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Home , Arbee Stidham, Arhoolie Records, Bob Koester, Born Under a Bad Sign, Brewer Phillips, Detroit Junior

S Lbliies festival 500 \r «a PROGRAM

FRIDAY NIGHT SUNDAY AFTERNOON CHAIRMAN: John Fishel CO-CHAIRMAN: Ken Whipple FESTIVAL LIASON: Glenn Baron John Jackson ENTERTAINMENT: Mark Platt Bwfcfea-WMte O ,- . VV'-'J-- ■Papa-ti-ghtföi5t “ PUBLICITY: Chris Seltsam, Tom Leavens, Mighty Joe Young Little Brother Montgomery > TECHNICAL: Worth Gretter PROGRAM: Dick Pohrt, Marion Krzyzowski, John Steinbach, Joel Silvers, A ustin Igle- Oy , hart, Jim Dulzo Howlin Wolf ^ DISCOGRAPHIES: Mark Platt POSTERS: Andy Whipple. Ro Lee, Seri Gra­ phics SATURDAY AFTERNOON SUNDAY NIGHT STAGE MANAGER: Pete Ostel rt\ i^ e e c k SOUND: Hanley Sound Houndog'Taylor LIGHTING: Tom Fields Associates Lazy Bill Lucas SECRETARY: Nancy Niec Little Joe Blue M.C.: Paul Oliver Fred McDowell GENERAL CO-ORDINATING COMMITTEE: Nancy Hessler, Gerard Mulder, Walter Kneer, Bill Joy, Maurice Rinkel, Jerry , Newman, Don Bohrt, Lt. Conn, Brad Son House Barr, Clint Hewitt. Jim Sandler, Rev. Ix j ?afy€ Swv )fh Mark Harris SATURDAY NIGHT SPONSORS: University Activities Center, Canterbury House Robert Pete Williams with Johnny Young Dave Alexander Joe Turner with Eddie Vinson Cover photo: R o W if Vv' > «ci

PHOTO CREDITS

TOM COPI: 56,51,49,45,44,39,30,31,32,26,24, 19. STANLEY LIVINGSTON: 10,6. ROYAL TOWNS: 55. : 46,22,23. RAY FLERLAGE: cover,27,15. JORG KORAN: 42. BOB KOESTER: 34,21. STEVE La VERE: 41. DAVID CAPPS: 14.

LAYOUT AND DESIGN: Bill Benoit Rhonda Benoit

ASSISTANT: Bob Hippier

PHOTOS: Thomas R. Copi

2 ann a lte r festivo) pcgram 1970 T 1 \ le I b u e s n e ve r d ie

The Blues will never die. We of Festival Committee whole heartedly believe this, but we also accept that time changes everything, even the blues. The Ann Arbor Blues Festival is set up as a tri­ 'f e e bute to an American musical genre that has been a - / J if part of black culture in this nation since slave days. It is from and of the black experience. Those who bemoan the passing of the so-called rural blues fail to realize that the same intesity and feeling is apparent in the blues that pour from the black urban community today. The blues are the same - only the problems are different. Really, the blues never die, only bluesmen. In the short space of twelve months since last year’s festi­ val the blues world has been saddened by the un­ timely death of many noted bluesmen. Sadly, each of the artists who died represented a high point in the craft that they followed. It is due to these men that the blues continue to be heard and loved. Their deaths have left a vacancy in our hearts that will never be filled. As a gesture of appreciation to their greatness, we would like to pay tribute to them: T. V. Slim - On October 21, 1969, at the age of 53, Oscar “T.V. Slim” Wills died. Slim died in an auto accident near Kingman, Arizona, when his car hit an oil slick. Slim was a little known blues­ man whose big hit was “Flat Foot Sam” which was distributed nationally by Checker. Slim leaves a wife and eleven children. Kokomo Arnold - On November 8, guitarist-singer Kokomo Arnold dTed of a heart attack. He was born in Lovejoy, Georgia on February 15, 1901, and be­ gan playing professionally in 1924. He moved to Chi­ cago in 1929 and played there until 1941. During this time he recorded for Decca. Then he drifted into obscurity never to play again. J-^XJBrpwn - On November 24, saxophonist J. T. Brown pass??} away. His death went virtually un­ noticed. J. T. was best known for his great sax work with J. B. Lenoir and . He was highly respected among ’s musicians and was known as “Nature Boy”, “Sax Man”, “Bep”, and “Big Boy”. He played a great, rocking sax and occasionally sang. He can be heard on recordings with many of Chicago’s greatest artists. He also leaves a few obscure singles as his legacy. • In late November Skip James, the legenaary ijelta blues singer, passed away at the age 3 ann arbor blues festival program 1970 of 67. Skip recorded during the 1930’s and then lived Otis had been one of the most active pianists in the in total obscurity until 1964, when he was “redis­ blues. He was an integral part of the covered”. His discovery led to two great on Blues Band until a few years ago when he left the Vanguard and an appearance at the 1964 Newport group to make it as a solo performer. Besides play­ Folk Festival where he khocked the audience out. ing and recording with Muddy, Otis backed up almost Soon after he fell ill, never to perform again. His every other blues musician on the Chicago scene death marks the closing of a great chapter in Amer­ in the last 20 years (Howling Wolf, , ican music. Johnny Young, Buddy Guy, Chuck Berry, Sonny Boy MajricSam - On December 1, Samuel () Williamson, Johnny Shines, etc.) He was by far Magneti collapsed and died of a heart attack, the most responsive and sensitive accompanying probably brought on by overwork more than any­ musician in the blues world. thing else. Like many brilliant blues musicians, for­ Spann was also a remarkable solo performer and tune and fame eluded Sam. He spent most of his we are fortunate to have a wealth of his recordings. musical career scuffling around Chicago for jobs in He had a highly individual style of playing and was the bars and lounges which were usually character­ a moving singer. Sitting down at the , he quickly ized by their long hours and low pay. Still, Sam’s became immersed in his music. Perhaps more than fluid guitar work and powerful, piercing vocals helped anyone else, he epitomized the blues. to make his name legend among the ghetto blacks With Spann’s death, a big part of the blues also on the South and West sides of Chicago. He formed died, for there is no one around to take his place. his first band while still in high school and cut Otis was to appear in Ann Arbor this year and in some 78’s for the now defunct Cobra label at the age his honor the Blues Festival Committee has renamed of twenty. Sam was the undisputed highlight of the festival site Otis Spann Memorial Field. last year’s festival. Virtually unknown when he came Lonnie Johnson - On June 17, veteran bluesman to Ann Arbor, Sam completely destroyed the crowd Lonnie Johnson died as the result of a stroke. Born in a brilliant 45 minute set. Long after he had left in in 1889, Lonnie first became famous the stage, cheerleader type chants arose from the playing the guitar in Story ville bordellos. Probably no audience calling him back. He had released two great man influenced modern blues and rock guitar styles albums on Delmark, made a tour of Europe, and more than Lonnie Johnson. From and was just beginning to achieve some long overdue to B. B. King, every guitarist owes recognition when he died. Magic Sam was 32. a debt to Lonnie. He developed the modern blues . Sliro.JJarRft - On January 31, 1970 sound. died of a heart attack in Baton Rouge. Slim was Lonnie had a long and illustrious career beginning born James Moore and was only 45 when he died. in the early twenties. He played with Duke Ellington A great guitar and harp player, Slim had been play­ and and accompanied such singers ing and recording for many year s. He recorded as Texas Alexander and . Lonnie several outstanding albums for Excello and produced recorded on a wide variety of labels and left us such hits as “I’m a King Bee”. “Baby Scratch My with probably the largest collection of 78 recordings Back”, and “Tip on In”. * made by any blues singer. He was scheduled to appear at this year’s festival and he will be missed - On April 20, Earl Hooker succumbed by all of us. to tuberculosis. B. B. King had called him “the greatest living blues guitarist - except he’s too damn We of the festival hope to achieve, as last year, lazy”. Earl first recorded in 1948 for King records. a true rapport between the audience and the per­ Over the years he backed up many musicians, includ­ forming artist. This shouldn’t be too difficult as ing Junior Wells, Muddy Waters, and his cousin this year’s show contains some of the greatest blues John Lee Hooker. Earl, who picked up his slide acts around. This is a lineup that may never be guitar style from Robert Nighthawk, was a great repeated again. Watch, listen, and dig it, which performer in his own right. In the last few years shouldn’t be too hard as the next three days of he cut some great albums for Arhoolie, Blue Thumb, music will be fantastic. After the three days are and Bluesway. However, fame eluded him. He suf­ over, see if you don’t agree with us that the Blues fered from TB for many years and this disease finally shouldn’t die. As the late Otis Spann sang: claim ed him a t the age of 40. Otis Spann - The death of Otis Spann on April We just can’t let the blues die 25 stunnerand saddened the blues world. Otis died Blues don’t mean you no harm at 40 of cancer of the liver in Cook County Hospital People we can’t let the blues die in Chicago. Among blues pianists Otis Spann was Blues don’t mean no harm without peer. For over two decades, ever since he I’m gonna move back in the lowlands arrived in Chicago from his home in Belzoni, Miss. That’s where the blues came from /L arm arbcr blues festival program 1970 MORE U S FROM THAT CHICAGO LABEL- DEIMARK

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It is a popular artifice of writers and rock musi­ cians who haven’t been on the scene in five or ten years, if at all, to depict the Chicago blues as a dying idiom. But those who have spent any appreciable time in the more than 30 blues bars on the South and West Sides that still present the music every weekend night know better. They discover Junior Wells and Junior at Peppers; Otis Rush at the Alex Club; Luther Allison at the L & A Sounge; Buddy Guy, Andrew Odem, and the Myers Brothers at Theresa’s; J. B. Hutto at Rose and Kelly’s; Carey Bell and Jimmy Dawkins at Duke’s Place; Johnny Littlejohn at the Riveria; at Florence’s; Sunnyland Slim at the J & P Lounge; Mighty Joe Young at the Brass Rail; or 23-year old Young Blood (Alvin Nichols) a t the S portsm an’s. No, the blues are not dying in Chicago. The vital influence of Gospel music and the better soul singers, the cultural interchanges with jazz, the oppressive partnership of the political machine, the crime syndi­ cate, and the racist system must all disappear before the Chicago blues will be spoken of in the past tense. * How did Chicago become a major center for blues activity? Of course there are no phonograph records to give us any insight into the musical environment of Chicago in the earliest years of black migration to the city. (Since Chicago was founded by a black man, we should speak of white migration.) But very early in the history of so-called race recording, Chicago became important. The venerable Paramount label hired a sportswriter named J. Mayo Williams in 1923 to produce its series of blues, jazz, and vaude­ ville sessions beamed to the black community. He crossed the street from his office and hired , Lovie Austin and at the Monogram Theatre, later went afield to give us the first sides by . Since recording apparatus was quite bulky, the artists were brought to the Chi­ cago area. When the records sold well, many of them stayed. ' Chicago was firmly established as THE “race” recording center by 1926 when Okeh and Vocallion centralized their blues activity here. Gradually a body of resident bluesmen developed from this re­ cording activity and from the increasing movement to the city by blacks trying to escape the more naked oppression of the South. Junior ^ ann arbor blues festival program 1970 During these early years, the bluesmen literally in from the rural South — all this still keeps the pot “put it in the alley” - played on the streets and melting and the music close to its roots. in the alleys for tips - or worked at the house By 1938, when blues recording was organized by rent parties and whiskey flats (prohibition, remem­ the black musicians L'nion local, electric guitars be­ ber, wasn’t repealed until 1932). A walk through resi­ gan appearing on records. In the 40’s the pianists dential neighborhoods on a weekend night provided began to overtake the guitarists in popularity with ample evidence of house parties in progress. Some­ Roosevelt Sykes, Jack Dupree, and, times it was a fulltime business: the selling of alcohol later, Sunnyland Slim broadening the appeal of the and water, gambling and vice to the accompaniment blues to middle-class blacks who chose to forget the of the rolling bass that found its way to the city unpleasantness of their Southern birthplaces and the from the rural South. music connected with it. Most of the itinerent musicians were blues singers Wartime prosperity brought with it increased wages who learned their songs down home but found a for workers who brought a love for the blues with more generous audience in South-Side flats. Some them from the Southern rootland. Blues bands started had originally played the guitar but, with a piano appearing in the taverns of the West and South- in every building on the South-Side capable of a Sides. played at Sylvio’s, Sonny louder volume of sound, the stringed instrument Boy Williamson sometimes in the band with him. was discarded. A few Chicago pianists who didn’t Sykes, more debonair, worked steadily between sing developed the instrumental possibilities of the North Side syndicate joints and 47th Street’s then idiom. Meade Lux Lewis, Albert Ammons and Jimmy swanky spots. And , Curtis Jones, Blythe were really jazz musicians — and could per­ and other really popular blues artists haps be termed the first “soul” jazzmen because of no longer had to depend on cop-dodging on the their close association with blues at its most mag­ South-Side and Maxwell Street Sunday afternoons nificently primitive level. for income from their music. The development of a recognizable Chicago blues But Melrose, who now had a virtual monopoly idiom can be seen in the evolution of Big Bill (since Mayo Williams Decca operations were moved Broonzy’s recordings beginning with his to New York after 1938’s recording ban in Chicago on Paramount and Champion thru the gradually more and never returned) on Chicago recording, did not urbanized approach on his later Bluebird and Vocal - record the bands that appeared in the taverns. His lion (later Okeh and Columbia) sessions. Some of sessions were polished but lacked the robustness of the credit belongs to , a white music the blues joints. publisher who eventually supervised two-thirds of Before getting into the modern Chicago scene, Chicago blues sides during the late 30’s and 40’s. several extremely important artists of the early 40’s He combined bluesmen often literally off the farm should be mentioned. First, guitarists Baby Doo and with jazz musicians from New Orleans who were Willie James Lacey — who must have influenced influencing Chicago’s music scene in a way that was greatly the way even T-Bone Walker (who worked unheard of in the early 20’s. Chicago regularly at that time) played the blues. Thus, trumpeters Lee Collins and Punch Miller, And you must hear the records of Doctor Clayton clarinetist Arnett Nelson, bassist , to appreciate how much this African-born and New drummer Jump Jackson and many others are featured York-bred vocalist influenced every aspect of the on numerous Melrose dates of the period and are blues in the pestwar years. also known in the world of traditional jazz. Pianists Recording of bands as they sounded in the clubs “Black Bob” Robinson and Thomas A. Dorsey had had to wait for the appearance of the independent careers in black vaudeville and jazz which brought labels in the late 40’s. Of course, the surviving label some sophistication to their blues accompaniments of this group is Chess, with its Checker and Argo with Big Bill and Tampa Red. Eventually the piano subsids, and marvelous reissue series. But let’s pay became an integral part of Chicago-made blues re­ heed to the others. Miracle, Premium and “United/ cordings and a few pianists such as Joshua Alt- States” were to give us modern-style sides by Mem­ heimer, Blind John Davis, Roosevelt Sykes and even phis Slim, Roosevelt Sykes, Robert Nighthawk, Jun­ onetime guitarist Peetie Wheatstraw ior Wells and . Disc jockey A1 made literally hundreds of sides with various blues­ Benson’s Swingmaster, “Parrot/Blue Lake” gave us men. J. B. Lenore, , Dusty Brown, and some Now, it must be remembered that Chicago had classic early T-Bone Walker material in the 50’s. feeder-cities primarily Indianapolis (Champion Jack “Cobra” produced magnificent debut sessions by Dupree and before him, LeRoy Carr) and St. Louis Magic Sam, Otis Rush, Shakey Jake and Buddy Guy (Sykes, Wheatstraw, , , in the late 1950’s. J.O.B. entered dozens of great Rober Lee “Nighthawk” McCoy) and more recently sides by Sunnyland Slim, J. B. Lenore, Johnny Shines, Memphis (Wells, Cotton, Big Walter and the BB Willie Mabon, Floyd Jones, John Brim, , King school). Also, new talent was constantly coming and others. Vee-Jay began with Eddie Taylor, Jimmy 7 ann arbcr blues festival pogram 1970 Reed and later John Lee Hooker, merged with Chance twenty years ago the dixielanders were turning the (J. B. Hutto, ) before going pop with same trick — but the creative ferment of the ghetto the Beatles, Four Seasons, etc. (Only poor manage- is all-encompassing. It can almost be sniffed amid ment prevented Vee-Jay, United and Parrot from be- the stale beer and cigarette smoke of the thriving coming major independent operations.) tradition of blues bar sessions. Elmore James’ and Junior Wells’ Chief and Pro- That’s why the young Chicago blues fans who file releases are much sought after by 50’s blues recently kicked off America’s first blues magazine collectors. “USA Age”, in the 60’s, brought back dubbed it LIVING BLUES. If you come to Chicago, Magic Sam, Willie Mabon, Homesick James, and and are 21, you can usually find some of the clubs added A. C. Reed, , Ricky Allen, and listed in the Sun-Times Thursday and Sunday enter- others to the blues discography. Bill Lasely’s Web- tainment calendars — a few dozen of the others Cor operation concentrated on Mighty Joe Young. In are listed on the wall chart at the Jazz Record Mart the last few years the small-label tradition continues at Grand and State just North of the Loop, with Bo Dud’s various labels (TDS, Dud-Sound, FM, And if Chicago’s still cooking, so is St. Louis, etc.), Nation/Salem, and others offering artists only Memphis, etc., etc., etc. Anyone who thinks the beginning to appeal to white blues fans: Johnny Lit- blues are dying doesn’t know much about the sick tlejohn, J. L. Smith, Big Mac. Rev. Harrington’s state of American society, about racism, about artis- Atomic’-H label continues its very long history with tic evolution, or the fecund musical environment a recent release by Eddie Clearwater. of the black church. In the tradition of tavern-owners who have oper­ ated labels, Cadillac Baby still recorded Earl Hooker, Little Mack and Eddie Boyd 45’s in the early 60’s. The day bartender at Theresa’s operates CJ/Colt/ Firma with items by Hooker, Little Mack, Detroit Junior and a recent release by Lee Jackson. These 45’s are often pressed in quantities as small as 500 or 1000 copies, usually do not get the vital THE ORIGINAL BLUES LABEL air-play needed to become really popular. But a ANTHOLOGY SERIES real local smash such as Junior Wells’ UP IN HEAH THE LEGEND OF ELMORE JAMES: Wild Ahn»*-*-*». R«hv - 1 Held My Baby Last can break thru to the 35,000-50,000 bracket and Night; Long Tall Woman; Where Can M y Baby Be; I Believe; Sinful Woman; Canton, Mississippi Breakdown; 1839 Blues; Please Find My Baby; So Mean To Me; Hand In Hand; Rock My Baby mean more in terms of local gigs than any blues R igh t.______KST-9001 : Passing By Blues (Howling W olf); I'm The W olf (Howling W olf); The Way1* LP’s ever made in Chicago by Delmark, Arhoolie, You Treat Me (Joe Hill Louis); Highway 99 (Joe Hill Louis); Walter's Blues (Walter Horton); Love My Baby (Bobby Bland & Junior Parker); D rifting From Town T q Trmm-tftnlvhy -Wfam iH- Testament or Vanguard. Western Union Man (Joe Hill Louis ); The Sun Is Rising (Howling W olf); M y Friends (Howling It is true that you cannot come to Chicago and Wolf); Lonesome Bedroom Blues (); Little Boy Blues (Walter Horton). KST-9002 BLUES: Three Hours Past Midnight (Johnny 'G uitar' Watson); If Found My \/ exprect to find the old country players like Big Baby (George Sm ith); Hey Mr. Porter (George Sm ith); The End (James Reed); My Mama Told Me (James Reed); I've Done Everything I Can (Walter Robertson); Prowling Blues (Johnny Fuller) Joe Williams or working the West- Hard Times (Johnny Fuller); It's Your Life (Johnny Fuller); Buddy (Johnny Fuller); Back Home ______(Johnny Fuller); Johnny's Lowdown Blues (Johnny Fuller).______K S T-9 00 3 Side. Times change and with it the music changes. BLUES FROM THE DEEP SOUTH, VOL. 4: John Henry (Pinetop Slim); Applejack Boogie (Pinetop Slim); Fast Life (Pinetop Slim); Monte Carlo (Dixie Blues Boys); M^1 SaBy "" You must either accept change in art or encrust Leii Tuwil (DlXiy Blues Boys) 13 Highway (Leroy Simpson); Sitting Down Thinking (Big Bill Dotson); Dark Old World (Big Bill Dotson); Keep Em Down ( Johnny Todd); Miss yourself in a sad nostalgia. You will not even hear Darlene (Mr. Harris - Arkansas Johnny Todd); Poor Boy (Pinetop Slim); I'm Gonna Carry On the Muddy-Little Walter sound very often anymore. (Pinetop Slim). KST-9004 : M ilford Blues (Little Son Jackson); Unemployment Blues (Smokey Hogg); J. B. Hutto, Lee Jackson, Sunnyland Slim, Louis Bad Life Blues (Smokey Hogg); Meet Me Tonight (Jesse Thomas); Neglected Woman (Alexander Moore); Prison Bound (Lowell Fulsom); Lillie Mae Boogie (Alexander Moore); Cairo Blues ( Little Son Jackson); Texas Blues (Jesse Thomas); Tomorrow I May Be Gone (Jesse Thomas); Myers, Big Walter and even Junior Wells and Buddy Boogie Like You Wanna (Charlie Bradix); Dollar Diggin' Woman (Charlie Bradix). KST-9005

