J.B. Lenoir

People encountering J.B. Lenoir's substantial body of work for the first time might initially wonder about the artist's gender after sampling his vigorous recordings. Lenoir's unusually elevated singing voice tends to mislead, yet that very characteristic heightens the distinctive appeal of his sound. Upon its 1954 release on Al Benson's Parrot label, the politically pointed "Eisenhower Blues" reportedly triggered unwelcome consequences and was promptly withdrawn from circulation, replaced by Lenoir's milder "Tax Paying Blues."

From childhood onward, J.B.—his full legal name—absorbed the style of Blind Lemon Jefferson through his guitar-playing father, while Lightnin' Hopkins and Arthur Crudup also shaped his early approach. After spending time in New Orleans, Lenoir reached Chicago in the late 1940s. Boogie rhythms formed a core element of his lively approach right away, though his debut single for Chess in 1951, "Korea Blues," again addressed current events. Between late 1951 and 1953 he recorded several sessions for Joe Brown's JOB imprint alongside pianist Sunnyland Slim, drummer Alfred Wallace, and saxophonist J.T. Brown, who appears on the lively "The Mojo."

Lenoir cut his most lasting composition, the catchy and frequently interpreted "Mama Talk to Your Daughter," in 1954 for Al Benson's Parrot label. His Parrot sides from 1954–1955 and Checker output from 1955–1958 include many strong performances, among them the wryly assertive "Don't Touch My Head," which concerns his fresh process hairstyle, and "Natural Man." The sound remained distinctive: saxophones, typically played by Alex Atkins and Ernest Cotton, played in tight unison over Lenoir's boogie-infused rhythm guitar while drummer Al Galvin maintained a spare backbeat that landed in unexpected places, yet the elements cohered.

Occasional singles on Shad in 1958 and Vee-Jay two years later maintained Lenoir's visibility. His music had evolved considerably when he joined USA Records in 1963, as reflected in the 45s credited to J.B. Lenoir & his African Hunch Rhythm. Even more striking were the two acoustic albums he made in 1965 and 1966 for German blues promoter Horst Lippmann. Alabama Blues! and Down in Mississippi were recorded in Chicago under Willie Dixon's supervision, allowing Lenoir to explore any subject on his mind, including "Alabama March," "Vietnam Blues," and "Shot on James Meredith."

Lenoir did not realize his remaining time was short. At his death in 1967 the guitarist had relocated to downstate Champaign, where he succumbed, likely from injuries sustained in an automobile accident three weeks earlier.