|Mississippi Sheiks||Sitting On Top Of The World No. 2||Mississippi Sheiks Vol. 1 1930|
|Mississippi Sheiks||Bootleggers Blues||Stop And Listen|
|Jackson Blue Boys||Hidin' On Me||Charlie McCoy 1928-1932|
|Mississippi Mud Steppers||That Lonesome Train Took My Baby Away||Charlie McCoy 1928-1932|
|Mississippi Mud Steppers||Jackson Stomp||Charlie McCoy 1928-1932|
|Bo Carter||East Jackson Blues||Violin, Sing The Blues For Me|
|Bo Carter||She's Your Cook But She Burns My Bread Sometimes||Bo Carter Vol. 1 192 -1931|
|Ishman Bracey||Woman Woman Blues||The Return Of The Stuff That Dreams Are Made Of|
|Ishman Bracey||Saturday Blues||When The Sun Goes Down|
|Tommy Johnson||Cool Drink Of Water Blues||When The Sun Goes Down|
|Tommy Johnson||Maggie Campbell Blues||Screamin' & Hollerin' The Blues: The Worlds Of Charley Patton|
|Walter Vincson||Overtime Blues||Walter Vincson 1928-1941|
|Leroy Carter (Walter Vincson)||Black Widow Spider||Walter Vincson 1928-1941|
|Slim Duckett & Pig Norwood||When the Saints Go Marching In||Alabama Black Secular & Religious Music 1927-1934|
|Rube Lacey||Ham Hound Crave||Screamin' & Hollerin' The Blues: The Worlds Of Charley Patton|
|Arthur Pettis||Two Time Blues||Jackson Blues 1928-1938|
|Mississippi Sheiks||Baby Keeps Stealin' Lovin' on Me||Mississippi Sheiks Vol. 1 1930|
|Chatman Brothers (Lonnie And Sam||If You Don't Want Me Please Don't Dog Me Around||Bo Carter & The Mississippi Sheiks|
|Charley McCoy||Mississippi I'm Longing For You||Charlie McCoy 1928-1932|
|Charley McCoy||You Gonna Need Me||Charlie McCoy 1928-1932|
|Joe McCoy||Look Who's Coming Down The Road||Charlie & Joe McCoy Vol. 1 1934-1936|
|Skip James||Hard Time Killin' Floor Blues||Times Ain't Like They Used To Be Vol. 5|
|Johnnie Temple||Lead Pencil Blues (It Just Won't Write)||The Essential|
|Willie Lofton||Dark Road Blues||Big Joe Williams and the Stars of Mississippi Blues|
|Luther Huff||1951 Blues||Memphis & The South 1949-1954|
|Luther Huff||Bulldog Blues||Memphis & The South 1949-1954|
|Arthur "Big Boy" Crudup||I Wonder||The Ace Records Blues Story|
|Arthur "Big Boy" Crudup||My Baby Boogies All the Time||The Ace Records Blues Story|
|Sam Myers||Sleeping In The Ground||Blues Harmonica Wizards|
|Sam Myers||My Love Is Here To Stay||Blues Harmonica Wizards|
|Tommy Lee Thompson||Highway 80 Blues||Packin' Up My Blues|
|Carey Lee Simmons||Doodleville Blues||High Water Blues|
|John Henry Brown||Red Cross Store||Big Foot Country Girl|
As writer Scott Barretta wrote in an article on Jackson blues: "Intersected by I-55 about halfway between Memphis and New Orleans, Jackson, the state capital of Mississippi, arguably has as grand a blues heritage as those cities and the Delta to its northwest." Jackson, Mississippi in the 1920’s was a city with a vibrant blues scene, teeming with artists such as Tommy Johnson, Walter Vincson, Ishman Bracey, Johnnie Temple, the Chatmon Brothers (Bo, Lonnie and Sam were the most prominent) Skip James and Rube Lacey. In the post-war years the city was home to artists such as Otis Spann, Sonny Boy Williamson II (Rice Miller), Elmore James, Sam Myers and others. The city has also been at the cutting edge of blues recording since the 1920's, when Jackson’s H.C. Speir worked as an talent agent for Paramount and other labels that documented early Mississippi artists. The years 1927-1931 saw the first commercial recordings of many of the Jackson musicians. Most of the Jackson artists recorded elsewhere but there were several important session recorded at in Jackson at the King Edwards hotel. On today's program we we spotlight the early Jackson blues artists and feature some of the post-war artists as well.
