October 12, 2016


Key to the Highway 
2016-10-12                                                                                            

Jimmy Dawkins
Blind Willie Johnson
Nappy Brown
Jimmy Blythe
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.For today, I kinda recycled a show I put together for John Fuller's Backstroke show, part of KKUP’s Monday night Blues rotation from 10pm to 1am Monday.  The first three artists listed above were included in that show so I had two write-ups all prepared and I did one on Jimmy Blythe this week, but if I run out of time we may not get to him.  Unless you finf the harsh voice of Blind Willie Johnson irritating, I think you will be very happy with this presentation.   Enjoy.
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Jimmy Dawkins is one of those perfect examples of the way I used to introduce myself to new artists.  If you have followed my airings over the last quarter century here at KKUP, you might be aware that Magic Sam’s second album for the Delmark label, Black Magic from 1969, is to this day still my favorite album, EVER, so when I saw that three of the sidemen from that album were on another one backing some guitarist with the nickname “Fast Fingers” (also the title of the LP) there was an extremely good chance this would be my kind of music.  To be found here are saxophonist Eddie Shaw, piano man Lafayette Leake and guitarist Mighty Joe Young, Young having been on both of Sam’s Delmark studio sessions, and indeed I was not disappointed.  Players of note on his second album, All for Business and again for Delmark with three tunes making up our second set, are guitarist Otis Rush and tenor sax player Jim Conley.  Sonny Thompson, who had done so much for King Records (songwriting, arranging and producing), particularly for Freddie King, is relegated here to only playing keyboards.  Jimmy only sings two songs for the album, and we hear him on Down So Long, while Andrew “Big Voice” Odom takes care of all the rest.  Odom also served in the same capacity on some of Earl Hooker’s stuff.

Jimmy had honed his chops on the club scene of Chicago’s West Side for more than a decade before Delmark gave him this, his first recording opportunity under his own name.  Mississippi born and moved to Chicago in 1955, Jimmy gave up his day job in the factory in 1957 once he bought a guitar in order to pursue his music.  “I’m determined at what I do.  I set out to play music, so I play it.  No money, cheap money, small money, no gigs.  And we stayed with it.  I stayed out there.  I didn’t quit . . . scared I couldn’t make it in the business.”  When he came to the attention of Delmark’s Bob Koester, Dawkins backed recordings by Carey Bell, Luther Allison, Mighty Joe Young and Sleepy John Estes before recording three albums of his own.  Later in the 70s, Willie Dixon used Jimmy many times as a sideman.  “He just kept me in the studio, teaching me a lot, helping me.”  For a couple of years, while Jimmy Rogers was with Muddy Waters, Dawkins was part of Rogers’ road group.

In 1971 Jimmy received France’s Grand Prix du Disc award for the Fast Fingers album and at one point, Downbeat magazine voted him the best Rock / Pop / Blues act worthy of more attention.  Health issues in the 80s, however, caused Jimmy to cut back on his club work and restrict his performances to festivals and foreign tours.  He released two European LPs and started up his own label, Leric, to produce albums by lesser known West Side Blues artists.  Putting in much of his time on the business side of the music world, he also involved himself in booking, promotion and publishing.  Jimmy also contributed articles about the Chicago Blues scene to the British magazine Blues Unlimited.

I skipped a couple of his European albums in my collection because there is plenty of better music for today’s show.  Jimmy came back with a fury in his axe in 1991 when he released an album on the Earwig label, Kant Shek Dees Bluze.  Yeah, my computer’s editor tried to tell me that most of the titles were misspelled but it irritates me like that fairly often.  Nora Jean Wallace takes a couple of the vocals on the album (we only hear A Love L:ike That) and he employs a couple of familiar names in his band – pianist “Professor” Eddie Lusk, who I know had been in the bands of Otis Rush and Luther Allison, and Johnny B. Gayden, who provided some of the best bass playing ever recorded when he backed Albert Collins.  Second guitarist Jimmy Flynn had been in the Legendary Blues Band since 1984 and drummer Ray Scott was a longtime member of the Dawkins ensemble.

While Jimmy didn’t quite reach the pinnacle of my favorites like Howlin’ Wolf or his contemporaries Freddie King, Magic Sam and Luther Allison, he fits comfortably atop the second tier among the likes of Otis Rush and Buddy Guy.
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Blind Willie Johnson was a gospel-based Bluesman, backing up his mostly religious lyrics with an excellent slide guitar technique.  Oftentimes heard contrasting his raspy bass vocals was the more angelic voice of his first wife, Willie B. Harris.  Johnson's was the earliest recording that I am aware of, and much more uniquely gruff than those who followed, in the style that became the trademark of Charlie Patton and Howlin' Wolf.
Blind Willie was believed born in Marlin, Texas in 1902. His mother died in his infancy, but it was his stepmother who, while in an argument with his father, made the boy blind by throwing lye in the face of the seven year old.  Like so many of his era with this handicap, teaching himself guitar and singing on the streets became a viable life option.

Johnson recorded for Columbia and his first session in 1927 produced "Dark was the Night (Cold was the Ground)", an eerie instrumental accompanied only by his moans, which was chosen to be included as an artifact on the Voyager One probe into space.  Sorry, I’ve heard it but don’t have it.  Another of his songs got him thrown in jail when, unaware that he was in front of a Federal building in Dallas, he made the innocent choice of playing "If I Had My Way I'd Tear this Building Down".  Although his recording sessions only lasted into 1931, as the Great Depression brought about the demise of numerous recording careers, many of his songs would be included in the repertoires of artists as varied as Son House, Bob Dylan, Eric Clapton, Al Kooper, Hot Tuna and Peter, Paul and Mary.
Johnson's ambitions lay elsewhere, and after his brief recording career, he became a Baptist minister whose congregation could be found on the street corners as he performed spirituals just as fervently as he had played his Blues on the streets of his past, and continued doing so until he died of pneumonia in 1947.
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I saw Nappy Brown at the San Francisco Blues Festival one year and the girl I took with me purchased a 2CD set of his early material.  So, years afterward, I borrowed it from her and ripped it to my computer for a purpose such as this.  Unfortunately, I wasn’t able to copy any of the biographical info and I’ve been spending too much time listening to our political situation lately to put something together, but that does nothing to negate the quality of his great R&B.
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.In the early twenties, before it became commonplace to hear piano players on record, the easiest way of making a permanent record of the best players was through piano rolls.  These could be heard in homes or nickelodeons, and possibly the most prolific of these players was Jimmy Blythe, with around 300 rolls, and in his short life he amassed a similar number of 78 releases, and the Jazz / Blues / Boogie Woogie pianist / composer’s Chicago Stomp is considered to be one of the first recorded examples, if not the first, of Boogie Woogie.  We don’t have access to that one, but we do have his solo performances of Society Blues and Alley Rat.  Sandwiched in between those, we have placed a recording with Johnny Dodds, clarinetist for Louis Armstrong (Weary Way Blues), and Don’t Fish in My Sea, where he backs the vocal of Ma Rainey.
Born James Louis Blythe on May 20th 1901 in South Keene, Kentucky, he was the youngest of five siblings brought into the world by Rena and Richard Blythe. His parents were born into slavery but were then sharecroppers.  His interest in piano was piqued by local Ragtime players, and soon after moving to Chicago in 1917 he began studying under orchestra leader Clarence M. Jones.  It is likely that in the next few years, Blythe began his composing in Jones’ recording studio as well as working his way around the club scene, but for a while he supported himself with his job at the Mavis Talcum Powder Company.
Early in 1922, Jimmy took on a job at the Columbia Piano Roll Company, later to become Capitol when the company re-organized in 1924.  Writer Bill Edwards remarked that Blythe "was able to take simple popular songs and create an engaging performance from them in short order. Many of these were taken from the simple sheet music and expanded to include Blues riffs, stride or boogie-woogie bass, and even pseudo-novelty figures. Musicians around Chicago and beyond worked to emulate his engaging style as his fame grew".
Jimmy went into the Paramount studio in 1924 along with Alex J. Robinson, who co-wrote several tunes with Blythe and, in his first session, laid down Chicago Stomp, which would become his best known recording.  In his authoring, Jimmy sometimes used the pen names Duke Owens or George Jefferson.  Over the next few years, Blythe accompanied many of Paramount’s artists in addition to his own sessions, but the Great Depression slowed everything down and Jimmy only recorded two sides in 1930, these for Robinson’s band, the Knights of Rest.  He came down with meningitis and passed away on June 14th 1931 at the young age of thirty.
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Since it is still relatively new, I thought I’d mention that KKUP is now streaming on the internet and, while it is still in a developing stage, we have been putting out the word.  I’m not all of that good with high-tech stuff, but it seems pretty easy to access.  If you go to our website at KKUP.org you will see on the home page a strip of options immediately above the pictures of the musicians the next to the last option being LISTEN ONLINE.  By clicking this, it brings up a choice of desktop or mobile.  I can only speak for the desktop but after maybe a minute I was receiving a crystal clear feed.  As already mentioned, this is still a work in progress and we are currently limited to a finite number of listeners at any one time.  I mention this so you will be aware to turn off the application when you are not actually listening.  (I put the player in my favorites bar for the easiest of access.)  Now we can reach our listeners in Los Gatos and Palo Alto, even my family in Canada.  Let your friends elsewhere know they can now listen to your favorite station, and while they have the home page open they can check out our schedule.
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I Wonder Why
Triple Trebles
I’m Good for Nothing
Night Rock
It Serves Me Right to Suffer
Breaking Down
   Jimmy Dawkins   24mins

Lord, I Just Can’t Keep From Crying
John the Revelator
You’re Gonna Need Somebody On Your Bond
Let Your Light Shine on Me
Everybody Ought to Treat a Stranger Right
If I Had My Way I’d Tear This Building Down
I’m Gonna Run to the City of Refuge
Take Your Burden to the Lord and Leave It There
Take a Stand
The Soul of a Man
   Blind Willie Johnson   31mins

Moon Man
Down So Long
Sweet Home Chicago
   Jimmy Dawkins   16mins

Don’t Be Angry
Two Faced Woman (and a Lying Man)
I’m in the Mood
That Man
Just a Little Love
Well, Well, Well Baby La
Open Up That Door
My Baby
A Long Time
Am I
Pleasin’ You
I’m Gonna Get You
Coal Miner
Little By Little
   Nappy Brown   35mins

I Ain’t Got It
Wes Cide Bluze
A Love Like That
My Man Loves Me
Luv Sumbody
Made the Hard Way
Rockin’ D Blues
Gittar Rapp
   Jimmy Dawkins   38mins

Society Blues
Weary Way Blues
Don’t Fish in My Sea
Alley Rat
  Jimmy Blythe

September 28, 2016


Key to the Highway 
2016-09-28                                                                                               

Louis Jordan                          
Frankie Lee Sims
Big Maybelle
John Littlejohn
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There were at least two factors in the collapse of the Big Band Swing era.  One was the fact that touring during the World War II years was just no longer practical for many of the large bands with such things as gas rationing and the tire shortage.  As Dave Bartholomew saw things, "It got too costly to keep up a big band.  Band leaders had to scale down so they could keep working and keep making money, and they had a lot to do with the evolution of the sound."  Smaller bands also meant smaller clubs could also support live music, for both spatial and financial reasons.  Another reason was that the musicians were feeling stifled in the large orchestras. Just as the name itself implies, there was not enough room for improvisation when everything had to be orchestrated.  Add to that the fact that most black Americans felt that the whole Big Band Swing movement had been hijacked from their culture and turned into a white bread commercial product.  In general, two new directions were taken as the smaller combos were formed.  One was the birth of bop, which falls out of the area of our discussion at the moment, and the other would be the paring down and returning to a more blues-based form that would be called jump blues, or in general an early form of rhythm and blues.
The archetypal performer of this new art form would be alto saxist Louis Jordan and his Tympany Five.  He was born in Brinkley, Arkansas on July 8th, 1908 and became involved in music at an early age.  His father was skilled in many instruments: "My papa was a fine musician, and he played just about all the horns.  But as little as he was -- five feet three inches and about 105 pounds -- I think the instrument he liked best was the bass. ... He had a band for close to thirty years.  I started off with him myself when I was about seven years old playing clarinet".  Jim Jordan played on several occasions with Fat Chappelle's Rabbit Foot Minstrels, a group which could claim in its membership such notable artists as Ma Rainey and Bessie Smith.  Louis performed with the Minstrels as well, starting as a musician and dancer in his pre-teens, all the way into his time at Arkansas Baptist College in Little Rock, which he left in 1928.
Louis went to New York City in 1929, where he met drummer and bandleader Chick Webb and participated in two recording sessions for him on the Brunswick label in June of that year.  Unable to find enough work, Louis returned to Little Rock, then in 1932 moved east with the family, eventually settling in Philadelphia.  Louis also had recording sessions backing Louis Armstrong in December of 1932 and two sessions for Clarence Williams in 1934.   About this time, Louis started living in New York City, whose union required six months residency before becoming eligible for membership and therefore able to play the big gigs.  Until then he was able to keep working with drummer Joe "Kaiser" Mitchell's band in out of town, even out of state clubs.   He joined Webb's swing orchestra fulltime in the autumn of 1936 as an altoist and one of the singers, as Webb was becoming one of the hottest commodities in New York.  Among the recordings Louis made with Webb was the extremely popular Ella Fitzgerald tune, "A Tisket, a Tasket".  With the expanding role taken by Fitzgerald, who was only 16 years old when Webb took her under his wing in 1934, Louis' opportunities to sing were diminishing and in the summer of 1938, Louis left the ensemble.  According to Jesse Stone, "I was doing arrangements for Chick Webb at the time, and Louis was playing third alto in Chick's band.  He asked Chick could he sing, and Chick said yeah.  Louis said, 'Well, Jesse's gonna make a couple arrangements for me.'  So I made the arrangements.  He tried 'em out one night and he went over great.  Chick didn't like that.  He wouldn't call the tunes again after that.  So Louis quit.  I encouraged him, told him that if he wanted to sing, he should get away from Chick.  He took my band, and they became the Elks' Rendez-vous Band, the group on his first recordings."  Louis' first recording session under his own name was for Decca Records on December 20th, 1938, and for their third session on March 29th, 1939, the same personnel acquired its long-enduring name Louis Jordan and his Tympany Five.  Tympani drums (the correct spelling) took up a lot of space and the band only used them on stage the three years they played at the Elks, "but we held on to that name, even when the five was actually seven or eight men." 
One break came when the band was booked into Chicago's Capitol Lounge in May of 1941 as the second-billed act behind the Mills Brothers and also featured Maurice Rocco.  The shows were broadcast on WGN radio, and the crowds kept increasing; according to Jordan, "the Capitol Lounge couldn't hold two hundred people.  But they would have a hundred twenty sittin' down and maybe a hundred eighty standin' at the bar.  After that booking, I was gone."  The club's stage was so small that the piano player had to play standing up, which pleased the crowd so much that Rocco began to perform similarly and became billed as the "Stand-Up Pianist', a tradition later taken up by Little Richard and Jerry Lee Lewis to much success. 
As Louis' new manager, Berle Adams, explains, the lounge "would not pay more than scale.  And scale then was thirty-five a man per week -- a dollar per working hour -- plus a dollar extra for the leader.  I closed the deal.  It was a big accomplishment for me personally.  After Jordan opened, I received an increase in salary from twenty dollars a week to thirty-five.  I was quite pleased."  Adams continued, "Then we had a problem.  Jordan came to me to say that he had to quit; he just couldn't live on sixteen dollars a week.  Then I discovered that Jordan couldn't get the musicians to come to Chicago unless they got forty dollars a man.  So he was taking the money out of his salary and paying each man five dollars above what the lounge paid.  When I learned this, I went to the owners and had them fire the band. ...  But when they received their notice, the band went to the union, and the union summoned Jordan on the ground that he was playing for below scale. ...  I had read the musicians' contract and union bylaws.  I found a technicality that prevented Jordan from being fined.  But as a result of the interrogation, we learned that the troublemaker in the band was the bass player. ...  So I gave Louis the money to send the bass player back to New York -- that was required when you brought a musician away from his home base."
Regarding the next job Adams got them, at the Fox Head Tavern in Cedar Rapids, he recalled, ''Now, they were not in New York or Chicago.  They were not known, and they could make fools of themselves.  That was where they developed all the novelty songs that later made Jordan."  Indeed, unlike session habits of the day, when Jordan went into the studio he picked songs that had been proven on the bandstand to have a known popularity.  Louis' personality shone onstage, and his charismatic mugging enhanced more than just the novelty numbers.
Jordan's first hits were "Knock Me a Kiss" and "Outskirts of Town", released together on a 78 in January of 1942.  While both sides received much jukebox play and the record sold well, they were quickly copied by other artists on different labels so Louis' versions didn't make the charts.
Wartime restraints culminating on April 25th of 1942 brought a rationing of shellac down to 30% of the record-making material the companies had used in 1941, followed quickly in July by the American Federation of Musicians' strike refusing to allow union members to make any recordings.  Louis' last pre-strike recording date was a nine track session on July 24th of 1942, and since Decca was among the earliest to come to agreement with the AFM, he was back in the studio on October 4th, 1943.  That marathon session in July produced Louis' first Number One hit, "What's the Use of Getting Sober (When You Gonna Get Drunk Again)", hitting the Harlem Hit Parade on November 14th of 1942 and staying there for 14 weeks.  While unable to record in the studio, Jordan was popular enough to be able to make several Soundies -- three minute movies that theater patrons could pay to view -- and often appeared on the Armed Forces Radio Service's Jubilee worldwide radio broadcasts to the military, both on their own as well as backing other artists.
From his first session back, Louis had another Number One with "Ration Blues", which stayed on the R&B charts for 21 weeks beginning in mid-December1943, and then also made the pop chart and hit Number One on the Folk and Western (Country) chart.  "Deacon Jones", from the same session, only hit the Country chart, topping out at #7.  Jordan was now a true crossover artist and a draw nationwide, pleasing audiences everywhere he went on his many tours during the mid-40s, while basing himself out of Los Angeles.
To avoid the occasional racial tensions when artists appeared before mixed audiences, Billboard reported on July 22nd, 1944, that Jordan "recently played two dates in Oakland, California, where he drew 4,200 colored dancers at the auditorium and 2,700 whites at Bill Sweet's the following night" and would continue dual settings in several of the cities on his tour.
When Adams bought out his partner Lou Levy, the contractual agreement was that Adams would manage Jordan, but all his songs would be published by Levy's company, Leeds Music.  But for the song "Caldonia", Louis listed the author as his current wife Fleecie Moore. Levy would recall, "they put Louis Jordan's wife's name on the song and gave it to another publisher.  But actually Jordan and Adams both got outsmarted. When the Jordans got divorced, Louis tried to get the song back and his ex-wife thumbed her nose at him."  Even though Jordan had done the song in a highly popular movie short of the same name, Decca was reluctant to release it due to the remaining restrictions on shellac.  It wasn't until Woody Herman and Erskine Hawkins each successfully released their versions that Decca finally put the original into circulation.  Due to Decca's hesitation, the Jordan disc only reached #6 on the Pop chart, while Herman's got to #2 and Hawkins' made it to #12; on the Harlem Hit Parade, Jordan was able to sustain at #1 for seven weeks during its six month run and Hawkins took the tune to the number two spot while charting for ten weeks.  As for the Jordan-Moore marriage, it came to a violent end when, early on Sunday morning, January 26th, 1947, as Jordan put it, "We had a quarrel when I came home from work.  I got into bed and turned out the light.  Next thing I know, I felt the knife go into my chest.  This is the second time Fleecie cut me.  There's not going to be another time."
In October of 1945, for the first time since his days with Chick Webb, Louis was again recording with Ella Fitzgerald.  Their Caribbean-flavored duet "Stone Cold Dead in the Market" would be the first of six #1 hits he would have in 1946 including its follow-up, Choo Choo Ch- Boogie, which spent an astounding 18 weeks at #1.  Jordan's foray into feature length movies began with the June 14th, 1946 debut of "Beware", a 55-minute melodrama which Newsweek reviewed on July 8th: "The presence of Jordan, who has just made his third personal appearance at the Paramount Theater in New York, assures 'Beware's' box office success.  The most successful negro film to date was 'Caldonia', another Astor production with Jordan and his Tympany Five."
Three Monday sessions in fifteen days in 1947 (November 24th, December 1st and 8th) produced 13 songs as once again the record companies were facing another strike scheduled for the first tick of the clock in 1948.  That year would not be a particularly good one for Jordan, what with no recording sessions, recurring bouts of illnesses brought on by his years of rigorous touring schedules, slipping record sales...  But when it came to live performances, Louis could still pack 'em and please 'em.  San Francisco bay area promoter John Bur-Ton was to say in March, after booking a series of one-nighters, that "Louis Jordan will make me more money than any four other attractions I can get."
Louis wasn't the only one beginning to physically suffer.  As Adams explained, "I was the president and founder of Mercury Records and I became ill.  Had a problem with my spine.  Sold my stock in the company because I had to move to California. ...  I didn't want to travel as much as I had.  My doctor didn't think it was advisable. ... and I decided to give up the band.  When I sat down with Louis to explain my thinking, I never forgot the look on his face.  His reaction was, 'You think I'm over the hill.'  I responded, 'How can that be?  You still have one hit record after another.  Your income is tremendous.  Your percentages are high, and you can work as many days of the year as you please.'  But he kept staring at me and shaking his head.  "You're too smart to walk out on something that's that good.  You must see something in the future.'"
Exhausted and thinking that his old friend and manager abandoned him because he had lost confidence in him, Louis announced plans to retire when his contract with Decca was due to expire in March of 1951.  But Louis had no other way of making money, so he renewed his contract for another three years.  Now that he was no longer advised by Adams, Jordan disbanded the Five, something he had done numerous times in the past, but this time created a full-blown orchestra.  But the pulse of the people, particularly the black people, had long since left behind the Big Band music and only the best known and most well established few were achieving any success at all.  Even though Louis went back to the smaller format for recording sessions, his hit-making heyday was behind him; not because his song quality had diminished any, but because the ears of the youth were turning to the developing rock 'n' roll, a music that Louis was so much an influence upon.
When it became apparent that Decca was not going to renew Louis' contract, he signed with Aladdin   According to keyboard man and arranger Bill Doggett, "No one ever got real close to Louis, although the public thought he was just the friendliest, warmest guy.  Actually, he was a very decent and fair man, just kind of cold."
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John Littlejohn was born John Wesley Funchess on April 16th 1931 in Lake, Mississippi.  His father was not a musician (it was his friend, Henry Martin, who first taught young John the guitar), but he was a gambler and one night part of his winnings was a guitar which John would pick up.
In his youth, John’s parents worked on a pecan and peach farm where John would earn forty cents a day hauling water to the workers.  In 1946, John and his brother left home for nearby Jackson to where they earned $1.25 a day working on an ice truck, listening to the Blues being played at some of their delivery stops.  John and a friend moved along to Arkansas in 1949 to chop cotton and there were recruited to pick cherries in New York state, but neither were adequate pickers and they moved on to Rochester, New York.  There John got a good job driving a bulldozer but, when the construction company had completed the job and offered him $200 a week in Florida, he chose to not return to the south and instead took a Greyhound bus to Gary, Indiana, in hopes of finding good paying work in the steel mills.  Unfortunately, all that could be found was a $40 a week job working at a service station which he held onto for six months.
It was 1951 and the northern industrial migration had brought lots of black workers wishing to hear the music of the Delta, albeit in a more electric way so, even though he hadn’t played guitar since leaving home, John saved enough money to get a guitar, amp and microphone and set about making music.  Not long after a six-month practice period, John had assembled a band that was playing seven nights a week around Chicago and its suburbs.  Their popularity soon got them a gig at the 99 Club in Joliet, Illinois, working weekends only but earning more than ever before.  They held it for three years.  In Gary, he met up with Joe Jackson, the patriarch of the Jackson 5, and John’s band occasionally backed the boys up in rehearsal sessions.
Littlejohn did not get the opportunity to record until 1968 when the slide guitarist put out singles for several record labels.  Later in the year, he recorded this album followed up by four unreleased tracks for the Chess label.  A few releases from local companies followed and in 1985 he was able to put together the So-called Friends album for the label Rooster Blues.  Shortly afterward, John fell into ill health and passed away almost a decade later from kidney failure on February 1st 1994 at the age of 62.
Here is something I cannot verify but it seems I read a long time ago regarding the album we hear today.  Arhoolie Records’ owner Chris Strachwitz, based right here in the Bay Area’s El Cerrito, wanted to put his label into more than just the acoustic Blues it was noted for and approached Buddy Guy to do a session but, most likely for contractual reasons, Buddy declined and recommended Littlejohn.  Don’t take that to the bank because I can’t come up with where I read it, but I don’t think my mind is capable of fabricating the story.
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When I first came to KKUP, before I took a regular time slot 25+ years ago, I was still earning my living tending bar and I had one buddy / customer who put together a cassette of all kinds of his favorite Blues from his 45s.  He wrote short notes about the songs or artists and I remember one said something like, “It’s cracked but it still plays!”  Many of them were stuff I was well aware of, but one of the hidden gems was a thing called Walking with Frankie from the Ace label.  I haven’t looked for a long time for that tune, but when I found this compilation I promptly burned a copy for Marvelous Marv.
Frankie Lee Sims is about as different in his style from Louis Jordan as any artist I could think of for today’s show, with a twangy, crude, country electric Blues style.  He is believed to have been born on April 30th 1917 in New Orleans, Louisiana despite his claiming February 29th 1906, because 1906 was not a leap year.  Both his parents, Henry Sims and Virginia Summuel, were guitarists, and his uncle, Texas Alexander, was an often recorded Bluesman, but it was most notably his cousin Lightnin’ Hopkins, who has as many discs in my collection as anyone except maybe John Lee Hooker, and I have never really been a Hopkins fan.
The family moved to Marshall, Texas, in the late twenties but, shortly after learning to play guitar from Little Hat Jones, Sims left home at the age of twelve to sing his Blues.  By the late thirties, having graduated college, he was working weekdays teaching at a Palestine, Texas, school while playing dances and parties on the weekends.
After three years service in the Marines during World War II, Frankie Lee made Dallas, Texas, his home, devoting all his time to his music.  Besides gigging with Texas Bluesmen like T-Bone Walker and Smoky Hogg, Sims put out two singles for the Blue Bonnet label in 1948 before hitting regionally with Lucy Mae Blues (also the title of this CD) in 1953 for Specialty Records, the only one of his nine singles to reach even that status.  The songs on today’s collection are from his time with Specialty, which ended by 1957.
Frankie then moved to Ace Records where he was successful with Walking with Frankie and She Likes to Boogie Real Low.  Frankie later recorded with Lightnin’ and other musicians, but by the mid-60s he was out of all but the most local earshot.  Chris Strachwitz got Sims into a recording studio for his El Cerrito-based Arhoolie label in 1969, but on May 10th 1970, Frankie Lee’s health had deteriorated to the point that he passed away from pneumonia back in Dallas at the age of 53.
From the liner notes of this disc, Frankie discusses departing Dallas.  “I left there and went to Chicago, that where me and Muddy Waters, Screamin’ Jay Hawkins, Little Milton, Etta James, we all played at the Regal Theater on 42nd and South Parkway in Chicago for about three months, and then we went to American Bandstand, me and Jimmy McCracklin.  King Curtis put out a record called the Soul Twist, I’m the one playin’ the guitar on that.”  To fit this into a time line, soul Twist came out in 1962.
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I have a full show prepared for today but am strongly considering pre-empting a portion of it in favor of checking some of the new discs that have come to the station, so it is likely we will not hear Frankie Lee Sims or Big Maybelle, and maybe not even the last Louis Jordan set but, just in case, I will still take the time to introduce you to the artist born as Mabel Louise Smith on May 1st 1924 in Jackson, Tennessee.  Mabel’s earliest public singing took place in her church’s choir but she soon became enamored of Rhythm & Blues, turning professional in 1936 with Dave Clark’s Memphis Band.  She also toured with the popular all-female International Sweethearts of Rhythm before signing on with Christine Chatman’s Orchestra with whom she did her first recording in 1977.  She also recorded with Tiny Bradshaw’s Orchestra between 1947 and 1950.
Her first solo session was released as by Mabel Smith for the King label in 1947.  It was in 1952 when signed to Okeh Records that their producer, Fred Mendelsohn, gave her the name Big Maybelle and their first release, Gabbin’ Blues, climbed to #3 on Billboard’s R&B listing, followed in 1953 by two more platters, Way Back Home (#10) and My Country Man (#5).  Jerry Lee Lewis took her 1953 Whole Lot of Shakin’ Goin’ On and two years afterward made it one of the classic Rock ‘n’ Roll and Rockabilly masterpieces. 
Also known as America;s Queen Mother of Soul, Maybelle moved to Savoy Records in 1955 where her 1956 #11 disc Candy would be recognized in 1999 with a Grammy Hall of Fame Award.   1957 found her appearing at New York City’s Apollo Theater, while her rendition of Jazz on a Summer’s Day was filmed at the 1958 Newport Jazz Festival as she shared the stage with Mahalia Jackson and Dinah Washington.
Even though she was out of her prime by the 60s, Maybelle was recorded by several more labels, but she only made the R&B charts twice more -- 1966’s Don’t Pass Me By at #27 and her 1967 remake of the ? and the Mysterions hit 96 Tears, which climbed to #23 as well as getting on the Pop list at #96,  Maybelle died in a diabetic coma on January 23rd 1972 in Cleveland, Ohio, at the age of 47.  When Epic Records released The Okeh Sessions it won the 1983 W.C. Handy Award for best Vintage or Reissue Album of the Year.  She was inducted into the Blues Hall of Fame in 2011.
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Since it is still relatively new, I thought I’d mention that KKUP is now streaming on the internet and, while it is still in a developing stage, we have been putting out the word.  I’m not all of that good with high-tech stuff, but it seems pretty easy to access.  If you go to our website at KKUP.org you will see on the home page a strip of options immediately above the pictures of the musicians the next to the last option being LISTEN ONLINE.  By clicking this, it brings up a choice of desktop or mobile.  I can only speak for the desktop but after maybe a minute I was receiving a crystal clear feed.  As already mentioned, this is still a work in progress and we are currently limited to a finite number of listeners at any one time.  I mention this so you will be aware to turn off the application when you are not actually listening.  (I put the player in my favorites bar for the easiest of access.)  Now we can reach our listeners in Los Gatos and Palo Alto, even my family in Canada.  Let your friends elsewhere know they can now listen to your favorite station, and while they have the home page open they can check out our schedule.
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Jordan for President
Barnacle Bill the Sailor
Jake What a Snake
You Run Your Mouth and I’ll Run My Business
But I’ll Be Back
I’m Alabama Bound
   Louis Jordan   16mins

How Much More Long
Treat Me Wrong
Slidin’ Home
Catfish Blues
Kiddeo
Reelin’ and Rockin’
Dream
Dust My Broom
   John Littlejohn   30mins

What’s the Use of Getting Sober
         (When You Gonna Get Drunk Again)
Ration Blues
G.I. Jive
Mop!  Mop!
Caldonia
Buzz Me
Don’t Worry ‘Bout That Mule
Choo Choo Ch’Boogie
   Louis Jordan   22mins

I’ve Got a Feelin’
Rain Down Rain
Gabbin’ Blues
One Monkey Don’t Stop No Show
Way Back Home
Please Stay Away From My Sam
Don’t Leave Poor Me
   Big Maybelle   19mins

Ain’t That Just Like a woman
         (They’ll Do It Every Time)
Ain’t Nobody Here But Us Chickens
Texas and Pacific
Jack, You’re Dead
Boogie Woogie Blue Plate
Run Joe
Beans and Corn Bread
Saturday Night Fish Fry
Blue Light Boogie
   Louis Jordan   31mins

Lucy Mae Blues
Don’t Take It Out on Me
Married Woman
Jelly Roll Baker
Hawk Shuffle
Raggedy and Dirty
Yeh, Baby
Long Gone
Cryin’ Won’t Help You
Frankie Lee’s 2 O’clock Jump
   Frankie Lee Sims   27mins

Stone Cold Dead in the Marketplace
Ain’t Nobody’s Business
Baby, It’s Cold Outside
   Louis Jordan and Ella Fitzgerald   8mins

 

September 14, 2016


Key to the Highway 
2016-09-14                                                                                            

Freddie King
The Electric Flag
Joe Houston
Andy Mazzilli
Clarence “Pinetop” Smith
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I keep my CDs in a manner which, to my imagination, is unlike most folks.  I remove them from their jewel cases and store them in binders usually in groupings of similar players.  That way, I try to keep musicians who came from the same band (even sidemen who later had their own careers) together, but the primary similarity would be by location.  Freddie King is one artist I feel I have always misfiled.  Freddie was born on September 5th of 1934 in Gilmer, Texas, and that is where I have him placed, but in reality the style of his recordings should place him in one of my Chicago Blues binders because he was a contemporary of my favorite generation of Blues artists of all time, the one that included fellow guitar-slinging vocalists Magic Sam, Buddy Guy, Otis Rush, Jimmy Dawkins, etc., and stylistically he certainly fits best with them.

By the age of six, Freddie was learning to play guitar from an uncle and his mother, Ella Mae King.  Freddie’s family relocated from Dallas to Chicago’s south side in 1949 and, although only fifteen, he began entering the nightclubs in the neighborhood which featured some of the best Bluesmen of the day, among them Howlin’ Wolf, Muddy Waters, Elmore James and Sonny Boy Williamson II.  He very soon formed his own band, The Every Hour Blues Band (which also featured guitarist Jimmy Lee Robinson).  In 1952, King was working in a steel mill, but the eighteen year old was also finding time to play as a sideman in bands like Earl Payton’s Blues Cats, for whom he recorded in 1953 on the Parrot label but the tracks were never released.

Freddie continued to work as a sideman and it appears his reputation was climbing higher as some of the bandleaders included guitarists Jimmy Rogers, Robert Lockwood Jr., Eddie Taylor, and Hound Dog Taylor, pianist Memphis Slim, harmonica master Little Walter Jacobs, and often included Willie Dixon on bass.  King cut his first tracks as bandleader in 1956 for the El-Bee label.  Margaret Whitfield performed vocal with him on the A side, Country Boy, while King sang alone on the B side, both numbers featuring the guitar of Lockwood, Jr.  Try though he may, however, in spite of backing on some of their artists’ recordings, King was unable to acquire a contract with Chess Records, the premier Chicago Blues label, but in the late fifties while Willie Dixon was away from Chess, the producer and songwriter did get Freddie into a session for Cobra Records but, again, this session was never to go to platter.  Still, King was becoming among the best-known artists on the growing West Side Blues scene.

In 1959, Freddie met pianist Sonny Thompson, who also served as producer and A&R man for Syd Nnathan’s King Records conglomerate and got signed to the Federal subsidiary in 1960.  His first recording session for the label, on August 26th, produced that year’s single Have You Ever Loved a Woman and You’ve Got to Love Her with a Feeling, but easily the most significant track from that date was his instrumental Hide Away which, when released in 1961 as the B-side to I Love the Woman, reached #5 on the R&B charts and #29 in the Pop Singles list, the latter fact unheard of until then for a Blues instrumental.  It became common practice after this during his stay with the company to pair singles with a vocal on one side and one of the more than thirty instrumentals King and Thompson wrote on the flip.  Following that tradition, I have alternated instrumentals throughout our opening set.

Wikipedia tells us his birth name was Fred King but his recordings with Nathan’s Cincinnati-based labels listed him as Freddy King; later, Freddie made his preference clear.  In 1961 Federal released two albums of mostly past singles, the first, Freddy King Sings, was followed quickly by Let’s Hide Away and Dance Away with Freddy King: Strictly Instrumental.  The latter, combined with the 1965 LP Freddy King Gives You a Bonanza of Instrumentals, was released in 1991on CD as Just Pickin’.  Freddie recorded for Nathan into 1968 but late in the year signed on with Cotillion, a subsidiary of Atlantic Records, at the urging of one of their producers, saxophonist King Curtis, releasing the albums Freddie King is a Blues Master in 1969 and My Feeling for the Blues in 1970.

In 1969, Freddie was booked in the Texas Pop Festival, which was headlined by Led Zeppelin and led to his signing with Leon Russell’s Shelter Records in the fall of 1970.  The label released Getting Ready in 1971 (recorded at the former Chess studio in Chicago) followed by 1972’s Texas Cannonball and then Woman Across the River in 1973.  Combined with the inclusion of Freddie’s old King singles in so many popular musicians’ repertoires, the success of these three LPs had Freddie’s concert appeal in high gear, appearing with major rock artists and before audiences made up mostly of white fans.

Freddie’s next signing was with the Robert Stigwood Organization’s RSO Records.  Legendary British producer Mike Vernon was in charge of 1974’s Burglar and the follow-up Larger Than Life albums with the exception of Sugar Sweet, a track produced by Tom Dowd at Miami Florida’s Criterion Studios which had King backed by Eric Clapton and his band at that time, drummer Jamie Oldaker, bassist Carl Radle and third guitarist George Terry.  Clapton also appeared on a ive version of Farther On Down the Road contained in the post mortem compilation, Freddie King: 1934-1976.

I was fortunate to hear Freddie around 1972 at the Brookdale Lodge in the Santa Cruz Mountains, an intimate setting that was one of the highlights of my musical appreciation.  With tour dates amounting to nearly 300 days on the road each year, Freddie’s health was failing and, at the age of 42, he passed away due to complications from stomach ulcers and acute pancreatitis on December 28th 1976.  Posthumous recognitions came in 1993 when Texas Governor Ann Richards proclaimed September 3rd Freddie King Day, and when Rolling Stone magazine posted its list of 100 greatest guitarists of all time, Freddie ranked #15.  He was inducted into the Rock and Roll Hall of Fame in 2012.         
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In the early nineties, just after I had joined KKUP, I went down to the Monterey Blues Festival a couple or three times with the Conductor (still on KKUP Thursdays 5-7pm), and on one of those occasions there was a little R&B combo on the secondary stage whom I liked enough to pick up the CD they had available.  The disc was titled Cornbread and Cabbage Greens, which compiled tracks recorded by the Jazz and R&B saxophone player Joe Houston around December of 1952.  We hear today several tracks from that disc, which was released in 1991.

Another Texan, Joe was born in the Austin suburb of Bastrop, Texas on July 12th 1926.  Before taking up the saxophone, he learned to play trumpet in school and received his first break in 1941 when the sax man from a band he went to see didn’t show up and the teenager was allowed to take his place.  Houston toured with the Midwest territory band of King Kolax around Chicago and Kansas City from 1943 to 1946.

Returning home to Texas after World War II, Joe recorded with Amos Milburn and Big Joe Turner; indeed, it was Turner who got Houston his first recording contract, with Freedom Records to whom Big Joe was currently signed.  Through this time, Houston had been playing alto sax but switched to tenor when he chose to emulate the honking sound that was new on the scene.  In 1949, Joe moved to Baton Rouge, Louisiana, where he played with Wynonie Harris, among others.

Joe moved to Los Angeles in 1952, the same year he had two hit singles with his band The Rockets in Worry, Worry, Worry and Hard Time Baby, both of which climbed to #10 on the Billboard R&B chart and the only times he would make such a list despite recording for many of the L.A. record companies.

Joe appeared in concert and on disc throughout the 1990s and 2000s with his band the Defrosterz (perhaps the group I saw him with in Monterey) alongside his manager and bass player Mark St. John.  Joe only ceased playing in 1995 after he had a stroke and, having suffered several more, passed away on December 28th 2015 in Long Beach, California.
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Again, going back to my early times here at the station, the earliest recollection I have of Andy Mazzilli was when he stopped by our studio in Cupertino and just sat down and talked music with me as I was doing a show.  I had already cued and put on a CD that I believe was the first time I heard it and when I played it, starting with the classic It Hurts Me Too, Andy said something like, “That’s the Holmes Brothers.”  It was their first album so I asked Andy if he was familiar with it and he said, again paraphrasing, “No, but I recognize the song from when I played with them in New York.”

Andy was about my son’s age; in fact, he attended the same high school but when I asked my son recently if he happened to have known him, he looked it up in a yearbook or something and discovered that Andy was about three years his elder.  While we were in our Santa Clara studio Andy was staying nearby and every now and then would stop by when I was on the air.  We also went out for beers a couple of times and I got to know him fairly well.  I considered him a friend.

Andy was a very talented young guitarist (when I first met him he would have been in his mid-twenties) and I recall one time in particular that was among the best pure Blues jam session I had heard.  It was at the short-lived Bathtub Gin and Blues (formerly the Lakewood Lounge) and it matched him up with bass player Charles Lyons, possibly with a drummer, and it was most likely entirely instrumental.  As far as local bassists, I have always considered Charles among the elite and the way the two worked off of each other . . . . All I can say is WOW!

Anyway, shortly after it was recorded, Andy gave me a CD with about twenty minutes of a session at JJ’s Lounge in 2002 and that will be played on the air for the first time, by me anyway, today.  I don’t know who the other players are, but I think you’ll find it highly enjoyable.

I found a brief bio online and from it I discovered that Andy left the Bay Area while still in high school to attend the Berklee School of Music in Boston, then, while still seventeen, moved to New York.  Andy would tour with some of the best-known Blues sidemen, I presume as an ensemble, including Howlin’ Wolf’s longtime guitarist Hubert Sumlin, pianist Pinetop Perkins, former Muddy Waters guitarist Jimmy Rogers, and harpman / guitarist / vocalist Louis Myers who, often with his band The Aces, backed up Little Walter, Junior Wells, and Charlie Musselwhite.  When not on tour, Andy could be found performing with The Holmes Brothers, John Popper of Blues Traveler or, if I knew Andy, just about anybody in order to get his music out.  He also spent a year as the main guitarist for Joan Osborne.

I’m not sure of the exact dates but I feel safe in saying he was born in December of 1967 and left us in April of 2007.  Way too soon.``
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We likely won’t get around to it due to my talking too much, but I did include on the second disc three tunes by Clarence “Pinetop” Smith.  Clarence was born in Troy, Alabama on June 11th. 1904, and grew up in Birmingham, Alabama.  I had always assumed that the nickname Pinetop referred to the wood in a piano, but Wikipedia informs us that Smith acquired it from his childhood penchant for climbing in trees. In 1920 Pinetop moved to Pittsburgh, Pennsylvania and found work as an entertainer.  He showed off skills not only as a singer and piano player but also as a comedian when he went out on the T.O.B.A. tour, short for Theater Owners Booking Agency but often spoken of as Tough On Black Asses.  He spent time accompanying Blues singer Ma Rainey and the musical comedy duo of Butterbeans and Susie. 

Fellow pianist Cow Cow Davenport referred Smith to J. Mayo Williams who was the main producer for Vocalion Records, leading Pinetop to move his wife and son to Chicago, Illinois, where, in 1928, he made his recordings.  I’ve been unable to ascertain whether Pinetop made more than one session in 1929, but he was all set to return to the Vocalion studio when on March 15th, the night before the session, he was shot and killed in a bar fight; whether he was the intended victim is unknown.

At one point, Clarence lived in the same Chicago rooming house as Albert Ammons and Meade Lux Lewis.  I hope there was more than just one piano in the house!  Smith recorded what would become almost an anthem to Boogie Woogie, a relatively new style of piano that all three were practitioning at the time, and although Ammons and Lewis went on for long careers, Pinetop’s Boogie Woogie was not only among the earliest hit in the style but the December 29th creation Smith said he put together while at a St’ Louis house rent party seems to have taken on a life of its own.

In 1938, Tommy Dorsey had a big band arrangement of the song made and recorded by his orchestra, which became his best selling record at five million copies, and was followed by versions by Bing Crosby and Count Basie.  Joe Willie Perkins’ version of the song in the 50s led to his forever being known as Pinetop Perkins, a moniker which lasted long into the new millennium.  Unlike many of the Boogie Woogie piano presentations, Smith’s music was not strictly instrumental, and lyrics from Pinetop’s Boogie Woogie can be found in a couple of Ray Charles’ tunes, Mess Around and What’d I Say; phrases like “the girl with the red dress on”, “shake that thing”, and “mess around”.  Smith’s tune was also included in a Modern Jazz vein on Bob Thiele’s 1975 LP, I Saw Pinetop Spit Blood, and the renditions go on to this day.  Pinetop was inducted into the Alabama Jazz Hall of Fame in 1991.
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\The Electric Flag dubbed themselves “An American Music Band”, originally intended to be the group’s name when first assembled in the spring of 1967, and the only liner notes that appeared on the LP we will be hearing from today, go on to say, “American music is not necessarily music directly from America.  I think of it as the music you hear in the air, on the air, and in the streets; blues, soul, country, rock, religious music, traffic, crowds, street sounds and field sounds, the sound of people and silence.”  That is all that is provided to describe the 1968 debut album, A Long Time Comin’, except for the song list and a somewhat complicated list of players, but I’ll try to clarify that a little by cutting it down to its core.  I believe it was an eight man band with drummer / vocalist Buddy Miles, bassist Harvey Brooks, keyboardist Barry Goldberg and guitarist Michael Bloomfield along with saxophonists Herbie Rich and Peter Strazza and trumpeter Marcus Doubleday with singer Nick Gravenites holding the front of the stage. 

In 1967, the ensemble was formed by Bloomfield shortly after leaving the Paul Butterfield Blues Band just as they were winning acclaim for their first two albums.  He was strongly assisted by Goldberg’s organizational skills.  Goldberg, a Chicago native, began as a drummer until his barrelhouse playing mother convinced him to switch to piano.  Shortly after graduating high school, Barry joined an R&B band, Robbie and the Troubadours, with whom he toured for three years.  Later, on July 25th 1965 he was part of the infamous Bob Dylan performance at the Newport Folk Festival. 

