After all why isn't he in the Blues Hall of Fame or his very influential recording "I Wonder" which became a smash by the "G.I. Sing-sation for the independent Gilt-Edge. Not only a great recording, "I Wonder" helped launch the independent record boom that made it possible for the post-war rhythm'n'blues scene to blossom. Furthermore, he was a marvelous pianist, vocalist and songwriter and his songs, especially "I Wonder" have become staples of the blues repertoire. I point out to sixties covers by B.B. King and Esther Phillips to suggest his impact. "I Wonder" perhaps owed a bit of its success to Nat Cole's success, but Gant was a marvelous boogie woogie pianist who played with sophistication as well as a wry blues lyricist and singer with a slight nasal tinge to his vocals.
Gant's career was a relatively short one, as he died at a very young in 1951, yet in his eight year career issued 160 or so sides, most performed at a very high level. While Flyright issued a wonderful CD of Gant's music, the European Blue Moon label has finished its seven CDs of Gant's Complete Recordings, which frankly can all be recommended. Volumes 6 and 7 have just been issued and like earlier volumes are varied musically and full of excellent performances. One interesting aspect of the seventh volume is a duet with Red Foley from 1950 that was not issued originally and then another session where he did Tennessee Ernie Ford's "Shotgun Boogie" as well as "Rock Little Baby" from Eunice Davis and Alberta Hunter along with his own originals.
One would be hard pressed to find a living blues pianist-vocalist who has made as substantial a contribution to the development of the blues and left such a consistent body of music as Gant did over five decades ago.
Subscribe To
Posts
All Comments
Sunday, September 17, 2006
Thursday, September 07, 2006
Texas Tenor Ed Wiley, Jr.'s In Rembrance reviewed
Texas tenor Ed Wiley left Houston a half century ago and still is laying things down in Philadelphia. Here is a review from the January-February Jazz & Blues Report
Saxophonist Ed Wiley, Jr.’s name might be familiar to fans of early post-war Texas rhythm and blues. Once a member of Gatemouth Brown’s Orchestra, he played on numerous Houston sessions. He had one record under his name, 'Cry, Cry Baby,' for Bob Shad’s Sittin’ In With label which made the top ten of the R&B charts. He can be heard on many sides on a number of reissued recordings, although current published discographical information has many errors. A colleague of mine has been interviewing Wiley including discussing his many recordings as well as stating ones on which he did not play on. Raised in Texas, he moved to Baltimore around the time his record became a hit. Out of Baltimore he worked with a variety of performers including saxophonists Johnny Sparrow and Avery Ross, pianist Clyde Patterson and guitarist Rufus Nance. His band also had a vocal group at the time that would become the Moonglows, and after a while settled in Philadelphia where he concentrated his musical career, playing with the likes of Amos Milburn, Cannonball Adderly, Dinah Washington, Al Hibbler and others. He raised his family while still playing, and his son, Ed Wiley III, set up the D.C. based Swing Records who issued an earlier album by Wiley, "Until Sunrise." His new recording, produced by father and son, is "In Rembrance." On this, Wiley is backed by a stellar cast that includes Shirley Scott on piano, Milt Hinton on bass, Bobby Durham and Mickey Roker on drums, Wycliffe Gordon on trombone and Terell Stafford on trumpet. It is a session of mostly blues and sacred themes that showcase just how fine a saxophonist Ed Wiley is. Growing up in Houston, it is not surprising his playing is in the Texas tenor tradition. It opens with his acapella saxophone tour de force on the spiritual 'Nobody Knows the Trouble I’ve Seen,' which showcases his fat tone and his warm, bluesy attack. Shirley Scott’s 'There’s Blues Everywhere' provides more space for him to showcase his big Texas Tenor sound, while the bop standard, Shaw Nuff, is played with complete authority. There’s a wonderful rendition of the classic James Weldon Johnson song 'Lift Ev’ry Voice,' along with the spiritual, 'Go Down Moses,' which effectively integrates vocals and background choir into the performance. Those who love the playing of Illinois Jacquet, Arnett Cobb, or Buddy Tate will be delighted by Wiley’s playing that is so full of soul and feeling. This is a wonderful recording, and when a true master resurfaces after years of general obscurity, one cannot help but be glad. Ed Wiley is a terrific player and In Rembrance is one terrific album. Swing Records distribution may be limited, so if you can’t find this you may want to contact the label directly for information on how to obtain it. The address is Swing Records, 1718 M St, NW, Suite 148, Washington DC 20036.
That address is likely outdated. This is available at amazon.com and I am not sure what other mail order outlets, but check out his informative website, www.edwileyjr.com.
