LONNIE BROOKS/ From Guitar Jr to Lonnie Brooks

FROM GUITAR Jr TO LONNIE BROOKS

FROM GUITAR JUNIOR TO LONNIE BROOKS

            Comme Buddy Guy, Lonnie Brooks est né en Louisiane, a été très influencé par Guitar Slim (Eddie Jones) avant de monter à Chicago et y devenir un artiste important du Chicago blues. Mais, à la différence de Buddy Guy, Brooks a, lui, substantiellement enregistré en Louisiane avant de recommencer une carrière différente à Chicago, changeant de pseudonyme au passage.

            En fait, tout commence avec Lee Baker Jr qui naît à Dubuisson (La), une bourgade très proche de Ville Platte, le 18 décembre 1933. Son père, banjoïste à ses heures, lui inculque l'amour de la musique et le jeune Lee écoute les musiques jouées autour de lui: Cajun, Jazz, Pop... Comme beaucoup, il quitte la ferme familiale à l'adolescence pour tenter sa chance dans le grand port du Golfe du Mexique, Port Arthur. La grande vedette du début des années 50 dans cette région est le guitariste et chanteur Guitar Slim (auteur de l'immortel Things I used to do) qui marque autant par ses talents de guitariste électrique torride, son chant passionné que par son jeu de scène. C'est totalement sous l'influence de Guitar Slim que Lee Baker apprend la guitare, se met à chanter et fait quelques remplacements dans divers orchestres locaux dont celui de Clifton Chenier.

            Mais c'est l'avisé producteur Eddie Shuler qui repère le jeune Lee Baker Jr, séduit par sa capacité à imiter Guitar Slim à la perfection. Il rebaptise son protégé Guitar Jr afin que nul ne puisse se tromper sur la filiation assumée et volontaire et l'enregistre pour son label Goldband dans le style néo-orléanais de son idole dès 1957. Le succès est au rendez-vous avec Family Rules et The crawl, devenus des classiques louisianais entre blues et Swamp Pop. Guitar Jr fait aussi des progrès très rapides à la guitare et à la mort de Guitar Slim en 1959, il décide de donner un autre tournant à sa carrière. Il quitte la Louisiane qu'il pense trop fermée et part s'installer à Chicago où d'autres Guitar Jr existent déjà. Lee Baker Jr aka Guitar Junior devient alors Lonnie Brooks, un patronyme venu de la famille de sa mère.

            La mutation à Chicago se fait difficilement et Lonnie Brooks doit substantiellement adapter son style de chant et de guitare aux canons en vigueur aux bords du Lac Michigan. Mais là aussi comme son compatriote Buddy Guy, il conservera toujours nombre de traits musicaux et scéniques de Guitar Slim.

            Pendant un temps, Lonnie Brooks végète dans les petits clubs, accompagne Jimmy Reed, enregistre quelques 45t pour différents petits labels qui sont aujourd'hui difficiles à trouver. En 1969, lors d'une tournée en Californie, le label Capitol où travaille Wayne Shuler (le fils d'Eddie) lui fait enregistrer son premier album (Broke & Hungry) sous le nom de Guitar Jr et dans le pur style louisianais des productions Goldband. Le LP de bonne facture se vend très mal et notre bluesman retourne à Chicago et conservera désormais le nom de Lonnie Brooks.

            Quelques années plus tard, l'excellente série Living Chicago blues du label Alligator révèlera vraiment Lonnie Brooks qui, en quelques disques, s'imposera comme un des principaux talents du nouveau Chicago blues teinté de Soul et de Funk avec, chez Brooks, de très fortes réminiscences de Guitar Slim.

            Nous avons regroupé ici la quasi-totalité des titres que Lee Baker/ Guitar Jr/ Lonnie Brooks a enregistrés entre 1957 et 1969 et qui permettent de voir un artiste qui se cherche, forge progressivement son style qui puise à différents terreaux. Une fois encore merci à Hartmut Münnich et Benoit Blue Boy pour le prêt de leurs rares 45t.

                                                                       Gérard HERZHAFT

Like Buddy Guy, Lonnie Brooks was born in Louisiana, was also strongly influenced by Guitar Slim (Eddie Jones from Things I used to do fame), and also transplanted this very Louisiana style in Chicago.

            But unlike Buddy Guy, Lonnie recorded several records and at least two hits in his native state before moving to Chicago.

