Trix Blues From Muse Records

Trix Blues Reissues

Here are four more releases from the reactivated Trix label. The albums by Big Chief Ellis, Honeyboy Edwards and Willie Trice are reissues of the original albums with producer Pete Lowry adding an update to the original liner notes. While these are straight reissues of the vinyl albums, the Trix albums were generous with their playing times. The Big Chief Ellis is close to an hour while Willie Trice’s album is about 53 minutes. Trix has also issued a splendid new Homesick James recording. ( I had reviewed several other Trix reissues in prior issues of Jazz & Blues Report. One might need to check eBay or sellers of out-of-print recordings for availability).

It was releases like the Big Chief Ellis (Trix 3316) album that made Trix such a singular label back in the seventies. Ellis, a strong pianist, played and sang introspectively, so his blues often are reminiscent of Walter Davis. His performances here are all at slow or moderate tempos and marked by a firm, rumbling left-hand bass that creates a somber cast to the performances. Often playing simple accompaniments he sometimes throws in hesitating sounding right-hand runs and fills while delivering the lyrics with a smoky, gritty voice. He eschews playing any showcase boogies here. Playing it as a minor-key slow blues, Chief transforms the well-known Sweet Home Chicago into what sounds like a totally different song. While all the songs are credited to Ellis, several are piano blues classics that suit his pensive approach, including Leroy Carr’s Prison Bound and How Long Blues, and Walter Davis’ Come Back, Baby, (here titled Let’s Talk It Over). Brownie McGhee, who shares the vocal on Come Back, Baby, makes his presence felt on the terrific gambling blues, Dices # 2, a remake of one of Ellis’ few fifties’ recordings. In addition to McGhee, the late Tarheel Slim is heard on guitar on a couple tracks, as is John Cephas (on what may be his first issued recordings) who is present on four selections. Some may be put off by the lack of fast-tempoed piano romps and might find difficulty listening to this in one sitting. However, all of these performances are tasty gems of blues piano, and for discerning listeners make a refreshing change from some of the hyper-kinetic recordings that pass for blues today.  (I discovered this blog post from Peter Lowry on this recording, https://peterblowry.com/2015/06/11/trix-3316-big-chief-ellis/).

Blue and Rag’d (Trix 3305) features Willie Trice, a Carolina bluesman who lived all his life near Durham and was associated with such legendary figures as Gary Davis, Floyd Council and Blind Boy Fuller. Like his brother Richard, Willie Trice recorded for Decca in 1937, but whereas Richard moved north and recorded in 1949 as Little Fuller, Willie Trice remained in Durham holding a variety of day jobs
and only playing outside the tobacco warehouses occasionally - unlike Fuller and the rest. While he stopped playing by the mid- sixties, after losing his legs to diabetes, he started playing again and Pete Lowry recorded him several times between 1971 and 1973 for the recordings issued here. He also recorded later for Lowry and others. Trice’s music is in the classic mode of Fuller and others. His National steel guitar provides a slightly clipped sound to his playing, but (despite his serious illness) his playing only occasionally sounds rusty. His vocals are also generally robust, although his range is obviously not what it once must have been. Included are original adaptations of songs associated with Blind Blake (New Diddey Wah Diddey) and Blind Boy Fuller (New Careless Love), along with his adaptations of traditional themes. For example, Shine On is a bouncy performance using the Crow Jane/ Red River Blues melody. Fuller’s music is also suggested by a number of other tracks, including the slow Fuller styled blues, You Have Treated Me and I’ve Had Troubled, with moving vocals. I Love You, Sweet Baby sports a bouncy accompaniment, while he adds a recitation behind his good-time fingerpicking on Good Time Boogie. It is too bad that we don’t have more recordings of Willie Trice in his prime. However, even though it was recorded while he was recuperating from a serious hospital illness, Blue and Rag’d provides a generous set of classic Piedmont blues performances and there are few recordings in this vein as good as these being made any more.

