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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 -
2021-04-03 Press Release Margie Evans
April 3, 2021 OFFICIAL PRESS RELEASE MARGIE EVANS, ICONIC AND SOPHISTICATED QUEEN OF THE BLUES, DIES AT 81 Dateline: Shreveport, Louisiana, April 3, 2021 Margie Evans, a legendary, international Blues and Gospel entertainer, songwriter, music producer, actress, music historian, community activist and motivational spokeswoman, who broke barriers for African American female Blues performers with poise, dignity and sophistication, died on March 19, 2021. In addition to her musicianship, Evans is noted as an activist for parity in music education as well as a promoter of the legacy of Blues music. As she often said, “I’ve been around a long time and I’ve really paid my dues.” She was age of eighty-one. A family statement did not reveal the cause of death. The lengthy career of the unsung, effervescent entertainer is chronicled in her first biographical memoir, “Margie Evans: The Classy, Sophisticated Queen of the Blues, due for release on Amazon in two weeks. In all of her endeavors, Evans embodied African American women of courage, faith and wisdom who demanded respect. In each of her acting roles, radio commercials, iconic albums and international tours, she represented complex, decisive women, articulating a profound grace, depth, perseverance and dignity in each of her performances. Marjorie Ann Johnson was born in 1939 in Shreveport, Louisiana, in the United States. She chose to be known as Margie. Raised as a devout Christian, Margie Evans’ early exposure to music was through gospel, inspired by her mother, Mrs. Veva Williams, who taught Latin and piano. After graduating from Grambling College, majoring in elementary education, in 1958, Margie moved to Los Angeles, where she later married her longtime friend and neighbor, Rev. -
A Sampler of Blues Musicians and Styles, 1903 - 1964
Teacher’s Guide: THE BLUES - A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 - 1964 WITH ROBERT JONES B-5; 21:17 MIN At the end of the video, “The Blues - A Sampler of Significant Blues Musicians, 1903-1964” the students will be able to: Identify who is considered the Father of the Blues and explain why. Name two female blues artist important in the 1920s and explain why. Identify the world-known blues/ jazz musician from Davenport, Iowa who recorded the song “Davenport Blues. Explain what kind of blues music was considered City Blues. Identify great musicians who played City Blues and explain what they were known for. 2 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Video: Video: W.C. Handy because he discovered blues music being played Mamie Smith was the first female to record blues music in in the South, rather than inventing it. 1920. Bessie Smith dominated the blues music scene in the 1920s. 3 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Video: Blues music commonly played by a band that included an electric guitar. Video: Bix Beiderbecke who had a band that recorded under the name “Bix & His Rhythm Jugglers.” Video: T-Bone Walker was known as one of the greatest blues gui- tarists and singers. Muddy Waters was known equally well for Answers to Multiple Choice Quiz: his singing and playing and for his expertise at playing slide 1. C 2. D 3. A 4. B 5. D guitar. Big Mama Thornton, known for, among other things, an early recording of “Hound Dog.” 4 THE BLUES – A SAMPLER OF BLUES MUSICIANS AND STYLES, 1903 – 1964 Additional Learning, from Robert Jones Women in the Blues: Gertrude “Ma” Rainey (1886-1939) was the first blues singer to tour, which is why she is called the “Mother of the Blues.” Mamie Smith, by being the first blues artist to record, opened the door for the many artists that W.C. -
18. the Far-Ranging 19605
