google-site-verification: google4aa8a52bf1bbbc9c.html
Collecting blues music in all formats, 78s, LPs, 45s, cassettes, and CDs, has been one of my greatest joys. This classic 78rpm version of a Grace Brim blues is from my collection.

Curt's Blues - Blues. Only. Spoken. Here.

Keepin’ The Blues Alive And Thriving!

TELL ALL YOUR BLUES LOVING FRIENDS ABOUT CURT’S BLUES BLOG!  

Artist Profile

Ralph Willis – Prolifically Recorded Piedmont Style Blues Guitarist Of Noteworthy Capabilities

Document Records’ objective since 1985 has been to uncover, restore, and re-release the entirety of recorded music of the preponderance of Black artists and their recordings beginning in the 1890s up to roughly the mid-20th century.  The imprint’s blues offerings are organized in chronological succession, and include scholarly notes and wide-ranging discographic material.

The Document Records online store is simply astounding, and a place where over a thousand assemblages of amazing past recordings are made available for purchase, either as CDs or as downloadable files.  Document Records also presents exciting groupings of recordings on particular performers that provide superb value to those who collect blues and other genres of music.

Curt’s Blues Blog is a huge supporter of the important work that Document Records performs, and a great many of the label’s CDs reside in my personal collection.

No matter where you are in building your blues collection, you should definitely visit the Document Records online store.  You will not be disappointed!

With that little commercial, if you will, for Document Records out of the way, I found myself on a recent evening deeply engrossed in the Ralph Willis: The Complete Recorded Work In Chronological Order – Volume 1 – 1944-1950/51 collection (DOCD-5256). 

Willis’ blues songs highlight his high proficiencies over an extraordinary array of styles, running the gamut from the unhurried and laidback sort of typical forlorn, measured blues cadences that many blues artists focus upon all the way up to danceable country frolic type of tunes.  Willis’ versatility is very pleasing, and since he’s top-of-mind, it’s time to present a short overview of his life and blues career.

First, here we are yet again with conjecture surrounding the exact year of Willis’ birth, as it is with so many early blues artists (1909 and 1910 are often proposed as the year of his birth).  Letting the precise year of his birth remain something of a mystery, research consensus agrees that he was born, if not in, Birmingham, Alabama, a city in the north central part of the state in Jefferson County.  But here, too, the interested are confronted with another unknown as some studies offer that he was born in Irvin, Alabama, an unincorporated area in southwestern Mobile County.  Such as it often is when delving into the times of early blues artists; thinks get foggy from the get-go.

And the obscurities continue as early details of Willis’ life, such as the facts on how he came to be interested in the guitar and the blues, and who his early influences were, can only again lead to speculation.  What is known is that in the latter part of the 1930s Willis made a significant move to the northeast to North Carolina, a relocation apparently driven by his desire to work with the significant Piedmont-style blues musicians found there, a gathering that included the Piedmont giant Blind Bloy Fuller.  As a reminder, the Piedmont style of blues incorporates a fingerpicking technique whereby a steady, varying thumb bass design backs the song’s melody that is being offered via the treble strings.

Though he did not record with Fuller, Willis fell under his sway and was greatly influenced by his blues form.

While in North Carolina, Willis continued to learn and play with as many of the region’s blues artists as possible, and in 1944 his own blues was sufficiently developed as to be attractive to the record companies.  He was invited to make his first solo recordings for the Regis imprint, a small label that was based in New York, one that was excited to have in-house a blues artist whose influences ran to the popular Piedmont style.

This began a recording career for Willis that, over time, came to include roughly 50 separate sides for a succession of labels that included Abbey, Jubilee, Prestige, Savoy, Par, King, Signature, and 20th Century.  It is important to note that while Willis made a significant number of his best recordings in a solo format, he also aligned himself on certain efforts with guitarist Brownie McGhee, an artist he would’ve certainly known from his earlier times when absorbing Fuller’s style in North Carolina.  Willis was also joined by harmonica great and McGhee associate Sonny Terry, and bass and guitar player Judson Coleman.

