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Welcome to the Roots of Jazz and Blues with King Henry here on WAIO LP Rochester, broadcasting at 104.5 FM and streaming anytime at wayofm.org. That was Muddy Waters captured in a field recording by Alan Lomax in 1941 when Waters was still working and living in Mississippi. Today we'll be exploring urban blues, what came after delta blues and country blues. And by the end of this show we'll hear how Muddy Waters led the transition from delta blues to Chicago blues. Our show today is split into two parts, boogie woogie and Chicago blues. Boogie woogie is a style of piano with roots in the late 1800s. It became especially popular in the 1920s. It's identified by a left-hand eight-note bass motif, usually a 12-bar blues. The name boogie woogie derives from the African words "booga" and "boogie," meaning to beat a drum or to dance, respectively. It was developed in Texas, Chicago, and New York City. Pine Top Smith was born in Alabama in 1904. He came to fame in Chicago. His biggest hit, Pine Top's "Boogie Woogie," was the first to use the phrase "boogie woogie" in a record title. He said he invented the song at a house rent party, that is, a party with music where the tenants pass the hat for the partygoers to help pay the rent. A year after recording this tune, he died of a gunshot wound at a Chicago dance hall. Let's listen to Pine Top's "Boogie Woogie," 1928, and the flipside jump steady blues.
[music] All of y'all will know, that this is Pine Top's "Boogie Woogie." I want everybody to dance, just like I tell you. And when I say, "Hold yourself," I want all of you to get ready to stop. And when I say, "Stop," don't move. And when I say, "Get it," I want all of y'all to do a "Boogie Woogie." Hold it now. Stop! "Boogie Woogie." That's what I'm talking about. [music] Now when I say, "Hold yourself," this time, I want all of you to get ready to stop. When I say, "Stop," don't move or pay. When I say, "Get it," everybody mess around. Hold yourself now. Stop! Mess around. That's what I'm talking about. Say, little girl, you stand up with the red dress on. Now grab me at this pier on the woman's to Pine Top is. That's right, face the audience. Now when I tell you to hold yourself, you get ready to stop. You hear? And when I say, "Stop," don't you move or pay. And when I say, "Get it," I want you to shake that thing. [music] Hold yourself now. Stop! Shake that thing. That's what I'm talking about. [music] Now I'm going to pick the pier.
[music] Well, hello there, Pine Top. What are you doing sitting around here looking so sad with your head hung down? I just think about all these piano players going around here making big money playing on these records. Why don't you play on some of these records? Boy, that's a good idea. Please start rehearsing right now. [music] Oh boy, that ought to get it.
That was Pine Top's "Boogie Woogie" and "Jump Steady Blues" both by Pine Top Smith from 1928. While Pine Top Smith was the first to use "Boogie Woogie" in a song title, a case can be made for Cow Cow Davenport as the first "Boogie Woogie" piano player. In fact, Cow Cow encouraged Pine Top to move to Chicago and helped him get a recording contract. In the 1920s, he played in traveling carnival bands before settling down in Chicago for a long and productive career. Despite suffering a paralyzing stroke, in 1938, he recovered and continued playing and recording until 1945. Let's listen to both sides of a record in my collection, "Cow Cow Blues" and "State Street Jive."
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That was Cow Cow Davenport recorded in 1928, Cow Cow Blues, followed by State Street Jive. The singer on State Street Jive was Ivy Smith. Our last boogie woogie piano player on today's show is Roosevelt Sykes. He was born in Arkansas and started playing the church organ at age 10. In the late 19th century, he was on the road playing barrel house blues before all male audiences at sawmills, turpentine mills, and levee camps along the Mississippi River. He learned a repertoire of raw sexually explicit material. He was playing at a barrel house in St. Louis when he was spotted by a talent scout for OK Records, which brought him to New York City. His first release, 44 Blues, became a hit and a blues standard. Let's listen.
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Roosevelt Sykes biggest hit, "The Honey Dripper" was recorded in 1945 for the first time. It became his nickname and the name of his band. Let's listen.
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Now turn from "Boogie Woogie" to "Chicago Blues." "Chicago Blues" are based on Delta Blues but with an urban twist. They came about as a result of the Great Northern Migration when millions of blacks moved from the South to the North for jobs and industry. Big Bill Brooney was a key figure in the evolution of Chicago Blues. He started out playing country music in the 1920s, then helped develop the more urban style of Chicago Blues in the 30s and 40s. Like "Pinetop Smith," before hitting it big, he played at rent parties and worked odd jobs. His first recordings, including one named "Renthouse Stomp," sold poorly and were critical failures, but he began to find his style in the late 1930s. One of his best recordings was "Conversation with the Blues" from 1941.
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In 1945, Brooney released a recording that was highly influential on future generations of blues players. "Where the Blues Began."
