Record Labels


ARTIST
SONG
ALBUM
George And Ethel McCoyMary Early In The Morning
George And Ethel McCoy'Way Down SouthEarly In The Morning
George And Ethel McCoyMiss Baker's BluesEarly In The Morning
Johnny Shines; Sunnyland Slim; Backwards Sam FirkTwo Long Freight TrainsReally Chicago Blues
Walter Horton; Honeyboy Edwards; Johnny Shines Way Cross TownReally Chicago Blues
John Lee Granderson; Big Joe Williams; Backwards Sam FirkStop Breaking DownReally Chicago Blues
Sunnyland Slim; Johnny Shines; Backwards Sam FirkCuttin' OutReally Chicago Blues
Sunnyland Slim; Big Joe Williams; Johnny Shines; Backwards Sam FirkBye Bye BabyReally Chicago Blues
Furry Lewis Why Don't You Come Home BluesOn The Road Again
Furry Lewis On The Road AgainOn The Road Again
Bukka WhiteGibson HillOn The Road Again
Rev. Gary DavisOut On The Ocean SailingO, Glory - The Apostolic Studio Sessions
Rev. Gary DavisRight NowO, Glory - The Apostolic Studio Sessions
Mose VinsonBullfrog Blues The Memphis Blues Again, Vol. 1
Sam ClarkSunnyland Train BluesThe Memphis Blues Again, Vol. 1
Dewey CorleyDewey's Walkin' BluesThe Memphis Blues Again, Vol. 1
Willie Morris My Good Woman Has Quit MeThe Memphis Blues Again, Vol. 2
Hacksaw HarneyHacksaw's Down South BluesThe Memphis Blues Again, Vol. 2
Van Hunt & Mose VinsonJelly Selling WomanThe Memphis Blues Again, Vol. 2
Sleepy John Estes Drop Down MamaThe Memphis Blues Again, Vol. 2
Arthur Weston & George RobersonHighway 49Things Have Changed - Anthology of Today's Blues from St. Louis
Clarence JohnsonBaby Let Me Come Back HomeThings Have Changed - Anthology of Today's Blues from St. Louis
Henry BrownHenry's JiveThings Have Changed - Anthology of Today's Blues from St. Louis
Henry TownsendBiddle Street BluesHenry T. Music Man
Henry TownsendCairo BluesHenry T. Music Man

Show Notes:

Liner Notes: Pt. 1Pt. 2Pt. 3 -
Pt. 4 - Pt. 5Pt. 6
Liner Notes: Pt.1Pt. 2 - Pt. 3
Pt. 4
Pt. 5Pt. 6

I've been meaning to get around to the Adelphi label, a fine label that issued a small batch of excellent blues albums in the late 60's and early 70's. I was looking through Stefan Wirz's discography of the label and realized I had in fact all the albums so I figured now was the time. Not to mention that several have been long out-of-print which gives me an opportunity to make these heard by a wider audience. Our show will stick to the albums  by the black blues artists, omitting the records by white artists, which is has always been the focus here on Big Road Blues. In the late 1990's and early 2000's Adelphi issued a number of unreleased recordings from the 60's on CD marketed as the Blues Vault Series and due to time constraints I'll been spotlighting those on a future show.

Adelphi was founded by siblings Gene and Carol Rosenthal, who were country blues enthusiasts. The Adelphi crew made extensive field recordings in 1969, from Chicago to St. Louis, Memphis, and the Mississippi Delta, in search of prewar blues artists. A few of these were released as compilations representing talent recorded at each major stop: Really Chicago’s Blues, The Memphis Blues Again, and Things Have Changed, which featured the artists from St. Louis. Individual albums by Little Brother’ Montgomery, George and Ethel McCoy, and Furry Lewis with Bukka White and Gus Cannon were released in the early 1970's, as were recordings by folk artists, including Roy Book Binder, Paul Geremia, and Chris Smither.

George & Ethel McCoy
George & Ethel McCoy photo by Joel Slotnikoff

 

Some of the label's most interesting recordings are on the three regional anthologies.  The Memphis Blues Again Vol. 1 & 2 were  recorded in Memphis in October, 1969 and at the Peabody Hotel in June, 1970. By the 1960's urban renewal decimated Beale Street yet many old time musicians remained; veterans like Furry Lewis, Bukka White, Will Shade, Dewey Corley, Memphis Piano Red, Laura Dukes and Gus Cannon were still hanging on. During the blues revival of the 60's many went down to Memphis to record these old musicians with the results mostly issued on small specialty labels like Adelphi. Things Have Changed was recorded in East St. Louis, Illinois and St. Louis in 1969 and is an anthology of St. Louis artists including Henry Townsend, George & Ethel McCoy, Henry Brown, Arthur Weston and others. The 2-LP set Really Chicago Blues is a collection of informal acoustic blues featuring Johnny Shines, Honeyboy Edwards, Big Joe Williams, John Lee Granderson and Sunnyland Slim performing in different configurations. Both The Memphis Blues Again and Really Chicago Blues albums have been reissued on the Echo Music label but not on CD.

Really Chicago Blues
Read Liner Notes

All of the individual artists record have been reissued on CD except for the exceptional Early In The Morning by the under-recorded George and Ethel McCoy. George and Ethel McCoy were a brother and sister duo who lived in St. Louis and who's aunt was Memphis Minnie. From the Adelphi website: "The Adelphi crew were enchanted with the pair's music style, the result of a lifetime of playing together, but it was not until Ethel performed "Meningitis Blues" that the dots were connected. Mike Stewart asked if Ethel had learned the song from one of Memphis Minnie's 78 records and was stunned by Ethel's reply: 'No. She taught us the song. She was our Auntie.'" Early In The Morning is their first album and the duo was recorded again in 1981 with the results issued on Swingmaster.

Thirty years would pass after his last recording session before Sam Charters came knocking on Furry Lewis' door in 1959 subsequently recordings him for Folkways that same year with two more albums following for Prestige in 1961. There was nothing rusty about his playing as he had never stopped performing for neighbors and friends. Lewis was recorded often through the 1960's, with a slew of informal recordings issued posthumously. Bob Groom wrote in his book The Blues Revival that his "return has been one of the most satisfying of the [blues] revival."Furry appears on the album On The Road Again alongside Bukka White who returned to performing in the early 60's. The letter was addressed to: "Booker T. Washington White, (Old Blues Singer), C/O General Delivery Aberdeen , Miss." and forwarded to him by a relative. That was how John Fahey and Ed Denson found Bukka White in 1963 who was now living in Memphis and made his last recordings in 1940. Also on the record is Gus Cannon and Dewey Corley. Corley was the leader of the Beale Street Jug Band from the '30s onward, and played jug, washtub bass and kazoo. In his later years, he also acted as an A&R man, helping record companies such as Adelphi scout out missing Memphis blues legends such as Hacksaw Harney and guitarist Willie Morris.