            Born Lee Baker Jr (on 18 December 1933 in Dubuisson, near Ville Platte) from a farming family with a banjo playing father, the young man went to the burgeoning Port Arthur on the Gulf Coast in the early 50's to make a better living. The big name of the era and the whole South West was Guitar Slim whose incendiary guitar playing, scorching vocals and stage histrionics persuaded Lee Baker to learn guitar and try his luck as a musician in the very style of his idol. After some local gigs and a short stint with Clifton Chenier, the young man was really discovered by Eddie Shuler, head of Goldband Records. Eddie renamed Lee Baker as Guitar Jr, featured him as a rival of Guitar Slim and recorded him in 1957 in a Louisiana bluesy Swamp Pop style. Family rules and The crawl were local hits and soon Guitar Jr toured the South, becoming quickly a very good guitar player on his own while retaining a strong influence of Guitar Slim.

            At the untimely death of Slim, Guitar Jr who was on tour with Sam Cooke, decided to quit Louisiana and Goldband altogether to try to launch a wider career in Chicago. But the times were hard in the Windy City and nobody was really waiting for a newcomer from the South West who was there largely unknown. As there were already several Guitar Jr playing the blues in Chicago, Lee Baker took the name of Lonnie Brooks, apparently from his mother's family.

            Lonnie played and recorded with Jimmy Reed and, during the 60's, went into the studios for several labels (mostly small ones), waxing some hard to find tracks. In 1969, while on tour in California, Lonnie was recorded by Capitol whose producer Wayne Shuler (the son of Eddie) knew him of course from his Louisiana days. For his first album (Broke &Hungry)  he took again the Guitar Jr moniker and the Louisiana style. But the album went nowhere and our man was soon back in Chicago, this time as Lonnie Brooks for good.

            Some years later, Alligator's Bruce Iglauer gave him his real start featuring him on his magnificent Living Chicago Blues series. With subsequent albums for the label, Brooks was finally recognized as one of the leading name of a new kind of Modern Chicago blues, mixing Soul, blues and, of course in the case of our man, still a strong influence of Guitar Slim.

            This .mp3 collection gathers most of his early recordings. Once again, many thanks to Hartmut Münnich and Benoit Blue Boy for the generous share of their collections.

                                                                       Gérard HERZHAFT

 

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LONNIE BROOKS

Complete Early Recordings

Lonnie Brooks (Lee Baker Jr or Guitar Jr) vcl/g; Clarence Garlow, g; Danny George, t-sax; Leroy James, a-sax; Joe Joseph, pno; Willie Chiasson, bs; Little Brother Griffin, dms. Lake Charles, La. 1957

01. I got it made

02. Family rules

03. Roll roll roll

04. Broken hearted rollin' tears

Lonnie Brooks , vcl/g; , vcl/g; similar band. Lake Charles, La. 1958

05. The crawl

06. Now you know

07. Going crazy baby

08. Tell me baby

Lonnie Brooks , vcl/g; , vcl/g; Danny George, t-sax; Leroy James, a-sax; Joe Joseph, pno; Willie Chiasson, bs; Little Brother Griffin, dms. Lake Charles, La. 1959

09. Pick me up on your way down

10. Get it

11. Please

12. Love me love me Mary Ann

13. Ooh Wee baby

Lonnie Brooks , vcl/g; , vcl/g; Leroy James, t-sax; Katie Webster, og; Sid Lawrence, bs; Little Brother Griffin, dms. Lake Charles, La. 19 janvier 1960

14. Love me love me

15. Knocks me out

Lonnie Brooks, vcl/g; Lefty Bates, g; bs: dms. Chicago, Ill. 11 mai 1960

16. All of my life

17. The hoss

Lonnie Brooks, vcl/g; og; bs; dms. Chicago, Ill. 1 novembre 1962

18. Mr Hot Shot

19. The popeye

Lonnie Brooks, vcl/g; Billy Emerson, og; King Edward, g; Nolan Struck, bs; Jerome Price, dms. Chicago, Ill. 1964

20. I'm not going home

21. Figure head

Lonnie Brooks, vcl/g; Detroit Jr, pno; Nolan Struck, bs; Jerome Price, dms. Chicago, Ill. 1965

22. The train

23. The frog

Lonnie Brooks, vcl/g; Joe Evans, flt/t-sax; Detroit Jr, pno/og; Pete Randolph, bs; Harold Tidwell, dms. Chicago, Ill. 1967

