MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 1 • 1937-1938 | DOCD-5292 (1994) RM | FLAC (tracks), lossless

Back in the middle of the 1990s, the Vienna-based Document label reissued 71 tasty blues recordings made during the years 1937-1940 by Mississippi native Merline Johnson. Each of the three volumes is superb, and once you've caught her act you might find yourself seeking out the entire set. Volume one covers the first 11 months of her five-year reign as one of Chicago's most prolific prewar blues women. Backed by trumpeter Alfred Bell, clarinet and saxman Bill Owsley, guitarists Lonnie Johnson, Big Bill Broonzy, Willie Bee (James) and George Barnes; pianists Eddie Miller, Horace Malcolm, Blind John Davis and Joshua Altheimer, and drummer Fred Williams, Merline Johnson wrestles and wrangles with the human condition, from domestic relationships and law enforcement to government sponsored work programs, subterranean mining in the deep south, self-medication using hard liquor, and a pact with the devil himself. The first six titles were recorded on May 4, 1937 and issued on the Victor subsidiary Bluebird label. Beginning with "Sold It to the Devil," all of her recordings (issued on the ARC and Vocalion labels) identified her as the "Yas Yas Girl." Right from her opening performance, a fine version of "I'd Rather Drink Muddy Water," this woman's gutsy warmth is difficult to resist. Note that "Pallet on the Floor" is not the familiar traditional tune about sneaking around and dogging one's mate, but a straightforward answer song devised by Merline Johnson herself. "Jelly Bean Blues" was written by Ma Rainey, who recorded it in 1924 with Louis Armstrong and a little group led by Fletcher Henderson. Merline's marvelous cover, recorded on April 7, 1938, is greatly enhanced by the electrically amplified guitar of 16-year-old prodigy George Barnes. arwulf arwulf

Tracklist :
1        New Muddy Water Blues    3:03 (A)
2        He Roars Like A Lion    3:21 (A)
3        I'm Leavin' You    3:07 (A)
4        My Baby Left Me    2:59 (A)
5        Pallet On The Floor    2:49 (A)
6        Mean Mistreatin' Daddy    2:54 (A)
7        Sold It To The Devil    2:59 (B)
8        Grandpa And Grandma    3:12 (B)
9        I'd Rather Be Drinking Muddy Water, No. 2    2:59 (B)
10        Blues Everywhere    2:50 (C)
11        Working On The Project    2:55 (D)
12        I Drink Good Whiskey    3:09 (D)
13        Patrol Wagon Blues    2:47 (D)
14        Got A Man In The 'Bamma Mines    3:04 (D)
15        Jackass For Sale    2:52 (E)
16        You Got To Pay    2:49 (E)
17        My Independent Man    2:47 (F)
18        He May Be Your Man    2:39 (F)
19        New Drinking My Blues Away    2:52 (G)
20        Crime Don't Pay    2:44 (G)
21        Please Come Back To Me (Take 5)    2:34 (H)
22        Love Shows Weakness (Take 4)    2:38 (H)
23        About My Time To Check    2:49 (H)
24        Squeeze Me Tight    2:50 (H)
25        Jelly Bean Blues    2:44 (H)
26        My Man Is Gone    2:38 (H)

MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 3 • 1939-1940 | DOCD-5294 (1994) RM | FLAC (tracks), lossless

Most of Chicago blues woman Merline Johnson's recordings were reissued by the Vienna-based Document label during the 1990s. Volume three opens with three remaining titles from her session of August 31, 1939, which resulted in nine selections issued under the heading of "The Yas Yas Girl and Her Jazz Boys." In addition to some fine blowing by old-time New Orleans trumpeter Lee Collins and all-purpose Windy City alto saxophonist Buster Bennett, as well as solid rhythm accompaniments by guitarist Big Bill Broonzy and pianist Blind John Davis, these recordings are intriguing for the presence of Alfred Elkins, a bassist who used only his voice, although it is possible he was huffing away on a big bottle or something as if he were holding down the business end of an old-fashioned jug band. Other participants on volume three are pianist Joshua Altheimer and no-nonsense drummer Fred Williams. Merline Johnson sings a lot of straightforward blues on this collection, occasionally tearing up with lively numbers like "You're a Pain in the Neck to Me," "I'd Rather Be Drunk," "I Just Keep on Drinking," "Want to Woogie Some More," "I Won't Sell My Love," "You Know It Ain't Right," and "Man to Man." The rest of the songs move more gradually and are, in some cases, melodically similar enough to sound like continuous installments in a sort of extended blues oratorio. Certainly tracks 4 through 23, with accompaniment pared down to piano and drums, have the singer sounding less like a jazz artist than ever before; "Stop and Listen" is a peculiarly moving performance similar to Victoria Spivey's bittersweet approach to the blues. This portion of the Yas Yas Girl's chronology ends with eight recordings made on October 7, 1940. Six more Okeh sides from 1941 and a previously unreleased "Bad Whiskey Blues" recorded in 1947 were included in a compilation entitled Female Chicago Blues (Document 5295) along with recordings by Trixie Butler, Clara Morris, and Billie McKenzie. All of the Yas Yas Girl's recordings are well worth obtaining, with Document's volume two offering maximum enjoyment. arwulf arwulf

 Tracklist :
1    You're a Pain in the Neck to Me 2:52 (A)
2    I'd Rather Be Drunk 2:38 (A)
3    I Just Keep on Drinking 2:45 (A)
4    Front Door Blues 2:37 (B)
5    I'll Try to Forget 2:44 (B)
6    Want to Woogie Some More 2:48 (B)
7    You Don't Know My Mind 2:42 (B)
8    Mama's Bad Luck Child 2:50 (B)
9    Black Gypsy Blues 3:01 (C)
10    Screaming the Blues 2:48 (C)
11    Yellow Basket Blues 2:46 (C)
12    I'm Not Your Fool 3:02 (C)
13    I Won't Sell My Love 2:45 (C)
14    Don't Forget It 2:41 (C)
15    Stop and Listen 2:39 (C)
16    You Know It Ain't Right 2:36 (D)
17    Man to Man 2:51 (D)
18    Evil Old Nightmare 2:45 (D)
19    See Saw Blues 3:01 (D)
20    Black Ghost Blues 2:52 (D)
21    Worried Heart Blues 2:51 (D)
22    Milkman Blues 2:51 (D)
23    Got the Blues for My Baby 2:38 (D)

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 1 • 1936-1938 | DOCD-5197 (1993) RM | FLAC (tracks), lossless

