Jimmy Rushing - I Want A Little Girl

 
Side 1:
01. My Baby's Business
02. Jimmy's Round The Clock Blues
03. Thursday Blues
04. Good Mornin' Blues
05. I've Got To Have You That's All
06. I Want A Little Girl
07. I'm So Lonely
08. Go Get Some More You Fool

Side 2:
01. Hi-Ho-Sylvester
02. The Way I Feel
03. In The Moonlight
04. She's Mine, She's Yours
05. Where Were You?
06. Somebody's Spoiling These Women
07. My Last Affair
08. Baby, Don't Tell On Me

I Want A Little Girl (Mega)

I Want A Little Girl (Zippy)

Jimmy Rushing was the first of the great male blues shouters and a big influence on all who followed in his footsteps, from Joe Turner to Wynonie Harris, from Jimmy Witherspoon to Gatemouth Moore.

He is associated with the roaring Kansas City big blues bands, starting with Walter Page's Blue Devils in the late 1920's and then of course with Bennie Moten and Count Basie. None of the sides on this compilation are with the Basie band (officially), although the first six tracks were recorded while Jimmy was still a member of the Basie outfit. "My Baby's Business" and Jimmy's Round The Clock Blues" were recorded at a Johnny Otis session in LA in 1945 for Excelsior. A year later Jimmy again recorded for Excelsior (tracks 3-6) with the backing band, which consisted mostly of Count Basie band members, going under Jimmy Mundy's name.

The Count Basie band broke up in 1950 and Jimmy kept going with a small group which often featured Dickie Wells, Buddy Tate and Walter Page. He recorded a couple of singles for Gotham in 1950 (not included) and then in 1951 - 1952 four singles for King Records. All of the King sides are on this comp. The remaining two sides here were released as a single on Okeh in 1957 by which time Jimmy was well established in the jazz LP market with releases on Vanguard and Columbia. A single recorded for Parrot in Chicago (Mr 5 x 5) in 1953 with the Frank Culley band is not included.

Full recording details are on the back cover along with an excellent essay by Alun Morgan. I hope you enjoy these sides aimed at the Race Records / R&B market rather than the jazz audience which sustained Jimmy's career through the second half of the 1950's, the 1960's and the early 1970's.

A belated Happy New Year to all followers of Be Bop Wino. We'll be rockin' through 2019!

Johnny Otis & His Orchestra - All Nite Long

Side 1:
01. Midnight In The Barrelhouse
02. Boogie Guitar
03. Hangover Blues
04. Head Hunter
05. New Orleans Shuffle
06. Turkey Hop Part 1

Side 2:
01. Turkey Hop Part 2
02. Blues Nocturne
03. Freight Train Boogie
04. Mambo Boogie
05. All Nite Long
06. Honky Tonk Boogie

Johnny Otis & His Orchestra - All Nite Long (Mega)

Johnny Otis & His Orchestra - All Nite Long (Zippy)

Another in the Savoy series of home made "LPs" and this time the quintessential New York indie record company goes way out west to the Land Where Dreams Come True as label prexy Herman Lubinsky recruits producer Ralph Bass (who had previously been with Black & White Records) to be Savoy's man on the Coast. And then Bass recruits Johnny Otis, his dynamite band (as you can hear on this collection) and his star vocal acts Little Esther, Mel Walker and The Robins. The result was a staggering series of R&B hits by the Otis organisation in 1950, including "Double Crossing Blues," "Mistrustin' Blues," "Cupid's Boogie" "Deceivin' Blues," "Wedding Boogie" and "Cry Baby."

These vocal hits will feature in future compilations but in this post I've concentrated on the mainly instrumental sides recorded by the band itself. Johnny Otis, drummer, vibes player, pianist, occasional vocalist, bandleader, impresario, nightclub owner, producer and arranger, talent spotter, song writer, disc jockey, label owner, political activist, minister of religion, artist, writer and chicken farmer was what you might call a Renaissance man. He simply did it all.

