Entries tagged with “Eugene Powell”.


ARTISTSONGALBUM
Van HuntLonesome Road BluesBlues At Home Vol. 1
Van HuntCorinna Corrina Blues At Home Vol. 1
Sweet Charlene Sitting Here Drinkin Blues At Home Vol. 1
Sam ChatmonGo Back Old DevilBlues At Home Vol. 2
Sam ChatmonProwling Ground HogBlues At Home Vol. 2
Sam ChatmonOpen Your BookBlues At Home Vol. 2
Sam ChatmonStoop Down Baby, Let Your Daddy SeeBlues At Home Vol. 2
Eugene Powell Poor Boy Blues (Take 1)Blues At Home Vol. 3
Eugene Powell Discusses His MusicBlues At Home Vol. 3
Eugene Powell Old Home BluesBlues At Home Vol. 3
Eugene Powell Blues At Home Vol. 3Blues At Home Vol. 3
Memphis Piano Red Baby Please Come Back To MeBlues At Home Vol. 4
Memphis Piano Red I Need Love So BadBlues At Home Vol. 4
Memphis Piano Red Barrelhouse Blues (Take 2)Blues At Home Vol. 4
Alonzo BurksTrain I RideBlues At Home Vol. 5
Carey TateDiscusses The Meaning Of The BluesBlues At Home Vol. 5
Carey TateBlues All In My Bread (Take 2)Blues At Home Vol. 5
Big Jack Johnson Catfish Blues (Take 1)Blues At Home Vol. 6
Pinetop JohnsonSee What You Done DoneBlues At Home Vol. 6
Pinetop JohnsonTommy Dorsey Boogie Woogie (Take 2)Blues At Home Vol. 6
Bukka WhiteBooker T.'s Doctor BluesBlues At Home Vol. 7
Bukka WhiteI'm Getting Ready, My Time Done ComeBlues At Home Vol. 7
Bukka WhiteThe Aberdeen Blues Blues At Home Vol. 7
Dewey Corey Dresser Drawer BluesBlues At Home Vol. 7
Dewey Corey Fishing In The DarkBlues At Home Vol. 7
Laura DukesLittle Laura's BluesBlues At Home Vol. 7
Laura DukesBricks In My PillowBlues At Home Vol. 7
Jack Owens Cherry Ball (Take 2)Blues At Home Vol. 8
Jack Owens The Devil (Take 2)Blues At Home Vol. 8
Charlie Sangster Moaning Blues Blues At Home Vol. 9
Charlie Sangster The Dirty Dozen (Take 2) Blues At Home Vol. 9
Charlie Sangster Selling That StuffBlues At Home Vol. 9

Show Notes:

Blues At Home Vol. 1As anyone who's listened to this program knows, I have a huge interest in field recordings devoting several shows to the topic and interviewing several of the men who made the recordings.  The 70's and early 80's were a good period for field recordings with men like George Mitchell, David Evans, Pete Lowry, Begnt Olsson, Axel Kunster and others (all who have been featured on past programs) making recordings throughout the south.

In the early 70's through the early 80's Gianni Marcucci made five trips to the United States from Italy to document blues with several albums worth of material issued in the the 1970's. I've corresponded with Gianni regarding those albums and he wrote that these releases were "an abuse and an offense to my effort (10 years of field research, and 13 years of re-mastering and text editing), as well as an insult to the memory of the featured artists" and that his overall experience was a "nightmare." Furthermore, he wrote, "my research has been misunderstood with the result that I received some insults and defamation, both in Europe and USA, on magazines and books." The Blues At Home series is his "peaceful reply" to those critics. The recordings heard on this series were kept in Gianni's private archive. "In order to preserve these materials I transferred to digital those I thought were best, and by 2013 [2015]  the 16-volume Blues At Home CD collection was ready for release." The material is currently available on iTunes, Amazon, Spotify, Apple Music and CD Baby for digital download and streaming. There are plans to make these available as physical CD's as well.

"In 1972, Gianni wrote, "I worked with Lucio Maniscalchi. In 1976 Vincenzo Castella, assisted me and took the photographs. Lucio Maniscalchi  worked with me for 11 days (20-31 December 1972); Vincenzo Castella in July-August 1976. Both Maniscalchi and Castella were not interested in my research and documentary project. They left the project after the 2 field trips were done. They just randomly worked with me on those occasions. Their name was erroneously featured and emphasized on the" original LP's, "especially the name of Vincenzo Castella. I was the only responsible of the recordings, archiving, and LP edition (including, of course, all the typos, mistakes, etc.). In 1972 and 1976 Hammie Nixon helped finding some of the performers in Tennessee. In 1976 Mary Helen Looper and Jane Abraham helped in the Delta. …On December 1972, with the help of the Blues At Home Vol. 3legendary harmonica player Hammie Nixon, using a professional portable equipment, I had the chance to start recording blues in Memphis. The documentary research continued in July 1976, ending in July 1982. A series of informal sessions was held during the course of my five trips through Tennessee, Mississippi, and Louisiana, featuring well known, but also little known, and unknown musicians."

On today's program we spotlight recordings from the first nine Blues At Home collections featuring the following artists: Van Hunt, Mose Vinson, Sam Chatmon, Eugene Powell, Memphis Piano Red, Big Jack Johnson, Pinetop Johnson, Carey Tate, Alonzo Burkes, Bukka White, Dewey Corley, Laura Dukes, Jack Owens and  Charlie Sangster.

