Showing posts with label Jackie Hairston. Show all posts
Showing posts with label Jackie Hairston. Show all posts

Sunday, January 08, 2012

Whop Frazier - How Bluesy Can You Get

Word came out towards the end of 2011 that William ‘Whop’ Frazier had passed. I had known Whop for about two decades, although I cannot remember when I first saw him, but he played with about everybody playing blues and classic R&B around the Washington DC area. After working as a side man he joined a gospel group and later joined the Bad Influence Band, with whom he recorded his and their first album.

Whop then started his own band, Whop Frazier and Friends By Choice which played throughout the region over the past couple decades. It was always a solid band that would mix in a few R&B chestnuts along with classic and original blues. If Whop played with everybody, pretty much everyone played with Whop at times. Jesse Yawn often sang with Whop and tenor saxophonist Ron Holloway (formerly with Dizzy Gillespie and now touring with Warren Haynes) was a not infrequent guest in Whop’s band over the years. Drummer Earl Ivey and Washington keyboard legend Jackie Hairston were regulars in his group over the years although for specific gigs personnel could change.
Whop Frazier and Friends By Choice Summer 2008 at Wilson Plaza in Washington DC.
From left to right - Jackie Hairston, Whop Frazier, Earl Ivey and (I believe) Tom Newman.
Whop had a warm smile for everyone and it was felt when he sang. He reworked How Blue Can You Get, singing ‘bluesy’ instead of blues and made you feel so good. And he knew how to get the dance floor filled with renditions of Mustang Sally, and other classic R&B numbers like Some Kind of Wonderful or Turn Back The Hands Of Time. Guitarists Michael Tash and Bobby Thompson were among those who developed their chops playing with Whop while Tom Newman or Harold Flood was his featured guitarist over the past few years.

Whop was born August 31, 1943 in Washington DC. In an interview with Felix McLairen published in the December 2008 issue of the DC Blues Society’s newsletter, Capital Blues Messenger, Whop talked about his career and life noting that he “lived and grew up around 14th & U Streets. I hung out a lot and spent time around the Howard Theater just a few blocks from where I lived.”

“I became interested in music ‘cause I was hanging around musicians all the time. I was a young teenager when I started trying to play guitar and got tips from “Skip” Pitts. He was the guitarist who did the wah-wah thing for Isaac Hayes. He said my fingers were too long for the guitar and suggestedI take up electric bass. … I was gigging by the time I was about 14. I played at the Spa Club on 14th and T Streets. I also played the Coach Lounge where Billy Stewart sometime played. In fact, I dated Billy’s cousin for a while. I also played with Bill Harris at clubs on U Street.” Billy Stewart had a number of hits for Chess Records and Bill Harris was an original member of The Clovers as well as a pioneering jazz and blues guitarist.

He first went on the road at the age of 17 with Dee Clark. Locally he “played with Jesse Yawn, Eddie Daye & the 4 Bars. When I was in my early twenties I gigged with Little Royal, Wilson Pickett, and Pookie Hudson. … I started playing Top 40, jukebox tunes. I got into the Blues mostly when I got with Bobby Parker. Bobby was in his twenties and playing with a lot of [local and national] big names, like B.B. King. Later on I also did shows with Blues musicians like Junior Wells, James Cotton, and Bobby Blue Bland.” He stayed with Bobby for ten or so years playing the chitlin’ circuit and credited Bobby for getting him to sing.

Whop explained how he got his nickname, “Well, it came about for a couple reasons. I started out using a pick on the bass that made a whopping sound. But as a teenager I also was known for exaggerating. The guys laughed and talked about me telling whoppers of tales. One of ‘em suggested they call me Whop. The name stuck.”