The Reverend Gary Davis was one of the most renowned practitioners of the East Coast school of ragtime guitar; 35 years later, despite two decades spent playing on the streets of Harlem in New York, he was still one of the giants in his field and an inspiration to dozens of modern guitarist/singers including Bob Dylan, Taj Mahal, and Jorma Kaukonen, Larry Johnson, David Bromberg, and Ry Cooder, who studied with Davis. Davis recorded prolifically in the post-war years starting with a few scattered sides in the 1940's, more in the 1950's and really picking up steam in the 1960's. O, Glory – The Apostolic Studio Sessions was recorded in 1969 and features Davis wife Annie and his Harlem neighbor and pupil Larry Johnson on harmonica.

Things Have Changed
Read Liner Notes

Henry Townsend, who has died aged 96 in 2006, had been the last blues musician who could trace his recording career back to the 1920s, having sat down before a recording microphone in November 1929 to sing his "Henry's Worried Blues" for Paramount. He recorded steadily, if not prolifically, through the decades cutting fine sides with Walter Davis through the 50's, a superb record for Bluesville in the 60's and in 1980 one of his finest records, Mule for the Nighthawk label. The Adelphi record, originally titled Henry T. Music Man and reissued on CD as Cairo Blues, was his second full-length album. The album also features Backwards Sam Firk (Mike Stewart), Henry Brown and Vernell Townsend.

Out of all the Adelphi albums the weakest is Little Brother Montgomery's No Special Rider recorded in 1969. Montgomery was an exceptional pianist and vocalist who first recorded in 1930 cutting"No Special Rider Blues b/w Vicksburg Blues" for Paramount. Montgomery's not at his best on this session and vocalist Jeanne Carroll is not a compelling blues singer.

 

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ARTIST
SONG
ALBUM
Shirley GriffithRiver Line Blues Saturday Blues
Shirley GriffithSaturday BluesSaturday Blues
Shirley GriffithBig Road BluesSaturday Blues
Alec SewardEvil Woman BluesCreepin' Blues
Alec SewardBig Hip WomanCreepin' Blues
Alec SewardMade A Mistake In LoveCreepin' Blues
Robert Curtis SmithSunflower River Blues Clarksdale Blues
Robert Curtis SmithPut Your Arms Around MeClarksdale Blues
Wade WaltonParchman FarmShake 'Em On Down
Wade WaltonShake 'Em On DownShake 'Em On Down
Brooks Berry & Scrapper Blackwell'Bama BoundMy Heart Struck Sorrow
Brooks Berry & Scrapper BlackwellCan't Sleep For Dreaming My Heart Struck Sorrow
Henry TownsendCairo Is My Baby's Home Tired Of Being Mistreated
Henry TownsendTired Of Being MistreatedTired Of Being Mistreated
J. T. Adams & Shirley Griffith Matchbox Blues Indiana Ave. Blues
J. T. Adams & Shirley Griffith Oh Mama How I Love You Indiana Ave. Blues
J. T. Adams & Shirley Griffith Bright Street JumpIndiana Ave. Blues
Shirley GriffithBye Bye BluesSaturday Blues
Shirley Griffith Left Alone BluesSaturday Blues
Shirley GriffithShirley's Jump Saturday Blues
Robert Curtis SmithCouncil Spur BluesClarksdale Blues
Robert Curtis SmithCan You Remember MeClarksdale Blues
Robert Curtis SmithI Hate To Leave You With Tears In Your EyesClarksdale Blues
Brooks Berry & Scrapper BlackwellLive Ain't Worth LivingMy Heart Struck Sorrow' Blues
Brooks Berry & Scrapper BlackwellBlues Is A FeelingMy Heart Struck Sorrow
Brooks Berry & Scrapper Blackwell Asked Her If She Loved MeMy Heart Struck Sorrow
Henry TownsendI Asked Her If She Loved Me Tired Of Being Mistreated
Henry TownsendI Got Tired Tired Of Being Mistreated
Henry TownsendAll My Money Gone Tired Of Being Mistreated
J. T. Adams & Shirley GriffithDone Changed The Lock On My DoorIndiana Ave. Blues
J. T. Adams & Shirley GriffithBlind Lemon's BluesIndiana Ave. Blues

Show Notes:

Read Liner Notes

From 1949 through 1971, Prestige Records, owned and run by Bob Weinstock, was among the most famous and successful of the independent jazz labels. By the late 50's the company was looking to branch out and new categories were created within the Prestige catalog. There was the Folklore series, there was Moodsville, Swingsville and then there was Bluesville. An important factor was the release in 1959 of Samuel Charter's ground breaking book The Country Blues. In 1961 Charter's hooked up with the label and played a important role getting talent for the label and did much of the producing. In addition to Charters there were a number of others including Mack McCormick of Houston who provided a slew of Lightnin' Hopkins records,Chris Strachwitz who would form Arhoolie Records, Art Rosenbaum who recorded Indianapolis artists Scrapper Blackwell, Shirley Griffith and J.T. Adams and Chris Albertson who was instrumental in getting Lonnie Johnson back in the studio. Bluesville's roster grew quickly including artists such as Reverend Gary Davis, Sonny Terry & Brownie McGhee, Roosevelt Sykes, Big Joe Williams, Jimmy Witherspoon and Memphis Slim among numerous others. A number of older artists such as Tampa Red and particularly Lonnie Johnson found a new home at Bluesville in which to revitalize their careers. In addition the label also caught some important artists on record for the first time or who recorded very little including Pink Anderson (except for two sides cut in the 20's), Baby Tate, Wade Walton and Doug Quattlebaum to name a few. The bulk of of Bluesville's catalog has been issued on CD except for a handful of excellent records we spotlight today.

Shirley Griffith was a deeply expressive singer and guitarist who learned first hand from Tommy Johnson as a teenager in Mississippi. Griffith missed his opportunity to record as a young man but recorded three superb albums: Indiana Ave. Blues (1964, with partner J.T. Adams), Saturday Blues (1965) and Mississippi Blues (1973). All thee records are long out of print. Born in 1907 near Brandon, Mississippi Griffith was certainly old enough to have made records in the 1920's and 30's and in fact had at least two opportunities to do so. In 1928 his friend and mentor, Tommy Johnson, offered to help him get started but, by his own account, he was too "wild and reckless" in those days. In 1928 he moved to Indianapolis where he became friendly with Scrapper Blackwell and Leroy Carr. In 1935 Carr offered to take Griffith to New York for a recording session but Carr died suddenly and the trip was never made. It was Art Rosenbaum who was responsible for getting Griffith on record and produced Griffith's Bluesville albums. Griffith did achieve modest notice touring clubs with Yank Rachell in 1968, performed at the first Ann Arbor Blues Festival in 1969 and appeared at the Notre Dame Blues Festival in South Bend, Indiana in 1971. He passed away in 1974

John Tyler Adams was born in Western Kentucky and it was his father who started him out on guitar. In 1941 he went up North, eventually settling in Indianapolis. Adams became good friends with Shirley Griffith and at the time of his first recordings had been playing together for fifteen years. Adams recorded just one album, Indiana Ave. Blues (1964) on Bluesville with Griffith with other sides appearing on the album Indianapolis Jump issued on Flyright.

