1 	The Come Back 	2:14
2 	Steppin' Out 	1:56
3 	Blue And Lonesome 	3:03
4 	Rockin' The Blues 	2:03
5 	Slim's Blues 	3:02
6 	Gotta Find My Baby 	2:14
7 	Messin' Around 	3:01
8 	Wish Me Well 	2:37
9 	My Gal Keeps Me Crying 	2:33
10 	Lend Me Your Love 	3:07
11 	Sassy Mae 	2:40
12 	Mother Earth 	3:20

Alex Atkins - Sax (Alto)
John Calvin - Sax (Tenor)
Sam Chatmon - Bass
Ernest Cotton - Sax (Tenor)
Memphis Slim - Piano, Vocals
Matt "Guitar" Murphy - Guitar
Billy Stepney - Drums 

Only this disc's short length (34 minutes) qualifies as something worthy of complaint; otherwise, this is seminal blues piano, performed by a great player and singer, Memphis Slim. This 1959 session had everything: super piano solos, a strong lineup of horn players, clever, well-written and sung lyrics, and a seamless pace that kept things moving briskly from beginning to end. Other than Slim, instrumental honors go to guitarist Matt Murphy, a marvelous accompanist who was able to blend sophistication, technique, and earthiness into one dynamic package. Even at its bargain-basement length, At the Gate of Horn belongs in any blues fan's library. ---Ron Wynn, AllMusic Review

In 1959, Memphis Slim released one of the most important albums of his career “At the Gate of Horn.” “At the Gate of Horn,” features Memphis Slim’s smooth, almost Charles Brown styled vocals and his rolling piano. “At the Gate of Horn,” showcases Memphis Slim classics such as “Mother Earth” and “Steppin’ Out.” Also of note on “At the Gate of Horn” is the always exciting guitar work of Matt “Guitar” Murphy. The licks of Matt Murphy are supportive of the songs and never get in the way of Memphis Slim’s vocals and piano work. ---bluesguitar.com

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1 	Highway 51 Blues     (Featuring – Curtis Jones)	4:15
2 	I Feel So Good    (Featuring – Big Bill Broonzy)	2:45
3 	Rock Me, Momma    (Featuring – Big Bill Broonzy)	3:50
4 	Goin' Down Slow    (Featuring – St. Louis Jimmy)	3:40
5 	Sittin' On Top Of The World    (Featuring – Georgia Tom, Tampa Red)	3:40
6 	Sunnyland Train 	3:55
7 	Goin' Down To The River    (Featuring – Blind Lemon Jefferson)	3:00
8 	I Just Want To Make Love To You    (Featuring – Willie Dixon)	3:55
9 	I Can Hear My Name A-Ringin'    (Featuring – Sonny Boy Williamson)	4:00
10 	Going Back To My Plow    (Featuring – Big Bill Broonzy)	4:45

Memphis Slim - Piano, Vocals

Memphis Slim devoted all but one of the ten songs on this April 1961 session to covers of some of his favorite songwriters. He's only accompanied by his own piano playing as he provides serviceable, laidback interpretations of numbers by Big Bill Broonzy, Blind Lemon Jefferson, Willie Dixon, Sonny Boy Williamson, and others, as well as his own "Sunnyland Train." Not the first or last place to check out Slim on record. ---Richie Unterberger, AllMusic Review

This album was recorded in London at the end of a European tour in which Memphis Slim performed these "blues roots" songs live. As such, it is an interesting exploration of the evolving piano styles during the blues migration from the Mississippi Delta to Sweet Home Chicago and a great resource for traditional piano blues licks. Slim's singing, however, lacks energy. I did not jump to my feet once while listing to this album. All Kinds Of Blues is a much better showcase of Memphis Slim's solo piano talents from the same period. ---Delta Dave, amazon.com

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01. Introducing The Grinder Man and The Honeydripper
02. Mr. Sykes Blues
03. Roosevelt Sykes meets Memphis Slim in Memphis, Tennessee
04. Eagle Rock
05. Down on Beale Street, "The Midway"
06. Miss Ida B.
07. Talking about Miss Ida B.
08. Going Down Slow
09. Going to Chicago, bootlegging and other things
10. M & S Boogie
11. Talking about the "44 Blues"
12. 44 Blues
13. Improvising new Blues
14. Soft and Mellow
15. Introducing the Churning Man
16. The Churning Man
[2:32] 17. The life of Piano players in the South in the late 1930's
18. 47th Street Boogie
19. Chicago, the life in the Club, Walter Davis
20. M&O Blues
21. The KMA, hoboing and freight trains
22. Roosevelt Daddy's B
23. Lost My Boogie

Memphis Slim - vocals, piano
Roosevelt Sykes - vocals, piano

Recorded 1970, Paris, France.

