The Ultimate Jazz Archive Vol.51 – Sleepy John Estes [1937-1941] [2005]

01.Jack And Jill Blues
02.Poor Man’s Friend
03.Hobo Jungle Blues
04.Airplane Blues
05.Floating Bridge
06.Need More Blues
07.Fire Departement Blues
08.New Someday Baby
09.Liquor Store Blues
10.Brownsville Blues
11.Everybody Oughta Make A Change
12.Easin’ Back To Tennessee
13.Clean Up At Home
14.Special Agent
15.Drop Down
16.Jailhouse Blues
17.Time Is Drawing Near
18.Tell Me How About It
19.Mailman Blues
20.Mary Come On Home
21.Working Man Blues
22.Don’t You Want To Know
23.Lawyer Clark Blues
24.You Shouldn’t Do That
25.Little Laura Blues
26.When The Saints Go Marching In

Big Bill Broonzy called John Estes' style of singing "crying" the blues because of its overt emotional quality. Actually, his vocal style harks back to his tenure as a work-gang leader for a railroad maintenance crew, where his vocal improvisations and keen, cutting voice set the pace for work activities. Nicknamed "Sleepy" John Estes, supposedly because of his ability to sleep standing up, he teamed with mandolinist Yank Rachell and harmonica player Hammie Nixon to play the house party circuit in and around Brownsville in the early '20s. The same team reunited 40 years later to record for Delmark and play the festival circuit. Never an outstanding guitarist, Estes relied on his expressive voice to carry his music, and the recordings he made from 1929 on have enormous appeal and remain remarkably accessible today.

Despite the fact that he performed for mixed black and white audiences in string band, jug band, and medicine show formats, his music retains a distinct ethnicity and has a particularly plaintive sound. Astonishingly, he recorded during six decades for Victor, Decca, Bluebird, Ora Nelle, Sun, Delmark, and others. Over the course of his career, his music remained simple yet powerful, and despite his sojourns to Memphis and Chicago he retained a traditional down-home sound. Some of his songs are deeply personal statements about his community and life, such as "Lawyer Clark" and "Floating Bridge." Other compositions have universal appeal ("Drop Down Mama" and "Someday Baby") and went on to become mainstays in the repertoires of countless musicians. One of the true masters of his idiom, he lived in poverty, yet was somehow capable of turning his experiences and the conditions of his life into compelling art. --- Barry Lee Pearson, Rovi

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