He [Ted Bogan] was playing with picks that you put on your fingers and I didn't like that as an accompaniment, so I made him throw them away and I told him I would play the lead and he would play the accompaniment - Carl Martin on hooking up with Ted Bogan (Blues & Rhythm #218 Stompin' In Knox County)
Two different Joe Holmeses, John. The one recorded in Macon was originally from Florida. I shared the unpublished research with David Evans---maybe he'll find out more. [and here's hoping certain Weenies don't get upset by more unpublished research... ]
John, you might want to get a copy of the CD "John Work III: Recording Black Culture" if you haven't already. The Macon blues track is on it along with some other very strong music.
check out "Alabama Red" by Sidney Stripling....related to some tunes discussed on Weenie.
Great song!
back to Chestain... Milk Cow Blues by Gus Gibson sounds a bit like Chestain, maybe, but Railroad Song by Gus Gibson sounds even more like Chestain to me...
« Last Edit: May 13, 2014, 03:16:39 AM by frankie »
Having met and photographed Gus Gibson in Fort Valley, GA in 1973 (he no longer played), I can vouch for him not being Chestain/Chastain! In fact, Gibson was mentioned as "deceased" in the college magazine that we copied. His passing was greatly exaggerated at that time! A nice and photogenic person who was a part of the relatively unique "folk" festivals held at Ft Valley State for some fifteen years. This was and is an African American educational institution. Read all about it in Bastin's book RED RIVER BLUES, or the articles we wrote for BLUES UNLIMITED back in the day.
Thank you for the Pigmeat Pete and Catjuice Charlie video, John!
Here's a white fiddler, Fiddlin' Doc Roberts (using a pseudonym "Fiddlin' Frank Nelson") backed by black musicians John and Joe Booker on guitar. I assume they were brothers?
The first one apparently has John Booker on guitar:
Here's a white fiddler, Fiddlin' Doc Roberts (using a pseudonym "Fiddlin' Frank Nelson") backed by black musicians John and Joe Booker on guitar. I assume they were brothers?
The pseudonym came from the record company, not Roberts. Both tracks were originally issued on the Gennett label as by Fiddlin' Doc Roberts, then on a variety of other labels under a variety of pseudonyms. John and Joe Booker were brothers; both were black guitarists who accompanied their elder brother Jim, a fiddler, with the Booker Orchestra during the same August 26/27, 1927 session that produced Cat Came Back and Buck Creek Girl (plus other tracks). All three brothers also recorded with Roberts in the mainly white Taylors Kentucky Boys at the same session and again on August 27, 1927. Any questions? (Marvellous how a couple of discos can turn a vague memory into a dissertation.)
Here's a white fiddler, Fiddlin' Doc Roberts (using a pseudonym "Fiddlin' Frank Nelson") backed by black musicians John and Joe Booker on guitar. I assume they were brothers?
The pseudonym came from the record company, not Roberts. Both tracks were originally issued on the Gennett label as by Fiddlin' Doc Roberts, then on a variety of other labels under a variety of pseudonyms. John and Joe Booker were brothers; both were black guitarists who accompanied their elder brother Jim, a fiddler, with the Booker Orchestra during the same August 26/27, 1927 session that produced Cat Came Back and Buck Creek Girl (plus other tracks). All three brothers also recorded with Roberts in the mainly white Taylors Kentucky Boys at the same session and again on August 27, 1927. Any questions? (Marvellous how a couple of discos can turn a vague memory into a dissertation.)
I'll second that. Thanks for the post & link, John. We've discussed Lawrence Gellert before, but other than what has been issued, who knows what other gems are contained in all he recorded? Not me.
I remember that when I first heard the Gellert recordings, I thought they were a latter day spoof. Such powerful and sophisticated guitar playing - who were these players, and how had they escaped recording fame? At the very least you'd think their names would be known. I wonder if researchers will ever identify these wonderful blues musicians?
...I wonder if researchers will ever identify these wonderful blues musicians?
I think Steve Garabedian mentioned in his article that about half have been identified. The info re: Steve's article is in Alan's post at the end of the following thread: