Wynonie Harris- Rockin' The BLues

 

Wynonie Harris - Rockin' the Blues - Proper

Along with Big Joe Turner and Jimmy Rushing, Wynonie Harris is generally regarded as the greatest of the blues shouters. Harris was one of the most popular and influential artists in the first years after World War II, scoring a number of hits. First emerging on record with Lucky Millender's Big Band, Harris' vocal Who Threw The Whiskey In The Well was a success for the Millender band. For several years, he recorded for various labels, including Philo/Aladdin, Apollo, Hamptone, and Bullet, before signing with King in July 1947. With King, he enjoyed his greatest success. A singer with a booming voice and an extravagant stage presence, The British Proper label has put together a four-disc box, Rockin the Blues, which contains 81 recordings through 1950. 

It is handy to have all of Harris Philo/Aladdin and Apollo recordings, along with the rarities from Hamptone and Bullett and his first thirty-seven recordings for King. Included are classic recordings like Wynonie's Blues, Somebody Changed the Lock on My Door, In the Evenin' Blues, Mr. Blues Jumped the Rabbit, and the two-part Battle of the Blues with Big Joe Turner. Other recordings reissued in this set include: Good Morning Mr. Blues, Good Rockin' Tonight (his version eclipsed Roy Brown's original), Grandma Plays the Numbers, I Feel That Old Age Coming On, I Like My Baby's Pudding, Rock Mr. Blues, and Good Morning Judge (a version of a country hit). 

Harris was accompanied by bands that included some of the finest jazz players of the postwar era. Among the accompanists are Howard McGhee, Teddy Edwards, Illinois Jacquet, Charles Mingus, Jack McVea, Gene Phillips, Arnett Cobb, and Milt Buckner. Sun Ra is credited as pianist on the four sides recorded for Bullett in Nashville in March/April 1946. Other notable musicians who played on his recordings include Tab Smith, Bill Doggett, Hot Lips Page, Hal Cornbread Singer, Tom Archia, Buddy Tate, Sonny Thompson, and Cat Anderson. This is quite a roster of musicians, and they provide Harris with terrific support. 

It has been over thirty years since Harris died, and, thus, he never was able to enjoy the type of career revival that Big Joe Turner enjoyed in the seventies and eighties. The level of the music on these is consistently first-rate. Wynonie Harris may have been a bit of a bragger when he called himself Mr. Blues, but few shouted the blues with the power and skill that he did. 

I purchased this. I wrote this review in mid-2001, and it likely appeared in the DC Blues Society newsletter at the time. I do not know if it still is in print, but it should be available on Amazon, eBay, and other sources. Here is his classic rendition of "Good Rockin' Tonight."

Wynonie Harris - Don’t You Want To Rock?

Wynonie Harris 
Don’t You Want To Rock? 
The King & Deluxe Acetate series 
Ace Records 2-CD set UK Import 

Wynonie Harris, the great blue shouter known as “Mr. Blues,” is the subject of a superb double-CD reissue on the English Ace label which the label describes on its website as “23 of the R&B superstar’s seminal King sides in best-ever sound, plus an entire CD of alternates, all mastered from fresh transfers from the original acetates.” These are Harris’ first recordings for the Cincinnati based King Records label and find him backed by Dexter Gordon, Hot Lips Page, Tom Archia and many others with songs that would become classics, including his cover of Roy Brown’s “Good Rockin’ Tonight,” heard with an alternate take and a breakdown take. There are the big band renditions of Louis Prima’s “Oh Babe!” and the Ruth Brown hit “Teardrops From My Eyes,” bawdy numbers like “She Just Won’t Sell No More,” and “I Like My Baby’s Pudding,” and the humor of “Grandma Plays the Numbers.” There is a lavish booklet with session-by-session annotation that comes with this. It is probably this writer’s favorite blues reissue of 2015. 

 I purchased this and it was published the the 2015 Jazz & Blues Report Gift Guide (downloadable from jazz-blues.com website as a pdf file that includes 2016 Gift Guide and Gift Guides from prior years).  Here is the Wynonie Harris recording of  "Grandma Plays the Numbers."

