Wednesday, June 26, 2013

Lorez Alexandria, Jazz and Gospel Singer

Lorez Alexandria (b. Dolorez Alexandria Turner, August 14, 1929 in Chicago, Illinois – d. May 22, 2001 in Los Angeles, California) was an American jazz and gospel singer.

She began as a singer in churches in her teens, and spent 11 years as part of an a cappella choir. Turning to jazz, she worked the local Chicago club scene before moving to Los Angeles in 1962 to further her career.

She remains best known for her album Alexandria the Great (Impulse! Records, 1964), which featured her in a variety of contexts ranging from big bands to small groups, including several tracks with the Wynton Kelly Trio.

Other musicians she recorded with included King Fleming, Ramsey Lewis, Howard McGhee, Gildo Mahones and Houston Person.

The recordings of Lorez Alexandria include:
  • This is Lorez Alexandria (with the King Fleming Quartet) (King, 1957)
  • Lorez sings Prez (King, 1957)
  • Lorez sings the band swings (King, 1959)
  • Sings songs everyone knows (King, 1959)
  • Early in the morning (with Ramsey Lewis) (Argo, 1960)
  • Sing no sad songs for me (Argo, 1960)
  • Deep Roots (Argo, 1962)
  • For swingers only (Argo, 1963)
  • Alexandria the Great (Impulse, 1964)
  • More of the Great Lorez Alexandria (Impulse, 1964)
  • Didn't we (Pzazz)
  • From Broadway to Hollywood (Trio, 1977)
  • How will I remember you ? (with Gildo Mahones) (Discovery, 1978
  • A Woman Knows (Discovery, 1978)
  • The songs of Johnny Mercer (Discovery, 1980)
  • Harlem Butterfly (with Gildo Mahones) (Discovery, 1984)
  • Tangerine (with Gildo Mahones) (Trend, 1984)
  • My one and only love (Sony, 1986)
  • Dear to my heart (with Gildo Mahones) (Trend, 1987)
  • May I come in? (Muse, 1990)
  • Star eyes (Muse, 1993)

Monday, June 24, 2013

Bobby Blue Bland, Soul and Blues Balladeer

Bobby (Blue) Bland, Soul and Blues Balladeer, Dies at 83



Mark Lennihan/Associated Press
Bobby (Blue) Bland, left, with B.B. King, was inducted into the Rock and Roll Hall of Fame in 1992.



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Bobby (Blue) Bland, the debonair balladeer whose sophisticated, emotionally fraught performances helped modernize the blues, died on Sunday at his home in Germantown, Tenn., a suburb of Memphis. He was 83.


