Remembering Honeyboy, Wardell and Big Eyes

September has seen some blues and rhythm masters leave us with memories and plenty of reason to celebrate their legacy.

Honeyboy Edwards at Western Maryland Blues Festival in Hagerstown, MD.  Photo © Ron Weinstock

David' Honeyboy' Edwards passing was the last link to the pre-war generation of Delta bluesmen. Edwards literally grew up and played with all of the masters of the style including Charlie Patton, Tommy Johnson, Big Joe Williams, Tommy McLennan and most famously Robert Johnson. It was his association that led Pete Welding to Edwards after Welding had asked Big Joe of any bluesmen who knew the legendary Delta artist. Welding recorded Edwards as well as interviewed him which led to an extensive article back in the sixties.


Big Joe Williams took first Edwards out on the road as a youngster and arguably Williams highly rhythmic style is the most obvious influence on Edwards. Edwards became at times a very capable blues performer in the Delta style. Certainly the recordings Edwards made for Alan Lomax were fine examples of the Delta style. In the post-war era he had a few commercial recording sessions leading to one issued 78 and sessions for Chess and Sun that went unissued at the time, although issued later. Even most of Pete Welding's recordings of Honeyboy were unissued until the CD era, although Honeyboy was among the artists brought to play with Fleetwood Mac in the late sixties. 


Honeyboy may not have had the powerful guitar style or passionate, charismatic singing style that might have appealed to commercial record labels, but his warm personality and his personnel connections to the giants of the pre-war blues made him a popular performer for the past few decades was was capable of reaching across cultural and generational lines so well.

Wardell Quezergue and Jean Knight at the Ponderosa Stomp.  Photo © Ron Weinstock

Wardell Quezergue earned the moniker "The Creole Beethoven" as a reflection of his ability to arrange for large groups. This New Orleans native was famed as a composer, producer and arranger. He put together the charts for "Big Chief," the legendary Professor Longhair-Earl King Mardi Gras classic. As a producer he have us chart-topping soul classics like King Floyd's "Groove Me," and Jean Knight's "Mr. Big Stuff." These two recordings were actually produced on the same day.


In more recent years his arranging touch was utilized for big band albums by Charles Brown and Gatemouth Brown; several acclaimed Dr. John albums (including the Grammy® Award Winning "Goin' Back to New Orleans"); and the wonderful "Deacon John's Jump Blues." Listening to the renditions on this CD and DVD, and comparing them with the original recordings, one appreciates how Quezergue translated small combo recordings into a big band language with considerable grace and elegance. He was spotlighted at a couple of Ponderosa Stomps in New Orleans as well as a special Stomp at Lincoln Center in new York City. When Dr. Ike asked Dr. John if he would consider doing some of his older songs on which he played guitar originally, he agreed when he learned Quezergue would be doing the arrangements and conducting. This gives a sense of the contributions of this marvelous person.

Willie 'Big Eyes' Smith at the 2010 Pocono Blues Festival, Lake Harmony PA. Photo © Ron Weinstock

Finally, we just received word that Willie 'Big Eyes' Smith passed away. Smith was honored with a Grammy® this past year alongside his friend and long-time band-mate, Pinetop Perkins, with whom he spent many years playing together with the legendary Muddy waters and later the Legendary Blues Band. Smith remained active until the stroke that recently felled him, and in more recent years was featured on harmonica and vocals and not simply handling the shuffle rhythms on drums. His presence with Muddy was in part responsible for the rock-solid swing of that band.


The quality of his music as a leader was also noteworthy. I said of his Hightone release Way Back, that it "showcases Smith’s harp as well as his amiable vocals on some choice covers as well as idiomatic originals." His son Kenny has become one of the best drummers in the blues today (and played on Way Back). What I will remember most about Willie was his infectious smile and the sparkle in his eyes. 


RIP Honeyboy, Wardell and Big Eyes.

RIP Wardell Quezergue

The late Wardell Quezergue conducting the band backing singer Jean Knight at
2007 Ponderosa Stomp  - the New Orleans House of Blues. Photo © Ron Weinstock.

Tuesday, fans of rhythm and blues and New Orleans music, received the sad word that Wardell Quezergue passed away.

Dr. John with Wardell at 2008 Ponderosa Stomp at New Orleans House of Blues.
Photo © Ron Weinstock

I had the pleasure of attending the Ponderosa Stomps in 2007 and 2008 when he was featured. A composer, producer, and arranger he produced many classic recordings including Smokey Johnson’s “It Ain’t My Fault,” the Dixie Robert Parker’s “Barefootin’, King Floyd’s “Groove Me,” and Jean Knight’s “Mr. Big Stuff.” His arrangements graced Grammy winning recordings by Charles Brown, Gatemouth Brown and Dr. John (“Going Back To New Orleans”) as well as “Deacon John’s Jump Blues” and Luther Kent’s 2009 Bobby Bland tribute.

Trio of New Orleans Musical Royalty: Dave Bartholomew, Allen Toussaint and Wardell Quezergue.
2007 Ponderosa Stomp at New Orleans House of Blues. Photo © Ron Weinstock

On my flickr page regarding the 2007 Ponderosa Stomp I wrote “Wardell Querzergue was spotlighted at this year's Ponderosa Stomp leading a Crescent City Big Band for a funky revue of southern soul and New Orleans Cups” “Iko Iko” and “Chapel of Love,”funk which included his first arrangements in several years, first kicking off with Smokey Johnson's classic "It Ain't My Fault, before being joined by the soulful Tony Owens (who recorded for Cotillion and other labels), Robert Parker (Mr. Q produced 'Barefootin'" and Jean Knight (Mr. Big Stuff) with a special treat being an extended performance by an equal legend, Dave Batholomew. Dave Bartholomew did an overview of some of the great music he produced over half a century.”

The marvelous music from that year and the following year’s Ponderosa Stomp still resonate in my memory. Dr. Ike Padnos even got Dr. John to revive some of his early recordings on which he played guitar because the Creole Beethoven would arrange and conduct the band for these. I myself was honored that a photograph of mine was used for the cover of the Jazz Foundation of America’s release of his album “After The Math: Part of the St. Agnes Sessions.”

Cover photo taken at 2007 Ponderosa Stomp.

Here are links to some obituaries and appreciations: http://www.nola.com/music/index.ssf/2011/09/wardell_quezergue_legendary_ne.html; http://offbeat.com/2011/09/07/honoring-wardell-quezergue/; http://www.nytimes.com/2011/09/08/arts/music/wardell-quezergue-hitmaker-of-new-orleans-rb-dies-at-81.html?_r=1&smid=tw-nytimesmusic&seid=auto.

For information on purchasing "After The Math" contact the Jazz Foundation of America, http://www.jazzfoundation.org/how-you-can-help/jfa-store and help support their mission.