Boomkat Product Review:
"T-Bone Walker was crucial to the formulation of modern blues. Lovers of blues piano might not like that fact, but without T-Bone's innovatory approach to playing the guitar there would have been no B.B. King, no Buddy Guy, no Freddie King, no Eric Clapton, nor any of the plank-spankers who strut the stage at blues festivals and club gigs. The line began with TBone, who along with his friend Charlie Christian invented the vocabulary for the amplified guitar. Christian died early but T-Bone adapted the improvisatory techniques of the jazzmen he encountered, creating free-flowing phrases whose
originality became the inescapable language that blues guitarists had to learn. Throughout the late 1940s, T-Bone cut a sequence of singles for labels like Black & White and Capitol that laid the groundwork for what became the prevailing style of blues recording. With musicians of the calibre of Jack McVea, Teddy Buckner, Bumps Meyers, Lloyd Glenn and Willard McDaniel, he created a supple and subtle repertoire of vocal and instrumental artistry that today's taste for hyperbole would describe as genius. Heard sixty years after their creation,
these records, including 'Mean Old World', 'Call It Stormy Monday' and 'T-Bone Shuffle', still impress for the conviction with which they were played. T-Bone transferred to the Imperial label in 1950 but the music continued in an unbroken line
of creative superiority, heard in 'The Hustle Is On', 'Strollin' With Bone', 'I Get So Weary' and 'Here In The Dark'. In 1955 he began recording for Atlantic, who issued two singles, 'Papa Ain't Salty' and 'Play On Little Girl', part of a sequence of sessions that included one cut in Chicago with Junior Wells on harmonica. These tracks, including remakes of 'Mean Old World' and 'Stormy Monday', form a fitting climax to a set that encapsulates the sound and expertise of T-Bone Walker, a master of the blues."