David “Honeyboy” Edwards’ disc, I’ve Been Around (Trix 3319), was the first American album by the Mississippi born blues artist who will have turned 80 by the time this review appears. One of the last links to such Mississippi blues greats as Charlie Patton, Big Joe Williams, Tommy Johnson and Robert Johnson, Edwards has been of interest to blues fans as much for his recollections of these artists as his music. In the company of Walter Horton (on four tracks) and guitarist Eddie El (on three), Honeyboy sings songs associated with Patton - Pony Blues, and Banty Rooster, Howlin’ Wolf - Ride With Me Tonight, and Tommy Johnson - Big Fat Mama, and Big Road Blues. Also, he renders his own songs Sad & Lonesome and I Feel Good So Today. Playing a rhythmic guitar style reminiscent of his main mentor, Big Joe Williams, Honeyboy displays a unique sense of time. While he sings in a sometimes hesitant, brittle voice, Edwards provides a distinct tint on these musical indigos, although his performances may lack the charisma of those by his mentors. I’ve Been Around stands well up compared his other recent recordings. When featured, Walter Horton adds some strong harp that sympathetically supports Edwards without overpowering him. It is valuable to have this available again, and stacks up against most of Honeyboy’s other albums, although | would recommend the Earwig album containing Honeyboy’s Library of Congress recordings first.

Like Honeyboy Edwards, Homesick James Williamson is noted for an unusual sense of time, but on his fourth new recording in the past few years, he shows that his music possesses plenty of vitality. On Got to Move (Trix 3320) he is given steadfast support by a band that includes guitarist Ron Thompson (formerly with John Lee Hooker and part of Mick Fleetwood’s Blue Whale). Homesick James renders solid versions of songs by his famous cousin, Elmore James (Baby Please Set a Date, Hawaiian Boogie and Got to Move), and by Arthur Crudup (That's All Right), and Bob Geddins’ Tin Pan Alley, along with several originals. His broomdusting and his gravelly vocals are crisply delivered, if not as upfront as the recordings by his famous cousin. There are three solo tracks, including a fresh sounding Dust My Broom, in addition to the solid band performances. While several songs are ones Homesick James has recorded before, he does not give any of them a run of the mill performance making for a collection of particularly vital performances.

This review originally appeared in 1995 in Issue 201 of Jazz & Blues Report. I received review copies from the record label or a distributor. I note that this review appeared in a slightly different form in the May 1995 DC Blues Calendar. In that review I note about the four selections in the Big Chief Ellis album with John Cephas, that they were produced by Joe Wilson and Dick Spottswood and were the best recorded sides on the album. "The interplay between Ellis and Cephas on the closing Blues For Moot is worth noting.

Johnny Nicholas & Friends - Too Many Bad Habits

Johnny Nicholas & Friends
Too Many Bad Habits
The People's Label

In the spring of 1977 I saw Guitar Johnny (Nicholas) & the Rhythm Rockers along with Johnny Shines and Walter Horton outside of Buffalo, NY. Around the time I acquired the album "Too Many Bad Habits" on Blind Pig (and somewhere I may still have the original vinyl album). Released in 1977, it was deleted by Blind Pig in 1978 shorty after Nicholas joined Asleep at the Wheel, and stopped touring under his own name. While he requested getting back the original masters back from the label, he was finally able (in January 2016) to get back the original multi-track tapes, masters, artwork and photos. After transferring the old tapes, he discovered a bunch of recordings that had not been released so in reissuing his lost album, he has been album to add new material to the original recording. These include performances from Shines, Horton and pianist Boogie Woogie Red, along with some having Asleep's Ray Benson and other luminaries.

I do not recall what tracks were on the issued LP but I believe they are all on the first of the two discs, which include some standout ensemble tracks "Looks Can Be Deceivin'" and the witty title track that displays how good a songwriter Nicholas was (and is) as he enumerates the things that his doctor tells him he should give up. There is some nice mandolin on the opening "Mandolin Boogie" along with a solid "Sittin' On Top of the World," with nice fiddle and sax as well. After a rocking band shuffle with Boogie City Red's piano, "Rock My Blues Away," there is a lovely showcase for Walter Horton's harmonica feature"Blues Walk," with Nicholas providing solid backing.

