Jim Crow Laws Were Wicked in Their Own Right.  The Jim Crow Etiquette Was Worse.

So, who was Jim Crow anyway?  The origin of the phrase “Jim Crow” has often been attributed to “Jump Jim Crow”, a song-and-dance caricature of African Americansperformed by white actor Thomas D. Rice in blackface, which first surfaced in 1832 and was used to satirize Andrew Jackson’s populist policies. As a result of Rice’s fame, “Jim Crow” had become a pejorative expression meaning “African American” by 1838, and from this the laws of racial segregation became known as Jim Crow laws.  So Jim Crow wasn’t a real person.  You better believe the laws were real.

Old Anti-Jim Crow Poster

Jim Crow was the name of the racial caste system which operated primarily, but not exclusively in southern and border states, between 1877 and the mid-1960s. Jim Crow was more than a series of rigid anti-Black laws. It was a way of life. Under Jim Crow, African Americans were relegated to the status of second class citizens. Craniologists, eugenicists, phrenologists, and Social Darwinists, at every educational level, buttressed the belief that Blacks were innately intellectually and culturally inferior to Whites. Pro-segregation politicians gave eloquent speeches on the great danger of integration: the mongrelization of the White race.  Even simple children’s games portrayed blacks as inferior people.

Most of us are familiar in some way with the Jim Crow laws.  Blacks were to use different entrances, different schools, different seats on the bus.  Blacks were to use different water fountains, different chairs, and so on. Failure to abide by these laws meant you could be beaten, jailed, or worse.  Laws were passed which excluded Blacks from public transport and facilities, juries, jobs, and neighborhoods. The passage of the 13th, 14th, and 15th Amendments to the Constitution had granted Blacks the same legal protections as Whites. However, after 1877, and the election of Republican Rutherford B. Hayes, southern and border states began restricting the liberties of Blacks. Unfortunately for Blacks, the Supreme Court helped undermine the Constitutional protections of Blacks with the infamous Plessy v. Ferguson (1896) case, which legitimized Jim Crow laws and the Jim Crow way of life.

However, there was more to the Jim Crow System than just the laws.  Sure, the laws were scary.  They were real.  They were in place.  But according to research, it was the other part of the Jim Crow System – the Jim Crow Etiquette – that really scared the people.  The Jim Crow system was undergirded by the following beliefs or rationalizations: Whites were superior to Blacks in all important ways, including but not limited to intelligence, morality, and civilized behavior; sexual relations between Blacks and Whites would produce a mongrel race which would destroy America; treating Blacks as equals would encourage interracial sexual unions; any activity which suggested social equality encouraged interracial sexual relations; if necessary, violence must be used to keep Blacks at the bottom of the racial hierarchy.

Here are some examples of Jim Crow Etiquette.

1. A Black male could not offer his hand (to shake hands) with a White male because it implied being socially equal. Obviously, a Black male could not offer his hand or any other part of his body to a White woman, because he risked being accused of rape.
2. Blacks and Whites were not supposed to eat together. If they did eat together, Whites were to be served first, and some sort of partition was to be placed between them.
3. Under no circumstance was a Black male to offer to light the cigarette of a White female — that gesture implied intimacy.
4. Blacks were not allowed to show public affection toward one another in public, especially kissing, because it offended Whites.
5. Jim Crow etiquette prescribed that Blacks were introduced to Whites, never Whites to Blacks. For example: “Mr. Peters (the White person), this is Charlie (the Black person), that I spoke to you about.”
6. Whites did not use courtesy titles of respect when referring to Blacks, for example, Mr., Mrs., Miss., Sir, or Ma’am. Instead, Blacks were called by their first names. Blacks had to use courtesy titles when referring to Whites, and were not allowed to call them by their first names.
7. If a Black person rode in a car driven by a White person, the Black person sat in the back seat, or the back of a truck.
8. White motorists had the right-of-way at all intersections.

Moreover, Blacks were to remember the following rules when conversing with Whites:

1. Never assert or even intimate that a White person is lying.
2. Never impute dishonorable intentions to a White person.
3. Never suggest that a White person is from an inferior class.
4. Never lay claim to, or overly demonstrate, superior knowledge or intelligence.
5. Never curse a White person.
6. Never laugh derisively at a White person.
7. Never comment upon the appearance of a White female.

Jim Crow Poster

There were other interesting tactics used as well.  For instance, poor blacks were charged a fee if they wanted to vote.  Or only Democrats could vote, and only Whites could be Democrats.  Another tactic used was an eligibility test where Blacks were asked to name every Senator ever to serve the country.  Though White men often had relations with Black women, under Jim Crow any and all sexual interactions between Black men and White women was illegal, illicit, socially repugnant, and within the Jim Crow definition of rape.

Violate the Jim Crow law, and you go to Jail.  Violate the Jim Crow Etiquette, and you get worse than jail.  You get killed.  Violence was instrumental for Jim Crow. It was a method of social control. The most extreme forms of Jim Crow violence were lynchings.

Lynchings were public, often sadistic, murders carried out by mobs. Between 1882, when the first reliable data were collected, and 1968, when lynchings had become rare, there were 4,730 known lynchings, including 3,440 Black men and women. Most of the victims of Lynch-Law were hanged or shot, but some were burned at the stake, castrated, beaten with clubs, or dismembered. In the mid-1800s, Whites constituted the majority of victims (and perpetrators); however, by the period of Radical Reconstruction, Blacks became the most frequent lynching victims. This is an early indication that lynching was used as an intimidation tool to keep Blacks, in this case the newly-freedmen, “in their places.” The great majority of lynchings occurred in southern and border states, where the resentment against Blacks ran deepest. According to the social economist Gunnar Myrdal: “The southern states account for nine-tenths of the lynchings. More than two thirds of the remaining one-tenth occurred in the six states which immediately border the South.”

Of course, these laws no longer exist now.  But traveling in certain parts of the south, one can easily see that some of the etiquette still lingers in the air.  Cautions are still taken, and fear still exists.  Imagine the life of a traveling bluesman – a rambler, a drifter, a man without the support of a community, traveling through the south in the times of Jim Crow.  It brings new existence to fear, and brings new meaning to Robert Johnson’s singing of “Cross Road Blues.”

Standin’ at the crossroad, baby, risin’ sun goin’ down.
Standin’ at the crossroad, baby, eee, eee, risin’ sun goin’ down.
I believe to my soul, now, poor Bob is sinkin’ down.

Portions of this article were taken from Ferris State University.

Mississippi and Moonshine.  Canned Heat and Blues.  Cathead and Spirits.

We’ve all heard the story:  Legendary bluesman Robert Johnson was poisoned to death when he drank from an opened bottle of whiskey.  The only problem with that story is it is highly unlikely Johnson – or anyone else for that matter – would be drinking bonded liquor in a juke.  Why?  Mississippi didn’t end prohibition until 1966.  So when did Mississippi open its first legal distillery?  In 2010.

Prohibition Prescription for Liquor

Mississippi first made liquor illegal in 1907, and was the last state to end prohibition in 1966.  The US Government Prohibition was from 1920 – 1933 – so Mississippi was well ahead of the curve.   Still to this day, Mississippi is a dry state.  Individual counties and local jurisdictions have to choose to allow liquor sales in order for it to be allowed. There are different theories as to why this is – but the most prevalent has to do with the old political view known as Bootleggers and Baptists.  This is a political model where opposite moral positions lead to the same vote.  In other words, the Baptists don’t want the gambling, crime, and other mischief that comes with alcohol, but the Bootleggers also want liquor to stay illegal so they can stay in business.  Either way, Mississippi is known for its moonshine, and illegal distilleries.

Moonshine, also known as white lightning, hooch, mountain dew, and other various names, has a long history in the US.  The name moonshine – or moonshining – comes from the fact that most illegal distilleries did the distilling at night so neighbors and local law enforcement would not see the smoke from the stills.  Moonshine also led to the first revolutionary outbreak against the US Government, known as the “Whiskey Rebellion.”  This occurred right after the Revolutionary War when a cash-strapped government tried to tax the home made hooch.  It was crushed, but the issue was never fully resolved.  The Mississippi bootleggers took it to a whole new level.  They simply operated “grocery stores”, which would have a few cans of sardines on the shelves, and maybe a box or two or crackers for sale.  Yet these places stayed open at all hours, and would sell moonshine to anyone, regardless of race or age.  There was money to be made bootlegging.  It is known that when votes would arise for liquor to be made legal, most of the campaigning was done by churches and preachers.  Their slogan was “for the sake of my family, vote dry”, and they would hand out bumper stickers with that slogan on it to anyone who would take it.  Funny thing is, most bootleggers and runners had these bumper stickers on their cars as well.  Too much money was to be made by bootleggers and corrupt sheriffs from liquor staying illegal.

Sample Illegal Distillery

Still to this day, illegal distilleries are being found and shut down by law enforcement.  Moonshine is still available because it is cheaper than real whiskey, and because some prefer its taste.  Today, a large number of the illicit distilleries are located in an enclosed shed or a building near the violator’s home operating without attracting attention. Production methods vary by violator, as example in their personal preferences for cookers or the type of grain used. Cookers are commonly cypress wood, copper, or stainless steel. While most illegal distilleries prefer to use corn due to its low cost, there are those who believe rye grain makes the best whiskey. Several of the violators in east central Mississippi pride themselves in selling what is commonly referred to as “sealed” whiskey giving the appearance of a cleaner product because the purchaser knows that the container was not previously used. A few of the violators will charter, or darken the color of the moonshine by aging it for a few weeks in recycled whiskey kegs; however, most simply will add cola to give it the amber color. In either case, the charter color raises the moonshine’s price per gallon.

