John Fahey - RIP - A Eulogy

Written by Administrator Monday, 29 June 2009 22:02

As delivered by Terry Robb at John Fahey's Funeral in February, 2001.

    The great John Fahey. A fearless man who often lived in fear. A man of great strength who could succumb to weakness. A man of great achievements and importance who would often reevaluate them as failures or unimportant. He touch so many people, friends and strangers, and would put off those very same.

    Duality? Maybe. Up and down, east and west, joy and despair. John Fahey embraced all, for as all  great men, he was on a search for the truth or maybe a search for what it's really all about.

    He could easily laugh or cry at the same time about the same things. A big man who was not ashamed to be a child. The child wanted to be a big man, but at times, there were obstacles to go through; this he understood. We would only watch with amazement at his great discoveries and pain. Fahey changed peoples' perspective, with them knowing or not knowing. I know he changed my life over and over again, always for the better. All of these things came through in his music, which he will be best remembered. This man truly wore his heart and soul on his sleeve and astonishingly, like few others, through his music.

    So many things can be said about his music, but that would take a long and loving time. This is for later; for the historians. I only hope they find it in themselves to search as he did for the reasons. The music reflected joy, happiness, sadness, darkness, horror, love, and humor.  But, it made us all feel better, an intensity followed by a calmness upon hearing it and a wanting to return to hear more; experience it once again. For his search was our search, his beauty and ugliness was ours; only he had the nerve and the bravery to pursue it for us. You always felt through his music or when you saw him perform or when you were with him, that you were in the presence of greatness .... genius. I've met a few so-called geniuses, but without question, he WAS genius. Even at his lowest depth you knew you were near greatness. He wasn't afraid to show his weakness or sadness; or perhaps most likely, he couldn't help it for reasons already mentioned. He was academic and streetwise at the same time. He saw the beauty in Stravinsky and Charlie Patton. He enjoyed and appreciated the great thinker's mind and the common man, and could converse joyfully with both, without prejudice.

    I first heard John Fahey's music 33 years ago; it changed my life; when I first saw him perform, it changed my life; when we became friends, it changed my life. I loved the fact that he was a grown adult and a child at the same time. When I first heard his music, it struck a deep chord inside. It sounded familiar and new at the same time. It had the past, present and future all together at once like all "great art" has.

    Why Fahey befriended me I'll never know. I can only guess that he trusted me and, although I idolized him as a musician, I always treated him like a friend. That was important to me; he became a friend. We liked to make each other laugh. There was an appreciation of the absurd. He was gracious and generous with me beyond belief, both professionally and as a friend. The trust was that neither of us could fool the other. I would push him, say, in the studio, and sometimes he would not want to be bothered, but he would come through because he trusted me and that's what I was there for, producer and friend. The same with him to me.

    I once played him two new songs I'd written to get his opinion. He really liked one, but said the other was just awful, like some bad song he might have written, he said. He excitedly said he liked the one, but about the other, continued over dinner throughout the night how he couldn't believe I'd written such a terrible song. I knew he was right and deep down I knew he would say this all along. Our friendship was the most comfortable in that even if we hadn't seen each other for a couple of years, we would pick up where we left off, as if we had just had breakfast together. This I always treasured and ever took for granted.

    I don't think there has been a day I haven't thought about John and his music since I first heard him 33 years ago. I know it's a sad day that in a physical sense, he is no longer here, but he enriched our lives. And, when someone enriches your life that person will always be here with you.

    John didn't like adulation, he simply wanted love and care in its purist form for what he himself was; just like all honest people. He was always honest with himself even in denial. Love is supposed to be an, easy thing we are told, but in this day and age, or any day and age, it can sometimes be hard to muster because it embraces all things good and bad.

    I know that I loved John Fahey and I always will.

