Sunday, 23 April 2017

John Hardee - Bad Man's Blues



Side 1:
01. Tiny's Boogie Woogie - Tiny Grimes' Swingtet
02. Hardee's Partee - John Hardee's Swingtet
03. Idaho - John Hardee's Swingtet
04. Tired - John Hardee's Swingtet
05. River Edge Rock - John Hardee's Swingtet
06. Bad Man's Bounce - John Hardee Quintet
07. Baby Watch That Stuff - John Hardee Quintet

Side 2:
01. Lunatic - John Hardee Quintet
02. Can't Help Loving That Man - John Hardee Quintet
03. Profoundly Blue - Tiny Grimes Quintet
04. Boogie Woogie Barbecue - Tiny Grimes Quintet
05. That Old Black Magic - Tiny Grimes Quintet
06. Blue Harlem - Tiny Grimes Quintet

Download from here:


Our little tribute to the Saxophonograph label (Saxophony!) continues with a homemade comp of Texas tenor man John Hardee who was an important part of the New York recording scene of the mid to late 1940s. He is often referred to as the "forgotten" tenor sax man, mainly because his career as a full time professional musician was short when compared to those of many of his contemporaries. This was not due to any lack of ability. In fact as you will hear, he was an outstanding musician whose tough tenor work was often highly praised. The reason for the brevity of his recording career was that he left New York some time in the early 1950s to take up a career as a music teacher in Texas.

John Hardee was born in Corsicana, Texas, in December 1918. He came from a musical family and while still living at home he played for local group Dan Carter's Blue Moon Syncopators. He enrolled as a music student at Bishop College in Marshall, Texas, but gave up his studies temporarily to tour with one of the major Texas territory bands, the San Antonio based Don Albert Band which at one time billed itself as "America's Greatest Swing Band." John joined in 1938, replacing Jimmy Forrest as a featured tenor sax player. In the summer of 1939 John left the band to resume his studies at Bishop, graduating in 1941.

During his military service (1941 - 1944) John was stationed at Nyack, New York, on the Hudson River, and during this time started to participate in jam sessions at Minton's in Harlem and at clubs on 52nd Street. On his discharge he and his wife set up home in Harlem and John's musical career soon took off. He is always associated with guitarist Tiny Grimes, with whom he recorded for Blue Note and Atlantic in 1946 and 1947 but he played on quite a few New York recording sessions for various important artists in the years 1946 - 1950.

His first recording session may have been for the Signature label with Dickie Thompson and his Blue Five some time in late 1945 (or perhaps 1946). This was the same Dickie Thompson who later recorded the original "Thirteen Women And One Man" which Bill Haley memorably revived. The two singles which resulted from the session, "Hand In Hand Blues" / "Tailor Made Gal" and "Swing Song" / "Stardust" weren't released until August 1946 and July 1947 respectively.

John's spell with Tiny Grimes on Blue Note kicked off in February 1946 with a John Hardee Swingtet session (with Tiny featured on guitar) which produced two singles, "Tired" / "Blue Skies" and "Idaho" / "Hardee's Partee". The latter single was outstanding with Jesse Stone's "Idaho" being given the full treatment by the guitar / sax duo of John and Tiny. John's own composition "Hardee's Partee" was a terrific mood piece.

On May 31st the John Hardee Swingtet recorded again for Blue Note ("River Edge Rock", "What Is This Thing Called Love?" inter alia) but this time without Tiny Grimes. The two were reunited at Blue Note on August 14th 1946 at a Tiny Grimes Swingtet session which resulted in "C Jam Blues"/ "Tiny's Boogie Woogie" and a frantic two part version of "Flying Home."

In August 1946 Blue Note released an album of three John Hardee 78 rpm singles called "John Hardee Tenor Sax" (BN 101). The album consisted of "Idaho" / "Hardee's Partee," "What Is This Thing Called Love" / "Nervous From The Service," "River Edge Rock" / "Sweet And Lovely."

Cover shot from Discogs.com
In the meantime John was also featured on several Earl Bostic sessions for Gotham. In March 1946 the Bostic band, with Cousin Joe on vocals on some tracks, recorded several sides, including a powerful version of "That's The Groovy Thing." John was on further Bostic sessions with Cousin Joe in May and August with the resulting product being released either as by Cousin Joe, or in the case of several sacred sides (the August session), as by "Brother Joshua."

John played on two sessions for the "Hot Record Society", one in September 1946 as part of a group led by Billy Kyle, Billy Kyle's Big Eight which included Buddy Rich on drums, and later in the year for a group led by Russell Procope. On October 25th the Tiny Grimes Swingtet (including John Hardee) backed blues shouter Gatemouth Moore at a session for National with "Love Doctor Blues" being the outstanding track.

Another Tiny Grimes Swingtet backing session featuring Hardee, this time on Signature for shouter Walter Brown (late 1946 or early 1947), had a rather controversial outcome when a cover version of "Open The Door Richard" was withdrawn from sale by the record company because of allegedly blue lyrics. The story was reported in "Billboard" on 8th March 1947 with Signature prexy Bob Thiels being quoted as saying that he couldn't estimate the loss involved in view of the pressings already sold.

On April 2nd 1947 John played in Buck Clayton's Orchestra which backed Helen Humes on a session for Mercury. "Jet Propelled Papa," "Blue And Sentimental," "I Just Refuse To Sing The Blues" and "They Raided The Joint" were the resultant meisterwerks. In October he played on a Dan Burley and his Skiffle Boys session for Arkey - "Chicken Shack Shuffle" and "Skiffle Blues" were perhaps less than masterpieces, but John's contribution did somehow fit into the deliberately primitive (not to say archaic) goings on. We should pause briefly to note that activist, writer and entertainer Dan Burley wrote "The Harlem Hand Book Of Jive."

The John Hardee Quintet recorded a good session for Savoy in November 1947. "Baby Watch That Stuff" featured a Hardee vocal which was relaxed and pleasant. Two singles came from the session - "Baby Watch That Stuff" / "Bad Man's Bounce" (issued on Regent) and "Lunatic" / "Can't Help Loving That Man."

As 1947 drew to a close and the AFM recording ban loomed ever closer, the Tiny Grimes Quintet, complete with John Hardee, recorded four sides for new kid on the block Atlantic Records. The first single from the 29th December session was "Boogie Woogie Barbecue" backed with a revival of "Blue Harlem," the classic track that Tiny had recorded with Ike Quebec for Blue Note back in 1944. The follow up single was "Profoundly Blue" backed with a particularly rousing Hardee performance on "That Old Black Magic." Both "Blue Harlem" and "That Old Black Magic" sold reasonably well and helped Tiny Grimes to be numbered 47th best selling R&B artist in 1948.

When the Tiny Grimes Quintet returned to the studio in May 1948, John Hardee was no longer the featured tenor sax man as his place had been taken by Red Prysock. John featured in only two recording sessions in 1948. The first (in August or October) was a Clyde Bernhardt session for Savoy which produced one single - "Pretty Mama Blues" / "My Heart Belongs To Daddy." However the second session was a John Hardee Quartet session for Sittin' In With with two singles resulting - "Prelude To A Kiss" / "Bop In B Flat" (credited to The Four Bops) and "Man With A Horn" / "Cobblestones."

