#949 (7/24/23)

Above: Al Benson was owner and president of Chicago's Parrot and Blue Lake Records. He was also a very popular and influential deejay among the black population in Chicago. In addition, he owned several record stores. The Parrot label existed from late 1952 to early 1956. It's subsidiary label, Blue Lake, began in 1954 and also closed in early 1956. Al Benson's first involvement in a record company, Old Swing-Master, was a joint venture with radio station owner Egmont Sonderling. It existed from January 1949 to mid-1950. Benson referred to himself as the "old swing-master". At the bottom of the Parrot and Blue Lake labels it states "The Bronzeville Record Mfg. Co., Chicago". Bronzeville was a black neighborhood in the South Side of Chicago. Benson also owned The Bronzeville Record Distributing Company. LISTEN TO A FULL 30 MINUTE SHOW AIRCHECK (Windows Media Player): "Swoon, Sway, and Swing Radio Show" - Al Benson - WGES 1390 AM (Chicago) - 1955.

At Left: A copy of this Al Benson photo was included with the following 1951 Chicago Tribune article. CHICAGO TRIBUNE, March 4, 1951: MEET AL BENSON, THE WIZARD OF WEIRD WORDS The engineer flicks a cue, and the tall, lean man begins talking into the microphone. "If you've got plenty of geets on you, go right in the store. Walk heavy and talk heavy. And, that's for sure, from your old swingmaster." You may not know what he's talking about, but hundreds of thousands of Chicagoans recognize this esoteric verbiage at once. It belongs to Al Benson, who has been called by all odds the city's most popular disc jockey.... Al's home since 1946 has been WGES, which each week broadcasts more than 40 hours of Benson productions. He also has a transcribed show on WJJD. How did this Negro Arthur Godfrey become tops in his field in the second largest city in the land in less than five years? Special training? Well, yes, of sorts. Before he became maestro of such WGES shows as "Swoon, Sway, and Swing", "Spinning the Shellacs", and "Five O'Clock Jump", Al was [1] "pastor" of a non-denominational church on the south side; [2] probation officer for Chicago and Cook county; [3] WPA interviewer attached to the University of Chicago; and [4] cook and waiter on the Pennsylvania Railroad. The popularity of Benson among his own people borders on the incredible. He is, for example, "mayor" of Bronzeville. He won the title three years ago with a plurality of 1,400,000 votes over his nearest competitor in a field of 12. [Each voter cast as many ballots as he wished.] A couple of years ago, Al needed a large hall for a be-bop concert he was sponsoring. He approached Herb Carlin of the Civic Opera house. ....Al said "We packed 'em on the stage and in the pit. About 400 were turned away." .... Al, an impeccably courteous gentleman, tried to explain this magnetism. "Native talk, I guess. I talk the way common people of my race do. They understand me. That business about 'geets', 'walk heavy', and 'talk heavy', for instance. Geets is money. To walk heavy means to throw your shoulders back, stride in as if you owned the place, and look the man right in the eye. Talk heavy means to speak right up. Don't be afraid, be confident. My people know what I mean." Al's undressed talk, as he puts it, belies his education. He was graduated from Jackson [Miss.] College and studied at Loyola a year preparing for his probation officer job. Al, his wife, and two daughters live sumptuously in a Maryland Avenue house big enough to convert into a small hotel. One room is a $10,000 studio. He drives four automobiles, one a Chartreuse fishtailed convertible and another a maroon job of the same make. Al owns a prosperous record shop, is president of Swingmaster Recording Company, and produces strawberries by the carload on a Michigan farm. Pretty good for a lad who followed the advice of his father, a musician, to "go north, young man, go north."

THE BILLBOARD, September 20, 1947: ....Al Benson, Negro disk jockey, joined the staff of WJJD (Chicago) last week with a 15-minute platter show across the board for Canadian Ace Beer, making the first time a major independent has used a Negro jock show locally.... THE BILLBOARD, April 1, 1950: ....Chicago disk jockey Al Benson, who operates a string of rhythm and blues record shops, produces and plugs his own Swingmaster label.... PITTSBURGH COURIER, May 6, 1950: AL BENSON IN TV DEBUT CHICAGO—"The Windy City," noted for its leadership in infiltrating Negroes in all phases of radio, added another laurel to its crown Saturday when Al Benson launched his initial "Spotlight Talent" television show over WBKB, Channel 4, at 9:30 P.M. This brilliant variety show featuring well known personalities of stage and night clubs, ran one solid hour and was acclaimed as one of the finest to hit TV outlets. This important step in the field of TV was launched by the "Old Swingmaster," who has spent many weeks rounding up the format of its presentation, and is enjoyable to both colored and white viewers.... In the official opening of Benson's TV show were Henry (Red) Allen and his combo, who are currently playing the downtown Blue Note night club; Ruth Brown, Atlantic recording artist; Lurlean Hunter [female singer]; Joe Williams, former member of Lionel Hampton's orchestra; the Dozier Boys, songsters; and an eleven-piece orchestra. Official reports show that the Benson show ran smoothly and carried talent worth seeing. The show is produced and directed by Al Benson.

