Saturday, 14 October 2017

(Dance To) The Best Of Bostic - Both Versions


Side 1:
01. Flamingo
02. Always
03. Deep Purple
04. Smoke Rings
05. What, No Pearls
06. Jungle Drums

Side 2:
01. Serenade
02. I Can't Give You Anything But Love
03. Seven Steps
04. I'm Getting Sentimental Over You
05. Don't You Do It
06. Steamwhistle Jump

In my previous post on the Earl Bostic LP "Dance Time" I recounted how in 1959 he recorded stereo versions of his 12 inch LPs which had been issued in the King 500 series from February 1956 through to July 1958.

Back in 2010 I posted a 1980's reissue of King LP 500 "Dance To The Best Of Bostic" under the impression that the tracks it contained were the original early 1950's versions. I now know that that LP actually consists of stereo re-recordings from 1959. This post includes both a "reconstruction" of the original 1956 version of the album, "The Best Of Bostic" (King LP 395-500), and the 1980's reissue of the stereo version (originally issued in December 1959), retitled (on the front cover only) "Dance To The Best Of Bostic." (King LP S500.)

You can now download both versions of the album and compare them. They sound quite different, so it's not really like listening to the same album twice! "The Best Of Bostic" is a "reconstruction" of the original LP using tracks from various reissue sources and artwork from the internet.

King Records issued 10 inch LPs from March 1952 until the end of 1955. In early 1956 the label changed its album issues to the 12 inch LP format, launching its 500 series of LPs in February of that year with King LP 395-500 "The Best Of Bostic." The cover was as shown at the top of this post. The tracks were originally recorded and released as singles between 1950 and 1953.

Track Information for "The Best of Bostic" (King LP 395-500)

“Serenade” (T7) and “Seven Steps” (T9) were recorded in New York, March 23rd, 1950. Personnel: Earl Bostic (as) Count Hastings (ts) Gene Redd (vib) Clifton Smalls (p) Al Casey (g) Keter Betts (b) Joe Marshall (d)

“Serenade” was released as King 4369 (B Side of  "Wrap Your Troubles In Dreams") in May 1950.

“Seven Steps” was released as King 4387 (b/w "Portrait Of A Faded Love") in July 1950.

“Don’t You Do It” (T11) was recorded in New York, October 13th, 1950. Personnel as above, except Eddie Barefield replaces Al Casey (g)

“Don’t You Do It” was released as King 4683 (B Side of  "Off Shore") in November 1953.

“Flamingo” (T1), “I Can’t Give You Anything But Love” (T8), “Always” (T2) and “I’m Getting Sentimental Over You” (T10) were recorded in New York, January 10th, 1951. Personnel: Gene Redd (tp,vib) Earl Bostic (as) Count Hastings (ts) Clifton Smalls (p) Rene Hall (g) Keter Betts (b) Jimmy Cobb (d)

“I Can’t Give You Anything But Love” was released as King 4437 (B Side of "Rockin' And Reelin') in March 1951.

“Always” was released as King 4454  (b/w "How Could It Have Been You And I") in June 1951.

“Flamingo” b/w "I’m Getting Sentimental Over You" was released as King 4475 in October 1951.

“Steamwhistle Jump” (T12) was recorded in New York, December 17th, 1952. Personnel: Richard "Blue" Mitchell (tp) Earl Bostic (as) Ray Felder (ts) Gene Redd (vib) Joe Knight (p) Mickey Baker (g) Ike Isaacs (b) George Brown (d)

“Steamwhistle Jump” (b/w "The Sheik Of Araby) was released as King 4603 in March 1953.

“What No Pearls” (T5) was recorded in Los Angeles, June 6th, 1953. Personnel: Blue Mitchell, Tommy Turrentine (tp) Earl Bostic (as) Stanley Turrentine (ts) Luis Rivera (p) Herman Mitchell (g) Mario Delagarde (b) Albert Bartee (d)

“What No Pearls” was released as King 4644 (B Side of  "Melancholy Serenade") in July 1953.

“Deep Purple” (T3), “Smoke Rings” (T4) and “Jungle Drums” (T6) were recorded in Cincinnati, August 24th, 1953. Personnel: Blue Mitchell, Tommy Turrentine (tp) Earl Bostic (as) Stanley Turrentine (ts) Edward Richley (vib) Alexander Sample (p) Charles Grayson (g) Bob Burton (b) Granville Hogan (d)

“Deep Purple” / “Smoke Rings” was released as King 4674 in October 1953.

“Jungle Drums” (b/w "Danube Waves") was released as King 4708 in April 1954.

This is a link to a volume boosted version of the LP, which therefore differs from previously posted versions. The posted LP is a 1980's reissue. The cover confusingly describes it as both monophonic and stereo. It is in fact in stereo.

The track list is the same as "The Best Of Bostic." The stereo version of "The Best Of Bostic" was originally issued in December 1959 with a new front cover and a new title (at least on the front cover - the disc labels and back cover retained the original title). The tracks were recorded as follows:

"Deep Purple," "Flamingo," "Smoke Rings," "Jungle Drums," "Seven Steps," "I'm Getting Sentimental Over You" and "Steamwhistle Jump" were recorded in Cincinnati on March 26th, 1959. Personnel: Earl Bostic (alto sax); Roland Johnson (vibraphone); Jon Thomas (piano); Allan Seltzer (guitar); Herb Gordy (bass); William Erskine (drums).

"Always," "What No Pearls," "Serenade," "I Can't Give You Anything But Love" and "Don't You Do It" were recorded in Cincinnati on June 4th 1959. Personnel: same as above.

In this version of the LP the tracks are played at a slightly faster tempo with a more emphasized beat, and with Earl using a more abrasive tone. As the altered title indicates, these versions are probably more suitable for cuttin' a rug in the comfort of one's own home.

We're still a long way from definitively solving the mystery of what exactly is on all those Bostic LPs in their varied forms. For example do mono reissues of the albums which use the new cover art contain the original mono tracks or do they consist of mono mixes of the 1959 re-recordings? I have to say that at this stage I don't know.

I have a couple more 1980's reissue LPs of Earl Bostic to listen to, plus a couple of King CD reissues of his albums, but as I am currently on the verge of Bostic overload the investigation is temporarily suspended and the blog will move on to another aspect of 1950's R&B in the next post. If anyone can enlighten the far flung legions of Bostic fans, please send in a comment.

