It's The Best Stuff Yet! Great Piedmont Blues

Various Artists
It's The Best Stuff Yet
Frog Records UK

This is a double CD set of rare Piedmont blues packaged in a DVD sized box with a 32-page booklet. One CD is a collection of rare sides, unissued tests, clean originals and field recordings of classic Piedmont blues. The second CD contains the entire 1956 sessions by Blind Willie McTell (The Last Session) that was recorded by Ed Rhodes that includes material that was not included in the original Prestige release of such material. The handsomely illustrated 32-page booklet includes essays from Paul Swinton and Chris Smith, along with full discographical information.

The first disc includes some spectacularly wonderful performances of Piedmont blues with a spotlight primarily, but not exclusively, on the blues of Atlanta. It opens with a wonderful duet by Ruth Willis and Blind Willie McTell, "Talkin' to You Wimmin About the Blues," followed by McTell accompanying a vocal by her. Then comes the sublime first recording by McTell, "Mamma, T'aint Long Fo' Day'," with a wonderful vocal and superlative 12-string slide guitar. Performances like this as much as the better-known "Statesboro Blues" explain why McTell is regarded as among the greatest blues artists who ever played. Also included on this disc is McTell's Library of Congress recording of "Delia's Gone," about a 14-year-old girl shot by her 14-year-old boyfriend.

The McTell sides are not the only brilliant performances here. There is Blind Blake's "West Coast Blues" from his initial recording session, as well as a previously unissued test by Blind Boy Fuller of "Rag, Mama, Rag #1." This superb, animated performance had the great Fuller supported by Gary Davis on guitar and Bull City Red on washboard. Then there are two terrific performances by Prince Moore about who little is known and two wonderful performances from unissued tests by Buddy Moss. "Red River Blues #2" is another fabulous Piedmont fingerpicked blues. Curley Weaver, with harmonica player Eddie Mapp, deliver a bit of hokum on the title track, while there are two dynamic songs from Barbecue Bob with his robust vocals and 12-string guitar playing. Also, there is a radio aircheck of Josh White performing "John Henry," as well as short unexpurgated party disc of "Darktown Strutters," that definitely is not radio-friendly. The great Virginia Piedmont blues artist, John Jackson is heard on two stunning selections from private recordings that show the influence of Blind Blake.

The remaining selections on this first disc are of similar interest and merit. If this was issued as a single disc, one would recommend it highly. The second disc contains the entirety of the recordings, both songs, and interview segments, that Ed Rhodes made with Blind Willie McTell and issued in part as "The Last Session." as we hear him tell stories about the instrumental "Kill It Kid Rag," and "The Dyin' Crapshooter's Blues." There are surprising songs like "Pal of Mine," 'Salty Dog," "My Blue Heaven," and "Wabash Cannonball," along with McTell's remembrances of his early life and more. This second disc is not only a historical document but contains more exquisite blues and folk songs. In addition to this, there is an interview by Larry Cohn of Ed Rhodes discussing Mctell and the recordings produced by Rhodes decades later.

There have been some extremely important releases of historical blues material this year. "It's The Best Stuff Yet!" is as good as any of them and would make a terrific holiday gift to the blues fan in your world, or simply a marvelous gift for oneself. For more information on this release visit Frog Records at their website: https://www.frog-records.co.uk/products/its-the-best-stuff-yet. Frog Records has a superb catalog of vintage blues and jazz reissues including what is generally considered the best sounding reissue of Bessie Smith's music (on 8 CDs).

I purchased this.

A Playlist of Christmas Blues Recordings

Blues (and Jazz) artists have been recording blues about the holidays almost as long as such music has been recorded. Here are a few gems to help celebrate the holiday. Here Blind Lemon Jefferson sings Christmas Eve Blues.

Here is Charlie Jordan singing Christmas Christmas Blues and that is (unless I am deaf) the Devil's Son-in-Law, Peetie Wheatstraw on piano.

And now the great Blind Blake singing Lonesome Christmas Blues.

Moving a head a few decades we get the second Sonny Boy Williamson's, Sonny Boy's Christmas Blues.

Lightnin' Hopkins gives his take on Merry Christmas.

Now Freddie King has Christmas Tears.

But Eddie C. Campbell has found out that Santa's Messin' With the Kid.

But Denise Lasalle says that Santa's Got the Christmas Blues.

This is my favorite Louis Armstrong Christmas song, 'Zat You, Santa Claus?

No Charles Brown today (I will hold his holiday songs for Christmas Day itself. As Marvn Sease say, may you have  a Funky Christmas.

