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.

Blind Willie Mctell Pig ‘n Whistle Red

Blind Willie Mctell
Pig ‘n Whistle Red
Biograph

This just-issued compact disc compiles McTell’s 1950 recordings for Regal Records. These were his first commercial recordings since 1937, and he was joined at the session by fellow Atlanta bluesman, Curley Weaver, who contributes lead vocals on several songs. These recordings stylistically are unchanged from his earlier recordings, and show little diminution in his guitar skills or his warmly expressive singing.

Highlights include the jaunty Talkin’ to You Mama, an updated version of Ticket Agent, and East St. Louis - a lively performance using a melody familiar from Red River Blues and Crow Jane. Other songs by McTell, including the sentimental Pal of Mine, and several religious songs that close this disc, give an indication of the breadth of his repertoire. The twenty selections include a couple of alternate takes, and the sound is fine.

This splendid reissue is attractively packaged with a lovely cover illustration, and Don Kent provides concise and informative liner notes, although no photo of McTell is included (although the current ediion of this has a McTell Photo on cover).

I likely received the review copy from Jazz & Blues Report (the review originally appeared in the November 1993 issue (Issue 186)). This is available as a download or used.

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.

Kubek and King Do Some Roadhouse Research

After a number of well-regarded discs for Bullseye Blues, Smokin’ Joe Kubek and B'nois King have a new disc, Roadhouse Research, on Blind Pig. The Texas pair combine Kubek’s muscular guitar playing with King’s soulful singing (suggestive of a cool Otis Rush) and slightly jazzier fretwork and tasteful rhythm playing. The contrast of Kubek’s in-your-face guitar and King’s vocals make for an appealing combination. 

The ten originals include some typical lyrical themes about hard times, women and the philosophical Better Be Getting It On, a hot shuffle whereKing tells us the while life may seem like a mystery, one better can move on while Kubek taking a strong, blistering solo. It perhaps is unsettling to hear King’s slightly distorted vocals on the opening Healthy Mama while Kubek’s soloing on Crying Shame would not have sounded out-of-place on some psychedelic recordings three decades ago. 

Kubek pulls all the stops on the slow blues, Runnin’ Blind, before King sings about having his woman running through his mind, but moving way too fast. Make It Right has a nice latin groove and a bit laid back feel for King’s plea that all he needs is his woman to make it right. Adding to the album’s variety is Kubek’s forceful slide playing on I Need More. 

Kubek is such a strong player that he can avoid the excesses that otherwise could make his tone and frenetic fretwork come off as overbearing. He also maintains an ear out while King sings so he never overwhelms the soulful singing. The result here is a varied and entertaining blues recording.

This review originally appeared in the June 2003 DC Blues Calendar although I have made some minor changes from what originally appeared.  Here is the pair with some roadhouse Texas blues.

Paul Geremia's Love Murder and Mosquitos

The following review originally appeared in the April 2004 DC Blues Calendar, the DC Blues Society’s newsletter. I had the pleasure of seeing Paul at one of the earliest shows the DC Blues Society was involved with (over twenty years ago) and it was a terrific performance of acoustic blues Paul Geremia was among the folk-blues interpreters of the folk revival and remains one of the finest such artists today. I received my review copy from the record label or a publicist.

Listening to Paul Geremia playing his twelve-string Stella on the opening Meet Me in the Bottom, the opening selection of his new Red House album, Love Murder & Mosquitos, this listener was struck by how much his performance reminded me of Blind Willie McTell, that legendary Georgia master of twelve-string blues. With a career that spans at least four decades, Geremia has earned the recognition of one of the foremost acoustic blues performers alive.

This latest album is another superb effort as he performs his own original renderings of blues recordings from such masters as Charlie Patton, Jesse Thomas, Tampa Red, Mississippi John Hurt and others along with a few distinctive originals. He updates a song or two here including Riley Puckett's (New) Bully of the Town with his updated lyrics protesting the "so-called anti-terrorist legislation which endangers our citizenry by, in effect, making criminals of political dissenters." Even here, he simply the message come out over the course of the performance without hitting the listener on the head with the message.

He is such a good player and singer and receives splendid support on several selections. Paul Geremia is such a wonderful performer who has produced excellent recordings in the past, but this may be as good as any he has done.

Michael Gray's Journey Leads To Fascinating Blind Willie McTell Biography

Hand Me My Travelin’ Shoes: In Search of Blind Willie McTell

by Michael Gray

Chicago Review Press (448 pp)

Blind Willie McTell, like Robert Johnson and other legendary figures, never had a hit record. When he died in 1959, after decades of playing on the streets and clubs of Atlanta, Georgia, he was largely forgotten – but today is celebrated. Several of his songs, most notably “Statesboro Blues,” have become staples of blues and blues-rock. Mystery author David Fulmer made McTell a central character in “The Dying Crapshooter’s Blues,” inspired by one of McTell’s songs; and Bob Dylan wrote that “Nobody can sing the blues like Blind Willie McTell.” Among blues enthusiasts and scholars, the body of McTell’s music is second to none. With Michael Gray’s new book on McTell, “Hand Me My Travelin’ Shoes,” we get part social history, part biography and part travelogue as Gray takes the reader on his journey in uncovering the facts of McTell’s life.

