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The Fingerprints of the “5” Royales Nearly 65 Years After Forming in Winston-Salem, the “5” Royales’ Impact on Popular Music Is Evident Today
The Fingerprints of the “5” Royales Nearly 65 years after forming in Winston-Salem, the “5” Royales’ impact on popular music is evident today. Start tracing the influences of some of today’s biggest acts, then trace the influence of those acts and, in many cases, the trail winds back to the “5” Royales. — Lisa O’Donnell CLARENCE PAUL SONGS VOCALS LOWMAN “PETE” PAULING An original member of the Royal Sons, the group that became the The Royales made a seamless transition from gospel to R&B, recording The Royales explored new terrain in the 1950s, merging the raw emotion of In the mid-1950s, Pauling took over the band’s guitar duties, adding a new, “5” Royales, Clarence Paul was the younger brother of Lowman Pauling. songs that included elements of doo-wop and pop. The band’s songs, gospel with the smooth R&B harmonies that were popular then. That new explosive dimension to the Royales’ sound. With his guitar slung down to He became an executive in the early days of Motown, serving as a mentor most of which were written by Lowman Pauling, have been recorded by a sound was embraced most prominently within the black community. Some his knees, Pauling electrified crowds with his showmanship and a crackling and friend to some of the top acts in music history. diverse array of artists. Here’s the path a few of their songs took: of those early listeners grew up to put their spin on the Royales’ sound. guitar style that hinted at the instrument’s role in the coming decades. -
Selected Observations from the Harlem Jazz Scene By
SELECTED OBSERVATIONS FROM THE HARLEM JAZZ SCENE BY JONAH JONATHAN A dissertation submitted to the Graduate School-Newark Rutgers, the State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in Jazz History and Research Written under the direction of Dr. Lewis Porter and approved by ______________________ ______________________ Newark, NJ May 2015 2 Table of Contents Acknowledgements Page 3 Abstract Page 4 Preface Page 5 Chapter 1. A Brief History and Overview of Jazz in Harlem Page 6 Chapter 2. The Harlem Race Riots of 1935 and 1943 and their relationship to Jazz Page 11 Chapter 3. The Harlem Scene with Radam Schwartz Page 30 Chapter 4. Alex Layne's Life as a Harlem Jazz Musician Page 34 Chapter 5. Some Music from Harlem, 1941 Page 50 Chapter 6. The Decline of Jazz in Harlem Page 54 Appendix A historic list of Harlem night clubs Page 56 Works Cited Page 89 Bibliography Page 91 Discography Page 98 3 Acknowledgements This thesis is dedicated to all of my teachers and mentors throughout my life who helped me learn and grow in the world of jazz and jazz history. I'd like to thank these special people from before my enrollment at Rutgers: Andy Jaffe, Dave Demsey, Mulgrew Miller, Ron Carter, and Phil Schaap. I am grateful to Alex Layne and Radam Schwartz for their friendship and their willingness to share their interviews in this thesis. I would like to thank my family and loved ones including Victoria Holmberg, my son Lucas Jonathan, my parents Darius Jonathan and Carrie Bail, and my sisters Geneva Jonathan and Orelia Jonathan. -
From King Records Month 2018
King Records Month 2018 = Unedited Tweets from Zero to 180 Aug. 3, 2018 Zero to 180 is honored to be part of this year's celebration of 75 Years of King Records in Cincinnati and will once again be tweeting fun facts and little known stories about King Records throughout King Records Month in September. Zero to 180 would like to kick off things early with a tribute to King session drummer Philip Paul (who you've heard on Freddy King's "Hideaway") that is PACKED with streaming audio links, images of 45s & LPs from around the world, auction prices, Billboard chart listings and tons of cool history culled from all the important music historians who have written about King Records: “Philip Paul: The Pulse of King” https://www.zeroto180.org/?p=32149 Aug. 22, 2018 King Records Month is just around the corner - get ready! Zero to 180 will be posting a new King history piece every 3 days during September as well as October. There will also be tweeting lots of cool King trivia on behalf of Xavier University's 'King Studios' historic preservation collaborative - a music history explosion that continues with this baseball-themed celebration of a novelty hit that dominated the year 1951: LINK to “Chew Tobacco Rag” Done R&B (by Lucky Millinder Orchestra) https://www.zeroto180.org/?p=27158 Aug. 24, 2018 King Records helped pioneer the practice of producing R&B versions of country hits and vice versa - "Chew Tobacco Rag" (1951) and "Why Don't You Haul Off and Love Me" (1949) being two examples of such 'crossover' marketing. -
1957 and 1961, Both My Life and Career
1957 and 1961, both my life and career began to take shape under the tutelage of legendary Billboard music editor Paul Ackerman and then-chart editor Tom Noonan, who first opened the magazine’s doors to a fifteen-year-old kid. At that time, Billboard was certainly the com munications center of the music industry, and what I learned and saw and heard there has indeed served me well over the years. Far and away the monumental event - and one of the most important moments in my life - was meeting Syd Nathan at a Billboard record-review session one drizzly Wednesday night in March or April 1958. A lthough i had a french test coming up, Paul urged me to stay by saying, “This guy is one of the great indie record men a real character. He can’t see very well and wears these thick, will be around. We’ll listen to those next week. Syd, let’s have Coca-Cola-bottle glasses, has a big ring on his finger and talks your records.” Syd got up and threw his records - fortunately, with a deep, raspy voice due to previous illnesses, but you just unbreakable 45s - on the floor and said, “Y)u don’t step on a man must meet him. He’ll be overwhelmed by your knowledge of when he’s down. Listen to Jerry Blaine’s records, and you can save C&W and R&B, and you will understand and love him and see mine for next week.” Needless to say, a ll the records were what he is all about.” Paul was right: That meeting changed my reviewed, including ones by Little Willie John on Syd’s label King life and destiny and is probably the reason I am able to write a and the Cadillacs on Josie. -
Why Am I Doing This?