AL BENSON — THE SINGER

Above: Above: CASH BOX COVER, November 15, 1952: CAPTION: One of the biggest disks in the Rhythm 'N Blues field is currently "Juke" by Little Walter put out on the Checker label. Above A1 Benson (left), leading R & B disk jockey on WGES in Chicago, interviews Little Walter (center) as Leonard Chess (right), prexy of Checker Records, looks on. "Juke", which has gone into the smash category, is the first record which Little Walter has cut for the label. Chess/Checker were Chicago record labels. Leonard Chess appears to have a stack of Chess label records in front of him. Little Walter was on Chess' subsidiary label, Checker. Can't tell what label record that Al Benson is holding or is on the turntable. LISTEN (Windows Media Player): "Juke" - Little Walter And His Night Cats - Checker 758 - 1952. THE BILLBOARD, March 31, 1951: ....Leonard and Phil Chess have cut a disking by Al Benson, the Chicago r. and b. disk jockey, with Benson's vocal featured.... Not only was Al Benson a disk jockey, composer, promoter, record label owner, record shop, restaurant, and newspaper owner.... he was also a singer!

Above Left: Label image for Chess 1460, released in April 1951. The flip-side is an instrumental. Above Right: Eddie (Eddy) South. LISTEN (Windows Media Player): "I Can't Give You Anything But Love" - Eddy South Orchestra (Vocal By Al Benson) - Chess 1460 - 1951. Benson did some vocal sides for his own Parrot label. "If You Were The Only Girl" on Parrot 6000 and "Fool That I Am - Part I & II" on Parrot 7000. Both records probably issued in 1953. At Right: Al Benson didn't hesitate to put his name on his Old Swing-Master record labels.... even if he was not a musician or singer in Benson's All Star Orchestra. LISTEN (Windows Media Player): "Benson—Bop " - Benson's All Star Orchestra - Old Swing-Master 15B - 1949. There were also instrumental "tribute" records to Al Benson by other artists, which was a common practice involving popular disk jockeys at the time. Bouncing With Benson - Paul Williams Sextet - Savoy 664-A - 1947 Benson Alley - Sir Charles And His All Stars - Apollo 796 - 1947 Benson's Groove - Big Jay McNeely And His Bluejays - Savoy 682-A - 1948 ("Theme Song Al Benson Chicago Disk Jockey") Benson's Boogie - Lionel Hampton Orchestra - Decca 24574 B - 1949 South Side Saturday Night - C. Johnson & Band - Danceland 400 - 1949 ("Dedicated to Al Benson, Chicago") Jump For Al Benson - Max Miller Quartet - Life 1005 - 1951 Easy Mr. Benson - Tabb Smith Orchestra - Chess 1501 - 1952

PREFACE — PARROT & BLUE LAKE RECORDS

The first Parrot release is Willie Mabon And His Combo on Parrot 1050, "Worry Blues"/"I Don't Know", in November 1952. It was on a blue label. The first vocal group record released on the Parrot label is "Don't Leave Me"/"Weep Weep Weep" by the group aptly named The Parrots. The recording session was in March 1953 and it was released the following month. It is their only known record. Very little information is available about this group. LISTEN (Windows Media Player): 1. "Don't Leave Me" - The Parrots - Parrot 772 - 1953. 2. "Weep Weep Weep" - The Parrots - Parrot 772 - 1953. BOTH SONGS played in sequence. Other vocal groups that had records on Parrot or Blue Lake include The Flamingos, Orchids, Rockettes, Pelicans, Five Chances, Five Thrills, The Earls, Five Arrows, Maples, Chocolateers, and Fascinators. Parrot did dabble in gospel music, recording The Willie Webb Singers, Victorettes, Peace Makers, and Betty Griffin in 1953 and early 1954. Blues singers with records on Parrot or Blue Lake include Willie Mabon, Mabel Scott, Curtis Jones, Marvin Phillips (of Johnny And Marvin), Lowell Fulson, Jimmy Rushing, Ernest Lewis, Jo Jo Adams, Albert King, J. B. Lenoir, Snooky Pryor, Dusty Brown, St. Louis Jimmy, Joe Williams, Ann Carter, Sunnyland Slim, Baby Boy Warren, Lou Mac, L. C. McKinley, Little Willie Foster, and Leon Tarver. Other notables on Al Benson's Parrot/Blue Lake Records are Coleman Hawkins, Paul Bascomb Orchestra, John Brim And His Stompers, Willie Mabon Combo, Red Saunders Orchestra, King Fleming's Quintette, and Walter Spriggs (of The Five Echoes). Al Benson certainly did not lack talent for this venture.

