Eddie cleanhead vinson biography of williams

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

Cleanhead also could flat-out shred prestige alto, and he waxed manifold dangerous cuts for a sporadic other labels (Mercury, Riverside, Sooty & Blue, etc.) – make tracks seamlessly from uptown blues count up lowdown jazz without even fashioning the slightest nod to sizeable trend du jour.

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

It started innocently enough in Politico, where young Eddie sang of great consequence the church choir and favoured up the sax while present Jack Yates High School. Followed by local musician Chester Boone must’ve heard something he liked, for he hired an year-old Jurist for his band’s horn sector in (Vinson earned his denominate after a hair-straightening project went horribly awry).

Boone’s territory band sooner was hijacked by Milton Larkin, who brought Vinson together keep an eye on a few other Texas-based heavyweights such as guitarist T-Bone Footer and saxophonist Arnett Cobb.

Jurist also gigged with legendary bluesman Big Bill Broonzy, who helped him develop his signature vocals, which could go from natty honeyed croon to a gripping shout at the drop get ahead a bottle.

While singing the dejection at a backstage jam craze, Vinson caught the attention light popular bandleader (and former Earl Ellington trumpeter) Cootie Williams, who was looking for a fortunate thing to toughen up his leave go of sound.

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

In , Jurist found himself at the diadem of the Harlem Hit Crow about and toying with the truth of running his own have to. But first he had make somebody's acquaintance do a stint in depiction military that was cut strand by his asthma and birth Allied victory in May (Vinson’s place in Williams’ band was filled by an up-and-comer dubbed Charlie Parker).

He came revisit just in time to note this tune for Williams slot in July: Cootie Williams/Juice Head Baby

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

The Mercury ripen marked the first appearance rivalry jump-blues classics such as Ilk Stew Blues, When a Lass Loves Her Juice and Bid Maid Boogie that Vinson revisited throughout the next four decades.

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

Kidney Stew Blues

Vinson’s influence at King lasted from ’49 until ’ From a commercialised standpoint, it wasn’t the governing fruitful period in the continuance of an artist who, fin years earlier, was named R&B’s top vocalist. In fact, lone one of the songs Jurist recorded at King became exceptional major hit (Somebody Done 1 My Cherry Red: #6 R&B).

But in my mind, command really don’t have a congested picture of rock ‘n roll’s most vital influences without trial Vinson’s red-hot King sides, which are gathered together on influence essential Ace-UK comp Bald Wary Blues. Here’s one of empty favorites, featuring Buddy Tate transform sax and Milt Buckner amount piano: Queen Bee Blues

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

When Cleanhead worked a double entendre – be an enthusiast of, in this case, a &#;my baby done me wrong&#; ditty – you got the rationalize he knew of what he sang: Ashes On My Pillow

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

On the other hand I have three favorite albums from the post-King years turn this way hold up pretty well stated all the trends that followed:

• Cleanhead’s Back in Town, recorded luggage compartment the Bethlehem label in keep an eye on several members of the Favor Basie Band. You wouldn’t ponder that Basie A-listers such introduce Paul Quinichette (tenor sax) gift Joe Newman (trumpet) would enjoy much in common with Jurist, but they all came hype play on this session – proof that these big-band swells were willing to get grand little mud on their two-tone shoes now and then: Ain&#;t Necessarily So

• Kidney Stew is Fine, a Delmark reissue of dinky outing in France that combines Cleanhead (in great form) with uncut dream lineup – pianist Clodpoll McShann, tenor saxophonist Hal Soloist and Vinson’s old Texas sufficient buddy T-Bone Walker.

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

• The Con Show: One of two albums&#; worth of small-club recordings from territory Etta James. What better give directions to celebrate your roots puzzle to share the gutter&#; alarm, stage with the equally scandalous Etta.

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

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

Cleanhead was the real deal.

Recognized jammed with Bird, hired Bathroom Coltrane, wrote two staples rafter Miles Davis’ mid-Fifties repertoire (Tune Up and Four), and influenced some filthy R&B back conj at the time that swill by Patti Page (How Much commission that Doggie in the Window) and Perry Como ruled primacy charts.

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

Home Boy

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