These were the last singles released under John Hardee's name. His recording activity was winding down and it is possible that he had moved back to Texas before the 1940s were out. In 1949 he was on one session for the Billy Taylor Quintet on Savoy. These were unusual recordings for the time as they featured both piano and organ. Recorded on November 20th 1949, the four sides remained unreleased for many years but two of them ("Misty Blues" and "Take The A Train") emerged decades later on a Savoy 2LP set, both credited to John Hardee.

In 1950 John was on two sessions for King Records. On September 12th he joined a small group of musicians from the Erskine Hawkins band to back singer Jimmie Mitchell. Other musicians present included Bobby Smith, Haywood Henry, Julian Dash, Rene Hall and Sonny Payne. On October 18th John took part in another King session, this time playing in the Lucky Millinder Orchestra backing Wynonie Harris. Two classic Wynonie sides resulted from the session - "Oh Babe!" and "Teardrops From My Eyes." Another product of the session was the famously risque Lucky Millinder track "Silent George" memorably hollered by Myra Johnson.

It is likely that John's last session in the 1940s / 1950s era was a reunion with Tiny Grimes for Gotham, either in late 1950 or 1951. By now the Grimes group was billed as Tiny Grimes and his Rocking Highlanders, complete with cod Highland dress - kilts, Tam O' Shanters and Prince Charlie jackets. One hopes that John Hardee was not required to appear in that get-up. Singles resulting from the session were - "Hawaiian Boogie" / "My Baby's Cool," ""Rockin' And Sockin'," / Howling Blues," and "St Louis Blues" / "1626 Blues."

And that was almost the end of John Hardee's recording career. He moved back to Texas at some point in the late '40s or early '50s and took up a teaching post in Wichita Falls. In 1955 he moved to Dallas where he taught at Oliver Wendell Holmes High School until his retirement in 1976. He continued to play locally as a reminiscence in a YouTube comment vividly describes.

In 1975 he played at the Nice Jazz Festival in France and recorded an LP, "A Little Blue" for the French Black & Blue label on the 26th July 1975 in Antibes.

John Hardee passed away in Dallas on the 18th of May, 1984.



The tracks on "Bad Man's Blues" -

"Tiny's Boogie Woogie" was recorded in New York City on August 14th, 1946. Personnel: Trummy Young (trombone); John Hardee (tenor sax); Marlowe Morris (piano); Tiny Grimes (guitar); Jimmy
Butts (bass); Eddie Nicholson (drums).

released on Blue Note 525 b/w "C Jam Blues" by Tiny Grimes' Swingtet  in November 1946.

"Hardee's Partee," "Idaho," and "Tired" were recorded in NYC on 28th February 1946. Personnel: John Hardee (tenor sax); Sammy Benskin (piano); Tiny Grimes (guitar); John Simmons (bass); Sidney Catlett (drums).

"River Edge Rock" was recorded in NYC on 31st May 1946. Personnel: John Hardee (tenor sax); Bill Bivens (vibraphone); Sammy Benskin (piano); Jimmy Shirley (guitar); Gene Ramey (bass); Sidney Catlett (drums).

"Tired" / "Blues Skies" by John Hardee's Swingtet released on Blue Note 513 in July 1946.

"Idaho" / "Hardee's Partee" by John Hardee's Swingtet released on Blue Note 514 and on Blue Note album BN-101 (John Hardee Tenor Sax) in August 1946.

"River Edge Rock" / "Sweet And Lovely" by John Hardee's Swingtet released on Blue Note 521 and on Blue Note album BN-101 (John Hardee Tenor Sax) in August 1946.

"Bad Man's Bounce," Baby Watch That Stuff," "Lunatic," and "Can't Help Loving That Man" recorded in NYC in November 1947. Personnel: Ludwig Joe Jordan (trumpet); John Hardee (tenor sax,vocal); Billy Kyle (piano); John Simmons (bass); Cozy Cole (drums).

"Baby Watch That Stuff" / "Bad Man's Bounce" by the John Hardee Quintet released on Regent 121 in July 1948.

"Lunatic" / "Can't Help Loving That Man" by the John Hardee Quintet released on Savoy 703 in August 1949.

"Profoundly Blue," "Boogie Woogie Barbecue," "That Old Black Magic," and "Blue Harlem" were recorded in NYC on the 29th December 1947. Personnel: John Hardee (tenor sax); George Kelly (piano, celeste); Tiny Grimes (guitar); Lucille Dixon (bass); Sonny Payne (drums).

"Boogie Woogie Barbecue" / "Blue Harlem" by the Tiny Grimes Quintet released on Atlantic 854 in February 1948.

"Profoundly Blue" / "That Old Black Magic" by the Tiny Grimes Quintet released on Atlantic 858 in June 1948.

Sources:

Bruyninckx Discography; Big Band Jazz - Albert McCarthy; Texas State Historical Association; Billboard magazine.

Tuesday, 18 April 2017

King Porter - Special Request (re-up)


































































Side 1:
01. Russel St Hussel
02. Porter's Ball
03. Shuffling Boogie
04. Russell Street Hustle
05. King Porter Special
06. Bar Fly
07. Come On In
08. Battle Ax

Side 2:
01. Charlie The Boogie Man
02. Bumps Boogie
03. Hey Little Brownie
04. Should Have Rationed Myself
05. Chidtlin' Ball
06. Don't Let Fletcher Getcha
07. Special Request
08. I've Tried

Download from here:

http://www22.zippyshare.com/v/USk0eJuE/file.html

A re-up (with new cover and label scans) for a fine set of swingin' jump blues. Unusually, this compilation features sides by two completely different artists using the same moniker - "King Porter."

Side 1 features the Detroit based King Porter who was trumpeter James Poe. The two earliest sides, "Russel St. Hussel" and "Porter's Ball" (released in June / July 1948) are rumoured to have Paul Williams present on alto sax, but his name isn't among the musicians named on the label of the release.

Wild Bill Moore is very much present on the remaining Detroit sides. "King Porter Special" / "Shuffling Boogie" (King 4267 - released in February / March 1949) and "Russel St. Hustle" / "Bar Fly" (King 4295 - probably released June / July 1949) were possibly recorded for the local JVB label but sold on to King for release. The Detroit group recorded for King in Cincinnati on June 7th 1949, with one single, "Battle Ax" / "Come On In" being released on King 4333 in January 1950.

Meanwhile in California another King Porter band, led by trumpeter Vernon, "Jake" Porter (who would found the Combo label in the early '50s) was recording for Imperial and this outfit is featured on Side 2. Among the musicians were Marshall Royal, Gene Porter, Gene Philllips, and Bumps Myers. They were part of a group of musicians who recorded for several record companies under various identities, i.e as Gene Phillips and His Rhythm Aces for Modern, and on Imperial as Lloyd Glenn and His Joymakers or King Porter.

The final two tracks in the compilation are a bit of a puzzle. "I've Tried" / "Special Request" was released on West Coast label 4 Star in October 1952, but it's uncertain which of the two combos recorded these sides, or perhaps it was a third outfit using the King Porter name.

It's all good, clean jumpin' and jivin' fun!

