Aaron Thibeaux Walker was born in Linden, Texas in 1910 to African-American and Cherokee parentage. His mother and father were both musicians. His nickname was given him by his aunt (he’d previously been known as T-Bow) and he grew up listening to 78rpm recordings by Bessie Smith (a vocal influence), Ida Cox, Leroy Carr and Lonnie Johnson. His golden era discs were cut for Rhumboogie Records and Black And White and composed “Call It Stormy Monday (But Tuesday Is Just As Bad)” sometime in the late 1940s. Many artists have since covered that song; though we favour the versions by Bobby ‘Blue’ Bland and The Allman Brothers since they encompass the pure soul and hard rock possibilities of the original. “Inspiration Blues”, “T-Bone Shuffle”, “Go Back To The One You Love”, “Bobby Sox Blues” and “I’m Still In Love With You” are blues standards by any reckoning while “West Side Baby” is another hugely influential piece that can be heard filtering through fellow Texan jazzers The Crusaders and thus through the fretwork brilliance of Larry Carlton, Elliot Randall and Phil Upchurch. With T-Bone it’s all about phrasing and melody. His attacking runs and powerful rhythmic fall back are delightful to hear and his ability turn the guitar into a signature sound within an ensemble revolutionised the instrument for R&B, rock and roll and everything afterwards. Always a popular and revered draw in Europe, Walker was feted as a superstar by the British blues movement. He packed clubs and theatres across the Continent and was guaranteed a warm welcome in the UK’s venues – the Hammersmith Odeon being one such haunt.
A cream of the crop musician Walker worked in Los Angeles with the Les Hite orchestra and was backed up by Dave Bartholomew and band during his Imperial Records stint in the 1950s. The pity of it is that he didn’t record nearly enough solo work although T Bone Blues did see the light of day on Atlantic Records in 1960. Success in his native land was aggravatingly sporadic. He made a splash at the American Folk Blues Festival of 1962 (a package show also featuring Willie Dixon and Memphis Slim) and eventually got some belated dues with the Grammy winning Good Feelin’, recorded in Paris in 1968 and released two years later to significant acclaim. Soulful and elegiac T-Bone meshed perfectly with local musicians like the pianist Michel Sardaby and the Cameroonian saxophonist Manu Dibango with horns, organ and groove to spare. The funk drenched “Poontang” is a masterpiece and a foretaste of what could have been had he not been taken from us far too early in 1975 having endured a stroke brought about by a nasty automobile accident from which he never really recovered.
Although his legacy for showmanship is undisputed (he was playing cheeky licks behind his back and with his teeth long before Mr. Hendrix) the serious side of his sound is far more important.
If you want to discover T-Bone properly you’re going to be investing in plenty of hard earned to track down originals like Classics in Jazz (1954) or the magnificent Sings The Blues (1959). Those acquired then Get So Weary and Stormy Monday Blues (the 1968 album on Stateside) will grace your collection. Much easier to find now is The Truth, his other 1968 disc featuring “Let Your Hair Down Baby” and “I Ain’t Your Fool No More”.
Good Feelin’, produced by Robin Hemingway, is the bees knees and is reissued with a great close-up of our hero, cans on, singing to mic. This is one of his fullest sounding works with “Woman You Must Be Crazy” giving him the chance and the room to let it sing and ring out. “Reconsider” is another key contemporary track and his ballad side is given full rein during “I Wonder Why” and “Long Lost Lover”.
Look out for Fly Walker Airlines and the late sessions that were compiled as Very Rare (1973). This all-star cast double features terrific guests: Larry Carlton, Dean Parks, Dizzy Gillespie, Garnett Brown, David T. Walker, Wilton Felder, Max Bennett, James Booker and producers Jerry Lieber and Mike Stoller, amongst others. A tasteful mix of vintage R&B, slick New York pop (from Lieber & Stoller), gritty blues and sweet soul this is totally recommended for discovery. Like now?
