Big Road Blues

Show Notes:

I was a fan of Art Rosenbaum’s recordings without actually knowing much about him. Among my favorite records of the 1960’s are a pair on the Bluesville label; Scrapper Blackwell’s Mr. Scrapper’s Blues and Shirley Griffith’s Saturday Blues. Rosenbaum, like his contemporaries who went  into the field, men such as George Mitchell, Pete Lowry, David Evans, Sam Charters, Pete Welding, mostly stayed in the background. It wasn’t until recently when a couple of recent well praised reissues put him in the spotlight. Those included two 4-CD box sets on the Dust-To-Digital label, the Art Of Field Recording I & II. The first volume won a Grammy for 2008 Best Historical Album. While Rosenbaum recorded a wide variety of roots music, our focus today will be on his blues recordings. In addition we talk to Art near the end of the first hour.

Art Rosenbaum is a painter, muralist, and illustrator, as well as a collector and performer of traditional American folk music. His folk music field work in the South and Midwest has resulted in over 14 recordings, several of which are on Smithsonian-Folkways; he wrote and illustrated two books, Folk Visions and Voices: Traditional Music and Song in North Georgia (1983), and Shout Because You’re Free: The African American Ring Shout Tradition on the Coast of Georgia (1998). A performer on a variety of folk instruments, he has appeared at numerous folk festivals both solo and with groups. His field recordings have been collected on two 4-CD box sets on the Dust-To-Digital label called the Art Of Field Recording. Rosenbaum was also involved in producing several albums for Bluesville in the early 1960’s including records by Indianapolis artists such as Scrapper Blackwell, Pete Franklin, Shirley Griffith, J.T.Adams and Brooks Berry.

Scrapper Blackwell began working with pianist Leroy Carr, whom he met in Indianapolis in the mid-1920’s. Carr convinced Blackwell to record with him for the Vocalion label in 1928; the result was “How Long, How Long Blues”, the biggest blues hit of that year. Blackwell also made solo recordings for Vocalion, including “Kokomo Blues” which was transformed into “Old Kokomo Blues” by Kokomo Arnold before being redone as “Sweet Home Chicago” by Robert Johnson. Blackwell and Carr toured throughout the American Midwest and South between 1928 and 1935 as stars of the blues scene, recording over 100 sides. Blackwell’s last recording session with Carr was in February 1935 for the Bluebird label. The recording session ended bitterly, as both musicians left the studio mid-session and on bad terms, stemming from payment disputes. Two months later Blackwell received a phone call informing him of Carr’s death due to heavy drinking and nephritis. Blackwell soon recorded a tribute to his musical partner of seven years (“My Old Pal Blues”) before retiring from the music industry. Blackwell returned to music in the late 1950’s where he was recorded first  in June 1958 by Colin C. Pomroy. He was next recorded by Duncan P. Schiedt  in 1959 and 1950. These recordings appeared on on the album Blues Before Sunrise on the 77 label. Rosenbaum recorded him in 1962 for the Prestige/Bluesville Records label resulting in his finest latter day recording, the album Mr. Scrapper’s Blues. In 1963 Rosenbaum recorded him again for Bluesville, this time with singer Brooks Berry resulting in the album My Heart Struck Sorrow which has yet to be issued on CD. Sadly Blackwell was shot and killed during a mugging in an Indianapolis alley in 1962. He was 59 years old.

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), both recorded by Art Rosenbaum for Bluesville, and Mississippi Blues (1973) cut for Blue Goose. Unfortunatley all three albums have yet to be reissued on CD. In 1928 Griffith’s 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. It was Art Rosenbaum who was responsible for getting Griffith on record. “I recall one August afternoon”, he wrote in the notes to Saturday Blues, “shortly after these recordings were made; Shirley sat in Scrapper Blackwell’s furnished room singing the “Bye Bye Blues” with such intensity that everyone present was deeply moved, though they had all heard him sing it many times before. Scrapper was playing , too, and the little room swelled with sound. When they finished there was a moment of awkward silence. Finally Shirley smiled and said: ‘The blues’ll kill you. And make you live, too.” Griffith achieved 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.

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 this recording had been playing together for fifteen years. Adams recorded just one album, Indiana Ave. Blues on Bluesville with Griffith with other sides appearing on the album Indianapolis Jump issued on Flyright.

