sábado, 31 de octubre de 2015






Helen at Manassas, December 2, 1979. Accompanied by Dick Wellstood, Piano: Herb Gardner, Trombone: Steve Novasel , Bass, and Don DeMichael on Drums.

Helen Humes (June 23, 1913 – September 9, 1981) was an American jazz and blues singer.
Humes was successively a teenage blues singer, band vocalist with Count Basie, saucy R&B diva and a mature interpreter of the classy popular song. Along with other well-known jazz singers of the swing era Helen Humes helped to shape and define the sound of vocal swing music.
Born on June 23, 1913 in Louisville, Kentucky, to parents Emma Johnson and John Henry Humes. She grew up as an only child, her mother worked as a schoolteacher and her father was the first black attorney in town. In an interview, Humes recalled her parents singing to each other around the house, also both singing in the church choir.

Helen was introduced to music in the church, singing in the choir and getting piano and organ lessons at Sunday school. The Sunday school music lessons were given by Bessie Allen, who taught music to any child who wanted to learn. From Bessie's Sunday School music lessons, Helen began occasionally playing the piano in a small and locally traveling dance band called the Dandies. This constant involvement in music would lead Helen to her singing career in the mid-1920s.
Her career began with her first vocal performance at an amateur contest in 1926. She sang "When You're A Long, Long Way From Home" and "I'm in Love with You, That's Why" when her talents were noticed by a guitarist in the band. Sylvester Weaver who recorded for Okeh Records recommended her to talent scout and producer Tommy Rockwell. At the age of 14 Humes recorded an album in St. Louis, singing a number of blues songs. Two years later, a second recording session was held in New York, and this time she was accompanied by pianist J. C. Johnson. Despite this introduction to the music world, Humes would not make another record for another ten years. She would spend those years completing her high school degree, taking finance courses, working at a bank, as a waitress, and as a secretary for her father. She stayed home for a while, eventually leaving to visit friends in Buffalo, New York. While there, Helen was invited to sing a few songs at the Spider Web, a local cabaret in town. This brief performance turned into an audition, which turned in to a $35 a week job. She stayed in Buffalo singing with this small group led by Al Sears where they worked together for a good amount of time.
While Humes was home in Louisville (she said she always returned home at least twice a year) she got a call from Sears who was in Cincinnati. He wanted her to sing at Cincinnati's Cotton Club. The Cotton Club was an important venue in the development of the Cincinnati music scene. It was an integrated club that booked and promoted a lot of black entertainers.Humes moved to Cincinnati in 1936 and sang there with Sears' band again at the Cotton Club.

Count Basie first heard and approached Humes while she was performing at the Cotton Club. It was 1937 when he asked her to join his touring band to replace Billie Holiday. He told her that she would be paid $35 a week and she responded, "Oh shucks, I make that here and don't have to go no place!" Not long after this encounter, Humes moved in 1937 to New York City where John Hammond, an influential talent scout and producer of the 20th century, heard her singing with Sears' band at the Renaissance Club. Through Hammond, she became a recording vocalist with Harry James' big band. Her swing recordings with James included "Jubilee", "I Can Dream, Can't I?", Jimmy Dorsey's composition "It's The Dreamer In Me", and "Song of the Wanderer". In March 1938 Hammond was able to convince Humes to join Count Basie's Orchestra, where she would stay for four years.

The Count Basie Orchestra
In The Count Basie Orchestra, Humes gained acclaim as a singer of ballads and popular songs. While she was also a talented blues singer, Jimmy Rushing, another member of The Count Basie Orchestra at the time, held domain over the blues vocals. Her vocals with Basie's band included "Between the Devil and the Deep Blue Sea" and "Moonlight Serenade".

On December 24, 1939, Humes performed with the Count Basie Orchestra and James P. Johnson at John Hammond's second concert of From Spirituals to Swing. After this concert at Carnegie Hall, most of her time spent with the Basie Orchestra was spent on the road. In a 1973 oral history she described life on tour:

I used to pretend I was asleep on the Basie bus, so the boys wouldn't think I was hearing their rough talk. I'd sew buttons on and cook for them, too…in places where it was difficult to get anything to eat…down south. I wasn't interested in drinking and keeping late hours…but my kidneys couldn't stand the punishment of those long rides… then too I got tired of singing the same songs.
This would be the reason for Humes' leaving the group in 1942, as her health was in bad shape and the stress of being on tour was too much.

Café Society and solo career[edit]
While home again in Louisville in 1942, Humes was called by John Hammond and invited to sing at Café Society in New York. She performed frequently here accompanied by pianists Teddy Wilson and Art Tatum. During that year, she also performed at the Three Deuces, at the Famous Door with Benny Carter (February), at the Village Vanguard with Eddie Heywood, and on tour with the big band led by the trombonist Ernie Fields.

In 1944, Humes made the decision to move to Los Angeles, California. While in California, she spent a lot of time in the studio, producing solo work, as well as movie soundtracks. Some of the movie soundtracks she recorded were Panic in the Streets and My Blue Heaven. She also spent some time on the screen, performing in a musical film by Dizzy Gillespie entitled Jivin' in Be-Bop.In addition to this, Humes performed and toured with Jazz at the Philharmonic for five seasons. In 1945, she recorded her most popular songs, two jump blues tunes "Be-Baba-Leba" (Philo, 1945) and "Million Dollar Secret" (Modern, 1950). Despite this, her career stagnated. From the late 1940s to mid-1950s Humes made a few recordings, working with different bands and vocalists, including Nat King Cole, but she was not nearly as active as she had been. In 1950 Humes recorded Benny Carter's "Rock Me to Sleep". She managed to bridge the gap between big band jazz swing and rhythm and blues.

In 1956, Humes toured Australia with Red Norvo, vibraphonist. Their tour was very well received, and she returned again in 1962 and 1964. She made appearances at the Newport Jazz Festival (1959) and Monterey Jazz Festival (1960, 1962). Also in 1962, she toured Europe with the first American Folk Blues Festival.
She returned to the US in 1967 to take care of her ailing mother. At this point Humes viewed her singing career as a part of her past. She took a job at a local ammunition plant, sold her record player and her records and stopped singing. From 1967 to 1973, she was in retirement and would have remained that way had it not been for Stanley Dance. Dance convinced her to return in a performance at the Newport Jazz Festival (1973). The Newport Jazz Festival launched her on a whole new career.[10] The festival was followed with multiple European engagements and some French made albums on Black and Blue. She also sang regularly at the Cookery in New York City (1974-1977).