24. Demonstrating (Let it all hang out)

25. One sunny day

Lonnie Brooks, vcl/g; band. Chicago, Ill. 1967

26. Good soul lovin

27. Soul meeting

Lonnie Brooks, vcl/g; Harmonica Fats, hca; Don Randi, pno; Don Peake, g; Lyle Ritz, bs; Paul Humphrey, dms. Los Angeles, Ca. 6-8 octobre 1969

28. Things I used to do

29. Go to the Mardi Gras

30. Texas Flood

31. Tom Cat blues

32. Rooster blues

33. The train and the horse

34. Broke & hungry

35. When there's no way out

36. Dont touch me baby

37. Bed bug blues

38. Wee wee hours

Lonnie Brooks, vcl/g; Willie Mabon, pno; Hubert Sumlin, g; Little Mack Simmons, hca; Dave Myers, bs; Fred Below, dms. Paris, Fr. décembre 1974

39. Big leg woman

40. Crazy about my baby

41. Crosscut saw

42. Reconsider baby

43. Sweet home Chicago

44. The train and the horse

45. Two guitars shuffle

46. Mama talk to your daughter

Lonnie Brooks, vcl/g; Bob Levis, g; Rob Waters, pno; Harlan Terson, bs; Robert Taylor Layton, dms. Chicago, Ill. 24 mars 1977

47. Let's talk it over

48. Hard gamblin' woman

49. Crash head on into love

50. If you want me to love you

51. Reconsider baby

52. Greasy man

Lonnie Brooks, vcl/g; Bob Levis, g; Rob Waters, pno; Harlan Terson, bs; Casey Jones, dms. Chicago, Ill. avril 1978

53. Don't answer the door

54. Two headed man

55. Cold lonely nights

56. Move over little dog

Benoit Blue Boy qui connaît particulièrement les productions Goldband nous apporte ses corrections et amendements à cette discographie:
" Il y a 3 versions de Goin' Crazy dont une qui a été nommée "Oo Wee Baby". Ces titres on eté retouvés au studio Golband en 1982 mais c'est le meme morceau ,meme seance.

Family Rules  (enregistré fin 1956) a été un hit en Louisiane & East Texas en 1957

Tous les titres Goldband datent de 1956 - 59 &  les Mercury datent d'une seule seance a Chicago  1960 ". 

There is some confusion on the 1957-59 Goldband's recording dates. Benoit Blue Boy who knows very well the Goldband sessions gives very different dates and even titles with three versions of Goin' Crazy (one named Oo Wee baby). Family rules would have been recorded in 1956. All the Goldband sides were recorded between 1956 and 1959.

NEW ORLEANS BLUES/ Volume 1

NEW ORLEANS BLUES/ Volume 1

         

This new series is dedicated to some not very well known blues singers from or related to the Crescent City but who have nevertheless recorded some very fine music.

            Chubby Newsome (or Newsom) was born Velma Williams (and not Velma Nelson as some sources wrongly write Velma Nelson is a different artist from Los Angeles) on 27 January 1920 in Wilburton (Ok). She started singing in Detroit with the King Allen and His Royal Sultans' band and after the war under the nickname "Chubby" (probably for her curvy figures) Newsome or even "The Bombshell of Blues" in many Detroit R&B clubs, including the Club Sensation. She then toured a lot around the States, appearing in clubs and concert halls in New York, Buffalo, Dayton, Cincinnati, Memphis and such... She relocated herself in New Orleans in 1948, her acts being celebrated by The Louisiana Weekly (2 October 1948) as "Chubby Newsome Motor City Rage now in Dew Drop Show"! During her stay at the Dew Drop Inn, Chubby was noticed by pianist/bandleader Paul Gayten who brought her at Cossimo Matassa's studio for her very first recording session that gave the hit

Hipshaking mama which climbed to the Top 10 in New Orleans, Washington DC and Atlanta. The following years saw Chubby Newsome touring the country (up to appearing at the Apollo Theatre alongside Wynonie Harris) and recording constantly either in New York or in New Orleans where she was, by far, one of the most sought after act. Around 1953, she teamed with Detroit singer Alberta Adams, launching a comedy act under the name The Bluezettes. She recorded a last session in 1957 in New York, still appearing at the Apollo during this time. During the early 60's, she dropped the exhausting life of a touring artist and stayed in her Detroit home, singing only sporadically in local clubs before relocating herself in Kansas City around 1983. She died there, largely forgotten by the blues world, on 12 September 2003. Her obituary in the Kansas City Star didn't even mention her former big success as a R&B singer.