Neal Pattman was born in Madison County, GA. and at age seven he lost his right arm in a farming accident. His father taught him to play harmonica soon after. His playing and soulful vocals made him something of a local legend but he remained unknown to the blues world at large until 1989, when he performed at New York City’s Lincoln Center and immediately thereafter was flooded with invitations to tour internationally. In 1991, he met Timothy Duffy, head of the Maker Relief Foundation — Duffy teamed Pattman with some of the other acts supported by the organization, most notably singer/guitarist Cootie Stark, with whom he mounted the 48-city Blues Revival Tour in support of Taj Mahal. A 1995 date at London’s 100 Club alongside British guitarist Dave Peabody was the subject of Pattman’s long-awaited debut LP, Live in London. Three years later, Duffy’s Music Maker label released the follow-up, Prison Blues. Pattman died of cancer on May 4, 2005, a few months after contributing to Kenny Wayne Shepherd’s 10 Days Out: Blues from the Backroads. Today’s selection, “Key To The Highway”, comes from the Art Of Field Recording I.

Ceci Barfiled was first recorded by George Mitchell who called Barfield “probably the greatest previously unrecorded bluesman I have had the pleasure of recording during my 15 years of field research.” Using the name William Robertson, in fear of endangering his welfare checks, he cut the LP South Georgia Blues for Southland in the mid-70’s with several other tracks appearing on Flyright’s Georgia Blues Today. He was also recorded by Pete Lowery and Art Rosenbaum. Today’s selection, “Georgia Bottleneck Blues”, comes from the Art Of Field Recording I.

Pete Franklin’s mother was good friend with Leroy Carr, who roomed at their house shortly before he passed in 1935. Franklin eventually became proficient on piano and guitar. After getting discharged from the war Franklin found his way to Chicago where he backed St. Louis Jimmy on a 1947 record and made his debut under his own name for Victor in 1949 waxing “Casey Brown Blues b/w Down Behind The Rise.”  In the late 1940’s and early 5o’s he backed Jazz Gillum, John Brim and Sunnyland Slim. Art Rosenbaum recorded Franklin in 1961 which resulted in the Bluesville album Guitar Pete’s Blues. A few other recordings appear on the album Indianapolis Jump.

Brooks Berry moved to Indianapolis in her early teens. As Art Rosenbaum wrote: “She 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.”  As Rosenabum observed: “Singing blues is for Brooks not a social activity or a performance for others, although it once might have been, but rather a completely internal and personal expression. She sings with her eyes shut, swaying back and forth to her music, apparently unconscious of those around her. It is a deeply moving and often slightly awkward experience to listen to her sing—one sometimes feels that he is intruding or her most private thoughts and feelings.” Rosenbaum recorded the duo in 1961 resulting in the Bluesville album My Heart Struck Sorrow. Berry was also recorded live with Blackwell at a 1959 concert which are available on the Document CD Scrapper Blackwell with Brooks Berry 1959 – 1960.

Several track were omitted due to the length of the interview. I’ve included those tracks below plus the interview:

Scrapper Blackwell Brooks Berry – Blues And Trouble (MP3)

Shirley Griffith-Yank Rachell – Mandolin Stomp (MP3)

Cliff  Sheats – Got the Blues So Bad (MP3)

Guitar Pete Franklin – How Long Blues (MP3)

Art Rosenbaum Interview (MP3)

Show Notes:

An eclectic variety of blues on today’s mix show spanning from 1926 through the 1960’s. We have several spotlights on tap including sets of music featuring Will Ezell, Papa Charlie Jackson, Lonnie Johnson plus recordings from the Bluesville label and the vaults of famed producer Jay Miller. Born in Texas, pianist Ezell played in the jukes around Shreveport before moving to Detroit and Chicago. He was a frequent accompanist for Paramount Records and even took Paramount’s star, Blind Lemon Jefferson’s body back to Texas for burial.  Ezell cut sixteen sides for the label between 1927 and 1929 and backed artists such as Lucille Bogan, Elzadie Robinson, Bertha Henderson, Blind Roosevelt Graves and others. Henderson was powerful singer who delivers a moving performance on the evocative  “Black Bordered Letter” sporting some pungent cornet from Dave Nelson. The record was advertised in the Chicago Defender on September 3, 1927. Ezell and Graves team up on Ezell’s bouncy “Just Can’t Stay Here” and Graves’  exuberant “Crazy ‘Bout My Baby” both from a September 30, 1929 session and both featuring a lively cornet player. Graves was from Mississippi and according to bluesman Ishmon Bracy, was a street and juke-joint musician. His brother played tambourine with him and sang harmony. The duo cut some 20 sides, a mix of gospel and blues, for Paramount and ARC at sessions in 1929 and 1936.

