Lucille Hegamin

Lucille Nelson Hegamin (November 29, 1894 – March 1, 1970)<ref name="LarkinBlues">Template:Cite book</ref> was an American singer and entertainer and an early African-American blues recording artist.

Life and career

Lucille Nelson was born in Macon, Georgia, the daughter of John and Minnie Nelson.<ref name="Harrison229">Harrison 1990, p. 229.</ref> From an early age she sang in local church choirs and theatre programs.<ref name="Harrison229" /> By the age of 15 she was touring the US South with the Leonard Harper Minstrel Stock Company.<ref>Harris 1994, p. 220.</ref> In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach",<ref name="Devil">Template:Cite book</ref> she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist-composer Bill Hegamin.<ref>Harris 1994, pp. 220–221.</ref> She later told a biographer, "I was a cabaret artist in those days, and never had to play theatres, and I sang everything from blues to popular songs, in a jazz style. I think I can say without bragging that I made the 'St. Louis Blues' popular in Chicago; this was one of my feature numbers."<ref>Stewart-Baxter 1970, p. 19.</ref><ref name="Devil"/>

The Hegamins moved to Los Angeles, California, in 1918, then to New York City the following year.<ref name="Harrison230">Harrison 1990, p. 230.</ref> Bill Hegamin led the band accompanying his wife, the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.

In November 1920, Hegamin became the second African-American blues singer to record, after Mamie Smith.<ref>Stewart-Baxter 1970, p. 16.</ref> Hegamin made a series of recordings for Arto Records and then Paramount in 1922. One of her biggest hits was "Arkansas Blues", recorded for Arto and released on many other labels, including Black Swan.<ref name="Harrison230" /> She recorded one of Tom Delaney's earliest compositions, "Jazz Me Blues", in 1921, and it went on to become a jazz standard.<ref name="Encyc">Template:Cite book</ref> She subsequently played theatre dates but did not tour extensively.<ref name="Harrison230" />

Lucille Hegamin lived at the Shuffle Inn in Harlem from November 1921 to January 1922. On January 20, 1922, she competed in a blues singing contest with Daisy Martin, Alice Leslie Carter and Trixie Smith at the Fifteenth Infantry's First Band Concert and Dance in New York City. Hegamin placed second to Smith in the contest, which was held at the Manhattan Casino.<ref>Stewart-Baxter 1970, p. 23.</ref> Then from February to May of that year she toured with the African-American musical revue Shuffle Along,<ref name="LarkinBlues"/> and this was the second of three companies. In the first company Florence Mills had the same role with the same musical revue.<ref>Template:Cite web</ref>

From 1922 through late 1926 she recorded over forty sides for Cameo Records; in this association she was billed as "The Cameo Girl".<ref>Stewart-Baxter 1970, p. 25.</ref> After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was the pianist J. Cyrill Fullerton.<ref>Harris 1994, p. 221; Harrison 1990, p. 230.</ref> In 1926, she recorded with Clarence Williams's band for the Columbia label. She sang with a band that was led by George "Doc" Hyder in 1927 for a show in Philadelphia. Further into the decade she performed in further revues with Hyder that were staged in Harlem theaters.

She performed in Williams's Revue at the Lincoln Theater in New York and then in various revues in New York and Atlantic City, New Jersey, through 1934. In 1929 she performed on the radio program Negro Achievement Hour, on WABC, in New York.<ref name="Harris 1994, p. 221.">Harris 1994, p. 221.</ref> In 1932 she recorded two sides for Okeh Records.

About 1934, she retired from music as a profession and worked as a nurse.<ref name="LarkinBlues"/> She came out of retirement in 1961 to record four songs, accompanied by a band led by Willie "The Lion" Smith, on the album Songs We Taught Your Mother,<ref name="Gates260" /> for Bluesville Records. In 1962 she recorded Basket of Blues for Spivey Records. She performed at a benefit concert for Mamie Smith at the Celebrity Club in New York City in 1964.<ref name="Harris 1994, p. 221." />

Hegamin died in Harlem Hospital, in New York City, on March 1, 1970,<ref name="Dead">Template:Cite web</ref> and was interred in the Cemetery of the Evergreens, in Brooklyn, New York.<ref name="Harris 1994, p. 221." />

Partial discography

Single	Recording date	Recording location	Label
"Always Be Careful Mama"	September 1928	New York City	Cameo
"Bleeding Hearted Blues"	August 1923	New York City	Cameo
"Chattanooga Man"	October 1923	New York City	Cameo
"Dinah"	February 1926	New York City	Cameo
"Down Hearted Blues"	August 1923	New York City	Cameo
"Easy Goin' Mamma (Don't Play Hard to Get with Me)"	October 1924	New York City	Cameo
"Hard Hearted Hannah"	October 1924	New York City	Cameo
"Here Comes Malinda"	March 1926	New York City	Cameo
"Land of Cotton Blues"	August 1923	New York City	Cameo
"No Man's Mama"	February 1926	New York City	Cameo
"Poor Papa (He's Got Nuthin' at All)"	February 1926	New York City	Cameo
"Rampart St. Blues"	October 1923	New York City	Cameo
"Reckless Daddy"	September 1928	New York City	Cameo
"Shake Your Cans"	March 1932	New York City	Cameo
"Some Early Morning"	August 1923	New York City	Okeh
'Sweet Papa Joe"	August 1923	New York City	Cameo
"Syncopatin' Mama"	March 1923	New York City	Cameo
"Totem Pole"	March 1932	New York City	Cameo
"Wanna Go South Again Blues"	August 1923	New York City	Okeh
"Your Man – My Man"	March 1923	New York City	Cameo

<ref>Template:Cite web</ref>

Style

Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.<ref>Harris 1994, p. 222.</ref> According to Derrick Stewart-Baxter, "Lucille's clear, rich voice, with its perfect diction, and its jazz feeling, was well in the vaudeville tradition, and her repertoire was wide."<ref>Stewart-Baxter 1970, p. 18.</ref> Like Mamie Smith, Hegamin sang classic female blues in a lighter style, more influenced by pop tunes, than the rougher rural-style blues singers such as Ma Rainey and Bessie Smith, who became more popular a few years later.<ref name="Gates260">Gates et al. 2009, p. 260.</ref>

Bibliography

• Gates, H. L., Higginbotham, E. B., and American Council of Learned Societies. (2009). Harlem Renaissance Lives from the African American National Biography. Oxford: Oxford University Press. Template:ISBN.
• Harris, Sheldon (1994). Blues Who's Who. (Rev. ed.) New York: Da Capo Press. Template:ISBN.
• Harrison, Daphne Duval (1990). Black Pearls: Blues Queens of the 1920s. New Brunswick and London: Rutgers. Template:ISBN.
• Stewart-Baxter, Derrick (1970). Ma Rainey and the Classic Blues Singers. London: Studio Vista. Template:ISBN.

External links

• Template:Find a Grave
• Stuart A. Rose Manuscript, Archives, and Rare Book Library, Emory University: Lucille Hegamin papers, 1894-1969
• Lucille Hegamin and her Blue Flame Syncopators Red Hot Jazz Archive