b. January 31th, 1906 in Elmar (Arkansas)
d. July 17th, 1983 in New Orleans (Louisiana)
COMPLETE RECORDED WORKS
Document
Volume 1 (June 1929 - June 1930)
Volume 2 (June 1930 - June 1931)
Volume 3 (September 1931 - December 1933)
Volume 4 (August 1934 - May 1936)
Né en Arkansas, il grandit à Helena puis à Saint Louis. Dès l'adolescence, il apprend le piano dans un style barrelhouse caractéristique. Il rencontre Leothus "Lee" Green un pianiste qui lui fait une grande impression. Celui-ci lui apprend notamment "44 blues" (un morceau composé par Little Brother Montgomery) qui sera le premier titre enregistré par Roosevelt Sykes. Repéré par Jesse Johnson - talent-scout chez Okeh - il grave de très beaux premiers titres avec le guitariste Clifford Gibson (sous le pseudonyme d'Oscar Carter) : "44 blues", "All my money gone", "I'm tired of being mistreated", "Boot that thing". Profitant de toutes les opportunités qui se présentent à lui, Roosevelt enregistre pour tout le monde utilisant de nombreux pseudonymes. Chez Paramount, sous le nom de Dobby Bragg, il accompagne la chanteuse Mae Belle Miller. Pour RCA-Victor, il opte pour le nom de Willie Kelly et grave de belles faces comme "32-20 blues", "I love you more and more" ou encore "Hard luck man blues" (avec la guitare d'Henry Townsend). Il passe aussi chez Melotone ("Cotton seed blues") et Champion ("Mr Sykes blues", "Highway 61 blues"). En aout 1934, Roosevelt Sykes débute sa collaboration avec le label Decca devenant rapidement le pianiste-maison du label. Devenu The Honeydripper (un pseudonyme qu'il va garder toute sa carrière), il participe à de nombreuses séances pour différents artistes et continue bien sûr sa propre carrière en gravant de superbes titres : "DBA blues", "Dirty mother for you", "Jet black snake" (avec la guitare de "Kokomo" Arnold), "Driving wheel", "The honeydripper".
Born in Arkansas, he grew up in Helena then in Saint Louis. From adolescence, he learned the piano in a characteristic barrelhouse style. He meets Leothus "Lee" Green a pianist who made a great impression on him. He teaches him in particular "44 blues" (a piece composed by Little Brother Montgomery) which will be the first title recorded by Roosevelt Sykes. Spotted by Jesse Johnson - talent-scout for Okeh - he recorded very beautiful first songs with guitarist Clifford Gibson (under the pseudonym of Oscar Carter) : "44 blues", "All my money gone", "I'm tired of being mistreated", "Boot that thing". Taking advantage of every opportunity that comes his way, Roosevelt records for all world using many pseudonyms. At Paramount, under the name of Dobby Bragg, he accompanies singer Mae Belle Miller. For RCA-Victor, he opts for the name of Willie Kelly and cuts some beautiful sides like "32-20 blues", "I love you more and more" or even "Hard luck man blues" (with the guitar of Henry Townsend). He also goes to Melotone ("Cotton seed blues") and Champion ("Mr Sykes blues", "Highway 61 blues"). In august 1934, Roosevelt Sykes began his collaboration with the Decca label, quickly becoming the label's house pianist. Having become The Honeydripper (a pseudonym that he will keep throughout his career), he participates in many sessions for different artists and of course continues his own career in recording superb titles : "DBA blues", "Dirty mother for you", "Jet black snake" (with the guitar of "Kokomo" Arnold), "Driving wheel", "The honeydripper".
COMPLETE RECORDED WORKS
Document
Volume 5 (April 1937 - April 1939)
Volume 6 (April 1939 - February 1941)
Volume 7 (February 1941 - December 1944)
Volume 8 (1945 - October 1947)
Volume 9 (November 1947 - April 1951)
Devenu le pianiste-maison du label Decca, Roosevelt Sykes produit, à ce moment là, le meilleur de son oeuvre. Il enregistre beaucoup notamment de remarquables titres comme "Night time is the right time", "Drunken gambler", "Love lease blues", "She's long gone", "KMA blues". Sur certains titres, il est accompagné de l'excellent batteur de jazz Sidney Catlett ("47th street jive"). Sa longue collaboration avec Decca dure jusqu'en février 1941. Roosevelt retourne ensuite chez Okeh avant d'être interrompu comme tous les artistes par le Petrillo's ban (grève décidée par le syndicat des musiciens). A la reprise d'activité, il enregistre pour Bluebird / RCA-Victor dans un contexte orchestral - sous la supervision du producteur Lester Melrose - avec un style qui s'oriente vers le Rhythm & Blues.