- Terry Robb   

Related Links:

• John Fahey's Web Site

• John Fahey at the All Music Guide

• Find John Fahey recordings at CD-DB

• Dogpile Mega-search for John Fahey

 

Jesse "Babyface" Thomas

Written by Greg Johnson Monday, 29 June 2009 22:02

By: Greg Johnson

Article Reprint from the May 2001 BluesNotes

    With the number of musicians who are constantly trying to vie for the attention of the public, it's an amazing feat to receive the notice of the masses. But, for an artist who's career extended more than six decades, in different locales across the country, it's even more spectacular to receive acknowledgement not only once, but three times. Especially when considering that each period of recognition occurred under varying styles of Blues.

    Jesse Thomas' date of birth is one of speculation. Most historians place it somewhere between 1908 and 1911, and most often it is suggested to be February 3, 1910. He was one of nine children born into the family in the small Community of Logansport, Louisiana, on the Texas border

    His first musical influence came from his father, who played the fiddle.  Jesse had an interest in the piano, but his brother, Willard took up the guitar. Jesse's family moved to Shreveport, where he began to explore the small neighborhood known as Blue Goose, with its cafes, and a handful of barrelhouses offering lively Blues musicians such lap-steel slide guitarist The Black Ace (Babe Turner) and Oscar "Buddy" Woods (who would later record with Louisiana's famed singing governor, Jimmie Davis).

    Brother Willard had moved to Dallas by the late 1920s, where he developed a noteworthy career as a Blues musician in Deep Ellum, performing under the name "Ramblin'" Thomas.  During a visit to Dallas in 1927, Willard took Jesse to see a performance by Lonnie Johnson. It was the impression of Lonnie's extraordinary playing that convinced young Jesse to turn away from the piano and to focus his concentration on the guitar. Another artist who also left an effect on Jesse in Dallas was Blind Lemon Jefferson, not to mention the blind musician's former guide, Aaron "T-Bone Walker.

    Jesse Thomas soon made the move to Dallas himself, and for the next year, poured himself into studying the guitar. He learned quickly and within the year was working on the streets of Deep Ellum alongside Texas Alexander. He was also developing his own sound by transferring the piano lines he studied earlier into guitar notes. By the age of 18 he was already being noticed. He was approached by talent scout R. T. Ashford, who sent him on a trip to Chicago to audition for Paramount Records. But, Paramount turned him down. not seeing enough in the young guitarist at the time.

    In 1929, Jesse Thomas was given another chance when famed producer, Ralph Peer heard him and invited him to record for Victor Records.  On August 4, 1929, he laid down four sides for Peer under the name "Babyface" Thomas, recieving $25 per side.  Among the numbers were "Down In Texas Blues" and his signature song, "Blue Goose Blues". His reputation began to grow in Dallas and he was invited back to Victor that October, where he recorded another four tracks behind Texas Blues vocalist, Bessie Tucker. He would also record on a handful of sides under his brother's name in 1972. Thomas was also reported to have recorded in Atlanta with Troy Ferguson on his popular song, "Good Night."  This was repeatedly denied by Thomas himself.

    Deciding to expand his musical knowledge, Thomas enrolled in a music school in Fort Worth. where he gained formal training. Despite the success he was enjoying in Dallas and Fort Worth, Jesse soon moved to Oklahoma City, where he remained for most of The Depression years. It was there that he head the sound of big band Jazz music, which also intrigued him. He began composing using Jazz saxophone lines into his Blues guitar playing as he had earlier with the piano. It created an interesting new sound that preceded fusion by 30 years.

    In 1937, Jesse Thomas moved again, this time to Los Angeles. Here he rediscovered one of his earlier influences, T-Bone Walker, and the mixture that he was producing using Jazz band backing. Thomas' initial thought when he moved to the West Coast was to work in movie studios, but he found himself once again returning to working in clubs. Another artist that proved to impact Thomas in Los Angeles was singer, Nat "King" Cole. He began to write a number of successful songs that incorporated the dance feel of big hand jazz along with the blossoming new sound of West Coast Jump Blues. Often accompanied by pianist Lloyd Glenn, songs such as "Zetetter Blues", "Another Fool Like Me" and "Double Do Love You", on labels like Swingtime, Modern, Specialty and Echo were harbingers of the style that Chuck Berry took to the top of the national charts just a few short years later.

