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I started a quest to find terrific blues music and incredible musicianship when I was just a little kid. I also have a tremendous appreciation of fine musical instruments and equipment. One of my greatest joys all of my life was sharing my finds with my friends. I'm now publishing my journey. I hope that you come along!

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Showing posts with label Jump Jackson. Show all posts
Showing posts with label Jump Jackson. Show all posts

Thursday, January 31, 2013

Hey Pretty Mama - Jump Jackson & His Orchestra

Started out in New Orleans, wound up in Chicago. The subject could be the blues backbeat, or it could be the life of Armand "Jump" Jackson. Or it could be both, since the two are almost one and the same. That fat, greasy sock rhythm that was heard on many of the blues records made in Chicago in the late '40s and '50s was created by the one and only Jump Jackson, sometimes while he was booking a tour in his head for one of his bands. In the late '40s, Jackson worked as a bandleader on sessions for labels such as Columbia, Specialty, and Aristocrat; his band backed up vocalists such as St. Louis Jimmy, Roosevelt Sykes, Sunnyland Slim, and Baby Doo Caston. He also drummed on at least a dozen classic urban blues albums, with leaders ranging from the most famous such as John Lee Hooker to the obscure but great Robert Nighthawk. As well as performing, Jackson was indeed a certified booking agent. His taste for controlling as much of the business as possible spread to his recording career. In 1959 he founded La Salle Records and began putting out his own sessions as well as sides by Eddie Boyd, Eddy Clearwater, Little Mack Simmons, and his old playing partner pianist Slim. Performer Clearwater even got his name from Jackson, who came up with the stage name as a reaction to his friend Eddy Harrington's fondness for blues giant Muddy Waters. The blues audience was ready for clear water as well as muddy, since the change in names was just what this artist apparently needed for his career to start taking off. In 1962, Jackson was chosen as the drummer for the first American Folk Blues Festival tour of Europe, although by then he could feel the cold wind of progress blowing on his neck, even among all the other breezes in the Windy City. The swing-era style of blues drumming he had pioneered was slowly being taken over by a newer kind of hard-edged backbeat, as practiced by blues drummer Fred Below for example. If you support live Blues acts, up and coming Blues talents and want to learn more about Blues news and Fathers of the Blues, ”LIKE” ---Bman’s Blues Report--- Facebook Page! I’m looking for great talent and trying to grow the audience for your favorite band!

Thursday, June 16, 2011

The Blues Aint' Nothin' But a Woman - Helen Humes

This is a top notch lineup with Helen Humes : vocal,Sonny Terry : harmonica,Brownie 'Kazoo' McGhee : vocal, guitar,Willie Dixon :vocal, bass,T-Bone Walker : vocal, guitar,Memphis Slim : vocal, piano and Jump Jackson : drums.

Helen Humes (June 23, 1913 - September 9, 1981) was an American jazz and blues singer.

Humes was successively a teenaged blues singer, band vocalist with Count Basie, saucy R&B diva and a mature interpreter of the classy popular song.

Humes was born in Louisville, Kentucky, was spotted by the guitarist Sylvester Weaver and made her first recordings in 1927, her true young voice consorting oddly with bizarre material like "Garlic Blues"

She moved to New York City in 1937 and became a recording vocalist with Harry James' big band. Her swing recordings with James included "Jubilee", "I Can Dream Can't I", Jimmy Dorsey's composition "It's The Dreamer In Me", and "Song of the Wanderer".

Humes became one of the vocalists with the Count Basie Orchestra in 1938, replacing Billie Holliday as lead female vocalist. Her vocals with Basie's band included "Between the Devil and the Deep Blue Sea" and "Moonlight Serenade".

During the 1940s and 1950s, Humes became a solo performer and worked with different bands and other vocalists including Nat King Cole. She sounded very sprightly on the jump blues Be-Baba-Leba (Philo, 1945) and Million Dollar Secret (Modern, 1950).

In 1950 Humes recorded Benny Carter's "Rock Me to Sleep". She managed to bridge the gap between big band jazz swing and rhythm and blues. She appeared on the bill at the Monterey Jazz Festival in 1960.

She moved to Hawaii and then to Australia in 1964, returning to the US in 1967 to take care of her ailing mother. Humes was out of the music industry for several years but made a full comeback in 1973 at the Newport Jazz Festival,[citation needed] and stayed busy up until her death, performing all over Europe, for instance, including at the prestigious Nice Jazz Festival in the mid-70s. She received the Music Industry of France Award in 1973, and the key to the city of Louisville in 1975.

Helen Humes died of cancer at the age of 68 in Santa Monica, California. She is buried at the Inglewood Park Cemetery, Inglewood, California.
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