James Witherspoon
b. August 8th, 1920 in Gurdon (Arkansas)
d. September 18th, 1997 in Los Angeles (California)
URBAN BLUES SINGING LEGEND
JSP
1945 - December 1953
THE CHRONOLOGICAL JIMMY WITHERSPOON
Classics
Volume 1 (October 1947 - June 1948)
Volume 2 (June 1948 - May 1949)
Volume 3 (May 1949 - December 1951)
Fils d'un père ouvrier du rail et d'une mère pianiste, Jimmy chante à l'église et décide très tôt de devenir chanteur. En 1941, il arrive en Californie où il trouve ses premiers engagements. Pendant la guerre, il rejoint la marine marchande. En escale à Calcutta, il chante dans l'orchestre de Teddy Weatherford. A son retour à la vie civile, il s'installe à Vallejo (Californie) et travaille dans les chantiers navals tout en chantant le soir dans les clubs de la région. Jimmy est embauché par le pianiste Jay Mac Shann pour devenir le chanteur de sa formation. Ils enregistrent notamment pour les labels Aladdin et Mercury. En octobre 1947, Jimmy entame une carrière en leader pour le label Supreme, dirigé par Al Patrick. On découvre alors son style de Jump-Blues élégant et superbement chanté : "Wandering gal blues", "Third floor blues", "How long", "Ain't nobody's business", "Frogimore blues", "Wee baby blues". De plus, il est accompagné d'excellents musiciens comme Jay Mac Shann, Louis Speiginer ou Buddy Tate. A l'été 1948, il signe pour le label Down Beat (Swing Time) de Jack Lauderdale tout comme son ami Jay Mac Shann. Accompagné notamment de ce dernier et du saxophoniste Maxwell Davis, Jimmy propose encore d'excellents morceaux comme "Spoon calls Hootie", "Call my baby" ou "Drunk, broke and hungry". Il signe ensuite pour le label Modern où il enregistre substantiellement entre 1949 et 1951. Ce sont ses faces Modern qui vont vraiment l'imposer comme un des meilleurs blues-shouters de sa génération : "Jump children", "Take me back baby", "Who's been jivin' you" (avec la guitare de Chuck Norris), "When I had my money". En mai 1949, il participe au concert Just Jazz organisé par Gene Norman (le DJ de KFWB) qui remporte un grand succès dans une chaude ambiance ("Big fine girl", "No rollin' blues"). On peut encore mentionner les excellents "Drinkin' beer", "Hard workin' blues", "I'm just a country boy", "I'm just wandering" (avec la guitare de "Tiny" Webb). En juin 1952, Jimmy passe chez Federal et enregistre sous la houlette du producteur Ralph Bass dans un style moins percutant. On trouve, néanmoins, quelques beaux blues comme "Lucille", "Blues in trouble", "Back door friend". Il faut noter que la période Federal est uniquement reprise dans le coffret JSP (les CD Classics s'arrêtent après la période Modern).
Son of a railroad worker father and a pianist mother, Jimmy sings in church and decides very early to become a singer. In 1941, he arrived in California where he found his first engagements. During the war, he joined the merchant marine. In scale in Calcutta, he sings in the Teddy Weatherford's orchestra. On his return to civilian life, he settled in Vallejo (California) and worked in the shipyards while singing in the evenings in the clubs of the area. Jimmy is hired by the pianist Jay Mac Shann to become the singer of his band. They record notably for the Aladdin and Mercury labels. In october 1947, Jimmy began a career as a leader for the Supreme label, run by Al Patrick. We then discover his elegant and superbly sung Jump-Blues style : "Wandering gal blues", "Third floor blues", "How long", "Ain't nobody's business", "Frogimore blues", "Wee baby blues". In addition, he was accompanied by excellent musicians such as Jay Mac Shann, Louis Speiginer or Buddy Tate. In the summer of 1948, he signed for the Jack Lauderdale's Down Beat label (Swing Time) just like his friend Jay Mac Shann. Accompanied in particular by the latter and the saxophonist Maxwell Davis, Jimmy still delivers excellent songs like "Spoon calls Hootie", "Call my baby" or "Drunk, broke and hungry". He then signed for the Modern label where he recorded substantially between 1949 and 1951. It was his Modern sides that would really establish him as one of the best blues-shouters of his generation : "Jump children", "Take me back baby", "Who's been jivin' you" (with Chuck Norris' guitar), "When I had my money". In may 1949, he participated in the Just Jazz concert organized by Gene Norman (KFWB's DJ) who achieved great success in a warm atmosphere ("Big fine girl", "No rollin' blues"). We can still mention the excellent "Drinkin' beer", "Hard workin' blues", "I'm just a country boy", "I'm just wandering" (with "Tiny" Webb's guitar). In june 1952, Jimmy moved to Federal and recorded under supervision of producer Ralph Bass in a less incisive style. We find, however, some nice blues like "Lucille", "Blues in trouble", "Back door friend". It should be noted that the Federal period is only included in the JSP box-set (the Classics CDs end after the Modern period).
PIANO PLAYHOUSE
Night Train
June 1948
Deux morceaux inédits (en fait deux prises alternatives de "Mr Hootie") datant de la période Down Beat / Swing Time.