From Paramount’s Book of the Blues 1927

We spin a trio of sides from the neglected Papa Charlie Jackson. Supposedly born in New Orleans in 1885, Jackson moved to Chicago in 1924, when Paramount’s J. Mayo Williams saw him singing in the street and recruited him for the label. Jackson, who played guitar and banjo, went on to be the first self-accompanied male blues singer, a best-seller on record and was the first to cut several blues standards . Between 1924 and 1934 he cut around 70 sides. Jackson cut some superb material but seems to get overlooked perhaps because he doesn’t fit the preconceived idea of what a blues artist should be; for one he usually played the banjo and secondly much of his material is vaudeville slanted, aimed at amusement and dancing. Throughout his body of work, however, there’s plenty of fine playing and some fascinating songs. “I’m Looking For A Woman Who Knows How To Treat Me Right” is a bluesy number with a vaudeville feel and some driving banjo playing,  “Lexington Kentucky Blues” is a terrific straight blues with a reference to the famous racehorse Man o‘ War while “Up The Way Bound” shows off his ample guitar skills.

We did a whole show devoted to Lonnie Johnson a couple of weeks back and hear two more by Johnson including a duet with Clara Smith and in a supporting role behind Mooch Richardson. Much is made of the duets Johnson did with Victoria Spivey, rightly so, yet less has been said about the fine duets he did wit Smith in 1930. “What Makes You Act Like That” is a wonderful, playful number with both artists voices contrasting beautifully and as usual Johnson lays down some stunning guitar work. Johnson backed  singer Mooch Richardson on seven numbers in 1928 (four were never released) including our selection “Helena Blues.”

Bluesville Records, a subsidiary of Prestige, was launched in 1960 to document the growing interest in blues that would lead to the rediscoveries of many artists who recorded in the 20’s and 30’s as well as many who never previously had the opportunity to record.  Two of the best albums cut for the label were Scrapper Blackwell’s Mr. Scrapper’s Blues cut in 1961 and Robert Curtis Smith’s Clarksdale Blues cut the following year. Mr. Scrapper’s Blues has thankfully been issued on CD which is not the case with Clarksdale Blues which has become highly collectible. A chance meeting with Chris Strachwitz, founder of Arhoolie Records, at the Big 6 Barber Shop in Clarksdale led to this album. 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.” Our selection, “Council Spur Blues”, is Smith’s bitter indictment against that way of life:

You ask for money, he’ll give you all up to the store (2x)
Then if you eat that up before the week is out, man, you don’t get no more

You think that’s bad, working for 30 cents an hour (2x)
You just stick around awhile and let me tell you about Mr. Roy Flowers

Mr. Roy Flowers don’t pay but two dollars a day (2x)
Yes, and once you are there, he dare you to leave away

Mr. Roy Flowers – in the winter time he’s got a habit (2x)
When you go to him for food, he’ll tell you to catch some rabbit

A few other tracks by Curtis appear on various anthologies. 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.

Also featured today are recordings by Lightnin’ Slim, Leroy Washington, Mr. Calhoun and Joe Johnson from the vaults of J.D. Miller. Miller operated a small studio and record label (Feature) out in Crowley, Louisiana. He had been recording some regional Cajun and Country music in the early fifties when he first heard Lightnin’ Slim at WXOK in Baton Rouge. Miller has said that Lightnin’s music “did something to me”, and, with the help of disc jockey Diggy-Doo, he recorded Lightnin’s “Bad Luck” in the Spring of 1954. There was no way J.D. could keep up with the demand for the record, and he decided to travel to Nashville for a record convention in 1955. Miller met with Ernie Young and worked out a deal that would lease the material he was recording back in Crowley to Excello Records for release and distribution. Soon Miller’s studio became ground zero for ‘the sound known as “swamp-blues” issuing records by Slim Harpo, Lazy Lester, Silas Hogan, Lonesome Sundown and others. Many recordings were never released and in the 70’s the Flyright label, with the assistance of Miller, began a series called the The Legendary Jay Miller Sessions that ran to over fifty volumes. These recordings come from those LP’s. In February I’ll be doing whole show devoted to these recordings.

