Steady Rollin' Blues: The Memphis Slim Story

 John 'Peter' Chatman, better known as Memphis Slim, ranks as one of the great blues piano men. Over the course of a forty plus year career Slim was an extremely prolific artist laying down his urban, thunderous piano blues for numerous labels. Adding to the arsenal was Slim's sharp songwriting talents, wall rattling vocal style and overall charm that would keep him in the public eye his entire career.

 As befits his moniker, Memphis Slim was born in 1915 in Memphis, Tennessee. His father was a Baptist preacher who played guitar and piano and by the age of seven he too was sitting at the piano stool. By his mid-teens he was playing in the Memphis blues joints and came into contact with Roosevelt Sykes who would be his strongest early influence. At age sixteen he left Memphis to travel the South. By 1937 Slim had found his way to Chicago.

 Slim's piano skills quickly got him noticed and he got his big break when Joshua Altheimer died leaving the piano chair vacant in Big Bill Broonzy's band. Slim played with Broonzy until 1944 and also played with blues giants like Sonny Boy Williamson and Washboard Sam.

 Slim began recording as a leader in 1940 for OKeh (these sides were under the name Peter Chatman) before switching over to Bluebird as Memphis Slim later in the year. He cut the classic "Beer Drinkin' Woman" in 1940 and continued recording prolifically for Bluebird through 1941.

 After the close of World War II, Slim cut eight tracks for Hy-Tone Records and in 1947 he landed at the Miracle label. There, backed by his band the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded classics like "Lend Me Your Love" and "Rockin' The House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the low-down "Messin' Around (With the Blues)" which hit number 1 on the R&B charts in 1949.

 After Miracle, Slim continued his label hoping cutting sides for Peacock, Premium (recording the first version of his classic "Mother Earth"), Chess and Mercury. From 1952 to 1954 he made his home at Chicago's United label where he first joined forces with guitarist Matt Murphy. During this fertile period Slim cut numerous gems including "Four Years Of Torment", The Come Back" and "Sassy Mae." After his United stint he would go on to make records for Vee-Jay, Folkways and cut a number of LP's for Bluesville .

 After a European tour with Willie Dixon in 1960, Slim decided to leave Chicago and resettle there. In 1962 he moved to Paris, where he was treated like a star and able to record and perform as much as he wanted.

 Slim recorded for a variety of labels in the '60s, '70s and '80s and regularly toured Europe. When performing locally in Paris he'd show up at the club in a Rolls Royce. Before his death in 1988, the U.S. Senate honored him with the title of Ambassador-at-Large of Good Will while the French government bestowed on him the prestigious title of Commander of Arts and Letters.

Essential Listening

Bluebird Recordings 1940-1941 (RCA): Collects 23 of Slim's early sides for the Bluebird label including the classic "Beer Drinkin' Woman" among many other gems.

Life Is Like That (Charly): Excellent sides Slim cut for Miracle and King between 1946-1949. Includes great sides like "Lend Me Your Love," "Nobody Loves Me" and "Messin' Around with the Blues."

Memphis Slim U.S.A. (Delmark): Classic sides cut for the United label in 1954. Features exceptional guitar by a young Matt Murphy.

Rockin' The Blues (Charly): Fine gathering of Slim's 1958-1959 Vee-Jay recordings. Includes gems like "Messin' Around", "Mother Earth" and the blazing title cut.

I'll Just Keep Singin' The Blues (32 Jazz): Recorded in 1961 in Chicago just before pianist Memphis Slim left on a European tour and took up permanent residence there. Backed by the Houserockers (including Matt Murphy), this is a great set of gutbucket blues.

Bad Luck & Trouble (CBS): This 1961 date is probably out of print but worth seeking out. This is a tribute to the bluesmen who inspired Slim and features great spoken intros to each song. Backing is provided by Jazz Gillum and Arbee Stidham.