LISTEN TO ME, BABY BOB DYLAN 2008 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES, NEW RELEASES, RECORDINGS & BOOKS. © 2011 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. Listen To Me, Baby — Bob Dylan 2008 page 2 of 133 1 INTRODUCTION .................................................................................................................................................................. 4 2 2008 AT A GLANCE ............................................................................................................................................................. 4 3 THE 2008 CALENDAR ......................................................................................................................................................... 5 4 NEW RELEASES AND RECORDINGS ............................................................................................................................. 7 4.1 BOB DYLAN TRANSMISSIONS ............................................................................................................................................... 7 4.2 BOB DYLAN RE-TRANSMISSIONS ......................................................................................................................................... 7 4.3 BOB DYLAN LIVE TRANSMISSIONS ..................................................................................................................................... -
Updates & Amendments to the Great R&B Files
Updates & Amendments to the Great R&B Files The R&B Pioneers Series edited by Claus Röhnisch from August 2019 – on with special thanks to Thomas Jarlvik The Great R&B Files - Updates & Amendments (page 1) John Lee Hooker Part II There are 12 books (plus a Part II-book on Hooker) in the R&B Pioneers Series. They are titled The Great R&B Files at http://www.rhythm-and- blues.info/ covering the history of Rhythm & Blues in its classic era (1940s, especially 1950s, and through to the 1960s). I myself have used the ”new covers” shown here for printouts on all volumes. If you prefer prints of the series, you only have to printout once, since the updates, amendments, corrections, and supplementary information, starting from August 2019, are published in this special extra volume, titled ”Updates & Amendments to the Great R&B Files” (book #13). The Great R&B Files - Updates & Amendments (page 2) The R&B Pioneer Series / CONTENTS / Updates & Amendments page 01 Top Rhythm & Blues Records – Hits from 30 Classic Years of R&B 6 02 The John Lee Hooker Session Discography 10 02B The World’s Greatest Blues Singer – John Lee Hooker 13 03 Those Hoodlum Friends – The Coasters 17 04 The Clown Princes of Rock and Roll: The Coasters 18 05 The Blues Giants of the 1950s – Twelve Great Legends 28 06 THE Top Ten Vocal Groups of the Golden ’50s – Rhythm & Blues Harmony 48 07 Ten Sepia Super Stars of Rock ’n’ Roll – Idols Making Music History 62 08 Transitions from Rhythm to Soul – Twelve Original Soul Icons 66 09 The True R&B Pioneers – Twelve Hit-Makers from the -
Rhythm & Blues Rhythm & Blues S E U L B & M H T Y
64 RHYTHM & BLUES RHYTHM & BLUES ARTHUR ALEXANDER JESSE BELVIN THE MONU MENT YEARS CD CHD 805 € 17.75 GUESS WHO? THE RCA VICTOR (Baby) For You- The Other Woman (In My Life)- Stay By Me- Me And RECORD INGS (2-CD) CD CH2 1020 € 23.25 Mine- Show Me The Road- Turn Around (And Try Me)- Baby This CD-1:- Secret Love- Love Is Here To Stay- Ol’Man River- Now You Baby That- Baby I Love You- In My Sorrow- I Want To Marry You- In Know- Zing! Went The My Baby’s Eyes- Love’s Where Life Begins- Miles And Miles From Strings Of My Heart- Home- You Don’t Love Me (You Don’t Care)- I Need You Baby- Guess Who- Witch craft- We’re Gonna Hate Ourselves In The Morn ing- Spanish Harlem- My Funny Valen tine- Concerte Jungle- Talk ing Care Of A Woman- Set Me Free- Bye Bye Funny- Take Me Back To Love- Another Time, Another Place- Cry Like A Baby- Glory Road- The Island- (I’m Afraid) The Call Me Honey- The Migrant- Lover Please- In The Middle Of It All Masquer ade Is Over- · (1965-72 ‘Monument’) (77:39/28) In den Jahren 1965-72 Alright, Okay, You Win- entstandene Aufnahmen in seinem eigenwilligen Stil, einer Ever Since We Met- Pledg- Mischung aus Soul und Country Music / his songs were covered ing My Love- My Girl Is Just by the Stones and Beatles. Unique country-soul music. Enough Woman For Me- SIL AUSTIN Volare (Nel Blu Dipinto Di SWINGSATION CD 547 876 € 16.75 Blu)- Old MacDonald (The Dogwood Junc tion- Wildwood- Slow Walk- Pink Shade Of Blue- Charg ers)- Dandilyon Walkin’ And Talkin’- Fine (The Charg ers)- CD-2:- Brown Frame- Train Whis- Give Me Love- I’ll Never -
