Zuzu Bollin – Texas Bluesman – Antone’s Records ANT CD 0018 

In 1989, from the 9^th through the 11th, I again found myself at the Chicago Blues Festival.  The event’s lineup was extremely exciting that year, promising sets by New Orleans great Snooks Eaglin, the distinguished vocalist Irma Thomas, post-war Chess giant Jimmy Rogers, bayou-to-Chicago favorite Lonnie Brooks, New Orleans piano master Dr. John, Chicago sax titan Eddie Shaw, Baton Rouge family bluesmen Raful Neal and Kenny Neal, composer, songwriter, producer, arranger, and performer Allan Toussaint, and the great R&B legend and pianist Clarence “Frogman” Henry, among many other illustrious performers. 

But there was one bluesman whose set I was particularly keen to catch on the Crossroads Stage.  The Crossroads Stage sits at the far eastern end of E. Jackson Dr. with Lake Shore Drive and Lake Michigan as its backdrop.  I had heard whispers for a couple of years that Texas bluesman Zuzu Bollin had emerged from a long period of obscurity, and was once again thrilling audiences, particularly in Texas at various venues with Brain “Hash Brown” Calway’s band backing him.  I wasn’t sure what to expect, but I was eager to see and hear Bollin, whose Texas Bluesman collection had been originally released by the Dallas Blues Society in 1989 (and was subsequently released by Antone’s Records in 1991). 

Bollin had cut the phenomenal “Why Don’t You Eat Where You Slept Last Night”, “Headlight Blues”, “Stavin’ Chain”, and “Cry, Cry, Cry” in the early 1950s on the Torch label, with another single, “How Do You Want Your Rollin’ Done” for the Topflight label (release year N/A), before falling into a protracted period of inactivity and oblivion. 

To be able to witness this most shadowy of Texas blues figures was an exhilarating prospect.

When Bollin’s time to perform arrived, true blues fans in the audience were buzzing.  His band took the stage to a great welcome, and from the wings, Bollin appeared.  He cut a striking profile; tall, extremely thin, immaculately dressed, a hollow body guitar slung around his neck, and walking with a cane in a dignified manner.  I know it sounds inane, but Bollin reminded me of a human Praying Mantis in stature.  That is, until he plugged-in and played; it was a clinic in guitar taste, tone, and touch, magnificent vocals, and pure blues joy.

A note: The Texas Bluesman collection under review is enhanced by two tracks not appearing on the initial release (“Hey Little Girl” and “Cold, Cold Feeling”), which were recorded at the insistence of Clifford Antone, the visionary behind the famous Austin, Texas nightspot, Antone’s.  The plan was to eventually record another full-length Bollin collection for the Antone’s label, and these two selections are most welcome additions. 

After first being approached about recording and performing again (Bollin had eschewed the music scene since the mid-1960s), it took about one year for him to resuscitate himself into better health and return to form musically before the recording session could be undertaken.  And, the results are awe-inspiring. 

First, Bollin’s guitar work maintains that sweet melodic flow steeped in a warm full-body attitude most associated with T-Bone Walker.  His guitar solos rely upon oh-so-magnificent tasteful runs that are comprised of sensitivity and flair of touch that seems velvety in quality.  There is an economy of idyllic facility; no over-playing, just a smoothness of framework that delights. 

Bollin’s deep resonating voice brings a powerful, yet downy, instrument within his blues expeditions.  He commands vocally through authority suffused in control and world weariness.  Bollin harkens back to when blues lyrics, and the story told, really mattered, and were dispensed with equal importance as the instruments being played. 

A Fort Worth Band, The Juke Jumpers, were utilized to back Bollin on the original tunes on the Dallas Blues Society Texas Bluesman album, and a more supreme backing core could not have been employed.  It was Bollin’s vision to present songs that best represented artists form the halcyon days of R&B, and to aid in the effort of presenting them in their best light, he included David “Fat Head” Newman and Marchel Ivery on tenor saxophone, both for two selections.  Bollin also brought-in Buster Ivery to oversee the horn section.  Another added bonus was using blues guitar great Duke Robillard on guitar and to assist with arranging duties. 

On the two songs recorded for the Antone’s Records label, distinguished blues guitarist Wayne Bennett offered his impressive arsenal. 

All told, names most blues fans will know who appear on the amazing selections here include Hash Brown on rhythm guitar, Doyle Bramhall and George Rains on drums, Doug Sahm on piano, Mark Kazanoff on various saxophones, along with a host of players who understood the conceptualization that Bollin had for his work. 

Regarding the aforementioned desire of Bollin to present blues and R&B from the golden age of R&B, he presents Gen Phillips’ “Big Legs”, Eddie “Cleanhead” Vinson’s “Kidney Stew”, Big Joe Turner’s “Rebecca”, the Jimmy Rushing/Count Basie outing “Blues IN The Dark”, and Percy Mayfield’s “How Do You Want Your Rollin’ Done”.  Bollin reprises his classic “Why Don’t You Eat Where You Slept Last Night” and “Headlight Blues”, in addition to tendering new selections, as well. 

Sound is terrific on this CD, with all facets and nuances of the cuts gloriously presented.

In Chicago at the Crossroads stage at 1989’s Chicago Blues Festival, Bollin took the zealous crowd back to a Texas blues and R&B experience that lived in its heyday some 35-plus years prior.  He schooled all in attendance in blues and R&B taste and style, and all these years later, I still can easily and fondly recall Bollin’s set with the utmost regard.

Copies of this CD can still be found (as can the original Dallas Blues Society album), and your blues collection will be exponentially enriched for having it.  Highly-recommended, indeed!