Wednesday, 11 October 2017

Earl Bostic - Dance Time

Side 1:
01. Harlem Nocturne
02. Where Or When
03. Sweet Lorraine
04. Poeme
05. You Go To My Head
06. Off Shore

Side 2:
01. The Moon Is Low
02. Ain't Misbehavin'
03. The Sheik Of Araby
04. I Hear A Rhapsody
05. Roses Of Picardy
06. Melancholy Serenade

1988 reissue of a King LP (395-525) originally issued in 1956 and then again in February 1957. Billboard reviewed the album (February 23rd 1957) as follows:

"Actually this one is hard to categorize, and there should be sales to r&b, jazz and pop customers, not to mention teen-age rock and rollers. It's Bostic's fourth LP, and most of the 12 sides, if not all, have been cut as singles. Some reflect the alto man's recent tendency to choke and growl in the best r.&r. commercial tradition. 'Harlem Nocturne,' the teen dance fave, gets a polished rundown the deejays will like. Also includes 'Off Shore,' 'Melancholy Serenade,' etc. For all shops."

The original 1956 cover was as follows (thanks to for the cover scans):

The 1957 issue was similar in appearance, with a change of colour:

A 1958 issue, now without the 395 part of the number had a cover almost identical to the LP on this post. The back cover of the 1988 Sing reissue features discographical information on the 12 tracks, including date of recording, personnel and the original release numbers from when the tracks were issued as singles. The information shows the tracks were recorded between 1951 and 1956.

All of which would seem to indicate that I can now bring this post to a swift conclusion with no need for me to add anything else except perhaps the release dates of the original singles. But alas, all is not as it seems. I remembered reading in Bob Porter's book "Soul Jazz" that in 1959 Earl Bostic had re-recorded many of his LPs for stereo reissue and so I set about comparing the tracks on the posted LP to the original single releases. It quickly became obvious that this issue of "Dance Time" is taken from the re-recorded version as the tracks differ significantly in "feel" and sometimes arrangement from the original versions, all of which were initially released as singles.

The Bruyninckx discography lists the details of the 1959 re-recording sessions and the Both Sides Now website lists King LP issues. What follows is drawn from those sources.

A number of Earl Bostic 10 inch LPs were issued in the early 50s. In February 1956 King Records started issuing 12 inch LPs, the first being "The Best Of Bostic" (395-500). The 500 series of LPs had the prefix 395 until April 1957.

The Earl Bostic 500 series LPs were as follows:

395-500   The Best Of Bostic
395-503   Earl Bostic For You
395-515   Altotude
395-525   Dance Time
395-529   Let's Dance With Earl Bostic
       547   Invitation To Dance With Bostic
       558   C'mon And Dance With Earl Bostic
       571   Bostic Rocks Hits Of The Swing Age
       583   Bostic Showcase Of Swinging Dance Hits
       597   Alto Magic In Hi-Fi: A Dance Party With Bostic

Tracks for King LP 597 were recorded on the 8th and 9th May 1958. In mid July 1958 Earl recorded tracks for his first album in the King 600 series - "Sweet Tunes Of The Fantastic 50's" (King LP 602, released in November 1958.) During the rest of 1958 and up to March 25th 1959 Earl worked on further LPs in the 600 series. On March 26th 1959 Earl began an intensive program of recording stereo versions of every track from his LPs in the King 500 series, which meant that he had to re-record tracks from as far back as 1950.

The March 26th session produced the bulk of the tracks for the reissues of King LPs 500 and 525 (the posted LP!) and recording continued until the end of March. Similar sessions were held in the first half of April and in the first half of June, ending on June 15th with tracks for the stereo version of King LP 547 - "Invitation To Dance With Bostic."

The tracks on the stereo version of "Dance Time" were recorded as follows:

Cincinnati, March 26th, 1959. Personnel: Earl Bostic (alto sax); Roland Johnson (vibraphone); Jon Thomas (piano); Allan Seltzer (guitar); Herb Gordy (bass); William Erskine (drums):

Where Or When
Sweet Lorraine
You Go To My Head
Off Shore
Ain't Misbehavin'
The Sheik Of Araby
I Hear A Rhapsody
Roses Of Picardy
Melancholic Serenade

Cincinnati, April 8th, 1959. Personnel: Earl Bostic (alto sax); Roland Johnson (vibraphone); Claude Jones (piano); Warren Stephens, Allan Seltzer (guitars); Herb Gordy (bass); William Erskine (drums):

The Moon Is Low

The stereo version of "Dance Time" was released in July 1959. These re-recordings have a different sound when compared to the originals, with Earl's alto more strident and rasping. The new versions are generally played at a faster pace and as they were recorded in just two sessions with similar personnel, there is naturally a sameness in sound which you don't find in the original version of the LP which had tracks recorded over a period 5 years with varying personnel which included Earl's long time vibes player Gene Redd and notable tenor sax players such as Count Hastings, John Coltrane, Stanley Turrentine and Benny Golson.

I have also investigated the previously posted LP "Dance To The Best Of Bostic" and I have discovered that it is also a 1959 re-recording. The recording information on that post is therefore wrong as the tracks were actually recorded on March 26th and June 4th, 1959. A new post on that LP is in the pipeline.

Monday, 9 October 2017

Wynonie Harris - Rock Mr Blues

Side One:
01. Just Like Two Drops Of Water
02. Good Rocking Tonight
03. Blow Your Brains Out
04. Sittin' On It All The Time
05. Luscious Woman
06. Keep On Churnin' (Till The Butter Comes)
07. Quiet Whiskey
08. I Feel That Old Age Coming On

Side Two:
01. Good Morning Judge
02. Down Boy Down
03. Bloodshot Eyes
04. Lovin' Machine
05. Mr Blues Is Coming To Town
06. I Like My Baby's Pudding
07. Rock Mr Blues
08. Baby, Shame On You

Download from here

So here's another collection of sides recorded for King Records by Wynonie Harris. The good news is that we've got more bawlin' 'n' squallin' of outrageous leer-ics accompanied by oustanding jump bands, featuring pounding rhythms and squawking tenor saxophones. There's a fair bit of duplication between this LP and the previously posted Gusto 2LP set "Good Rockin' Blues" with 7 of the 16 tracks turning up on both sets. The recording details of the tracks on this album are listed on the back cover, so I'll content myself with listing the original release details, in order of recording date. Tracks marked with a * are on the "Good Rockin' Blues" set. Tracks in italics are not on this LP.

"Blow Your Brains Out" - King 4226 (B Side of "Lollipop Mama"), June 1948.

"Good Rockin' Tonight"* - King 4210 b/w "Good Morning Mr. Blues"* April 1948

"I Feel That Old Age Coming On"*  - King 4276 b/w"Grandma Plays The Numbers"* February 1949

"Sittin' On It All The Time" - King 4330 (B-Side of "Baby Shame On You") December 1949.

"Baby Shame On You" on this LP is an alternate take of King 4330.

