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A. BBS had been founded in 1952, when it almost immediately scored a big hit (it received a Gold Record) by crooner Al Martino. Red Rodney was not in the band for the session, though he would be on hand in Chicago on April 20. The Meadowlarks, originally 3 male vocalists and one female, came together in Chicago, in 1948 or 1949, to do radio work. The Four Shades of Rhythm were a vocal/instrumental combo that had originated in Cleveland, Ohio, in 1945. There were two vocals by Sunnyland Slim, both among his better performances from the early 1950s, plus an instrumental ("Bassology") that was in his book during the period. A recording of it by Jean Dinning's brother Mark was a #1 hit in 1960. The horns and the bass all get to solo. Terence McArdle describes "Boogie the Blues" as a "hillbilly bopper" (i.e., an immediate forerunner to rockabilly). Ragon's band was working in Cairo, Illinois, in 1948, in Springfield and Quincy, Illinois, in 1949, but also at a higher-visibility venue in Chicago that same year (Billboard, October 1, 1949, p. 42, announced four weeks at the Martinique, starting September 29). The vocal/instrumental balance is usually acceptable, but the guitar tends to be too loud, and sometimes unintentionally distorted. In April, gearing up for the Chance 3000 series, the company conducted a number of pop sessions: Elaine Rodgers with a band directed by Remo Biondi, Al Morgan, the Four Bits, Lucy Reed, Dolph Hewitt, and Buddy DiVito with the Meadowlarks. The only other trio session we know of was cut late in 1952 for the Demo label. MetaFilter is a weblog that anyone can contribute a link or a comment to. In March, however, "Cross over the Bridge" got some play in Chicago and other cities. As he told Jim O'Neal in 2006, "I came here to play two weeks and I've been here ever since." His 6 Chance sides, however, were left in the can, and have remained unissued to this day. According to an online biography of Ehlis (see, "Tenor saxophonist John 'School Boy' Porter is remembered for his colorful personality and getting down to the 'feel' of the tune.". She sang on the radio (KSTP) in St. Paul, in a four-girl group (payment was $5 a performance), and appeared occasionally on local engagements. 11 and 16 respectively). Teter went with Western Swing on this occasion and featured his excellent lead guitar work. Drawing on Marv Goldberg's research, we've added a lot of information on singer Chubby Newsom, who wasn't chubby and made four sides for Chance that were never released. Said Sheridan, "That was the era when the saxophone solos and the saxophone copies of popular tunes were very popular. Red had made a pretty loud statement in a Cash Box item from January 10, 1953 (p. 20): Tampa Red continues to write and record good blues for the RCA people. Newsom made two sessions for Regal, resulting in three releases before the company folded in October 1951. B. Hutto died of cancer in Harvey, Illinois, on June 12, 1983. The group recruited Johnnie Taylor, a Kansas City native who was bumming around Chicago singing in a local gospel group, the Highway QC's. Lucy Reed's Chance 3006 was reviewed in Billboard and Cash Box on January 2, 1954 (p. 21 for Billboard, p. 6 for Cash Box). I once considered making a post about st james infirmary after coming across. Porter had been on the road; in April he was working the Ebony Room in Cleveland, in Les Fisher's All Stars. His rhythm section was filled out by Billy Wallace on piano, William "Lefty" Bates (1920-2007) on guitar, and Leon Hooper on drums. We wish we could say more about the Wally Hayes Combo, a solid group that may also have included some who weren't paid up with the Union. It also mentioned one of his Chance sides and one of Checker sides—and got both titles wrong. According to Frigo, "We ended up making three albums on Mercury [in fact, for Brunswick and Coral] by ‘Dick Marks and Johnny Frigo.’ All the while I was looking at my fiddle in the other room. On his retirement from military service, he settled in Phoenix. "Theater, through teletranscription, had the Al Trace stage bill (including more square dancing) on WBKB recently, the first such show from this area." Pretty soon he was landing hotel gigs, at the Jefferson and the Pere Marquette. Marx would make his last appearance on a jazz album in 1962, when he provided the string arrangements for Eddie Harris Goes to the Movies (Vee-Jay SR3031). We haven't located a newspaper reference to her gospel singing until she was 35. Two of those sides showed up on Old Swing-Master 14 in March 1949. When J.B. Hutto and His Hawks entered Universal Recording on October 19, they had no idea that they were saying farewell to Chance Records. Brown's only other known recording was done in 1954, for an eccentric 10-inch LP of Christmas songs that came out on J. Mayo Williams' tiny Ebony label. After a period of inactivity, Meteor released them again as 5026 in December 1956, using different titles the second time around. Because Chance made a late move to 45 rpm, nearly all of the company's 45s would appear with later label designs. Have they started organizing the benefit concert yet? For the session with singer Big Bertha Henderson, whose "house-rockin'" appearances were advertised at Club Evergreen and Martin's Corner in the fall of 1952, Smith brought along two of the best tenor saxophonists in town, James "Red" Holloway (1927 - 2012) and Oett "Sax" Mallard (1915-1986). "He stated that he made another session [for Chance] with the Boyer Brothers and received $25.00" (Board meeting minutes, January 19, 1956, p. 3). Horace was a professor of Music at University of Massachusetts Amherst from 1973 to 1999. What was really going on was that Sheridan and Abner were getting deeply intertwined in the business dealings of James Bracken and Vivian Carter at Vee-Jay. After producing and arranging everyone from Sammy Davis Jr. to Gene Pitney to the Manhattans, Sagle moved to Nashville in 1972, working for ABC-Dot among others, and doing some big-band arranging on the side. The Meadowlarks may still have been working together in September 1955, when Ron Terry was about to end his run with a show at Club Hollywood in Chicago, which featured singer Evie Eraci and "the Terrytones (formerly The Meadowlarks)" (Cash Box, September 24, 1955, p. 12). For whatever reason, the company was said to be Steve Chandler's, not Art Sheridan's, and coverage in the trades was limited to one delayed announcement, in Billboard, that the company had opened. James Buchanan Boyer and Horace Clarence Boyer were born in Winter Park, Florida. 3: J. After its peculiar, delayed announcement in Billboard, the company held off sending in singles for review until March 1951. By that time, Marx had taught quite a few musicians, including avant-garde pianist Burton Greene. In 1967 Raynard, a Wisconsin-based company, put out an LP on Jack Teter, consisting of released sides and additional unissued material from the Sharp sessions. In December 1950, Ventura took over ownership of a club in Lindenwold, New Jersey. He had cut a never-issued session for Aristocrat in August 1949; a never-issued session for Chess in May or June of 1951; and two more tracks, unreleased till the 1990s, during Tab Smith's second session for United on October 24, 1951. After 4 sides by Bigtime and Shirley, about whom we know nothing, because nothing of theirs was released, Chance extended its gospel series with two sides by the Wooten Choral Ensemble. Crawford played some steamrolling boogie and dancing right-hand improv to freshen up one of the oldest chestnuts in the New Orleans piano repertoire, “Junco Partner.” (After it had lost its following elsewhere, the Solovox held on in polka bands—Johnnie Bomba released "Solovox Polka" as late as February 1957). Claude McLin, who'd scored a hit for Chess in August-September 1950 with his sax solo version of "Mona Lisa," also cut "Tennessee Waltz." He was the only Chance artist who could claim distinct prewar and postwar recording careers. What happened on December 28 is that Sheridan bought her masters from Al Benson, who had operated Old Swing-Master along with recording studio owner Egmont Sonderling. (As we learn from the same column, March 25, 1949, p. 4, the Chicago Theater booked such hip acts as Lawrence Welk and Eddie Cantor.) Eventually (around 1980) she moved from Detroit to Kansas City. Sheridan also began working