As one half of what was the easily most popular blues team of the Pre-War era, Scrapper Blackwell tasted the fruits of fame and fortune early in his career. His partnership with pianist/vocalist Leroy Carr turned in more ‘race record’ hits for Vocalion than any other act in the label’s talent stable. Sadly the duo’s relationship, both professional and personal, eventually soured when the dual sins of hard liquor and hard living caught up with them. They consigned Carr to the coroner and forced Blackwell to hit the bricks in search of work after a brief and ultimately fizzled solo stint with Bluebird. A quarter century passed until this gig for the Prestige subsidiary Bluesville marked another brief, but welcome return to the recording arena.
Taped at Rudy Van Gelder’s Englewood Cliffs studio, there is a surprisingly coarse edge to the session that works well with Blackwell’s rough, unadorned style. His picking chops are largely intact and his stentorian strums ring out with a healthy immediacy on such standard melancholy fare as “Blues Before Sunrise” and “Nobody Knows You When You’re Down and Out.” Whether he’s singing a humorous retooling of the old nursery rhyme “Little Boy Blue’ or recounting the bleak existence of life lived in the wardrobe of prison grays (“Penal Farm Blues”), his skillful fretwork frames each tune with a perimeter of dynamically placed chords. The two instrumental blues (each named for its respective root key) offer the most telling evidence of his sustained prowess. His hoarse, world-weary voice suggests the most noticeable toll the years had taken on his sound. Gone is the cocksure inflection inherent in his youthful sides cut for Bluebird. In its place is the mature depth and resignation of a man who’s survived a litany of hard times.
“Little Girl Blues” and “Shady Lane” give Blackwell’s piano abilities some purchase and he shows himself a competent, if not particularly adventurous practitioner. As a swan song for one of the most instrumental figures in early blues, this Prestige date is a model of both taste and distinction. Recorded when Blackwell’s powers were still up to par, it stands in strong contrast to the trend that exists today where artists far past their prime are still encouraged to retread tired material as the tapes roll on.
I was first exposed to jazz in 1961 (at age 10) when I was in a shopping arcade in Southport, England with my parents. I fell in love with the music playing over the PA system; Take Five by the Dave Brubeck Quartet
I was first exposed to jazz in 1961 (at age 10) when I was in a shopping arcade in Southport, England with my parents. I fell in love with the music playing over the PA system; Take Five by the Dave Brubeck Quartet. After going through Rock 'n Roll, the Beatles and Heavy Metal/Hard Rock phases over the next eight or so years, I finally bought my first jazz album; We're All Together Again for the First Time by Dave Brubeck, Paul Desmond and Gerry Mulligan. I was hooked on jazz, and still am 40+ years later.
I moved from England to the USA in 2002, and founded the Brookfield Jazz Society in 2005.
I became editor of the quarterly IAJRC Journalin 2012. The magazine goes to the worldwide membership of the IAJRC (International Association of Jazz Record Collectors) and many major libraries and educational establishments around the world.
As well as being the editor of the IAJRC Journal, I write about jazz and review CDs, vinyl, DVDs and books on jazz.
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