Memphis Gold, Harold Flood, Tom Principato and Whop Frazier at 2006 Columbia Pike Blues Festival
Whop recorded at several albums that gave a sense of what he was like to hear live. They may not have been innovative, but full of his solid, heartfelt and ebullient blues and soul. His first album was with Bad Influence and then two self-released studio albums, Bathtub Blues and Here I Go Again. A performance at the Bluebird Blues Festival is available at itunes and amazon as a download. On this latter album harmonica player Roger Edsall joins the band with Harold Flood on guitar. Whop could be relied on for solidly played and always entertaining music. Even when not performing, he was there to attend and support other local bluesman. It was always great to see him, whether catching him perform or simply chatting with him. I am among the countless many who will miss him.

He died at the age of 68 on December 22, 2011 of complications from lung and bone cancer. He is survived by his loving wife, Dolores “DeDe” Frazier, four daughters, Amber M. Frazier, Shula Payton, Lisa Frazier, and Cynthia Brooks; three sons, William Frazier Jr., David Frazier, and Isaac Calhoun. He is also survived by 9 grandchildren and 2 great grandchildren.

Here is a youtube video Whop used for promotional purposes from 2010 with Jackie Hairston, Earl Ivey and Harold Flood on guitar.

Friday, December 09, 2011

Bid Daddy Stallings Throws A Blues Party

“I’m Charles’ Big Daddy’ Stallings and I approve these blues,” the gentleman from Baltimore proclaims on the introductory track of his third CD, Blues Party (Tai Jeria Record Company). Stallings, who became prominent in the Baltimore-Washington scene about five years ago, brings a down home blues style with a band that mixes traditionally oriented Chicago blues with classic sixties and seventies rhythm and blues. There is a variety of folk handling the backing here including Gail Parrish or Ronald Bland on bass; Russell Hayward II or Bill Pratt on drums; Joe “E Flat” Thomas on saxophone, and Clarence Ward III on trumpet, and Steve Levine on harmonica. Mark Wenner of the Nighthawks adds the down home harp for the Intro, and Down on the Farm. There is plenty of music here, with 16 original songs bookended by his intro and thank you tracks

The title track is a nice good times track, followed by the somewhat salacious “Horny Bee, with a Jimmy Reed groove and some biting lead guitar from Leroy Flowers, Jr, has Stallings grittily delivery the vocal. Riffing horns embellish the simple groove of Fine Lady, that displays Stallings’ simple lyrics and rustic vocal with him taking a stinging solo. Down on the Farm, a lazy, rustic piece of blues story-telling is perhaps the most memorable track here, as he recalls growing up on the farm and the hard life down there with Mark Wenner contributing the harmonica here. Swing 2010, is an instrumental (perfect for dancing) with Washington keyboard legend Jackie Hairston on organ, a hot trumpet solo from Ward and sax solo by Carlos Johnson. 

She’s Gone is a lament about Big Daddy’s baby having gone and left him all alone because he did her wrong, while Knocked Up, has his wondering about why so much teenage pregnancy. In Love With Yourself, is a nice soul ballad about one’s marriage ending and no fun to be in love by yourself. After a brief spoken introduction, organist Hairston and saxophonist Johnson are featured on the jazzy The Lucy Number, while Clarence Ward’s trumpet blasts off James, a funk tribute to the Godfather of Soul,” with tough horns and a strong groove, followed by a couple nods to disco-life, I Wanna Dance, followed by his salute to Latin Girls, another number with a dance groove and a percussion break down. Big Daddy closes  asking us to put some Blues in Your Funk, with nice harmonica (I presume Steve Levine since it is not credited in the booklet) and brassy horns.

On Old Folks, a slow blues with nice guitar, Stallings sings,”Keep those bloomers on Granny, Grandpa ain’t giving up no love tonight.” While it has some catching lines like most of the record, the lyrics sometimes come off as simply strung together by some common theme. In sense, its perhaps best to enjoy the music and songs and not analyze the words too much. Big Daddy brings plenty of heart to his music and the band is tight behind him. There is plenty of music hear (nearly 80 minutes), if one just gets into the spirit, then one will have a Blues Party. This is available from cdbaby or on itunes. Big Daddy Stallings website is http://www.bigdaddystallings.com.

My review copy was provided by Charles ‘Big Daddy’ Stallings and this review appeared in the June 2010 Jazz & Blues Report (Issue 326).