This is a review that I wrote in Fall 2006 and published in the November-December 2006 Jazz & Blues Report (Issue 288). I will be posting other reviews from this every few days in next couple weeks.
Universal Music on the Verve label has released the second batch of CDs in its series, The Sonet Blues Story.
These sides make available albums from the 1970s that were issued in
Europe on the Sonet label although some were imported in the United
States and some were even issued in the US, as GNP-Crescendo issued The Legacy of the Blues
recordings stateside. This latest batch includes more from that series
along with other albums that Samuel Charters had produced for Sonet. I
will be posting these reviews every few days.
Albert Luandrew, the legendary Chicago pianist known as Sunnyland Slim, is represented by some 1974 solo recordings recorded in Stockholm for The Legacy of the Blues. With his unique touch and his vibrato-laden vocals, Slim is heard hear on ten solid performances that includes such staples of his repertoire as She’s Got a Thing Goin’ On, Bessie Mae and She Used to Love Me.
Slim’s strong two-fisted piano and singing is displayed on the rocking Gonna Be My Baby while he gets down in the alley on Couldn’t Find a Mule singing about “Oh Captain,” and his own recasting of Woman I Ain’t Gonna Drink No More Whiskey” singing about how his woman and whiskey take advantage of him laying down firmly played but spare bass while pounding out some strong right hand lines. The longest track Days of Old recalls his early days where he experienced the harsh conditions of a southern black laborer in the dark segregation days.
Slim remained a foundation of the Chicago blues scene until he died in 1995 at the age of 88 and these recordings are a welcome reminder of his well-documented legacy.
I likely received my review copy from Jazz & Blues Report. Here is Sunnyland Slim performing.
Muddy Waters (real name McKinley Morganfield) was one of the greatest of all the post-World War II blues artists associated with the city of Chicago. I was fortunate to see him perform several times in my life. Born in Mississippi, he moved to Chicago and electrified the deep Delta Blues. His music influenced countless other blues artists as well as rock artists. One of the most famous rock bands, as well as music magazines, took their name from one of his records, "Rolling Stone." Here is a small selection of his musical legacy with a focus on his pre-1950 recordings. One of his first recordings made for the Library of Congress was "Country Blues." Reflecting the influence of Son House and Robert Johnson, it is a brilliant country blues performance.
After he moved to Chicago, Muddy made some recordings for Columbia that went unissued for some time. His first issued recordings were not even under his own name including a cover of a Robert Lockwood, Jr. recording. Circumstances had Sunnyland Slim bring him to Leonard Chess at Aristocrat Records where he started his legendary recording career. one of the early recordings he made with Slim was "Gypsy Woman."
Next up is a song Muddy learned from Robert Lockwood, Jr. It is a cover of a recording Lockwood made for Bluebird, "Mean Red Spider." muddy first recorded this with James 'Sweet Lucy 'Carter under whose name it was released. Here is the recording Muddy made for Aristocrat.
Next up is a song that gave Peter Guralnick the title of one of his first books," I Feel Like Going Home."
The last selection of this brief playlist is "Burying Ground" with Big Crawford on bass. Big Crawford was the bassist on many of Muddy's early recordings
I will be presenting Muddy Waters in the weeks to come.
This new compilation on Stax brings together selections from various Prestige blues discs featuring Chicago blues acts with a previously unissued Albert King session that Willie Dixon produced in Chicago. This 1970 session is simply stunning as he plays some very hot guitar and sings strongly while backed by a band with a full horn section that complements his performances. The opening track, The Lovin’est Woman in Town, is an original he would record later. Here he just tears into the song with his guitar blasting away on his solo as the horns riff behind him. Equally as good is King’s rendition of Dixon’s Put It All In There and Love Me To Death. One wonders why these songs were not issued until now, as they are first-rate Albert King.
In addition to King, James Cotton handles Dust My Broom, while Otis Spann recreates his It Must Have Been the Devil. Willie Dixon handles a couple songs in an uptown vein with saxophonist Harold Ashby among those backing him. Billy Boy Arnold shows the influence of John Lee ‘Sonny Boy’ Williamson on Two Drinks of Wine, derived from Sonny Boy’s Early in the Morning. Sunnyland Slim advises us that The Devil is a Busy Man, one of three tracks backed by a combo that included King Curtis and an organist. Finally, three alternate takes by slide guitarist Homesick James close this disc out.
