MOANIN ' BERNICE EDWARDS

De vegades pasa que del artista que us parlem no es disposa de fotografíes acreditatives ,es per aixó que ilustrem el post amb la carátula on apareíx ella com a particep del disc  , encara que la fotografía sigui dels Thomas .La pianista i cantant   BERNICE EDWARDS de sobrenom "Moanin " (que pot vindre derivada de la seva propia composició Blues Moanin , la queixa del Blues)  es una pionera en el Blues de Texas que va créixer com veureu als voltants de la familia de George W.Thomas, Hersal, Sippie Wallace ( veure post 15-10-2014 ) i com diu la seva bio el seu estil es va moure entre el rag i el Blues de Texas.

EDWARDS, BERNICE [Moanin] (ca. 1910 -?). "Moanin" Bernice Edwards era un blues de la cantant i pianista. Les seves dates de naixement i mort i llocs no es coneixen. Edwards aparentment va créixer amb la família musical de Houston George W. Thomas, Jr. , la seva germana Sippie Wallace , el seu germà Hersal Thomas , i neboda d'aquest, Hociel Thomas , totes les xifres notables en els primers blues i el boogie-woogie. Edwards es deia que havia estat a punt de la mateixa edat que Hersal, que probablement va néixer al voltant de 1910. Segons els informes, va aprendre a tocar el piano des Hociel Thomas . Al voltant de 1923, George i Hersal reubicats a Chicago, i en dues sessions de gravació de Paramount allà el 1928, Edwards va gravar dotze cançons, cantant i actuant al piano. El seu piano oscil·la entre el ragtime i el blues estil "Santa Fe", que deriva de ferrocarril sud-est de Texas o de tipus vagó juke joints, i el seu cant inclou "refilo vaudeville" i "blaus cantant a tot pulmó." melodia d'Edwards titulat "Blues Moanin" pot haver estat l'origen del seu sobrenom, però sens dubte ella representa "baixos fons" i significa home temes, potser millor il·lustrat per les seves "Mean Man Blues", "Mama Long Tall" i "durs pressionant dels blaus".

Set anys més tard, Edwards va gravar quatre cançons en un estudi de Fort Worth per American Record Corporation. Dos temes purament instrumentals, "Hot Matalàs Stomp" i "Ninth Street Stomp," compten amb algunes figures de trémolo de la mà dreta en el registre superior aportat per Shine Boy Negre i el treball de guitarra de JT "divertit Pare" Smith . Els més interessants lletres apareixen a "Carnisseria Blues", que es desenvolupa una analogia carn amb fins d'insinuacions sexuals; No obstant això, aquí la veu d'Edwards sembla més feble i menys expressiu. Després de la sessió de gravació de Fort Worth, Edwards segons els informes es va casar i es va unir a l'església, després de la qual cosa res més se sap d'aquest animat, cantant i pianista fosca, la veu madurat, i ha afegit que "vibrato etapa" i "grunyit carrer" a les seves tècniques anteriors. Les seves interpretacions al teclat, amb el seu anterior "típica figura melòdica Teules de M3-4-M3-m3-2-1" i "trémolos de la mà dreta (com a 'Southbound blues') i un munt de moviment harmònic subjacent", van guanyar en la dinàmica de les seves últimes gravacions de 1935.

BIBLIOGRAFIA:

All Music Guide (www.allmusic.com), consultat el 15 d'octubre de 2009. David Evans, notes, Texas Piano Vol. 1 (1923-1935) (Document Records, DOCD-5224, 1993). Colin Larkin, ed., Enciclopèdia de la Música Popular, 3a ed. (Nova York: Muze, 1998).

David Oliphant

Citació

A continuació, adaptat del Manual d'Estil, 15a edició, Chicago és la cita preferida per a aquest article.

David Oliphant, "EDWARDS, BERNICE [Moanin ']," Manual de Texas en línia ( http://www.tshaonline.org/handbook/online/articles/fed20 ), consultat el 11 de març de 2015. Pujada el 3 de maig de 2013. Modificat el 29 de maig de 2013. Publicat per l'Associació Històrica de l'Estat de Texas.

