1994 Roots N'Blues Reissues - Columbia / Legacy

 Roots N'Blues Reissues - Columbia / Legacy

The latest batch of Columbia/Legacy's Roots N'Blues reissues maintain the level of the earlier issues. Double disc releases by Blind Willie McTell and Brownie McGhee are of particular interest.

The Blind Willie McTell set is entitled "The Definitive," which is not completely accurate as it omits such essential McTell recordings as Statesboro Blues, which was recorded for Victor. Still, the forty-one selections, some with Ruth Willis on vocals, and others with Curley Weaver or Buddy Moss on second guitar, are magnificent sides. There's the exuberant "Georgia Rag," a brisk reworking of a Blind Blake number, the jaunty "Stomp Down Rider" and "Broke Down Engine." Whether playing a bottleneck or not, McTell displays considerable fluidity on the 12-string guitar and sang convincingly with warmth and feeling. This has all of McTell's Columbia Vocalion, and Okeh recordings, and the booklet has an essay by David Evans that will be the standard source for information on McTell in the future. If not definitive, this is essential.

Two discs collect "The Complete Brownie McGhee." Despite his celebrity, in part a result of his long partnership with Sonny Terry, many blues fans are unaware of his commercial recordings for the African-American, then rhythm and blues market. This collection compiles 47 recordings originally waxed for Columbia's Okeh subsidiary, and while some have been reissued overseas, much of this has never been issued. The Kentucky-born McGhee had moved to the rich blues territory of North Carolina when he was discovered by talent scout, J.B. Long. Between August 1940 and October 1941, McGhee recorded the 47 sides (some alternate takes) included here. While distinct from Fuller, McGhee's recordings with Jordan Webb's harp, and either Bull City Red or Washboard Slim ón washboard carried some of the same flavor. Reworking "Digging My Potatoes" as "Picking My Tomatoes," doing "Step It Up and Go," memorializing Fuller in "Death of Blind Boy Fuller," or an early version of "Key to the Highway," these recordings are marked by McGhee's clean articulated vocals, fluid guitar playing and relaxed group swing. Highly recommended.

A single disc of Bukka White's complete Columbia, Okeh and Vocalion recordings is available on "The Complete Bukka White." One of the major Delta blues artists, White's hoarsely shouted vocals were backed by his percussive, barrelhouse bottleneck guitar. Also, White was a blues lyricist of considerable power whose songs often reflected his own experiences. A dozen of these 14 titles were recorded in 1940 after he was released from Parchman Farm, and the time he spent there is echoed in the intense imagery of "When Can I Change My Clothes" (referring to his prison uniform). The sessions also produced "Fixin' to Die Blues," with its morbid imagery, the barrelhouse dance number, Bukka's "Jitterbug Swing," and "Special Streamline," a half-spoken, half-sung train blues with a suggestive slide accompaniment. Prior to being imprisoned, Bukka recorded "Shake 'Em On Down," another classic that became a delta blues standard. These recordings were discussed at length by Sam Charters in his book "The Bluesmen" over 25 years ago, and they stand up as a cornerstone of a country blues collection. Incidentally, all of these titles were previously issued on Ip and cd, but this is newly mastered.

Tampa Red, "The Guitar Wizard," is a single disc with 17 early recordings by one of the most prolific and important early blues artists. One cannot exaggerate the importance or influence of Hudson 'Tampa Red' Whittaker. One would be hard-pressed to name any blues guitarist (particularly slide) who doesn't bear his imprint, nor has one of his songs in his repertoire. While most of his recording career was spent with Victor, this exemplary collection derives from recordings for Okeh and Vocalion. A number of them include Georgia Tom Dorsey on the piano including an accompaniment to "Papa Too Sweet," on a version of "It's Tight Light That." In addition, there are several fine blues presaging his later recordings and influence, including two versions of "Sugar Mama," and his reworking of Lucille Bogan's "Sweet Black Angel." The fact of Bogan's earlier recording is not mentioned in Mark Humphrey's otherwise informative annotation. The music is first-rate, with plenty of Tampa Red's clean, precise slide and bittersweet vocals. Highly recommended.

"Cajun Dance Party • Fais Do Do" is the second collection of vintage cajun music recordings Larry Cohn has compiled for this series. Covering the years 1929 to 1934, this collection is oriented to the recordings of cajun accordion pioneers such as Amédée Breaux, Amédée Ardoin, Dewey Segura and Joseph Falcon. It opens with Amédée Breaux's "Ma Blonde est Partié," the earliest recording of what would be known as "Jolie Blonde." This set is important for its inclusion of six recordings by the pioneer creole accordionist, Ardoin, who influenced both cajun and creole musicians. "Jolie Blonde" is not the only cajun classic whose first recording is collected here. While the musical form here is basically two steps and waltzes, the use of the diatonic accordion and cajun fiddle, along with the high lonesome, crying vocals have a bluesy tonality. While the lyrics may be incomprehensible to many, the soulfulness of this music, which is far removed from the more country-influenced cajun, or R&B flavored zydeco music of today, the music here is quite powerful, although some may find it difficult to listen to this complete in one sitting. But when the accordion gets rocking on a riff and the violin waxes over it, the music can be mesmerizing.