    Jesse Thomas returned to Shreveport in 1956, going into semi-retirement.  He continued to perform from time to time in clubs throughout Louisiana. A devout Christian, he was a deacon in has Baptist church and would never perform on a Sunday.

    Eventually, music called Jesse back. During the mid-1970s, he began performing as the elder Bluesman, often as a solo artist or with small accompaniment.  He ran his own club for a short time and created his own record label called Red River releasing "Down Behind Rise" in 1979 and "Blues Moved In" in 1993. He became a popular attraction at festivals across the country, making regular appearances at the New Orleans & Heritage Festival, the Chicago Blues Festival, and several others throughout the South.   He also appeared on National Public Radio's "Blues Before Sunrise" syndicated program. In 1993, a compilation of recordings he made while on the West Coast was released under the title "Jesse Thomas 1948-58" (Document)  He was also featured prominently, as was his brother, on the "Dallas Before 1950" on the regional Collectables label. Jesse Thomas' final recording was released in 1995, shortly before his death, for Black Top titled "Lookin' For That Woman". It included updated versions of earlier singles like "Zetetter Blues" and "Blue Goose Blues".

    Jesse Thomas suffered a fatal heart attack on August 15, 1995, in his hometown of Shreveport, Louisiana, ending a career that spanned seven decades. He was buried in that city's Carver Cemetery.

Related Links:

• Jesse Thomas at the All Music Guide

• Find Jesse Thomas recordings at CD-DB

• Dogpile Mega-search for Jesse Thomas

Peetie Wheatstraw

Written by Greg Johnson Monday, 29 June 2009 22:02

By: Greg Johnson

Article Reprint from the June 2001 BluesNotes

    In the early years of the Blues, it was a common practice for many artists to resort to gimmicks to help them draw crowds from the poor field hands or factory workers looking for a good time to spend their hard-earned wages during the weekend. Some used showmanship as in the case of Charley Patton who astonished his listeners with stunts such as playing his instrument between his legs or behind his head. Many others utilized tales of supernatural qualities to gain attention to themselves. This is perhaps best acknowledged by the crossroads myth employed by both Tommy Johnson and Robert Johnson. Both were said to have met the Devil at such a location at midnight, handing him their guitars and allowing him to tune it to give them unheard of skills in exchange for their souls. Neither artist denied this tale. And, why should they when it helped draw interest in their music and brought money to their pockets.

    Peetie Wheatstraw also emphasized a relationship with the Prince of Darkness as a means to attract an audience. An enormously popular musician during the 1930s, he often publicized himself as the "The Devil's Son-In-Law" or the "High Sheriff of Hell."  Eventually, like Robert Johnson before him, if he had indeed sold his soul, his time came due, leaving this world at a much too early age and at the height of his career.

    Wheatstraw began life on December 21, 1902. Born William Bunch in Ripley, Tennessee, his family relocated to Cotton Plant, Arkansas soon after his birth. Little if anything is known of his early life, other than he took up playing both the piano and guitar at a young age.

    In 1927, William Bunch decided to leave Cotton Plant and began living the life of an itinerant musician traveling throughout the Deep South. Like many African Americans of this time period, the great migration eventually drew his attention to the cities of the North. Places such as Chicago, Indianapolis and Detroit were favored destinations, due to the wealth of employment in the factories located in these cities. St. Louis, Missouri was another city that drew its share of uprooted individuals who sought a better life than the toil of sharecropping. And, it was here that Bunch landed in 1929 and remained for the rest of his life.

    His travels during the previous two years had paid off in terms that he was now a capable musician and was able to find work easily in the clubs on both sides of the Mississippi River, in St. Louis and Fast St. Louis, Illinois. He decided to start his tenure here afresh and renamed himself Peetie Wheatstraw upon his arrival; a moniker that he took from an old African-American folktale. And, he also began to employ the supernatural myths for his background as well.

