BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 4 • 1935-1936 | DOCD-5126 (1992) RM | FLAC (tracks+.cue), lossless

Swing might have been king by 1935-36, but Big Bill Broonzy was a different type of royalty, one of the major bluesmen in Chicago. Always a technically skilled guitarist, Broonzy's vocalizing had grown in maturity and depth during the first half of the 30s. On the fourth of 11 Document CDs that contain all of Big Bill's prewar recordings as a leader (and many as a sideman), Broonzy is heard on two religious numbers with the Chicago Sanctified Singers, one tune ("Keep Your Mind On It") with the Hokum Boys, and 21 songs either in duets with pianist Black Bob or trios with Black Bob and bassist Bill Settles. Among the more memorable selections are "Bad Luck Blues," "I'm Just a Bum," "Keep Your Hands Off Her," "The Sun Gonna Shine In My Door Someday" and "Match Box Blues."  Scott Yanow

Abridged from this album’s original booklet notes. Big Bill Broonzy was known by just about everybody involved in the music scene in Chicago. By mid-1935, when this volume takes up the story, the depression was easing somewhat and the juke box was countering its threat to one aspect of the musician’s livelihood by providing an opportunity in another in the form of increased recording activity and wider distribution of the product. Although he always worked at one or more “normal” jobs, labouring or serving in stores, Bill seems to have spent most of his life between the studios and the bars at this time and it is strange that, despite his involvement in enumerable sessions, only twenty tracks appeared under his own name on the Bluebird label (those not appearing here can be found on volumes 2 and 3 of this series). After much research and controversy Black Bob‘s real name remains uncertain though it seems probable that he was the Bob Hudson remembered by Memphis Slim. Louis Lasky, whose own work appears on DOCD 5045 The Songster Tradition, is alleged to have taught Bill how to flat-pick; he is also speculated to be the Louis Leslie associated (by “circumstantial” evidence, to quote Dixon and Godrich) with the Chicago Sanctified Singers. Certainly Leslie, Big Bill and Black Bob were all present in the ARC studios when the two Sanctified Singers sides were cut so a likely line up for this group might be Bill or Leslie, guitar, Bob, piano, and a vocal trio made up of Bill, with either Bob or Leslie and an unknown female. The influence of Leroy Carr on Big Bill Broonzy‘s work at this time is marked both on such upbeat numbers as the bouncy Keep Your Hands Off Her (a gentler title than the more usual Keep Your Hands Off It) and such sadly reflective songs as Bad Luck Blues. His voice was never as wistful as Carr’s but he made a conscious effort to study and reproduce the guitar sound of Scrapper Blackwell and supported by the outstandingly sympathetic piano of Black Bob (sometimes augmented by Bill Settles‘ string bass) produced a string of satisfying blues recordings to counterbalance the flood of hokum material that was washing over the market during those years. Big Bill Broonzy‘s involvement with this side of the business saw him working with such groups as The Midnight Ramblers and The State Street Boys. One representative track, The Hokum Boys‘ Keep Your Mind On It, is included here; it sees Big Bill Broonzy taking the vocal backed up by the guitar of Casey Bill Weldon and the sud-busting of Bill’s alleged half-brother Washboard Sam. DOCD-5126
Tracklist :
1    Chicago Sanctified Singers–    Tell Me What Kind Of Man Jesus Is 2:53
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
2    Chicago Sanctified Singers–    I Ain't No Stranger Now 2:52
Guitar [Probably], Vocals [Probably] – Louie Lasky
Guitar, Vocals [Probably] – Big Bill Broonzy
Piano [probably] – Black Bob
3    Big Bill Broonzy–    Mountain Blues 3:02
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
4    Big Bill Broonzy–    Bad Luck Blues 3:07
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
5    Big Bill Broonzy–    I Can't Make You Satisfied 3:11
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
6    Big Bill Broonzy–    I'm Just A Bum 2:58
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
7    Big Bill Broonzy–    Keep Your Hands Off Her 2:51
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
8    Big Bill Broonzy–    The Sun Gonna Shine In My Door Someday 3:01
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
9    Big Bill Broonzy–    Good Liquor Gonna Carry Me Down 2:43
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
10    Big Bill Broonzy–    Down The Line Blues 3:17
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
11    Big Bill Broonzy–    Bricks In My Pillow 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
12    Big Bill Broonzy–    Tell Me What You Been Doing 2:53
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
13    Big Bill Broonzy–    Ash Hauler 2:34
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
14    Big Bill Broonzy–    Evil Women Blues 2:57
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
15    Big Bill Broonzy–    These Ants Keep Biting Me 2:49
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
16    Big Bill Broonzy–    Big Bill Blues (These Blues Are Doggin' Me) 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
17    Big Bill Broonzy–    You Know I Need Lovin' 3:10
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
18    Big Bill Broonzy–    Match Box Blues 2:59
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
19    Big Bill Broonzy–    Low Down Woman Blues 3:00
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
20    The Hokum Boys–    Keep You Mind On It 3:02
Bass [Probably] – Bill Settles
Guitar, Vocals – Big Bill Broonzy, Casey Bill Weldon
Washboard – Washboard Sam
21    Big Bill Broonzy–    Bull Cow Blues, No. 3 3:06
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
22    Big Bill Broonzy–    Married Life's A Pain 3:02
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
23    Big Bill Broonzy–    Black Mare Blues 2:54
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob
24    Big Bill Broonzy–    Pneumonia Blues (I Keep On Aching) 2:38
Bass [String Bass] – Bill Settles
Guitar, Vocals – Big Bill Broonzy
Piano – Black Bob