Most of this is solid, if not exceptional, and it is well worth getting for the Albert King sides. They are that good.
I likely received my review copy from Fantasy Records. This review appeared previously in the March--June 2004 Jazz & Blues Report (Issue 268). You may have to check online for the current availability of this CD or its availability as a download.
Various Artists
Cadillac Baby's Bea & Baby Records; The Definitive Collection
Earwig Records
This deluxe box set, which contains the recording legacy of Narvel Eatmon (better known as Cadillac Baby), is a labor of love that Michael Frank of Earwig Records spent years producing. The box set contains 4 CDs of blues, doo-wop, gospel, comedy, and even rap along with substantial interview segments with Cadillac Baby with Steve Cushing from a 1983 Blues Before Sunrise radio program. The 4 CDs are housed in a hardback book which reproduces Jim O'Neal's interview with Cadillac Baby from an early issue of "Living Blues" and has O'Neal's update that corrects and updates the information there. Bill Dahl provides biographies, and concise analysis of the blues and other secular music Robert M. Marovich does the same for the gospel recordings. Michael Frank provides an overview of how this box set came about.
There are nearly 5 hours of music and interviews to provide anything other than an overview of some highlights. The interview segments and the printed interview in the book will give you an idea of Cadillac Baby's personality. He was a character. One of the interview segments discusses how he got into music and how he started presenting shows in the south, including one with the Mississippi Sheiks before he came to Chicago and opened a club. He began making records to hopefully make some money from musicians who owed him money and hopefully make some money as well.
A sense of Cadillac Baby's personality can be heard on the opening track, "Welcome to Cadillac Baby's Show Lounge." It originally was on a vinyl LP "Colossal Blues" that reissued some of his 45s on the Bea & Baby and associated labels. Set against the piano of Sunnyland Slim's piano and Willie Williams drums, Cadillac Baby introduces us to a who's who of Chicago radio and blues personalities. There is overdubbed audience noise and clapping. It is followed by two excellent songs by Eddie Boyd with a band that included Robert Lockwood's distinctive guitar. There are ten tracks by Boyd, eight with Lockwood, and two with another group. Boyd is superb as he sings, "The Blues Are Here To Stay." Two songs are remastered with an overdubbed vocal chorus. There are also two songs by L.C. McKinley, whose guitar style is indebted to T-Bone Walker. His band included tenor saxophonist Red Holloway and also backed a vocal group on two selections.
Arguably the biggest record that Cadillac Baby produced was Bobby Saxton's "Try To Make A Living" that was backed by an Earl Hooker instrumental, "Dynamite." These sides also were leased to Chess, who issued them on a Checker Records single. Mac Simmons, as Little Mac and St. Louis Mac, is heard on the most selections. These include "Times Are Getting Tougher," reminiscent of some of Little Milton's recordings of the time, and on fine covers of songs from Junior Parker, Sonny Boy Williamson and Muddy Waters. Backing Mac Simmons are such players as pianist Detroit Junior and guitarist Eddie King Milton. Detroit Junior's first recording is present, along with an interview segment where Cadillac Baby tells how he gave the pianist-singer his name.
Detroit Junior was not the only artist whose first recording is heard. Hound Dog Taylor was very much under the influence of Elmore James when he recorded "My Baby Is Coming Home." Sunnyland Slim was another artist who recorded for Bea & Baby, while James Cotton waxed a couple of blues. Lee Jackson's "Juanita" is a powerful modern blues, and he is also heard on a Christmas blues. Other significant Chicago blues artists heard include Homesick James, Andre 'Blueblood' McMahon, Arlean Brown, and Willie Williams. Eddie Taylor and Hubert Sumlin are among the sidemen on these sessions. Also, a tape was found with previously unissued selections by the legendary Sleepy John Estes and Hammie Nixon, four of which are reproduced here. Clyde Lasley, best known as a comedian, talks-sings "Santa Came Home Drunk" backed by Lee Jackson and band. He possibly may be on three comedy selections that sound like Amos'n'Andy outtakes. There are some more teen singers, and a rap single produced by Cadillac Baby and Michael Frank before the box set closes with stirring gospel music.
