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#974 (11/22/25)
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BY TONY FOURNIER |
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This article is about Aristocrat Records, located in Chicago, Illinois. The label was formed on April 10, 1947 by Charles Aron and his wife, Evelyn. Their partners were Fred and Mildred Brount and Art Spiegel, but Charles and Evelyn took charge of running the company. Initially focusing on mostly popular music and some rhythm and blues, they became decidedly more interested in the latter in June 1947. Aristocrat recruited Tom Archia, tenor saxophonist and band leader, drummer Jump Jackson, and singer Andrew Tibbs, who had all been performing at the Macomba Lounge in Chicago. By September 1947, Leonard Chess, owner of the Macomba Lounge, invested in and became involved with the sales operation of the company. Leonard was responsible for bringing in Sunnyland Slim and Muddy Waters to record for the label. Brothers Phil and Leonard Chess took full ownership of Aristocrat Records in December 1949. They changed the label's name to Chess in mid-1950. |
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Photo of Charles And Evelyn Aron, owners and operators of Aristocrat Records.
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Photo, circa 1945, of Leonard Chess (far left); his wife, Revetta (next to him); her brother, Bert Sloan (with hand in pocket); and a female friend.
ARISTOCAT RECORDS — BEGINNINGS
CASH BOX, April 14, 1947:
NEW RECORD FIRM CUTS FIRST PLATTERS
CHICAGO—A new record firm introduced itself to the trade this past week. Aristocrat Record Corp. President is Charles Aron, well known to the juke box and retail music trade.Aron was present at the past coin machine convention in February and gathered a great deal of material from music machine operators from all over the nation which is now being used by the firm in their first new pressings.
The label will be known as "Aristocrat Records". First pressings will be by Sherman Hayes and his Orchestra. The first six sides include some unique novelties as well as the old standards and those who have heard them give them every opportunity of great success in the present market.
At Direct Right: CASH BOX, May 5, 1947.
NOTE: Wyoma is the vocalist on "Say No More". This is the only side she had on the Aristocrat label. It is Aristocrat's first release. The correct record number is 101; Clarence Samuels was on 1001, released in December 1947.THE BILLBOARD, April 26, 1947:
ARISTOCRAT PLATTERS IN CHICAGO HDQRS; INK HAYES ORK, SINGER
CHICAGO—A new general catalog record label was started here last week, with Aristocrat Platters inking Sherman Hayes' commercial crew to a pact, together with a girl singer, Wyoma, once with Jack Teagarden*.Backers of the label are Charles and Evelyn Aron, once associated with M. & S. Distributing Company, South Side platter peddlers, and Mildred and Fred Brount.
Label has already contracted for Midwestern pressing facilities, while distribution is being set up currently. Corporation intends to stick to pop and race records. The first Hayes platter will be released early in May.
(*No evidence was found to corroborate Wyoma was ever with Teagarden.)
THE BILLBOARD, May 24, 1947:
....Aristocrat Records have inked Jackie Cain, promising swing chirp, and the Blazes, Negro cocktail combo, thru Joe Callan, of Frederick Brothers....CASH BOX, June 9, 1947:
....Charlie and Mrs. Aron head Aristocrat Records, new indie in the pop field....CASH BOX, June 9, 1947:
ARISTOCRAT RECORDS NAME DISTRIB SET-UP
CHICAGO—Furthering plans for enlarged nationwide distribution. Aristocrat Records, this city, has announced the appointment of James H. Martin, Inc., as exclusive distributor for the Illinois and Indiana territory.Other distributors include: Rhapsody Music Company for Wisconsin; Pan-American Record Distributors for Michigian; Les Griffin Music Company for Mississippi and Louisiana; and Commercial Music Company for Missouri, Kansas and Kentucky.
THE BILLBOARD, August 16, 1947:
....Aristocrat Records expanding in the race field, adding two blues singers and Jump Jackson's Negro combo....CASH BOX, August 25, 1947:
....Evelyn Aron of Chicago's Aristocrat Records writes to advise that the firm just signed Jump Jackson and his band. Says Evie, "A race outfit that really jumps, and cries the blues." Aristocrat also signed Melrose Colbert, sepia torch. Evie also writes, "The enthusiastic reception given The Five Blazes has decided Aristocrat to expand their race line."....CASH BOX, October 6, 1947:
....Aristocrat Record Corp. welcomed Leonard Chess, well known Chicago nitery owner, into their fast growing diskery. Charlie Aron, president of Aristocrat, out on the west coast discussing big promotional plans for their new disk "Mickey"....At Direct Right: THE BILLBOARD, May 31, 1947.
NOTE: It's interesting that Wyoma's picture is shown here, but her name is not mentioned. And she is not on the record being advertised! You might say that Aristocrat had a jittery start regarding their ads. More about Wyoma Winters is provided further down this page.CASH BOX, November 8, 1947:
....Chuck Aron and Leonard Chess of Aristocrat Records traveling thruout the East contacting distribs. We hear the boys just recently signed up two new distribs, the Dix Co. in St. John, New Foundland and the Totem Dist. Co. in Alaska....CASH BOX, December 6, 1947:
....Charles Aron, prexy of Aristocrat Records, took off on a trip to the deep South this past week to contact distribs in Birmingham, Atlanta, Nashville, and Jacksonville....CASH BOX, December 6, 1947:
We hear from Evelyn Aron that Aristocrat Records has signed and cut several sides with many new outstanding race artists, namely, Clarence Samuels, Andy Tibbs, Danny Knight, Prince Cooper and Sunnyland Slim.Evelyn tells us that each shows great promise in his own inimitable style and says that Prince Cooper's rendition of his own tune "My Fate" is sure to be a big hit with distributors.
CASH BOX, June 9, 1947:
ARISTOCRAT SIGNS TRI-TONES
CHICAGO—Aristocrat Records, Inc., this city, announced the signing of the Hollywood Tri-Tones to term contracts this past week.The Tri-Tones, hailed in music circles as one of the smartest instrumental groups, have already released their first platter, labeled "Christmas Kiss" and "Exactly Like You". The combo is currently appearing at the Rounders Club, Hollywood.
Above Left: Label image of Aristocrat 101A. Aristocrat's first four records were by Sherman Hayes. Three of these (#101-103) were released in May 1947 and the fourth (#104) in June 1947. Wyoma Winters was vocalist on just the one side shown above. LISTEN (Windows Media Player):
"Say No More" - Sherman Hayes Orchestra (Vocal By Wyoma) - Aristocrat 101A - 1947.Above Middle: NASHVILLE BANNER, October 6, 1947.
