---------- Forwarded message ---------
From: Henry's Blueshouse <admin@xxxxxxxxxxxxxxxx>
Date: Tue, Apr 13, 2021 at 3:54 AM
Subject: Blues Girls With Attitude, Brewer's Droop and Little Brother
Montgomery
To: <jakecat39@xxxxxxxxx>
Henry's Virtual Blueshouse #
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*Henry's Virtual Blueshouse #**54*
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Blues Girls With Attitude
One afternoon back in 1973, I took an unexpected telephone call. It was
Victoria Spivey.
Considering that we had only previously been in contact by letter, and that
had mostly been about business, she was remarkably chatty, friendly and
most entertaining. She was telling me about the guys she had worked with –
remarkably she had recorded with Louis Armstrong who she toured with in the
1930s, King Oliver, Luis Russell, Clarence Williams as well as so many
great bluesmen.
The conversation must have gone on for nearly an hour, so long that I
beginning to worry about the telephone bill she was running up. Suddenly
she said that she had better ring off now, she was using “the phone of the
guy who runs the drug store on the corner”.
Despite the best of intentions, we never did manage to get that tour
together, it would have been a real high-spot for Big Bear.
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Victoria Regina Spivey was one of God’s more interesting characters.
Equally at home in jazz and blues settings, she sang, played piano, was a
prolific and witty songwriter, an inveterate tourer who worked right up
until the end, a shrewd businesswoman, one-time club owner and ran her own
Spivey Records label.
Born in 1906 in Houston, Texas where her father, Grant, played in the
family string band, she was one of eight children, at least three of which
were singers. She showed an early interest in piano and by the age of seven
was entertaining at local parties and in bars.
By the time she was twelve she was playing piano at The Lincoln Theatre in
Dallas and it wasn’t long before she was appearing in Vaudeville and
barrelhouses, often teamed with her two sisters, Elton Island Spivey, known
as The Za Zu Girl and Addie Spivey, known as Sweet Peas.
Still in her teens, Victoria was appearing in Galveston and Houston’s
saloons, gambling clubs and houses of ill-repute with Blind Lemon
Jefferson, she reached St. Louis, Missouri in 1920 and recorded for Okeh
Records. She stayed in the city as staff writer for the St Louis Publishing
Company.
Back on the road, sometimes calling herself Queen Victoria, no doubt in
reference to her middle name, appearing revues, in the Minsky Burlesque, at
Smalls Paradise and The Apollo and recording in 1929 in New York for Victor
Records. Somewhere along the way, in 1936, she recorded for Decca in
Chicago using the name Jane Lucas – there must be a story there.
She appeared as Missy Rose in the all black musical movie “Hallelujah” and
was featured in musicals including “Hellzapoppin”. In 1950 Victoria retired
to sing, play pipe organ and lead the choir in church, but by the end of
the decade was back playing countless one-nighters, many of them with her
then husband [she had a total of four] the dancer Billy Adams.
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In 1962 she launched Spivey Records and recorded, amongst others, Muddy
Waters, Otis Spann, Sippie Wallis, Roosevelt Sykes and a young Bob Dylan
singing backing vocals and playing harmonica with Spivey herself and Big
Joe Williams. The following year she toured Europe with The American Folk
Blues Festival and appeared on French and UK TV.
Spivey wrote dozens of songs. The first recorded was “Black Snake Blues”
for Okeh in 1926. Her “TB Blues” drew attention to the 1920s prevalence of
the disease, maybe her “Dope Head Blues” was the first to warn against
cocaine use while her “Organ Grinder Blues was a comment on the erotic.
Victoria Spivey died in New York in 1976, nowhere near as well-known as her
talent warranted.
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OK, I know that Wanda Jackson is generally considered to be a rock and
roll/rockabilly pioneer, but anyone who tells her rival in love to “take
your cotton-picking fingers outta his curly hair” [“Hard Headed Woman” -
1960] with such conviction is in my opinion, worthy of attention. Anyway,
who cares about labels?