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Our next musician, Tampa Red, created a slide guitar technique that was adopted by many other blues players. He grew up in Florida and moved to Chicago in 1925, where he had his big break when joining Ma Rainey's band. In 1928, he began playing a national steel-bodied guitar. Along with his slide playing, this almost sounded like an electric guitar. He recorded more than 300 records, so it's hard to pick his best or most important, so I'll simply pick two from my collection. First, "She Wants to Sell My Monkey" from 1942, and then "Grieving Blues" from 1947.
Say, Tampa. Yeah, man. Why that monkey you had up there in the cage? Well, man, my gal want to sell it. I'll tell you all about it, though. Listen. Me and my baby keep 'em falling out. But let me tell you, Maceo, here's what it's all about. She wants to sell my monkey. She wants to sell my monkey. She wants to sell my monkey. But that will never do. You better get hip to yourself, old man. Now, of course, he used to be hers, but she gave him to me. Now why she want to sell him? I just can't see she want to sell my monkey. She want to sell my monkey. She want to sell my monkey. But that will never do. She want to know why we don't get along. But she don't even realize that she's doing me wrong. She want to sell my monkey. She want to sell my monkey. She want to sell my monkey. But that will never do. Now listen, Top, I want to give you advice. Yeah, man. Now listen here, Top. Now if I was you, I'd make a big stealing berry and bring it all home to you. And then she won't have to sell her monkey. Oh, I see. No, boy, I wouldn't have to let her sell it. She want to work like that? Now if it was me, that would never do. Oh, I'd be the head. I have to hang around home every day and night. I'm even scared, you know, to trust that little gal out of my sight. She may sell my monkey. She may sell my monkey. Ah, you can't take it, huh? You can't take it. She may sell my monkey. But that would never do. [instrumental] May she be as evil as any man can be until I make her realize he still belong to me. She want to sell my monkey. She want to sell my monkey. She want to sell my monkey. But that will never do. Hold it, baby.
[instrumental] Now I ain't got nobody. I'm left here all alone. A woman I've been loving have packs of things and gone. That's why I'm grieving. Yes, I'm grieving. That woman got me grieving, worried as a man can be. She used to call me daddy and I called her mama dear until she started to drinkin' that old no-good wine and beer. That's why I'm grieving. Yes, I'm grieving. That woman got me grieving, worried as a man can be. [instrumental] I used to be so happy, but now I stay so blue. If she don't come back, I wonder what am I to do. That's why I'm grieving. Yes, I'm grieving. That woman got me grieving, worried as a man can be. Hey, Mr. Davis. Everybody get the blues this morning. [instrumental] Yes, the sad part about it. Listen. She used to take my money and throw it against the wall and give me all the stick and she would take whatever fall. That's why I'm grieving. Wouldn't you grieve? Yes, I'm grieving. That woman got me grieving, worried as a man can be.
There's a lot of mystery surrounding our next performer, Washboard Sam. He was either born in 1910 or 1914, either in Arkansas or Tennessee, and he might have been the half-brother of Big Bill Brooney. We do know he started performing in Chicago in 1932 and was soon a very popular artist, recording over 160 sides. He had a simple, straightforward style and a powerful voice. Our first track today, he recorded under the name Ham Gravy. 1935, Washboard Sam as Ham Gravy, Mama Don't Allow.
[instrumental] Oh, Mama don't allow no wigglin' wobblin' here. Oh, Mama don't allow no wigglin' wobblin' here. Oh, we don't care what your mama don't allow. We gon' wiggle-wob anyhow. Mama don't allow no wigglin' wobblin' here. Oh, Mama don't allow no rough stuff in here. Oh, Mama don't allow no rough stuff in here. Oh, we don't care what your mama don't allow. We gon' do rough stuff anyhow. Mama don't allow no rough stuff in here. Oh, Mama don't allow no wigglin' wobblin' here. Oh, Mama don't allow no wigglin' wobblin' here. Oh, we don't care what your mama don't allow. We gon' boogie-woogie anyhow. Mama don't allow no wigglin' wobblin' here. Come on, Bill. We'll go down to 509. I know why we can boogie-woogie. Mama don't lie here. Oh, Mama don't lie no bebop and a bop-bop in the booth. Oh, Mama don't lie no bebop and a bop-bop in the booth. Oh, we don't care what your mama don't allow. We gon' bebop anyhow. Mama don't lie no bebop and a bop-bop in here. Oh, Mama don't lie no boy girls in here. Oh, Mama don't lie no boy girls in here. We don't care what your mama don't allow. Boy girls comin' in here anyhow. Mama don't lie no boy girls in here. Oh, Mama don't lie no whiskey drinkin' here. Oh, Mama don't lie no whiskey drinkin' here. Oh, we don't care what your mama don't allow. We gon' drink our whiskey anyhow. Mama don't lie no whiskey drinkin' here. Come on, Louie, you got a bottle in your pocket. We'll go outside and drink our liquor. Mama don't lie here. Oh, Mama don't lie no boys playin' here. Oh, Mama don't lie no boys playin' here. Oh, we don't care what your mama don't allow. We gon' play boys anyhow. Mama don't lie no boys playin' here.
