Classic Blues Artwork From the 1920's - Vol. 18

Various
Classic Blues Artwork From the 1920's - Vol. 18
Blues Images

This is the latest Blues Calendar put together by collector John Tefteller. Like past editions, this Calendar for 2021 brings together for each month twelve stellar images taken from rare photographs and record company advertisements that appeared in African American newspapers. For each month, the accompanying CD includes a recording by the artist depicted by the picture or ad. There is also brief biographical information for that artist. The accompanying CD also included recordings by other artists or previously unissued test recordings.

Until recently, the compilation only included pre-World War II recordings. This year we still have twelve recordings relating to the Calendar illustrations. All extra selections are all by one artist, pianist-singer Lost John Hunter. Hunter's eleven songs include the first Blues Session that Sam Phillips recorded at his Memphis Recording Service, the legendary Sun Records Studio. While there is no mention if the recordings on this CD were restored using the American Epic series process, the sound is outstanding.

The first selection is a rowdy string band number by Peg Leg Howell and His Gang, "Too Tight Blues." That number showcases the down-in-the-alley fiddling of Eddie Anthony. Bertha Henderson, accompanied by Blind Blake, delivers a brooding, melancholy vocal on "Terrible Murder Blues," about killing another woman so she "can't stay here no more." Murder is also the theme of pianist Walter Roland's "Cold Blooded Murder," a fine blues in a Leroy Carr manner (think Carr's "Mean Mistreater") with Josh White adding some exquisite guitar. Josh White's guitar is also heard supporting the great Buddy Moss on Moss' superb East Coast blues, "Undertaker Blues." The interplay between White and Moss is sublime.

Meade Lux Lewis' "Honky Tonk Train Blues" is one of the greatest piano blues ever recorded. Tefteller obtained a new store stock copy of the original Paramount 78 (he would rerecord it frequently), and it is a pleasure to hear this legendary recording in such clean condition. It is followed by another blues classic, John Lee 'Sonny Boy' Williamson's "Good Morning School Girl." On this often covered classic recording, Williamson's vocal and harmonica is accompanied by Robert Lee McCoy (aka Robert Nighthawk) and Big Joe Williams. Next up is Lead Belly's "New Black Snake Moan," which showcases his forceful singing and driving twelve-string guitar on a commercially released recording. Next up is a recording, "Pneumonia Blues"  by Lead Belly's one-time musical partner, Blind Lemon Jefferson.

Willard "Ramblin'" Thomas's superb slide guitar is displayed on a terrific "Hard To Rule Woman Blues." It is followed by Victoria Spivey's "Witchcraft Blues," a previously unissued recording from her last Vocation recording session in 1937. Her strong vocal about hoodooing her man is backed by a vibrato-heavy saxophonist and a plodding drummer.  Blind Boy Fuller's "Rag, Mama, Rag," with Reverend Gary Davis on second guitar and washboard, is one the finest Piedmont Blues with superlative fingerstyle guitar and a wonderful vocal. A rambunctious performance by Rev D.C. Rice, "The Angels Rolled The Stone Away," opens with his hellfire preaching before he leads his congregation in enthusiastic song. It concludes the Calendar portion of the accompanying disc.

Lost John Hunter's real name was Lindell Woodson. He was born blind and became the pianist and organ player at the Church of Gold in Christ in Memphis. He changed his name to Lost John Hunter so he would not rile up members of the congregation who were not fans of Devil's music. With guitarist Herman Green and a couple of other friends, he formed a group Lost John Hunter and His Blind Bats, and they made the 11 selections, all of which were previously unissued. His second session produced recordings that were released on the West Coast 4 Star Records.

Hunter was a gravelly, hoarse singer with a rough barrel-housing piano style backed by Green's guitar in a manner that has a feel to some of Sunnyland Slim's late 40s and early 50s recordings with Robert Lockwood Jr., if not quite as accomplished. There are two takes of "Miss Thelma Mae," a song similar to Detroit bluesman Baby Boy Warren's "Hello Stranger." Other selections include a boisterous instrumental, "Lost John's Pinetop's Boogie," and two takes of another slow blues, "You Gotta Heart of Stone." Another track is an early alternate of "Boogie For Me Baby." He would rerecord it at his second session, and that recording would be issued on 78. Musically, this song suggests an attempt to capture some of the boogie-woogie success of Cecil Gant. This selection has some of his best piano playing among the tracks by him, which add to the value of this year's Calendar and CD.

While this year's Calendar is available at other sources, you can get more information at BluesImages.com, including details on previous Calendars and some previous CDs, along with t-shirts and posters.

I purchased the Calendar and CD. Here is the back cover.

Take 5 with Holiday Blues Music

This week I am not focusing on any specific performer, but rather a short playlist of holiday based blues.

We start with Blind Lemon Jefferson with Christmas Eve Blues.

 Next up is Louis Jordan with Santa Claus, Santa Claus.

Arguably the most famous blues associated with Christmas is Charles' Brown's, Merry Christmas Baby. Here is a live performance of Charles and Bonnie Raitt.

Here is Mabel Scott with Boogie Woogie Santa Claus.

 
Finally, one of my favorite recent holiday blues is Eddie C. Campbell's Santa's Messing With the Kid.

Happy Holidays everyone.

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.

Happy New Year

Happy New Year to all. here are a few videos for you to enjoy.

From Lightnin' Hopkins

and from Blind Lemon Jefferson

and from Charlie Jordan

and Lonnie Johnson

and a little Charles Brown

and from Roy Milton a New Years Resolution

And let us remember auld lang syne

First Bobby Timmons with the late Butch Warren on bass

Next Jim Cullen

and Dejan's Olympia Brass Band

and finally Guy Lombardo and His Royal Canadians

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.