Bumble Bee Slim – Prolific Chicago Blues Recording Star Meriting Greater Awareness
Scouring my blues collection the other day I pulled out a Bumble Bee Slim compilation on the Document Records label, and though I have always enjoyed his vast catalogue of blues, I realized that I’ve never written about his background and blues contributions. The man prolifically recorded during his lifetime, certainly providing me over the years with many hours of blues listening enjoyment, so some overdue attention on Bumble Bee Slim’s life and times now seems appropriate.
By all researcher accounts, Admirl Amos Easton came into the world in May, 1905 in Brunswick, Georgia, a city that is the county seat of Glynn County, an area in the southern northeastern portion of the state. As a young man, Easton was influenced by the region’s Piedmont style of guitar, one that as we know is distinguished by a fingerpicking method in which a regular accented melody is presented via the picking of the forefinger that is supported by a consistent alternating bass rhythmic pattern deployed by the thumb. In most cases within the Piedmont style, the resulting presentation is most akin to ragtime or stride (jazz style ragtime) piano in sound. In general, ragtime-ish patterns define the Piedmont style.
As a teenager (1920?), it seems that Easton left home to join various itinerant tent shows and circuses, working and playing his music throughout the southern U.S. It is suggested that he made his way back to Georgia at some point and entered into marriage, but in 1928 he headed north via train to Indianapolis, Indiana.
Of course, Indianapolis bluesmen Scrapper Blackwell and Leroy Carr were arguably some of the most popular blues artists of this period, and Easton was duly inspired by their artistic stylings. He lifted numerous of Blackwell’s guitar embellishments into his playing, and he also invested himself into aping Carr’s economical vocal character. This relaxed flair, and sometimes even humorous vocal delivery, would serve Easton well over the course of his career.
But the traveling bug again hit Easton, and in 1931 he migrated northward to Chicago, Illinois. Of course, Chicago was a hot bed of blues activity, and upon arrival in the city, Easton made quick acquaintances with blues stars Memphis Minnie, Big Bill Broonzy, and Tampa Red. Due to these influential blues artists and others recognizing Easton’s talents, his recording career commenced with releases on the Paramount label under the name Bumble Bee Slim.
Into 1932, Slim would still be found recording for Paramount, but a session in that year for the Vocalion label produced what was one of Slim’s biggest hits, “B And O Blues,” a tune that undoubtedly inspired other railroad-themed blues songs. As an aside, the tune did go on to become a popular song in the folk music arena, as well.
Slim massively recorded during the 1930s for the Vocalion, Decca, and Bluebird labels, and due to his sizeable popularity, he was able to attract top-rate accompanists on his sides, including Tampa Red, Big Bill Broonzy, Washboard Sam, Peetie Wheatstraw, Memphis Minnie, Black Bob, Cripple Clarence Lofton, and Lonnie Johnson. During this fertile time of recording, Slim recorded roughly 150 songs.
However, in the late 1930s (1937?), Slim again made his way back southward to Georgia, despite being one of the most widely recording blues artists in Chicago. In yet another migration in Slim’s life, in the mid-1940s he transplanted to Los Angeles, California upon what some researchers indicate were his aspirations to break into the motion picture industry via his musical skills and as a comedian.
Slim did continue to record during this time in his life on the west coast. He recorded a couple of cuts for the Specialty label in 1951, along with two sides for the Fidelity label. There is also a duo of songs released during this period on the Marigold label under the artist names of King Bumble Bee Slim & His Pacific Coast Senders. Slim also had a collection of blues cuts released on a 1962 Pacific Jazz label album. However, this output did not sell, though his easygoing voice and guitar proficiencies were as healthy as ever. The thought was that his style of blues did not fit with the times; it was considered unfashionable.
Slim soldiered on and sustained club work in California, continuing to play his brand of blues until he passed away in 1968.
Yet again, this Blog’s friends at Document Records have available a veritable treasure trove of Bumble Bee Slim music. Below are a couple of links to Document’s offerings, along with one for their landing web site. Please be sure to check these great CDs out. If for any reason your browser does not support use of the links, simply type “Document Records” into your web search browser, and you will easily find Document Records and their astounding catalogue of blues.
Document Records – Vintage Blues and Jazz (document-records.com)