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mercredi 5 mai 2021

CLARENCE GARLOW/ Complete Recordings

 CLARENCE GARLOW/ Complete Recordings (updated and revised)


           
Clarence Garlow, un des grands pionniers de la musique louisianaise de l'après guerre et le premier à populariser le Zydeco, est né le 27 février 1911 à Welsh en Louisiane. Son père, un musicien et danseur renommé localement, lui apprend le violon, la guitare et la contrebasse et un de leurs voisins montre au jeune Clarence comment s'exprimer à l'accordéon diatonique.
            Dans les années 1930, Clarence se retrouve à Beaumont, au Texas, est facteur le jour et joue dans les clubs locaux le soir. A ce moment-là, il est extrêmement influencé par T-Bone Walker. Un soir, une rencontre avec son idole dans un club de Beaumont, décide Clarence à quitter la poste et tenter de vivre de sa musique. Il fonde un orchestre qui alterne blues, ballades, airs de Country Music et musique louisianaise, notamment des la-las noirs de plus en plus appelés zydecos. A l'automne 1949, lors de concerts à Houston, Clarence rencontre Macy Lela Henry et Steve Ponchio, directeurs des disques Macy's qui lui offrent de l'enregistrer. Des cinq titres gravés à ce moment-là, Bon Ton Roulé (Les Bons temps roulent traduction française cajun de Let's the good times roll) sur un rythme de mambo, devient rapidement un succès dans tout le Sud Ouest et pénètre même dans le Top 100 R&B durant l'année 1950.
            Malheureusement, la faillite du label Macy's brise quelque peu l'élan de ce succès. Malgré tout, Garlow y trouve l'opportunité de nombreux engagements et tournées au sein de spectacles de R&B. Il en profite pour créer son club à Beaumont, le Bon Ton Drive In qui présentera la plupart des artistes louisianais, texans ainsi que les stars du R&B de passage.
            Malgré plusieurs excellents disques, Garlow n'arrive pas à retrouver les Hit Parades. En 1953, et malgré de fortes réticences quant aux arrangements trop sophistiqués à son goût de Maxwell Davis, Clarence enregistre plusieurs séances à Hollywood pour le label Aladdin, notamment New Bon ton Roulay, mais ces disques ne se vendent guère. Garlow se replie alors sur ses terres louisianaises, tourne un instant avec un tout jeune Clifton Chenier, grave plusieurs 45t pour J.D. Miller et Eddie Shuler (notamment la seule séance où il joue de l'accordéon sur Za Belle et Fais moi brailler/ Make me cry) qui sont sur les juke boxes de la région.
            Avec les années 1960, Clarence a de moins en moins d'engagements et prend un emploi de Disc Jockey sur la station KJET de Beaumont. C'est là que Mike Leadbitter (le fondateur de Blues Unlimited) le rencontre et l'interview en janvier 1968, le faisant ainsi connaître auprès du public européen du blues revival. Malheureusement, tous les projets de lui faire enregistrer un album échouent et Clarence décède le 24 juillet 1986, laissant malgré tout un bien bel héritage musical.
            Cet article est largement basé sur l'interview de Garlow par Mike Leadbitter et les pages qui lui consacre John Broven dans son indispensable ouvrage South to Louisiana. Merci à Joel Arceneaux, Pierre Monnery et José Y. pour leur aide et le prêt de disques. Quatre titres manquent encore ici et comme toujours toute copie .mp3 serait la bienvenue.
                                                                       Gérard HERZHAFT


