#boozoo chavis

[romanchacon]

On June 15, 1939 Zora Neale Hurston recorded "Uncle Bud," a bawdy song found all over the South that went on to become a Cajun-Creole Zydeco classic. Hurston explains, "'Uncle Bud' is not a work song. It is a sort of social song for amusement." One of the first documented instances of the song in print appeared as "O-Bud!" in a Texas Folklore Society publication in 1928, collected in Virginia ca. 1924, but Hurston likely first heard the song from black working men while she was doing folklore field work in logging and terpantine camps in Louisiana. It's an invaluable audible artifact from almost a century ago. And it's quite raunchy to say the least! At the end, either Stetson Kennedy or Hurbert Halpert, the Library of Congress folk collectors in that session, say with an audible grin, "I think that's a very valuable contribution to scientific recording."

[mudwerksredux]

(via Paper in My Shoe - Boozoo Chavis (1990)

[blacjaq1]

track 5, side 2 should be Boozoo Chavis.

[ivebeenmade]

Boozoo Chavis Paper In My Shoe (1954)

I got a paper in my shoe I got a paper in my shoe Oh what your mama don't know And what your papa don't mind Oh what your mama don't know And what your papa don't mind I got a paper in my shoe J'ai un papier dans mon soulier J'ai un papier dans mon soulier Pour ça ta maman connaît pas Et ça ton père veut pas Pour ça ta maman connaît pas Et ça ton père veut pas J'ai un papier dans mon soulier I got a paper in my shoe I got a paper in my shoe Oh what your mama don't know And what your papa don't mind Oh what your mama don't know And what your papa don't mind I got a paper in my shoe Oh don't you worry about your baby Oh don't you worry about your baby Oh don't you worry about your baby Oh don't you worry about your baby And what your mama don't know I got a paper in my shoe

[teleclub]

Marcel Dugas at El Sid-O’s Club & Boozoo Chavis at Richard’s Club © Rick Olivier

[mudwerks]

(via Boozoo Chavis | Paper in My Shoe)

[ch-dld-bft-brit-omm]

VA ‎– Bluesin' By The Bayou - Ain't Broke, Ain't Hungry : 50's 60's Texas Louisiana...

Label: Ace ‎– CDCHD 1506 Series: Boppin' By The Bayou – 18 Format: CD, Compilation Country: UK Released: 2017 Support Strut Records, buy the album here : https://acerecords.co.uk/bluesin-by-t... Amzn (USA) : https://amzn.to/2lKZQ4I (affiliate) Amzn (UK) : https://amzn.to/2lU7FVu (affiliate)   

Tracklist 1 – Leroy Washington  -  I've Been In This Prison  00:00 Written-By – Leroy Washington 2 – Lightnin Slim  -  Little Girl Blues  02:28 Written-By – Jerry West 3 – Ramblin' Hi Harris  -  I Haven't Got A Home  05:26 Written-By – J.D. Miller 4 – Honey Boy Allen  -  Better Start Doin' It  08:29 5 – Slim Harpo  -  Cigarettes  10:28 6 – Polka Dot Slim  -  Ain't Broke, Ain't Hungry  12:40 7 – Joe Richards  -  Dreaming Dreaming  15:45 Written-By – Joe Richards 8 – Cookie And The Cupcakes  -  In The Evening  18:12 Written-By – George Khoury, Huey Thierry 9 – Jake Jackson  -  Life Gets Hard  21:02 Written-By – J.D. Miller, Jake Jackson 10 – Boozoo Chavis & His Zodico Accordian  -  Tee Black  23:43 Written-By – Boozoo Chavis, Roosevelt Griffin 11 – Clarence Garlow  -  Make Me Cry  25:52 Written-By – Clarence Garlow 12 – Lightnin Slim  -  I Hate To Leave You Baby  28:42 Written-By – J.D. Miller, Otis Hicks 13 – Ramblin' Hi Harris  -  Baby, Baby, Baby  31:38 14  –Lightnin Slim  -  Don't Know  34:24 Written-By – J.D. Miller, Otis Hicks 15 – Jake Jackson  -  Somebody Tell Me  36:30 Written-By – J.D. Miller, Jake Jackson 16 – T.B. Fisher  -  Don't Change Your Mind  39:32 Written-By – Huey Meaux, Mac Rebennack 17  –Unknown Artist  -  I'm Gonna Find My Baby  41:36

[clint-stevens]

Now you can get Boozoo Chavis’ biggest hits, like ‘Paper In My Shoe’, ‘Hamburgers And Popcorn’ on one great record!