NOTE: Wyoma Winters was with the Henry King Orchestra in 1947, when her Aristocrat side was recorded.Above Right: FORT WORTH STAR-TELEGRAM, June 20, 1949:
SOME ENCHANTED EVENING — Far away places seem close to home when Ronnie Stevens and Wyoma Winters sing about them at the Hotel Texas Keystone Room. Ronnie left his own band in Chicago to front the Keystone organization and Wyoma, who had been a "single" at Midwestern clubs, dropped out of Benny Strong's unit to keep her Fort Worth date.NOTE: Wyoma Winters was from Chicago and, later in her career, relocated to New York City. She had a history of jumping from one orchestra to another. She was vocalist with Henry King (1947), Don McGrane (1948), Ken McGarrity (1949), Benny Strong (1949), Keystone Orchestra (1949), Griff Williams (1950), Bill Snyder (1950), and Gay Claridge (1950).
Afterwards, performing as a "single", Wyoma had a solid career singing on stage and in nightclubs, recording for RCA Victor, and acting on TV and in the movies.
No evidence was found that Wyoma was ever a featured vocalist for Sherman Hayes, except for the Aristocrat recording. At that time, Wyoma was still with Henry King's orchestra and "Dell Welcome" was Hayes' vocalist.
At Direct Right: Promotional picture label for Wyoma Winters' first RCA Victor record, probably to take advantage of her attractive good looks and/or expecting big things for her in the future. Peggy Lee had released the song, "Where Can I Go Without You", on the Decca label in January 1954.
As it turned out, she would have only two releases on RCA Victor, both in 1954.
CASH BOX, May 5, 1947:
....Fred Kleinian writes from Chicago that we should get a look at and a listen to a gal named "Wyoma", a new thrush recently inked by Aristocrat Records. Fred describes her singing as "sexsational"....FORT WORTH STAR TELEGRAM (Fort Worth, Texas), May 22, 1949:
With the return of Ken Garrity to the Keystone Room... there'll be floor shows nightly... featuring a Chicago singer, Wyoma Winters.Miss Winters began her music career four years ago as a vocalist for Henry King, then joined Lawrence Welk's band for a tour. As a single in the Tick Tock Club in Milwaukee, she was held over for an eight-months period, after which she took an assignment with Benny Strong in Chicago.
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Above: CHICAGO TRIBUNE, March 2, 1947:
Sherman Hayes and his beautiful singer, Dell Welcome, are now playing at the far south side Martinique restaurant.
(NOTE: They were a married couple.)
ARISTOCRAT'S RECORD NUMBERING
It should be mentioned that Aristocrat had an unusual record numbering system (or was it systems plural?). Unique number series were used to differentiate their recording artists. For example, the 100 series was for the Sherman Hayes Orchestra, the 200 series was for the 5 Blazes, etc.
In some cases there were multiple artists within the same series. For example, the mainstay 400 series included the Jump Jackson Orchestra, Muddy Waters, the Dozier Boys, and others.
Aristocrat existed only three years. Were all these sequences really necessary? When the company name was changed to Chess Records in mid-1950, only the 1400 series was retained and that encompassed all their artists.
YEARS OF RELEASE:
100 Series (1947)
200 Series (1947)
400 Series (1947-1950)
500 Series (1947-1948)
600 Series (1947-1948)
700 Series (1947, 1949)
800 Series (1947-1949)
900 Series (1948-1949)1000 Series (1947-1948)
1100 Series (1947-1949)
1200 Series (1947-1949)
1300 Series (1948-1949)
1400 Series (1948)
1500 Series (1949)
1600 Series (1948)
1700 Series (1948)1800 Series (1948)
1900 Series (1949)
2000 Series (1948-1949)
2100 Series (1948)
2300 Series (1949)
3000 Series (1949)
3100 Series (1949)
3300 Series (1949)
3500 Series (1949)
7000 Series (1949)
7100 Series (1949)
8000 Series (1949)
10000 Series (1949)
11000 Series (1949)
THE 5 BLAZES
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Above: THE BILLBOARD MUSIC YEAR BOOK 1945-1946. (The Four Blazes). The Four Blazes on United and the Five Blazes on Aristocrat are the same group, except for the number of members. They are not the same group as the Four Blazes on Melo-Disc or Hollywood's Four Blazes on Excelsior.
Profile from the above referenced Year Book:
"The Four Blazes pack so much showmanship into their act that they've been equally successful selling their wares in a nitery floorshow or in a cocktail lounge. Their popularity in Chicago caused them to appear over WJJD, Chicago, while playing the Windy City.The sepia foursome uses two guitars, bass, and drum to whip up the rhythm that's made them a favorite with the hepsters.... Quartet handles solo vocals and have worked up four-part harmony on many numbers.
They've been actively engaged as cocktail entertainers since 1940, when they broke into show business in a tavern on the South Side of Chicago....
THE BILLBOARD MUSIC YEAR BOOK 1943: (With same photo as above.)
Profile from 1943 Year Book:
THE FOUR BLAZES — Four boys who play hot music in a subtle style. Their instrumentation includes two guitars, a bass, and a snare drum and cymbals with brushes, beating out music to please both the swing and sweet fans. All four sing specially-arranged numbers.[Also with their photo] One of the finest entertaining groups in the Harlemesque Manner. Floyd does the scats. "Jelly" does the ballads. Hot music in a mellow vein.
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Above: DETROIT TRIBUNE, September 20, 1947. NOTE: The picture is the Five Blazes, (L-R) William "Shorty" Hill (guitar), Floyd McDaniel (guitar), Paul Lindsley "Jelly" Holt (drums), Prentice Butler (bass fiddle), and Ernie Harper (piano). Harper was the "fifth" Blaze, joining the "Four" Blazes prior to their stint with Aristocrat.
They were all vocalists. Per Disco-File, these are the group members for the Aristocrat recordings.
DETROIT TRIBUNE, August 30, 1947:
FIVE BLAZES SCORE HIT AT MUSIC BAR
The Five Blazes sensational instrumental and vocal group are naturally setting Sportree's Glad-Pad ablaze with their sweet and rhythmic tunes. Their last engagement was a record breaking stand at the swank Flying Tiger Club in New York.The group is composed of five versatile musicians. They are Floyd McDaniels [sic] and William Hill, guitars; Prentis Butler [sic], bass; Cindsley Hall [sic], drums; and Ernie Harper, arranger and pianist.
