TOO LATE, TOO LATE BLUES — Newly Discovered Titles & Alternate Takes ★ Volume 1 • 1926-1944 | DOCD-5150 (1993) RM | FLAC (tracks+.cue), lossless

This CD initiated a logical series for the Document label. The company's goal of reissuing every single prewar recording has resulted in hundreds of valuable CDs being reissued. Inevitably, there were new discoveries of music after the fact, so this series consists of previously unreleased titles, alternate takes, and discoveries. Vol. 1 has selections from Blind Blake ("Early Morning Blues"), Blind Lemon Jefferson ("Lock Step Blues" and "Hangman's Blues"), George "Bullet" Williams, Bessie Tucker, the Memphis Jug Band, Willie Baker, Rev. D.C. Rice, Charlie Spand, Robert Peeples, Charley Patton (an alternate of "I Shall Not Be Moved"), Big Bill Broonzy, Frank Brasswell, Memphis Minnie, the team of Kansas City Kitty & Georgia Tom Dorsey, Bo Carter, Joe McCoy, Kokomo Arnold (a test pressing of his famous "Milk Cow Blues"), Little Buddy Doyle, and Lonnie Johnson. More general blues collectors should explore the more obvious releases first, but specialists will find these 26 performances (and those in later CDs included in this series) to be quite fascinating. Scott Yanow

Abridged from this album’s original booklet notes. Document strives to preserve and present each artist’s oeuvre in a concise, logical format that will make it available for further enjoyment and study for many years to come. Inevitably, however, some items do turn up and become available to Document after (or perhaps even because) the major alcum issue is released. It is only then that some collectors realize what rare and unusual items they already have in their collections, and they make them available for Document to share with the larger community. This issue, then, acts as a clearing house to preserve and expand on what has previously been available, and also can serve as a sampler of artists that have been featured. These additional items fall into several main categories. The Rev. D. C. Rice test pressing was one I had a dub of for some ten years, but I realized only in hindsight that it was not generally known to exist. When I sent it to Document, it turned out that technical limitations (absolute album playing time) precluded its earlier use in any case, but this is a case of better late than never. I think it was Bob Dixon who pointed out this fact of life for the compiler; as soon as the work is completed as much and as well as possible, in come the corrections and additions to keep him humble and constantly on the lookout for more. Some of these are items that have only been found in the last year or so. One of these Big Bill’s is a case in point, having been picked up in a lot that was brought in “off the street” for disposal. Richard Hite sold the 78 to Pete Wielan who made it available. Mike Kirsling has made available items that he found in the great Paramount test lot of several years ago, but which he retained. Now they will be available. Several items have been tracked down via the Rarest 78’s column in 78 Quarterly. Those we’ve been able to contact have been most generous and forthcoming to help make this (and, indeed, the whole series in general) as complete and good sounding as it is. As for the question of alternate takes, Document has been including them when they are aurally different. The Charley Patton -2 included here is an exception – not noticeably different to our ears, but a better copy in any case. Some of these alternates come to our attention aurally, as in the case of Memphis Minnie‘s Reachin’ Pete, of which only one take was thought to exist. So we know for sure that some people at least listen to these issues with intense concentration. No doubt there are interesting stories behind each item presented here, but here are included the newly found, newly recognized, and newly offered items and the background of only a few of them. In conclusion, we dedicate this issue to you, the listener, who makes this task of retrieval, preservation and presentation such a labor of love for us all. DOCD-5150
Tracklist :
1    Blind Blake–    Early Morning Blues (3057-2)    2:57
2    Blind Lemon Jefferson–    Lock Step Blues (20750)    3:05
3    Blind Lemon Jefferson–    Hangman's Blues (20751-2)    3:04
4    George "Bullet" Williams–    Frisco Leaving Birmingham (Take 3)    2:52
5    Bessie Tucker–    My Man Has Quit Me (Take 2) 3:08
Piano – K.D. Johnson
6    Memphis Jug Band–    Stealin' Stealin' (Take 3) 3:07
Vocals [Group Vcl] – Memphis Jug Band
7    Willie Baker–    Weak-Minded Woman (14782 - Test)    3:04
8    Rev. D.C. Rice–    Will They Welcome Me There? (Test) 3:17
Mandolin – Unknown Artist
Piano – Unknown Artist
Tambourine – Unknown Artist
Triangle – Unknown Artist
Trombone – Unknown Artist
Trumpet – Unknown Artist
9    Charlie Spand–    Levee Camp Man (Breakdown) (Take 6 - Test)    1:31
10    Charlie Spand–    Mississippi Blues (Take V6 - Test)    2:49
11    Robert Peeples–    Worry Blues (Test)    2:39
12    Charley Patton–    I Shall Not Be Moved (Take 2)    3:02
13    Big Bill–    Bow Leg Baby 2:38
Piano – Georgia Tom Dorsey
14    Frank Brasswell–    Mountain Jack Blues (16575) 2:26
Piano – Unknown Artist
15    Memphis Minnie–    Memphis Minnie-Jitis Blues (Take B) 3:15
Guitar – Kansas Joe McCoy
16    Kansas City Kitty & Georgia Tom–    Do It Some More    3:11
17    Kansas City Kitty & Georgia Tom–    Knife Man Blues    3:11
18    Bo Carter–    New Auto Blues    3:02
19    Big Bill–    Worried In Mind Blues    3:00
20    Joe McCoy–    Meat Cutter Blues (Alternate Take) 3:08
Guitar [Possibly] – Charlie McCoy
21    Joe McCoy–    What's The Matter With You? 2:55
Piano – Jimmie Gordon
22    Memphis Minnie–    Reachin' Pete (Take B)    3:10
23    Kokomo Arnold–    Milk Cow Blues – No. 5 (Test)    2:44
24    Memphis Minnie–    Running And Dodging Blues (Take 2 - Test) 2:43
Bass [String Bass, Probably] – Ransom Knowling
Clarinet – Arnett Nelson
Piano – Blind John Davis
25    Little Buddy Doyle–    Slick Capers Blues (Test) 2:35
Harmonica [Probably] – Walter Horton
26    Lonnie Johnson–    The Victim Of Love 3:10
Bass [String Bass] – Ransom Knowling
Piano – Blind John Davis

