Jump Boogie C&G The Central Avenue Enlightenment by Piêtro G. Pôggi © 2013 Jump Boogie: The Central Avenue Enlightenment © 2013 Piêtro G. Pôggi Note: This monograph is a revision and expansion of a term paper written for... English 190: California Literature; Spring 2012 University of California, at Berkeley. Jump Boogie: The Central Avenue Enlightenment “Boogie-woogie is the thing…”—Jimmy Liggins From the years immediately preceding World War II through those immediately following the Korean War—circa 1939 until the mid-1950s—the African-American settlement that surrounded an approximately three-mile by three mile “inner city” stretch of Central Avenue in Los Angeles, California, enjoyed social and economic conditions that would not, nor could not, have occurred elsewhere; and these conditions produced a creative and economic blossoming that was a veritable “Central Avenue Enlightenment.” The district in this era was host to arguably the most robust and innovative African-American music scene 1 Jump Boogie: The Central Avenue Enlightenment in United States history, and it was the hearth of perhaps the most exciting and captivating music ever to emerge from North America—Jump Boogie, or simply Jump. At its popular zenith, Jump Boogie permeated every level of American society to some degree and profoundly influenced “mainstream” American music and film. Sadly, the significance and vibrancy of the Central Avenue settlement during this period and its signature music are today largely unknown and, consequently, tremendously underappreciated. After little more than fifty years, the disappearance of Jump Boogie from the recounting of American cultural history—and from the consciousness of the American public—is as opprobrious as it would have been to have depreciated the existence of the American expatriate literary enclave in 1920s Paris by the time the “Cold War” ended. Nonetheless, a sizable segment of the American population seems to have at least some passing familiarity with Jump Boogie—albeit by another name, or names, and without the recognition that it was the dominant African-American popular music for over a decade not so very long ago; or that it is associated with Central Avenue and Los Angeles; or that it is even African-American. There was a highly stylized and romanticized “Swing Revival” from 1989 until the events on 11 September, 2001, brought “normal” American life to a crashing halt; this “revival” may best be characterized as a social and fashion fad that included period dance and dress and actually conflated elements of three distinct and only tangentially related musical styles—Jump Boogie, “Big Band Swing”, and 1960s Las Vegas-style “Lounge Jazz”—in what has been dubbed “Neo-Swing” or “Retro-Swing”. Perhaps the most remarkable (or disturbing) aspects of “Neo-Swing” are that it is almost completely devoid of any African-American participation or attribution and it frequently emphasizes a somewhat less than reverential kitschy style over musical competence, creativity, and innovation. 2 Jump Boogie: The Central Avenue Enlightenment Serious scholarly research into the music of the Central Avenue Enlightenment has focused almost exclusively upon Jazz—the fact that there was another more popular musical genre that was the signature of the post World War II Central Avenue community is rarely noted; this may be in part because Jazz is often regarded by academics and scholars as “intellectual” and “high art”—with the implication being that Jump Boogie and other popular music is ignoble, inferior and, well, popular. Jazz, Jump Boogie, and Rhythm & Blues are also often conflated in scholarly writing about the Central Avenue Enlightenment, rather than differentiated as distinct styles that naturally cross-pollinated within the Central Avenue settlement. In its Central Avenue of the 1940s exhibit, the Huntington Library in San Marino, California, extolled the Central Avenue community as “a vibrant scene of jazz clubs, literary societies, and concert venues…where African Americans nurtured their talents in an atmosphere of cultural energy”1 and lists “jazz, classical music, literature, journalism, social activism, film, and theater”2—but Jump Boogie or any sort of popular music is conspicuously absent from that list. Most of the essays in California Soul: Music of African-Americans in the West are devoted to Jazz and Rhythm & Blues, with less than four pages that directly refer to what the essay’s author terms Kansas City Jazz-Based Rhythm and Blues and Boogie WoogieBased Rhythm and Blues—but any connection between Jump Boogie and “Boogie Woogiebased Rhythm and Blues” and “Kansas City Jazz-based Rhythm and Blues” is not drawn; in fact, the author specifically excludes “honking and screaming Jump Blues” from his detailed analysis because it could be classified as “rhythm and blues” and his work is concerned with other forms of African-American music.3 This pattern is repeated in the few additional books and articles regarding the heyday of Central Avenue that have been published. 3 Jump Boogie: The Central Avenue Enlightenment What is also repeated in works about the subject is the almost unfailing propensity to discuss the Central Avenue Enlightenment in terms that infer it was somehow imitative of— or a diminutive of—the earlier African-American cultural flowering in the village of Harlem in New York City; even historians and other scholars based in Los Angeles and/or those intending to celebrate the history of Central Avenue and Los Angeles fall into this trap. For example, the Huntington Library exhibit was billed as: “Central Avenue & Beyond: The Harlem Renaissance in Los Angeles,”4 and RJ Smith entitled his 2006 book about Central Avenue in the 1940s The Great Black Way5—alluding to the “Great White Way” nickname for Broadway in New York. The Lincoln Theatre on Central Avenue is so frequently called the “Apollo West” in books and articles that the appellation almost seems part of its formal name. The subtitle of Smith’s aforementioned book refers to the Central Avenue Enlightenment as “the lost African-American Renaissance”6—thereby clearly drawing a link to the “Harlem Renaissance” and implying that Los Angeles may have been some sort of “continuation” of the events in Harlem. Interestingly, applying “renaissance” to Harlem of the 1920s and 1930s is a relatively recent development; at the time it was known as “The New Negro Movement.” As people in California have long known, the winds in California are not dependent upon the flapping of sparrow wings in New York City. Although AfricanAmericans in Los Angeles at the time were obviously at least generally aware of the New Negro Movement, the musical and other cultural developments that took place in the AfricanAmerican enclave of Los Angeles were largely due to factors that were simply never present in Harlem; in particular, shipyard and other defense-related jobs for African-Americans were plentiful in Los Angeles, and a railroad route funneled “Negroes” from the musically rich regions of Texas and Louisiana directly into a City of Angels that also contained Hollywood. 