The personnel on this initial recording of "Georgia Grind" were Louis Armstrong (cornet, vocals), Kid Ory (trombone), Johnny Dodds (clarinet, alto saxophone) and Lil Hardin (piano, vocals) with Johnny St. Cyr (banjo).[7] The recording was in the key of E♭ Major, and was made on February 26, 1926, in Chicago, Illinois, United States.[1] Armstrong ignored large parts of the melody in the recording, largely talking his way through, hinting towards his scat work on his later recording, "Heebie Jeebies".[8] Like "Heebie Jeebies," a dance was choreographed to the song as a way to assist in sales and popularity.[9]
Other versions
On July 21, 1926, and also made in Chicago, was another version of the track recorded by Edmonia Henderson. The A-side was "Georgia Grind", whilst "Dead Man Blues" written by Jelly Roll Morton was on the flip side. Morton also accompanied Henderson on both songs.[10][11][3]Duke Ellington's Washingtonians released an instrumental version of "Georgia Grind" on Perfect Records in August 1926.[12][13] It was recorded in New York.[3] In the same year, other versions were cut by Perry Bradford's Georgia Strutters, Caroline Johnson, and by Tom Morris and his Seven Hot Babies.[1]
In 1933, Lucille Bogan returned to New York, and, apparently to conceal her identity, began recording as 'Bessie Jackson' for the Banner label of ARC. She was accompanied on piano by Walter Roland, for her version of the song billed as "My Georgia Grind."[14] This take included the full salacious lyrics, written by Bud Allen, to turn the number into a dirty blues standard.[15]
Blue Lu Barker recorded her version on April 20, 1939, and it was released, crediting Barker and Danny Barker's Fly Cats, in May 1939.[16][17] The tribute album, Don't You Feel My Leg: The Naughty Bawdy Blues of Blue Lu Barker (2018), was Maria Muldaur's 41st album, and included the track.[18][19]
It is not to be confused, although in several sources often is, with an earlier ragtime tune of the same title.[29] This was written by Ford Dabney in 1915. Considerably less successful, it was nevertheless recorded by the State Street Ramblers with Jimmy Blythe (1931)[3] and also the Memphis Night Hawks with Roy Palmer (1932).[1]