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#969 (6/5/25)
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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. |
ERNESTINE WASHINGTON
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Above: Ernestine Washington, also known as Sister Ernestine Washington and Madame Ernestine Washington, was a "high intensity" spiritual singer. Though she grew up in Little Rock, Arkansas, at the time of the Regis/Manor sessions she was living in New Jersey, just ten miles from Newark. Ernestine's first record was on Regis (the precurser of Manor) in 1943. It was that label's second release. On most of her Regis and Manor records, she was backed by The Dixie Hummingbirds, The Heavenly Gospel Singers, or The Southern Sons.
In 1946, she recorded for the Disc (Asch Recordings) label, located in New York City. These sides are spiritual, but backed by Bunk Johnson's dixieland jazz band! (See further below)
Ernestine had one record on RCA Victor's subsidiary label, Groove, in 1954, backed by The Millerairs.
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Above Left: DAILY NEWS, January 8, 1946:
SPIRITUALS HER DISH—AND SHE CAN DO 'EM
Everything, including Hollywood, has its day. But religion goes on forever. That is the reason Mme. Ernestine Washington, church singer and minister's wife, gives for remaining tone-deaf to film offers. And these offers had come even before her recent sensational appearance at a Town Hall benefit, where she "sent" a predominantly jive-conscious audience, including Orson Welles, with something in spirituals for which the peculiar language of swing has no word.With Bunk Johnson's Dixieland Style Band solid back of her, the Negro contralto stepped out on the stage, drove her right fist into her left palm several times to get into what—for the others—would be the groove, and sang hymns so movingly that she immediately held all the sophisticated hearers in those two punchy-gestured hands of hers. "Do you swing your spirituals, or----what?" "That's just "jubilee" style," she explained.
[Two selections with Bunk Johnson backing Ernestine are further down on this webpage.](This clipping is continued at right.)
Jubilee style is a technique acquired the hard way by the singer, who is the wife of the Church Of God, of Montclair, N.J. For all of the dozen or more years of their marriage, the Washingtons have "evangelized" up and down this country and Canada with Ernestine, the singer, doing her part.... "Would you sing other than religious songs, a ballad, for example?" she was asked. "If it had any religious meaning, yes...."At the age of 3 in her native Arkansas the religious contralto began her career. "They called me 'the little singer' and they'd stand me on a table... when I was 19 I met my husband; he had studied at the Moody Bible Institute in Chicago and been ordained...
At present, Mme. Washington is heard on the radio on WHOM Wednesdays and Saturdays, 11 to 12 P.M., and the church services are broadcast Sundays on WAAT...
[WAAT was located in Jersey City, New Jersey; WHOM was in New York City.]Above Right: Clipping from The Evening News dated 4/16/48.
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Above Left: Label image of Manor 104-A, released in 1946. Ernestine is backed by The Dixie Hummingbirds on both sides. The Hummingbirds did have one record by themselves during their stay, on Manor 1074 in 1947. Manor 104 was first released on Regis 1007 in 1944. It was also issued later on Arco 1244 in 1950.
Above Right: Label image of Manor 1071-A, released in 1943. Ernestine sings solo on these sides. This record had been released on Regis S-104-A in 1943.
LISTEN (Windows Media Player):
1. "If I Could Just Make It In" - Ernestine B. Washington Accompanied By Dixie Hummingbirds - Manor 104-A - 1946.
2. "Savior, Don't Pass Me By" - Ernestine B. Washington Accompanied By Dixie Hummingbirds - Manor 104-B - 1946.
3. "I Am Going Back To Jesus" - Ernestine Washington - Manor 1071-A - 1947.
4. "Some Through The Water And The Flood" - Ernestine Washington - Manor 1071-B - 1947.ALL FOUR SONGS played in sequence.
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Above: The Dixie Hummingbirds at WCAU Radio in Philadelphia, with others, circa 1943, where they would sing as the Jericho Quartet. In 1942, they had performed at Cafe Society in New York as The Jericho Quartet and appeared on WCAU as the Swanee Singers.
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At Left: Clipping from Philadelphia Inquirer dated 7/30/42 showing the Swanee Singers (Dixie Hummingbirds) as part of "Dixiana". Note that Bon Bon, previously of The Three Keys, is also listed. PHILADELPHIA INQUIRER, October 27, 1942: ....The "Swanee Singers," Negro vocalists who have been heard locally on WCAU, have moved into the "big time." They opened last night at Cafe Society in New York.... PHILADELPHIA INQUIRER, December 14, 1942: ....SHORT SHORT STORY
Finally, they got a break—they were discovered by WCAU and put on the air as the "Swanee Singers". Then came another break—they were signed for a trial week in New York's "Cafe Society Downtown". At the present writing, they are appearing as the "Jericho Quintet" in two Manhattan night spots—"Cafe Society Downtown" and "Cafe Society Uptown". And this afternoon, at 3:25, the Jericho Quintet will be heard on the air via the station which gave them their first chance—WCAU. PHILADELPHIA INQUIRER, April 1, 1943: ....Listeners who heard the Jericho Quartet on the Monday and Wednesday stanzas of WCAU's "Open House" may not have recognized the rich voices of those a capella singers. But they have sung on the station before—as the Swanee Singers. They were heard regularly from last July until they went to New York, where they scored a smash hit at both Uptown and Downtown Cafe Society. The group began its singing career as the Dixie Hummingbirds in Greenville, S.C., and their experience includes church work, radio, benefit performances for charities and night club appearances. Recently they have made a number of recordings for the Office of War Information which will be short-waved to our troops overseas. Two members of the group—a bass singer and a second tenor—are now in the army. In addition to their stints on "Open House". the Jericho Quartet also have a 15-minute program on Sundays at 1:30 P.M. |
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Above Left: INDIANAPOLIS RECORDER, September 11, 1948. (Ernestine Washington) Above Right: Label image of Manor 1084-B, released in 1947. Ernestine is backed on both sides by the Southern Sons. This is the one record involving the Southern Sons on any of Irving Berman's labels.
LISTEN (Windows Media Player):
1. "I Thank The Lord" - Ernestine Washington And The Southern Sons - Manor 1084-B - 1947.
2. "The Lord Will Make A Way" - Ernestine Washington And The Southern Sons - Manor 1084-A - 1947.BOTH SONGS played in sequence.
EXTRA RECORDS — THE SOUTHERN SONS
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Above Left: Label image of Bluebird 30-0806-B, recorded on October 27, 1942 and released in November 1942. This is the fourth of six records that The Southern Sons had on Bluebird (1941-1945), plus one more on the parent RCA Victor label (1946). Above Right: Label image of Bluebird B-8882-B, recorded on October 29, 1941 and released in December 1941. The Knites Of Rhythm is the same group as "The Southern Sons" who recorded "Praise The Lord...", with the same personnel. This is their only record using the "Knites Of Rhythm" name and also their only secular release.
LISTEN (Windows Media Player):
1. "Praise The Lord And Pass The Ammunition" - The Southern Sons - Bluebird 30-0806-A - 1942.
2. "Baby Won't You Fall In Love" - The Knites Of Rhythm - Bluebird B-8882-B - 1942.
3. "Chattanooga Choo Choo" - The Knites Of Rhythm - Bluebird B-8882-A - 1942.ALL THREE SONGS played in sequence.
THE BILLBOARD, November 7, 1942: NnnnnnnBoom! Hallelujah!
NEW YORK—Victor's desire to record Praise the Lord and Pass the Ammunition without musicians inspired the disk firm to come up with a new wrinkle.Sound effects. Yeah, sound effects—roaring cannons, whining shells, diving bombers, machine guns ack-ack-tacking—all used to "tell the story" while the Southern Sons vocalize.
Any similarity between this record and an air raid is the neighbors' headache.
