Big Road Blues

Show Notes:

We cover a wide swath of blues spanning from 1927 through 1976. Along the way we spotlight some fine piano blues, several superb blues ladies, lots of pre-war blues including twin spins of Charlie Patton and two by Memphis Slim. Among the featured piano players are a couple from St. Louis; Aaron “Pinteop” Sparks and Charlie McFadden. According to Henry Townsend McFadden could play a little piano but on his records deferred to others including Roosevelt Sykes, Eddie Miller and Aaron “Pinteop” Sparks. McFadden was a marvelous vocalist who possessed a plaintive, laid back delivery and was a good lyricist to boot. McFadden used the name “Speck” Pertum when he recorded for Brunswick, nicknamed for the glasses he always wore. Based in St. Louis, he toured extensively with Roosevelt Sykes, traveling as far south as Texas. McFadden cut two-dozen sides between 1929 and 1937 for a variety of different labels. According to Townsend he passed sometime in the early 1940′s.

The Sparks brothers were based in St. Louis and cut four sessions, the first for Victor and the other three for Bluebird, between 1932 and 1935. Milton cut two songs for Decca in 1934 under the name Flyin’ Lindberg. Aaron backed a number of St. Louis artists at their second session: Elisabeth Washington, Tecumseh McDowell, Dorotha Trowbridge, James “Stump” Johnson and Charlie McFadden.Townsend remembered the brothers well:   “He [Marion] just kept getting better and better and got to playing for illegal joints y’know. …Pinetop was doing a lot of house-party playing and uh ’cause this was a trend then. We would go from house-party to house-party and make some money to pay the rent. We’d go from place to place like that I mean it’d be announced at this party before it was over that there would be such and such a place to get their rent paid and Pinetop would play for those kind of parties where they had a piano–and I kinda went around him quite a bit.” Now at that time Milton wasn’t singing, Pinetop was the star when it come to singing. And so just out of nowhere Milton decided he was going to sing and he’d start. …Aaron got the name Pinetop because “He was very good at the number that Smith made [Pinetop Smith's "Pine Top's Boogie Woogie"]. Today’s selection, “Down On The Levee”, is a typically sensitive mid-tempo number featuring Milton’s fine, mellow delivery and some wonderful right hand flourishes from Aaron.

Mack Rhinehart and Brownie Stubblefield were a piano/guitar team that cut a dozen sides in 1936 and 1937. Rhinehart also recorded solo as Blind Mack in 1935 but only two of his ten  sides were ever released.  According to Blues & Gospel Records some twenty-two sides by the duo remain unissued. Nothing is known about the duo although noted researcher David Evans called Rhinehart “a major artist” with “an outstanding recorded legacy.”

Better known is Montana Taylor who was born Arthur Taylor in Butte, Montana, where his father owned a club. The family moved to Chicago and then Indianapolis, where Taylor learned piano around 1919. Later he moved to Cleveland, Ohio. By 1929 he was back in Chicago, where he recorded a few tracks for Vocalion Records, including “Indiana Avenue Stomp” and “Detroit Rocks”. He then disappeared for some years but was rediscovered by jazz fan Rudi Blesh, and was recorded both solo and as the accompanist to Bertha “Chippie” Hill who sings on today’s track, “Mistreatin’ Mr. Dupree.” His final recordings were from a 1948 radio broadcast. Taylor died in 1954. Taylor’s final recordings are collected on the CD Circle Recordings on the Southland label.

Bertha “Chippie” Hill

We showcase several fine blues ladies including stars Ma Rainey and Bessie Smith plus lesser known singers like Mary Johnson, Hattie Burleson and Hattie Hudson. From 1928 we hear Bessie in top form in “Slow And Easy Man.” The Columbia Records 1927 catalog gave prominence to Bessie as “The Empress of the Blues” and listed a full three pages of her recordings. The advertising read: “Wherever the blues are sung, there you will hear the name of Bessie Smith, best loved of all the Race’s blues singers. Bessie has the knack for picking the songs you like and the gift of singing them the way you want them sung. Every year this famous ‘Empress of the Blues’ tours the country appearing before packed houses.”  Like Bessie Ma Rainey made her debut in 1923. Born in 1886, she said that she added blues in her act in 1902 and by the 1920′s it certainly dominated her repertoire. Our selection, “Leaving This Morning”, is one of eight numbers she cut in 1928 backed by the team of Tampa Red and Georgia Tom Dorsey.