            A true pioneer of the post war Louisiana musical genres and the first to bring Zydeco to a wide audience, Clarence Garlow was born on February, 27th 1911 in Welsh (La). His father, a dancer and musician with a local reputation, taught him how to play fiddle, guitar and string bass while a neighbour showed the young Clarence how to handle the Cajun accordion.
            During the 1930's, Garlow moved to Beaumont at the Texas border and began to play music in the local clubs the week ends while making a living as a postman. He was then a true fan of T-Bone Walker and after a meeting with his idol he decided to become a full time musician, launching his band, playing a little bit everywhere in Texas and Louisiana a wide repertoire of blues, ballads, Hillbilly music and Cajun, particularly the new adaptation of the old la-las favored by the Black Cajuns and more and more called the Zydeco. During the Autumn 1949, while playing in Houston, Garlow met Macy Lela Henry and Steve Ponchio, who offered him to record for their Macy's label. Among the titles recorded during those sessions, Bon Ton Roulé (French Cajun translation for Let's the good times roll) played on a driving mambo rhythm was a hit, even climbing in the Top 100 R&B in 1950.
            Unfortunately the dismiss of Macy's prevented Garlow for a more important hit but nevertheless assured him to have better paid gigs a little bit everywhere in the South West and to be on the bill of several R&B tours among major names. Garlow also opened his own club in Beaumont, the Bon Ton Drive In who would feature local acts as well as R&B touring stars.
            Despite several excellent records, Garlow wasn't able to repeat his initial success. In 1953, despite strong disagreements about the sophisticated West Coast arrangements of Maxwell Davis and others, he recorded two sessions for the major label Aladdin. But despite great hopes from everybody involved, those records went nowhere and Clarence stuck in his Louisiana/ Texas home base the following years, recording for J.D. Miller and Eddie Shuler (one great session Za Belle et Fais moi brailler/ Make me cry featuring him at the accordion).
            The 1960's were very lean years for Garlow who had to disband his group and take a job as a DJ on Beaumont's radio station KJET. This is how Mike Leadbitter found and interviewed him for his Blues unlimited magazine in January 1968, spreading his name and reputation among the European public. Unfortunately, all the subsequent projects for a new album by Clarence fell short and Garlow died in Beaumont 24 July 1986, leaving anywhere a great musical legacy.
            This article is largely based upon Leadbitter's interview and the essential John Broven's book, South to Louisiana. Thanks to Joel Arcenaux, Pierre Monnery and as always Jose Y. for their help and loan of records. Four Garlow titles are unfortunately still missing and any .mp3 copies would be most welcomed.
                                                                       Gérard HERZHAFT

 Clarence recorded a last 45 in 1982... Thanks to ace sleught collector Gerrit Robbs for this: 
Clarence Garlow 45 from 1982

 

 

CLARENCE GARLOW/ Complete Recordings

Clarence Garlow, vcl/g; Wilmer Shakesnider, a-sax; Shelby Lackey, t-sax; Mildred Smith, pno; bs; Johnny Marshall, dms. Houston, Tx. September 1949

Bound to lose my mind (cf comments)

01. In a boogie mood

02. Jumpin’ for joy

03. She’s so fine

04. Blues as you like it

Clarence Garlow, vcl/g; horns; Johnnie Mae Brown, pno; bs; Johnny Marshall, dms. october 1949

05. Bon ton roula (roulet) (Macy’s)

Clarence Garlow, vcl/g; Curtis Babineaux, t-sax/vcl on*; Shelby Mackey, t-sax; Emma Dell Lee, pno/vcls; bs; Bill Parker, dms. Crowley, La. june 1951

06. New bon ton roola

07. Let me be your Santa

Clarence Garlow, vcl/g; Curtis Babineaux, t-sax/vcl on*; Shelby Mackey, t-sax; Emma Dell Lee, pno/vcls; bs; Bill Parker, dms. Crowley, La. Lake Charles, La. july 1951

Louisiana blues* (cf comments)

Watch your business (cf comments)

08. Trouble with my woman

09. Wrong doing woman*

Clarence Garlow, vcl/g; Emma Dell Lee, pno/vcls; band. New Orleans, La. 4 march 1953

10. Hey Mr Bon Ton

11. New bon ton roulay (aka Mr Bon Ton)

12. You got me crying

13. Dreaming

Clarence Garlow, vcl/g; Maxwell Davis, t-sax and Orchestra. Los Angeles, Ca. 24 july 1953

14. Jumpin’ at the Zadacoe

15. I’m hurt

16. Flip Flop

Clarence Garlow, vcl/acc; Darnell Jackson, pno; Chester Randle, g; Garen Joseph, bs; Matthew Colbert, dms. Lake Charles, december 1953

17. Za Belle

18. Za Belle (alt.)

19. Make me cry (Brailler)

20. Make me cry (alt.)

21. I don’t know

Clarence Garlow, vcl/g; Curtis Babineaux, a-sax/t-sax; Shelby Lackey, t-sax; Anna Mae Rogers, pno; g; Bill Parker, dms. Crowley, La. july 1954

