This past Sunday evening when I saw Rockin’ Johnny Burgin play a superb show at the famed blues venue, The Midway Tavern & Dancehall, in Mishawaka, Indiana, he pulled from his vast repertoire a song that I had not ever heard anyone cover, “Yes She’s Gone,” the 1955 classic by bluesman Dusty Brown.  While Burgin absolutely nailed the song, it got me to thinking about Brown, and I decided it was time to devote some space to cover his blues career.  One thing I want to get out of the way from the get-go is that I can’t nail down when Clement Triplett (Brown’s birth name) took on the professional name of Dusty Brown.  I suppose it’s one of those great blues mysteries, among so many others.

As just referenced, he was born Clement W. Triplett in early March, 1929 in Tralake, Mississippi, a city in the state’s Washington County, a locale in the west central portion of Mississippi.  He lived on a farm, and his brothers were often charged with caring for him.  It was this prolonged interaction with his older siblings that began his musical career, as they had harmonicas of their own, and they provided Brown the opportunity to self-teach himself the instrument.  This self-exploration with the harmonica is believed to have begun about the time Brown was 13 years of age.  

One thing Brown knew early on was that the life of his family, being sharecroppers, was not at all for him.  As he continued to attempt to hone his harmonica skills and absorb what he could about music in his teen years in the blues fertile Delta region, Brown took on a casual role as chauffer to Mississippi blues guitarist and singer Eddie Cusic.  This provided Brown much needed exposure to all aspects of the blues world.

At the age of 17, Brown made a major life decision and decided to move north to Chicago to live with his mother who now called the city home.  Once there, Brown got a job as a cab driver.  His hope was that by being in the blues hub of the country he could establish himself musically and possibly break through as a recording artist. 

One thing that being in such a big city like Chicago offered was the opportunity to see many of the major touring entertainers of the day.  Early in his time in the city, Brown was able to enjoy the music and shows of vaudeville great Cab Calloway, blues and hokum titan Tampa Red, and the ground-breaking blues harmonica giant Sonny Boy Williamson I, among many other top-tier talents.  The blues was everywhere during this period in Chicago, and Brown reveled in getting up close with the blues harmonica stars of the day, including the aforementioned Williamson I and the pioneering Little Walter.  These glimpse of Chicago blues greatness only intensified Brown’s desire to one day be able to focus solely on a profession as a blues artist.

Lil Son Joe, the musical associate of his wife, the very appreciated blueswomen Memphis Minnie, also had a group of his own in Chicago, and when offered the chance to assume the leading of this band, Brown jumped at the opportunity.  It was a step up in his eyes.  As an aside, this band included Tyrone Davis as a singer and guitar player.  Davis went on to have a sterling career as a celebrated blues and soul singer with many hits, including the astounding “Can I Change My Mind” and “Turn Back The Hands Of Time.”

The band continued to play the club circuit all over Chicago, and by 1953 was holding down a regular slot as the featured act at the city’s Kasbah Lounge.  By this point, the notable blues harmonica great Lester Davenport was playing drums for the band.  It was due to this featured slot that Brown was getting noticed, and he began to be called to the stage to sit-in with various of Chicago’s blues luminaries including the revered Muddy Waters and the abovementioned Little Walter; his visibility was rising.  This is why Brown came to Chicago; to get recognized and to record.

The band continued its performing schedule, shifting its residency to another club, and bringing into the fold Hip Linkchain, the fine Chicago guitarist and vocalist.  Brown’s reputation continued to afford him chances to meet and play with additional Chicago blues artists including bandleader, guitarist, singer, and harmonica giant Howlin’ Wolf, supreme guitarist and vocalist Buddy Guy, and vocalist, guitar player, and singer Bobby Rush.  There were various others in the city who saw the brilliance of Brown such as the acclaimed Eddie Taylor who also had Brown play with him. 

