T-Bone WALKER - Stormy Monday Blues 1978

T-Bone WALKER - Stormy Monday Blues 1978
CR 30144

Blues

They call it stormy Monday, yes but Tuesday's just as bad.
They call it stormy Monday, yes but Tuesday's just as bad. Wednesday's even worse; Thursday's awful sad.

The eagle flies on Friday, Saturday I go out to play.
The eagle flies on Friday, but Saturday I go out to play. Sunday I go to church where I kneel down and pray.

And I say, "Lord have mercy, Lord have mercy on me.
Lord have mercy, Lord have mercy on me.
Just trying to find my baby, won't you please send her on back to me.

The eagle flies on Friday, on Saturday I go out to play.
The eagle flies on Friday, on Saturday I go out to play.
Sunday I go to church, where I kneel down, Lord and I pray.

Then I say, "Lord have mercy, won't you please have mercy on me.
Lord, oh Lord have mercy, yeah, won't you please, please have mercy on me.
I'm just a-lookin' for my sweet babe,
So won't you please send him home, send him on home to me.
**
A1. Stormy Monday Blues   
A2. All Night Long   
A3. My Patience Keeps Running Out   
A4. Glamour Girl   
A5. T-Bone's Way   
A6. That Evening Train   
B1. Louisiana Bayou Drive   
B2. When We Were Schoolmates   
B3. Don't Go Back to New Orleans   
B4. Got to Cross the Deep Blue Sea   
B5. You'll Never Find Anyone) To Be a Slave Like Me   
B6. Left Home When I Was a Kid
**
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T-Bone WALKER - Mean Old World 2002

T-Bone WALKER - Mean Old World 2002
Label: Our World

Blues

Modern electric blues guitar can be traced directly back to this Texas-born pioneer, who began amplifying his sumptuous lead lines for public consumption circa 1940 and thus initiated a revolution so total that its tremors are still being felt today.

Few major postwar blues guitarists come to mind that don't owe T-Bone Walker an unpayable debt of gratitude. B.B. King has long cited him as a primary influence, marveling at Walker's penchant for holding the body of his guitar outward while he played it. Gatemouth Brown, Pee Wee Crayton, Goree Carter, Pete Mayes, and a wealth of other prominent Texas-bred axemen came stylistically right out of Walker during the late '40s and early '50s. Walker's nephew, guitarist R.S. Rankin, went so far as to bill himself as T-Bone Walker, Jr. for a 1962 single on Dot, "Midnight Bells Are Ringing" (with his uncle's complete blessing, of course; the two had worked up a father-and-son-type act long before that).

Aaron Thibeault Walker was a product of the primordial Dallas blues scene. His stepfather, Marco Washington, stroked the bass fiddle with the Dallas String Band, and T-Bone followed his stepdad's example by learning the rudiments of every stringed instrument he could lay his talented hands on. One notable visitor to the band's jam sessions was the legendary Blind Lemon Jefferson. During the early '20s, Walker led the sightless guitarist from bar to bar as the older man played for tips.

In 1929, Walker made his recording debut with a single 78 for Columbia, "Wichita Falls Blues"/"Trinity River Blues," billed as Oak Cliff T-Bone. Pianist Douglas Fernell was his musical partner for the disc. Walker was exposed to some pretty outstanding guitar talent during his formative years; besides Jefferson, Charlie Christian -- who would totally transform the role of the guitar in jazz with his electrified riffs much as Walker would with blues, was one of his playing partners circa 1933.

T-Bone Walker split the Southwest for Los Angeles during the mid-'30s, earning his keep with saxophonist Big Jim Wynn's band with his feet rather than his hands as a dancer. Popular bandleader Les Hite hired Walker as his vocalist in 1939. Walker sang "T-Bone Blues"with the Hite aggregation for Varsity Records in 1940, but didn't play guitar on the outing. It was about then, though, that his fascination with electrifying his axe bore fruit; he played L.A. clubs with his daring new toy after assembling his own combo, engaging in acrobatic stage moves -- splits, playing behind his back -- to further enliven his show.

