|Jump Jackson||Not Now Baby||Screaming Boogie: Hot Screaming Saxes from Chicago|
|Jump Jackson||Hey Pretty Mama||The Chess Story 1947-1956|
|Tom Archia||Macomba Jump||Tom Archia 1947-1948|
|Jo Jo Adams||Don't Give It Away||Jo Jo Adams 1946-1953|
|Jo Jo Adams||Didn't I Tell You||Jo Jo Adams 1946-1953|
|Jo Jo Adams||Rebecca||Jo Jo Adams 1946-1953|
|Bill Crosby||Sneaking Woman Blues||Chicago Jump Bands: Early R&B Vol. 1 1945-53|
|Memphis Seven||Grunt Meat Blues||Chicago Jump Bands: Early R&B Vol. 1 1945-53|
|Chicago Allstars||Hey Hey Big Mama||Chicago Jump Bands: Early R&B Vol. 1 1945-53|
|Tom Archia||Ice Man Blues||Tom Archia 1947-1948|
|Tom Archia||Fishin' Pole||Tom Archia 1947-1948|
|Grant Jones w/ J.T. Brown||They Call Me Mr. Blues||J. T. Brown 1950-1954|
|Grant Jones w/ Bob Call and his Orchestra||Talking Baby Blues||Screaming Boogie: Hot Screaming Saxes from Chicago|
|Bob Call and his Orchestra||Call’s jump||Screaming Boogie: Hot Screaming Saxes from Chicago|
|J.T. Brown||Black Jack Blues||J. T. Brown 1950-1954|
|J.T. Brown||Rock-Em||J. T. Brown 1950-1954|
|Eddie Chamblee||Back Street||Eddie Chamblee 1947-1952|
|Eddie Chamblee||Every Shut Eye||Eddie Chamblee 1947-1952|
|Eddie Chamblee||Jump For Joy||Eddie Chamblee 1947-1952|
|Jack Cooley and his Orchestra||Tom Tom Boogie||Screaming Boogie: Hot Screaming Saxes from Chicago|
|Dick Davis and his Orchestra & Sonny Thompson||Screaming Boogie||Screaming Boogie: Hot Screaming Saxes from Chicago|
|Buster Bennett||Three Different Women||Buster Bennett 1945-1947|
|Buster Bennett||Mr. Bennett Blows||Buster Bennett 1945-1947|
|Buster Bennett||Jersey Cow Boogie||Buster Bennett 1945-1947|
|Clarence Samuels||Boogie Woogie Blues||Chess Blues Box|
|Clarence Samuels||Lollipop Mama||Chess Blues Box|
|Andrew Tibbs||Bilbo is Dead||Andrew Tibbs 1947-1951|
|Andrew Tibbs||I Feel Like Crying||Andrew Tibbs 1947-1951|
|Andrew Tibbs||You Can't Win||Andrew Tibbs 1947-1951|
|Jimmy Coe||After Hours Joint||Honkers & Bar Walkers Vol. 1|
|Cozy Eggleston||Cozy's Best||Honkers & Bar Walkers Vol. 1|
|J.T. Brown||When I Was A Lad||J. T. Brown 1950-1954|
|J.T. Brown||Windy City Boogie||J. T. Brown 1950-1954|
|Tom Archia & Jo Jo Adams||Drinkin' Blues||Tom Archia 1947-1948|
|Tom Archia & Jo Jo Adams||Cabbage Head - Part 1||Tom Archia 1947-1948|
|Tom Archia's publicity photo for
Aristocrat Records, 1947 /1948
Writer Bill Greensmith noted that "the Chicago R&B and jump music scene of the 1940's and '50's happily coexisted alongside the more celebrated and familiar down-home amplified style of Muddy Waters, Howlin' Wolf, and Little Walter. …In 1974 Mike Leadbitter, in a column titled Chicago Flipside, was one of the first people to bemoan the fact that these artists, the clubs they performed in, and the companies who were recording them were largely undocumented." Not much has changed in the intervening years, at least in the print world, although Robert L. Campbell has done a remarkable job with his The Red Saunders Research Foundation website which is a major inspiration for today's program.Over the next couple of shows we shine the spotlight on these lesser known Chicago artists.
