Nombre total de pages vues

mercredi 8 avril 2020

EDDIE LANG/ New Orleans Guitar (re-up)

EDDIE LANG/ New Orleans Guitar (re-up)


            Ce guitariste et chanteur de La Nouvelle Orléans, Eddie Lang (Eddie Langlois) n'a évidemment rien à voir avec le guitariste de jazz italo-américain Eddie Lang (Salvatore Massaro) (1902-1933).
            Eddie Langlois est né le 15 janvier 1936 à La Nouvelle Orléans (bien que certaines sources fiables le font naître bien plus tôt) et commence à jouer de la guitare dès le début des années 1950, d'abord au sein des House Rockers de Jessie Hill puis ensuite avec Guitar Slim (Eddie Jones) qui l'influencera beaucoup. C'est d'ailleurs grâce à Slim et en tournée avec lui que Lang enregistre dès 1951 son premier disque pour le label de Nashville Bullett.
            Tandis que Guitar Slim engrange très rapidement de nombreux succès et devient un artiste très populaire et très influent qui tourne avec l'orchestre de Lloyd Lambert, Eddie Lang tente sa chance de son côté, écumant les clubs de Louisiane. Il réussit à enregistrer pour divers labels comme RPM, Ace (de Johnny Vincent), Ron et obtient à son tour quelques modestes hits régionaux avec Easy Rockin' en 1958 (accompagné par Dr John). Malgré la grande qualité artistique de ses disques, Eddie Lang demeure une figure mineure de la scène néo-orléanaise.
            Et il lui faut attendre 1966 pour retrouver vraiment le chemin des studios, cette fois sous la houlette de Eddie Bo qui produit et arrange de belle façon les séances d'enregistrement de nombreux artistes dont lui-même bien sûr et Eddie Lang. Something within meThe fooler sont des succès régionaux qui permettent à Eddie Lang d'enregistrer et de se produire régulièrement dans et autour de La Nouvelle Orléans. Mais c'est avec le roué Food stamp blues, gravé en 1973 pour le petit label Super Dome, que Eddie Lang obtient son plus gros succès.
            En 1977, il fait partie de la tournée européenne curieusement intitulée Mississippi Delta Blues Band qui se produit essentiellement en Scandinavie. Eddie Lang, bien que très mal crédité, est en vedette sur la plupart des titres du disque réalisé à Stockholm pour l'occasion.
            Mais en 1979, un AVC le laisse à demi paralysé, l'empêchant de jouer de la guitare et il décède dans sa résidence de Slidell, Louisiane, le 10 mars 1985.
            Cette compilation regroupe pour la première fois, à l'exception d'un titre, tout ce que cet excellent mais trop méconnu guitariste et bluesman a enregistré. Merci à tous ceux qui ont contribué à ce recueil, en particulier Marie-Antoinette L. et Xyros.
                                                                       Gérard HERZHAFT

            This Eddie Lang (Eddie Langlois) must not be confused with his namesake and pioneer jazz guitarist Eddie Lang (Salvatore Massaro)(1902-1933).
            Eddie Langlois was born in New Orleans on 15th January 1936 (although some sources state his birth much earlier) and he started to play guitar at an early age, first with the House Rockers, a local band formed by Jessie Hill and then with Guitar Slim (Eddie Jones) who will be a strong and lasting influence. This is while touring with Guitar Slim than Eddie Lang waxed his first record for the Nashville label Bullett as early as 1951.
            But while Guitar Slim quickly enjoyed fame and success with a string of hits and then toured through the Southwestern States with the Lloyd Lambert's band, Eddie Lang was left behind. He then started his own band, playing in clubs and small venues around New Orleans. He nevertheless managed to record some excellent 45s in 1956-59 for several labels (RPM, Johnny Vincent's Ace, Ron) having a modest hit with Easy Rockin' in which Dr John Plays the keys.
            Eddie had to wait until 1966 to find himself again in the studios, this time for Joe Banashak and under the wise production of Eddie Bo. Something within meThe fooler were local hits, establishing Eddie Lang as a minor favourite of the Louisiana-Texas scene. In 1973, the smart two parts blues Food stamp blues recorded for the small SuperDome label, was at last a real hit.
            In 1977, Eddie Lang was part of a Scandinavian tour, oddly titled "Mississippi Delta Blues Band". Although ill credited, Eddie Lang sings lead on most of the tracks on the LP recorded in Stockholm for the occasion.
            Suffering a bad stroke in 1979 which left him diminished, unable to play the guitar, Eddie Lang died in his hometown of Slidell (Louisiana) 10 May 1985.
            We have gathered here all the recordings made by this excellent but underrated bluesman and guitarist (minus one title). Thanks to all who made this possible, particularly Marie-Antoinette L. and Xyros.
                                                                                   Gérard HERZHAFT