"I Like My Baby's Pudding" - King 4342 (B-Side of "I Can't Take It No More"*) February 1950

"Good Morning Judge"* - King 4378 (B-Side of "Stormy Night Blues") July 1950

"Rock Mr. Blues" - King 4389 (B-Side of "Be Mine My Love") September 1950

"Mr. Blues Is Coming To Town" - King 4402 (B-side of "I Want To Love You Baby") November 1950

"Just Like Two Drops Of Water" - King 4448 (B-Side of "Tremblin'"*) March 1951

"Bloodshot Eyes"* - King 4461 (B-Side of "Confessin' The Blues") July 1951

"Lovin' Machine"* - King 4485 (B-Side of "Luscious Woman") November 1951

"Luscious Woman" - King 4485 b/w "Lovin' Machine"* November 1951

"Keep On Churnin' (Till The Butter Comes)" - King 4526 b/w "Married Women Stay Married" April 1952

"Quiet Whiskey"* - King 4685 b/w "Down Boy Down" January 1954

"Down Boy Down" - King 4685 (B-Side of "Quiet Whiskey"*) January 1954

Elsewhere on the blog:

A recent purchase (just got it this week):

"Don't You Want To Rock?" A 2CD set in the Ace King & DeLuxe Acetate Series. From Wynonie's first King session on 13th December 1947 until his eighth on the 18th October 1950, master recordings were on acetate discs. From 27th October 1950 onwards his sessions were recorded on tape. Disc One of this set presents all of his 23 releases from the original acetates while Disc Two has 25 alternate takes and unissued tracks. There is a detailed 16 page booklet by Tony Rounce. This set is well worth buying if you can find it at a reasonable price. Just shop around the interweb.

Ace have two other CDs of Wynonie's King sides which I have previously recommended:

"Women, Whiskey & Fish Tails" is a collection of Wynonie's later King sides, recorded after his days as an R&B chart topper were over. His last R&B hit was "Lovin' Machine" in 1952, but he continued to make some great rockin' blues records for King until late 1954.  A second brief spell at King in 1957 was a case of too little, too late and not many sales. 21 tracks from 1953 - 1957 including "Greyhound," "The Deacon Don't Like It," "Shake That Thing," and "Git To Gittin' Baby."

"Lovin' Machine" has 26 tracks recorded between 1951 and 1957. Mostly brilliant but with a couple of clunkers thrown in. The unissued version of "Rot Gut" is disappointing. Why not include the original issued version? You can pick up the real "Rot Gut" here on Be Bop Wino in the "Good Rockin' Blues" post. "Lovin' Machine" is still a very good collection, though, and includes a booklet by Tony Collins, author of the terrific Wynonie biography ""Rock Mr. Blues: the life & music of Wynonie Harris" (Big Nickel Publications,1995).

Well folks, "I feel that old age coming on" and it's time to to wrap up this post. In my next post I'll be wrestling with the problem of just what exactly is on some of those late 1950s Earl Bostic LP's? Stick around for some sax blastin'!

Friday, 6 October 2017

Wynonie Harris - Good Rockin' Blues

Volume One -

Side One:
01. Good Rockin' Tonight
02. I Feel That Old Age Coming On
03. Bloodshot Eyes
04. Rot Gut
05. Mr Dollar
06. Grandma Plays The Numbers

Side Two:
01. Good Morning Judge
02. Adam, Come Get Your Rib
03. All She Wants To Do Is Rock
04. Quiet Whiskey
05. Lovin' Machine
06. Tremblin'

Volume Two -

Side One:
01. Rose Get Your Clothes
02. Wynonie's Boogie
03. Good Morning Mr Blues
04. Blowin' To California
05. I Can't Take It No More

Side Two:
01. I Like My Baby's Pudding
02. Man, Have I Got Troubles
03. I'll Never Give Up
04. Drinkin' Blues
05. Mama Your Daughter's Done Lied On Me

Download from here

A Gusto double LP set of Wynonie Harris King sides. Life just got a little bit better, didn't it? This the fourth Gusto 2LP set I've posted, the others being by Roy Brown, Eddie "Cleanhead" Vinson and a set featuring Memphis Slim, Pete "Guitar" Lewis and Little Willie Littlefield.

I've mentioned on these previous posts that the Gusto reissues of King material were among the first "real R&B" records that I ever bought back in the late 70s / very early 80s and thus if you download and listen to these wild, wild sounds you will hear the beginnings of my downfall - a once respectable academic laid low by bop, beer, and hoochie coochie girls. Thank heavens I avoided drugs.

The Roy Brown and Cleanhead sets have excellent sound quality and sound on the Wynonie set is mainly just as good but there are a few tracks which have been mastered from noisy sources. These are mainly on disc two and are from the 1947 sessions. On the first disc "Grandma Plays The Numbers" has background hiss. Don't be put off - most of these wild and woolly platters are in suitably good punchy sound quality and should keep your neighbours awake as you party through the night or until the cops come calling.

For a brief account of the wild life of Wynonie Harris read my post of the Route 66 collection "Oh Babe! And we ain't done with Wynonie - the next post will be another LP of his King sides.

As is usual with the Gusto LP's, detailed information on the tracks is absent, so once more the intrepid blogger noses through websites, books and CD covers to track down the information without which your life would be incomplete.

Firstly here are the recording dates of the tracks -

Volume One:
01. Good Rockin' Tonight - 28th December 1947
02. I Feel That Old Age Coming On - 19th December 1948
03. Bloodshot Eyes - 27th February 1951
04. Rot Gut - 7th November 1952
05. Mr Dollar - 30th November 1954
06. Grandma Plays The Numbers - 19th December 1948
07. Good Morning Judge - 18th May 1950
08. Adam, Come Get Your Rib - 25th June 1952
09. All She Wants To Do Is Rock - 13th April 1949
10. Quiet Whiskey - 11th September 1953
11. Lovin' Machine - 2nd July 1951
12. Tremblin' - 27th February 1951

Volume 2:
01. Rose Get Your Clothes - 13th December 1947
02. Wynonie's Boogie - 13th December 1947
03. Good Morning Mr Blues - 23rd December 1947
04. Blowin' To California - 23rd December 1947
05. I Can't Take It No More - 13th April 1949
06. I Like My Baby's Pudding - 19th October 1949
07. Man, Have I Got Troubles - 24th October 1950
08. I'll Never Give Up -27th February 1951
09. Drinkin' Blues - 25th June 1952
10. Mama Your Daughter's Done Lied On Me - 11th March 1953

Now the recording session and release details in order of recording date:

Wynonie Harris vocal on all tracks

"Rose Get Your Clothes" and "Wynonie's Boogie" were recorded in NYC on the 13th December 1947. Backing was by Clyde Bernhardt's Blue Blazers. Personnel: Jesse Drakes (trumpet); Clyde Bernhardt (trombone); Elwyn Fraser (alto sax); Stafford "Pazuza" Simon (tenor sax); Archie "Skip" Hall (piano); Edgar Brown (bass); Clarence Donaldson (drums)

"Rose Get Your Clothes" / "Wynonie's Boogie" released on King 4202, January 1948

"Good Morning Mr. Blues" and "Blowin' To California" were recorded in Cincinnati on December 23rd, 1947. "Good Rockin' Tonight" was recorded in Cincinnati on the 28th December 1947. Backing was by the Hot Lips Page band. Personnel: Oran "Hot Lips" Page (trumpet); Joe Britton (trombone); Vincent Bair-Bey (alto sax); Hal Singer and Tom Archia (tenor saxes); Joe Knight (piano); Carl Wilson (bass); Clarence Donaldson (drums). Tom Archia and Vincent Bair-Bey not on "Good Rockin' Tonight."