He was born John Veliotes in 1921 in Vallejo, California into a Greek immigrant family.  He was raised in Berkeley where his parents owned a grocery store which served the local Black community, a community with which Johnny would identify for the rest of his life. He was a fan of big band swing, especially of the band of Count Basie. As the 1930's turned to the '40's, Johnny took up playing the drums and gained his first band experience with a local small group, Count Otis Matthews & His West Oakland House Rockers.

The basic blues 'n' boogie of the group would stand Johnny in good stead in the future when the big band era came to end and rhythm 'n' blues took its place. But before that, back in 1941, Johnny got his chance to play in a big swing band when he joined the long established Omaha based outfit of Lloyd Hunter. Also in the band were alto sax man Preston Love, tenor sax players Paul Quinichette and James Von Streeter and bass player Curtis Counce, all of whom would spend spells in Johnny Otis led bands in the future.

Above: Omaha, 1941 - Preston Love and Johnny Otis in front of the Lloyd Hunter band bus

After two years with Lloyd Hunter, Johnny Otis and Preston Love quit to form their own band, but it was short lived as Count Basie came in for Love. Hearing that former Kansas City bandleader Harlan Leonard (now established at the Club Alabam in Los Angeles) was looking for a drummer, Johnny headed to LA where he got the spot, staying with Leonard until 1944 when he transferred to a band led by former Chick Webb front man Bardu Ali. Johnny and Bardu would later become business partners when they opened The Barrel House Club in Watts in late 1947.

In 1945 Johnny formed his own big band as the new house band at the Club Alabam and signed with Excelsior Records in the autumn of that year. His second disc for the label, "Jimmy's Round The Clock Blues," featuring Basie blues shouter Jimmy Rushing on vocals, backed with the classic bump 'n' grind instrumental "Harlem Nocturne" was a big seller and the band embarked on a national tour on the back of it. The Johnny Otis Orchestra recorded for Excelsior as a big band until December 1946 but by the next and final Excelsior session in December 1947 the band had slimmed down to an eight piece. The first track on this compilation "Midnight In The Barrelhouse" dates from that session although it was re-released on Savoy in 1951, thus justifying its inclusion here.

The final Excelsior line up included several musicians who would be mainstays of the Johnny Otis band during its most successful years - George Washington on trombone, Pete "Guitar" Lewis, and Mario Delagarde on bass. The band's next recording session was for Modern in August 1949 which was the first session to feature Little Esther on vocals. In November 1949 the band started recording for Savoy with Don Johnson on trumpet, Lorenzo Holden and James Von Streeter on tenor saxes, Walter Henry on baritone sax, Devonia Williams on piano and Leard Bell on drums. Along with Lewis, Washington and Delagarde this would be the core of the Johnny Otis band on Savoy and subsequently on Federal (unofficially) and Mercury.

Fax on the trax, Jack:

"Midnight In The Barrelhouse" recorded in Los Angeles, December 1947. Johnny Otis Orchestra : John Anderson (trumpet); George Washington (trombone); Cecil "Big Jay" McNeely (tenor sax); Lem Tally (baritone sax); "Darby Hicks" (piano); Pete "Guitar" Lewis (guitar); Mario Delagarde (bass); Johnny Otis (drums).

Released on Excelsior JR 536 in February 1949. There were two virtually simultaneous Johnny Otis releases numbered Excelsior JR 536. "Happy New Year Baby" / "Barrel House Stomp" was listed in advance release notices in Billboard, 29th January 1949. This record was reviewed in Billboard on 12th February 1949. A second disc with the number 536, "Midnight In The Barrel House" / "Barrel House Stomp" was probably released shortly afterwards as it was rather late for a "New Year" release. 

"Midnight In The Barrelhouse" (note change in spelling) was re-released on Savoy 815 in September 1951 as the B-Side of an alternate take of "Harlem Nocturne" which was originally released on Excelsior JR 142.