William McKinley "Jazz" Gillum was a good-time singer and a fine harmonica player whose style predated the first Sonny Boy Williamson but was more advanced than the players of the 1920s. His complete output up to 1949 has been made available by the Austrian Document label on four CDs. The first volume has his first five sessions and one song from his sixth. Gillum is joined by guitarist Big Bill Broonzy on all of the dates with appearances by pianist John Davis, Washboard Sam and electric guitarist George Barnes (who is heard a year before Charlie Christian debuted). Highlights include "Jockey Blues," "Don't You Scandalize My Name," "Reefer Head Woman," "Good Old 51 Highway" and "You're Laughing Now." Fine blues-oriented music. Scott Yanow
 
Abridged from this album’s original booklet notes. Like so many others living in the black ghettos of Chicago, Jazz Gillum had been born in the south; in Indianola, Mississippi, to be exact, on September 11th 1904. He was one of an indeterminate number of children born to Irving Gillum and Celia Buchanan. When both these parents died in his early childhood Bill, or Jazz as he was already nicknamed, along with his brothers fell under the control of their mother’s brother, the church deacon, Ed Buchanan. It was now that Gillum’s interest in music came to the fore and he taught himself to play the harmonium and badgered his brothers into teaching him the harmonica. However, either because of Buchanan’s religious convictions or naturally harsh nature life under this new regime was pretty unbearable and Jazz was only seven when he followed the example of his brothers and ran away to join relatives in Charleston, Mississippi. By the time he was eleven or twelve Gillum ran away again to work as a field hand in Minter City, Mississippi. In 1918 he got himself a job in a drug store in Greenwood, Mississippi. All this time he had continued with his music and had progressed to working the streets to supplement his income. Finally, in 1923, he followed the developing black drift and moved north to Chicago. In the Windy City Gillum kept up his casual involvement in music and gradually became a part of the local scene. Eventually he started working in clubs where his ability as a singer brought him somewhat to the fore. Through this work he came into contact with many other musicians, one of whom was the hustling Big Bill Broonzy. It may have been through this connection that Jazz Gillum made his first appearance in a Bluebird recording studio in June, 1934. Working with Big Bill and a pianist who was probably Black Bob he produced an instrumental Harmonica Stomp and sung Early In The Morning. These tracks were released as the two sides of BB B5565 (Document DOCD-5574) Jazz Gillum was still in the company of Big Bill Broonzy when he returned to the studio and this disc opens with the four recordings he made for Bluebird in April 1936. Their first number, in praise of Gillum’s “cross-eyed consumptive Sara Jane” is also well known in the white rural tradition of the period and illustrates just how well Gillum and Broonzy worked together. In June of that year Gillum followed a practice common at the time and “moonlighted”, recording for another company under an assumed name. In this case he became Bill McKinley for ARC but either because he was badly treated at ARC or because Victor reminded him of his contractual obligations, he had returned to the fold by October of 1938. Jazz or Bill Gillum’s Jazz Boys appeared at this time spreading their existence over some ten titles. Initially they were just Big Bill’s guitar and Blind John Davis‘ piano augmented by an unknown drummer but on the second of the two dates utilising the name Washboard Sam took over as percussionist and extra sophistication was introduced with George Barnes‘ electric guitar. DOCD-5197
Tracklist :
1    Jazz Gillum–    Sarah Jane 3:01
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
2    Jazz Gillum–    I Want You By My Side 3:21
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
3    Jazz Gillum–    Jockey Blues 2:47
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
4    Jazz Gillum–    Don't You Scandalize My Name 2:18
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
5    Bill McKinley–    She Keeps On Rickin' 2:48
Double Bass – Unknown Artist
Guitar [possibly] – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
6    Bill McKinley–    I Went To The Gypsy 2:48
Double Bass – Unknown Artist
Guitar [possibly] – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
7    Bill Gillum And His Jazz Boys–    My Old Lizzie 3:20
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals, Harmonica – Jazz Gillum
8    Bill Gillum And His Jazz Boys–    Alberta Blues 2:50
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals, Harmonica – Jazz Gillum
9    Bill Gillum And His Jazz Boys–    My Old Suitcase 2:59
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals – Jazz Gillum
10    Bill Gillum And His Jazz Boys–    Birmingham Blues 3:19
Drums – Unknown Artist
Guitar – Big Bill Broonzy
Piano [probably] – Blind John Davis
Vocals, Harmonica – Jazz Gillum
11    Jazz Gillum And His Jazz Boys–    Just Like Jesse James 2:47
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
12    Jazz Gillum And His Jazz Boys–    Reefer Head Woman 2:59
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
13    Jazz Gillum And His Jazz Boys–    Gillum's Windy Blues 2:25
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
14    Jazz Gillum And His Jazz Boys–    New "Sail On, Little Girl" 3:03
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
15    Jazz Gillum And His Jazz Boys–    Sweet, Sweet Woman 2:51
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
16    Jazz Gillum And His Jazz Boys–    Boar Hog Blues 2:47
Double Bass – Unknown Artist
Electric Guitar – George Barnes
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
17    Jazz Gillum And His Jazz Boys–    Worried And Bothered 3:19
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
18    Jazz Gillum And His Jazz Boys–    I'm That Man Down In The Mine 2:46
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
19    Jazz Gillum And His Jazz Boys–    Uncertain Blues 2:54
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
20    Jazz Gillum And His Jazz Boys–    Good Old 51 Highway 2:33
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
21    Jazz Gillum And His Jazz Boys–    You're Laughing Now 2:42
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
22    Jazz Gillum And His Jazz Boys–    I'm Gonna Get It 2:38
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard [probably] – Washboard Sam
23    Jazz Gillum And His Jazz Boys–    Mule Blues 3:13
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1941 | DOCD-5198 (1993) RM | FLAC (tracks), lossless

Although a minor figure in blues history, Jazz Gillum recorded 100 selections during 1934-49 as a leader plus an album in 1961. Of those 100, the first two seem to be completely lost but the other 98 have all been reissued on four Document CDs. An expressive singer and an effective harmonica player, Gillum, holds his own with his better-known sidemen which on Vol. 2 include guitarist Big Bill Broonzy, pianist Joshua Altheimer, bassist Ransom Knowing, Washboard Sam and (on one session) a so-so tenor-saxophonist. Among the better selections from these performances covering the 1938-41 period are such numbers as "Get Away Old Woman," "Keyhole Blues," "Hard Drivin' Woman," "Key To The Highway" and "Is That A Monkey You Got?" Scott Yanow
 
