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Robert
Nighthawk, Helena, Arkansas, 1942
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"My mother often sit down and talk with me, talk with me about
being so wild
Well and she said I'm scared that woman and whiskey is coin' to be the
ruin of my only child" *
The
years between 1937 and 1940 were Robert Nighthawk's busiest on record.
In addition to cutting 25 tracks under his own name he was in constant
demand as a session musician. He can be found on approximately 80 or
so sides playing with a variety of different musicians. It should be
noted that there is some speculation that Nighthawk may not be the harmonica
player on all the sides attributed to him in blues discographies.
Nighthawk's
recording career started in 1936 after he left the South and settled
into the vibrant music scene of St. Louis. Henry Townsend recalled that
Nighthawk was staying in St. Louis most of the time between 1936 and
1939. In addition to Townsend, St. Louis boasted such bluesman as Big
Joe Williams, Peetie Wheatstraw, Walter Davis and Sonny Boy Williamson.
"Nighthawk was a loner", but Sonny Boy and Townsend became
good friends.23
Townsend and Williams were both under contract for Bluebird and it is
through them that Nighthawk likely got his break. Townsend says he drove
Sonny Boy, Nighthawk, Walter Davis and Big Joe to Aurora, Illinois,
in his 1930 A Model Ford for their 1937 sessions: "I transferred
them to Aurora, Illinois. There was about eight or nine of us …we
stacked them in the car like sardines."23
This led to a marathon recording session resulting in six songs by Nighthawk,
six by Sonny Boy Williamson, four by Big Joe Williams and eight sides
by Walter Davis. It was Sonny Boy's songs, especially, "Good Morning
Little School Girl", "Bluebird Blues" and "Sugar
Mama Blues" which were the biggest hits but Nighthawk obviously
impressed blues producer Lester Melrose as a talented guitar player
and harmonica accompanist. Between 1937 and 1940 Nighthawk commuted
regularly between St. Louis and the Bluebird studio in Chicago recording
as a session musician and on his own. Nighthawk did session work for
the Decca label as well.
Guys Was Followin'
Sonny Boy Like People Was Followin' Christ
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| Sonny
Boy Williamson I |
Back
in St. Louis Nighthawk
spent time playing with Sonny Boy and Henry Townsend often performing
at Ernest Walker's tavern on Jefferson Avenue where they all met Robert
Johnson. Thet were all deeply impressed with his music. Johnson left
abruptly and then Nighthawk moved to Chicago in late 1938.23
Fred
Utley, Sonny Boy's
Uncle describes the atmosphere at one of Sonny Boy's gigs: "The
place was full and the people just stood up in the chairs tryin' to
see Sonny Boy. Sonny Boy's half-brother further explains: "Guys
was followin' Sonny
Boy like people
was followin' Christ."23
While
Nighthawk played guitar on all his own recordings he played quite a
bit of harmonica as an accompanist. "Well, I liked that (the harmonica)
back in '24...youngstername a Jones, he's out a Louisiana, named Johnny
Jones, and he learned me to blow harp."12
He played harmonica on record up until 1941 when he apparently gave
up the instrument to focus on guitar. It was about this time that Nighthawk
began mastering the electric guitar and perhaps this is why he abandoned
the harp.
In
addition to his recordings with Sonny Boy and Big Joe, Nighthawk also
accompanied the following artists: Baby Doo, Lee Brown, Walter Davis,
Sleepy John Estes, Gene Gilmore, Willie Hatcher, Joe McCoy, Jack Newman,
Ann Sortier, Speckled Red, Henry Townsend, Walter Vincson and Peetie
Wheatstraw. Most of these recordings are available on CD. These CD's
will be listed below. Some of these sides have been repackaged often
so I will list the most recent reissues only.
*Sonny
Boy Williamson, The Right Kind Of Life
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