b. August 22nd, 1917 in Clarksdale (Mississippi)

d. June 21st, 2001 in Los Altos (California)

THE LEGENDARY MODERN RECORDINGS

Ace

Flair

September 1948 - February 1954

Né en 1917 à Clarksdale (bien que d'autres dates de naissance ont parfois été évoquées), John - fils de Minnie Ramsey et William Hooker - grandit au milieu de dix frères et soeurs. A la mort de son père, lorsqu'il n'a que 6 ans, il est recueilli et élevé par Willie Moore qui semble devenir son beau-père. Celui-ci joue de la guitare après avoir travaillé la terre pendant la journée. Ce mystérieux Willie Moore aura une influence décisive sur le jeune John Lee Hooker. Moore semble cotoyer également les bluesmen Charlie Patton et Blind Lemon Jefferson. A 14 ans, John quitte le foyer familial et parcourt les états du sud. John aurait été associé quelques temps à Tommy Mac Clennan puis à Tony Hollins. En 1937, il pose ses valises à Cincinnati où il reste pendant 6 ans. Il exerce toutes sortes de petits boulots pour subsister mais n'arrive pas à s'imposer en tant que bluesman. Plus tard, en 1943, John se marie avec Martella et le couple s'installe à Detroit. Très actif sur Hastings Street, l'artère musicale de Detroit, il est découvert par Bernie Besman qui dirige le label Sensation avec Elmer Barbee. John entre, alors, pour la première fois en studio en juin 1948 pour le médiocre "Rocks". Mais, lors de la séance suivante en septembre 1948, il enregistre une série de chefs d'oeuvre fondateurs : "Boogie chillen", "Sally Mae", "War is over", "Crazy 'bout that woman". Le succès fracassant des deux premiers titres incite Besman à revendre les morceaux aux frères Bihari (qui dirigent Modern et d'autres labels) pour bénéficier d'une distribution nationale. Son style reste facilement identifiable : guitare électrique amplifiée parfois saturée, battement du rythme avec le pied, boogies hypnotiques, voix grave et solenelle.

Born in 1917 in Clarksdale (although other birth dates have sometimes been mentioned), John - son of Minnie Ramsey and William Hooker - grew up alongside ten brothers and sisters. At the death of his father, when he is 6 years old, he is sheltered and raised by Willie Moore who seems to become his stepfather. He plays the guitar after working in the fields during the day. This mysterious Willie Moore will have a decisive influence on young John Lee Hooker. Moore also seems to know bluesmen Charlie Patton and Blind Lemon Jefferson. At the age of 14, John leaves home and travels through the southern states. John was associated with Tommy Mac Clennan and then Tony Hollins. In 1937, he settles in Cincinnati where he lived for six years. He does all sorts of odd jobs to survive but does not succeed to impose himself as a bluesman. Later, in 1943, John married Martella and the couple moved to Detroit. Very active on Hastings Street, the musical artery of Detroit, he is discovered by Bernie Besman who manages Sensation label with Elmer Barbee. Then, John enters for the first time in studio in june 1948 for the mediocre "Rocks". But, at the next session in september 1948, he recorded a series of founding masterpieces : "Boogie chillen", "Sally Mae", "War is over", "Crazy 'bout that woman". The brilliant success of the first two songs convinces Besman to resell those sides to the Bihari brothers (who manage Modern and other labels) to obtain a national distribution. His style remains easily identifiable : amplified sometimes saturated electric guitar, foot stomping, hypnotic boogies, grave and solemn voice.

HOUSE RENT BOOGIE

Ace

September 1948 - 1955

Ce nouveau recueil des faces Modern proposé par Ace procure un parfait complément au superbe "Legendary Modern recordings". On trouve des prises alternatives particulièrement réussies de "House rent boogie", "Nobody to talk to me", "Hug and squeeze", "I'm ready". Surtout, le CD renferme quelques pistes formidables en compagnie d'Eddie Kirkland : "Key to the highway", "Anybody seen my baby", "How can you do it", "I got eyes for you". Dès avril 1951, Eddie Kirkland était devenu un accompagnateur régulier de John Lee Hooker sachant parfaitement se fondre dans son jeu libre et instinctif. Le succès s'amenuise pourtant lentement entre 1952 et 1954 et les frères Bihari ne renouvellent pas son contrat.

This new collection of Modern faces by Ace provides a perfect complement to the superb "Legendary Modern recordings". We may find particularly achieved alternative takes of "House rent boogie", "Nobody to talk to me", "Hug and squeeze", "I'm ready". Above all, the CD contains some great tracks with Eddie Kirkland : "Key to the highway", "Anybody seen my baby", "How can you do it", "I got eyes for you". Since april 1951, Eddie Kirkland had become a regular accompanist of John Lee Hooker knowing perfectly how to play into his free and instinctive play. Success slowly slowed down between 1952 and 1954 and the Bihari brothers did not renew his contract.

DETROIT 1948 - 1949

Savoy Jazz

November 1948 - February 1949

Selon la Blues Discography, ces titres furent enregistrés par Elmer Barbee puis revendus à Savoy par Joe Van Battle. Certains d'entre eux parurent aussi sous les marques Acorn, Regent ou Chance. La qualité sonore n'est pas toujours parfaite mais la musique reste souvent remarquable : "Helpless blues", "Goin' mad blues", "Boogie awhile".

According to the Blues Discography, these titles were recorded by Elmer Barbee and then sold to Savoy by Joe Van Battle. Some of them also appeared under Acorn, Regent or Luck imprints. The sound quality is not always perfect but the music often remains remarkable : "Helpless blues", "Goin' mad blues", "Boogie awhile".

GRAVEYARD BLUES

Specialty

Ace

November 1948 - April 1950

Ce recueil reprend les faces gravées pour le label Sensation sous la supervision de Bernie Besman. John y est souvent accompagné d'Eddie Burns (harmonica) ou d'Andrew Dunham (guitare). "Henry's Swing Club", "Graveyard blues", "Canal Street blues", "Goin' down Highway 51" méritent une écoute attentive. Mais, les morceaux enregistrés avec Eddie Burns sont particulièrement réussis : "Burnin' hell", "Black cat blues", "Sailing blues".

This collection compiles sides cut for Sensation label under the supervision of Bernie Besman. John is often accompanied by Eddie Burns (harmonica) or Andrew Dunham (guitar). "Henry's Swing Club", "Graveyard blues", "Canal Street blues", "Goin' down Highway 51" deserve careful listening. But, the tracks recorded with Eddie Burns are particularly achieved : "Burnin' hell", "Black cat blues", "Sailing blues".

EVERYBODY'S BLUES

Specialty

Ace

April 1950 - October 1954

Il s'agit de la suite de "Graveyard blues", publiant d'autres titres gravés pour Sensation. On retrouve aussi sa séance pour Specialty en mai 1954, produite par Johnny Vincent, dans laquelle John est accompagné d'un petit orchestre électrique (Johnny Hooks, John Griffith, Theophilius Roosevelt, Tom Whitehead). Un accompagnement inhabituel mais qui n'est pas sans interêt. Plutôt inégale, certaines pistes valent vraiment l'écoute ("I been done so wrong", "Boogie rambler") mais d'autres semblent plus dispensables. On note aussi la présence d'une séance supervisée par Joe Siracuse ("I need love so bad", "Odds against me").

It is the continuation of "Graveyard blues", publishing other titles recorded for Sensation. There is also his Specialty session in may 1954, produced by Johnny Vincent, in which John is accompanied by a small electric band (Johnny Hooks, John Griffith, Theophilius Roosevelt, Tom Whitehead). An unusual accompaniment that is not without interest. Rather uneven, some tracks are really worth listening ("I been done so wrong", "Boogie rambler") but others seem more dispensable. We can also note the presence of a session supervised by Joe Siracuse ("I need love so bad", "Odds against me").

DETROIT BLUES 1950-1951

Krazy Kat

Collectables

October 1950 - March 1951

Album partagé entre John Lee Hooker (12 morceaux) et Eddie Burns (4 morceaux). Concernant Hooker, ce sont essentiellement des morceaux pour le label Gotham qui sont recueillis ici. Ils ont été enregistrés à Detroit et à Philadelphie. Pas tout à fait au niveau des faces Modern mais excellentes malgré tout, on peut ressortir "Real gone gal", "My daddy was a jockey", "House rent boogie", "Catfish". Le microsillon original fut édité par Krazy Kat et repris en CD par Collectables.

Album shared between John Lee Hooker (12 tracks) and Eddie Burns (4 tracks). Concerning Hooker, there are essentially pieces for the Gotham label that are collected here. They were recorded in Detroit and Philadelphia. Not quite at the level of the Modern sides but excellent nevertheless, we can stand out "Real gone gal", "My daddy was a jockey", "House rent boogie", "Catfish". The original LP label was edited by Krazy Kat and reprinted on CD by Collectables.