Parrot artists included in Part One of this article are The Parrots, The Chocolateers, Curtis Jones, Coleman Hawkins, Lowell Fulson, The Rockettes, The Pelicans, The Victorettes, Paul Bascomb, John Brim, and The Orchids. Also covered are "Al Benson" and "Parrot Spiritual". Highlighted are the songs "Lonesome Christmas" and "White Cliffs Of Dover".

THE CHOCOLATEERS

Above: COURIER JOURNAL (Louisville, KY), August 25, 1949: MONKEYSHINES Heading The Vaudeville Bill that will be introduced at the National, this Friday afternoon, will be the Three Chocolateers, a famed Negro comedy act that comes here directly from the Oriental Theater in Chicago. Six additional acts accompany this trio. (NOTE: In photo, L-R, Eddie West, Paul Black, and Albert Gibson.) Click HERE for an article about THE 3 CHOCOLATEERS by Marv Goldberg. (Will open in a separate window)

Above Left: Label image for Parrot 781, recorded on June 10, 1953 and released in July 1953. It was The Three Chocolateers' only record. They are backed by Red Saunders' Band. In 1936, The Three Chocolateers introduced the "Peckin" dance routine, consisting of head motions like chickens pecking. The dance was performed by them in a full length feature film "New Faces of 1937" and again in a 1942 Soundie. (Label scan and corresponding audio files provided by Andrew Bohan.) Above Right: CINCINNATI ENQUIRER, September 14, 1947: AT THE NIGHT CLUBS ....current entertainment features.... Three Chocolateers, formerly with Cab Calloway, at Latin Quarter.... (NOTE: Above right photo is from about 1942. L-R, Eddie West, Paul Black, and Albert Gibson.) At Right: CASH BOX, August 15, 1953. NOTE: Just so happens that the referenced "Noted Deejay" is also the owner of "Parrot Record Company". CASH BOX, July 25, 1953: ....A1 Benson claims he expects "big things" from two brand new releases on his newly formed "Parrot" label. First release features Mabel Scott's "Mr. Fine" b/w "Mabel's Blues". A1 says gal does great on this disk. Second "Parrot" release is by The Chocolateers, "Bartender's Ball" b/w "Peckin".... Cash Box Review (11/7/53): THE CHOCOLATEERS — Parrot 781 Peckin (C+) The Chocolateers sing a rhythmic middle tempo novelty describing the "Peckin" dance. A gay and infectious side. Bartender Blues (C+) A talky novelty with an exchange of insults and yaks. Scene of operation takes place in a bar. A mirthful hunk of wax. (NOTE: A rating of C+ was considered as "good".) CASH BOX, December 26, 1953: ....Breaking like mad is Parrot Records "Bartenders Blues" featuring The Chocolateers.... LISTEN (Windows Media Player): 1. "Peckin" - The Chocolateers - Parrot 781 - 1953. 2. "Bartender Blues" - The Chocolateers - Parrot 781 - 1953. BOTH SONGS played in sequence.

Above Left: Photo of The Three Chocolateers dated 2/27/44, but from about 1942. Above Right: NEW YORK AGE, November, 1954.

CURTIS JONES Curtis Jones was a blues singer, piano player, and composer. His early life was in Texas, relocating to Chicago in the mid-1930s. His career goes back to the late 1930s with records on Vocalion and Bluebird. In 1940, he went to Columbia's subsidiary OKeh label and stayed there until 1948. Curtis had just one record on the Parrot label, that in 1953.

Above: Photo of Curtis Jones.