Capitol Records was a fledgling Hollywood concern in 1942, when Walker signed on and cut "Mean Old World" and "I Got a Break Baby" with boogie master Freddie Slack hammering the 88s. This was the first sign of the T-Bone Walker that blues guitar aficionados know and love, his fluid, elegant riffs and mellow, burnished vocals setting a standard that all future blues guitarists would measure themselves by.

Chicago's Rhumboogie Club served as Walker's home away from home during a good portion of the war years. He even cut a few sides for the joint's house label in 1945 under the direction of pianist Marl Young. But after a solitary session that same year for Old Swingmaster that soon made its way on to another newly established logo, Mercury, Walker signed with L.A.-based Black & White Records in 1946 and proceeded to amass a stunning legacy.

The immortal "Call It Stormy Monday (But Tuesday Is Just as Bad)" was the product of a 1947 Black & White date with Teddy Buckner on trumpet and invaluable pianist Lloyd Glenn in the backing quintet. Many of Walker's best sides were smoky after-hours blues, though an occasional up-tempo entry -- "T-Bone Jumps Again," a storming instrumental from the same date, for example -- illustrated his nimble dexterity at faster speeds.

Walker recorded prolifically for Black & White until the close of 1947, waxing classics like the often-covered "T-Bone Shuffle" and "West Side Baby," though many of the sides came out on Capitol after the demise of Black & White. In 1950, Walker turned up on Imperial. His first date for the L.A. indie elicited the after-hours gem "Glamour Girl" and perhaps the penultimate jumping instrumental in his repertoire, "Strollin' With Bones" (Snake Sims' drum kit cracks like a whip behind Walker's impeccable licks).

Walker's 1950-54 Imperial stint was studded with more classics: "The Hustle Is On," "Cold Cold Feeling," "Blue Mood," "Vida Lee" (named for his wife), "Party Girl," and, from a 1952 New Orleans jaunt, "Railroad Station Blues," which was produced by Dave Bartholomew. Atlantic was T-Bone Walker's next stop in 1955; his first date for them was an unlikely but successful collaboration with a crew of Chicago mainstays (harpist Junior Wells, guitarist Jimmy Rogers, and bassist Ransom Knowling among them). Rogers found the experience especially useful; he later adapted Walker's "Why Not" as his own Chess hit "Walking by Myself." With a slightly more sympathetic L.A. band in staunch support, Walker cut two follow-up sessions for Atlantic in 1956-57. The latter date produced some amazing instrumentals ("Two Bones and a Pick," "Blues Rock," "Shufflin' the Blues") that saw him dueling it out with his nephew, jazzman Barney Kessel (Walker emerged victorious in every case).

Unfortunately, the remainder of Walker's discography isn't of the same sterling quality for the most part. As it had with so many of his peers from the postwar R&B era, rock's rise had made Walker's classy style an anachronism (at least during much of the 1960s). He journeyed overseas on the first American Folk Blues Festival in 1962, starring on the Lippmann & Rau-promoted bill across Europe with Memphis Slim, Willie Dixon, and a host of other American luminaries. A 1964 45 for Modern and an obscure LP on Brunswick preceded a pair of BluesWay albums in 1967-68 that restored this seminal pioneer to American record shelves.

European tours often beckoned. A 1968 visit to Paris resulted in one of his best latter-day albums, I Want a Little Girl, for Black & Blue (and later issued stateside on Delmark). With expatriate tenor saxophonist Hal "Cornbread" Singer and Chicago drummer S.P. Leary picking up Walker's jazz-tinged style brilliantly, the guitarist glided through a stellar set list.

Good Feelin', a 1970 release on Polydor, won a Grammy for the guitarist, though it doesn't rank with his best efforts. A five-song appearance on a 1973 set for Reprise, Very Rare, was also a disappointment. Persistent stomach woes and a 1974 stroke slowed Walker's career to a crawl, and he died in 1975.

No amount of written accolades can fully convey the monumental importance of what T-Bone Walker gave to the blues. He was the idiom's first true lead guitarist, and undeniably one of its very best.
By Bill Dahl, All Music Guide.

