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

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

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 11 • 1939-1940 | DOCD-5211 (1993) FLAC (tracks+.cue), lossless

Tracklist :
1        I'll Try To Forget    (A) 2:58
2        Don't Forget It (A) 2:57
3        My Two Women (A) 3:03
4        Sweet Mellow Woman Blues     (A) 2:58
5        Dangerous Woman Blues (A) 2:58
6        I Don't Care No More    (A) 2:49
7        Anna Lou Blues (B) 2:50
8        Don't You Lie To Me (B) 2:55
9        Tired Of Your Reckless Ways (B) 2:49
 

10        It Hurts Me Too (B) 2:29
11        Baby, Take A Chance With Me  (B) 3:11
12        What Am I Going To Do? (B) 2:56
13        The Way To Get The Low Down (B) 2:32
14        You Say We're Through (B) 2:35
15        The Jitter Jump (C) 2:50
16        I Want To Swing (C) 2:47
17        Forget About Me (C) 2:43
18        She Loves Just Right (C) 3:02
19        Poor Little Fellow Blues (C)     3:16
20        Hard Road Blues (C) 2:55
21        Noonday Hour Blues (C) 3:09
22        Poor Little Fellow Blues (C)     3:11

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 12 • 1941-1945 | DOCD-5212 (1993) RM | FLAC (tracks), lossless

One of the more interesting installments in Document's attempt to release all of Tampa Red's recorded works in chronological order, this 12th volume covers the years 1941 to 1945. Red was playing electric guitar by this point, and most of the tracks here are proto-templates for the electric Chicago blues sound, although a bit more reined-in and refined. The lead track, "Georgia Georgia Blues," is perfect Tampa Red, with solid guitar, an easy-rolling vocal, and -- of course -- a kazoo break. "Detroit Blues" is another highlight, and this disc also features two of Red's best hokum pieces, the risqué "Let Me Play With Your Poodle" and the equally as daring "She Wants to Sell My Monkey." You can tell the musicians are having fun here, and even the gloomier blues cuts are sung with a wink and a grin. This is what country blues sounded like after moving to the city and settling in, and Tampa Red's urbane tone balances perfectly between the old and the new. Steve Leggett

Tracklist :
1        Georgia, Georgia Blues    (A) 2:50
2        I Got A Right To Be Blue (A) 2:54
3        Don't Deal With The Devil    (A) 2:49
4        She's Love Crazy    (A) 2:58
5        It's A Low Down Shame (A) 2:51
6        You'd Better Be Ready To Go (A) 3:00
7        No Baby No (A) 2:41
8        So Far, So Good (B) 2:41
9        My First Love Blues (B) 2:57
10        Gin Head Woman (B) 2:44
11        Don't Jive It Mama (B) 2:44
12        Gypsy Lady Blues (B) 3:01
13        Mean And Evil Woman (B) 2:50
14        Let Me Play With Your Poodle (B) 2:35
15        She Want To Sell My Monkey (C) 3:18
16        You Gonna Miss Me When I'm Gone (C) 2:53
17        I Ain't Fur It     (C) 3:04
18        The Woman I Love      (D) 2:41
19        Detroit Blues     (D) 3:03
20        Sure Enough I Do (D) 2:47
21        Lula Mae     (D) 3:06
22        Mercy Mama (E) 2:50
23        I Can't Get Along With You     (E) 2:51

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 13 • 1945-1947 | DOCD-5213 (1993) RM | FLAC (tracks+.cue), lossless

Tracklist :
1        Give Me Mine Now (A) 2:49
2        Better Leave My Gal Alone (A) 2:42
3        I'll Be Up Again Some Day (B) 2:59
4        I Oughta Bite You (B) 3:01
5        Corrine Blues (B) 2:41
6        Play Proof Mama (B) 2:31
7        Let's Try It Again (C)  2:57
8        Maybe, Someday (C) 2:39
9        Crying Won't Help You  (C) 3:09  

10        Please Be Careful  (C) 3:11
11        You May Be Down Someday (D) 3:00
12        She's A Solid Killer Diller  (D) 3:21
13        Poor Stranger Blues  (D) 2:57
14        New Bad Luck Blues (D) 3:14
15        I Know My Baby Loves Me (E) 2:33
16        Blue And All Alone (E) 3:01
17        You Better Woo Your Baby (E) 2:44
18        Grieving Blues (E) 2:51
19        Sugar Baby (F) 2:39
20        Keep Jumping  (F) 2:40
21        I'll Dig You Sooner Or Later  (F) 2:54
22        Roaming And Rambling  (F) 3:00

