Big Road Blues ...vintage blues radio & writing 2015-05-17T18:26:16Z http://sundayblues.org/feed/atom WordPress Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 5/17/15: My Kind of Blues – A Tribute To B.B. King]]> http://sundayblues.org/?p=9312 2015-05-17T18:26:16Z 2015-05-17T18:26:16Z ARTISTSONGALBUM B.B. King LucilleLucille B.B. King You Done Lost Your Good ThingMy Kind of Blues B.B. King Walking Dr Bill My Kind of Blues B.B. King Boogie Rock (aka House Rocker) The Soul Of B.B. King B.B. King Night Life Blues Is King B.B. King The JungleThe Jungle B.B. King Don't Let It Shock You The Soul Of B.B. King B.B. King My Own Fault My Kind of Blues B.B. King Love, Honor and Obey The Soul Of B.B. King B.B. King The Letter The Soul Of B.B. King B.B. King Woke Up This Morning Singin' The Blues B.B. King Woman I Love B.B. King Wails B.B. King How Blue Can You Get?Live At The Regal B.B. King When My Heart Beats Like A HammerThe Vintage Years B.B. King Sweet Sixteen (Parts 1&2) The Vintage Years B.B. King Sweet Little Angel Live At The Regal B.B. King Why Does Everything Happen To MeThe Best of the Kent Singles B.B. King That Ain't The Way To Do ItThe Vintage Years B.B. King Baby Get Lost Blues Is King B.B. King We Can't Make ItB.B. King Wails B.B. King Gamblers Blues Blues Is King B.B. King Shut Your Mouth More B.B. King (Ain't That) Just Like a Woman More B.B. King B.B. Boogie Ladies & Gentlemen ... Mr. B.B. King B.B. KingSave A Seat For MeSings Spirituals

Show Notes:

The king of the blues, B.B. King, died on May 14th. My first blues album was B.B.'s Live At The Regal which I picked up for $3.99 at Tower Records in NYC. After that I started picking up those great reissue albums put out by Ace Records which collected his 50's sides. I'll be focusing on B.B.'s 50's and 60's sides today. Jazz 90.1 will honor B.B. King with a special 12 hour music vigil. Following my show, Jim McGrath (The Blues Spectrum), Derrick Lucas (The Soul Spectrum) and Paul Conley (Jazz Horizons) will all pay tribute to B.B. on their programs today beginning at 5 p.m. through Monday morning at 6 a.m. With the news of B.B.'s passing I did not have time to put together show notes.

B.B. King

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 5/10/15: A Taste Of BluesWay – The BluesWay Label Pt. 2]]> http://sundayblues.org/?p=9279 2015-05-10T21:08:57Z 2015-05-10T21:08:57Z ARTISTSONGALBUM B.B. King Gamblers' Blues Blues Is King B.B. King I'm Gonna Do What They Do to Me Blues On Top of Blues Charles Brown I Want To Go Home Legend! Jimmy WitherspoonNo Rolling Blues The Blues Singer Brownie McGhee & Sonny Terry When I Was Drinkin'I Couldn't Believe My Eyes John Lee Hooker Back Biters and SyndicatorsUrban Blues John Lee Hooker I'm Bad Like Jesse JamesLive At Cafe Au Go-Go Otis SpannNobody Knows Chicago Like I Do Down To Earth George Harmonica Smith Help Me ...Of The Blues Johnny YoungI Gotta Find My BabyI Can't Keep My Foot From Jumping Roy BrownWoman Trouble Blues The Blues Are All Brown Big Joe TurnerCherry Red Singing The Blues T-Bone Walker I'm Gonna Stop This Nite Life Stormy Monday Blues Jimmy RushingBad LoserLivin the Blues Mel Brown Seven Forty-Seven Eighteen Pounds of Unclean Chitlins Rev. Gatemouth Brown I Come To The Garden And I'm Going ThroughAfter Twenty-One Years Big Joe Williams Franklin Street BluesDon't Your Plums Look Mellow Hanging On Your Tree Homesick James Fayette County Blues Ain't Sick No More L.C. Robinson House Cleanin' Blues House Cleanin' Blues Earl Hooker End of the Blues Do You Remember The Great Earl Hooker Andrew ''Big Voice'' Odom Take Me Back To East St Louis Farther On Down The Road Jimmy Reed I'm Just Trying To Cop a Plea The New Jimmy Redd Jimmy Reed I've Got To Keep on Rollin'Big Boss Man Sunnyland Slim Mr. CoolPlay The Ragtime Blues Lucille SpannCry Before I Go Cry Before I Go Cousin JoeEvolutionCousin Joe Of New Orleans Roosevelt Sykes Dirty Double Mother Dirty Double Mother

Show Notes:

[Shows notes are edited from part one which aired in 2010]

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. To give the new label legitimacy B.B. King, who was recording for ABC at the time, saw his releases put out on BluesWay (his Blues Is King was the label's first release). BluesWay seemingly signed every major bluesman available, including Jimmy Reed, John Lee Hooker, Otis Spann, Joe Turner, Eddie "Cleanhead" Vinson, T-Bone Walker, Jimmy Rushing, Jimmy Witherspoon, Charles Brown, Roy Brown, Brownie McGhee & Sonny Terry among others. In addition to these seasoned performers the label issued records by deserving lesser knows, issuing the first LP's by Lee Jackson, Lucille Spann, Andrew Odom and L.C. Robinson. Legendary jazz producer Bob Thiele (he was the main producer at ABC/Impulse between 1961-69) was instrumental in getting the BluesWay label started but entrusted day to day operations and producing to others. Early sessions were produced by Bill Syzmzyck, Ed Michel, Bob Thiele, with later sessions handled by Al Smith. Al Smith was Jimmy Reed's manager and bandleader, and after Vee-Jay folded in 1966, a producer of soul sessions for ABC and blues sessions for ABC BluesWay. Smith inked a 25-LP production deal with BluesWay in 1973. Twenty of these albums subsequently appeared. After the label folded all interests were bought by MCA who are now owned by Universal.

 60394
Read Liner Notes

The label has been spottily reissued 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 catalog to languish. The BluesWay label has a decidedly mixed reputation, cutting many very good records and many downright bad ones. Producer Al Smith has been the target of much of the animosity against the label summed up by writer Pete Lowry in a 1974 Living Blues review: "Finally I get a chance to take a swipe at Al Smith. Unfortunately, he is no longer able to enjoy it, but I'll go on anyway. Here was a strange man-I don't know if he was any kind of bass player, but he surely produced some screwed-up sessions. I won't go into artist "relations," but merely deal with the sessions; there have been some predictable characteristics. Lousy liner notes, replete with phonetic spelling (to be kind), incomplete or wrong personnel data, as well as often incomplete or disordered listings of the tunes… As for the records themselves, they varied from good to near disasters. The results of Al's Special Ninety Minute Album Sessions included inconsistent levels on instruments, as if the warm up/test stuff was mixed for release (as was most likely the case!), some strange sounding stuff (out-of-synch echo units), and just total lack of programming. Al seems to have assembled albums in the order recorded, with no concept of the album as a programmed whole. For an artist to survive this sort of "production" he had to be damn good, or be having a better than average day in the studio." No doubt Lowry is accurate in his assessment but to be fair, as he notes, the label issued quite a number of very good records that deserve a better fate than to languish in limbo. In this article we selectively trawl through the BluesWay catalog spotlighting some of the releases featured on today's program. Hopefully MCA will see fit to to create a proper BluesWay reissue series but until then vinyl may be your only option (where known I'll try and list records which have appeared on CD – reissues have appeared on Charly in the late 80's as well as Off-Beat and One Way in the 90's although these now appear to be out of print. The BGO label has reissued several BluesWay records all of which appear to be in print).

The BluesWay label issued seven albums by B.B. King between 1966 and 1970. Hands down the best of the bunch was the first one, 1966's Blues Is King which ranks as one of King's best live recordings, perhaps just a notch behind the seminal Live At The Regal cut two years previously. Recorded at a Chicago club, B.B. turns in sizzling performances of "Tired Of Your Jive", "Don't Answer The Door" and a spectacular "Night Life." The rest of B.B.'s output during this period is very solid including 1967's Blues On Top of Blues with brassy arrangements of songs like "Paying the Cost to Be the Boss and "Worried Dream" while 1968's Lucille is sparser, most notable for the ten minutes of "Lucille." 1969's Completely Well was B.B.'s breakthrough album featuring "The Thrill Is Gone" while Live & Well is divided evenly between live and studio material and contains "Why I Sing The Blues" and was his first LP to enter the Top 100. His Best – The Electric B.B. King is not a "best of" but a collection of previously issued items as singles and studio leftovers and features strong material like "Don't Answer The Door" a #2 R&B hit, "Paying The Cost To Be The Boss" and "All Over Again." 1970's Back Alley was a "best of" collection. All of B.B.'s output from this period has been reissued on MCA with some titles on BGO.

The New Jimmy Reed Album
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In addition to B.B. King, BluesWay brought heavyweights Jimmy Reed and T-Bone Walker into the fold. With his contract for Vee-Jay over, Al Smith brought Reed over to BluesWay where he cut five albums for the label between 1966-1968; The New Jimmy Reed Album, Soulin', Big Boss Man, Down In Virginia and  I Ain't From Chicago. These are mostly solid outings, finding him mostly singing his classic material and were guitar heavy featuring, in addition to Reed, Eddie Taylor, Lefty Bates and Wayne Bennett. A selection of BluesWay material appears on the CD Jimmy Reed Is Back issued on Collectables. Walker cut three records for the label: Stormy Monday in 1967, Funky Town in 1968 and Dirty Mistreater in 1973. These aren't essential T-Bone records, although quite credible, with Walker playing well featuring a sympathetic band, particularly pianist Lloyd Glenn with the two sounding particularly good together on "Going To Funky Town." Walker revisits a number of his early classics like "Cold Hearted Woman", "Stormy Monday" and "I'm In An Awful Mood", updating these numbers with some 60's styled funk that generally comes across well. The latter two records have been reissued on BGO.

Between recordings under his own name and session work, Earl Hooker was prolifically recorded by BluesWay in 1969 less than a year before he passed away. Hooker was on the West Coast recording for Blue Thumb when he began working club dates with his cousin John Lee Hooker. Hooker was working with BluesWay at the time which is how Earl Hooker's BluesWay association began. The first date was a session with John Lee Hooker which went so well that producer Ed Michel offered to make an album with Earl on the spot. Both the John Lee Hooker album If You Miss 'Im…I Got 'Im and Earl Hooker's Don't Have To Worry were recorded on May 29, 1969 with the same personnel, adding Andrew Odom to Earl's date since he was insecure about his vocals. Considering the quick, no nonsense nature of the recording the results came off exceptionally well. It's inexplicable why Don't Have To Worry hasn't been issued on CD in it's entirety (5 songs appeared on the anthology Simply The Best with one additional song on Blues Masters, Vol. 15: Slide Guitar Classics). Despite his vocal insecurities Hooker sounds confident on "You Got To Lose" and "Don't Have To Worry" (originally called "Do Right Baby" as recorded by Billy Gayles in 1956). Odom's robust, booming vocals are particularly good on "The Sky Is Crying" and "Come To Me Right Away, Baby" while Big Moose Walker takes the vocals on the remarkable "Is You Ever See A One-Eyed Woman Cry?" Hooker stretches out on the instrumentals "Hookin'" and adaptation of "Honky Tonk" and sounds even more inspired in an update of "Universal Rock" a song he first cut in 1960. If You Miss 'Im…I Got 'Im is a very strong outing with Earl and his crew giving a unique twist to Hooker's sound. Hooker's wah-wah is heard to good effect on on moody numbers like "Lonesome Mood", "I Wanna Be Your Puppy, Baby" and lays down some nice slide flourishes on the title track. This has been reissued on CD on the BGO label. BGO has also reissued the other John Lee Hooker BluesWay albums: Urban Blues, Simply The Truth and Live At Cafe Au-Go-Go. The other Earl Hooker album released was 1973's posthumous Do You Remember The Great Earl Hooker which were sides originally cut and released for the Cuca label in the early 60's. This has been reissued on CD by Catfish as There's a Fungus Amung Us but which is likely out of print itself.