EDDIE LANG
Complete Recordings
Eddie Lang, vcl/g; band. Nashville, Tn. 1951
01. Darling you know I love you
02. My baby left me
Eddie Lang, vcl/g; Huey Smith, pno; Lee Allen, pno; band. New Orleans, La. 19 février 1954
03. Hallelujah
Eddie Lang, vcl/g; band. New Orleans, La. septembre 1956
04. Come on home
05. I'm all alone
06. I'm beggin' with tears
07. You got to crawl before you walk!
Eddie Lang, vcl/g; Ronnie Barron, pno; Dr John, g; Earl Stanley, bs; Paul Stahli, dms. New Orleans, La. 25 octobre 1958
08. On my way
09. Easy Rockin'
10. Troubles troubles
11. She's mine all mine
12. You sure is fine
Eddie Lang, vcl/g; band. New Orleans, La. 1959
13. Let me tell you bout it
Burning inside
Eddie Lang, vcl/g; James Black, dms; band. New Orleans, La. 1966
14. The love I have for you
15. Something within me
Eddie Lang, vcl/g; band. New Orleans, La. 1 mars 1967
16. I'm gonna make you eat those words
17. The Fooler I & II
Eddie Lang, vcl/g; band. New Orleans, La. 28 juin 1967
18. The sad one
19. Souling
Eddie Lang, vcl/g; Sonny Randall, pno; band. New Orleans, La. 1973
20. Food Stamp blues I & II
Eddie Lang, vcl/g; band. New Orleans, La. 1974
21. Bringing back those old days
22. Mean sad world
Eddie Lang, vcl/g; Vincent Blakey, g; Lee Crisp, hca; Jesse Alexander, bs; Richard Milton, dms. Stockholm, Suede, 25 avril 1977
23. Mean old world
24. Slippin' and slidin'
25. Woke up this morning
26. Struttin'
27. My own fault

dimanche 22 mars 2020

WALTER SPRIGGS


WALTER SPRIGGS

           
I'm quite often puzzled when finding in Blues Discography (Leslie Fancourt/ Eyeball Publisher) names almost unknown to me who have nevertheless quite a large discography...
            Walter Spriggs, also recording under the names Wally Wilson or Ray Scott, being one of them, Blue Eye couldn't do otherwise that try to gather all or most of all his "blues" records made for Apollo, Blue Lake, Sabre, Atco, Antler, Tri-Ess, Decca, Jubilee....
            Walter Spriggs is largely undocumented in Blues Magazines and the few things I have been able to gather come from Robert Pruter, Rob Ford, Jim O'Neal (who made a sleuth work!) and a few others hardcore researchers' writings, mostly on the net
            Walter was born in Arkansas in 1933, the son of William and Ollie Spriggs who moved to Saint Louis (Mo) when Walter was a child. He seems to have played piano, guitar, drums when still a teenager. Whatever, we find our man in Chicago in 1952, singing the blues backed by Deacon Brown's band and around the same time in New York where he waxed a record for Apollo with saxophonist Charlie Ferguson's unit. According to the same sources (Chicago Defender), Walter Spriggs was quite active in Chicago during the mid-50's, playing in South Side's clubs with different bands like drummer Larry Wrice's Chicago All Stars. This is during those years that Walter recorded his bluesiest tracks for Chance and Blue Lake. And around the same time, he also recorded several singles as the tenor singer of the pre-doo woop vocal group The Five Echoes.
           