The first volume of the Blues At Home Collection features singer Van Zula Carter Hunt. Around the late 1910's, she moved to Memphis and began her professional musical activity, traveling for several years with minstrel shows. She played with local blues artists such as Sleepy John Estes, Frank Stokes, Gus Cannon, and Memphis Minnie. In November 1930, she recorded “Selling The Jelly” (issued under the name of the Carolina Peanut Boys) in Memphis for Victor Records. She also recorded some gospel sides as a chorus member with Rev. E.D. Campbell for Victor in 1927. Hunt is backed on a number of tracks by pianist Mose Vinson ,who was also recorded solo, as well as Hunt's daughter Sweet Charlene.

The second volume is devoted to Sam Chatmon the brother Bo Chatmon (a.k.a. Bo Carter) who made numerous popular records in the '30s. Before World War II. the Chatmon brothers and their associate Walter Vincent founded the string band called The Mississippi Sheiks. Throughout the ’60s and ’70s, Chatmon recorded for a variety of labels, as well as playing clubs and blues and folk festivals across America.In 1972 he cut the album The New Mississippi Sheiks, reuniting with Walter Vinson, cut the excellent The Mississippi Sheik for Blue Goose in the early 70's as well as albums for Rounder and Flying Fish among others. Chatmon passed in 1983.

The third volume focuses on Eugene Powell. Born in 1908 in Utica, Mississippi, he took up the guitar at the age of seven and soon developed a formidable technique that won him the respect of contemporaries such as Charley Patton, Bo Carter, and Sam Chatmon. In 1936 he recorded six sides which were released on the Bluebird label under the name of Sonny Boy Nelson, including the original version of “Pony Blues” of which we Blues At Home Vol. 6hear an updated version on today's program.

The fourth volume features an underrated and under recorded pianist John Williams (a.k.a. Memphis Piano Red). In 1930 he moved to Memphis where he started his musical activity, playing often in Beale Street bars. He never had the chance to record 78 rpm race records, and was discovered in the late '60s during blues revival times. These recordings stem from two long sessions held in 1972 and 1978 at his home in Memphis.

The fifth volume features the totally unknown Carey Tate from Henning, Tennessee, a very prolific area from which several outstanding blues artists came such as Noah Lewis, Charlie Pickett, Sleepy John Estes and John Henry Barbee. Tate was born in Henning, Tennessee, in 1905, and was discovered in the summer of 1976 in Humboldt, Tennessee, through the help of Hammie Nixon, and two sessions were recorded at Tate’s home there. Less than one year later, Tate was murdered under obscure circumstances and the recordings presented on this collection remain his last testament. This collection also includes six tracks by Alonzo Burks, another unknown artist discovered in Flora, Mississippi, in the summer of 1978, through referral of William “Do Boy” Diamond’s nephew Eugene.

The sixth volume features an underrated piano blues musician from the Delta, Wallace Bilbo Johnson (a.k.a. Pinetop Johnson). As Gianni writes, "he was discovered there in the late ‘60s by researcher Bill Ferris, who included the transcription of the entire 1969 session in his book Blues From the Delta. Wallace “Pinetop” Johnson was recorded during two relaxed sessions held in the summers of 1976 and 1978, the latter at a local piano supply store, the Gate Piano Company, on Issaquena Avenue in the heart of Clarksdale, where a piano in perfect condition had been made available for the occasion. This CD features his 1978 complete recording session in chronological order, plus some additional material cut in Clarksdale in 1978 by Earnest Roy, Big Jack Johnson, and Wade Walton."

The seventh volume features Bukka White, one of the major Mississippi bluesmen to be rediscovered during the blues revival of the '60s. Gianni writes "this CD features the complete relaxed session recorded at his private home in Memphis on December 22, 1972, in the stately presence of Sleepy John Estes and Hammie Nixon. …Also 107featured on this CD is some unusual material by former jug band members Dewey Corley on piano and Laura Dukes on ukulele, recorded on the same day, December 22, 1972."

The eighth volume features Jack Owens. In 1978, 1980, and 1982, Gianni writes, "I had the chance to meet Owens at his home in Bentonia and to record, during several informal sessions, the material finally released on this CD, which mostly had remained unreleased for over 30 years."

The ninth volume introduces Charlie Sangster , a little known artist of Brownsville, Tennessee. Belonging to a musical family, he learned how to play mandolin and guitar at the age of 12. His father, Samuel Ellis Sangster, was a blues guitarist who used to play with Sleepy John Estes and Hambone Willie Newbern; his mother, Victoria, was a gospel singer. Charlie played at the fish market and in other social situations with a circle of local musicians, including Charlie Pickett, Brownsville Son Bonds, Hammie Nixon, Yank Rachel, Sleepy John Estes, and Walter Cooper. He also knew and performed with Hambone Willie Newbern during the last part of Newbern’s life. Sangster was recorded at eight sessions between 1976 and 1980.

