It seems that writers and historians have largely ignored the legacy of “Papa” Charlie Jackson. Therefore a reasonable percentage of the blues world has never heard of this important figure in American music. The folks at Document Records have taken a step toward correcting that historical oversight. They have just released an interesting two CD set, along with an eighteen page booklet which goes a long way to illuminate one of blues music’s forgotten stars.

Precious little is known about the man born William Henry Jackson. It is generally believed he was born in New Orleans, Louisiana, on November 10, 1887. He is also thought to have started out playing in medicine and minstrel shows before World War I. By the early twenties he was a popular entertainer performing in Chicago nightclubs and at the famed Maxwell Street Marketplace.

It was here that he was “discovered” by Paramount Records agent Mayo Williams and brought to the attention of the folks at a furniture manufacturing company in nearby Grafton, Wisconsin. It was in this tiny village due north of Chicago that this firm began the manufacture of phonographs and soon decided to manufacture the records to play on those devices. The new Paramount Record Company took it a step further and actually took responsibility for recording the material.  

It is believed that Jackson was the first blues recording star. He is also reputed to be the first to make a record with his own accompaniment. He was one of the most successful artists to record for Paramount Records. He was a compelling singer and songwriter who accompanied himself on a six string banjo often referred to as a guitar-banjo or tenor banjo. He also played the ukulele. He employed a finger picking technique or used a flat pick. His rhymic attack on the guitar lent itself to dancing which was an important component to anyone trying to get work in what was called back in those days, ‘the race market.’

By 1924 he was cutting his first two sides at Paramount. They were Papa’s Lawdy Lawdy Blues and Airy Man Blues. His biggest hit may have been Shake That Thing recorded in 1925. Other significant recordings were, Alabama Bound, Spoonful and Salty Dog. These tunes have served as a template for other blues songs and have been covered many times through the years.

He also recorded duets with Ida Cox and Ma Rainey. For “Papa” Charlie Jackson, a personal highlight may have been recording with his idol Blind Blake. He even made a record with Hattie McDaniel. Yes, that Hattie McDaniel who won an Academy Award for her role in Gone with the Wind.

Jackson’s records were big sellers and by the time the decade was over and the great depression had begun, he had recorded thirty three discs for Paramount.  He also recorded (as a sidemen) in 1934 with “Big” Bill Broonzy. Those two sides were Broonzy’s At the Break of Day and I Want to Go Home. He also backed Big Boy Edwards on six string banjo on his great record, Who Did I Give My Barbeque Too.

As the fortunes of the record business waned throughout the 30’s, with the effects of the Great Depression along with the Dust Bowl in full effect, the fortunes of many Americans and that of “Papa” Charlie Jackson diminished. Little is known about the final years of his life but his death certificate states that he died on May 7, 1938.

His work both as a recording artist and his contributions as a sideman are significant. Broonzy claimed to have studied guitar with Jackson. That may be true, but Broonzy claimed a lot of things that simply were not. So the mystery of “Papa “Charlie Jackson remains fairly intact. Despite some exhaustive research by biographer Bruce Eders and historian and archivist Sam Charters, “Papa” Charlie Jackson got swept under the rug. Even though he enjoyed popularity and success in his own lifetime and had significant ground breaking achievements, along with being an important influence on generations of blues musicians, the legacy of Jackson just doesn’t balance with his contributions to the language.

I think the interesting question is, why? It may have something to do with a handful of factors which all fall under the heading of historical revisionism and academic laziness.

First, he doesn’t fit the mono-thematic tale of the Mississippi Delta blues man playing a bottle neck slide guitar. He also doesn’t comport with the Anglicized version of a primitive back woods troubadour waiting to be “discovered” by white academies. He didn’t make it to the 1960’s folk-blues revival which put so many pre-war “country” blues musicians in the history books and cemented their legacies.  He didn’t make it to England like “Big” Bill Broonzy to be the toast of white people on that side of the Atlantic.

The music and career of “Papa” Charlie Jackson also doesn’t comport with the stereotypical notion that this music has to be sad to be taken seriously. His music was often imbibed with humorous lyrics.

In addition to all of that, Jackson played the banjo which we all know is a providence of European folk musical traditions that sprung out of various parts of Appalachia. The fact remains that the banjo was part of the New Orleans black musical traditions as well. This type of playing is largely associated with ragtime and Dixieland jazz.  In the early part of the 20th Century, and throughout most of the rest of the Century for that matter, the lines that delineate genres were blurred or perhaps more accurately non-existent. “Papa” Charlie Jackson became famous at a time when the “blues” was not part of the popular nomenclature to describe any type of music.

I think the part of the “Papa” Charlie Jackson legacy that doesn’t fit the neo-historians’ view of the pre-war blues musician, was that he was successful. People actually bought his records. He got paid to perform live and was a success in his own time. This aspect of the equation absolutely doesn’t fit the historical revisionism that we are taught applies to African-Americans and their music.

So here in 2015, 77 years after his death, “Papa” Charlie Jackson has a little light shining in his direction with the release of “Papa” Charlie Done Sung That Song. The CD is sub titled: Celebrating the Music of “Papa” Charlie Jackson. At first glance this appears to be a tribute album. It is, as the second disc has as listed on the cover and detailed liner notes, others performing fifteen of Jackson’s songs. Those musicians are Gary Moskovitz, Jen Maurer and Adam Tanner. They are joined by Don Flemons and Jerron “Blind Boy” Paxton.

The first disc consists of fifteen original recordings by Jackson. What is interesting is that they are the same fifteen tunes. So listeners can hear the originals and then turn right back around and hear interpretations. I, for one, think this is great idea for obvious reasons, yet I don’t recall coming across a package like this before.

Many of the interpretations have Moscovitz playing the six string banjo. There is also a variety of musical instruments that help bring these songs to life in a new way. On different tunes everything from a piano, tuba, clarinet, bass, kazoo and accordion are used to augment the lyrics of Jackson as sung by these five musicians.  

Thanks to Document Records for continuing to satiate my passion for exploring our musical heritage. To learn more about “Papa” Charlie Jackson and his music, visit our links page and click on Document Records.

- David Mac