To complicate things a little more, Walter changed his name as Ray Scott around 1955 when another different (according to Jim O'Neal) Ray Scott was a Chicago drummer recording behind Little Willie Foster and Jimmy Reed! While Ray Scott-Walter Spriggs was still active in Chicago, Spriggs joined under his real name and as the featured vocalist the Kansas City Tomcats, a band led by guitarist Lucky Enois who was touring extensively from coast to coast. They recorded in New York City for Josie/ Jubilee two singles in 1955 and 1956.
            While coming back to Chicago, Spriggs/ Ray Scott ran the Scotty's Rock and Roll Inn until at least 1957. Spriggs was there leading the house band who featured a very young Luther "Guitar Junior" Johnson and in 1959 Little Walter recorded his famous piece Nobody but you, a song composed by Walter Spriggs. The following years, we find Walter recording in New York for the Atco label and singing with the Jesse Stone's band. Other records for the tiny Antler and Tri-Ess labels were made under the name Ray Scott.
            And then here is our man in Los Angeles singing in clubs and recording under the moniker Ray "The Great" Scott. A paper in the L.A. Sentinel on May, 30, 1963 unveils some details:  "Ray Scott, versatile singer, dancer, musician and comedian, who was christened Walter Spriggs and was born in Arkansas. According to the McGee piece, Scott had arrived in LA from New York City for a comedy gig at the Club Hideaway. He had begun billing himself as "The Great Scott." Spriggs/Scott had been doing comedy since 1959, and was said to know George Kirby and Redd Foxx, both of whom he would have had multiple opportunities to meet and observe in Chicago. His most recent recordings were mentioned, including "Silk, Satin & Lace.... He played bongos with Ray Hamilton, Billy Williams and Johnny Ray and toured 27 countries of Europe" !!!
            During the 1960's Spriggs played comedy and also recorded raunchy tracks for Dootsie Williams in L.A. At last, we find Spriggs/Scott in New York City once again, running from his apartment of Central Park West a music publisher company called Spriggs Production in 1974. And a little later, Jim O'Neal spotted Spriggs in a Chicago club where he was opening for Johnnie Taylor! While at that time, Walter Spriggs was living permanently in Texas where he probably died unnoticed!
            Whatever, we have tried to gather the most possible tracks recorded by this quite mysterious singer, bluesman, comedian, doo woop vocalist, etc... hoping to put some "real" music to lines of the current discography.
            A lot of thanks to all those who helped on this research!
                                                                       Gérard HERZHAFT


Walter Spriggs, vcl; Charlie Ferguson, t-sax; George Rhodes, pno; band. New York City, février 1953
01. I don't want you
02. Let me love you
Walter Spriggs, vcl; Red Holloway, t-sax; Mc Kinley Easton, t-sax; Willie Jones, pno; Lucky Enois, g; Quinn Wilson, bs; Vernell Fournier, dms. Chicago, Ill. 17 janvier 1954
03. If you don't love me
04. The hunt
Walter Spriggs, vcl; Sonny Cohn, tpt; Leon Washington, t-sax; Mc Kinley Easton, b-sax; Lucky Enois, g; Earl Washington, pno; Jimmy Richards, bs; Red Saunders, dms. Chicago, Ill. 8 octobre 1954
05. I'm not your fool anymore
06. Weekend man
Walter Spriggs, vcl; Lucky Enois, g; Eddie Saunders, t-sax; Brooks Lewis, bs; Jimmy Waters, dms. New York City, octobre 1955
07. Nobody knows
08. Meet me meet me baby
Walter Spriggs, vcl; Sam Taylor, t-sax; Ernie Hayes, pno; Mickey Baker, g; Doles Dickens, bs; Panama Francis, dms. New York City, 3 août 1956
09. I pawned everything
10. Love you, love you, love you
Walter Spriggs, vcl; King Curtis, t-sax; John Mc Farland, pno; Kenny Burrell, g; Doles Dickens, bs; Joe Marshall, dms. New York City 18 novembre 1957
11. You're movin' me
12. Rack'em back
Walter Spriggs (as Ray Scott), vcl/bongos; Harold Ousley, t-sax; LeRoy Glover, pno/org; Wild Jimmy Spruill, g; Jimmy Breedlove, bs; Pola Roberts, dms. New York City, 12-15 juillet 1959
13. Happy organ
14. Take it and git it
15. Bongo rock
16. Fulltime baby
Walter Spriggs (as Ray Scott), vcl; band. Chicago, Ill. septembre 1959
What it means to have a friend
17. Let's be friends
Walter Spriggs (as Ray Scott), vcl; band. New York City, 1960
18. We need love
19. Silk satin and lace
Walter Spriggs, vcl; band. New York City, 1962
Joy Ran Dee
20. Looking for you
Walter Spriggs, vcl; band. New York City, 23 mars 1967
21. Love piled on top of love
22. The real thing
23. Can't get over losing you
24. I can't get you on TV baby
Walter Spriggs, vcl; band. New York City, 1970
25. The prayer
26. Lily white mama, Jet black dad

samedi 7 mars 2020

HOUSE OF THE RISING SUN


HOUSE OF THE RISING SUN/
Origines et Evolution du célèbre Folk Song/ Origins and evolution of this famous folk song
(re-up)