4 Jump Boogie: The Central Avenue Enlightenment The scholars and aficionados who do research and write about the Jump Boogie genre have arrived at the consensus neologism “Jump Blues” to describe the music—a term that was never in use by artists who performed the music, the music industry of the day, the public who consumed the music, or the media that wrote about the music. In fact, Jump Boogie songs frequently featured “Boogie-Woogie”, or simply “Boogie,” or “Jump” in the title—“Jumpin’ Boogie”, “Chicken Shack Boogie”, “T-Bone Boogie”, “Boogie-Woogie Woman”, “Elevator Boogie”, “Roby-Doby Boogie”, “Boogie-Woogie King”, “Boogie-Woogie Came To Town”, “Boogie Rambler”, “Cow-Cow Boogie”, “That’s Your Last Boogie”, “Extemporaneous Boogie”, “Jump the Boogie”, “Jump With You, Baby”, “Honey Jump”, “T-Bone Jumps”, “SK Jumps”, “Jumpin’ For Joy”, “Jump Children.” “Blues” was used to designate slower and more plaintive offerings generally found on the reverse of a “Jump” recording. The cover term “Jump Blues” simply does not seem appropriate or supportable in this context. Any naming convention is complicated by the virtual lack of lexical artifacts of the Jump Boogie genre in the form of a musical sense to the word “jump” in any dictionary definition—unlike the term “swing”, which has a prominent musical connotation. It is no wonder that there is considerable confusion as to the actual nature and historical context of Jump Boogie. The most accurate description of Jump Boogie may be that it melds dance rhythms based upon Boogie-Woogie piano music with what is essentially a Bebop horn section—that could be as many as six (two trumpets, alto saxophone, tenor saxophone, baritone saxophone, and trombone) or as few as two (usually trumpet and tenor), with the most common configuration being trumpet, alto, and tenor—supported by a rhythm section of piano, double bass and drum kit. A guitar is generally only included if played by a singing guitar virtuoso bandleader such as B.B. King, Aaron “T-Bone” Walker, Clarence “Gatemouth” Brown, “Pee 5 Jump Boogie: The Central Avenue Enlightenment Wee” Crayton, Lester Williams, Lowell Fulson, Gene Phillips, Goree Carter, or Guitar Slim. This “combo” (combination) instrumentation is essentially a re-configuring of the standard New Orleans “Hot Jazz” or “Dixieland” line-up of trumpet or cornet, clarinet, trombone, bass or tuba, drums, piano, and banjo—that completely eliminated the use of banjo, cornet, clarinet, and tuba, and replaced them with a variety of saxophones. More often than not, Jump combos were fronted by a male singer or singer/instrumentalist who belted out tunes in a style known as “shouting” and who, not surprisingly, became known as “shouters”—although these were, in point of fact, usually extremely polished vocalists with great style and nuance. Yet, it was the high-flying improvisation of the tenor sax player that gave Jump Boogie its emblematic personality—honking, screaming, squealing, wailing, bar-top walking, lying on the back, blowing wild Bebop extemporizations over that Boogie-Woogie dance beat. 6 Jump Boogie: The Central Avenue Enlightenment Classic Boogie-Woogie is solo piano major-key music usually played within a standard twelve-bar Blues structure in 4/4 time—I (4 bars), IV (2 bars), I (2 bars), V (1 bar), IV (1 bar), I (2 bars)—characterized by a bass figure played by the left hand that is generally eight eighth notes per bar of music (“eight to-the-bar”) and is transposed with the chord progression, with either impromptu playing or an obbligato (obligatory part) on the right hand. Because of the configuration of a piano keyboard, in order to achieve “blue notes” (flattened third, fifth, and seventh scale degrees) and “grace” notes (quickly sliding between the flat and the third, fifth, and seventh), C is the favoured key of Boogie-Woogie pianists. In fact, if not for the danger of aural monotony from a single key, Boogie-Woogie would likely be a one key music. As it is, the genre is generally performed in C, Bb, F, G, and sometimes C# (the black keys). It may seem that such inherent limitations would cause the style to quickly lose its luster—but Boogie-Woogie piano players were constantly inventing bass-line and rhythmic variations, and also began to employ four note to-the-bar bass figures that became known as the “solid four” or “walking bass.” Other four to-the-bar Blues patterns came under the heading of “shuffle.” Singing piano players could accent up-beats on their right hands that would “bounce” off the walking solid four to create an infectious pulse whilst singing. The possibilities of variation were nearly infinite, and almost any chord progression in 4//4 time could be played with a Boogie-Woogie base line. 7 Jump Boogie: The Central Avenue Enlightenment The origins of Boogie-Woogie piano stylings and even the term “Boogie-Woogie” are the subjects of scholarly research and debate—which, although by no means extensive, dwarfs that devoted to Jump Boogie. However, there is little disagreement that the term “boogie” clearly refers to the sex act in Jump Boogie recordings (“who’s boogie-ing my woogie now”). Boogie-Woogie seems to have been developed during the post-emancipation 1870s by African-American piano players in eastern Texas; perhaps in the city Marshall—as the website http://www.boogiewoogiemarshall.com proclaims—which was an important African-American cultural center and a stop on the route of the Texas & Pacific Railway line (the “T&P”). Theoretically, Boogie-Woogie spread from Marshall along the T&P line, with each stop having its own specific contribution to the piano style.7 The T&P ran from New Orleans, Louisiana, to El Paso, Texas, where it met the Southern Pacific Railroad (the “SP”) that continued on into Los Angeles. The 1947 Louis Jordan song, “The Texas & Pacific,” immortalized the importance of the railway to southwestern African-Americans in general— and African-American musicians in particular. 8 Jump Boogie: The Central Avenue Enlightenment However, it was a pianist from Alabama, Clarence “Pine Top” Smith, whose “Pine Top’s Boogie-Woogie” on Vocalion Records in 1929 was the first “hit” Boogie-Woogie recording and catapulted the genre into at least the periphery of the American “mainstream”— that is, the dominant Northern European or “Anglo” culture of the United States. What is striking about “Pine Top’s Boogie-Woogie” is that, unlike the typical recorded BoogieWoogie instrumental of the period, Smith uses a running narration as he plays to exhort and instruct dancers. After Smith’s success, Boogie-Woogie remained somewhat on the fringe of that mainstream—but still an integral ingredient of African-American culture—until what Arnold Shaw termed the “Boogie-Woogie Craze”8 of the late 1930s and early 1940s considerably eclipsed Smith’s accomplishment with an improbable metamorphosis that placed Boogie-Woogie smack dab in the middle of American popular music just as World War II was dramatically, and permanently, changing American society. http://www.youtube.com/watch?v=K6dPdfXZVI8 9 Jump Boogie: The Central Avenue Enlightenment A case can be made that the Boogie-Woogie “craze” of the 1940s—and therefore, the beginning of the evolution of Jump Boogie—actually started with the success of “Pine Top’s Boogie-Woogie” more than a decade earlier. However, it is nearly impossible to accurately trace every sporadic development in the intervening years between “Pine Top’s BoogieWoogie” and the cascade of events some years later that led to the “mainstreaming” of Boogie-Woogie and the emergence of Jump Boogie. The selection of any one moment as the beginning of the sequence is somewhat arbitrary—and significant events in the sequence may be forgotten—but a reasonable starting point is the instrumental 1936 Decca recordings by Boogie-Woogie pianist Albert Ammons accompanied by a five-piece supporting ensemble known as “His Rhythm Kings.” The up-tempo songs from these sessions are arguably the first recorded Jump Boogies—Boogie-Woogie piano pieces accompanied by a rhythm section and horn section—and the instrumentation of “Albert Ammons and His Rhythm Kings” would become standard for Jump Boogie a few years later: trumpet, clarinet/saxophone or 10 Jump Boogie: The Central Avenue Enlightenment saxophones, bass, drums, and optional guitar. Previously, Boogie-Woogie recordings were almost exclusively solo piano affairs, and the “Big Bands” dominating American recorded popular music at the time were generally more than triple the size of the Rhythm Kings. “Boogie-Woogie Stomp” is perhaps the most noteworthy of these recordings because it is not only an up-tempo Boogie-Woogie, it also establishes what became an oft-emulated arrangement template: solo piano plays an introduction; it is joined by the rhythm section of bass and drums (and possibly guitar); and the horn section does not enter until