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

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

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 8 • 1938-1939 | DOCD-5130 (1993) RM | FLAC (tracks+.cue), lossless

Big Bill Broonzy's popularity continued to rise during the five months covered by this CD (the eighth of 11) in Document's "complete" Broonzy series. In addition to 21 studio sides (five previously unissued) made in Chicago, Broonzy is heard performing "Done Got Wise" and "Louise, Louise" at John Hammond's "Spirituals to Swing" concert at Carnegie Hall (with the backing of pianist Albert Ammons and bassist Walter Page). Otherwise, the influential guitarist/singer is featured with the Memphis Five (a group including trumpeter Walter Williams and altoist Buster Bennett) and various trio/quartets with his regular pianist of the period, Joshua Altheimer. This CD is particularly notable for including the original version of "Just a Dream," which became a standard. Otherwise, Broonzy shows off the influence of both swing and country-blues in varying combinations; his repertoire here includes "Trouble and Lying Woman," "Flat-Foot Susie With Her Flat Yes Yes," "Preachin' the Blues" and "Fightin' Little Rooster." Scott Yanow

Abridged from this album’s original booklet notes. It was probably no accident that Big Bill Broonzy should follow his W. P. A. Rag with Going Back To Arkansas. In the depressed northern cities of 1938 life in the south could take on a golden glow of a nostalgia that ignored the facts of the case. The world of collard greens, ham hock and the benign “boss” that Broonzy evokes was just a myth and he had no plans for returning. Maybe Vocalion recognized this feeling as being a fanciful fabrication of the truth. Arkansas nor I Believe I’ll Go Back Home from this session were issued at the time. There was certainly nothing countrified about the treatment afforded last track cut by The Memphis Five at this time where the instrumental sound of Louise approaches swing – and I believe that Bill was bluffing when he threatened, on Trouble And Lying Woman, to “get me a sissy man and let all you women go”. Just over a month later Bill was back in the studio capitalizing on his hit Trucking Little Woman with a No. 2. At the same time he failed to make an acceptable cut of Flat Foot Susie. He tried again in October but the result had to wait almost ten years before it was released. 1938 was a seminal year for both Big Bill Broonzy and the blues generally. For the first time the music was brought to the notice of the white public at large. The story of John Hammond‘s search for Robert Johnson to represent the blues on his ‘Spirituals To Swing’ concert of December 1938 is well known. That, in his failure to locate Johnson alive, he should turn to Big Bill seems an odd course today, the similarities between the intense Johnson and the laid-back Broonzy being marked. Maybe the choice was made on the strength of Bill’s earlier recordings and his proficiency on the guitar; maybe it was just a panic reaction to fill out the program. Whatever, Bill, playing with support