Having become the house pianist of the Decca label, Roosevelt Sykes produced, at that time, the best of his work. He records a lot including remarkable titles like "Night time is the right time", "Drunken gambler", "Love lease blues", "She's long gone", "KMA blues". On some tracks, he is accompanied by the excellent jazz drummer Sidney Catlett ("47th street jive"). His long collaboration with Decca lasted until february 1941. Roosevelt then returned to Okeh before being interrupted like all artists by the Petrillo's ban (strike decided by the musicians' union). On resumption of activity, he records for Bluebird / RCA-Victor in an orchestral context - under supervision of producer Lester Melrose - with a style that leans towards Rhythm & Blues.
BLUE 88'S : UNRELEASED PIANO BLUES GEMS
Hi Horse
November 1941
CHICAGO BOOGIE
Delmark
March 1950 - April 1951 / May 1963
Après 5 années chez RCA-Victor (et sa marque Bluebird), Roosevelt Sykes enregistre chez Regal puis United accompagné de J.T. Brown (saxophone), Ransom Knowling (basse) et Jump Jackson (batterie). On trouve de bons moments comme "West Helena blues", "Chicago boogie", l'instrumental "Blues 'n boogie" et une nouvelle version de "Drivin' wheel".
After 5 years at RCA-Victor (and its imprint Bluebird), Roosevelt Sykes records at Regal then United accompanied by J.T. Brown (saxophone), Ransom Knowling (bass) and Jump Jackson (drums). We find good moments like "West Helena blues", "Chicago boogie", the instrumental "Blues 'n boogie" and a new version of "Drivin' wheel".
RAINING IN MY HEART
Delmark
July 1951 - March 1953
On retrouve ici l'essentiel de sa production pour le label United de Leonard Allen (on trouve quelques titres dans le CD précédent "Chicago boogie" aussi). Son style se situe entre Blues et Rhythm & Blues avec un groupe composé des souffleurs Sax Mallard, Robert "Sax" Crowder ou J.T. Brown. On peut retenir de remarquables moments : "Lucky blues", "Raining in my heart", "Heavy heart", "Ruthie Lee", "Toy piano blues" (où Roosevelt joue du celesta). Sur certains titres, Remo Biondi joue du violon apportant une coloration un peu différente ("Too hot to handle"). Très beau dessin de couverture d'Andrew Epstein.
We find here most of his production for the United label of Leonard Allen (we find some titles in the previous "Chicago boogie" CD too). His style is between Blues and Rhythm & Blues with a backing band composed of the blowers Sax Mallard, Robert "Sax" Crowder or J.T. Brown. We can point out some remarkable moments : "Lucky blues", "Raining in my heart", "Heavy heart", "Ruthie Lee", "Toy piano blues" (where Roosevelt plays celesta). On some tracks, Remo Biondi plays fiddle bringing a little different coloring ("Too hot to handle"). Very nice cover design by Andrew Epstein.
COMPLETE RECORDED WORKS vol.10
Document
July 1951 - 1957
Ce CD reprend les faces United (publiées également par Delmark) mais aussi ses faces Imperial et House of Sounds. Domicilié à La Nouvelle Orléans depuis 1954 sur Louisa Street (dans le 9th ward), Roosevelt grave une poignée de superbes titres Rhythm & Blues pour Imperial produits par Dave Bartholomew (avec le saxophone d'Herb Hardesty) : "You can't be lucky all the time", "Hush oh hush", "Crazy fox". Pour le label House of Sound, il enregistre en particulier "She's jail bait" avec la guitare de Joe Willie Wilkins.
This CD includes the United sides (also issued by Delmark) but also his Imperial and House of Sounds tracks. Settled in New Orleans since 1954 on Louisa Street (in the 9th ward), Roosevelt records a handful of superb Rhythm & Blues titles for Imperial produced by Dave Bartholomew (with Herb Hardesty on saxophone) : "You can't be lucky all the time", "Hush oh hush", "Crazy fox". For the House of Sound label, he records in particular "She's jail bait" with Joe Willie Wilkins' guitar.