Abridged from this album’s original booklet notes. When Jazz Gillum made his first recordings the influence of his country background was still strong upon him. His dark but clear voice and piping high-register harp were redolent of the country juke joint or small town street corner. Gillum’s uncomplicated straight ahead style continued to sell records and attempts to render his image more hip by the use of an electric guitar seemed to have been modestly successful. For his recording date in May 1939 Gillum played his harmonica alongside a tenor-sax player who is tentatively identified as one John Cameron. This trend towards big city sophistication was general among the group of Chicago musicians of which Gillum was a member and would see its final fruition, after a fresh injection from the south, as the bar blues which dominated the post-war Chicago scene. In May of 1940 Gillum cut one of his most successful and at the same time controversial numbers; Key To The Highway was to become a blues standard and both Jazz Gillum and Big Bill Broonzy claimed authorship. Investigations over the years would seem to indicate that Gillum had the stronger case. Gillum himself was not above swiping a good tune, say that generally known as Dust My Broom (common property and used on the uptempo Against My Will), or a whole song (like everybody else he was to take a swing at Casey Bill Weldon‘s Outskirts of Town) or even a stylistic tag such as Peetie Wheatstraw‘s “Oh well, well”. His own compositions often tended to hark back to his days in the south. On Mule Blues from his December 1938 session Gillum had boasted that he could “look at forty acres of cotton and tell you every bale you’ll make” and this preoccupation with southern concerns continued with his hymn in praise of the Mississippi steam boat Big Katy Adams and his invocation of the folk-hero Stavin Chain. Strangely when he recorded I’m Still Walking The Hi-Way, to cash in on the success Key To The Highway, with which it shared the same tune, in March 1941 – a month before Big Bill Broonzy recorded the latter number – the writer credit was made out to … “Broonzy”! It was at Broonzy’s May 1941 session for Okeh, when his version of Key To The Highway was cut, that “Bill McKinley“, reappeared as Jazz Gillum took the opportunity to lay down a couple of, extracurricular, tracks himself, including the mildly salacious Is That A Monkey You Got?, which, possibly for contractual reasons, did not see release until the compact disc age of the 1990s. DOCD-5198
Tracklist :
1    Jazz Gillum And His Jazz Boys–    Let Her Go 2:53
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
2    Jazz Gillum And His Jazz Boys–    Get Away, Old Woman 2:50
Double Bass [probably] – Ransom Knowling
Guitar [probably], Speech [vocal responses, probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
3    Jazz Gillum And His Jazz Boys–    Stavin' Chain 2:27
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
4    Jazz Gillum And His Jazz Boys–    She Won't Treat Me Kind 2:34
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
5    Jazz Gillum And His Jazz Boys–    I'll Get Along Somehow 2:21
Double Bass [probably] – Ransom Knowling
Guitar [probably] – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Vocals, Harmonica – Jazz Gillum
6    Jazz Gillum–    Got To Reap What You Sow 3:01  
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
7    Jazz Gillum–    Big Katy Adams 2:57
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
8    Jazz Gillum–    Against My Will 3:04
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
9    Jazz Gillum–    Keyhole Blues 2:57
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
10    Jazz Gillum–    Talking To Myself 2:48
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
11    Jazz Gillum–    Hard Drivin' Woman  3:08         
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals – Jazz Gillum
12    Jazz Gillum–    Somebody Been Talking To You 3:03
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
13    Jazz Gillum–    One Time Blues 2:58
Guitar – Big Bill Broonzy
Piano [probably] – Joshua Altheimer
Tenor Saxophone [possibly] – John Cameron
Vocals, Harmonica – Jazz Gillum
14    Jazz Gillum–    It Sure Had A Kick 2:27
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
15    Jazz Gillum–    She Belongs To Me 2:52
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
16    Jazz Gillum–    Longest Train Blues 2:27
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
17    Jazz Gillum–    Key To The Highway 2:39
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
18    Jazz Gillum–    I'm Still Walking The Hi-Way 2:54
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
19    Jazz Gillum–    Get Your Business Straight 2:49
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
20    Jazz Gillum–    Muddy Pond Blues 2:58
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
21    Jazz Gillum–    Little Woman 2:59
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
Washtub Bass [probably] – Alfred Elkins
22    Bill McKinley–    Poor Boy Blues 2:53
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
23    Bill McKinley–    Is That A Monkey You Got? 2:43
Double Bass – Unknown Artist
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Washboard Sam
24    Jazz Gillum–    Riley Springs Blues 3:08
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter*
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
25    Jazz Gillum–    That's What Worries Me 2:49
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 3 • 1941-1946 | DOCD-5199 (1993) RM | FLAC (tracks), lossless

The third of four volumes that include all of Jazz Gillum's recordings (other than a later album) features 25 more vocals by the fine 1930s-style harmonica player. 20 of the selections are from 1941-42 while the final five (from 1945-46) find him playing and singing in an unchanged style. Guitarist Big Bill Broonzy is on all but the final selection and the pianists are Horace Malcolm, Blind John Davis, Roosevelt Sykes or Big Maceo. Gillum was an effective if not overly distinctive singer while his harmonica solos are fairly basic, particularly compared to Sonny Boy Williamson and the soon-to-be discovered Little Walter. The tunes include "Me And My Buddy," "War Time Blues," "I'm Gonna Leave You On The Outskirts Of Town" (a different variation of "We're Going To Move To The Outskirts Of Town"), "You're Tearing Your Playhouse Down" and "Whiskey Head Buddies." Scott Yanow
 
Abridged from this album’s original booklet notes. This collection picks up the Jazz Gillum story during the session of July 1941! On this date Washboard Sam was replaced by one Amanda Porter (also known as Ann Sortier or Sorter the wife of Charlie McCoy) a lady whose collection of household utensils makes Sam’s scullery appear impoverished. Hear Jazz Gillum and Big Bill Broonzy strain to remain serious as Amanda clouts, scrapes or rattles everything in sight; pots, pans and what sounds like the kitchen sink! At times the affect is similar to the arrival of a piece of modern sculpture at the bottom of a lift-shaft. The last song done that day was Gillum’s hymn to male bonding Me and My Buddy,
Me and my buddy never will have no fallin’ out ‘Cos we got wise to wimmin; we know what it’s all about.

