Listening to Prestige 394: Sunnyland Slim

The day after backing Roosevelt Sykes, King Curtis and his group were back in the studio with another blues piano man, Sunnyland Slim.

It was a contrast in styles Both were from the Delta area--Sykes from Elmar, Arkansas, and Slim (Albert Luandrew) from Vance, Mississippi. They were they same age--54 at the time these recordings were made. Both called Chicago home, and were part of that Chicago blues scene, Slim even more than Sykes. He played, over the years, in the bands of Muddy Waters (Muddy was his guitar player for his first recording session), Sonny Boy Williamson, Little Walter, Howlin' Wolf, and Robert Jr. Lockwood, whereas Sykes eschewed the electric blues sound,

decamping from Chicago to New Orleans in the early 1950s, as that style gained the ascendancy on the South Side.

But Sykes, who first came north in 1929 to record for Okeh Records in New York, adopted a more urban style. Slim's journey to Chicago led through Memphis in the 1920s, where he worked with Ma Rainey among others, and while his piano style reflected the modernity of his associations, his voice stayed in the Delta, with that rich rawness we associate with the Delta blues singers. 

This makes for a different kind of collaboration with Curtis and his urban jazz/rhythm and blues musicians. On two cuts, "I'm Prison Bound" (by Brownie McGhee) and "Harlem Can't Be Heaven," Curtis sits out, leaving the field to Slim and Robert Banks, whose organ brings the arrangement up to 1960, while at the same time carrying that Delta feeling. By contrast, on "Shake It," a Big Joe Turner composition but a standard part of Slim's repertoire, he brings a lot more Chicago into his vocal, and Curtis provides a foot-stomping solo.

This admixture of styles makes for a fascinating album, where you never quite know what mixture you're going to get net. "Decoration Day" starts out with a moody blue intro from Curtis, and then Slim enters with his Delta voice and a real down home twelve-bar blues that nonetheless fits with what Curtis had started. Curtis returns with another sax solo, followed by Banks pulling out all the stops (or the equivalent on an electric organ). In other words, this is a session that gives the participants a chance to explore every possible way of playing together.

Of particular interest, the Leroy Carr classic "How Long Blues." just because it's such a great tune and it's interesting to hear anyone play it. And the two instrumental numbers, "Slim's Shout" (co-composer credit, Ozzie Cadena) and "Sunnyland Special," both of which feature just some great blowing. Chicagoan Slim pays an affectionate tribute to the Big Apple with "Harlem Can't Be Heaven."

Robert Banks should have had more of a prominent career than he did.

This is a great album.

A curiosity: Most of Slim's originals are credited to Sunnyland Slim, but one ("Sunnyland Special") is under his birth name, Albert Luandrew. And even odder. on "Every Time I Get to Drinking," co-composer credit is given to Luandrew and Slim.

Two Bluesville 45s came from the session: "Baby How Long" / "It's You Baby" and "I'm Prison Bound" / "Slim's Shout." Slim's Shout was also the name of the Bluesville album. "Every Time I Get to Drinking" and "Tired of You Clowning" were left off the LP, but added to the CD reissue.

Listening to Prestige Vol. 2, 1955-56, and Vol. 3, 1957-58 now include, in the Kindle editions, links to all the "Listen to One" selections. All three volumes available from Amazon.

The most interesting book of its kind that I have ever seen. If any of you real jazz lovers want to know about some of the classic records made by some of the legends of jazz, get this book. LOVED IT.

                       – Terry Gibbs