01.  Don't Leave Me Baby  Baxter, Walker  2:46
02.  I'm Gonna Find My Baby  Crainer, Walker  2:53
03.  I Got a Break Baby  Walker  3:15
04.  I Can't Stand Being Away from You  Walker  3:07
05.  Mean Old World  Walker  2:53
06.  Come Back to Me Baby Blues  Glenn, Walker  3:04
07.  Low Down Dirty Shame  Walker  2:34
08.  Evening  Parish, White  3:26
09.  She's Going to Ruin Me  Walker  2:53
10.  Trinity River Blues  Walker  3:06
11.  No Worry Blues  Baxter, Walker  2:40
12.  My Baby Left Me  Walker  2:51
13.  I'm Still in Love With You  Glenn, Walker  2:52
14.  T-Bone Blues  Hite  3:14
15.  Bobby Sox Blues  Williams  2:37
16.  T-Bone Boogie  Walker  3:01
**
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T-Bone WALKER - Goodbye Blues 2001

T-Bone WALKER - Goodbye Blues 2001
Label: Membran
(4Cd Box Set)

Blues

T-Bone Walker was the Charlie Christian of the blues. A fluent guitarist who was one of the first important electric guitarists in the blues, Walker had the facility of a jazz musician and often recorded with jazz-oriented combos while sticking largely to the blues. His influence was so strong that in some of his 1940s recordings, he plays phrases that would be picked up and popularized by Chuck Berry a decade later.
Born in Texas in 1910, Walker first recorded two selections in 1929 and cut a few titles during 1940-44 but did not really get going as a recording artist until 1945. His Quadromania release is a four-CD set that begins with the 1929 numbers and the early performances before mostly concentrating on the 1945-54 period. While only one of Walker's originals became a hit (Stormy Monday which is heard here in its original version), his performances with his sextet (which usually included tenor-saxophonist Bumps Myers) are infectious and joyful. The blues was never a downbeat music when T-Bone Walker was playing.