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

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

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

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

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

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

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

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

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

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

JAZZ GILLUM — Complete Recorded Works In Chronological Order ★ Volume 4 • 1946-1949 | DOCD-5200 (1993) RM | FLAC (tracks), lossless

The fourth and final Document volume that reissues all of Jazz Gillum's recordings (other than his first two lost numbers and a later Lp) finds the singer and harmonica player performing in a style unchanged from the late 1930s even as the music world changed around him. He still sounded quite enthusiastic during this last batch of goodtime and lowdown blues, and the backup groups (with either Big Maceo, James Clark, Eddie Boyd or Bob Call on piano and the talented guitarist Willie Lacy being a major asset) are excellent. Highlights include "Roll Dem Bones," "You Got To Run Me Down," "Signifying Woman," "The Devil Blues" and "Gonna Be Some Shooting." Scott Yanow

Abridged from this album’s original booklet notes. After their session with Roosevelt Sykes, Jazz Gillum’s studio association with Big Bill Broonzy seems to have come to an end and in February 1946 he was working with the great Big Maceo Merriweather on piano, Baby Doo Caston on guitar and Alfred Elkins on bass. All that was missing from the classic bar-band line-up of the early fifties was the drummer and at his next session in September of the same year Gillum introduced Judge Riley to fill the gap. Given the largely conservative attitude of RCA Victor one can only speculate as to what Gillum was actually playing in the clubs at this time. In the studio he continued to use this basic line-up up until his last, unissued, session for Victor in 1950. By this time the second southern invasion, led by Muddy Waters, had taken place and the writing was on the wall for Gillum’s generation of blues singers. Some, like Tampa Red had the adaptability to try to move along with the new trend while others, led by Big Bill, took a deliberate backward step for the benefit of the white folklorists. Others still either retired or just fell on tough times. Jazz Gillum seems to have been one of the latter and was forced to find means to support himself and his family outside music. In an interview with Paul Oliver in 1959 Muddy Waters remarked that he hadn’t seen Jazz Gillum in ten years. His reputation, coupled with the increased white interest in blues led to his recording along with Memphis Slim for the Folkways Label in 1961. He later worked at the folk club The Fickle Pickle and was poised to take a role in the “boom” of the 1960s when his death came on March 29th 1966. Fulfilling the prophecy of one of his last Victor recordings that there was Gonna Be Some Shooting he was shot in the head during an argument and was dead by the time he arrived at hospital. For the tastes of today’s, white, blues fan Jazz Gillum was never one of the leading lights on the blues scene of the thirties and forties but neither was he one to be ignored. He sold a lot of records. Although his harmonica style became outdated as soon as John Lee Williamson appeared, it did add a touch of country to balance the random clarinets, saxophones and trumpets that were coming to dominate the blues of the late thirties. Jazz continued to move with the times himself and by the end of his career was working with drummers and electric guitarists while using his heavy voice to good effect on songs that were as often as not written by Washboard Sam. His main objective as a performer was to entertain and in that he certainly succeeded. DOCD-5200
Tracklist :
1        Fast Woman 3:12
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum
2        All In All Blues 2:52
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum
3        Keep On Sailing 2:43
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum
4        Look On Yonder Wall 2:59
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum
5        Long Razor Blues 2:51
Double Bass – Alfred Elkins
Guitar – Leonard Caston
Piano – Big Maceo Merriweather
Vocals, Harmonica – Jazz Gillum
6        I'm Gonna Train My Baby 2:59
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – James Clark
Vocals, Harmonica – Jazz Gillum
7        Roll Dem Bones 2:45
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – James Clark
Vocals, Harmonica – Jazz Gillum
8        Can't Trust Myself 2:56
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – James Clark
Vocals, Harmonica – Jazz Gillum
9        I'm Not The Lad 3:13
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – James Clark
Vocals – Jazz Gillum
10        The Blues What Am 2:34
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Eddie Boyd
Vocals, Harmonica – Jazz Gillum
11        Gonna Take My Rap 3:08
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Eddie Boyd
Vocals – Jazz Gillum
12        You Got To Run Me Down 2:29
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Eddie Boyd
Vocals, Harmonica – Jazz Gillum
13        Chauffer Blues 2:35
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Eddie Boyd
Vocals, Harmonica – Jazz Gillum
14        Hand Reader Blues 3:05
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
15        Country Woman Blues 2:59
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
16        You Should Give Some Away 3:01
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
17        Take A Little Walk With Me 3:01
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
18        What A Gal 3:08
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
19        Signifying Woman 2:45
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
20        The Devil Blues 2:50
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
21        Jazz Gillum's Blues 2:54
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Willie Lacey
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
22        Take One More Chance With Me 3:02
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Pete Franklin
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
23        Gonna Be Some Shooting 3:00
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Pete Franklin
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
24        Look What You Are Today 2:53
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Pete Franklin
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum
25        A Lie Is Dangerous 2:29
Double Bass – Ransom Knowling
Drums – Judge Riley
Guitar – Pete Franklin
Piano – Bob Call
Vocals, Harmonica – Jazz Gillum

