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Albert King was so heavy! I snapped this photo of him at the 1988 Chicago Blues Festival. He had an overflowing Grant Park crowd welcoming each stinging guitar note he played. What a night!

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Artist Profile

Boogie Jake – Swamp Blues From Louisiana That Headed Westward To California

I’ll admit it.  I’ve been somewhat rejuvenated in my interests of both swamp blues and swamp pop music in recent weeks.  For about a month now, I have found myself pulling out of my collection one swamp blues or swamp pop compilation after another.  CDs such as Swamp Blues on the Ace Records label (Ace CDCHD 661), Louisiana Swamp Blues on the JSP Records imprint (JSP77180), Louisiana Roots: The Jay Miller R&B Legacy, again on Ace Records (Ace CDCHD 682), and Louisiana Swamp Blues on Flyright Records (Fly CD 09), among others, with artists such as Whispering Smith, Clarence Edwards, Silas Hogan, Henry Gray, Arthur “Guitar” Kelly, Leroy Washington, Guitar Jr., Blue Charlie, Guitar Gable, Mr. Calhoun, Lonesome Sundown, Classie Ballou, and King Karl among so many others have found consistent rotation in my CD player as I try to satisfy my thirst for the magic that is swamp blues.

Is there a more remarkable sound that is so instantaneously discernable in the blues genre than that which is called “swamp blues,” that contagious meld of so very many influences?  I don’t believe so.

As I’ve previously written at length, the famed Excello record label was the imprint that was acknowledged as swamp blues’ best friend, offering the blues variety and its major artists more so than any other record label.  Based out of Nashville, Tennessee, Excello Records’ offerings greatly interested countless of the audience of the influential 50,000-watt Nashville-based radio station, WLAC.  WLAC’s strategy of playing a wide swath of music, including swamp blues, so very delighted a broad racial listenership band as to provide it great status wherever its radio signals reached. 

We all know of Excello’s vast swamp blues roster, one that amazingly included well-liked artists such as Lightnin’ Slim, Slim Harpo, Jerry McCain, Lonesome Sundown, Lazy Lester, Katie Webster, Tabby Thomas, Whispering Smith, Boogie Jake, Ramblin’ Hi Harris, Henry Gray, Ole Sonny Boy, Silas Hogan, and Guitar Gable, amongst many others.  The swamp blues design?  It delectably included very rudimentary guitar adeptness, one yet that is extremely effective because its core boogie fabrications were quite similar to the work of, say, the compact and efficient style of blues titan Jimmy Reed.  The guitar work was also often laden with tremolo effects, those that basically change the strength of the instrument’s signal in a way that allows it to have a rather quivering sound.  Also, swamp blues engineers used a studio practice of creating an uncanny echo framework that resulted in a rather menacing essence on many records.  Shuffle rhythms were deployed, as well, as were compelling harmonica interludes, and uncomplicated drumming.   Jay Miller, Excello Records’ celebrated producer, cast the die that molded the label’s swamp blues sensibility, one that perseveres in appreciation, and fascinates, even today.

Undoubtedly, what developed into the swamp blues sound is exceptionally and vastly contagious.  To finally and concisely express swamp blues’ influences, it seems ideal to border the genre as a dazzling blues derivative that marries the comprehensively pleasing attributes of zydeco, Cajun, soul, New Orleans fare, and blues contributions into a succulent synthesis of abridged guitar patterns, thrifty constructions, and stingy percussion. 

One swamp blues song I was recently drawn to again and again was “Early In The Morning” by Boogie Jake.  I’ve not previously offered a brief overview of his life and blues career, so now seems the perfect time to do so with swamp blues being top-of-mind.

The swamp blues artist who is known as Boogie Jake was born Matthew Jacobs in Marksville, Louisiana, a small town and the parish seat of Avoyelles Parish in the state’s central region, roughly 166 miles northwest of New Orleans.  Research indicates that when the young Jake took an interest in the blues and the guitar, he learned the basics of the instrument and how it is used in the blues from an Ernest Barrow, a neighbor of his.  If the Jacobs surname strikes a chord with the reader here, it is because it was also the surname of Marion Jacobs, the post-war harmonica giant who became known as Little Walter, who was also Jake’s second cousin.  It was with his second cousin that Jake offered himself and his blues talents to the world in his inaugural show at a Marksville nightspot named the Golden Lantern Club.

After playing with his second cousin, Jake officially established himself as a professional blues musician, and felt he could achieve greater accomplishments with his skill set by making a move to Baton Rouge, Louisiana, roughly 150 miles southeast of Marksville.  It was in Baton Rouge where Jake encountered Joe Hudson, an established vocalist and drummer of some renown due to His Rockin’ Dukes Band.  Becoming involved with Hudson’s group allowed Jake to gain valuable experience and exposure, as the band played high-profile Baton Rouge venues such as the popular Apex & Rhythm. 