Of the lesser known ladies, Mary Johnson of St. Louis (sometimes billed as “Signifying Mary”) made her debut in 1929. She cut just shy of two-dozen songs, achieved modest success and never recorded again after 1936 despite living until 1970. Johnson was blessed with superb backing musicians throughout her brief career that elevated her recordings above many of her contemporaries. She was accompanied by either Henry Brown, Judson Brown, Roosevelt Sykes, or Peetie Wheetstraw on piano, many selections featuring trombonist Ike Rodgers, guitarists Tampa Red and Kokomo Arnold and violinist Artie Mosby. Hattie Burleson and Hattie Hudson both hail from Dallas. Hudson cut one 78 in Dallas in 1927.Texas blues singer Hattie Burleson recorded four tracks in Dallas, TX, for Brunswick Records in October 1928. Two years later she recorded three sides in Grafton, WI, for Paramount Records. Little else is known about her life, save that she lived in the famed Deep Ellum area of downtown Dallas, where she operated a dancehall for a time. Her “Sadie’s Servant Room Blues” is a rare protest song dealing with domestic service:

Missus Jarvis don’t pay me much
They give me just what they think I’m worth
I’m gonna change my mind, yes change my mind
Cause I keep the servant room blues all the time

I receive my company in the rear
Still these folks don’t want to see them here
Gonna change my mind, yes change my mind
Cause I keep the servant room blues all the time

We spin a pair of tracks apiece by Memphis Slim and Charlie Patton. From Slim we play tracks form two excellent 1960′s records: Sonet Blues Story cut for Verve in 1967 and  Bad Luck & Trouble cut for Candid in 1961 a session he shared with Jazz Gillum and Arbee Stidham. The former session is a nice date featuring excellent contributions from guitarist Billy Butler and tenor man Eddie Chamblee. Slim is in majestic form on today’s number, “I Am The Blues.” The latter date finds Slim running through some favorites and offering up some spoken commentary about the songs’ originators like Leroy Carr, Big Maceo and Curtis Jones.

We return again to Charlie Patton who we spotlighted at the end of November. I never get tired of listening to Patton and this time we spin a couple of tracks I didn’t get to last time: “Elder Greene” and “Hammer Blues.” “Elder Greene” was likely a song Patton picked up from his mentor Henry Sloan.  As David Evans noted the song is “related melodically to versions of “Alabama Bound,” a song that Patton’s niece identified in Sloan’s repertoire. Of the latter number Evans writes  “‘Hammer Blues’ there are brief mentions of serving a sentence on a road gang and being shackled in preparation for a train ride to Parchman Penitentiary in northern Sunflower County. It is not known whether these verses refer to an experience of Patton or of one or more of his friends.”

We play some more modern blues, relatively speaking, from the 1960′s. Among those are cuts by L.C. Robinson (House Cleanin’ Blues) and Homesick James (Ain’t Sick No More) cut for the Bluesway label. ABC-Paramount formed the BluesWay subsidiary in 1966 to record blues music. The label lasted into 1974, with the last new releases coming in February, 1974. The label issued over 70 albums, numerous 45′s plus several titles that remain unreleased. The label has been ill served reissue wise with only a handful of releases issued on CD, usually by labels other than the parent company MCA, and in many cases these CD’s themselves are out of print. MCA has largely left the catalogue languish. The BluesWay label has a decidedly mixed reputation, cutting many very good records and many downright bad ones. At some point I’ll be doing a feature on the Bluesway label.