Did Gillum and Big Bill  have a falling out, perhaps over the authorship of Key To The Highway? It is strange that, despite their long association there is no mention at all of Jazz Gillum in Big Bill Broonzy’s autobiography. By the time of Gillum’s next session Pearl Harbor had been attacked and the US was at war. In these last two sessions before the Petrillo ban on recording took effect Jazz knocked out sixteen titles including his version of Casey Bill Weldon’s Outskirts Of Town and Tell Me Mama, a number previously passed around between Big Bill and Louis Lasky. Two tracks, Water Pipe Blues and You’re Tearing Your Playhouse Down did not see issue until well into the age of the long playing record. It is some measure of Bill Gillum’s popularity that of the sixty six sides he had cut for Bluebird since 1936 these were the first to stay in the can. If these were Jazz Gillum’s glory days they were soon to be cut short when Uncle Sam tore his playhouse down by inducting him into the army. Gillum remained in the service until 1945 when he returned to civilian life and tried to pick up the reins of his recording career while supporting himself by working at more mundane jobs. At his first post-war session he took advantage of the presence of Roosevelt Sykes to record Five Feet Four over Sykes’ “44s” backing. For a couple of years it seemed as if the old times had revived – but there were soon to be some major changes in public taste that would spell the end for Jazz and a lot of his contemporaries. DOCD-5199
Tracklist :
1        I Got Somebody Else 3:02
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
2        Maybe You'll Love Me Too 3:11
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
3        It Looks Bad For You 2:49
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
4        Me And My Buddy 3:05
Guitar – Big Bill Broonzy
Vocals, Harmonica – Jazz Gillum
Washboard – Amanda Sorter
Washtub Bass [possibly] – Al Collins
Washtub Bass [probably] – Alfred Elkins
5        It's All Over Now 2:53
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
6        War Time Blues 2:44
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
7        You Are Doing Me Wrong 2:51
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
8        One Letter Home 2:39
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
9        Down South Blues 3:14
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
10        You Drink Too Much Whiskey 3:03
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
11        No Friend Blues 2:53
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
12        From Now On 2:39
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano [probably] – Horace Malcolm
Vocals, Harmonica – Jazz Gillum
13        I'm Gonna Leave You On The Outskirts Of Town 2:58
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
14        I Couldn't Help It Blues 2:56
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
15        My Big Money 2:54
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
16        Woke Up Cold In Hand 2:47
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
17        Water Pipe Blues 2:50
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
18        Tell Me, Mama 3:12          
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals – Jazz Gillum
19        Deep Water Blues 3:18
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals – Jazz Gillum
20        You're Tearing Your Playhouse Down 2:52
Double Bass [possibly, or], Washtub Bass [possibly] – Alfred Elkins
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Jazz Gillum
21        Go Back To The Country 2:47
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
22        Five Feet Four 3:04
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
23        Afraid To Trust Them 3:24
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
24        Whiskey Head Buddies 2:50
Double Bass – Ransom Knowling
Guitar – Big Bill Broonzy
Piano – Roosevelt Sykes
Vocals, Harmonica – Jazz Gillum
25        Reckless Rider Blues 3:02
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 1 • 1927-1932 | DOCD-5050 (1991) FLAC (tracks+.cue), lossless

This is a particularly fascinating CD, for it has the first 26 selections ever recorded by Big Bill Broonzy as a leader. The beginning of Document's complete reissuance of all of Broonzy's early recordings, the set starts with four duet numbers that Broonzy cut during 1927-28 with fellow guitarist John Thomas. Although his style was already a bit recognizable, the young guitarist/vocalist really started coming into his own in 1930. There are 15 selections from that year included on this set, with Big Bill often using the pseudonyms of Sammy Sampson or Big Bill Johnson; in fact, even the final seven numbers (from 1932) had him billed as the latter. The CD finds Broonzy evolving from a country-blues musician who already had strong technique into a star of hokum records. Among the many highlights are "Big Bill Blues" (different versions in 1928 and 1932), "I Can't Be Satisfied," "Pig Meat Strut," "Beedle Um Bum" and "Selling That Stuff." Pianist Georgia Tom Dorsey helps out on three numbers. Big Bill Broonzy fans have a right to rejoice about the existence of this wonderful series. Scott Yanow

Abridged from this album’s original booklet notes. When Big Bill Broonzy came to Chicago from Arkansas in 1920 he was still ‘country’ but, as he was to prove time and again in his long career, he was also adaptable and despite his supremely affable, easy-going manner he knew what he wanted and was prepared to persevere until he got it. One of the things he wanted was to make records. His break came when he approached Paramount Records. They cut four tracks, which remained unissued but later re-cut two of the titles. The resultant record presented Big Bill and Thomas performing House Rent Stomp and Big Bill Blues. Bill later justified knowing that he was bilked on the pay he received because he and Thomas alone bought at least fifty copies!

There was to be only one more release on Paramount before Big Bill hit his big year of 1930, when, using the pseudonym of Sammy Sampson he cut five tracks, four of which appear here, for the Perfect label in New York, then, learning the tricks of the trade he became Big Bill Johnson for Gennett in Richmond before returning to Paramount as Big Bill Broomsley. From his country origins he moved on to investigate hokum numbers and vaudeville songs. Always keeping an eye out for the main chance, he upgraded his sound by the addition of a piano when he cut three sides utilising the talents of Georgia Tom Dorsey; forever malleable at the same time moulding himself into his basic, unchanging role of good-time rounder, some-time philosopher and full-time bluesman. DOCD-5050

Tracklist :
1        House Rent Stomp (A) 2:30
2        Big Bill Blues (B) 2:57
3        Down In The Basement Blues (C) 3:27
4        Starvation Blues (C) 3:15
5        I Can't Be Satisfied (D) 2:45
6        Grandma's Farm (D) 2:23
7        Skoodle Do Do (D) 2:44
8        Tadpole Blues  (E) 2:54
9        Skoodle Do Do  (F) 2:44
10        Saturday Night Rub  (F) 2:54
11        Pig Meat Strut   (F) 2:47
12        Papa's Gettin' Hot  (F) 2:44
13        Police Station Blues  (G) 2:41
14        They Can't Do That (G) 2:48
15        State Street Woman  (H) 2:58
16        Meanest Kind Of Blues  (H) 2:58
17        I Got The Blues For My Baby  (H) 2:53
18        The Banker's Blues  (I) 2:32
19        How You Wan't Done?    (I) 2:46
20        Too Too Train Blues (J) 2:58
21        Mistreatin' Mamma  (J) 2:57
22        Big Bill Blues (J) 2:55
23        Brown Skin Shuffle (J) 2:55
24        Stove Pipe Stomp (J) 2:45
25        Beedle Um Bum (J) 3:00
26        Selling That Suff (J) 2:57