Jake’s work with Hudson resulted in hard-earned visibility and respect, and the aforementioned Jay Miller of Excello Records repute became aware of his broad talents.  Miller brought Jake into the studio to take part in a session for the swamp blues giant Slim Harpo.  It has been accepted by researchers that Jake played that juicy lead guitar lick found on Harpo’s “King Bee.”  So impressed by Jake was Miller that at a future date he had Jake return to the studio to lay down tracks with two famed swamp blues artists, pianist Katie Webster and harmonica star Lazy Lester.  Numerous tracks were made, but only two were released a number of decades later as part of a Flyright Records collection.

In 1957, Jake appeared on the Excello Records releases of “Baby Give Me A Chance” / ‘Hoo-Wee Pretty Baby” by Joe Hudson & His Rockin’ Dukes.  Both a 45rpm and 78rpm of the releases were offered (45-2112 and 2112, respectively).

In 1959, Joe Banashak, a New Orleans record producer approached Jake proposing a recording opportunity.  Banashak wanted Jake to be the first artist to record on his new Minit Records imprint.  Of course, Jake jumped at the chance.  “Early In the Morning” (a truly rollicking outing) and “Bad Luck And Trouble” (a slow rhythmic blues) were recorded in June and were released yet in 1959 (Minit MR-601and MR-602), with the release also seeing the light of day on Chess Records (1746).  The Chess release led to a wide national distribution for the tandem of blues songs.

About a month removed from his first recording session with the Minit Records label, Jake was back in the studio and produced two more songs.  “Chance For Your Love” (a heartfelt, mid-speed blues) and “Loaded Down” (a driving blues) were recorded (Minit 608), and on the backs of these releases Jake was able to go out on tour with other artists from the Minit Records stable, plus Excello Records’ swamp blues recording artist Lightnin’ Slim.

However, Jake grew weary of a life in music and he uprooted his family, moving westward to California where he remained away from music, taking conventional work to provide for his family.

However, in 1974 Jake was recruited to perform at Tom Mazzolini’s famed San Francisco Blues Festival.  This appearance resulted in a return to music work for Jake, and also eventually resulted in the release of a 45rpm record in 1977 featuring “Automobile Blues” and “The Boogie Train” on the California-based Blues Connoisseur Records label (1014). 

“Schoolboy” Cleve (Cleaveland) White was a fellow Baton Rouge musician, a harmonica player, who also moved west to California.  Jake aligned himself with White due to their shared relationship with the Blues Connoisseur Records imprint.

The details of the intervening years between the late 1970s and 2013 are virtually non-existent.  Jake died in early December, 2013 in New Orleans.  Jake’s sound was wholly representative of his swamp blues roots, and yet another layer in its great history. 

Swamp blues and Boogie Jake’s musical knowhows would be best offered to blues enthusiasts via the magnificent collections below.  There are many more swamp blues compilations out there for the curious.  Both below are highly recommended.

  • Louisiana Swamp Blues – JSP Records (JSP 77180) – On CD
  • Louisiana Swamp Blues – Flyright Records (Fly CD 09) – On CD

Essential Blues Recording

Sonny Boy Williamson (II-Rice Miller) – The Early Blues Genius Of A Harmonica Titan

Sonny Boy Williamson (II-Rice Miller) – Goin’ In Your Direction – Alligator Records ALCD 2803 

This 1994 15-cut re-release of an original 1991 12-cut Trumpet Records collection includes bonus selections with Arthur “Big Boy” Crudup and Bobo “Slim” Thomas, with Willie Love assisting on piano.  The additional selections only heighten the blues brilliance found here.

Recorded during the 1951-1954 period for the famed Trumpet Records label, the Jackson, Mississippi imprint owned by the legendary Lillian McMurry (she who discovered blues great Elmore James), this is high blues art of the early Williamson catalog.

Williamson was coming into his own vocally with these initial sides, increasing his might and ability to work a phrase.  Not only that, Williamson was also finding his very definition of the blues, and honing his harmonica and overall musical judgment that later propelled him to great success with Chicago’s powerful Chess label.

It’s unsettling in all the correct manners what Williamson was able to musically realize.  That combination!  How did he achieve the baffling deed of uniting his vocals and harmonica skill sets?  How did he build them to effectively become one and the same voice, if you will? 

On this outstanding CD we hear Williamson turning in harmonica phrases and techniques that steered him into legendary eminence.  Fabulous meandering nuances, contrasting on-target phrases, and driving longer interludes succulently frame his harmonica proficiencies. 

Those dynamics make Williamson’s blues and performances musical art of the uppermost standing.

This is an essential blues assemblage that belongs in every serious collection.

Song Titles

  • Goin’ In Your Direction
  • From The Bottom
  • No Nights By Myself
  • Boppin’ With Sonny
  • Empty Bedroom
  • Red Hot Kisses
  • Getting’ Out Of Town
  • Cat Hop
  • She Brought Life Back To The Dead
  • I’m Not Beggin’ Nobody
  • She’s Crazy
  • Sonny’s Rhythm #2
  • Make A Little Love With Me (with Arthur “Big Boy” Crudup)
  • Gonna Find My Baby (with Arthur “Big Boy” Crudup)
  • Catfish Blues (with Bobo “Slim” Thomas)

Recommended Blues Recording

Johnny Winter – Winter Unleashes His Blues Heritage And Ferocity

Johnny Winter – Guitar Slinger – Alligator Records ALCD 4735

This was Winter’s first of three Alligator Records collections, and for my money, his most uniformly strong. 

