1931 John Littlejohn*
1937 Artie "Blues Boy" White*
1945 Stefan Grossman*
1954 Texas Alexander+
Patrick Rynn*
Happy Birthday
Artie "Blues Boy" White *16.04.1937
Very few Chicago blues artists were able to pierce the R&B charts during the 1970s, when interest in the genre was rock-bottom. But smooth-voiced Artie "Blues Boy" White managed the rare feat with his 1977 single for Altee, "Leanin' Tree." Gospel was White's initial musical pursuit. He sang with a spiritual aggregation, the Harps of David, at the age of 11 prior to coming to Chicago in 1956. More church singing was in store with the Full Gospel Wonders. White claims he was lured into singing the devil's music by a well-heeled gent who drove up to an unsuspecting White in a flashy Cadillac and promised him $10,000 to record some blues songs!Thangs Got to Change
White's '70s singles for PM and Gamma stiffed, but with the advent of "Leanin' Tree," he was able to command a nice asking price on the Chicago circuit. For a while, White tried his hand at running a blues club, Bootsy's Lounge. But performing and recording won out; White waxed a terrific debut LP in 1985 for Shreveport-based Ronn Records called Blues Boy. He signed with Ichiban in 1987 and waxed six fine sets in the soul-blues vein (enough to merit a best-of CD in 1991), utilizing Chicago songwriter Bob Jones (the composer of "Leanin' Tree") and labelmate Travis Haddix as chief sources of material. On 1989's Thangs Got to Change, White enjoyed the presence of Little Milton Campbell, one of his prime influences, on lead guitar. A move to the Waldoxy label resulted in 1994's Different Shades of Blue, 1997's Back Home to Clarksdale: A Tribute to Muddy Waters, and 1999's Can We Get Together. 2002 found White still going strong with a new record, Can't Get Enough, and a new label, Gold Circle.
http://www.allmusic.com/artist/artie-blues-boy-white-mn0000607522/biography
Artie was born in Vicksburg, Mississippi. His first public musical experience was singing gospel with the ‘Harps of David.’ Moving to Chicago in 1956, White continued to sing gospel with the Full Gospel Wonders.
White switched over to blues in the early 1960's. Over the next two decades, he recorded a number of singles with independent labels such as P&M, Gamma, and Al Tee. He briefly reached the R & B charts with "You Are My Leanin' Tree" on the Al Tee Label in 1977. His hit sold over 100,000 copies. In 1984, singles "Jimmy" and "I need Someone"’ on the Jewel Record Label became classics and "BLUES BOY" became his signature recording name.
White signed a recording contract with Stan Lewis's Ronn/Jewel/Paula consortium in 1985. In 1987, White moved on to John Abbey's Ichiban label where he recorded, arranged and produced his next 7 albums. He was a fixture there until he signed with Malaco’s Waldoxy Label in 1994. His first CD on this label, “Different Shades Of Blue” featured the hit ‘Marry my Mother-In-Law’. White's version of "Your Man Is Home Tonight" signaled that Waldoxy had moved decidedly into the same territory of soul blues that Malaco had been mining since Z. Z. Hill first signed with the company in 1980. White was nominated for the Jackson Blues Award for this landmark release. His current CD “Can We Get Together” received top reviews. Artie was a headliner at the Chicago Blues Festival in June of 2000. His overseas concerts keep him in demand for return performances.
Artie received the “Award of Honor” for his contribution to music at the 2002 Chicago Music Awards. He released “I Can’t Get Enough” on the “ACHILLTOWN” Label on November 1, 2001.
Artie has performed with greats such as B.B. King, KoKo Taylor, Aretha Franklin, Bobby Bland, James Brown, Little Richard, Chuck Berry, McKinley Mitchell, The Dells, Chi-Lites, Little Milton, Bobby Rush, The late Johnnie Taylor, Latimore, Shirley Brown, Denise LaSalle, Tyrone Davis, Otis Clay, Sugar Hill Gang, and many others.
White switched over to blues in the early 1960's. Over the next two decades, he recorded a number of singles with independent labels such as P&M, Gamma, and Al Tee. He briefly reached the R & B charts with "You Are My Leanin' Tree" on the Al Tee Label in 1977. His hit sold over 100,000 copies. In 1984, singles "Jimmy" and "I need Someone"’ on the Jewel Record Label became classics and "BLUES BOY" became his signature recording name.