22. Cry cry baby

23. I’m just a cry cry baby

24. I’ll never hold it against you

25. I keep on worrying

26. Come baby come

Clarence Garlow, vcl/g; Jewell Grant, a-sax; Maxwell davis, t-sax; Willard Mc Daniel, pno; Red Callender, bs; Peppy Prince, dms. Los Angeles, october 1954

27. Crawfishin’

28. Route 90

Clarence Garlow, vcl/g; Lionel Prevost, t-sax; Katie Webster, pno; James Williams, bs; Little Brother Griffin, dms. Lake Charles, La. march 1955

29. Nothing to talk about

30. Train come down the track

Clarence Garlow, vcl/g; Lionel Prevost, t-sax; Dranell Joseph, pno; Garan Joseph, bs; Matthew Colbert, dms. Lake Charles, La. 1 may 1955

31. No no baby

32. I feel like calling you

33. Jolie tee catin (Purty little dolly)

34. Purty little dollie

35. She’s a bum baby bum

Clarence Garlow, vcl/g; Lionel Prevost, t-sax; Darnell Joseph, pno; James Williams, bs; Matthew Colbert, dms. Lake Charles, la. 1956

36. Pretty little dollie

37. Sunday morning

Sundown (cf comments)

Clarence Garlow, vcl/g; Lionel Prevost, t-sax; Katie Webster, pno; James Williams, bs; Little Brother Griffin, dms. Lake Charles, La. 1957

38. Bon ton roulé (Good times roll)

39. Sound the bell n°1

Clarence Garlow, vcl/g; Lazy Lester, hca; Katie Webster, pno; Bobby Mc Bride, bs; Warren Storm, dms. Crowley, La. 1958

40. Foggy blues I

41. Foggy blues II

42. Sound the bell n°2 (Flyright)

43. Carry on

 Thanks to the generosity of blues collector William Armstrong the four hitehrto rare missing tracks (in red on the disco) are now available to be downloaded here


dimanche 11 avril 2021

NEW ORLEANS BLUES/ Volume 2

 

 

NEW ORLEANS BLUES/ Volume 2

 

           


Let's go back once again to New Orleans, folks!

            For this new volume of our New Orleans series, we are starting with singer, guitarist/ bassist Billy Tate. Born blind, Billy Tate was quite active in New Orleans during the 1950's, doing many club and venues appearances, a lot of session works and recording 13 tracks under his name for several labels like Imperial or Peacock. Unfortunately, I have not been able to find much biographic details on this fine and underrated artist.

            Sylvester Saunders (George Sanders Le Blanc) is another very fine New Orleans singer who recorded only three singles for famous producer Cosimo Matassa during 1953-54. He was born in New Orleans on 24th December 1929 and died at home in New Orleans, 14 September 1998.

            Allen (or Alan) "Fats" Matthews, also known as Fat Man Matthews was the front singer for Dave Bartholomew's band during the 1950's after Dave saw him perform at the Tijuana Club, searching for a Clyde McPhatter type of vocalist. Matthews recorded three singles under his name with Bartholomew's band. He was for a while member of the vocal groups, The Hawks but resurfaced as a solo leader during the late 1966 for a last session, still fronting Bartholomew's band. Fats Matthews was born in 1931 probably in New Orleans. At that time, I've not been able to be sure of when (or even if) he died and where.

            Almost all of the facts in this article come from John Broven (his first rate book Walking to New Orleans), Bob Eagle (Blues/ A regional experience) and Marv Goldberg's article about The Hawks. Thanks also to Rockthishouse for helping me get some rare tracks.