 

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ARTISTSONGALBUM
Ivy SmithGin House Blues Ivy Smith & Cow Cow Davenport 1927-1930
Clara SmithWoman to Woman The Essential
Issie RinggoldBe On Your Merry WayBlue Girls Vol. 2 1925-1930
Frank BusbyPrisoner BoundBill Gaither Vol. 2 1936-1938
Keghouse Canned Heat Blues Piano Blues Vol. 4 1923-1928
Eugene Powell Pony Blues (Santa Fe) Blues At Home Vol. 3
John JacksonPoor BoyThe Blues Revival Vol. 1 1963-1969
Nugrape TwinsThe Road Is Rough & RockySinners & Saints 1926-1931
Mississippi John Hurt Praying On The Old Camp Ground Avalon Blues: The Complete 1928 OKeh Recordings
Eddie Head & His FamilyDown On MeAmerican Primitive Vol. I
Louisiana Red I'm a Roaming StrangerThe Lowdown Back Porch Blues
Howlin' Wolf Poor BoySmokestack Lightning: The Complete Chess Masters 1951-1960
Big Moose Walker Footrace to a Resting Place/Wrong Doing WomanTo Know A Man
Samuel Brooks Oh the Sun's Goin' Down and I Won't Be Here LongField Recordings Vol. 3: Mississippi 1936-1942
George BoldwinCountry Girl Blues Mississippi Blues & Gospel 1934-1942
Willie Ford & Lucious CurtisHigh Lonesome HillMississippi Blues 1940-42
Joe Linthecome Humming BluesHokum, Blues & Rags 1929-1930's
The Three Stripped Gears1931 Depression BluesThe Stuff That Dreams Are Made Of
Jesse AndersonYou'd Better Think TwiceWelcome To The Club
Johnny Twist WilliamsTeach Me HowDown On Broadway And Main
Jimmy NolenStrollin' with Nolen Strollin' with Nolen
Unknown Female SingerAngel ChildField Recordings Vol. 3: Mississippi 1936-1942
Mattie DorseyStingaree BluesBarrelhouse Women Vol. 2 1924-1928
Frank StokesNehi Mama Best OfSara Martin Vol. 4 1925-1928
Blind Joe ReynoldsNehi Mama Blues Blues Images Vol. 5
Joe Turner with Albert Ammons Rock Of Gibraltar Blues Albert Ammons: Alt. Takes, Radio Perfs & Uniss. Home Recordings
Duke HendersonBeggin And PleadinDust My Rhythm & Blues: Flair Records R&B Story
Gene ParrishScreamin' In My SleepRhythm 'n' Blues Shouters
Sippie Wallace Parlor Social De LuxeI Can't Be Satisfied Vol. 2
Sara MartinDown At The Razor BallSara Martin Vol. 3 1924-1925
Blind Willie McTellRazor Ball The Great Race Record Labels Vol. 2: Columbia
Washboard SamDown At The Bad Man's HallWashboard Sam Vol. 5 1940-1941
Bill Gaither Wintertime BluesBill Gaither Vol. 4 1939
Lightnin' SlimWintertime BluesWe Gotta Rock Tonight

Show Notes: 

Our first mix show of the new year finds us digging deep into the pre-war blues catalog featuring several fine artists who left us with only a few 78's, several well known artists like Clara Smith and Blind Willie McTell and some interesting field recordings. From he post-war era some excellent Chicago blues, a few blues shouters, some down-home blues and a few gospel items. We also explore the origins of a well known blues theme.

Frank Busby" 'Leven Light CityWe hear from several superb blues ladies including Ivy Smith and Clara Smith. Ivy Smith hailed from Birmingham, Alabama and primarily worked with pianist Cow Cow Davenport. She was a good singer who cut close to two-dozen sides between 1927-1930. Clara Smith was a much bigger name although perennially eclipsed by Bessie Smith. In 1923 she settled in New York, appearing at cabarets and speakeasies there and that same year made her first records for Columbia Records, for whom she would continue recording through to 1932. She cut over a hundred sides often with the backing of top musicians like Louis Armstrong, Charlie Green, Joe Smith, Fletcher Henderson, Lonnie Johnson and James P. Johnson. Today we feature the lovely "Woman to Woman" from 1930 that features Smith's voice at her best with sympathetic cornet work from Ed Allen.

Then there's the lesser knowns such as Issie Ringgold who waxed one 78 in 1930 for Columbia and was the sister of Muriel, a star on Broadway, Mattie Dorsey who cut four sides for Paramount in 1927 and the unknown field recording of a woman singing "Angel Child" recorded by Alan Lomax in 1942.

Several of the of the male singers featured today are also one hit wonders: Joe Linthecome was an expressive, light voiced singer who cut one marvelous 78  ("Humming Blues b/w Pretty Mama Blues") for Gennett in 1929, Frank Busby was a sensitive singer who cut one 78 ("'Leven Light City b/w Prisoner Bound") in 1937 for Decca backed by Bill Gaither (we also spin Gaither's "Wintertime Blues" today) on guitar and Honey Hill on piano, the Three Stripped Gears were a string band possibly from Georgia, and possibly white, who cut four superb instrumentals and pianist Keghouse who waxed ten sides in 1928 for Okeh and Vocalion, only four of which were issued. Keghouse also recorded a couple of numbers backed by Lonnie Johnson and Thomas "Jaybird" Jones. Jones also made field recordings for Lewis Jones in Clarksdale, Mississippi in 1941-1942 and performs "The Keghouse Blues." In the spoken introduction he talks about his friend Keghouse and how they went to Memphis to make records for Okeh and how he died shortly afterwards.