JOHN LEE HOOKER PLAYS & SINGS THE BLUES

Chess

THE BLUES vol.4

Sonet

THE COMPLETE 50'S CHESS RECORDINGS

Chess - MCA

1950 - April 1952

En 1950, John Lee Hooker grave "Mad man blues" et "Hey boogie" dans la boutique de Joe Van Battle sur Hastings Street à Detroit. Van Battle sort les deux titres sur son propre label Gone puis les revend à Chess. Quelques mois plus tard, Hooker et Eddie Kirkland se rendent chez Chess à Chicago. Il y aura deux séances en avril 1951 et avril 1952 qui déboucheront sur une trentaine de faces. Elles donneront lieu à deux microsillons plus tard rassemblés en CD. Le contenu est superbe parfaitement servi par une remarquable qualité sonore : "Bluebird", "The journey", "Lonely boy boogie", "Dreamin' blues".

In 1950, John Lee Hooker cut "Mad man blues" and "Hey boogie" in Joe Van Battle's record store on Hastings Street in Detroit. Van Battle releases both titles on his own Gone label and then sells them to Chess. A few months later, Hooker and Eddie Kirkland went to Chess in Chicago. There will be two sessions in april 1951 and april 1952 that will lead to about thirty sides. They will give rise to two LPs later collected on CD. The content is superb perfectly served by a remarkable sound quality : "Bluebird", "The journey", "Lonely boy boogie", "Dreamin' blues".

THE UNKNOWN JOHN LEE HOOKER 1949 RECORDINGS

Flyright

JACK O'DIAMONDS

Eagle

August 1951

Enregistré par Gene Deitch sur un matériel portatif lors d'une performance informelle, on a longtemps cru que cette séance datait de 1949. En fait, la discographie officielle donne la date d'aout 1951. A la demande de Deitch, John interprète ici une majorité de folk-songs et de pièces religieuses : "Two white horses", "John Henry", "Jack O'Diamonds", "Trouble in mind", "Ezekiel saw the wheel", "Moses smote the water". Il s'en sort très bien transposant avec beaucoup d'aisance ces airs traditionnels dans son style caractéristique. Autre particularité : John joue ici de la guitare acoustique. Tous ces morceaux ne furent édités que tardivement (en 2000) grâce à Paul Vernon et Deitch lui-même.

Recorded by Gene Deitch on portable material during an informal performance, it was long believed that this session dates back to 1949. In fact, the official discography gives the date of august 1951. At the request of Deitch, John interprets here a majority of folk-songs and religious pieces : "Two white horses", "John Henry", "Jack O'Diamonds", "Trouble in mind", "Ezekiel saw the wheel", "Moses smote the water". He is transposing very well these traditional tunes in his characteristic style. Another particularity : John plays the acoustic guitar here. All these sides were only published late (in 2000) thanks to Paul Vernon and Deitch himself.

HOUSE OF THE BLUES

Chess

Pye

P-Vine

Marble Arch

MCA

THE CHESS STORY vol.2

Spotlight

THE COMPLETE 50'S CHESS RECORDINGS

Chess - MCA

April 1951 - 1952

Après "John Lee Hooker plays & sings the blues", il s'agit du deuxième recueil Chess piochant dans les séances de 1951-52. Sa photo de couverture est restée célèbre parmi les collectionneurs. Il faut noter une particularité intéressante avec l'utilisation d'effets sonores, plutôt rares dans le blues, comme l'utilisation de voix doublées ou de guitares accélérées. Encore une fois, on peut citer de nombreuses réussites comme "Walkin' the boogie", "Leave my wife alone", "Sugar mama" mais aussi des pistes en compagnie d'Eddie Kirkland : "Louise", "High priced woman", "Women and money" (un titre Fortune vendu à Chess).

After "John Lee Hooker plays & sings the blues", this is the second Chess collection picking up in 1951-52 sessions. Its cover photo has remained famous among collectors. An interesting particularity is the use of sound effects, rather rare in blues, as the use of dubbed voices or accelerated guitars. Again, we can mention many achievements like "Walkin' the boogie", "Leave my wife alone", "Sugar mama" but also tracks with Eddie Kirkland : "Louise", "High priced woman", "Women and money" (a Fortune title sold to Chess).

DON'T TURN ME FROM YOUR DOOR

Atlantic

Collectables

DRIFTING BLUES

Atlantic

DETROIT SPECIAL

Atlantic

July 1953 / July 1961

Ce disque magnifique regroupe une séance de juillet 1953 produite par Henry Stone qui réunit une fois de plus Hooker et Kirkland. D'abord publiées par les labels Deluxe et Rockin', les bandes furent ensuite rachetées par Atlantic et publiées sous différents habillages. Il comprend aussi une autre session mythique de 1961 (relatée en partie dans "That's where it's at"). Boogies excitants, slow-blues lugubres, intrumentaux chaotiques : tous ces superbes morceaux s'imposent comme des titres majeurs de sa discographie ("Stuttering blues", "Pouring down rain", "Drifting blues", "My baby don't love me", "I ain't got nobody", "Don't turn me from your door". Un disque essentiel.

This magnificent record brings together a july 1953 session produced by Henry Stone which once again gathers together Hooker and Kirkland. First published by Deluxe and Rockin' labels, the tapes were then bought by Atlantic and published under different packagings. It also includes another mythical 1961 session (partly compiled in "That's where it's at"). Exciting boogies, dark slow-blues, chaotic intrumentals : all these superb tracks are major titles of his discography ("Stuttering blues", "Pouring down rain", "Drifting blues", "My baby don't love me", "I ain't got nobody", "Don't turn me from your door". An essential disc.

DIMPLES

DJM

October 1955 - January 1959 / 1961

I'M JOHN LEE HOOKER

Vee-Jay

Charly

Bellaphon

March 1956 - January 1959

Grâce à Vivian Carter et Jimmy Bracken, qui dirigent le label Vee-Jay, une seconde carrière va s'ouvrir pour John Lee Hooker. Placé sous la supervision de Carter, Bracken et des producteurs-maison Calvin Carter et Al Smith, il est associé, pour sa première séance en octobre 1955, aux musiciens de Jimmy Reed (un des bluesmen les plus populaires de l'époque) et à son fidèle batteur Tom Whitehead. Ses premiers titres sont déjà remarquables : "Unfriendly woman", "Wheel and deal", "Time is marching". Dans une seconde session (sans Reed cette fois), Hooker gravera de superbes succès comme "Dimples" et "Baby Lee". Cette oeuvre pour Vee-Jay - extrêmement conséquente - présente donc John Lee Hooker dans un contexte orchestral et se range facilement parmi ses meilleurs travaux. En effet, outre les morceaux déjà cités, les pépites sont nombreuses : "The road is so rough", "I'm so excited", "Rosie Mae", "Mama you got a daughter", "Maudie", "I'm in the mood", "Boogie chillun". Parmi les musiciens qui soutiendront Hooker lors de ces premières séances, on peut noter Eddie Taylor, George Washington, Otis Finch, Quinn Davis, Joe Hunter, Earl Phillips, Everett Mac Crary, Richard Johnson. Le microsillon "I'm John Lee Hooker" édité en 1959 est le premier proposé par Vee-Jay.

Thanks to Vivian Carter and Jimmy Bracken, who manage the Vee-Jay label, a second career will begin for John Lee Hooker. Under the supervision of Carter, Bracken and house-producers Calvin Carter and Al Smith, he was associated, for his first session in october 1955, with the musicians of Jimmy Reed (one of the most popular bluesmen of the time) and his faithful drummer Tom Whitehead. His first tracks are already remarkable : "Unfriendly woman", "Wheel and deal", "Time is marching". In a second session (without Reed this time), Hooker will record superb achievements like "Dimples" and "Baby Lee". This work for Vee-Jay - extremely consequent - thus presents John Lee Hooker in an orchestral context and ranks easily among his best works. Indeed, besides the pieces already mentioned, the gems are numerous : "The road is so rough", "I'm so excited", "Rosie Mae", "Mama you got a daughter", "Maudie", "I'm in the mood", "Boogie chillun". Among the musicians who will support Hooker during these first sessions, there are Eddie Taylor, George Washington, Otis Finch, Quinn Davis, Joe Hunter, Earl Phillips, Everett Mac Crary, Richard Johnson. The album "I'm John Lee Hooker" published in 1959 is the first proposed by Vee-Jay.

THE COUNTRY BLUES OF JOHN LEE HOOKER

Riverside

HOW LONG BLUES

Riverside

Fontana

Battle

THE FOLK BLUES OF JOHN LEE HOOKER

Riverside

Ace

TUPELO BLUES

Riverside

BLUESVILLE

Riverside

April 1959

John Lee Hooker fit souvent des infidélités à Vee-Jay avec lequel il était pourtant sous contrat. Cette séance pour Riverside en est le premier exemple. A la demande de Bill Grauer (co-fondateur de Riverside) et dans le style Folk en vogue à ce moment là, John est seul à la guitare acoustique (alors qu'il est surtout un spécialiste de la guitare électrique). Mais, ce nouveau style convient parfaitement à John qui propose un album calme et sensible : "Black snake", "Pea vine special", "Tupelo", "Water boy", "Bundle up and go", "Behind the plow".