                                              Gérard HERZHAFT

 

 

BILLY TATE, vcl/g; band. New Orleans, La. 1953

01. I've got news for you baby

02. Love is a crazy thing

Billy Tate, vcl/g; Lee Allen, t-sax; Huey Smith, pno; bs; dms. New Orleans, La. november 1953

03. Ooh ohh baby

04. Cryin' in the morning

Billy Tate, vcl/g; Lee Allen, t-sax; Herb Hardesty, a-sax; Fats Domino, pno; Frank Fields, bs; Cornelius Coleman, dms. New Orleans, La. 19 november 1954

05. You told me

06. Single life

Billy Tate, vcl/g; band. New Orleans, La. october 1956

07. Don't call my name

08. Right from wrong

Billy Tate, vcl/g/acc; band. New Orleans, La. 1956

09. Lifetime in prison I & II

Billy Tate, vcl/g; band. Crowley, La. 1959

10. Pray on my child

11. Special lesson n°1

12. Teasin' around with me

13. Right or wrong

SYLVESTER SAUNDERS, vcl; band. New Orleans, La. may 1953

14. I want you

15. My dreams are all in vain

Sylvester Saunders, vcl; Big Boy Myles, tb; Alfred Bernard, a-sax; David Lastie, t-sax; Sugar Ray Crawford, pno; Snooks Eaglin, g; Frank Fields, bs; Eric Warner, dms. New Orleans, La. november 1953

16. Let's have some fun

17. Get away

Sylvester Saunders, vcl; James Sugar Boy Crawford, pno/vcls; Big Boy Myles, tb; Alfred Bernard, a-sax; David Lastie, t-sax; Snooks Eaglin, g; Frank Fields, bs; Eric Warner, dms. New Orleans, La. january 1954

18. Please believe me

19. Long lost stranger

FATS MATTHEWS, vcl; Dave Bartholomew, tpt; The Four Kittens, vcls; band. New Orleans, La. november 1952

20. Later baby

21. When boy meets girl

Fats Matthews, vcl; band. New Orleans, La. 17 march 1953

22. Down the line

23. You know it

Fats Matthews, vcl; band. New Orleans, La. 3 august 1953

24. I'm thankful

25. Goin' down

Fats Matthews, vcl; Dave Bartholomew, tpt/vcls; band. New Orleans, La. december 1966

26. Junk man

27. Hey hey

 

dimanche 4 avril 2021

MERCY DEE WALTON/ Complete Recordings

 

MERCY DEE WALTON/ Complete Recordings

                                               (revised and updated)

 


Ce pianiste texan est aujourd'hui trop oublié. On ne retient souvent de lui le seul fait qu'il est l'auteur du célèbre One room country shack, repris jusqu'à aujourd'hui par des dizaines de musiciens de blues et de rock. Mais son oeuvre enregistrée déborde largement ce chef d'oeuvre.

            Né le 30 août 1915 à Waco (Texas), de Fred et Bessie Walton, des métayers. Il abandonne l'école à l'âge de huit ans pour les aider dans les champs. Mais sous l'influence de pianistes locaux comme Sam Brewster, Pinetop Shorty ou Delois Maxey (aucun n'a enregistré), le jeune Mercy Dee devient à son tour un pianiste accompli qui joue dans les barrelhouses ou dans des réunions privées à partir de la fin des années 20.

            Cependant, le jeu de piano de Mercy Dee, tel que nous les connaissons par les disques, traduit aussi une forte influence des pianistes de big bands des années 1920/30 et ce mariage entre la rudesse rythmée de l'école Texane et le toucher plus sophistiqué des jazzmen de Kansas City fait l'originalité de Walton. De même, son chant prenant, mélancolique, détaché mais passionné, si caractéristique du blues texan a parfois aussi des accents jazzy, notamment dans l'utilisation du scat ou dans le phrasé des blues shouters qu'il emploie dans les pièces les plus rapides.

            En 1938, Mercy Dee gagne Fresno à Californie pour avoir de meilleurs salaires en cueillant les fruits de cette riche région. Il a aussi davantage de possibilités de jouer et on le voit dans les clubs de Oakland, San Francisco, Fresno, Stockton et jusqu'à Los Angeles. Il lui faut cependant attendre 1949 pour enfin enregistrer quatre titres pour le petit label indépendant Spire de Chester Lew (parfois à tort orthographié en Lu). G.I. Fever et Lonesome cabin blues réussissent, malgré les aléas d'une distribution chaotique à figurer brièvement dans les classements Billboard et Cashbox et installent soudain Mercy Dee comme un artiste californien qui compte. Ces deux titres, pleins d'un humour amer, sont effectivement excellents et révèlent un artiste en pleine possession de ses moyens. Les années suivantes, Walton enregistre pour des labels importants comme Imperial et Specialty et en 1952-53, le magnifique One room country shack, poignant blues de la solitude absolue, atteint la 8 ème place du Top 40 R&B. Mercy Dee tourne alors à travers tous les Etats Unis. Mais son style de blues profond qui plaisait tant aux migrants ruraux cesse d'être à la mode et, après une vaine tentative de la part des Biharis de lui faire enregistrer des titres plus Rock'n'roll, Mercy Dee doit retourner dans son exploitation fruitière, jouant les week ends dans des bars à cocktails de Fresno et Stockton.