"Good Rockin' Tonight" / "Good Morning Mr. Blues" released on King 4210 in April 1948.

"Blowin' To California" (B Side of "Bite Again, Bite Again") released on King 4252 in October 1948.

"Grandma Plays The Numbers" and "I Feel That Old Age Coming On" were recorded in Linden, New Jersey, on December 19th, 1948. Backing band: Cat Anderson (trumpet); Frank "Floorshow" Culley (alto sax); Hal Singer (tenor sax); Elmer Alexander (baritone sax); Albert "Birdie" Wallace (piano); Jimmy Butts (bass); Connie Kay (drums)

"I Feel That Old Age Coming On" / "Grandma Plays The Numbers" was released on King 4276 in February 1949. The take of "I Feel That Old Age Coming On" on this collection is an alternate take which was first released on King LP 607 - "Battle Of The Blues" - Wynonie Harris and Roy Brown.

"All She Wants To Do Is Rock" and "I Can't Take It No More" were recorded in Linden, New Jersey, on April 13th, 1949. Backing was provided by the Joe Morris band. Personnel: Joe Morris (trumpet); Matthew Gee (trombone); Fred Douglas and Johnny Griffin (tenor saxes); William McLemore (baritone sax); Elmo Hope (piano); Gene Ramey (bass); Kelly Martin (drums)

"All She Wants To Do Is Rock" was released on King 4304 (B Side of "I Want My Fanny Brown") in September 1949.

"I Can't Take It No More" was released on King 4342 (B Side of "I Like My Baby's Pudding") in February 1950.

"I Like My Baby's Pudding" was recorded in Cincinnati on the 19th October, 1949. Backing band: Bill Martin (trumpet); Moses Grant (trombone); LeRoy Harris (alto sax); Orrington Hall (tenor sax); Curtis Peagler (baritone sax); Simeon Hatch (piano); Frank Skeete (bass); Calvin Shields (drums)

"I Like My Baby's Pudding" / "I Can't Take It No More" released on King 4342 in February 1950.

"Good Morning Judge" was recorded in NYC, May 18th, 1950. Backing band: Joe Wilder (trumpet); Henderson Chambers (trombone); Bill Graham (alto and baritone saxes); Joe Alston and John
Hartzfield (tenor sax); Milt Buckner (piano); Bruce Lawrence (bass); Sammie "Sticks" Evans (drums)

"Good Morning Judge" released on King 4378 (B Side of "Stormy Night Blues") in July 1950.

"Man, Have I Got Troubles" recorded in NYC on October 23rd 1950. Backed by: Joe Wilder (trumpet); Alonzo Lucas (alto sax); Reuben Phillips (tenor sax); Numa "Pee Wee" Moore (baritone sax); Sonny Thompson (piano); Jimmy Shirley (guitar); Carl Pruitt (bass); Herman Bradley (drums)

"Tremblin'," "I'll Never Give Up" and "Bloodshot Eyes" were recorded in NYC on February 27th 1951.

"Tremblin," released on King 4448 (b/w "Just Like Two Drops Of Water") in March 1951.

"Bloodshot Eyes" released on King 4461 (B Side of "Confessin' The Blues") in July 1951.

"Man, Have I Got Troubles" / "I'll Never Give Up" released on King 4468 in September 1951.

"Lovin' Machine" recorded in Cincinnati on the 2nd of July 1951. Backed by the Todd Rhodes band. Personnel: Howard Thompson (trumpet); Ted Buckner (alto sax, baritone sax); Howard "Holley" Dismukes (alto sax); Charles Edwards (tenor sax); Todd Rhodes (piano); Joe Williams (bass); William Benjamin (drums)

"Lovin' Machine" was released on King 4485 (B Side of "Luscious Woman") in November 1951.

"Drinking Blues" and "Adam Come And Get Your Rib" were recorded in NYC on the 25th June 1952. Backed by The Lucky Millinder Orchestra. Personnel: Lamar Wright, Jimmy Nottingham, John Hunt, Hal Mitchell (trumpets); Henderson Chambers, Fred Zito (trombones); Burnie Peacock, Jimmy Powell (alto saxes); Count Hastings, Harold Clark (tenor saxes); Don Abney (piano); Clifton "Skeeter" Best (guitar); Aaron Bell (bass); James Crawford (drums)

"Drinking Blues" / "Adam Come And Get Your Rib" released on King 4565 in October 1952.

"Rot-Gut" was recorded in Cincinnati on the 7th November 1952. Backed by the Sonny Thompson band. Personnel: Dave Brooks, Wesley Brooks (tenor saxes); Walter Hiles (baritone sax); Sonny Thompson (piano); Bill Johnson (guitar); Oscar Crummie (bass); Isaac Cole (drums)

"Rot-Gut" (B Side of "Greyhound") was released on King 4592 in December 1952.

"Mama Your Daughter's Done Lied On Me" was recorded in Cincinnati on March 11th, 1953. Backed by the Frank (Fat Man) Humphries band. Personnel: Frank "Fat Man" Humphries (trumpet); Cornelius Tate (trombone); Rufus Gore, Robert Darby (tenor saxes) Walter Hiles (baritone sax); Eddie Smith (piano); Clarence Mack (bass) Bill Warren (drums)

"Mama Your Daughter's Done Lied On Me"  (b/w "Wasn't That Good?") was released on King 4620 in April 1953.

"Quiet Whiskey" was recorded in NYC on the 11th September 1953. Backing personnel: David Van Dyke, Red Prysock (tenor saxes); Sir Charles Thompson (piano, xylophone) Mickey Baker (guitar); George Duvivier (bass) Specs Powell (drums)

"Quiet Whiskey" (b/w "Down Boy Down") was released on King 4685 in January 1954.

"Mr. Dollar" was recorded in Cincinnati on 30th November 1954. Backed by the Sonny Thompson band. Personnel: Sonny Thompson (piano); Clarence Kenner (guitar); James Royal (bass); Steve Boswell (drums)

"Mr. Dollar" was released on King 4789 (B Side of "Fishtail Blues") in April 1955.

