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#972 (9/15/25)
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BY TONY FOURNIER
(DEDICATED TO THE LATE DAVE SAVIET) |
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RECAP: Regis, Manor, and Arco Records were located in Newark, New Jersey. Irving Berman was the owner and president/treasurer. Originally focusing on the spiritual music field, rhythm and blues was added soon after. Savannah Churchill, The Brown Dots, and The Four Tunes became the labels' main artists. They have extensive coverage in Parts Two, Three, and Four of this article, in that order. |
LUIS RUSSELL
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Above: Photo of Luis Russell, who was a pianist, orchestra leader, composer, and arranger. His professional career started in Panama and continued in New Orleans, Chicago, and New York City. Luis was with King Oliver before forming his own orchestra in 1927, recording for OKeh until 1930. From 1935 to 1943, he shared a band with Louis Armstrong, who was his good friend.
In 1945, Luis, with his large orchestra, recorded two records for the Manor label, both included further below.
After Manor, he moved to Apollo Records, in New York City, where he had great success, especially with his new featured singer, Lee Richardson. Luis had eleven records on Apollo (1946-1947).
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Above: Photo of Luis Russell and Louis Armstrong in Chicago in the mid-1930s. Pretty cool how their fedoras match-up with their overcoats.
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Above Left: Label image of Manor 1006 A, recorded and released in 1945. The flip-side, "You Taught Me How To Smile Again", is a ballad with vocal by Milton Bugg. The label shows "Russell-Hendrickson" as composers. BMI.com lists that title just once, crediting Floyd Marcus as the songwriter. Above Right: Label image of Manor 1022-B, recorded October 4, 1945 and released in 1946. The "Kizes" shown on the label as a co-composer is Evelyn Kizer, who worked with Luis on several compositions.
The label for the flip-side, "After Hour Creep", shows "Russell-Biggs-Berman" as the composers. "Biggs" is Howard Biggs, an arranger and pianist with Luis' band, and "Berman" is Irving Berman, the president and owner of Manor Records.
Above Middle: CLEVELAND CALL AND POST, August 2, 1947.
NOTE: Luis' featured vocalist, Milton Bugg (not Buggs as shown on the label), was from Cleveland. In 1947, after leaving Luis Russell, Milton joined Andy Kirk's orchestra.LISTEN (Windows Media Player):
1. "Boogie In The Basement (Instrumental)" - Luis Russell Orchestra - Manor 1006 A - 1945.
2. "You Taught Me How To Smile Again" - Luis Russell Orchestra (Vocal By Milton Buggs) - Manor 1006 B - 1945.
3. "Garbage Man Blues" - Luis Russell Orchestra - Manor 1022-B - 1946.
4. "After Hour Creep (Instrumental)" - Luis Russell Orchestra - Manor 1022-A - 1946.ALL FOUR SONGS played in sequence.
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Above Left: THE BILLBOARD, June 2, 1945. Above Right: CLEVELAND CALL AND POST, November 25, 1944.
EXTRA RECORDS — LUIS RUSSELL ORCHESTRA
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Photo of Luis Russell And His Orchestra (circa 1930). (L-R) Red Allen, Greeley Walton, Paul Barbarin, Charlie Holmes, Luis Russell, Albert Nicholas, Will Johnson, Pops Foster, J.C. Higginbotham, and Otis Johnson.
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Photo of Luis Russell.
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Photo of Luis Russell with his orchestra in a recording session. The woman behind the window appears to be Bess Berman, president of Apollo Records.
Above: Label image of Apollo 1020, recorded on May 29, 1946 and released in October 1946. Lee Richardson is the vocalist on both sides.
The label for the flip-side, "Sweet Memory", has "Russell-Holmes-Kizer" as the composers. BMI.com gives credit to "E.T. Cooper" and "Charles H. Holmes". This backs up the further above assumption that "E.T. Cooper" may be a pseudonym for Luis Russell. Holmes had been a musician in Russell's orchestra.
At Direct Left: CASH BOX, October 28, 1946. [Who is this "Mister X"?]
At Direct Right: CASH BOX, April 4, 1947. [It's Lee Richardson!]
LISTEN (Windows Media Player):
1. "Don't Take Your Love From Me" - Luis Russell Orchestra (Vocal By Lee Richardson) - Apollo 1020 - 1946.
2. "Sweet Memory" - Luis Russell Orchestra (Vocal By Lee Richardson) - Apollo 1020 - 1946.BOTH SONGS played in sequence.
CLEVELAND CALL AND POST, October 5, 1946:
ANOTHER RECORD HIT FOR LUIS RUSSELL'S ROMANTIC SINGING STAR
NEW YORK—Lee Richardson, the romantic singing baritone, who shot into national popularity with his singing of "The Very Thought Of You", has released what appears to be another sure fire hit on the Apollo label.The newest click, played by the Luis Russell orchestra, is titled "Don't Take Your Love From Me". On the reverse side is another torcher called "Sweet Memory".
Richardson, a Washington, D.C., lad, has just turned his majority. He is signed for five years under the Russell banner.
(NOTE: The phrase "turned his majority" means he reached adulthood. "The Very Thought Of You" was Luis Russell's first record on Apollo; "Don't Take Your Love From Me" was his second on Apollo.)
LUIS RUSSELL'S ORCHESTRA — SESSION MUSICIANS: MANOR 1006 & 1022 - Chester Boone, John Swan, Emery Thompson, James Mitchell (trumpets) Austin Lawrence, Luther Brown, Charles Williams (trombones) Sam Lee, Clarence Grimes (alto saxophones) Esmond Samuels, Andy Martin (tenor saxophones) Howard Robertson (baritone saxophone) Howard Biggs (piano) Dave Richmond (bass) Roy Haynes (drums).
APOLLO 1020 - George Scott (trumpet) Nathaniel Allen (trombone) Clarence Grimes (alto saxophone) Esmond Samuels (tenor saxophone) Howard Robertson (baritone saxophone) Howard Biggs (piano) Nathan Woodley (bass) Roy Haynes (drums).
APOLLO 1022 - George Scott, John Swan, James Thomas (trumpets) Charles Stovall, Luther Brown, Thomas Brown (trombones) Clarence Grimes, Samuel Lee (alto saxophones) Esmond Samuels Troy Stowe (tenor saxophones) Howard Robertson (baritone saxophone) Howard Biggs (piano) Leslie Bartlett (bass) Roy Haynes (drums).
OKEH 8656 - Included further above under the OKeh label image.