REDISCOVERED BLUES vol.2
Capitol
January - September 1955
THE RETURN OF ROOSEVELT SYKES
Prestige - Bluesville
URBAN BLUES
Fantasy
March 1960
Après quelques années d'inactivité entre 1955 et 1960 (deux titres en cinq années), voici un album de retour qui s'inscrit dans le blues revival naissant. L'album est supervisé par Esmond Edwards. Un programme très jazzy avec de belles pièces comme "Set the meat outdoors", "Coming home", "Calcutta", "Runnin' the boogie". Les musiciens sont attentifs et inspirés. L'album est repris entièrement dans le CD "Urban blues" proposé par Fantasy.
After a few years of inactivity between 1955 and 1960 (two titles in five years), here is a comeback album that is part of the emerging blues revival. The album is supervised by Esmond Edwards. A very jazzy program with beautiful pieces like "Set the meat outdoors", "Coming home", "Calcutta", "Runnin' the boogie". The musicians are attentive and inspired. The album is included entirely in the CD "Urban blues" proposed by Fantasy.
CONVERSATION WITH THE BLUES
Decca
July 1960
Parmi les précieux enregistrements de terrain recueillis par Paul Oliver en 1960, on trouve trois morceaux de Roosevelt Sykes (1 morceau parlé et 2 morceaux au piano) qui vient de reprendre sa carrière.
Among the precious field recordings collected by Paul Oliver in 1960 are three tracks by Roosevelt Sykes (1 spoken track and 2 piano tracks) who has just resumed his career.
JOACHIM BERENDT PRESENTS : JAZZLIFE
Metronome
Taschen
1960
JUMP JACKSON CHICAGO BLUES SESSION
Private Pressing
JUMP JACKSON'S 1960 BLUES PARTY
Blue Eye blog (mp3)
1960
Deux morceaux de Roosevelt Sykes gravés par Jump Jackson, probablement prévus pour son label LaSalle mais jamais édités. La qualité sonore est médiocre. D'après la discographie officielle, il y eut une autre séance en 1961 restée inédite.
Two songs by Roosevelt Sykes cut by Jump Jackson, probably planned for his LaSalle label but never issued. The sound quality is poor. According to the official discography, there was another session in 1961 that remained unissued.
THE HONEYDRIPPER
Prestige - Bluesville
Vogue
September 1960
Second disque pour Bluesville - plus blues que "The return of Roosevelt Sykes" - sous la supervision d'Esmond Edwards. Pour celui-ci, Roosevelt est supporté par le beau saxophone de King Curtis et l'orgue de Robert Banks. Lui-même est en forme au chant et au piano. On retient notamment "Miss Ida B", "Mislead mother", "Satellite baby", "She ain't for nobody".
Second record for Bluesville - more blues than "The return of Roosevelt Sykes" - under the supervision of Esmond Edwards. For this one, Roosevelt is supported by the beautiful saxophone by King Curtis and organ by Robert Banks. He himself is in good shape on vocals and piano. We notably remember "Miss Ida B", "Mislead mother", "Satellite baby", "She ain't for nobody".
FACE TO FACE WITH THE BLUES
Columbia
Encore
Metronome
January 1961
Pour son premier voyage en Europe, Roosevelt trouve l'opportunité de graver deux albums en Angleterre. Ici, il est simplement accompagné du batteur Don Lawson. L'enregistrement est supervisé par le producteur et critique de jazz Denis Preston aux Lansdowne Studios de Londres. Un opus de piano blues classique et solide.
For his first trip to Europe, Roosevelt finds the opportunity to cut two albums in england. Here he is simply accompanied by drummer Don Lawson. The recording is supervised by producer and jazz critic Denis Preston at Lansdowne Studios in London. A classic and solid blues piano opus.
THE HONEYDRIPPER PLAYS AND SINGS THE BLUES
Columbia
Aves
Metronome
January 1961
D'après la discographie officielle, cet album a été gravé le même jour que "Face to face with the blues" mais avec un batteur différent (Phil Seamen remplace Don Lawson). Même sympathique programme de piano blues. On note la présence sur certaines pistes du guitariste anglais Alexis Korner. Enfin, Roosevelt Sykes profita de son voyage en Angleterre pour une troisième séance - produite par Francis Wilford Smith - mais celle-ci ne vit jamais le jour.