            C'est là que le redécouvre l'infatigable Chris Strachwitz en 1961 qui lui fait enregistrer quatre séances qui paraîtront sur deux magnifiques albums Arhoolie et Bluesville. Mercy Dee devait apparaître à l'affiche de festivals du folk boom quand il est mort d'une attaque à Murphys (Californie) le 2 décembre 1962

 

                                               Gérard HERZHAFT

 

            This wonderful Texan pianist and singer is too neglected today, generally only mentioned to have been the composer of the all-time classic blues, jazz and rock One room country shack. But his first-rate recorded output is certainly not limited to this masterpiece.

            Born in Waco (Texas) on August, 30th, 1915 from two sharecroppers, Fred and Bessie Walton, Mercy Dee had to help his parents and leave school at an early age. He also learned the piano from several local musicians like Sam Brewster, Pinetop Shorty or Delois Maxey (none has ever recorded) and, when the 1930's began, he was seen playing at private parties and then local barrelhouses.

            Mercy Dee's piano playing although strongly rooted in the rhythmical efficient roughness of the barrelhouse Texas school has also very often a much more jazzy and light touch, coming from the big bands' pianists of the 1930's. His style of singing, melancholic, impassioned and gloomy, tends also sometimes to borrow jazz manners with scat tricks and shoutings, particularly on his later fast and rockin' pieces.

            In 1938, Mercy Dee went to Fresno (California) to work as a fruit picker and found a lot of opportunities for paid gigs for his kind of piano blues. He played a little bit everywhere in local clubs, private parties from Fresno to Oakland and even Los Angeles. He nevertheless had to wait 1949 to make his recording debuts on the tiny Fresno label Spire, operated by Chester Lew (and not Lu as it is sometimes written). Despite poor distribution, the excellent single G.I. Fever/ Lonesome cabin blues proved to be successful, hitting the Billboard and Cashbox Top 100's. The following years saw Mercy Dee playing clubs, touring the USA and recording for strong labels like Imperial and Specialty. In 1952-53, his One room country shack, an harrowing down home blues about loneliness was a smash hit, climbing up to number 8 of the Top 40 R&B for several weeks.

            But this deep blues style so in favour among the numerous Southwest black migrants during and after the war, was quickly going out fashioned and, after some attempts with mixed results to cash on the new Rock'n'roll trends, Mercy Dee had to return to fruit picking for a living while playing Fresno cocktail lounges on week ends.

            This is where Chris Strachwitz rediscovered him in 1961. He recorded with Mercy Dee four sessions the same year in different settings which were issued as two excellent LP's still available (particularly the Arhoolie CD Troublesome mind). Walton was scheduled on several folk festivals when he died from a massive stroke at Murphys (California) on 2 December 1962.

                                                           Gérard HERZHAFT

 

 

