I remember Louis Prima from
the '50s and early '60s, when he was a jump blues singer whose act
featured quite a bit of comedy. But he changed with the
times. This surprisingly sharp looking 9-minute short, Swing Cat's Jamboree,
is from 1938, when he fronted a New Orleans style jazz band and
played more trumpet. Here's the program:
“Way
Down Yonder in New Orleans”
“I
Can't Give You Anything But Love” (Shirley Lloyd, vocal)
“Please
Be Kind”
“You're
an Education” (Ted Gary, vocal; Gary and Mitzi Dahl, dancers)
“Loch
Lomond”
In
addition to Prima, the band consists of Meyer Wemberg, clarinet;
Frank Pinero, piano; Frank Prederico, guitar; Sherman Masinter, bass;
and George Hirsh, drums and vibes. Some of the singing is corny, but
be sure to stick around for “Loch Lomond.”
Since
Louis Prima appeared on television often, there is no lack of clips
from the '50s. Here's he is singing his biggest hit, “Just a Gigolo/I Ain't Got
Nobody,” with his wife, Keely Smith and his band, Sam Butera
(tenor sax) and the Witnesses.
They [Frankie Lymon and the Teenagers]sang “I Promise to Remember” a
cappella. I swear that was my turning point. That was God's way of
saying, “Here's your gig, son, and if you don't get it, it's not my
fault”
Tim Hauser, the founding member of Manhattan Transfer, has died at age 72. He was taken ill with
pneumonia while preparing for a performance in Elmira, NY, and passed away in the hospital of cardiac arrest on October 16. Manhattan Transfer—Janis Segal,
Cheryl Bentine, Alan Paul and Tim Hauser—was the most successful
jazz vocal group of the last four decades, recording over 20 albums
and winning 10 Grammy Awards in both the jazz and pop categories.
Timothy DuPron Hauser was born December
12, 1941 in Troy, NY, and grew up in Ocean Township, near Asbury
Park, NJ. As a teenager, he listened to Alan Freed's radio program and was attracted to R&B vocal groups,
especially Frankie Lymon and the Teenagers. (The opening quote describes a time he overheard them rehearsing.) Along with his friend
Thomas Picardo, aka Tommy West, he formed a vocal group of his own,
the Criterions, who had two releases on the Cecilia label in 1959, and toured with Dion and the Belmonts.
While he was studying economics at Villanova
University, Hauser and Picardo/West formed a folk trio, the
Troubadours Three. After graduating from college in 1963
and spending some time in the Air National Guard, he went to work in
advertising in New York City, while continuing to pursue his musical
interests. He formed the first Manhattan Transfer group in
1969. The name is the title of a
1925 novel by John Dos Passos. The group, which included Erin
Dickens, Marty Nelson, Pat Rosalia, and later Gene Pistilli, released
an album, Jukin', on Capitol
in 1971, and lasted until 1973.
The
second Manhattan Transfer was formed in 1973 when Hauser met Laurel
Masse while driving a cab. She introduced him to Segal and Paul, and
their night club performances developed a following in New York.
Ahmet Ertegun heard and signed them, and they recorded their first Atlantic
album, Manhattan Transfer,
in 1975. It included the pop hit “Operator,” a gospel tune.
They also had a summer TV series on CBS in 1975. They recorded three
more albums with this lineup. In 1978, Laurel Masse was injured in a
car accident and left the group. She was replaced by Cheryl Bentine,
and the third Manhattan Transfer has remained intact ever since.
Here's a video of the group doing “Java Jive,”
featuring Laurel Masse (on the right).
The
group recorded in virtually all vocal group genres, including the
pre-war pop styles of the Ink Spots and the Andrews Sisters, gospel,
'50s R&B, and girl groups of the '60s. A highlight of
their live performances was their version of “Gloria,” originally
by the Cadillacs. Their biggest hit, “The Boy From New York City”
(1981), a cover of the Ad Libs' 1965 girl group song, made the Top 10
of the Billboard pop
charts. Here's another of my favorites from among their R&B
covers, “Baby, Come Back to Me,” (aka, “Morse Code of Love”), originally by the Capris. It's a lip sync, but at least you can
see who sang what part.
