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Home , Axel Zwingenberger, Big Joe Turner, Blues shouter, Harry Babasin, Jay McShann, Lloyd Glenn

WEST COAST MYSTERIES Shedding some new light on stuff from Ace’s Modern vaults By Gerd Wieben Mind’ and ‘In The Evening’ as claimed in the standard discographies and repeated by Tony Rounce in his copious liner notes – it’s . Listeners who don’t play piano may be surprised that apparently nobody has noticed before. However, it takes a key figure of the current boogie woogie renaissance like to come to grips with the differences between their styles. He could probably play every Pete Johnson note in his sleep and he performed and recorded with Jay McShann, and lots of the other pioneers of and boogie piano as well as . When asked to help he examined the titles closely and replied: “From the first notes it becomes evident, that it’s Pete Johnson on the piano. His solos on the Henderson tracks are typical, in fact, they are especially nice examples of Pete’s piano art. If in doubt, compare with other recordings by Pete from that time. His solo in ‘Evening’ reminds me of his playing on ‘Nobody In Mind’ by Big Joe Turner, recorded on 6th November 1947 for Aladdin. All due respect to Jay, but he couldn’t have played such solos. He was better at other styles.” Axel added: “In my opinion both Henderson tracks were recorded at the same time as ‘Hard Luck, Women And Strife’ from ‘Blues For Dootsie’ (Ace CDCHD 1115), credited to Pete Johnson’s All Stars with Big Duke. And I would suggest that the P.K. Johnson recordings also belong to the same recording session.” Axel’s view is supported by previously available discographic information about matrix numbers, session personnel, details of recording or record release. I’m aware that matrix numbers are often unreliable, but in this case they fit perfectly: MM 879 and 880 for the Henderson songs, MM 882 and 883 for Pete Johnson’s ‘Sunset Romp’ and ‘Johnson’s Boogie Woogie’. Personally I would argue that leaves MM 881 for ‘Hard Luck, Women And Strife’, but I won’t press the point. I also wonder how trustworthy the names for the session personnel are? Tony Rounce suggests that Teddy Bunn played his ‘barely audible guitar’ when there is clearly no guitar present. But probably the remaining back-up musicians were playing on all titles. A few comments on the recording date. Rolph Fairchild and Pete Johnson. From the B&R Archive. Hans J. Mauerer suggested circa 1947 in ‘The Pete Johnson Story’. They presumably thought that the second AFM recording strike, which began his article discusses some seemingly random on 1st January 1948 and lasted through 14th December 1948, had made sessions in Pete Johnson’s and some others’ recording sessions almost impossible. discographies. Listening to a couple of recent Ace More recently published discographies stating 1948 could well depend CDsT and reading the liner notes left some r&b and boogie on the fact that certain non-union producers and/or studios kept on working. Trumpeter, leader, A&R man for MGM, and producer Walter woogie musicians and fans puzzled. Who is playing ‘Dootsie’ Williams must have been one of those independent producers. the piano? When were the recordings done? Which The recording date for his session with Big Joe Turner seems to be sessions do the selections belong to? There is evidence established as 28th October 1948. that suggests a different pianist and session order than I wonder if Dootsie Williams was responsible for more of the sessions made in the late , releasing the results on his own labels or peddling stated in the notes and in ‘The Blues Discography 1943– some to bigger labels such as Modern. 