Ida Cox

All Music Guide:

One of the finest classic blues singers of the 1920s, Ida Cox was singing in theaters by the time she was 14. She recorded regularly during 1923-1929 (her "Wild Woman Don't Have the Blues" and "Death Letter Blues" are her best-known songs). Although she was off-record during much of the 1930s, Cox was able to continue working and in 1939 she sang at Cafe Society, appeared at John Hammond's Spirituals to Swing concert, and made some new records. Cox toured with shows until a 1944 stroke pushed her into retirement; she came back for an impressive final recording in 1961.

Cox left her hometown of Toccoa, GA, as a teenager, traveling the south in vaudeville and tent shows, performing both as a singer and a comedienne. In the early '20s, she performed with Jelly Roll Morton, but she had severed her ties with the pianist by the time she signed her first record contract with Paramount in 1923. Cox stayed with Paramount for six years and recorded 78 songs, which usually featured accompaniment by Love Austin and trumpeter Tommy Ladnier. During that time, she also cut tracks for a variety of labels, including Silvertone, using several different pseudonyms, including Velma Bradley, Kate Lewis, and Julia Powers.

During the '30s, Cox didn't record often, but she continued to perform frequently, highlighted by an appearance at John Hammond's 1939 Spirituals to Swing concert at Carnegie Hall. The concert increased her visibility, particularly in jazz circles. Following the concert, she recorded with a number of jazz artists, including Charlie Christian, Lionel Hampton, Fletcher Henderson, and Hot Lips Page. She toured with a number of different shows in the early '40s until she suffered a stroke in 1944. Cox was retired for most of the '50s, but she was coaxed out of retirement in 1961 to record a final session with Coleman Hawkins. In 1967, Ida Cox died of cancer.

Wikipedia:

Ida Cox (February 25, 1896 – November 10, 1967) was an African American singer and vaudeville performer, best known for her blues performances and recordings. She was billed as "The Uncrowned Queen of the Blues".

Life and career

Cox was born in February, 1896 as Ida Prather in Toccoa, Habersham County, Georgia, United States (Toccoa was in Habersham County, not yet Stephens County at the time), the daughter of Lamax and Susie (Knight) Prather, and grew up in Cedartown, Georgia, singing in the local African Methodist Church choir. She left home to tour with traveling minstrel shows, often appearing in blackface into the 1910s; she married fellow minstrel performer Adler Cox.

By 1920, she was appearing as a headline act at the 81 Theatre in Atlanta, Georgia; another headliner at that time was Jelly Roll Morton.

After the success of Mamie Smith's pioneering 1920 recording of "Crazy Blues", record labels realized there was a demand for recordings of race music. The classic female blues era had begun, and would extend through the 1920s. From 1923 through to 1929, Cox made numerous recordings for Paramount Records, and headlined touring companies, sometimes billed as the "Sepia Mae West", continuing into the 1930s. During the 1920s, she also managed Ida Cox and Her Raisin' Cain Company, her own vaudeville troupe. At some point in her career, she played alongside Ibrahim Khalil, a Native American and one of the several jazz musicians of that era who belonged from the Ahmadiyya Muslim Community.

In the early 1930s "Baby Earl Palmer" entered show business as a tap dancer in Cox's Darktown Scandals Review.

In 1939 she appeared at Café Society Downtown, in New York's Greenwich Village, and participated in the historic Carnegie Hall concert, From Spirituals to Swing. That year, she also resumed her recording career with a series of sessions for Vocalion Records and, in 1940, Okeh Records, with groups that at various times included guitarist Charlie Christian, trumpeters Hot Lips Page and Henry "Red" Allen, trombonist J. C. Higginbotham, and Lionel Hampton.

She had spent several years in retirement by 1960, when record producer Chris Albertson persuaded her to make one final recording, an album for Riverside titled Blues For Rampart Street. Her accompanying group comprised Roy Eldridge, Coleman Hawkins, pianist Sammy Price, bassist Milt Hinton, and drummer Jo Jones. The album featured her revisiting songs from her old repertoire, including "Wild Women Don't Have the Blues", which found a new audience, including such singers as Nancy Harrow and Barbara Dane, who recorded their own versions. Cox referred to the album as her "final statement," and, indeed, it was. She returned to live with her daughter in Knoxville, Tennessee, where she died of cancer in 1967.