           
Si House of the Rising Sun est aujourd'hui un thème célèbre dans le monde entier et a engendré des centaines (!) de versions différentes et dans toutes les langues, cela na guère été le cas avant les années 1960. Il s'agit alors d'une ballade parmi d'autres et il faut attendre 1933 et Clarence Ashley pour en graver sur disque la première version. Ashley, originaire des Appalaches et que l'on redécouvrira dans les années 1960, avouera avoir appris cette chanson de son grand père mais en avoir retrouvé d'autres versions lors de ses années passées dans les spectacles itinérants sudistes, les medicine shows.
            On ne sait rien de sûr à propos des lointaines origines de cette chanson qui est, généralement, considérée comme la complainte d'une jeune fille séduite par un souteneur et amenée dans l'infâme maison close "Rising Sun" de la Nouvelle Orléans. Mais les versets (qui varient selon les versions, en tout cas jusque dans les années 1960) ne sont pas aussi clairs et peuvent aussi renvoyer à une prison pour femmes ("I got one foot on the platform, The other foot on the train/ I'm goin' back to New Orleans To wear that ball and chain"), voire un sanatorium! Comme toujours dans les folk songs américains, on leur trouve des réminiscences des Iles Britanniques (une vieille ballade anglaise du XVIIIème siècle mentionne "ask for The Rising Sun, there you'll find two old whores and my old woman's one") ainsi que des références en vieille France, la "nouvelle aube" stylisée par un soleil levant flamboyant étant le symbole de la rédemption et de la guérison, choisi par l'ordre des Ursulines fondé au XVème siècle et dont les couvents sont aussi toujours des hospices pour nécessiteux.
            Mais comme toujours aussi, les folk songs américains sont bien sûr... américains. On trouve à la Nouvelle Orléans plusieurs bâtiments qui peuvent correspondre au "Soleil Levant". D'abord, avec certitude, une maison close du Vieux Quartier, célèbre dans les années 1808-22 jusqu'à sa destruction par un incendie et qui abrite aujourd'hui le Musée Historique de La Nouvelle Orléans. Le Vieux Couvent des Ursulines, installé par les Français au XVIIIème siècle et, comme signalé, décoré de deux fresques représentant des Aubes flamboyantes, a été transformé en prison pour femmes à la fin du XIXème siècle. Enfin, une certaine Mme Marianne Le Soleil possédait une autre maison close dont les murs étaient ornés de fresques représentant des "Soleils Levants" (d'après bien sûr son nom) encadrés de trois Eros décochant leurs flèches. On a retrouvé ces fresques dans le bâtiment de Mme Le Soleil, aujourd'hui occupé par une agence immobilière!
            Quoi qu'il en soit, il est intéressant de retracer l'évolution de ce folk song à partir du premier enregistrement par Clarence Ashley en 1933. Il s'agit alors d'un blues à la façon "Hillbilly". Les Callahan Brothers et Roy Acuff qui ont connu le morceau par Ashley en donnent des versions similaires. Lomax enregistre une chanteuse amateur Georgia Turner qui interprète ce thème. Par Lomax, le morceau passe dans le répertoire des bluesmen et folk singers qui constituent alors la scène new-yorkaise, en particulier Josh White, Woody Guthrie et Lead Belly. Mais c'est l'actrice de théâtre et chanteuse Libby Holman (1904-71), une proche amie de Josh White, qui lui "emprunte" House of the Rising Sun et en enregistre une version de style cabaret de l'époque qui est un grand succès.
           