This is not simply a dry recitation of the life and music of Blind Willie McTell. He takes us back several generations to McTell’s ancestors, which include a slave owner who fought for the Confederacy and was even a prisoner of war. Using census materials, he comes across the many different spellings as well as the small rural Georgian communities, tracks what ancestors on both sides of McTell’s family did, and lived, and takes us through his birth, childhood and career as a musician who made a number of celebrated recordings during his life, yet was relatively forgotten when he passed. Using census records, old newspapers, and oral history he evokes the world McTell lived in, one of white supremacy, segregation and lynchings, yet one where McTell seemed to avoid the harshest aspects of the racist repression.

Gray tracks his life from upbringing, the school for the blind, and his homes in various communities including Statesboro and Atlanta. McTell, despite his handicap, was quite independent and able to negotiate the streets and buses of Atlanta quite well. We are taken to the places he lived, the women in his lives and how his reputation was sufficient to earn him a recording career. Gray does not over-romanticize McTell or his music. He recognizes its greatness and yet realizes that he was not a major recording star in terms of record sales. He also is sober in discussing about McTell’s music as represented on recordings. He gives us the stories underlying how the sessions came about and discusses succinctly the recordings, where they took place and gives reasoned and thoughtful analysis.

This extends beyond simply the commercial recording sessions for Victor-Bluebird, Okeh, Decca and others. There is some consideration of the Library of Congress recordings made under the auspices of John A. Lomax and Gray does spend some space noting that the original reissue of this material had some omissions, because if a few bits of speech were left off, they could get everything else on one tape and thus was issued first on record and then CD, even listed as The Complete Library of Congress Recording is not complete and omits some of McTell’s comments on songs or that he used to sing “I Got to Cross That river Jordan” which he used to sing and play with Blind Willie Johnson. And his wife Ruby was at the session and added her comments. So that the image that one has of the patronizing Lomax and other aspects Gray argues is misleading because of what was omitted.

Despite Gray including his own journey of visiting where McTell lived, walking the dusty country roads McTell walked, and visiting the buildings where McTell recorded and played, the book is still about McTell. Michael Gray has enriched us with Blind Willie McTell’s story and the legacy, and it’s a story well worth reading.

For purposes of FTC regulations, this review was originally published in the Jazz& Blues Report 2009 Gift Guide (www.jazz-blues.com). The publisher or a publicity firm sent me the review copy.

Dying Crapshooter's Blues

THE DYING CRAPSHOOTER’S BLUES
By David Fulmer
HARCOURT 2007
Atlanta based writer David Fulmer authored three acclaimed historical mysteries involving the Creole of Color detective Valentin St. Cyr set in New Orleans at the beginning of the 20th Century, and among the characters were such legendary jazz pioneers as Buddy Bolden and Jelly Roll Morton. Fulmer’s writing was atmospheric as well as thrilling as he skillfully weaved together the actual mystery against a background of Storyville and its musicians, madams, streetwalkers and associated characters.

Fulmer’s latest novel, The Dying Crapshooter’s Blues takes us to Atlanta of the mid-twenties and is inspired by the Blind Willie McTell song that the book takes its title from. McTell told Edward Rhodes, who recorded him in 1956, that the song was based on the shooting of Jesse Williams, a gambler that was shot on Courtland Street; and after McTell took him home, sick from the shot, he requested that McTell play the song over his grave.

From this simple premise, Fulmer weaves together the killing of Little Jesse Williams and a heist of a cache of jewels from a mansion of one of Atlanta’s leading citizens into a compelling story anchored around the efforts of Joe Rose, a rambler, gambler and thief, to find out why Little Jesse was shot and who stole the cache of jewels and how can they get returned. The dying Little Jesse and Blind Willie, who composes the song (as the story unfolds) both press Rose, a former policeman and Pinkerton, to help find out why Little Jesse was shot, even though the gambler does not help by not talking about what happened.

A black-hearted, power-hungry police officer, “The Captain,” who did not receive his expected promotion with the election of a new Mayor, presses Rose on solving the jewel heist with threats to him and the beauty Pearl Spencer if he isn’t successful. With more bodies turning up, Fulmer also weaves in Columbia Records coming to Atlanta and a fictional recreation of Blind Willie McTell’s first recording session. This book has the same virtues of the Valentin St. Cyr novels and I found this easy reading which did get compelling. I had to finish this before I went to sleep.

Even more so than the St. Cyr books, Fulmer weaves the musical threads as an indispensable element of the narrative as a whole, and if Blind Willie McTell is a secondarycharacter here (to Joe Rose), Fulmer presents us with a fictional McTell that comes across as a real person as opposed to say the highly mythologized romanticism of say Robert Johnson that has appeared in some blues fiction in which Johnson is a character.

If you want a good mystery, read and love jazz and blues, you won’t go wrong with David Fulmer, especially this excellent novel.

Ron Weinstock

This review originally appeared in Jazz & Blues Report, Issue 291.
www.jazz-blues.com