Saturday, 15 April 2017

After Hours (King LP 528) - re-up



































































Side 1:
01. Long Gone Part 1 - Sonny Thompson
02. Long Gone Part 2 - Sonny Thompson
03. After Hours - Ace Harris
04. Midnight To Dawn - Earl Bostic
05. What's New - Bill Jennings
06. Ooh Midnight - Pete "Guitar" Lewis

Side 2:
01. After Hours - Jimmy Nolen
02. Eventide - Bill Doggett
03. Blues For The Red Boy - Todd Rhodes
04. Mellow Blues Part 1 - Sonny Thompson
05. Mellow Blues Part 2 - Sonny Thompson
06. In The Morning - Washboard Bill

Download from here:

http://www20.zippyshare.com/v/rgnn3mvR/file.html

Originally posted on March 11th, 2008:

http://bebopwinorip.blogspot.co.uk/2008/03/after-hours-king-528_246.html

New cover scans and label shots have been added. The original back cover managed to attribute all four artist photos wrongly, so in the new version I have moved the photos around to match the names. The original back cover scan is included in the download for completists.

This LP was first issued in late 1956 with subsequent reissues appearing in the late 1950s and early 1960s as this collection was a fairly good seller for King. The copy on this post is a 1987 reissue. The music can be summed up as late night blues smooch with a hint of sleaze. Terrific stuff!

You'll find a little "Easter Egg" in the download. Happy listening!

Diggin' deeper:

"Long Gone, Parts 1 & 2" by Sonny Thompson - originally released on Miracle 126 in April 1948. Recorded in Chicago in late 1947. Personnel: Sonny Thompson with the Sharps and Flats : Eddie Chamblee (tenor sax - Part 2); Sonny Thompson (piano); Alvin Garrett (guitar); Leroy Morrison (bass); Thurman "Red Cooper (drums).

"After Hours" by Ace Harris - originally released on Hub 3019 in May 1946. B Side of "Shorty's Got To Go." Recorded in NYC on unknown date in 1946. Ace Harris (piano) and Eddie "Lockjaw" Davis (tenor sax), other personnel unknown. Also included on King EP 344 "After Hours with Ace Harris."

King EP from 1955 - scan from 45worlds.com
"Midnight To Dawn" by Earl Bostic - originally released on King 4302 in June 1949 as "From Midnight To Dawn." Recorded in Cincinnati on January 12th 1949. Personnel: Roger Jones (trumpet); Earl Bostic (alto sax); Count Hastings (tenor sax); John Byard (piano); Vernon King (bass); Shep Shepherd (drums).

"What's New" by Bill Jennings - originally released on King 4735 in August 1954. The Bill Jennings Quartet - "Soft Winds" / "What's New?" Recorded in Cincinnati on July 8th 1954. Personnel - Andrew Johnson (piano); Bill Jennings (guitar); Joe Williams (bass); George De Hart (drums).

"Ooh Midnight" by Pete "Guitar" Lewis - originally released on Federal 12103 in October 1952. B Side of "Scratchin'." Recorded in Los Angeles on August 28th 1952. Personnel: Pete "Guitar" Lewis (guitar) with Don Johnson (trumpet); George Washington (trombone); James Von Streeter (tenor sax), Fred Ford (baritone sax); Johnny Otis (vibes); Devonia Williams (piano); Albert Winston (bass); Leard Bell (drums); Little Esther Phillips (orgiastic moaning).

"After Hours" by Jimmy Nolen - originally released on Federal 12252 in January 1956. B Side of "Strollin' With Nolen." Recorded in Los Angeles in November 1955. Personnel: Jimmy Nolen (guitar); Eldee Williams (tenor sax); Kenny Battle (baritone sax); Clarence "Bubber" Cyphers (piano); Johnny House (bass); Earl Hyde (drums).

"Eventide" by Bill Doggett - originally released on King 4690 in January 1954. B Side of "And The Angels Sing." Recorded in Cincinnati on 15th December 1953. Personnel: Percy France (tenor sax); Bill Doggett (organ); Jerry Lane (guitar); Clarence Mack (bass); Shep Shepherd (drums).

"Blues For The Red Boy" by Todd Rhodes - originally released on King 4240 in August 1948. B side of "Sportree's Jump," however "Blues For The Red Boy" was the  major hit. Recorded in Chicago in October 1947. Personnel: Howard Thompson (trumpet); Hallie (Holley) Dismukes (alto sax); Louis Barnett (tenor sax); George Favors (baritone sax); Todd Rhodes (piano); Joe Williams (bass) Huestell Tally (drums).

The Todd Rhodes Band in 1947
"Mellow Blues, Parts 1 & 2" by Sonny Thompson - originally released on King 4488 in January 1952. Recorded in New York on 9th April 1951. Personnel: Robert Hadley (tenor sax); Sonny Thompson (piano); Hurley Ramey (guitar); Carl Pruitt (bass); Harold Austin (drums).

"In The Morning" by Washboard Bill - originally released on King 4983 in November 1956, b/w "River Boat Dock." Recorded in New York in 1956(?). Personnel - William E. Cooke aka "Washboard Bill" aka "Hobo Bill" (washboard, vocals); Mickey Baker (guitar); King Curtis (tenor sax); possibly also: Herman Foster (piano), Lloyd Trotman (bass), Joe Marshall or Panama Francis (drums).

Mo' jump 'n' jive re-ups comin' soon - all the way from Detroit and LA. Take me home, mama!

Friday, 14 April 2017

Sonny Thompson - Cat On The Keys (re-up)


































































Side One:
01. Cat On The Keys pt 1
02. Cat On The Keys pt 2
03. Sugar Cane
04. Clang Clang Clang
05. Mellow Blues pt 1
06. Mellow Blues pt 2
07. Single Shot
08. Cotton Ball pt 2

Side Two:
01. Let's Move
02. Real Real Fine pt 2
03. Gum Shoe
04. Blues Mambo
05. Long Gone pt 2
06. Frog Legs
07. Down In The Dumps
08. Behind The Sun pt 2

Download from here:

http://www59.zippyshare.com/v/7FYzPIbB/file.html

Follow the link below to the original post full of arcane knowledge, out of date purchase recommendations, and unfounded opinions. Read, learn off by heart, and become irresistible to members of the opposite sex:

http://bebopwinorip.blogspot.co.uk/2007/09/sonny-thompson-cat-on-keys_5464.html

This LP was originally posted in September, 2007 but the post was rewritten some years later. For this re-up I have included new cover scans as the original scans dated from a time when I hadn't quite mastered the art of scanning a 12" LP sleeve. The volume on the tracks has been boosted using MP3Gain. The re-up also includes a folder of EP cover scans and 45 rpm single label shots from Joan K.

As for the music, this is one hell of a collection of dynamite R&B instrumentals. Satisfaction guaranteed!

Click on these links for more Sonny Thompson on Be Bop Wino, courtesy of El Enmascarado and his collection of 78s:

Late Freight / Sonny's Return (featuring Eddie Chamblee)

Cotton Ball Parts 1 and 2

Backyard Affair / Dreaming Again

More rockin' re-ups coming soon, cats 'n' kittens.