The Impressions, Circa 1960: Clockwise from Top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden
The Impressions, circa 1960: Clockwise from top: Fred Cash, Richard Brooks> Curtis Mayfield, Arthur Brooks, and Sam (Pooden. Inset: Original lead singer Jerry Butler. PERFORMERS Curtis Mayfield and the Impressions BY J O E M cE W E N from the union of two friends, Jerry Butler and Curtis Mayfield of Chicago, Illinois. The two had sung together in church as adolescents, and had traveled with the Northern Jubilee Gospel Singers and the Traveling Souls Spiritual Church. It was Butler who con vinced his friend Mayfield to leave his own struggling group, the Alfatones, and join him, Sam Gooden, and brothers Richard and Arthur Brooks— the remnants of another strug gling vocal group called the Roosters. According to legend, an impressive performance at Major Lance, Walter Jackson, and Jan Bradley; he also a Chicago fashion show brought the quintet to the at wrote music that seemed to speak for the entire civil tention of Falcon Records, and their debut single was rights movement. A succession of singles that began in recorded shortly thereafter. “For Your 1964 with “Keep On Pushing” and Precious Love” by “The Impressions SELECTED the moody masterpiece “People Get featuring Jerry Butler” (as the label DISCOGRAPHY Ready” stretched through such exu read) was dominated by Butler’s reso berant wellsprings of inspiration as nant baritone lead, while Mayfield’s For Your Precious Love.......................... Impressions “We’re A Winner” and Mayfield solo (July 1958, Falcon-Abner) fragile tenor wailed innocently in the recordings like “(Don’t Worry) If background. Several follow-ups He Will Break Your Heart......................Jerry Butler There’s A Hell Below We’re All Going (October 1960, Veejay) failed, Butler left to pursue a solo ca To Go” and “Move On Up,” placing reer, and the Impressions floundered. -
Savoy and Regent Label Discography
Discography of the Savoy/Regent and Associated Labels Savoy was formed in Newark New Jersey in 1942 by Herman Lubinsky and Fred Mendelsohn. Lubinsky acquired Mendelsohn’s interest in June 1949. Mendelsohn continued as producer for years afterward. Savoy recorded jazz, R&B, blues, gospel and classical. The head of sales was Hy Siegel. Production was by Ralph Bass, Ozzie Cadena, Leroy Kirkland, Lee Magid, Fred Mendelsohn, Teddy Reig and Gus Statiras. The subsidiary Regent was extablished in 1948. Regent recorded the same types of music that Savoy did but later in its operation it became Savoy’s budget label. The Gospel label was formed in Newark NJ in 1958 and recorded and released gospel music. The Sharp label was formed in Newark NJ in 1959 and released R&B and gospel music. The Dee Gee label was started in Detroit Michigan in 1951 by Dizzy Gillespie and Divid Usher. Dee Gee recorded jazz, R&B, and popular music. The label was acquired by Savoy records in the late 1950’s and moved to Newark NJ. The Signal label was formed in 1956 by Jules Colomby, Harold Goldberg and Don Schlitten in New York City. The label recorded jazz and was acquired by Savoy in the late 1950’s. There were no releases on Signal after being bought by Savoy. The Savoy and associated label discography was compiled using our record collections, Schwann Catalogs from 1949 to 1982, a Phono-Log from 1963. Some album numbers and all unissued album information is from “The Savoy Label Discography” by Michel Ruppli. -
MXB Virtual Tour
Projects & Proposals > Manhattan > Virtual Tour of Malcolm X Boulevard Archived Content This page describes Malcolm X Boulevard as it appeared in 2001. The tour was developed as part of the Malcolm X Boulevard Streetscape Enhancement Project. Welcome! Welcome to Malcolm X Boulevard in the heart of Harlem! This online virtual tour highlights the landmarks of Harlem and is available in printable text form. Introduction: This tour was developed by the Department of City Planning as part of its Malcolm X Boulevard Streetscape Enhancement Project. The project, which extends from West 110th to West 147th Street, seeks to complement the ongoing capital improvements for Malcolm X Boulevard and take advantage of the growing tourist interest in Harlem. The project proposes a program of streetscape and