from Albert Ammons and Walter Page, charmed his audience, as can be heard from their reaction to Done Got Wise, and, almost inadvertently, set ajar a door for the blues that was to open further after the war and finally swing wide in the 1960s. When, in February of 1939 he cut a session with his stalwarts Josh Altheimer and Fred Williams, he included Done Got Wise and a statement of his personal philosophy in Whiskey And Good Times – “and a woman will do the rest”. Also on the sheets was that rarity a “gospel blues” on which Bill warns that “you may be having a good time with other women, but you may go to hell that way” and then qualifies his advice with the coda “don’t do as I do – just do as I tell you to”. The ironic Just A Dream was to become one of Bill’s best known songs and later, during his concert hall period, he converted it into a mild protest song that went down well with his liberal white audience. Five days after he cut Just A Dream Bill re-convened The Memphis Five using a trumpet, alto and a string bass along with the piano of Blind John Davis to produce the last five recordings on this disc, including the Mother Fuyer variant Fightin’ Little Rooster which was issued under his own name’. DOCD-5130
Tracklist :
1        Going Back To Arkansas (A) 2:49
2        Rider Rider Blues (A) 2:41
3        Living On Easy Street (B) 2:53
4        Good Time Tonight  (B) 2:30
5        Trouble And Lying Woman (B) 2:36
6        I Believe I'll Go Back Home     (B) 2:25
7        Flat Foot Susie With Your Flat Yas Yas  (C) 2:57
8        Trucking Little Woman No. 2  (C) 2:43
9        Hell Ain't But A Mile And A Quarter     (D) 2:54
10        Don't You Lay It On Me (D) 2:38
11        Done Got Wise (E) 2:37
12        Louise, Louise     (E) 2:53
13        Spreadin' Snake Blues    (F) 2:40
14        Baby Don't You Remember    (F) 2:43
15        Whiskey And Good Time Blues (F) 2:52
16        Baby I Done Got Wise    (F) 2:30
17        Preachin' The Blues (F) 2:41
18        Just A Dream (F)     2:34
19        Fightin' Little Rooster    (G) 2:33
20        Mary Blues (G) 2:34
21        You Can't Sell 'em In Here    (G) 2:37
22        Just Got To Hold You Tight [Take 1] (G) 2:30
23        Just Got To Hold You Tight [Take 2]     (G) 2:32
Credits :
(A) 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
(B) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; unknown, stand-up bass. 15/09/1938
(C) Big Bill Broonzy, vocal, guitar; accompanied probably Walter Williams, trumpet on 7; probably Buster Bennett, drums on 8; probably Horace Malcolm, piano; probably Fred Williams, drums on, 8. 27/09/1938
(D) Big Bill Broonzy, vocal; accompanied by Joshua Altheimer, piano; unknown, guitar; Ransom Knowling, stand-up bass. 10/11/1938
(E) Big Bill Broonzy, vocal, guitar; Albert Ammons, piano; Walter Page, stand-up bass. 23/12/1938
(F) Big Bill Broonzy, vocal, guitar; Joshua Altheimer, piano; Fred Williams, drums. 10/02/1939
(G) Big Bill And His Memphis Five: Big Bill Broonzy, vocal, guitar; Walter Williams, trumpet; Buster Bennett, alto sax; Blind John Davis, piano; probably Ransom Knowling, stand-up bass. 10/02/1939