Saxophonist Ed Wiley, Jr.’s name might be familiar to fans of early post-war Texas rhythm and blues. Once a member of Gatemouth Brown’s Orchestra, he played on numerous Houston sessions. He had one record under his name, 'Cry, Cry Baby,' for Bob Shad’s Sittin’ In With label which made the top ten of the R&B charts. He can be heard on many sides on a number of reissued recordings, although current published discographical information has many errors. A colleague of mine has been interviewing Wiley including discussing his many recordings as well as stating ones on which he did not play on. Raised in Texas, he moved to Baltimore around the time his record became a hit. Out of Baltimore he worked with a variety of performers including saxophonists Johnny Sparrow and Avery Ross, pianist Clyde Patterson and guitarist Rufus Nance. His band also had a vocal group at the time that would become the Moonglows, and after a while settled in Philadelphia where he concentrated his musical career, playing with the likes of Amos Milburn, Cannonball Adderly, Dinah Washington, Al Hibbler and others. He raised his family while still playing, and his son, Ed Wiley III, set up the D.C. based Swing Records who issued an earlier album by Wiley, "Until Sunrise." His new recording, produced by father and son, is "In Rembrance." On this, Wiley is backed by a stellar cast that includes Shirley Scott on piano, Milt Hinton on bass, Bobby Durham and Mickey Roker on drums, Wycliffe Gordon on trombone and Terell Stafford on trumpet. It is a session of mostly blues and sacred themes that showcase just how fine a saxophonist Ed Wiley is. Growing up in Houston, it is not surprising his playing is in the Texas tenor tradition. It opens with his acapella saxophone tour de force on the spiritual 'Nobody Knows the Trouble I’ve Seen,' which showcases his fat tone and his warm, bluesy attack. Shirley Scott’s 'There’s Blues Everywhere' provides more space for him to showcase his big Texas Tenor sound, while the bop standard, Shaw Nuff, is played with complete authority. There’s a wonderful rendition of the classic James Weldon Johnson song 'Lift Ev’ry Voice,' along with the spiritual, 'Go Down Moses,' which effectively integrates vocals and background choir into the performance. Those who love the playing of Illinois Jacquet, Arnett Cobb, or Buddy Tate will be delighted by Wiley’s playing that is so full of soul and feeling. This is a wonderful recording, and when a true master resurfaces after years of general obscurity, one cannot help but be glad. Ed Wiley is a terrific player and In Rembrance is one terrific album. Swing Records distribution may be limited, so if you can’t find this you may want to contact the label directly for information on how to obtain it. The address is Swing Records, 1718 M St, NW, Suite 148, Washington DC 20036.
That address is likely outdated. This is available at amazon.com and I am not sure what other mail order outlets, but check out his informative website, www.edwileyjr.com.
Wednesday, September 06, 2006
Johnny Shines Remembered
I have been writing for the Cleveland based Jazz & Blues Report since the 1970s when it was the Buffalo Jazz Report
Frtom July 1992 • issue 172 comes my remembrance of the great Johnny Shines
Johnny Shines Remembered
Johnny Shines, one of the last of the original “Delta” blues performers passed away Monday April 20. Johnny Shines was born April, 25, 1915 in Frayser, Tennessee, a Memphis suburb. Both his brother and an uncle played guitar, He first started playing in 1932 and early influences included Blind Lemon Jefferson, Lonnie Johnson, Scrapper Blackwell and Charlie Patton, before he attracted the attention of Howlin’ Wolf, and he was known as the Little Wolf. He started playing professionally by 1933-1934, playing around Memphis with such other artists as Willie Bee Borum, Honey Boy Albert Shaw, his cousin Calvin Frazier and others. While playing he made the acquaintance of Robert Johnson in Helena, Arkansas with whom he travelled with throughout Tennessee, Arkansas, Missouri and other places, even going north to Buffalo and Windsor, Ontario. Johnson deeply influenced Shines guitar playing. Mike Rowe, in his history of Chicago blues, "Chicago Breakdown," points to Lonnie Johnson as a major influence of Shines’ singing. Shines moved to Chicago in 1941 and established himself as part of the club scene, although working a day job, and working mostly on weekends, including occasionally working out of town. In 1945, Lester Melrose recorded him for Columbia in a small group setting, but these sides remained unissued until 1971. His next recording session was in 1950, when Jimmy Rogers brought him to Chess and as “Shoe Shine Johnny” recorded two powerful sides, 'So Glad I Found You' coupled with 'Joliet Blues,' that had Jimmy Rogers on guitar and Little Walter on harmonica. These sides were not released until the late 1960s when they appeared on a Chess anthology "Drop Down Mama." In 1953, Johnny returned to the studio for Joe Brown’s J.O.B. label. His first record was 'Ramblin’,' a fabulous recreation of Robert Johnson’s Walking Blues, with stunning bottleneck guitar and a scorching vocal. He also recorded a superb version of Robert Johnson’s 'Terraplane Blues,' called 'Fishtail Blues,' which wasn’t issued until the 1980’s. Shines’ performances stand up to Johnson’s originals, and if Shines’ guitar playing stood in Johnson’s shadow, he was frankly a more powerful singer than Johnson was. A subsequent session for J.O.B. produced 'Evening Sun' and 'Brutal Headed Woman' & featured the harmonica of Walter Horton whose solo on 'Evening Sun' is among the definitive blues harmonica solos, while Shines sand with overwhelming power, and a later session with Sunnyland Slim and J.T. Brown produced an unusual 'Living in the White House.' Shines remained active on the musical scene until about 1958, although a disagreement with Al Benson, an influential person in the Chicago music scene, made it difficult to get a contract. In 1958 he became disillusioned with the music scene and gave up playing music. In the early-sixties Johnny was rediscovered working as a freelance photographer at the clubs where Muddy or the Wolf would play.
Upon rediscovery, he was recorded by Sam Charters and Pete Welding. His recordings for Charters was issued on Volume 3 of Chicago the Blues Today and featured Walter Horton’s harp. After a superb version of 'Terraplane' as 'Dynaflow Blues,' Johnny is heard on a set of solid, traditionally based Chicago blues with Horton’s magnificent harp weaving in and around his vocal. He made several albums for Welding, one of which was part of the "Masters of Chicago Blues" series for Testament with Otis Spann and Walter Horton among the sideman. Of particular interest were several duets with drummer Fred Below. Shines also recorded a solo album, "Standing at the Crossroads" for Testament that contained numerous brilliant delta blues performances. Johnny Shines was also a charter member of Willie Dixon’s Chicago Blues All Stars around 1968, although at some point he moved out of Chicago to Holt, Alabama, near Tuscalosa. He continued to tour blues clubs and record extensively.
