JIM JACKSON — Complete Recorded Works In Chronological Order ★ Volume 2 • 1928-1930 | DOCD-5115 (1992) RM | FLAC (tracks+.cue), lossless

This second volume in Document's project to reissue the complete recorded works of Jim Jackson in chronological order isn't quite as necessary as the first, since that volume contains what are arguably his most important and interesting songs ("Kansas City Blues," "He's in the Jailhouse Now," "Old Dog Blue'," "I'm Wild About My Lovin'"). True, there are some worthwhile tracks here as well, including "What a Time," "Traveling Man," "Hesitation Blues," and a particularly impassioned version of W.C. Handy's "St. Louis Blues," but Jackson wasn't a striking enough guitarist or singer to overcome mediocre and cliché-ridden material, and there's plenty of that here, too. Document has also issued both of these volumes in a double-disc set, which may be preferable to collectors and blues scholars, but until someone issues a decent single-disc overview of Jackson's recordings, casual listeners should probably stick with the first volume. Steve Leggett
 
Abridged from this album’s original booklet notes. Jim Jackson‘s seemingly innocuous medicine show songs often combine subversion of white stereotypes with an apparent acceptance of them. Consider What A Time, with its references to gluttony, chicken stealing and laziness; so far, so submissive. Then comes the final verse:

“There stand a man, standin’ over there, With a blue coat on and lookin’ pretty fair, Got his collar all round his throat, I bet he smells like a billy goat.”

It never seems to have occurred to supremacists that black songs carried a meaning, and no doubt the white policeman referred to by this verse enjoyed the music just as much as the black audience he was supervising. Traveling Mart, too, has its points to make about the foolishness of the powerful. Most telling of all, perhaps, are the calmly resigned lines in Bye Bye Policeman, about the aftermath of a crap game (more stereotypical activity):

“He said, “Stop there boys, I’m the law, I’ll shoot to kill!” I turned around and looked at him, said “Reckon you will”.

