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Artist Profile
Lillian McMurry – Pioneering Female Blues Record Label Owner
In honor of March being Women’s History Month, I’ve dedicated myself all month to presenting profiles on female blues artists and influencers. The first three profiles on classic period blues singer Sara Martin, Chicago modern-day vocalist Valerie Wellington, and the ribald vocalist Blue Lu Barker have been very well received, and this week I’ve decided to present an overview of the life and career of a female blues force, not a performer, whose net is cast so widely in the blues world as no one less than the highly successful Alligator Records label owner Bruce Iglauer, in his excellent book Bitten By The Blues – The Alligator Records Story (co-authored with Patrick Roberts), cites this woman as both the ideal model of how a record label owner should comport themselves, and as a friend. With all that said, I’ve decided to present a quick overview of the founder of the famed Trumpet Records label, Lillian McMurry.
Let’s get into it, and hopefully this summary of McMurry’s life and times inspires you to both seek out additional information on her and the historic blues that came from her Trumpet Records imprint. And, if you haven’t done so already, I hope that you’ll consider some of the label’s music as worthy additions to your blues collection.
Purvis, Mississippi is where Lillian Shedd came into the world in late December, 1921, a locale which is the county seat of Lamar County, an area in the state’s far south-central region. By all accounts and research, Shedd’s family was one of a strict Baptist framework. It is said that due to her family’s staunch Baptist charter she was considerably exposed to music via the religious songs sung in their chosen house of worship. Study also confirms that during The Great Depression, like many American families, the Shedd household endured significant impoverishment.
During The Great Depression, while in her very early teen years, the young Shedd needed to enter the workforce to help support her family and contribute to the family’s financial dire position. To do so, she began a part-time job after her school days concluded. After the repressive years of The Great Depression ended, Shedd continued to diligently work to help support her family, and analysis indicates that she was employed at a drugstore working long hours, eventually climbing in position to that of the store manager, before accepting a position in Jackson, Mississippi as an administrative assistant in a state government capacity. During this period, Shedd also chose to begin studying law, looking to her future with big aspirations.
By this time, Shedd was in her mid-20s, and she had begun a relationship with a Jackson, Mississippi furniture store owner named Willard McMurry, a man to whom she would wed in 1945. The story goes that the relationship started when Shedd wandered into McMurry’s furniture store seeking a piano to purchase.
Roughly four years later, Lillian was assisting in sorting the contents of a hardware operation that her husband had bought when she stumbled upon an accumulation of new blues 78rpm records. It seems that at one point the hardware store had included in its setup the selling of music. Of course, this was not at all unusual in the Black community, as records were often sold from places of prominent gathering including barber and beauty shops, along with other retail stores outside of formal record outlets.
Lillian and the workers who were helping her played some of the records, and she experienced a profound feeling unlike any other she had ever encountered. It is indicated that she was especially moved by Wynonie Harris’ release entitled “All She Wants To Do Is Rock.” So moved by the totality of the song was Lillian that later she was quoted as saying, “It was the most unusual, sincere and solid sound I’d ever heard. I’d never heard a black record before. I’d never heard anything with such rhythm and freedom.”
As a Caucasian woman in the deep U.S. South, Lillian had clearly never been exposed to Black music, and it now became her focus to start selling this newfound music, and she did so from her husband’s furniture store. Needless to say, Lillian had a life-changing moment with hearing this music.
In fact, Lillian not only set-up an area in the furniture store where she could sell the records she found, but she also devoted her energies to stocking and selling more of the ethnic music she had discovered, so taken with it she had become. And further, Lillian officially named her new operation in the furniture store “Record Mart,” and its selections included not only blues, but gospel and R&B music, as well.
Too, by the time 1950 rolled around, Lillian had a recording studio built in the Record Mart, as her drive demanded that she also become instrumental in chronicling Black music. In 1951, Lillian established Trumpet Records as the label to achieve her goals, with the label’s parent corporation named Diamond Record Company.
Trumpet’s initial sides were gospel in nature, but Lillian had the blues on her mind. She had heard of a mysterious gentleman playing harmonica between movies at not only a local theater but also in cinemas across the Delta expanse that compelled her to both track down and audition this shadowy figure to see if his musical prowess fit her ideal of the sort of bluesman she envisioned being associated with her Trumpet Records label.