two-thirds of the way through—then the full band finishes with a flourish. The following year, 1937, Decca released another Boogie-Woogie—this time a vocal by Jimmy Rushing accompanied by the Count Basie Orchestra, but with an understated arrangement that highlights the nine-piece orchestra’s rhythm section (that never had a guitar), the muted trumpet of Oran ‘Hot Lips’ Page, and the rich tenor saxophone of Lester Young. “I May Be Wrong Boogie-Woogie” is credited to the legendary popular songwriter Hoagy Carmichael—who undoubtedly wrote some of the best popular songs ever written— but this song is merely a collection of traditional folk Blues lyrics that were probably sung in some form by most of the Blues performers of the day, sung over a traditional 12-bar BoogieWoogie chord progression. That same year, Victor released a thinly disguised derivative of “Pine Top’s Boogie-Woogie” ostensibly composed by pianist Mary Lou Williams—“Roll ‘Em” by the Benny Goodman Orchestra—and lost Goodman to Columbia early the next year (1938). In 1939, Victor released a relatively understated horn-heavy Big Band arrangement of the actual “Pine Top’s Boogie-Woogie” by the Tommy Dorsey Orchestra that forewent ‘Pine Top’ Smith’s vocal punctuation; the song was simply entitled “Boogie Woogie—Fox Trot” on the black Victor label, but at least credited “Pinetop Smith” as composer. 11 Jump Boogie: The Central Avenue Enlightenment In 1938, John Hammond—independently wealthy patron of the arts, self-financed record producer, popular music enthusiast, and ardent integrationist—was a busy man. He was producing an integrated Christmastime concert at New York City’s Carnegie Hall that would trace African-American music “From Spirituals To Swing” and would feature— amongst others—the Basie and Goodman orchestras, Blues shouter Big Joe Turner, and what was to become the “Boogie-Woogie Trio” (BWT)—Boogie-Woogie pianists Pete Johnson, Meade “Lux” Lewis and Albert Ammons. Hammond was also an investor in a new Greenwich Village nightclub—Café Society—that was billed as “the first racially integrated night club in the United States,” and he served as the club’s “unofficial music director.”9 He booked Big Joe Turner and the Boogie-Woogie Trio into the club for an extended residency as a sort of “house band” augmented by visiting well-known local musicians (usually from bands affiliated with Hammond). Hammond’s musical productions were released through 12 Jump Boogie: The Central Avenue Enlightenment Columbia Records, and he financed several recordings for the newly acquired Columbia subsidiary, Vocalion, by vocalist Turner and pianist Johnson. In late 1938, Vocalion released a Turner/Johnson vocal/piano duet of the original Boogie-Woogie, “Roll ‘Em Pete,” and “Cherry Red” by Big Joe Turner with Pete Johnson and his Boogie-Woogie Boys that featured instrumentation identical to that on the 1936 Albert Ammons recordings—bass, drums, guitar, alto saxophone, and trumpet (‘Hot Lips’ Page). Hammond was also working with both Count Basie and Benny Goodman. Turner and the BWT were still in residence at Café Society when Hammond presented his second critically and financially successful “From Spirituals To Swing” in 1939. That year, he also paired Pete Johnson with Big Band leader and trumpeter Harry James and the Boogie-Woogie Trio (a different one) for a release on Columbia—the instrumental “Boo Woo Woo” written by James—and Hammond produced “Café Society Rag” by the Boogie-Woogie Trio, with vocals by Joe Turner, for Vocalion. When Benny Goodman was made host of a national radio broadcast Saturday nights on NBC—the Benny Goodman Camel Caravan (aka the Camel Hot Club)—Hammond arranged an appearance by Big Joe Turner and the BWT. Turner and the BWT were already New York City celebrities through their appearances at Café Society and “From Spirituals To Swing,” but a mainstream national audience that had never been near Carnegie Hall or a Greenwich Village nightclub was now discovering what New York found so exciting. Not only were people buying Boogie-Woogies, they were also buying prototypical Jump Boogie. Without John Hammond as financial “angel” and wellconnected driving force, there is unlikely to have ever been a Boogie-Woogie “craze,” and Jump Boogie is unlikely to have developed in the manner in which it did. However, all Hammond’s efforts and money would have been useless without music that people wanted. 13 Jump Boogie: The Central Avenue Enlightenment The most significant of all Hammond’s productions in 1938 and 1939 was “Cherry Red,” because it had a lyric structure that deviated from the traditional Blues form in a way that opened possibilities theretofore unimagined. Boogie-Woogie used the standard 12-bar Blues progression, so whenever Boogie-Woogie featured vocals the lyrics were in the standard 12-bar Blues oral tradition format that repeated the first 4-bar phrase over the subsequent 4 bars (as did “I May Be Wrong”) and usually had no “hook”—that is, an easily memorable and frequently repeated musical or lyrical phrase that is usually in the form of a chorus or “refrain” and is a standard component of many popular American songs.10 Turner’s lyrics for “Cherry Red” are instead a running narrative, featuring what could be considered a chorus—“now you can take me, baby, put me in your big brass bed; then, eagle-rock me, baby, ‘til my face turns Cherry Red”—but the chorus is not repeated and closes the vocal portion of the recording. This may seem like a subtle and relatively inconsequential break with tradition, but it created an entirely new palette for songwriters and opened eyes and ears. http://www.youtube.com/watch?v=qGzig1tetGQ 14 Jump Boogie: The Central Avenue Enlightenment Two of the ears that were opened belonged to Hollywood-based songwriter Don Raye (Donald MacRae Wilhoite, Jr.) who, in 1940, brought the Boogie-Woogie “craze”—that John Hammond had so carefully nurtured—3,000 miles west to Hollywood; and ultimately, to the world. It was arguably the widespread spotlighting of Boogie-Woogie and nascent Jump Boogie in Hollywood films in the early 1940s that promulgated the popularity of the genres with European-American audiences. The wildly energetic athletic dance style known as the Lindy Hop (“Jitterbug”) enjoyed a similar boost from being featured in numerous major film studio productions; together, Boogie-Woogie and the Lindy Hop almost guaranteed a film’s success in the early 1940s. Don Raye and Hughie Prince wrote three songs based upon Boogie-Woogie—or that made significant reference to Boogie-Woogie—for inclusion in Hollywood films: “Rhumboogie” for the Andrews Sisters’ film debut in the 1940 Ritz Brother’s comedy release, Argentine Nights; and “Boogie-Woogie Bugle Boy of Company B” and “Bounce Me Brother With A Solid Four” for the Abbot & Costello vehicle, Buck Privates (1941). “Cow-Cow Boogie” was written by Raye with saxophonist/trumpeter Benny Carter and Gene de Paul for another Abbot & Costello comedy, Ride ‘Em Cowboy (1941), but was omitted from the final release. However, in 1942 Ella Mae Morse recorded “Cow-Cow 15 Jump Boogie: The Central Avenue Enlightenment Boogie” with Freddie Slack’s Orchestra for Capitol—which appears to have introduced the key change to popular Boogie-Woogie—and her version proved so successful that she was signed to perform it in the 1943 film, Reveille with Beverly, and in a “Soundie” (single-song short music films that were precursors to modern “music videos”) that same year. Legend has it that Don Raye’s involvement with Boogie-Woogie and Jump Boogie songwriting began when he and Hughie Prince originally met three members of the Will Bradley Orchestra during one of the big band’s 1940 performances at the Famous Door nightclub on 52nd Street in New York City. Raye became friends with Will Bradley (trombone), Freddie Slack (piano), and Ray McKinley (vocals and drums), and he and Prince penned two songs for the Will Bradley Orchestra that Columbia Records (John Hammond’s label) released