Entries tagged with “Charlie Singleton”.



ARTISTSONGALBUM
Buddy Lucas Hustlin Family BluesTitanic And 23 Unsinkable Sax Blasters
Buddy LucasBig BerthaJubilee Honkers And Shouters
Wynonie Harris w/ Buddy Lucas Triflin' WomanRockin' The Blues
Joseph "Google Eyes" August w/ Buddy TateRock My SoulJubilee Honkers And Shouters
Rene Hall w/ Buddy Tate Blowin' AwhileJubilee Honkers And Shouters
Wynonie Harris w/ Buddy Tate Mr. Blues Is Coming To TownRockin' The Blues
Arbee Stidham w/ Hal SingerStidham JumpsHam Hocks & Cornbread
Hal Singer Buttermilk And BeansHal Singer 1948-1951
Frank Floorshow CulleyAfter Hours SessionThe Big Horn: Honkin' And Screamin' Saxophone
Jimmy Rushing w/ Frank CulleyLonesome Daddy BluesJimmy Rushing 1946-53
Frank Floorshow CulleyFloorshowThe Big Horn: Honkin' And Screamin' Saxophone
Freddie Mitchell Moondog BoogieHam Hocks & Cornbread
Honey Brown w/ Freddie MitchelRockin' And Jumpin'I'm A Bad, Bad Girl
Bullmoose Walker w/ Sam Taylor Big Fat Mamas Are Back In Style AgainThe Big Horn: Honkin' And Screamin' Saxophone
Sam "The Man" TaylorOo-WeeBlues Masters Vol. 13
Champion Jack Dupree w/ Jesse PowellFifth Avenue BluesEarly Cuts
Fluffy Hunter w/ Jesse PowellThe Walkin' BluesThe R&B Hits of 1952
Jesse PowellHot BoxThe R&B Years
Sammy Price w/ King CurtisJuke Joint Rib Joint
Roy Gaines w/ King Curtis Dat Dat De Dum DumGroove Jumping
H-Bomb Ferguson w/ Charlie SingletonRock H-Bomb, RockRock H-Bomb, Rock
Charlie SingletonBlow Mr. SingletonHam Hocks And Cornbread
Eddie “Cleanhead” VinsonI'm Gonna Wind Your ClockHonk For Texas
Eddie “Cleanhead” VinsonBald Headed BluesHonk For Texas
Sil AustinSubamarine MamaTitanic And 23 Unsinkable Sax Blasters
Sil Austin & Red Prysock No. 1 SilBattle Royal
Noble “Thin Man” Watts Hard Times (The Slop)Scratchin': The Wild Jimmy Spruill Story
Paul Williams35-30 (Thirty-Five-Thirty)Paul Williams Vol.1 1947 -1949
Tiny Bradshaw w/ Red Prysiock Bradshaw BoogieBreakin' Up the House
Warren Lucky Paradise Rock Thunderbolt!
Little Willie John w/ Willis JacksonAll Around The WorldFever
Willis JacksonWine-O-WineThe Big Horn: Honkin' & Screamin' Saxophone
Johnny Hodges With Big Al Sears Castle RockThe Big Horn: Honkin' & Screamin' Saxophone
Morris Lane Bobby's BoogieBobby's Boogie: Red Robin Records

Show Notes:

Blow Man BlowToday's show is part two our look at some great New York based sax men who's honkin' sound was heard on hundreds of records in the 40's and 50's. This show is one of several sax based shows this year starting a few months ago with one based in Chicago , followed two spotlighting some great L.A. Horn blowers. Illinois Jacquet is cited as the one who kicked off the era of honkin' sax in 1945 with his famous solo on "Flying Home" while working with Lionel Hampton's band. As Big Jay McNeely said of of the songe, "every time we picked up our horns we were just elaborating on that, trying to make it bigger, wilder, give it more swing, more kick. If you want to know where rhythm and blues began, that's it brother."  Today we spin some great honkin' sax records, some cut by the horn men themselves and others featuring their raucous playing behind some great blues singers, both well known and obscure. The records were issued on a myriad of small New York independent labels labels such as Atlas, Derby, Coral,  Apollo, Groove, Savoy and bigger players such as King and Atlantic. Among those featured today are legendary horn men such as Hal Singr and Freddie Mitchell who played on countless sessions as well as recording some exciting sides under their own names. Then there were sax men primarily know for their session work such as the prolific Sam “The Man” Taylor, Budd Johnson and Big Al Sears. There were the sax men who lead their own band and were stars in their own right such as Eddie “Cleanhead” Vinson, Paul “Hucklebuck” Williams, Red Prysock, Earl Bostic and Bullmoose Jackson. Others heard today include the incendiary Noble “Thin Man” Watts, the rising star King Curtis, Willis “Gator” Jackson, Buddy Lucas, Frank Culley, Sil Austin, Buddy Tate, Jesse Powell and others. We'll provide some background on some of today's artists that we didn't discuss last week.