By this time, the man she was in search of, Aleck “Rice” Miller aka Sonny Boy Williamson II, had already been established as a prominent fixture in the blues world, by that time some 20 years into his career. It should also be mentioned that Williamson II and his reputation was strong due to the visibility his talents received from his being part of the immensely popular King Biscuit Time radio program that broadcast throughout the Delta area on Helena, Arkansas’ KFFA radio station. And importantly for Lillian, Williamson II was definitely reaching the apex of his considerable harmonica, songwriting, and vocal powers. Lillian was finally able to locate Williamson II, and brought him to her studio to audition for recording.
Williamson II was signed to Trumpet Records, as Lillian obviously recognized his potential for mass appeal in the Black blues market. Needless to say, Williamson II’s output for Trumpet Records was astounding, with many of the tunes he cut for the label becoming long-time standards in both his repertoire, and in that of the blues, in general. An Arhoolie Records CD entitled King Biscuit Time collects all of Williamson II’s Trumpet selections on one amazing 18-song disc (Arhoolie Records CD 310). One selection on the compilation now deserves special attention.
Unbeknownst to the bluesman, Lillian, at the tail end of a Williamson II recording session in 1951, captured a song by a guest to the recording studio, a man who would forever alter the course of electric blues slide guitar stylings, Elmore James. Lillian was able to record James’ version of “Dust My Broom,” a song that would be forever linked with the artist. While it proved to be James’ only tune ever released by Trumpet, it was one that achieved significant R&B Top 10 chart success. However, due to James being unaware of being recorded, he became inflamed and adamantly refused to ever be recorded by Lillian and Trumpet again despite the obvious and forever upward career trajectory the recording of “Dust My Broom” afforded him.
Due to the success and visibility afforded both Williamson II and James, artists flocked to Trumpet. The likes of blues pianist Clayton Love, blues guitar man Big Joe Williams, and blues piano player Willie Love found recording opportunities and success through their efforts there, with Lillian deeply entrenched with the individual recording sessions that also found some of the finest bluesmen acting as sidemen. Those musicians included guitarist Little Milton, guitar player Joe Willie Wilkins, and none other than B.B. King. The exposure from being included on these Trumpet sessions was invaluable to those acting as session sidemen.
Lillian was also something of a rebel and bucked a long-standing edict that existed in the U.S. South at the time that asserted Blacks and Caucasians should not mingle by having blended bands in her recording studio.
Obviously, the blues was the music that initially stirred Lillian’s emotions, hard, and the music was Trumpet’s staple. However, as an astute business woman, she diversified the label’s offerings to strongly include gospel, with acts such as the Carolina Kings Of Harmony and other gospel assemblages being presented.
Lillian was also keen enough to record the likes of blues harmonica man Jerry McCain and blues guitarist Arthur Crudup. She even dipped her toes into certain rockabilly artists.
But as anyone who knows anything about the business side of the music industry, hurdles exist everywhere. Disloyal artists, poor distribution channels and the fallout from fiscally poor distributorships, the inability to continue to expand Trumpet’s artist roster, and most of all, the incapacity to successfully compete against music’s largest labels and operations doomed Trumpet, with the label ceasing operations in 1955.
However, Lillian tried desperately to keep things alive, and under the name Globe Music, an artist named Lucky Joe Almond laid-down a recording on Globe in early 1956. It was the last release under Lillian’s efforts.
Following her musical endeavors, Lillian returned to working in her husband’s furniture store.
As Bruce Iglauer points out in his book, he is faithful about paying artist royalties, and so too was the case with Lillian. After the demise of her recording operations, she tirelessly worked to ensure royalties were paid to Trumpet artists when their releases were re-released on other record labels. And, any and all debts Lillian’s businesses had incurred were diligently paid-in-full; such was her integrity.
So dedicated and appreciative was Lillian that ten years after her operations folded in 1965, the year that Williamson II passed away, she generously paid for his final resting spot’s headstone.
Lillian was inducted into the Blues Hall Of Fame in 1998 for her sizeable contributions to the music, namely as a record producer, a rare occurrence for the Hall. Her husband died in 1996. In 1999 in Jackson, Lillian succumbed to the ravages of a heart attack.
In mid-November, 2007, Lillian was honored with a historical designation at the site of the former Jackson recording location. Various family members were in attendance, as was Jerry McCain.