This four-CD set shows why T-Bone Walker is considered an influential blues giant even today.
By Scott Yanow. AMG.
**
Aaron Thibeaux Walker or T-Bone Walker or Oak Cliff T-Bone (May 26, 1910 — March 15, 1975) was an American blues guitarist, singer, pianist and songwriter who was one of the most important pioneers of the electric guitar.
His electric guitar solos were among the first heard on modern blues recordings and helped set a standard that is still followed.
Walker was born in Linden, Texas of African and Cherokee descent. His parents, Rance Walker and Movelia Jimerson were both musicians.
Walker married Vida Lee in 1935 and had three children with her. He died of pneumonia March 16, 1975.
His distinctive sound developed in 1942 when Walker recorded “Mean Old World” for Capitol Records. Much of his output was recorded from 1946–1948 on Black & White Records, including 1947’s “Call It Stormy Monday (But Tuesday Is Just As Bad)”, with its famous opening line, “They call it stormy Monday, but Tuesday’s just as bad”. He followed up with his “T-Bone Shuffle” and “Let Your Hair Down, Baby, Let’s Have a Natural Ball”. Both are considered blues classics. “Stormy Monday” was a favorite live number for The Allman Brothers Band.
Throughout his career Walker worked with the top quality musicians, including Teddy Buckner (trumpet), Lloyd Glenn (piano), Billy Hadnott (bass), and Jack McVea (tenor sax).
Following his work with Black & White, he recorded from 1950-54 for Imperial Records (backed by Dave Bartholomew). Walker’s only record in the next five years was T-Bone Blues, recorded over three widely separated sessions in 1955, 1956 and 1959, and finally released by Atlantic Records in 1960.
By the early 1960s, Walker’s career had slowed down, in spite of a hyped appearance at the American Folk Blues Festival in 1962 with Memphis Slim and Willie Dixon, among others. A few critically acclaimed albums followed, such as I Want a Little Girl. Walker recorded in his last years, 1968 - 1975, for Robin Hemingway’s Jitney Jane Songs music publishing company, and he won a Grammy Award in 1971 for Good Feelin’ (Polydor), produced by Robin Hemingway. “Fly Walker Airlines”, Polydor, also produced by Hemingway, was released in 1973.
T-Bone Walker died of a stroke in 1975, at the age of 64. He is interred in the Inglewood Park Cemetery in Inglewood, California.
Walker’s influence extended beyond his music. Chuck Berry called Walker and Louis Jordan (as well as Jordan’s guitarist, Carl Hogan) his main influences. T-Bone Walker was the childhood hero of Jimi Hendrix, and Hendrix imitated some of Walker’s ways throughout his life. Years before Hendrix, Walker was playing guitar with his teeth or in strange positions.
Walker was posthumously inducted into the Blues Hall of Fame in 1980, and into the Rock and Roll Hall of Fame in 1987
From Wikipedia.
**
T-Bone Walker- Guitar/Vocals;
Paul Campbell, Walter Williams, Forrest Powell, Melvin Moore, Nick Cooper, Joe Red Kelly, John Teddy Buckert, George Orendorff- Trumpets;
Britt Woodman, Allen Durham- Trombones;
Les Hite, Floyd Turnham, Nathan Joseph, Frank Derrick- Alto Saxes;
Quedillis Martin, Roger Hurd, Moses Grant, Jack McVea, Hubert Bumps Myers- Tenor Saxes;
Sol Moore- Baritone Sax;
Douglas Fernell, Nat Walker, Freddie Slack, Marl Young, Tommy Crow Kahn, Lloyd Glenn, Willard McDaniel- Pianos;
Frank Paisley- Guitar;
Al Morgan, Jud De Naut, Frank Clarke, Arthur Edwards, Billy Hadnott, John Davis- Basses;
Oscar Lee Bradley, Dave Coleman, Rabon Tarrant- Drums;
Les Hite's Orchestra;
Marl Young's Orchestra;
Jack McVea's All-Stars.
**
CD 1
01.Bobby Sox Blues (3:09)
02.Wichita Falls Blue (3:10)
03.T-Bone Blues (3:17)
04.I Got a Break Baby (3:18)
05.Mean Old World (2:55)
06.Low Down Dirty Shame (Married Woman Blues) (2:37)
07.Sail on Boogie (2:39)
08.Mean Old World Blues (2:52)
09.You Don't Love Me Blues (2:37)
10.T-Bone Boogie (3:03)
11.I'm Still in Love With You (2:54)
12.Evening  (3:29)
13.My Baby Left Me (2:54)
14.Come Back to Me Baby (3:07)
15.She's Going to Ruin Me (2:56)
16.I Can't Stand Being Away from You (3:10)
17.No Worry Blues (2:43)
18.Don't Leave Me Baby (2:49)
19.Trinity River (2:39)
20.I'm Gonna Find My Baby (2:55)
21.I Know Your Wig Is Gone (2:45)
22.T-Bone Jumps Again (2:43)
23.Call It Stormy Monday (3:01)
24.She Had to Let Me Down (3:08)
*
CD 2

01.She's My Old Time Used-To-Be (2:39)
02.Dream Girl Blues (2:40)
03.Midnight Blues (2:45)
04.Long Lost Lover Blues (2:55)
05.Triflin' Woman Blues (3:04)
06.Long Skirt Baby Blues (2:51)
07.Goodbye-Blues (3:09)
08.Too Much Trouble Blues (2:44)
09.I'm Waiting for Your Call (3:01)
10.Hypin' Woman Blues (2:48)
11.So Blue Blues (3:08)
12.On Your Way Blues (2:53)
13.The Natural Blues (3:05)
14.That's Better for Me (2:38)
15.First Love Blues (3:09)
16.Lonesome Woman Blues (2:39)
17.Vacation Blues (2:55)
18.Inspiration Blues (2:48)
19.Description Blues (3:06)
20.T-Bone Shuffle (2:59)
21.No Worry Blues (2:43)
22.Don't Leave Me Baby (2:49)
23.Bobby Sox Baby (2:40)
24.I'm Gonna Find My Baby (2:53)
*
CD 3