Homesick James: Ain't Sick No More
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Ed Michel was so impressed with results that additional sessions were set the following week for Big Moose Walker and Andrew Odom. For the Odom date Michel backed him with jazz veterans Panama Francis on drums and Jimmy Bond on stand-up bass. Hooker for his part was asked to play it straight, without slide or wah-wah. Odom is in fine form and the chemistry between Hooker is faultless with Hooker getting plenty of room to cut loose. The album was released as Farther On Down The Road. Among the highlights are the moody "Stormy Monday", the bouncing "Don't Ever Leave Me All Alone" and a crackling version of "Farther Up The Road" (2 songs appear on Simply The Best). The record wasn't treated well by the critics as Mike Leadbitter clearly expressed in a 1973 edition of Blues Unlimited: "What a bitter disappointment! Muffled sound, endless boring songs and total lack of variation. What have BluesWay done to my heroes?" The album was finally released in 1973 and virtually sank without a trace. Despite Leadbitter's assessment this is a worthwhile release and well worth resurrecting on CD. On the other hand Leadbitter gave a rave write up to Johnny "Big Moose" Walker's Rambling Woman (recorded five days after the Odom session) in the January 1971 issue of Blues Unlimited: "He plays piano with the sort of boogie-woogie drive you just don't hear anymore, and has a nice husky voice-this is an exceptionally good blues album." Walker delivers fine originals including the witty "Footrace" (originally cut in 1961 as "Footrace To a Resting Place" and in 1967), the organ driven "Rambling Woman" (originally cut in 1967), "Baby Talk" with everybody stretching out on instrumentals "Moose Huntin'" and "Moose Is On The Loose." The session is slightly marred by Otis Hale's electric tenor sax. Hale was a guy Walker picked up in the park after hearing him play and disappeared after this session to (thankfully) never record again.

In the summer of 1969 Ed Michel signed up Charles Brown, Jimmy Witherspoon and the duo Sonny Terry & Brownie McGee. Brown and Witherspoon usually worked with pick-up units and Hooker was selected to worked with them as well as backing Sonny & Brownie following Michel's idea of putting their sound in an urban blues context. Jimmy Witherspoon was recorded first with the album released shortly after Hooker's death under the title Hunh!. The record is decidedly mixed, basically a long jam session, featuring Mel Brown, Jimmy Bond and Charles Brown. This is a laid back affair with some solid jams including "Bags Under My Eyes", "You Can't Do A Thing When You're Drunk" and the 12 minute plus of "Pillar To Post." Witherspoon had also recorded an earlier album for BluesWay in 1969 titled Blues Singer. Tracks from these albums together with several unreleased recordings from the same sessions were released as Never Knew This Kind of Hurt Before – The BluesWay Sessions on the UK-based Charly label in 1989. Hooker, Brown and Bond were brought back the next day, with the addition of drummer Ed Thigpen, tenor Red Holloway and singer Dottie Ivory for Charles Brown's session which was titled Legend! when released. Again a jam session atmosphere prevailed but this time the results were much better, in fact the album is a remarkable one, and ranks as one of the finest BluesWay dates. Brown reworks his old classics in a more modern context resulting in terrific new versions of "New Merry Christmas Baby", "Drifting Blues" and the stunning "I Want To Go Home" all featuring some beautiful and thoughtful playing from Hooker and superb tenor from Holloway. This record has been issued on CD on the Off-Beat imprint. As for Sonny Terry & Brownie McGhee, their playing and singing are as good as ever but the record never really gels. Michel was obviously not pleased with the results, with the record issued only four years later as I Couldn't Believe My Eyes. The record was chiefly notable for being Hooker's last studio appearance. This has been reissued on CD by the BGO label.T-Bone Walker: Stormy Monday Blues

One of the things BluesWay should be applauded for is giving lesser known deserving bluesmen an opportunity to record. It was on BluesWay that artists such as L.C. Robinson, Lee Jackson, Lucille Spann, Cousin Joe and the aforementioned Big Moose Walker and Andrew Odom recorded their first full length records. On the short list of truly great BluesWay recordings one would have to place L.C. Robinson's House Cleanin' Blues. Robinson was an immensely talented steel guitar player, strong vocalist and fiddle player who had only one single from 1954 and a handful of tracks on a 1968 World Pacific LP to his credit. House Cleanin' Blues is a flawless set featuring Robinson's distinctive steel guitar on the blazing title track plus a batch of equally potent originals like "Separation Blues", "My Baby Crossed The Bay" and some outstanding fiddle on the brooding "Summerville Blues." Sadly Robinson recorded only once more for Arhoolie. Lee Jackson was a distinctive Chicago guitarist who had waxed a handful of singles in the 50's and 60's for Cobra, C.J. and Bea and Baby as well as appearing on records by Willie Dixon, Little Walter, St. Louis Jimmy, Roosevelt Sykes, Sunnyland Slim and others. His Lonely Girl is a very solid Chicago blues outing – although it could probably have been better with more rehearsal – featuring his slightly reverberated, jazzy guitar on fine cuts like the title track, "Juanita" (first cut by him in 1961) and "When I First Came To Chicago." The band is solid with Carey Bell being a real standout. Lucille Spann had made a handful of recordings with husband Otis and after his death in 1970 and cut a fine tribute to him immortalized on the out of print Ann Arbor Blues Festival 1972. Her lone album, 1972's Cry Before I Go, was quite good, spotlighting her strong, raspy, gospel vocals (she sang in church in Mississippi and Chicago) backed by a terrific Chicago ensemble of Detroit Junior, Mighty Joe Young, Eddie Taylor and Willie Smith. Highlights include the title cut, the hard luck "Meat Ration Blues" and the superb "Country Girl" which evolves into an impassioned tribute to her late husband. New Orleans singer/pianist Pleasant Joseph was introduced to Al Smith through Roosevelt Sykes who was acting as a talent scout for the label. Between 1945 and the early 50's he cut a slew of of swinging sides with top drawer session men that highlighted his witty wordplay and made him a big draw on the New York scene. If you want to know where Dr. John found his inspiration look no further than Cousin Joe. Joe hadn't record in nearly a decade when he made the exceptionally good Cousin Joe Of New Orleans, backed by a sympathetic combo that finds Joe in energetic and humorous form as he updates his classic numbers like "Beggin' Woman", "Chicken A-La-Blues" and "Evolution Blues."

L.C. Robinson: House Cleanin' Blues
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In addition to Cousin Joe, BluesWay recorded a number of piano players including the above mentioned Roosevelt Sykes plus two dates by Otis Spann and one session by Sunnyland Slim. Sykes was one of the great blues piano men who made his debut back in 1929 and recorded prolifically for numerous labels up until his death in 1983. On the surface his lone BluesWay date, Dirty Double Mother, would be just another brief pause in a long career and one would expect a typically professional outing if nothing else. Sykes, however, was clearly inspired turning in an exuberant performance backed by the same band as Cousin Joe plus the great sax of Clarence Ford. Ford was a veteran who's worked graced countless records by artists like Amos Milburn, Fats Domino, Snooks Eaglin, Ear King, Little Richard, Guitar Slim and many others. Ford is terrific here as is Sykes who's witty way with a lyric is heard to fine effect on "May Be A Scandal", "Double Breasted Woman" as well as stomping boogies like "Jookin' In New Orleans" and "Dooky Chase Boogie." From New Orleans BluesWay went to Chicago where they recorded two albums by Otis Spann, The Blues Is Where It's At and The Bottom of the Blues, in 1966 and 1967. The first was recorded before a small studio audience, the second featuring the debut of Spann's wife Lucille with both sessions backed by Muddy Waters and his band. Spann is in commanding form on tracks like "My Home Is In The Delta", "T'ain't Nobody's Bizness If I Do", "Heart Loaded With Trouble" and "Doctor Blues." Both records have been reissued on the MCA CD Down To Earth: The BluesWay Recordings, which seems to be out of print, and as individual CD's on BGO. The other Chicago piano player recorded was Sunnyland Slim who's oddly titled Plays The Ragtime Blues was released in 1972. Despite the title this is an exceptionally strong, well recorded set of Chicago blues finding Sunnyland backed superbly by Carey Bell and The Aces (Louis Myers, Dave Myers and Fred Below). "Get Hip To Yourself" is a terrific tough times tale with sizzling guitar from Myers with other highlights including "Mr. Cool" and the jazzy "Canadian Walk."

Alongside Otis Spann and Sunnyland Slim, Al Smith produced sessions by other Chicago artists including Carey Bell, Homesick James, Snooky Pryor, Johnny Littlejohn and Johnny Young. These sessions are definitely a mixed bag. Carey Bell's Last Night is his second album having cut a record for Delmark in 1969. The BluesWay LP is a superior outing finding Bell turning in a very strong Chicago blues record filled with plenty of inspired harp work on tracks like "Last Night", "Tomorrow Night" and instrumental showcases like "Rosa, I Love Your Soul" and "Freda." Bell receives excellent support from Pinetop Perkins, Dave Myers, Eddie Taylor and Willie Smith. This has been reissued on CD on the One Way label. With the addition of Snooky Pryor the same band backs Homesick James on his Ain't Sick No More. This is a very solid, relaxed outing with James in fine form on songs like "Buddy Brown", "Fayette County Blues" and " Money Getter." Snooky Pryor hadn't recorded in over a decade, having become disgusted with the record business, when he cut the lukewarm Do It If You Want To. It was Homesick James who directed Al Smith to his pal Snooky Pryor. Like the Cousin Joe and Roosevelt Sykes, this record was cut in New Orleans featuring some of the same band members. Pryor's brand of Chicago blues doesn't find sympathetic backing from the band and only a few songs like "The One I Crave To See" and "Do It If You Want To" rise to the occasion. Johnny Littlejohn was a fine slide player and singer who unfortunately was ill served on record so perhaps we can't totally blame Al Smith for the tepid Funky From Chicago. While Littlejohn turned in a sterling performance on his 1968 debut Arhoolie record, this one lacks the former's excitement. Littlejohn sounds muted on this recording with few tracks that stand out despite backing from a band that included Eddie Taylor, Dave Myers and Fred Below. Sadly Littlejohn's subsequent records weren't much better. Johnny Young's I Can't Keep My Foot From Jumping was Young's final recording, passing not long after this superb date. Young is in top form playing mandolin on all cuts backed by a tough band featuring stellar guitar work from Louis Myers and the debut by harp man Jerry Portnoy who is uncredited. Young energetically romps through first rate numbers like "Deal The Cards", "I Know She's Kinda Slick", and "No. 12 Is At The Station" among others. This is one of Young's best dates outside of his fine late 60's Arhoolie session.

 Rev. Gatemouth Moore: After Twenty-One Years
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The BluesWay label cast a wide net pulling in several classic blues shouters and those in a similar vein, cutting albums by veterans such as Jimmy Rushing, Eddie Cleanhead Vinson, Roy Brown and Big Joe Turner. It may have been relatively late in Jimmy Rushing's career when he recorded two albums for BluesWay, Every Day I Have the Blues and Livin' the Blues, but he was still in prime singing voice. Joined by a terrific cast of old pals like trombonist Dickie Wells, trumpeter Clark Terry, and tenor saxophonist Buddy Tate, Rushing puts across his distinctive brand of jazzy blues on tunes like "Berkeley Campus Blues," "Blues in the Dark," "I Left My Baby," "Sent for You Yesterday," "We Remember Prez" and "Evil Blues", the latter benefiting from Shirley Scott's organ and the guitar of Kenny Burrell. The end results are two fine swinging sets of vintage Jimmy Rushing. Both albums have been reissued on the Polygram CD Every Day I Have The Blues. Like Rushing, Vinson was well into a long illustrious career when he cut 1967's Cherry Red, his first recording after a five year hiatus from the studio. Backed by the fine small combo of Buddy Lucas on tenor/harmonica, Patti Brown on organ and Mike Bloomfield on guitar, Vinson turns in a marvelous session revisiting past glories like "Cherry Red", "Alimony Blues", "Somebody's Got To Go" as well as newer gems like 'Cadillac Blues" and "Flat Broke Blues." Bloomfield's playing is a real stand out. This album has been reissued on the One Way label. Big Joe Turner's 1967 album Singing The Blues finds the veteran shouter in fine form featuring ace tenor man Buddy Lucas and terrific blowing from George "Harmonica" Smith. The former album has been reissued on CD on the Mobile Fidelity label. The sixties were slow for Roy Brown. There were a few sessions for fly-by-night labels like DRA and Connie and Mobile. Chess cut four sides on him in 1963, but never released them. He became a door-to-door salesman, easing himself into the homes of older blacks with autographed pictures of the former star that was him. "I sold a lot of encyclopedias that way, he recalled. Brown cut 1968's The Blues Are All Brown (reissued in 1973 as Hard Times: The Classic Blues Of Roy Brown) which features the fine title track but the remainder is a bit lackluster.