As stated, there is quite a variety of solid blues and other music here. The interview segments with Cadillac Baby are fascinating to listen to, although one suspects some listeners will skip them after hearing them once or a few times. The packaging is superb, and the accompanying book wonderfully illustrated. Michale Frank sought to honor the memory of Cadillac Baby, and this box set certainly accomplishes that. It will also undoubtedly make a wonderful holiday gift for a Blues Lover.
I received my review copy from a publicist. This review appeared in the November-December 2019 Jazz & Blues Report (Issue 367). Here is Bobby Saxton's "Trying to Make a Living."
Eddie Taylor In Session: Diary of a Chicago Bluesman 1953-1957 Jasmine
This is a public domain British reissue with some terrific blues that involved Eddie Taylor, a brilliant guitarist most associated with Jimmy Reed, but who is heard heard on a number of classic (mostly) Chicago blues recordings along with his own recordings for the Vee-Jay label. The Mississippi native is best known for his association with Jimmy Reed, but played on numerous sessions in the 1950s and 1960s for labels like Parrot, Blue Lake, Chess as well as Vee-Jay who he had four singles released under his own name. In the 1960s he shared on album on Testament and backed up Carey Bell and others for Delmark, Bluesway and other labels. He also made several albums under his name including for Advent (later on Hightone) and Antone's.
This reissue includes several selections from Jimmy Reed and Johnny Lee Hooker including Reed's "Ain't That Loving You Baby" and Hooker's "Dimples." But in addition to these hits, he is heard behind John Brim on "Ice Cream Man" (with great Little Walter harp) and the topical blues "Tough Times"; Sunnyland Slim's terrific take on the "Rolling and Tumbling" theme, "Going Back To Memphis," as well as Slim's "The Devil Is a Busy Man"; a trio of songs (including "Schooldays on My Mind" and "Ain't Times Hard") from Floyd Jones with Sunnyland Slim on piano and Snooky Pryor playing some great harp; and Little Willie Foster's "Falling Rain Blues." Taylor's own sides are equally superb including "Bad Boy," his remake of Little Johnnie Jones "Big Time Playboy" and a "Catfish Blues" variant, "Stroll Out West," which was unissued until released on an album years later.
Longtime fans of the blues will likely be familiar with many of these recordings as this contains some real gems of the Chicago blues of the fifties. Sound is good and Bob Fisher's liner notes provides a nice background of Taylor and the music here. This is an easily recommended reissue, especially for those who do not have many of the recordings on this.
I purchased this. Here is a clip of Eddie Taylor in 1970.
The latest classic Delmark blues CD to received an expanded, deluxe treatment is J.B. Hutto & His Hawks, "Hawk Squat." Hawk Squat is perhaps my favorite J.B. Hutto album and one I have been listening to since it was initially released back in the later sixties. Backing J.B. were Sunnyland Slim on keyboards; Herman Haskell on guitar for one track; Lee Jackson on guitar for six songs (8 tracks); Junior Pettis or Dave Myers on bass; Frank Kirkland on drums; and Maurice McIntyre on saxophone for one session. The original twelve tracks are supplemented by one new song and alternates of four selections (one song has two alternates).
J.B. Hutto was an Elmore James disciple, yet only on "Speak Your Mind," does he employ the familiar "Dust My Broom" lick, but in the context of his own song. His forceful vocals and take no prisoner slide guitar are strongly supported by Sunnyland's organ which also provides some additional musical coloring. Their are two alternates to this track, the more interesting one is a slowed down rendition that closes this reissue. In contrast, with typical Sunnyland Slim piano, "If You Change Your Mind," has Hutto playing tough slide to support his powerful singing. It should not be lost that J.B.'s was a first-rate songwriter as heard on "Too Much Pride." Here J.B. sings about having too much pride to beg his woman to stay. This is the first track to have McIntyre's saxophone and it is fascinating to listen to how responsive his playing, behind J.B.'s vocals, was.