According to the official discography, this album was recorded the same day as "Face to face with the blues" but with a different drummer (Phil Seamen replaces Don Lawson). Same nice blues piano program. We note the presence on some tracks of the english guitarist Alexis Korner. Finally, Roosevelt Sykes took advantage of his trip to england for a third session - produced by Francis Wilford Smith - but this never saw the light of day.
BLUES
Folkways
Blue Angel
June 1961
Séance pour le label Folkways de Moses Asch. Pour celle-ci, il se retrouve seul au piano pour un programme classique bien exécuté mais sans grande surprise. Il y a un titre avec son ami Memphis Slim.
Session for Moses Asch's Folkways label. For this, he finds himself alone on piano for a classical program well executed but without much surprise. There is a title with his friend Memphis Slim.
ROOSEVELT SYKES SINGS THE BLUES
Crown
United
Ace
Ember
April - May 1962
En leader d'un petit combo électrique efficace, Roosevelt délivre ici un disque très bon (et très court). Il est en verve ainsi que ses musiciens (Lee Jackson, Sax Mallard, Willie Dixon, Jump Jackson). Ce matériel fut gravé pour le label Crown des frères Bihari. On retient en particulier "Wild side" et "Out on a limb".
As the leader of a small efficient electric combo, Roosevelt delivers here a very good (and very short) record. He is in high spirits as well as his musicians (Lee Jackson, Sax Mallard, Willie Dixon, Jump Jackson). This material was recorded for the Crown label of the Bihari brothers. We particularly remember "Wild side" and "Out on a limb".
HARD DRIVIN' BLUES
Delmark
May 1963
Gravé pour le label Delmark de Robert Koester, ce disque reproduit le même dispositif que certains de ses opus précédents, c'est à dire Roosevelt Sykes seul à son piano. Sur quelques titres, il est rejoint par Homesick James. Un solide album de piano blues.
Recorded for Robert Koester's Delmark label, this album reproduces the same configuration as some of his previous opuses, i.e. Roosevelt Sykes alone on his piano. On a few tracks, he is joined by Homesick James. A solid blues piano album.
BLUES PIANO ORGY
Delmark
May 1963
THREE KINGS AND A QUEEN
Spivey
June 1963
Quatre titres issus d'une belle séance pour le label Spivey de Victoria Spivey et Len Kunstadt en particulier "This is a new world" et "Lake Charles stomp". On note également "Thirteen hours", un duo entre Victoria Spivey et Roosevelt Sykes.
Four tracks resulting from a beautiful session for the Spivey label of Victoria Spivey and Len Kunstadt in particular "This is a new world" and "Lake Charles stomp". We notice also "Thirteen hours", a duet between Victoria Spivey and Roosevelt Sykes.
ENCORE FOR THE CHICAGO BLUES
Spivey
June 1963
Un titre ("Mother fuyer") issu de la même séance Spivey.
A title ("Mother fuyer") from the same Spivey session.
KINGS AND A QUEEN
Spivey
June 1963 / February 1970
Sur cette anthologie Spivey, on trouve deux morceaux de Roosevelt Sykes : l'excellent "Sleeping all day blues" provenant de la séance de juin 1963 et "Bicycle riding mama" gravé en février 1970.
On this Spivey anthology, we find two tracks by Roosevelt Sykes : the excellent "Sleeping all day blues" from the june 1963 session and "Bicycle riding mama" recorded in february 1970.
AMERICAN FOLK BLUES FESTIVAL '65
Fontana
L+R
October 1965
Roosevelt Sykes avait déjà foulé le sol européen (c'était en janvier 1961) quand il participe à la fameuse tournée de l'American Folk Blues Festival de 1965 produite par les allemands Horst Lippmann et Fritz Rau. Lors de la séance studio organisée pour l'occasion, Roosevelt joue l'excellent "Come on back home" accompagné de Buddy Guy, Jimmy Lee Robinson et Fred Below.
Roosevelt Sykes had already set foot on european ground (this was in january 1961) when he took part in the famous 1965 American Folk Blues Festival tour produced by germans Horst Lippmann and Fritz Rau. During the studio session organized for the occasion, Roosevelt plays the excellent "Come on back home" accompanied by Buddy Guy, Jimmy Lee Robinson and Fred Below.
THE LOST BLUES TAPES
ACT
October 1965
Un titre - "Sail on" - enregistré pendant la séance studio de l'American Folk Blues Festival.
