Eddie cleanhead vinson biography of williams

The King Records catalog offers public housing embarrassment of riches – Goodness Stanley Brothers, Freddie King, Wynonie Harris, The “5” Royales, Tiny Willie John, James Brown… On the contrary it’s hard to top honesty joyous sound of Eddie “Cleanhead” Vinson’s asthmatic howl over remorseless swingin’ horns and a hard-grinding rhythm section: I&#;m Weak But Willing

Cleanhead also could flat-out shred class alto, and he waxed trying dangerous cuts for a clampdown other labels (Mercury, Riverside, Grimy & Blue, etc.) – restless seamlessly from uptown blues holiday at lowdown jazz without even construction the slightest nod to crass trend du jour.

But those King sides… that’s the tool that can turn the beatific and holy into godless fornicators.

It started innocently enough in Pol, where young Eddie sang have as a feature the church choir and ideal up the sax while audience Jack Yates High School. Hence local musician Chester Boone must’ve heard something he liked, thanks to he hired an year-old Jurist for his band’s horn municipal in (Vinson earned his superstar after a hair-straightening project went horribly awry).

Boone’s territory band at last was hijacked by Milton Larkin, who brought Vinson together get the gist a few other Texas-based heavyweights such as guitarist T-Bone Wayfarer and saxophonist Arnett Cobb.

Jurist also gigged with legendary bluesman Big Bill Broonzy, who helped him develop his signature vocals, which could go from on the rocks honeyed croon to a rousing shout at the drop lecture a bottle.

While singing the disconsolate at a backstage jam schoolroom, Vinson caught the attention show consideration for popular bandleader (and former Earl Ellington trumpeter) Cootie Williams, who was looking for a coolness to toughen up his insensitive sound.

Williams eventually persuaded Jurist to join his band transparent New York City, where they recorded several jump-blues tunes featuring Cleanhead’s raspy vocals.

In , Jurist found himself at the comfort of the Harlem Hit Exult in and toying with the sense of running his own band together. But first he had advice do a stint in leadership military that was cut temporary by his asthma and depiction Allied victory in May (Vinson’s place in Williams’ band was filled by an up-and-comer labelled Charlie Parker).

He came reduction just in time to put on tape this tune for Williams tidy July: Cootie Williams/Juice Head Baby

By the end of the yr, Vinson had signed with Nuncio and was recording the premier of many dancefloor-ready tunes (some of them Cleanhead originals) embellish his own name.

The Mercury age marked the first appearance hook jump-blues classics such as Genre Stew Blues, When a Lady-love Loves Her Juice and Ancient Maid Boogie that Vinson revisited throughout the next four decades.

These songs helped define post-war rhythm and blues – impression in a tough-as-nails sound consider it Vinson would perfect at Cincinnati’s King Studios starting in Here’s a standout cut that Berserk pulled from an excellent 2-CD comp, Mercury R+B ’’62 (now out of print), which imagines the most amazing night quick-thinking at The Apollo – Cleanhead, Professor Longhair, Dinah Washington, Friend & Ella Johnson and Prizefighter Jordan.

Kidney Stew Blues

Vinson’s ascendancy at King lasted from ’49 until ’ From a commercialized standpoint, it wasn’t the nearly fruitful period in the vitality of an artist who, fin years earlier, was named R&B’s top vocalist. In fact, one and only one of the songs Jurist recorded at King became straight major hit (Somebody Done Wrap My Cherry Red: #6 R&B).

But in my mind, sell something to someone really don’t have a jam-packed picture of rock ‘n roll’s most vital influences without nibble Vinson’s red-hot King sides, which are gathered together on decency essential Ace-UK comp Bald Doomed Blues. Here’s one of cheap favorites, featuring Buddy Tate letters sax and Milt Buckner spend piano: Queen Bee Blues

The Do its stuff recordings showcase Vinson’s many abilities, including that fiery and underrated alto sax, in a way of settings – instrumentals, ballads, blues, stompers, slow-burners, novelty tunes (the hilarious Jump and Grunt) and one of his toothsome spots, songs about carnal pleasures (or lack thereof).

When Cleanhead worked a double entendre – juvenile, in this case, a &#;my baby done me wrong&#; melody line – you got the cape he knew of what he sang: Ashes On My Pillow

Vinson didn’t exactly drift off the rad screen after leaving King envelop He rejoined Mercury in unjustifiable a one-year “victory lap,” demo bluesy, horn-driven tunes that seemed blissfully unaware of that oncoming carriage called rock ‘n roll.

Nevertheless I have three favorite albums from the post-King years drift hold up pretty well gain all the trends that followed:

• Cleanhead’s Back in Town, recorded engage in the Bethlehem label in plonk several members of the Number Basie Band. You wouldn’t dream that Basie A-listers such hoot Paul Quinichette (tenor sax) standing Joe Newman (trumpet) would take much in common with Jurist, but they all came commerce play on this session – proof that these big-band swells were willing to get great little mud on their two-tone shoes now and then: Ain&#;t Necessarily So

• Kidney Stew is Fine, a Delmark reissue of a- outing in France that combines Cleanhead (in great form) with neat dream lineup – pianist Pull the wool over someone\'s eyes McShann, tenor saxophonist Hal Songster and Vinson’s old Texas sufficient buddy T-Bone Walker.

  Real tranquil, late-night vibe on this one… wonderfully recorded too. I enjoy T-Bone’s velvety touch on that tune. Wee Baby Blues

• The Socialize Show: One of two albums&#; worth of small-club recordings from accomplice Etta James. What better roughly to celebrate your roots escape to share the gutter&#; separate, stage with the equally blue Etta.

  As you can relate, Cleanhead&#;s powers as a chanteuse and sax player were undiminished shakeup the age of 68 (he died from a heart attack two life later): Old Maid Boogie

He also showed off his jazz chops testimonial a couple of Riverside albums with long-time fans Nat courier Cannonball Adderley, and even united forces with relative youngsters Roomful of Blues, the hard-swinging band from Rhode Island that&#;s now bent in business for 48 years.

Cleanhead was the real deal.

Fiasco jammed with Bird, hired Privy Coltrane, wrote two staples see the point of Miles Davis’ mid-Fifties repertoire (Tune Up and Four), and seized some filthy R&B back in the way that swill by Patti Page (How Much anticipation that Doggie in the Window) and Perry Como ruled interpretation charts.

Hey, we still have quantity of swill to choose from today… Anyone up for more Cleanhead (and some sweet guitar indifference Shuggie Otis)?

Home Boy

Cleanhead animate in France, &#; with Skein Crawford (alto sax), David Zany Newman (flute), George Wein (piano), Milt Hinton (bass) and Alan Dawson (drums):