    When Wheatstraw moved to St. Louis, he was fascinated by the popularity of the Blues duet of pianist Leroy Carr and guitar player Scrapper Blackwell. Based out of Indianapolis, the pair was extremely successful as recording artists with numbers such as "How Long, How Long" and "Blues Before Sunrise". They served as the model grouping that Wheatstraw wished to employ, a feat that seemed perfectly fit for his own playing, since he could handle both instruments himself. St. Louis was a haven for adept musicians and during his career, he frequently worked with stellar guitarists the likes of, Lonnie Johnson, Kokomo Arnold, Charley Jordan, Bumble Bee Slim, Willie Fields and Charlie McCoy. And, although the piano was his prime instrument, he would also occasionally team as a guitarist himself with pianist, Barrelhouse Buck. But, despite his fondness for the Carr / Blackwell sound, legendary St. Louis Bluesman Henry Townsend noted in his autobiography that Wheatstraw preferred to perform alone, especially without guitarists.

    Though it was unusual for Wheatstraw to travel very far outside of the immediate St. Louis area, he drew enough attention that he was asked to come to Chicago in 1930 to lay down recordings. He first entered the Vocalion Studios on August 13, 1939, and recorded a handful of numbers which included "Four O'Clock In The Morning" and "Tennessee Peaches Blues". Over the following decade, he would make several such treks, recording over 160 sides for the location, Decca and Bluebird labels. Almost all of his recorded pieces featured him on the piano, rarely performing as a guitarist at these sessions.

    Peetie Wheatstraw, though perhaps only a mediocre instrumentalist at best, was quite an adept vocalist and songwriter. He was known for his laid-back vocal approach, capable of covering an incredible range. Also, unusual for a Blues musician of that time, were songs featuring structured instrumental intros, setting a mood for the ensuing lyrics. It was an approach that would be followed successfully by later pianist/vocalists, Champion Jack Dupree and Charles Brown.

    His songwriting appealed to the working class minorities of the time, due to their nature of the content. He wrote about social issues such as unemployment and public assistance (this was during The Great Depression, remember). There were also pieces about the immoral ways of loose women, and true to his own self-publicity, death and the supernatural. Almost all of his songs included his trademark statement of, "Oh, well well," usually accentuated in the third verse. And, though it sounds like a simple gesture, it too has been carried on by many subsequent Bluesmen, most noteworthy today being R.L. Burnside.

    Wheatstraw's influence was enormous during the 1930s. It was suggested that his urbanized sound brought forth a decline in interest of Country Blues for a time. Perhaps the most obvious example of Wheatstraw's impact can be seen in the writings of Robert Johnson, often considered the most important Blues figure of the era. Many of Johnson's own recordings were actually re-workings of other popular artists of the time, and he drew heavily from Wheatstraw's repertoire. Songs such as "Terraplane Blues", "Stones In My Passway" and "Milkcow Calf's Blues" were derived from Wheatstraw recordings, "Police Station Blues" and "So Long Blues". Others such as Johnson's, "I'm A Steady Rollin' Man" and "Little Queen Of Spades", were also revamped from Wheatstraw, too ("Johnnie Blues", "King Of Spades" and "Ain't It A Pity And A Shame"). But, Robert Johnson was not alone when lifting ideas in this manner, it was a common practice and many of these themes can be traced even beyond Wheatstraw himself. But. with the incredible popularity that Peetie Wheatstraw achieved during his lifetime. It is not surprising to see the impact he left on others. It seemed the only thing that prevented him from becoming even more popular was The Depression itself, causing fewer recordings to be made due to expenses.

    He was still riding the crest of his success when he met his premature demise. On December 21, 1941, he was driving in East St. Louis when his vehicle was struck by an oncoming train at a crossing. He was only 39. And, perhaps it is only fitting for one who associated himself with the Devil firsthand to meet his own death at a crossroads in the end.