BluesWay lists several albums that went unissued. Rocky & Val: I Stopped & Looked at the World , John Lee Hooker: Untitled Album, Jimmy Reed: Untitled Album, Little Andrews 'Blues Boy' Odom: Take Me Back to St.Louis and Brownie McGhee & Sonny Terry: Untitled Album.

In closing, the BluesWay label has an uneven track record due primarily it seems to the quickie recording sessions and lack of rehearsals among musicians who in many cases hadn't play together much. Producers such as Bill Syzmzyck, Ed Michel, Bob Thiele did an admirable job considering these conditions but certainly Al Smith deserves much of the criticism leveled at him. Still there were many good records that deserve a better fate than languishing in the out of print bin. Even those that have been reissued on CD on One Way and Off-Beat in the early 90's all appear to be out of print. The BGO BluesWay reissues do appear to all be in print. Many of the LP's can be found easily on ebay although there are a few elusive ones. Hopefully MCA will see fit to due a proper reissue program of the BluesWay catalog as they did of the better known Chess catalog. At the very least they should reissue some of the better albums in there entirety like the Charles Brown, Earl Hooker, Johnny Young, L.C. Robinson and Sunnyland Slim to name a few. A very credible BluesWay box set could also be assembled, a 3 or 4 CD set say, cherry picking the best of the label. Major labels are usually indifferent about their blues holdings so I won't hold my breath but certainly the BluesWay catalog deserves a better fate.

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 5/3/15: Mix Show]]> http://sundayblues.org/?p=9254 2015-05-03T21:05:49Z 2015-05-03T21:05:49Z ARTISTSONGALBUM B.B. King My Own Fault, Darlin aka It's My FaultThe Vintage Years B.B. King Dark Is The Night Pt.1 & 2The Vintage Years Freddie Brown Whip It To A JellyBarrelhouse Mamas Rosa Henderson Papa If You Can't Do Better (I'll Let A Better Papa Move In)The Essential Olive Brown Lookin For A HomePeacock Chicks & Duchesses King Queen & JackStack-O-Lee BluesHawaiian Guitar Hot Shots Casey Bill Weldon Go Ahead BuddyBottleneck Guitar Trendsetters Of The 1930's Hauulea EntertainersRailroad Blues Hawaiian Guitar Hot Shots Oscar WoodsCome On Over To My House BabyTexas Slide Guitars: Oscar Woods & Black Ace Big Joe TurnerJohnson and Turner BluesHave No Fear, Big Joe Turner Is Here Henry GrayI Declare That Ain't RightKnights Of The Keyboard: Chicago Piano Blues Meade Lux LewisRising Tide BluesMeade Lux Lewis 1940-1944 Mississippi John HurtCow Hooking BluesD.C. Blues: The Library of Congress Recordings Vol. 2 Wilbur Sweatman and His OrchestraThe Hooking Cow BluesWilbur Sweatman Vol. 2 Ace Holder Leave My Woman Alone R&B On Lakewood Boulevard Elmore NixonA Hepcat's AdviceLyons Avenue Jive Sam Morgan's Jazz BandShort Dress Girl Breaking Out Of New Orleans 1922-29 Danny BarkerChocko Mo Feendo HeyHistory Of New Orleans Rhythm & Blues Vol. 1 29-49 Forest City JoeDown on the Levee BluesSounds of the South Boy Blue I Got To GoSounds of the South Texas AlexanderTexas Troublesome BluesTexas Troublesome Blues Josh White Josh And Bill BluesJosh White: The Remaining Titles 1941-1947 Tampa Red Black Hearted BluesDown In Black Bottom Big Joe Turner Poor HouseSinging The Blues Roy BrownHard TimesThe Blues Are All Brown Lela BoldenSouthern Woman Blues Piron's New Orleans Orchestra Lela BoldenSeawall Special Blues Piron's New Orleans Orchestra Mississippi John Hurt FrankieAvalon Blues, The Complete 1928 OKeh Recordings Nick Nichols & Whistlin Moore AlexFrankie And Johnny (The Shooting Scene) Part 1Whistlin' Alex Moore 1929-1951 Jewell Long Frankie And Albert Rural Blues Vol. 2 1951-1962 Joe Callicot Frankie And Albert Ain't A Gonna Lie To You Tiny Grimes Frankie And Johnny (Boogie)Tiny Grimes Vol.4 1950-53

Show Notes:

Lela Bolden - Seawall Special BluesAn eclectic show on tap for today including several songs with a New Orleans connection which is not surprising after just spend the last week in the crescent city. In addition we spin a pair of vintage numbers by B.B. King,  a batch of Hawaiian flavored blues, sets revolving around W.C. Handy's "The Hooking Cow Blues", Frankie and Johnny", a pair of tracks from the Bluesway vaults, several fine woman singers and some outstanding piano players.

From New Orleans we spin tracks by Sam Morgan, Armand Piron and Danny Barker. The recordings by Sam Morgan's Jazz Band for Columbia Records in 1927 are some of the best regarded New Orleans classic jazz recordings of the decade.The band was one of the most popular territory bands touring the gulf coast circuit (Galveston, Texas to Pensacola, Florida).

In New Orleans he Danny Barker was dubbed "Banjo King of New Orleans." In 1930 Barker moved north to New York City where he switched from banjo to guitar and in 1938 joined Benny Carter's Big Band and from 1939 to 1949 was the rhythm guitarist for Cab Calloway. He also worked as a freelance rhythm man around New York playing and recording with Sidney Bechet and Mezz Mezzrow, Bunk Johnson, Edmond Hall and Henry "Red" Allen. By 1965, Barker, back in New Orleans, had married singer Blue Lu Barker. He split his time between performing with his wife and the Fairview Baptist Church Christian Band which he founded, lecturing on traditional jazz and working as Assistant to the Curator of the New Orleans Jazz museum up until his death in 1994.In the 1980's Barker published the wonderful autobiography A Jazz Life. From 1945 we play his "Chocko Mo Feendo Hay" a New Orleans classic recorded by others as "Jockamo."

After touring briefly with W.C. Handy in 1917, Armand Piron started an orchestra under his own name. Piron's New Orleans Orchestra quickly became the best paid African American band in New Orleans. In 1923, Piron took his band to New York City as part of his ambition to make the group nationally known. He succeeded in making a hit there, landing a residency at the Roseland Ballroom, and making recordings for three different companies, Okeh, Victor and Columbia. Lela Bolden cut one 78 for Okeh backed by Piron on violin and Steve Lewis who played Piano in Piron's band.The Hooking Cow Blues

B.B. King was in hospice care Friday at his home in Las Vegas, according to a longtime business associate with legal control over his affairs. Probably my first blues album was B.B.'s Live At The Regal which I picked up for $3.99 at Tower Records in NYC. After that I started picking up those great reissue albums put out by Ace Records which collected his 50's sides. Ace has done a great job collecting B.B.'s early sides on well over dozen CD's including a 4-CD box set called The Vintage Years which I highly recommend. We open the show with a couple of early gems, the two-part "Dark Is The Night" and "My Own Fault, Darlin'."

Some Scholars have suggested that the slide style was directly influenced by the “diddley bow” or “jitter-bug,” a single-stringed instrument they say was carried to America by West African slaves. The more likely story, John W. Troutman argues in his article Steelin’ the Slide: Hawaii‘i and the Birth of the Blues Guitar (the article can be found below) is that the musical technique popularized in the Mississippi Delta came from traveling Native Hawaiian musicians who laid the guitar flat on their lap and played it with a piece of metal slid across the strings. Oral testimony, newspaper clippings, and other evidence show that Hawaiian musicians frequented southern cities from Fayetteville, Arkansas, to Memphis, to New Orleans, and sometimes collaborated with black musicians. Most of the earliest documented African-American slide guitarists, and certainly the most significant, understood their style as that of playing ‘Hawaiian guitar. Casey Bill Weldon, for example, was even billed as the Hawaiian Guitar Wizard.

“The Hooking Cow Blues” was a tune was written by Memphis bandleader Douglas Williams in 1917, published and recorded by WC Handy and recorded for Columbia  by him the same year. The recorded was listed as a fox trot. "The Hooking Cow Blues" was recorded by Wilbur Sweatman and his Orchestra with vocal by Corky Williams and ssued in 1935 on Vocalion. Mississippi John Hurt recorded the song in the 1960's. It's unclear who put lyrics to the song.

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. To give the new label legitimacy B.B. King, who was recording for ABC at the time, saw his releases put out on BluesWay (his Blues Is King was the label's first release). BluesWay seemingly signed every major bluesman available. I did a feature on Bluesway in 2010 and will finally get around to a belated sequel this year. Today we play cuts from Big Joe Turner's Singing The Blues from 1967 and Roy Brown's Hard Times from 1968 (also issued on Bluesway in 1973 as The Blues Are All Brown and reissued on Charly as The Bluesway Sessions).

The song "Frankie and Johnny" was inspired by one or more actual murders. One of these took place in an apartment building located at 212 Targee Street in St. Louis, Missouri, at 2:00 on the morning of October 15, 1899. Frankie Baker a 22-year-old woman, shot her 17-year-old lover Allen (also known as "Albert") Britt in the abdomen. Britt had just returned from a cakewalk at a local dance hall, where he and another woman, Nelly Bly (also known as "Alice Pryor"), had won a prize in a slow-dancing contest. Britt died of his wounds four days later at the City Hospital. On trial, Baker claimed that Britt had attacked her with a knife and that she acted in self-defense; she was acquitted and died in a Portland, Oregon mental institution in 1952. In 1899, popular St Louis balladeer Bill Dooley composed "Frankie Killed Allen" shortly after the Baker murder case. The first published version of the music to "Frankie and Johnny" appeared in 1904.The song has also been linked to Frances "Frankie" Stewart Silver, convicted in 1832 of murdering her husband Charles Silver in Burke County, North Carolina. Unlike Frankie Baker, Silver was executed.Hundreds of versions of the recording have been made in all genres. We feature an eclectic mix of versions by Mississippi John Hurt, Jewell Long, Nick Nichols with Whistlin Moore Alex, Joe Callicot and Tiny Grimes.

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 4/19/15: The Blues Is All Wrong – Little Recorded But Great Pt. II]]> http://sundayblues.org/?p=9228 2015-04-19T21:05:12Z 2015-04-19T21:05:12Z ARTISTSONGALBUM Elizabeth JohnsonEmpty Bed Blues Part 1Clarence Williams & The Blues Singers Vol. 1 1923-1928 Elizabeth JohnsonSobbin' Woman BluesAmerican Primitive Vol. II Elizabeth JohnsonBe My Kid Blues I Can't Be Satisfied Vol. 1 George ToreyLonesome Man Blues Memphis Blues 1927-1938 George ToreyMarried Woman BluesBlues Images Vol. 3 Frenchy's String Band Sunshine SpecialThe Frog Blues & Jazz Annual No. 1 Frenchy's String Band Texas and Pacific Blues How Low Can You Go: Anthology Of The String Bass Edward ThompsonSeven Sister Blues A Richer Tradition Edward ThompsonShowers Of Rain BluesThe Rise & Fall of Paramount Records Vol. 2 1928-1932 Edward ThompsonWest Virginia Blues The Rise & Fall of Paramount Records Vol. 2 1928-1932 Leola Manning Satan Is Busy In Knoxville Barrelhouse Mamas Leola Manning The Blues Is All Wrong Favorite Country Blues Guitar: Piano Duets 1929-1937 Pigmeat TerryMoaning the Blues American Primitive Vol. II Pigmeat TerryBlack Sheep BluesAmerican Primitive Vol. II Dan Stewart New Orleans BluesDown In Black Bottom Lonnie ClarkDown In TennesseeDown In Black Bottom Lonnie ClarkBroke Down engineDown In Black Bottom Bobby GrantLonesome Atlanta BluesMississippi Moaners Bobby GrantNappy Head BluesBefore The Blues Vol. 3 Margaret ThorntonTexas Bound BluesBarrelhouse Mamas Margaret ThorntonJockey BluesBarrelhouse Mamas Blind Leroy GarnettLouisiana GlideMama Don't Allow No Easy Riders Here Blind Leroy GarnettChain 'em DownMama Don't Allow No Easy Riders Here Johnnie HeadFare Thee Well - Part IThe Rise & Fall of Paramount Records Vol. 2 1928-1932 Johnnie HeadFare Thee Well - Part IIThe Rise & Fall of Paramount Records Vol. 2 1928-1932 Hattie BurlesonJim NappyI Can't Be Satisfied Vol. 2 Hattie BurlesonSadie's Servant Room BluesTerritory Singers Vol. 2 Hattie BurlesonBye Bye BabyI Can't Be Satisfied Vol. 2 Marshall OwensTexas BluesBlues Images vol. 4 Marshall OwensTry Me One More TimeBlues Images vol. 4 Hattie Hudson Doggone My Good Luck Soul Dallas Alley Drag Hattie Hudson Black Hand BluesI Can't Be Satisfied Vol. 1 Leola ManningThe Arcade Building Moan Rare Country Blues Vol. 1 Leola ManningLaying in the Graveyard Rare Country Blues Vol. 1

Show Notes:

Elizabeth Johnson - Empty Bed BluesAll the artists featured today recorded from one to eight titles and all left behind barley a trace of biographical information. We hear from several outstanding blues ladies including Elizabeth Johnson, Leola Manning, Margaret Thornton, Hattie Burleson, and Hattie Hudson. In addition we spotlight  several other excellent bands, singers, guitarists and pianists including George Torey, Frenchy's String Band, Edward Thompson, Pigmeat Terry, Lonnie Clark, Dan Stewart, Johnnie Head, Bobby Grant, Blind Leroy Garnett and Marshall Owens.

