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A Birth of Rock & Roll 1

A VF History of Music & Recording

Early Development 1

Boogie Woogie

Group & Last Name Index to Full History:

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

 

 

Tracks are listed in chronological order by year, then alphabetically.

Listings do not reflect proper order by month or day: later oft precedes earlier.

Find on Page = F3. Not on this page? See history tree below.

Alphabetical

Albert Ammons

 
Will Bradley    Tiny Bradshaw    Hadda Brooks
Pee Wee Crayton
 
Fats Domino
 
Cecil Gant    Lloyd Glenn
 
Buddy Johnson    Pete Johnson
 
Meade Lux Lewis    Jimmy Liggins    Little Willie Littlefield    Cripple Clarence Lofton    Joe Lutcher
Amos Milburn    Wild Bill Moore
 
Charlie Norman
 
Johnny Otis
 
Tampa Red    Little Richard
 
Freddie Slack    Sunnyland Slim    Arthur Guitar Boogie Smith    Clarence Pinetop Smith    Roosevelt Sykes
 
George Thomas    Hersal Thomas    Big Joe Turner
 
Jimmy Yancey

 

Chronological

Featured on this page loosely in order of first recording if not record release (as possible).

Names are alphabetical, not chronological, per year:

 

1923 George Thomas
   
1925 Hersal Thomas
   
1928 Meade Lux Lewis    Tampa Red
   
1929 Clarence Pinetop Smith    Roosevelt Sykes
1931 Will Bradley
1934 Albert Ammons    Tiny Bradshaw
   
1935 Cripple Clarence Lofton
   
1936 Freddie Slack
   
1937 Lloyd Glenn
   
1938 Charlie Norman    Arthur Guitar Boogie Smith
   
1939 Pete Johnson    Big Joe Turner    Jimmy Yancey
   
1940 Buddy Johnson
   
1944 Cecil Gant    Wild Bill Moore    Johnny Otis
   
1945 Hadda Brooks
   
1946 Pee Wee Crayton    Amos Milburn    Sunnyland Slim
   
1947 Jimmy Liggins    Joe Lutcher
   
1948 Little Willie Littlefield
   
1950 Fats Domino
   
1951 Little Richard
   
1956 Jerry Lee Lewis

 

 
  Caveats in the employment of this page: 1. It descends in chronological order by the year the artist or band is first found on a commercial record issue (ideally) by year only, alphabetical thereat. One musician above another doesn't necessarily translate to earlier issue unless the year changed. 2. Though release dates are the aim with links to YouTube, some are recording dates and may not be everywhere clearly distinguished. 3. Reissues are used to represent originals without much discussion.
 

 

 
This page documents the development of rock music from early boogie woogie toward its expression by big swing and jump blues (R&B) bands. Not included are various (barrelhouse) blues musicians and fifties boogie woogie rockers like Piano Red and Jerry Lee Lewis. Boogie woogie is articulated on this page largely toward its eventual employment in American R&B, though touches on blues artists, country music, the UK and modern jazz as well. Wikipedia cites Clarence Pinetop Smith's 'PineTop's Boogie Woogie' in 1929 as the first musical reference to "boogie woogie" as a term, affecting the boogie woogie genre. See also 1, 2, 3, 4. Most recording data not cited elsewhere on this page from Lord's Disco. More boogie woogie in Big Band Swing.

 

 

Birth of Rock & Roll: George Thomas

George Thomas Junior

Source: Discogs

Boogie woogie was the southern equivalent of ragtime, said to have developed out of the Marshall region in eastern Texas [1, 2, 3]. Born in 1883 in Plum Bayou, Arkansas, pianist George Washington Thomas Jr. [1, 2, 3], was elder brother to Hersal Thomas by twenty-one years. He was also the brother of Sippie Wallace and father of Hociel Thomas. His composition, 'New Orleans Hop Scop Blues', published in 1916, is among the earliest markers in the development of boogie woogie. It was later recorded by such as Sara Martin, Bessie Smith and Jimmie Noone. A more bare bones rendition might be given by guitarist Dave Van Ronk (below). Likewise, Thomas composed 'The Fives' with younger brother Hersal, published in 1922, but we list a much later recording of it by pianist Stefan Ulbricht. Also known as Clay Custer, it is thought Thomas first recorded in 1923. He later issued tracks with his band, the Muscle Shoals Devils. Thomas passed away in 1937 in Chicago, of falling down a stairway.

George Thomas   1923

   The Rocks

      Composition: George Thomas

   Shorty George Blues

      With Tiny Franklin

      Composition: George Thomas

George Thomas   2012

   The Fives

      Composition: George Thomas

       Published 1922

      Piano: Stefan Ulbricht

George Thomas   2013

   New Orleans Hop Scop Blues

      Composition: George Thomas

      Published 1916

     Guitar: Dave Van Ronk

 

Birth of Rock & Roll: George Thomas

Marshall, Texas

Regional Home of Boogie Woogie

Source: City Data

 

Born in 1906 in Houston, pianist Hersal Thomas [1, 2, 3, 4, 5, 6, 7] was instrumental in the development of boogie woogie. He is thought to have issued his first recordings in 1925 on Okeh 8227, again in the UK on Parlophone R 3262: 'Suitcase Blues' and 'Hersal's Blues'. Though they were the only solo recordings Thomas made, he soon thereafter began working with King Oliver and Louis Armstrong, also backing Hociel Thomas (niece) on her first recordings. Thomas was younger brother to George Thomas by twenty-one years. He was also brother to Sippie Wallace. Thomas is thought to have died of food poisoning on June 2, 1926, in Detroit, only nineteen years old [*].

Hersal Thomas   1925

   Devil Dance Blues

      With Sippie Wallace

      Composition: Sippie Wallace

   Hersal's Blues

      Composition: Hersal Thomas

   Every Dog Has His Day

      With Sippie Wallace

      Composition: Sippie Wallace

   Morning Dove Blues

      With Sippie Wallace

      Composition: George Thomas

   Suitcase Blues

      Composition: Hersal Thomas

Hersal Thomas   1926

   I Feel Good

      With Sippie Wallace

      Composition: Hersal Thomas

 

Birth of Rock & Roll: Hersal Thompson

Hersal Thomas

Source: BlueBlack Jazz

Birth of Rock & Roll: Cripple Clarence Lofton

Cripple Clarence Lofton

Source: Smokestack Lightnin'

 

Cripple Clarence Lofton [1, 2] was born Albert or Clarence Clemens in 1887 in Kingsport, Tennessee. Lofton came by "Cripple" of being born with a limp, making it ideal to become a tap dancer before he turned to blues and boogie woogie piano. He left the Memphis/Delta region for Chicago in 1921 at the prime age of 34 [*]. Blues Trail has him opening his own club in Chicago 1932. On April 2 of 1935 Lofton led a session to result in 'Strut That Thing'/'Monkey Man Blues' (Vocalion 02951). On April 12 he was in Chicago to leave 'Policy Blues' for release on Bluebird 5930 as both as Albert Clemens and Adam Wilcox. He was back to Cripple Clarence Lofton for titles in 1935 including 'You Done Tore Your Playhouse Down' (Conqueror 8758) on July 18 in Chicago. February 4 of 1936 found him with Al Miller's Swing Stompers, possibly with Odell Rant on clarinet, to lay out 'It's Got To Be Done' (Champion 50067) and 'Juicy Mouth Shorty' (Champion 50072). He also supported Red Nelson in February that year. Having long been Chicago's principal boogie woogie attraction, along the way he issued the LP, 'A Lost Recording Date' (Riverside Records RLP 1037), in 1954, that documenting tunes recorded sometime in 1939. Lofton remained one of Chicago's favorite performers until his death on January 9, 1957, of a brain blood clot Lofton had composed titles like 'I Don't Know' and 'Blue Boogie' in the latter thirties. Other of his compositions at allmusic. See also 1, 2.

Cripple Clarence Lofton   1935

   Strut That Thing (I Don't Know)

     Prob first recording from first session

      Composition: Lofton

Cripple Clarence Lofton   1939

   Pine Top's Boogie Woogie

      Composition: Pinetop Smith

Cripple Clarence Lofton   1944

   The Fives

      Composition: George & Hersal Thomas 1922

 

 
Birth of Rock & Roll: Meade Lux Lewis

Meade Lux Lewis

Source: Deep Southern Soul
Born in 1905 in Chicago, Meade Lux Lewis [1, 2, 3, 4] learned to play piano with Albert Ammons, as they were childhood friends and Ammons's family had a piano. His debut recording was in December 1927 for the Paramount Pictures label, a cover of 'Honky Tonk Train Blues'. Lord's disco has Ammons and Lewis in an unissued session taped at the home of Frank Lyons in Chicago in December of 1938. Those would get issued on CD in 1998 as 'Boogie Woogie Stomp' with later titles, a couple by Pete Johnson included. His next session with Ammons was a piano trio with Johnson at Carnegie Hall on December 23 of 1938 for 'From Spirituals to Swing'. That was with Walter Page on bass and Jo Jones on drums. Lewis, Ammons and Johnson played clubs and toured for about a year as a piano trio, he also recording duets with both of them. In 1939 Lewis helped launch Blue Note Records with that label's debut release: 'Melancholy Blues'/'Solitude'. Half some of Lewis' well above eighty sessions were his own projects as a leader. Among others he supported were per sessions during his period at the Hangover Club in San Francisco, including both Red Nichols and Muggsy Spanier in 1953. That year and the next he recorded unissued solos at the Hangover titled 'Coquette', 'Home, Cradle of Happiness', 'Jelly Roll' and 'Four or Five Times'. Lewis recorded his last album, 'Boogie Woogie House Party', in 1962. 1963 found him contributing to 'Honky Tonk Town', unissued, per a Henry Red Allen session for WNEW Radio in NYC. Lewis died prematurely in 1964 when he was rear-ended on the highway, pushing him off the road into a tree. The driver of the other car, traveling an estimated eighty miles per hour, survived, though his passenger died [*]. Discos w composition and production credits at 1, 2. Lewis in visual media.