Born in Maud, Oklahoma in 1937, Wanda Lavonne Jackson, now 83, was
musically active until 2019 when she announced that she was retiring - but
still working on her next album!
She played guitar from childhood, but got her sense of musical direction
when her father took her to a show featuring Spade Cooley, The Western
Swing bandleader, actor, TV personality and convicted murderer.
Wanda was discovered while still at high school by Hank Thompson who
invited her to sing with his band and in 1954 went on the road sharing the
bill – and having an affair with – Elvis Presley. That alone should have
guaranteed a degree of fame.
She toured extensively, recorded prolifically including the “Rock and Roll
Your Blues Away” for Rounder Records. The 1980s Rockabilly Revival boosted
her career, she featured in the London Rock and Roll Festival with Jerry
Lee Louis and recorded the album “The Party Ain’t Over” with White Stripe’s
Jack White.
That made it to #58 on the Billboard chart. In 2009 she was inducted into
the Rock and Roll Hall of Fame.
Personally, I’m rather tickled by her recording “Fujiyama Mama” which made
#1 in Japan, a fiery tale of violence threatening death, or at least
assault, for cheating in a relationship. “You can talk about me, say that I
am mean, I’ll blow your head off baby with nitroglycerine.”
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Merline Johnson, born somewhere in Mississippi in 1912 was known as The Yas
Yas Girl. “Yas Yas” was apparently a euphemism in hokum blues language for
buttocks.
She was the aunt of Lavern Baker, was active in the 30s and 40s, and
recorded the first of her 90 or so songs, “Send It To The Devil”, in 1937.
Unsurprisingly, she specialised in sometimes bawdy but tough juke joint
blues, often accompanied by Big Bill Broonzy, Lonnie Johnson, Blind John
Davis on such titles as “I’d Rather Be Drunk”, “Don’t You Make Me High”, “I
Just Keep On Drinking” and “Drinking My Blues Away”. There seems to be a
theme here.
Her last recordings were made in 1947. There seems to be no record of her
dying, which would make her 109 today. Who said that drinking was bad?
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Lizzie Douglas, better known as Memphis Minnie, was born in Algiers,
Louisiana in 1897, the oldest of 13 children. When she was eight, her
parents bought her a guitar for Christmas and a year later relocated to
Wall, Tennessee.
At thirteen she ran away from home to Memphis, playing guitar and singing
for dimes on Beale Street. She joined The Ringling Brothers Circus where
she stayed from 1916 to 1920 touring mainly in the south before returning
to the thriving Beale Street.
She was performing in front of a barbershop with Kansas Joe McCoy when they
were heard by a Columbia Records talent scout who took them to New York to
record. It was Columbia who gave them the names Memphis and Kansas.
Minnie was to record over 200 sides for Columbia, Okeh, Vocalion and Decca,
many with Joe McCoy. Some of her songs have been subsequently recorded by
such folk as Jefferson Airplane, Led Zeppelin – even Donovan.
Although she liked to appear feminine and ladylike to her audience, it was
said that she would never shy away from a fight. Johnny Shines said “any
man fool with Minnie, she’d go for them right away. Guitar, pocket knife,
pistol, anything she got her hand on, she’d use it”.
Homesick James remembered that she chewed tobacco all the time even when
singing and always had a cup at hand in case she wanted to spit.
Memphis Minnie, maybe the most popular country blues singer of all time,
spent her final years in the Jell Nursing home in Memphis where she died
penniless in 1973, age 76. In 1996, a headstone, paid for by Bonnie Raitt,
was erected by The Mount Zion Memorial Fund, with 34 of her family members
present at a Ceremony that was recorded by the BBC.