One track - "Sail on" - recorded during the studio session of the American Folk Blues Festival.
AMERICAN FOLK BLUES FESTIVAL '66
Fontana
L+R
Bellaphon
October 1966
L'année suivante, Roosevelt Sykes retrouve la tournée de l'American Folk Blues Festival. On lui doit sur cet album une belle version de "Running the boogie" simplement accompagné de Jack Meyers (basse) et Fred Below (batterie).
The following year, Roosevelt Sykes returned to the American Folk Blues Festival tour. We owe him on this album a beautiful version of "Running the boogie" simply accompanied by Jack Meyers (bass) and Fred Below (drums).
UP THE COUNTRY
Scout
October 1966
Deux morceaux issus de la tournée de l'American Folk Blues Festival de 1966 dont une remarquable version de "Boot that thing".
Two tracks from the 1966 American Folk Blues Festival tour including a remarkable version of "Boot that thing".
PORTRAITS IN BLUES
Storyville
THE HONEYDRIPPER
Storyville
ROOSEVELT SYKES IN EUROPE
Delmark
GOLD MINE
Delmark
October 1966
Pendant la tournée de l'American Folk Blues Festival de 1966, Roosevelt Sykes enregistre plusieurs titres à Copenhague au Danemark seul au piano. La séance est produite par Karl-Emil Knudsen. Il s'agit d'un bon set de piano blues dans son style habituel. La réédition CD de Storyville comporte plusieurs titres additionnels parus sur diverses anthologies du label.
During the 1966 American Folk Blues Festival tour, Roosevelt Sykes recorded several titles in Copenhagen, Denmark alone on piano. The session is produced by Karl-Emil Knudsen. This is a good blues piano set in his usual style. The Storyville CD reissue features several additional titles released on various anthologies on this label.
BARRELHOUSE BLUES AND BOOGIE WOOGIE vol.2
Storyville
October 1966
BARRELHOUSE BLUES AND BOOGIE WOOGIE vol.3
Storyville
October 1966
BIG BOSS MEN
Red Lightnin'
DCC
Blues Factory
Late 1960's
Cette anthologie rassemble des morceaux de Roosevelt vraisemblablement enregistrés sous la supervision du producteur Ralph Bass à la fin des années 60. Roosevelt est à la tête d'un efficace combo électrique et offre quatre excellents morceaux comme "I'm gonna get even with you", "Bird nest on the ground" et "Hey woman".
This anthology brings together tracks by Roosevelt probably recorded under the supervision of producer Ralph Bass in the late 1960's. Roosevelt is at the head of an efficient electric combo and offers four excellent tracks like "I'm gonna get even with you", "Bird nest on the ground" and "Hey woman".
THE MEEK
Carson
Jewel
Calumet
THE HONEYDRIPPER'S BALL
Fuel 2000
October 1969
De passage en France, Roosevelt grave cet excellent album puissant et inspiré, bien épaulé par une efficace section rythmique française (Henri Tischitz et Michel Denis). On peut retenir le dévastateur "Shaking the boogie" mais aussi "Springfield blues", "Tall heavy mama", "Roosevelt's mood".
While in France, Roosevelt cuts this excellent powerful and inspired album, well supported by an efficient french rhythm section (Henri Tischitz and Michel Denis). We can point out the devastating "Shaking the boogie" but also "Springfield blues", "Tall heavy mama", "Roosevelt's mood".
NEW ORLEANS
Le Chant du Monde
1969
Autre séance à Paris lors de son voyage de 1969. Cette fois, il est seul au piano et délivre un album intéressant mais pas spécialement original. On retient "Movie star kid", "Back rider", "Beale Street boogie".
Another session in Paris during his 1969 trip. This time, he is alone on piano and delivers an interesting but not particularly original album. We can point out "Movie star kid", "Back rider", "Beale Street boogie".
THE ALL STAR BLUES WORLD OF SPIVEY RECORDS
Spivey
February 1970
FEEL LIKE BLOWING MY HORN
Delmark
August 1970
Pour Delmark et le producteur Bob Koester, Roosevelt est placé en leader d'un superbe groupe composé des souffleurs King Kolax et Sax Mallard mais aussi du guitariste Robert Lockwood Jr et d'une remarquable section rythmique, Dave Myers et Fred Below. Un programme goûteux entre Blues et Rhythm & Blues avec de superbes moments : "Feel like blowing my horn", "I'm a nut", "Jubilee time", "Sykes' gumboogie", "Don't bat your eyes". Quatre titres supplémentaires (dont deux prises alternatives) dans la version CD.
