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Tampa Red
Hudson Whittaker (born Hudson Woodbridge; January 8, 1903 – March 19, 1981), better known by his stage name Tampa Red, was an American Chicago blues musician. His distinctive single-string slide guitar style, songwriting and bottleneck technique influenced other Chicago blues guitarists such as Big Bill Broonzy, Robert Nighthawk, Muddy Waters, and Elmore James.
In a career spanning over 30 years, he also recorded pop, R&B and hokum songs. His best-known recordings include "Anna Lou Blues", "Black Angel Blues", "Crying Won't Help You", "It Hurts Me Too", and "Love Her with a Feeling".
Tampa Red was born Hudson Woodbridge in Smithville, Georgia. The date of his birth is uncertain, with Tampa himself giving years varying from 1900 to 1908. The birth date given on his death certificate is January 8, 1904. His parents, John and Elizabeth Woodbridge, died when he was a child, and he moved to Tampa, Florida, where he was raised by his aunt and grandmother and adopted their surname, Whittaker. He emulated his older brother, Eddie, who played the guitar around the Tampa area, and he was especially inspired by an old street musician called Piccolo Pete, who first taught him to play blues licks on the guitar. Red also picked up some knowledge from early recordings of female blues singers like Ma Rainey, Bessie Smith, and Ida Cox. In an interview with Martin Williams, Red told Williams "That [1920] record of "Crazy Blues" by Mamie Smith, it was one of the first blues records ever made. I said to myself, 'I don't know any music, but I can play that.'"
By 1925, having already perfected his slide technique, he had moved to Chicago, Illinois, and began his career as a street musician, adopting the name "Tampa Red", with reference to his childhood home and his light-colored skin. His big break came when he was hired to accompany Ma Rainey. While in Chicago, he met Thomas A. Dorsey, also known as Georgia Tom. Dorsey was an accomplished pianist, composer, and arranger who had performed and recorded with the leading female blues singers of the era, in particular Ma Rainey. Dorsey introduced Red to J. Mayo Williams, the frontman for Paramount Records in Chicago, who arranged a recording session for him in 1928.
His first recording "Through Train Blues" did not have as much success[clarification needed] since it was the B-side to "How Long How Long" by Blind Lemon Jefferson, who was Paramount's biggest star at the time. It was Red's second recording, "It's Tight Like That", that caused a national sensation. The song reportedly came about when Mayo Williams heard them playing with a tune, borrowed from a Charley Jordan song, built around the then-popular catch phrase, "Tight Like That." Williams loved it and insisted they record it right away. Played in a bawdy and humorous style that became known as hokum, it ended up selling one million copies. Red would later recall people standing outside of record stores waiting to buy it. Since the song was composed by both Red and Dorsey, they shared around $4,000 in royalties from the song.
Tampa Red's early recordings were mostly collaborations with Dorsey. The two recorded almost 90 sides, sometimes as the Hokum Boys or, with Frankie Jaxon, as Tampa Red's Hokum Jug Band. In 1928 and 1929, besides making their own records, he and Georgia Tom appeared on recordings by Ma Rainey, Madilyn Davis, Lil Johnson, and female impersonator Frankie "Half Pint" Jaxon.
In 1928, Red became the first black musician to play a National steel-bodied resonator guitar, the loudest and showiest guitar available before amplification, acquiring one in the first year in which they were available. This allowed him to develop his trademark bottleneck style, playing single-string runs instead of block chords, which was a precursor of later blues and rock guitar soloing. The National guitar he used was a gold-plated tricone, which was found in Illinois in the 1990s by Randy Clemens, a music shop owner and guitarist, and later sold to the Experience Music Project in Seattle. Red was known as "The Man with the Gold Guitar", and into the 1930s he was billed as "The Guitar Wizard". In 1931, Red recorded "Depression Blues", including the topical lyrics, "If I could tell my troubles, it would give my poor heart ease, but Depression has got me, somebody help me please".
Red's partnership with Dorsey ended in 1932, but he remained much in demand as a session musician, working with John Lee "Sonny Boy" Williamson, Memphis Minnie, Big Maceo, and many others. He signed with Victor Records in 1934 and remained on their artist roster until 1953. He formed the Chicago Five, a group of session musicians who created what became known as the Bluebird sound, a precursor of the small-group style of later jump blues and rock and roll bands. Red was a friend and associate of Big Bill Broonzy and Big Maceo Merriweather. He achieved commercial success and some prosperity. His home became a centre for the blues community, providing rehearsal space, bookings, and lodgings for musicians who arrived in Chicago from the Mississippi Delta as the commercial potential of blues music grew and agricultural employment in the South diminished.