Guy in a mellow mood will give you a glimpse of DETROIT BLUES, VOL. 6: Women In My Life (John Lee Hooker); Reach My Goal (John Lee Hooker); Looking For Romance (John Lee Hooker); Playing The Races (John Lee Hooker); the past occasionally - but they are with the newer That's All Right (Eddie Kirkland); Time For My Lovin' To Be Done (Eddie Kirkland); She Keeps Me Guessing (Eddie Burns); Sitting Here Wonderin' (Eddie Burns); I Love To Jump The sounds, too, and that’s why they remain a part of Boogie (Eddie Burns); I Tried (Sylvester Cotton); Brown Skin Woman (Sylvester Cotton); a vital music scene which is producing new artists Sak Relation Blues (Sylvester Cotton). KST-9006 ARKANSAS BLUES VOL. 7: Blues Serenade (Baby Face Turner); Gonna Let You Go such as Jimmy Dawkins, Lefty Diz, Young Blood, (Baby Face Turner); My Little Machine (Drifting Slim); Good Morning Baby (Drifting Slim); Step Back Baby (Sunny Blair); Send My Baby Back (Sunny Blair); Lonesome (Robert Dudlow and others who are able to think and play beyond Taylor); Old Helena Blues (Robert Dudlow Taylor); Jerusalem Blues (James "Peck" Burtis); My Baby's Gone (Sunny Blair); She's The Little Girl For Me (Junior Brooks); Best Days (Baby the genious of B. B. King’s style. Face T u rn e r).______K S T-9 00 7 LIGHTNIN' HOPKINS - A LEGEND IN HIS OWN TIME: War News Blues; V In the “New York Times” (June 21, 1970), Albert Black Cat; Bad Luck And Trouble; Mistreated Blues; Candy Kitchen; Need Time; Appetite Blues; One Kind Favor; House Upon The Hill; Everyday I Have The Blues; Someday Baby; Ticket Agent. Goldman depicted bluesmen as “middle-aged or ______KST-QQ08 elderly” but has probably never been inside a blues AVAILABLE AT YOUR LOCAL RECORD SHOP club. The commentators, promoters and producers of certain white bluesmen who drew most of their L_. «âÆ imspiration from occasional sitting-in at Peppers or Theresa’s ten years ago tell the same fiction from the same lack of knowledge. It’s good for the imi­ tative musicians’ ego and Myth (and business) to por­ tray themselves as the saviors of a dying tradition — f i am artxx blues festival program 1970 lake the blues home with yo -

X--B. LENOIR T. BONÈ WALKER BLUES JAM IN CHICAGO BH 4803 Good Feelin’

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Polycicr. Crusade and Blue Horizon Records, Cassettes and 8-Track Cartridges are distributed in the USA by Polydor Inc.; in Canada by Polydor Records Canada Ltd. O ann arbcr blues festk/al program 1970 Definitions of blues styles and characteristics are seldom precise - probably no one knows exactly what is meant by “Country blues” or “Mississippi Blues” or “Classic blues”. Such terms are rarely used by blues singers anyway; when they are, they have generally been picked up from blues critics and en­ thusiasts. “Urban blues” is, similarly, an uncertain term. Few blues collectors would call Blind Lemon Jefferson or , or Blind Boy Fuller “urban blues singers”, but if the term means “living in, or pertaining to, a town or city” then all of them could come within this definition. Jefferson lived in Dallas, Texas, Barbecue Bob' in Atlanta, Georgia, Furry Lewis still lives in Memphis, , and Blind Boy Fuller came from Durham, North Carolina. These are all cities, and they are large ones, widely separated. What links them is that they are Southern Urban & Country: cities. Most of the singers who are associated with “Urban blues” in the general use of the term, became cele­ A definition of terms brated in the cities of the North, or of the border states: Bib Bill Broonzy, Sonny Boy Williamson (No. 1.). Tampa Red, Howling Wolf. Perhaps then, a by PAUL OLIVER distinction between Southern blues and Northern blues would be more useful than one between Coun­ try blues and City blues, or Rural blues and Urban blues. Except for one small thing - nearly all the singers commonly associated with Urban blues were born and raised in the South. Many blues singers have led careers which cut right across all simple definitions in the blues. Take for instance, a singer whose early career was spent in Mississippi and Alabama, but who has been long associated with St. Louis and Chicago. He recorded with Sonny Boy Williamson on titles which seem indisputably “urban” and yet his wandersings have kept him continually on the move from Texas to California, from Chicago to Mississippi. Today he is featured as a “country blues” singer on Festivals and . But really he defies such classification - Big Joe is himself and as far as pigeon-holing blues singers is concerned we might do better to consider them on their merits as individual artists. Yet, at the same time, it is reasonable to relate elements in the work of artists which do appear to be associated; in fact it is a necessary process in understanding. So if “urban blues” seems uncertainly applied to many individual blues singers, and is inaccurate as a means of identifying them, why do we cling to this classification, and what do we mean by it? . . . In a sense we cannot answer this question without considering the other side of the coin: what do we mean by “country” or “rural” blues,’ when, as we have seen, many blues singers do not comfortably fit in this kind of compartment either. We are, I think, talking about qualities - elements of style, Big Bill Hill and Roosevelt Sykes |Q ann arbor blues festival program 1970 delivery, musical interpretation, lyric content, and traditions. Her transition to urban blues was the attitudes to the creative process which together have inspiration of many other women singers whose an urban character; an urban character which is voices and emotional depth were far closer to the Northern also, contrasted with those qualities which blues of the fields than were the first classic blues we associate with the rural South, and probably on record. Bertha “Chippie” Hill who came from with Southern cities likewise. Alabama to Chicago, and Victoria As far as recordings are concerned a definable ur­ Spivey who left Texas for Detroit were among the ban character appears in the very first sessions to rich-toned “moaners” who followed ’s produce what can be considered as blues. Mamie example, to add a new dimension to the urban Smith’s “Crazy Blues”, made in 1920, had a bland, blues of the women singers. rather piping delivery and a jazz band accompani­ Blues entertainers worked in the clubs and speak­ ment which typified the vaudeville-styled blues of easies which grew in number spectacularly as Pro­ New York. Her successors, Edith Wilson, Lucille hibition engendered a bootleg liquor industry in Chi­ Hegamin, Mary Stafford, Alberta Hunter, Sara Mar­ cago and other northern cities. They sang to black tin and many more, all sang blues of a kind but also audiences and occasional white listeners, who for the performed popular songs which were directed at a most part had come up from the South themselves. black audience more at home in a Brooklyn or Harlem The First World War created job opportunities in cabaret than in a southern juke. the defense factories which attracted black migrants Many of the so-called “Classic blues” singers were in scores of thousands from out of the South. theatre and vaudeville stage performers first, and During the boom years of the ‘twenties the influx blues singers second. Their appearances in Atlantic of southern Negroes seeking work in the north con­ City, Cleveland, Detroit, Baltimore, Washington, New tinued, and the South Side of Chicago threatened to York or Chicago attracted huge audiences. They burst at the seams. Among them came blues singers, were singing mainly for black peopke, but for city guitarists and pianists, whose local characteristics dwellers, many of whom had spent their entire lives of the regions of the South were mixed into a melt­ in the urban north, and their performances had a ing-pot of musical styles. Guitarists and pianists sophistication which would have seemed odd in rural jammed together: with Charlie Spand, Mississippi or Alabama. Tampa Red with Georgia Tom Dorsey, Big Bill Many of these women singers travelled in road Broonzy with just about everyone. They were among shows and in stock companies nevertheless, to appear the blues singers and musicians who shaped an es­ in theatres in Memphis, , New Orleans, Dal­ sentially urban music out of the blues of many las or Atlanta and countless tops in between. There’s traditions. Two artists who did not work together plenty of evidence to show that country singers but were highly influential must be mentioned. They knew the records and witnessed the performances of were Lonnie Johnson, a guitarist from New Orleans these girls from the cities, even including their songs by way of Texas and St. Louis, and Clarence “Pine in their own repertoires. Top” Smith, a pianist from Alabama. Sometimes “City blues” and “classic blues” are Lonnie Johnson had a deft technique on the guitar considered as one, but neither term is satisfactory and a suave, insinuating voice which owed little to the and they are not simply interchangeable. For it would country. His blues were clever, his lyrics well con­ be incorrect to think of Gertrude “Ma” Rainey as structed and his playing impeccable. Johnson’s ur­ an urban blues singer. She seldom played much in bane manner appealed to the new northern residents the north and most of her career was spent travel­ who didn’t want to be reminded too much of their ling in road shows and tent shows, working the rural origins. In contrast, the exhilaration and excite­ theatres of the South, appearing under canvas, in ment of the city was caught in the fast, rolling piano minstrel shows and stock companies. Ida Cox too, of “Pine Top’s Boogie Woogie”. Eight beats to the spent half a century touring with such companies bar in the left hand rhythms, which set up a train­ as Silas Green from New Orleans, the Florida Cotton like impetus to the blues, typified the playing of Blossoms or the Rabbit Foot Minstrels. Such singers, scores of South Side pianists. Down in Mississippi, in any usual applications of the terms, were certainly and Arkansas pianists like Roosevelt Sykes “classic” but not “urban”. The incomparable Bessie and Little Brother Montgomery called the technique Smith on the other hand, sang in joints in Tennessee “walking the basses” or “Dud Low Joes”. But it and Alabama, before eventually becoming the out­ was Pine Top Smith who called his dance number standing singer in the classic vein who dominated “boogie woogie” and the term was applied to a whole jazz and blues in New York. genre of piano blues. These singers had strong, sonorous voices, nasal In 1928, the year when Pine Top made his record in the case of Ida Cox, warm and deep in the a few brief months before he was killed by a stray instance of Ma Rainey; Bessie Smith’s singing was bullet, also saw the appearance of “Tight Like That.” broad and sweeping and she had a command of in­ It was made by Tampa Red and Georgia Tom, with flection which indicated her indebtedness to rural the former’s easy , the latter’s stomping 11 ann arbor blues festival program 1970 piano and their joint, mocking vocal. This wasn’t blues harmonica for a decade. the slide guitar of a Sam Collins, haunting and This triumvirate made a strong opposition to Bum­ chilling, nor was it the shrill, melancholy blues of ble Bee Slim and Little Bill Gaither who modelled Blind Lemon. Instead, it was a nonsense song, faintly themselves on Leroy Carr, and though these artists obscene, catchy and optimistic. The new “” continued to record in the late thirties it was the made a joke of country origins and urban stress Broonzy-Williamson school which grabbed the new alike, and as the crisis of the Depression loomed audiences. Their music was driving, with a strong near but as yet scarcely noticed, reflected the spirit rhythm, powerful boogie-woogie piano, interweaving of the time. guitar and hard-blowing harp. The pianists included Blues though, is a music of emotions: while the Bob Call and Blind John Davis but the most dynamic Hokum Boys were chanting “Beedle-Um-Bum”, Le­ was whose thunderous left roy Carr in a sad, sweet voice sang “How Long, hand bass figures were offset by the plangent guitar How Long Blues” to his own blues piano and Scrap­ of Georgia Tom’s old partner, Tampa Red. per Blackwell’s needle-sharp guitar. It was a brilliant Shellac rationing, the Petrillo recording ban and combination and in the second half of 1928, the the stringencies of wartime economy left the years watershed year for urban blues, more than a dozen of the Second World War largely undocumented as titles by Carr and Blackwell were issued: there were far as urban blues was concerned, but in the late twice as many the following year. ‘forties the music of Chicago was still flourishing, They were the last to be laid off when the Depres­ even if its exponents were now middle-aged. But sion hit the record industry, and the first to be rein­ there were indications of a change in taste: on the stated, their amalgam of city urbanity and rural West Coast a number of sophisticated singers, among emotion, of boogie and blues piano and slide or them Charles Brown, Floyd Dixon and the some­ flat-picked guitar with lyrics of rare poetry and sensi­ what more vigorous pianist Cecil Gant, appeared tivity made their team perhaps the best-loved in to challenge the supremacy of the Chicago blues blues. Carr died in 1935 but his place was well taken singers. Virtuosi of the electric guitar with T-Bone by Big Bill Broonzy who had already established Walker in the forefront were also stealing attention, himself as a prominent figure in Chicago. while a host of small record companies were under­ Leroy Carr was based in Indianapolis and often mining the monopoly of Bluebird, Victor and Colum­ worked in Louisville and St. Louis. This outer ring bia. Rhythem and Blues was on its way in, and the of cities had many blues singers and musicians who older forms of urban blues on their way out. had developed urban blues of their own. St. Louis was the dominant center to which southern blues Just twenty years after “Tight Like That” and men like the guitarists Henry Townsend, Big Joe “Pine Top’s Boogie Woogie” heralded the urban blues Williams, and Robert McCoy all of the ‘thirties and ‘forties, the murder of Sonny gravitated. It had its own school of pianists who Boy Williamson in June 1948 signalled its end. Simul­ played an economical, slightly halting piano, faintly taneously a singer in his early ‘thirties was begin­ influenced by the city’s older tradition of ragtime. ning to record for Aristocrat. He called himself Muddy Henry Brown, James “Stump” Johnson and Walter Waters and his “down home” blues did not seem Davis were among the principal pianists of this group, at this time to be a threat to the music of the older who were joined by Roosevelt Sykes and who ac­ urban bluesmen. But the first recordings of Howling companied such singers as Mary Johnson and Edith Wolf in Memphis and John Lee Hooker in Detroit Johnson in the clubs of Deep Morgan Street. Best- were now being made and this last generation of known of the bluesmen who worked this urban peri­ urban blues singers was soon to force Washboard phery was Peetie Wheatstraw, who called himself Sam and into retirement, and Big Bill the “Devil’s Son-in-Law, the High Sheriff of Hell”. Broonzy into the folk clubs and the circuit. He had a lazy, off-handed manner which epitomised This is a story in itself, and one which has most the “cool” image of the day, but his blues were often influenced modern trends in blues appreciation. But on themes of the underworld, or of working on the the earlier forms of urban blues first introduced black W.P.A. music to America on record, and subsequently dem­ Up in Chicago a group of young bluesmen clus­ onstrated the maturity of the new city-dwellers tered round Big Bill Broonzy. His reputed half­ through humour and hokum. In the ’thirties and brother, , was one. He had a gritty ’forties the developing confidence and sense of iden­ voice and sang to his own washboard playing while tity of black America was declared forcefully in the Big Bilk and his pianist - Black Bob or Joshua Alt- assertive music of Chicago and the peripheral cities. heimer - provided a swinging accompaniment. He In its different phases it was bland, cool, exhilerating, started recording in 1935 and the following year sardonic, aggressive - and in the grooves of its Jazz Gillum began recording regularly, playing a hundreds of recorded examples there’s still much to piercing harmonica and singing in a tough voice. discover and enjoy. As recordings led to an appre­ Sonny Boy Williamson came on the scene the follow­ ciation of country blues maybe these will open up ing year. He was a little tongue-tied but he was a urban blues to us. Its surviving exponents have a lot brilliant harp-blower whose technique dominated to give us yet. 12 ann arbor Hues festival pcgram 1970 X