18. The Far-Ranging 19605 n the 1960s, rock ' n roll sought to create jazz that had and Motown were more to say. I monopolizing popular He was a world leader in music. The big jazz bands of the free jazz movement ofthe the 1930s and '40s and the 1960s, but Ayler's early singers of the '50s had faded influences offered little or no from the public consciousness. indication of his eventual It was a critical time for jazz. experiments in unstructured Jazz had not been the world's music. most popular music for almost Born in Cleveland July 13, two decades and seemed to be 1936, Ayler was raised by almost lost in the cross-fire of Edward and Myrtle Ayler in other forms of musical Shaker Heights. He grew up entertainment. in a very musical atmosphere. Some artists, who viewed Cleveland Press I CSU Archives He said his father played jazz as an almost straight-line Albert Ayler violin and a Dexter Gordon- evolutionary process, tried to style saxophone. "When I extend it in a variety of directions, sometimes with was two," recalled Albert, "I used to blow foot stool. disastrous results. Others, rejecting the need to expand, My mother told me I'd hold it up to my mouth and blow reverted to earlier styles of jazz. The result was a as if it were a horn." When his father played Lionel fragmentation of jazz which, in turn, diminished its Hampton records, Albert would mimic the musicians. general popularity. Jazz had moved from the Edward decided to teach his son to play alto sax. -
Oran Thaddeus Page “Hot Lips”
1 The TRUMPET of ORAN THADDEUS PAGE “HOT LIPS” Solographer: Jan Evensmo Last updated: March 31, 2020, April 28, 2021 2 Born: Dallas, Texas, Jan. 27, 1908 Died: NYC. Nov. 5, 1954 Introduction: Hot Lips Page was for unknown reasons rather marginally recognized in my Oslo Jazz Circle upbringing, and only later I opened my ears to his fine trumpet playing! Dan Morgenstern’s various liner notes helped a lot too! History: First music lessons from his mother, a former school-teacher. Early efforts on clarinet and saxophone, specialised on trumpet from the age of 12. Joined kids’ band led by bass drummer Lux Alexander. Left music temporarily, attended high school in Corsicana,Texas, left to do manual work in Seminole oil fields in Texas. Became regular member of band accompanying Ma Ra iney, made first visit to New York with Ma Rainey for bookings at the Lincoln Theatre. Worked with a T.O.B.A. circuit touring band, accompanied Bessie Smith, Ida Cox, etc. Joined Troy Floyd Band in San Antonio, also worked in Texas with Sugar Lou and Eddie’s Hotel Tyler Band. Was heard with this band by bassist Walter Page (no relation) and subsequently joined the Blue Devils band early in 1928. Left the band in 1930 to join Bennie Moten’s band, worked mainly with Moten until 1935, after that leader’s death (April 1935) led own quintet in and around Kansas City. Worked as a specialty act with Count Basie at the Reno Club, Kansas City (1936), was signed by manager Joe Glaser and moved to New York. -
Vol 23 / No. 1 & 2 / April/November 2015
1 Vol 23 / No. 1 & 2 / April/November 2015 Volume 23 Nos. 1 & 2 April/November 2015 Published by the discipline of Literatures in English, University of the West Indies CREDITS Original image: Nadia Huggins Anu Lakhan (copy editor) Nadia Huggins (graphic designer) JWIL is published with the financial support of the Departments of Literatures in English of The University of the West Indies Enquiries should be sent to THE EDITORS Journal of West Indian Literature Department of Literatures in English, UWI Mona Kingston 7, JAMAICA, W.I. Tel. (876) 927-2217; Fax (876) 970-4232 e-mail: [email protected] OR Ms. Angela Trotman Department of Language, Linguistics and Literature Faculty of Humanities, UWI Cave Hill Campus P.O. Box 64, Bridgetown, BARBADOS, W.I. e-mail: [email protected] SUBSCRIPTION RATE US$20 per annum (two issues) or US$10 per issue Copyright © 2015 Journal of West Indian Literature ISSN (online): 2414-3030 EDITORIAL COMMITTEE Evelyn O’Callaghan (Editor in Chief) Michael A. Bucknor (Senior Editor) Glyne Griffith Rachel L. Mordecai Lisa Outar Ian Strachan BOOK REVIEW EDITOR Antonia MacDonald EDITORIAL BOARD Edward Baugh Victor Chang Alison Donnell Mark McWatt Maureen Warner-Lewis EDITORIAL ADVISORY BOARD Laurence A. Breiner Rhonda Cobham-Sander Daniel Coleman Anne Collett Raphael Dalleo Denise deCaires Narain Curdella Forbes Aaron Kamugisha Geraldine Skeete Faith Smith Emily Taylor THE JOURNAL OF WEST INDIAN LITERATURE has been published twice-yearly by the Departments of Literatures in English of the University of the West Indies since October 1986. Edited by full time academics and with minimal funding or institutional support, the Journal originated at the same time as the first annual conference on West Indian Literature, the brainchild of Edward Baugh, Mervyn Morris and Mark McWatt. -
The Heart of Rock and Soul by Dave Marsh
