KOKO TAYLOR/ Complete Early recordings 1963-71

 KOKO TAYLOR/ Complete Early Recordings 1963-71

           

Née Cora Walton à Bartlett, Tn le 28 septembre 1928 ou 1935 mais venue très jeune habiter dans le South Side de Chicago, celle qui allait devenir la principale figure féminine du Chicago Blues a commencé adolescente une carrière de chanteuse de blues et de Rhythm & Blues sous l'aile (très) protectrice de Willie Dixon qui la façonne et la lance. Koko fait ses premières armes en club avec Junior Wells et Buddy Guy et Robert Nighthawk, démontrant un évident penchant pour le blues profond. Mais nous sommes au début des années 1960 et Dixon qui sent les changements de goûts du public noir mais n'est pas vraiment capable de s'y adapter, préfère lui faire interpréter des thèmes plus ou moins pop-jazz dans le moule de ce qu'il avait fait durant les années 40 avec le Big Three Trio.

            Koko fait donc de bien modestes débuts discographiques produits par Dixon sur le label USA, grave quelques titres informels très down home (et fort réussis) accompagnée de Homesick James. Mais c'est en la prenant dans l'écurie Chess que Dixon la fait enregistrer substantiellement pour un label important qui bénéficie d'une excellente distribution. Elle enchaîne ainsi les séances toujours produites par Dixon qui lui fait alterner des moments de pur Chicago blues avec des pièces pop qui apparaissent bien désuètes y compris à l'époque. Les succès sont d'abord modestes mais en 1966, Dixon demande à Koko d'enregistrer Wang Dang Doodle, une composition qu'il avait écrite pour Howlin' Wolf. Le tempo est encore accéléré par rapport à la version du Wolf et les riffs de guitare, le superbe solo du saxophoniste Gene Barge permettent à ce titre de grimper dans les classements des Hit Parades. Koko devient presque instantanément une vedette et elle enchaîne concerts, tournées (une apparition timide à la tournée de l'AFBF en 1967) et enregistrements. Mais Dixon qui semble tourner un peu en rond ne réussit pas à rééditer le succès de Wang Dang Doodle. Après un album inégal en 1971 et tandis que Chess disparaît plus ou moins, Koko quitte Dixon et décide de voler de ses propres ailes.

            C'est à ce moment qu'elle s'affirme vraiment comme une blueswoman de tout premier plan. Sa voix est puissante, pathétique ou enjouée, sa plume est sûre et signe de belles compositions personnelles, son sens du swing est permanent et sa présence scénique impressionnante. Elle tourne en Europe très souvent après 1967, au Chicago blues festival, triomphe à Montreux en compagnie de T-Bone Walker et Muddy Waters, excelle à Ann Arbor! Elle grave en France un album tout blues avec les frères Myers. Mais c'est surtout l'avisé producteur Bruce Iglauer qui saura mieux que quiconque capturer toutes ses qualités, la laisser affirmer son tempérament et lui permettre ainsi de s'exprimer complètement. Elle enregistre une série de disques pour Iglauer et son label Alligator à partir de 1975 qui lui valent vraiment sa réputation de grande maîtresse du Chicago blues. I got what it takes est un grand album où Koko est dans une forme époustouflante, accompagnée par le grand guitariste Sammy Lawhorn; The Earthshaker est presque du même niveau; From the heart of the woman, plus soul, est aussi très réussi; Queen of the blues,  An audience with the Queen... Tous ses albums Alligator sont réussis. Koko, très affectée par la mort de son mari qui était aussi son manager, a continué d'apparaître sur les scènes du monde entier presque jusqu'à son décès le 3 juin 2009 à Chicago.

            Sa première oeuvre dont nous proposons pour la première fois l'intégrale est certes inégale mais recèle de très bons moments et permet de mieux saisir le cheminement de cette grande "Reine" du Chicago blues.