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 10 • 1940 | DOCD-5132 (1993) FLAC (tracks+.cue), lossless

The tenth of 11 Document CDs covering all of Big Bill Broonzy's prewar sessions as a leader has three dates (resulting in 14 songs) in which Broonzy is joined by the reliable pianist Joshua Altheimer and either drummer Fred Williams or Washboard Sam on washboard. Altheimer died unexpectedly later that summer; the other two sets included on this CD have either Blind John Davis or Memphis Slim in Altheimer's place, and the trio is rounded off by either drummer Williams or bassist Ransom Knowling. Although Big Bill did not evolve much during 1940, he was near the peak of his popularity and very much in prime form. Among the high points of the 26 selections (including three previously unreleased alternate takes) in this collection are "Jivin' Mr. Fuller Blues," "Leap Year Blues," "What Is That She Got," "Lonesome Road Blues" and "I'll Never Dream Again." Recommended to Broonzy's many fans. Scott Yanow

Abridged from this album’s original booklet noes. Big Bill Broonzy recalled that his piano playing partner Josh Altheimer died on February 18th 1940, an assertion disputed by sessions files that record his presence on 17th April and 10th June of that year. However, by September Blind John Davis was back at the keyboard and it was around that time that Bill began to work with Peter Chatman, better known today as “Memphis Slim”, a name Bill claimed to have bestowed himself. He was still sticking to his basic sound and all the sides cut under his own name in 1940 featured only his own guitar, a piano and either Fred Williams‘ thudding drumming or contributions from Ransom Knowling on bass or Washboard Sam‘s sud-busting. Most interesting is his reply to the Carolina singer Blind Boy Fuller‘s Jivin’ Big Bill Blues of July 1939 (to be heard on DOCD 5095), Jivin’ Mr. Fuller Blues. Big Bill Broonzy never seemed to run out of ideas for his songs. Not only was he keeping himself supplied he was producing material for other artists. On the 17th April date he put forward the theory that as it was Leap Year “the women got to take care of the men (I gotta get even somehow)”. She would pay the bills and he would wear the ‘nation sack tied round his waist. The answer to the question What Is That She Got? would appear to be an eye affliction as the Annie referred to seems to spend most of her life winking at judges and cops. Washboard Sam brightened up the last session on which Bill and Josh worked together. His vigorous scrubbing seemed to spark off a reaction in the piano player and titles like Lone Wolf Blues and Midnight Steppers have a zip to them that was sometimes missing from Big Bill’s more elaborate productions involving clarinets and saxophones. So, at the end of 1940 Big Bill Broonzy was still on top, searching around for a replacement for Josh Altheimer and working the clubs and the house rents with people like Sonny Boy Williamson, Memphis Slim and Memphis Minnie. DOCD-5132
Tracklist :
1        Plow Hand Blues    (A) 2:56
2        Jivin' Mr. Fuller Blues (A) 2:54
3        Make My Getaway    (A) 2:46
4        Looking For My Baby (A) 2:48
5        I've Got To Dig You (B) 2:37
6        Leap Year Blues (B) 2:43
7        When I Have Money (B) 2:52
8        You Got To Hit The Right Lick (B) 2:49
9        What Is That She Got? (B)     2:35
10        Merry Go Round Blues (B) 2:41
11        Medicine Man Blues (C) 2:56
12        Looking Up At Down (C) 2:57
13        Midnight Steppers (C)     2:40
14        Lone Wolf Blues (C) 2:56
15        Hit The Right Lick (D) 2:37
16        You Better Cut That Out (D) 2:57
17        I Wonder What's Wrong With Me (D) 2:29
18        Bed Time Blues (D) 2:46
19        Merry-go-round Blues (D) 2:46
20        Serenade Blues (D) 2:50
21        Lonesome Road Blues (E) 2:53
22        Getting Older Every Day [Take 1] (E) 2:37
23        Getting Older Every Day [Take 2] (E) 3:15
24        That Number Of Mine (E) 2:40
25        My Gal Is Gone (E) 2:50
26        I'll Never Dream Again (E) 2:47
Credits :
(A) BBB, vocal, guitar; Joshua Altheimer, piano; Fred Williams, drums. 26/01/1940
(B) BBB, vocal, guitar; Joshua Altheimer, piano; Fred Williams, drums. 17/04/1940
(C) BBB, vocal, guitar; Joshua Altheimer, piano; Washboard Sam, washboard. 10/06/1940
(D) BBB, vocal, guitar; Blind John Davis, piano; Fred Williams, drums.  20/09/1940
(E) BBB, vocal, guitar; Memphis Slim, piano; Ransom Knowling, stand-up bass. 17/12/1940

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 11 • 1940-1942 | DOCD-5133 (1993) FLAC (tracks+.cue), lossless

The final of Document's prewar Big Bill Broonzy CDs (documenting all of his 1927-42 recordings) features Broonzy playing in a timeless style. Most of the performances could be considered goodtime music, with Broonzy sounding as if he were ready to party. On three of the four complete sessions that are included (plus "Rockin' Chair Blues," left over from the 1940 date otherwise included on Vol. 10), Broonzy is joined by either Memphis Slim, Horace Malcolm or Blind John Davis on piano, plus Washboard Sam (his half-brother) on washboard; Jazz Gillum sits in on harmonica during "Key to the Highway." The final set has Broonzy, pianist Memphis Slim and drummer Judge Riley joined by trumpeter Punch Miller and altoist Buster Bennett. Overall, this is a pretty strong program, with such numbers as "Sweet Honey Bee," "When I Been Drinking," "Key to the Highway," "Conversation With the Blues," "All By Myself," "I Feel So Good," "I'm Gonna Move to the Outskirts of Town" and "I'm Woke Up Now" being among the 25 selections. Big Bill Broonzy fans will want all of the releases in this remarkable series. Scott Yanow