An a cappella cover of Son House's gospel shout "Grinnin' in Your Face," is followed by "The New Canned Heat Blues" a reworking of Tommy Johnson recording with Nicholas adding lyrics about taking Robitussin in lieu of Sterno, with Horton's adding harp to the vocal and acoustic guitar. Horton sings and plays on "West Wind," followed by Shines' feature, "Blues Came Fallin' Down," an excellent number using the "Rollin' and Tumblin'" melody. This performance sounds similar to those on Shines' early Testament recordings. More Shines and Horton follow on a lovely "Careless Love," and then an instrumental feature for Horton "Gettin' Outta Town," where Nicholas opens playing the melody for "The Dirty Dozens," before Horton shifts into  a familiar boogie instrumental of his. Having misplaced the discs, I am not sure if it is Shines' guitar heard behind Nicholas on a cover of "Hellhound on My Trail," that has solid Horton harp.

The second disc has a number of more showcases for Horton like his backing on "Pump Jockey Blues," and the instrumental, "Apple Grove Boogie," which has some slide guitar as well. "Prisoner Blues" is a slow blues with exquisite harmonica, while the brief, brooding "That's Alright Mama," comes across as brooding Hill Country blues. Boogie Woogie Red is featured on a rendition of Jay McShann's "Hootie Blues," followed by a straight take of Jimmy Rogers' "Money Marbles and Chalk," again with wonderful Horton harmonica. There is also more Big Walter on the folk-ish "Lonesome Traveler," and the lazy tempo shuffle "Froggy Bottom." The final track is a nice rendition of St. Louis Jimmy's "Soon Forgotten," with Boogie Woogie Red on piano and Big Walter on harp.

While there are  solid performances on the second disc, some have flaws such as "Believe I'll Make a Change," a "Dust My Broom" variation with the vocal being off mike initially. The alternate take of "Looks Can Be Deceivin'," is slower and not as fully satisfying. "Move on Down the Line," is a vocal duet with Horton, and probably would have benefited from being at a bit quicker tempo. These are not terrible performances.

In additional to his musicianship, one of Nicholas strengths is his singing and that he never forces or strains when he delivers his vocals. With the splendid playing, the music on "Too Many Bad Habits" may not be essential, but its re-release is most welcome with the fine performances by Nicholas and the welcome cameos and assistance of blues legends, Boogie Woogie Red, Johnny Shines and Walter Horton.

I note that the recording album was contemporaneous with the Blind Pig Walter Horton recording (which Nicholas is on) and originally issued at the same time, and I believe still available Also, Ron Levy played keyboards on the Guitar Johnny tour in 1977  I received my review copy from a publicist. Here is a clip of Johnny Nicholas backing another Chicago blues legend, Snooky Pryor, at the 1991 Chicago Blues Festival.

Otis Rush's Classic Cobra Recordings.

A new reissue of Otis Rush s classic Cobra recordings has been released by Fuel 2000 who  licensed the material fromJewel/Paula. The Essential Otis Rush, The Classic Cobra Recordings 1956-1958 includes all eight singles that Rush recorded  (and all produced  Willie Dixon) along with eight alternate takes. Not every Cobra recording was memorable and little that even Rush’s fervent singing could salvage such as Violent Love, but on smoldering slow blues like I Can’t Quit You Baby, My Love Will Never Die, Groaning the Blues and Double Trouble, as well as uptempo numbers Three Times a Fool and All My Loving (I Miss Loving) (the Mayall version with Clapton on guitar pales in comparison). 

Rush sang here with an intensity matched by few in blues history and complemented that with some stinging guitar (although Ike Turner may be the lead guitarist on Double Trouble). In addition to Willie Dixon, others on the original sessions included guitarists Turner, Wayne Bennett and Louis Myers, Little Walter and Walter Horton on harp; saxophonists Harold Ashby, Red Holloway and Jackie Brenston, pianists Lafayette Leake and Little Brother Montgomery, and drummers Odie Payne and Al Duncan.