Two previously unreleased tracks (actually two alternate takes of "Mr Hootie") from the Down Beat / Swing Time era.
FURTHER MELLOW CATS 'N KITTENS
Ace
February 1949
Un titre inédit mais dispensable issu de sa production pour Modern.
An unissued but dispensable title from his production for Modern.
STORMY MONDAY AND OTHER BLUES
Sutton
1950's
SPOON SO EASY
Chess
Vogue
June 1954 - August 1956 / January 1959
Dans la seconde moitié des années 50, Jimmy Witherspoon est clairement au creux de la vague. Grâce à Willie Dixon, il participe à plusieurs séances à Chicago pour le label Chess (et sa marque Checker). Son style Jump-Blues se teinte harmonieusement du son de Chicago et aboutit à de beaux morceaux : le superbe "Spoon so easy", une nouvelle version de "Ain't nobody's business" mais aussi "When the lights go out", "Crying", "Danger", "Mack & Jack". Derrière Jimmy, on trouve de remarquables sidemen comme Eddie Chamblee, Lafayette Leake, Floyd Dixon, Jody Williams et même Jay Mac Shann.
In the second half of the 1950's, Jimmy Witherspoon was clearly at the bottom of the wave. Thanks to Willie Dixon, he participated in several sessions in Chicago for the Chess label (and its Checker imprint). His Jump-Blues style is harmoniously tinged with the sound of Chicago and leads to beautiful tracks : the superb "Spoon so easy", a new version of "Ain't nobody's business" but also "When the lights go out", "Crying", "Danger", "Mack & Jack". Behind Jimmy, there are remarkable sidemen like Eddie Chamblee, Lafayette Leake, Floyd Dixon, Jody Williams and even Jay Mac Shann.
WILBUR DE PARIS PLAYS & JIMMY WITHERSPOON SINGS NEW ORLEANS BLUES
Atlantic
Official
London
October - November 1956
Toujours désireux de nouvelles expériences et influences, il enregistre ces séances à New York avec le jazzman Wilbur De Paris dans un style New Orleans comme le titre l'indique. Dans cette tracklist qui fluctue entre Blues et Jazz, on trouve de bons moments comme "How long blues", "Saint Louis blues", "When the sun goes down", "Big fine girl" et "Good rollin' blues".
Always eager for new experiences and influences, he recorded these sessions in New York with the jazzman Wilbur De Paris in a New Orleans style as the title suggests. In this tracklist which fluctuates between Blues and Jazz, we find good moments like "How long blues", "Saint Louis blues", "When the sun goes down", "Big fine girl" and "Good rollin' blues".
BLUES FROM DOLPHIN'S OF HOLLYWOOD
Specialty
1956 - 1957
Dans cette anthologie qui recueille divers morceaux issus des labels du producteur californien John Dolphin, on trouve quatre morceaux de Jimmy Witherspoon dont le superbe "Big family blues".
In this anthology which collects various tracks from the labels of californian producer John Dolphin, there are four sides by Jimmy Witherspoon including the superb "Big family blues".
TOAST OF THE COAST
Ace
1956 - 1957
Dans cette anthologie, on trouve une prise alternative de "Big family blues" issue des faces produites par John Dolphin.
In this anthology, there is an alternative take of "Big family blues" from the sides produced by John Dolphin.
A SPOONFUL OF BLUES
RCA
June - December 1957
GOIN' TO KANSAS CITY BLUES
RCA
December 1957
Jimmy Witherspoon est associé une fois encore avec l'orchestre de son ami Jay Mac Shann dans des studios de New York. Comme le titre l'indique, la tracklist est largement consacrée au Jazz de Kansas City. Il y a bien peu de Blues ici mais Jimmy demeure un excellent chanteur dans ce registre.
Jimmy Witherspoon is associated once again with the orchestra of his friend Jay Mac Shann in New York studios. As the title suggests, the tracklist is largely devoted to Jazz from Kansas City. There are very few Blues here but Jimmy remains an excellent singer in this style.
SINGIN' THE BLUES
World Pacific
Vogue
Blue Note
THERE'S GOOD ROCKIN' TONIGHT
World Pacific
Fontana
May 1958
Enregistré lors de deux séances en mai 1958, cet album est produit par David Axelrod. Pour l'occasion, Jimmy est entouré de jazzmen chevronnés comme Gerald Wilson, Teddy Edwards, Hampton Hawes, Harry Edison, Henry Mac Dode. Ils brillent notamment sur de beaux morceaux entre Blues et Jazz tels que "S.K. blues", "When I've been drinkin'", "Then the light go out", "It ain't what you're thinking", "Sweet blues", "There's good rockin' tonight" et "Midnight blues". D'après la Blues Discography, les séances furent initialement enregistrées pour le label Rip mais finalement elles furent éditées par World Pacific puis reprises par Blue Note.
Recorded during two sessions in may 1958, this album is produced by David Axelrod. For the occasion, Jimmy is surrounded by seasoned jazzmen such as Gerald Wilson, Teddy Edwards, Hampton Hawes, Harry Edison, Henry McDode. They shine in particular on beautiful pieces between Blues and Jazz such as "S.K. blues", "When I've been drinkin'", "Then the light go out", "It ain't what you're thinking", "Sweet blues", "There's good rockin' tonight" and "Midnight blues". According to the Blues Discography, the sessions were originally recorded for the Rip label but eventually released by World Pacific then reissued by Blue Note.
