MERLINE JOHNSON — The Yas Yas Girl : Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1939 | DOCD-5293 (1994) RM | FLAC (tracks), lossless

If the first volume of Merline Johnson's complete recordings was highly rewarding, volume two is utterly essential, as it contains some of her all-time best, most exciting, and jazz-infused performances. Susceptible listeners may find it difficult to remain seated during "Running Down My Man" (which sounds a lot like one of Washboard Sam's upbeat creations), as a fine trumpeter (possibly Punch Miller) and a tenor saxophonist (probably Bill Owsley) swing like mad atop a well-oiled rhythm section that includes pianist Blind John Davis and electrically amplified guitarist George Barnes. This level of enjoyment is maintained during a kicking cover of Louis Armstrong's "Ol' Man Mose" and a brusque version of "Don't You Leave Me Here," previously recorded by Monette Moore with Charlie Johnson's Original Paradise Ten in 1927 and by wandering Texas guitarist Henry Thomas in 1929. Identified as the Louisiana Kid on Vocalion C-2296 ("Separation Blues"), Punch puts his horn down and sings a duet with the Yas Yas Girl. Sometimes billed as the Rhythm Rascals, Merline's bands as heard on this collection were mightily stoked by players like guitarists Big Bill Broonzy and Willie B. James; steel guitarist Casey Bill Weldon, saxophonist Buster Bennett, and trumpeters Alfred Bell, Walter Williams, and venerable Lee Collins, a New Orleans legend who made records with Jelly Roll Morton in 1924. Collins is heard here on tracks 17-22 as a member of the Yas Yas Girl's Jazz Boys, an ensemble anchored by bass vocalist Alfred Elkins, who sounds like he might have been blowing across a whiskey jug, old style. While Merline Johnson was quite capable of whipping up her own ideas, the occasional cover tunes pack a wallop, as does Billie Holiday's "Fine and Mellow" and New Orleans guitarist Danny Barker's "Don't You Make Me High," which he wrote for his wife Blue Lu Barker, who made her soon-to-be-famous recording for Decca only weeks before Merline Johnson took it on accompanied by Buster Bennett's persuasive soprano sax. Decades later, diminutive Maria Muldaur enjoyed a spate of success with her sultry update of this naughty little masterpiece. arwulf arwulf

Tracklist :
1        Running Down My Man 2:53 (A)
2        Ol' Man Mose 2:57 (B)
3        Don't You Leave Me Here 2:55 (B)
4        Separation Blues 2:56 (C)
5        You Can't Shoot Your Pistol 2:40 (D)
6        Whiskey Fool 2:40 (E)
7        Don't You Make Me High 2:40 (F)
8        Love With A Feeling 2:52 (F)
9        Some Day I'll Be Gone Away 2:42 (G)
10        Easy Towing Mama 2:40 (G)
11        Grieving Heart Blues 2:43 (G)
12        Reckless Life Blues 2:27 (G)
13        Breakin' 'Em Down Tonight 2:32 (H)
14        Someone To Take Your Place 2:48 (H)
15        Got A Mind To Ramble 2:30 (H)
16        True Love 2:41 (H)
17        Fine And Mellow 2:55 (I)
18        Nobody Knows How I Feel 2:54 (I)
19        I Need You By My Side 2:51 (I)
20        You Can't Have None Of That 2:46 (I)
21        I Got To Have It Daddy 2:47 (I)
22        Don't Have To Sing The Blues 2:47 (I)

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)

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 8 • 1936-1937 | DOCD-5208 (1993) RM | FLAC (tracks+.cue), lossless

For completists, specialists and academics, Document's Complete Recorded Works, Vol. 8 (1936-1937) is invaluable, offering an exhaustive overview of Tampa Red's early recordings. For less dedicated listeners, the disc is a mixed blessing. There are some absolutely wonderful, classic performances on the collection, but the long running time, exacting chronological sequencing, poor fidelity (all cuts are transferred from original acetates and 78s), and number of performances are hard to digest. The serious blues listener will find all these factors to be positive, but enthusiasts and casual listeners will find that the collection is of marginal interest for those very reasons. Thom Owens 

