egroj world: Sleepy John Estes • Goin' To Brownsville

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Sunday, March 28, 2021

Sleepy John Estes • Goin' To Brownsville

 



Review by Cub Koda
Sleepy John Estes never really changed or altered his style during the 50-year period he recorded. The records he made for Victor in the 1920s didn't sound much different than the ones he made in the late 1960s and 1970s for various collector's labels. This collection features 21 previously unissued solo performances from 1962 capped with a lengthy interview with Sleepy John conducted by producer Pete Welding. Estes is in fine form throughout, particularly effective on "Lost My Eyesight," "Run Around," "Floating Bridge," "Vernita's Blues" and Big Bill Broonzy's "It Was a Dream." In the 18-minute interview that closes this disc, Estes discusses making records for Decca, Victor and other labels, coming to Chicago and losing his eyesight. Compelling music and even more compelling conversation, all of it loaded with realism and ambience galore.
https://www.allmusic.com/album/goin-to-brownsville-mw0000034276


Biography by Barry Lee Pearson
Big Bill Broonzy called John Estes' style of singing "crying" the blues because of its overt emotional quality. Actually, his vocal style harks back to his tenure as a work-gang leader for a railroad maintenance crew, where his vocal improvisations and keen, cutting voice set the pace for work activities. Nicknamed "Sleepy" John Estes, supposedly because of his ability to sleep standing up, he teamed with mandolinist Yank Rachell and harmonica player Hammie Nixon to play the house party circuit in and around Brownsville in the early '20s. The same team reunited 40 years later to record for Delmark and play the festival circuit. Never an outstanding guitarist, Estes relied on his expressive voice to carry his music, and the recordings he made from 1929 on have enormous appeal and remain remarkably accessible today.

Despite the fact that he performed for mixed black and white audiences in string band, jug band, and medicine show formats, his music retains a distinct ethnicity and has a particularly plaintive sound. Astonishingly, he recorded during six decades for Victor, Decca, Bluebird, Ora Nelle, Sun, Delmark, and others. Over the course of his career, his music remained simple yet powerful, and despite his sojourns to Memphis and Chicago he retained a traditional down-home sound. Some of his songs are deeply personal statements about his community and life, such as "Lawyer Clark" and "Floating Bridge." Other compositions have universal appeal ("Drop Down Mama" and "Someday Baby") and went on to become mainstays in the repertoires of countless musicians. One of the true masters of his idiom, he lived in poverty, yet was somehow capable of turning his experiences and the conditions of his life into compelling art.
https://www.allmusic.com/artist/sleepy-john-estes-mn0000022845/biography

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Reseña de Cub Koda
Sleepy John Estes nunca cambió o alteró realmente su estilo durante el período de 50 años que grabó. Los discos que grabó para Victor en los años 20 no son muy diferentes de los que hizo a finales de los 60 y los 70 para varios sellos de coleccionistas. Esta colección incluye 21 actuaciones en solitario de 1962 no publicadas anteriormente y una larga entrevista con Sleepy John realizada por el productor Pete Welding. Estes está en buena forma en todo momento, especialmente eficaz en "Lost My Eyesight", "Run Around", "Floating Bridge", "Vernita's Blues" y "It Was a Dream" de Big Bill Broonzy. En la entrevista de 18 minutos que cierra este disco, Estes habla de grabar discos para Decca, Victor y otros sellos, de su llegada a Chicago y de la pérdida de la vista. Una música convincente y una conversación aún más convincente, todo ello cargado de realismo y ambiente en abundancia.
https://www.allmusic.com/album/goin-to-brownsville-mw0000034276


Biografía de Barry Lee Pearson
Big Bill Broonzy llamó al estilo de canto de John Estes "llorar" el blues por su evidente calidad emocional. En realidad, su estilo vocal se remonta a su época de líder de una cuadrilla de mantenimiento del ferrocarril, donde sus improvisaciones vocales y su voz aguda y cortante marcaban el ritmo de las actividades laborales. Apodado "Sleepy" John Estes, supuestamente por su capacidad para dormir de pie, se asoció con el mandolinista Yank Rachell y el armonicista Hammie Nixon para tocar en el circuito de fiestas domésticas en Brownsville y sus alrededores a principios de los años 20. El mismo equipo se reunió 40 años después para grabar para Delmark y tocar en el circuito de festivales. Estes nunca fue un guitarrista destacado, sino que se apoyó en su expresiva voz para llevar su música, y las grabaciones que hizo a partir de 1929 tienen un enorme atractivo y siguen siendo notablemente accesibles hoy en día.

A pesar de que actuó para un público mixto de blancos y negros en formatos de banda de cuerda, banda de jarra y espectáculo de medicina, su música conserva un marcado carácter étnico y tiene un sonido especialmente lastimero. Sorprendentemente, grabó durante seis décadas para Victor, Decca, Bluebird, Ora Nelle, Sun, Delmark y otros. A lo largo de su carrera, su música siguió siendo sencilla pero poderosa y, a pesar de sus estancias en Memphis y Chicago, conservó un sonido tradicional y casero. Algunas de sus canciones son declaraciones profundamente personales sobre su comunidad y su vida, como "Lawyer Clark" y "Floating Bridge". Otras composiciones tienen un atractivo universal ("Drop Down Mama" y "Someday Baby") y se convirtieron en pilares del repertorio de innumerables músicos. Uno de los verdaderos maestros de su lenguaje, vivió en la pobreza, pero fue capaz de convertir sus experiencias y las condiciones de su vida en un arte convincente.
https://www.allmusic.com/artist/sleepy-john-estes-mn0000022845/biography



Tracklist:
1 - Run Around - 2:17
2 - Lost My Eyesight - 2:54
3 - It Was A Dream - 2:31
4 - Try Him And See - 3:08
5 - Divin` Duck - 2:34
6 - Street Car Blues - 1:54
7 - Sloppy Drunk Blues - 2:20
8 - I`m Goin` Home - 2:22
9 - Floating Bridge - 3:52
10 - Sixty-One And Sixty-Two Rats - 3:14
11 - Vernita`s Blues - 2:18
12 - Someday Baby - 2:44
13 - Freedom Loan - 3:05
14 - Bye And Bye When The Morning Comes - 1:28
15 - Working Man`s Blues - 2:43
16 - Bring Me My .38 Pistol - 2:32
17 - Married Woman Blues - 2:37
18 - Sweet Sugar Mama - 2:34
19 - Stop That Thing - 1:52
20 - In My Father`s House - 2:42
21 - Goin` To Brownsville - 2:59
22 - Sleepy John Estes Interviewed By Pete Welding - 18:13


Credits:
    Cover – Brian Walls
    Mastered By – Bob Stone
    Photography By – Tom Copi
    Producer – Pete Welding
    Vocals, Guitar – Sleepy John Estes

Notes:
Tracks 1 - 4, 10 and 11 recorded April 19, 1962.
All other tracks recorded April 22, 1962.
All 21 performances are previously unissued recordings.


Label: Testament Records ‎– TCD 6008
Released: 1998
Genre: Blues
Style: Chicago Blues, Country Blues
https://www.discogs.com/Sleepy-John-Estes-Goin-To-Brownsville/release/5102925










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