Meade Lux Lewis   1928

   Honky Tonk Train Blues

      Composition: Meade Lux Lewis

Meade Lux Lewis   1939

   Melancholy Blues/Solitude

      Compositions: Meade Lux Lewis

Meade Lux Lewis   1940

   Bass on Top

      Composition: Meade Lux Lewis

   Six Wheel Chaser

      Composition: Meade Lux Lewis

Meade Lux Lewis   1944

   Chicago Flyer

      Composition: Meade Lux Lewis

Meade Lux Lewis   1975

   Don't Put That Thing in Me

       Recorded 1930

       Composition: Meade Lux Lewis

       Album: 'Tell Your Story'

 

 
 

Slide guitarist Tampa Red was born in 1904 in Smithville, Georgia [1, 2, 3, 4, 5, 6, 7]. He got his start with Ma Rainey. His first titles with her were circa September of 1928 with Thomas Dorsey at piano for such as 'Daddy Goodbye Blues' and 'Keep Talking Blues'. His first name titles are thought to have been with his Hokum Jug Band for Vocalion on October 31, 1928, for 'Good Gordon Gin' and 'Down the Alley'. Those were followed on November 9 by 'It's Tight Like That', How Long Blues' and 'You Can't Come In'. A highly regarded guitarist, Red was a favorite session musician. Signing on with Victor in 1934, he remained with that label until 1953, the year his wife died. Upon his wife's passing Red began drinking, too much. Such that one of the main figures in blues was destitute by the time he died March 19 of 1981 in Chicago. Though Red had no clue rock and roll was coming, there is some early boogie woogie in the tracks written by him (as Hudson Whittaker) below. Various credits for Red on 78 rpm, 45 rpm and at Discogs. See also 78 rpm and Discogs. More Tampa Red in Blues 1.

Tampa Red   1931

   Boogie Woogie Dance

      Composition: Hudson Whittaker (Tampa Red)

Tampa Red   1938

   Let Me Play With Your Poodle

      Composition: Hudson Whittaker

Tampa Red   1951

   Boogie Woogie Woman

      Composition: Hudson Whittaker

 

Birth of Rock & Roll: Tampa Red

Tampa Red

Source: B-L-U-E-S

 

Birth of Rock & Roll: Pine Top Smith

Pinetop Smith

Source: Blues Tour Database

 

Among the first musicians to record boogie woogie, as well as stop recording boogie woogie, was pianist Clarence Pinetop Smith. Born in 1904 in Troy, Alabama [1, 2, 3], Smith is said to have come by "Pinetop" as child because he liked to climb trees [Wikipedia]. Raised in Birmingham, he moved to Philadelphia in 1920, there to begin his professional career before becoming a vaudeville entertainer as a comedian, pianist and vocalist. He also accompanied Ma Rainey and Butterbeans and Susie. Upon recommendation from Cow Cow Davenport who had ventured to Chicago and good luck with Vocalion Records, Smith followed him with wife and son to record his first unissued tracks for Vocalion on December 4 of 1928 to come up with 'Pine Top Blues', 'Pine Top Troubles', 'I Got More Sense Than That' and 'Now I Ain't Got Nothing at All'. Three more sessions that month resulted in five more unreleased titles until the 29th when he laid out 'Pinetop Blues' with 'PineTop's Boogie Woogie' issued in March 1929 on Vocalion 1245 [Discogs]. Wikipedia has the latter as the first musical reference to "boogie woogie" as a term [*]. Rent parties in the sixties were called boogies, to which a likely nonsensical "woogie" got appended. American Music has Smith's first date of 1929 on January 14 to result in 'I'm Sober Now' w 'I Got More Sense Than That' (Vocalion 1266). Several titles ensued on the 15th, Smith's next session his last on March 13, 1929, for 'Driving Wheel Blues' gone unreleased. Smith died two days later on the 15th of a gunshot wound received in a bar fight in Chicago. He had been scheduled for another recording session with Vocalion the next day. Smith's compositions have been covered variously. Discos w various credits at 1, 2.

Clarence Pinetop Smith   1929

  I'm Sober Now

      Composition: Pinetop Smith

 I Got More Sense Than That

 Nobody Knows You When You're Down and Out

      Composition: Jimmy Cox

 Pinetop's Blues

      Composition: Pinetop Smith

 PineTop's Boogie Woogie

      Composition: Pinetop Smith

 

 
 

Pianist Roosevelt Sykes (aka Honeydripper) was born in 1906 in Elmar, Arkansas [1, 2, 3, 4]. He took to the road at age fifteen, playing barrelhouse blues along the Mississippi at sawmills, levee camps, wherever laborers were gathered and a piano could be found. He left St. Louis for New York City in 1929 expressly to make his first recordings. His first issue, '44 Blues', is thought have been that year. Though Sykes played some boogie woogie he was largely a blues pianist. He also recorded as Dobby Bragg ('Fire Detective Blues', et al) and Willie Kelly ('As True as I've Been to You', et al). Sykes died in New Orleans in 1983. He was inducted into the Blues Hall of Fame in 1999. Production and songwriting credits at 1, 2, 3, 4, 5. Sykes in visual media. More Roosevelt Sykes, including his earlier recordings, in Birth of the Blues 2.

Roosevelt Sykes   1945

   This Tavern Boogie

      Composition: Roosevelt Sykes

Roosevelt Sykes   1946

   Date Bait

      Composition: Roosevelt Sykes

   Flames of Jive

      Composition: Roosevelt Sykes

   Her Little Machine

Roosevelt Sykes   1955

   Hush on Hush

      Composition: P. King/R. S. Bey

Roosevelt Sykes   1957

   Sputnik Baby

      Composition: Pickard/Buckalew

Roosevelt Sykes   1960

   Runnin' the Boogie

      Composition: Roosevelt Sykes

Roosevelt Sykes   1970

   Eagle Rock Me, Baby

      Composition: Roosevelt Sykes

   Rock-A-Bye Birdie

      Composition: Roosevelt Sykes

   Runnin' the Boogie

      Filmed lived in France

      Composition: Roosevelt Sykes

 

Birth of Rock and Roll: Roosevelt Sykes

Roosevelt Sykes

Photo: Doug Fulton

Source: Alchetron

 

Born Wilbur Schwictenberg in 1912 in Newton, New Jersey, jazz trombonist, Will Bradley, traded NJ for NY in 1928, there to find work in bands like Milt Shaw's Detroiters. Bradley first appeared on records in 1931. His debut was from a session with Bob Haring on May 5: 'Building a Home for You' (Banner 32189). Tom Lord's discography, however, qualifies that with "possibly". On October 2 that year Bradley laid tracks with Red Nichols: 'Get Cannibal' and 'Junk Man Blues' on Brunswick 6219. November 2 found him backing Connie Boswell on 'Time on My Hands' and 'Concentratin'' (Brunswick 6210), he to finish the year with Nichols and begin 1932 with Bing Crosby on 'Shine' (Brunswick 6276). Bradley is thought to have changed his name from Schwictenberg when he began to lead his own orchestra in 1939 with drummer/vocalist Ray McKinley in the band. His initial titles as a leader were recorded September 19: 'Forever More' (Vocalion 5237), 'Love Nest' (Columbia 35354), 'Memphis Blues' (Vocalion 5130) and 'Old Doc Yak' (Vocalion 5130). Sessions followed in October and consistently beyond. Bradley's band would become well-known for boogie woogie via which he filled a timely role as a bridge between swing jazz and later rock n roll. He spent some time in the military during World War II as a member of Glenn Miller's Army Air Force Band. World War II also made it difficult to keep an orchestra together. While playing in Detroit Bradley lost six musicians all at once to the draft. Along with leading his own outfit Bradley backed every jazz musician on the planet, among them Ray Noble, the Boswell Sisters, Jack Shilkret, Benny Goodman, Ella Fitzgerald, Mildred Bailey, Jerry Jerome, Sarah Vaughan, Billy Butterfield, Tommy Dorsey, Artie Shaw, Ralph Flanagan and Neal Hefti. Bradley later become a member of the Tonight Show Band (Carson era). He died on 15 July 1989 in Flemington, New Jersey. References: 1, 2. Sessions: DAHR w composing credits; Lord; Rust: 1, 2. Discos: 1, 2, 3, 4. Compilations: 'The Best of Will Bradley with Ray McKinley: Eight to the Bar' 1939-41 by Collectables 2005; 'Rock-A-Bye the Boogie' 1940-41 by Aero Space 1995: 1, 2. Archives: 'Radio and Television Mirror' 1941. Other profiles: 1, 2.