While Willis’ top recordings are arguably his solo efforts, as they include the greatest freed cadenced frameworks that he was known for, as indicated above, the various labels that Willis recorded for, at times, wanted him to cut tunes with an accompanying musician(s). 

While a recording artist, Willis not only cut songs under his own name, but also those of Washboard Pete, Alabama Slim, and Sleepy Joe.

Willis eventually again relocated, to New York City.  Into the 1950s as music began to change toward the new, more vigorous, R&B format, Willis didn’t alter his approach to the new style, nor toward the folk style of music that was also gaining steam.  He continued to prefer to play alone in his country blues format, occasionally mixing his relaxed blues sensibilities with an upbeat dance tune the likes of which he would’ve played at a country celebration many years prior.

Willis passed away in June, 1957 in New York City.

Below are collections where the interested can hear the Piedmont-influenced work of Ralph Willis.  Any one of the compilations would provide a solid introduction to his superb blues.

  • Ralph Willis: The Complete Recorded Work In Chronological Order – Volume 1 – 1944-1950/51 (DOCD-5256)
  • Ralph Willis: The Complete Recorded Work In Chronological Order – Volume 2 – 1950/51-1953 – Plus The Complete Works Of Leroy Dallas 1949-1962 (DOCD-5257)
  • Various Artists: “Too Late, Too Late” – Volume 10 – 1926-1951 – More Newly Discovered Titles & Alternate Takes (DOCD-5601)
  • Various Artists: Blues, Blues Christmas – Volume 1 – 1925-1955 (DOCD-32-20-9)

Essential Blues Recording

Various Artists - Astounding Compilation Of Various Styled Blues Artists From Numerous Regions

Various Artists – Juke Joint Blues – Blues Classics BC 23 (LP)

This 13-track 1970 LP containing selections recorded between 1948-1959 in Detroit, Michigan, Austin, Texas, Houston, Texas, Los Angeles, California, New York, New York, Chicago, Illinois, Oakland, California, and Memphis, Tennessee by Eddie Burns, Ernest “Buddy” Lewis, Harvey Hill Jr., Mr. Honey (Honeyboy Edwards), L.C. Williams, Lightning Leon, Alvin Smith, Dr. Hepcat, Sonny Boy Holmes, Arthur “Big Boy” Spires, Sonny Terry, Jimmy Wilson, and Square Walton is astounding for its breadth of diversity of blues styles and incredible performances.

The Blues Classics imprint’s parent label was Chris Strachwitz’s famed Arhoolie Records, and the intriguing range and high quality of blues found here will enthrall all blues fans.

Here the blues gamut runs the length of tough urban blues, obscure country style blues, piano artists, guitar-driven performers, harmonica-fueled tunes, and flat-out terrific vocalists.  There is not a clunker in the bunch!

The 1948-1959 blues period was a very prolific era in blues, and to have these selections captured and available for current and future generations of blues enthusiasts to value is a boon.  Yes, someone interested in acquiring this collection will have to be a bit of a detective to find it, but once in hand, the effort will be worth the high payout.

Essential to any blues collection!

Recommended Blues Recording

Various Artists – Relaxed Setting Blues From An “A-List” Roster Of Chicago Bluesmen

Various Artists – Chicago Blues At Home – Testament Records TCD 5028

Testament Records was established in the early 1960s by Pete Welding, a magazine editor, writer, historian, and archivist who was known for his work at Down Beat Magazine, a publication that itself indicates that is devoted to “jazz, blues and beyond.”  Welding’s work was also in demand by other music periodicals including Rolling Stone

It was in 1962 that Welding made a move to Chicago to chronicle the work of Black musicians, a relocation that is said to have been inspired by the great American blues and jazz authority Bob Koester and his label Delmark Records label’s efforts.

Welding produced blues recordings for a top-shelf roster of artists including Otis Spann, Dr. Ross, Big Joe Williams, Charlie Musselwhite, J.B. Hutto, Mississippi Fred McDowell, Eddie Taylor, Johnny Young, and Robert Nighthawk, among many others. 

In 1994, Welding sold the Testament Records catalog to Hightone Records.