The declamatory vocal delivery on "Too Much Alcohol" is followed by the slide guitar boogie "Hip Shakin'," and then the "The Feeling is Gone" about "feeling like crying but the tears would not come down," as his keen slide complements his vocal. They do not simply write or play blues like this anymore. "Hawk Squat" is a raucous number as J.B. introduces everybody who take short solos. It is almost a blues equivalent of Louis Armstrong's "Gut Bucket Blues." "I'll Cry Tomorrow" is the one new selection, and is a slow blues with nice interplay between Hutto and Lee Jackson and followed by the alternate takes.
In addition to the previously unissued material, Bob Koester provides new notes in the accompanying booklet that supplement the original liner notes. The booklet are contains a number of previously unissued photos from Turner's, then J.B. Hutto's home base, and the recording sessions. The original recording was selected for the Blues Hall of Fame in 2013, and the music still resonates strongly over forty-five years after first listening to it. J.B. Hutto's music was direct, not fancy, and full of heart and "Hawk Squat" was one of his finest recordings.
I received my review copy from Delmark and a review appeared in Jazz & Blues Report Issue 361. Here is a clip of J.B. Hutto from the film Chicago Blues.
The following review appeared in the September/October 2006 Jazz & Blues Report (Issue 286) I have made minor corrections. I should note that my original review did not include the recording's subtitle, Post-War Urban Blues Classics From the Eisenhower Era (1952-1960). While J.B. Lenoir waxed a blues protesting the hard times during the administration of President Eisenhower during the 1950s, most of the recordings compiled on Eisenhower Blues (Empire Musicwerks) lack such a topical center but simply are strong blues recordings with most having a down home flavor. Long-time collectors will have some or many of these performances, but these remastered sides sound really nice. Others will discover a number of little known artists that have much to say. There are a couple of gems from Lenoir, including the title track and the lively medium tempo boogie, Fine Girls. The CD opens with John Brim’s topical Tough Times, with Jimmy Reed on harmonica.
Others heard here of note include Jody Williams (as Little Papa Joe) doing a peppy Lookin’ For My Baby; Harp player and vocalistDusty Brown (recently heard on Severn’s Chicago harp anthology) on his fine downhome Yes, She’s Gone, more down home harp and vocals from Little Sammy Davis (who is still active and occasionally on Imus’ radio show) doing 1958 Blues based on the Rollin’ & Tumblin’ riff; and Joe Hill Louis’ Jealous Man (as Johnnie Louis) which sports a wild guitar break. There is Sunnyland Slim’s Goin' Back to Memphis, another Rollin & Tumblin’ variant; Willie Egan’s wild Fat Domino-inspired rocker Wow Wow Wow; a couple from Baby Boy Warren with Calvin Frazier on guitar and Washboard Willie (I believe on washboard), including Mattie Mae, adapted from a John Lee ‘Sonny Boy’ Williamson recording; an early Albert King recording (showing a bit of Elmore James influence), (Be on Your) Merry Way; and Little Willie Foster’s tough Fallin’ Rain Blues.” There are other equally fine songs by others on this collection with annotation from Bill Dahl making for a treasure trove for the blues fan.
As a sample of this here is Dusty Brown's Yes, She’s Gone.
Big Time Sarah is another blues woman from Chicago who has never received the acclaim her talents merit. The following review appeared in the September 1993 Jazz & Blues Report (Issue 184) to which I made minor stylistic changes. Lay It On ‘Em Girls is the first of three albums she recorded for Delmark. I will be posting in a week or so a 1996 review of another Delmark CD by her. This CD is still available.
A woman blues singer with a strong release is Big Time Sarah with her brand new release on Delmark, Lay It On ‘Em Girls. One-time a protege of Sunnyland Slim, she is one of a number of tough women Chicago blues singers (others include Bonnie Lee and Zora Young) . I’ve been told that live, Big Time Sarah is an especially bawdy performer.