[Continued]
The vocal chores are handled by McDaniels [sic] and Harper with the rest of the group harmonizing in the background.When the Blazes break down on a tune, it can only be dubbed by the patrons as "colossal" because they put every ounce of musical ability they possess in each of their numbers....
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Above Left: Label image of Aristocrat 201A, released in April 1947. It appears that Aristocrat did register some songs composed by their artists with BMI... Ernie Harper is credited for writing the song, "Chicago Boogie". Above Right: Label image of Aristocrat 202A, released in May 1947. All four above sides were recorded in the same April 1947 session.
In Chicago South Side slang, "Geets" was money. In the song, Floyd McDaniel sings "All my geets is gone." BMI.com confirms "Johnny Davis" as the composer.
These are the only two records the Five Blazes had on the Aristocrat label. The 200 series was assigned to Five Blazes' releases. "Dedicated To You" was reissued on Aristocrat 2003 in 1949 as by "Ernie Harper And The Five Blazes". The flip-side of that record is a new release by Sax Mallard's Orchestra with vocal by Jimmy Bowman. The 2000 series was used for Mallard's records.
At Direct Right: Photo of the Five Blazes, (L-R) Floyd McDaniel, Shorty Hill, Jelly Holt, Prentice Butler, and Ernie Harper.
THE BILLBOARD REVIEW (7/25/47):
FIVE BLAZES — ARISTOCRAT 201 Chicago Boogie/Dedicated To You
This Negro quintet is technically poorly presented in its wax debut, with the instrumental offering sounding like it had been cut in a big barn with the instruments miles from the pick-up mike.Group shows plenty of fire in their Boogie, which boasts good lyrics and some standout piano work. Flipover is the pretty oldie, which merits rediscovery.
Both sides show the versatile voice of Ernie Palmer, who turns it torrid for the Boogie, while his tonsils go soft and mellow for the reverse.
"Chicago Boogie" will grab Jazz fans' ears. while "Dedicated" is good for all locations.
LISTEN (Windows Media Player):
1. "Chicago Boogie" - 5 Blazes (Vocal By Ernie Harper) - Aristocrat 201A - 1947.
2. "Dedicated To You" - 5 Blazes (Vocal By Ernie Harper) - Aristocrat 201B - 1947.
3. "All My Geets Are Gone" - 5 Blazes (Vocal By Floyd McDaniels) - Aristocrat 202A - 1947.
4. "Every Little Dream" - 5 Blazes (Vocal By Ernie Harper And Group) - Aristocrat 202B - 1947.ALL FOUR SONGS played in sequence.
EXTRA RECORDS — THE FOUR BLAZES ON UNITED RECORDS
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Above Left: GREEN BAY PRESS GAZETTE, December 15, 1950.
NOTE: The Four Blazes harmonizing.Above Right: CASH BOX, June 14, 1952.
"Mary Jo" was the Four Blazes' big hit, reaching number one on Billboard's "Most Played Juke Box Rhythm & Blues Records" in August 1952.
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Above Left: Label image of United U-114, both sides recorded on January 2, 1952 and the record released in April 1952. Thomas Braden sings lead on the flip-side, "Mary Jo". The United labels consistently misspelled Floyd McDaniel's name. Above Right: Label image of United U-125, recorded on July 4, 1952 and released in September 1952. Forest's name is spelled incorrectly on the label.
Jimmy Forest's instrumental version was a hit for him and the United label. Lewis Simpkins, president of United Records, added his name to composer credits here, possibly because of the addition of lyrics to the song. Simpkins passed away in May 1953 after an extended illness.
These are the Four Blazes' first two records of their seven on Chicago's United label (1952-1955). One of these issued as "Tommy 'Mary-Jo' Braden And His Flames" (1954) and another as "The Blasers" (1955), both with Norman Simmons replacing Shorty Hill.
The Billboard Review (8/30/52): FOUR BLAZES - UNITED U-125....
Night Train (78) Rhythm ditty which was a winner as an instrumental is given a strong performance by the vocal group. Bass singer is especially effective. Could get action.(NOTE: A ratings range of 70-79 was considered as "good".)
Cash Box Review (6/7/52):
THE FOUR BLAZES — UNITED 114
Mood Indigo (B+) The Four Blazes collaborate on a slow mellow melody with beautiful effect. The mood music is delivered smoothly by the combination. A good side for the boxes.
*Mary Jo (B+) The boys come through with a change of pace as they sock out a fast moving beat. The Four Blazes are really hot on this end and they threaten to melt the wax.(NOTE 1: A rating of B+ was considered as "excellent".)
(*NOTE 2: The reviewer incorrectly entered the title of this side as "Raining In My Heart". That song was by Roosevelt Sykes And His Honey Drippers on United 120.)
Cash Box Review (8/9/52):
THE FOUR BLAZES — UNITED 125
Night Train (C+) The singing aggregation gives out with its individual interpretation of the slow rhythmic piece and comes up with an effective side.(NOTE: A rating of C+ was considered as "good".)
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Above Left: Label image of United 110, released in early 1952. Strange that his composer name was misspelled on the label when his correct name is next to it. Actually, according to BMI.com, Forrest [sic] shares composing rights with Oscar Washington.
Forest and Washington, a guitarist, were both from St. Louis. The following year, Washington formed the Ballad label in St. Louis, that brought us The Swans (Quartet), Joe Alexander And The Cubans, and Fred Green And The Mellards.
Above Right: Photo of tenor saxophonist Jimmy Forest.
LISTEN (Windows Media Player):
1. "Mood Indigo" - Four Blazes (Vocal By Lindsley Holt And Group) - United U-114 - 1952.
2. "Mary Jo" - Four Blazes (Vocal By Thomas Braden) - United U-114 - 1952.
3. "Night Train" - Four Blazes - United U-125 - 1952.
4. "Night Train" - Jimmy Forest, Tenor And All Star Combo - United 110 - 1951.ALL FOUR SONGS played in sequence.
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Above: CLEVELAND CALL AND POST, August 30, 1952.
NOTE: The picture used for this advertisement is the Four Blazes from the mid-1940s.
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The Billboard Review (3/21/53):
THE FOUR BLAZES — UNITED 146
Not Any More Tears (77) The Blazes come thru with a good reading of a new blues ballad, featuring Thomas Braden on the vocal, while the group backs him closely. The ork supplies a real beat.
My Hats On The Side Of My Head (80) A happy novelty is sold neatly by the Blazes, over okay ork help. Ditty sounds fine for night club material.(NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "excellent".)