"Rainin' here, rainin' here, rainin' here, rainin' here, stormin' on the sea" sings Elizabeth Johnson in mesmerizing fashion on her masterpiece "Be My Kid Blues." Johnson is a mystery woman who cut four sides in 1928. “Be My Kid Blues b/w Sobbin’ Woman Blues” finds her backed by a unique band (listed as Her Turpentine Tree-O) that consisted of woodblocks, clarinet and guitar. She's backed by the great King Oliver on cornet on the two-part “Empty Bed Blues.”

An East Knoxville cafeteria worker and aspiring evangelist of 25, Leloa Manning was struggling with a troubled marriage when she recorded at the St. James Hotel in Knoxville, TN; once  on Aug. 28, 1929, and once on April 4, 1930. Six numbers were cut between the two sessions, all were issued. The first couple of sides she cut were religious songs, "He Cares For Me b/w He Fans Me", the latter sounding more like a blues number than a religious one. The previous year Frankie 'Half-Pint' Jaxon cut the risque "Fan It." When she returned to the studio she had a batch of utterly unique songs such as "Satan Is Busy In Knoxville" which seems about a real-life serial killer, "The Blues Is All Wrong" an up-tempo boogie-woogie piece, "Laying in the Graveyard" and the topical "The Arcade Building Moan" about a tragic fire that occurred in Knoxville just fifteen days prior:

It was on one Thursday morning, March the 20th day
I think it was about two a.m., I believe I can firmly say
The women and the children was screaming and crying
Not only that, they was slowly dying
Oh, listen, listen, how the bell did ring
When the Arcade Building burnt down.

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 song "Jim Nappy" became a favorite among the Santa Fe group of pianists. According to Paul Oliver it was about her real life lover who managed the traveling shows she put together.  Her "Sadie’s Servant Room Blues" is a rare protest song dealing with domestic service.

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

Burleson was also responsible for discovering Lillian Glinn singing in a Dallas church and encouraged her to pursue a musical career. Pianist Willie Tyson cut two solo piano numbers for Columbia in 1927 which went unissued. The next day he backed singer Hattie Hudson on “Black Hand Blues” and the classic “Doggone My Good Marshall Owens - Try Me One More TimeLuck Soul" her only 78 cut for Columbia records.

Margaret Thornton cut one great 78 for Black Patti backed by great pianist Blind James Beck, "Texas Bound Blues b/w Jockey Blues." Beck also backed singer Mozelle Alderson.

Most of today's male blues guitarists are as mysterious as their female counterparts. George Torey, Johnnie Head, Bobby Grant, Frenchy's String Band, Dan Stewart, Lonnie Clark and Pigneat Terry left behind a sole 78. George Torey had only two titles released, both recorded at a session in Birmingham, Alabama on April 2, 1937.  The two tracks, "Married Woman Blues" and "Lonesome Man Blues" were included on an early Yazoo anthology, Ten Years in Memphis. There is no other evidence that Torey was from Memphis, and none of the Memphis musicians questioned about him in the late '60s and '70s could remember him. One other song from the session, "Delta Blues" was unissued and may hint at his origins.

Johnnie Head cut one 78 for Paramount in 1928, the two-part "Fare Thee Well."

Bobby Grant was  recorded early in 1927 and whose driving slide guitar showpieces "Nappy Head Blues" and "Lonesome Atlanta Blues" denote a possible Mississippi background. I first heard him on the Yazoo compilation Mississippi Moaners.

Frenchy's String Band cut "Sunshine Special b/w Texas And Pacific Blues" in 1928. Polite "Frenchy" Christian was one of the New Orleans jazzmen who ventured westward in the 1920's, settling in Dallas. With a line-up here consisting of cornet, banjo, guitar and bowed bass, "Texas and Pacific Blues" gives an inkling of music played around New Orleans when a string band line up was used.

Pigmeat Terry only cut one 78, for Decca "Black Sheep Blues b/w Moaning The Blues" in 1935 and possessed a high, whispery, moaning voice, a bit reminiscent of the popular Joe Pullum who made his debut the prior year.

My mother's gone to glory, my father's dyin' of drinkin' in his sin (2x)
My sister won't notice me, she's too proud to take me in
I'm a black sheep in my family and how they dog me around (2x)
Someday I'll get lucky and won't be found around

Edward Thompson was a native of Alabama, and he may have known and played with Ed Bell and Pillie Bolling at some point in his life. He traveled to New York City in 1929 and cut six songs in one session. All of these were issued over three records. The recordings were mastered by Gennett, and either sold or leased to Paramount. This recording had Thompson billed as "Tenderfoot Edwards". Nothing else about him is known.

Marshall Owens cut  two 78 s 'for Paramount in 1932, "Texas Blues b/w Try Me One More Time" and one 78 which has never been found, "Texas Blues – Part II b/w Seventh St. Alley Strut."

Dan Stewart cut only one side of a 78 for Brunswick in 1929. The flipside was Jim Clarke's “Fat Fanny Stomp.”

Lonnie Clark only left behind two recordings that were made in 1929 for Paramount, "Down In Tennessee b/w Broke Down Engine." Bob Hall wrote of him "his heavy expressive voice on "Broke Down Engine" is accompanied by a rocking two-handed chorded piano played in a rather primitive style and nicely offset by a neat mandolin obbligato."

Leroy Garnett's recorded legacy only consisted of two sides, "Louisiana Glide b/w Chain 'Em Down", waxed in 1929 for Paramount. He is believed to have been from Fort Worth, TX. He also recorded behind singer James 'Boodle It' Wiggins. As Bob Hall and Richard Noblett wrote: "Garnett's two solos reveal his as a pianist of considerable technique. 'Chain 'Em Down', a superb barrelhouse piece has echoes of the Alabama pianist Cow Cow Davenport …'Louisiana Glide' has strong ragtime influence and the air of a set composition rather than an improvised performance"

 

 

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 4/12/15: Mix Show]]> http://sundayblues.org/?p=9088 2015-04-12T23:37:05Z 2015-04-12T21:05:51Z ARTISTSONGALBUM Jimmy And Mama Yancey Monkey Woman Blues Chicago Blues Piano Vol. 1 Otis Spann It Must Have Been The Devil Genesis: Beginnings Of Rock Vol. 3 Al Winter Boogie 88 Hollywood Boogie: Obscure Piano Blues & Boogie Woogie From Los Angeles Mable Hillery Lonesome Road It's So Hard To Be A Nigger Mable Hillery Mr. President It's So Hard To Be A Nigger Jimmy WitherspoonBig Family Blues 1950s R&B From Dolphin's Vol. 2; Toast Of The Coast Tony AllenYou're A Mean And Evil Woman 1950s R&B From Dolphin's Vol. 1; On With The Jive Lucille Bogan and Papa Charlie Jackson Jim Tampa Blues Papa Charlie Done Sung That Song Laura DukesBricks In My PillowTennessee Blues Vol. 1 Elmore James Strange Angels Something Inside Of Me Wild Jimmy Spruill Hard GrindScratchin': Wild Jimmy Spruill Story Guitar Gable Long Way from HomeRhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies Pee Wee CraytonRockin the Blues Texas Blues Jumpin' In Los Angeles: The Modern Music Sessions 1948-51 John Lee Hooker I Don't Be Welcome HereThe Complete1948-51 Vol. 3 Blind Joe Hill Highway 13 First Chance Jimmy Reed I'm Just Trying To Cop A Plea Soulin' Tampa Red I Still Got California On My MindThe Bluebird Recordings 1934-1936 Lane HardinCalifornia Desert Blues Blues Images Vol. 9 Jesse Thomas Gonna Move to California Jesse Thomas 1948-1958 Lawyer Houston Out In CaliforniaLightning Hopkins: Lightning Special Vol. 2 Howlin' WolfCalifornia BoogieSmokestack Lightning: The Complete Chess Masters Johnny WoodsSo Many Cold MorningsSo Many Cold Mornings John Tinsley Cotton Picking BluesCountry Blues Roots Revisted Walter Davis Strange Land BluesWalter Davis 1930-1932 Roy HawkinsStrange LandBad Luck Is Falling Roger (Burn Down) GarnettLighthouse BluesThe Frog Blues And Jazz Annual No. 1 Dorothy Everetts Macon Blues The Frog Blues And Jazz Annual No. 1 Irene Wiley Bo Hog BluesThe Frog Blues And Jazz Annual No. 1 Jimmy RushingSomebody's Spoiling These WomenBlues & Gospel Kings Vol. 4

Show Notes:

ctf10024 (1)
Read Liner Notes

A wide ranging mix show today  including songs a pair of sides by singer Mabel Hillery, sets of piano blues, some heavy duty guitar slingers, a pair of sets revolving around specific lyrical themes, music from the vaults of King Records and west coast record man John Dolphin and a batch of outstanding early pre-war blues sides.

Shortly after the death of folklorist Tary Owens on September 21, 2003, Brad Buchholz, wrote that, “Tary Owens devoted most of his life to music, though only rarely to his own. The greater mission, to Owens, was to champion the music of forgotten or unsung Texas bluesmen—to put their songs on records, to place them on a stage, to encourage a larger public to celebrate their artistry.” Owens operated the Catfish and Spindletop labels issuing some fine recordings of neglected Texas artists. We spotlight two tracks from Texas Piano Professors by little recorded piano men Dr. Hepcat, Grey Ghost and Erbie Bowser. I want to thank Gerrit Robs for making this album available to me.

We spin a trio of tracks from the Frog Blues And Jazz Annual No. 1, which I recently picked up along with the second and third issues. The magazine does a great job filling the hole left by the late lamented 78 Quarterly. The Annuals are something between a magazine and a softbound book, roughly 8.5 inches by 11.75 inches with 178 pages. They are edited (and  contributed to) by Paul Swinton, owner of Great Britain’s Frog Records, one of the  premier prewar jazz and jazz/blues reissue record companies. Each Annual comes with a companion CD featuring 26 cuts that reflect the articles in the Annual.  Most of the blues tracks have appeared on other collections, but Roger Garnett's marvelous "Lighthouse Blues" (recorded for the Library of Congress in 1939) and Irene Wiley's fantastic "Bo Hog Blues" (with a probable late 1940's recording date) have not been issued before. We also spin Dorothy Everetts terrific "Macon Blues" from her lone 1928 78 record.