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DISTRIBUTOR INQUIRIES WELCOME: Call (3 0 1 ) 5 8 5 - 0 4 1 7 13 ann arbor blues festival program 1970 Koosevelt Sykes

“All I’ve done, all my life, is picking a little cotton and picking a little piano.” Roosevelt Sykes was born in Helena, Arkansas, on January 13, 1906. At the age of three, Roose­ velt and his family moved to St. Louis, a town famous for it s piano players. He frequently returned to visit relatives in West Helena, and was greatly impressed by the pianists there. Lee Green, Baby Sneed, Joe Crump and Jesse Bell being among them. His grand­ father, a preacher, helped Roose­ velt get started by letting him play the church organ. After a short period, he switched to the Blues” also became a hit for Howl­ LP Disography ing Wolf and more recently for piano and developed what has prov­ ROOSEVELT SYKES en to be one of the most influential Johnny Winter. “Night Time Is The Right Time” was a hit for The Return of Rooseve.lt Sykes P restige/ styles in blues history. Bluesville 1006 St. Louis had a wealth of great Sykes, and has been recorded by The Honeydripper Prestige/Bluesville pianists, but Sykes stood out as Aretha Franklin and Ray Charles. 1014 best. While in St. Louis, Roose­ “Driving Wheel” has been done The Honeydripper Folkways FS3827 velt played with almost every by Jr. P arker and B. B. King, Hard Driving Blues Delmark DS607 among others. In Europe Delmark DS616 singer in town. Clifford Gibson, American Folk Blues Festival 1965 Fon- Peetie Wheatstraw, Lonnie John­ Roosevelt is one of the most tana TL5286 (one cut) son, Henry Townsend, Teddy Dar­ famed and admired of all blues American Folk Blues Festival 1966 Fon- by and Walter Davis were just singers. As a talent scout, he him­ tana. 885.4SITY (One cut) self, was responsible for the re­ Three Kings And The Queen Spivey a few who called on Roosevelt LP1004 (four cuts) to fill out their sound. St. Louis cording of many artists. Encore For The Chicago Blues Spivey Jimmy Oden even relied on Sykes Sykes now resides in New Or­ LP1009 lone cut) to back him on his classic record­ leans, and plays at Preservation Mam a h is A n d The Delta: 1950 s Blues ing “Going Down Slow.” Hall, when not on the road. He Classics BC15 lone cut) has never known a dry period in Urban Blues Vol. 1 Imperial LM94002 Roosevelt’s first recording ses­

Booker Washington (Bukka) White was bom in Houston, Mis­ sissippi in 1909. At the age of 10 he moved to the Mississippi Del­ ta, where he took up residence with his uncle who taught him to play piano. Being musically in­ clined it took Bukka only a short time to learn quitar by listening to some of the master’s living in the area. When Bukka turned 20 he made his first recordings for RCA’s Bluebird label. In 1934 he moved to West Point, Mississippi and became a popular performer in the local juke joints along with his cousin, Bullet Williams. In 1937 Bukka was sent to the infamous prison, Parchman Farm, for shooting another man. He was pardoned after two years, but not until he had recorded two of the most moving sides ever recorded for the Library of Congress. Short­ ly after his release Bukka re­ BUKKA WHITE corded several sides for Okeh and Mississippi Blues Takoma B1001 this was the extent of his record­ Bukka. White - Skysongs Vol. 1 Arhoolie F1019 ings until his rediscovery in 1963. Bukka White - Skysongs Vol. 2 Although Bukka White is a fine guitarist, and undoubtedly had a Mem.Dh,is~Hof S h o ts Blue Horizon —Prewar Recordings— big influence on his cousin B. B. I^JTuT^~T.eppnrls V erve/ Folkw ays 3010 The Country Blues Vol. I RBF RFl King, he is most well known for (four cuts) lone cut) ' his voice. That voice is probably Blues Rediscoveries RBF RFl I The Country Blues Vol. 2 RBF RF9 the most powerful possessed by (two cuts) (one cut) any blues singer active today. I Have To Paint My Face Arhoolie The Rural Blues RBF RF202 (One cut) FI 005 lone cut) Country B lues Classics JloL.2.. Blues Clas­ Listening to Bukka sing “Colum­ Bad Luck And Trouble Arhoolie sics BC6 Ttwocu ts) bus Mississippi Blues” is enough FI 018 (one cut) Mississippi Moaners 1927-1942 Yazoo to make even the most experienced Roots of America’s Music Arhoolie L10M - J.oim .ciit) ■ fan shake his head in utter dis­ R2001/2002 (one cut) The MississinoLBkies..N.o. I_O rigin. Blues Roots Poppy (one cut) ■Jazz Library OJI j5 (two cuts) belief. When they announce Buk- The 1968 M em phis Country Blues F estival In The Spirit No. 1 Origin Jazz ka’s performance make sure you S Tre S F S 9 7 im

Mighty Joe Young is a fine quitar player who is very well known to Chicago’s blues aud­ ience. Born in Shreveport, Louis­ iana on September 23, 1927, Joe came to Chicago in 1956. He start­ ed playing guitar at an early age but did not take it seriously until he was nineteen. He credits T- Bone Walker, Lowell Fulsom, and B. B. K ing as his biggest in ­ spirations. Joe first recorded in 1961 and cut sessions for sm all labels like Fury, Fire and Web- cor. Highly respected among blues musicians, Joe has been called upon to back up many of them. He has recorded with Otis Rush, Magic Sam, and and backed Tyrone Davis on his hit “Can I change My Mind.” Joe has justreTeased a~Tm e single called “Guitar Star.” It describ­ es Joe perfectly.

MIGHTY JOE YOUNG No I P ’s

Jimmy “East Fingers” Dawkins

Jimmy “Fast Fingers” Dawkins is almost an institution in the blues clubs that dot the West side of Chicago. A sounder example of the blues tradition which harkens back to the Delta and the South in general could not be found. “Fast Fingers” is a bluesman and a great artist in the truest sense. Jimmy is unlike many performers who feel it’s necessary to gyrate and throw oneself and one’s “axe” all over the stage. “Fast Fingers” merely stands his ground, looking through his shades at the audience, but really not seeing them. As he plays and sings he becomes im-

1 6 mn ar^or *D*U0S program 1970 mersed in his music and is the liv­ recognizable on the many record­ In the past year Jimmy’s first ing epitome of what one can really ings he appears on as a sideman as a leader, “Fast Fingers”, call a bluesman. and leader. has been released on the Delmark Jimmy Dawkins was born in He has played as a sideman be­ label. It is selling extremely well Tchula, M ississippi on October 24, hind Earl Hooker, Carey Bell, Wild and a second one should soon be 1936. As a young boy he always Child Butler, Johnny Young, and in the works. In the meanwhile, dug the blues and got his first several others. He has played with since his performance at the Ann guitar from a northern mail order just about all the bluesmen in Chi­ Arbor Blues Festival last year, he house while in his early teens. He cago at some time and although has been actively appearing knew from the start that he wanted they never recorded together he throughout the country as well as to play and sing the blues as a played with Jimmy Rodgers for gigging in Chicago as he always professional. He got his chance many years. has. Early in 1970, Jimmy and Car­ to do it in 1955 when he came For some time now Jimmy has ey Bell, the harmonica player, went North to Chicago. After a brief fronted his own group on Chicago’s to Europe for a two month tour stint in a paper box factory he West side. The work is hard to get, of France and Spain. They were decided that he wanted music as the pay low, and the hours long, quite well received. He himself a full-time career and began to but that just may be what the realizes that with only three pieces gig around Chicago. He immedi­ blues is all about. Lately, Jimmy you can’t really hide behind a sax ately fell in with a group oí young has concentrated more heavily on or another piece. It’s up to you to bluesmen, who at the time were his vocals and he has developed do it. all struggling to make it. They in­ a plaintive, understated style cluded Magic Sam, Otis Rush, and which compliments his guitar well. Freddy King. Still, don’t look at Jimmy’s sing­ As did these great guitarists, so ing as throwaway vocals. His blues JIMMY DAWKINS did “Fast Fingers” develop a musi­ are emotional and powerful in a ■Jimmy “Fast Fingers” Dawkins cal style all his own. It is easily m uted way. Delmark DS623 1 7 ann arter blues festival program 1970 John Lee Hooker

“I was born with the blues, I eat with the blues, I sleep with the blues - man, I know it’s just simply the truth.” One cannot help but be moved by the power of Jo h n ’s music. There can be no doubt, when John sings, that he is telling the truth. John Lee Hooker was born in Clarksdale, Mississippi on August 22, 1917. He is p a rt of an unbroken line of great singers to come out of the Mississippi Delta (, Charlie Patton, Son House, Bukka White, Muddy Wat­ ers, etc.) John’s stepfather played guitar and was his initial inspira­ JOHN LEE HOOKER tion. At the age of eleven John l& iitin’..Thru The Blues United US7710 sang in the Big Six gospel group, 'The Blues United USTTZo _ later joining the Delta Big Four. Folk Blues United “TTS7729 John ran away to Memphis, moved nTÜTFatW reTSm’îvtrnrïïMn Lee Hooker to Cincinnati, and by 1948 he was United [1^77X1 ------——~ in Detroit working for Mr. Ford. John Lee Hooker Sings The Blues King The late 40’s and early 50’s were 727 Highway of Blues Audio Lab 1.520 marked by great migrations of Don’t Turn Me From Your Door Atco blacks from the rural South to the 33-151 urban North. Included in these mi­ That’s My Story Riverside RLP12-321 grations were numerous blues Country Blues Riverside RLP12-838 BUrW(’m y j J fMim singers who came to work in the The B ig Soul V J 1058 auto plants by day and play in the OnJ, 'ampus VJ __iQfifi clubs at night. The Detroit blues Concert A t Newport V J 1078 scene of the early 50’s was a vi­ playing electric guitar, John is still Is He The World’s Greatest Blues Singer brant and exciting one. People like V J 8502 very close to the roots. The emo­ House Of The Blues, ChessLPUL38 Washboard Willie, Baby Boy War­ tions reflected in his music typify JofuT Lee Hooker Plays And Sings The ren, Little Sonny Willis, Dr. Isiah the bluesmen of the Mississippi Blues Chess LP1454 Ross, Bobo Jenkins, and Little Ed­ Delta. His guitar technique makes The Rea! Folk Blues Chess LP1508 die Kirkland laid down the best Serve You Right To Suffer Impulse heavy use of hammering on the LP9103 blues in town, while remaining ob­ strings and his heavily accented John Lee Hookerr A r e l^ Of Fplkjaid_ scure outside of Detroit. John Lee foot beat is an integral part of his J a. . S222 Hooker dominated the Detroit playing. John has a slight speech And Seven Nights Verve Folkways scene at this time and was the one impediment and this, coupled with 3003 Live At The Cafe Au Go singer to break out of it s ghetto his deep rich voice give his music BLS6002 — l" ' and achieve international recogni­ it s power. Urban Blues Bluesway BLS6012 tion. John simply sings the blues, and That’s Where It’s At Stax STS2013 John began a long successful re­ he sings it the way he feels. “You Live At Sugar Hill Galaxy LP205 cording career in 1949, with some go into church ... You’re sorry, and Original Folk RIii£.s^ ùj***~JiU M ^ i)9$ of his best material appearing on ‘\ a l Blues___ Tradition 2/MJ9 you think to yourself, “Lord, I got ànplÿ^'fhe Trutn lue sway BLS50049 Sensation and Modern. “Room'e my whole heart and soul in you! JÜM-, Band .Blues Jiuddaky BI) G h iltel,” Rcinm ffo"™ ’! You really feel it. Sometimes you Th( 1 ' ' b < ,t ot Jotrrf-r;êe “Turpelo.” and “The Motoi want to cry. That’s the blues. You BVddah 7Fl)S40i>2 IsJikm iaa,” are just a few of his get deep into it. That’s soul. Blues Moanin' Blues King 1085 If Y-ou -M-iss.Em ... I Got 'Em many classic recordings. is the real ... Comes Burr*ui MM* John is a very versatile guitar from way, way back, from the spir­ player. He can play rhythm and (Note: Due to space limitations, no until rot ituals. Blues is the root of all our ogies or foreign I,P's upon which John blues, city blues, or country. While m usic.” Lee Hooker appears have been included) 18 ann arbor blues festival program 1970 Often his songs have been re­ corded by better known white groups. The Doors reworked •'Rack Door Ma n .” but it is still the Wolfs song. Jeff Beck re­ corded “I Ain’t Superstitious.” but the Wolf’s version is still my X favorite. Seeing the Wolf in Chicago is an unforgettable experience. Us­ ually he works at the Key Largo Club, or more recently, at Big Duke’s on Roosevelt Road. The band, led by Hubert Sumlin, the killer lead guitarist, wails up on the stand. The Wolf sits at the first table with his harps and his drinks spread out in front of him. Once he gets into a song he will jump up, stride around the club with the microphone, eyes flashing. When he sings “How many more years are you going to dog me around?,” it doesn’t sound like he’s whining. Lately the singles the Wolf has cut (“Pop it to Me” and “Do the Do”) are more rock ‘n’ roll than blues, but it’s the down home sound he likes and does best. HOWLIN’ WOLF Big City Blues United US77.lt Moanin’ In The MoonligJjJ.__Chess LP1434 ‘ ' reissued as Evil Chess LP1540 Howlin' Wolf Chess...L E M 6.9— the Wolf ever produced the errie 'SrrrtFoIF~Blues Chess LP15D1 howls that punctuate his vocals. More Peal Volk TUuesXljgsT LP1512 Howlin’ Wolf Another great blues man familar m U ^lS^W M ToncenL ..£ 3 1 3 Folk Festival Of The Blues Argo to the Wolf was Rice Miller - Son­ LP4031 (one cut) ny Boy Williamson II. Sonny Boy’s The Blues Vol. 1 Argo LP4026 “Man, you know I’ve enjoyed influence can be heard on the down ( two cuts I things that Kings and Queens will home harp sound that the Wolf us- The Blues Vol. 2 Argo LP4027 (one cu tI NEVER have; in fact, things that usally accompanies himself with. The Blues Vol. 3 Argo LP4034 they will never get and they don’t In 1948 he recorded a couple (one cu tI even know about . . . and good of sides for on the Sun The Blues Vol. 5 Argo LP4051 times . . . umm-mm.” label, and shortly thereafter Leon­ (one eut.I ard Chess put him under contract Super Super Blues Chess LPS3008 Chester Arthur Burnett (better (four cuts) known as the Howlin’Wolf) was and brought him to Chicago, where Heavy Heads Chess LPS1522 (two born June 10, 1910 in Aberdeen, he’s been ever since. While he’s cutsI Mississippi. been with Chess, the Wolf has had Heavy Heads Voyage 2 Chess LPS1528 several smash hits including

