|Furry Lewis||John Henry (The Steel Driving Man)||Masters of Memphis Blues|
|Furry Lewis||Black Gyspy Blues||Masters of Memphis Blues|
|Furry Lewis||Creeper's Blues||Masters of Memphis Blues|
|Charlie McCoy||It Ain't No Good - Part 1||Charlie McCoy 1928-1932|
|Charlie McCoy||Last Time Blues||Charlie McCoy 1928-1932|
|Speckled Red||House Dance Blues||Speckled Red 1929-1938|
|Speckled Red||The Dirty Dozen||Speckled Red 1929-1938|
|Speckled Red||Wilkins Street Stomp||Speckled Red 1929-1938|
|Walter Vincson||Your Friends Gonna Use It Too - Part 1||Walter Vincson 1928 1941|
|Walter Vincson||Overtime Blues||Walter Vincson 1928 1941|
|Garfield Akers||Cottonfield Blues (Pt. 1)||Mississippi Masters|
|Garfield Akers||Cottonfield Blues (Pt. 2)||Mississippi Masters|
|Robert Wilkins||That's No Way To Get Along||Masters of Memphis Blues|
|Robert Wilkins||Alabama Blues||Masters of Memphis Blues|
|Robert Wilkins||Long Train Blues||Masters of Memphis Blues|
|Robert Wilkins||Falling Down Blues||Masters of Memphis Blues|
|Jenny Pope||Whiskey Drinkin' Blues||Men Are Like Street Cars|
|Jed Davenport||How Long, How Long Blues||Memphis Shakedown|
|Joe Callicott||Fare Thee Well Blues||Fare Thee Well Blues|
|Joe Callicott||Traveling Mama Blues||Broke, Black And Blue|
|Madelyn James||Stinging Stake Blues||Memphis Blues 1927-1938|
|Madelyn James||Long Time Blues||Memphis Blues 1927-1938|
|Tommy Griffin||Mistreatment Blues||Country Blues Collectors' Items|
|Tommy Griffin||Bell Tolling Blues||Country Blues Collectors' Items|
|Mattie Delaney||Down The Big Road Blues||Mississippi Masters|
|Mattie Delaney||Tallahatchie River Blues||Mississippi Masters|
|Garfield Akers||Dough Roller Blues||Mississippi Masters|
|Garfield Akers||Jumpin' & Shoutin' Blues||Broke, Black And Blue|
|Memphis Minnie & Joe McCoy||Mister Tango Blues||Memphis Minnie & Kansas Joe Vol. 1 1929-1930|
|Memphis Minnie & Joe McCoy||What Fault You Find of Me - Part 1||Memphis Minnie & Kansas Joe Vol. 1 1929-1930|
|Memphis Minnie & Joe McCoy||Can I Do It For You||Memphis Minnie & Kansas Joe Vol. 1 1929-1930|
|Memphis Minnie & Joe McCoy||I Called You This Morning||Memphis Minnie & Kansas Joe Vol. 1 1929-1930|
|Jim Thompkins||Bedside Blues||Broke, Black And Blue|
Today's show is the second installment spotlighting great recording sessions. In the first installment we spotlighted two sessions conducted by the Victor label roughly a year-and-a-half apart, one in Chicago and one in New Orleans. Today we select four recording sessions by Brunswick cut in Memphis: two sessions on Sept. 22nd and 23 in 1929 and two sessions on February 20 and 21st in 1930. The Sept. 22 and 23rd, 1929 sessions were recorded at the Peabody Hotel. "The Mississippi Delta begins on the lobby of the Peabody Hotel in Memphis and ends at Catfish Row in Vicksburg", David Cohn wrote in 1935. By the time the race market was picking up in popularity nearly every major recording company either made field trips to Memphis or attracted Memphis artists to their Northern studios. The records recorded at these sessions were issued on the Brunswick and Vocalion labels. Those recorded included great performances by Furry Lewis,Charlie McCoy, Speckled Red, Walter Vincson, Garfield Akers, Robert Wilkins, Jed Davenport,Jenny Pope, Joe Callicott, Madlyn James, Tommy Griffin, Mattie Delaney, Jim Thompkins, Garfield Akers, Memphis Minnie and Joe McCoy.
