Big Joe Turner
Joseph Vernon "Big Joe" Turner Jr. was an American blues shouter from Kansas City, Missouri. According to songwriter Doc Pomus, "Rock and roll would have never happened without him." His greatest fame was due to his rock-and-roll recordings in the 1950s "Shake and Roll", but his career as a performer endured from the 1920s into the 1980s. Turner was inducted into the Rock and Roll Hall of Fame in 1987, with the Hall lauding him as "the brawny voiced'Boss of the Blues'". Turner was born May 1911 in Kansas City, his father was killed in a train accident. He sang in his church, on street corners for money, he left school at age fourteen to work in Kansas City's nightclubs, first as a cook and as a singing bartender. He became known as "The Singing Barman", worked in such venues as the Kingfish Club and the Sunset, where he and his partner, the boogie-woogie pianist Pete Johnson, became resident performers; the Sunset was managed by Piney Brown. It featured "equal" facilities for white patrons. Turner sang it throughout his career.
At that time Kansas City nightclubs were subject to frequent raids by the police. We'd sign our names and walk right out. We would cabaret until morning."His partnership with Johnson proved fruitful. Together they went to New York City in 1936, where they appeared on a playbill with Benny Goodman, but as Turner recounted, "After our show with Goodman, we auditioned at several places, but New York wasn't ready for us yet, so we headed back to K. C." They were seen by the talent scout John H. Hammond in 1938, who invited them back to New York to appear in one of his From Spirituals to Swing concerts at Carnegie Hall, which were instrumental in introducing jazz and blues to a wider American audience. In part because of their appearance at Carnegie Hall and Johnson had a major success with the song "Roll'Em Pete"; the track was a collection of traditional blues lyrics. It was a song that Turner recorded many times, over the ensuing years. In 1939, along with the boogie-woogie pianists Albert Ammons and Meade Lux Lewis, they began a residency at Café Society, a nightclub in New York City, where they appeared on the same playbill as Billie Holiday and Frankie Newton's band.
Besides "Roll'Em, Pete", Turner's best-known recordings from this period are "Cherry Red", "I Want a Little Girl" and "Wee Baby Blues". "Cherry Red" was recorded in 1939 for the Vocalion label, with Hot Lips Page on trumpet and a full band in attendance. During the next year Turner contracted with Decca and recorded "Piney Brown Blues" with Johnson on piano. In 1941, he performed in Duke Ellington's revue Jump for Joy in Hollywood, he appeared as a singing policeman in a comedy sketch, "He's on the Beat". Los Angeles was his home for a time, during 1944 he worked in Meade Lux Lewis's Soundies musical movies, he sang on the soundtrack recordings but was not present for filming, his vocals were mouthed by the comedian Dudley Dickerson for the camera. In 1945 Turner and Pete Johnson established the Blue Moon Club, a bar in Los Angeles. In 1945, he signed a recording contract with National Records, for which he recorded under the supervision of Herb Abramson, his first hit single was a cover of Saunders King's "S.
K. Blues", he recorded the songs "My Gal's a Jockey" and the risqué "Around the Clock" the same year, Aladdin Records released "Battle of the Blues", a duet with Wynonie Harris. Turner stayed with National until 1947. In 1950, he recorded released by Freedom Records. Turner made many albums with Johnson, Art Tatum, Sammy Price, other jazz groups, he recorded for several record companies. He performed with the Count Basie Orchestra. During his career, Turner was part of the transition from big bands to jump blues to rhythm and blues to rock and roll, he was a master of traditional blues verses, at Kansas City jam sessions he could swap choruses with instrumental soloists for hours. In 1951, while performing with the Count Basie Orchestra at Harlem's Apollo Theater as a replacement for Jimmy Rushing, he was spotted by Ahmet and Nesuhi Ertegün, who contracted him to their new recording company, Atlantic Records. Turner recorded a number of successes for them, including the blues standards, "Chains of Love" and "Sweet Sixteen".
