b. March 20th, 1937 in Stringtown (Mississippi)
d. January 29th, 2018 in Chicago (Illinois)
SWEET HOME CHICAGO
Delmark
February 1966
Eddie passe sa jeunesse à Greenville. Il y monte une préférence pour les instruments à vent essayant la clarinette, le saxophone et le trombone. Il joue aussi un peu d'harmonica (un instrument surnommé le saxophone du Mississippi). Adolescent, il fréquente beaucoup de jeunes musiciens comme Little Milton, Charlie Booker, Oliver Sain, Willie Love, Johnny "Big Moose" Walker. Finalement, Eddie se spécialisera dans le saxophone dont il deviendra un excellent technicien. En 1952, Ike Turner, musicien et talent-scout, le remarque et lui organise une séance dans les studios de la radio WROX. Malheureusement, ces bandes ne verront jamais le jour. Sur les conseils de Muddy Waters, il rejoint Chicago en 1957 et s'intègre à la scène bourgeonnante du West Side. Eddie se lie notamment avec Magic Sam dont il devient le saxophoniste attitré. Il apparait, d'ailleurs, avec lui sur la superbe anthologie "Sweet home Chicago". Sur les deux morceaux interprétés par Eddie (et produits par William Lindemann et Shakey Jake), celui-ci se retrouve leader d'un jour du groupe de Magic Sam (Mack Thompson, Bob Richey). Il brille particulièrement sur "Blues for the West Side" où il laisse entrevoir ses capacités au saxophone avec un son charnu et enveloppant.
Eddie spent his youth in Greenville. There, he showed a preference for wind instruments trying clarinet, saxophone and trombone. He also played a little harmonica (an instrument called the Mississippi saxophone). Teenager, he attended many young musicians such as Little Milton, Charlie Booker, Oliver Sain, Willie Love, Johnny "Big Moose" Walker. Finally, Eddie will specialize in the saxophone which he became an excellent technician. In 1952, Ike Turner, musician and talent scout, noticed him and organized a session in the studios of the WROX radio. Unfortunately, these tapes will never see the day. On Muddy Waters advice, he joined Chicago in 1957 and integrates the West Side's burgeoning scene. Eddie met especially Magic Sam becoming his official saxophonist. He appeared, moreover, with him on the beautiful anthology "Sweet home Chicago". On both tracks interpreted by Eddie (and produced by William Lindemann and Shakey Jake), he became the leader for a day of Magic Sam's band (Mack Thompson, Bob Richey). He shines particularly on "Blues for the West Side" and suggests his abilities on the saxophone with a fleshy and enveloping sound.
HAVE BLUES WILL TRAVEL
Simmons
CHICO CHISM'S WEST SIDE CHICAGO BLUES PARTY
South West Musical Arts Foundation
February 1966 - June 1977
En 1972, il devient le chef d'orchestre, compositeur occasionnel, manager et saxophoniste d'Howlin' Wolf, collaborant notamment à l'album "Back door Wolf". Quand le Wolf meurt en janvier 1976, Eddie conserve le groupe et le rebaptise Wolf Gang. L'année suivante, Lillie Burnett (veuve d'Howlin' Wolf) finance son premier véritable album "Have blues will travel". Le Wolf Gang comprend, à l'époque, une équipe de musiciens de premier choix : Detroit Junior (piano), Hubert Sumlin (guitare), Lafayette "Shorty" Gilbert (basse) et Chico Chism (batterie). En plus de ses qualités de souffleur, Eddie s'impose aussi comme un chanteur puissant et un compositeur inspiré. Son "Blues men of yesterday" est un morceau remarquable. Mais, on remarque également l'entrainant "I don't trust nobody", "Big leg woman", les instrumentaux "I can't stop loving you" et "Back door Wolf" ou la reprise de "This little voice" (composée par A.C. Reed, un autre saxophoniste). Le LP reprend ses deux morceaux de 1966. Une partie des titres a été reprise dans le CD "Chico Chism's west side Chicago blues party".
