Blues History
Blues History
from the pages of the BluesNotes
One important part of the Cascade Blues Association's charter is to help educate the public on the history of the blues. Almost every month we publish an article in our monthly newsletter, the BluesNotes, that documents the bygone days of the blues. Those articles are indexed here for your reference and enjoyment.
Robert Nighthawk
Written by Greg Johnson Monday, 29 June 2009 22:05
By: Greg Johnson
Article Reprint from the November 2000 BluesNotes
Robert Nighthawk was a rambling man who often traveled to Chicago, playing to his heart's content on Sunday afternoons at the famed open-air market along Maxwell Street. But, his heart belonged in the Mississippi Delta and it continuously called him home. Because of his wandering ways, Nighthawk's recorded output is minimal. But, without his influence, the sound of the Blues and modern guitar may have taken a different turn altogether, leaving names such as Elmore James and Earl Hooker with little if any meaning today.
Helena, Arkansas sits along the banks of the Mississippi River approximately 70 miles south of Memphis. The small town has always served as an important river port for the rich farming communities surrounding it and was also the site of a major battle during the Civil War. During the first half of the 20th century, the city also became a favorite stop for itinerant Blues musicians.
It was there that Robert Lee McCollum was born on November 30, 1909. By the time he was 15, young Robert had learned to play the harmonica from an obscure musician from Louisiana by the name of Johnny Jones. Robert soon felt confident enough playing the harp that he decided to leave home and took to the life of a busking musician. And, for the remainder of his life, he was ever on the move.
His early travels reportedly took him to Memphis, where it is reported that while still a teenager, he worked with Will Shade and the Memphis Jug Band. And, by 1930, he had apparently reached as far north as St. Louis, playing alongside pianist, Peetie Wheatstraw. This position earned the youngster the moniker Peetie's Boy.
Back home in the Delta, Robert's life took a significant turn when he met his distant cousin, Houston Stackhouse, that same year. A year younger than Robert, Stackhouse was a guitarist deeply influenced by the style of Tommy Johnson. In turn, he introduced Robert to the rudiments of playing guitar, and it wasn't very long afterwards that Robert soon surpassed Stackhouse on the instrument.
The two began to travel together throughout Mississippi and Arkansas playing at fish fries, house parties or wherever they could make money to survive. In 1932, they even found themselves playing at a wedding on Stovall Plantation for none other than Muddy Waters. Robert's travels found him in many locales and playing with a number of future Blues greats during the early-1930s such as Jimmy Rogers and John Lee Hooker.
In 1935, Robert was involved in a shooting incident that caused him to flee the Delta in fear of his safety, though unknown to him, the injuries were non-fatal. He returned to St. Louis, where he began performing under his mother's maiden name as Robert Lee McCoy. He took up again working with Peetie Wheatstraw, as well as with other popular local artists, such as John Lee "Sonny Boy " Williamson and Big Joe Williams. In 1936, he accompanied Jack Newman into the studio and made his way onto record for the first time, cutting sides for Vocalion. On May 51 of the following year, he joined Sonny Boy and Big Joe Williams on a session for Bluebird. Several sides were cut, including the classics "Good Morning Little School Girl" and "Sugar Mama". Six sides were also pressed and released under his own name. The most significant of these being "Tough Luck" and "Prowling Night Hawk". The next three years proved to be Robert's most productive period as a recording artist. Twenty-five sides were made as the featured artist for both Vocalion and Decca, plus numerous sides as a session performer working with the likes of Henry Townsend, Walter Davis, Speckled Red, Sleepy John Estes and many others.
Robert performed extensively with John Lee Williamson as the harmonica player's backing guitarist through most of 1937, only to be replaced the following year by another famed player, Big Bill Broonzy. Sonny Boy's popularity took Robert throughout the South and Midwest, eventually landing him in Chicago. There, he met guitar master, Tampa Red, whose work with the slide guitar enchanted him. Slide guitar was not new to Robert; it had been a staple of players throughout the Delta since the turn of the Century. But, it was another modern innovation that Robert combined with the slide style that would change the sound of Blues and modem music forever.
