b. March 31st, 1921 in Atoka (Oklahoma)
d. March 6th, 1999 in Long Beach (California)
CLASSIC CUTS
JSP
June 1946 - June 1952
Fils de Martin et Mammie Wilson, il nait dans une réserve Choctaw en Oklahoma. Influencé par ses parents qui jouaient de la musique, Lowell apprend la guitare dès ses douze ans. Plus tard, vers 1939-40, il devient le guitariste du chanteur "Texas" Alexander pour remplacer J.T. "Funny Papa" Smith. A la même époque, il se marie avec Adena et habite Gainesville (Texas). A l'armée, entre septembre 1943 et décembre 1945 (sur l'île de Guam), il reprend son activité musicale dès qu'il est démobilisé. Lowell s'installe à Oakland en Californie. Dès lors, sa carrière musicale décolle enregistrant ses premiers morceaux pour le producteur Bob Geddins et son label Big Town : "Crying blues", "You're gonna miss me", "Trouble blues", "Don't be so evil". A cette époque, il est accompagné de son frère Martin (qui sera son manager jusqu'en 1959). Ensuite, Lowell grave aussi pour Down Beat de superbes versions de "Crying blues", "You're gonna miss me". Ses premiers enregistrements montrent l'influence de Lonnie Johnson sur son jeu de guitare très élégant. En 1950, Lowell quitte Oakland pour Los Angeles. Entre 1950 et 1952, il entame une belle collaboration avec le label Swing Time de Jack Lauderdale. Sa guitare toujours élégante et virtuose fait merveille. Derrière lui, on trouve un beau groupe avec Earl Brown (saxophone), Lloyd Glenn (piano), Billy Hadnott (basse) et Bob Harvey (batterie). De superbes réussites voient le jour : "Everyday I have the blues", "Rockin' after midnight", "Low society blues", "Blue shadows", "Back home blues", "Come back baby", "Sinner's prayer", "Blues with a feelin'". Cette oeuvre l'impose définitivement comme un des rois du blues californien.
Son of Martin and Mammie Wilson, he was born on a Choctaw reservation in Oklahoma. Influenced by his parents who played music, Lowell learned guitar from his twelve years. Later, around 1939-40, he became the guitarist of singer "Texas" Alexander to replace J.T. "Funny Papa" Smith. At the same time, he married Adena and lived in Gainesville (Texas). In the army, between september 1943 and december 1945 (on Guam island), he resumed his musical activity as soon as he was demobilized. Lowell moved to Oakland, California. From then on, his musical career took off, recording his first songs for producer Bob Geddins and his Big Town label : "Crying blues", "You're gonna miss me", "Trouble blues", "Don't be so evil". At that time, he is accompanied by his brother Martin (who will be his manager until 1959). Then, Lowell also engraves for Down Beat superb versions of "Crying blues", "You're gonna miss me". His first recordings show the influence of Lonnie Johnson on his very elegant guitar playing. In 1950, Lowell leaves Oakland for Los Angeles. Between 1950 and 1952, he began a great collaboration with Jack Lauderdale's Swing Time label. His always elegant and virtuoso guitar works wonders. Behind him is a beautiful backing band with Earl Brown (saxophone), Lloyd Glenn (piano), Billy Hadnott (bass) and Bob Harvey (drums). Great achievements are emerging : "Everyday I have the blues", "Rockin' after midnight", "Low society blues", "Blue shadows", "Back home blues", "Come back baby", "Sinner's prayer", "Blues with a feelin'". This work definitely imposes him as one of the kings of the californian blues.
TEXAS GUITAR KILLERS
Capitol
1948 / October 1953
Lowell a gravé une poignée de titres pour le label Aladdin lors de deux séances en 1948 et en 1953 avec quelques beaux moments : "Night and day", "Double trouble blues", "Blues never fail".
Lowell recorded a handful of titles for Aladdin label during two sessions in 1948 and 1953 with some beautiful moments : "Night and day", "Double trouble blues", "Blues never fail".