Will Bradley   1932

  Time on My Hands

      With Connie Boswell

      Recorded 11/2/1931

      Composition:

      Harold Adamson

      Mack Gordon

      Vincent Youmans

Will Bradley   1940

  Beat me Daddy, Eight to the Bar

      Piano: Freddie Slack

      Composition:

      Don Raye

      Ray McKinley

      Hughie Prince

  Down the Road a Piece

      Piano: Freddie Slack

      Composition: Don Raye

  Rock-A-Bye the Boogie

      Composition:

      Hughie Prince/Don Raye/Freddie Slack

Note: Not to be confused w 'Rock-A-Bye Boogie' composed by Rocky Starr and Will Carson for the Davis Sisters in 1953,

  Scramble Two

      Composition: Charlie Dixon

  Scrub me Mama with a Boogie Beat

      Composition: Don Raye

Will Bradley   1941

  Chicken Gumboog(ie)

      Composition: Leonard Whitney

 

Birth of Swing Jazz: Will Bradley

Will Bradley

Source: Last FM

 

 

Boogie woogie pianist Albert Ammons [*] was father to tenor saxophonist, Gene Ammons (b '25). Another of his sons, Edsel (b '24), became a bishop in the United Methodist Church. Ammons' first tracks to issue are thought to have been for vocalist, Sam Theard, with the Banks Chesterfield Orchestra on September 17, 1934, for Decca titles 'That Rhythm Gal' and 'Till I Die'. That same date the Banks Orchestra supported vocalist, John Oscar, on 'You Can't Last Long Like That' and 'Got to Be Worried Now'. Ammons first recorded in 1936 with his band, the Rhythm Kings, on January 13 for 'Nagasaki' and 'Boogie Woodie Stomp'. 'Early Mornin' Blues' and 'Mile-Or-Mo' Bird Rag' ensued the next day. Boogie woogie was a limb of jazz, the southern equivalent of ragtime, thought to have originated out of the barrel houses (bars) of Marshall region in eastern Texas. Ammons had been born in Chicago in 1907 [*]. He learned to play piano as a child on a pianola (player piano) his parents owned. Ammons was a percussionist in the U.S. military during World War I, then began playing clubs in Chicago. Wikipedia has him driving a cab for Silver Taxicab Company in 1924 with childhood friend, Meade Lux Lewis. He formed his first band while working at Club DeLisa in 1934 [*]. He played Carnegie Hall on December 23, 1938, at the 'From Spirituals to Swing' event that was a history of black music and helped launch the boogie woogie craze that saw its height in the early forties. Titles at that concert were 'Cavalcade of Boogie', 'Jumpin' Blues', 'Pinetop's Boogie Woogie' and 'Boogie Woogie Stomp'. In the latter forties Ammons played in Lionel Hampton's orchestra as well as Chicago lounges. He performed for President Truman in 1949. Ammons died in Chicago on December 3 of 1974, having spent his latter years performing at the Beehive Club and the Tailspin Club. Discos w production and songwriting credits at 1, 2. Ammons in visual media.

Albert Ammons   1936 

   Boogie Woogie Stomp

      Composition: Albert Ammons

   Mile-Or-Mo Bird Rag

      Composition: Albert Ammons

   Nagasaki

      Composition: Mort Dixon/Harry Warren

Albert Ammons   1938 

   Shout For Joy

      Composition: Albert Ammons

Albert Ammons   1939

   Chicago in Mind

      Composition: Albert Ammons

Albert Ammons   1941

   Cuttin' the Boogie

      Duet with Pete Johnson

      Composition: Pete Johnson/Albert Ammons

Albert Ammons   1944

   Boogie Woogie Dream

      Composition: Albert Ammons

       Film   Duet with Pete Johnson

       See Wikipedia

Albert Ammons   1946

   Swanee River Boogie

       Composition: Stephen Foster

 

Birth of Rock & Roll: Albert Ammons

Albert Ammons

Source: BlueBlack Jazz

 

Tiny Bradshaw [1, 2, 3, 4] was a drummer and vocalist born in Youngstown, Ohio, in 1907. Bradshaw was a bridge from boogie woogie to R&B via big band swing. He had a degree in psychology from Wilberforce University before beginning to play professionally with the Collegians. He traded Ohio for NYC in 1932 where he worked in a few bands until forming his own swing orchestra in 1934. The eight sides on which he recorded vocals that year for Decca began with 'Shout Sister Shout' and 'Mister, Will You Serenade?'. His next recording dates didn't follow until ten years later in 1944, though the two sessions listed in Lord's disco aren't exact. Sometime that year he performed vocals in NYC on 'After You've Gone' and 'Straight Up and Fly Right' with a couple instrumentals for Regis. Circa August found him broadcasting vocals for AFRS in Hollywood, 'Jubilee' #93: 'San Fernando Valley', 'Ready, Set, Jump', et al. Singer, June Richmond, was also featured on a couple of titles. Moving from swing toward jump blues found Bradshaw's tractor gaining traction into higher gear, he to record such as 'Butterfly' and 'School Day Blues' in '45, 'These Things Are Love' and 'If I Had a Million Dollars' in '47, and 'Gravy Train' and 'Teardrops' in '49. His first session in 1950 on February 8 in Cincinnati wrought such as 'Boodie Green Boogie' and 'After You've Gone', at which point Bradshaw's early fifties heyday commenced with such as 'Well Oh Well' reaching #2 on the R&B for 21 weeks in 1950, 'Soft' at #3 in '53. Bradshaw's last sessions were held on January 16, 1958, for release that year on the King label: 'Short Shorts' b/w 'Bushes'. He died relatively young at age 51 upon multiple strokes on November 26 of '58 in Cincinnati. Songwriting credits for titles by Bradshaw at 1, 2, 3, 4, 5, 6.

Tiny Bradshaw   1946

   Bride and Groom Boogie

Tiny Bradshaw   1950

   Boodie Green

       Composition: J. Wright

   I'm Gonna Have Myself a Ball

       Composition:

       Henry Glover/Sally Nix/Bradshaw

   Well Oh Well

       Composition:

       Henry Glover/Sally Nix/Bradshaw

Tiny Bradshaw   1951

   Bradshaw Boogie

       Composition: Henry Glover/Lois Mann

   The Train Kept a Rollin'

       Composition: Bradshaw/Lois Mann

   Walk That Mess

       Composition: Bradshaw/Henry Glover

Tiny Bradshaw   1952

   Soft

       Composition: Bradshaw

Tiny Bradshaw   1953

   Free For All

       Composition: Bradshaw/Red Prysock

   Heavy Juice

       Composition:

       Ralph Bass/Bradshaw/Red Prysock

Tiny Bradshaw   1954

   The Gypsy

       Composition: Billy Reid

   Spider Web

       Composition: Ray Barrow

 

Birth of Rock and Roll: Tiny Bradshaw

Tiny Bradshaw

Source: Same Old Song

 

Swing and boogie woogie pianist, Freddie Slack [1, 2, 3], was born in 1910 in La Crosse, Wisconsin. He got relocated to Chicago upon his parents moving there in 1927. He had played xylophone since age 13 but shuffled from band to band as a pianist until his major break occurred in 1934 in New York City, hired to play in Ben Pollack's orchestra, with which he recorded the instrumental, 'Song of the Islands', with other vocal titles (not Slack) on September 15 of 1936 [Lord's disco]. Slack hung with Pollack to the end of that year, yet with his orchestra on December 18 for such as 'In a Sentimental Mood' and 'Deep Elm'. During his time with Pollack they had recorded as the Rhythm Wreckers with trumpeter, Harry James, among others, on September 21 to yield such as 'Sugar Blues' and 'Wabash Blues'. The Ben Pollack Orchestra is also thought to have backed vocalist, Chick Bullock, on October 2 for such as 'Let's Call a Heart a Heart' and 'I Can't Pretend'. After his first major excursion into the jazz business with Pollack he joined Jimmy Dorsey's band in Los Angeles in time to record such as 'All God's Chillun Got Rhythm' (w vocalist, Vickie Joyce) and 'The Wren' (w vocalist, Josephine Tumminia) in February of 1937. Slack laid rail with Dorsey for a couple of years into latter 1939 before joining his next university per the Will Bradley Orchestra at its inception in 1939. His initial tracks with Bradley are thought to have been on September 19, 1939, for a Vocalion/Columbia session bearing Slack's arrangements of 'Forever More' and 'Love Nest', et al. Slack stuck with Bradley into 1941, having the meanwhile recorded 'Down the Road a Piece' on September 7, 1940, with the Ray McKinley Trio, McKinley on drums with Doc Goldberg on bass. After Slack's period with McKinley he held his first session as a leader on June 27, 1941, with His Eight Beats, tapping out 'Strange Cargo', 'Boogie Woogie on Kitten on the Keys', etc.. His Trio consisting of Al Hendrickson (guitar) and Jud De Naut (bass) then joined vocalist, Big Joe Turner, on such as 'Rocks in My Bed' and 'Sun Risin' Blues' on September 8 of 1941. Slack's wheels were spinning nicely when blues giant, T-Bone Walker, employed him on July 2, 1942, for 'I Got a Break Baby' and 'Mean Old World'. Slack's was also the pleasure to work numerously with vocalist, Ella Mae Morse, whom he hired in 1942 for 'Old Rob Roy' and 'Get on Board, Little Chillun'. After future titles in 1942 they got back together again on February 12 of '46 for 'The House of Blue Lights' and 'Hey Mr. Postman'. Another session on April 24 brought 'Your Conscience Tells You So' and 'Pigfoot Pete'. They reunited on March 8 of 1960 with the NBC Studio Orchestra for 'Cow Cow Boogie' on the 'Ford Star Time Presents More Stars of the Swing Years' telecast from Hollywood. Slack had released the album, 'Boogie Woogie (On the 88 by the Great Freddie Slack)', in 1955. He died at only 55 years of age in August of 1965 in Los Angeles. Discos w songwriting and production credits at 1, 2, 3. Slack in visual media.