However,
the dominant style in which Manhattan Transfer performed was
vocalese, a style of
jazz singing popularized by the trio of Dave Lambert, Jon Hendricks and Annie Ross in the '50s,
in which new lyrics are written to fit jazz instrumentals, including
classic solos. The Transfer's 1979 album Extensions
included “Twilight Zone/Twilight Tone,” and their classic, “Birdland,” by
Joe Zawinul of Weather Report, with lyrics by Jon Hendricks.
Their
greatest success occurred during the '80s. They won the Downbeat
poll as best jazz vocal group every year of that decade. Check out
Bodies and Souls
(1983) and Bop
Doo-Wopp (1984). In my opinion,
their best album was Vocalese
(1985), which included “Killer Joe,” “Joy Spring” and “Ray's
Rock House” (Ray being Ray Charles). Their 1987 album, Brasil,
featured songs from that country, including “Soul Food to Go.”
Although the fidelity is not great, this 80-minute concert from 1986
features Manhattan Transfer during their heyday.
Manhattan Transfer continued to record
and perform up to the present. One of their latter-day successes was
Tonin' (1994), a collection
of '50s and '60s hits with guests stars such as Ben E. King, Smokey
Robinson and Frankie Valli. Here they are doing “The Thrill is
Gone” with Ruth Brown and B. B. King.
Tim Hauser recorded a solo album, Love Stories, in 2010, which is probably best forgotten. Manhattan Transfer was in the first class inducted into the
Vocal Group Hall of Fame in 1998. Here's a recent version of
“Birdland” from about 2007.
This half-hour French TV show from the '60s begins with four instrumental selections from stride pianist Joe Turner (1907-1990). He played in the bands of Louis Armstrong and Benny Carter. After World War II, he moved to Europe, where he was popular for many years. He is not to be confused with blues/R&B shouter Big Joe Turner, who had many hits for Atlantic Records in the '50s.
However, the real attraction begins at 13:45 into the program: Four great songs from the New Orleans blues singer and pianist Champion Jack Dupree. Enjoy!
From a 1962 TV program Jazz Scene USA, here are West Coast drummer Shelly Manne and his Men doing "Speak Low." Featured are Richie Kamuca, tenor sax; Conte Candoli, trumpet, and Russ Freeman, piano. The bassist is not identified, but I think it's Monty Budwig.
I found two other clips from the same program, "Fantan" and "The King Swings."
Does anyone recognize the host? It's singer Oscar Brown, Jr.
Some of the
greatest post-war rhythm and blues came from Modern, RPM, Flair and
Meteor, a constellation of record labels owned by the four Bihari brothers. While most of their music was recorded in Los Angeles,
they had a secondary base of operations in Memphis. Initially, they
purchased masters from Sam Phillips recorded at his Sun studio.
Later, they hired Ike Turner to work as a talent scout and to
supervise recording sessions.
Modern released
over 500 R&B singles between 1945 and 1957. RPM released about
200 singles between 1950 and 1957, while Flair and Meteor had
considerably fewer. Ace Records in the U. K. is gradually releasing
the Bihari catalog of recordings. They have previously issued 2-CD
“best of” sets from Meteor and Flair. Now they are releasing two
2-CD packages from the larger RPM files. Volume 1 covers the years
1950 to 1953, and Volume 2, due later this year, will feature songs
from 1954 to 1957. Some of the Biharis' most successful artists
released some or all of their records on RPM.
Because some of
these songs have been released on previous Ace CDs, it is their
policy to use alternate takes, when available. About half of these
52 songs are alternate takes. This makes little difference, since
they are usually quite similar to the master takes.
RPM's first record
was a Dixieland jazz version of “Alabamy Bound” by trumpeter
Clyde Hurley's small group, with vocal by Adele Francis. Beginning
with their second release, “Happy Payday” by Austin McCoy, the
remainder of the songs on these two CDs are either country blues or
urban R&B.
The mainstay of
RPM was B. B. King, who released 15 singles from 1950 to 1953, and
another 21 from 1954 to 1957. Eight of them are collected here,
including his breakthrough hit, “Three O'Clock Blues” from 1951.
There are seven songs by Memphis singer and pianist Rosco Gordon,
including his hits “Booted” and “No More Doggin'.” One side
of each of Howlin' Wolf's two RPM releases is also included. (Both
Gordon and the Wolf were involved in a contract dispute between the
Biharis and the Chess brothers in Chicago. It was settled when the
Biharis signed Gordon and Wolf moved into the Chess kennel, a trade that
ultimately favored Chess.)
