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

WALTER ROLAND – Complete Recorded Works In Chronological Order ★ Volume 1 • 1933 | DOCD-5144 (1993) RM | FLAC (tracks), lossless

The 23 selections on this Document CD were all recorded during a four-day period. Walter Roland was a skillful pianist who was also an effective blues-based singer and even a fine guitarist. He is heard backing his vocals on solo performances (on piano or guitar), accompanying the vocals of Sonny Scott and on two joyous instrumentals ("Guitar Stomp" and "Railroad Stomp") as part of the Jolly Two, he holds his own on guitar duets with Scott. Lucille Bogan (who Roland regularly accompanied) pops up on two numbers where she comments (talking rather than singing) on the proceedings. Among the better selections on this enjoyable set of goodtime music are "No Good Biddie," "Early This Morning," "Jookit Jookit," "Piano Stomp," "Whatcha Gonna Do," "Early This Morning" and the guitar duets. The second volume of Walter Roland recordings is worthwhile, too, but this is his definitive set. Scott Yanow
 
Abridged from this album’s original booklet notes. Mississippi, Texas, Georgia; all names redolent with the best of Southern blues, but Alabama? Surely the “Cinderella” state of the blues. Not that it hasn’t produced its share of outstanding blues artists but never a record industry giant; a Muddy Waters, Lightnin’ Hopkins or B. B. King. Powerful performers like William Harris and George “Bullet” Williams remain virtual biographical blanks. What then of Alabama Sam, who made his first recording way up in the Big Apple on 17 July, 1933? We know little more about him, even though he made some 56 recordings between 1933 and 1935, mostly under what is presumed to have been his real name, Walter Roland, plus fifty-eight as accompanist to Bessie Jackson, alias Lucille Bogan, one of the toughest female blues singers on record, 16 accompanying Josh White and several with guitarist Sonny Scott, including the classic No Good Biddie. (Intriguingly Roland is dubbed “Walter Scott” on the label of one “Bessie Jackson” record, suggesting a relationship with Sonny, if it’s not just record company confusion.) From his association with Bogan and the influence of pianist Jabo Williams we know that Roland hailed from Birmingham, but his birthplace was, apparently, Tuscaloosa, 40 miles to the south-west in the “Black Belt” of Alabama. Like many pre-war blues artists, Walter Roland‘s first recording was his biggest, an early protest song Red Cross Blues, later recorded by artists as diverse as Leadbelly, Sonny Boy Williamson (as Welfare Store Blues) and Forest City Joe. The next master was “Red Cross” No. 2, his record company (A R C.) presumably anticipating big sales on No. 1 had him record a follow-up in advance! Bogan did her Red Cross Man at the same session, with quite different lyrics. The melody (and in Red Cross Man the repeated line “baby don’t you want to go”) link both songs with Kokomo Blues, yet to be recorded by Kokomo Arnold but already on record by Madlyn Davis, Scrapper Blackwell, Walter Fennell and Jabo Williams, the powerful pianist from “Pratt City” (a district of north Birmingham) who was almost certainly an early influence on Roland. There was considerable interchange of material between Roland, Bogan and Scott. Both Walter and Lucille recorded Schoolboy Blues and Screw Worm but Lucille’s versions weren’t issued. Sonny Scott recorded two versions of Red Cross Blues (both lyrically different to Roland’s), as well as a version of Early This Morning. On July 19th Roland and Scott recorded several superb mainly instrumental performances. “Jookit”, which features inspired boogie piano by Roland, with Scott shouting encouragement, was coupled with Whatcha Gonna Do, a hokum number with Bogan also joining in the fun. Issued as by the “Jolly Jivers“, as was the brilliant barrelhouse Piano Stomp, it appeared, along with Roland & Scott‘s sizzling guitar duet “stomps” as the “Jolly Two“, in Vocalion’s general series, perhaps hoping for wider sales than if they’d been exclusively “race” records. It says much for Walter Roland‘s musical talent that despite being best known as a pianist, he plays excellent guitar on Railroad Stomp and its companion pieces. Big Mama is one of Roland’s cover versions, being a lively reworking of Jabo Williams 1932 Fat Mama Blues (Paramount 13130 / Document DOCD-5102). Roland also “covered” Williams’ House Lady Blues (Paramount 13136 / Document DOCD-5102), which Big Joe Williams revived in 1947 (Columbia 38190). Early This Morning reworks Charlie Spand‘s big 1929/30 hit Soon This Morning (Paramount 12790 / Document DOCD-5108). That he recorded a “No. 2” in 1934 suggests that the formula was successful. Now slide back in time and listen to those Jolly Jivers shaking up a storm down in Jefferson County: “Jookit, Jookit”!  DOCD-5144
Tracklist :
1    Walter Roland–    Red Cross Blues    3:12
2    Walter Roland–    Red Cross Blues No. 2    3:00
3    Walter Roland–    T Model Blues    2:59
4    Sonny Scott & Walter Roland–    Man, Man, Man    3:08
5    Sonny Scott & Walter Roland–    No Good Biddie    2:46
6    Walter Roland–    You Gonna Need Me    2:58
7    Walter Roland–    Slavin' Blues    2:49
8    Walter Roland–    Last Year Blues    3:09
9    Sonny Scott–    Early This Morning    2:30
10    Sonny Scott–    Working Man's Moan    2:53
11    Sonny Scott–    Rolling Water    2:47
12    Jolly Jivers–    Jookit Jookit    2:55
13    Jolly Jivers–    Piano Stomp    2:52
14    Walter Roland–    Back Door Blues    3:04
15    Jolly Two–    Guitar Stomp    2:55
16    Jolly Two–    Railroad Stomp    2:52
17    Walter Roland–    Frisco Blues    2:18
18    Walter Roland–    House Lady Blues    2:50
19    Jolly Jivers–    Whatcha Gonna Do?    2:56
20    Walter Roland–    Early This Morning ('Bout Break Of Day)    2:47
21    Jolly Jivers–    Hungry Man's Scuffle    2:41
22    Jolly Two–    Come On Down    2:31
23    Walter Roland–    Overall Blues    2:33

