May 24, 2017


Key to the Highway                     
2017-05-24                                                                                                           

Magic Sam  
Paul Butterfield Blues Band  
Luther Allison  
Michael Bloomfield                                                 
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No time for long write-ups, in fact I just got started on this show within the last 24 hours.  The upside is that I took albums I knew really well and, therefore, some of my very favorite stuff, all Chicago Blues spanning the mid-60s to the mid-70s.

Magic Sam has been one of my favorites, along with Howlin’ Wolf and Freddie King, since discovering him right after he died.  Having released singles beginning in the 50s, Sam’s first album, West Side Soul, was recorded in July and October of 1967 for Delmark Records and earned album of the year kudos for the label the year after the label had garnished the same award the previous year with Junior wells’ Hoodoo Man Blues.  My personal favorite, Black Magic, came out the next year but Sam’s life and career was cut short soon after its release.

Probably within the last decade I admitted to myself that Luther Allison had supplanted his contemporaries Sam and Freddie as my all time favorite Bluesman.  His limited earliest releases were on Delmark as well, but today we hear the best of his output for the Motown label as their first and maybe only Blues artist.  His first two albums for the Detroit Soul company, Bad News is Coming (1972) and Luther’s Blues (1974), comprise the bulk of his portion of this show.  Luther cut a third disc for the label, Night Life, but I heard either directly or through friends that it wasn’t worth wasting my time or money, but a third CD in my collection, the highly recommended Motown Years 1972-1976, has three tracks from the album included (as opposed to about half of the first and the full second release) of which we only chose That’s What Love Will Make You Do as being worthwhile for this airing.  Each of my three discs contain previously unreleased material, including our closing set of two live performances at the Ann Arbor Blues Festivals of 1972 and 1973.

What needs to be said about the Paul Butterfield Blues Band’s eponymous 1965 first album?  For me at least, they and John Mayall’s Bluesbreakers were the groups that made me look up the authors of their tunes and led to the discovery of the music I would come to love so much.  We present the entire first side of the LP and a couple of tunes from side two.

Butterfield was the harmonica playing vocalist and he had two guitarists, Elvin Bishop and Michael Bloomfield.  You hear some Bloomfield stuff from the CD Don’t Say That I Ain’t Your Man!  Essential Blues 1964-1969, three tunes from December 1964 featuring Charlie Musselwhite (there are a couple more from this session which were already presented in their Butterfield versions) followed by Albert’s Shuffle from the Super Sessios LP with Al Kooper and three live tunes from 1968 and 1969 San Francisco concerts and a studio number, Don’t Think About It from the It’s Not Killing Me album thrown in between.
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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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Mama Mama, Talk to Your Daughter
That’s All I Need
I Feel So Good (I Wanna Boogie
I Found a New Love)
Lookin’ Good
Sweet Home Chicago
   Magic Sam

Born in Chicago
Shake your Money Maker
Blues with a Feeling
Thank You Mister Poobah
I Got My Mojo Working
Mellow Down Easy
Screamin’
Last Night
Look Over Yonder’s Wall
   The Paul Butterfield Blues Band

Little Red Rooster
Raggedy and Dirty
The Stumble
Evil is Going On
Dust My Broom
Take My Love (I Want to Give It All to You)
Someday Pretty Baby
Luther’s Blues
Now You Got It
That’s What Love Will Make You Do
San Jose
   Luther Allison

I’ve Got You in the Palm of My Hand
Goin’ Down Slow
Feel So Good
Albert’s Shuffle
Mary Ann
Don’t Think About It
It Takes Time
Carmelita Skiffle
   Michael Bloomfield

Last Night I Lost the Best Friend I Ever Had
Medley: I’m Gonna Miss My Baby / Bad News Is
     Coming / The Thrill is Gone
   Luther Allison

May 10, 2017


Key to the Highway            
2017-04-12                                  

Jimmy Yancey             
Sam and Dave            
Shakey Jake Harris                                                                       
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P.L.K. Blues
South Side Stuff
Rolling the Stone
Steady Rock Blues
Yancey’s Stomp
How Long Blues
Yancey’s Getaway
   Jimmy Yancey   21mins

Soul Man
I Thank You
When Something is Wrong with My Baby
You Don’t Know What You Do to Me
Soul Sista, Brown Sugar
Soothe Me
Said I Wasn’t Gonna Tell Nobody
You Got Me Humming
Hold On!  I’m Coming
   Sam and Dave   25mins

Worried Blues
Keep a-Loving Me Baby
My Foolish Heart
Huffin’ and Puffin’
Jake’s Blues
You Spoiled Your Baby
Just Shakey
   Shakey Jake Harris   16mins

Yancey’s Bugle Call
State Street Special
Crying in my Sleep
Tell ‘em about Me
Make Me a Pallet on the Floor
La Salle Street Breakdown
   Jimmy Yancey   18mins

You Don’t Know Like I Know
I Take What I Want
I Can’t Stand Up for Falling Down
Can’t You Find Another Way
Gimme Some Lovin’
(Sitting on) The Dock of the Bay
Bring It On Home
Another Saturday Night
Summertime
Wrap It Up
   Sam and Dave   30mins

It Won’t Happen Again
Mouth Harp
Love My Baby
Jake’s Cha Cha
Easy Baby
Gimme a Smile
My Broken Heart
   Shakey Jake Harris   27mins

White Sox Jump
Five O’Clock Blues
Monkey Woman Blues
The Mellow Blues
35th and Dearborn
Shave ‘em Dry
Yancey Special
   Jimmy Yancey   21mins

April 26, 2017


Key to the Highway        

2017-04-26   Jazz                                          

Chick Webb and Ella Fitzgerald      

Mose Allison       

Octobop                                                                                                             

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With the annual KKUP Jazz Marathon beginning in two days, it gives me another excuse to indulge a little farther away from my Blues roots, although this year I have been incorporating more Jazz into my airings.  But today it is all Jazz, with the largest share going to Chick Webb and his orchestra and, since Ella Fitzgerald graces this year’s commemorative tee shirt and Chick was the one who presented the thirteen year old Ella to the world, her vocals will be heard on the bulk of that half of our show.