Today we feature several fine Chicago horn players and bands active during this period as well as some of the singers they worked with. Featured today are horn men such as Tom Archia, Sax Mallard, Buster Bennett, Eddie Chamblee, J.T. Brown, Jimmy Coe, Johnny Morton, King Kolax, Eddie "Sugarman" Penigar, Cozy Eggleston and Jimmy Coe among other obscure sax blowers. We feature a number of jumping bands including several led or featuring drummer Jump Jackson as well as bands fronted by Dave Young, Bob Call, Dick Davis and Jack Cooley. The singers they worked with include great forgotten talents such as Jo Jo Adams, Grant Jones, Clarence Samuels, Bill Crosby, Danny Overbea and Andrew Tibbs among others. Many of the artists featured today worked and recorded together in various configurations in the Chicago clubs and numerous small Chicago labels that were prolific in the immediate post-war era like Aristocrat, Chess, Miracle, Hy-Tone and United/States. We should give a big thanks to the Classics label who has reissued the chronological recordings of several of today's artists such as Tom Archia, Buster Bennett, Eddie Chamblee, J.T. Brown, Andrew Tibbs and Jo Jo Adams. Next week's show will be a sequel of sorts, featuring the session work of Sax Mallard and Buster Bennett who had lengthy careers on the Chicago scene.
We feature several fine sax men active on the Chicago scene that we haven't spotlight much on previous shows including Tom Archia, Eddie Chamblee, Sax Mallard, Buster Bennett and J.T. Brown. Tom Archia was originally from Texas. In 1940, he joined Milt Larkin's band and arrived in Chicago as a member of Larkin's band, which took up a 9-month residency at the Rhumboogie Club starting in 1942. In November 1943, he was a member of the Roy Eldridge orchestra that recorded in Chicago for the Brunswick label. Returning to Chicago in 1946 from L.A., he became a headliner at Leonard Chess's club, the Macomba Lounge (the inspiration for his song "Macomba Jump"), and recorded extensively for Aristocrat Records during 1947 and 1948. He also recorded with Wynonie Harris and Hot Lips Page and frequently participated in tenor saxophone duels with Buster Bennett, Gene Ammons, Claude McLin, and Hal Singer, among others. His run at the Macomba ended when the club was closed by a fire in 1950. Archia worked steadily on the South Side of Chicago during the 1950's and made his last recording session in 1960 under the supervision of Jump Jackson.
James Joseph "Buster" Bennett was a saxophonist and singer who has been almost completely neglected. He also played piano and string bass professionally during his career. He arrived in Chicago in the summer of 1938 and his last mention in the Chicago Defender came in April 1954. He appeared on twenty-eight recording sessions between 1938 and 1947. His career on record divides neatly into two phases; In the first part of his career he worked as a blues accompanist in the studios backing artists such as Monkey Joe, Big Bill Broonzy, Merline Johnson, Washboard Sam and Jimmie Gordon; during the second part, after being signed as a leader, he was presented as a gut-bucket instrumentalist and blues singer. Next week we'll be focusing on the first part of his career.
Sax Mallard worked briefly with Duke Ellington in 1943, in 1946 he recorded with Tampa Red and the following recorded with Big Bill Broonzy and Roosevelt Sykes with whom he would continue to record into the early 1960's. He did a number of sessions with Jump Jackson in the 40's as well as Eddie Boyd, Arbee Stidham and Washboard Sam. In the 50's Mallard cut sides under his own name for Chess and Mercury. More background will be provided on next week's show.
Eddie Chamblee was born in Atlanta, Georgia, in 1920 but grew up in Chicago. After leaving the army, he joined Miracle Records. He played on Sonny Thompson's hit record "Long Gone" in 1948, and on its follow-up, "Late Freight", credited to the Sonny Thompson Quintet featuring Eddie Chamblee. Both records reached no. 1 on the Billboard R&B chart. Two follow-up records, "Blue Dreams" and "Back Street", also made the R&B chart in 1949. From 1947, he led his own band in Chicago clubs, as well as continuing to record with Thompson and on other sessions in Chicago. He accompanied both Amos Milburn and Lowell Fulson on some of their recordings, and then worked as accompanist to Dinah Washington on many of her successful recordings in the late 1950's and early 1960's. Chamblee also recorded for the Mercury and EmArcy labels, and with his own group in the early 1960's for the Roulette and Prestige labels.
