Willie Dixon

Dixon was born in Vicksburg, Mississippi, on July 1, 1915.[1] He was one of fourteen children.[4] His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four[5] Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned how to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC.[6] He began adapting his poems into songs and even sold some to local music groups.

Dixon left Mississippi for Chicago in 1936.[4] A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937.[7] He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money.

Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously.[8] Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar.[5] He also learned to play the guitar.

In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months.[1] He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent.[9] After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio,[4] which went on to record for Columbia Records.

Dixon (right), with his friend Joe Louis Walker

Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy.[10] He later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others.[11]

Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others.

In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster".[12] In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones.

In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music.[13]

In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love".[14]

Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated.[1]

Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony.[15] In 1989 he received a Grammy Award for his album Hidden Charms.[16]

Dixon died of heart failure on January 29, 1992, in Burbank, California,[1] and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records.[17] Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994.[18] On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame.[19]

In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg.[20]

The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records.[21][22]

On June 25, 2019, The New York Times Magazine listed Willie Dixon among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[23]

In addition to songwriting, arranging, and producing, Dixon also contributed to recording sessions on double bass.[1] However, as electric bass became dominant in the 1960s, his role as a sideman declined.[1] Albums which contain some songs he recorded (along with other bassists) include:

Chuck Berry

• After School Session (Chess, 1957)
• One Dozen Berrys (Chess, 1958)
• Chuck Berry Is on Top (Chess, 1959)
• Rockin' at the Hops (Chess, 1960)
• St. Louis to Liverpool (Chess, 1964)

Bo Diddley

• Bo Diddley (Chess, 1958)
• Go Bo Diddley (Checker, 1959)
• Have Guitar Will Travel (Checker, 1960)
• Bo Diddley Is a Gunslinger (Checker, 1960)
• Bo Diddley (Checker, 1962)
• His Best (Chess/MCA, 1997)

Fleetwood Mac with Otis Spann, Buddy Guy, et al.

• Fleetwood Mac in Chicago (Blue Horizon, 1969)

Howlin' Wolf

• Moanin' in the Moonlight (Chess, 1959)
• Howlin' Wolf (Chess, 1962)
• The Real Folk Blues (Chess, 1956-64 [1965])
• More Real Folk Blues (Chess, 1953-56 [1967])
• His Best (Chess/MCA, 1997)

Sam Lazar

• Space Flight (Argo, 1960)

Little Walter

• Best of Little Walter (Chess, 1958)
• His Best (Chess/MCA, 1997)

Jimmy Rogers

• Jimmy Rogers (Chess, 1984)

Johnny Shines

• Last Night's Dream (Warner Bros. Records, 1968)

Muddy Waters

• The Best of Muddy Waters (Chess, 1958)
• Folk Singer (Chess, 1964)
• The Anthology: 1947–1972 (Chess/MCA, 2001)

Sonny Boy Williamson II

• Down and Out Blues (Checker, 1959)
• The Real Folk Blues (Chess, 1947-64 [1966])
• His Best (Chess/MCA, 1997)