Above Left: Label image for Parrot 782, recorded on May 19, 1953 and released in May 1953. "Al Benson & Curtis Jones" are credited as composers on the labels for both sides. Above Right: CASH BOX, August 28, 1953. Cash Box Review (11/14/53): CURTIS JONES — Parrot 782 Cool Playing Blues (C+) Curtis Jones sings a middle tempo southern blues effectively with strings providing the proper setting. Chanter has a good sound. (NOTE: Guessing the reviewer is referring to "strings" on a guitar.) Wrong Blues (C+) Pairing is a similar item performed in ok fashion. (NOTE: A rating of C+ was considered as "good".) LISTEN (Windows Media Player): 1. "Wrong Blues" - Curtis Jones - Parrot 782 - 1953. 2. "Cool Playing Blues" - Curtis Jones - Parrot 782 - 1953. BOTH SONGS played in sequence.

COLEMAN HAWKINS Coleman Hawkins was a saxophone player, orchestra leader, and songwriter. He recorded for many record labels during his long and lustrous career, including Decca, Bluebird, Signature, Keynote, Apollo, Savoy, Capitol, Mercury, RCA Victor, and Joe Davis. Coleman had two records released back-to-back on Parrot in 1953. These four sides are all instrumentals.

Above: Photo of Coleman Hawkins.

Above Left: Label image for Parrot 784, recorded in August 1953 and released in 1953. This side is an instrumental, but with a vocal chorus providing background harmony. Composer of this song was the famous English playwright and actor, Noel Coward. Above Right: Photo of Coleman Hawkins. LISTEN (Windows Media Player): "I'll Follow My Sacred Heart" - Coleman Hawkins And Orchestra - Parrot 784 - 1953.

ST. LOUIS ARGUS — JANUARY 9, 1953

LOWELL FULSON Lowell Fulson grew up in Oklahoma, but moved to California, He was a blues singer, guitar player, composer, and band leader. His first records were on Bob Geddins' Big Town/Down Town labels in 1947/1948. About the same time, he had several records on the Trilon label. Lowell then moved to Down Beat/Swing Time in the late 1940's and into the early 1950's, where he became famous as a blues singer. Two sides taken from Swing Time masters, recorded in 1952, were his only record on the Parrot label, that released in 1953. There were three records issued on the Aladdin label in 1952-1954. The first of these was from Bob Geddins' masters. Then on to Leonard and Phil Chess' Checker label with many records in the 1954-1959 time period.

Above: Photo of Lowell Fulson. RICHMOND TIMES, January 20, 1955. GUITARIST IS FEATURED WITH THE "TOP 12" Guitarist Lowell Fulson, one of the featured instrumentalists of the "Top 12 Rhythm and Blues show", which will come to the Mosque at 8:30 P. M, on Saturday, January 29, is a third-generation guitar player. Fulson's father and his grandfather plunked their way through life; his mother and his aunt were known as a song-and-dance team who featured double-guitar playing. As a boy, Lowell grew up in a house full of instruments, all of which were as fascinating to him as electric trains are to most kids. The youngster started experimenting with music almost as soon as he could walk, but many a time his father "took a strap to me for molesting his guitars," Lowell states. "I had to get in my licks when the old man wasn't around," he says, "and I learned to pick out a tune long before he found out about it." Eventually, the elder Fulson decided to let nature take its course. He taught the boy all he knew about guitar playing, and let young Lowell go on from there. Today, "the kid" is acknowledged the best in the guitar-playing family. He also is the only one who has made a name of national repute. Fulson organized his own trio in 1949, later expanded it to a compact dance band, and in 1953 gave up the group and went on as a single, singing and playing the blues as he felt them. His 1954 recording of "Reconsider Baby" is one of his hit numbers....

Above Left: Label image for Parrot 787, released in 1953. The label shows a matrix number "ST-340-A", but etched in the dead wax is "ST-338-A", matching it with the Swing Time label shown at right. As Lowell Fulson was contracted with Swing Time in 1953, Parrot Records most likely procured the side from them. The flip-side on both records is "Juke Box Shuffle", an instrumental. Above Right: Label image for Swing Time 338A, released in 1953. Jack Lauderdale's Los Angeles "Swing Time" label had previously been named "Down Beat" and "Swing Beat". LISTEN (Windows Media Player): "I've been Mistreated" - Lowell Fulson And His Orchestra - Parrot 787 - 1952.

EXTRA RECORDS — LOWELL FULSON

Above Left: Label image for Swing Time 197A, released in 1953. Billy Hadnott is credited on the label as composer. He was a bass fiddle player who worked in several different orchestras over the years, including Lowell Fulson's, as listed on the label. Above Right: Photo of Lowell Fulson. LISTEN (Windows Media Player): "Cold Hearted Woman" - Lowell Fulson - Swing Time 197A - 1949.

