Robert Nighthawk interviewed by Mike Bloomfield

Robert Lee McCollum (30 November 1909–5 November 1967) was an American bluesman who played and recorded under the names Robert Lee McCoy and Robert Nighthawk. Born in Helena, Arkansas, he left home at an early age to become a busking musician, and after a period wandering through southern Mississippi settled for a time in Memphis, Tennessee. There he played with local orchestras and musicians, such as the Memphis Jug Band. A particular influence was Houston Stackhouse, from whom he learnt to play slide guitar, and with whom he appeared on the radio in Jackson, Mississippi. After further travels through Mississippi, he found it advisable to take his mother’s name, and as Robert Lee McCoy he moved to St. Louis, Missouri. Local musicians with whom he played included Henry Townsend, Big Joe Williams, and Sonny Boy Williamson. This led to two recording dates in 1937, the four musicians recording together at the Victor Records studio in Aurora, Illinois, as well as recordings under his own name, including “Prowling Night-Hawk” (recorded 5 May 1937), from which he was take his later pseudonym. These sessions led to Chicago careers for the other musicians, but not for McCoy, who simply continued his rambling life, playing and recording (for Victor/Bluebird and Decca) solo and with various musicians, under various names. He also became a familiar voice on local radio stations. Then Robert Lee McCoy disappeared. Within a few years he reappeared as the electric slide-guitarist Robert Nighthawk, and began recording for Chess Records. This was also Muddy Waters’ label; the two men’s styles were close enough that they were in competition for promotional activity — and as Waters was the more saleable commodity, being more reliable and a more confident stage communicator, he received the attention. Though Nighthawk continued to perform and to record, he failed to achieve any great commercial success. In 1963, some ten years later, Nighthawk was discovered busking in Chicago, and this led to further recording sessions and club dates, and to his return to Arkansas, where he appeared on the King Biscuit Time radio programme. He had a stroke, followed by a heart attack, and died at his home in Helena. Recordings Robert Nighthawk: Prowling with the Nighthawk (Document) — twenty-six sides (1937–1952) recorded for Bluebird, Decca, Aristocrat, and United. Ramblin’ Bob (Saga) — twenty-four sides (1937–1952) recorded for Victor, Decca, Chess, and United. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

ANNA LEE - ROBERT NIGHTHAWK

Robert Lee McCollum (November 30, 1909 – November 5, 1967) was an American blues musician, who played and recorded under the pseudonyms Robert Lee McCoy and Robert Nighthawk. Born in Helena, Arkansas, he left home at an early age to become a busking musician, and after a period wandering through southern Mississippi, settled for a time in Memphis, Tennessee where he played with local orchestras and musicians, such as the Memphis Jug Band. A particular influence during this period was Houston Stackhouse, from whom he learnt to play slide guitar, and with whom he appeared on the radio in Jackson, Mississippi. After further travels through Mississippi, he found it advisable to take his mother's name, and as Robert Lee McCoy moved to St. Louis, Missouri in the mid 1930s. Local musicians with whom he played included Henry Townsend, Big Joe Williams, and Sonny Boy Williamson. This led to two recording dates in 1937, the four musicians recording together at the Victor Records studio in Aurora, Illinois as well as recordings under his own name, including "Prowling Night-Hawk" (recorded 5 May 1937), from which he was take his later pseudonym. These sessions led to Chicago blues careers for the other musicians, though not, however, for McCoy, who continued his rambling life, playing and recording (for Victor/Bluebird and Decca) solo and with various musicians, under various names. He also became a familiar voice on local radio stations; then Robert Lee McCoy disappeared. Within a few years, he resurfaced as the electric slide guitarist Robert Nighthawk, and began recording for Aristocrat and Chess Records, the latter of which was also Muddy Waters' label; in 1949 and 1950, the two men's styles were close enough that they were in competition for promotional activity; as Waters was the more marketable commodity, being more reliable and a more confident stage communicator, he received the attention. Though Nighthawk continued to perform and to record, taking up with United and States 1951 and 1952, he failed to achieve great commercial success. In 1963, Nighthawk was rediscovered busking in Chicago and this led to further recording sessions and club dates, and to his return to Arkansas, where he appeared on the King Biscuit Time radio programme on KFFA. As late as 1964, Nighthawk could be found playing on Chicago's Maxwell Street. He had a stroke followed by a heart attack, and died of heart failure at his home in Helena. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, -  ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band!