Tuesday, 11 April 2017

Hal Singer - Disc Jockey Boogie


Side 1:
01. Corn Bread
02. A Plug For Cliff
03. Blue Monday Caravan
04. Teddy's Dream
05. Beef Stew

Side 2:
01. One For Willie
02. Swanee River
03. Happy Days
04. Jiblets
05. Disc Jockey Boogie

Note - Track 3, Side 1, "Blue Monday Caravan" by Sir Charles Thompson's All Stars. Track 4, Side 1, "Teddy's Dream" was credited to The X-Rays.

Download "Disc Jockey Boogie" from here:


This is my fourth homemade compilation of saxophone sides released on Savoy Records in the late 1940s. The first three comps featured Big Jay McNeely, Wild Bill Moore and Paul Williams and this time round we're going with Hal Singer whose "Corn Bread" was a smash hit in 1948. This comp covers Hal's first spell with Savoy from June 1948 to February 1949.

Hal has had a long and interesting career, starting off in the Territory Bands of the South West and Midwest in the 1930s, moving on to Kansas City in the early 1940s before ending up in NYC where he spent the best part of two decades not only recording and releasing records under his own name, but also playing tenor sax on many sessions mainly for Savoy and King. The list of artists with whom he recorded as a session man is long and varied, taking in Wynonie Harris, Esther Phillips, Brownie McGhee, Little Willie John, Titus Turner, Lonnie Johnson, Arbee Stidham, Big Maybelle and plenty of others!

Unusually for Be Bop Wino, I can use the present tense in some of this post, for Hal Singer is still with us, very much alive and perhaps just about the last survivor of those territory bands and one of a rapidly dwindling band of still living musicians from the R&B scene of the 1940s.

Hal Singer was born in Tulsa, Oklahoma in 1919. He studied at the Hampton Institute in Virginia but opted for the life of a professional musician and the way of the tenor sax. His first gig was with a group led by trumpeter Terrence Holder whose previous big band of the early 1930s had included future Jazz / R&B luminaries Jesse Stone, Herschel Evans, Buddy Tate, Earl Bostic and Lloyd Glenn. 

In 1939 he was a member of Lloyd Hunter's band which had its roots in Omaha, so no surprise that the 1941 lineup of that band included Johnny Otis and Preston Love but not Hal who had joined the Ernie Fields band. In 1942 Hal joined another Omaha based band, that of Nat Towles. Around this time (perhaps in 1941, the constant movement has made me giddy) he had a spell in Kansas City, working in a small group led by Tommy Douglas. In May 1943 he was a member of the Jay McShann band which was then working at the Band Box in Chicago.

It was probably in late 1943 or early 1944 that Hal made it to the Big Apple where he settled into the burgeoning jazz scene of 52nd Street where he worked with Don Byas  and Roy Eldridge. He also participated in Sunday jam sessions in Harlem at clubs like Minton's, Monroes and the Heat Wave. It was while playing at the Heat Wave with Don Byas and Earl Bostic that he witnessed a tremendous jam session duel between Bostic and Charlie Parker.

Hal's first recordings were with the big band of Roy Eldridge in June 1944 for Decca. In October 1944 Hal was back in the studio with the Eldridge band for another Decca session. In the autumn of 1945 he recorded a couple of sides for Hub with the Don Byas group featuring Rubie Blakey on vocals.

In March 1946 Hal recorded for Savoy for the first time on a small group jazz session led by Lem Davis, but the four sides lay unissued for many years. Hal was a member of the Hot Lips Page band which was used on a number of sessions by King in Cincinnati during December 1947 in the run up to the American Federation of Musicians recording ban which was due to commence on the 1st January 1948. They backed Lonnie Johnson on December 14th, Big Maybelle (then known as Mabel Smith) on an unknown day, Marion Abernathy on December 23rd, and Wynonie Harris on December 23rd and December 28th.

Two of the tracks from that final 1947 session became big hits - "Good Rockin' Tonight" and "Lollipop Mama." Hal backed Wynonie on further sessions. A December 1948 session in which sax duties were shared by Hal and Frank "Floorshow" Culley produced four magnificent hard rocking tracks in "Grandma Plays The Numbers,"  "I Want My Fanny Brown," "She Just Won't Sell No More," and "I Feel That Old Age Coming On." All of these featured  a pounding beat, screeching tenor sax and very risque lyrics.

Hal and Wynonie were reunited on a couple of tracks for King in 1957 but by then the good times and big money days were long gone for "Mr. Blues." A last throw of the dice for Roulette in 1960 saw Hal backing Wynonie for one last time but sadly no-one was buying.

The 1948 AFM recording ban lasted until August but Savoy A&R man Teddy Reig ignored the embargo and started holding recording sessions from January 1948 onwards. Among the artists he produced in early 1948 were Howard McGhee, Leo Parker, Morris Lane, Paul Williams and Wild Bill Moore.

At an unknown date in Spring 1948 four sides were cut by bluesman Brownie McGhee with Hal Singer on tenor sax. One of these sides "My Fault" became a huge R&B hit later in the year, but Hal's tenor sax is heard to better effect on Brownie's tribute to black baseball players Jackie Robinson and Larry Doby, "Robbie - Doby Boogie."

In June 1948 Reig recorded Hal Singer, with Hal's first record "Corn Bread" / "A Plug For Cliff" being released in August. The A Side was a piledriver of an instro which was such a huge hit that Hal was ever after known as Hal "Corn Bread" Singer.

At the beginning of September "Corn Bread" was already storming up the Most Played Jukebox Race Records chart, in mid September it entered the Best Selling Retail Race Records chart, at the end of October it was number one in the Jukebox plays chart and number two in the best seller chart. It was one of a number of sax-led instrumentals that featured prominently in the charts at this time: "Long Gone" and "Late Freight" by Sonny Thompson, "Waxie Maxie" by Paul Williams, "Blues For The Red Boy" by Todd Rhodes, along with Pee Wee Crayton's guitar opus, "Blues After Hours."



Teddy Reig, a big fan of both the honkin' R&B sax and the more sophisticated bebop sound of modern jazz, made sure that Savoy was very strong in both fields as can be seen from this Cash Box ad from November 1948 below -


Hal's next Savoy session in September failed to generate any releases, with the four tracks recorded not making an appearance until they were included on the 2LP set "Honkers & Screamers." On September 21st Hal was included in a session which had jazz pianist Sir Charles Thompson as named leader. This session did generate a release "Cooking With Cookie" / "Blue Monday Caravan" with Hal's tenor sax featuring on the B Side. Two other sides from this session, "Jiblets" and "Disc Jockey Boogie" were released in 1950 under Hal's name on the new Savoy subsidiary Acorn.

A December 1948 session produced several tracks for release, including "I'll Always Be In Love With You" / "Teddy's Dream" which was credited to vocal group The X-Rays, although "Teddy's Dream" was a Hal Singer instrumental. Also recorded at this session were "Beef Stew" and "One For Willie" which formed Hal's next release on Savoy. In February 1949 Hal had his last recording session in his first spell with Savoy. The only track which saw release was "Happy Days" which was paired with "Swanee River" from his first session for a June 1949 release.