Few, if anyone, would ever think of blues being live and well in , . But, this year’s Ann Arbor Blues Festival features the blues as it is heard today in Minneapolis, through one Lazy Bill Lucas, an exceptional pi­ ano player and blues singer. Bill, though not originally from Minne­ sota, moved there a number of years ago and has been plying his trade there ever since. Bill Lucas was born in Wynne, A rkansas in 1918. A nervous dis­ order has affected his eyesight since birth and music has been an outlet to this affliction as well as a livelihood. Although he began as a young boy playing guitar, it was on the piano that he made his reputation. Bill's early music train­ ing was mostly self taught and his ew more repertoire wide and varied. Not scene in Chicago. His particular sides in the fifties and was a fea­ only did he play blues but also idol was Big Bill Broonzy and Lazy tured accompanist on some sides hillbilly music and jazz. Back in Bill spent a good deal of time by Homesick James, Little Willie the 1940’s Bill played guitar as a following him around and observ­ Foster, and Snooky Pryor. After street musician and it was at this ing his style. Bill met up with all Chance records went out on the time that he met and played on the the name blues artists in Chicago road, with Mojo Buford, Muddy’s streets with the legendary Big Joe and became friends with Roose­ old harp player. Coming to Minne­ W illiams. velt Sykes, Curtis Jones, and Mem­ apolis, he- stayed and continues By 1941 he m ade his way to phis Slim. At this time, Bill formed to live and perform there. Chicago and began to play the a band with Earl Dranes and Wil­ With Lazy Bill is Jeff Titon, his Maxell Street Market. It was here lie Mabon. Later, after this group guitarist, who has worked consis­ that he teamed up for a time with broke up Lazy Bill began playing tently since Bill arrived in Minne­ Sonny Boy (Rice Miller) William­ once in a while with Homesick sota. son. He began to become acquaint­ James Williamson. ed with other young bluesmen in It was at this time that Bill took the city such as Maxwell St. Jimmy up piano. By 1950 he had recorded LAZY BILL LUCAS and Little Walter. Little by little one side "Johnny Mae” for Ex- Lazy Bill Wild 12mol 2 0 ann art)Cr festival program 19/0 Houndog Taylor

Theodore Roosevelt Taylor, magnanumously nicknamed Houndog by his fellow bluesmen of Chicago, was born 55 years ago in Mississippi. While still a young man the Houndog came North to p ly h i s trade as bluesman. Houndog plays in that time worn pattern of the Delta, the slide gui­ tar. He stands stylistically closer to Elmore James, Homesick James Williamson, J. B. Hutto, and John­ ny Littlejohn than to their country precursor. Simply though, what Houndog and his band, consisting of and Ted Harvey, play is goodtime music. The type of dance and foot stomping music that came from the juke joints of the 20’s, 30’s., and 40’s and found its way into the taverns of Chicago. Houndog is known and loved by the entire Chicago blues scene, of which he is ah integral part. What he lacks in technical skill is more than made up by his animation and unquestionable love of his music and making people happy. This then is the blues, unpolished, performed as it should be with all its innuendos. HOUNDOG TAYLOR American Folk Blues F estival 1967 Fontana 885.433TY (one cut) ann arter blues festival program 1970 Fred McDowell

Fred McDowell is undoubtedly the finest bottleneck guitarist alive, and many people believe he is the best who ever lived. (Bottle­ neck style guitar playing is done by placing either a broken off bottle­ neck or a highly polished piece of pipe on the small or ring finger -> m . of the chording hand. This tech­ ; -ÜS nique enables the guitarist to make the guitar sing with a tone incredi­ bly similar to an anguished human voice.) Fred McDowell was born shortly after the turn of the century and was raised on a farm where he first started playing guitar. He learned % ■ bottleneck from his uncle, who used a ground bone on his finger, and Fred McDowell perfected the style that made him the legendary guitarist he is today. If one listens carefully to Fred it soon becomes apparent the gui­ tar sings every word he sings. This / is Mr. McDowell’s style, and in the performance of it he has no equal. f r e d M cD o w e l l Mississippi. Arhoolie F1021 Fred McDowell Vol. 2 Arhoolie F1027 My Home Is In The Delta Testament Ä liiiiS iiiÄ T2208 WIJ -'1- ■■Mi Amazing Grace Testament T2219 Long Wav From Home Milestone MSP93003 I Do Not Play No Rodi^AMd-RaIL^I2aMU)J ' s u m '—1— “ — In London Vol. 1 Transatlantic TRA194

Biograph BLP12017 (seven cuts) RoQts Of The Blues Atlantic LP134H (three cuts) Th e Blues (two cuts) Blues At Newport 1964 Pt. I Vanguard The Sound Of The Delta Testament VRS9180 (three cuts) T2209 (two cuts) Traditional M usic A t N ewport 1964 Pt. I American Folk Blues Festii'al 1965 Vanguard VRS9182 (two cuts) Fontana 681.529TL (one cut) Newport Folk Festival 1964: Evening Con Stars Of The Memphis Country Blues Fes certs Vol. 3 Vanguard VRS9186 tiral Sire SES97015 (one cut) lone cut) Memphis Swamp -Jam Blue Thumh Bad Luck And Trouble Arhoolie F1018 B lSöOOO (three ru.tml “ (one cut) Roots of America Music Arhoolie Mississippi Delta Blues Vol. 1 Arhoolie R2ÜUT~2(T()2 n7n7r 7rutl 1041 Ione cut) Blues Roots Poppy ione cut) 22 ann arbcr blues festival program 1970 panted by thff young Lafayette and professionally with Juke Boy, Juke Boy Bonner Thomas on guitar. Today these rec­ and decided to help him get a ords are very rare. Following this single out, backed by donations he returned to Texas, and he re­ from Blues Unlimited readers. Juke Boy Bonner is heir to one corded again. This time he record­ Shortly after this, Juke Boy was of the richest of blues traditions, ed for Eddie Shuler in Lake recorded by Chris Strachwitz of that of Texas, his home state. But Charles, Louisiana. Some of these , resulting in the what is most noteworthy about his appear on the Goldband and Jan album entitled “Going Back to the blues is that he is not merely one and Dill labels, and the Storvville Country”. This album received of the leading exponents of the label in Europe, but none of his such acclaim that it was followed Texas tradition, but rather that he recorded efforts sold very well. by another, recorded and released uses this tradition as a vehicle for In 1963, Juke Boy was put in recently on Arhoolie entitled “The expressing contemporary themes. the hospital wdth a chronic stomach Struggle.” In October of 1969, Juke Many of his songs deal with the ulcer, and when they operated on Boy toured Europe with the Amer­ problems of the contemporary him, the surgeons found it neces­ ican Folk Blues Festival, and was black man in coping with life in sary to remove 45% of his stom ach. so well received that he was asked a southern ghetto. His lyrics are This sapped him of most of his phy­ to stay on and tour England. often pure poetry, expressed with sical strength, and unable to play a dynamic sense of rhythm and the guitar, he turned to writing meter uniquely his own. Conse­ poetry. He became quite adept at JUKE BOY BON NEB quently, he extends the blues form writing, and many of his poems to accommodate his lyrics rather were published in a local news­ The Polvdor/St.orvuille paper. As he regained his strength, 6T6.tTIJT~~7iT-bt i-utsI' than vice-versa, as is the case with I’m Going BackTo The Country so many other modern bluesmen. he went back to music, and played Arhoolie FI 036 Born just outside of Belleville, around Houston’s third ward. The S tru ssle Arhoolie 1045 . Texas on M arch 22, 1932, W heldon In 1967, Mike Leadbitter of Blues Things Ain’t. Right Liberty LBS83319 “Juke Boy” Bonner was the last Unlimited magazine was traveling Clite^rr^tIiJf^~TTouston Ghettrr-IHues^ through Louisiana and Texas col­ Fly right LP4700 (four cuts) of nine children. His father was Roots of America’s Music Arhoolie a sharecropper, and died when lecting discographical information, RS00T7Y0V2 Tone cut) Juke Boy was only one, leaving the and he met Juke Boy in Houston. Blues Roots Poppy (one cut) family practically destitute. As a He was impressed both personally Am erican Folk Blues F estival 1969 survival tactic, the family dis­ persed, and Juke Boy was sent to live with an elderly couple who were better off. In 1940 when Juke Boy was eight, his mother died and he was left to fend for him­ self. Working odd jobs, he saved up enough money to buy his first guitar, which he bought from a friend for $3.50. Within a year, however, this was stolen, and to replace it, he had to pay $12.50. As he became more proficient, he began playing country suppers around the Belleville area, picking up a few dollars here and there. At the age of fifteen, he headed for Houston, where after winning a blues contest, he was granted a fifteen-minute radio program. He stayed and played around Houston most of the time until 1956, when he headed for Oakland, California. There he met Bob Geddins, and in 1957, he recorded a couple of sides for Bob’s Irma label, accom- arm arbor blues festival pogram 1970 With blues suddenly becoming a falo to the University of California very marketable commodity the at Berkeley. At the latter, he was rise of a plethora of mediocre blues one of the undisputed stars of the bands is a fear that is just begin­ Berkeley Blues Festival. With the ning to be realized. Of the hordes release of a new album on the Del- of groups that appear on the scene mark label, “Love Me Mama”, Lu­ to perform and record only a select ther has reached an even wider few rise to the top, the cream cross section of the people. With above the dross. Such an analogy his unbelievably immediate style may be extended to Luther Alli­ of singing and his emotional guitar Luther Allison son, who since his initial appear­ wailing he has become a favorite. ance at last years festival has been Luther, for those of you as yet a bright star ascendant in the blues unfamiliar with him, was born world. thirty-one years ago in Mayflower, Luther has been touring exten­ Arkansas. By 1952 he had moved sively. since last year’s show and north to Chicago, where he decided has developed quite a devoted fol­ to become a musician after watch­ lowing from the University of Buf­ ing his older brothers who were singers and bluesmen. He began on bass but decided that he would rather play guitar. He went to “Fast Fingers” Dawkins who taught him some things on the guitar, and Luther was off. He started to hang around on the West side of Chicago and soon found himself taking over Freddy King’s band, w'hich he had sat in with many times. With this band, con­ sisting of Big Mojo on bass and T. J. on drums, he worked for many years in the West side clubs such as the Alex and the L. and A. A year ago this past April, Luther came to the University of Mich­ igan for a promotional concert for the first Ann Arbor Blues Festival. He completely devastated the crowd in a four hour show and be­ came an immediate favorite. Again, at the Blues Festival, al­ though he had guitar problems, he was able to put on a fine show,. especially at the which followed the Friday night concert. Since then he has toured fairly consistently becoming a large fa­ vorite all over. Today, Luther Alli­ son is standing on the threshold of a great career, well deserved since he is a great showman. Luther is going to be working hard up here this year and, doubtlessly, if you don’t know wrho Luther is now, you will by the time he finishes.

LUTHER ALLISON Love Me Mama Dclmark DS625 Sweet Home Chicago Delmark DS618 (two cuts! 24 ann arbor blues festival program 1970 Albert King

Born on April 25, 1924 in Indian- ola, Mississippi, Albert King is one of the most popular contemporary blues musicians. He was raised in Forest City and Osceola, Arkan­ sas. As a boy he picked up the guitar and taught himself. He is one of the few bluesmen who play the guitar upside down. Albert King began his career in the late 1940’s, when he joined a gospel quartet, the Harmony Kings. After several years he joined a blues jum p band which eventually brought him to Chicago. Prior to cutting his records for Parrott in 1953, Albert King played drums for and was active as a session player. After cutting his first recordings, however, success failed to mater­ ialize and King moved back to Ark­ ansas. By 1957, now settled in St. Louis, his career finally began to progress. Recordings for Bobbin, King, Chess and most recently Stax, have brought him an increas­ ing audience and international rec­ ognition for his playing. In the last few years Albert King has become a tremendously popu­ ALBERT KING lar artist among white youth. Play­ Stax S723 ing the Filmores, The Eastown, Live Wire Blues Power Stax STS2003 and other ballrooms around the Kiap Of The Blues Guitar Atlantic country King has become known SD8213 as “Mr. Blues Power.” With his Stax STS2010 deep passionate voice and the life King Does The. King’s Things Stax STS2015 like crying guitar, he has brought Jammed Together (with Pops Staples & some legitimate blues to areas ) Stax STS2010 where it has not been before. Travelin To California Kins KSD1060 “If you don’t dig the blues you cuts) got a hole in your soul”, says Al­ Memphis Gold Volume 2 Stax S726 bert. Listen to Albert and his gui­ tone cutI tar, Lucy, and see if you don’t Soul Explosion Stax STS2007 (two dig the blues too. cuts) 25 ann arbor b u s festival program 1970 Robert Pete Williams ------>. err Pete Wil- -i-~- - - : the msst moving cminieuces in the blues. The in­ tense. raw blues of Robert Pete are so completely his that com­ parisons are impossible. His stream of conscious lyrics and his rap­ id-fire Louisiana quitar style are so startingly original and com­ plex that his music requires to­ tal concentration. Robert Pete improvises freely on both his vocal and guitar work. He often dis­ plays a total disregard for rhyme, and his guitar style can only be described as erratic. However, the combined effect of the scat­ tered phrasing and playing is a remarkably cohesive emotional whole. Robert Pete Williams was born in Zachary, Louisiana on March 14, 1914. Robert lived in extreme poverty and was forced to work as soon as he was able. He was unable to get any schooling. Rob­ ert spent much of his life work­ ing in levee camps, on farms, and in road gangs, in addition to being a part time musician. Robert Pete’s family was high­ der and imprisoned at Angola state, but the audience roared to ly musical and Robert progressed State Penitentiary in Louisiana. their feet in applause after he from harmonica and juice harp “I’m the peacefulest man in the finished his set. to guitar. Robert took to knife world. I told that man to back off, Since that time Robert Pete has (bottleneck) guitar in imitation of but he just kept on pushing me, appeared at many major festivals. an uncle, Simon Carney, but soon and when he pulled a knife, there However, he still must work at a found that he preferred playing wasn’t nothing I could do. I didn’t lumber company to make ends with his naked fingers in natural want to, but I had to protect my­ meet. He lives today in Rosedale, standard tuning. He spent hours self.” Louisiana, with his wife and chil­ listening to Blind Lemon Jeffer­ While imprisioned in Angola, he dren. He is a quiet, peace loving son records, trying to pick out was recorded by , man who sometimes wonders if the sounds on his guitar strings. of the Louisiana Folklore Society he should give it all up for re­ But, Robert was no copy artist, and three songs were issued on ligion. and he created his own patterns Folk Lyric records. Letters start­ and is constantly experimenting ed pouring into Angola. In 1959, with new techniques. Robert was paroled for a five year ROBERT PETE WILLIAMS His favorite artist is Texas term to a local farmer, for whom Those Prison Blues Folk Lyric FLIC19 Bluesman Lightning Hopkins. He he labored in virtual slavery. There Free A gain P restige/B luesville 1026 also admires the music of many Louisiana Blues TaEoma Ti-fOl f were more recordings, but little Son House And Robert Pete Williams Live of his friends who have recorded freedom until his full release was Roots SL-501 (five cuts) for Excello: Lightnin’ Slim, Si­ granted in 1964. He w as released Blues at Newport 1964 Pt. 1 Vanguard las Hogan, , and Slim in time to make an appearance VRS9180 (three cuts) Harpo. Robert Pete might have at that year’s Newport Folk Fes­ Traditional M usic A t N ew port 1964 Pt. 2 Vanguard VRS9183 (one cut) recorded for Excello, but on April tival. It was the first major set American Folk Blues Festival 1966 6, 1956, he was convicted for mur­ he had played outside his native Fontana 885.4SITY (one cut) 26 ann arbcr blues festival program 1970 Johnny Shines