Freight Train Blues - ROBERT LEE McCOY

Robert Lee McCollum (November 30, 1909 – November 5, 1967) was an American blues musician, who played and recorded under the pseudonyms Robert Lee McCoy and Robert Nighthawk.
The band here is Mc Coy on guitar, Sonny Boy Williamson on Harmonica and Speckled Red on Piano.
Born in Helena, Arkansas, he left home at an early age to become a busking musician, and after a period wandering through southern Mississippi, settled for a time in Memphis, Tennessee where he played with local orchestras and musicians, such as the Memphis Jug Band. A particular influence during this period was Houston Stackhouse, from whom he learnt to play slide guitar, and with whom he appeared on the radio in Jackson, Mississippi.

After further travels through Mississippi, he found it advisable to take his mother's name, and as Robert Lee McCoy moved to St. Louis, Missouri in the mid 1930s
Like my Facebook Page, Post your video on my Wall or post your Photos of great blues events! Share your favorite posting and get more exposure for your favorites band! -  ”LIKE”

Robert Nighthawk

Robert Lee McCollum (November 30, 1909 – November 5, 1967) was an American blues musician who played and recorded under the pseudonyms Robert Lee McCoy and Robert Nighthawk.
Born in Helena, Arkansas, he left home at an early age to become a busking musician, and after a period wandering through southern Mississippi, settled for a time in Memphis, Tennessee where he played with local orchestras and musicians, such as the Memphis Jug Band. A particular influence during this period was Houston Stackhouse, from whom he learnt to play slide guitar, and with whom he appeared on the radio in Jackson, Mississippi.

After further travels through Mississippi, he found it advisable to take his mother's name, and as Robert Lee McCoy moved to St. Louis, Missouri in the mid 1930s. Local musicians with whom he played included Henry Townsend, Big Joe Williams, and Sonny Boy Williamson. This led to two recording dates in 1937, the four musicians recording together at the Victor Records studio in Aurora, Illinois as well as recordings under his own name, including "Prowling Night-Hawk" (recorded 5 May 1937), from which he was take his later pseudonym.

These sessions led to Chicago blues careers for the other musicians, though not, however, for McCoy, who continued his rambling life, playing and recording (for Victor/Bluebird and Decca) solo and with various musicians, under various names. He also became a familiar voice on local radio stations; then Robert Lee McCoy disappeared.
Within a few years, he resurfaced as the electric slide guitarist Robert Nighthawk, and began recording for Aristocrat and Chess Records, the latter of which was also Muddy Waters' label; in 1949 and 1950, the two men's styles were close enough that they were in competition for promotional activity; as Waters was the more marketable commodity, being more reliable and a more confident stage communicator, he received the attention. Though Nighthawk continued to perform and to record, taking up with United and States 1951 and 1952, he failed to achieve great commercial success.

In 1963, Nighthawk was rediscovered busking in Chicago and this led to further recording sessions and club dates, and to his return to Arkansas, where he appeared on the King Biscuit Time radio programme on KFFA. As late as 1964, Nighthawk could be found playing on Chicago's, Maxwell Street. He had a stroke followed by a heart attack and died of heart failure[ at his home in Helena.

“Like” Bman’s Facebook page. We use Facebook to spread the word about our blog. We will not hit you with 50 posts a day. We will not relay senseless nonsense. We use it only to draw attention to some of the key posts on our blog each day. In this way we can get out the word on new talent, venues and blues happenings! - click Here

Maxwell Street - Robert Nighthawk

Born: November 30, 1909 | Died: November 5, 1967 | Instrument: Guitar, slide

A highly influential blues slide guitarist Robert Nighthawk, adapted and refined his technique on the instrument to accompany his mournful vocal style. Elmore James, Muddy Waters, and Earl Hooker are direct musical offspring, and yet, despite his close ties to greatness, Nighthawk spent his musical life in relative obscurity.