For compilation enthusiasts the United Artists series Classics of Modern Blues (three volumes) covers vital ground. The Great Blues Vocals and Guitar of T-Bone Walker: His Original 1942-1947 Performances is wonderful while the handy Rare T-Bone collates ten essential cuts that are rare, never medium and always well done.
Blue Note Records The Best Of The Black And White & Imperial Years is an electric guitar blues master class, including “Life Is Too Short”, “Cold Cold Feeling” and the countrified “Alimony Blues”. All or any of these will get you through a stormy monday, and the rest of the week before you let your wig down and get stuck into some T-Bone Shuffle.
He is the man who B.B. King described upon hearing thus: “I thought Jesus Himself had returned to Earth playing electric guitar.” Ole T-Bone was a little more modest when asked about his influence. “Hmm, I came into this world a little too soon…I’d say that I was about 30 years before my time.” And then some.
Words: Max Bell
The last truly indispensable disc of the great guitar hero's career, and perhaps the most innately satisfying of all, these mid-'50s recordings boast magnificent presence, with T-Bone Walker's axe so crisp and clear it seems as though he's sitting right next to you as he delivers a luxurious remake of "Call It Stormy Monday." Atlantic took some chances with Walker, dispatching him to Chicago for a 1955 date with Junior Wells and Jimmy Rogers that produced "Why Not" and "Papa Ain't Salty." Even better were the 1956-1957 L.A. dates that produced the scalding instrumental "Two Bones and a Pick" (which finds Walker dueling it out with nephew R.S. Rankin and jazzman Barney Kessel).
Words: Bill Dahl
Recorded in Paris during November 1968, Good Feelin' was the album that rekindled public interest in the life and music of Aaron "T-Bone" Walker throughout Europe and even in some portions of the United States of America. The album begins and closes with informal narration spoken by Walker while accompanying himself on the piano. The band behind him on the other ten tracks includes guitarist Slim Pezin, pianist Michel Sardaby and Cameroonian saxophonist Manu Dibango blowing tenor alongside Pierre Holassian on alto, Francis Cournet on baritone, and a trumpeter whose identity remains a mystery. With T-Bone's electric guitar sizzling in its own juice and the horns signifying together over soulful organ grooves and freshly ground basslines, all of this music is rich and powerful. Each track is delicious; a funky instrumental strut entitled "Poontang" is the tastiest of all.
Words: Arwulf Arwulf
Three-CD, 75-track box of T-Bone Walker's recordings for the Capitol and Black & White labels in the 1940s. From a historical perspective, this is perhaps the most important phase of Walker's evolution. It was here where he perfected his electric guitar style, becoming an important influence on everyone from B.B. King down. It was also here where he acted as one of the key players in a small combo West Coast bands' transition from jazz to a more jump blues/R&B-oriented sound (though most of these sides retain a pretty strong jazz flavor). These sessions, which include the original version of his most famous tune ("Call It Stormy Monday"), have previously been chopped up into small morsels for reissue, or incorporated into the mammoth limited-edition Mosaic box set; this isolates them more conveniently. At the same time, it may be too extensive for some listeners, especially with the abundance of alternate takes (which are placed right after the official versions). Excellent liner notes, although the discographical information is surprisingly inconsistent.
Words: Richie Unterberger
Another essential T-Bone Walker collection, Complete Imperial Recordings: 1950-1954 is a two-disc dish with 52 sensational tracks from his stint at Lew Chudd's Imperial Records label. Whether waxing with his own jump blues unit in L.A. or Dave Bartholomew's hard-drivers in New Orleans, Walker always stayed true to his vision, and the proof was in the grooves: "Glamour Girl," "The Hustle Is On," "Tell Me What's the Reason," "High Society," "Cold, Cold Feeling," and the immaculate jumping instrumental "Strollin' with Bones" all date from this historic period of Walker's legacy.
Words: Bill Dahl