[simsfacade]

So, just down the alley is my kind of place; Roux 45 a shop specializing in vinyl records. Mmmmm-hmm. And does this place have all the greats. Blind Lemon, Bessie Smith, Boozoo Chavis, Muddy Waters. Shopkeep is friendly too, goes by Gumbo Sid. Apparently he's a five time all around Gumbo champion and used to play bass guitar back in the day. I don't want to seem like I'm stalking Rene Monroe, but...I'm stalking Rene Monroe. Still no autograph. Dang it. Excuse me, Ma'am, ya'll should look where you're going. I was properly distracted with Mr. Monroe. Whoa, such language! Well, excuuuse me!

[bandstolookup]

angelo badalamenti

george balanchine

devendra banhart

thomas barlett

fontella bass

isabel bayrakdarian

beaver & krause

leonard bernstein

malcolm bilson

iva bittová

blakroc

twoyearoldbear

diablo

chris miles

foolish cult

the blind boys of alabama

afel bocoum

william bolcom

bombino

boston camerata

boston symphony chamber players

billy bragg

tyondai braxton

von's island

docXyn

jon brion

buena vista social club

t bone burnett

ken burns

carter burwell

amber bylsma

david byrne

don byron

john cage

calliope

camille

carolina chocolate drops

elliott carter

olivia chaney

rhys chatham

boozoo chavis

guy clark

shawn colvin

paolo conte

contemporary chamber ensemble

ry cooder

jacob cooper

bruno coulais

christiana courtin

teresa cristina

rodney crowell

NxxxxxS

george crumb

czechoslovak brass orchestra

michael daves

nataly dawn

jan degaetani

georges delerue

jeremy denk

donnacha dennehy

toumani diabaté

fatoumata diawara

[thedoortoyesterday]

FROM TEXAS TO CALIFORNIA

Songs Of and By Charles Brown

Charles Brown (1922-1999) was both an outstanding dulcet-toned blues singer and a superlative pianist who was a key figure in the 1940's development of the style known as west coast blues. 

He began his recording career as a member of Johnny Moore's Three Blazers whose memorable line-up was Charles on vocals and piano, Johnny Moore on guitar and Eddie Williams on bass. 

Their first real success was with DRIFTING BLUES also known as 

DRIFTIN' BLUES and WALKING AND DRIFTING. 

https://youtu.be/fUyC2l--fSw 

The song was written by Charles but credited not only to him but also Messrs. Moore and Williams. Recorded in September 1945, it became a #2 R&B hit in '46 on Philo, Eddie and Leo Mesner's Los Angeles-based label, the name of which was swiftly changed to Aladdin. Johnny Moore was the brother of Oscar Moore, guitarist with The King Cole Trio.  

DRIFTIN' BLUES remains one of the most revived blues songs and among other artists who released their own versions over the years were Chuck Berry, The Paul Butterfield Blues Band, Bobby 'Blue' Bland, Ray Charles, Boozoo Chavis, Eric Clapton, Clifton Chenier, Sam Cooke, Snooks Eaglin, Billy Eckstine with Count Basie, Lowell Fulson, John Hammond, John Lee Hooker, Albert King, B.B. King, Little Walter, John Mayall, The Steve Miller Band, Della Reese and Pete Townshend.

Other successful songs recorded by Johnny Moore's Three Blazers featuring Charles Brown included NEW ORLEANS BLUES (in 1947 on Exclusive Records and written by Leon Rene, Exclusive's owner) https://youtu.be/EvZe6RSBqQY and MERRY CHRISTMAS BABY, also on Exclusive in '47, written by Charles but officially credited only to Lou Baxter and Johnny Moore.  https://youtu.be/FCVjY4qAiy8  MERRY CHRISTMAS BABY is another major copyright boosted by cover versions by such as Otis Redding, Elvis Presley, B.B. King, Rod Stewart, Sheryl Crow and Bruce Springsteen.  

