The Okeh Rhythm & Blues Story 1949-1957

The Okeh Rhythm & Blues Story 1949-1957 (Epic/Okeh/Legacy E3K 48912) is a three compact disc set surveys excellent rhythm and blues recordings that appeared on Okeh between 1949 and 1957. Okeh was the label that first issued a blues recording with Mamie Smith. During the 1920’s it was acquired by Columbia and faded with the depression. Columbia reactivated Okeh to replace the Vocalion logo which passed to Decca in 1940, although wartime exigencies led to its demise in 1942. Okeh was revived in 1948 to expand Columbia’s presence in the nascent rhythm’n’blues market, although the label was unable to make the market impression the small hustling independent labels did. Despite not being a major market force, Okeh had a number of records hit the charts, and recorded some of the earliest recordings by major postwar stars Chuck Willis, Joe Williams and Big Maybelle. Also on Okeh were artists who may have had some success with small independents and moved on to Okeh such as Joe ‘Mr. Google Eyes’ August, Larry Darnell, Hadda Books, Paul Gayten and Annie Laurie. Other Okeh artists had a couple records and disappeared into obscurity.

Much of the music here is in the jump blues vein best represented by the young Joe Turner influenced Joe Williams, who certainly gets a groove going backed by drummer Fred Saunders’ tough combo. These brash vocals will be a revelation for those familiar only with Williams’ ballad style or his work with Count Basie. Williams was not the only one to show a heavy debt to Joe Turner. Singer Irlton French’s My Run Around Baby  is a rocker with phrasing and shouting style very much like Big Joe’s pre-Atlantic recordings. Earl Williams also shows a debt to the Turner-Wyonnie Harris school of singing. The small combo, Chris Powell & the Five Blue Flames cover Jimmy Preston’s hot jump blues Rock This Joint which later would be a hit for Bill Haley, while the Five Scamps show more indebtedness to Nat Cole than Amos Milburn on their reworking of Milburn’s Chicken Shack Boogie.

Chuck Willis show his roots as he urges everyone to Let’s Jump Tonight. The harmonies of one of the earliest of the postwar vocal groups, The Ravens, enliven the jumping Honey I Don’t Want You, while the ballad singing of New Orleans vocalist Annie Laurie, is showcased in It’s Been a Long Time. Another New Orleans artist, Joe ‘Mr. Google Eyes’ August evokes Roy Brown’s influence on the crying blues Rough and Rocky Road. Hadda Brooks had enjoyed commercial success for Modern. A torch and cabaret singer (she recorded That’s My Desire before Frankie Laine), and a sophisticated pianist, her two songs here are in a jump blues vein with solid boogie based piano. In contrast to Brooks cabaret influenced style, Big Maybelle’s church rooted vocals come at you with the force of a hurricane and she is represented by Gabbin’ Blues and the rocking One Monkey Don’t Stop No Show.

Okeh adapted with the times and also recorded novelties like The Treniers’ salute to dee jay Allen Freed, The Moondog and Hurricane Henry’s rendition of The Last Meal, one of Jimmy Rogers’ more unusual recordings. Sometimes Okeh hit the jackpot with Screaming Jay Hawkins’ I Put a Spell on You. Of local interest are recordings by Billy Stewart and the short-lived group, the Marquees, that included a young Marvin Gaye from sessions organized by Bo Diddley

An attractive booklet provides information on Okeh’s history and the performers. Information on recording dates and initial release (where applicable) of the songs is also provided, although not full discographical information. This collects many artists whose recordings have been hard to find on compact disc at all. It is a well programmed anthology with plenty of variety, and will be a must for jump blues devotees.

This was part of a review with other Columbia/Legacy reissues that I reviewed this past Friday. It originally appeared in issue 188 of Jazz and Blues Report in 1994. I received review copies from Columbia Records.

Dee Dee Bridgewater Memphis...Yes, I'm Ready

Dee Dee Bridgewater
Memphis...Yes, I'm Ready
DDB Records/ Okeh Records

Dee Dee Bridgewater's new release represents a change for the acclaimed, Grammy Award winning jazz vocalist as she pays tribute to her Memphis roots with this album of interpretations of some classic soul and blues of folks associated with Memphis. Dee Dee was born at Memphis' Collins Chapel Hospital, located not far from where the album was recorded at Producer Willie Mitchell's historic Royal Studios. Dee Dee's father, a trumpet player affectionately known as "Matt the Platter Cat," was a DJ at WDIA.

The album was co-produced by Memphis native and Grammy-winning musician Kirk Whalum, and Willie Mitchell's grandson - Grammy-winning Engineer Lawrence "Boo" Mitchell. It was recorded at Royal Studios in Fall 2016 after multiple visits by Bridgewater to Memphis over a period of several years. Working in Memphis at Royal Studios is like magic," says Bridgewater. "There's so much history that has been recorded in those walls. I just felt I could take this journey in that city with Kirk and Boo. They are my two kingpins and the two helped me realize this project and bring it to fruition."