THE BILLBOARD, April 12, 1953: (NEW RECORDS TO WATCH)
FOUR BLAZES — My Hat's On The Side Of My Head — United 146
Action has already started on this one in the Midwest area. It's a happy novelty with a fine performance by the group. Flip is "Not Any More Tears".LISTEN (Windows Media Player):
1. "Not Any More Tears" - The Four Blazes (Vocal By Thomas Braden And Group) - United U-146 - 1953.
2. "My Hat's On The Side Of My Head" - The Four Blazes (Vocal By Thomas Braden) - United U-146 - 1953.BOTH SONGS played in sequence.
CASH BOX, March 21, 1953:
....United Records has come up with what looks like a big one. Their new Four Blazes release, "My Hat's On The Side Of My Head", is just loaded with what it takes. The group belts the quick beat rocker with a zest that is infectious....Cash Box Review (3/21/53): (AWARD O' THE WEEK)
THE FOUR BLAZES — UNITED 146
My Hat's On The Side Of My Head/Not Any More Tears
The Four Blazes, with Thomas Braden providing a moving and heated vocal, dish up a quick beat rocker, titled, "My Hat's On The Side Of My Head". The delivery has lots of zest and is belted from the opening note in happy style.With the personality job injected by the chanter, and the drive of the arrangement and the supporting cast, this etching zings along at a hustling pace. A definite entry for the juke box sweepstakes.
The lower lid is a moderate tempo item, performed by the Four Blazes in smooth and feelingful manner. Very pleasant listening. Ops, get with the top deck.
CASH BOX, September 19, 1953:
....Five Blazes now in their 20th week at Club Bagdad. And continue to pack the place....
JACKIE CAIN
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Above: Photo of Jackie Cain from 1948.
Jackie Cain married singer Roy Kral in June 1948. Both were with Charlie Ventura's orchestra and sang as a duet, "Jackie And Roy". Together, the two singers had records released on National (1947-1949), Atlantic (1948), RCA Victor (1949), and Decca (1949-1954). They specialized in "bop" (fast tempos, complex harmonies, and improvisation). At Direct Right: 1949 photo of Jackie Cain and Charlie Ventura in an RCA Victor recording session. Notice what appears to be "JACKIE" on her blouse.
CHICAGO TRIBUNE, September 7, 1947.
TOPS AMONG TEENS
OFFSTAGE 19-year-old Jackie Cain is a pretty blonde, half shy gal who looks as if she just got out of high school. But the moment she steps in front of a night club mike, Jackie becomes a girl with a big voice that holds the noisy room in silence while she does her stint. She has been pleasing audiences ever since she began singing for school variety shows and mothers' clubs when she was 5.
Five years ago, when she was living in Milwaukee and attending Pulaski High school, she filled a two week engagement with Horace Heidt at the Riverside theater, but because she was too young to go on the road with the band, she stayed in school, appearing on occasional school programs. Then came bookings at two home town clubs, the Continental, and the Stage Door.After graduation from high school in 1946 Jackie came to Chicago as a vocalist with Jay Burkhart. When she was singing in a small spot on Chicago's south side a local disc jockey began plugging her songs. Soon she was in the big time at the Hotel Sherman's famous College Inn.
Jackie has a singing style all her own which features unconventional take-offs on the melody and unusual musical intervals.
NOTE: At the time of the above article, Jackie Cain was living in Chicago and had already been with Ken Ventura's orchestra since at least July 1947. She sang with Ventura's outfit until 1949, well past her Aristocrat Records May 1947 recording session with the George Davis Quartet.
However, there is a blurb in the Chicago Tribune's November 23, 1947 edition which states "Tonight's the last night for the return engagement of singer Jackie Cain and the George Davis Quartet at Jumptown."
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Above: Label images for both sides of Aristocrat 301, recorded in May 1947 and released in July 1947.
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LISTEN (Windows Media Player):
1. "Jubilee" - George Davis Quartet (Vocal By Jackie Cain) - Aristocrat 301A - 1947.
2. "I Only Have Eyes For You" - George Davis Quartet (Vocal By Jackie Cain) - Aristocrat 301B - 1947.
3. "I Cover The Waterfront" - George Davis Quartet (Vocal By Jackie Cain) - Aristocrat 302A - 1947.
4. "What's The Use Of Wonderin'" - George Davis Quartet (Vocal By Jackie Cain) - Aristocrat 302B - 1947.ALL FOUR SONGS played in sequence.
EXTRA RECORDS — JACKIE CAIN AND ROY KRAL
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Above: Photo of Roy Kral and Jackie Cain. CHICAGO TRIBUNE, January 30, 1950:
....Charlie Ventura brought bop vocalizing to its highest point of development in Buddy Stewart and Jackie Cain. Now that Jackie and her piano playing, bop singing husband, Roy Kral, have left Charlie and formed their own good group, they are collaborating in what is probably the best bop vocaling extant.....If you want a not-too oppressive sample of it, listen to Atlantic's "Ever Lovin' Blues" and "Auld Lang Syne". The Kral–Cain Sextet plays both sides with delightful imagination and consummate skill, and the two bosses bop away happily on both sides.
The "Auld Lang Syne" treatment is the more interesting. It opens with a bagpipe effect and a straight vocal that graduates into bop treatment in a very effective way.
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Above Left: Label image of National 9077, recorded in October 1948 and released in May 1949. Buddy Stewart is the vocalist on the flip-side, "Pennies From Heaven". This is one of four sides that Jackie Cain and Roy Kral had with Charlie Ventura's orchestra on National Records (1948-1949). Lena Horne (M-G-M) and Peggy Lee (Capitol) had their "Deed I Do" released in 1948. For some reason, the issuance of Charlie Ventura's version was delayed until 1949.
CASH BOX REVIEW (5/28/49):
CHARLIE VENTURA ORCHESTRA — National 9077
Pennies From Heaven/Deed I Do
Some great wax by the widely popular Charlie Ventura gang, with the mellow metro of "Pennies From Heaven" and "Deed I Do" coming thru.Top deck, with the vocal refrain by Buddy Stewart, is a great rendition of this oldie that makes for wonderful listening pleasure. Buddy takes it straight on the side, with a great trombone solo by Kai Winding rounding out the side in top manner.
On the coupling, pipers Jackie Cain and Roy Krai join voices in a moderate bop vocal to make this disk a winner. It's smooth, polite bop - the kind that has won such widespread favor. Don't miss this platter — it's a hot phono item.
The Billboard Review (5/28/49):
CHARLIE VENTURA ORK — National 9077
Pennies From Heaven (72) Buddy Stewart sings the oldie nicely while Bennie Green and Ventura lend neat solo bits on trombone and tenor sax.