Many of his vocals are punctuated with shouts to the band members, as in "Boogie Woogie Country Girl" and "Honey Hush". Turner's records reached the top of the rhythm-and-blues charts; some of his songs were so risqué that some radio stations refused to play them, but they received much play on jukeboxes and records. Turner had great success during 1954 with "Shake and Roll", which boosted his career, turning him into a teenage favorite, helped to transform popular music. During the song, Turner yells at his woman to "get outta that bed, wash yo' face an' hands" and comments that she's "wearin' those dresses, the sun comes shinin' through! I can't believe my eyes, all that mess belongs to you." He sang it on film for Blues Revue. Although the cover version of the song by Bill Haley & His Comets, with the risqué lyrics omitted, was a greater sales success, many listeners sought out Turner's version and were introdu
David Roy Eldridge, nicknamed "Little Jazz", was an American jazz trumpet player. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the dominant style of jazz trumpet innovator Louis Armstrong, his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop. Eldridge was born on the North Side of Pittsburgh, Pennsylvania on January 30, 1911, to parents Alexander, a wagon teamster, Blanche, a gifted pianist with a talent for reproducing music by ear, a trait that Eldridge claimed to have inherited from her. Eldridge began playing the piano at the age of five; the young Eldridge looked up to his older brother, Joe Eldridge because of Joe's diverse musical talents on the violin, alto saxophone, clarinet. Roy took up the drums at the age of six, playing locally. Joe recognized his brother's natural talent on the bugle, which Roy played in a local church band, tried to convince Roy to play the valved trumpet.
When Roy began to play drums in his brother's band, Joe soon convinced him to pick up the trumpet, but Roy made little effort to gain proficiency on the instrument at first. It was not until the death of their mother, when Roy was eleven, his father's subsequent remarriage that Roy began practicing more rigorously, locking himself in his room for hours, honing the instrument's upper register. From an early age, Roy lacked proficiency at sight-reading, a gap in his musical education that would affect him for much of his early career, but he could replicate melodies by ear effectively. Eldridge led and played in a number of bands during his early years, moving extensively throughout the American Midwest, he absorbed the influence of saxophonists Benny Carter and Coleman Hawkins, setting himself the task of learning Hawkins's 1926 solo on "The Stampede" in developing an equivalent trumpet style. Eldridge left home after being expelled from high school in ninth grade, joining a traveling show at the age of sixteen.
He was picked up by the "Greater Sheesley Carnival," but returned to Pittsburgh after witnessing acts of racism in Cumberland, Maryland that disturbed him. Eldridge soon found work leading a small band in the traveling "Rock Dinah" show, his performance therein leading swing-era bandleader Count Basie to recall young Roy Eldridge as "the greatest trumpet I'd heard in my life." Eldridge continued playing with similar traveling groups until returning home to Pittsburgh at the age of 17. At the age of 20, Eldridge led a band in Pittsburgh, billed as "Roy Elliott and his Palais Royal Orchestra", the agent intentionally changing Eldridge's name because "he thought it more classy." Roy left this position to try out for the orchestra of Horace Henderson, younger brother of famed New York City bandleader Fletcher Henderson, joined the ensemble referred to as The Fletcher Henderson Stompers, Under the Direction of Horace Henderson. Eldridge played with a number of other territory bands, staying for a short while in Detroit before joining Speed Webb's band which, having garnered a degree of movie publicity, began a tour of the Midwest.