Information from -

"Rock Mr. Blues - The Life And Music of Wynonie Harris" by Tony Collins
"Unsung Heroes of Rock 'n' Roll" by Nick Tosches
Websites - Billboard articles via Google books;;

Stay tuned to Be Bop Wino for more "Mr Blues!"

Tuesday, 3 October 2017

Bill Doggett - Doggett Beat For Dancing Feet

Side 1:
01. Soft
02. And The Angels Sing
03. Ding Dong
04. Honey
05. Easy
06. Hammer Head

Side 2:
01. Ram-Bunk-Shush
02. Chloe
03. Hot Ginger
04. King Bee
05. What A Difference A Day Made
06. Shindig

1988 reissue of King LP 557 which was originally released in December 1957. The album was highly rated in the Billboard review section, scoring 83.

"This is Doggett's seventh package for the label. It has the striding rhythm and beat for which he's noted, and will sell to his fans. Tunes are a combination of standards and material derived from the jazz-rock and roll fields. Included are "And the Angels Sing," "Honey," "Hammer Head" and "Chloe." (Billboard 9th December 1957)

A 1959 reissue of the LP on King had the title "The Doggett Beat For Happy Feet" on the disc labels, which perhaps explains the discrepancy between the album cover and the disc labels on this Sing issue!

Details of recording dates and personnel are on the back cover of the LP, so I'll add original release dates to the information:

"And The Angels Sing" released on King 4690 (b/w "Eventide") in January 1954.

"Easy" released on King 4711 (b/w "There's No You") in May 1954.

"Honey" released on King 4738 (b/w "The Nearness Of You") in August 1954.

"King Bee" released on King 4769 (b/w "My Reverie") in February 1955.

"What A Difference A Day Made" released on King 4936 (b/w "Stella By Starlight") in June 1956.

"Ram-Bunk-Shush" released on King 5020 (b/w "Blue Largo") in January 1957.

"Chloe" released on King 5044 (b/w "Number Three") in April 1957.

"Ding Dong" released on King 5058 (b/w "Cling To Me") in May 1957.

"Shindig" / "Hammer Head" released on King 5070 in July 1957.

"Soft" / "Hot Ginger" released on King 5080 in September 1957.

Bill Doggett was a piano player, bandleader and arranger who took up the Hammond Organ while playing with Louis Jordan and his Tympany Five in the late 1940s. Doggett's predecessor in the Jordan band, Wild Bill Davis, had made the same change. Other pianists who made the change from piano to organ in the early 1950s included Milt Buckner and Doc Bagby. In 1951 Bill Doggett left the Tympany Five. In the same year his organ playing was featured prominently on the Ella Fitzgerald version of "Smooth Sailing." In 1952 he was on a small group session for Royal Roost with Eddie "Lockjaw" Davis on tenor sax, Oscar Pettiford on bass and Shadow Wilson on drums. A further Lockjaw Davis session for Royal Roost in the same year saw Doggett replaced by Billy Taylor on organ.

His first session for King was with a trio in January 1952, accompanied by Jimmy Candy on guitar and an unknown drummer. At the end of October 1952 Bill was back at King with a group which set the pattern for the combo recordings he would make for the company until May 1960. The band was now a five piece which included Percy France on tenor sax and Shep Shepherd on drums. In August 1955 the guitar spot was filled by Billy Butler and in January 1956 Clifford Scott took over on tenor sax from Percy France.

The Doggett - Scott - Butler - Shepherd quartet was the basis of the combo for the the following years when they were a big R&B act, thanks to the huge 1956 hit "Honky Tonk" which became the top selling R&B instrumental record of all time. The bass spot was usually occupied by either Edwyn Conley or Carl Pruitt. Other hits in the wake of "Honky Tonk" were "Slow Walk," "Ram Bunk Shush," "Soft," "Smokie Part 2," "Rainbow Riot" and "Hold It." The King years were productive, to say the least, with a slew of regular single releases, EPs and LPs.

This LP was posted on the blog back around 2008. For this post I have added new cover and label scans, boosted the volume levels and replaced the original noisy rip of "Soft" with a much cleaner rip. Enjoy groovin' to the cool sounds of Bill Doggett, R&B fans!

Saturday, 30 September 2017

Bill Doggett - Gon' Doggett

Side One:
01. Honky Tonk Part 1
02. Honky Tonk Part 2
03. Big Boy
04. Slidin'
05. Buttered Popcorn
06. Backwoods
07. Slow Walk

Side Two:
08. Quaker City
09. Night Train
10. Ram-Bunk-Shush
11. Peacock Alley
12. Hold It
13. Rainbow Riot Parts 1 & 2

Download here

I thought I'd keep the organ combo vibe going with this LP which I recently picked up second hand in a shop in Glasgow's newest hipster quarter, Strathbungo. Over the years I've acquired a few Bill Doggett albums on vinyl and CD and I have to say that I've usually had mixed feelings about Bill's music having found some of it a bit too "poppy" not to say downright schmalzy, especially the tracks that featured a flute. However, I'm absolutely delighted with this LP. The compiler, Danny Adler, has done a stand up job on this collection which is a fine selection of red hot organ / sax / guitar combo rhythm 'n' blues.

On these tracks Bill's organ stays mainly in the background, working with drummer Shep Shepherd and bassist Edwyn Conley to provide great backing to the outstanding Clifford Scott and Billy Butler on tenor sax and electric guitar respectively.The tracks were recorded for King Records over a period of almost five years, so there is some variation in personnel. Full details of who was on what track plus original release details are listed below.

It's all killer, no filler. Download for that authentic funky R&B club experience.

Recording and original release details:

"Quaker City", recorded in Cincinnati on March 23rd 1955. Personnel: Frank Heppinstall (tenor sax); Bill Doggett (organ); Billy Butler (guitar); Al Lucas (bass); Shep Shepherd (drums)

First released as single King 4808 (b/w "True Blue") in June 1955.

"Honky Tonk Parts 1 & 2" was recorded in NYC on June 16th 1956. Personnel: Clifford Scott (tenor sax); Bill Doggett (organ); Billy Butler (guitar); Carl Pruitt (bass); Shep Shepherd (drums)

First released as a two parter on single King 4950 in July 1956.

"Peacock Alley", recorded in Cincinnati on October 12th 1956. Personnel: Clifford Scott (tenor sax); Bill Doggett (organ); Billy Butler (guitar); John Faire (guitar); Edwyn Conley (bass); Shep Shepherd (drums)

First released as single King 5001 (B Side of "Honky Tonk Vocal Version") in December 1956.

"Big Boy" and "Slow Walk", recorded in Cincinnati on October 29th 1956. Personnel as on "Peacock Alley" plus Tommy Brown (maracas, claves)

"Slow Walk" released as single King 5000 (b/w "Hand In Hand") in November 1956.

"Big Boy" released as single King 5339 (b/w "Smoochie") in April 1960.