From the late 1940s onward, Buddy Lucas was a much-in-demand session saxophonist who also recorded quite a few vocal sides. Lucas made his first (vocal) recordings in 1951, for Jerry Blaine's Jubilee label, where he also became leader of the house band. After the first release, "Soppin' Molasses"/"Whoppin' Blues" (Jubilee 5058), Frank CulleyBuddy renamed the combo "The Band Of Tomorrow". In 1953 Buddy moved to RCA, where he had two singles released on the parent label and three on its subsidiary Groove. Until 1964, Lucas went on to record for a host of other labels. The list of artists on whose records he has played is very long and includes Nappy Brown, Big Joe Turner,, LaVern Baker, Mickey and Sylvia,Big Maybelle, Bill Doggett, Little Willie John, Ray Charles, Aretha Franklin, among many others.

Buddy Tate began his professional career in the late 1920s playing around the Southwest in bands led by Terrence Holder, Andy Kirk, and Nat Towles. For a brief period in 1934 he played with the Count Basie Band who he recorde with in 1939. Tate decided to leave the band, hoping to tour less and perform closer to his home in New York. Eventually Tate secured residency for his own band in 1953 at the Celebrity Club on 125th Street in Harlem, a position he held for twenty-one years. He did a fair bit of session work on R&B sessions for sveral New York labels.

Frank Culley began learning the tenor sax at the age of 10 and made his first professional mark playing with Johnson's Happy Pals around Richmond, Virginia. He formed his own R&B group in the mid-40s, recording for the Lenox label in NYC and backing Wynonie Harris on King. In 1948, he was signed by Atlantic and led its first house band, backing the early stars of R&B as well as recording some thirty tracks under his own name. Culley's first release on Atlantic, "Coleslaw", was a # 11 R&B hit in 1949. The follow-up was "Floorshow" the song gave him his nickname. The next single, "After Hour Session" went to # 10 on the R&B charts. Culley recorded for RCA Victor, Parrot, Chess and Baton without success.

Texas tenorman Jesse Powell worked his early years with Hot Lips Page, Louis Armstrong, and Luis Russell. He joined Count Basie's Band in 1946, replacing the great sax player Illinois Jacquet. Powell appears on a number of blues recordings in the late 1940s with people like Brownie McGhee, Willie Jordan, and Doc Pomus. He also worked with Champion Jack Dupree and continued to play jazz, touring France with Howard McGee in 1948. He played bop and recorded with Dizzy Gillespie in 1949. During the 1950s, as bebop fell out of favor, Powell found steady work with a variety of R&B artists. He recorded as a leader for Federal in 1951 and 1953 and had established himself with the Josie label by 1954.

Sil Austin & Red PrysockBorn in Kansas City around 1930, alto and tenor saxophonist Charlie Singleton he started making records under his own name in New York City at the age of 19 for the Apollo label. Singleton made a handful of recordings in 1950 and recorded sides for the Atlas label during the early '50s. He also backed several singer including H-Bomb Ferguson.

Sil Austin won the Ted Mack Amateur Hour in St. Petersburg, Florida in 1945, playing "Danny Boy". His performance brought him a recording contract with Mercury Records, and he moved to New York. Austin played with Roy Eldridge briefly in 1949, and with Cootie Williams in 1951-52 and Tiny Bradshaw in 1952-54, before setting up his own successful touring group. He recorded over 30 albums for Mercury, and had a number of Top 40 hits with pop tunes. Austin described the sound of his 1950s singles to author Wayne Jancik. "Exciting horn, honking horn, gutbucket horn is what kids wanted to hear, so I made sure I played more of that. They called it rock 'n' roll. And the records sold."