THE BILLBOARD, October 23, 1954. HOLLYWOOD RECORDS BUYS XMAS MASTERS HOLLYWOOD—Hollywood Records this week bought the masters of five rhythm and blues Christmas records from Swingtime Records and will release them on 45's and 78's along with a series of holiday tunes by the Soul Comforters. Don F. Pierce, Hollywood's prexy, said the tunes, bought outright from Jack Lauderdale's Swingtime firm, include "Merry Christmas, Baby", by Charles Brown; "Sleighride", Lloyd Glenn; "Lonesome Christmas", Lowell Fulson; "Boogie Woogie Santa Claus", Mabel Scott, and "How I Hate to See Christmas Come Around", Jimmy Witherspoon. The platters will be shipped from pressing plants in both Los Angeles and Memphis. Pierce added that a series of Christmas perennials, including "White Christmas", are scheduled for pressing by November 1 by the Soul Comforters, a New Orleans spiritual singing group. The Swingtime tunes were recorded about five years ago.

Above Left: THE BILLBOARD, November 11, 1950. Above Middle: Label image for Swing Time 242 A +, released in 1950. Above Right: Label image for Hollywood 1022, released in 1954. The label for the flip-side of this record shows "577-242A" as the matrix number. CASH BOX, December 25, 1954: ....Don Pierce, prexy of Hollywood Records, announced that Lowell Fulson's "Lonesome Christmas" and Charles Brown's "Merry Christmas Baby" are big sellers this year. These two numbers have become standards in the R & B field. In previous years they were released on the old Swingtime label.... LISTEN (Windows Media Player): 1. "Lonesome Christmas (Part 1)" - Lowell Fulson - Hollywood 1022 - 1954. 2. "Lonesome Christmas (Part 2)" - Lowell Fulson - Hollywood 1022 - 1954. BOTH SONGS played in sequence.

THE ROCKETTES AND THE PELICANS In late 1953, Parrot released one record each by two obscure vocal groups, The Rockettes and The Pelicans. These are the only known records by these vocal groups. Absolutely nothing is known about The Rockettes, except Disco-File says they were a Black Male/Female group. Composer on both sides is "A. Dixon". BMI sheds no further light on who this may have been. Disco-File states that The Pelicans were a Black Male Group from Detroit, Michigan. Bob Pruter, in his book, "DooWop The Chicago Scene", gives "Roger Heard" as the group's leader. This is NOT the same "Pelicans" group that recorded for the Imperial label. It's surprising that little information or history can be found about two vocal groups that performed so well! Also, amazing that there were no further records by either group.

Above Left: Label image for Parrot 789, recorded on October 11, 1953 and released in November 1953. Above Right: Label image for Parrot 793, recorded on September 28, 1953 and released in 1953. Cash Box Review (11/21/53): THE ROCKETTES — Parrot 789 Love Nobody (B) The Rockettes blend on a middle tempo bounce nicely. Fem lead sings of the last man who made a fool of her. From here on in, chants the gal with chorus support from the group, she's gonna love nobody 'till somebody loves her. I Can't Forget (C+) The flip is a slow ballad adequately performed by The Rockettes. Material and treatment fair. (NOTE: A rating of B was considered as "very good" and C+ as "good".) CASH BOX, January 9, 1954: ....Joel Turnero previewed a whole stack of new Parrot waxings via WNJR.... Two new vocal groups were spotlighted, the first being the 5 Thrills whose groovy rendition of "Feel So Good" really had the joint a rockin' and a rockin', and when things quieted down a wee bit the smooth and soothing voices of The Pelicans gave out with the pretty sounds.... LISTEN (Windows Media Player): 1. "I Can't Forget" - The Rockettes - Parrot 789 - 1953. 2. "Love Nobody" - The Rockettes - Parrot 789 - 1953. 3. "Aurelia" - The Pelicans - Parrot 793 - 1953. 4. "White Cliffs Of Dover" - The Pelicans - Parrot 793 - 1953. BOTH SONGS played in sequence.

EXTRA RECORDS — WHITE CLIFFS OF DOVER The song "White Cliffs Of Dover" was composed by Walter Kent (lyrics) and Nat Burton (music) in 1941. It took a positive view of World War II's eventual outcome, similar to 1939's "We'll Meet Again" and 1942's "When The Lights Come On Again". All three songs were recorded by England's Vera Lynn during the war. As one can imagine, these songs were tremendously inspirational, especially in England, at the time. (Ref: LISTEN to The Ink Spots' 1941 version of "We'll Meet Again".) (Ref: LISTEN to Herb Kenny And The Comets' 1952 version of "When The Lights Go On Again".)