Roosevelt Sykes was a major blues pianist-vocalist since the late 1920s, inspiring Memphis Slim who emerged a decade later. In 1970, they gathered in a recording studio in Paris and the results are both historic and delightful. Sykes and Slim reminisce about the old days, talk about the origin of some of their songs, and joke a bit. Utilizing two pianos, they play together (taking "M & S Boogie" as an instrumental) and alternate vocals. "Lost My Boogie" is added to the original program as a bonus track. The vocals are full of personality and wit but it is the brilliant piano playing that often takes honors. This collaboration even exceeds one's high expectations. A gem. ---Scott Yanow, Rovi

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01. Pinetop's Blues
02. Blue This Evening
03. Caught The Old Coon At Last
04. We're Just Two Of The Same Old Kind
05. Don't Think You're Smart
06. I'm Going To Kansas City
07. Got A Little Old Mama
08. Rock Me Baby
09. In The Evening
10. Memphis Slim, Usa
11. Chicago Boogie
12. Sad And Lonesome
13. Memphis Woman
14. Bertha Mae
15. Aint Nobody's Business
16. I Love You More And More
17. Frisco Bay Blues
18. Slow And Easy
19. I Believe I'll Settle Down/Darling I Miss You/Roll 'N Tumble

Stan Greig - Drums
Alexis Korner - Guitar
Memphis Slim - Piano, Vocals

Another artifact from the same historic tour of England. These 19 numbers, many of them the storied standards that long comprised Slim's repertoire, feature backing by guitarist Alexis Korner and drummer Stan Greig (who may be involved in the other British CD above). The same criticism applies: they weren't Murphy and Stepney, and the difference grates. ---Bill Dahl, Rovi

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01.Salute to Albert and Pete
02.176 Train Blues
03.New H.C.F. Boogie
04.Cafe Society Blues
05.Trois Mailletz Boogie
06.Low Down Harpsichord
07.Crazy Boogie
08.Specially for Anne
09.Cambridge Boogie
10.Blues in the Afternoon
11.Boogie for 2 Pianos
12.Mead Lux Special
13.Money, Honey (Live)
14.Woogie (Live)

Memphis Slim (piano 1)
Jean-Paul Amouroux (piano 2)
Gilles Chevaucherie (bass)
Michel Denis (drums)

Boogie woogie is one of the first Blues styles that appeared in the end of the 19th century. It was played through different names and probably appeared in the 1870s in camps of Afroamerican workers at Marshall County and Harrison County in Texas, then through the big industrial cities' barrel houses.

Boogie woogie is played by piano (solo or as the main instrument). The musical structure consists of a repetive eight note bass line played ostinato by left hand (eight-to-the-bar) while the right hand plays soloing and improvising blues harmonic lines. The tempo is usually faster than other traditional blues styles.

Boogie woogie was well popular during the 1930s and 1940s and became popular worldwide during 1940s. It is associated with the eponymous dance possessing lyrics dealing with instructions to dancers. This genre was often played by Big Band in this period. It was a strong basis and influence to numerous very popular genres such as Jump-Blues, Piano Blues, Rhythm & Blues, Jazz in particular Swing and big band, as well as Rock & Roll.

The first official record is supposed to be The Rocks by George W. Thomas in 1923 and the first explicit use of the name boogie woogie dates back to 1929 through Pine Top's Boogie Woogie / Pine Top Blues release of Clarence "Pinetop" Smith. Other prominent artists include Jimmy Yancey, Charles Avery, Albert Ammons, Pete Johnson, Meade Lux Lewis, Count Basie, Harry "The Hipster" Gibson, etc. --- rateyourmusic.com

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01 - Boogie For Roosevelt
02 - Going Back To Memphis
03 - Boogie For Pinetop
04 - Boogie For Pete
05 - Roll And Tumble
06 - Boogie For Albert
07 - Boogie For Meade
08 - Boogie For Sammy
09 - Slim's Blues
10 - Boogie For Jay
11 - Boogie For Lloyd
12 - Boogie For Willie
13 - Showmaker Blues
14 - Boogie For Eddie
15 - Boogie For Jimmy
16 - Boogie For Otis
17 - Boogie For Booker T.
18 - Boogie For Cow Cow

Label: Black & Blue, 454.2, 2002

- tracks 1-5, 15-16
Memphis Slim, vocal, piano.
Recorded April 15, 1986 at Sysmo Studio in Paris, France

- tracks 6-14, 17-18
Memphis Slim, vocal, piano
Bob Stroger, bass
Odie Payne, drums
Recorded November 21, 1983 at Davout Studio in Paris, France

Memphis Slim was one of the early boogie woogie players back when that piano craze first started in USA in the 1930's.

Memphis Slim took his name from Memphis, where he was born and raised. Memphis Slim got his start playing the blues at the Midway Café, at 357 Beale Street (southeast corner of Fourth and Beale Street's) in Memphis in 1931. After his early career in Memphis, where he emulated barrelhouse piano players like Roosevelt Sykes and Speckled Red, he moved to Chicago, Illinois and recorded for Okeh Records (as Peter Chatman & His Washboard Band) in 1940. The same year he also recorded for Bluebird Records as Memphis Slim. He played piano as Big Bill Broonzy's partner until 1944. Broonzy, also a sophisticated performer, urged him to develop his own style. Big Bill and Charlie Segar are usually credited for writing the blues classic, "Key to the Highway." This polish gave Memphis Slim opportunities not only in the juke joints he had been playing, but also in the "uptown" nightclubs.

Slim left the United States for good in 1962. Slim lived in France most of his days and conditions there were much better for him than in the South during the days of segregation.

The club they were playing, which is no longer extant, was an old nightclub called the El Morocco, which in it's last days was used for square dancing and was available for rent for larger events as it would hold quite a large crowd and had a big dance floor. This night the place was packed and everybody there was excited to see the return of Memphis Slim. Slim put on a tremendous show and played one of my favorite classic blues, "Everyday I have the Blues," which he wrote.

Memphis Slim died on February 24, 1988, of renal failure in Paris, France, at the age of 72. --- mly3.blogspot.com

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1 - Memphis Slim U.S.A.
2 - Sassy Mae
3 - Little Piece of Mind
4 - Gotta Find My Baby
5 - Banana Oil
6 - Blue and Lonesome
7 - Two of a Kind
8 - She's Allright
9 - Blues All Around My Head
10 - Wish Me Well
11 - Four Years of Torment
12 - Gotta Find My Baby - (previously unreleased)
13 - Slim Was Just Kiddin'
14 - Jive Time Bounce
15 - Backbone Boogie
16 - (alternate take) Memphis Slim U.S.A. - (previously unreleased)
17 - (alternate take) She's Allright - (previously unreleased)
18 - (alternate take) Blues All Around My Head - (previously unreleased)
19 - (alternate take) Blue and Lonesome - (previously unreleased)

Musicians:
Memphis Slim (vocals, piano)
Arbee Stidham (vocals, guitar)
Jazz Gillum (vocals, harmonica)
Matt "Guitar" Murphy (guitar)
Neil Green (tenor saxophone). 

Universal Recording Studios (03/16/1954)

Memphis Slim's classic United label sessions from 1954 comprise this exceptional document of the master pianists work: 19 of the some 30 tracks he waxed during four sessions, and very well-produced, considering the time frame. A 24-year-old Matt "Guitar" Murphy contributes mightily, tenor saxophonists Neil Green and Jimmy Conley smoothly fill in the cracks, and bassist Henry Taylor and drummer Otto Allen keep thing nicely swinging along. As a blues pianist, Slim is in a class by himself. His tinklings, jazzy affectations, and distinct chordal punctuations are the mark of a true master. His singing is equally robust, occasionally wailin', but mostly in a storytellers' mode. Many of the tunes are old warhorses: "Blues All Around My Head" has two takes, one with unedited studio banter; "Blue and Lonesome" has more squawking before the slow melody line, while "Wish Me Well" is a patient boogie, if there is such a thing. Slim excels on loping, half-shuffles with horn complement, as on "Sassy Mae," "Two of a Kind," and the killer "Four Years of Torment." He plays celeste on another three, the hard swinging "Got to Find My Baby," and twelve-bar on "She's Alright" in the second take. At their roughest on "Slim Was Just Kiddin'," they can't decide what to do, settling on "Shake, Rattle & Roll." The T-Bone Walker influence definitely comes out for Murphy's instrumental features on the easygoing "Jive Time Bounce," and the out-and-out "Backbone Boogie." The calypso-informed "Banana Oil" is somewhat of an anomaly, but a delightful aside. This recording shows the complete prowess of Slim and his ability to lead a band. Murphy's spice makes it all that much tastier. A highly recommended CD, and an important historical bookmark in the career of an enduring legend of blues piano. ---Michael G. Nastos, Album Notes