IDA JAMES
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Above: Photo of Ida James, circa 1946. She was a singer and an actress on stage and screen. Ida had records released on Vocalion with Earl Hines Orchestra (1937-1938), Bluebird with Erskine Hawkins Orchestra (1938-1939), Decca with Ellis Larkins Trio (1946), ASA as Ida James & Daytonaires (1950), and Columbia with Dick Vance Orchestra (1951). She also had two records on the Manor label in 1948.
Ida acted in three all-black cast movies, "The Devil's Daughter" (1939), "Romance On The Beat" (1945), and "Hi De-Ho" (1947, with Cab Calloway). She also sang in Soundies, the first two with the Nat King Cole Trio in 1944.
BLACK DISPATCH (Oklahoma City, OK), June 15, 1940:
Ida James has reputedly joined clarinetist Tommy Douglas' 14-piece orchestra as featured vocalist....Dance fans are going to get to hear Ida James. This young lady is one of America's outstanding scat singers and we are all due for a full evening on June 19 when Tommy brings his band and Ida James in at the Trianon.... Tommy broadcasts nightly over NBC and MBC.... Many fans will remember Ida James as the lovely singer with Earl Hines and his Grand Terrace orchestra at Chicago....NEW JOURNAL AND GUIDE (Norfolk, VA), August 1, 1942:
IDA JAMES GAINED TOP RUNG THE HARD WAY
RALEIGH, N.C.—Charming and demure Ida James, featured vocalist with Erskine Hawkins, got her start in her home Philadelphia, where she appeared on the Kitty Hour over station WPN.This is what she told your writer during a brief interview here last week....
Miss James received the assignment to the Kitty Hour more or less by accident since she had done no previous singing, but along with some other friends had "guts" enough to apply at the station where they were given a chance by the management.She held down this spot with the station for three years before she left to join Earl Hines where she stayed for two years. Then came Erskine Hawkins and the job she now holds....
MACON TELEGRAPH (Macon, GA), August 2, 1942:
Ida James, whose blues voice is known to millions, is the featured vocalist with Erskine Hawkis... and his "Tuxedo Junction" orchestra... at Macon City Auditorium Thursday, 8:30 p.m., August 6.Miss James hails from Providence, R.I., but was reared in Philadelphia where she began her singing at age of eleven and worked on a regular program of children's music over WREN in 1935.
In 1936 she joined the Earl Hines orchestra with which she remained for two years, then followed solo engagements at several night spots in Philadelphia and New York.
Late in 1938 she joined the Erskine Hawkins crew, remaining for a year and a half. She returned in 1941 and has been the mainstay ever since. Swimming and movies are her hobbies...
(NOTE: OK, there are some seemingly inconsistencies between the two August 1942 newspaper articles.)
Click HERE for an article about IDA JAMES by Marv Goldberg.
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At Left: Photo of Ida James.
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IDA JAMES AND NAT KING COLE TRIO 1944 SOUNDIES
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Above: Soundies still shots of Nat King Cole and Ida James.
At Left: THE BILLBOARD, November 10, 1945.
Ida James sang in two Soundies in 1944, both with the Nat King Cole Trio. The "Trio" consisted of Nat King Cole (piano), Oscar Moore (guitar), and Johnny Miller (bass fiddle).
Louis Jordan And His Tympany Five had a hit with "Is You Is Or Is You Ain't (Ma' Baby)", released on Decca in 1944.
WATCH the VIDEO of Ida James With The Nat King Cole Trio performing in "IS YOU IS OR IS YOU AIN'T (MA' BABY)" in MP4 format.
(Will open in a new window)THE BILLBOARD, April 22, 1944. MOVIE MACHINE REVIEW
Assembled and released by Soundies Distributing Corporation of America, Inc.
Release date March 20."Who's Been Eating My Porridge?", sung by IDA JAMES, to the accompaniment of the KING COLE TRIO, is about a girl who has come between the singer and her love. (R.C.M.)
WATCH the VIDEO of Ida James With The Nat King Cole Trio performing in "WHO'S BEEN EATING MY PORRIDGE" in MP4 format.
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Above Left: DETROIT TRIBUNE, October 12, 1946.
NOTE: "Romance On The Beat" had been released more than a year previous to this showing.Above Right: "Romance On The Beat" poster picture, "An All American Variety Production Directed by Bud Pollard". Shown are Ida James and Lord (Lloyd) Randall. The Master Keys performed in this movie.
At Direct Right: "Romance On The Beat" poster. Note the "Streamlined Feature!" and the "'Shoo-Shoo Baby' Girl".
Ida James picked up her "Shoo Shoo Baby" tag after singing the song in a 1943 stage play. She recorded it with the Nat King Cole Trio on a transcription disc in 1944.
LISTEN (Windows Media Player):
"Shoo Shoo Baby" - Ida James With The Nat King Cole Trio - MacGregor Transcription Disc LB. 4 - 1944.NEW JOURNAL AND GUIDE (Norfolk, VA), March 24, 1945:
ALL AMERICAN NEWS SHOOTING FEATURETTES;
IDA JAMES "ROMANCE ON THE BEAT" STAR
NEW YORK, N.Y.—A long stride in the production of films featuring all-Negro casts has recently been made by E.M. Glucksman, former Hollywood producer and now owner of the All American News.Glucksman, who now has under contract many sepia headliners, has a shooting schedule of 12 featurettes at his New York studios. These are streamlined for 40 minute showings to fit any program. All of these attractions feature all-Negro casts.
Major step in the right direction for all Negro productions is the important method of casting and handling of dialogue and story by Bud Pollard, noted Hollywood megaphone ace, directing these features. He insists upon high class sets, elimination of buffoonery and domestic roles.
Harlem has been secured by Pollard for not only attractive, well educated bit players, but also extras with "class" appearance.
First production "Romance On The Beat" is now ready for release and stars Ida James, who recently headlined Cafe Society in uptown Manhattan for seven months....
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Above Left: WASHINGTON AFRO-AMERICAN, July 4, 1942.
NOTE: Someone spent a lot of effort putting this ad together. But why does Ida have only one foot? Imagine getting this very complete stage show along with a movie, with air conditioning at that! Enjoy the show a second day with a different movie.Above Right: CHICAGO DEFENDER, October 12, 1946:
GOOD WORK, IDA JAMES
That is what Producer Larry Steele, left, and owner Harry Fields of El Grotto Supper Club are saying to Ida James for her fine work as headliner of the present floor show. Miss James came here following a conquest of Broadway's famed night club row.
NOTE: Based on all of Ida's above pictures, for sure, she had a beautiful wardrobe of gowns and dresses.
INTERNATIONAL SWEETHEARTS OF RHYTHM
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Above: Photo of International Sweethearts Of Rhythm circa 1946. Orchestra leader is Anna Mae Winburn (Indiana). She was also an accomplished vocalist.