Arising from a career that saw him begin performing at the age of 14, by the time Winter arrived at Alligator Records in 1984 and started to record this superb collection, it was abundantly clear that he deeply wanted to revisit his strong blues roots from which his rich rock-n-roll catalog emerged.

It had been four years since Winter had recorded, and the blues magic that Bruce Iglauer and his team captured from Winter is astounding.  It is the definition of authentic contemporary blues.  The collection was so strong that it charted on both the esteemed Billboard and Cashbox charts, plus it earned a prestigious Grammy Award nomination.

So solid were the collections that Winter recorded for Alligator Records they earned play not only on blues radio stations but rock-oriented stations, as well.  His “Don’t Take Advantage Of Me” from Guitar Slinger even saw rotation on MTV.

This assemblage is not crafted for the sonically timid; no, it howls and shouts, moans and strikes, and slashes and gashes.  But in all the appropriate Winter traditions.  It reeks of boldness and confidence, yet is deferential in all the right ways, as only Winter could frame his blues interpretations.

Jump on board this high level of Winter blues thrills!  By the way, this great collection has also been re-released on vinyl.

Thank you, Johnny, for all that you did for the blues.  Highly recommended!

Song Titles

  • It’s My Life, Baby
  • Don’t Take Advantage Of Me
  • Iodine In My Coffee
  • Trick Bag
  • Mad Dog
  • Boot Hill
  • I Smell Trouble
  • Lights Out
  • Nothin’ But The Devil
  • My Soul

Short Take CD Reviews & Other Information

 Upcoming Short Take CD Reviews

Labels, artists, and publicists, now’s the time to get CDs mailed for review as you bring new collections to the market!  Remember, please, only blues CDs! 

 

Blues Song Of The Week

“Let’s Have A Natural Ball” – Albert King – Bobbin label #126 – Released in 1960

 

New Jasmine Records Releases

A new round of Jasmine Records CDs was released on November 8th.  Jasmine Records is to be roundly applauded for their continuing cycle of exciting releases.  Of particular interest to readers of Curt’s Blues Blog should be:

  • JASMCD3298 – Memphis Minnie – The First Lady Of Country Blues, 1929-1953
  • JASMCD3303 – Various – Fats Domino In Session, 1950-1957
  • JASMCD2827 – Billie Holiday – Travelin’ Light – Classic Records, 1939-1951

 

New Delmark Records And Alligator Records News And Offerings

Delmark News And Releases

Congratulations to Delmark’s Julia Miller and Elbio Barilari for being inducted into the Chicago Blues Hall Of Fame. 

Tad Robinson is slated to release a new full-length Delmark collection with an as yet undetermined release date. 

Plus, check out all the new singles by various artists on the label’s web page.

Alligator News And Releases

Alligator Records released Ronnie Baker Brooks’ Blues In My DNA on October 11th.  It is Brooks’ first release for the label.  Brooks released his latest tour dates on October 18th, and also released his second “live” video, a rendition of his “All True Man.”

The label has also signed Memphis roots, blues, and soul band Southern Avenue, with a release slated for 2025.

November 29th will see a clear vinyl deluxe gatefold jacket release of Showdown!, the Grammy winning outing by Robert Cray, Johnny Copeland, and Albert Collins.  Pre-orders are being taken.

Look for these collections!

Also, watch for the announcement of a new artist coming to Alligator.

It’s too bad that both Delmark Records and Alligator Records won’t provide this blues blogger with hard copy CDs of their upcoming releases for reviews.  As I’ve explained to both these labels, I do not perform reviews via electronic sound files.  I guess that 10,300+ blog readers aren’t enough for the labels to send hard copy CDs!

Please visit Delmark’s and Alligator’s web sites for information on all the goings on at the labels.

DELMARK RECORDS – Blues & Jazz since 1953     

Features Grammy nominated blues artists including Tommy Castro, Marcia Ball, and Anders Osborne – Alligator Records – Genuine Houserockin’ Music Since 1971

 

Living Blues Magazine – Latest Edition

The latest edition of Living Blues Magazine is out with features on Sharde Thomas-Mallory and Steve Washington, an article on debunking various myths surrounding Delta blues legend Robert Johnson, along with their Let It Roll series that focuses on Blind Lemon Jefferson at OKeh Records, and of course, the publication’s broad recording review section and additional extensive features.  This writer has been a Living Blues subscriber for 36+ years, and though I may not always agree with their record reviews or their journalistic direction, 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 meI 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, hip hop, or Americana 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 so as to move through as many reviews as possible.  It is a goal of mine to have as many CD reviews as possible pass through the Blog.

Thank you.

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