Wynonie Harris Don't You Want To Rock

Wynonie Harris
Don't You Want To Rock - The King & DeLuxe Acetate Series
Ace Records (UK)

Wynonie Harris, the great blue shouter known a "Mr. Blues," is the subject of a superb double-CD reissue on the English Ace label which the label describes on its website as "23 of the R&B superstar’s seminal King sides in best-ever sound, plus an entire CD of alternates, all mastered from fresh transfers from the original acetates." These are Harris' first recordings for the Cincinnati based King Records label and find him backed by Dexter Gordon, Hot Lips Page, Tom Archia and many others with songs that would become classic, including his cover of Roy Brown's "Good Rockin' Tonight," heard with an alternate take and a breakdown take. There are the big band renditions of Louis Prima's "Oh Babe!" and the Ruth Brown hit "Teardrops From My Eyes," bawdy numbers like "She Just Won't Sell No More," and "I Like My Baby's Pudding," and the humor of "Grandma Plays the Numbers." There is a lavish booklet with session-by-session annotation that comes with this. It is probably this writer's favorite blues reissue of 2015.

I purchased this CD. This is one of a number of short reviews I have written for the 2015 Holiday Gift Guide edition of Jazz & Blues Report. Here is one of the songs on this reissue, although not as mastered here.

Hot Lips Page Just Roll, Roll, Rolls

This is the second part of my appreciation of Oran “Hot Lips” Page.

Hot Lips Page’s music being so heavily rooted in the blues and Kansas City jazz was able to readily make the transition to jump blues and the post-war rhythm and blues market in the manner of such other swing-based performers as Louis Jordan.His place in post-war blues has been neglected although he was the subject of a memorable story in Whiskey Women and, a late rhythm’n’blues quarterly that many of us still miss. The Spanish El Toro label has issued a compilation of 27 recordings (over 70 minutes of music) for a variety labels, “Roll, Roll, Roll: The R&B Years.”

Hot Lips Page was one of the few who could approach the ebullience and inexhaustible musicianship of Louis Jordan, as Dave Penny observes in his liner notes. The proof is in these recordings from the rousing cover of Julia Lee’s “Last Call For Alcohol” as Lips lets us now its the last call with a ripping tenor saxophonist before he blasts some high note joy as a hot jitterbug tempo, which he takes out with some hot playing. This was recorded at a paris Concert and later released on King Records. “They Raided The Joint,” was written by Lips and Joe Eldridge based on an earlier Dan Burley song, and the performance for Continental sports a solid big band ensemble behind Lips fine vocal and trumpet.

“There Ain’t No Flies On Me,” is a nice mix of jive and swing that was recorded for Columbia,” while he covered Louis Jordan’s 1947 hit, “Texas and Pacific” for Apollo, of which an alternate take is presented here here. Nice tenor saxophone on this and Lips blasts through his mute although his vocal is a bit flatter than Jordan’s original. “Walking in a Daze” is a terrific straight blues wonderfully sung with just a bit of gravel in Page’s voice and followed by another terrific blues performance, “Miss Larceny Blues,” showing that Page could stand up to Wyonnie Harris, Eddie Vinson and his other contemporaries able to shout, yet invest a lyric like “every time your wagon breaks down, you come running back to me, I’d like to call you lover, but you are larceny,” with the applicable irony.

Page’s rendition of the Jimmy Preston’s “Roll, Roll, Roll” stomps and rocks as hard as the lyrics suggests. Again more terrific booting tenor sax as well as blistering trumpet. Other highlights include his original recording of “Ashes On My Pillow” which Eddie Vinson had a hit with but King never originally released, his own interpretation of the oft recorded “Open the Door Richard.” Another hot track is “Birmingham Boogie,” a hot jump blues with strong tenor, piano and Lips taking it out on his horn. His Victor recording “I Want to Ride Like the Cowboys Do,” comes across Louis Jordan crossed with the Joe Liggins band with a jive lyric and gutbucket baritone sax in addition to Page. On “The Jungle King,” a take on “The Signifying Monkey” as well as “The Cadillac Song” date from some early fifties sessions for King with a band that included Sam “The Man” Taylor and Harry “Van” Walls. These are terrific idiomatic recordings with a solid, infectious walking rhythm with Taylor terrific on tenor sax as one would expect.