J.T. Adams & Shirley Griffith: Indiana Ave. Blues
Read Liner Notes

Alec Seward was born in Charles City County, Virginia and relocated to New York in 1942 where he befriended Brownie McGhee and Sonny Terry. He met Louis Hayes and the duo performed variously named as the Blues Servant Boys, Guitar Slim and Jelly Belly, or The Back Porch Boys. The duo recorded sides in 1944 and another batch in 1947. During the 1940's and 1950's Seward played and recorded with Lead Belly, Woody Guthrie, McGhee and Terry. Creepin' Blues (with harmonica accompaniment by Larry Johnson) was released by Bluesville in 1965 and never issued on CD. Later in the decade Seward worked in concert and at folk-blues festivals. He died at the age of 70, in New York in May 1972.

One of Clarksdale's most talented and renowned blues musicians, Wade Walton (1923-2000) chose to pursue a career as a barber rather than as a professional entertainer. Walton never lost his love for blues, however, and often performed for customers and tourists at his barbershops. Walton came to the attention of the international blues community after two California college students in search of folk and blues musicians, Dave Mangurian and Don Hill, visited him in 1958. Walton went with the pair to Parchman, where their request to record prisoners' songs were declined and became the topic of a song Walton composed after the encounter. On a return trip in 1961, the students were jailed, but after concluding that they were indeed in town to record blues, not to agitate for civil rights, the case was dismissed. They then traveled with Walton to New Jersey for the recording of his album for Bluesville Records, Shake 'Em On Down.

Brooks Berry was born in March, 1915, in western Kentucky and when she was in her middle teens moved up to Indianapolis, where she lived ever since. As producer Art Rosenbaum wrote: "Brooks met Scrapper shortly after she moved to Indianapolis and thus began a long though at times stormy friendship that was to end suddenly some fifteen months after the last of the present recordings were made. On October 6, 1962. Scrapper was shot to death in a back alley near his home. Brooks has been, during the four years I have known her, reluctant to sing blues without her friend's sensitive guitar or piano playing behind her; and she will sing less and less now that he is gone." Her lone album under her own name was My Heart Struck Sorrow with Blackwell. Some additional sides by Berry and Blackwell appear on the collection Scrapper Blackwell with Brooks Berry 1959 – 1960 on Document and recorded live at 144 Gallery in Indianapolis, Ind in 1959.

Henry Townsend, who has died aged 96 in 2006, had been the last blues musician who could trace his recording career back to the 1920s, having sat down before a recording microphone in November 1929 to sing his "Henry's Worried Blues" for Paramount. He was born in Shelby, Mississippi, but grew up in St Louis. In his late teens he became interested in playing the guitar and began to infiltrate a circle of musicians that included Lonnie Johnson, Roosevelt Sykes and Peetie Wheatstraw. He recorded steadily, if not prolifically, through the decades cutting fine sides with Walter Davis through the 50's, a superb record for Bluesville in the 60's and in 1980 one of his finest records, Mule for the Nighthawk label. Townsend's Bluesville album has also been issued on Folkways as The Blues In St. Louis Vol. 3.

Wade Walton: Shake 'em On Down
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A chance meeting with Chris Strachwitz, founder of Arhoolie Records, at the Big 6 Barber Shop in Clarksdale led to Robert Curtis Smith's the lone album, Clarksdale Blues, recorded in 1961. The record didn't seem to make much of an impact, sinking without a trace and over the year becoming highly collectible. In the liner notes Mack McCormick wrote: "Robert Curtis Smith is a hard working farm laborer in upper Mississippi. He supports a wife and eight children by driving a tractor ($3 a day top) during the farming season, by hunting rabbits in the winter. He has a borrowed guitar with which he sings of women he has loved, lost, discarded, or found worthy of erotic praise. …The status quo in his world is to sap the strength and exploit the weakness of Negroes. It is a far more vicious crime than the occasional lynching since the end result is the massive weakening of a strong people. Ideas of inferiority are fed to him hand-in-hand with conditions that patently are inferior. Badly deprived of constitutional privilege and the minimum wage, and lacking the know-how to correct his situation, Smith’s way of life is astonishingly out of step with modern times." A few other tracks by Curtis appear on various anthologies including some excellent 1960 numbers on the Arhoolie collection I Have to Paint My Face: Mississippi Blues 1960. Smith disappeared from the blues world not long after these recordings but 30 years later he was rediscovered living in Chicago. He had given up blues in the passing years, but he continued to play in church and was recorded performing gospel numbers in 1990 on the anthology From Mississippi to Chicago. Eventually Wade Walton became aware of Smith's whereabouts; this led to his appearance at the 1997 Sunflower River Blues Festival in Clarksdale. By one account it was an uncomfortable performance and I'm not sure if Smith did any follow-up concerts.Smith passed in 2010.

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ARTIST
SONG
ALBUM
Peter LowrySoutheast Blues
Blind Boy Fuller Truckin' My Blues AwayBlind Boy Fuller: Remastered 1935-1938
Peter Lowry1969/Buddy Moss
Buddy MossHey Lawdy MamaThe George Mitchell Collection Volumes 1-45
Peter Lowry1970/Back Down South
Eddie KirklandGoing Back To Mississippi The Complete Trix Recordings
Peter LowryBirth of Trix Records
Baby TateYou Can Always Tell Another Man Done Gone
Peter LowryMeeting Baby Tate
Baby TateBad Gasoline Another Man Done Gone
Peter LowryBaby Tate's Death
Peter LowryMeeting Willie Trice
Willie TriceTrying to Find My BabyBlue And Rag'd
Peter LowryPeg Leg Sam/The Last Medicine Show
Peg Leg SamHand Me DownThe Last Medicine Show
Peter LowryMore Peg Leg Sam
Peter LowryMeeting Henry Johnson
Henry JohnsonLittle Sally JonesThe Union County Flash
Peter LowryHenry Johnson/Chapel Hill Concerts
Henry JohnsonSittin' Down Thinkin'Carolina Country Blues
Peter LowryGuitar Shorty
Guitar ShortyNow Tell Me BabyAlone In His Field
Peter LowryMeeting John Cephas
John CephasNaylor RagUnreleased
Peter LowryBig Chief Ellis
Big Chief EllisAll Down BluesBig Chief Ellis
Peter LowryTarheel Slim
Tarheel SlimScreaming and CryingNo Time At All
Homesick James Live Life Over Goin' Back Home
Peter LowryHomesick James & Honeyboy Edwards
Honeyboy Edwards Ride With Me TonightI've Been Around
Peter LowryRobert Lockwood
Robert LockwoodForever On My MindThe Complete Trix Recordings
Peter LowryFollowing Leads/Roy Dunn
Roy Dunn Do That BoogieUnreleased
Cecil Barfield Sugar Coated LoveUnreleased
Turner FoddrellCrow JaneUnreleased
Ira Joiner Jr. Doin' The Natural ThingUnreleased

Show Notes:

Peter Lowry Peter Lowry
 Pete Lowry & Tarheel Slim 1970s. Photo by Valerie Vilmer.

