I was knee deep into my broad blues collection the other day trying to decide what I wanted to retrieve to listen to, and for some reason, the unique sound of the one-man blues band popped into my head.  There is something wholly fascinating to me about the necessary economy of scale that drove certain blues artists to develop their skill set to the point where they could sing, play guitar, blow harmonica, beat a drum and/or cymbal with their feet all at the same time and produce a musically viable product.  As is often said, “I can’t chew gum and walk.”  To be able to offer top-tier blues while juggling all these musical instruments at one time is awe-inspiring.

So, as I dived into my collection of albums, cassette tapes, and CDs, I sought the one-man band practitioners that I have always admired.  I pulled from my collection works by Sun Records artist Joe Hill Louis, Dr. Ross “The Harmonica Boss”, and west coast bluesman Jesse Fuller.  To this day, the one-man band tradition continues in the blues.  Gerry Hundt, one of this writer’s most admired young bluesmen, carries on the tradition with both great dexterity and skill, with respect for the genre that translates to awe-inspiring musical quality.   

Once I thought I was done selecting my blues one-man band listening assortment, I thought of an artist whose one-man band skillfulness I have always enjoyed, Driftin’ Slim.  That remembrance and subsequently listening to his recordings prompted me to want to write a bit about him, as I reasonably have assumed that many blues fans have either never heard of Slim, or have only a peripheral awareness of him.

Elmon Mickle aka Driftin’ Slim came into the world in late February, 1919 in Keo, Arkansas, a locale in the southwest portion of Lonoke County, which is situated in the lower far western third of the state.  By all accounts, historical and current-day, Keo is a very small town, and according to the 2000 census had a population of only 235 people.  Again, as is often the case with many blues artists, very little is known of Slim’s familial structure and early years.  However, what is important to note in the development of Slim’s blues mindset and talents is that an early and fortuitous encounter with blues mandolin player Yank Rachel and John Lee Williamson aka Sonny Boy Williamson I that led to Slim requesting of Williamson I to educate him on the basics of the harmonica.  This request was granted.

Again, to fast forward due to an obscene lack of detail on Slim’s development as a bluesman, research indicates that he was found to be performing frequently in and around Little Rock, Arkansas in the mid-1940s period with famed blues harmonica player and vocalist Rice Miller aka Sonny Boy Williamson II and noted blues drummer Peck Curtis, plying their collective trades in the usual jukes and other venues that supported the blues.  By this time, Slim had learned the guitar, so his versatility was to his benefit.  It was also during this time frame that Slim adopted his stage name of “Driftin’ Slim”.  The three also performed on radio shows on both KDRK and KGHI, garnering broader exposure for both the individual efforts of the bluesmen and the group.

In 1951, Slim decided it was time for him to lead his own band, and he formed his first group with local  singer and guitarist Baby Face Turner and guitarist Junior Brooks.  The band played jobs in and around Little Rock, Arkansas, and on radio shows, again, providing awareness for their skill sets.  One short year later in 1952, Slim recorded his initial songs for Modern Records, the Los Angeles, California-based label, recording them in North Little Rock, Arkansas.  These early sides included Sonny Blair playing harmonica, and Ike Turner playing piano.

One thing that is important to note as we consider the recording career of Slim is that he recorded under three names; Elmon Mickle, Driftin’ Slim, and Model “T” Slim.  He recorded for, and had his work released upon, various labels over the course of his career (and posthumously), including Modern Records, RPM, Wonder Records, Solid Records, Magnum Records, Audio Blues, E.M. Records, E.P. Records, JGEMS, Kent, Styletone Records, Kim Records, Blue Horizon Records, Elko, Flyright, and Milestone.  Some of Slim’s earliest recorded work were released under the name of the guitarist in his band at that point, the aforementioned Junior Brooks.

In 1957, Slim made a major life decision and moved to Los Angeles, California where he completely upended his performing style by adopting the one-man blues band format, accompanying his singing by way of his guitar playing, harmonica work, and using a foot drum.  From 1959-1969, Slim profusely recorded, as witnessed by the previous mention of the variety of labels he cut singles for during that period.  It should be noted, however, that not everything Slim recorded was in the one-man band format, as a 1959 outing for Elko included the great blues guitarist Phillip walker. 

Unexpected as it was, Slim was rediscovered during the folk boom of the mid-1960s, and this in no small way contributed to his ability to frequently record.  Operating as a unique one-man blues band brought Slim a certain singularity of notoriety; it allowed him to stand out on the west coast blues scene.

In 1967, Slim recorded what would be his only full-length album, one entitled Somebody Hoo Doo’d The Hoo Doo Man, on the Milestone label as by Driftin’ Slim And His Blues Band, an outing produced by Pete Welding.  Of the 15 album cuts, five are with a band including Guy Jones on Drums, Ike Parker on bass, and Jack Wall on guitar, but the remaining ten solely feature Slim in a one-man blues band framework, singing, playing guitar, harmonica, and drums. 

The album’s solo recordings are the true gems, chock-full of Slim’s best powers.  The songs range from rollicking one-man band pieces all the way to solitary harmonica workouts.  The album also includes highly autobiographical remembrances dripping with both charisma and modesty. 

However, by the early 1970s, Slim was experiencing poor health, and he decided to retire from his musical career.  In September, 1977, Slim succumbed to cancer and passed away in Los Angeles.

The sad aspect of Slim’s demise was that an original subdivision of the blues went with him; the one-man band structure.  That is why it is so heartening to see and hear modern day one-man band practitioners such as Gerry Hundt carry forward the one-man blues band format.

Driftin’ Slim was an astounding, obscure bluesman worthy of all of our collective energies to appreciate.  His work can still be found on various compilations, and I urge you to seek them out.  You will not be disappointed.