At Left: October 1953 Clipping for Checker 782. Disco-File gives the members as Cotty Coltrane, Basil Tibbs, Archie ?, Joe ?, and John ?. Above Left: Label image for Checker 782, recorded on September 15, 1953 and released in October 1953. Above Right: Label image for King 4675, recorded on September 26, 1953 and released in October 1953. Disco-File lists David Baughan, James Turner, "Buddy" Brewer, William Brown, and Irwin "Teddy" Williams as the singers on this side. At Right: Photo of Bill Brown, The Checkers' bass singer. He is the lead singer on their version of "White Cliffs Of Dover". CASH BOX, October 10, 1953: ....Len Chess just released a disk by The Blue Jays, a brand new recording group from Washington. The ‘Jays' were discovered by Maxie Silverman of Quality Music, who is also responsible for discovering The Clovers. Len signed these boys during his last Southern junket. Cash Box Review (10/17/53): THE BLUE JAYS — Checker 782 Hey Papa/White Cliffs Of Dover The Blue Jays, a new group, come up with a cutie titled, "Hey Papa", that moves along at a smart pace and looks headed in the direction of the charts. Set to an infectious riff, the boys sing a middle bounce telling Papa "I'm in love again." Disk is livened up with handclaps and a torrid horn. A foot tapper that we expect to go a long way. The flip, "White Cliffs of Dover", is that slow sentimental ballad, softly and tenderly etched by the Blue Jays for a top flight deck....

LISTEN (Windows Media Player): 1. "White Cliffs Of Dover" - The Blue Jays - Checker 782 - 1953. 2. "White Cliffs Of Dover" - The Checkers - King 4675 - 1953. BOTH SONGS played in sequence.

SPIRITUAL — THE VICTORETTES Parrot Records released their spiritual songs with "100", "1000", "6000", and "7000" numbers. The "100" series were issued on a green label. Here, The Victorettes provide an excellent performance on both sides of Parrot 107, especially "When Night Comes". This is most likely their only record released on Parrot. Other spiritual artists on Parrot include Bessie Griffin, the Willie Webb Singers, the Crume Bothers, and the Peace Makers. The Sunset Four Gospel Singers and Oliver Lynch Singers recorded for Parrot, but none of their material was released.

Above: ST. LOUIS ARGUS, July 8, 1955: JEANETTE SIMS "VICTORETTES" OF DETROIT, MICHIGAN HEAR THESE MELODIOUS SINGERS, radio and recording artists with original styling and harmony that stirs the soul....

Above: Label image for Parrot 107, released in 1953. THE CALL, July 8, 1955: ....The Victorettes, of Detroit, Michigan, will sing at the First Methodist church, August 11, at 8 p.m. Mrs. Jeanette Sims is manager of this group of singers. Mrs. Sims is an experienced musician. She sings, plays, and composes music. Mrs. Mary Etta Swindell, one of the singers in this group, is the daughter of the pastor, Rev. J. L. Reeves. Mrs. Sims is an aunt of Mrs. Swindell. LISTEN (Windows Media Player): 1. "When Night Comes" - The Victorettes - Parrot 107 - 1953. 2. "Jesus Has Promised" - The Victorettes - Parrot 107 - 1953. BOTH SONGS played in sequence.

PAUL BASCOMB Paul Bascomb, who grew up in Alabama, was a singer, saxophone player, band leader, and songwriter. He played in Erskine Hawkins orchestra and then Count Basie's before going out on his own. He recorded as both Manhattan Paul and Paul Bascomb. As "Manhattan Paul", he had records issued on Manor and Atlantic in the late 1940s. As "Paul Bascomb", he had records issued on the States label in the early 1950s before moving to Parrot in 1953. On Parrot, Paul had five sides released under his name and three more sides backing The Earls and The Five Arrows (1953-1954).