As anyone who's listened to this program knows I have a huge interest in field recordings, devoting several shows to the topic and interviewing several of the men who made the recordings. The Albatros  label was active from Eugene Powell: Blues At Home Vol. 3the early 70's through the early 80's issuing reissues of pre-war recordings, folk material and most interestingly, to me anyway, is several volumes of field recordings by label owner Gianni Marcucci. Marcucci came to the States in the 70's and captured some fine field recordings  in the 70's and 80's in Tennessee and Mississippi. These albums are long been out-of-print. Recently Marcucci has issued some CD's on he Mbirafon imprint including one by singer Van Hunt, Sam Chatmon and now has issued collections by Eugene Powell (Eugene Powell: Blues At Home Vol. 3and Memphis Piano Red (Memphis Piano Red: Blues At Home Vol.4). The latter two are available only digitally via  iTunes, Amazon and CD Baby. We spin a superb track off the Eugene Powell collection which contains unissued numbers plus tracks from the Albatros LP Police In Mississippi.  I finally tracked down some missing records from Albatros and will be doing an entire show devoted to the label shortly.

Other field recordings come from the pre-war era and were recorded by John Lomax:  Samuel Brooks' "Oh the Sun's Goin' Down and I Won't Be Here Long" (1942) recorded in Edwards, Mississippi and Willie Ford and Lucious Curtis on "High Lonesome Hill." Ad David Evans writes "Lucious Curtis was making a precarious living as a musician while his partner, Willie Ford, worked at a sawmill when John A. Lomax encountered them in 1940 for their only recording session."

In our first show of he new year we traced the origins of several classic blues songs. Today we spin a quartet of related blues songs from the 20's, 30's and 40's that draw from a much earlier source. Around the term of the century there was the "bully song" or more formally "The Bully of the Town" or "Looking for the Bully." There were several songs published with 'Bully" in the title around this period. Paul Oliver noted that the song "reinforced the stereotypes of the razor-totin', watermelon-suckin', chicken-stealin' 'nigger' of that period." The core of the story is an altercation, usually with a razor, between the bully and a rival with the action usually happening at a dance or ball.  Oliver has written about this both in Songsters & Saints and in a chapter titled Lookin' For That Bully in the book Nobody Knows where the Blues Come from: Lyrics and History (the entire chapter is available on Google Books).  In the blues era several songs drawn on these earlier sources including Sara Martin's "Down At The Razor Ball" (1925), Blind Willie McTell's "Razor Ball" (1930) and Washboard Sam's "Down At The Bad Man's Hall" (1941).  Oliver mentions all the songs but one he seems to have overlooked is Sippie Wallace's "Parlor Social De Luxe" (1925) which seems to me at least marginally related. The most famous related song, however, is the Willie Dixon penned "Wang Dang Doodle" (1960) which draws its inspiration from the Sara Martin number. As Dixon recalled "the one Wolf hated most of all was 'Wang Dang Doodle.' He hated that 'Tell Automatic Slim and Razor-Totin' Jim.' He'd say, 'man, that's too old-timey, sound like some old levee camp number.'" In 1966 Koko Taylor had a big hit with the song.

In addition to the down-home blues we also spin some Chicago and jump blues. We play the Howlin' Wolf gem "Poor Boy" (1957) a terrific updating of this old number and Big Moose Walker on "Footrace To A Resting Place" and "Wrong Doing Woman." The Walker tracks were recorded at Elmore James' last sessions for Fire in 1961 and come from the 2-LP set To Know A Man on Blue Horizon. At the time these songs were just attributed to "Bushy Head."

Nugrape Twins: The Road Is Rough And RockyWe spin some great blues shouters including Big Joe Turner on the magnificent "Rock Of Gibraltar" (1936) with Albert Ammons on piano,  Gene Parrish's jumping, raunchy "Screamin' In My Sleep" ("she'd slip and slide and I keep moaning low") featuring Maxwell Davis and superb guitar from West Coast ace Chuck Norris. Parrish cut a dozen sides in 1950-1951 for RPM and Victor.

We also hear from Big Duke Henderson & His Orchestra on "Beggin And Pleadin"from a new 2-CD set on Ace called Dust My Rhythm & Blues: The Flair Records R&B Story. In 1945 Henderson made his debut for the Apollo label on a recommendation by Jack McVea. He was backed on the recording dates by several notable Los Angeles session musicians including McVea, Wild Bill Moore and Lucky Thompson (saxophones), Gene Phillips (guitar), Shifty Henry and Charlie Mingus (bass violin), plus Lee Young and Rabon Tarrant (drums). The recordings were not a commercial success and Henderson lost his recording contract with Apollo. In 1947 Al "Cake" Wichard recorded for Modern Records billed as the Al Wichard Sextette, and featured vocals by Henderson. Henderson subsequently recorded material for a number of labels over several years including Globe, Down Beat, Swing Time, Specialty,] Modern, Imperial and Flair. Later in the decade, Henderson renounced his past, and commenced broadcasting as Brother Henderson as a gospel DJ. After his DJ career, Henderson went on to become a preacher.Henderson died in Los Angeles in 1972.