           

Diamond Joe is generally more considered as a Soul singer but most of his records are largely blues oriented. He was born Joseph Maryland in 1936 at Houma (Terrebone Parrish, Louisiana). His whereabouts and life are largely undocumented although we know that he was a US Air Force veteran and that he recorded a string of very fine 45s in New Orleans during the 1960's, produced by Allen Toussaint who is certainly present on all his sessions. He drifted into utter obscurity after that, being reported living without incomes among his family in Houma where he died September 2, 2010.

            And then the mysterious Sweet Daddy Reed (James Reed Jr) could be, as some has written, Louisiana singer Dalton Reed who recorded a couple of very fine albums for the Rounder label during the early 1990's. This Reed died of a heart attack on 23 September 1994. But at that time, the very identity of Sweet Daddy Reed remains questionable. Here is anyway this quite rare 45s.

                                                           Gérard HERZHAFT

Thanks a lot to Marv Goldberg (from whom I picked most of the Chubby Newsome's bio details) and Fonsoul who posted the rare Sweet Daddy Reed 45 on his first rate YouTube channel.

CHUBBY NEWSOME (Velma Williams), vcl; Wallace Davenport, tpt; Lee Allen, t-sax; Frank Campbell, b-sax; Paul Gayten, pno; Jack Scott, g; George Pryor, bs; Robert Green, dms. New Orleans, La. November 1948

01. Hip shakin' mama

02. Chubby's confession

03. Back bitin' woman

04. Bedroom blues

Chubby Newsome, vcl; Dave Bartholomew, tpt; Joe Harris, a-sax; Herb Hardesty, t-sax; Salvador Doucette, g; Ernest Mc Lean, g; Frank Fields, bs; Earl Palmer, dms. New Orleans, La. January 1949

05. Close to train time

06. New Orleans lover man

Chubby Newsome, vcl; tpt; saxes; Howard Biggs, pno; Gene Ramey, bs; Jo Jones, dms. New York City, 19 December 1949

07. You better find a job

08. Hard loving mama

09. Please throw this poor dog a bone

10. I'm still in love with you

Chubby Newsome, vcl; horns; Howard Biggs, pno; Gene Ramey, bs; Al Taylor, dms. New York City, 23 February 1951

11. Where's the money honey?

12. Little fat woman with the coconut head

Chubby Newsome, vcl; Paul Gayten, pno; John Hunt, tpt; Sam Butera, t-sax; Pee Wee Moore, b-sax; Thomas Legaye, bs; Wesley Landers, dms. New Orleans, La. 15 April 1951

13. Hip shakin' mama blues

14. He may be your man

Chubby Newsome, vcl; Baby Cortez, pno; band. New York City, 1957

15. Toodle luddle baby

16. When are you coming home?

DIAMOND JOE (Joe Maryland), vcl; Allen Toussaint, kbds; band. New Orleans, La. 2 February 1961

17. Moanin' and screamin' I & II

Diamond Joe, vcl; band. New Orleans, La. 10 octobre 1961

You're gonna cry

Diamond Joe, vcl; Allen Toussaint, kbds; band. New Orleans, La. 3 January 1962

18. Help yourself

19. Fair play

Diamond Joe, vcl; Allen Toussaint, kbds; band. New Orleans, La. 1965

20. Too many pots

21. If I say goodbye

Diamond Joe, vcl; Allen Toussaint, kbds; band. New Orleans, La. 1966

22. How to pick a winner

23. Wait a minute baby

24. Hurry back to me

25. Don't set me back

Diamond Joe, vcl; Allen Toussaint, kbds; band. New Orleans, La. 1967

26. Gossip gossip

27. It doesn't matter anymore

Diamond Joe, vcl; Allen Toussaint, kbds; band. New Orleans, La. 1968

28. The ABC song

29. Look way back

SWEET DADDY REED (James Reed Jr), vcl; Rodger Lewis, t-sax; The Desert Tones, band. New Orleans, La. 1969

30. Reconsider blues

31. I believe to my soul

WILLIE WILLIAMS/ Complete Recordings (Re-up)

WILLIE WILLIAMS

"I am the best blues drummer"

Completed, Amended And Revised

            Willie Williams est un des ces soutiers du Chicago blues qui a hanté les clubs plusieurs décennies durant, enregistré une poignée de 45t, quelques bribes d'albums et apporté sa modeste mais non négligeable pierre au bel et vaste édifice du blues de la Windy City.