 

Today’s show is a sequel, of sorts, to a show I did several years back focusing on the recordings made by Peter Lowry. Lowry did not go to Mississippi, did not discover long lost bluesmen from the 1920's but in his voluminous research, writing and recording has charted his own path, becoming the most renowned expert on the blues of the Southeast and is credited with coining the term Piedmont Blues. Between 1969 and 1980 he amassed hundreds of photographs, thousands of selections of recordings, music and interviews in his travels through Georgia, South Carolina, North Carolina and Virginia. Lowry set up the Trix Records label in 1972 starting with a series of 45's with LP's being released by 1973. It lasted about a decade as an active label dealing mainly with Piedmont blues artists from the Southeastern states with seventeen albums. Other recordings were issued on the Flyright label, a label formed in 1970 by Mike Leadbitter, Simon Napier and Bruce Bastin. Lowry's issued recordings are just the tip of the iceberg with unreleased recordings far exceeding what was commercially released. Lowry estimates there could be enough material for eighty CD's. Today we spotlight Lowry's recordings as issued on Trix and Flyright, some unreleased material and interview I conducted with Peter a few weeks back (an edited version of the interview can be found below). The notes that follow come mainly from articles I've written previously on Peter's recordings.

Lowry refers to his recordings as "controlled field recordings", often done in hotel rooms or someone'ss home with an emphasis on getting the sound right at the start, there was not option of fixing it in the mix afterwards. In an article by Valerie Wilmer [Wilmer, Valerie. “Lowry’s Bag of Trix.” Melody Maker (13 Oct 1973)] she goes on to explain how Lowry operated in the field: "Lowry will be back from his third field trip in 12 months at the end of the year. He does all his traveling by Volkswagen bus, accompanied by a faithful hound and no less than eight guitars. One such trip lasted five months and netted enough material for 20 albums, all of which he will be processing himself. 'I said, 'Christ, I've got an awful lot of stuff here-there's no sense in farting around with other people, I'll do it myself.' The guitars are needed because often the people he encounters have not played for a while or else their existing instrument may be in bad shape, rattling or buzzing. 'I've always tried to keep a clean sound on my recordings unlike most of the so-called field work'… I'm not just an out-and-out field recorder, nor do I use a studio as such. I usually say that the best sound-quality stuff I do is sort of in a Holiday Inn recording studio in whatever town I happen to be staying. You know, if it's not too cool where they're living or something, we go back to the hotel room.'"

Baby Tate
Baby Tate, photo by Pete Lowry.

As for the nature of field recording and researching  it's worthwhile to quote Bruce Bastin, author of the classic Red River Blues and running mate of Lowry's, on some of their experiences: "Armchair research can never replace the infectious pleasure of personal contact, or indeed the streetwise experiences of fieldwork at the very edges of existence. …Talk to Bengt Olsson about his times in Tennessee and Alabama. Talk to Pete Lowry about his (sadly unsuccessful) endeavors to record Buddy Moss… Talk also to us about our meeting with rednecks in Edgecomb County, North Carolina…or with Newton County, Georgia, police for 'consorting with blacks'… " On the other hand were plenty of positive experiences: "How do you replace memories of hearing Guitar Shorty perform at Chapel Hill's Endangered Species bar, packed with professors and 'kitty money'… Or watching a genuinely excited Buddy Moss play a stunning 'Chesterfield' on his battered guitar one hot August afternoon at his home? Or seeing Henry Johnson play slide guitar flat across his lap, Hawaiian style, at home and some time later stroll into Chapel Hill's TV station with a petrified Elester Anderson, casually watch a quartet finish playing Mozart and pack up, then settle down to back Elester (whom he'd never met before) on 'Red River Blues'… Or of tracing Floyd Council via the local cab company's switchboard? Or meeting the truly larger-than-life character Peg Leg Sam?"

It's useful to provide some background on Lowry's activities just prior to setting up Trix. Most of what follows is extracted from my correspondence with Lowry in response to questions I posed and by its nature is highly condensed. "I had not attempted field recording prior to 1970… Bastin and I hooked up in 1969 to look for 78's using my car as our transport in the SE (successfully)…and went back the next year. I figured that I should do more than just drive the car, so I purchased a tape recorder (Uher 4200, 1/2 track stereo, 5" reels). A series of pieces for Blues Unlimited came out of the '69 trip. …Bruce and I were focused in 1970 on collecting material for a book, as he had been asked to do one in the Studio Vista series off of our BU series of articles, resulting in Crying for the Carolines (the basis for Red River Blues). We WORKED for a solid month, doing library research (city directories were helpful, especially when there were back issues – in the old days, there was (c) after a name for 'colored', so that helped eliminate similar names. Then, vital statistics also were not so closed to non-family members – folks who helped us in the early years had to stop [legally] later on). Next-of-kin were often still findable. Those research tools were suggested by Gayle Dean Wardlow. We started with a copy of Godrich & Dixon and known names, likely 'home' locations of those who had made recordings pre-war, and worked from there. …There was NOBODY 'working' the SE when we attacked it, for Mitchell had wandered off to the sainted MS stuff, where the little work being done was being done. We broke 'new' ground, if you will, in part encouraged by BU editor Simon Napier. …Most of the info Bruce used for his books came from my/our work…"

While it may be impossible to quantify, the fact is there was quite a number of quality blues players to be found and quite a number of them in the Southeast region as Lowry optimistically stated  to Valerie Wilmer: "'I never really believed all that stuff about the blues being dead,'" he said, 'As with other celebrities who said 'my death has been greatly exaggerated', so the blues. I think it's been submerged beneath the overlay of modern black pop music, but hell-you go down through Georgia and the Carolinas and there's still country-suppers. Peg Leg Sam still goes around busking in the streets, blowing his harp and collecting quarters and dollars.'" What follows is some background on today's featured artists:

Baby Tate spent the bulk of his life as a sideman, playing with musicians like Blind Boy Fuller, Pink Anderson, and Peg Leg Sam. As a teenager he began playing with Blind Boy Fuller. In the early 1950's, Tate moved to Spartanburg, SC, where he performed both as a solo act and as a duo with Pink Anderson. Tate and Anderson performed as duo into the 1970's. In 1962, Tate recorded his first album, See What You Done, for Bluesville. Tate was one of Lowry's closest musician friends. Lowry said, "My plan…was to really record him in depth. He was just an incredible person and a wonderful person to deal with. I can't say I'm satisfied with what I've got on tape because I know he could do three times more and a lot better. But just having been around him and dealt with him and lived with him, there's a degree of satisfaction. …The first person to be recorded by me in 1970, a wonderful informant, and a very good friend – he came up to New Paltz to perform at a Spring festival in '72, partly w. Larry Johnson. He also played a coffee house near Albany, NY that same weekend thanks to Kip Lornell. He had a great time – then he died that summer. That made me a man possessed; 'do as much as you can before they all die off' took a hold of me! The rest is history." Peter recorded Tate extensively in 1970 but, outside of one 45 and a couple of tracks issued on anthology, this material remains unissued.