We also slip in a few gospel numbers: Mississippi John Hurt's "Praying On The Old Camp Ground", Eddie Head and His Family's "Down On Me" which Paul Oliver notes "was notable for the fluent guitar which imparted an easy swing to the recording, and from Eddie Head's skillful harmonizing to his family's singing" and the Nugrape Twins' "The Road Is Rough & Rocky" credited in the Columbia files to "Mark and Matthew (The Nugrape Twins)." The duo recorded eight sides at sessions in 1926 and 1927 for Columbia.

 

 

 

 

 

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ARTISTSONGALBUM
Jimmy DawkinsYou Got To Keep On TryingFast Fingers
Jimmy DawkinsWelfare BluesAll For Business
Annie Summerford'Fo Day BluesEddie Heywood & The Blues Singers 1923-1926
Catherine Henderson (Edmonia Henderson)Four-Thirty BluesEddie Heywood & The Blues Singers 1923-1926
Evelyn ThompsonI Got A Papa Down In New Orleans, Another Papa Up In Maine78
James ShelbyI Love You Girl45
Ben HarperWhich-A-Way45
Blue SmittyElgin MovementsGenesis: Beginnings Of Rock Vol. 3 - Sweet Home Chicago
Sonny Boy Williamson & Memphis SlimNine Below Zero In Paris
Howlin' Wolf Speak Now WomanThe Back Door Wolf
Clifford Gibson Drayman BluesClifford Gibson 1929-1931
Sylvester WeaverSouthern Man BluesSylvester Weaver Vol. 2 1927
Lewis Black Spanish BluesThe Great Race Record Labels Vol. 2: Columbia
Robert LoweryShe Always Treats Me Mean45
Charles ConleyGreyhound Blues45
Muddy WatersCold Up NorthOne More Mile
Scott Dunbar It's So Cold Up NorthGive My Poor Heart Ease: Voices Of The Mississippi Blues
Rabbit MuseHaunted House BluesMuse Blues
Rabbit MuseJailhouse BluesMuse Blues
Levi Seabury Motherless Child Packin' Up My Blues: Blues Of The Deep South 1950-1961
Woodrow Adams & the Three B'sTrain TimeSun Records The Blues Years 1950-1958
"Doc'' Dasher West Palm Beach BluesEddie Heywood & The Blues Singers 1923-1926
Ki Ki Johnson Look What A Hole I'm InHokum Blues 1924-1929
Feathers & Frogs How You Get That WayHokum Blues 1924-1929
Big Boy HenryMr. Ball's WarehouseMr. Ball's Warehouse EP
Algia Mae HintonGoin' Down This RoadEP Audio Arts
Bukka White Poor Boy Living Legends
Eugene PowellPolice In Mississippi Police In Mississippi
Eugene PowellBlues In GPolice In Mississippi
Johnny “Big Moose Walker Chicago Here I Come Going Home Tomorrow
Willie James LyonsChicago WomanChicago Woman

Show Notes:

Jimmy Dawkins
Jimmy Dawkins

A wide ranging mix show on tap for today. We open up with the sad news of the passing of Jimmy Dawkins. As the years roll on and more and more blues artists pass I realize I'm grateful I am that I go to see many of them. I only saw Dawkins once but it certainly was a memorable show in Cleveland probably a decade or so ago. Also on deck today are some long forgotten blues ladies from the 20's, several equally little remembered bluesmen and groups from the same era, twin spins of Rabbit Muse and Eugene Powell, a batch of excellent 45's, some vintage Chicago blues and some excellent down-home blues.

Jimmy Dawkins passed away from undisclosed causes on April 10, 2013. Dawkins moved up to Chicago from Mississippi at the age of 19 in 1955. He became a part of the so called West Side blues scene in Chicago, playing with and befriending Magic Sam, Luther Allison, Otis Rush and Billy Boy Arnold, among many others. In 1969, thanks to the efforts of his friend Magic Sam, he released his first album Fast Fingers on Delmark Records. In 1971 Delmark released his second album All For Business with singer, Andrew "Big Voice" Odom, and the guitarist, Otis Rush. Dawkins began to tour in Europe and Japan and recorded more albums in the United States and Europe. Dawkins also contributed a column to the blues magazine Living Blues. In the 1980s he released few recordings, but began his own record label, Leric Records, and was more interested in promoting other artists.

Rabbit Muse: Muse Blues
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Regular listeners to the show know that I always like to spotlight some of the forgotten blues ladies of the 20's. Everyone knows the stars like Bessie Smith and Ma Rainey but there were hundreds of lesser known ladies who cut perhaps dozens of records or maybe maybe just a handful. Some are forgotten for good reason while others were fine singers who just never made it. Annie Summerford, for instance, was a rich, expressive singer who cut one fine 78 in 1924, "'Fo Day Blues b/w Low Down Blues" backed by Eddie Heywood's Black Bottom Ramblers. Then there was Edmonia Henderson who cut 14 sides between 1923 and 1926 for Paramount, Okeh and Vocalion. Our selection, "Four-Thirty Blues" was cut under the pseudonym Catherine Henderson with backing from just Eddie Heywood on piano. Finally there's Evelyn Thompson's "I Got A Papa Down In New Orleans, Another Papa Up In Maine" from 1927. Thompson also recorded as Evelyn Preer and recorded as a vocalist for the Duke Ellington and Fletcher Henderson bands.