Above: Billboard 30th April 1949

"Boogie Guitar" and "Hangover Blues" recorded in Los Angeles on November 10th, 1949. Johnny Otis and his Orchestra : Don Johnson and Lee Graves (trumpets); George Washington (trombone); Lorenzo Holden, James Von Streeter (tenor saxes); Walter Henry (baritone sax); Johnny Otis (vibraphone, drums); Devonia Williams (piano); Pete Lewis (guitar); Gene Phillips ( Hawaiian guitar on "Hangover Blues"); unknown 2nd guitar on "Boogie Guitar"; Mario Delagarde (bass); Leard Bell (drums).

This was the first Johnny Otis Orchestra session for Savoy.

"Boogie Guitar" first released on Savoy LP SJL 2230 "The Original Johnny Otis Show" in 1978.

"Hangover Blues" first released on Regent 1036 (also listed under Savoy 787), April 1951 as B-Side of "I Dream" (vocals by Mel Walker and Little Esther.)

"Head Hunter" and "New Orleans Shuffle" recorded in Los Angeles on December 23rd 1949. Probable personnel - Johnny Otis Orchestra: Lee Graves, Don Johnson (trumpets); George Washington (trombone); Big Jay McNeely, Lorenzo Holden (tenor saxes); Walter Henry (baritone sax); Johnny Otis (vibes); Devonia Williams (piano); Pete Lewis (guitar); Mario Delagarde (bass); Leard Bell (drums). It's possible that James Von Streeter is present in place of Big Jay McNeely.

"New Orleans Shuffle" / "Blues Nocturne" released on Savoy 743 in May 1950.

"Head Hunter" / "Cool And Easy" (vocal by Redd Lyte) released on Regent 1028 in January 1951. Also listed under Savoy 774.

"The Turkey Hop Parts 1 & 2" and "Blues Nocturne" recorded in Los Angeles on January 11th 1950. Personnel: John Anderson (trumpet); Floyd Turnham (alto sax); Big Jay McNeely (tenor sax); Bob McNeely (baritone sax); Devonia Williams (piano); Pete Lewis (guitar); Mario Delagarde (bass); Johnny Otis (drums); The Robins - vocals on "The Turkey Hop Part 2."

"The Turkey Hop Part 1" / "The Turkey Hop Part 2" released on Savoy 732 in February 1950.

Above: The Cash Box, 18th February 1950

"Blues Nocturne" released on Savoy 743 in May 1950, B-Side of "New Orleans Shuffle."

"Freight Train Boogie" was recorded in Chicago on June 20th 1950. Personnel: Johnny Otis Orchestra: probably - Don Johnson, Lee Graves, Hosea Sapp (trumpets); George Washington (trombone); Lorenzo Holden, James Von Streeter (tenor saxes) Walter Henry (alto, baritone saxes); Johnny Otis (vibraphone); Devonia Williams (piano); Pete Lewis (guitar); Mario Delagarde (bass); Leard Bell (drums).

"Freight Train Boogie" released on Regent 1021 (b/w "Good Time Blues" vocal Redd Lyte) in August 1950.

"Mambo Boogie" was recorded in Los Angeles on January 10th 1951. Personnel - Johnny Otis Orchestra: Don Johnson (trumpet); George Washington (trombone); Walter Henry (alto sax); Lorenzo Holden, James Von Streeter (tenor saxes); Johnny Otis (vibes); Devonia Williams (piano); Pete Lewis (guitar); Mario Delagarde (bass); Leard Bell (drums).

"Mambo Boogie" was released on Savoy 777 as the B-Side of "Gee Baby" (vocal - Mel Walker) in February 1951.

"All Nite Long" and "Honky Tonk Boogie" were recorded in New York City on March 19th and March 21st respectively, 1951. Personnel - Johnny Otis Orchestra: probably - Don Johnson (trumpet); George Washington (trombone); Earl Warren (alto sax); Lorenzo Holden (tenor sax); Walter Henry (alto and baritone sax); Devonia Williams (piano); Johnny Otis (vibes, percussion); Pete Lewis (guitar); Mario Delagarde (bass); Leard Bell (drums); vocal: Johnny Otis, George Washington and the band.