Classic Blues Artwork From the 1920s - Vol. 15

Various Artists
Classic Blues Artwork From the 1920s - Vol. 15
Blues Images

John Tefteller's annual Calendar with accompanying CD of remastered rare 78s is certainly one that blues fans will want. The Calendar has each month illustrated with reproductions of original advertisements from African-American newspapers of the time, or rare photos of the artists (in this case newly discovered images of Johnny Temple and Isaiah Nettles also known as The Mississippi Moaner).  There are songs by the performers that are the subject of the illustrations, along with brief comments on the performers and the recordings. There also is a selection of birth and death dates for selected blues artists as part of the Calendar.

In addition to these twelve selections that tie to the Calendar, there are twelve bonus selections that include  the other sides for some of the 78s along with other rarities. This is the third straight year that he has employed the technology that was employed on the recent American Epic PBS television series, and reissue recordings associated with that series, to remaster original 78s (generally the best existing copy which usually are from his own collection) to present the music with the best possible sound.

Their are some terrific music to be heard here starting with Memphis Minnie's debut as she sings "Frisco Town" that was originally issued as by Kansas Joe and Memphis Minnie. Several of my favorite recordings are here including Blind Lemon Jefferson's superb "Hot Dogs"; Blind Willie Johnson's magnificent song inspired by the sinking of Titanic, "God Moves on the Water" and Charlie Patton recordings "Screamin' and Hollerin' The Blues" (and the other side of this is a bonus track and equally good, "Mississippi Boweavil Blues." Blind Blake's "Hard Road Blues," may not be his best known song but a typically fine performance of this masterful guitarist and singer. Blake is also heard backing Bertha Henderson on "Lead Hearted Blues."

It is certainly nice to hear a much cleaner remastering of the rare Tommy Johnson coupling "Slidin' Delta" and "I Wonder To Myself," on which he plays kazoo. The Beale Street Sheiks (Frank Stokes and Dan Sane) are present in the solid "Wasn't That Doggin' Me," while "The Evil Devil Blues" by Johnny 'Geechie' Temple is a terrific cover of Skip James' "Devil Got My Woman." Then there is the Mississippi Moaner's superb "Its Cold in China," a recording Johnny Shines reworked as "So Cold in Vietnam," three decades later. Also related to the images on the Calendar are a novelty by Tampa Red and Georgia Tom, "Strewin' Your Mess," along with a gospel performance Rev. Steamboat Bill's Revival Singers, "Happy As The Day Is Long."

I have mentioned a few of the bonus tracks which include Blind Lemon's "Weary Dog Blues," the flip side to "Hot Dogs "; Johnny Temple's "Jacksonville Blues," (a superb selection that was the flip to "Evil Devil Woman Blues"); and Kansas Joe and Memphis Minnie's "Goin' Back To Texas," which is an actual vocal duet and musically even better than "Frisco Town." Other selections include a superb pair from St. Louis artist, 'Hi' Henry Brown with the great Charlie Jordan also on guitar, ("Brown Skin Angel" and "Hospital Blues"), and a spectacular couple from Sam Butler under the name Bo Weavil Jackson ("The Devil and My Brown" and "You Can't Keep No Brown"). The Memphis Jug Band (coming off like a skiffle band) is heard backing pianist jab Jones on a pair of songs that were thought to have been lost as well as backing Charlie Nickerson on an excellent and ebullient "Going Back to Memphis."

Once again John Tefteller has produced a remarkable Blues Calendar and fabulous reissue CD. This year's Calendar also includes some observations from Bernard MacMahon, one of the creators of the PBS film documentary "American Epic." Among his observations are "These recordings represent some of the most powerful, sociologically important music of the early blues era.They are especially relevant in these parlous times when hard-won freedoms are sorely threatened." Also, these recordings have never sounded better on this latest Blues Calendar, which can be obtained from BluesImages.com and online retailers. It certainly makes for a wonderful gift for the blues lover on your holiday gift list.

I purchased this from Blues Iamges.

Jas Obrecht - Early Blues: The First Stars of Blues Guitar

Jas Obrecht
Early Blues: The First Stars of Blues Guitar
The University of Minnesota Press

Former editor for "Guitar Player" magazine, Jas Obrecht has written for years on blues guitarists. "Early Blues: The First Stars of Blues Guitar" is his most recent volume surveying some important blues guitarists who first recorded the 1920s. Included are portraits of artists including Sylvester Weaver, Papa Charlie Jackson, Blind Lemon Jefferson, Blind Blake, Blind Willie McTell, Blind Willie Johnson, Lonnie Johnson, Mississippi John Hurt and Tampa Red. While the chapters vary in length (with the Lonnie Johnson chapter being the lengthiest), Obrecht write clearly and concisely to note each person's significance and if these portraits of the performers may originally have appeared in "Guitar Player"decades ago, Obrecht has rewritten and updated them to incorporate the latest information about such artists. For example the chapter on Blind Blake includes discussion of a recently discovered 78 of his as well as the fact he died in Milwaukee. Also, the chapters on McTell, Johnson and Hurt incorporate information from recently published biographies of these pioneering and influential artists. "Early Blues: The First Stars of Blues Guitar" is highly readable and recommended.