(NOTE: It seems that the "unaccompanied" on the label is not entirely correct.)
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At Left: The Southern Sons/Knites Of Rhythm (L-R) Charles Wesley Hill (baritone), Clifford Givens (bass), James Kissler Baxter (tenor and guitar), Charles Howard Wilson (baritone), and William Langford (tenor). Langford (aka Landford) had been with The Golden Gate Quartet.
This first Southern Sons group broke up soon after Baxter's death in 1944. Givens took Hoppy Jones' place in The Ink Spots upon Jones' death in 1944, staying less than a year. He later re-formed The Southern Sons. Langford joined The Selah Jubilee Singers, staying with them for several years. THE BILLBOARD REVIEW, November 21, 1942:
The musical instruments frozen for the recording, Victor comes in with an all–vocal interpretation of the Frank Loesser classic. And with the song strong in spiritual leanings, it's a quartet of male spiritual singers to interpret it, and instead of an accompanying orchestra, there's the sound effects of machine guns, airplane dives and bombs bursting. Nothing musical about such sounds, but used effectively, they create a stirring battlefield background. Taking it at a moderate tempo and in strict rhythm, the Southern Sons start off singing the verse in unison and in close harmony for the first chorus. The Holy Roller effects are added to their singing for a second chorus. For a third chorus, the voices are modulated softly as one of the Sons talks the lyrics in gospel fashion, continuing his preachment for another refrain to finish out the side. Already riding high along the phono networks, the new and novel interpretation is bound to attract a fair measure of the coins being harvested by this war song. |
EXTRA RECORD — ERNESTINE WASHINGTON AND BUNK JOHNSON BAND
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SAVANNAH CHURCHILL
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Above: A young Savannah Churchill. (Photo is courtesy of Paul Ressler) She was born Savannah Valentine on August 21, 1920 in Colfax, Louisiana. Her first two records were for Joe Davis' Beacon label, recorded and released in 1942. The labels first credited "Jimmy Lytell and his All Star Seven, Vocal Refrain by Savannah Churchill". Both records became hits.
Due to Savannah's resultant popularity, Davis changed the labels to "Savannah Churchill and her All Star Seven" for future issues.
Savannah next joined Benny Carter's Orchestra in 1942, recording at least five sides. This resulted in two Capitol releases with Carter in 1943-1944, one side each with "Vocal by Savannah Churchill". (See photo at far right: Benny and Savannah, circa 1942)
In 1945, Irving Berman signed Savannah to Manor Records. Her third record for Manor, "I Want To Be Loved", was her first with a vocal group. Their name was The Sentimentalists, a male group derived from The Brown Dots and soon to become The Four Tunes.
One of The Sentimentalists, Pat Best, was a major factor in "I Want To Be Loved" becoming a big hit. He wrote the song (even though credit is given to Savannah on the label) and coached her in how she should sing it.
From here on, male vocal groups would back most of Savannah's records. Next came two releases on Manor with backing by The Five Kings. Then, seven records on Manor, all with The Four Tunes on one or both sides.
Visit "SAVANNAH CHURCHILL DISCOGRAPHY" for a full listing of her recordings.
(Continued)
Then came three more releases on Arco in 1950 backed by The Striders. Arco was the new name for Manor starting in late 1949. These were followed by another two on Regal in late 1950 and early 1951, again backed by The Striders.
There was one record issued on Columbia in 1948. These were two sides that Savannah and The Four Tunes recorded for Manor, but had not yet been released.
In 1951, Savannah signed with RCA Victor resulting in five releases, all with vocal group backing. The first release was backed by The Four Tunes, who had moved to RCA Victor in 1949. The next three RCA Victor releases were backed by The Striders and the last by a studio group. In 1951, Savannah, along with The Striders, appeared at the London Palladium.In 1953, Savannah went to another major label, Decca, producing five releases. The first is without vocal group on either side. The remainder have vocal groups on all sides, two with The Ray Charles Singers and the final two with an unknown "Quartet".
There was one more release of note, that in 1956 on Argo, a subsidiary of Chess Records. This record has an uncredited vocal group on both sides.Savannah died from pneumonia on April 20, 1974, leaving behind an abundance of consistently excellent records, including releases on four of the major labels.
EBONY MAGAZINE, February 1953:
From a waitress at Lorette's restaurant in Harlem, Savannah Churchill moved across the street into Smalls Paradise and her first job as a singer. That was 1937, a year after she had dropped out of New York University following her marriage to a school sweetheart, Arthur Churchill.When she auditioned for owner Ed Smalls, he eyed her critically and said, "Baby, you can't sing much but you ain't bad to look at. With experience you might improve, so I'll give you a job." The job paid $18 a week, but it was the start of a professional career that has carried her into such lush spots as Ciro's in Hollywood, the Thunderbird in Las Vegas, and the Barbary Coast in San Francisco.
Born in New Orleans, her parents migrated to New York and settled in Brooklyn when Savannah was three. Her first husband, an Ohio lawyer, was killed in an auto accident in 1938. Home is now a three-story ten-room frame house in Brooklyn which is all her own. It is where she plans to retire when she quits singing. The town means much to her. "I love Brooklyn," she says. "I was reared there and know it like I know the palm of my hand. The place has a whole lot of sentimental value for me."
Billed far and wide by the flourishing Gale Agency as "the sultry siren of song", Savannah Churchill is one of America's great ballad singers. She sings her songs simply and with remarkable fidelity to the written tune. She does not go in for fancy deviations or fluent impressions. "I'm no stylist," she says. "I stick to the melody always."
It is the warmth of her voice and the richness and strength with which she sings her songs that has made her unusual. But her very wide repertoire shows a musical versatility few singers possess today. She is fully at home doing torch songs like "Is It Too Late?", "I'll Never Be Free", and "I Want To Cry".
....She sings "Daddy Daddy", her 1947 [sic 1945] record hit with enormous gusto. But it is "I Want To Be Loved" that is most requested by her audiences. This song, which brought about her regeneration in show business, has now become her unofficial theme song.
When "I Want To Be Loved", a hit tune, came out in 1948 [sic 1946], Savannah was on the verge of quitting show business. Bookings for her were few and far between, and as a result her morale had sunk to a new low. "The record put me back in show business," she admits. "At that time the breaks seemed to be going against me. I was pretty disgusted." The record and the demand it created for her catapulted her from a previous high salary of $300 a week in 1944, to a peak of $1750 weekly in 1951.
Her early years in the singing field were dominated in a way by Benny Carter, one of the top jazzmen of them all. She was the vocalist with the Carter band for four years. During that time a lot of the celebrated Carter musicianship rubbed off on her and she became a vastly improved singer.
She and Benny became engaged but later agreed to call it off after a few disagreements. She still adores him for his tremendous talents and he considers her his best protege.
When she left Benny Carter, she felt she was ready to go for herself. "I think I've been a little lucky," she modestly reports. "After all, I trained with one of the masters of modern music, Benny Carter." Last September she had the thrill of making a recording session with the musician she most admires. Carter played alto sax in the background as she sang new arrangements of "Walking By The River" and "I'm The Greatest Sinner Of Them All". She thinks they are the finest records she has ever made.
(NOTE: "Walking By The River" was released on RCA Victor 20-5031 in 1952. "I'm The Greatest..." was not released. And, yes, there are inconsistencies and errors in the above article.)
At Right: Photo of Savannah Churchill captioned "FUTURITY FILM PRODUCTIONS presents HARLEM FOLLIES, A CLASSIC PICTURE, Released by CLASSIC PICTURES, 1560 Broadway, N.Y.C." The film was released in 1950, but this picture of Savannah is from the early 1940's.
