I suppose every genre of music has its own original superstar. The Blues is no exception. You have to go all the way back to the turn of the century to discover the “original blues” (the 12-bar blues) superstar of his time and vaudeville professional who performed the latest blues songs. He was what Elvis was to rockabilly or what Michael Jackson was to pop music. He not only had singing and playing talent but he could bust moves on stage that had never been seen before, or maybe ever since. On top of all that, he was a hilarious comedian with a stunning appearance. In a word, he lit up vaudeville stages like no other performer. His name? String Beans. W.C. Handy represented the respectful blues of those times the scholars say, but String Beans “personified the unadulterated, pure instinct of the blues.”
His real name was Butler May (1894-1917) and got his nickname because he was tall and skinny. “May was not recognized by his contemporaries as the first great piano blues man or the first blues king,” maintain Lynn Abbott and Doug Seroff in The Original Blues (2017), “but it was only because there was nobody to compare him to.” As explained in the book review on the jive-talk.com website, String Beans could have been a chart topper in those days had there been any such a thing as music charts. “His ‘Get You a Kitchen Mechanic’ and ‘Alabama Bound’ became theater and black vaudeville hits…The sheet music to ‘Alabama Bound’ (1909) shows the first appearance of the generic term ‘blues’ in print.”
“Jelly Roll” Morton (1890-1941) an American ragtime and early jazz pianist, bandleader and composer, once described String Beans as the greatest comedian he ever saw or heard. In an interview with folklorist Alan Lomax, Morton described May as, “over six feet tall, very slender with big liver lips, and light complexioned. His shoes were enormous and he wore trousers impossible to get over his feet without a shoehorn. He always had a big diamond in his front tooth. He was the first guy I ever saw with a diamond in his mouth, and I guess, I got the idea for my diamond from him.”
The athletic String Beans’ pre-WWI vaudeville acts wowed audiences. Writer W.L. James, who saw String Beans perform around 1914, said of him: “As he attacks the piano, String Bean’s head starts to nod, his shoulders shake, and his body begins to quiver. Slowly, he sinks to the floor of the stage. Before he submerges, he is executing the Snake Hips …shouting the blues and, as he hits the deck still playing the piano, performing a horizontal grind which would make today’s rock and roll dancers seem like staid citizens.” (Wikipedia)
In 1910, Alabama native May formed a personal and professional relationship with New Orleans-born Sweetie Matthews. They married, and performed regularly together in Benbow’s company. In 1911, they played in Chicago at the Monogram theater, one of the top black vaudeville venues in the city, and, according to writers Abbott and Seroff, “opened the floodgates for other Southern acts, and ensured a prominent place for the blues in American entertainment.”
The couple became known all over black America at the time. “Although their relationship was punctuated by occasional acrimonious separations during which May performed with other partners, String Beans and Sweetie toured together intermittently until the end of 1915. Earlier that year, they debuted in New York City, at the Lafayette Theater in Harlem, later returning for an unprecedented three-week engagement there. As a husband and wife team, they directly inspired Butterbeans ans Susie [an African American comedy duo], and May was also credited as an inspiration by Ethel Waters,” explains Wikipedia.
String Beans passed away at the young age of 23 in November 1917, in Jacksonville, Florida, from a broken neck. It is believed that his death was the result of a botched initiation ceremony at a Freemasonry lodge, after a rope was put round his neck. He was paralyzed and died a week later. At his peak String Beans was highest paid Negro showman in America and, infamously, the most suggestive. May left no copyrighted sheet music or records. Other writers and academics, such as Marshall and Jean Stearns in 1966, have described Butler May, as “an early Ray Charles.”
Butterbeans and Susie perform “Hot Dog”