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 5 • 1936-1937 | DOCD-5127 (1992) FLAC (tracks+.cue), lossless

Big Bill Broonzy recorded a great deal in Chicago during the 1930s, and fortunately, every one of the selections (except for a few that cannot be located) have been reissued on CD by the Austrian Document label in this "complete" series. In addition to selections with a trio (which includes pianist Black Bob and bassist Bill Settles), Broonzy is heard on this fifth volume with the Hokum Boys (on "Nancy Jane"), the Midnight Ramblers (which include Washboard Sam) and the Chicago Black Swans, a band similar to the Harlem Hamfats that adds guitarist Tampa Red). The final four numbers return to the trio format but add trumpeter Punch Miller to two of the songs. Throughout, Broonzy is heard in prime form. Among the selections are "Big Bill's Milk Cow No. 2," "Nancy Jane," "Detroit Special," "Out With the Wrong Woman," "Southern Flood Blues" and "Let's Reel and Rock." Scott Yanow

Abridged from this album’s original booklet notes. In 1934 Big Bill Broonzy had recorded Milk Cow Blues for Bluebird (see volume two of this series) and it had been a sufficient hit for him to assay a Milk Cow Blues No. 2 for ARC, this time filling out the sound by utilising Black Bob‘s piano for support. This basic line-up of guitar, piano, string bass and woodblocks was given an extra dimension when Charlie McCoy was added playing the mandolin. Charlie, like Big Bill, was a jobbing musician about Chicago. He had found his niche when, along with his brother ‘Hallelujah’ Joe McCoy he became part of the basic line-up of the Harlem Hamfats. This group used a ‘New Orleans’ front line of trumpet and clarinet backed-up by a piano and a guitar/mandolin/drums rhythm section. The session with Charlie produced Bill’s complaint about his addiction to playing craps in Seven-Eleven (“My point was a nine, I stopped at six – and that trey came flyin”‘) and about his girl-friend’s bad actin’ in You Know I Got A Reason. (Is there an accusation of lesbianism in the line “You say that woman you run with is your lady friend, it don’t look much like it for the shape I caught y’all in”?) During the same period, May / June 1936, Bill was still performing as part of The Hokum Boys, singing and playing the guitar on Nancy Jane a number they had recorded before, without it being released, as far back as 1930. A further Big Bill / Black Bob session took place in the September of 1936. It included Black Widow Spider in which Bill may have mixed his genders by representing himself as a spider with “red stripes under my belly” after making it sore by “crawlin’ down your wall”. The same combination also recorded in November of that year, one track, Out With The Wrong Woman being issued as by The Midnight Ramblers. Several songs and alternative takes of material recorded around this time, i. e. Cherry Hill Take 2, were not issued until they appeared on LP in the late 60s / early 70s. On the 26th January 1937 Big Bill Broonzy took the vocal and guitar part for a group called the Chicago Black Swans. This was a loose collection of musicians including Herb Morand and Arnett Nelson, the front line of the Hamfats. The same group recorded the same two titles on the same day with vocals by Mary Mack for release as by The State Street Swingers. Further confusion is added by the fact that Bill had already recorded Don’t Tear My Clothes (presumably implicitly “No. 1”, see volume three of this series) with a group known as The State Street Boys whose more rural sound had been built around the violin of Zeb Wright. Never slow to adapt to trends Bill featured a trumpet and drums on his next session (although he refers to a cornet on Come Up To My House). After cutting his commentary on the recent flooding of the Ohio River in his magnificent Southern Flood he brought forward “Mr Sheiks” and Fred Williams to up-date his sound to that of Big Bill’s Orchestra (?). “Mr Sheiks“, whose identity has been the subject of much speculation, was no Herb Morand and two days later Big Bill Broonzy was back in the studio to try again – this time in the company of Ernest ‘Kid Punch’ Miller, who came, like Morand, from a New Orleans background and was one of the foremost jazzmen of his generation. Hedging, Bill also cut for his older audience on this session producing the delicately picked Horny FIog which included references to the south, north migration along with the wonderful line dismissing his troublesome girlfriend: “I’m tired of poppin’ my belly for you”. DOCD-5127
