ARTIST | SONG | ALBUM |
---|---|---|
Big Bill Broonzy | On Folk Songs/Going Down the Road Feeling Bad | Amsterdam Live Concerts |
Sammy Price | Frenchy's Blues | Blues & Boogie Woogie from Texas |
Little Brother Montgomery | Railroad Blues | The Piano Blues: Unissued Recordings Vol. 1 |
Champion Jack Dupree | London Special | New Orleans Barrelhouse |
Louisiana Red | Bring It On Home | Live At Montreux |
Dr. Isaiah Ross | Hobo Blues | Live At Montreux |
Big Mama Thornton | Good Girl In London | In Europe |
Juke Boy Bonner | Runnin' Shoes | American Folk Blues Festival '69 |
Memphis Slim & Roosevelt Sykes | Introducing The Grinder Man And The Honeydripper | Double-Barreled Boogie |
Memphis Slim | Mr. Sykes Blues | Double-Barreled Boogie |
Blind John Davis | When I Lost My Baby | Alive 'Live' And Well |
Sonny Boy Williamson II | I'm Trying To Make London My Home | Sony Boy Williamson in Europe |
Lonnie Johnson & Otis Spann | Jelly Jelly | Blues Masters |
Sonny Terry with Brownie McGhee | I'm Afraid of Fire | Wizard of the Harmonica |
Lightnin' Slim & Whispering Smith | Texas Flood | American Blues Legends 73' |
Eddie Burns | Bury Me Back In The USA | American Blues Legends 75' |
Professor Longhair | Hey Now | Live In London |
Katie Webster | Kate's Worried Blues | Texas Boogie Queen |
Willie Mabon | Why Did It Happen To Me | Cold Chilly Woman |
Muddy Waters | Hoochie Coochie Man | Chris Barber Presents: Lost & Found Vol.2 |
Howlin' Wolf | Going Down Slow | Rockin' The Blues: Live in Germany 1964 |
John Jackson | Early Morning Blues | Live In Europe |
Mississippi Fred McDowell | What's The Matter With Papa's Little Angel Child | In London Vol. II |
Show Notes:
Today’s program is the first of a three part feature on blues artists recorded in Europe spanning the late 40’s through the 70’s. Outside of Lonnie Johnson and Alberta Hunter, the blues hadn’t reached European shores prior to the 1940’s The late 40’s saw a few artists such as Leadbelly and Sammy Price hit Europe, with Price being the first to record. Josh White recorded the first guitar blues outside the U.S. The biggest impact, however, was Big Bill Broonzy’s arrival in 1951 and subsequent tours through 1957. By 1958 Sonny Terry & Brownie McGhee and Muddy Waters had come to England. 1960 saw Jack Dupree, Memphis Slim, Roosevelt Sykes, Little Brother Montgomery and Speckled Red appear in England. Dupree and Slim would both settle in Europe. Europe would become a haven for blues pianists with Curtis Jones, Eddie Boyd and Little Willie Littlefield all settling there. 1962 saw the inaugural American Folk Blues Festival which featured the absolute cream of the blues scene and toured almost annually until 1972. During the 70’s blues artists continued to tour Europe and there were package tours such as The American Blues Legends Tour which ran in 1973, 74, 75 and 79 and major concerts like the Montreux Jazz Festival which always had a blues component. Other artists also recorded in Europe like Blind John Davis, Professor Longhair, Lightnin’ Slim and Louisiana Red who settled in Germany. Our mufti-part look at European blues is by no means comprehensive or chronological but does, I think, provide an entertaining and wide survey of excellent recordings made across the pond by people who truly appreciated a music that was too often neglected in its own country.
A still from the Big Bill Broonzy film Low Light & Blue Smoke, Brussels, 1956. |
We open our series of European blues shows fittingly with monologue and song by Big Bill Broonzy. As Paul Vernon Wrote: “Regarded at the time as the first ‘genuine’ blues singer to visit Europe, between 1951 and his final 1957 tour, Big Bill returned every year except 1954, played concerts in London, Nottingham, Brighton and Edinburgh; in Paris and elsewhere in France; in Brussels, Antwerp, Copenhagen, Milan and Madrid, appeared on French radio, British and Italian television, was filmed in Brussels had many European-made records issued aimed at his new European audience. Press coverage was significant and he was viewed as “the last great blues singer” by the fans who took him completely at his word. That he cannily tailored his style to what he accurately believed to be European expectations is now thoroughly understood and accepted, but for all his “folksiness” he was, of course, a genuine bluesman and a wonderful guitarist. His career, in danger of imploding in the U.S., changed course in Europe and in doing so changed the course of Blues history. ” Big Bill’s European success lit the long fuse that would lead to the explosion in the early 1960’s.”
