Monday, October 15, 2007
Robert Johnson
"Robert Johnson stands at the crossroads of American music, much as a popular folk legend has it he once stood at Mississippi crossroads and sold his soul to the devil in exchange for guitar-playing prowess. He became the first modern bluesman, linking the country blues of the Mississippi Delta with the city blues of the post-World War II era. Johnson was a songwriter of searing depth and a guitar player with a commanding ability that inspired no less an admirer than Keith Richard of the rolling stones to exclaim, “When I first heard [him], I was hearing two guitars, and it took me a long time to realize he was actually doing it all by himself.”
Born in Hazlehurst, Mississippi, in 1911, Johnson was ill-suited for sharecropping and gravitated instead toward the itinerant life of the musician. He picked up the guitar in his teens and numbered among his tutors such esteemed blues figures as Charley Patton and Son House. During the Depression years of the early Thirties, Johnson lit out with his guitar and earned his keep as an entertainer - not only as a master of the blues but of the popular tunes and styles of the day. His travels took him throughout the Mississippi and Arkansas Deltas, where he performed at jook joints, country suppers and levee camps. He also saw the big cities, traveling with fellow bluesman Johnny Shines to perform in St. Louis, Detroit, Chicago and elsewhere. The entirety of his recorded output was cut in three days worth of sessions in November 1936 and two days in June 1937. His life came to a premature end when he was poisoned by the jealous husband of a woman he began seeing during a stint at the Three Forks juke joint in Greenwood, Mississippi. The poisoning occurred on the night of August 13, 1938, and Johnson died three nights later at the home of a friend.
Though he recorded only 29 songs in his brief career - 22 of which appeared on 78 rpm singles released on the Vocalion label, including his first and most popular, “Terraplane Blues” - Johnson nonetheless altered the course of American music. In the words of biographer Stephen C. LaVere, “Robert Johnson is the most influential bluesman of all time and the person most responsible for the shape popular music has taken in the last five decades.” Such classics as “Cross Road Blues,” “Love In Vain” and “Sweet Home Chicago” are the bedrock upon which modern blues and rock and roll were built.
In an eloquent testimonial included in the liner notes to the box set Robert Johnson: The Complete Recordings (Columbia Records, 1990), disciple Eric Claptonsaid, “Robert Johnson to me is the most important blues musician who ever lived....I have never found anything more deeply soulful than Robert Johnson. His music remains the most powerful cry that I think you can find in the human voice.”
Born in Hazlehurst, Mississippi, in 1911, Johnson was ill-suited for sharecropping and gravitated instead toward the itinerant life of the musician. He picked up the guitar in his teens and numbered among his tutors such esteemed blues figures as Charley Patton and Son House. During the Depression years of the early Thirties, Johnson lit out with his guitar and earned his keep as an entertainer - not only as a master of the blues but of the popular tunes and styles of the day. His travels took him throughout the Mississippi and Arkansas Deltas, where he performed at jook joints, country suppers and levee camps. He also saw the big cities, traveling with fellow bluesman Johnny Shines to perform in St. Louis, Detroit, Chicago and elsewhere. The entirety of his recorded output was cut in three days worth of sessions in November 1936 and two days in June 1937. His life came to a premature end when he was poisoned by the jealous husband of a woman he began seeing during a stint at the Three Forks juke joint in Greenwood, Mississippi. The poisoning occurred on the night of August 13, 1938, and Johnson died three nights later at the home of a friend.
Though he recorded only 29 songs in his brief career - 22 of which appeared on 78 rpm singles released on the Vocalion label, including his first and most popular, “Terraplane Blues” - Johnson nonetheless altered the course of American music. In the words of biographer Stephen C. LaVere, “Robert Johnson is the most influential bluesman of all time and the person most responsible for the shape popular music has taken in the last five decades.” Such classics as “Cross Road Blues,” “Love In Vain” and “Sweet Home Chicago” are the bedrock upon which modern blues and rock and roll were built.
In an eloquent testimonial included in the liner notes to the box set Robert Johnson: The Complete Recordings (Columbia Records, 1990), disciple Eric Claptonsaid, “Robert Johnson to me is the most important blues musician who ever lived....I have never found anything more deeply soulful than Robert Johnson. His music remains the most powerful cry that I think you can find in the human voice.”
Hoodoo Man " Junior Wells"
Jr. Wells, a "rough-looking, hard-time guy," was born Amos Blakemore in Memphis, Tennesee, on December 9, 1934 and died on January 15, 1998 in Chicago.
During the Spring 1995 Meg Digby and Barry Silbergeld went to a Jr. Wells gig at Buddy Guy's Legends in Chicago. Meg really hit it off with Junior....and soon commissioned her very talented artist / sister, Mel Buehrer, to render a drawing of Junior Wells for Barry's birthday present on May 26, 1995.
Jr. Wells was first exposed to blues of Howlin' Wolf & B.B. King in his home town of Memphis; he moved to Chicago with his mother at the age of twelve. At the age of sixteen he called his first band "Deuces" then "The Four Aces" and eventually "Aces." Wells left Aces to take Little Walter's place in Muddy Waters band druing the early '50s.
Jr's first recordings were on the States label during the summer of 1953, and included the classic first version of "Hoodoo Man"...the actual spelling used by States on the original 78s and 45s was "Hodo Man"
By 1965 when Bob Koester's Delmark label first recorded him, Jr. Wells was well establed at Theresa's Lounge on Chicago's West side, where Jr. was backed by Buddy Guy's band. Hoodoo Man Blues (Delmark, 1965) became a cult record with The Grateful Dead having been inspired by several of the tunes. In January, 1967 three shows at the Fillmore Auditorium in San Francisco were headlined by the Grateful Dead and the Junior Wells Chicago Blues Band. In 1972 Robert "Ace" Weir recorded his first solo album, "ACE."
During the Spring 1995 Meg Digby and Barry Silbergeld went to a Jr. Wells gig at Buddy Guy's Legends in Chicago. Meg really hit it off with Junior....and soon commissioned her very talented artist / sister, Mel Buehrer, to render a drawing of Junior Wells for Barry's birthday present on May 26, 1995.
Jr. Wells was first exposed to blues of Howlin' Wolf & B.B. King in his home town of Memphis; he moved to Chicago with his mother at the age of twelve. At the age of sixteen he called his first band "Deuces" then "The Four Aces" and eventually "Aces." Wells left Aces to take Little Walter's place in Muddy Waters band druing the early '50s.
Jr's first recordings were on the States label during the summer of 1953, and included the classic first version of "Hoodoo Man"...the actual spelling used by States on the original 78s and 45s was "Hodo Man"
By 1965 when Bob Koester's Delmark label first recorded him, Jr. Wells was well establed at Theresa's Lounge on Chicago's West side, where Jr. was backed by Buddy Guy's band. Hoodoo Man Blues (Delmark, 1965) became a cult record with The Grateful Dead having been inspired by several of the tunes. In January, 1967 three shows at the Fillmore Auditorium in San Francisco were headlined by the Grateful Dead and the Junior Wells Chicago Blues Band. In 1972 Robert "Ace" Weir recorded his first solo album, "ACE."
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