Tampa Red

Hudson Whittaker

b. January 8th, 1904 in Smithville (Georgia)

d. March 19th, 1981 in Chicago (Illinois)

THE COMPLETE RECORDINGS

Document

Volume 1 (May 1928 - January 1929)

Volume 2 (January - June 1929)

Volume 3 (July 1929 - June 1930)

Volume 4 (July 1930 - October 1931)

Volume 5 (October 1931 - March 1934)

Né Hudson Woodbridge en Géorgie, ses parents meurent alors qu'il est encore très jeune. Il est élevé par sa grand-mère à Tampa (Floride) et prend le nom de Whittaker. C'est son voisin, un certain Piccolo Pete, qui lui apprend la guitare Blues. Il arrive à Chicago au début des années 20 et commence sa carrière sous le nom de Tampa Red, accompagnant d'abord Ma Rainey. Il devient rapidement un spécialiste de la slide guitare - jouant sur une superbe National Steel Guitar - et des pièces hokum (chansons polissones). Son premier titre en mai 1928 parait chez Paramount suivi de quelques autres derrière la chanteuse Madlyn Davis ou avec les Hokum Boys. Mais le succès arrive avec "It's tight like that" pour Vocalion, un duo avec le pianiste "Georgia" Tom Dorsey avec lequel il s'associe. Ce titre lui confère une solide popularité (Red en donnera de nombreuses versions). La collaboration Red / Dorsey débouche sur environ 90 titres sous la supervision du producteur J. Mayo Williams. Elle s'arrête finalement en février 1932 ("Georgia" Tom Dorsey décidant de se consacrer exclusivement au Gospel) et Vocalion ne renouvelle pas son contrat. Sa production pour Vocalion est inégale entre pur Blues et pièces humoristiques ou de vaudeville. Il donne une très belle reprise du "How long how long blues" de Leroy Carr mais aussi "Juicy lemon blues" (avec Frankie "Half Pint" Jaxon), "Prison bound blues", "Station time blues". Mais cela ne freine nullement la carrière de Tampa Red qui s'associe avec le pianiste Black Bob en même temps qu'il quitte le label Vocalion pour travailler pour Bluebird dès mars 1934.

Born Hudson Woodbridge in Georgia, his parents died when he was still very young. He was raised by his grandmother in Tampa (Florida) and took the name Whittaker. It is his neighbor, a certain Piccolo Pete, who teaches him the Blues guitar. He arrived in Chicago in the early 1920's and began his career under the name of Tampa Red, accompanying first Ma Rainey. He quickly became a specialist in slide guitar - playing on a superb National Steel Guitar - and hokum pieces (risqué songs). His first title in may 1928 appeared at Paramount followed by a few others behind singer Madlyn Davis or with the Hokum Boys. But success comes with "It's tight like that" for Vocalion, a duet with the pianist "Georgia" Tom Dorsey with whom he associates. This title gives him a solid popularity (Red will give many versions of the song). The collaboration Red / Dorsey results in around 90 tracks under the supervision of producer J. Mayo Williams. It finally stopped in february 1932 ("Georgia" Tom Dorsey deciding to devote himself exclusively to Gospel) and Vocalion does not renew his contract. His production for Vocalion is uneven between pure Blues and humorous or vaudeville pieces. He gives a very nice cover of Leroy Carr's "How long how long blues" but also "Juicy lemon blues" (with Frankie "Half Pint" Jaxon), "Prison bound blues", "Station time blues". But that doesn't slows down the career of Tampa Red who joins forces with pianist Black Bob at the same time as he leaves the Vocalion label to work for Bluebird in march 1934.

THE COMPLETE RECORDINGS

Document

Volume 6 (June 1934 - February 1935)

Volume 7 (July 1935 - August 1936)

Volume 8 (August 1936 - October 1937)

Volume 9 (October 1937 - June 1938)

Volume 10 (June 1938 - November 1939)

Après une longue et fructueuse collaboration avec Vocalion, Tampa Red enregistre pour le label Bluebird (appartenant à RCA-Victor) dès mars 1934 sous la supervision du producteur Lester Melrose. Derrière lui, les pianistes Black Bob, Henry "45" Scott, Blind John Davis se relayent dans un contexte de plus en plus orchestral. Il fut d'ailleurs un des grands créateurs du Bluebird Sound et de la naissance du Chicago Blues orchestral. Sa maison sur la 35ème Rue devient le centre névralgique de la communauté blues de l'époque : Tampa Red y accueille de nombreux bluesmen, les loge, les conseille, les fait répéter. Ses titres pour Bluebird montrent ses remarquables qualités de guitariste et de compositeur : "Mean mistreater blues", "Grievin' and worryin' blues", "Things about comin' my way", "Delta woman blues", "Seminole blues", "Crazy with the blues", "Love with a feeling", "Bessemer blues". On trouve également de nombreux titres un peu surannés où Tampa Red joue du kazoo. Et occasionellement, il s'asseoit derrière le piano. Il a enfin enregistré fréquemment avec le clarinettiste Arnett Cobb ou le trompettiste Charlie Idsen dans un style plus jazzy.