Broonzy (described in adverts as “last of the country bluesmen”) spent time in Europe, especially France, in the early 1950s, and, as Guido van Rijn reveals, established especially strong connections in the Netherlands where he had a long-term relationship that produced a son. He first toured the United Kingdom in 1951 following a stint organized by the Hot Club de France in Paris. The two concerts that Broonzy played at Kingsway Hall, Holborn, in September of 1951 were aggressively promoted by the blues evangelists; during the months of August and September the jazz press featured articles about the blues in general, and Broonzy in particular. His appearances were emceed by Alan Lomax, who not only introduced the singer but also drew him into discussions about the songs and their social import, making the audience feel “as if they had wandered more or less by accident into one of those fabulous jazz parties of which the books are full.”34 The critical response was unanimously positive.
As Paul Oliver noted: “A profound influence on many of his contemporary singers and musicians, Big Bill was exceptional in every respect. I was honored to draw a number of illustrations for his autobiography, Big Bill Blues, edited by Yannick Bruynogue and published in 1955. He showed little sign of decline during his frequent visits in the 1950s, but he died of throat cancer in 1958. I learned a lot from Big Bill; if our collecting and research had enabled us to take the measure of the blues in its diversity and distribution, it was Broonzy who gave an insight of its depth.”
Lonnie Donegan, the Glasgow-born banjo player with Chris Barber’s jazz band began to play guitar and sing versions of American folk and blues songs during the band’s intermission. One of these songs, “Rock Island Line,” originally recorded by Leadbelly, was so popular it was released as a record in 1956, sold three million copies, and became a hit on both sides of the Atlantic. The skiffle craze was launched. The popularity of this music encouraged Chris Barber to bring over blues artists to the United Kingdom. In 1958 Barber brought Brownie McGhee and Sonny Terry to England, including an appearance on British television. That year also witnessed Muddy Water’s first controversial British appearance in Leeds, again engineered by Barber. Within an emerging fan-base that valued the acoustic guitar as the premier blues instrument, Muddy’s amplification startled and dismayed many, but it also riveted others. As Waters said, “They thought I was Big Bill Broonzy…” Waters would return in 1962 and as Paul Oliver wrote: “Muddy made a typical error when he sang at the Leeds festival, in playing his electric guitar to an audience that couldn’t take one from a blues singer. He made another one this time—in playing a bright new Spanish box when he ought to have played electric guitar.” “Back at his London hotel after the concert,” Val Wilmer reported, “he sat shaking his head in disbelief … Just what did they want, these [British] white folks?”
Blues pianists were particularly taken with Europe and warmly welcomed, with many becoming exiles. In February 1948 blues pianist Sam Price sat down in a Paris studio and cut six boogie solos, thus becoming the first blues musician to record outside the U.S. Pianist Blind John Davis toured Europe with Broonzy in 1952. In later years Davis toured and recorded frequently in Europe, where he enjoyed a higher profile than in his homeland. He recorded several albums in Europe including Alive And Well, Stomping On A Saturday Night and Live In Hamburg all recorded in Germany and The Incomparable recorded in the Netherlands. The precedent set by Price and Davis blossomed in 1960, a great year for piano fans, Jack Dupree, Memphis Slim, Roosevelt Sykes, Little Brother Montgomery and Speckled Red all appeared in England. Researcher Francis Wilford-Smith had, since 1960, invited many of them to his Sussex home and with their consent, recorded them in performance in his living room. Though much remains currently unissued, there are excellent full-length albums from this period of Champion Jack Dupree and Little Brother Montgomery.
Memphis Slim first appeared outside the United States in 1960, touring with Willie Dixon, with whom he returned to Europe in 1962 as a featured artist in the first American Folk Festival. In 1962 he moved permanently to Paris and he became the most prominent blues artist in Europe for nearly three decades. He appeared on television in numerous European countries, acted in several French films and wrote the score for another, and performed regularly in Paris, throughout Europe, and on return visits to the United States. His status was recognized by France, which awarded him the title of Commander of Arts and Letters, and by the U.S. Senate, which in1978 named him Ambassador-at-Large of Good Will. By the time of his death in Paris in 1988, he had recorded for nearly forty different blues record labels. Our selection by Slim comes from the album Double-Barreled Boogie recorded in 1970 as Slim and Roosevelt Sykes gathered in a recording studio in Paris and reminisce about the old days, talk about the origin of some of their songs, and joke a bit.
Willie Mabon settled in Paris in 1972. He toured and recorded in Europe as part of promoter Jim Simpson’s American Blues Legends tour, recording The Comeback for Simpson’s Big Bear Records label, and a 1977 album on Ornament Records. He also performed at the Montreux Jazz Festival. In April 1985, after a long illness, Mabon died in Paris. Our selection, “Why Did it Happen To Me”, comes from the album Cold Chilly Woman recorded in Bordeaux, France in 1972.