House of the Rising Sun restera alors dans le répertoire presque obligé des folk singers New Yorkais, Weavers, Pete Seeger, Woody Guthrie et al. Mais c'est en fait Dave Van Ronk qui, au début des années 1960 (et bien que lui-même n'enregistre le morceau qu'en 1964) qui signe les arrangements que l'on connaît aujourd'hui. Et c'est Bob Dylan - qui loge chez Van Ronk - qui lui emprunte sa version et la fait figurer sur son premier album. C'est d'après Dylan que le groupe britannique les Animals font de House of The Rising Sun un succès planétaire!
                                                                       Gérard HERZHAFT

            Let's leave (but not too far, don't be afraid!) the hardcore blues to study a little bit one of the most famous American folk song House of the Rising Sun with its hundreds of recordings in dozens languages!.
            In fact, before the 1960's, House of the Rising Sun was just a bluesy Old Time ballad among many others. It was only first recorded by Clarence Ashley in 1933. Ashley who was from Tennessee and was rediscovered during the 1960's Folk Boom told he learned this song from his grandfather and took it in his repertoire while touring around the South with a medicine show.
            The far origins of this song (generally sung from a young girl's speech who was seduced by a gambler and doomed to an infamous "Rising Sun" in New Orleans) are very uncertain. And the verses of the different early versions may refer to a brothel but also to a prison (I got one foot on the platform, The other foot on the train/ I'm goin' back to New Orleans To wear that ball and chain) or even a hospital. Like so very often, one can find British origins of the song: a XVIIIth Century English ballad has those verses: "ask for The Rising Sun, there you'll find two old whores and my old woman's one". Or French origins, the "new dawn with a flamboyant sun" being the symbol of medical redemption and healing provided by the Ursulines Convents since the XVth Century.
            But as always, the American Folk Songs are first and foremost... Americans. One find in New Orleans several buildings with a "Rising Sun" connection. First, a brothel situated in the French Quarter, very famous during the years 1808-1822 when a fire almost destroyed the building which is today the home of the Historic New Orleans Collection Museum. The old Ursulines' Convent created by the French during the early XVIIIth Century has become a prison for women at the end of the XIXth Century. And has still the original decorations of two Rising Sun mural paintings, common to this religious order. There is also an other brothel formerly owned by a certain Madam Marianne Le Soleil (Mrs The Sun!) whose walls were decorated with several Rising Suns (from the Madam's name) surrounded by three cherubs! This very building is occupied today by a real estate who kept the original paintings!
            Whatever, it is rewarding to follow the evolution of this folk song from the very first 1933 Clarence Ashley recording which was mostly a "Hillbilly blues". The Callahan Brothers and Roy Acuff have learned the song from Ashley and their renditions are close to the "original". In 1937, Lomax recorded the song by an amateur singer from Kentucky, Georgia Turner who might have learned the song from the records or from local singers. Anyway, with this version, House of the Rising Sun takes root among the numerous folk singers and bluesmen playing in the New York area: Weavers, Pete Seeger, Woody Guthrie, Lead Belly, Josh White. But it's Libby Holman (1904-71) a cabaret singer and an actress, a close friend of Josh White who hit big with her version recorded in 1942.
            The today well known arrangements of the song have in fact been created by Dave Van Ronk during the early 1960's (although he didn't record it before 1964). Bob Dylan who was at that time living in Van Ronk's apartment borrowed him the song and recorded it on his very first album. The British band, The Animals took the Dylan/ Van Ronk version, electrifies it and enjoyed a huge commercial success throughout the world, then making the previous obscure The House of The Rising Sun one of the most recorded American Folk Song of all times!
                                                                       Gérard HERZHAFT



HOUSE OF THE RISING SUN

01. Clarence Ashley: Rising sun blues (1932)
02. Callahan Brothers: Rounder's luck (1934)
03. Georgia Turner: House of the Risin' Sun (1937)
04. Roy Acuff: The Rising Sun (1938)
05. Libby Holman: The house of the Rising Sun (1942)
06. Josh White: House of the Rising Sun (1944)
07. Lead Belly: House of the Rising Sun (1944)
08. Woody Guthrie: Rising Sun blues (1944)
09. Weavers: House of the Rising Sun (1959)
10. Joan Baez: House of the Rising Sun (1960)
11. Pete Seeger: House of the Rising Sun (1961)
12. Fred Gerlach: Risin' Sun (1962)
13. Bob: House of the Rising Sun (1962)
14. Nina Simone: House of the Rising Sun (1962)
15. Isla Cameron: The House of the Rising Sun (1962)
16. Karen James: The House of the Rising Sun (1962)
17. Roscoe Holcomb: House in New Orleans (1962)
18. Jack Elliott: House of the Rising Sun (1963)
19. Dave Van Ronk: House of the Rising Sun (1964)
20. Animals: The House of the Rising Sun (1964)
21. Doc Watson: Rising Sun blues (1964)
22. Supremes: House of the Rising Sun (1964)