Evelyn McGee (Anderson, S.C.) was the featured vocalist from 1942 to 1946.Piano: Jackie King (New York City).
Saxophones: (L-R) Jackie Dexter (Indianapolis), Willie Mae Wong (Greenville, Miss.), Myrtle Young (Jackson, Miss.), Vi Burnside (Lancaster, Pa.), and Colleen Murray (Los Angeles).
Guitar: Carlene Ray (New York City).
Bass Fiddle: Edna Smith (New York City).
Drums: Jean Lutey (Anaconda, D.C.). Not shown, Pauline Braddy (Washington, D.C.) was another drummer at the time.
Trumpets: (L-R) Nova Lee McGee (Kansas City), Johnnie Mae Stansberry (Dallas), Edna Williams (Los Angeles), and Tiny Davis (Kansas City).
Trombones: (L-R) Jean Travick (Detroit), Ina Byrd (Chicago), and Helen Jones (Piney Woods, Miss.).
AFRO-AMERICAN, September 12, 1942:
ALL-GIRL BAND PROVES THAT WOMEN CAN VIE WITH MEN
BALTIMORE—Proof that women can do well anything that men can do is found in the top-notch entertainment which the all-girl orchestra directed by Eddie Durham is rendering on its current theatre tour.Their efficiency gives promise that despite the fact that Uncle Sam is invading the best of the popular swing bands, there will be plenty of hot music left after the men enter the armed forces.
This orchestra, only six months old, has already won sufficient public acclaim to secure bookings at theatres on the Eastern Seaboard, including the Royal in Baltimore, last week; the Howard in Washington, this week, and the Apollo in New York City, next week.
The band was organized on March 17, around a nucleus of four original members of the Sweethearts of Rhythm band from the Piney Woods (Miss.) School. This group included Nova Lee McGee and Jean Starr, trumpet players; Ellaritz Thompson, alto saxophone; and Alma Cortez, baritone sax.
Through these girls contact was made with others, so that the band now also includes Margaret Gibson, trumpet; Sammie Lee Jett, trombone; and Mildred Jones, saxophone, who also attended the Piney Woods School, appearing with the Rays of Rhythm.
Other members of the orchestra are: Frances Eldridge, piano; and Edith Farthing, bass fiddle, both of Washington; Jessie Turner, Detroit, Lelia Julius, Indianapolis, trombones; Helen Scott of New York; and Selma Lee Williams, Washington, saxophones. Since the girl who played drums recently became ill, a man drummer has been appearing as substitute.
This week, 17-year-old Muriel (Pee Wee) Gray of Norfolk, Va., joined the band as vocalist. The girls play swing music best, rehearse three or four times a week and travel in a white sleeper bus. Their uniforms are aqua-marine gowns, cut on princess lines with a gabardine top and full net skirt.
All of their music is arranged by Durham, who plays trombone and guitar, and formerly worked with Jimmie Lunceford and Count Basie. He does current arrangements for Glen Miller, Jan Savit, and Artie Shaw. Miss Earsie Bell serves as business manager for the band, which is sponsored by Al Day of Washington.
Only two of the girls are married. They are Helen Scott and Jean Starr, who is the wife of Private George Scott, a trumpet player who is in the army, playing with Floyd Smith's band at Camp Lee, Va.
AFRO-AMERICAN, September 12, 1942:
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CHICAGO DEFENDER, February 10, 1945:
SWEETHEARTS OF RHYTHM'S SUCCESS IS YARN OF OPPORTUNITY CASHED IN
"Twas back in the early thirties that an advertisement appeared in most of the larger weekly papers asking all girls wishing a career in music to contact "Jones", Piney Woods, Miss. Who is this Jones? Where is Piney Woods, asked many who saw themselves as future Duke Ellingtons, Cab Calloways, Louis Armstrongs, "Cootie" Williams, and Gene Krupas.As a matter of fact, "Jones" meant two persons, Rae Lee Jones, director and teacher in the school, and Lawrence C. Jones, president of Piney Woods school. The advertisement bore fruit for in less than one semester from this collection of students the International Sweethearts of Rhythm were born.
For two years this aggregation traveled throughout the South, playing school proms and Saturday night dances for clubs and student groups. Occasionally they played on the same bill with "name" bands and as the result. various styles were copied and numerous arrangements borrowed until the band finally clicked as a "starter."
Musicians like Valaida Snow, Jean Starr, and others were now interested in joining the school band. And the management, hoping for "name" rating was equally as much interested in listening to pleas of the professionals to come in. But this latter plan did not work out well and the pros didn't last long. In their places the band added, however, many girls from large eastern and western cities. And today almost every nationality on this broad land is included in the band's personnel.
The band composed of students was a money maker for the school because the payroll was practically nothing. Besides "free" tuition and room and board the girls received the usual "pay" allotted an amateur. Legend has it that the girls were given as little as $3 per week spending money and their "graduated" pay was hardly more than $1.50 per day. They did, however, get the chance to see the North, live in fine hotels, and watch pictures in theatre seats not marked "jim crow roost", which meant much to the girls, of whom may never have had the chance to visit the "North".
Then one evening the band found itself back in the South after a trip East with new ideas. Ideas that had developed during a meeting between manager Rae Lee Jones and two wealthy booking agents in Washington, D.C. One of the latter is Dan Gray, who along with Miss Jones, still operates the band.
They had decided the band was entitled to more exploitation and publicity than it was receiving and that its members were now grownups and entitled to the regular pay of musicians. And so, while Lawrence C. Jones slept at the school, Mrs. Jones, following a conference with the girls, hit upon the idea of "running away".And with the bus driver as well as those members of the band who might betray their departure snoozing in their rooms, Mrs. Jones allegedly stole the keys and hit the trail for nearby Memphis. In Memphis the party abandoned the bus, paid up its storage in a garage and took a train for Washington, D.C., the band's new home.
And home it is, for the Sweethearts of Rhythm now maintain jointly one of the finest clubs and quarters of any organization North or South. Here booking offices, rooms for living, rehearsals, sleeping, dining, and recreation are spotlessly maintained. And this all belongs to the organization headed by Rae Lee Jones and Daniel Gray.
To pay for this a weekly sum was donated from each girl's check which is based on the regular union scale in some sections running as high as $150 weekly. On the road where one nighters are played, the girls are paid more but the same regulated fee comes out for the maintenance of the home in Washington.
Professionally the name, "Sweethearts of Rhythm", has mounted to the top. Practically every large city in the land has raved over the band. Records have been set at Chicago's Regal; Los Angeles' Plantation club; in Detroit's Greystone ballroom, and in other cities.