                                                                       Gérard HERZHAFT

Merci à Xyros, Steve Wisner et Friedrich Svacina pour leur aide et leur prêt de titres rares.

At Ann Arbor 1972

During the AFBF 1967 European Tour

           

Born Cora Walton at Bartlett, Tennesse on September 28th, 1928 (or 1935?) but coming to Chicago at an early age, Koko started to sing in the Chicago clubs alongside Junior Wells, Buddy Guy or Robert Nighthawk before being taken under the (maybe too?) protective wing of Willie Dixon.

            In the 1960's, Dixon is willing to cope up with the new tastes of the African-American record buyers and he tries a lot of formulas with his new protégée, from solid Chicago blues to jazz-pop numbers recreating his Big Three Trio days.

            After a tepid session for the small USA label, Koko waxes a couple of excellent informal down home tracks, backed by Homesick James and then is brought to Chess by Dixon who records her substantially from 1964 to 1971. The commercial success comes in 1966 with a re-working of Wang Dang Doodle, a number penned by Dixon for Howlin' Wolf. With an hypnotic guitar riff, a swinging tempo and an exemplary sax solo by Gene Barge, the title climbs quickly on the charts. For some times, Koko is in demand in concerts, tours (she comes to Europe as early as 1967 with the AFBF tour) and of course in the Chess studios. But despite excellent backing musicians, she is unable to have another Hit. Although Koko is never better than as a Chicago blues singer, deeply rooted in the tradition, Dixon persists to believe she should be a jazz pop singer with sometimes ultra corny numbers that sounded very old fashioned even at that time. After a last uneven rare album (her first) in 1971 and the end of the Chess label, Koko decides to be herself. At last on her own, she appears as a first rate blueswoman: a powerful voice, a commanding stage presence and a true blues feeling infusing everything she sings, whether Chicago blues standards or personal witty compositions. She tours Europe quite often after 1967, recording an all-blues album in France with the Myers Brothers and Jimmy Rogers, a live session at Montreux and performing in the main US festivals like Ann Arbor.

            But this is really when she signs with the wise producer Bruce Iglauer (who really understands the lady and what she is able to deliver) that Koko will really give her full potential as a major Chicago blues name. She records a dozen of excellent albums for the Alligator label, beginning with the stunning I got what it takes, certainly one of the best Chicago blues albums of this era. Koko, although very affected by the death of Pops Taylor, her husband and manager for years, will anyway sing her blues all over the world, almost until her death on June, 3d, 2009 in Chicago.

            Her first recordings, although certainly not as successful as her Alligator LPs, have anyway good moments To be able for the first time to listen to them in a chronological order, allows to follow her formative years and how she finally would become a major Chicago blues name.

                                                           Gérard HERZHAFT

Thanks to Xyros, Steve Wisner and Friedrich Svacina for their help and the loan of quite rare records.

 

KOKO TAYLOR

Complete Early Studio Recordings

Koko Taylor, vcl; Jarrett Gibson, b-sax; J.B. Lenoir, g; Lafayette Leake, pno; Milton Rector, bs; Clifton James, dms. Chicago, 23 juillet 1963

01. Like heaven to me

02. It's like heaven to me

03. Honky Tonky I

04. Honky Tonky II

Koko Taylor, vcl; Homesick James, g; Evans Spencer, g; Willie Dixon, perc. Chicago, Ill. 26 mars 1964

05. What kind of man is this?

06. Which a way to go

07. I'm looking for a man

Koko Taylor, vcl;Big Walter Horton, hca; Buddy Guy, g; Robert Nighthawk, g; Lafayette Leake, pno; Jack Myers, bs; Clifton James, dms. Chicago, Ill. 30 juin 1964

08. I got what it takes

09. What kind of man is this?

Koko Taylor, vcl; Buddy Guy, g; M.T. Murphy, g; Lafayette Leake, pno; horns; Willie Dixon, bs; Clifton James, dms. Chicago, Ill. 20 janvier 1965

