Friday, December 6, 2024
Five Discs You Might Have Missed (Volume 17)
Friday, October 18, 2024
Chicago Blues Master - Remembering Carl Weathersby
When I started listening to the blues in the mid-80's, I caught some of his recordings with the Sons of Blues, the group formed by harmonica ace Billy Branch in the 70's, along with guitarist Lurrie Bell and bassist Freddie Dixon (sons of Carey Bell and Willie Dixon, respectively, hence the Sons of Blues moniker). Weathersby joined he band in the early 80's, filling in initially for their regular guitarist, Carlos Johnson, but eventually he was asked to join full-time, playing guitar and sharing lead vocals for the next 15 years.
I didn't really get into his talent in depth until the mid-90's, when I picked up a copy of Branch's The Blues Keep Following Me Around recording on Verve Records' Gitanes Blues Productions subsidiary. It was originally set to be released as a Sons of Blues recording, but the label opted to credit it to Branch alone. Truthfully, the recording only included Branch and Weathersby among the band, the rhythm section being from the Louisiana area where the album was recorded, but Weathersby took lead vocals on four of the album's eleven tracks and wrote three of the songs, including the title track. I remember thinking, "This guy could go out on his own pretty easily"....and pretty soon, Carl Weathersby did just that.
Carl Weathersby was born in Jackson, MS in 1953 on February 24th. In the fall of that year, his family moved to Meadville in the southwestern part of the state, where they stayed until Weathersby was 13, when they moved to East Chicago, Indiana. He spent a lot of time in both places, going to school in East Chicago but going back to Mississippi in the summers. Of the two, Weathersby preferred living in the south because he remembered "havin' more fun down there."
Growing up, he listened to a variety of music in the blues, R&B, and soul genres. Motown was extremely hot, but his family listened to a lot of blues, such as Albert King and Little Milton, plus on the radio, there was the O'Jays, Johnnie Taylor, Tyrone Davis, Sam Cooke. Armed with this information, Weathersby's musical diversity on his albums and live shows probably make a lot more sense to his listeners.
Weathersby started playing the guitar as a teenager, playing along to records in the house. The story goes that he was practicing "Cross Cut Saw" over and over and decided to show his father and one of his father's friends, a diesel mechanic. As Weathersby played over the record, the mechanic said, "Man that ain't the way that song goes, that ain't the way I played it." The mechanic knew the song very well because he was Albert King.Weathersby later served in the Army during the Vietnam War, serving from 1971 until 1977. He also worked a number of jobs including prison guard and security guard at a steel mill in Indiana until it shut down. From that point, he decided to devote himself to the blues, playing rhythm guitar with none other than Albert King for several years on short road trips. He actually quit and rejoined King three times while his children were younger to stay off the road for extended periods to be with his young family.
"Albert would stay on the road for five, six months at a time. I couldn't do that. But if you were a guitar player with a good work reputation with him, and I did, he'd always take you back."
In 1982, Weathersby joined the Sons of Blues, graduating to a full-time spot and appearing on a couple of albums with the band over the next few years. He also backed other artists on their albums, including Buster Benton, Robert Covington, and Carey Bell. He occasionally shared lead vocal duties with Branch on the Sons of Blues albums, and it encouraged him to try to step out on his own, as he was building a big reputation in the Windy City.
In 1996, he released his first solo album, Don't Lay Your Blues On Me, on the Evidence label. It was a hearty mix of Chicago blues, soul, and R&B. He subsequently released three more albums (1997's Looking Out My Window, 1998's Restless Feeling, and 2000's Come To Papa) plus a "Best of" collection for Evidence. Weathersby's soulful vocals and King-influenced fretwork were a potent combination on all four releases. With each album, Weathersby moved more toward the soul side of the blues, which worked very well and really demonstrated his versatility.
Not long after his last Evidence release, Weathersby began developing health issues, most notably diabetes, which left him too weak to perform, much less record, and he soon was released from Evidence. After a nearly five year absence from the studio, he was able to regain his strength enough to record and release Hold On on Woodcutter Records. It was as strong as any of his Evidence releases with that powerful guitar work and several soul tracks to highlight his vocals.