by later that year: “Beat Me Daddy, Eight To The Bar” (taped in May) and “Rock-A-Bye The Boogie.” (taped in July). There were two primary interpreters of Raye’s Boogie-Woogie songs: his friends in the Bradley orchestra and the Andrews Sisters. A few months after Bradley released “Beat Me Daddy, Eight To The Bar,” the Andrews Sisters released a version in October of 1940—and both versions made the “Top Ten.”11 Raye and Prince wrote a third song in 1940 for the Bradley crew—“Down The Road Apiece.” It was originally recorded in August as The Will Bradley Trio—although Will Bradley apparently did not appear on the record, unless he was the whistler—and the song featured Don Raye bantering throughout with vocalist Ray McKinley who was also on drums; Doc Goldberg was on upright bass, and Freddie Slack was on piano (and celeste during the bass solo by Goldberg). “Down The Road Apiece” is perhaps Raye’s most recorded song, but no subsequent version has captured the charming 1940s hepcat (“informed sophisticate”) camaraderie and an affection for Boogie-Woogie of the original that is in stark contrast to 16 Jump Boogie: The Central Avenue Enlightenment what were often highly orchestrated recordings of other Don Raye compositions of the period. The solos played on many of Raye’s songs were written out obbligatos rather than the wild improvisations found in Jump Boogie—in fact, the most famous solo on a Don Raye song, the trumpet solo on “Boogie-Woogie Bugle Boy Of Company B,” was read from a music chart. In each of the first three songs written for the Bradley orchestra, Raye used the concept of running narrative lyric over a standard 12-bar progression that was heard on “Cherry Red,” but he interspersed repeated chorus/hooks built around the song-titles. The storytelling in Raye’s early compositions could almost be compared to that found in Opera or Broadway or Hollywood Musicals, and it is probably no co-incidence that Raye was a habitué of Hollywood and many of these songs were written for films. In contrast to the 1940 Boogie-Woogie numbers Raye wrote in the traditional 12-bar structure, Don Raye also had two hit songs that year that deviated so dramatically from the 12-bar Blues format and bass figures of Boogie-Woogie that they not could reasonably be considered either “Boogie-Woogie” or “Jump Blues:” “Rhumboogie” and “Scrub Me Mama With A Boogie Beat”—both of which were recorded by the Andrews Sister on Decca and the Will Bradley Orchestra on Columbia. These songs featured “Boogie” in the title and were peppered with numerous recognizable Boogie-Woogie segments, but the structure owed more of a debt to Irving Berlin than to ‘Pine Top’ Smith or “Cherry Red.” Plus, these songs incorporated the bridge12—a staple of popular song construction but rarely found in BoogieWoogie. The bridge would be used to good effect in Jump Boogie almost immediately, and was frequently employed throughout the Jump Boogie era. 17 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=2oZITtcORjQ Once Boogie-Woogie came to Hollywood, it was never quite the same thereafter—for some that was a good thing, and for some it was sacrilege. The shift of the center of gravity to Hollywood and the city of Los Angeles extended to the Central Avenue settlement a few miles southeast. Boogie-Woogie was still being played in Marshall, Texas, and on Dowling Street in Houston, and in Harlem and Greenwich Village, but Don Raye and friends had done things to it that often made songs with “Boogie” in the title unrecognizable as such. This fact was not lost upon Los Angeles resident Louis Jordan—African-American musician, bandleader and future movie star—who was inspired by Raye’s innovation to record his first two Jump Boogies. In 1941, Decca Records released Jordan’s version of “Pine Top’s BoogieWoogie,” plus two Jordan originals: “Saxa-Woogie” and “Boogie-Woogie Came To Town”— the latter being Jordan’s stylized satirical recounting of how Boogie-Woogie came to 18 Jump Boogie: The Central Avenue Enlightenment Hollywood and was metamorphosed and “sanitized” in order to find a place on the Billboard Music Hit Parade, in “the movies,” and within the American consciousness. Although his tongue is often firmly in cheek, Jordan emphasizes in his lyrics that Boogie-Woogie still retained its incredibly infectious appeal no matter what befell it. There can be no doubt of Raye’s influence upon “Boogie-Woogie Came To Town,” as the song clearly references the lyrics of several Don Raye songs and employs a bridge. Jordan was the first consistent African-American “cross-over” vocalist (from an African-American audience to a EuropeanAmerican audience), and eventually became so closely identified with Jump Boogie that he essentially set the standards for the genre—from songwriting conventions to band instrumentation to arrangements. Conditions seemed ripe for a sustained Boogie-Woogie and Jump Boogie revolution that would forever transform mainstream American music. However, events and the powersthat-be erected a figurative brick wall that could neither be scaled nor circumvented. In 1942, the American Federation of Musicians inexplicably decided that jukeboxes were depriving live musicians of work, and it banned musicians from recording for any record label until that label agreed to contribute to a fund for unemployed union musicians. Most of the smaller and independent companies signed new contracts relatively quickly, but the three major labels had supplies of unreleased recordings and decided to try to “wait out” the union; Decca did not relent until 1943, and RCA-Victor and Columbia held out until 1944. The primary progenitors of Jump Boogie were all signed to major labels—both the Andrews Sisters and Louis Jordan recorded for Decca; Will Bradley for Columbia. The ban on recording limited the stock of recordings in the fledgling Jump Boogie style to the very few that had already been recorded and effectively stifled the normal stylistic development that Jump Boogie would have 19 Jump Boogie: The Central Avenue Enlightenment enjoyed; without a ban, record labels would have been searching for evermore Jump Boogie and Boogie-Woogie artists and songwriters to exploit the trend and the more popular the style became, the more musicians would participate and innovate. This entire process came to a screeching and unnatural halt. To make matters worse, there was also a wartime shortage of the raw material from which 78rpm records were made: shellac, a resin secreted by the female lac bug on trees in the forests of India and throughout Southeast Asia. The Japanese occupation of these regions completely eliminated exportation of the resin—which both dramatically curtailed the ability of labels to press records and substantially inflated the price of shellac. Also, gasoline, tires, and automobiles were rationed during the war and the government imposed travel restrictions that dramatically curtailed travel; especially hard-hit were touring bands and orchestras with tour buses and/or multiple vehicles and performance venues that were frequently hundreds of miles and days apart on the circuits they worked. There may have been an increased demand for live performances during the recording ban and its resultant lack of new music on radio and in record stores, but it became increasingly difficult for performers to meet that demand. Recording and releasing records in the United States did not really return to normal until after the war, but by the time the recording ban was lifted European-American musicians, and songwriters appeared to have simply lost interest in the Jump Boogie genre— certainly, there was not one significant European-American release in the Jump Boogie style after 1942. Although Jump Boogie and Boogie-Woogie faded from American mainstream domestic recorded music almost as quickly as it entered, throughout the war it continued to evolve in the Central Avenue clubs of Los Angeles—as well as in the Dowling Street enclave 20 Jump Boogie: The Central Avenue