Frank Scott recorded a brilliant album for Advent that included superb acoustic performances including a remake of 'Ramblin’' and the ominous 'Skull and Crossroads Blues' with urban band blues sides, including the gripping 'My Love Can’t Hide,' reminiscent of Otis Rush’s Cobra recordings, and showed his capabilities outside of a Delta or traditional Chicago blues setting. He recorded somewhat frequently during the seventies for Biograph, Rounder and other labels, and toured extensively. During the mid-seventies, Walter Horton and he toured with guitarist John Nicholaus and his band, Guitar Johnny and the Rhythm Rockers, as well as recorded with Nicholaus for Blind Pig. Later in the decade he also started working with Robert Lockwood, Jr. and they recorded an album, 'Hangin’ On,' which was nominated for a Grammy in 1980. Sometime after that album was issued, Johnny suffered the first in a series of strokes that limited his physical dexterity, and had lesser effect on his powerful singing style. In recent years, Johnny appeared with a talented Kent DuShaine who handled much of the guitar chores while Johnny continued to sing with much the same power, although there might be a little bit of slur in his vocals at the beginning.
With the increased interest in Robert Johnson, attention was focused on Shines who played at the 1991 Chicago Blues Festival’s tribute to Robert Johnson, as well as at the 1991 Folklife Festival of American Folklife sponsored by the Smithsonian Institution as part of "The Roots of Rhythm and Blues: the Robert Johnson Era," along with Robert Lockwood, Henry Townsend and Honeyboy Edwards. Johnny shared, with considerable patience, remembrances of Johnson, and still showed how powerful a singer he was. Also, Blind Pig Records issued a solid album by Johnny and Snooky Pryor which Johnny’s old friend, John Nicholaus produced, as well as handled most of the guitar chores, reflecting his love of Johnny. While suffering in comparison to those classic recordings Shines made prior to his stroke, it remained a worthy testimonial of him.
News of his death by a heart attack wasn’t a total surprise, He had been hospitalized since mid March when his left leg had been amputated because of the hardening of the arteries, although the word seemed to be that Johnny was getting better. The weekend before his death Robert Lockwood mentioned that he heard Johnny was doing well under the circumstances. In addition to being a brilliant blues performer, Johnny Shines was a thoughtful, and articulate spokesperson for the blues, who will be sorely missed. There will be no more like him. He is survived by his wife Candy, a fine blues singer in her own right.
By Ron Weinstock
Johnny Shines Remembered
Johnny Shines, one of the last of the original “Delta” blues performers passed away Monday April 20. Johnny Shines was born April, 25, 1915 in Frayser, Tennessee, a Memphis suburb. Both his brother and an uncle played guitar, He first started playing in 1932 and early influences included Blind Lemon Jefferson, Lonnie Johnson, Scrapper Blackwell and Charlie Patton, before he attracted the attention of Howlin’ Wolf, and he was known as the Little Wolf. He started playing professionally by 1933-1934, playing around Memphis with such other artists as Willie Bee Borum, Honey Boy Albert Shaw, his cousin Calvin Frazier and others. While playing he made the acquaintance of Robert Johnson in Helena, Arkansas with whom he travelled with throughout Tennessee, Arkansas, Missouri and other places, even going north to Buffalo and Windsor, Ontario. Johnson deeply influenced Shines guitar playing. Mike Rowe, in his history of Chicago blues, "Chicago Breakdown," points to Lonnie Johnson as a major influence of Shines’ singing. Shines moved to Chicago in 1941 and established himself as part of the club scene, although working a day job, and working mostly on weekends, including occasionally working out of town. In 1945, Lester Melrose recorded him for Columbia in a small group setting, but these sides remained unissued until 1971. His next recording session was in 1950, when Jimmy Rogers brought him to Chess and as “Shoe Shine Johnny” recorded two powerful sides, 'So Glad I Found You' coupled with 'Joliet Blues,' that had Jimmy Rogers on guitar and Little Walter on harmonica. These sides were not released until the late 1960s when they appeared on a Chess anthology "Drop Down Mama." In 1953, Johnny returned to the studio for Joe Brown’s J.O.B. label. His first record was 'Ramblin’,' a fabulous recreation of Robert Johnson’s Walking Blues, with stunning bottleneck guitar and a scorching vocal. He also recorded a superb version of Robert Johnson’s 'Terraplane Blues,' called 'Fishtail Blues,' which wasn’t issued until the 1980’s. Shines’ performances stand up to Johnson’s originals, and if Shines’ guitar playing stood in Johnson’s shadow, he was frankly a more powerful singer than Johnson was. A subsequent session for J.O.B. produced 'Evening Sun' and 'Brutal Headed Woman' & featured the harmonica of Walter Horton whose solo on 'Evening Sun' is among the definitive blues harmonica solos, while Shines sand with overwhelming power, and a later session with Sunnyland Slim and J.T. Brown produced an unusual 'Living in the White House.' Shines remained active on the musical scene until about 1958, although a disagreement with Al Benson, an influential person in the Chicago music scene, made it difficult to get a contract. In 1958 he became disillusioned with the music scene and gave up playing music. In the early-sixties Johnny was rediscovered working as a freelance photographer at the clubs where Muddy or the Wolf would play.
Upon rediscovery, he was recorded by Sam Charters and Pete Welding. His recordings for Charters was issued on Volume 3 of Chicago the Blues Today and featured Walter Horton’s harp. After a superb version of 'Terraplane' as 'Dynaflow Blues,' Johnny is heard on a set of solid, traditionally based Chicago blues with Horton’s magnificent harp weaving in and around his vocal. He made several albums for Welding, one of which was part of the "Masters of Chicago Blues" series for Testament with Otis Spann and Walter Horton among the sideman. Of particular interest were several duets with drummer Fred Below. Shines also recorded a solo album, "Standing at the Crossroads" for Testament that contained numerous brilliant delta blues performances. Johnny Shines was also a charter member of Willie Dixon’s Chicago Blues All Stars around 1968, although at some point he moved out of Chicago to Holt, Alabama, near Tuscalosa. He continued to tour blues clubs and record extensively.