with Vee-Jay Records, which had just set up shop and had two releases out, one by the the doowop group the Spaniels and one by the bluesman Jimmy Reed. From 1955 through 1957, he regularly worked as the MC at Roberts Show Lounge (6622 South Parkway); his comments to a Chicago Defender writer, about how hard it was getting to find a good shake dancer, are priceless. Chance 5001 was reviewed in Cash Box on June 7, 1952 (p. 28), and in Billboard on June 14 (p. 66; the 78 was listed in the same issue on p. 62). He was a mystery to us until Armin Büttner turned up a delightfully titled article in the Chicago Defender announcing that he had signed with Aristocrat: "Freddie Blott, local blues and jump sensation, caught the eyes of talent scouts from Aristocrat Records when he was featured here this week at a concert given to determine the best combo in St. Louis" ("Aristocrat Inks Blott," December 3, 1949, p. 26). Barrel House Blott was a standup blues singer and a comic monologue artist. On Meteor 100, a release nearly as rare, the group became the Calumet City Boys. We are able to say a tiny bit more about Henry Green, who was definitely a gospel performer. Spriggs returned to Chicago, where he was active during much of 1953 and 1954, as we know from his recording activity for Chance and then Blue Lake. When Robert Pruter talked to him in 1992, Sheridan amazingly said he had no recollection of a person named Steve Chandler or recalled any AFM problems. We suspect that Sheridan was a secret investment partner in Vee-Jay. A good deal more bogus is a "Chance 1167" featuring a latter-day doo-wop group with the edifying moniker, The Five Shits; an East Coast record dealer is said to have been the perpetrator. The second Coral was a trio outing with two different studio drummers. All of this proved insufficiently remunerative, so Sagle relocated to New York City, where in 1959 he was Don Kirshner's music director; he next worked in A&R for Epic Records, releasing an instrumental LP under his own name titled Ping Pong Percussion in 1961. Most listings for Top Tunes in the local newspaper radio sections actually listed the songs that were being performed. This got a fair amount of promotion, but did not become a hit. He is known to have partnered in the Sutherland Lounge when Vee-Jay owned it. For the rest of the decade, Biondi did radio work and appeared on a lot of recording sessions. Ragon was a long-time client of McConkey Artists Corporation, which might have had something to do with his presence on the date (we suspect Ann Gilbert did not play piano on it). He reappeared on the scene in 1968 when he attended Little Walter’s funeral. An item about Marx traveling to Las Vegas in 1956, to accompany singer Dorothy Collins, pointedly noted he was bringing his family with him. That's on 78 and 45—for it was with Chance 1122 that the company started releasing new records on 45 rpm. The latter will hit the record stands under the name of Bobby Prince." However, Internet Archives' 78 rpm collection now includes a copy with the regular silver on blue. In-state, they performed at many of the same churches and halls frequented by Sister Rosa Shaw. The publisher indicates that the record was originally made for a small Indianapolis-based company called Note. Spraggins claimed that he had been working for "Professor Bradford," i.e., pianist and choir director Alex Bradford, who handled all negotiations with the record company (and allegedly withheld some of his pay). The Boyer Brothers' Chance sides ended up with Vee-Jay a few months later. The release may have been planned for a couple of months ealrier, and the 78s all have the old silver on blue label. Needing a B side even quicker, Page's manager and Mercury's East Coast A&R man noticed the Erskine Hawkins release. The remainder was done in Chicago with pianist Eddie Higgins and his trio; there were guest appearances by Kenny Soderblom (clarinet) and a guitarist. King Kolax cut two quintet sessions for Vee-Jay in 1954 and 1955. He put his marbles on Shines' work from the January 23 session instead. Jimmy Binkley cut his second and last session for Checker on January 24, 1956. For the next 4 1/2 years Al Smith and guitarist Lefty Bates ran