The electric guitar was a fairly new instrument in the late-1930s. Robert combined his new found fondness for playing slide with the amplified guitar and created an eerie sound that quickly caught the attention of several young musicians. Perhaps its greatest influence occurred when Robert returned to the Delta with this style. The haunting tone enamored a trio of players who took the electric slide to new heights and whose own fame surpassed that of Robert's. That trio was Earl Hooker, Elmore James and Muddy Waters.
Despite the success he had found in Chicago and St. Louis, Helena was Robert's true home. He settled there once more and started calling himself Robert Nighthawk, from the title of his Bluebird recording, "Prowling Night Hawk". From 1943 to 1947 he was a featured performer on local radio station KFFA, hosting a show for Bright Star Flour, in direct competition with the same station's popular King Biscuit Flour Show hosted by Rice Miller (Sonny Boy Williamson II). During this same period, he often hosted shows on WROX in Clarksdale and the famed WDIA station in Memphis.
In 1948, Nighthawk was once again in Chicago. Upon the recommendation of his slide disciple, Muddy Waters, he found himself at the Aristocrat (later named Chess) Studios. The session he cut in November produced three sides. But, his next venture in July of the following year yielded the successful double-sided hit, "Anna Lee" b/w "Sweet Black Angel". The latter was to become Robert's most popular recording of his career. It was also noted as the first session for Chess to include the great Willie Dixon, who played bass behind Nighthawk on the recording. Later re-titled as "Sweet Little Angel", the song became a huge success for B.B. King in 1956. Nighthawk would return to Chess for one more session in 1950. He also recorded a handful of numbers for the United label in 1951 and its sister label States in 1952. The sides did not draw too much attention and Robert decided to return to the Delta. He would not return to Chicago nor record again until 1964.
One aspect of Chicago which Robert Nighthawk did enjoy was the open-air market of Maxwell Street held every weekend. Robert was one of countless musicians who set up on comers and in alleys, making money by performing on the street for the multitudes attracted by the market. Robert would often work here with such Chicago Blues luminaries as Big John Wrencher, Johnny Young, Carey Bell and John Lee Granderson. These Maxwell Street performances caught the attention of a young guitarist by the name of Michael Bloomfield, who was working with photographer Mike Shea on a project recording the activities of the market. A documentary was filmed entitled, "And This Is Free". In one scene, Robert Nighthawk is captured in an alley playing "Down At Eli's". A complete set of a Nighthawk performance, "Live On Maxwell Street 1964", was also released in 1980 by Rounder Records (recently re-released on Bullseye Blues). This recording found Robert in peak form and also includes some stellar harmonica work from Carey Bell.
Nighthawk made his way back into the studio in 1964 doing sideman work for Chess and Decca, plus two sessions with Testament Records as a featured artist. These 1964 dates which included backing from Little Walter, Johnny Young and John Wrencher, were later mixed with a session from the summer of 1967. Perhaps some of the most fascinating recordings of his career, the Testament dates featured brilliant slide guitar on numbers such as "Crying Won't Help You" and "Bricks In My Pillow". Unfortunately, they would also be his final works, released posthumously with selections with his cousin Houston Stackhouse as "Masters Of Modern Blues - Robert Nighthawk and Houston Stackhouse".
Robert Nighthawk had long been suffering with poor health and he returned to the Delta where he spent his time between Helena and the home of his son, Blues drummer Sam Carr, in Dundee, Arkansas. In November 1967, Nighthawk was admitted to the hospital in Helena. He died there on November 5th of congestive heart failure. Robert Nighthawk is buried in Helena's Magnolia Cemetery.
Electric slide guitar has become a staple of modem music. Though the idea of combining the electric guitar with slide playing surely would've come about regardless of Robert Nighthawk's presence, he is considered the first Blues artist of stature to utilize the technique. His legacy carried on wit the playing of Elmore James, Earl Hooker, and later by JB. Hutto, Hound Dog Taylor and Duane Allman. Though his name is not as recognizable as those who followed, he'll forever be remembered as the progenitor of the electric slide. This feat was recognized by The Blues Foundation, when they entered the name of Robert Nighthawk into its Hall of Fame in 1983.
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Luther Tucker
Written by Greg Johnson Monday, 29 June 2009 22:05
By: Greg Johnson
Article Reprint from the January 2001 BluesNotes
Sometimes artists come into peak form at an early age and find trouble maintaining that level of success for the duration of their careers. Sometimes they even fade into obscurity after a few brief moments of glory. That is the unfortunate fate of being a teen prodigy. But, sometimes these early glimpses of genius are just a harbinger of the ripe future to yet unfold. Little Walter possessed this gift and thrived; as did Junior Wells, Lightnin' Hopkins, James Cotton and so very few others.