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 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

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 14 • 1949-1951 | DOCD-5214 (1993) RM | FLAC (tracks+.cue), lossless

Volume fourteen, of fifteen volumes charting Tampa Red’s recording career from 1929 to 1953, further galvanises the link between the blues styles of the rural south to the city sound of the north and in particular, Chicago. Here, his blues are solid, sometimes they are low down, sometimes they jump, often they are driven and occasionally they are even Boogied!!

The first three tracks feature Tampa on piano accompanying the vocal and guitar of Pete Frankiln. Frankiln’s guitar style is closely based on that of Scrapper Blackwell, his vocal, along with Tampa’s piano playing encompasses the sound of another major figure of the Chicago blues scene, Big Maeo Merriweather. For the rest of the album Tampa back to the guitar, including his trademark slide playing and is accompanied by Johnnie Jones, Ransom Knowling and Odie Payne; three men who were about to become part of one of the most dynamic and exciting blues bands  in Chicago during the 1950s; “The Broomduster’s”, led by the legendary Elmore James. Almost as a forerunner for things to come, we have, here, the first recording of When Things Go Wrong which James would record as “It Hurts Me Too”.

Pete Franklin an Indianapolis born guitarist/pianist who modelled himself on Leroy Carr and Scrapper Blackwell. On arrival in Chicago Franklin made the acquaintance of Jazz Gillum and Tampa Red and through them was employed by Victor A&R / Producer, Lester Melrose, as supporting guitarist to Gillum on 25th January 1949. The following day Melrose recorded Franklin in his own right. The pianist for the four number session was Pete Franklin – Tampa Red who, not unnaturally, chose the Leroy Carr style as his accompaniment to Franklin.

That session was held at Melrose’s address at 8922 S. Hoyne Avenue, as were those by Tampa Red in March 1949 and March 1950. Johnny Jones, then aged twenty-four, shows his indebtedness to Maceo on the bouncing “It’s A Brand New Boogey” and “When Things Go Wrong With You”, a remake of Tampa’s 1940 “It Hurts Me Too”. Jones’s other talent was as a harmonica player and his eerily accurate evocation of John Lee “Sonny Boy” Williamson’s style can he heard on the infectious shuffle, “Put Your Money Where Your Mouth Is”.