I purchased this book. This is one of a number of short reviews I have written for the 2015 Holiday Gift Guide edition of Jazz & Blues Report.

Classic Blues Artwork From the 1920s - Vol. 13 from Blues Images

Some of you may be aware that not too long ago a collector purchased a Paramount 78 of legendary Mississippi blues performer Tommy Johnson for $37,000. That collector, John Tefteller, already had a copy of that 78, but the one he purchased was in better condition (he did sell the other 78). While Mr. Tefteller is a collector, he is not one who purchases such rare records to have as trophies. Rather, he gets them mastered using careful techniques for issuance on CDs that he produces that accompany a calendar of blues advertisements and photos of blues legends that he offers on a yearly basis. Now Available is "Classic Blues Artwork From the 1920s - Vol. 13," (Blues Images), which is subtitled "Special American Epic Edition."

American Epic is the name of an upcoming PBS television series and for it, a number of rare recordings of blues, country, cajun, Hawaiian, Native American and other music was remastered employing a most remarkable and costly technology to restore the rare recordings used. This technology is employed for the twenty performances on the accompanying CD. The actual Calendar is handsomely produced with a reproduction of an advertisement of a recording or a portrait of the artist for each month of the year and the first twelve recordings correspond to a graphic for a month. The remaining eight selections include some selections that may be the other side of a 78 along with two rare sides each by Hattie Hyde and J.D. Short. Each month's calendar includes selected holidays and birth and death dates of important blues artists.

For example, for January there is a reproduction of an advertisement that was issued to help sell Jim Jackson's "My Monday Blues," and one can read that Jackson "is the meanest moaner of the blues you've ever heard," while listening to the performance with a lyric that is a mix of "One Thin Dime Blues" and other traditional themes sung rather strongly against a somewhat rudimentary backing. A brief bio of Jackson is given at the bottom of the calendar page. There is some truly spectacular music including the great Blind Willie Johnson, "When the War Was On," with his driving accompaniment and gravelly shouting with his wife providing backing vocals. Not much is known of Charlie Kyle whose "Walking Blues" and "No Baby," was played on a twelve-string and sung in a clear and expressive manner. Included is a clear picture of Kyle and his guitar, probably taken at his sole recording session. Barbecue Bob's wonderful "Atlanta Moan" is the April recording with his picture accompanying a Columbia Records ad and his driving twelve-string playing (using a slide) and singing are top-flight.

For May, there is a portrait of the great Papa Charlie McCoy, shown holding a mandolin who is heard on a stunning mandolin rendition of (Pinetop's) "Boogie Woogie," vocal asides and all. Also on the CD is the other side, a marvelous "Country Guy Blues," again with stunning blues mandolin playing by this remarkable musician. June's music is the sublime vocal duet by Ruth Willis and another terrific Atlanta twelve-string player, Curley Weaver on the lovely "Some Cold Rainy Day," whose melody is similar to "Sitting on Top of the World." July brings us the guitar wizardry of Blind Blake on "Wabash Rag," with his superb finger-style playing and a vocal celebrating the famed Chicago avenue. August includes the ad for one of Blind Lemon Jefferson's most celebrated recordings "'Lectric Chair Blues"/"See That My Grave Is Kept Clean," and this writer can not believe he has ever heard Jefferson's high pitched singing or deft playing captured with such clarity.

September's ad is for Jed Davenport and His Beale Street Jug Band and "Beale Street Breakdown," is a spectacular, uninhibited instrumental romp with fiddle, harmonicas and driving rhythm. Not much is known about Spark Plug Smith, who it is suggested is named after cartoon character Barney Google's horse, Spark Plug. His performance, "Vampire Woman," is actually reference to a street walking woman (vamp being 1920s slang for one who takes a man from his wife). Ma Rainey is featured for November where "Georgia Cake Walk," which was the B-side to "Ma Rainey's Black Bottom," and features a talking duet set against an early jazz accompaniment. The Calendar closes with a fiery sermon "The High Cost of Sin!" by Black Billy Sunday (Rev. Dr. J. Gordon).