SAVANNAH CHURCHILL'S FIRST RECORDS
NEW YORK AGE, December 2, 1939: CANDIDETTE DE LOVELY
One of the newest "finds" in the night club world is a rather tall, lithe young lady with a unique voice who sings at Smalls' Paradise. Miss Savannah Churchill, a lovely creole belle from New Orleans, who lives with her parents at 109 Quincy Street, Brooklyn.She is just past 23 and this is her first job in front of klieg lights. Received her education at St. Pete Claver School, Girls High School and the Brooklyn Conservatory of Music.
When I saw her she was wearing a daisy gown of orange blood with lace, a chic silver fox jacket and an extreme hat quite modish tucked about her dark brown tresses.
She has a peach complexion, height 5 feet 7 inches, waist 31 inches, weight 132 pounds, with a neat figure I admire. I'll be telling you more about the lovely damsel later on.
At Near Right: PITTSBURGH COURIER, July 5, 1941.
NOTE: At Dave's in Chicago.At Far Right: PITTSBURGH COURIER, October 28, 1939.
NOTE: At Small's Paradise in Harlem.JOE DAVIS owned the Beacon, Gennett, Davis, and Joe Davis labels (and later in the mid-1950's, the Jay-Dee label), located in New York City. I suspect he found out that Savannah had become a very popular singer in night clubs and decided to record her.
Savannah was chosen as vocalist with Jimmy Lytell And His All Star Seven on two records produced by Davis. Lytell had assembled a top-notch group of musicians (their names are shown on the labels).
Davis released the records on his Beacon label in 1942. Both were large-sized hits (reportedly over two hundred thousand each*) for the small independent label. He reissued both records as "Savannah Churchill And Her All Star Seven" in 1944 on his Gennett and Joe Davis labels.
*Per Bruce Bastin CD liner notes: ""By mid-December 1942 the Enquirer reported that 'Fat Meat Is Good Meat' and 'Two-Faced Man' are showing signs of selling at least 200,000 records each. By June 1943 it was able to report that 'Fat Meat...' has gone well over the 200,000 mark." [NOTE: 200,000 is a highly-disputable figure, possibly coming from a Beacon press agent]
Again, in 1948, he released two of the sides on Celebrity, his new label. He certainly got his money's worth out of these recordings.
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Above Left: Label image of Beacon 106-A, released in 1942. "Leslie Beacon," shown as co-composer of "Two Faced Man" and sole-composer of "He's Commander-In-Chief Of My Heart" is actually, you guessed it, Joe Davis himself. On the reissue labels for these songs, his composer credit was changed to "Joe Davis" for both songs. Here, of course, "Commander-In-Chief" was a reference to General Dwight D. Eisenhower.
Above Right: Label image of Joe Davis 7104-A, a reissue, recorded in 1942 and released in 1944. Irene Higginbotham wrote both "Fat Meat Is Good Meat" and "Tell Me Your Blues An' I Will Tell You Mine". She was a fixture at Davis' record company, composing many songs for his labels.
At Direct Right: Photo of Irene Higginbotham.
THE BILLBOARD REVIEW, November 21, 1942: JIMMY LYTELL — BEACON 104
Fat Meat Is Good Meat, He's Commander-in-Chief of My Heart
While the Joe Davis Music Company is bantering the Beacon label primarily to exploit its new songs, the Fat Meat side is a cinch to gain the disk firm plenty of deserved attention. Considering that the standard record labels are passing by such hot jazz experiments, Beacon promises to fill a much-needed gap for the die-hard disk students.There's more to the side than Lytell, clarinet idol, and his All-Star Seven, including such familiar recording names as Frank Signorelli at the piano, Russ Case at trumpet, Will Bradley for the trombone, Carmen Mastren's guitar, Haig Stephens's bass, and Chauncey Morehouse at the drums.
The hot horns have their say in the Chicago jam style, but just as a half chorus important is the vocal say of Savannah Churchill, new to the waxes. A sepia songbird familiar to Harlem nitery devotees, Miss Churchill gives this lively race ditty, by Irene Higginbotham, a true race blues twist that takes.
Interest is centered entirely on this side. Commander-In-Chief being a trite tune, with neither the instrumentalists nor vocalist able to make much out of it.
For operators at the race locations, "Fat Meat Is Good Meat" is a sure-fire side for the phonos. And for such use the phono strip should also give billing to Savannah Churchill.
THE BILLBOARD "RECORD POSSIBILITIES", October 21, 1944:
FAT MEAT IS GOOD MEAT
Savannah Churchill and Her All–Star Seven, Gennett 7104-A
No doubt limited production will keep this out of many juke routes and retail disk stores, but where it lands it's going to do okay. It's clean enough for the long noses and yet it'll give a special kick to the wise–guys. When you hit both with one side that's double okay. It is well shouted by Savannah and yet it's not all noise. Spin it if you can get it.
LISTEN (Windows Media Player):
1. "Two Faced Man" - Jimmy Lytell And His All Star Seven (Vocal By Savannah Churchill) - Beacon 106-A - 1942.
2. "Tell Me Your Blues An' I'll Tell You Mine" - Jimmy Lytell And His All Star Seven (Vocal By Savannah Churchill) - Beacon 106-B - 1942.
3. "Fat Meat Is Good Meat" - Savannah Churchill And Her All Star Seven - Joe Davis 7104-A - 1944. [First released on Beacon 104-A in 1942]
4. "He's Commander-In-Chief Of My Heart" - Savannah Churchill And Her All Star Seven - Joe Davis 7104-B - 1944. [First released on Beacon 104-B in 1942]ALL FOUR SONGS played in sequence.
Above: THE BILLBOARD, November 28, 1942. At Right: Label image of Celebrity 2003-B, released in 1948. The flip-side is "Fat Meat Is Good Meat".
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The Cash Box Review (3/20/48):
SAVANNAH CHURCHILL — CELEBRITY 2003....
Fat Meat Is Good Meat/Tell Me Your Blues An' I'll Tell You MineThe top nasal tones of chirp Savannah Churchill spill with a pair that beckon coin play in a big way. Wax, tagged "Fat Meat Is Good Meat" and "Tell Me Your Blues An' I'll Tell You Mine" [sic] are aimed at ops with race spots.
Topside spills with plenty of riff, with Savannah rich and warm throughout. On the backing with more blues, the gal offers this bit with plenty of bounce in her pipes.
The hep crowd is sure to want to get next to this thing—it's tailor made for the dance spots. Orchestral work flourishes the pair in fine manner, with Savannah's pipes grabbing off all the glory. Get next to this piece by all means.
It's hard to imagine getting any better start to a career than what Savannah Churchill achieved. Reviewers loved her, night club patrons loved her, and record buyers loved her. Savannah would remain very popular for many more years, with records on Capitol (1943), Manor (1945-1949), Columbia (1948), Arco (1949-1950), Regal (1951), RCA Victor (1951-1952), Decca (1953-1954), and the Chess subsidiary, Argo (1956).
SAVANNAH CHURCHILL'S 1942 SOUNDIE "WHAT TO DO"
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Savannah Churchill performed in two Soundies in 1942. In both, she is backed by the Les Hite orchestra. They are "What To Do" and "The Devil Sat Down And Cried". Savannah And Her Group [The Striders] would release the latter title on Arco 1259-B in 1950. THE BILLBOARD, May 23, 1942. MOVIE MACHINE REVIEW
SAVANNAH CHURCHILL, a pretty colored songstress, does a fine job on What To Do, featured currently by the Andrew Sisters in What's Cookin'. Savannah is supported by Les Hite and his band, a torrid swing group lending proper musical background. (Minoco)WATCH the VIDEO of Savannah Churchill performing in "WHAT TO DO" in MP4 format.
(Will open in a new window) (NOTE: Soundies were produced with the picture reversed.)