Freddie Slack   1940

   Beat Me Daddy Eight to the Bar

       Will Bradley Orchestra   Vocalist: Ray McKinley

       Composition:

        Don Raye/Ray McKinley/Hughie Prince

   Celery Stalks at Midnight

       Will Bradley Orchestra

       Composition: George Harris/Will Bradley

Freddie Slack   1945

   Kitten On the Keys

       Composition: Zez Confrey

   Southpaw Serenade

       Composition: Freddie Slack

   Strange Cargo

       Composition: Ray McKinley/Freddie Slack

 

Birth of Rock and Roll: Freddie Slack

Freddie Slack

Source: Scott Gronmark

Birth of Rock and Roll: Lloyd Glenn

Lloyd Glenn

Source: Last FM

 

Born in 1909 in San Antonio, Texas, pianist, Lloyd Glenn [1, 2, 3, 4], is thought have first recorded on November 18 of 1936 with the Don Albert Orchestra, contributing piano to such as 'The Sheik of Araby' and 'Liza'. He left Texas for Los Angeles in 1941, there hooking up with Walter Johnson's trio in '44, also becoming employed as a session musician. 1945 found him with Red Mack and His All Stars for such as 'The Joint Is Jumpin' and 'T'ain't Me'. Working with T-Bone Walker would have been a major highlight in any musician's career, which happened in December of 1946 for Glenn, he backing Walker as one of the Al Killian Quintet in Hollywood for takes of 'Stormy Monday', 'She Had to Let Me Down', et al. Glenn would see Walker again in latter '47, '57 and 1967-68, their last occasion for Walker's 'Funky Town' in Los Angeles. Come December of 1947 for Brown's first name session with his Joymakers, coming up with such as 'Joymakers Boogie' and 'Advice to a Fool'. He took residence in the band of another major figure in 1949, that being trombonist, Kid Ory, joining him for dates such as an AFRS radio broadcast of 'Kid Ory' yielding the likes of 'Wang Wang Blues' and 'Tuxedo Junction'. Glenn would see numerous sessions with Ory's Creole Jazz Band to July 17 of 1953 for titles that would eventually see issue on Ory's 'The Kid's Greatest!' in 1962. [All session data: Lord's Disco.] Others with whom Glenn had occasion to work, either recording or touring, were Lowell Fulson, BB King, Clarence Gatemouth Brown and Big Joe Turner. Glenn died of heart attack on May 3, 1985, in Los Angeles. Catalogs w various credits for Glenn at 45worlds and discogs. More compositions by Lloyd Glenn at Blues 4.

Lloyd Glenn   1947

   Joymaker's Boogie

     Composition: Lloyd Glenn

   Midnight Boogie

Lloyd Glenn   1952

   Boogie Woogie on St Louis Blues

      Composition: WC Handy

 

 

Birth of Rock and Roll: Charlie Norman

Charlie Norman

Source: Aftonbladet

Americans weren't the only to produce boogie woogie. Born in 1920 in Ludvika, Sweden, jazz pianist, Charlie Norman [1, 2], was among the forbears of the jazz explosion that would occur in Scandinavia in the sixties. Norman made his debut in radio the same year as he first recorded in Stockholm for Sonora on October 4, 1938, with the Hakon Von Eichwald operation, 'Nagasaki' and 'Corrine Corrina' among them [Lord's Disco]. Norman's next session was with Seymour Osterwall's orchestra on March 23, 1940, yielding 'The Prisoner's Song', 'Best Thing in Life Are Free', 'I Want to Be Happy' and 'Undecided'. A couple more sessions followed with Osterwall before Alice Babs joined his orchestra to record 'Ett Glatt Humor' and 'Varat Gang'. Norman would see a lot Babs into 1945. She would later become a major collaborator in years to come. Norman's last sessions in September of 1998 were with Babs, those available on a DVD titled 'Swingtime Again'. Norman had taken his first professional job at the Societets Restaurangen in Varberg, followed by work in the orchestras of Håkan von Eichwald and Seymour Österwall, where we pick him up above. Norman made his first name recordings on June 11, 1943, with Ake Brandes at drums: 'Charles Special' and 'Dream Boogie'. He would lead generally smaller ensembles into the nineties, steadily if not prolifically. Tom Lord's discography lists him last recording as a leader at a concert with his Aces on August 31, 1995: 'There Is No Greater Love' and 'In a Mwllow Tone'. Norman made his television debut in 1947 in Paris. In 1949 he arranged Edvard Grieg's 'Anitras Boogie' into the 'Anitras Dance Boogie', concerning which The Grieg Foundation in Norway had a fit, forcing the Metronome label to pull all copies after having already sold ten thousand. Norman made his name largely via radio in the fifties, hosting three broadcast programs: 'Nattugglan', 'The Charlie Norman Show' and 'Charlie In School'. He had recorded 'Nattugglan' on November 23, 1950, with his Disc Jockey Boys. Among American musicians he hosted on their tours to Scandinavia was trumpeter/vocalist, Roy Eldridge, in 1951, they to conduct three sessions for titles like 'Saturday Nite Fish Fry', 'They Raided the Joint', 'Nappin' John' and 'Scotty'. In the seventies Norman began working seasonally for the next ten years at a resort on the Canary Islands in the Mediterranean. He passed away in 2005. Included below are some of his later jazz performances, featuring Alice Babs on most from year 1951 onward. Discos w various credits: 1, 2 3. Norman in visual media.

Charlie Norman   1941

   Ho-Dadia-Da

       Soundtrack: 'Gatans Serenad'

       Seymour Östervalls Orkester

      Composition: Arthur Österwall

Charlie Norman   1943

   Special Boogie

       Charles Norman Orchestra

      Conductor: Charles Norman

      Composition: Charles Norman

Charlie Norman   1945

   Jitter-Boogie

        Charles Norman Orchestra

      Conductor: Charles Norman

      Composition: Charles Norman

Charlie Norman   1949

   Anitras Dance Boogie

        Charles Norman Quintet

      Composition: Edvard Grieg

      Arrangement: Charles Norman

Charlie Norman   1950

   Monark Bicycle Commercial

Charlie Norman   1951

   God Morgon, Mister Eko

      Composition: Bill Putnam

   Mr. & Mississippi

      With Alice Babs

      Composition: Irving Gordon

Charlie Norman   1984

   Anitras Dance Boogie

      Composition: Edvard Grieg

Charlie Norman   1999

   Boogie Woogie on St Louis Blues

      Composition: WC Handy

   Sailboat in the Moonlight

      Composition: John Loeb/Carmen Lombardo

   Our Love Is Here to Stay

      Composition: George & Ira Gershwin

   Swing It Magistern

      Composition: Kai Gullmar/Hasse Ekman

 

 

 

Born in 1921 in Clinton, South Carolina, Arthur Guitar Boogie Smith [1, 2, 3, 4] planted his feet both in boogie boogie and country western, country swing in particular, also recording popular music. Boogie woogie was the southern equivalent of ragtime, important at the roots of R&B and rock. Ragtime is largely of northern influence to jazz, such as that not developed in New Orleans. Though Smith issued a bit of rockabilly in the fifties he was largely a country artist. We list him here as a forerunner to fifties rock, distinguishing him as a country western guitarist from other boogie woogie precursors to rock, being pianists, per R&B. Though there was a period mainly come the sixties when the country western base made a point of separating itself from the rock base, both genres have long been siblings even as distinct as they are. (C&W's earliest sibling was jazz, as noted per A Birth of C&W.) Smith played cornet as a youth, forming a Dixieland combo with his brothers, Ralph and Sonny which eventually shifted over to country music as Smith picked up other instruments like guitar. In 1938 when Smith was seventeen the Carolina Crackerjacks took a trip to Rock Hill to record four tracks at the Andrew Jackson Hotel. Praguefrank's dates those per September 26, 1938: 'I'm Going Back to Old Carolina' (Bluebird 8304), 'Old Santa Claus Is Leavin' Just Because' (Bluebird 8104), 'There Are No Disappointments in Heaven' (Bluebird 8376) and 'Your Soul Never Dies' (Bluebird 8376). Smith played mandolin and fiddle on those, accompanied by Sonny (guitar), Ralph (banjo) and Luke Tucker (bass). Smith otherwise began his career in radio, hiring onto WSPA in Spartanburg, South Carolina, in 1941. 1943 found Smith moving to Charlotte, NC, to work for WBT radio in its Briarhoppers band for the 'Carolina Barndance' program, likely with his Crackerjacks as well. He and his brothers joined the military per World War II, after which they returned to WBT where Smith hosted the 'Carolina Calling' program. Smith recorded his fist version of 'Guitar Boogie' (Super Disc 1004) circa September 1944 possibly in Washington DC. 45Worlds has that issued in September of '45 credited to the Rambler Trio featuring Arthur Smith. He also appeared on the flip, 'Beaty Steel Blues', by Cecil Campbell's Tennessee Ramblers. Also recorded by the Ramblers on that date were 'Each Night at Nine'/'Please Come Back to Me Daddy' (Super Disc 1005). Smith alighted at #9 on Billboard's Country chart in 1948 with 'Banjo Boogie'. That was followed in 1949 by 'Boomerang' and another version of 'Guitar Boogie' both reaching #8 [musicvf]. In 1951 WBT radio became WBTV television, the year Smith released his first LP on 10": 'Fingers on Fire'. In 1955 Smith partnered with banjo player Don Reno to record 'Feudin' Banjos', which tune was later used in the 1972 film, 'Deliverance'. Smith is otherwise best known as television host of 'The Arthur Smith Show' which ran for about thirty years. He also built a recording studio in Charlotte where he produced radio programs. Discogs has him leading or co-leading above twenty albums to 'Jumpin' Guitar' in 1985, several with the Cracker Jacks. Smith died in Charlotte on April 3, 2014, 2 days after his 93rd birthday. By which time he had copyrighted about 500 tunes. Among them were 'Mandolin Boogie' ('51), 'In Memory of Hank Williams' ('53), 'Guitar Boogie Twist' ('62), 'Philadelphia Guitar' ('63), 'Back to His Hole He Went' ('63), 'The Stuttering Song' ('63), 'I Like Lasses' ('64) and 'Flat Top Hari Kari' ('64). Discographies w various credits at 1, 2. Smith wrote all titles below except as * = undetermined.