Read Booklet (PDF)

"Recording is an accident, isn't it?! Had it not been for me, Henry Johnson and Peg Leg Sam would have been unheard…" Lowry notes. Peg Leg Sam was a member of what may have been the last authentic traveling medicine show, a harmonica virtuoso, and an extraordinary entertainer. Born Arthur Jackson, he acquired his nickname after a hoboing accident in 1930. His medicine show career began in 1938, giving his last medicine show performance in 1972 in North Carolina, and was still in fine form when he started making the rounds of folk and blues festivals in his last years. Lowry captured Sam and Chief Thundercloud (the last traveling medicine show) on the Flyright album The Last Medicine Show. There's also some footage of the medicine show act in the film Born For Hard Luck. Sam delivered comedy routines, bawdy toasts, monologues, performed tricks with his harps (often playing two at once) and served up some great blues (sometimes with a guitar accompanist, but most often by himself). Lowry released one album by Sam, Medicine Show Man, and he recorded only once  more for Blue Labor in 1975 which was originally issued under the title Joshua and subsequently reissued as Early In The Morning and Peg Leg Sam with Louisiana Red.

The sessions by Henry Johnson, his first recording, was a result of Peg Leg Sam pushing his good friend to record. "I feel Henry Johnson is the finest finger-picking blues artist to come along in a hell of a long time, and this album should demonstrate that with ease" Lowry wrote in the notes to The Union County Flash!, his lone album. "It was Sam who introduced us (Bastin and I) to Henry…His musicianship was surpassed only by his magnificent voice – I have UNC concert tapes where he plays piano, Hawaiian guitar, and harp w. his guitar… he stuck it in his mouth and worked without a rack (like Harmonica Frank)!" Johnson died 19 1974, shortly after the record was released and there is enough material in the can for another release. Lowry wrote" his 'compleat' talent will never be heard by those who never saw him in person."

Roy Dunn was one of the last links to the rich Atlanta pre-war blues scene; he had played with Curley Weaver., Buddy Moss and Blind Willie McTell. Know'd Them All is his only album. "This, his only album", Lowry wrote, is as complete a representation of the talents of Roy S. Dunn (a/k/a James Clavin Speed) as could be compiled, and his talents deserve another listening." Dunn passed in 1988.

Willie Trice and his brother Richard became close friends with Blind Boy Fuller and Fuller took them up to New York where they cut six sides together (two unissued) for Decca in 1937. Richard Trice recorded after the war for Savoy in 1946 as Little Boy Fuller as well as a couple of sides in 1948 and 1952/53. Lowry recorded him but those recordings remain unreleased. Unlike many of his fellow musician friends, Willie always had a day job and it wasn't until the 1970's that he recorded again. Blue And Rag'd , his sole album,  was released on Trix in 1973. "Willie Trice", Lowry wrote" was one of those special people – not just in my life, but in the lives of most everyone who chanced to meet him. We had some sort of special, almost mystical connection… I would irregualry just appear unannounced at the door of his mother's house and he'd be sitting there waiting for me. He would tell me that he had dreamed of me that night and therefore knew that I was going to be there to see him the next day."

Big Chief Ellis
Read Liner Notes

"Homesick" James Williamson was playing guitar at age ten and soon ran away from his Tennessee home to play at fish fries and dances. His travels took the guitarist through Mississippi and North Carolina during the 1920s, where he crossed paths with Yank Rachell, Sleepy John Estes, Blind Boy Fuller, and Big Joe Williams.Settling in Chicago during the 1930's. Homesick made some of his finest sides in 1952-53 for Art Sheridan's Chance Records (including the classic "Homesick" that gave him his enduring stage name). He also worked extensively as a sideman, backing harp great Sonny Boy Williamson in 1945 at a Chicago joint called the Purple Cat and during the 1950's with his cousin Elmore James who he also recorded with. Homesick's own output included 45's for Colt and USA in 1962, a fine 1964 album for Prestige plus albums for Bluesway, Big Bear, Earwig and Fedora among others. He cut the solo Goin' Back Home for Trix of which Lowry said "I think that ‘my' solo album is the best thing he ever did."

Born in Alabama, Eddie Kirkland headed to Detroit in 1943. There he hooked up with John Lee Hooker five years later, recording with him for several firms as well as under his own name for RPM in 1952, King in 1953, and Fortune in 1959. In 1961-62 he cut his first album for Tru-Sound Records. Leaving Detroit for Macon, GA, in 1962, Kirkland signed on with Otis Redding as a sideman and show opener not long thereafter. By the dawn of the 1970's, Kirkland cut two albums for Trix label; Front And Center and The Devil And Other Blues Demons (issued together as The Complete Trix Recordings on the 32 Blues label).

A self-taught player, Big Chief Ellis performed at house parties and dances during the 1920's. He traveled extensively for several years, working mostly in non-musical jobs. After a three-year army stint from 1939 – 1942, Ellis settled in New York. He started recording for Lenox in 1945, and also did sessions for Sittin' In and Capitol in the 1940's and 50's, playing with Sonny Terry and Brownie McGhee for Capitol. Though Ellis reduced his performance schedule after moving from New York to Washington D.C., his career got a final boost in the early 1970's. He recorded for Trix and appeared at several folk and blues festivals until his death in 1977. His self-titled Trix album features John Cephas, Tarheel Slim, and Brownie McGhee. He also backed Tarheel Slim on his Trix album.

While still in North Carolina during the early 1940's, Tarheel Slim worked with several gospel groups. He broke away with Thurman Ruth and in 1949 formed their own group, the Jubilators. During a single day in New York in 1950, they recorded for four labels under four different names, One of those labels was Apollo, who convinced them to go secular. That's basically how the Larks, one of the seminal early R&B vocal groups, came to be. He cut two sessions of his own for the firm in 1952 under the name of Allen Bunn. As Alden Bunn, he encored on Bobby Robinson's Red Robin logo the next year. He also sang with another R&B vocal group, the Wheels and the Lovers. As Tarheel Slim he made his debut in 1958 with his wife, Little Ann, in a duet format for Robinson's Fire imprint. He cut a pair of rockabilly raveups of his own, "Wilcat Tamer" and "No. 9 Train." After a few years off the scene, Tarheel Slim made a bit of a comeback during the early 1970's, with an album for Trix, his last recording. He died in 1977. Lowry wrote that "Tarheel Slim was one of the finest voices to appear appear in the blues and R&B world, as this collection will solidly demonstrate. …Slim was a consummate artist and a great gentleman: this recording gives the world at-large at least a partial glimpse of his talent."