Part of the Contemporary Blues Masters series in Roots N'Blues, a new album, "Stompin' at the Penny," reissues a rare Canadian album of Lonnie Johnson with Jim McHarg's Metro Stompers. This album captures the legendary blues guitarist and vocalist at Toronto's Half Penny backed by a spirited "trad' band. There's a mix of songs associated with Johnson's fellow New Orleans' native, Louis Armstrong, "Dippermouth Blues" and "West End Blues," with Johnson taking a sprite solo on the latter. In fact, his electric guitar playing on this number, the relaxed R&B flavored "Bring It On Home Mama," or the rocking "Go Go Swing," illustrate the continuity between his innovative playing in the twenties and the modern electric guitar style most associated with B.B. King, who acknowledged Johnson as an influence. "Go Go Swing" is particularly fascinating as the Metro Stompers riff like a hot R&B band horn section. This is mostly instrumental and the vocals here show as often as not Johnson's predilection for ballads ("My Mother's Eyes"), a fact not often appreciated by Johnson's blues admirers. Still, this is a highly entertaining collection that is, in all honestly, of most interest to trad jazz enthusiasts but having enough of Johnson's playing to make it of wider interest.

I likely received review copies from Columbia Records. This review appeared in Jazz & Blues Report in 1994. I note that these should be available in some form, including from Amazon.

Take 5 - It Hurts Me Too

Today's Take 5 playlist is devoted to the blues classic "It Hurts Me Too."

We start with Tampa Red's recording.

Among the most famous recordings of this song was that by Elmore James.

Next up is Junior Wells with Buddy Guy on guitar.

I just discovered this amazing rendition from Jimmy Nolen who may be better known for his time with James Brown.

We close with a terrific version by Luther Allison.

Take 5 With Tampa Red

Hudson Whittaker, known as Tampa Red, was one of the most popular and most recorded blues artists of the Twenties through the early 1950s. He was known as a guitarist, kazoo player and one of the blues greatest songwriters.

We start this brief celebration of his music with a bit of Hokum he did with Georgia Tom Dorsey, "It's Tight Light That."

Next up is "Black Angel Blues." Lucille Bogan recorded this first, but it was Tampa Red's recording that more directly influenced later blues recordings by the likes of Robert Nighthawk and B.B. King (who did this as "Sweet Little Angel."). Note Tampa Red's immaculate slide guitar that would be echoed in the guitar of Robert Nighthawk and Earl Hooker.

Among his most celebrated songs is "It Hurts Me Too" also known as "When Things Go Wrong." Elmore James later made a famous recording of this song.

Another signature song of Tampa Red was "Love Her With a Feeling," later performed by a number of other great blues artists such as Freddie King, Muddy Waters, Buddy Guy, and Junior wells.

We close this brief playlist with one of Tampa Red's last commercial recordings, "Evalena" with Little Johnnie Jones on piano, Walter Horton on harmonica, Ransom Knowling on bass and Odie Payne on drums. I believe Willie Lacey plays the dazzling electric guitar on this.

Perhaps sometimes soon, I will return with another Tampa Red playlist.

Columbia / Legacy Roots N’ Blues Reissues

Columbia / Legacy Roots N’ Blues Reissues
Columbia

The latest batch of Roots N’ Blues reissues from Sony Corporation maintain up the series’ high standard. One of the latest releases is Bessie Smith, The Complete Recordings Vol. 4 (Columbia/Legacy C2K 52838) which brings us near the end of her recording career, and contains some of her most celebrated recordings, including Me and My Gin, Nobody Knows You When You’re Down and Out, Empty Bed Blues, You’ve Got to Give Me Some. Other numbers may not be as well known, but are memorable for the total conviction of the performances. James P. Johnson’s stride piano enlivens a number of performances , and the cornet of Ed Allen or Louis Metcalfe is heard on several tracks. But it is the majesty of Bessie’s vocals that make this so memorable, and the sound reproduction from the vintage 78s is quite good.

