J. B. Hutto – A Complete Biography
Introduction
Joseph Benjamin Hutto, universally known as J.B. Hutto, stands as a towering figure in the annals of American blues music. Born in the heart of the South, Hutto carved out a distinctive niche with his raw, electrifying slide guitar work and a vocal style that was as uncompromising as his playing. His music, deeply rooted in the Chicago blues tradition, resonated with an authenticity that set him apart. Hutto’s influence extended beyond his own recordings, inspiring a new generation of blues artists, most notably his nephew, Lil’ Ed Williams. His significant contributions to the genre were formally recognized with his induction into the Blues Hall of Fame, cementing his legacy as a true master of the blues. This biography delves into the life and career of J.B. Hutto, exploring the journey of a musician who lived and breathed the blues, leaving an indelible mark on its rich tapestry.
Childhood
Joseph Benjamin Hutto was born on April 26, 1926, in Blackville, South Carolina, a small town that would serve as the initial backdrop to his formative years. He was the fifth of seven children in the Hutto family. When J.B. was just three years old, his family relocated to Augusta, Georgia, a move that would expose him to a richer musical environment. His father, Calvin Hutto, was a preacher, and the family was deeply involved in their local church. This upbringing instilled in young J.B. a strong connection to gospel music. Along with his three brothers and three sisters, he formed a family gospel group known as The Golden Crowns. This early musical endeavor saw them performing regularly in local churches, laying the groundwork for J.B.
Youth
The Hutto family’s life took a significant turn in 1949 when J.B.’s father, Calvin, passed away. Following this loss, the family made another pivotal move, relocating to Chicago, Illinois. This urban environment, a burgeoning hub for blues music, would profoundly influence J.B.’s musical direction. In the early 1950s, during the Korean War, Hutto was drafted into the U.S. Army, serving as a truck driver in combat zones. This period of military service, while not directly musical, undoubtedly contributed to the raw, unvarnished quality that would later define his blues style. Upon his return from the war, Hutto immersed himself in the vibrant Chicago music scene, marking the true beginning of his professional musical journey.
Adulthood
Upon his return to Chicago, J.B. Hutto initially explored various instruments, trying his hand at drums with Johnny Ferguson and his Twisters, and even piano, before ultimately finding his true calling with the guitar. He honed his craft by playing on the streets and in small clubs, often alongside musicians like percussionist Eddie “Porkchop” Hines and second guitarist Joe Custom. It was during this period that Hutto began to assemble his own band, The Hawks, named after Chicago’s notorious winds. The lineup solidified with the addition of harmonica player Earring George Mayweather and, for some sessions, pianist Johnny Jones. In 1954, The Hawks made their recording debut, releasing their first singles on the Chance Records label.
However, the music business proved to be a challenging and at times disheartening endeavor for Hutto. In the late 1950s, after an incident where a woman reportedly broke his guitar over her husband’s head in a club, Hutto became deeply disillusioned. He made the drastic decision to step away from music entirely, embarking on an eleven-year hiatus during which he worked as a janitor in a funeral home to support himself. This period of absence from the music scene only deepened his resolve and refined his unique approach to the blues.
In the mid-1960s, Hutto made a triumphant return to music, forming a new iteration of The Hawks with bass player Herman Hassell and drummer Frank Kirkland. This revamped group quickly re-established Hutto’s presence in the blues world, recording for prestigious labels such as Vanguard (contributing to the compilation album Chicago/The Blues/Today! Vol. 1), Testament, and Delmark. His 1968 Delmark album, Hawk Squat!, featuring the talents of Sunnyland Slim on organ and piano and Maurice McIntyre on tenor saxophone, is widely regarded as a seminal work in his discography, showcasing his raw energy and distinctive slide guitar.
Following the death of his friend and fellow bluesman Hound Dog Taylor in 1975, Hutto briefly took over the leadership of Taylor’s band, The Houserockers, carrying on their hard-driving blues tradition. However, this arrangement was short-lived. In the late 1970s, Hutto moved to Boston, a change of scenery that marked another significant chapter in his career. There, he formed The New Hawks, a band that would help him achieve broader recognition and success. With The New Hawks, Hutto recorded several albums for the Varrick label, further solidifying his reputation as a powerful and uncompromising blues artist. His relentless touring and recording during this period cemented his status as a beloved figure in the blues community, known for his electrifying live performances and his unwavering dedication to his craft.