MERCY DEE WALTON   Complete Recordings

Mercy Dee Walton, vcl/pno. Fresno, Ca. 1949

01. Lonesome cabin blues

02. G.I. Fever (Baba Du Lay fever)

03. Evil and hanky

04. Travellin' alone blues

Mercy Dee Walton, vcl/pno; g.; bs. Los Angeles, Ca. novembre 1950

05. Homely baby

06. Empty life

07. Please understand

08. Bird brain baby

Mercy Dee Walton, vcl/pno; g; bs. Los Angeles, Ca. décembre 1950

09. Big foot country

10. Danger zone (Crepe on your door)

11. Roamin' blues

12. Straight and narrow

13. Bought love

14. Old fashioned ways

15. Happey bachelor blues

16. The Pay off (Anything in the world)

Mercy Dee Walton, vcl/pno; Jesse Sailes, dms. Los Angeles, Ca. 13 mai 1952

17. One room Country shack

18. My woman knows the score

19. Misery blues

20. The great mistake

21. Save me some

22. Strugglin' with the blues

23. Lonesome cabin blues

Mercy Dee Walton, vcl/pno; Jesse Sailes, dms. Los Angeles, Ca. 25 avril 1953

24. Rent man blues (vcls: Thelma Walton)

25. Fall guy

26. The drifter

27. Hear me shout

28. Love is a mystery

29. Winter blues

30. Pauline

Mercy Dee Walton, vcl/pno; t-sax; Jesse Sailes, dms. 4 octobre 1953

31. Get to gettin'

32. Dark muddy bottom

33. Whatcha gonna do?

34. My woman and the Devil

35. Big minded daddy

36. Perfect health

37. Problem child

38. Pull'em and pop'em

39. Eighth wonder of the world

40. Rock and roll fever

Mercy Dee Walton, vcl/pno; L.C. Robinson, g; bs; dms. Oakland, Ca. novembre 1954

41. Trailing my baby

42. Trying to kick this habit

Mercy Dee Walton, vcl/pno; Big Jim Wilson, t-sax; band. Oakland, Ca. décembre 1954

43. The main event

Mercy Dee Walton, vcl/pno; band. Los Angeles, Ca. 1955

44. Romp and stomp blues

45. Oh Oh Please

46. Come back Maybelline

47. True love

48. Have you ever

49. Stubborn woman

Mercy Dee Walton, vcl/pno; Sidney Maiden, hca; K.C. Douglas, g; Otis Cherry, dms. Stockton, Ca. 5 février 1961

50. Walked down so many turnrows

51. Eighth wonder of the world

52. I been a fool

53. Red light

54. Jack Engine

55. Call the asylum

56. Mercy's party

Ebony baby

Mercy Dee Walton, vcl/pno; K.C. Douglas, g; Otis Cherry, dms. Stockton, Ca. 12 février 1961

57. Mercy's troubles

58. Troublesome mind

59. After the fight

60. Bird brain baby

61. Shady Lane

Mercy Dee Walton, vcl/pno; Marcellus Thomas, vcl on *; Sidney Maiden, hca; Otis Cherry, dms. Berkeley, Ca. 16 avril 1961

62. Pity and a shame

63. Shady Lane

64. After the fight

65. Your friend and woman

66. One room Country shack

67. The drunkard*

68. Five card hand*

69. Have you ever been in the country?

70. My little angel

71. Mercy's shuffle

72. Sugar daddy

73. Call the asylum

74. Lady Luck

75. Betty Jean*

samedi 13 mars 2021

TEXAS BLUES/ Volume 9

 

TEXAS BLUES/ Volume 09

 

           


After our Clarence "Gatemouth" Brown post, let's stay in Texas with a 9th volume of our popular series about "Texas blues"... yesterday of course and as usual in this blog!

            Bassist and bandleader Milton Willis (12 December 1929 in Houston, † 13 September 2005 in Houston) played quite frequently around Houston during the late 1940's before embarking in a long career in radio and broadcast programmes. He was general manager of the KODA radio station in the 1970's. Willis recorded only six tracks with his excellent Texas band comprising saxophonists like R.P. Rogers, Popeye Whitehead, Elmore Nixon on the 88s and featuring Hubert Robinson or Popeye Whitehead as vocalists. Here are four of his quite rare tracks. The last two Lost you and Take me back again are here, thanks to our generous friend Mike from Australia.

            Singer and pianist Lonnie Lyons (born 29 September 1926 in Galveston, † 12 August 1953 in Houston) also played regularly in and around Houston with his own and various other bands during the immediate post-war years. Strongly influenced by fellow Texans Amos Milburn and Charles Brown, Lyons recorded 13 great tracks for Freedom and Gold Star with a tough band featuring excellent guitarist Goree Carter. Some of his numbers had been widely reissued through the years but other are much hard to find. I have managed to gather all his recordings minus 4 titles. Again, if anyone would want to share those rarities, it would be great. And thanks to our generous friend Mike from Australia here are two very rare Lyons's tracks (Lonely heart blues / Barrelhouse nightcap)

           


Singer Mabel Franklin (born 24 August 1919 in New Orleans - † 21 April 1997 in Houston) gained some reputation thanks to a handful of down home blues records she made with guitarist D.C. Bender between 1965 and 1967. She stopped singing the blues in the 1970's to become a Minister of God and waxed some Gospel records later on, even a whole and very rare album with her Franklin Singers I came to Jesus.

