New Arrivals and Selected Restocks - late 2011 / early 2012

US, outside New York $20.00 US, in New York $21.78

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Rev. Charlie Jackson (1932-2006) was a distinctly powerful guitar evangelist who devoted his life to singing and preaching the gospel, particularly throughout Louisiana and Mississippi. His 45s for the Booker and Jackson labels, with songs such as "God's Got It" and "Wrapped Up Tangled Up in Jesus," are frequently cited as a pinnacle of raw, impassioned, bluesy gospel music.

Beginning sometime around the early 1970s, he often documented the church services at which he participated with a portable cassette recorder. Over the years, he accumulated an extensive archive of recordings that were mostly made by himself, Frances Jackson, or Laura Davis Jackson, with a local professional occasionally hired to record a noteworthy service. These tapes would primarily serve as mementos, as well as tools through which he could evaluate his performances. Selections might have been included on the cassettes that Rev. Jackson sometimes sold, but it seems these were most often keepsakes for casual posterity. 

As one might expect from such informal recordings, idiosyncrasies abound. The recorder gets jostled, members of the congregation boisterously testify, and the microphone sometimes becomes overloaded. A few of the older cassettes needed to be repaired before they would even play.

Sonic quirks notwithstanding, these tapes contain a wealth of outstanding performances. They also provide a valuable opportunity to take a broad survey of Rev. Jackson’s music over roughly a 30-year period and obtain a much more detailed and vivid picture of the vibrant gospel community in which he traveled, something that was only hinted at by his commercial recordings. Listening to these performances, one can hear why Rev. Jackson was so in-demand: no matter the situation or the size of the congregation, he sounds fully engaged, with a sense of sacred duty.

This album is the first in a series of releases that will be drawn from this material. Future volumes will include examples of Rev. Jackson as an accompanist, often in seemingly spontaneous collaborations. Any information regarding singers and musicians who performed with Rev. Jackson is eagerly welcomed by 50 Miles of Elbow Room.

- First pressing of 550 copies on high quality RTI-pressed vinyl
- Beautiful old school "tip-on" Stoughton sleeves
- 8-page 9"x9" insert with extensive biographical notes
- Vol. 1 in a series of at least 3
- 50 Miles of Elbow Room is the sole distributor of this LP
- CD & digital versions will follow eventually

"Sounds of the South, Via Brooklyn," Wall Street Journal, Aug. 1, 2011

Tiny Mix Tapes review

More Rev. Charlie Jackson releases, including an original Jackson Records 45, here

Of the many pairs of brothers who performed old-time country music during the pre-war period, the lively, blues and hokum informed Allen Brothers is one of my favorites.  They had a great knack for booze and hard luck numbers, and some of their material had enough blues in it that Columbia Records marketed one of their records in their "race" series (which resulted in the Allens high-tailing it to Victor).  Hear for example "Rough Neck Blues": "I'd rather not be a society hound / I'd rather be called the bully of the town / I could put my feet right on the bar / Holler 'Whoopee boys, here we are!'" and "I don't care for society life / I'm happy lookin' for the other man's wife." A fun collection of spirited guitar/banjo/kazoo tunes.  Sealed copies.

Great to finally have the first ever reissue of this elusive free jazz classic from the Black Artists Group.  Man, Oliver Lake was on fire during this period: the Solidarity Unit LP (still in stock here), Human Arts Ensemble, Bob Reid’s “Africa is Calling Me,” etc.  Limited edition of 500 copies, with an extensive essay on B.A.G. written by Benjamin Looker, author of “Point From Which Creation Starts: The Black Artists Group Of St. Louis”.  Issued on Rank Records, who also reissued Arthur Doyle’s “Alabama Feeling” and a 2LP version of David S. Ware’s “Onecept”.  Out-of-print; last copies.