Also in December 1948 Hal played on sessions for Arbee Stidham (on Victor) and Tab Smith (for Manor). In February 1949 Hal played on a Savoy session for blues shouter "Chicago Carl" aka Carl Davis.

After leaving Savoy Hal recorded a single for Mercury in 1950 (released in November of that year), then signed for Decca subsidiary Coral for which he recorded between October 1951 and April 1952. In August 1952 Hal returned to Savoy, but that story will be told in another post, if you hepcats so wish!

Session details and release details of the tracks on "Disc Jockey Boogie":

"Swanee River," "A Plug For Cliff," and "Corn Bread" were recorded in NYC between June 9th and June 23rd, 1948. Personnel: Milton Larkin (trombone); Hal Singer (tenor sax); Wynton Kelly (piano); Franklin Skeete (bass); Heywood Jackson (drums).

Corn Bread / A Plug For Cliff (Savoy 671) by the Hal Singer Sextette, released in August 1948.

Happy Days / Swanee River (Savoy 697) by the Hal Singer Sextette, released in June 1949.

"Blue Monday Caravan," "Jiblets," and "Disc Jockey Boogie" were recorded in NYC on 21st September, 1948. Personnel: Hal Singer (tenor sax); Sir Charles Thompson (piano); unknown (guitar); unknown (bass); unknown (drums).

Cooking With Cookie / Blue Monday Caravan (Savoy 679) by Sir Charles Thompson's All Stars, released in December 1948.

Jiblets / Disc Jockey Boogie (Acorn 300) by Hal Singer with Sir Charles Thompson Orch., released in October 1950. This was the first release on Acorn, a subsidiary of Savoy.

"Teddy's Dream," "Beef Stew," and "One For Willie" were recorded in NYC on 10th December, 1948. Personnel: Willie Moore (trumpet); Chippy Outcalt (trombone); Hal Singer (tenor sax); George Rhodes (piano); Walter Page (bass); Bobby Donaldson (drums); Milton Larkin (vocals); The X-Rays (vocal group).

I'll Always Be In Love With You / Teddy's Dream (Savoy 681) by The X-Rays, released in December 1948.

Beef Stew / One For Willie (Savoy 686) by the Hal Singer Sextette, released in February 1949.

"Happy Days" was recorded in NYC on the 9th February, 1949. Personnel: William Moore (trumpet); Chippy Outcalt (trombone); Hal Singer (tenor sax); Tate Houston (baritone sax); possibly George Rhodes (piano) Walter Buchanan (bass) Butch Ballard (drums). Ensemble vocal.

Happy Days / Swanee River (Savoy 697) by the Hal Singer Sextette, released in June 1949.

Savoy single releases of Hal Singer's 1948 - 1949 recordings in chronological order:

Savoy 671 Hal Singer Sextette - Corn Bread / A Plug For Cliff (August 1948)
Savoy 679 Sir Charles Thompson’s All Stars - Cooking With Cookie / Blue Monday Caravan (Dec 1948)
Savoy 681 The X Rays  – I’ll Always Be In Love With You / Teddy’s Dream (December 1948)
Savoy 686 Hal Singer Sextette - Beef Stew / One For Willie (February 1949)
Savoy 697 Hal Singer Sextette - Swanee River / Happy Days (June 1949)
Acorn 300 Hal Singer with Sir Charles Thompson Orch. - Jiblets / Disc Jockey Boogie (October 1950)

Sources: Big Band Jazz by Albert McCarthy and Soul Jazz by Bob Porter.


Monday, 3 April 2017

Paul Williams - House Rocker























Side 1:
01. The Twister
02. Boogie Mr Williams
03. Turtle Rock
04. Canadian Ace

Side 2:
01. Rompin'
02. Jelly Roll Boogie
03. House Rockin' (aka House Rocker)
04. Back Bender

Download from:

http://www49.zippyshare.com/v/okErVdfW/file.html

These eight sides are from the Savoy 2LP set "Honkers and Screamers."

Facts on the sax tracks, Jack:

"The Twister" and "Boogie Mr Williams" were recorded in Detroit on December 20th, 1947. Personnel: Phil Guilbeau (trumpet); Wild Bill Moore (tenor sax); Paul Williams (baritone, alto sax); T.J. Fowler (piano); Herman Hopkins (bass); Reetham Mallett (drums).

Both tracks unreleased on singles. Another take of "The Twister" recorded on March 2nd, 1948 was released as a two parter on Savoy 665 in April 1948.

"Turtle Rock" and "Canadian Ace" were recorded in Detroit on March 4th, 1948. Personnel: Phil Guilbeau (trumpet); Wild Bill Moore (tenor sax); Paul Williams (baritone sax); Floyd Taylor (piano); Herman Hopkins (bass); Reetham Mallett (drums).

"Canadian Ace" was a title given to a previously untitled, unissued track on Savoy 2LP SJL2234 "Honkers and Screamers."

"Turtle Rock" was released on Savoy 773 b/w "Blues At Daybreak" in December 1950.

"Rompin'" "Jelly Roll Boogie," "House Rockin' "(aka "House Rocker"), and "Back Bender" were recorded in Detroit on January 13th 1949. Personnel: James Poe (King Porter) (trumpet); Louis Barrett, Billy Mitchell (tenor saxes); Paul Williams (baritone sax); Floyd Taylor (piano); John Holiday (bass); Bill Benjamin (drums).

"Rompin'," "Jelly Roll Boogie," and "Back Bender" were not released as singles. "House Rocker" b/w "He Knows How To Hucklebuck" was released as Savoy 702 in July 1949.

Label scan from 45worlds.com

The Cash Box July 2nd 1949
It's no coincidence that two of my favourite sax players from the 1940s and 1950s are Paul Williams and Leo Parker. Both were exponents of the big, bad, low down and dirty baritone sax, although one, Leo Parker, in the jazz field (although usually with a blues sensibility) and the other, Paul "Mr Hucklebuck" Williams in the rhythm 'n' blues field.

Paul Williams was born in Lewisburg, Tennessee, on July 13th, 1915, spent part of his childhood in Bowling Green, Kentucky, before moving to Detroit with his family when he was thirteen years old. He started playing saxophone in school where he met trumpet player Lloyd Henderson. On leaving school the pair formed a small group, the Kings of Rhythm, which found a gig at a Detroit club (The Morris Cafe) which lasted five years. The group played popular hits of the day for the white patrons of the club.

The Second World War brought about the breakup of the little band and as the war wound down Paul Williams joined the Clarence Dorsey band which played for black audiences at the Sensation Club. Paul next played for the King Porter band at a club called "Sportree" and it was here that he was scouted by Savoy Records man Teddy Reig after head honcho Herman Lubinsky had received a tip from local record shop owner Joe Battle.

The King Porter outfit didn't impress Reig too much but Paul Williams did, so Paul split from the Porter band and used the T.J. Fowler band as backing at his first two Savoy sessions on September 5th and October 6th 1947. The October session yielded the big hit "Thirty-Five Thirty" (named after the address of Joe Battle's record shop) which made the top ten in the national R&B chart.

Towards the end of 1947 Paul formed his own band which included musicians from the King Porter outfit as well as tenor sax man Wild Bill Moore. The same group of musicians also produced recordings on Savoy for release under Wild Bill's name. 