    Wheatstraw's death drew very little attention at the time. But, his music left its mark. Ralph Ellison based a character in his groundbreaking novel, "Invisible Man", on the musician. And, his laidback approach could be heard for years to come in the stylings of Bluesmen like Big Bill Broonzy and Muddy Waters. It was because of artists like Peetie Wheatstraw that St. Louis was an important musical locale during the 1930s, and he'll always be remembered as one of its greatest sons.

 

Related Links:

• Peetie Wheatstraw at the All Music Guide

• Find Peetie Wheatstraw recordings at CD-DB

• Dogpile Mega-search for Peetie Wheatstraw

Furry Lewis

Written by Greg Johnson Monday, 29 June 2009 22:01

By: Greg Johnson

Article Reprint from the July 2001 BluesNotes
 

    Beale Street, Memphis, Tennessee. Just the name of it raises images of musicians ranging from W.C. Handy to B.B. King. Jug bands playing in the park, smoky Blues clubs and long-gone speakeasies, card houses and brothels. A cultural center for African American life-styles throughout much of the 20th Century, located smack dab in the middle of the Country's most musically fertile region: The Mississippi River Valley. But, perhaps nobody knew Beale Street better than Walter "Furry" Lewis, a Blues musician who's life revolved along the street, with and without his instrument. A man who would encounter fame more than once during his lifetime, and who would became one of Memphis' most-favored musical sons.

    His parents, Victoria and Walter Lewis were sharecroppers living in Greenwood, Mississippi. Walter, Jr. never knew or met his father, as the couple separated before the birth of their son on March 6, 1893. Young Walter, along with his mother and two sisters, relocated to Memphis when he was six years old, and his mother began taking in wash, cooking and cleaning homes to make a living. He attended nearby Carnes Avenue School, but only made it to the fifth grade before taking on work himself as a delivery boy to help his family make ends meet.

    Furry, as he was called by his childhood friends, developed an interest in music before he reached the age of 10. It was the harmonica that first caught his ear, but he was unable to figure the instrument out. Next he made himself a crude guitar by nailing a 2-x-4 to a cigar box, using screen-door wires for strings. By using more nails at the end, he was able to tune the makeshift instrument and it was with this creation that Lewis taught himself to play. Soon after, he became a regular sight walking along the streets playing for spare change.

    Furry's desire to play soon caught the eye of one of Memphis' most-famed musicians, W.C. Handy. Handy recognized the unleashed talent inside of the youngster and he purchased him his first real guitar, a Martin that Lewis would possess for at least the next 20 years. Handy would also occasionally take on the blossoming guitarist, allowing him to perform with his renowned orchestra.

    The bug for performing struck a chord within Furry and he decided to leave home while still a teenager to work in the traveling medicine shows, a common sight during this time throughout the southern United States. With these troupes, Furry did not begin as a musician, But rather worked as a comedian, sold corn medicine and liniment oils, or did vaudeville sketches, often in blackface. During these travels, he continued to develop his guitar skills and probably learned how to play bottleneck style. He was also exposed to many of the best-known Blues musicians of the time; people such as, Memphis Minnie, Texas Alexander, Blind Lemon Jefferson, and often he would play alongside noted guitarist Jim Jackson.

    His guitar work began to pay off for him and he had no problem making money. But, in 1916, he found himself attempting to jump a freight train outside of Du Quoin, Illinois. He didn't need to ride the rails in this manner, as he had about $200 - $300 in his pocket at the time and could've purchased a ticket, but Furry wanted to save the cost and while trying to jump the train, he caught his foot in a coupling and was struck, losing his leg. He spent the next month in a railroad hospital in Carbondale. Illinois, recuperating from the injury. He was later fitted with an artificial leg that took him nearly a year to become comfortable with wearing.

    It was too much of a hardship to try to work as an itinerant musician with an artificial leg, so Lewis returned to Memphis. He took up performing on street corners with the local jug bands, often with popular favorites such as Will Shade's Memphis Jug Band and Gus Cannon's Jug Stompers. But, Furry made his living more often doing a variety of odd jobs including freight hauling from riverboats, yard work or delivering groceries. In 1923, he took a position with the Memphis Sanitation Department, sweeping streets around Beale; a job that he would hold for the next 43 years.

