As noted in the write-up of his collection of recordings for Alan Lomax, I have a particular affection for the Fred McDowell records where he has a foil.  It seems he gets a particular enjoyment from working with collaborators that gives those sessions a spark.

This session with the Hunter’s Chapel Singers has a variety of singers and several songs / approaches that diverged from his usual recorded repertoire, help to give it a spontaneous feel.  It’s also notable that McDowell, a musician with such a strong, instantly identifiable instrumental voice, can shift to the role of sensitive accompanist.  Further speculation: Como Mississippi is a fairly small community --- what were the roles / social standings of these singers?  Might that account for McDowell's occasionally deferential sound here?  And really, who wouldn't defer to some of these outstanding singers?

One of my all-time favorites.  Hear a couple songs and see if it might be one of yours: 

http://www.youtube.com/watch?v=pIMPKkOhGzs

http://www.youtube.com/watch?v=KI9PLYfAtbo

“One of the truly legendary releases in the cannon of the man who defined modern Hill Country Blues, Amazing Grace finds Fred McDowell playing with the Hunter's Chapel Singers in Hunter’s Chapel of Como Mississippi. This 1966 release originally on Testament was one of the few records producer Jim Dickinson took with him to every recording session to make sure there was always some REAL SHIT present. The recordings also features Fred’s wife Annie Mae. McDowell and company perform what the record subtitle calls ‘Mississippi Delta spirituals’ on this stark and moving set, which includes a version of one of his signature tunes, 'You Got to Move.' On 180 gram vinyl.” – Sutro Park

Wild-ass guitar/harmonica throwdown recorded by George Mitchell in 1967. Can’t be beat. 180 gram pressing.