Good sellers for the Williams band through 1948 included two disc jockey tributes, "Bouncing With Benson" and "Waxie Maxie," and the hard blowing two-parter "The Twister." The latter two tracks featured Wild Bill's muscular tenor sax with Williams playing hot 'n' heavy baritone. Savoy A&R man Teddy Reig is usually credited with persuading Paul to make the decisive shift to baritone sax, a development which gave the band a big sound which could send audiences wild, particularly on honk heavy numbers like "The Twister."

By the time the band recorded "The Hucklebuck" in December 1948 Wild Bill had left, thus missing out on THE R&B phenomenon of 1949. Not only was it the top selling R&B disc of the year, it inspired big selling cover versions in both the pop and R&B fields. It's a disc which deserves it's own post and one is in preparation.

The huge sales of "The Hucklebuck" brought Paul Williams very little financial reward. He was not the composer (and thereby hangs a tale ...) and performers' royalties had a way of ending up elsewhere in the Savoy organisation. He continued to record for Savoy until the end of 1951 but no other release came anywhere near the success of "The Hucklebuck." A follow up, "He Knows How to Hucklebuck" / "House Rocker" had modest success in the second half of 1949. "What's Happening" and "Rockin' Chair Blues" from 1950 and 1951 made even less noise.

Paul Williams first post-Savoy session for Jubilee / Josie in mid-1952 failed to engender any releases but a session for Mercury later in the year produced two singles. In 1953 Paul had two singles on Jax with Noble Watts now joining the band on tenor sax. In 1954 - 1956 there was a spell of label-hopping as the Williams band had releases on Groove, Capitol, Rama, Josie and Vee-Jay. A couple more releases followed in 1961-62 on Warwick / 7 Arts and Ascot. 

Throughout his recording career and beyond, Paul's band was in demand as a backing band for live appearances by R&B and rock and roll artists. He was on the bill of Alan Freed's infamous March 1952 "Moondog Coronation Ball" at the Cleveland Arena and indeed was the only act to actually perform before the police shut the event down due to overcrowding.


You can see Paul backing various well known R&B performers in those old 1950s "Showtime At The Apollo" films which crop up in various guises on TV and DVD (and YouTube). He was also a studio backing musician for Ruth Brown and a band director for Lloyd Price and James Brown.

With Amos Milburn on Showtime At The Apollo
In 1964 Paul Williams retired from playing, took up sales jobs, did well, and then founded his own booking agency in 1968. He passed away in September 2002 at the age of 87.

Sources - Peter Grendysa and Atilla Oess interviews with Paul Williams in 1980 and 1985 for the Saxophonograph LPs "The Hucklebuck" and "Spider Sent Me."

Bob Porter - Soul Jazz (Jazz In The Black Community, 1945-1975), XLibris, 2016.

Saturday, 25 March 2017

Wild Bill Moore - Swingin' For Pappy























Side 1:
01. Swingin' For Pappy
02. Bubbles
03. Harlem On Parade
04. We're Gonna Rock

Side 2:
01. Bongo Bounce
02. South Parkway Hop
03. Top And Bottom
04. Rocking With Leroy

Download from:

http://www47.zippyshare.com/v/3X0xjjIG/file.html

Notes on the tracks:

"Swingin' For Pappy," "Bubbles," and "Harlem On Parade" were recorded in Detroit on the 21st November 1947. Personnel: Phil Guilbeau (trumpet); Wild Bill Moore (tenor sax); Paul Williams (baritone, alto sax); Floyd Taylor (piano); Herman Hopkins (bass); Reetham Mallett (drums).

"We're Gonna Rock," "Bongo Bounce," "South Parkway Hop," "Top And Bottom," and "Rocking With Leroy" were recorded in Detroit on the 18th December 1947. Personnel: Phil Guilbeau (trumpet); Wild Bill Moore (tenor sax); Paul Williams (baritone, alto sax); T.J. Fowler (piano); Herman Hopkins (bass); Reetham Mallett (drums).

These 8 sides were originally issued as follows:

Swingin' For Pappy / Bubbles, released on Savoy 662 in January 1948. "Bill Moore And His Band."

We're Gonna Rock / Harlem On Parade released on Savoy 666 in July 1948. "Bill Moore featuring Paul Williams."

South Parkway Hop / Bongo Bounce released on Savoy 690 in March 1949. "Wild Bill Moore Sextette."

Top And Bottom / Rocking With Leroy released on Savoy 717 in November 1949. "Wild Bill Moore."

Wild Bill Moore goes into the annals of rock and roll for his 1947 Savoy recording of "We're Gonna Rock," featuring honkin' and squealin' sax from the man himself, accompanied by a moronic band chant of "we're gonna rock, we're gonna roll," all underpinned by boogie piano from T.J. Fowler and mo' riffin' sax from Paul Williams.

Released in July 1948 this proto-rocker made it into the Billboard top twenty race records chart briefly, thereby constituting Wild Bill's only entry into the national charts, although his previous single "Bubbles" had good sales in certain locations, e.g. number two in The Cash Box's New Orleans chart in March / April 1948 and number one in Chicago. Savoy also had Paul Williams' "35-30" riding high in the Cash Box New Orleans and Chicago charts at the same time.

The Cash Box July 17th 1948





















This homemade compilation has all of Wild Bill's single releases on Savoy, which amounted to only four discs, recorded at two sessions. The Bill Moore story is rather sketchy in places. Wikipedia claims he was born in Detroit but every other source I've looked at gives his place of birth as Houston, Texas, on June 13, 1918. He did spend prolonged periods working in the Detroit area as well as in Los Angeles. His first recording date was in New York in 1944 as a backing musician on a Christine Chatman session for Decca.

In 1945, 1946 and most of 1947 he was involved in a series of recording sessions in Los Angeles. In August 1945 he was part of the Bill Doggett Octet which backed Helen Humes on Philo / Aladdin, a session which produced the smash hit "Be-Baba-Leba." In September he was on a Slim Gaillard session for Queen and in December 1945 he played on an Apollo recording session for blues shouter Duke Henderson. Three and a half years later two sides from this session were released in March 1949 under Wild Bill's name - "Homecoming Blues" (a Duke Henderson vocal) and the instrumental "Boulevard Boogie." The vocal was dated - referring to a return from World War Two - and the instrumental sounded like an arrangement from 1945 rather than 1949.

Wild Bill continued to record in LA through 1946, starting with a Joe Turner session for National on January 23rd in which the backing group was billed as "Bill Moore's Lucky Seven Band." A week later Bill was once more backing Joe Turner for National as part of a group billed as "Joe Turner's All Stars" which also included Russell Jacquet and Camille Howard. In February he was part of a Jack McVea led group at a session for Black & White and later in the same year he backed Helen Humes in a session for the same label.

