Category: Music Reviews

In part one we discussed the some of the superb East Coast musicians Axel Küstner and Siegfried Christmann recorded while this time out we travel with the duo down to Tennessee, Arkansas and Mississippi. It was Mississippi that occupied most of their time and form a good chunk of the recordings. Mississippi, particularly the Delta has been subjected to immense scrutiny among researchers and with good reason; in the 1920’s and 30’s men like Charlie Patton, Robert Johnson, Tommy Johnson, Skip James and Son House recorded some of the greatest blues records ever made and it was the breeding ground for those who became famous up North like Muddy Waters, John Lee Hooker, Elmore James and countless others. Yet some have said that the region has attracted too much attention among researchers, leaving other areas like the East Coast too sparsely documented. While this is certainly true there’s no denying that Mississippi was an immensely fertile region for the blues and remained so when Küstner and Christmann set up shop in 1980 over the course of eleven days.

Among the finest bluesman they came across in Mississippi was James “Son” Thomas “discovered” in 1968 by William Ferris who wrote about him in his influential book Blues From The Delta. By 1980 Thomas was a regular on the festival circuit but had recorded little, just a handful of sides scattered on obscure anthologies. After 1980 he toured Europe, recorded prolifically, including several very strong albums but never did he sound better then the recordings he made for Küstner and Christmann. Thomas plays brooding, darkly hued delta blues with a tightly wound, controlled intensity. Thomas’ fourteen tracks, scattered over several volumes, are all traditional but he gives them a thoroughly invigorating, individual reading; thus he shakes the dust off material like “Bull Cow Blues”, “Rock Me Mama”, “Big Fat Mama”, “61 Highway Blues” laying these numbers down with a throbbing intensity, underpinned by his steady guitar rhythm and dramatic vocal delivery that often dips into a riveting falsetto. By far his most memorable performance is the six minute plus “Catfish Blues”, a hypnotic and downright dirty version of this delta standard. Also fascinating are several numbers Thomas performs with his running buddy Cleveland “Brooman” Jones who would pull a few handfuls of dirt out of his pocket, flip over the broom handle and scrape the floor to produce a bass sound that somehow perfectly meshed with Thomas’ music.A true anomaly was 25 year old Lonnie Pitchford, the youngest musician recorded who played the most ancient of instruments, the one string diddley bow which he amplified and picked like a guitar. These were Pitchford’s first recordings and he truly sounds like no one else; the music is mesmerizing and hypnotic as he transforms chestnuts like “Boogie Chillen”, “My Babe” and a slashing “Shake Your Money Maker.” Pitchford was still evolving as an artist when AIDS claimed him at the age of 43. Thankfully due to the exposure from this series he was recorded extensively on anthologies and issued a lone album, the terrific All Around Man, for Rooster in 1994.The fact is that the bulk of these artists were older, the remaining holdouts of a fading tradition and the music often sounds like it was trapped in amber, virtually unchanged from the blues of fifty years ago. Certainly that’s the case with musicians such as Walter Brown, Joe Savage and Boyd Rivers. Brown and Savage bring alive the era of the field and levee camp hollers that could once be heard ringing all over the south and in later years primarily survived in prisons as documented by the Lomax’s, Harry Oster and Bruce Jackson. Both Brown and Savage lived hard lives and both men spent time in the notorious Parchman Farm. In fact John Lomax interviewed and recorded Joe Savage in Parchman in the 1940’s and said of him “he was by far the youngest and most damaged.” Jumping to 1980 we hear Savage recount his prison experience and sing on the harrowing “Joe’s Prison Camp Holler.” Küstner noted that “recording Walter Brown was one of the most incredible experiences I have ever had. …I had the feeling he was just waiting for somebody to come around so that he could express himself and let his music come out.” His “Mississippi Moan” is a bone chilling account of what it’s like to be black in Mississippi where “The place, the town where time done come to civilization and they still call you a nigger.” His “Levee Camp Holler”, sung from experience, is equally arresting as is Savage’s unique spin on “Mean Ol’ Frisco.”

The blues is so often romanticized but there’s nothing romantic about the lives of men like Brown, Savage and many of the others on this collection who have led unbearably tough lives under crushing poverty and persistent racism. “I actually thought he was the best and gave the most powerful performances of any that were recorded” Küstner said of Boyd Rivers. A one time bluesman, Rivers plays with unbridled passion, singing in a powerful, raspy voice coupled with hard edged Mississippi guitar attack. His nine selections are startling in there intensity which were his first and unfortunately only recordings.Among the other notable musicians recorded in Mississippi the most famous was Sam Chatmon who was 81 at the time of these recordings and still in fine form. There are several fine performers one wishes had been recorded more including the excellent Stonewall Mays who’s two song are his sole legacy and Joe Cooper who was Son Thomas’ Uncle and very fine performer in his own right.The recordings made in Tennessee and Arkansas are less consistent although there are some very rewarding performances, chiefly from CeDell Davis and Sam “Stretch” Shields. “CeDell “Big G” Davis”,  Küstner wrote, “is probably the most amazing musician I have ever met. At the age of 10 he contracted polio and the disease left him without the full use of his hands. His fingers are crippled, but however, he manages to strum the guitar with his left hand, and chords and slides across the strings with an ordinary table knife that he put in his right hand. The resulting sound, coupled with his roaring voice, makes him a highly individual Blues artist.” Davis’ rough juke joint blues is perfectly encapsulated on numbers like “I Don’t Know Why” and a cover of Tampa Red’s “Let Me Play With Your Poodle.” Sam “Stretch” Shields’ harmonica style harks back to the pre-amplified era when harmonica soloists played now forgotten pieces like train imitations and set pieces like Lost John, Fox Chase, Mama Blues and other call-and-response pieces. Küstner recalled “With Sam, it was like going back in time. When you went into his living room, he had pictures of Franklin D Roosevelt up there. It was like the 1930s.” His unaccompanied renditions of “Bluebird Blues”, “Mellow Peaches” and the “The Hounds” are enthralling. Of the other performers from the region it sounds like Hammie Nixon has seen better days, pianist Memphis Piano Red is in good form although his piano is badly out of tune while Lottie Murrell delivers some powerful slashing slide guitar but is fairly well inebriated.  I would have liked to hear more from the superb Charlie Sangster who’s two numbers reveal a bluesman of very high order, very much in the classic Brownsville, Tennessee tradition of Sleepy John Estes and Hammie Nixon.Fans and collectors of early country and traditional blues will find hours of rewarding listening within the fourteen volumes that comprise Living Country Blues USA. Through the 1970’s country blues was still going strong in rural southern communities even if interest was low commercially. Thankfully a handful intrepid researchers stepped into the breach to record a music and culture that was virtually vanishing before their eyes.  As for complaints, well I do wish that some unreleased material was included which seems to me like a real missed opportunity. In addition while the original liner notes are included it would be nice to have some follow-up information regarding what became of these the artists after these recordings.