Personnel:

Joseph Bowie: trombone, conga, miscellaneous instruments
Baikida E.J. Carroll: trumpet, flugelhorn, bass, log drum, cowbells, miscellaneous instruments
Charles W. “Bobo” Shaw: drums, woodblocks, gong, miscellaneous instruments, stylophone
Floyd Le Flore: trumpet, miscellaneous instruments, voice
Oliver Lake: saxophones, flute, marimbas, mud drums, miscellaneous instruments

Bronze Horse is Zachary Hay and this is his debut LP, solo performances on mostly 4 and 6 steel string guitar, recorded in various locales from 2007-2009.  He doesn’t try to do too much, seemingly playing only the notes that really matter to him, and coming up with honest, exploratory music.  It almost sounds like you’re eavesdropping on him, playing music not meant to be formally presented, which in turn pulls the listener in.  Really nicely done, privately pressed and presented with obvious care: Stumptown sleeves, an insert of notes by Hay, and a hand-numbered edition of 305. Check out a track here: http://www.youtube.com/watch?v=VDKwhS5L4gY  Restocked yet again.  Out-of-print; last copies.

First album on Jalopy Records, released by the venue of the same name that’s located a short walk away from 50 Miles’ home base.  Edition of 500 red vinyl copies with liner notes insert, sounds great, very nicely done. 

“The Jalopy Theatre and School of Music proudly presents Pat Conte in the release of ‘American Songs with Fiddle and Banjo,’ the debut album of the brand new label, Jalopy Records. Pat Conte, a longtime musician and collector of world folk music (producer of The Secret Museum of Mankind series on Yazoo Records) has put together fourteen tunes, specifically arranged for the fiddle and banjo. The record spans old-time, primitive blues and archaic songs to celebrate the harmonious and traditional pairing of these instruments in American music. … Conte has performed with dozens of bands, most notably The Otis Brothers, Major Contay and the Canebrake Rattlers and The Empire State String Ticklers.” – Jalopy

“This is the third volume of work for Folkways by one of the most important acoustic guitarists of the 20th Century, originally released in 1965. Produced by musician Alice Gerrard and recorded by folklorist/musician Mike Seeger, When I'm Gone is the perfect introduction to the queen of folk-blues. An absolute classic lovingly reissued in a perfect replica of the original Folkways jacket and including a reproduction of the original information booklet.” – Folkways

Follow up to the Bronze Horse LP, by Zack Hay.  Numbered edition of 321, 180 gram vinyl, Stumptown sleeve.  Re-re-restocked!  http://www.youtube.com/watch?v=MdByFSStRNw

“Moving to the outer fringes of psych-folk, The Dove Azima is a deeply American recording. This solo project of Zack Hay has folk sensibilities much like John Fahey’s and hearkens to roots music from an era before the cultural tributaries of rock, country, and folk had parted ways. American avant-gardists have also crept much more into Hay’s sound since his last, more straightforward album, Bronze Horse. Hay himself had written of his interest in naïve experiences with guitar and he seems to have stumbled upon the steel string’s extended faculties a la Eugene Chadbourne; extended guitar techniques in general are almost never as visceral and hypnotic as they are on this LP, however. Hay’s detuned meditations can sometimes sound as weird as Jandek or sometimes lush and heady like Harry Partch’s microtonalities. Like a decayed American flag you found buried in the woods, The Dove Azima is one of the more brilliant pieces of Americana I’ve ever heard. It begs for many repeated listens and one oughtn’t neglect such a request.” – Nat Roe, WFMU

“The latest in our series featuring music from the Alan Lomax archives. The Georgia Sea Island Singers were a vocal group of unparalleled depth.  Some beautiful sorrowful a cappella songs, some raucous stompin' & shoutin' sessions, & even a couple tracks accompanied by a drum & fife band along with a banjo player.  Altogether a nice mix of material recorded in the homes & churches of this small community by Alan Lomax between 1959 & 1962.  This LP features 3 never before released tracks, an insert with liner notes by Nathan Salsburg & photographs & its all housed in an old school tip-on sleeve.” - Mississippi

Stark, brooding holiday blues from Jimmy "Duck" Holmes, a great Bentonia blues artist and proprietor of the Blue Front Cafe, one of the last jukes in the state.  "Duck's somber yuletide original 'Christmas Alone' is backed with a down-home version of 'Merry Christmas, Baby.'  Available on super cool red vinyl 45 housed in a nifty green sleeve." - Broke and Hungry.  Hear a bit: http://www.youtube.com/watch?v=fXDn5aPlmlU