A member of The Georgia Sea Island Singers (she joined in 1961), Mable Hillery was less known than leader, Big John Davis or Bessie Jones, who also had her own performing career. Between 1961 and 1965 she toured the college circuit of campuses, coffee houses, church basements, and festivals, from Berkeley to Philadelphia, from the Ash Grove in Los Angeles to the Café à Go-Go in New York City. Hillery was very active in civil rights issues during the 60's. In 1968, after touring in England, where she did TV and concert dates, Hillery made a her only album for the record label Xtra, It's So Hard To Be A Nigger, which has never been issued on CD. This is a (The Frog Blues And Jazz Annual No. 1)wonderful record and Hillery was a tremendously expressive singer. The acapella title track sounds like a lost field recording by the Lomax's or Lawrence Gellert. A few other sides by her appear on various anthologies. She died at the age of 46 in 1976. 

We spin several songs with lyrical themes including several revolving around "California" and several using the title "Strange Land." In 1936 Robert Johnson famously sang the lines "But I'm cryin' hey baby, Honey don't you want to go/Back to the land of California, to my sweet home Chicago." This line always seemed a bit confusing too me but I think many blues singers viewed California as an idyllic, almost mystical place far from the Jim Crow south. From 1934 we spin Tampa Red's jaunty "I Still Got California On My Mind", Lane Hardin's "California Desert Blues" ("When I reach old Los Angeles, Californy, you oughta heard me jump and shout"),  Jesse Thomas' "Gonna Move to California", Howlin' Wolf's "California Boogie" and "Out In California" by Lawyer Houston:

Well I'm going out on Central
Going to get me a room at the hotel Dunbar
And then I'm going out to Hollywood to become a movie star

"Way out in California, that's where I long to be" sings Walter Davis in "Strange Land Blues." Roy Hawkins cut the doomy "Strange Land" in 1948 and updated it 1961.

We spin three tracks from the series Blues & Gospel Kings which spotlight early blues and gospel from King records. There are four volumes in the series spanning the years 1945 through 1952. Founded by Syd Nathan in 1943, King Records was one of the most influential independent labels of the 1940s and 1950s. By the end of the latter decade, it had become the nation's sixth largest record company. The label originally specialized in country music and." King advertised, "If it's a King, It's a Hillbilly – If it's a Hillbilly, it's a King." The company also had a "race records" label, Queen Records (which was melded into the King label within a year or two) and most notably (starting in 1950) Federal Records which launched the singing career of James Brown. In the 1950s, this side of the business outpaced the hillbilly recordings.

We also feature tracks from west coast record man John Dolphin and King Records. The legendary John Dolphin, also known as Lovin’ John, was one of the first and most well respected, black business man who made his way in the music business of Los Angeles in the 1940s and 50s. Dolphin first entered the music business as a retailer where in 1948, when he opened Dolphin’s of Hollywood, a record store on Vernon Avenue that would stay open 24 hours a day.The store featured deejays broadcasting on the local station of KRKD, in front of the huge, glass window. In 1950, John Dolphin mounted his own label, Recorded In Hollywood, eventually selling the label to Decca. Dolphin launched follow-up labels including Lucky, Money and Cash. In 1958 Dolphin was shot and killed by a disgruntled songwriter. The Ace label has issued two volumes of recordings made by Dolphin: On With The Jive! 1950s R&B From Dolphin's Of Hollywood Vol. 1 and Toast Of The Coast: 1950s R&B From Dolphin's Of Hollywood Vol. 2.

Mabel Hillery
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We play a set of guitar heavy hitters today, most from some recent reissues. The track by Wild Jimmy Spruill comes from a great 2-CD set, Scratchin’: The Wild Jimmy Spruill Story. After arriving in New York in 1955 Spruill went on to play guitar on a staggering number of records notably for Bobby and Danny Robinson’s group of labels, including Fire, Fury, Enjoy, Everlast and Vim. He also cut some terrific sides under his own name. Our Pee wee Crayton cut comes from Texas Blues Jumpin' In Los Angeles: The Modern Music Sessions 1948-51, the third CD on the Ace label of Crayton's Modern sides. "Long Way From Home" by Guitar Gable comes from another recent Ace reissue, Rhythm 'n' Bluesin' By The Bayou: Mad Dogs, Sweet Daddies & Pretty Babies the tenth volume in the “By The Bayou” series, pulling sides from the  vaults of J.D. Miller’s Crowley studio.

 

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 4/5/15: Folk Songs of America – The Music of Lead Belly]]> http://sundayblues.org/?p=9182 2015-04-05T21:06:04Z 2015-04-05T21:06:04Z ARTISTSONGALBUM Interview Pt. 1Jeff Place Leadbelly Black GirlThe Smithsonian Folkways Collection Leadbelly Been So Long (Bellevue Hospital Blues) The Smithsonian Folkways Collection Interview Pt. 2Jeff Place Leadbelly Irene (Goodnight Irene)The Smithsonian Folkways Collection Leadbelly CottonfieldsThe Smithsonian Folkways Collection Interview Pt. 3Jeff Place Leadbelly Fannin StreetThe Smithsonian Folkways Collection Interview Pt. 4Jeff Pace Leadbelly Noted RiderThe Smithsonian Folkways Collection Interview Pt. 5Jeff Place Leadbelly Silver City BoundThe Smithsonian Folkways Collection Leadbelly One Dime BluesThe Smithsonian Folkways Collection Leadbelly & The Golden Gate Quartet Alabama BoundAlabama Bound Interview Pt. 6Jeff Place LeadbellyWNYC- Folk Songs of America ProgramThe Smithsonian Folkways Collection Interview Pt. 7Jeff Pace LeadbellyRock Island LineThe Smithsonian Folkways Collection LeadbellyShorty GeorgeLeadbelly: The Remaining LOCR Vol. 3 1935 Interview Pt. 8Jeff Place Leadbelly The TitanicThe Smithsonian Folkways Collection Leadbelly Jim Crow BluesThe Smithsonian Folkways Collection Leadbelly The Bourgeois BluesThe Smithsonian Folkways Collection Interview Pt. 9Jeff Place Leadbelly & Josh WhiteMother's Blues (Little Children Blues)Leadbelly: Important Recordings 1934-49 LeadbellyDiggin' My PotatoesThe Smithsonian Folkways Collection Interview Pt. 10Jeff Place Leadbelly I'm On My Last Go-RoundLeadbelly: Important Recordings 1934-49) Leadbelly Don't You Love Your Daddy No More Leadbelly & Josh White (Reamaining Titles) 1937-1946 Leadbelly When a Man's a Long Way from HomeLeadbelly Vol. 5 1944-1946

Show Notes:

Lead Belly: The Smithsonian Folkways CollectionToday's program is our first show devoted to Lead Belly who I haven't played all that much on the show over the years. I remember picking up my first Leadbelly album back in High School. It was a self-titled album on Columbia collecting some of his 1930's blues sides. For whatever reason the album didn't make much of an impression on me. It was only years later, after picking some of the collections on Document that I got a better appreciation of the sheer breadth of his repertoire and talent. Today's show is inspired by a recent 5-CD box set on the Smithsonian Folkways label, The Smithsonian Folkways Collection, that serves as an excellent career retrospective and has an informative booklet with essays by Robert Santelli and Jeff Place. We play a number of tracks from the box set plus chat with producer Jeff Place, who I spoke with a couple of weeks back.

Lead Belly's recording career began with recordings made in 1933 by John and Alan Lomax at Angola prison and after his release from prison he recorded prolifically right up until his death in 1949. Lead Belly never had much success among black audiences, his commercial blues recordings did not sell, but he found success among the folk music audience. He became a fixture in New York City's folk music scene befriending and performing with Sonny Terry, Brownie McGhee, Woody Guthrie, and a young Pete Seeger. Lead Belly was also the first blues musician to see success in Europe when he traveled there in 1949. He died later that year in New York City.

As Robert Santelli writes in the notes: "Lead Belly was a man of contradiction and complexity. It was hard to truly know him, said the people who tried, and it was next to impossible to place him in a particular music style or form and have him remain there for long. He was a folk musician who also played the blues. He knew his share of work songs and field hollers, having sung them while picking cotton and doing farm chores. He learned prison songs while incarcerated, and he sang them like a man who had seen life’s underbelly. Spirituals and gospel tunes came naturally to him. He gave new life to old ballads whose origins were buried in the past. He could sing children’s songs when kids were present. And at house parties and local fish fries, if someone wanted to hear a few standards or a pop hit of the day, he could sing and play them too. Lead Belly moved through American music genres and song circles naturally and effortlessly, never seeing the boundaries and categories that were created for commodity’s sake by men with bow ties and clean suits. He was the very definition of a 'songster,' an old-time, old-school human jukebox of a performer and recording artist who never quite realized just what an American music treasure he had become in his life."
LeadBelly
Huddie Ledbetter was born January 15, 1888, in the Caddo Lake District near Mooringsport in the northwest corner of Louisiana, near the Texas and Arkansas lines. Two of Huddie’s uncles, Bob and Terrell, were musicians and introduced him to new songs. His uncle Terrell gifted him a small accordion when was seven years old. He would acquire a guitar around 1903. Huddie had become adept at all sorts of musical styles, and found that he could pick up a few extra cents playing at local country dances, or “sukey jumps." By the time Huddie left Mooringsport in 1906, he had fathered two children out of wedlock and had a bad reputation locally. After some rambling to New Orleans and other places, he landed in Shreveport. Along the way he had learned all types of songs, including popular songs of the early 1900s. Around 1910, a now-married Huddie moved to Dallas, Texas. According to Charles K. Wolfe and Kip Lornell in The Life And Legend Of Leadbelly: "Sometime during his wanderings – probably late in 1910, when he was living near Dallas – Huddie acquired his first twelve-string guitar." Leadbelly told may tales of how he picked up the instrument. One of the less fanciful stories is recounted in the book: 'I saw one of those old 12-string Stellas sitting in the window of a Dallas store. The year before I heard a man play it in one of those traveling medicine shows where they sold a cure-all for fifty cent a a bottle.' Captivated by the loud, ringing sound of the instrument, Leadbelly  had spent the rest of the night hanging around the medicine show tent listening to the man play. Shortly, thereafter, when he finally saw one of the twelve-strings for sale; 'the price of the guitar was $12', he recalled, 'I had to have it.'" In 1912, he met and started playing as a duo with Blind Lemon Jefferson who in the 1920's would become one of the best-selling blues artists in the country.

In June 1915, Huddie was involved in an altercation and was sentenced to 30 days on a chain gang. Huddie escaped and fled to New Orleans, and then back to Mooringsport. He could not stay there, and so, traveling with his wife, he began going by the name Walter Boyd and went to live with relatives in DeKalb, Texas. In December 1917, Lead Belly found himself in a confrontation, a gun was fired, and Will Stafford lay dead. 78-rpm-rare-blues-leadbelly-record-alabama-bound-on-hmv-mh-160-must-see-ee_5789957Huddie claimed it was self-defense but was sentenced to between 7 and 30 years in a Texas prison. He began at the Shaw State Prison and later was transferred to the notorious Sugarland Prison. He was released in 1925.

He would be free for just five years; in 1930 another fight landed him in Louisiana’s notorious Angola Prison for six to ten. Lead Belly became known around the prison for his singing and guitar playing. John and Alan Lomax arrived at Angola on July 16. Lead Belly was suggested to them as a good singer to record, and they realized they had really made a “find.” The Lomaxes made 12 recordings and returned the following July to record 15 more songs. He had a special one prepared, “Governor O.K. Allen.” He asked if John Lomax would deliver a recording of the song to Allen’s office. Lead Belly had previously written asking for a pardon as well. It is not known whether Allen listened to the song, but Lead Belly was officially granted a pardon on July 25, 1934.

He returned to Shreveport and began to lobby John Lomax for a job. Alan was suffering from an illness, and John needed a driver. In the fall, performing this role, Lead Belly took off with them on a recording trip. He would sometimes warm up the prisoners by singing his songs and showing them the kinds of things Lomax wanted. Lomax was anxious to present his new discovery to a meeting of the Modern Language Association in Philadelphia, which launched the flurry of sensationalism that accompanied Lead Belly’s arrival on the scene. Finally it was the big move to New York. In 1935, the Lomaxes had lobbied for Lead Belly to sign a recording contract with the American Recording Corporation (ARC). Of the 43 songs Lead Belly recorded for ARC, only six saw the light of day.

In breadth and number, the greatest collection of songs Lead Belly ever recorded were the hundreds he did for the Library of Congress. The two Lomaxes were acting as his managers and took two thirds of the cut. Eventually there was a falling out and Leadbelly moved to Shreveport then Dallas. He eventually decided to give New York City another try. During the same time period, Lead Belly was being introduced to singers in New York who came from a strong protest song background. In April 1939, Lead Belly recorded a session for the small Musicraft Records and the following year for the Library of Congress. Throughout 1941 and early 1942, Lead Belly had a weekly show on WNYC’s The American School of the Air called Folk Songs of America. He also made recordings for RCA in 1940, some backed by the Golden Gate Quartet.