Major Compositions
J.B. Hutto’s discography, though not as extensive as some of his contemporaries, is marked by several pivotal recordings that showcase his unique style and enduring impact on the blues. His albums are celebrated for their raw energy, distinctive slide guitar, and Hutto’s powerful, declamatory vocals.
One of his most significant works is the 1968 Delmark album, Hawk Squat!. This album is often cited as a landmark in his career, featuring collaborations with blues luminaries such as Sunnyland Slim on organ and piano, and Maurice McIntyre on tenor saxophone. Hawk Squat! captured Hutto at the peak of his powers, delivering a potent blend of traditional Chicago blues with his characteristic aggressive slide guitar. Tracks from this album exemplify his ability to infuse classic blues structures with a fierce, unbridled intensity.
Another iconic album in Hutto’s catalog is Slidewinder, released in 1973. This record is particularly notable for its cover, which famously features Hutto with his distinctive red Montgomery Ward Res-O-Glas Airline guitar. This guitar would become almost synonymous with his image, and Slidewinder further cemented his reputation as a master of the slide. The album continued to explore his signature sound, offering a collection of tracks that highlighted his prowess and unique approach to the instrument.
Hutto’s final studio album, Slippin’ & Slidin’, released in 1983, is frequently hailed as a near-perfect culmination of his artistic journey. Later reissued as Rock With Me Tonight, this album showcased Hutto’s continued vitality and creative force even in his later years. It is a testament to his unwavering dedication to the blues, delivering a powerful and emotionally charged performance that resonated deeply with critics and fans alike. The album stands as a poignant final statement from a blues legend.
Beyond these seminal works, Hutto’s discography includes other notable contributions such as Masters of Modern Blues (1967), which further established his presence in the blues revival of the 1960s. His recordings with The New Hawks in the late 1970s and early 1980s, released on the Varrick label, also contributed significantly to his legacy, bringing his uncompromising blues to a wider audience and demonstrating his adaptability while staying true to his roots. These albums collectively paint a picture of an artist who, despite facing periods of disillusionment and hiatus, consistently returned to deliver authentic, powerful blues music that continues to inspire and captivate.
Death
In the early 1980s, J.B. Hutto returned to Illinois, the state where much of his significant musical career had unfolded. It was during this period that he received a diagnosis of cancer, a battle he would ultimately lose. Joseph Benjamin Hutto passed away on June 12, 1983, in Harvey, Illinois, at the age of 57. His death marked the end of an era for many blues enthusiasts, who had come to admire his raw talent and unwavering dedication to the genre. He was laid to rest at Restvale Cemetery in Alsip, Illinois, a place that holds the remains of many other blues legends. Though his life was cut short, Hutto’s impact on the blues community was profound and lasting, a testament to the power and authenticity of his music.
Conclusion
J.B. Hutto’s journey from the gospel groups of his youth in the American South to the smoky blues clubs of Chicago and beyond is a testament to his enduring spirit and unyielding commitment to the blues. His raw, hard-edged style, characterized by his distinctive slide guitar and powerful, declamatory vocals, carved out a unique and influential space within the genre. Hutto never compromised his sound for wider commercial appeal, playing with an intensity and authenticity that earned him the respect of peers and fans alike. His legacy lives on not only through his seminal recordings, such as Hawk Squat! and Slippin’ & Slidin’, but also through the continued musical contributions of his nephew, Lil’ Ed Williams, who carries forward the family’s blues tradition.
The image of J.B. Hutto with his red Montgomery Ward Res-O-Glas Airline guitar remains an iconic symbol of his uncompromising approach to the blues. He was a musician who played from the gut, pouring his life experiences into every note and lyric. His induction into the Blues Hall of Fame stands as a fitting tribute to a man who, despite periods of hardship and disillusionment, consistently delivered a blues that was as real and powerful as the Chicago winds he once named his band after. J.B. Hutto’s impact on the blues genre is undeniable, and his music continues to resonate, reminding us of the enduring power and emotional depth of true American blues.
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