SHOUTIN' SWINGIN' & MAKIN' LOVE
Chess
P-Vine
Bellaphon
January 1959
THE BLUES
Vee-Jay
January 1959
AT THE MONTEREY JAZZ FESTIVAL
Hi-Fi Jazz
Ember
THE SPOON CONCERTS
Fantasy
LIVE '59
Acrobat
LIVE AT THE RENAISSANCE AND AT MONTEREY
Soul Jam
October 1959
Jimmy Witherspoon monte sur la scène du prestigieux festival de Jazz de Monterey avec de remarquables jazzmen autour de lui : Roy Eldridge, Woody Herman, Coleman Hawkins, Ben Webster. Dans une ambiance brulante et une chaude émulation, Jimmy et ses musiciens délivrent une prestation puissante et excitante notamment sur "No rollin' blues" et "Big fine girl". Cet excellent album fut d'abord édité par le label Hi-Fi Jazz puis repris par de nombreux labels sous différents habillages. Il faut mentionner que "The Spoon concerts" (Fantasy), "Live '59" (Acrobat) et "Live at the Renaissance and at Monterey" compilent l'intégralité du concert de Monterey d'octobre 1959 et du Renaissance Club de décembre 1959.
Jimmy Witherspoon sings on stage at the prestigious Monterey Jazz Festival with remarkable jazzmen around him : Roy Eldridge, Woody Herman, Coleman Hawkins, Ben Webster. In a burning atmosphere and a warm emulation, Jimmy and his musicians deliver a powerful and exciting performance, especially on "No rollin' blues" and "Big fine girl". This excellent album was first released by the Hi-Fi Jazz label then reissued by many labels under different packagings. It should be mentioned that "The Spoon concerts" (Fantasy), "Live '59" (Acrobat) and "Live at the Renaissance and at Monterey" compile the entire Monterey concert of october 1959 and the Renaissance Club concert of december 1959.
FEELIN' THE SPIRIT
Hi-Fi Jazz
November 1959
Toujours prêt à de nouvelles expériences, Jimmy consacre entièrement cet album au Gospel. Il est accompagné de l'orchestre de Randy Van Horn et d'un groupe vocal. Pour l'amateur de Blues, l'album pourra paraitre décevant.
Always ready for new experiences, Jimmy devotes this album entirely to Gospel. He is accompanied by Randy Van Horn's orchestra and a vocal group. For the Blues lover, the album may seem disappointing.
AT THE RENAISSANCE
Hi-Fi Jazz
Vogue
Ember
THE SPOON CONCERTS
Fantasy
LIVE '59
Acrobat
LIVE AT THE RENAISSANCE AND AT MONTEREY
Soul Jam
December 1959
Concert de Jimmy Withersponn dans un club de Los Angeles avec les excellents jazzmen Ben Webster et Gerry Mulligan. Ils se consacrent surtout à des reprises de standards de Jazz et de Blues avec feeling : "Time's gettin' tougher than tough", "Corrine, Corrina", "Roll 'em Pete", "Kansas City", "Saint Louis blues". Cet excellent album fut d'abord édité par le label Hi-Fi Jazz puis repris par de nombreux labels sous différents habillages. Il faut mentionner que "The Spoon concerts" (Fantasy), "Live '59" (Acrobat) et "Live at the Renaissance and at Monterey" compilent l'intégralité du concert de Monterey d'octobre 1959 et du Renaissance Club de décembre 1959.
Jimmy Withersponn concert in a Los Angeles club with the excellent jazzmen Ben Webster and Gerry Mulligan. They mainly devote themselves to Jazz and Blues standards covers with feeling : "Time's gettin' tougher than tough", "Corrine, Corrina", "Roll 'em Pete", "Kansas City", "Saint Louis blues". This excellent album was first released by the Hi-Fi Jazz label then reissued by many labels under different packagings. It should be mentioned that "The Spoon concerts" (Fantasy), "Live '59" (Acrobat) and "Live at the Renaissance and at Monterey" compile the entire Monterey concert of october 1959 and the Renaissance Club concert of december 1959.
SPOON
Reprise
Collectables
December 1959
Pour le label Reprise de Frank Sinatra, Jimmy grave cet album entre Jazz et ballades sous la supervision de Merle Shore et Bob Florence. Il faut conseiller cet album avant tout aux fans confirmés de Jimmy Witherspoon ou aux amateurs de ce type de Jazz.
For Frank Sinatra's Reprise label, Jimmy cut this album between Jazz and ballads under the supervision of Merle Shore and Bob Florence. This album should be recommended above all to confirmed fans of Jimmy Witherspoon or lovers of this type of Jazz.