*Jim Simpson*
*We've compiled the soundtrack from this feature into a handy **Youtube*
<http://xrvu4.mjt.lu/lnk/AMwAAJ2stK0AAAAAjEIAAACgR6QAAAAAIusAABWFABbimABgdU4cPp9Vfx7oTLm-KOkIEn6jqAAWgek/7/7mtGL5oo4Fsqscl3SWpoKQ/aHR0cHM6Ly95b3V0dWJlLmNvbS9wbGF5bGlzdD9saXN0PVBMaWxhTEJJWjFPUDNrWGFPV2hIYkVIdzlfUGNnMnhTZ1c>*
and **Spotify*
<http://xrvu4.mjt.lu/lnk/AMwAAJ2stK0AAAAAjEIAAACgR6QAAAAAIusAABWFABbimABgdU4cPp9Vfx7oTLm-KOkIEn6jqAAWgek/8/YNa1m1gh7sz3RADoYI2ILg/aHR0cHM6Ly9vcGVuLnNwb3RpZnkuY29tL3BsYXlsaXN0LzdwaVpKdW9XWmZ6UGR4N0FHcVNwSk4_c2k9ZmdlUWhJQ2RUVVdhT2tsTXVBajAyUQ>*
playlist for your listening pleasure.*
*Click Here To Listen*
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Notes From Finland and Bavaria
Another response to *our Mickey Baker feature*
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this time from Pertti Nurmi who sent this photograph of Mickey and the note
“Great Story On Mickey. Thank you. I’m attaching a vintage photograph by
Yours Truly of him here, in Helsinki, in May 1972.”
Meanwhile, *former Spencer Davis Group drummer Pete York*
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who also played on *many of Big Bear's 70s blues recordings*
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wrote in from Munich to say:
"It was a great experience for me to play on *Mickey's fine album*
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We learn from such meetings and I'm grateful I had such chances in my life."
*Click Here to Listen To Take A Look Inside by Mickey Baker*
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*For more blues stories, playlists, videos and details of upcoming gigs,
head over to the **Henry's Blueshouse website.*
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*Visit The Henry's Website*
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More On The Droop
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Anyone who heard the High Wycombe-based cajun and rhythm and blues band
Brewer’s Droop will remember them for not only the music but also for the,
shall we say, slightly unusual stage performance which featured a four-
foot polystyrene phallus. This was the speciality of the somewhat
outrageous singer, and bandleader, Ron Watts.
Steve Darrington focussed on the music – and still does as the organiser of
the splendid *Swanage Blues Festival*
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He played piano, harmonica and accordion as well as contributing vocals,
and he wrote to the Bluesletter this week:
“Hiya, just a line to say how much I’m enjoying your Henry’s Bluesletters.
In these difficult times of self-isolation for some of us, your words lift
my spirits and remind me of the many great times under the management of
the Big Bear himself!
Thanks Jim, I didn’t appreciate you as much at the time as I now realise I
should have done. But I’m truly grateful.
Top man and thank you. Wishing you all the best.”
*Steve Darrington, Swanage Blues Festival*
*Swanage Blues Festival returns for 2021 over the later than usual dates of
30th September-3rd October. **Sign up to their mailing list*
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for more updates on lineup*
*Sign Up To The Swanage Blues Mailing List*
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Look Out For The Catfish Kings
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Harry Lang, singer and guitarist with The Catfish Kings – see them at *Henry’s
Botanical Blueshouse*
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on Sunday June 6th - was formerly the man behind 70s Brum Rhythm & Blues
Band Bullets. Readers will remember that the Bluesletter recently re-told
the tale of Bullets and Big Bear Records tussle with The Sun newspaper who
objected to the band’s single “*Girl On Page Three*
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on the basis that it infringed their copyright.
Harry wrote this week to say “Fame at last! A more-than-just a namecheck in
your book. Thank you for those few kind words, couldn’t have put it better
myself.
I remember being very impressed when no-one at the Sun would take your
calls and you put them on a deadline to reply – to which they responded!
That’s the way to do it!
Also got more publicity than if they hadn’t said anything – always happens.”