In these days when one hears nin Sun,” “Cool Driver,” and a rumblings of “the dying tradition reworking of the country classic of the Delta blues”, a figure such by Robert Johnson, “Ramblin.’’ as Johnny Shines serves to dispell This last piece included all the these rumors. He stands in the high piercing falsettos and brilliant interim, an individual linked stylis­ slide guitar work that earmark fine tically and emotionally to the work Delta blues. The first three sides, of the fabled Robert Johnson and in contrast, feature a more citified at the same time deeply rooted in sound with the fine harmonica of the Chicago blues tradition of the Big Walter Horton. early 1950’s. His whining slide gui- Johnny accompanied others such t tar and deeply moving vocals serve as Snooky Pryor, Homesick James, up to an audience all the emotion late Robert Johnson to blues en­ and Arbee Stidham but by the late and power that is the blues. thusiasts the world over. 1950’s jobs were so scarce that Johnny Shines was born in Mem­ By 1941, Johnny had joined the Johnny quit professional music phis, Tennessee on April 25, 1915. hordes of Southern blacks in mi­ and went to work as foreman of Music permeated his early life and grating to Chicago. Work as a mus­ a construction crew. He also moon­ at seventeen he seriously took up ician never being plentiful, he per­ lighted by taking photographs playing the guitar. Johnny gained formed in the local taverns on over at Sylvio’s of Howling Wolf s inspiration and stylistic ideas from week-ends and worked a factory band. It was here in 1965, that such luminaries of the blues as day job to make ends meet. It was Johnny was working when he was Blind Lemon Jefferson, Scrapper only upon reaching Chicago that again recorded. This time he did Blackwell, , Ishman Shines’ first recordings were made. six numbers for the Vanguard ser­ Bracey, and Lonnie Johnson. With­ These sides for the Columbia la­ ies - Chicago, The Blues Today, in the years of his later teens, bel utilized some of the finest tal­ and in the next few years recorded Johnny became an accomplished ent available in Chicago at the an entire album for Testament rec­ guitarist and performer. He time and included such sidemen ords. In the last year or so, Johnny worked regularly within the Mem­ as Roosevelt Sykes. Sadly, none was a member of the Blues All phis area in those days of the early of these, at least four sides, have Stars but as of this writing has 1930’s. ' ever been issued. split from the group and returned It was in 1934 that Johnny, al­ Later, in the early 1950’s, he to the roots of the blues by moving ready a professional musician, met again recorded, this time for the back to Alabama. up with Robert Johnson. Robert Chess brothers Chicago based la­ JOHNNY SHINES Jo h n so n ’s great creative ability bel. These two sides “J oliet Blues” and his ragged emotion in song Masters Of Modern Blues Vol. I and “So Glad I Bound" You” are Testament T2212 had a profound effect on the young among the most beautiful and Jotinny^Shines Testament T2217 Johnny Shines. He envied and re­ moving blues that mark that trans­ L a S fX ip ftt s TSream "Blue' tJorizon spected the slightly older Robert ition period of movement from the 7£ 2 2 .1 2...... Johnson and traveled with the vet­ South to the North. These extreme­ Chicaeo/The Blues/Today Vol. 3 Vanguard VRS92T ~Jseven cuts) eran bluesman on and off for two ly rare sides have recently been Drop Down Mama Chess 411 ... years until 1936. reissued as part of the new Chess (two cuts) Each man’s music went through Vintage series and still have the Country Blues Classics-Vol~ -2...... a metamorphosis as it was affected same emotional effect on the lis­ 'BTues Classics BC6 (one cut) by the others. Still, in Johnny’s tener. In 1953, for the small JOB Chicago - Post War Blues PWB-l (two cuts) music one can hear the qualities label, Johnny Shines cut four sides Really Chicago’s Blues Adelphi that have helped to canonize the - “Brutal Hearted Woman, A ujuuoS iseveral cuts) £^ f j am arbor blues festival pogram 1970 Tampa, Big Bill Broonzy, Sonny Boy (John Lee) Williamson, etc. Then, in 1947, he was heard by a scout from Victor records while playing at Tampa Red’s. Sunny­ land had developed a style much like one Doctor Clayton, a pop­ ular recording artist who had just passed away. Victor signed Slim and he became “Dr. Clayton’s Buddy” for his first recording efforts in 1947. One year later, he recorded again, this time with the late Lonnie Johnson for the Hyton label. By the later 1940’s Sunnyland was established as a moving force on the Chicago blues scene. Be­ side his own efforts, he worked as a sideman behind such well known Chicago bluesmen as J. B. Lenior and Robert Nighthawk. It was Sunnyland who helped the young McKinley Morganfield, newly ar­ rived from the South in the late 1940’s, establish himself as Mud­ dy Waters. Throughout the 1950’s Slim continued to record on small labels and gig in the many bars that dot Chicago. Then in the 1960’s he was “re­ discovered” by the folkies and a record on Prestige resulted from this, as did more gigs and a tour of Europe on the American Folk Blues Festival. In the last few land, lured by the glamour of be­ years Sunnyland has played in Sunnyland Slim ing a bluesman - as opposed to Chicago’s bars as well as on some working in the cotton fields - took college tours. For a while he was off for Memphis, which was at part of the group known as the that time (late twenties, early Blues All Starts. Now though, he Johnny Shines will be accomp­ thirties) something of a nexus for is back on his own. With a re­ anied here in Ann Arbor this year blues artists. Here he immediately cent recording on World Pacific by one of the most accomplished fell in with numerous guitarists, and his performance at this years and prolific blues artists of the piano players, and other blues Blues Festival, it is hoped that last 35 years, Albert Luandrew, men. He knew and worked with Sunnyland will at last receive the better known as Sunnyland Slim. Memphis Minnie, Robert Johnson, recognition he deserves. Sunnyland was born in Vance, Mis­ Sonny Boy Williamson, Buddy SUNNYLAND SLIM sissippi on September 5, 1907. Doyle, and Shakey Walter Horton. Slim’s Shout Prestige/Bluesville 1916 As a youngster he taught himself He even worked for a time with Slim’s_GoL_His Thing Goins World blues piano and was profoundly the great Ma Rainey. Pacific 21890 ' affected by the early practition­ Then, in 1942, he decided once Chicago Blues Session ‘77’ LA 12/21 ers of this art, including Little again to pull up roots and moved Memphis And The Delta The 1950’s Blues Classics (one cut) Brother Montgomery and Roose­ to Chicago during the great black Ch ¡capo Hines Spivev LP1003 velt Sykes. In his youth Sunnyland migrations north. Once in Chica­ (tiSocuts) worked fish fries, house parties, go, he established himself as a After, Hour Blues Biograph BLP12010 as well as at the local movie house regular part of the blues scene (two cuts) - playing his blues and boogie woogie that clustered around Tampa Red’s American Folk Blues Festival 1964 Fontana TL5225 (one cut) piano. house, himself a stellar blues ^¿¿¿LClncago^BluesAdelphi While still in his teens, Sunny­ guitarist and singer. He ran with 28 am s ta r bluGS festive! picx^r3m 1970 5 Q© s® ^ sO CP

1970 IS® Blues Was And Is! suddenly gain a national reputation among their by MIKE LEADBITTER own people almost overnight instead of the very In 1960, very little was known about blues artists, local one that most had to put up with previously. especially those who had started recording after the Independent labels blossomed by the hundred and Second World War,1 but by 1970 enough material had when 1954 came round just about anyone who could been collected on these people to publish two com­ sing or play an instrument had been recorded, and prehensive discographies and rediscoveries were be­ then usually in a convenient house, garage or hotel ing made almost daily. How on earth did all this come room. The few independent studios that flourished about? How did it all happen? Even today, I’m not then were booked solid by the major labels and it too sure. The so called “Blues Boom” or “Revival” was easier and cheaper to record on location, far from means many different things to so many different troublesome union officials. people and I often have difficulty in adjusting myself It was this decade that produced R&B records to new tastes and changing attitudes. This is how that sold a million copies; records that found their I see it. I’ll try to answer my own questions in my way into the new “R&B Charts” that the trade own way. magazines began to feature. These charts prominent­ The really great days for the blues were during ly featured new releases by artists like Cecil Gant, the 1945-1955 decade. Nothing that happens in the Muddy Waters, Big Boy Crudup, Howlin’ Wolf, Mercy seventies will ever recreate that piece of blues his­ Dee, Guitar Slim, B. B. King, Lightnin’ Hopkins and tory. Perhaps I should explain that when I refer to a host of their contemporaries. If you were a blues­ blues I am talking about the ethnic music of Black singer in that time, you were looked up to by your America and of nothing else. This is what it was all people, wore good clothes and drove a Cadillac. You about just after the War. The growth of the juke­ toured endlessly on the “chittlin’ circuit” and made box industry, the arrival of disc-jockeys that would money, even though you had to work twice as hard actually play “race” music, plus an ever expanding for it as any popular white artist. Labels like Imperial, record distribution set-up, meant that bluesmen could Specialty, Atlantic, Kent and Chess were built on a 30 ann a te blues festival program 1970 foundation of Southern Blues, or one of its varia­ because they played better music. Then new collec­ tions. Everyone was riding high in the saddle, keep­ tors started digging into the past, collecting back­ ing well behind the segregation line, and never anti­ wards through WTolf and Muddy, back to Washboard cipating a white take-over. Sam and Jazz Gillum, and on to Leroy Carr and Rob­ During 1953 and 1954, record companies were get­ ert Johnson. They forgot the rock scene, and not ting reports that white kids, mainly in the South, only found they enjoyed the newly discovered blues, were buying “Race” records as they liked the music but wanted to know all about the artists, their ori­ for dancing. They especially enjoyed the “watered- gins and styles. Articles were written, discography down” material that Ruth Brown, Fats Domino, the began and new, often short-lived, R&B magazines ap­ Clovers and the like were doing well with, for it peared. Eyes turned to old catalogs and trade papers generally relied on a strong back-beat. The songs and records began to make their way across the these artists sang were usually simple in construction Atlantic. It was a popular theory that if an artist with a very basic message that was endlessly re­ had a weird professional name his music must be peated. It was the “Big Beat” that sold them. In a good. This theory usually worked. Europe listened to deliberate attempt to cash in on a new and sur­ , Lazy Slim Jim, Lazy Lester, John prising market, the companies developed new artists Lee Hooker, Little Walter, Juke Boy Bonner and so to cater for new audiences and the segregation line many more. By the late fifties, Europeans were was forgotten under the soothing influence of money. actually going to the States to interview all these As far as music went, it vanished altogether in 1954 people and listen to them in the clubs. The blues when Elvis Presley started singing and selling coun­ began to get documented. It seemed exclusively Euro­ try blues to white people. The initial Presley hysteria pean. Apart from a few pioneers in the States led to Rock ‘N Roll, a term coined for the moment like Anthony Rotante, Chris Strachwitz and Mack to replace R&B, which made people think of Negro McCormick, no other whites appeared to be paying music, and the rise to power of Bill Haley, Pat Boone, any attention to the good sounds on their doorsteps; Carl Perkins and others best forgotten was rapid they were all doing the Twist. with everyone happily rockin’ around the clock, not appreciating for a moment that their new cult was named after Black slang terms for sexual intercourse. Rock ‘N Roll brought blues to its knees. Up to 1960 blues was still being recorded for a Black “MOCK ‘N K0 LIL market. The South still wanted records by Muddy Waters & Co. and got them, if not quite as regularly BROUGHT BLUES as before, for the blues labels were putting every­ thing they could into new artists who could sing TO ITS KNEES” Rock ‘N Roll. Chuck Berry, , , Little Richard, and Larry Williams were some of the hot new properties, while oldtimers like Fats Domino, , Joe Turner and Ray Charles found they too could cope with the trends and benefited con­ siderably. Ignored by the rock public, B. B. King stayed a big selling blues artist. The new generation who liked blues turned to the King sound to further themselves. Junior Parker, Otis Rush, Freddy King, Buddy Guy and Bobby Bland became some of the new champions and survived long enough to es­ tablish themselves at a later day. In spite of these people the Black audience was turning away from blues. They wanted their own scene again and found it in jazz and soul. Blues had too many associations with times best forgotten for the young Negro of the ‘sixties; he left it to the old folks, only listening to blues-singers like Lowell Fulson who had managed to move with the times. By 1965, blues as a commer­ cial proposition was a thing of the past. However, Rock ‘N Roll did some good. In Europe the fifties generation caught on to it some time after its success in the States, and, as Europeans will, took it very seriously. People like Bill Haley were quickly discarded in favour of Ray Charles and Fats Domino jf;] ann arbor blues festival program 1970 All this European activity found its way (back) tors and enthusiasts are now helping with what was across the Atlantic during the sixties in a simple once left to Europe; the arduous task of research and way. First came the blues magazines and then came rediscovery. No longer do they just read Blues Un­ the groups. The magazines supplied details on rec­ limited to find out what is going on in their own ords and these records in turn inspired collectors to country, they now supply most of the material in it start playing blues to entertain others. All Europe and are starting projects of their own. The Cause is lacked was “live' blues. It accepted the second­ at last being furthered. The Black bluesman must hand sound for want of anything better. White blues, benefit. as we know it today, found its way out of the pubs With the arrival of 1970, Black blues, rejected by onto record and finally into the Charts, which got it its own people, has become an international white property. The record companies are chasing yet released in America. Blues, led by white bluesmen, another new, surprising market and are producing became a part of the youth movement in America a flood of all coloured blues records in the hope and America in turn began to play it, producing yet that some of it will sell. Though many enthusiasts more white bluesmen. British groups went to the .still prefer the imitators - John May all, Johnny Win­ States and to our joy real bluesmen could be im­ ter, Janis Joplin - the real bluesmen are slowly ported on the exchange deal which our Union lives making headway thanks to the efforts of the imi­ by. At last, Muddy, Wolf, Buddy Guy, Sonny Boy, tators themselves (especially Mayall) who often turn all our heroes could be actually heard live in Europe. people in the right direction. Real blues is getting Their fantastic success away from home turned into its last chance at survival and we must do all we further success when they got back. The white youth can to help. Let’s make it an era of Black of their country, caring little for social barriers, again - unhampered by white interference, but pre­ accepted them as their own. Authentic blues became served by white love. The sound of the good old a part of the White American world for the first fifties cannot be recaptured, but the feeling should time, but if you were a Black bluesman you had to and must be. We all made the blues what it is in make it in Europe first. This ludicrous state of af­ 1970 and we all share the responsibility of helping fairs has come to an end at last. American collec­ it back to true life.

Left to right: B.B. King, Big Mama Thornton, Junior Wells, Roosevelt Sykes 2 2 31111 ar^DCr festival program 1970 •LUTHER ALLISON ARTHUR CRUDUP 'BUDDY" GUY ■SON HOUSE J.B. HUTTO ■MANCE LIPSCOMB 'FRED McDOWELL 'JOHNNY SHINES REV JUNIOR WELLS ROBERT PETE W ILLIAM S avalon productions 163S lombard street phiadefcjhia, pa. 19146 ©112123 5 4 5 -6 2 6 2

Appearing at the Ann Arbor Blues Festival, Ann Arbor, 33 am arixr biues festival program 1970 Johnny Young