Also in February I’m doing a show on Brownsville Blues spotlighting recordings by Sleepy John Estes, Yank Rachell, Charlie Pickett and Son Bonds. Today we give you a little taste of that show with tracks by Bonds and Pickett. An associate of Sleepy John Estes and Hammie Nixon, Bonds played very much in the same rural Brownsville style that the Estes-Nixon team popularized in the ’20s and ’30s. The music to one of Bonds’ songs, “Back and Side Blues” (1934), became a standard blues melody when John Lee “Sonny Boy” Williamson from nearby Jackson, TN, used it in his classic “Good Morning, (Little) School Girl” (1937). According to Nixon, Bonds was shot to death, while sitting on his front porch, by a nearsighted neighbor who mistook him for another man. Bonds backed Sleepy John Estes at two sessions in 1941 while guitarist Charlie Pickett backed Estes at two sessions in 1937 and one in 1938. At that same 1937 session Pickett waxed four sides of his own including our track, the salacious “Let Me Squeeze Your Lemon.”

Show Notes:

Today’s mix show shines the light on several fine woman blues singers of the 20’s and 30’s as well as a batch of exceptional piano players. We open and close the program by spotlighting some famous singers and some utterly forgotten. Among the most famous are Victoria Spivey and the incomparable Bessie Smith. Smith made her debut in 1923 scoring a huge hit that year with “Down Hearted Blues.” Her sales were so impressive that record companies immediately sent talent scouts down south for similar blues ladies, opening the door for singers like Clara Smith, Ma Rainey, Ida Cox and Sippie Wallace. These woman singers dominated the market for the first half of the 20’s. Our selection, I’m Down In The Dumps”, comes from Bessie’s final four-song session in 1933. Victoria Spivey made her debut relatively late, in 1926 and recorded prolifically through 1937.

Among the other female singers we spotlight are Margaret Johnson, Lizzie Miles, Elizabeth Johnson, Lil Johnson, Lillie Mae Kirkman and Merline Johnson. Margaret Johnson cut 26 sides between 1923-1927 and worked with some top players including Sidney Bechet and Louis Armstrong. Little in known of her life outside of the fact she worked the vaudeville circuit throughout the 1920’s. Johnson was a powerful, expressive singer as she proves on 1924’s “Nobody Knows The Way I Feel Dis Mornin’” easily cutting through the limitations of the acoustic recording process to deliver a rousing performance. Lizzie Miles was another distinctive singer who worked in early jazz band, circuses and minstrel shows between 1909 and 1921 before launching her recording career. She recorded extensively between 1922 and 1929 and again in 1939. She came out of retirement in 1950. She’s in superb form on “The Man I Got Ain’t The Man I Want “ featuring some tasteful playing from guitarist Teddy Bunn. After making a few records in 1929, Lil Johnson didn’t surface again on record until 1935, cutting some 60 sides through 1937. Merline Johnson was one of the most prolific female artists of the 30’s, cutting almost 100 songs, yet little is known about her background.  Known as The Yas Yas Girl, she recorded with some of Chicago’s top musicians including Big Bill Broonzy, Black Bob, Casey Bill Weldon, Ransom Knowling, Blind John Davis and others. “Bad Whiskey Blues” comes form a final unissued 1947 session with Big Bill Broonzy and Blind John Davis.