Weathersby also appeared on multiple albums as a sideman over the next 20 years for Branch, Mississippi Heat, Rico McFarland, Trudy Lynn, Charles Wilson, Nora Jean Bruso, Biscuit Miller, Little Milton, and Toronzo Cannon (his broken-string solo on "Hard Luck" is most intense).
Weathersby at Rosa's - June, 2021 |
To these ears, Carl Weathersby was one of the most formidable of his generation of blues artists. He was a positively fierce guitar player and his vocals were just as impressive. His songwriting was also top notch and any of his albums are worth hearing from start to finish.....all killer, no filler. If you missed out on his talents, your blues collection is incomplete.
Friday, September 27, 2024
The Bayou Maharajah
James Booker (Photo by Henry Horenstein) |
After I got a taste of Booker's music, live and studio, I understood what the article was saying. I had been on a New Orleans kick for a while, after my first visit to Jazz Fest, grabbing copies of releases from Professor Longhair, the Nevilles, Fats Domino, Tuts Washington, Dr. John, Johnny Adams, Walter "Wolfman" Washington, plus several collections of New Orleans R&B (Rhino had a great three volume set, and Rounder had a few collections). Those two recordings from Booker were jaw-dropping....I had never heard such masterful piano playing, combining blues, jazz, soul, classical, boogie woogie. He could play at a breakneck pace, or he could slow it down and nearly bring you to tears. Combined with his vocals, which were distinctive, to say the least, it was a pretty heady mix.
Booker was born James Carroll Booker III on December 17, 1939 in New Orleans. He was a child prodigy, trained from six years old as a classical pianist and he played the organ in his father's churches. Due to his father's health problems, Booker's mother took him and his sister to Bay Saint Louis, MS to live on several occasions, near his aunt. He returned to New Orleans to stay at the age of eight, befriending several school classmates and future musical collaborators ......Art and Charles Neville, and Allen Toussaint.
When Booker was nine, he was hit by an ambulance in New Orleans. Booker said that it was traveling at a high speed, and he was dragged about thirty feet, breaking his leg in eight places. He spent months in the hospital, his leg was nearly amputated and he was given morphine for the pain. Booker later said that this was the beginning of his lifetime battle with drug addiction.
He also learned to play the saxophone, having been gifted one for his tenth birthday, but continued to focus on the piano and organ, performing blues and gospel every Sunday on New Orleans' WMRY radio station. He continued his classical training mastering Bach's "Inventions and Sinfonias" at the age of 12.
He worked as a musician during his teens and managed to do well in his studies as well, and even recorded several songs during high school, including his first release, "Doing The Hambone" on Imperial Records in 1954 at 14 years old. In 1960, his groovy organ instrumental, "Gonzo," made the charts on Duke Records (where Don Robey got composer credits as "Deadric Malone"). On many of his 45's, he was backed by some of New Orleans' finest musicians - sax masters Lee Allen, Red Tyler, and Robert Parker, drummer Earl Palmer among them.
He also toured and recorded with numerous stars of the time, "ghosting" on piano for Fats Domino occasionally, and performing with Huey "Piano" Smith (sometimes impersonating Smith on the road), Shirley & Lee, Joe Tex, Larry Davis, Junior Parker, Earl King, Smiley Lewis, Lloyd Price, and many others. He also played regularly in New Orleans nightclubs.
In the mid 60's, Booker was hit by two tragedies. His sister died in 1966 and his mother passed away less than a year later in 1967. Not long after his mother's death, he was arrested outside the Dew Drop Inn for possession of heroin. He had begun using the drug in the early 60's and this arrest resulted in a conviction and one-year sentence to Angola Prison (often called "the Ponderosa" in some of Booker's later songs and performances). While in prison, he lost his left eye in an assault (he gave different reasons for this over his lifetime).