Arthur Smith   1948

   Guitar Boogie

Arthur Smith   1955

   Feudin' Banjos

      With Don Reno

Arthur Smith   1956

   Blue Rock*

Arthur Smith   1959

   Banjo Boogie

Arthur Smith   1963

   Guitar Hop

 

Birth of Rock & Roll: Arthur Smith

Arthut Guitar Boogie Smith

Source: Discogs

 

Pete Johnson, a prominent boogie woogie pianist, was born in 1904 in Kansas City, Missouri [1, 2]. He began his professional career as a drummer in 1922. He switched to piano in 1926 to play in Big Joe Turner's band. He first recorded with Turner in December of 1938 for Vocalion, that session producing: 'Roll 'Em Pete' b/w 'Goin' Away Blues' in 1939. He was among musicians featured in Hans Burger's 1944 film, 'Boogie Woogie Dream' [IMDb]. Despite Johnson's pianism he found himself in Buffalo, New York, in 1950 where he held day jobs washing vehicles for several years. Things picked up in 1958 upon touring Europe with Jazz at the Philharmonic. But then Johnson began to fall ill of a heart condition combined with diabetes, leading to strokes and paralysis of his hands. That in combination with failing eyesight made Johnson's career too difficult to pursue. He gave his last performance in January 1967 at Carnegie Hall, dying later that year on March 23 in Buffalo. Compositional credits for Johnson's titles at 1, 2, 3, 4.

Pete Johnson   1939

   Barrelhouse Breakdown

     Composition: Pete Johnson

   Boogie Woogie Prayer Part 1

     Trio w Albert Ammons & Meade Lux Lewis

     Composition:

     Albert Ammons/Meade Lux Lewis/Pete Johnson

   Boogie Woogie Prayer Part 2

     Trio w Albert Ammons & Meade Lux Lewis

     Composition:

      Albert Ammons/Meade Lux Lewis/Pete Johnson

   Goin' Away Blues

     Composition: Pete Johnson

   Kansas City Farewell

     Composition: Pete Johnson

   Roll 'Em Pete

     Composition: Pete Johnson

Pete Johnson   1941

   Basement Boogie

     Composition: Pete Johnson

   Cuttin' the Boogie

     Composition: Albert Ammons/Pete Johnson

Pete Johnson   1944

   Boogie Woogie Dream

     Filmed live with Albert Ammons

      Composition: Albert Ammons

       See Wikipedia

   Dive Bomber

      Composition: Keith Holden

Pete Johnson   1946

   Mr. Drum Meets Mr. Piano

      Drums: JC Heard

     Composition: Pete Johnson

Pete Johnson   C 1948

   Rocket 88 Boogie Part 1

     Composition: Pete Johnson

   Rocket 88 Boogie Part 2

     Composition: Pete Johnson

Pete Johnson   1949

   Skid Row Boogie

      Composition: Pete Johnson

 

Birth of Rock & Roll: Pete Johnson

Pete Johnson

Photo: William P. Gottlieb

Source: Wikipedia

 

Born Joseph Vernon Turner Jr. in Kansa City, Missouri, in 1911, vocalist Big Joe Turner was also known as Boss of the Blues [1. 2, 3, 4, 5]. Though more a blues and R&B vocalist, Turner illustrates a transition from boogie woogie during his earlier career toward later rock. He first recorded on December 23 of 1938 at Carnegie Hall with pianist, Pete Johnson, putting out 'It's All Right Baby' and 'Low Down Dog'. December 30 saw 'Going Away Blues' and 'Roll Em Pete' to be issued by Vocalion (4607). Turner had quit school at age fourteen to busk and sing in Kansas City nightclubs, becoming known as the Singing Barman (singing bartender). During that period he also partnered with boogie woogie pianist, Pete Johnson. Turner made his first appearances on the West Coast in 1941 in Los Angeles. His first session there is thought to have been on September 1 contributing vocals with Duke Ellington on piano to 'Rocks in My Bed' for the 'Salute to Labor' broadcast by KFI Radio. He layed his first golden egg on Billboard's Top Ten in R&B with 'SK Blues' in 1945, nesting it at #3. Since his nest was only big enough for one egg it had to hatch and fly off before the rest could follow, including two rock tunes that reached #1: 'Honey Hush' in '53 and 'Shake, Rattle and Roll' in '54. Music VF shows his last of sixteen Top Ten titles in 1956 with 'Corrina Corrina' at #2. Turner released his debut album in 1956: 'The Boss of the Blues'. Turner began performing internationally in 1965, recording in France and Yugoslavia with trumpeter, Buck Clayton, that year, Mexico City (with Bill Haley) and Berlin the next. He would also record with Count Basie in Europe, 'Flip, Flop & Fly' made in Paris and Frankfurt in April of 1972. Turner was inducted into the Blues Hall of Fame in 1983. His final albums were 'Kansas City Here I Come' recorded on February 14, 1984, and 'Patcha, Patcha, All Night Long', made on April 11 of 1985 with Jimmy Witherspoon. Turner died of heart failure in California on November 24, 1985, then was included in the Rock and Roll Hall of Fame in 1987. Other than those listed below, Turner composed such as (alphabetically) 'Blues on Central Avenue', 'Low Down Dog', 'Nobody in Mind', 'Rebecca', 'SK Blues' and 'Well Oh Well'. Discogs has him writing every title on the Czech compilation, 'Rocks in My Bed', issued in 2000. Production and songwriting credits for Turner titles at 1, 2, 3. More Big Joe Turner.

Big Joe Turner   1939

   That's All Right Baby

        Piano: Pete Johnson

      Composition: Joe Turner

Big Joe Turner   1948

   Baby Won't You Marry Me

      Composition: Pete Johnson/Joe Turner

   Old Piney Brown Is Gone

      Composition: Pete Johnson/Joe Turner

   Radar Blues

      Composition: Horace Owens

   Wine-O-Baby

      Composition: Pete Johnson/Joe Turner

Big Joe Turner   1953

   Honey Hush

      Composition: Big Joe Turner

Big Joe Turner   1954

   Shake, Rattle and Roll

      Composition: Charles Calhoun (Jesse Stone)

Big Joe Turner   1955

   Flip Flop and Fly

      Composition:

      Charles Calhoun/Chuck Calhoun/Joe Turner

Big Joe Turner   1956

   Corrine Corrina

      Composition:

      Mitchell Parish/Jay Mayo Williams/Bo Chatman

   Morning Noon and Night

      Composition: Dave Bartholomew

 

Birth of Rock & Roll: Big Joe Turner

Big Joe Turner

Source: Wikimedia Commons

  Boogie woogie pianist, Jimmy Yancey [1, 2, 3, 4], was born in Chicago in 1894. His father was a vaudeville guitarist and vocalist, his older brother, Alonzo, a pianist. Wikipedia has him touring the States as a tap dancer and singer during his childhood. He began to teach himself piano at age fifteen. He played clubs for years before making his first recording in 1936, a demo of 'Yancy Special'. He was 41 years old when two of seventeen recordings were released by Solo Art in 1939. Yancy began recording with his wife, Estelle Yancy, in 1943 for Session Records. They played Carnegie Hall together in 1948 and released an album in 1951 for Atlantic: 'Jimmy and Mama Yancey: Yancy Special' (LP 130). Yancey died in September that year of diabetes upon a stroke. Beyond music Yancey was a baseball enthusiast, having played for a local Chicago team as a young man. Despite his ability at a piano Yancy kept his day job as a groundskeeper for the Chicago White Sox throughout his career. But he was inducted into the Rock and Roll Hall of Fame in 1986. Yancy wrote all titles below except as noted. Compositional credits for his titles at 1, 2. See also 1, 2.

Jimmy Yancey   1939

 Rolling the Stone

  Yancey Stomp

Jimmy Yancey   1944

  Yancey Special

      Composition: Meade Lux Lewis/Andy Razaf

Jimmy Yancey   1958

  How Long Blues

      Recorded 1951 with Estelle Yancey

 

Birth of Rock and Roll: Freddie Slack

Jimmy Yancey

Source: Agora Sol Radio

Birth of Rock & Roll: Buddy Johnson

Buddy Johnson

Born in Darlington, South Carolina, in 1915, pianist and bandleader Buddy Johnson [1, 2, 3, 4, 5], studied classical music as a youth. Johnson's sister was the vocalist, Ella Johnson. Boogie woogie wasn't the only trick in Buddy's bag, though he lends some illustration of its application to the big band in transition from swing to R&B. Among his earliest jobs upon heading for NYC in 1938 was with the Cotton Club Revue which, upon touring Europe, was expelled from Nazi Germany in 1939. His first recordings are thought to have been with his own orchestra for such as 'When You're Out with Me' and 'Jammin' in Georgia' on November 16 of '39 with the Mack Sisters. Singer, Arthur Prysock, is thought to have gotten his start in the music business with Johnson in 1944. Another singer with whom he worked was Ruth Brown, such as 'Sure Enough' and 'Here He Comes' released in 1961. Johnson is an excellent early example of jazz transitioning toward jump blues and rhythm and blues. He died of brain tumor and sickle cell anemia in 1977 in New York. Like most orchestral leaders, composing was fundamental to Johnson's career, authoring such as 'Stop Pretending' ('39) and 'Please Mr. Johnson' ('41). Songwriting credits for Johnson titles at 1, 2, 3, 4, 5.

Buddy Johnson   1940

   Jammin' in Georgia

       With the Mack Sisters

      Composition: Buddy Johnson

   She's Got Her Jinx on Me

Buddy Johnson   1941

   Boogie Woogie's Mother in Law

      Composition: Buddy Johnson

Buddy Johnson   1942

   Let´s Beat Out Some Love

      Composition: Buddy Johnson

Buddy Johnson   1944

   One of Them Good Ones

      Composition: Buddy Johnson

Buddy Johnson   1946

   Since I Fell for You

       Vocal: Ella Johnson

      Composition: Buddy Johnson

Buddy Johnson   1947

   Far Cry

      Composition: Buddy Johnson

Buddy Johnson   1949

   Did You See Jackie Robinson Hit That Ball?

