Milt Buckner in the mid-sixties. Photographer, date and location unidentified.
From the Otto Flückiger collection.
Already a while ago I had uploaded “Milt’s Boogie” as well as “Flying Home” from the mysterious Milt Buckner acetate from Wichita KS Station KAKE. This 12” / 33rpm acetate is one of a series of five KAKE acetates. The other four contain a concert by Lionel Hampton’s Orchestra at the Forum in Wichita, dated 1953. The fifth has five solo piano tracks by Buckner (four on one side, one on the other) and ends with two tracks from the Hampton concert again.
It’s unclear when these were recorded. I can not find a Wichita date in Milt Buckner’s agendas and he was not a member of the Lionel Hampton Orchestra in 1953. I relistened to this music again today in the hope of coming somewhat closer to solving this riddle, but to no avail.
Anyway I thought Milt’s playing on tis acetate is interesting enough that it would justify to present it here in full. I know a good cleaning would probably help to get a better sound. But I will not try anything that might do any damage to the acetate, so you have to live with what there is.
So here is Milt playing “Old Man River”, “Hamp’s Boogie”, “How High the Moon”, “Laura” and then “Flying Home”.
In January 2016 I unfortunately missed the ebay auction for this 45rpm acetate :
As some of you might know I am interested in every little snippet of Leavenworth KS R’nB saxophonist Big Bob Dougherty, as i am still working on a biography/discography of Dougherty. Now I am desperately searching for the person who won the auction. If you are that person, or know who bought this record, it would be very nice if you contact me or ask the one person bought it to contact me. I would be ready to pay a nice sum for a digital copy. I also offer to buy that record for a lot more money than the winner of the auction had to pay.
Or I can offer digital files of another very nice Big Bob Dougherty acetate, this one probably from 1944, way earlier than Big Bob Dougherty’s first commercial recording in exchange for digital copies of this acetate. Whatever it need to get this music to me …
There was a little snippet of music with this auction and from what I could hear, this acetate must be from around 1958 or 1959. What is called “Whalin'” here is the same tune Dougherty recorded in 1954 for his own label Cosmopolitan as “Whale” and in 1958 or 1959 for Golden Crest as “Wail”.
The flip, “Ready Ready Baby” is a nice jumpy tune with Big bob singing. Dougherty never recorded this one again.
So, who has this record?
And: Are there even more Big Bob Dougherty acetates around?
This 1953 record from Philadelphia contains solos
by John Coltrane. From the Crown Propeller Collection
The John Coltrane Reference by Lewis Porter, Chris DeVito, David Wild, Yasuhiro Fujioka, Wolf Schmaler – a book you should own if you are a Coltrane fanatic – lists a probably 1953 session by Philadelphia drummer James “Coatesville” Harris that features Coltrane, done for the small Philadelphia label Nestor.
In their notes to that session the authors write: “This 78-rpm record was discovered by Swiss reserachers Otto Flückiger and Armin Büttner. (…) Coltrane is identified by aural evidence only, but we consider the evidence overwhelming. He plays throughout and solos on both tracks.”
What they write is not quite the truth though. It was not Otto Flückiger and me who made this discovery. Instead Otto and his friend the swiss jazz researcher and alto saxophonist Mario Schneeberger had thought that the saxophonist on Nestor 06 sounded very much like John Coltrane back in the 1960s when Otto won this record for a dollar or two in an auction. When Otto played the two tracks for me in the early 1990s, I was convinced that it’s Coltrane playing the tenor here from the first notes emanating from that horn, leading me to inform the Coltrane experts. But the claim for the discovery must go to Otto and Mario.
There is really not much known about the Nestor label which was owned by Herman “Piney” Gillespie, who at different points in time also ran the labels G&M, Piney and Teenage. Gillespie had his home base in Philadelphia, but at least Nestor moved to New York later.
The second Edition of Bob McGrath’s The R&B Indies (2006) lists nine issues on Nestor. And although I have been running a permanent ebay search for “Nestor 78rpm” since 2003, I only ever came up with one Nestor record at all (Nestor 10, incidentally not listed in the The R&B Indies).
