy Garnett and others through the end of World War II. Records indicate that Ezell continued to be based in Chicago during this time. He worked at their Crane Technical School, operated as part of the New Deal laws, although whether he was employed as an instructor or a maintenance worker is not certain.[2]

Ezell died in Chicago in 1963 in Chicago, at the age of 70.[4] His death was not reported in any newspaper obituaries.[2]

In 1992, Document Records issued a compilation album containing 23 tracks he recorded during his time with Paramount, from February 1927 to January 1931.[9]

Discography[edit]

Known recordings[edit]

Year Song title Accreditation Paramount Records
catalog reference
1926 "Barrel House Man" Elzadie Robinson P3053
"Sawmill Blues" (composer credits only) Elzadie Robinson (billed as Bernice Drake) P3054
1927 "Stormy Hailing Blues" Marie Bradley P4219
"Sweet Petunia" Lucille Bogan P4309
"Levee Blues" P4324
"Jailhouse Moan" Ora Brown P4563
"Restless Blues" P4564
"Whiskey Blues" Elzadie Robinson P4667
"Black Bordered Letter Blues" Bertha Henderson 4680
"Six Thirty Blues" P4681
"Bunker Hill Blues" Sally Duffie (possibly a pseudonym for Ezell) P4728
"West Coast Rag" Blind Blake P4787
"Tick Tock Blues" Elzadie Robinson 20067
"Hour Behind the Gun" 20068
1928 "Old Mill Blues" William Ezell 20823
"Mixed Up Rag" 20824
"Ezell's Precious Five" 21065
"Crawlin' Spider Blues" 21066
1929 "Barrel House Woman" 21143
"Bucket of Blood" 21144
"Heifer Dust" 21145
"Playing the Dozen" 21146
"This Is Your Last Night With Me" Elzadie Robinson 21186
"Cheatin' Daddy" 21187
"My Pullman Porter Man" 21190
"Just Can't Stay Here" Blind Roosevelt Graves / Baby James G15649
"Pitchin' Boogie" G15650
"Freakish Mistreater Blues" William Ezell G15654
"Hot Spot Stuff" G15655
"Hometown Skiffle Part One: Mixed Up Rag" Paramount All Stars 21453
1931 "Try Some of That" Slim Tarpley L0733
"Alabama Hustler" L0734

Compilation album[edit]

Year Album title Record label
1985 Pitchin' Boogie - Complete Recordings 1927–1929 Oldie Blues
1992 Complete Recorded Works (1927–31) Document

[9]

See also[edit]

Notes[edit]

  1. ^ There has been speculation and supposition concerning details of Ezell's birth. Bill Edwards noted, "While Fullerton, Louisiana has been cited, this singular reference comes from a 1972 conversation with blues guitarist Jesse Thomas, who included that information in a sentence about Ezell. Thomas was at least 15 years younger, and did not meet Ezell until late in Will's career. There is another reference to him being from East Texas in the same published source. Such conflicting information has to logically lean more towards concrete findings than word of mouth, so any origin of Ezell that suggests a Louisiana birthplace and upbringing is very suspect. Both a 1917 and 1942 draft record appear to provide the most correct information and initial lead on Ezell, citations of which were not found in any other source while researching this article. However, the author's findings were directly in line with research done by Alex van der Tuuk in 2003".

References[edit]

  1. ^ a b Eagle, Bob; LeBlanc, Eric S. (2013). Blues: A Regional Experience. Santa Barbara, California: Praeger. p. 362. ISBN 978-0313344237.
  2. ^ a b c d e f g h i j k Edwards, Bill. "William Ezell". Ragpiano.com. Retrieved October 27, 2011.
  3. ^ a b c Eder, Bruce. "William Ezell: Biography". Allmusic. Retrieved October 27, 2011.
  4. ^ a b c d e "Will Ezell". Thebluestrail.com. Retrieved October 27, 2011.
  5. ^ a b Silvester, Peter J. (2009). The Story of Boogie-Woogie: A Left Hand Like God. Lanham, Maryland: Scarecrow Press. p. 57. ISBN 978-0-8108-6924-0.
  6. ^ Giles Oakley (1997). The Devil's Music. Da Capo Press. p. 73. ISBN 978-0-306-80743-5.
  7. ^ Oliver, Paul (1997). The Story of the Blues (new ed.). Boston, Massachusetts: Northeastern University Press. p. 89. ISBN 1-55553-354-X.
  8. ^ Layne, Joslyn. "Elzadie Robinson: Biography". Allmusic.com. Retrieved October 27, 2011.
  9. ^ a b "William Ezell, Complete Recorded Works (1927–31)". AllMusic.com. Retrieved 2014-01-31.

External links[edit]

Retrieved from "https://en.wikipedia.org/w/index.php?title=William_Ezell&oldid=1218366286"