Above: Label image for Parrot 792, released in 1953. Composer Norman Simmons was a Chicago pianist who may have been with Bascomb at the time of this record. At Left: Paul Bascomb, also known as "Manhattan Paul". PITTSBURGH COURIER, May 30, 1953: PAUL BASCOMB IN NEW CHI SPOT CHICAGO—Paul Bascomb, nationally known tenor sax player and winner of the Courier's sixth annual Theatrical Poll award, has been signed as the featured house attraction at Bob Lee's new night spot, "The Toast Of The Town", which opens Friday, May 29. Bascomb, who has made Chicago his home, will build his new aggregation around Gus Chappell, former Hines bandsman and trombonist, and three other men, including a rhythm section. CASH BOX, January 16, 1954: ....Al Benson, Parrot Records boss man, recently in New York plugging his latest releases, has a terrific instrumental in "Jan" by Paul Bascomb. Tune could break out and become a big money maker....

CASH BOX, February 27, 1954: ....Joel Turnero (WNJR Newark, N. J.) using Parrot label "Jan" by Paul Bascomb as his inside theme and getting a very good reaction.... At Right: DAILY NEWS, May 26, 1950. THE BILLBOARD, January 16, 1954: BENSON HITS HOT SELLERS CHICAGO—Al Benson, noted deejay of Station WGES, this city, and also headman of Parrot Records, was thrilled to learn from George and Ernie Leaner of United Record Distributors here, as well as from other of his distributors around the nation, that he has hit on two hot sellers in his newest Parrot releases. These are "Jan", parts one and two, by Paul Bascomb and "Feel So Good" by the Five Thrills. Benson stated, "We're on our way into the top spots on all charts with these two new releases. Sales here in Chicago passed the 7,000 mark the very first week," he continued, "and reorders which we have received from all over the country, where first orders were filled, convince us at Parrot Records that we have two hits that are riding for the No. 1 spots in all the charts." (NOTE: The Five Thrills will be included in Part Two of this article.) Cash Box Review (11/7/53): PAUL BASCOMB — Parrot 792 Jan Part One (B+) The Paul Bascomb aggregation etches a fascinating slow mambo instrumental. Tempo and tune are excitingly put down on wax by the smooth instrumental team and the plate is powerful enough to kick up a load of action. Jan Part Two (B+) Same comments. (NOTE: A rating of B+ was considered as "excellent".) LISTEN (Windows Media Player): 1. "Jan (Part 1)" - Paul Bascomb Orchestra - Parrot 792 - 1953. 2. "Jan (Part 2)" - Paul Bascomb Orchestra - Parrot 792 - 1953. BOTH SONGS played in sequence. DETROIT FREE PRESS, August 1, 1955: Nellie Hill is singing rhythm and blues at Club El Sino. Paul Bascomb and his orchestra play for dancing....

DETROIT FREE PRESS — AUGUST 1, 1955

Above: OMAHA STAR, October 20, 1950: HARLEM VS. GREENWICH VILLAGE Manhattan Paul, dapper Emcee, Balladeer of Club Savannah, swanky bistro in the heart of the "ancient and antique" Greenwich Village, New York City is celebrating his 2nd year here. Photo left to right: Marian Egbert, Princess R. Wanda Paul, Pat Clayton, and Ann Porter, some of the exotic Savannah Peaches, from Harlem. Incidentally, Manhattan Paul, chirper of the blues, is shown presenting the luscious gals his newest platter, the "Award of the Week" given him by Cash Box Magazine. The recordings are the hottest offerings from the ASA label....

EXTRA RECORDS — PAUL BASCOMB

Above Left: Label image for Manor 1106-A, released in 1948. Above Right: Label image for States S-110 , recorded on September 30, 1952 and released later that year. Cash Box Review (12/6/52): PAUL BASCOMB — States 110 Got Cool Too Soon (B) A happy sounding side with a rhythmic bounce is material for Paul Bascomb and he belts the moderate quick tempo ditty with a solid vocal. (NOTE: A rating of B was considered as "very good".) LISTEN (Windows Media Player): 1. "It's My Nerves, Baby" - Manhattan Paul With Paul Bascomb's Combo - Manor 1106-A - 1948. 2. "Got Cool Too Soon" - Paul Bascomb (Vocal Backing By Ensemble) - States S-110 - 1952. BOTH SONGS played in sequence.

JOHN BRIM John Brim was a singer, electric guitar player, songwriter, and band leader. He was born in Kentucky, but eventually ended up in Chicago in the mid-1940s. In 1952, he moved to Gary, Indiana. Before coming to Parrot Records, John had releases on Detroit's Fortune (1950) and St. Louis' Random (1951) labels. Also, Chicago's J.O.B. (1951-1953) and Checker (1953) labels. He had just one record released on Parrot (1954). After Parrot, he went back to Leonard and Phil Chess' Chess label (1955-1956).

Above: Photo of John Brim.