Frank Scott recorded a brilliant album for Advent that included superb acoustic performances including a remake of 'Ramblin’' and the ominous 'Skull and Crossroads Blues' with urban band blues sides, including the gripping 'My Love Can’t Hide,' reminiscent of Otis Rush’s Cobra recordings, and showed his capabilities outside of a Delta or traditional Chicago blues setting. He recorded somewhat frequently during the seventies for Biograph, Rounder and other labels, and toured extensively. During the mid-seventies, Walter Horton and he toured with guitarist John Nicholaus and his band, Guitar Johnny and the Rhythm Rockers, as well as recorded with Nicholaus for Blind Pig. Later in the decade he also started working with Robert Lockwood, Jr. and they recorded an album, 'Hangin’ On,' which was nominated for a Grammy in 1980. Sometime after that album was issued, Johnny suffered the first in a series of strokes that limited his physical dexterity, and had lesser effect on his powerful singing style. In recent years, Johnny appeared with a talented Kent DuShaine who handled much of the guitar chores while Johnny continued to sing with much the same power, although there might be a little bit of slur in his vocals at the beginning.
With the increased interest in Robert Johnson, attention was focused on Shines who played at the 1991 Chicago Blues Festival’s tribute to Robert Johnson, as well as at the 1991 Folklife Festival of American Folklife sponsored by the Smithsonian Institution as part of "The Roots of Rhythm and Blues: the Robert Johnson Era," along with Robert Lockwood, Henry Townsend and Honeyboy Edwards. Johnny shared, with considerable patience, remembrances of Johnson, and still showed how powerful a singer he was. Also, Blind Pig Records issued a solid album by Johnny and Snooky Pryor which Johnny’s old friend, John Nicholaus produced, as well as handled most of the guitar chores, reflecting his love of Johnny. While suffering in comparison to those classic recordings Shines made prior to his stroke, it remained a worthy testimonial of him.
News of his death by a heart attack wasn’t a total surprise, He had been hospitalized since mid March when his left leg had been amputated because of the hardening of the arteries, although the word seemed to be that Johnny was getting better. The weekend before his death Robert Lockwood mentioned that he heard Johnny was doing well under the circumstances. In addition to being a brilliant blues performer, Johnny Shines was a thoughtful, and articulate spokesperson for the blues, who will be sorely missed. There will be no more like him. He is survived by his wife Candy, a fine blues singer in her own right.
By Ron Weinstock
Johnny Shines remembered
I have been writing for Jazz & Blues Report since the 1970s when it started out as the Buffalo Jazz Report. Here is what I wrote on the great Johnny Shines when he passed.
Jazz & Blues Report (July 1992 • issue 172)
Johnny Shines
Johnny Shines Remembered
Johnny Shines, one of the last of the original “Delta” blues performers passed away Monday April 20. Johnny Shines was born April, 25, 1915 in Frayser, Tennessee, a Memphis suburb. Both his brother and an uncle played guitar, He first started playing in 1932 and early influences included Blind Lemon Jefferson, Lonnie Johnson, Scrapper Blackwell and Charlie Patton, before he attracted the attention of Howlin’ Wolf, and he was known as the Little Wolf. He started playing professionally by 1933-1934, playing around Memphis with such other artists as Willie Bee Borum, Honey Boy Albert Shaw, his cousin Calvin Frazier and others. While playing he made the acquaintance of Robert Johnson in Helena, Arkansas with whom he travelled with throughout Tennessee, Arkansas, Missouri and other places, even going north to Buffalo and Windsor, Ontario. Johnson deeply influenced Shines guitar playing. Mike Rowe, in his history of Chicago blues, Chicago Breakdown, points to Lonnie Johnson as a major influence of Shines’ singing.Shines moved to Chicago in 1941 and established himself as part of the club scene, although working a day job, and working mostly on weekends, including occasionally working out of town. In 1945, Lester Melrose recorded him for Columbia in a small group setting, but these sides remained unissued until 1971. His next recording session was in 1950, when Jimmy Rogers brought him to Chess and as “Shoe Shine Johnny” recorded two powerful sides, So Glad I Found You coupled with Joliet Blues,that had Jimmy Rogers on guitar and Little Walter on harmonica. These sides were not released until the late 1960s when they appeared on a Chess anthology Drop Down Mama. In 1953, Johnny returned to the studio for Joe Brown’s J.O.B. label. His first record was Ramblin’, a fabulous recreation of Robert Johnson’s Walking Blues, with stunning bottleneck guitar and a scorching vocal. He also recorded a superb version of Robert Johnson’s Terraplane Blues, called Fishtail Blues, which wasn’t issued until the 1980’s. Shines’ performances stand up to Johnson’s originals, and if Shines’ guitar playing stood in Johnson’s shadow, he was frankly a more powerful singer than Johnson was. A subsequent session for J.O.B. produced Evening Sun and Brutal Headed Woman & featured the harmonica of Walter Horton whose solo on Evening Sun is among the definitive blues harmonica solos, while Shines sand with overwhelming power, and a later session with Sunnyland Slim and J.T. Brown produced an unusual Living in the White House. Shines remained active on the musical scene until about 1958, although a disagreement with Al Benson, an influential person in the Chicago music scene, made it difficult to get a contract. In 1958 he became disillusioned with the music scene and gave up playing music. In the early-sixties Johnny was rediscovered working as a freelance photographer at the clubs where Muddy or the Wolf would play. Upon rediscovery, he was recorded by Sam Charters and Pete Welding. His recordings for Charters was issued on Volume 3 of Chicago the Blues Today and featured Walter Horton’s harp. After superb versions of Terraplane & Dynaflow Blues, Johnny is heard on a set