St. Louis Blues Society Greenwood Cemetery CD project updates, courtesy of Michael Higgins.
From Michael –
The Greenwood Cemetery CD project has begun 
! First song down, and the bar has been set high 
Thank you Boo Boo Davis, L.a. Jones, Ethan Leinwand, Tecora Morgan and Chris Millar! You would never know Ethan and Tecora have never played with Boo and L.A.âs band. From the first note, they sounded like theyâve been playing together for decades.
Great job Paul Niehaus IV
Thank you! Everyone was in good spirits, the set up was perfect and it showed. John May so glad you made it and brought your infinite wisdom.
This was a TREAT to behold and hear. Everyone was locked in and on it.
!!From Michael – “Many thanks to St Louis blues favorite Eric Mcspadden and the wonderful guitar of Brian T Curran
The 1,400 mile long highway dates back to 1926 and was part of the United States very first highway project. Originally it ran 1,716 miles from the US-Canadian border in Minnesota following the lines of the mighty Mississippi River south through the Delta all the way to New Orleans.
The song has been a deep Delta blues staple for good reason. Besides being the oldest known American song about a highway, itâs been recorded by some of the greatest bluesmen ever. Among those whoâve recorded it are Mississippi Fred McDowell, Honeyboy Edwards, Big Joe Williams, Johnny Young, Eddie Burns, Joe McCoy and both James âSonâ Thomas and his son, the recently departed Pat Thomas 
. These great versions all have that Delta feel with guitar, vocals, and sometimes slide. The metaphorical blues crossroads sits right on US 61 when it crosses Highway 49 in Clarksdale, Mississippi.
But did you know that both the first and second recorded versions of this blues classic came out of St Louis, Missouri? And not only that: they were recorded as piano blues. No guitar.
The great Roosevelt Sykes recorded the first version in 1932, and a few months later in 1933, The Sparks Brothers recorded their take. Vocalist Milton Sparks (twin brother of pianist Pinetop Sparks) was buried in Greenwood 30 years after their recorded version.
Eric and Brianâs take carries some of that STL flavor. Although thereâs no piano, they made the conscious decision to record Brianâs guitar in the key of E following the piano pattern of The Sparks Brothers. With Brian now living in Michigan, he recorded his guitar part there. The track was then sent to Paul Niehausâs Blue Lotus Studio in St Louis where Eric came in and laid down some great vocals and sweet harp.
Many thanks to Lady J Huston and her band Wednesday night
! The St. Louis Blues Societyâs Greenwood Cemetery, CD project âONE KIND FAVOR â PLEASE SEE THAT MY GRAVE IS KEPT CLEAN â keeps trucking forward!
Celebrating the amazing blues and jazz history buried in the oldest African-American cemetery west of the Mississippi River, Lady J and her band knocked out a funky horn-backed take of Bertha Hendersonâs âThe Jamboree Bluesâ.
Originally recorded in 1926, this take is nearly one hundred years later!
Kudos to Paul Niehaus and his Blue Lotus Studio and John May. The same goes for the great sounds of Lady J on vocals/trumpet/tambourine/arranger, Darryl Bassett guitar, Frank Dunbar bass, Keith Fowler Jr keys, Bwayne Smotherson drums and Eric Johnson trombone.
The Greenwood project explores the great music of those buried in the historic 150 year old cemetery, including Grant Green, Walter Davis, Milton Sparks, Signifying Mary Johnson, Bertha Henderson and the notorious Stagger Lee.Â
Once again, thanks Lady J
!
Really looking forward to more great blues and jazz in studio from the deep reservoir of St Louis/East St Louis talent.
Photos courtesy of STL blues historian Charles A Johnston
An update from Michael Higgins, on ‘One Kind Favor – Please See That My Grave Is Kept Clean’ – the Greenwood Cemetery CD Project by the St. Louis Blues Society.
âI Just Canât Take Itâ Originally recorded by Signifying Mary Johnson in 1936!
One wonderful thing about this CD project is the prominence of woman singers whoâll have the chance to let their voices fly. Earlier Lady J Huston arranged and performed a tasty version of Bertha Hendersonâs âThe Jamboree Bluesâ and here Mz Renee tackles St Louisâ great Signifying Mary Johnson’s 1936 recording of âI Just Canât Take Itâ.
Believed to have been buried in Greenwood in 1970, Signifying Mary Johnson has a fascinating history. Born Mary Williams on March 29, 1896 in Yazoo City, MS she moved to St Louis as a youngster and was singing the blues in local clubs as a teenager.
In 1925 at the age of 28 she married the great blues/jazz guitarist Lonnie Johnson. Lonnieâs storied recording career took off that same year, but over their seven years of marriage they still managed to have six children together.
Though Signifying Mary recorded 26 songs from 1929 through 1936, she ironically never recorded with her famous husband. She didnât lack for famous back up musicians though. Among those who recorded instrumentally behind her were Roosevelt Sykes, Tampa Red, Kokomo Arnold and Peetie Wheatstraw!
âI Just Canât Take Itâ was the last song Signifying Mary Johnson ever recorded. It was just her on vocals with Peetie Wheatstraw (The Devilâs Son In Law) on piano. Mz Renee decided to go with a full band and add her soulful charm and pizazz. For a song that starts with âMy man is five foot four and says he donât need me no moreâ and ends with âYouâve got the hot dog, Iâve got the buns, letâs go out and have us some funâ, Renee gave this song a big oleâ passionate breath of fresh air!
Signifying Mary would keep singing live blues into the 1940âs, but she eventually went into the healthcare profession. Her singing was redirected to gospel only in the church. Late in her life she lived and took care of her mother at her motherâs small apartment on Biddle Street. She passed on in relative obscurity, but not without leaving the world some wonderful blues.
Besides thanking the amazing musicians, weâd also like to thank Paul Niehaus and Blue Lotus Studio, the stewardship of John May, and the recording and photography of both Ziggy Mo’gan and Peter Newcomb of the St Louis Blues Society. His photos grace this post. And Ziggy, as usual, continues to capture some incredible blues history.
The Greenwood Cemetery CD is another St. Louis Blues Society archive project. Updates courtesy of Michael Higgins.