Throughout the late 1970s, Humes would perform sporadically in America, while also performing at European venues and festivals, for instance at the prestigious Nice Jazz Festival in the mid-1970s. In 1980, she recorded her final album, self-titled Helen on Muse Records. She received the Music Industry of France Award in 1973, and the key to the city of Louisville in 1975.
On the topic of the trajectory of her career, Humes said this: "I'm not trying to be a star! I want to work and be happy and just go along and have my friends – and that's my career."

Helen Humes died of cancer in Santa Monica, California, in 1981 at the age of 68. At her funeral, her family requested that people donate money for cancer research rather than bringing flowers. She is buried at the Inglewood Park Cemetery, Inglewood, California.

Style and reviews
Helen Humes' range was from G3-C5, as she stated in a letter written in preparation for a European tour to Buck Clayton (the arranger), along with a list of her preferred songs. According to many critics, her voice was versatile, suiting pop songs and ballads as well as blues tunes.She was compared to Ethel Waters and Mildred Bailey from early in her career, and was often recorded singing the blues post-Basie. In an interview with Whitney Balliet, Humes explained, "I've been called a blues singer, a jazz singer, and a ballad singer – well, I'm all three, which means I'm just a singer." A review from Downbeat Magazine of her albums Talk of the Town, Helen Comes Back, and Helen Humes with Red Norvo and His Orchestra said the following about her collaboration with Red Norvo:

Norvo's sparkling vibes are the ideal compliment to Helen's lithe, light timbered clarity…Helen is in particularly fine voice…[with] an uncanny resemblance to early Ella [Fitzgerald] in her sound and phrasing.
The review of Helen Comes Back was not as positive, though not at the fault of the vocalist, saying that,

Blues dominates [the album]…[and] although her voice is delightful, the material is too simple to challenge her…Helen is a great deal more than a blues shouter.

Some reviews in the Washington Post of her last performances, in Maryland (1978) and Washington DC (1980), described her as "beaming and genial at 65" (1978). The reviews gave insight on her versatile vocals, "her characteristically light voice [turning] rough as she belted out…'You Can Take My Man But You Can't Keep Him Long'." They also described her use of back phrasing, reminiscent of Billie Holiday's signature style of phrasing a melody in an intimate, personal fashion.


    LIL GREENWOOD va tindre el plaer de cantar amb les orquestes  de  ROY MILTON i DUKE ELLINGTON  ( 1956-1960 ) entre moltes d´altres coses , es clar......... com per exemple grabar en solitari peçes com aquestes ............. 



Rightly best known for her time as one the main singers for the Duke Ellington Orchestra in the late 50s and early 60s, Lil Greenwood's polished performances in those times always gave more than a hint of her blues and R&B background. The Duke remarked of her I don't know but what, whether she's better on spirituals or when she's walking and singing the blues." It's that blues background that is the focus of CDCHD 874 - LIL GREENWOOD / Walking And Singing The Blues. This compilation presents her full output for both the Modern label in Los Angeles and the Federal label recorded between 1950 and 1953."

Born 18 November 1924 in Pritchard, Alabama, north of Mobile, Lil went to Alabama State College, but always wanted to be a singer. In 1949, after an early failed marriage, she moved to the Bay Area in California to start her professional singing career during which she would be variously billed as Lil, Lilli or Lillie Greenwood. Lil spent three happy years in the early 50s with Roy Milton's & His Solid Senders and the Modern sessions were cut with his band. The first release, in July 1950, was a blues belter Heart Full Of Pain, that was coupled with the up-tempo Boogie All Night Long, featuring Jackie Kelso on alto sax and Camille Howard on piano. The blues ballad and boogie combination was repeated on her next release with the melancholy Ain't Gonna Cry as the ballad and Come Back Baby as the up-tempo side. The later Modern releases kept up this pattern except for the rare Modern 803, released in the spring of 1951, which spotlighted two live performances by Lil with Frank Bull and Gene Norman's Blues Jubilee". From both the vocal and the guitar performances, these must have been quite some shows! As well as Lil's 8 released Modern sides there are a further four which are released here for the first time commercially. We're treated to Lil's interpretations of Jimmy Witherspoon's Along About Midnite, a lively boogie treatment of Larry Darnell's For You My Love, a reading of the Dinning Sisters' arrangement to Once In A While, and her version of the Orioles' hit It's Too Soon To Know. 

Although in contrast to Modern, the headquarters of King and Federal Records were based in Cincinnati, Ohio, the label conducted substantial recording sessions on the West Coast. Lil's two sessions for the label were recorded in Los Angeles under the direction of A&R man Ralph Bass, the first in April 1952 and the second in October 1953. 

The eight Federal recordings tended to have vocal group backing behind the R&B quartet or quintet that accompanied her and thus have a rather different feel from the Modern sides. On the first session, for example, the Four Jacks are in attendance to give a nice group feel to My Last Hour and to Little Willie Littlefield's duet with Lil on Monday Morning Blues. Similar combinations followed, and from the second session Thurston Harris and The Lamplighters are to be heard in good form on I'm Crying' and I'll Go. 

After her time with Federal Records, Lil returned to the San Francisco area to play the local club scene. Her manager Gloria Gundry managed to interest Duke Ellington into watching Lil sing when his band was in town. Impressed by her performance, he offered Lil a soloist's job with his Orchestra in late '56 and she worked with the Duke and then latterly with his Mercer Ellington, his son, until the early 60s. Lil is still working today and appears at the Jazz Street Club in Mobile, where she recently recorded a CD.

By Peter Gibbon

- See more at: http://acerecords.co.uk/walking-and-singing-the-blues#sthash.cUP7UjRJ.dpuf

viernes, 30 de octubre de 2015


                Vozarrón el de CLARENCE GARLOW, una pequeña muestra con este tema que rezuma Boogie por todas sus estrías, aunque CLARENCE era fundamentalmente un extraordinario cantante del Blues de Texas, Cajún y R&B., Comprobádlo entrando en el link que os ofrecemos a continuación 


More info about CLARENCE GARLOW in :  


jueves, 29 de octubre de 2015


   Fotografía, DEEK WATSON, BILL KENNY,ORVILLE JONES , CHARLIE FUGUA , en el centro el pianista ASA " ACE " HARRIS, , detrás el mánager del grupo Moe Gale. 

