Chicago blues roots
4.07.2007
Sleepy Johny Eastes, Someday, Baby. And really soon
Well, Ladies en Gentlemen, I present you Sleepy Johnny Eastes. Sleepy John Eastes was born down South; he didn't pick any cotton, but he worked "at the railroad"; his mates called him "Sleepy" because, they said, the only things he was doing were beating his woman and sleeping. But he also played some strange instrument, made out a cigar-box with strigns on top. When he raised enough money, he bought himself a Stetson hat and a guitar and went up north, all the way to Chicago, where he proudley set the foundations of the Chicago style. He was usually playing with Hammie Nixon (harmonica), but he never refused jaming with Big Bill Broonzy, Big Joe Williams, Sonny Boy Williamson no I, Yank Rachel (the mandolin wizard), or Blind Joe Davis. During the folk revival, he was especially praised in both Ancient and New World.
A photo and a few tracks.
Well, Ladies en Gentlemen, I present you Sleepy Johnny Eastes. Sleepy John Eastes was born down South; he didn't pick any cotton, but he worked "at the railroad"; his mates called him "Sleepy" because, they said, the only things he was doing were beating his woman and sleeping. But he also played some strange instrument, made out a cigar-box with strigns on top. When he raised enough money, he bought himself a Stetson hat and a guitar and went up north, all the way to Chicago, where he proudley set the foundations of the Chicago style. He was usually playing with Hammie Nixon (harmonica), but he never refused jaming with Big Bill Broonzy, Big Joe Williams, Sonny Boy Williamson no I, Yank Rachel (the mandolin wizard), or Blind Joe Davis. During the folk revival, he was especially praised in both Ancient and New World.
A photo and a few tracks.
Too Late, Too Late Blues
For manny years now, the sisyphean purpose of the Document Records Company is to reissue all the prewar blues, jazz, boogie-woogie, gospel and country recordings. It probably is a vain goal (many of the master recordings being lost forever, while the copies, when they still exist, are in a miserable condition), but the results of the pursuit of this goal are surely stuning. Digging deep in some private collections, the Document Records researches found over 250 previously unreleased titles, alternate takes, and discoveries that he arranged in 13 volumes. I'll briefly present each volume in a separate post.
The first volume contains 26 songs which date from 1926 till 1944. The opening track is the Early Morning Blues, that Blind Blake recorded for Paramount. With his velvet voice and clear talking guitar, Blind Blake is menacing his baby that he'd leave her first thing in the morning.
Blind Arthur Blake was raised in an orphanage and he probably received a formal musical education. He played in the Hawaiian style, sliding his bottleneck on the guitar sitting on his lap. He had a miraculous left-hand technique, fretting each of the 12 strings of his guitar, which is quite rare (for the sake of the comparison, just listen to a Leadbelly song). Tere'se very little known about his life and even his name is an debatable issue among the researchers. We however know that his mates strongly doubted his blindness (there are some recurrent stories about his ability of driving) and, if we decide to trust a Reverend Gary Davis blured memory, that he died when he was about 40, hit by a car. You can find here a few really beuatiful songs.
The second and third songs of the CD are performed by Blind Lemon Jefferson (Lock Step Blues and Hangman's Blues). Unfortunately, the sound quality is really bad and I couldn't fully enjoy the clear sounds of Blind Lemon's 12 strings guitar. Blind Lemon lived in Texas, wandering across the state by train (ridin' the blinds) or by foot; in his travels, he usualy was accompanied by some boy, helping him find his way. Some of these boys start eventually havin' de blues, e.g. Leadbelly (well, he wasn't anymore what we call today a boy at the time he travelled and played with Blind Lemon) or T-Bone Walker. There are many myths about Blind Lemon, and one is particularly interesting because it claims that he wrestled and even boxed for money against guys who could see.
4. George "Bullet"Williams, Frisco Leaving Birmingham. Bullet Williams was a harp player, who'se style reminds of the De Ford Bailley technique. The song on the CD (an instrumental blues) is a variation on the traditional fox-hunting theme. I really don't know much about George Williams.