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Mr. Bland was honored at the Memphis Music Hall of Fame in 2012.
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Mr. Bland performing for an audience around 1964 in Houston.
His death was confirmed by his son, Rodd, who played drums in his band. Though he possessed gifts on a par with his most accomplished peers, Mr. Bland never achieved the popular acclaim enjoyed by contemporaries like Ray Charles and B. B. King. But he was nevertheless a mainstay on the rhythm-and-blues charts and club circuit for decades.
His vocals, punctuated by the occasional squalling shout, were restrained, exhibiting a crooner’s delicacy of phrasing and a kind of intimate pleading. He influenced everyone from the soul singers Otis Redding and Wilson Pickett to rock groups like the Allman Brothers and The Band. The rapper Jay-Z sampled Mr. Bland’s 1974 single “Ain’t No Love in the Heart of the City” on his 2001 album, “The Blueprint.”
Mr. Bland’s signature mix of blues, jazz, pop, gospel and country music was a good decade in the making. His first recordings, made in the early 1950s, found him working in the lean, unvarnished style of Mr. King, even to the point of employing falsetto vocal leaps patterned after Mr. King’s. Mr. Bland’s mid-’50s singles were more accomplished; hits like “It’s My Life, Baby” and “Farther Up the Road” are now regarded as hard-blues classics, but they still featured the driving rhythms and stinging electric guitar favored by Mr. King and others. It wasn’t until 1958’s “Little Boy Blue,” a record inspired by the homiletic delivery of the Rev. C. L. Franklin, that Mr. Bland arrived at his trademark vocal technique.
“That’s where I got my squall from,” Mr. Bland said, referring to the sermons of Mr. Franklin — “Aretha’s daddy,” as he called him — in a 1979 interview with the author Peter Guralnick. “After I had that I lost the high falsetto. I had to get some other kind of gimmick, you know, to be identified with.”
The corresponding softness in Mr. Bland’s voice, a refinement matched by the elegant formal wear in which he appeared onstage, came from listening to records by pop crooners like Nat King Cole, Tony Bennett and Perry Como.
Just as crucial to the evolution of Mr. Bland’s sound was his affiliation with the trumpet player and arranger Joe Scott, for years the director of artists and repertory for Duke Records in Houston. Given to dramatic, brass-rich arrangements, Mr. Scott, who died in 1979, supplied Mr. Bland with intricate musical backdrops that set his supple baritone in vivid relief.
The two men accounted for more than 30 Top 20 rhythm-and-blues singles for Duke from 1958 to 1968, including the No. 1 hits “I Pity the Fool” and “That’s the Way Love Is.” Steeped in vulnerability and emotional candor, his performances earned him a devoted female audience.
Though only four of his singles from these years — “Turn On Your Love Light,” “Call on Me,” “That’s the Way Love Is” and “Ain’t Nothing You Can Do” — crossed over to the pop Top 40, Mr. Bland’s recordings resonated with the era’s blues-leaning rock acts. The Grateful Dead made “Love Light” a staple of their live shows. The Band recorded his 1964 single “Share Your Love With Me” for their 1973 album, “Moondog Matinee.” Van Morrison included a version of “Ain’t Nothing You Can Do” on his 1974 live set, “It’s Too Late to Stop Now.”
Mr. Bland himself broke through to pop audiences in the mid-’70s with “His California Album” and its more middle-of-the-road follow-up, “Dreamer.” But his greatest success always came in the rhythm-and-blues market, where he placed a total of 63 singles on the charts from 1957 to 1985. He signed with the Mississippi-based Malaco label in 1985 and made a series of well-received albums that appealed largely to fans of traditional blues and soul music.
Mr. Bland was inducted into the Rock and Roll Hall of Fame in 1992 and received a Grammy Award for lifetime achievement in 1997.
Robert Calvin Brooks was born on Jan. 27, 1930, in Millington, Tenn., just north of Memphis. His father, I. J. Brooks, abandoned the family when Bobby was very young. His mother, Mary Lee, married Leroy Bridgeforth, who also went by the name Leroy Bland, when Bobby was 6.
Mr. Bland dropped out of school in the third grade to work in the cotton fields. Though he never learned to write music or play an instrument, he cited the music of the pioneering blues guitarist T-Bone Walker as an early influence.
After moving to Memphis in 1947, Mr. Bland began working in a garage and singing spirituals in a group called the Miniatures. In 1949 he joined the Beale Streeters, a loose-knit collective whose members at various points included Johnny Ace, Rosco Gordon, Earl Forest and B. B. King, all of whom went on to become popular blues performers as solo artists.
Mr. Bland also traveled as a part of the Johnny Ace Revue and recorded for the Chess, Modern and Duke labels before being drafted into the Army in 1952. Several of these recordings were made under the supervision of the producer Sam Phillips at Sun Studios in Memphis; none sold particularly well.
After his time in the service Mr. Bland worked as a chauffeur, a valet and an opening act for the Memphis rhythm-and-blues singer Junior Parker, just as he had for Mr. King. He toured as a headliner throughout the ’60s, playing as many as 300 one-night engagements a year, a demanding schedule that exacerbated his struggles with alcohol. He performed widely, in the United States and abroad, until shortly before his death.
In addition to his son, Rodd, Mr. Bland’s survivors include his wife, Willie Mae; a daughter, Patrice Moses; and four grandchildren. Rodd Bland said his father had recently learned that the blues singer and harmonica player James Cotton was his half-brother.
Mr. Bland’s synthesis of Southern vernacular music and classy big-band arrangements made him a stylistic pioneer, but whatever he accomplished by way of formal innovation ultimately derived from his underlying faith in the emotional power of the blues.
“I’d like to be remembered as just a good old country boy that did his best to give us something to listen to and help them through a lot of sad moments, happy moments, whatever,” he said in a 2009 interview with the syndicated “House of Blues Radio Hour.”
“Whatever moments you get of happiness, use it up, you know, if you can, because it don’t come that often.”

*****

Bobby “Blue” Bland, byname of Robert Calvin Bland (born January 27, 1930, Rosemark, Tennessee, U.S.—died June 23, 2013, Memphis, Tennessee), American rhythm-and-blues singer noted for his rich baritone voice, sophisticated style, and sensual delivery.
Bland began his career in Memphis, Tennessee, with bluesman B.B. King and ballad singer Johnny Ace (all three were part of a loose aggregation of musicians known as the Beale Streeters). Influenced by gospel and by pop singers such as Tony Bennett and Andy Williams, as well as by rhythm and blues, Bland became famous with early 1960s hits for Duke Records such as “Cry Cry Cry,” “I Pity the Fool,” “Turn on Your Lovelight,” and “That’s the Way Love Is.” Joe Scott’s arrangements were pivotal to these successes in which Bland alternated between smooth, expertly modulated phrases and fiercely shouted, gospel-style ones. Long a particular favourite of female listeners, Bland for a time sang some disco material along with his blues ballads, and in later years he developed the curious habit of snorting between lines. While his recording output slowed in the early 2000s, Bland maintained an active touring schedule, and he was a guest performer with B.B. King and singer-songwriter Van Morrison. Bland was inducted into the Rock and Roll Hall of Fame in 1992, and he was awarded a Grammy Award for lifetime achievement in 1997.

