Johnny “Big Moose” Walker – A Veritable Chicago Blues Piano Sensation
My dear departed friend, Chicago blues piano colossus Barrelhouse Chuck, would regale me at-length with his fascinating stories of those Chicago blues piano legends who mentored him in both the technicalities of blues piano artisanship, but also the nuances of the blues world, and the larger world in general. He often spoke of the sage advice he received from the elite of classic Chicago blues piano on how to survive in the business of the blues, how to comport oneself, and by what means to respect the music. He obviously paid close attention and put the breadth of advice he received into practice, as Chuck attained a favored status in blues circles all around the world.
Chuck would often mention Johnny “Big Moose” Walker as someone he paid close attention to as he paid his dues in transitioning from a young blues piano playing apprentice among Chicago’s influential keyboard lions into a certified leader in keeping the blues piano legacy alive and thriving. Walker’s name came up more than once in our wide-ranging blues discussions.
Johnny Mayon Walker came into the world in late June, 1927 in Stoneville, Mississippi, a location in Washington County, an area that lies in the state’s far mid-western area. Like many blues keyboardists, Walaker’s gained early access to a church organ, upon which he showed some promise. However, keyboards were not his only musical interest, as he also showed dexterities on a diverse range of other instruments including the tuba, the vibraphone, and the guitar. In fact, it was on the vibraphone that it is said that Walker envisioned himself becoming noteworthy.
Nonetheless, at the age of 12 Walker began his professional music career after he attained a level of notoriety playing solo the juke circuit in his locale. Graduating from a solo artist, his initial professional group experiences were with the bands of such prominent bluesmen as Sonny Boy Williamson II (playing on the King Biscuit Boys radio show), Ike Turner’s Kings Of Rhythm, and Elmore James. It should also be stated that Walker was a capable bass player, and he would ply his musical trade upon that instrument as required. This flexibility served him well throughout his career.
Again, owing to his blues versatility, Walker would change to playing the guitar when he would join forces with blues singer, guitarist, and songwriter Boyd Gilmore, and rhythm and blues singer and pianist Eddie Snow. This adaptability afforded Walker visibility and much valued experience in the blues world.
By this time, Walker was living in Memphis, Tennessee, and though he shuffled between a number of bands, he worked a lot with both Ike Turner and Earl Hooker.
Additionally, during this time, Walker recorded sides with both Elmore James and Sonny Boy Williamson II as backing support for their Trumpet label releases.
Walker’s burgeoning blues career was sidelined between 1952-1955 after he was drafted in to the U.S. Army, a period aligning with The Korean War.
Upon his discharge from the Army on the U.S.’s west coast, Walker had the desire to continue his blues career, and he found a position with Lowell Fulson, as he was hired to be the band’s driver by bandleader Choker Campbell. But more importantly, this led to Walker also getting more exposure to the blues industry, and he too got to occasionally play with the group.
During this same period on the west coast (1955), Walker won a talent contest organized by bandleader, radio personality, talent scout, preacher, aspiring politician, and blue and rhythm and blues icon Johnny Otis. This led to Walker being able to record his first single and have it released on Otis’ Ultra Records label, matching “Talkin’ About Me” with “Wrong Doin’ Woman”. For this release, Walker was billed as Moose John.
In the later 1950s, Walker moved north to Chicago at the urging of blues piano giant Sunnyland Slim, and he provided support for various artists including Sunnyland Slim, Earl Hooker, Elmore James, Ricky Allen, Otis Rush, and others on sessions that were produced locally, while also working in the clubs with Otis Rush, Magic Sam, Little Johnny Jones, and Howlin’ Wolf, again, among many others.
In 1960, Walker accompanied Junior Wells into the recording studio to participate on Wells’ capstone tune “Messin’ With The Kid” for the Chief Records label.
In 1962, Walker recorded with Chicago blues patriarch Muddy Waters on “You Shook Me” for the Chess Records label.
In 1967, Walker released a single on The Blues label that paired “Puppy Howl Blues” with “Rambling Woman” under the name Big Moose. During this same time, Walker was called to New York City to participate on a number of Prestige/Bluesville family of labels sides, having been guided by Chicago blues titan Willie Dixon to do so.