 

Small image of representative month.

Also heard on the CD is another fiery sermon "Will You Spend Eternity In Hell," two vocals from a Memphis singer, Hattie Hyde, accompanied by the Memphis Jug Band, the afore-mentioned extra selections from Charlie Kyle, Charlie McCoy, and Blind Lemon Jefferson. The CD concludes with two phenomenal performances by J.D. Short, although they are the worst sounding recordings reproduced here as the original 78 was in terrible condition and is the onlylocated  copy of this 80 year recording. Despite the rough, distorted sound, one can still appreciate Short's brilliance as a guitarist and his singing. There are other reissues of his early recordings available and he was recorded as part of the blues rediscoveries in the 1960s. Placed at the end, it might be skipped by those who find a bit of surface noise acceptable. Those who have listened to some reissues of Skip James and Charlie Patton, with a scrambled eggs sound in the background, should have little problem enjoying his terrific music.

Kudos to John Tefteller and those who were involved in the production of "Classic Blues Artwork From the 1920s - Vol. 13." This will make a wonderful gift for the real blues lover this holiday season. This is available directly from Blue Images which also has previous years Calendars and CDs from previous Calendars, along with posters and t-shirts for sale. You can go their website, www.bluesimages.com, to order directly. This terrific Calendar and CD is also being sold through amazon, Alligator Records and other vendors.

I purchased this Calendar and CD from Blues Images. 

Five early blues guitar gems

There is a 'blues revue" called "Ghosts of the Blues" whose notion of blues is pretty unimaginative and seems tailored for blues that weenie rock fans might have heard of and like. Well here are five examples of early blues featuring guitar that certainly need exposure. I mean do we need another mediocre rendition of Crossroads or Red House.

First up is Blind Blake with Police Dog Blues. One of the premier guitarists of early blues recordings, this song was also a favorite of the late John Jackson. Blake's recordings should be pretty easy to find.

Next up is Big Bill Broonzy, who we know was influenced by Blake and whose early recordings displayed his marvelous approach to the guitar. Mississippi River Blues (from 1934) is a melodic precursor of Key To The Highway, and one is surprised that folks don't delve into this and cover it as opposed to the more familiar blues standard.

Lonnie Johnson was a significant influence on Robert Johnson (who used to claim he was one of the Johnson boys). He was a brilliant guitarist who was not only a popular recording artist but also recorded with Louis Armstrong and Duke Ellington. Here is a gem of his early recordings.

It is easy to forget just how accomplished and great Blind Lemon Jefferson was. His Matchbox Blues was be adapted by a number of blues and rock artists with its line about wondering if a matchbox would hold his clothes. His self-accompaniment is stunning.

We close this blog entry with Robert Wilkins' marvelous song about a night at a down home juke joint Old Jim Canaan's. Wilkins would give up the blues for the church. He would take one of his most famous recordings That's No Way To Get Along, and make it a gospel number, The Prodigal Son, that the Rolling Stones would cover. My friend, Memphis Gold, grew up in the Memphis Church of God in Christ Church that Wilkins was associated with and was one of those who mentored my friend's musical development.

Southern Casey Jones and other great Blues piano

Today I present five great examples of blues piano. Here is five classic recordings.

First up is Jesse James who recorded four sides in 1936. Not much is known about him, but Southern Casey Jones is a terrific piano stomp.  Great vocal too. It is available on a compilation of folk and blues train songs, Black Diamond Express to Hell

Here is Charlie Spand with Blind Blake celebrating Detroit's Hasting Street. Spand was on my list of 10 great blues pianists and I recommend the Yazoo reissue "Dreaming The Blues: The Best of Charlie Spand.

Hersal Thomas, brother of Sippie Wallace, was a blues piano pioneer. Here is his classic instrumental Suitcase Blues from 1925. This is a song that Sippie would perform later.

Despite having participated in the recording of about 200 songs in the 1930s, Black Bob is biographical enigma. While his identity may not be known, his piano playing remains memorable as this selection displays. Here he is heard with Memphis Minnie and Casey Bill Weldon on New Orleans Stop Time.

Finally, the wonderful Cripple Clarence Lofton. Here on Brown Skin Girls, Big Bill Broonzy is on guitar as Lofton lays down some tough boogie woogie, whistles and shouts the blues before instructing Broonzy to "Beat it out Bill."

There, five examples of great blues piano.

Kelly Carmichael's "Queen Fareena" Recalls Skiffle Bands

With an interest in both acoustic blues and old time string band music, one-time hard rock guitarist, Kelly Carmichael brings this unusual background to his skittle band styled performances on his new release Queen Fareena (Doghouse Records).