*****

Robert Calvin "Bobby" Bland (January 27, 1930 – June 23, 2013), nĂ© Brooks, usually known professionally as Bobby "Blue" Bland, was an American singer of blues and soul.
Along with such artists as Sam Cooke, Ray Charles, and Junior Parker, Bland developed a sound that mixed gospel with the blues and R&B.[1] He was described as "among the great storytellers of blues and soul music... [who] created tempestuous arias of love, betrayal and resignation, set against roiling, dramatic orchestrations, and left the listener drained but awed."[2] He was sometimes referred to as the "Lion of the Blues" and as the "Sinatra of the Blues";[3] his music was also influenced by Nat King Cole.[4]
Bland was inducted into the Blues Hall of Fame in 1981, the Rock and Roll Hall of Fame in 1992, and received the Grammy Lifetime Achievement Award in 1997.[5] The Rock and Roll Hall of Fame described him as "second in stature only to B.B. King as a product of Memphis's Beale Street blues scene".[3]

Contents

[hide]

Biography[edit]

Early life[edit]

Bland was born Robert Calvin Brooks in the small town of Rosemark, Tennessee.[1][6] His father was I. J. Brooks, who abandoned the family not long after Robert's birth. Robert later acquired the name "Bland" from his stepfather, Leroy Bridgeforth, who was also called Leroy Bland.[6] Bobby Bland never went to school, and remained illiterate throughout his life.[7]
After moving to Memphis with his mother in 1947, Bland started singing with local gospel groups there, including amongst others The Miniatures. Eager to expand his interests, he began frequenting the city's famous Beale Street where he became associated with an ad hoc circle of aspiring musicians including B.B. King, Rosco Gordon, Junior Parker and Johnny Ace, who collectively took the name of the Beale Streeters.[1][2][8]

Early career[edit]

Between 1950 and 1952, he recorded unsuccessful singles for Modern Records and, at Ike Turner's suggestion, for Sun Records — who licensed their recordings to the Chess label — before signing for Duke Records.[7] Bland's recordings from the early 1950s show him striving for individuality, but any progress was halted by a two year spell in the U.S. Army.
When the singer returned to Memphis in 1954 he found several of his former associates, including Johnny Ace, enjoying considerable success. He joined Ace's revue, and returned to Duke Records, which by that time had started to be run by Houston entrepreneur Don Robey. According to biographer Charles Farley, "Robey handed Bobby a new contract, which Bobby could not read, and helped Bobby sign his name on it". The deal gave Bland just half a cent per record sold, instead of the industry standard of 2 cents.[7]
Bland released his first single for Duke in 1955.[8] In 1956 he began touring on the "chitlin' circuit" with Junior Parker in a revue called Blues Consolidated, initially doubling as Parker's valet and driver, roles he also reportedly fulfilled for B.B. King and Rosco Gordon.[9] He began recording for Duke with bandleader Bill Harvey and arranger Joe Scott, asserting his characteristic vocal style and, with Harvey and Scott, beginning to craft the melodic big band blues singles for which he became famous, often accompanied by guitarist Wayne Bennett.[7] Unlike many blues musicians, Bland played no instrument.[3]

Commercial success[edit]

His first chart success came in 1957 with the R&B chart no. 1 hit "Farther Up the Road", which also reached no.43 on the Billboard Hot 100, and followed it up with a series of hits on the R&B chart including "Little Boy Blue" (1958).[10] He also shared an album with Parker, Blues Consolidated, in 1958.[2] Bland's craft was most clearly heard on a series of early 1960s releases including "Cry Cry Cry", "I Pity The Fool" — an R&B chart no.1 in 1961 — and "Turn On Your Love Light", which became a much-covered standard. Despite credits to the contrary — often claimed by Robey— many such classic works were written by Joe Scott.[1] Bland also recorded a hit version of T-Bone Walker's "Call It Stormy Monday (But Tuesday Is Just as Bad)", which was wrongly given the title of a different song, "Stormy Monday Blues".[2]
His final R&B no.1 came with "That's The Way Love Is" in 1963.[10] However, he continued to enjoy a consistent run of R&B chart entries throughout the mid-1960s. Never truly breaking into the mainstream market, Bland's highest charting song on the pop chart, "Ain't Nothing You Can Do" peaked at #20 in the same week in 1964 that the Beatles held down the top five spots. Bland's records mostly sold on the R&B market rather than achieving crossover success. He had 23 Top Ten hits on the Billboard R&B charts, and in the 1996 Top R&B book by Joel Whitburn, Bland was ranked the #13 all-time top charting artist.[10]

Later career[edit]