1970’. A few more comments on that label’s policy of re-using stuff with various These minor errors are the exception in the generally overdubs and re-titlings: high-quality liner notes for ‘Blues For Dootsie’ (Ace Pete Johnson’s two instrumentals were used under several disguises. CDCHD 1115) and ‘Further Mellow Cats ’n’ Kittens’ (Ace It’s well known among boogie fans that ‘Sunset Romp’ was called ‘Swingin’ The Boogie’ on Crown CLP 5058. With a tenor sax plus rather inappropriate CDCHD 1322). Am I too pedantic about a few false details? and obtrusive drums overdubbed in 1949 it became ‘High Tower Drive’ on Well, we’re talking about Pete Johnson, Jay McShann, a Modern record. So it came as a surprise when there was another version Hadda Brooks and Lloyd Glenn not getting their full included with Ace CDCHD 1322, this time called ‘Sunset Romp’ and also share of credit. What I thought would become a short overdubbed. We have to believe Ace that there are two test pressings in letter to B&R with comments on the above mentioned their vaults. But what was used on Ace CDCHD 1322 isn’t another take of ‘Sunset Romp’. Instead it’s an alternate take of the overdubbed version, Ace CDs amounted to an in-depth reinvestigation that and should thus be re-named ‘High Tower Drive (alt. take)’. sheds new light on various sessions for small labels in A comparison of the two overdubbed versions by Swiss r&b researcher, the late 1940s. record-compiler and musician Daniel Gugolz reveals that the doctoring was apparently made at the same time. In a thorough process of listening Re-establishing Kermit to a vast number of records featuring tenor sax players Pete Johnson is well known as one of the Big Three of Boogie Woogie. He he concluded that sax player Lorenzo ‘Buddy’ Floyd was the one chosen played and recorded extensively on the East Coast as a soloist, duetting for this session. with or playing with Big Joe Turner and others. When the boogie craze faded he made at least two trips to . On the West Coast he got chances to play and record again for independent labels such Duke Henderson & Orchestra (Modern 20-632); Pete Johnson as Modern. Its owners, the , even seem to have known his All Stars (vocal by Big Duke) (Dootone 302); P.K. Johnson real name. (Modern 20-631); Pete Johnson (Crown CLP 5058); Sylvester A record was released by one P.K. Johnson, standing for Pete Kermit C. ‘Big Duke’ Henderson-v (-1); Pete Johnson-p; Bill Cooper-b; Johnson. Amazingly, many blues fans are not aware that Pete was born Albert C. Al ‘Cake’ Wichard-d. Kermit Holden Johnson. Los Angeles, poss. 1948. Two tracks by the underrated Kansas City-born Duke Henderson on ‘Further Mellow Cat’s ‘n’ Kittens: Hot R&B And Cool Blues MM 879-1 Trouble In Mind -1 Modern 20-632* 1946-1951’ (Ace CDCHD 1322), prompted this research. Based on aural evidence it became clear that Jay McShann isn’t the pianist on ‘Trouble In

18 >> B&R >> 275 Hadda Brooks Ace CDCHD 1322 contains another mystery selection, which was found on an uncredited acetate. It’s a guitar-led jam called ‘In The Oven’ and credited to ‘Teddy Bunn with Hootie McShann Trio’ on the CD. It certainly is by Teddy Bunn with Al ‘Cake’ Wichard on drums. There wasn’t a bass player involved and the pianist doesn’t sound at all like Jay McShann or Pete Johnson. Okay, then, who was it? Axel Zwingenberger compared the track with other piano led recordings on Modern from the same time: “It’s neither Jay nor Pete on the piano. I found a solution while listening to Hadda Brooks’ ‘Honky Tonk Boogie’. It’s very likely her playing the piano. It sounds like a rehearsal for one of her sessions that could well have taken place at the time of the Henderson-Johnson session.” Big Joe Turner, from the film ‘Shake Rattle And Rock’ 1956. Courtesy Billy Vera. MM 880-4 In The Evening (When The Sun Goes Down) -1 Hadda Brooks Trio Modern 20-632 Hattie Hopgood-p; Teddy Bunn-g; Al ‘Cake’ Wichard-d. MM 881-? Hard Luck, Women And Strife -1 Dootone 30 Los Angeles, unknown date, poss. 1947 or 1948, prob. at the time as the Ace CDCHD 1115 (E) Henderson-Johnson-session? MM 882-1 Sunset Romp Modern 20-631 In The Oven Modern unissued Reissued as: Swingin’ The Boogie** Crown CLP 5058 Ace CDCHD 1322

