In recent years Delmark has stepped up their efforts in the reissue department in particular. Ongoing efforts have resulted in the release of an amazing bounty of classic Chicago sessions originally circulated through the constellation of independent labels that comprised earlier incarnations of the city’s music industry. The catalogs of classic labels such as United and Apollo continue to be mined for their precious musical ore.

In April of 2000 the Delmark team turned their attentions to a label outside their usual jurisdiction- The Euphonic Sounds imprint initiated by publisher Paul Affeldt in the early 1950s and originally based in Southern California. Affeldt’s musical affections drew him like a magnet to classic blues, jazz and gospel and he recorded a host of artists in cities such as St. Louis and Chicago. The first four releases in Delmark’s new Euphonic line illustrate just how broad Affeldt’s interests were.

Sister Elizabeth Eustis- Walk With Me

First in line is a timeless Gospel session by Sister Elizabeth Eustis. Only four of the sides gathered here were originally released, and these were made available on now incredibly rare 45rpm pressings. The remaining nine songs from the date are now joined with those initially issued and together they form a joyous program of music. In the company of strident piano, evangelic organ, understated double bass, the keening soprano voice of Alverta Mills and a small accompanying vocal choir, Eustis ranges through a galvanizing string of gospel standards both common and recondite. Eustis made her home in New Orleans, the birthplace of Mahalia Jackson, arguably the most accomplished gospel singer of all time. But rather than ranging far from her home she spent her days singing both in local churches and over the radio for most of her years. The day-in, day-out nature of her repertoire and style translates directly into the moving momentum of these performances which range from stomping, almost barrelhouse, spirituals (“Just A Little While,” “Joshua Fit The Battle Of Jericho”) to more reflective meditations on the Lord (“A Sinner’s Plea,” “Old Rugged Cross”).

On a facsimile of her calling card included in the accompanying booklet Eustis proclaims- “Prayer Changes Things.” So does this music in the way of perceptions toward gospel music as simply pious or preachy. There’s real emotion being transmitted here that transcends denomination and personal belief. If the message moves you, all the better, but even if not there’s still a great deal here to enjoy if you’re willing to take the risk.

Tracks: In My Home Over There/ My Heart I Fixed Alright/ A Sinner’s Plea/ The Last Mile of the Way/ Just A Little While To Stay Here/ Old Rugged Cross/ Joshua Fit The Battle of Jericho/ Faith and Grace/ He Knows My Heart/ It Is No Secret/ Walk With Me/ The Silent Communion of Prayer/ Lord, Lord, Lord, You Certainly Been Good To Me.

Players: Sister Elizabeth Eustis- vocals; Richard Peterson- piano; Ruby Mae Summers- organ; John Joseph- bass; Alverta Mills- soprano; unknown vocal choir.

Recorded: May 2, 1962, New Orleans, LA.

Charles Thompson- The Neglected Professor

Affeldt’s interests in early jazz and blues extended into the realm of Ragtime and as a producer he made it his creed to record as much of the music as possible. Charles Thompson was one of his great finds, a man who studied under James P. Johnson and later in life had the distinction of besting Tom Turpin, the previously undisputed heavyweight champion of Ragtime piano. The sides gathered on this collection date from the twilight of Thompson’s career and find the pianist roasting many of the chestnuts of his voluminous repertoire to a fine mahogany hue. All of the pieces were recorded informally and both the sequencing and the relaxed, conversational style of Thompson’s playing lend the performances a feeling of being present at a highly congenial parlor concert in the company of friends. It’s an atmosphere in many ways akin to listening to Art Tatum’s work on Verve’s 20th Century Piano Genius, though Thompson was admittedly working within a much less varied idiom and was a far less accomplished improviser.

Over the run of the twenty-six tracks he references a multitude of melodies often twisting and dissecting them to his own devices while still staying true to a basic rag structure. Polite applause from the attending audience appends the majority of tunes. Considering the origins and vintage of the recordings, they’re also surprisingly free of surface noise and static. Being witness to Thompson’s fertile improvisational intellect is indeed a treat, but the sameness of the material does tend to wear thin after awhile. Fortunately with the aid of technology the performances can easily parsed up and digested in morsels rather than as a one-sitting meal. Ragtime aficionados will most likely be the ones especially pleased with this release, but anyone with affection for colorful and faithfully rendered classic piano rags will definitely find something here to enjoy.