of solid, traditionally based Chicago blues with Horton’s magnificent harp weaving in and around his vocal. He made several albums for Welding, one of which was part of the Masters of Chicago Blues series for Testament with Otis Spann and Walter Horton among the sideman. Of particular interest were several duets with drummer Fred Below. Shines also recorded a solo album, Standing at the Crossroads for Testament that contained numerous brilliant delta blues performances. Johnny Shines was also a charter member of Willie Dixon’s Chicago Blues All Stars around 1968, although at some point he moved out of Chicago to Holt, Alabama, near Tuscalosa. He continued to tour blues clubs and record extensively. Frank Scott recorded a brilliant album for Advent that included superb acoustic performances including a remake of Ramblin’ and the ominous Skull and Crossroads Blues with urban band blues sides, including the gripping My Love Can’t Hide, reminiscent of Otis Rush’s Cobra recordings, and showed his capabilities outside of a Delta or traditional Chicago blues setting. He recorded somewhat frequently during the seventies for Biograph, Rounder and other labels, and toured extensively. During the mid-seventies, Walter Horton and he toured with guitarist John Nicholaus and his band, Guitar Johnny and the Rhythm Rockers, as well as recorded with Nicholaus for Blind Pig. Later in the decade he also started working with Robert Lockwood, Jr. and they recorded an album, Hangin’ On, which was nominated for a Grammy in 1980. Sometime after that album was issued, Johnny suffered the first in a series of strokes that limited his physical dexterity, and had lesser effect on his powerful singing style. In recent years, Johnny appeared with a talented Kent DuShaine who handled much of the guitar chores while Johnny continued to sing with much the same power, although there might be a little bit of slur in his vocals at the beginning. With the increased interest in Robert Johnson, attention was focused on Shines who played at the 1991 Chicago Blues Festival’s tribute to Robert Johnson, as well as at the 1991 Folklife Festival of American Folklife sponsored by the Smithsonian Institution as part of The Roots of Rhythm and Blues: the Robert Johnson Era.,, along with Robert Lockwood, Henry Townsend and Honeyboy Edwards. Johnny shared, with considerable patience, remembrances of Johnson, and still showed how powerful a singer he was. Also, Blind Pig Records issued a solid album by Johnny and Snooky Pryor which Johnny’s old friend, John Nicholaus produced, as well as handled most of the guitar chores, reflecting his love of Johnny. While suffering in comparison to those classic recordings Shines made prior to his stroke, it remained a worthy testimonial of him.News of his death by a heart attack wasn’t a total surprise, He had been hospitalized since mid March when his left leg had been amputated because of the hardening of the arteries, although the word seemed to be that Johnny was getting better. The weekend before his death Robert Lockwood mentioned that he heard Johnny was doing well under the circumstances. In addition to being a brilliant blues performer, Johnny Shines was a thoughtful, and articulate spokesperson for the blues, who will be sorely missed. There will be no more like him. He is survived by his wife Candy, a fine blues singer in her own right.
By Ron Weinstock
Jazz & Blues Report (July 1992 • issue 172)
Johnny Shines
Johnny Shines Remembered
Johnny Shines, one of the last of the original “Delta” blues performers passed away Monday April 20. Johnny Shines was born April, 25, 1915 in Frayser, Tennessee, a Memphis suburb. Both his brother and an uncle played guitar, He first started playing in 1932 and early influences included Blind Lemon Jefferson, Lonnie Johnson, Scrapper Blackwell and Charlie Patton, before he attracted the attention of Howlin’ Wolf, and he was known as the Little Wolf. He started playing professionally by 1933-1934, playing around Memphis with such other artists as Willie Bee Borum, Honey Boy Albert Shaw, his cousin Calvin Frazier and others. While playing he made the acquaintance of Robert Johnson in Helena, Arkansas with whom he travelled with throughout Tennessee, Arkansas, Missouri and other places, even going north to Buffalo and Windsor, Ontario. Johnson deeply influenced Shines guitar playing. Mike Rowe, in his history of Chicago blues, Chicago Breakdown, points to Lonnie Johnson as a major influence of Shines’ singing.Shines moved to Chicago in 1941 and established himself as part of the club scene, although working a day job, and working mostly on weekends, including occasionally working out of town. In 1945, Lester Melrose recorded him for Columbia in a small group setting, but these sides remained unissued until 1971. His next recording session was in 1950, when Jimmy Rogers brought him to Chess and as “Shoe Shine Johnny” recorded two powerful sides, So Glad I Found You coupled with Joliet Blues,that had Jimmy Rogers on guitar and Little Walter on harmonica. These sides were not released until the late 1960s when they appeared on a Chess anthology Drop Down Mama. In 1953, Johnny returned to the studio for Joe Brown’s J.O.B. label. His first record was Ramblin’, a fabulous recreation of Robert Johnson’s Walking Blues, with stunning bottleneck guitar and a scorching vocal. He also recorded a superb version of Robert Johnson’s Terraplane Blues, called Fishtail Blues, which wasn’t issued until the 1980’s. Shines’ performances stand up to Johnson’s originals, and if Shines’ guitar playing stood in Johnson’s shadow, he was frankly a more powerful singer than Johnson was. A subsequent session for J.O.B. produced Evening Sun and Brutal Headed Woman & featured the harmonica of Walter Horton whose solo on Evening Sun is among the definitive blues harmonica solos, while Shines sand with overwhelming power, and a later session with Sunnyland Slim and J.T. Brown produced an unusual Living in the White House. Shines remained active on the musical scene until about 1958, although a disagreement with Al Benson, an influential person in the Chicago music scene, made