|Chicago Defender, Mississippi Sheiks Ad, March 28, 1931|
Featured today are several recordings recorded at the King Edwards Hotel. Constructed in 1923 and renamed the King Edward Hotel in 1954, the Edwards Hotel in Jackson, Mississippi was the site of temporary studios set up by OKeh Records in 1930 and the American Record Corporation in 1935 to record blues artists Bo Carter, Robert Wilkins, Joe McCoy, Isaiah Nettles, the Mississippi Sheiks, and others. The Mississippi Sheiks also performed at the hotel, and Houston Stackhouse recalled that he played here together with fellow bluesman Robert Nighthawk and country music pioneer Jimmie Rodgers. Its role as a recording studio stemmed from the fact that prior to World War II all major recording companies were located in the North, and Southern-based artists often had to travel hundreds of miles to record. An occasional solution was setting up temporary facilities at hotels, and in Jackson the OKeh and ARC companies turned to H. C. Speir, a talent scout who operated Speir Phonograph Company on nearby North Farish Street.
The Mississippi Sheiks recorded two sessions in 1930 at the hotel on December 15th and 19th. The Mississippi Sheiks were the most commercially successful black string band of the pre-war era and made close to one hundred records between 1930 and 1935. At the group’s core was fiddler Lonnie Chatmon and singer/guitarist Walter Vinson and often joined on their recording dates by Lonnie’s brothers Bo Chatmon (who recorded solo as Bo Carter) and Sam Chatmon. Along with Charlie McCoy, this group of musicians also recorded in a few different instrumental combinations and under several different names including the Mississippi Blacksnakes, the Mississippi Mud Steppers, Chatmon’s Mississippi Hot Footers, the Jackson Blues Boys among others names. As the Mississippi Mud Steppers the group cut six sides for Okeh also on December 15th, 1930. Also on this date and the following day, Charlie McCoy cut side together with Bo Carter and with the addition of Walter Vinson as the Mississippi Hot Footers. In 1928 McCoy, Carter and Vinson cut "Hidin' On Me b/w Sweet Alberta" in New Orleans under the name the Jackson Blue Boys. Also recorded in New Orleans were Lonnie Chatman and Sam Chatman, recorded as the Chatman Brothers in 1936 for Bluebird cutting twelve sides.
|Chicago Defender, Bo Carter Ad, May 9, 1931|
Charlie McCoy ranked among the great blues accompanists of his era and his accomplished mandolin and guitar work can be heard on numerous recordings in a wide variety of settings from the late 1920's through the early 40's. Between 1928-1931 he played on a variety of sides, many string band related, in the company of Walter Vincson and Bo Carter. Between 1929-1936 Charlie McCoy cut scattered sides under his own name or as lead in various bands.
Joe McCoy was well known for his association with his wife Memphis Minnie where he played the part of Kansas Joe. After they separated he occupied himself in small bands, singing with the Harlem Hamfats, working as a songwriter and working with his brother Charlie.
Bo Carter made his recording debut in 1928, backing Alec Johnson. Carter soon was recording as a solo artist and became one of the dominant blues recording acts of the 1930's, recording over 100 sides. He also played with and managed the family group, the Mississippi Sheiks, and several other acts in the area. Under his own name, backed by Walter Vinson, he cut six sides at the King Edwards hotel on December 15th, 1930.
Also during these sessions, on December 16th, 1930, Slim Duckett & Pig Norwood were recorded. Luceen (Slim) Duckett and One Leg Sam (Norwood) were residents in Jackson, Mississippi at the time of their session at the King Edward Hotel in 1930. They recorded four songs at that sessions, all spirituals. Both men were musically active in Jackson and often performed with Tommy Johnson.
Under the pseudonym, Leroy Carter, Walter Vinson cut eight sides at two session at the King Edward Hotle on October 10th and 18th, 1935 backed by pianist Harry Chatmon. Vinson rarely worked as a solo act, seemingly much more at home in duets and trios; towards that end, during the 1920's he worked with Charlie McCoy, Rubin Lacy and Son Spand before forming the Mississippi Sheiks.
For someone who recorded so little Tommy Johnson’s influence was unusually vast and long lasting; his output only consists of six issued sides for Victor in 1928 and six issued sides for Paramount in 1929. In recent years has been the discovery of several recordings of unissued material. Once Johnson's family moved to Crystal Springs in 1910, Tommy picked up the guitar, learning from his older brother, LeDell. By age 16, Johnson had run away from home to become a "professional" musician, largely supporting himself by playing on the street for tips. By the late teens-early '20s, Tommy was frequently playing the company of rising local stars Charley Patton, Dick Bankston and Willie Brown. Johnson spent most of the '20s playing in the company of Rubin Lacy, Charley McCoy, Son Spand, Walter Vincent, and Ishmon Bracey.