Pianist Mose Allison kinda straddles the fence between Jazz and the Blues.  Guess which side we will be taking today’s portion from.  We’ll get into his Blues side in a future show when I will be giving you his biography.  Suffice it to say that many thought this white man was black, read authentic, making it possible to write a song titled Ever Since I Stole the Blues.

If the name Octobop doesn’t jump out at you, it is because it is the South Bay Jazz group with whom Bill Hazzard played vibes.  You may remember Bill’s KKUP The Hazzard Zone which was firmly entrenched in the five to eight PM time slot when I began my show in 1990.  I don’t recall exactly how long I preceded Bill but it had to be at least twenty years, then the Razzberry took over the time slot.  One of my fond memories is, one year when I decided to drop Christmas cards in people’s mail slots at the station, Bill appreciated my humor in referring to him as my longest follower.

I am very fortunate to have the Razzberry after me because he will allow me to run a bit into his show.  Bill was not like that; if it ran more than about ten seconds into his show he would cut it off …. until I ended the show with a couple of Octobop tunes.  I found humor in that and so I decided last year to wind up my pre-Jazz marathon shows with a short set of Octobop.  Bill turned me on to three albums he played on so we’ll see if my memory lapses before I run out of music.

Sources vary on the year that Chick Webb was born, somewhere in the span between 1902 and 1909 (for our purposes we will use 1909 as our reference date), but all sources agree he celebrated his birthday on February 10th.  What is not in doubt is that Chick was among the top, if not the very peak, of drummers of his time.  Buddy Rich: “He represented true hipness.  His playing was original, different, completely his own.”  And Gene Krupa: “I found direction when I first heard Chick.  He changed everything around me not long after I first came to New York.  Why?  He thought in an original way and knew exactly what to do particularly in a big band.  He had style.  But there was so much beyond style.  Chick had drive and ingenuity and magnetism that drew drummers by the dozens to where he was working.  All of us in that ‘learnin’ groove’ in the 1930s were enlightened by him.”

Webb had to overcome more hurdles than the normal black musicians.  Very early on, several of his vertebrae were smashed when he was dropped on his back, allowing him to reach only four feet in height, and ultimately contracted tuberculosis of the spine.  A 1939 Downbeat article described him as “deformed, dwarfish and delicate”.  He was always in pain but found an outlet in percussion.  Enticed by the drums of a marching band he heard every week on his way to church, Chick could be found slapping out his rhythms on doorsteps, garbage cans, pots and pans, just about anything he came across that stayed still long enough.

Born William Webb in Baltimore, Chick was the youngest of three children who were raised in his grandfather’s home after his mother moved the family there.  Because of his diminutive size, he acquired the name Chick from his playmates and it stayed throughout his short life.  By the age of nine, Webb had foregone schooling and was selling newspapers, which allowed him to buy his first set of drums that he played relentlessly in his grandfather’s front room.

In 1922, when he was presumably thirteen years old, Webb became part of Brown and Terry’s Jazzola Boys, an early hot band around Baltimore that played on Chesapeake Bay’s excursion boats, where he forged a lifelong friendship with banjoist / guitarist John Trueheart.  The two left the Jazzola Boys in 1924 to head to New York City.

Now roommates in Harlem, the pair found work rather quickly with Edgar Dowell’s band at the Palace Garden Café, but that didn’t last long and Chick worked occasionally but was mostly unemployed.  He did, however, make the Monday night jams at Small’s Paradise Café as well as going down to the Band Box where musicians hung out in hopes of setting up gigs.

Despite the small number of appearances, Chick did not miss the scrutiny of some prominent players on the New York Jazz scene.  When Duke Ellington was offered a residency at the Black Bottom he could not accept because he had a commitment ar the Kentucky Club in Manhattan, he convinced Chick to put together his own five piece band for the gig.  In addition to Trueheart, Webb employed saxophonist Johnny Hodges, trumpeter Bobby Stark and pianist Don Kirkpatrick for the five month run that ended in the summer of 1926.  Ellington kept Chick working with a gig at the Paddock Club, for which the band added tenor saxist Elmer Williams and a trumpeter remembered only as Slats.  The job lasted almost ‘til the end of the year when the club was closed due to fire damage

Chick Webb and his Harlem Stompers were not shut down too long, as they began a residence at the Savoy Ballroom in January of 1927.  It was during his tenure there that they took part in a show that was dubbed the Battle of Jazz on Sunday, May 15th 1927, pitted against three of the top contemporary orchestras, those of Fletcher Henderson, King Oliver, and Fess Williams.  They must have held their own or the New York Amsterdam News would not have proclaimed that it was “difficult to determine who won this historic battle of music”.

Also while at the Savoy, the band went into Vocalion’s studio on August 25th 1927 and laid down some tracks that never went on the market.  When his contract with the ballroom expired, Chick took the band on a short tour.  Upon returning, he requested management of the Savoy to renew with a larger orchestra but the club declined.  Webb was able to get some gigs at the Strand Roof and Healy’s Balconnades, but the pickings were slim until he got a residency at the Rose Danceland at the end of 1927.

Chick made an ill-conceived decision to go on a vaudeville tour despite the Danceland offering more money to stay, but when the tour turned out to be a disaster and Webb returned to New York he discovered that the Danceland was so upset with the drop in business upon his departure that they marked him permanently persona non grata.  Unable to find gigs to keep working, his band disintegrated.  Ellington took Hodges, Stark went to Henderson, Ward Pinkett signed on with Jelly Roll Morton and Benny Carter took half the men to start his own band.

Chick was seldom able to find work, but he was now quite resigned to being a bandleader, turning down offers to join both the Ellington and the Henderson bands.  He took on more TOBA vaudeville tours which rarely turned a profit, but he had a core of musicians who stuck with him through rehearsals just waiting for things to get better.  In June of 1929, the Webb ensemble recorded two sides for Brunswick under the name The Jungle Band, a reference to the style the Ellington band was currently popularizing, with the titles Jungle Mama and Dog Bottom.  In July, Webb covered Ellington’s commitment at the Cotton Club while the Duke went on tour.

Late in 1929, Chick signed on with Moe Gale’s agency.  In addition to becoming Webb’s personal manager, Moe was the booker and part owner of the Savoy Ballroom.  Gale got the band a booking at the prestigious Roseland Ballroom which paid $1500 a month, a tidy sum at this time in the Depression.  In addition to regularly playing Roseland over the next two years, the band was also heard with some regularity at the Savoy.

