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Wednesday, July 11, 2012
Debbie Davies After The Fall Being Released July 17!
Black Snake Moan - Blind Lemon Jefferson
"Blind" Lemon Jefferson (Lemon Henry Jefferson; September 24, 1893 – December 19, 1929) was an American blues singer and guitarist from Texas. He was one of the most popular blues singers of the 1920s, and has been titled "Father of the Texas Blues".
Jefferson's singing and self-accompaniment were distinctive as a result of his high-pitched voice and originality on the guitar. Though his recordings sold well, he was not so influential on some younger blues singers of his generation, who could not imitate him as they could other commercially successful artists. However, later blues and rock and roll musicians attempted to imitate both his songs and his musical style. His recordings would later influence such legends as B.B. King, T-Bone Walker, Lightnin' Hopkins, Canned Heat, Nick Cave, Son House and Robert Johnson.
Lemon Henry Jefferson was born blind near Coutchman, Texas in Freestone County, near present-day Wortham, Texas. Jefferson was one of eight children born to sharecroppers Alex and Clarissa Jefferson. Disputes regarding his exact birth date derive from contradictory census records and draft registration records. By 1900, the family was farming southeast of Streetman, Texas, and Lemon Jefferson's birth date is indicated as September 1893 in the 1900 census. The 1910 census, taken in May before his birthday, further confirms his birth year as 1893, and indicated the family was farming northwest of Wortham, near Lemon Jefferson's birthplace.
In his 1917 draft registration, Jefferson gave his birth date as October 26, 1894, further stating that he then lived in Dallas, Texas, and that he had been blind from birth. In the 1920 Census, he is recorded as having returned to the Freestone County area, and he was living with his half-brother Kit Banks on a farm between Wortham and Streetman.
Jefferson began playing the guitar in his early teens, and soon after he began performing at picnics and parties. He also became a street musician, playing in East Texas towns in front of barbershops and on corners. According to his cousin, Alec Jefferson, quoted in the notes for Blind Lemon Jefferson, Classic Sides:
They were rough. Men were hustling women and selling bootleg and Lemon was singing for them all night... he'd start singing about eight and go on until four in the morning... mostly it would be just him sitting there and playing and singing all night.
By the early 1910s, Jefferson began traveling frequently to Dallas, where he met and played with fellow blues musician Lead Belly. In Dallas, Jefferson was one of the earliest and most prominent figures in the blues movement developing in the Deep Ellum area of Dallas. Jefferson likely moved to Deep Ellum in a more permanent fashion by 1917, where he met Aaron Thibeaux Walker, also known as T-Bone Walker. Jefferson taught Walker the basics of blues guitar, in exchange for Walker's occasional services as a guide. Also, by the early 1920s, Jefferson was earning enough money for his musical performances to support a wife, and possibly a child. However, firm evidence for both his marriage and any offspring is unavailable
Jefferson died in Chicago at 10 am on December 19, 1929, of what his death certificate called "probably acute myocarditis". For many years, apocryphal rumors circulated that a jealous lover had poisoned his coffee, but a more likely scenario is that he died of a bad heart attack after becoming disoriented during a snowstorm (i.e., he froze to death). Some have said that Jefferson died from a heart attack after being attacked by a dog in the middle of the night. More recently, the book, Tolbert's Texas, claimed that he was killed while being robbed of a large royalty payment by a guide escorting him to Union Station to catch a train home to Texas. Paramount Records paid for the return of his body to Texas by train, accompanied by pianist William Ezell. Jefferson was buried at Wortham Negro Cemetery (later Wortham Black Cemetery). Far from his grave being kept clean, it was unmarked until 1967, when a Texas Historical Marker was erected in the general area of his plot, the precise location being unknown. By 1996, the cemetery and marker were in poor condition, but a new granite headstone was erected in 1997. In 2007, the cemetery's name was changed to Blind Lemon Memorial Cemetery and his gravesite is kept clean by a cemetery committee in Wortham, Texas
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44 Blues - Smokey Wilson
Smokey Wilson (born Robert Lee Wilson, July 11, 1936, Glen Allan, Mississippi, United States)) is an American West Coast blues guitarist. He has spent most of his career performing West Coast blues and Juke Joint blues in Los Angeles, California. He has recorded at least eleven albums for record labels such as P-Vine Records, Bullseye Blues and Texmuse Records. His career got off to a late start, with international recognition eluding him until the 1990s.