Alligator Records released several collections under its “Trumpet Series” that collected blues by artists including Sonny Boy Williamson II, Willie Love, Tiny Kennedy, Jerry “Boogie” McCain, Big Joe Williams, Arthur “Big Boy Crudup, and others that represent blues recorded by Lillian and her great label. Searching for those compilations, as well as the aforesaid King Biscuit Time collection will open your eyes to Lillian’s pioneering spirit in driving Black music forward, and her deep love and fascination with the blues. Seek those CDs out; you’ll not regret it.
Essential Blues Recording
John Lee Hooker – Hooker Drones His Enrapturing Brand Of Blues
John Lee Hooker – His Best Chess Sides – Chess/MCA CHD-9383
This 1997 release features 15 selections from “The Boogie Man” and harken to his time with the Chicago powerhouse Chess Records label. Beginning with his earliest sides for a string of modest labels such as JVB, Staff/Prize, and Danceland, and into what many consider his halcyon days with the Modern and Vee-Jay imprints, Hooker’s work remained true in formula across his long career as one of pounding one-chord cadence development, eerie glooms arising from various tunings, periodic eruptions of jagged notes, and an overall satisfying structure of persisting rhythms.
This sterling collection finds Hooker’s initial 1950s Chess label work as the backbone of the assemblage, representing 11 of the solid tracks here, with some tasty 1960s cuts being the icing on the cake. Hooker’s early work certainly emphasized his guitar competencies, and here too is the case. His notorious ambling rhythms abound, and most of the tracks here are unaccompanied efforts.
This is vintage Hooker. And while some would argue that it is a collection that appears as somewhat of a byproduct of prior outings, themes, and sounds he’d already laid down, I’d counter that those voices don’t “get it;” this is Hooker continuing to blaze a blues trail that remained in opposing correlation to common blues standards. Hooker was seemingly harvesting notes up and down his guitar neck in an almost experimentally and somewhat rudimentarily approach, yet his rough instrumental forays decidedly please.
Toward the end of this entrancing collection are four 1960s era tunes that indeed sound more contemporary; but make no mistake, they are similarly robust.
Spellbinding, insistent, droning, and perhaps even rather primitive, these Chess label sides display an established bluesman continuing to hold true to his musical framework, one that was in no way undiminished; it still was a thrilling ride.
This is an essential blues release without any stipulation. This anthology needs to be in any serious blues collection!
Recommended Blues Recording
Various Artists – Rousing Musical Buffet Sure To Satisfy Any Blues Hunger
Various Artists – Bluesin’ By The Bayou – Rough “N” Tough – Ace Records CDCHD 1403
Strap in, because right here is a generous 28-track helping of South Louisiana and South East Texas delicacies by musicians both well-known and less so, but nonetheless who are all wildly proficient in their musical crafts! All this is presented with great sound quality and sequencing, making this a very enjoyable melodic excursion.
The assortment among these sturdy outings makes this an idyllic compilation to place in the CD player, sit back, and anticipate each ensuing gripping track to sonically present itself.
Highlights and rare finds amongst the outstanding blues chestnuts to be found here include those via a collaboration between Lightnin’ Slim and Lazy Lester, Joe Mayfield, Clifton Chenier, Hop Wilson With The Ivory Lee Semien Band, Guitar Jr., Wonder Boy Travis, Jimmy Anderson & The Joy Jumpers, and Lonesome Sundown, amid other electrifying artists.
This is one of those delectable gatherings that is certain to enthrall both the most experienced and greenhorn of blues collectors.
Ace Records have numerous volumes of the Bluesin’ series in its vast catalog, and all are extremely strong of content.
Start here, get a favorable flavor of what the series is all about, and you’ll find yourself heading back to the musical buffet this series affords.
Highly recommended!
Short Take CD Reviews & Other Information
Short Take CD Review
Various Artists – Blind Raccoon And Nola Blue – Collection Volume 5 – Blue Heart Records BHR|039 – Much Here To Savor
Here we find 30 exhilarating songs from artists who are represented by Betsie Brown and her 26 years of music and entertainment promotion, marketing efforts, and media energies. The tunes here run a wide gamut from independent musicians to those on varying labels. Some of the artists whose works appear on this compilation include Floyd Dixon, Teresa James & The Rhythm Tramps, The Maple Blues Band, Anthony Geraci, John Nemeth and The Blues Dreamers, Anthony “Big A” Sherrod, and Benny Turner, to name but a few. This two-disc set is ever-surprising listening experience due to the sheer breadth of the various musicians and pleasing designs presented. For those seeking a listening experience that is a delight simply because of the curiosity of what the next cut may bring, this collection is for you. The uniformity of the musical quality is high, and sound production across all the tracks is first-rate. There is much here to appreciate.