West Coast jump
bluesman Jimmy Nelson is represented by five cuts, including his
signature tune, “T-99 Blues.” Texas country blues specialist
Lightnin' Hopkins contributes four selections. Ike Turner takes the lead on two
records, one of them a duet with his second wife Bonnie. Turner
proteges Sunny Blair, Junior Brooks and Houston Boines have one
selection apiece, as do notable Memphis bluesmen Willie Nix and Big
Walter Horton (billed as “Mumbles”). Detroit's Eddie
Kirkland sings a duet with the uncredited John Lee Hooker.
RPM was known for
its great vocal group records, especially those by the Jacks and
Arthur Lee Maye and the Crowns, but most of them were released after
1953. Only two vocal group sides are included here, both by the Robins,
moonlighting as the Nic Nacs, in which they attempt to duplicate
their success on Savoy backing Little Esther. Teenager Mickey
Champion, a Little Esther soundalike, sings the lead. There is also
a selection by Ms. Champion as a solo artist.
Collections like
this one usually include a few unexpected pleasures and this is no exception. There are two
lively sides by little-known L. A. jump bluesman Jimmy Huff. Tenor
saxophonist Jay Franks contributes a breathless instrumental,
“Stripped Gears.” There are also chances to hear Gene Forrest
(later of Gene and Eunice) and actor Harry Caesar (as “Little
Caesar”) singing bluesy ballads.
In sum, there are
several terrific R&B records and very few duds on these two CDs.
The only drawback is that collectors may have some of them on other
CDs.
Disc 1: Clyde Hurley, Alabamy
Bound; Austin McCoy, Happy
Payday, Part 1; Luke Jones, Mama,
Oh Mama; B. B. King, B.
B. Boogie; The Other Night Blues; She's Dynamite; Three O'Clock
Blues; Fine Lookin' Woman; Memphis Eddie, Good
Time Woman; Gene Phillips,
Big Fat Mama; The Nic Nacs, Found
Me a Sugar Daddy; Gonna Have a Merry Christmas; Junior
Blues, Whiskey Head Woman;
Mickey Champion, Good
For Nothin' Man; Rosco Gordon, Rosco's
Boogie; Saddled the Cow; Booted; Jimmy Nelson, T-99
Blues; Fine Little Honey Dripper; Alexander Moore,
If I Lose You, Woman; Willie Nix, Try
Me One More Time; Howlin' Wolf, Riding
in the Moonlight; I Want Your Picture; Lightnin' Hopkins,
Bad Luck and Trouble, Jake Head
Boogie; Mumbles (Big Walter Horton), Black
Gal. (74 min.)
Disc 2: Rosco Gordon, No
More Doggin', New Orleans Wimmen; Just in From Texas; We're All
Loaded; Lightnin' Hopkins, Last
Affair; Another Fool in Town; Sunny Blair, Glad
to Be Back Home; B. B. King, Shake
It Up and Go; Woke Up This Morning; Please Love Me; Ike
Turner, Trouble and Heartaches;
Jay Franks, Stripped
Gears; Bonnie and Ike Turner, My
Heart Belongs to You; Houston Boines, Superintendent
Blues; Jimmy Huff, She's
My Baby, Don't You Know?; Eddie Kirkland, It's
Time For Lovin' to Be Done; Jimmy Nelson, Sweetest
Little Girl; Meet Me With Your Black Dress On; Cry Hard Luck; Gene
Forrest, Aching and Crying;
King Perry, Vaccinate
Me, Baby; Welcome Home, Baby; Melvin Daniels, I'll
Be There; Little Caesar, Chains
of Love Have Disappeared; Frankie Irvin, False
Love. (74 min.)
Hadda Brooks is an unsung heroine of
the first decade of post-war rhythm and blues. She had two parallel
careers, as a ballad singer and a boogie-woogie pianist. She
recorded primarily for Modern Records, owned by the Bihari brothers,
which, along with its affilates Flair, Meteor and RPM, produced some
of the best West Coast R&B of the '40s and '50s. Ace Records in
the U. K. has been gradually releasing the Biharis' catalog for two
decades.