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ARTISTSONGALBUM
J.T. 'Funny Paper' SmithHoney BluesThe Original Howling Wolf
Bo CarterTellin' You 'Bout ItThe Essential
Chuck NorrisRockin' After HoursThe Fabulous Swing, Jump Blues Guitar Of
Rollie McGill w/Chuck Norris People Are Talkin' The Fabulous Swing, Jump Blues Guitar Of
Brother Son Bonds & Hammie NixonI Want To Live So God Can Use MeBlues Images Vol. 12
The Delta Boys Don't You Want to Know Sleepy John Estes Vol. 2 1937-1941
CeDell Davis Lonley NightsKeep It To Yourself - Arkansas Blues Vol. 1
W.C. ClayStanding At My WindowKeep It To Yourself - Arkansas Blues Vol. 1
Luke 'Long Gone' MilesBad Luck ChildCountry Boy
Johnny Fuller Strange LandFuller's Blues
Lafayette ThomasParty With MeOakland Blues
Speckled Red Down On The Levee Speckled Red 1929-1938
Meade "Lux" Lewis Tell Your StoryTell Your Story
Big Bill BroonzyGood Liquor Gonna Carry Me DownThe Young Big Bill Broonzy
Turner Parrish The FivesMama Don't Allow No Easy Riders Here
Robert McCoyYou Got To Reap What You SowBye Bye Baby
Robert McCoyDirty DozensBlues And Boogie Woogie Classics
Robert McCoyMcCoy BoogieBlues And Boogie Woogie Classics
Sam Collins New Salty DogJailhouse Blues
Willie BakerCrooked Woman BluesCharley Lincoln & Willie Baker
(John Lee) Sonny Boy Williamson You've Been Foolin' Around Town Sonny Boy Williamson Vol. 2 1938-1939
Jed DavenportSave Me SomeMemphis Shakedown: More Jug Band Classic
Frank EdwardsGotta Get TogetherJook Joint Blues
Tampa RedYou Got To Reap What You SowThe Essential
Leroy CarrYou Got To Reap What You SowSloppy Drunk
Jazz GillumGot to Reap What You Sow Bill ''Jazz'' Gillum Vol. 2 1938-41
Arthur CrudupYou Gotta Reap Arthur Crudup Vol. 1 1941-1946
Robert Pete WilliamsBetter Have Your WaySugar Farm
Blue Charlie MorrisDon't Bring No FriendBluesin' By The Bayou: I'm Not Jiving
Charlie Singleton Never Trust A WomanCharlie Singleton 1949-1953
Big Jim WynnPut Me Down BluesBig Jim Wynn 1947-1959

Show Notes:

We're back with a live show after a three week break. Lots of interesting records today including a two sets of excellent piano blues, a pair of tracks featuring Son Bonds, two spotlighting guitarist Chuck Norris, two off Keep It To Yourself – Arkansas Blues Vol. 1, a set of songs tracing the history of "You Got To Reap What You Sow", some tough horn blowers and much more.

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We devote one of our piano sets to the great but obscure Robert McCoy. McCoy was born in 1912 in Aliceville, AL but raised on Birmingham's North Side and by 1927 was a well-known local artist. Two of McCoy's six brothers, Johnny an Willie, played piano and used to run around with the great Jabo Williams. Cow Cow Davenport and Pinetop Smith played at McCoy's house whenever they were in town and had a profound influence on McCoy. Between March 3rd and April 7th 1937, ARC (The American Record Company) sent a mobile recording unit on a field trip firstly to Birmingham, Alabama in search of new talent. Over a two week period set about recording a number of gospel and blues musicians. Among those were Charlie Campbell, Guitar Slim (George Bedford) and James Sherrill (Peanut The Kidnapper) all of whom were backed by the lively piano of McCoy who did not record under his own name. In 1963 McCoy was recorded by Pat Cather, a teenaged Birmingham blues fan. Cather issued two albums on his Vulcan label: Barrelhouse Blues And Jook Piano and Blues And Boogie Classics. Both albums were cut in extremely small quantities and are very rare. Delmark has reissued some of this material on the CD Bye Bye Baby including some unreleased material and the Oldie label reissued some sides as Blues And Boogie Woogie Classics. In 1964 Vulcan issued a couple of singles and the same year a couple of singles were issued on the Soul-O label (Robert McCoy and His Five Sins) with McCoy backed by an R&B band in an attempt to update his sound. In later years McCoy became a church Deacon. He passed in 1978.

Our other piano set features fabulous sides by Speckled Red, Meade Lux Lewis, Black Bob and Turner Parrish. Little is known about pianists Turner Parrish but census records link him to Indianapolis. Parrish recorded eight songs for Gennett/Champion in Richmond, Indiana at three different sessions, from 1929 to 1933. He covered Leroy Carr’s "My Own Lonesome Blues" and "Fore Day Rider" at his 1932 session although the record has never been found. He also backed up Teddy Moss in 1929. Census records show him living in Indianapolis in 1920 and passing there in 1966.

Very little is known about Black Bob Hudson, except that he was a blues pianist who was active from the 1920's and 1930's. While he didn't cut any sides under his own name he backed a staggering number of renowned artists such as Big Bill Broonzy, Bumble Bee Slim, Jazz Gillum, Lil Johnson, Washboard Sam, Casey Bill Weldon, Tampa Red and many others.Son Bonds 78 Broonzy and Bob cut dozens of sides together between 1934 and 1937 including our featured number, "Good Liquor Gonna Carry Me Down."