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Tampa Red
Hudson Whittaker (born Hudson Woodbridge; January 8, 1903 – March 19, 1981), better known by his stage name Tampa Red, was an American Chicago blues musician. His distinctive single-string slide guitar style, songwriting and bottleneck technique influenced other Chicago blues guitarists such as Big Bill Broonzy, Robert Nighthawk, Muddy Waters, and Elmore James.
In a career spanning over 30 years, he also recorded pop, R&B and hokum songs. His best-known recordings include "Anna Lou Blues", "Black Angel Blues", "Crying Won't Help You", "It Hurts Me Too", and "Love Her with a Feeling".
Tampa Red was born Hudson Woodbridge in Smithville, Georgia. The date of his birth is uncertain, with Tampa himself giving years varying from 1900 to 1908. The birth date given on his death certificate is January 8, 1904. His parents, John and Elizabeth Woodbridge, died when he was a child, and he moved to Tampa, Florida, where he was raised by his aunt and grandmother and adopted their surname, Whittaker. He emulated his older brother, Eddie, who played the guitar around the Tampa area, and he was especially inspired by an old street musician called Piccolo Pete, who first taught him to play blues licks on the guitar. Red also picked up some knowledge from early recordings of female blues singers like Ma Rainey, Bessie Smith, and Ida Cox. In an interview with Martin Williams, Red told Williams "That [1920] record of "Crazy Blues" by Mamie Smith, it was one of the first blues records ever made. I said to myself, 'I don't know any music, but I can play that.'"
By 1925, having already perfected his slide technique, he had moved to Chicago, Illinois, and began his career as a street musician, adopting the name "Tampa Red", with reference to his childhood home and his light-colored skin. His big break came when he was hired to accompany Ma Rainey. While in Chicago, he met Thomas A. Dorsey, also known as Georgia Tom. Dorsey was an accomplished pianist, composer, and arranger who had performed and recorded with the leading female blues singers of the era, in particular Ma Rainey. Dorsey introduced Red to J. Mayo Williams, the frontman for Paramount Records in Chicago, who arranged a recording session for him in 1928.
His first recording "Through Train Blues" did not have as much success[clarification needed] since it was the B-side to "How Long How Long" by Blind Lemon Jefferson, who was Paramount's biggest star at the time. It was Red's second recording, "It's Tight Like That", that caused a national sensation. The song reportedly came about when Mayo Williams heard them playing with a tune, borrowed from a Charley Jordan song, built around the then-popular catch phrase, "Tight Like That." Williams loved it and insisted they record it right away. Played in a bawdy and humorous style that became known as hokum, it ended up selling one million copies. Red would later recall people standing outside of record stores waiting to buy it. Since the song was composed by both Red and Dorsey, they shared around $4,000 in royalties from the song.
Tampa Red's early recordings were mostly collaborations with Dorsey. The two recorded almost 90 sides, sometimes as the Hokum Boys or, with Frankie Jaxon, as Tampa Red's Hokum Jug Band. In 1928 and 1929, besides making their own records, he and Georgia Tom appeared on recordings by Ma Rainey, Madilyn Davis, Lil Johnson, and female impersonator Frankie "Half Pint" Jaxon.
In 1928, Red became the first black musician to play a National steel-bodied resonator guitar, the loudest and showiest guitar available before amplification, acquiring one in the first year in which they were available. This allowed him to develop his trademark bottleneck style, playing single-string runs instead of block chords, which was a precursor of later blues and rock guitar soloing. The National guitar he used was a gold-plated tricone, which was found in Illinois in the 1990s by Randy Clemens, a music shop owner and guitarist, and later sold to the Experience Music Project in Seattle. Red was known as "The Man with the Gold Guitar", and into the 1930s he was billed as "The Guitar Wizard". In 1931, Red recorded "Depression Blues", including the topical lyrics, "If I could tell my troubles, it would give my poor heart ease, but Depression has got me, somebody help me please".
Red's partnership with Dorsey ended in 1932, but he remained much in demand as a session musician, working with John Lee "Sonny Boy" Williamson, Memphis Minnie, Big Maceo, and many others. He signed with Victor Records in 1934 and remained on their artist roster until 1953. He formed the Chicago Five, a group of session musicians who created what became known as the Bluebird sound, a precursor of the small-group style of later jump blues and rock and roll bands. Red was a friend and associate of Big Bill Broonzy and Big Maceo Merriweather. He achieved commercial success and some prosperity. His home became a centre for the blues community, providing rehearsal space, bookings, and lodgings for musicians who arrived in Chicago from the Mississippi Delta as the commercial potential of blues music grew and agricultural employment in the South diminished.
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