01.I'm in an Awful Mood (2:44)
02.It's a Lowdown Dirty Deal (2:55)
03.Don't Give Me the Runaround (3:03)
04.Hard Pain Blues  T-Bone Walker (3:02)
05.I Know Your Wig Is Gone (2:45)
06.T-Bone Jumps Again (2:43)
07.Call It Stormy Monday (3:02)
08.She Had to Let Me Down (3:10)
09.She's My Old Time Used to Be (2:39)
10.Dream Girl Blues (2:40)
11.Midnight Blues (2:45)
12.Long Lost Lover Blues (2:56)
13.Triflin' Woman Blues (3:04)
14.Long Skirt Baby Blues (2:50)
15.Goodbye Blues (3:10)
16.Too Much Trouble Blues (2:44)
17.I'm Waiting for Your Call Oscar Lollie (3:02)
18.Hypin' Woman Blues (2:48)
19.So Blue Blues (3:08)
20.On Your Way Blues (2:53)
21.Natural Blues (3:05)
22.That's Better for Me (2:39)
23.First Love Blues (3:09)
24.Lonesome Woman Blues (2:37)
*
CD 4

01.Vacation Blues (2:54)
02.Inspiration Blues (2:48)
03.Description Blues (3:06)
04.T-Bone Shuffle (2:59)
05.That Old Feelin' Is Gone (2:53)
06.The Time Seems So Long (2:46)
07.Prison Blues (2:50)
08.Hometown Blues (2:57)
09.Wise Man Blues (3:00)
10.Misfortune Blues (3:00)
11.I Wish You Were Mine (2:54)
12.I'm Gonna Move You out and Get Somebody Else (2:58)
13.She's the No-Sleepin'est Woman (3:05)
14.Plain Old Down Home Blues (3:05)
15.Born to Be No Good (3:12)
16.Go Back To The One You Love (Old) (2:28)
17.Go Back To The One You Love (3:04)
18.I Want a Little Girl (2:46)
19.I'm Still in Love with You (2:56)
20.You're My Best Poker Hand (2:55)
21.West Side Baby (2:45)
**
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T-Bone WALKER - T-Bone Blues 1959

T-Bone Walker - T-Bone Blues 1959
Label: Atlantic / Wea
Audio CD October 25, 1990

Blues
  
Originally issued by Atlantic Records in 1959, "T-Bone Blues" compiled 11 singles recorded between 1955 and 1957, and the 1994 CD reissue added four bonus tracks, including "Why Not", which Jimmy Rogers would later record as "Walkin' By Myself" and credit to himself, and a soulful rendition of Leroy Carr's "How Long Blues".

Many of these sides are re-recordings of Aaron "T-Bone" Walker's classic 40s sides, like "T-Bone Shuffle", "They Call It Stormy Monday", and "Mean Old World", and while any self-respecting blues collection should include Walker's original Capitol and Black & White singles (Rhino's "Blues Masters - The Very Best Of T-Bone Walker" is a great collection of those early sides), "T-Bone Blues" is perhaps the most satisfying album Walker ever made.

The sound is simply magnificent for mid-50s waxings, wonderfully clear and crisp and realistic, and T-Bone Walker is backed by men like Junior Wells, Jimmy Rogers, Ransom Knowling, legendary arranger/pianist Lloyd Glenn, and saxists John "Plas" Johnson, Jr., Edward Chamblee, Mack Easton, and Earl Hines-cohort Andrew "Goon" Gardner.
And T-Bone's own playing and singing is superb. Just listen to his inspired soloing on "Blues For Marili", "Mean Old World", the classic "T-Bone Blues", and this the definitive rendition of "Papa Ain't Salty". It's a delight to hear him playing with Little Walter Jacobs on the 1955 recordings, which include a swinging "Play On, Little Girl" and the fine bonus cut "T-Bone Blues Special", and Walker's re-recording of "They Call It Stormy Monday" captures the essence of the magnificent original version from 1947, this time with stellar fidelity.