In 1972, he became the conductor, occasional composer, saxophonist and manager of Howlin' Wolf, collaborating notably on the "Back door Wolf" album. When the Wolf died in january 1976, Eddie kept the group and renamed it Wolf Gang. The following year, Lillie Burnett (widow of Howlin 'Wolf) financed his first album "Have blues will travel". The Wolf Gang includes, at the time, a team of first-rate musicians : Detroit Junior (piano), Hubert Sumlin (guitar), Lafayette "Shorty" Gilbert (bass) and Chico Chism (drums). In addition to his blower qualities, Eddie is also emerging as a powerful singer and an inspired composer. His "Blues men of yesterday" is a remarkable track. But, we also note the stirring "I don't trust nobody", "Big leg woman", the instrumental "I can't stop loving you" and "Back door Wolf" or the cover of "This little voice "(composed by A.C. Reed, another saxophonist). The LP contains his two 1966's tracks. Some titles have been reissued in "Chico Chism's west side Chicago blues party" CD.
KING OF THE ROAD
Rooster
Double Trouble
February 1966 - July 1984
Recueil reprenant diverses séances inédites et prises alternatives situées entre 1966 et 1984. Publié en microsillon par la firme Rooster de Jim O'Neal puis par Double Trouble, il n'a jamais été repris en CD. On retrouve les deux morceaux d'Eddie pour l'anthologie "Sweet home Chicago", une séance inédite de 1969 (avec l'épatant "It's all right"), des prises alternatives issues de "Have blues will travel". Mais, la moitié du disque est consacrée à une session de juin - juillet 1984, produite par Jim O'Neal et Tom Radal, dans laquelle Eddie est accompagné de son groupe de l'époque (Vaan Shaw Jr, Detroit Junior). Une session de bonne facture dans laquelle on peut ressortir les superbes "It hurts" et "King of the road". Un contenu disparate mais de grande qualité.
Collection taking various alternate takes and unreleased sessions dated between 1966 and 1984. Published on LP by Rooster a label owned by Jim O'Neal then by Double Trouble, it has never been reissued on CD. There are the two Eddie's tracks for the anthology "Sweet home Chicago", an unissued 1969 session (with the amazing "It's all right"), alternate takes from "Have blues will travel". But half of the disc is devoted to a session of june - july 1984, produced by Jim O'Neal and Tom Radal in which Eddie is backed by his band of the time (Vaan Shaw Jr, Detroit Junior). A nice session with the superb "It hurts" and "King of the road". A disparate but high quality content.
LIVING CHICAGO BLUES
Alligator
January 1978
Sa participation à cette anthologie mythique reste probablement ce qu'Eddie a fait de meilleur. Son groupe habituel est solide et homogène : Johnny "Big Moose" Walker, Hubert Sumlin, Lafayette "Shorty" Gilbert, Chico Chism. Eddie interprète cinq morceaux tout à fait remarquables : "It's alright", "Out of bad luck", "Stoop down baby", "Sitting on top of the world" et "My baby's so ugly".
His participation in this legendary anthology remains probably what Eddie did best. His regular group is solid and homogeneous : Johnny "Big Moose" Walker, Hubert Sumlin, Lafayette "Shorty" Gilbert, Chico Chism. Eddie sings five tracks quite remarkable : "It's alright", "Out of bad luck", "Stoop down baby", "Sitting on top of the world" and "My baby's so ugly".
MOVIN' AND GROOVIN' MAN
Isabel
Evidence
May 1982
Ce disque fut enregistré lors d'une tournée d'Eddie Shaw en France par Didier Tricard sur son label Isabel. Eddie y est impeccable au chant et au saxophone (alto et ténor) et son groupe le porte parfaitement. On pourrait objecter toutefois que le jeune guitariste Melvin Taylor semble un peu trop présent malgré ses grandes qualités musicales. Comme à son habitude, Eddie a composé la grande majorité des morceaux. Plusieurs bons moments émaillent ce disque plaisant : "Blues for Tomako" (avec Eddie "Cleanhead" Vinson au saxophone alto), "Louisiana blues", "I've got to tell somebody". Notons aussi qu'il prend l'harmonica sur l'entrainant "Movin' and groovin' man" et sur "My baby and me".
