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

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 9 • 1939 | DOCD-5131 (1993) FLAC (tracks+.cue), lossless

During the latter half of 1939, blues guitarist/singer Big Bill Broonzy was near the height of his fame and was recording quite prolifically. For the ninth of 11 Document CDs in the comprehensive Broonzy series, he is joined throughout by pianist Joshua Altheimer and either bassist Ransom Knowling (the first nine numbers) or drummer Fred Williams. The erratic clarinetist Odell Rand (who also plays some alto sax) is on the first session and does not help things much, but Broonzy is so strong that it really does not matter. Among the more notable numbers are "She Never," "Too Many Drivers," "That's All Right Baby" and "Dreamy Eyed Baby," while "Just a Dream No. 2" is a remake/continuation of his hit from earlier in the year. Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was as popular and prolific an artist in 1939 as at any time in his career. For his first session after the Memphis Five date in February Bill called upon the talents of Odell Rand and Ransom Knowling for back up to his own guitar, Josh Altheimer‘s piano and Fred Williams drums. Knowling was probably one of the most sought-after bass players in the city, listen to his slapping on Ride Alberta Ride to see why, and Rand never seemed to want for work for his clarinet, although listening to some of the lack-lustre and lifeless performances here it is hard to see just what Bill appreciated about his work. Maybe he just thought it helped to produce a more sophisticated overall sound. One stand-out track from this session is She Never, a tale of female duplicity that inspired many, Brownie McGhee and the obscure Harvey Hill among them, to produce versions of their own at a later date. Even more popular was Too Many Drivers, (“you told me you had one driver – you got two or three”) which further extended the “female as automobile” metaphor so prevalent in blues lyrics and which spawned a post war hit for Lowell Fulson. It was back to old standbys Josh Altheimer and drummer Fred Williams for his next round in the studio which produced a follow up to Bill’s hit Just A Dream, labelled No. 2, on which Altheimer plays a cascading piano part while Williams bashes away at the drums with far more force than finesse. In view of his later trips to these shores Big Bill Broonzy‘s observation, on Dreamy Eyed Woman, that “if you was born in England I believe you would ‘pass’ over there” may seem prescient but it was only a facet of his oft-made contention that “beauty is only skin deep – ugly is to the bone”. By the end of 1939 war had broken out in Europe and, although America was not yet directly involved, Europe’s misfortune, after the WPA and CCC and other manifestations of Roosevelt’s New Deal, represented a final nail in the coffin of depression in America. It looked as if Bill’s Big Money might come round again. DOCD-5131
Tracklist :
1        Just Wondering (A) 2:45
2        Keep On A-Smilin'     (A) 2:43
3        She Never  (A) 2:43
4        Woodie Woodie  (A) 2:54
5        Too Many Drivers (A) 2:34
6        You Can't Win (A) 2:40
7        Ride, Alberta, Ride  (A) 2:48
8        That's All Right Baby (A) 2:55
9        Please Be My So And So  (A) 2:42
10        I.C. Blues  (B) 3:00
11        Cotton Choppin' Blues (B) 2:45
12        Hot Dog Mama (B) 2:40
13        Dreamy Eyed Baby (B) 2:48
14        My Last Goodbye To You (B) 2:36
15        Don't You Want To Ride (B) 2:47
16        Don't You Be No Fool (B) 2:44
17        Just A Dream No. 2 (B) 2:47
18        Tell Me What I Done (B) 2:53
19        Oh Yes (B) 2:33
20        I'm Still Your Sweetheart, Baby     (C) 2:46
21        Down And Lost In Mind (C)    2:52
22        Let's Have A Little Fun (C)    2:55
23        Messed Up In Love (C)    2:42
Credits :
(A) BBB, vocal, guitar; accompanied by Odell Rand, clarinet / alto sax; Joshua Altheimer, piano; Ransom Knowling, stand-up bass. 11/05/1939
(B) BBB, vocal, guitar; accompanied by Joshua Altheimer, piano (except on 19); Fred Williams, drums. 14/09/1939
(C) BBB, vocal, guitar; accompanied by Joshua Altheimer, piano; Fred Williams, drums. 08/12/1939

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