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CD1:
01 – Messin’ Around
02 – Nobody Loves Me (Everyday I Have The Blues)
03 – Harlem Bound
04 – Mother Earth
05 – Steppin Out
06 – Rockin’ The Blues
07 – Gotta Find My Baby
08 – John Henry
09 – I Feel So Good
10 – Boogie Woogie
11 – Roll And Tumble
12 – Beer Drinking Woman
13 – Highway 51 Blues
14 – 46Th Street Boogie (Fast Boogie)
15 – Chicago House Rent Party Blues
16 – Big Legged Woman
17 – Sail On Blues
18 – Boogie After Midnight
19 – Sweet Root Man
20 – Good Rockin’ Blues
21 – In The Evening When The Sun Goes Down
22 – I Just Want To Make Love To You

CD2:
01 – Rock Me Baby
02 – Whiskey Drinking Blues
03 – Sitting On Top Of The World
04 – 88 Boogie
05 – Goin’ Down To The River
06 – How Long Blues
07 – Trouble In Mind
08 – Goin’ Down Slow
09 – Three Women Blues
10 – Four O’clock Blues
11 – Mean Mistreatin’ Mama
12 – Late Afternoon Blues
13 – I Can Hear My Name A-Ringin’
14 – Woman Blues Boogie
15 – Whiskey And Gin Blues
16 – 44 Blues
17 – Mister Freddie
18 – Maybe I’ll Loan You A Dime
19 – Walkin’ The Boogie
20 – Red Haired Boogie
21 – San Juan Blues
22 – Kilroy Has Been Here

A terrific collection of mainly solo performances by the great Memphis Slim. The sound quality of most of the tracks is also great. If you like blues and boogie piano you won't be disappointed with this 2cd set. And, of course, Memphis is a great singer as well. --- Francis Sellors, amazon.com

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1	Back to Mother Earth			
2	Trouble Everywhere I Go	3:50
3	Black Cat Cross My Trail		3:06	
4	Mr. Longfingers		7:03
5	Five Long Years 	7:30	
6	When I Was Young			
7	You Don't Know My Mind  	6:30
8	Boogie Duo	3:04
9	Down the Big Road			
10	Whizzle Wham  	1:44
11	Paris  	2:14

Personnel: 
Memphis Slim (vocals, piano); 
Peter Chatman (vocals, piano).

Memphis Heat documents Chicago blues piano legend Memphis Slim's studio collaborations with the rock group Canned Heat in France on September 18, 1970, and July 11, 1973. The results are tasty indeed. Slim's voice and piano are well matched by Henry Vestine's electric guitar, Canned Heat's rockin' rhythm section, and (on six out of 13 tracks) the Memphis Horns, a solid wind quintet of trumpet, trombone, two tenors, and a baritone sax. Memphis Slim tried on a lot of different styles and instrumental combinations during the 1970s. His Canned Heat sessions have been both praised and panned over the years, a state of affairs that often revealed more about the reviewers than the music itself. A fair assessment should take into account the blues and rock scene of the early '70s, the pianist's artistic intentions as he capped a long and eventful career, and perhaps most importantly the positive effect that this music is likely to have upon any listener who loves a good jumpin' electric blues band. ---arwulf arwulf, Rovi

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01 – Beer Drinking Woman
02 – Empty Room Blues				play
03 – Grinder Man Blues
04 – You Got To Help Me Some
05 – I See My Great Mistake
06 – Old Taylor						play
07 – I Believe I’ll Settle Down
08 – Diggin’ My Potatos No. 2
09 – Maybe I’ll Loan You A Dime
10 – This Life I’m Living
11 – You Didn’t Mean Me No Good
12 – You Gonna Worry Too
13 – Two Of A Kind
14 – Lend Me Your Love
15 – Jaspar’s Gal
16 – Caught The Old Coon At Last

Personnel :
Memphis Slim (Peter Chatman)

An amazingly prolific artist who brought a brisk air of urban sophistication to his frequently stunning presentation, John “Peter” Chatman — better known as Memphis Slim — assuredly ranks with the greatest blues pianists of all time. He was smart enough to take Big Bill Broonzy’s early advice about developing a style to call his own to heart, instead of imitating that of his idol, Roosevelt Sykes. Soon enough, other 88s pounders were copying Slim rather than the other way around; his thundering ivories attack set him apart from most of his contemporaries, while his deeply burnished voice possessed a commanding authority.

As befits his stage name, John “Peter” Chatman was born and raised in Memphis; a great place to commit to a career as a bluesman. Sometime in the late ’30s, he resettled in Chicago and began recording as a leader in 1939 for OKeh, then switched over to Bluebird the next year. Around the same time, Slim joined forces with Broonzy, then the dominant force on the local blues scene. After serving as Broonzy’s invaluable accompanist for a few years, Slim emerged as his own man in 1944. ---Bill Dahl

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