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 2 • 1932-1934 | DOCD-5051 (1991) RM | FLAC (tracks+.cue), lossless

By early 1932, the point at which this second volume in Document's series begins, Big Bill Broonzy was well established on the Chicago music scene; although his music was beginning to take on an urbanized flavor, his forté was still country-blues, and the opening tracks here -- "Mr. Conductor Man," "Too-Too Train Blues" and "Bull Cow Blues" among them -- are among his finest examples of the form. Of equal interest are the sides he subsequently recorded with his Jug Busters, a rather mysterious group which yielded just two tracks -- "Rukus Juice Blues" and "M and O Blues" -- but which pushed Broonzy further away from his rural roots; in all likelihood, the group also inaugurated his collaboration with the enigmatic yet renowned Black Bob, with whom he would cut a series of classic guitar and piano duets in the months to follow. Jason Ankeny

Abridged from this album’s original booklet notes. By 1932 Big Bill Broonzy had got the measure of the music business. He was well known in Chicago and, with his winning ways and talent, had become intimate with the leading musicians of his time and place and was laying down the base of the edifice he graced so easily in later years when he became a father figure for the post war blues. He had also become a member of a loose group who performed knockabout and sometimes salacious numbers in a style that they advertised by the use of the name The Famous Hokum Boys. He also often appeared backing “Jane Lucas“, in more than one of her manifestations, and these recordings, along with further explanation, will be appearing on other albums in this series. Bill was still playing country blues though, and having worked conscientiously on his guitar playing could turn out masterpieces like Mr. Conductor Man, The Too Too Train and Bull Cow Blues but he also around this time put together his ‘ Jug Busters‘. This group, whose exact membership is still a matter of contention, was made up of Bill, another guitarist, a pianist, a bass player, a kazooist and a washboard beater. A later grouping included a trumpet player, trombonist and a jug-blower. It was an indication of the way the urban blues was going. The pianist may have been the still obscure Black Bob. DOCD-5051

Tracklist :
1    Steel Smith–    You Do It (A)    3:07
2    Big Bill Johnson–    Mr. Conductor Man (B)    2:59
3    Big Bill–    Too-Too Train Blues (Matrix 11605-2) (C) 2:50
4    Big Bill–    Worrying You Off My Mind - Part 1 (C) 3:04
5    Big Bill–    Worrying You Off My Mind - Part 2 (C) 3:06
6    Big Bill–    Shelby County Blues (C) 3:16
7    Big Bill–    Mistreatin' Mama Blues (Matrix 11609-2)     (C) 3:01
8    Big Bill–    Bull Cow Blues (C)     2:50
9    Big Bill–    How You Want It Done? (Matrix 1161-2)     (C) 2:51
10    Big Bill–    Long Tall Mama (D) 2:47
11    Big Bill And His Jug Busters–    M And O Blues (E)    3:10
12    Big Bill And His Jug Busters–    Rukus Juice Blues (E) 3:03
13    Big Bill–    Friendless Blues (F) 3:22
14    Big Bill–    Milk Cow Blues (F) 3:16
15    Big Bill–    Hungry Man Blues (F) 3:30
16    Big Bill–    I'll Be Back Home Again (F) 2:52
17    Big Bill–    Bull Cow Blues - Part 2 (F) 3:33
18    Big Bill–    Serve It To Me Right (F) 3:24
19    Big Bill–    Starvation Blues (Matrix 80394-1) (F) 3:23
20    Big Bill–    Mississippi River Blues (F) 2:40
21    Big Bill–    At The Break Of Day (G) 2:56
22    Big Bill–    I Want To Go Home (G) 2:45
23    Big Bill–    Hard Headed Woman (H) 3:21
24    Big Bill–    Dying Day Blues (H) 3:02

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 3 • 1934-1935 | DOCD-5052 (1991) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's absorption of the urbanized Chicago blues style was essentially complete by the time of the 1934-35 recordings assembled here. The highlight is a highly productive session featuring the State Street Boys, a group featuring Broonzy alongside harpist Jazz Gillum, guitarist Carl Martin, pianist Black Bob and violinist Zeb Wright, whose dissonant, scraping style lends the combo a highly distinctive sound; their material is fascinatingly diverse, ranging from the train songs "Midnight Special" and "Mobile and Western Line" to the saucy "She Caught the Train" and the much-covered "Don't Tear My Clothes." Also with Black Bob, Broonzy continued recording more simplified guitar/piano duets -- their "Southern Blues" is a lovely and nostalgic reminiscence about life on the other side of the Mason-Dixon line, while "Good Jelly" ranks among his most lyrically inventive efforts. Jason Ankeny

Abridged from this album’s original booklet notes. Prior to the recordings presented here Bill had worked with Georgia Tom Dorsey to produce one of the many successful guitar/piano combinations that were so popular in the wake of Leroy Carr and Scrapper Blackwell, the latter being a man to whom Bill gave a lot of attention. They had worked with Jane Lucas and the results were nothing like the blues and stomps of Bill’s first appearances in the recording studios. Following this he had formed an alliance with pianist Black Bob with whom he worked the clubs and recorded. Along with Bob he would join with a group of other humble toilers in the local entertainment industry to produce the State Street Boys. At this stage such groups rarely featured the trumpets and clarinets that they later inherited from The Harlem Hamfats and had not yet sunk into the moribund repeated celebration of “it” being “tight like that, beedle um bum”. One commentator has pointed out that apart from the use of a string bass in lieu of drums the two-guitar line-up of Bill and Carl Martin; the harmonica of Jazz Gillum and Black Bob’s piano equates with the basic make-up of the classic post war Chicago bar bands. This may be so but the addition of Zeb Wright’s harshly scraped violin and the choice of material denies such comparisons. Bill and Jazz shared the vocals with Jazz taking the lead on Crazy About You and the two train songs Midnight Special and Mobile And Western Line. They split a bowdlerised version of The Dozen between them, which never reaches the acerbic level of the exchanges for which the game was designed. Indeed there is something of a “parlour” feel to all the Boy’s recordings, probably due to Wright’s violin work, which even aspires to pizzicato on The Dozen. However this is balanced somewhat by Bill’s vocal on She Caught The Train:
“Some low-down man learned my baby how to Cadillac 8  Ever since she learned that position I can’t keep my business straight”