On this expanded 18-track 1995 re-release of an original Advent Productions LP from 1977 that included 12 selections, a veritable cream-of-the-crop roster of Chicago bluesmen are featured, including Louis Myers, Johnny Littlejohn, Eddie Taylor, Bob Myers, Jimmy Rogers, Johnny Shines, and Homesick James.  Louis Myers leads the list with five cuts.

All the selections offered were recorded between August, 1970 and early 1976 in Chicago, Illinois, Hollywood, California, and Los Angeles (possibly Glendale), California in informal locations.  And therein lies the magnificence of this collection.  The bluesmen showcased are heard in a format not normally enjoyed by a blues fan base more accustomed to full electric band recording outings.

There are earthiness and individuality components that shine brightly in the laid-back ease of these blues submissions, and the open doors to those glimpses of individualism are fascinating.

This compilation stands as a captivating document not to be missed.  If you like the electric full-group work of these blues titans, undoubtedly you will find much here to appreciate.

Highly recommended! 

Short Take CD Reviews & Other Information

Short Take CD Review

Kat Riggins & Her Blues Revival – Revival – House Of Berry Productions (no #) – Mighty Blues Vocals That Excite

To be released on October 18th, Revival is the sixth outing from Kat Riggins, and her dynamic yet affecting vocals lead the listener on an expressive journey through her renewal and faith in her varied influences, strengths, individuality, and intoxicating essence of the blues that reside deeply within her.  Riggins’ passion comes clearly through on each cut, and her majestic voice frames the selections in ways that highlight her indisputable and soulful honesty.  Blues is at the core of all the strong material here, but Riggins’ gospel, rock-n-roll, R&B, and soul inspirations round this outing up to so much more than simply a blues compilation.  The listener is repeatedly found joyful at the breadth of Riggins’ stylistic landscape, and that too of her superb band’s, as well.  Direct, stirring, and compelling, this is a modern blues release that sets the bar high for others to aim toward.  Bravo!

 

Upcoming Short Take CD Reviews

New CDs are needed in for review!  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

“One More Time” – Johnny Young’s South Side Blues Band – From Vanguard Records LP #VRS-9218 entitled Chicago/The Blues/Today! Vol. 3 – Released in 1966

 

New Jasmine Records Releases

A new round of Jasmine Records CD releases is forthcoming on October 11th.  Jasmine Records is to be applauded for their continuing cycle of exciting releases.  Of particular interest to readers of Curt’s Blues Blog should be:

  • JASCD1207 – Ted Taylor – The Very Best Of Ted Taylor – Be Ever Wonderful, 1955-1962
  • JASMCD2819 – Dinah Washington – Wake The Town & Tell The People – Hits And Hot Shots 1957-1962
  • JASMCD3286 – Bessie Smith – The Empress Of Boogie Woogie
  • JASMCD3288 – Camille Howard – In A Tangle – Complete Singles As Bs, 1955-1962

 

New Delmark Records And Alligator Records Offerings

Delmark Releases

Tad Robinson is slated to release a new full-length Delmark collection with an as yet undetermined release date.  Also, Live At Buddy Guy’s Legends by Willie Buck & The Delmark All Stars is now available and receiving excellent reviews.  Plus, check out all the new singles by various artists on the label’s web page.

Alligator Releases

Alligator Records will release Ronnie Baker Brooks’ Blues In My DNA on October 11th.  It is Brooks’ first release for the label.

The label has also signed Memphis roots, blues, and soul band Southern Avenue, with a release slated for Fall, 2024.  Also, Shemekia Copeland’s Blame It On Eve dropped via an August 30th release.  Look for these collections!

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. 

Also, Alligator released two special vinyl collections on September 13th.  Hound Dog Taylor & The HouseRockers’ Beware Of The Dog!, and Harp Attack!, the collaboration of Junior Wells, James Cotton, Carey Bell, and Billy Branch, are again available on vinyl for the first time in 35 years.

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.

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 Tony Coleman, Tee Dee Youngs, Carlton Washington, and Linwood Taylor, along with their Let It Roll series that focuses on Stevie Ray Vaughan at Epic 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.

Web Hostess: Miss Beth