The commercial labels that recorded Lead Belly didn’t know how to market his music. For better or worse, Lead Belly’s strongest audience turned out to be the music fans involved in the folk revival, mainly in New York. City. Around this time Leadbelly Leadbelly Columbia Albumbegan recording for Moe Asch and his Asch label. Lead Belly recorded mainly for Asch for the rest of his life. In 1945, Asch Records went out of business and was followed by Asch’s second label, Disc Recordings of America. Lead Belly continued to record for Disc. During that time and for years to come Lead Belly’s apartment at 414 East 10th Street was a hub of musical activity. His niece Tiny Robinson remembers “it being like a friendly hotel that would receive musical guests like Sonny and Brownie, Bill Broonzy, Burl Ives, Eartha Kitt, Pete Seeger, Woody Guthrie, and Harry Belafonte."

In 1948 Lead Belly was recorded extensively  by Fredric Ramsey. These sides were eventually released by Smithsonian Folkways as a 4-CD set titled Lead Belly's Last Sessions. In the late 1940's, Lead Belly began to feel something was physically wrong. In 1948, at a show in Paris during his trip to Europe, he found he could not continue playing his guitar. He was taken to a Parisian doctor who diagnosed Leadbelly with ALS, better known as Lou Gehrig’s Disease. He died in New York at Bellevue Hospital a little over a year later on December 5, 1949.

Over the next few years, a series of memorial LP's honoring Lead Belly were released by both the new Folkways label and Stinson Records, and many of Lead Belly’s numerous friends took part in memorial concerts. The band the Weavers, featuring Pete Seeger, celebrated Lead Belly’s music on stage, recording “Rock Island Line,” “Silvy,” and “Goodnight Irene” (among others). "Goodnight Irene” became a huge hit in 1950.

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 3/29/15: Deep South Piano – Little Brother Montgomery Revisited]]> http://sundayblues.org/?p=9131 2015-03-29T21:07:33Z 2015-03-29T21:07:33Z ARTISTSONGALBUM Little Brother Montgomery Louisiana Blues Little Brother Montgomery 1930-1936 Little Brother Montgomery Out West Blues Little Brother Montgomery 1930-1936 Little Brother Montgomery Walking Basses/Dud Low Joe/FirstVicksburg Blues Conversation With The Blues Little Brother Montgomery The 44 (Vicksburg) Blues Deep South Piano (Storyville) Little Brother Montgomery Hesitatin' Blues Deep South Piano (Storyville) Little Brother Montgomery Bob Martin Blues Deep South Piano (Storyville) Little Brother Montgomery I Keep DrinkingAmerican Folk Blues Festival '66 Little Brother Montgomery Something Keeps Worrying Me Tasty Blues Little Brother Montgomery Michigan Water Blues Chicago: The Living Legends Adam CatoOld Barrelhouse BluesDeep South Piano (Agram) Little Brother Montgomery Dudlow Joe Deep South Piano (Agram) Little Brother Montgomery West Texas Blues Little Brother Montgomery 1930-1936 Little Brother Montgomery Crescent City Blues Little Brother Montgomery 1930-1936 Little Brother Montgomery I Don't Feel Welcome Here (Stingaree Blues)Farro Street Jive Little Brother Montgomery L&N Boogie Blues Little Brother Montgomery Mama, You Don't Mean No Good I Blueskvarter Vol. 2 Little Brother Montgomery InterviewI Blueskvarter Vol. 2 Little Brother Montgomery Pleadin' Blues Rare Blues Little Brother Montgomery Talkin' BoogieAtlantic Blues: Piano Little Brother Montgomery Cow Cow Blues Little Brother Montgomery: Vocal Accompaniments & Early Post-War Recordings 1930-1954 Irene Scruggs Must Get Mine in Front Little Brother Montgomery: Vocal Accompaniments & Early Post-War Recordings 1930-1954 Annie TurnerWorkkhouse BluesLittle Brother Montgomery: Vocal Accompaniments & Early Post-War Recordings 1930-1954 Little Brother Montgomery Farish Street JiveLittle Brother Montgomery 1930-1936 Little Brother Montgomery Loomis Gibson Blues Deep South Piano (Agram) Roosevelt SykesThe Way I Feel BuesDeep South Piano (Agram) Little Brother Montgomery Woman That I LoveLittle Brother Montgomery: Vocal Accompaniments & Early Post-War Recordings 1930-1954 Little Brother Montgomery A&B Blues Little Brother Montgomery: Vocal Accompaniments & Early Post-War Recordings 1930-1954 Little Brother Montgomery No Special Rider Blues Blues Piano Orgy Little Brother Montgomery Cooney Vaughn's Tremblin' BluesDeep South Piano (Storyville) Little Brother Montgomery Up The Country BluesBajez Copper Station

Show Notes:

Deep South PianoLittle Brother Montgomery ranks among the greatest blues pianists of the 20th century who had unusually long and prolific career. Montgomery's biographer, Karl Gert zur Heide, called Montgomery "probably the greatest all-round piano player of his time in the Deep South." He was born in 1906, passed away in the early 1980's and began his recording career in 1930. Like his contemporary, Roosevelt Sykes, both men chose to record their versions of “44 blues” at their debut sessions; Sykes cutting it first in 1929 as "Forty- Four Blues" and following year by Montgomery as “Vicksburg Blues.” Montgomery recorded steadily through the decades although never became a star like his contemporary, Sykes who cut hundreds of commercial sides for the black record buying public. Montgomery was recorded much more sparingly, cutting some two-dozen sides in the 30's, without a doubt his greatest recordings, barely recorded in the 40's and 50's but saw ample recording opportunities starting with the blues revival of the 1960's and continuing through the 1970's.

This is our second show devoted to Montgomery, with the first also spotlighting Roosevelt Sykes. Today's show was inspired by the recent 3-CD set on the Agram label, Deep South Piano: The Music of Little Brother Montgomery, his Family, Friends and Peers.  These recordings stem from a trip to  the United States by Karl Gert zur Heide in 1968 and 1972 to seek out piano blues players. During that trip he recorded Sunnyland Slim, Little Brother Montgomery, Sweet Williams, Lafayette Leake, Roosevelt Sykes and others. This collection serves as a belated companion to Heide's long-out-of-print book, Deep South Piano: The Story of Little Brother Montgomery which came out in 1970 (I recently tracked down a copy of this fascinating book). Today's show is inspired by another album I've been listening to quite a bit lately, also titled Deep South Piano and cut for the Storyville label in 1972. The more I listen to this record the more I feel this is one of his finest; perfectly recorded, the album finds Montgomery at his peak and in a nostalgic mood as he remembers those piano men who influenced him but never record on such songs as "Willie Anderson's Blues", "Vanado Anderson Blues", "Bob Martin Blues", "Cooney Vaughn's Tremblin' Blues", "Miles Davis Blues" and an extended reworking of his classic, "The 44 (Vicksburg) Blues." Montgomery knew a staggering number of piano players and absorbed a vast musical knowledge from them. Indeed, Montgomery knew a huge number of songs although he had a smaller number of favorites he recorded often throughout the years.

Crescent City Blues
Farrish Street Jive

Eurreal Montgomery was the fifth of ten children, born to Harper and Dicy Montgomery. The family home was in Kentwood, Louisiana where Harper ran a honky-tonk where logging workers gathered on weekends to drink, dance, gamble and listen to music. Most all of the Montgomerys were musical. Harper played clarinet, and Dicy played accordion and organ. Eurreal’s brothers and sisters all learned to play piano to one degree or another. Little Brother taught himself to play simple "three finger blues", as he called them, on a piano his father bought the family. From then on," he told his biographer Karl Gert zur Heide, "I just created simple things on my own until later I got large enough and went to hear older people play.… like Rip Top, Loomis Gibson, Papa Lord God." Montgomery had plenty of opportunity to hear older musicians. Most of them passed regularly through Kentwood and played at his father’s honky-tonk. Eventually, he told Heide,  "…I ran away from home at about the age of eleven and played piano for a living."

Little Brother, along with a group of other players, developed a piano piece that was unlike any other, and they revelled not only in its originality, but also in its sheer difficulty. He described it as “the hardest barrelhouse of any blues in history to play because you have to keep two different times going in each hand”. This remarkable composition developed over a period of years and was inevitably picked up by other players. One of these (“a feller… (who) always used to be hangin’ around us tryin’ to get in on it”) was Lee Green. Later, in St.Louis, Green would teach it to Roosevelt Sykes, who in turn, was the first to put it on a record, for Okeh in New York in 1929, under the title "44 Blues."

Montgomery played his way through Louisiana, Mississippi and Arkansas. He eventually moved to New Orleans. In the mid-1920's, Montgomery toured Louisiana with a variety of bands, his own and others. In 1928, Montgomery was hired by Clarence Desdune’s Dixieland Revelers, a dance band. At the end of 1928, Montgomery quit the Revelers and moved up to Chicago. He made a name for himself playing rent parties—house parties put on in black neighborhoods to raise money to pay the rent. As Heide writes: "It seems impossible to lay down a reliable chronology of Brother's movements in he mid-1920s. He traveled extensively in the areas round Louisiana and Mississippi… He probably bought his first car when he was eighteen years old. Thus he could traverse the country playing 'one-nighters.'"

In late 1930, Montgomery accompanied Minnie Hicks and on two songs, Irene Scruggs on four and recorded “No Special Rider blues” and "Vicksburg Blues" for Paramount. The latter song was one of the most popular blues of its day, widely imitated by bluesmen. In 1931 he cut one 78 for Melotone, "Louisiana Blues b/w Frisco Hi-Ball"and cut two 78's for Bluebird in 1935. His next recording opportunity was in October 1936 in New Orleans where he waxed a remarkable 18 song session. He also backed fifteen year old singer Annie Turner on four numbers. The recordings Montgomery laid down were undoubtedly the pinnacle of Deep South Piano Bookhis career, an astonishing profusion of piano technique, originality and depth of feeling that mark these as one of the finest bodies of piano blues recorded in the era. As Chris Smith writes he was "adept at blues, jazz, stride, boogie and pop which he synthesized into a personal style that ranged easily from the bopping earthiness of "Frisco Hi-Ball" to the pearl-stringing elegance of "Shreveport Farewell." His high voice and bleating vibrato are unmistakable, especially on his signature piece, "Vicksburg Blues", a polyrhythmic  showcase for his acute but never pedantic timing. it's also an example of Brother's poetry of geography; many of his songs, and even the titles of his instrumentals, are rich evocations of places he knew and the railroads that carried him between them."

Around the time World War II started Montgomery moved north to Chicago where he remained for the rest of his career. After the war, he began playing "old-time jazz" with musicians such as Baby Dodds and Lonnie Johnson. In 1948, he took part in a Carnegie Hall reunion concert by the Kid Ory Band and He played the Chicago club circuit regularly. Montgomery, like many others, saw himself as more than just a bluesman. From quite early on, too, Montgomery had played in jazz bands, and based in New Orleans in the 1920's, he worked with many of the great musicians in that city. It was in a jazz band that he would appear on his first issued recordings of the post-war era, together with New Orleans musicians Lee Collins (trumpet) and Oliver Alcorn (sax) and a Chicago rhythm section, in 1947 for Century. Also from the 1940's were unissued sides for Savoy in 1949.

In the 1950's there was sporadic recording activity, even if there were few issued records to show for it at the time: a 1951 session for Atlantic with drummer Frank ‘Sweet’ Williams, two 1953 sides for JOB and two sessions in 1954 and 1956 only four tracks were issued, on a ten-inch LP on the Winding Ball label and five rare sides cut for the Chicago label, Ebony, in 1956.

As electric post-war blues took hold in Chicago, Montgomery was an active session musician. He toured briefly with Otis Rush in 1956. His fame grew in the 1960's, and he continued to make many recordings. He appeared on some of the influential mid-fifties record made by Otis Rush, and played piano on one of Buddy Guy’s first big hits, his 1960 remake of Montgomery’s "First Time I Met The Blues."