Many of the members of Webb's band, annoyed by the leader's lack of dedication, left to form a identical group with Eldridge as bandleader. The ensemble was short-lived, Eldridge soon moved to Milwaukee, where he took part in a celebrated cutting contest with trumpet player Cladys "Jabbo" Smith, with whom he became good friends. Eldridge moved to New York in November 1930, playing in various bands in the early 1930s, including a number of Harlem dance bands with Cecil Scott, Elmer Snowden, Charlie Johnson, Teddy Hill, it was during this time that Eldridge received his nickname,'Little Jazz', from Ellington saxophonist Otto Hardwick, amused by the incongruity between Eldridge's raucous playing and his short stature. At this time, Eldridge was making records and radio broadcasts under his own name, he laid down his first recorded solos with Teddy Hill in 1935, which gained immediate popularity. For a brief time, he led his own band at the reputed Famous Door nightclub. Eldridge recorded a number of small group sides with singer Billie Holiday in July 1935, including "What a Little Moonlight Can Do" and "Miss Brown to You", employing a Dixieland-influenced improvisation style.
In October 1935, Eldridge joined Fletcher Henderson's Orchestra, playing lead trumpet and singing. Until he left the group in early September 1936, Eldridge was Henderson's featured soloist, his talent highlighted by such numbers as "Christopher Columbus" and "Blue Lou." His rhythmic power to swing a band was a dynamic trademark of the jazz of the time. It has been said that "from the mid-Thirties onwards, he had superseded Louis Armstrong as the exemplar of modern'hot' trumpet playing". In the fall of 1936, Eldridge moved to Chicago to form an octet with older brother Joe Eldridge playing saxophone and arranging; the ensemble boasted nightly broadcasts and made recordings that featured his extended solos, including "After You've Gone" and "Wabash Stomp." Eldridge, fed up with the racism he had encountered in the music industry, quit playing in 1938 to study radio engineering. He was back to playing in 1939, when he formed a ten-piece band that gained a residency at New York's Arcadia Ballroom.
In April 1941, after receiving many offers from white swing bands, Eldri
Louis Daniel Armstrong, nicknamed Satchmo and Pops, was an American trumpeter, composer and occasional actor, one of the most influential figures in jazz. His career spanned five decades, from the 1920s to the 1960s, different eras in the history of jazz. In 2017, he was inducted into the Rhythm & Blues Hall of Fame. Armstrong was raised in New Orleans. Coming to prominence in the 1920s as an "inventive" trumpet and cornet player, Armstrong was a foundational influence in jazz, shifting the focus of the music from collective improvisation to solo performance. Around 1922, he followed Joe "King" Oliver, to Chicago to play in the Creole Jazz Band. In the Windy City, he networked with other popular jazz musicians, reconnecting with his friend, Bix Beiderbecke, made new contacts, which included Hoagy Carmichael and Lil Hardin, he earned a reputation at "cutting contests", relocated to New York in order to join Fletcher Henderson's band. With his recognizable rich, gravelly voice, Armstrong was an influential singer, demonstrating great dexterity as an improviser, bending the lyrics and melody of a song for expressive purposes.
He was very skilled at scat singing. Armstrong is renowned for his charismatic stage presence and voice as much as for his trumpet playing. Armstrong's influence extends well beyond jazz, by the end of his career in the 1960s, he was regarded as a profound influence on popular music in general. Armstrong was one of the first popular African-American entertainers to "cross over", that is, whose skin color became secondary to his music in an America, racially divided at the time, he publicly politicized his race to the dismay of fellow African Americans, but took a well-publicized stand for desegregation in the Little Rock crisis. His artistry and personality allowed him access to the upper echelons of American society highly restricted for black men. Armstrong stated that he was born on July 4, 1900. Although he died in 1971, it was not until the mid-1980s that his true birth date, August 4, 1901, was discovered by Tad Jones by researching baptismal records. At least three other biographies treat the July 4th birth date as a myth.
