Show Notes:

Some piano player, I’ll tell you that
(Ivy Smith, Alabama Strut)

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On December 4, 2009 Francis Wilford-Smith died and today we pay tribute to him. Smith was an avid collector of 78 records, a broadcaster on BBC Radio 3 (Aspects of the Blues) and the compiler of some excellent piano blues LP’s on the British label Magpie Records, drawing all the material from his own collection. Today’s selections all come from Smith’s groundbreaking 21 volume series he started in 1977 and issued on the Magpie label, a subsidiary o of the Flyright label. Subsequently his collection was used for a piano blues series on Yazoo issued on CD. He had one of the largest collections of piano blues 78′s in the world. Smith also field recorded Roosevelt Sykes and Little Brother Montgomery at his home in Sussex in 1960, yielding two 1980s LP’s of the latter: These Are What I Like: Unissued Recordings Vol. 1 and Those I Liked I Learned: Unissued Recordings Vol. 2. Smith made a good living from cartoons published under the pen name ‘Smilby’ in Playboy, which allowed him to outbid others for rare 78s. Wilford-Smith was 82, had suffered from Parkinson’s disease since 1994, and spent his last years in a nursing home. He died asleep in bed.

On a personal note, it was through the Magpie series that I became a life long fan of piano blues. I came to the series late, my first purchase was volume 20 and I must have been around 16. The album made a huge impression on me and I even remember exactly where I purchased it – Tower Records on West 4th St., NYC. I went back and picked up as many of the rest of the albums I could find and over the years completed the entire series. The series had everything you would want; each thematically well assembled, excellent liner notes (brief introductions by Smith) by Bob Hall, Paul Oliver and Richard Noblett and superb transfers.

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Before I give some background on the individual volumes, its worth quoting Wilford-Smith from his introduction to the series:  “The well-merited reissue of so many excellent blues guitar records over the past few years has had, perhaps, one unfortunate and unintentional – in that it caused the pianist to be unfairly overshadowed. This album marks the start of a series which, it is hoped, will put into perspective the role of the piano in blues history and do justice to the memory of the many fine pianists who have so enriched the music. We are only using 78 originals from my own collection, thus giving the listener the rare chance to hear records; at their best. No dubs, no tape-tracks that have wandered in and out of   half-a-dozen tape collections before being issued with that all too familiar dead and muffled cotton-wool-in-the-ears sounds. No ordinary filtering of any sort has been done in any misguided attempt t0 ‘improve’ the quality, and each listener is left free to filter to his own taste. Surface noise there may be, but freshness and vitality are not strained away. The selection of records both here and throughout the series will be essentially subjective and reflect my own taste, but l shall endeavor to include a wide-ranging variety of piano styles and treatments to give as broad as possible a picture of the whole blues piano scene.”

More or less, we work our way through the series volume by volume. The first volume and volume 17 are devoted to Paramount and as Smith writes: “…We start with Paramount, almost unchallenged as the greatest blues label, and its piano content lives up to its reputation. Here are joys indeed  -  and some of the greatest blues piano ever recorded.  Spand, Little Brother, Ezell,  Louise Johnson, Wesley Wallace, Garnett.  …I think the playing here must satisfy the most critical lover of the blues.” From those volumes we spin tracks by Little Montgomery, Charles Avery, Charlie Spand, Louise Johnson, Henry Brown and Jabo Williams.

“…The second volume”, Smith writes, “in our Piano Blues Series, will  be found very different in character to Volume One.  … Here on Brunswick a large  proportion of  the  piano blues bear a strong family resemblance and emotional  unity. This perhaps because several of the artists would seem to hail from the St. Louis area, and share that  hollow-chorded easy-rocking piano style.” The Piano Blues Vol. 3 is devoted to the Vocalion label which was founded in 1916 and acquired by Brunswick in 1925. These are particularly strong volumes and we included several tracks from these collections including Eddie Miller, Charles “Speck” Pertum, Lucille Bogan, Mozelle Alderson, Romeo Nelson and Joe Dean among others.