SAVANNAH CHURCHILL — MANOR RECORDS
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Above Left: Savannah Churchill and Irving Berman hand on hand. Photo is from February 1945, just weeks before she recorded her first record for Manor. This appears to be at Berman's record store in Newark. Savannah is holding a Regis 78-rpm record. She never had anything released on that label. (The above photo provided by Hans-Joachim Krohberger.)
Above Right: THE BILLBOARD, April 14, 1945.
NOTE: "Personal Management — Irving Berman". "Daddy–Daddy" on Manor is Savannah's first record for Berman. Also, Regis is shown as a record distributor and Manor as the record company. Only two other distributors are shown, these in New York City, located next to each other. It seems that national distribution would be a problem.INDIANAPOLIS RECORDER, April 14, 1945: SAVANNAH SIGNS NEW CONTRACT
Lovely Savannah Churchill, the vivacious chanteuse, who has thrilled millions from coast to coast, signed a new contract with Irving Berman and will be booked exclusively by Gale Agency.Acclaimed the outstanding feature attraction by Broadway critics when she recently appeared at Loew's State Theatre in New York with the King Cole Trio and Benny Carter's Orchestra, Miss Churchill, who has just pressed four sides for Manor Records, will soon appear at the Paradise Theatre in Detroit, Michigan, and in all leading theatres as a headline attraction.
She is the new shining star and is declared a positive find. "Daddy, Daddy," "All Alone," "Dancing On A Rainbow," and "Why Was I Born To Love You" are the Manor recordings waxed by this scintillating star for whom many predict a bright future.
(NOTE 1: "Dancing On A Rainbow" was never released. "Why Was I Born?" was not released until January 1950 on Berman's Arco label. It was backed with a reissue of "Daddy–Daddy".)
(NOTE 2: The Billboard's March 3 review of Savannah performing at Loew's State Theatre in New York: "...Her encore, a combo of several blues, came very close to stopping the show cold. Gal is an ace at the State. ...she is ready for a big-time build-up...)
At Direct Right: Picture of Savannah Churchill that goes with the above article.
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Above Left: Label image of Manor 1004 A, released in April 1945. Savannah's "All Star Orchestra" is actually Benny Carter And His Orchestra. "Jay Jay" is Jay Jay Johnson, a prodigy trombone player in Carter's band. Some trivia: The first lines in this song contain "...all alone", the title of the flip of this record, composed by Irving Berlin. So "Irving Ber_" is shown on both sides.
"Daddy–Daddy" is the same song as "Hurry, Hurry!" (See further below), that Savannah had recorded with Benny Carter for Capitol, but with different words. That song was composed by Carter and Richard Larkin.
Above Right: Label image of Manor 1014 A, released in November 1945. This is Savannah's second record on the Manor label.
The label credits Al Killian as composer of the top side song, but it's not listed at BMI. However, the flip-side, "Too Blue To Cry", has BMI confirmation for composers Al Killian and Leonard Geoffrey Feather.
This may have actually been Charlie Barnet's orchestra. Al Killian was trumpeter in Barnet's band at the time. Barnet's orchestra was performing in New Jersey during Savannah's recording session. Perhaps the change in bandleader names was to meet Berman's vow to use only Negro artists... Killian was black, Barnet was white. Killian was with Count Basie's orchestra prior to joining Barnet.
At Direct Near Right: Photo of Al Killian.
At Direct Far Right: THE BILLBOARD, November 24, 1945.
THE BILLBOARD REVIEW, May 5, 1945: SAVANNAH CHURCHILL — MANOR 1004
Daddy–Daddy, All Alone
When it comes to singing the racey race blues, Savannah Churchill packs more on the ball than what spins out on Daddy–Daddy, a somebody's gotta go blues. Gal sings it husky rather than seductive, and there is only a small measure of musical meat in the accompanying hot horns.For Irving Berlin's All Alone, there is more attraction for the ear in Don Byas's tenor saxing rather than in Miss Savannah's singing.
Race locations will feel kindly disposed to the lyrical content of "Daddy–Daddy".
LISTEN (Windows Media Player):
1. "Daddy–Daddy" - Savannah Churchill - Manor 1004 A - 1945.
2. "All Alone" - Savannah Churchill - Manor 1004 B - 1945.
3. "I Can't Get Enough Of You" - Savannah Churchill - Manor 1014 A - 1945.
4. "Too Blue To Cry" - Savannah Churchill - Manor 1014 B - 1945.ALL FOUR SONGS played in sequence.
EXTRA RECORD — SAVANNAH CHURCHILL — "HURRY, HURRY!"
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Above Left: NEWSPAPER CLIPPING, August 7, 1943.
NOTE: (L-R) Savannah Churchill, Carlos Gastel (Carter's manager), and Benny Carter.Above Right: JACKSON CITIZEN PATRIOT, March 9, 1945.
MICHIGAN CHRONICLE, March 24, 1945:
Savannah Churchill has severed her association with Benny Carter's orchestra after three years. The glamorous Savannah is going out on her own and her start was made here in Detroit at the Bowery.The contract with Carter's orchestra expired the week before the orchestra playd at the Paradise. But Savannah agreed to sing with them only after she had been given a hike in salary, half of which was paid by the theatre owner. Carter came up with the other half, but took 10 percent as commission.
You should hear Savannah's latest song, "Lonely Woman", which has not been published. She sang it Saturday at the party she tossed for the press in her Gotham Hotel suite.
(NOTE: Too bad that "Lonely Woman" by Savannah was never released. When Savannah and Benny first got together, they hit it off so well that they became "engaged". However, Benny was still married at the time and their conjoinment never came to fruition.)
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Above Left: Label image of Capitol 144, released in December 1943. BMI credits Richard Larkin and Benny Carter as composers of this song. Larkin was also known as Dave Dexter Jr., an executive at Capitol Records at the time that Benny Carter's orchestra was recording for that label. The other record Savannah did with Benny is Capitol 165, "Just A Baby's Prayer At Twilight", released in 1944. For both records, the flip-side is an instrumental.
Above Right: OMAHA STAR, May 5, 1944.
At Direct Right: From Downbeat Magazine... Benny Stabbed "by Cupid's dart". Benny Carter out on the town in Chicago with his "bride-to-be", Savannah Churchill, "but Benny's bill of divorcement is not quite straight yet." The marriage never happened.
THE BILLBOARD REVIEW, January 8, 1944: BENNY CARTER — CAPITOL 144
Long a heavy favorite with the hot jazz students, more than casual interest attends a Benny Carter, particularly in this instance, making his disk debut on the Capitol label, in offering up an instrumental ("Poinciana") that showcases the maestro's alto sax sorcery along with a lowdown blues that brings the vocal calisthenics of Savannah Churchill to the fore.The phono needle jumps on.... Larkin's slow "Hurry, Hurry!" blues that has Miss Savannah shouting real sultry–like for her sweet one to hurry back home. After a chorus interlude with Carter's alto sax blazing against a background of blaring brasses, Miss Churchill returns to shout out in song that when he does get back she'll lock the door and throw the key away.
There's a fringe of spice to the lyrics and Miss Churchill's chanting makes it sound all the more spicier.
....with Savannah Churchill's pointed pipings, along with the stellar syncos by the Benny Carter coterie, enthusiasm for "Hurry, Hurry!" should extend beyond the scope of only the race locations.
LISTEN (Windows Media Player):
"Hurry, Hurry!" - Benny Carter And His Orchestra (Vocal By Savannah Churchill) - Capitol 144 - 1943.
MORE SAVANNAH CHURCHILL — MANOR AND ARCO RECORDS
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Above: Two photos of Savannah Churchill circa 1945. (Photos provided by Hans Joachim Krohberger).