Cordell Jackson was an innovative guitarist and songwriter who cut her own idiosyncratic path, establishing Moon Records in 1956, releasing killer classics by artists such as Allen Page.  In her later years she certainly was a striking image: a seemingly stately older lady in old-fashioned garb who loved to rock. This original pressing from the late-80s release has four instrumentals, charming as all get out.  Picture sleeve may have slight wear or discoloration at the edges.  Hear the title track: http://www.youtube.com/watch?v=DtZjK8x5kGU

Reissue of one of my very favorite records, Eddie Lee “Mustright” Jones and occasional guests, recorded in Lexington, GA, in August 1965.  A deeply special collection of loose, lively, joyous blues and gospel music. 

Great notes by recordist Bill Koon: “When I approached him, Eddie Lee stopped playing and, despite my urging, would not resume, saying simply that he didn’t know how to play.  Since I was studying blues guitar, I asked if I might play a bit and he agreed.  I san some forgotten blues, using the best licks from the Jerry Silverman blues instruction book, upon which Eddie Lee yelled to his wife, ‘Lord, listen here.  He plays just like one of the hillbillies on the TV.’” 

My copy of this record was inscribed by Koon in 1985: “Here’s to some good listening of music about as real as it gets.”  Yep, and a sweet thing that Jones’ music has another chance to be heard more broadly.  This is nearly everything Jones has had released, save for a track on the unbelievably great "Sorrow Come Pass Me Around" LP (to be reissued by Dust-to-Digital). 

“Stunning little known blues & spirituals recording session from 1965. Bill Koon recorded Eddie Lee Jones & his family’s absolutely unique music in Eddie Lee’s home in Lexington, Georgia.  These, the only known recordings by Eddie Lee, are as heavy as blues can get.  Atmospheric recordings with plenty of stomping & whooping & singing along by Eddie Lees family & neighbors.  A real stunner from start to finish for fans of Fred McDowell, Blind Willie Johnson & so on.  Old school tip-on cover.  Co-release with Sutro Park records.” - Mississippi

Lightnin’ Slim was a Baton Rouge blues singer/guitarist who recorded a heap of great sides for Excello.  His frequent producer, Jay Miller, stated, “Lightnin’ to me was the greatest, not only of my artists, but all of them.  Low-down gutbucket blues!”  For this 45, the a-side is an upbeat yet swampy take on John Lee Hooker’s “Boogie Chillen,” celebrating the joys of coming of age and cutting loose.  Love the equestrian percussion.  “Sugar Plum” slows it down to a languid crawl for boozy courting.

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

"The delta guitar legend's 1949 recordings originally on Regal, re-released on Biograph in the 1970s. This is mid-period McTell, finding the bluesman at his best with a pronounced guitar playing that conveys a sense of masterful urgency. Features a classic Biograph cover. Liner Notes by Down Beat's Chris Albertson and produced by Arnold Caplin." 180 gram vinyl." – Sutro Park.  Occasional second guitar from Curley Weaver.  Some nice gospel numbers on here, too, such as: http://www.youtube.com/watch?v=GfcUtT8TVps

"Crumbling In the Shadows Is Fraulein Miller's Stale Cake is a limited edition box set comprising 3 albums of William Parker solo bass performances/compositions in full tandem with a 48-page booklet of all-new William Parker writings (poems, dreams, meditations and more).  Very powerful and profound music and words, through and through.  Cinematic excursions on solo bass accompanied with words that present a fully seasoned new recipe for life. The first two CDs are new works recorded in August 2010; the third CD in the set reissues Parker's first solo bass album, Testimony, originally released in 1995 and long since out of print." - AUM Fidelity.  Limited edition of 1000, private pressing on Parker's own Centering label.