it difficult to get a contract. In 1958 he became disillusioned with the music scene and gave up playing music. In the early-sixties Johnny was rediscovered working as a freelance photographer at the clubs where Muddy or the Wolf would play. Upon rediscovery, he was recorded by Sam Charters and Pete Welding. His recordings for Charters was issued on Volume 3 of Chicago the Blues Today and featured Walter Horton’s harp. After superb versions of Terraplane & Dynaflow Blues, Johnny is heard on a set of solid, traditionally based Chicago blues with Horton’s magnificent harp weaving in and around his vocal. He made several albums for Welding, one of which was part of the Masters of Chicago Blues series for Testament with Otis Spann and Walter Horton among the sideman. Of particular interest were several duets with drummer Fred Below. Shines also recorded a solo album, Standing at the Crossroads for Testament that contained numerous brilliant delta blues performances. Johnny Shines was also a charter member of Willie Dixon’s Chicago Blues All Stars around 1968, although at some point he moved out of Chicago to Holt, Alabama, near Tuscalosa. He continued to tour blues clubs and record extensively. Frank Scott recorded a brilliant album for Advent that included superb acoustic performances including a remake of Ramblin’ and the ominous Skull and Crossroads Blues with urban band blues sides, including the gripping My Love Can’t Hide, reminiscent of Otis Rush’s Cobra recordings, and showed his capabilities outside of a Delta or traditional Chicago blues setting. He recorded somewhat frequently during the seventies for Biograph, Rounder and other labels, and toured extensively. During the mid-seventies, Walter Horton and he toured with guitarist John Nicholaus and his band, Guitar Johnny and the Rhythm Rockers, as well as recorded with Nicholaus for Blind Pig. Later in the decade he also started working with Robert Lockwood, Jr. and they recorded an album, Hangin’ On, which was nominated for a Grammy in 1980. Sometime after that album was issued, Johnny suffered the first in a series of strokes that limited his physical dexterity, and had lesser effect on his powerful singing style. In recent years, Johnny appeared with a talented Kent DuShaine who handled much of the guitar chores while Johnny continued to sing with much the same power, although there might be a little bit of slur in his vocals at the beginning. With the increased interest in Robert Johnson, attention was focused on Shines who played at the 1991 Chicago Blues Festival’s tribute to Robert Johnson, as well as at the 1991 Folklife Festival of American Folklife sponsored by the Smithsonian Institution as part of The Roots of Rhythm and Blues: the Robert Johnson Era.,, along with Robert Lockwood, Henry Townsend and Honeyboy Edwards. Johnny shared, with considerable patience, remembrances of Johnson, and still showed how powerful a singer he was. Also, Blind Pig Records issued a solid album by Johnny and Snooky Pryor which Johnny’s old friend, John Nicholaus produced, as well as handled most of the guitar chores, reflecting his love of Johnny. While suffering in comparison to those classic recordings Shines made prior to his stroke, it remained a worthy testimonial of him.News of his death by a heart attack wasn’t a total surprise, He had been hospitalized since mid March when his left leg had been amputated because of the hardening of the arteries, although the word seemed to be that Johnny was getting better. The weekend before his death Robert Lockwood mentioned that he heard Johnny was doing well under the circumstances. In addition to being a brilliant blues performer, Johnny Shines was a thoughtful, and articulate spokesperson for the blues, who will be sorely missed. There will be no more like him. He is survived by his wife Candy, a fine blues singer in her own right.
By Ron Weinstock
Wanda Johnson - Call Me Miss Wanda
One of the very pleasant surprises at the 2006 Pocono Blues Festival was the performance from South Carolina singer Wanda Johnson who was backed by a tight combo led by pianist Shrimp City Slim (Gary Erwin). Opening with a lively song about telling her lover he’s history, 'I‘m Through With You,' Johnson enthralled the Pocono audience at the Friday Night concert she performed at, whether singing a bluesy rocker or a soulful ballad. She has a marvelous voice and delivery and the band provided tight, punchy backing. At the Festival, this writer picked up her 2004 debut album, "Call Me Miss Wanda" (Erwin Music) which contained some of the same musical magic I had experienced at the Festival. Comprised of originals by her and Erwin, the album is full of lively, heart felt performances whether the rocking blues of "I’m Through With You," the gospel-tinged soul of "The River," or the lovely ballad "Always" with some nice backing harp. "If I Rise in the Morning" opens with some nice guitar before she tells her man that he may not think she he is strong enough or smart enough to be on her, but one thing’s for sure, she ain’t waking up next to him. "Finally Back" is a nice rocker celebrating the blues as she recites a litany of blues greats and songs including Eddie Boyd, Memphis Minnie, Lightnin’ Slim, Muddy Waters, Roosevelt Sykes, Jimmy Reed, Sister Rosetta Tharpe, Bessie Smith and Bo Diddley. Never does she get shrill or exaggerate her delivery, rather her delivery is smooth like honey, yet her delivery does not sweeten up her better barbs at her mistreating man while the band is right in the pocket and the solos are well played, and to the point. I have been listening to this regularly for over a month and the recording still sounds fresh and is one of this listener’s favorite recordings of 2006. Wanda has a more recent CD, "Natural Resource," which I more recently purchased. It is a good CD but neither the songs nor performances seem to be as good as those on "Call Me Miss Wanda." I suspect I may warm up to it upon further listening. Both CDs can be purchased on cdbaby.com, and you can contact Erwin Music directly at PO Box 13525, Charleston, SC 29422 ((843) 762-9125), or email emusic@mindspring.com.
