Lucille Hegamin

Introduction

American singer and entertainer (1894–1970) Lucille Nelson Hegamin (November 29, 1894 – March 1, 1970) was an American singer and entertainer and an early African American blues recording artist.American singer and entertainer (1894–1970) Lucille Nelson Hegamin (November 29, 1894 – March 1, 1970) 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.Lucille Nelson was born in Macon, Georgia, the daughter of John and Minnie Nelson.

From an early age she sang in local church choirs and theatre programs.From an early age she sang in local church choirs and theatre programs.

In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist composer Bill Hegamin.In 1914 she settled in Chicago, Illinois, where, often billed as "The Georgia Peach", she worked with Tony Jackson and Jelly Roll Morton before marrying the pianist composer Bill Hegamin.

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.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.I think I can say without bragging that I made the 'St.

Louis Blues' popular in Chicago; this was one of my feature numbers."Louis Blues' popular in Chicago; this was one of my feature numbers."

Bill Hegamin led the band accompanying his wife, the Blue Flame Syncopators; Jimmy Wade was a member of this ensemble.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.In November 1920, Hegamin became the second African American blues singer to record, after Mamie Smith.

Hegamin made a series of recordings for Arto Records and then Paramount in 1922.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.One of her biggest hits was "Arkansas Blues", recorded for Arto and released on many other labels, including Black Swan.

She subsequently played theatre dates but did not tour extensively.She subsequently played theatre dates but did not tour extensively.

Then from February to May of that year she toured with the African American musical revue Shuffle Along and this was the second of three companies.Then from February to May of that year she toured with the African American musical revue Shuffle Along and this was the second of three companies.

In the first company Florence Mills had the same role with the same musical revue.In the first company Florence Mills had the same role with the same musical revue.

From 1922 through late 1926 she recorded over forty sides for Cameo Records; in this association she was billed as "The Cameo Girl".From 1922 through late 1926 she recorded over forty sides for Cameo Records; in this association she was billed as "The Cameo Girl".

After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was the pianist J. Cyrill Fullerton.After her marriage to Bill Hegamin ended in 1923, her most frequent accompanist was the pianist J. Cyrill Fullerton.

In 1926, she recorded with Clarence Williams's band for the Columbia label.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.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.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.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.In 1929 she performed on the radio program Negro Achievement Hour, on WABC, in New York.

In 1932 she recorded two sides for Okeh Records.In 1932 she recorded two sides for Okeh Records.

About 1934, she retired from music as a profession and worked as a nurse.About 1934, she retired from music as a profession and worked as a nurse.

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, and was interred in the Cemetery of the Evergreens, in Brooklyn, New York.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, and was interred in the Cemetery of the Evergreens, in Brooklyn, New York.

Style

Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.Hegamin's stylistic influences included Annette Hanshaw and Ruth Etting.

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."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."

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.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.