For Delmark and producer Bob Koester, Roosevelt is placed as the leader of a superb group composed of the blowers King Kolax and Sax Mallard but also of the guitarist Robert Lockwood Jr and a remarkable rhythm section, Dave Myers and Fred Below. A tasty program between Blues and Rhythm & Blues with great moments : "Feel like blowing my horn", "I'm a nut", "Jubilee time", "Sykes' gumboogie", "Don't bat your eyes". Four additional tracks (including two alternative takes) in the CD version.
CHICAGO BLUES FESTIVAL 1970
Black & Blue
CHICAGO BLUES FESTIVAL vol.1
Black & Blue
December 1970
De nouveau en France pour participer à la tournée française du Chicago Blues Festival aux côtés d'Homesick James et d'Eddie Taylor. Organisée par Jean Marie Monestier, elle était constituée de plusieurs concerts en France et d'une séance studio. Roosevelt participe à cette séance avec le support des Aces (Louis & Dave Myers, Fred Below). Cinq bons morceaux dans le LP original, un sixième titre est ajouté dans la réédition CD.
Back in France to participate in the Chicago Blues Festival french tour alongside Homeick James and Eddie Taylor. Organized by Jean Marie Monestier, it consisted of several concerts in France and a studio session. Roosevelt participates in this session with the support of the Aces (Louis & Dave Myers, Fred Below). Five good tracks in the original LP, a sixth track is added in the CD reissue.
THE HONEYDRIPPER'S DUKE'S MIXTURE
Barclay
Verve
Maison de Blues
Blue Star
December 1970
Quelques jours après la précédente, une nouvelle opportunité d'enregistrement sur le sol française se présente à Roosevelt Sykes. Sous la supervision du producteur Philippe Rault, il s'agit d'un programme sympathique entre blues ("Going down slow"), jazz ("Basin' Street blues") et airs traditionnels ("St James infirmary"). Roosevelt qui maniait également fort bien la guitare en joue sur deux titres ici. On trouve sept titres supplémentaires sur la version CD Maison de Blues. Superbe dessin de couverture de Jean Vern.
A few days after the previous one, a new recording opportunity on french ground for Roosevelt Sykes. Under the supervision of the producer Philippe Rault, this is a nice program between blues ("Going down slow"), jazz ("Basin' Street blues") and traditional tunes ("St James infirmary"). Roosevelt who handled also very well the guitar plays it on two titles here. There are seven additional tracks on the House of Blues CD version. Superb cover sleeve design by Jean Vern.
OLD TIMES NEW TIMES
Barclay
MEMPHIS BLUES
Olympic
Dargil
DOUBLE BARRELED BOOGIE
Maison de Blues
December 1970
Encore sous l'égide du producteur français Philippe Rault, Memphis Slim est associé ici à Roosevelt Sykes. Leur entente semble parfaite. Les deux pianistes jouent ensemble, évoquent leurs souvenirs dans une ambiance relachée et agréable. Slim brille sur "Mr Sykes blues", "Miss Ida B" et l'instrumental "M&S boogie". Roosevelt délivre lui une remarquable version de "Eagle rock", "44 blues" et prend exceptionellement la guitare acoustique sur "Roosevelt daddy's blues".
Still under the aegis of french producer Philippe Rault, Memphis Slim is associated here with Roosevelt Sykes. Their understanding seems perfect. The two pianists play together, evoke their memories in a relaxed and pleasant atmosphere. Slim shines on "Mr Sykes blues", "Miss Ida B" and the instrumental "M&S boogie". Roosevelt delivers a remarkable version of "Eagle rock", "44 blues" and exceptionally takes the acoustic guitar on "Roosevelt daddy's blues".
ROOSEVELT SYKES IS BLUE AND RIBALD
Southland
DIRTY MOTHER FOR YOU
Southland
December 1971
Une longue séance supervisée par John Bentley aux Jazz City Studios de la Nouvelle Orléans (sur Bourbon Street). Un set de piano blues traditionnel bien exécuté mais sans grande surprise. Il faut mentionner que les tracklists du LP original et de la réédition CD ne sont pas tout à fait les mêmes (certains titres ne sont disponibles que sur le LP et inversement).