Asa "Ace" Harris (April 1, 1910, New York City - June 11, 1964, Chicago) was an American jazz pianist.
 Harris played in several territory bands in the 1930s, working with Billy Steward's Serenaders in 1932 and with Bill Mears's Sunset Royal Serenaders from 1935. In 1937 Harris took over leadership of the Sunset Royal Serenaders, and recorded with them that same year; he remained with the group until 1939.
In 1940 Harris became Pianist for Bill Kenny & The Ink Spots replacing Bob Benson. Harris can be heard playing Piano with The Ink Spots on many Top 10 Pop hits including "Whispering Grass", "Maybe", "We Three (My Echo, My Shadow & Me)", "Java Jive", "I'll Never Smile Again", "I'd Climb The Highest Mountain", "We'll Meet Again", "Do I Worry", "Until The Real Thing Comes Along", "I Don't Want To Set The World On Fire", "Someone's Rocking My Dreamboat", "It's A Sin To Tell A Lie" and more. After Harris died in 1964, another Piano player named "Johnny Harris" toured with a group pretending to be The Ink Spots. This other "Johnny Harris" pretended to be the Johnny "Ace" Harris that recorded toured and appeared in movies with the original Ink Spots and made that claim until his death in 2000.
In 1944, Harris recorded with Hot Lips Page, then joined the Erskine Hawkins Orchestra, with whom he recorded several times. He played with Hawkins until 1947, and returned to play with him again in 1950-51. Harris also recorded with small ensembles in the 1940s and with a jump blues band in 1951-52. He played at the Cloister Inn in Chicago in 1954.
A compact disc of Harris's recordings spanning 1937-52 was released by Jazz Classics in 2004.








Called "a fine and funky pianist" by Living Blues, pianist and composer Craig Brenner is a three-time recipient of Indiana Arts Commission Individual Artist Program grants. A resident of Bloomington, Indiana, Craig has been voted "Best Musician" in Bloomington numerous times in the Bloomington Independent, and Craig & The Crawdads has been chosen best band.

A graduate of Florida Southern College who grew up in North Miami Beach, FL, Craig attended the Indiana University School of Music from 1976 through 1980, studying with composer John Eaton, pianists Joseph Rezits and Enrica Cavallo Gulli, and jazz educator David Baker. Prior to moving to Indiana in 1976, Craig studied with jazz pianist Wally Cirillo and classical pianist Elizabeth Fishbein. Craig has also studied with and performed multiple times with boogie woogie and stride master Bob Seeley and with the late blues pianist Big Joe Duskin through one of the grants from the Indiana Arts Commission.

Craig performs solo and with his groups at blues, boogie woogie and jazz festivals and venues around the world. He has performed with Bo Didley and opened shows for B. B. King, C. J. Chenier, Queen Ida, Buckwheat Zydeco, Gary Burton, Richard Thompson, Wayne Toups, Honeyboy Edwards, Matt "Guitar" Murphy, the Radiators, Duke Robillard, Jimmy Rogers, and Terrance Simien, among others.

Backstage Boogie (1990), Craig's first recording, is all instrumental, with Craig on piano and Dan Hostetler on drums. Play it Again, Professor! (1995), includes conga drummer and Professor Longhair collaborator Alfred "Uganda" Roberts, members of Craig & The Crawdads and guests, including drummers Kenny Aronoff and Tim Brookshire, guitarists Gordon Bonham and Stuart Norton, bassists Brian Lappin and John Huber, tenor sax-man Dennis Riggins, and trombonists Tim Riggins and Dave Pavolka. The jazzy Man At the Piano (1997) features Craig & The Crawdads, with guest vocalist Lauren Robert. Window On the Soul (2002) includes ten original compositions and features Craig's sons Eli and Nate Brenner as well as Bonham, Norton, Brookshire, Pavolka, James Campbell, Jeff Chapin, Joe Donnelly, Bob Dubinski, Pat Harbison, Janiece Jaffe, Jane McLeod, Jerry Morris, Sonja Rasmussen, Sue Swaney, Pete Wilhoit and others.  Live to Love (2009) by Craig & The Crawdads consists of all original music, with the first appearance on record of expressive vocalist Lori Brenner.




Henning Pertiet Trio - Boogie Woogie And Blues Variety
Released 2006-02-14 on Pertiet Records
Download on iTunes: https://geo.itunes.apple.com/album/id...
Download on Google Play: https://play.google.com/store/search?...

1. 00:00:00 Henning Pertiet Trio Blue Scent Boogie
2. 00:03:22 Henning Pertiet Trio Perdido
3. 00:05:19 Henning Pertiet Trio Honky Ton Train Blues
4. 00:08:50 Henning Pertiet Trio Blues Flakes
5. 00:12:57 Henning Pertiet Trio Boogie De Funk
6. 00:15:27 Henning Pertiet, Ralf Jackowski Blazeaway
7. 00:21:05 Henning Pertiet Abdullah's Blues
8. 00:24:48 Henning Pertiet Trio Boogie For You
9. 00:27:05 Henning Pertiet, Ralf Jackowski DD Dreaming
10. 00:31:19 Henning Pertiet, Ralf Jackowski The Fives
11. 00:34:31 Henning Pertiet, Ralf Jackowski Ein Lied
12. 00:37:30 Henning Pertiet Trio Well You Needn't / In Walked Bud
13. 00:41:11 Henning Pertiet, Ralf Jackowski Vince Blues
14. 00:45:03 Henning Pertiet Trio Pinetop's Boogie
15. 00:50:11 Henning Pertiet Variations On A Dream

Henning Pertiet macht gemeinsam mit Ralf Jackowski (dums) und Moritz Zopf (bass) eine Reise durch die Welt des Boogie Woogie und Blues - mit kleinen Abstechern zum modernen Jazz. Die Booklet-Notes hat kein geringerer als der Boogie-Meister schlechthin geschrieben: Axel Zwingenberger!
© Pertiet Records 2005
℗ Pertiet Records 2005 .