PREVIOUSLY UNRELEASED RECORDINGS
Verve
December 1959
TAKE THIS HAMMER
Constellation
BLUES FOR SPOON AND GROOVE
Surrey
SPOON AND GROOVE
Vogue
CRY THE BLUES
Discophon
Bulldog
SINGS THE BLUES
Society
1960
Cette séance initialement enregistrée pour le label Constellation fut rééditée sous de nombreux habillages et avec des tracklists variables (parfois 10 titres au lieu des 12 qui constituent l'intégralité de la séance). Autour de Jimmy sont rassemblés le saxophoniste Teddy Edwards et l'organiste Richard "Groove" Holmes (ce dernier enregistré cependant en overdubs selon la Blues Discography). Un album inégal mais plaisant entre Blues et Jazz avec de bons morceaux comme "In blues", "Loser's blues", "Out blues".
This session, initially recorded for the Constellation label, was reissued under numerous packagings and with variable tracklists (sometimes 10 titles instead of the 12 which constitute the entire session). Around Jimmy are saxophonist Teddy Edwards and organist Richard "Groove" Holmes (the latter recorded however in overdubs according to the Blues Discography). An uneven but pleasant album between Blues and Jazz with nice songs like "In blues", "Loser's blues", "Out blues".
SINGS THE BLUES
Crown
SINGS THE BLUES SESSIONS
Ace
November 1960
On ne sait pas grand chose de cette séance supervisée par Joe Bihari. Le label Crown a compilé des tracklists sensiblement différentes selon les éditions. D'autre part, les musiciens qui accompagnent Jimmy sont restés pour la plupart anonymes. Il semble selon certains chercheurs que des musiciens comme Red Callender, Jessie Sailes, Jesse Price ou Roy Gaines aient pu participer. Quoiqu'il en soit, cette séance pleine de feeling recèle de superbes titres comme "Stormy monday blues", "She moves me", "Card playing blues", "Boogie woogie woman", "Riding blues", "Blues came falling down". La réédition Ace ajoute de nombreux titres inédits (certains provenant de la même séance).
We do not know much about this session supervised by Joe Bihari. The Crown label has compiled significantly different tracklists depending on issues. Moreover, the musicians who accompany Jimmy remained mostly anonymous. It seems according to some researchers that musicians like Red Callender, Jessie Sailes, Jesse Price or Roy Gaines could have participated. Anyway, this full of feeling session contains superb titles like "Stormy monday blues", "She moves me", "Card playing blues", "Boogie woogie woman", "Riding blues", "Blues came falling down". The Ace reissue adds many previously unreleased tracks (some from the same session).
IN PERSON
Vogue
OLYMPIA CONCERT
Vogue
April 1961
HEY MRS JONES
Reprise
Collectables
June 1961
Second album pour le label Reprise. Il s'agit d'un programme dans lequel Jimmy devient crooner, chantant des ballades ou des airs jazzy. L'amateur de Blues sera probablement déçu par un tel album.
Second album for the Reprise label. This is a program in which Jimmy becomes a crooner, singing ballads or jazzy tunes. The Blues lover will probably be disappointed by such an album.
LIVE
Stateside
January 1962
RALPH J. GLEASON'S JAZZ CASUAL
Koch Jazz
January 1962
ROOTS
Reprise
THAT'S JAZZ
Warner Bros
May 1962
Troisième et dernier album pour le label Reprise crée par Frank Sinatra, il associe Jimmy Witherspoon avec le saxophoniste Ben Webster (les deux hommes ont souvent joué ensemble). Les deux hommes délivrent un programme de Jazz sur un tempo uniformément lent.
Third and last album for the Reprise label created by Frank Sinatra, it associates Jimmy Witherspoon with the saxophonist Ben Webster (the two men often played together). Both men deliver a Jazz program on a uniformly slow tempo.
BABY BABY BABY
Prestige
OBC
MEAN OLD FRISCO
Prestige
May - July 1963
Avec cet album, Jimmy Witherspoon démarre une fructueuse collaboration avec le label Prestige (le premier de sept albums). Entouré de musiciens précis (Kenny Burrell à la guitare), il délivre quelques beaux blues comme "Mean old Frisco", "Bad bad whiskey", "Lonely boy blues", "Baby baby baby".
With this album, Jimmy Witherspoon begins a fruitful collaboration with the Prestige label (the first of seven albums). Surrounded by precise musicians (Kenny Burrell on guitar), he delivers some nice blues like "Mean old Frisco", "Bad bad whiskey", "Lonely boy blues", "Baby baby baby".
EVENIN' BLUES
Prestige
OBC
August 1963
Ce superbe album regroupe la belle voix de Jimmy Witherspoon et la délicieuse guitare de T-Bone Walker. On trouve de nombreuses pépites entre Jazz et Blues comme "Grab me a freight", "Money's getting cheaper", "Evenin'" (avec Clifford Scott à la flute traversière), "Cane river", "Good rockin' tonight", "Don't let go". La réédition CD ajoute quatre prises alternatives inédites.
This superb album brings together the beautiful voice of Jimmy Witherspoon and the delicious guitar of T-Bone Walker. There are many gems between Jazz and Blues like "Grab me a freight", "Money's getting cheaper", "Evenin'" (with Clifford Scott on flute), "Cane river", "Good rockin' tonight", "Don't let go". The CD reissue adds four previously unreleased alternate takes.