Wilson played alongside Roosevelt "Booba" Barnes, Big Jack Johnson, and Frank Frost, before his move to Los Angeles in 1970. He opened the Pioneer Club in Watts, where he was the frontman of their house band. In addition his duties included booking blues musicians to appear at the club, which included Big Joe Turner, Percy Mayfield, Pee Wee Crayton and Albert Collins. His down to earth guitar playing is typical of his Mississippi Delta background. "I bring the cotton-field with me," he said, "and I got the juke-joint inside."
Wilson released two albums on Big Town Records in the 1970s. His 1983 album, 88th Street Blues, for the Murray Brothers label (later re-issued on Blind Pig Records) had contributions from Rod Piazza (harmonica and record producer) and Hollywood Fats (rhythm guitar). Wilson has performed three times at the Long Beach Blues Festival, in 1980, 1981 and 1999; having earlier appeared at the San Francisco Blues Festival in 1978.
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You Got to Move - Rev. Charlie Jackson
Rev. Charlie Jackson (1932-2006) was a distinctly powerful guitar evangelist who devoted his life to singing and preaching the gospel, particularly throughout Louisiana and Mississippi. His 45s for the Booker and Jackson labels, with songs such as "God's Got It" and "Wrapped Up Tangled Up in Jesus," are frequently cited as a pinnacle of raw, impassioned, bluesy gospel music.
Beginning sometime around the early 1970s, he often documented the church services at which he participated with a portable cassette recorder. Over the years, he accumulated an extensive archive of recordings that were mostly made by himself, Frances Jackson, or Laura Davis Jackson, with a local professional occasionally hired to record a noteworthy service. These tapes would primarily serve as mementos, as well as tools through which he could evaluate his performances. Selections might have been included on the cassettes that Rev. Jackson sometimes sold, but it seems these were most often keepsakes for casual posterity.
As one might expect from such informal recordings, idiosyncrasies abound. The recorder gets jostled, members of the congregation boisterously testify, and the microphone sometimes becomes overloaded. A few of the older cassettes needed to be repaired before they would even play.
Sonic quirks notwithstanding, these tapes contain a wealth of outstanding performances. They also provide a valuable opportunity to take a broad survey of Rev. Jackson’s music over roughly a 30-year period and obtain a much more detailed and vivid picture of the vibrant gospel community in which he traveled, something that was only hinted at by his commercial recordings. Listening to these performances, one can hear why Rev. Jackson was so in-demand: no matter the situation or the size of the congregation, he sounds fully engaged, with a sense of sacred duty.
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Hesitation Blues - Jelly Roll Morton
Ferdinand Joseph LaMothe (October 20, 1885 – July 10, 1941), known professionally as Jelly Roll Morton was an American ragtime and early jazz pianist, bandleader and composer.
Widely recognized as a pivotal figure in early jazz, Morton is perhaps most notable as jazz's first arranger, proving that a genre rooted in improvisation could retain its essential spirit and characteristics when notated. His composition "Jelly Roll Blues" was the first published jazz composition, in 1915. Morton is also notable for naming and popularizing the "Spanish tinge" (habanera rhythm and tresillo), and for penning such standards as "Wolverine Blues", "Black Bottom Stomp", and "I Thought I Heard Buddy Bolden Say", the latter a tribute to New Orleans personalities from the turn of the 19th century to 20th century.
Reputed for his arrogance and self-promotion as often as recognized in his day for his musical talents, Morton claimed to have invented jazz outright in 1902 — much to the derision of later musicians and critics. However, jazz historian, musician, and composer Gunther Schuller writes about Morton's "hyperbolic assertions" that there is "no proof to the contrary" and that Morton's "considerable accomplishments in themselves provide reasonable substantiation".