Enlightenment in Houston and to a lesser degree in African-American neighbourhoods throughout the country—in exactly the same time frame as the development of Bebop. The improvisational style of Bebop seems to have been inspired by the playing of Coleman Hawkins on his ground-breaking instrumental “Body & Soul” from 1938. Because horn players were usually not pigeon-holed as “Jazz” or “Jump Boogie” or “Blues” players amongst musicians, musicians and ideas crossed back-and-forth between both genres at will and as gigs presented themselves. It is possible that neither Jump Boogie nor Bebop could have happened without the other; it is undeniable that without the Bebop influence, Jump would not have been Jump. In addition to nearly the entire list of Jump Boogie artists, Central Avenue of the 1940s was home to such Jazz luminaries as Charles Mingus, Dexter Gordon, Eric Dolphy, Art Pepper, Chico Hamilton, Benny Carter, Lionel Hampton, and Teddy Wilson. The tumultuous musical metamorphosis of both Jump Boogie and Bebop in Los Angeles certainly benefited from an influx of thousands of African-Americans in The Second Great Migration13 to work in shipyards, aviation, and related industries during the “war years”—which simultaneously allowed them to escape the oppressive atmosphere and heat of the South as well as enjoy many of the trappings of a middle-class American lifestyle that was usually off-limits to them in the South. This lifestyle frequently included the purchase of substantial numbers of records and regular social dancing at musical performances. The African-American population of Los Angeles more than doubled during World War II—from about 65,000 when the war began to over 150,000 by its end.14 By comparison, San Francisco had only 5,000 African-Americans when war broke out and 30,00015 on VJ Day. Los Angeles had become host to an African-American population that rivaled Harlem in size, and it was almost a tailor-made audience for the musicians of Central Avenue. 21 Jump Boogie: The Central Avenue Enlightenment The Lincoln Highway It had never been easy gaining entrée into California from the eastern United States. Until relatively recently, when traveling to this Elysium overland from the East—via automobile, covered wagon, stage, horseback, or even by train—there were really only two practicable routes through mountain passes into California; one was part of the fabled Route 66 (now Route 40, from Chicago to Los Angeles), and the other was part of the Lincoln Highway (now Route 80, from Times Square in Manhattan to San Francisco). Of the 48 contiguous states and the District of Columbia (the “lower 48”), California is the only state that until this day stops and screens every entrant at its borders—and in the “Golden State” it is done in a manner usually reserved for border crossings into hostile foreign territories requiring passports and letters of transit. 22 Jump Boogie: The Central Avenue Enlightenment The Parameters of the Central Avenue Settlement in Los Angeles (Postal ZIP Code 90011) What set Los Angeles apart was the fact that Black performers throughout the country—and especially in the South—perceived Los Angeles as a kind of Promised Land, with many glamorous night spots, sunny weather, and a more benign form of racism than in most American cities.—Johnny Otis16 The African-American presence in Los Angeles was originally concentrated around Central Avenue between 8th and 20th Streets in downtown Los Angeles—an area that became known within the community as the “Brick Block”. The settlement expanded southward, and by the 1940s its hub was the intersection of 42nd Street and Central Avenue—and the neighbourhood stretched south to Slauson Avenue (one block south of 58th Street). The construction of the Santa Monica Freeway (I-10) in 1947 effectively fixed the northern limit of the African-American enclave at 18th Street, and the Harbor Freeway (I-110) effectively 23 Jump Boogie: The Central Avenue Enlightenment fixed its western limit as Flower Street—which included the Broadway business district as well as the upscale homes and mansions in the West Adams Heights/”Sugar Hill” area that were owned by successful African-Americans entertainers and entrepreneurs. Alameda Street was the Eastside limit because across Alameda is the Vernon warehouse and meat-packing district with a population of about 100 souls. Legend has it that the very active Los Angeles chapter of the Ku Klux Klan prohibited African-American southward expansion past Slauson Avenue; whatever the reason, Slauson was the accepted southern extent of the district—but this southern delimitation was the only “border” that was arbitrary rather than a physical barrier, and the only direction in which the district could realistically expand—and expansion became critical as the African-American population had more than doubled during the war. There was not enough housing in the area within the two freeways and the warehouse district to accommodate all the new arrivals, and middle-class jobs in the defense industry available to African-Americans meant that they wanted to expand into middle-class neighbourhoods to the south. Nevertheless, the powers-that-be seemed anxious to limit or “contain” the city’s African-American population within the settlement. In 1943, the district had been “unofficially” prescribed when postal code 11 was drawn as a roughly three mile long and three mile wide square bordered by Slauson Avenue on the south, San Pedro Street and Main Street on the west, Washington on the north, and Long Beach Avenue on the east— trimming the district by several blocks on the Westside and Northside, and a long block on the Eastside. In 1917, the United States Supreme Court had ruled in Buchanan v. Warley (1917)17 that municipally mandated racial zoning was unconstitutional, but that simply meant that cities such as Los Angeles introduced private restrictive housing covenants that for all intents and purposes prohibited African-Americans from residing outside postal code 11. Such 24 Jump Boogie: The Central Avenue Enlightenment restrictive covenants were not ruled unconstitutional by the Supreme Court until Shelley v. Kraemer (1948).18 Yet, official segregation in Los Angeles had effectively ended in summer 1931 after the Prioleau v. Board of Playground & Recreation Commissioners (1931) Superior Court ruling,19 and there were no “whites only” signs to be found in the city and no separate drinking fountains or restrooms; but African-Americans almost invariably had to “know their place” and were loath to stray far from Central Avenue unless commuting to work or attending to some civic requirement. Nonetheless, African-American musicians found Central Avenue rather paradisiacal: it had a large number of relatively well-paying nightclubs; numerous “after-hours” spots; proximity to film studios that often featured African-American musical performances in mainstream film productions, films with all African-American casts for the country’s segregated theaters, musical short films, and “Soundies”—and, a steady stream of beautiful women club-goers and dancers. Immediately following World War II, the city had the highest concentration of independent record companies in the country20—only four of which were actually owned by African-Americans; and only two of those were located within the Central Avenue settlement. The entrepreneurial musician also had non-music related business opportunities in Los Angeles; singing piano player Joe Liggins owned a Singer Sewing Machine franchise and singing piano player Roy Milton was the proprietor of a grocery store that was rumoured to have kept a steady supply of black market items during the war. 25 Jump Boogie: The Central Avenue Enlightenment Understandably, it took extra effort, hope, and courage for an African­American to migrate to California during the 1930s and 1940s in a rigidly segregated America. In fact, for African­Americans, traveling anywhere was fraught with such peril and frustra­ tion that a Harlem postal employee and civic leader named Victor H. Green began publishing The Negro Motorist Green Book: An International Travel Guide21 in 1936; and did not cease publication until after The Civil Rights Act22 was passed in 1964. The guide listed African­American­friendly accommodations, restaurants, gas stations, and retail outlets; which towns to avoid due to hostile residents and law enforcement; and which towns had “sunset laws” that forced African­American visitors to vacate the town before dusk. Train travel for African­Americans who could afford a ticket and did not have to resort to “riding the rails” (illegally “hopping” a freight train) was eased by the attendance of Pullman Porters23—all of whom were African­American and generally sympathetic. Road travel for everyone in America was greatly facilitated by the “Good Roads Movement”—a national political movement that began in 1880 to advocate improving the country’s roadways; first by pressing for the paving of the dirt roads that linked the country’s cities and towns; and eventually by lobbying for the construction of 24 federal highways through passage of the Federal Aid Road Act of 1916 and the remedial 25 Federal Aid Highway Act of 1921. 26 Jump Boogie: The Central Avenue Enlightenment A Rain Shadow When you get right down to it, California is simply a few lines drawn upon a map. Those lines juxtapose portions of three radically disparate biogeographic regions into what is the 31st state of the union. The number of such regions depends upon who is calculating and how, but three is a reasonable working number. The degree of insularity between these three primary regions is pronounced, and each has numerous geographic sub­regions in which sub­cultures have often incubated—and California cities are fundamentally collections of sub­sub­culture neighbourhoods. Such geographic separation is impedimentary to any sort of unified “Califor­ nia Culture”, yet these sub­cultures have often produced iconic social and artistic movements that influence the entire world. Climbing the Lincoln Highway westward from the rain 26 shadow of the Nevada Desert over the crest of the Sierra Nevada Mountains that turn lushly green on the California side, the light seems somehow more aureate than elsewhere. However, these Sierra Nevada Mountains (aka the southern Cascade Mountains) along with the Klamath Mountains north of the Russian River, Cache Creek, and the Sacramento­San Joaquin Basin, are actually part of a greater bioregion known as Cascadia (or the “Pacific Northwest”), that encompasses most of Oregon, Washington, Idaho, and British Columbia—a region that has its own flag and rabid independence movement,27 very few African­Americans, and scant relation 28 to the Mediterranean Climate Zone that is the “California” portion of California and has a seemingly pervasive golden hue to its rolling hills, to its wild poppies, and to the sun’s rays. This amber Pacific Coast “Mediterranean” California narrows as it extends south to Rio Santa María and Bahía San Quintín on Baja del Norte 29 within modern México, and includes the spectacularly fertile Sacramento­San Joaquin Basin that is geographically analogous to the Po Valley in Italy. Mediterranean California contains more than 60% of the population of the State of California, its 100 most populous cities, and virtually all of its African­American inhabitants—who live almost exclusively in urban settings. The southeastern corner of the state is desert—most notably the Mojave Desert, containing “Death Valley,” and the Sonora Desert that wraps around the Mar Bermejo (“Gulf of California”) whilst spanning portions of California, Baja, and continental México. These deserts are a southern extension of the Great Basin bioregion that covers most of Nevada and Utah, the southeast corner of Oregon, the southwest corner of Idaho, and the northeast corner of California (the “Modoc Plateau”). 27 Jump Boogie: The Central Avenue Enlightenment Even if shipyard and aviation work had not been a Siren lure for African-American migrants, it is not surprising that they eschewed desert life or the prevailing logging culture of Cascadia. Upon leaving the captivity of plantation life or the neo-plantation life of sharecropping and rural farming, African-Americans were essentially emigrating to America—or at least, to the rest of America. Like every other ethnic group that has come to America, African-Americans have tended to cluster in neighbourhoods in cities and towns, and therein create vibrant social structures and conditions conducive to cultural and artistic expression that have a disproportionate influence upon “mainstream” American society. Within the Central Avenue settlement, African-Americans established an array of churches and businesses to meet every conceivable need of the community, and newspapers to cover the local scene and keep members in touch with developments throughout the country that were relevant to them. Unquestionably, the community’s leading paper was the California Eagle, edited and operated by J.B. Bass and owned by his wife—the prominent civil rights campaigner, Charlotta Bass. During the war years, the Eagle had a whopping circulation of 60,000—nearly half the population of the district! Virtually every AfricanAmerican celebrity or professional who resided in southern California lived within the district, and Eddie “Rochester” Anderson made Central Avenue and its culture famous throughout the country via his starring role on the Jack Benny Show on NBC Radio. Anderson helped popularize Central Avenue as a clubbing destination for the Los Angeles cognoscenti. A Postcard view of Anderson's West Adams mansion, c.1940s 28 Jump Boogie: The Central Avenue Enlightenment Visiting African-American celebrities and dignitaries stayed at the only first class African-American hotel in Los Angeles—the Dunbar Hotel, located at 4225 Central Avenue at 42nd Street; the hub of the community. Within the Dunbar was the Showboat Lounge, and next door to the Dunbar was the top Central Avenue nightclub—the Club Alabam: The Club Alabam was the epitome of Central Avenue. It was right off 42nd Street across from Ivy Anderson's Chicken Shack. There were a lot of other clubs, but the Club Alabam was really one of the old-time show-time places; a huge room with beautiful drapes and silks and sparklers and colored lights turning and flashing. The bandstand was plush and gorgeous with curtains that glistened. The waitresses were dressed in scanty costumes, and they were all smiling and wiggling and walking around, and everywhere you looked you saw teeth, people laughing, and everybody was decked out. It was a sea of opulence, big hats and white fluffy fur; and the cars out front were real long Cadillacs with little mudguards, little flappy little things, shiny things.