James Booker at 1978 Jazz Fest (photo by Michael P. Smith) |
He continued to play sessions with Fats Domino upon his release, and also recorded with Freddy King. He also became friends with New Orleans D.A. Harry Connick, Sr., who served as his legal counselor occasionally. Booker and Connick had an agreement where a prison sentence for Booker would be nullified in exchange for piano lessons for Connick, Sr.'s son, Harry Jr. The pair formed a musical and personal friendship.
Booker cut a session in 1973 at Paramount Studios in Hollywood with Dr. John's band, but the master tapes mysteriously disappeared. Booker also played during this time with Dr. John on tour and performed on albums by Ringo Starr, John Mayall, The Doobie Brothers, LaBelle, and Geoff Muldaur, and his performance at JazzFest in 1975 earned him a recording deal with Island Records, which resulted in one release, Junco Partner.
Booker enjoyed some success in Europe in the late 70's, with several concert performances being professionally recorded and/or filmed for TV. One of these album releases was New Orleans Piano Wizard: Live! on Rounder Records. This time in Germany was essential to Booker's musical and personal life, since there was less racism, and more tolerance toward his drug use and his flamboyant personal life and the European audiences really appreciated his jazz and classical leanings with his piano playing.Returning to New Orleans in 1978, Booker became the house pianist at the Maple Leaf Bar, but the shift from concert halls to cafes and bars was a bit of a let down to the piano master and he wasn't as widely recognized or appreciated in his home country and even in his hometown. His mental health suffered as a result and his drug use increased.
He made his last recording, Classified, in 1982, considered to be the definitive James Booker release. Producer Scott Billington describes the frustration of working with Booker during this period in his autobiography, Making Tracks: A Record Producer's Southern Roots Music Journey. Booker wasted several days noodling around on the piano, starting and stopping songs, or just wandering out of the studio, then came in and recorded the album (plus many alternate tracks that appeared on an extended release a few years later) in four hours on the last day of studio time and disappeared into the street soon after.Booker died on November 8, 1983 at age 43, sitting in a wheelchair in the E.R. at Charity Hospital in New Orleans. No one knew how he got there. The cause of death was renal failure related to chronic heroin and alcohol abuse. He was mourned by all of the New Orleans music scene, especially the piano players. Dr. John called him "the best black, gay, one-eyed junkie piano genius New Orleans has ever produced," but that description, while accurate, really doesn't do him justice. James Booker was a one-of-a-kind piano prodigy whose performances and recordings regularly blew people's minds. Listen to this track and understand that this was an ALTERNATE take that wasn't used on the original Classified release (please check out the expanded release, you can thank me later).....just Booker noodling around on the piano on that last day of recording.
Multiple live recordings have also appeared as well. The standouts include the twin set from Rounder, the previously mentioned Resurrection of the Bayou Maharajah and it's companion, Spiders on the Keys, a collection of Booker's instrumental tunes.
JSP Records released a pair of live shows, King Of New Orleans Keyboard Volumes 1 and 2 in the mid 80's, which they have compiled into a single CD. All of these sets and the others have pretty good sound and each offer some noteworthy performances by Booker as a piano player and a vocalist....Booker's voice was almost as awesome as his fingers.There is also a compilation of Booker's early recordings on Night Train International Records, More Than All The 45s that was released in the 90's. Jasmine Records in the UK has recently repackaged some of those songs as The Ivory Emporer: 1954 - 1962 Sides.
Friday, August 23, 2024
Billy Boy Arnold's Classic Vee-Jay Sides Reissued!!
Back in the early 90's when Billy Boy Arnold signed with Alligator Records, I grabbed his Alligator debut, Back Where I Belong, as soon as I could and I was really impressed with him as a harmonica player and a singer. Being the blues novice I was, I wished that I could find more music from him.
Several years later, when I finally made the conversion from cassettes to CDs, I tried to update some of my previous collection and the Billy Boy Arnold albums were part of the set. I was able to get both of his Alligator sets....1993's Back Where I Belong and 1995's Eldorado Cadillac, but was never able to track down the Charly set at a price that wouldn't require me refinancing my house.