His braying tenor sax tone earned J.T. Brown the distinction of being told his horn sounded like a "nanny goat." Brown was a member of the Rabbit Foot Minstrels down south before arriving in the Windy City. By 1945, Brown was recording behind pianist Roosevelt Sykes and singer St. Louis Jimmy Oden, later backing Eddie Boyd and Washboard Sam for RCA. He debuted as a bandleader in 1950 on the Harlem label, subsequently cutting sessions in 1951 and 1952 for Chicago's United logo as well as .JO.B. Brown's sideman credentials included backing Elmore James and pianist Little Johnny Jones for the Bihari brothers' Meteor and Flair logos in 1952 and 1953. After a final 1956 date for United that laid unissued at the time, Brown's studio activities were limited to sideman roles. In January of 1969, he was part of Fleetwood Mac's Blues Jam at Chess album, even singing a tune for the project, but he died before the close of that year.
That backbeat heard on many of the blues records made in Chicago in the late '40's and '50's was created by drummer Armand "Jump" Jackson. In the late '40's, Jackson worked as a bandleader on sessions for labels such as Columbia, Specialty, and Aristocrat; his band backed up vocalists such as St. Louis Jimmy, Roosevelt Sykes, Sunnyland Slim, Baby Doo Caston and others. He also drummed behind blues artists such as John Lee Hooker and Robert Nighthawk. In 1959 he founded La Salle Records and began putting out his own sessions as well as sides by Eddie Boyd, Eddy Clearwater, Little Mack Simmons and others. In 1962, Jackson was chosen as the drummer for the first American Folk Blues Festival tour of Europe.
Among the singers featured today are several fine forgotten names such as Jo Jo Adams, Andrew Tibbs, Bill Crosby, Clarence Samuels and Grant Jones. Jo Jo Adams was once quite a celebrity in the 1940's and 1950's Chicago music and entertainment circle as comedian/singer/dancer/emcee and leader of a successful revue. Adams was working Chicago's South Side by 1945 and first recorded in early 1946 for the Melody Lane Record Shop label which soon was renamed become Hy-Tone Records. The same year he was in Los Angeles, recording for Aladdin Records but by the end of the year, he was back in Chicago recording for Hy-Tone. In July 1947 recorded a four track session for Aristocrat Records with Tom Archia's All Stars, and in early 1948 recorded gain with Archia. He returned to the studios in 1952 to cut six sides for Chance Records. His last known release was issued the following year on the Parrot label.
Andrew Tibbs' was born Melvin Andrew Grayson and his father was a prominent Chicago Baptist minister. He got his start singing in church choirs. When he surreptitiously began singing blues in clubs, he used his middle name and his mother's maiden name, becoming Andrew Tibbs. In 1947 he was singing at Jimmy's Palm Garden. At intermission, he would go around the corner to the Macomba Lounge and sing during that club's intermissions. Sammy Goldberg saw him at the club and signed him to Aristocrat; Leonard Chess saw commercial potential in recording Tibbs, and decided to invest in the company, which was already recording Tom Archia. Tibbs' debut session has always been said to be the first one that Leonard Chess attended. As Rich Choen writes in The Record Men: The Chess Brothers and the Birth of Rock & Roll: "“The Tibbs record is a cautionary tale–it shows how everything can go wrong. A few thousand were pressed. Side A was ‘Union [Man] Blues,’ a song about the life of a union man, a flat song to everyone but the Teamsters, truckers, and box handlers, who found it offensive, and so–or so the story goes–refused to ship it, letting the records pile up in the warehouses. Side B was “Bilbo Is Dead,” an attack on segregationist Senator Theodore Bilbo, who had just died. In those parts of the South where the Teamsters let the record through, it was smashed by angry white mobs." Tibbs recorded with Sax Mallard's band, Tom Archaia's group and tenor saxophonist Dave Young's combo. He recorded for Aristocrat between 1947 and 1949. The newly formed Chess label signed Tibbs in 1950, but he released only one record. Tibbs recorded the "Rock Savoy Rock" single for Peacock Records in 1951, followed by some unissued sessions for Savoy. With his brother, Kenneth, Tibbs recorded one session for Atco in 1956, which featured King Curtis. His final recordings in 1962 for M-Pac Records.
Clarence Samuels was born in Baton Rouge, Louisiana, where he began his career singing in his father's band. In 1943, he moved to New Orleans, and began singing in local bands. By 1947, he was the manager and house singer at the Down Beat club. At this time, Sammy Goldberg, who was working as a talent scout for Aristocrat discovered Samuels at the Down Beat, and lured him to Chicago, where Samuels began performing at the Macomba Lounge and made his first recordings for Aristocrat. In late August or early September 1947, the company sprang for a series of sessions that took most of a day at Universal Recording. Blues singers Clarence Samuels and Andrew Tibbs each made their debut on record.