Don’t Tear My Clothes has a long history that included versions by Big Joe Turner and Smokey Hogg before Bob Dylan took it over as “Baby Let Me Follow You Down” and bequeathed it to The Animals in the mid-sixties. Bill was also using Black Bob for recordings under his own name and it is almost certainly that adroit ivory agitator working so well on Southern Blues and the up-tempo Good Jelly which includes the wonderful observation that “It’s a sin and a shame; it’s a sin when you can get it – and a shame when you can’t”. Bill’s guitar is well to the fore on these skilful collaborations. Another of Bill’s friends was the under-recorded Louis Lasky, from whom he is alleged to have taken some of his guitar style, and it is probably that individual working with Bill on the justly acclaimed C And A Blues. The blues staple “Sitting On Top Of The World” forms the basis of You May Need My Help a title, and idea that later found an echo in the work of Bill’s most famous protégé, Muddy Waters. DOCD-5052

Tracklist :
1    Big Bill–    I Want To See My Baby (A) 3:20
2    Big Bill–    Serve It To Me Right (A) 2:53
3    Big Bill–    Dirty-No-Gooder (A) 3:20
4    Big Bill–    Let Her Go - She Don't Know (B) 3:32
5    Big Bill–    Hobo Blues (B) 3:12
6    Big Bill–    Prowlin' Ground Hog (B) 3:01
7    Big Bill–    C-C Rider [Take A] (C) 3:15
8    Big Bill–    C-C Rider [Take B] (C)     3:17
9    State Street Boys–    Mobile And Western Line (D) 3:06
10    State Street Boys–    Crazy About You (D) 2:55
11    State Street Boys–    Sweet To Mama (D) 2:47
12    State Street Boys–    Rustlin' Man (D) 3:08
13    State Street Boys–    She Caught The Train (D) 3:03
14    State Street Boys–    Midnight Special (D) 2:50
15    State Street Boys–    The Dozen (D) 3:01
16    State Street Boys–    Don't Tear My Clothes (D) 3:08
17    Big Bill–    The Southern Blues (E) 3:34
18    Big Bill–    Good Jelly (E) 3:16
19    Big Bill–    C & A Blues (F) 2:56
20    Big Bill–    Something Good (F) 2:51
21    Big Bill–    You May Need My Help Someday (G) 3:02
22    Big Bill–    Rising Sun Shine On (G) 3:08

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 4 • 1935-1936 | DOCD-5126 (1992) RM | FLAC (tracks+.cue), lossless

Swing might have been king by 1935-36, but Big Bill Broonzy was a different type of royalty, one of the major bluesmen in Chicago. Always a technically skilled guitarist, Broonzy's vocalizing had grown in maturity and depth during the first half of the 30s. On the fourth of 11 Document CDs that contain all of Big Bill's prewar recordings as a leader (and many as a sideman), Broonzy is heard on two religious numbers with the Chicago Sanctified Singers, one tune ("Keep Your Mind On It") with the Hokum Boys, and 21 songs either in duets with pianist Black Bob or trios with Black Bob and bassist Bill Settles. Among the more memorable selections are "Bad Luck Blues," "I'm Just a Bum," "Keep Your Hands Off Her," "The Sun Gonna Shine In My Door Someday" and "Match Box Blues."  Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was known by just about everybody involved in the music scene in Chicago. By mid-1935, when this volume takes up the story, the depression was easing somewhat and the juke box was countering its threat to one aspect of the musician’s livelihood by providing an opportunity in another in the form of increased recording activity and wider distribution of the product. Although he always worked at one or more “normal” jobs, labouring or serving in stores, Bill seems to have spent most of his life between the studios and the bars at this time and it is strange that, despite his involvement in enumerable sessions, only twenty tracks appeared under his own name on the Bluebird label (those not appearing here can be found on volumes 2 and 3 of this series). After much research and controversy Black Bob‘s real name remains uncertain though it seems probable that he was the Bob Hudson remembered by Memphis Slim. Louis Lasky, whose own work appears on DOCD 5045 The Songster Tradition, is alleged to have taught Bill how to flat-pick; he is also speculated to be the Louis Leslie associated (by “circumstantial” evidence, to quote Dixon and Godrich) with the Chicago Sanctified Singers. Certainly Leslie, Big Bill and Black Bob were all present in the ARC studios when the two Sanctified Singers sides were cut so a likely line up for this group might be Bill or Leslie, guitar, Bob, piano, and a vocal trio made up of Bill, with either Bob or Leslie and an unknown female. The influence of Leroy Carr on Big Bill Broonzy‘s work at this time is marked both on such upbeat numbers as the bouncy Keep Your Hands Off Her (a gentler title than the more usual Keep Your Hands Off It) and such sadly reflective songs as Bad Luck Blues. His voice was never as wistful as Carr’s but he made a conscious effort to study and reproduce the guitar sound of Scrapper Blackwell and supported by the outstandingly sympathetic piano of Black Bob (sometimes augmented by Bill Settles‘ string bass) produced a string of satisfying blues recordings to counterbalance the flood of hokum material that was washing over the market during those years. Big Bill Broonzy‘s involvement with this side of the business saw him working with such groups as The Midnight Ramblers and The State Street Boys. One representative track, The Hokum Boys‘ Keep Your Mind On It, is included here; it sees Big Bill Broonzy taking the vocal backed up by the guitar of Casey Bill Weldon and the sud-busting of Bill’s alleged half-brother Washboard Sam. DOCD-5126
Tracklist :
1    Chicago Sanctified Singers–    Tell Me What Kind Of Man Jesus Is 2:53
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
2    Chicago Sanctified Singers–    I Ain't No Stranger Now 2:52
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
3    Big Bill Broonzy–    Mountain Blues 3:02
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
4    Big Bill Broonzy–    Bad Luck Blues 3:07
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
5    Big Bill Broonzy–    I Can't Make You Satisfied 3:11
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
6    Big Bill Broonzy–    I'm Just A Bum 2:58
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
7    Big Bill Broonzy–    Keep Your Hands Off Her 2:51
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
8    Big Bill Broonzy–    The Sun Gonna Shine In My Door Someday 3:01
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
9    Big Bill Broonzy–    Good Liquor Gonna Carry Me Down 2:43
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
10    Big Bill Broonzy–    Down The Line Blues 3:17
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
11    Big Bill Broonzy–    Bricks In My Pillow 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
12    Big Bill Broonzy–    Tell Me What You Been Doing 2:53
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
13    Big Bill Broonzy–    Ash Hauler 2:34
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
14    Big Bill Broonzy–    Evil Women Blues 2:57
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
15    Big Bill Broonzy–    These Ants Keep Biting Me 2:49
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
16    Big Bill Broonzy–    Big Bill Blues (These Blues Are Doggin' Me) 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
17    Big Bill Broonzy–    You Know I Need Lovin' 3:10
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
18    Big Bill Broonzy–    Match Box Blues 2:59
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
19    Big Bill Broonzy–    Low Down Woman Blues 3:00
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
20    The Hokum Boys–    Keep You Mind On It 3:02
Bass [Probably] – Bill Settles
Guitar, Vocals – Big Bill Broonzy, Casey Bill Weldon
Washboard – Washboard Sam
21    Big Bill Broonzy–    Bull Cow Blues, No. 3 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
22    Big Bill Broonzy–    Married Life's A Pain 3:02
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
23    Big Bill Broonzy–    Black Mare Blues 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
24    Big Bill Broonzy–    Pneumonia Blues (I Keep On Aching) 2:38
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 5 • 1936-1937 | DOCD-5127 (1992) FLAC (tracks+.cue), lossless