Morton was born into a Creole of Color community in the Faubourg Marigny neighborhood of downtown New Orleans, Louisiana. A baptismal certificate issued in 1894 lists his date of birth as October 20, 1890; however Morton himself and his half-sisters claimed the September 20, 1885, date is correct. His World War I draft registration card showed September 13, 1884 but his California death certificate listed his birth as September 20, 1889. He was born to F. P. Lamothe and Louise Monette (written as Lemott and Monett on his baptismal certificate). Eulaley Haco (Eulalie Hécaud) was the godparent. Eulalie helped him to be christened with the name Ferdinand. Ferdinand’s parents were in a common-law marriage and not legally married. No birth certificate has been found to date. He took the name "Morton" by anglicizing the name of his stepfather, Mouton.
During the period when he was recording his interviews, Morton was seriously injured by knife wounds when a fight broke out at the Washington, D.C. establishment where he was playing. A nearby whites-only hospital refused to treat him, and he had to be transported to a lower-quality hospital further away.[citation needed] When he was in the hospital the doctors left ice on his wounds for several hours before attending to his eventually fatal injury. His recovery from his wounds was incomplete, and thereafter he was often ill and easily became short of breath. Morton made a new series of commercial recordings in New York, several recounting tunes from his early years that he had been talking about in his Library of Congress interviews.
A worsening asthma affliction sent him to a New York hospital for three months at one point and when visiting Los Angeles with a series of manuscripts of new tunes and arrangements, planning to form a new band and restart his career, the ailment took its toll. Morton died on July 10, 1941 after an eleven-day stay in Los Angeles County General Hospital.
According to jazz historian David Gelly, Morton's arrogance and "bumptious" persona alienated so many musicians over the years that no colleagues or admirers attended his funeral
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Graveyard Dream Blues - Ida Cox, Lovie Austin
Lovie Austin (September 19, 1887 – July 10, 1972) was an American Chicago bandleader, session musician, composer, and arranger during the 1920s classic blues era. She and Lil Hardin Armstrong are often ranked as two of the best female jazz blues piano players of the period. Mary Lou Williams cited Austin as her greatest influence.
Born Cora Calhoun in Chattanooga, Tennessee, she studied music theory at Roger Williams University and Knoxville College in Nashville, Tennessee. In 1923, Lovie Austin decided to make Chicago her home, and she lived and worked there for the rest of her life. A fancy dresser and a well-liked person, she was often seen racing around town in her Stutz Bearcat with leopard skin upholstery, dressed to the teeth. Her early career was in vaudeville where she played piano and performed in variety acts. Accompanying blues singers was Lovie's specialty, and can be heard on recordings by Ma Rainey ("Moonshine Blues), Ida Cox ("Wild Women Don't Have the Blues"), Ethel Waters ("Craving Blues"), and Alberta Hunter ("Sad 'n' Lonely Blues"). She led her own band, the Blues Serenaders, which usually included trumpeters Tommy Ladnier, Bob Shoffner, Natty Dominique, or Shirley Clay on cornet, Kid Ory or Albert Wynn on trombone, and Jimmy O'Bryant or Johnny Dodds on clarinet, along with banjo and occasional drums. Austin worked with many other top jazz musicians of the 1920s, including Louis Armstrong. Austin's skills as songwriter can be heard in the classic "Down Hearted Blues," a tune she co-wrote with Alberta Hunter. Singer Bessie Smith turned the song into a hit in 1923. Austin was also a session musician for Paramount Records.
When the classic blues craze began to wither in the early 1930s, Austin settled into the position of musical director for the Monogram Theater, at 3453 South State Street in Chicago where all the T.O.B.A. acts played. She worked there for 20 years. After World War II she became a pianist at Jimmy Payne's Dancing School at Penthouse Studios, and performed and recorded occasionally.
In 1961 she recorded Alberta Hunter with Lovie Austin's Blues Serenaders, as part of Riverside's Living Legends series. Austin's songs included "Sweet Georgia Brown", "C Jam Blues" and "Gallon Stomp."
Austin died on July 10, 1972 in Chicago
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Tuesday, July 10, 2012
Stormy Monday - Common Ground Blues
Common Ground Blues stands out from the pack with tone-filled vibrant guitar work, killer keyboards, a tight rhythm section and compelling vocals, all delivered with style.
Glen Russell met Brian Eddie in 1998, each looking for the right band to play in. Together they co-founded Common Ground Blues. And then quickly became an palpable force on the Blues scene.