All the club work and newfound notoriety was one thing, but Brown wanted to take his career to a whole other level by getting a recording released.  Toward that goal, Brown produced a recording and directed it to the big blues powerhouse labels of the day, Chess Records and Vee-Jay Records.  However, neither label responded in a timely manner or favorably.  However, Al Benson, the noted blues DJ, promoter, and record label owner saw promise in Brown’s sound, as while it was not at all like that of the day’s blues harmonica powerhouse Little Walter, it had a uniqueness that Benson felt could be popular to the blues record-buying public. 

So, in 1955, Benson had Brown record two selections that saw the light of day that year, “He Don’t Love You” and “Yes She’s Gone,” for his Parrot Records label on a session that included Lil Son Joe on guitar, Henry Gray providing piano support, and Jimmy Sturdivant keeping time on drums.  The two selections came out in November, 1955.  Two other cuts, “Rusty Dusty” and Hurry Home,” were also laid-down, but not immediately released (though they have seen release on various compilations since.)

Unfortunately, as far as Brown’ further recording opportunities with Benson’s Parrot Records label were concerned, the operation ceased operations in 1956.  Momentum suppressed.

Brown continued to gig around Chicago and make inroads into the blues scene, and finally two years later in 1958 was able to record again, this time for the Bandera Records label.  The label provided Brown the chance to record a total of four selections including “Well You Know,” “Will You Forgive Me Baby,” “Do You Love Me,” and “Please Don’t Go.”  On these outings, Brown was surrounded by the aforementioned Gray on piano, guitarist Linkchain, drummer Bob Richey, and Linkchain’s brother Jug on bass.  “Well You Know” and “Please Don’t Go” were released in 1959.  And, yet again, the other cuts remained unreleased again only to be released years later on certain compilations.

All during this period, Brown was not able to achieve his goal of solely being a blues artist and he continued to work a day job.  But, on the strength of his recorded output, he remained in-demand on Chicago’s blues club circuit.  But as the 1960s wore on, opportunities for Brown to play the clubs somewhat dwindled, and he played intermittingly and seldom recorded.

But as fate would have it, the 1970s were kinder to Brown.  His early recordings were discovered by the blues-loving British (a fanatical blues fan base), fueling a career resurgence of sorts.  This provided him the chances to play numerous blues festivals abroad.  In 1972, Brown seized the opportunity to record with blues guitarist and vocalist Luther “Snake Boy” Johnson on an album entitled Born In Georgia.  However, because Brown took so much time away from his day job to tour overseas and to record with Johnson, he lost his employment. 

But like is said, often when one door closes another opens, and in 1975 Brown launched a club in Chicago Heights, Illinois named Dusty’s Place.  Brown also found new day work at a Joliet, Illinois manufacturing operation, a position he held until he retired from day work in 1991.   Having Dusty’s Lounge provided additional income for Brown, and he was happy to be able to present many Chicago blues stars there.  However, the club burned down in 1984, ending that chapter in Brown’s life.

In 1990, Brown again found the opportunity to record, but he was dissatisfied with the production.  It was soon after this that Brown made the decision to return to the South, locating himself in Montgomery, Alabama where he resided for roughly 15 years, and by all accounts lived a very relaxing life, rarely getting out to play blues.

But once again, in 2005 Brown returned northward to Chicago, picking up on his blues playing vocation.  Also in 2005, Brown once again found himself recording, this time with a group of fellow blues harmonica players laying down the tracks for a collection titled Chicago Blues Harmonica Project – Diamonds In The Rough for the Severn Records imprint.  On this collection with Brown were Oscar Coleman, Larry Cox, Little Addison, Harmonica Kahn #1, and Russ Green.  The 12 selections were a joyous romp of Chicago blues infused with the unique harmonica talents of all involved.  Brown’s contribution to the undertaking was two songs.

Brown continued to live another 11 years until he passed in early July, 2016.

Brown was yet another of those many highly-talented Chicago blues artists whose contributions to the city’s blues history helped forge its identity as the Blues Capital Of The World.  If you’re not familiar with the work of Dusty Brown, seek out his music on one of the many compilations that include his sterling blues yield.  You will be amazed at his broad talent, I’m confident.