Luther Tucker made such a impact. Though nowhere near the sensation that today's mass media can create. Still his unique style of rhythm-like lead guitar played a major role in the hits of many legendary artists' most-noted recordings. It stirred the interest of countless admirers and would later enchant a whole new Blues community halfway across the country from his humble beginnings.
He was born in Memphis, Tennessee on January 20, 1936. His father was a carpenter and his mother worked as a boogie pianist and guitarist. The family moved to Chicago when Luther was, seven years old. When Luther was in his early teens, his mother introduced him to the patriarch of Chicago Blues, Big Bill Broonzy. Her intentions were to help keep young Luther from beginning a life of disrepute as he was already mixing with the wrong crowd. He had already shown a fondness for music and she was hoping that Broonzy would instill desires toward studying the guitar. But, Broonzy had quite the opposite effect. He would tease him, telling him that he'd never be able to play.
Fortunately, for Luther, a frequent visitor to Broonzy's home was guitarist, Robert Jr. Lockwood. And, Lockwood took a shine to the youngster. It has often been said that history repeats itself. As a young man, Robert Lockwood was befriended by his mother's common-law husband Robert Johnson, who took him under his wing and taught him the fine points of playing the Blues. Now Robert Jr was passing this same information on to Luther Tucker.
Rusty Zinn: Robert was obviously a huge influence of Luther. He constantly referred to him as Mr. Robert Jr Lockwood. He had a whole lot of respect for him. There are a lot of similarities in their playing; you can definitely tell that Luther was a student of Robert's.
Kenny Blue Ray: He worked with Robert Jr. Lockwood, so Luther must have got the stuff straight from Robert Johnson via Robert Lockwood.
Bill Rhoades: When he first started playing be was pretty wild. He said that Robert Jr took him under his wing and. showed him a lot of nice things on the guitar, how to behave in a band, in the clubs and just how to conduct himself.
Lockwood's lessons paid off for Luther. Barely only 15, he accepted a position playing with his renowned uncle, saxophonist J.T. "Big Boy" Brown. Together they worked the circuit of Blues clubs throughout the Midwest and Midsouth.
Upon returning to Chicago, Robert Jr Lockwood took Luther to Chess Studios in 1952. Harmonica master, Little Walter, who had recently departed the Muddy Waters Band following the success of his single "Juke", was putting together a new band and decided that he would use two guitarists. Lockwood convinced Walter to hire Tucker despite his youth. In October of that year, Luther made his debut recording on the song "Blue Midnight". He would continue to work with Walter's band for the next eight years, appearing on such noted songs as "Key To The Highway", "Last Night", "Mellow Down Easy" and "Boom Boom (Out Go The Lights)".
His personal guitar stylings were already beginning to shine, though the older bluesmen did not want to give up their solos to the youngster. He also contributed to the songwriting, also without much credit.
Rich Kirch: You listen to the stuff he played with Little Walter and a lot of it was the same he was playing when he passed.
Rusty Zinn: "Blue And Lonesome" behind Little Walter, that's dynamite! "The Toodle", by Little Walter. Though he didn't like to brag, Luther told me he wrote that song and it kind of makes sense. It's the kind of thing that he would've come up with and he probably brought the idea into the studio. And, being the genius that Little Walter was, he obviously just rode with it.
His studio work and touring with Little Walter helped to make Luther Tucker an in-demand session player. Up through the mid-1960s he recorded extensively with many of the genre's top artists. He appeared on well-known numbers such as Muddy Waters' "She's Nineteen Years Old", "Five Long Years" and "Elevate Me Mama". Works with Sonny Boy Williamson II would include "Your Funeral And My Trial", "Fattening Frogs For Snakes", "One Way Out" and "Little Village". Luther's guitar was also featured on recordings by Otis Spann, Jimmy Rogers, and in 1966, the landmark recordings of "Chicago/The Blues/Today! Volume 2" found Tucker paired as second guitarist to West Side master Otis Rush.
Otis Rush went as far as to tell Guitar Player Magazine reporter Jas Obrecht that Luther Tucker was his ideal version of a rhythm guitar player.