MM 883-1 Johnson’s Boogie Modern 20-631 This untitled and uncredited recording was found in Ace’s vaults of Modern Reissued as: Boogie Crown CLP 5058 recordings. Title was perhaps assigned by Ace, wrongly credited to ‘Teddy Bunn with the Hootie McShann Trio’ on the CD. The pianist is aurally *MM 879/880 reissued on Ace CDCHD 1322 with the piano erroneously identified as Hadda Brooks by Axel Zwingenberger. Bunn and Wichard credited to Jay McShann. belonged to her combo since 1945. There’s no bass. ** ‘Swingin’ The Boogie’ is probably just a mistake on Crown CLP 5058 The very last correction for ‘Mellow Cats ’n’ Kittens’ comes again from which contains ten tracks by Hadda Brooks plus two by Pete Johnson. Daniel Gugolz. He ascertained that tracks five and seven (by Three Bits Of Possibly the compilers had originally planned to choose Hadda Brooks’ Rhythm and Red Mack with Luke Jones respectively) contain previously recording of the same title from 1945 which is totally different from Pete unissued alternate versions of the originally issued 78s. Johnson’s ‘Sunset Romp’. Maybe it was too late to correct the title when they found out so they decided to keep ‘Swingin’ The Boogie’ as the name Blues Jubilee 1947 for Johnson’s ‘Sunset Romp’. What I have tried to do so far is find substantiated answers to a number of (Rev. Dootone 302 by Bobby Nunn.) questions that provide us with new information about Pete Johnson’s West Coast activities. While preparing this text I listened to many recordings Pete Johnson closely related to Johnson’s sessions. MM 882-A is actually ‘Sunset Romp’/’Swinging The Boogie’ used as backing One particularly interesting event raises further questions. I’m talking track for an overdub by Buddy Floyd, ts, and unknown drums; retitled as about Gene Norman’s ‘Just Concert’ from 27th December 1947 ‘High Tower Drive’. The track ‘Sunset Romp alt. take’ on Ace CDCHD 1322 featuring Big Joe Turner, Pete Johnson and Kay Starr. In their article ‘In is mistitled, because it’s an alternate overdub of the same backing track Search Of Gene Norman’ in B&R 15, Tony Burke and Dave Penny point mentioned above, thus ‘High Tower Drive alt. take’ is appropriate. out that most or all parts of the shows were broadcast live by Norman’s All overdubs for both these takes of MM 882 were probably done at one radio station and recorded for possible use by the Armed Forces Network. session in 1949, the year Modern 20-691 was published. But Gene Norman also used to lease these recordings to record labels. Los Angeles, prob. 1949 Gene Norman began staging jazz singers and groups in early 1947. He MM 882-A High Tower Drive Modern 20-691; soon featured a number of rhythm and blues stars in a second series of Jackson LP 1207 (G) concerts, combining locals with visiting musicians. MM 882-? High Tower Drive (alt.) Modern unissued (? Among the ones to appear on stage were the above mentioned. Boogie Ace CDCHD 1322 fans will be familiar with most of the music from the 1947 concert. When (Rev. Modern 20-691 by Big Joe Turner.) Ace re-released it on their ‘Steppin’ Out’ by Big Joe Turner on Ace CHD 243 in 1988 including all stage announcements by the MC (probably Norman himself) the place of the show (Civic Auditorium in Pasadena) Dootsie Williams and His Orchestra with Big Joe Turner; and the correct sequence of the artists was established: Big Joe Turner, Dootsie Williams and His Rhythm Kings (Blue); Pete Johnson Kay Starr and Pete Johnson. Perhaps other jazz acts followed, as Johnny and His Orchestra Vocal by Big Joe Turner (Dootone); Joe Mercer’s name is mentioned. Turner-v; Walter ‘Dootsie’ Williams-tp; Kirtland Bradford-as; But one point should be made: I don’t believe that Big Joe and Pete -ts; Jewel Grant-bs; Pete Johnson-p; Ralph or Gene Norman would use different backing bands at the same show. Hamilton-b; Jesse Sailes-d. This is what the discographies would lead us to believe: Turner’s group Los Angeles, 28 October 1948. consisted of Pete Johnson, (g), Harry Babasin (b) and Don DW 1002A I Love Ya, I Love Ya, I Love Ya (Low Down Dog) Lamond (d); whereas Johnson had Johnny Rodgers (g), Johnny Parker Coast 8064; Dootone 305 (b) and Roy Milton (d). The first are East Coast jazz musicians, the second belonged to Roy Milton’s Solid Senders. Kay Starr was backed by an DW 1002B Born To Gamble (Gamblin’ Blues) unknown different pianist, guitar, bass and drums. Coast 8064; Blue 107 One of Germany’s best traditional boogie woogie pianists, Joerg SA 617 B Everybody’s Jumpin’ Tonight Blue 107 Hegemann, who mostly performs with a trio, swears that he can hear the (Rev. Dootone 305 by Betty Hall Jones. All titles reissued on Ace CDCHD same drummer playing throughout. At least this gives a clue that the same 1115.) musicians were used, so who were they?

