Sun 4 Jul 2010
|Larry Dale||Please Tell Me||Rock With A Sock|
|Cootie Williams||Three O'Clock in the Morning||Jazz At Midnight|
|Bob Gaddy||Operator||Harlem Blues Operator|
|Bob Gaddy||Bicycle Boogie||Bob Gaddy & Friends|
|Bob Gaddy||No Help||Bob Gaddy & Friends|
|Paul Williams||Shame, Shame, Shame||Paul Williams Vol. 3 1952-1956|
|Paul Williams||The Woman I Love Is Dying||Paul Williams Vol. 3 1952-1956|
|Larry Dale||No Tellin' What I'll Do||Herald/Ember Blues & Gospel Masters Vol. 1|
|Cootie Williams||Rinky Dink||Cootie Williams in Hi Fi|
|Bob Gaddy||Blues Has Walked In My Room||Bob Gaddy & Friends|
|Big Red McHouston||Stranger Blues||Rock With A Sock|
|Larry Dale||Midnight Hours||Rock With A Sock|
|Larry Dale||I'm Tired||Rock With A Sock|
|Larry Dale||Where Is My Honey||Rock With A Sock|
|Champion Jack Dupree||The Ups||Shake Baby Shake|
|Champion Jack Dupree||Down The Lane||Shake Baby Shake|
|Champion Jack Dupree||Story Of My Life||Shake Baby Shake|
|Champion Jack Dupree||You're Always Cryin' The Blues||Shake Baby Shake|
|Larry Dale||You Better Heed My Warning||Rock With A Sock|
|Larry Dale||Big Muddy||Hy Weiss Presents Old Town Records|
|Larry Dale||Down To The Bottom||Rock With A Sock|
|Bob Gaddy||Paper Lady||Harlem Blues Operator|
|Bob Gaddy||Out Of My Name||Harlem Blues Operator|
|Bob Gaddy||Rip And Run||Harlem Blues Operator|
|Larry Dale||Let Your Love Run To Me||Old Town Blues Vol. 2|
|Larry Dale||Let The Doorbell Ring||Hy Weiss Presents Old Town Records|
|Larry Dale||Drinkin' Wine Spo-Dee-O-Dee||Midnight Ramble Tonight Vol. 2|
|Champion Jack Dupree||Junker's Blues||Blues From The Gutter|
|Champion Jack Dupree||Goin' Down Slow||Blues From The Gutter|
|Champion Jack Dupree||T. B. Blues||Blues From The Gutter|
|Champion Jack Dupree||Evil Woman||Blues From The Gutter|
|Cootie Williams||Boomerang||Cootie Williams in Hi Fi|
|Larry Dale||Feelin' Allright||45|
|Blues & Rhythm Magazine Cover Number 34|
I received the sad news of the passing of Larry Dale who died on May 19th. Outside of die hard collectors, who hold Dale's recordings in high esteem, he never broke out to a large audience despite cutting some potent blues and R&B sides under his own name and some knockout session guitar backing artists like Mickey Baker, Champion Jack Dupree, Bob Gaddy, Paul Williams and Cootie Williams. I became an immediate fan of Dale's after grabbing a copy Still Groove Jumping! from my favorite record store, Finyl Vinyl on New York's Second Ave., an anthology of sides cut for the Groove label including a trio of gritty blues by Dale. It was also about this time that I was a regular reader of the British Juke Blues magazine when they published an article entitled Larry Dale: The New York Houserocker (Juke Blues # 9, 1987 – read below). To my surprise I found out that Dale and I both lived in the Bronx but unfortunately I never got a chance to see him perform. Over the years I've picked up just about all of Dale's recordings and today we pay tribute to Dale and his New York friends who's records he played on.
New York City has never had a big reputation as a blues town, compared to Chicago and L.A. It did however have a very lively postwar R&B scene. The R&B scene had its peak between 1945 and 1960 and has always been closely associated with the local jazz scene. There were nationally important clubs like the Apollo and Savoy and numerous other spots for live entertainment. The recording scene was dominated by a group of small but enterprising independent companies like: Apollo, DeLuxe, Fire/Fury, Herald, Baton, Joe Davis, Old Town and in particular, Atlantic and Savoy. There was also out of town companies that recorded local talent like Federal and RCA’s Groove and Vik subsidiaries. Literally hundreds and hundreds of R&B recordings were made, aimed at the black market with occasional cross over success
Born in Texas, Dale had moved to New York City in 1949 and quickly fell into the local blues scene as he explained: "It's kinda funny how I learned to play the guitar. Brownie McGhee would let me come up on his bandstand and sit in the back and playing all kind of bad notes until I learned where the changes were. And then I got so where I could play pretty good. And I could always sing good, If I could sing and leave the guitar alone I was good, but if I tried to play the guitar …Bobby Schiffman told me 'You just sing, leave the guitar alone. you'11 make it'. But he didn't know I was determined to learn the guitar. So I bought B.B King records, people that played guitars; and I learned how to play. Then Mickey Baker he taught me a lot. …Well before then Mickey taught me a lot about guitar. And then it's a funny thing, after Mickey taught me then I had to teach him how to play the blues!"
|Larry Dale's House Rockers: Matt Gray, sax; Larry Dale, guitar;
Bob Gaddy, piano; poss Gene Brooks, drums.