Born in 1908 in Franklin County, VA, Lewis "Rabbit" Muse performed for white and black audiences from the 1920's until the '80s. A consummate entertainer, he played, sang and danced at medicine shows and folk festivals. He recorded a pair of hard to find albums, Muse Blues and Sixty Minute Man, for Rocky Mount's Outlet Records label in the 1970's. He passed in 1982. I've been searching for these records for some time and finally tracked down a copy of Muse Blues – still looking for the other one if any knows where I can get a copy! This is an absolutely charming record featuring blues and pop numbers played with equal verve.

We also spin two by Eugene Powell. 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. Powell moved to Greenville in the 1940s and played with several bands until the early 1950s. He remained largely musically inactive until 1972 when he performed at the Smithsonian Folklife Festival in Washington, D.C. Powell made few recordings during the following twenty years, with only the Italian LP, Police in Mississippi Blues, on Albatros being his only full-length album. I've been featuring a few albums on Albatros lately and may do a  show devoted to the label. There's just a few more on the label I need to track down.

Another future show will be devoted exclusively to 45's that haven't been issued on album or CD. I've never been a huge collector of 45's although I do have quite a few and my friend Axel Künster recently dubbed me some rare ones. Today we play a couple of 45 sets including one featuring James Shelby and Ben Harper. James "Son" Shelby was born in Jasper, TX. in 1927. Blind at birth, he learned how to play harmonica from his father who was a local musician. Shelby worked local dances and other functions in his youth, and later learned how to play guitar from a man by the name of Charlie Hafford. Shelby moved to Beaumont sometime in the 1940's and worked as a street musician for tips through the early 1970's. He also played at the South Texas State Fair from 1970 to 1972. His last documented performance was at the University of Texas in Austin in 1972. Today I spin a 45 he cut in 1972 for the Swoon label. I was unable to track down anything concrete on Harper outside of the fact he cut nine sides in Los Angeles between 1960 and 1962 for the Talent, Cenco and Sylark labels.  "Which-A-Way" finds Harper backed by a rocking band sporting some great sax and background harmony. The song is a really interesting update of the standard "Red River Blues."

45's by Robert Lowery and Charles Conley were issued on the Blues Connoisseur label. The label was run by Donald Lindenau between 1972 and 1975. The label issued fifteen singles by artists such as Richard Riggins, Boogie Jake, Charles Conley, K. C. Douglas, Little Willie Littlefield, Robert Lowery, Sonny Rhodes, and Schoolboy. The majority of these sides have not been issued on album or CD and would make a terrific anthology if someone ever collected them together.

Some strong Chicago blues today including tracks by Blue Smitty, Sonny Boy Williamson with Memphis Slim, Howling Wolf, Muddy Waters, Johnny “Big Moose Walker and Willie James Lyons. Claude "Blue Smitty" Smith allegedly taught Muddy Waters, already an accomplished slide guitar player in the 1940's, how to finger the fretboard of his instrument. Smitty cut just a few sides for Chess (under the name Blue Smitty & His String Men) in 1952 which were unissued at the time.

Eugene Powell: Police In Mississippi
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In 1963 Sonny Boy was headed to Europe for the first time, as part of the American Folk Blues Festival. He loved Europe and stayed behind in Britain when the tour headed home. He started working the teenage beat club circuit, touring and recording with the Yardbirds and Eric Burdon's band, whom he always referred to as "de Mammimals." Sonny Boy was truly appreciative of all the attention, and contemplated moving to Europe permanently but went back to the States and made some final recordings for Chess. He returned to England in 1964 and one of his final recordings, with Jimmy Page on guitar, was entitled "I'm Trying to Make London My Home." Today we spin his classic "Nine Below Zero" backed by Memphis Slim from 1963 which comes from an album called Live In Paris.

The Black & Blue label was a French record company established by Jean-Marie .Monestier in 1966. Isabel was a subsidiary label that operated between 1977–1984 wholly devoted to blues, including albums by Otis Rush, Buddy Guy, Magic Slim, and Lucky Peterson. From that label we play Johnny “Big Moose Walker's Going Home Tomorrow and Willie James Lyons' Chicago Woman both cut for the label in 1979. Both play on each others album backed also by Big Mojo Elem on bass and Odie Payne on drums.

We feature some excellent down-home blues today including tracks from the 50's by Woodrow Adams and Levi Seabury and sides from the 80'sby Algia Mae Hinton and Big Boy Henry. Adams learned both harmonica and guitar during childhood, but was 35 years old before he made his first record. He cut his debut single for Checker in 1952, cut some unissued sides for Sun the same year, followed by a single for Meteor in 1955, a single for Home of the Blues in 1961 and some final sides in 1967 that remain unissued. He passed in 1988. Very little is known about James Levi Sebury. He was probably an Alabama blues singer and harmonica player. He came to Memphis in 1956 to record for B.B. King's short-lived Blues Boys Kingdom label. B.B. didn't keep the label in business very long due to his own recording and touring schedule, and Seabury was one of the very few artists that recorded for it. B.B. produced Seabury's session and plays guitar on his recordings. Seabury never had a chance to record again. It is documented that he died in Dixon Mills, AL. on January 12, 1957.