This album was recorded during a french tour by Didier Tricard on his own label, Isabel. Eddie is impeccable on vocals and saxophone (alto and tenor) and his backing band perfectly carries him. However, it could be argued that the young guitarist Melvin Taylor seems a little too present despite his great musicianship. As usual, Eddie composed the majority of the titles. Several good moments punctuate this pleasant album : "Blues for Tomako" (with Eddie "Cleanhead" Vinson on alto sax), "Louisiana blues", "I've got to tell somebody". Note also that he takes the harmonica on the catchy "Movin' and groovin' man" and "My baby and me".
HARMONICA BLUES
Delta Groove
Spring 1989
Un titre instrumental ("1815 West Roosevelt") joué aux côtés de Bob Corritore.
One instrumental title ("1815 West Roosevelt") played alongside Bob Corritore.
IN THE LAND OF CROSSROADS
Flying Fish
Rooster
1989
Co-produit par Eddie Shaw et Jim O'Neal, gravé à Clarksdale, ce disque présente Eddie avec son groupe régulier : Eddie "Vaan" Shaw Jr son fils à la guitare qui a remplacé Hubert Sumlin, Lafayette "Shorty" Gilbert (basse) et Robert Plunkett (batterie). Tout le monde joue parfaitement son rôle mais "Vaan" Shaw à la guitare se révèle vite envahissant et imprécis dans ses nombreuses interventions à la guitare. Certains de ses solos sont tout bonnement insupportables. Vraiment dommage car le disque semble indubitablement inspiré par ailleurs. Néanmoins, quelques morceaux retiennent l'attention : "She didn't tell me everything", "Take home pay" et sa reprise à l'harmonica de "I got to go" de Little Walter.
Co-produced by Eddie Shaw and Jim O'Neal, recorded in Clarksdale, this album presents Eddie with his regular group : Eddie "Vaan" Shaw Jr his son on guitar who replaced Hubert Sumlin, Lafayette "Shorty" Gilbert (bass) and Robert Plunkett (drums). Everyone plays perfectly his role but "Vaan" Shaw on guitar shows himself invasive and imprecise in his many interventions on guitar. Some of his solos are just simply unbearable. Shame because otherwise the album seems undoubtedly inspired. Nevertheless, a few tracks attract attention : "She didn't tell me everything", "Take home pay" and his cover on harmonica of "I got to go" of Little Walter.
THE BLUES IS GOOD NEWS
Wolf
June 1977 / September 1990 / January 1992
Ce disque est en fait constitué principalement de deux sessions : une de septembre 1990, l'autre de janvier 1992. Celles-ci sont agrémentées d'un morceau datant de 1977 (son superbe "Blues men of yesterday") ou Eddie est accompagné du Wolf Gang de la grande époque. Encore une fois, on déplore les excès de "Vaan" Shaw à la guitare (alors que John Primer lui se montre d'une belle discrétion à la guitare rythmique). Un contenu global plaisant quoiqu'inégal.
This album is actually made up mainly of two sessions : one from september 1990, the other from january 1992. These are complemented by a song from 1977 (the superb "Blues men of yesterday") where Eddie is accompanied by Wolf Gang of the big time. Again, we deplore the excesses of "Vaan" Shaw on guitar (while John Primer shows a nice discretion on rhythm guitar). An overall pleasant content though uneven.
HOME ALONE
Wolf
July 1993 - March 1994
Avec le tandem de guitaristes "Vaan" Shaw et Johnny B. Moore, Detroit Junior (piano), Lafayette "Shorty" Gilbert (basse) et Tim Taylor (batterie, fils d'Eddie Taylor), Eddie livre un de ses disques les plus équilibrés. Ses compositions sont particulièrement abouties : "Lickskillet Mississippi", "Blues in Paris", l'instrumental "Miss Tangy", "Home alone", "Motel Six". On aime particulièrement la section rythmique sobre et compétente et la guitare précise de Johnny B. Moore. A noter en fin de programme, une belle reprise de "One room country shack" (composé par Mercy Dee Walton) sur la scène du club B.L.U.E.S.
