Wednesday, July 31, 2013

SUNNY BOY & HIS PALS

Three guys, two with guitars, a Mississippi “string band” if you will. Duet vocals. Traditional lyrics cobbled together. Six sides total from two sessions in 1927. Black Patti recordings issued and then leased out to other labels. Different artist names label to label. Long “Cleve” Reed and Little Harvey Hull (The Down Home Boys); Papa Harvey Hull and The Down Home Boys; Sunny Boy and His Pals; Daddy Moon Hayes and His Boys; Original Louisiana Entertainers; Long “Cleve” Reed – Little Harvey Hull – Down Home Boys. Rare as all get-out. “Stack”/“Mama” only known copy; owner declined five figure sale offer. All more than worthy of your ears. Hear a bygone era going going went.

Harvey Hull, vocals (lead vocal on “Gang of Brown Skin Women,” “Don’t You Leave Me Here,” “Mama You Don’t Know How”); Long “Cleve” Reed, vocals (lead vocals on “The France Blues,” “Two Little Tommies Blues,” “Original Stack O’ Lee Blues”), humming, guitar; Sunny Wilson, guitar.



Long “Cleve” Reed & Little Harvey Hull (The Down Home Boys)



Get ’em, Find ’em: 18 Classic Blues Songs from the 1920’s Vol. 8, 24 Classic Blues Songs from the 1920’s Vol. 12, Stuff That Dreams Are Made Of, Mississippi Moaners, Never Let the Same Bee Sting You Twice

Illustration: (left to right) Long “Cleve” Reed, Papa Harvey Hull, Sunny Wilson, from 1927 Chicago Defender ad

Monday, July 29, 2013

Seneca Square Dance


Fiddling Sam Long of the Ozarks • Seneca Square Dance • 1926



Sunday, July 28, 2013

Ya Ourda

Here’s what I know about this record: It’s from Tunisia, recorded around 1947, the singer Louisa Tounsia is a Sephardic Jew, and I think it’s really great.


Louisa Tounsia • Ya Ourda • c.1947



Photo: last.fm

Saturday, July 27, 2013

Hear, O Israel

“Leib Glantz [1898–1964] was born in the Ukranian city of Kiev. . . . Coming to America in 1926, he soon emerged as a performer and theoretician of synagogue music, using this knowledge in compositions and improvisations that exhibited an innovation bordering on the avant-garde. Reactions among his listeners alternated between admiration and puzzlement. Unfazed by such uneven reception to his art, he was quoted as saying, ‘I don’t perform for the audience; I perform for myself.’ . . . Glantz’s lyric tenor voice thrived in the high register, and its use in Sh’ma Yisro’el is typical. This passage begins with the primary liturgical declaration of Judaism; but here it is not intoned with dignity, solemnity, or even prayerfulness. Instead it is announced as a fanfare, evoking the primordial Biblical context of its first utterance. The ‘intellectual’ approach continues in the balance of the passage . . . but of course it is not just the mind that is stimulated in this piece. In Sh’ma Yisro’el the mood alternates between moments of reflection, stark outbursts, and sustained passion, which combine to deeply stir the soul.”  —Cantor Sam Weiss, from the booklet notes to Mysteries of the Sabbath – Classic Cantorial Recordings: 1907–47 (Yazoo 7002, 1994).



Leib Glantz • Sh’ma Visro’el • 1929

Wednesday, July 24, 2013

ORIGIN JAZZ LIBRARY, Part 2

In the years between Harry Smith’s 1952 Anthology of American Folk Music and the start-up of Nick Perls’ Belzona/Yazoo Records in 1967, Pete Whelan and Bill Givens began to reissue country blues 78s on LP under the Origin Jazz Library imprint beginning in 1960. They drew upon the pioneering collections of Whelan, Bernard Klatzko, James McCune, and others, who had begun to acquire obscure country blues records back in the 1940s when very few record collectors paid much interest to the genre, concentrating instead of classic jazz. OJL’s first issue was Charlie Patton! 1929-32, the first microgroove collection to collect a dozen of Patton’s sides in one place. OJL kept up a modest reissue program through the mid-60s, issuing full LPs by Henry Thomas, another Charley Patton volume, Crying Sam Collins, and many anthologies featuring Mississippi blues, early female country blues singers, jug bands, early jazz, etc. Two of their country blues collections, Really! The Country Blues and Country Blues Encores introduced the folkie crowd to such great country blues artists as Tommy Johnson, William Moore, Son House, Skip James, George “Bullet” Williams, Garfield Akers, Blind Joe Reynolds, Jaybird Coleman, Charlie Jordan, and many others. The cover graphics were crude but effective, many of the LPs had booklets with essays and discographical information inside the sleeve, the remastering was adequate for the time period (Yazoo’s Nick Perls would bring 78 remastering up to state of the art a few years later), and the musical selections were outstanding. In 1967 Pete Whelan bowed out and Bill Givens took over, continuing to issue LPs up until his death in 1999. By that time, Yazoo had long been the premier reissue label for classic country blues, issuing on their own collections many of the blues sides originally put out by Origin with state of the art remastering, and the Austrian Document label was pretty far along in its ambition to issue every single prewar blues 78 ever recorded. Many of these records have made it to CD in the past 20 or so years, and Yazoo again often has the superior sound reproduction and presentation.  

