Washboard Sam

A popular hokum blues artist,
Washboard Sam recorded hundreds
of records in the late '30s and '40s, usually with singer/guitarist Big Bill
Broonzy.
Out of all the washboard players
of the era, Sam was the most popular, which was
due not only to his to his washboard talent, but also his skills as a
songwriter, as well as his
strong voice. As an accompanist, Washboard Sam not only played with Broonzy, but
also with
bluesmen like Bukka White, Memphis Slim, Willie Lacey, and Jazz Gillum.
Washboard Sam (born
Robert Brown) is the illegitimate son of Frank Broonzy, who also fathered Big
Bill Broonzy. Sam was
raised in Arkansas, working on a farm. He moved to Memphis in the early '20s to
play the blues. While
in Memphis, he met Sleepy John Estes and Hammie Nixon and the trio played street
corners, collecting
tips from passer-bys. In 1932, Washboard Sam moved to Chicago. Initially he played for tips, but soon
he began performing regularly with Big Bill Broonzy. Within a few years, Sam was supporting Broonzy
on the guitarist's Bluebird recordings. Soon, he was supporting a number of different musicians on their
recording sessions, including pianist Memphis Slim, bassist Ransom Knowlin, and a handful
of saxophone players, who all recorded for Bluebird.
In 1935, Washboard Sam began recording for both Bluebird and Vocalion Records, often
supported by Big Bill Broonzy. Throughout the rest of the '30s and the '40s, Sam was one of the
most popular Chicago bluesmen, selling numerous records and playing to packed audiences.
After World War II, his audience
began to shrink, largely because he had difficulty adapting
to the new electric blues. In 1953, Washboard Sam recorded a session for Chess
Records and then
retired. In the early '60s, Willie
Dixon and Memphis Slim tried to persuade Sam to return to the stage
to capitalize on the blues revival. Initially, he refused, but in 1963 began
perfoming concerts in clubs
and coffeehouses in Chicago; he even played a handful of dates in Europe in early 1964.
Washboard Sam made his final recordings for the small Chicago-based label Spivey in 1964.
The following year, his health quickly declined and he stopped recording and playing shows.
In November of 1966, he died of heart disease.