Financial pressures forced the singer to cut his touring band and in 1968 the group broke up. He suffered from depression and became increasingly dependent on alcohol,[1] but stopped drinking in 1971. His record company Duke Records was sold by owner Don Robey to the larger ABC Records group. This resulted in several successful and critically acclaimed contemporary blues/soul albums including His California Album and Dreamer, arranged by Michael Omartian and produced by ABC staff man Steve Barri. The albums, including the later "follow-up" in 1977 Reflections in Blue, were all recorded in Los Angeles and featured many of the city's top session musicians at the time.
The first single released from His California Album, "This Time I'm Gone For Good" took Bland back into the pop Top 50 for the first time since 1964 and made the R&B top 10 in late 1973. The lead-off track from Dreamer, "Ain't No Love In the Heart of the City", was a strong R&B hit. Later it would surface again in 1978 by the hard rock band Whitesnake featuring singer David Coverdale. Much later it was sampled by Kanye West on Jay-Z's hip hop album The Blueprint (2001). The song is also featured on the soundtrack of the crime drama The Lincoln Lawyer (2011) starring Matthew McConaughey.[11] The follow-up, "I Wouldn't Treat A Dog" was his biggest R&B hit for some years, climbing to #3 in late 1974, but as usual his strength was never the pop chart (where it hit #88). Subsequent attempts at adding a disco/Barry White flavor were mostly unsuccessful. A return to his roots in 1980 for a tribute album to his mentor Joe Scott, produced by music veterans Monk Higgins and Al Bell, resulted in the album Sweet Vibrations, but it failed to sell well outside of his traditional "chitlin circuit" base.
In 1985, Bland was signed by Malaco Records, specialists in traditional Southern black music for whom he made a series of albums while continuing to tour and appear at concerts with fellow blues singer B. B. King. The two had collaborated for two albums in the 1970s. Despite occasional age-related ill health, Bland continued to record new albums for Malaco and perform occasional tours alone, with guitarist/producer Angelo Earl and also with B.B. King, plus appearances at blues and soul festivals worldwide. Bland was inducted into the Rock and Roll Hall of Fame in 1992. The Rock and Roll Hall of Fame described him as "second in stature only to B. B. King as a product of Memphis's Beale Street blues scene".[3]

Collaborations and tributes[edit]

The Irish singer-songwriter Van Morrison was an early adherent of Bland, covering "Turn On Your Love Light" while with the band Them (he later covered "Ain't Nothing You Can't Do" on his 1974 live album It's Too Late to Stop Now) and has on occasion had Bland as a guest singer at his concerts. He also included a previously unreleased version of a March 2000 duet of Morrison and Bland singing "Tupelo Honey" on his 2007 compilation album, The Best of Van Morrison Volume 3.
In 2008 the British singer and lead vocalist of Simply Red, Mick Hucknall, released an album, Tribute to Bobby, containing songs associated with Bland. The album reached 18 in the UK Albums Chart.[12][13]

Death[edit]

Bland continued performing until shortly before his death. He died on June 23, 2013 at his home in Germantown, Tennessee, a suburb of Memphis, after what family members described as "an ongoing illness". He was 83.[6][14][15][16] After his death, his son told news media that Bland had recently discovered that musician James Cotton was his half-brother.[6]

Discography[edit]

Studio albums[edit]

  • Blues Consolidated - 1958 (Duke Records) (with Junior Parker)
  • Two Steps from the Blues (Duke 1961/MCA 2002)
  • Here's the Man! - 1962 (Duke Records)
  • Call On Me/That's The Way Love Is - 1963 (Duke Records)
  • Ain't Nothing You Can Do - 1964 (Duke Records)
  • The Soul of The Man - 1966 (Duke Records)
  • Touch of The Blues - 1967 (Duke Records)
  • Spotlighting The Man - 1969 (Duke Records)
  • His California Album - 1973 (Dunhill Records)
  • Dreamer - 1974 (Dunhill Records)
  • Get On Down - 1975 (ABC Records)
  • Reflections In Blue - 1977 (ABC Records)
  • Come Fly With Me - 1978 (ABC Records)
  • I Feel Good, I Feel Fine - 1979 (MCA Records)
  • Sweet Vibrations - 1980 (MCA 27076) (tribute to Joe Scott)
  • Try Me, I'm Real - 1981 (MCA 5233)
  • Here We Go Again - 1982 (MCA 5297)
  • Tell Mr Bland - 1983 (MCA 5425)
  • You've Got Me Loving You - 1984 (MCA 52436)
  • Members Only - 1985 (Malaco Records)
  • After All - 1986 (Malaco Records)
  • Blues You Can Use - 1987 (Malaco Records)
  • Midnight Run - 1989 (Malaco Records)
  • Portrait of the Blues - 1991 (Malaco Records)
  • Years of Tears - 1993 (Malaco Records)
  • Sad Street - 1995 (Malaco Records)
  • Memphis Monday Morning - 1998 (Malaco Records)
  • Blues At Midnight - 2003 (Malaco Records)

Live albums[edit]

Compilations[edit]

  • The Best Of - 1967 (Duke Records)
  • The Best Of Volume 2 - 1968 (Duke Records)
  • First Class Blues - 1987 (Malaco Records)
  • I'll take care of you - Rafael Lechowski - 2010 (Free)
  • The Anthology - 2001 (MCA Records)

Singles[edit]