Big Bill Broonzy recorded a great deal in Chicago during the 1930s, and fortunately, every one of the selections (except for a few that cannot be located) have been reissued on CD by the Austrian Document label in this "complete" series. In addition to selections with a trio (which includes pianist Black Bob and bassist Bill Settles), Broonzy is heard on this fifth volume with the Hokum Boys (on "Nancy Jane"), the Midnight Ramblers (which include Washboard Sam) and the Chicago Black Swans, a band similar to the Harlem Hamfats that adds guitarist Tampa Red). The final four numbers return to the trio format but add trumpeter Punch Miller to two of the songs. Throughout, Broonzy is heard in prime form. Among the selections are "Big Bill's Milk Cow No. 2," "Nancy Jane," "Detroit Special," "Out With the Wrong Woman," "Southern Flood Blues" and "Let's Reel and Rock." Scott Yanow

Abridged from this album’s original booklet notes. In 1934 Big Bill Broonzy had recorded Milk Cow Blues for Bluebird (see volume two of this series) and it had been a sufficient hit for him to assay a Milk Cow Blues No. 2 for ARC, this time filling out the sound by utilising Black Bob‘s piano for support. This basic line-up of guitar, piano, string bass and woodblocks was given an extra dimension when Charlie McCoy was added playing the mandolin. Charlie, like Big Bill, was a jobbing musician about Chicago. He had found his niche when, along with his brother ‘Hallelujah’ Joe McCoy he became part of the basic line-up of the Harlem Hamfats. This group used a ‘New Orleans’ front line of trumpet and clarinet backed-up by a piano and a guitar/mandolin/drums rhythm section. The session with Charlie produced Bill’s complaint about his addiction to playing craps in Seven-Eleven (“My point was a nine, I stopped at six – and that trey came flyin”‘) and about his girl-friend’s bad actin’ in You Know I Got A Reason. (Is there an accusation of lesbianism in the line “You say that woman you run with is your lady friend, it don’t look much like it for the shape I caught y’all in”?) During the same period, May / June 1936, Bill was still performing as part of The Hokum Boys, singing and playing the guitar on Nancy Jane a number they had recorded before, without it being released, as far back as 1930. A further Big Bill / Black Bob session took place in the September of 1936. It included Black Widow Spider in which Bill may have mixed his genders by representing himself as a spider with “red stripes under my belly” after making it sore by “crawlin’ down your wall”. The same combination also recorded in November of that year, one track, Out With The Wrong Woman being issued as by The Midnight Ramblers. Several songs and alternative takes of material recorded around this time, i. e. Cherry Hill Take 2, were not issued until they appeared on LP in the late 60s / early 70s. On the 26th January 1937 Big Bill Broonzy took the vocal and guitar part for a group called the Chicago Black Swans. This was a loose collection of musicians including Herb Morand and Arnett Nelson, the front line of the Hamfats. The same group recorded the same two titles on the same day with vocals by Mary Mack for release as by The State Street Swingers. Further confusion is added by the fact that Bill had already recorded Don’t Tear My Clothes (presumably implicitly “No. 1”, see volume three of this series) with a group known as The State Street Boys whose more rural sound had been built around the violin of Zeb Wright. Never slow to adapt to trends Bill featured a trumpet and drums on his next session (although he refers to a cornet on Come Up To My House). After cutting his commentary on the recent flooding of the Ohio River in his magnificent Southern Flood he brought forward “Mr Sheiks” and Fred Williams to up-date his sound to that of Big Bill’s Orchestra (?). “Mr Sheiks“, whose identity has been the subject of much speculation, was no Herb Morand and two days later Big Bill Broonzy was back in the studio to try again – this time in the company of Ernest ‘Kid Punch’ Miller, who came, like Morand, from a New Orleans background and was one of the foremost jazzmen of his generation. Hedging, Bill also cut for his older audience on this session producing the delicately picked Horny FIog which included references to the south, north migration along with the wonderful line dismissing his troublesome girlfriend: “I’m tired of poppin’ my belly for you”. DOCD-5127
Tracklist :
1        Big Bill's Milk Cow No. 2 (A) 3:07
2        W.P.A. Blues (B) 3:01
3        I'm A Southern Man (B) 2:47
4        Nancy Jane (C) 3:00
5        Lowland Blues (D)    3:02
6        Seven-Eleven     (D)    2:57
7        You Know I Got A Reason (D) 2:49
8        Oh, Babe (D)    3:08
9        Detroit Special  (E) 2:50
10        Falling Rain  (E) 3:17
11        Black Widow Spider (F) 2:52
12        Cherry Hill  (G) 3:12
13        Out With The Wrong Woman (H) 2:57
14        Don't Tear My Clothes No. 2 (I)    2:42
15        You Drink Too Much (I) 3:08
16        Southern Flood Blues (J) 3:13
17        My Big Money     (J) 3:12
18        My Woman Mistreats Me (J) 3:00
19        Let's Reel And Rock (J) 3:15
20        Come Up To My House (J) 3:11
21        Get Away (K) 2:57
22        Terrible Flood Blues (K) 3:04
23        Little Bug (K) 3:05
24        Horny Frog [Take 1] (K) 3:08
Credits :
(A) Big Bill Broonzy, vocal, guitar; Black Bob, piano; “Heebie Jeebies”, wood blocks  01/05/1936
(B) Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass “Heebie Jeebies” woodblocks on 3. 27/05/1936
(C) The Hokum Boys: Big Bill Broonzy, vocal, guitar; Casey Bill Weldon, guitar, vocal / chorus; Black Bob, piano: Bill Settles, stand-up bass.   11/06/1936
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 03/09/1936
(E) Big Bill Broonzy, vocal, guitar; Probably Horace Malcolm, piano; Charlie McCoy, mandolin. Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass.  16/09/1936
(F)  Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass.  28/10/1936
(G) Chicago Black Swans: Big Bill Broonzy, vocal, guitar; accompanied probably by Herb Morand or possibly Alfred Bell, trumpet; Arnett Nelson, clarinet; Black Bob, piano; possibly Tampa Red, guitar; unknown, percussion. 19/11/1936
(H) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, stand-up bass; possibly Washboard Sam, scat vocal. 19/11/1936
(I) Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass. 26/01/1937
(J) Big Bill Broonzy, vocal, guitar; accompanied by “Mr. Sheiks (Alfred Bell), trumpet, on 16, 17, 19, 20; possibly . Fred Williams. drums on 19 and 20. Bill Settles, stand-up bass; possibly Fred Williams, drums on 19, 20. 29/01/1937
(K) Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 21, 23; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums on 23 / woodblocks on 22, 24. 31/01/1937

