- Released: May 1, 1997
- Label: Document
- 1.He's a Darn Good Man (To Have Hanging 'Round) [Take 1]
- 2.Downhearted Blues [Take 1]
- 3.Downhearted Blues [Take 2]
- 4.Why Did You Pick Me up When I Was Down, Why Didn't You Let Me Lay [Alte
- 5.Gonna Have You, Ain't Gonna Leave You Alone [Take 3]
- 6.Daddy Blues [Take 1]
- 7.Don't Pan Me [Take 1]
- 8.Jazzin' Baby Blues [Take 2]
- 9.You Can't Have It All [Take 2]
- 10.Lonesome Monday Morning Blues [Take 1]
- 11.Come on Home [Take 1]
- 12.You Gotta Reap What You Sow [Take 2]
- 13.Bleeding Hearted Blues [Take 1]
- 14.Chirpin' the Blues [Take 2]
- 15.Someone Else Will Take Your Place [Take 2]
- 16.Vamping Brown [Take 2]
- 17.Aggravatin' Papa [Take 1]
- 18.Down South Blues [Take 4]
- 19.Sad 'N' Lonely Blues [Take 1]
- 20.Miss Anna Brown [Take 1]
- 21.Old Fashioned Love [Take 1]
- 22.If the Rest of the World Don't Want You (Go Back to Your Mother ...)
Personnel: Alberta Hunter (vocals); Charlie Dixon (banjo); Ernest Elliott (clarinet, alto saxophone); Don Redman, Jimmy Lytell, Jimmy O'Bryant (clarinet); Elmer Chambers (trumpet, cornet); Phil Napoleon (trumpet); Tommy Ladnier (cornet); Charles Panelli, Chink Johnson, George Brashear (trombone); Eubie Blake, Fletcher Henderson, Frank Signorelli, Lovie Austin (piano).
Audio Remasterer: Gerhard Wessely.
Liner Note Author: Ken Romanowski.
Recording information: Chicago, IL (05/1921-02/1924); New York, NY (05/1921-02/1924).
Alberta Hunter, who also recorded under the names Josephine Beatty, Helen Roberts, May Alix, and Alberta Prime, cut about 90 sides for 10 different labels between the years 1921-1940. As a sort of dessert platter in the wake four volumes of her reissued "complete works" that were released during the late '90s, Document brought out a beautifully decorated edition containing 22 alternate takes dating from 1921-1924. This is for people who love antiquated jazz and blues recordings, and might even enjoy an occasional taste of historic 78 rpm phonograph record surface noise. Hunter, who sang contralto or even borderline mezzo-soprano during the '20s, is heard backed by pianists Fletcher Henderson or Eubie Blake and various ensembles under their leadership; by Sam Wooding's Orchestra, the Original Memphis Five, the Paramount Boys (cornetist Tommy Ladnier, clarinetist Jimmy O'Bryant, and pianist Glover Compton); cornetist Joe Smith (soon to make his all-time best records with Bessie Smith); pianist and bandleader Lovie Austin with clarinetist John Obrigant (whose name was also spelled Oubrigant and Obregon) and, on the two old-fashioned harmony vocal tracks that close the collection, the Elkins-Payne Jubilee Quartette, who, as the Elkins-Payne Jubilee Singers have their own collection in the Document catalog.