Tracklist :
1        Big Bill's Milk Cow No. 2 (A) 3:07
2        W.P.A. Blues (B) 3:01
3        I'm A Southern Man (B) 2:47
4        Nancy Jane (C) 3:00
5        Lowland Blues (D)    3:02
6        Seven-Eleven     (D)    2:57
7        You Know I Got A Reason (D) 2:49
8        Oh, Babe (D)    3:08
9        Detroit Special  (E) 2:50
10        Falling Rain  (E) 3:17
11        Black Widow Spider (F) 2:52
12        Cherry Hill  (G) 3:12
13        Out With The Wrong Woman (H) 2:57
14        Don't Tear My Clothes No. 2 (I)    2:42
15        You Drink Too Much (I) 3:08
16        Southern Flood Blues (J) 3:13
17        My Big Money     (J) 3:12
18        My Woman Mistreats Me (J) 3:00
19        Let's Reel And Rock (J) 3:15
20        Come Up To My House (J) 3:11
21        Get Away (K) 2:57
22        Terrible Flood Blues (K) 3:04
23        Little Bug (K) 3:05
24        Horny Frog [Take 1] (K) 3:08
Credits :
(A) Big Bill Broonzy, vocal, guitar; Black Bob, piano; “Heebie Jeebies”, wood blocks  01/05/1936
(B) Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass “Heebie Jeebies” woodblocks on 3. 27/05/1936
(C) The Hokum Boys: Big Bill Broonzy, vocal, guitar; Casey Bill Weldon, guitar, vocal / chorus; Black Bob, piano: Bill Settles, stand-up bass.   11/06/1936
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 03/09/1936
(E) Big Bill Broonzy, vocal, guitar; Probably Horace Malcolm, piano; Charlie McCoy, mandolin. Big Bill Broonzy, vocal, guitar; Black Bob, piano; Bill Settles, stand-up bass.  16/09/1936
(F)  Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass.  28/10/1936
(G) Chicago Black Swans: Big Bill Broonzy, vocal, guitar; accompanied probably by Herb Morand or possibly Alfred Bell, trumpet; Arnett Nelson, clarinet; Black Bob, piano; possibly Tampa Red, guitar; unknown, percussion. 19/11/1936
(H) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, stand-up bass; possibly Washboard Sam, scat vocal. 19/11/1936
(I) Big Bill Broonzy, vocal, guitar; probably Myrtle Jenkins, piano; Bill Settles, stand-up bass. 26/01/1937
(J) Big Bill Broonzy, vocal, guitar; accompanied by “Mr. Sheiks (Alfred Bell), trumpet, on 16, 17, 19, 20; possibly . Fred Williams. drums on 19 and 20. Bill Settles, stand-up bass; possibly Fred Williams, drums on 19, 20. 29/01/1937
(K) Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 21, 23; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums on 23 / woodblocks on 22, 24. 31/01/1937

BIG BILL BROONZY — Complete Recorded Works In Chronological Order ★ Volume 6 • 1937 | DOCD-5128 (1993) RM | FLAC (tracks+.cue), lossless

1937 was a busy year for Big Bill Broonzy, who was turning 44. A greatly in-demand blues guitarist in Chicago, Broonzy was also an underrated singer and a major solo artist. This CD from the Austrian Document label (the sixth of 11 that trace his entire prewar recording career) includes 26 selections with plenty of alternate takes and nine previously unreleased performances. Broonzy is joined by either Black Bob, Leeford or Aletha Robinson or Joshua Altheimer on piano (Blind John Davis joins up for the final session), and sometimes bassist Bill Settles, drummer Fred Williams, unidentified players and (on three occasions) trumpeter Punch Miller. Although not quite essential, this CD will be desired by Broonzy's greatest fans, along with all of the releases in this very valuable series. Among the more notable selections are "Mean Old World," "Down in the Alley," "Louise, Louise Blues" and "It's Too Late Now."  Scott Yanow