Ishman Bracey was born in Byram, about ten miles south of Jackson, in January 1899. He learned guitar from locals Louis Cooper and Lee Jones and moved to Jackson in the late 1920s after encountering Tommy Johnson. Bracey soon became one of the most popular musicians in the Jackson area’s vital blues scene. Bracey’s music came to broader attention after he auditioned for recording agent H. C. Speir, who operated a furniture store on North Farish Street. Speir arranged for Bracey and Tommy Johnson to make their debut recordings at a session for Victor in Memphis in February of 1928. At that session and another for Victor later that year, Bracey was accompanied on guitar and mandolin by Charlie McCoy. Bracey recorded again in 1929 and early 1930 for the Paramount label. In 1963, when blues researcher Gayle Dean Wardlow met and interviewed him in Jackson, Bracey had been a Baptist minister for over a decade, and, although he would no longer play blues, he provided important information on the early blues scene in Jackson.
Rube Lacey was a well-known blues performer in the Jackson area and the Delta until 1932, when he became a preacher. Lacy played in a circle that included Son Spand, Ishmon Bracey, Tommy Johnson, Charlie McCoy, and Walter Vinson. He later moved to the Delta, where he formed his own group, performed with Charley Patton, and inspired artists including Son House, Tommy McClennan, and Honeyboy Edwards. Lacy made four recordings for Columbia Records at a session in Memphis in December 1927, but none were released. The following March he traveled to Chicago, where he recorded two songs for the Paramount label, “Mississippi Jail House Groan” and “Ham Hound Crave."
Arthur Pettis recorded only six sides. He is thought to have been born around 1900, possibly in the Jackson area. He recorded two sides for Victor Records in Memphis in 1928, and in 1930 in two separate sessions in Chicago he recorded four further sides for Brunswick Records.
Johnny Temple as part of a vibrant the 1920’s Jackson scene. Often, he performed with Charlie and Joe McCoy and also worked with Skip James. Temple moved to Chicago in the early 30’s, where he quickly became part of the town’s blues scene. He made his debut in 1935. Although he never achieved stardom, Temple’s records sold consistently throughout the late 30’s and 40’s.
Willie Lofton is a virtual biographical black hole who made four records in the fifteen months between August 1934 and November 1935.It seems he came from Jackson, Miss., where he worked as a barber before journeying to Chicago. He returned south in 1942 and died in Jackson twenty years later.
We jumped up to the 50's and 60's to spotlight several fine performers based in Jackson including Luther and Percy Huff, Tommy Lee Thompson, Arthur Crudup, Sam Myers and some field recordings made by David Evans in the late 60's. Luther Huff and his and younger brother Percy learned how to play guitar from an older brother and a cousin. Soon they were playing at fish fries and picnics with their older relatives. Luther bought himself a mandolin in 1936 and taught himself how to play it. He was drafted into the U.S. Army in 1942 and after being discharged moved to Detroit. Percy stayed in Jackson where he was employed as a taxicab driver. On a visit to Jackson in 1950, Luther ran across Sonny Boy Williamson (II), and told him he needed train fare to get back to Detroit. Sonny Boy hooked Luther and Percy up with Trumpet Records where they recorded four sides in January & February of 1951.
After his long stint with Victor began winding down, Arthur Crudup did some moonlighting in 1952, recording for no less than three independent labels. All these sessions took place in Jackson, Mississippi and at the time Arthur was fanning back home in Forest and finding times pretty tough.
Sam Myers cut “Sleeping In The Ground b/w My Love Is Here To Stay” for Ace in 1957 with Tommy Lee Thompson on guitar. Thompson himself cut two sides for the Delta label in Jackson, MS in 1953 and three unissued sides for Ace the same year also in Jackson.
David Evans made some fine field recordings in the late 60's. The recordings from this period were a direct result of Evans' investigation into Tommy Johnson. His research led to the book Tommy Johnson (Studio Vista, 1971) and Big Road Blues (1982). Evans recorded many men who knew or learned directly from Johnson including Roosevelt Holts, Boogie Bill Webb, Arzo Youngblood, Isaac Youngblood, Bubba Brown, Babe Stovall, Houston Stackhouse and Tommy’s brother Mager Johnson. Evans found John Henry Brown in California in 1967 and wrote that "he was one of the best and most modern guitarists in Jackson, Ms, in the 1930's and 1940's. He son was the jazz and blues guitarist Mel Brown and plays on Brown's Big Foot Country Girl album. Evans also recorded Carey Lee Simmons who was a Jackson associate of John Henry Brown. His song ”Doodleville Blues” refresh to a section of Jackson that Simmons lived in.