Though there are health concerns with drinking illegal moonshine, it is still very safe in comparison to what the bluesmen of old would drink.  Using Tommy Johnson as an example, he was an alcoholic known to drink whatever he could.  One drink of choice was shoe polish, which could be filtered through a loaf of white bread, yielding a clear liquid intoxicant.  Another option was the infamous canned heat, which is a slang term for Sterno.  Sterno was a commercial jellied alcohol used to heat food, typically placed beneath metal pans on a banquet or buffet line. Strained through cloth (or sometimes even white bread), it can be drunk to get intoxicated.  There was also stories of drinking antiseptics, and more.  Moonshine or canned heat, either way, there was no such thing as a legal distillery in Mississippi.

Until now.

Austin and Richard, founders of Cathead Vodka

77 years after the end of prohibition, Jackson native Austin Evans and his business partner Richard Patrick will not be called bootleggers or moonshiners. Instead, they can be called pioneers. Cathead Vodka, the first legally distilled spirit to come out of Mississippi, hit liquor stores and bars recently, giving Jacksonians a true “local” option when choosing a cocktail.  It is now available throughout Mississippi, and is widely spreading.  This is no ordinary vodka though – and that is because it is run by two un-ordinary people.  Both Austin and Richard are avid blues fans and supporters.  Cathead Vodka does have plans in the future to dive into direct support of local blues and live music.  Perhaps they will even sponsor a festival or two.

Mississippi is home to Kiln’s Lazy Magnolia Brewing Co., which makes homegrown beer, and Natchez’a Old South Winery, which produces wine from muscadine grapes. But apart, no doubt, from illegal moonshining, the idea for a distilled-spirits facility seems to have gone unaddressed until Evans and Patrick settled on their venture.

Moonshine, Canned Heat, blues, and  a Cathead.  What more could you expect from the Delta?

Visit Cathead Vodka @ www.catheadvodka.com

Please also note that Cathead Vodka has no relation to Cat Head Delta Blues and Folk Art.

Gayle Dean Wardlow Is Instrumental In Blues Research.  Here Are His Interview Tapes.

Gayle Dean Wardlow was born August 31st in 1940.  He is considered to be one of the most formidable blues researchers ever.  In fact, a lot of the information on this site is based on his research and his interviews.  He is most well known for his investigative research into the lives of Charley Patton and Robert Johnson.  However, Mr. Wardlow also brought us the likes of H.C. Speir, Ishmon Bracey, and countless others.  He is considered to be the leading world authority on delta blues.  Think about that.

Gayle Dean Wardlow

Though Wardlow was born in Freer, Texas, he was raised in Meridian Mississippi from the age of 6.  Like most other known researchers of the blues, Wardlow started off as something else – a collector.  In his teens he began collecting Roy Acuff 78s, and began collecting blues records in order to trade them for more Acuff albums.  That changed in 1960, when he starting collecting the blues for their own sake.  It was then he realized that little to no biographical information existed on the musicians who had made these albums.

By 1963 Wardlow had begun researching a book on Delta blues musicians, mainly by making enquiries in black neighborhoods, recording oral histories, anecdotes, songs, and remembrances. He interviewed Ishman Bracey, Charlie Patton’s widow, and blues talent broker H. C. Speir, and a few years later uncovered Robert Johnson’s death certificate. In the process of his research he became a leading authority on country blues. He also amassed the world’s largest and most valuable collection of pre-war blues records, many of which are now unique.

Wardlow has published many articles on blues history, and the book Chasin’ That Devil Music – Searching for the Blues, which was inducted into the Blues Foundation Hall of Fame in 2006 as a classic of blues literature.  An obvious must read.

Most of Wardlow’s field research was astonishing.  he has a great knack for research, in that not only did he trace oral histories, and record his interviews, but he also compared the oral tales told to him to documents.  By using documents to back up claims made in those interviews, Wardlow was able to not only uncover tons of new information, he was also able to correct a lot of errors and erroneous statements made by other researchers.

What is amazing is that these interview tapes have been made available online with documentation and notes.  Now it is possible for other blues researchers, who cannot interview these people of the past, to listen to the original interviews as conducted by Gayle Dean Wardlow.  And he has provided a lot of them.

Below are the links to the various tapes provided by Wardlow.  I highly recommend you give them a listen.  There are several referring to Willie Brown, Patton, and more.  They are hosted by Middle Tennessee State University.

Clicking the links will open the notes in PDF form.  Click a title or time code in the PDF to access the audio of the interview.

Hayes McMullan Interview 1

Hayes McMullan Interview 2

Hayes McMullan Interview 3

Hayes McMullan Interview 4

Hayes McMullan Interview 5

Hayes McMullan Interview 6

Hayes McMullan Interview 7

Hayes McMullan Interview 8

Hayes McMullan Interview 9

Hayes McMullan Interview 10

Gress Barnett Interview 1

Gress Barnett Interview 2

H.C. Speir Interview 1

H.C. Speir Interview 2

H.C. Speir Interview 3

Albert Schultz Interview

P.C. Brockman Interview

Harry Charles Interview 1

Harry Charles Interview 2

Rev. D.C. Rice Record

Lilly Hester and Roberta Jamison Interview

Tommy Lee and Robert Gildart Interview

Henry Austin Interview

Willie & Elizabeth Moore Interview 1

Willie & Elizabeth Moore Interview 2

Willie & Elizabeth Moore Interview 3

Willie & Elizabeth Moore Interview 4

Willie & Elizabeth Moore Interview 5

Willie & Elizabeth Moore Interview 6

Willie & Elizabeth Moore Interview 7

Willie & Elizabeth Moore Interview 8

Willie & Elizabeth Moore Interview 9 + Wardlow Notes and Hayes McMullan

Lula Mae Steps and Frank Howard Interview

Roberta Allums Hagan Interview

Sammy Watkins, Fred Morgan, and Ishmon Bracey Interview

Ishmon Bracey and Joe Calicott Interview

Ishmon Bracey + Wardlow Notes

Booker Miller Interview 1

Booker Miller Interview 2

Booker Miller Interview 3

Booker Miller Interview 4

Ledell Johnson Interview

Jesse Hills, Sam Williams, and Marie Boseman Fields

Niece of “Blind” Joe Reynolds, Rosalie Harris, and Lulabelle Johnson Interviews

Uncle of “Blind” Joe Reynolds, Henry and Mary Millage, and others

Jack Brown – Store Owner in Monroe, Louisiana

Nathan “Dick” Bankston Interview

Jack Cooper Interview

Percy Huff and Chester House Interview + Wardlow notes

John Willis Interview

King Abram, John Willis, and Elson Davis Interview

To get more information on these tapes, interviews, their location, etc, please visit the original page at popmusic.mtsu.edu

Enjoy!

Juke Joints Still Exist.  Barely.  But Gip’s Place Has The Blues.

Juke Joints (or “jooks” as they are often misspelled) and their historical significance  are intertwined with the blues.  The blues movement, which grew from the oppression of blacks in the early 1900′s, became popular in in sharecroppers’ shacks that turned into nightclubs on the weekends.  It was these places, often times places with no names, where blacks were free to gather, drink, socialize, and hear local entertainers who traveled around brining with them their own style of blues.  The music was the blues in its purest sense – hard times, sorrow, and low down dirty times.  It was the delta – and its’ jukes – that provided the early fertile ground for the blues to develop and grow.

Gip's Place

Many things contributed to these jukes beginning to fall.  The Great Migration, in particular following World War I and II, contributed greatly to the fall of the juke.  The foothold the jukes once had in the south began to vanish as the locals left for a better life in northern cities.  Though the blues would migrate with the people, bringing a new, electrified style of blues with it, the juke of the south slowly began to die.  On top of that, the invasion of the casinos in Mississippi did nothing to help the jukes, instead, helped to solidify its demise and destroying a large part of blues history.  With the casinos attrcting the local talent for better pay, and for the fans, mostly free admission, the juke would begin to fail, and slowly sink into history.

Today, there are still some surviving jukes.  These jukes, however, find it hard to open, and are tucked away on lonely streets or in otherwise abandoned buildings and storefronts.  Though there has been a strong revival of the blues, and with that jukes,  including the Juke Joint Festival, that help pump money into these establishments and the local economy.  However, most of them still struggle to hang on.  The local populations for the most part have lost interest in the juke, and only the tourists and pure blues fans keep them afloat.  Most jukes that existed just a few years ago have closed their doors, never to reopen.  Rarely does a new legitimate juke open, aside from larger “juke inspired” attractions.

However, jukes do still exist,  you just have to now where to look.  Red’s Lounge in Clarksdale still thrives, as does Po’ Monkeys, and even Wild Bill’s in Memphis.  One juke in particular though, still stands for everything the early jukes once did.  Hidden locations, weekend crowds, big name local talent, great music, cheap drinks, and good times.

Welcome to Gip’s Place.