5. Bessie Tucker, My Man Has Quit Me, unissued before (actually she sings "my man have quit me") A classic 12-bar blues, with a piano accompaniement; I don't really like her voice, and this for no particular reason.
6. Memphis Jug Band, Stealin' Stealin' (unissued), an unusual performance for Will Shade fans; methinks a song for white folks' taste, but I wouldn't trust me on this issue, for I know my puritan tendencies.
7. Willie Baker, Weak-Minded Woman (unissued before), a very ironical and though bitter blues. The most interesting thing about Baker is his style. Although he primarly performs in the warm Georgia-manner of playing, he once in a while shows a Delta accent, both in sliding and in singing; there are moments when he seems having been influenced by Skip James.
8. Rev. DC Rice, Will They Wellcome Me There? (unissued before) The song suggests a preach in a congregation-meeting. Reverend Rice's powerful voice is sustained by a piano (a rather pedestrian interpretation) and by an impressive trumpet part.
9-10. Two boogie-woogies by Charlie Spand - Levee Camp Man (Breakdown), unissued test, and Mississippi Blues(test). His piano and singing styles are quite Delta, even when he plays with Blind Blake and although there are some scholars claiming he was born in Alabama (as he himself states in a 1940 recording; anyhow, he also states he was born in Mississippi). Well, I believe a song lyrics aren't quite a statement.
11. Robert Peeples, Worry Blues (test); well, it surele is a test.
12. Charlie Patton, I Shall Not Be Moved, take 2. Ever heard a drunk person being romantic? Try listen to this track. Joke aside, Patton get to move me once again by his intricated rhythm and by the rough modulations of his voice.
13. Big Bill, Bow Leg Baby, a Broonzy trade mark, with sound inflorescences blooming whenever a verse finishes.
14.Frank Brasswell, Mountain Jack Blues, a monoton series o walhing basses and a rural voice.
15. Memphis Minnie, Memphis Minnie-Jitis Blues, take b. I really don'y know what to say, it blew my brains off, like a meningitis stroke. I just love Memphis Minnie.
16-17. Kansas City Kitty & Georgia Tom, Do it some more & Knife Man Blues. I particularly loved Kitty's voice; Georgia Tom never impressed me much; the second duet have some fake accents and it doesn't work so well.
18. Bo Carter, New Auto Blues, a coomon way of playing and a particular way of pronouncing; a sentimental way of singing.
19. Big Bill, Worried in Mind Blues, this is not spectacular, but he sho' got it.
20-21. Joe McCoy, Meat Cutter Blues, alternate & What's the Matter with You?, with Jimmie Gordon playing the piano and with his whippin tender voice.
22. Memphis Minnie, Reachin' Pete, more masculine than never, with a voice claiming a woman's rights.
23. Kokomo Arnold, Milk Cow Blues No 5, test, a classic, with an abrupt opening and a master guitar actually talking and crying for the woman who left.
24. Memphis Minnie, Running and Dodging Blues, test, you'll just begin to swing.
25. Little Buddy Doyle, Slick Capers Blues, a Chicago style blues featuring Big Walter Horton with his little harmonica.
26. Lonnie Johnson, The Victim of Love. Believe it or not, this sensitive jazzy player once accompanied Texas Alexander. Lonnie Johnson was very praized in the 60 and 70s, both in folk music circuits and in jazz milieus, both Black and White. Some people say he reinvented the guitar.
Well, enough for today.
PS Here you can find samples of all the songs on the album. The sample lengh is about 12 teasing measures.
The first volume contains 26 songs which date from 1926 till 1944. The opening track is the Early Morning Blues, that Blind Blake recorded for Paramount. With his velvet voice and clear talking guitar, Blind Blake is menacing his baby that he'd leave her first thing in the morning.
Blind Arthur Blake was raised in an orphanage and he probably received a formal musical education. He played in the Hawaiian style, sliding his bottleneck on the guitar sitting on his lap. He had a miraculous left-hand technique, fretting each of the 12 strings of his guitar, which is quite rare (for the sake of the comparison, just listen to a Leadbelly song). Tere'se very little known about his life and even his name is an debatable issue among the researchers. We however know that his mates strongly doubted his blindness (there are some recurrent stories about his ability of driving) and, if we decide to trust a Reverend Gary Davis blured memory, that he died when he was about 40, hit by a car. You can find here a few really beuatiful songs.