HUNG DOWN HEAD
Chess
September 1954 - August 1961
BLUES ROOTS vol.19 : BLUES ALL'ROUND MY HEAD
Chess
September 1954 - July 1962
LOWELL FULSON
Chess
September 1954 - November 1963
THE COMPLETE CHESS MASTERS
MCA - Chess
September 1954 - November 1963
Revenu vivre au Texas - à Fort Worth - au début des années 50, il signe un contrat d'enregistrement avec Chess et enregistre sa première séance à Dallas sous la supervision de Stan Lewis. Son premier morceau "Reconsider baby" est un splendide blues tempo moyen qui devient le plus gros succès de sa carrière. Ce morceau sera repris plus tard par Elvis Presley avec un succès planétaire. Persuadé par Leonard & Phil Chess, Lowell vient à Chicago pour enregistrer avec les musiciens du label (Otis Spann, Willie Dixon). Bien que le résultat soit superbe, il préfère de loin jouer avec ses musiciens californiens en particulier Lloyd Glenn. Ses relations avec les frères Chess connaitront des hauts et des bas mais leur collaboration durera tout de même jusqu'en 1963. Les sommets abondent dans cette oeuvre de premier plan : "Trouble trouble", "I still love you baby", l'instrumental "Rollin' blues", "It's all your fault", "Tollin' bells", "It took a long time", "You're gonna miss me", "That's all right", "Worry worry", "I'm glad you reconsidered" (la suite de "Reconsider baby"). Voix puissante, guitare mordante mais élégante et de beaux souffleurs comme David "Fathead" Newman, Earl Brown, Eddie Chamblee, Big Jay Mac Neely, Jim Wynn. Du pur blues californien.
Returning to live in Texas - Fort Worth - in the early 1950's, he signed a recording contract with Chess and recorded his first session in Dallas under the supervision of Stan Lewis. His first song "Reconsider baby" is a splendid medium tempo blues which becomes the biggest success of his career. This song will be covered later by Elvis Presley with a worldwide success. Persuaded by Leonard & Phil Chess, Lowell comes to Chicago to record with the house musicians (Otis Spann, Willie Dixon). Although the result is superb, he prefers by far to play with his californian musicians in particular Lloyd Glenn. His relationships with the Chess brothers will experience ups and downs but their collaboration will last all the same until 1963. The summits abound in this prominent work : "Trouble trouble", "I still love you baby", the instrumental "Rollin' blues", "It's all your fault", "Tollin' bells", "It took a long time", "You're gonna miss me", "That's all right", "Worry worry", "I'm glad you reconsidered" (the continuation of "Reconsidered baby"). Powerful voice, biting but elegant guitar and beautiful blowers like David "Fathead" Newman, Earl Brown, Eddie Chamblee, Big Jay Mac Neely, Jim Wynn. Pure californian blues.
THE COMPLETE KENT RECORDINGS
P-Vine
May 1964 - 1968
BLACK NIGHTS : THE EARLY KENT SESSIONS
Ace
May 1964 - February 1967
THE FINAL KENT YEARS
Ace
February 1967 - 1968
Après de longues collaborations avec Swing Time puis Chess, Lowell Fulson signe pour le label californien Kent (Lowell habite de nouveau Los Angeles depuis 1960) dirigé par les frères Bihari. Entre 1964 et 1968, il enregistre trois albums (détaillés ci-dessous) dans un style Soul-Blues parfaitement maitrisé. Il compose la plupart des titres aidé parfois de Fats Washington (qui fut aussi son manager). Lowell reste impeccable au chant et à la guitare. Derrière lui, on trouve le pianiste et arrangeur Maxwell Davis, le guitariste Arthur Adams, les bassistes Curtis Tillman et Ronnie Brown, le batteur Chuck Thomas. Malheureusement, les cuivres sont souvent restés non-identifiés. Curieusement, les frères Bihari changèrent son patronyme en Fulsom (chose qu'il n'accepta jamais). Sur ces CDs, on retrouve l'intégralité des morceaux gravés pour Kent avec des titres inédits et des prises alternatives.
After long collaborations with Swing Time then Chess, Lowell Fulson signs for the californian label Kent (Lowell lives in Los Angeles again since 1960) managed by the Bihari brothers. Between 1964 and 1968, he recorded three albums (detailed below) in a perfectly mastered Soul-Blues style. He composes most of the titles sometimes helped by Fats Washington (who was also his manager). Lowell remains impeccable on vocals and on guitar. Behind him is pianist and arranger Maxwell Davis, guitarist Arthur Adams, bass players Curtis Tillman and Ronnie Brown, drummer Chuck Thomas. Unfortunately, horns have often remained unidentified. Curiously, the Bihari brothers changed his patronym in Fulsom (something he never accepted). On these CDs, we find all the songs cut for Kent with unissued titles and alternative takes.