Singer - Quitarist - Mandolin- ist Johnny Young stands out as one of the most exciting blues­ man around. He is a fine power­ ful singer, and agile guitarist, and most of all a fluent, invent­ ive mandolinist. Johnny is one of a handful of masters of this in­ strument. Strong, earthy, and hon­ est best describe the music that Johnny and his Chicago blues band lay down. Anyone who has seen him and his tight band perform cannot help but be moved by the power of their music. Johnny was born in Vicksburg, Mississippi, on January 1, 1917, the third of seven children. His education was limited, reaching only to the fourth grade. “I can read a little and write, but it hasn’t held me back too much - not having more schooling. I’ve been able to go through life on mother wit, and I always did have the gift of m usic.” When Johnny was twelve, his family moved to Rolling Fork in the Delta. It was here that Johnny first turned his attention to music. He started out playing harmonica, but after being inspired by an Uncle with harpist Snooky Pryor, guitar­ College Campuses, and at concerts turned to guitar. Shortly there­ ist , and singer Floyd where the blues revivals nave been after he switched to the mandolin Jones in Chicago’s Maxwell Street centered, and has also made a trip and devoted all his energies to Open Air Market. At this time to Europe. this instrument, becoming pro­ Johnny made his first recording, ficient quickly. While in his teens, the classic “Money Taking Wo- JOHNNY YOUNG Johnny absorbed quite a bit from men’lfor the sKortlivM ^T^itSte“ Johnny Young And His Chicago Blues Band the playing of the famous Mississi­ label. Johnny also cut a few rec­ ppi Sheiks, who lived in nearby ords for the Swing Masters label, cago Blues” Arhoolie F10S7 Grace, Mississippi. By the time and backed Snooky Pryor on cuts he was fifteen he was playing for for Vee-Jay. T2203 (several house parties and earning up to Johnny is typical of a vast num­ Chicaeo/Thp Tnrlny V rJ 9 five dollars a night. Vanguard, VRS9218 (six cutsJ ber of great bluesman whom for­ Can’t, Keep From Crying Testament In 1939, Johnny left the South tune has treated shabbily. He has S-01 (one cut) for Chicago. He and Muddy Waters, been a fixture in the bars and Chicago Blues. The 195D’s Blue* who had also come North from lounges on the South and West sides Ctrmg),cs HUS fone cut) the Delta, began playing with the of Chicago for over twenty years, Blues Scene: Chicago Storyville SLP180 famous singer-harp player John (one cutI but it has only been in recent years Classic Train And Travel Blues Lee (Sonny Boy) Williamson. After that he has recorded again, and Milestone LP3002 (one cut) a few months Johnny decided to achieved a measure of recogni­ quit music and get a job. How­ tion. His selections appear on ever, music had become a part of Roots of America’s Music A r h o olie Testament, Vanguard, and Arho­ RZtfflTTzfJfflrToruTcui) .. him, and in 1947, he was playing olie records. He has appeared on Blues Roots Poppy (one Cut) 0 4 ann af^ cr }° ^ ES festival program 1970 The current white enthusiasm for the blues has not yet accorded the jazz-influenced, fully u rban bluesmen typified by Big Joe Tur­ ner and Eddie “Cleanhead” Vin­ son, their proper recognition. The nastier, less commercially success­ ful styles of the country singers and backrail, Mississippi-rooted Chicago blues have so far held far more appeal. Yet, merely the fame of Turner, Vinson, and their co­ horts of the 30’s from the “South­ west” - blues and jazz musicians work of T-Bone Walker (to whom who worked in Kansas City, Texas, Eddie “Cleanhead” B. B. King attributes m uch of his and Oklahoma - merits them great­ playing) and the wailing, “coarse- er attention. These Southwestern Vinson, and toned, ruggedly, swinging blues” musicians, among whom are also saxaphone, as played by Eddie T-Bone Walker and Lowell Fulson, “Cleanhead” Vinson and others, had common roots in pre-war jazz typify the instrumental contribu­ and blues and then became well- tions of the Southwest. Big Joe known r&b performers of the late Turner, a delineator of a style ’40’s. They toured, especially in known as Kansas City blues shout­ the Southwest and on the West ing, typifies the vocal contribution. Coast, the circuit of black clubs, Big Joe Turner was born May ballrooms, and theaters. Their rec­ 18, 1918 in Kansas City and com­ ords hit the charts and were aired menced his musical career there on the newly established big city during the ’30’s, the peak years black radio stations. of Kansas City jazz. In the '’30’s, The influence of these musicians this city was an open town, where from the Southwest is even more gambling, prostitution, and boot­ significant than their fame. From legging flourished. As such, it be­ the musical developments of the came a regional entertainment ’30’s in the Southwest, they have center that attracted and sup­ left a strong impact on today’s ported many musicians. Many funky jazz and, more importantly, great bands, notably ’s, have shaped the form and the came out of there at this time, vocal, instrumental, and band and they reflected a complex inter­ styles of post-war r&b. Turner and mixing of jazz and regional blues Vinson helped popularize a sound, instrumental styles. Big Joe heard today in the bands of B.B. Turner’s work with the band of King and James Brown, that stem­ pianist Pete Johnson and his af­ med from the Kansas City jazz ter-hours jamming with the other groups of the ’30’s - a harddriving, great Kansas City groups helped rhythm emphasizing, blues-riffing, shape his vocal style. To blend brassy sound. The r&b derived with the harddriving, loud, blues­ from the Southwest emphasized riffing sound of Kansas City bands, the beat, increased the volume, Turner and rival Jimmy Rushing and often had the polish of big developed Kansas City blues band jazz voicing. As a highly com­ shouting. Deep, strong male voices mercial dance music it may have belting out sonorous, though often lost some of the personal convic­ incoherent twelve bar blues lyrics tion of the lone blues singer telling characterized their work. They his story, but the musicians from eliminated the whining and falset­ the Southwest did heighten person­ to associated with country blues. al expression within r&b through While bartending in the early the development of their in stru ­ ’30’s at Kansas City’s Sunset Club, mental solo styles and vocal at­ Turner would sing between sets tacks. The pioneer electric guitar and be accompanied on piano by 35 ann after blues festMal program 1970 the original version of “Cherry Red,” later a hit for Eddie “Clean- head ” Vinson. In 1947, after a period of separ­ ation, Turner rejoined Johnson on the West Coast. He remained there for the next three years, and, as both a bandleader and singer, he became an important figure in the developing r&b scene of California. Many musicians were part of the massive wartime migration of blacks from the Southwest to Cal­ ifornia, and they brought their musical traditions with them. By the late ’40’s, California, along with Texas, was becoming a center for a distinct strain of r&b that drew on the prewar jazz and blues of the Southwest. Turner, as a bandleader, was one who popular­ ized the Kansas City sound within California r&b. As a vocalist, the style he developed in Kansas City, the club’s bandleader, Pete John­ loud, often harsh, and emotional, son. This was the start of the leg­ endary team that wrote and re­ fit well with the r&b bands and their coarse-toned, blues saxa- corded many hits and blues clas­ sics of the late ’30’s and early phones. ’40’s. John Hammond, the famous With the advent of r&r in the talent scout, discovered them in fifties, Turner and other black r&b the early ’30’s, and, after one un­ singers adapted the mood and style successful attempt at the New York of their music to appeal to the larger white audience. His records bigtime in ’36, Hammond invited frequently made the r&r charts them back again to make their during the mid-fifties. His hit re­ national debut in a December, cordings include “Sjj^kej R attle ■& 1938, Carnegie Hall concert. John­ Roll,” later recorded by Bill Haley son’s piano accompaniment at this and His Comets, “All Night Long,” concert set off a boogie-woogie “Flip Flop & Fly,” and “Blow, craze. The two also cut in New Joe, Blow Besides his hit record­ York at this time the highly suc­ ings and his original compositions, cessful record with “Roll Em his vocal style has had a profound Pete” and “Goin’ Away Blues”; influence on r&r. In recent years, this record foreshadowed the with the renewed interest in blues, sound of post-war r&b. After the Turner has stepped up his record­ Carnegie Hall concert, Turner and ing activity and his personal ap­ Johnson remained in New York pearances here and abroad. and worked together regularly un­ Alto saxophonist and blues singer til 1944. They often performed si­ Eddie “Cleanhead” Vinson is one multaneously with two other of the important jazz-influenced, boogie pianists, with a group called blues musicians from the South­ “The Boogie Woogie Boys” at both west. Although current blues fans the Cafe Society Downtown and have not been too familiar with Uptown. During the early ’40’s, his work, he did achieve great pop­ Turner also toured theaters across ularity in the 40’s as a bandleader the country and made recordings. and blues singer. Furthermore, he Some notable recordings of this distinguished himself as a singer period include “Wee Baby Blues, with a very personal, feeling ap­ on which he is accompanied by the proach to the blues within a big great jazz pianist, Art Tatum, and band context. Vinson, along with ann arbcr blues festival program 1970 T-Bone Walker and Big Joe Turn­ working as a single, and, for four er, helped to create an r&b sound months in 1954, rejoined Williams’ in the late ’40’s that drew from band. After playing with Williams’, the prewar jazz and blues of the he worked around Chicago, in Southwest. small groups of his own and of Born December 18, 1917, in others. Eventually, he returned Houston and city-bred, Vinson is home to Houston and, with ten- once removed from the rural roots prist , successfully of the blues. Consequently, his formed both a big band and a singing and alto playing reflect an sextet. In recent years, he contin­ intermixing of influences from ues to perform in Houston, teaches jazz, an urban form, and from voice and alto, and, with the grow­ blues. His father played jazz piano ing blues scene, makes occasional and his earliest professional expe­ performances at festivals in the riences were as a jazz alto player. and Europe. Yet even with these early jazz in­ The significance of the music of fluences, Vinson’s alto playing re­ Big Joe Turner and of Eddie JO E TU RN E R tained a strong blues flavor. He “Cleanhead” Vinson lies within Joe Turner Atlantic 8005 still plays in the style, which ori­ the context of the enormous role Rockin’ The Blues Atlantic 8023 ginated in the Southwest, that is of the Southwest on post-war mus­ Big Joe Is Here Atlantic 8033 characteristic of funky jazz and ic. W hen T urner and V inson, T- Best Of Joe Turner Atlantic 8081 Bone Walker, and others from the Joe Turner’s Blues ^Savojr 14012 r&b - “coarse-toned” and “rugged­ Careless Love Savoy 14016 ly swinging.” Not until well along Southwest are taken together, the Blues And AÏÎ That Jazz Decca 79230 a career as a jazz alto player, did scope of the impact of the South­ Boss Of The Blues Atlantic S-1234 he meet Big Bill Broonzy and make west becomes clearer. Then too, Big Joe Rides Again Atlantic S-1332 a conscious attempt to develop his when the careers of musicians like Singing The Blues__Bluesw av BLS6006 blues singing. Broonzy taught him Turner and Vinson are compared, ’W n sTTri The Blues Kent KST542 Seal Boss Uf 'l'he Élues Bluestime ' a lot of material, notably “Just a some revealing parallels appear - BTS9002 Dream” and “Somebody’s Got to born and raised in the urban cen­ Super Black Blues Bluestime BTS9003 Go”. Vinson also listened to and ters of the Southwest, experience Oldies But, Goodies Vol. 2 gained much from Joe Turner, in the big swing bands, relative Original Sound ' "(one cut) whose song “Cherry Red” was his national obscurity with the demise Rû1^'-T^gins™V7T~F~~^^ 314 (two cu tsI first hit. Vinson attributes his good of swing and growth of bop, post­ war popularity in the ghetto mar­ History of Rhythm and. Blues Vol. 1 friend and fellow resident of Hous­ Atlantic 8161 (one cut) ton, Lighten’ Hopkins, as another ket for the r&b sound of the South­ History of Vol. 2 influence. west. With the decreasing audience Atlantic 8162 (one cut) Vinson’s professional career be­ for jazz, then, the musicians from History Of Rhythm And Blues Vol. 3 the Southwest filled the gap with Atlantic 8163 (one cut) gan as an alto player with Milt Urtyan RI.ups Vnl 1 Trr,p„r;a] T,MQd()t)9 Larkins’ band in Houston during a very danceable music that was both distinctly black, or soulful, (two cuts) - the early ’30’s (T-Bone Walker al­ Urban Blues Vol. 2 Imperial LM94004 so worked with this band for a and influenced by the sophis­ (one cut.) ticated, urban jazz forms. while). Later, he played with the —Prewar Recordings— Ray Floyd orchestra. At the end of 1941, Vinson joined, as the lead J. Silvers Jumpin’ The Blues Arhoolie R2004 Blues And Trouble Vol. 2 Arhoolie alto player, the band led by great F1012 (one cut) jazz trumpeter, . The Knots of A m erica's Music Ark&olit During the three years he was with R2001 2002 (one cut) Williams’ band, he established Blues Roots Poppy ■ (one cut) himself primarily as a great blues singer and recorded the hits “Cher­ EDDIE VINSON ry Red” and “Somebody’s Got to Riuexside Go.” In 1945, Vinson formed his Battle Of The Blues Vol. 3 (with Jimmy own group and made a hit with Witherspoon) King 634 Battle Of The Blues Vol. 4 (with Roy Brown “Kidnev Stew Blues.” His band & ) King 668 . ■played a t the Z annzibar on B road­

Born in Pisces, March 2, 1924 in Natchez, Mississippi, Alex­ ander Lightfoot taught himself to play harmonica when he was a youngster and taught the white kids in school. Nick-named “George” by his mother in early days, it was many years before anyone knew his real name was Alexander, and to this day, the whole town of Natchez knows him as Papa George. He pulled an ice cream wagon around Natchez for many years, “I had a wash basin on the back with soap and every­ th in g .” He turned pro in the late 1940’s, playing gigs around Natchez at places like the Blue Cat. For the next ten years his giging days were at their peak, and his home moved back and forth between New Or­ 58 at $175.00 a week plus expenses. and has a very distinctive count­ leans and Natchez. During this He toured as Little Papa Wal­ enance; a jovial person and all time he played many shows and ter and as such played all of Little around beautiful cat. He inherited tours with Fats Domino, Dinah Walter’s tunes and generally cop­ 450 acres of land near Lorman, Washington, Sonny Boy William­ ped his whole scene. On such tour in Mississippi, from his father son II, Tommy Ridgley, Shirley included a trip from Nashville to which he leases to a farmer and and Lee, and Lionel H am pton Cincinatti with Smiley Lewis in works two days a week now as a among many others; recorded for in a 1955 station wagon. He toured driver for Jackson Packing Co., Imperial, Aladdin, and Savoy in also as John Lee Hooker, wore delivering meat in and around New Orleans, for Peacock in Hous­ shades and played guitar, and was Natchez. His mother still lives ton, and for Twin City Music Co. discovered as a fake Walter and in Natchez in a house he owns, but he prefers to stay with his com- in Monroe, Louisiana-many songs, Hooker more than once, never to never released, recorded with local any harm, however - after all, who mon-law wife, Hattie Mae, in one musicians. On all his released couldn’t take a joke like that? He of the more dilapidated sections recordings, he remembers the toured w ith Cham pion Jack Dupree of Natchez. guitar player and drummer to have in the mid 1950’s, and made a short He had a radio show in Natchez been Edwin “Guitar Red" Marion, entitled “Spooky Loot” sporting sponsored by the C and G Grocery and Sam Cooks. He didn’t remem­ “gangsters on the run' “red hot on which he played alone-harp, ber anyone else. music,” “spooks on the loose,” washboard, sticks; did the com­ Peacock recorded Papa Light­ and “red hot gals,” and staring mercials and advertisements as foot and Tommy Ridgley at the Robert “Lucky” Hoggatt and Hen­ well. same time as they went to Hous­ ry “Dollar Bill’ Dotson, with Rap­ After many financial disa- ton together at the request of Don hel Moore, Papa George, Willie pointments in the music business, Robey. They were working to­ Mae Calvin, John Moore. Archie he retired to his Natchez home gether in New Orleans. Jones, and Earl Cosy, “and a cast in the late 1950’s. of hundreds." It was directed and He twice won a Horace Heidt PAPA LIGHTFOOT talent contest-one in Natchez, the produced by Jack Davis, later to other in New Orleans, both over become “Wolfman Jack" of late Rural Blues Vol. 2 Imperial LM940Q1 two cursi ” A1 Hirt, and was awarded a gig night, South western L SA radio Rural^ Blu<’x Vol. 3 Imperial LM9400G with the Heidt band and toured fame. with him for four years from 1954- He was born with a crossed eye Satchcz Traci1 Vanll LPl-Ul 4 1 sfV' ^stn blues festival program 1970 Little Brother was born Eurreal among others. Little Brother made M ontgom ery on April 18, 1906 his first records in 1929 for the in Kentwood, Louisiana. His was Paramount label in Grafton, Wis­ a musical family, with all of his consin. Most of what he cut was nine brothers and sisters playing with singer Irene Scruggs, but he either guitar or piano. In addition also made two cuts as a single ar­ to this, his father played cornet tist - two of his best-known tunes: and his mother played accordion “Vicksburg Blues”, and “No Spec­ and organ. His father ran a little ial Rider Blues.” barrelhouse-juke joint tor the lo­ During this period, work was cal sawmill workers, and it was plentiful in Chicago, and Little here that Little Brother first heard Brother kept himself occupied piano played real barrelhouse playing the house parties and rent style. When Little Brother was five, parties. After the stockmarket his father bought a piano, and Lit­ crash, however, things got bad, tle Brother set out to master it. and in 1931, Little Brother headed He left home at the age of back to Mississippi, where he eleven, hoping to find a music car­ formed his own band with nine to eer. First he went down to Sara­ fourteen pieces in Jackson. In 1936, toga Street in New Orleans, then he recorded again, making a total up the Mississippi River playing in of eighteen sides in a session down all the river towns on the Louisi­ in New Orleans. He toured with a n a /A rk a n sa s side such as Holden, his band until 1939 when he moved Placquemine, Ferriday, Arkansas to Hattiesburg and then to Chicago City, Eudora, and Lake City. He at the outbreak of World War II. played mostly in barrelhouse-juke In Chicago he found a job playing joints for the sawmill and levee at the Hollywood Show Lounge camp workers, providing music for on West Randolph Street, with .a such dances as the Eagle Rock, five piece band, a gig he held for Grizzly Bear, and the Shimmy. 12 years. Heading back down into Louisi­ Since that time, Little Brother ana, he ended up in Tallulah and has held residence in Chicago, crossed the river to Vicksburg, Mis­ playing-in clubs on the North side sissippi. It is here that Little Bro­ and in the suburbs, and recording Little Brother ther is said to have met Skip for a number of labels, including Jam es, resulting in a song ex­ Riverside, Mercury, Folkways, and Montgomery change with Little Brother learn­ Prestige/Bluesville. In 1966, he ing his “Vicksburg Blues” from toured Europe with the American Skip, and Skip learning Little Bro­ Folk Blues Festival, being received ther’s “No Special Rider Blues.” most enthusiastically, and just re­ Whether he’s pounding out the While in Vicksburg, and through­ cently he has recorded a few sides “44’s” theme in his “Vicksburg out the course of his travels in the for the FM label in Chicago, in­ Blues”, playing his “Shreveport South, Little Brother came in con­ cluding a new version of “Vicks­ Fairwell” stride style, or playing tact with an incredible number of burg Blues” w ith singer Jean ie his hard-driving tribute to Pinetop obscure and unrecorded barrel­ Carrol taking the vocal. Smith in “Pinetop’s Boogie Woo- house piano players, m any of gie”, few men are held in as high whom were very influential in Lit­ LITTLE BROTHER MONTGOMERY esteem by the contemporaries as tle Brother’s maturing as a pianist. In the middle 1920’s, Little Brother Little Brother Montgomery Blues Little Brother Montgomery is. Lit­ Folkways FG3527 tle Brother is equally at home in played in the bands of Clarence Tasty Blues Prestige/Bluesville 1012 a number of styles ot music, from Desdune from Jackson, Mississip­ Farro Street Jive Folkways 31014 blues and gospel to dixieland and pi, and Leonard Parker from Sli­ After Hour Blues Biograph BLP12010 dell, Louisiana. /s ix 'cuts - two of' them .prey}or) traditional jazz. To coin a phrase, The Queen And Her Knights Spivey he’s what they call a “musician’s In 1928, he arrived in Chicago, LP1006 (two cuts) musician”. Both on stage and off, which was then a mecca for pi­ A m erican Folk Blues F estival 1966 Little Brother is a quiet and re­ anists, and came into association Fontana 885.43ITY (one cut) No Special Rider Adelphi AD1003S served man, but as you watch him with men like Jimmy Yancy, Pine­ top Smith, “Cripple” Clarence Lof­ perform, there can be little doubt —Prewar Recordings— ton, Charlie Spand, Albert Am­ about the sincerity and depth of Piano Blues RBF RF12 (one cut) feeling behind his music. mons, and Meade Lux Lewis, 4 2 arm artoer dues festival program 1970 Carey Bell