 In 1948, Charles was signed as a solo artist on Aladdin and logged up a series of R&B best-sellers including GET YOURSELF ANOTHER FOOL (Edward Mitchell) (#4 in '48), https://youtu.be/sYVIyA9Z7Ds   TROUBLE BLUES (Charles Brown) (#1 in '49) https://youtu.be/cZWs_dUqIrI , IN THE EVENING WHEN THE SUN GOES DOWN (Traditional) (#4 in '49), HOMESICK BLUES (Charles Brown) (#5 in '49), MY BABY'S GONE (Charles Brown) (#6 in '50), BLACK NIGHT (Jessie Mae Robinson) (#1 in '51), https://youtu.be/-71jfEwX-xQ  and SEVEN LONG DAYS (Jessie Mae Robinson) (#2 in '51). Another important Charles Brown copyright is PLEASE COME HOME FOR CHRISTMAS (Charles Brown/Gene Redd) which he first recorded for King in 1960.   

The Door To Yesterday is proud to present a new podcast containing an interview that I recorded in 1991 with Charles which was edited by Andrew Mackenzie as a promotional sampler for EMI Music Publishing. 

Charles had been appearing at the Hollywood Roosevelt Hotel and I invited him to help me put together a sampler to promote both his own compositions and recordings that he made over the years of other writers' songs. The interview took place in EMI Publishing's studio on Sunset Boulevard with Charles seated at the piano. In addition to the extracts that I play from original records, he sang and played live.  

 The sampler includes the following songs: DRIFTIN' BLUES (Charles Brown/Johnny Moore/Eddie Williams), IF I HAD YOU (Ted Shapiro/James Campbell/Reginald Connelly), AGAIN (Lionel Newman/Dorcas Cochran), PLEASE DON'T DRIVE ME AWAY (Charles Brown/Jesse Ervin), HONEY SIPPER (Charles Brown/Linda Woodward), THAT OLD FEELING (Sammy Fain/Lew Brown), I'M SAVING MY LOVE FOR YOU (Charles Brown), BLACK NIGHT (Jessie Mae Robinson), TROUBLE BLUES (Charles Brown), SEVEN LONG DAYS (Jessie Mae Robinson/Charles Brown), BAD BAD WHISKEY (Amos Milburn), THE MESSAGE (Clarence Landry) and DRIFTIN' BLUES (Charles Brown/Johnny Moore/Eddie Williams).

Here's a link to the complete podcast: 

https://we.tl/t-nKKAWgBFic

 EMI Music Publishing is now part of Sony/ATV and Capitol Records is now owned by Universal Music Group; the references I made during the interview both to EMI and to Capitol reflect the ownership of those companies in 1991.  

 Charles was just one of a number of highly influential Texas-born bluesmen.

Here are a few tracks reminding us of some of the others...

 BLUES AFTER HOURS 

(Pee Wee Crayton)

by Pee Wee Crayton 

(Modern: 1948) 

https://youtu.be/IXaAcPFLozY

CALL IT STORMY MONDAY (But Tuesday Is Just As Bad) 

(Aaron Walker) 

by T-Bone Walker 

(Black And White: 1947)  

https://youtu.be/98MeVUjqyTo

FROSTY 

(Albert Collins)

by Albert Collins (Hall: 1965) 

https://youtu.be/wrfOpXApxYQ

HIDE AWAY 

(Freddy King/Sonny Thompson)

by Freddy King 

(Federal: 1961)

https://youtu.be/eEuvfM9c3yY

I QUIT MY PRETTY MAMA 

(Ivory Joe Hunter/Lois Mann)

by Ivory Joe Hunter 

(King: 1950)

 https://youtu.be/5ihiTrYRQDU

ROOMIN' HOUSE BOOGIE

 (Jessie Mae Robinson) 

by Amos Milburn 

(Aladdin: 1949) 

https://youtu.be/5UMHjn1Gr70

[opticandmasturbation]

Paper in my Shoe - Boozoo Chavis (Live)

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/la-route-de-lafayette-chronique/

