It's impossible to listen Muddy Waters' first recordings without an awareness of everything that came after; and in many ways, it's distortive to try, for it was these sessions that aroused thoughts of professionalism and commercial recording in the young Waters.Nevertheless, it's important to realise that what Alan Lomax heard in 1941-1942 was not yet the embryonic sound of Chicago blues, but rather the latest developments in the guitar blues of Coahoma County, Mississippi. Jake Gittes
After the Rain dates from the most controversial period in Muddy Waters' history – along with its predecessors, Electric Mud (probably the most critically despised album in Muddy's catalog) and Brass and the Blues (an effort to turn him into B.B. King), it came out of an era in which Chess Records was desperately thrashing around trying any musical gambit to boost the sales of its top blues stars. But unlike Electric Mud, in which the repertoire selected by producer Marshall Chess was mostly unsuited, and the musical settings provided by Phil Upchurch, Pete Cosey et al. were too loud and too frenetic for Muddy's style of singing, After the Rain simply let him be Muddy Waters.
Hard Again is a 1977 Chicago blues album by Muddy Waters. It was recorded by producer Johnny Winter in a rough, bare-bones style. Released on January 10, 1977, Hard Again was Muddy's first album on the Blue Sky label after leaving Chess Records. The sessions for Hard Again were recorded across the space of three days…
John W. Johnnie Pate (born December 5, 1923, Chicago Heights, Illinois) enjoyed a notable career as a bassist from the late 40s up until the early '60s in the Chicago area, gaining a solid reputation as a strong player in the Oscar Pettiford mold and enlightened composer. On these 1954-1956 sessions for the Talisman and Gig labels, he leads a trio featuring Ronnell Bright, who was a swift, resourceful young pianist whose style recalls the early Oscar Peterson. With drummer Charles Walton, this bright, polished and swinging trio began to be recognized while working first at the London House and then at the Blue Note, where they were the house band in 1954-1955 accompanying great singers such as Lurlean Hunter, Ella Fitzgerald, Sarah Vaughan, Audrey Morris and Carmen McRae.