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Jim White blogs about the blues and related music.

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Annie Raines at the Thunderbird Cafe on Oct. 31.  (Jim White photo)

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"If I hadn't heard blues, I would have missed a big part of myself."  -- Paul Rishell

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A look back at Tampa Red

For no particular reason, I thought I'd write a few lines about one of my all-time favorite bluesmen -- Tampa Red. He was a brilliant, innovative slide guitarist who was doing things with the electric guitar almost before anybody realized you could electrify a guitar. His slide guitar work would influence many bluesmen who followed him.

He was Hudson Woodbridge but known from childhood as Hudson Whittaker, and took the name Tampa Red from Tampa., Fla., where he lived, and his red hair.

Red created a unique slide guitar sound on a gold-plated National steel-bodied resonator guitar, was a fine songwriter, and would later form the Chicago Five, a band that helped pave the way for jump blues bands and even rock groups. He played in a rhythmic, swinging style that hinted at jazz and pop. After he moved to Chicago, his home became a haven for blues musicians, and his willingness to help other musicians was legendary.

Red played blues, but he also played pop and some very early R&B, but he began his career with something called hokum music -- a old music style filled with sexy double-entendres and euphemisms that was very popular and fit well into the earthy world of the blues. 

His first big hit (his second recording) -- it sold almost a million copies -- was the hokum-based "It's Tight Like That," written and performed with a blues piano player called Barrelhouse Tom, then Georgia Tom -- Tom Dorsey. Dorsey, an interesting sidelight to the Tampa Red story, was, an epiphany and a few years later, Thomas A. Dorsey, the father of gospel music.

Like many bluesmen of that era, Red sort of disappeared, was "rediscovered," and enjoyed limited success. He died in 1977, broke and pretty much forgotten. Every once in a while someone covers one of his songs (there were many; he released more 78s than any other blues artist), and they give him the proper credit. He deserves at least that. One of his songs that you'll hear a lot is one of my favorites, "It Hurts Me Too," a simple but elegant blues.

Red recorded much on the Bluebird label, and one of my favorite double LPs was a reissue of many of those sides, called "Tampa Red, Guitar Wizard." I doubt that it's available any more, except on eBay, where I found one for $49.95. My own copy has long since vanished (that's the album cover above). But you can still  find much good Tampa Red material on CD.

Give him a try sometime, and listen to the roots of much of the music that came after. Here's a sample of one of his earlier hokum tunes, "Can't Get That Stuff No More." 


Posted Feb 03 2009, 01:00 AM by Jim White

Comments

BLUZER wrote re: A look back at Tampa Red
on Tue, Feb 3 2009 2:24 PM

Thanks, Jim, for opening up this 'can of worms'!!

      Next to perhaps Fats Waller, Tampa Red (The Guitar Wizard) was, is, and will always be the absolute greatest all-around Jazz/Blues artist that ever lived.  Ever. He remains one of the most unique and original of all Blues musicians. Not only did he record prolifically and willingly share his enormous talent with the entire Blues world of his day, when his wife died he went nuts and eventually died broke and nearly forgotten. Now THAT is the Blues!!  Even many so-called 'Blues Lovers' don't have the slightest clue as to how important Tampa was (and is) in the history of the Blues, second only to Sonny Boy I and maybe Elmore James or Jimmy Reed in terms of influence.  Everybody loved Tampa but like so many other artists of his day (and of his race) he was abused and ultimately neglected by the fickle industry of which he was once king.

      It would make me a happy fellow if Tampa Red were to receive even one-tenth the attention that is directed toward Robert Johnson. Johnson burned brightly but it was pretty brief and he leaned pretty heavily on what he learned from Son House and other delta musicians. Tampa Red continually evolved and changed with the times until the end and continued to add to his already substantial body of work. Talk about albums...his last two for Prestige are simply beautiful and brilliant. Whether as a solo artist or leader of his infamous Chicago Five,  Tampa Red was undeniably the 'Beethoven of the Blues'. I can't recall if he was even mentioned in Martin Scorcese' Blues series of a couple years past.  And don't get me started on his use of the Kazoo on alot of his recordings!!

      When you bring up the subject of Tampa Red what it again indicates to me is how narrowly the Blues continues to be defined by present day 'Blues Lovers' who only want to hear one particular style of the music while once again completely ignoring another true Blues genius that America has sadly all but forgotten. Where's the definitive Box Set? where's the PBS documentary?. Once again, it'll be the British or the Japanese or the Germans who rediscover and RESPECT the music (and musicians) that American fans have neglected. God Bless and a big 'thank you' to Bear Family and Document records!!  

      The last I heard, and I could be wrong, Tampa Reds' 'Gold Guitar' is on display as part of the Experience Music Project in Seattle. So here's a question for you...whatever happened to Robert Johnsons' guitar? Or Blind Willie Mctells'  12-string guitar? Or Blind Lemon Jeffersons? Being a real 'Blues Lover' isn't easy in a world that pays more attention to the Jonas Brothers or Coldplay than to it's own musical history!!