After a long and fruitful collaboration with Vocalion, Tampa Red recorded for the Bluebird label (belonging to RCA-Victor) since march 1934 under the supervision of producer Lester Melrose. Behind him, the pianists Black Bob, Henry "45" Scott, Blind John Davis take turns in an increasingly orchestral context. He was also a from the great creators of the Bluebird Sound and the birth of orchestral Chicago Blues. His house on 35th Street became the nerve center of the blues community at the time : Tampa Red welcomes many bluesmen there, lodges them, advises them, makes them rehearse. His tracks for Bluebird show his remarkable qualities as a guitarist and composer : "Mean mistreater blues", "Grievin' and worryin' blues", "Things about comin' my way", "Delta woman blues", "Seminole blues", "Crazy with the blues", "Love with a feeling", "Bessemer blues". There are also many somewhat old-fashioned songs where Tampa Red plays kazoo. And occasionally he sits behind the piano. He has finally recorded frequently with clarinetist Arnett Cobb or trumpeter Charlie Idsen in a more jazzy style.

THE COMPLETE RECORDINGS

Document

Volume 11 (November 1939 - November 1940)

Volume 12 (June 1941 - July 1945)

Volume 13 (July 1945 - October 1947)

Volume 14 (January 1949 - March 1951)

Volume 15 (July 1951 - December 1953)

Vers 1939-40, la créativité de Tampa Red est à son meilleure. En effet, il compose à cette époque d'excellents titres comme "Anna Lou", "Don't you lie to me", "It hurts me too", "Hard road blues". A partir de juin 1941, Red s'associe avec le superbe pianiste Big Maceo. Les deux hommes forment un duo guitare/piano parmi les plus influents du Bluebird Sound et du Chicago Blues délivrant de remarquables faces : "Don't deal with the devil", "My first love blues", "Gypsy lady blues", "You gonna miss me when I'm gone". Après le Petrillo's ban (grève décidée par le syndicat des musiciens), Tampa Red reprend les séances avec le pianiste Big Maceo chez Bluebird ("Corrine blues", "Crying won't help you"). Malheureusement, la santé de Big Maceo l'empêche bientôt de jouer de son piano. Toujours dans un contexte orchestral, Tampa Red joue avec les meilleurs musiciens de la ville : Blind John Davis, John Lee "Sonny Boy" Williamson, Ransom Knowling, Johnnie Jones, Judge Riley, Odie Payne. Il ajoute parfois des saxophonistes comme Eddie "Sugarman" Penigar ou Bill Casimir. Sa femme Frances Cole meurt en novembre 1953 et laisse Tampa Red complètement désemparé (ils s'étaient mariés en 1934). En effet, elle eut une grande importance dans sa carrière, jouant le rôle de manager, négociant ses contrats, composant certains morceaux et dirigeant la carrière de son mari.

Around 1939-40, Tampa Red's creativity was at its best. Indeed, at that time he composed excellent songs such as "Anna Lou", "Don't you lie to me", "It hurts me too", "Hard road blues". From june 1941, Red joined forces with the superb pianist Big Maceo. The two men form one of the most influential guitar / piano duo of Bluebird Sound and Chicago Blues delivering remarkable sides : "Don't deal with the devil", "My first love blues", "Gypsy lady blues", "You gonna miss me when I'm gone". After the Petrillo's ban (strike decided by the musicians' union), Tampa Red resumes sessions with pianist Big Maceo at Bluebird ("Corrine blues", "Crying won't help you"). Unfortunately, Big Maceo's health soon prevented him from playing his piano. Always in an orchestral context, Tampa Red plays with the best musicians in the city : Blind John Davis, John Lee "Sonny Boy" Williamson, Ransom Knowling, Johnnie Jones, Judge Riley, Odie Payne. He sometimes adds saxophonists like Eddie "Sugarman" Penigar or Bill Casimir. His wife Frances Cole died in november 1953 and left Tampa Red completely distraught (they were married in 1934). Indeed, she had a great importance in his career, playing the role of manager, negotiating his contracts, composing certain songs and directing his husband's career.

DON'T TAMPA WITH THE BLUES

Prestige - Bluesville

1960

Après plusieurs années de silence discographique, il est retrouvé par Sam Charters dans un hopital psychiatrique. Celui-ci le fait enregistrer pour le label Prestige - Bluesville. Malheureusement, les titres qu'il joue ici paraissent poussifs et sans beaucoup d'inspiration.

After several years of discographic silence, he was found by Sam Charters in a psychiatric hospital. He made him recorded for the Prestige - Bluesville label. Unfortunately, the songs he plays here seem sluggish and lacking in inspiration.

DON'T JIVE ME

Prestige - Bluesville

1960

Pour ce second album pour Prestige - Bluesville, les titres proviennent probablement de la même séance que "Don't tampa with the blues". De la même manière, ces morceaux - bien que joués convenablement - apparaissent bien inférieurs aux originaux des années 30-40.

For this second album for Prestige - Bluesville, the tracks probably come from the same session as "Don't tampa with the blues". In the same way, these pieces - though played properly - appear much inferior to the originals of the 1930's-1940's.