Carmichael was born in Tennessee, raised near Atlanta and lived near Frederick, Maryland since 1980 when he first heard some old country blues. A multi-instrumentalist, he plays guitar, banjo, xylophone and bones on this set with a small rhythm section and accompanists on accordion, fiddle or brass on various tracks, creating a fascinating recording.

The small group arrangements provide fresh, if sometimes messy sounding, settings for songs from Mississippi John Hurt, Reverend Gary Davis, Robert Johnson, Blind Blake and others. Hurt’s Richmond Women Blues, opens and Brad Simms’ accordion gives it some Louisiana spice, while Gary Davis’ She’s Funny That Way, features some traditional jazz sounding brass. Robert Johnson’s Last Fair Gone Down, is done almost as a strutting ragtime string band piece with nice fiddle by Alexander Mitchell. Rev. Davis’ Cincinnati Flow Rag also sports trumpet and trombone providing a somewhat cluttered accompaniment.

Salty Dog, credited to John Hurt, is an old standby of the traditional jazz field and bluegrass, but Papa Charlie Jackson’s medicine band-hokum recording is evoked by the jazzy here, with Scott Rich’s muted trumpet effective, with more of the same flavor on Come On Boys Let’s Do That Messin’ Around, and Sylvester Weaver’s Guitar Rag, has a bit of old time country flavor with Carmichael’s dobro playing and Mitchell’s fiddle.

Carmichael is an adept musician, and a capable singer but many of the performances would have benefited from a bit less cluttered backing (the drummer might have played lighter and simpler accompaniments for example). Even if not compelling, Queen Fareena, will appeal to many including fans of skiffle band music and the revivalist jug bands of the folk revival. This cd is available at cdbaby.com.

This review was written in 2009 (and a few minor changes made) but I do not believe it was ever published. My review copy was provided by a publicist.

John Jackson's Superb Piedmont Blues

I was at John Jackson’s last performance on New Year’s Eve, 2001 as part of the City of Falls Church Virginia’s annual celebration. Alternating sets with an old time string band, John was his usual warm self and the vigor of his performances belied the fact that he would soon go into the hospital for treatment for cancer. Less than three weeks later he passed and the church where his funeral was held was full of his many friends, some who came from great distances to pay their respects to a wonderful musician but also one of the most wonderful persons one could ever meet. In the release of Jackson’s music, Rappahannock Blues, Smithsonian Folkways, the late Piedmont blues master is lovingly represented by 20 selections (18 previously unissued) that demonstrate his marvelous finger style playing, his untutored vocals and the warmth of his personality that comes out through the nearly hour of music here.

The performances, taken at various performances represent the breadth of his repertoire that extend from his interpretations of songs associated with his main influence, Blind Blake ( Too Tight Rag, Diddy Wah Diddy,” and West Coast Rag); standards of the Piedmont tradition such as Blind Boy Fuller’s Truckin’ Little Baby, and Step it Up and Go, along with Red River Blues; adaptations of country songs such as Tom T. Hall’s The Year Clayton Delaney Died, and the Delmore Brothers Brown’s Ferry Blues; and traditional songs and ballads like Cindy (played on banjo), and Railroad Bill. Also included are religious songs like Don’t You Want to Go Up There, and Just a Closer Walk With Thee, and Jackson’s adaptation of Candy Man, from his friend Mississippi John Hurt.

Frankie and Johnny has been performed numerous times by numerous folk, but listening to Jackson’s vocal and his nimble and precise picking, is like listening to this number afresh. Perhaps no better demonstration of John Jackson’s superb guitar playing is John Jackson Breakdown, a brilliant guitar tour de force that is proof that he was amongst the greats of the Piedmont style guitarists, and was on the same level as Blind Blake and Reverend Gary Davis. For further proof, one can listen to his sterling recreation of Blind Blake’s West Coast Rag with which this album closes.

There were only six albums by John Jackson issued during his lifetime. Fortunately two CDs on Arhoolie and one on Alligator are still readily available. “ Rappahannock Blues” is a terrific addition to this body of music. Anyone who has any interest in acoustic blues, especially the Piedmont tradition, will find this an essential purchase. Included is a booklet with copious notes on John and the songs from producers Barry Lee Pearson and Jeff Place that matches the quality of John jackson’s exquisite performances. For information on this release and others from Smithsonian Folkways, visit, http://www.folkways.si.edu/index.aspx. For this release follow this link: http://www.folkways.si.edu/albumdetails.aspx?itemid=3273. 


Smithsonian-Folkways provided me with a download of this CD.