Hadda Hopgood was a classically trained
pianist. Legend has it that Jules Bihari, then an independent record
distributor, found her playing classical music in a Hollywood music
shop. When he asked her if she could play boogie woogie, she said
she would give it a try. The CD's notes (by Tony Rounce) hint at a
romantic relationship between them, but in any case, Jules was
sufficiently inspired by her to start his own record label. Modern
101, “Swingin' the Boogie” b/w “Bluesin' the Boogie,” was
released in 1945 under the name “Hadda Brooks,” and sold well
enough to be followed by many similar recordings. It was as a ballad
singer, however, that she had her greatest success, particularly with
her version of the pop tune “That's My Desire” in 1947.
Modern's first record album, Queen
of the Boogie, issued in
1948, was also by Hadda Brooks. Young people may wonder why long
playing vinyl records and CDs are sometimes called “albums.”
This collection consisted of three 78 rpm records whose cardboard
sleeves were sewn between stiff front and back covers, and which
opened like a scrapbook or photo album. The name stuck, even when it
was no longer appropriate. The original front cover is reproduced as
the cover of this CD, and the six songs are its first six selections.
There are 24 songs on this CD. Ten
were released around the time they were recorded, five are alternate
takes of previously released sides, and nine are previously
unreleased. Four of these nine were found unlabeled in the Modern
files and were given generic titles by the Ace staff. All are piano
instrumentals, and by my count, all but seven are boogie-woogies.
The only time Hadda's voice is heard is when she chants for a few
bars on “Bully Wully Boogie.”
The ballad “Stardust,” is a
piano solo. On most of the rest of the tunes, according to the
notes, she was accompanied by Teddy Bunn on guitar, Red Callendar or
Bill Davis on bass, and Al “Cake” Wichard on drums. Bunn, if
present, is seldom audible except on “Moonglow,” where he takes
the lead. There is one cut, “Schubert's Serenade in Boogie,” in
which she is backed by a small R&B band and trades the lead with
a tenor saxophonist, probably Maxwell Davis.
Hadda Brooks is a more than adequate
boogie-woogie pianist. While she lacked the strong left hand of some
of the male pianists of the '30s and '40s, she more than makes up for
this with the inventiveness of her syncopated melodies. The only
problem with this CD, which accounts for my relatively weak rating,
is its lack of variety.
Hadda Brooks was a great singer.
(Here's an example that I posted several months ago.) My ideal Hadda
Brooks CD would be more evenly divided between vocals and
instrumentals. Such CDs are available—for example, Romance in the Dark
on Ace, and Jump Back, Honey,
which collects her OKeh recordings from 1952 and 1953. This CD is more for
Hadda Brooks completists.
Tracks:
Juke Box Boogie; Bully Wully Boogie; Sunset Limited; Boogie at the
Bandbox; Night Life; Down Beat Boogie; Minuet in G Boogie; Hungara
(Gypsy); Sleepy Time Gal; 743 Blues; 134 Blues; Schubert's Serenade
in Boogie; Hadda's Honky Tonk Train; Humoresque Boogie; Melody in F
Boogie; Hungarian Rhapsody No. 2 in Boogie; Grieg's Concerto in A
Minor; Star Dust; Strollin' and Rollin'; Rollin' and Strollin'; St.
Louis Blues Boogie; Basin Street Blues; Moonglow; Polonaise Boogie. (67 min.)
Personnel:
Hadda Brooks, piano; remainder unidentified, but probably Teddy Bunn,
guitar; Red Callendar or Bill Davis, bass; and Al “Cake” Wichard,
drums. You may also be interested in: Video of the Week #43 (Hadda Brooks)
These two soundies are by the Ink Spots, probably the most influential vocal group ever. They were obviously filmed at the same time, but I'm not sure of the date, or even the personnel. "If I Didn't Care" was recorded in 1939 and "The Gypsy" in 1946, so the date is somewhere between 1946 and as late as 1952. The lead singer is the great Bill Kenny. During the first verse of "If I Didn't Care," they stand, from left to right, Kenny, Billy Bowen, unknown and Charlie Fuqua. The unknown man is the bass. On the original record, the talking bass was sung by Orville "Hoppy" Jones, but he died in 1944. For most of the late '40s, the fourth member of the group was Kenny's brother Herb, but this is not him. Can anyone identify the mystery man?
Later in the '50s, Herb Kenny made some excellent records as lead singer of Herb Kenny and the Rockets. Charlie Fuqua was the uncle of Harvey Fuqua, one of the lead singers of the Moonglows.