In the hope of acquiring more information about the Nestor label (and maybe stumbling over even more Coltrane, not that I do have much hope), I decided to gather all the information that I have here, in the hope of delivering a somewhat complete list of its issues. Many thanks to Bob McGrath whose four volume work The R&B Indies is responsible for about 92 percent of this listing. Some composer credits were taken from 45rpm labels appearing on the internet. There is some music inside of this listing, some youtube clips – yes, and some Coltrane to listen to in an atomic age tenor solo!
Nestor Records – a draft
NESTOR 1 to NESTOR 5: No information
COATESVILLE HARRIS ORCH. Vocal by Rodney Smith
Coatesville Harris (dr, ldr), Rodney Smith (voc), John Coltrane (ts), unidentified p, g, b, d
Philadelphia, probably 1953
JG-06A Ham Hocks And Hominy (H. Gillespie)
JG-06B Strange Things All The Range (H. Gillespie)
(Information from Fancourt – McGrath: “The Blues Discography 1943–1970” and a copy of Nestor 6 in the Crown Propeller Collection, this record is not mentioned in the 2006 edition of The R&B Indies). Only 78 rpm copies are known.
And here is Coatesville Harris’ band with singer Rodney Smith doing “Strange Things All The Rage”. Watch out for John Coltrane!
NESTOR 7 to NESTOR 9: No information
THE STAN MOORE QUARTET
JG-10A The Little Black Sheep (Moore)
JG-10B My Dream (Moore)
(Not listed in The R&B Indies, information from a 78rpm copy in the Crown Propeller Collection), Here is the music (warning: no jazz or r’n’b content!) I cannot find the 78rpm right now, so I might add a picture later.
The Little Black Sheep:
NESTOR 11: No information
MICHELLE & HIS ORGAN (v. Jimmy Milner)
N-12A Love Is Such A Funny Thing
N-12B Now That You’re Gone
(Information from “The R&B Indies”)
Mae Parrish with unidentified tp, tb, ts, g, p, b, d, vocal ensemble on “Function …”
Philadelphia, probably late 1955 or early 1956
N-13A Function On Broadway
N-13B Let’s Make Love Tonight
Information from The R&B Indies, and Fancourt – McGrath: The Blues Discography 1943–1970. Fancourt/McGrath give 1953/1954 as the recording date, but this was probably later. The New York Age of February 11, 1956 noted: “Mae Parrish, sensational blues singer, getting good response from her recent recording of “Function On Broadway” on Nester (sic!) label.”
Here is “Function On Broadway”:
Freddie Clark (voc), unknown tp, as, p, b, d
N-14A Begging Papa Blues
N-13B Got The Blues
Information from The R&B Indies and Fancourt – McGrath: The Blues Discography 1943–1970 and a 78rpm copy of Nestor 14 in the Otto Flückiger Collection. When I go down to the archive again, I will take pictures of the label. There were 45rpm copies as well. Here’s one from Youtube user stompingsevens:
And if you’d like to hear the flip side too, here’s “Got The Blues” from Otto’s collection.
MONTEREYS (Dean Barlow)
N-15A Someone Like You (White-Epps)
N-15B Train Whistle Blues
Basic information from The R&B Indies. Composer credits from 45rpm label shots found on the internet. Nestor 15 was also released as Teenage 1001.
N-16A There Goes That Train (R. McGill)
N-16B I Gotta (B. Smith)
Basic information from The R&B Indies. Composer credits from 78 and 45rpm label shots found on the internet.
N-18X45 119 Rosa Lee (M. Childs)
N-18X45 120 No Love (M. Childs)
Basic information from The R&B Indies. Composer credits from 45rpm label shots found on the internet. Here is a vid of “Rosa Lee” from youtube user jdkays:
NESTOR 19 to NESTOR 25: No information
N-26A One More Time (Ollie Blanchard)
N-26B Sugarfoot Sam
Information from The R&B Indies, composer credit for N-26A from a copy on ebay. This is the first known Nestor with a N.Y.C. adress on the label.
THE FOUR FELLOWS
N-27A Remember (G. Payne)
N-17B That Kiss You Gave Me (G. Payne)
Information from The R&B Indies and label shots from the internet.
NESTOR (number unknown)
LLOYD “FAT MAN” SMITH
Information about singer Lloyd “Fat Man” Smith recording for Nestor can be found in the Billboard of April 13, 1957 (dates in brackets added by me):
“Lloyd, the ‘Fat Man’, r.&b. singer and ork leader who has recorded on Peacock (1951/52), Gotham (1950), Nestor (??), Checker (??) and Epic (really Okeh, 1956), has been signed as a disk jockey on WHAT, Philadelphia.”