The Sweethearts of Rhythm organization is a powerful institution. An institution that has done much good for womanhood. It has taken girls out of the South, educated them—regular classes are conducted daily—and saved many a girl from possible ruin. In the Southland a girl's reputation suffers more from carelessness than in the East and West, you know. And it isn't exactly improbable that some of those good looking girls who make up the Sweethearts of Rhythm might have digressed.
With the band, and under the sane guidance of Rae Lee Jones, the character of the members remain above reproach. Everywhere they play booking agents, hotel managements, and cafe owners actually scream, "best behaved bunch we've seen."
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Above: CHICAGO DEFENDER, February 10, 1945:
3 R'S REPLACE MUSIC HERE
The Sweethearts of Rhythm band is not only one of the finest musical aggregations traveling, but boasts of some of the most studious girls assembled in any group.Here you see Manager Rae Lee Jones, seated center, serving as instructor during one of the band's many school sessions. Note the book underneath the arranger's arm. What, no music, me lad?
(NOTE: Standing in back wearing a white blouse is Evelyn McGee, the band's vocalist.)
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PERFORMER'S NAMES IN ABOVE RIGHT PICTURE:
Back Row (L-R) Marion Carter, Marjorie Pettiford, Pauline Braddy, Johnnie Mae Stansbury, Amy Garrison, Judy Bayron, Lucille Dixon, Roxanna Lucas, and Johnnie Mae Rice. Middle Row (L-R) Helen Jones, Evelyn McGee, and Helen Saine. Front Row (L-R) Edna Williams, Ina Belle Byrd, Anna Mae Winburn, Grace Bayron, and Willie Mae Wong. |
At Direct Right: WASHINGTON AFRO-AMERICAN, January 2, 1943.
NOTE: Evelyn McGee is at top-left. A picture of a Spanish couple dancing is on Pauline Braddy's bass drum.BLACK DISPATCH, March 13, 1943:
BEVY OF BEAUTIES WILL CLICK WITH MUSICAL INSTRUMENTS
The famous all-girl band, International Sweethearts of Rhythm, will come to Oklahoma City Wednesday night, March 17, to thrill music lovers and dance fans in a St. Patrick Day dance at the Municipal auditorium. Dance time is 9 p. m.The band, hailed as one of the current sensations in the musical field, is made up exclusively with some of the most beautiful women ever seen on the American stage.
International Sweethearts of Rhythm climbed from obscurity to national fame from ocean-to-ocean and from border-to-gulf from less than 12 months, in theatres, night clubs, ballrooms and establishments of every description. One of the chief reasons contributing to the success of these girls' orchestra was that they had lived together harmoniously for several years before the band was formed.
The orchestra was first organized as a unit to play popular music at the Piney Wood school in Piney Wood, Miss. Talented girls of practically every race on the face of the earth went to school there. The band was so outstanding that the girls decided to go professional and did.
In a statement, Rae Lee Jones, the only colored woman in America who manages a dance orchestra, said the band is composed of girls who are to name a few, Chinese, Negro, Mexican, and part American Indian extractions.
"Transportation, at least at the moment, is not problem of our orchestra, since we have a sleeper bus of the pullman type and have what happens to be ample rubber to carry our entourage of over 20 people wherever our dates call us," Miss Jones said. (NOTE: Gasolene and rubber tires were rationed during World War II.)
Get 18 girls together where not one of them drinks or smokes and where they all admit serenity seems to ever reign and you have an oddity. These are among claims of distinction made for the International Sweethearts of Rhythem.
First formed as an amateur dance band at the Piney Woods school, this outstandingly talented group were long jumps ahead of the average orchestra in discipline at the offset. The girls had learned to live together, a prime requisite in any orchestra. Because they know how to cooperate and work as a unit they have enjoyed sucess which points toward even greater fame.
Composed of a group of the finest female instrumentalists in the world, the International Sweethearts of Rhythm have attracted and thrilled ticket buyers on a wide variety of engagements in nearly every state in the union - 38 to date to be exact, coast-to-coast....
LISTEN (Windows Media Player):
1. "Tuxedo Junction" - International Sweethearts Of Rhythm - Live Performance.
2. "Swing Shift" - International Sweethearts Of Rhythm - Live Performance.BOTH SONGS played in sequence.
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Above: BALTIMORE AFRO-AMERICAN, February 23, 1946:
SWEETHEARTS OF RHYTHM FETED AT CELEBRITY CLUB
The Sweethearts Of Rhythm were feted guests at a dinner at Skin's Celebrity Club following their engagement here Sunday night.(L-R Seated Ladies) Frances Gladden, Willie Lee Wong, sax players; Mrs. Pauline Forbes, club president; Anna Mae Winburn, band leader; Jean Travick, trombonist; Ellariz Lucas, sax player; Johnnie Mae Rice, pianist; and Helen James [sic Jones], trombonist. [sic, some names seem to be in the wrong sequence. Last three should be Rice, Jones, and Lucas?]
(NOTE 1: Do you recognize the man standing behind Anna Mae Winburn? His vocal group was recording for Manor Records at the time of this photo.... Deek Watson)
(NOTE 2: Identifying the names of the Sweethearts Of Rhythm members accurately has been a difficult task. Corrections will be gratefully accepted and incorporated in this article.)
EXTRA RECORD — "INTERNATIONAL SWEETHEARTS OF RHYTHM"
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Above: Photo of the International Sweethearts Of Rhythm brass section, featuring Ernestine Carroll "Tiny" Davis (far right), lead trumpeter. Directly in front of Tiny is Helen Jones on trombone. To Helen's right is trombonist Ina Belle Byrd, and to her right is trombonist Jean Travick.
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Performers on the Guild sides: Tiny Davis, Ray Carter, Mim Polak, Johnnie Mae Stansbury (trumpets), Ina Belle Byrd, Helen Jones, Jean Travick (trombones), Vi Burnside, Ros Cron, Willie Mae Wong, Grace Bayron, Helen Saine (reeds), Johnnie Mae Rice (piano), Marganot "Trump" Gibson (bass fiddle), Pauline Braddy (drums), and Anne Mae Winburn (leader, vocal).