Dan Rose was born and raised in a suburb of Detroit and is highly-regarded for good reasons, among them the videos he's made for The Gories, Junior Kimbrough, Cordell Jackson. Wayne County Ramblin' is his first feature film, independently produced and over a decade in the making. Fittingly, it is a very personal, lovingly-created, and idiosyncratic work, with a roadtrip theme that is interspersed with vodun, folklore, the African-American migration north, and more. Many musicians are featured in acting roles, including Otha Turner, Bernice Pratcher Turner, Nathaniel Mayer, Tav Falco, Iggy Pop, Mick Collins, Cordell Jackson, and many others. Tech notes from Little Ruby: "This DVD has been created in the NTSC television standard, intended for home DVD players and personal computers. Playability may prove difficult, or impossible, outside North America (region 1)." You can also check out the trailer here: http://www.youtube.com/watch?v=p4CgBwesc2Q

Thick, tough, stripped-down electric blues with an undercurrent of menace.  Actually, better make that an overcurrent.  Faux harmonica vocals in the background from one of the Tuffs ratchets up the disorientation factor.

Hypnotic and rocking Ali Farka Toure performances, somewhat in the vein of Groups Doueh and Inerane, recorded live in Mali in 1984.  Not high-fidelity; not a problem.  Very limited pressing.

“This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Bulgaria, Puerto Rico, India, Mozambique, Ukraine, Trinidad, Kazakhstan, Ceylon, Tibet and elsewhere, compiled by archivist Pat Conte.” – Outernational.  Nice price on these great Outernational sets.

“Outernational Records is pleased to announce the third volume of this legendary series is now available on the vinyl format. This series of archival 78 transfers was originally released in 1995 on CD only. Now for the first time on vinyl, a deluxe gatefold presentation and limited edition pressing. Reissue produced by Hisham Mayet (Sublime Frequencies) in conjunction with Yazoo Records. Compiled here are many of the greatest performances of world and ethnic music ever recorded. This volume represents a trip around the world, stopping at each port to sample one of that country's finest recordings of its indigenous music. Each of these recordings was captured at a period during the golden age of recording when traditional styles were at their peak of power and emotion. Included inside are extensive notes and beautiful period photographs that work together with the music to communicate an exciting sense of discovery. Early 20th century recordings from Poland, Spain, China, Angola, Turkey, Mongolia, Russia, the Congo, and elsewhere, compiled by archivist Pat Conte.” – Outernational.  Nice price on these great Outernational sets.

180-gram vinyl reissue of the seminal Testament Records survey of fife-and-drum music from Mississippi and Georgia, one of those records that I buy every time I see it because certainly there’s somebody who needs it.  Unbeatable, rousing music, some of the grooves hit on here are ridiculous.  Another cool aspect of this record is it shows the variety in the music: different tones on the fife, diversity of drumbeats, individual vocal approaches, etc. 

Bonuses: Mississippi Fred McDowell playing a wastebasket, one-man fife-and-drum band Compton Jones being coached by Otha Turner regarding when to ramp up the volume when playing his washtub, a gravel voiced reveler shouting: “Napolian’s got you scared now, boy!  Napolian’s got you beat!”

Among the great artists heard here:  Otha Turner, Napolian Strickland, Sid Hemphill, RL Boyce, Compton Jones, Ephram Carter, J.W. Jones, Lucius Smith. Most of the recordings here were made by David Evans and George Mitchell in 1970, with some others by Alan Lomax in 1942.

For myself, Robert Pete Williams was one of the all-time greats.  This album contains some of his finest recorded moments. 

“Over 50 years since his discovery by ethnomusicologists Dr. Harry Oster and Richard Allen in the prison farm of Angola, Louisiana, what is it that makes the blues as sung and picked by Robert Pete Williams such a singular listening experience, unequaled elsewhere in that musical form? As Peter Guralnick, in his Feel Like Going Home book writes: ‘It’s difficult to approve the banalities of most blues singers after listening to Robert Pete Williams. More than anyone else he shatters the conventions of the form and refuses to rely upon any of the clichés, either of music or of lyric, which bluesman after bluesman will invoke. Instead he sings blues which reflect a unique and personal vision; he makes each song unmistakably his own.’ Unfamiliar keys, cliché-free lyricism, spontaneity, an individualistic style in invoking his particular blues, all make Robert Pete Williams an idiosyncratic entry into the canon. It’s impossible to listen to blues artists before him and hear strains of his particular style. None have matched it since. Louisiana Blues contains 10 songs recorded in the month of July 1966 out in Berkeley, California for John Fahey’s Takoma imprint. Comes with an 8-page booklet. 180 gram vinyl.” – Runt