The sound is primarily Blues guitar and B3 driven, while Glen sings it out for the crowd.
Earl Abbott started piano lessons at the tender age of nine, and adds touches of jazz and blues to give CGB tons of flavor, and enough color to fill any artists pallet. Timothy Kinsey on Bass is a road warrior, and he can give a song whatever it needs to move you. Guy Mazzo started drum lessons at the age of 11, and formed his first band by the age of 13. Together Guy and Tim lay down the groove for CGB’s Big Blues sound!
Common Ground Blues always serves up something tasty..
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Driftin' with the Flow - Blas Picón & the Junk Express
It's a train loaded with waste, the product of lost lives, that runs rampant on the rails of the Blues without fear of derailment.
Trio that bet on the more austere, stark and virulent side of Rhythm & Blues, leaving apart flourishes and musical fanfare to focus on the interior of this style.
With references like Jerry McCain, Kid Thomas or McKenzie George Lightfoot, The Junk Express collects basic, so often discarded items, which make up this musical tradition and carries them on a train with its own name. Raw sound and an energetic attitude… Blues in its essence.
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WE GONNA MOVE ON THE OUTSKIRTS OF TOWN - CASEY BILL WELDON
Casey Bill Weldon (December 9, 1909 – 1960s?) was an American country blues musician, born in Pine Bluff, Arkansas who later lived and worked in Chicago was known as one of the great early pioneers of the slide guitar. He played upbeat, hokum and country blues tunes, both as a solo artist and as a member of the Memphis Jug Band. Playing a National steel guitar flat on his lap Hawaiian style, "Casey Bill" Weldon's was known as the "Hawaiian Guitar Wizard". He was married to Memphis Minnie in the '20s with the two making influential recordings together in the late '20s. Weldon played in medicine shows before beginning his recording career in 1927 for Victor.
In 1927 Weldon made a recording with Charles Polk and other members of what would become the Memphis Jug Band for Victor Records. In October of that year, Victor brought them to Atlanta where they recorded several sides, including "Kansas City Blues". In 1930, the last year of the Memphis Jug Band's contract with Victor, the band recorded 20 sides. The contract ended after a final recording session in November 1930 in Memphis just before the financial crash of the 1930s bankrupted Victor. Weldon went on to cut over 60 sides for Victor, Bluebird, and Vocalion. He was also an active session guitarist appearing on records by Teddy Darby, Bumble Bee Slim, Peetie Wheatstraw, and Memphis Minnie. On Memphis Minnie's last recording for Bluebird Records in October 1935, Weldon accompanied her for the first time. He played on two sides, "When the Sun Goes Down, Part 2" and "Hustlin' Woman Blues." [4] He scored solo hits with his two most well known songs, "Somebody Changed the Lock on My Door" and "We Gonna Move (to the Outskirts of Town)."
In October 1927, when the Victor field recording unit visited Atlanta, Georgia, he recorded two sides, including a chilling, haunting song called "Turpentine Blues", which would have left him immortalized if he had never recorded again.[citation needed] He did not enter another recording studio until eight years later, when he laid down many recordings for Vocalion Records. Weldon also played with Charlie Burse and the Picanniny Jug Band and the Brown Bombers of Swing. Considering the fact that most slide guitarists of the era went unrecorded, Weldon maintains a healthy amount of recorded material for aficionados to appreciate.
After his divorce from Memphis Minnie, he married blues singer Geeshie Wiley. They disappeared from the public eye soon after and he stopped recording by 1938. His date of death is unknown, though assumed to be sometime in the 1960s
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Forrest City Jump - Forrest City Joe
Extracts of a writing by Mike Leadbitter:
CRITTENDEN COUNTY, Arkansas, has the Mississippi River for its eastern border - a border that extends north to Frenchman's Bayou and south to Horseshoe Lake. The county's major town is West Memphis and two highways can speed one's progress through the countryside: Highway 55, pointing north to Blytheville and Missouri, and Highway 40 which runs west to Little R7ock via Forrest City. Crittenden County is deep in the cotton-belt and here Joe Bennie Pugh was born on July 10th, 1926.