The March 21st session was the last Johnny Otis Orchestra session for Savoy.

"All Nite Long" was released on Savoy 788 b/w "New Love" (vocal - Mel Walker) in July 1951.

"Honky Tonk Boogie" was first released on Savoy LP SJL 2230 "The Original Johnny Otis Show" in 1978.

Elsewhere on the blog:

Head Hunter / Cool And Easy

El Enmascarado's rips from a 78 rpm Johnny Otis disc. Includes added James Von Streeter and Big Jay McNeely tracks plus plenty of background info / speculation. Check it out.

More Johnny Otis coming soon!

Jimmy's Round The Clock Blues / Harlem Nocturne - Jimmy Rushing with Johnny Otis his Drums & his Orchestra (Excelsior JR 142)

William Gottlieb collection, Library of Congress

Recorded in Los Angeles, September 13th, 1945. Released November 1945.

Personnel: Johnny Otis, his Drums & his Orchestra : John "Teddy" Buckner, Billy Jones, Loyal Walker, Harry Parr Jones (trumpets); Henry Coker, Eli Robinson, John Pettigrew, Jasper "Jap" Jones (trombones); Rene Bloch, Bob Harris (alto saxes); Paul Quinichette, James Von Streeter (tenor saxes); Leon Beck (baritone sax); Bill Doggett (piano); Bernie Cobbs (guitar); Curtis Counce (bass); Johnny Otis (drums); Jimmy Rushing (vocal on "Jimmy's Round The Clock Blues").

"I looked at the clock, and the clock struck one,
 I said, 'now, daddy, ain't we got fun?'
 Oh, he was rockin' me with one steady roll."

"I looked at the clock, and the clock struck six,
 I said, 'daddy, you know I like those tricks!'
 'Cause he was rockin' me with one steady roll."

"I looked at the clock, and the clock struck ten,
 I said, ... 'glory, amen!'
My man was rockin' me with one steady roll."

Thus sang Trixie Smith on "My Man Rocks Me (With One Steady Roll)" back in 1922. The tale of round the clock lovin' (although with a mere three bouts, for sex hadn't really got going in the 1920s) lived on. There was a good cover version by Jimmy Noone's Apex Club Orchestra in 1929 even though the instrumental breaks left only enough time for two rounds as the looming Great Depression presaged a new wave of puritanism. In the previous year while they were still the Roaring Twenties, Mr. Noone had regaled the public with a filthy version of "It's Tight Like That" with lots more words and less musical doodlin'.

Fast forward to Los Angeles in 1945, to the Club Alabam where the musical aggregation in residence was a big band led by drummer Johnny Otis. Also in residence at the same club at the same time was blues shouter Wynonie Harris, late of the Lucky Millinder Orchestra with whom he had recorded a record that was about to become very big, "Who Threw The Whiskey In The Well." But even though success with Lucky was just around the corner, Wynonie decided that big band life couldn't satisfy his ambitions and so he struck out on his own and headed west to the land of sunshine and booming nightlife.

Part of his club act was an extended double entendre song based on the premise of "My Man Rocks Me", i.e. an hour by hour account of whatever gets you going. For his first solo record he recorded a two part version of "Around The Clock" for Philo in July of 1945. Backing him on the record were the "Johnny Otis All Stars" who weren't the Johnny Otis Orchestra, but were in fact the Howard McGhee band with Johnny on drums.

The record caught enough action to kick off a steady stream of cover versions over the following years, including one by Big Joe Turner and another by the Howard McGhee band featuring Pearl Traylor. One of the first cover versions was by Johnny Otis, this time with his own band and featuring Count Basie's vocalist Jimmy Rushing. The B side was an arrangement of "Harlem Nocturne" which with its slow, throbbing drumbeat and the wailing alto sax of Rene Bloch, managed to be far more suggestive than the A side ditty. So much so, that it became the compulsory soundtrack of thousands of strip joints and clip joints from Soho to Shanghai.

