Gus Cannon – A Complete Biography

Gus Cannon – A Complete Biography

Introduction

Gustavus Cannon (September 12, 1883 – October 15, 1979), known to many as Banjo Joe, was a pivotal figure in American blues music. Born in Red Banks, Mississippi, his life spanned nearly a century, witnessing and influencing the evolution of blues from its nascent stages to its widespread recognition. Cannon was a multi-instrumentalist, proficient in banjo, jug, and vocals, and his active years stretched from 1898 to 1940, with a significant revival period from 1956 to 1979. His most notable contribution was his role in popularizing jug bands, particularly his own Cannon’s Jug Stompers, which became a prominent force in the 1920s and 1930s. While his tombstone indicates a birth year of 1874, historical records generally point to 1883, highlighting a minor uncertainty in the early details of this influential musician’s life. His enduring legacy lies in his unique sound and his significant impact on the development of American folk and blues music.

Childhood

Gus Cannon’s early life was rooted in the fertile, yet challenging, landscape of the American South. Born on a plantation in Red Banks, Mississippi, his childhood was shaped by the agricultural rhythms of sharecropping, a system that often bound families to the land in cycles of debt and labor. At the tender age of twelve, Cannon’s family relocated a hundred miles to Clarksdale, Mississippi, a town that would later become a legendary hub for blues music. It was during these formative years that Cannon’s innate musical talent began to emerge, remarkably, without formal instruction. He ingeniously crafted his first banjo from a frying pan and a raccoon skin, a testament to his resourcefulness and deep-seated passion for music. This homemade instrument became his earliest companion, allowing him to explore melodies and rhythms that would define his future career. By the age of fifteen, driven by a yearning for independence and perhaps the allure of the open road, Cannon ran away from home, embarking on a journey that would lead him through the heart of the Mississippi Delta and into the annals of blues history.

Youth

Cannon’s youth was a period of intense musical development and exposure to the diverse sounds of the Mississippi Delta. After leaving home at fifteen, he began his career entertaining at sawmills, levee, and railroad camps around the turn of the 20th century. These transient communities provided a rich environment for musical exchange, where he absorbed various styles and techniques. While in Clarksdale, Cannon was significantly influenced by two local musicians: Jim Turner, a fiddle player in W.C. Handy’s band, and Alec Lee, a guitarist. Turner’s fiddle playing inspired Cannon to learn the instrument himself, further broadening his musical horizons. Alec Lee taught Cannon his first folk blues song, “Po’ Boy, Long Ways from Home,” and introduced him to the knife blade slide technique, which Cannon ingeniously adapted to his banjo playing, creating a distinctive sound that would become a hallmark of his style.

Around 1907, Cannon left Clarksdale and settled near Memphis, Tennessee, a city that would become his long-term base. Here, he joined a jug band led by Jim Guffin and began playing with Jim Jackson, another influential Memphis musician. His musical circle expanded further when he met harmonica player Noah Lewis and a young guitarist named Ashley Thompson. The three formed a band, playing at parties and dances, laying the groundwork for what would become Cannon’s Jug Stompers. In 1914, Cannon began touring in medicine shows, a common avenue for musicians to earn a living at the time. Despite his growing musical career, he continued to support his family through various jobs, including sharecropping, ditch digging, and yard work, always supplementing his income with his music. This period of his life was marked by a constant hustle, balancing the demands of family and labor with his unwavering dedication to his craft.

Adulthood

Gus Cannon’s adulthood marked his rise to prominence in the blues scene, particularly with the advent of recording technology. In 1927, he began his recording career as Banjo Joe for Paramount Records, where he was notably backed by the legendary Blind Blake. The success of the Memphis Jug Band’s early records spurred Cannon to form his own jug band, Cannon’s Jug Stompers, featuring the talents of Noah Lewis on harmonica and Ashley Thompson on guitar, who was later replaced by Elijah Avery. The group made their inaugural recordings for Victor Records in January 1928, quickly establishing a unique sound that blended traditional blues with the lively, often humorous, jug band style. Hosea Woods joined the Jug Stompers in the late 1920s, further enriching their sound with his guitar, banjo, and kazoo playing, along with his vocal contributions.

