Jimmy Dawkins Transatlantic 770

This time around, Dawkins handed the majority of the vocal duties to Andrew "Big Voice" Odom and concentrated on his guitar (actually, he had some potent help in that department, too: Otis Rush was on second guitar). A generally solid but not overly enthralling set, with two bonus cuts and an alternate take of "Moon Man" added to the CD version.

Incredibly weird title (many of the songs sport equally bizarre spellings), but a major step back in the right direction for the guitarist, whose dirty, distorted tone won't thrill the purists.
Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Jimmy Dawkins is a true original. A one of a kind artist whose distinctive guitar style is instantly recognizable. His chilling killer tone, his deep, complex, innovative solos and his intense playing approach have made him revered amongst his peers and won fans around the world.
1975 session that captured the essence of Jimmy's club performances, contains 4 never before released tracks.

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.
It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressing warmly to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day! Harpist Billy Boy Arnold offered the newcomer encouragement, and he eventually carved out a niche on the competitive West Side scene (his peers included Magic Sam and Luther Allison).

Recorded live at "Big Duke's", West Side Chicago, November 10, 1976. Tracks 3, 5, 7 & 10 previously unissued.
Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Dawkins is back on the right track now, making solid, if less than earthshaking recordings, that at least hint at why he once was billed "Fast Fingers."
Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety - he didn't engage in flashy pyrotechnics or outrageous showmanship.

Chicago guitarist Jimmy Dawkins would have preferred to leave his longtime nickname "Fast Fingers" behind. It was always something of a stylistic misnomer anyway; Dawkins' West Side-styled guitar slashed and surged, but seldom burned with incendiary speed. Dawkins' blues were generally of the brooding, introspective variety – he didn't engage in flashy pyrotechnics or outrageous showmanship. It took a long time for Dawkins to progress from West Side fixture to nationally known recording artist. He rode a Greyhound bus out of Mississippi in 1955, dressing warmly to ward off the Windy City's infamous chill factor. Only trouble was, he arrived on a sweltering July day!

Jimmy Dawkins was one of the originators of the tough West Side sound in Chicago blues. Since his initial appearance on Delmark in the late '60s, his career has had its ups and downs, often going years without recording. After a string of lackluster releases in the '80s, and some time away from performing, Dawkins started to find his feet again in the early '90s. Tell Me Baby is Dawkins' second album for Fedora and features the same core players as his earlier effort for the label from 2001: Frank Goldwasser on guitar, John Suhr on organ, and Chris Millar on drums and producing. Additionally on this 2003 session, Dawkins is rejoined by guitarist Rich Kirch, whom he played with back in the '70s.