vendredi 28 février 2020

LOS ANGELES BLUES Volume 3


LOS ANGELES BLUES/ Volume 3


           
We start this third volume of our Los Angeles blues series with pianist (and not guitarist as it is written in Blues Discography) Memphis Eddie who was already featured in Los Angeles blues Volume 2. But thanks to our friends Mike & Mike from Australia, we now have the complete recordings of this fine artist. Memphis Eddie Pee is in fact Eddie P. Johnson, born in Hughes (Ark) 16 April 1919 and died in Los Angeles on 16th June 1963. He remains an almost unknown although he has recorded several 78s for Globe, Foto and RPM between 1945 and 1950.
            Blues Taylor is Johnny Taylor who recorded a handful of tracks in 1949 for Capitol and Blue and another batch in 1954 for the Hollywood label. Contrarily as one can read on so many websites, this Johnny Taylor has nothing to do with the others bluesmen of the same name.
            Rickey Jordan had a brief career in the mid-1940's as a blues and jazz singer, seeming to be the featured vocalist of the bassist Vivien Garry all-girl band in the Los Angeles area. May be a white cabaret singer, Ricky has a strong and swinging voice and it's too bad she recorded so few.
Vivien Garry
            Bobby Nunn was born Ulysses Nunn in Birmingham (Alabama) on 20 September 1925. He started a boxing career while serving at the US Air Force. After his discharge in 1947 he settled in Los Angeles and started a musical career, singing, performing and recording with The Robins as well as a duet with Esther Phillips. He also recorded under his own name in 1949-50 for several independent West Coast labels. Nunn died at his Los Angeles home on November 5, 1986.
            Thanks to Mike & Mike, John S. and the ever faithful Jose Yrrabera for sharing some of the rarest tracks inhere.
                                                           Gérard HERZHAFT


LOS ANGELES BLUES
Volume 3
MEMPHIS EDDIE (Eddie Pee), vcl/g; William Bates, a-sax; Prince Albert, pno; band. Los Angeles, Ca. June 1945
01. Mistreated all the time
02. Going back to Smoky Mountain
Memphis Eddie, vcl/g; Prince Albert, pno; William Bates, a-sax; band. July 1945
03. Big leg mama
04. My house fell down
Memphis Eddie, vcl/g; pno; bs. Los Angeles, Ca. December 1947
05. Trouble blues
06. Hep chick
Memphis Eddie, vcl/g; band. Los Angeles, Ca. 25 May 1950
07. Velma Lee
08. Lonesome change
09. Mercy blues
10. I believe
Memphis Eddie, vcl/g; band. Los Angeles, Ca. 26 September 1950
11. Good time woman
12. Highway 61
13. Real fine girl
14. Baby Lou
JOHNNY "BLUES" TAYLOR, vcl; Gerald Wiggins, pno; Ulysses Livingstone, g; John Simmons, bs; Lee Young, dms. Los Angeles, Ca. 22 February 1949
15. Hackensack mama
16. Unwelcome blues
Somewhere someday
People are talking
Johnny "Blues" Taylor, vcl; band. Los Angeles, Ca. June 1949
17. West Coast baby
18. Rocky mountain blues
19. Mr Monkey man
20. Back alley blues
RICKEY JORDAN, vcl; Teddy Buckner, tpt; Les Robinson, a-sax; Lucky Thompson, t-sax; Teddy King, pno; Arv Garrison, g; Vivien Garry, bs; Edward Hall, dms. Los Angeles, Ca. october 1946
Vivien Garry Orchestra
21. A.B.C. blues
22. Blues in the storm
23. Night and day
24. Rickey's blues
Rickey Jordan, vcl; Lucky Thompson, t-sax; band. Los Angeles, Ca. november 1946
25. Drop dead
26. Stormy weather
BOBBY NUNN (Ulysses Nunn), vcl; Bumps Myers, t-sax; band. Los Angeles, Ca. 1949
27. I got a country gal
28. Anticipating blues
29. I am clappin' and shoutin'
30. Bring your loving back to me
31. I am telling you
Bobby Nunn, vcl; The Robbins, vcls; band. Los Angeles, Ca. february 1950
32. Rockin'
33. That's what the good book says
Bobby Nunn, vcl; Que Martyn, t-sax; band. Los Angeles, Ca. 1952
34. Christmas bells