Both the Big Boy Henry and Algia Mae Hinton EP's featured today were produced by Lightnin' Wells for the Audio Arts label. Wells has produced several recordings by Piedmont artists and currently serves on the board of Music Maker Relief Foundation.

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ARTISTSONGALBUM
Magic Slim She Is Mine 45
Magic Slim Scufflin Grand Slam
Alberta Brown How LongI Can't Be Satisfied Vol 2
Monette Moore Black Sheep BluesMonette Moore Vol. 2 1924-1932
Jenny Pope Bullfrog BluesMemphis Blues Vol. 4 1929-1953
Louis Armstrong Blues for Yesterday C'est Si Bon: Satchmo in the Forties
Louis Armstrong Back o' Town BluesC'est Si Bon: Satchmo in the Forties
Frank Tannehill Rolling Stone BluesRare Country Blues Vol. 4 1929-c.1953
Tommy McLennan Baby, Please Don't Tell On Me Bluebird Recordings 1939-1942
Washboard SamEvil BluesRockin' My Blues Away
Fluffy Hunter Hi Jinks BluesTough Mamas
Madonna Martin Rattlesnakin' Daddy Tough Mamas
James Russell I Had Five Long YearsPrison Worksongs
Big Joe Williams These Are My Blues (Gonna Sing ´Em For Myself)These Are My Blues
Blind Arvella GrayWalking BluesBlues From Maxwell Street
Precious Bryant Precious Bryant's Staggering BluesNational Downhome Blues Festival Vol. 1
Precious Bryant That's The Way The Good Thing Go George Mitchell Collection Box Set
'Talking' Billy Anderson Lonely Bill Blues The Great Race Record Labels Vol. 2
Blind Willie McTell Stole Rider BluesBest Of
Charley JordanHunkie Tunkie Blues Charley Jordan Vol.1 1930-1931
Teddy Darby She Thinks She's Slick Blind Teddy Darby 1929-1937
Zuzu Bollin Headlight BluesR&B Guitars 1950-1954
Jimmy Babyface Lewis Last NightComplete Recordings 1947-1955
Big Joe Turner Wine-O-Baby BoogieTell Me Pretty Baby
Al "Cake" Wichard Sextette & Jimmy Witherspoon Geneva BluesCake Walkin’: The Modern Recordings 1947-1948
Lee Roy LittleI''m a Good Man But a Poor Man Blues From The Apple
Charlie SaylesVietnamThe Raw Harmonica Blues Of
Johnny MomentKeep Our Business To YourselfI Blueskvarter Vol. 3
Robert Pete Williams Freight-Train Blues Louisiana Blues
Hammie NixonViola Lee Blues 2Way Back Yonder Vol. 1
Eugene Powell Poor Boy Blues Mississippi Delta & South Tennessee Blues
Magic Slim Stranded On The HighwayLiving Chicago Blues Vol. II
Magic Slim Ain't Doing Too BAdRaw Magic

Show Notes:

Magic Slim
Magic Slim

It seems these mix show end up as tributes to an increasing number of blues artists who've passed recently. This time out we pay our respects to Magic Slim and Precious Bryant. Along the way we spin a pair of bluesy numbers by Louis Armstrong, play a few sets of pre-war blues, spotlight some interesting field recordings as well as some jump blues from the post-war era.

I was lucky enough to catch Magic Slim on several occasions and he always delivered the goods, which is to say a good dose of gutbucket blues. After battling health problems Slim passed at the age of 75 on Feb. 21st. His mentor was Magic Sam, whom he knew as a child in Mississippi and who offered early encouragement. “Magic Sam told me don’t try to play like him, don’t try to play like nobody,” he once recalled. “Get a sound of your own.” It was also Magic Sam who gave a teenager named Morris Holt the stage name Magic Slim when the two performed together in Chicago in the 1950's. He recorded his first single, “Scufflin’,” in 1966 and formed the Teardrops with his younger brothers a year later. Magic Slim and the Teardrops eventually became the house band at a local nightclub, Florence’s. They went on to tour and record regularly, headlining blues festivals all over the world, and to win numerous awards, including the 2003 Blues Music Award as band of the year. Magic Slim recorded prolifically, cutting his first album for the French MCM label in 1977 with follow-ups on labels like Blind Pig, Alligator and Wolf. Among my personal favorites of Slim voluminous discography would be Grand Slam (Rooster), Raw Magic (Alligator) and the series on Wolf titled Live At The Zoo Bar (five vols. I think?) which really capture Slim and the Teardrops in prime form.

Unfortunately I never got to see Precious Bryant who passed away on January 12th. She was born in Talbot County, GA and went on to play numerous festivals including the Chattahoochee Folk Festival, the National Down Home Blues Festival in Atlanta (recordings by her appear on the companion albums), the King Biscuit Blues, Newport Folk Festival, Utrecht Blues Festival in Utrecht, Holland and others. She never went on tour and didn't release an album until Fool Me Good in 2002 although a few scattered sides were recorded in the field by George Mitchell. It was Mitchell, who discovered her in 1969 while documenting the lower Chattahoochee scene. She cut a follow-up album, The Truth, in 2005 and the same year cut an album on the Music Maker label.