Charles "Chuck" Norris was born in Kansas City, MO. on August 11, 1921. Norris worked in Chicago until the mid-'40s, when he moved out to the West Coast following a failed marriage. Between 1947 and 1951 he recorded several records in Los Angeles for Coast, Imperial, Selective, Mercury and Aladdin. His final two recordings were made in New York City for Atlantic in 1953. He backed artists such as Floyd Dixon, Little Willie Littlefield, Ray Agee and others. He cut a full-length live album titled The Los Angeles Flash in 1980. He passed in 1989.Norris is in fine form on his own " Rockin' After Hours" and backing Rollie McGill on " People Are Talkin'."

Son Bonds was born in Brownsville, Tennessee. He was also billed on record as "Brownsville" Son Bonds and Brother Son Bonds. Sleepy John Estes, in his earlier recordings, was backed by Yank Rachell (mandolin) or Hammie Nixon (harmonica), but by the late 1930s he was accompanied in the recording studio by either Bonds or Charlie Pickett (guitar). Bonds also backed Estes on a couple of recording sessions in 1941. In return, either Estes or Nixon played on every one of Bonds's own recordings. The music to one of Bonds's songs, "Back and Side Blues" (1934), became a standard blues melody when John Lee "Sonny Boy" Williamson from nearby Jackson, TN, used it in his classic "Good Morning, (Little) School Girl" (1937). According to Nixon, Bonds suffered an accidental death in August 1947. While sitting on his front porch late one evening in Dyersburg, Tennessee, Bonds was shot to death by his short-sighted neighbor, who mistook Bonds for another man. we spin "I Want To LIve So God Can Use Me" featuring his pal Hammie Nixon.

A couple of weeks back we traced the history of the song "Some Cold Rainy Day" which was originally recorded by singer Bertha “Chippie” Hill in 1928 with Tampa Red on guitar. The following year Tampa cut "You Got to Reap What You Sow", an instrumental with exactly the same melody. We spin a few version of this song today. That same year Leroy Carr waxed a version of "You Got to Reap What Sow" with lyrics. Other versions of the song were recorded by Mance Lipscomb, Walter Davis, Sonny Terry & Brownie McGhee and others. A gospel song with a similar title has been recorded by several groups but is a different song. The song is based on Galatians 6:7: "…Whatsoever a man soweth that shall he also reap" which in various forms has long been a proverbial saying: You gotta reap just what you sow because the Good Book says it." The line shows up in many other blues songs as part of the lyrics but not in the title, notably Charlie Patton's "Pea Vine Blues" from 1929.

Keep It To YourselfA few weeks back we spotlighted sax man Maxwell Davis. We spin a couple of his contemporaries today, Charlie Singleton and Big Jim Wynn. Born in Kansas City around 1930, alto and tenor saxophonist Charlie Singleton went to the same school as Charlie Parker had a few years earlier and even studied with Bird's music teacher Leo Davis. In 1949, Singleton started making records under his own name in New York City.

By the mid 1930s, Wynn had formed his own band and was playing tenor sax at a Watts club called Little Harlem where he first met a dancer by the name of T-Bone Walker. As vocalist and guitarist, Walker began sitting in with the Wynn band; the beginning of an association that was to last for over 17 years. Wynn made his debut in 1945 for the 4Star and Gilt Edge Records, leaving to join the Modern label the following year. The Wynn band recorded sporadically thereafter for Specialty (1947), Supreme, Modern, Peacock (1949), Mercury and Recorded In Hollywood (1951) and Million (1954), recording a final single in 1959 for short-lived Hollywood indie, Great Records. Wynn disbanded his regular combo in the mid 1950s, becoming an indispensable session saxophonist on many of the blues, R&B, pop and soul recordings commissioned by the myriad California independent labels through the late 1950s and 1960s. During the same period, Wynn was also an integral part of Johnny Otis' big R&B revue band, a post he would maintain until the mid 1970s.

Keep It To Yourself – Arkansas Blues Vol. 1 (1983) is a collection of solo blues guitar, harmonica and piano performances recorded in Arkansas in 1976 by Louis Guida under a Bicentennial grant. Guida traversed the state to record in nightclubs, at artists' homes and inside a prison unit. We play tracks by Cedell Davis and W.C. Clay. Clay, was the guitarist on the King Biscuit Time radio show in the early 1950's. Meet Me In The Bottom- Arkansas Blues Vol. 2 has recently been released.

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