Blind Willie Johnson, The Complete  (Columbia Legacy C2K 52835), duplicates what has been available for a couple years on two Yazoo albums. Blind Willie Johnson was one of the most astonishing practitioners of the bottleneck guitar (his standard guitar playing was adequate), and sang in a raspy, hoarse shouting style with an intensity reminiscent of  Son House. House’s formidable slide guitar playing can sound rudimentary and mechanical compared to Johnson. Johnson’s recordings including Jesus Make Up My Dying Bed, It’s Nobody’s Fault But

Mine, If I Had My Way I’d Tear the Building Down, Lord I Can’t Help But Keep From Crying, You’ll Need Somebody on Your Bond and John the Revelator are classics of African-American roots music, and influenced numerous numerous others who adapted them including Gary Davis, Son House, Muddy Waters, and Fred McDowell. Johnson’s masterpiece was Dark Was the Night- Cold Was the Ground with his wordless vocalising and slide guitar accompaniment, that later Ry Cooder played homage to. Sam Charters provides a lengthy annotation that covers Johnson’s life, his music, and his impact. This is essential music, the only question being whether one already has the Yazoo albums.

New Orleans Barrelhouse Boogie (Columbia/Legacy CK 52834) collects Champion Jack Dupree’s first recordings made for Okeh in 1940 and 1941. Several of the 25 recordings are previously unissued alternate takes to issued sides. Most of the songs here find Dupree’s piano and vocals backed by just  a bass, although the final eight recordings feature Jesse Ellery’s nimble guitar. New Orleans Barrelhouse Boogie is a fitting title, describing his driving two handed piano style, although his bass heavy playing here lacks the touch and articulation found in his later recordings. A major reason for Dupree’s appeal was his soulfully delivered vocals that were ebulliently delivered, and his downhome country supper lyrics which touched a chord with those listening to him sing about ‘those greens those Cabbage Greens.’ Junker’s Blues  and Angola Blues reflect his New Orleans roots, while New Low Down Dog is a barrelhouse version of a Leroy Carr recording which he later recorded as Stumbling Blocks. While Dupree sang about drugs and prison, these songs were not based upon Dupree’s personal experiences, but from knowing people, and personalizing their stories. This marriage of lyric and performance that make these Champion Jack

Dupree recordings stand up half a century later. This collects some of his finest recordings.

The Slide Guitar, Bottles, Knives & Steel Vol. 2 (Columbia/Legacy CK 52725) is the second such collection in the Roots N’ Blues series. While there are no selections from Robert Johnson or Blind Willie Johnson, this provides a diverse sampling of slide players, with a healthy number of selections featuring Tampa Red, perhaps the most influential of all slide guitarists. One interesting song by him is Things Bout Coming My Way, heard in both instrumental and vocal versions. Derived from Sitting on Top of the World, he later revamped it as It Hurts Me Too. Perhaps the most influential slide guitarist in blues hisory, he was not represented in Rhino’s supposedly essential collection. Sam Montgomery, who recoded as the King of Spades is heard on the previously unissued Where the Sweet Orages Grow, a Kokomo Blues variant recored a few months before Robert Johnson waxed Sweet Home Chicago. Other slide guitarists heard here include  Casey Bill Weldon’s with lively Hawaiian style playing on the Hokum Boys’ Caught Us Doing It; Barbecue Bob backs Nellie Florence’s powerful singing; Curley Weaver’s slide is heard with the Georgia Browns and supporting Buddy Moss  sober vocals; and  Sylvester Weaver, is heard on the selections by Helen Humes and his partner Walter Beasely.

The most intriguing of these releases may be the two compact disc set, White Country Blues-

Lighter Shade of Blue (Columbia/Legacy C2K 47466), devoted to recordings of blues by various white performers of what was then marked as old time or hillbillymusic. As the respected country music historian Charles Wolfe notes, there was a distinct white country blues tradition that certainly reflected the influences of pioneering African-American performers, but reached a different audience. Some performances, like Frank Hutchinson’s lively K.C. Blues are not far removed from contemporaneous recordings of Furry Lewis, and the hawaiian style steel guitar heard on some of these will remind some of Tampa Red’s hokum recordings, or Casey Bill Weldon. In a blindfold test, the Blue Ridge Ramblers might be mistaken for a Memphis based jug band, and Larry Hensley stays pretty faithful to Blind Lemon Jefferson Match Box Blues, even if he can’t replicate all of the nuances of Jefferson’s recording. After all, who can.  Other recordings, like those by Charlie Poole with the North Carolina Ramblers, are string band blues performances that have few recorded counterparts by African-American musicians. While some of the performances here are more country than blues, they are more than dry historical specimens, and illustrate the influence and reach of the blues outside of the African-American community long before the rock and roll era. They also show how skillfully and movingly the music was adapted by white southerners who were drawn to the power and simplicity of the blues, just like many of us are drawn to the blues today.

This review appeared in issue 188 of Jazz & Blues Report from 1994. The original review also included "The Okeh Rhythm & Blues Story 1949-1957" which I will reprint on Monday the 28th. I received review copies from Columbia Records. 

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.

Big Walter Horton-Blues Harmonica Giant Part 2

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.