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Above Left: Label image of Manor 1161 A, released in 1948. Note that Savannah, who was at her height of popularity, has her name shown twice on the label. She had just won Billboard's 1947 Honor Roll as number one female race vocalist on juke boxes. Eddie Wilcox was a pianist, songwriter, arranger, and bandleader. He was with Jimmie Lunceford's orchestra and stayed with that band as a co-leader (shared with Joe Thomas, top Lunceford saxophonist) for a year or so after Lunceford's July 1947 death.
Joe Thomas is vocalist on the flip-side, "Jackie", instead of Savannah.
THE BILLBOARD, November 2, 1947: MANOR SIGNS LUNCEFORD ORK
NEW YORK—The Jimmy Lunceford orchestra, under the direction of Eddie Wilcox, has signed a three-year recording contract with Manor Records, calling for a minimum of 16 sides a year. With a lineup of most of the late maestro's original musicians, the band intends to continue with the Lunceford style.Some of the boys are Joe Thomas, on tenor sax; Russell Bowles, trombone; Al Norris, guitar, and Jock Caruthers, baritone. Manor's prexy, Irving Berman, expects the crew to cut at least 24 sides before the Petrillo ban.
(NOTE: A newspaper appearance clipping from February 18, 1948 shows the current members as Wilcox, Thomas, Elmer Crumbley, Jock Carruthers, Muspha Hashin, Al Grey, Russell Green, and Joe Marshall.)
Above Middle: CASH BOX, November 29, 1947.
Above Right: Label image of Arco 1222-A, recorded in 1945, but not released until January 1950. The flip-side is a reissue of "Daddy–Daddy". As surmised earlier about Savannah's first recording session for Manor, the labels for both sides now give due credit to Benny Carter And His Orchestra.
Again, Savannah's name is shown twice on the label. Irving Berman has finally gotten away from using shellac. This vinyl record can actually be bent, be it a small amount. Some of the later pressed Manors and all of the Arco records were vinyl.
[NOTE: Not including "backing up" work, the "Lunceford" orchestra had twelve sides released on Manor (1948-1949) and none on Arco.]
At Direct Right: Photo of (L-R) Joe Thomas and Eddie Wilcox, New York City, circa October 1947. This is about the time that their "Jimmie Lunceford Orchestra" signed with Manor Records.
LISTEN (Windows Media Player):
1. "A Study In Blue" - Savannah Churchill (Eddie Wilcox And The Jimmie Lnceford Orchestra) - Manor 1161 A - 1948.
2. "Why Was I Born?" - Savannah Churchill (With Benny Carter's Orchestra) - Arco 1222-A - 1950 [Recorded 1945].BOTH SONGS played in sequence.
CASH BOX, October 22, 1949: ARCO RECORDS BOW
NEWARK—Arco Records Inc., this city, this last week made their bow into the disk business with a roster of top recordings in the jazz and spiritual field.The new label, who will also handle the distribution of Manor Records, is currently engaged in setting up national distribution.
Spokesmen for the record firm declared, "Every release on Arco will be hand picked. Those associated with Arco have a thorough knowledge of the field and a wide range of experience in selecting jazz and spiritual songs.
Included in the first Arco release is a new Savannah Churchill recording titled "I'll Never Be Free" and "Get Yourself Another Guy." Platter has already created initial heavy orders for the Arco firm.
NEW PITTSBURGH COURIER, November 12, 1949:
ARCO WAX INKS SCADS OF OUR STARS
NEW YORK—Arco Records, newly formed American Company of Newark, has inked its roster of artists, many formerly with Manor Records, and will release about sixteen platters within the next two weeks.Irving Berman, artist repertoire head, revealed that the diskery will specialize in pops, rhythm and blues materials. First artist placed on the label was Savannah Churchill, with the Silver Echo Quartet, spiritual group next.
Others include the La Motta Brothers' orchestra, calypso group from the Virgin Islands; Ernestine Washington, gospel singer; the Coleman brothers; blues singer Jimmy "Baby Face" Lewis, and thrush Trudy Williams, former Charlie Barnet vocalist, as well as the Heavenly Gospel Singers.
Miss Churchill, who signed a three-year contract with Arco, cut her first disc last week, backed by the Red Norvo Quintet.
["I'll Never Be Free" on Arco 1202-A; The flip-side, "Get Yourself Another Guy", does not credit Red Norvo. Matrix numbers show the sides were done in different recording sessions.]The company, which also purchased most of the Disc [Asch Records] masters from the Pioneer Record Company, intends to release immediately Volumes two and three of Norman Granz' Jazz at the Philharmonic.
SAVANNAH CHURCHILL AND THE FOUR TUNES ON MANOR (NOTE: There will a section specifically for "The Four Tunes" in a later part of this "Manor Records" article.)
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Above Left: Photo of Savannah Churchill. In her early career, she would sometimes sport a birthmark, as in this picture. Above Right: Photo of The Four Tunes.
(Photo provided by Paul Ressler and restored by Tony Fournier).
(L-R) Jimmie Nabbie (tenor), Danny Owens (baritone), Jim Gordon (bass), and Pat Best (baritone, composer, and guitarist). These are the group's members throughout their recordings on the Manor and Arco labels. Also the same for their later records on RCA Victor and Jubilee.PITTSBURGH COURIER, November 29, 1947:
BIG RECORDING HIT KEPT SAVANNAH FROM QUITTING
NEW YORK—Savannah Churchill, beauteous new darling of the Juke boxes, who scored another sensational personal triumph at the Onynx Club on Swing Street Friday night, had planned retirement almost a year ago, she revealed when interviewed by the press following her opening at the famous Fifty-second Street bistro.Only the impassioned pleas of Irving Berman, recording company executive, were able to win from her a promise to delay the date until the ensuing month. It was during the interim that her recording of "I Want to be Loved", was released and she found herself once again on the high road of fame and fortune.
Following the sparkling success of her famed recording of "Daddy- Daddy", Savannah's fortunes seemed to decline and billings became increasingly infrequent. After an unprofitable season of night club engagements the Brooklyn beauty became discouraged.
Berman, having heard the "loved" tune, decided that it was perfect for La Churchill and prevailed upon her to record it for his company. She did so with the tacit understanding that this was her final entertainment chore.
Berman, certain that he had a hit in the making, accepted the terms, but also took the precaution to sign the singer to a long-term personal management contract. The record naturally surpassed even Berman's fondest expectations.
(NOTE: Put as much credence into the above article as you may want. But it's true that this record brought her stardom.)
Click HERE for an article about THE BROWN DOTS/FOUR TUNES by Marv Goldberg.
(Will open in a separate window)
NEW PITTSBURGH COURIER, November 29, 1947:
SAVANNAH CHURCHILL DEFIES SEGREGATION
ST. LOUIS—Savannah Churchill, top singing star, delivered St. Louis segregation a blow last week when, on a visit to the swank 400 Club downtown, she rebelled against sitting at a curtained table and was joined by the Club 400's current singing star, Frankie Laine....At Club 400, she was accompanied by her pianist, Gregory Mitchell, and some white friends. Led by an usher to a half curtained–off table, she refused the seat and asked that Frankie Laine be told she was there.
Laine rushed back to the table and, when he learned of the situation, said: "I will not go on with the show unless Miss Churchill and her party are seated at the ringside."
The party was so seated, and Laine himself sat at the table when not doing his act. The incident created a furor at the swank club.
It was also reported that Laine had said, had he known the club would attempt such segregation, he would not have played it....
Born in New Orleans, she first wanted to be a nurse and later a designer. But she married and her first husband was killed. She was left with two boys, Gregory and Michael, and decided to try singing....