Joe's exact birthplace is uncertain but it was definitely in the area south of West Memphis near Horseshoe Lake and Hughes. His parents, Moses Pugh and Mary Walker, were plantation workers and they raised their child in a world devoted to the production of cotton Joe grew up to be an uneducated field-hand and spent his early life working on the land or the nearby Mississippi levees. Somehow or other he became involved in the musical activities of his community and learned to play harmonica, guitar and a little piano. When Saturday night came around, Joe would be helping with the entertainment for the dancers.
Joe got to hear Sonny Boy Williamson when he was old enough to drink and gamble in the juke-joint, while listening to the latest blues records on the box. He was so impressed by John Lee's unique vocal and instrumental technique that he, like many others, worked hard to produce a perfect imitation. Joe was not only inspired by Sonny Boy's music, but also by his popularity. He too wanted to leave the cotton fields and become a professional recording artist.
By 1947 Joe was going by the name of "Forrest City" Joe. We can only guess at the origin of this name. He may have lived there for a time, but this is uncertain - possibly he sang a popular blues about the town. Whatever, Joe had become a well known figure in Northern Arkansas and Missouri, thanks to his Sonny Boy impersonations, and began to move around, trying to make a living by music or just plain hustling. He went from Hughes to West Memphis and then north, by way of Osceola, Blytheville and Caruthersville, to St. Louis where he sheltered under the wing of Big Joe Williams.
1948 saw Joe reaching Chicago. He had a partner with him called "J.C.", who played guitar and was also from the Delta. We can presume that Joe met his hero at last, and must have been shocked by Sonny Boy's tragic death in June. His blues, "Memory of Sonny Boy" indicated that he was on intimate terms with the man and his wife. When he got to record it for Aristocrat in 1949, he may have been consciously attempting to carry on the tradition, or even (more likely) trying to cash in on the tragedy. In fact the company probably only recorded Joe because of his almost uncanny ability to recreate a sound that once meant good record sales. Whatever the motive for releasing the record, it did not sell and Joe was not to record again for a decade.
So Joe came back South to West Memphis and got a job with Willie Love's Three Aces who were extremely popular at the time and broadcasting regularly. However, Chicago was still calling, and after some months Joe was back there again. Here (according to Bengt Olsson) he lived at 3802 South Ellis Avenue with his wife, and his home became a well known meeting place for musicians. Making little progress on his own, Joe joined a small combo that Otis Spann was heading at the 'Tick Tock Lounge' on the South Side at 37th and State Streets. Spann remembered Joe as being "one of the best," and they stuck together for four years. Then Muddy Waters hit the big time and took a band on the road. In 1954 Spann went with him and split up his combo, leaving Joe in the cold.
Without having made a name for himself, Joe quit Chicago for good in 1955 and went back South again where he was at least popular and times were easier. Settling in the Hughes area, he got a job as a tractor driver, quickly slipping back into the old routine of work all week, play music weekends. In spite of this, the name of "Forrest City" Joe was becoming a memory only for most people.
In August, 1959, Alan Lomax "discovered" Joe in Hughes, sitting out front of "The Old Whiskey Store," playing guitar for the loungers. It was a Friday night, and Alan decided to record Joe in the evening, when work was over and they could get a band together. At last, Joe was back on record again. Backed by Sonny Boy Rogers (guitar) and Thomas Martin (drums) he cut several Sonny Boy songs in the traditional manner. Unlike his earlier songs, which were lyrically original, the 1959 Atlantic tracks were plain imitations, except for "Red Cross Store" with slightly changed words and for which Joe played piano in a very knocked-out style. In the middle of this song he calls out, "Send her back to Memphis, Tennessee - 1956 Wilson!" This and "A Woman On Every Street," demonstrate that Joe probably lived in Memphis for some time, but when?
While Joe waited for Lomax to bring him fame and fortune, he continued to play a little music locally and also did some gigs with Willie Cobbs in the same year. By 1960, Lomax was getting round to the idea of bringing Joe up North and then heard that he was dead. Bad luck followed Joe right to the end.
On April 3rd, 1960, Joe was returning home with friends from a dance when their truck flipped over by Horseshoe Lake. Joe's head was crushed and he died instantly. No one was around to write a "Memory of Forrest City Joe" and it would be another decade before his death was confirmed.