Portions originally written by Ed Reynolds for The Black and White Paper.

In Bessemer Alabama there sits a tiny little secret.  Right in the backyard of Henry Gipson’s home sits a tin-covered shack, a tiny piece of long lost blues history: the juke joint.  Gip’s Place, nothing more than a dilapidated building, is packed most Saturday nights. Patrons tend to file in, bringing their own coolers to see who is going to show up and play that night.  They munch on fish that was fried in a kettle out in the yard.  They sit in rickety  old chairs that were seemingly acquired from the funeral home Gip used to work at.   They come for the blues.

Henry Gipson - Photo by Danger Judy

Henry Gipson grew up in Uniontown, Alabama, some 80 years ago.  He worked at the Pullman Standard Railcar Company in Bessemer for 25 years, then began working for a funeral home digging graves.  Gip now owns his own cemetery, the Pine Hill Cemetery, about 15 miles west of Birmingham.  He still digs the graves himself.  Ed Reynolds of the Black and White paper out of Alabama recently had a chance to sit with Gip, who was perched on a dusty old chair atop the stage at Gip’s Place.

“I’ve been fooling with this here for about 50 years . . . It wasn’t built like this at first,” he said. “It wasn’t until Lenny and Hank started coming. They put the tin top [roof] up there. I used to have just a net around it. It wasn’t as big as it is now.”

The walls are plastered with old posters dating decades ago, advertising acts touring the Chitlin’ Circuit.  A malt liquor sign illuminates the surroundings, highlighting the low light space and drawing your eye to the upright piano perched next to the stage.  Christmas lights are hung without care to provide decoration and additional lighting.  This place is for blues fans, and draws mostly the over 40 crowd.

“I don’t want too many young people down here, ’cause you know how they act,”

Gip’s Place, loved and cherished by the local blues fans and blues society, used to be worse off than it is now.  Two blues fans by the name of Lenny Madden and Hank Moore discovered Gip’s Place in the late 90′s, and helped to supply the tin roof now covering Gip’s Place.  Soon, Lenny and Hank shared their find with the Magic City Blues Society, and the juke joint came back to life.  Now, cars line the streets almost every Saturday night with patrons.  It’s hard to even park your car.  But the music is first class.

The club itself sits in a bad part of town, nestled close to railroad tracks, projects, and ghettos.  However, the music and the atmosphere is enough to keep the people coming.  Just ask Earl Williams, a late 50′s hairdresser who frequents Gip’s,  once toured with Johnny Taylor.
“When the whites started coming around, [some neighbors] thought they were watching some of the guys in the neighborhood . . . They thought [the white patrons] were the FBI!” says Williams, laughing at himself. “I’ve always hung around Gip’s. I love to jam. That’s my place I like to go play for free. I get a chance to let my hair down and be me. I can try whatever I want to try up in there. It’s just a brotherly-type thing, you’re just doing it for the love of music.”

Williams began coming to Gip’s at age 10 to learn to play guitar from the regulars. “Gip would do everything he could to lure good players to come up there. He’d be out there barbecuing, and he might have a little corn whiskey,” he recalls. “He’d have three or four grills going. He’d have a raccoon on one, he’d have a goat on one, a whole pig on another. He loves music, and he don’t want to do it for a profit. He ought to have a cover charge, but he can’t come to terms with charging people money.”

This type of place is what is left of the american juke.  It sits alone, off the beaten path, but attracts the people on a Saturday night for the good music and the good times.  These places are slowly becoming a sinking part of american history.  Though several jukes do still exist, they are being phased out by night clubs, casinos, local governments, and more.  When going to support live blues, see what you can do about supporting a juke.

Over the last year Gip’s Place has played host to Bobby Rush, Cedric Burnside & Lightnin’ Malcolm, Mikey Jr., Elliott & the Untouchables, Little G. Weevil, Billy Gibson, Liz Brown, Microwave Dave, DieDra, Kent Burnside & the New Generation, Davis Coen, Jake Lear, Big Mike Griffin, Kenny Brown, Delta Highway and many many of the regions top Bluesmen.

And check out The Juke Joint Festival!

Check out The Google Map Project, which has quite a few jukes marked of on an interactive map.

Someone Had to Find The Talent in 1920-30 Mississippi.  It Was This Guy.

The following information on H.C. Speir was sent to me by a loyal reader.  Enjoy!  Make sure to check out all the sources and materials listed at the bottom….

Henry C. Speir

Mississippi has long been recognized as home to some of the greatest Blues musicians of all time. Barely remembered today is white talent scout H. C. Speir of Jackson who was responsible for finding and recording many of these Blues artists in the 1920s and 1930s.

H. C. Speir had a talent for finding Blues artists that could make records that the public wanted to hear. He was directly responsible for finding such Blues artists as Charlie Patton, Skip James, Tommy Johnson, Ishmon Bracey, Bo Carter, the Mississippi Sheiks, William Harris, Blind Joe Reynolds, Blind Roosevelt Graves, Washboard Walter, Geeshie Wiley, Elvie Thomas, Isaiah Nettles, and Robert Wilkins. Speir also had a hand in helping to start the careers of Son House, Willie Brown, and Robert Johnson.

Henry Columbus Speir was born on October 6, 1895, and was a native of Newton County, Mississippi. After serving in the Navy during World War I, he moved to New Orleans and went to work for the Victor Talking Machine Company making Victrolas. Working for Victor gave Speir the idea to open his own music shop, and so he moved back to Mississippi, borrowed the money to start his business, and set up his store in Jackson.

Speir opened his store at 225 North Farish Street in 1925, and the location he chose was in the heart of the Black business district of Jackson. He did this on purpose, intending to sell music that appealed to local Blacks. 90% of his customers were Black, and 10% were white.

About 1926 Speir began a sideline as what he called a “talent broker,” looking for Blues musicians that were good enough to make a record and taking them to the record companies. Speir began his work as a talent broker as a way to promote his music store, and he found Blues artists for major record companies such as Victor, Columbia, Brunswick, and OKeh, and for smaller record companies such as Paramount, Vocalion, and Gennett.

In 1926 Speir installed a recording machine upstairs over his store so that he could cut demo disks for new artists. He then sent these demo disks to the record companies to try and interest them in recording the musicians he found. Speir also made his recorder available to the general public, and anyone with $5.00 could cut his or her own disk.

The first known Blues artist that Speir found and was able to interest a record company in recording was William Harris, a singer that he discovered outside of Jackson in 1927. He also found Tommy Johnson and Ishmon Bracey in 1927, followed by Charlie Patton in 1929 and Skip James in 1931.
Speir did not take royalties from the record companies for the artists he found, preferring to work for a flat fee plus expenses. He often attended recording sessions at his own expense, and sometimes supervised the recording process as well.

Speir did not sit around his store in Jackson waiting for Blues musicians to walk through the door. He traveled extensively looking for new talent, going to Birmingham, Mobile, New Orleans, Memphis, and all over the Mississippi Delta looking for artists to record. It was on a trip through the Delta that Speir found Charlie Patton, who was living at Dockery’s Plantation near Ruleville in Sunflower County, Mississippi.

From 1929 – 1932 Paramount Records was the primary company that Speir was sending his musical talent to. The company had such faith in his ability to find good musicians that could sell records that they did not require him to submit a demo disk for the artists he recommended.

Speir sent most his musicians to out-of-state recording studios to make their records, and sometimes he went along as well to supervise the sessions. Speir did however cut some records in Mississippi. He did a session for OKeh in Jackson in 1930, one for the American Recording Corporation in Jackson in 1935, and one in Hattiesburg for the same company in 1936.

The 1930 recording session in Jackson was done at the King Edward Hotel. OKeh Records had established a studio in the building that same year, and they asked Speir to supervise a recording session in December. It was a large session involving multiple artists, and nearly 100 master disks were cut. Some of the musicians recorded during this session were the Mississippi Sheiks, Bo Carter, Charlie McCoy, Slim Duckett and Pig Norwood, Elder Curry, the Campbell College Quartet, Elder Charles Beck, and Mississippi Coleman Bracey and his wife.

In the 1936 Hattiesburg session, Speir was recording the Mississippi Jook Band, made up of Blind Roosevelt Graves and his brother Uaroy Graves. They were joined by pianist Cooney Vaughn. This session was memorable for two of the tunes that the group recorded: Barbecue Bust and Dangerous Woman. According to the book The Illustrated history of Rock and Roll, published by Rolling Stone magazine, these two songs are identified as some of the earliest Rock and roll tunes.

In 1936 Speir also recorded a demo disk for Robert Johnson at his store in Jackson. The talent broker would have personally arranged to have Johnson cut a record, but he had just completed over 200 master records for the American Record Corporation, and never got paid for his efforts. To avoid having this happen again, Speir contacted Emie Oertle, the American Record salesman for Mississippi and Louisiana, and tipped him as to Johnson’s potential. Oertle took Johnson to San Antonio where he cut his first record.

Speir is remembered today for the Blues artists he found, but he was also responsible for locating and recording many of Mississippi’s best string bands. Some of the groups he recorded are the Leake County Revelers, Freeny’s Barn Dance Orchestra, the Newton County Hillbillies, and Uncle Dave Macon.