We showcase several fine piano players including a couple apiece by the popular Walter Davis and Curtis Jones. Walter Davis was one of the most recorded artists of the era, cutting some 160 sides between 1930 and 1941. He came to St. Louis in 1925 and became a protégé of Roosevelt Sykes who played on his first six sessions. Davis continued to record steadily through the 1940’s until his final sessions in 1952. ‘Things Ain’t What They Used To Be” is a rare topical blues from Davis illustrating the problems of black soldiers returning from the war only to confront the same old prejudices:

I spent two years in the European country, way out across the deep blues sea (2x)
And since I been round here, don’t seem like home to me

Curtis Jones scored a huge hit in 1937 with “Lonesome Bedroom Blues.” The song remained in Columbia’s catalog until the demise of the 78 rpm record in the late fifties and eventually to become a blues standard. In 1929, Curtis Jones left Dallas working his way through the Mid and Southwest via Kansas City, then traveling to New Orleans where he finally made his way to Chicago. Arriving there in 1936, he formed his own group and began playing at rent parties and in Southside joints or bars and was soon spotted by Vocalion talent scout Lester Melrose. Over the next five years Curtis Jones was in the studio on no fewer than twenty occasions, recording some hundred titles, proving himself a very imaginative songwriter. His career picked up during the 60’s blues revival where he cut several records and eventually moved to Europe where he remained until his death in 1971. It’s easy to underestimate Jones with the seemingly sameness of his songs, yet he was an imaginative, often startling lyricist as he proves on our selections: “Down In The Slums” and particularly “Alley Bound”:

I have been singing sentimental, songs all over town (2x)
And I haven’t made no headway so you know I’m alley bound
I done made every beer tavern, I done stopped at every liquor store (2x)
So I try the alley, and stop by the bootleggers door
The bootlegger tells me, that the g-men have been around (2x)
And broke up all the moonshine, and poured the ice on the ground

In addition to two songs we play under Jones’ name, we also find him backing Lillie Mae Kirkman’s on her provocative “Hop Head Blues”:

I said daddy, daddy, daddy, you the meanest man I’ve ever seen (2x)
You use hop and reefer, and you even use morphine
Believe I smoke my reefer, but they don’t take no effect on me (2x)
I can smoke them every morning, be as happy as any woman can be
Reefer’s all right to smoke, but they treat you so low down (2x)
Doctor said if I didn’t quit I’d be six feet down in the ground

We spin a trio of great piano records from 1929 including Eddie Miller’s seductive “Good Jelly Blues.” The other side contains the marvelous “Freight Train Blues”, his two finest recordings. Nolan Welsh cut six sides between 1926 and 1929 including two featuring Louis Armstrong. Montana Taylor’s “Indiana Avenue Stomp b/w Detroit Rocks” has to rank as some of the finest barrelhouse numbers of the era. He was rediscovered in 1946, cutting some material for the Circle label.

We move up to the 50’s and 60’s to hear fine performances from Lightnin’ Hopkins  and Big Mama Thornton. As I was putting the program together I was watching the news about the wildfires outside of L.A. and immediately though of Lightnin’ Hopkins’ great “Burnin’ In L.A “ from 1961. From 1963 we play “Mercy” by Big Mama Thornton, and with all respects to “Hound Dog” and “Ball And Chain”, this is one of her finest, if unheralded numbers featuring a terrific uncredited guitarist.

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:

We open our latest mix show with a quartet of songs revolving around the Chatmon brothers including numbers by Bo Carter, Mississippi Blacksnakes, The Mississippi Sheiks and Sam Chatmon. One of the most popular bluesmen of the ’30’s, Bo Carter cut over a hundred sides between 1928 and 1940. Bo and his brothers Lonnie and Sam Chatmon also recorded as members of the Mississippi Sheiks with singer/guitarist Walter Vinson. Bo died in 1964 but Sam hung in long enough to take advantage of the blues revival, recording prolifically in the 1960’s and 70’s. Unfortunately most all of the LP’s he cut seem to be out-of-print. Today’s selection, “Hollandale Blues”, is from the 1979 Rounder album, Sam Chatmon’s Advice. The Mississippi Blacksnakes cut ten songs over three sessions in 1931for Brunswick with the likley personal of Bo and Sam Chatmon, Charlie McCoy with Walter Vinscon only on the first session.

