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

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 12 • 1945-1947 | BDCD-6047 (1995) MONO | FLAC (tracks+.cue), lossless

Tracklist :
1        Bull Cow Blues No.3 [Alt. Take]    3:07
2        Married Life Is A Pain [Alt. Take]    2:53
3        Black Mare Blues [Alt. Take]    2:51
4        W.P.A. Blues [Alt. Take]    3:13
5        Oh Babe (Don't Do Me That Way) [Alt. Take]    3:04
6        Little Bug [Alt. Take]    2:50
7        (I'm A) Wanderin' Man     3:06
8        I Love My Whiskey    3:03
9        You've Been Mistreatin' Me    2:53
10        I Stay Blue All The Time    2:27
11        Water Coast Blues    2:49
12        Five Feet Seven    3:21
13        I Wonder    2:52
14        Keep Your Hands Off Her    2:55
15        Mindin' My Own Business    3:09
16        John Henry    3:24
17        In The Evening When The Sun Goes Down    4:46
18        I Feel So Good    2:55
19        Who's Sorry Now    3:04
20        Trouble In Mind    3:07
21        Keep Your Hands Off Her    3:32
22        Mama Don't Allow    5:10
23        When The Saints Go Marching In    2:55
Credits :
Alto Saxophone – Buster Bennett (tracks: 5 - 12), Oett "Sax" Mallard (tracks: 13 - 16, 19 - 25)
Bass – John Levy (tracks: 1 - 4), Ransom Knowling (tracks: 13 - 18, 22 - 25)
Compiled By – Johnny Parth
Drums – Lawrence "Judge" Riley (tracks: 13 - 16, 19 - 25), Slick Jones (tracks: 1 - 4), Tyrell Dixon (tracks: 5 - 11, 17, 18)
Guitar, Vocals – Big Bill Broonzy
Piano – Big Maceo (tracks: 5 - 9), Bob Call (tracks: 19 - 25), Charles Belcher (tracks: 13 - 16), Kenny Watts (tracks: 1 - 4), Memphis Slim (tracks: 17, 18)
Tenor Saxophone – Bill Casimir (tracks: 13 - 16, 19 - 21), Don Byas (tracks: 1 - 4)
Trumpet – Johnny Morton (tracks: 13 - 16, 22 - 25)

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 13 • 1949-1951 | DOCD-5696 (2014) MONO | FLAC (tracks+.cue), lossless

This thirteenth volume of recordings by Big Bill Broonzy gives some idea of how this consummate performer was able to adapt to the many musical styles, trends, settings and eras that he encountered from the pre-war to post war years. From recording studios and night clubs of Chicago, Illinois, to the concert stage and night clubs Europe; Big Bill was one of the most remarkable of the blues artists to come from the pre-war period and ultimately became a pioneer as one of the blues world’s most famous ambassadors.

This collection begins, rather retrospectively, by presenting six alternative takes of titles recorded in Chicago for ARC by Big Bill between April, 1936 and January 1937. Other takes of these titles can be found on DOCD-5126 “Big Bill Broonzy Vol 4 1935 – 1936” and DOCD-5127 “Big Bill Broonzy Vol 5 1936 – 1937”. Having filled in some earlier gaps in Big Bill’s recording history, we move on to his first two recording sessions for the then fledgling, yet rapidly expanding, Mercury label, based in Chicago. There he met up with sax player Antonio Casey, pianist Carl Sharp, bass player Ransom Knowling and drummer Alfred Wallace.  Big Bill and his colleagues recorded five numbers. All of the performances were of a high and some might say flawless standard.These recordings, made as “Bill Broonzy and his Fat Four”, represent Bill as one of the leading figures of Chicago’s “City” or “Urban Blues”. The band’s “down-home” sound, with Bill’s electric guitar and Knowling’s miked-up bass gives a warm yet energetic feel to the performances. Added to this, the characteristic 1940’s sound of the urban blues is accentuated further by dominant passages, crafted by the cries of Antonio Casey’s alto sax. In the same way that Bill’s earliest recordings, made in the late 1920’s and throughout the 30s, presented him as a fine exponent of the earlier “country blues” style, with, at times, extraordinary acoustic guitar accompaniment to his instantly agreeable vocal style, so did this first powerhouse session for Mercury underline Bill’s successful ability to move with the times and with great authority.