In the meantime, I was able to track down a copy of his 1963 classic More Blues On The South Side, and received a couple of his Stony Plain releases for review from the label in the early 2000's and, amazingly, though there was a considerable time gap between More Blues On The South Side and the two Stony Plain releases, it was apparent that Arnold hadn't lost an inch off his fast ball. I promise if you're not familiar with Billy Boy Arnold, if you listen to any release from any time period of his nearly 70 year career, you will become a fan.
In the meantime, the UK label Jasmine made my day when they reissued those great Arnold 50's sides on a wonderful collection called Come Back Baby, I Wish You Would, which not only included those Chess tracks and the Vee-Jay sides, but also his first recordings for the Cool label as a teenager ("I Ain't Got No Money" and "Hello Stranger") and several tracks from the Chess label where he backed Bo Diddley.....wonderful stuff.If you're a fan of early Chicago blues and don't have these sides in your collection, I highly recommend this set. The liner notes are great and informative, which is the case for all of Jasmine's releases. It's also a good place to start your Billy Boy Arnold listening experience, but by all means, don't stop there. Everything he recorded is worth a listen and he sounds as good now as he did in 1955.
Also, check out his autobiography, which we discussed here way back in January. His recollection of details throughout his life, dating back to meeting Sonny Boy Williamson I as a youth is remarkable. He recently signed a recording deal with Delmark Records, so hopefully we will get to hear new music from the soon-to-be 89 year old.(By the way, if you run through the FBF archives, you'll find a more-detailed post devoted to Billy Boy Arnold from nearly ten years ago if you'd like more information.)
(Another BTW, check out Jasmine Records' website. If you're a blues fan, you will more than likely find an album to your liking that you'll want to purchase.)
Friday, August 16, 2024
Five Discs You Might Have Missed (V. 16)
Like we posted last week, a lot of people don't listen to physical product anymore, but those that don't are missing out on a lot of treats, such as liner notes - which enabled me to learn so much more about my favorite blues artists, band and recording info - who played what instruments and where the albums were recorded, discovering songs on albums that I never heard on the radio that I really liked, and even the great album art and pictures that accompanied many of these albums.
Music is more convenient and accessible these days for sure, but I sure miss the days of thumbing through the music sections in record stores and finding a treasure that I wasn't expecting. That's actually how I got into the blues in the first place nearly forty years ago - seeing the cover of Showdown!, in the JAZZ section of a record store of all places. If I had not stumbled onto that album, I might never have stumbled onto the blues.
Okay, enough of that....here are five excellent albums that you might have missed over the years.
John Watkins - Here I Am (Blues Reference): I first heard Watkins on Alligator's The New Bluebloods collection and his featured track, "Chained To Your Love" was my favorite song on the album. Loved the passionate vocals and crisp guitar work and keyboards (Jimmy Johnson played rhythm guitar - I think Watkins was in his band at the time, and St. James Bryant played keyboards). Seems like the liner notes mentioned that Watkins had an album released in France, which he did on Blue Phoenix in 1985. I was not able to track that album down for many years, but finally tracked down a used copy of the reissued release on Blues Reference.
It was a long search, but well worth it. I really liked his mix of blues, soul, and R&B. He offered fine covers of several blues classics, adding his own personal touches to his versions, his original songs and his band support was first rate. That was the only release that Watkins had during his heyday. I heard that he left Chicago and ended up in Detroit. I was able to find him on Facebook and have chatted with him a couple of times on Messenger, telling him I tracked down his album. He seems to be doing fine, said he had fond memories of making the record. He is still performing as evidenced by several videos on YouTube.
Hip Linkchain - Airbusters (Evidence Records): I had no idea about Hip Linkchain (born Willie Richard in Jackson, MS in 1936 and died from cancer in Chicago in 1989). In my correspondence via email with Twist Turner during the late 90's, I heard about him - Twist played drums for him frequently. I was able to hear a couple of tracks on a UK anthology around that time and I liked what I heard, rock-solid Chicago blues, for sure, but had not ever seen any other releases except for this album, which was originally released on the Dutch label Black Magic in the mid-80's and reissued by Evidence in the early 90's.