The Heart of Rock and Soul by Dave Marsh 13 SHAKE, RATTLE AND ROLL, Big Joe Turner Produced by Ahmet Ertegun and Jerry Wexler; written by Charles Calhoun [Jesse Stone] Atlantic 1026 1954 Did not make pop charts WHOLE LOTTA SHAKIN' GOIN' ON, Jerry Lee Lewis Produced by Sam Phillips; written by Dave Williams and Sunny David [Roy Hall] Sun 267 1957 Billboard: #3 Winner and first runner-up in the Lewd and Lascivious category, "Shake, Rattle and Roll" and "Whole Lotta Shakin' " are the two strongest arguments for the idea that prudes really did have something to fear from rock and roll. Both Big Joe and Jerry Lee leer and drool with an indelicacy that would be comic if it weren't so intense. If there's a way to impute more pure, dripping lust into the word "shake," no one has ever found it, even though Lewis and Turner doubtless inspired many a search. Aside from that. the records are opposites. Turner's never made the pop charts, although its wonderful, witty lyric was bowdlerized and turned into a multimillion seller by Bill Haley later the same year; Lewis got a Number One R&B hit to go with his pop success, even though R&B shouter Big Maybelle (perhaps the closest thing to a distaff equivalent of Turner) had flopped with the same song in 1955. There's a kind of double whammy here because "Whole Lotta Shakin' " began its life as a collaboration between a black man, Williams, and a white one, Hall. (Jerry Lee apparently worked from Hall's country version, even more obscure than Big Maybelle's.) The contrast is greatest when it comes to the piano playing. -
Celebrating African American History February 2019 – Week 2
Celebrating African American History February 2019 – Week 2 28 biographies for 28 days compiled by Reverend Carolyn Matthews Rose Marie McCoy (1922 – 2015) In the spirit of Sister Rosetta Tharpe, here is another name that is important in music history. In McCoy’s biography, in the chapter titled, “Where’s the Music From,” she says the following: “It’s a gift from God. It’s inspirational. I just write what happens. It’s like you talk and then it automatically rhymes itself.” Rose Marie McCoy was one of the most prolific and versatile songwriters in the history of American music. A true pioneer, she broke into the white male-dominated music business in the early 1950s, not only writing songs, but also producing records and forming her own publishing firm. “She knew how to hang in there with the big boys,” remembers singer Maxine Brown. “Everyone was scrapping to get there, but it was always men. Women didn’t have a place, so she made a place for herself.” Rose Marie McCoy was born April 19, 1922 in Oneida, Arkansas and lived in a tin-top shack on a 40-acre farm her parents were renting. Though she lived in the Mississippi Delta, often referred to as the birthplace of the blues, the blues was not heard in Oneida, for many there considered it “the devil’s music.” But plenty of blues was heard 18 miles away in Helena, Arkansas, and since Helena was where the closest high school for blacks was located, McCoy was sent there to live with her grandparents. -
Instead Draws Upon a Much More Generic Sort of Free-Jazz Tenor
1 Funding for the Smithsonian Jazz Oral History Program NEA Jazz Master interview was provided by the National Endowment for the Arts. JIMMY SCOTT NEA Jazz Master (2007) Interviewee: Jimmy Scott (July 17, 1925 – June 12, 2014) Interviewer: David Ritz with recording engineer Ken Kimery Date: September 23-24, 2008 Repository: Archives Center, National Museum of American History, Smithsonian Institution Description: Transcript, 66 pp. Ritz: My name is David Ritz. It’s September 23rd, 2008. We’re in Las Vegas, Nevada, in the beautiful home of Jeannie and Jimmy Scott. Jimmy, do want to say your name? Is that what you want? Kimery: Name, birth date, . Ritz: Please give your name and your birth date. Scott: Fortunately or unfortunately . Ritz: As the case may be. Scott: . I was born July 17, 1925, which makes me 83 years old this present day, but I’m grateful, because so many that I know have gone and passed on. I’m fortunate to be here. Ritz: Jimmy, let me start by asking you – I know this is a hard question to answer – but what was the first time you remember hearing music? What was the first piece of music, the first little inklings of music you heard when you were a little kid? For additional information contact the Archives Center at 202.633.3270 or [email protected] 2 Scott: There I said it again. I guess I must have been about 10 years old, and I got attached to that song. There I said it again. I’m trying to remember who the featured singer was. -