Then their are his duets with Little Sylvia, Mildred Anderson and Pearl Bailey. Page’s duet with Bailey of “Baby Its Cold Outside” paired with “The Hucklebuck” was very popular. While the former was not included, the lively “The Hucklebuck” is. The success of these led to other duets including the salacious “Chocolate Candy Blues,” with the 14 year old Little Sylvia sounding like an attempt to emulate the Johnny Otis recordings with Little Esther with either Mel Walker or The Robins (the use of a vocal chorus) is consistent with this suggestion.

This compilation of Lips also concludes with some live club recordings originally issued on Circle with a band that includes Tyrone Glenn on trombone, Paul Quinichette on tenor sax, Danny Barker on guitar and Sonny Greer on drums with the lively “ Main Street” and “I’ve Got the Upper Hand” being more strong blues. Barker’s playing here will be a revelation for those only familiar with his banjo playing in his latter days back in his hometown while Quinichette’s Lester Young flavored tenor is as home in the blues as Page’s trumpet and vocals. There is a slight bit of noise on these which I assume is from the source recordings.

Dave Penny has a nice essay in the accompanying booklet, but El Toro does not include (because of cost as Dave Penny commented after this review was posted) full discographical and composer information, which is a significant omission. Nonetheless the main attraction on this is the boisterous, exhilarating music of Oran ‘Hot Lips’ Page. This is where the realms of swing jazz and blues meet, and the meeting is such a congenial one. I had this CD on my cd player at work, and I do not know if it was coincidence, but I was in an incredible good mood that day. Its over five and a half decades since Oran Page left this world, yet his music, such as on “Roll, Roll, Roll” has a vitality still today. Like the music of another trumpeter who stood in Louis Armstrong’s shadow, Henry ‘Red’ Allen, he left a body of music that would seem worth excavating by contemporary artists, although one wonders how many contemporary jazz artist would be able to do justice to this material. Perhaps Kermit Ruffins or James Andrews might be recruited for such a project.

I purchased this from bluebeatmusic.com.

Wynonie Shouts the Blues, Sun Ra plays them

Fred James has been putting out a number of collections of classic rhythm and blues recordings from Nashville on the German SRV Blue label. Bullet Records Rhythm & Blues is the second reissue in this series of the important Nashville label. It focuses more on jump blues and blues shouters. It opens with four selections by one of the greatest shouters, Wynonie Harris, and in addition to his vocals, these recordings include the first recordings of pianist Herman ‘Sonny’ Blount (better known as Sun Ra). These recordings may have also had Mr. Harris on drums. A few years later Mr. Blount would be leading a band in Chicago and emerge with his unique and influential big band. While these recordings will be of historical interest for that fact, there is plenty more here for fans of jump blues and blues shouters. Fred James speculates that its tenor saxophonist Buddy Tate’s band backing Max Bailey whose tune includes an exhortation to the troops on Drive Soldiers Drive. Alto saxophonist Sherman Williams’ selections feature pianist-shouter Skippy Brooks who would later be a mainstay in Nashville for Excello. He is heard strongly singing six strong tracks including Baby Don’t You Want to Go, a reworking of Kokomo Blues, a song that was the model for Sweet Home Chicago. Two tracks by The Bobby Plater Orchestra feature members of Lionel Hampton’s Orchestra backing a young Rufus Thomas, while Doc Wiley’s two tracks include a hot jump instrumental and the more philosophical Play Your Hand with Wiley’s strong piano and a nice vocal. A few cuts are more in the vein of Mills Brothers styled harmony, and fill out what is an exceptional reissue that will be of special interest to fans of blues shouters.