John Lee Hooker often made infidelities to Vee-Jay with whom he was under contract. This session for Riverside is the first example. Following a request of Bill Grauer (co-founder of Riverside) and in the Folk style in vogue at that time, John is alone on the acoustic guitar (whereas he is above all a specialist of electric guitar). But, this new style is perfect for John who offers a calm and sensitive album : "Black snake", "Pea vine special", "Tupelo", "Water boy", "Bundle up and go", "Behind the plow".

BURNING HELL

Riverside

April 1959

Bâti sur le même principe que "The country blues of John Lee Hooker", ce "Burnin' hell" est son second disque gravé pour Riverside. Contrairement au précédent, celui-ci ne verra le jour qu'en 1992. A la guitare acoustique, John se montre parfaitement inspiré sur les morceaux suivants : "Graveyard blues", "Burnin' hell", "You live your life and I'll live mine", "I rolled and turned and cried the whole night long".

Built on the same recipe as "The country blues of John Lee Hooker", this "Burnin' hell" is his second record cut for Riverside. Unlike the previous one, it will not be released until 1992. On the acoustic guitar, John shows himself perfectly inspired on the following tracks : "Graveyard blues", "Burnin' hell", "You live your life and I'll live mine", "I rolled and turned and cried the whole night long".

SITTIN' HERE THINKIN'

Muse

Happy Bird

Tobacco Road

32 Blues

SAD AND LONESOME

Muse

1959

Il y a peu d'informations disponibles à propos de ces enregistrements. Selon la Blues Discography, ils auraient eu lieu à Newark vers 1959. John est placé en leader d'un petit groupe électrique resté inconnu (sur certains titres, on note la présence d'Eddie Kirkland). Quoi qu'il en soit, il s'agit d'un disque de blues brut et terrien d'excellente facture : "I bought you a brand new home", "My cryin' days are over", "Sittin' here thinkin'", "When my wife quit me", "Can't you see what you're doin' to me".

There is little information available about these records. According to the Blues Discography, they would have taken place in Newark around 1959. John is placed as the leader of a small electrical group remained unknown (on certain titles, we can note the presence of Eddie Kirkland). Anyway, this is an excellent raw and down-home blues record : "I bought you a brand new home", "My cryin' days are over", "Sittin' here thinkin'", "When my wife quit me", "Can't you see what you're doin' to me".

I'M GOING HOME

The Devil's Tunes

1959 - 1960

Ce microsillon regroupe les titres d'une séance organisée vers 1959-60 par Vee-Jay. Ces morceaux furent imparfaitement réédités par la firme Charly. A priori, il n'y a que sur ce disque que l'on peut découvrir la séance en entier. Quelques belles réussites figurent dans cet intéressant recueil : "Nightmare", "I'm going home", "Lou Della", "Mama you got a daughter". John pourrait être accompagné d'Everett Mac Crary (basse) et Richard Johnson (batterie).

This LP contains the titles of a session organized around 1959-60 by Vee-Jay. These tracks were imperfectly compiled by Charly. It is probably only on this disc that we can discover the entire session. Some interesting achievements are included in this interesting collection : "Nightmare", "I'm going home", "Lou Della", "Mama you got a daughter". John could be accompanied by Everett Mac Crary (bass) and Richard Johnson (drums).

THAT'S MY STORY

Riverside

Ace

YOU'RE LEAVIN' ME BABY

Riverside

THE BLUES MAN

Battle

BLUE

Fontana

February 1960

Ayant finalement trouvé un accord avec Vee-Jay, John Lee Hooker délivre un troisième opus pour la firme Riverside de Bill Grauer et Orrin Keepnews. Il est ici associé aux jazzmen Sam Jones et Louis Hayes (ils appartiennent tous les deux au groupe de Cannonball Adderley). Cette association originale, produite par Keepnews lui-même, débouche sur de merveilleux titres comme "Come on and see about me", "I'm wanderin'", "Democrat man" (et son contenu politique passionné), "Gonna use my rod", "One of these days".

Finally finding an agreement with Vee-Jay, John Lee Hooker delivers a third opus for the Riverside label of Bill Grauer and Orrin Keepnews. He is here associated with jazzmen Sam Jones and Louis Hayes (they both belong to Cannonball Adderley's band). This original association, produced by Keepnews himself, leads to some wonderful tracks like "Come on and see about me", "I'm wanderin'", "Democrat man" (and its impassioned political content), "Gonna use my rod", "One of these days".

TRAVELIN'

Vee-Jay

Charly

Collectables

March 1960

Comme l'a dit très justement Gérard Herzhaft, il s'agit d'un des premiers concept-albums de l'histoire du Blues puisque tous les morceaux se rapportent au thème commun du voyage. A l'instar de "I'm John Lee Hooker", ce "Travelin'" s'avère remarquable. "No shoes" remportera un certain succès. On ressortira aussi "Dusty road", "I'll know tonight" et plusieurs titres au tempo sombre et lent comme "I'm a stranger", "Sunny land" et "I can't believe". Derrière John, le groupe assure un support efficace et plein de feeling. Il est composé de William "Lefty" Bates (guitare), Sylvester Hickman (basse) et de Jimmy Turner (batterie).

As Gérard Herzhaft very rightly said, it is one of the first concept-albums in Blues history since all the tracks relate to the common theme of the journey. Like "I'm John Lee Hooker", this "Travelin'" is remarkable. "No shoes" will obtain some success. We can also point out "Dusty road", "I'll know tonight" and several tracks with a dark and slow tempo like "I'm a stranger", "Sunny land" and "I can't believe". Behind John, the backing band provides an effective and full of feeling support. It is composed of William "Lefty" Bates (guitar), Sylvester Hickman (bass) and Jimmy Turner (drums).

THE FOLKLORE OF JOHN LEE HOOKER

Vee-Jay

Charly

Collectables

April 1960 / June 1960 / January 1961

Ce disque compile trois moments distincts : une séance d'avril 1960 enregistrée à New York pour Prestige, un extrait de sa prestation historique au Newport Folk Festival et une dernière séance de janvier 1961. Les faces Prestige présentent John seul à la guitare électrique, très convaincant sur "I like to see you walk", "Wednesday evening blues", "My first wife left me", "Moanin' blues". Les trois morceaux captés à Newport (que Vee-Jay rachète à Vanguard) sont superbes, surtout "The hobo" et "Tupelo". L'importance de ce concert est considérable car pour la première fois John se produit devant un public blanc. Enfin, pour la séance de janvier 1961 pour Vee-Jay, John est accompagné de son groupe habituel ("I'm mad again", "Hard headed woman"). Un document indispensable.

This record compiles three distinct moments : an april 1960 session recorded in New York for Prestige, an extract of his historic performance at the Newport Folk Festival and a last january 1961 session. The Prestige sides present John alone on the electric guitar, very convincing on "I like to see you walk", "Wednesday evening blues", "My first wife left me", "Moanin' blues". The three tracks captured at Newport (which Vee-Jay buys from Vanguard) are superb, especially "The hobo" and "Tupelo". The importance of this concert is considerable because for the first time John performs in front of a white audience. Finally, for the january 1961 session for Vee-Jay, John was accompanied by his regular group ("I'm mad again", "Hard headed woman"). An indispensable document.

CONVERSATION WITH THE BLUES

Decca

June 1960

IN PERSON

Vee-Jay

Dynasty

Collectables

January 1961 / July 1963 / 1964

Recueil de plusieurs séances dispersées entre 1961 et 1964, parfois hétérogène mais assez intéressant. Le solennel "You've got to walk yourself" sur la scène de Newport en juillet 1963. "Your baby ain't sweet like mine", "You're mellow", "Flowers on the hour", "Ain't no big thing baby" sont des titres délicieux issus d'une belle séance de 1964, sa dernière pour Vee-Jay (les musiciens sont restés malheureusement inconnus).

Collection of several sessions dispersed between 1961 and 1964, sometimes heterogeneous but interesting enough. The solemn "You've got to walk yourself" on stage at Newport in july 1963. "Your baby ain't sweet like mine", "You're mellow", "Flowers on the hour", "Ain't no big thing baby" are delicious songs from a beautiful 1964 session, his last for Vee-Jay (the musicians have remained unfortunately unknown).

JOHN LEE HOOKER

Galaxy

THE KING OF FOLK BLUES

America

March 1961

Autre infidélité à Vee-Jay, John Lee Hooker retrouve Bernie Besman pour une séance en mars 1961 à Culver City en Californie. Il retrouve aussi un peu du son de Detroit des années 40. Un disque correct mais mineur dans la riche discographie du bluesman. On notera qu'il y a des overdubs (saxophone, basse, batterie) sur 2 morceaux.

Another infidelity to Vee-Jay, John Lee Hooker finds again Bernie Besman for a session in march 1961 in Culver City, California. He also rediscovers the Detroit sound of the 40's. A correct but minor disc in the rich discography of the bluesman. Note that there are overdubs (saxophone, bass, drums) on 2 tracks.

THAT'S WHERE IT'S AT

Stax

July 1961

Disque sombre et dépouillé issu d'une mystérieuse séance captée en Floride. Elle pourrait avoir eu lieu en juillet 1961 sous la supervision de Steve Alaimo. En tout cas, le CD regorge de titres majeurs comme "Goin' to Louisiana", "I just don't know", "Slow and easy", "Feel so bad", "Two white horses".

