This album is simply amazing and very hard to find in near-pristine condition like this copy.
As many of you may already know, Reverend Gary Davis was one of the major inspirations for--and teacher of--many of the singers and guitar pickers the New York City folk-music revival of the late 1950s and early 1960s. 
Young white folk singers like Dave Von Ronk and Bob Dylan admired and copied his unique finger-picking style. Many folkies did covers of songs he composed as well as some of the traditional gospel and country blues tunes that he brought up to NYC from the Carolinas. 
Let's not forget his partner on this album--Sonny Terry--who was an equally influential and enjoyable originator of many blues harmonica techniques that were widely copied in the 60s.
He taught blues guitar in his apartment in NYC. Von Ronk, David Bromberg, and Bob Weir were among his students.  
Here are some excerpts from an article about Rev. Davis by Ellen Harold and Peter Stone: 

Reverend (Blind) Gary Davis was a powerful gospel and folk blues singer and masterful acoustic guitarist, "truly, one of the supreme talents to emerge from the Piedmont tradition" (Bruce Bastin, Red River Blues: The Blues Tradition in the Southeast [Urbana: University of Illinois Press, 1986, p. 330).

Primarily a street musician, Davis made relatively few recordings in his early career, but his virtuosic finger picking was an important influence on other regional musicians, notably Blind Boy Fuller, the prime exponent of the Piedmont guitar style in the 1930s. In the 1950s and 60s Davis taught — and concertized in New York City, becoming a beloved mentor to urban folk and rock legends Ramblin' Jack Elliot, Dave Van Ronk, and Bob Dylan, to name a few.

Unlike some of his contemporaries, Davis could play in any key. According to Allen Evans, who began studying with Davis when he was sixteen, he was one of the few blue guitar artists to explore minor keys. 

His repertoire comprised Medicine Show tunes, white ballads, military marches, country instrumentals, the emergent ragtime piano, a virtuosic Piedmont (Carolina) blues guitar style, old church hymns, revival meeting and Gospel songs, popular tunes, original compositions based on all the above, and an archaic harmonica style rarely heard elsewhere.

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