Dick Shurman produced the album and features some top notch musical support (Barrelhouse Chuck, Jon McDonald, Ted Harvey, Robert "Huckleberry Hound" Wright, Big John Trice, etc...). Ten of the fourteen songs are originals and while there's nothing fancy on these tracks, if you're a big fan of good ol' down and dirty Chicago blues, you will love this set. I'm going to revisit Twist Turner's book, Blues With A Twist, to read some of the stories he wrote about Hip Linkchain - hey, grab that book if you haven't already. It's a keeper, too. This was actually Hip's last recording before he passed, and it's not very difficult to find a copy online - I found my copy at the Little Big Store - a surprise purchase while thumbing through the stacks of CDs.
Elam only recorded one studio album (he also cut a live set in the late 70's for the Storyville label, which was also titled Mojo Boogie). This is a really hot set of traditional Chicago blues with Studebaker John on guitar (his slide work is superb), Twist Turner on drums, and Little Mac Simmons on harmonica. Elem sounds great on vocals and the song list is pretty good, too. I kind of bought this as an afterthought the day I was shopping, but it ended up being my favorite of the bunch.
Smokey Wilson - Round Like An Apple: The Big Town Recordings 1977 - 1978 (Ace Records UK): Yet another surprise find at the Little Big Store, I first heard Wilson when he recorded for Bullseye Blues in the 90's and he was quite electrifying to me. His gravelly Wolf-like vocals and his gritty guitar work really grabbed you by the collar. I loved all three of his Bullseye releases.....I really miss that label and the others listed here as well.
Wilson released two albums on the Big Town label, which was owned by the Bihari Brothers, who recorded numerous blues and R&B artists in the 50's and 60's, such as B.B. King, John Lee Hooker, Johnny "Guitar" Watson, Elmore James, Lightnin' Hopkins, and many others. By the late 70's, their recordings had dwindled down, but they managed to release two albums on Smokey Wilson (Blowin' Smoke and Sings The Blues). This set captures songs on those albums, plus five unreleased tracks. Wilson sounds fine on these tunes, not quite as menacing as his later releases, but still pretty powerful. It was a nice predecessor for what was to come.
In his later years, he returned to Mississippi, where he began to get into the blues of his home state. He relocated to Clarksdale and managed to release a pair of albums of his own unique approach to the Delta blues he grea up listening to and playing. This 2006 release was his first one and he wrote all new songs that were a snug fit with the traditional sounds of the region. His relaxed vocals and guitar playing make this a great album to listen to when you're just chilling out at the end of the day. This one might be a little harder to find than the others, but if you do find it, you'll be glad you did.
Friday, August 9, 2024
Something Old, Something New, Something Borrowed, Something Blue #22
For those unfamiliar with the format, we offer a song from the early days of the blues (Something Old), a song from a recent blues artist (Something New), a blues artist covering a rock song or vice versa (Something Borrowed), and finally, someone who epitomizes the blues.....usually a legendary artist (Something Blue). It's a pretty simple format that can be worked in a lot of different ways. Here we go......
The only known photo of Casey Bill Weldon |
Weldon cut over 60 sides for the Bluebird and Vocalion labels and played on many other recordings by other musicians, notably Peetie Wheatstraw and Memphis Minnie. His biggest two songs were "Somebody Changed The Lock On That Door" and "We Gonna Move To The Outskirts Of Town," which was recorded in 1936 and has been covered by a number of artists, including Louis Jordan, Count Basie, Ray Charles, Mel Torme, Lou Rawls, Rod Stewart, B.B. King, The Allman Brothers Band, Muddy Waters, Buddy Guy, and Willie Nelson (with Keb' Mo'). Weldon married the blues singer Geeshie Wiley and they both disappeared from sight around 1938. He's believed to have passed away in Kansas City in 1972.
