J. B. HUTTO
''CHICAGO SLIDE, FINAL SHOWS 1982, DISC TWO''
JANUARY 20 2015
150:49
DISC ONE (74:15)
1 High & Lonesome 05:29
2 Boogie Shuffle #1 03:33
3 Help Wanted 07:07
4 Hide & Seek 05:16
5 I Feel So Good 04:57
6 Early In The Morning 05:09
7 JB's Crawl 04:43
8 Say Goodbye 13:39
9 Summertime 06:43
10 Married Woman Blues 08:37
11 Too Much Alcohol 02:40
12 Hip Shakin' 06:14
DISC TWO (76:34)
1 J.B.'s Shuffle 05:09
2 Blue Hawk Blues 07:41
3 Frankie And Johnny 06:10
4 I've Got A Right To Love Her 06:49
5 J.B.'s Bonsoir Blues 15:59
6 Caldonia 07:56
7 Blue & Lonely 07:12
8 Got My Mojo Working 04:20
9 One Room Country Shack 09:47
10 Combination Boogie 02:14
11 Now She's Gone 03:13
BIOGRAPHY
By Cub Koda, AMG
J.B. Hutto -- along with Hound Dog Taylor -- was one of the last great slide guitar disciples of Elmore James to make it into the modern age. Hutto's huge voice, largely incomprehensible diction, and slash-and-burn playing was Chicago blues with a fierce, raw edge all its own. He entered the world of music back home in Augusta, GA, singing in the family-oriented group the Golden Crowns Gospel Singers. He came north to Chicago in the mid-'40s, teaching himself guitar and eventually landing his first paying job as a member of Johnny Ferguson & His Twisters. His recording career started in 1954 with two sessions for the Chance label supported by his original combo the Hawks (featuring George Mayweather on harmonica, Porkchop Hines on washboard traps, and Joe Custom on rhythm guitar), resulting in six of the nine songs recorded being issued as singles to scant acclaim. After breaking up the original band, Hutto worked outside of music for a good decade, part of it spent sweeping out a funeral parlor! He resurfaced around 1964 with a stripped-down version of the Hawks with two guitars and drums but no bass, working regularly at Turner's Blue Lounge and recording blistering new sides for the first time in as many years.
From there, he never looked back and once again became a full-time bluesman. For the next 12 years Hutto gigged and recorded with various groups of musicians -- always billed as the Hawks -- working with electric bass players for the first time and recording for small labels, both in the U.S. and overseas. After fellow slide man Hound Dog Taylor's death in 1976, J.B. "inherited" his backup band, the Houserockers. Although never formally recorded in a studio, this short-lived collaboration of Hutto with guitarist Brewer Phillips and drummer Ted Harvey produced live shows that would musically careen in a single performance from smolderingly intense to utter chaos. Within a year, Hutto would be lured to Boston, where he put together a mixed group of "New Hawks," recording and touring America and Europe right up until his death in the mid-'80s. Hutto was an incredibly dynamic live performer, dressed in hot pink suits with headgear ranging from a shriner's fez to high-plains drifters' hats, snaking through the crowd and dancing on tabletops with his 50-foot guitar cord stretched to the max. And this good-time approach to the music held sway on his recordings as well, giving a loose, barroom feel to almost all of them, regardless of who was backing him.
OFFICIAL WEBSITE
''CHICAGO SLIDE, FINAL SHOWS 1982, DISC TWO''
JANUARY 20 2015
150:49
DISC ONE (74:15)
1 High & Lonesome 05:29
2 Boogie Shuffle #1 03:33
3 Help Wanted 07:07
4 Hide & Seek 05:16
5 I Feel So Good 04:57
6 Early In The Morning 05:09
7 JB's Crawl 04:43
8 Say Goodbye 13:39
9 Summertime 06:43
10 Married Woman Blues 08:37
11 Too Much Alcohol 02:40
12 Hip Shakin' 06:14
DISC TWO (76:34)
1 J.B.'s Shuffle 05:09
2 Blue Hawk Blues 07:41
3 Frankie And Johnny 06:10
4 I've Got A Right To Love Her 06:49
5 J.B.'s Bonsoir Blues 15:59
6 Caldonia 07:56
7 Blue & Lonely 07:12
8 Got My Mojo Working 04:20
9 One Room Country Shack 09:47
10 Combination Boogie 02:14
11 Now She's Gone 03:13
BIOGRAPHY
By Cub Koda, AMG
J.B. Hutto -- along with Hound Dog Taylor -- was one of the last great slide guitar disciples of Elmore James to make it into the modern age. Hutto's huge voice, largely incomprehensible diction, and slash-and-burn playing was Chicago blues with a fierce, raw edge all its own. He entered the world of music back home in Augusta, GA, singing in the family-oriented group the Golden Crowns Gospel Singers. He came north to Chicago in the mid-'40s, teaching himself guitar and eventually landing his first paying job as a member of Johnny Ferguson & His Twisters. His recording career started in 1954 with two sessions for the Chance label supported by his original combo the Hawks (featuring George Mayweather on harmonica, Porkchop Hines on washboard traps, and Joe Custom on rhythm guitar), resulting in six of the nine songs recorded being issued as singles to scant acclaim. After breaking up the original band, Hutto worked outside of music for a good decade, part of it spent sweeping out a funeral parlor! He resurfaced around 1964 with a stripped-down version of the Hawks with two guitars and drums but no bass, working regularly at Turner's Blue Lounge and recording blistering new sides for the first time in as many years.
From there, he never looked back and once again became a full-time bluesman. For the next 12 years Hutto gigged and recorded with various groups of musicians -- always billed as the Hawks -- working with electric bass players for the first time and recording for small labels, both in the U.S. and overseas. After fellow slide man Hound Dog Taylor's death in 1976, J.B. "inherited" his backup band, the Houserockers. Although never formally recorded in a studio, this short-lived collaboration of Hutto with guitarist Brewer Phillips and drummer Ted Harvey produced live shows that would musically careen in a single performance from smolderingly intense to utter chaos. Within a year, Hutto would be lured to Boston, where he put together a mixed group of "New Hawks," recording and touring America and Europe right up until his death in the mid-'80s. Hutto was an incredibly dynamic live performer, dressed in hot pink suits with headgear ranging from a shriner's fez to high-plains drifters' hats, snaking through the crowd and dancing on tabletops with his 50-foot guitar cord stretched to the max. And this good-time approach to the music held sway on his recordings as well, giving a loose, barroom feel to almost all of them, regardless of who was backing him.
OFFICIAL WEBSITE
