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Post by Admin on Apr 2, 2013 16:31:57 GMT -5
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Post by AlanB on Apr 3, 2013 4:27:51 GMT -5
Recorded for Decca Thursday 29 April 1937 by which time Sykes had been recording for seven years. He cut a second version the following year.
Lee Green - under the pseudonym of Perry Weston - did it for Vocalion 2nd September 1937.
Big Bill Broonzy recorded it for Vocalion in May 1938.
It became a "standard" with post war pianists.
Now having bored you all I shall take my leave.
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Post by Admin on Apr 3, 2013 11:00:24 GMT -5
Recorded for Decca Thursday 29 April 1937 by which time Sykes had been recording for seven years. He cut a second version the following year. Lee Green - under the pseudonym of Perry Weston - did it for Vocalion 2nd September 1937. Big Bill Broonzy recorded it for Vocalion in May 1938. It became a "standard" with post war pianists. Now having bored you all I shall take my leave. Thanks Alan for filling in the blanks. Do you have the complete score?
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Post by AlanB on Apr 3, 2013 11:25:51 GMT -5
Do you have the complete score? I don't but I might know a man who does. I'll enquire.
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Post by cliveianholloway on Apr 3, 2013 14:13:09 GMT -5
Recorded for Decca Thursday 29 April 1937 by which time Sykes had been recording for seven years. He cut a second version the following year. Lee Green - under the pseudonym of Perry Weston - did it for Vocalion 2nd September 1937. Big Bill Broonzy recorded it for Vocalion in May 1938. It became a "standard" with post war pianists. Now having bored you all I shall take my leave. Not bored - I find the names Roosevelt Sykes and Lee Green extremely exciting
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Post by Admin on Apr 6, 2013 16:49:16 GMT -5
Recorded for Decca Thursday 29 April 1937 by which time Sykes had been recording for seven years. He cut a second version the following year. Lee Green - under the pseudonym of Perry Weston - did it for Vocalion 2nd September 1937. Big Bill Broonzy recorded it for Vocalion in May 1938. It became a "standard" with post war pianists. Now having bored you all I shall take my leave. Not bored - I find the names Roosevelt Sykes and Lee Green extremely exciting Tell us more Clive about Lee Green. I really hadn't heard a lot of him, but I love this
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Post by Admin on Dec 30, 2013 12:18:11 GMT -5
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Post by Admin on Jan 10, 2014 5:25:59 GMT -5
Roosevelt Sykes gets my nod as the greatest of all blues pianists. Lee Green taught Sykes a lot and he began a lengthy recording career that continued until his passing while holding down a regular gig in New Orleans. With his boisterous vocal style one can imagine how he jumped the crowds at the barrelhouses, juke joints and other clubs. He is associated with “Honey Dripper Blues,” “Mistake in Life,” Driving Wheel,” “Sunny Road,” and his “Sweet Old Chicago,” derived as much from “Original Kokomo Blues” as “Sweet Home Chicago,” inspired Junior Parker and Magic Sam to revive “Sweet Home Chicago.” Of course he did his own definitive rendition of “Forty Four Blues.” He was equally superb solo and in small jump blues combos. One of my favorite Delmark albums is his “Feel Like Blowing My Horn,” with his friend Robert Lockwood Junior and others.
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Post by AlanB on Jan 10, 2014 6:51:42 GMT -5
Roosevelt Sykes gets my nod as the greatest of all blues pianists. Lee Green taught Sykes a lot and he began a lengthy recording career that continued until his passing while holding down a regular gig in New Orleans. With his boisterous vocal style one can imagine how he jumped the crowds at the barrelhouses, juke joints and other clubs. He is associated with “Honey Dripper Blues,” “Mistake in Life,” Driving Wheel,” “Sunny Road,” and his “Sweet Old Chicago,” derived as much from “Original Kokomo Blues” as “Sweet Home Chicago,” inspired Junior Parker and Magic Sam to revive “Sweet Home Chicago.” Of course he did his own definitive rendition of “Forty Four Blues.” He was equally superb solo and in small jump blues combos. One of my favorite Delmark albums is his “Feel Like Blowing My Horn,” with his friend Robert Lockwood Junior and others. What is rarely mentioned is that 3rd November 1930 he recorded a song entitled Cotton Seed Blues which in later decades became a "blues standard" under the title of Cotton Crop Blues.
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Post by Admin on Jan 10, 2014 6:59:46 GMT -5
Roosevelt Sykes gets my nod as the greatest of all blues pianists. Lee Green taught Sykes a lot and he began a lengthy recording career that continued until his passing while holding down a regular gig in New Orleans. With his boisterous vocal style one can imagine how he jumped the crowds at the barrelhouses, juke joints and other clubs. He is associated with “Honey Dripper Blues,” “Mistake in Life,” Driving Wheel,” “Sunny Road,” and his “Sweet Old Chicago,” derived as much from “Original Kokomo Blues” as “Sweet Home Chicago,” inspired Junior Parker and Magic Sam to revive “Sweet Home Chicago.” Of course he did his own definitive rendition of “Forty Four Blues.” He was equally superb solo and in small jump blues combos. One of my favorite Delmark albums is his “Feel Like Blowing My Horn,” with his friend Robert Lockwood Junior and others. What is rarely mentioned is that 3rd November 1930 he recorded a song entitled Cotton Seed Blues which in later decades became a "blues standard" under the title of Cotton Crop Blues. Found on this album Take a listen on spotify play.spotify.com/album/2wF8Z0mVkmiTHPHQjB7Wdr
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Post by Admin on Jan 11, 2014 4:05:06 GMT -5
I found this article that discusses Roosevelt Sykes and John Brim recording for an obscure Random record label. It's also mentioned in the "Blues Before Sunrise: The Radio Interviews. home.earthlink.net/~v1tiger/johnbrim.html
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Post by JamesP on Mar 17, 2015 14:55:39 GMT -5
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Post by JamesP on Sept 15, 2015 10:00:14 GMT -5
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