10. Lovesick tears

11. Don't mess with the messer

12. Whatever I am you made me

Koko Taylor, vcl; band. Chicago, Ill. août 1965

13. I'm a little mixed up

Koko Taylor, vcl; Buddy Guy, g; Johnny Twist, g; Gene Barge, t-sax; Lafayette Leake, pno; Jack Meyers, bs; Fred Below, dms; Willie Dixon, vcls. Chicago, Ill. 7 décembre 1965

14. Wang dang doodle

15. Blues heaven

16. I got all you need

17. Tell me the truth

Koko Taylor, vcl; Johnny Twist, g; band. Chicago, Ill. 29 juin 1966

18. Good advice

Koko Taylor, vcl; Rufus Crume, g; johnny Twist, g; Gene Barge, t-sax; Dillard Crume, bs; Al Duncan, dms; Willie Dixon, vcls. Chicago, Ill. 16 décembre 1966

19. The egg or the hen

20. Just love me

21. All money spent

Koko Taylor, vcl; Buddy Guy, g; Johnny Twist, g; Lafayette Leake, pno/og; Gene Barge, t-sax; Dillard Crume, bs; Al Duncan, dms; Willie Dixon, vcls. Chicago, Ill. 1967

22. Fire

23. Insane asylum

Koko Taylor, vcl; band. Chicago, Ill. octobre 1968

24. Separate or integrate

25. I don't care who knows

26. Love you like a woman

27. Yes it's good for you

Koko Taylor, vcl; Big Walter Horton, hca; M.T. Murphy, g; Buddy Guy, g; Sunnyland Slim, pno; Jack Myers, bs; Willie Dixon, bs; Fred Below, dms. Chicago, Ill. 23 avril 1969

28. Twenty nine ways

29. Nitty gritty

30. He always knocks me out

31. I love a lover like you

Koko Taylor, vcl; Mighty Joe Young, g; Lafayette Leake, pno; horns; Willie Dixon, bs; Clifton James, dms. Chicago, Ill. août 1970

32. Mighty love

33. Instant everything

Koko Taylor, vcl; Gene Barge, t-sax; horns; Mighty Joe Young, g; Reggie Boyd, g; Louis Satterfield, bs; Clifton James, dms; Willie Dixon, vcls. Chicago, Ill. 24 novembre 1971

34. Love me to death

35. I need you more and more

36. Uh Uh My baby

37. It's a poor dog

38. That's the way love is

39. Tease your man

40. Violent love

41. Bills bills and more bills

42. Blues prelude

43. Pollution

44. Let me love you baby

Those studio recordings don't include the "live" AFBF 1967 concert

 

SWAMP BLUES/ Vol. 5: LAZY LESTER Complete Early recordings

 

SWAMP BLUES Vol. 5 

LAZY LESTER/ Complete Early recordings 1956-65

Lazy Lester (Leslie Johnson) (born 20th June 1933 at Torres, La) was of course one of the archetype of the so called Swamp blues style: laconic, laid back and "lazy", his harp playing seemed so simple in apparence but so hard to emulate and generate the same feeling. Brought to JD. Miller's studios by Lightnin' Slim, Lester Johnson became "Lazy Lester" since 1956, waxing many tracks for the great producer.

His early recordings (1956-65) are first rate with many masterpieces. The discography is not so easy to make, a lot of so-called alternate takes having popped up through the years without any evidence sometimes of the real time when they were recorded. So we have done our best to gather all the known tracks in the most probable chronological order.

" Rediscovered" in 1987, Lester embarked on an international career, playing all over the world (and particularly in France with the band of the excellent Benoit Blues Boy) in many festivals, concerts and venues and recording several very good albums.

He died on 22th August 2018 in Paradise (Ca).