Despite their last recordings being made in 1930, Cannon’s Jug Stompers remained one of Beale Street’s most popular jug bands throughout the 1930s, a testament to their enduring appeal and live performances. By the end of that decade, Cannon had largely retired from active touring, though he continued to perform occasionally as a solo musician. His career experienced a significant resurgence during the blues revival of the 1960s. In 1956, he made new recordings for Folkways Records, and subsequently appeared at colleges and coffee houses alongside other blues luminaries like Furry Lewis and Bukka White. A poignant moment in his later life occurred when he had to pawn his banjo to pay a heating bill, only to see The Rooftop Singers achieve a massive pop hit with his song “Walk Right In” shortly thereafter. This renewed attention led to Cannon recording an album for Stax Records in 1963, where he collaborated with fellow Memphis musicians Will Shade and Milton Roby. Beyond his musical performances, Cannon also made a notable appearance in the 1929 film Hallelujah!, further cementing his place in the cultural landscape of his time.

Major Compositions

Gus Cannon’s musical legacy is rich with compositions that not only defined the jug band sound but also influenced generations of musicians across various genres. His work with Cannon’s Jug Stompers produced several iconic tracks that captured the essence of early blues and folk music. Among their most well-known pieces are “Big Railroad Blues,” a staple of their repertoire, and “Minglewood Blues,” which showcased their distinctive instrumental interplay. Other notable compositions from the Jug Stompers era include “Pig Ankle Strut,” a lively and rhythmic tune, and “White House Station.” Perhaps one of his most enduring compositions is “Walk Right In,” which achieved widespread pop success in the 1960s with The Rooftop Singers’ rendition, and later by Dr. Hook in the 1970s, introducing Cannon’s music to a new, broader audience. “Viola Lee Blues” is another significant piece, later famously covered by The Grateful Dead, highlighting the cross-genre appeal of Cannon’s songwriting. His repertoire also included “Wolf River Blues” and “The Rooster’s Crowing Blues,” which exemplified the relaxed, down-home feel of his band.

During his 1963 recording session for Stax Records, Cannon revisited some traditional songs and also performed his own compositions, offering a glimpse into the breadth of his musical interests. These recordings included tracks like “Kill It,” “Salty Dog,” “Going Around,” “The Mountain,” “Ol’ Hen,” “Gonna Raise a Ruckus Tonight,” “Ain’t Gonna Rain No More,” “Boll-Weevil,” “Come On down to My House,” “Make Me a Pallet on Your Floor,” “Get Up in the Morning Soon,” and “Crawdad Hole.” These songs, along with his own “Walk Right In,” were interspersed with stories and introductions, providing a personal touch to the album. Beyond his own recordings, Cannon’s influence extended to other artists who reinterpreted his work. The Lovin’ Spoonful, for instance, transformed his “Prison Wall Blues” into their hit “Younger Girl,” further demonstrating the timeless quality and adaptability of Gus Cannon’s compositions.

Death

Gus Cannon’s long and impactful life came to an end on October 15, 1979, in Memphis, Tennessee. He was 96 years old at the time of his passing, having lived through nearly a century of profound changes in American society and music. His journey, which began on a plantation in rural Mississippi, concluded in the vibrant musical city where he had spent much of his adult life and made his most significant contributions to the blues. Cannon was laid to rest at Greenview Memorial Gardens in Hernando, Mississippi, a short distance from his birthplace. His passing marked the end of an era, but his music and his pioneering spirit continue to resonate, ensuring his place as a revered figure in the history of American music.

Conclusion

Gustavus Cannon, or Banjo Joe, stands as a towering figure in the pantheon of American blues and folk music. His life, spanning from the late 19th century into the final decades of the 20th, was a testament to resilience, creativity, and an unwavering dedication to his craft. From a self-made banjo crafted from a frying pan and raccoon skin to leading one of the most influential jug bands of his era, Cannon’s journey embodies the spirit of the blues—born from hardship, yet brimming with an infectious joy and an undeniable rhythm. He not only entertained but also innovated, adapting traditional techniques and popularizing a musical form that might otherwise have faded into obscurity.

Cannon’s Jug Stompers, with their distinctive sound and lively performances, left an indelible mark on the musical landscape of Beale Street and beyond. Their recordings, though limited in number, captured a vibrant snapshot of a bygone era, influencing countless musicians who followed. The enduring popularity of songs like “Walk Right In,” even decades after their initial release, speaks volumes about the timeless quality of Cannon’s compositions and his profound impact on American popular music. Despite periods of obscurity and financial struggle, Gus Cannon’s passion for music never waned. His legacy is not just in the notes he played or the songs he wrote, but in the very foundation he helped lay for the blues, ensuring that its unique voice would continue to resonate for generations to come. He remains a vital link in the chain of American musical heritage, a true pioneer whose contributions continue to be celebrated and studied.