Patrick Ford: Tucker spent so much time with those guys, where he wasn't the front guy. He was the back guy, but he was allowed a lot of room to expose himself. He took advantage of every opening they gave him, but at the same time, he always had great respect for the front guy. He would stay far enough back where he wouldn't interfere and yet he would be there and was always putting a force into the music. He had that ability, even with Otis Rush. You can listen and tell it's Luther back there. It's very obvious and it's a cool thing that he could be a second man or rhythm player and still have an impact on us.
In the latter half of the 1960s, Luther Tucker joined the James Cotton Blues Band. He appeared on two albums under the Verve label, "Cotton In Your Ears" and "Pure Cotton", both released in 1967. His presence helped gain acclaim for the band and they found themselves performing in larger Rock venues around the country, including The Fillmore in San Francisco. Working with Cotton put his guitar into the lead position and it also displayed an untouched talent of Luther's as well, as Tucker sings for the first time on disc.
Rusty Zinn: I really love "Fallin' Rain" with him singing on the James Cotton record "Pure Cotton".
Bill Rhoades: The stuff he did on early James Cotton just floored me. He was a monster.
Patrick Ford: I remember my brother Robben calling me on the telephone one time. He said, "Pat, I found it!" I said, "You found what?" And he said, "Listen." Over the phone I could hear him starting to play his guitar cranked up, and it was Robben emulating the Tucker tone from the first James Cotton album. For years he'd been trying to find that tone.
While still a member of the James Cotton Blues Band, Luther relocated to the San Francisco area in 1969, having found a fondness for the area on their recent tours. Almost immediately he became one of the guiding forces behind the local Blues community. Continuing in the role as the ultimate sideman, he also played as a member in a number of groups in the Bay Area.
Patrick Ford. He came out from Chicago and was just sort of floating free. Robben and I were leaving the Charlie Musselwhite Band and forming the Charles Ford Band. Luther joined up with my brothers and I and we spent a couple of weeks woodshedding. But, that didn't happen. We just became a four-piece without the extra guitar. This band required that Robben and Mark be the front guys. We had so much respect for Luther we couldn't see him not being the front guy.
Terry Hanck: About 1971, I had a band called Grayson Street. Somehow I managed to talk Luther into joining the band. I was only 26, still quite green, and very shy on stage. The first gig was at a little club called the Steppenwolf in Berkeley; the first song was an Elmore James instrumental that Luther used to call "Elmore's Boogie". The band was tight and you could feel the energy and excitement build in the room. When we finished the song, the crowd erupted, but as the applause died down, Luther and I just stared at one another with that 'doe in the headlight' panic. Neither one of us wanted to take charge. Little did I know, he was shyer than I was. That night went up and down from thunderous applause to uncomfortable silence. It was excruciating! We went on like this for several months, until Luther began working with John Lee Hooker.
In late 1971, Luther became a member of John Lee Hooker's Coast-to-Coast Band. He appeared on the "Free Chicken And Beer" LP, with the song "Bluebird" fully capturing his distinctive guitar sound. Other recordings made with Hooker included "Live At The Cafe Au Go-Go (And Soledad Prison)" and "Never Get Out Of These Blues Alive". Luther would work with John Lee Hooker for three years full-time and make occasional appearances as a band member well into the 1980s.
In 1973, he moved across the Bay to Marin County and formed the Luther Tucker Band. Many respected Bluesmen living in Northern California spent time as members of the band, including Bill Singletary, Freddie Roulette, Rich Kirch, Big Bill Ganaye and Twist Turner. Harmonica player Jill Baxter joined the band in 1982 and later became Luther's life partner as well.
Bill Singletary: A lot of guys would come to the gigs. People like Rusty Zinn and Elvin Bishop. The guitar players would always come to hear Luther. I think he influenced people a lot. Luther was not recognized nearly enough for what he did.
Rusty Zinn: Guys like Elvin Bishop and Little Charlie Baty, I hear bits and pieces of Tucker in them. Any Blues guitar player in the Bay Area with any taste at all is going to realize that he was a force to be reckoned with.
During the mid-1980s, Luther frequently ventured to Austin, Texas, where he performed at the famed Antone's Blues Club. Once again, he found himself backing James Cotton on tours and for a handful of LPs, including the Grammy nominated "Live" in 1988 which paired him alongside guitarist Matt "Guitar" Murphy.