Kevin Burt |
Burt has released two more albums that are just as good as his debut, Stone Crazy in 2020, and a wonderful tribute to Withers (who Burt cites as an influence) that came out earlier this year, Thank You Brother Bill: A Tribute to Bill Withers. An Iowa native, Burt also has had several role in off Broadway plays, notably playing Papa Gee in the play Klub Ka, the Blues Legend, which sold out for two weeks in New York City. Burt also arranged all the music for that play. If he happens to be performing near your area, you need to check him out.
John Mayall |
Friday, August 2, 2024
Living Chicago Blues (Volume 1)
Over the years, there have been several great collections covering the blues from the Windy City. The first ones I heard were the three-volume Chicago! The Blues! Today!, on Vanguard Records (which we discussed here), the single volume Sweet Home Chicago (on Delmark Records, also discussed here).
I realize that a lot of people don't buy records so much anymore, or CDs, or any physical product where music is concerned. That's really a shame because they miss out on so much. One of the pleasures of buying a physical recording, which I still do frequently, is discovering a cool song that you might have otherwise missed. That was more applicable when I was buying rock, pop, soul, and R&B because the single isn't always the best cut. For the blues, it's almost essential to buy the whole album, especially these older set. I think most older blues fans would agree, and these four volumes include a lot of great tracks that you might have missed otherwise.
When Volume 1 was released in 1978, new blues releases were not nearly as frequent as in previous years. There were still a few labels, independent ones, that were occasionally releasing new product, but most blues artists were able to record overseas, making fine albums that eventually made it over to the states. Alligator was one of the labels that was still releasing new albums as often as they could afford to, and when they released this volume, which featured FOUR different blues bands on one album, it was eagerly received by blues fans.
Jimmy Johnson |
Johnson was approaching his 50th birthday when he cut these four sides, backed by Larry Burton on rhythm guitar, Carl Snyder on keyboards, Ike Anderson on bass, and Dino Alvarez on drums. They were all covers, beginning with the Duke Records classic blues ballad "Your Turn To Cry," the Percy Mayfield standard "Serves Me Right To Suffer," Louis Jordan's jump blues "Ain't That Just Like A Woman," and the Memphis soul burner "Feel Like Breaking Up Somebody's Home."
Johnson's musical talents were an even mix of blues and soul. I first heard him on his Bar Room Preacher album (also from Alligator) and his guitar work was very distinctive and was complemented by his expressive vocals, which were a solid fit in the blues and soul genres. Rock-solid support from the band helped get Volume 1 off to a fine start.
Johnson eventually signed with Delmark and released two excellent albums in 1979 and 1982 (1983's Bar Room Preacher was a reissue of a French release from the late 70's). He recorded a couple of albums in the 90's, and a collaboration with brother Syl at the turn of the century. At age 91, he released his final album, 2019's Every Day of Your Life on Delmark. During the pandemic, he appeared regularly on Facebook, playing the blues from home and corresponding with his fans, before suffering a stroke and passing away in late January, 2022.
Eddie Shaw and Hubert Sumlin |
Shaw and the Wolf Gang (Hubert Sumlin - guitar, Johnny "Big Moose" Walker - piano, Lafayette "Shorty" Gilbert - bass, Chico Chism - drums) rip through a five-song set. Only Walker was not a member of the Wolf Gang while the Wolf was the leader, this session was his first with the band. Four of the five songs were covers, Hound Dog Taylor's "It's Alright," Magic Sam's "Out of Bad Luck," Chick Willis' bawdy "Stoop Down Baby," and the Mississippi Sheiks' "Sittin' On Top of The World." Shaw's own "My Baby's So Ugly" wraps up their exciting set. Shaw's energetic sax is complemented perfectly by Sumlin's unique guitar work and it all reminds you in a way of their tenure with the Wolf.
