09-10-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1959-1965

Brownie McGhee

09-10-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1959-1965 # Brownie McGhee, Curtis Amy & Paul Bryant, Bill Jennings / Jack McDuff, Josh White, Big Joe Williams, Sunnyland Slim, Arthur 'Big Boy' Crudup, Junior Wells, Sonny Boy Williamson II, The Rolling Stones

B L U E S   M U S I C

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1959-1965

Folk-blues singer-guitarist whose long-running partnership with harp-man Sonny Terry was already legendary by 1950s revival time. Brownie McGhee's death in 1996 was an enormous loss in the blues field. Although he had been semi-retired and suffering from stomach cancer, the guitarist was still the leading Piedmont-style bluesman on the planet, venerated worldwide for his prolific activities both on his own and with his longtime partner, blind harpist Sonny Terry. 
Brownie McGhee
Poor Boy 4:40
Walking Blues 3:42
Brownie's Blues 4:25
How Long 4:04
from Brownie McGhee Sings the Blues 1959
Piedmont blues singer and guitarist Brownie McGhee's voice rings clear over his strumming about love, cheating, and remembering his friend Big Bill Broonzy.

A good soul-jazz and hard bop tenor and soprano saxophonist, Curtis Amy enjoyed a busy period in the '60s, then dropped out of sight. He had a strong tone and nice, lightly swinging style...
Curtis Amy & Paul Bryant
Paul Bryant - The organist and pianist, whose cool sound was a key component in the burgeoning L.A. sound, appeared on eight albums and performed around the world. 
Searchin' (Paul Bryant) 8:48
The Blues Message 8:43
This Is the Blues 8:25
from The Blues Message 1960
The Blues Message is an album by saxophonist Curtis Amy and organist Paul Bryant recorded in 1960 for the Pacific Jazz label.
Curtis Amy - tenor saxophone   Paul Bryant - organ   Roy Brewster - valve trombone   Clarence Jones - bass   Jimmy Miller - drums

Bill Jenning's sound has been compared to Tiny Grimes with a hint of early Charlie Christian. A peer of Billy Butler, Jennings played with Louis Jordan in the late '40s and early '50s. He also recorded R&B sides with Leo Parker and Bill Doggett.
Bill Jennings / Jack McDuff
A marvelous bandleader and organist as well as capable arranger, "Brother" Jack McDuff has one of the funkiest, most soulful styles of all time on the Hammond B-3. His rock-solid basslines and blues-drenched solos are balanced by clever, almost pianistic melodies and interesting progressions and phrases
Enough Said (Alvin Johnson) 6:45
Billin' and Bluin', Pt. 1 4:47
from Enough Said  / Glide On 1959 / 1960

Josh White began as a Southern bluesman but eventually evolved into an eclectic, urbane artist.  To many blues enthusiasts, Josh White was a folk revival artist. It's true that the second half of his music career found him based in New York playing to the coffeehouse and cabaret set and hanging out with Burl Ives, Woody Guthrie, and fellow transplanted blues artists Sonny Terry & Brownie McGhee...
Josh White
Good Morning Blues 4:48
Mean Mistreater 4:59
T.B. Blues 4:43
from The House I Live In 1960

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959

John Hammond Jr July 1964 Newport

21-09-2018 BLUES:MiX # 33 blues songs from the BLUES circle 1969-1959 # John Hammond, Fred McDowell, Howlin' Wolf, John Lee Hooker, Willie Dixon, Lightnin' Hopkins, Elmore James, Champion Jack Dupree, Big Joe Williams, Curtis Amy & Paul Bryant, Brownie McGhee

B L U E S   M U S I C

LISTEN THE PLAYLIST ON DEEZER.COM

BLUES_circle The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza. 

1969-1959

John Hammond, Jr. is one of a handful of white blues musicians who was on the scene at the beginning of the first blues renaissance of the mid-'60s. That revival, brought on by renewed interest in folk music around the U.S., brought about career boosts for many of the great classic blues players, including Mississippi John Hurt, Rev. Gary Davis, and Skip James. Some critics have described Hammond as a white Robert Johnson, and Hammond does justice to classic blues by combining powerful guitar and harmonica playing with expressive vocals and a dignified stage presence.
John Hammond
Mystery Train (Junior Parker) 3:00
I'm Leavin' You (Chester Burnett) 3:21
from Southern Fried 1969
Southern Fried differed little from other early Hammond albums in its repertoire, consisting entirely of covers of blues and R&B songs. As usual, the Chicago sound came in for especially heavy tribute, with versions of songs by Howlin' Wolf, Muddy Waters, and Chuck Berry, as well as a pass at "Mystery Train," though more vocal-oriented R&B got a nod with Chuck Willis' "It's Too Late" and some of the other tunes. Where this might have a leg up on some other early Hammond efforts -- and a leg up on blues cover albums in general -- is in the stellar band, featuring Muscle Shoals stalwarts like Eddie Hinton and Roger Hawkins. Allman Brothers fans, too, will want to keep an eye out for it as it features Duane Allman playing fine lead guitar on four tracks...

...As a stylist and purveyor of the original Delta blues, he was superb, equal parts Charley Patton and Son House coming to the fore through his roughed-up vocals and slashing bottleneck style of guitar playing. McDowell knew he was the real deal, and while others were diluting and updating their sound to keep pace with the changing times and audiences, Mississippi Fred stood out from the rest of the pack simply by not changing his style one iota...
Fred McDowell
Levee Camp Blues (Mississippi Fred McDowell) 3:49
My Baby Don't Treat Me Like Humankind (Mississippi Fred McDowell) 2:21
from Levee Camp Blues / Rec. 1968 (1998)
When Mississippi Fred McDowell recorded these sides in March of 1968, producer Pete Welding encouraged McDowell to recall the earliest material he had learned when he first started playing. The result is a selection of tunes that simply don't show up on his other recordings, both stylistically and because of their previously unreleased status...

A primal, ferocious blues belter with a roster of classics rivaling anyone else, and a sandpaper growl of a voice that has been widely imitated.   In the history of the blues, there has never been anyone quite like the Howlin' Wolf. Six foot three and close to 300 pounds in his salad days, the Wolf was the primal force of the music spun out to its ultimate conclusion. A Robert Johnson may have possessed more lyrical insight, a Muddy Waters more dignity, and a B.B. King certainly more technical expertise, but no one could match him for the singular ability to rock the house down to the foundation while simultaneously scaring its patrons out of its wits.
Howlin' Wolf
Just My Kind (Chester Burnett / Howlin' Wolf) 2:53
I'm the Wolf (Chester Burnett / Howlin' Wolf) 2:54
from More Real Folk Blues 1967
This companion volume to the Real Folk Blues album was issued in 1967 (after the Wolf had appeared on network television with the Rolling Stones, alluded to in the original liner notes) and couldn't be more dissimilar in content to the first one if you had planned it that way. Whereas the previous volume highlighted middle-period Wolf, this one goes all the way back to his earliest Chess sessions, many of which sound like leftover Memphis sides...