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Henning Pertiet - Biografia 

'' Henning Pertiet té més Blues en la seva dit petit que molts al voltant de la Mà '' 
(Axel Zwingenberger) 

Henning Pertiet, va néixer el 1965 a Hamburg, un dels 
Bluesman més expressius d'avui i els pianistes de boogie a Europa. 

Segueix la seva bio al seu lloc web .............. 

miércoles, 28 de octubre de 2015


A pesar de ser el autor de una de las canciones más plastas que he escuchado en mi vida, OPEN THE DOOR RICHARD....... banda sonora original de un vodevil de la época en donde se representaba que alguien estaba haciendo cosas detrás de una puerta imaginaria......  .....y el que quería entrar suplicaba y suplicaba que por favor le abriera repitiendo una y mil veces el mismo cansino estribillo . a pesar de todo ello decimos, McVEA fué un extraordinario saxofonista que también creó piezas de BOOGIE - WOOGIE, aqui tenéis unas  muestras : 





McVea (November 5, 1914 – December 27, 2000) was an African American, swing, blues, and rhythm and blues woodwind player; he played clarinet and tenor and baritone saxophone. His father was the noted banjoist Satchel McVea, and banjo was Jack McVea's first instrument.
Born John Vivian McVea in Los Angeles, California, and playing jazz in Los Angeles for several years, he joined Lionel Hampton's orchestra in 1940. From 1944 on he mostly worked as a leader. Perhaps his most impressive performance as a sideman in those years was at the first Jazz at the Philharmonic concert in 1944.
McVea was leader of the Black & White Records studio band and was responsible for coming up with the musical riff for the words "Open the Door, Richard".[2] Ralph Bass got him to record it in 1946 and it became immensely popular, entering the national charts the following year, and was recorded by many other artists.
From 1966 till his retirement in 1992 he led a group that played Dixieland jazz in New Orleans Square at Disneyland, called The Royal Street Bachelors. When formed, the trio consisted of McVea on clarinet, Herman Mitchell on banjo, and Ernie McLean on guitar and banjo. According to McVea, he was not much of a clarinetist but learned overnight to play three songs to secure the job.
He is also known for his playing on T-Bone Walker's "Call It Stormy Monday (But Tuesday Is Just As Bad)". In 1945 he played tenor sax in a recording session for Slim Gaillard alongside Charlie Parker and Dizzy Gillespie.


Ella Mae Morse mezcla jazz, country, pop y R & B, estando muy cercita del R'n'r, cuando éste aún no se habia " etiquetado "  como tal , fué más tarde que se conocería como el rock & roll.Empezó muy jovencita , de hecho cuando tenía catorce años Morse tuvo su primer contacto con su gran momento, cuando la banda de Jimmy Dorsey llegó a Dallas para una estancia en el Adolphus Hotel y llamó para una audición. Sin saberlo ella, la banda necesitaba un nuevo vocalista. Ciertamente que Morse de hecho aparentaba ser mayor   y su madre la apuntó , Dorsey la contrató. Cuando recibió una carta de la junta escolar declarando enterada de sus " tropelías " , Dorsey la despidió. Fué más tarde cuando Morse unió a la banda del ex pianista deDorsey Freddie Slack en 1942;con sólo  17años  fue cuando grabaron  "Cow Cow Boogie", que se convirtió en el primer single de oro Capitol Records '. Al año siguiente, Morse comenzó a grabar en solitario. Aunque sus grabaciones fueron consistentes ,  sólidos y se vendían  bastante bien , A pesar de todo ello Morse nunca obtuvo un gran número de seguidores , su popularidad quizá no fué la esperada . Se retiró de la grabación en 1957, y murió de insuficiencia respiratoria el 16 de octubre de 1999.




Ella Mae Morse (September 12, 1924 – October 16, 1999 was an American popular singer.
Morse was born in Mansfield, Texas, United States. She was hired by Jimmy Dorsey when she was 14 years old. In 1942, at the age of 17, she joined Freddie Slack's band, with whom in the same year she recorded "Cow Cow Boogie", the first gold record by Capitol Records."Mr. Five by Five" was also recorded by Morse with Slack, and they had a hit recording with the song in 1942 (Capitol 115). She also originated the wartime hit "Milkman, Keep Those Bottles Quiet", which was later popularized by Nancy Walker in the film, Broadway Rhythm.
In 1943, Morse began to record solo. She reached #1 in the R&B chart with "Shoo-Shoo Baby" in December for two weeks. In the same year she performed "Cow Cow Boogie" in the film Reveille with Beverly and starred in Universal's South of Dixie and The Ghost Catchers with Olsen and Johnson and How Do You Dooo? with radio's Mad Russian, Bert Gordon. She sang in a wide variety of styles, and she had hits on both the U.S. pop and rhythm and blues charts. However, she never received the popularity of a major star because her versatility prevented her from being placed into any one category of music.
The song "Love Me or Leave Me" as recorded by Morse was released by Capitol Records as catalog number 1922,  with the flip side "Blacksmith Blues", which became her biggest hit.
In 1946, "House of Blue Lights" by Freddie Slack and Morse, (written by Slack and Don Raye) saw them perform what was one of many of Raye's songs picked up by black R&B artists.Her biggest solo success was "Blacksmith Blues" in 1952, which sold over one million copies, and was awarded a gold disc. The same year her version of "Down the Road a Piece" appeared on Capitol with Slack again on piano accompaniment. Morse also recorded a version of "Oakie Boogie" for Capitol which reached #23 in 1952.Her version was one of the first songs arranged by Nelson Riddle.
Morse ceased recording in 1957, but continued performing until the early 1990s at such clubs as Michael's Pub in New York, Ye Little Club in Beverly Hills, the Hollywood Roosevelt Hotel's Cinegrill and the Vine St. Bar and Grill. She appeared regularly at Disneyland for several years with the Ray McKinley Orchestra, and did a successful tour of Australia shortly before her final illness.
Her music career was profiled in Nick Tosches' 1984 book, The Unsung Heroes of Rock 'N' Roll: The Birth of Rock in the Wild Years Before Elvis. She has a star on the Hollywood Walk of Fame at 1724 Vine Street. Her entire recorded body of work was issued in a deluxe box set by Bear Family Records.
As Morse's musical style blended jazz, blues, and country, she has sometimes been called the first rock 'n' roll singer. A good example is her 1942 recording of the song "Get On Board, Little Chillun", which, with strong gospel, blues, boogie, and jive sounds as a genuine precursor to the later rockabilly/ rock 'n roll songs. Her records sold well to both Caucasian and African-American audiences. As she was not well known at the time of her first solo hits, many people assumed she was African-American because of her 'hip' vocal style and choice of material.[13]
Morse had six children from two marriages, as well as several grandchildren and great-grandchildren, and an estranged sister named Flo Handy, who was also a singer.