Sunday, September 03, 2006
Memphis Gold Stars at DC Blues Fest
Memphis Gold arguably put on the highlight set of 2006 DC Blues Festival held at the Carter Barron Amphitheatre in Washington DC, Saturday, September 2.
The Festival started in the rain as the remnants of Tropical Depression Ernesto continued moving north, but during the set prior to Memphis Gold's, the sun came out. Because of the weather, attendance at this year's festival was lighter than in previous years although a healthy crowd did come out later in the afternoon
Having seen Memphis Gold since the early 1990s, I have been struck just how good his music has elevated itself over the past couple years. His music was already good but with the release of his second album, the excellent "Prodigal Son", it seemed that Chester Chandler, aka KD, has elevated his music to another level. This was evident at his superb 2004 Pocono Blues Festival set, and even more so yesterday (as I write this). His set was made almost excl;usively of original material and the band was so tight. His drummer, Warren Witherspoon, is someone I had not seen in several years (originally saw him backing Bobby Parker back in the early nineties), and harp wizard Charlie Sayles was back with Memphis Gold.
Its been a good year for Memphis Gold as he received a justifiably rave review in the British publication Blues & Rhythm and the Sweddish publication, Jefferson, featured him on the cover. In fact he had just come back from Sweden and will be going out on another USO tour in the near future. Jim O'Neal picked up the self-produced Prodigal Son for his Stackhouse Productions to distribute.
What can one say. It could not happen to a more talented and nicer gentleman.
Friday, September 01, 2006
A review of Chicago Blues: Portraits and Stories
The following is my somewhat lengthy review of David Whiteis excellent new book that should appear in the upcoming Jazz & Blues Report (I believe issue 286), www.jazz-blues.com.
Chicago Blues: Portraits and Stories
by David Whiteis
(University of Illinois Press 2006)
David Whiteis’ new book, Chicago Blues: Portraits and Stories, is a collection of portraits of blues performers and venues that provides a sense of the diversity of the Chicago blues scene with an emphasis on its evolution as a living tradition among the city’s African-American community. There are chapters devoted to departed masters to a number of contemporary performers representing a diversity of approaches to the blues, and in the process provides an enlightening overview of a still evolving blues scene and tradition. The portraits are derived from articles that Whiteis wrote for a variety of publications including the Chicago Reader, Juke Blues and Living Blues, and it would be welcome for no other reason than making these available, but the book is more than that.
The first part of Chicago Blues is devoted to Elder Spirits, and includes chapters on Junior Wells, Sunnyland Slim and Big Walter Horton. What is surprising is how little has been written on these three and Whiteis’ chapters are welcome for recounting these the lives of these pioneers and masters of the post-war Chicago blues scene. As Whiteis notes, these three mentored him as he developed an knowledge and love of the blues, and his affection for them is obvious as can be gleaned from what he states about Sunnyland Slim, “We weren’t what you would call blood brothers. I don’t claim to have been his intimate confidant. Nevertheless, I honestly believe that no one else ever taught me so much about life than Sunnyland Slim did. To hear that voice growl through the octaves, build into a liontine roar, and then soar into a leonine roar, and then soar into high-tenor declarations of freedom-bound blues passion — or just spend time in the presence of this tender-hearted giant of a man — was to learn life lessons of the most profound and lasting kind.”
The Second Part, “We Gon’ Pitch a Boogie Woogie!” is an examination of blues venues past and present. There is a chapter on Florence’s Lounge, the neighborhood lounge where Hound Dog Taylor and Magic Slim had held regular gigs before they began their years of touring which closed in the early 1980s; the celebrated Maxwell Street Market whose rich history is recounted along with the gentrification of Chicago, expansion of the Chicago campus of Maxwell Street and its destruction of this historical area with a promise of a restored and improved, but ultimately sanitized, area. Whiteis’ bittersweet account of the last day of Maxwell Street brings the community that the University destroyed alive for us. The final chapter of this part, Clubbing the Current Chicago Scene, provides sketches of different venues including the Delta Fish Market and its successor, Wallace’s Catfish Corner; the Starlite Lounge and the late Harmonica Khan who was a star in this neighborhood juke; and then taking in Denise LaSalle’s show at East of the Ryan which includes a nice overview of her career in addition to his perceptive analysis of her oft salty performances that like those of other modern soul and blues artists transcend the dichotomy between sacred and profane.
The Next Part, Torchbearers is in Whiteis’ words, ”the heart of the book.” The portraits of currently active performers who carry on the traditions of the elders. Perhaps these are not all major stylists but each “is representative o the music that remains prevalent on the contemporary scene, and each one’s story exemplifies important facets of the ‘blues life’ as it is lived by contemporary artists… .” Chapters devoted to Jody Williams, Bonnie Lee, Billy Branch, Sharon Lewis and Lurrie Bell, give us an insight into their personal histories, the ups and downs they have faced and how they continue to preserve with their art. It is a reminder that blues is more than “just notes” or “just a feeling,” devoid of any broader context. Of course, one has to be a bit careful in objecting that the music’s cultural history is obscured and challenging the success of some teenage white prodigies while veteran blacks stay in obscurity and then be labeled as an ‘ignorant racist,” as Billy Branch, one of the most eloquent teachers of the blues as well as a blues performer of the highest order. Chapters on Bonnie Lee, who first came up under Sunnyland Slim and later was associated with the late Willie Kent and Sharon Lewis were revelatory about two women who keep doing what they love to do the most, while the chapter on Lurrie Bell detailed the travails of his life as well as his triumphs (musical and personal).