Interesting that the session file has Winburn as vocalist, but the Guild label credits Davis. Remember that Winburn was the vocalist on their second Guild record. Did the above label intend "Trumpet (or Solo) by Tiny Davis"? Here's another version of the International Sweethearts Of Rhythm performimg "Jump Children" with Anna Mae Winburn as the confirmed vocalist. You can judge accordingly. Please provide feedback. LISTEN (Windows Media Player): "Jump Children" - International Sweethearts Of Rhythm (Vocal By Anna Mae Winburn) - Live Performance - 1946. |
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Above Left: CHICAGO DEFENDER, April 7, 1945:
"TINY" DAVIS, who is billed as the female Louis Armstrong, will occupy the lead trumpet seat when the famous International Sweethearts Of Rhythm open at Rhumboogie cafe Friday, April 13. Willie Bryant will emcee and star in the show.
(NOTE: The Sweetheart's trumpet player, Edna Williams, had earlier been given the same Armstrong comparison in the newspapers.)Above Right: BALTIMORE AFRO-AMERICAN, September 11, 1948.
NOTE: Quite a second act... The Caldwells, famed RCA Victor recording artists!
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EPILOGUE: Anna Mae Winburn, the Sweethearts' leader and vocalist retired in 1948 upon becoming married. However, the orchestra continued to perform without her until she returned in 1952 to again be their bandleader and vocalist.
The Sweethearts, in one formation or another, continued to make appearances through the end of 1954.
At Right: NEW JOURNAL AND GUIDE, August 15, 1953:
ON TOUR—Winesome Anna Mae Wilburn has taken her all-star girl band, "The Sweethearts Of Rhythm", on the road. The aggregation will spend most of the month of August playing dates in the Midwestern area.The popular band will launch the tour in Dayton, Ohio, on August 27 and then play a succession of dates in Illinois, Missouri, and Indiana.
Early this month the group played for the opening of the season at Saratoga Springs, before a record crowd.
LOUISVILLE DEFENDER, March 8, 1952:
TRULY A LADY OF MUSIC
Many music fans remember Vi Burnside as a torrid saxophonist with the popular "Sweethearts Of Rhythm" band. Before joining up with the famous all-girl outfit that boasted female musicians of many nationalities, she fronted her own (18-piece all-male) band in Washington, D.C.Vi puts her heart and soul into the tenor saxophone she blows. She has lost two of her featured instrumentalists, Pauline Braddy, drummer, and Tiny Davis, trumpeter, in the past two years.
Pauline is married and living in Philadelphia. Tiny is fronting her own band doing one nite tours.
Despite all the reshuffling of musicians, Vi manages to hold a band together, which is a difficult task because women musicians are vey rare.
(NOTE: At the time of this article, Vi Burnside was fronting her own "All-Girl Band".)
AFRO-AMERICAN, August 30, 1952:
....MYRTLE YOUNG and her All Star Girls band, former members of the Sweethearts Of Rhythm, are currently highlighting activities at the Comedy Club....
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Above: CLEVELAND CALL AND POST, January 12, 1952.
MANHATTAN PAUL AND PAUL BASCOMB
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Above Left: Photo of Manhattan Paul, who was a vocalist, show producer, and master of ceremonies. In addition to Manor, he recorded for the Atlantic label in the late 1940s. Above Right: Photo of Paul Bascomb, who was a saxophone player, band leader, and songwriter. He played in the Erskine Hawkins orchestra and then Count Basie's before going out on his own. In addition to Manor, he had records issued on the States label in the early 1950s and on Parrot in 1953-1954.
Between Manhattan Paul and Paul Bascomb, they had six records released on Manor, all in 1948.
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Above Left: Label image of Manor 1106-B, released in January 1948. The label shows "Jones" as composer. This song title is not listed at BMI.com, but it could be Anthony Jones, who co-wrote three other songs with Paul Bascomb that are credited at BMI. AFRO-AMERICAN, January 24, 1948:
NEW YORK—Manhattan Paul, Manor recording artist, who gave out with some blues and ballads in Carnegie Hall recently, is collaborating with Leighla Whipper on some Calypso numbers.(NOTE: Leighla was a songwriter, journalist, mystery writer, and businesswoman. She is best known for arranging and publishing musical scores of calypso and Afro-Caribbean songs. None of the sides by Manhattan Paul/Paul Bascomb on the Manor label are calypso.)
DETROIT TRIBUNE, September 11, 1948:
STILL AFFORDS THE MUSIC
Paul Bascomb, though having a slight change in the band, is still providing the music.Taking Ernie Washington's place on the ivory is Duke Jordan and Devillo has been replaced by Eddie Lewis.
But Thomas Rainey on the bass, Tommy Waters on the alto, Slim DeHart on the drums, and none other than Paul (the Prince of the Sax) Bascomb are still holding their positions and playing the music that the people are raving about.
Above Right: Label image of Manor 1137-A, released in September 1948. This is back when "Rock And Roll" meant something different than "Rhythm And Blues".
Again, the song titles for both sides are not listed at BMI.com. The flip-side label credits "Jones", who is probably the same person as shown on the above left label.
As usual, Irving Berman, owner and president of Manor Records had no incentive to register song titles at BMI. The same is true for the flip-side, whose label credits "Newby".
Based on the Detroit Tribune article at left, Paul's six-musician aggregation is still a "Combo", not an "Orchestra".
LISTEN (Windows Media Player):
1. "There Ain't None Bad" - Manhattan Paul With Paul Bascomb's Combo - Manor 1106-B - 1948.
2. "It's My Nerves, Baby" - Manhattan Paul With Paul Bascomb's Combo - Manor 1106-A - 1948.
3. "Rock And Roll" - Manhattan Paul With Paul Bascomb's Orchestra - Manor 1137-A - 1948.
4. "Two Ton Tessie" - Manhattan Paul With Paul Bascomb's Orchestra - Manor 1137-B - 1948.ALL FOUR SONGS played in sequence.
DETROIT DEFENDER, February 14, 1948:
MANHATTAN PAUL STARS IN HARLEM'S BABY GRAND CLUB
NEW YORK—Manhattan Paul, popular master-of-ceremonies and blues shouter, is currently giving out at the Baby Grand. In addition to introducing the acts at the club, Paul delivers his own versions of various jazz epics.
MANHATTAN PAUL:
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Above Left: DAILY NEWS, May 26, 1950. Above Right: 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.... [ASA 1006, "For You, My Baby"/"When Tomorrow Comes"]
PAUL BASCOMB:
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Above Left: Photo of Paul Bascomb. Above Right: DETROIT TRIBUNE, December 4, 1948.
NOTE:Paul Bascomb was sometimes also described as "King of the Tenor Sax". At the time, others who used that "King...." tag included Coleman Hawkins, Lester Young, Ben Webster, and Illinois Jacquet.Lurleane (later changed to Lurlean) Hunter, from Chicago, had her first records released on the local Seymour label in 1950. She was then contracted with Discovery Records that same year. The following year Lurleane recorded for Major Records. She joined RCA Victor in 1956 and Atlantic Records in 1960.
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Above: JET MAGAZINE, February 28, 1957:
Family Jam Session: Holding sizzling jam session in Chicago, bandleader Paul Bascomb and his sax-playing sons, Larry, 7, (left), and Paul Jr., 5, form a family combo for strickly-at-home appearances, Bascomb is appearing at the Windy City's Robert's Show Lounge.
EXTRA RECORDS — ACE HARRIS AND MANHATTAN PAUL
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Above Left: THE BILLBOARD, January 5, 1946.
Above Right: Label image of Hub 3001-B, released in January 1946. Vocal is by Manhattan Paul. The flip-side is a boogie instrumental.
The composer of the top side is Robert Ellen, who is credited with 1330 song titles at BMI.com.
The label for the other side, "M F T Boogie", shows the composer as "Traditional",
but BMI.com again gives credit to Robert Ellen.LISTEN (Windows Media Player):
1. "It Ain't Good For Me, But It's So Good To Me" - Ace Harris Orchestra (Vocal By Manhattan Paul) - Hub 3001-B - 1946.
2. "M F T Boogie (Instrumental)" - Ace Harris Orchestra - Hub 3001-A - 1946.BOTH SONGS played in sequence.
THE BILLBOARD, May 19, 1945:
BART FORMS DISKING ORG
NEW YORK—Newest Indie disking outfit is Hub Recording Company, race disking org headed by Ben Bart, now treasurer with the Moe Gale Agency. Disking company is said to have production facilities lined up for some 500,000 records, with first waxing set for tomorrow (May 8), when Taft Smith cuts a couple.Bart recently formed a combine with Harry Lenetzka, formerly with Gale office, to supervise bookings of the Ink Spots, altho act is booked by Gale office and personally managed by Gale.
(NOTE: Hub Records is known to vocal group collectors as the first label to record The Ravens.)
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Above Left: ATLANTA DAILY WORLD, August 23, 1946:
WILL RENDER "AFTER HOURS" SUNDAY (MIDNIGHT) AUDITORIUM
"Ace" Harris—Ace Pianist with the Hawkins Musicrew will do Avery Parish's "After Hours", a national disc favorite which incidentally coincides on this occasion with the dancing hours—Sunday (Midnight to dawn), August 25, at the Auditorium. Advance $1.20; At Box $1.50....
(NOTE: Remove the above decimal points to obtain today's concerts mid-range ticket prices.)
Above Right: OMAHA GUIDE, December 14, 1946.
Ace Harris was a piano player, singer, composer, arranger and bandleader.
Ace was with The Ink Spots, as pianist and arranger, from June 1940 to early 1942. In 1946 he joined Erskine Hawkins' orchestra. Besides two records on Hub in 1946, Ace had three records on the Sterling label in 1948.
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JOE MORRIS
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Above: Photo of Joe Morris, who was a trumpeter, arranger, and songwriter in Lionel Hampton's orchestra. In 1947, he left Lionel to go out on his own as a bandleader. He joined Manor Records resulting in three records with them, all recorded in 1947 and released in 1948. After the short stint with Manor, Joe's orchestra went to Atlantic Records, a newly formed label at the time (1947). That resulted in thirty-nine records released from 1948 to 1953. After Atlantic, Joe moved his orchestra to Herald Records, where he had six records issued from 1953 to 1954.
At Direct Right: COMMERCIAL APPEAL (Memphis, Tennessee), February 25, 1949.
CALL AND POST (Cleveland, Ohio), July 24, 1948: JOE MORRIS BAND
Joe Morris' enthusiasm for all kinds of music payed off when he started at Alabama Teachers' College. While there he met Erskine Hawkins, who was already becoming famed as the "Tuxedo Junction" maestro. Erskine liked the youngster's enthusiasm and gave him special lessons composing and arranging as well as in his own instrument, the trumpet.While playing a school date in Cincinnati, Joe met the noted bandleader, Lionel Hampton. The band was playing at the Cotton Club and Joe was asked to join Lionel's party. Within ten minutes, Joe was signed up for the featured trumpet spot in the Lionel Hampton band.
Not only did Joe Morris play his own instrument well, he also did most of the band's arranging. At Lionel's special request, Joe also wrote a number of tunes for the band's recording sessions: Two of these, "Chop Chop" and "Punch and Judy", have become the Lionel Hampton band's musical tag-lines.
The idea to form his own group came about when he met tenor sax star Johnny Griffin, who was also featured in the Hampton group. The pair decided that the best way to display their new musical ideas was with their own group. So, after getting a "Good Luck" nod from the "Hamp", the boys gathered up the best instrumentalists available and started rehearsing.
The result, well in the short time that they've been together, the Joe Morris band has had a recording session and has already been starred at the Zanzibar Cafe, in Philadelphia, and the Savoy Ballroom in New York. All in all, not bad for two youngsters—Joe Morris is only 25 and Johnny Griffin has just passed nineteen.
(NOTE: Actually, per a newspaper account, Joe Morris "was a featured sideman with Charles Trenier's orchestra, a popular Southern and Mid-Western group" prior to joining Hampton.)
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Above Left: Label image of Manor 1136-B, released in 1948. All four sides of the above two records were composed by Joe Morris. All four are registered at BMI.com. However, BMI mistakenly credits two of the sides to "Joe Norris". The other two are listed under "Joseph L. Morris". Joe has 45 work titles at BMI.com, six of them with Lionel Hampton as co-composer. Two of Joe's compositions are "BMI Award Winning Songs", "I Had A Notion" and "Shake A Hand". The latter title was a hit for Faye Adams, with Joe Morris' Orchestra, on the Herald label in 1953. Savannah Churchill (Decca) also had a version of the song in 1953.
Above Middle: CHICAGO DEFENDER, January 17, 1948.
(Joe Morris' saxophonist, Johnny Griffin)Above Right: Label image of Manor 1157 A, released in 1948.
At Direct Right: 1947 photo of Joe Morris And His Band at the Zanzibar Cafe in Philadelphia.
Six pieces: Drums, Bass Fiddle, Piano (behind Joe), Trumpet (Joe Morris), Saxophone (Johnny Griffin), and Guitar (George Freeman). If anyone can confirm all or any of the musician's names, please contact me.