In 1999 Morse died of respiratory failure in Bullhead City, Arizona, aged 75.


Escuchar a esta BETTY HALL JONES es siempre una auténtica delicia,vocalista de blues, pianista  y ocasionalmente organista, Betty trabajó con la banda de Buster Moten y Addie Williams en Kansas City. Volviendo a California, actuó como solista  antes de unirse a la banda del baterista / vocalista Roy Milton en Los Ángeles en 1937. Ella es casi seguro que registró en el piano detrás de Alton Redd para el sello Black & White  1945, y acompañó a Luke Jones en las sesiones de grabación del Atlas y, posiblemente, con Red Mack para el mismo sello en 1946 y 1947. Es una lástima que no se conozca a BETTY HALL JONES todo lo que se mereció ........... Además de sus extaordinarios Boogies que os presentamos , Betty atresora una discografía de Blues y R&B absolutamente imprescindible.
Betty Hall Jones, born Betty Hall Bigby (January 11, 1911 – April 20, 2009), was an American pianist and singer. She was born in Topeka, Kansas.

Jones's father was George Arthur Bigby, a cornetist and leader of a brass band. She learned piano from her uncle in California, where she was raised after her family moved there when she was a child. In 1926, she married a banjoist whose last name was Hall but was divorced by 1936, when she got a job as a backup pianist for Buster Moten in Kansas City. She then returned to Los Angeles to play with Roy Milton through 1942, then joined Luke Jones's trio, with whom she recorded. She married Jasper Jones in the middle of the decade and recorded as Betty Hall Jones in 1947 and 1949 for Atomic Records and Capitol Records. She recorded frequently in the 1950s and worked at the Hotel Sorrento in Seattle, Washington, for seven years. In the 1960s and 1970s she did USO tours in East Asia and toured Australia and Mexico in addition to regular dates in nightclubs on Sunset Boulevard. She toured Sweden and England in the 1980s, and continued performing into the 1990s.

A compilation of her recordings, The Complete Recordings 1947-1954, was issued in 2005.





martes, 27 de octubre de 2015


    JESSE THOMAS,conocido también por Baby Face, Mule o Blues  Troubadour , quizá no llego a la fama de su hermano Willard " Ramblin " Thomas un músico más prolífico y conocido.Fallecido en 1995, la casa de discos BACK TOP RECORDS sacó al mercado este album titulado LOOKIN' FOR THAT WOMAN , en 1996 , que se compone de " rarezas " grabadas en directo a lo largo de su carrera. Acompañan al músico , cantante y guitarra . Steve James a la guitarra , Dan Garver, guitarra , Chris Clark Bajo Tyrone Starks batería, Dennis Cavalier al piano , y Paul Harrington a la armónica todos ellos repartidos por las distintas piezas que conforman este disco. Hemos entresacado para esta ocasión el BOOGIE WOOGIE compuesto por el propio Jesse al igual que todos los demas temas excepto Jack of Diamonds , tradicional. En esta pieza podemos oír a un Jesse Thomas mayor,intercalando sus frases al exelente trabajo del pianista Dennis Cavalier


The brother of Texas bluesman Willard "Ramblin'" Thomas,  ( * ) Jesse "Babyface" Thomas never had the success of his more famous sibling. Born in the hamlet of Logansport, LA, near the Texas border in 1911, Jesse Thomas and his brother were personally close growing up, often working in the fields together, and he also aspired to a music career -- the two performed together. He moved to Dallas in 1929, at a time when Blind Lemon Jefferson and Lonnie Johnson were in their heyday; Thomas made his first recordings that year, at age 18, for Victor. He cut four sides, but found little success coming from those efforts. Whether by design or a simple process of selection, he decided not to emulate his more famous brother's slide guitar-based sound, instead playing in a fingerpicking style closer to that of Blind Blake, Lonnie Johnson, or Blind Lemon Jefferson himself.

In the early '40s, Jesse Thomas relocated to Los Angeles, losing contact in the process with both his sibling and the itinerant musician's life he'd led in the previous decade. He also got to hear and play with musicians who were more influenced by jazz, and the more sophisticated varieties of blues that had taken root in the big cities. These influences soon became clear when he resumed his recording career in the late '40s in Los Angeles; he also demonstrated his songwriting prowess. He tended to write and sing about more upbeat and romantic subjects than his brother, and favored a highly rhythmic and animated style on his instrument. "Double Do Love You" recalled T-Bone Walker at his best, and anticipated the work of Chuck Berry by six or seven years. Jesse Thomas also worked well in a band setting, playing his instrument off against piano accompaniment by Lonnie Lyons and Lloyd Glenn, amongst others, and also saxmen such as Sam Williams and Conrad Johnson. He recorded for Milltone, Freedom, Modern, Swing Time, Hollywood, Specialty, and Elko between 1948 and 1958, and briefly had his own label, Club Records, at the end of the '40s.

It may have been Thomas' sheer versatility that hurt him as a recording artist, at least in terms of commercial success. Unlike his brother, who never evolved too far out of his rural life or roots, Jesse Thomas was always adding strings to his bow, so that by the late '40s he was doing what amounted to R&B rather than pure blues, as both a singer and guitarist, and altering his sound with almost every release, working in different group contexts -- all effective, but all different. He was doing what would later be defined as rock & roll years before it got that name, and was cutting perfectly fine, Chess Records-style rock & roll music in the mid-'50s. He was back in Shreveport from 1957 on, cutting sides of Hollywood Records, He kept working at least into the '70s and '80s, even founding another label, Red River. He cut his last session in 1992, at age 81, working once more in a country-blues vein and a small group setting, and showed his playing skills still intact. Thomas died in 1995 at the age of 84, after a 60-year career in music.



