- This topic has 11 replies, 3 voices, and was last updated 6 years, 5 months ago by
.
-
Posts
-
-
I would have like to devote this entire Blues Roots to the music of Otis Rush, who passed away on September 29. He was one of the most important bluesmen of any period, and even though he hadn’t been playing since the stroke in 2003, he was widely considered the greatest living bluesman since at least 1990, around the time his Cobra records from 1956 to 1958 became widely known (if “the greatest” can be narrowed to a single individual it was certainly true from my perspective, I thought he was the greatest—for a long time, he was about half of my blues listening).
Instead, the downloadable backing track Bryce created, and John’s (charjo) “Honey Hush” solo on it, are the impetus for this Blues Roots. Every part of Big Joe Turner’s long career produced exciting music, and he always had the best accompanists. On “TV Mama,” he’s backed by Elmore James —among others—it’s Joe Turner (vocal) and His Blues Kings, Sonny Cohn (trumpet), John Avant or Harlan Floyd (trombone), Grady Jackson, Joe Tillman (tenors), McKinley Easton (baritone), Elmore James (guitar), Little Johnny Jones (piano), Jimmy Richardson (bass), Red Saunders (drums), Chicago, October 7, 1953.
If you only have a little time, check out the live clips in the Big Joe Turner section, they’re marked with five stars (☆ ☆ ☆ ☆ ☆). There’s one down there from 1966 with Otis Rush on guitar.
Hey, question. Is anyone here into the personnel and date listings? They take the most time, and I’m thinking maybe they aren’t what interest you. Please let me know if you like them, either in a comment or PM. If there’s interest, I’ll keep digging, but if not, why bother, right? (I would, of course, “always” mention the guitarist if I know who it is, and I’d try to mention any other outstanding players.)
Anyone who hasn’t seen it, there’s an old Blues Roots that focuses on Elmore James as a sideman, including the “TV Mama” date, from about 2 years ago.
Thanks for checking this out. The next Blues Roots will appear around Thursday, November 22 (because it’s Thanksgiving, I may post it earlier or later).
:::::::::::::::::::::::::::::::::☆:::☆:::☆:::☆:::☆:::O:T:I:S:::::R:U:S:H:::☆:::☆:::☆:::☆:::☆ :::::::::::::::::::::::::::::::::
Produced in 1969, this was Otis Rush’s first complete album (prior to this he’d recorded many singles for Cobra, which were released in album form for the first time in 1969 [approximately what you see here], and over half an album’s worth of singles for Chess [click on link for YouTube album called All Blues, songs 2, 3, 5, 7–10, 12 and 13 are by Otis Rush], also released in 1969 as Door to Door [link leads to Discogs page for info and ability to purchase], with five songs by Albert King). One of the high points on Mourning in the Morning is “Gambler’s Blues,” which I’ve seen described as one of his favorite songs. It’s certainly one he’s come back to many times.
Otis Rush (vocals, guitar), Gene “Bowlegs” Miller (trumpet), Joe Arnold, Aaron Varnell (tenors), Ronald Eades (baritone), Jimmy Johnson, Duane Allman (guitars), Barry Beckett, Mark Naftalin (keyboards), Jerry Jemmott (bass), Roger Hawkins (drums), produced by Nick Gravenites and Mike Bloomfield.There were four unissued songs from the session in Muscle Shoals, Alabama, which probably took place November 10–13, 1968, just about 50 years ago. Another date mentioned is February 17, 1969; that’s probably the mastering session.
To be continued…
:::::::::::::::::::::::::::::::::::::::::::::::::::::::B:::I:::G:::::::J:::O:::E::::::T:::U:::R:::N:::E:::R:::::::::::::::::::::::::::::::::::::::::::::::::::::::
Joseph Vernon “Big Joe” Turner Jr. (May 18, 1911–November 24, 1985) was an American blues shouter from Kansas City, Missouri. According to songwriter Doc Pomus, “Rock and roll would have never happened without him.” His greatest fame was due to his rock ’n’ roll recordings in the 1950s, particularly “Shake, Rattle and Roll,” but his career as a performer endured from the 1920s into the 1980s. He was known as The Boss of the Blues and Big Joe Turner. He was 6 feet 2 inches tall and weighed over 300 pounds (I quoted this paragraph from Wikipedia).This is one of his first big numbers, made with Pete Johnson on December 30, 1938 (I’m not sure about this date, maybe 1943). You can bet Alvin Lee knew this one. Every line here is a classic, starting with “I’ve got a girl that lives up on the hill.” (Funny the way this stuff all ties together, in 1949, Pete Johnson wrote and recorded “Rocket 88 Boogie,” a two-sided instrumental, which influenced the 1951 Ike Turner hit, “Rocket 88.”)