 

Lazy Lester (Leslie Johnson), vcl/hca; Guitar Gable, g; Fats Perrodin, bs; Clarence Etienne, dms. Crowley, La. november 1956

01. I'm gonna leave you baby

02. Lester's stomp I & II

03. Go ahead

04. They call me Lazy

Lazy Lester, vcl/hca; Guitar Gable, g; Fats Perrodin, bs; Clarence Etienne, dms. Crowley, La. 24 july 1957

05. Whoa now I & II

Lazy Lester, vcl/hca; Guitar Gable, g; Fats Perrodin, bs; Clarence Etienne, dms. Crowley, La. 28 octobre 1957

06. Lover not a fighter

07. I told my little woman I & II

08. Tell me pretty baby

09. Whoa now!

Lazy Lester, vcl/hca; Guitar Gable, g; Fats Perrodin, bs; Clarence Etienne, dms. Crowley, La. Crowley, La. 28 may 1958

10. I'm a lover not a fighter

11. Sugar coated love I & II

12. I hear you knocking I & II

13. Late late in the evening

Lazy Lester, vcl/hca; Guitar Gable, g; Fats Perrodin, bs; Clarence Etienne, dms. Crowley, La. 2 juin 1958

14. Through the goodness of my heart

15. Late late in the evening

Lazy Lester, vcl/hca; Katie Webster, pno; Al Foreman, g; Bobby Mc Bride, bs; Warren Storm, dms. Crowley, La. december 1958

16. Come on home

17. Bloodstains

Lazy Lester, vcl/hca/g; Guitar Gable, g; Fats Perrodin, bs; Austin Broussard, dms. Crowley, La. 31 july 1959

18. I love you I need you

19. Quit fooling myself

20. I'm leaving

Lazy Lester, vcl/hca; Lionel Torrence, t-sax; Merlon Thibodeaux, pno; Al Foreman, g; Pee Wee Trahan, g; Bobby Mc Bride, bs; Warren Storm, dms. Crowley, La. 16 february 1960

21. A real combination for love

22. Bloodstains on the wall

Lazy Lester, vcl/hca; Lionel Torrence, t-sax; Merlon Thibodeaux, pno; Al Foreman, g; Pee Wee Trahan, g; Bobby Mc Bride, bs; Warren Storm, dms. Crowley, La. 4 january 1961

23. Bye bye baby gonna call it gone

24. You got me where you want me

25. I'm so tired

26. Patrol blues

27. Patrol wagon

28. I'm so glad

Lazy Lester, vcl/hca; Lionel Torrence, t-sax; Katie Webster, pno; Al Foreman, g; Pee Wee Trahan, g; Bobby Mc Bride, bs; Warren Storm, dms. Crowley, La. september 1961

29. Whoa now

30. Sad sad city

31. Sad city blues

32. Tell me pretty baby

33. I'm so glad my baby's back home

Lazy Lester, vcl/hca; Merlon Thibodeaux, pno; Al Foreman, g; Rufus Thibodeaux, bs; Austin Broussard, dms. Crowley, La. april 1962

34. If you think you've lost me

35. Ain't nothing in this world

36. I'm so tired

Lazy Lester, vcl/g; Sylvester Buckley, hca; Al Foreman, g; Bobby Mc Bride, bs; Austin Broussard, dms. Crowley, La. january 1963

37. Lonesome highway blues

38. I made up my mind

39. Bloodstains n°2

Lazy Lester, vcl/hca; Al Foreman, g; Bobby Mc Bride, bs; Austin Broussard, dms. Crowley, La. may 1963

40. You gonna ruin me baby I & II

41. Strange things happen I & II

42. The same thing could happen to you

43. A word about women

Lazy Lester, vcl/hca; g; Sylvester Buckley, hca on *; U.J. Meaux, org; Rufus Thibodeaux, bs; Austin Broussard, dms. Crowley, La. october 1965

44. Now it's time

45. You better listen to what I said

46. You gonna lose your head

47. Because she's gone

48. Ponderosa stomp

49. Courtroom blues

50. Take me in your arms

Lazy Lester, vcl/hca; Katie Webster, pno; Silas Hogan, g; bs; dms. Crowley, La. 20 january 1967

51. They call me Lazy

52. Poor boy blues

 

 

SWAMP BLUES/ Volume 4

 

SWAMP BLUES/ Volume 4

 

         

Let's go back to the Louisiana Swamps!