Show Notes:

We have a wide ranging mix on today’s program spanning the years 1925 to 1978. We feature many artists from the 1920′s and 30′s including several artists like Lonnie Johnson, Mississippi John Hurt, Eugene Powell, Victoria Spivey and Robert Wilkins who bridge both the pre-war and post-war eras. We spotlight three from Lonnie Johnson. Unlike many blues artists who recorded in the 1920′s and were later rediscovered, Lonnie was only out of the music business for a relatively short spell; he was not musically active and made no recordings between 1954 and 1959. He came back strong in the 1960′s through the assistance of Chris Albertson who got Lonnie signed to Bluesville, resulting in a number of strong recordings and an active touring schedule. Featured today are “I’m Not Rough” one of six sides Lonnie recorded with Louis Armstrong in 1927 and 1929. From the 1961 Bluesville album, Another Night To Cry, we spin “Fine Booze and Heavy Dues” and from 1963 “Lonnie’s Traveling Light” from the LP Spivey Blues Parade. The latter record is a grab bag of previously unreleased numbers recorded for the Spivey label and put together as a blues revue. Other artists include Sippie Wallace, Sonny Boy Williamson and Walter Horton among others.

Among the other artists who recorded in both the pre-war and post-war eras we spin tracks by  Son House and Mississippi John Hurt. We hear Son on the magnificent “Pearline” which like “Empire State Express” and “Louise McGhee” are newer songs. Hurt’s wonderful “Richland Woman Blues” is from a 1965 Oberlin College concert which has been issued in various configurations and sequences by several labels under different titles and with different cover art over.

Victoria Spivey, Otis Spann and Samuel Lawhorn

Victoria Spivey made her last pre-war blues in 1937 and reemerged in the early 1960′s. Shortly before she formed her own Spivey label in 1961, Spivey made a fine duo album, Woman Blues!, with  Lonnie Johnson whom she had last recorded with back in 1929. Today’s two tracks come from her Spivey LP’s; “Diving Mama” finds her teamed up with Otis Spann and comes from the album The Muddy Waters Blues Band: They Done It Again! Vol. 2 while “Inter-Mission State” finds her partnered with Walter Horton and comes from the album Spivey’s Blues Parade.

Less well known than the above artists is Eugene Powell who also recorded in the pre-war and post-war eras. In 1936, Eugene Powell, along with Mississippi Matilda, Willie Harris and some of the Chatmon family traveled to New Orleans to record for the Bluebird label. Setting up at the St. Charles Hotel, Powell cut six sides during these sessions under the moniker Sonny Boy Nelson. From that session we spin “Pony Blues.” In the 1970′s Powell began playing festivals and recording again. He died in 1998.

Among the other fine early blues performances are some excellent piano blues. Charlie McFadden was an expressive  St. Louis singer who made some superb sides between 1929 and 1937 backed by St. Louis pianists like Roosevelt Sykes (heard on our selection, “Gambler’s Blues”), Eddie Miller and “Pine Top” Sparks.
The exciting barrelhouse pianist Louise Johnson cut four songs for Paramount at the legendary 1930 session that also included sides by Charlie Patton, Willie Brown and Son House. You can hear Patton, Son House and Willie Brown shouting encouragement in the background. Turner Parrish cut eight sides between 1929 and 1933 including the the rollicking instrumental “The Fives”, a song also recorded by Hersal Thomas, Cripple Clarence Lofton and Jimmy Yancey.

Also worth mentioning is the mysterious Kid Cole of whom we play his “Niagra Fall Blues” which coincidentally makes no reference at all to the famous landmark. Kid Cole was a Cincinnati blues artist who cut four sides for Vocalion in 1928. According to Steven C. Tracy’s Going To Cincinnati, Cole most likely also recorded as Bob Coleman, cutting three sides under that name in 1929 and two sides with the Cincinnati Jug Band the same year. It’s also been suggested that he recorded under the moniker Sweet Papa Tadpole for a six song 1930 session with Tampa Red and the same year as Walter Cole for Gennett.

