Sun 2 Jan 2011
|Mississippi Fred McDowell||St. Louis Blues||First Recordings|
|Mississippi Fred McDowell||Going Down the River||First Recordings|
|Mississippi Fred McDowell||Frisco Line||You Got To Move|
|Robert Pete Williams||Some Got Six Months||I'm Blue As a Man Can Be|
|Robert Pete Williams||When a Man Takes the Blues||When a Man Takes the Blues|
|Robert Pete Williams||Pardon Denied Again||I'm Blue As a Man Can Be|
|Jesse Fuller||Just Like a Ship on the Deep Blue Sea||Frisco Bound|
|Jesse Fuller||Cincinnati Blues||Frisco Bound|
|Jesse Fuller||99 Years||Jazz, Folk Songs, Spirituals & Blues|
|Mance Lipscomb||Sugar Babe (It's All Over Now)||Texas Songster|
|Mance Lipscomb||Freddie||Texas Songster|
|Mance Lipscomb||Big Boss Man||Texas Songster|
|Mississippi Fred McDowell||Trouble Everywhere I Go||Mississippi Fred McDowell,|
|Mississippi Fred McDowell||Good Morning, Little School||I Do Not Play No Rock 'N' Roll|
|Mississippi Fred McDowell||Shake 'em On Down||Mama Says I'm Crazy|
|Robert Pete Williams||Just Tippin' in||I'm Blue As a Man Can Be|
|Robert Pete Williams||I've Grown So Ugly||Free Again|
|Jesse Fuller||Raise A Ruckus||Jazz, Folk Songs, Spirituals & Bluess|
|Jesse Fuller||San Francisco Bay Blues||San Francisco Bay Blues|
|Mississippi Fred McDowell||Keep Your Lamp Trimmed And Burning||Mississippi Delta Blues Jam In Memphis Vol. 1|
|Mississippi Fred McDowell||You Got To Move||You Got To Move|
|Mississippi Fred McDowell||Write Me A Few Lines||You Got To Move|
|Mance Lipscomb||Jack O' Diamonds||Texas Songster|
|Mance Lipscomb||Captain, Captain||Captain, Captain|
|Robert Pete Williams||I'm Going to Have Myself a Ball||Legacy of the Blues, Vol. 9|
|Jesse Fuller||John Henry||San Francisco Bay Blues|
|Mance Lipscomb||Tom Moore Blues||Texas Songster Vol. 4: Live! At The Cabale|
Around 1960 a considerable interest for all folk sources for American music evolved among students in the Northeast, and soon spread to the whole country. The blues revival doesn’t refer to the rebirth of the music, the blues never went away, and certainly the electric brand of blues was still popular in urban centers like Chicago, but a new found interest in the music among young white listeners. In a addition there was a small band of enthusiasts who began to collect what information they could on the blues artists of the past. Writers like Samuel Charters and Paul Oliver wrote serious studies of the blues while other like Chris Strachwitz and John Fahey formed labels and tracked down these older blues artists. In addition several down-home artists who had not previously recorded were brought to light, most importantly Mance Lipscomb, Fred McDowell, Robert Pete Williams and Jesse Fuller. Unlike those who recorded back in the 1920's and 30's for the commercial record companies and black consumers, those who recorded in the 1960's and 70's were being recorded primarily for a new found white audience, with the records issued usually on tiny specialist labels. Men like George Mitchell, Davis Evans and Sam Charters undertook a different mission. They made field recordings during this era were a sort of a parallel undercurrent to the more famous artists. What they recorded in the rural communities of Georgia, Tennessee, Alabama and Mississippi in the 1960’s was a still thriving, if largely undocumented, blues culture.