Above Left: Label image for Parrot 799, recorded in March 1954 and released in April 1954. The flip-side is an instrumental. John Brim's wife, Grace Brim, is playing the drums on this record. Jimmy Reed, of Vee-Jay Records fame, is playing harmonica. It seems that Al Benson did not promote this record as no mention of it or ads for it could be found in either The Billboard or Cash Box magazines. Above Right: Photo of John Brim. LISTEN (Windows Media Player): "Tough Times" - John Brim And His Stompers - Parrot 799 - 1954.

THE ORCHIDS The Orchids had two records on Parrot, both released in 1955. Disco-File gives the group members as Gilbert Warren (lead), Ashley Farr, Robert C. Nesbary, Hubert White, and Buford Wright. Gilbert Warren was also the lead singer of The Five Thrills, who had two records on Parrot, recorded in 1953, but not released until 1954. (NOTE: The Five Thrills will be included in Part Two of this article.) This Orchids is NOT the same group as "The Orchids" who had two records on the King label in 1953.

Above Left: Label image for Parrot 819, recorded on September 27, 1955 and released in October 1955. Above Right: THE BILLBOARD, December 10, 1955. CASH BOX, November 19, 1955: ....A1 Benson reports he has word from deejays, "The Orchids' tune, ‘You Said You Love Me', beginning to click".... Cash Box Review (8/6/55): THE ORCHIDS — Parrot 815 You're Everything To Me (B) The Orchids swing lightly with a pretty ballad. A melodic item softly offered. Effective lead. Newly Wed (C+) Similar item in similar tempo that fails to come up to the upper deck. (NOTE: A rating of B was considered as "very good" and C+ as "good".) At Direct Right: Label image for Parrot 815, recorded on April 3, 1955 and released in June 1955. The Billboard Review (11/26/55): THE ORCHIDS — Parrot 819 I Can't Refuse (80) The Orchids have a good side here, in this slow romantic etching. It's a slick reading of good material, and that should spell out good response if it gets the exposure. You Said You Loved Me (75) Slow and plaintive ballad is chanted feelingly by the group. (NOTE: Ratings had a range of 0-100 with 70-79 considered as "good" and 80-89 as "very good".) CASH BOX, December, 1955: ....Big things, according to A1 Benson of Parrot, will happen as '56 comes in. Parrot plans to produce tunes to match The Orchids' "You Said You Love Me".... LISTEN (Windows Media Player): 1. "You Said You Loved Me" - The Orchids - Parrot 819 - 1955. 2. "I Can't Refuse" - The Orchids - Parrot 819 - 1955. 3. "Newly Wed" - The Orchids - Parrot 815 - 1955. 4. "You're Everything To Me" - The Orchids - Parrot 815 - 1955. ALL FOUR SONGS played in sequence.

Above Left: THE BILLBOARD, October 8, 1955. Above Right: THE BILLBOARD, November 26, 1954. Above Right: CASH BOX, October 8, 1955. Above Right: CASH BOX, November 12, 1954.

PARROT AND BLUE LAKE RECORDS - PART TWO FEATURES THE FIVE THRILLS, MABEL SCOTT, J. B. LENORE, THE FLAMINGOS, DUSTY BROWN, ST. LOUIS JIMMY, JO JO ADAMS, ERNEST LEWIS, ALBERT KING, AND WILLIE MABON. ALSO INCLUDED IS AL BENSON'S LAST RECORD, AL BENSON CLIPPINGS, AND AL BENSON TRIBUTE RECORDS. THE SPOTLIGHTED SONG IS "KO KO MO". PARROT AND BLUE LAKE RECORDS - PART THREE (BLUE LAKE RECORDS - PART ONE) FEATURES RED SAUNDERS, JOE WILLIAMS, ANN CARTER, KING FLEMING QUINTETTE, SUNNYLAND SLIM, THE VETERAN SINGERS, AND BABY BOY WARREN. ALSO INCLUDED IS "WHO IS AL BENSON" BIOGRAPHY PIECE AND THE SPOTLIGHTED SONG "WHEN THE SUN GOES DOWN". PARROT AND BLUE LAKE RECORDS - PART FOUR (BLUE LAKE RECORDS - PART TWO) FEATURES LOU MAC, WALTER SPRIGGS AND THE FIVE ECHOES, THE MAPLES, THE FASCINATORS, LITTLE WILLY FOSTER, THE FIVE CHANCES, LITTLE PAPA JOE (JODY WILLIAMS), AND LEON TARVER.

Listen to all of this article's audio selections using Windows Media Player:

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