Notes: Details of Joe's life obtained from copy of death certificate held by myself. Song transcriptions were again my work, but thanks are due to John Broven and Mike Rowe for details of the Aristocrat numbers. Other general details obtained from articles by Bengt Olsson and Rick Milne.
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Discography
Sweet Honey Hole - BLIND BOY FULLER
Blind Boy Fuller (born Fulton Allen) (July 10, 1907 – February 13, 1941) was an American blues guitarist and vocalist. He was one of the most popular of the recorded Piedmont blues artists with rural Black Americans, a group that also included Blind Blake, Josh White, and Buddy Moss.
Fulton Allen was born in Wadesboro, North Carolina, United States, to Calvin Allen and Mary Jane Walker. He was one of a family of 10 children, but after his mother's death he moved with his father to Rockingham. As a boy he learned to play the guitar and also learned from older singers the field hollers, country rags, and traditional songs and blues popular in poor, rural areas.
He married Cora Allen young and worked as a labourer, but began to lose his eyesight in his mid-teens. According to researcher Bruce Bastin, "While he was living in Rockingham he began to have trouble with his eyes. He went to see a doctor in Charlotte who allegedly told him that he had ulcers behind his eyes, the original damage having been caused by some form of snow-blindness." However, there is an alternative story that he was blinded by an ex-girlfriend who threw chemicals in his face.
By 1928 he was completely blind, and turned to whatever employment he could find as a singer and entertainer, often playing in the streets. By studying the records of country blues players like Blind Blake and the "live" playing of Gary Davis, Allen became a formidable guitarist, and played on street corners and at house parties in Winston-Salem, NC, Danville, VA, and then Durham, North Carolina. In Durham, playing around the tobacco warehouses, he developed a local following which included guitarists Floyd Council and Richard Trice, as well as harmonica player Saunders Terrell, better known as Sonny Terry, and washboard player/guitarist George Washington.
In 1935, Burlington record store manager and talent scout James Baxter Long secured him a recording session with the American Recording Company (ARC). Allen, Davis and Washington recorded several tracks in New York City, including the traditional "Rag, Mama, Rag". To promote the material, Long decided to rename Allen as "Blind Boy Fuller", and also named Washington Bull City Red.
Over the next five years Fuller made over 120 sides, and his recordings appeared on several labels. His style of singing was rough and direct, and his lyrics explicit and uninhibited as he drew from every aspect of his experience as an underprivileged, blind Black person on the streets—pawnshops, jailhouses, sickness, death—with an honesty that lacked sentimentality. Although he was not sophisticated, his artistry as a folk singer lay in the honesty and integrity of his self-expression. His songs contained desire, love, jealousy, disappointment, menace and humor.
In April 1936, Fuller recorded ten solo performances, and also recorded with guitarist Floyd Council. The following year, after auditioning for J. Mayo Williams, he recorded for the Decca label, but then reverted to ARC. Later in 1937, he made his first recordings with Sonny Terry. In 1938 Fuller, who was described as having a fiery temper,[citation needed] was imprisoned for shooting a pistol at his wife, wounding her in the leg, causing him to miss out on John Hammond's "From Spirituals to Swing" concert in NYC that year. While Fuller was eventually released, it was Sonny Terry who went in his stead, the beginning of a long "folk music" career. Fuller's last two recording sessions took place in New York City during 1940.
Fuller's repertoire included a number of popular double entendre "hokum" songs such as "I Want Some Of Your Pie", "Truckin' My Blues Away" (the origin of the phrase "keep on truckin'"), and "Get Your Yas Yas Out" (adapted as "Get Your Ya-Yas Out" for the origin of a later Rolling Stones album title), together with the autobiographical "Big House Bound" dedicated to his time spent in jail. Though much of his material was culled from traditional folk and blues numbers, he possessed a formidable finger-picking guitar style. He played a steel National resonator guitar. He was criticised by some as a derivative musician, but his ability to fuse together elements of other traditional and contemporary songs and reformulate them into his own performances, attracted a broad audience.[citation needed] He was an expressive vocalist and a masterful guitar player, best remembered for his uptempo ragtime hits including "Step It Up and Go". At the same time he was capable of deeper material, and his versions of "Lost Lover Blues", "Rattlesnakin' Daddy" and "Mamie" are as deep as most Delta blues. Because of his popularity, he may have been overexposed on records, yet most of his songs remained close to tradition and much of his repertoire and style is kept alive by other Piedmont artists to this day.