Precious Bryant
Precious Bryant

When not listening to blues I do listen to quite a bit of jazz, particularly the older stuff, and have listened to Louis Armstrong's hot Fives and Hot Sevens countless times. I suspect, like many, I haven't really listened to many of his recordings after this period. Some time back I picked up the 4-CD box set C'est Si Bon: Satchmo in the Forties on the Proper label which is where today's tracks come from. Satchmo set the bar so high on those early recordings they're pretty much unsurpassable but this set very worthwhile.  Lots of good stuf from big band sides, duets with Ella Fitzgerald, Billie Holiday and great live recordings from the Town Hall and Symphony Hall with the All Stars. One of the songs, "Back o' Town Blues", was first recorded as an instrumental by the Original Memphis Five in 1923 on the Edison label.

From the pre-war era we spin some fine blues ladies including Monette Moore and Jenny Pope plus obscure male artists such as Frank Tannehill and 'Talking' Billy Anderson. Moore began her career accompanying silent films in Kansas City and then toured the vaudeville circuit as a pianist and singer. In the early 1920's she made her way to New York and became active in musical theater. Her recording career began in 1923. In 1927 and 1928 she was singing with Walter Page's Blue Devils in the mid-West. She returned to New York in 1929 and was very active in musical theater and cabaret work until the late 1930's. In the early 1940s, she moved to Los Angeles and performed in clubs, recorded with Teddy Bunn and the Harmony Girls and had small parts in a couple of films. From 1951 to 1953 she appeared on the Amos 'n Andy television program and recorded with George Lewis. Moore passed in 1962. From 1925 we spin her "Black Sheep Blues" (Virginia Liston cut the same song a few months later) which is not the same song as Pigmeat Terry cut in 1935 but offers a similar sentiment:

When you're thinking of black sheep
Just take a look at me
I'm the blackest of black sheep
That ever left old Tennessee

Lord from the straight and narrow path I've strayed
From the straight and narrow path I've strayed
With regrets and sorrows I have paid

Just a black sheep roamin' round the town (2x)
Like a tramp I'm always out and down

While Moore cut some fifty sides during her prime Jenny Pope was much less documented. Pope was married to Will Shade leader of the famous Memphis Jug Band. Pope cut six sides at three sessions in 1929 and 1930. She may have recorded with the Memphis Jug Band under the name Jennie Clayton. Pope delivers a great performance on "Bull Frog Blues", not to be confused with the William Harris song of the same name, with great piano playing from Judson Brown.

Little is known about Frank Tannehill and Billy Anderson. A pianist from Dallas, Texas Frank Tannehill backed Pere Dickson on his two 1932 recordings made in his hometown. Tannehill began his own recording career with two songs recorded in Chicago in 1937. 1938 found him in a San Antonio studio waxing four more songs. His third and final session was in 1941 in Dallas for a four song session. He was never heard from again. Nothing is known about Billy Anderson, other than the fact that two records were recorded under his name in 1927 and that he may have been from Georgia.

Mississippi Delta & South Tennessee Blues
Read Back Cover

Moving up the 1940's we spin some fine jump blues from ladies like Fluffy Hunter and Madonna Martin as well as Big Joe Turner and Al Wichard among others. Krazy Kat was a great British label that put out some really interesting anthologies. From the aptly title Tough Mamas we spin rocking tracks from Fluffy Hunter and Madonna Martin. Big Joe Turner's jumping  "Wine-O-Baby Boogie" features the mighty Pete Johnson on piano and comes from the album Tell Me Pretty Baby a fine collection of late 40's sides issued on Arhoolie.  Al Wichard's "Geneva Blues" features Jimmy Witherspoon on vocals. Wichard was born in Welbourne, Arkansas, on August 15th, 1919 but the steps by which he arrived in Los Angeles as a drummer in 1944 remain shadowy. He managed to record with Jimmy Witherspoon and Jay McShann within weeks of his arrival, and in April 1945 was the drummer on Modern’s first session, accompanying Hadda Brooks. Wichard's is collected on the reissue on Ace, Cake Walkin’: The Modern Recordings 1947-1948.

Last week I did a whole show devoted to great out-of-print records and today we feature a couple from the Albatros label: Mississippi Delta & South Tennessee Blues and Way Back Yonder Vol. 1. Albatros is an interesting label that has not been all that well served on CD. The label was active from the early 70's through the early 80's issuing reissues of pre-war recordings, folk material and most interestingly, to me anyway, is several volumes of field recordings by label owner Gianni Marcucci. Marcucci came to the States in the 70's and captured some fine field recordings  between 1976 and 1978 in Tennessee and Mississippi. Several of these collections have long been out-of-print including all three volumes of the Way Back Yonder series, the collections Mississippi Delta & South Tennessee and I Got The Blues This Morning and single artists albums by Eugene Powell (Police In Mississippi), Carey Tate (Blues From The Heart) and Jack Owens (Bentonia Country Blues). A while back Marcucci formed the Mbirafon imprint which so far has issued collections of field recordings of Sam Chatmon and Van Hunt. I've heard through the grapevine there was a Eugene Powell 2-CD planned. The label hasn't issued anything in awhile and I wouldn't be surprised if Marcucci got discouraged due to general lack of interest in these kinds of project. I, for one, hope he forges ahead. I should also mention that are three Albatros collections available on CD: Tennessee Blues Vol. 1, 2, and 3 which have very good performances from Laura Dukes, Dewey Corley, Bukka White and others.

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