—Art Pepper30 The Dubar Hotel & Club Alabam 29 Jump Boogie: The Central Avenue Enlightenment The settlement’s other nightclubs and after hours spots were simply too numerous to list completely, although Shepp’s Playhouse, Café Zombie, Club Araby, Club Memo, the Down Beat Club, the Lunch Top Café, the Cabin Inn, Club de Lisa, the Samba Club, and the Blue Moon Club (owned by Big Joe Turner and Pete Johnson), were certainly prominent— and Jack’s Chicken Basket and the Last Word were notable after-hours “joints.” The district’s premier music venue was the cavernous 2,100-seat Lincoln Theatre at 23rd Street—but there were also smaller theatres such as the Tivoli, Angelus, Hub, and Globe; halls for rent, such as the Elks Club and the Lions Club; and a fair number of seedy barrelhouses and “juke joints.”31 A relatively reliable indication of the strength of a city’s music scene is the number of record labels it spawns, and it is somewhat surprising that when the war began there was apparently only one record label in the Central Avenue settlement—catering to Gospel music—and no labels in the entire city catering to “Race Music” (the music industry term for popular African-American music). In fact, it appears that Los Angeles did not have a successful record label of any sort until after the war, but then the American music business in general—and the record business in particular—had been in turmoil since the Great Depression began and both were still searching for a viable model. The war years and the music made during that time are often romanticized in history and in the films of the period— and for those on the homefront the war brought a welcomed general prosperity tempered by restricted access to many of life’s staples that were rationed because they were vital to the war effort. For African-Americans in the Central Avenue settlement, the advantages of steady, well-paying work more than offset any inconveniences and were undoubtedly preferable to life in the South prior to the end of Jim Crow. However, resource shortages and government wartime policies did put enormous extra pressures on musicians, music performance 30 Jump Boogie: The Central Avenue Enlightenment presenters, and recording companies. In the case of record companies, many—if not most—of its problems were vigorously self-induced. It would not be unfair to characterize the activities of the music business establishment in the 1930s and 1940s as a circular firing squad seemingly dedicated to extirpating popular music in America. The Great Depression was responsible for an estimated ninety-five per cent decline in the record business between 1929 and 1933—although the major record labels attributed most, if not all, of the decline in sales to records being played on the radio “for free.” The notion may seem fantastical today—when the term “promo copy” is part of the modern lexicon—but label heads were convinced that consumers do not buy records if they are able to hear them without cost on radio. The powers that be in the record industry believed that the listening booths found in virtually every record store throughout the country at the time were a sufficient means for consumers to hear new records in order to form the desire to purchase them. It apparently never occurred to executives in corporate board rooms and luxurious offices that sampling in listening booths required a considerable investment of time and a great deal of spare time, whereas a consumer could sample music on the radio whilst driving, working, doing housework, doing homework—or simply sitting on the porch. By 1933, the fear of radio caused panicked major label executives to launch a “war” against radio airplay of their product by including the legend: “Not Licensed For Radio Broadcast” on the label of every 78rpm record they printed. Such action was aimed at local radio station and was a non-issue for three of the four major American countrywide radio networks—CBS and NBC “Red” & NBC “Blue”—because CBS owned Columbia Records and RCA-Victor Records owned NBC. The three networks had long emphasized live shows and publicly claimed that the sound quality of 78s was too poor to be broadcast; yet 78s were 31 Jump Boogie: The Central Avenue Enlightenment apparently supposed to be of sufficient quality for listening on home Victrolas. Independent labels never tried to forbid broadcast of their recordings because they were grateful for the exposure and sales generated by radio airplay. Without airplay, major label sales continued to slide until they were somewhat revived by the advent of the jukebox in the mid-1930s. However, as the profit stream from jukeboxes was becoming reliably lucrative, James Petrillo—president of the American Federation of Musicians—claimed that jukeboxes were taking work from musicians and in 1942 instituted a recording ban until labels agreed to finance a fund for unemployed musicians. The ban sent label revenues into another tailspin, stifled the creative output of most recording artists, and considerably dampened the spirits of those on the homefront and on the front. Then, just as the recording ban was ending two years later, Congress decided it was the perfect time to impose a whopping twenty per cent “cabaret” excise tax upon all establishments in the country that featured dancing.32 This levy was essentially a “sin tax” to discourage the Lindy Hop that many conservative élites believed to be a rude and lascivious activity that was on a par with alcohol consumption and tobacco smoking—which élites may have publicly derided but, then as now, often enjoyed to excess in private. One almost immediate result of this tax was a proliferation of “no dancing” signs across the country. The tax was supposed to “sunset” (expire) at war’s end, but it was not repealed after VJ Day and it took until 1960— more than fifteen years later—for Congress to reduce the tax to ten per cent; too little and too late to help the music business and musicians of the 1940s. Ironically, whereas dancing and the music that inspired it were being suppressed at the source, both had a pronounced effect everywhere American soldiers went whilst fighting the Axis—from Samoa, to Australia, to Great Britain, and to France. 32 Jump Boogie: The Central Avenue Enlightenment Before, during, and immediately after World War II, there were really only three basic popular forms of “date” entertainment in the United States: the cinema, baseball, and dancing to live bands. Ballet, symphonies, and opera simply did not fit the taste or the pocketbook of the average citizen and commercialized television did not come into existence until the early 1950s. Touring bands and orchestras had been an integral part of the American cultural landscape since at least the 1920s, and there were two general types of touring bands: Big Bands and “Territory Bands.” Big Bands were huge undertakings by any measure, and were both enormously expensive and logistically challenging. Ticket prices for Big Band performances were kept artificially low by record labels through subsidies and performer wage suppression, which was therefore a system on borrowed time since its inception. Big Bands also required large venues that could accommodate orchestras that often had several singers and a background singing group in addition to a standard line-up of 17 instruments—four trumpets, five saxophones, four trombones, drums, bass, piano, and guitar, that were sometimes augmented 33 Jump Boogie: The Central Avenue Enlightenment by banjo, percussion, or violins. Including a business manager, drivers, and any mechanics and/or road crew, the total Big Band entourage could easily top 30 individuals! From a present-day perspective, these huge traveling orchestral extravaganzas seem almost obscenely excessive and self-indulgent—particularly in the middle of a Great Depression. In hindsight, Big Bands seem as obviously unsustainable as the 21st Century housing bubble. Perhaps such reckless fiscal abandon was part of the attraction of Big Bands to an insecure public that had been wracked by hardship and the fear of starvation and destitution during a 12-year Great Depression that was followed by the uncertainty of World War II’s outcome and wartime separation from family, friends, and lovers—or their loss. People wanted to be happy: the lighthearted animated Fantasia and Pinocchio topped movie box office receipts in 1940, whereas the profound but rather grim The Grapes of Wrath was far behind at 12th.33 The “Swing” music played by Big Bands did not necessarily swing (induce rhythmic time-keeping from listeners and rhythmic dancing by those so inclined). For many AfricanAmericans and European-American hepcats and kittens, Big Band music often seemed tepid and/or schmaltzy (that is, exceptionally florid and formal). The country was also replete with smaller, less formal venues that catered to the hep who wanted to dance and socialize—and the nightclubs, dancehalls, juke joints, barrelhouses, VFW halls, Elks Lodges, Lions Clubs, and hotel ballrooms, needed bands that could fit their budgets and their stages. A system of smaller “Territory Bands” emerged to exploit such