Whole Lotta Shakin' Goin' On
“Whole Lotta Shakin’ Goin’ On”--Jerry Lee Lewis (1957) Added to the National Registry: 2005 Essay by Joe Bonomo (guest post)* Jerry Lee Lewis Original label The opening two minutes of Jerry Lee Lewis’s “Whole Lotta Shakin’ Goin’ On” are so striking and irrepressible that they all but guaranteed the song would be a major hit. The second half ensured that the song, and “The Killer,” would become unforgettable. Released in April 1957, “Whole Lotta Shakin’ Goin’ On” was Lewis’s second single, following “Crazy Arms,” which had failed to chart. But Lewis, well aware of his own potency, and his singular talent, and buoyed by producer Sam Phillips’s intuitive work in Sun Studio, brought “Whole Lotta Shakin’ Goin’ On” into the recording sessions confident that it could be a hit. How Lewis came to know the song is a predictably murky tale. Sources suggest that he’d learned it from Big Maybelle’s or Roy Hall’s earlier versions; Lewis himself claimed to have heard it from the singer Johnny Littlejohn at the Wagon Wheel nightclub in Natchez, Mississippi. Force of nature that he is, Lewis usually transforms the landscape of any tune he moves through, and “Whole Lotta Shakin’ Goin’ On” was no different. Recording sessions took place in February 1957, in Sun Studios at 706 Union Street in Memphis, Tennessee. Lewis played piano and sang; backing him were Roland Janes on guitar and J.M. Van Eaton on drums. Engineer Jack Clement supervised the recordings. Bathed in the fabled Sun Studio slap-back echo, they’d produced several unsatisfying takes until Lewis, encouraged by Janes and Van Eaton, pushed the song toward a new arrangement. -
Kansas City Jazz: from Ragtime to Bebop—A History
Kansas City Jazz: From Ragtime to Bebop—A History Frank Driggs Chuck Haddix OXFORD UNIVERSITY PRESS Kansas City Jazz This page intentionally left blank Kansas City Jazz From Ragtime to BebopA History Frank Driggs and Chuck Haddix 2005 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2005 by Frank Driggs and Chuck Haddix Published by Oxford University Press, Inc. 198 Madison Avenue, New York, NY 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Driggs, Frank. Kansas City jazz : from ragtime to bebop / Frank Driggs and Chuck Haddix. p. cm. Notes: Includes bibliographical references and index. Contents: Tales from Tom’s town—Carrie’s gone to Kansas City— Get low-down blues—The territories—Blue devil blues—Moten’s swing— Until the real thing comes along—Roll ’em, Pete—Hootie’s blues. ISBN-13: 978-0-19-504767-7 ISBN-10: 0-19-504767-2 1. Jazz—Missouri—Kansas City—History and criticism. -
Discographie Leader/Co-Leader
Discographie Leader/Co-Leader 1947-1953 Urbanity Clef/Mercury NYC, September-October, 1947° & September 4, 1953¹. Tracks: Blues For Lady Day°; The Night We Called It A Day°; Yesterdays°; You're Blasé°; Tea For Two°; The Blue Room°; Thad's Pad¹; Things Are So Pretty In The Spring¹; Little Girl Blue¹; Odd Number¹. Personnel: Hank Jones: piano; Ray Brown¹: bass; Johnny Smith¹: guitar. Note: Reissued on Verve. 1955 The Trio Savoy NYC, August 4, 1955. Tracks: My Hearts Are Young; We Could Make Such Beautiful Music Together; We're All Together; Cyrano; Odd Number; There's A Small Hotel; My Funny Valentine; Now's The Time. Personnel: Hank Jones: piano; Wendell Marshall: bass; Kenny Clarke: drums. Note: Also issued as The Jazz Trio of Hank Jones. Quartet/Quintet Savoy NYC, November 1, 1955. Tracks: Almost Like Being In Love; An Evening At Papa Joe's; And Then Some; Summer's Gone; Don't Blame Me. Personnel: Donald Byrd: trumpet; Matty Dice: trumpet; Hank Jones: piano; Eddie Jones: bass; Kenny Clarke: drums. Bluebird Savoy NYC, November 1 & 3 & 29 & December 20, 1955. Tracks: Little Girl Blue; Bluebird; How High The Moon; Hank's Pranks; Alpha; Wine And Brandy. Personnel: Joe Wilder, Donald Byrd, Matty Dice: trumpet; Jerome Richardson: tenor sax, flute; Herbie Mann: flute; Hank Jones: piano; Wendell Marshall: bass; Eddie Jones: bass; Kenny Clarke: drums. 1956 Have You Met Hank Jones? Savoy NYC, July 9 & August 8 & 20, 1956. Tracks: Teddy's Dream; It Had To Be You; Gone With The Wind; Heart And Soul; But Not For Me; Have You Met Miss Jones?; You Don't Know What Love Is; How About You?; Body And Soul; Let's Fall In Love; Kanakee Shout; Solo Blues.