Armstrong was born in New Orleans on August 4, 1901 to William Armstrong. Albert was from Boutte and gave birth at home when she was about sixteen. William Armstrong abandoned the family shortly after. About two years he had a daughter, Beatrice "Mama Lucy" Armstrong, raised by Albert. Louis Armstrong was raised by his grandmother until the age of five when he was returned to his mother, he spent his youth in poverty in a rough neighborhood known as The Battlefield. At six he attended the Fisk School for Boys, a school that accepted black children in the racially segregated system of New Orleans, he did odd jobs for a family of Lithuanian Jews. While selling coal in Storyville, he heard spasm bands, groups that played music out of household objects, he heard the early sounds of jazz from bands that played in brothels and dance halls such as Pete Lala's, where King Oliver performed. The Karnoffskys treated him like family. Knowing he lived without a father, they nurtured him. In his memoir Louis Armstrong + the Jewish Family in New Orleans, La. the Year of 1907, he described his discovery that this family was subject to discrimination by "other white folks" who felt that they were better than Jews: "I was only seven years old but I could see the ungodly treatment that the white folks were handing the poor Jewish family whom I worked for."
He wore a Star of David pendant for the rest of his life and wrote about what he learned from them: "how to live—real life and determination." His first musical performance may have been at the side of the Karnoffsky's junk wagon. To distinguish them from other hawkers, he tried playing a tin horn to attract customers. Morris Karnoffsky gave Armstrong an advance toward the purchase of a cornet from a pawn shop; when Armstrong was eleven, he dropped out of school. His mother moved into a one-room house on Perdido Street with him and her common-law husband, Tom Lee, next door to her brother Ike and his two sons. Armstrong joined a quartet of boys, he got into trouble. Cornetist Bunk Johnson said. In his years Armstrong credited King Oliver, he said about his youth, "Every time I close my eyes blowing that trumpet of mine—I look right in the heart of good old New Orleans... It has given me something to live for." Borrowing his stepfather's gun without permission, he fired a blank into the air and was arrested on December 31, 1912.
He spent the night at New Orleans Juvenile Court was sentenced the next day to detention at the Colored Waif's Home. Life at the home was spartan. Mattresses were absent. Meals were little more than bread and molasses. Captain Joseph Jones used corporal punishment. Armstrong developed his cornet skills by playing in the band. Peter Davis, who appeared at the home at the request of Captain Jones, became Armstrong's first teacher and chose him as bandleader. With this band, the thirteen year-old. On June 14, 1914, Armstrong was released into the custody of his father and his new stepmother, Gertrude, he lived in this household with two stepbrothers for several months. After Gertrude gave birth to a daughter, Armstrong's father never welcomed him, so he returned to his mother, Mary Albert. In her small home, he had to share a bed with his sister, his mother still lived in The Battlefield
Gus Johnson (jazz musician)
Gus Johnson was an American swing drummer in various jazz bands, born in Tyler, United States. After learning to play drums from his next-door neighbor, Johnson played professionally at the age of ten in the Lincoln Theater, performed in various local groups, most notable McDavid's Blue Rhythm Band. Upon graduating from Booker T. Washington High School, Johnson moved to Kansas City, where he took up drumming full-time, he joined Jay McShann's Orchestra in 1938, with his music career being interrupted by his conscription into the military in 1943. In 1945, Johnson returned from his stint in the military, relocated to Chicago to perform in the Jesse Miller Band. Johnson played on Willie Dixon's debut album, ‘Willie’s Blues.’ He subsequently played alongside Count Basie and was recorded on the album Basie Rides Again in 1952. Following a recovery from appendicitis Johnson was featured in numerous groups and dozens of recordings in the 1960s. In 1972, his former bandmates from Jay McShann's Orchestra reconvened to record Going to Kansas City.