Part IV, The Soul Side of Town, is devoted to Artie ‘Blues Boy’ White (who notes even down south some of the venues he used to play have closed), Cicero Blake and Little Scotty (the later a social activist as well as singer). The book concludes with a Coda, as Whiteis ruminates on the current state of the music and its future, observing that their seem to be new obstacles today to the music surviving, but also reminding us that the blues seems to have this ability to reinvent itself, and its new manifestations and performers may confound us and our expectations what the blues should be, “yet again reveal itself to be a musical language that, once incubated and nurtured in its cultural milieu, can expand its scope and speak to a universal audience.”
Chicago Blues: Portraits and Stories, is invaluable for its lively, informative portraits of a variety of performers that help us appreciate aspects of the blues life. Furthermore, it raises significant questions of what the blues is, that goes beyond the current trend of focusing on playing notes and ignoring the culture and community the blues arose out of. As Whiteis reminds us, the music is still deeply rooted there and continues to live and evolve, aiding us to appreciate the music in a deeper and more knowledgeable manner.
Chicago Blues: Portraits and Stories
by David Whiteis
(University of Illinois Press 2006)
David Whiteis’ new book, Chicago Blues: Portraits and Stories, is a collection of portraits of blues performers and venues that provides a sense of the diversity of the Chicago blues scene with an emphasis on its evolution as a living tradition among the city’s African-American community. There are chapters devoted to departed masters to a number of contemporary performers representing a diversity of approaches to the blues, and in the process provides an enlightening overview of a still evolving blues scene and tradition. The portraits are derived from articles that Whiteis wrote for a variety of publications including the Chicago Reader, Juke Blues and Living Blues, and it would be welcome for no other reason than making these available, but the book is more than that.
The first part of Chicago Blues is devoted to Elder Spirits, and includes chapters on Junior Wells, Sunnyland Slim and Big Walter Horton. What is surprising is how little has been written on these three and Whiteis’ chapters are welcome for recounting these the lives of these pioneers and masters of the post-war Chicago blues scene. As Whiteis notes, these three mentored him as he developed an knowledge and love of the blues, and his affection for them is obvious as can be gleaned from what he states about Sunnyland Slim, “We weren’t what you would call blood brothers. I don’t claim to have been his intimate confidant. Nevertheless, I honestly believe that no one else ever taught me so much about life than Sunnyland Slim did. To hear that voice growl through the octaves, build into a liontine roar, and then soar into a leonine roar, and then soar into high-tenor declarations of freedom-bound blues passion — or just spend time in the presence of this tender-hearted giant of a man — was to learn life lessons of the most profound and lasting kind.”
The Second Part, “We Gon’ Pitch a Boogie Woogie!” is an examination of blues venues past and present. There is a chapter on Florence’s Lounge, the neighborhood lounge where Hound Dog Taylor and Magic Slim had held regular gigs before they began their years of touring which closed in the early 1980s; the celebrated Maxwell Street Market whose rich history is recounted along with the gentrification of Chicago, expansion of the Chicago campus of Maxwell Street and its destruction of this historical area with a promise of a restored and improved, but ultimately sanitized, area. Whiteis’ bittersweet account of the last day of Maxwell Street brings the community that the University destroyed alive for us. The final chapter of this part, Clubbing the Current Chicago Scene, provides sketches of different venues including the Delta Fish Market and its successor, Wallace’s Catfish Corner; the Starlite Lounge and the late Harmonica Khan who was a star in this neighborhood juke; and then taking in Denise LaSalle’s show at East of the Ryan which includes a nice overview of her career in addition to his perceptive analysis of her oft salty performances that like those of other modern soul and blues artists transcend the dichotomy between sacred and profane.
The Next Part, Torchbearers is in Whiteis’ words, ”the heart of the book.” The portraits of currently active performers who carry on the traditions of the elders. Perhaps these are not all major stylists but each “is representative o the music that remains prevalent on the contemporary scene, and each one’s story exemplifies important facets of the ‘blues life’ as it is lived by contemporary artists… .” Chapters devoted to Jody Williams, Bonnie Lee, Billy Branch, Sharon Lewis and Lurrie Bell, give us an insight into their personal histories, the ups and downs they have faced and how they continue to preserve with their art. It is a reminder that blues is more than “just notes” or “just a feeling,” devoid of any broader context. Of course, one has to be a bit careful in objecting that the music’s cultural history is obscured and challenging the success of some teenage white prodigies while veteran blacks stay in obscurity and then be labeled as an ‘ignorant racist,” as Billy Branch, one of the most eloquent teachers of the blues as well as a blues performer of the highest order. Chapters on Bonnie Lee, who first came up under Sunnyland Slim and later was associated with the late Willie Kent and Sharon Lewis were revelatory about two women who keep doing what they love to do the most, while the chapter on Lurrie Bell detailed the travails of his life as well as his triumphs (musical and personal).
Part IV, The Soul Side of Town, is devoted to Artie ‘Blues Boy’ White (who notes even down south some of the venues he used to play have closed), Cicero Blake and Little Scotty (the later a social activist as well as singer). The book concludes with a Coda, as Whiteis ruminates on the current state of the music and its future, observing that their seem to be new obstacles today to the music surviving, but also reminding us that the blues seems to have this ability to reinvent itself, and its new manifestations and performers may confound us and our expectations what the blues should be, “yet again reveal itself to be a musical language that, once incubated and nurtured in its cultural milieu, can expand its scope and speak to a universal audience.”
Chicago Blues: Portraits and Stories, is invaluable for its lively, informative portraits of a variety of performers that help us appreciate aspects of the blues life. Furthermore, it raises significant questions of what the blues is, that goes beyond the current trend of focusing on playing notes and ignoring the culture and community the blues arose out of. As Whiteis reminds us, the music is still deeply rooted there and continues to live and evolve, aiding us to appreciate the music in a deeper and more knowledgeable manner.
Subscribe to:
Posts (Atom)