|Mary Johnson w/ Tampa Red||Death Cell Blues||Twenty First. St. Stomp: The Piano Blues Of St. Louis|
|James Stump Johnson w/ Tampa Red||Jones Law Blues||The Piano Blues Vol. 2 - Brunswick 1928-30|
|Texas Alexander w/ Lonnie Johnson||Long Lonesome Day||Texas Alexander Vol. 1|
|Mooch Richardson w/ Lonnie Johnson||Helena Blues||A Richer Tradition: Country Blues and String Band Music 1923-1942|
|Peetie Wheatstraw w/ Lonnie Johnson||Truckin' Thru Traffic||Peetie Wheatstraw Vol. 5|
|Lil Green w/ Big Bill Broonzy||Just Rockin'||Lil Green -1940-1941|
|Charlie Spand w/ Big Bill Broonzy||Rock And Rye||Roots N' Blues: Booze & The Blues|
|Cripple Clarence Lofton w/ Big Bill Broonzy||Brownskin Girls||The Piano Blues Vol. 9: Lofton/Noble 1935-1936|
|Bumble Bee Slim w/ Casey Bill Weldon||This Old Life I'm Living||Bumble Bee Slim Vol. 5 1935-1936|
|Memphis Minnie w/ Casey Bill Weldon||When The Sun Goes Down||Four Woman Blues|
|Leroy Henderson w/ Casey Bill Weldon||Good Scuffler Blues||Charley Jordan Vol.3 1935-1937|
|Dorothy Baker w/ Roosevelt Sykes||Steady Grinding Blues||Barrelhouse Mamas|
|Teddy Darby w/ Roosevelt Sykes||The Girl I Left Behind||Blind Teddy Darby 1929-1937|
|Napoleon Fletcher w/ Roosevelt Sykes – She Showed It All||Grass Cutter BluesShe Showed It All||Roosevelt Sykes: The Essential|
|Alice Moore w/ Kokomo Arnold||Grass Cutter Blues||Kokomo Arnold Vol. 3 1936-1937|
|Roosevelt Sykes w/ Kokomo Arnold||The Honey Dripper||Roosevelt Sykes Vol. 4 1934-1936|
|Peetie Wheatstraw w/ Kokomo Arnold||Working On The Project||Broadcasting the Blues|
|Robert Lee McCoy w/ Sonny Boy Williamson I||Tough Luck||Prowling With The Nighthawk|
|Yank Rachel w/ Sonny Boy Williamson I||I'm Wild And Crazy As Can Be||Yank Rachell Vol. 1 1934-1941|
|Ma Rainey w/ Tampa Red||Black Eye Blues||Mother of the Blues|
|Victoria Spivey w/ Tampa Red||Don't Trust Nobody Blues||Victoria Spivey Vol. 3 1929-1936|
|Bessie Mae Smith w/ Lonnie Johnson||My Daddy's Coffin Blues||St. Louis Bessie & Alice Moore Vol. 1 1927-1929|
|Victoria Spivey w/ Lonnie Johnson||Dope Head Blues||Blues Images Vol. 4|
|Georgia White w/ Lonnie Johnson||Alley Boogie||Georgia White Vol. 3 1937-1939|
|Mary Johnson w/ Roosevelt Sykes||Rattlesnake Blues||Mary Johnson 1929-1936|
|Charlie McFadden w/ Roosevelt Sykes||Gambler's Blues||Charlie ''Specks'' McFadden 1929-1937|
|Washboard Sam w/ Big Bill Broonzy||Life Is Just A Book||Washboard Sam Vol. 6 1941-1942|
|Washboard Sam w/ Big Bill Broonzy||My Feet Jumped Salty||Rockin' My Blues Away|
|Big Joe Williams w/ Sonny Boy Williamson I||Please Don't Go||Big Joe Williams Vol. 1 1935-1941|
|Speckled Red w/ Sonny Boy Williamson I||You Got To Fix It||Speckled Red 1929-1938|
|Big Bill Broonzy w/ Papa Charlie Jackson||At The Break of Day||All The Classic Sides 1928-1937|
|Lucille Bogan w/ Papa Charlie Jackson||Jim Tampa Blues||Lucille Bogan Vol. 1 1923-1929|
|Big Boy Teddy Edwards w/ Papa Charlie Jackson & Big Bill Broonzy||Louise||Big Boy Teddy Edwards 1930-1936|
|Washboard Sam w/ Big Bill Broonzy & Roosevelt Sykes||River Hip Mama||Rockin' My Blues Away|
A few months back I did a show called “Sideman Blues” where we shined the light on some superb session musicians who backed blues artists in the pre-war era. On today's sequel to that show we focus on some of the stars of the pre-war blues era who were also active session artists. Artists featured today include some of the era's big names such as Lonnie Johnson, Tampa Red, Roosevelt Sykes, Kokomo Arnold, Sonny Boy Williamson I and others who were also very active backing others on record. Bluesmen such as Big Bill, Tampa Red, Lonnie Johnson and Roosevelt Sykes in particular, backed dozens of artists, both well known and obscure on record. Many of these artists also acted in the role as talent scouts for the labels.
