PROGRAM:Volume 1:Little Leg Woman; Somebody's Been Borrowin' That Stuff; Providence Help The Poor People; 49 Highway Blues; My Grey Pony; Stepfather Blues; Baby Please Don't Go; Stack O' Dollars; Wild Cow Blues; Worried Man Blues; I Know You Gonna Miss Me; Rootin' Ground Hog; Brother James; I Won't Be In Hard Luck No More; Crawlin' King Snake; I'm Getting Wild About Her; Peach Orchard Mama; Meet Me Around The Corner; Throw A Boogie Woogie; North Wind Blues; Please Don't Go; Highway 49; Someday Baby; Break 'Em On Down
Volume 2:Drop Down Blues; Somebody's Been Worryin'; Wanita; Vitamin A; His Spirit Lives On; Baby Please Don't Go; Stack Of Dollars; Mellow Apples; Wild Cow Moan; Pea Vine Blues; Bad And Weakhearted Blues; King Biscuit Stomp; I'm A Highway Man; Banta Rooster Blues; Mean Step Father Blues; House Lady Blues; Don't You Leave Me Here; Jivin' Woman; She's A Married Woman;Chasey Collins w/ Joe Williams:Walking Blues; Atlanta Town?
Two of the CDs I picked up at Port Townsend this year were of the early recordings of Big Joe Williams. I have been listening to them a lot, particularly the 10 tracks from his first two sessions. His first session, on February 25, 1935, yielded 6 tunes, one of which was the unbelievable duet of "Somebody's Been Borrowin' that Stuff" with Henry Townsend. The second session, on October 31, 1935, resulted in four more tunes, and was done with a line-up of Joe joined by Dad Tracy on one-string fiddle and Chasey Collins on washboard.
Big Joe's playing on these two sessions is quite amazing. Everything is in Open G tuning, so a certain sameness of tonality and very pared back harmonic content results, but Joe's rhythmic imagination and ability to execute his ideas in the moment has never been equalled in this genre. His right hand approach combines powerful thumb popping of bass notes and lines with vigorous runs in the treble and an array of strumming and brushing techniques that has to be heard to be believed. In fact, hearing him reminds me of what an under-utilized technique strumming can be in this style--the tendency is to concentrate on picking so much. Supposedly Joe had a cousin, Jesse Logan, who never recorded, and who surpassed him in this style--I'm doubtful that anybody could beat Joe at it. The older I get, the more appreciate music like this that treads a fine line between wildness and control. I can't figure out why Joe isn't universally recognized as one of the major heavyweights in this style. On these recordings, for spontaneity and executing fresh ideas in the moment, I think he even puts Charlie Patton in the shade. (Of course Patton had a more varied sound).
The tunes with the one-string fiddle and the washboard are fantastic. The fiddle is simultaneously repetitious and exciting, an unusual combo, and Chasey Collins, on washboard, was a monster listener. He often goes right with Joe as he shifts from swung eight notes to triplets to sixteenth note strumming, and it was obviously not something worked out in advance.
I think maybe the fact that Joe did not have a real distinctive voice may have worked against him, in terms of recognition for his music. His singing is expressive and serviceable, but not special in the way Patton's or Son House's was. Anyway, I have been enjoying this music so much I wanted to mention it in case any of you wanted to check it out and see what you think.
All best,
Johnm
Volume 2:Drop Down Blues; Somebody's Been Worryin'; Wanita; Vitamin A; His Spirit Lives On; Baby Please Don't Go; Stack Of Dollars; Mellow Apples; Wild Cow Moan; Pea Vine Blues; Bad And Weakhearted Blues; King Biscuit Stomp; I'm A Highway Man; Banta Rooster Blues; Mean Step Father Blues; House Lady Blues; Don't You Leave Me Here; Jivin' Woman; She's A Married Woman;Chasey Collins w/ Joe Williams:Walking Blues; Atlanta Town?
Two of the CDs I picked up at Port Townsend this year were of the early recordings of Big Joe Williams. I have been listening to them a lot, particularly the 10 tracks from his first two sessions. His first session, on February 25, 1935, yielded 6 tunes, one of which was the unbelievable duet of "Somebody's Been Borrowin' that Stuff" with Henry Townsend. The second session, on October 31, 1935, resulted in four more tunes, and was done with a line-up of Joe joined by Dad Tracy on one-string fiddle and Chasey Collins on washboard.
Big Joe's playing on these two sessions is quite amazing. Everything is in Open G tuning, so a certain sameness of tonality and very pared back harmonic content results, but Joe's rhythmic imagination and ability to execute his ideas in the moment has never been equalled in this genre. His right hand approach combines powerful thumb popping of bass notes and lines with vigorous runs in the treble and an array of strumming and brushing techniques that has to be heard to be believed. In fact, hearing him reminds me of what an under-utilized technique strumming can be in this style--the tendency is to concentrate on picking so much. Supposedly Joe had a cousin, Jesse Logan, who never recorded, and who surpassed him in this style--I'm doubtful that anybody could beat Joe at it. The older I get, the more appreciate music like this that treads a fine line between wildness and control. I can't figure out why Joe isn't universally recognized as one of the major heavyweights in this style. On these recordings, for spontaneity and executing fresh ideas in the moment, I think he even puts Charlie Patton in the shade. (Of course Patton had a more varied sound).
The tunes with the one-string fiddle and the washboard are fantastic. The fiddle is simultaneously repetitious and exciting, an unusual combo, and Chasey Collins, on washboard, was a monster listener. He often goes right with Joe as he shifts from swung eight notes to triplets to sixteenth note strumming, and it was obviously not something worked out in advance.
I think maybe the fact that Joe did not have a real distinctive voice may have worked against him, in terms of recognition for his music. His singing is expressive and serviceable, but not special in the way Patton's or Son House's was. Anyway, I have been enjoying this music so much I wanted to mention it in case any of you wanted to check it out and see what you think.
All best,
Johnm