Fred McDowell was born in 1904 in Rossville, TN, and was playing the guitar by the age of 14 with a slide hollowed out of a steer bone. His parents died when Fred was a youngster and the wandering life of a traveling musician soon took hold. The 1920s saw him playing for tips on the street around Memphis, TN, the hoboing life eventually setting him down in Como, MS, where he lived the rest of his life. There McDowell split his time between farming and keeping up with his music by playing weekends for various fish fries, picnics, and house parties in the immediate area. This pattern stayed largely unchanged for the next 30 years until he was discovered in 1959 by folklorist Alan Lomax. Lomax set the scene in his The Land Where The Blues Again: "Fred was a quiet, sulky-voiced stoop-shouldered fellow, eager to record. That very evening he invited in a couple of neighbors to help out-one man to play second guitar, and his aunt, Fannie Davis, to provided the wind section by blowing on a fine-toothed comb wrapped in toilet paper. We recorded outdoors after dark, by flashlight. No wind was blowing, and the katydids were out of season, so we could take advantage of the living quiet of open air and the natural resonance of the earth and the trees. The mixer and the stereo had room for this multidimensional sound, with one mike for Fred's voice, one for his picking and its backup, and one for his aunt's humming and wheezing through the comb. The sound we captured made us all deliriously happy. …When we played his recording back to him, he stomped up and down on the porch, whooping and laughing and hugging his wife. He knew he had been heard and felt his fortune had been made."
The results of those first recordings were released as part of an American folk music series on the Atlantic label. McDowell, for his part, was happy to have some sounds on records, but continued on with his farming and playing for tips outside of Stuckey's candy store in Como for spare change. It wasn't until Chris Strachwitz, folk-blues enthusiast and owner of the fledgling Arhoolie label, came searching for McDowell to record him that the bluesman's fortunes began to change dramatically. Two albums, Fred McDowell Vol. 1 & Vol. 2, were released on Arhoolie in the mid-'60s which caused a huge stir among the blues revival scene. The success of the Arhoolie recordings suddenly found McDowell very much in demand on the folk and festival circuit, Working everything from the Newport Folk Festival to coffeehouse dates to becoming a member of the American Folk Blues Festival in Europe. McDowell was well documented on film, and by the end of the decade, he was signed to do a one-off album for Capitol Records (I Do Not Play No Rock 'N' Roll) and his tunes were being mainstreamed into blues-rock by artists like Bonnie Raitt and the Rolling Stones. Unfortunately McDowell was diagnosed with cancer while performing dates into 1971. His playing days suddenly behind him, he lingered for a few months into July 1972, finally succumbing to the disease at age 68.
Robert Pete Williams did some playing at house parties in the 30’s. In 1956, Williams shot and killed a man in a local club. Williams claimed the act was in self-defense, but he was convicted of murder and sentenced to life in prison. He was sent to Angola prison, where he served for two years before being discovered by Oster and Richard Allen. The pair recorded Williams performing several of his own songs, which were all about life in prison.Williams' first recording appeared on the anthology Angola Prisoners' Blues in 1959 and was issued by the Louisiana Folklore Society. Impressed with the guitarist’s talents, Oster and Allen pleaded for a pardon for Williams. The pardon was granted in 1959, after he had served a total of three and a half years. For the first five years after he left prison, Williams could only perform in Louisiana, but his recordings — which appeared on Folk-Lyric, Arhoolie, and Prestige, among other labels — were popular and he received positive word of mouth reviews. In 1964, Williams played his first concert outside of Louisiana — it was a set at the legendary Newport Folk Festival. Williams’ performance was enthusiastically received and he began touring the United States, often playing shows with Mississippi Fred McDowell. During the 60’s and 70’s he performed at several festival including the 1966 American Folk Blues Festival. He passed in 1980.
The almost free-form blues of Robert Pete Williams is quite different from the blues of his contemporaries as Tony Russell notes: "The typical Williams piece is a reflective blues underpinned by hypnotically repetitive guitar figures, generally in a modal structure. Sometimes his source of inspiration fills him with a tense, nervous excitability, which which he acts out in frantic boogie playing. At other tomes he deserts the conventions of blues or boogie woogie and spins long free-form narratives or soliloquies." Peter Gurlanick wrote about seeing him for the first time in his book Feel Like Going Home: "…It was difficult to approve the banalities of most blues singers after listening to Robert Pete Williams. More than anyone else, he shatters the conventions of the form and refuses to rely on any of the cliches, wither of music or of lyric, which bluesmen after bluesmen will invoke.
Born and raised in Georgia, Jesse Fuller began playing guitar when he was a child, although he didn't pursue the instrument seriously. In his early twenties, Fuller wandered around the southern and western regions of the United States, eventually settling down in Los Angeles. After spending a few years in Los Angeles, Fuller moved to San Francisco. While he worked various odd jobs around the Bay Area, he played on street corners and parties. Fuller's musical career didn't properly begin until the early '50s, when he decided to become a professional musician; he was 55 years old at the time. Performing as a one-man band, he began to get spots on local television shows and nightclubs. However, Fuller's career didn't take off until 1954, when he wrote "San Francisco Bay Blues."The song was recorded by Rambling Jack Elliot who said in his opening monologue: "Oakland is right across the bay from San Francisco .That's where Jesse Fuller lives. Jesse Fuller plays the 12-string guitar. A livin' Leadbelly. Guitar and harmonica too. Electric. Also has a kinda 5-string …bass-like thing on the floor, that he plays with his foot. Called a foot-doola. And Jesse wrote this song. And I'll sing it to ya now, 'cause I sing it all day long."
The song helped him land a record contract with the independent Cavalier label, and in 1955 he recorded his first album, Folk Blues: Working on the Railroad with Jesse Fuller. The album was a success and soon he was making records for a variety of labels, including Good Time Jazz and Prestige.In the late '50s and early '60s Jesse Fuller became one of the key figures of the blues revival, helping bring the music to a new, younger audience. Throughout the '60s and '70s he toured America and Europe, appearing at numerous blues and folk festivals, as well as countless coffeehouse gigs across the U.S. Fuller continued performing and recording until his death in 1976.
Mance Lipscomb was born in Navasota, Texas, northwest of Houston, on April 9, 1895. Music ran in Lipscomb's family, and after his mother bought him a guitar when he was 11, he began accompanying his fiddler father at local dances. Before long, Lipscomb was in demand for "Saturday Night Suppers" in and around Grimes County, Texas. In addition to his family, Lipscomb picked up musical pointers from Texas blues singer Blind Lemon Jefferson. A traveling performer asked Lipscomb to go on tour in 1922, but Lipscomb said no, and until the 1960s he rarely left the area in which he was born. He worked as a tenant farmer (he disliked the term "sharecropper") for various employers, and most of his musical appearances were at local functions. One day in 1960 encountered music researchers Chris Strachwitz and Mack McCormick on a job site. They were looking for "Lightnin'" Hopkins, who had just left the area, but they agreed to listen to Lipscomb's music instead. Strachwitz was in the process of forming his California-based record company, Arhoolie, and a group of songs recorded around Lipscomb's kitchen table were put together on the album Mance Lipscomb: Texas Songster and Sharecropper, Arhoolie's debut release. Lipscomb's name quickly became well known among blues and folk music fans. He appeared at the Texas Heritage Festival in Houston in 1960 and 1961, then capitalized on his California connection and made appearances for three years running (1961-63) at the large Berkeley Folk Festival held at the University of California. In between festival appearances he appeared at folk coffeehouses in the San Francisco and Los Angeles areas, and he made several more recordings for Arhoolie.
What made Lipscomb stand out from the other Southern blues performers recorded during this period was the diversity of his repertory. As Paul Oliver wrote: "he was, and is, a 'songster'; in other words he did not restrict himself to a particular idiom as many blues singers have done but, coming from a generation of musicians who prided themselves on their versatility, embraced many forms, of which the blues was just one. Mance's life spans the history of the blues and the formative years of his musical development are well rooted the older traditions. At this point in time it is important to realize that this seventy-year young man is a living embodiment, and genuinely one of the last great exponents of the Southern Negro folk song forms before the blues, and the mass media which popularized it, swept them aside." His recordings provided examples of song and dance forms with both white and black roots–waltzes, two-steps, children's songs, jigs, reels, polkas and other styles. In the late 1960s, as interest in the blues mounted, Lipscomb experienced still greater success. He appeared at the Festival of American Folklife, held on the National Mall in Washington, D.C., in 1968 and 1970, and he performed at other large festivals, including the Ann Arbor Blues Festival in 1970 and the Monterey Jazz Festival in California in 1973. Among the many musicians who became Lipscomb fans was vocalist Frank Sinatra, who issued a Lipscomb recording, Trouble in Mind, on his Reprise label in 1970. He appeared that year in Les Blank's film and two years later was featured in a French blues documentary, Out of the Blacks Into the Blues. Lipscomb suffered from heart trouble in the mid-1970s and gradually retired from the stage. He passed in 1976.