Dale made his start with Paul "Hucklebuck" Williams’ band in the early 50’s and plays on one four song session cut in 1952 for Jax, taking the vocals on "Shame, Shame, Shame" and "The Woman I Love Is Dying." These records can be found on Blue Moon's Paul Williams Vol. 3 1952-1956. Saxophonist and bandleader Paul Williams scored one of the first big hits of the R&B era in 1949 with "The Hucklebuck which topped the R&B charts for 14 weeks and was one of three Top 10 and five other Top 20 R&B instrumental hits that Williams scored for Savoy in 1948 and 1949. He was later part of Atlantic Records' house band in the '60s and directed the Lloyd Price and James Brown orchestras until 1964.
Both as a session man and featured recording artist, pianist Bob Gaddy made his presence known on the New York blues scene during the 1950's. Dale had high praise for Gaddy: "Bob Gaddy as a musician? Well, he kept me in the business I would say, he was that good …Bob was one of the best nightclub entertainers I ever worked with." Gaddy was drafted in 1943, and that's when he began to take the piano seriously. He picked up a little performing experience in California clubs while stationed on the West Coast before arriving in New York in 1946. Gaddy gigged with Brownie McGhee and guitarist Larry Dale around town, McGhee often playing on Gaddy's waxings for Jackson (his 1952 debut, "Bicycle Boogie"), Jax, Dot, Harlem, and from 1955 on, Hy Weiss' Old Town label. There Gaddy stayed the longest, waxing the fine "I Love My Baby," "Paper Lady," "Rip and Run," and quite a few more into 1960. Both Gaddy and Dale remained active on the New York scene for decades after. Dale is featured on many Gaddy recordings including four sides for Jax and Harlem in 1952, for Dot in 1954, for Harlem in 1955 and for Old Town between 1956 and 1958. Dale's Old Town sides can be found on several Ace collections including Bob Gaddy: Harlem Blues Operator, Old Town Blues Vol. 2 – The Uptown Sides and Harlem Hit Parade: Old Town Blues Vol. 2.
Dale is also the vocalist on the rousing "I'm Tired" b/w "Where Is My Honey" by Big Red McHouston (alias Mickey Baker) on Groove. In 1954 he had the first release under his own name. A session for RCA's Groove subsidiary on June 21, 1954, produced four tracks, including the menacing "You Better Heed My Warning", which came out on Groove b/w "Please Tell Me". The two other songs from this fruitful session, "Down To the Bottom" and "Midnight Hours", were originally unissued. Also from this session is "I'm Tired" and "Stranger Blues" also featuring Baker. These tracks can be found on the Bear Family CD Mickey Baker: Rock With A Sock. In the early and mid-'50s, Baker did countless sessions for Atlantic, King, RCA, Decca, and OKeh, playing on such classics as the Drifters' "Money Honey" and "Such a Night," Joe Turner's "Shake Rattle & Roll," Ruth Brown's "Mama, He Treats Your Daughter Mean," and Big Maybelle's "Whole Lot of Shakin' Going On." He also released a few singles under his own name. Baker was also recorded as half of the duo Mickey & Sylvia.
His next vocal session was for Herald in 1955, yielding one single release, again backed by Baker. The next year rock 'n' roll exploded on the music scene and inevitably, Dale tried his hand at the genre, with "Rock 'n' Roll Baby" b/w "Hoppin' and Skippin'for Ember. For the next four years, Dale worked the New York club circuit with his lifelong friend, pianist Bob Gaddy and was much in demand as a session player. Particularly impressive is his playing on Champion Jack Dupree's recordings from this period, especially the Atlantic LP Blues From the Gutter. Blues From The Gutter, cut for Atlantic in 1958 (in stereo), is Dupree's finest album of his prolific career and Dale's playing is brilliant. His playing on that album supposedly inspired Brian Jones of the Rolling Stones. Dale also backed Dupree on over a dozen excellent sides in 1956 and 1957 for the Vik and Groove labels. These sides have been collected on the excellent album Shake Baby Shake.
Also in 1957 Dale also did several sessions with Cootie Williams for RCA, where he was given an occasional chance to sing. As Dale recalled: "One night we were playing at the Sportsman's Lounge and Cootie Williams came in and he was in the audience, I didn't know he was there. So Cootie dug what we was doing. The next day he called me, 'I was up to listen to you last night'. I said, 'Oh yeah, who is this'. He said, 'Cootie Williams. I wonder if you want to come with my band?'. l said, 'No I don't think so, l got my own band, my name's up top' (laughs) but started to think about it, Cootie's big. Maybe we can get some recordings. Maybe I can get a name out there. …So. I stayed with Cootie about three years. 1956, '57 and early '58." As a member of the Cootie Williams Orchestra he traveled all over the U.S. and Europe. Cootie Williams was one of the finest trumpeters of the 1930's. He played for a short time with the orchestras of Chick Webb and Fletcher Henderson before joining Duke Ellington in February 1929, staying until 1940. He would rejoin Ellington from 1962 through 1974, but led his own bands prior to that.
In 1960, Dale did another vocal session, for the Old Town subsidiary Glover in New York City, resulting in two fine singles, "Big Muddy" and "Let the Door Bell Ring" which hit the R&B charts. The next year he was signed by Atlantic, but of the five tracks recorded in November 1961, only "Drinkin' Wine Spo-Dee-O-Dee" b/w "Keep Getting Up" was issued. Singles on Ram (1968) and Fire (1969) rounded out Dale's recording career as a vocalist. None of his recordings charted nationally, but Dale continued to perform for several decades and garnered a strong fan base in Europe, performing at Blues Estafette in 1987 .Dale's final recordings included a 45 issued by the Juke Blues magazine in 1987 and a few live sides backed by the European blues combo,the Mojo Blues Band, recorded in 1993.