YearA-sideB-sideLabelChart Positions
US Pop[17]US
R&B
[10]
1952"Crying All Night Long""Dry Up Baby"Chess--
"Good Lovin'""Drifting From Town To Town"Modern--
"Crying""A Letter From A Trench In Korea"Chess--
"Lovin' Blues""I.O.U. Blues"Duke--
1953"Army Blues""No Blow, No Show"--
1955"Time Out""It's My Life Baby"--
"You Or None""Woke Up Screaming"--
1956"I Can't Put You Down""You've Got Bad Intentions"--
"I Learned My Lesson""I Don't Believe"--
1957"Don't Want No Woman""I Smell Trouble"--
"Farther Up the Road""Sometime Tomorrow"431
"Teach Me (How To Love You)""Bobby's Blues"--
1958"You Got Me Where You Want Me""Loan A Helping Hand"--
"Little Boy Blue""Last Night"-10
1959"You Did Me Wrong""I Lost Sight Of The World"--
"I'm Not Ashamed""Wishing Well"-13
"Is It Real""Someday"-28
"I'll Take Care of You""That's Why"892
1960"Lead Me On""Hold Me Tenderly"-9
"Cry Cry Cry""I've Been Wrong So Long"719
1961"I Pity the Fool""Close To You"461
"Don't Cry No More""Saint James Infirmary"712
"Turn On Your Love Light""You're The One (That I Need)"282
1962"Ain't That Loving You""Jelly, Jelly, Jelly"869
"Who Will The Next Fool Be""Blue Moon"7612
"Yield Not To Temptation""How Does A Cheating Woman Feel"5610
"Stormy Monday Blues""Your Friends"435
1963"That's the Way Love Is""Call On Me"33 / 221 / 6
"Sometimes You Gotta Cry A Little""You're Worth It All"5628
"The Feeling Is Gone""I Can't Stop Singing"91n/a[18]
1964"Ain't Nothing You Can Do""Honey Child"20
"Share Your Love With Me""After It's Too Late"42
"Ain't Doing Too Bad (Part 1)""Ain't Doing Too Bad (Part 2)"49
1965"Blind Man""Black Night"78 / 99
"Ain't No Telling""Dust Got In Daddy's Eyes"93 / -25 / 23
"These Hands (Small But Mighty)""Today"634
1966"I'm Too Far Gone (To Turn Around)""If You Could Read My Mind"628
"Good Time Charlie""Good Time Charlie (Working His Groove Bag)"756
"Poverty""Building A Fire With Rain"659
"Back In The Same Old Bag Again""I Ain't Myself Anymore"-13
1967"You're All I Need""Deep In My Soul"886
"That Did It""Getting Used To The Blues"-6
"A Touch of the Blues""Shoes"-30
1968"Driftin' Blues""You Could Read My Mind"9623
"Honey Child""A Piece Of Gold"--
"Save Your Love For Me""Share Your Love With Me2-16
"Rockin' In The Same Old Boat""Wouldn't You Rather Have Me"5812
1969"Gotta Get To Know You""Baby, I'm On My Way"9114
"Chains of Love""Ask Me 'Bout Nothing (But The Blues)"609
1970"If You've Got A Heart""Sad Feeling"9610
"If Love Ruled The World""Lover With A Reputation"-16 / 28
"Keep On Loving Me (You'll See The Change)""I've Just Got To Forget About You"8920
1971"I'm Sorry""Yum Yum Tree"9718
"Shape Up Or Ship Out""The Love That We Share (Is True)"--
1972"Do What You Set Out To Do""Ain't Nothing You Can Do"646
"I'm So Tired""If You Could Read My Mind"-36
1973"That's All There Is (There Ain't No More)""I Don't Want Another Mountain To Climb"425
"This Time I'm Gone For Good""Where Baby Went"Dunhill425
1974"Goin' Down Slow""Up And Down World"6917
"Ain't No Love In The Heart Of The City""Twenty-Four Hour Blues"919
"I Wouldn't Treat A Dog (The Way You Treated Me)""I Ain't Gonna Be (The First To Cry)"883
1975"Yolanda""When You Come To The End Of Your Road"ABC-21
"I Take It On Home""You've Never Been This Far Before"-41
1976"Today I Started Loving You Again""Too Far Gone"-34
"It Ain't The Real Thing""Who's Foolin' Who"-12
"Let The Good Times Roll"
Bobby Bland & B. B. King
"Strange Things Happening"ABC Impulse-20
1977"The Soul of a Man""If I Weren't A Gambler"ABC-18
1978"Sittin' On A Poor Man's Throne""I Intend To Take Your Place"-82
"Love To See You Smile""I'm Just Your Man"-14
"Come Fly With Me""Ain't God Something"-55
1979"Tit For Tat""Come Fly With Me"MCA-71
1980"Soon As The Weather Breaks""To Be Friends"-76
1981"You'd Be A Millionaire""Swat Vibrator"-92
1982"What A Difference A Day Makes""Givin' Up The Streets For Love"--
"Recess In Heaven""Exactly, Where It's At"-40
"Here We Go Again""You're About To Win"--
1983"Is This The Blues""You're About To Win"--
"If It Ain't One Thing""Tell Mr. Bland"--
1984"Looking Back""You Got Me Loving You"--
"Get Real Clean""It's Too Bad"--
"You Are My Christmas""New Merry Christmas Baby"--
1985"Members Only""I Just Got To Know"Malaco-54
1986"Can We Make Love Tonight""In The Ghetto"--
1988"Get Your Money Where You Spend Your Time""For The Last Time"--
"24 Hours A Day""I've Got A Problem"--
1989"You've Got To Hurt Before You Heal""I'm Not Ashamed To Sing The Blues"--
"Ain't No Sunshine""If I Don't Get Involved"--
1990"Starting All Over Again""Midnight Run"--
"Take Off Your Shoes""If I Don't Get Involved"--
1992"She's Putting Something In My Food""Let Love Have It's Way"--
1993"There's A Stranger In My House""Hurtin' Time Again"--
1994"I Just Tripped On A Piece Of Your Broken Heart""Hole In The Wall"--
1995"Double Trouble""Double Trouble (long version)"--