She previously recorded in France on an album shared with Zora Young and Bonnie Lee, and later had an album out on the Blues R&B label. Delmark has issued the nicely produced album with a good mix of material which includes several Willie Dixon numbers (I Make Love, Hootchie Kootchie Woman, Lay It On ‘Em Girls, and Every Man I See), and unusual material such as Summertime, and Bill Withers’ Ain’t No Sunshine.
She possesses a husky voice, and sings in a somewhat dry fashion, although she growls on occasion like on Evil Gal Blues. Her performances of the Dixon songs are first rate, perhaps being the high points of the set with the opening I Make Love and the title cut being especially sassy performances. Other performances are entertaining although her Evil Gal Blues and Summertime, while refreshing choices, are less successful.
Her band, The BTS Express, is excellent and adds a jazz and funk sensibility to its blues playing. Guitarist Rico McFarland impresses with his fleet, jazzy attack and imaginative soloing while Rodney Brown’s tenor sax work is especially tasty. Certainly another blues woman to be reckoned with.
Just found out that Hubert Sumlin just passed away at the age of 80. The 2010 Pocono Blues Festival was the last time I saw Hubert when he was part of an All Star Chicago blues review that included Willie Smith on harmonica (and Willie recently passed away) and Bob Stroger, in the back, was on bass.
Hubert was best known for his association with Howlin' Wolf as well as on sessions with such other blues legends as Sunnyland Slim. He was alas one of the nicest folks you could ever want to meet which is why he was beloved in the blues community.
Zora Young, one of Chicago’s leading blues ladies, first emerged in the blues scene in the early 1980s, and was mentored by the legendary blues pianist Sunnyland Slim. She was not the only one befriended by the late Albert Luandrew, who helped bring Muddy Waters to the attention of Leonard Chess. In any event, Zora has a new album, with special gust Hubert Sumlin, Sunnyland on Airway, the label started by Sunnyland decades ago.
The album was produced by Sam Burckhardt, the saxophonist who played in Sunnyland’s band for many years as did guitarist Steve Freund while pianist Barrelhouse Chuck Goring was mentored by Sunnyland and Little Brother Montgomery. Hubert Sumlin, one of the Chicago blues’ most compelling guitarist spent time with Sunnyland during Sunnyland’s stints in Howlin’ Wolf’s band. Add to this mix the terrific bass player Bob Stroger and drummer Kenny Smith and one has quite a band with several tracks having added brass. Quite a band for a session recorded at Delmark’s Riverside Studio in July 2007 with some horns added last year.
And it opens with a bang as Zora tears into her original Bad Track Record, belting out the vocal with an authority that grabs the listener as the horns blast in support. Both Freund and Barrelhouse Chuck shine on a rocking rendition of Sunnyland’s Goin’ Back to Memphis, a variation on Rolling & Tumbling, with more forceful singing by Young. The mood gets a bit low-key on Young’s Travelin’ Light, singing about traveling light and not carrying any load being a bluebird that loves to sing, with Sumlin taking an somewhat straightforward solo as Burckhardt riffs on tenor.
Hubert’s Groove is an instrumental that evokes Tramp, with its funky groove as Barrelhouse Chuck gets greasy on organ, with Sumlin, Freund and Burckhardt also taking solos. Young’s Football Widow, is an amusing number with a melody evoking Just a Little Bit, as she wants to get her couch potato man off the coach and out on the town, with Burckhardt ripping off a terrific tenor sax solo followed by a guitar break from Sumlin. You Said You Were Leaving, is one of two Sumlin vocals here and is one of his better one with him singing quite passionately as well as playing his quirky twisting guitar.
The title track, written by Burckhardt is a feature for Barrelhouse Chuck as he suggests Sunnyland’s unique style while Freund takes a particularly choice solo that evokes Sumlin’s playing as well before Burckhardt gets nasty on the tenor, resulting in a terrific instrumental. Sunnyland recorded Johnson Machine Gun, for Aristocrat, and Young belts a vocal that certainly does honor Slim’s memory. While the song is credited to Sunnyland here, it was a reworking of Willie ‘61’ Blackwell’s 1941 Bluebird recording, Machine Gun Blues. Stumbling Blocks and Stepping Stones is another shuffle built upon some traditional blues imagery of a big city country girl far from home dealing with her false friends. Till the Fat Lady Sings, is a topical blues with telling lyrics about the mess in her community and around the world set to a groove evocative of Bobby Rush’s Chicken Heads.