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Next to St. Louis, one of the most musically rich piano regions was Texas as Paul Oliver observed:  “Texas was as rich in piano blues as Mississippi was in guitar blues …A cursory glance through the discographies will emphasize the fact that a remarkable number of blues pianists came from Texas.” Four volumes in the series are devoted to the piano blues of Texas: The Piano Blues Vol. 4 – The Thomas Family 1925-1929, The Piano Blues Vol. 8 – Texas Seaport 1934-1937, The Piano Blues Vol. 11 – Texas Sante Fe 1934-1937 and The Piano Blues Vol. 15 – Dallas 1927-1929. The Texas pianists, Oliver notes, “…can be grouped into ‘schools’, characterized by certain similarities of style and approach, that were partly a reflection of the environments in which they worked, of their friendships and associations with other pianists, and by the isolation of Texas from other states.” One school was the so-called “Santa Fe group” who were based in the southwestern part of the state where the cities of Galveston, Houston and Richmond lie. Here was where the music thrived and pianists could be found like Pinetop Burks, Son Becky, Rob Cooper, Black Boy Shine, Andy Boy, Big Boy Knox, Robert Shaw, Buster Pickens and the singers who worked with them like Walter “Cowboy” Washington and Joe Pullum. The other important school was a cluster of pianists and singers based in Dallas such as Alex Moore, Texas Bill Day, Neal Roberts Willie Tyson, and singer Billiken Johnson. The earlier Texas piano tradition is documented on The Piano Blues Vol. 4 – The Thomas Family 1925-1929. As David Evans states: “It is likely that no family has contributed more personalities to blues history than the Thomas family of Houston, Texas, whose famous members included George W. Thomas, his sister Beulah “Sippie” Wallace, their brother Hersal Thomas, George’s daughter Hociel Thomas, and Moanin’ Bernice Edwards who was raised up in the family.”

Several volumes in the series are devoted to individual artists or a cluster of artists: The Piano Blues Vol. 6 – Walter Roland 1933-1935, The Piano Blues Vol. 7 – Leroy Carr 1930-1935, The Piano Blues Vol. 9 – Lofton-Noble 1935-1936 (Cripple Clarence Lofton and George Noble), The Piano Blues Vol. 12 – Big Four 1933-1941 (Little Brother Montgomery, Walter Davis, Roosevelt Sykes, Springback James) and The Piano Blues Vol. 18 – Roosevelt Sykes/Lee Green 1929-1930.

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Among the other volumes in the series we play tracks from The Piano Blues Vol. 5 – Postsript 1927-1935, The Piano Blues Vol. 13 – Central Highway 1933-1941, The Piano Blues Vol. 14 – The Accompanist and The Piano Blues Vol. 20 – Barrelhouse Years 1928-1933. Among the tracks we spin from these collections are Turner Parrish’s remarkable “The Trenches” who Bob Hall calls “an eccentric and probably unschooled pianist with nevertheless a considerable technique”, Georgia White accompanying herself on piano on the boisterous “The Blues Ain’t Nothin’ But…”, the obscure Pigmeat Terry who sings magnificently on the moving “Black Sheep Blues” accompanied by his own piano and the wonderful Pinetop and Lindberg’s “East Chicago Blues.”

The piano blues series officially concluded with The Piano Blues Vol. 21 – Unfinished Boogie 1938-1945 which collects unreleased recordings of Albert Ammons, Pete Johnson and Meade Lux Lewis. As mentioned previously two collections of recordings by Little Brother Montgomery were made at Smith’s home in 1960 and were the final albums issued on the Magpie imprint. Yazoo Records launched their own piano blues series also using 78’s from Smith’s collection. As far as I can tell the series has stopped but they issued seven excellent collections.