Abridged from this album;s original booklet notes. The later thirties saw the first sign of economic recovery in America but Europe was in flames and it would only be a matter of time before the USA was drawn into the conflict. It was a time of turmoil but very little of it was reflected in the work of Big Bill Broonzy. He continued to produce good time music, proto R & B, personal blues and hokum with the occasional piece of nostalgia thrown in.  After the death of his long-time associate Josh Altheimer, Bill utilized the piano playing talents of Horace Malcolm and the young Memphis Slim, usually filling out the sound with a string bass or his half-brother’s washboard. Malcolm was on the date which produced the untypical Green Grass Blues a piece of nonsense about the rural bliss typified by windmills and wells, owls and roosters and log cabins with dirt chimneys; a never-never land where Bill could “make love on the grass with no bills to pay”. More in line with his usual philosophy is When I Been Drinking, a song much favoured, later, by Sunnyland Slim. It underlines Bill’s comment on the last page of his biography that “some blues singers can and do sing and don’t drink, but not Big Bill”. The last track cut on this session was a one-off on which Bill sang with the support of Jazz Gillum’s harmonica to produce the rural sounding and justly famous Key To The Highway, a song that was to be sung by just about everybody in the 1960’s. His next session produced two of his most successful songs in Double Trouble and All By Myself, the latter to become a standard in the repertoire of Memphis Slim who was responsible for the vigorous piano that appears on this jaunty up-tempo boast. Another Big Bill Broonzy standard, I Feel So Good was cut at the session of 2nd December 1941. At the same time Bill, who had been drafted in 1918, also sang about getting a letter from “a dear old uncle” on In The Army Now. Ironically this session took place just days before the Japanese attacked Pearl Harbor. Two of the recordings made at this session would be featured on V-Discs supplied to the armed forces as a morale booster during the conflict that was about to begin. Big Bill’s last pre-war session was a date with his Chicago Five, a renamed Memphis Five involving the trumpet of Kid Punch Miller and the sometimes filthy alto sax of Buster Bennett. Bill seemed preoccupied by the subject of betrayal at this gig when he sang Casey Bill Weldon‘s Outskirts Of Town (he had played guitar on Casey Bill‘s 1936 recording) and I’m Woke Up Now where he says of his some-time friends “they will hide their hands, boys, – after they throw a brick”. Big Bill Broonzy would resume his career on record as soon as the war ended – at the same time starting a second career that would extend his popularity to make him one of the best-loved blues singers of all time. DOCD-5133
Tracklist :
1    Big Bill Broonzy–    Rockin' Chair Blues    2:47
 Big Bill Broonzy / Tommy McClennan
2    Big Bill Broonzy–    Shine On, Shine On    2:57
3    Big Bill Broonzy–    Green Grass Blues    2:59
 Big Bill Broonzy
4    Big Bill Broonzy–    My Little Flower    2:47
5    Big Bill Broonzy–    Sweet Honey Bee    2:58
 Big Bill Broonzy
6    Big Bill Broonzy–    When I Been Drinking    2:50
 Big Bill Broonzy
7    Big Bill Broonzy–    Key To The Highway    3:01
 Big Bill Broonzy / Charles Segar
8    Big Bill Broonzy–    Double Trouble    2:46
9    Big Bill Broonzy–    Going Back To My Plow    2:55
10    Big Bill Broonzy–    I'm Having So Much Trouble    2:47
11    Big Bill Broonzy–    Wee Wee Blues    2:57
 Big Bill Broonzy
12    Big Bill Broonzy–    Conversation With The Blues    2:34
 Big Bill Broonzy
13    Big Bill Broonzy–    All By Myself    2:26
 Big Bill Broonzy
14    Big Bill Broonzy–    Keep Your Hand On Your Heart    2:53
 Big Bill Broonzy
15    Big Bill Broonzy–    Why Should I Spend My Money?    2:49
16    Big Bill Broonzy–    What's Wrong With Me?    2:35
 Big Bill Broonzy
17    Big Bill Broonzy–    I Feel So Good    2:45
 Big Bill Broonzy
18    Big Bill Broonzy–    In The Army Now    2:42
 Big Bill Broonzy
19    Big Bill Broonzy–    Bad Acting Woman    2:44
20    Big Bill Broonzy–    Night Watchman Blues    2:48
 Big Bill Broonzy
21    Big Bill Broonzy–    She's Gone With The Wind    2:41
22    Big Bill And His Chicago Five–    I'm Gonna Move To The Outskirts Of Town    2:52
 Andy Razaf / Will Weldon
23    Big Bill And His Chicago Five–    Tell Me, Baby    2:55
 Big Bill Broonzy
24    Big Bill And His Chicago Five–    Hard Hearted Woman    3:00
 Big Bill Broonzy
25    Big Bill And His Chicago Five–    I'm Woke Up Now    2:58
All Credits :

SONNY BOY WILLIAMSON — Complete Recorded Works In Chronological Order ★ Volume 3 • 1939-1941 | DOCD-5057 (1991) RM | FLAC (tracks+.cue), lossless