That was Washboard Sam, Mama Don't Allow from 1935. Every artist who records Mama Don't Allow usually inserts their own list of things that Mama Don't Allow. Here we heard the Mama Don't Allow Boogie Woogie or Bebop. Our next song by Washboard Sam is from 1942, Don't Have to Sing the Blues.
I was born in the alley Raised in a lion's den I was born in the alley Raised in a lion's den I spent all my spare time Takin' women from the men Now I left school early 'Cause I couldn't make the green Now I left school early 'Cause I couldn't make the green I didn't work for nobody But every week my rent was paid I ain't no tailor I ain't the one that's broke Now I ain't no tailor I ain't the one that's broke But when it comes to lovin' They said I am outta good Hey one time I don't have to worry Women by my side I don't have to worry Women by my clothing boots So you can see why I don't have to sing the blues Vida, vida! Yeah, yeah!
We have featured many singers, guitar players, drummers and piano players on this show. But our next artist, Little Walter, will be the first harmonica player. He was born and raised in Louisiana. He left school at age 12 to travel and busk on street corners. He arrived in Chicago in 1946 and started making recordings only a year later. His musical innovations revolutionized blues harmonica. Let's listen to Juke from 1951.
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Little Walter played for several years in Muddy Waters Band. His career was cut short by drunken bar fights and he died at age 38 from injuries from such a fight. Let's listen to a second piece by Little Walter, My Babe from 1955.
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Otis Spann was the preeminent post-war Chicago blues piano player. He began playing at age 7 and performing professionally at age 14. He moved to Chicago in 1946 and he often played with our next artist Muddy Waters. Let's listen to a couple of tunes he led without Waters. First from 1954, It Must Have Been the Devil and then from 1960, The Hard Way.
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I considered skipping today's last performer simply because he's too well known. You don't need to seek out an obscure history of jazz and blues show to have heard of Muddy Waters. But in the end, I decided I had to include him to tell the story of Chicago blues. Of all the musicians on this show, his own trajectory most clearly shows the path from the Delta blues to Chicago blues and later on as we'll hear in the next blues episode, the electric blues. He grew up on a former plantation in Mississippi. By age 17, he was playing harmonica and guitar in the style of Robert Johnson who we heard in the first blues episode. In his 20s, he toured the Mississippi Delta where he met folklorist Alan Lomax who captured him in the field recording in 1941 that opened this episode. In 1943, Muddy Waters moved to Chicago and began opening for Big Bill Brunsee. He became a recording success in 1950 with his signature song "Rollin' Stone".
[Music] I wish I was a catfish swimming in the deep blue sea. I would have all you good-looking women fishin', fishin' after me, fishin' after me. Shawna, Shawna. I went to my baby's house and I sat down on her step. She said, "Come on in now, Muddy, you know my husband just now left. Shawna from just now left." Oh, Lordy. Oh, Lordy. Oh, Wellie. Well, I ain't none of my business. Baby, you know I know it ain't right. Stay out all day long with your cute man and play a trick on your hungry night. Shawna, Shawna. [Music] Well, I feel, yes, I feel. Baby, like a lola, hmm, time ain't long. I'm gonna cut the first thing smoking back down that rollin' groin. Back down the rollin' groin. Shawna up the rollin' groin. Oh, Wellie. Oh, Wellie.
That was Muddy Waters - Rollin' Stone from 1950. Rollin' Stone was, of course, adopted as the name of a certain British rock and blues band, the Rolling Stones. In 1953, Muddy Waters put together one of the greatest blues band of all time. It included our previous two artists, Little Walter and Otis Spann. One of their biggest hits was "Hoochie Coochie Man." The song was recorded again by the Rolling Stones together with Muddy Waters in 1981. But let's listen to the 1954 original as we close out this episode of Roots of Jazz and Blues with King Henry here on W-A-Y-O-L-P Rochester.
One, two. The gypsy woman told my mother before I was born, you got a boy child comin', gonna be a son of a gun. Gonna make pretty women jump and shout. Then the world wanna know what that's all about. Everybody knows, yeah. Everybody knows, yeah. Well, you know, the Hoochie Coochie Man. Everybody knows, yeah. I got a black cat bone. I got a mojo too. I got the Johnny kangaroo. I'm gonna mess with you. I'm gonna make you girls leave me by my hand. Then the world will know that I'm the Hoochie Coochie Man. But you know I'm here. Everybody knows, yeah. Well, I'm the Hoochie Coochie Man. Everybody knows, yeah. [instrumental] [instrumental] On the seven hour road. On the seventh day. On the seventh month. The seventh doctor said he was born for good luck. And that you see. I got seven hundred dollars. Don't you mess with me. Well, you know I'm here. Everybody knows, yeah. [instrumental] Yeah!