Guitar Shorty
Guitar Shorty, photo by Kip Lornell.

Robert Lockwood cut two albums for Trix,  Does 12 and Contrasts, (issued together as The Complete Trix Recordings on the 32 Blues label) which rank among his best recordings. The crack band features the great sax player Maurice Reedus who played with Lockwood for 35 years and passed away just recently. Lowry was planning to issue an album by Reedus but it was never released. As Lowry told me: "Words fail me… I was truly a 'Fortunate Son' to have known and worked with this man, a true gentleman and a noble/regal being. All of 'Contrasts' was recorded in his living room in Cleveland (band sides) or Roger Brown's place!"

Lowry called Guitar Shorty (John Henry Fortescue) "One of the most spontaneous musicians around; right up there with Lightnin' Hopkins, maybe more so." He cut a pair of unissued sides for Savoy in 1952, the album Carolina Slide Guitar (Flyright, 1971) and his final album for Trix, Alone In His Field,  before passing in 1975.

Related Material:

-Peter Lowry Interview (edited, 30 min., MP3)

Share
ARTIST
SONG
ALBUM
Robert NighthawkG-ManProwling With The Nighthawk
Sonny Boy Williamson I Blue Bird BluesThe Original Sonny Boy Williamson I Vol. 1
Big Joe WilliamsRootin' Ground HogBig Joe Williams and the Stars of Mississippi Blues
Little Brother MontgomerySanta Fe BluesLittle Brother Montgomery 1930-1936
Sonny Boy NelsonLow DownMississippi Blues Vol. 3 - Catfish Blues
Bo CarterThe Ins And Outs Of My GirlBo Carter Vol. 4 1936-1938
Robert NighthawkProwling NighthawkProwling With The Nighthawk
Sonny Boy Williamson IJackson BluesThe Original Sonny Boy Williamson I Vol. 1
Walter Davis Good GalWalter Davis Vol. 3 1937-1938
Sonny Boy NelsonLong Tall Woman
Mississippi Blues Vol. 3 - Catfish Blues
Mississippi MatildaHard Working WomanMississippi Blues Vol. 3 - Catfish Blues
Robert HillLumber-Yard BluesNever Let The Same Bee Sting You Twice
Walter DavisFifth AvenueWalter Davis Vol. 3 1937-1938
Big Joe WilliamsBrother JamesBig Joe Williams and the Stars of Mississippi Blues
Sonny Boy Williamson I Got The Bottle Up And GoneThe Original Sonny Boy Williamson I Vol. 1
Little Brother MontgomeryThe First Time I Met You Little Brother Montgomery 1930-1936
Bo Carter Bo Carter's AdviceBo Carter Vol. 4 1936-1938
Sonny Boy NelsonPony BluesMississippi Blues Vol. 3 - Catfish Blues
Chatman Brothers (Lonnie And Sam)Jumping Out BluesMississippi Sheiks Vol. 4 1934-1936
Chatman Brothers (Lonnie And Sam)If You Don't Want Me Please Don't Dog Me 'RoundMississippi Sheiks Vol. 4 1934-1936
Bo Carter All Around Man - Part 2Bo Carter Vol. 4 1936-1938
Bo Carter Pussy Cat BluesBo Carter Vol. 4 1936-1938
Bo Carter Your Biscuits Are Not Big Enough For MeBo Carter Vol. 4 1936-1938
Sonnyboy Williamson ISugar Mama Blues The Original Sonny Boy Williamson I Vol. 1
Sonnyboy Williamson IGood Morning School GirlThe Original Sonny Boy Williamson I Vol. 1
Tommy Griffin On My Way BluesCountry Blues Collector's Items 1930-1941
Walter VincsonRats Been On My CheeseRats Been On My Cheese
Annie Turner Black Pony BluesLittle Brother Montgomery 1930-1954
Annie Turner Workhouse BluesLittle Brother Montgomery 1930-1954
Little Brother MontgomeryA. & V. Railroad Blues Little Brother Montgomery 1930-1936Remastered
Mississippi Matilda Happy Home BluesMississippi Blues Vol. 3 - Catfish Blues
Sonny Boy NelsonStreet Walkin'Mississippi Blues Vol. 3 - Catfish Blues
Robert HillTell Me What's Wrong With YouNever Let The Same Bee Sting You Twice
Little Brother MontgomeryWest Texas BluesLittle Brother Montgomery 1930-1936
Little Brother MontgomeryLouisiana Blues, Pt. 2Little Brother Montgomery 1930-1936
Little Brother MontgomeryFarish Street JiveLittle Brother Montgomery 1930-1936

Show Notes:

Today's show is the first installment spotlighting great recording sessions. Today we select two sessions conducted by the Victor (issued on Bluebird) label roughly a year-and-a-half apart, one in Chicago and one in New Orleans. In the pre-war era the record companies used mobile recording units to visit southern cities and capture the music of regional performers. For example, between 1927-1930 Atlanta was visited seventeen times, Memphis eleven times, Dallas eight times, New Orleans seven times and so on. During and after the Depression field trips dropped off precipitously. We play recordings today from remarkable field sessions cut by Louisiana and Mississippi artists on October 15-16, 1936 at the St. Charles Hotel, New Orleans. Dozens of titles were cut by Lonnie and Sam Chatmon, Bo Carter, Eugene Powell (as Sonny Boy Nelson), his wife Matilda Powell (as Mississippi Matilda), Walter Vincson, Little Brother Montgomery, Annie Turner and Tommy Griffin. The other session we spotlight was conducted in Chicago on May 5, 1937 resulting in two-dozen sides by Sonny Boy Williamson I and Robert Lee McCoy (Robert Nighthawk) who were making their recording debuts, plus sides by Big Joe Williams and Walter Davis.

Big Joe Williams: Rootin' Ground Hog 78Henry Townsend recalled driving Sonny Boy Williamson I, Robert Nighthawk, Walter Davis and Big Joe Williams to Aurora, Illinois, in his 1930 A Model Ford for their 1937 sessions: "I transferred them to Aurora, Illinois. There was about eight or nine of us …we stacked them in the car like sardines." This led to a marathon recording session resulting in six songs by Nighthawk (as Robert Lee McCoy), six by Sonny Boy Williamson I, four by Big Joe Williams and eight sides by Walter Davis. It was Sonny Boy's songs, especially, "Good Morning Little School Girl", "Bluebird Blues" and "Sugar Mama Blues" which were the biggest hits. Sonny Boy would go on to cut more than 120 sides in all for RCA from 1937 to 1947.

Robert Nighthawk cut six sides at this session all of which were released at the time. The popularity of the song "Prowling Night-Hawk" was the basis for his changing his surname in the early 40's. At the time of these recordings he was going by Robert Lee McCoy.

Walter Davis was among the most prolific blues performers to emerge from the pre-war St. Louis scene, cutting over 150 sides between 1930 and 1952. Davis enjoyed a fair amount of success before a stroke prompted him to move from music to the ministry during the early '50s.