SOUL
Kent
May 1964 - 1966
Premier disque pour le label Kent dans un registre Soul-Blues puissant et cuivré. Encore une fois, Lowell retrouve l'inspiration et chante parfaitement. Sa guitare semble peut être un peu moins présente. Néanmoins, on trouve de superbes réussites comme "Black nights", "Talkin' woman", "Blues around midnight", "Everytime it rains", "Too many drivers".
First record for the Kent label in a powerful and brassy Soul-Blues style. Once again, Lowell finds inspiration and sings perfectly. His guitar seems may be a little less present. Nevertheless, there are superb achievements like "Black nights", "Talkin' woman", "Blues around midnight", "Everytime it rains", "Too many drivers".
TRAMP
Kent
September - December 1966
Second opus dans son nouveau style Soul-Blues. La chanson titre co-écrite avec Jimmy Mac Cracklin fut un succès avec son rythme funky et fut reprise par Otis Redding & Carla Thomas. On retient également le sublime blues "I'm sinking" et aussi "Back door key", une nouvelle version de "Black nights", "No hard feelings".
Second opus in his new Soul-Blues style. The title song co-written with Jimmy Mac Cracklin was a success with its funky rhythm and was covered by Otis Redding & Carla Thomas. We can also point out the sublime blues "I'm sinking" and also "Back door key", a new version of "Black nights", "No hard feelings".
NOW
Kent
February - July 1967
Ce troisième disque a été constitué à partir des singles édités par Kent en 1967. Section cuivres éclatante placée au premier plan comme sur les puissants "I'm a drifter", "Funky broadway", "Push me". La musique est franchement Soul et beaucoup moins Blues ici. "The letter", "Feel so bad", "Everyday I have the blues" méritent également l'écoute.
This third album was assembled with the singles published by Kent in 1967. Bright horn section placed in the foreground as on the powerful "I'm a drifter", "Funky broadway", "Push me". The music is frankly Soul and much less Blues here. "The letter", "Feel so bad", "Everyday I have the blues" are also worth listening to.
IN A HEAVY BAG
Jewel
RCA - Victor
Polydor
I'VE GOT THE BLUES AND THEN SOME
Westside
January - October 1969
Gravé à Muscle Shoals avec le producteur Gene Kent pour Jewel, ce disque est une tentative de rapprocher Lowell Fulson du public Rock. Quelque part entre Blues, Soul, Funk et Rock psychédélique, le programme s'avère très inégal mais contient de rares bons moments comme "Sleeper" et "Lady in the rain".
Recorded at Muscle Shoals with producer Gene Kent for Jewel, this disc is an attempt to bring Lowell Fulson closer to rock audience. Somewhere between Blues, Soul, Funk and Psychedelic Rock, the program is very uneven but contains rare good moments like "Sleeper" and "Lady in the rain".
I'VE GOT THE BLUES AND THEN SOME
Jewel
Westside
January 1969 - 1971
Second album pour Jewel enregistré cette fois à Chicago. Peu inspiré et mal produit, il n'éveille que peu d'interêt de la part de l'auditeur. Encore inférieur à "In a heavy bag".
Second album for Jewel recorded this time in Chicago. Uninspired and poorly produced, it arouses little interest on the part of the listener. Less interesting than "In a heavy bag".
I'VE GOT THE BLUES AND THEN SOME
Westside
January 1969 - 1971
Dans ce double CD, on retrouve l'oeuvre complète de Lowell Fulson pour le label Jewel de Stan Lewis. Après ses superbes productions passées pour Swing Time, Chess ou Kent, cette partie de son travail semble infiniment inférieure. Elle a donné lieu à deux albums repris ici agrémentés de quelques morceaux inédits.
In this double CD, we find Lowell Fulson's complete work for Stan Lewis' Jewel label. After his superb past productions for Swing Time, Chess or Kent, this part of his work seems infinitely inferior. It gave rise to two albums compiled here enhanced with a few unissued titles.