            En 1970, Willie Williams a eu un étonnant succès commercial national avec Wine headed woman, un 45t produit par Willie Dixon. Il a tenté deux ou trois fois de capitaliser sur ce succès. En vain.

            Willie Williams est né le 13 mars 1922 à Lake Village dans l'Arkansas. Il apprend la guitare avec des voisins et les claquettes avec son oncle, "Batman" Williams et commence une carrière de musicien et surtout de danseur au milieu des années 30 sous le surnom de "Fast feet". Après avoir été réformé, il gagne Saint Louis en 1943, apprend la batterie et forme son premier orchestre de blues. Vers 1950, il vient s'installer à Chicago et s'insère sans peine dans l'importante scène du blues. Il joue de la batterie dans de nombreux orchestres, en particulier celui de Howlin' Wolf qu'il accompagne souvent en tournée. C'est en imitant son patron que Willie attire l'attention de Dixon qui le prend dans sa nouvelle maison de production Yambo et essaie de le promouvoir.

            Après le succès inattendu de Wine headed woman, Dixon enregistre plusieurs séances avec Williams qu'il entoure de certains des meilleurs musiciens de Chicago, notamment bien sûr Hubert Sumlin afin de pousser encore plus la ressemblance avec Howlin' Wolf. Ces titres paraîtront sur un de ses labels maison Supreme Records, un LP, Raw unpolluted soul qui, non distribué en dehors de Chicago, ne dépassera malheureusement pas le cercle très restreint des amateurs de blues.

            Malgré des titres aussi bizarres qu'accrocheurs (Muhammad Ali's soul dance) (!!) et le renfort bienvenu de Sonny Wash, un chanteur au timbre plus mélodieux, les 45t suivants ne se vendent pas davantage et bientôt Willie Williams, vedette d'un seul "hit", retrouve l'anonymat des clubs de Chicago. Associé à Carey Bell, il se présente sous le qualificatif de "Best blues drummer in the world" et enregistre encore quelques titres pour Ralph Bass en 1977, demeurés inédits à l'époque mais réunis quelques années plus tard dans la série I didn't give a damn if the Whites bought it.

            Son décès le 8 décembre 1988 à Chicago est à peine signalé dans les revues spécialisées.

            Il laisse une petite oeuvre, aussi rare qu'intéressante, que nous avons regroupée en illustration à cet article en essayant de clarifier un peu sa discographie quelque peu malmenée jusqu'à présent.

                                                                       Gérard HERZHAFT

Tous nos remerciements à Ransom, Hans E, Robert Ford et Marc Claes pour leur aide avisée.

Willie Williams is one of those obscure name who haunted the Chicago clubs for decades and was well known among his fellow musicians.

Born march 13 1922 in Lake Village (Arkansas), Willie Williams learned music under the tutelage of one of his uncle, toured with a medicine show at an early age and finally settled in Saint Louis (Mo) in 1943. By now a drummer he formed a local band before moving to Chicago in 1950. He quickly made a reputation as a good, swinging and reliable drummer and played with numerous bands including Howlin' Wolf's. He started to emulate his boss's voice with some success. Willie Dixon who had left Chess to create his own labels, took Willie under his wing. Wine headed woman with a first class blues band (Sumlin, Bobby King, Little Mack) was a surprising down home hit in 1970 that led Willie Williams to record again several sessions. But, despite the help of the soulful singing of Sonny Wash, Those records went nowhere. Willie recorded another sessions with Carey Bell and then drifted into obscurity.

His death december 8th 1988 in Chicago went unnoticed.

Nevertheless he left us a small but rewarding blues legacy that we have gathered.

For years, Williams' discography was quite confused. With the help of Ramson, Hans E., Robert Ford and Marc Claes we have tried to put sessions in proper order with the adequate personnel.

