Introduction to the Original Chicago Blues - Listening Notes for The Overland Introductory Series - April 3, 2024

jonathanponder
Apr 3, 2024
4 min read

Chicago blues developed directly out of the acoustic Delta blues from Mississippi as African Americans moved from the Deep South to northern cities in the Great Migration. Musicians who had sung solo with guitars or with a few portable instruments as accompaniment began to amplify their guitars and harmonicas and add pianos and drum kits to their bands. This new sound was centered in Chicago but also had roots in other American cities and soon spread everywhere. Selections tonight include album sides from some key musicians who originated and played this music. Interspersed will be individual Delta blues tracks that demonstrate the evolution from Delta country blues into electric Chicago blues.

Origins: Son House, “Walking Blues” (Paramount), 1930. Truly one of the originators of country blues, Son House preceded and influenced Robert Johnson. This track is one of the archetypal blues songs and was recorded six years before Johnson’s version.

Muddy Waters, The Best Of Muddy Waters (Chess), 1958 (full album)

Muddy Waters’ first LP compiles singles released on 10” 78rpm records between 1948-54. He claimed Son House as one of his greatest influences, and these tracks sound like a bridge between the country blues of Son House (and Muddy’s own Library of Congress recordings made in the living room of his house in Mississippi in 1941-42) and the more robust full bands of electric Chicago blues.

Origins: Bukka White, “Shake ‘Em On Down”, 1937. Recorded in Chicago and released on 78 and later on a 1970 compilation LP on Columbia, this track contains mesmerizing vocals and one of the most relentless grooves I know of in acoustic country blues.

John Lee Hooker, Alone (Specialty), 1970 (recorded 1948-51) (side 1)

This is one of many compilations of tracks Hooker recorded solo at United Sound Studio in Detroit with his electric guitar and a mic’d wooden platform to stomp on. I hear echoes of White’s “Shake Em On Down” in Hooker’s trance-like drones and boogies. His early sound is distinct from the Chicago sound, but his importance in the development of the electric and Chicago blues is unquestionable.

Origins: Robert Johnson, “I Believe I’ll Dust My Broom” (Vocalion; Columbia), 1937

Elmore James, Blues After Hours (Crown), 1960 (full album)

James’s use of amplification on Delta blues-style slide guitar resulted in thrilling music. His aggressive slide playing and energetic, pained vocals make James one of my favorites. James’s songs have been compiled, re-compiled, and reissued in so many combinations that it’s hard to keep track of which albums have the same songs, but they are always worth picking up and listening to.

Origins: Fred McDowell/Johnny Woods, “My Babe” (Revival; Rounder), 1971; 1976. Although recorded in 1967 and written by Chicago bluesman Willie Dixon in the 50s, this song is played here as raw and authentic Delta blues from the 30s and before.

Little Walter, The Best of Little Walter (Chess), 1957 (side 1)

Little Walter was Muddy Waters’ harmonica player and good friend. An important part of the Chicago scene and Chess Records, he was the first to play his harp through an amplifier. This album alternates instrumentals and Walter singing.

Origins: Charley Patton, “High Water Everywhere Part I” (Paramount; Yazoo), 1930; 1971. The most popular Mississippi Delta blues player of his time and influential to all those who came after him, Patton was known for his powerful, gritty voice and guitar tricks such as throwing it in the air and flipping it around while playing.

Howlin’ Wolf, Moanin’ in the Moonlight

(Chess), 1959 (full album)

Chester Arthur Burnett, better known as Howlin’ Wolf, had a powerful, growling blues voice that is often described as primeval and frightening. He befriended and learned the blues from Charley Patton, learning the songs as well as Patton’s showmanship and guitar tricks. Some of Howlin’ Wolf’s songs, including “Smokestack Lightnin’” on this album, have become blues and rock standards.

Origins: John Lee “Sonny Boy” Williamson, “Desperado Woman” from Sonny Boy Williamson Vol. 3 (Blues Classics 24), 1972 (recorded 1944). A singer who helped develop the Chicago sound by making the harmonica a lead instrument and playing with a full amplified band, including piano stylings like those Otis Spann would later perfect.

Otis Spann, The Bottom of the Blues (Bluesway/ABC), 1968 (full album)

Muddy Waters’ piano player also had an incredible voice and made many great solo blues records (including one with Fleetwood Mac as his backing band). Muddy plays guitar on this album, along with other Chicago blues luminaries, and Spann’s wife Lucille sings on several tracks.

Big Mama Thornton, Sassy Mama! (Vanguard), 1975 (side 2)

Willie Mae “Big Mama” Thornton sang R&B and early rock n roll (she recorded “Hound Dog” before Elvis) in addition to straight ahead blues. She recorded an album with Muddy Waters’ band that is pure Chicago blues. This album from her later career brings together some of those different influences. There is Chicago blues here but also a honking tenor sax and some infectious funk basslines.

Willie Dixon, I Am The Blues (Columbia), 1970 (full album)

Willie Dixon is most known as a blues songwriter and producer in Chicago and the Chess Records world. He was one of the most prolific blues songwriters during this time, and he wrote many of the most well-known songs from this era of Chicago blues. Many of the songs on this album were first recorded by other artists and are recognizable blues standards. They are all written by Willie Dixon.

Muddy Waters, Hard Again (Blue Sky), 1977 (side 1)

This was Muddy’s first album after leaving Chess Records. It was produced by Johnny Winter on his Blue Sky label and played on by Winter and members of his backing band. The younger musicians were thrilled to be playing with Muddy Waters and the enthusiasm comes through in their playing and whoops and hollers, as well as in Muddy’s strong performance after seeming to have lost his mojo for awhile. Many considered it a comeback album for him.

Origins: Robert Johnson, “Sweet Home Chicago” (Vocalion), 1936

Introductory Series: Deep Dive Into the Soul of the Original Chicago Blues

Jon Ponder at The Overland, April 3, 2024