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 6 • 1937 | DOCD-5128 (1993) RM | FLAC (tracks+.cue), lossless

1937 was a busy year for Big Bill Broonzy, who was turning 44. A greatly in-demand blues guitarist in Chicago, Broonzy was also an underrated singer and a major solo artist. This CD from the Austrian Document label (the sixth of 11 that trace his entire prewar recording career) includes 26 selections with plenty of alternate takes and nine previously unreleased performances. Broonzy is joined by either Black Bob, Leeford or Aletha Robinson or Joshua Altheimer on piano (Blind John Davis joins up for the final session), and sometimes bassist Bill Settles, drummer Fred Williams, unidentified players and (on three occasions) trumpeter Punch Miller. Although not quite essential, this CD will be desired by Broonzy's greatest fans, along with all of the releases in this very valuable series. Among the more notable selections are "Mean Old World," "Down in the Alley," "Louise, Louise Blues" and "It's Too Late Now."  Scott Yanow

Abridged from this album’s original booklet notes. This volume picks up the recorded works of Big Bill Broonzy half way through the session of 31st January 1937. One of the tracks he sat out was Horny Frog, an alternative take of which opens this set to complement the last track on Volume 5, however he joined in for Mean Old World and’ contributed some nice growling trumpet to You Do Me Any Old Way. On 10th of March that year Bill was one of the Midnight Ramblers, a group which featured piano, string bass (probably of the “tea chest” variety) and the shared vocals of himself and Washboard Sam. The partnership between Black Bob and Big Bill seems to have ended with the session of 9th June 1937 and, by July Leeford Robinson was occupying the piano stool. The session opened with Bill pleading for the return of one “Hattie” to save him from descending into a life of drinking and gambling (a joke surely!) and continued with a song in praise of his “crankie” Model T Ford

“You can have your V8 and your Lincoln too, Give me my Model T, I know what she will do”.

The trumpet and drums are prominent on this up-tempo cut. Another of Bill’s possessions comes in for praise on Come Home Early where he sings

“Don’t be scared, it won’t bite, My damper’s made to fit an eight inch pipe”.

Leeford Robinson seems to have been a stop-gap too and after that date Big Bill Broonzy turned to Blind John Davis for support on the 88 before beginning his long association with Josh Altheimer, although it may be Altheimer working on My Girl Is Gone. The two men, working with Fred Williams, drums, held down the session of 13 October 1937 when Bill explained his wariness in commercial transactions. “When I’m ready to buy, I want my hands on it – so it won’t fly”, and dragooned the tune best known as Sitting 0n Top of The World into service for the slow and reflective blues It’s Too Late, to which Davis adds some delicate piano. This set winds up with Made A Date With An Angel – “Poor me, I can’t fly”, which is not the pop song it appears to be and is more correctly sub-titled Got No Walking Shoes. DOCD-5128
Tracklist :
1        Horny Frog [Take 2] (A) 3:04
2        Mean Old World [Take 1] (A) 3:00
3        Mean Old World [Take 2] (A) 3:08
4        Barrel House When It Rains (A)     2:49
5        You Do Me Any Old Way [Take 1] (A) 2:50
6        You Do Me Any Old Way [Take 2] (A) 3:02
7        Down In The Alley [Take 1]     (B) 2:51
8        Down in The Alley [Take 2]     (B) 2:47
9        Stuff They Call Money     (B) 2:50
10        Louise Louise Blues [Take 1] (C) 2:44
11        Louise Louise Blues [Take 2]  (C) 2:42
12        Let Me Be Your Winder (C)    3:10
13        Hattie Blues [Take 1] (D) 2:57
14        Hattie Blues [Take 2] (D) 2:58
15        My Old Lizzie [Take 2] (D) 2:52
16        Come Home Early [Take 1] (D) 3:02
17        Come Home Early [Take 2]    (D) 3:00
18        Come Home Early [Take 3] (E) 2:58
19        Come Home Early [Take 4] (E) 2:53
20        My Gal Is Gone (F) 2:46
21        Evil Hearted Me (F) 2:40
22        I Want My Hands On It [Take 1] (G)    2:56
23        I Want My Hands On It [Take 2] (G) 2:53
24        It's Too Late Now [Take 1]     (G)    3:05
25        It's Too Late Now [Take 2] (G)    3:01
26        Made A Date With An Angel [Take 1] (G)    2:57
Credits :
(A) Big Bill Broonzy, vocal, guitar; Punch Miller, trumpet on 1, 5, 6; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums.  31/01/1937
(B) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, imitation bass; Washboard Sam, vocal.  10/03/1937
(C) Big Bill Broonzy, vocal, guitar; Alfred Bell, trumpet on 12; Black Bob, piano; Fred Williams, drums.  09/06/1937
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 08/07/1937
(E) Big Bill Broonzy, vocal, guitar; Leeford or Aletha Robinson, piano on 18; Black Bob, piano on 19; unknown, stand-up bass.  16/08/1937
(F)  Big Bill Broonzy, vocal, guitar; Black Bob, or probably Joshua Altheimer, piano on 20; unknown 2nd guitar; unknown stand-up bass.   19/08/1937
(G)Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937