A dark and stripped record from a mysterious session captured in Florida. It could have taken place in july 1961 under the supervision of Steve Alaimo. In any case, the CD is full of major titles like "Goin' to Louisiana", "I just don't know", "Slow and easy", "Feel so bad", "Two white horses".

TEACHIN' THE BLUES

Guest Star

July 1961

BURNIN'

Vee-Jay

Zafiro

Topline

P-Vine

Collectables

1961

Plusieurs chefs d'oeuvre ont émergé de cette séance de 1961 : "Thelma", "Who do you say", "Blues before sunrise", "She's mine" sans oublier un de ses plus grands succès "Boom boom". Une séance parfaitement accomplie pendant laquelle John Lee Hooker était accompagné d'un groupe complet : Joe Hunter (piano), Larry Veeder (guitare), James Jamerson (basse), Benny Benjamin (batterie) et les cuivres Henry "Hank" Cosby et Andrew "Mike" Terry.

Several masterpieces emerged from this 1961 session : "Thelma", "Who do you say", "Blues before sunrise", "She's mine" without forgetting one of his greatest hits "Boom boom". A perfectly accomplished session in which John Lee Hooker was accompanied by a complete backing band : Joe Hunter (piano), Larry Veeder (guitar), James Jamerson (bass), Benny Benjamin (drums) and brass instruments Henry "Hank" Cosby and Andrew "Mike" Terry.

THE BIG SOUL OF JOHN LEE HOOKER

Vee-Jay

P-Vine

Collectables

January 1962

Tentative de Vee-Jay de diversifier la musique de John Lee Hooker pour étendre sa notoriété. Le label chicagoan place John dans un environnement Soul - Rhythm & Blues avec un groupe étendu comprenant orgue, section cuivres et choristes sur certaines plages (avec Mary Wilson des Supremes) en plus de la formation classique (mêmes musiciens que sur "Burnin'"). A l'époque de sa sortie, l'album fut souvent méprisé alors qu'il recèle de belles réussites qui méritent l'écoute : "Onions", "Send me your pillow", "She shot me down" (relecture de son "Boom boom" avec choristes), "Good rockin' mama". D'autres titres sont effectivement plus faibles ("I love her", "No one told me"). Un album à part où brille notamment le guitariste Larry Veeder.

Vee-Jay's attempt to diversify the music of John Lee Hooker to expand his notoriety. The chicagoan label places John in a Soul - Rhythm & Blues environnment with an extended band including organ, horn section and backing singers on some tracks (with Mary Wilson from The Supremes) in addition to the classical line-up (same musicians as on "Burnin'"). At the time of its release, the album was often despised while it contains beautiful achievements that deserve listening : "Onions", "Send me your pillow", "She shot me down" (a new reading of "Boom boom" with backing singers), "Good rockin' mama". Other titles are actually weaker ("I love her", "No one told me"). A special album in which notably shines the guitarist Larry Veeder.

AMERICAN FOLK BLUES FESTIVAL '62

Brunswick

Decca

Polydor

L+R

Excello

October 1962

Tournée assemblée et organisée par les producteurs allemands Fritz Rau et Horst Lippman avec la collaboration avisée de Willie Dixon. Cette première édition mythique rassemble Memphis Slim, T-Bone Walker, Sonny Terry & Brownie Mac Ghee. Devant un auditoire blanc européen - peu habitué à ce genre de performance - il triomphe chaque soir. Son irrésistible "Shake it baby", enregistré pour l'occasion, sera un hit international. Derrière John, il y a un groupe royal composé de T-Bone Walker (piano), Willie Dixon (contrebasse) et "Jump" Jackson (batterie). On peut aussi citer les excellents "Let's make it baby" et "The right time".

European tour assembled and organized by german producers Fritz Rau and Horst Lippman with the wise collaboration of Willie Dixon. This first mythical edition gathers together Memphis Slim, T-Bone Walker, Sonny Terry & Brownie Mac Ghee. In front of the white european audience - unaccustomed to this kind of performance - he triumphs every night. His irresistible "Shake it baby", recorded for the occasion, will be an international hit. Behind John, there is a royal band composed of T-Bone Walker (piano), Willie Dixon (bass) and "Jump" Jackson (drums). We can also mention the excellent "Let's make it baby" and "The right time".

LIVE AT SUGAR HILL

Galaxy

Ace

America

BLUES COLLECTION vol.2

Amiga

BOOGIE CHILLUN

Fantasy

November 1962

Capté lors de plusieurs soirées par Sol Heiss et Jim Easton, John est ici seul à la guitare sur une scène de San Francisco. Le programme reste constamment intéressant même s'il semble parfois un peu long et uniforme. Un peu moins de puissance brute qu'à l'accoutumée mais une ambiance intime et plaisante.

Captured during several evenings by Sol Heiss and Jim Easton, John is here alone on the guitar on a San Francisco stage. The program remains constantly interesting even if it sometimes seems a little long and uniform. Slightly less raw power than usual but an intimate and pleasant ambience.

LIVE AT SUGAR HILL vol.2

Fantasy

Ace

November 1962

Suite des performances au Sugar Hill de San Francisco captées par Sol Heiss et Jim Easton. Comme pour le précédent recueil, il s'agit d'un bon CD présentant John Lee Hooker seul à la guitare dans une atmosphère relachée.

Continuation of the performances at the Sugar Hill of San Francisco captured by Sol Heiss and Jim Easton. As for the previous collection, this is a good CD featuring John Lee Hooker alone on the guitar in a relaxed atmosphere.

ON CAMPUS

Vee-Jay

P-Vine

Collectables

I WANT TO SHOUT THE BLUES

Stateside

BIG BAND BLUES

Buddah

1963

Dans la continuité de "The big soul of John Lee Hooker", ce disque possède toujours ce son Soul - Rhythm & Blues notamment sur "Love is a burning thing", "I want to shout", "I want to hug you". Mais, on trouve aussi quelques titres plus bruts - dans son style traditionnel - qui paraissent encore plus aboutis : "Bottle up and go", "My grinding mill".

In the continuity of "The big soul of John Lee Hooker", this record still has this Soul - Rhythm & Blues sound notably on "Love is a burning thing", "I want to shout", "I want to hug you". But, there are also some rough titles - in his traditional style - that seem even more achieved : "Bottle up and go", "My grinding mill".

CONCERT AT NEWPORT

Vee-Jay

LIVE AT NEWPORT

Vanguard

July 1963

Le disque relate la performance de John Lee Hooker au Newport Folk Festival en juillet 1963. On trouve une jolie version de son "Tupelo", "Sometime baby you make me feel so bad", "You've got to walk yourself" (solo de contrebasse de Bill Lee). Ambiance chaleureuse comme en témoigne les nombreuses interactions entre John et ce nouveau public.

The record recounts the performance of John Lee Hooker at the Newport Folk Festival in july 1963. A nice version of his "Tupelo", "Sometime baby you make me feel so bad", "You've got to walk yourself" (Bill Lee's double bass solo). Warm atmosphere as evidenced by the many interactions between John and this new audience.

AND SEVEN NIGHTS

Verve - Folkways

JOHN LEE HOOKER

Xtra

ON THE WATERFRONT

Wand

JOHN LEE HOOKER

New World

WITH JOHN MAYALL WITH THE GROUNDHOGS

Cleve

HOOKER AND THE HOGS

Indigo

DON'T WANT NOBODY ELSE

Intercord

THE 1965 LONDON SESSIONS

Sequel

THE COMPLETE 1964 RECORDINGS

RPM

November 1964

Gravé sur le sol anglais avec Tony Mac Phee & The Groundhogs, ce disque est une des premières associations entre bluesmen noir-américains et rockers britanniques. Historiquement, il s'agit donc d'un opus important qui sera publié sous de nombreux habillages plus ou moins adéquats : titres et dates différents selon les éditions, la version Wand avec les cuivres en overdubs. Tony Mac Phee et John Lee Hooker se rencontrèrent en juin 1964 pour un concert où ils durent remplacer John Mayall. Quelques mois après, ils se retrouvent pour l'enregistrement d'un disque. Leur entente musicale fonctionne parfaitement tout au long de ses blues bruts et inspirés : "Waterfront", "Storming on the deep blue sea", "Don't want nobody else", "Mai Lee". Derrière Tony et John, il y a Tom Parker (orgue, piano), Pete Cruickshank (basse) et Dave Boorman (batterie). Un disque tout à fait recommandable.

Recorded on english ground with Tony Mac Phee & The Groundhogs, this record is one of the first associations between black-american bluesmen and british rockers. Historically, it is therefore an important opus which will be published under many packagings more or less adequate : different titles and dates according to editions, the Wand version with overdubbed horns. Tony Mac Phee and John Lee Hooker met in june 1964 for a concert where they had to replace John Mayall. A few months later, they found themselves recording a full disc. Their musical understanding works perfectly throughout those raw and inspired blues : "Waterfront", "Storming on the deep blue sea", "Don't want nobody else", "Mai Lee". Behind Tony and John, there are Tom Parker (organ, piano), Pete Cruickshank (bass) and Dave Boorman (drums). A very recommendable album.