Speir had an amazing ability to find musicians that were popular with the record buying public, but he did pass on one country music star – Jimmie Rodgers. Rodgers auditioned for Speir when he was approximately 30 years old, but the talent scout told him to go back to Meridian and write some good songs then come back. The next Speir heard of Rodgers, he had hit it big on the RCA – VICTOR label with the song Blue Yodel.

Between his work as a talent scout and his music shop in Jackson, Speir was making a very comfortable living. In the 1930 census he listed the value of his home at $4500; it was located at 126 South O’Farrell Street. Speir once told an interviewer that on a good day in the spring and summer in the 1920s, he sold between 300 and 600 records. He kept a stock of over 3,000 records, and 90% of them were what then called “Race Records” or Blues music by Black artists. The records that Speir purchased cost 45 cents each, and he sold them for 75 cents each. Speir had a talent for buying records his customers wanted to hear, which was very important, because he could not return records that did not sell to the record companies.

In 1929 the Great Depression began, and by the early 1930s the record companies were in serious trouble as few people had money to spend on records. In 1927, 104 million records were sold in the United States; in 1932, only 6 million records were sold, a drop of about 95%.

In 1930 Paramount Records offered to sell the company to Speir for $25,000, which included shipping all of the recording equipment from Wisconsin to Mississippi. Speir wanted to buy Paramount, but he did not have the money. Four months earlier he had invested $30,000 in an oilrig in Rankin County and the project had used up all his cash reserves. Speir tried to raise the money through the Jackson Chamber of Commerce, but he was unsuccessful.

By 1932 Speir had moved his music store to 111 North Farish Street, and by 1935 he had expanded his business to include used furniture, probably to make up for the lost revenue from record sales. In the 1935 Jackson City Directory he had changed the name of his business to Speir’s Music Dealer and Second Hand Furniture.

By 1937 Speir had moved his store to West Capitol Street in Jackson, and made another name change in the business: in the 1937 Jackson City Directory it was listed as Speir’s Furniture and Music Dealer. In the 1942 Jackson City Directory, Speir no longer advertised that he sold music, and his store was simply known as Speir’s Furniture, located at 206 West Capitol Street.

In 1942 a fire destroyed part of his music store, and it was about this time that Speir gave up the music business entirely, convinced that the recording industry had no future. He quickly faded from memory and his role as a pioneer music talent scout was all but forgotten.

Speir would probably be unknown today if not for the efforts of Blues historian Gayle Dean Wardlow. While attending Belhaven College in Jackson, Wardlow found out about Speir’s role as a talent scout from musician Ishmon Bracey, and set out to find him. Wardlow found Speir living in Rankin County in 1964, making his living selling Real Estate. Over the next several years Wardlow interviewed Speir repeatedly, and most of what is known about Speir’s role as a talent scout comes from these interviews.

Speir had a very important impact on Mississippi Blues music, recording many acclaimed artists that otherwise might be unknown today. When asked about the impact that Speir had on Blues music, Gayle Wardlow stated, “Speir was the godfather of Delta Blues. H. C. Speir was to the Twenties and Thirties country blues what Sam Phillips was to Fifties rock & roll – a musical visionary. If it hadn’t been for Speir, Mississippi’s greatest natural resource might have gone untapped.” – “Godfather of Delta Blues: H. C. Speir,” by Pat Howse and Jimmy Phillips.

Henry C. Speir died at his home in Pearl, Mississippi, on April 22, 1972, and was buried at Lakewood Memorial Park in Clinton, Mississippi. In 2005 he was inducted into the Blues Hall of Fame in Memphis, Tennessee.

Sources

All Shook Up: Mississippi Roots of American Popular Music. Jackson, MS: Mississippi Department of Archives and History, 1996.

Blues Hall of Fame biography of H. C. Speir. Available on the Blues Foundation website, accessed December 6, 2006. Available at: http://www.blues.org/halloffame/inductees.php4?ArtistId=287.

“H. C. Speir, Sr., Dies After Heart Attack.” Rankin County News, April 27, 1972.

Howse, Pat, and Jimmy Phillips. “Godfather of Delta Blues: H. C. Speir. Originally published in Peavey Monitor Magazine, (1995). Available online at: http://www.bluesworld.com/SpierIntro.html.

Jackson, Mississippi, City Directories for the years 1927-28, 1929-30, 1932, 1935, 1937, 1939, 1940, and 1942. Mississippi Department of Archives and History, Jackson, MS.

United States Bureau of the Census.  Hinds County, Mississippi Census Records for the Year 1930 [Microfilm]. Mississippi Department of Archives and History, Jackson, MS.

Wardlow, Gayle Dean, and Edward M. Komara. Chasin’ That Devil Music.  San Francisco, CA: Backbeat Books, 1998.

Manuscript and Audio Resources

Gayle Dean Wardlow Audio Tape Interviews – Located at the Center for Popular Music, Middle Tennessee State University, catalog # TTA-0182A/UU. The collection consists of 47 audio tapes of interviews by Gayle Dean Wardlow of blues musicians in Mississippi, Alabama, Arkansas, Georgia and North Carolina between 1967 and 1969. Included among the interviews are the ones that Wardlow did with H. C. Speir in the late 1960s. This collection also includes an interview with musician Ishmon Bracey, who was discovered by H. C. Speir. A description of the Wardlow Collection is available at: http://popmusic.mtsu.edu/archives/inventory/wardlow.htm.

Gayle Dean Wardlow Collection – Located in the Blues Archive at the University of Mississippi, J. D. Williams Library, catalog # MUM00445. The online listing of the collection does not specify what it contains, but given Wardlow’s close association with Speir, it is probably worth checking out.

Screamin’ & Hollerin’ The Blues: The Worlds Of Charley Patton – This compilation CD of Charlie Patton’s music contains portions of the Wardlow interviews with H. C. Speir, and even includes test recordings made of Speir reading newspaper headlines in 1930.

The Great Migration Not only Put African-Americans in Chicago.  Some Headed West.

Russell City was vital in the creation of post-war American blues.

Since the early 1900’s, Russell City had been a community of Danish farmers and Latino and Filipino immigrant workers, poor folks jammed along the railroad tracks of the Southern Pacific between Hayward and the San Francisco Bay.

Russell City Street Map (click for larger view)

Russell City boomed when an influx of African-American workers came from the American south to work in the shipyards during World War II. With the price of land and housing cheap and available to non-whites, Russell City became home to many of the newcomers. Soon dive bars mushroomed in Russell City, beginning as just shacks with dirt floors and tin roofs, but where musicians could learn their chops, play in front of a critical crowd, and rework Mississippi Delta and Gulf Coast blues standards into a new, distinctive West Coast sound.  Some of these great places included The Country Club, Miss Alves Place, Leona’s Hightower Club, The California Cafe, and a bunch more that never really had a name.  In fact, some of the old timers remember – all you had to do was look for a 7-Up or Coca-Cola sign – good times were to be had inside.

From then until the early 60’s the blues could be heard from morning ‘til night. Musicians such as T-Bone Walker, Big Mama Thornton, Fillmore Slim, L.C. ‘Good Rockin’ Robinson, and Billy Dunn moved through Russell City, Oakland’s 7th Street, and Richmond’s downtown clubs, the vibrant scene giving them the luxury of focusing their energy full-time on their artistry.

But in the 1960’s county officials and industrialists decided, with Russell City straddling the railroad line, the land would be better used as an industrial park.   Actually, by 1963, all of Russell City was condemned.  The residents were moved out through eminent domain, paid pennies on the dollar for their property. Some residents hint at darker methods, saying they were burned out by a series of unsolved arson fires. Ultimately, by 1966 Russell City’s homes and cultural institutions were torn down and the land cleared. Russell City became a memory, a coda to a catchy blues number.

One resident in particular, Ernesto Sava, claims to be the last resident to leave.  He explains that he was the last resident to leave Russell City, and once he vacated his house, it was burned down in less than two hours.  He claims most of Russell City was burned down, and his was the last house to burn.

The Country Club

Of course, as with all things blues, sometimes things just get forgotten.  There is a Bay Area Blues Society, with various projects in the works to help keep the history alive, and annual picnics and festivals where old neighbors get together to remember.  Sometimes though, the remembering is done by the wrong people for the wrong reasons.

As of 2001, Calpine, a large energy corporation has sited an enormous power plant (5th largest by emissions in the Bay Area), in the former Russell City. This power plant is to be situated on the border of a National Wildlife Refuge and Regional Parks on the Hayward Shoreline.

The name is in honor of Frederick James Russell, who laid out the town in 1907.   Somehow I don’t think this makes it any easier for the former residents to forgive the forceful evacuation and burning of their homes.  I’m just sayin’.

Bob Geddins

It is also hard to make mention of Russell City, or the Oakland area blues scene without mentioning Bob Geddins.  Born in 1913 in Texas, Geddins came to Oakland after World War II, and stayed until his death in 1991.  From 1948 onwards he founded and owned numerous small independent record labels such as Art-Tone, Big Town, Cavatone, Down Town, Irma, Plaid, Rhythm, and Veltone. He also leased his recordings to Los Angeles record companies as Swing Time, Aladdin, Modern, Special, Imperial, Fantasy, and even to the Chicagoan Checker label.  When it comes to the blues in CA, though, Bob was the first at a lot of things.