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Above Left: Label image of Manor 1046-B, released in December 1946. The "A" side is "Foolishly Yours", Savannah again backed by The Sentimentalists, and, in my opinion, just as great a song as "I Want To Be Loved". It was written by Alice Simms and Leonard Joy. The Deep River Boys released the song on RCA Victor in 1946, The Five Notes on International in 1946, and The Four Knights on Capitol in 1955.
This is Savannah's first record singing with vocal group backing. After the huge success of "I Want To Be Loved", pairing her with vocal groups became the usual practise. It was the boost she needed to achieve stardom.
The first release of this record showed the correct composer of "I Want To Be Loved" as "Wm. Best". That is William "Pat" Best, a member of The Sentimentalists. When they changed their name to The Four Tunes, the Manor label was changed a third time with their new name. However, it continued to show the incorrect composer as "Churchill".
Above Right: Label image of Arco 1253 B. This reissue was released in June 1950. Note that the label for "I Want To Be Loved" does not credit any composer.
After Savannah's success with "I Want To Be Loved", Irving Berman perceived that his Manor label was finally ready for the big-time (see next):
CASH BOX, May 5, 1947:
MANOR RECORDS HEADS ON GOOD–WILL TOUR
NEW YORK—Manor Records, this city, announced this past week that Sam Lehrer, treasurer, and Julius Schiff, general sales manager, will leave on a good–will tour of the firm's distributing offices throughout the western and southern states. The pair will meet many of their distributors for the first time, and, in so doing, will try to coordinate the sales promotion ideas that the distributors may have.Having never exploited the plattery to any great extent before, the firm's policy will be radically changed in the near future. Plans include promotion of artists, advertising campaigns, and a closer relationship between the home office and the distributing offices.
Schiff and Lehrer will hit Los Angeles, Oakland, Dallas, Houston, New Orleans, St. Louis, Pittsburgh, and Baltimore. The pair will wind up their tour with the National Association of Music Merchants Convention in Chicago, June 2nd through the 5th.
"I Want To Be Loved" was also released in 1947 by The Golden Arrow Quartet on Continental, Lionel Hampton And His Hamptonians on Decca, Beryl Davis on RCA Victor, Benny Goodman on Capitol, The Modernaires on Columbia, Sy Oliver on M-G-M, and Cootie Williams on Majestic.
CASH BOX, June 9, 1947:
....Irv Berman and Julius Schiff of Manor Records being congratulated for their clickeroo success with Savannah Churchill's "I Want To Be Loved"....
(NOTE: Julius Schiff was Sales Manager for Manor Records from 1946 to 1949. Previous to that, he was with Musicraft and Diamond Records.)CASH BOX, December 6, 1947:
The Cash Box rovers stopped in at the Onyx Club this past week to pay a visit to a great artist, Savannah Churchill. She sings with more body and feeling than sixty other names we've heard.Her rendition of "I Want To Be Loved" had the house as quiet as a pin – especially after we'd told her she was leading the way in the Second Annual Music Poll. [She won it!]
We'd like to see Savannah leading the bill at the Paramount Theatre – that's just where she belongs.
LISTEN (Windows Media Player):
1. "I Want To Be Loved" - Savannah Churchill And The Sentimentalists - Manor 1046-B - 1946.
2. "Foolishly Yours" - Savannah Churchill And The Sentimentalists - Manor 1046-A - 1946.BOTH SONGS played in sequence.
(ABOVE: THE BILLBOARD — 3/15/47)
(ABOVE: THE BILLBOARD — 4/12/47)
CASH BOX, January 3, 1948: MORE POWER TO SAVANNAH CHURCHILL
NEW YORK—The sensational attraction and nickel-nabbing name of SavannahChurchill took on unusual proportions this past week, when The Cash Box learned of her many fans going as far as signing a petition to get her smash disking of "I Want To Be Loved" back into the juke boxes.Well over two hundred signatures appeared on a petition drawn by a location owner at the request of her patrons who vehemently demanded Miss Churchill's record back into the boxes.
Operators point out that very frequently, a location is neglected only as a means of stimulating play for a particular recording. In this case it most certainly did. (Editor's Note — Manor Records star Savannah Churchill copped The CashBox "Oscar" for "I Want To Be Loved" as the Best Race Record of 1947.)
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At Direct Right: CASH BOX, February 14, 1948:
[NOTE: Savannah Churchill, Manor Records, and Melrose Music Corp. won Cash Box's "Best Race Record Of 1947" on behalf of the Automatic Music Industry Of America.)
(L-R) Irving Berman, prexy of Manor Records, Savannah Churchill, top flight "race" winner with "I Want To Be Loved" and Willie Bryant (holding the trophy), over a Mutual hook-up.
(NOTE: Harlem celebrity Willie Bryant was a bandleader, singer, disc jockey, and master of ceremonies.)
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WATCH the VIDEO of Savannah Churchill singing "I WANT TO BE LOVED" in MP4 format. (Will open in a new window)
This video is from the 1948 movie "Miracle In Harlem". Savannah is backed up instrumentally and vocally by The Lynn Proctor Trio.
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Above Left: CASH BOX, March 31, 1947. Above Middle: THE BILLBOARD, May 10, 1947.
Above Right: A provocative photo of Savannah Churchill.
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Above : Photo of Savannah Churchill and "Big Bill" Highlightine at Philadelphia's "Showboat", pointing to the label of her big hit record.
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Above Left: Label image of Manor 1093-A, released in September 1947. It was a hit for Savannah. The flip-side, "I Understand", is The Four Tunes without Savannah. The Brooks Brothers version of "Is It Too Late" was released on Decca in November 1947. Make a note.... When any Manor record label credits "Best-Berman" or "Best-Watson" as composers, William "Pat" Best is in actuality the solo songwriter.
Above Middle: PITTSBURGH COURIER, November 1, 1947.
Above Right: Label image of Manor 1142-A, recorded in 1947, but not released until October 1948. The flip-side, "Try To Forget", is Savannah without The Four Tunes.
At Direct Left: CASH BOX, November 29, 1947.
At Direct Right: CASH BOX, October 27, 1947.
CASH BOX REVIEW (10/20/47):
SAVANNAH CHURCHILL & THE FOUR TUNES — MANOR 1093
Is It Too Late/I Understand
Pair of sides offered here in plaintive, simple styling, which may meet with favorable approval by music ops, are set up on two decks by Savannah Churchill and The Four Tunes.Top deck, weaving behind a background of mood music is aimed right at ops with race spots, and features the sultry voiced vocal of Savannah of "I Want To Be Loved" fame. Wax spins slow with a blue theme and shows Savannah in top voice.
On the flip with The Four Tunes to hit "I understand", the combo's arrangement of this oldie might do the trick for extra coin play. Smooth harmony echoes throughout the waxing, with instrumental backing offered rounding out the side.
The pair is there for the asking and deserves your listening time.
THE BILLBOARD REVIEW (11/1/47):
SAVANNAH CHURCHILL & THE FOUR TUNES — MANOR 1093
Is It Too Late/I Understand
The low and sultry tones of Savannah Churchill, spinning smoothly to the sustained harmonies of the Four Tunes, who also provide the instrumental support, makes it honeydrippings for the tuneful Is It Too Late ballad.She gets her song message across in an intimate manner that makes the torch character of the chant burn all the more fervently. Adding to the appeal of the spin is a whistling obligato for the bridge background.
Just as intimate in their chant are the Four Tunes, who take it alone for the I Understand ballad. The boys blend their voices smoothly with the soft romantic voice of the baritone in the lead and provide their own instrumental gloss with celeste tinkles for their harmony singing.
Both sides stack up strong for the phoneplay, with la belle Churchill the top side.
(NOTE: The only musician in The Four Tunes vocal group was Pat Best. He played the guitar, although that's not likely on these sides. Pat sings lead on "I Understand".)