Some information about Lloyd “Fat Man” Smith can be found here.
If you have information about the unlisted Nestor records or can provide label scans or audio files of records from the list, please contact me via a comment.
As long time readers of this blog know, I am interested in Leavenworth KS saxophonist Big Bob Dougherty. So about two years ago I acquired Bear Family’s Julia Lee 5cd box “Kansas City Star”, because I knew that Dougherty played on Lee’s last session for Capitol Records and on her later recordings done for small Kansas City labels Damon and Foremost.
Bear Family’s 5-CD box was supposed to contain all of Lee’s recordings, but unfortunately, as the liner notes say “despite a 2-year search we have not been able to find a copy of Foremost 105”.
And – I can happily add – it took me another two years to finally get a copy (see above) – though it is rather rotten, as you can hear:
Note that this is a promotion copy, but there are regular copies as well. I noticed one on ebay two weeks before I spotted my DJ copy.
Both “Blues Discography” as well as the discography to the booklet of the Bear Family Julia Lee box set have “probably same” personnel for the four tracks recorded for Foremost as for Julia Lee’s 1954/1955 Damon session. This would be Big Bob Dougherty, ts; possibly a second unidentified ts; Ted Williams; g; Howard “Jack” Lewis (b); Richard “Corky” Jackson; dms. Bear Family also notes Gene Carter on alto saxophone for the Damon session, but there is no alto to be heard. Instead there may be a second ts.
Now on the Foremost session (or sessions, there may have been two) there are definitely two tenor saxes to be heard on all tracks. If Dougherty was one of the saxes he probably brought his band along. But I find it hard to say whether Dougherty is there or not and the coarseness of the scratched record does not make it much easier.
Foremost 104 was announced in the Billboard of march 3, 1957. The standard discographies give the date as 1957. Note though that the foundation of Foremost records was announced in Billboard of August, 18 1956. There Julia Lee is mentioned in the “talent line-up”. On September 22, 1956, two fifths of a Billboard page are covered by a Foremost ad announcing among others a new release by Julia Lee: “’She’s Shoutin’ Those Blues Again” – Her Newest Comin’ Soon”. From then it took half a year until Billboard announced the release of Foremost 104 in the march 23 issue of 1957. Foremost 105 was not mentioned in the trade press, nor was there an ad for it.
The composer of “Saturday Night” (matrix no. FB-3123) is given as one “Rita Swift”. This may not be so, since Swift is also given as the composer for Richard M. Jones’ famous “Trouble In Mind” (matrix no. FB-3122) on the other side of Foremost 105.
Of course you are probaby not here for all that discographical mumbo jumbo but for some music. So here – exclusively for readers of my blog – is my not-on-youtube christmas special:
When the weather is hot like it’s now, there only two kinds of music I can listen to: Old school dub reggae or the Blues. Since I guess there might be some people among my subscribers who love the Blues as much as I do, I am offering you a bunch of rare concert clips – some of them actually quite long – featuring masters of classical electric blues playing.
The first clip features something different though: Legendary singer Jimmy Witherspoon who is more out of the vintage r’n’b /jazz school. Here is Witherspoon in Nice on July 9, 1979 .
Witherspoon is accompagnied by Eugene Edwards (g), Roy Alexander (org) and Maurice Simon jr. (dr). They are playing Everyday I Have The Blues,I’d Rather Drink Muddy Water, See See Rider, and Jimmy Reed’s Big Boss Man.
And here are 26 minutes from the same festival featuring the Muddy Waters Blues Band on July 10, 1977
With Clark Terry (tp) as a guest on one track (I had published that on youtube before) , Bob Margolin (eg), Guitar Junior (eg), Pinetop Perkins (p), Calvin Jones (eb) and Willy “Big Eyes” Smith (dr).
They Are Playing:
Honeydripper Intro, Soon Forgotten, Baby Please Don’t Go, What’s the Matter with the Mill, Stormy Monday Blues (feat. Clark Terry) and Everything Gonna be Alright
The next clip comes from still the same festival. Here multiinstrumentalist Clarence “Gatemouth” Brown is featured with the Wallace Davenport New Orleans All Stars giving us some Street Corner business.