BLUES AROUND THE CLOCK
Prestige
OBC
November 1963
Entouré de remarquables musiciens new-yorkais (Paul Griffin, Chauncey "Lord" Westbrook), Jimmy donne encore une fois le meilleur de lui-même dans cette intense tracklist : "Goin' to Chicago blues", "No rolling blues", "My babe", "S.K. blues", "Whose hat is that", "Around the clock". Du même niveau que le précédent "Evenin' blues".
Surrounded by remarkable New York musicians (Paul Griffin, Chauncey "Lord" Westbrook), Jimmy once again gives the best of himself in this intense tracklist : "Goin' to Chicago blues", "No rolling blues", "My babe", "S.K. blues", "Whose hat is that", "Around the clock". On the same level as the previous "Evenin' blues".
BLUE SPOON
Prestige
OBC
February 1964
De retour au Jazz avec Kenny Burrell à la guitare, Jimmy propose ici un album inégal avec de bons moments comme "It's a low down dirty shame", "Back to New Orleans", "Blues in the morning".
Back to Jazz with Kenny Burrell on guitar, Jimmy offers here an uneven album with some good moments like "It's a low down dirty shame", "Back to New Orleans", "Blues in the morning".
SOME OF MY BEST FRIENDS ARE THE BLUES
Prestige
OBC
July 1964
LOST & FOUND vol.3
CST
August 1964 / January 1980
De passage en Angleterre à l'invitation de Chris Barber pour le National Jazz & Blues Festival de Richmond, Jimmy chante trois excellents morceaux notamment de belles versions de "Times getting tougher than tough" et de "Have you ever loved a woman" accompagné par les musiciens du jazzman anglais. On trouve aussi sur ce CD cinq morceaux issus d'un passage à la radio néerlandaise en 1980 toujours avec Chris Barber (une belle version de "Everyday I have the blues").
Visiting England at the invitation of Chris Barber for the National Jazz & Blues Festival in Richmond, Jimmy sings three excellent songs including beautiful versions of "Times getting tougher than tough" and "Have you ever loved a woman" accompanied by the musicians of the english jazzman. We also find on this CD five tracks from a passage on dutch radio in 1980 again with Chris Barber (a nice version of "Everyday I have the blues").
SPOON IN LONDON
Prestige
Transatlantic
June 1965
De nouveau sur le sol européen, Jimmy Witherspoon enregistre cet album de Jazz en Angleterre avec des musiciens restés inconnus. Accompagné d'un grand orchestre et de choristes, il délivre quelques titres intéressants dans un programme un peu suranné ("Love me right", "Free spirits").
Again on European ground, Jimmy Witherspoon records this Jazz album in England with musicians who have remained unknown. Accompanied by a large orchestra and choristers, he delivers some interesting titles in a somewhat outdated program ("Love me right", "Free spirits").
WE LOVE THE BLUES
Alan Grant Productions
August 1965
BLUES FOR EASY LIVERS
Prestige
OBC
Transatlantic
1965 - 1966
Pour son dernier album pour le label Prestige, Jimmy Witherspoon se tourne encore une fois vers le Jazz sous la supervision du producteur Peter Paul. Peu ou pas de Blues dans cette tracklist assez ennuyeuse.
For his latest album for the Prestige label, Jimmy Witherspoon turns once again to Jazz under the supervision of producer Peter Paul. Little or no Blues in this quite boring tracklist.
SPOON SINGS AND SWINGS
Fontana
May 1966
Voici un nouveau disque gravé sur le sol anglais par Jimmy Witherspoon. Il s'agit d'un concert dans un club de la banlieue de Londres dans lequel Jimmy est accompagné de l'orchestre de Dick Morrissey. De bons titres entre Jazz et Blues joués dans une chaude ambiance.
Here is a new disc recorded on english ground by Jimmy Witherspoon. This is a concert in a club in the suburbs of London in which Jimmy is accompanied by the orchestra of Dick Morrissey. Good titles between Jazz and Blues played in a warm atmosphere.
AMERICANS IN EUROPE
Fontana
May 1966
LIVE IN LONDON
Harkit
MSI
May 1966
LIVE IN LONDON 1966
Rhythm & Blues
May 1966
A BLUE POINT OF VIEW
Verve
August 1966
THE BLUES IS NOW
Verve
March or June 1967
Pour ce second album chez Verve, Jimmy est associé à l'organiste "Brother" Jack Mac Duff pour un set de Jazz ennuyeux. Cependant, on peut retenir les titres les plus blues comme "S.K. blues", "Part time woman" ou "Good rockin' tonight".
For this second Verve album, Jimmy is associated with organist "Brother" Jack Mac Duff for a boring Jazz set. However, we can point out the most blues titles like "S.K. blues", "Part time woman" or "Good rockin' tonight".
A SPOONFUL OF SOUL
Verve
March 1968
Comme son titre l'indique, Jimmy élargit ses influences empruntant à différents styles (Soul, Blues et autres) dans une tracklist inégale. On peut retenir "Seven years with the wrong woman", "My big habit", "Saturday night fish fry".
As its title suggests, Jimmy expands his influences borrowing from different styles (Soul, Blues and others) in an uneven tracklist. We can point out "Seven years with the wrong woman", "My big habit", "Saturday night fish fry".