The Billboard Review (11/6/48): SAVANNAH CHURCHILL AND THE FOUR TUNES — MANOR 1142....
I'll Never Belong To Anyone Else (84) First-rate Churchill piping with Tunes backing should make this side
a substantial coin grabber.
Try To Forget (74) Engaging job by the thrush on a tune with both melody and lyric quality. She undersings it—
an asset aesthetically, but not commercially.(NOTE: A ratings range of 70-79 was considered as "good" and 80-89 as "excellent".)
LISTEN (Windows Media Player):
1. "Is It Too Late" - Savannah Churchill And The Four Tunes - Manor 1093-A - 1947.
2. "I Understand" - The Four Tunes - Manor 1093-B - 1947.
3. "I'll Never Belong To Anyone Else" - Savannah Churchill And The Four Tunes - Manor 1142-A - 1948. [Recorded 1947]
4. "Try To Forget" - Savannah Churchill - Manor 1142-B - 1948.ALL FOUR SONGS played in sequence.
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CASH BOX, November 15, 1947:
Here is what the reviewer had to say: The gorgeous gal with the even more gorgeous pipes walks away with the "Disk O' The Week" singing two tunes that'll double and even triple her growing number of fans everywhere in the nation. On the topside, "I'll Never Belong To Anyone Else", Savannah, with the support of The Four Tunes, simply sells the song right off the platter and brings it sweetly, intimately and with grand art right into the room making the listener feel that she's singing for him, and him alone. It's one of the greatest vocal jobs this grand chirp has ever yet cut and will, without any doubt, send her rating even higher up in the song world. On the flip, "Try To Forget", with Ralph Hermann's ork backgrounding the chirp, she sells the tune to a fare-thee-well. They'll be arguing as to which side is topside of this disk. But, for our money we'll take, "I'll Never Belong To Anyone Else", one of the greatest, grandest cuttings this grand gal has ever made. Buy a boxful and spread 'em around. You'll repeat and repeat on this one.
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Above Left: Label image of Manor 1116-A, released in February 1948. The Ink Spots' version of "Time Out For Tears" was released on Decca in 1950. Per BMI, "Time Out For Tears" was composed by Irving Berman and Abe Schiff. Not sure if this "Schiff" is related to Manor Sales Manager, Julius Schiff, or if it's him under a different name. Julius did have a brother named Milton. This record was reissued on Arco 1257 in 1950.
The flip-sides of both above records are by The Four Tunes without Miss Churchill.
Above Middle: NEW PITTSBURGH COURIER, March 13, 1948.
From an advertisement for "Howard Tresses"... "Savannah Churchill chooses Howard real-hair attachments exclusively." Did she really? Yes, I think that she had in the past.Above Right: Label image of Manor 1129-A, released in April 1948. "I Want To Cry" was reissued on Arco 1220 in January 1950. Dinak Washington's version of "I Want To Cry" was released on Mercury in 1948.
At Direct Right: CASH BOX (L-R) June 12, 1948, June 19, 1948, and July 10, 1948.
CASH BOX, May 1, 1948:
MANOR RECORDS CLAIM HIT IN CHURCHILL DISKING
NEW YORK—Irving Berman, Manor Records prexy this past week reported that his plattery had another click disking on their hands in Savannah Churchill's latest recording "Time Out For Tears".Philadelphia distributor David Rosen & Co., has already ordered 50,000 with a like amount back ordered.
Manor clicked in 1947 with "I Want To Be Loved" by Savannah Churchill for which she was awarded The Cash Box "Oscar" for the Best Race Record of 1947.
THE BILLBOARD PICK, May 1, 1948:
Time Out For Tears — Savannah Churchill And The Four Tunes — Manor 1116
A soothing ballad which already is showing in the Billboard most played race chart and previously has been touted in "Tips On Coming Tops" is done simply in the "I Want To Be Loved" fashion which shot Savannah to her initial fame.LISTEN (Windows Media Player):
1. "Time Out For Tears" - Savannah Churchill With The Four Tunes - Manor 1116-A - 1948.
2. "All My Dreams" - The Four Tunes - Manor 1116-B - 1948.
3. "I Want To Cry" - Savannah Churchill With The Four Tunes - Manor 1129-A - 1948.
4. "Someday" - The Four Tunes - Manor 1129-B - 1948.ALL FOUR SONGS played in sequence.
CASH BOX REVIEW (5/8/48):
SAVANNAH CHURCHILL — MANOR 1116
Time Out For Tears/All My Dreams
Here's a pair that can't possibly miss! Savannah Churchill, coupled with The Four Tunes blend pipes to come up with a double decker that spells coin play all over the lot."Time Out For Tears" with Savannah to the mike [with The Four Tunes], has the fair lady purring the heavy wordage in top fashion. Wax makes for delightful listening pleasure and puts the listener in a most receptive mood.
Flip, "All My Dreams" [The Four Tunes, no Savannah] has this great combo in by far the best voice ever. Disk is smooth throughout with the harmony work weaving excellently. You'll go for the somber effect this disk wields—then run out and latch on.
CASH BOX REVIEW (9/16/50) [The Arco Reissue]:
SAVANNAH CHURCHILL — THE FOUR TUNES — ARCO 1257
All My Dreams/Time Out For Tears
Top deck of this one has The Four Tunes purring a comely melody that should do fairly well in the boxes. Ditty is a dreamy affair and has the combo offering some nice harmony. Flip has Savannah Churchill on tap on a tender, sentimental ode. Wax 8hould make good filler material. (NOTE: Not nearly as good a review as the one for the Manor release.)
CASH BOX REVIEW (5/1/48):
SAVANNAH CHURCHILL AND THE FOUR TUNES — MANOR 1129
I Want To Cry/Someday
Latest Churchill platters show as a piece music ops should run for—and find excellent results with that. Titled "I Want To Cry", chirp Churchill spoons this tender piece in top notch fashion, with the warm vibrant wordage weaving brilliantly all thru.Wax is of the intimate variety—and aimed at race spots should come in for some heavy coin play.
Flip features The Four Tunes, in vocal harmony with "Someday". Ditty is a standard and gets and receives a grade A sendoff by this combo. Top deck is the one to ride with.
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Above Left: Label image of Manor 1152 A, released in October 1948. Neither song, front or back, are listed at BMI. On the label for the flip-side, "How Could I Know", the composers are shown as "Berman-Capano-Berk". Savannah has an extended "talking" part on that side. Above Middle: THE BILLBOARD, November 13, 1948.
Above Right: Label image of Manor 1180 B, released in May 1949, but "Savannah Sings The Blues" was recorded in the same 1948 session as "It's Raining Down In Sunshine Lane". Just over a minute into "Savannah Sings The Blues", she sings "Daddy Daddy", a title on her first Manor record. This record, both sides, was reissued on Arco 1229 in 1950.
The label credits Savannah as composer on the top side, but BMI does not list it. The flip-side, "Don't Try To Explain", was written by Ervin M. Drake and Jimmy Shirl.
At Direct Right: CASH BOX, (Top) November 6, 1948 and (Bottom) June 18, 1949.
CASH BOX REVIEW (11/13/48):
SAVANNAH CHURCHILL — MANOR 1152
How Could I Know/It's Raining Down In Sunshine Lane
Click chick Savannah Churchill, with The Four Tunes spooning in the background, set with a platter here that appears to be loaded with buffalo hide. It's the top deck, "How Could I Know", that we go for—and we're sure you will too.Savannah's soulful pipes purr the smart, mellow lyrics in top notch styling here to score in a big way. Ditty is loaded with nostalgia and makes for wonderful listening pleasure.
Flip appears to be attractive too, with Savannah wailing "It's Raining Down In Sunshine Lane" in superb manner. The gal's wide bevy of fans should go mad with this duo.