Sonny Boy Williamson in Britain during the American Folk Blues Festival |
The American Folk Blues Festival (AFBF) was an annual event that featured the cream of American blues musicians barnstorming their way across Europe throughout the 60’s. The impact of these annual tours had a profound impact on those that were in attendance. Future stars such as Mick Jagger, Keith Richards, Jimmy Page any many others were in the audience and were directly influenced by what they saw. The rise of blues based bands like the The Rolling Stones, Yardbirds and Animals can be directly attributed to the AFBF. The festival, founded by Horst Lippmann and Fritz Rau in 1962, featured performances by luminaries like John Lee Hooker, T-Bone Walker, Muddy Waters, Memphis Slim, and Willie Dixon and drew sellout crowds and rave reviews. Many of the artists found they were far more popular in Britain than in the United States, where audiences for the blues were diminishing. Several emigrated, and others seized the new commercial opportunities presented by the British blues boom by recording extensively for the European market and touring the blues club circuit with bands comprised of their young devotees.
In 1963 Sonny Boy Williamson was headed to Europe for the first time, as part of the American Folk Blues Festival. He loved Europe and stayed behind in Britain when the tour headed home. He started working the teenage beat club circuit, touring and recording with the Yardbirds and Eric Burdon’s band, whom he always referred to as “de Mammimals.” Sonny Boy was truly appreciative of all the attention, and contemplated moving to Europe permanently but went back to the States and made some final recordings for Chess. He returned to England in 1964 and one of his final recordings, with Jimmy Page on guitar, was entitled “I’m Trying to Make London My Home.”
In 1964, Howlin’ Wolf toured eastern and western Europe with the American Blues Festival. In 1970 he recorded The London Howlin’ Wolf Sessions in England with Eric Clapton, members of the Rolling Stones, and other British rock stars. It was his best-selling album, reaching #79 on the pop charts.
In 1965 Fred McDowell toured Europe with The American Folk Blues Festival, together with Big Mama Thornton, John Lee Hooker, Buddy Guy, Roosevelt Sykes and others. In 1969 came a second tour of Europe. In Britain he recorded his first solo album using electric guitar – Mississippi Fred McDowell in London (Volumes I and II on Sire and Transatlantic).
It was Chris Strachwitz of Arhoolie records who was instrumental in getting Big Mama Thornton booked on the 1965 American Folk Blues Festival. In London she recorded an album with members of the tour; Buddy Guy (guitar), Fred Below (drums), Eddie Boyd (keyboards), Jimmy Lee Robinson (bass), and Walter Horton (harmonica), except for three songs which Fred McDowell provided acoustic slide guitar. The album was subsequently issued on the Arhoolie label.
Dr. Ross first hit Europe in 1965 for the American Folk Blues Festival. While in London he recorded what would be the first LP on Blue Horizon Records. In 1972 he recorded for Ornament Records during a German tour and performed at the 1972 Montreux Jazz Festival with a subsequent album released of the performance. The Harmonica Boss was recorded in London in 1972 and in 1974 he recorded Jivin’ The Blues also in London. Europe loved Ross and gave him work and recording opportunities; he was never as popular at home.
Juke Bonner cut three sessions for Goldband Records in Lake Charles in 1960, billed as Juke Boy Bonner — The One Man Trio. Some of these sides found their way to a European release on a Storyville album and attracted attention from European blues enthusiasts. But the breaks didn’t come Juke Boy’s way until 1967, when sterling work primarily by editors of Blues Unlimited magazine led to recording opportunities for the small Flyright label and for an eventual European tour. Passport difficulties prevented him from joining the 1968 American Folk Blues Festival Tour but was on the tour in 1969 where he cut the album Things Ain’t Right for Liberty. Throughout the early and mid-seventies his popularity grew and he continued to tour Europe as well as playing dates in Houston, however he couldn’t match his European popularity at home. The frustration and bitterness are reflected in the comments made by a longtime friend to the Houston Chronicle: “He used to say he could go to Europe and earn $1000 dollars but he couldn’t make $50 in his hometown.” He died in 1978. The week of his death the Houston Chronicle ran the headline: “Weldon ‘Juke Boy’ Bonner, well known in Europe, dies alone in his hometown.”
In the wake of the success of the AFBF, there were other package tours and festivals. There was the American Folk Blues and Gospel Caravan formed in 1964 (Sister Rosetta Tharpe, Blind Gary Davis, Cousin Joe, Sonny Terry & Brownie McGhee, Muddy Waters, Otis Spann) and The American Blues Legends tour which was run by promoter Jim Simpson who operated the Big Bear label. Simpson released albums of the tour for the years 1973, 1974, 1975 and 1979.There was also festivals like the Montreux Jazz Festival which launched in 1967 in Switzerland and always had strong blues representation.