Returning to Chicago, Walker found himself, as usual, in high demand, and he resumed his work on the city’s west side with blues slide guitarist and vocalist Elmore James at the fabled Sylvio’s. Due to this tenure with James, Walker accompanied him to a Fire label recording session, one that allowed Walker to sing on a number of selections that ultimately were released under the moniker Bushy Head on an exclusive European Elmore James release. As an aside, during this trip, Walker and Earl Hooker worked with John Lee Hooker (Earl Hooker’s cousin) on his “If You Miss ‘Im…I Got ‘Im” album.
1970 was a big year for Walker, as it saw his first full-length album release, an outing entitled Ramblin Woman, a 1970 BluesWay label collection (recorded in 1969) that came about as a result of traveling to California (Los Angeles) with Earl Hooker when he recorded his Don’t Have To Worry LP.
Hooker remained Walker’s most constant colleague, both in terms of club and tour work. Unfortunately, Hooker passed away in 1970, and this subsequently saw Walker lending his talents to a variety of other bluesmen and their bands, including guitarists and vocalists Mighty Joe Young, Jimmy Dawkins, Son Seals, and Lous Myers.
In 1972, Walker released a single on the C.J. Records label with “Tend To Your Business” and “Things I Used To Do” with Lefty Diaz (Dizz) And His Bloodhounds.
It was also during this period of transition when Walker did solo club work, and at times, he was also accompanied with a drummer.
The 1970s saw Walker prolifically recording with numerous blues artists, including Willie Dixon, Junior Wells, Son Seals, and even Lightnin’ Hopkins. In addition, during this period, Walker again plied his bass skills to tour with Muddy Waters.
Eddie Shaw, Howlin’ Wolf’s bandleader and saxophonist, recruited Walker to play in Eddie Shaw’s Wolfgang, an aggregation that represented the remaining members of Howlin’ Wolf’s band, when they went into the studio to record for Alligator Records’ Living Chicago Blues series. It was during this session when Alligator’s Bruce Iglauer had Walker lay down some tracks of his own for the collection. Lous Myers accompanied Walker on guitar, and the results were outstanding.
Walker toured in the late 1970s, to both Canada and New Zealand (space here does not allow for the telling a story of Walker living with a New Zealand native tribe and becoming a tribal member).
IN 1979, Walker toured Europe as part of a package tour, and recorded an album with fellow Chicago bluesman Lefty Dizz for the Black And Blue label (France).
During the late 1980s, Walker was in ill health as a result of a critical stroke. He lived in a nursing home facility in Chicago during his final years, having suffered additional strokes up until his death in 1999.
In total, Walker recorded six collections under his own name (Ramblin’ Woman on BluesWay, Going Home Tomorrow on Isabel Records, Blue Love on Red Beans Records, Mellow Down Easy on the CMA label, Swear To Tell The Truth on JSP Records, and The Rising Sun Collection on the Just A Memory label. He also was represented on the Living Chicago Blues Vol. 2 release on Alligator Records, Chicago Blues Festival 1979 (with Lefty Dizz) on the Black And Blue label, and Chicago Bound with Jimmy Rogers on Wolf Records.
Throughout his long career, Walker appeared on hundreds of releases by many artists; such was his talent and reliability as a sideman. His work on Alligator Records’ 1973 release The Son Seals Blues Band remains to this writer especially gripping.
So, the focus to this point has been on Walker’s recordings (both as a sideman and as a solo artist), in-demand club work backing, and his personal movements, but what made him such a desired performer, accompanist, and solo artist? First, without a doubt, Walker’s gregarious personality appealed to many. He possessed something of a harmless wild demeanor on-stage, his long, wavy yet shaggy hair (perhaps an acknowledgment by him to his partial Native American heritage) a sight, even sometimes performing in, of all things, a gorilla mask. Audiences relished his shtick, and he knew it and played to it. It is even suggested that it was early on that Walker acquired the moniker “Big Moose” as a result of his unruly hair. Rarely was Walker seen in-performance without a broad smile upon his face; he always seemed exuberant. His was always a loud energy sensation.
Walker was versatile, as has been referenced. Known primarily for his piano work, he presented a two-fisted powerful style with a hammering left hand that nimbly offered a rumbling low-end sound. But he was equally adept on the electronic organ, and exceptionally accomplished on the instrument.
As previously stated, his ability to proficiently play bass offered certain opportunities to come his way.
And, Walker was always ready to tour, making him a go-to asset on Chicago’s blues scene.
Below is a link to a YouTube presentation of Walker’s “Rambling Woman”. His musical enthusiasm is evident in this video. I urge you to check it out. It captures the lofty spirit of Johnny “Big Moose” Walker.