White signed a recording contract with Stan Lewis's Ronn/Jewel/Paula consortium in 1985. In 1987, White moved on to John Abbey's Ichiban label where he recorded, arranged and produced his next 7 albums. He was a fixture there until he signed with Malaco’s Waldoxy Label in 1994. His first CD on this label, “Different Shades Of Blue” featured the hit ‘Marry my Mother-In-Law’. White's version of "Your Man Is Home Tonight" signaled that Waldoxy had moved decidedly into the same territory of soul blues that Malaco had been mining since Z. Z. Hill first signed with the company in 1980. White was nominated for the Jackson Blues Award for this landmark release. His current CD “Can We Get Together” received top reviews. Artie was a headliner at the Chicago Blues Festival in June of 2000. His overseas concerts keep him in demand for return performances.
Artie received the “Award of Honor” for his contribution to music at the 2002 Chicago Music Awards. He released “I Can’t Get Enough” on the “ACHILLTOWN” Label on November 1, 2001.
Artie has performed with greats such as B.B. King, KoKo Taylor, Aretha Franklin, Bobby Bland, James Brown, Little Richard, Chuck Berry, McKinley Mitchell, The Dells, Chi-Lites, Little Milton, Bobby Rush, The late Johnnie Taylor, Latimore, Shirley Brown, Denise LaSalle, Tyrone Davis, Otis Clay, Sugar Hill Gang, and many others.
John Littlejohn *16.04.1931
John Wesley Funchess (April 16, 1931 – February 1, 1994)[1] known professionally as John (or Johnny) Littlejohn, was an American electric blues slide guitarist.[2] He was active on the Chicago blues circuit from the 1950s to the 1980s.Born in Lake, Mississippi, United States, Littlejohn first learned to play the blues from Henry Martin, a friend of his father. In 1946 he left home and traveled widely, spending time in Jackson, Mississippi, Arkansas, Rochester, New York, and Gary, Indiana.[3] He settled in the last of these in 1951, playing whenever possible in the Chicago area. Through his connections on the Gary, music scene he was acquainted with Joe Jackson, patriarch of the musical Jackson family, and Littlejohn and his band reputedly served as an occasional rehearsal band for the Jackson 5 in the mid to late 1960s.
Littlejohn played regularly in Chicago clubs (he was filmed by drummer Sam Lay playing with Howlin' Wolf's band c. 1961) but did not make any studio recordings until 1968, when he cut singles for several record labels.[3] Later that year he recorded an album with Arhoolie Records, and four songs for Chess Records, though the Chess tracks were not issued at the time.[3]
Although he recorded a few singles for small local labels, Littlejohn did not record another album until 1985, when Rooster Blues issued So-Called Friends. Soon after, he fell into ill health, and died of renal failure in Chicago 1994, at the age of 62.
http://en.wikipedia.org/wiki/John_Littlejohn
Patrick Rynn on the right sight
Patrick Rynn on the right sight
Chris James & Patrick Rynn - Goodbye, Later For You
Chris James et Patrick Rynn "Gonna boogie anyway"
Chris James et Patrick Rynn "Gonna boogie anyway" le 10 juin au SPACE à Evanston, IL (Blues on North Shore).
Chris James (guitare et chant), Patrick Rynn (basse), Rob Stone (harmonica), Sam Lay (batterie), Ariyo Sumito (piano
Chris James (guitare et chant), Patrick Rynn (basse), Rob Stone (harmonica), Sam Lay (batterie), Ariyo Sumito (piano
Stefan Grossman *16.04.1945
Steve Katz and Grossman performing at Passim coffeehouse in Cambridge, Mass., on January 22, 2012.
Stefan Grossman (* 16. April 1945 in Brooklyn, New York City) ist ein einflussreicher US-amerikanischer Gitarrist, Lehrbuchautor und Produzent.
Biografie
Stefan Grossman wurde 1945 als Sohn des jüdischen Ehepaars Herbert und Ruth Grossmann in New York geboren. Mit 14 beschloss er unter dem Eindruck der Musik von Big Bill Broonzy, Gitarre zu lernen. Reverend Gary Davis wurde sein Lehrmeister.
Grossman nahm die alten Blues-Größen auf Tonband auf und transkribierte die Stücke in einer eigenen Tabulatur. Daraus entwickelte er eine Lehrmethode, die er in Büchern und über Kassetten und Schallplatten veröffentlichte.