19 >> B&R >> 275 styling of Barney Kessel. Barney Kessel was called upon to participate in the ‘Just Jazz’ concerts numerous times during the year. Possibly the most memorable was held at the Pasadena Civic Auditorium on 4th August. This was the day a led ‘Just Jazz All Stars’, which included Kessel, played a mind boggling version of ‘Stardust’ to a delighted crowd. Other Barney Kessel highlights of 1947 include an exercise called ‘From Dixieland To Bop’, recorded with a group fronted by reedman Lucky Thompson and housing Benny Carter as sideman.’ It has already been stated that the Bihari Brothers, owners of , were regular customers for Gene Norman’s recordings. They released Big Joe Turner’s recordings, but it seems the records weren’t hits. When Turner re-entered the charts in 1949 with some recordings for Houston’s Freedom label (leased to Specialty) and in 1951 with his first Atlantic smash ‘Chains Of Love’, Modern and Dootsie Williams reissued their Joe Turner stuff, often with overdubs and new titles. When I tried to figure out which recordings had undergone this treatment a few surprises occurred. Fellow collector Daniel Koelzer sent me a few recordings from a Japanese CD, called ‘Barrelhouse and Rockin’ Blues ’, (P-Vine PCD 3059) containing stuff from the show listed below. According to its liner notes P-Vine used RPM 331, but there is much louder noise from the audience. This is puzzling, since on RPM 331 Big Joe’s explicit lines already elicit roars of approval from the audience, and it’s not clear why it was thought necessary to overdub even more applause.

‘From Frank Bull And Gene Norman’s Blues Jubilee’ Joe Turner v with Pete Johnson-p; Barney Kessel-g; Harry Babasin-b; Don Lamond-d. With original stage announcements, probably by Gene Norman. Live from a ‘Just Jazz’ Concert at ‘Civic Auditorium’, Pasadena, California, 27th December 1947.

MM 1627 Roll ’Em Boys (I Got A Gal) RPM 331 Crown CLP 5227, CLP 5383; United LP 7794; Jackson LP 1207 (G) Ace CHD 243 (E)* MM 1628 Kansas City Blues RPM 331 MM 1104 Kansas City Blues (same as MM 1628) Crown CLP 5202, CLP 5011, CLP 5383; Amazon LP 1008; Jackson LP 1207 (G) Ace LP CHD 243 (E) Label shots courtesy of Victor Pearlin and Daniel Koelzer. MM 1746 Riding Blues (Jockey Blues) RPM 345; Again, Axel’s excellent memory helped to separate the facts from fiction Jackson LP 1207 (G); in case of the drummer. “Since listening to a 78rpm with Pete Johnson’s Ace CHD 243 (E) ‘Swanee River Boogie’ and ‘St. Louis Boogie’ from the ‘Just Jazz Concert’ MM 1747 Playful Baby RPM 345; Jackson LP 1207 (G) caused me to play boogie woogie, these recordings have meant something Ace CHD 243 (E) special to me. I had looked up information on them in discographies. So *Incomplete on Ace CHD 243, containing only the finishing 110 seconds I knew that Roy Milton was supposed to have played the drums on them when I looked for a drummer to use on the live birthday album project with Same as MM 1627, but re-released with ts overdubbed by Maxwell Big Joe Turner in Los Angeles in 1981. In believing Roy Milton had been Davis. the ‘Just Jazz’ drummer in 1947 I asked Pat Turner, Joe’s wife, to call for him to play on the session, to which Roy happily agreed. But I hadn’t MM 