Blues For Hubert is a jazzy sounding instrumental in honor of Sumlin who sits this out. Burckhardt sets the tone with his tenor with both Chuck and Freund getting nice solo space. Zora certainly sounds like no one to mess with on Daughter of a Son-of-a-Gun, a hard rocking number with rollicking piano and a sharp solo from Freund. Sumlin joins Young for a closing down home blues, Looka Here Baby, with Sumlin and Freund providing the accompaniment. It is a change of pace for a welcome surprise release.
Young really shines as a strong singer and the entire recording is first-rate. I would assume better stores will have this, but you could contact www.airwayrecords.com for information on how to order.
This review originally appeared in the May 2009 Jazz & Blues Report (Issue 316) although i have made minor changes in paragraphing and some stylistic changes as well. I likely received my review copy from Jazz & Blues Report.
Veteran bass player Bob Stroger is one of the steadiest and most solid players on the blues circuit having graced countless sessions with his rock-solid approach. Saxophonist Sam Burckhardt’s association with Stroger dates back to the 13 years they spent together in Sunnyland Slim’s Band and later the two with guitarist Steve Freund and the late drummer/vocalist Robert Covington as The Big Four. Burckhardt has brought in Freund, keyboard whiz Kenny Barker, drummer Kenny Smith and legendary Willie ‘Big Eyes’ Smith on harp for one track for a nicely produced session of blues, Bob is Back in Town (Airway Records).
Stroger obviously has a fondness for Junior Parker as he handles Parker’s What Goes On in the Dark, and Stranded in St. Louis along with Tampa Red’s Don’t You Lie To Me (for some reason credited to Albert King), and Eddie Taylor’s Bad Boy. While Stroger is credited with a number of songs, the title track sounds like Lieber & Stoller’s Ruby, Ruby (even with a backing vocal chanting softly “Ruby, Ruby,” while I’m a Busy Man employs a swamp blues rhythm in the manner of Slim Harpo, although not with the macho lyrics. Blind Man Blues has a melody similar to Albert King’s Pretty Woman, and opens with a searing guitar solo from Freund before Stroger starts his soft-spoken vocal. I Got to Move is a slowed down rendition of the traditional blues associated with Fred McDowell, but probably Stroger picked it up from Elmore James, and Burckhardt adds some nice tenor behind the vocal. Freund adds guitar fills along with a jazzy solo which anticipates the easy going swing of Jazz Man Blues with its line “Jazz ain’t nothing but a bluesman blowing his home.” Indigo Bunting is a tasty instrumental from Burckhardt.
This is a wonderfully played album, with Burckhardt contributing atmospheric arrangements. Stroger is a lowkey, amiable singer although somewhat anonymous( and not commanding) singer. This is not surprising given his long tenure as a sideman as part of many first-rate bands, which include the marvelous aggregation here, which makes this an engaging and easy to listen to disc, though not an essential one.
I want to add that yesterday (December 27, 2010) was Bob's 80th Birthday. If I had known that earlier, I would have posted yesterday.
This review appeared in the June 2007 Jazz & Blues Report (issue 294) and the publication was likely the source of my review copy.
If there is a Mount Rushmore of Blues Harmonica, than the four gentlemen who would be represented would be John Lee ‘Sonny Boy’ Williamson; Rice Miller (aka Sonny Boy Williamson II); Little Walter Jacobs; and Walter Horton. Horton was known by a variety of names including “Mumbles,” “Shakey Walter,” and most notably “Big Walter,” the latter to distinguish him from Little Walter Jacobs who may have had a more successful career but could hardly be called a more creative or expressive master of the blues harmonica that Big Walter. Walter was tall, lean and gaunt, had a delicate aspect to himself and to quote Neil Slaven, in the notes to the recently issued 3-CD set on JSP, Blues Harmonic Giant, “dedicated to the music rather than a career.” This collection contains two CDs of material from the 1950s along with a live recording from the 70s or 80s where he is joined by his most prominent disciple, Carey Bell. Today is the second part of my look at this compilation, focusing on the accompaniments included on the second disc.