Also on tap are some fine Chicago blues including sides by Muddy Waters, Junior Wells, Eddie Boyd and Sunnyland Slim. Muddy’s “Forty Days And Forty Nights”comes from the new release, Authorized Bootleg: Live at the Fillmore Auditorium – San Francisco Nov 04-06 1966. This excelelnt set features the great George “Harmonica” Smith who played with Muddy for only a short stint. From the out-of-print LP Blues Southside Chicago we spin Eddie Boyd’s “Where You Belong” a session supervised by Willie Dixon. Mike Leadbitter discusses the aim of the record in his liner notes: “This album was recorded In Chicago’s Southside by Willie Dixon with one aim in mind-to provide the English enthusiast with blues played as they are played in the clubs, without gimmicks and without interfering A & R men. This album is not intended to be commercial in any way and by using top artists and top session men an LP has been produced that doesn’t sound as cold as studio recordings usually do.”

Show Notes:

Today’s show is the second installment of an ongoing series of programs built around a particular year. The bulk of the information for today’s show notes comes from the books Recording The Blues (reprinted along with two other titles in Yonder Come The Blues) by Robert M.W. Dixon and John Godrich and Blues & Gospel Records, 1890-1943 by Robert M.W. Dixon, John Godrich and Howard Rye.

The first year we spotlighted was 1927 which was the beginning of a blues boom that would last until 1930; there were just 500 blues and gospel records issued in 1927 and increase of fifty percent from 1926 a trend that would continue until the depression. The average blues or gospel record had sales in the region of 10,000. In 1928 the figure was 1,000 or so lower which was still a thriving market. Paramount, the market leader at the time, brought talent up to their northern studios. To feed the demand other record companies conducted exhaustive searches for new talent, which included making trips down south with field recording units. Between 1927-1930 Atlanta was visited seventeen times, Memphis eleven times, Dallas eight times, New Orleans seven times and so on. The record companies advertised their record in black newspapers, mainly in the Chicago Defender, which was the nation’s most influential black weekly newspaper.

During the peak years there were five major companies issuing records for the race market: Okeh, Columbia, Paramount, Brunswick-Balke-Collender (encompassing Brunswick and Vocalion (a division of Gennett). Victor was the only label  to systematically exploit the the blues talent around Memphis. Their second visit there, in January and February 1928, yielded three times as much material as their initial 1927 visit. Among those recorded were Blind Willie McTell, Jim Jackson, Memphis Jug Band, Frank Stokes, Tommy Johnson, Ishman Bracey, Furry Lewis, Cannon’s Jug Stompers among many others. In August alone the label cut some 180 sides, mostly by black artists.

Jim Jackson’s “Kansas City Blues” was the massive hit of 1927 and in 1928 that honor went to “How Long How Long Blues” by Leroy Carr and “It’ Tight like That” by Tampa Red and Georgia Tom, both records issued by Vocalion. The highly suggestive “It’ Tight like That” was cut in September of 1928 which was just a few months after Vocalion dropped their tag “Better and Cleaner Race Records.” Vocalion also cut several sides by Leroy Carr’s guitarist, Scrapper Blackwell in 1928. In 1928 Brunswick recorded Bo Carter, Fannie Mae Goosby and Hattie Burleson among others.

In 1926 Columbia and OKeh merged but the labels were run by separate management for three years after the merger and did not compete for the same artists. Since 1927 OKeh had been issuing a new record every six weeks by Lonnie Johnson and issued some two-dozen sides by him in 1927 and about half that number in 1928. After the takeover by Columbia, OKeh made no field recordings until 1928 when they visited Memphis where they recorded blues singers such as Tom Dickson and the now legendary recordings by Mississippi John Hurt. They also recorded Sloppy Henry and Uncle Bud Walker in Atlanta a few months afterwards. Lonnie Johnson went with the unit, himself recording in both Memphis and san Antonio. In San Antonio he backed Texas Alexander who OKeh had initially recorded in New York the previous August. Columbia also made field recordings in Atlanta and Dallas where they recorded blues singers such as Barbecue Bob and his brother Charley Lincoln, Pink Anderson with Simmie Dooley, Peg Leg Howell, Curley Weaver, Lillian Glinn among many others.

The only race company that made no field trips was Paramount. Despite this Paramount remained the market leader in records released and singers recorded. Paramount issued records by the many of the blues biggest stars.