Bob Geddins was the first African-American in the bay area to own a record plant and recording studio.  He was the first African-American to have numerous record labels.  He set up his own distribution network by loading them in the trunk of his car and taking his records all over the United States from Los Angeles to Texas or any other city where hot blues was played.  For most, Bob Geddins is known as the Godfather of Oakland Blues.

Various locations in Russell City, Oakland, and San Francisco have also been added to The Google Maps Project.

Portions of this article were taken from Past and Present Media, and the Bay Area Blues Society.  Check out a Film Trailer on the area here.

Did Henry Stuckey Really Learn the Blues From Two French Soldiers?

We all know the story of Henry Stuckey, the man who taught Skip James the Bentonia style of blues.  More of his story can be found here, but here is the general story:

Henry Stuckey started off as a self-taught guitar player.  He was accomplished enough by age 11 to play guitar in some juke joints in Bentonia. He stayed local, playing there until 1917, when he joined the U.S. Army and went to France as an aide/nurse in a military hospital.

As the story goes, while working in a hospital overseas Stuckey came in contact with two wounded French soldiers.  From these two soldiers, Stuckey learned a new tuning style for guitar, and history was made.  Stuckey, in an  interview with Gayle Dean Wardlow, said the two soldier/guitarists were  French, one a West Indian and one a Gypsy, who played with an open D minor chord tuning (Other reports say these men were Bohemian).

Upon returning home in 1919, he incorporated the tuning into his playing, eventually teaching it to a younger guitar player, Skip James, around 1924.

But the fact remains – is this story true?  Did Henry Stuckey actually learn this style in France, as he has stated?  Or is there more to it than that?  To help answer some questions, lets take a look at his Military Records, sent to me by Jeff Giambrone.

Henry Stuckey Draft Card

We can learn a lot from this draft card.  For one, we can certainly verify that he is from Bentonia, MS.  However, most reports have him being born in 1897.  This draft card however, has him born in 1896.  This is very interesting, as that date would have been given by Stuckey himself.  He has also been reported to have been born on April 11, but the date here clearly says the 12th, and looks more like December.  This clears a few things up about his birth date.

We also see he lists his occupation as a farmer, employed by Dug (probably “Doug”) Wharton in Bentonia.  This is interesting, as he would have been playing music somewhat professionally for 10 years at this point.   He is listed as having no children, and being unmarried.  He also signed the card with a “X”, thus making his mark.  This most likely mean that Stuckey could neither read nor write, which may account for his name missing the “e” in the spelling.

Let’s take a look at another one of his records, Stuckey’s Service Card.

Henry Stuckey Service Card

Click for larger view

This document also explains a lot.  You can notice that on the top of the card his name has been corrected in pencil to add the “e” to the spelling of his last name.  You can also see the corrected the Nazoo to Yazoo, which makes sense.  We even see the date of his induction, March 5th, 1918.

The birth date is interesting as well.  It shows Stuckey as being 21 and 2/12 yrs old as of the date of induction.  This further goes to show he was not born in 1897, as previously reported, nor in April.  Actually, if you do the math, the date of  December 11 1986 hold up.  He would have been 21 and ALMOST 3/12 yrs old.  But not quite.

The rest of the document is where things get tricky.  As you can see, it lists the various units he served with.  These are:
Company A – 311 Labor Battalion  from 3/5 – 7/18.
Company D – 404 Reserve Labor Battalion from 7/18 – 10/18.
Company B – 328 Labor Battalion from 10/18 – 3/16.
Of these battalions, I can only find evidence that the 404 ever was deployed overseas; In fact, most labor battalions made up of African-Americans stayed in the states, and worked loading ships, trains, and more.   However, the 404 Reserve Labor Battalion did indeed go overseas and made emergency provisions for emergency treatment at any time during the day or night, providing treatment for officers, enlisted men, the families and dependents of those men, as well as any civilians stationed at the port.

According to Stuckey’s story, he learned the open D minor tuning for the Bentonia style from two wounded French soldiers.  This seems to line up with his service card.  The battalion he served in was indeed a medical battalion, and the 404 did treat both officers and enlisted men.  This seems entirely possible, and seems to jive.  Except for one thing.

Under his listed battalions on his service card, it clearly states he achieved the rank on Private, sustained no wounds, and NEVER SERVED OVERSEAS.  This brings up an interesting point.  If his military record shows him as never serving overseas, then how did he learn anything from two French soldiers?  I consulted a military expert, and according to him, it is highly unlikely that this record is wrong.  Although on the record you can see that the name was corrected, as was one spelling of Yazoo.  So obviously, mistakes were made – but would the military get it wrong that he served overseas?  According to my expert, if this is a mistake, it is a very uncommon one.  Further proof can be found at the bottom of the form in the left hand corner.  The form itself was revised Nov. 22, 1919.  This is AFTER Stuckey was discharged.  This means the military back filled this form – would they have gotten the fact that he served overseas wrong?

In an attempt to answer some of these questions, i have been searching records to see if his company in the 404 was deployed overseas during the dates he was in the battalion.  So far, no luck.   I have been assured that Jeff Giambrone is currently in the process or requesting Stuckey’s full jacket/record, which would definitely indicate correctly whether or not he did go overseas.  How?  Simple.  Every troop deployed overseas is given a ribbon for the deployment.  One can simply check to see if he was ever issued a ribbon for his time in the military.  He was only in that battalion for 3 short months.  Is it possible he was never deployed?

One possible theory is that Stuckey never went overseas at all.  It is possible that he learned the style from another American soldier who had indeed been deployed with the 404.  This would also add some truth to his tale – perhaps another American soldier did learn the style from two French soldiers, and taught the style to Stuckey when Stuckey got transferred into that battalion.  Stuckey could have quite simply adopted the French soldier story as his own, and the rest is history.   This would make sense, in a weird way – because then both his story is true (somewhat) and the military record is correct.  But why would Stuckey lie about where he learned the style?

The truth is, until we can get more documentation proving he did not serve overseas, you have to take Stuckey’s word for it.  So for now, we will have to go with the military record being incorrect.  Hopefully soon, though, this question will be answered.

Enjoy!

Previously, we explored the History of Blues in Tampa.  Now take a look at the historic Artists of Tampa.

Sure, we know about the history of blues in Tampa.  We know about Central Avenue, The Scrub, some of the old local businesses, and more.  In this installment, we will talk about the history of Tampa – only focused on the artists.  Below are three artists that not only have ties to Tampa, they helped define its musical history and ties to the blues on a nationwide and worldwide scale.

Rock Bottom

Rock Bottom

In Rock Bottom’s case it began as David Clark York on May 6, 1948; one of three children born to Ruth and Ernest Clark “Duke” York in Indiana’s poorest county. His grandfather Gus served in Tampa with Teddy Roosevelt’s Rough Riders during the Spanish American War.

The family moved numerous times between Brookville, Ind., and Bradenton until 1965, when David came to Florida for good, to live with sister Sylvia in Tampa. Another sister, Sandra, diagnosed with Down syndrome, died at age 56 in 1990.

The transformation of David to Rock occurred after graduation from Chamberlain High School in 1966, when he heard music by Sonny Boy Williamson and Paul Butterfield and began hanging out with members of the fledgling Allman Brothers Band. He spent much of the late ’60s soaking up music in the all-black “juke joints” of the rural Gulf Coast. His later songs told of fights, days in the Manatee County jail and nights hiding from the cops in the swamp.

York tried survival as a retail merchant, working at Kmarts and Kresges. His mother wanted her son to be a preacher. Instead, he formed a musical band called Swamp Gas, stolen from Canned Heat’s original name.

“We didn’t know how to play at all, but Rock somehow got us a gig. … He had cut lips at the time from learning the harp and the guy teaching me the bass stood in the audience pointing which direction to put my fingers,” said Sarasota bassist Michael Downe, later known as Rev. Boneshaker. “When we gave the drummer a solo, he just put his head down on the snare and cried. We got booed out of there by 2,700 surfers.”

Undaunted, York never looked back, kept plodding straight ahead — a lifetime trademark that both created irritation and endearment among friends and foes. “He was a thick-headed, bull-headed, stubborn, big brother Santa Claus,” says Boneshaker. “We’d throw each other in front of a train for each other. We would fight, kick ass and get back together.

“You got to understand, a part of me no one knows about died with him. There are too many stories. We used to ride around for hours making weird noises with our lips. We had hitchhikers beg us to let them go in the middle of nowhere. It would take half a lifetime to really tell you what this man was all about.”

In the early ’70s, David York went away for good, replaced by Rock Bottom, harp player for the eclectic Nick Danger and the Heat. “We would break stages. We would do it on purpose,” says Boneshaker, the bass player for that band. “We would play the B sides of everything. We did shows in dinosaur suits. We did a prisoner set.

“We dressed Rock all in black, painted his beard white and had him jump out of a big black casket playin’ the harp. You won’t see that today.”

In the late ’70s, Rock partnered with boogie-woogie pianist St. Petey Twigs (Kent Smith) and torch singer/washboard player Flo Mingo (Angela Altieri) as the Silver King band. Until the band broke up in 1985, Silver King soared through the downtown St. Petersburg music scene and began touring Europe offering original, social commentary-laced, boogie music with fun and attitude.

