Big Road Blues

Show Notes:

Sam Goody launched the Gotham label in 1946. Focusing on blues, spirituals, and jazz, Goody’s most successful artist was Eal Bostic. In 1948, Goody sold Gotham along with Bostic’s contract to Irvin Ballen of Philadelphia. Ballen’s two labels, Apex and 20th Century had been moderately successful, but he hoped Bostic could deliver a national hit. Instead, the breakthrough came from Gotham’s gospel series, a 1949 release “Touch Me Lord Jesus” by the Angelic Gospel Singers. With that success, Ballen continued releasing Gotham and 20th Century sides from both local artists and catalogs acquired by other labels. Ballen’s roster included doo-wop, R&B, blues and gospel. Among the label’s blues artists were Dan Pickett, John Lee Hooker, Sonny Terry, Champion Jack Dupree and Cousin Joe among others. By the late 50’s Gotham and 20^th Century were phased out as Ballen turned his attention to the record-pressing end of the business. The Gotham label has been well served on the reissue front, first as a series of reissue albums in the 1980′s on the Krazy Kat label, with these issued on CD with the same track listing and notes on the Collectables label.

The Gotham label issued some very fine down-home blues in the late 1940′s and early 1950′s. One of the label’s most intriguing artists was the brilliant and mysterious Dan Pickett. Back in the 1960′s some of the most highly prized 78′s among blues collectors were the rare Gotham records of Dan Pickett. These were valued, not only for their rarity but for the fact that they were among the finest commercial recordings of country blues in the post war era. His real, James Founty, was confirmed on a signature from an August 1949 contract with Gotham. Pickett was born and died in Alabama and field trips in the early 90’s have solved most mysteries although most of the research remains unpublished. He recorded five singles for Gotham plus four unreleased tracks in 1949. Pickett’s repertoire was derived almost exclusively from 1930’s race recordings, synthesizing the styles of Tampa Red, Blind boy Fuller, Buddy Moss and others  into a unique sound of his own.

Other down-home artists featured today include Wright Holmes, Stick Horse Hammond, Sonny Boy Johnson, David “Pete” Mckinley, John Lee Hooker, Sonny Terry and Dave Quattlebaum. Wright Holmes, who cut six sides in Houston in 1947, had an serpentine, unorthodox boogie style showcased most arrestingly on his “Good Road Blues”, one of two songs we play by him today. He was rediscovered and interviewed by Blues Unlimited magazine but had turned to religion and was no longer playing blues. John Lee Hooker was never one to pass up a recording deal even if he was under contract to another label. He cut a handful of superb sides for Gotham in 1950-51 under the name Johnny Williams. Sonny Boy Johnson, heard here in on our selection,”Quinsella,” was very obviously a devotee of John Lee “Sonny Boy” Williamson, and not a bad singer in his own right. He waxed eight sides between 1947 and 1948. Harmonica player and vocalist Sonny Terry cut some stunning material for Gotham in 1952. Some of it was issued, and much of it wasn’t. This material is collected on the CD Sonny Terry – Gotham Records Sessions. Doug Quattlebaum cut three sides for Gotham in 1953, cut some sides for Testament in 1961 and the same year cut the excellent LP Softee Man Blues for Bluesville.

For the most part Gotham specialized in R&B and jump blues. The label employed a number of fine vocalists propelled by swinging bands including Charlie Gonzalez, Harry “Fats” Crafton, T.N.T. Tribble, Great Gates, Len McCall,  Cousin Joe and female singers like Daisey Mae and Thelma Cooper. Not much is known about Charlie Gonzalez except that he was a fine Blues shouter who could also handle Blues ballads with equal aplomb. He also recorded as Charles Prince and Bobby Prince.

Harry “Fats” Crafton was a fine guitarists and singer who’s s career was varied; he joined Gotham as an artist, became a songwriter, and then led bands of his own – The Jivetones (later known as The Craft Tones) and The Sonotones. He cut a dozen sides for Gotham in 1949 and 1950.

Drummer and singer T.N.T. Tribble first came to fame in 1951 and soon after began recording for Gotham. He often recorded with the exciting trumpet great Frank Motley and even led his own eclectic band, T.N.T. Tribble and His Crew. Tribble also was a much in-demand session man. He recorded as the drummer with Ike and Tina Turner in the early ’60s on “A Fool In Love” and “It’s Gonna Work Out Fine.”

Edward Gates White aka “The Great Gates” enjoyed a recording career as an R&B vocalist from 1949 to 1955, before changing to recording jazz organ instrumentals. He continually shifted between various small West Coast labels such as Selective, Kappa and Miltone (issued on Gotham as well).

Growing up in New Orleans, Cousin Joe began singing in church before crossing over to the blues. He picked up the piano instead, playing Crescent City clubs and riverboats. He moved to New York in 1942, gaining entry into the city’s thriving jazz scene. He recorded for King, Gotham, Philo, Savoy, and Decca along the way and after returning to New Orleans in 1948, he recorded for DeLuxe and Imperial in 1954.

Len McCall was a smooth, big voiced singer who’s legacy consists of a lone 78 cut for the label in 1947, the B-side “Philadelphia Boogie” gives today’s show its title.

Thelma Cooper was a Gotham recording artist in the late ’40s; her ‘girlie’ voice and undeniably suggestive and sexy lyrics were considered ahead of their time. Daisey Mae cut a handful of sides for Gotham in 1955 and 1956.

Gotham’s roster featured a couple of notable sax men including Jimmy Preston and Earl Bostic. Alto sax player Jimmy Preston was one of the fathers of the Rock and Roll sound. He recorded his best work in the late 1940′s for Gotham Records in Philadelphia. He cut over two-dozen sides for Gotham between 1948 and 1950. After the war, alto sax man Bostic formed his own band. He switched to the Gotham label, where he had a Top 10 R&B hit with a cover of  ”Temptation.” Two years latter, Syd Nathan lured him away to his Cincinnati-based label, King, and Bostic remained one of King’s featured artists until his death. He died after suffering a second heart attack while playing a hotel opening  in Rochester, New York.

Gotham’s roster contained two outstanding guitarists, Bill Jennings and Tiny Grimes. Jennings started playing the ukulele at an early age and switched to guitar since he wanted to be taken seriously. A long-time member of Louis Jordan’s Tympany Five, Jenning’s versatility made him an in-demand recording artist. He recorded a handful of sides under his own name for Gotham in the 1950’s. Tiny Grimes was one of the earliest jazz electric guitarists to be influenced by Charlie Christian, and he developed his own swinging style. In 1938, he started playing electric guitar, and two years later he was playing in the Cats and the Fiddle. During 1943-1944, Grimes was part of a classic Art Tatum Trio, which also included Slam Stewart. In September 1944, he led his first record date, using Charlie Parker. Grimes played in the jive group The Cats And The Fiddle and was part of the classic Art Tatum Trio before he put together his own group in the late 1940′s. Called The Rockin’ Highlanders, the group featured Grimes’ electric guitar playing as well as the tenor of Red Prysock. Grimes cut over a dozen sides for Gotham between 1949 and 1950.