            Our 4^th opus starts with singer/guitarist Jimmy Dotson. Born in Ethel, near Baton Rouge on October 19 1933 Jimmy started to sing in his family's local church, learned to play drums and guitar and started professionally as a member of the Rhythm Ramblers, Silas Hogan's backing band. In 1959-60, Swamp blues creator J.D. Miller recorded Dotson as a session man and issued four tracks under Dotson's name, singing and playing guitar on Zynn and Rocko labels. Dotson went to Memphis for a while, playing in clubs all over town and the nearby venues. He recorded another single in 1963 backed by the famous Willie Mitchell's unit. Relocated in Houston, Dotson was still active until his death on March 26, 2017 in Houston, appearing at several festival like the Baton Rouge Blues Festival. James Dotson must not be confused with the Soul artist of the same name from Baltimore.

 

            Although he has recorded quite extensively, I have not much information about Ville Platte's artist Donnie Jacobs (Donald Jacob) who sings and plays guitar, accordion and bass. His first recordings were pure Swamp blues with the classic Street walkin' woman much revered among Swamp blues' buffs. After several singles on the same vein, Donnie would take again his real name (Donald Jacob) for more recordings, 45s and albums, in a more Zydeco and Soul styles.

 

           

Morris "Big" Chenier (1914-78) was Clifton's uncle and played fiddle, guitar and sang on numerous recordings as well as under his own name around his Opelousas home. He learned the guitar with Louisiana's songster Lennette Scott and the fiddle with locally famous fiddler Antoine Valet. In 1958, Big Chenier embarked for a few years in a full time musical career, fronting his own band all around Louisiana and the Gulf Coast and up to Houston.

 

                                                                       Gérard HERZHAFT

 

 

JIMMY DOTSON, vcl/dms; Sylvester Buckley, hca; Silas Hogan, g; Isaiah Chatman, bs. Crowley, La. 1959

01. I wanna know

02. Looking for my baby

03. My poor heart in pain

Jimmy Dotson, vcl/dms; Katie Webster, pno; Silas Hogan, g; Isaiah Chatman, bs. Crowley, La. 26 janvier 1960

04. Oh! Baby

05. I need your love

Jimmy Dotson, vcl; Willie Mitchell, tpt; Bill Forte, t-sax; Billy Mitchell, t-sax; Fred Ford, b-sax; Joe Hill, pno; Louis Steinberg, bs; Al Jackson, dms. Memphis, Tn. 1962

06. Search no more

07. Feel alright

DONNIE JACOBS, vcl/g; Jerry Devillier, hca; g; dms. Ville Platte, La. avril 1966

08. If you want good lovin'

09. Street walkin' woman

10. My love is something special

Donnie Jacobs, vcl/g; band. Ville Platte, La. 1969

11. Love repairman

12. Ring on your finger

Donnie Jacobs, vcl/g; band.

13. Finance man

14. Proud man

Donald Jacobs, vcl/g; band. Ville Platte, La. 1973

15. She kept chewing gum

BIG CHENIER (Morris Chenier), vcl/g; Robert Jackson, pno; Guitar Joe, g; James Williams, bs; Joe Payne, dms. Lake Charles, La. 1957

16. Let me hold your hand

17. Please try to realize

18. The dog and his puppies

19. Going to the City

Big Chenier, vcl/g; Eddie Williams, og; band. Lake Charles, 14 novembre 1960

20. Just couldn't take it

21. Let me hold your hand n°2

Big Chenier, vcl/g; Theodus De Clouet, acc; bs; dms. Lake Charles, 1961

22. I wanna know, I know now

Big Chenier, vcl/fdl; band. Lake Charles, La. c. 1961

23. Come on little girl

 

JIMMY "PREACHER" ELLIS/ Complete Recordings

 

JIMMY "PREACHER" ELLIS/ Complete Recordings

 

 

           

Certainly not the best well known of all West Coast bluesmen, Jimmy "Preacher" Ellis nevertheless recorded a good amount of blues and soul that should have earned him a wilder reputation.

