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