Although Johnson continued to tour into the 1980s, he developed Alzheimer's disease in 1989, which he struggled with until his death on February 6, 2000. With Manny Albam The Drum Suite with Ernie Wilkins Jazz Goes to the Movies With Count Basie The Count! Basie Jazz Dance Session Dance Session Album#2 Basie The Count Basie Story Get Together With Lawrence Brown Inspired Abandon With Ray BryantDancing the Big Twist With Buck Clayton Buck & Buddy Blow the Blues with Buddy Tate Jam Session With Al Cohn Son of Drum Suite Either Way with Zoot SimsWith Willie Dixon and Memphis Slim Willie's Blues With Ella Fitzgerald Ella at Juan-Les-Pins Ella in Rome: The Birthday Concert With Coleman Hawkins Night Hawk With Johnny HodgesTriple Play With Willis Jackson Really Groovin' In My Solitude With Herbie Mann Salute to the Flute With Gerry Mulligan The Gerry Mulligan Quartet Spring Is Sprung Gerry Mulligan'63 With Joe Newman Salute to Satch With Chico O'Farrill Nine Flags With Oscar Pettiford The Oscar Pettiford Orchestra in Hi-Fi Volume Two With Zoot Sims The Modern Art of Jazz by Zoot Sims Tonite's Music Today with Bob BrookmeyerWith Rex Stewart and Cootie Williams The Big Challenge With Ralph Sutton and Ruby Braff R & R Remembered With Ralph Sutton and Jay McShann Last of the Whorehouse Piano Players - released on 2 LPs as The Last of the Whorehouse Piano Players: Two Pianos Vol.
I & Vol. II Last of the Whorehouse Piano Players With Ralph Sutton and Kenny Davern Ralph Sutton and Kenny Davern With Buddy Tate Buddy Tate and His Buddies With Frank Wess Jazz for Playboys Opus de Blues With Lem Winchester Another Opus With Kai Winding The Swingin' States Solo Gus Johnson Interview NAMM Oral History Library
"Ma" Rainey was one of the earliest African-American professional blues singers and one of the first generation of blues singers to record. She was billed as the "Mother of the Blues", she began performing as a young teenager and became known as Ma Rainey after her marriage to Will Rainey, in 1904. They toured with the Rabbit Foot Minstrels and formed their own group and Rainey, Assassinators of the Blues, her first recording was made in 1923. In the next five years, she made over 100 recordings, including "Bo-Weevil Blues", "Moonshine Blues", "See See Rider Blues", "Black Bottom", "Soon This Morning". Rainey was known for her powerful vocal abilities, energetic disposition, majestic phrasing, a "moaning" style of singing, her powerful voice was never adequately captured on her records, because she recorded for Paramount, known for its below-average recording techniques and poor shellac quality. However, her other qualities are present and most evident in her early recordings "Bo-Weevil Blues" and "Moonshine Blues".
Rainey recorded with Louis Armstrong, she toured and recorded with the Georgia Jazz Band. She continued to tour until 1935, when she went to live in her hometown. Pridgett claimed to have been born on April 1886, in Columbus, Georgia. However, the 1900 census indicates she was born in September 1882 in Alabama, researchers Bob Eagle and Eric LeBlanc suggest that her birthplace was in Russell County, Alabama, she was the second of five children of Ella Pridgett, from Alabama. She had at least two brothers and a sister, with whom Gertrude was confused by some writers, she began her career as a performer at a talent show in Columbus, when she was about 12 to 14 years old. A member of the First African Baptist Church, she began performing in black minstrel shows, she claimed that she was first exposed to blues music around 1902. She formed the Alabama Fun Makers Company with her husband, Will Rainey, but in 1906 they both joined Pat Chappelle's much larger and more popular Rabbit's Foot Company, in which they were billed together as "Black Face Song and Dance Comedians, Jubilee Singers Cake Walkers".
In 1910, she was described as "Mrs. Gertrude Rainey, our coon shouter", she continued with the Rabbit's Foot Company after it was taken over by a new owner, F. S. Wolcott, in 1912. Beginning in 1914, the Raineys were billed as Rainey, Assassinators of the Blues. Wintering in New Orleans, she met numerous musicians, including Joe "King" Oliver, Louis Armstrong, Sidney Bechet and Pops Foster; as the popularity of blues music increased, she became well known. Around this time, she met Bessie Smith, a young blues singer, making a name for herself. A story developed that Rainey kidnapped Smith, forced her to join the Rabbit's Foot Minstrels, taught her to sing the blues. From the late 1910s, there was an increasing demand for recordings by black musicians. In 1920, Mamie Smith was the first black woman to be recorded. In 1923, Rainey was discovered by Paramount Records producer J. Mayo Williams, she signed a recording contract with Paramount, in December she made her first eight recordings in Chicago, including "Bad Luck Blues", "Bo-Weevil Blues" and "Moonshine Blues".