(NOTE: Although Bennie Green was a trombonist in Ventura's orchestra, the label credits Kai Winding for the trombone solo.)
Deed I Do (77) Jackie Cain and Roy Kral team for the bop scat and Jackie handles the lyric alone in this brisk rendition of the fine standard.(NOTE: A ratings range of 70-79 was considered as "good".)
Above Right: Label image of Atlantic 664, recorded on October 6, 1949 and released in November 1949. This is the first of two records Jackie Cain and Roy Kral had on the Atlantic label, all four sides done in the same session.
CASH BOX REVIEW (11/19/49):
THE ROY KRAL—JACKIE CAIN SEXTET — Atlantic 664
Auld Lang Syne/Ever Lovin' Blues
Fresh wax by the Roy Kral—Jackie Cain Sextet, and their first sides on Atlantic titled "Auld Lang Syne" and "Ever Lovin' Blues". Music ops are sure to remember the success they had with former waxings by Roy and Jackie. This platter has the makings of another repeat success performance.Top deck is a novel rendition, in light polite bop style, of the standard New Year ditty. The flip is more of the same mild bop, with Roy and Jackie, and the group displaying some wonderful music throughout. Ops should listen in - especially to "Auld Lang Syne".
The Billboard Review (5/28/49):
ROY KRAL—JACKIE CAIN SEXTET — Atlantic 664
Ever Lovin' Blues (80) Unusual and clever disking employing the expert bop scat dueting of Cain and Kral set off against string figures. Impressive disk debut for the new group.
Auld Lang Syne (69) Rather heavy-handed interpolation of bop and pseudo-hip lyric onto the standard.(NOTE: A ratings range of 60-69 was considered as "satisfactory" and 80-89 as "excellent".)
LISTEN (Windows Media Player):
1. "Deed I Do" - Charlie Ventura Orchestra (Vocal By Jackie Cain And Roy Kral) - National 9077 - 1949.
2. "Ever Lovin' Blues" - The Roy Kral—Jackie Cain Sextet - Atlantic 664 - 1949.
3. "Auld Lang Syne" - The Roy Kral—Jackie Cain Sextet - Atlantic 664 - 1949.ALL THREE SONGS played in sequence.
Above: CASH BOX (May 28, 1949).At Direct Right: CASH BOX (November 12, 1949):
ROY KRAL–JACKIE CAIN BOW ON ATLANTIC
NEW YORK—Bowing in with their first wax, the newly formed Roy Kral–Jackie Cain quintet [sic, sextet] is shown here as it recorded for Atlantic Records last week.Along with Jackie's famed bop vocals and the added vocal sounds by Roy on piano, the Mr. and Mrs. of "Euphoria" fame feature in their group: Marilyn Beabout on cello; Kenny O'Brien on bass, with his better-half, Elaine, on drums; and John Romano on guitar.
("Euphoria" is a song Jackie and Roy recorded with Charlie Ventura in 1948.)The Kral–Cain Quintet [sic] recorded "Ever Lovin' Blues" and "Auld Lang Syne", skedded for an early November release by the Atlantic plattery.
JUMP JACKSON — MELROSE COLBERT
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Above: CHICAGO DEFENDER, July 31, 1948.
(Picture is Melrose Colbert.)
Click HERE for an article about MELROSE COLBERT by Marv Goldberg.
(Will open in a separate window)
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Above: CHICAGO DEFENDER, June 14, 1947:
GIVING THE PATRONS an earful of swing and jive that has kept the New Morocco Lounge, Drexel and Oakwood boulevard, rocking in rhythm. Jump Jackson's engagement has been extended by popular request.Pictured are Jay Mallard ["Sax" Mallard] on the saxophone; Bill Owens, pianist and arranger; John Martin [sic, Morton], with trumpet; and Armand (Jump) Jackson on drums. (Looks like Owens was also a clarinetist... or not. A clarinet takes less space in a photo than a piano.)
(NOTE: Jump Jackson's recordings for the Aristocrat label were done in June 1947, the same month as this clipping, but with added personnel.)
Above: Label images for both sides of Aristocrat 401, recorded in June 1947 and released in September 1947.There were eight members in Jump's orchestra for the Aristocrat recordings. The four mentioned further above plus Eddie Penigar (tenor sax), Tom Archia (tenor sax), Hurley Ramey (electric guitar), and Dallas Bartley (bass fiddle).
Jump Jackson had two records and one other side released on the Aristocrat label. Melrose Colbert was on two of these sides.
At Direct Left: CHICAGO DEFENDER, April 12, 1947. [Picture of Melrose Colbert]
At Direct Right: Label image of Aristocrat 402B, recorded in June 1947 and released in November 1947.
CASH BOX, August 25, 1947:
....Evelyn Aron of Chicago's Aristocrat Records writes to advise the firm just signed Jump Jackson and his band. Says Evie, "A race outfit that really jumps, and cries the blues." Aristocrat also signed Melrose Colbert, sepia torch....LISTEN (Windows Media Player):
1. "Sweet Thing" - Jump Jackson And His Orchestra (Vocal By Melrose Colbert) - Aristocrat 401A - 1947.
2. "Not Now Baby" - Jump Jackson And His Orchestra (Vocal By Benny Kelly) - Aristocrat 401B - 1947.
3. "The Greatest Mistake" - Jump Jackson And His Orchestra (Vocal By Melrose Colbert) - Aristocrat 402B - 1947.
4. "Hey Pretty Mama" - Jump Jackson And His Orchestra (Vocal By Benny Kelly) - Aristocrat 402A - 1947.ALL FOUR SONGS played in sequence.
Cash Box Review (9/29/47): JUMP JACKSON ORCH. — Aristocrat 401....
Sweet Thing/Not Now Baby
Pair of hot items that ops with race spots should look into are these by the Jump Jackson ork titled "Sweet Thing" and "Not Now Baby".Featuring vocalist Melrose Colbert on the top deck, the chirp's rendition adds loads to the maestro's wonderful instrumental accompaniment. Ditty spins in the slow mood, with the canary's haunting voice eating right into you. Pitch revolves around the headline, with the piping getting all the glory.
On the flip with some stuff by Benny Kelly, the mood changes to real low down blues, while a boogie beat tickles the ivories throughout. Benny's heavy and pronounced voice shapes the future for this deck brightly as an attractive pancake for your machines.
The Billboard Review (11/29/47): JUMP JACKSON ORCH. — Aristocrat 402....