It was rare for a Chicago blues band to be fronted by a sax player, but Shaw did just that for five decades, eventually bringing in his guitar-playing son, Vaan Shaw (his other son, Stan Shaw, is an actor of some renown), and making numerous raucous rocking recordings for Rooster Blues, Delmark, and Wolf Records before passing away in 2018.
Left Hand Frank |
Craig played with several teenagers (guitarist Eddie King and bassist Willie Black) outside The Zanzibar and Vi's Club for tips when he was too young to play inside, but eventually graduated to backing many of the city's foremost blues artists, such as Willie Cobbs, Jimmy Rogers, Lee Jackson, Jimmy Dawkins, Boyd Gilmore, Junior Wells, Carey Bell, Good Rockin' Charles, Hound Dog Taylor, and James Scott, Jr.
Craig worked as a manual laborer at a steel mill during the daylight hours, and played the blues at night. He was able to record in 1960, playing bass behind Eddie King, and later behind Morris Pejoe, Little Eddie Newell, and Willie Williams. In the 70's, he was still playing around Chicago when he appeared on this album, his first tunes as a front man, backed by Dimestore Fred and Pocketwatch Paul (his frequent collaborators around this time) on harmonica and rhythm guitar respectively, Bob Stroger on bass, and Odie Payne, Jr. on drums.
Craig penned two of his four songs - "Come Home, Darling" and "Blues Won't Let Me Be." He also covered Mercy Dee Watson's "One Room Country Shack" and the Ray Sharpe classic "Linda Lu." Craig's gritty, tough guitar playing was reminiscent of fellow former Mississippians/current (at the time) Chicagoans Magic Slim and Jimmy Rogers and he was also a strong vocalist as well.
Craig recorded a couple of additional albums after this set, a great live album recorded at the Knickerbocker Cafe in Westerly, RI in the late 70's and released on a French label (MCM), and a collaboration with Jimmy Rogers that appeared on JSP Records in England. He moved to Los Angeles in the early 80's to live with his sister and fell into bad health, eventually passing away in 1992. Both of his releases are worth seeking out.
Lurrie and Carey Bell |
While in Meridian, he played in his godfather Lovie Lee's band and eventually traveled with Lee to Chicago. He then learned from the harp masters in person and also learned to play bass from Hound Dog Taylor to enable him to get more work as a musician. This worked out well for him as the harmonica was being de-emphasized in favor of the electric guitar, so he played bass for several bands, including Eddie Taylor and Royal Johnson, until the harmonica returned to the forefront in the late 60's.
He recorded with Earl Hooker in 1968 and an album for Delmark in 1969 and played with Muddy Waters and Willie Dixon's bands in the early 70's, also recording a collaborative album with Big Walter Horton for Alligator in 1972 (the label's second release), and another effort for Bluesway Records. His band on this four-song set included his 19-year-old son Lurrie Bell on guitar (more on him in a later volume), Bob Riedy on piano, Aron Burton on bass, and Odie Payne, Jr. on drums.
Bell's set list included a Willie Dixon song previously recorded by Little Walter ("Too Late"), "Laudromat Blues," a hit for Albert King written by Sandy Jones, Jr., and his own contributions "One Day" and "Woman In Trouble." Bell was a robust vocalist, but his playing on the harmonica was breathtaking at time in their energy and depth, and the band's support is first rate, as well.
Bell continued to record for JSP, Blind Pig, Rooster Blues (with his son, Lurrie) and made multiple recordings for Alligator, including a pair of solo albums, an album where he teamed up with three other Chicago harp legends (Junior Wells, James Cotton, and Billy Branch), and an acoustic release with Lurrie, who has become one of the Windy City's finest guitarists. He passed away in 2007, releasing a live set on Delmark that same year.
The first volume of Living Chicago Blues was a good one, giving several artists an opportunity for more exposure that worked out well for them. The subsequent releases in the series would prove to bring other great, under-recorded artists to the forefront, giving rise to a real resurgence in "Genuine Houserockin' Music" of the Chicago variety. We'll be looking at additional volumes in the near future.