1113-3 A Don’t Talk Me To Death (I Ain’t Not Ready To Die) Modern 20-691; Jackson LP 1207 (G) heard much of Milton’s playing before, because there weren’t many of his (Rev. Modern 20-691 by Pete Johnson.) records available then. Anyhow, to my amazement I found out that Roy played his drums steady, in a rather basic time-keeping style with brushes. From above concert reissued on P-Vine PCD 3059 in Japan: Very different from the -oriented beats of the drummer heard on the Same details as before, with slightly different retitling and additional Just Jazz recordings from 1947. I was surprised. Could Roy really have audience noise overdubbed. changed his style that drastically, even after 34 years? When I asked Big Joe if Roy’s band had been accompanying him, he said, ‘No, they were MM 1627 Roll ’Em Pete P-Vine PCD 3059 (J) some cats from New York City’. Roy also couldn’t remember having played MM 1628 Been To Kansas City P-Vine PCD 3059 (J) with Pete Johnson and Big Joe then. Listening to the tracks quite plainly reveals that musicians with a modern jazz background accompanied Kay Starr them. And how different Roy Milton sounds using brushes you can hear v with unknown p; Barney Kessel-g; Harry Babasin-b; Don Lamond-d. With on my record ‘Boogie Woogie Jubilee’.” original stage announcements, probably by Gene Norman. What we know so far is who didn’t play drums. A search on the internet Same date and location. leads to http://www.jazzdisco.org/gene-norman/discography/. There Garbage Man Blues Modern unissued; Ace CHD 243 (E) Don Lamond is the given drummer for Pete Johnson’s show. Lamond, who died in 2003 aged 82, was a well known musician who switched Pete Johnson effortlessly from swing to mainstream jazz to bebop as a band member or p with Barney Kessel-g; Harry Babasin-b; Don Lamond-d. session player. After playing drums for ’s in the Same date and location. mid-1940s he “busied himself with other band work and recording dates, JJ6X-88 Yancey Special Jazz Selection 659 (F) including one memorable session with on the West Coast” JJ6X-89 J. J. Boogie (Just Jazz Boogie) said Peter Vacher, in an obituary in The Guardian, 16th January 2004. Jazz Selection 659 (F) Similarly renowned, -born bassman Harry Babasin was active in JJ6X-90 Swanee River Boogie Jazz Selection 660 (F) California, too, playing and recording with ’s big band as JJ6X-91 Saint-Louis Blues Boogie (sic) well as bop stars Parker and in 1947. Jazz Selection 660 (F) In the latter’s trio Babasin was often used as a cellist, which made him the first to record cello solos in a jazz setting. Jazz guitarist Barney Above taken from AFRS-Jubilee 301; 88 also on AFRS-Jubilee 271. 88, 89 Kessel met both at Charlie Parker or Lester Young’s studio sessions and and 90 reissued on Ace CHD 243 (E) with 89 retitled ‘Pete’s Boogie Special’ surely took them with him when Gene Norman asked him to back-up Big and original stage announcement before 88. All titles also on Storyville CD Joe Turner and Pete Johnson, as found on SwingMusic.Net as follows: 8025 (DK), with original stage announcement on 91, prob. by Gene Norman. ‘California jazz impresario Gene Norman was also a fan of the jazz guitar These titles without announcements reissued on Classics CD 1110.