18-jährig gründete er die Even Dozen Jug Band. Danach war er kurze Zeit Mitglied der Fugs und nahm mit Rory Block die LP How To Play Blues Guitar auf. Seit 1967 trat er vermehrt solo auf. Er reiste durch Europa, lebte in Italien, dann in England und schließlich wieder in Italien.
1973 gründete Stefan Grossman sein eigenes Plattenlabel Kicking Mule Records, das er bis 1980 selbst führte und dann verkaufte. Ab 1976 arbeitete Grossman häufig mit John Renbourn zusammen, mit dem er auch eine Reihe von Alben aufnahm und zahlreiche Konzerte gab.
1987 zog Grossman nach Amerika zurück. Er veröffentlichte neue Alben bei dem kanadischen Label Shanachie Records und gründete erneut eine eigene Firma: Stefan Grossman’s Guitar Workshop, über die er wieder Lehrmaterial (Kassetten, Videos, CDs) herausgibt.
Stefan Grossman (born April 16, 1945) is an American acoustic fingerstyle guitarist and singer, music producer and educator, and co-founder of Kicking Mule records. He is known for his instructional videos and Vestapol line of videos and DVDs.
Early life and influences
Born in Brooklyn, New York, to Herbert and Ruth Grossman. Grossman described his upbringing, in Queens, New York, as "lower middle-class", and his parents as "very leftist", valuing education and the arts. He began playing guitar at the age of nine, when his father bought him a Harmony f-hole acoustic guitar. Later he moved on to an archtop Gibson guitar which he played between the ages of nine and eleven, taking lessons and learning to read music. For a few years, he gave up playing but resumed again at the age of 15.[1]
Grossman's interest in the Folk revival was sparked by attending the Washington Square Park "Hoots", and he started listening to old recordings of artists such as Elizabeth Cotten, Big Bill Broonzy, Lead Belly, Josh White, Lightnin' Hopkins, Rev. Gary Davis, Blind Willie Johnson, Blind Boy Fuller, Son House, Charlie Patton, Skip James, Blind Blake, Blind Lemon Jefferson and Woody Guthrie.[1]
He took guitar lessons for several years from Rev. Gary Davis, whom he later described as "one of the greatest exponents of fingerstyle blues and gospel guitar playing" and "an incredible genius as a teacher".[2] He spent countless hours learning and documenting Davis's music, recording much of it on a tape recorder, and developing a form of tablature to take down his teacher's instructions.
In the folk and country blues revival of the 1960s he was listening to Broonzy, Brownie McGhee and Lightnin' Hopkins and beginning to collect old 78 rpm records from the 1920s and 1930s. This brought him into contact with other collectors, including John Fahey, ED Denson, Bernie Klatzko, Tom Hoskins and Nick Perls. Collecting the 78s developed into searching for the artists who had recorded them, with many successes: during the mid-60s, Grossman met, befriended and studied guitar with Mississippi John Hurt, Son House, Skip James, Mississippi Fred McDowell and other major blues artists.
Early career
In 1964, Grossman and a group of friends formed the Even Dozen Jug Band. Although they only recorded one LP on the Elektra Records label (long since out of print but available at iTunes), other members were also to have successful musical careers, including David Grisman, Steve Katz (Blood, Sweat & Tears), John Sebastian (The Lovin' Spoonful), Joshua Rifkin and Maria Muldaur. In the early summer of 1966 there was an effort by Elektra’s Paul Rothchild to put together a folk rock group (like The Mamas & the Papas) with Grossman, Taj Mahal, guitarist Steve Mann and a recently returned folk singer from Texas named Janis Joplin. They actually had a rehearsal in Berkeley, sometime in June (Joplin’s first show with Big Brother and the Holding Company was at the Avalon Ballroom June 10, 1966, but she had been in the Bay Area for about 10 days). However, Janis would not abandon her new band and the deal was scuttled. Subsequently Grossman spent about three months with The Fugs and a further four months with a band called Chicago Loop. At the same time, however, he was beginning his career as a guitar teacher. With his friend Rory Block and also Mike Cooper, he produced and released one of the earliest (if not the very first) guitar instructional LPs, How To Play Blues Guitar and began the publication of a five volume series of instructional books with Oak Publications called the Oak Anthology of Blues Guitar. These drew on his studies with Rev. Davis and the other older blues artists and on his obsessive listening to old 78s. The Country Blues Guitar, Delta Blues, Texas Blues, Ragtime Blues Guitar and Rev. Gary Davis/Blues Guitar have remained in print through various editions. They were well received by other guitarists seeking to learn the various styles of acoustic blues.
