Last week’s blog on the phenomenal Son Bonds made mention of two Brownsville, Tennessee-bred bluesmen whose work has always impressed me, that of Sleepy John Estes and Hammie Nixon.  After I published last week’s blog, I went down to my blues room and pulled out collections by both Estes and Nixon, and on what was a rather late evening, settled in and enjoyed their talents.

I was especially taken by Nixon’s Tappin That Thing, a 1984 release on the HMG/High Tone Records label (#6509).  Those early 1980s songs were originally recorded by the small University Of Memphis imprint High Water, and had as the producer the celebrated blues researcher and musician Dr. David Evans.  The blues Nixon provides on the collection are stunning.  Nixon’s full arsenal of talents is in fine form and on full display as he sings with authority and highly impresses with his broad dexterities on harmonica, kazoo, and jug.  Being that the recordings are presented in the jug band format makes for an exciting outing, indeed.

Being that these cuts were recorded in the early 1980s and that Nixon passed away in mid-August, 1984, it is startling just how much blues passion and performing capacity Nixon maintained right up until near the end of his life.  In fact, I often used this collection in various blues classes I’ve taught in continuing education classes in area institutions of higher learning, especially because of Nixon’s percussive harmonica style.  By the way, Nixon’s version of “Bottle Up And Go” that is found on this disc is alone worth the price, and is a selection that seems to get heads nodding and toes tapping whenever I’ve played it for others.

Perhaps because Nixon is on my mind, now’s then the ideal time to present a brief overview of his life and times.

Hammie Nixon (also known as Hammie Nickerson) came into the world late August, 1908 in the fertile blues area of Brownville, Tennessee, a city in Haywood County, a province in the far western part of the state.  Very limited data exists regarding Nixon’s early developmental years, as regrettably is often the circumstance with so many blues artists, particularly the pre-war musicians.

What we do know is that Nixon was orphaned at a very young age.  He did end up being fostered to another family.  Where it all becomes murky is in trying to determine what influences initiated Nixon’s interest in music, specifically blues.  One can only speculate whether his foster family were church going people and, thus, he may have been exposed to gospel music, or perhaps family members played various instruments and or maybe sang.  Possibly, with Brownsville being a rich area for music, it’s plausible that Nixon became entranced by the various artists he witnessed from a young age.  It’s truly all speculation, though.

However, what seems generally accepted among blues researchers is that Nixon’s first instrument was the harmonica, and that he began his musical career once his skill set on the instrument was sufficiently developed, in the 1920s, playing with various jug bands.  Obviously, the experience with these groups then led Nixon to make himself a versatile commodity, steering him to further expand his overall musical skills by training on the jug and kazoo.

 Nixon’s influence with the harmonica is not to be understated.  He was one of the first players to forge a path for the humble instrument into being a true band accompaniment tool.  Up until the time of Nixon’s burgeoning blues career, the harmonica had been primarily utilized as a solo instrument.  Nixon’s percussive style of playing offered a band yet another percussive element to exploit.  In Nixon’s style, the harmonica became a true rhythm instrument, not one simply relegated for the occasional solo opportunity.

As Nixon’s proficiencies progressed further, he began a fruitful musical alliance with his eventual father-in-law, fellow Brownsville bluesman Sleepy John Estes.  This began a partnership that lasted roughly half a century.  In fact, Nixon’s first chance to record was a result of his union with Estes, as they produced tracks for the Victor label in 1929.

However, this is not to infer that Nixon limited himself exclusively to work and record with Estes, as he also aligned himself with artists such as fellow Brownsville bluesman Son Bonds, Memphis bluesman Little Buddy Doyle, piano man Lee Green, and Decca label artist Charlie Pickett.

When Estes died in 1979, Nixon turned his attention and energies toward working with the Beale Street Jug Band.  In a way, it was a coming home for him.

Nixon passed away in mid-August, 1984 in Jackson, Tennessee.

There are numerous recordings still to be found that highlight the broad range of Nixon’s many blues capabilities, with some highlighted below:

• Tennessee Blues Vol. 3 – Albatross VPA 8227
• Tappin’ That Thing – HMG/High Tone Records 6509
• Blues Is A-Live – Showboat TDCD-1073 (with Sleepy John Estes and Yuka Dan)
• Tennessee Blues Vol. 2 – Albatross CD DAF 102 (with Sleepy John Estes)
• Newport Blues – Delmark Records DE 639 (with Sleepy John Estes and Yank Rachell)
• On Highway 80 – Delmark Records DE 797 (under the names of Sleepy John Estes with Hammie Nixon)