Fuller underwent a suprapubic cystostomy in July 1940 (probably an outcome of excessive drinking) but continued to require medical treatment. He died at his home in Durham, North Carolina on February 13, 1941 at 5:00 PM of pyemia due to an infected bladder, GI tract and perineum, plus kidney failure.
He was so popular when he died that his protégé Brownie McGhee recorded "The Death of Blind Boy Fuller" for the Okeh label, and then reluctantly began a short lived career as Blind Boy Fuller No. 2 so that Columbia Records could cash in on his popularity.
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New Magic Slim, Deanna Bogart releases from Blind Pig Records
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Too Late - Barrelhouse Chuck
Barrelhouse Chuck is the only Chicago blues pianist to have studied under Sunnyland Slim, Pinetop Perkins, Blind John Davis, Detroit Junior and Little Brother Montgomery. Barrelhouse Chuck draws on this distinguished lineage to create a blues, boogie-woogie and barrelhouse piano style that places him at the forefront of this celebrated tradition.
Born in Ohio (Columbus, OH - July 10, 1958) where he first learned to play the drums at the age of 6, Barrelhouse Chuck, whose real name is Charles Goering, later switched to the piano and was living Gainesville Fla when he heard his first Muddy Waters record with Otis Spann on piano. This was a major turning point in Chuck's life.
After that Chuck started buying the records of every blues artist he could find. A quick study on the keyboards, it wasn't long before Chuck had formed his own band and began opening for Willie Dixon, B.B. King, and Muddy Waters and Chuck was playing with the great Bo Diddley. It was also during this time (the middle 70's) that Chuck and some of his friends began following Muddy Waters around to get some first hand exposure to both Muddy and his then current piano player, Pinetop Perkins.
'We used to follow Muddy all around down South. We would wait in parking lots for the Van with Illinois plates to roll up. Pinetop Perkins & Willie Smith would recognize me and get me into their concerts. Then invited me to be back stage with Muddy and the band. Afterward, I'd go out to breakfast with them. I was just in awe.'
Then realizing he needed to immerse himself in blues piano he deciding to go directly to the source. In 1979 he drove 24 hours straight from Florida with Right-hand Frank to Chicago and went directly to B.L.U.E.S on Halsted specifically to see Sunnyland Slim. 'I took a gamble and came to Chicago, and the first thing I did when I arrived was to go to B.L.U.E.S on Halsted. I walked in the door and there was Sunnyland Slim. I went right up to him and said, 'I've just driven 24 hours straight to see you.''
Chuck spent the next 16 years studying with the living legend, who Chuck called 'the great-granddaddy of all the blues piano players.' Through Sunnyland he met all the great blues musicians in Chicago, and often ended up playing with and hanging out with them. Piano greats Blind John Davis, Big Moose Walker, Detroit Junior and Erwin Helfer were also playing blues piano in Chicago. Chuck spent years listening, learning and became friends.
People like S.P. Leary, Smokey Smothers, Erwin Helfer and Little Brother Montgomery took Chuck under their wings, invited him into their homes and made him feel a part of their families.
Chuck formed a special bond with piano legend Little Brother Montgomery with whom he honed his piano stylings during a long internship. Chuck often lived with Little Brother spending many hours with him and Sunnyland Slim playing piano and hanging out. Other great piano players like Tollie & Joe Montgomery, Jay McShann and Lafayette Leake would come by to visit L.B. and play piano. Chuck was instrumental in arranging honorariums, driving him to jobs (and to the hospital when his health began failing) and helping him out in every way he could. Little Brother returned this favor by taking Chuck under his wing and giving him a musical education no other man has ever received. When Brother passed away Chuck lost a mentor and a true friend, but Chuck keeps his music alive when ever he plays. "Little Brother was like a grandfather to me".
