Bobby Leecan

From Fats Waller and “yo’ feet’s too large” to nation blues and you’re “standin’ in the crossroads” wasn’t really such an excellent range, at least if one was to guage from a number of the character types who were area of the inner workings from the engine. Journeyman guitarist Bobby Leecan performed in a nation blues duo with harmonica participant Robert Cooksey, both East Coastline bluesmen barely playing the design straight from the publication (or the nonbook). There is more than only a track of ragtime impact, as well as some subversive golf swing jazz influence. Through the mid-’20s to the first ’30s, these kinds of pseudo-country blues players had been as much an integral part of the fledgling big town recording picture as the jazz players, and had been often prompted to mingle. Occasionally sessions included interesting combinations totally out of serendipity, because players who had been coming and heading happened to perform into one another and strike it off. The recordings Waller produced playing the body organ are valued by his enthusiasts, and Leecan may be the guitarist on the batch of the numbers which were documented in 1927. The combo as of this program was arranged by cornetist and bandleader Thomas Morris, and in addition highlighted drummer Eddie Ruler as well as the flamboyant trombonist Jimmy Archey. The guitarist was also an associate of Waller’s Six Popular Infants, also with Morris aswell as Joe Nanton on trombone as well as the interesting pianist Nat Shillkret. Leecan’s harmonica partner, Cooksey, was structured out of NY, and was exclusive in his clean method of the harp. This will not mean he cleaned the insides from the device out — you are not likely to — but that he preferred a clear firmness without making use of many sound files, more much like Larry Adler than Sonny Boy Williamson. Leecan and Cooksey teamed up for the very first time in 1926 to slice edges for Victor, their documenting result inhabiting a borderland between blues, vaudeville, and jazz. Leecan experienced an excellent and delicate single-string design with clear firmness and much versatility in his selecting, and also documented as banjoist, vocalist, and huffing in to the periodic kazoo. Many blues anthropologists believe the duo was centered out of Philadelphia. The harmonica participant also had a brief recording cooperation with another guitarist called Alfred Martin, plus some regrettable confusion was made by sloppy reissue tasks that credit these Martin recordings to Leecan. Because of this, a number of the created evaluation of Leecan’s acoustic guitar style is usually corrupted by explanations of Martin. Leecan documented by himself for Bluebird in the first ’30s, like the fast paced “Apaloosa Blues.” THE CHANGING TIMES Ain’t What They Utilized to Become compilations on Yazoo feature challenging songs by Bobby Leecan & His Require More Band. One of the most unusual products from Leecan’s profession was his documenting of some the original “Cornfield Hollers” for the anthology of Negro Blues and Hollers. These shows, forever, tension the rootsy rural history of the musician, who was simply just as comfy in urban, advanced hot jazz configurations.