A long session supervised by John Bentley at Jazz City Studios in New Orleans (on Bourbon Street). A well executed traditional blues piano set but without much surprise. It should be mentioned that the tracklists of the original LP and the CD reissue are not quite the same (some tracks are only available on the LP and vice versa).
BLUES FROM THE BOTTOMS
77
December 1971
Deux titres issus de la séance précédente - avec Roosevelt à la guitare - supervisée par John Bentley.
Two tracks from the previous session - with Roosevelt on guitar - supervised by John Bentley.
AMERICAN FOLK BLUES FESTIVAL '72
Atlantic
L+R
October 1972
En 1972, Roosevelt Sykes - habitué des tournées sur le sol européen - participe à la tournée de l'American Folk Blues Festival (pour la troisième fois). Sur ce disque, on peut l'écouter sur trois bons standards.
In 1972, Roosevelt Sykes - used to tours on european soil - took part in the American Folk Blues Festival tour (for the third time). On this album, you can listen to him on three good standards.
BLUES AND PIANO GUITAR
Omnivore
February 1973
Concert de 1973 déterré par Leroy Jodie Pierson. Excellente qualité sonore. Roosevelt joue ses titres habituels et partage la scène sur quelques titres avec le guitariste Henry Townsend ("Done got tired" et "War is over").
1973 concert unearthed by Leroy Jodie Pierson. Excellent sound quality. Roosevelt plays his usual tracks and shares the stage on a few tracks with the guitarist Henry Townsend ("Done got tired" and "War is over").
DIRTY DOUBLE MOTHER
Bluesway
March 1973
Album gravé sous la supervision du producteur Al Smith. Un disque plaisant et dynamique notamment avec "Double dirty mother", "Jookin' in New Orleans", "Double breasted woman", "Watch'l go better". On note la participation du saxophoniste Clarence Ford et du guitariste Justin Green. Ce LP n'a jamais été repris en CD.
Album recorded under the supervision of producer Al Smith. A pleasant and dynamic record, notably with "Double dirty mother", "Jookin' in New Orleans", "Double breasted woman", "Watch'l go better". We note the participation of saxophonist Clarence Ford and guitarist Justin Green. This LP has never been issued on CD.
GRIND IT
Total Energy
Schoolkids
Sequel
September 1973
Apparition sur la scène du fameux festival d'Ann Arbor en septembre 1973. Six bons morceaux sont recueillis sur ce disque.
Appearance on the stage of the famous Ann Arbor festival in september 1973. Six good tracks are collected on this disc.
LIVE AT WEBSTER COLLEGE
Document
February 1974
Un concert dans lequel Roosevelt est seul au piano. Il délivre son set habituel de piano blues hérité des barrelhouses. A conseiller avant tout aux fans confirmés.
A concert in which Roosevelt is alone on piano. He delivers his usual set of piano blues inherited from barrelhouses. To be recommended above all to confirmed fans.
10TH ANNIVERSARY NEW ORLEANS JAZZ & HERITAGE FESTIVAL
Flying Fish
Sonet
April 1975
MUSIC IS MY BUSINESS
Blue Labor
EPM
Tomato
Fat Possum
Jazz Alliance
September 1975
Produit par Hainer Stadler et Kent Cooper, il s'agit d'un album studio assez sympathique quoique conventionnel. Il fut réédité sous différents habillages. Sur quelques titres, on peut mentionner les participations de Louisiana Red, Johnny Shines et Sugar Blue. De bons moments dans un programme inégal : "Music is my business", "New York boogie", "Stop stoppin' me".
Produced by Hainer Stadler and Kent Cooper, this is a pretty cool yet conventional studio album. It was reissued in different packagings. On a few titles, we can mention the participations of Louisiana Red, Johnny Shines and Sugar Blue. Good times in an uneven program : "Music is my business", "New York boogie", "Stop stoppin' me".
THE ORIGINAL HONEYDRIPPER
Blind Pig
1977
Ce disque relate sa prestation sur la scène du festival d'Ann Arbor en 1977. Seul à son piano, Roosevelt délivre une fois encore son large répertoire avec professionnalisme.
This opus relates his performance on the stage of the Ann Arbor festival in 1977. Alone on his piano, Roosevelt once again delivers his large repertoire with professionalism.
BLIND PIG 20TH ANNIVERSARY COLLECTION
Blind Pig
1977
JOHN BENTLEY & HIS BUDDIES
Euphonic
Late 1970's