The Chicago blues scene has al­ ways been famous for its great harmonica players. Harp players like Sonny Boy Williamson, Little Walter Jacobs, and Big Walter Horton stand out as musical gen­ iuses as well as giants in the blues world. Following in this great tra­ Indiana. After a short time, Carey He was soon in need of money, dition is Carey Bell, an exciting, began playing with David “Honey­ so he went on the road with the versatile harp player living on Chi­ boy” Edwards, who introduced late Earl Hooker. This trip proved cago’s West side. him to Little Walter. “I started tak­ to be a great boost to Carey’s car­ Carey was born in Macon, Mis­ ing lessons from Little Walter and eer. Through Earl, Carey met Chris sissippi on November 14, 1936. “It stayed at Honeyboy’s, worked with Strachwitz of Arhoolie records, was my grand-dad who got me him and a drummer named Dizzy. who recorded him. Recently, Del- started in music by buying me and Walter gave us a job at the Zan­ mark records released a fine al­ my brother those 25

Buddy was playing by the time records collapsed, Otis Rush he was seventeen. brought Buddy to Chess. At this Buddy Guy time Buddy’s stinging guitar,shout­ Buddy’s career started out slow­ ing vocals, and tight band were ly and he suffered many setbacks. laying down some of the toughest In 1953, Buddy started playing reg­ blues to be heard in Chicago. Some ularly with the “Big Poppers” band of Buddy’s best work has appeared in Baton Rouge. Buddy also played on Chess and recently he has re­ with Lightnin Slim and this added corded for Vanguard. For many years the South side to his development significantly. Buddy’s playing reflects a strong of Chicago has been a spawning In 1957, Buddy left for Chicago influence from the blues of B. B. ground for great blues artists. where he had a difficult time es­ King and Guitar Slim, but he has Probably one of the most brilliant tablishing himself. He worked as overcome established trends to de­ guitarists to come out of the area a mechanic between jobs at Ter­ velop his own powerful style. Bud­ in many years is Buddy Guy. A stu­ esa’s and the Squeeze Club. dy has toured Europe and Africa dio musician for over ten years, Buddy’s big break came when he and is well on his way to establish­ Buddy played with Muddy Waters, ing an international reputation for Howling Wolf, Little Walter, Jun­ won a “battle of the blues” at himself. ior Wells, as well as almost every the Blue Flame Club on the South side over Magic Sam, Otis Rush, Buddy is considered by many to other established bluesman, before be the finest combination of in­ forming his own band and break­ and Junior Wells. Magic Sam in­ troduced Buddy to people at the strumentalist, vocalist, and visual ing out on his own. showman in the entertainment George (Buddy) Guy was born Cobra/Artistic record studios and he cut a few sides. After Buddy world today. Listen and watch in Lettsworth, Louisiana on July Buddy and you will quickly see 30, 1936. Inspired by the records formed his own band his reputa­ tion grew quickly and his records why B. B. King h as indicated him of Lightning Hopkins, T-Bone as his heir apparent. Walker, and John Lee Hooker, began selling well. When Artistic 44 arm artcr blues festival program 1970 Thirty six year old Otis Rush is one of the most lyrical guitar play­ ers on the Chicago scene. As mas­ ter chordist, Otis is perhaps the most underrated bluesman work­ Otis Rush ing today - not underrated by his peers, but by the white blues pub­ lic. Anyone who has seen Otis play will testify to the brilliance of this m usician. Otis Rush was born in Philadel­ phia, Mississippi on April 29, 1934. Otis learned to paly guitar at an early age. He listened studiously to the records of Muddy Waters, T-Bone Walker, Lightning Hop­ kins, and John Lee Hooker. In 1948, the Rush family moved to Chicago and Otis began working in the stockyards. His blues educa­ tion thrived in the atmosphere of the big city bands. In 1953 he formed his first band and began playing at the Club Alibi. In 1956, a t the age of 22, Otis began recording for . The sixteen sides he produced are fascinating examples of modern

'‘Double When Cobra folded T5tis moved to Chess and produced his classic “So Many Roads,” After leaving Chess, Otis signed a long contract with Duke records but few recordings result­ ed from this partnership. In the last few years he has been record­ ed by Vanguard and Cotillion. Otis has always been an exciting singer, as evidenced by the trem­ bling vocal on “So Many Roads.” He has also matured into an inven­ tive guitar player. Otis plays left­ handed holding the guitar back­ wards and upside down, but not re­ versing the strings to correspond O TIS R U SH with his left-handedness. When Mourning In The Morning Cotillion Otis plays he hits the treble strings <»' i 11 ■ rather than the bass first, produc­ Oti.s Bush P ython ing a unique sound. On stage Otis Otis Bush Blue Horizon (Sj 7-63222 Chi.cago/ The Blues/Today 2 Vanguard is restrained and in command. He VBS9217 (five cuts) does not need to make a spectacle Door To Door Chess 1538 (six ruts) of himself, he simply leans back The Blues Vol. 2 Argo LP4027 and plays the blues. (one cu t) Otis appeared at last year’s fes­ Am erican Folk Blues F estival 1966 Fontana 885.43ITY (two cuts) tival and also played an outstand­ ing two hour set at a preview con­ cert held in April in Hill Auditor­ ium. It is indeed a pleasure to have Otis in Ann Arbor again. 45 ann arbcr blues festival program 1970 of traditional black music. Among the artists dead and living who people this category are Lead- belly, Mississippi John Hurt, John Jackson, and Mance Lipscomb. Mance Lipscomb is a product of the bottomlands of Brazos County, Texas where he was born the second of eleven children on April 9, 1895, just outside of Nav- asota. His father was a former slave from Alabama, and one of the best fiddle players in that part of the country. Mance developed an interest in guitar after his uncle George brought one by his home, and as he got better, he began traveling with his father, bassing for him on guitar. Mance’s father stopped coming home when Mance was eleven, and Mance Lipscomb shortly following this, his older brother struck out on his own, What is perhaps one of the least leaving Mance to support the fam­ favorable results of the booming ily. “I had to take a man's job interest in the blues witnessed then,” Mance says, recalling his in the last decade is that the gen­ youth when he had to hire himself eral music audience has been pre­ out so his mother and his brothers MANCE LIPSCOMB sented with a distorted picture of and sister could eat. At the age Mance Lipscomb Beprise 2012 the black music tradition in this of sixteen, Mance was initiated Texas sharecropper And Songster country. At the time when black into ■ the southern sharecropping Arhoolie-., * music was first recorded com­ system, or the half-handers sys­ Texas Songster Vol. 2 Arhoolie FI023 mercially, blues was at a peak tem as they called it in his part Texas Songster In A Live Performance of the country. This system was Arhoolie FI 026 of popularity in the black com­ Mance Lipscom b Vol. 4 Arhoolie I11033 munity, and as a result, blues was designed so as to keep the share­ Texas Songster Vol. 5 Arhoolie FI049 by far the most heavily recorded cropper perpetually in debt, binding Decca LK4664 (two cuts) branch in the mainstream of black him to the land as slaves were Blues And Trouble Arhoolie FI006 to their masters. It is a testimony (one cu t) music tradition. Texas Blues Vol. 2 Arhoolie F1017 The shame is that blues is just to Mance’s hard work and per­ (one cut) that, only one branch of the main­ severance that he was able to beat Berkeley Blues Festival Arhoolie stream, albeit a might important the system by keeping out of debt FI 030 if our cuts) and even bringing in a little prof­ Texas Blues - The 1950’s Blues branch. The other traditions re­ Classics BC16 (one cut) main sadly underrepresented on it, as much as $150.00 to $200.00 The Unexpurgated Folksongs of Men phonograph records, and remain on the good years. Raglan 51 (two cuts) fairly dark areas in the field of Around this time, Mance began The Knots Of America’s Music Arhoolie American folklore scholarship. playing the Saturday night dances B200I/2002 Tbrie ~cut) and country suppers, suppliment- Blues Boots Poppy (one cut) One happy exception to this, how­ ever, has been the discovery of ing his meager income by sup­ a number of traditional “song­ plying the dancers with break­ sters,” men whose reportories downs, reels, shouts, drags, jub­ provide a healthy cross section ilees, and blues. arbor blues festival program ' 1970 “Saturday night I’d play all night -til eleven o’clock Sunday morn- ing-and go right back and play for the white dance Sunday night, and then go to the fields Monday.” In 1913, at the age of eighteen, Mance married his wife Elenora, and they have remained together to this day, a fact Mance takes great pride in. During the war, many of the big plantations fore­ closed, being broken up into small­ er farms. Along with this change, a new renting system was initiated to replace the dated sharecropp­ ing system. In 1943, after forty- two years of sharecropping, Mance joined this new system, hoping Joe began to gain more confi­ for more freedom and greater fi­ dence in himself as a singer, and nancial returns, but the system in 1961, he moved to proved to be no improvement over sharecropping. In 1956 he was to try his luck in the music world. placed in charge of a two hundred In 1964, he signed a contract with K ent records, and recorded the acre farm by an absentee land­ lord, receiving a cut of the profit first version of “Dirty Work Going for his labor. Later, however, the On” which was never released. owner decided Mance should re­ Following this, Joe moved to North ceive reimbursement in the form Richmond, California, but record­ of wages, and Mance got disgusted ed again after his contract with and left for Houston, going to work Kent expired, this time with the for a lumber company. Movin’ label in Los Angeles. He In 1957, he was involved in an recorded a total of six sides for accident when he was struck by Movin’, four of which were leased some falling lumber from an over­ to in Chicago, to turned truck, injuring both his Little Joe Blue receive national distribution. He eyesight and his limbs. As com­ went to Chicago in 1967 and re­ pensation for this, he received corded two of his finest sides, “Me $1,600.00. With this, he returned and My Women,” and “My Heart to Navasota, bought a plot of land, One of the better up and coming Beats Like A Drum.” Later that and built a house for his family. bluesmen yet to receive his due year, he recorded for Kent again in In July 1960, when he was dis­ recognition is Little Joe Blue. Joe Oakland, California, but the sides covered by Mack McCormick and is primarily a vocalist, with a pow­ he cut were never released. Chris Strachwitz, Mance was work­ erful voice strongly reminiscent of At present, Joe is recording for ing for a contractor, cutting the early B. B. King, but he is also Jewel records out of Shreveport, grass along the state highways and a more than adequate guitarist. Louisiana, and he has recorded no bossing a three man crew. Mack Joe’s real name is Joe Vallery, less than four excellent sides with McCormick and Chris Strachwitz and his story begins in Vicksburg, Lowell Fulson playing guitar. To­ recognized the obvious talent and M ississippi, on Septem ber 23, day Joe does most of his playing historical importance Mance bore 1934. M ost of his early life, 'h e in the South, in clubs and on R as a purveyor of Negro folksong lived across the river from Vicks­ and B shows, often appearing on tradition, and they recorded Mance burg in Tallulah, Louisiana, and the same bill with Jimmy McCrak- for Chris’ Arhoolie label. there he came into contact with liri, Sugar Pie DeSanto, A1 King, Since that time, Mance has re­ the blues when performers like T- Maxine Howard, or Sonny Rhodes. corded five full albums for Ar­ Bone Walker, Lowell Fulson, and Last year, Joe made a guest ap­ hoolie, plus one for Reprise, and Jimmy Liggins came through in pearance with in the he has played in folk festivals and the late 1940’s. In 1951, Joe moved Filmore West, and he is hoping to coffee house’s all over the United to Detroit, and took on a construc­ find a larger audience this year. tion job, his only musical activities States, astounding and delighting LITTLE JOE BLUE youthful audiences with the music being appearances in talent shows, that’s part of his heritage. etc. in the area. No L P ’s 47 ann arbor dues festival program 19/0 Lowell Fulson

There are few blues musicians whose careers so dramatically il­ lustrate the transition from a coun­ try style to a modern urban style as does Lowell Fulson’s. Lowell’s ear­ liest sides were performed with an acoustic guitar, either by him­ self, or with his late brother, Mar­ tin Fulson, accompanying him on second guitar, and with an ex­ tremely emotive voice suggestive of Texas Alexander who influ­ enced him. Today Lowell performs with a five or six piece urban group (often recording with an even larg­ er group), playing electric guitar in a single string fashion influ­ enced by T-Bone Walker. In either style, Lowell is among the finest and most moving bluesmen ever to with larger bands backing him. Many of the musicians who have record. This is where Lowell was first ex­ played with Lowell early in their Lowell Fulson was born in Tulsa, posed to what was later to be careers have gone on to make Oklahoma, in 1921. His family called Rhythm and Blues. Lowell names for themselves, one of the farmed and played music in their was discharged from the Navy in most notable examples being Ray leisure time, with his father on 1945, but rather than go back to Charles. Lowell’s recording career guitar, and his grandfather on vio­ his native Texas and Oklahoma, has been extensive, recording first lin. Like Scrapper Blackwell, Low­ Lowell stayed of the West Coast with Swing Time, then with Chess (much of the best of which has re­ ell was born part Indian, but there where there was a whole new aud­ cently been rereleased on Chess the similarity ends. Lowell took an ience for his music. Thousands of 408), and most recently with Kent. early interest in guitar, and by the black people from the rural south Today, Lowell makes his home in time he was seventeen, he was had been drawn to the West Coast Texas again, and records with Jew­ proficient enough to join the by the better paying jobs accom­ el Records in Shreveport, Louisi­ Wright Brothers Stringband in panying the wartime boom to in­ ana, with whom he has recently Texas, a band composed of three dustry, and the music they wanted recorded an excellent rendition of violins, two banjos, and two man­ to hear was the blues of their na­ the Beatles “Why Don’t We Do It dolins. After less than a year with tive Texas, Oklahoma, and Louisi­ this group, he went back to play­ ana. Around this time, Lowell at­ in the Road.” ing alone, often performing for tracted the attention of local rec­ Lowell Fulson Arhoolie R2003 country suppers around his home. ord producer Bob Geddins in Oak­ Lowell Fulson - Soul Kent KLP5016 Shortly after this, Lowell met land, and Lowell recorded his first Lowell FulsonTramp Kent KST520 sides on Bob Geddins many small­ Cowell FulsorT"-N o w Kent KST531 Texas Alexander, whose guitarist, San Francisco Blues Fontana SFLJ920 Funny Paper Smith, had just quit. er labels, accompanied only by his Huns Down Head Tex asked Lowell to join him, so brother Martin on guitar. These Blues ~And Trouble Arhoolie F1006 for the next year or so, until 1940, sides proved so popular, that Low­ (one cut) Lowell served as Tex’s accompan­ ell switched to the larger Swing Time label in Los Angeles, who in Arhoolie R2001/2002 (one cut) ist. This experience proved ex­ Blues Roots Poppy (one cut/ tremely influential in molding his addition to putting out all of his The Blues Vol. 1 Argo 4026 (One cut) vocal style, and it is from Tex new sides for the next few years, The Blues Vol. 4 Argo 4042 (one cut) that Lowell learned his “River apparently reissued nearly every­ The Blues Vol. 5 Argo 4051 (one cut) Pure Soul Kent KLP5017 (two cuts) Blues.” thing he had recorded while with Geddins. When Lowell’s brother Rural Blues Vol. 3 Imperial LM94006 When the War rolled around, he (one cut1 “ joined the Navy and was stationed Martin died, Lowell formed a larg­ 20 Super Rhythm And Blues Hits Vol. 2 on the West Coast. Much of his er band composed of piano, bass, Kent 530 (two cuts) time was spent touring with the and drums, and often a Love Those Goodies Cricket 2973 USO service shows, often playing or two. (one cut)

4 8 8 0 1 a r t o r )° k j E s p ^ 3 1 7 1 1 9 7 0 Big Mama Thornton

There have been many good female blues singers from Ma Rainey and Lottie Kimbrough to Victoria Spivey and Billie Holi­ day, but Willie Mae Thornton is as great as any of them. Born in Alabama, the daugh­ ter of a minister, Big Mama was raised in an atmosphere of gos­ pel music. At the age of fourteen she left home to tour with the Hot Harlem Review, where she soon became a featured performer. After leaving the review Willie Mae moved to Texas where she joined Johnny Otis as his lead sing­ er. It was while she was with Otis that Big Mama recorded “Hound Dog.” Although Elvis sold more copies her version was the orig­ inal, and the better of the two. It is ironic that it took a rather untalented white imitator’s rend­ ition of “Ball and Chain” to in­ troduce Willie Mae Thornton to a large segment of the population, but in the entertainment field tal­ ent doesn’t seem to count nearly as much as skin color. One of the national magazines recently did an article on “the queen of the blues” and used less than a sen­ tence to mention Big Mama’s in­ fluence on the “queen.” Well the article was wrong. Big Mama is the true Queen Of The Blues. BIG MAMA THORNTON