LOWELL FULSON
Crazy Cajun
THE CRAZY CAJUN RECORDINGS
Edsel
I DON'T KNOW MY MIND
Bear Family
August - December 1972
Séances pour le label Crazy Cajun et son producteur Huey P. Meaux. Globalement, il s'agit d'un excellent blues terrien débarassé des arrangements superflus des derniers enregistrements. Il y a de bons moments dans cet album : "You're gonna miss me", "Blood sweat and tears", "I want affection not protection", "Don't make promises you can't keep". Le CD Edsel ajoute de nombreux titres inédits parmi lesquels on peut retenir les instrumentaux "Funky soul", "Rat race" mais aussi "Black widow spider".
Sessions for Crazy Cajun label and its producer Huey P. Meaux. Overall, this is an excellent down home blues rid of the superfluous arrangements of last recordings. There are good moments in this album : "You're gonna miss me", "Blood sweat and tears", "I want affection not protection", "Don't make promises you can't keep". The Edsel CD adds many unissued tracks among which we can point out the instrumental "Funky soul", "Rat race" but also "Black widow spider".
THE OL' BLUES SINGER
Granite
Jet
Polydor
Indigo
Sanctuary
1975
LOVEMAKER
Big Town
P-Vine
February 1978
Lowell est ici accompagné de musiciens californiens restés non-identifiés (probablement Rod Piazza à l'harmonica). Tempos vigoureux, blues puissant, un peu Soul, un peu Funk. Un programme consistant avec de bons moments comme "Love her with a feeling", "Lovemaker", "Get the cash and let the credit go", "My mind is trying to leave me too". Il existe une version CD très rare proposée par les japonais de P-Vine.
Lowell is here accompanied by californian musicians who have remained unidentified (probably Rod Piazza on harmonica). Vigorous tempos, powerful blues, a little Soul, a little Funk. A consistent program with good moments like "Love her with a feeling", "Lovemaker", "Get the cash and let the credit go", "My mind is trying to leave me too". There is a very rare CD version issued by japanese label P-Vine.
SAN FRANCISCO BLUES FESTIVAL vol.1
Solid Smoke
August 1978
A l'affiche du San Francisco Blues Festival organisé par Tom Mazzolini. Lowell est en bonne forme et délivre ici une performance convaincante.
Featured at the San Francisco Blues Festival organized by Tom Mazzolini. Lowell is in good shape and delivers a convincing performance here.
THE BLUES SHOW : LIVE AT THE PIT INN
Yupiteru
P-Vine
November 1980
Concert au Japon possédant une superbe qualité sonore. Lowell est en pleine forme et délivre des versions flamboyantes de "You're gonna miss me", "Blue shadows", "Talkin' woman", "Reconsider baby", "Blues pain". Derrière lui, un groupe très solide avec Lee Allen, Nat Dove, Lee King, Dennis Walker et Johnny Tucker. Un album live puissant et remarquable. On note également que le saxophoniste Lee Allen joue son fameux "Walkin' with Mr Lee".
Concert in Japan with a superb sound quality. Lowell is in great shape and delivers flamboyant versions of "You're gonna miss me", "Blue shadows", "Talkin' woman", "Reconsider baby", "Blues pain". Behind him, a very solid backing band with Lee Allen, Nat Dove, Lee King, Dennis Walker and Johnny Tucker. A powerful and remarkable live album. We also note that the saxophonist Lee Allen plays his famous "Walkin' with Mr. Lee".
BLUE SHADOWS
Stony Plain
1981
Lowell grave ce disque au Canada en compagnie du Powder Blues Band (emmené par Tom Lavin également producteur). Il délivre une belle tranche de blues californien interprétant quelques uns de ses morceaux les plus connus. Un album très plaisant et bien produit. A la fin du programme, une intéressante interview de Lowell Fulson.
Lowell records this record in Canada with the Powder Blues Band (led by Tom Lavin also producer). He delivers a nice slice of californian blues performing some of his most famous songs. A very pleasant and well produced album. At the end of the program, an interesting interview with Lowell Fulson.
LIVE 1983
Rockbeat
Floating World
June 1983
La qualité sonore de cet album live n'est pas parfaite (en particulier la voix et les cuivres). Mais le concert s'avère de bonne facture tout de même et devrait intéresser d'abord les amateurs confirmés.
The sound quality of this live album is not perfect (especially the voice and horn section). But the concert turns out to be well made all the same and should interest first confirmed fans.
LIVE WITH JEFF DALE
Pro Sho Bidness
November 1983
La qualité sonore est très mauvaise et disqualifie totalement ce disque inutile.
The sound quality is very poor and totally disqualifies this useless album.