vendredi 21 février 2020

SWAMP BLUES Volume 2



SWAMP BLUES Volume 2


           
Comme nous l'avons déjà dit, le Swamp blues est largement l'oeuvre du producteur J.D. Miller.
            Né à Iota (La) le 5 mai 1922, J.D. Miller est très jeune un fan de Gene Autry et ses parents lui achètent un petit modèle de guitare à l'effigie de son idole lorsqu'il a huit ans. La famille Miller s'installe à Lake Charles en 1933. Très vite, le petit J.D. devient un guitariste renommé. Il anime une émission régulière de radio en 1937, chantant et jouant de la guitare entre deux présentations publicitaires. Peu de temps après, J.D. Miller s'installe à Crowley capitale du riz en Louisiane. J.D. participe alors à plusieurs orchestres locaux: les Four Aces de son ami Happy Fats, les Hackberry Ramblers, les Riverside Ramblers... Il enregistre avec les Four Aces pour Bluebird, fonde avec les frères Breaux les Musical Aces. Sa rencontre au début des années 40 avec les chefs d'orchestre Bob Wills et Cliff Bruner est déterminante. Il gardera toujours une admiration sans bornes pour eux et un goût considérable pour le Western Swing, son feeling, sa spontanéité, son invention. En même temps, il poursuit des études d'électricien, métier qui semble pouvoir lui servir dans la musique, sa véritable passion.
            Mais les temps vont changer pour l'Amérique. Miller part à la guerre plusieurs années, revient avec un petit pactole en " obligations de guerre ". Il se marie avec Georgia Sonnier, la fille du célèbre accordéoniste cajun Lee Sonnier. En combinant sa paie de guerre et la dot de sa femme, J.D. ouvre une petite boutique d'électricité, la M & S (Miller & Sonnier) Electric C° sur North Parkerson à Crowley qui deviendront aussi ses studios d'enregistrement.
            Ce nouveau volume de Swamp blues comprend la totalité des
enregistrements de Jimmy Anderson. Né le 21 novembre 1934 à Woodville près de Natchez (Ms), Jimmy Anderson a fréquenté son compatriote Papa Lightfoot avec lequel il a appris à jouer de l'harmonica. Mais ce sont les disques de Jimmy Reed qui vont façonner son style de blues. Venu travailler à Baton Rouge, Anderson forme un blues band (les Joy Jumpers qui comprennent le fils de Silas Hogan, Oscar Hogan) et joue dans les bars locaux. C'est Hogan qui emmène Anderson à Crowley, le présente à Miller qui lui fait faire ses débuts discographiques en 1962. Jimmy obtient de petits succès locaux avec Naggin' ou Going Crazy over TV. Mais la décennie des 60's voit la défaveur du blues parmi les acheteurs noirs américains et Anderson abandonne la musique et prend un emploi de policier municipal dans sa ville natale de Natchez. Cependant le démon de la musique le taraude et dès 1973, il anime une émission régulière de radio sur WNAT ainsi que des soirées en clubs sous le surnom de Soul Man Lee. Redécouvert en 1991, il participe à une tournée internationale d'anciennes gloires du Swamp Sound (blues, rock et pop) mise en place par Johnnie Allen. Il retourne plusieurs fois en Europe mais après une attaque en 1999, Anderson s'est retiré de la musique. Il décède le 5 octobre 2013 à Natchez.
            Si Ramblin' Hi Harris et Blues Boy Dorsey sont de fort bons représentants du Swamp blues, nul ne sait qui ils sont vraiment. C'est J.D. Miller qui, retrouvant des bandes inédites et ne se souvenant que très vaguement de ceux qu'il avait enregistrés leur a attribué leurs noms de disque! Il est malgré tout probable que Blues Boy soit le chanteur et guitariste Henry Dorsey, un bluesman renommé autour de Rayville (La).
            Quoi qu'il en soit, les oeuvres de Harris, Dorsey ou Anderson démontrent toute la qualité de ce Swamp blues.
                                                                       Gérard HERZHAFT