Tracklist :
1        I Need Yoz By My Side (A) 3:24
2        Blue And Evil Blues (A) 3:05
3        If It Wasn't For You (B) 3:04
4        Right Or Wrong (B) 3:21
5        Stop Truckin' And Suzy-Q (B) 2:46
6        Cheatin' On Me (B) 2:47
7        Your One And Only (B) 3:10
8        My Za Zu Girl (B) 3:02
9        Someday I'm Bound To Win (C) 3:11
10        Taking It And Make My Get Away  (C) 3:04
11        She Said It  (D) 2:53
12        It's Hard To Believe It's True  (D) 2:50
13        When Love Comes In  (D) 2:53
14        You Got To Learn To Do It  (D)  2:50
15        I Give My Love To You  (D) 3:14
16        I See You Can't Take It  (D) 2:44
17        My Gal Is Gone  (E) 3:11
18        When The One You Love Is Gone  (E)  3:05
19        You're More Than A Palace To Me  (F) 3:10
20        Harlem Swing  (F) 3:08
21        Oh Babe, Oh Baby  (F) 3:18
22        I'm Gonna Get High  (F) 3:03

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 9 • 1938-1939 | DOCD-5209 (1993) RM | FLAC (tracks+.cue), lossless

One of the greatest slide guitarists of the early blues era, and a man with an odd fascination with the kazoo, Tampa Red also fancied himself a piano player and bandleader, tendencies that come to the fore on this ninth installment of Document's attempt to release all of his known recorded work in chronological order. Covering the years 1937 and 1938, this collection is hardly typical of Red's work, since it has relatively few tracks featuring his trademark National Steel slide sound. Half of the disc is given over to small combo jazz pieces featuring Tampa Red's pleasant but ordinary vocal skills, and while these tracks are certainly professional and competent, it is a bit like discovering a Jimi Hendrix record with no guitar on it.  Steve Leggett

Tracklist :
1    Tampa Red–    Delta Woman Blues (A) 3:04
2    Tampa Red–    Deceitful Friend Blues     (A) 2:58
3    Tampa Red–    Wrong Idea (A) 2:49
4    Tampa Red–    Whoopee Mama (A) 2:54
5    Tampa Red–    Travel On (A) 2:21
6    Tampa Red–    Seminole Blues  (A) 3:01
7    Tampa Red And The Chicago Five–  (B) The Most Of Us Do    2:47
8    Tampa Red And The Chicago Five–  (B) We Gonna Get High Together    3:09
9    Tampa Red And The Chicago Five–  (B) Happily Married    3:06
10    Tampa Red And The Chicago Five–  (B) A Lie In My Heart    3:10
11    Tampa Red And The Chicago Five–  (B) Heck Of A How-Do-You-Do    2:47
12    Tampa Red And The Chicago Five–  (B) That May Get It Now    2:59
13    Tampa Red–    That Don't Matter Now (C) 2:40
14    Tampa Red–    Grouchy Hearted Woman (C) 2:53
15    Tampa Red–    Why Should I Care? (C) 3:22
16    Tampa Red–    Got To Leave My Woman (C) 3:15
17    Tampa Red And The Chicago Five– (D) Now That You've Gone    2:54
18    Tampa Red And The Chicago Five– (D) Rock It In Rhythm    2:51
19    Tampa Red And The Chicago Five– (D) I Do    2:59
20    Tampa Red And The Chicago Five– (D) Sweetest Gal In Town    2:34
21    Tampa Red–    Crazy With The Blues (E) 3:17
22    Tampa Red–    Love With A Feeling  (E) 2:57

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 10 • 1938-1939 | DOCD-5210 (1993) FLAC (tracks+.cue), lossless