            Ellis was born on 17^th August 1935 at Foreman (Arkansas) and started to sing at an early age in the family's local church. Around 1950, the family moved to Seattle. He was already a good enough singer to be asked to join the professional gospel group The Traveling Four. During his military service, Ellis learned the guitar thanks to Johnny Bradford, a friend soldier who used to sing and play the blues every week end around his Mississippi hometown.

            After his discharge, Ellis joined several doo wop groups like The Centuries before starting a solo career in the early 1960's. Relocated to Los Angeles, Jimmy formed a band and played in many clubs and venues, drawing the attention of songwriter and producer Fats Washington who recorded him for his fledgling Movin' and Ride labels. The records sold enough locally to allow Jimmy and his band to have many more gigs. The early 70's saw more Ellis records, this time for Mel Alexander's Kris and Space labels. 16 of those tracks have been reissued as an LP and CD by the bold German Tramp label with great mastering and generous liner notes that inspired most of this article! The Tramp CD and LP is still available there https://tramprecords.bandcamp.com/album/the-story-of-jimmy-preacher-ellis

             The 1980's and 90's were lean years for Ellis although he made some appearances in festivals, once jamming with The Monkees. He anyway recorded in 1996 his only full and largely blues-based album Red, Hot & Blues. He appeared at the D.C. Minner's Dusk til Dawn Blues Festival in Rentiesville, Oklahoma as late as 2015!

            He was apparently living in Dallas at that time.

           This post gathers all Ellis's recordings. A lot of thanks to all who helped to document this very good artist.

                                          Gérard HERZHAFT

 

JIMMY PREACHER ELLIS (James Ellis), vcl/hca/g; band. Los Angeles, Ca. 1960

01. Tough competition

02. I can't work and watch you

Jimmy Preacher Ellis, vcl/g; band. Los Angeles, Ca. 1964

03. Work with what you got

04. A fool for a friend

05. Baby I love you

06. Kiddio

Jimmy Preacher Ellis, vcl/g;  Curtis Tillman, bs; band. Los Angeles, Ca. 1966

07. Go ahead on

08. I'm gonna do it by myself

09. Nobody knows

10. Cry no more

Jimmy Preacher Ellis, vcl/g/hca; Bob Greco, t-sax; band. Los Angeles, Ca. 1968

11. Two tenors, tone and a bone

12. Dance to the Drumbeat

13. Put your hoe to my row

14. Don't tax me in

15. Trouble all over the land

Jimmy Preacher Ellis, vcl/g;  The Odd Fellows, band. Los Angeles, Ca. 1969

16. I gotta see my baby

17. That's the way I am

18. You can't pour the water on me

19. Looking through the eyes of love

20. I gotta see my baby

21. Happy to be

22. I just wanna be myself

23. Hard times

Jimmy Preacher Ellis, vcl/g; band. Los Angeles, Ca. 1970

24. Why I sing the blues I & II

25. Puttin' it on your mind

Jimmy Preacher Ellis, vcl; Howard Anderson, g; Woody Woods, kbds; Roosevelt Caldwell, pno/org; Scotty Varneau, hca; Harold Hunter, a-sax; Ken Roberts, bs; Richard Martinez, dms. Torrance, Ca. 1996

26. Can't work and watch you

27. Everyday's a holiday with the blues

28. Hard times

29. Hoochie coochie man

30. I got my mojo working

31. Mean husband blues

32. Rainy night in Georgia

33. Sweet dreams

34. Work with it

35. You

36. You can't count me out

 

 

FOREST CITY JOE

FOREST CITY JOE/ Complete Recordings 

           

Forest City Joe, aujourd'hui connu pour les enregistrements de terrain effectués par Lomax en 1959, a cependant failli s'affirmer comme un des grands harmonicistes de Chicago de l'après guerre. Comme le dira Muddy Waters: "Joe était le meilleur des élèves de Sonny Boy mais il n'a pas su s'accrocher et il n'a pas eu de chance".