                                                                       Gérard HERZHAFT

WILLIE WILLIAMS/ COMPLETE RECORDINGS

Willie Williams, vcl/dms; Hubert Sumlin, g; Eddie Taylor, g; Little Johnny Jones, pno; Joe Harper, bs. Chicago, Ill. 1963

01. Deep shuffle

Deep Shuffle is in fact the backing track of Rough dried woman by Big Mac (William Mc Neal)!

Willie Williams, vcl; Hubert Sumlin, g; Bobby King, g; Little Mack, hca; Odell Campbell, bs; Fred Below, dms. Chicago, décembre 1970

02. Wine headed woman

03. Back to Mississippi

04. My baby's gone

05. Black diamond rattler

06. In the valley

Willie Williams, vcl/dms; Hubert Sumlin, g; Bobby King, g; Carey Bell, hca; Joe Harper, bs. Chicago, Ill. 1971

07. Blues at half past twelve

08. Detroit blues

09. Hot pants woman I & II

Willie Williams, vcl/dms; Carey Bell, hca; Eddie Taylor, g; Royal Johnson, g; Sunnyland Slim, pno; Joe Harper, bs. Chicago, Ill. décembre 1971

10. Ruthie baby

11. 38 woman

12. My baby don't change the lock on my door

Willie Williams, dms/vcl on *; Sonny Wash, vcl; James Scott, g; Odell Campbell, bs. Chicago, Ill. 1971

13. Funky Broadway

14. Don't lie to me lover

15. Muhammad Ali's soul dance

16. Mississippi roundhouse Part 1

17. Down home blues*

Willie Williams, vcl/dms; Carey Bell, hca; Sunnyland Slim, pno; Lacy Gibson, g; Willie Black, bs. Chicago, Ill. 17 mars 1977

18. You went away baby

19. You got to give me some

20. Help me

21. Tired of being dogged around

22. Alcoholic man

23. Showing off my car

Robert Ford gave the info that Jim O'Neal says the Henvick, Little Lynn, Big Beat session was recorded in Amarillo, Texas (according to Willie). Ruthie Baby and 38 Woman were apparently recorded in 1970 (probably together with 'Somebody Changed the Lock'?) .

LUCILLE SPANN/ Complete Recordings (Re-up)

LUCILLE SPANN/ A COUNTRY GIRL LOST IN CHICAGO

LUCILLE SPANN: A COUNTRY GIRL LOST IN CHICAGO

           

Malgré un succès commercial (Country girl returns) au moins dans les Hit Parades Soul de Chicago en 1972, Lucille Spann n'aura guère marqué l'histoire du blues.

            Pourtant, cette chanteuse puissante qui dégage beaucoup d'émotion dans presque toutes ses performances a gravé une petite œuvre enregistrée qui ne mérite pas d'être aussi négligée.

            Née Mahalia Lucille Jenkins le 23 juin 1938 à Bolton dans le Mississippi, elle a très jeune chanté dans le chœur de son église locale et a tout naturellement continué à pratiquer le Gospel après que sa famille soit venue, en 1952, habiter Chicago. Elle connaît Otis Spann et se marie avec lui dans les années 60. Ceux qui ont pu approcher le couple témoignent de la grande affection mutuelle que les deux "tourtereaux" dégageaient.

            Otis a tout de suite fait de Lucille Spann sa chanteuse et, malgré quelques réticences, elle a embrassé le blues avec la même fougue qu'elle pratiquait sur le Gospel. Lucille apparaît ici et là sur un ou deux titres dans plusieurs albums signés de Otis Spann, particulièrement dans un disque enregistré "live" à Boston alors que Otis n'avait plus que quelques semaines à vivre.

            A la mort d'Otis en 1970, Lucille décide, un peu par fidélité à la mémoire de son mari, de continuer à chanter le blues. Repérée par Al Smith qui l'entoure d'un superbe orchestre emmené par le guitariste Mighty Joe Young, Lucille enregistre deux 45t sur le label Torrid. Si malgré Women's lib une composition "à la mode" de l'époque, le premier 45t ne va nulle part, le second Country girl returns Part 1 &2 est un petit succès qui permet à Lucille d'apparaître dans plusieurs concerts et festivals, particulièrement à celui d'Ann Arbor qui comprend une soirée dédiée à la mémoire de Otis Spann.

            Dans la foulée, Al Smith produit en 1973 Cry before I go, un superbe album pour son label Bluesway (distribué par ABC) qui, malheureusement jamais réédité, est devenu un objet de collection.