"Ram-Bunk-Shush", recorded in Cincinnati on December 21st 1956. Personnel: Clifford Scott (tenor sax); Bill Doggett (organ); Billy Butler (guitar); Edwyn Conley (bass); Shep Shepherd (drums)

First released as single King 5020 (b/w "Blue Largo") in January 1957.

"Hold It", recorded in Cincinnati on June 17th 1958. Personnel: Lawrence "Tricky" Lofton (trombone); Clifford Scott (tenor sax); Floyd "Candy" Johnson (tenors and baritone saxes); Bill Doggett (organ); Billy Butler (guitar); Edwyn Conley (bass); Shep Shepherd (drums)

First released as single King 5149 (b/w "Birdie") in September 1958.

"Rainbow Riot", recorded in NYC on September 23rd, 1958. Personnel as on "Hold It" except Carl Pruitt replaces Edwyn Conley on bass.

First released as a two parter on single King 5159 in November 1958.

"Backwoods", recorded in Cincinnati on April 10th 1959. Personnel: Glenn Childers (trombone); Clifford Scott (tenor sax); Floyd "Candy" Johnson (baritone sax); Ray Felder (tenor sax); Bill Doggett (organ); Billy Butler (guitar); Edwyn Conley (bass); Calvin Shields (drums)

A six minute version was released in 1959 on King LP 667 "On Tour." The track was called "Backwards" on the front and back covers, but "Backwoods" on the disc label. A three minute version was released on the single King 5319 (B Side of "Raw Turkey") in February 1960. Title on single was "Back Woods."

"Slidin'" was recorded in Cincinnati on August 19th 1959. Personnel as for "Backwoods" but trombone out.

"Slidin'" was released on single King 5419 (B Side of "Afternoon Jump") in November 1960.

"Buttered Popcorn" was recorded in Cincinnati on May 24th 1960. Personnel: Clifford Scott, Ray Felder (tenor saxes); Floyd "Candy" Johnson (baritone sax); Bill Doggett (organ);
Billy Butler (guitar); Bill Wills (bass) Alvin Johnson (drums)

"Buttered Popcorn" was released on single King 5364 (B Side of "The Slush") in June 1960.

"Night Train" was recorded in Cincinnati on December 12th 1959. Personnel: Clifford Scott (tenor sax); Candy "Floyd" Johnson (baritone sax); Ray Felder (tenor sax); Bill Doggett (organ ); Billy Butler (guitar); David Horine (bass); Calvin Shields (drums)

"Night Train" was recorded as a two parter, with both parts featuring on the 1960 LP "Back Again With More Bill Doggett" (King LP 723) and on the similarly titled 1960 King EP (King KSS-7-723).

A two parter single "Night Train Parts 1 and 2" was released on King 5878 in April 1964.

Elsewhere on the blog:

"Hot Doggett" LP donated by anonymous donor. Posted here:

Some Bill Dogget CD covers, including 2 which reproduce original 50s artwork:

Mo' King Records reissue vinyl in the pipeline. Stay tuned, you rockin' rhythm fans.

Saturday, 23 September 2017

Eddie "Lockjaw" Davis - Eddie Davis ... Uptown

Side One:
01. Mean To Me
02. All God's Chillun Got Rhythm
03. This Can't Be Love
04. All Of You
05. If I Were A Bell

Side Two:
01. Night And Day
02. Together
03. Smooth-Ride
04. Yesterdays
05. There's A Small Hotel
06. The Happy Whistler

Download from here

Originally released as King LP 606 in November 1958.

The return of Be Bop Wino after a much longer than anticipated absence! My apologies for such a long hiatus in posting - I guess I've managed to miss out the whole summer. When I last posted the summer solstice was upon us, the days were long and I was looking forward to a trip to Hamburg. Mission accomplished and a big shout out to two local bars - The Holsten Schwemme in St. Pauli and the Bergkate Gaststätte in Altona. Real pubs, friendly barflies, and not a tourist in sight (apart from my good self and my mates). Scots and Germans definitely make for a good drinking combination, especially if it involves Glaswegians and Hamburgers.

Now autumn is upon us and as we say in Glasgow "the nights are fair drawin' in," so what better way to spend some of the long dark nights than spreading the word on the bop to all and sundry. And let us also note in passing that this post marks the TENTH ANNIVERSARY OF BE BOP WINO.

So enough gabbin' and let's get down to business with this 1980s Swingtime reissue of another Eddie "Lockjaw" Davis album from King, "Uptown" from 1958. It's a seamless continuation of my previous post "Modern Jazz Expressions" which was originally issued in 1956, as "Uptown" contains tracks from the same 1955 sessions as well as from a later 1958 session on which Shirley Scott was the featured organist.

All tracks on Side A were recorded in June 1958 by The Eddie "Lockjaw" Davis Quartet (Eddie Davis on tenor sax, Shirley Scott on organ, Bill Pemberton on bass, Arthur Edgehill on drums) and these tracks were first issued on King LP 606.

The tracks on Side B were recorded by The Eddie "Lockjaw" Davis Trio in 1955 and 1956. Original issue of tracks recorded by first lineup of Eddie "Lockjaw" Davis Trio (Eddie Davis on tenor sax, Doc Bagby on organ and Charlie Rice on drums) in April and August 1955:

"Smooth-Ride," Yesterdays," "There's A Small Hotel," "Night And Day" were first issued on King LP 606. "Together" was issued on King 4863 b/w "Foggy Day" in December 1955.

"The Happy Whistler" which was recorded in July 1956 with Shirley Scott replacing Doc Bagby was issued on King 4966 b/w "Teach Me Tonight" in September 1956.

The arrival of Shirley Scott as featured organist in the Eddie Davis group was the beginning of a successful partnership which lasted until 1960. The group expanded to a quintet for further King sessions in January and February 1957. In the autumn of 1957 Eddie rejoined the Count Basie Orchestra and played on what has been described as "the last great Count Basie album" - "The Atomic Mr. Basie" on Roulette. Two contrasting performances by Eddie on the Atomic album are well worth catching on YouTube - the uptempo "Whirly-Bird" and the slow, moody "After Supper."

In December 1957 Eddie reunited with Shirley Scott for the Roulette LP "Count Basie Presents Eddie Davis Trio + Joe Newman." In early 1958 the Eddie Davis group recorded more sides for Roulette and Roost. On June 14th 1958 they were back at King for the sides featured on Side One of "Downtown" and shortly afterwards (June 20th) the group started their fruitful spell at Prestige with the classic soul jazz LP "The Eddie 'Lockjaw' Davis Cookbook" which was subsequently reissued as the "The Eddie 'Lockjaw' Davis Cookbook Vol. 1" when 2 additional volumes appeared.