Abridged from this album’s original booklet notes. This volume picks up the recorded works of Big Bill Broonzy half way through the session of 31st January 1937. One of the tracks he sat out was Horny Frog, an alternative take of which opens this set to complement the last track on Volume 5, however he joined in for Mean Old World and’ contributed some nice growling trumpet to You Do Me Any Old Way. On 10th of March that year Bill was one of the Midnight Ramblers, a group which featured piano, string bass (probably of the “tea chest” variety) and the shared vocals of himself and Washboard Sam. The partnership between Black Bob and Big Bill seems to have ended with the session of 9th June 1937 and, by July Leeford Robinson was occupying the piano stool. The session opened with Bill pleading for the return of one “Hattie” to save him from descending into a life of drinking and gambling (a joke surely!) and continued with a song in praise of his “crankie” Model T Ford

“You can have your V8 and your Lincoln too, Give me my Model T, I know what she will do”.

The trumpet and drums are prominent on this up-tempo cut. Another of Bill’s possessions comes in for praise on Come Home Early where he sings

“Don’t be scared, it won’t bite, My damper’s made to fit an eight inch pipe”.

Leeford Robinson seems to have been a stop-gap too and after that date Big Bill Broonzy turned to Blind John Davis for support on the 88 before beginning his long association with Josh Altheimer, although it may be Altheimer working on My Girl Is Gone. The two men, working with Fred Williams, drums, held down the session of 13 October 1937 when Bill explained his wariness in commercial transactions. “When I’m ready to buy, I want my hands on it – so it won’t fly”, and dragooned the tune best known as Sitting 0n Top of The World into service for the slow and reflective blues It’s Too Late, to which Davis adds some delicate piano. This set winds up with Made A Date With An Angel – “Poor me, I can’t fly”, which is not the pop song it appears to be and is more correctly sub-titled Got No Walking Shoes. DOCD-5128
Tracklist :
1        Horny Frog [Take 2] (A) 3:04
2        Mean Old World [Take 1] (A) 3:00
3        Mean Old World [Take 2] (A) 3:08
4        Barrel House When It Rains (A)     2:49
5        You Do Me Any Old Way [Take 1] (A) 2:50
6        You Do Me Any Old Way [Take 2] (A) 3:02
7        Down In The Alley [Take 1]     (B) 2:51
8        Down in The Alley [Take 2]     (B) 2:47
9        Stuff They Call Money     (B) 2:50
10        Louise Louise Blues [Take 1] (C) 2:44
11        Louise Louise Blues [Take 2]  (C) 2:42
12        Let Me Be Your Winder (C)    3:10
13        Hattie Blues [Take 1] (D) 2:57
14        Hattie Blues [Take 2] (D) 2:58
15        My Old Lizzie [Take 2] (D) 2:52
16        Come Home Early [Take 1] (D) 3:02
17        Come Home Early [Take 2]    (D) 3:00
18        Come Home Early [Take 3] (E) 2:58
19        Come Home Early [Take 4] (E) 2:53
20        My Gal Is Gone (F) 2:46
21        Evil Hearted Me (F) 2:40
22        I Want My Hands On It [Take 1] (G)    2:56
23        I Want My Hands On It [Take 2] (G) 2:53
24        It's Too Late Now [Take 1]     (G)    3:05
25        It's Too Late Now [Take 2] (G)    3:01
26        Made A Date With An Angel [Take 1] (G)    2:57
Credits :
(A) Big Bill Broonzy, vocal, guitar; Punch Miller, trumpet on 1, 5, 6; Black Bob, piano; Bill Settles, stand-up bass; Fred Williams, drums.  31/01/1937
(B) Midnight Ramblers: Big Bill Broonzy, vocal, guitar; Black Bob, piano; unknown, imitation bass; Washboard Sam, vocal.  10/03/1937
(C) Big Bill Broonzy, vocal, guitar; Alfred Bell, trumpet on 12; Black Bob, piano; Fred Williams, drums.  09/06/1937
(D)  Big Bill Broonzy, vocal, guitar; accompanied by Punch Miller, trumpet on 15, 16, 17; Leeford or Aletha Robinson, piano; own guitar on 15, 16, 17; Fred Williams, drums. 08/07/1937
(E) Big Bill Broonzy, vocal, guitar; Leeford or Aletha Robinson, piano on 18; Black Bob, piano on 19; unknown, stand-up bass.  16/08/1937
(F)  Big Bill Broonzy, vocal, guitar; Black Bob, or probably Joshua Altheimer, piano on 20; unknown 2nd guitar; unknown stand-up bass.   19/08/1937
(G)Big Bill Broonzy, vocal, guitar; Blind John Davis, piano; Fred Williams, drums. 13/10/1937

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

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

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

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

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

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