There are a number of amazing instrumentals here, too...T-Bone Walker duels with his nephew R.S. Rankin and highly esteemed jazz guitarist Barney Kessel on the up-tempo scorcher "Two Bones And A Pick", and comes off victorious. He may have been best known for his slow, after-hours blues laments, but T-Bone could cut it with the best of them no matter if the tempo was set at 40 or 140.
The highlights on this disc are too many to mention...among the best of the lesser-known songs are the up-tempo "You Don't Know What You're Doing", sung by Rankin, and the jouyous instrumental "Shufflin' The Blues", but literally everything is worth a listen.
An essential addition to any semi-serious collection of electric blues.
By Docendo Discimus.
**
01. Papa Ain't Salty (2:47)
02. Why Not (2:43)
03. T-Bone Shuffle (2:50)
04. Play On Little Girl (2:33)
05. T-Bone Blues Special (2:39)
06. Mean Old World (4:07)
07. T-Bone Blues (3:48)
08. Call It Stormy Monday (3:02)
09. Blues For Marili (4:20)
10. Shufflin' The Blues (3:22)
11. Evenin' (2:39)
12. Two Bones And a Pick (2:52)
13. You Don't Know What You're Doing (1:53)
14. How Long Blues (5:19)
15. Blues Rock (2:50)
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T-Bone WALKER - Very Rare 1973

T-Bone WALKER - Very Rare 1973
Label: Wounded Bird / Warner Brothers
Audio CD (October 24, 2000)

Blues

**The musician, who single handedly created the modern form of blues guitar, and in the process, transformed the configuration of American popular music.**

T-Bone kept up his performing regimen throughout the ‘50’s and into the ‘60’s. By 1962 he was touring Europe as part of a Blues Festival and recorded with pianist Memphis Slim in Germany. He was back in Europe from ’64 to ’72 and was prominent in the Blues Revival of the late ‘60’s, so he was able to benefit from this new audience, but then again he was always in demand, and never had a problem with gigs.He performed and was recorded at the 1972 Montreaux Jazz festival. He played at the top clubs in the US and across Europe. There are also recordings for a variety of labels in this period, some are better than others. His work for the Black and Blue label in France is well recorded, but he was starting to slow down, and it was starting to show.He was awarded a Grammy in 1970 for his record “Good Feelin'”(Polydor). He did some final sessions around 1973 for Reprise called “Very Rare” with an all star lineup of musicians, which was in part a tribute album. He suffered in an automobile accident, and began bouts with illness in 1974 and was in and out of hospitals. He died of bronchial pneumonia on March 16, 1975.
**
(Aaron Thibeaux Walker)T-Bone Walker- (Vocals, Guitar);
Ben Benay- (Guitar, Harmonica);
Larry Carlton, Richard Bennett, Dean Parks, Louis Shelton- (Guitar);
John Tropea- (Sitar);
David Nadien, Julius Brand, Manny Green, Leo Khan- (Violin);
Theodore Israel, Harold Coletta- (Viola);
Charles McCracken- (Cello);
Jerry Dodgion- (Flute, Alto Sax);
Jon Faddis- (Trumpet).
Guest Artists:
Dizzy Gillespie; Herbie Mann; David "Fathead" Newman; Gerry Mulligan;
Larry Carlton; Warren Bernhardt; Al Cohn.
**
A1. Striking on You, Baby   2:41
A2. Please Send Me Someone to Love   2:45
A3. The Last Clean Shirt   3:59
A4. Evening   4:18
A5. The Come Back   3:56

B1. Your Picture Done Faded   2:53
B2. Don't Give Me the Runaround   2:15
B3. Hard Times   2:55
B4. Every Day I Have the Blues   4:13
B5. Person to Person   2:25

C1. Fever   4:08
C2. Three Corn Patches   3:06
C3. I'm Still in Love With You   4:22
C4. Just a Little Bit   2:40
C5. James Junior   2:38

D1. Been Down So Long   2:15
D2. If You Don't Come Back   2:40
D3. Kansas City   2:32
D4. Well, I Done Got Over It   3:04
D5. Stormy Monday   5:42
**
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