the house band on most Vee-Jay sessions. For whatever reason, Sheridan chose not release the two sides they did. Because St. Louis was short on recording opportunities, Dean picked up with the Chicago-based Miracle (a session in 1949, plus two sides picked up from Town and Country or another small St. Louis label) and States (two sessions in 1952). Lars Bjorn and Jim Gallert's book on the Detroit jazz and R&B scene, weirdest of all, notes that were taken years ago of material that had been stolen from Art Sheridan's warehouse and eventually ended up in Japan. The Southern Clouds were another a capella group. The Brunswick and the first Coral were piano-bass duets with Johnny Frigo (though Frigo switched to violin on a couple of tracks for Brunswick). "Ragon's orchestra is styled along sweet, soft lines, resulting in smooth, melodic dance tempos" ("Don Ragon Bringing His Band to Surf Ballroom Sunday," Mason City (Iowa) Globe-Gazette, June 1, 1950, p. 6). The Christmas for Seniors events are continuing. That Walter Spriggs was born in Arkansas in 1933, the son of William and Ollie Spriggs, both of whom had been born in 1898, William in Arkansas and Ollie in Mississippi. (It turned out to be his last for the label.) As we inferred upon finally hearing Chance 3018, they were from Milwaukee. Activity at the studio was slowing that year, and the Master release carried no serial number, just the matrix numbers UB51-425 and 426. He'd been at the club before. Dean began making appearances in nightclubs on Chicago's South Side in 1945 and cut his first single for the St. Louis label Town and Country in 1947. 1955, we presume, featured more of the same, but the only notices we've found were for an appearance in Muncie, Indiana, in December (Muncie Star, December 18, 1955, p.22-A. Its headquarters were initially in the offices of Sheridan's American Record Distributors, located at 2011 South Michigan Avenue in Chicago. By the time of this recording, he had been on the road with Andy Kirk's Clouds of Joy (1943-1945, then again for a while in 1946 and 1947). Then one that produced a genuine Chance Record curiosity, Chance 3016 is credited on one side to Gerry Teifer (to use the correct spellings). Many of these artists were actually recorded by Joe Brown, whose own label was JOB. Marx and Frigo, maybe one solo horn, would have been much better from our point of view, but that manner of proceeding was surely deemed too stark for the record buyers of the time. In June 1954, having gotten the attention of Mercury, he did a single for the label with Mike Simpson (who would work with him again on pop music dates), Chubby Jackson, and Red Saunders; this time record company went with the "Marks" spelling. Chance couldn't record Kitty Stevenson. What followed in Billboard wasn't exactly favorable. About Bertha herself, we know hardly anything. Members were Sollie McElroy (lead), cousins Ezekial (Zeke) Carey and Jacob (Jake) Carey, and cousins Johnny Carter and Paul Wilson. In the old days you would do four sides, and it wasn't uncommon then to write a blues on the spot, so I wrote 'Finance Man.'" For Chance 3009, we have seen 45s that carry the old silver on red labels and the new black on yellow. It continues to excel in the fields of bridge design and transportation. But they have not forgotten the party spirit for which the Crescent City is renowned. In its first year and a half in business (September 1950 to the beginning of March 1952), Chance Records was mentioned all of four times in Billboard—and once in Cash Box. Two sides by Johnny Miller came out on Sabre 109 in August 1954. Give the kid a big hand. Hence, presumably, Barbee's willingness to offer them to Chance in 1952. Ray Biondi died in Chicago on January 28, 1981. Baker occasionally played piano with one hand and organ with the other, as passages from 5002 and 5003 indicate. The album aimed to combine various strains of New Orleans music. And after a year with RCA Victor, Prince was recording for MGM (with another Norman Simmons band) and hardly noticing what had happened to his second Chance release. It is possible that these are retitlings of material that is already listed with matrix numbers in the 100 series.) On February 