Amoeba Music is proud to present New Orleans music legend Dr. Johnat the Hollywood Bowl on Wednesday, July 31. He’ll be paying homage to another legend, Louis Armstrong, in this show dubbed “Props to Pops: Dr. John’s Tribute to Louis Armstrong.”
Once again, we have hit the collectors' motherload as a huge Jazz & Blues LP collection has come into our hands at the Amoeba San Francisco store. We have hundreds of rare titles, many Blue Note label LPs and DJ promo labels, and we are going to make them available for your browsing and buying pleasure this Saturday, October 6th!
Over the years I've shared my favorite vintage 78s with friends who are not part of the hard core 78 collector crowd. While we might share a taste for the same films, books and restaurants, we're not quite on the same page with music, at least not yet. Since I'm fondest of music from the 1920s and 1930s, and that's a long way from the 21st Century, it's a challenge to break in those who live with contemporary sounds. Not that I'm hoping to make full converts, but if I share some of my favorite 78s, maybe some will cross the accessibility threshold and they'll acquire a taste for more. Inevitably, when it comes to 1920s jazz, most fall flat – it all apparently sounds like cartoon music. With blues singers, the all too familiar refrain is that it's three chords and the same song over and over. Even though I always play those I consider "can't miss winners," in principle I can't totally disagree with them as I've spent many hours squirming my way through what I consider “formulated” blues 78s by lesser, second tier blues singers.
The great country bluesmen seldom recorded a formulated dud, but in acquainting myself with their body of work, I discovered that those few 78s where country blues singers chose to work their magic on popular tin-pan-alley hits were some of my favorite 78s. It was refreshing to hear the different tempos, more varied melodies, and new notes coming out of the instruments of these masters once outside the confines of the blues idiom. The best selling sheet music for these songs could be found sitting on pianos in middle class homes. Orchestras in every podunk town were playing stock arrangements of them at dance halls. And in a few rare cases, they made it onto “race” records by blues singers. Some of my purist blues collector friends pointed out with a sneer, those were POP records, eyeballing me like there was a cancer hanging over my blues collecting impulse, yet I prized these performances over many of the straight blues sides, and whenever possible I would swing a trade for some of these pop records by blues singers. So I'm of a different ilk, not strictly a blues collector, but a music collector who likes great blues singers, especially when they are not singing the blues.
To check out extensive LP label and price guides plus cover art, head to the Vinyl Beat website!
In 1956, Willie Dixon was lured from Chess Records to be the musical director of the newly formed Cobra label. He signed the relatively unknown Otis Rush, and the stage was set for some of the deepest Chicago blues ever recorded. Otis had amazing pipes and played a mean left-handed blues guitar. Perhaps more importantly, Willie Dixon was able to get an otherworldly sound on his singles.
As part of the ongoing Amoeblog series honoring Women's History Month (Which ends today, March 31st), this blog is the second part of the two celebrating women blues artists. The first, earlier this week, focused on women from the classic blues era (circa 1920s), while this one takes a look/listen at women blues artists spanning the decades since.
Koko Taylor "Blues Never Die" (1975)
Big Mama Thornton "Bumble Bee Blues" (with Muddy Waters Band, 1966)
"When you in trouble blues is a girl's best friend" singsKoko Tayloron her 1975 recording of "Blues Never Die" (audio above). Taylor, like many of the longtime blues women here (including Big Mama Thornton, whose track "Bumble Bee Blues" with Muddy Waters Band is also above) have also been categorized over the years as rhythm and blues, rock & roll, and jazz. The late great Etta James, who we lost just two months ago, is an example of a blues artist who was also classified as jazz, rhythm & blues, rock n roll, and gospel too. A 1992 concert version of her singing "I'd Rather Go Blind" - written by Ellington Jordan and co-credited to Billy Foster but first recorded by Etta James in 1968 - appears above. As we know, the moving song has in the years since become a standard for countless artists to cover.