Also that year, he met the Texas-born guitarist Steve Miller, who had moved to Chicago because of the town’s wealth of Blues.  The Miller-Goldberg Blues Band was formed and maintained a year’s residency at Big John’s, putting out one single on Epic which led to a promotional spot on the TV show Hullabaloo.  The next step was a four week gig at New York’s nightclub The Phone Booth beginning December 15th, where an unreleased album Live at the Phone Booth was recorded.  Miller soon went back to Texas and it then became the Barry Goldberg Blues Band.

By 1966, when they went to Nashville to lay down the tracks to the album Blowing My Mind, the band included Charlie Musselwhite on harmonica and Harvey Mandel on guitar.  The LP didn’t do much, as Goldberg recalled, “We were playing stone Blues, but nobody knew and we were starving, so we finally broke up.”  The three were re-united for Musselwhite’s 1967 debut album, Stand Back!  Here Comes Charlie Musselwhite’s South Side Band.

In between those, Goldberg, who had been set to tour with Dylan until Bob got in a motorcycle accident, spent a few months with the Chicago Loop, including appearing on a 1966 single which also included Bloomfield and another in 1967.  Goldberg’s organ was a driving force on Mitch Ryder’s #4 single, recorded in late 1966, Devil with the Blue Dress On / Good Golly Miss Molly, and he and Michael backed Ryder on his 1967 LP What Now My Love.  Now that the Electric Flag was about to happen, Ryder was offered the vocalist spot but decided to stay with the Detroit Wheels  

Nick Gravenites was another Chicago native, growing up on the city’s South Side.  He was enrolled at the University of Chicago beginning in 1956 and soon met the sixteen-year-old harp player Paul Butterfield, who attended a nearby high school.  The two began performing as a duet in the style Sonny Terry and Brownie McGhee (Nick playing guitar).  Gravenites: “Then we got more interested in electric Blues, and we began hanging out together in black clubs and thinking we may even be able to play that stuff.”

In 1959, after receiving a small inheritance, Nick seized the opportunity to visit San Francisco where he played the coffeehouses and crashed where he could, shuttling back and forth between Chicago and S.F. until he finally made the Bay Area his home in 1965.  One evening while Butterfield was visiting, the two were playing at the Cabal coffeehouse and were heard by Elektra Records producer Paul Rothchild, who offered Butterfield a contract.  When Butterfield said he was not yet ready to commit, the other Paul gave him a card to use when the time was right.

In early 1963, Paul and Nick were together, playing at the Blind Pig in Chicago, until Butterfield got an offer to take over Bloomfield’s gig at Big John’s.  He formed a new band without Gravenites, but in early 1965 Michael and Nick formed another group which, at times, also included Musselwhite.  Unable to quite make a success of it, the band fell apart when Michael joined the Butterfield band.

Still in 1965, Gravenites was able to place two of his compositions on vinyl and included future Butterfield guitarist Elvin Bishop on one side.  Nick went on to become managing partner in a club on the North Side called the Burning Bush and put together a band to play there.  Things went well until Nick’s partner was killed in a car crash; it was then that Gravenites made the final move to San Francisco, playing gigs at the Matrix and the Jabberwock.  Then, in 1967, Gravenites signed on with the Electric Flag as songwriter and featured singer, singing two of his compositions Groovin’ is Easy and Another Country which we hear here.

I must once again express my gratitude to the compilers of the 2001 book Blues-Rock Explosion, for without it I surely would not have had almost any background on Goldberg and Gravenites.  Maybe I should just congratulate myself for having the wisdom to have bought it!

Bassist Brooks was in Bob Dylan’s band when Bloomfield had worked on the 1965 album Highway 61 Revisited, and it was his recommendation that they bring in the nineteen year old Miles, who had been drumming for Wilson Pickett.  Bloomfield had recently completed the production of a session for James Cotton and he decided then that his new band should have a horn section.  I have no idea how tenor saxist Strazza was chosen but Doubleday was referred to them by Jazz guitarist Larry Coryell.

Prior to this album, they did the soundtrack to the movie The Trip, starring Peter Fonda, Dennis Hopper, Susan Strasburg and Bruce Dern, written by Jack Nicholson and directed by Roger Corman, all about an LSD experience.  Bloomfield still wanted a baritone saxophonist and Herbie Rich came on board in time to make their first gig June 16th or 17th at 1967’s Monterey Pop Festival.  I was fortunate to be there Sunday so I know they did not play that day.

This segment is not complete and I have not even proofread it.  I ran out of time or I would have at least given a few more notes on Bloomfield, and for all of that I apologize, but it is not like this i`1``s a short read.     Enjoy the show.
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Since it is still relatively new, I thought I’d mention that KKUP is now streaming on the internet and, while it is still in a developing stage, we have been putting out the word.  I’m not all of that good with high-tech stuff, but it seems pretty easy to access.  If you go to our website at KKUP.org you will see on the home page a strip of options immediately above the pictures of the musicians the next to the last option being LISTEN ONLINE.  By clicking this, it brings up a choice of desktop or mobile.  I can only speak for the desktop but after maybe a minute I was receiving a crystal clear feed.  As already mentioned, this is still a work in progress and we are currently limited to a finite number of listeners at any one time.  I mention this so you will be aware to turn off the application when you are not actually listening.  (I put the player in my favorites bar for the easiest of access.)  Now we can reach our listeners in Los Gatos and Palo Alto, even my family in Canada.  Let your friends elsewhere know they can now listen to your favorite station, and while they have the home page open they can check out our schedule.
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Hideaway
Country Boy
Wash Out
Have You Ever Loved a Woman
San Ho-Zay
See See Baby
Just Pickin’
I’m Tore Down
Butterscotch
I Love the Woman
High Rise
You’ve Gotta Love Her with a Feeling
Sen-Sa-Shun
   Freddie King   36mins

Killing Floor
Groovin’ is Easy
Over-Lovin’ You
Texas
Wine
You Don’t Realize
Another Country
Easy Rider
   The Electric Flag   32mins

3 untitled songs
   Andy Mazzilli   JJ’s 2002   19mins

Remington Ride
Dust My Broom
It’s All Right
The Same Blues
Living on the Highway
Palace of the King
Goin’ Down
   Freddie King   28mins

Lester Leaps In
Sentimental Journey
Jay’s Boogie
I Cover the Waterfront
All Night Long
She’s Gone
Ruth’s Rock
   Joe Houston   18mins

Pinetop’s Boogie Woogie
I’m Sober Now
Pinetop’s Blues
   Clarence “Pinetop” White   9mins

Big Legged Woman
Woman Across the River
Key to the Highway
   Freddie King   15mins