Tampa Red

Among blues performers who specialized in slide guitar on record, just a few—Elmore James, Muddy Waters, and Robert Johnson among them—shaped the idiom by devising an instrumental approach that others readily recognized and copied. Tampa Red belonged to this select company. Billed during his peak years in the 1920s and 1930s as “The Guitar Wizard,” he demonstrated the reason for the nickname through his remarkable bottleneck technique on both electric and National steel instruments. Across three decades of recording he amassed hundreds of sides that encompassed hokum, pop, and jive yet centered chiefly on blues, among them the enduring compositions “Anna Lou Blues,” “Black Angel Blues,” “Crying Won't Help You,” “It Hurts Me Too,” and “Love Her with a Feeling.” At the outset of his career he partnered with pianist, songwriter, and later gospel composer Georgia Tom Dorsey; together they produced the risqué classic “Tight Like That.”

Those acquainted solely with Tampa Red’s hokum numbers overlook the more profound contributions of a central figure in Chicago blues. His circle included Big Bill Broonzy, with whom he shared a close bond; both belonged to Lester Melrose’s circle of regular studio musicians and were frequent drinking companions, once dozing through an entire Chicago White Sox doubleheader. In later years alcohol took its toll, and Red attributed his health difficulties to an inability to turn down a drink.

Throughout his prime, Red’s performing environments ranged from rural juke joints and street corners to the vaudeville circuit and Chicago’s club circuit. His stagecraft and theatrical background led many observers to classify him as an urban rather than a rural musician, setting him apart from numerous contemporaries of narrower experience. His home functioned as an unofficial rehearsal space and clearinghouse for bookings. Fellow musicians Broonzy and Big Joe Williams recalled that Red routinely supplied food and lodging to others, smoothing their passage from rural life to the city.

Contemporary audiences still respond to Tampa Red’s distinctive singing voice and may be surprised by his kazoo excursions. His compositions have proved durable, and any serious student of slide guitar must reckon with his technical command.