Over ten years into Tampa Red's career and ten discs into their voluminous, multi-decade-spanning series of Complete Recorded Works, Document continued as strong as ever. These 22 tracks, recorded from mid-1938 to late 1939, embrace blues, rhythm tunes, and an occasional novelty like "Booze Head Woman" or "I Got a Big Surprise for You." As on previous volumes, collectors and serious blues fans will have the most interest in this completist format; everything from poor fidelity to chronological sequencing and a lengthy running time will prevent casual listeners from enjoying the entire proceedings. Thom Owens

Tracklist :
1    Tampa Red–    When Bad Luck Is On You (A) 3:09
2    Tampa Red–    When I Had A Good Woman (You Keep On Doggin' Me)     (A) 3:05
3    Tampa Red And The Chicago Five–    Mr. Rhythm Man (B) 2:51
4    Tampa Red And The Chicago Five–    Just You And I Alone (B) 3:01
5    Tampa Red And The Chicago Five–    Checkin' Up On You (B) 2:45
6    Tampa Red And The Chicago Five–    Oh, Yes, My Darling (B) 3:01
7    Tampa Red–    Forgive Me Please (C) 2:46
8    Tampa Red–    Blues For My Baby      (C) 3:16
9    Tampa Red–    Hellish Old Feeling (C)     3:11
10    Tampa Red–    She Got The Best In Town (C) 2:45
11    Tampa Red–    You Say It's Love  (D)     2:52
12    Tampa Red–    Bessemer Blues  (D) 2:45
13    Tampa Red–    Please Don't Throw Me Down  (D) 2:51
14    Tampa Red–    Sad Letter Blues  (D) 3:01
15    Tampa Red–    Booze Head Woman  (D) 3:00
16    Tampa Red–    If I Had Known  (D) 2:46
17    Tampa Red–    You Got To Give Me Some  (D) 3:11
18    Tampa Red–    Poor Old Gal Blues  (D) 2:48
19    Tampa Red–    No Good Woman Blues    (D) 3:15
20    Tampa Red–    Nobody Knows How Bad I Feel (D) 2:43
21    Tampa Red–    Ready For Rhythm      (E) 2:41
22    Tampa Red–    I Got A Big Surprise For You (E) 2:43

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 7 • 1937-1938 | DOCD-5129 (1993) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's 1930s recordings (reissued in full on this extensive series of Document CDs) are remarkably consistent and have an impressive amount of variety within the blues idiom. During the 11 months covered by this seventh volume, Broonzy recorded as part of three different trios with either Blind John Davis or Joshua Altheimer on piano and Fred Williams, Bill Settles or Ransom Knowling on bass; a "modern" quartet with tenorman Bill Owsley and the pioneering electric guitar of George Barnes (on Mar. 1, 1938); and with a few slightly expanded groups, including one with trumpeter Punch Miller. Broonzy was open to the influence of swing (thus the occasional horns) while sticking to his Chicago blues base. Such numbers as "Hattie Blues," "Somebody's Got to Go," "It's a Low Down Dirty Shame," "Unemployment Stomp," "Night Time Is the Right Time No. 2" and "W.P.A. Rag" show off his versatility and talents. Scott Yanow