During his heyday in the 1920's and 30's, Tampa Red was billed as "The Guitar Wizard," and his stunning slide work on steel National or electric guitar shows why he earned the title. His 25 year recording career produced hundreds of sides: hokum, pop, and jive, but mostly blues (including classic compositions "Anna Lou Blues," "Black Angel Blues," "Crying Won't Help You," "It Hurts Me Too," and "Love Her with a Feeling"). Jim O'Neal neatly summed up Tampa's place in blues history when he wrote the following in 1975: "Few figures have been as important in blues history as Tampa Red; yet no bluesman of such stature has been so ignored by today's blues audience. As a composer, recording artist, musical trendsetter and one of the premier urban blues guitarists of his day, Tampa Red remained popular with black record buyers for more than 20 years and exerted considerable influence on many post-World War II blues stars who earned greater acclaim for playing Tampa's songs than Tampa himself often did."
Tampa was a very busy session guitarist mainly in the early years of his career, circa 1928-1929. Among those he backed include Big Maceo, Lucille Bogan, Bertha "Chippie" Hill, Lil Johnson, Frankie Jaxon, Victoria Spivey, Romeo Nelson, Ma Rainey, Mary Johnson and many others. Tampa's work behind underrated singer Mary Johnson has always been among my favorites. Johnson cut six sides at two sessions in 1930. The April 8, 1930 was outstanding do in large part to the shimmering slide guitar of Tampa and the excellent piano of the under recorded Judson Brown. The two work beautifully behind Johnson on the mournful "Three Months Ago Blues" with Tampa shinning on "Dawn Of Day Blues" and the magnificent "Death Cell Blues."
Lonnie Johnson was a true musical innovator who's remarkable recording career spanned from the 1920's through the 1960's. During that time his musical diversity was amazing: he played piano, guitar, violin, he recorded solo, he accompanied down home country blues singers like Texas Alexander, he played with Louis Armtrong's Hot Fives, recorded with Duke Ellington, duetted with Victoria Spivey and cut a series of instrumental duets with the white jazzman Eddie Lang that set a standard of musicianship that remains unsurpassed by blues guitarists. In Johnson's single-string style lie the basic precedents of such jazz greats as Django Reinhardt and Charlie Christian, while being a prime influence on bluesman as diverse as Robert Johnson, Tampa Red and B.B. King. Thus Johnson enjoys the rare distinction of having influenced musicians in both the jazz and blues fields. Like Tampa, Johnson backed dozens of artists on record including Texas Alexander, Jimmie Gordon, Merline Johnson, Alice Moore, Victoria Spivey, Peetie Wheatstraw, Johnnie Temple and a host of others.
|Big Bill Broonzy|
As Bob Riesman wrote in his biography of Big Bill Broonzy: "…Bill's recording career took off in this era, and his prodigious output was nearly unmatched among blues musicians. From 1934 until 1942, when the combination of a musicians’ union ban and the diversion of shellac to the war effort halted virtually all recording for two years, Bill averaged better than thirteen double-sided 78 rpm records each year as a featured artist. In addition, he played on an average of forty-eight sides each year as a sideman. In other words, for nearly a decade, he averaged one new Big Bill record a month, and he appeared on two more as a studio guitarist. …As 'Big Bill,' he was one of the most productive and popular artists in the business, with a name that was familiar to his audiences and reinforced by his easily recognized singing style. At the same time, he became the first-call studio guitarist for dozens of recording sessions that Lester Melrose organized for several record companies, particularly Bluebird. In that capacity, he was an integral part of the distinctive sound of numerous musicians, including some of the most popular artists of the era. Two artists whose careers were interwoven with Bill’s were Washboard Sam and Jazz Gillum. Bill played guitar on a most every one of the more than 150 recordings that Sam made over a period of twenty years, as well as on many of the sides that Gillum recorded."
Broonzy's 40's work with Washboard Sam really hit a high point with Big Bill laying down some lengthy, swinging amplified guitar on featured tracks like "Life Is Just A Book", "My Feet Jumped Salty" and "River Hip Mama." Washboard Sam recorded hundreds of records between 1935 and 1949 for the bluebird label, usually with backing by guitarist Big Bill. In 1932, Sam moved to Chicago, initially he played for tips, but soon he began performing regularly with Broonzy. Within a few years, Sam was supporting Broonzy on the guitarist's Bluebird recordings. Soon, he was supporting a number of different musicians on their recording sessions, including pianist Memphis Slim, bassist Ransom Knowling, and a handful of saxophone players, who all recorded for Bluebird. In 1935, Sam began recording for both Bluebird and Vocalion Records. Throughout the rest of the '30s and the '40s, Sam was one of the most popular Chicago bluesmen, selling plenty of records and playing to packed audiences in the Chicago clubs.