      Composition: Buddy Johnson

Buddy Johnson   1950

   Jet

       Vocal: Arthur Prysock

      Composition:

      Bennie Benjamin/George David Weiss/Harry Revel

   No More Love

       Vocal: Ella Johnson

      Composition: Buddy Johnson

Buddy Johnson   1954

   Mush Mouth

      Composition: Buddy Johnson

Buddy Johnson   1955

   Crazy 'Bout a Saxophone

      Composition: Buddy Johnson

Buddy Johnson   1956

   Bring It Home to Me

       Vocal: Ella Johnson

      Composition: Buddy Johnson

   Buddy's Boogie

      Composition: Buddy Johnson

   Doot Doot Dow

      Composition: Buddy Johnson

   I'll Dearly Love You

      Composition: Buddy Johnson

 

 
  It was as Pvt. Cecil Gant that pianist Cecil Gant [1, 2, 3, 4] first billed himself after having served in the military during World War II. Having been raised in Cleveland, Ohio, he'd begun his musical career in Nashville before the War's debut explosions in '39. Gant served his first plate in 1944 with his compositions, 'I Wonder'/'Cecil's Boogie' (Gilt Edge 501). 'I Wonder' flew to the #1 tier in Billboard's R&B that year. 'Cecil's Boogie' followed in 1945 (#5) along with 'I'm Tired' (#4) and 'The Grass Is Getting Greener' (#7). 1948 witnessed 'Another Day Another Dollar' alight at #6. 'Special Delivery' saw #11 that year, 'I'm a Good Man But a Poor Man' #12 the next. Among Gant's numerous compositions were 'I'm Tired', 'Are You Ready', 'The Grass Is Getting Greener', 'Special Delivery', 'I'm a Good Man But a Poor Man' and 'Cecil's Jam Session'. Other songwriting credits at 45worlds, discogs and allmusic 1, 2. Gant died of pneumonia on February 4 of 1951, age only 37, too young to witness the rise of rock n roll from out of the R&B to which he had contributed. Gant was also a great blues performer.

Cecil Gant   1944

   I Wonder

       Composition: Gant

Cecil Gant   1945

   Hit That Jive Jack

       Composition: John Alston/Campbell Tolbert

Cecil Gant   1946

   Loose As a Goose

       Composition: Gant

   Nashville Jumps

       Composition: Gant

Cecil Gant   1948

   Boogie Woogie Baby

       Composition: Gant

   Cecil's Jam Session

       Composition: Gant

Cecil Gant   1950

   Screwy Boogie

   We're Gonna Rock

       Composition: Gant

Cecil Gant   1951

   Don't You Worry

   Rock Little Baby

       Composition: Gant

 

Birth of Rock and Roll: Cecil Gant

Cecil Gant

Source: The Music's Over

 

Wild Bill Moore, tenor sax, is an excellent ride from swing jazz toward rock and back to jazz. Born in Houston in 1918 [1, 2, 3], he was a Golden Gloves boxer in his latter teens, then turned professional. He meanwhile played alto saxophone, switching to tenor in 1944. Moore's recording career commenced in April 1944 in NYC, backing vocalist, Christine Chatman on 'Bootin' The Boogie'. That was followed in February by a radio broadcast with the Louis Armstrong Orchestra, future sessions that year with Armstrong in August and October. August 1945 found Moore in Los Angeles with Helen Humes: 'Unlucky Woman', 'Every Now And Then', 'He May Be Your Man', 'Blue Prelude' and 'Be-Baba-Leba'. In October that year he recorded with Slim Gaillard, then with Shift Henry in December [*]. Moore began releasing titles with his own band in 1947 upon leaving California for Detroit [*]. He largely worked in clubs as he continued recording, eventually returning to Los Angeles where he died in August of 1983. Songwriting credits for Moore at 1, 2. See also Discogs.

Wild Bill Moore   1944

   Bootin' the Boogie

        With Christine Chatman

       Composition: Christine Chatman/J. Mayo Williams

Wild Bill Moore   1945

   Be-Baba-Leba

        With Helen Humes

       Composition: Humes

Wild Bill Moore   1946

   My Gal's a Jockey

       With Joe Turner

       Composition: Joe Turner

Wild Bill Moore   1948

   Bubbles

       Composition: From 'Sunny Side of the Street'

   We're Gonna Rock

       Baritone sax: Paul Williams

       Composition: Paul Williams/Moore

Wild Bill Moore   1949

   Boulevard Boogie

       Composition: Moore

   Rock and Roll

       Composition: Moore

Wild Bill Moore   1950

   Hey Spo-Dee-O-Dee

       Composition: Teddy Brannon/Sam Theard

Wild Bill Moore   1961

   Caravan

       Composition: Moore

        Album: 'Bottom Groove'

 

Birth of Rock & Roll: Wild Bill Moore

Wild Bill Moore

Source: Boomer Culture

 

Bandleader, drummer, vibraphonist and vocalist, Johnny Otis [1, 2, 3, 4, 5, 6, 7, 8, 9] began his career in jazz, shook the rock and roll world for a couple decades, then returned to jazz. He was born Ioannis Alexandres Veliotes to Greek immigrants in 1921 in Vallejo, California. Father of four children, one was blues guitarist, Shuggie Owens (b '53). Johnny's father owned a small grocery store. The reason Otis may be the only Grecian in all these histories might be his modus operandi in times of lack, beginning his vocation with a forged credit slip to purchase a set of drums. How his father, whose money it was, reacted isn't known, but Otis quit Berkeley High School high in his junior year and joined a local band, the West Oakland Houserockers, to play engagements in Berkeley and Oakland. He first appeared on record playing drums for the Stan Kenton Orchestra per a session in Hollywood on April 20, 1944, for titles like 'Five O'Clock Drag' and 'Russian Lullaby' (Philo/Aladdin). He then formed a group called His All Stars which saw a session in summer of '45 with major rival, Wynonie Harris, resulting in 'Around the Clock Blues', 'Cock a Doodle Doo' and 'Yonder Goes My Baby'. Otis' first session work arrived in 1945 as well, that with Illinois Jacquet for such as 'Flying Home Parts 1 & 2' for Philo and Aladdin. A later session in August yielded 'Ladies Lullaby' and 'Illinois Stomp'. Otis began issuing records in his own name in 1945, those debut recordings thought to have been 'Drop Another Nickel In The Juke Box', 'Daddy-O' and 'My Baby's Business'. The success of 'Harlem Nocturne' in 1946 catapulted Otis out of the barrel, now a big shot in Los Angeles with a remarkable nonstop career in the fast lane ahead of him as one of the original rockers. It was Otis' band in which Esther Phillips got her start in 1949 (she age thirteen). They recorded 'I Gotta Gal' in October [*]. On November 10 of that year she joined Junior Ryder on 'Chilton Switch'/'Get Together Blues' (Savoy 824). That's also the first session on which Otis is thought to have performed vibes. His first vocal is thought to have been March 19, 1951, shared with George Washington on 'All Night Long' during his three-year residency at the Savoy in NYC begun in 1950. Etta James got her start in Otis' band in 1951 (she age thirteen). Otis would later co-write and produce James' 'The Wallflower' ('Dance with Me, Henry') in 1954 for issue the next year. In 1953 his band accompanied Big Mama Thornton on 'Hound Dog'. Other of Otis' discoveries were Jackie Wilson, Hank Ballard, and Little Willie John. Otis had his own radio (KFOX Long Beach, CA) and television shows in the fifties, also founding his own label, Ultra Records, in 1955. Vocalist, Tony Allen, saw issue that year on Ultra for 'Check Yourself' and 'It Hurts Me So'. Otis' first rendition of '(Willie and the) Hand Jive' saw session on April 3, 1958. During the sixties Otis found time to unsuccessfully run, by his birth name, for a seat in the California State Assembly as a Democrat, after which he became chief of staff for Congressman, Mervyn M. Dymally. In 1973 Otis released the first of his 'Great Rhythm and Blues Oldies' series in 1973 on his own label, 'Blues Spectrum'. Also in the seventies Otis founded and pastored the nondenominational New Landmark Community Gospel Church as Reverend Hand Jive (kiddingly). That church opened its doors for some twenty years, closing in 1998. Otis returned to radio in the eighties in Los Angeles, hosting for KPFK, eventually moving to KPFA. In 1987 he helped organize the first Red Beans & Rice R&B Music Festival in Los Angeles, later moved to San Dimas. 1990 saw the recording of 'Spirit of the Black Territory Bands' released in '92. In 1993 Otis put together a deli/grocery/cabaret business in Sebastopol, California, from which he began broadcasting live weekend shows in 1994, the year he was inducted into the Rock and Roll Hall of Fame. 1996 found Otis in Zurich, Switzerland, recording 'A Yo Yo' with guitarist, Tefo Hlaele. 1997 saw Barbara Morrison recording 'Mood Indigo' at Otis' cabaret in Sebastopol. Circa 1999 witnessed Heather Marie recording her album, 'Got My Mojo Working', at Sebastopol. Released in 2000 were titles he arranged for vocalist, Barbara Morrison, on 'Ooh-Shoobie-Doo!', also at Sebastopol. Otis' Sebastopol recordings got issued by J & T Records. Otis retired from his highly active career in 2004, dying in Los Angeles on January 17 of 2012. Songwriting credits for titles by Otis at 1, 2, 3. See also Discogs. Otis in visual media.