"La Route de Lafayette" de James Kelman : Louisiana blues

Sur fond de vieux airs zydeco égrénés au piano à bretelles, l’écossais James Kelman nous pousse sur les routes qui mènent à Lafayette, à travers un roman poignant sur le deuil, les tourments de l’adolescence et l’irrésistible pouvoir de la musique cajun. Laisse bon temps rouler…

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« La vieille femme et la fille, c’était super de les voir, ça avait quelque chose de vraiment beau, de les voir toutes les deux absorbées par la musique. L’accordéon proprement dit ; de couleur crème et sophistiqué comme jamais t’en vois, qui réfléchissait la lumière dans le soleil du matin, et ce son merveilleux ! Quel son ! C’était hallucinant. C’était vraiment hallucinant. Et la fille grattait son washboard en face de la vieille femme qui hochait la tête au rythme de cette pulsation à 2/3, jetant des coups d’œil aux gens qui les regardaient, souriant un peu mais seulement à la musique, genre comme le font certains musiciens même quand ils ont les yeux fermés. » Murdo vient de perdre sa mère, emportée par le même cancer qui, quelques années plus tôt, lui avait volé sa petite sœur Eilidh. A seize ans, ce jeune écossais timide et un brin emprunté, passionné de musique, chasse son chagrin en jouant de l’accordéon dans un groupe local. Pour le changer d’air, son père, un type taiseux et vaguement dépressif, l’emmène en vacances chez des cousins installés depuis des années dans les fins fonds de l’Alabama. Mais une erreur d’aiguillage va changer le cours des choses, et le destin de l’ado : arrivés à Memphis, nos deux voyageurs se trompent de bus et se retrouvent dans un bled improbable du Mississippi où Murdo, par le plus grand des hasards, rencontre une famille de musiciens de Zydeco en train de répéter dans l’arrière cour de leur maison, sous la houlette d’une vieille dame célèbre dans tout le Deep South, Queen Mozee-ay. Invité – après avoir tapé le bœuf avec ses nouveaux amis – à un festival qui doit se dérouler à La Fayette quinze jours plus tard, Murdo, coincé chez ses cousins rednecks de l’Alabama, n’aura désormais qu’une hâte : rejoindre coûte que coûte la capitale cajun…

Il ne se passe pas grand-chose dans ce roman à la fois simple et intense sur la solitude, l’absence, le deuil et la résilience. Ni rebondissements sidérants ; ni évènements spectaculaires. Et pourtant, suivre cette Route de Lafayette se révèle bigrement addictif et franchement passionnant. L’écossais James Kelman (lauréat du Booker Price en 1994 pour Si tard, il était si tard) possède une manière bien à lui de dérouler des histoires complexes, gorgés de sentiments subtils autant que contradictoires, à commencer par une écriture très personnelle, truffée de dialecte écossais et d’argot de Glasgow (que la traduction, excellente d’ailleurs, tente de restituer). Vu à travers le regard et les états d’âme, les doutes, les frustrations et les angoisses d’un jeune garçon en proie aux bouillonnements de l’adolescence comme au chagrin d’avoir perdu sa mère, ce livre d’une immense finesse s’impose avant tout comme un bouleversant roman d’apprentissage. C’est aussi, au gré d’un vague road-movie vers un pays cajun cher au grand Clifton Chenier, à Buckwheat Zydeco ou à Boozoo Chavis, une ode vibrante à la musique. Et à ses effets réparateurs. Quasi-magiques, presque !

Philippe Blanchet

[itttsarkanyokvannak]

Genre of the day:Zydeco

Zydeco is an uptempo dance music that mixes the traditional folk styles of southwest Louisiana with the sounds of early, African-American Rhythm & Blues, Blues, Jazz, and Gospel performers. The first recordings were in the late 1920s, but the style gained popularity in the 50s with Clifton Chenier and Boozoo Chavis. As in Cajun music, the dominant instrument is the accordion, but Zydeco often adds bass guitar, horns, and keyboards to the mix.  By the 1940s, the use of rub-boards (aka "washboards" or "frottoirs") had become a popular part of the Zydeco sound and the instrument is ubiquitous in modern Zydeco bands.