            Clarence "Candy" Green (Clarence Wilbert Green) is another two fisted Texas pianist and singer (born in Galveston 15 March 1929 - † 3 April 1988 in Houston). He recorded three 78s between 1948 and 1952, played in New York and Mexico before relocating in Scandinavia, playing all over Europe in night clubs and venues and alongside the Leo Wright's band, entertaining American soldiers in West Germany. He also recorded a LP for the Supraphon label, reissued on JSP. Clarence "Candy" Green must not be confused with fellow Texas guitarist Clarence Green.

                              Gérard HERZHAFT

 




 

MILTON WILLIS,bs; Leon "Popeye" Whitehead, a-sax; R.P. Rogers, t-sax; Joe Jones, pno; Johnnie Jackson, dms. Houston, Tx. décembre 1948

01. Five ace boogie

02. You know I love you baby (vcl: Leon Whitehead)

Milton Willis, bs; Elmore Nixon, pno; R.P. Rogers, t-sax; Johnnie Jackson, dms. Houston, Tx. février 1949

03. Little Joe's boogie

04. Three o'clock blues (vcl: Hubert Robinson)

Lost you

Take me back again

LONNIE LYONS, vcl/pno; band. Houston, Tx. 10 septembre 1947

Never trust a woman

10 o'clock jump

Lonnie Lyons, vcl/pno; Nelson Mills, tpt; Conrad Johnson, a-sax; Sam Williams, t-sax; Goree Carter, g; Louis Pitts, bs; Allison Tucker, dms. Houston, Tx. juin 1949

05. Far away blues

06. Fly chick bounce

Lonely heart blues

Barrelhouse nightcap

Lonnie Lyons, vcl/pno; Nelson Mills, tpt; Conrad Johnson, a-sax; Sam Williams, t-sax; Goree Carter, g; Louis Pitts, bs; Allison Tucker, dms. Houston, Tx. septembre 1949

07. Neat and sweet I & II

08. Helpless

09. Down in the groovy

10. Betrayed

11. Sneaky Joe

Lonnie Lyons, vcl/pno; Henry Hayes, a-sax; Goree Carter, g; Don Cooks, bs; Ben Turner, dms. Houston, Tx. 1950

12. I need romance

13. I'm waiting baby

MABEL FRANKLIN, vcl; D.C. Bender, g; C.W. Thornton, dms. Houston, Tx. 1965

14. Let's do the wiggle

15. Dream I had last night

Mabel Franklin, vcl; band. Houston, Tx. 1965

16. Come on and go

Mabel Franklin, vcl; D.C. Bender, g; Bob Goodwill, pno; Big H. Williams, g; Oscar Adams, bs; Ivory Lee Semien, dms. Houston, Tx. 11 juillet 1967

17. Lucille leave my man alone

18. Unhappy woman

19. I'm going home to rest

20. Make up your mind

Mabel Franklin, vcl; D.C. Bender, g; Big Houston Williams, bs; Ivory Lee Semien, dms. Houston, Tx. 16 juillet 1967

21. Wiggle wiggle

CLARENCE "CANDY" GREEN, vcl/pno; Johnny Fontenette, t-sax; Horace Richmond, bs; Rigs Bolden, dms. Houston, Tx. 1948

22. Galveston blues

23. Green's bounce

Clarence "Candy" Green, vcl/pno; Bill Harvey, t-sax; tpt; a-sax; Fred Ford, b-sax; poss. Pee Wee Crayton, g; Johnny Parker, bs; dms. Houston, Tx. 1950

24. Hard headed woman

25. Until the end

Clarence "Candy" Green, vcl/pno; Rathe Lee, t-sax; Kinroy Bailey, bs; Lawrence Harris, dms. Houston, Tx. 1952

26. My time is your time

27. Bye baby bye