Friday, July 5, 2024
Local Bluesmen: John Littlejohn - Lake, Mississippi Bluesman
I have been listening to the blues since I was in my late teens. I've lived in Mississippi all of my life. Not the Mississippi Delta, mind you, but there is a bit of a tradition of blues artists from this area. The county I've lived in most of my life - Newton County - boasts several artists associated with the blues.
Kenneth Kidd, a.k.a. Prez Kenneth was born in the town where I live, Decatur. He migrated to Chicago and recorded several 45's in the 60's that are collector's items.
Willie Nix was a singing drummer who recorded for Sun Records, among others. He was born in Union, 10 miles north of me.
Andrew Brown, one of my favorites, was born in Newton County and when he moved to Chicago, he recorded blues, jazz, R&B, and gospel tracks and was featured in Alligator's Living Chicago Blues series.
I have posted about each of these artists, as well as others - Allman Brothers Band bassist Lamar Williams (also born in Decatur), radio magnate/politician Charles Evers (also born in Decatur), and record store owner/talent scout H.C. Spier (born in Prospect) on the Facebook edition of this blog, but plan to devote a blog post to these guys soon....stay tuned.
There are several other blues artists who were born in the adjacent counties, most notably Otis Rush, who was born in Neshoba County near Philadelphia, and Arthur "Big Boy" Crudup, who was born in Scott County near Forest.
Speaking of Scott County, I recently discovered another blues artist who was born there, pretty close to the Scott/Newton County line.
I had heard John Littlejohn on a couple of compilations over the years, but really didn't have much background on him until a few weeks back when I discovered he was born in Lake via allmusic.com. That prompted me to dig a little deeper on his background, which was pretty interesting.He was born John Wesley Funchess on April 16, 1931 in Lake and spent most of his early life there. Per Bill Dahl's biography at allmusic, he first heard the blues as a young teen at a local fish fry, played by his father's friend named Henry Martin, who was playing guitar. He worked at plantations when he was young, during which time his father won a guitar, which encouraged him to learn to play with mentoring from Martin. At 15, he left home, headed to Jackson, MS, then to Arkansas and Rochester, NY before ending up in Gary, IN, working his way into that city's blues scene at age 20. He was influenced by Elmore James and had become a first-rate slide guitarist by that time.
Littlejohn played in Chicago with James, Jimmy Reed, Eddie Taylor, Jimmy Rogers, Howlin' Wolf, and Muddy Waters, among others, before going solo in the mid 60's. Also, as a result of his residency in Gary, he became acquainted with Joe Jackson and Littlejohn and his band occasionally served as a rehearsal band for Jackson's family band, better known as the Jackson 5.
In addition to being an outstanding guitarist, he also proved to be a superb singer and songwriter. He began cutting singles for several record labels (Margaret Records, T-D-S Records, Joliet Records) around Chicago, beginning in 1966. His biggest tune was his version of the Brook Benton song, "Kiddio."He hit a lean period in the early 70's, going to work at a gas station and working as a mechanic, but was rediscovered by European blues fans. He released a few other albums for Bluesway (Funky From Chicago), MCM/Storyville (the excellent live album Dream), Black & Blue (another live set from the 1978 Chicago Blues Festival), and in the mid 80's for Rooster Blues (So Called Friends), and was able to work pretty regularly throughout the 80's and early 90's.
Sadly, Littlejohn fell into ill health in the early 90's and passed away in Chicago on February 1, 1994 from renal failure at the age of 62.
Recently, I was able to pick up copies of Chicago Blues Stars (reissued by Arhoolie as Slidin' Home) and the live Dream set. Both are outstanding and show Littlejohn to be a versatile guitarist and a strong vocalist. The live set was recorded at Ma Bea's in the mid 70's and is one of the better live sets that I've heard from that era.I, for one, think that the Mississippi Blues Commission should consider placing a Blues Marker in Lake to honor John Littlejohn. He's certainly one of the most underrated Chicago blues guitarists and deserves some recognition for his talents. Be sure to check him out if you're not familiar.