Click on the headline to link to a YouTube film clip of old time blues harmonica player Junior Gillum performing his classic The Devil’s Blues.
CD Review
Harmonica Blues: Great Harmonica Performances Of The 1920s And 1930s, various artists, Yazoo Records, 1991
I have endlessly mentioned the old time pre-city blues (cities, mainly upriver Memphis, Chicago and Detroit) migration (and electrification) of the blues as it came out of the Mississippi Delta (and other southern ports of call like Alabama and North Carolina but centrally Mississippi burning country in jim crow days. Back in those days it was played, among other places like hellhole Parchman’s Farm prison and the like, in hard-bitten, hard drinking, hard lovin’ and hard repentin’ Saturday nights at juke joints. Joints which due to a little electrical problem (none) meant that you have to drink your whisky in the dark (or kind of), doing your lovin’, well you know what I mean, in the dark and your two-fisted fighting over some roaming –eyed woman in the darks as well.
What you also needed to do, if you were a musical performer, was set your instruments to that non-electric night. And hence the guitar (primitive or National Steel), the fiddle, and the instrument featured in this review, Harmonica Blues: Great Harmonica Performances Of The 1920s And 1930s,
had their heyday as weapons of choice for those who ventured into the 1920s blues night.
And this nice little treasure trove CD compilation gives you the best of the bunch who were recorded in those late 1920s and early 1930s days (before the great storm depression blew what little discretionary income there was all away) and one, if one so chooses can hear the long forgotten, for the most part, harmonica players, who influenced later legends like James Cotton, Junior Wells and, of course, Sonny Boy Williamson. The harmonica work is obviously as not as powerful as later when someone like Howlin’ Wolf practically devours the damn thing putting up against a jacked-up microphone on a song like “How Many More Years” but the basic configurations are in place here. Moreover this CD has a roll call of the best, including Jazz Gillum, Jaybird Coleman , and Deford Bailey. And, as always with a Yazoo production, an informative sheet with all kind of interesting facts about the performers and the milieu is included.
CD Review
Harmonica Blues: Great Harmonica Performances Of The 1920s And 1930s, various artists, Yazoo Records, 1991
I have endlessly mentioned the old time pre-city blues (cities, mainly upriver Memphis, Chicago and Detroit) migration (and electrification) of the blues as it came out of the Mississippi Delta (and other southern ports of call like Alabama and North Carolina but centrally Mississippi burning country in jim crow days. Back in those days it was played, among other places like hellhole Parchman’s Farm prison and the like, in hard-bitten, hard drinking, hard lovin’ and hard repentin’ Saturday nights at juke joints. Joints which due to a little electrical problem (none) meant that you have to drink your whisky in the dark (or kind of), doing your lovin’, well you know what I mean, in the dark and your two-fisted fighting over some roaming –eyed woman in the darks as well.
What you also needed to do, if you were a musical performer, was set your instruments to that non-electric night. And hence the guitar (primitive or National Steel), the fiddle, and the instrument featured in this review, Harmonica Blues: Great Harmonica Performances Of The 1920s And 1930s,
had their heyday as weapons of choice for those who ventured into the 1920s blues night.
And this nice little treasure trove CD compilation gives you the best of the bunch who were recorded in those late 1920s and early 1930s days (before the great storm depression blew what little discretionary income there was all away) and one, if one so chooses can hear the long forgotten, for the most part, harmonica players, who influenced later legends like James Cotton, Junior Wells and, of course, Sonny Boy Williamson. The harmonica work is obviously as not as powerful as later when someone like Howlin’ Wolf practically devours the damn thing putting up against a jacked-up microphone on a song like “How Many More Years” but the basic configurations are in place here. Moreover this CD has a roll call of the best, including Jazz Gillum, Jaybird Coleman , and Deford Bailey. And, as always with a Yazoo production, an informative sheet with all kind of interesting facts about the performers and the milieu is included.