She made more than 100 other recordings over the next five years, which brought her fame beyond the South. Paramount marketed her extensively, calling her the "Mother of the Blues", the "Songbird of the South", the "Gold-Neck Woman of the Blues" and the "Paramount Wildcat". In 1924 she made some recordings with Louis Armstrong, including "Jelly Bean Blues", "Countin' the Blues" and "See, See Rider". In the same year she embarked on a tour of the Theater Owners Booking Association in the South and Midwest of the United States, singing for black and white audiences, she was accompanied by the bandleader and pianist Thomas Dorsey and the band he assembled, the Wildcats Jazz Band. They began their tour with an appearance in Chicago in April 1924 and continued, on and off, until 1928. Dorsey left the group in 1926 because of ill health and was replaced as pianist by Lillian Hardaway Henderson, the wife of Rainey's cornetist Fuller Henderson, who became the band's leader. Although most of Rainey's songs that mention sexuality refer to love affairs with men, some of her lyrics contain references to lesbianism or bisexuality, such as the 1928 song "Prove It on Me":They said I do it, ain't nobody caught me.
Sure got to prove it on me. Went out last night with a crowd of my friends, they must've been women,'cause I don't like no men. According to the website queerculturalcenter.org, the lyrics refer to an incident in 1925 in which Rainey was "arrested for taking part in an orgy at home involving women in her chorus." "Prove It on Me" further alludes to presumed lesbian behavior: "It's true I wear a collar and a tie... Talk to the gals just like any old man." The political activist and scholar Angela Y. Davis noted that "'Prove It on Me' is a cultural precursor to the lesbian cultural movement of the 1970s, which began to crystallize around the performance and recording of lesbian-affirming songs."Towards the end of the 1920s, live vaudeville went into decline, being replaced by radio and recordings. Rainey's career was not affected. In 1928, she worked with Dorsey again and recorded 20 songs, before Paramount terminated her contract, her style of blues was no longer considered fashionable by the label.
In 1935, Rainey retu
Pete Johnson was an American boogie-woogie and jazz pianist. Journalist Tony Russell stated in his book The Blues – From Robert Johnson to Robert Cray that "Johnson shared with the other members of the'Boogie Woogie Trio' the technical virtuosity and melodic fertility that can make this the most exciting of all piano music styles, but he was more comfortable than Meade Lux Lewis in a band setting. Fellow journalist Scott Yanow added "Johnson was one of the three great boogie-woogie pianists whose sudden prominence in the late 1930s helped make the style popular". Johnson was born in Missouri, he was raised by his mother after his father deserted the family. Things got so bad financially, Pete was placed in an orphanage, he became so homesick, that he ran away and returned living at home. By the age of 12, he sought out work to ease some of the financial burden at home, he worked various jobs. He dropped out of school in the fifth grade as a result of his efforts. Johnson began his musical career in 1922 as a drummer in Kansas City.
He began piano about the same time. His early piano practices took place in a church, where he was working as a water boy for a construction company. From 1926 to 1938 he worked as a pianist working with Big Joe Turner. An encounter with record producer John Hammond in 1936 led to an engagement at the Famous Door in New York City. In 1938 Johnson and Turner appeared in the From Spirituals to Swing concert at Carnegie Hall. After this show the popularity of the boogie-woogie style was on the upswing. Johnson worked locally and toured and recorded with Turner, Meade Lux Lewis, Albert Ammons during this period. Lewis and Johnson appeared in the film short Boogie-Woogie Dream in 1941; the song "Roll'Em Pete", featuring Turner on vocals and Johnson on piano, was one of the first rock and roll records. Another self-referential title was their "Johnson and Turner Blues." In 1949, he wrote and recorded "Rocket 88 Boogie," a two-sided instrumental, which influenced the 1951 Ike Turner hit, "Rocket 88". On three dates in January 1946, Johnson recorded an early concept album, House Rent Party, in which he starts out playing alone in a new empty house, is joined there by J. C.