In the mid-1960s, Stefan Grossman recorded a number of cuts for Joe Bussard and his Frederick, Maryland based Fonotone Records and performed at the Jabberwock coffeehouse in Berkeley under the nom du folk of "Kid Future". The origins of the name Kid Future date back in the 1930s where there were a number of country blues artists called Willie Brown, the best known of these, and a friend of Son House, recorded a song called Future Blues, using an open G tuning. The song was considered very difficult to master and puzzled many experienced blues players but Grossman, when still in his teens, figured out how to play it. Given Bussard's penchant for creating noms de plume, as he did famously for John Fahey when recording him as Blind Thomas in the 1950s, it seems likely that the origins of the name Kid Future lie in Federick, MD and a talented teenager who had mastered Future Blues. Grossman also played on Pat Kilroy's Light of Day album released in 1966.
In 1967, Grossman travelled to Europe as a first step on a planned journey to India which was not completed. In London he stayed at first with Eric Clapton whom he had met whilst in Chicago Loop and met guitarists and singers on the British folk scene including Bert Jansch, John Renbourn, Davy Graham and Ralph McTell and The Young Tradition. He began playing in folk clubs around the country and made his first solo recordings for the Philips/Fontana label (Aunt Molly's Murray Farm and The Gramercy Park Sheikh) and then for Nathan Joseph's Transatlantic label, including Yazoo Basin Boogie and Ragtime Cowboy Jew (see discography). He also traveled widely in Europe and eventually settled in Italy, where he lived for seven years. Travelling around Europe for gigs brought him into contact with many other fine guitarists, but few of them had record deals; Grossman saw a niche in the market for solo acoustic guitar records which were accompanied by a tablature book to allow the buyer to try playing the arrangements and, with his friend Ed Denson taking care of the US side of business, founded Kicking Mule Records. Over the next few years KM released albums by such artists as John James, Happy Traum, Ton van Bergeyk, Dave Evans, Peter Finger and the late Sam Mitchell. Grossman also released his own original and instructional albums on KM, the latter including seminal works such as Fingerpicking Guitar Techniques, How To Play Ragtime Guitar and Famous Ragtime Guitar Solos which had a major influence on acoustic guitarists in Europe, the UK and the US. During these years Grossman was also touring as a solo artist and in partnership with John Renbourn and continuing to write and publish instructional books, often accompanied by the then new technology of a cassette tape.
Later career
In 1987 Grossman returned to live in the US. He toured much less – at least partly due to a painful back problem – and began to consolidate his various teaching and instructional materials under the roof of one company, Stefan Grossman's Guitar Workshop, working at first in cooperation with the Shanachie Records company . He was quick to see the potential of video as well as audio as an instructional tool: budding players could buy an instructional tape for the cost of a single 'real' lesson and have it constantly available. The material which had appeared on LPs such as How To Play Blues Guitar now became available to watch as well as hear. Nor was Grossman the only instructor: the Guitar Workshop 'faculty' included such artists as Chet Atkins, John Renbourn, Woody Mann, Ari Eisinger, John Miller, Larry Coryell, David Laibman, Ernie Hawkins and many others.
Grossman also began to acquire concert footage of the old blues and country artists who had been rediscovered in the 1960s and had often made TV appearances; this was the basis of Vestapol Videos, which edited and reissued this footage. It was a breakthrough for younger guitarists to be able to watch Big Bill Broonzy, Lightnin' Hopkins, Rev. Gary Davis and many others long after these players had died. Vestapol rapidly expanded to include concert footage from living artists too. Although originally issued as video tapes, almost all of this material (both instructional and concert) has in the last few years been re-issued on DVD. The Guitar Workshop mails worldwide from its bases in New Jersey and Yorkshire.
Much of the music which Grossman recorded on vinyl during his years in Europe has been reissued on CD, as have many of the Kicking Mule albums (although the vinyl LPs remain treasured collectors' items). One of the most significant recent CD reissues (2008) is of the original How To Play Blues Guitar LP from 1967, including outtakes and later recordings from subsequent editions of the album. The skills of the two young guitarists (Grossman was only 19 and Rory Block a mere 14 when the LP was recorded) remain remarkable after over forty years. The LP tracks are on the CD Country Blues Guitar: The Archival Recordings 1963–1971 (SGGW103) by Rory Block and Stefan Grossman.