The Davis / Scott group's last recordings for Prestige were held on April 12th 1960. Eddie then formed a quintet with fellow "tough tenor" Johnny Griffin which had LPs on Prestige, Milestone and Jazzland.

And so with "Lockjaw" an established soul jazz legend, and bearing in mind that on this blog the 1960s haven't happened yet, Be Bop Wino leaves its readers to investigate for themselves the rest of his career which included another spell with Basie and a long recording career both as leader and sideman which lasted until 1985. Eddie Davis passed away in 1986.

Wednesday, 21 June 2017

Eddie "Lockjaw" Davis - Modern Jazz Expressions

Side 1:
01. Dizzy Atmosphere
02. It's The Talk Of The Town
03. Leaping On Lenox
04. This Is Always
05. Bean-O
06. I'll Remember April

Side 2:
01. Moonlight In Vermont
02. Johnny Come Lately
03. You Go To My Head
04. Foggy Day
05. Tenderly
06. The Way You Look Tonight

Download from here:

This LP was originally released as King LP 395-506 in 1956:

The LP was re-released in 1960 as "Modern Jazz by Eddie Davis" with a new front cover similar to that used on this 1988 Sing issue.

Original issue on singles of the tracks  from "Modern Jazz Expressions":

Bean-O / This Is Always (King 4801) - Eddie "Lockjaw" Davis Trio - May 1955

Punch / It's The Talk Of The Town (King 4813) - Eddie "Lockjaw" Davis Trio - July 1955

Together / Foggy Day (King 4863) - Eddie "Lockjaw" Davis Trio - December 1955

Scatter / The Way You Look Tonight (King 4904) - Eddie "Lockjaw" Davis Trio - March 1956

Tenderly / Dizzy Atmosphere (King 4928) - Eddie "Lockjaw" Davis Trio - June 1956

"Leaping On Lenox," "I'll Remember April," "Moonlight In Vermont," "You Go To My Head" and "Johnny Come Lately" first issued on "Modern Jazz Expressions."

Eddie "Lockjaw" Davis (the nickname came from the way he blew his sax) was born in New York City in 1921. His sax style was what was known as "mainstream", i.e. rooted in the big band swing era yet he played in varied settings, starting with big bands in the early to mid 1940s, especially with Cootie Williams and also in brief stints with Lucky Millinder and Andy Kirk. His first recordings with his own small group were made in May 1946 for Haven. In December 1946 his group recorded with bopper Fats Navarro for Savoy.

Further Eddie Davis small group recordings were made for Apollo in April 1947 and Lenox sometime in 1947 / 48. Somewhat surrealistically some of Eddie's Lenox sides turned up years later under the pseudonym Hen Gates on "rock and roll" compilations issued by the budget Plymouth label.

In 1948 (possibly during the AFM recording ban) Eddie cut four sides for Bob Shad's "Sittin' In With" label. In 1949 Eddie was involved in several R&B leaning sessions: with blues shouter Carl "King Karl" Davis for National; with Jesse Stone ("Cole Slaw") for Victor; with Eddie "Cleanhead" Vinson for King; and under his own name ("Mountain Oysters") with Bill Doggett also for King.

Eddie's next few recording sessions in 1950-51 were more on the jazz side with live sessions at Birdland being recorded with Gene Parrish, Miles Davis and Slim Gaillard. In October 1951 he was on a session with trombonist Benny Green for Prestige and both artists featured shortly afterwards on a live recording by a group led by Sonny Criss at the Shrine Auditorium in Los Angeles.

In 1952 Eddie joined the reformed Count Basie big band. A 78 rpm single release of "Paradise Squat" (Mercury 89104) featuring hot soloing by Eddie became a big hit for the Count whose use of the organ rather than the piano pointed the way for future Lockjaw releases.

Eddie's stay with Basie lasted into early 1953 (he would return in 1957) but even before splitting from the Basie outfit Lockjaw started recording with small groups which featured the organ - with Bill Doggett and then with Billy Taylor, both for Roost. Further sessions for Roost in 1953 and 1954 featured Eddie Bonnemere on piano and Charlie Rice on drums with some very tasty sax by Eddie.

In 1954 the Eddie Davis Trio lineup of Eddie on sax, Doc Bagby on organ and Charlie Rice on drums came together, recording "Just Too Marvelous" / "Heartaches" for Roost and sometime in the spring of 1954 the trio plus Sonny Stitt were recorded live at Birdland. Sessions for King commenced on April 11th 1955, with further sessions on April 19th and April 20th. Further King sessions were held in August 1955 and February 1956.

As can be seen from the release details above, these sessions resulted in a string of singles as well as this LP. The singles were reviewed in the R&B section of Billboard, so despite the album title "Modern Jazz Expressions" it is obvious that these sides were aimed at the jukebox crowd who liked to hear some good hot blowing (with the occasional ballad) on mostly easily recognizable standards.

When the next King session was held in July 1956 there was a change in personnel with Shirley Scott replacing Doc Bagby on organ. This was the start of a fruitful collaboration which would last until 1960, but that is a tale for our next post on Be Bop Wino.

Friday, 16 June 2017

Original Rhythm 'N Blues (re-up)

Side A:
01. The Bo-Do Rock - Earl Bostic
02. Lavender Coffin - Joe Thomas
03. Typhoon - Cootie Williams
04. Serenade To Twins - Johnny Sparrow
05. Shuffle Express - Eddie Wilcox
06. Blow Mr Low - Joe Williams
07. Charmaine - Burnie Peacock
08. Just Fall In Love - Dan Grissom

Side B:
01. Dungaree Hop - Plas Johnson
02. Honkin' - Jimmy Jackson All Stars
03. Goodnight, Irene - Mighty Man Maxwell
04. Gin And Coconut Milk - Wilburt Harrison
05. Aviator Papa - Lolly Pop Jones And Ethel Morris
06. Rain - Oscar McLollie
07. Pachuco Bop - Mad Mel Sebastian
08. Cherry - Clarence Palmer & The Jive Bombers

Download from here:

Original post (October 4th 2009) is here:

Re-upped by request. I provided some additional info on each track in the original post, so here is an updated version of that info:

1. The Bo-Do Rock - Earl Bostic
recorded in Los Angeles, April 19, 1956 for King Records. Released on King 4930 in June 1956, credited to Earl Bostic and Bill Doggett.

2. Lavender Coffin - Joe Thomas
recorded for King Records, Linden NJ, May 21, 1949  and released on King 4296 in June 1949. Joe Thomas spent 15 years as tenor sax player and vocalist with the Jimmie Lunceford Orchestra. Started his own small band and recorded for King 1949 – 1951.