Johnny Otis   1945

   Around the Clock

         With Wynonie Harris

       Drums: Johnny Otis

        Composition: Wynonie Harris

   Ultra-Violet

       Composition: Otis/Lester Current

Johnny Otis   1946

   Harlem Nocturne

       Composition: Earle Hagen/Dick Rogers   1939

Johnny Otis   1947

   Courtroom Blues

       Composition: Bardu Ali/Otis

   Rockin' Blues

        With Wynonie Harris

       Composition: Otis

Johnny Otis   1948

   Alligator Meat

      Vocals: Joe Swift   Composition: Swift

   That's Your Last Boogie

      Vocals: Joe Swift   Composition: Swift

Johnny Otis   1949

   I Gotta Gal

        Vocal: Little Esther Phillips

       Composition: McCoy

Johnny Otis   1950

   Deceivin' Blues

        Vocal: Little Esther Phillips & Mel Walker

       Composition: Otis

   Far Away Blues

        Vocal: Little Esther Phillips

       Composition: Otis

   Wedding Boogie

        With Little Esther Phillips

       Composition: Otis

Johnny Otis   1951

   Mambo Boogie

       Composition: Otis

Johnny Otis   1955

   Little Richard Boogie

       Composition: Richard Penniman (Little Richard)

Johnny Otis   1957

   Bye Bye Baby

       Composition: Otis

   Ma (He's Makin' Eyes At Me)

        Vocals: Marie Adams

       Composition: Con Conrad/Sidney Clare

   Sincerely

       With the Jayos

       Composition: Alan Freed/Harvey Fuqua

   Stay with Me

       Composition: Otis/Darby Hicks

Johnny Otis   1958

   Willie and the Hand Live

       Composition: Otis

Johnny Otis   1959

   Telephone Baby

      Vocals: Marie Adams   Composition: Otis

Johnny Otis   1963

   The Hash

       Composition: Ernie Freeman/Otis

   Somebody Call the Station

       Composition: Otis/Nehemia King

Johnny Otis   1969

   Country Girl

       Composition: Delmar Evans/Otis

Johnny Otis   1973

   Barrelhouse Blues

        Guitar: Shuggie Otis

       Composition:

       Pee Wee Crayton/Johnny Otis/Shuggie Otis

       From Lovie Austin's 'Barrelhouse Blues'   1923

Johnny Otis   1977

   Nigger Please!

        Vocal: Barbara Morrison

       Composition:

       Lermon Horton/Otis Hayes/Sonny Craver

Johnny Otis   1982

   Drinkin' Wine, Spo-Dee-O-Dee

       Composition: Stick McGhee/J. Mayo Williams

 

Birth of Rock & Roll: Johnny Otis

Johnny Otis

Source: Past Blues

 

Hadda Brooks didn't pursue rock and roll, her boogie woogie largely in the context of jazz. Born in 1916 and raised in Los Angeles, Brooks made a reputation for herself as the Queen of Boogie Woogie [1, 2, 3, 4, 5, 6]. Boogie woogie was the southern equivalent of ragtime, developing out of music performed in the barrel houses (bars) of eastern Texas, thus "barrelhouse" is aka for early boogie woogie. Brooks came to reputation despite that she issued few recordings during her career, attending only twenty something sessions to result in such during her more than fifty years as a professional pianist. Brooks' first single, 'Swingin' the Boogie', was in 1945. She recorded piano fairly steadily into the fifties. She appeared on the 10" album, 'Modern Records Volume 7' in 1950. 1957 saw the issue of 'Femme Fatale', the same year she hosted 'The Hadda Brooks Show' on KCOP TV in Los Angeles. 'Hadda' was issued in 1971, upon which Brooks spent the seventies touring to Europe and moving to Australia. She wouldn't show up on record again until 'Queen of the Boogie' in 1984, recorded in Netherlands. In 1986 she played Perino's in Los Angeles, then other venues on the East and West Coast. 'Anytime, Anyplace, Anywhere' arrived in 1994. Brooks died in Los Angeles on November 21 of 2002. She is thought to have last recorded in 1996 for 'Time Was When'. Songwriting credits for Brooks' titles at  at 1, 2, 3, 4. More Hadda Brooks in Jazz. Though 'That's My Desire' below isn't boogie woogie, it's a beautiful blend of jazz and R&B.

Hadda Brooks   1947

 That's My Desire

      Guitar: Teddy Bunn

      Music: Helmy Kresa

      Lyrics: Carroll Loveday

 Rockin' the Boogie

      Composition: Hadda Brooks

  Society Boogie

      Composition: Hadda Brooks

  Swingin' the Boogie

      Composition: Hadda Brooks

 

Birth of Rock & Roll: Hadda Brooks

Hadda Brooks

Source: Lileks

 

Birth of Rock & Roll: Pee Wee Crayton

Pee Wee Crayton

Source: Beadologie

Born Connie Curtis Crayton in Rockdale, Texas, in 1914, Pee Wee Crayton [1, 2, 3, 4, 5] left Texas for Los Angeles in 1935, where he became employed at a shipyard. Need to escape no doubt drove him to get more serious with his guitar, forming a trio and turning professional about year 1945. That was the year Ivory Joe Hunter launched his recording career with 'Blues at Suntrise' jumping to Billboard's #3 in R&B. Hunter and his jump bands would place 16 titles onto Billboard's Top Ten to 1957, but Crayton came and left too early to participate in those. Crayton is thought to have held his first recording session with Hunter in Berkeley in early 1946 to result in Hunter's compositions, 'Seventh Street Boogie'/'Reconversion Blues' (Pacific 601, Hunter's own label). Several plates followed with Hunter into '47 when Crayton ventured upon a solo career mid-year with 'After Hours Boogie'/'Why Did You Go' (Four Star 1304), not issued until '49. Come sessions in '47 for 'Don't Ever Fall in Love'/'Pee Wee Special' (Gru-V-Tone 217), not issued until '49. Sometime in 1948 Crayton recorded: 'Blues After Hours' and 'I'm Still in Love with You' per Modern 624. 'Blues After Hours' climber to Billboard's No. 1 spot in R&B in October that year. His composition, 'Texas Hop', reached No. 5 in December. 'I Love You So' reached No. 13 in July of '49, also his own composition. Others among numerous titles written by Crayton were 'Blues Before Dawn', 'California Women', 'Dedicated to the Blues' (with Jules Taub), 'Don't Break My Heart', 'I Got News for You', 'Phone Call from My Baby', 'Win-O', et al. He issued his first of several LPs, 'Pee Wee Crayton', in 1960. His next followed a decade later: 'Things I Used to Do' ('71). Crayton performed throughout much of the States until his death on June 25 at home base in Los Angeles in 1985. He had recorded 'Early Hour Blues' in December of 1984. Among highlights in his latter career were appearances on four Big Joe Turner albums from 1975 to 1978: 'Everyday I Have the Blues', 'Nobody In Mind', 'In the Evening' and 'Have No Fear Joe Turner Is Here'. His recording of 'Stormy Monday' in '74 with Turner didn't show up until 1991 on the album 'Stormy Monday'. Crayton on 78 rpm and 45 rpm. At Discogs. Further reading: 1, 2. More Pee Wee Crayton in Blues 3.

Pee Wee Crayton   1946

   Seventh Street Boogie

      With Ivory Joe Hunter

     Composition: Ivory Joe Hunter

Pee Wee Crayton   1949

   After Hours Boogie

   Texas Hop

     Composition: Pee Wee Crayton

Pee Wee Crayton   1950

   Huckle Boogie

     Composition: Pee Wee Crayton

Pee Wee Crayton   1951

   Poppa Stoppa

     Composition: Pee Wee Crayton

Pee Wee Crayton   1954

   Do Unto Others

     Composition: Dave Bartholomew

Pee Wee Crayton   1955

   I Need Your Love

     Composition: Esther Crayton

Pee Wee Crayton   1971

   Things I Used to Do

    Album 

 

 

Birth of Rock & Roll: Amos Milburn

Amos Milburn

Source: MP3 XL

 

Born in Houston in 1927, pianist Amos Milburn [1, 2, 3, 4, 5, 6] was playing piano by age five. Much of his work is exemplary of jump blues (up-tempo blues). He enlisted in the Navy during World War II at age fifteen and earned thirteen battle stars in the Philippines before returning to Houston to form his first band. It was 1946 when Milburn released his first recordings gone down in Los Angeles: 'After Midnight'/'Amos's Blues' (Aladdin 159), 'Darling How Long'/'My Baby's Boogie' (Aladdin 160) and 'Don't Beg Me'/'Down the Road Apiece' (Aladdin 161). From 1948 to 1954 Milburn placed no less than 19 titles on Billboard's R&B Top Ten. Four of those reached #1: 'Bewildered' ('48), 'Chicken-Shack Boogie' ('48), 'Roomin' House Boogie' ('49) and 'Bad Bad Whiskey' ('50). Compositional credits to recordings by Milburn at 45Cat, 45Worlds, Allmusic 1, 2, 3, 4 and Discogs 1, 2. Milburn died on January 3, 1980. More Amos Milburn in Blues 4.