On July 6th 1947 Wild Bill Moore took part in the "Hollywood Jazz Concert" at the Elks Auditorium on South Central Avenue. This event was organised by promoter Jack Williams as a concert / dance featuring top beboppers Dexter Gordon, Wardell Gray, Sonny Criss and Howard McGhee. Also on the bill was a band featuring Bill Moore and fellow tenor sax man Gene Montgomery. The entire concert was recorded by Ralph Bass with a view to persuading Herman Lubinsky to release extracts on 78 rpm discs on the Savoy label. Bass was particularly impressed by the tenor sax battles between Gordon and Gray and having failed to secure releases on Savoy, released extracts of what were in fact extended jam sessions on his own Bop label.

Along with the Dexter Gordon / Wardell Gray sides, he released extracts from the Wild Bill Moore / Gene Montgomery "Perdido" jam as "Wild Bill Parts 1 & 2" on Bop 103, a disc which was the first to be released under Bill's name. Savoy eventually acquired the Bass masters and released the Wardell Gray / Dexter Gordon tracks in various formats, culminating in the 2LP set "The Hunt." The Wild Bill Moore / Gene Montgomery jam on "What Is This Thing Called Love" eventually emerged on another Savoy 2LP set, "Black California Vol. 2."

Finally Savoy Jazz released a 3CD set in 2004, "Bopland" which featured the complete Elks Auditorium concert including the full 20 minutes of Wild Bill Moore and Gene Montgomery's "Perdido."


Towards the end of 1947 Wild Bill was in Detroit where he recorded the tracks on our featured compilation for Savoy on November 21st and December 18th. At around the same time (November 20th and December 20th) he was recording tracks with Paul Williams which were released as Paul Williams Sextet records. On December 19th he took part in a King Porter (James A. Pope) recording session for the King label.

Bill was involved in further Paul Williams Savoy sessions in Detroit during March 1948, playing on "Waxie Maxie," "The Twister," and "Spider Sent Me." The next Paul Williams session (at which "The Hucklebuck" was recorded) was in December 1948, by which time Bill had left the band.

Things get a bit vague now regarding Bill's session dates for much  of 1948-49. We have already referred to the March 1949 release of two Apollo sides recorded by Bill in 1945 with Duke Henderson. We know that Bill recorded four sides for Modern in LA, possibly some time in 1948. One of the sides "Rock And Roll" was released in June 1949 (Modern 674) and a follow up, "Dubble Bubble" (Modern 687) was released in July 1949.

A Wild Bill disc "Football Boogie" / "Blue Journey" was released on Sensation in November 1949. Discographies usually list this as being recorded sometime around 1954, but obviously with the disc being reviewed in the 19th November 1949 issue of Billboard, this is impossible. The recording session may have been sometime in 1949 and possibly in Detroit.


An interesting point in the review is that "Football Boogie" is described as having "suspiciously loud crowd noises" - obviously inferring that crowd noise had been dubbed in to give the impression that it was recorded live. The version of "Football Boogie" on the Blue Moon CD "Wild Bill Moore The Complete Recordings Volume 2 1948-1955" does not feature any crowd noises. It does have lots of crackling and hissing.

Bill took part in another King Porter session for King on June 7th 1949 in Cincinnati, with "Come On In" / "Battle Axe" being released in January 1950.

Another release during this period was "Steam Heat" / "Wanda Lee Blues" credited to Wild Bill Moore And His Wild Cats on the obscure Alben label. These sides are thought to have been recorded in Detroit in 1948 or 1949.

Bill's recording career becomes easier to trace from late 1949 onwards with a session for Regal in New York on October 26th of that year. On March 3rd 1950 he recorded four sides for King in New York, the resultant two discs being released in May and August 1950 - "Rock Bottom" / "Neck Bones And Collard Greens" and "Hey-Spo-Dee-O-Dee" / "Balancing With Bill." These are four tremendous sides which I first came across on the old Westside CD "Groove Station" - a comp of King and Federal sax instros including Al Sears, Preston Love and Jesse Powell as well as Wild Bill.


There was one more session for King in Detroit in August 1950 which was followed by a hiatus of around 5 years when Bill recorded two sides for Old Town - "Slow Drag" and "Big Bubble" probably around 1955-56.

Like many of his R&B / jazz sax contemporaries, Bill recorded some soul jazz LPs in the early 1960s - "Wild Bill's Beat" and "Bottom Groove" for Jazzland in 1961. In 2009 Concord Music combined both LPs on one CD called "Bottom Groove." It seems to be out of print but you can hear the music on Spotify or YouTube. I was so impressed that I've ordered a second hand copy of the CD.


Bill remained active in music and featured on Marvin Gaye's "Mercy Mercy Me (The Ecology)" in 1971. He moved back to California where he died in 1983. By some strange coincidence while I was writing this blog post the latest issue of Blues and Rhythm magazine arrived. It contains a hitherto unpublished 1974 interview with guitarist Pee Wee Crayton and there, on the final page of the article is a photo of Wild Bill Moore on stage with Pee Wee Crayton and Percy Mayfield at a blues festival in 1982. It looks like Wild Bill was still rockin' almost to the very end.

Further listening - Bill's complete 1940s and 1950s recordings were compiled on two Blue Moon CDs in 2004. They are sadly hard to find nowadays, especially Volume 1. If you find copies, grab 'em!



Monday, 20 March 2017

Paul Williams And His Hucklebuckers (Savoy MG-15046)




































































Side A:
01. Jockey Jump
02. Rye Boogie
03. Jeep's Blues
04. Paul's Boogie

Side B:
01. Weasel Swing
02. Juice Bug
03. Camp Meetin' Bounce
04. Blowing The Boogie

Download from here:

http://www46.zippyshare.com/v/4j16nSmj/file.html

10 inch vinyl LP released in 1954. All the above scans from www.45worlds.com.

The LP has been "reconstructed" using rips from various sources.

Recording and original release details of the tracks:

"Jockey Jump" was recorded on March 2nd, 1948 in Detroit. Personnel: Phil Guilbeau (trumpet); Wild Bill Moore (tenor sax); Paul Williams (baritone sax); Floyd Taylor (piano); Herman Hopkins (bass); Reetham Mallett (drums).

"Jockey Jump" was originally released as "Waxie Maxie" (b/w "Spider Sent Me") on Savoy 670, August 1948. Reached number 11 in Billboard's best selling race records chart, late September 1948.

"Juice Bug" was recorded on November 2nd, 1949 in New York City. Personnel: Phil Guilbeau (trumpet); Fred Jackson, Cranford Wright (tenor saxes); Paul Williams (baritone, alto sax); Lee Anderson (piano); Pete Glover (bass); Bill Benjamin (drums).

Originally released as "Juice Bug Boogie" on Savoy 721 (B-Side of "Cranberries") in January 1950.

Label shot: Discogs.com
"Paul's Boogie" and "Camp Meetin' Bounce" were recorded on December 1st, 1949, in Detroit. Personnel: Phil Guilbeau (trumpet); Fred Jackson, Cranford Wright (tenor saxes) Paul Williams (baritone, alto sax); Lee Anderson (piano); John Murphy (bass); William Benjamin (drums).

"Camp Meeting Bounce" was originally released on Savoy 734 (B-Side of "What's Happening") in March 1950.

"Paul's Boogie" was originally released on Savoy 758 (B-Side of "Jeep's Blues") in September 1950.