Moving up to the 1960’s and 70’s we spin some great records by some lesser known players including Luke “Long Gone” Miles, Lum Guffin, Frank Hovington and John Lee Ziegler. Luke Miles was born in Louisiana in 1925 and moved to Houston in 1952. In the liner notes to his only full length LP Country Born (World Pacific, 1965) he said: “I went to Houston for one reason. I went to see Lightnin’ Hopkins. That’s what I went for and that’s what I did. Lightnin’ Hopkins taught me just about everything about blues singing. The first time I ever sang in front of an audience was in 1952 with Lightnin’. The first day I met Lightnin’ he named me “Long Gone” …and I’ve been Long Gone Miles ever since.” By 1961 Miles was in Los Angles were he cut some 45’s for Smash. After the World Pacific LP he cut singles for Two Kings in 1965, Kent in 1969 before supposedly leaving L.A. in 1970. Our selection comes from the LP Country Boy (Sundown, 1984) which is a collection of mostly unreleased sides from  1961 and 1962. Just recently a liver CD of of Miles surfaced from 1985 titled Riding Around In My V8 Ford Live in Venice, California. He died in 1987. Unfortunately just about all of Miles’ recordings remain out of print.

The other gentleman were recorded in the 1970’s, an extension you could say of the 1960’s blues revival that swept up many fine bluesman who never got the opportunity to record in their younger days. Lum Guffin was first recorded in the 1970’s by Swedish researcher Bengt Olsson when he was 70 and again in 1980 by Axel Kunster for the Living Country Blues series. The LP Walking Victrola was his sole record, released on the Flyright label in 1973. Some of these recordings appear on the CD On The Road Again. Frank Hovington was an exceptional guitarist in the Piedmont tradition who was reluctant to record but made some superb recordings in 1975 released (issued on the LP Lonesome Road Blues first on Flyright and then on Rounder with additional tracks on the CD Gone With The Wind) and 1980 for the Living Country Blues series. Ziegler passed away May of last year. He cut just a handful of recordings, the best recorded by George Mitchell in the late 1970’s plus some sides made in the 1990’s and issued on the Music Maker label.

We play a twin spin by John Lee Hooker from his Bluesway years. Hooker cut several albums for Bluesway in the 1960’s including: Live At Cafe Au-Go-Go (1966), Urban Blues (1967), Simply The Truth (1968), If You Miss ‘Im… I Got ‘Im (1970)and Kabuki Wuki (1973). Our selections come from Simply The Truth and the excellent Urban Blues featuring Hooker in the company of sidemen like Eddie Taylor, Wayne Bennett, and Louis Myers. Bluesway 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. I’ll be doing a show on the label in the near future.  Urban Blues was issued on CD in 1994 by BGO with three bonus cuts. One of those bonus cut is the stomping “I Gotta Go To Vietnam” featuring some wild wah wah guitar from Hooker’s cousin Earl Hooker. The “The Motor City Is Burning” is a harrowing account of the 1967 Detroit riots. The flash point began at a drinking joint at Twelfth Street and Clairmount Avenue and quickly spread out. Looting and fires spread through the Northwest side of Detroit, then crossed over to the East Side. Within 48 hours, the National Guard was mobilized, to be followed by the 82nd airborne on the riot’s fourth day. As police and military troops sought to regain control of the city, violence escalated. At the conclusion of 5 days of rioting, 43 people lay dead, 1189 injured and over 7000 people had been arrested. Hooker gives a vivid account of the action:

Ohhh the Motor City is burning, ain’t a thing in the world that I can do
Don’t you know, don’t you know the big D is burning
Ain’t a thing in the world that Johnny can do
My hometown is burning down to the ground, worster than Vietnam
Well it started on Twelfth Street and Clairmount this morning, I just don’t know what it’s all about (2x)
The fire wagon kept coming, the snipers just wouldn’t let them put it out
Firebombs bursting all around me, soldiers standing everywhere (2x)
I could hear the people screaming, sirens filled the air

Doctor Clayton

Also on deck today are some prime 1940’s Chicago blues by Sonny Boy Williamson I, Yank Rachel, Washboard Sam and Doctor Clayton. At the time of his untimely death in 1948 at the age of 34, Sonny Boy was still at his creative peak as she proves on “Sugar Gal” from 1947, a storming update of his classic “Sugar Mama Blues” with a some killer electric guitar from William Lacey. Rachel’s “Up North Blues (There’s A Reason)” from 194 sports some wonderful playing by Sonny Boy and is just one of a batch of sides they cut together between 1938 and 1941. Also on that track is the prolific Washboard Sam who is also heard on his “My Feet Jumped Salty” featuring some stunning amplified guitar from Big Bill Broonzy. Both Sonny Boy I and Washboard Sam will be featured in upcoming programs. Nearly 50 years after his untimely death the exceptional singer and masterful songwriter known as Doctor Clayton is little spoken of today. Clayton worked strictly as a vocalist (by some accounts he could play piano and ukulele), employing an impressive falsetto technique, later refined into a powerful, swooping style that was instantly recognizable. In addition he was an unparalleled songwriter, writing mostly original material with a rare wit, intelligence and social awareness. Clayton’s vocal style was widely emulated and a number of his songs became blues standards. Despite the high esteem he was held in by fellow blues artists and his popularity during his lifetime Clayton’s fine blues recordings remain largely ignored. “Watch Out Mama” is a fine example of his songwriting, filled with a dash of violence and humor:

You clown when you get ready, stay out late as you please
Come home drunk and staggering, and weak in your knees
But watch out momma, Doctor Clayton gonna sneak up on you
Yes, I’m gonna whip your nappy head, just as soon as I find you

As usual we spin some fine piano records including tracks by Big Maceo, Sammy Price and Robert McCoy. Alongside his protege Johnnie Jones and later Otis Spann, Big Maceo is among the greatest Chicago piano men. During the 1940’s he worked with Tampa Red and the duo made some magnifecnt sides including our selection, the romping “Texas Stomp.” Sammy Price fine boogie woogie playing is heard backing Nora Lee King on “Cannon Ball” her uptown rendition of Cow Cow Davenport’s immortal “Cow Cow Blues.” King cut a dozen sides between 1941and 1944 before fading into obscurity. Alabama barrelhouse pianist Robert McCoy had two rare LPs in the early 1960’s on the Vulcan label. A few years back Delmark acquired the masters and reissued the material on CD for the first time with many previously unissued tracks. Unfortunatley no tracks from his second Vulcan album have been included. These were his first recordings as leader although he recorded in the 1930’s accompanying Guitar Slim, Jaybird Coleman and Peanut The Kidnapper. McCoy was part of the fertile Birmingham piano tradition, learning piano from Cow Cow Davenport and Jabbo Williams.

While there are no shortage of Leroy Carr collections on the market now it wasn’t always the case. It was at the Jazz Record Center in Manhattan when I got my hands on the out-of-print Blues Before Sunrise LP which I grudgingly forked over 25 dollars for – a good chunk of money in my teenage years. A couple of weeks later I made my weekly trip down to my favorite record store, Finyl Vinyl on Second Ave. only to be confronted with a an exact reissue of the album for a third of the price. It didn’t help my ego when I related the story to the guy behind the counter who promptly snickered to his partner – “Hey this kid just paid 25 bucks for this record!” I’ll try not to let that experience cloud my judgment of JSP’s Leroy Carr & Scrapper Blackwell Volume 1: 1928 – 1934.

JSP’s hefty low-priced  sets are hard to resist although it begs the question do we really need another Leroy Carr collection? My answer is a resounding maybe. Those who need all 120 sides probably already own Document’s six volume series which was issued in 1992 (several test pressing appear on another collection) with rather indifferent sound. For non-completists there have been several 2-CD collections including the unfortunately out-of-print Sloppy Drunk on Catfish sporting 44 of his best numbers well remastered, The Essential Leroy Carr on Document with much superior sound and the surprising 2004 major label release of Whiskey Is My Habit, Women Is All I Crave with 40 superbly remastered cuts. In fact the Columbia boasts the best sound, outside of a couple of murky transfers, and is the standard others should be judged. So how does the JSP stack up? First I should say that I’ve been a bit ambivalent about JSP’s remastering; they generally do a decent job removing surface noise which usually result in a significant upgrade to Document although in fairness to Document, JSP probably has better masters to work with. That being said JSP’s remastering at times is a bit heavy handed, removing noise but not showing all that much sensitivity to the music itself in contrast to say a label like Yazoo. JSP has done quite a good job with the Carr material, in most cases significantly improving on Document but also besting the Catfish. JSP has submerged the noise quit a bit although some transfers are a bit muddy. At times the JSP comes close to the Columbia in overall sound and in many cases their transfers offer less noise but less noise doesn’t necessarily mean better. Columbia, like Yazoo, doesn’t seem as worried about surface noise as saying extracting the best, clearest sound from the grooves which is preference I share. Hence overlapping songs such as “Straight Alky Blues Part 1″, “Corn Licker Blues”, “Gambler’s Blues” and “Prison Bound Blues”, to name a few examples, have less noise on the JSP but Columbia’s transfers sound brighter and more lively.