( * ) Willard "Ramblin" Thomas was born around 1900, probably in Texas but possibly in Louisiana. Very little is known about him except that he recorded eighteen tracks for Paramount and Victor between 1928 and 1932. He was reportedly a self-taught guitarist who spent most of his life playing the street corners and juke joints in Texas, Louisiana and the Mississippi Delta region, often in the company of King Solomon Hill. Sometime after his last recording in 1932 he is said to have moved to Memphis where is is thought to have died not long after his arrival there.

Brother of Ramblin' Thomas, Jesse "Babyface" Thomas was also a blues guitarist who enjoyed some local popularity in Shreveport, Louisiana, and also in Oklahoma City.

lunes, 26 de octubre de 2015


Nascut el 1960, pertany a la generació intermèdia Christian Bleiming de blues & boogie d'elit a Alemanya. El "westfalià Boogie King" de Münster juga l'estil tradicional de la forma de "Pinetop" Smith, Meade "Lux" Lewis i altres vells mestres. Ell no interpreta només clàssic del gènere, però també introdueix amb la ràdio composicions originals. 

Com passa regularment a pianista solista del WDR 3 televisió talk show "Teatre Cafe Live" Christian  Bleiming va tocar  la seva primera en Münsterland, adquirint  certa famales seves gires el van fer anar cap  el camí a Sylt, Dresden, a l'Llac de Constança o fins i tot a l'estranger. 

La seva manera distintiva de tocar el boogie-woogie, combinat amb un profund sentit del món del Blues per a  piano, es va convertir en un estil de piano molt personal   Sempre va tornar a la ràdio, aparicions en televisió i concerts en viu amb cantants Angela Brown, Jeanne Carroll, els bluesmen "Big" Joe Duskin, Tommie Harris, Albie Donnelly, Guitar Crusher, "Big" Jay McNeely, Tommy "Boig" Jones, així com el mestre de la boogie-woogie, Axel Zwingenberger. 

Entre 1990 i 2014 Christian  Bleiming va publicar uns  CDs, documentant la seva carrera pianística . Sobretot després del seu tercer àlbum, "Boogie Woogie Power-Train", que d'aquesta manera s'estableix la referència al so de l'antic ferrocarril i els orígens del Boogie piano, el Münsterländer s'ha consolidat en el cercle dels grans. 



Recording made on the 6th of February 2015 at the Museum Abtsküche in Heiligenhaus in Germany. Here was a Stride, Swing & Boogie-Woogie evening organized by Kulturbüro Heiligenhaus with Stephanie Trick and Christian Bleiming.

Here Christian Bleiming playing the Clarence "Pinetop" Smith classic recorded on the 29th of December 1928 in Chicago.



domingo, 25 de octubre de 2015




Christian Dozzler was born into a musical family in Vienna, Austria on September 22, 1958. He started getting classical piano training when he was five years old. At age 14 he fell in love with the blues and has continued this romantic relationship ever since.

Solo piano blues and boogie woogie were the starting point and are until now a major part in Christian’s work. In 1976 he formed his first group, the "Backyard Bluesband", where he also played harmonica and guitar. 1981 was the year when he decided to make a profession out of his musical addiction, he also picked up the accordion after discovering Zydeco-music.

The years from 1984 till 1993 Christian spent as the co-frontman of Austria’s "Mojo Blues Band", and started recording and extensive touring throughout Europe. Frequently working with American blues artists on their European tours widened his musical horizon and made him an experienced player in many different styles of blues music.

From 1993 till 2000, he had his own band again, "Christian Dozzler & The Blues Wave", where he could finally bring the whole diversity of his talent into play. The program was a musical journey from Chicago Blues, Boogie Woogie, Rhythm & Blues to Swamp Blues and Zydeco, and anything in between. Especially the Louisiana music would soon become a trademark of this band. Four CDs resulted from these years. In 1999 the band recorded their fourth CD "Louisiana" right in the land of the bayous, together with some legendary figures of the Louisiana music scene.

In May 2000 Christian Dozzler accepted an offer that couldn’t be refused. He joined the Baton Rouge, Louisiana, based band of Larry Garner, moved to America, and toured the US and the rest of the world with Larry for two years.

In 2002 he settled in Dallas/Fort Worth, Texas, and continued his solo career. This Metroplex rightfully has the reputation of having one of the best blues scenes in the world, and is consequently the ideal home base for any blues man. In spring 2003 he released his fifth CD "All Alone And Blue", going back to his personal roots in solo piano blues and boogie woogie. The success of this album in the KNON Texas Blues Radio charts even got Christian on the cover of Southwest Blues Magazine. In 2008 the next CD "The Blues And A Half" followed with all original songs, accompanied by some of the finest Texas blues guitar players: Anson Funderburgh, Mike Morgan, Jim Suhler, Hash Brown.

2009 found Christian Dozzler and Robin Banks renewing their musical partnership to record a highly acclaimed duo CD. "Livin’ Life" reached #1 and stayed in the top 10 of the Texas Blues Radio charts for several months, and was also featured extensively on XM-Satellite-Radio. The Livin’ Life Tour 2010 took the two through Texas, Canada, Jamaica and five European countries.

These days, Christian Dozzler performs mostly solo on both sides of the Atlantic. But he also works with Texas blues legends like Anson Funderburgh, Mike Morgan or Hash Brown on a regular basis.



Recorded Mar. 7, 2015 at Ovations Nightclub in Houston TX. "Nobody doesn't like boogie woogie!" is Ezra Charles' jumping-off point, as he weaves a fascinating history of this bouncing, jiving piano format. Peppering the dialogue with his own stories of personal interaction with the Masters, he performs many of the most famous standards of this genre as he explains the relationship between Blues, Jazz, Ragtime and what was originally called "Texas-Style Piano." Accompanied by his son Jakob on percussion, they re-create the excitement of this favorite piano sound from a century ago.


Recorded at Saxon Pub, Austin TX, 4/16/2011. Ezra Charles is Houston's favorite keyboardist, winning the Houston Press Award for Best Keyboards six times, most recently in 2013.