            Né Joe Bennie Pugh à Hughes dans l'Arkansas le 10 juillet 1926 dans une famille de métayers, il a très jeune appris à jouer sous l'influence de sa mère Mary Walker de la guitare, du piano et plus tard de l'harmonica particulièrement en écoutant les disques de celui qui deviendra son idole et son modèle, John Lee "Sonny Boy" Williamson. A partir du début des années 1940, celui que l'on nomme désormais Forest City Joe joue un peu partout dans les juke joints du Mississippi et de l'Arkansas, parfois en compagnie de Big Joe Williams qui l'emmène tenter sa chance à Saint Louis.

            De Saint Louis, l'étape obligée est Chicago, d'autant plus que pour Joe, il espère y rencontrer Sonny Boy. Ce qu'il réussit à faire, profitant même de quelques leçons du maestro. La réputation de Forest City Joe est suffisante pour que les frères Chess lui fassent enregistrer une séance pour leur label Aristocrat le 2 décembre 1948. Son guitariste devait être Muddy Waters (et la séance aurait été certainement tout autre) mais Muddy indisponible est remplacé par un obscur guitariste de Memphis, J.C. Cole qui se contente de quelques accords pas toujours très affirmés. Sur les huit titres, deux seulement (Memory of Sonny Boy/ A woman in every street) seront édités en 1949 sur un 78t, essentiellement pour "profiter" de l'émotion engendrée par le meurtre récent de John Lee Williamson.

            Le disque ne se vend guère mais permet quand même à Joe d'apparaître dans les clubs en compagnie de Otis Spann, Muddy Waters ainsi qu'à West Memphis au sein de l'orchestre de Howlin' Wolf et avec le pianiste Willie Love, lui-même membre de l'orchestre du Wolf. Quant à J.C. Cole, on l'a retrouvé trois ans plus tard à Memphis gravant une séance pour Sam Phillips (restée inédite des lustres) dans laquelle il apparaît comme un émule de John Lee Hooker!

            Mais Forest City Joe n'arrive guère à vivre de sa musique et, détestant Chicago, il retourne vivre à Hughes, conduisant un tracteur en semaine et jouant les week ends dans les juke joints locaux.

            L'histoire aurait pu s'arrêter là si Alan Lomax et Shirley Collins, au cours de leur célèbre expédition dans le Sud, ne s'étaient pas attardés à Hughes un vendredi soir de septembre 1959. Joe se trouve devant un bazar/bar local, le Old Whiskey Store et joue de la guitare. La conversation s'engage et quelques jours plus tard, Lomax enregistre Joe dans le juke joint de Charlie Houlin où Forest City se produisait régulièrement en trio avec l'excellent guitariste Sonny Boy Rogers (qui gagnera Minneapolis et y enregistrera) et le batteur Thomas Martin. Cette superbe séance a paru par bribes sur diverses anthologies, en particulier The Blues Roll on mais, grâce à la Fondation Lomax (Cultural Equity) et à sa générosité, nous disposons désormais de l'intégrale de ce qui demeure un formidable témoignage de la musique et de l'atmosphère des juke joints sudistes à la fin des années 1950.

            Dans la foulée, Lomax enregistre aussi un autre trio présent ce 1er octobre 1959, emmené par le chanteur harmoniciste Boy Blue (Roland Hayes) que l'on retrouvera quelques années plus tard au festival de Memphis et qui comprend le guitariste Joe Lee Jones qui grave aussi un titre en leader.