Here, then, is a selection of great country blues that first made the transition from shellac to vinyl on the second eight OJL releases. Tunes from the first eight can be found at http://magicjukebox.blogspot.com/2013/06/origin-jazz-library-part-1.html

click on individual song titles to listen:

Going to Town – Dewey Jackson’s Peacock Orchestra. 1926
Whoopee Blues – King Solomon Hill (Joe Holmes), vocal/guitar. 1932
Dough Roller Blues – Garfield Akers, vocal/guitar; Joe Calicott, guitar. 1930
I Am Bound for the Promised Land – Alfred G. Karnes, vocal/harp-guitar. 1927
Rock of Ages – Blind Willie Davis, vocal/guitar. 1928
John Henry Blues – The Two Poor Boys: Joe Evans, vocal/guitar or mandolin; 
  Arthur McClain, vocal/guitar or mandolin. 1931
Stomp ’Em Down to the Bricks – Henry Brown, piano; Lawrence Casey, guitar/speech. 
  1929
Lonesome Road Blues – Smith & Irvine: W. M. Smith, — Irvine, piano duet. 1932




Most of the songs heard here can be found in top sound quality on various Yazoo and Blues Images CDs.

Album covers courtesy American Music.

Sunday, July 21, 2013

Johnnie Taylor Blues, pt 2

Before we slow down the pace here too much at Blues All Kinds, we wanted to finish up a couple of “series” that started here earlier this year. First up. . . .

When Sam Cooke left the Soul Stirrers to sing pop music, Johnnie Taylor was drafted in from the Highway QCs to replace him, just as Cooke had been similarly picked from the QCs to take over for R. H. Harris when he left the Stirrers. One of my long-time favorite Soul Stirrers sides is “The Love of God,” with a gorgeous Johnnie Taylor lead. I saw this record described in print once as a pedestrian pop ballad; I only wish the Taylor incarnation of the Soul Stirrers had done more of them. . . . (This is the flip side of “Out on a Hill,” posted earlier.)

The label pic shown is from an early 70s reissue; looks like Specialty wanted to capitalize on Johnnie Taylor’s popularity as a soul singer and at the same time plug their recent LP comp The Original Soul Stirrers.



The Soul Stirrers • The Love of God • 1958

Wednesday, July 17, 2013

San Diego Folk & Blues

Have a look: San Diego Folk & Blues 1965–1970 is now available as a hardbound book featuring photographs of the San Diego folk and blues scene in the mid- to late 60s. Images include both live and informal portraits of local folkies and blues singers such as Ray Bierl, Jack Tempchin, Kathy & Carol, Tom Jacobson, Gary McCoy, David Cheney, Warren Hughey, Lou & Virginia Curtiss, Bruce Frye, Stan Smith, Suzie Halgedahl, John German, Thomas Shaw, Bob Jeffery, and Dennis Kruse, as well as visiting performers such as Lightnin’ Hopkins, Mary McCaslin, Juke Boy Bonner, Robert Pete Williams, Jesse Fuller, Doc & Merle Watson, and Sam Chatmon. Also shown are San Diego institutions Folk Arts and the Blue Guitar. The book is available to view and purchase now at Blurb.com. Blues Live 1967–1970, featured here in April, is also available.




Sunday, July 14, 2013

DINOSAURIC PRECEPTION ROADMAP BLUES No. 42

So ends our Dinosauric Top 40. I know, it’s 42, but “Bye Bye Love” and “Jenny, Jenny” were bonuses, so to speak. This also ends, for now, two years of Blues All Kinds/BB’s Magic Jukebox in its present form. We’ll most likely still be around, but maybe not on a daily basis, who knows. Check back from time to time, if you will, or if you’re getting email notifications of new posts you’ll know when there’s something new. Or old. Thanks for listening. . . .  —your hosts, Frank Jive and The Subliminal Kid



Bob Dylan • Subterranean Homesick Blues • 1965


Get it: Bringing It All Back Home

“This is the goin’ out number, here. . . .”


Lightnin’ Sam Hopkins • Goin’ Out • 1961

Saturday, July 13, 2013

Breaking News

Not that it’s all that new. . . .


Big Bill Broonzy • Get Back (Black, Brown And White) • 1951



Photo: BBC.

Friday, July 12, 2013

Thursday, July 11, 2013

BROW BRIDGE WALTZ


Floyd LeBlanc & His French Fiddle • Brow Bridge Waltz • 1947

click on song title to listen


“Brow Bridge” = Breaux Bridge, Louisiana

Wednesday, July 10, 2013

Uncle Dave’s Beloved Solo


Uncle Dave Macon • Uncle Dave’s Beloved Solo • 1926



label photo: Down in the Basement, Old Hat CD -1004, 2002

Sunday, July 07, 2013

Friday, July 05, 2013

Looking back over my life


Dinah Washington • Looking Back • 1959

Thursday, July 04, 2013