Bye Bye Policeman, like a number of Jackson’s songs (eg. “Long Gone”), turns out to be a medley; it begins with a verse from Ernest Hogan’s “Pas Ma La”, published in 1895, cataloging then popular dances: the Bombashay, the World’s Fair, the Turkey Trot, and the Pas-a- ma-la itself. As well as preserving material from the songster era, like this and Going ‘Round The Mountain, Jim was also keeping up with fashion; Hey Mama – It’s Nice Like That, reworking material from What A Time. He was also still cutting sequels to his hit, Kansas City Blues; I’m Gonna Move To Louisiana was an obvious one, though he added a pretty guitar flourish to the basic tune. Ain’t You Sorry Mama? was a less blatant reworking, keeping only the tune, and abandoning the “moving away” theme in favour of largely traditional verses about a relationship in difficulties. On this song, Jackson was joined by a pianist, thought to have been Speckled Red (Rufus Perryman), who didn’t record under his own name until September 1929, but who credited Jim Jackson with getting him onto records. If Red was the pianist on this session, he was unlike his usual extrovert self, confining himself to restrained chording. The piano player on the 16 July date is rather more lively, especially on the pop-structured I Ain’t Gonna Turn Her Down; he clearly doesn’t know the song, waiting until Jackson has run through the song once before playing, but joins in with verve and assurance. None of the eight songs from this session was issued on 78, so the two musicians may not have blended as successfully on all titles; it’s a pity, for Dicty Blues sounds interesting, and Bring It On Home To Your Grandma may be the song recorded by the Mississippi Mud Mashers in 1935. Crazy ‘Bout Nancy Jane was recorded by the Famous Hokum Boys, but not until 1930, which may indicate that Georgia Tom Dorsey brought it along to both sessions, and so may help to identify the piano player on this date. Both Speckled Red and Georgia Tom were present on 14th October 1929, as was Tom’s partner Tampa Red, “the man with the gold guitar” (a gold plated National. See http://www.resonatorguitarguide.com/the-golden-guitar-of-tampa-red/ ). They assembled in Memphis to cut a promotional record, with Jackson’s name as the selling point, though Tom and Tampa were by now surely the bigger stars on race records. Georgia Tom narrated; as well as the inevitable It’s Tight Like That, Speckled Red contributed a roaring “Pinetop’s Boogie Woogie”, and Tampa adapted his Chicago Moan into a version that Dan Pickett knew, and recalled on disc in 1949. Jim Jackson himself was heard only briefly, singing a verse of a twelve-bar blues. Prior to this session, Jackson had done some moonlighting at Columbia, accompanying the lively crosstalk act of Liza Brown and Ann Johnson. Their sparring, which evidently played on one of them being large and the other small, remains lively and spontaneous sounding; on Let’s Get It Straight, Jim Jackson joins the conversation as the bemused object of the women’s rivalry. Jackson’s last session was in February 1930, when he cut powerful versions of two of the best known songs adapted by W. C. Handy from folk traditions; they stand as a neat summation of Jim Jackson‘s own career, with its tensions between the preservation of folk material, and accommodation to the demands of mass culture. DOCD-5115
Tracklist :
1    Jim Jackson–    What A Time    3:23
2    Jim Jackson–    What A Time    3:22
3    Jim Jackson–    This Ain't No Place For Me    3:02
4    Jim Jackson–    I'm Gonna Move To Louisiana - Pt. 1    3:36
5    Jim Jackson–    I'm Gonna Move To Louisiana - Pt. 1    3:35
6    Jim Jackson–    I'm Gonna Move To Louisiana - Pt. 2    3:43
7    Jim Jackson–    Traveling Man    3:20
8    Jim Jackson–    Going 'Round The Mountain    3:14
9    Jim Jackson–    Bye, Bye, Policeman    3:02
10    Jim Jackson–    Long Gone    2:40
11    Jim Jackson–    Hey Mama - It's Nice Like That - Pt. I 3:02
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
12    Jim Jackson–    Hey Mama - It's Nice Like That - Pt. II 2:57
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
13    Jim Jackson–    Ain't You Sorry Mama? - Pt. 1 2:54
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
14    Jim Jackson–    Ain't You Sorry Mama? - Pt. 2 3:13
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
15    Jim Jackson–    Foot Achin' Blues 3:04
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
16    Jim Jackson-    Love Sick Blues 2:51
Piano [Prob.] – Speckled Red
Vocals, Guitar – Jim Jackson
17    Jim Jackson–    Santa Fe Blues 3:06
Piano – Unknown Artist
Vocals, Guitar – Jim Jackson
18    Jim Jackson–    I Ain't Gonna Turn Her Down 2:37
Piano – Unknown Artist
Vocals, Guitar – Jim Jackson
19    Liza Brown And Ann Johnson–    Get On Out Of Here 3:15
Guitar – Jim Jackson
Piano – Unknown Artist
Vocals – Ann Johnson, Liza Brown
20    Liza Brown And Ann Johnson–    Let's Get It Straight 3:23
Piano – Unknown Artist
Vocals – Ann Johnson, Liza Brown
Vocals, Guitar – Jim Jackson
21    Jim Jackson–    Jim Jackson's Jamboree - Part I 3:11
Vocals – Jim Jackson
Vocals, Guitar – Tampa Red
Vocals, Piano – Speckled Red
Vocals, Piano, Speech [probably] – Georgia Tom Dorsey
22    Jim Jackson–    Jim Jackson's Jamboree - Part II 3:05
Vocals – Jim Jackson
Vocals, Guitar – Tampa Red
Vocals, Piano – Speckled Red
Vocals, Piano, Speech [probably] – Georgia Tom Dorsey
23    Jim Jackson–    Hesitation Blues (Oh! Baby, Must I Hesitate?)    3:21
24    Jim Jackson–    St. Louis Blues     2:43

SONNY BOY WILLIAMSON — Complete Recorded Works In Chronological Order ★ Volume 2 • 1938-1939 | DOCD-5056 (1991) RM | FLAC (tracks+.cue), lossless

Document's Complete Recorded Works, Vol. 2 (1938-1939) picks up where the first volume left off, reissuing 24 tracks from the 13-month period of June 1938 to July 1939. Unfortunately, there weren't as many classic performances during this era, leaving this the odd one out from the many volumes in this set. Serious blues fans will still find much of interest here, including versions of "Susie-Q" and "You've Been Foolin' Round Town," plus a second stab at his classic "Sugar Mama Blues."  Thom Owens