            As already said, the so-called Swamp Blues style is largely due to the wise hand of producer J.D. Miller.
            Born in Iota (La), May 5th, 1922, J.D. Miller was a Gene Autry's fan and learned to play the guitar at 8 years old. The Miller Family came to live in Lake Charles in 1933 and then in Crowley. In that very strong musical area (local bands abounded), J.D. became a proficient guitarist and held a radio programme where he sang and played while advertising for local venues and products. He was also a regular member of several bands: Happy Fats' Four Aces with whom he recorded for the Bluebird label, Hackberry Ramblers, Riverside Ramblers. But after a meeting with Western Swing stars Bob Wills and Cliff Burner, J.D. turned to be more and more a jazz, Swing and blues fan. He also finished his studies to be an electrician, rightly thinking that it could help him in his passion for music. Miller, drafted during the war years, came back with war bonds. Then married with Georgia Sonnier, daughter of the famous Cajun accordion player Lee Sonnier, the couple opened their own shop in Crowley: M&S (Miller & Sonnier) Electrical C° that would soon house their famous recording studios.
            Swamp blues n°2 opens with the complete Louisiana recordings of Jimmy Anderson. Born 21 November 1934 at Woodland, Ms, Jimmy spent his childhood in Natchez and learned the harmonica with Papa Lightfoot before falling into the spell of Jimmy Reed's records. While working in Baton Rouge, Jimmy formed his own blues band, The Joy Jumpers with Oscar Hogan on the drums, the son of Silas. This is thanks to Hogan that Anderson came to Crowley to meet J.D. Miller, beginning in 1962 a couple of recording years with some local Hits (Naggin' or Goin' crazy over T.V.). But the late 60's were lean years for the bluesmen, the African American public deserting the blues for other musical genres. When relocating in Natchez, Jimmy gave up the life of a musician for a secure job as a local police officer. But the bug was still there and, as Soul Man Lee, Anderson hosted for two decades a successful radio programme n WNAT. He acted also as a local DJ in several clubs. Rediscovered by Johnnie Allen, Jimmy resumed his stage presence for several successful tours overseas before a severe stroke forced him to retire. He died on 5 October 2013 in Natchez.
            If Ramblin' Hi Harris and Blues Boy Dorsey are very good blues artists, their names were given by J.D. Miller years after they recorded for him. Their music was on tapes with only an "Anonymous" tag and were not issued at that time. Miller remembered them only vaguely. According to recent researches, it seems anyway more than possible that "Blues Boy" is in fact a well known bluesman from Rayville (La), Henry Dorsey.
                                                           Gérard HERZHAFT

SWAMP BLUES/ Volume 2
JIMMY ANDERSON, vcl/hca; Eugene Dozier, g; Andrew Taylor, g; Oscar Hogan, dms. Crowley, La. 1962
01. I wanna boogie
02. Angel please
Jimmy Anderson, vcl/hca; Eugene Dozier, g; Andrew Taylor, g; Oscar Hogan, dms. Crowley, La. 1963
03. Naggin!
04. Keep on naggin'
05. Nothing in the world
06. I'm a king bee #1
07. I'm a king bee #2
08. Going through the park
09. In the dark in the park
10. Draft board blues
11. When I play my harp
12. Frankie & Johnnie
Jimmy Anderson, vcl/hca; Al Foreman, g; Bobby Mc Bride, g; Rufus Thibodeaux, bs; Austin Broussard, dms. Crowley, La. 1964
13. Shut your mouth
14. Goin' crazy over T.V.
15. Baby let's burn
16. It's half past midnight
17. I want you I need you
18. Love me babe
Jimmy Anderson, vcl/hca; same band; add: Katie Webster, og. Crowley, La. 1965
19. Ain't gonna let her go
20. Rats & roaches on your mind
BLUES BOY DORSEY (Henry Dorsey), vcl/g; band. Crowley, La. 1962
21. Come here to me #1
22. Come here to me #2
23. Don't do that to me
24. Walking out my door
RAMBLIN' HI HARRIS, vcl/g; band. Crowley, La. 1959
25. Trying to call my baby
26. Early one morning
27. I haven't got a home
28. Baby baby baby

Et pour les harmonicistes/ And for the dedicated harmonica players
 Harmo.com