Singer/songwriter Ezra Charles is among Texas' top piano players, winning the Houston Press Readers' Poll seven times. At 14 he played with Johnny & Edgar Winter in his hometown of Beaumont TX. Moving to Houston, he founded Thursday's Children, widely regarded among the most influential Sixties Texas bands. Studying to be a blues piano master, he was mentored by Leon Russell, Lightnin' Hopkins, and Professor Longhair. Along the way he invented the Helpinstill Piano Pickup, an amplification system now used worldwide. Much of the impact of his band's live show comes from Ezra’s horn section: three dynamic girls who play trumpet, trombone and sax. His lyrics are autobiographical, and his horn arrangements draw from both the "Blue-Eyed Soul" bands of the Beaumont-Louisiana region, and the Houston big-band blues sound of the Duke-Peacock era that spawned Bobby Blue Bland and Gatemouth Brown.

Music played by the band consists primarily of Ezra Charles songs from their six albums released on their own label, Icarus Records: Design For Living (1989), Modern Years (1994), Drive Time (1996), Texas-Style (1998), Beaumont Boy (2001), and King of Texas Blues (2010), along with other original compositions and standards in their appealing horn-drenched rhythm & blues, boogie-woogie, Texas rock & roll sound.

The Houston Rockets chose Ezra Charles and the Works, as they were called back then, to be their official band for three NBA seasons, from 1993 to1996. They were a part of the home games in the Summit, playing throughout the games during pre-game, time-outs and half-time; as well as for pep rallies and victory celebrations in the Astrodome after both of the NBA championship playoffs; for the 1994-95 season, they were regularly seen in an MTV-style commercial announcing the Rockets road games carried on television weekly

Performing at clubs, concerts, media events, fund-raisers, and parties of every description, Ezra Charles and the Works have played private performances for The Rolling Stones, President George Bush and the 1990 Economic Summit, The NBA All-Star Party, the Houston Livestock Show and Rodeo, the 1992 Republican National Convention, and the 2010 Boy Scout Centennial Celebration in Minute Maid Park. In 2008 and 2009 they played festivals in Italy and South America, billed as Ezra Charles' Texas Blues Band. The Houston Blues Society chose them through competitions to represent Houston in the 2011 International Blues Challenge in Memphis TN.


Enjoy this complimentary video; A full Boogie-Woogie Piano Masterclass with the King of Texas Blues Piano himself, Ezra Charles.

sábado, 24 de octubre de 2015


    COLIN ROSS es un músic  multiïnstrmentista , conéixem poca cosa d´ell ,sincerament,  com que també li agrada el Boogie Woogie el duïem al nostre Blog, encara que es un mestre en molts estils diferents, comprobeu-ho entrant al seu lloc web ! 





Charles Nelson "Chuck" Miller (30 August 1924 - 15 January 2000) was an American singer and pianist who had a US top ten hit in 1955 with his version of "The House of Blue Lights".
He was born in Wellington, Kansas, and learned to play piano as a child. By the mid-1940s he was working as a singer and pianist in clubs in Los Angeles, before forming his own trio with bass player Robert Douglass. Miller was signed by Capitol Records in 1953, and began recording with arranger and saxophonist Dave Cavanaugh. His early recordings were middle-of-the-road pop and novelty numbers, influenced by Dean Martin and Bing Crosby, but his later recordings for Capitol, including "Idaho Red" and the self-penned "Hopahula Boogie", showed a more lively style.
In 1955 he moved to Mercury Records, and his recording of "The House of Blue Lights", arranged by Douglass, and first recorded in 1946 by Ella Mae Morse and Freddie Slack, became his most successful recording, reaching # 9 on the US pop chart. However, his immediate follow-ups, "Hawk-Eye" (written by Boudleaux Bryant) and "Boogie Blues" were less successful. He then recorded more upbeat numbers in New York City with producer Hugo Peretti, including "Bright Red Convertible", "Baby Doll", and his second hit, "The Auctioneer", which reached # 59 on the chart in late 1956. His other recordings included "Vim Vam Vamoose", "Cool It Baby!", "Down the Road A-Piece", and a version of the Everly Brothers' "Bye Bye Love". He also recorded an album for Mercury, Songs After Hours, which contained a mixture of swing era covers and more upbeat rock and roll numbers.
After being dropped by Mercury, he recorded one unsuccessful album for Imperial Records, Now Hear This! Songs Of The Fighting 40s, before gradually fading into obscurity. He and his trio had a residency in Boise, Idaho for a while, before Douglass left and Miller moved to Anchorage, Alaska, did a stint playing pia






   Steve Gibson, Romaine Brown, Doles Dickens, Jimmy Springs, Emmett Mathews, David    

R&B combo the Five Red Caps formed in New York City in 1943. According to Marv Goldberg's profile in the November 1991 issue of Discoveries, the group was previously known as the Four Toppers, whose Los Angeles-based original lineup -- tenor/drummer Jimmy Springs, second tenor David Patillo, baritone/bass player Richard Davis, and bass singer/guitarist Steve Gibson -- represented a kind of local supergroup assembling the best voices from four other combos. After cutting the 1940 singles "Carry Me Back to Old Virginia" and "Jumpin' Jive" for Otis Rene's Armor label, the Four Toppers appeared in a handful of Hollywood films before relocating to the Big Apple. In 1942, Davis left the lineup, and with the additions of new bassist Doles Dickens and baritone/pianist Romaine Brown, the group renamed itself the Five Red Caps, borrowing the name from the headgear traditionally worn by baggage handlers. After signing with manager/producer Joe Davis, the quintet issued its 1943 debut single, "I'm the One," on his Beacon label -- a series of entries including "There's a Light on the Hill," "No Fish Today," and "Just for You" appeared in quick succession, but only the ballad "I Learned a Lesson I'll Never Forget" was a hit of any consequence, entering the pop Top 20 in early 1944.

The Five Red Caps nevertheless renewed their contract with Davis in the spring of 1944, resulting in another flurry of singles including "Somebody's Lyin'," "Don't You Know," and "Sugar Lips." In all, some 20 singles appeared on Beacon in the span of little over a year before the Five Red Caps (who in fact counted six following the addition of second tenor/saxophonist Emmett Matthews) signed to Savoy in late 1944. Their lone single for the label, "If Money Grew on Trees," was credited to the Toppers after Davis filed a lawsuit claiming rights to the Red Caps moniker. When Savoy dropped the group, they returned to the Davis fold and any pending litigation was dropped. In mid-1945, the Five Red Caps returned to the studio, recording another batch of songs including "You Thrill Me" and "My Everlasting Love for You." Few of these records generated airplay, but the group nevertheless toured the national theater circuit, headlining supper clubs across the U.S. Finally, in the spring of 1946 the Five Red Caps recorded their final Davis session, releasing one last Beacon single, "Words Can't Explain," before signing with new manager Murray Weinger and cutting a lucrative deal with Mercury Records, which insisted the group now bill itself as "Steve Gibson & the Red Caps."