With the guitar tandem "Vaan" Shaw and Johnny B. Moore, Detroit Junior (piano), Lafayette "Shorty" Gilbert (bass) and Tim Taylor (drums, son of Eddie Taylor), Eddie gives here one of his most balanced albums. His compositions are particularly accomplished : "Lickskillet Mississippi", "Blues in Paris", the instrumental "Miss Tangy", "Home alone", "Motel Six". We especially like the restrained and competent rhythm section and precise guitar work of Johnny B. Moore. Note that at the end of the program, a beautiful cover of "One room country shack" (composed by Mercy Dee Walton) on stage at B.L.U.E.S. club.
A TRIBUTE TO MAGIC SAM
King
Evidence
1994
TOO MANY HIGHWAYS
Wolf
November 1996
Nouveau disque pour la firme viennoise Wolf. Le meilleur titre du CD me semble être "Sack full of blues" interprété à deux saxophones (Eddie Shaw et Michael Pevey) avec un beau solo de guitare de Johnny B. Moore. Cet opus est partagé entre compositions personnelles ("Ode to Howlin' Wolf", "Can't stand to see you go") et reprises réussies ("Since I met you baby", "Ain't superstitious"). Un album plutôt plaisant avec quelques longueurs.
New record for the viennese imprint, Wolf. The best title of the CD seems to be "Sack full of blues" played with two saxophones (Eddie Shaw and Michael Pevey) with a beautiful guitar solo by Johnny B. Moore. The album is split between personal compositions ("Ode to Howlin' Wolf", "Can't stand to see you go") and well-performed covers ("Since I met you baby", "Ain't superstitious"). A rather pleasant album with some boring moments.
CAN'T STOP NOW
Delmark
December 1996
Premier disque complet pour la firme Delmark de Robert Koester (bien qu'Eddie figurait sur l'anthologie "Sweet home Chicago" au début de sa carrière). Belle voix grave légèrement fatiguée, un son de saxophone charnu, une production à la hauteur, un groupe expérimenté et compétent (Detroit Junior, Eddie "Vaan" Shaw Jr, Lafayette "Shorty" Gilbert, Tim Taylor). Gravé un mois après le précédent "Too many highways", "Can't stop now" recèle de nombreux titres notables : "Greedy man", "Can't stop now", "Rockin' with Eddie", "Chicago man", "I gotta tell somebody" sans oublier la superbe reprise de "Howlin' for my darling".
First full CD for Delmark label managed by Robert Koester (although Eddie was on the anthology "Sweet home Chicago" at the beginning of his career). Beautiful deep voice slightly tired, meaty sound saxophone, production up to it, an experienced and competent backing band (Detroit Junior, Eddie "Vaan" Shaw Jr, Lafayette "Shorty" Gilbert, Tim Taylor). Cut one month after the previous "Too many highways", "Can't stop now" contains many noteworthy titles : "Greedy man", "Can't stop now", "Rockin' with Eddie", "Chicago man", "I gotta tell somebody" not to mention the beautiful cover of "Howlin' for my darling".
CLARK STREET RAMBLERS
Blue Chicago
June - July 1997
Dans cette sympathique anthologie éditée par Blue Chicago, Eddie Shaw interprète "I'm tired".
In this nice anthology issued by Blue Chicago, Eddie Shaw performs "I'm tired".
A TRIBUTE TO HOWLIN' WOLF
Telarc
July 1997
THE SONGS OF WILLIE DIXON
Telarc
July - August 1998
Eddie propose, dans ce disque-hommage à Willie Dixon, une reprise de bonne facture de "I ain't superstitious" accompagné de David Maxwell (piano), Doug Wainoris (guitare), Calvin Jones (basse) et Willie Smith (batterie).
