{"id":28987,"date":"2020-04-26T17:30:00","date_gmt":"2020-04-26T22:30:00","guid":{"rendered":"http:\/\/www.sinclairclarion.com\/home\/?p=28987"},"modified":"2020-04-26T09:36:29","modified_gmt":"2020-04-26T14:36:29","slug":"leading-ladies-of-the-blues-ma-rainey","status":"publish","type":"post","link":"https:\/\/www.sinclairclarion.com\/home\/entertainment\/2020\/04\/26\/leading-ladies-of-the-blues-ma-rainey\/","title":{"rendered":"Leading Ladies of the Blues: Ma Rainey"},"content":{"rendered":"\n

Ferocious and fearless, these women dared to defy convention. Their inspiring, rip-roaring voices achieved them notoriety. They bemoaned the pain of a bitter love. Proudly, they hailed themselves as strong and independent; as beings of unfathomable greatness–as women.\u00a0<\/em><\/p>\n\n\n\n

April marks National Black Women\u2019s History Month– 30 days where we honor the bold and brilliant African American women who defined history, who charted their own paths and paved the way for fellow women, especially in music. Thus, please join us as we recognize the leading ladies of the Blues.<\/em>\u00a0<\/p>\n\n\n\n

The needle meets the vinyl, thus, producing a peculiar sound–the echoes of Vaudeville.<\/p>\n\n\n\n

It is tinged by an archaic, granular texture; it is defined by a female whose voice pronounces above the moaning, jazzy instrumentals. She laments, \u201cHey, hey bo-weavil, don\u2019t sing them blues no more; Hey, hey, bo-weavil, don\u2019t sing them blues no more; Bo-weevil here, Bo-weevil everywhere you go.\u201d <\/em><\/p>\n\n\n\n

Acclaimed vaudeville diva Ma Rainey released her cover of the legendary song \u201cBo-weavil Blues\u201d in the December of 1923. \u201cBo-weavil blues\u201d highlights the legend of Rainey, a tenacious performer who blazed<\/em> her own trail; who defined<\/em> her own distinctive style during a time when there were far-too-few female entertainers.\u00a0<\/p>\n\n\n\n

Rainey, birthname Getrude Pridgett, was born in Columbus, Georgia on April 26, 1886. Throughout her youth, Rainey was immensely involved in the theatrical world for her parents Thomas Pridgett, Sr and Ella Allan-Pridgett were minstrel troupers.\u00a0<\/p>\n\n\n\n

Having imbibed much of the culture, the practiced Rainey obtained a professional entertainment career in her teens, notably as a singer and dancer performing at the Springer Opera House in a local talent show in 1900.<\/p>\n\n\n\n

Shortly following, Pridgett took up the famous moniker Ma Rainey for she married comedy songster William \u201cPa\u201d Rainey on February 2, 1904. Billed as \u201cThe Assassinators of the Blues,\u201d the two traveled throughout the deep south, performing at tent shows, cabarets and the like. <\/p>\n\n\n\n

While touring, Rainey discovered \u201cauthentic country blues,\u201d an entity Rainey had not known in Columbus.<\/a> Thereon, Rainey skillfully incorporated the blues into her vocabulary\u2013an unforeseen endeavor at the time.\u00a0<\/p>\n\n\n\n

It is rumored that in 1912, Rainey befriended and tutored Bessie Smith<\/a>, then a young and aspiring dancer. However, historians believe that, while Rainey did pass on some wisdom onto Smith, she likely did not greatly<\/em> influence Smith\u2019s style.\u00a0<\/p>\n\n\n\n

In 1916, Rainey separated from her husband, adopted the name \u201cMadame Gertrude Ma Rainey\u201d and produced not only her own band but tour<\/em> that featured a \u201ca chorus line…a Cotton Blossoms Show and Donald MeGregor\u2019s Carnival Show.\u201d<\/p>\n\n\n\n

Three years following the release of \u201cCrazy Blues\u201d by Mamie Smith\u2013the first-ever blues record to be published\u2013the experienced and ever-popular Rainey signed a contract with Columbia Records in 1923. With the aid of Mayo \u201cInk\u201d Williams, Rainey began her short, yet accomplished recording career. <\/p>\n\n\n\n

During this time, she collaborated with prolific acts of the time, such as Lovie Austin and Louis Armstrong. By the final sessions in 1928, Rainey recorded over 100 songs within six mere years. Her music was relatable to audiences for Rainey\u2019s tales divulged of love and heartache; sex and promiscuity; hardwork and the joys of letting loose with drink and so forth.\u00a0<\/p>\n\n\n\n

Distinctly, Rainey produced the first-ever recording of \u201cSee See Rider\u201d as Biography.com dubs the \u201cmost famous and recorded of all blues songs\u201d in 1923 alongside \u201cMoonshine Blues\u201d with Lovie Austin and \u201cYonder Comes the Blues\u201d with Louis Armstrong.\u00a0<\/p>\n\n\n\n

Accompanied by a back-up band \u201cThe Wild jazz Cats,\u201d Rainey engaged in a Paramount promotional tour that debuted at Chicago\u2019s Grand Theater on State Street. <\/p>\n\n\n\n

Adorned in glittering diamonds and regal gowns, Rainey immediately captivated audiences, enrapturing them as she emerged from the cabinet of an oversized victrola singing \u201cMoonshine Blues.\u201d Her performance remains the \u201cfirst appearance of a \u2018down home\u2019 blues artist at the famous southside venue.\u201d It is noted that her famed golden teeth sparkled in the stage lights.\u00a0<\/p>\n\n\n\n

Rainey continued to perform with the Wild Jazz Cats until director-manager Thomas A. Dorsey departed in 1926. Thereon, beneath Paramount, she recorded with a multitude of musicians as Ma Rainey and her Georgia Jazz Band. <\/p>\n\n\n\n

In 1935, Rainey retired due to the passing of her mother and sister and returned to Columbus. There, she was an active member of The Friendship Baptist Church and organizer of two entertainment venues, the Lyric Theater and the Airdom,  until her death on December 22, 1939.<\/p>\n\n\n\n

Dubbed \u201cThe Mother of the Blues,\u201d Ma Rainey lies in history for her many achievements as a savvy businesswoman and a powerful entertainer. Her legacy lingers in assorted works, such as August Wilson\u2019s 1984 play \u201cMa Rainey\u2019s Black Bottom.\u201d<\/p>\n\n\n\n

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