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EDWARDS, BERNICE [MOANIN’] (ca. 1910?–?). "Moanin’” Bernice Edwards was a blues singer and pianist. Her birth and death dates and places are not known. Edwards apparently grew up with the Houston musical family of George W. Thomas, Jr., his sister Sippie Wallace, their brother Hersal Thomas, and the latter’s niece, Hociel Thomas, all notable figures in early blues and boogie-woogie. Edwards was said to have been about the same age as Hersal, who was probably born around 1910. She reportedly learned to play piano from Hociel Thomas. Around 1923, George and Hersal relocated to Chicago, and at two recording sessions for Paramount there in 1928, Edwards recorded twelve songs, singing and performing on piano. Her piano playing ranges from the ragtime and blues “Santa Fe” style, deriving from southeast Texas railroad or boxcar-type juke joints, and her singing includes “vaudeville warbling” and “blues belting.” Edwards’s tune entitled “Moanin’ Blues” may have been the source of her sobriquet, but it certainly represents her “lowlife” and mean man themes, perhaps best-illustrated by her “Mean Man Blues,” “Long Tall Mama,” and “Hard Hustling Blues.”

Seven years later, Edwards recorded four tunes in a Fort Worth studio for American Record Corporation. Two purely instrumental tunes, “Hot Mattress Stomp” and “Ninth Street Stomp,” feature some right-hand tremolo figures in the upper register contributed by Black Boy Shine and the guitar work of J. T. “Funny Papa” Smith. The most interesting lyrics appear on “Butcher Shop Blues,” which develops a meat analogy for purposes of sexual innuendo; however, here Edwards’s voice seems weaker and less expressive. Following the Fort Worth recording session, Edwards reportedly married and joined the church, after which nothing more is known of this lively, obscure singer and pianist, whose voice matured, adding “stage vibrato” and “street growl” to her earlier techniques. Her keyboard performances, with their earlier “typical Texas melodic figure of M3-4-M3-m3-2-1” and “right hand tremolos (as on ‘Southbound Blues’) and lots of underlying harmonic movement,” gained in dynamics on her last recordings of 1935.

BIBLIOGRAPHY: 

All Music Guide (www.allmusic.com), accessed October 15, 2009. David Evans, Liner notes, Texas Piano Vol. 1 (1923–1935) (Document Records, DOCD-5224, 1993). Colin Larkin, ed., Encyclopedia of Popular Music, 3d ed. (New York: Muze, 1998).

                                                   

There are no photos of Bernice Edwards. She grew up in the Houston, Tx. area where she knew singer Sippie Wallace, as well as the Thomas family George, Hersal and Hociel. In February of 1928 she went to Chicago, IL. where she recorded six songs for Paramount Records billed as "Moanin' Bernice Edwards" In November of that year she went back to Chicago to record again for Paramount. Six more songs were recorded with a guitar player believed to have been Willard "Ramblin'" Thomas. All twelve of her Paramount sides were issued. Bernice didn't record again until 1935 for the ARC label in Fort Worth, Tx. One Saturday in April of that year she recorded with Black Boy Shine on piano and J.T. "Howling" Smith on guitar. She returned the next day to record one song by herself. J.T. Smith was known as "Funny Papa" and had recorded several sides for Vocalion in 1930 & 1931. Vocalion made a goof and issued the records as J.T. "Funny Paper" Smith. He had success with his series of his song known as "The Howling Wolf" recorded in several parts, so he later adopted the nickname "Howling Smith". I have included the one known photo of Smith in the clip. No photos exist either of Black Boy Shine, a pianist who also recorded on his own as well as working as a session man. 

Bernice Edwards:Piano

Black Boy Shine:Piano

John T. "Howling" Smith:Guitar

Recorded in Fort Worth, Tx. Saturday, April 20, 1935

Originally issued on the 1935 single (Vocalion 03168) (78 RPM)


This recording taken from the 1991 CD "Good Time Blues"


                                                       

Bernice Edwards:Vocals & Piano

Recorded in Chicago, IL. February, 1928

Originally issued on the 1928 single (Paramount 12633) (78 RPM)

This recording taken from the 1980 album "Mean Mothers:Independent Women's Blues Vol. 1" (Rosetta RR 1300) (LP)

                                                   

Moanin' Bernice Edwards:Vocals and prob. Piano

Poss. Willard "Ramblin'" Thomas:Guitar

Recorded in Chicago, IL. c. November, 1928

Originally issued on the 1928 single (Paramount 12713) (78 RPM)


This recording taken from the 2003 4-CD set "The Paramount Masters" (U.K

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