RARE original 1932 Columbia RACE RECORDS illus adv flyer Bessie Smith

$

77

Approx7 x10 inches, printed in dark green front and back

ORIGINAL Columbia “Race Records” illustrated advertising handbill, dated 1932 (recordings released 1931 through 1932) with catalogue of BLUES and JAZZ 10-inch records (@ 75-cents each). Many Bessie Smith titles included in list. This advertising flyer highlights Rosa Henderson “Dogone Blue”, “Can’t Be Bothered By No Shiek”, 14627-D, including her portrait and illustrative art of Rose telling “the smooth boys where to head in…”

A few highlighted “Vocal Selections” on front (shown above).

The real interest here is the lengthy catalogue of “race records” on the back of this flyer! WOW! There’s some hot stuff here… totally unavailable from any record company’s (including Columbia) main list. Race is where American music was happening in the early 1930s, for sure.

I had so much fun looking up many of the recordings on youtube and listening to the birth of Jazz and Blues in America. You will too! An incredible catalogue of “Race Records” titles and artists… And a very displayable AND RARE piece of advertising Americana.

Clearly dated. It is very likely this flyer was NOT circulated to the general public. Sadly, 75-cents was a lot to spend on anything during the Great Depression. You could go to the movies for a dime or a nickel.

Flyer leaves a space (unused here) for a local record store to place their name and address, etc.

FINE CONDITION. Almost impossible to find advertising flyers from the early 1930s in any condition. This is a lucky stand-out found stored with records in the estate of Michael Levy or Norfolk Viriginia. 100% GUARNATEED ORIGINAL.

Coumbia Race Records were featured as an important section of KEN BURNS’ PBS documentary “JAZZ”. I copied a bit of transcript below:

“During the Great Migration — the northern exodus of southern blacks that began in 1917 — approximately 1.5 million African-Americans left the South in search of a better life in the economically thriving North. Record companies such as Okeh, Paramount, Vocalion, and Columbia soon began to market special labels of "race records" — music by and for an African-American audience, especially recent migrants longing for Southern sounds. Blues singer Bessie Smith's 1923 recording of Down Hearted Blues was Columbia Records first popular hit and race record. This new genre of recordings allowed many African Americans artists to reach a national audience for the first time. "There's 14 million Negroes in our great country and they will buy records if recorded by one of their own," said the pioneering black record producer Perry Bradford in 1920, "because we are the only folks that can sing and interpret hot jazz songs just off the griddle."

A large segment of race records were marketed directly to an African-American audience, and soon became part of the black community's culture. The Chicago Defender encouraged "lovers of music everywhere and those who desire to help in the advance of the Race" to purchase these records. Listening to and enjoying these recordings not only unified the listener with the artist, but also with African-Americans in other communities across the country, giving them a voice and a place within the chaos of urban life. Newsboys sold blues records. So did door-to-door salesmen. Pullman porters carried copies south with them and peddled them at whistlestops. The records that singer Bessie Smith and her rivals made were a sensation in black communities all over the country. Smith sold so many records, got so famous that she was cast in an early sound film — one of the first to feature black performers.

Please Note: Has been folded (without weakness!) and will be shipped folded.

Okay, before this goes out the door, I was looking up some more of the music. Saw "Atlanta Moan" by "B.Bob" on the list and started digging. B. Bob is BARBECUE BOB. He died in 1931 and was only 29 years old. The title(s) listed here are likely his last recorded releases. A very nice pure sound... from both his acoustic guitar and his voice, "If you take my woman, I wont get mad with you. oh if you take my woman, I wont get mad with you. If you take her from me sombody should take her from you."