Related Articles:

Notes to The Piano Blues Vol. 8 – Texas Seaport 1934-1937, The Piano Blues Vol. 11 – Texas Sante Fe 1934-1937 and The Piano Blues Vol. 15 – Dallas 1927-1929 (Word Doc)

Show Notes:

Georgia White & Bumble Bee Slim

Another mix show for today. I’ve finally caught up a bit so the next few weeks I’ll be doing some themed shows.  Today’s program sports two short tributes to Les Paul and Robert Johnson.  We open and close the show with tracks by Georgia White featuring a young Les Paul. White was a popular singer of the 30′s and 40′s who cut around a hundred sides for Decca between 1930 and 1941.  In 1936 she cut five sides backed by guitarist Les Paul who just passed away on August 13^th. These are among Paul’s first recordings and it’s clear he’s already an accomplished guitarist. Little is known of White’s post-recording years outside of the fact that she led an all girl band in the late 40′s and was lasted glimpsed appearing in a Chicago club in 1959.

We also pay tribute to Robert Johnson who died on this date seventy-one years ago, Aug 16, 1938 in Greenwood, MS. I have to admit that I haven’t played Johnson much on my show. At this point more ink has been spilled on Robert Johnson than any other blues artist and while there has been plenty of quality research on the elusive bluesman it’s been largely buried in layers of hyperbole, mythology, speculation, romanticism and sheer nonsense. My main problem is that this obsession on every minutiae of Johnson’s life has taken away the focus on his very real talents and perhaps more importantly this lopsided focus on Johnson has obscured the fact that he was very much part of a tradition; his music firmly built on the artists who came before like Lonnie Johnson and Tampa Red who don’t get a shred of the acclaim that Johnson does. Johnson remains one of the blues great artists, his brilliance was in how he borrowed, reshaped, synthesized and added his own voice to the music of those who came before to create a powerfully individual style. It would be nice if this intense spotlight on Johnson spilled over to raise the awareness of other equally worthy early blues artists who I play on a regular basis.

Charley Patton

One of the guys Johnson was inspired by was Charley Patton who was dead two years when Johnson made his debut in 1936.  From Patton’s last session in 1934 we spin his “High Sheriff Blues.” Collectors and serious listeners have long held Patton as he pinnacle of the Delta blues artists. Patton hasn’t accrued the mythological baggage of Johnson and isn’t as accessible as Johnson, with his often garbled singing paired with particularly noisy records.  Patton has always cast a spell over me although I’ve had a hard time articulating exactly why. I recently ran across the following by Tony Russell in the indispensable The Penguin Guide To The Blues that pretty much nails what makes Patton’s music so compelling and is worth quoting in full:

“In the best-known photograph of Charley Patton a youngish man faces posterity with a straight but somewhat apprehensive gaze. Some of what lay ahead he might have predicted: a hard life, early death, obscurity. What was not on the cards was that some 30 years later he would begin to be described as one of the most singular musicians of the 20th century, a voice of the blues like no other, a teller of stories from a time and place that for his new listeners were as unimaginable  as the dark side of the moon. His sometimes strangled utterances, already half choked by the surface noise of old discs, gradually revealed themselves to be passages from an oral history of black Mississippi in the 1910s and ’20s: its dirt roads and rivers, drinking places and jails, the pest ravaged cottonfields of “Mississippi Bo Weavil Blues”, the drought of “Dry Well Blues”, the flooded bottomlands of “High Water Everywhere” and, turning from natural disasters to man-made ones, the layoff of railroad workers in “Mean Black Moan.” These reports, and the many other types of songs he recorded, from blue-ballads like “Frankie And Albert” and rags like “Shake It And Break It” to hymns and transformed popular songs, are delivered in a voice as tough as steel, to guitar melodies as densely springy as ryegrass. It is extraordinary music, not always easy to understand, but so full of incident that it quickly becomes totally absorbing.”