The second and third songs of the CD are performed by Blind Lemon Jefferson (Lock Step Blues and Hangman's Blues). Unfortunately, the sound quality is really bad and I couldn't fully enjoy the clear sounds of Blind Lemon's 12 strings guitar. Blind Lemon lived in Texas, wandering across the state by train (ridin' the blinds) or by foot; in his travels, he usualy was accompanied by some boy, helping him find his way. Some of these boys start eventually havin' de blues, e.g. Leadbelly (well, he wasn't anymore what we call today a boy at the time he travelled and played with Blind Lemon) or T-Bone Walker. There are many myths about Blind Lemon, and one is particularly interesting because it claims that he wrestled and even boxed for money against guys who could see.
4. George "Bullet"Williams, Frisco Leaving Birmingham. Bullet Williams was a harp player, who'se style reminds of the De Ford Bailley technique. The song on the CD (an instrumental blues) is a variation on the traditional fox-hunting theme. I really don't know much about George Williams.
5. Bessie Tucker, My Man Has Quit Me, unissued before (actually she sings "my man have quit me") A classic 12-bar blues, with a piano accompaniement; I don't really like her voice, and this for no particular reason.
6. Memphis Jug Band, Stealin' Stealin' (unissued), an unusual performance for Will Shade fans; methinks a song for white folks' taste, but I wouldn't trust me on this issue, for I know my puritan tendencies.
7. Willie Baker, Weak-Minded Woman (unissued before), a very ironical and though bitter blues. The most interesting thing about Baker is his style. Although he primarly performs in the warm Georgia-manner of playing, he once in a while shows a Delta accent, both in sliding and in singing; there are moments when he seems having been influenced by Skip James.
8. Rev. DC Rice, Will They Wellcome Me There? (unissued before) The song suggests a preach in a congregation-meeting. Reverend Rice's powerful voice is sustained by a piano (a rather pedestrian interpretation) and by an impressive trumpet part.
9-10. Two boogie-woogies by Charlie Spand - Levee Camp Man (Breakdown), unissued test, and Mississippi Blues(test). His piano and singing styles are quite Delta, even when he plays with Blind Blake and although there are some scholars claiming he was born in Alabama (as he himself states in a 1940 recording; anyhow, he also states he was born in Mississippi). Well, I believe a song lyrics aren't quite a statement.
11. Robert Peeples, Worry Blues (test); well, it surele is a test.
12. Charlie Patton, I Shall Not Be Moved, take 2. Ever heard a drunk person being romantic? Try listen to this track. Joke aside, Patton get to move me once again by his intricated rhythm and by the rough modulations of his voice.
13. Big Bill, Bow Leg Baby, a Broonzy trade mark, with sound inflorescences blooming whenever a verse finishes.
14.Frank Brasswell, Mountain Jack Blues, a monoton series o walhing basses and a rural voice.
15. Memphis Minnie, Memphis Minnie-Jitis Blues, take b. I really don'y know what to say, it blew my brains off, like a meningitis stroke. I just love Memphis Minnie.
16-17. Kansas City Kitty & Georgia Tom, Do it some more & Knife Man Blues. I particularly loved Kitty's voice; Georgia Tom never impressed me much; the second duet have some fake accents and it doesn't work so well.
18. Bo Carter, New Auto Blues, a coomon way of playing and a particular way of pronouncing; a sentimental way of singing.
19. Big Bill, Worried in Mind Blues, this is not spectacular, but he sho' got it.
20-21. Joe McCoy, Meat Cutter Blues, alternate & What's the Matter with You?, with Jimmie Gordon playing the piano and with his whippin tender voice.
22. Memphis Minnie, Reachin' Pete, more masculine than never, with a voice claiming a woman's rights.
23. Kokomo Arnold, Milk Cow Blues No 5, test, a classic, with an abrupt opening and a master guitar actually talking and crying for the woman who left.
