Muddy is a particular favorite of mine- I mean, that voice....
While he had recorded many records, including a few hit singles, for Chess in the late '40s and 1950s, those had largely only reached a Black audience. The Newport album (which earned him a Grammy nomination for "Got My Mojo Workin'" (deservedly so)" was really, as it was for his colleague John Lee Hooker, a debutante ball of sorts for white music fans. It was one of the opening shots of the blues renaissance of the 1960s by which Muddy and his contemporaries were elevated from juke joint musicians to folk heroes.
Thanks for this insight David! Definitely agree that is a deserving Grammy nomination and interesting to know that this was his introduction to many white fans. I love this clip of him talking about why the white kids dug his music, and whether or not they can really sing the blues: https://www.youtube.com/watch?v=Tp54x3PRnAg&ab_channel=DouglasG.McIntosh
Unfortunately, Chess took the certificate marking his nomination and had it framed in the office rather than giving it to Muddy. It wasn't until the 70s when his new young turk manager saw it, flipped out, and demanded it to be given to him that he probably even saw it.
He finally won a Grammy in 1971 for "They Call Me Muddy Waters" and then a couple more for his last Chess albums and his work on Blue Sky/Columbia with Johnny Winter before he died.
That's fascinating! Glad he got that new manager then who would rather push for Muddy to receive his due recognition than for it all to stay with Chess. From what I've read, it seems they didn't always seem to have his best interests at heart but needed him as much as he needed them. Love that Johnny Winters album, but my favourite will probably always be the one with Butterflied and Bloomfield
Thanks for a very informative piece, Matthew. Chicago Blues, especially Chess - a magnificent legacy. Muddy, Mr Wolf, Jimmy Reed, SBW… - great, original musicians. Their key recordings still sound so fresh, 70 years later.
We need to mention that Muddy's appearance at Newport in 1969 (which I saw) was even more powerful than his 1960 appearance. Long story, but it was on the lawn, up-close and personal and just amazing; I have never heard a recorded performance of his which came close to the effect of sitting about 5 feet from him. And, I would disagree with your statement "Muddy Waters had long since established himself as the father of the blues." I love Muddy, but the "fathers" of the blues preceded him: Sun House, who recorded more than 10 years before; and Charley Patton, who also pre-dated him. Not to mention the literally hundreds of blues men and women recorded by the majors in 1928 and 1929. And Memphis Minnie went electric in 1942. Muddy was amazing, but did not get on record, really, in a distributed way, until the Chess brothers recorded him in the late 1940s. The early plantation recordings are also incredible, including the ones he made with Son Simms' String Band. There's just a lot of blues history we cannot leave out, which precedes Muddy.
Thanks for the tip, Allen - I haven't heard his 69 Newport show so will surely check that out over the weekend. Sounds like a special one to have been at. My favourite Muddy album is from that year, so know he was in fine form around then.
Thanks also for the comments about that phrase - I should probably have worded that better, and specified that I meant that more modern Chicago style which he helped popularise (as it's a phrase I've often seen associated with him in other writing, and so borrowed it here but forgot to add the specific locational distinction!). I would hate to dismiss the importance and talents of all those genius bluesmen and women you mentioned that went before him!
Had the pleasure of interviewing Big Bill after helping promote a blues fest he was appearing on years ago. Such a gracious, hilarious, and talented soul. I was super happy to see him in the film. I proudly own a copy of the Muddy at Newport album and it's one I returned to after seeing 'A Complete Unknown' as well. Great minds!
Oh amazing, that's so cool - would love to read, watch or listen to that if it's available anywhere!
It's such a great album, isn't it? I managed to get hold of a copy on record a few years ago at the Paris Jazz Corner record shop in France for about €5, which is one of the best bargains I ever got!
I really need to dig through my old tapes and digitize those interviews - something I've been putting off for, oh, about 20 years in some cases.
I'm sure I didn't spend more than a few bucks for mine, but it was picked up from a local shop in Raleigh, NC, not as exotic as a Parisian Jazz shop. Nice!
Muddy is a particular favorite of mine- I mean, that voice....
While he had recorded many records, including a few hit singles, for Chess in the late '40s and 1950s, those had largely only reached a Black audience. The Newport album (which earned him a Grammy nomination for "Got My Mojo Workin'" (deservedly so)" was really, as it was for his colleague John Lee Hooker, a debutante ball of sorts for white music fans. It was one of the opening shots of the blues renaissance of the 1960s by which Muddy and his contemporaries were elevated from juke joint musicians to folk heroes.