The start of a new decade was acknowledged by Tampa with the aptly titled “1950 Blues” which features Jones duetting on the chorus, there were also a further number of remakes including his 1928 hit, “It’s Tight Like That” (as “It’s Good Like That” with sonic spirited playing from Jones) and his 1938 offering, “Love Her With A Feelin’”. Perhaps getting Tampa to re-record some of his earlier successes fifties style was just another way of trying to reach the new audience. Later that year, in November, Tampa recorded a remake of his 1934 recording “Black Angel”, (as “Sweet Little Angel”) a number that Robert Nighthawk had enjoyed great success with for Chess the previous year and one that Tampa had long claimed authorship on even though it was first recorded as “Black Angel Blues” by Lucille Bogan in 1930. The song eventually became an R&B hit for B. B. King and unfortunately for Tampa, forever linked with that artist. DOCD-5214
Tracklist :
1    Pete Franklin–    Casey Brown Blues 3:08
Bass – Ransom Knowling
Piano – Tampa Red
Vocals, Guitar – Pete Franklin
2    Pete Franklin–    Mr. Charley 3:05
Bass – Ransom Knowling
Piano – Tampa Red
Vocals, Guitar – Pete Franklin
3    Pete Franklin–    Down Behind The Rise 3:07
Bass – Ransom Knowling
Piano – Tampa Red
Vocals, Guitar – Pete Franklin
4    Tampa Red–    It's A Brand New Boogey 2:56
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
5    Tampa Red–    Come On, If You're Coming 2:50
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
6    Tampa Red–    Please Try To See It My Way 3:03
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
7    Tampa Red–    When Things Go Wrong With You 2:55
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
8    Tampa Red–    Put Your Money Where Your Mouth Is 2:49
Bass – Ransom Knowling
Drums – Odie Payne
Harmonica [Uncredited] – Unknown Artist
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
9    Tampa Red–    That's Her Own Business 2:52
Bass – Ransom Knowling
Drums – Odie Payne
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
10    Tampa Red–    It's Too Late Now 2:55
Bass – Ransom Knowling
Drums – Odie Payne
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
11    Tampa Red–    I'll Find My Way 2:35
Bass – Ransom Knowling
Drums – Odie Payne
Tenor Saxophone – Sugarman Penigar
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
12    Tampa Red–    1950 Blues 3:14
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
13    Tampa Red–    It's Good Like That 2:31
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
14    Tampa Red–    Love Her With A Feelin' 3:14
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
15    Tampa Red–    New Deal Blues 3:12
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
16    Tampa Red–    Midnight Boogie 2:44
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
17    Tampa Red–    Don't Blame Shorty For That 2:46
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
18    Tampa Red–    I Miss My Lovin' Blues 2:54
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
19    Tampa Red–    Sweet Little Angel 2:56
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
20    Tampa Red–    Since My Baby's Been Gone 2:46
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
21    Tampa Red–    She's Dynamite 2:17
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
22    Tampa Red–    Pretty Baby Blues 2:59
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones
23    Tampa Red–    Early In The Morning 3:13
Bass – Ransom Knowling
Drums – Odie Payne
Vocals, Guitar, Kazoo – Tampa Red
Vocals, Piano – Johnnie Jones

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 15 • 1951-1953 | DOCD-5215 (1993) RM | FLAC (tracks), lossless

Tracklist :
1    Tampa Red–    Boogie Woogie Woman    (A) 2:23
2    Tampa Red–    She's A Cool Operator    (A) 3:01
3    Tampa Red–    I Won't Let Her Do It    (A) 2:44
4    Tampa Red–    Green And Lucky Blues     (A) 2:46
5    Tampa Red–    I'm Gonna Put You Down (B) 2:49
6    Tampa Red–    Look a There, Look A There     (B) 2:41
7    Tampa Red–    True Love (B) 2:42
8    Tampa Red–    But I Forgive You     (B) 2:51
9    Tampa Red–    Too Late Too Long     (C) 3:00
 

10    Tampa Red–    I'll Never Let You Go (C) 2:20
11    Tampa Red–    Al Mixed Up Over You (C) 2:47
12    Tampa Red–    Got A Mind To Leave This Town    (C) 2:37
13    Jimmy Eager & His Trio–    Please Mr. Doctor     (D) 2:49
14    Jimmy Eager & His Trio–    I Should Have Loved Her More    (D) 2:58
15    Jimmy Eager & His Trio–    Baby Please Don't     (D) 2:57
16    Jimmy Eager & His Trio–    Beat That Bop (D) 3:07
17    Tampa Red–    So Crazy About You Baby (E) 3:00
18    Tampa Red–    So Much Trouble (E) 2:59
19    Tampa Red–    If She Don't Come Back  (E) 2:34
20    Tampa Red–    Big Stars Falling Blues (F) 3:08
21    Tampa Red–    Rambler's Blues (F) 2:42
22    Tampa Red–    Evalena (F) 2:27

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