Abridged from this album’s original booklet notes. By 1938 any lingering doubts Bluebird might have had about Sonny Boy Williamson had been laid to rest and they had him in the studio three times that year. Sonny Boy was joined by Big Joe Williams and Yank Rachell during his second session in the studio and it is speculated to be the latter playing guitar on the rather hastily arranged title track My Baby I’ve Been Your Slave. For the second number Yank Rachell is on his more usual instrument, the Mandolin, to contribute to the crisp backing of Whiskey Headed Blues, a number that has since been given various treatments by artists such as Tommy McClennan and John Lee Hooker. On Shannon Street Sonny Boy describes getting drunk in Jackson and his wife’s reaction to the event. Alcohol and Sonny Boy Williamson were not a good mix and he would have increasing problems with it throughout his life. Deep Down In The Ground is built on the base of another song “Stack of Dollars”, a song associated with Sleepy John Estes and often performed by Big Joe Williams. For the next session Sonny Boy Williamson found himself in the recording company of Robert Lee McCoy (Nighthawk) on guitar, Rufus ‘Speckled Red’ Perryman on piano and an unknown (speculated to be Willie Hatcher) on mandolin. This time round the songs were more of a mixture and Sonny Boy illustrates that both he and his Harmonica have made the transition from a country style of playing to a big city environment sound. On the tracks Little Girl Blues and Low Down Ways it is almost impossible to believe that the same man can be both playing and singing. Other tracks include the swing dance numbers Susie Q, and Goodbye Red which is a reply to Harlem Hamfats’ hugely successful “Oh Red!”. These upbeat, foot tapping, down-home numbers are balanced by the urban inspired tracks Insurance Man and The Right Kind Of Life. More innovations were to follow on the 1939 session where Sonny Boy was joined by Walter Davis and Big Bill Broonzy. One of the outstanding tracks Little Low Woman Blues has Sonny Boy playing a high register harmonica which foreshadows the sound of Jimmy Reed. Big Bill‘s guitar work is more sophisticated than that of Sonny Boy‘s previous partners, shown to good effect on the tracks Good For Nothing Blues and Sugar Mama Blues No.2 where his delicate runs and fills almost over-shadow the harmonica. On the final track Good Gravy Big Bill and Sonny Boy spark off each other to perform a bravura performance that really swings. DOCD-5056
Tracklist :
1        My Baby, I've Been Your Slave 3:02
Guitar, Speech [possibly] – "Jackson" Joe Williams
Mandolin, Speech [possibly] – Yank Rachell
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
2        Whiskey Headed Blues 2:54
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
3        Lord, Oh Lord Blues 2:59
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
4        You Give An Account 3:10
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
5        Shannon Street Blues 3:20
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
6        You've Been Foolin' 'Round Town 2:45
Guitar – "Jackson" Joe Williams
Mandolin – Yank Rachell
Vocals, Harmonica – Sonny Boy Williamson
7        Deep Down In The Ground 3:14
Guitar – "Jackson" Joe Williams
Vocals, Harmonica – Sonny Boy Williamson
8        Number Five Blues 3:27
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
9        Christmas Morning Blues 3:21
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
10        Susie-Q 3:10
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
11        Blue Bird Blues - Part 2 3:22
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
12        Little Girl Blues 3:17
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
13        Low Down Ways 3:10
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
14        Goodbye Red 3:10
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
15        The Right Kind Of Life 3:20
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
16        Insurance Man Blues 3:17
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
17        Rainy Day Blues 3:16
Guitar [probably] – Robert Lee McCoy
Mandolin [probably] – Willie Hatcher
Piano – Speckled Red
Vocals, Harmonica – Sonny Boy Williamson
18        Bad Luck Blues 2:39
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
19        My Little Baby 2:56
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
20        Doggin' My Love Around 3:12
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
21        Little Low Woman Blues 2:45
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
22        Good For Nothing Blues 3:01
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
23        Sugar Mama Blues No. 2 3:07
Guitar – Big Bill Broonzy
Piano – Walter Davis
Vocals, Harmonica – Sonny Boy Williamson
24        Good Gravy 2:45
Guitar – Big Bill Broonzy
Vocals, Harmonica – Sonny Boy Williamson