    In 1927, Furry Lewis made two trips to Chicago alongside his old friend Jim Jackson, with the purpose of cutting records for Vocalion. The sessions produced five sides in April and another six later in October of that year. Over the next two years, a total of 23 sides in all were recorded by Lewis for both the Vocalion and Victor labels and Furry began to receive regional recognition. Among the recordings he created during this period were many that are considered the definitive Blues recordings of such tunes as "Kassie Jones," "Stack-O-Lee," and "John Henry;" as well as signature numbers like "Judge Harsh Blues" and "I Will Turn Your Money Green" (the latter which included the classic line, "Been down so long, it looks like up to me").

    But, The Depression hit the country in 1929 and a great deal of recording came to a halt. The 23 sides (the most of any Memphis musician of the period) would be the last recorded by Furry for the next 30 years.

    In 1959, music researcher, Samuel Charters, located Furry Lewes in his home near Beale Street. Furry had continued playing alongside the street musicians over the years, but with the newfound craze of Folk and Blues music, the time was right for his "Rediscovery."  Two albums worth of material were recorded for the Folkways and Prestige labels, both released in 1961. Titled, "Back On My Feet Again", and "Done Changed My Mind," they showcased Furry's guitar skills that had shown no sign of decline despite a 30-year absence.

    Furry became a popular attraction at Folk and Blues Festivals and college campus appearances throughout the 1960s. But, despite this new-found resurgence of fame, he received very little monetary gain and often found himself having to place his guitar in hock to survive day-to-day. But, money was never that important to Furry Lewis; he found his joy in performing.

    By 1970, Furry had become a celebrity in yet another musical realm as he found himself playing with some of the era's top Rock musicians. He opened shows for The Rolling Stones, including one before 53,000 in his hometown of Memphis; he toured with Leon Russell, and also as a member of the Alabama State Troupers with Don Nix and Jeanie Greene.

    The '70s, continued to be commercially popular for Furry Lewis. In 1970 he was profiled in a featured story in Playboy Magazine, written by Stanley Booth (this was later reprinted in Booth's book "Rhythm Oil"). He took on a role in the Bart Reynolds' film, " W W And The Dixie Kings," and as part of the promotional tour for the movie, Furry appeared on the Tonight Show with Johnny Carson. He performed his song, "Furry's Blues" on the show and gained so much attention he found himself asked to appear on multiple television talk shows throughout the remainder of his life. Perhaps the greatest recognition that he was to receive came in 1973 when he was named as an Honorary Colonel by the State of Tennessee, the first African-American ever to receive that honor.

    Not all of the attention was to Furry's liking though. In 1976, Folk-Rock musician, Joni Mitchell recorded the song, "Furry Sings The Blues", for her "Heijera" album. Lewis hated the song and felt that since he was the subject of it, he deserved royalties from Mitchell.

    It is amazing to note that despite Furry's age, he retained his playing dexterity right up to the end of his life. His style incorporated a blend of both slide and fingerpicking, often alternating between both within a single song. His music was rooted in the rags and Delta Blues he heard in his youthful travels, as well as the jug bands of Memphis. And, his lyrics offered visions of social issues, folklore and humor. A true original and innovator, he continued to release vital material until his death, often with liner notes informing buyers that the recordings had been made at his bedside, "with his leg off".

    He began to lose his eyesight due to cataracts in his final years. He came down with a case of pneumonia in 1981, which led to his death on September 14th of that year at the age of 88. He is buried in the Hollywood Cemetery in South Memphis, where his grave bears two headstones. A large one, purchased by fans, towers over the original marker that bears simply the epitaph "Bluesman". It does not need to say anything more.

 

Related Links:

• Furry Lewis at the All Music Guide

• Find Furry Lewis recordings at CD-DB

• Dogpile Mega-search for Furry Lewis