Tracks: Lily Rag #1/ Delmar Blues/ When Sambo Goes To France/ Delmar Rag (alt)/ The One I Love/ Centennial Rag/ The Dream/ Dicty’s On 7th Avenue/ Lingering Blues/ Carolina Shout/ Five Foot Two/ St. Louis Blues/ 12th Street Rag/ Maori/ Derby Stomp/ Leola (Two-Step)/ Lily Rag #2/ Brother-In-Law Dan/ Delmar Rag/ St. Louis Blues (alt)/ When Sambo Goes To France (alt)/ How Deep Is the Ocean/ Go Back Where You Stayed Last Night/ Tennessee Waltz/ Chimes Blues/ Lily Rag #3.

Biddle Street Barrelhousin’

For pianistics of a decidedly coarser texture this compilation may prove difficult to usurp. During the 1920s and 30s the beer joints that lined Biddle Street in St. Louis were home to some of the fiercest barrelhouse players on the planet and this disc gathers sides cut by five of the rawest and most ebullient. By the time these performances were waxed in the 1950s, the scene had somewhat subsided, but fortunately the skills of those featured here had not suffered much as a result. Speckled Red, the older brother of Piano Red, is on deck first and serves up three enthusiastic tunes, each one bookended by historical asides from the pianist himself. Fast rumbling chords fly from his keys as he barks out rough vocals above.

By contrast Henry Brown has a lighter, if more haphazard, touch behind the keyboard and opts to eschew vocals on “21 Street Stomp,” but pulls out the stops in a spoken dialogue with himself on the feisty “Goin’ Down to Becky Thatcher.” Crutchfiled follows closely on his heels with “Levee Blues” playing blocky clusters in a wholly personal meter before he opens his mouth and commences with a sad-voiced lamentation punctuated by stabbing fills. “Blow North Wind,” benefits from the addition of a drummer on mush-mouthed brushes who provides supportive rhythmic counterpoint to Crutchfield’s laconic scat-singing. Lawrence Henry, whose style is far more rhapsodic than his peers and the dubiously monikered “Stump” Johnson round out the rogues’ gallery with two pieces apiece.

There have been a number of enjoyable classic Barrelhouse compendiums assembled in recent years (the two-volume Down In Black Bottom set on Yazoo springs to mind), but this new one holds it own against its precursors both in terms of variety and quality. Barrelhouse piano is an all but lost discipline and hearing these journeymen players unpolished and in their element is a superlative treat.

Tracks/Players: Speckled Red: Oh, Red!/ Dad’s Piece/ Goin’ Down Slow. Henry Brown: 21st Street Stomp. James Crutchfield: Levee Blues/ Blow North Wind/ How Long Blues. Speckled Red: Milk Cow Blues/ Black Gal. James Crutchfield: Black Gal/ Ora-Nelle Blues/ Pearly Mae Blues. James ‘Stump’ Johnson: Snitcher’s Blues/ Blues For Lindy. Lawrence Henry: St. Louis Blues/ Memphis Blues. Henry Brown: Goin’ Down To Becky Thatcher. Speckled Red: All On Acount of You/ Wilkins Street Stomp.

Piano Red- Dr. Feelgood

Piano Red, the younger brother of Speckled Red, was a surprisingly prolific pianist who recorded numerous Barrelhouse sides as well other kinds of Blues. One of his first gigs was as Blind Willie McTell’s accompanist, but these tunes date from much later. Though the playing time is a little paltry, ringing in at just over thirty minutes, there’s still plenty of absorbing music to be had. Red works through his repertoire of the day with a laid-back strategy systematically touching on his major hits as well as a few obscurities. “Boogie Time” works off some clever suspensions of the rhythmic line. Given it’s title “Jump, Man Jump” is curiously reserved. Red seems to derive special pleasure belting out the lyrics on “Coochi,” a thinly disguised sobriquet for sex.

There’s a far more exhaustive and varied set by Red available on Arhoolie (Atlanta Bounce) but this good-natured collection works as a valuable addendum to that earlier release. Red’s the genuine article and it’s a shame that his music isn’t more widely touted. The advent of this disc will perhaps stem the tide of disinterest and more folks will discover the authentic sounds he was famous for laying down. The same goes for the rest of the musicians unearthed by the Euphonics Series and the possible resurgence in interest in these largely forgotten artists is one of the project’s chief aims. I for one am looking forward to future releases if these four inaugural offerings are any indication of what’s in store.

Tracks: Dr. Feelgood/ Boogie Time/ Low Down Dog Blues/ Jump, Man Jump/ Coochi/ I Know You Care For Me/ Think She Ain’t/ We’ll Have a Good Time Tonight/ Please Don’t Talk About Me When I’m Gone/ Comin’ On/ Let’s Fall In Love/ Barrelhouse Boogie.