The band gained national prominence in 1983, on a live broadcast in Norway, when they dedicated their “My Balls Are Blue From Loving You” to Nancy Reagan, described as “our favorite groupie.” The U.S. Ambassador to Norway had to issue a formal apology. “Our rates went way up,” said Rock. “It was good business.”

Years later, Rock’s song about drinking — “Fucked Up” — was banned in Georgia and brought police action against him during live shows. Club owners had to pay the fines and Rock’s fame broadened.

The last 16 years of his life, Rock Bottom was a veritable Lord Blue of Tampa Bay. He groomed, equipped, hired (and fired) dozens of musicians and relentlessly pursued venues and jobs for friends from near and far. His support was critical to WMNF, Skipper’s and the Suncoast Blues Society in their early days. He took care of the legendary Diamond Teeth Mary, expanding her fame worldwide during the last 10 years of her life. Each summer he returned to Scandinavia; today, there are Rock Bottom harmoniac “copy cats” everywhere, using his exact gear, amps and microphones, swinging their arms like the master.

The anecdotes rain down like showers from the blues thundergods. Singer Rosy Cockburn covered in men’s underwear after Rock’s request on live radio. Firing drummer “Jungle” Denny McCarthy and leaving him miles from nowhere in the Norway outback. Asking an entire tent full of people, north of the Arctic Circle, to walk outside and urinate to moisten the dry earth so the sound system could ground. “I called him “Putty Butt’ once and he fired me right on stage. Then drove me to the airport,” said lusty singer Rosy.

Rock and friendly competitor T.C. Carr met in 1974 at a local music store, looking for the same Supro amp. T.C. got there first: “That was the only time I ever beat him at anything. And now he’s beat me to the grave.”

In 1992, heart trouble led Rock into triple bypass surgery. He married longtime girlfriend, Maureen, and seemed to settle down in their little bungalow on the infamous 17th Street described in many of his tunes. He read Robert Heinlein and Jack Vance science-fiction and began fashioning mixed-media clay and bottle cap “blues scene” artworks. He continued to tour Europe where he was treated — and paid — like a star. He appeared occasionally as Woodlawn Fats, who played only “sleazy bars for low pay” and single-handedly transformed rustic Nick’s Seabreeze Lounge on Sunset Beach into a true blues joint.

In early September, Rock took his last European tour — 22 days all over England, Germany and Norway. He planned to return to Finland at the end of this month. Sister Sylvia saw him in St. Petersburg on Tuesday. “I told Rock, “You look tired.’ He glared at me with that Rock Bottom look and said, “Of course I’m tired. I just got back from Europe.’” Wednesday he was at Ringside Cafe to watch his protege, Kim Harpo and the Accelerators.

Rock passed his annual stress test Thursday. After the Mojo’s show that night, Rock steered his old van full of equipment back home. Just like he and Rev. Bone had done hundreds of times before.

“He got some kind of real sharp pain in his back and started to rub his shoulder. He started erratic driving. I said, “Man, you want to go to the hospital?’ But he said he said he would be OK,” said Boneshaker. “I stood between him and the house and asked him again “You want me to drive you to the hospital?’

“He gave me that Rock Bottom look and said, “I’m the one who will decide whether I go or not. Leave the stuff in the van. I’ll see you Sunday.’ So I left. We’d been through this before. You could not make the man do something he did not want to do.”

Maureen found him, cold, on the couch Friday morning. There was no autopsy. He was cremated. Cause of death: “It’s called “it was his time to go,’” said Book Binder. “Maybe it was his time to go three or four years before, but he held on until he was sure Maureen’s disability was in. …”

Rock was the man.  He was well respected, and he was the blues in the 80′s and 90′s.

Tampa Red

Tampa Red

The thing most people don’t realize is Chicago was a blues capital long before the arrival of Muddy Waters.  The man who was at the center of it all was Tampa Red.  Tampa Red was born Hudson Woodbridge in Smithville, GA.  Both his parents died when he was young in some kind of accident.  He moved to Tampa where is aunt and Grandmother raised him.  He adopted their surname Whittaker.

Hudson’s older brother, also living in the Tampa area, introduced Hudson to the thriving night life in Tampa, primarily on Central Avenue.  Eddie even showed Hudson a few guitar licks.  This was enough to hook young Hudson, who eventually took to following a local musician around for inspiration.   This local artist, Piccolo Pete, ended up teaching Hudson a few more licks on the guitar.  The rest, as they say, is history.  In the 1920s, Hudson would move to Chicago.  Having red hair, light skin, and being from Tampa, he was known as Tampa Red.  Later he would be known as one of the founders of Hokum, a bawdy and humorous style of blues made popular with performers like Ma Rainey.  All of this is interesting, but it gets better.

What most blues fans don’t realize about Tampa Red is that he was literally the center of the blues scene in Chicago.  Long after Tampa Red himself stopped having hits, the scene in Chicago revolved around Tampa Red.  He was the man.  He had an apartment over a pawnshop at 35th and State.  It was once described by Willie Dixon as “a madhouse [of] old-time musicians.”  Tampa’s wife would often work the kitchen, making sure there was enough food going around for all the guests.  Rumor has it that one night Arthur Crudup showed up at Tampa’s door looking for some song writing help.  Tampa took Arthur into his living room, where he introduced him to Lonnie Johnson, Memphis Slim, “St. Louis Jimmy” Odum, Big Maceo, Lil Green, Memphis Minnie, and Washboard Sam.  As the story goes, they were all lounging around Tampa’s living room at the time.  This story, which came directly from Crudup, is most likely exaggerated – but still, you get the idea.  He was at the epicenter of it all.

Another person that was supposedly there the night Crudup showed up was Lester Melrose.  According to Dixon, he was always there.  Lester Melrose was not only responsible  for the “Bluebird beat” – he also played a large role in the development of early Chicago blues.  The fact that Tampa Red was the anchor if his label in a way turned Tampa Red into a talent scout.  Of course, amongst the circle of musicians, Lester Melrose was nothing more than a middle man.  The word on the street was quite clear – if  you want to work in CHicago as a musician, Tampa Red was the man to see.  In some estimates, Tampa Red handled over 80% of the bookings for blues (and similar music) musicians in Chicago during the 30′s.

Eventually Tampa Red would cross paths with Big Bill Broonzy.  Eventually, through Tampa Red and other musicians, Broonzy would overtake Tampa Red’s popularity.  However, there is no doubt that Tampa Red had not only a hand, but a whole fist in getting the Chicago blues scene off the ground.  He was indeed the man.

Tampa Red would fade into somewhat obscurity, but eventually playing electric guitar and still recording.  After his wife’s death in 1953, Tampa Red would give in to alcoholism.  He died due to complications from alcoholism destitute and alone in Chicago in March of 1981.  He was 77 years old.  He was a legend. He was Chicago.  He was Tampa.

Charlie Brantley and the Honey Dippers

Charlie Brantley

If ever there was a legendary band to put Tampa on the map, the tile has to go to Charlie Brantley and his Original Honey Dippers.  Brantley, one of 5 children, was born and raised in West Tampa during the turn of the 20th century.  At the age of 13, Brantley got his first job as a broom-maker.  In his spare time, he turned to music, learning through a correspondence course.  His career as a musician would start in 1935, as a member of the Florida Collegians, a group of various Tampa musicians.  In 1944, at the ripe age of 40, he created his own R & B group, billed as Charlie Brantley and his Original Honey Dippers.

He got the name from Joe Liggins group, Joe Liggins and the Honey Drippers.  Brantley just changed Drippers to Dippers.  He just simply removed the “r”, though various posters and flyers would often include the “r” in the spelling, often leading to confusion about the name an history of this band.  So who did old Charlie look to musically?  Louis Jordan.  In fact, it is rumored that Brantley could sing and perform so well in Jordan’s style that he could of filled in for him, and no one would have known the difference.   Therefore, it is no surprise that in 1940 in Tampa there were very few musicians who could measure up to Brantley as a fellow musician and a band leader.

The effect him and his band had on young musicans in the area is simply unmeasurable.  Brantley was talented, yes, but he was also kind.  He liked to give young musicians the opportunity to break into the scene through his band.  Often he and his wife Beulah would let musicians stay at there home on 1901 Cherry Street.  One of these musicians was a young blind boy named Ray Charles, who came to Tampa from Orlando in the fall of 1946.

Throughout the latter half of the 40′s, Charlie Brantley and the Honey Dippers were the most sought after R & B group in the state, and throughout the south.  No matter the obstacles before them, the band never failed to show up at a scheduled gig. Even then, Brantley found time to start the Negro Musical Association.  However, fate had a different plan for old Charlie.

In June of 1949, due to a severe heart and nerve condition, Brantley had to lay his Saxophone down and quit playing with the popular band he founded.  However, he still traveled with them and handled all the booking.  Brantley was not only a master of the sax, but also of every other major instrument of his day.  He was literally that good.

Then, in the mid 1950′s, it all came to an end, as the big band/R & B days fell victim to Rock and Roll.  Some members of the Honey Dippers went on to form the Tampa Skyliners, but that is a tale for another time.  Jimmy “Whiskey” Sheffield and Bill Peoples went on to join Ray Charles band.  Lawrence Burdine and Barney Louis joined BB King’s band.  Brantley never returned to music, and instead turned to Gd, becoming a deacon in the Mt. Calvary Seventh Day Adventist Church.  On Christmas Day in 1964, Brantley slipped away.  His wife actually remained at the 1901 Cherry Street house until 1998.

