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

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)

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

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

DUKE HENDERSON/ Complete Recordings

DUKE HENDERSON/ Complete Recordings

           

Despite his quite important numbers of recordings, Sylvester C. Henderson aka Big Duke aka Studs Henderson or more often Duke Henderson is largely undocumented. Very few (if none?) articles in magazines, few researches, only mentions in some books... the blues shouter doesn't seem to have raised a big interest among blues and R&B circles.

            Born in Liberty, Mo. 5th April 1924, Sylvester whereabouts are not known. The facts are that Henderson was living in the Los Angeles area during the 1940's, singing in cabarets with several bands as a blues shouter a la Big Joe Turner. Duke was introduced to the Apollo label by Jack McVea in 1945, waxing a number of sessions for the label, backed by the cream of West Coast jazz and R&B musicians of the era (Jack McVea, Mingus, Gene Phillips...). Despite their high quality, those recordings were not commercially successful and Duke will have to wait almost two years before entering again in a studio, this time for Modern Records and backed by the Al "Cake" Wichard Sextette. Those once again great 78s must have been selling better because Henderson would be back in the studios quite often during the subsequent years. He recorded regularly for some of the best indies West Coast labels like Downbeat, Swing Time, Specialty, Imperial and until a final session for Flair in 1953. On all those records, Henderson displays a very "big" voice, emulating Turner for the better with strength, subtlety and drive.

            During the early 1950's, Big Duke turned himself into religion, putting down his blues shouter past. Under the name of Brother Henderson, he started a ministerial career, being a pastor of Bethany Apostle Community Church, preaching Gospel on several radio stations. At the end of his life, he was running a small record shop from where he was operating the Proverb label.

            Sylvester Henderson died at his Pacoima, Ca. home on 9 April 1973.

            This short article is largely based on Kirk Silsbee's liner notes and the essential book Blues/ A regional experience by Eric LeBlanc & Bob Eagle. Thanks also to bluesjumper 33 for providing us some of the rarest tracks here. Despite my efforts, I was still missing three titles by Big Duke. Thanks a lot to Mike & Mike from Australia for providing those three extremely rare tracks!

                                                                       Gérard HERZHAFT

CD1:  

Duke Henderson, vcl; Karl Georgen tpt; Jewell Grant, a-sax; Lucky Thompson, t-sax; Gene Porter, clt; Gene Phillips, g; Wilbert Baranco, pno; Charlie Mingus, bs; Lee Young, dms. Los Angeles, 28 november 1945

01. Don't keep me waiting

02. Mama bear blues

03. S.H. blues

04. Not worth a dime

05. Fool hearted woman

06. H.D. blues (Hot Dog blues)

Duke Henderson, vcl; Teddy Buckner, pno; Happy Johnson, tb; Wild Bill Moore, t-sax; Wilbert Baranco, pno; Gene Phillips, g; John H, bs; Rabon Tarrant, dms. Los Angeles, Ca. 4 december 1945

07. Let's get vootin'

08. Boogie man blues

09. Don't slam the door

10. Blues in the background I & II

11. Don't forget I'm a married man

12. Woman's blues I & II

13. Don't fall in love with me baby

14. Homecoming blues

Duke Henderson, vcl; Jesse Perdue, tpt; Marshall Royal, a-sax; Jack Mc Vea, t-sax/b-sax; Bob Mosley, pno; Gene Phillips, g; Frank Clarke, bs; Rabon Tarrant, dms. Los Angeles, Ca. 5 december 1945

15. Oo wee baby oo wee

16. Get your kicks

17. Lottery blues

18. Wiggle wiggle woogie

Duke Henderson, vcl; Tiny Webb, g; George Mason, pno; Orville Austin, bs. Los Angeles, Ca. mai 1946

G.I. blues

Leona of L.A.
Three extremely rare tracks (tose two above + Louse in the hen house) are now here. Thanks a lot to Mike & Mike from Australia for sharing.

Duke Henderson, vcl; Al Wichard, dms. Los Angeles, Ca. december 1946

19. Did you ever love a woman?

20. His Majesty's boogie

Duke Henderson, vcl; Maxie Ward, tpt; Ralph Bowden, tb; King Perry, a-sax; Earl Payton, pno; Ike Brown, bs; Al Wichard, dms. Los Angeles, Ca. december 1947

21. Leona's boogie

22. 18th Vine Street boogie

23. I am the blues

24. San Quentin quail

Duke Henderson, vcl; band. Los Angeles, Ca. november 1948

25. Get your mind outta the gutter

26. Blues in the morning

27. Old maid's prayer

28. Dr Duke boogie

CD2:

Duke Henderson, vcl; horns; Jay Mc Shann, pno; Bill Davis, bs; Al Wichard, dms. Los Angeles, Ca. 11 december 1948

29. Gravels in my pillow

30. Trouble in mind

31. In the evening

Duke Henderson, vcl; band. Los Angeles, Ca. 23 december 1948

32. Low down dog

33. Bewildered

34. Proposition baby

35. K.C. boogie

36. I'm not fooling

37. Stud's boogie

Louse in the hen house
A lot of thanks to Mike & Mike for providing this extremely rare track

Duke Henderson, vcl; band. Los Angeles, Ca. 2 march 1949

38. I hung my head and cried

Duke Henderson, vcl; band. Los Angeles, Ca. june 1950

39. Rock me in your chair

40. Mama's clock stopped ticking

41. Situation blues

42. Worried and blue

Duke Henderson, vcl; Monroe Tucker, pno; band. Los Angeles, Ca. 6 december 1950

43. Live my own life I & II

44. Kinfolks

45. Ten days of agony

Duke Henderson, vcl; Pete Johnson, pno; bs; dms. Los Angeles, Ca. 1951

46. Hard luck women and strife

Duke Henderson, vcl; band. Los Angeles, Ca. 27 august 1952

47. Country girl

48. Lucy Brown

Duke Henderson, vcl; band. Los Angeles, Ca. 1953

49. Hey Dr Kinsey

50. Hello baby

51. Beggin' and pleading

52. Baby beat it

After he gave up R&B:, he recoirded as Brother Henderson's Spiritual Lambs:ca. 1955

I Made Up My Mind / Pass Me Not 

 A lot of thanks to Mike & Mike and Marv Goldberg for their help