AMERICAN FOLK BLUES FESTIVAL '65

Fontana

L+R

Bellaphon

October 1965

En 1965, John participe à nouveau à la tournée de l'American Folk Blues Festival où il va, encore une fois, triompher. On trouve dans ce recueil deux de ses morceaux dans lesquels il est accompagné de Buddy Guy (à la basse !) et de Fred Below (batterie). Ceux-ci - "King of the world" et "Della Mae" - sont franchement excellents.

In 1965, John again took part in the American Folk Blues Festival tour, where he once again triumphed. This collection contains two of his tracks in which he is accompanied by Buddy Guy (on bass !) and Fred Below (drums). These - "King of the world" and "Della Mae" - are frankly excellent.

THE LOST BLUES TAPES

ACT

October 1965

Dans ce recueil rassemblant des inédits de l'American Folk Blues Festival, on trouve deux prises alternatives de "Della Mae" de John Lee Hooker.

In this collection of unissued American Folk Blues Festival material, there are two alternate takes of "Della Mae" by John Lee Hooker.

IT SERVES YOU RIGHT TO SUFFER

Impulse

MCA

November 1965

L'alliance improbable entre des jazzmen et John Lee Hooker fonctionne remarquablement débouchant sur un des meilleurs albums de son imposante discographique. Supervisée par le producteur Bob Thiele pour Impulse, la séance rassemble Hooker avec Barry Galbraith (guitare), Milt Hinton (basse) et David "Panama" Francis (batterie). Leur accompagnement est délicat et précis offrant un parfait contrepoint au jeu du bluesman. "Shake it baby", "Sugar mama", "You're wrong", "It serves you right to suffer" sont de somptueuses pépites qui mériteraient d'être redécouvertes.

The improbable alliance between jazzmen and John Lee Hooker works remarkably ranking amongst the best albums of his imposing discography. Supervised by producer Bob Thiele for Impulse, the session brings together Hooker with Barry Galbraith (guitar), Milt Hinton (bass) and David "Panama" Francis (drums). Their accompaniment is delicate and precise offering a perfect counterpoint to the bluesman playing. "Shake it baby", "Sugar mama", "You're wrong", "It serves you right to suffer" are sumptuous gems that deserve to be rediscovered.

THE REAL FOLK BLUES

Chess - MCA

MORE REAL FOLK BLUES

Chess - MCA

THE COMPLETE CHESS FOLK BLUES SESSIONS

Chess - MCA

May 1966

En mai 1966, la firme Chess propose à John d'enregistrer quelques titres pour sa collection "The real folk blues" produite par Ralph Bass. Pour cette occasion, il est entouré de Lafayette Leake (piano), Eddie Burns (guitare) et S.P. Leary (batterie). Plusieurs morceaux valent l'écoute : "Let's go out tonight", "Stella Mae", "One bourbon one scotch one beer", "I'll never trust your love again" et l'exceptionnelle ballade "The waterfront" dans laquelle il est seul à la guitare.

In may 1966, Chess proposed John to record some tracks for his collection "The real folk blues" produced by Ralph Bass. For this occasion, he is surrounded by Lafayette Leake (piano), Eddie Burns (guitar) and S.P. Leary (drums). Several songs are worth listening : "Let's go out tonight", "Stella Mae", "One bourbon one scotch one beer", "I'll never trust your love again" and the exceptional ballad "The waterfront" in which he is alone on the guitar.

MORE REAL FOLK BLUES : THE MISSING ALBUM

Chess - MCA

THE COMPLETE CHESS FOLK BLUES SESSIONS

Chess - MCA

May 1966

La moitié des titres gravés pour Chess en mai 1966 restèrent inédits. Ils ne furent publiés qu'en 1991 sous le titre "More real folk blues". Le programme contient pourtant quelques pistes particulièrement intéressantes : "This land is nobody's land", "Deep blue sea", "Mustang sally & GTO", "Catfish", "Want ad blues".

Half of the titles cut for Chess in may 1966 remained unreleased. They were not published until 1991 under the title "More real folk blues". However, the program contains some particularly interesting tracks : "This land is nobody's land", "Deep blue sea", "Mustang sally & GTO", "Catfish", "Want ad blues".

LIVE AT CAFE AU GO-GO

Bluesway

BGO

MCA

LIVE AT CAFE AU GO-GO (AND SOLEDAD PRISON)

MCA

August 1966

Avec ce disque, John retrouve le producteur Al Smith (anciennement producteur chez Vee-Jay) qui vient de fonder Bluesway. Il s'agit du premier opus d'une longue collaboration avec ce label. Gravé à New York dans un club de Greenwich Village, John est accompagné par Muddy Waters et son groupe (Otis Spann, Sammy Lawhorn, Luther Johnson, Mac Arnold, Francis Clay). Bien que mentionné sur certaines éditions, George "Harmonica" Smith n'est pas présent. L'alchimie entre John et ses prestigieux musiciens est simplement parfaite. On peut ressortir "I'm bad like Jesse James", "She's long she's tall", "Heartaches and misery" parmi d'autres.

With this record, John finds again producer Al Smith (former producer at Vee-Jay) who has just founded Bluesway. This is the first installment of a long collaboration with this label. Recorded in New York in a Greenwich Village club, John is accompanied by Muddy Waters and his band (Otis Spann, Sammy Lawhorn, Luther Johnson, Mac Arnold and Francis Clay). Although mentioned on some editions, George "Harmonica" Smith is not present. The alchemy between John and his prestigious musicians is simply perfect. We can point out "I'm bad like Jesse James", "She's long she's tall", "Heartaches and misery" among others.

URBAN BLUES

Bluesway

Stateside

BGO

MCA

September - November 1967

Constitué de deux séances distinctes (septembre & novembre 1967), John est ici supporté par des musiciens encore une fois excellents : Eddie Taylor, Wayne Bennett, Phil Upchurch, Louis Myers. Cet accompagnement de premier ordre procure force et feeling à ce remarquable opus. "Boom boom", "My own blues", "I can't stand to leave you", "The motor city is burning" (un titre sur les émeutes de Detroit en 1967 qui sera reprise par le groupe de hard-rock MC5), "Want ad blues" montrent la remarquable inspiration de John. Dans la réédition CD proposé par MCA, on trouve 3 titres supplémentaires issus de la séance qui donnera "If you miss 'im I got 'im". "Urban blues" s'impose certainement comme son meilleur album pour Bluesway.

Constituted of two separate sessions (september & november 1967), John is supported here by some excellent musicians : Eddie Taylor, Wayne Bennett, Phil Upchurch, Louis Myers. This first-class accompaniment gives strength and feeling to this remarkable opus. "Boom boom", "My own blues", "The motor city is burning" (a title about the Detroit riots in 1967 that will be covered by the hard rock band MC5), "Want ad blues" show the remarkable inspiration of John. In the CD reissue proposed by MCA, we find 3 additional titles resulting from the session which will give "If you miss 'im I got 'im". "Urban blues" certainly emerged as his best album for Bluesway.

SIMPLY THE TRUTH

Bluesway

Stateside

BGO

September 1968

Nouvelle collaboration avec le producteur Bob Thiele et un groupe de jazzmen (Hele Rosenthal, Ernie Hayes, Wally Richardson, William Foldwell, Bernard "Pretty" Purdie). Comparé à "It serves you right to suffer", les arrangements sont ici plus lourds et parfois maladroits. Il faut surtout noter l'évocateur "I don't wanna go to Vietnam". Peu après l'enregistrement de cet album, John participe à la tournée de l'American Folk Blues Festival 1968 dont la programmation a été confiée au producteur Al Smith. Curieusement - à la suite d'un désaccord entre les producteurs allemands Rau & Lippman et Al Smith - aucun album ne viendra immortaliser la tournée.

New collaboration with producer Bob Thiele and a group of jazzmen (Hele Rosenthal, Ernie Hayes, Wally Richardson, William Foldwell, Bernard "Pretty" Purdie). Compared to "It serves you right to suffer", the arrangements here are heavier and sometimes awkward. We should especially note the evocative "I don't wanna go to Vietnam". Shortly after the recording of this album, John participated in the American Folk Blues Festival 1968 tour whose programming was entrusted to the producer Al Smith. Curiously - following a disagreement between german producers Rau & Lippman and Al Smith - no album will come to immortalize this tour.

L'AVENTURE DU JAZZ vol.1&2

Jazz Odyssey

JAZZ ODYSSEY : INEDITS

Jazz Odyssey

March 1969

IF YOU MISS 'IM, I GOT 'IM

Bluesway

BGO

MCA

LONESOME MOOD

MCA

May 1969

L'association entre John Lee Hooker et son cousin Earl Hooker sous la houlette du producteur Ed Michel. Derrière les deux cousins, on trouve Johnny "Big Moose" Walker (piano, orgue), Jeff Carp (harmonica), Chester "Gino" Skaggs (basse) et Roosevelt Shaw (batterie). Un album au son brut et puissant avec une utilisation de la guitare wah-wah (jouée par Earl) qui peut déplaire. Pour l'anecdote, cet album a été gravé le même jour que "Don't have to worry" d'Earl Hooker. Outre ce disque, l'année 1969 est importante pour John qui divorce (il s'était marié avec Martella en 1943) et qui s'installe dans la région de San Francisco (où il restera jusqu'à sa mort).