Gatemouth Brown appeared at the festival again on July 14 1977 accompgnied by Billy Mitchell (ts); Lloyd Glenn (p); George Duvivier and J.C. Heard (dr). I had already put up a part of that gig on youtube and had presented it in this blog entry. In this part here they are playing: Lets Groove (you know that ain’t it’s title) and If You’ve Ever Been Mistreated in which Brown changes to violin. Gatemouth Brown deserves to be much better known!
Next up is half an hour of B.B. King from the 1984 Montreux Jazz Festival. A lot of B.B.’s Montreux apperances are already on youtube, but this one wasn’t up to now. If you know who is playing with B.B. here, please let me know. I do not have the patience to check the setlist right now, but I know you enjoy checking it yourself:
And here is another one from Montreux, this time from 1989: The man with the Flying V, Albert King. Playing with Albert are Amar Sundy (guitar); Nate Fitzgerald, Steve Wilson, Wayne Preston (horns); James Washington (keyboards); Lonnie Turner (bass); Joe Turner (drums) (Thanks, Marc D.!)
And finally from Chicago here is Otis Rush, filmed in an unidentified venue somewhere in Switzerland around 1986 (not from Montreux as far as I can see). Otis is playing with Professor’s Blues Revue: Professor Eddie Lusk (keyboards), Anthony Palmer (guitar), Fred Barnes (bass), Eddie Turner (drums). (Thanks to Mark D. for information!) Beware though: It takes a while before Mr. Rush appears.
You may never catch me sitting at home intensely listening to an Bill Doggett LP. But when I am am doing a DJ gig, one of those old King LPs has to come with me. After more than fifty years the famed Doggett Beat is still irresistible.
Considering that Doggett really was really well known, there is surprisingly very little footage of the man in action.
On one of Otto’s VHS cassettes I found around thirty minutes of a Bill Doggett combo playing at as part of the Newport Jazz Festival on tour in the Cimiez Gardens in Nice in July 1978. I had already posted “Honky Tonk” from this concert a while ago, but well: the more the better!
So here you have Bill Doggett on organ, the legendary David “Bubba” Brooks on tenor, guitarist Pete Mays (who also sings), Larry Trott on electric bass and Howard Overton on drums.
(Click to enlarge) Sleeve for souvenir photographs from the Crown Propeller Lounge, unidentified date. From the Crown Propeller collection
The Crown Propeller Lounge – after which this blog is named – was one of Chicago’s most important venues for R’n’B and Jazz during the 1950s. You can read more about it on my old blog entry here. After reading that post, Mike Medina (aka WayoutWardell) contacted me and identified more of the people pictured in this gorgeous photo, donated to the Crown Propeller blog by the Schlossberg family (also check the comments section over there for more interesting information from Mike).
(Click to enlarge) Dancer Lupita Peruyero, Joe Louis, Norman Schlossberg, Sarah Vaughan, King Kolax and Mitzi Mars at the Crown Propeller, probably 1952. Courtesy of the Schlossberg family
I had recognized trumpeter King Kolax and boxer Joe Louis with Crown Propeller owner Norman Schlossberg and Mike added the name of dancer Lupita Peruyero (far left) who was a regular at the Crown Propeller and knew that the lady on the far right is singer Mitzi Mars – of which I had presented some music in my old blog entry about the CP.
From Chicago Defender, May 31, 1952.
Taken from Franz Hoffmann’s “Jazz Advertised”
Mike also kindly allowed me to use the photo of this bautiful foursome at the Crown Propeller in 1945 – a time when the main audience of the CP was still white.
Enjoying an evening at the Crown Propeller Lounge, 1945.
From the collection of Mike Medina.
If you are interested in photographs from Chicago’s South Side, you definitely should check Mike’s Flickr page. It was also Mike who alerted me, that the sign of the Crown Propeller lighting up can be seen in the opening sequence of the old “Crime Stories” TV series. I managed to find that one on youtube. I edited the CP part and let it run backwards and forwards – the way it possibly was. I guess there was something in the middle as well (a crown, maybe?) – I leave it to your imagination.
Ending up our second visit to the famed Crown Propeller Lounge is photo of a young couple at the bar, probably in the 1950s. This was stuck in the souvenir envelope pictured at the very top of the envelope.
From the Crown Propeller collection
Who might they have listened to on that evening? Rudy Greene maybe, the “King Of The Guitar”?