Sunday, June 23, 2013

Harold J. Cromer, Vaudeville Duo's Stumpy

Harold J. Cromer, Vaudeville Duo’s Stumpy, Is Dead

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Harold J. Cromer, a hoofer and comedian who as Stumpy, half of the vaudevillian duo Stump and Stumpy, performed antic dance routines in clubs around the country after World War II and later on television, died on June 8 at his home in Manhattan. He was in his early 90s.

Nan Melville for The New York Times
Harold "Stumpy" Cromer, right, and Hank Smith.
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His death was confirmed by his great-granddaughter Chelsea Phillips.
Stump and Stumpy were among the top comedy teams to play the black theater and nightclub circuit — including the Apollo Theater in Harlem and the Moulin Rouge in Las Vegas — from the 1930s into the 1950s. They also appeared at the Paramount Theater and the Copacabana.
James Cross was Stump, who towered over his partner, Stumpy (initially played by Eddie Hartman), and their act played off their differences in height — Mr. Cromer was 5-foot-2 — and their contrasting levels of sophistication. (Stumpy was the sharper-witted.)
They sang and danced, and they clowned with great precision, often to the music of jazz orchestras, frequently performing on the same bill with the likes of Duke Ellington, Billie Holiday, Count Basie, Frank Sinatra, Ella Fitzgerald and Sarah Vaughan. Mr. Cromer took over the Stumpy role in the late 1940s or early ’50s.
With the emergence of television in the 1950s, the pair appeared on the Milton Berle and Steve Allen variety shows and occasionally in dramatic series, including “Dragnet” and “Gunsmoke.” Their slickly choreographed high jinks are said to have inspired those of Jerry Lewis and Dean Martin.
Mr. Cromer was a self-taught dancer who was known early on for tapping on roller skates. As a teenager he appeared on Broadway in the Cole Porter musical “Du Barry Was a Lady” (1939), which starred Ethel Merman and Bert Lahr, and in which Mr. Cromer had two dance numbers with a leggy young ingĂ©nue, Betty Grable.
He stayed with the show after it went on the road (with Gypsy Rose Lee in the Merman role), and, in 1943, he appeared in another Broadway musical, “Early to Bed,” with music by Fats Waller. But his mainstream stage career was stalled by a lack of opportunities for black performers. He didn’t return to Broadway until 1978 in “The American Dance Machine,” a show named for a touring dance company that specialized in reviving dance numbers from musicals of the past.
“There was no advancement,” he recalled about his early theater days in a 2001 interviewwith the Web site Talkin’ Broadway. “I did that and that was it. I went out on the road and continued to do ‘Du Barry Was a Lady.’ After that, what’s next, little man, when your show closes in Columbus, Ohio? I came back to New York and nothing was going on. That’s when I started to get into vaudeville.”
Mr. Cromer was born in Manhattan and grew up in the Hell’s Kitchen neighborhood of the West Side, and in Harlem. His father, William, a railroad worker, and his mother, the former Hattie Bell DeWalt, were transplants from South Carolina.
Always coy about his age, Mr. Cromer would acknowledge only that his birthday was on June 21. Public records report the year to be anywhere from 1921 to 1923, and Ms. Phillips, his great-granddaughter, said it might have been 1920. He was one of nine children, including a twin sister.
Mr. Cromer said he was inspired to dance when he saw a movie in which Bill Bojangles Robinson tapped down a flight of stairs. Through his early teens he helped support his family by dancing on the street (sometimes on skates) for change and winning groceries in dance competitions. During high school — he never finished — he danced at a night spot called the Kit Kat Club. He sang and danced in the 1938 film “Swing!,” directed by Oscar Micheaux.
Mr. Cromer appeared in other films over the years, including “The Cotton Club” in 1984. In the late 1950s and early ’60s, he was the M.C. for touring rock ’n’ roll shows produced by Irvin Feld, introducing performers like Paul Anka, Bobby Darin, Bill Haley and His Comets, Aretha Franklin and a young Stevie Wonder — to whom, according to Ms. Phillips, he gave a harmonica. (Mr. Wonder returned it decades later, she said.)
Mr. Cromer outlived two wives: Gloria Freeman, whom he married in 1939 or 1940 and who died in 1971, and Carol Carter, whom he married in 1980 and who died in 2000. In addition to Ms. Phillips, his survivors include a daughter, Dierdre Graham; a son, Harold Jr., known as Poppy; a brother, Raymond; five grandchildren, eight other great-grandchildren and three great-great-grandchildren.
In later years Mr. Cromer performed in Off Broadway revues and traveled widely as a teacher, often using his own choreographed piece “Opus One,” as a textbook. “Aside from ‘Opus One,’ danced to the Tommy Dorsey tune, there’s not a huge body of choreography that Harold left behind, but that one work, with its swinging rhythms and classic vernacular moves, was a classic primer in rhythm tap,” Constance Valis Hill, a tap historian and professor of dance at Hampshire College, wrote in an e-mail. “He kept the tradition alive for younger dancers. His life in entertainment — as a busker tapping for pennies, a vaudevillian, song-and-dance man, comedy tap dancer bringing that black vernacular style to Broadway — is iconic, representative of his time. If you saw him singing and dancing ‘Mr. Bojangles,’ you’d know his story.”