At Mercury, the Red Caps cut ballads and jump blues similar to their Beacon output, but the quality of both the material and the production improved sharply. Their label debut, "You Can't See the Sun When You're Cryin'," appeared in early 1947, and the following year the group scored a major hit with "Wedding Bells Are Breaking Up That Old Gang of Mine." Springs temporarily resigned from the Red Caps soon after, with tenor Earl Plummer tapped to take his place. Over the next several years, Springs and Plummer each rotated in and out of the lineup, and at times both served simultaneously. the Red Caps appeared in the 1949 Rudy Vallée television feature Excess Baggage, and a year later resurfaced onscreen in Destination Murder -- they also were a staple of TV variety showcases, appearing with Ed Sullivan, Arthur Godfrey, and Jackie Gleason. But after releasing "Steve's Blues" in mid-1950, Gibson & the Red Caps exited Mercury in favor of RCA, releasing their label debut, "Am I to Blame" before the year's end. Its sequel, "I'm to Blame," hit retail in March of 1951 and featured singer Damita Jo du Blanc, who not only remained a full-time member of the group (she sang lead on their 1952 hit "I Went to Your Wedding"), but in 1954 became Gibson's wife.

Plummer finally left the Red Caps for good in 1952, followed a year later by Romaine Brown, who formed his own group, the Romaines (whose membership later featured Plummer as well). the Red Caps remained a popular concert attraction, more often than not performing to white audiences, but their approach remained mired in the sound of postwar R&B even as a new generation of vocal groups stormed the charts. RCA had no idea how to rectify the situation and the Red Caps floundered -- after releasing 1953's "Big Game Hunter," the group did not reenter the studio for over two years, and their final RCA singles, "Feelin' Kinda Happy" and "Bobbin'," went nowhere. The group split with the label in late 1955, signing to ABC Paramount to release "Love Me Tenderly" the following summer. In all, the Red Caps released four ABC singles, most notably 1957's "Flamingo," before exiting the label in favor of the tiny Hi-Lo imprint, issuing "Itty Bitty" a year later. After dissolving the Romaines, Brown returned to the lineup in 1959 in time for their Rose label debut, "Bless You," and the subsequent "Where Are You," released on Rose's Casa Blanca subsidiary. the Red Caps even returned to ABC for their 1960 remake of "I Went to Your Wedding."

Both Brown and Damita Jo du Blanc left the Red Caps in 1960, the latter enjoying some solo success with the answer record "I'll Save the Last Dance for You." A series of male and female vocalists rotated through the lineup in the months to follow, and in 1961 founding member David Patillo broke ranks to form his own rival group, the Modern Red Caps. From the classic lineup, only Gibson and Emmett Matthews remained by the time of the Red Caps' final single, the 1962 Band Box release "No More." The group nevertheless remained a fixture of the supper-club circuit, and for a time in the mid-'60s, they featured up-and-coming vocalist Tammy Montgomery, later known as the tragic Motown diva Tammi Terrell. Gibson finally dissolved the Red Caps around 1968, ending a run that extended across a quarter century; in 1980, he resurfaced as a member of the New Ink Spots. Gibson died in 1995; he was preceded in death by Patillo (1970), Brown (1987), and Springs (also 1987). Du Blanc passed on in 1999.



viernes, 23 de octubre de 2015


Charles Phillip Thompson (born March 21, 1918) is an American swing and bebop pianist, organist, composer and arranger.
Thompson was born in Springfield, Ohio on March 21, 1918. His father was a minister and his stepmother played the piano. "He first studied violin and briefly played tenor saxophone, but took up piano as a teenager." He moved with his family to Parsons, Kansas, and he attended a Kansas City high school.
By the age of twelve Thompson was playing private parties with Bennie Moten and his band in Colorado Springs.[citation needed] During this time Count Basie played off and on with Moten's band, and during a showing Basie called the young Thompson up to play.[citation needed] He was dubbed Sir Charles Thompson by Lester Young.
Thompson has chiefly worked with small groups, although he belonged to the Coleman Hawkins/Howard McGhee band in 1944–1945. Throughout the 1940s he played and recorded with Charlie Parker, Dexter Gordon, Miles Davis and J.C. Heard, among others. He played with Lucky Millinder's big band in 1946, and under Illinois Jacquet in 1947–48 and 1952. He worked freelance, principally on organ, for much of the 1950s He played with Parker again in 1953 and recorded with Vic Dickenson and Buck Clayton in 1953–54.
Thompson worked with Earl Bostic in the late 1950s before heading his own quartet in 1959.In the early 1960s he toured Europe and Canada with Clayton. Thompson was in Europe again in 1964, with Jazz at the Philharmonic, and in 1967 for the show Jazz from a Swinging Era."Living variously on the West Coast, where he often worked with Vernon Alley, and in Toronto, Paris, and Zurich, he continued to lead small groups through the 1970s and 1980s."


The great Organ & piano player Sir Charles Thompson, playing his own composition Happy Boogie. Recorded Toronto March 18th 1984,




Alfonso "Sonny" Thompson (August 22, 1916] or 1923 – August 11, 1989) was an American R&B bandleader and pianist, popular in the 1940s and 1950s.

Born in Centreville, Mississippi, he began recording in 1946, and in 1948 achieved two #1 R&B chart hits on the Miracle label – "Long Gone (Parts I and II)" and "Late Freight", both featuring saxophonist Eddie Chamblee. The follow-ups "Blue Dreams" and "Still Gone" were smaller hits.

By 1952 he had moved on to King Records. There, he had further R&B Top 10 successes with the singer Lula Reed, the biggest hit being "I'll Drown in My Tears" (Thompson married Reed sometime in the early 1950s). He continued to work as a session musician, and to perform with Reed into the early 1960s. He also had success as a songwriter, often co-writing with blues guitarist, Freddie King.

Thompson died in 1989 in Chicago.