Coot Grant

Early Life and Career Beginnings: Coot Grant, born Leola B. Pettigrew, was an American blues singer and vaudeville performer who rose to prominence in the early 20th century. Born in Birmingham, Alabama, in 1893, Grant began her career as a singer and dancer in vaudeville shows, performing in theaters and traveling circuses throughout the United States. Her powerful voice, charismatic stage presence, and dynamic performances quickly earned her acclaim within the entertainment industry.

Collaboration with Kid Wesley Wilson: Coot Grant is perhaps best known for her collaboration with Kid Wesley Wilson, a fellow blues singer and performer. The duo became popular during the 1920s and 1930s, recording a series of influential blues and jazz songs that showcased their unique vocal chemistry and infectious energy. Grant and Wilson's recordings, which often featured witty lyrics and playful banter between the two singers, captured the spirit of the vaudeville era and helped popularize the blues among mainstream audiences.

Recording Career and Notable Songs: Coot Grant and Kid Wesley Wilson recorded numerous songs together, many of which became hits on the blues and jazz charts of the day. One of their most famous recordings is "Rasslin' Till the Wagon Comes", a lively and humorous song that highlights Grant and Wilson's playful dynamic as performers. Other notable songs by the duo include "Get Off with Me" and "Come on Coot, Do That Thing".

Legacy and Influence: Coot Grant's contributions to the blues and vaudeville genres have left an indelible mark on the history of American music. Her powerful voice, infectious energy, and charismatic stage presence helped pave the way for future generations of female blues singers and performers. Grant's recordings with Kid Wesley Wilson remain cherished by fans of early blues and jazz, serving as a testament to her enduring influence on the genre.

Later Years and Recognition: Despite facing challenges as an African American woman in the entertainment industry during the early 20th century, Coot Grant continued to perform and record music well into her later years. While she may not have achieved the same level of mainstream recognition as some of her contemporaries, Grant's impact on the blues and vaudeville scenes of her time cannot be overstated. In recent years, she has received renewed attention from music historians and enthusiasts, who recognize her as a pioneering figure in the development of