Friday, June 14, 2013

Johnny Ace, "Pledging My Love"

Johnny Ace (June 9, 1929 – December 25, 1954), born John Marshall Alexander, Jr. in Memphis, Tennessee, was an American rhythm and blues singer. He scored a string of hit singles in the mid-1950s before dying of an accidental self-inflicted gunshot wound.


Alexander's father was a preacher in Tennessee. After serving in the Navy during the Korean War, Alexander joined Adolph Duncan's Band as a pianist. He then joined the B. B. King band. Soon King departed for Los Angeles and vocalist Bobby Bland joined the Army. Alexander took over vocal duties and renamed the band The Beale Streeters, also taking over King's WDIA radio show.
Becoming "Johnny Ace", Alexander signed with Duke Records (originally a Memphis label associated with WDIA) in 1952. Urbane 'heart-ballad' "My Song," his first recording, topped the R&B charts for nine weeks in September of 1952. ("My Song" was covered in 1968 by Aretha Franklin, on the flipside of "See Saw".)
Johnny Ace began heavy touring, often with Willie Mae "Big Mama" Thornton. In the next two years, he had eight hits in a row, including "Cross My Heart," "Please Forgive Me," "The Clock," "Yes, Baby," "Saving My Love for You," and "Never Let Me Go." In December, 1954, Johnny Ace was named the Most Programmed Artist of 1954 after a national DJ poll organized by U.S. trade weekly Cash Box.
Ace's recordings sold very well for those times. Early in 1955, Duke Records announced that the three 1954 Johnny Ace recordings, along with Thornton's "Hound Dog", had sold more than 1,750,000 records.
After touring for a year, Ace had been performing at the City Auditorium in Houston, Texas on Christmas Day 1954. During a break between sets, he was playing with a .22 caliber revolver. Members of his band said he did this often, sometimes shooting at roadside signs from their car.
It was widely reported that Ace killed himself playing Russian roulette. Big Mama Thornton's bass player Curtis Tillman, however, who witnessed the event, said, "I will tell you exactly what happened! Johnny Ace had been drinking and he had this little pistol he was waving around the table and someone said ‘Be careful with that thing…’ and he said ‘It’s okay! Gun’s not loaded…see?’ and pointed it at himself with a smile on his face and ‘Bang!’ – sad, sad thing. Big Mama ran outta that dressing room yelling ‘Johnny Ace just killed himself!"
Thornton said in a written statement (included in the book The Late Great Johnny Ace) that Ace had been playing with the gun, but not playing Russian roulette. According to Thornton, Ace pointed the gun at his girlfriend and another woman who were sitting nearby, but did not fire. He then pointed the gun toward himself, bragging that he knew which chamber was loaded. The gun went off, shooting him in the side of the head.
According to Nick Tosches, Ace actually shot himself with a .32 pistol, not a .22, and it happened little more than an hour after he had bought a brand new 1955 Oldsmobile.
Ace's funeral was on January 9, 1955, at Memphis' Clayborn Temple AME church. It was attended by an estimated 5000 people.
"Pledging My Love" became a posthumous R&B #1 hit for ten weeks beginning February 12, 1955. As Billboard bluntly put it, Ace's death "created one of the biggest demands for a record that has occurred since the death of Hank Williams just over two years ago." His single sides were compiled and released as The Johnny Ace Memorial Album.

