Biography
Willie Dixon regarded the Big Three Trio as a pivotal springboard into his storied professional path. The lineup coalesced in 1946 around pianist Leonard "Baby Doo" Caston, guitarist Bernardo Dennis—who yielded his chair to Ollie Crawford after twelve months—and upright bassist Dixon. Caston had recently returned from wartime service that featured U.S.O. performances during World War II, while Dixon had chosen conscientious-objector status; the bassist had previously shared bills with Caston in the Five Breezes and with Dennis in the Four Jumps of Jive.
The musicians divided both vocal and songwriting responsibilities equally, showcasing their signature three-part harmonies. After a lone 1946 session for Jim Bullet’s Bullet imprint, they advanced to Columbia Records in 1947. Their sleek, mainstream style produced one national charter, the 1948 single “You Sure Look Good to Me,” followed by further releases that continued until 1952, when the final sides appeared on the OKeh subsidiary.
Years afterward, Dixon revived two OKeh numbers—“Violent Love” and “My Love Will Never Die”—and offered them to Otis Rush while serving as producer at Eli Toscano’s Cobra Records. Rush’s anguished reading of “My Love Will Never Die” emerged as a postwar landmark, though the hokey “Violent Love” ranks among the least inspired recordings the southpaw guitarist ever made.
Caston’s exit at the close of 1952 dissolved the group. Dixon’s trajectory nevertheless led him to Chess Records, where he had already begun working as a session bassist and songwriter. He would soon be hailed as one of the most influential architects of the Windy City blues community.
The musicians divided both vocal and songwriting responsibilities equally, showcasing their signature three-part harmonies. After a lone 1946 session for Jim Bullet’s Bullet imprint, they advanced to Columbia Records in 1947. Their sleek, mainstream style produced one national charter, the 1948 single “You Sure Look Good to Me,” followed by further releases that continued until 1952, when the final sides appeared on the OKeh subsidiary.
Years afterward, Dixon revived two OKeh numbers—“Violent Love” and “My Love Will Never Die”—and offered them to Otis Rush while serving as producer at Eli Toscano’s Cobra Records. Rush’s anguished reading of “My Love Will Never Die” emerged as a postwar landmark, though the hokey “Violent Love” ranks among the least inspired recordings the southpaw guitarist ever made.
Caston’s exit at the close of 1952 dissolved the group. Dixon’s trajectory nevertheless led him to Chess Records, where he had already begun working as a session bassist and songwriter. He would soon be hailed as one of the most influential architects of the Windy City blues community.
Albums