Deep South Piano
Read Liner Notes

As momentum to Montgomery’s career picked up in the 60's and he became a world traveler, visiting the UK and Europe on several occasions during the 1960's, cutting several albums there, while remaining based in Chicago. He cut some excellent albums during this period including Tasty Blues for Bluesville featuring sympathetic support from guitarist Lafayette Thomas, two exceptional records for Folkways (Blues and Farro Street Jive), the aforementioned Storyville album, a fine live recording in Amsterdam (Bajez Copper Station) plus band recordings with Edith Wilson and the State Street Ramblers (He May Be Your Man… But He Comes To See Me Sometime!), an album with the State Street Swingers (Goodbye Mr. Blues), recordings made for his own FM label among several others. Other notable recordings were made in 1964 for the Swedish Broadcasting Corporation (I Blueskvarter Vol. 2) and in 1960 when Montgomery visited England where he was recorded extensively by piano expert Francis Wilford Smith (issued on Magpie as These Are What I Like: Unissued Recordings Vol. 1 and Those I Liked I Learned: Unissued Recordings Vol. 2.). He continued performing and recording practically right up to his death on September 6, 1985 of congestive heart failure.

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Jeff http://sundayblues.org <![CDATA[Pledge Drive]]> http://sundayblues.org/?p=9122 2015-03-10T14:52:10Z 2015-03-10T14:52:10Z Just a quick note that on our 3/15 show I will have my friend and bluesman Steve Grills down in the studio to help out on the pledge drive. Steve will be bring down some records to spin and I'll bring down some  as well. There will be no show notes for this show.

The Jazz90.1 spring membership campaign is underway with a goal of $50,000 to keep the great jazz, blues and specialty programs on the air. If you're a listener of the show please help support us if you can. You can call at 966-JAZZ, 966-5299 or toll-free 1-800 -790-0415. You can also pledge online by clicking here.

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 3/8/15: Parchman Farm Blues – It Ain't But One Thing I Done Wrong, Stayed In Mississippi Just A Day Too Long]]> http://sundayblues.org/?p=9047 2015-03-08T20:54:28Z 2015-03-08T20:54:28Z ARTISTSONGALBUM Jimpson and Group Murderer’s Home Parchman Farm: Photographs and Field Recordings, 1947-1959 22 and Group It Makes A Long Time Man Feel Bad Parchman Farm: Photographs and Field Recordings, 1947-1959 FootsHollers Parchman Farm: Photographs and Field Recordings, 1947-1959 Josephine Parker I Got A Man In New Orleans Jailhouse Blues Lucille Walker Shake 'em on Down Jailhouse Blues Beatrice TisdallWorkhouse Blues Jailhouse Blues Wade WaltonParchman Farm Shake 'Em On Down Joe SavageJoe’s Prison Camp Holler Living Country Blues USA Vol. 9 The ConfinersHarmonica Boogie The Devil's Music BamaStackalee Parchman Farm: Photographs and Field Recordings, 1947-1959 Tangle Eye Tangle Eye’s Blue Parchman Farm: Photographs and Field Recordings, 1947-1959 Floyd BattsLucky Song Parchman Farm: Photographs and Field Recordings, 1947-1959 Big Charlie Butler It's Better To Born LuckyMississippi: Saints & Sinners Dobie Red & GroupRosie Mississippi: Saints & Sinners Bukka White Parchman Farm Blues The Complete Bukka White Bukka White When Can I Change My ClothesThe Complete Bukka White BamaI’m Going Home Parchman Farm: Photographs and Field Recordings, 1947-1959 Clarence AlexanderDisability Boogie Woogie Parchman Farm: Photographs and Field Recordings, 1947-1959 John DudleyCool Drink of Water Blues Parchman Farm: Photographs and Field Recordings, 1947-1959 Eva WhiteNo Mo' Freedom Jailhouse Blues Mattie May Thomas No Mo' Freedom American Primitive Vol. II Mattie May Thomas Dangerous BluesAmerican Primitive Vol. II Charlie PattonSpoonful The Best of Charlie Patton Ed LewisLevee Camp Holler / Interview Parchman Farm: Photographs and Field Recordings, 1947-1959 BamaLevee Camp Hollers Parchman Farm: Photographs and Field Recordings, 1947-1959 Clarence AlexanderPrison Blues Parchman Farm: Photographs and Field Recordings, 1947-1959 Beatrice Perry I Got a Man on the Wheeler (Levee Camp Blues) Jailhouse Blues Hattie GoffOh Mr. Dooley, Don't 'Rest Me Jailhouse Blues Group Of Women Prisoners If There's Anybody Here Wants to Buy Some Cabbage Jailhouse Blues Bridges Lee Cole HollersParchman Farm: Photographs and Field Recordings, 1947-1959 BamaI Don't Want You BabyParchman Farm: Photographs and Field Recordings, 1947-1959 Grover Wells and Group RosieParchman Farm: Photographs and Field Recordings, 1947-1959 Son HouseCounty Farm BluesThe Stuff That Dreams Are Made Of Franks EvansRed River BluesMississippi: The Blues Lineage Bukka WhiteSic 'Em Dogs On Mississippi Blues and Gospel: Field Recordings 1934-1942 John Dudley Clarksdale Mill Blues Southern Journey, Volume 3: 61 Highway Mississippi Henry Ratcliff Look for Me In LouisianaParchman Farm: Photographs and Field Recordings, 1947-1959 Ed Lewis & Prisoners I'll Be So Glad When the Sun Goes Down I'll Be So Glad When the Sun Goes Down Mary JamesGo 'Way Devil Leave Me AloneJailhouse Blues Five Woman Penitentiary Blues (Rickentiest Superintendent) Jailhouse Blues Leroy MillerBerta, Berta Southern Journey, Volume 3: 61 Highway Mississippi Floyd MillerDangerous BluesI'll Meet You On That Other Shore

Show Notes: 

Parchman

Today's show is inspired by by the recent release on Dust-To-Digital, Parchman Farm: Photographs and Field Recordings, 1947-1959. The set collects sides recorded by Alan Lomax in the 40's and 50's at the Mississippi State Penitentiary at Parchman. Much recording was done at Parchman beginning in the 1930's and the prison has inspired many songs. Today we feature some of those songs and recordings spanning 1930 through 1962.

For decades the prison operated essentially as a for-profit cotton plantation and harsh working and living conditions made Parchman Farm notorious. Folklorists Alan Lomax, his father John A. Lomax, Herbert Halpert, and William Ferris all made recordings at Parchman. The Lomax's first visited Parchman in 1933 and returned numerous times to record blues, work songs, spirituals, and personal interviews with inmates. Herbert Halpert made some remarkable recordings by female inmates recorded in the prison’s sewing room in 1939. Other notable recordings include a 1939 session with bluesman Bukka White while he was serving time. Alan Lomax went back to Parchman to record in 1947, 1948 and 1959. In the late 60's William Ferris made recordings at Parchman.

In 1958 Alan Lomax wrote: “A few strands of wire were all that separated the prison from adjoining plantations. Only the sight of an occasional armed guard or a barred window in one of the frame dormitories made one realize that this was a prison. The land produced the same crop; there was the same work for blacks to do on both sides of the fence. And there was no Delta black who was not aware of how easy it was for him to find himself on the wrong side of those few strands of barbed wire. … These songs are a vivid reminder of a system of social control and forced labor that has endured in the South for centuries, and I do not believe that the pattern of Southern life can be fundamentally reshaped until what lies behind these roaring, ironic choruses is understood.” A report in the New York Post in 1957 confirms Lomax's impression: "The state penitentiary system at Parchman is simply a cotton plantation using convicts as labor. The warden is not a penologist, but an experienced plantation manager. His annual report to the legislature is not of salvaged lives; it is a profit and loss statement, with the accent  on profit." Reform finally came in 1972 when federal judge William C. Keady found that Parchman Farm violated the Constitution and was an affront to "modern standards of decency."

Jailhouse Blues
Read Liner Notes

Regarding the recordings that make up the bulk of today's show, Bruce Jackson writes: "Black prisoners in all the Southern agricultural prisons in the years of these recordings participated in two distinct musical traditions: free world (the blues, hollers, spirituals and other songs they sang outside and, when the situation permitted, sang inside as well) and the work-songs, which were specific to the prison situation, and the recordings in this album represent that complete range of material, which is one of the reasons this set is so important: it doesn’t just show this or that tradition within Parchman, but the range of musical traditions performed by black prisoners. I know of no other album that does that."

In 1947-48 Alan Lomax made these remarkable recordings at Parchman Farm, armed with state-of-the-art technology, a cassette machine. These sides were originally issued as the LP Negro Prison Songs and reissued on CD as Prison Songs Vol. 1: Murderous Home by Rounder with a companion volume following later. The bulk of this material appears on the Dust-To-Digital collection and there are also some unreleased recordings. Lomax gathered the prisons best lead signers for these recordings, all simply known by their nicknames: men like Bama, 22, Alex, Bull, Dobie Red, and Tangle Eye. Returning to the United States in 1958 (after 10 years abroad), Lomax set out on two more long field trips through the American South which resulted in nineteen albums issued on the Atlantic and Prestige International labels in the early 1960's. He traveled from the Appalachians to the Georgia Sea Islands, from the Ozarks to the Mississippi Delta, recording blues, ballads, breakdowns, hymns, shouts, chanteys, and work songs. Among those recordings were more material recorded at Parchman Farm.

Both Alan and his father began recording in prisons as early as 1933. Through a grant from the American Council of Learned Societies, John Lomax was able to set out in June 1933 on the first recording expedition under the Library of Congress' auspices, with Alan Lomax (then eighteen years old) in tow. In July 1933 they acquired a state-of-the-art, 315-pound acetate phonograph disk recorder and proceeded to tour Texas prison farms recording work songs, reels, ballads, and blues from prisoners. During the next year and a half, father and son continued to make disc recordings of musicians throughout the South, touring Louisiana State Penitentiary at Angola where they found Leadbelly and made recordings at Parchman. The Lomax's recorded at Parchman throughout the 30's. One of the most famous bluesman they recorded was Bukka White. In 1937 White recorded a minor hit, “Shake ‘Em On Down,” in Chicago, but that year he was also sentenced for a shooting incident to Parchman, where John Lomax recorded him performing two numbers in 1939. After his release White recorded twelve songs at a Chicago session in 1940. Among the songs he recorded were two songs about his time in prison: "Parchman Farm Blues" and "When Can I Change My Clothes?."

Parchman farm

I've always been fascinated by the females who recorded at Parchman and whom I first heard on the album Jailhouse Blues on the Rosetta label. These recordings were made in May and June 1939 by Herbert Halpert in the sewing of the Woman's Camp in Parchman. Camp 13 was the woman's camp where white and black women occupied separate wards. The women's primary work was making clothes for the prisoners, mattresses and bedding. The woman also did canning and helped out in the fields. The Parchamn women were asked to sing a song, any song they chose. There were no restrictions about length or subject, but most of the songs were short and some merely fragments. The best of those singers is the remarkable Mattie May Thomas. Thomas was a senior member at Parchman for she had served twice before. She recorded four sides. One of the songs she sings, "Dangerous Blues", was also recorded by Parchman prisoner Floyd Batts and Joe Savage. John Lomax recorded some woman at Parchman in 1936.

There were a number of blues singers like Bukka White who did time at Parchman including Son House and Joe Savage, both featured today. After allegedly killing a man in self-defense, House spent time in prison in 1928 and 1929. According to Dan Beaumont in Preaching The Blues at "some point in possibly in 1927, but more likely in 1928 …at a boisterous 'frolic,' House shot and killed a man. …At the trial House claimed self-defense, but that defense failed and he was convicted and sentenced to time at the state prison, Parchman Farm." In 1930 House recorded "County Farm Blues" and recorded it again for Alan Lomax in 1942 for the Library of Congress.

Parchman 1959
Parchman Farm, September 1959

Joe Savage appears in the 1978 Alan Lomax documentary The Land Where the Blues Began. Savage spent several years in the Parchman State Penitentiary, and speaks on film about the brutality he faced while serving time. He was recorded in 1980 by Axel Küstner and Siegfried Christmann and issued as part of the Living Country Blues USA series of albums. From those recordings we play the powerful "Joe’s Prison Camp Holler."