Rush's Cobra recordings produced some of the most intense examples of the West Side Chicago Blues style that developed in the fifties and remain classic almost 60 years later.

This review was written in late 2000 and this review likely originally appeared in the DC Blues Calendar around that time, although I have made some stylistic changes from what I originally wrote for clarity purposes. This particular reissue is out-of-print but might be found used. There are other CDs that also reissue Rush's Cobra recordings if not all of the alternate takes. 

Johnny Winter Was Careful Around Fools

Back in 2004 I did a review of Sony/Legacy reissues of Muddy Waters and Johnny Winter albums. The review originally appeared in the November/December 2004 Jazz & Blues Report (Issue 271). I have made minor stylistic edits. The review of the Muddy Waters reissues was posted on Friday, April 13.

Sony/Legacy also reissued Johnny Winter’s Columbia debut album – Johnny Winter. There is a nice choice of material including Mean Mistreater, Be Careful With a Fool, When You Got a Good Friend, I’ll Drown in My Tears, Dallas and Good Morning Little Schoolgirl. Winter sometimes was a bit too frantic to me, particularly in his vocals, and I must confess I find his vocals most appealing when he doesn’t try to belt them out but rather sings in a more relaxed manner. So his vocal on Be Careful With a Fool doesn’t appeal to these ears as much as does his fret work, but I know others differ from me on this point.

Dallas is a splendid acoustic slide performance in which Winter engrafts his lyric upon a slide accompaniment evoking Robert Johnson’s Terraplane Blues. Mean Mistreater goes back to Leroy Carr and the accompaniment here (based on a Muddy Waters recording) includes Willie Dixon’s bass and Walter Horton’s majestic harp, with Winter giving one of his best vocals on this date. I am not sure if it was included in the original release, but there is also a terrific rendition of Texas Johnny Brown’s Two Steps From the Blues, that was made famous by Bobby Bland and Winter does a more than credible rendition of the vocal with a full backing group with horns. There is also an alternate of Dallas.

Although I have not heard Winter’s most recent album, I really enjoyed listening to his last two Point Blank discs over a decade ago. This reissue of one of his earliest albums is most welcome, and, stands up today as when first recorded.

Here is Johnny performing Be Careful With a Fool. 

Big Walter & Friends Wedding Celebration Blues.

In light of my recent discussion of the excellent JSP box on Walter Horton, this review of an unexpected CD that features Walter Horton is worth bringing to your attention. The review originally appeared in the September 2008 Jazz & Blues Report (issue 308). BTW it is still available from the sources listed at the review’s end and also from itunes.


The bands at most wedding receptions do not generally produce live recordings, but in 1978 Joan and George Nicholas got married in Rhode Island and at the Bocce Club some 150 odd people squeezed into the club which held on 75 to hear a terrific band that included Ted Harvey on drums, Mudcat Ward on bass, Anthony Giarossi on piano and Ronnie Earl Horvath on guitar as well as Sugar Ray Norcia, Guitar Johnny Nicholas and Big Walter Horton, The resulting disc, “Bocce Boogie” (Topcat) is an enjoyable, although not essential, document of that affair.

Opening with ‘ Everyday I Have the Blues,” with Norcia singing and Ronnie Earl taking a hot swing solo. The legendary Big Walter comes on stage for a driving “Walter’s Boogie,” nicely delivered although he is a tad bit too prominent in the mix (while no one is saying this is super high fidelity, although the sound is definitely acceptable). This is followed by Walter doing “Trouble in Mind” (oddly credited to Amos Milburn), as a duet with Guitar Johnny and a cover of Little Walter’s “My Babe” with nice rocking guitar and fine harp to take the song out. Horton’s harp takes the lead before Guitar Johnny belts out the vocal on “Cold Chills,” as well as on Magic Sam’s “That’s Why I’m Cryin’,” on which Sugar Ray plays chromatic harp.