Some of the alumni that played with Brantley include Hank Marr, Nolbe “Thinman” Watts, Guitar Shorty, Ray Charles, and more.  So who were these guys?  Well, here is a list of the “main ingredients” to the band:

Jimmy “Whiskey” Sheffield – Vocalist/Bass Viloinist
Frank Shellman – Trumpet
Barney Hubert – Alto Saxophone
John Burdine – Tenor Saxophone
Lawrence Burdine
Hank Marr – Piano
Nathaniel Butler – Vocals/Drums
Johnny Marshall – Drums (replaced Butler)

Other Confirmed Members:

Noble Watts – Tenor Saxophone
Art Harris
Lamont
Pepper
Bobby Felder – Trombone
Michael Rodriques
Joe Elder – Tenor Saxophone
Barney Louis – Alto Saxophone
Andy Martin – Tenor/Arranger
Freddy Thompson – Horns
Sam “Ice Cream” Jones – Trumpet
Bill Peoples – Drums

He is often forgotten amongst the great scholars, but his impact cannot be ignored.

Of course, there are many other artists who helped shape Tampa as a cultural center.  For instance, Ray Charles, Sarasota Slim, Guitar Shorty, and many many others.  However, the three above were more than an influence – they were icons who put Tampa on the map for its music and culture.  All of them are dearly missed, but forever remembered.

Rock on!

Here Are the Albums on Steady Rotation in the Office.

Please note that in no way are we making the claim that these are the “best” blues albums, or must-haves, etc.  We seem to get a lot of requests from fans asking our advice on what blues album to buy, what we recommend, and so on.  Well, to us, blues, like any other genre of music, involves tastes.  Some are more inclined to enjoy some rocking Texas blues, while others enjoy the finger-picking sounds of Appalachia.

Therefore, rather than try to offer suggestions, we figured we’d just go ahead and post the albums we have in steady rotation playing at the office.  These are the albums we hear “shuffled” songs from on a daily basis:

B.B. King - Paying The Cost to Be The Boss [Check it out]

Ben Prestage – Live At Pineapple Willy’s [Check it out]

Ben Prestage – Real Music [Check it out]

Big Jack Johnson – All The Way Back [Check it out]

Blind Willie McTell – The Definitive Blind Willie McTell [Check it out]

Delbert McClinton – Acquired Taste [Check it out]

Ernie Southern – Prozac Blues [Check it out]

Ernie Southern – 100 Proof Juke

Furry Lewis – Shake Em On Down [Check it out]

G Love and Special Sauce – G Love and Special Sauce [Check it out]

Guitar Shorty - Bare Knuckle [Check it out]

Hound Dog Taylor – Natural Boogie [Check it out]

Howlin’ Wolf – Highway 49 and Other Classics [Check it out]

The Insomniacs – At Least I’m Not With You [Check it out]

John Jackson – Rappahanock Blues [Check it out]

Johnny Shines – Last Night’s Dream [Check it out]

Keb’ Mo’ - Keb’ Mo’ [Check it out]

Kenny Wayne Shepherd/Guests – 10 Days Out: Blues From The Backroads [Check it out]

Mance Lipscomb – The Best of Mance Lipscomb [Check it out]

The Mannish Boys – Shake For Me [Check it out]

Mississippi Fred McDowell – Mississippi Blues [Check it out]

Mississippi John Hurt – The Last Sessions [Check it out]

Nick Moss – Privleged [Check it out]

R.L. Burnside – A Ass Pocket of Whiskey [Check it out]

R.L Burnside – I Wish I Was In Heaven Sitting Down [Check it out]

The Reverend Peyton’s Big Damn Band – The Wages [Check it out]

The Reverend Peyton’s Big Damn Band – The Whole Fam Damnily [Check it out]

Robert Curtis Smith – Clarksdale Blues [Check it out]

Robert Johnson - The Complete Recordings [Check it out]

Rock Bottom – Songs of the Criminal Justice System [Check it out]

Son House - The Original Delta Blues [Check it out]

T-Bone Walker – Stormy Monday Blues [Check it out]

T-Model Ford – Pee Wee Get My Gun [Check it out]

Taj Mahal – Giant Step [Check it out]

Various Artists – Classic Appalachian Blues [Check it out]

Various Artists – Prime Chops/Blind Pig Sampler [Check it out]

Just a note, before all the hate messages come in.  No, this is not our whole collection.  No, we did not include or exclude any artist for any reason.  This is just what we are listening to right now.  Yes, we like other music.  Yes, we know some of you will think some of this is “not blues”.  No, we won’t edit the list to your liking.  I think you get the idea….

Enjoy!

Can Memphis Beat Help Save The Blues?

Keb' Mo'

The question has often been raised – “Will the blues survive?’  Obviously this is an ongoing debate, and we here at TheDeltaBlues have heard both sides of the argument.  Some tend to say the blues will never die – it is the founding roots of rock and roll, hip hop, R&B, and so much more.  Still other say if the blues doesn’t evolve, it cannot reach a younger, more mass appeal audience, and therefore will fall into obscurity, as so many of its artists did.

Regardless of which side you are on, one thing is for sure – bringing the Blues to prime time TV is surely going to help.  That is precisely what TNT did with its new drama, Memphis Beat.

The show centers on Dwight Hendricks (Jason Lee), a quirky Memphis police detective with an intimate connection to the city, a passion for blues music and a close relationship with his mother.  He is “the keeper of Memphis,” a Southern gentleman who is protective of his fellow citizens, reverential of the city’s history and deeply rooted in its blues music scene.

Despite his impeccable instincts as a detective, Dwight’s loose, relaxed style of police work rubs his demanding new boss, Lt. Tanya Rice (Woodard), the wrong way.  But Dwight may eventually win her over to a Memphis state of mind, especially when he takes the stage at his favorite hangout to perform a legendary song or two.

I had a chance to watch the series premiere.  For those of you who don’t know, it’s on Tuesday nights at 10pm on TNT.  The premiere of the series was actually really good.  It’s not a comedy, per se, but it had its funny moments.  Lee does a great job fitting into this role, and the other actors/actresses do well too.  What really makes this show though – or at least the opener – is that it ties blues, early rock and roll, and Memphis history tightly into the story line.   Of course, some of the history is flared up with fictional details, but that’s TV.  For instance, the opener had to do with WHER, the all female radio station.  Though WHER did indeed exist, it shut down in the early ’70s.  On the show, however, the tower still stands today.

There are some issues I do have with the show.  For one, it isn’t filmed in Memphis (New Orleans I believe) and it isn’t produced my Mempians.  All in all though, I will be tuning in every week to catch the show.

More importantly is what this show does for the blues.  It brings in to the masses.  With an artist like Keb’ Mo’ arranging and performing a lot of the music, you really can’t go wrong.  This is a great opportunity to bring blues to the front lines.  I mean, it’s hard to listen to a Keb’ Mo’ guitar riff and not wonder “who is this guy?” Even for non-blues fans ( I find it hard to believe they even exist), the show is well worth watching.  Obviously the show cannot revitalize the blues scene all on its own.  But it certainly is a step in the right direction.

I recently caught up with Keb’ Mo’ to ask him about the show (ok, I didn’t really catch up with him, but I have waited a long time to say that).  Turner Broadcasting was nice enough to provide the opportunity for me to speak to Keb’.

Here is the interview, in its entirety:

Operator: Good day and welcome to the Kevin Moore conference call.  Today’s conference is being recorded.

At this time, I will turn the conference over to Ms. Kristina Stafford. Please go ahead, ma’am.

Kristina Stafford: Good afternoon. Thank you so much for joining the Keb’ Mo’ conference call. Keb’ Mo’ is a music director and composer of TNT’s all new series, Memphis Beat which premiers on Tuesday, June 22 at 10:00, 9:00 Central.

The conference call is now open for questions. Please press star 1 to ask a question. Thank you.

Operator: Today’s question and answer session will be conducted electronically. If you would like to ask a question at this time, you may press the star key followed by the digit one on your touchtone phone.  If you are joining us on a speakerphone, please make sure your mute function is off to allow your signal to reach our equipment.  Again, that is star one if you would like to ask a question.

Our first question comes from Bob Stannard from Barrelhouse Blues. Please go ahead, sir.

Bob Stannard: Good afternoon, Keb’.

Kevin Moore: Good afternoon, Bob.

Bob Stannard: I’m doing a little research on you and I noticed in 2004 that you were politically active with Bonnie Raitt in the No Nukes group. I found that a coincidence. In my other life I’m a lobbyist for the Citizen’s Action Network trying to close down the nuclear power plant here in Vermont where I live. And I was just wondering if you still have strong feelings about that issue.

Kevin Moore: Strong feelings about the issue of Nukes? How does that pertain to the Memphis Beat show?

Bob Stannard: Oh, well sorry. I guess it doesn’t. I knew it was just a…

Kevin Moore: Well, I mean, I’m not trying to shut you down I just want to know how does that – I mean, in terms of that, well yes, I have very strong feelings about (totality) and that those things – yes I do.

