Leonard Chess is widely known as the co-founder of Chess Records and as a producer who was tremendously influential in the development of popular music; fewer people know that for one recording session he took over the drum set.
When Muddy Waters and his sidemen were recording for him on 11 July 1951, Waters later recalled, “my drummer couldn’t get the beat on She moves me. The verse was too long.”
“You know, it says…‘She shook her finger in a blind man’s face, he say Once I was blind but now I see/She moves me, man…’ My drummer wanted to play a turnaround there; I had to go another six or eight bars to get it turned around…he couldn’t hold it there to save his damn life.”
With characteristic brusqueness, Chess dismissed the drummer and sat down at the set himself, providing a foursquare thump on the bass drum, two beats to the bar without any frills. In effect, he solved the problem of timing the turnaround by ignoring it.
This according to The story of Chess Records by John Colis (New York and London: Bloomsbury, 1999, pp. 56–57).
Today would have been Leonard Chess’s 100th birthday! Below, the recording in question.
Although he was nicknamed “Mississippi”, Fred McDowell was born in Tennessee, and lived in Memphis for more than thirty years. He worked at various factories and farms, and played guitar at weekend dances.
This according to “McDowell, Fred” by Yves Laberge (Encyclopedia of the blues II  pp. 670); this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.
Today is McDowell’s 111th birthday! Below, his seminal 1965 recording.
BONUS: The Stones, around the time of Sticky fingers.
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In 1936 Sam and his brother Lonnie made twelve recordings as the Chatman [sic] Brothers; Sam did not record again for twenty-four years. During that time he worked as a farmer, a night watchman, and a plantation supervisor.
In 1960 Chris Strachwitz rediscovered Chatmon and recorded him; four of the songs recorded were included on the Arhoolie LP I have to paint my face. In 1966 he was rediscovered again by the blues enthusiast Ken Swerilas, who persuaded him to move to San Diego, where he began playing in clubs and became a local favorite. Soon he was performing around the country at folk festivals and clubs, gaining notoriety as one of the few surviving first-generation Mississippi bluesmen. He made his last professional appearance at the 1982 Mississippi Delta Blues Festival.
This according to “Chatmon, Sam” by Andrew Leach (Encyclopedia of the blues II  p. 195); this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.
Today is Chatmon’s 120th birthday! A discography is here. Below, ca. 1978.
This according to “Guy, George ‘Buddy’” by Yves Laberge (Encyclopedia of the blues II  pp. 395–396); this encyclopedia is one of many resources included in RILM music encyclopedias, an ever-expanding full-text compilation of reference works.
Today is Guy’s 80th birthday! Above, in 2008 (photo licensed here); below, live in 2010.
A quavering voice explained that an elderly man, a minister of some sort, had seized the most expensive guitar in the store and refused to part with it.
The man had tried out several models, had chosen the top-of-the-line Gibson, and had been there for some time, talking to it, and playing and singing spirituals in a loud voice. No one dared to take it away from him. “He says he has no money, but he gave your name, Mr. Greenhill, as his manager. He is upsetting the other customers. What shall we do?”
Greenhill bought Davis the guitar, and the debt became a longstanding joke: Davis was always going to pay him back for Miss Gibson “on the next check.”
Rainey’s sexual involvement with women was no secret with both colleagues and audiences. The advertisement for the song (above, click to enlarge) shows her dressed as a man, obviously flirting with two women, while a policeman keeps an eye on her.
The song’s lyrics include:
They said I do it, ain’t nobody caught me / Sure got to prove it on me
Went out last night with a crowd of my friends / They must’ve been women, ‘cause I don’t like no men
It’s true I wear a collar and tie / Make the wind blow all the while
‘Cause they say I do it, ain’t nobody caught me / They sure got to prove it on me
This according to Blues legacies and black feminism: “Ma” Rainey, Bessie Smith, and Billie Holiday by Angela Y. Davis (New York: Pantheon, 1998 p. 39)
Today is Rainey’s 130th birthday! Below, the 1928 recording.
The music of Roosevelt Sykes demolishes the notion that blues is too depressing to enjoy.
His romping boogies and risqué lyrics such as Dirty mother, Ice cream freezer, and Peeping Tom characterize his monumental contributions to the blues idiom; he was also responsible for the influential pieces 44 blues, Driving wheel, and Night time is the right time, and his rollicking version of Sweet home Chicago presaged all the covers that would surface later on.
In an interview, Bobo Jenkins discussed the genesis of his first song and hit recording, Democrat blues.
He wrote the song on election day in 1952, while Eisenhower was being elected. He explained that it was really a song about the Great Depression and the especially hard economic times that plagued the poor during Republican administrations.
“I was workin’ out to Chrysler…and I sat down at the end of the line and wrote that song…The whirrin’ of the machines gives me the beat. It’s like listening to a band play all day. Every song I ever wrote that’s any good came to me on the assembly line.”
In 1954, with the help from John Lee Hooker, he went to Chess Records with his new song. “So I goes to Chicago with my guitar and a little amplifier, and the man says ‘What you got now? Usually everybody comes from Mississippi and brings a hit with them.’ I said, well, ‘I’m from Mississippi.’ See, I was lyin’ ‘cause I was livin’ in Detroit, but it sound good to hear it.”
B.B. King’s guitar technique drew from many sources, both direct and indirect.
At first he functioned primarily as a vocalist, making little idiomatic use of the instrument; in subsequent recordings the influence of T-Bone Walker became quite apparent.
He also adapted embellishments used by earlier blues guitarists (Lonnie Johnson) as well as those of jazz guitarists (Charlie Christian, Django Reinhardt, Bill Jennings). King’s distinctive finger tremolo was inspired by Bukka White’s bottleneck style.
This according to “B.B. King: Analysis of the artist’s evolving guitar technique” by Jerry Richardson (American Music Research Center journal VI  pp. 89–107.
Using conventional musical devices for blues compositions as a basis, Willie Dixon expanded the possibilities for blues songwriting by introducing elements from pop song forms, using a quatrain refrain text form with longer musical structures than a 12-bar form, and amalgamating the 12-bar/a-a-b form with the 16-bar/quatrain refrain form in different sections of a composition.
Dixon also helped artists such as Muddy Waters, Howlin’ Wolf, and Koko Taylor to intensify their public images; his development of their performing personae is relevant to the tradition of the blues as a secular religion, and Dixon’s casting of them originated in traditional black badman tales circulated in the postbellum South.
This according to Willie Dixon’s work on the blues: From the early recordings through the Chess and Cobra years, 1940–1971 by Mitsutoshi Inaba, a dissertation accepted by the University of Oregon in 2005.
Today is Dixon’s 100th birthday! Below, he sings his own Back door man, first recorded by Howlin’ Wolf in 1960; the song is a classic example of Dixon’s innovations in blues song forms.
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