WALTER ROLAND – Complete Recorded Works In Chronological Order ★ Volume 2 • 1934-1935 | DOCD-5145 (1993) RM | FLAC (tracks), lossless

Unlike the first Walter Roland Document CD, there is a certain sameness to the 22 recordings (two previously unissued) on this second volume. Lucille Bogan makes comments on three numbers and Josh White (years before he became famous as a folk singer) plays background guitar on the last dozen numbers, but otherwise, the focus is completely on Roland. He sticks to piano this time (no departures on guitar), and all of the selections have his vocals and generally a similar medium-slow tempo. Although somewhat popular at the time, oddly enough, Walter Roland did not record again after 1935. The highlights of this program (which generally does hold one's interest) include "C.W.A. Blues," "Early in the Morning No. 2," "Bad Dream Blues," "I'm Gonna Shave You Dry," "S.O.L. Blues" and "Penniless Blues," but get Volume 1 first. Scott Yanow
 
Abridged from this album’s original booklet notes. Walter Roland made 19 recordings for the American Record Corporation at 4 sessions in July, 1933. All were issued, as were most of those he made as an accompanist to Lucille Bogan and Sonny Scott, suggesting good sales. A year after their first New York sessions together, Roland and Bogan were back in New York recording for ARC. Although Sonny Scott didn’t make the trip this time, Roland and Bogan were not the only artists in ARC’s New York studio on 30th July, 1934. Buddy Moss from Georgia cut a couple of titles, as did Bob Campbell, a fine but shadowy blues singer and guitarist who may have come up from Alabama with Roland and Bogan. One of Campbell’s titles was the brilliant Dice’s Blues. Two masters later, Roland recorded his version of this piece, varying the lyrics after the first verse and giving it a more up-tempo treatment. Roland’s PWA Blues, like Joe Pullum‘s (an entirely different song, recorded four months before Roland’s) paid tribute to the Public Works Administration, one of President Roosevelt’s New Deal programmes which took men off welfare by creating jobs, thereby helping to lift the nation out of depression. Like Bluebird with Pullum, A.R.C. misheard Roland’s pronunciation of the letter “p”, hearing it as “c” and so mis-titling the record CWA Blues. In teaming Josh White with Walter Roland, first on two 1934 White recordings and then at several March, 1935 sessions, A.R.C. were probably trying to repeat the success of the Leroy Carr & Scrapper Blackwell partnership. Cold Blooded Murder and Sail On Little Girl No. 2 were in fact “covers” of a Bumble Bee Slim record. White and Roland were far too talented to slavishly recreate a sound, however, and their musical empathy produced some outstanding performances. Although under-recorded, on the 7th and 8th of March, White is heard to much better effect on the 14th & 18th March titles. Penniless Blues, the only issued title from the last session on 20th March, is especially fine with Roland bitterly commenting “You know living with that woman is just like being in hell”. All of Roland’s 1933 titles had been issued and only 5 of his 1934 recordings remained unissued (including Walking Blues and the World Fair Blues) but out of two dozen 1935 titles, half were never issued, including the intriguing Our Father Blues, White Corn Drinker and the lively-sounding Steak And Onion Stomp. Having been one of the few successful blues recording artists in Depression time, it seems strange that Roland didn’t record again after 1935, but the tastes of blues record buyers were changing and the bigger sound of the Chicago-based bands was becoming increasingly popular. Big Bill, Jazz Gillum, Tampa Red, Washboard Sam et al were in the ascendancy and territorial musicians like Walter Roland were fading as recording prospects. DOCD-5145
Tracklist :
1        C. W. A. Blues 2:47
2        You Gonna Want Me 2:54
3        Dice's Blues 2:45
4        Collector Man Blues 2:52
5        Early In The Morning No. 2 2:55
6        Big Mama 2:32
7        Every Morning Blues 2:47
8        Screw Worm 2:57
9        Bad Dream Blues 3:04
10        I'm Gonna Shave You Dry 3:29
11        Money Taker Woman 2:55
12        School-boy Blues (16996-3) 2:51
13        School-boy Blues (17009-1) 2:55
14        Talkin' Low Blues 3:10
15        O. B. D. Blues 3:08
16        Club Meeting Blues 3:08
17        Cold Blooded Murder 2:51
18        Sail On Little Girl No. 2 2:59
19        S. O. L. Blues 2:56
20        Worn Out Man Blues 2:52
21        45 Pistol Blues 2:58
22        Penniless Blues 2:56