Now as for the artistry of Leroy Carr and Scrapper Blackwell there can be no denying the remarkably high level of quality they achieved over the course of their eight year recording partnership. The duo would inspire many imitators but as Paul Oliver noted their music seemed merely an “echo” of Carr’s “fatalism.” Indeed Carr was a singer of rare poignancy, delivering his heart-worn tales of loneliness, no good women, drinking, jails and trains with a conversational tone that spoke directly to the listener. There’s an almost palpable ambiance of sadness and longing on numbers that show a poet’s touch; songs such as “Alabama Women Blues”, “Midnight Hour Blues”, “Gone Mother Blues”, “Hurry Down Blues” and “Blues Before Sunrise” to name but a few. Tony Russell eloquently writes that these songs “distill the raw liqueur of grief into a spirit of complex and lingering flavor.” Carr had the good fortune to record with Scrapper Blackwell who’s ever tasteful ringing single string work was a perfect foil to Carr’s sedate piano work and melancholy vocals. It might even be said that Carr’s records would be much more conventional if not for Scrapper’s ever lively playing. While the bulk of the duo’s output was slow to medium tempo they were more than capable on buoyant material like “There Ain’t Nobody Got It Like She Got It”, “Court Room Blues” and “Baby Don’t You Leave Me No More.” One of the pleasures of listening to these recordings in their entirety are the surprising variety of songs tucked in with the mostly conventional twelve bar blues such as the bouncy hokum of “Papa’s on the House Top”, “Carried Water for the Elephant” and “Papa Wants To Knock A Jug”, pop oriented material like “Hold Them Puppies” and “How About Me” which anticipates 1940’s crooners like Cecil Gant and certainly Nat King Cole, to the stop-time scat chorus of “Naptown Blues” to some wonderful uptempo duets such as “Gettin’ All Wet” and the marvelous “Memphis Town.”

As the Volume 1 in the title suggests this is not Carr’s complete output with the remaining thirty or so sides set for the second volume. There’s much to be looked forward to including gems like “I Believe I’ll Make A Change”, “Barrelhouse Woman No.2″, “Big Four Blues”, Shinin’ Pistol”, “Bread Baker” and “When the Sun Goes Down.” I presume that in addition to the remaining Carr sides the next volume will include the some two-dozen sides Scrapper cut under his own name, possibly some of the session work he did with other artists and perhaps some of his fine post-war work. Max Haymes provides the set’s notes and while he’s certainly done his research they come off as rather dry and academic, the same problems that plagued his notes to the Ma Rainey JSP set. Oh and if you couldn’t tell he has an obsession with railroads (yes he wrote a book on the subject), an obsession that seems to overshadow Carr and Blackwell’s narrative.

Very few artists can hold up artistically or for that matter for sheer listenability when their records are compiled chronologically and in their entirety. The records of Leroy Carr and his contemporaries were meant to be savored one 78 at a time and while I don’t have the stamina to listen to Carr’s oeuvre at length, listening at long stretches is a rewarding experience and only deepens my respect for his artistry. More urbane, popular blues singers like Carr, Lonnie Johnson and Tampa Red often get pushed aside in favor of the obscure, rougher voice artists of Mississippi as though their unpolished sound and obscurity equates to more authenticity. Nonsense of course but a view that still persists; there was obviously something artists like Carr had that made a deep connection with the thousands who bought their records and their opinion shouldn’t be discounted. In that light it’s worth quoting the following lines from the May 4th edition of the Indianapolis Recorder just days after Carr’s untimely death: “Thousands of persons thronged the Patton Funeral Home Thursday afternoon for one last look at the man whose bizarre combination of bluish notes struck a deep sympathetic response in the souls of thousands of colored people throughout the country.” Amen.

Baby Dont’You Leave Me No More (MP3)

Gettin’ All Wet (MP3)

Gambler’s Blues (MP3)

Memphis Town (MP3)

Alabama Women Blues (MP3)

Gone Mother Blues (MP3)

Midnight Hour Blues (MP3)