The Rushing version of "Around The Clock" with added instrumental sleaze on the B side sold well enough to send the Otis ork on a nationwide tour in 1946. The days of the big bands were drawing to a close, and at the end of 1947 Johnny had to slim his band down to a small group.

In our next suggestive post - Wynonie "Mr Blues" Harris goes round the clock.

King Perry

 

 

 

 

 

Side One
1 Keep A Dollar In Your Pocket
2 Rocks In My Bed
3 Perry's Wiggle Boogie
4 Hold Your Gold
5 I Am The Blues – Duke Henderson
6 San Quentin Quail – Duke Henderson
7 18th & Vine Street Blues – Duke Henderson
8 Leona's Boogie – Duke Henderson

Side Two

1 Fat Mama
2 Pitching A Party
3 Wait Now
4 Going To California Blues
5 Christopher Columbus
6 Kilroy Was Here
7 Back To Kansas City
8 Things Ain't What They Used To Be

Be Bop Wino returns after a 3 month break. My apologies to those of you who kept visiting the blog in the hope of finding new posts only to find that updating had stopped in mid-May. Unfortunately real life prevented me from keeping the blog going but I’m now able to start posting again.

The next series of LP posts will be on the theme of 1940s / early 1950s jump blues bands. Jump blues is my favourite kind of R&B. Its origins lie in small group swing and the boogie woogie craze of the late 1930s. It forms a link between jazz, swing, and rhythm and blues, and was a big influence on early rock and roll.

We start our jumpin’ and jivin’ LP series with a disc I recently bought second hand over in the West End of Glasgow – a 1986 Krazy Kat LP of sides by Los Angeles based King Perry. This collection is drawn mainly from his period with Excelsior but it should be noted that he also recorded for Specialty, RPM and Dot. Included on the LP are four sides by blues shouter Duke Henderson with King Perry’s band providing backing.

King Perry was a fine vocalist in his own right with a style somewhat similar to that of Tiny Bradshaw. His bands were right, tight and outa sight and although they didn’t have big hits they’re well worth a listen. The sound quality is variable – the disc was scratched and required a bit of TLC. There are good sleeve notes by Australian DJ Professor Hi-Jinx, so there’s no need for me to write any more background info.

 

Here are the download links, no password required:

http://rapidshare.com/files/1518142792/King%20Perry.rar

or

 

http://www15.zippyshare.com/v/95421701/file.html

 

Listen Up!!
 

 

 

1 Keep A Dollar In Your Pocket (Los Angeles, 1948 - Excelsior 522)

2 Rocks In My Bed (Los Angeles, 1948 - Excelsior 522)

3 Perry's Wiggle Boogie (Los Angeles, 1948 - Excelsior 532)

4 Hold Your Gold (Los Angeles, 1948 - Excelsior 532)

5 I Am The Blues (Los Angeles 1947 - Excelsior 505)*

6 San Quentin Quail (Los Angeles 1947 - Excelsior 505)*

7 18th & Vine Street Blues (Los Angeles 1947 - Excelsior 507)*

8 Leona's Boogie (Los Angeles 1947 - Excelsior 507)*

9 Fat Mama (Los Angeles, 1948? - Excelsior 600)

10 Pitching A Party (Los Angeles 1954 - Hollywood 1030)

11 Wait Now (Los Angeles, 1948? - Excelsior 600, vocal - Chuck Norris)

12 Going To California Blues (Los Angeles 1949 - DeLuxe 3126)

13 Christopher Columbus (Los Angeles 1954 - Lucky 45-003)

14 Kilroy Was Here (Los Angeles 1947 - Excelsior 506)

15 Back To Kansas City (Los Angeles 1954 - Hollywood 1030)

16 Things Ain't What They Used To Be (Los Angeles 1954 - Lucky 45-003)

* Duke Henderson