Over two days on October 15-16, 1936 Bluebird conducted sessions at the St. Charles Hotel in New Orleans. Little Brother Montgomery cut eighteen sides plus backed singer Annie Turner on her four numbers (two were unissued), Sonny Boy Nelson (Eugene Powell) cut six sides under his own name as well as backing Robert Hill, who cut ten sides, and his wife Mississippi Matilda on her three sides. In addition Bo Carter cut ten sides, the Chatman brothers (Lonnie and Sam) cut twelve sides, Tommy Griffin cut a dozen sides and Walter Vincson  (as Walter Jacobs) cut two sides. As John Godrich and Howard Rye wrote in Recording The Blues: "The New Orleans session in 1936 was Victor's last substantial race field recording; in subsequent years they recorded a fair number of gospel quartets in he field, but only one or two unimportant blues singers."

Eugene Powell was born in Utica, Mississippi, December 23, 1908. He started playing the guitar at age eight. His mother ran a juke house so he grew up around music. He took the name "Sonny Boy Nelson" after his step father. His early experiences around Hollandale were with Robert Nighthawk, Robert Hill, and the great blues instrumentalist Richard "Hacksaw" Harney. In 1936 Eugene and wife "Mississippi Matilda" along with Willie "Brother" Harris traveled with the Chatmon Brothers to New Orleans to record for the Bluebird label. Bo Carter acted as agent for Nelson and Hill and received a fifth of the royalties for setting the session up.

In the 1930's Matilda Powell married musician Eugene Powell. She recorded four songs at the 1936 session, one of them, "Peel Your Banana",  went unissued. In 1952, Matilda separated from Eugene, and moved to Chicago taking their one son and five daughters with her.

Interviews with Eugene Powell by Brett Bonner and Robert Eagle elicited that Robert  Hill was from Sumrall, Mississippi, near Hattiesburg, and that in Hollandale he worked with guitarist Will Hadley. Paul Oliver noted that his harmonica playing was reminiscent of Jazz Gillum.

In late 1930, Little Brother Montgomery made his debut backing Minnie Hicks and on two songs, Irene Scruggs on four and recorded “No Special Rider blues” and "Vicksburg Blues" for Paramount. He cut four more sides for Bluebird in 1935. His next recording opportunity was in October 1936 in New Orleans where he waxed a remarkable eighteen  song session. As Chris Smith writes he was "adept at blues, jazz, stride, boogie and pop which he synthesized into a personal style that ranged easily from the bopping earthiness of "Frisco Hi-Ball" to the pearl-stringing elegance of "Shreveport Farewell." His high voice and bleating vibrato are unmistakable, especially on his signature piece, "Vicksburg Blues", a polyrhythmic showcase for his acute but never pedantic timing. It's also an example of Brother's poetry of geography; many of his songs, and even the titles of his instrumentals, are rich evocations of places he knew and the railroads that carried him between them."

Nothing is known of fifteen year-old Annie Turner who cut four sides (two unissued) at this session backed by Little Brother on piano and Walter Vincson on guitar. As Chris Smith wrote: "…Turner projects a smoldering sensuality, triumphing over her low volume dicey pitch with help from Montgomery and Vincson's wonderfully attentive accompaniment."

Sonny Boy Nelson: Low Down 78

Working in various configurations, Walter Vincson and Lonnie, Bo, and Sam Chatmon performed and recorded as the Mississippi Sheiks, a name inspired by a popular 1921 Rudolph Valentino film, The Sheik. A propulsive fiddler, Lonnie managed the band, while Bo, a strong, confident singer and gifted guitarist, became its biggest star. Bo made his recording debut in 1928, backing Alec Johnson. Carter soon was recording as a solo artist and became one of the dominant blues recording acts of the 1930's, recording over 100 sides. He also played with and managed the family group, the Mississippi Sheiks, and several other acts in the area. Bo Carter specialized in double entendre songs, recording dozens of risqué songs like "Banana in Your Fruit Basket," "Pin in Your Cushion", "Your Biscuits Are Big Enough for Me", "The Ins And Outs Of My Girl", the latter two featured today. Carter's brothers, Lonnie and Sam, recorded as the Chatman Brothers, cutting twelve sides at this same session.

Walter Vinson rarely worked as a solo act, seemingly much more at home in duets and trios; towards that end, during the 1920's he worked with Charlie McCoy, Rubin Lacy and Son Spand before forming the Mississippi Sheiks. He cut two songs at this 1936 sessions in the company of pianist Harry Chatman. The year before pianist Harry Chatman cut ten songs under his won name across three sessions, two in New Orleans and a final one in Jackson, Mississippi.

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ARTIST
SONG
ALBUM
Sonny Boy Williamson IIEyesight to the BlindCool Cool Blues
Sonny Boy Williamson IICool, Cool Blues Cool Cool Blues
Sonny Boy Williamson IICrazy About You BabyCool Cool Blues
Luther Huff1951 Blues Delta Blues-1951
Luther HuffBull Dog Blues Delta Blues-1951
Elmore James Dust My BroomCool Cool Blues
Willie LoveVanity Dresser Boogie Greenville Smokin
Clayton LoveShufflin' With LoveStrange Kind Of Feelin'
Big Joe WilliamsDelta BluesDelta Blues-1951
Big Joe WilliamsWhistling PinesDelta Blues-1951
Big Joe WilliamsMama Don't Allow Me Delta Blues-1951
Willie Love Everybody's FishingGreenville Smokin
Willie Love Take It Easy Baby Greenville Smokin
Sonny Boy Williamson IIMr. Down Child Cool Cool Blues
Sonny Boy Williamson IICome On Back Home Cool Cool Blues
Sonny Boy Williamson IINine Below ZeroCool Cool Blues
Big Joe WilliamsOverhauling BluesDelta Blues-1951
Big Joe WilliamsBad Heart BluesDelta Blues-1951
Big Joe WilliamsShe Left Me A MuleDelta Blues-1951
Willie Love Nelson Street BluesClownin' With The World
Willie Love Seventy Four BluesDelta Blues-1951
Willie Love 21 Minutes To Nine Delta Blues-1951
Arthur CrudupGotta Find My Baby Cool Cool Blues
Sherman Johnson Lost In Korea Cool Cool Blues
Tiny KennedyHave You Heard About The Farmer's Daughter Strange Kind of Feeling
Tiny KennedyStrange Kind Of Feeling Strange Kind of Feeling
Sonny Boy Williamson IIShe Brought Life Back To The Dead Cool Cool Blues
Sonny Boy Williamson IIGoing In Your DirectionCool Cool Blues
Jerry McCainEast Of The SunCool Cool Blues
Jerry McCainStay Out Of Automobiles Cool Cool Blues
Wally Mercer If You Don't Mean Business Cool Cool Blues

Show Notes:

Trumpet Records was the first record company in Mississippi to achieve national stature through its distribution, sales, radio airplay and promotion. Willard and Lillian McMurry launched the label from their retail store, the Record Mart,  at 309 North Farish Street, in 1950, and later converted the back room into a recording studio. The first releases by Mississippi blues legends Sonny Boy Williamson II, Elmore James, and Willie Love appeared on Trumpet in 1951. “Dust My Broom” by Elmo (Elmore) James was the only Trumpet record to reach the national rhythm & blues charts of Billboard magazine (in April 1952), but other records by Williamson and Willie Love appeared on regional charts as far away as California and Colorado. Among other artists who recorded for Trumpet were bluesmen Jerry McCain, Big Joe Williams, Tiny Kennedy, Luther Huff, Arthur Crudup, Clayton Love, Wally Mercer, and Sherman Johnson; gospel groups such as the Southern Sons Quartette and the Blue Jay Gospel Singers; and country singers, including Lucky Joe Almond and Jimmy Swan.