One of the best examples of his willingness to experiment and reinvent his music came with his return visit to the Mercury studios only a month later, this time with just the drummer Alfred Wallace. Following the full, urban, sound that the band had unquestionably produced in the previous session, Bill was about to successfully achieve a remarkable sea change by using a minimalistic approach to this second set of recordings for Mercury.

Track 16 and its subsequent tracks represent the final regeneration of Big Bill’s music, his career as a musician and his private life. In Europe the gathering interest in blues music came from an already large and vibrant fan-base for jazz. The Düsseldorf concert would be significant for two reasons. First, it would be one of the first concerts performed by non-German jazz musicians in Germany after World War Two. Secondly, the recording of the event, presented here, would become the only recording of his “live” performances to survive from his first tour of Europe.

Undoubtedly, compared to playing in the clubs of Chicago, during the twenties, thirties and forties, to stand on a stage in grand concert building in post-war Germany, in front of a large, white, seated audience, must have been a daunting experience for a black American performer who was relatively unknown beyond his own country. Yet, standing there alone in the spot light with only his acoustic guitar between him and his audience, Bill gently laughs and with that his audience gently laughs with him. Perhaps they are both acknowledging the extraordinary situation that they find themselves in. Indeed, Bill sounds genuinely happy as he moves with seemingly great confidence and rapport through his set. Perhaps he had taken a little “preparation” before he walked onto the stage. Who would blame him?

Instead of taking an easy route and easing himself into the set with a calm and gentle number, Bill introduces his first “title” and then opens up with a fizzing version of John Henry, using his rapid plectrum style, which he memorably used with great effect on such titles as “How You Want It Done?” recorded for the Banner label back in 1932. With the first two “thank you”’s of many to follow for his new audience, Bill by contrast, then plays the “calm” number; In The Evening When The Sun Goes Down. With perfect execution Bill has already won them over and one can only imagine the look of wonder and admiration if not curiousness of the faces in front of him as he gently eases his way, without another sound from the hall, through the song written by his old friend, the late Leroy Carr. By the end of the concert this new, enthralled audience, many, perhaps, becoming firm fans of Bill and his music for the first time, leave the hall for the bars or home, happy and satisfied. DOCD-5696
Tracklist :
1        Bull Cow Blues No.3 [Alt. Take]    3:07
2        Married Life Is A Pain [Alt. Take]    2:53
3        Black Mare Blues [Alt. Take]    2:51
4        W.P.A. Blues [Alt. Take]    3:13
5        Oh Babe (Don't Do Me That Way) [Alt. Take]    3:04
6        Little Bug [Alt. Take]    2:50
7        (I'm A) Wanderin' Man     3:06
8        I Love My Whiskey    3:03
9        You've Been Mistreatin' Me    2:53
10        I Stay Blue All The Time    2:27
11        Water Coast Blues    2:49
12        Five Feet Seven    3:21
13        I Wonder    2:52
14        Keep Your Hands Off Her    2:55
15        Mindin' My Own Business    3:09
16        John Henry    3:24
17        In The Evening When The Sun Goes Down    4:46
18        I Feel So Good    2:55
19        Who's Sorry Now    3:04
20        Trouble In Mind    3:07
21        Keep Your Hands Off Her    3:32
22        Mama Don't Allow    5:10
23        When The Saints Go Marching In    2:55
Credits :
Big Bill Broonzy - Vocal, Guitar
Includes : Black Bob - Piano
Charley McCoy - Mandolin
Antonio Casey - Alto Sax
Ransom Knowling - Bass
Alfred Wallace - Drums
Graham Bell’s Australian Jazz Band

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

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

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

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