About the music on this recording she states, "I wanted people to be able to recall the original versions, but I also wanted them to have a more modern feeling while respecting those originals. I'm doing B.B. King's 'Thrill Is Gone,' Bobby Blue Bland's 'Going Down Slow', Otis Redding's 'Try A Little Tenderness,' Al Green's 'Can't Get Next To You,' Ann Peebles' 'I Can't Stand The Rain' and The Staple Singers' 'Why? (Am I Treated So Bad)' - it just doesn't get any better than this in terms of material. The opportunity to make them my own was an opportunity and a challenge I felt honored to take on."

And when she opens with Carla Thomas' "B.A.B.Y." or sings Ann Peebles "'I Can't Stand The Rain," one hears the same authority that marked her jazz recordings. None of these performances are copies as the are subtle tweaks in the arrangements as well as the subtlety of he vocals. Standout tracks include a wonderful rendition of Elvis' hit "Don't Be Cruel" with a booting sax solo as well as her revamping of "Hound Dog" with a reggae groove. The arrangement for the strong rendition of "Going Down Slow," is adapted from a 1960s recording by Percy Mayfield of "The River's Invitation." Then there is her bluesy rendition, down in the alley version of The Temptations' "I Can't Get Next To You," akin to a similar arrangement by the DC blues-roots band The Nighthawks. There is a fervent rendition of the gospel classic "(Take My Hand) Precious Lord," along with a funky riff to help recast "Thrill is Gone," which she sings for B.B. (and I recall she sang at the Kennedy Center shortly after King's death).

Also standing out is the Staple Singers' "Why (Am I Treated So Bad)," before a rendition of the Barbara Lewis hit "Yes, I'm Ready," that helps give this recording its name. Usually one finds vernacular singers doing jazz-oriented projects, usually with mixed results. In this case, we have one of our generation's great jazz vocalists going in the opposite direction and her command as a singer along with terrific backing, make for a superb soul and blues recording.

I received as a download from a publicist to review. Here she sings "I Can't See The Rain."

Regina Carter Ella: Accentuate the Positive Okeh Records

Regina Carter
Ella: Accentuate the Positive
Okeh Records

The wonderful jazz violinist Regina Carter helps celebrate the centennial of Ella Fitzgerald on her latest recording. Speaking of Ella, she explains, "One of the many things that I adore about Ella is that she just loved music and didn't box herself in. She recorded everything, not just the American Songbook--doo-wop, Stevie Wonder and Beatles songs, even some country western music.  The fact that she experimented with so many different styles made me feel that, with this record, I would pay respect to her by taking the music and doing something else with it.  I feel that she would smile in agreement."

To realize this vision, which transforms the songs through a lens of classic 1950s-'60s soul and blues, Carter calls on an impressive roster of musicians and arrangers including her longtime rhythm section of bassist Chris Lightcap and drummer Alvester Garnett. She is also joined by pianist Xavier Davis and guitarist Marvin Sewell, both of whom serve double-duty as arrangers, and they hey are supplemented by bassist Ben Williams; producer and hitmaker, Ray Angry; vocalist, Charnee Wade and pianist Mike Wofford; Fitzgerald's own former accompanist and musical director.  Two tracks feature vocals by Regina's fellow Detroiters, actress and singer, Miche Braden; and longtime friend and vocalist extraordinaire, Carla Cook.

The result of this imaginative fusion is an album that is less akin to Ella's own music as opposed to taking songs associated with Ella as springboard for Carter's imagination and strong musical personality. Braden contributes a soulful, let's go to church, vocal on the opening "Ac-Cent-Tchu-Ate the Positive," with a funky groove underlying comping from pianist Davis, Williams rock solid bass before Sewell's blues-rock toned guitar and Carter's own full-bodied, and free ranging violin. A nice take on "Crying in the Chapel," showcases the warmth and romanticism Carter invests her playing with with Davis on Fender Rhodes and Sewell adding a neat riff. Bassist Lightcap provided the bluesy arrangement for "I’ll Never Be Free,” with Davis' accompaniment complementing Carter's very bluesy playing.

Wofford arranged the piano, bass, violin trio performance of "Dedicated To You," with Carter at her lyrical best. Another highlight is the most charming, intimate duo between Carter and guitarist Sewell on "Judy," a song the performance of which at the Apollo Theater jump-started Fitzgerald’s career. Wade's R&B flavored take opens "Undecided," which after some vibrant violin also features strong singing from Cook. Sewell's slide guitar provides a down home blues feel for "I'll Chase the Blues Away," with some down-in-the-alley violin opening segueing into a bluesy small band performance with biting slide guitar interacting with Carter's violin and Fender Rhodes on a rootsy close to an imaginative, captivating tribute to the great Ella Fitzgerald

I received as a download from a publicist. This review originally appeared in the November-December 017 Jazz & Blues Report (Issue 375). Here is a video Regina made to promote her recording celebrating Ella Fitzgerald.