2, Jimmy "Binkly" and His Orchestra were in Akron, Ohio, as part of a package tour with the Flamingos, Danny Overbea and Della Reese (Akron Beacon-Journal, February 1, 1954, p. 10). The bulk of Chance's output was in the R&B field, which reflected the knowledge amassed by the label's founder and owner, Art Sheridan. During much of the 1940s Williams played house parties, while first working in the defense industry and then in the Oscar Mayer factory at Division and Sedgwick. Occasionally Sheridan's matrix numbers disagreed with those that appeared on the labels; such numbers are also shown in brackets. The matrix numbers preceded by an asterisk were provided to Marcel Chauvard by Art Sheridan. He recorded occasionally for even smaller independents called KM, Tin Pan Alley, and Mal (Mal was probably the last, in 1966). In 1951, bassist Eddie Meyers left the group; he was replaced by veteran bass player Booker Collins, who became available when the Floyd Smith Trio broke up. We have fully tracked the Chance 1100 series, which extended from 1100 through 1165. Pozrieť tracklist albumu . The tenor saxophonist and trumpeter also solo. This was held in Millennium Park in Chicago on September 7, 2006 as part of the Great Performers of Illinois series, along with bands led by Reggie Britton, David Dee, and, of course, Koko Taylor. Al Morgan, like Jack Teter, was a veteran performer who had scored one giant hit. Though 5009 was not issued commercially on 45 to our knowledge, the company was considering the move; Big Joe Louis recently located a 45-rpm test pressing with a white label. The Echoes' first record, "Lonely Mood" b/w "Baby Come Back to Me," was released on Sabre 102 in September of 1953. Just after New Year's 1956, she opened at a cocktail lounge called the Pink Poodle, 1625 East 67th Street. Fred Montell with the Darrell Balasty Orch. Ray Scott was running a music publisher called Spriggs Productions, Inc. (affiliated with BMI) out of his apartment at 400 Central Park West. Window 1009 ("aimed directly at the teenage market") caught a review in Cash Box on October 19, 1957 (p. 6). Bob Koester made some further corrections, and Simon Evans unearthed a magazine reference to Kitty Stevenson's death. Joe 05 - The Leader 06 - Something About England 07 - Rebel Waltz 08 - Look Here 09 - The Crooked Beat 10 - Somebody Got Murdered 11 - One More Time 12 - One More Dub 13 - Lightning Strikes (Not Once But Twice) 14 - Up In Heaven (Not Only Here) 15 - Corner Soul 16 - Let's Go Crazy Chance 1127 was advertised in Billboard on November 15, 1952 (p. 62) and reviewed in the issue of December 20, 1952 (p. 30). It had been a one-off deal. Secular recording promptly resumed on May 1, with—what else?—a John "Schoolboy" Porter session. In the fall Sagle was producing sessions for a subsidiary of Mark Records in Minneapolis, called Play. On the DJ copy of the 78 (Sheridan had just started doing DJ copies, a practice he didn't stick with for long), the standard "Sentimental Journey" still has no publisher listed but Porter's "Fire Dome" shows "Fredrick" Music. A decade later they cut 2 LPs for Savoy, in 1966 and 1967. None of the four from the second sesssion, in July 1950, were released at the time (the Honeydreamers, who may have been brought in to respond to critiques like Sippel's, did all the singing on them anyway). The rhythm section in this excellent band consisted of Prentice McCary (piano), "Cowboy" Martin (bass), and Little Gates (drums). 1 of 17. Lazy Bill played a pounding style of piano. From the published information that we have, courtesy of Rob Ford, he is almost certainly the 7-year-old resident of St. Louis, Missouri who was listed in the 1940 US census. Sagle was to become a famous arranger and producer, discovering Carole King and conducting for Clyde McPhatter and Neil Sedaka. Although this was a pop session, Biondi used an organ instead of a piano, and his guitar is unusually prominent. B. On "I'm the Guy," it was the group vocals and the celeste that provided the countervailing sap. Window 1113 got relegated, with a rating below 70, by Billboard on February 10, 1958 (p. 44). She was accompanied by trumpet, alto sax, two tenor saxes, piano, bass, and drums. Or whether the