            Mais cela ne permet pas à Lucille de décrocher beaucoup d'engagements. Et, avec le départ de Mighty Joe Young, elle se retrouve sans orchestre. En 1975, Lucille Spann met un terme à sa brève carrière de chanteuse de blues et retourne vivre dans le Mississippi où elle continuera à pratiquer le Gospel. Elle décède le 2 août 1994 à Vicksburg, Ms.

            Nous avons ici regroupé la totalité des titres qu'elle a enregistrés.

                                                           Gérard HERZHAFT

            Despite a real Chicago hit in 1972 with the witty Country girl returns, Lucille Spann remains little known. Anyway she is a powerful and soulful singer who has recorded an excellent series of titles on 45s and numerous anthologies and a first rate album produced by Al Smith.

            Born Mahalia Lucille Jenkins on 23 June 1938 at Bolton, Ms, she started to sing in church at an early age first in Mississippi and then in Chicago after her family moved there in 1952. She married Otis Spann during the early 60's, a real loving and very kind couple. Despite her reluctance to sing the blues, Lucille, under Otis' insistence, sang some blues on several Otis LPs, displaying the same fire than when shouting Gospel songs!

            After Otis untimely death in 1970, Lucille embarked herself on a blues singing career. Al Smith took her under his wings and, with an excellent backing blues band led by Mighty Joe Young, she recorded two wonderful 45s for Al Smith's Torrid label. The very good Women's lib didn't go nowhere but Country girl returns Parts I & II was a local hit which allowed Lucille to appear at some major blues festivals, namely Ann Arbor 1972 for a whole evening dedicated to the memory of her beloved husband. From all accounts, Lucille delivered then on stage a powerful and moving performance which left her in tears, warmly cheered by the audience.

            Following those appearances and 45s, Lucille recorded the excellent Bluesway album Cry before I go, a much sought after LP among blues buffs all around the world.

            Unfortunately, Lucille didn't want to tour overseas and, after Mighty Joe Young left the band in 1975, she ended her brief blues singing career and went down to live in her native Mississippi, singing only Gospel inside her church. She died in Vicksburg, Ms on 2nd August 1994.

            We have here gathered all her recordings.

                                                  Gérard HERZHAFT

LUCILLE SPANN

Complete Lucille Spann

Lucille Spann, vcl; Otis Spann, vcl/pno; Luther Johnson, g; Sammy Lawhorn, g; Little Sonny Wimberky, bs; S.P. Leary, dms. New York City, 1966

01. Wonder why

rec. November 20, 1967 in New York City; Lucille Spann, vcl; Otis Spann, pno; Muddy Waters, g; Luther Johnson, g; Sam Lawhorn, g; George Buford, hca; Sonny Wimberley, bs; S.P. Leary, dms. New York City, 20 novembre 1967

02. My man

Lucille Spann, voc; George Smith, hca; Otis Spann, p; Luther Allison, g; Robert "Big Mojo" Elem, b; Francis Clay, dms. Los Angeles, Ca. 26 September 1968.

03. Chains Of Love

Lucille Spann, vcl; Otis Spann, pno; Muddy Waters, g; Luther Allison, g; Sonny Wimberley, bs; S.P. Leary, dms. Los Angeles, Ca. 2 octobre 1968

04. Love me with a feelin'

Lucille Spann, vcl; Otis Spann, pno; Luther Johnson, g; Peter Malick, g; Ted Parkins, bs; Richard Ponte, dms. Boston, Mass. 2-4 avril 1970

05. Country girl

06. Chains of love

07. My baby sweet as an apple pye

08. I wonder why

09. My man

Lucille Spann, vcl; Mighty Joe young, g; band. Chicago, Ill. 1971

10. Womans Lib

11. What You Do To Your Woman

Lucille Spann, vcl; Mighty Joe Young, g; band. Chicago, Ill. 1972

12. Country girl returns I & II

Lucille Spann, vcl; Mighty Joe Young, g; Rick Wright, pno; Charles Beachum, tpt; Walter Hambrick, t-sax; Sylvester Boines, bs; Alvino Benson, dms. Ann Arbor, MI. 1972

13. Dedicated to Otis

Lucille Spann, vcl; Mighty Joe Young, g; Eddie Taylor, g; Detroit Jr, pno; Little Mack Simmons, hca; James Green, bs; Willie Smith, dms. Chicago, Ill. 1973