CHICAGO DEFENDER, June 28, 1947:
....JOE MORRIS, star tooter with Lionel Hampton for five years, has formed a combo with ex-Hampton musicians that features young Johnny Griffin, the kid Hamp picked up at a local high school last season....CHICAGO DEFENDER, September 11, 1948:
JOE MORRIS IS TOPS WITH HIS NEW ORCHESTRA
Joe Morris, former Lionel Hampton star, and his new orchestra featuring Little Johnny Griffin, world's greatest teen-age saxophone star, have just concluded a highly successful series of dance engagements in eastern territory, prior to their first extensive tour of the south and southeast, where they will appear in ballrooms and clubs of principal cities.The group, whose recording of "Low Groovin'" has been mainly responsible for their rapid rise to popularity, is under exclusive direction of Teddy McRae [booking agent].
LISTEN (Windows Media Player):
1. "Out Of The Night (Instrumental)" - Joe Morris Orchestra - Manor 1136-B - 1948.
2. "Fly Mister Fly (Instrumental) " - Joe Morris Orchestra - Manor 1136-A - 1948.
3. "Joe's Boogie" - Joe Morris Orchestra (Vocal By The Band) - Manor 1157 A - 1948.
4. "Wilma's Idea (Instrumental)" - Joe Morris Orchestra - Manor 1157 B - 1948.ALL FOUR SONGS played in sequence.
EXTRA RECORDS — JOE MORRIS AND HIS ORCHESTRA
Above Left:THE BILLBOARD, May 19, 1951: CAVALCADE OF THE BLUES
NEW YORK—Atlantic recording star Joe Morris looks on as a pretty miss gets ready to splash some real champagne on his new bus. Morris, whose Cavalcade of the Blues starring Laurie Tate and Bill Mitchell turned out the recent "Anytime, Anyplace, Anywhere" [sic "Any Place"].Joe is joined in the formal bus-launching by (left to right) Herb Abramson, president of Atlantic; vocalist Sara Lou Harris; actress Dorothy McDavid; Morris; platter flack Charlotte Lord; and Atlantic exec Ahmet Ertegun.
(NOTE: A "flack" is a press agent. Sara Lou Harris was a famous model and a singer. She was not actually a member of Joe's Cavalcade.)
Above Right:BLACK DISPATCH (Oklahoma City, Oklahoma), May 12, 1951.
NOTE: "Low Groovin'" was Joe Morris' first record on the Atlantic label and a successful one at that. "Beans And Cornbread" is the only song title shown that is spelled correctly.At Direct Right: CHICAGO DEFENDER, February 15, 1947. Joe Morris, trumpet ace.
At Far Right: CLEVELAND CALL AND POST, February 9, 1952.
NOTE: The Five Keys recorded on Aladdin, a Los Angeles label, but the group itself was from Newport News, Virginia. Note that Milton Bugg, the baritone vocalist who sang with Luis Russell's orchestra, is the Master of Ceremonies.THE BILLBOARD, July 31, 1948:
....Former Lionel Hampton ork trumpeter, Joe Morris, and his ork, which features tenor Johnny Griffin, signed to a three-year waxing pact with Atlantic Records....THE BILLBOARD, October 2, 1948: ....Milt Shaw and Judd Bernard are co-managing the Joe Morris group which features tenor Johnny Griffin, which made its first public dent with some Atlantic Records. The group opened at the Three Deuces nitery here Sunday....
Click HERE for an article about LAURIE TATE by Marv Goldberg.
(Will open in a separate window)
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Above Left:CASH BOX, February 17, 1951.
NOTE: Atlantic 931 is "Yeah! Yeah! Yeah!"/"Jump Everybody Jump" recorded on January 15, 1951 and released in February 1951. Vocal on both sides is by Joe Morris and group.Above Middle:THE BILLBOARD, May 12, 1951.
NOTE: The numbers 2, 4, and 3 were the songs' current positions on The Billboard's "Best Selling Retail Rhythm And Blues Records" chart.Above Right:THE BILLBOARD, July 21, 1951.
NOTE: The Atlantic Records address has changed to "234 West 56th Street, New York 19, New York".LISTEN (Windows Media Player):
1. "Yeah! Yeah! Yeah!" - Joe Morris Orchestra - Atlantic 931 - 1951.
2. "Jump Everybody Jump" - Joe Morris Orchestra (Vocal By The Band) - Atlantic 931 - 1951.BOTH SONGS played in sequence.
CASH BOX REVIEW (2/24/51):
JOE MORRIS — ATLANTIC 931....
Yeah Yeah Yeah/Jump, Everybody, Jump
A jivy tune with a great deal of promise gets a terrific recording from Joe Morris and the orchestra. Joe really goes to town on this one, pouring a lot of stuff into this bouncy item. Second side is another loud number with clapping hands and shouting vocal. Ops won't go wrong with these.The Billboard Review (3/3/51):
JOE MORRIS — ATLANTIC 931....
Yeah! Yeah! Yeah! (84) Fine, romping rendition of the Louis Prima boogie novelty. Both vocal and instrumental work are tops — side could slam thru.
Jump, Everybody, Jump (74) Straight and simple rocker with preach tenor chorus and a funny vocal tag exhorting everyone to jump.(NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "excellent".)
At Direct Left: ARIZONA SUN (Phoenix, Arizona), April 4, 1952.
NOTE: The first three listed "Original Tunes" were co-composed by Joe Morris for Lionel Hampton's orchestra.Above Left: Label image of Atlantic 914, released in July 1950. See The Billboard articles further below regarding true composer credits for "Anytime, Any Place, Anywhere".
The label for the flip-side, "Come Back Daddy, Daddy", credits "Morris-Ahbert". It's a very good bet that "Ahbert" is Ahmet Ertegun, Atlantic Records' vice president. Usually he would claim (steal?) BMI composer rights using the name "Nugetre". BMI.com credits him with fourteen "BMI Award Winning Songs".
LISTEN (Windows Media Player):
1. "Anytime, Any Place, Anywhere" - Joe Morris Orchestra (Vocal By Laurie Tate) - Atlantic 914 - 1950.
2. "Come Back Daddy, Daddy" - Joe Morris Orchestra (Vocal By Laurie Tate) - Atlantic 914 - 1950.
3. "Don't Take Your Love Away From Me" - Joe Morris Orchestra (Vocal By Laurie Tate) - Atlantic 923 - 1951.
4. "Stormy Weather" - Joe Morris Orchestra (Vocal By Laurie Tate) - Atlantic 923 - 1951.ALL FOUR SONGS played in sequence.
Above Right: Label image of Atlantic 923, released in January 1951.
Jessie Mae Robinson composed several other hit songs including "Once There Lived A Fool", "I Went To Your Wedding", "Keep It A Secret", and "Blue Light Boogie".