Turning from the guitar we spotlight a number of fine pianists including Charlie Seger, Kid Stormy Weather Frank Tannehill and Champion Jack Dupree.  Pianist Segar cut ten sides at sessions in 1934, 35 and 40 and cut recorded the first version of “Key To The Highway” in February 1940. Big Bill Broonzy claims to have written the song, a song also claimed by Jazz Gillum. Gillum cut his version a few months later in May 1940 and Broonzy cut his version in May 1941. Kid Stormy Weather recorded two songs in 1935, and was a local legend around New Orleans. He was an influence on Professor Longhair. Frank Tannehill was a fine singer/pianist who cut ten sides in the late 30s and early 40s. “Warehouse Blues” is a poignant working man’s blues:

You know why my baby she looks so fine (2x)
I’m working at the warehouse giving her all my time
I don’t care, that the streets is covered with snow (2x)
I got to work at the warehouse, and bring my baby the roll
The old house burned down, got to wait till’ they build again (2x)
I’m cutting grass now but I’m still bringing money in

“Bad Whiskey And Wild Woman” feature superb guitar from Brownie McGhee and comes form the brand new 4-CD set Champion Jack Dupree Early Cuts on the JSP label which collects everything he cut from 1940 through 1953.

Jumping ahead to the 60s and 70s we spin some great records by Barrelhouse artists Blind Joe Hill and Easy Baby and music from Excello artists Jimmy Anderson and Whispering Smith. The Barrelhouse label was a fine Chicago label run by George Paulus during the 70s featuring a roster that included albums by Washboard Willie, Big John Wrencher, Charlie Feathers, Harmonica Frank Floyd, Blind Joe Hill, Joe Carter, Robert Richard, Easy Baby and others.  Easy Baby is an exceptional singer and harmonica blower who cut two superb records 25 years apart. Our selection comes from Sweet Home Chicago Blues a 1977 album featuring a great band that included guitarist Eddie Taylor and drummer Kansas City Red. In 2000 he cut the album If It Ain’t One Thing It’s Another for the Wolf label, which is nearly as good. Blind Joe Hill was a one-man-band who recorded two albums under his own name on the Barrelhouse and L+R labels and was part of the 1985 American Folk Blues Festival touring Europe. We spin a few songs form the excellent 2-CD set Blues Hangover a collection of Excello rarities including excellent tracks by Jimmy Anderson who sounds uncannily like Jimmy Reed, the fine Whispering Smith who found his way to the label as Excello was circling the drain and the mysterious Early Dranes. The cuts by Dranes come form an Excello audition tape that surfaced decades after the label folded.

Show Notes:

We kick today’s show off with the last commercial recordings by Memphis Minnie and husband Ernest Lawlars AKA Little Son Joe. The two first began recording together back in February 1939, cutting about 70 sides together, laying down their last recordings for the J.O.B. label on October 5, 1953.  From this final session we spin the romping “Kissing In The Dark” with Minnie taking the vocal and “A Little Too Late” released under Little Son Joe’s name which is the “B” side of his “Ethel Bea.” He cut only a handful of sides under his name and these later numbers showcase a very fine, plaintive voiced singer and a terrific electric guitarist. Little Son Joe took up with Memphis Minnie in the late 1930′s, replacing her previous husband and partner, Kansas Joe McCoy. He made a few records under his own name at sessions in 1939 and 1941, including the well-known “Black Rat Swing” but mostly appeared in a supporting role. He retired from music with Minnie in the 1950′s.

We play another twin spin, this time moving up to the 1950′s, with a pair of featured tracks by Johnny Fuller. Fuller was a West Coast bluesman who left behind a bunch of 1950′s recordings. He was equally at home with low down blues, gospel, R&B, and rock & roll. Making the Bay Area his home throughout his career, Fuller turned in classic sides for Heritage, Aladdin, Specialty, Flair, Checker, and Hollywood. By and large retiring from the music scene in the 1960′s (with the exception of one excellent album in 1974), Fuller worked as a garage mechanic until his passing in 1985. “Roughest Place In Town” is superb rendition of “Tin Pan Alley” while “Mean Old World”, from the same session, is a smoldering uptempo number with some lyrics that still resonate today:

Well you think you got trouble, oughta see what I’m going through (2x)
Well I’m going through starvation, man jobs are so doggone few
Well the banks foreclosed on my home, had no place to hang my head (2x)
Well my finance man came, took my brand new Cadillac