Furry Lewis was born in Greenwood, MS and moved with his mother and two sisters to Brinley Avenue in Memphis when he was a youngster. Before he was ten he had fashioned a guitar from a cigar box and screen wire. His first guitar was supposedly given to him by W.C. Handy, a Martin that he used for decades. Lewis played around Beale Street in speakeasies, taverns, dance halls and house parties and worked the countryside at suppers, frolics and fish fries. In 1925 he got together with Will Shade, Dewey Thomas and Hambone Lewis to form an early version of the Memphis Jug Band and like Jim Jackson took to traveling with medicine shows. Vocalion talent scouts saw both men in 1927 but it was Lewis who went to Chicago first in April where he cut six sides. He and Jackson went up together in October the same year where Jackson cut his famous "Kansas City Blues" with Lewis cutting seven numbers including the unissued "Casey Jones." Just under a year later Victor recorded eight more titles by Lewis in Memphis and Vocalion brought him in the studio one last time in 1929, cutting four songs at the Peabody Hotel in Memphis.
Brothers Charlie and Joe McCoy were close to the Chatmans, who hailed from nearby Bolton, and recorded as the popular Mississippi Sheiks. The McCoys and the Chatmans often played together and like many Jackson area musicians, ther were influenced in varying degrees by Tommy Johnson. In addition to the Chatmons and Johnson, Jackson, in the 1920’s was a city with a vibrant blues scene, teeming with artists such as Walter Vincson, Ishman Bracey, Johnnie Temple, Skip James and Rube Lacey. Joe McCoy recorded under various pseudonyms; Georgia Pine Boy, Hallelujah Joe, Big Joe McCoy and His Washboard Band, and The Mississippi Mudder among others. During his time with Memphis Minnie he took the lead on several memorable numbers, most famously “When The Levee Breaks." After Joe and Minnie separated Joe occupied himself in small bands, singing with the Harlem Hamfats, working as a songwriter and working with his brother Charlie. Joe McCoy died of heart disease in Chicago, only a few months before his brother Charlie.
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. His sides under his own name prove he could hold his own as a lead artist but he seemed most at home enhancing other artists' records.
According to the authors of Memphis Minnie's biography she was "a wild youngster who never took to the farming life and she ran away from home at an early age. Her first guitar had been a Christmas present given to her in 1905 …She began to run away to Memphis' Beale Street with some regularity. Guitarists Frank Stokes and Furry Lewis…both provided advice and inspiration to Minnie in her early days in Memphis. Minnie's duets with Kansas Joe drew as much inspiration from the guitar teamwork of Frank Stokes and Dan Sane, who recorded as the Beale Street Sheiks, as from her own early 'partnership' with Willie Brown." Robert Wilkins also recalled Minnie from these days. Her marriage and recording debut came in 1929, to and with Kansas Joe McCoy, when a Columbia Records talent scout heard them playing in a Beale Street barbershop in their distinctive 'Memphis style.' By around 1929 both Minnie and Joe were playing stell bodied National guitars. As Joe Calicott recalled. Between 1929 and 1934 Minnie and Joe cut around one hundred sides together.
Walter 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. Vinson cut three sides at the Sept. 22, 1929 session: "Your Friends Gonna Use It Too – Part 1 & Part 2" and "Overtime blues."
Pianist Speckled Red was born in Monroe, LA, but he made his reputation as part of the St. Louis and Memphis blues scenes of the '20s and '30s. In 1929, he cut his first recording sessions. One song from these sessions, "The Dirty Dozens," was released on Brunswick and became a hit in late 1929. In 1938, he cut a few sides for Bluebird. In the early '40s, Red moved to St. Louis, where he played local clubs and bars for the next decade and a half. Charlie O'Brien, a St. Louis policeman and something of a blues aficionado "rediscovered" Speckled Red on December 14, 1954, who subsequently was signed to Delmark Records as their first blues artist. Several recordings were made in 1956 and 1957 for Tone, Delmark, Folkways, and Storyville record labels.
