John Brim

John Brim (April 10, 1922 – October 1, 2003) was an American Chicago blues guitarist, songwriter and singer. Brim picked up his early guitar licks from the gramophone records of Tampa Red and Big Bill Broonzy, before venturing first to Indianapolis in 1941 and Chicago four years later. He met his wife Grace in 1947; fortuitously, she was a capable drummer and harmonica player who played on several of Brim's records. She was also the vocalist on a 1950 single for the Detroit-based Fortune Records, that signaled the beginning of Brim's discography.

Brim recorded for Random Records, J.O.B. Records, Parrot Records (the socially aware "Tough Times"), and Checker Records ("Rattlesnake," his answer to Big Mama Thornton's "Hound Dog" was pulled from the shelves by Chess for fear of a plagiarism lawsuit). All of his 1950s recordings for the Chess brothers were later included on the compilation LP/CD "Whose Muddy Shoes" (which also included the few recordings Elmore James made for Chess and Checker; because they share this LP/CD, it has sometimes been assumed that they performed or recorded together, but this is not the case.) On some tracks Little Walter played the harmonica, whilst Jimmy Reed, Snooky Pryor, or James Dalton were also featured blowing the harp. Cut in 1953, the suggestive "Ice Cream Man" had to wait until 1969 to enjoy a very belated release. Brim's last Chess single, "I Would Hate to See You Go," was waxed in 1956 with a combo consisting of Little Walter, guitarist Robert Lockwood, Jr., bassist Willie Dixon, and drummer Fred Below.

In between touring, Brim operated dry-cleaning businesses and a record store. When the royalties from Van Halen’s recording of "Ice Cream Man" came through, they enabled him to open John Brim’s House of the Blues Broadway Nite Club in Chicago.

Brim continued to perform occasionally around Chicago, and was a regularly featured performer on the Chicago Blues Festival beginning in 1991, when he was backed by the local Chicago blues band The Ice Cream Men (drummer Steve Cushing, guitarists Dave Waldman and "Rockin'" Johnny Burgin, and harmonica player Scott Dirks; the band name was coincidental - they were not Brim's regular band, but had been using that name because the members had previously worked with Chicago bluesman Otis "Big Smokey" Smothers, who worked as an ice cream man on Chicago's south side.)

He was tempted back into the recording studio again in 1989 to record four songs for the German Wolf label, and renewed interest in him finally led to his recording his first solo CD, Ice Cream Man, for Tone Cool Records in 1994. It received a W. C. Handy nomination as the best Traditional Blues Album of the Year.

Brim also appeared at the 1997 San Francisco Blues Festival.

He recorded again in 2000, 50 years after his recording debut, and continued to tour, playing in Belgium in 2001. One of his final appearances was at the 2002 Chicago Blues Festival.

Brim, who lived in Gary, Indiana remained active on the Chicago blues scene until his death, on 1 October 2003 at the age of 81.

"Baby Face" Leroy Foster

"Baby Face" Leroy Foster (February 1, 1923 - May 26, 1958) was an American blues singer, drummer and guitarist, active in Chicago from the mid 1940s until the late 1950s. He was a significant figure in the development of the post-war electric Chicago blues sound, most notably as a member of the Muddy Waters band during its formative years

Foster was born in Algoma, Mississippi, United States. He moved to Chicago in the mid 1940s, and by 1946 was working with pianist Sunnyland Slim and harmonica player John Lee "Sonny Boy" Williamson. He was introduced to singer and guitarist Muddy Waters by an acquaintance Waters met at a recording session in 1946, and was soon playing guitar and drums in Waters’ band, along with guitar and harmonica player Jimmy Rogers, with the band later joined by Little Walter on harmonica. Calling themselves the Headhunters, the trio were known for going from club to club and “cutting” (i.e. engaging in musical duels with) other bands.]

Foster’s first recordings were made with pianist Lee Brown in 1945 for J. Mayo Williams' Chicago label. In 1946, he appeared on another session with Lee Brown and recorded with James "Beale Street" Clark for Columbia. He also accompanied Sunnyland Slim on a 1947 or 1948 session for the Opera label. Further recordings followed, both under his own name and backing Sunnyland Slim, Muddy Waters, Little Walter and pianist Johnny Jones, before his most notable session, for the Parkway label in 1950.

This session featured the personnel of Muddy Waters' band of the time: Foster, Waters, Little Walter and (on two tracks only, since he was late for the session), Jimmy Rogers. Four singles were released from the session, two by Foster and two by Little Walter. One of the singles, the two-part "Rollin' and Tumblin'" was notable enough to be reviewed, unusually for a down home blues release, by Edward Myers in the Chicago Defender. The track featured only Foster’s drumming and singing, Walter’s harmonica and Waters’ slide guitar, with hummed ensemble vocals on one side. Unfortunately, Waters’ guitar playing and backup singing were distinctive enough for it to come to the attention of Leonard Chess of Chess Records, who had Waters under an exclusive recording contract. As a result, Waters was made to record his own version of the song for the larger Chess label in order to "kill" the Parkway recording.

After the Parkway session, Foster left Waters’ band, possibly in the hope of a solo career resulting from the releases on Parkway, but unfortunately the label soon folded. Afterwards, Foster recorded a further three sessions under his own name for the JOB label between 1950 and 1953, but died from a heart attack, possibly as a result of alcoholism, at the age of 35 in 1958.

Foster sang in a style influenced by Sonny Boy Williamson and Dr. Clayton, and while he played guitar and drums competently, the talents for which he was popular have been described as “drinking, singing and clowning”