Born Robert Lee McCollum on Nov. 30, 1909, in Helena, Arkansas, Robert was raised on a farm. An older musician, harp player Eddie Jones, taught fourteen-year- old Robert to play harmonica circa 1923. During the 1920s, McCullum began the rambling that became his trademark. He ranged across the Delta playing with Will Shade of the Memphis Jug Band in Memphis, and working the Black Cat Drug Store in Hollandale, Mississippi, with William Warren. He played juke joints and fish fries in between.

Around 1930, McCullum was working on a farm in Murphy Bayou with his cousin Houston Stackhouse.
During their leisure time Stackhouse taught his cousin to play guitar, mostly numbers by local bluesman Tommy Johnson. The two teamed with Robert's brother Percy to play parties, dances, and fish fries around Crystal Springs, Mississippi. Robert and Stackhouse even backed country music star Jimmie Rogers at a Jackson, Mississippi, hotel. Resuming his wanderings, armed with a guitar, McCullum traveled across the Delta, making the acquaintance of Charley Patton and Robert Johnson while living in Friars Point, Mississippi. He then moved north to Memphis, where he had an extended engagement with John Lee Hooker at the New Daisy Theater and gigged at open-air appearances with the Memphis Jug Band.

McCullum left the Deep South in the mid 1930s, allegedly for shooting a man, and moved to St. Louis, where he adopted his mother's last name, McCoy. While there, he met and played with the icons of the St. Louis blues scene: Henry Townsend, whom he'd played with in Friars Point, Charley Jordan, Speckled Red, Big Joe Williams, John Lee “Sonny Boy” Williamson, and Peetie Wheatstraw. McCoy's friends in St. Louis, recognizing the young man's talent, brought him to Chicago to record with them. McCoy lived in St. Louis during the late 1930s, but returned to Chicago to record as a soloist and accompanist. It was then that he recorded “Prowling Night-Hawk,” one of his most popular sides. His recordings demonstrate a hard, melancholy voice that perfectly complements a delicate, ringing, liquid- sounding slide guitar. He recorded a variety of boogies, blues, and ballads, demonstrating ability equal to or surpassing the material. McCoy recorded widely as a sideman on guitar and harp, backing Peetie Wheatstraw (as Peetie's Boy), Walter Davis, and Sleepy John Estes.

McCoy returned to live in Helena in 1942, assuming the name Robert Nighthawk to identify himself with his popular record. While in Helena, he earned a spot on radio station KFFA, broadcasting out of the Floyd Truck Lines Building. His chief rival was Rice Miller, a harmonica player who styled himself Sonny Boy Williamson and also had a show on KFFA. Nighthawk's work on the radio and in local performances influenced Delta guitarists Muddy Waters, Elmore James, Earl Hooker, and B.B. King.

Nighthawk based himself in Cairo, Illinois, in the late 1940s and recorded his most memorable sides for Aristocrat from 1948 to 1950. During the early 1950s he recorded for a variety of labels in Chicago before returning to live in the Friars Point/Helena area. Nighthawk was rediscovered during the “blues revival” of the 1960s, enjoying a brief period of popularity before his death. Robert Nighthawk died November 5, 1967, and is buried in an unmarked grave in Helena's Magnolia Cemetery.

Nighthawk was the archetypal bluesman, crisscrossing the Southern states throughout his life, never staying in one place long enough to secure or ruin his reputation.

Nighthawk's ability to render country blues with an urban feel made him a respected figure in Chicago and helped lay the groundwork for the electric blues boom there. But an apparent dislike for Chicago kept him away from much of that city's golden blues scene of the 1950s, although he did record for Chess Records in its earliest incarnation in the late '40s and early '50s and spent time playing on Maxwell Street, the city's notorious open-air market and gathering spot for blues musicians.

Nighthawk was a major inspiration for Earl Hooker (cousin of John Lee), widely regarded as one of the greatest modern slide guitar players due to his versatility and infallible technique. Throughout his career, Hooker covered many of Nighthawk's numbers, including one of his more famous tunes, “Anna Lee.” a slide was enough to make him quit trying to do the same.

Despite its lack of widespread recognition, Nighthawk's music has found its way into the canon of blues, representing a style that has remained at the core of the modern electric style while enduring decades of changes in popular taste and trends.
Get Facebook support for your favorite band or venue - click HERE