Garfield Akers recorded just four sides. His most well-known song was his debut, "Cottonfield Blues", a duet with friend and longtime collaborator Joe Callicott on second guitar. Akers lived in Hernando, Mississippi most of his life, working as a sharecropper and performing during off-hours at local house parties and dances. He toured with Frank Stokes on the Doc Watts Medicine Show. Akers was reportedly active on the south Memphis circuit throughout the 1930's. Akers and Callicott played together for more than twenty years, parting in the mid-1940's. Blues historian Don Kent praised "Cottonfield Blues," saying "only a handful of guitar duets in all blues match the incredible drive, intricate rhythms and ferocious intensity."
Gayle Wardlow explained in his article, Garfield Akers and Mississippi Joe Callicott: From the Hernando Cotton Fields: "In the fall of 1929 Brunswick/Vocalion Records made its initial field trip to Memphis to record talent for its Vocalion 1000 and Brunswick 7000 Race series. The session at the Peabody Hotel was highlighted by the first recorded appearances of Garfield Akers, Mattie Delaney, and Kid Bailey, concomitantly with veterans Memphis Minnie and Tampa Red. Callicott recorded his lone 78, "Fare Thee Well Blues/Traveling Mama Blues", for Brunswick in 1930 at a second session in Memphis where Akers also recorded again ("Dough Roller Blues/Jumpin' and Shoutin'"). Callicott made a brief comeback, lasting from the summer of 1967 through the summer of 1968; he recorded sides in the field for George Mitchell, sides at the 1968 Memphis Country Blues Festival and sides for Blue Horizon in 1968 all of which have made it onto CD.
Mattie Delaney cut just one 78: "Down The Big Road Blues b/w Tallahatchie River Blues" for Vocalion on February 21, 1930 in Memphis, TN. Her name evoked no response from Son House or from any Delta resident when researcher Gayle Wardlow made a tri-county search of those towns which boarder the Tallahatchie. Supposedly she was born Mattie Doyle in Tchula, MS 1905. Wardlow was the one who discovered the record: "But the prize was Mattie Delaney doing "Tallahatchie River Blues" (Vocalion 1480), a song that refers to a river flood in the Delta. My copy of this 1930 disc was the only one known to surface. I learned this from New York collectors eager for me to trade it away. " According to collector John Tefteller there are about five copies known to exist. Tefteller paid $3,000 for his copy which he says isn’t horrible but sure isn’t mint, either. He expects a like-new copy would draw $6,000 to $8,000/
Robert Wilkins was another prominent Memphis bluesman who, like Lewis, was originally born in Mississippi but made his fame in Memphis. Wilkins' early performing life included touring with small vaudeville and minstrel shows. In 1928, he met Ralph Peer of the Victor label and was invited to cut four songs. Vocalion recorded eight new songs the following year. In 1935 he cut four more sides for Vocalion and shortly afterwards joined the Church of God in Christ and became a minister. Wilkins was rediscovered in the 1960's and performed and recorded gospel material along with the blues. In 1964 he recorded the wonderful Memphis Gospel Singer for the Piedmont label which unfortunately has not been issued on CD.
Little is know about several of today's artists, all of whom recorded sparingly: Jenny Pope, Jed Davenport, Madelyn James, Tommy Griffin and Jim Thompkins. Pope was married to Will Shade leader of the famous Memphis Jug Band. Pope cut six sides at three sessions in 1929 and 1930. She may have recorded with the Memphis Jug Band under the name Jennie Clayton. Jed Davenport came from a tent show and medicine show background. Davenport cut around a dozen sides as leader between 1929-30. Madelyn James Cut one 78 at this February 20, 1930 session with one song possibly featuring Shade on jug. Tommy Griffin Griffin cut sixteen sides at two sessions in 1930 and 1936 for Vocalion and Bluebird. Jim Thompkin (credited in the Brunswick ledger as Peg Leg Jim Thompkins) cut two songs at this same session, “Bedside Blues” and “Down Fall Blues”, the latter never issued. When issued on 78 the flipside of “Bedside Blues” was "We Got To Get That Thing Fixed" by Speckled Red.