Abridged from this album’s original booklet notes. “I sold a one-eyed mule and I bought me an automobile” Big Bill Broonzy sang on his 1937 recording Good Boy. Metaphorically this had been true for several years as he had moved away from the simpler instrumentation and rural images of his earlier records into a world that was decidedly metropolitan. On his session of 1st March 1938 he augmented his basic piano, guitar, bass and drums line-up with the introduction of a tenor sax and the electric guitar of George Barnes. Barnes, a virtuoso who often performed as a duo with Jazzman Carl Kress, brought an entirely new sound to Sweetheart Land a rather trite song on which Bill calls to the sax player to “Play that thing” in a tone of voice that makes it sound as if he doesn’t even know what “that thing” is! The sound was edging towards what would come to be known as R & B. The pianist on the following session was Josh Altheimer who would fill the role of Big Bill Broonzy‘s premier accompanist up until his death on the 18th of February 1940. Altheimer, who was born in 1910, never had a record issued over his own name but was well known for his work with Lonnie Johnson, Jazz Gillum, Washboard Sam and John Lee “Sonny Boy” Williamson. He was never a hard boogie man either, though he could rock when called upon to do so, but preferred to work in a band setting where he would seldom take a solo but would hold everything together with his rolling style. Trumpet star Punch Miller was on hand again to liven up the 30th March 1938 session which produced Unemployment Stomp, a topical up-tempo number that made reference to Mr. Roosevelt’s unemployment cards, and Bill’s ode to his own sexual potency I Got To Get Ready Tonight. “Here come a train”, he calls, and his order for a pint of oysters and a dozen eggs indicates that although he intends to ride it won’t be down the I. C. track. At the same session, but without Miller, Bill cut a version of the Dirty Mother Fuyer theme as Truckin’ Little Woman. The stripped-down trio of piano, guitar and string bass was used on Bill’s next studio appointment when he cut It’s Your Time Now with his wry observation to his girl-friend “Men tell you that you’re beautiful (but) they don’t have to keep you that way”. The electric guitar and tenor sax were back for the next set, probably being played by Georges Barnes and Bill Owsley, who doubled on clarinet, respectively. Big Bill Broonzy used them to cash in on an extension of Roosevelt Sykes‘ Night Time hit, which had been recorded the previous year, and a version of Shake ‘Em On Down that was about as far removed from that of Bukka White as it could get. The last two tracks on this disc from a session labelled as being by Big Bill and The Memphis Five. This was a jazz date featuring both the trumpet and an alto sax. Let Me Dig It, a selection from the bawdy “butcher’s son” chain of verses, has what sounds like a twin trumpet lead while W. P A. Rag is a straight ahead jazz band work out. DOCD-5129
Tracklist :
1        Made A Date With An Angel [Take 2] (A) 3:07
2        Play Your Hand (A) 2:55
3        Hattie Blues [Take 3] (B) 2:42
4        Somebody's Got To Go     (B) 2:56
5        Good Boy (B)     2:50
6        I Want You By My Side (B)     2:51
7        Border Blues (B) 2:49
8        Sweetheart Land    (C) 2:46
9        It's A Low Down Dirty Shame (C) 2:53
10        Got To Get Ready Tonight (D) 2:54
11        Trucking Little Woman     (D) 2:36
12        Unemployment Stomp (D) 2:35
13        Why Do You Do That To Me? (D) 2:56
14        It's Your Time Now (E) 2:48
15        I'll Start Cutting On You (E) 2:42
16        Sad Letter Blues (E) 2:48
17        The Mill Man Blues (E) 2:41
18        I'll Do Anything For You (F) 2:54
19        Sad Pencil Blues (F) 2:32
20        New Shake-em On Down [Take 2] (F) 2:52
21        Night Time Is The Right Time No. 2 (F) 2:47
22        Let Me Dig It    (G) 2:35
23        W.P.A. Rag (G) 2:47
Credits :
(A) Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937
(B) Big Bill Broonzry, vocal, guitar; Blind John Davis, piano; Bill Settles, stand-up bass. 21/19/1937
(C) Big Bill Broonzy, vocal, guitar; accompanied probably by Bill Owsley, tenor sax; Blind John Davis, piano; George Barnes, electric guitar.  01/03/1938
(D) Big Bill Broonzy, vcl; acc. Punch Miller, trumpet; Joshua Altheimer, piano; Fred Williams. drums. 30/03/1938
(E) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; probably Ransom Knowling, stand-up bass. 05/04/1938
(F) Big Bill Broonzy, vocal, guitar; Bill Owsley, clarinet 19,20,21 / tenor sax on18,19; probably Joshua Altheimer, piano; probably George Barnes, electric guitar; Ransom Knowling, stand-up bass.  05/05/1938
(G) Big Bill And The Memphis Five: Big Bill Broonzy, vocal, guitar; accompanied by Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; possibly Ransom Knowling, stand-up bass. 15/09/1938