THE BLUES SINGER
Bluesway
ABC
January - February 1969
Un album sympathique mais inégal - produit par Lewis Futterman et Johnny Pate - dans lequel Jimmy est accompagné par les jeunes Charlie Musselwhite, Barry Goldberg, Danny Kalb et Harvey Mandel. L'orchestration semble un peu confuse par moments.
A nice but uneven album - produced by Lewis Futterman and Johnny Pate - in which Jimmy is accompanied by young Charlie Musselwhite, Barry Goldberg, Danny Kalb and Harvey Mandel. The orchestration seems a bit chaotic at times.
JIMMY WITHERSPOON WITH JUNIOR MANCE TRIO
Stony Plain
1969
HUNH
Bluesway
JIMMY'S BLUES
MCA
September 1969
Pour ce second album chez Bluesway, Jimmy est, cette fois, produit par Ed Michel. Un programme intéressant, avec de bons moments mais parfois maladroit. Derrière Jimmy, il y a en particulier Charles Brown, Mel Brown et Earl Hooker.
For this second Bluesway album, Jimmy is, this time, produced by Ed Michel. An interesting program, with good moments but sometimes awkward. Behind Jimmy, there is in particular Charles Brown, Mel Brown and Earl Hooker.
HANDBAGS AND GLADRAGS
ABC - Dunhill
February - June 1970
Cette fois sous la supervision des producteurs Ed Michel et Bill Szymczyk, l'album se révèle un peu surproduit malgré de bons moments. Jimmy, en forme vocalement, est entouré de nombreux musiciens (groupe complet avec cuivres et choristes) dans ce programme qui se rapproche du style de Bobby "Blue" Bland.
This time under the supervision of producers Ed Michel and Bill Szymczyk, the album turned out to be a bit overproduced despite some good moments. Jimmy, at ease vocally, is surrounded by many musicians (full backing band with brass and backing vocals) in this program which is close to the style of Bobby "Blue" Bland.
AIN'T NOBODY'S BUSINESS
DSC
November 1970
CALIFORNIA '99
ABC
January 1971
LIVE AT THE WHISKEY
?
June 1971
GUILTY
United Artists
MGM
BLACK & WHITE BLUES
LAX
ARG
July 1971
Jimmy est ici associé au chanteur britannique Eric Burdon (ancien Animals) pour un curieux album entre Blues et Rock (co-produit par Burdon lui-même et Jerry Goldstein). Un disque plutôt intéressant ("Steam roller") mais parfois maladroit. Il s'agit d'un album studio mais un titre est enregistré live à la prison de San Quentin ("Going down slow").
Jimmy is here associated with british singer Eric Burdon (former Animals) for a curious album between Blues and Rock (co-produced by Burdon himself and Jerry Goldstein). A rather interesting album ("Steam roller") but sometimes clumsy. It is a studio album but one title is recorded live at San Quentin prison ("Going down slow").
LIVE AT THE 1972 MONTEREY JAZZ FESTIVAL
Monterey Jazz Festival
September 1972
Edité en 2008, ce recueil reprend la performance de Jimmy Witherspoon sur la scène du festival de Jazz de Monterey. Pour l'occasion, il est épaulé par le guitariste Robben Ford. La musique est excellente ("I'm gonna move to the outskirts of town", "Goin' down slow", "Walkin' by myself", "I don't know") mais la qualité sonore malheureusement parfois moyenne.
Issued in 2008, this collection compiles the performance of Jimmy Witherspoon on the stage of the Monterey Jazz Festival. For the occasion, he is supported by guitarist Robben Ford. The music is excellent ("I'm gonna move to the outskirts of town", "Goin' down slow", "Walkin' by myself", "I don't know") but the sound quality unfortunately sometimes fair.
SPOONFUL
Blue Note
Avenue Jazz
May 1973
Pour cet album, le Blues de Jimmy Witherspoon se mélange à des éléments Soul-Funk plutôt convaincants. Il est entouré de remarquables musiciens comme par exemple Joe Sample, Richard Tee, Cornell Dupree, Freddie Robinson, Robben Ford, Thad Jones (production de George Butler). On apprécie, en particulier, "Nothing's changed", "Sign on the building", "Reds and whiskey", "Spoonful" et la reprise inattendue de "Gloomy sunday".
For this album, the Blues of Jimmy Witherspoon is mixed with rather convincing Soul-Funk elements. He is surrounded by remarkable musicians such as Joe Sample, Richard Tee, Cornell Dupree, Freddie Robinson, Robben Ford, Thad Jones (production by George Butler). We appreciate, in particular, "Nothing's changed", "Sign on the building", "Reds and whiskey", "Spoonful" and the unexpected cover of "Gloomy sunday".
LIVE AT THE WATTS JAZZ FESTIVAL vol.1
LAX
Avenue Jazz
Summer 1973
Dans cette anthologie, Jimmy chante le slow blues "Goin' down slow".
In this anthology, Jimmy sings the slow blues "Goin' down slow".
LOVE IS A FIVE LETTER WORD
Capitol
Avenue Jazz
February 1974
Toujours dans un environnement Soul-Funk, Jimmy Witherspoon est entouré ici de nombreux musiciens parmi lesquels Pete Wingfield, John Dankworth, Joe Jammer, B.J. Cole, Phil Chen. L'album est enregistré en Angleterre et produit par Mike Vernon. Une tracklist inégale mais recélant quelques moments sympathiques comme "Buried alive in the hills", "Aviation man", "No money down", "Landlord landlord".