The Billboard Review (5/14/49): SAVANNAH CHURCHILL — MANOR 1180....
Don't Try To Explain (78) ballad is well-suited to Miss Churchill's styling, altho the subtle backing aims it at the pop field.
Savannah Sings The Blues (61) Synthetic blues offering kids itself out of the running.(NOTE: A ratings range of 40-69 was considered as "satisfactory" and 70-79 as "good".)
CASH BOX REVIEW (5/21/49):
SAVANNAH CHURCHILL — MANOR 1180
Don't Try To Explain/Savannah Sings The Blues
Pair of slow moving tunes by thrush Savannah Churchill shows possible winning potential, and ably points to the gal's effective vocal style. Titled "Don't Try To Explain" and "Savannah Sings The Blues", they show as sides that might take off and go.Top deck is a rich ballad which Savannah sings with much feeling. Weak ork background detracts from the gal's piping. The flip is just what the title indicates, and should hold its own in the boxes. Ops should pay this hunk of shellac some attention. (NOTE: This record is actually made of a vinyl material - it bends.)
LISTEN (Windows Media Player):
1. "It's Raining Down In Sunshine Lane" - Savannah Churchill And The Four Tunes - Manor 1152 A - 1948.
2. "How Could I Know" - Savannah Churchill - Manor 1152 B - 1948.
3. "Savannah Sings The Blues" - Savannah Churchill With The Four Tunes - Manor 1180 B - 1949. [Recorded 1948]
4. "Don't Try To Explain" - Savannah Churchill - Manor 1180 A - 1949.ALL FOUR SONGS played in sequence.
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NOTE: The picture of Savannah Churchill at left goes with the following article. AFRO-AMERICAN, February 21, 1948:
Savannah Churchill, beautiful singing star, last week, while playing the Royal Theatre [Baltimore], took exception to an observation in out-of-town newspapers that she had forsaken the "blues", now that she had achieved new successes in the ballad field. According to Miss Churchill, no statement could be more ludicrous because blues are still close to her heart. This is especially, she points out, because she first attracted attention with her distinctive interpretation of the blues. After a number of years in which she enjoyed moderate, but hardly sensational, success, Savannah hit the jackpot with her first recording of a ballad. "I Want to Be Loved" was easily her outstanding ballad effort of 1947 and quickly resulted in her being skyrocketed into the topmost brackets among the female vocalists. Her second great success, also a ballad, was "Is It Too Late?" The singing beauty was quick to remind that she considers the blues a permanent fixture in American folk music and, therefore, a type that will last for generations. She added that no singer with a real feeling for American music would hastily discard the tradition of Bessie Smith, Mamie Smith, Chippie Hill, and others of that stature. Says Savannah in rebuttal: "After all, a singer must be versatile if she wants to be remembered as a great artist." Miss Churchill, after clicking at the Royal, moved into Emerson's Bar and Grill in Philadelphia for two weeks. Beginning March 26, she will begin in a coast-to-coast tour accompanied by the Four Tunes and Tab Smith's band. The Four Tunes furnished the background music on the two outstanding Churchill recordings, which won her the "Cash Box" magazine award for 1947. Tab Smith's alto saxophoning is without peer, and his entire band is made up of supporting personnel of an equally high standard of artists. It was the soulful solos of Smith which highlighted such recordings as "Sweet Slumber" and "I'll Live True To You", featuring the voice of the late Trevor Bacon. The three-way combination of Churchill, the Four Tunes, and Smith will visit 13 Southern, Midwestern, and Southwestern States before returning to New York for theatre, and night club engagements. (NOTE: The title of the further above featured record, "Savannah Sings The Blues", recorded in 1948, was a good response to any doubters.) |
SAVANNAH CHURCHILL AND THE FOUR TUNES ON COLUMBIA
THE BILLBOARD, November 6, 1948:
HEFTY RACE BIZ LURES COLUMBIA INTO EXPANSION
HOLLYWOOD—Columbia Records will make a strong bid for race biz, expanding its present small race department to a full, competitive operation. Manie Sacks, A&R Chief, said several artists have already been considered but would not reveal their names....Sacks said he has purchased 12 race masters from Manor Records which will serve as nucleus of the race catalog. Included are four each by Savanah Churchill, Dizzy Gillespie, and the Four Tunes.
The fact that Columbia has tackled the lucrative race market is to a great part due to revised thinking of the brass of Columbia Broadcasting System (CBS), diskery's parent company.
CBS has heretofore discouraged race diskings on the theory that such platters were undignified and detracted from diskery prestige. Because of tremendous sales revenue realized by rival waxeries from their race departments, CBS is now understood to be willing to change its concepts of dignity in favor of dollar volume on record sales.
CASH BOX, November 6, 1948:
COLUMBIA BUYS FOUR SIDES FROM MANOR
NEW YORK—Columbia Records Inc., this past week continued the major plattery idea of buying potential indie hits with the purchase of several sides from Manor Record Co.Included in the deal were two sides by Savannah Churchill and two by The Four Tunes. Idea behind the purchase was, of course, to head off a potential indie disk hit and put it out under the Columbia banner.
It was reported that Manor had obtained some royalty rights in addition to an advance.
(NOTE: Columbia released one record with Savannah Churchill And The Four Tunes on both sides (see next) and one record with The Four Tunes on both sides.
Three of the sides had never been released on the Manor label. One side, "Where Is My Love" by The Four Tunes, had been issued on Manor 1077 in 1947. The previously unissued side by The Four Tunes is "Take My Lonely Heart". Both Four Tunes' sides are Pat Best compositions.)
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Above : Photo of Savannah Churchill.
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Above Left: Label image of Columbia 30146, released in November 1948. The composers on this side are Ervin M. Drake and Jimmy Shirl, the same duo who wrote "I'll Never Belong To Anyone Else" and "Don't Try To Explain", both included further above on this page. The flip-side is "The Things You Do To Me". Above Right: Label image for "The Things You Do To Me" on a white deejay Columbia 30146. The "Glover" co-composer shown on the label is Henry Glover, of King Records fame. The deejay flip-side here is The Four Tunes' "Where Is My Love" on Columbia 30145. These must have been the two sides that Columbia was pushing.
LISTEN (Windows Media Player):
1. "The Best Of Friends" - Savannah Churchill And The Four Tunes - Columbia 30146 - 1948.
2. "The Things You Do To Me" - Savannah Churchill And The Four Tunes - Columbia 30146 - 1948.BOTH SONGS played in sequence.
WATCH the VIDEO of Savannah Churchill singing "THE THINGS YOU DO TO ME" in MP4 format. (Will open in a new window)
This video is from the 1949 movie "Souls Of Sin". Savannah, who has top billing in this movie, sings and acts in it. She is singing to Jimmy Wright here. The bartender is trying to upstage them.
The Four Tunes, who don't appear in the movie, are backing her on this song's soundtrack, which was taken directly from their released record.
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NOTE: Manor Records - Part Three will include Savannah And The Five Kings (Manor, 1947),
Savannah And The Striders (Arco, 1949-1950), and more.
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 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 FIVE FEATURES EXTENSIVE COVERAGE OF IDA JAMES, LUIS RUSSELL, INTERNATIONAL SWEETHEARTS OF RHYTHM, PAUL BASCOMB, MANHATTAN PAUL, AND JOE MORRIS. THERE ARE ALSO SECTIONS FOR TINY DAVIS, ACE HARRIS, AND LAURIE TATE.
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. "If I Could Just Make It In" - Ernestine B. Washington Accompanied By Dixie Hummingbirds - Manor 104-A - 1946.
ALL TWENTY-SIX ABOVE MANOR/ARCO LABEL SONGS played in sequence. At Right: THE BILLBOARD, December 7, 1946.
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Last Update: June 5, 2025
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