Thanks for this insight David! Definitely agree that is a deserving Grammy nomination and interesting to know that this was his introduction to many white fans. I love this clip of him talking about why the white kids dug his music, and whether or not they can really sing the blues: https://www.youtube.com/watch?v=Tp54x3PRnAg&ab_channel=DouglasG.McIntosh
Unfortunately, Chess took the certificate marking his nomination and had it framed in the office rather than giving it to Muddy. It wasn't until the 70s when his new young turk manager saw it, flipped out, and demanded it to be given to him that he probably even saw it.
He finally won a Grammy in 1971 for "They Call Me Muddy Waters" and then a couple more for his last Chess albums and his work on Blue Sky/Columbia with Johnny Winter before he died.
That's fascinating! Glad he got that new manager then who would rather push for Muddy to receive his due recognition than for it all to stay with Chess. From what I've read, it seems they didn't always seem to have his best interests at heart but needed him as much as he needed them. Love that Johnny Winters album, but my favourite will probably always be the one with Butterflied and Bloomfield
The Chess brothers treated their artists better than most of their peers did, but they still kept most of the money they made in the family.
Thanks for a very informative piece, Matthew. Chicago Blues, especially Chess - a magnificent legacy. Muddy, Mr Wolf, Jimmy Reed, SBW… - great, original musicians. Their key recordings still sound so fresh, 70 years later.
Thanks, Gerald - glad you enjoyed it. They really do, don't they? It's still so exciting and vital to listen to, even after all this time
We need to mention that Muddy's appearance at Newport in 1969 (which I saw) was even more powerful than his 1960 appearance. Long story, but it was on the lawn, up-close and personal and just amazing; I have never heard a recorded performance of his which came close to the effect of sitting about 5 feet from him. And, I would disagree with your statement "Muddy Waters had long since established himself as the father of the blues." I love Muddy, but the "fathers" of the blues preceded him: Sun House, who recorded more than 10 years before; and Charley Patton, who also pre-dated him. Not to mention the literally hundreds of blues men and women recorded by the majors in 1928 and 1929. And Memphis Minnie went electric in 1942. Muddy was amazing, but did not get on record, really, in a distributed way, until the Chess brothers recorded him in the late 1940s. The early plantation recordings are also incredible, including the ones he made with Son Simms' String Band. There's just a lot of blues history we cannot leave out, which precedes Muddy.
Thanks for the tip, Allen - I haven't heard his 69 Newport show so will surely check that out over the weekend. Sounds like a special one to have been at. My favourite Muddy album is from that year, so know he was in fine form around then.
Thanks also for the comments about that phrase - I should probably have worded that better, and specified that I meant that more modern Chicago style which he helped popularise (as it's a phrase I've often seen associated with him in other writing, and so borrowed it here but forgot to add the specific locational distinction!). I would hate to dismiss the importance and talents of all those genius bluesmen and women you mentioned that went before him!
I do agree that you are correct about the “modern” (as in post-War) blues; Chicago (and Chess) was really the epicenter.
Nice post, and thanks for the link to the 2003 video. I have the Gordon book as well and you are right,it is terrific.
Thank you! Glad you enjoyed it, and that video, too. It's such a killer performance, isn't it?
Had the pleasure of interviewing Big Bill after helping promote a blues fest he was appearing on years ago. Such a gracious, hilarious, and talented soul. I was super happy to see him in the film. I proudly own a copy of the Muddy at Newport album and it's one I returned to after seeing 'A Complete Unknown' as well. Great minds!
Oh, yes, and Gordon's Muddy biography is a must.
Oh amazing, that's so cool - would love to read, watch or listen to that if it's available anywhere!
It's such a great album, isn't it? I managed to get hold of a copy on record a few years ago at the Paris Jazz Corner record shop in France for about €5, which is one of the best bargains I ever got!
I really need to dig through my old tapes and digitize those interviews - something I've been putting off for, oh, about 20 years in some cases.
I'm sure I didn't spend more than a few bucks for mine, but it was picked up from a local shop in Raleigh, NC, not as exotic as a Parisian Jazz shop. Nice!