The association between John Lee Hooker and his cousin Earl Hooker under the leadership of producer Ed Michel. Behind the two cousins are Johnny "Big Moose" Walker (piano, organ), Jeff Carp (harmonica), Chester "Gino" Skaggs (bass) and Roosevelt Shaw (drums). An album with a rough and powerful sound with a use of wah-wah guitar (played by Earl) that may displease. For the anecdote, this album was cut the same day as "Don't have to worry" by Earl Hooker. Besides this record, the year 1969 is important for John who divorces (he married Martella in 1943) and settles in the San Francisco area (where he remained until his death).

BLUES MEN

LRC

1969

Dans ces bandes live datant probablement de 1969, John est accompagné de Johnny Shines, Sunnyland Slim, Willie Dixon et Clifton James. On ne dispose d'aucune information ni sur le lieu, ni sur le contexte de ces enregistrements. Contenu intéressant et qualité sonore correcte.

In these live tapes probably from 1969, John is accompanied by Johnny Shines, Sunnyland Slim, Willie Dixon and Clifton James. No information is available on the location or background of these records. Interesting content and decent sound quality.

I WANNA DANCE ALL NIGHT

America

BLACK RHYTHM & BLUES

Festival

October 1969

Lors de la première tournée française du Chicago Blues Festival organisée par Jean Marc Monestier, John Lee Hooker put graver une poignée d'albums. Produit par Pierre Berjot (alias Pierre Jaubert), l'album rassemble John avec Lowell Fulson, Carey Bell (particulièrement actif à la basse) et S.P. Leary. Une longue séance qui donnera lieu à deux microsillons corrects mais mineurs. Le microsillon "Black Rhythm & Blues" reprend l'intégralité de la séance.

During the Chicago Blues Festival first french tour organized by Jean Marc Monestier, John Lee Hooker was able to record a handful of albums. Produced by Pierre Berjot (aka Pierre Jaubert), the album brings together John with Lowell Fulson, Carey Bell (particularly active on bass) and S.P. Leary. A long session that will give two decent but minor discs. The LP "Black Rhythm & Blues" takes over the entire session.

I FEEL GOOD

Carson

Jewel

BLACK RHYTHM & BLUES

Festival

NOTHING BUT THE BLUES

Blue Moon

COME ON BABY

Musidisc

October 1969

Deuxième microsillon issu d'une longue séance parisienne gravée lors de la première tournée du Chicago Blues Festival en compagnie de Lowell Fulson, Carey Bell et S.P. Leary. Comme pour "I wanna dance all night", le programme est de bon niveau et s'écoute avec plaisir. Le microsillon "Black Rhythm & Blues" reprend l'intégralité de la séance. On notera aussi que le CD Blue Moon "Nothing but the blues" propose trois titres inédits provenant de cette même session.

Second LP from a long parisian session engraved during the first Chicago Blues Festival tour with Lowell Fulson, Carey Bell and S.P. Leary. As for "I wanna dance all night", the program is quite good and can be listen with pleasure. "Black Rhythm & Blues" takes over the entire session. It will also be noted that the Blue Moon CD "Nothing but the blues" proposes three unreleased titles from this same session.

GET BACK HOME IN THE USA

Black & Blue

GET BACK HOME

Black & Blue

Evidence

November 1969

Tous les titres ont été enregistrés à Pau dans la maison de Jacques Morgantini (sauf un morceau capté en public) lors de la tournée du Chicago Blues Festival. Seul à la guitare, il propose un blues inspiré et solide : "Get back home", "TB is killing me", "Love affair", "When my first wife left me", "Big boss lady" sont plutôt bien rendues.

All the tracks were recorded in Pau in Jacques Morgantini's house (except for a live track) during the Chicago Blues Festival french tour. Alone on the guitar, he proposes an inspired and solid blues : "Get back home", "TB is killing me", "Love affair", "When my first wife left me", "Big boss lady" are rather well rendered.

HOOKER 'N HEAT

Liberty

See For Miles

BGO

May 1970

Après s'être retrouvés, par hasard, ensemble sur la scène d'un club, John Lee Hooker et le groupe californien Canned Heat décidèrent d'enregistrer un disque ensemble. Les membres du groupe admiraient John Lee Hooker, en particulier Alan Wilson. Une collaboration de grande qualité proposée par Liberty qui débouche sur un beau succès. Alan Wilson mourut juste avant la sortie du disque. L'album est construit en trois parties distinctes : une partie où John est seul à la guitare, une autre - la meilleure - où John est associé à Alan Wilson (harmonica, piano, guitare) et une dernière partie dans laquelle le bluesman est accompagné par le groupe Canned Heat au grand complet (Alan Wilson, Henry Vestine, Antonio De La Barreda, Fito De La Parra). On retient notamment les riches interactions entre John et Alan Wilson dans des morceaux inoubliables tels que "Drifter" ou "You talk too much".

After meeting together on a club stage, John Lee Hooker and the californian band Canned Heat decided to record a disc together. Canned Heat members admired John Lee Hooker, especially Alan Wilson. A high quality collaboration proposed by Liberty which leads to a great success. Alan Wilson died just before the release of the record. The album is built in three distinct parts : first part in which John is alone on the guitar, another - the best one - where John is associated with Alan Wilson (harmonica, piano, guitar) and a last part in which the bluesman is accompanied by the full group Canned Heat (Alan Wilson, Henry Vestine, Antonio De La Barreda, Fito De La Parra). We particularly point out the rich interactions between John and Alan Wilson in unforgettable tracks such as "Drifter" or "You talk too much".

ENDLESS BOOGIE

ABC

BGO

MCA

November 1970

Plusieurs musiciens de rock entourent John Lee Hooker sur ce disque : Steve Miller, Chester "Gino" Skaggs, Mark Naftalin, Carl Radle, Jim Gordon. Bien que certaines pistes soient trop longues et parfois trop uniformes, "Endless boogie" reste un album plutôt plaisant produit par Bill Szymczyk et Ed Michel.

Several rock musicians surround John Lee Hooker on this record : Steve Miller, Chester "Gino" Skaggs, Mark Naftalin, Carl Radle, Jim Gordon. Although some tracks are too long and sometimes too uniform, "Endless boogie" remains a rather pleasant album produced by Bill Szymczyk and Ed Michel.

KABUKI WUKI

Bluesway

Probe

August 1971

Concert donné au Kabuki Theatre de San Francisco lors d'une soirée regroupant des artistes Bluesway et Impulse. La prestation de John Lee Hooker semble plutôt correcte particulièrement sur "Look at the rain" et le medley "Hit the floor / A little bit higher". A noter les participations de son fils Robert Hooker (orgue) et de L.C. "Good Rockin'" Robinson (guitare).

Concert at the Kabuki Theater in San Francisco during an evening featuring Bluesway and Impulse artists. The performance of John Lee Hooker seems rather correct especially on "Look at the rain" and the medley "Hit the floor / A little bit higher". Note the contributions of his son Robert Hooker (organ) and L.C. "Good Rockin'" Robinson (guitar).

BORN IN MISSISSIPPI, RAISED UP IN TENNESSEE

ABC

Probe

September 1971

Produit par Ed Michel, enregistré en septembre 1971, l'album attendra 18 mois avant d'être mixé et ne sortira finalement qu'en 1973. Il est gâché par des arrangements lourds qui se marient mal à la musique de John Lee Hooker. Plus particulièrement, les arrangements proéminents de cuivres, cordes et autres (certains effets Echoplex et wah-wah sur saxophone ne sont pas toujours attrayants). Le morceau titre est plutôt sympathique tandis que "Going down" est surchargé et inaudible.

Produced by Ed Michel, recorded in september 1971, the album will wait 18 months before being mixed and will not be released until 1973. It is marred by heavy arrangements that distort the music of John Lee Hooker. More specifically, the prominent arrangements of brass, strings and others (some Echoplex and wah-wah effects on saxophone are not always attractive). The title track is pretty nice while "Going down" is overloaded and inaudible.

NEVER GET OUT OF THESE BLUES ALIVE

ABC

MCA

EL CAMINO DEL BLUES vol.12

ABC

September 1971

Bâti sur un schéma similaire que "Endless boogie", ce nouvel album produit par Ed Michel rassemble les mêmes musiciens avec en plus Charlie Musselwhite, Elvin Bishop et Van Morrison. Le violon de Michael White donne une coloration étrange à "Boogie with the Hook" et surtout "T.B. sheets". Un disque plutôt sympathique.

Built on a similar scheme as "Endless boogie", this new album produced by Ed Michel brings together the same musicians with Charlie Musselwhite, Elvin Bishop and Van Morrison. The violin of Michael White gives a strange coloring to "Boogie with the Hook" and especially "T.B. sheets". A rather nice record.

LIGHTS OUT : SAN FRANCISCO

Blue Thumb

1971

Concert organisé par le disc-jockey Voco (alias Abe Kosh) pour promouvoir la scène musicale de San Francisco. John Lee Hooker interprète la chanson d'ouverture en compagnie de Neal Schon et Freddie Roulette.