Deacon Jones, Los Angeles Rams' Defensive End

Deacon Jones Dies at 74; Made Quarterback Sack Brutal and Enthralling

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Deacon Jones, a prototype of the pass-rushing defensive end who became a master of the sack and one of the National Football League’s greatest defensive players with the Los Angeles Rams’ line known as the Fearsome Foursome, died on Monday in Anaheim Hills, Calif. He was 74.
Associated Press
Deacon Jones parlayed his size — 6 feet 5 inches and 270 pounds or so — his strength and his agility to glamorize defensive play.
NFL Photos, via Associated Press
Jones, right in 1964, with the rest of the Rams’ Fearsome Foursome: Lamar Lundy, left, Merlin Olsen and Roosevelt Grier.
David Livingston/Getty Images
Deacon Jones in 2010.
His death was announced by the Washington Redskins through their general manager, Bruce Allen, whose father, George Allen, coached Jones with the Rams and the Redskins.
Jones had been treated for lung cancer and heart problems, The St. Louis Post-Dispatch reported in September 2009. Jones told the newspaper then that he had undergone lung surgery and had a pacemaker installed the previous May.
Jones was a 14th-round draft pick from a historically black college, and he arrived in the N.F.L. when offensive players garnered most of the headlines. But in his 14 seasons, he parlayed his strength, his agility and his size — 6 feet 5 inches and 270 pounds or so — to glamorize defensive play.
He pounded opposing quarterbacks, rolling up dozens of sacks, and he popularized the head slap to dominate offensive linemen. He was selected six times to the All-Pro team and played in eight Pro Bowls. He was named to the Pro Football Hall of Fame in 1980 and was one of three defensive ends on the all-N.F.L. 75th anniversary team selected in 1994 by a vote by members of the news media and league personnel.
The Rams had only one winning season from 1963 to 1966, the span in which all the members of the Fearsome Foursome were teammates. But Jones became a marquee figure — sometimes called the Secretary of Defense — playing left end alongside tackle Merlin Olsen, who was also chosen for the 75th anniversary team, in a line that also included right tackle Roosevelt Grier, who was known as Rosey, and right end Lamar Lundy. Lundy died in 2007 and Olsen in 2010. Jones’s death leaves Grier, 80, as the last survivor of the group.
“He had that head slap move, the constant energy, the incredible speed and the nonstop will,” Sonny Jurgensen, a Hall of Fame quarterback, told The Post-Dispatch in September 2009 when the St. Louis Rams, the successor franchise to Jones’s team, retired Jones’s No. 75.
Jurgensen remembered an encounter with Jones late in a game when the Rams were leading his Redskins by 11 points. “He comes in on a pass rush and fell down. He starts crawling on all fours trying to get to me. He’s crawling in the dirt like it was the most important play in the world, and I look at him and said, ‘Jeez-us, Deacon, it ain’t the Super Bowl.’ But that’s how much he cared.”
David Jones was born on Dec. 9, 1938, in Eatonville, Fla., where an incident he witnessed as a youngster remained seared in his psyche and fueled his determination to escape from a dead-end life in the segregationist South.
After Sunday church services, members of an all-black congregation were mingling on a lawn when white teenagers in a passing car heaved a watermelon at the group. It hit an elderly woman in the head.
“I was maybe 14 years old, but I chased that car until my breath ran out,” Jones told The San Diego Union-Tribune in 1999. “I could hear them laughing.”
The woman died of her injuries a few days later, but there was no police investigation, as Jones remembered it.
“Unlike many black people then, I was determined not to be what society said I was,” he said. “Thank God I had the ability to play a violent game like football. It gave me an outlet for the anger in my heart.”
Jones played football at South Carolina State and Mississippi Vocational — now known as Mississippi Valley State, the alma mater of the Hall of Fame receiver Jerry Rice — before joining the Rams.
He was known as D. J. in college, but when he arrived in the N.F.L., he sought something more distinctive and called himself Deacon, having met Deacon Dan Towler, an outstanding Rams fullback of the 1950s and one of professional football’s early black stars, who became a minister.
Jones said he believed he would have been the career sacks leader in the N.F.L. — surpassing Bruce Smith’s 200 — if individual sack totals were tallied in his era. They did not become an official statistic until 1982.
John Turney, a member of the Pro Football Researchers Association who pored over play-by-play accounts of games played long ago and studied game tape at NFL Films, concluded that Jones had 173 1/2 sacks. But Jones said that his total was well above that.
Jones has been credited with coining the term “sack.” But the statistician Seymour Siwoff of the Elias Sports Bureau once told The Kansas City Star that in the early 1960s, when he began compiling team statistics on getting to the quarterback, the N.F.L. publicist Jim Kensil invented the term.
However murky the origin of the term, Jones clearly made the sack his trademark, playing for the Rams from 1961 to 1971, the San Diego Chargers (1972-73) and the Redskins (1974).
Jones’s survivors include his wife, Elizabeth, and a stepson, Greg Pinto, The Los Angeles Times reported.
After retiring from football, Jones broadcast for the Rams on radio, acted on television, did Miller Lite beer commercials and created the Deacon Jones Foundation, based in Anaheim Hills, which provides college expenses for poor students in return for their going back to their communities for volunteer work.
Jones took pride in that, but he did not want anyone to forget his more ferocious calling.
In an interview with The Los Angeles Times in 1999, he provided his imagery of the sack: “You take all the offensive linemen and put them in a burlap bag, and then you take a baseball bat and beat on the bag. You’re sacking them, you’re bagging them. And that’s what you’re doing with a quarterback.”
As for his bullying of offensive linemen: “The head slap was not my invention, but Rembrandt, of course, did not invent painting. The quickness of my hands and the length of my arms, it was perfect for me. It was the greatest thing I ever did, and when I left the game, they outlawed it.”