Higginbotham, J. C. Heard, other Kansas City players; each has a solo single backed by Johnson, the whole group plays a jam session together. On this album Johnson shows his considerable command of stride piano and his ability to work with a group. At a nightclub in Niagara Falls, the piano was on a platform above the bar, Johnson had to climb a ladder to get there. In 1950 he moved to Buffalo, he encountered some health and financial problems in this period, including losing part of a finger in an accident and being paralyzed by a stroke. Between January and October 1953 he was employed by an ice cream company washing trucks, but supplemented his income by performing in a trio which played at the Bamboo Room in Buffalo on weekends. Johnson experienced more of the same the following year, 1954, he washed cars at a mortuary for $25 a week. In July, however, a nice job came his way at the St. Louis Forest Park Hotel, a six-week engagement as resident pianist at the Circus Snack Bar; some broadcasts were made on Saturday afternoons in a program called Saturday at the Chase.
Johnson was privately recorded July 20 and August 1 at a pair of house parties arranged at the home of Bill Atkinson, a close friend. Things remained somewhat bleak for the next four years, except for three appearances in 1955 at the Berkshire Music Barn in Lenox, MA, but he continued to record, toured Europe in 1958 with the Jazz at the Philharmonic ensemble, despite the fact that he was not feeling well. While in Europe he received an invitation to appear at the Newport Jazz Festival, which he did upon his return to the States, accompanying Big Joe Turner, Chuck Berry and Big Maybelle. Johnson underwent a physical examination in August which revealed a heart condition as well as diabetes. Several strokes followed. Four years after the series of strokes he was beginning to lose his eyesight. Jazz Report magazine ran a series of record auctions to raise money for Johnson. In 1964, a longtime correspondent of his, Hans Maurer, published The Pete Johnson Story. All sales proceeds went to Johnson.
After an article appeared in a 1964 issue of Blues Unlimited detailing Johnson's difficulty in receiving royalty payments other than from Blue Note and Victor, in June, Johnson was accepted as a member of ASCAP, which ensured that some of the royalties would be received on a regular basis. His final live appearance was the Spirituals to Swing concert at Carnegie Hall in January 1967, his eighth and final appearance at this event. A review of the concert by Dan Morgenstern of Down Beat: "Then for the concert's most moving moment, Lieberson escorted Pete Johnson on stage and introduced him as one of the participants in the original Spirituals to Swing and the greatest boogie-woogie pianist. Johnson had not played piano for many years, his old buddy, took him by the hand, for a moment the two middle-aged men looked touchingly like little boys. Turner dedicated'Roll'Em Pete' to his old friend, as Lieberson and Johnson were about to leave the stage. Instead, they stopped and the pianist seated himself next to Bryant at the piano and began to pla
Hello, Dolly! (Ella Fitzgerald album)
Hello, Dolly! is a 1964 studio album by the American jazz singer Ella Fitzgerald. "Hello, Dolly!," "People," "Can't Buy Me Love," and "The Sweetest Sounds" were recorded in London, England, on April 7. The other eight tracks were recorded in New York City on March 3 and March 4. Three songs recorded at the latter sessions remain unreleased: "There! I've Said It Again," "I'll See You in My Dreams," and "There Are Such Things." It is unknown. Her version of the Beatles song "Can't Buy Me Love" was a minor hit single in 1964, peaking at #34 in the UK singles chart. For the 1964 Verve LP release.