Another early jam, here’s his take on the 2-part Saunders King classic with Pete Johnson’s All Stars, with Frankie Newton (trumpet), Don Byas (tenor), Pete Johnson (piano), Leonard Ware (guitar), Al Hall (bass), Harold “Doc” West (drums), New York City, February 2, 1945 (if you’ve heard Carlos Santana talk about his father-in-law, you know who Saunders King is).
Same session as above.
Big Joe Turner (vocal; link to discography in his name) with Bill Moore’s Lucky 7 Band, Warren Brocken (trumpet), Lloyd Harrison, Wild Bill Moore (tenors), Teddy Bunn (guitar, see playlist below, he’s a versatile guitarist and his blues playing really cooks), Al Williams (piano), John “Shifty” Henry (bass), Alray Kidd (drums), Los Angeles, January 23, 1946.
Same session as above.
Check out guitarist Ike Perkins’ intro! Big Joe Turner and His Boogie Woogie Boys, with George “Sonny” Cohn (trumpet), Tab Smith (alto), Leon Washington (tenor), Albert Ammons (piano, father of tenor saxophonist Gene Ammons), Ike Perkins (guitar), Mickey Sims (bass), Red Saunders (drums), Chicago, October 11, 1946.
1950
l…i…v…e………l…i…v…e………l…i…v…e………l…i…v…e………l…i…v…e………l…i…v…e…………l…i…v…e
☆ ☆ ☆ ☆ ☆ If you’re only going to watch one thing, check out some of these live clips.
May 16, 1965, broadcast on English TV.
This is a genial playlist, containing many of his popular songs, including “Honey Hush” (9th song).
………………………t…w…o………w…i…t…h………O…t…i…s………R…u…s…h………………………
This song is also known as “Feeling Happy,” Big Joe Turner (vocal), Otis Rush (guitar), Little Brother Montgomery (piano), Jack Myers (bass), Fred Below (drums), at the American Folk Blues Festival, at Friedrichstadt-Palast, East Berlin, GDR, October 16, 1966.
Same people, time and place as above.
Mexican TV broadcast with Bill Haley (when he was living near Santa Cruz). Check out the comments on this video for more info, 1966.
…………L…a…s…t………o…f………t…h…e………B…l…u…e………D…e…v…i…l…s………
From Last of the Blue Devils, The Kansas City Jazz Story, 1979
Complete film (in 6 parts).
Old footage, but synched to the wrong song, “Ooh, Ouch, Stop.”
…………………………………………………t…h…e………1…9…8…0…s…………………………………………………
The ‘80s found Joe Turner doing a lot of all-star dates and records. The records from that period include ones with Count Basie’s group, and West Coast blues stars, such as guitarist Pee Wee Crayton, on jazz labels like Muse and Pablo.In 1983, Big Joe Turner made a record with Roomful of Blues. Two doctors were involved, Doc Pomus and Doctor John (first 9 songs on here; 10 to 17 are with Eddie Cleanhead Vinson).
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::T:E:D:D:Y::::B:U:N:N:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
This is the versatile guitarist I mentioned on Joe Turner’s “Sunday Morning Blues.” Usually described a jazz player, he could really belt out some blues.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::M:U:D:D:Y::::W:A:T:E:R:S::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
If these aren’t the first recordings of Muddy Waters, they are right there near the beginning; playlist includes 18 songs and 4 interviews.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::B:I:L:L:Y::::B:O:Y::::A:R:N:O:L:D::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
This great album was recorded in 1966 with Jody Williams, Mighty Joe Young and Ted Mosley on guitars. I hope someone will enjoy it as much as I do.
That distinctive sliding on the first song that probably reminds you of the opening to “All Your Love” is Jody Williams . He recorded his “Lucky Lou” in January 1957 (“Lucky Lou” predates “All Your Love,” which was recorded in 1958; it’s a great melody, but it lacks the power of the vocals on “All Your Love”).
There’s a Blues Roots on Jody Williams from February of 2017 that mentions Billy Boy Arnold and Otis Rush. Worth having a look if you haven’t seen it. Also check out The Devil’s Music in that post, a BBC show narrated by Alexis Korner.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::S:O:M:E:T:H:I:N:G::::E:X:T:R:A:::::::::::::::::::::::::::::::::::::::::::::::::::::::::
There’s a blues blog called Weenie Campbell. This is the reference page associated with it; it includes the complete chords and lyrics of Blind Lemon Jefferson’s songs.
Don D.
-
-
-
I’m sorry, the section on the 1980s is incorrect. If it said “the 1970s and 1980s” where it says “the 1980s,” it would be correct. I’ll post a discography.