Little Brother Montgomery
*This week The Nitecrawlers remember a scandalously overlooked blues piano
great....*
Way back in the 20’s Little Brother Montgomery was working the ivories
round the rough, tough turpentine and logging camps. Then he was up in
Chicago recording well before the depression, then he was leading his own
big band back down South.
He influenced the Chicago pianists Sunnyland Slim and Otis Spann, and was
right there as the West Side sound took shape, and in between all of that
he was working as a trad jazz pianist around the Windy City. So no wonder
us Nitecrawlers rate Little Brother as one of the more significant and
important pianists of the blues scene.
Eurreal Wilford Montgomery grew up in a honky-tonk that his father ran in
Kentwood, a company sawmill town way across the lake from New Orleans. He
was hardly five years old when he learned piano from ex New Orleans pimp
and full time bull-shit star Jelly Roll Morton, a regular performer at the
Kentwood honky-tonk. “I used to watch Jelly Roll playin’ for my father”
recalled Little Brother.
He found it easy to pick out tunes on the piano so at an early age Little
Brother was playing long hours for low pay round the work camps and jukes.
It was the only entertainment for those loggers, and dangerous work.
“Oh they was rough places” he recalled. “Me and Little Brother used to play
a place called Electric Mill” remembered Big Joe Williams “they’d have
fights ‘n’ cuts and sometimes they’d kill somebody and never stop gambling.”
But the footloose Little Brother saw no future in any of that so he upped
and left, “when I was eleven years old I ran away from home and I been on
my own ever since” he said, “I hoboed, riding the free train.”
That was something that a keyboard man could do if he knew where to find
the piano bars, just quietly hop on a freight train and wake up in another
town. “First job I had was eight dollars a week room and board” he
remembered. “I was playin’ in honky-tonks and barrel-houses where people
gamble you know.”
Little Brother eventually found his way backdown to Louisiana for a while
staying around Ferriday and Vicksburg. He and two other pianists Robert and
Ernest Johnson worked a boogie piano style known as ‘Dudlow Joe’ into ‘The
‘44’s” one of the toughest of barrelhouse styles, which Little Brother
transferred up to Chicago when cutting his first discs for Paramount, the
classy “Vicksburg Blues” and “No Special Rider.”
But the depression drove him back down South once again where he took to
running his own band and working the chittlin’ circuit first out of
Bogalusa and then Jackson while his girlfriend chipped in by madaming a
whorehouse on Farish Street.
Finally Little Brother got himself a record contract with the notorious
Lester Melrose at Bluebird and after putting down an incredible eighteen
sides in a single session at the St Charles Hotel in New Orleans, Little
Brother was persuaded to return to Chicago and this time for good.
It was no problem getting good work round the city’s electric blues joints
or regular trad jazz haunts. Little Brother became a major influence on all
of the up and coming keyboard men, performed as sideman for pretty much
everybody on Southside from Tampa Red to Big Joe Turner, and was a big part
of the new Westside Sound, touring with Otis Rush and recording one of his
own ground-breaking compositions “First Time I Met The Blues” with Buddy
Guy.
Inexplicably, Little Brother Montgomery somehow seems to have gotten a
little bit lost in blues history, but for us Nitecrawlers a long
distinguished career and a sweet, mellow, disciplined style of working
those 88’s more than justifies his place with the biggest and best in the
annals of the blues.
Part Of The Union
We’re proud to work with the Musician’s Union to keep music live – to find
out how you can support their campaigns and join the union for just £1,
visit their website.
*Join The MU*
Don't Worry 'Bout The Bear
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Out now from Brewin Books, "*Don't Worry 'Bout The Bear*
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tells the story of Jim Simpson's first 60 years in the music business,
including the original Henry's Blueshouse, meeting and photographing some
of the great names of blues and rock'n'roll and touring American Blues
Legends through the UK and Europe.
*Order Your Copy Here*
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PO Box 944 Birmingham B16 8UT GB
