A remarkable musician (he could play five-string banjo and jug simultaneously),
bridged the gap between early blues and the minstrel and folk styles that preceded it. His band of the '20s and '30s,
, represents the apogee of the jug band style. Songs they recorded, notably the raggy "Walk Right In," were staples of the folk repertoire decades later, and
Self-taught on an instrument made from a frying pan and a raccoon skin, he learned early repertoire in the 1890s from older musicians, notably Mississippian Alec Lee. The early 1900s found him playing around Memphis with songster Jim Jackson
and forming a partnership with Noah Lewis
, whose harmonica wizardry would be basic to the Jug Stompers
' sound. In 1914, Cannon
began work with a succession of medicine shows that would continue into the 1940s, and where he further developed his style and repertoire.
His recording career began with Paramount sessions in 1927. He continued to record into the '30s as a soloist and with his incredible trio, which included Noah Lewis
along with guitarists Hosea Woods or Ashley Thompson
. (Side projects included duets with Blind Blake
and the first ever recordings of slide banjo.) Often obliged to find employment in other fields than music, Cannon
continued to play anyway, mostly around Memphis. He resumed his stalled recording efforts in 1956 with sessions for Folkways. Subsequent sessions paired him with other Memphis survivors like Furry Lewis
. Advancing age curtailed his activities in the '70s, but he still played the occasional cameo, sometimes from a wheelchair, until shortly before his death.