The third volume in Document's impressive five-part series of Sonny Boy Williamson collections includes a raft of great sides recorded between July 1939 and April 1941. Beginning with Williamson's classic "T.B. Blues," Complete Recorded Works, Vol. 3 (1939-1941) cycles through two dozen great performances, including "Tell Me, Baby," "My Little Machine," and "Jivin' the Blues," with accompaniment from a trio of strong sidemen: Big Bill Broonzy, Walter Davis, and Blind John Davis. Casual listeners may not find this as immediately interesting as a career-spanning compilation like Sugar Mama, but there's plenty of interest for nearly any level of fan. Thom Owens

Abridged from this album’s original booklet notes. The opening eleven tracks on this Document Records Sonny Boy Williamson album represent the greater part of his only studio appearance in 1939. Sonny Boy was again accompanied by Big Bill Broonzy on guitar and Walter Davis on piano. The first track T.B. Blues is a sombre recording of Victoria Spivey’s influential 1929 song. In Good Gal Blues Sonny Boy complains about how much singing he has to do; “Lost my voice, didn’t do nothin’ but make a lot of noise” registering a mild disapproval at the length of the session but if so he was back on fine form with a report on the heavyweight boxing fight between Joe Louis and John Henry. Other themes explored are the prison inspired tracks New Jail House Blues and Life Time Blues. Big Bill Broonzy, again, proves his worth on the fast and jivey track Tell Me Baby a song much favoured by blues singers. The session ends with Honey Bee one of two separate songs with this title recorded by Sonny Boy. It was May 1940 before Sonny Boy returned to the recording studio. This time he was accompanied by pianist Josh Altheimer and the fairly basic drumming skills of Fred Williams. The session kicks off with one of Sonny Boy‘s greatest recordings Dealing With The Devil, (later covered by several musicians, most notably; British rhythm & Blues great, John Mayal), which includes a chillingly prophetic reference to an ice-pick, later to be the lethal instrument of his own demise. With the outbreak of war in Europe Sonny Boy recorded the track War Time Blues inspired by a news reel. Decoration Day No.2 reprises one of Sonny Boy‘s earlier hits and Welfare Store Blues, with its references to Roosevelt, pinch-back soldier coats and tripe, is an updating of the flood blues “Red Cross Store” associated with Walter Roland and Lead Belly. The session was rounded off with My Little Machine and Jivin’ The Blues. Big Bill Broonzy was back for the last session to appear on this album. Recorded in 1940, they are joined by Blind John Davis on piano and possibly William Mitchell playing an imitation string bass. Western Union Man has Sonny Boy waiting for a message from his wife Lacey Belle and humorously speculating on the reasons for its delay. Shotgun Blues has more than a touch of Big Joe Williams to it and the signature “Well, well” vocal effect of Peetie Wheatstraw on My Baby Made A Change. DOCD-5057
Tracklist :
1        T.B. Blues 2:57
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
2        Something Going On Wrong 3:07
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
3        Good Gal Blues 2:43
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
4        Joe Louis And John Henry Blues 2:54
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
5        Thinking My Blues Away 2:53
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
6        I'm Not Pleasing You 2:44
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
7        New Jail House Blues 2:48
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
8        Life Time Blues 2:42
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
9        Miss Ida Lee 2:55
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
10        Tell Me, Baby 2:49
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
11        Honey Bee Blues 2:49
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
12        I Been Dealing With The Devil 2:47
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
13        War Time Blues 2:55
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
14        Train Fare Blues 2:47
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
15        Decoration Day Blues, No. 2 2:49
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
16        New Early In The Morning 2:39
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
17        Welfare Store Blues 2:48
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
18        My Little Machine 2:58
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
19        Jivin' The Blues 2:51
Drums – Fred Williams
Piano – Joshua Altheimer
Vocals, Harmonica – Sonny Boy Williamson
20        Western Union Man 3:00
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
21        Big Apple Blues 3:05
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
22        Springtime Blues 3:00
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
23        My Baby Made A Change 3:09
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
24        Shotgun Blues 2:56
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
25        Coal And Iceman Blues 3:02
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell

SONNY BOY WILLIAMSON — Complete Recorded Works In Chronological Order ★ Volume 4 • 1941-1945 | DOCD-5058 (1991) RM | FLAC (tracks+.cue), lossless

A comprehensive collection of the pioneer bluesman's work during the World War II years, with the exception of the period of the infamous Musician's Union ban on recording. Some of the topical songs--"Win the War Blues" and "We Got to Win"--comment directly on then current events, but there also songs adapted from other blues singers.

