At The Gate Of Horn (Remastered 2025 - MONO) Memphis Slim

• 1 The Comeback (Remastered 2025) 02:22
• 2 Steppin' Out (Remastered 2025) 02:03
• 3 Blue And Lonesome (Remastered 2025) 03:13
• 4 Rockin' The Blues (Remastered 2025) 02:09
• 5 Slim's Blues (Remastered 2025) 03:11
• 6 Gotta Find My Baby (Remastered 2025) 02:21
• 7 Messin' Around (Remastered 2025) 03:09
• 8 Wish Me Well (Remastered 2025) 02:44
• 9 My Gal Keeps Me Crying (Remastered 2025) 02:41
• 10 Lend Me Your Love (Remastered 2025) 03:16
• 11 Sassy Mae (Remastered 2025) 02:47
• 12 Mother Earth (Remastered 2025) 03:34
• Total Runtime 33:30

Info zu At The Gate Of Horn (Remastered 2025 - MONO)

These sides for Vee-Jay in Chicago are without doubt one of the most beautiful parts of Memphis Slim's rich discography. A beautiful brass section (John Calvin, Alex Atkins, Ernest Cotton) and an outstanding guitarist (Matthew Murphy) perfectly support Slim at his best. The music oscillates between Jazz, Blues and Rhythm & Blues. There are many gems in this Blues classic : "Steppin' out", "Blue and lonesome", "Rockin' the blues", "Gotta find my baby", "Messin' around", "Wish me well", "Sassy Mae".

Memphis Slim has made more records than any other pianist in blues history. His rich vocals and solid piano work have been exhibited in settings including blues, R&B, rock, even country & western – solo or in bands both large and small. Slim’s recordings for the United label are outstanding, not only among Slim’s own proliferation of material, but among the whole field of urban band blues. And they marked a special occasion: the introduction of Matt “Guitar” Murphy to the Chicago blues. The guitar brought a change in the sound of Memphis Slim & His House Rockers that lasted until Slim disbanded the group and moved to France. Murphy joined the Blues Brothers and became a model for even more emerging modern blues guitarists.

"Only this albums 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, AMG)

"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)

Memphis Slim, piano, vocals
Alex Atkins, alto saxophone
John Calvin, tenor saxophone
Ernest Cotton, tenor saxophone
Matt Murphy, guitar
Sam Chatmon, double bass
Billy Stepney, drums

Digitally remastered

Memphis Slim
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.

After the close of World War II, Slim joined Hy-Tone Records, cutting eight tracks that were later picked up by King. Lee Egalnick's Miracle label reeled in the pianist in 1947; backed by his jumping band, the House Rockers (its members usually included saxists Alex Atkins and Ernest Cotton), Slim recorded his classic "Lend Me Your Love" and "Rockin' the House." The next year brought the landmark "Nobody Loves Me" (better known via subsequent covers by Lowell Fulson, Joe Williams, and B.B. King as "Everyday I Have the Blues") and the heartbroken "Messin' Around (With the Blues)."

The pianist kept on label-hopping, moving from Miracle to Peacock to Premium (where he waxed the first version of his uncommonly wise down-tempo blues "Mother Earth") to Chess to Mercury before staying put at Chicago's United Records from 1952 to 1954. This was a particularly fertile period for the pianist; he recruited his first permanent guitarist, the estimable Matt Murphy, who added some serious fret fire to "The Come Back," "Sassy Mae," and "Memphis Slim U.S.A."

Before the decade was through, the pianist landed at Vee-Jay Records, where he cut definitive versions of his best-known songs with Murphy and a stellar combo in gorgeously sympathetic support (Murphy was nothing short of spectacular throughout).

Slim exhibited his perpetually independent mindset by leaving the country for good in 1962. A tour of Europe in partnership with bassist Willie Dixon a couple of years earlier had so intrigued the pianist that he permanently moved to Paris, where recording and touring possibilities seemed limitless and the veteran pianist was treated with the respect too often denied even African-American blues stars at home back then. He remained there until his 1988 death, enjoying his stature as expatriate blues royalty. (AllMusicGuide)

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