Rip Mr,mg Thornton JzlJHuxopz__Azhoolie F I028 — . — Big Mama Thornton And The Chicago Blues Band Arhoolie F10S2 Stronser Than Dirt Mercury SR61225 The Way It is Mercury"SRVfl'J'iy Ball And Chain Arhoolie F1039 (two cutsi Like 'E r Red Hot D uke 73 fn n e^xjt.l American Folk Blues Festival 1965 Fontana 681.529TL ' (one cut) Roots Of Americas Music A rh oolie R2001 2002 /one cut) " Biues Roots Poppy (one cut) m ann arbor bluss festival pQQram 1970 Little Jr. Parker

After World War II the Memphis area developed into a blues center second only to Chicago. A group of young men all born within a few years of each other and with­ in the same general area began creating a blues style which gained great popularity among urban blacks. B. B. King, Johnny Ace, combo quickly made a name for stands in theaters and clubs, and Bobby Bland, Roscoe Gordon, and itself. In 1952 he cut his first ses­ has recorded for several labels Gatemouth Moore were only a few sion for Ike Turner and Modern in with varying degrees of success. of the many major talents to rise West Memphis. In 1953 Junior took Junior has thought about giving to fame at this time. One must his band to Sam Phillips Sun label up the blues for the church, but also include the name of Junior and recorded the best selling “The blues is based on somebody’s Parker in this list of great artists. “Feeling Good”, and “Mystery life, it hits em in the heart and Singer - harp player Herman T rain .” the love comes out.” Let’s hope it Parker, Jr. was born in West Mem­ His music owed some debt to the continues to come from Junior for phis, Tennessee in 1927. Junior’s Delta, but reflected the sound of many more years. biggest influence and inspiration the times to a larger extent. Junior was Rice Miller (Sonny Boy Wil- did not play harmonica on “Feeling JUNIOR PARKER siamson II) who played over KFFA Good” and it was the wild guitar radio in Helena, Arkansas. In 1948, riff which shot the record to the Ba.rp-.Fnnt Rock A n d You Got Me D uke ÜLP72 I'six cutSJ------the Howling Wolf came to West top of the charts. Following the Drivin’ Wheel Duke DLP76 Memphis and Junior joined his success of this recording Junior Zhe BesLUL Duke DLP8S band. His stature earned him the moved to Houston in 1954. For a Like It Is Mercury SR6V101 nickname of Little Jr. Parker. With period Junior toured with Big Ma­ Haby f Lease M ercury 16401 Wolf there was little need for a ma Thornton and taught her to Blues Man Minit 24024 harp player so Junior quit around play harp. 64004 1950 to form his own band, calling Over the years Junior has toured it “The Blue Flames.” Junior’s the country making one night ¡Memphis Blues ’Kerlt (one cut) 50 ann artcr blues festival program 1970 S O N H O U SE Father Of The Folk Blues Columbia 2ffTJ " The Vocal Intensity Of Son House Roots SL504 Son House And Robert Pete Williams Live Roots SL501 Livin^Leeeiul^^^nriH^Folkmg^s

Newport. Festival Vanguard VSD79225 (two cuts) A m erican Folk Blues F estival 1967 Fontana 885.433TY (one cut)

—Library Of Congress Material— Negro Blues And Hollers Lihmtu*afjQiin- g f P S (three cuts) Blues F^mjri_T2ie,Mj^si(rsii}pi~B£ii(i__EoIk - wcry^T^nW^’^W everTcm s)^^^^ Mississippi Blues Vol. I Roots RL302 (one cut) ' Mississippi Blues 1927 to 1941 Yazoo L1001 (one cut) Mississippi Moaners 1927 to 1942 Yazoo L1009 (one cut)

—1930 Paramount Session— sions. Son was not recorded again Really! The Country Blues Origin Jazz Li­ brary OJL2 (two cuts) Son House until the 60’s except for the Library TheM iss^ÿùiüi Nl’lnc‘ Y“ 1 Origin Ja zz Li­ of Congress in 1942. In 1964 Son brary OJL5 (two cuts) The words “living legend” have House was found to be living in The Mississippi Blues No. 2: The Delta been used many times, particularly Rochester, New York. He started Origin Jazz Library OJLll (two cuts) in reference to blues singers, but m aking public appearances and nothing else can be used to de­ still remains an extraordinary scribe this giant among blues ar­ blues m an. tists. Son’s music is characterized by a Eddie James (Son) House, Jr. very strong rhythmic pattern and was born in Lyon Mississippi (near an intensely emotional voice. Clarksdale, home of the Delta Sometimes, Son House becomes blues) shortly after the turn of the so emotionally involved in the song century, where he lived until 1936. it is impossible to understand the In 1930 he went to Wisconsin with words, only the feelings. To listen Charlie Patton, Willie Brown, and to Mr. House is an experience one Louise Jordan for perhaps the most can never forget. We are indeed notable of all blues recording ses­ honored by his presence here. 5 1 ann arbor blues festival program 1970 aFrom slavery to the modem city ghetto, the backdrop to the blues is convincingly depicted . .. The lavish use of photographs is an im m ense help."—Music Journal "An invaluable supplement to any collection of blues records."—S tanley dance, Sat. Review "A vividly hum an docum entary." —Leonard feather, Los Angeles Times "Encyclopedic in scope." —A rnold shaw, N.Y. Times Book Review PAUL More than 500 photos and drawings, musical examples, lyrics, discography. 8 V2" x 12". OLIVER $12.50, now at your bookstore, or send remittance (plus applicable sales tax) to CHILTON BOOK COMPANY m a s te r o f cepgrroiies

The Masters of Ceremonies at this years festival is Paul Oliver, one of the leading writers and re­ searchers of the blues. Mr. Oliver’s love for and association with the blues dates back many years. In 1960, with the aid of a State De­ partment grant, he made an exten­ sive tour of the United States. Traveling North to South with a camera and tape recorder Mr. Oliver interviewed num erous bluesmen as well as making many field recordings. His untrying ef­ forts at documentation of the blues have led to the writing of several SAVE $3.50 BY MAILING THIS COUPON DURING THE FESTIVAL books (“Bessie Smith”, “Blues Fell This Morning: The Meaning of the CHILTON Please send me. . .copy(ies) of T h e S t o r y o f Blues,” “Conversation w ith the BOOK t h e B l u e s by Paul Oliver at your special Ann COMPANY Arbor Blues Festival price of $9.00 per copy. Blues,” and “The Story of the Dept. ABF My check or money order totaling $ ...... 401 Walnut St. is enclosed. (If order is postmarked later than Blues”) all of which have been Philadelphia, Pa. 19106 8110170, regular price of $12.50 applies!) hailed enthusiastically wherever they have appeared. Mr. Oliver has also lectured throughout the Name. United States, England, and Af­ rica. Currently he is Head of the Department of Arts and History at the Architectural Association C ity______S ta te ______Z ip _ School of Architecture in London. 52 m n a^OJi ^ U0S pogicim 1970 Otis Spann The Blues yThe Elvin Bisnop Group (our cultural heritage) , ySammy Lay (with “Little Lucky Peterson”) (youngest genius of Blues) .Mighty Joe Young Johnny Young the Johnny Little John Chicago Otis Rush k Lucile Spann Elues ^Juke Boy Bonner

.Little Eddie Taylor

Thomas J. Radai, Jr. x **** SUPER ROCK PRODUCTIONS 2613 S. 51st * Listed in Memorium Milwaukee, Wisconsin, 53219 **** Many other great artists available (414) 321-0188______at special request

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BOBBY ‘BLUE5 BLAND at the arvrv arbor blues festival Fuller Flatlands University of Michigan-August, 1970

Duke Records, Inc. Houston g Texas M ann artu blues festival program 1970 The Blues Festival is fortunate to have “Thing” Thomas, whom he abley backs as a last minute addition to their program up on their numbers. But Dave really one of the finest young blues and boogie goes to town on his own vocal numbers David Alexander woogie piano players gigging today. Mr. and on one instrumental number “J^ick David Alexander is representative of a Rabbit Boogie”. We feel that although thriving blues community which exists you may never have heard of him before, today in Oakland, California. Born in after the show he will have established Shreveport, Louisiana in 1938 he moved himself as one of the great young blues with his family to Marshall, Texas. As a pianists and will kill the rumor the blues youngster David was inspired by the rol­ is dying. ling boogie woogie piano style of Meade Lux Lewis. By age 15 he was teaching DA VID ALEXANDER himself to play, occasionally copping a Cnl-hnnr] piues World Pacific WPS-yiXQl free lesson from local musicians or by X? cutsI — watching such popular artists as Amos Milburn and Floyd Dixon. At 18 David began to play professionally and during a The Detroit Blues Festival stint in the navy, stationed in San Diego, he became acquainted with the blues FR E E ! August SO scene in California. In 1958 David Alex­ The Detroit Blues Festival will take place ander moved to Oakland where he lives in front o f the Rackham Building on Wood­ today. He lists as his primary influences ward next to the Detroit Institute o f Arts. such diverse personages as Albert Am­ It will begin in the early afternoon and go well into the evening and will feature some mons, Charles Brown, Ray Charles and o f the legendary blues artists who have made jazz great Horace Silver. This past year the Detroit blues scene. Little Sonny, Mr. Dave did his first recording as a soloist on Bo, Washboard Willie, Bo Bo Jenkins, Eddie World Pacific records. He shares the disc Burns and Boogie Woogie Red are only a with “Good Rockin’ ” Robinson and few of those tentatively scheduled.

the midwest rock mag 'Buy it or else!’ M. MtCroskey

am arbor blues lestMaJ program 1970 Preserving Country Blues...

by NfCK PERLS and STEPHEN CALT Sleepy John Estes Present-day country blues reissues are an out­ growth of the pre-World Wax II “race” recording era, which presented a wide diversity of musical styles and genres (blues, , jazz and ragtime) for black consumption. It is only through these record­ ings (sold purely for entertainment purposes) that the blues historian can learn directly about forgotten trends of black music, and that the listener can 56 ann arbcr blues festival program 1970 appreciate the genius of a Charley Patton or a Blind trends. However, the new policies tended to create Lemon Jefferson. their own trends. While 1930’s country bluesmen like While the vagaries and inadequacies of commercial Robert Johnson would occasionally find their way to recording policies are a constant challenge to the recording studios, none would attain the success of listener and reissue company alike, they nevertheless their earlier counterparts like Blind Lemon Jefferson. preserve the only real giants of country blues. A Instead, the trend was towards the small Chicago- belated recognition of “race” records produced by based blues bands that were often headed by country such familiar blues names as Son House and Bukka blues stars of the 1920’s: Memphis Minnie, Bill Broon- White was the impetus to their rediscovery. zy, Tampa Red, etc. Such artists might feature riffs The earliest “race” recordings were made by fe­ from their earlier records, or record genuine throw- male vocalists like Mamie and Bessie Smith, who sang backs to country blues, but the role of the guitar a suave style of blues to the accompaniment of var­ that had been the primary country blues instrument ious studio musicians, generally jazz groups. Their lost prominence in any band setting. work has been too well documented by the jazz en­ The music of this era was generally bland and thusiasts to whom it primarily appeals to be perti­ stereotyped by comparison with 1920’s country blues. nent to a company interested in country blues, such Only a few 1930’s artists, like Robert Johnson and Bo as Yazoo records for whom I work. Carter (see Yazoo 1014: Bo Carter’s Greatest Hits On the other hand, the country blues that were 1930-1940), could be deemed to represent a regional apparently first recorded to capitalize on the band­ or even a particularly rural blues style. wagon launched by the likes of Mamie Smith (whose Due to the popularity of the 1930’s blues bands, debut in f920 began the “race” era) were compara­ there was little attempt on the part of record com­ tively neglected. The great majority of country blues panies to reissue earlier country blues. They were artists are still known only by their recorded work, quickly forgotten. A scrap drive in 1941-1942 that was which often comprised a mere two or four sides. partly designed to produce shellac for wartime use In their own times, they sometimes lacked com­ resulted in the wholesale destruction of many large mercial appeal to the average “race” record buyer. record stocks of 1920’s country blues. Other com­ Nevertheless, these companies were willing to record panies, like Paramount, had long been bankrupt, a great many such artists on a one-time basis, to leaving practically no record stocks intact. such an extent that between 1926 and 1929 the coun­ Thus it is rare for a modern record collector to lo­ try blues nearly dominated the “race” market. cate a “mint” (unplayed) country blues record that To this experimental trend we probably owe the will carry no surface noise. In order to turn up new great success of such country blues artists as Blind blues material, the collector must generally “canvass” Lemon Jefferson or Blind Blake, who became regular from the original consumers of “race” records. While Paramount recording artists in 1926. Following the jazz collectors have been canvassing Negro neighbor­ lead of Paramount, the major record companies took hoods in search of records since the late 1930’s, up country blues in earnest, although their involve­ the art of country blues collecting did not come ment with the field actually began with the 1923 into it’s own until the 1950’s. By that time there debut of Sylvester Weaver on Okeh. had already been a sizeable Negro migration into The Depression marked a sudden decline in all northern cities, with the concomitant destruction of recording sales, including those of country blues. Un­ destruction of many records. fortunately, a number of great country bluesmen were For country blacks, too, the blues had become recorded in the critical years between 1929 and obsolete. The rare finds one now locates in such small, 1934. The present-day scarcity of so many country out-of-the-way hamlets as Emmet, Arkansas (a town blues records is directly attributable to their low of 15-20 negro houses in which Yazoo located a pre­ Depression sales; a few much-sought works by artists viously unfound Charley Patton record) are typically like Charley Patton and Skip James have never in battered condition. The disrespectful attitudes of been found. Here not only the poverty of the people, many blacks towards their old collections has had, but that of the record companies themselves, con­ however, one fringe benefit for collectors: they are spired against sales. During the Depression Para­ often willing to part with the records they possess mount might press only 300 copies of a Patton or but no longer prize. James record, some of which were undoubtedly re­ In this way Yazoo Records has been able to acquire turned by dealers to the company, which went bank­ a good portion of the records it retails to modern rupt in 1932-1933. Today’s chances of finding such consumers. An even larger number is obtained from works are obviously remote. auctions and trades with other collectors. That many Although record companies re-organized in the of the records Yazoo issues come from the private mid-1930’s, the country blues never recovered from record library gives us a distinct advantage over the initial Depression blow. It is difficult to pinpoint other reissue companies, which must scramble their gradual decline, as the post-1934 recording poli­ among record collectors in hopes of finding suitable cies that swung away from country blues might not material to issue. When the companies’ demand ex­ have been an accurate reflection of black musical ceeds the available supply, the result is an uneven • •' arm arbor blues festMal program 1970 product. Getting a good copy of an old 78 is but one of the hurdles that a reissue company must face in order to market country blues LP’s. The most immediate short-range problem is technical: how to make a used side recorded in the pre high fidelity era come up to acceptable listening standards. The early blues reissues companies were unsuccessful at this process of “re-mastering”. There is even yet a tendency in the reissue business to cut off high frequencies in an effort to soften surface noises or scratches. The result is that while static is reduced, so is much of the music itself. A blues side re-mastered in this fashion will have low “presence” of the typical pro­ duct of acoustic (pre-electric) recording days, and will have many of the drawbacks and few of the virtues of the original 78. At Yazoo, remastering is an intricate process that can delay the release of an LP by several weeks, if necessary. Since the grooves of different records had no standard width, and were often recorded with faulty equalization, each record that Yazoo re-masters is treated as a special case requiring varying treat­ ment. In some cases we have managed to actually improve upon the fidelity of the original recording, without distorting it. The poor fidelity of so many 78s makes the selection of reissue sides all the more critical. While it is well worth enduring a few scratches to listen to a real blues masterpiece, the same cannot be said for the average 1920’s country blues recording. Whereas early reissues tended to document country blues for their own sake, as a means of exposing the new listener to the idiom, current companies are becoming increasingly selective. To weed out the crap requires a thorough knowledge of the entire blues field, and it is here that our record collecting experience and long involvement with country blues has paid off. Like the average collector, we are well aware that even the legends like Charley Patton were capable of second-rate work. It is also true that artists who recorded extensively tended to repeat the same motifs, either to string out their sessions, or in the then prevalent delusion that by merely changing lyrics the artist had thereby concocted a new song. From the 100-odd songs re­ corded by Bo Carter, many of which are musically indistinguishable, Yazoo extracted fourteen sides, each bearing a completely different accompaniment. The listener gets an idea of Carter’s versatility, and hears him at his best. If this represents a distortion of Carter’s real talents, we can only reply that we wish that more companies were willing to so distort the country blues performer. Only in the case of Charley Patton, an artist of almost singular nature, did we strive for complete documentation. It could be argued that only Patton, and a few other country blues greats, are worthy of such documentation. 58 ann arbcr blues festival pogam 1970