pedestrian space improvements, including new pedestrian lighting, new sidewalk and median landscaping and the provision of pedestrian amenities, such as seating and pergolas. The Department has been working with Cityscape Institute, the Upper Manhattan Empowerment Zone, the New York City Department of Transportation, and the Department of Design and Construction, and has received implementation funds totaling $1.2 million through the federal TEA21 Enhancement Funding program for the proposed pedestrian lighting improvements. As one element of the project, the Department developed this guided tour of the boulevard and neighboring blocks. The tour provides an overview of local area history, and highlights architecturally significant and landmarked buildings, noteworthy cultural and ecclesiastical institutions and other points of interest. A listing of former famous jazz clubs, such as the Cotton Club and Savoy Ballroom, is also provided. Envisioned as an information resource for residents and visitors, the tour is also available in printable text format for use as a hand-held guide for a self-guided walking tour along the boulevard. -
OFFERS INVITED by Mark Berresford Rare Records the Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England
OFFERS INVITED by Mark Berresford Rare Records The Chequers, Chequer Lane, Shottle, Derbyshire, DE56 2DR, England. Tel: (+44) 1773 550275 Email: [email protected] Postage and packing in purpose-built new boxes extra. Winners only notified. Condition, as ever, guaranteed. Minimum bid unless stated £8/$10, however I reserve the right to refuse bids I consider unrealistic. AUCTION CLOSES MIDNIGHT 18th FEBRUARY 2018 HOW TO BID Basically, there are two ways of bidding; first is the simple Straight Bid - you offer a fixed amount for an item and if yours is the high - est bid, you win. Secondly, and easier for those more familair with internet auctions, and for those collectors unsure of what to offer, is the Maximum Bid. You offer a bid to a maximum amount, which will be increased in 10% increments over the nearest bid up to your maximum amount. For example, you bid to a maximum of $100 on an item, but the next highest bid is $20 - you will pay $22, i.e. 10% over the the next highest bid. In the event of a tie the fixed bidder, or earliest-placed bid wins. IMPORTANT! Please make clear the system of bidding you are using and currency you are bidding in (Pounds Sterling, Euros or US Dollars). If you have a maximum budget to spend, please advise with your bids. Please also double check your item numbers when bidding - I do not use titles or issue numbers on my auction spreadsheet, so if you bid on the wrong number and win it, it’s yours! NOTE: Some of the categorisation of certain instrumental-based artists has been, by necessity, arbitrary so please check all sections. -
Fusion Mastering System
F U S I O N hitney Balliett, one of America’s most distin- perfect touch and highly creative use of all the piano’s guished jazz writers, produced a fine apprecia- resources – walking left-hand tenths, rippling runs, trills tion of Teddy Wilson in one of his New York Times and octaves. One of his most characteristic devices is that Wcolumns in 1972 when he wrote: “Teddy Wilson is a marvel tripping, ascending run that leads into the bass solos on and we must not take him for granted”. He went on to des- “Don’t Be That Way” “I’ve Got A Feeling” and “You’re Blasé”. cribe Wilson’s “feathery arpeggios, the easy, floating left Throughout Wilson gives generous solo space to his hand, the impeccable rhythmic sense, the intense clusters colleagues and they make the most of it. NHOP needs no of notes that believe the cool mask he wear when he plays”. recommendation, but Lundgaard is also extremely impres- All the prodigious pianistic artistry of Teddy Wilson is sive. He has good time and intonation and is an inventive in evidence on this album which features the pianist with and harmonically accurate soloist. two excellent rhythm sections. The 1968 sides, originally On the opening track, a tune whose chord sequence released on Storyville SLP 1005, were produced by Timme has been voraciously appropriated by beboppers over the Rosenkranz. They team Wilson with Denmark’s most years, Wilson makes only sporadic reference to the origi- famous jazz export, Niels Henning Ørsted Pedersen and nal melody (which certainly wears less well than its chord his very accomplished compatriot, Bjarne Rostvold.