Stefan Grossman resumed touring in 2006, since when he has appeared in Europe and Japan as well as the US. He is a frequent visitor to England (where he has family) and conducts well-attended guitar workshops as well as giving concerts. He remains a market leader in making instructional materials available in many formats, most recently online: the Guitar Workshop has its own YouTube channel where clients can sample the wares available. Music CDs and DVDs now come with a pdf file of the music and tablature instead of a booklet.
In 2008 C. F. Martin & Company honoured Stefan Grossman with a Custom Edition guitar, the HJ-38 Stefan Grossman Custom Signature Edition, adding his name to an illustrious list of guitarists who have been so honoured.
Guitars and guitar playing
Grossman's principal (acoustic) guitars are a 1930 Martin OM-45 that he sold decades ago. He uses mostly Franklin guitars made by Nick Kukich [3] since the 70's and a custom Martin HJ-38 since 2008. He owns also numerous guitars from different builders, including John Greven, Tony Klassen, etc... He uses also an old Stella Jumbo 12-string guitar. In the past, he has also played a Martin OM-28, "Euphonon" and "Prairie State" guitars. He favours medium-gauge strings (.013, .017, .026, .036, .046, .056) for slide, and light-gauge strings (.12 – .53) for standard playing.[4][5] Stefan has worked with the Martin Guitar Company to produce a Stefan Grossman Signature Model guitar, based on a Jumbo size the guitar has 14 frets to the body, Madagascar Rosewood back and sides and Sitka spruce top. This guitar appears to be his guitar of choice in 2010 [1] Grossman also had a guitar custom made for him by Ed Foley of Foley Guitars.
Stefan Grossman - Cocaine Blues
R.I.P.
Texas Alexander +16.04.1954
Algernon "Texas" Alexander (* 12. September 1900 in Jewett, Texas; † 18. April 1954 in Richards, Texas[1]) war ein US-amerikanischer Blues-Sänger.
Alexander, der selbst kein Instrument spielte, machte seine ersten Aufnahmen 1927 für Okeh Records. Für seine musikalische Begleitung sorgten im Laufe der Zeit Gitarristen wie Little Hat Jones, Lonnie Johnson und Lowell Fulson, aber auch bekannte Gruppen wie die The Mississippi Sheiks, King Oliver's New Orleans Band und Clarence Williams.
Neben seiner musikalischen Tätigkeit arbeitete er als Baumwollpflücker oder im Gleisbau. Um 1940 wurde seine Karriere unterbrochen, da er wegen Mordes ins Gefängnis musste. Nach seiner Freilassung trat er wieder auf, oft gemeinsam mit Lightnin’ Hopkins, der gelegentlich als sein Cousin bezeichnet wird, wofür es aber keinen Beleg gibt.[2] Mit ihm machte er 1947 auch einige Aufnahmen für Aladdin Records. Auch mit dem Pianisten Buster Pickens machte er Aufnahmen. Seine letzten Aufnahmen stammen aus dem Jahr 1950, sie waren weitgehend erfolglos. 1954 starb Texas Alexander an Syphilis.
Insgesamt nahm Alexander über 60 Titel auf, die Mehrzahl davon vor 1930. Sein Gesangsstil war eng angelehnt an die Field Hollers. Zu seinen bekanntesten Stücken gehören Corn Bread Blues und Frisco Train.
http://de.wikipedia.org/wiki/Texas_Alexander
Alger "Texas" Alexander (September 12, 1900 – April 18, 1954)[1] was an American blues singer from Jewett, Texas.[2] Some sources claim that he was the cousin of Lightnin' Hopkins, but no direct kinship has ever been established.[3] It was also claimed that he was the uncle of Texas country blues guitarist Frankie Lee Sims.[4]
Career
A short man with a big, deep voice, Alexander started his career performing on the streets and at local parties and picnics in the Brazos River bottomlands, where he sometimes worked with Blind Lemon Jefferson.[5] In 1927 he began a recording career that continued into the 1930s, recording sides for the Okeh and Vocalion record labels in New York, San Antonio, and Fort Worth.