Concert organized by the disc-jockey Voco (aka Abe Kosh) to promote the musical scene of San Francisco. John Lee Hooker plays the opening song with Neal Schon and Freddie Roulette.

CARNEGIE HALL 1971

Cleopatra

April 1971

John apparait sur quelques titres dans ce disque largement consacré à Canned Heat : "Hey babe", "Tease me baby" et le trop long "Shake n' boogie". Un disque dispensable avec un son confus.

John appears on some tracks in this disc largely dedicated to Canned Heat : "Hey babe", "Tease me baby" and the too long "Shake n' boogie". A dispensable record with a confused sound.

LIVE AT SOLEDAD PRISON

ABC

Probe

LIVE AT CAFE AU GO-GO (AND SOLEDAD PRISON)

MCA

June 1972

Performance plutôt routinière et ennuyeuse à la prison de Soledad en Californie. A noter la participation de son fils John Lee Hooker Jr sur trois morceaux. L'album fut partiellement réédité sous le titre "Live at the Cafe au Go Go (and Soledad prison)".

Rather routine and boring performance at the Soledad prison in California. Note the participation of his son John Lee Hooker Jr on three tracks. The album was partially reissued under the title "Live at the Cafe at Go Go (and Soledad prison)".

ANN ARBOR BLUES & JAZZ FESTIVAL

P-Vine

September 1973

LIVE IN CONCERT

Arti Faxt

1973

On ne dispose que de peu d'informations concernant ces bandes live. La date de la prestation est 1973 mais les musiciens et le lieu d'enregistrement sont restés inconnus. La qualité sonore est correcte et le CD s'écoute facilement. On ressortira de jolies versions de "Sally Mae", "Hard times" et de "I hate the day I was born".

There is little information on these live tapes. The date of the performance is 1973 but the musicians and the recording location have remained unknown. The sound quality is decent and the CD can be listened easily. We will point out nice versions of "Sally Mae", "Hard times" and "I hate the day I was born".

FREE BEER AND CHICKEN

ABC

BGO

May 1974

Le producteur Ed Michel noie John Lee Hooker dans de lourds arrangements jazz-funk (flûte, violon, claviers, cuivres, percussions) comme sur "Five long years", "713 blues". Cet album moche et indigeste est le dernier pour ABC-Bluesway. Après 1974 et la fin de la collaboration ce label, John entre dans une période creuse qui va durer une quinzaine d'années.

Producer Ed Michel drowns John Lee Hooker in heavy jazz-funk arrangements (flute, violin, keyboards, horns, percussion) like on "Five long years", "713 blues". This ugly and indigestible album is the last one for ABC-Bluesway. After 1974, and the end of the collaboration with this label, John enters a slack period that will last for fifteen years.

ALONE vol.1

Labor

MMG

Tomato

Fat Possum

ALONE

Tomato

Fat Possum

February 1976

Cela faisait longtemps que l'on avait pas entendu John Lee Hooker seul à la guitare. Dans ce concert au Hunter College de New York, il peut délivrer ses blues bruts sans aucun artifice. Introspectif et concentré, John propose de délicates versions de "I'm bad like Jesse James" et "I'll never get out of these blues alive". Les rééditions CD rassemblent plus ou moins complètement les différents microsillons.

It was a long time since we had not heard John Lee Hooker alone on the guitar. In this concert at Hunter College in New York, he can deliver his raw blues without any artifice. Introspective and concentrated, John offers delicate versions of "I'm bad like Jesse James" and "I'll never get out of these blues alive". The CD reissues gather more or less completely the different tracks.

STILL ALONE vol.2

MMG

Tomato

Fat Possum

ALONE

Tomato

Fat Possum

February 1976

ALONE : THE SECOND CONCERT

Blues Alliance

ALONE

Tomato

February 1976

Suite de ses performances au Hunter College de New York. Même atmosphère intime et quelques excellents moments, en particulier des blues au tempo lent comme "Trying to survive" ou "She left me on my bended knees".

Continuation of his performances at Hunter College in New York. Same intimate atmosphere and some excellent moments, especially slow tempo blues like "Trying to survive" or "She left me on my bended knees".

LIVE + WELL

Ornament

YOU'RE SO FINE

5 Color

LIVE IN CONCERT

Chrisly

CMA

LIVE

Ornament

June 1976

Gravé en Allemagne à l'Université de Cologne avec son Coast to Coast Band (emmené par Jim Kahr). Un contenu peu attrayant, parfois hésitant qui ne convainc pas l'auditeur.

Recorded in germany at the University of Cologne with his Coast to Coast Band (led by Jim Kahr). An unattractive, sometimes hesitant content that does not convince the listener.

THE RISING SUN COLLECTION

Just a Memory

BLACK NIGHT IS FALLING

Just a Memory

May 1977

Concert donné à Montreal avec John Garcia Jr (guitare), Steve Jones (basse) et Larry "Wildman" Martin (batterie) derrière John. En fait, on entend surtout la guitare de John Garcia Jr et bien peu celle de John Lee Hooker. Ceci posé, le concert s'écoute avec plaisir ("Boom boom", "One room country shack").

Concert given in Montreal with John Garcia Jr (guitar), Steve Jones (bass) and Larry "Wildman" Martin (drums) behind John. In fact, we hear mainly the guitar of John Garcia Jr and very little that of John Lee Hooker. This posed, the concert can be listened with pleasure ("Boom boom", "One room country shack").

THE CREAM

Tomato

Charly

Fuel 2000

September 1977

Capté dans un club de Palo Alto, John Lee Hooker est supporté par son groupe régulier (emmené par la paire de guitaristes John Garcia Jr et Ron Thompson). Ces bandes s'avèrent assez sympathiques et méritent l'écoute malgré quelques longueurs (une trop longue version de "Boogie on"). "Rock steady", "She's gone", "Sugar mama" et "Drug store woman" figurent parmi les meilleurs moments du programme.

Captured in a Palo Alto club, John Lee Hooker is supported by his regular band (led by guitarists John Garcia Jr and Ron Thompson). These tapes are pretty nice and deserve listening despite a few lengths (a too long version of "Boogie on"). "Rock steady", "She's gone", "Sugar mama" and "Drug store woman" are among the highlights of the program.

I'LL PLAY THE BLUES FOR YOU

Tomato

Charly

October 1977

Ce microsillon présente Albert King et John Lee Hooker lors de concerts donnés en octobre 1977 à Chicago (4 morceaux pour Albert et 5 pour John). On y trouve des versions classiques de ses propres standards : "Boom boom", "It serves me right to suffer", "One bourbon one scotch one beer".

This LP presents Albert King and John Lee Hooker during concerts given in october 1977 in Chicago (4 tracks for Albert and 5 for John). We find there classic versions of his own standards : "Boom boom", "It serves me right to suffer", "One bourbon one scotch one beer".

LIVE IN 1978

Lunar #2

HOOKERED ON THE BLUES

JSP

THE REAL BLUES : LIVE IN HOUSTON

JSP

August 1978

Apparition de John Lee Hooker au Blues & Jazz Festival de Telluride (Colorado) édité sur le petit label Lunar #2 et réédité par les anglais de JSP. Par moments, la musique et la qualité sonore semblent confus. En outre, il s'agit d'un concert assez routinier qui peut ennuyer l'auditeur. Petite particularité : le microsillon original (Lunar #2) propose deux pistes d'interviews qui n'ont jamais été reprises.

Appearance of John Lee Hooker at the Blues & Jazz Festival of Telluride (Colorado) published on the small label Lunar #2 and reissued by the english label JSP. Sometimes, music and sound quality seem chaotic. In addition, it is a fairly routine concert that may annoy the listener. Small particularity : the original LP (Lunar # 2) includes two tracks of interviews that have never been reissued.

THE BLACK WAY : LA MEMOIRE DU PEUPLE NOIR

L'Escargot

1979

HOOKER 'N HEAT : RECORDED LIVE AT THE FOX VENICE THEATRE

Rhino

1981

Contrairement à ce que peut faire penser la pochette, il ne s'agit pas d'un album complet de Canned Heat et John Lee Hooker. En fait, John n'apparait que sur les trois derniers morceaux du programme : "Tease me baby", "Serves me right to suffer", "Nobody else but you" (avec la participation des Chambers Brothers).

Contrary to the cover sleeve may suggest, this is not a complete album by Canned Heat and John Lee Hooker. In fact, John only appears on the last three tracks of the program : "Tease me baby", "Serves me right to suffer", "Nobody else but you" (with the participation of the Chambers Brothers).

JEALOUS

Pausa

Pointblank

1983 / 1986

Quand John Lee Hooker commence l'enregistrement de "Jealous" en 1983, cela fait presque 10 ans qu'il n'a pas gravé un album complet en studio. Enregistré à Vancouver au Canada, le résultat est correct mais peu original malgré quelques moments sympathiques ("Ninety days", "When my first wife quit me", "Early one morning"). Le groupe qui accompagne John Lee Hooker se compose de Mike Osborn, Larry Hamilton, Deacon Jones, Tim Richards. A noter qu'un morceau ("We'll meet again") a été enregistré en 1986.