BROADCASTING THE BLUES
South West Music Arts Foundation
February 1984
BLUES ON MY RADIO
South West Music Arts Foundation
February 1984
ONE MORE BLUES
Blue Phoenix
Black & Blue
Evidence
April 1984
De passage en Europe, Lowell est accompagné ici par Phillip Walker et son groupe (Mike Vannice, Art Hillary, Dennis Walker, Johnny Tucker). Les musiciens jouent remarquablement, Lowell est brillant à la guitare et au chant. La séance est remplie de grands moments comme "I can't stand it", "Guitar shuffle", "Worried about the blues", "Your love for me is gone", "Hot mama". Un superbe disque agrémenté d'un titre additionnel dans ses éditions CD.
Passing through Europe, Lowell is accompanied here by Phillip Walker and his band (Mike Vannice, Art Hillary, Dennis Walker, Johnny Tucker). Musicians play remarkably, Lowell is brilliant on guitar and vocals. The session is filled with great moments like "I can't stand it", "Guitar shuffle", "Worried about the blues", "Your love for me is gone", "Hot mama". A superb album with one additional title in its CD editions.
THINK TWICE BEFORE YOU SPEAK
JSP
September 1984
Séance produite par John Stedman et parue sur son label JSP avec Eddie C. Campbell à la guitare rythmique. Un opus peu inspiré manquant un peu de flamme. On retient tout de même "I'm tough" et "You're gonna miss me" qui surnagent. Un album mineur dans la riche discographie de Lowell Fulson. Un titre additionnel dans les versions CD (disponible également sur l'anthologie "Can't sit down").
Session produced by John Stedman and issued on his JSP label with Eddie C. Campbell on rhythm guitar. An uninspired opus lacking a little flame. We can however point out "I'm tough" and "You're gonna miss me" which are above average. A minor album in the rich discography of Lowell Fulson. An additional title in CD versions (also available on the anthology "Can't sit down").
CAN'T SIT DOWN
JSP
September 1984
L'instrumental "Lowell's jump" issu des séances de "Think twice before you speak". Le titre a été aussi repris dans les versions CD de l'album.
The instrumental "Lowell's jump" from the sessions of "Think twice before you speak". The title was also included in the CD versions of the album.
SUPER BLUES NEWS
EMI
January 1986
THE PAUL JONES R&B SHOW : THE AMERICAN GUESTS
JSP
March 1987
Une poignée de morceaux sympathiques en concert à Londres avec le Norman Beaker Band enregistrés par la BBC.
A handful of nice songs in concert in London with the Norman Beaker Band recorded by BBC.
IT'S A GOOD DAY
Rounder
November 1987
Gravé en Louisiane sous la supervision du producteur Ron Levy, Lowell délivre un album splendide où brille sa guitare. Production parfaite, sidemen ultra-compétents, programme intense et inspiré de blues texano-californien. On apprécie en particulier "It's a good day", "Your love for me is gone", "I'm tough", "Blues and my guitar".
Recorded in Louisiana under the supervision of producer Ron Levy, Lowell delivers a splendid album where his guitar shines. Perfect production, competent sidemen, intense and inspired program of texano-californian blues. We particularly appreciate "It's a good day", "Your love for me is gone", "I'm tough", "Blues and my guitar".
HOLD ON
Bullseye
May 1992
Deuxième production de Ron Levy. Cette fois, Lowell est entouré de Jimmy Mac Cracklin, Bobby Forte, Eddie Synigal et Joe Campbell parmi d'autres. Dans la continuation texano-californienne de "It's a good day" mais moins percutant.
Second production by Ron Levy. This time Lowell is surrounded by Jimmy Mac Cracklin, Bobby Forte, Eddie Synigal and Joe Campbell among others. In the texano-californian continuation from "It's a good day" but less impactful.
THEM UPDATE BLUES
Bullseye
1995
Désormais domicilié à Palmdale, au nord de Los Angeles, Lowell Fulson délivre ici son dernier disque (le troisième sous la supervision de Ron Levy). Un bon cocktail de blues californien cuivré avec l'apport des Memphis Horns et de bons sidemen.
Now domiciled in Palmdale, north of Los Angeles, Lowell Fulson here delivers his latest album (the third under the supervision of Ron Levy). A good cocktail of brassy californian blues with the contribution of The Memphis Horns and some good sidemen.