Another double spin, of sorts, is a spotlight on two excellent out of print Bluesway LP’s: Lee Jackson’s Lonely Girl (Bluesway, 1974) and Andrew “Voice” Odom’s Farther Up The Road (Bluesway, 1969). Guitarist/bass session man Lee Jackson played on records of Eddie Clearwater, Homesick James, J.B. Hutto, Little Walter, Shakey Jake, Johnny Shines, Sunnyland Slim, Roosevelt Sykes, Hound Dog Taylor among others. He cut a few singles of his own on small labels and one full-length LP. He was murdered in Chicago in 1979. Andrew Odom was was a great journeyman Chicago singer who recorded relatively sparingly. Odom fell in with Albert King and Johnny O’Neal on the St. Louis blues scene of the mid-’50s and  made his recording debut in 1961, singing “East St. Louis” with the band of one Little Aaron for the obscure Marlo imprint. He arrived in Chicago around 1960, hooking up with Earl Hooker and working and recording with him through the decade. A single for Nation Records in 1967 (as Andre Odom) preceded his debut album for BluesWay (cut in 1969, it remained in the can for quite a while before the label finally issued it). A guest spot on Jimmy Dawkins’s  All for Business, was a highlight of the ’70s for the singer. He cut his own album for the French Isabel label in 1982 in the company of Magic Slim & the Teardrops (reissued by Evidence in 1993) and finished his career with the superb 1992 set for Flying Fish, Goin’ to California which came out posthumously. Odom passed in December 1991.

There’s some excellent vocal performances on today’s program including a gorgeous reading of Percy Mayfield’s “Please Send Me Someone To Love” by Dinah Washington and Johnny Moore’s Three Blazers on the original 1949 version of  “How Blue Can You Get.” This number was covered in 1951 by Louis Jordan which is where B.B. King first heard the song. King began using it in his live act at recorded it on his classic Live At The Regal album from 1963. Speaking of Percy Mayfield we hear Percy at his world weary best on the mellow “Ha Ha In The Daytime” his last side for Ray Charles’ Tangerine label, a remake of a previously unreleased 1962 number. This one come from Rhino’s Tangerine and Atlantic Sides an indispensable collection of Mayfield’s 1960′s sides.

From the 1970′s we play some fine downhome blues form Guitar Gabriel plus excellent field recordings by James Davis and Albert Macon with Robert Thomas recorded by the tireless George Mitchell. Guitar Gabriel is familiar to some collectors as Nyles Jones, the name under which he recorded the superb LP, My South, My Blues, for the Gemini label in 1970.He dropped out of sight for about 20 years and his belated return to performing was due largely to folklorist and musician Timothy Duffy, who located Gabriel in 1991. With Duffy accompanying him as second guitarist on acoustic sets and as a member of his band, Brothers in the Kitchen, Gabriel performed frequently at clubs and festivals, and appeared overseas. He recorded several albums for Duffy’s Music Maker label before passing in 1996. Albert Macon began teaching Robert Thomas to play blues guitar when Thomas, who was nine years younger than Macon, was about 15 years old. For over 40 years the two men played music together at fish fries, parties and festivals around Georgia. The two men also received national and international attention, playing such venues as the Knoxville World’s Fair and the American Blues Festival in the Netherlands and the WDR Blues Festival in Bonn, Germany. Macon and Thomas recorded Blues and Boogie from Alabama on the Dutch Swingmaster label as well as captured by George Mitchell

As usual there’s plenty of vintage blues from the 1920′s and 1930′s. On tap today are classic performances by Henry Thomas, Tommy Johnson, Georgia White, Sleep John Estes, William Moore and all-time blues classics in Blind Willie McTell’s “Statesboro Blues” and Pinetop Smith’s “Pine Top’s Blues.” We also jump ahead to hear Son House on a 1964 performance of “Pony Blues” (34 years after his recording debut for Paramount) which comes from the excellent Blue Goose LP The Real Delta Blues, a great collection of early rediscovery sides that unfortunately has yet to make it to CD.