Big Bill Blues: The Big Bill Broonzy Story

 Over forty years after his death Big Bill Broonzy remains a seminal figure in blues history and was a prime force in the shaping of the Chicago blues sound. Throughout his thirty year career Broonzy recorded hundreds of sides under his own name and accompanied many great blues performers of the 30's and 40's. Despite his prolific output his blues retained a high degree of quality writing great songs including more than a few standards like "All by Myself" and "Key to the Highway."

 Big Bill was born William Lee Conley Broonzy in Scott, Mississippi in 1898. He spent his early years in Arkansas working as a sharecropper. He learned songs from an uncle and learned to play on homemade instruments. By 14 he he was entertaining at picnics playing guitar, and mandolin. Broonzy was drafted in the Army in 1918 and served through 1919. He returned to Arkansas and farmed a few more years before heading to Chicago sometime in the 1920's.

 The Chicago blues scene was buzzing when Broonzy arrived with musicians like Tampa Red, Lonnie Johnson, Georgia Tom Sonny Boy Williamson and many others active on an everyday basis. There was also numerous thriving clubs and many opportunities to record for the "race record" market. It wasn't long before Broonzy's talents were recognized and he became one of the driving forces on the early Chicago blues scene.

 Broonzy began his recording career with Paramount in 1927. In the early '30s he waxed some brilliant blues and hokum. He worked and recorded with great players like pianist Black Bob, guitarist Will Weldon, Memphis Minnie, Georgia Tom and Papa Charlie Jackson. In addition to solo efforts, he contributed his guitar to recordings by Bumble Bee Slim, John Lee (Sonny Boy) Williamson, Jazz Gillum, Washboard Sam and others who were forging a distinctive new Chicago sound.

 In 1938, Broonzy was at Carnegie Hall for John Hammond's Spirituals to Swing concert whose purpose was to present American popular music (blues, jazz, spirituals) to a wider audience. Initially Hammond was going to feature Robert Johnson but he died before the concert so Broonzy was asked to take his place. By all accounts Broonzy's performance went over extremely well.

 Broonzy remained very active in Chicago in the 40's playing with Memphis Slim among others. He also spent a good part of the early '40s traveling the South with Lil Green's band. Broonzy's sound continued to evolve with larger bands usually incorporating horns for a more sophisticated jazzy sound.

 The 1950's found a new audience for Broonzy among white folk fans who were discovering blues. In 1951 he toured Europe, performing standard blues, traditional folk tunes, and spirituals to appreciative audiences. He returned to Europe the following year with pianist Blind John Davis. Not only did Broonzy help introduce blues to Europe, especially in France and the British Isles, but he also opened the door for other American blues artists to tour there as well. Back in the States he recorded for Chess, Columbia and Folkways, working with artists from Blind John Davis to Pete Seeger. In 1955, "Big Bill Blues", his life as told to Danish writer Yannick Bruynoghe, was published.

 In 1957, after one more British tour, the pace began to catch up with Broonzy. He spent the last year of his life in and out of hospitals and succumbed to cancer in on August 14, 1958. In his book Big Bill wrote his own epitaph: "When you write about me, please don't say I'm a jazz musician. Don't say I'm a musician or a guitar player- just write Big Bill was a well-known blues singer and player and has recorded 260 songs blues songs from 1925 up till 1952; he was a happy man when he was drunk and playing with woman; he was liked by all the blues singers..."

Essential Listening

The Young Big Bill Broonzy (Yazoo): Collects sides Broonzy cut between 1928-1935. Stellar guitar playing on this stomping country blues set.

Do That Guitar Rag (Yazoo): The companion volume to the above disc. Equally recommended.

Good Time Tonight (Columbia/Legacy): Great set collecting sides cut between 1930-1940. Sound quality is excellent on this 20 track set featuring Broonzy in more of an ensemble setting.

In Chicago 1932-1937 (EPM): 22 choice cuts from the 30's. Some duplication with the above records.

The Post War Years: 1945-1949 (EPM): Fine companion volume to the above record. Featuring Broonzy in a more sophisticated setting with such accompanists as Memphis Slim, Big Maceo and some first rate sax players.

Trouble In Mind (Smithsonian/Folkways): Best of Broonzy's Folkways recordings cut near the end of his life, 1956-1957. Finds Broonzy in more of a folk setting covering favorites like "Trouble in Mind," "Key to the Highway" plus more socially conscious material like "When Will I Get to Be Called a Man" and "Black, Brown and White Blues."