"Jeep's Blues," "Rye Boogie" and "Weasel Swing" were recorded on May 18th, 1950 in New York City. Personnel: Phil Guilbeau (trumpet); Joe Alexander, Miller Sam (tenor saxes); Paul Williams (baritone sax); Lee Anderson (piano); John Murphy (bass); William Benjamin (drums).

"Weasel Swing" and "Rye Boogie" were originally released on Savoy 751 in June 1950.


"Jeep's Blues" was originally released on Savoy 758 (b/w "Paul's Boogie") in September 1950.

"Blowing The Boogie" was recorded on 17th December, 1951, in New York City. Personnel: Blue Mitchell (trumpet); Lee Pope (tenor sax); Ted Butler (baritone sax); Paul Williams (baritone, alto sax); Lee Anderson (piano); Sam Jones (bass); Joe Booker (drums).

"Blowin' The Boogie" was originally released on Savoy 831 (b/w "It's All Over Now") in January 1952.


Our look at releases on the Savoy label continues with this 1954 LP of Paul Williams tracks which were recorded between 1948 and 1951. In the late 1940s Savoy had a series of big R&B hits with saxophone instrumentals such as "Bubbles" by Wild Bill Moore, "The Hucklebuck" and "Thirty-Five Thirty" by Paul Williams, "Corn Bread" by Hal Singer and "Deacon's Hop" by Big Jay McNeely.

See the post "Rhythm and Blues Volume 1" for these hits. We'll be looking at some of these sax players again in upcoming posts, including another look at Paul Williams.

Be Bop Wino - your saxsational R&B blog!

Friday, 17 March 2017

Illinois Jacquet Vol. 1 (Savoy XP 8068)

Cover shot: birkajazz.com






















Side A:
01. Don't Blame Me
02. Jumpin' Jacquet

Side B:
01. Blues Mood
02. Jacquet In The Box

Download from:

http://www10.zippyshare.com/v/cjNRL1RM/file.html

We continue our look at early Savoy sides with this "reconstruction" of a 1954 Illinois Jacquet EP. As with the Ike Quebec EP in the previous post, I've used vinyl rips from a compilation LP along with a cover scan from the Birka Jazz archive. Also just like the previous post, these sides date from the 1940s, so here's the lowdown on the tunes, who, when and other hitherto lost info on these cool sounds!

All 4 tracks were recorded in New York City on the 7th. January 1946. Personnel:

Emmett Berry (trumpet); Illinois Jacquet (tenor sax); Bill Doggett (piano); Freddie Green (guitar); John Simmons (bass); Shadow Wilson (drums).

Jumpin Jacquet / Blue Mood (note spelling on original record label) released on Savoy 593, February 1946. Credited to "Illinois Jacquet and his Tenor Saxophone."

According to a Billboard advert in February 1946, Savoy had a large number of records on release at this time, mostly classified as "Hot Jazz." Artists in this category included Lester Young, Don Byas, Pete Brown, Slam Stewart, Hot Lips Page, Buck Ram's All Stars, Errol Garner, Dexter Gordon, Ben Webster and Johnny Guarnieri. "Race Series" releases were far fewer with only five discs listed, the only major artist in this category being Helen Humes.

"Don't Blame Me" was released on Savoy 620 in August 1946, credited to the Illinois Jacquet All Stars. The B-Side was "Girl Of My Dreams," by the Ike Quebec All Stars.

"Jacquet In The Box" was released on Savoy 910, November 1947. The B-Side was "Jacquet And Coat" (aka "Minor Romp").























This release was part of the Savoy Bop 900 series. Aimed at fans of Be Bop, the series included discs by Leo Parker, Charlie Parker, Eddie "Lockjaw" Davis, Stan Getz and Dexter Gordon.

The two sessions (January 7th and 8th 1946) Illinois Jacquet recorded for Savoy yielded a total of nine sides. These sessions were his only recordings for Savoy. Through 1945, 1946 and up to November 1947 he label-hopped back and forth between Apollo and Philo / Aladdin. In December 1947 he started recording for Victor, with whom he stayed until mid 1950.

See also:

- the Philo / Aladdin sides:



The Victor sides:


http://bebopwinorip.blogspot.co.uk/2016/08/illinois-jacquet-king-jacquet.html

Mo' Savoy jazz and R&B posts are in the pipeline. Cool boppin', hot rockin' and solid swingin'! Stay tuned to Be Bop Wino.

Wednesday, 15 March 2017

Ike Quebec - Tenor Sax (Savoy XP 8083)

Cover shot: birkajazz.com























Side A:
1. Girl Of My Dreams
2. Jim Dawgs

Side B:
3. Scufflin'
4. I.Q. Blues

Download from here:

http://www35.zippyshare.com/v/zNrED3XL/file.html

This is another "reconstruction" of an original Savoy release - the 1954 EP "Tenor Sax" by Ike Quebec. I've used vinyl rips plus a cover image downloaded from the Birka Jazz archive of vintage album covers. This is a site I highly recommend for its visual feast of covers from "back in the day."

The tracks were recorded in New York on August 7th, 1945. Personnel: Ike Quebec (tenor sax); Johnny Guarnieri (piano); Bill De Arango (guitar); Milt Hinton (bass); J.C. Heard (drums).

Jim Dawgs / I.Q. Blues was released on Savoy 570 in September or October 1945.


Label shots from ebay

"Girl Of My Dreams" was first released as the B-Side of "Don't Blame Me" by Illinois Jacquet on Savoy 620 in August 1946.

"Scufflin'" was first released on this EP.

Savoy Records was founded in Newark, New Jersey in 1942 by Herman Lubinsky. A succession of first class A&R men / producers, plus the proximity of a thriving jazz club scene on New York's 52nd Street, meant that when recording sessions got properly under way in 1944, Savoy had access to top jazz musicians such as Pete Brown, Hot Lips Page, Don Byas, Lester Young, Ben Webster, Tiny Grimes, Johnny Guarnieri and Ike Quebec. Early sessions were produced by Buck Ram, with Teddy Reig joining the company in 1945 and Fred Mendelsohn and Lee Magid joining later. When Savoy expanded its operations to the West Coast they were able to recruit Ralph Bass as producer / A&R man.

The changes which jazz was undergoing in the mid 1940s were reflected in the music put out by Savoy as small group swing shifted to bebop around 1945, and saxophone driven R&B began to dominate the jukeboxes from 1947 onwards.

Ike Quebec's session for Savoy in August 1945 was a one-off as his other small group sides were recorded for Blue Note from 1944-46. "I.Q. Blues" is something of a rerun of his brilliant "Blue Harlem" which he recorded with Tiny Grimes for Blue Note in 1944.

Drug problems saw Ike's career wind down for much of the 1950s but at the close of the decade he was back with Blue Note for whom he recorded a series of classic albums including "Heavy Soul" (with Freddie Roach on organ) and "Blue And Sentimental" (with guitarist Grant Green). Ike Quebec passed away in January 1963, aged 44.

Recommended listening (if you can find it):


"A Proper Introduction To Ike Quebec - Blue Harlem" (Proper CD 2004). 22 tracks including the Savoy session plus all the Blue Note sides recorded in 1944 - 46. Issued in 2004. I managed to find a cheap copy online a couple of weeks ago.