John Lee Hooker, as anyone with a decent-sized blues collection knows, recorded for a virtual parade of labels early in his career, including Chess, although his stays with the company were fairly brief. Hooker's best early recordings, most would agree, were issued on Modern and Vee-Jay, not Chess.
Here's everything that fleet-fingered Buddy Guy waxed for Chess from 1960 to 1966, including numerous unissued-at-the-time masters, offering the most in-depth peek at his formative years imaginable. Stone Chicago blues classics ("Ten Years Ago," "My Time After Awhile," "Let Me Love You Baby," "Stone Crazy"), rockin' oddities ("American Bandstand," "$100 Bill," "Slop Around"), even a cut that features guitarist Lacy Gibson's vocal rather than Guy's ("My Love Is Real") – some 47 sizzling songs in all.
At the beginning of the 1980s, the Chess Informant publishing house started one of the greatest publishing ventures in chess history. In 1982 the first volume of Encyclopedia of Chess endgames was published (Pawn endgames). Another 4 volumes swiftly follows, in total containing over 9.000 endgame examples! …
It is no exaggeration to call Little Walter the Jimi Hendrix of the electric harp: he redefined what the instrument was and what it could do, pushing the instrument so far into the future that his music still sounds modern decades after it was recorded. Little Walter wasn't the first musician to amplify the harmonica but he arguably was the first to make the harp sound electric, twisting twitching, vibrant runs out of his instrument; nearly stealing the show from Muddy Waters on his earliest Chess recordings; and so impressing Leonard Chess that he made Muddy keep Walter as his harpist even after Waters broke up his band. Chess also made Walter into his studio's house harpist and started to release Little Walter solo records with the instrumental "Juke" in 1952. "Juke" became a smash hit and turned Little Walter into a star, making him a steady presence on the '50s R&B charts.