The story has its roots in 1949, when McMurry and her husband purchased a hardware store on Farish Street, then a location on the boundary between the city's white and black business and entertainment districts. While taking inventory of the original stock and renovating the building, she discovered a stack of unsold records, including Wynonie Harris' recording of "All She Wants to Do Is Rock." Curious, Mrs. McMurry played it on the store's record player and became so inspired that she decided to record more music like it. "It was the most unusual, sincere and solid sound I'd ever heard", she recalled. In short order a record mogul was born and "for more than five years the blues and ballads, jumps and boogies flowed on" with McMurry always looking for that elusive hit.

McMurry probably didn't know it but the black music that so enthralled her was in abundance around Jackson and it's outlying areas and it wasn't long before word spread about the fledgling label bringing every would-be-star in the region to her door. After inaugurating the label with some gospel releases in 1950 it was 1951 when McMurry began recording blues in earnest. Her uncanny instincts led her to the elusive Sonny Boy Williamson who was already a celebrity in the delta, well known from his program King Biscuit Time which had aired on KFFA since 1941. Eventually Sonny Boy was tracked down and signed to an exclusive contract. This was a fortuitous start for the young label as not only did Sonny Boy become the label's number one hit maker (his first single "Eyesight To The Blind" was the label's first hit) he also brought along some of the delta's best talent. His first release, "Eyesight To The Blind" was recorded twice – fire destroyed stocks of the first pressing. The record sold well. A further nine sessions took place, Thee last in November 1954. There were twelve releases. One, "No Nights By Myself", was leased to Johnny Vincent's Ace label.

For more than three decades Sonny Boy, he was an itinerant musician, working as a solo act and in association with a host of other now-famous bluesmen, especially Sunnyland Slim, Elmore James, Robert Johnson, Howlin’ Wolf Burnett, and Robert Lockwood Jr. He traveled throughout the South, working carnivals and lumber camps as well as juke joints and street corners in Mississippi, Arkansas. In November 1941, Williamson began playing with Robert Lockwood Jr. on King Biscuit Time, where he starred on and off for more than twenty years. It was on this show, apparently, that he first unveiled his “Sonny Boy Williamson” moniker.

Among Sonny Boy's cohorts included pianist Willie Love and guitarists Elmore James and Joe Willie Wilkins all who would be involved in numerous sessions through the years. The raw, immediate sound these men laid down was "pungent with the whiff of the jukes" as Marc Ryan wrote in Trumpet Records: Diamonds On Farish Street. Willie Love is second in importance only to Sonny Boy in the label's fortunes cutting some tremendous sides that "captured perfectly the raucous mood of the jukes" before his untimely death in 1953. Elmore James would have a prickly relationship with Trumpet but did record his immortal "Dust My Broom" in 1951, his sole record for the label.

Sonny Boy Williamson, first encountered pianist Willie Love in Greenville, MS, in 1942. The duo played regularly on Nelson Street, the main drag of the Black section of Greenville. And it was Williamson who brought Love into the fold at Trumpet Records. He played piano on several of Sonny Boy Williamson's Trumpet sessions. Love cut three sessions as leader in 1951 and a final session in 1953. Love passed four months after this last session.

Elmore James began recording with Trumpet Records in nearby Jackson in January 1951, first as sideman to the second Sonny Boy Williamson and also to their mutual friend Wille Love and possibly others, then debuting as a session leader in August with "Dust My Broom". It was a surprise R&B hit in 1952 and turned James into a star. He then broke his recording contract with Trumpet Records to sign up with the Bihari Brothers through Ike Turner.

In late August 1952 Sony Boy arrived to the Record Mart with Arthur Crudup. Crudup was likely under contract with RCA so he was recorded under the pseudonym “Elmer James” a reference to Elmore James who scored big with “Dust My Broom” on the label but broke contract and never recorded a follow-up. Only one 78 by Crudup was issued.

Luther Huff and his and younger brother Percy learned how to play guitar from an older brother named Willie, and a cousin Donnee Howard. Soon they were playing at fish fries and picnics with their older relatives. Luther bought himself a mandolin in 1936 and taught himself how to play it. He was drafted into the U.S. Army in 1942 and served in England, France & Belgium. After being discharged from the Army he moved to Detroit, MI. in 1947. Percy stayed in Jackson where he was employed as a taxicab driver. On a visit to Jackson in 1950, Luther ran across Sonny Boy Williamson, and told him he needed train fare to get back to Detroit. Sonny Boy hooked Luther and Percy up with Trumpet Records where they recorded four sides in January & February of 1951. Luther went back to Detroit, working at the Chrysler factory and later for Plymouth, giving little thought to playing any music. In 1968, The Brothers Huff, Luther, Percy and Willie were recorded by Adelphi but the recordings were never issued.

By the post-war era Big Joe Williams' style of music was  something of an anachronism and opportunities to record, even for a wheeler-dealer like him, began to dry up. One exception was a single for Bullet, "Jivin'Woman b/w She's A Married Woman" waxed in 1949. But it was two years before he recorded again, this time for McMurry's Trumpet label. She got him in her studio twice during the autumn of  1951, when "Mama Don'tAllow Me", "Delta Blues", "Overhauling Blues", the poetic "Whistling Pines", "She Left Me A Mule" and "Bad Heart Blues" were cut.

Other artists featured today include Tiny Kennedy, Jerry McCain and Clayton Love. Kennedy made his debut with Jay McShann in 1949 and by 1951 singing with Tiny Bradshaw's band. Kennedy cut three songs for Trumpet on Oct. 22, 1951 backed by Elmore James, a four song session cut in 1952 and two numbers cut in1953 that remained unissued. McCain made his debut for Trumpet label in 1954, with "East of the Sun b/w Wine-O-Wine" with his brother, Walter McCain, playing drums on the sides. McCain's 1954 Trumpet encore yielded "Stay Out of Automobiles b/w "Love to Make Up." Pianist Clayton Love was a prominent member of Ike Turner's Kings of Rhythm during the mid-'50s, making some of his finest records with the band. But Love made his first appearance as leader on Trumpet in 1951 with his own jump band, the Shufflers.

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