Other Parchman related songs featured today included sides by Wade Walton and the Confiners. Clarksdale barber/musician Walton recorded the talking blues "Parchman Farm" on his long-out-of-print album, Shake 'Em on Down. On it he talks about bringing two white folk-song collectors (Dave Mangurian and Donald Hill) from California to the prison in 1958. In 1961, the Electro Record Company of Hattiesburg, MS released a single, the instrumental "Harmonica Boogie b/w Toss Bounce" by the Confiners a group of Parchman prisoners who were let out for public appearances.

 

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Jeff http://sundayblues.org <![CDATA[Big Road Blues Show 3/1/15: Kings Of The Twelve String – Great 12-String Blues Performances 1924-1943]]> http://sundayblues.org/?p=9038 2015-03-02T13:30:59Z 2015-03-02T13:20:31Z ARTISTSONGALBUM Blind Willie McTellDark Night BluesThe Classic Years 1927-1940 Blind Willie McTellLoving Talking BluesBest Of Blind Willie McTellMama, Let Me Scoop For YouBest Of Seth RichardsLonley Seth BluesRare Country Blues Vol. 1 1928-1937 Seth RichardsSkoodeldum BluesRare Country Blues Vol. 1 1928-1937 Ed Andrews Time Ain't Gonna Make Me Stay A Richer Tradition Julius Daniels Ninety-Nine Year BluesWhen The Sun Goes Down Willie BakerNo No BluesCharley Lincoln 1927-1930 & Willie Baker 1929 George CarterGhost Woman BluesBlues Images Vol. 11 George CarterWeeping Willow BluesBlues Images Vol. 11 Freddie SpruellMilk Cow BluesMississippi Blues Vol.2 1926-1935 Charlie KyleKyle's Worried BluesRare Country Blues Vol. 1 1928-1937 Uncle Bud WalkerStand Up Suitcase BlueMississippi Moaners Charlie HicksDepot BluesCharley Lincoln 1927-1930 & Willie Baker 1929 Charlie HicksMama, Don't Rush MeCharley Lincoln 1927-1930 & Willie Baker 1929 Too Tight HenryThe Way I Do Rare Country Blues Vol. 3 1928-1936 Too Tight HenryCharleston Contest pt 1 Rare Country Blues Vol. 3 1928-1936 Barbecue BobHow Long Pretty MamaThe Essential Barbecue BobBarbecue BluesChocolate To The Bone Barbecue BobGoing Up The CountryChocolate To The Bone Winston Holmes & Charlie TurnerKansas City Dog WalkKansas City Blues 1924-1929 Louis LaskyHow You Want Your Rollin' DoneBlues Images Vol. 3 John Byrd & Washboard WalterBilly Goat BluesRare Country Blues Vol. 2 1929-1943 John Byrd & Washboard WalterOld Timbrook BluesRare Country Blues Vol. 2 1929-1943 Mae Glover & John ByrdI Ain't Givin' Nobody NoneI Can't Be Satisfied Vol. 1 Leadbelly The Bourgeois BluesLeadbelly: Important Recordings 1934-49 Leadbelly New York CityLeadbelly: Important Recordings 1934-49 Leadbelly Noted Rider BluesThe Remaining LOCR Vol. 5 1938-1942 Blind Willie McTellSearching The Desert Blues Best Of Barbecue BobCalifornia BluesChocolate To The Bone Lonnie Johnson & Eddie LangMidnight Call Blues Lonnie Johnson Vol. 5 1929-1930 Lonnie JohnsonUncle Ned, Don't Use Your HeadLonnie Johnson Vol. 7 1931-1932

Show Notes:

Kings of the Twelve StringToday's show was inspired by a query from a listener who asked me about an album called Kings of the Twelve String. The album was in the catalog of the Piedmont, Gryphon, and Chesapeake labels in the 1960's and was then reissued twice by Flyright, first in 1973 and then again in 1978. I have the latter copy on Flyright and there was apparently a twelve page booklet which unfortunately my copy does not have. So on today's program we spotlight some great 12-string blues performances from the pre-war era, featuring several tracks from the Kings of the Twelve String album.

In the he 19th and early 20th century twelve-strings were regarded as “novelty” instruments. It was not till the 1920's and the 1930's that 12-string guitars became a major part of blues and folk music, where their sound made them ideal as solo accompaniment for vocalists such as Lead Belly and Blind Willie McTell. According to Charles K. Wolfe and Kip Lornell in The Life And Legend Of Leadbelly: "The twelve-string in general was introduced into the United States from Mexico and Latin America, which had a long and complex history of double-stringed instruments. By 1900 a company a company called Lyon and Healy was producing them for sale in the states, and a 1928 catalog listed five different models under various brand names." The first recording of a male country blues singer seems to have been by a twelve-string guitarist called Ed Andrews who was recorded for Okeh in Atlanta in March or April 1924. However, in the history of the blues, artists who played the 12-string as their primary instrument were relatively few. For some reason Atlanta was the home of several 12-string players including Blind Willie, Barbecue Bob, Charlie Hicks, Julius Daniels, Willie Baker and George Carter. Other 12-string players featured today include Freddie Spruell, Uncle Bud Walker, Too Tight Henry, John Byrd and some exceptional performances by Lonnie Johnson among others.

Today we play several sides by Blind Willie McTell and the music of his fellow Atlanta bluesmen, just about all who were inspired by McTell. Like Memphis, Atlanta was a staging post for musicians on their way to all points. It’s not surprising then that the first country blues musician, Ed Andrews, was recorded there in 1924. The company that recorded him, Okeh, barbecue bob 2was one of many to send their engineers to Southern cities to record local talent. Companies like Victor, Columbia, Vocalion and Brunswick made at least yearly visits until the depression. McTell was born in Thomson, Georgia, near Augusta, and raised near Statesboro. He played a standard six-string acoustic until the mid-'20s, and never entirely abandoned the instrument, but from the beginning of his recording career, he used a 12-string acoustic in the studio almost exclusively. He was A major figure with a local following in Atlanta from the 1920's onward, he recorded dozens of sides throughout the 1930s' under a multitude of names — all the better to juggle "exclusive" relationships with many different record labels at once — including Blind Willie, Blind Sammie, Hot Shot Willie, and Georgia Bill, as a backup musician to Ruth Mary Willis. Willie's recording career began in late 1927 with two sessions for Victor records, eight sides including "Statesboro Blues." He recorded prolifically through the 1930's a did a session for the Library of Congress in 1940 under the supervision of John Lomax. The newly founded Atlantic Records took an interest in Willie and cut 15 songs with him in Atlanta during 1949. The one single released from these sessions, however, didn't sell, and most of those recordings remained unheard for more than 20 years after they were made. In 1950, along with his friend Curley Weaver, he cut sides for Regal. McTell cut his final sides for record store owner Ed Rhodes in 1956, who had begun taping local bluesmen at his shop in Atlanta in the hope of releasing some of it. These turned out to be the only tapes he saved, out of all he'd recorded.

Barbecue Bob was the name given by Columbia Records talent scout Don Hornsby to Atlanta blues singer Robert Hicks. Hicks is widely credited as being the singer who more than any helped to popularize Atlanta blues in its formative period. Born to a family of sharecroppers in Walnut Grove, GA, Robert Hicks and his brother, Charley "Lincoln" Hicks relocated with them to Newton County. There the Hicks brothers came in contact with Savannah "Dip" Weaver and her son, Curley Weaver. With the Weavers, the Hicks boys learned to play guitar and sing. Robert Hicks was the first of this group to "break out"; Hicks' first Columbia record, "Barbecue Blues," recorded in Atlanta on March 25, 1927 and was a big hit. Over the next three years he made 62 sides for Columbia. Hicks died in 1931 of pneumonia. He was only 29. His brother, Charley, cut a total of twelve sides between 1927 and 1930.

Among the other Atlanta artists featured are Willie Baker, George Carter, Julius Daniels and Ed Andrews. Baker was a contemporary of the Hicks brothers and cut nine sides in 1929.  He was remembered to play around Patterson, Georgia, and it is possible that he saw Robert Hicks play in a medicine show in Waycross, Georgia. Other than tOLYMPUS DIGITAL CAMERAhat, nothing further is known. Nothing is known of George Carter other then he cut four sides for Paramount in 1929. Bruce Bastin related that when Edward "Snap" Hill, a boyhood friend of Curley Weaver and the Hicks brothers was played a tape of one of Georg Carter's songs it prompted him to say: "He's from Atlanta" although he knew nothing about him. Julius Daniels cut eight songs for Victor at two sessions in 1927. The aforementioned Ed Andrews left behind two songs in 1924, "Barrel House Blues b/w Time Ain't Gonna Make Me Stay."

Unlike Atlanta there were few Mississippi artist who recorded on the 12-string. Among those featured today are Uncle Bud Walker, Freddie Spruell and transplanted Mississippian John Byrd. Walker cut one 78, "Look Here Mama Blues" b/w "Stand Up Suitcase Blues", recorded on July 30, 1928, in Atlanta, GA, and released by OKeh Records. Freddie Spruell recorded ten tracks for OKeh, Paramount, and Bluebird between 1926 and 1935. Spruell could well be considered the first Delta blues performer to record when he cut "Milk Cow Blues" in Chicago on June 25, 1926. Spruell also backs Washboard Sam on "Ocean Blues b/w Y.M.V. Blues", Sam's 1935 debut recording for Bluebird. Spreull's Social Security file indicates he was born on December 28, 1893, and although he is generally considered a Mississippi bluesman, it appears he moved to Chicago with his parents as a small boy, and his ties to the Delta are more stylistic than geographical.

John Byrd was born in Mississippi around the 1890's era. At some time in his youth he relocated to Louisville, Kentucky. It may have been in Louisville where he became friends with "Washboard" Walter Taylor. He made his debut recordings in 1929 as a solo gospel artist cutting one record for Gennett as "Rev. George Jones and his Congregation". That record was issued but during the same period other recordings by him or as a member of "Washboard Walter's Trio" were unissued. Byrd and Taylor moved on to Paramount Records where Byrd cut his only solo 78 in 1930. He also found session work as a guitarist backing singer Mae Glover.

According to Charles K. Wolfe and Kip Lornell in The Life And Legend Of Leadbelly: "Sometime during his wanderings – probably late in 1910, when he was living near Dallas – Huddie acquired his first twelve-string guitar." Leadbelly told may tales of how he picked up the instrument. One of the less fanciful stories is recounted in the book: 'I saw one of those old 12-string Stellas sitting in the window of a Dallas store. The year before I heard a man play it in one of those traveling medicine shows where they sold a cure-all for fifty cent a a bottle.' Captivated by the loud, ringing sound of the instrument, Leadbelly  had spent the rest of the night hanging around the medicine show tent listening to the man play. Shortly, thereafter, when he finally saw one of the twelve-strings for sale; 'the price of the guitar was $12', he recalled, 'I had to have it.'"

v20658b4Others featured artists include Seth Richards, Charlie Kyle, Too Tight Henry, Louis Lasky, Winston Holmes and Charlie Turner and Lonnie Johnson. Seth Richards recorded a couple tracks under his real name in 1928, which would be his last recordings until he recorded as Skoodle Dum Doo and Sheffield in 1943. Kyle was said to have been from Texas and may have traveled to Memphis in 1928 along with female blues singers Bessie Tucker and Ida Mae Mack to record. Six of his songs were recorded, only four were issued resulting in two 78's. Born in Georgia in 1899 'Too Tight' toured extensively during the 1920's as with both Blind Blake and Blind Lemon Jefferson. In Memphis he worked with Jed Davenport. He was considered at the time as a master of the 6 and 12-string guitar. He recorded one 78 in 1928 and one in 1930. In the early 1940's he became a popular and regular performer on a Memphis based radio show. Lasky cut fives sides in 1935 as well as backing Anna Lee Chisholm, Big Bill, Memphis Minnie and Washboard Sam. It's been suggested he was a influence on Big Bill's guitar style. Nothing is known about Lasky's background but his style suggests a older musician. Turner played rack harmonica and guitar, and was an accomplished player of blues and ragtime and Holmes sang, and played guitar. Holmes backed Kansas singer Lottie Kimbrough at a 1926 session and cut six sides with Charlie Turner at a 1928 session. 12-string guitar was not Lonnie's primary instrument but he did play it on his historic duets with Eddie Lang ("Midnight Call Blues" – my favorite of the duets and a the favorite of Lonnie biographer Dean Alger) and to dazzling effect on his 1931 classic, "Uncle Ned, Don't Use Your Head", both featured today.

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