THE BILLBOARD, July 1, 1950:
....Atlantic disk bigwig Herb Abramson has signed young blues thrush Laurie Tate, fresh out of Richmond....THE BILLBOARD, February 24, 1951:
....Joe Morris has converted his band and vocal department into a package unit, which will be sold as the "Cavalcade of the Blues". The billing will be employed to sell singers Laurie Tate and Billy Mitchell, the latter the newer addition to the organization. Crew and singers record for Atlantic....
At Direct Right: CASH BOX, September 16, 1950.
NOTE: Poetic license was taken with the song title's spelling and exclamation points!THE BILLBOARD, November 25, 1950:
"ANYTIME" CALLED INFRINGEMENT
NEW YORK—Crawford Music, Chappell subsidiary, this week told Atlantic Records it considered the tune "Anytime, Anyplace, Anywhere" an infringement of a 1933 Crawford copyright titled "Any Time, Any Day, Any Where".The Atlantic ditty is currently riding the top of the rhythm and blues charts via the Joe Morris waxing, with Laurie Tate chirping. Miss Tate is credited as writer; Progressive Music, Atlantic subsidiary, has pubbing rights.
The Crawford tune was written by Ned Washington, Victor Young, and Lee Wiley. Crawford has asked that the disk be withdrawn and an accounting furnished. Atlantic's counsel is investigating the Crawford allegations.
THE BILLBOARD, November 24, 1951:
CRAWFORD AND ATLANTIC SETTLE "ANYTIME" FUSS [Did it really take a year?]
NEW YORK—Atlantic Records and Crawford Music have reached an amicable and out-of-court settlement on the alleged infringement of the diskery's "Any Time, Any Place, Any Where" disk on the pubbery's "Anytime, Anyday, Anywhere" written by Ned Washington, Victor Young and Lee Wiley.!Although actual terms of the settlement were not disclosed, it is known that Atlantic agreed to pay royalties to Crawford on the number of disks sold before the allegedly infringing version was withdrawn plus a considerable lump sum cash payment.
The Atlantic disk was written and recorded by Joe Morris and Laurie Tate. The original version which stirred up the Crawford protest was withdrawn and a new version of the song released.
Royalties were paid only on those disks sold prior to the release of the second Tate-Morris disk.
(NOTE: Per Marv Goldberg's "Laurie Tate" article (link further above), the second release never happened.)
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Above Left: CLEVELAND CALL AND POST, September 23, 1950.
NOTE: Hopefully they meant to say "She'll Warm Her Way Into Your Heart!".Above Right: CASH BOX, January 27, 1951.
Atlantic Records was known as "The House That Ruth [Brown] Built", but Joe Morris provided a lot of the lumber.
Other secular artists with records on the Manor and Arco labels, that are not covered in Parts One through Five of this article, include.... Milt Page Trio, Slam Stewart Trio, Gail Meredith, Oscar Pettiford, Coleman Hawkins, Dizzy Gillespie, Tiny Bradshaw*, Big Sid Catlett, Hal Mitchell, Joe Medlin, Al Killian, Lenny Herman, Esy Morales, Bill Cook, Six Bips And A Bop, La Motta Brothers, Velveteers, Ted Black, Roy Stevens, Erroll Garner, Johnny Layne, Lonnie Johnson, Del Casino, Calypso Troubadours, and Slim Gaillard.
*NOTE: There is extensive coverage of Tiny Bradshaw in the King Records - Part Three article.
Part Six of this Manor Records article will feature the label's spiritual artists.
NOTE: Restoration of photos, clippings, record label images, and some audio files is by Tony Fournier.
Many of the audio files used in this Manor Records' series of articles were restored by Dave Saviet.
MANOR RECORDS - PART ONE FEATURES IRVING BERMAN, PRESIDENT AND OWNER OF REGIS, MANOR, AND ARCO RECORDS. ALSO REGIS ARTISTS... GEORGIA PEACH AND SKYLIGHT SINGERS, SILVER ECHO QUARTETTE, COLEMAN BROTHERS, TINY BRADSHAW, GENE PHIPPS, TIMMIE ROGERS, TAB SMITH, TREVOR BACON, CATS AND THE FIDDLE, HAL MITCHELL, AND MAMIE MILLER. MANOR RECORDS - PART TWO FEATURES ERNESTINE WASHINGTON SINGING SOLO AND WITH THE DIXIE HUMINGBIRDS AND THE SOUTHERN SONS. ALSO EXTENSIVE COVERAGE OF SAVANNAH CHURCHILL, HER FIRST RECORDS, SAVANNAH SOLO ON MANOR & ARCO RECORDS, AND SAVANNAH WITH THE FOUR TUNES ON MANOR. INCLUDED ARE THREE SAVANNAH CHURCHILL VIDEOS.
MANOR RECORDS - PART THREE FEATURES EXTENSIVE COVERAGE OF SAVANNAH CHURCHILL AND THE FIVE KINGS, SAVANNAH CHURCHILL AND THE STRIDERS, THE FIVE KINGS, AND DEEK WATSON AND HIS BROWN DOTS. INCLUDED ARE FOUR "BROWN DOTS" VIDEOS.
MANOR RECORDS - PART FOUR FEATURES EXTENSIVE COVERAGE OF THE FOUR TUNES (AKA THE SENTIMENTALISTS), INCLUDING THEIR BACKING UP BETTY NORTON AND BETTY HARRIS. THERE ARE ALSO SECTIONS FOR MARGARET WATKINS AND RUDY RICHARDSON, AND A SPOTLIGHT ON THE SONG, "WRAPPED UP IN A DREAM".
MANOR RECORDS - PART SIX FEATURES EXTENSIVE COVERAGE OF MANOR'S SPIRITUAL ARTISTS, INCLUDING HEAVENLY GOSPEL SINGERS, KINGS OF HARMONY OF ALABAMA, WILLING FOUR, TRUMPETEERS, COLEMAN BROTHERS, SELAH JUBILEE SINGERS/QUARTET, THE LARKS, GEORGIA PEACH WITH SKY LIGHT SINGERS/MATCHLESS LOVE GOSPEL SINGERS/HARMONAIRES, GOSPEL STARS, REV. UTAH SMITH, DIXIE HUMMINGBIRDS, SUMMIT GOSPEL SINGERS, AND ERNESTINE B. WASHINGTON. ALSO A SPOTLIGHT ON "JUST A CLOSER WALK WITH THEE".
1. "Boogie In The Basement (Instrumental)" - Luis Russell Orchestra - Manor 1006 A - 1945.
ALL FOURTEEN ABOVE MANOR LABEL SONGS played in sequence. At Direct Right: THE BILLBOARD, December 28, 1946.
At Far Right: THE BILLBOARD, February 8, 1947. |
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Last Update: September 15, 2025
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