The second disc also includes a number of his accompaniments to other artists. Particularly noteworthy is a session with drummer Willie Nix that also included guitarist Willie Johnson with wonderful renditions of Leroy Carr’s “Prison Bound Blues” (taken at an unusual shuffle tempo), and Robert Lockwood’s “Take a Little Walk With Me,” standing out for Nix’s infectious singing, Billy Love’s rollicking piano and Horton’s crying accompaniment very much in a Sonny Boy Williamson vein on the Carr tune, but a bit more punch on the Lockwood cover. Horton’s harp is dazzling on Joe Hill Louis’ “Hydramatic Woman,” a fresh reworking of “Rocket 88.” Also included on this second disc, are recordings from the legendary January, 1953 J.O.B. session under Shines’ name including the soaring harp over Shines’ vocals on “Evening Sun,” and “Brutal Hearted Woman,” whose four thrilling choruses from Horton on the former number, along with alternate takes of “Evening Sun,” and a couple of unissued tracks.
In December, 1953 Horton was present on one of Tampa Red’s final Victor-Bluebird sessions with a band that included Little Johnny Jones on piano, and Odie Payne on drums. “Big Stars Are falling,” musically has echoes of some of Muddy Waters recordings and Horton’s authoritative playing along with Willie Lacey’s jazzy mix of single note runs and chords adds a nice flavor. A nice latin groove is present on “Rambler’s Blues,” with more scintillating guitar from Lacey along with Horton laying down a terrific chorus followed by his comping behind Lacey’s break. The last Horton accompaniments presented here are behind Sunnyland Slim’s coupling, “Highway 61,” and “It’s You Baby.” Some really great playing although the original recordings do leave something to be desired. This set provides a good sampling of accompaniments although it isn't exhaustive. It does not some of his famous accompaniments behind Muddy Waters and Jimmy Rogers, or Horton's playing for States on a 78 behind Atlanta shouter Tommy Brown ("Southern Woman" and "Remember Me"). The selected tracks here do illustrate why Horton was so in demand for session work by Sam Phillips and later Willie Dixon.
Horton’s career took received a boost during the blues revival in the sixties when his harmonica work became prominent, and after the deaths of Little Walter and Rice Miller, he was clearly the Blues Harmonica giant. On the third volume of Chicago, The Blues Today, his harmonica is prominently featured backing Johnny Shines (except on “Dynaflow Blues”) and Johnny Young (on the songs Young plays guitar and not mandolin) along with the afore-mentioned duet with Musselwhite. His playing throughout these selections are terrific. The late Pete Welding used Horton on the albums he produced in the Masters of Modern Blues series on Testament (that were issued on CD by Hightone) including recordings by Shines, J.B. Hutto, and Floyd-Jones and Eddie Taylor. He also was a prominent member of Willie Dixon’s Chicago Blues All Stars and featured on their Columbia album of the sixties. The first time I saw Horton was as part of this ‘super-group,’ at New York City’s Electric Circus in the late sixties.
Touring Europe with Dixon and others, he made several albums under his name. One of the CDs from the time was recorded with so much echo it was unlistenable, but other recordings were made over the years. A real good album was made for Blind Pig in the seventies under the auspices of Guitar Johnny Nicholas and the Rhythm Rockers who included pianist Ron Levy. There was also a CD by Shines on Blind Pig at the time and Nicholas’s own “Too Many Bad Habits,” on which Horton played. Nicholas had a tour featuring Horton and Shines that I saw outside of Buffalo, probably in the Summer of 1976, andit was truly magical as Nicholas, and his band, provided wonderful accompaniment for the two legends as well as their own featured performances. Horton’s recording with Nicholas, “Fine Cuts” has been made available on CD, but neither the Shines nor Nicholas recordings have been available in this format. The best album under Horton’s name unquestionably is one on Alligator which included Carey Bell, Big Walter Horton With Carey Bell.