Songs he recorded include "Mama's Bad Luck Child," "Sittin' on a Log," "Texas Special," "Broken Yo Yo" and "Don't You Wish Your Baby was Built Up Like Mine?"[2]
His early records for Okeh are notable not only for the personal originality of his songs, but for the musical motifs against which they are set.[6] On April 9, 1934, Alexander recorded backed by the Mississippi Sheiks. Their line-up featured Bo Carter on violin, plus Sam Chatman and Walter Vinson on guitar. The eight tracks recorded included "Seen Better Days", and "Frost Texas Tornado Blues", the latter of which spoke of the tornado which destroyed Frost, Texas on May 6, 1930, leaving 41 dead.[7]
Alexander did not play a musical instrument himself, and over the years he worked with a number of other artists including King Oliver, Eddie Lang, Lonnie Johnson, Little Hat Jones, the Mississippi Sheiks, and Lightnin' Hopkins. He sang in the free rhythm of work songs, such as the migrant cotton pickers he performed for might have sung, which posed a challenge for those accompanying him. Indeed, his singing is difficult to follow, and on his gramophone records his accompanists can often be heard resetting their watches to 'Alexander Time'.[8] Lonnie Johnson devised free-form guitar melodies in counterpoint to his vocal lines.[8]
In 1939, Alexander allegedly murdered his wife, resulting in a stay in the state penitentiary in Paris, Texas from 1940 to 1945.[6] Research by writer Coy Prather in the Spring 2014 issue of "Texas Music Magazine" revealed that the often printed prison stay by Alexander may be a myth. There are no records of Alexander ever serving a sentence in a Texas prison and in fact there was never a prison in Paris, Texas. Prather believes Alexander may have served time on a county work farm for playing lewd music in public. After that he returned to performing and recording, and Alexander made his last recording in 1950 with Benton's Busy Bees[2] (Leon Benton, guitar and Buster Pickens, piano), before dying at the age of 53 of syphilis in 1954.[9]
Alexander's body is buried in Longstreet Cemetery, Montgomery County, Texas.
Career
A short man with a big, deep voice, Alexander started his career performing on the streets and at local parties and picnics in the Brazos River bottomlands, where he sometimes worked with Blind Lemon Jefferson.[5] In 1927 he began a recording career that continued into the 1930s, recording sides for the Okeh and Vocalion record labels in New York, San Antonio, and Fort Worth.
Songs he recorded include "Mama's Bad Luck Child," "Sittin' on a Log," "Texas Special," "Broken Yo Yo" and "Don't You Wish Your Baby was Built Up Like Mine?"[2]
His early records for Okeh are notable not only for the personal originality of his songs, but for the musical motifs against which they are set.[6] On April 9, 1934, Alexander recorded backed by the Mississippi Sheiks. Their line-up featured Bo Carter on violin, plus Sam Chatman and Walter Vinson on guitar. The eight tracks recorded included "Seen Better Days", and "Frost Texas Tornado Blues", the latter of which spoke of the tornado which destroyed Frost, Texas on May 6, 1930, leaving 41 dead.[7]
Alexander did not play a musical instrument himself, and over the years he worked with a number of other artists including King Oliver, Eddie Lang, Lonnie Johnson, Little Hat Jones, the Mississippi Sheiks, and Lightnin' Hopkins. He sang in the free rhythm of work songs, such as the migrant cotton pickers he performed for might have sung, which posed a challenge for those accompanying him. Indeed, his singing is difficult to follow, and on his gramophone records his accompanists can often be heard resetting their watches to 'Alexander Time'.[8] Lonnie Johnson devised free-form guitar melodies in counterpoint to his vocal lines.[8]
In 1939, Alexander allegedly murdered his wife, resulting in a stay in the state penitentiary in Paris, Texas from 1940 to 1945.[6] Research by writer Coy Prather in the Spring 2014 issue of "Texas Music Magazine" revealed that the often printed prison stay by Alexander may be a myth. There are no records of Alexander ever serving a sentence in a Texas prison and in fact there was never a prison in Paris, Texas. Prather believes Alexander may have served time on a county work farm for playing lewd music in public. After that he returned to performing and recording, and Alexander made his last recording in 1950 with Benton's Busy Bees[2] (Leon Benton, guitar and Buster Pickens, piano), before dying at the age of 53 of syphilis in 1954.[9]
Alexander's body is buried in Longstreet Cemetery, Montgomery County, Texas.
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