Still in a Soul-Funk environment, Jimmy Witherspoon is surrounded here by many musicians including Pete Wingfield, John Dankworth, Joe Jammer, B.J. Cole, Phil Chen. The album is recorded in England and produced by Mike Vernon. An uneven tracklist but containing some nice moments like "Buried alive in the hills", "Aviation man", "No money down", "Landlord landlord".
THE FIRST ANNUAL BENEFIT CONCERT FOR THE CONGRESSIONAL BLACK CAUCUS
Chess
September 1974
Pour ce concert, on peut entendre Jimmy Witherspoon chanter une belle version de "Goin' down slow".
For this concert, we can hear Jimmy Witherspoon sing a nice version of "Goin' down slow".
LIVE WITH ROBBEN FORD
LAX
MCA
Avenue Jazz
1975
De nouveau associé à l'excellent guitariste Robben Ford, Jimmy propose ici un remarquable concert capturé dans un club de Los Angeles. Il s'agit d'un beau programme de Blues avec des titres intenses comme "Goin' down slow", "Past forty blues", "I'm gonna move to the outskirts of town", "Around the clock".
Again associated with the excellent guitarist Robben Ford, Jimmy offers here a remarkable concert captured in a Los Angeles club. This is a beautiful Blues program with intense titles like "Goin' down slow", "Past forty blues", "I'm gonna move to the outskirts of town", "Around the clock".
AIN'T NOTHIN' NEW ABOUT THE BLUES
Aim
1975
AMERICAN BLUES
Avenue Jazz
ARG
1976
Jimmy retourne aux sources du Blues seulement accompagné du guitariste Howard Scott (guitare acoustique ou électrique). Les deux artistes réussissent un bel album de blues terrien avec des morceaux percutants comme "I feel so bad", "Reds & whiskey", "All day long", "Black gal", "You ain't gonna worry my life anymore".
Jimmy returns to the roots of the Blues only accompanied by guitarist Howard Scott (acoustic or electric guitar). The two artists manage a nice album of down-home blues with punchy tracks like "I feel so bad", "Reds & whiskey", "All day long", "Black gal", "You ain't gonna worry my life anymore".
SINGS THE BLUES
Black & Blue
July 1979
SPOON IN AUSTRALIA
Jazzis
Aim
April 1980
SAVOY SULTANS
Black & Blue
Muse
THE DEFINITIVE BLACK & BLUE SESSIONS
Black & Blue
May 1980
Cette séance fut gravée à Paris (France). Elle regroupe le chanteur Jimmy Witherspoon avec quelques bons jazzmen, en particulier, le batteur David "Panama" Francis. Un répertoire entre Jazz, Swing et Jump Blues parfaitement joué et produit : "Sent for you yesterday", "Good morning blues", "Moten swing", "Sometimes I feel like a motherless child", "I may be wrong". La version CD "The definitive Black & Blue sessions" ajoute un titre inédit et quelques prises alternatives.
This session was recorded in Paris (France). It brings together singer Jimmy Witherspoon with some good jazzmen, in particular, drummer David "Panama" Francis. A repertoire between Jazz, Swing and Jump Blues perfectly played and produced : "Sent for you yesterday", "Good morning blues", "Moten swing", "Sometimes I feel like a motherless child", "I may be wrong". The CD version "The definitive Black & Blue sessions" adds an unreleased track and some alternate takes.
SPOON'S LIFE
Isabel
Evidence
October 1980
De nouveau en France, Jimmy grave cet album sur le label Isabel du producteur Didier Tricard. Pour l'occasion, il est entouré d'un superbe groupe composé de Sammy Lawhorn, Johnny Dollar, George "Harmonica" Smith, Nick Charles et Roosevelt Shaw (le groupe qui joua pour la tournée française du Chicago Blues Festival cette année là). On peut mentionner les excellents "Help me", "Big boss man", "Cold cold feeling".
Back in France, Jimmy recorded this album for the Isabel label of producer Didier Tricard. For the occasion, he is surrounded by a superb group made up of Sammy Lawhorn, Johnny Dollar, George "Harmonica" Smith, Nick Charles and Roosevelt Shaw (the backing band that played for the Chicago Blues Festival french tour that year). We can mention the excellent "Help me", "Big boss man", "Cold cold feeling".
BIG BLUES
JSP
June 1981
PATCHA PATCHA ALL NIGHT LONG
Pablo
April 1985
Pour son dernier album, Big Joe s'est associé à Jimmy Witherspoon. Les deux hommes chantent en duo sur deux morceaux et se partagent les autres parties chantées. Joe possède une voix bien affaiblie au soir de sa vie mais la musique inspirée et généreuse entre Jazz et Blues mérite une écoute attentive.
For his latest album, Big Joe teamed up with Jimmy Witherspoon. The two men sing a duet on two pieces and share the other sung parts. Joe has a much weakened voice at the end of his life but the inspired and generous music between Jazz and Blues deserves careful listening.