Upcoming Short Take CD Reviews
The flow of CDs into the Curt’s Blues Blog mailbox for review slowed as 2023 drew to a close. Labels and artists, now’s the time to get CDs mailed for review as you bring new collections to the market.
Received too close to Blog publication time for review this week were new collections by Nick Gravenites and a band named Cryin’ Out Loud. Look for those reviews soon!
New Tad Robinson Single Available
There is exciting news from Delmark Records: Master vocalist Tad Robinson is back with the label! On March 15th, Delmark released a new, thrilling “live” digital single from Robinson, a soul blues singer of the highest distinction, entitled ”That’s How Strong My Love Is.”
“That’s How Strong My Love Is” is the original composition penned by Roosevelt Jamison, and one that first saw the light of day in 1964 when the exalted soul singer O.V. Wright released the song. Additionally, none other than the great soul master Otis Redding and rock giants The Rolling Stones also offered their takes on this classic, among others.
This version was recorded at Evanston, Illinois’ renowned music hotspot SPACE in late September, 2023, and features the Delmark All-Stars, an aggregation that notably includes Dave Specter’s and Mike Wheeler’s esteemed guitar efforts.
Also, Robinson is slated to release a new full-length Delmark collection on July 26th.
Please visit Delmark’s web site for information on Robinson’s single and all the goings on at the label.
DELMARK RECORDS – Blues & Jazz since 1953
New Alligator Records Offerings
Rick Estrin & The Nightcats will see a new release entitled The Hits Keep Coming will be released on May 10th, and the label has signed Memphis roots, blues, and soul band Southern Avenue with a release slated for Fall, 2024. Watch for these collections!
New Nick Gravenites CD To Be Released
A new collection by groundbreaking Chicago blues legend Nick Gravenites, his first in eight years, will be released on April 5th by M.C. Records. The CD is to be entitled Rogue Blues. This one is sure to be highly anticipated by blues fans everywhere! Watch for it!
Living Blues Magazine – Latest Edition
The latest edition of Living Blues Magazine is out with features on soul great William Bell, Chicago bassist Snapper Mitchum, Downtown Charles Brown, plus their Let It Roll series that focuses on Lead Belly, along with the publication’s broad recording review section and additional extensive features. This writer has been a Living Blues subscriber for 36+ years, and I can’t stress enough how vital this magazine is to the blues. Please consider a subscription if you don’t already have one and support the magazine’s fine work, and the blues in general.
A Reminder To Support “Live” Blues And Purchase A Blues Recording
Touring blues musicians endure an arduous life of traveling city-to-city, sometimes with the distance between shows being many miles. This equates to large outlays for gasoline, food, and lodging (if not often sleeping in vehicle while traveling), so when they get to the next town, the interactions with their fans and the time spent on-stage playing to welcoming fans being their greatest joys. When these talented blues artists roll through your town, please consider parting with some of your hard-earned dollars and attending their shows. A decent-sized crowd with enthusiastic fans is cathartic to the blues artists and you, as the interactions are mutually-pleasing. Should your town enjoy places where the blues is being presented, please get out and back the music by taking in a show.
Also, with so many online platforms offering blues recordings for sale (check out the Curt’s Blues Blog “Resources” page for many of them), please think about purchasing a new blues CD or MP3 recording for your collection. It is yet another way we can all ensure that our favorite blues artists can continue to thrill us with their brilliant musicmaking and touring efforts.
CD Reviews
Once again, a reminder: If you want a CD reviewed, please contact me via the email address found on the Curt’s Blues Blog “Contact” page, and I will promptly answer with the mailing address to get the CD to me. I do not perform reviews via electronic sound files. Don’t put your promotions company sticker over the record company information on the back of the CD jacket. Please be mindful that this is a blues blog, and that providing rock, pop, or hard soul CDs for review will not find them being considered. And please, don’t mail me CDs with postage due!
Also, please let me remind record companies, their publicity folks, and the artists themselves that both my “Essential” and “Recommended” blues CD reviews remain forever archived on the Blog on the “Recording Reviews” page, whereas the Short Take CD reviews remain on the Blog for one week only to move through as many reviews as possible. It is a goal of mine to have as many CD reviews as possible move through the Blog.
Thank you.