An unusual turnover took place when saxophonist Russell Procope and trombonist Benny Morton moved to Fletcher Henderson’s orchestra while Benny Carter and Jimmy Harrison joined Webb at the end of March 1931.  As reported in the New York Age, “None of the musicians lost a day’s work and both principals are satisfied and think their orchestra is strengthened by this unprecedented incident”.  Not only did Carter play alto sax and clarinet for the band, he also did the arrangements of the three songs they recorded on March 30th for Brunswick.  These numbers kick off the Proper 4CD box, Stomping at the Savoy, but we don’t get into it until a few years later when Ella Fitzgerald was singing with the band.

The records had little commercial impact and in June 1931 Webb lost his gigs at Roseland.  Webb took on a booking at the Savoy Ballroom, with a substantial reduction in pay, followed by a tour of one-nighters.  When the band hit a two week dry spell in August, Carter left to take over McKinney’s Cotton Pickers with half of Chick’s orchestra joining him.  Once again, Webb had to break in a new batch of performers.

In August 1932, Chick was booked in at the Savoy.  During this stay, the band took part in a breakfast show with the orchestras of Cab Calloway and Fletcher Henderson which set an attendance record of 4600.  On December 8th 1932, the band backed Louis Armstrong on an RCA-Victor session which elevated the public’s awareness.

Early in 1933, Chick acquired a residency at the new Dixie Ballroom which was the site of the old Rose Danceland.  By August, Webb became a prime choice again at the Savoy Ballroom now that the club had ridden the storm of financial hard times and was able once again to employ the highest caliber groups.  On December 20th 1933, Chick Webb’s Savoy Orchestra was in the studio again, this time for Columbia.  Another Columbia session was held on January 15th 1934, from which I Can’t Dance (I’ve Got Ants in my Pants) climbed to #20 in the Hit Parade ratings.

Chick achieved the pinnacle of success with the May 18th 1934 recording of Stompin’ at the Savoy, becoming a big hit upon its release in June 1934 and climbing to #10 on the Hit Parade.  The song was written and arranged by Edgar Sampson, who would create the mood for much of the Webb sound as its primary arranger.  When Benny Goodman chose Sampson’s song and arrangement for his big band in 1936 (and a few months later with his quartet), it became one of the Swing era’s monster hits. 

Chick’s final session with Columbia was on July 6th 1934.  The label suffered a severe blow from the depression, so Moe Gale signed the band onto the new Decca Recording Company and, as one of the label’s earliest signees, was in their studio on September 10th 1934, followed up about six weeks later on November 19th and producing another hit (#20) in Don’t Be That Way, another Sampson number that Goodman took to even loftier heights with his larger fan base when he put out his version in 1938.  Another Swing standard from that November date, again entirely Sampson’s creation, was Blue Lou.

Webb was now on firm financial ground and was able to move to better digs, buy a car and hire a chauffeur who made the cripple’s life generally more bearable in many ways.  A 1938 Down Beat article noted, “Now followed what is in a sense the most interesting period of Chick’s career … Up until this time he had always had astoundingly good bands about which there was certainly nothing commercial.  He had a style, but it was a purely musical style and not one which would be easily recognized by the general public.  He had seen Fletcher Henderson and Duke Ellington and Cab Calloway work out their futures and he observed the manner in which business was conducted.  He began to understand that it was the finished product that mattered …”

At this point, when a singer was desired, it would be either Charles Linton or trumpeter Taft Jordan, but now Chick was urged to find a girl singer to bring in a larger mainstream following and Webb agreed.  Finding the right girl was put on Linton as he knew the club scene and his looks made him popular with the ladies.  One of the chorus girls at the M & S Theater made him aware of the seventeen year old winner of the Apollo Theater’s November 21st 1934 amateur night.  The girl had also won the January 1935 Tuesday Amateur Night at the Harlem Opera House but had no set address, so it took a few days for the chorus girl to find her for Linton.  Enter Ella Fitzgerald.

Ella chose the number that earned her the Apollo award to sing for Linton and he promptly took her to Webb.  Despite her less than great looks, the Fitzgerald voice was sufficient get a two week trial at the Savoy.  With many other musicians regularly coming to hear the band, Chick solicited their opinions.  Fletcher Henderson’s drummer Kaiser Marshall expressed it thoroughly: “You damn fool – you better take her.”  Ella’s recording debut came on June 12th 1935 with two vocals among the band’s four tune session. 

Ella’s addition increased the vocal opportunities both on stage and in studio for even the male singers in the band that had previously devoted itself mostly to instrumental Jazz.  The winter of 1935/1936 was spent at the Savoy with the exception of a week at the Apollo Theater in November.

Our show today opens with a February 9th 1936 radio transcription of Webb’s version of the classic instrumental King Porter Stomp before we get to hear the magnificent voice of Miss Fitzgerald.  Crying My Heart Out for You comes from an April 7th session as do Under the Spell of the Blues and When I Get Low I Get High, but sandwiched in there is the earlier (October 12th 1935) instrumental, Facts and Figures.  One song that was the last to be cut from today’s show, Sing Me a Swing Song (and Let Me Dance, recorded June 2nd) climbed to #18 one week in July 1936. 

After that session, the band went on a 3+ month tour, returning to New York and the Savoy Ballroom in October and the Decca studio on the 29th of the month, and we present you (If You Can’t Sing It) You’ll Have to Swing It and Swinging on the Reservation.  We close the set with Clap Hands! Here Comes Charley, an instrumental from a March 24th 1937 session.

Louis Jordan adds his alto sax as well as occasional vocals to the ensemble, but his stay was cut short when Chick decided to drastically cut his chances to sing, leading to Louis’ massively successful career with his Tympani Five.  Indeed, it was my wanting to hear Jordan’s contributions to the band that led me to the purchase of the Proper 4CD set, Stomping at the Savoy, from which all three sets of Webb material are taken.  With the exception of the Little Chicks jams, Louis appears on all tracks laid down beginning with the October 29th dates through the first tune of the final set, but not included are any of his vocals.  This is Ella’s show.

Radio broadcasts brought the mass appeal Chick had been seeking when Moe Gale convinced NBC to air nationwide Gale’s production, Good Time Society, which presented the orchestra plus Linton and Fitzgerald along with the occasional guests every Saturday.  The show brought in 5,000 fan letters weekly.  Ultimately, Chick would host a record eight shows a week including three broadcast from the Savoy Ballroom.

In 1937, the Savoy hosted Battles of the Bands where the Webb orchestra would take on significant competition and rarely lose.  Three competitions of note were February 28th being challenged by the Fletcher Henderson group, March 7th when Chick lost out to Duke Ellington and his Orchestra, and especially May 11th when the challenge from Benny Goodman brought in a Savoy record audience of over 4,000 admissions while another 5,000 were turned away.  Webb won that one, too!  One of Chick’s trumpeters, Mario Bauza, recalled, “It was a helluva night.  Do you know, Chick say, he tell everyone the night before, ne say, ‘Fellas, tomorrow is my hour, anybody that miss notes don’t look for notice, don’t come back to work!’  This was a big night.  Everybody in Benny’s band, you know, they were congratulating Chick, and Gene Krupa, Chick was like a father to Gene Krupa.”

Perhaps Louis Jordan’s first vocal charting came on his March 24th 1937 recording of Rusty Hinge for the Webb orchestra, reaching #17 on the Hit Parade.  The session also brought out some standout drumming which can be heard on our first set closer

Our second Webb set opens with a couple of instrumentals (Sweet Sue, Just You and I Got Rhythm) by Chick Webb and his Little Chicks, trimming the band down to five pieces with Chauncey Houghton’s clarinet and Wayman Carver’s flute playing over the rhythm section of Webb, bass player Beverly Peer and pianist Tommy Fulford.  Then the brass is back (trumpeters Mario Bauza, Bobby Stark and Taft Jordan, trombonists Sandy Williams and Nat Story, tenor saxist Ted McRae, alto sax man Louis Jordan and guitarist Bobby Johnson; here, Carver plays tenor sax as well as flute and Houghton plays both clarinet and alto sax), joining the Little Chicks to make up the full orchestra for Holiday in Harlem.

The band was on the road in December but returned again to the Savoy in January 1938, having another notable face-off on the 16th when they took on Count Basie and his band.  Earlier that evening, Benny Goodman performed at a special Carnegie Hall Concert, so several Jazz luminaries were in the audience.  Metronome gave Webb the victory while Down Beat saw it as a win for Basie, but everyone agreed that Ella had outshone the Count’s vocalist, Billie Holiday on this occasion.

In February, Chick moved on to Boston for a five week gig at the Flamingo Room of Levaggi’s restaurant but the reception, much from Harvard University students, was more than sufficient enough to extend the contract until May 1938.  As Down Beat noted, “Business in what is one of the worst slumps Boston night life has ever experienced is downright stupendous.  Chick himself is exciting as hell.  Ella Fitzgerald is fine, of course …  Her appeal to the public is an amazing thing.  Every time she sings she stops things cold, and if the patrons at Levaggi’s are any indication, she’s far and away the most popular songstress in the business today.”  Toward the end of the residency, Chick had to be hospitalized and had to be replaced on drums by his friend Scrippy for two weeks in April.

Returning to our set two, May 2nd 1938 brought about the recording of what would become Ella’s best-known tune, A-Tisket, A-Tasket, the highest selling release of 1938 and among the highest of the decade.  It held the #1 spot on the Hit Parade for ten weeks beginning in April and not coming down until June, winding up with over a million sales.  We also hear a great rendition of Duke Ellington’s instrumental, Azure, and I’m just a Jitterbug from the same session before we close down with Harlem Congo, another instrument that came from an earlier session back on November 1st 1937, the same date as the set opener although this number is a full orchestra piece.

Our third and final set of Chick and Ella presentations begins with a great drum tune recorded on May 3rd 1938, Liza (All the Clouds Roll Away), followed by a couple of numbers from June 9th, MacPherson is Rehearsin’ (to Swing) and Everybody Step.  Between those two sessions, the band played a week at The Apollo and a bunch of one nighters before returning to the Savoy Ballroom.  We also hear three tracks from an August 17th and 18th session, Gotta Pebble in my Shoe, I Can’t Stop Loving You and the instrumental Who Ya Hunchin’.

The band then went on a Mid-West tour including a two night stay in Kansas City, the first night for a white audience and the second for blacks, showing that Chick was a universally appreciated artist crossing over into the Pop world.  The gig in St. Louis, guaranteed at $750, was so successful that after the split the band left with an amazing $1600.  Back in New York in September, the band surpassed a five year record for the huge “whites only” Paramount Theater as the third black band to appear, preceded by only Louis Armstrong and Cab Calloway.  That same month, Chick’s manager Moe Gale had to turn down an offer to appear in a Dick Powell movie because the band was all booked up.  In December, the band was the first black act to appear at the Coconut Grove in the Park Central Hotel since Noble Sissle a number of years earlier.

Continuing on with our closing set, we hear a transcription made for NBC on January 9th 1939, the instrumental By Heck.  The orchestra followed their Coconut Grove residency with another tour, but Chick’s health was so bad that he had to frequently rest backstage due to his contracting tuberculosis of the spine. 

We moved February 17th 1939’s In the Groove at the Grove up to the fourth song of the set while, from the same date, we also hear Undecided and ‘Tain’t What You Do (It’s the Way That Cha Do It).  Chick’s final Decca date was on April 29th 1939, after which he entered Baltimore’s Johns Hopkins Hospital to take care of the fluid in his back.  The band kept working with Jesse Price, Sid Catlett or Bill Beason behind the drum kit.  Our closing number, Breakin’ ‘em Down, comes from a May 4th broadcast taken from Boston’s Southland Café as the band took up residency after Louis Armstrong moved on.

Following the Southland gig, the b and had to continue its tour with Bill Beason filling in due to Chick’s return to Johns Hopkins on June 9th, where Chick would die in his mother’s arms on June 16th 1939 at the age of 32.

This essay deals mostly with Chick Webb, but almost all of his music presented today features the vocal talent of Ella Fitzgerald, who graces this year’s KKUP Jazz marathon tee shirt.   enjoy

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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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King Poretr Stomp

Crying My Heart Out for You

Facts and Figures

Under the Spell of the Blues

When I Get Low I Get High

(If You Can’t Sing It) You’ll Have to Swing It

Swingin’ on the Reservation

Clap Hands! Here Comes Charley

   Chick Webb with Ella Fitzgerald   25mins

Ask Me Nice

Back on the Corner

Swingin’ Machine

Stop this World

I’m the Wild Man

You Can Count on me to Do My Part

If You’re Goin’ to the City

Everybody Cryin’ Mercy

Feel So Good

Your Molecular Structure

Wild Man on the Loose

   Mose Allison   27mins

Sweet Sue, Just You

I Got Rhythm

Holiday in Harlem

A-Tisket, A-Tasket

Azure

I’m Just a Jitterbug

Harlem Congo

   Chick Webb with Ella Fitzgerald   27mins

I Don’t Want Much

Western Man

The Tennessee Waltz

Ever Since the World Ended

Top Forty

Josephine

You Call it Joggin’

Gettin’ There

The Getting’ Paid Waltz

Big Brother

   Mose Allison   37mins

Liza (All the Clouds’ll Roll Away)

MacPherson is rehearsin’ (to Swing)

Everybody Step

In the Groove at the Grove

Gotta Pebble in my Shoe

I Can’t Stop Lovin’ You

Who Ya Hunchin’?

By Heck

Undecided

‘Tain’t What You Do (It’s the Way That Cha Do It)

Breakin’ ‘em Down

   Chick Webb with Ella Fitzgerald   34mins

Westwood Walk

Playboy Theme

Broadway

   Octobop   13mins

March 29, 2017


Key to the Highway                            
2017-03-29                                                                                                                  

Big Maceo     
Lionel Hampton     
Luther Allison     
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March 31st was my mother’s birthday.  She passed away in 2014 at the age of 93, so around this time of year the amount that she is on my mind increases and the past couple of years I have chosen to try to do a show which has at least a taste of the music that she enjoyed.  Big Band Swing was what was popular in her teens and, since that is usually the age that nostalgia is formed, it was always the music that she most enjoyed.  Her exposure was mostly to white artists but, since I know she loved Benny Goodman’s orchestra, I’m sure she also enjoyed his black vibraphonist Lionel Hampton.  He is included here today as well as Big Maceo, who was also born on March 31st and, since I felt the show needed a Blues guitarist, I went for the best with a small selection from my favorite, Luther Allison.
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Big Maceo Merriweather was probably the most influential factor in the development of the postwar urban Blues piano.  Even though he didn’t get into a recording studio until 1941when he was 36 years old and only had twenty-eight tracks listed under his own name.  Born Major Meriweather (for some reason he added an extra R to his surname) on March 31st 1905 to parents Christopher “Kit” and Ora, the youngest son and maybe the youngest of all their eleven children.  Both his parents and all the siblings were born in Newnan, Georgia, and Major was raised on a farm just outside Newnan, 39 miles west of Atlanta.  While there were no instrumentalists in the family, his brother Roy remembers, “We were all singers, gifted to sing by my father.  My daddy was always singing when he came home from work. When he came home from the fields he get his book out – his singing book – and he say, ’Come on boy, come and help me out.’”

His brother Roy again, who was a Reverend: “He couldn’t play a piano in the country but he began playing in College Park.  Maceo didn’t start in church though he was a church member. … he started in a ‘restaurant’ or some kind of joint they called it, you know.”  His wife Rossell “Hattie Bell” Spruel recalled it similarly.  He started playing just in somebody’s house, started playing for a lady named Roxy and he’d work for her so she’d let him . . . play y’know.”

Roy: “He played by ear.  I know he trained himself ‘cause y’know by practicing with other people. … He went around these joints where piannas was sitting around and people liked to dance and like to say anybody start a little music they start to stomping and, ‘Sing that thing, boy – Go ahead.’ … he played while he sing, Maceo. … and they’d have him to come back every night and play some more.  ‘Cause they didn’t have many famous around College Park.”

By 1923, two of the older siblings, Guy Lee and Odessa, were living in Detroit and convinced Roy to move his wife and family there also.  Major would follow the next year.  Roy: “He went around and played for houses y’know where people sell whiskey and stuff like that.”  The Reverend Roy did not consider enjoying Maceo’s music a conflict with his religion and Maceo would often play the piano in Roy’s Detroit home and Roy would even go to hear him at the clubs.  It was in Detroit that he acquired his moniker, Maceo being a mispronunciation of Major and Big … well, Roy tells us, “Major was six foot four, I believe – looked like a big bear!  He weighed about 256.”

Hattie speaks about when she had a house where they sold alcohol in Detroit: “That’s where I met him.  He used to come to my house all the time and I’d give him money and the rest used to give him whiskey.  And I told him don’t take no whiskey, don’t play yourself cheap.  Don’t bring no whiskey or no wine ‘cause you soon be a whiskey-head or a wine-head and you won’t get no place.”  He was able to keep a job outside music in tough times.  “He was the man that walked the track and when times was bad he was a handyman, when times was good he worked everywhere – he always kept a job.  He worked at Fords and he worked all over.”

Kit was hit by a truck and died in 1926, so Roy brought their mother back to stay with his family in Detroit, but soon they all moved to Dayton, Ohio, where another sister lived and they lost touch with Maceo. 

It was difficult to get recorded in Detroit so Maceo went off to Chicago, where he met guitarists Tampa Red and Big Bill Broonzy.  It was Red who introduced him to Lester Melrose, by far the most influential producer of race music at the time.  Maceo’s first day in the studio was a long one when, on Tuesday, June 24th 1941, he first backed Red on eight tracks and then the two of them laid down six more released under Maceo’s name.  Melrose had a formula for many of his recordings, referred to as the Bluebird sound for the record label, usually including Jazz-based pianists, but Maceo went against that mould with his strong, straight-ahead Blues styling.  Being left-handed, he also possessed an unusually strong bassline.

Maceo cut another six sides of his own on December 19th and in February 1942 supported Red again for another eight tunes.  He was in the studio again on July 28th for four more of his songs, but the Petrillo ban closed down all commercial recording beginning around August 1942.  While taking these many excursions to Chicago, Merriweather was still living in Detroit so never lost his popularity on the local house-rent party circuit and having been put to platter did nothing to hurt that.  Maceo’s popularity kept him working in clubs and he also made tours as far away as Tennessee and Atlanta.  Still, without new recordings, things got rough towards the end of 1944, but in December the union ban was lifted.

Maceo had been playing more with Big Bill Broonzy while in Chicago.  Broonzy: “The first night we played, Big Maceo rocked the house and I didn’t have to sing but one or two songs.”  They became a trio with the addition of drummer Tyrell “Little T” Dixon, then expanding further with bassist Little Joe and saxophone player Buster Bennett.  In February, Big Bill brought them all but Little Joe into the studio for a twelve track session.

A few days later, on February 26th, Maceo was back in session backed by Tampa Red and Little T on at least four numbers.  Merriweather had two more sessions of his own on July 5th and October 19th, but by this time the Broonzy group had disbanded so Maceo took on another tour.  Upon returning to Chicago he gigged again with Red and they also went into the studio.  A session backing John Lee “Sonny Boy” Williamson followed that and in February 1946 another taping with Red.

In mid-1946 while in Milwaukee, Maceo suffered a stroke which would leave him paralyzed on his right side.  Hattie sent their daughter Majorette to live with an aunt while she headed to Chicago to tend to her husband, returning to Detroit often enough to take care of the house.  As Maceo recovered somewhat he was able to go into the studio again in February of 1947, but it was the piano of Eddie Boyd that would back his four vocals.  Melrose was not impressed and let Merriweather go.

Maceo got another session from Art Rupe who was referred to him when he came to Chicago looking for new artists for his Specialty Records.  This time, it was one of Maceo’s protégées who played the piano in April of 1948.  The big man had showed the ropes beginning back in January 1946 to Johnnie Jones, who would make himself a solid career highlighted by his time with Elmore James, made an excellent showing in his mentor’s style.

But Maceo was still miserable as shown by this note sent off to Hattie during one of her trips back to Detroit.  “I got a little job trying to get my hand and legs like they was I am praying for them to get well so I can be Big Maceo again.”

Still, Maceo was able to get road bookings and, beginning in January 18th 1950, he played in Bowling Green, Kentucky leading to Knoxville, Tennessee, and winding up in New Orleans on February 10th.  But back in Chicago in August there wasn’t really enough money coming in to keep up with the bills.  By 1952 he had joined forces with guitarist John Brim and his harmonica playing wife Grace, and they went with him to Detroit.  It was back home that Maceo cut his last session as another pianist played the right hand while Merriweather provided the left.  On the morning of February 26th 1953, Maceo succumbed to his last heart attack and was interred in Detroit on March 3rd.  His grave remained unmarked until the White Lake Blues Festival in Whitehall, Michigan, on May 3rd 2008 raised the money to provide a tombstone that June.  Big Maceo was inducted into the Blues Hall of Fame in 2002.
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The vibraphone is not a common instrument, in fact I can only think of three immediately off hand, and one of those wouldn’t have been known outside the Bay Area, that being Bill Hazzard whose show on KKUP followed mine for twenty-some years and played in the Jazz band Octobop.  Another Bay Area DJ, although considerably better known through his own recordings, would be Johnny Otis, who I believe took up the instrument after the drums became a little too rigorous to handle, although I should double check that assumption sometime when I have the time.  That brings us to our featured artist today, Lionel Hampton, easily the best-known practitioner of the instrument.  Similar to Otis, Hampton first played the drums professionally, but Lionel wound up making his reputation on the vibes as well as playing piano, singing, and arranging and composing.

Lionel moved around quite a bit in his youth, being born in Louisville, Kentucky on April 20th 1908.  Even before his father, who was a singer and pianist, was killed in World War I, his mother had taken Lionel to live with her parents in Birmingham, Alabama until 1916 when his grandfather, a railroad fireman, was transferred to Chicago.  Deeming that the gangs made the city unsafe for the youth, his family decided to send him to the Holy Rosary Academy in Kenosha, Wisconsin, where he learned the rudiments of the snare drum. 

In 1919, the lad returned to Chicago and was entered in the Saint Monica School where he joined the Chicago Defender’s Newsboys’ Band and learned to play timpani and marimba, ultimately taking over the snare drum duties in the marching band when Sid Catlett, who would go on to become one of the better-known Jazz drummers of his time, departed the band which was sponsored by the most-read Black newspaper across the nation.  In 1923 his uncle Richard Morgan, who would later be one of Bessie Smith’s lovers, bought Lionel his first drum set.  Hamp was enamored of the flashy drummer Jimmy Bertrand, who also played xylophone, and Lionel would later be occasionally tutored by his first idol.  He continued his education at Chicago’s St. Elizabeth High School and moved with his family to California in 1927.

Saxophonist Les Hite, veteran of several Midwest territory bands, had moved to Los Angeles and wanted Hamp to sit behind the drums in his new band but, in the interim as Hite \was filling out the personnel, Lionel performed with the bands of Curtis Mosby, Vernon Elkins, Reb Spikes and, most notably, Paul Howard’s Quality Serenaders.  It was with the nine-piece Serenaders that Hampton first recorded in 1929, playing drums and piano in his two fingered style which he perfected as time went on.

Hite’s group was finally assembled and Lionel joined them to open their residency at Frank Sebastian’s Cotton Club in Culver City, where they sometimes backed visiting artists including the Mills Brothers.  Their material was strongly based on the music of Duke Ellington, and McKinney’s Cotton Pickers.  When Ellington’s band was at the MGM studio across the street from the club filming Check and Double Check, they made a guest appearance at Sebastian’s club and the owner told them, “Man, your band better rehearse some new repertoire.  All your band plays is my boys’ stuff.”

When Louis Armstrong played at Sebastian’s, he heard Hamp playing Satchmo’s trumpet line to Song of the Islands on orchestra bells and requested that he join his band on the instrument for their performance.  Armstrong was impressed with the entire Hite ensemble and took them into the studio as the New Sebastian’s Cotton Club Orchestra on October 16, 1930.  There, Armstrong pointed out a set of vibraphones and asked Lionel if he could play them.  “Well, you know, I’ve been playing the bells behind you, and it’s got the same keyboard, only bigger.”  And so Hampton’s first day on the vibes was heard on the recording Memories of You.

It was during Armstrong’s nine month stay at Sebastian’s that Hampton’s life took on a new sense of direction with the introduction to dancer Gladys Riddle.  Not only would she become his wife, but Gladys would also take over handling his business matters.  It was she who bought him his first set of vibes and suggested he attend the University of Southern California to strengthen his understanding of music theory.  Now wanting to play more vibes than drumming and feeling ready to put together his own band, two months after Armstrong’s gig at Sebastian’s Lionel left the Hite band.

Hampton’s new group spent the early thirties touring the West Coast until 1936 when he took on a residency at the Paradise Club in Los Angeles.  Throughout that time, the Hampton band at varying times contained such artist as Don Byas, Tyree Glenn, and Buck Clayton.  It was at the Paradise that clarinetist / bandleader Benny Goodman went to check out the group and sat in with them on stage, returning the next evening with the other two members of his trio, pianist Teddy Wilson and drummer Gene Krupa, who were equally impressed and on August 21st 1936 the inclusion of Lionel and his vibes made it a quartet, later to be expanded again with guitarist Charlie Christian.  In the four years he spent with Goodman’s small groups, he would also sit on the drum stool occasionally with the full orchestra.  It should be noted that this was the first racially integrated Jazz group of any importance, with only Goodman and Krupa of these five being white.

Hampton’s recognition grew quickly and was rewarded in 1937 by a contract of his own with Victor.  He would cut 91 tracks between February 8th 1937 and April 8th 1941, with the freedom to choose whomever he wished on the sessions, most often employing members of the tightest ensembles around such as those of Count Basie, Duke Ellington, Cab Calloway and Earl “Fatha” Hines, not to mention the Goodman guys.  While with Victor, he almost exclusively referred to his band as an orchestra (judging from the 25 tracks on disk one of the Proper 4CD set which all our music today and most of the information for these notes), it was comprised of Hamp and between four and seven others.

Hamp tells us how, in 1940, “Doctors told Benny he had to retire, so Benny told me he would back me if I went out and started my own band.  I just followed Benny’s example of how to build a dance book and conduct a dance band.  I got my basic training from Benny Goodman.”  By September 1940, the Hampton ensemble was ready for its performing debut.  Even though most of the Big Bands were on the wane, Lionel acquired a recording contract with Decca Records in time to hold their first session on December 24th 1941 and stayed with them for ten years. 

Following a couple of Decca sessions, Hamp hit the mark in his May 26th recording of Flying Home.  He had written the song in 1939 along with Goodman for their sextet and recorded it the next year with Benny’s tentet for Victor, but it was this Big Band version that really made it.  Tenor saxman Illinois Jacquet’s solo is the standout portion of the tune, but the entire seventeen piece orchestra made it swing.  We open our final Hampton set with this and its B-side, In the Bag, from the same session which most notably included Jack McVea on bari sax and pianist Milt Buckner.  There was a later live recording of Flying Home which, if memory serves me, included Hampton and Jacquet joined by pianist Nat “King” Cole and guitarist Les Paul (I cannot recall the rest of the small group) which has possibly become the version history recalls most and is written up in a book which asks the question what was the first Rock recording and proposes fifty tunes.  A very interesting book but, again, the exact title escapes me. 

The Petrillo ban of 1942 and 1943 put a dent in everyone’s recording careers and it wasn’t until March 2nd of 1944 that Hampton would see the inside of a sound studio again.  His orchestra saw significant personnel changes during the almost two year period and only two men from the 1942 session, Buckner and trombonist Fred Beckett, were on hand for this date, but significant newcomers to the seventeen man group were Arnett Cobb on tenor sax and Earl Bostic on alto.  Dexter Gordon had been part of the orchestra during the interim but was now well on his way to becoming arguably the best tenor man on the Bebop scene.  We have three takes from the session represented here, Hamp’s Boogie Woogie and its flip side Chop-Chop and Flying Home No. 2.

Next up is an Armed Forces Radio Service’s Jubilee Show recording from the summer of 1944, which were not commercially available but broadcast for our G.I.s, of an oft-requested tune that Hamp only released in 1958 on a German label, The Mess is Here. 

A pair of tunes from the October 16th taping are next, Overtime and Tempo’s Boogie.  The show is wound down with a lengthier tune which appeared on V-disc (over five minutes while commercial singles were only about three) recorded January 22nd 1945, Screamin’ Boogie.

In recognition of the orchestra’s winning Esquire magazine’s annual critic’s poll in the category of New Star, the band went to Carnegie Hall to take part in The All American Award Concert on April 15th 1945 where they were joined by Dinah Washington on Evil Gal Blues and another Esquire winner, Dizzy Gillespie, when they played Red Cross.  We’ll likely hear them and the third selection, Hamp’s Blues, in future, too.  Washington was back with a smaller septet session on May (perhaps April) 21st.  The ensemble wound up a very good year with a December 1st 1945 session which created what would become Hampton’s biggest hit, Hey! Ba-ba-re-bop.

The first recordings of 1946 brought singer Bing Crosby into the studio for his rendition of the Blues classic, Pinetop’s Boogie Woogie, on January 21st, followed quickly the last three days of the month beginning with a full orchestra session, then two days of quartet recording.

Jumping ahead to August 6th 1947, we get to the first two numbers that opened our second Hampton set, 3 Minutes on 52nd Street and Hamp’s Got a Duke, the latter referring to trumpeter Duke Garette.  For a while now, the orchestra had employed two bass players and, beginning with the November 3rd 1947 session from which we take Goldwyn Stomp, Charles Mingus is one of that pair.  The same players are there one week later and we have culled Hawk’s Nest, Mingus Fingers, and Midnight Sun from its releases.

Hamp is back in the studio four days later, making it a busy November as the record companies tried to catch as many sessions as they could in anticipation of the second Petrillo ban, for a small combo rendition of Cherokee.  Mingus is the sole bass player but Lionel employs two drummers on the tune, but the notable names on Chicken Shack Boogie and Benson’s Boogie, recorded January 24th 1949, are guitarist Wes Montgomery and one of the great Boogie Woogie pianists, Albert Ammons, as these three numbers close our opening set.

But we opened the show with a couple more boogies as anything with that in the title had a good chance of success in the late forties.  Beulah’s Sister’s Boogie, Hamp’s Boogie Woogie No. 2 and Wee Albert all came from the January 28th 1948 date which still had Ammons and Montgomery but this time in a full orchestra setting.  Hampton brought in the full crew again for his April 26th 1949 session but trimmed his backing down to Montgomery’s guitar, Earl Walker’s drums and Roy Johnson’s electric bass, an instrument which would remain backing Hampton from then on, as they laid down Moonglow.

Another instrument variation came in a May 10th 1949 session when Doug Duke played electric organ in an orchestral setting (I don’t quite understand the meaning of this because it is only an eight piece ensemble, but Proper felt it significant) as the band provides a rollicking end to today’s middle Hampton set on the number Lavender Coffin with Sonny Parker sounding like an old-time preacher complete with the congregation clapping.  As close to the end of the 40’s as you could get, the orchestra recorded another big hit, Rag Mop, on December 29th of 1949.

In 1951, Hamp took one of his largest orchestras to Europe and was on his way to becoming one of Jazz’s best goodwill ambassadors to the world through consistent international touring.  His popularity never waned through the sixties and he expanded his talents as he started his own publishing company and record label in the seventies.  He also established the Lionel Hampton Development Corporation which built a couple of multi-million dollar apartments among their efforts.  In the mid-eighties he received a doctorate from Pepperdine University and became involved in political issues he found worthwhile.  His Big Band toured into the nineties.
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As I mentioned in this post’s preamble (doesn’t that make this document sound important? More truthfully, perhaps I should have said pre-ramble), Luther Allison is my favorite Bluesman, not just guitarist, because the timbre of his voice is just as strong a part of the decision having surpassed Magic Sam.  It took a long time to come to that conclusion, but had Sam’s career not been cut so ridiculously short and Luther’s go on an extra three decades, Sam might still be number one but that is all moot.  It is hard for me to grasp because by the time I became familiar with Luther Sam had already died, but indeed they were contemporaries as Luther was only two and a half years younger than Sam.  I first came across Luther with his two tracks on the Delmark LP Sweet Home Chicago (plus two behind his bass player, Big Mojo Elem, all recorded on March 8th 1967) which I bought because Sam had four tracks on it.  I knew right away this was someone I wanted to hear more of.  I am not going to try to put together a full biography of the man I admire so much, especially since I had two other bios to write in the one week since my last show, but I will give it a beginning as it pertains to today’s entries.

I mentioned the Delmark various artists LP, but an earlier recording was unearthed by his son Bernard and released a decade ago on Ruf Records (the label Bernard was recording on) with the title Underground.  As Bernard says, “I look at this as discovering something like Robert Johnson’s lost songs. I think a lot of Luther’s fans are going to be so amazed at what he was playing at 18.”

The session took place in the Wonderland Records studio in 1958   At the time, Luther was playing in the band of Bobby Rush, who had access to the studio and gave Allison the opportunity to lay down some tracks on his own.  In addition to Luther’s vocals and guitar and Bobby’s bass were drummer Robert Plunkett and second guitarist Bobby King.  From the session, about a half hour was chosen to put on a demo disc, but the pressing would languish on Bernard’s mother’s shelf for five decades.

The set opens up with Freddie King’s instrumental Hideaway which he didn’t record until 1960, so this shows Freddie was playing it around the Chicago clubs for more than a year before its release and this is likely the song’s first recording.  Another tune in the set is You Can Take My Love which obviously stayed with Luther as it can be found on the CD/DVD Songs from the Road, listed as You Can, You Can, from a July 4th 1997 concert in Montreal just before he died in August.

When next we visit Luther it opens with one of the tunes from the Sweet Home Chicago album, Gotta Move On Up.  Here is another Magic Sam connection; it was Sam’s uncle, harmonica player Shakey Jake Harris, and producer Bill Lindemann that had recorded all the material on this album and eventually brought it to Delmark for publication and distribution.  Delmark was interested in Luther, but by the time they heard these tunes he had moved on to Los Angeles and Delmark, being a pretty new company, could not afford to record him in L.A.  Luther did a lot of gigging and provided backup for some of the artists on the short-lived World Pacific Blues series, but soon Luther returned to Chicago and signed on with Delmark.  He only put out one album for them, Love Me Mama, and it is six tracks from that which conclude the set.

I don’t think I had that album until some time after its release so, after The Sweet Home Chicago teaser, it was from his albums on the Gordy label that my love of his Blues was entrenched.  Gordy was a subsidiary of Motown (Luther was the first if not only Blues artist the Detroit-based label recorded) but it was a mixed blessing because not many Blues fans would look to Motown.  I had two of the three albums on vinyl and later added them and part of the third on CD, but not many others made the purchase.  Disappointed, Luther moved to Europe as so many black musicians have done and continued to record, but little made it to American record bins.

I am proud to say that when I came to KKUP I kept asking what happened to this man and was ultimately rewarded when he signed with Alligator Records in the nineties and, while still living in Paris, put out albums that won him some Handy Awards including, as I recall, two for Blues Musician of the Year, but that is all for another day.  Enjoy
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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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Beulah’s Sister’s Boogie
Hamp’s Boogie Woogie No. 2
Wee Albert
Moonglow
Cherokee
Chicken Shack Boogie
Benson’s Boogie
   Lionel Hampton   22mins

Hideaway
Don’t Start Me Talking
Easy Baby
You’re Gonna Miss Me
Take My Love
Rock Me Baby
   Luther Allison   18mins

Chicago Breakdown
Worried Life Blues
County Jail Blues
Ramblin’ Mind Blues
Can’t You Read
Some Sweet Day
So Long Baby
Texas Blues
My Own Troubles
Maceo’s 32-20
Texas Stomp
Detroit Jump
Big Road Blues
Kidman Blues
   Big Maceo   40mins

3 Minutes on 52nd Street
Hamp’s Got a Duke
Goldwyn Stomp
Hawk’s Nest
Mingus Fingers
Midnight Sun
Lavender Coffin
   Lionel Hampton   21mins

Gotta Move On Up
Why I Love the Blues
Help Me
Dust My Broom
Every Night about this Time
Love Me Mama
4:00 O’clock in the Morning
   (Waiting on You)
   Luther Allison   24mins

Flying Home
In the Bag
Chop-Chop
Hamp’s Boogie Woogie
Flying Home No. 2
The Mess is Here
Overtime
Tempo’s Boogie
Screamin’ Boogie
   Lionel Hampton   31mins