When John Lee Hooker began recording "Jealous" in 1983, it has been almost 10 years since he did not record a full studio album. Recorded in Vancouver, Canada, the result is decent but not very original despite some nice moments ("Ninety days", "When my first wife quit me", "Early one morning"). The band that accompanies John Lee Hooker consists of Mike Osborn, Larry Hamilton, Deacon Jones, Tim Richards. Note that a song ("We'll meet again") was recorded in 1986.

THE COLOR PURPLE

Qwest

1985

Pour le célèbre film réalisé par Steven Spielberg, John chante le beau "Don't make me no never mind" accompagné par Sonny Terry, Bobby Scott, Roy Gaines et Paul Jackson Jr.

For this famous film directed by Steven Spielberg, John sings the beautiful "Don't make me no never mind" accompanied by Sonny Terry, Bobby Scott, Roy Gaines and Paul Jackson Jr.

THE NIGHT OF THE HOOK

Paradise

April 1986

THE HEALER

Silvertone

Virgin

Chameleon

January 1987 - 1989

Sous l'impulsion du guitariste Roy Rogers qui souhaite produire un album hommage de John Lee Hooker, beaucoup de musiciens, issus de différents horizons, viennent jouer aux côtés du bluesman : Carlos Santana, Bonnie Raitt, Roy Rogers, Canned Heat, Los Lobos, Charlie Musselwhite, George Thorogood. Grâce à une production soignée et des invités respectueux, l'album est une grande réussite qui sera également un succès international fracassant. En particulier, la chanson-titre sur un rythme bossa-nova interprétée par Santana propulse le disque sur les rails de la reconnaissance publique. Mais d'autres pistes méritent largement d'être signalées : "I'm in the mood" en duo avec Bonnie Raitt, "Think twice before you go", "That's alright", "Sally Mae".

Under the impulse of guitarist Roy Rogers who wants to produce a tribute album of John Lee Hooker, many musicians, from different backgrounds, come to play alongside the bluesman : Carlos Santana, Bonnie Raitt, Roy Rogers, Canned Heat, Los Lobos, Charlie Musselwhite, George Thorogood. Thanks to a neat production and respectful guests, the album is a great achievement which will also be a smashing international success. In particular, the title track on a bossa-nova rhythm interpreted by Santana propels the record on the tracks of public recognition. But other tracks are worthy of interest : "I'm in the mood" in duet with Bonnie Raitt, "Think twice before you go", "That's alright", "Sally Mae".

BOOM BOOM

Pointblank

February 1987 - August 1992

Nouvel album sous la supervision de Roy Rogers avec une belle liste d'invités : Robert Cray, Jimmie Vaughan, Albert Collins, John Hammond, Charlie Musselwhite. De facture très classique, il s'agit simplement de remises au goût du jour de quelques uns des standards de Hooker. Un programme bien réalisé mais un peu fade, sans grande surprise. Il fut enregistré en l'espace de plusieurs années et sorti après "Mr Lucky". Deux morceaux bonus - vraiment dispensables - furent ajoutés dans la réédition de Shout Factory.

New album under the supervision of Roy Rogers with a nice guestslist : Robert Cray, Jimmie Vaughan, Albert Collins, John Hammond, Charlie Musselwhite. Very classic, it is simply a refurbishment of some of Hooker's standards. A well done program but a bit insipid, no great surprise. It was recorded in the space of several years and released after "Mr Lucky". Two bonus tracks - really dispensable - were added in the Shout Factory reissue.

HOOK LINE AND SINKER

Blues Knight

Late 1980's / March 1990

RIDE JOHNNY RIDE

Not Guilty

MILL VALLEY '92

Swingin' Pig

March 1989 / December 1989 / January 1992

Il s'agit probablement d'un album pirate. On trouve dans celui-ci, un titre en studio "Red house" (une très sympathique reprise de Jimi Hendrix) gravé en mars 1989 avec Booker T. Jones et Randy California. Les autres morceaux proviennent d'un concert californien chaleureux de janvier 1992 dans lequel apparurent un certain nombre d'invités. On note également un "Boogie chillun" enregistré sur scène à Atlantic City avec les Rolling Stones et Eric Clapton.

It's probably a bootleg album. We find in it a studio title "Red house" (a very nice cover of Jimi Hendrix) cut in march 1989 with Booker T. Jones and Randy California. The other tracks come from a warm californian concert in january 1992 in which some guests appeared. We also note "Boogie chillun" recorded on stage in Atlantic City with the Rolling Stones and Eric Clapton.

THE HOT SPOT

Antilles

May 1990

Bande-son du film "The hot spot" réalisé par Dennis Hopper. Pour celle-ci, John est associé sur plusieurs titres à Miles Davis, Roy Rogers et Taj Mahal. La cohésion entre tous ces musiciens fonctionne plutôt correctement. Ce blues dépouillé parfois planant mérite une écoute attentive : "Coming to town", "Harry and Dolly", "Murder", "Blackmail" sans oublier "End credits", le très bon instrumental final. Signalons aussi un très beau titre - "Moanin'" - où John est seul à la guitare.

Soundtrack of the film "The hot spot" directed by Dennis Hopper. John is associated with Miles Davis, Roy Rogers and Taj Mahal. The cohesion between all these musicians works rather well. This stripped blues sometimes hovering deserves an attentive listening : "Coming to town", "Harry and Dolly", "Murder", "Blackmail" without forgetting "End credits", the very good final instrumental. We can also mention a very beautiful title - "Moanin'" - where John is alone on the guitar.

CHICAGO BLUES FESTIVAL 1990

Doxy

June 1990

Captation de son passage au Chicago Blues Festival en 1990, cet enregistrement possède une qualité sonore confuse (issue d'une retransmission radiophonique) qui gâche un peu le plaisir de l'auditeur. Derrière lui, Willie Dixon, Buddy Guy, Roy Rogers, Wayne Bennett, Charlie Musselwhite sont présents.

Capture of his Chicago Blues Festival 1990 appearance, this recording has a confused sound quality (resulting from a radio broadcast) which spoils a little the pleasure of the listener. Behind him, Willie Dixon, Buddy Guy, Roy Rogers, Wayne Bennett, Charlie Musselwhite are present.

THE MONTREUX ALBUM

Swingin' Pig

July 1990

MR LUCKY

Silvertone

Virgin

1990 - 1991

Comme pour "The healer" (Roy Rogers est toujours le producteur), Hooker est entouré de nombreux invités prestigieux venus jouer à ses côtés. "I want to hug you" avec la participation du pianiste Johnnie Johnson lance parfaitement l'album. Ensuite, "Mr Lucky" (avec Robert Cray), "This is hip" (avec Ry Cooder), "Crawlin' kingsnake" (avec Keith Richards) et "Father was a jockey" (avec John Hammond) s'avèrent plutôt convaincants. Par contre, le reste du programme est plus inégal.

As for "The healer" (Roy Rogers is still the producer), Hooker is surrounded by many prestigious guests who come to play with him. "I want to hug you" with the participation of pianist Johnnie Johnson perfectly launches the album. Then, "Mr. Lucky" (with Robert Cray), "This is hip" (with Ry Cooder), "Crawlin' kingsnake" (with Keith Richards) and "Father was a jockey" (with John Hammond) are rather convincing. However, the remaining tracks are more uneven.

CHILL OUT

Pointblank

SPV

February 1987 / April 1991 / 1990 / 1994

Dans cet album avec les habituels invités, on préfère "Kiddio" et "Annie Mae" avec Charles Brown et Danny Caron. On peut aussi citer "Serves me right to suffer / Syndicator" avec Van Morrison, une jolie version du sombre "Tupelo" et "Woman on my mind". Plus tard, le CD sera réédité avec deux morceaux supplémentaires.

In this album with the usual guests, we may prefer "Kiddio" and "Annie Mae" with Charles Brown and Danny Caron. We can also mention "Serves me right to suffer / Syndicator" with Van Morrison, a nice version of the dark "Tupelo" and "Woman on my mind". Later, the CD will be reissued with two additional tracks.

THE HOUSE OF THE BLUES

Royal Sound Music

Klondike

June 1995

John Lee Hooker apparait ici sur 3 morceaux avec Ry Cooder et le Duke Robillard Band : "Crawlin' kingsnake", "One bourbon one scotch one beer" et l'inévitable "Boom boom".

John Lee Hooker appears here on 3 tracks with Ry Cooder and the Duke Robillard Band : "Crawlin' kingsnake", "One bourbon one scotch one beer" and the inevitable "Boom boom".

DON'T LOOK BACK

Pointblank

1993 / April - September 1996

Produit par Van Morrison, ce "Don't look back" rassemble encore une fois John Lee Hooker avec plusieurs invités venus jouer avec lui. Mais, l'ensemble du programme semble franchement peu original et souvent ennuyeux.

Produced by Van Morrison, this "Don't look back" again gathers John Lee Hooker with several guests come to play with him. But, the whole program seems frankly unoriginal and often boring.

FACE TO FACE

Eagle

May 1991 / April - September 1996 / 1996 - 2001