The title track is a rollicking rocker with some blistering guitar runs and Horton’s signature amplified harp wizardry, followed by Horton’s take on that Mexican ode to cockroaches ,“ La Cucaracha.” I suspect it is Ronnie Earl playing the superb Earl Hooker-styled slide guitar on “Sweet Black Angel.” on which Horton handles the vocal. Check out Anthony Giarossi’s fine piano on this track as well. It is followed by a “Baby Please Don’t Go,” patterned on Muddy Waters’ recording of this classic, Horton’s classic “Hard Hearted Woman,” and the rollicking shuffle “Little Bitty Girl,” all with solid support by the band.

Horton was not the strongest vocalist, but certainly sings forcefully, but when he played the harp, one was taken along for the ride. Guitar Johnny returns for a vocal on the hot shuffle “ Tell Me Why,” before Ronnie Earl introduces the performers on the set closer with “Breakin’ With the Earl.” Sound is quite acceptable if the band is a slight bit too prominent in the mix and Horton sounds like he sang through his harp mike, but this is quite an enjoyable set with some real good Walter Horton harmonica (likely to be its biggest selling point).

It is available on cdbaby, amazon and other sources.



For FTC purposes, a review copy of this CD was likely provided by the record company or a publicist.

Big Walter Horton-Blues Harmonica Giant Part 3

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 third and final part of my look at this compilation, focusing on the alive performance with Carey Bell issued on the 3rd disc.

As noted in the last part, Horton benefited from the Blues Revival in the sixties and seventies, through recordings and his participation as a sideman on various recordings. Horton was a member of another project that brought together some of the more down home Chicago blues artists. Michael Franks brought together Horton with Sunnyland Slim, Floyd Jones, Honeyboy Edwards and drummer Kansas City Red for an album aptly titled “Old Friends,” which was one of the earliest releases on Franks’ Earwig Records label. The release led to the third occasion I saw Walter Horton perform live at Carnegie Hall when Old Friends were part of a show with Lightning Hopkins, Clifton Chenier and John Lee Hooker. This is the last time I recall seeing this harmonica master perform.

This takes us to the third CD that is part of The Blues Harmonic Giant. Originally issued as Deep Blues, this is a live recording whose source is not identified in this disc. The only other person identified of this live recording from the seventies is Carey Bell who sings on a few selections and does a harp duet with Walter. Carey Bell does refer to a Brother John on guitar, suggesting maybe John Nicholas, but nothing definite. I do not have any earlier issuance of this material so can add no more.

The sound is not quite high fidelity, but Walter is prominent with a backing band, that does a credible job at playing idiomatic Chicago blues, a bit down in the mix. It opens with a nice “Hard Hearted Woman,” before a lengthy shuffle entitled “Sick & Tired,” a different tune than Chris Kenner’s R&B hit. This number provides plenty of space for Horton to showcase his harp playing, although listening to it on a recording, it perhaps goes on a bit too long. It is followed from a mid-tempo “Walter’s Jump,” a focused, short instrumental where he again displays his harmonica virtuosity.

Carey Bell then takes the stage for a rendition of “Leaving in the Morning,” a rendition of Little Walter’s, ”I’ve Got to Go,” takes the harp solo and then the song morphs into “It Ain’t Right.” Then there is a slow late night blues instrumental, “Walter & Carey,” on which Bell uses his chromatic harp and allows to the two to play off each other as well as each gets space to display their playing on this lengthy showcase. It is followed by a rendition of “Walking By Myself” with Bell handling the vocal while Horton soars on harp. Bell closes things out on harp with “My Eyes Keep Me in Trouble,” and its strutting vocal with Walter joining in during the performance.

On its own, one would hardly call this disc an essential recording although there is some excellent playing. It sounds like a typical live performance of the period. It makes a convenient supplement to the two CDs of vintage Walter Horton. Walter’s singular blues harmonica voice was stilled in 1981 and the blues world has been poorer ever since, but this set reminds us of how much he was able to extract from the little marine bands he played.