Eddie gives, in this tribute album to Willie Dixon, a noteworthy cover of "I ain't superstitious" accompanied by David Maxwell (piano), Doug Wainoris (guitar), Calvin Jones (bass) and Willie Smith (drums).
LIVE AT THE TIME OUT PUB
Klarity
October 1999
Un bon disque live tantôt approximatif, tantôt intense qui mérite l'écoute. Derrière Eddie plutôt en bonne forme, il y a "Vaan" Shaw (guitare) pas toujours inspiré, Lafayette "Shorty" Gilbert (basse) et Dave Swan (batterie). On retient "Fanny Mae Jones", "Howlin' for my darling", "Rock me" dans cet album plaisant mais mineur.
A good live record sometimes approximate, sometimes intense that deserves listening. Behind Eddie rather in good shape, there is "Vaan" Shaw (guitar) not always inspired, Lafayette "Shorty" Gilbert (bass) and Dave Swan (drums). We can point out "Fanny Mae Jones", "Howlin' for my darling", "Rock me" in this pleasant but minor album.
PAPA TOLD ME
North Atlantic
May - October 2001
Premier disque pour le label North Atlantic Blues Records (le label éditera aussi une compilation des morceaux d'Eddie intitulée "Four decades of Eddie Shaw"). Malgré les années qui passent, Eddie se montre toujours en forme au chant et au saxophone. Un disque parfois intéressant, globalement peu original, contenant quelques longueurs (une version dénaturée de "I'll play the blues for you" chantée par "Vaan" Shaw).
First record for the North Atlantic Blues Records label (this label also publish a compilation of Eddie's best songs entitled "Four decades of Eddie Shaw"). Despite passing years, Eddie always shows himself in good shape on vocals and saxophone. Sometimes interesting, globally unoriginal, containing some boring moments (a denatured version of "I'll play the blues for you" sung by "Vaan" Shaw).
IT AIN'T OVER
Delmark
March 2008
Recueil du concert organisé pour les 55 ans du label Delmark, fondé et dirigé par Bob Koester. A cette occasion, les artistes de la maison sont invités à se produire sur la scène du Buddy Guy's Legends à Chicago. Parmi ceux-ci, le saxophoniste Eddie Shaw chante deux morceaux : "For you my love", "Sun is shining". Sa voix est parfois un peu faiblarde mais la musique est d'excellente qualité.
Collection concert organized for 55 years of Delmark label, created and managed by Bob Koester. On this occasion, the artists of the label are invited to perform on the stage of Buddy Guy's Legends in Chicago. Among them, the saxophonist Eddie Shaw sings two songs : "For you my love", "Sun is shining". His voice is sometimes weak but music is excellent.
NAKED
North Atlantic
2009
STILL RIDIN' HIGH
Stringtown
2012
Agé désormais de 75 ans et flanqué d'un nouveau groupe (The 757 All-Stars), Eddie Shaw revient sur le devant de la scène avec ce "Still ridin' high". Sa voix est désormais limitée et son saxophone malheureusement assez rare mais les musiciens qui l'accompagne assurent largement (un saxophone, plusieurs chanteurs). Du coup, on n'entend pas beaucoup Eddie dans cet album. D'un autre côté, la musique est de qualité et la production à la hauteur. Autopublié sous la marque Stringtown (la ville natale d'Eddie), produit par Jackie Scott, on peut relever plusieurs bons moments : "Sack full of blues", "Paris in the fall", "Black-eyed peas & fatback", "Rock this house".
Now aged 75 and associated with a new group (The 757 All-Stars), Eddie Shaw returns to the front of the stage with the "Still ridin' high". His voice is now limited and his saxophone unfortunately rare but the musicians who accompany him are amply competent (saxophone, several singers). So, we do not hear much Eddie in this album. On the other hand, music and production reach a good level. Self-published under the Stringtown label (Eddie's hometown), produced by Jackie Scott, we can point out many good moments : "Sack full of blues", "Paris in the fall", "Black-Eyed Peas &Amp; fatback", "Rock this house".