CURLEY WEAVER — Complete Recorded Works 1933-1935 In Chronological Order | DOCD-5111 (1992) RM | FLAC (tracks+.cue), lossless

Georgia slide guitar wizard Curley Weaver (1906-1962) is best remembered for his lengthy association with Blind Willie McTell, one of several guitarists who are heard on a 23-track compilation of Weaver records dating from 1933-1935. This disc appeared on Document in 1992, was reissued in 2000, and again in 2005. An expressive vocalist who sang at times like Blind Boy Fuller or Blind Blake, Weaver occasionally shifted into a plaintive falsetto while dexterously manipulating his slide over the fretted neck of the guitar. His friendship with fellow Georgians Blind Buddy Keith, Nemehiah Smith, Barbecue Bob, Charlie Lincoln, and Eddie Mapp are legendary. This is only a taste of his recorded legacy; Weaver cut his first sides in 1928 and made his final recordings in 1950 with his old friend Willie McTell. Vocalist Ruth Willis, who was closely affiliated with Weaver and his circle of musical friends, is heard in a duet with him on "Some Cold Rainy Day." As is often the case with Document collections released during the '90s, there are occasional instances of poor sound quality, and tracks 15 and 16 in particular suffer from periodic distortion. Tracks 6-13 are played by the Georgia Browns, a lively little band involving guitarist Fred McMullen and Weaver's harmonica-toting pal Buddy Moss. "Tampa Strut" and "Decatur Street 81" are two of this group's choicest sides, while "Who Stole de Lock?" has a decidedly more rural feel to it than the 1932 recording by Jack Bland's Rhythmakers. Both renditions benefit from a comparison with two earlier recordings of the tune by Bryant's Jubilee Quartet, a fine gospel and secular vocal harmony group whose complete works have also been reissued by Document. Some of Weaver's recordings were included on JSP's excellent four-CD set Atlanta Blues. arwulf arwulf
 
Georgia slide guitar wizard Curley Weaver (1906-1962) is best remembered for his lengthy association with Blind Willie McTell, one of several guitarists who are heard on a 23-track compilation of Weaver records dating from 1933-1935.
An expressive vocalist who sang at times like Blind Boy Fuller or Blind Blake, Weaver occasionally shifted into a plaintive falsetto while dexterously manipulating his slide over the fretted neck of the guitar. DOCD-5036
Tracklist :
1    Curley Weaver–    No No Blues (12908)    3:07
2    Curley Weaver–    Leg Iron Blues    3:13
3    Curley Weaver With Ruth Willis*–    Some Cold Rainy Day    2:38
4    Curley Weaver–    Tippin' Tom    2:56
5    Curley Weaver–    Birmingham Gambler    2:59
6    The Georgia Browns–    Tampa Strut    2:55
7    The Georgia Browns–    Decatur Street 81    2:46
8    The Georgia Browns–    Next Door Man (Take 1)    3:05
9    The Georgia Browns–    Next Door Man (Take 2)    2:54
10    The Georgia Browns–    It Must Have Been Her    2:44
11    The Georgia Browns–    Who Stole De Lock?    2:46
12    The Georgia Browns–    Joker Man    2:49
13    Curley Weaver With Blind Willie McTell–    You Was Born To Die    2:47
14    Curley Weaver–    Dirty Mistreater    3:07
15    Curley Weaver–    Black Woman    3:14
16    Curley Weaver–    City Cell Blues    3:11
17    Curley Weaver–    Empty Room Blues    3:16
18    Curley Weaver–    Tricks Ain't Walkin' No More    3:10
19    Curley Weaver–    Sometime Mama    3:06
20    Curley Weaver–    Oh Lawdy Mama    3:17
21    Curley Weaver–    Two Faced Woman    3:06
22    Curley Weaver–    Early Morning Blues (C-9942)    2:57
23    Curley Weaver–    Fried Pie Blues    3:02