For purposes of FTC regulations, I purchased this CD.

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.

Big Walter Horton-Blues Harmonica Giant Part 1

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 first look at this compilation, focusing on the recordings issued under Horton’s name or sessions for which he was a leader.

Walter Horton was born in Mississippi in 1918, but shortly thereafter moved to Memphis where his father bought Walter his first harmonica. The family later moved to Arkansas where Johnny Shines first came across him blowing into a tin can. With the family moving back to Arkansas, where he started hanging out around Handy Park with the likes of Frank Stokes, Will Shade, Buddy Doyle, Dewey Corley, Jack Kelly and Floyd Jones. It was there that he got the nickname, Shakey Walter. Walter, it is said, made his first recordings backing Little Buddy Doyle in 1939 along with Jack Kelly while playing with the members of the Memphis Jug band and others. According to Neil Slaven’s notes to, Blues Harmonic Giant, Walter could not make ends meet playing music, so he worked hauling ice, and later was a chef at the Peabody Hotel. He even traveled to Chicago and played on Maxwell Street, but never stayed there long.

The importance of Sam Phillips opening the Memphis Recording Service in 1950 cannot be overstated as far as the recording of blues in the Memphis and Delta area. In addition to recording weddings and other events, Phillips began recording performers for out-of-town labels like RPM and Chess before starting his own Sun Records. Horton was among the earliest artists he recorded, when in February 1951 a session was held that would be sent to the Biharis in Los Angeles and issued on RPM. The very first track in this collection is, “Cotton Patch Hotfoot,” original unissued but a remarkable instrumental with simple echoey guitar from an unknown source and Willie Nix’s light drumming behind Horton.  Horton sounds here like Rice Miller, the second Sonny Boy Williamson, but dispalying a bit more swooping attack. Sonny Boy’s Trumpet records sounds like a model for the shuffle “What’s a Matter With You,” which has a pretty good vocal and superb harp. “Little Boy Blues,” recorded originally by Robert Lockwood a decade earlier, was actually released and coupled with “Now Tell Me Baby,” that Walter sings forcefully, but his rough voice led RPM to issue this as by Mumbles. Walter’s harp was at least every bit as good here as that of the second Sonny Boy, then holding forth on King Biscuit Time, with Walter’s  vocalized crying tone and irresistible swing.

For his second session in June, Walter was backed by the Newborn family; Phineas, Jr. on piano, Calvin on guitar and Phineas, Sr., on drums. On this session, Horton reworked a 1937 John Lee ‘Sonny Boy’ Williamson’s recording as “Black Gal.” His harp playing on this is styled after that of the first Sonny Boy Williamson. It is interesting to hear the stronger accompaniment than present on the earlier session. “Hard Hearted Woman” is a song he redo later in Chicago. This earlier take is done as a shuffle, with a peppy tempo, and  terrific guitar from Calvin Newborn behind Horton’s harp. On this track, Horton’s playing is more in a Rice Miller vein. “Jumping Blues” is another shuffle with his harp playing not fazed by the breakneck tempo. “So Long Baby,” takes the tempo down a bit as he hoarsely delivers the lyric to a blues adapted from Tampa Red’s “When Things Go Wrong (It Hurts Me Too).”