Tomorrow I will consider the third disc of the JSP set, that contains a live recording by Horton with Carey Bell.
The following was a review of the 3rd double CD in a series that an offshoot of the Swedish blues magazine, Jefferson, released in the earlier part of this decade. The review below was written in 2004 and may have appeared in Jazz & Blues Report. I purchased this recording.
The Scandinavian Blues Association has issued on its Jefferson Records, I Blueskvarter * 1964, Volume Three. This is the third double disc volume in the series which makes available recordings that the Swedish Broadcasting Company made in Chicago, Memphis and New Orleans in 1964 that was broadcast in autumn 1964. The first two volumes were devoted to recordings from Chicago and included recordings by such legendary figures as Sunnyland Slim, Little Brother Montgomery, Johnny Young, Walter Horton, Willie Mabon, Johnny Young, Washboard Sam and Paul Butterfield (on what were Butterfield's first recordings). This volume includes New Orleans recordings by Snooks Eaglin and Babe Stovall and Memphis recordings by Johnny Moment, Will Shade, Furry Lewis, Earl Bell and Moose Williams with the second disc containing extra recordings from Mabon, Sunnyland Slim, Walter Horton, and Johnny Young among others before concluding with three 1961 recordings by Big Joe Williams and then from Champion Jack Dupree recorded in performance and conversation in Sweden. This is a varied set of music opening with Snooks Eaglin performing ten numbers in a vein similar to his early recordings as a 'street singer' although the opening Yours Truly, a Pee Wee Crayton song he had recorded for Imperial as a R&B artist. Few could pull off PInetop's Boogie Woogie on guitar like Snooks can and other songs he provides his unique skills to include My Babe, Let Me Go Home Whisky, and Hello Dolly. Babe Stovall, who also was resident in New Orleans presents some more down home blues on his four songs that includes renditions of Candy Man and Gonna Move to Kansas City. The first Memphis selections are by harmonica Johnny Moment, whose rendition of Keep Our Business to Yourself, is heavily indebted to Rice 'Sonny Boy Williamson II' Miller. He also backs legendary jug band musician Will Shade on a slow I Got the Blues So Bad, Furry lewis has sounded better than on Baby, I Know You Don't Love Me, which does have moments of nice slide guitar. Traditional Mississippi blues are represented by one Earl Bell who does a competent cover Robert Johnson's Terraplane Blues. The selections from Chicago supplement recordings by these artists that are on the first two volumes in this series. Willie Mabon delivers a strong Somebody's Got to Pay, while piano blues are also represented by Sunnyland Slim on Leroy Carr's Prison Bound and Little Brother Montgomery who reprises his immortal Vicksburg Blues. Walter Horton, accompanied by Robert Nighthawk on guitar is heard on three numbers including a nicely delivered Tin Pan Alley. Two early recordings by Paul Butterfield with Smokey Smothers on guitar include One Room Country Shack, while Johnny Young is backed by Slim Willis on harp and Otis Spann on piano for You Got Bad Blood, I Think You Need a Shot. The Joe Williams performances are typically fine and are followed by a Swedish broadcast of Dupree and Olie Helander in which Dupree recalls growing up, his big influence and other matters along with a rendition of his Drive 'em Down Special, as well as Leroy Carr's Barrelhouse Woman. In addition to being a great pianist, Dupree was a marvelous conversationalist. As with the first two volumes, there are copious notes that discuss the artists and how the recordings were made. This is an invaluable addition to the body of downhome blues of this time. This is an important musical document and contains some very strong performances by artists who have mostly passed away. The Swedish Blues Alliance is to be thanked for the over six hours of vintage blues music that they have made available in this series. You probably can only obtain these by mail order, and I would suggest contacting either Bluebeat Music at www.bluebeatmusic.com or Triangle Music at www.triangle-music.com for information on obtaining these. Its too bad that Olie Helander only did a radio documentary of the blues forty years ago, because the musical legacy of this radio series stands tall compared to the recent over-hyped Martin Scorcese PBS series on the blues.
Bluebeat Music shows the three volumes of this series as still available.
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