Hey Pretty Mama/The Greatest Mistake
"Hey! Pretty Mama" is one of those contagious choruses race ditties, with the entire combo joining shouter Benny Kelly for a unison job that should make for a click disk. Jump Jackson's jazz combo blows up a swing storm to help the side along.On the reverse, the Jackson fivesome gets mellow to augment Melrose Colbert's moody chanting of "The Greatest Mistake". Melody is a torrid ballad type, but lyrics lack the easy structure that makes for favorites such as "Fool That I Am".
"Hey Pretty Mama" will pull plenty of papa's coins.
Cash Box Review (12/7/47): JUMP JACKSON ORCH. — Aristocrat 402....
The Greatest Mistake/Hey Pretty Mama
Pair of sides for the race spots are offered here in top notch styling by the Jump Jackson crew, with canary Melrose Colbert to grab the lime on the top deck.Titled "The Greatest Mistake", the gal's pipes weave right in to charm and warm you to her immediately. Ditty is haunting, with the slow pace blending wonderfully.
On the flip, piper Benny Kelly grabs the mike to wail the hypo wordage to "Hey Pretty Mama", more race music with a stock beat. There's no mistake about the top side–you'll go for it.
BENNY KELLY— APRIL 6, 1946 CHICAGO DEFENDER
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Above Left: SPRINGFIELD NEWS-SUN (Springfield, Ohio), December 30, 1948. Above Right: CHICAGO DEFENDER, March 5, 1949.
(Picture of Jump Jackson)
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Above Left: CHICAGO DEFENDER, December 14, 1940. Above Right: BALTIMORE AFRO-AMERICAN, January 7, 1950.
NOTE: Her dress looks the same as the one in her picture at the start of this section.
EXTRA RECORD — JUMP JACKSON
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Above Left: Photo of Jump Jackson and his band consisting of (L-R) Jump Jackson, Bill Owens, Johnny Morton, and Sax Mallard. This photo is from 1946 when they were recording for Art Rupe's Specialty Records. Notations are "To: Art Rupe A Jive Cat and Pal 'Jump' Jackson Oct 4 - 1946"; "Bill Owens"; "'Jitterbug' Art Best Wishes From Johnny Morton"; and "To Art a 'hard driver' Sax Mallard".
Above Right: Label image of Specialty SP 509 A, recorded on October 4, 1946 and released in 1946.
The photo above left is dated the same day as the recording session. However, the group members identified on the label do not match the photo. There are seven musicians and Art Simms has replaced Bill Owens on piano. The label for the flip-side, "All Alone Blues", shows this same line-up.
Per the labels, both sides were composed by Art Rupe himself. There are no applicable entries for these titles at BMI.com.
At Direct Right: CHICAGO DEFENDER, February 8, 1947.
LISTEN (Windows Media Player):
1. "Worryin' Blues" - Jump Jackson And His Band - Specialty SP 509 A - 1946.
2. "All Alone Blues" - Jump Jackson And His Band - Specialty SP 509 B - 1946.BOTH SONGS played in sequence.
TOM ARCHIA THE BILLBOARD, October 25, 1947:
BAN STARTS WAX TALENT FLURRY; RUSH IS ON TO BEAT DEADLINE
CHICAGO—Impending Petrillo ban on recordings not only has started a wholesale cutting spree, but has Midwest independents keeping the pen wet with ink during the past seven days in a talent signing jamboree....Aristocrat, a six-month old Chicago label, this week went all out to fill its race roster, which will now be a major concern of the firm. Combos added include Tom Archia, the Prince Cooper Trio, Bob Perkins, Timothy Ward, and Lonnie Simmons.
Vocalists William Jones, Sheba Griffin, George Kirby, Bob White, Bill Owens, Andy Tibs, the Seven Melody Men (spiritual singers), are also into the Aristocrat fold.
(NOTE 1: Combos — No evidence was found of any Aristocrat recordings by Bob Perkins, Timothy Ward, or Lonnie Simmons.
(NOTE 2: Vocalists — There was a "Willie Jones" who played piano in Tom Archia's band, but no vocals were released on Aristocrat by him. No evidence of "Bob White" recording anything for Aristocrat was found. "Bill Owens" was a pianist for Jump Jackson's combo, but had no vocalist duties at Aristocrat.)
At Direct Right: CHICAGO DEFENDER, February 19, 1949.
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Above: CHICAGO DEFENDER, July 30, 1949.
TOM ARCHIA (right) a top flight Chicagoland tenor man, sounds keynote during one of the frequent jam sessions at the Macomba, 39th street and Cottage Grove avenue, where his group has held the spotlight for moons.With him, from left, are popular tootlers Eddie Chamblee and King Kolax, who sat in on the session, and a Macomba guest, Theresa Ali. Archia and Chamblee will play at the Billie Holiday concert Friday, July 29.
Tom Archia will leave Chicago the week after next for stands in Columbus and Cleveland, Ohio. Trip may wind up with some New York dates.
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Above Left: Label image of Aristocrat 602B, recorded in July 1947 and released in February 1948. Label shows "Sheba Griffin" as composer of "Cherry", but am unable to confirm that at BMI.com. Flip-side label shows "George Kirby" as composer and vocalist. BMI.com does list an "Ice Man Blues" title, but it's credited to "Tom Archia". Photo at direct right is George Kirby, known more as a comedian than a blues singer.
Above Middle: PORTSMOUTH STAR (Portsmouth, Virginia), April 8, 1951:
MISS SHEBA GRIFFIN, Chicago girl of Belleville, who is running for "Miss Belleville 1951" honors during Passover Week, April 13-20, vying with several other girls in a popularity contest.... She is a talented singer of ability, including radio and television, and studied two years in a fine Arts College in Chicago.Above Right: Label image of Aristocrat 801-B, also recorded in July 1947 and released in November 1947.
Composers shown on the above right label are "Fenner-Adams". This would be songwriter Senabelle Fenner and Doctor Jo Jo Adams (vocalist on both sides of this record). The flip-side label shows only "Jo Jo Adams" as composer. BMI.com does not list either title as credited to Fenner or Adams.
The Billboard Review (11/29/47): TOM ARCHIA— Aristocrat 801....
Love Me/Drinkin' Blues
Dr. Jo-Jo Adams, the rising blues-shouter, applies his quivering vibratto with especially good results to the smoldering lyrics of "Love Me", with the interpretation certain to hit with romantic listeners in race spots.On the reverse, Adams, again backed by Tom Archia's jazz combo, switches the mood with a lament based on his over-imbibing experiences, with the lyrics carrying a message that will draw race hearers.