Bob Margolin: In 1990, I did a 10-week tour with James Cotton, which included Luther Tucker. I got to know him as a friend and learned from him on the bandstand. He was cool and quiet, but had a sharp, dry wit. One time, as we both watched a beautiful woman walk down the street, I laughed and said to Luther "Take a number." Luther responded, "One." At the 1990 Chicago Blues Festival, there was a jam at Buddy Guy's Club that featured some great players: Buddy, Albert Collins, Otis Rush and Luther Tucker. Luther decisively smoked them all.
Luther was in Austin again in 1993, finally given the opportunity to record an album as the front man. "Sad Hours", released on the Antone's label, featured Luther alongside many of the city's most renowned musicians: Kim Wilson, Reese Wynans, George Rains, Tony Coleman, Mark Kazanoff and Russell Jackson among them. The album showcased Luther's unique "flutter" guitar style, which was almost mandolin-like and distinctively his own. It received critical acclaim, but unfortunately, Luther would not realize this.
Luther was an extremely generous individual. He hated the notion of disappointing anybody, which occasionally led to his double-, even triple-booking gigs for the same time. He also liked to party, which included drug use. Luther also suffered with heart ailments that hospitalized him several times and resulted in at least one angioplasty. But, Luther refused to turn away from his friends and fans, despite his health.
Twist Turner: One night after Luther got out of the hospital for angioplasty, I walked out the back door of a club and caught him doing some coke. I asked him what he was doing? I told him that with his heart that shit was going to kill him. He just replied, "The good Lord will take me when it's my time."
After recording "Sad Hours" in Austin, Luther returned to the Bay Area and began working with The Ford Blues Band. Two recording sessions were completed in April, but a third was cancelled as Luther cited poor health. The group then traveled to Germany for a festival in May, where they performed several sets solo and behind the great Lowell Fulson.
Patrick Ford: We did some shows with Lowell and we had Tucker come up and sit in with us. He would stay up real late with all these musicians from around the world. Somewhat partying and somewhat just visiting. One day we were walking to rehearsal and Tucker was walking so slow he couldn't keep up with us. I asked him, "Luther are you okay?" He said, "I can't breathe too good." Jill had told me before we had left to make sure that he got his heart medicine, because he was having problems. But, he would just commit himself so much. He was playing these long hours, then would visit and party with friends and the next day he'd be right there for you again. He just kept giving of himself, but wouldn't take care of himself.
Luther returned to the United States in early June. On June 17, 1993, he suffered another heart attack and was admitted to Marin General Hospital in Greenbrae, California. He died the next day at the age of 57. His body was returned to Chicago, where he is buried in Restville Cemetery in an unmarked plot.
"Sad Hours" was released three months following his death, an album intended to be his first of many proved to be his coda. His performances with The Ford Blues Band had been recorded in Germany and were used to complete the sessions they had been working on. These selections were released as "Luther Tucker & The Ford Blues Band" in 1995.
A tribute concert was held for Luther Tucker in San Francisco at Slim's. Many of the musicians and friends that his life had touched appeared there in his honor, including John Lee Hooker, Elvin Bishop, Boz Scaggs, Mark Naftalin, Billy Boy Arnold and Freddie Roulette. His life and music are sorely missed by many in the Bay Area, Chicago and around the world. And, it still holds deeply nearly eight years later.
James Cotton: Luther Tucker was a very good Blues guitarist. I miss him and I guess I always will.
Bob Margolin: He could make that double-picking sound powerful and intense, not over-played as when others try it. He was the most rhythmic musician I've ever heard. When he ran-bass or chord patterns he swung so hard that he'd take everyone in the room with him. There's a little guitar lick that Luther used to use in a slow Blues, and I do it every night I play.
Bill Singletary: I miss him like crazy. I think the three-and-a-half years I spent with Luther was my luckiest time in music. You don't get a chance to play with guys like that too much anymore.
Twist Turner. He was by far the best guitarist I ever worked with.
Kenny Blue Ray: Luther Tucker was a great person and player. I loved Tucker. He was a great dude.
Rich Kirch: He was one of the most humble, nicest guys you could ever meet. Every time that he would pay the band, he gave you the money and would say, "I wish it could be more, brother." Everybody I know really misses Luther.