"Ground Hog," for example, is a variant of Tony Hollins' "Crawlin' King Snake," while "She Don't Love Me That Way" cribs from Sleepy John Estes. The overall sound, however, splits the difference between the earlier country blues of Sonny Boy Williamson's Bluebird Records period and the proto-Chicago blues to come. AllMusic

Abridged from this album’s booklet notes. From the date of his first recordings in 1937 (Document DOCD-5055) until his death a decade later Sonny Boy Williamson was the undisputed king of the blues harmonica, at least in Chicago. Although there were plenty of other artists using the instrument only William ‘Jazz’ Gillum achieved anything like the popularity of the boy from Jackson, Tennessee and even Jazz could never claim the mastery that Sonny Boy underlined with every performance. The period spanned on this Volume encompasses the bulk of World War Two and the infamous ban on recording brought about by James C. Petrillo. Petrillo became president of the Chicago local of the musician’s union in 1922, and was president of the American Federation of Musicians from 1940 to 1958. Petrillo dominated the union with absolute authority. His most famous actions were banning all commercial recordings by union members from 1942 – 1944 and again in 1948 to pressure record companies to give better royalty deals to musicians. Although Sonny Boy never commented on this event he was very vocal about the conflict which he saw as a chance for the black American to both prove himself and improve his lot. Check Up On My Baby is a rallying call track to prevent Hitler, Mussolini and Tojo from ‘treatin’ your baby wrong’, while Win The War Blues sees Sonny Boy fantasizing that “Uncle Sam” is going to give me a Thunderbolt. The usual amount of women seems to be involved in his life and this is reflected on the tracks Mattie Mae, Stella Brown, Black Panter Blues and Desperado Woman. Panter is an American variant of panther and the description of this lethal lady is described in the lyric “You should have heard me holler, I didn’t have time to swaller”. In contrast to this is She Was A Dreamer. Other songs in the session include Ground Hog Blues a variant of a Tony Hollins hit called “Crawlin’ King Snake” and She Don’t Love Me That Way which gathers in verses associated with sources as disparate as Sleepy John Estes and Lil Green‘s “Why Don’t You Do Right”. Another track Million Year Blues later became a hit for Eddie Boyd, whilst My Black Name Blues re-uses some lines from Leroy Carr‘s “Twenty Four Hours”. DOCD-5058
Tracklist :
1        Drink On, Little Girl 3:07
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
2        Mattie Mae Blues 3:07
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass [probably] – William Mitchell
3        I'm Gonna Catch You Soon 2:47
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
4        Million Years Blues 3:05
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
5        Shady Grove Blues 2:52
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
6        Sloppy Drunk Blues 3:16
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
7        She Was A Dreamer 2:39
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
8        You Got To Step Back 2:58
Double Bass – Ransom Knowling
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
9        Ground Hog Blues 2:44
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
10        Black Panter Blues 2:33
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
11        Broken Heart Blues 2:50
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
12        She Don't Love Me That Way 2:42
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washboard – Washboard Sam
Washtub Bass – Alfred Elkins
13        My Black Name Blues 2:46
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washboard – Washboard Sam
Washtub Bass – Alfred Elkins
14        I Have Got To Go 2:47
Guitar – Charlie McCoy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washboard – Washboard Sam
Washtub Bass – Alfred Elkins
15        Love Me, Baby 3:23
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
16        What's Gettin' Wrong With You? 2:50
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
17        Blues That Made Me Drunk 3:00
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
18        Come On, Baby, And Take A Walk 2:49
Guitar – Big Bill Broonzy
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
Washtub Bass – Alfred Elkins
19        Miss Stella Brown Blues 2:50
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
20        Desperado Woman Blues 2:39
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
21        Win The War Blues 2:48
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
22        Check Up On My Baby Blues 2:45
Drums – Armand "Jump" Jackson
Guitar – Ted Summitt
Piano – Blind John Davis
Vocals, Harmonica – Sonny Boy Williamson
23        G.M. & O. Blues 2:43
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson
24        We Got To Win 2:43
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson
25        Sonny Boy's Jump 2:50
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson
26        Elevator Woman 2:41
Double Bass – Ransom Knowling
Guitar – Bill Sid Cox
Piano – Eddie Boyd
Vocals, Harmonica – Sonny Boy Williamson