At Far Right: Label image of Aristocrat 803A, also recorded in early 1948 and released in August 1948. BMI.com lists a dozen "Cabbage Head" titles with none credited to Adams or Archia.
CASH BOX, May 1, 1948:
....Seems that Chuck and Evelyn Aron (Aristocrat disks) have gone all race....
(NOTE: A significant point has been reached in the label's development.)The Billboard Review (9/4/48):
TOM ARCHIA'S ALL STARS - "DOC" JO JO ADAMS — Aristocrat 803....
Cabbage Head, Parts 1 And 2 (82) Spirited chanting of a really funny double entendre race jingle should cop plenty of juke coin. Too blue for airing, but not offensive.(NOTE: A ratings range of 80-89 was considered as "excellent".)
LISTEN (Windows Media Player):
1. "Cherry" - Tom Archia And His All Stars (Vocal By Sheba Griffin) - Aristocrat 602B - 1948.
2. "Ice Man Blues" - Tom Archia And His All Stars (Vocal By George Kirby) - Aristocrat 602A - 1948.
3. "Drinkin' Blues" - Tom Archia And His All Stars (Vocal By Jo Jo Adams) - Aristocrat 801-B - 1947.
4. "Love Me" - Tom Archia And His All Stars (Vocal By Jo Jo Adams) - Aristocrat 801-A - 1947.
5. "Cabbage Head Part 1" - "Doc" Jo Jo Adams With Tom Archia's All Stars - Aristocrat 803A - 1948.
6. "Cabbage Head Part 2" - "Doc" Jo Jo Adams With Tom Archia's All Stars - Aristocrat 803B - 1948.ALL SIX SONGS played in sequence.
Above Left: Photo of (L-R) Little Miss Cornshucks, Melvin Scott, Tiny Bradshaw, and Jo Jo Adams. WJOB is a radio station in Hammond, Indiana. Jo Jo was a singer, comedian, and dancer. Above Right: NEW JOURNAL AND GUIDE (Norfolk, Virginia), March 3, 1956.
NOTE: Picture is Sheba Griffin. She has a broken top front tooth in both of her above pictures. That's been fixed here by "paint shopping".
Click HERE for an article about JO JO ADAMS by Marv Goldberg.
(Will open in a separate window)
EXTRA RECORDS — GENE AMMONS AND TOM ARCHIA
Above Left: Photo of Gene Ammons. It looks like the two tenor sax players are giving each other the eye. Above Middle: Label image of Chess 1445, recorded on October 12, 1948 for Aristocrat and released on Chess in 1950. Gene Ammons name is misspelled on both sides of the Chess record.
This record was first released on Aristocrat 606 in November 1948 as by "Tom Archia And His All Stars". The flip-side on Chess, "Boppin With Santa", was titled "Swinging For Christmas" on the Aristocrat release. The labels show the Aristocrat assigned matrix numbers.
Gene had nine records on Chess (1950-1952), some of them from Aristocrat masters.
The musicians on this record are Gene Ammons and Tom Archia (tenor saxophones), Christine Chatman (piano), Leroy Jackson (bass fiddle), and Wesley Landers (drums). Christine had one record released on Aristocrat under her own name in 1949 with vocals by her on both sides. "With Gene Ammons On Tenor" is shown on the labels. That record will be included in a future part of this article.
Above Right: Photo of Tom Archia. (Photo is courtesy of Gilles Pétard.)
The Billboard Review (12/11/48): TOM ARCHIA AND HIS ALL STARS — Aristocrat 606....
Swinging For Christmas/Talk Of The Town
Some stuff the hep jazzophile can get with are these sides done up royal by Tom Archia and His All Stars. Tagged, "Swinging For Christmas" and "Talk Of The Town", the group gives out with some mellow licks that should meet with heavy approval.
Top deck jumps a Christmas item with a fine tenor riding it out. Flip slows down for the standard "Talk Of The Town", with a tenor sax featured again. Stuff makes for nice dancing pleasure. Cookie rates a spot in ops machines.
(NOTE: The Billboard reviews were provided mainly for juke box operators.)
Tom Archia had one more record on Chess (#1448, released in 1950), which were sides recorded for and released on Aristocrat without Gene Ammons. One of the sides, "Mean And Evil Baby" (Aristocrat 601A) was a vocal by Sheba Griffin recorded in July 1947.
LISTEN (Windows Media Player):
"Mean And Evil Baby" - Tom Archia And His All Stars (Vocal By Sheba Griffin) - Aristocrat 601A - 1947.CASH BOX, June 19, 1948:
....Chuck and Evelyn Aron working at top speed to get their new and larger quarters opened on July 1.... and invite you all to Aristocrat Records' new home....At Far Right: CASH BOX, December 25, 1948.
NOTE: "I Feel Like..." (fill in the blank).
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Above Left: Label image of Aristocrat 416, recorded on January 8, 1950 for Aristocrat and released in May 1950. It was also reissued on Chess 1429 in July 1950. "Full Moon"'s label credits "Shorty Rogers" as composer. He was a trumpet player in Woody Herman's orchestra at the same time in 1949 that Gene Ammons was also with Herman. Gene is credited as the songwriter on the flip-side, "Chabootie", label.
The orchestra members on this record do not include Tom Archia. They are Gene Ammons (tenor saxophone), Jesse Miller (trumpet), Matthew Gee (trombone), Junior Mance (piano), Leo Blevins (guitar), Leroy Jackson (bass fiddle), and Wesley Landers (drums).
Above Right: Photo of Gene Ammons, who was another of many Chicago artists to record for the Aristocrat label.
LISTEN (Windows Media Player):
1. "Talk Of The Town (Instrumental)" - Gene Amons And Tom Archia - Chess 1445 - 1950.
2. "Boppin With Santa (Instrumental)" - Gene Amons And Tom Archia - Chess 1445 - 1950.
3. "Full Moon (Instrumental)" - Gene Ammons And His Sextet - Aristocrat 416 - 1950.
4. "Chabootie (Instrumental)" - Gene Ammons And His Sextet - Aristocrat 416 - 1950.ALL FOUR SONGS played in sequence.
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Above: CHICAGO DEFENDER, October 14, 1950:
BANDLEADER GENE AMMONS (seated left) shakes with Tim Gale of the Gale theatrical agency, who inked Ammons last week to an exclusive booking contract.Smiling their approval are Dick Carpenter (left), Ammon's manager; and Chauncey Christian, accountant and office manager of the Gale firm. Ammons, an ace tenor man, opened last week at Birdland on Broadway.