group was hoping for an LP (Chance closed without ever issuing one). The comments begin with short quotes from Moon - usually his entry heading and the first sentence or two. Ventura now found it prudent to operate something more like a dance band—but the 17-piece ensemble he put together in late January 1950 (Ed Sullivan, "Little Old New York," Oil City (Pennsylvania) Derrick, February 7, 1950, p. 8), used top jazz arrangers and sometimes added Red Rodney as a trumpet soloist. The company carried on a heavy recording schedule in October, recording bluesman Willie Nix, guitarist Rudolph Spencer "Rudy" Greene, Lazy Bill, and singing actor Eddie Bracken. Williams began performing in the late 1920s, arriving in Chicago in 1938. It turns out that both titles were listed by Art Sheridan with the correct matrix numbers, but were misattributed to "Jimmy James" in the Chauvard compilation (we doubt anyone in the trio went by that name). Who was Steve Chandler? To get this discography beyond the draft stage, we have drawn from voluminous sources: Collectors Dr. Robert Stallworth, Robert Javors, and Bob Buchholz gave us additional help on some rare releases, and the late Eric LeBlanc helped with dates for the artists. A few months into the year, 78s in the Chance 1100 and Sabre 100 series mostly switched to the same black on beige scheme; it looks good when the labels are clean, but scuffs easily and shows the dirt. It would be nice to know more. Al Benson sold them to Chance, but again Sheridan appears not to have released them on his label. Though he wouldn't have any more hits, Teter cut a second session for Sharp in 1949 and at least one further in 1950. Into 1948, she performed in Detroit, or in Indianapolis, Buffalo, or Dayton, Ohio. In a section titled "Contrasts," Eddie South and Buddy Charles, working together at the Airliner, were followed by: A few months later, the Down Beat scribes showed how highly they thought of the singer. "Perdido" and "Stompin' at the Savoy" are jazz performances with scat vocals. In the meantime, George Green was appearing elsewhere as a singer. He subsequently worked for WFIV radio in Clermont, Florida, and in his later years devoted his time to making and repairing fiddles. The company rushed released it the following month and it sold well by Chance's standards, although not making the national charts. In March 1949, Old Swing-Master released two sides that had been cut for Vitacoustic and impounded by United Broadcasting Studios when that company went under; the Four Shades had a local hit with the "My Blue Walk" and "Baby I'm Gone." (Nor was there any further mention in Billboard of Windy City Publishing's recording program.) A few months before her Chance session, Sister Rosa made a round of appearances in Florida. Reed and Trace were no better a matchup than Reed and Douglas. Ann Elizabeth Gilbert was born in Memphis, Tennessee, on June 30, 1933. Derived from Porter's 1951 session, we figure 1117 was actually planned around the same time as 1112 and 1114. referred to the group by several names. Mercury 5534 was rocketed into release at the beginning of November, becoming a monster hit on the strength of its B side. It didn't sell anything like Josie 785 by the Cadillacs... A second Tomcats single, Josie 797, was released around June of 1956 and was not covered in the trades. The event was organized by Paul Robeson, and also featured Gene "Gatemouth" Munford, The Two Gospel Keys, the Harmonizing Four, and the Mount Lebanon Jubilee Singers. It appears that a lot of the retail on Chance 3009 was being handled by Eddie Bracken himself: "At present more than 300 copies [of the sheet music?] But as Steve Franz has pointed out, in the first line Shines actually sings "I'm gonna call the county jail." In 1943, Salone's band would be busy in the Detroit area; in 1944, it was most often working around Cincinnati. Her name is spelled "Naomi" on the Local 208 contract list (we admit this is a less than infallible source), "Naiomi" on the labels to her first two Chance releases, and "Naomi" on the labels to the third. Chance 1126 received a single company ad in Billboard (November 8, 1952, p. 48).

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