But my feelings are so radical that they would cut me and everybody else out of a job, you know. And you don’t want to know how radical they are because none of us would be working. We’d all be farming and riding around on horses and buggies. A few of us would have cars but there would be no – all this traveling and stuff would have to come to a stop. And I don’t think a lot of people are quite ready to do that yet.

So I kind of keep it to myself and keep it to when I’m discussing. We have like a long time to really discuss those things because it’s a very deep subject.

Bob Stannard: I agree with you completely, and interestingly enough, I live in Vermont. So we’re almost to where we think we ought to be. We still have a couple of cars left up here though.

Kevin Moore: Yes, you understand. You understand.

((Inaudible)) really tied by what I do to the so called oil machines, you know? Because I ride in buses to go on tour, but we try to use bio-diesel whenever we can and we try to really, you know, do it. But you know, you (every now and then) you have to get on a plane. I flew a plane yesterday, I had to go to LA for a minute and I had to get on a plane and ride, you know, it’s just like – you, know, it’s not good but it is what it is.

Until we all decide that that’s not what we want. But when we make that big decision, that’s a huge decision, and then maybe we won’t have as many cars down here as you have in Vermont as well and we can have more, you know, horses, buggies, organic farms and a lot of maple syrup, ((inaudible)).

Bob Stannard: Let me just tell you that I’ve liked your music for a long time and I was unfamiliar with your political views. They coincide perfectly with most of us up here in Vermont, so thank you for sharing that. And it’s nice to have that little tie there.

All right, let’s go to your music then, since I guess that’s why we’re here. I’d just as soon talk to you about anything else in the whole world because a lot of people…

Kevin Moore: It’s all (instantly) connected.

Bob Stannard: It absolutely is.  You know, right now, we’re in bad times; it seems to me though – you and I are about the same age, we’re both born in ’51.

Kevin Moore: Yes.

Bob Stannard: And it seemed like some of the best music that ever was created in our generation came out of real turmoil in this country; the Vietnam War and that whole era of our lives and it seems like we are almost back there again. And I’m wondering what your read is on the music of today and how you relate to it, how your music relates to what is going on in the world today?

Kevin Moore: Well, the first part; when you say we are in real bad times, that’s such a broad statement. I mean, it seems our bad, but I think we are all buying into it so it seems, you know, that things are bad, so we make it bad. And I think things don’t have to bad, all these things are choices, which is as deep a conversation as the other one.

But as far as music that came out of the 60’s and music that came out that was – there was very great music that came out of turmoil and that turmoil is what I would call life.

At any given point there’s joy, there’s pain, there’s turmoil, there’s war, there’s peace. You know, there’s places where things are great and there’s places where things aren’t so great. But at any given time, all of these things are going on.

The common denominator by music, what music does, when you write and you speak and you are inspired by life and whatever it is; it’s truth. And that’s what makes music to me, great or it makes any art form really great. Or a vivid imagination; what’s possible.

You know, something that is inspiring. So I know things are bad and an oil spill is bad in the Gulf, it’s really a bad thing and, you know, I’m hoping that we all collectively take responsibility for that and stop trying to blame, put all the blame on BP and all the blame on President Obama and the oil companies, because the oil companies are just serving us for, you know, what we are asking for, you know, so you complain about the spill and we complain about that, but we don’t want to, you know, stop driving. You know, so, meanwhile the oil, as the oil gets farther out into the ocean and the coal miners get deeper and the music reflects those things. Like Coal Miner’s Daughter, that’s a great song, you know.

And I don’t know; it’s just truth. Truth is what’s wonderful about life. At any given time we can turn all of it around. Did I say too much? Did I confuse you?  Hello?

Operator: We will take our next question from Keith Langerman from Night Watchers House of Rock.

Kevin Moore: All right.

Keith Langerman: How are you doing today?

Kevin Moore: Hello?

Keith Langerman: Hey Kevin?

Kevin Moore: Hi.

Keith Langerman: Can you hear me? Hi, how are you doing today?

Kevin Moore: I’m doing good. How are you doing?

Keith Langerman: I’m doing good, thank you. Hey, it’s a pleasure to talk to you here. I’d like to go ahead and get back into what actually you were brought here to talk about and that’s the Memphis Beat show.

Kevin Moore: (Okay, yes, great).

Keith Langerman: Now, you previously composed music for TV before, a few years ago for the sitcom Freddy that starred Freddy Prinze, Jr.

Kevin Moore: Yes.

Keith Langerman: Was there any challenges for you in writing for this since this is a drama versus a comedy in the previous show?

Kevin Moore: Yes, it’s a completely different animal. It’s a completely different – where the sitcom, it plays itself, you know, the music plays itself and usually adding music into laughter. Cause music is one thing to the other; not as spot on specific for the actual scenes.

So in this hour drama, which is slightly comedic as well, you are in with the acting. You are in, you are involved with the story telling, so you’re part is going) way more crucial than on a sitcom.

Keith Langerman: Okay. What’s the biggest difference for you in composing for a television show versus writing for your own album?

Kevin Moore: The biggest difference is this one; in the show and writing from my own album, and some of my own albums, I’m the boss.

And on the show, I’m taking cues from the creators of the show. The people who created. The same way someone who is going to work on my record would take direction from me in terms of what to play on my record recording.

Keith Langerman: Okay.

Kevin Moore: So if the roles – the reversal of roles which is very nice because it makes me go places – it’s makes taking myself out of the driver’s seat. I mean, I’m driving in a sense but I’m not completely driving the whole thing. So it makes me have to dig deeper and get into what other people are looking for, as opposed to my own egocentric creations.

Keith Langerman: Right, right. Do I have time for one more question?

Kevin Moore: Yes, go ahead.

Keith Langerman: Okay, now while you will be composing and performing original music for the series, Kevin, I know a lot of people on the blues scene are actually wondering, will there also be other artists featured on the episodes?

Has this been discussed at all?

Kevin Moore: Well, music is always ((inaudible)) mostly it’s like a lot of Memphis music. It’s going to center around Memphis and the musical pallet of the musical background is based in Memphis.

That will definitely show it’s side. So there will be a lot of Memphis music and as far as placements of music, that’s not really my job. My job is the background music and when I have to do things I, of course, I’m there to do it. And I’m trying to bring a real bluesy, a real rootsy kind of Southern Memphis vibe to the show.

Sometimes it’s very dramatic at the same time so there’s a balance of Memphis. But Memphis music and the blues are a big part of the show.

Keith Langerman: Okay. All right. And I will clear the floor for someone else. Thank you very much.

Kevin Moore: Thank you.

Operator: As a reminder if you want to ask a question at this time please press star 1.  We will take our next question from Jason Rewald from Delta Blues. Please go ahead, sir.

Jason Rewald: Hey Keb’. How are ya?

Kevin Moore: How are you doing, Jason?

Jason Rewald: Good, good. I think I got one of my questions answered, and that was, basically, obviously, sometimes blues gets clumped into one type of genre and there’s obviously many different forms of blues. So my first question was, are there any specific like Memphis musicians that you are going to draw inspiration from for creating the music for Memphis Beat?

Kevin Moore: Well, yes. I mean, I’m just listening to the box set. You know, the Memphis box set.

And as far as me, the place is close to me although Memphis is, you know, Elvis and Booker T and the MG’s, Otis Redding, Al Green, Carla Thomas, Rufus Thomas; it’s great sounding music. Wilson Pickett…

But I’m really inspired by Booker T and I have, I use, I recorded the theme song in Memphis, It’s the Memphis (condition). You get it there.

And I came back to Nashville and I had Steve Cropper play guitar on the theme as well which was really cool.  So any time I have to bring Memphis into the music on a real basis, I’m going to do it.

Yes, so, I mean, the scratches, the needle drop is there, the scratches, but I’m speaking like real time now – the Memphis condition and the Memphis people to bring in – the real deal.

Jason Rewald: Gotcha. And just one quick follow-up question to that, and I’m hopeful of this, do you think that the Memphis Beat show is a good opportunity to bring blues and blues fans of a younger generation?

Kevin Moore: I think it’s a great opportunity to bring them in, yes it is. But you know, as the show goes on, the music is – I feel like it’s more in the R&B realm, you know, Otis Redding. More in that roots – that style of blues.

Now I’m accused – I’m doing a lot of old time different types of blues in there, you know.

Jason Rewald: Right.

Kevin Moore: And there are other things too. So at the same time, you know, I think it’s going to put a lot of light on Memphis in general, the whole Stacks, Atlantic Stacks [Stax Records] and the high record music catalog.

Jason Rewald: Great, thank you.

Kevin Moore: All right.

Operator: At this time we have no further questions.  I would like to turn the call back over to Miss Stafford for any additional (comments) before closing the call.

Kristina Stafford: Thank you so much for participating in the Keb’ Mo’ Memphis Beat conference call.

Just a reminder, the Memphis Beat premieres on Tuesday, June 22 at10/9 Central on TNT.

A transcript of the call will be available within 24 hours. Please check with your respective TNT publicist.

And thank you, Keb’ and thank you all for participating.

Operator: That does conclude today’s conference call.  Thank you for your participation.

And just like that, the call ended.  I had more questions of course, but I expected more questions from other participants.  You can bet next time I’ll be hitting star 1 more than a dozen times.

Until next time….  Go watch Memphis Beat!