EXTRA RECORDS — JO JO ADAMS
THE BILLBOARD, April 6, 1946:
WINDY CITY DISKERY, HY-TONE SET; CHI, MERCURY TO PRESS
CHICAGO—Another race record company which hopes to get into the national market has made its bow here. The new firm is the Hy-Tone Manufacturing & Distributing Company, headed by Freddie Williams and Nathan Rothner.First release of the company is "Jo-Jo Blues, Parts 1 and 2", and "Corine (Please Don't Give It Away)" on the reverse side. Both feature Freddie Williams and his orchestra.
Company plans to press about 12,000 copies per week of the two records. Some of the pressing will be done by the Chicago Recording Company. Most of it, however, will be done on a so-much-per-pressing basis by Irving Green's Mercury Record plant here. Hy-Tone will take care of its own distributing.
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Above: THE BILLBOARD, April 6, 1946.
Hy-Tone's numbering system started at 10.
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Above Left: Label image of Hy-Tone 29-B, released in 1947. The flip-side, a remake of "Floyd's Guitar Blues", is an instrumental. The Billboard Review (4/12/47): FLOYD SMITH — Hy-Tone 29....
Floyd's Guitar Blues/I'm Weak For You
Ex-Andy Kirk git-star, Floyd Smith, fronts a five-piecer here, highlighting his own fine single string and chord amplified work.First side is a remake, only with a small combo, of his Decca sepia series hit. Side shows that Smith's long service stint didn't dull his technique and he offers some of the finest simulations of a doleful human voice on record.
Reverse is a stereotype blues, that picks up plenty to commend it from the vigorous throating of Jo-Jo Adams. Adams is one of those fiery vibratto [sic] singers of the Eddie Vinson school, who always wins race interest. Race taprooms will want either side on their boxes.
Above Middle: CHICAGO DEFENDER, April 28, 1945. [Picture is Jo Jo Adams]
Above Right: Label image of Hy-Tone 31-B, released in 1948. The labels of the above two records credit "Jo-Jo Adams" as composer of the three vocal sides. The musicians are shown on the label. It's "Nat" Jones playing the alto sax.
LISTEN (Windows Media Player):
1. "I'm Weak For You" - Floyd Smith's Combo (Vocal Jo Jo Adams) - Hy-Tone 29-B - 1947.
2. "Voodit" - Floyd Smith's Combo (Vocal Jo Jo Adams) - Hy-Tone 31-B - 1948.
3. "I Get The Blues Every Morning" - Floyd Smith's Combo (Vocal Jo Jo Adams) - Hy-Tone 31-A - 1948.ALL THREE SONGS played in sequence.
Above Left: CHICAGO DEFENDER, March 21, 1953. Above Right: Photo of Little Miss Cornshucks (Mildred Jorman nee Mildred Cummings) and Jo Jo Adams.
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Above Left: NEW PITTSBURGH COURIER, January 3, 1948:
THEY LIKE "STAYING PUT"—Floyd Smith [center], Esquire award winner and famous guitar player, formerly a member of the Andy Kirk band, and his associates, Bill Huff. pianist, and Booker Collins, bass, seem well pleased in having run up fifty-four weeks at the DuSable Lounge in Chicago. Their engagement at the spot is unlimited.(NOTE: Their "stint" at DuSable Lounge turned out to be very "unlimited". It lasted a total of three years and seven months.)
Above Right: Photo of Floyd Smith.
At Direct Right: Photo of Floyd Smith on guitar and Curly Howard on bass fiddle. Yes, the Three Stooges' "Curly"! The group's regular bass player, Booker Collins, is standing behind the fiddle.
Floyd Smith had one record on the Aristocrat label (1950). While the label shows only "Floyd Smith", it was his trio on these recordings. Both sides are instrumentals, the "Vocal" on the label is in error. This record, Aristocrat 409, was reissued on Chess 1439 in 1950.
CHICAGO DEFENDER, January 3, 1948:
FLOYD SMITH'S TRIO STRETCHING IT
Ever hear of a group that came to a spot to play a two weeker and wind up playing 27 months?There is one. The only thing is that this group isn't through yet. It's still playing and from the the looks of things, it'll still be playing for a long time, at the same place.
The Floyd Smith Trio is the name. The unit came to the DuSable Lounge 27 months ago. The music was so good that they won for themselves a long term booking that breaks the record for small groups.
This steller group is comprised of Floyd Smith, guitar, whose "Floyd's Guitar Blues" is still a favorite; Bill Huff, piano, a natural with the 88 and with the Smith trio in particular; and Booker Collins, bass, a former Andy Kirk ace. Collins has recorded with Jo Jo Adams and the Harmonicats. The whole unit is just about ready to record for MGM.
(NOTE: Make what you will out of this article. "27 months" is more than twice the more correct "fifty-four weeks" of the previous blurb. As we've already learned further above, the "whole unit" had recorded with Jo Jo Adams. Floyd Smith was guest guitarist for the Earl Hines Orchestra on some MGM sessions in 1948.)
LISTEN (Windows Media Player):
1. "Saturday Nite Boogie (Instrumental)" - Floyd Smith - Aristocrat 409 - 1950.
2. "Blue Moods (Instrumental)" - Floyd Smith - Aristocrat 409 - 1950.BOTH SONGS played in sequence.
NOTE: Number 409 was also assigned to a Dozier Boys' Aristocrat record, "She's Gone"/"All I Need Is You", both 409s released in February 1950. The Doziers' record will be included in a future part of this article.
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Above: Photo – Tom Archia (front left with sax), unknown vocalist (front center), Bill Martin (front right with trumpet), and Floyd Smith (with guitar), at Chicago's Flame Lounge in 1952. It looks like Floyd's trio members are behind him, Booker Collins on bass fiddle, trying to get his face in the photo, and Bill Huff on piano. If anyone recognizes the vibraphonist or the female singer, please contact me.
(Photo is courtesy of Chicago Public Library.)
NOTE: Restoration of photos, clippings, record label images, and audio is by Tony Fournier.
1. "Say No More" - Sherman Hayes Orchestra (Vocal By Wyoma) - Aristocrat 101A - 1947.
ALL TWENTY-SIX ABOVE ARISTOCRAT/CHESS LABEL SONGS played in sequence. At Right: CASH BOX, June 19, 1948: ARISTOCRAT RECORDS MOVES TO LARGER QUARTERS
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Last Update: November 22, 2025
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