Originally recorded in 1957, these sessions turned out to be the last the legendary Big Bill Broonzy would record; only a little over a year later, he succumbed to lung cancer. This collection consists not of fan or producer favorites, but Broonzy favorites, and includes a variety of blues, folk, and devotional music. Though he was instrumental to the development of the blues and the Chicago sound, much of the material on this three-disc set reaches back to the music that the blues came from, with a lot of drop-in help from Broonzy's friends, of which there were many. That makes these recordings not only recordings, but documentation, a testament to a bluesman who was at once musician and historian.
A chronological history of jazz vocal presented by André Francis and Jean Schwarz. 10 CDs with more than 12 hours of music.
The resulting 2 boxed sets of 10 CDs in each, unlike any other available today, groups together the main vocalists in the story of jazz from the first half of the 20th century. Each of these 20 CDs offers in more or less the same proportion, the purest of African-American song with gospel and blues singers, from truculent Ma Rainey to majestic Bessie Smith, sophisticated Sarah Vaughan to popular Louis Prima, the folk-related tones of Charlie Patton to the honeyed voice of Frank Sinatra.
Like each of the entries in the Classic blues catalog, The Essential Bill Gaither summarizes the artist's contribution to musical history by tapping into his complete works as reissued by Document in five volumes a few years prior to this collection's appearance in 2001. Gaither, whose recording career began in 1935 and was interrupted then ultimately terminated by the Second World War, operated under the combined influences of Leroy Carr, Tampa Red, Big Bill Broonzy, Jazz Gillum, Peetie Wheatstraw, and Big Maceo Merriweather. Most but not all of his records were made with Indianapolis pianist Honey Hill, and the producers of this collection were thoughtful enough to include Hill's only known piano solos, "Boogie Woogie" and "Set ‘Em"…
This artist was perhaps the most significant pioneer of the city-styled, horn-oriented blues harp – a style brought to perfection by Little Walter. Williamson adapted the country-styled, chordal-rhythmic technique that he learned from Noah Lewis and Hammie Nixon to suit the demands of the evolving urban blues styles. These 42 tracks include Sonny Boy's records and sport an imposing list of sidemen: Robert Nighthawk, Big Joe Williams, Henry Townsend, Walter Davis, Yank Rachell, Big Bill Broonzy, and Speckled Red. This is a definitive collection.