Amos Milburn   1946

   Amos Blues

       Composition: Lola Anne Cullum/Amos Milburn

Amos Milburn   1947

   Chicken Shack Boogie

       Composition: Amos Milburn/Lola Cullum

   Down the Road a Piece

       Composition: Don Raye

Amos Milburn   1949

   Roomin' House Boogie

       Composition: Jessie Mae Robinson

 

 

Birth of Rock & Roll: Sunnyland Slim

Sunnyland Slim

Source: Mapleshade Records

Blues oriented pianist and vocalist, Albert Luandrew, would develop the stage name, Sunnyland Slim [1, 2, 3, 4, 5], from his composition, 'Sunnyland Train'. Though largely a blues musician, Sunnyland Slim was also an early contributor to rock n roll, as demonstrated on 'She Ain't Nowhere' below. He was born in 1906 near Vance, Mississippi. His father a preacher, Slim left home for Memphis at age eighteen where he worked day jobs while applying himself to boogie woogie piano. The next several years saw Slim develop into a popular musician, though yet dependent on odd jobs. It was to work in a factory that found him in Chicago by the early forties. His musical career meanwhile began gaining ground as he performed with such as Baby Face Leroy (Leroy Foster), Tampa Red, Doctor Clayton and Sonny Boy Williamson II [Marion, et al]. His debut recording session fell on September 26 of 1946, singing vocals for Jump Jackson on 'Night Life Blues' (Specialty 507 Nov '46). (Pianist, Roosevelt Sykes, sang vocals on Side A: 'Alley Cat Woman'). Most sources want Slim's first solo name session per Aristocrat (to become Chess in 1950) in late August or early September of '47, backed by Muddy Waters on 'Johnson Machine Gun'/'Fly Right Little Girl' (Aristocrat 1301). He supported Waters on 'Gypsy Woman'/'Little Anna Mae' (Aristocrat 1302). Campbell et al note that a session for Hy-Tone could possibly have preceded that, also put down in latter August or early September on an unidentified date to include: 'Jivin' Boogie'/'Brown Skin Woman' (Hy-Tone 32). Slim also recorded as "Doctor Clayton's Buddy" for RCA Victor in '47, eight sides to include 'Illinois Central' with 'Sweet Lucy Blues' B side. Slim issued his first LP in 1960: 'Chicago Blues Session', followed by 'Slim's Shout' the next year. The blues revival concurrent with the folk revival in the sixties served him well as he toured the States and Europe, such as the American Folk Blues Festival in 1964. Slim formed Airway Records about 1973, releasing four albums with it (: 'She Got That Jive' '74, 'Just You and Me' '81). Slim remained active until dying of renal failure on March 17, 1995, in Chicago [*]. Among Slim's numerous recording partners had been Snooky Pryor, Robert Lockwood Jr, Moody Jones, Ernest Cotton, Big Crawford, Alfred Wallace, Big Walter Horton, Jimmy Rogers, Bob Woodfork, Willie Dixon, SP Leary and Canned Heat. Slim had written titles like 'Johnson Machine Gun', 'My Baby, My Baby', 'Got a Thing Going On' and 'See My Lawyer'. Other of his compositions at 45worlds, allmusic 1, 2, 45cat and discogs. Further reading: 1, 2, 3. He wrote all titles below except as indicated. More Sunnyland Slim in Blues 4.

Sunnyland Slim   1947

   She Ain't Nowhere

Sunnyland Slim   1948

   Jivin' Boogie

       Composition: Albert Luandrew

Sunnyland Slim   1951

   When I Was Young

Sunnyland Slim   1953

   Bassology

   The Blues Came Pouring Down

       Composition:

       Shorty Long/Lee Roberts/Syd Nathan/Henry Glover

   Shake It Baby

Sunnyland Slim   1961

   Baby How Long

      Composition: Big Joe Turner

   Shake It

      Composition: Big Joe Turner

 

 

Jimmy Liggins [1, 2, 3] was a guitarist born in 1922 in Newby, OK. He was younger brother to Joe Liggins and a boxer before he began driving his older brother's band around on tours. It was 1947 when he formed his band, the Drops of Joy, in Los Angeles to record such as 'Troubles Goodbye' and 'I Can't Stop It' on September 9 for issue by Specialty. That session also included Liggins' first version of 'Cadillac Boogie', that unissued. It was a couple sessions later on November 26 that he recorded the version that inspired 'Rocket 88' released three years later by Jackie Brenston and Ike Turner. (Among the numerous candidates, some like to call 'Rocket 88' the first rock & Roll record. We start our history of rock & roll several years earlier with such as Roy Brown and Smiley Lewis, choices as good as any of the many possible. Simply hearing rock & roll, we disregard that they were marketed to black audiences as R&B. By comparison we start R&B with Julia Lee in 1944.) Liggins' career was a brief one of not quite twenty years before fading into obscurity, what recording he did very little, though of no small note in boogie woogie's contribution to R&B of the period. His most popular titles had been 'Tear Drop Blues' (#7 R&B '48), 'Careful Love' (#2 R&B '49), 'Don't Put Me Down' (#9 R&B '49) and 'Drunk' (#4 R&B '53), those his only titles to chart [*]. To go by Duplex issue numbers, his last recordings would appear to have been in 1965 for #9014: 'Working Man Blues' and 'Good Loving Baby'. Songwriting or production credits for his titles at 1, 2, 3. He died in Durham, North Carolina, on July 21 of 1983.

Jimmy Liggins   1947

   I Can't Stop It

      Composition: Jimmy Liggins

Jimmy Liggins   1948

   Cadillac Boogie

      Composition: Jimmy Liggins

Jimmy Liggins   1950

   Mississippi Boogie

      Composition: Jimmy Liggins

   Saturday Night Boogie Woogie Man

      Composition: Jimmy Liggins

Jimmy Liggins   1954

   Boogie Woogie King

      Composition: Jimmy Liggins

   I Ain't Drunk

      Composition: Jimmy Liggins

 

Birth of Rock & Roll: Jimmy Liggins

Jimmy Liggins

Source: Artist Direct

Birth of Rock & Roll: Joe Lutcher

Joe Lutcher

Source: Hallelujah Rock 'n' Roll

 

Alto saxophone player Joe Lutcher (brother of jazz vocalist Nellie Lutcher) was born in 1919 in Lake Charles, Louisiana [ 1, 2]. Upon discharge from the U.S. Navy in 1945 Lutcher led a band at the Look Café in Los Angeles, then the Café Society where he named his band the Society Cats. He quickly found himself a bandleader for Nat King Cole, Sammy Davis Jr. and the Mills Brothers before his initial eponymous recordings for Specialty Records in 1947. His first release was 'Boogie #1' that year. As Specialty came to want only slow blues from him he soon signed up with Capitol in August of '47. 'Rockin' Boogie' reached #14 on Billboard's R&B in 1948 along with 'Shuffle Boogie' at #10. Lutcher's third and last tune to chart was 'Mardi Gras' in 1949, having moved to  Modern Records that year. Lutcher's first release for Capitol was 'Strato-Cruiser' b/w 'Sunday Blues' in 1947. Lutcher became a Seventh Day Adventist in 1953. As that denomination forbade union membership Lutcher dropped out of the American Federation of Musicians and traded the music business for evangelism, notably with Little Richard, they touring the country in 1957 as the Little Richard Evangelistic Team. About that time (latter fifties) Lutcher established a record shop that specialized in gospel, as well the Jordan record label, also to produce gospel music. (Little Richard recorded numerous tracks with that label.) Lutcher is thought to have remained faithful to the Christian religion until his death on October 29, 2006, in Los Angeles. Songwriting and other credits at 1, 2, 3, 4.

Joe Lutcher   1947

   Lucy Lindy Boogie

      Composition: Joe Lutcher

   Strato-Cruiser

      Composition: Joe Lutcher

Joe Lutcher   1948

   Rockin' Boogie

      Composition: Joe Lutcher

   Shuffle' Boogie

      Composition: Joe Lutcher

Joe Lutcher   1949

   Mardi Gras

      Composition: Joe Lutcher

   Ojai

      Composition: Joe Lutcher/Jules Taub

 

 
 

Boogie woogie was vital in the development of rock n roll. It was the southern equivalent of ragtime, the latter out of which jazz had developed. Boogie woogie, jump blues and R&B pianist, Little Willie Littlefield, was born in El Campo, Texas, in 1931, but was raised in Houston [1, 2, 3, 4]. His first recordings were made in late 1948 with Eddie Henry who had his own record label. Two of those eight tracks were released in 1948: 'Little Willie's Boogie'/'My Best Wishes' (Eddie’s Records 1202) [*]. 'Chicago Bound'/'What's the Use' and 'Boogie Woogie Play Girl'/'Swanee River' followed in 1949. He also issued 'Littlefield Boogie' in 1949 for Freedom Records on a disc shared with Goree Carter's 'Sweet Ole Woman's Blues' on B side. Eight more titles were issued later in '49 for the Modern label. His enormously popular 'Kansas City' was first released as 'K C Loving' in 1952. Some call it rhythm and blues. Some call it rock n roll. Same thing. Highlighting the early fifties were recordings with Little Esther Phillips: 'Last Laugh Blues'/'Flesh, Blood And Bones' (Federal 45-12108 '52) and 'Hollerin' and Screamin'/'Turn the Lamps Down Low' (Federal 45-12108 '53). Littlefield made San Francisco his base of operations in the latter fifties where he remained quite popular as his national career began to wilt. In the latter seventies he toured Europe and decided to move to the Netherlands. He made a number of recordings during that later period, but ceased touring in 2000. After an hiatus of five years, spent fishing for herring in Holland, he began touring again in 2005. Littlefield died of cancer at his home in Voorthuizen, Netherlands, in 2013. Songwriting and other credits at 1, 2, 3.

Little Willie Littlefield   1948

   Little Willie's Boogie

      Composition: Littlefield

Little Willie Littlefield   1949

   Boogie Woogie Playgirl

   Little Willie's Boogie

      Composition: Littlefield

   My Best Wishes

      Composition: Littlefield

   Swanee River Boogie

      Composition: Albert Ammons

Little Willie Littlefield   1952

   K C Loving (aka Kansas City)

      Composition: Jerry Leiber/Mike Stoller

   Ruby Ruby

      Composition: Littlefield

Little Willie Littlefield   1955

   Jim Wilson's Boogie

      Composition: Littlefield

Little Willie Littlefield   1959

   Kansas City (aka K C Loving)

      Composition: Jerry Leiber/Mike Stoller

   The Midnight Hour Was Shining

      Composition: Littlefield

Little Willie Littlefield   1986

   Kansas City Boogie

      Filmed live

      Composition: Jerry Leiber/Mike Stoller

Little Willie Littlefield   2009

   Sweet Home Chicago

      Composition: Robert Johnson

       Filmed live at the UK Boogie Woogie Festival

 

Birth of Rock & Roll: Little Willie Littlefield

Little Willie Littlefield

Source: Washington Post

  Fats Domino    See Fifties Rock: Fats Domino.


 
  Little Richard    See Fifties Rock: Little Richard.


 
  Jerry Lee Lewis    See Rockabilly: Jerry Lee Lewis.


 
 

End Boogie Woogie.

 

 

 

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