24. Memphis Minnie, Running and Dodging Blues, test, you'll just begin to swing.
25. Little Buddy Doyle, Slick Capers Blues, a Chicago style blues featuring Big Walter Horton with his little harmonica.
26. Lonnie Johnson, The Victim of Love. Believe it or not, this sensitive jazzy player once accompanied Texas Alexander. Lonnie Johnson was very praized in the 60 and 70s, both in folk music circuits and in jazz milieus, both Black and White. Some people say he reinvented the guitar.
Well, enough for today.
PS Here you can find samples of all the songs on the album. The sample lengh is about 12 teasing measures.
à
3:33 AM
3
commentaires
Libellés : Blind Blake, Blind Lemon Jefferson, Leadbelly, Memphis Minnie, T-Bone Walker
Well, here we go
4.06.2007
This blog is about blues. About its memories and especially about the remaining recordings. The recordings listed here will not follow any historycal or evolutive logic. The only criterion I use is my personal taste; or maybe it's the particular kind of blues I experience in some particular moment. For it seems my guitar and harp cain't do de job no mo'. I had to find another way to spell that ole blues out loud.
The manner of presentation I've chosen is writing about albums and collections. Some of them are famous, others almost forgotten. I love them equally.
I write about albums for several reasons. First of all, because this is how we acknowledge the blues (I mean the traditional blues). I once tried giving an empathetic description of the living blues, but I rediculous failed, listing clichés and pathetic moans. the time we live in condemns us to have a cold, rather profilactic contact with the music. It may hurt, but it's so true.
Secondly, I write about albums because it calls for coherence. It doesn't allow me compulsively writing pathetic divagations. It barely does allows recollecting some anecdotes about the lives of the singers (the blues being first of all a history). I write about blues albums because I am incapable of writing a blues history. Maybe by writing about these albums, the desired history would spring into light by itself.
In the third place, I write about albums because this may be useful. I don't know who you are or what you're after when visiting this blog, but I'm quite sure you're not looking for my regrets for being born too late, too late. If I get to present you something new, I'll be really glad; and if I get to convince you loving a song or a bluesman, I'll sure be more than happy.
Every time I'll find some relevant resources about the album I'll be writing about, I'll make sure point them out. By relevant resources I mean dusty clips on Youtube, ole songs on Pandora, public domain blues (such as Charlie Patton recordings on Wikimedia Commons) or album reviews on my favourite blues sites or blogs.
What I hope offering you by writing here is, if possible, a little bit of information and hopefully a preview (or should I call it postview) of what blues might have been; the occasion of a reverie.
But enough talking for now. It's late, everything is still, and I'm listening to Scrapper Blackwell.
The manner of presentation I've chosen is writing about albums and collections. Some of them are famous, others almost forgotten. I love them equally.
I write about albums for several reasons. First of all, because this is how we acknowledge the blues (I mean the traditional blues). I once tried giving an empathetic description of the living blues, but I rediculous failed, listing clichés and pathetic moans. the time we live in condemns us to have a cold, rather profilactic contact with the music. It may hurt, but it's so true.
Secondly, I write about albums because it calls for coherence. It doesn't allow me compulsively writing pathetic divagations. It barely does allows recollecting some anecdotes about the lives of the singers (the blues being first of all a history). I write about blues albums because I am incapable of writing a blues history. Maybe by writing about these albums, the desired history would spring into light by itself.
In the third place, I write about albums because this may be useful. I don't know who you are or what you're after when visiting this blog, but I'm quite sure you're not looking for my regrets for being born too late, too late. If I get to present you something new, I'll be really glad; and if I get to convince you loving a song or a bluesman, I'll sure be more than happy.
Every time I'll find some relevant resources about the album I'll be writing about, I'll make sure point them out. By relevant resources I mean dusty clips on Youtube, ole songs on Pandora, public domain blues (such as Charlie Patton recordings on Wikimedia Commons) or album reviews on my favourite blues sites or blogs.
What I hope offering you by writing here is, if possible, a little bit of information and hopefully a preview (or should I call it postview) of what blues might have been; the occasion of a reverie.
But enough talking for now. It's late, everything is still, and I'm listening to Scrapper Blackwell.
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