14. Cry before I go

15. Meat ration blues

16. Everybody's fishing

17. Got my mojo working

18. Country girl

19. Can't stand to leave you

20. Make you feel like a bigger man

21. Queen bee

22. Daddy let me love you

23. The sky is crying

24. Wine headed woman

JOHN LITTLEJOHN: Complete Studio Recordings 1968-84

JOHN LITTLEJOHN: Complete Recordings 1968-84

            Littlejohn, pas toujours cité parmi les grands, a cependant été un des meilleurs représentants du Chicago blues du South Side et un remarquable utilisateur du slide à la guitare. Né John Wesley Funchess à Lake (Mississippi) le 16 avril 1931, c'est là qu'il apprend à jouer de la guitare auprès de son père et du bluesman Henry Martin, un voisin et ami. Quittant la ferme familiale en 1946, il bourlingue pas mal avant de s'établir à Gary, dans l'Indiana, en 1951 et fréquente la scène locale du blues en compagnie de John Brim, Jimmy Reed, Big Daddy Kinsey et Joe Jackson, le patriarche et fondateur des Jackson 5 avec qui il semble avoir joué un moment de la guitare! Dans les 60's, Littlejohn s'installe à Chicago et c'est cela qui lui permet d'enregistrer enfin plusieurs 45t pour de petits labels comme Margaret, TDS ou Weis ainsi qu'un bel album pour Arhoolie qui contient notamment une des plus belles versions de Catfish blues. Cela attire enfin l'attention sur lui et, les années suivantes, Littlejohn retourne à plusieurs reprises en studio pour Chess, séance qui restera inédite à l'époque et pour Al Smith et son label Bluesway, aussi réussi que le précédent. Al Smith m'avait dit qu'il avait gravé une nouvelle séance en compagnie de Carey Bell mais malheureusement le disque n'a jamais vu le jour et doit dormir dans des tiroirs inconnus. John réussit aussi à tourner en Europe et au Japon à plusieurs reprises. Mais, malade et inquiet de la violence du ghetto de Chicago, Littlejohn rentre vivre dans le Mississippi au début des années 80, joue dans les clubs locaux en compagnie de Sammy Myers. Ils gravent ensemble un formidable 45t pour le producteur Johnny Vincent. Littlejohn produit également quelques nouveaux bons albums pour différents labels européens et américains, le meilleur étant pour Rooster malgré une section de cuivres trop présente.

            John Littlejohn meurt dans un hôpital de Chicago le 1er février 1994.

            Merci à Gilbert Guyonnet, Rob Ford et Alain B. pour leur aide

                                                           Gérard HERZHAFT

           

John Littlejohn, although not always cited among the greats, has nevertheless been one of the best stalwarts of the South Side Chicago blues and one of its the top slide guitarist.

            Born John Wesley Funchess at Lake (Ms), 16 April 1931, he learned to play the guitar with his father and the local bluesman Henry Martin. Leaving Mississippi and the hard and underpaid field work in 1946, he made his home in Gary (In) around 1951 and started to play regularly in the local clubs with John Brim, Jimmy Reed, Joe Jackson (the founder of the Jackson 5) and Big Daddy Kinsey. Sometime in the 60's Littlejohn relocated himself in Chicago and started a recording career with a string of very good 45s for small labels like Margaret, TDS or Weis, also waxing a major LP for Arhoolie with several masterpieces like a vibrant version of Catfish blues. This very album brings him the recognition of a more vast audience, blues buffs around the world. He comes back in the studio for a good Chess session who will stay unissued at the time and another masterpiece album produced by Al Smith for his Bluesway label. Smith told me once that he recorded another Littlejohn album backed by Carey Bell at the harmonica but this session is still unissued and seems to be lost somewhere in some vaults. John toured Europe, Japan but ill and worried about the constant violence of the Chicago ghettos, he went back to Mississippi, playing in the Southern clubs with harmonica ace Sammy Myers, recording together a session for Johnny Vincent. Later, he would tour again Europe, recording some more LPs and CDs for several labels, one of the best - despite a too heavy horn section - being done for the Rooster label.

            John Littlejohn died in a Chicago hospital February 1, 1994.

            Thanks to Gilbert Guyonnet, Rob Ford and Alain B. for their help.

                                                           Gérard HERZHAFT

JOHN LITTLEJOHN 1968-84 Discography