Various Artists – Down Home Blues: Chicago Vol. 3
Disc 1 – 27 tracks 78 minutes
Disc 2 – 27 tracks 79 minutes
Disc 3 – 26 tracks 79 minutes
Disc 4 – 28 tracks 79 minutes
This magnificent collection was put together by the late Peter Moody, a British musician who also worked for a variety of record companies. The subtitle to the set, “The Special Stuff,” was a favorite expression of Moody’s, saved for music that captured his soul. Once you start diving into to this set, you quickly learn that Moody did indeed know his stuff.
The four discs are housed in foldout packaging that includes a tracklist for each disc listing song title and artist. The back of the package provides a list of each of the 36 artists included with the titles of the songs they perform. Even more helpful is the 86 page booklet with notes from Chris Bentley that illuminate the history of each artist, some of whom Moody rescues from the mists of obscurity. Also included is an list of songs with composer credits, plenty of b&w photos of musicians and rare record labels, and a “Sessionography” that lays out available information as who played what on each track. Delving into the booklet while working your way through the recordings makes for quite a meaningful listening experience.
The first disc opens with four tracks from 1941, the first recordings by Robert Lockwood Jr. Backed by Alfred Elkins on bass, the guitarist reminds us of his formidable skills on “Black Spider Blues” and “Little Boy Blue,” songs that remained in his repertoire throughout his long career. The same year provided two cuts from an early piano legend, Big Maceo Merriweather, with backing from another legend, guitarist Tampa Red. “Texas Blues” sparkles with the interplay between Maceo’s piano and Red’s fine picking. Maceo is featured on two other tracks, recorded in 1949, after a stroke left his right hand almost useless. The piano chair is more than adequately filled by Johnny Jones, a student of Maceo’s style, allowing Maceo to concentrate on delivering two brawny vocal turns.
Several other well-known blues men get four tracks each, with Sonny Boy Williamson I (John Lee) blowing plenty of acoustic harmonica in grand fashion, while Big Joe Williams’ booming vocals ring out over Williamson’s harp and the deep bass lines from Ransom Knowling. Other highlights come from two rare sides from singer Ann Sorter, who rips into the rousing “Bad Stuff,” with Memphis Slim rocking his way across the piano keyboard. Harp payer Jazz Gillum is another stellar artist flying under the radar these days, undeservedly so based on the high quality of his vocals across five tracks, with his original, “Gonna Take My Rap,” a favorite. Forest City Joe closes the disc with two songs that show his indebtedness to Williamson’s harp style, particularly on “Memory Of Sonny Boy,”.
One thing that stands out on these discs is the absence of lengthy instrumental solos. Many of these tracks were recorded before Chicago blues went electric and never looked back. Another unusual feature is that the guitar does not dominate the proceedings. The piano is most often the focus of the arrangements on the first two discs, but the songs are what matters, and the singers who are telling the stories.
Forest City Joe gets two more tracks on the second disc, with “Ash Street Boogie” giving plenty of room for his hearty harp blowing. The powerful voice of St. Louis Jimmy is featured on six songs, with backing from another Chicago piano legend, Roosevelt Sykes. Lockwood Jr. gets four more tracks, with outstanding piano accompaniment courtesy of Sunnyland Slim. Their run-through of “Dust My Broom” is a rapid-fire exchange. Another piano man, Willie Mabon, eases his way through two cuts, even playing harmonica on “Boogie Man (Bogey Man)”. Vocalist Johnny Temple was often backed by musicians with little feel for blues music. His two cuts, “Pretty Woman” and “Jack And Jill,” show what he could do with sympathetic support.
A truly unknown female piano player, Mata Roy, dazzles as she romps along on the two part “Pete’s Boogie Shuffle,”singing and playing with aplomb. The classic ‘TV Mama” with the booming voice of Big Joe Turner and Elmore James’ distinctive slide guitar licks is always a highlight, as are two early Chess recordings from Muddy Waters, “Iodine In My Coffee” and “Flood,” with Jimmy Rogers on guitar. Little Walter had left Muddy’s band, so Junior Wells added his harp to the former track while Big Walter Horton blew sublime accompaniment on the latter number.
The remaining discs are populated by some familiar names. Muddy Waters is back with four tracks, including a rare take on “Smokestack Lightning,” recorded over a year before Howlin’ Wolf’s definitive version. Muddy is backed by a true Hall Of Fame aggregation – Little Walter on harp, Jimmy Rogers on guitar, Otis Spann on piano, Willie Dixon on bass, and Fred Below on drums. Little Johnny Jones gets his turn in the spotlight with three more cuts added to his two on the previous disc. The alternate take of “Hoy Hoy” is a raucous affair with a bold vocal from the leader that gets a brawny response from J.T Brown on tenor sax. Three tracks serve as reminders that Little Walter is indeed the king of blues harp, with “My Kind Of Baby” providing vivid evidence from the opening blasts. Guitarist JB Hutto is featured on two songs that interestingly add Earl Hines on washboard in place of a drummer.
Chicago was a hotbed for blues piano players, with Little Brother Montgomery being one of the most influential. He lays down a sterling rendition of “New Vicksburg Blues,” updating an earlier hit record. “Pinetop’s Boogie Blues” is memorable instrumental romp.. Other tracks highlight blues guitarists, including Eddie Taylor (killer take of “Stroll Out West”), Floyd Jones, Baby Face Leroy Foster, Jody Williams, and JB Lenoir. There is also a rare cut from the lone recording session by guitarist Little Hudson.
The final song on the disc, “She’s Fine, She’s Mine,” adds Bo Diddley to the mix, carrying over to the final disc for four more tracks, with “Pretty Thing” sporting that famous Bo Diddley beat. “Prison Bars All Around Me” is one of a duo of Junior Wells tunes, with Earl Hooker on guitar and Otis Spann on piano. Another piano great, Memphis Slim, gets his moment to shine on four cuts, all with Matt “Guitar” Murphy, with the slow blues “Cold Blooded Woman” being particularly memorable. Some might be surprised by the inclusion of Chuck Berry in the package. Once you hear his pedal steel guitar work on “Deep Feeling,” or take in his heartbreaking vocal on “Sweet Sixteen,” all doubts will be erased.
Five cuts were recorded at the apartment of guitarist Magic Sam, with Shakey Jake Harris on harmonica. The raw nature of the material makes for fitting end, highlights including a mournful “Every Night And Every Day,” an instrumental “Leaving This Morning” with fine harp work from Harris, ending with the obligatory “Sweet Hone Chicago,” that finishes off this amazing collection in appropriate fashion. If you want a deep dive into the the origins of the electric Chicago blues traditions, make sure you grab a copy of the box set. You will undoubtedly enjoy many hours of listening as history unfolds in this outstanding addition to the College of Musical Knowledge!