3. Typhoon - Cootie Williams
recorded for Mercury, December 1947 and released on Mercury 8083 in May 1948. Cootie Williams was for many years trumpeter in the Duke Ellington Orchestra. In the early 1940s he formed his own big band which had Eddie “Cleanhead” Vinson”, Sam “The Man” Taylor and Bud Powell in the line up. By the time this side was recorded all of these musicians had left and the band had slimmed down to 9 or 10 pieces. The following year Willis Jackson joined and the band had a hit with the two-parter which gave Jackson his nickname – “Gator Tail”.

4. Serenade To Twins - Johnny Sparrow
recorded for National Records in NYC in March 1950 and released on National 9121 in October 1950. Tenor sax man Johnny Sparrow played in Jay McShann’s band (alongside Paul Quinichette) then in Louis Armstrong’s big band. He replaced Johnny Griffin in Lionel Hampton’s band, playing alongside Morris Lane. In 1949 he left the Hampton outfit to form his own small band known as “Johnny Sparrow and his Bows and Arrows”. He recorded some sides for Melford, including the hit “Sparrow’s Flight”, then signed for National in 1950 and moved on to Gotham in 1952.

5. Shuffle Express - Eddie Wilcox
recorded for Derby Records, New York, June 1951 and released on Derby 766 in August 1951. Another alumnus of the Jimmie Lunceford Orchestra, pianist Eddie Wilcox led small bands which recorded for New York based labels Abbey and Victor in 1949-50. In 1951 he signed for Derby Records, acting as an arranger, producer, A&R man and band leader for the label. “Shuffle Express” was originally released as the B-side of Betty McLaurin’s “The Masquerade Is Over”. On this session the band included tenor sax men Freddie Mitchell and Lucky Thompson.

6. Blow Mr Low - Joe Williams
recorded in Chicago, September 1953 with the Red Saunders band. Released on Savoy 1165 in July 1955. Joe Williams was a blues shouter who had spells with the Coleman Hawkins and Lionel Hampton bands and is best remembered for his tenure in the Count Basie band in the 1950s. His biggest hit was “Every Day I Have The Blues.”

7. Charmaine - Burnie Peacock
recorded for King in New York, November 1951, and released on King 4506 in December 1951. Burnie Peacock was a clarinet and alto sax player who played in the big bands of Lucky Millinder, Jimmie Lunceford, Cab Calloway, Lionel Hampton and Count Basie, all in the space of three years from 1945 - 48. He stood in for Earl Bostic when the latter was recovering from a car crash.

8. Just Fall In Love - Dan Grissom
recorded for Million, Los Angeles 1955, released on Million 2011 in May 1955. The vocal group on the record is The Ebb Tones. This was the B-side of “Recess in Heaven”. Dan Grissom was a vocalist and alto sax player with the Jimmie Lunceford Orchestra. He was rather uncharitably nicknamed “Dan Gruesome” by jazz fans who were less than enamoured by his song stylings. From 1945 onwards he made records as a vocalist for various small labels in Los Angeles.

9. Dungaree Hop - Plas Johnson
recorded for the Tampa label in Los Angeles in 1956 and released on Tampa TP-116 in August 1956. Tenor sax man active in R&B and the poppier side of rock and roll in the mid to late 50’s, recording LPs for Capitol and Score. Also active in session work and in the jazz field. That’s his sax work on Henry Mancini’s “Pink Panther Theme.” See for much more info on this prolific musician.

10. Honkin' - Jimmy Jackson All Stars
released as RPM 349 in 1952. Evidence from the matrix numbers points towards this recording actually originating from a session by Benny Carter recorded for Modern in 1949 with Ben Webster on tenor sax. Moreover, like “Honkin’”, Carter’s “Cottontail” / “Time Out For The Blues” (released on Modern 858) also has dubbed on crowd noises. If you would like to investigate further then please buy the wonderful Ace (UK) compilation “Let’s Jump! Swingin’ Humdingers From Modern Records” (CD CHD 809). This Billy Vera compiled CD has Benny Carter’s “Cottontail” / “Time Out For The Blues” plus “Deep Purple” which is credited to the Jimmy Jackson All-Stars.

The Jazz West Coast Research blog has a post on the renaming of jazz tracks on the Modern/RPM/Crown labels, including the Benny Carter / Jimmy Jackson tracks. Discographies do list a Jimmy Jackson session in 1952 with musicians such as Billy Hadnott and Devonia Williams taking part,but the master numbers seem to show that the tracks originate from the Carter session of 1949.

11. Goodnight, Irene - Mighty Man Maxwell
recorded for Discovery in Los Angeles on August 9th, 1950. Released on Discovery 524 in September 1950. Billboard announced the recording artist as "Mad Man Maxwell."Discovery was a small jazz label which was taken over by Savoy.

12. Gin And Coconut Milk - Wilburt Harrison
recorded for DeLuxe in Miami, November 1953. B-Side of “Nobody Knows The Trouble” (DeLuxe 6031). Yes, it’s Wilbert Harrison who had the massive hit “Kansas City” for Fury in 1959, and who also recorded “Let’s Stick Together” which was covered by Canned Heat and later by Bryan Ferry.

13. Aviator Papa - Lolly Pop Jones And Ethel Morris
recorded for DeLuxe in New Orleans in 1948. Lollypop Jones “starred” in 3 films in 1946 – two musical shorts, “Chicago After Dark” and “Lucky Gamblers”, and a grade Z all-black horror movie “Midnight Menace” in which he got to sing “Honeysuckle Rose” and “Don’t Sell My Monkey Baby”.

14. Rain - Oscar McLollie
Recorded for Class, Los Angeles, 1953, released on Class 503 in March 1953. Oscar McLollie recorded two singles for Leon Rene’s Class label in 1952/53, his first release being “The Honey Jump”. During 1953 he transferred to Modern Records and recut “The Honey Jump” with his group now called The Honeyjumpers. After a series of good records such as “All That Oil In Texas” and “Lolly Pop”, he recorded briefly for Mercury in 1956. In 1957 he was back recording for Class, including several duets with Jeanette Baker. One of their numbers “Hey Girl - Hey Boy” was covered by Louis Prima and Keely Smith in the film of the same name.

15. Pachuco Bop - Mad Mel Sebastian
recorded for M & S in 1952, probably in Los Angeles. B Side of "Raven Hop." “Mad Mel Sebastian” is a pseudonym for …? Is it Chuck Higgins? Or someone cashing in on Chuck’s “Pachuco Hop”? Does anyone know anything about Mad Mel? A comment on the original post says that he had a disc on the small "R&B" label called "Walkin' On The Ceiling."

16. Cherry - Clarence Palmer & The Jive Bombers
recorded for Savoy (Savoy 1515) in New York in May 1957, released in June 1957. Very similar sound to their 1956 Savoy hit “Bad Boy.” The Jive Bombers were a group whose origins lie back in the 1930s as does “Bad Boy” which descends from Lil Armstrong’s “Brown Gal.” Now that would be worth a post on its own!