Walter returned to the Sun studios as a leader a year later. September 1952 found him with Jack Kelly on piano, Joe Hill Louis on guitar and Willie Nix on drums for a reworking of Big Bill’s “I Feel So Good,” as “We All Gotta Go.” Also at this session he recorded “Little Walter’s Boogie,” (obviously modeled after Little Walter’s “Juke”). This recording displays Walter's long saxophone-like lines mixed with fluttering, warbling cries. The three different takes of this are totally different with the spectacular second take being an instrumental that he would later return to as “Walter’s Boogie,” and record several with Memphis Charlie Musselwhite on Volume 3 of “Chicago The Blues Today,” and later with Johnny young on Arhoolie. “West Winds Are Blowing,” is a slow blues with a decent vocal, but displaying Walter’s lack of suppleness as a singer. In December 1952 with Albert Williams on piano, Joe Hill Louis on guitar and likely Willie Nix on drums for two takes of “Grandmother Got Grandfather Told.” where his harp has a bit more amplified sound as he negotiates the moderate tempo. In July, 1953, Walter covered Little Walter’s “Off the Wall,” with a band that included Pinetop Perkins on piano and Earl Hooker and two takes provided show his full tone, although not as quite as sharply controlled as Little Walter, and the backing doesn’t swing as hard as the Myers brothers and Fred Below.  Later, after doing a Muddy Waters session in Chicago, and some Johnny Shine sessions for J.O.B., Horton was back in Memphis recording “Easy,” one of the great harmonica blues instrumental recordings.  This is a stunning reworking of Ivory Joe Hunter’s “I Almost Lose My Mind,” with simple accompaniment from Jimmy DeBerry, that showcases his haunting tone, and judicious use of hand effects.

Within the next year, Horton would be established in Chicago and made his first recording as a leader there for the States label on a Willie Dixon produced session. “Hard Hearted Woman,” is transformed into a slow blues with one of his most expressive vocals and some of his most potent harp with the tenor sax riffing of Red Holloway and John Cameron part of the backing for Horton’s soaring solo. It and its backing side “Back Home to Mama,” are presented in issued and alternate takes. Along with the shuffle “Have a Good Time,” and “Need My Baby,” recorded for Cobra, this completes the issuance of Horton’s fifties recordings as a leader that take up the entire first disc and beginning of the second disc of this set.

For Part 2 of this tomorrow, I will examine some of Horton’s accompaniments. I purchased this collection.

I Blueskvarter made Blues History Available

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.

Last Century's Blues Dream

Has it been 40 years since Mike Vernon had traveled to Chicago and recorded Sunnyland Slim and Johnny Shines for the Blues Horizon label. With Willie Dixon on bass and organizing the sessions, and a band that also included Walter Horton on harmonica and Clifton James on drums, two albums were produced, Slim's Midnight Jump, and Shine's Last Night Dream. The two albums along with a few alternates from Slim's session are now available on the just issued CD, Sunnyland Slim & Johnny Shines, The Complete Blue Horizon Session.

Mike Vernon's notes in the booklet gives a pretty thorough account of the lives of both of these legends as well as what went on the June, 1968 day when these were recorded. Sunnyland Slim today is remembered by those lucky enough to have seen him perform. He could band that piano out exhibiting an occasional stutter step in his phrasing matched by his booming voice that delivered the songs with an authority that is missing among the living blues pianists with the possible exception of David 'Omar Sharif' Alexander. Equally impressive solo or fronting the band that would be Willie Dixon's Chicago Blues All Stars here, Slim does not disappoint with a few staples of his repertoire, Get to My Baby, one of the songs heard in alternate takes, the fine Stella Mae with some exquisite harp from Shakey Horton, as well as Slim's topical Depression Blues.

Slim sets out the ten performances by Shines, although Otis Spann sits in for Pipeline Blues. The Shines performances include somewhat more intimate performances with piano or harp, and all feature Shines, certainly one of the most adept slide guitarists and one of the great blues singers of all time (with echoes of Howling Wolf, Lonnie Johnson and Robert Johnson). Certainly there are echoes of Johnson on several songs such as Baby Don't You Think I Know (a reworking of Sweet Home Chicago), Solid Gold and Last Night's Dream (both echoing Walking Blues), as well his rendition of Sonny Boy Williamson I's Black Panther (although I prefer the version of Otis Spann he recorded for Testament). Vernon talks about some issues of Shines and Dixon being in tune and Clifton James' timing occasionally drifting, but Shines' voice simply cuts through any shortcomings.

Slim died in 1995, a few years after Shines had. Listening to these recordings by the Delta natives today one simply must recognize that the what is called Mississippi blues today simply pales in comparison to what these two produced four decades ago. Highly recommended and available from various online sources.