Sunnyland Slim – Rockin’ Rollin’ Tumblin’ & Slippin’ – Jasmine Records JASMCD 3188 

Perhaps all my review here needs to express is what is succinctly said so well in the CDs liner notes: “He hasn’t been especially well treated in the reissue stakes during the CD era so hopefully this CD can help to re-establish his undoubted importance in the Blues world.”

Sunnyland Slim reigned over the Chicago blues piano landscape for roughly 50 years, in a city, at one time, brimming with legendary blues piano talent.  Slim and his peers, such as Lafayette Leake, Little Brother Montgomery, Pinetop Perkins, Jimmy Yancey, Otis Spann, Memphis Slim, Roosevelt Sykes, Big Maceo, Champion Jack Dupree, and a host of others, for a time ensured that Chicago remained, in my estimation, the center of blues piano.  And while many of his peers passed from this earth during his time on Chicago, Slim continued late into his 80s plying his unique brand of tough piano blues.

Slim recorded hundreds of songs, both for himself, and as a collaborator on the works of others.  With a very powerful left hand that provided thunderous deep, moving chords, his right hand provided flourishes of staccato song introductions and melody lines that cut and sliced.  It is not inconceivable to wonder, “How did Slim not ruin many a piano?”

Similarly, Slim’s voice was an instrument unto itself with a force and capacity to also wreak havoc upon a microphone unfortunate enough to be used in performance.  Slim’s voice had an intensity and a dynamism that surely startled many fortunate enough to have seen him ply his trade.  Declamatory is the usual word that would describe a voice such as Slim’s, but it seems inadequate in his case.  His voice was theater of the highest order.  It was not shouting, nor was it volume and strength unbridled.  Rather, it was a gale of lyrical ability.  It roared with authority.  It was impossible to avoid.

This fine 26 song CD represents blues sides recorded over a seven-year period from 1948-1954.  The labels upon which these cuts were issued include Opera, Mercury, Apollo, Sunny, J.O.B., Regal, and Constellation.  These are not the only blues labels upon which Slim recorded during this period, as his earliest 1947 sides for RCA under the guise of Doctor Clayton’s Buddy, and his Aristocrat label songs, are not included.  Six of the blues here were not originally issued.

The cuts here were recorded under Slim’s Delta Joe moniker, his Sunnyland Slim and His Orchestra designation, Slim’s Sunnyland Slim and Trio group name, his Sunnyland Trio tag, the Sunnyland Slim and His Boys band name, or solely under his name.  And to a one, they do not disappoint.

Apply any adjective you can to Slim; forceful, dynamic, mighty, compelling, weighty, potent, and you have the essence and character of Slim’s work on the myriad labels represented on this CD.  Slim’s braying voice, torrential piano work, and masterful ability to communicate the story within one of his blues piano outings are all on full, prominent display here.  If melodious, “pretty” blues is what you seek, this is not the outlet for your desires.  This is tough, urban, hard-living, and hard-charging Chicago piano blues the likes of which that tough city could only breed.

On this CD, Slim’s blues cuts are enhanced by a true who’s-who of Chicago blues sidemen and stars in their own rights, including, Leroy Foster, Oliver Alcorn, Sam Casimir, Andrew Harris, Snooky Pryor, Robert Lockwood, Jr., Moody Jones, Billy Howell, Alfred Wallace, Big Crawford, Ernest Cotton, Pete Franklin, John Brim, J.T. Brown, J.B. Lenoir, Floyd Jones, and Eddie Taylor.  Great talent attracts great talent, and working with Slim was considered a distinguished opportunity.

In later years, Slim was to be found at B.L.U.E.S. on N. Halsted St. in Chicago each Sunday night.  Slim’s show was a rite of passage for any blues fan who truly wanted to have a great understanding of the foundational base of Chicago blues piano, and an opportunity to witness a true Chicago blues legend “live”.  The band was for the most part the same during that long run at the club, and included Robert Covington playing drums, Bob Stroger plying his bass work, Steve Freund providing guitar support, and Sam Burckhardt blowing his saxophone.  When one opened the door to B.L.U.E.S. during one of Slim’s Sunday night shows, his voice made one recoil, and his piano pierced like a dagger, and one wasn’t even fully inside the club yet.

Slim was many things; a blues piano titan, a mentor to a great many, a father figure to legions, a gambler, a hustler, and a raconteur of the highest distinction.  But more than anything else, he was a Chicago blues piano master the likes of which we likely will never again encounter.  He was regal, large in physical stature, generous, warm-hearted, and prodigiously brilliant.

There are numerous other Slim collections available.  Slim continued to record until very late in his long life.  But, the piano blues provided here are the base of Slim’s lengthy, illustrious career.  It comes highly-recommended, and once again, thank you to the Jasmine Records label for releasing yet another great blues artist’s recording overview.