20 >> B&R >> 275 Lloyd Glenn circa mid-1950s. Courtesy Billy Vera. Kay Starr circa mid-1950s. Courtesy Billy Vera. Lloyd Glenn What’s left to say? I really feel sorry for Jay McShann, but, of course, he’s A further track on the Japanese CD at first seemed to be another mystery. well served with lots of music genuinely by him on other CDs. It is untitled and credited to Pete Johnson. Daniel Gugolz quickly pointed Oh, just one last mystery for today. There is a Big Joe Turner release out that it is ‘Jumpin’ With Lloyd’ by Lloyd Glenn and an all star band listed in Nick Tosche’s book (1984) ‘Unsung Heroes Of Rock ’n’ Roll’ (page with Maxwell Davis, another track re-released by Modern with overdubbed 257): ‘When I’m Gone’/‘No, There Ain’t No News Today’ (Dootone 341, audience noise. This even misled Tony Burke and Dave Penny, who filed June 1954). Is it a re-issue taken from the October 1948 session? Can it under Gene Norman’s recordings in the discography that accompanied anyone confirm this? their article. It was originally recorded during a Gene Phillips studio session C on 21st November 1947. redits Some titles on the following and CDs raised several issues that were critically examined resulting in this revised discography: Lloyd Glenn & His All Stars or Maxwell Davis All Stars featuring Ace CHD 243 (GB): Big Joe Turner ‘Steppin’ Out’(1988). Lloyd Glenn; Lloyd Glenn-p; Maxwell Davis-ts; unknown tp, Ace CDCHD 1115 (GB): The Blues & Dootone Sides ‘Blues For Dootsie’ (2006). as, bs; Gene Phillips-g; Bill Davis-b; Al Wichard-d. Ace CDCHD 1322 (GB): Hot R&B and Cool Blues 1946–51 ‘Further Los Angeles, 21 November 1947. Mellow Cats ‘n’ Kittens ‘(2011). P-Vine PCD 3059 (J): Barrelhouse & Rockin’ Blues 1950s (2003). *Gene Phillips & His Rhythm Aces, reissued as by Lloyd Glenn All Stars featuring Maxwell Davis or as by Maxwell Davis on Many thanks to all the nice people at Ace Records. Without your work RPM 332. we wouldn’t even have a chance to discuss rare or previously unknown Gene Phillips-g; unknown tp; ts; as; bs; Lloyd Glenn-p; Bill Davis-b; Al recordings. Long may the stream of music flood from your vaults! Wichard-d. Los Angeles, 20th October 1947. For the discographical draft I took as my basic text the ‘standard MM 762-3 Jumpin’ With Lloyd RPM 332 discographies’: ‘The Pete Johnson Story’: Compiled and edited by MM 691-2 New Flying Home* Modern 20-614, RPM 332 Hans J. Mauerer. including a discography by Rolph Fairchild and Hans J. Mauerer. Bremen (G), 1965; Mike Leadbitter & Neil Slaven: ‘Blues Records 1943–1970 (Vol. 1 A–K)’. London, 1987; Mike Leadbitter, Leslie On 762-3 a piano is scarcely audible. The audience noise was overdubbed Fancourt & Paul Pelletier: ‘Blues Records 1943-1979 (Vol. 2 L–Z)’. for re-release on RPM 332 in 1951. This title was reissued on P-Vine PCD London, 1994; Les Fancourt & Bob McGrath: ‘The Blues Discography 3059 (J) as ‘Untitled Instrumental’, with incorrect credits to ‘Pete Johnson 1943–1970.’ Eyeball Productions, Canada, 2006. acc. by Unknown Saxes and Trumpets’ and a possible recording date of 27th December 1947, ie: for ‘Gene Norman’s Blues Jubilee’. Both titles The following provided me with most of the new data to establish also reissued on Classics CD 5016 with incomplete session-details. a hopefully accurate survey of some previously not so well known work of Pete Johnson on the West Coast in the late 1940s: Axel While talking about Lloyd Glenn I’d like to add that Axel Zwingenberger Zwingenberger and Joerg Hegemann, who furnished invaluable solved another puzzle regarding the name of the pianist at a Big Joe Turner information. Also Daniel Koelzer for comparing tracks and reissues session for National on 9th December 1947 in Chicago. Axel played Lloyd and to Daniel Gugolz, who first identified Pete Johnson as the the four selections when he recorded with him in Hollywood in May 1981. pianist on Duke Henderson’s Modern record when he received a After listening Glenn confirmed that it was him. tape recording of a very battered copy from an Australian collector in 2009. Last but not least I thank Roger Brown and Chris Smith for Ace Records have been treating fans and collectors to hefty doses of their help with the proof-reading. excellent blues piano music. I hope they contemplate a release of the complete 1947 live recordings including the three unissued ones by Of course, I’m solely responsible for any mistakes and errors. Pete Johnson recorded circa January 1949. However, can I suggest Ace This is a work still in progress. I appreciate any corrections, compilers carefully listen to the records before reproducing previously comments or additions. Gerd Wieben, Edewecht, Germany email: available info in CD liner notes. [email protected]

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