There’s also an error in the introduction. I wrote there was one video where Otis Rush accompanied Big Joe Turner, but there are two. I knew of the one, when I found the second one, I forgot to change that.
In the future, I’m going to use a slightly different method to check what I wrire, printing instead of reading on-screen as I work on it.
I hope you enjoy it anyway.
Don D.
-
Here’s a comeback record to Joe Turner’s “Honey Hush,” Cordella De Milo’s “Ain’t Gonna Hush”; it’s the Maxwell Davis Orchestra with Cardella Smith singing and Johnny “Guitar” Watson on guitar, Los Angeles, 1955. Yes, it looks like her real name is spelled with an “a” while her stage name has an “o.”
Don D.
-
-
Don
You just had to mention Alvin Lee!! LOL
Here’s a tune from his CD 1994 – you can judge if he was familiar with songs such as Roll’em Pete
Alvin’s playing and writing were heavily influenced by early blues & jazz; his father had a large collection and Alvin stated that it was always playing in his home as he was growing up.
When he was 13, his dad brought Big Bill Broonzy to their home after one of Bill’s performances; Alvin said that he traded his clarinet soon afterwards for his first guitar – and as they say, the rest is history. You can hear Big Bill’s influence on many of his songs. What I find interesting with Alvin is that he took that influence and made it his own more than most other players. I don’t think that he ever did a remake of a tune that was just an updated version of the original. Alvin played with such conviction that you felt that the old tunes that he did were ones that he had written.
-
Don
You just had to mention Alvin Lee!! LOL
Here’s a tune from his CD 1994 – you can judge if he was familiar with songs such as Roll’em Pete
Alvin’s playing and writing were heavily influenced by early blues & jazz; his father had a large collection and Alvin stated that it was always playing in his home as he was growing up.
When he was 13, his dad brought Big Bill Broonzy to their home after one of Bill’s performances; Alvin said that he traded his clarinet soon afterwards for his first guitar – and as they say, the rest is history. You can hear Big Bill’s influence on many of his songs. What I find interesting with Alvin is that he took that influence and made it his own more than most other players. I don’t think that he ever did a remake of a tune that was just an updated version of the original. Alvin played with such conviction that you felt that the old tunes that he did were ones that he had written.
-
Hey, hey Keith! Thanks for commenting!
Alvin Lee definitely knew the history of the music, he had to to play the way he did. I think I heard about that visit from Big Bill Broonzy from you. They were in the right place at the right time, plus of course he had what it took. I get the feeling if he’d lived in a cave he would have played some swinging music.
Don D.
-
I couldn’t resist including the Charlie Brown cartoon………….
In reality, Alvin is one whose timely release of new CD’s I always watched for. Some people revere Jimi Hendrix, and rightfully so, but for me, its Alvin Lee & Duane Allman. I’ve been listening to Alvin a lot in the past year or so and I realize new things each time I go thru his material. He was so much more than just the speed that gave him the moniker of Capt Speedfingers.
And each time that I hear the final solo of Liz Reed from the Allman Brothers Live At The FIllmore, I still get chills. Duane was only 24 when that was recorded. Gregg Allman is another that has impacted me – from a singer & songwriter perspective. Duane & Gregg were the perfect blues duo with Duane on slide and Gregg on vocals. Gregg, to me, is one of the greatest blues singers of all time.A less than intelligent person on Facebook – see, I was nice and didn’t call him “stupid” – tried to tell me that Alvin wasn’t a melodic player. This is my response to that – George Harrison plays slide on this
-
The cartoon was on point.
I think you posted that song before. I’ve heard it and I can’t imagine where else I would have. George Harrison wrote a song or two and played on the Alvin Lee-Mylon LeFevre record On the Road to Freedom, so they were collaborating for a while. I have just about all of the old Ten Years After records, but as I was telling you, every time I go to put one of those or a Humble Pie or Savoy Brown on, I end up reaching for something else. But it’s going to happen, I’m going to listen to Undead. Soon.
Don D.
-
-
-
Here’s a Johnny Otis Show from 1970, leading off with Big Joe Turner (vocals).
Others on the show are, in order of appearance, Roy Milton, Little Esther Phillips (vocals), Eddie Cleanhead Vinson (vocals, sax), Charles Brown (vocals, piano), T-Bone Walker (vocals, guitar), last but certainly not least, Lowell Fulson (vocals, guitar), with Johnny Otis (vocals; piano, except tracks with Charles Brown; vibes), Shuggie Otis (guitar), all other musicians unk.
Don D.
-
- You must be logged in to reply to this topic.