Broonzy was also prominent on the recordings of Lil Green who's "Just Rockin'" we feature today. Her professional career was launched around 1940, when the manager of a Chicago club hired her on the spot after a group of her friends had arranged for a bandleader to call her up from the audience to sing.By May 1940 Green had come to the attention of Lester Melrose, who brought her into the studio to record on the Bluebird label. He assigned a trio of musicians to back her, including Big Bill, Simeon Henry on piano, and New Orleans veteran Ransom Knowling on bass. That session produced her first hit, "Romance in the Dark." As Broonzy noted in his autobiography: "I played for Lil Green for two years as her guitar player. I wrote some songs for her, like "My Mellow Man" and "Country Boy," "Give Your Mama One More Smile" and some more that I fixed up for her.
In 1929 Roosevelt Sykes met Jesse Johnson, the owner of the Deluxe Record Shop in St. Louis. Sykes, who at the time performed at an East St. Louis club for one dollar a night, quickly accepted Johnson's invitation to a recording session in New York. In the early 1930s, Sykes moved to Chicago. During the Depression years, he recorded for several labels under various pseudonyms. For the Victor label, he recorded as Willie Kelly on the classic 1930 side "32-20 Blues." Two years later, he cut his popular number "Highway 61 Blues" for Champion, the subsidiary label of Gennett Records. During the 1930's, Sykes served as a back-up pianist for more than thirty singers including Mary Johnson and James "St. Louis Jimmy" Oden. Through the recruiting efforts of Mayo "Ink" Williams, Sykes signed with Decca Records in 1934. His 1936 Decca side "Driving Wheel Blues" emerged as a blues classic. Sykes settled in Chicago in 1941 and, within a short time, became a house musician for the Victor/Bluebird label. Although the label marketed him as the successor to Fats Waller, who recorded on the same label and died in 1943, Sykes found success as the creator of his own style and remained active as a session man.
Sonny Boy Williamson was already a harp virtuoso in his teens. He learned from Hammie Nixon and Noah Lewis and ran with Sleepy John Estes and Yank Rachell before settling in Chicago in 1934. Sonny Boy signed to Bluebird in 1937. Henry Townsend recalled driving Sonny Boy, Robert Nighthawk, Walter Davis and Big Joe Williams to Aurora, Illinois, in his 1930 A Model Ford for their 1937 sessions: "I transferred them to Aurora, Illinois. There was about eight or nine of us …we stacked them in the car like sardines." This led to a marathon recording session resulting in six songs by Nighthawk (as Robert Lee McCoy), six by Sonny Boy Williamson I, four by Big Joe Williams and eight sides by Walter Davis. It was Sonny Boy's songs, especially, "Good Morning Little School Girl", "Bluebird Blues" and "Sugar Mama Blues" which were the biggest hits. Sonny Boy recorded prolifically for Victor both as a leader and behind others in the vast Melrose stable (including Robert Lee McCoy and Big Joe Williams, who in turn played on some of Williamson's sides). Sonny Boy cut more than 120 sides in all for RCA from 1937 to 1947
Kokomo Arnold was born in Georgia, and began his musical career in Buffalo, New York in the early 1920's. During prohibition, Kokomo Arnold worked primarily as a bootlegger, and performing music was a only sideline to him. Nonetheless he worked out a distinctive style of bottleneck slide guitar and blues singing that set him apart from his contemporaries. In the late 1920's, Arnold settled for a short time in Mississippi, making his first recordings in May 1930 for Victor in Memphis under the name of "Gitfiddle Jim." Arnold moved to Chicago in order to be near to where the action was as a bootlegger, but the repeal of the Volstead Act put him out of business, so he turned instead to music as a full-time vocation. From his first Decca session of September 10, 1934 until he finally called it quits after his session of May 12, 1938, Kokomo Arnold made 88 sides.Arnold also did session work backing Peetie Wheatstraw, Roosvelt Sykes, Alice Moore, Mary Johnson and others.
|Papa Charlie Jackson|
"Papa" Charlie Jackson was a six-string banjo player who was one of the earliest and most successful of the solo blues singer/instrumentalists. Jackson settled in Chicago on the famed Maxwell Street around 1920 where he began earning a living by playing on street corners and at house parties. In 1924 he cut his first solo sides "Papa's Lawdy Blues" and "Airy Man Blues" for the Paramount label. During this period Jackson also became a sideman with many of the hot groups in and around Chicago. He also recorded with Ma Rainey, Ida Cox, Bumble Bee Slim, Big Bill Broonzy and others before his subsequent death around 1938.
Despite several busy years in the recording studio and a couple of medium-sized hits ("Somebody Changed The Lock On My Door" and "We Gonna Move (To The Outskirts of Town)"), very little is known about Casey Bill Weldon. It was assumed he was the Will Weldon who played with the Memphis Jug Band but that remains in dispute. Between 1927 and 1935 he cut just over 60 sides for Victor, Bluebird and Vocalion. He was also an active session guitarist, appearing on records by Teddy Darby, Bumble Bee Slim, Memphis Minnie, Peetie Wheatsraw and others.