The last 30 years Chuck developed his immense mastery of blues piano and went on to perform or record with most of the notable Chicago blues musicians-people like Jimmy Rogers, Eddie Taylor, Kim Wilson, Hubert Sumlin, Otis Rush, Louis Myers, Buddy Guy, Big Smokey Smothers among many others. His recording credits reads like a 'who's who' of modern day Chicago blues. [CLICK HERE for Chuck's recording session & record label credits. CLICK HERE for a list of musicians Barrelhouse Chuck has played with!]
Barrelhouse Chuck is a recording artist for The Sirens Records. He participates on the classic recording '8 Hands on 88 Keys - Chicago Blues Piano Masters Detroit Jr., Pinetop Perkins, and Erwin Helfer. He has also recorded a solo disc entitled 'Prescription for the Blues' and a highly acclaimed band disc 'Got My Eyes On You' with Kim Wilson, Calvin 'Fuzz' Jones, Willie 'Big Eyes' Smith, Eddie Taylor Jr. Joel Foy.
In Feb.2008 Barrelhouse Chuck was asked by Kim Wilson, lead singer and harmonica player for the Fabulous Thunderbirds, to participate with Kim and recorded the soundtrack for Sony BMG's much anticipated new film 'Cadillac Records.' The movie tells the story of Chess Records and includes many of the gifted musicians who started there. Beyonce Knowles is executive producer. Beyonce will also portray famed blues singer Etta James. Adrian Brody plays historic Chess Records founder Leonard Chess; Jeff Wright is cast as blues great Muddy Waters; and Cedric the Entertainer plays legendary songwriter Willie Dixon. Other musicians in the session include Steve Jordan on drum, basssist Larry Taylor (Canned Heat), and guitarists Eddie Taylor, Jr., Billy Flynn and the legenday Hubert Sumlin. Previous to recording for this amazing new film, Kim Wilson and Eddie Taylor appeared on Barrelhouse Chuck's critically acclaimed recording 'Got My Eyes On You', released by The Sirens Records in 2006.
During the past Three decades Chuck has played all over the U.S., Canada, Mexico, South America and tours Europe regularly. He has also appeared more than a dozen times at the Chicago Blues Festival. There are only a few of those great piano players left notes Barrelhouse Chuck. Even though most of his teachers have passed on, Barrelhouse Chuck has become one of the bearers of the flame, and keeps both their spirit and music alive, passing it along where ever he plays.
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”
L.A. Blues Deejay Legend Ann The Raven - Birthday Bash This Saturday!
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If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”
Irene Torres and The Sugar Devils - New Release Review
I have just received and had a chance to listen to the new Irene Torres and The Sugar Devils release a number of times and it's actually quite refreshing. I certainly wouldn't file it under "blues" but I would file it under "listen to this music". The release is made up of 7 original tracks which have a world flavor. I would say Latin but it is more of a fusion of Latin, Island, Soul, Swing, Blues and Jazz for a blend that is very appealing. Peruvian born Torres has a seductive voice that is well paired with this music. The Sugar Devils are drummer Drew Austin and bassist/guitarist Josh "Yoshi" Piche. Without You, my favorite track on the release has a strong Reggae beat with Torres laying vocals in like she was born in Jamaica but using her own subtle styling. Criminal lays seamlessly into the wake created by track one keeping the light jazz touch but altering the rhythm pattern and melody as the transition is made and adding a little horn by Brownman Ali on trumpet. King Of The Block is again a switch in timing and style but again a fairly seamless transition and this time the addition of Rob Christian plays some great sax to punch this song into a different stream altogether. Before You Go begins with a Latin style trumpet and the song takes on a strong Caribbean flavor. Torres maintains close relationship with the music and the band warmly carries her vocals on a tropical breeze. I'll Be Good To You takes a strong directional break toward the R&B track and would likely get the most airplay just due to it's basic construction. Sticky Fingers and Sugar Devil get in the swing blues groove to wrap up the release. Yoshi rips some sweet guitar riffs to rap up the recording. If you are up for something a little different ... this is a great cd to try. I really like it.
If you like what I’m doing, Like ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorites band! - ”LIKE”
I'm a bit apprehensive to attach this video to the review because I believe that the cd is much stronger than any performance that I could find on youtube...but the show must go on.
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