            Sous la houlette de Lomax, Forest City Joe envisageait de relancer sa carrière musicale et devait enregistrer un album complet pour Columbia ou Vanguard quand, le 3 avril 1960, de retour d'un engagement, Joe s'est probablement endormi au volant de son van, décédant dans l'accident qui s'ensuivait.

                                                           Gérard HERZHAFT

Encore tous mes remerciements à Cultural Equity et John Barstow pour leur aide.

           

As Muddy Waters once told: " Forest City Joe was probably one of the best Chicago blues harp player ". Born Joe Bennie Pugh around Hughes, Arkansas on July, 10th 1926 among a sharecropping family, the boy, under the strong influence of his mother Mary Walker, started to sing and play piano and guitar. Later on, Joe fell in love with the harmonica sound through the records of John Lee "Sonny Boy" Williamson and soon became good enough to play in the local juke joints. During the mid-1940's, Joe plays with Big Joe Williams who brings him to Saint Louis and try his luck there.

            The next stage of the trip is of course Chicago. For Pugh, now known as Forest City Joe, this is also and maybe utmost the opportunity to meet his idol John Lee Williamson. His strong harmonica playing allows him to play in clubs and on Maxwell Street. And at last Williamson gives some harp lessons to his young admirer! Forest City Joe's reputation is strong enough for, just after the tragic death of John Lee Williamson, persuade the Chess Brothers to bring him in the studio and record a session on 2 December 1948 for their Aristocrat label. The guitarist had to be Muddy Waters but unexpectedly busy this very day, Muddy is replaced by an obscure guitar player from Memphis, J.C. Cole who backs Joe with some simple and not always reliable chords. Some years later, Cole will record a session in Memphis for no one than Sam Philips in a style reminiscent of John Lee Hooker! From the eight Forest City Joe's recorded titles, Chess will issue only two (Memory of Sonny Boy/ A woman on every street) on a 78t that goes nowhere.

            Anyway, Joe plays for awhile in Chicago with Muddy, Otis Spann and in Memphis with Howlin' Wolf and his pianist Willie Love. But, failing to support a large family with his music, Joe goes back to Hughes where he will make a living as a field labourer and tractor driver, still playing the blues on week ends on the local juke joints.

            This is here on Friday 30th September 1959 - in front of the local Old Whiskey Store - that Alan Lomax and Shirley Collins, while in Hughes during their famous Southern field trip, find Forest City Joe who is there playing the guitar and singing. After a fructuous conversation, Lomax decides to record the following day (1 October) Forest City Joe and his band (the guitar player Sonny Boy Rogers who will settle to Minneapolis and record there LP and CD; the drummer Thomas Martin) at Charlie Houlin's juke joint where Forest City Joe had to play the week end. This superb session has been only partially issued on several anthologies on Bluesville and Atlantic (The Blues Roll on) but thanks to Cultural Equity (The Lomax Foundation) we can now listen to the much longer complete session. Lomax also records another local band, the trio of another excellent harp player, Boy Blue (Roland Hayes) (1922-80) who will be seen several years later at the Memphis Blues Festival and behind Joe Willie Wilkins. Blue's guitarist Joe Lee Jones also sings on one track. Those recordings are exceptional, not only for the excellent blues music played by all but also because it lasts as one of the very rare testimony of the strong true atmosphere and feeling of a Southern black juke joint in the late 50's.

            Seizing this unexpected opportunity, Forest City Joe tried to resume his musical career. He planned to go back to Chicago and had to record a whole album for Vanguard or Columbia but while coming back for a gig, he probably fell asleep at the wheel and died in the accident on April, 3d 1960.

                                                           Gérard HERZHAFT

A lot of thanks for their invaluable help to Cultural Equity and John Barstow.

FOREST CITY JOE/ DISCOGRAPHIE