MIDNIGHT LADY CALLED THE BLUES
Muse
January 1986
Ce solide album place Jimmy Witherspoon entre les mains des producteurs Dr John et Doc Pomus dans un studio de New York. Même si sa voix commence à faiblir un peu, il propose un bon programme de Rhythm & Blues avec "New York City blues", "The barber", "Something rotten in East St Louis", "Midnight lady called the blues". Derrière lui, on trouve de superbes sidemen comme David "Fathead" Newman, Dr John, Calvin Newborn, Hank Crawford.
This solid album puts Jimmy Witherspoon in the hands of producers Dr John and Doc Pomus in a New York studio. Even if his voice is starting to weaken a little, he offers a good Rhythm & Blues program with "New York City blues", "The barber", "Something rotten in East St Louis", "Midnight lady called the blues". Behind him are great sidemen like David "Fathead" Newman, Dr. John, Calvin Newborn, Hank Crawford.
FIRST REUNION
Jugoton
1988
ROCKIN' L.A.
Fantasy
October 1988
Un concert à Los Angeles de Jimmy Witherspoon dans lequel il reprend son répertoire entre Jazz et Jump Blues. Une prestation terne et ennuyeuse aussi desservie par sa voix affaiblie.
A concert in Los Angeles of Jimmy Witherspoon in which he sings his repertoire between Jazz and Jump Blues. A dull and boring performance also spoiled by his weakened voice.
SPOON MEETS PAO
Eureka Music
April 1990
LIVE (AT CONDON'S NEW YORK)
Kingdom Jazz
Who's Who in Jazz
MASTER OF BLUES LIVE vol.1
Scorpio Jazz
May 1990
Encore un concert ennuyeux - cette fois capturé dans un club de New York - dans lequel Jimmy chante ses titres habituels. Sa voix est ici particulièrement désastreuse. Pour les complétistes, on peut signaler que la version CD Scorpio Jazz ajoute trois morceaux supplémentaires.
Another boring gig - this time captured in a New York club - in which Jimmy sings his usual tunes. His voice is particularly disastrous here. For completists, we may point out that the Scorpio Jazz CD version adds three additional tracks.
AS BLUE AS THEY CAN BE
Point Productions
Past Perfect
Who's Who in Jazz
February 1991
Une séance de Jazz à New York rassemblant Jimmy Witherspoon, Richard "Groove" Holmes et Odetta (elle ne chante que sur un seul titre). Malgré quelques bons moments ("Slow blues in G", "Song for my father"), la tracklist manque un peu d'originalité et de flamme.
A Jazz session in New York bringing together Jimmy Witherspoon, Richard "Groove" Holmes and Odetta (she only sings on one track). Despite some good moments ("Slow blues in G", "Song for my father"), the tracklist lacks a bit of originality and flame.
LIVE AT THE NOTODDEN BLUES FESTIVAL
Blue Rock It
Crosscut
August 1991
THE BLUES, THE WHOLE BLUES AND NOTHING BUT THE BLUES
Indigo
Sanctuary
January - February 1992
BACK TO THE STREETS
Shanachie
1993
Dans cet album en hommage à Don Covay, Jimmy donne une belle reprise de "Thunder" avec derrière lui Jon Tiven, Noel Redding et les Uptown Horns.
In this album in tribute to Don Covay, Jimmy gives a nice cover of "Thunder" with behind him Jon Tiven, Noel Redding and the Uptown Horns.
LIVE AT THE MINT
On the Spot
November 1994
Encore un live capturé dans un club de Los Angeles mais cette fois Jimmy y est accompagné par le guitariste Robben Ford. Un programme routinier en partie gâché par une voix désormais affaiblie.
Another live captured in a Los Angeles club but this time Jimmy is accompanied by guitarist Robben Ford. A routine program partly spoiled by a now weakened voice.
SPOON'S BLUES
Stony Plain
December 1994
Jimmy Witherspoon trouve à nouveau l'opportunité d'enregistrer en studio grâce à Duke Robillard (guitariste et producteur ici) et au label Stony Plain. Même si sa voix reste désormais fragile, l'excellence des musiciens (Duke Robillard, Scott Hamilton, Bruce Katz) et de la production accouche tout de même d'un album qui mérite l'écoute.
Jimmy Witherspoon finds again the opportunity to record in the studio thanks to Duke Robillard (guitarist and producer here) and the Stony Plain label. Even if his voice is now fragile, the excellence of the musicians (Duke Robillard, Scott Hamilton, Bruce Katz) and of the production still gives birth to an album that deserves listening.
LIFEFORCE JAZZ & BLUES COMPILATION
Lifeforce Jazz
1995
JIMMY WITHERSPOON WITH THE DUKE ROBILLARD BAND
Stony Plain
November 1995
Dans le prolongement de l'album "Spoon's blues", ce CD propose un concert associant Jimmy Witherspoon et Duke Robillard. Mais les morceaux sont trop longs et Jimmy bien faible vocalement pour soutenir l'attention de l'auditeur et ce, malgré la compétence des musiciens.
As an extension of the album "Spoon's blues", this CD offers a concert gathering Jimmy Witherspoon and Duke Robillard. But the songs are too long and Jimmy vocally weak for sustain the listener's attention, despite the skill of the musicians.