Okay, on this blisteringly cold but sunny morning on Hampstead Heath, this is what my iPod delivered.
- I Want You : Bob Dylan from Blonde on Blonde
- Do Nothing Till You Hear From Me : Mose Allison from M0se Allison Sings & Plays
- You’re Gonna Quit Me : Bob Dylan from Good As I Been to You
- Cold Hearts/Closed Minds : Nanci Griffith from Lone Star State of Mind
- Hospital Food : Eels from Electro-Shock Blues
- I’m Old Fashioned : Ella Fitzgerald from Ella Fitzgerald Sings the Jerome Kern Songbook
- Blues for Humph : Humphrey Lyttelton Band with Pat Halcox from Remembering Pat Halcox
- Baby Sister Blues : Johnny Shines from Standing at the Crossroads
- Dancing Dave : Henry Allen & His Orchestra from Swing Out
- Trinkle Tinkle : Thelonious Monk from Thelonious Monk Trio
- Reputation : Dusty Springfield from Goin’ Back
- Goodbye : Art Pepper from Unreleased Art Vol. III
The first track here is one of a very few I can remember hearing for the very first time – the place and the occasion, if not the precise date. The late 60s it would have been, several years after the album was first released, and I’d driven a minibus full of secondary school students up to London from Andover, where I was teaching, to the Roundhouse to see Nicol Williamson’s Hamlet, with Marianne Faithful as Ophelia. I’d promised the students that we would stop off, briefly, in Carnaby Street on the way home. And when I stepped into one of the then highly fashionable clothing stores they were playing I Want You at full, glorious volume. Why had I never heard it till then?
What else is especially interesting here? The Lyttelton track is a curiosity, Humph being laid low with some ailment or other and unable to make to trip to Prague and Pat Halcox, long time trumpeter with the Chris Barber Band, stepping in. It’s a longish track, recorded live, and, in addition to Halcox’s strong lead, features Malcolm Everson on baritone sax.
Johnny Shines has been one of my favourite blues singers ever since hearing the recordings he made for J.O.B. in 1953, his voice strongly reminiscent of Howling Wolf, his bottleneck guitar playing recalling his other main influence, Robert Johnson. After these recordings, he more or less gave up music, working in construction until, like many others, he was rediscovered in the blues revival of the mid-sixties, and began recording again, this time in a more contemporary Chicago style, working with musicians like Otis Spann and Big Walter Horton. This particular track comes from 1970 and finds him returning to the solo acoustic rural blues style of his earlier days.
And then, of course, there’s Dusty … sitting, perhaps incongruously, next to Art Pepper –but perhaps not. Two artists, two of many, whose particular demons laid them low too often, too soon.