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James Carr
Written by Greg Johnson Monday, 29 June 2009 22:04
By: Greg JohnsonArticle Reprint from the February 2001 BluesNotes
One of the saddest tasks of being a source for Blues information lies in the role of reporting on those who have passed on. Many performers have touched our lives throughout the years, but alas, nobody is immortal and everybody's time eventually must come to an end. It is with a heavy heart that we relay the news of the deaths of three more much-beloved musicians who have left us for the hereafter.
James Carr came to prominence as a Soul singer during the mid-1960s. He has often been recognized as one of that era's greatest vocalists, placing him alongside an elite list that includes Aretha Franklin and Otis Redding. Born in Coahoma County, Mississippi, on June 13, 1942, Carr's family had moved to Memphis when he was still a young child. It was here that he discovered music through the sound of Gospel, listening to artists such as Sam Cooke and the Soul Stirrers. In 1963, he signed with the Memphis label Goldwax, and while on their roster, released a string of hit singles, including "You've Got My Mind Messed Up" and his signature tune, "The Dark End Of The Street." His life took a turn, though, as he became a victim of drug and alcohol abuse, as well as stints with manic depression that found him hospitalized in a mental health facility. He had almost disappeared entirely when he started performing again on rare occasions in the early 1990s, often working with Tyrone Davis or Otis Clay. Carr had suffered from lung cancer for many years, spending the end of his life in a nursing home in Memphis. At the age of 58, James Carr died there from his battle with the disease on January 7, 2001.
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Roebuck Staples
Written by Greg Johnson Monday, 29 June 2009 22:04
By: Greg JohnsonArticle Reprint from the February 2001 BluesNotes
One of the saddest tasks of being a source for Blues information lies in the role of reporting on those who have passed on. Many performers have touched our lives throughout the years, but alas, nobody is immortal and everybody's time eventually must come to an end. It is with a heavy heart that we relay the news of the deaths of three more much-beloved musicians who have left us for the hereafter.
Roebuck Staples was born on December 2, 1915, the 13th of 14 children, in Winona, Mississippi. Better known to the world as Pop, he was the patriarch of the musical family, The Staple Singers, blending the sounds of Gospel, Blues, Folk and Soul into hit singles such as "Respect Yourself" and "I'll Take You There." The Staple Singers charted hit singles 12 times in their heyday with Stax Records during the late-'60s, early-'70s. In his lifetime, Pop Staples worked with a virtual who's who in the music industry. People such as Curtis Mayfield, Ry Cooder, Bonnie Raitt, all recorded with him, but he also played alongside early Blues greats such as Robert Johnson, Son House and Charley Patton, as a young man in the Mississippi Delta. In the mid-1990s, Pop released two albums as a solo artist for the first time and was awarded a Grammy Award for Best Contemporary Blues Album for 1994's "Father Father." Pop Staples died at the age of 85 on December 19th in a hospital in Dolton, Illinois, following a concussion that he had suffered from a fall earlier that week.
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Tommy Bankhead
Written by Greg Johnson Monday, 29 June 2009 22:03
By: Greg JohnsonArticle Reprint from the February 2001 BluesNotes
One of the saddest tasks of being a source for Blues information lies in the role of reporting on those who have passed on. Many performers have touched our lives throughout the years, but alas, nobody is immortal and everybody's time eventually must come to an end. It is with a heavy heart that we relay the news of the deaths of three more much-beloved musicians who have left us for the hereafter.
Tommy Bankhead was a key member of the St. Louis Blues community for more than 50 years. Born in Lake Comorant, Mississippi in 1931, Bankhead was a cousin of Elmore James. Early in his professional career, he worked alongside the likes of Sonny Boy Williamson, Howlin' Wolf and Bobby Bland on the streets of Memphis before moving to St. Louis in 1949.
Known primarily as a guitarist, he was also adept at the harmonica, drums and bass. Although he did not record much during his lifetime, Bankhead played with virtually everybody of recognition in the St. Louis Blues community, including Ike Turner, Oliver Sain, Albert King, Little Milton and Henry Townsend. Besides his role as a Bluesman, Bankhead also earned a living as a security guard and a sheriff's deputy. On December 16th, Tommy Bankhead died of complications stemming from emphysema. He was 69.
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