need—and, theoretically, the smaller the band the more each musician made. The bands would regularly traverse an established circuit of venues within a given geographic region that often required traveling hundreds of miles between engagements. On the West Coast, the main cities with such venues were also the cities with teams in the Pacific Coast League (a baseball league)—San Diego, Los Angeles, 34 Jump Boogie: The Central Avenue Enlightenment San Jose, San Francisco, Oakland, Sacramento, Portland, Seattle, and perhaps Vancouver. However, there were also local bands competing to play in these and other smaller venues. The few published descriptions of Jump Boogie that exist invariably characterize the music an “outgrowth” of Big Bands. This assumption seems to be based upon the fact that some Jump Boogie stars had played in the popular nationally known Big Band orchestras of African-American bandleaders such as Lucky Millander and Lionel Hampton, and both those bandleaders occasionally recorded Jump Boogie with stripped down small combos from within the orchestra. The suggestion is that there was some sort of natural progression by which Big Bands re-organized into Jump Boogie combos when the Big Band Era ended. Such assertions belie a monumental lack of understanding of both the music and its history. Musicians, then as now, generally play in as many combos and bands as possible. Their choices are based upon a combination of artistic, financial, and organizational considerations such as: who pays the most and how often; who is the most honest; who allows the greatest degree of artistic freedom and extemporaneous solo opportunities; who is the easiest bandleader with whom to work; who has the best chance for success; who has the best material. Although “piano trios” (piano, bass, and guitar or drums) were common in small nightspots, most Territory Bands and most “club combos” had the same standard 5-8 member line-up as Jump Boogie combos and “Hot Jazz” combos. Bloated and unsupportable Big Bands may have been on the way out just as Jump Boogie was emerging after years of war, a recording ban, a shellac shortage, and labour strife—but that is hardly evidence of cause and effect. Certainly the scene was set for a new post-war musical boom, with literally every key figure in Jump Boogie either from Los Angeles or having moved there—and the G.I.s were returning home at a time the country and the musicians were ready to cut loose. 35 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=MbkjzmXKevc In 1944, Léon René inaugurated Exclusive Records and his brother Otis began Excelsior Records. Both enterprises were located in reputedly luxurious offices at Sunset & Vine in Hollywood31—that is, Los Angeles, 28, Calif.—rather than within the Central Avenue district. The brothers were also partners in the RGR Pressing Plant that manufactured their 78rpm recordings; unheard of for an independent label at the time. The Renés were AfricanAmericans originally from Louisiana, but it is unclear how the two fit into the Central Avenue neighbourhood: the brothers became music business insiders and successful mainstream songwriters who wrote hits and placed songs in films—particularly Léon, who collaborated with the great Johnny Mercer more than once and later wrote the classic “When The Swallows Return To Capistrano;” Patti Page sang his “Boogie-Woogie Santa Claus” on the “flip-side” (reverse) of “The Tennessee Waltz” in 1951; and in 1958, he wrote the Rock’N’Roll classic “Rockin’ Robin.” The Renés undoubtedly saw themselves as part of the 36 Jump Boogie: The Central Avenue Enlightenment music business and not as confined to “Race Records” and Central Avenue, although the two eventually had a falling out and were thereafter estranged. The apparently self-promulgated René legend is that the brothers founded the first African-American owned and operated independent record labels in Los Angeles. However, that distinction appears to belong to Sunshine Records, that was established by record store owners Johnny and Reb Spikes in 1922.35 In fact, the Renés were not even the first AfricanAmericans to start a record label in Los Angeles in the 1940s—that honour belongs to Leroy Hurte, who in 1940 was not only first with Bronze Records, he was also the first located within the Central Avenue settlement. As a result of having his offices and studios in the Central Avenue district and being essentially a neighbourhood label, Hurte helped launch the Jump Boogie era by inadvertently providing Exclusive Records with the song that would become the top selling “Race” record of 1945: “The Honeydripper Part I & Part II” by the singing piano-player and sewing machine salesman, Joe Liggins, still holds the record with eighteen consecutive weeks at “No. 1” on the Billboard Harlem Hit Parade.36 Joe Liggins walked into Bronze Records “off the street” one day in late Autumn, 1944, and played “The Honeydripper” for Hurte, who lost no time recording it in November with Liggins’ band. However, Hurte’s label was a low-key Gospel label that operated without contracts, and he did not seem to understand the cutthroat nature of the music business. Liggins had a regular engagement at the Samba Club, and Léon René apparently heard the “The Honeydripper” there and was sure that it would be a big hit; René also knew he had the distribution and connections to capitalize upon the song’s potential. René learned that Liggins did not have a contract with Bronze Records, and promptly persuaded Liggins to sign a contract with Exclusive and record a note-for-note recreation of “The Honeydripper” in April, 37 Jump Boogie: The Central Avenue Enlightenment 1945, and released shortly thereafter, as “Caldonia” by Louis Jordan was climbing the charts. “...The Honeydripper stayed at No. 1 on the national race charts for an unprecedented 18 weeks beginning September 8, 1945—and even crept into the ‘Pop’ lists at No. 13 in October.”37 “The Honeydripper” reportedly sold over 2 million copies for Exclusive. Although Joe Liggins only recorded a handful of Jumps, the tremendous success of “The Honeydripper” opened the floodgates for Jump Boogie—and Liggins was a consistent hit-maker for Exclusive, usually with such pop-oriented hits as “I’ve Got A Right To Cry” and “Tanya.” Exclusive Records’ other dependable hit-makers were Johnny Moore’s Three Blazers (with Charles Brown on vocals and piano) and bandleader Johnny Otis—whom René gave his first opportunity to record. The Johnny Otis Band/Orchestra was the label’s featured “house band,” backing singers such as Joe Swift, Joe ‘Papoose’ Fritz, Clifford Blivens, Earl Sumner Jackson, and Johnny Crawford on what are arguably Johnny Otis’ most charming and swinging tracks. Johnny Otis led the Exclusive studio band from 1946 until the label folded in 1949, and René sold the label’s master recordings to Swing Time Records. Otis then moved on to Houston-based Peacock Records; Liggins joined his hit-making, guitar-playing brother, Jimmy, at Specialty Records; and Charles Brown moved to Aladdin. René always claimed that Exclusive failed when the singles format changed from 78rpm to 45rpm, but the 7-inch 45rpm record did not effectively become standard until 1955—and Exclusive folded in 1949. In fact, all five of Elvis Presley’s first releases in 1954 and 1955 on Sun Records were issued on 78rpms. Although Otis René kept his label open until 1951, he lost his chance to become phenomenally wealthy and make Excelsior a major label when, in 1945, Capitol Records signed Excelsior artists the Nat ‘King’ Cole Trio and Capitol became a major label instead— the Capitol Records Tower at Hollywood & Vine is still “The House That Nat Built.” 38 Jump Boogie: The Central Avenue Enlightenment A Rare Bronze Records 78rpm Bronze Records opened in the heart of the Central Avenue settlement at 625 East Vernon Avenue & Central Avenue in 1940. Its founder, Leroy Hurte, had come from Muskogee, Oklahoma, and he was a member of the Creek indigenous tribe through his mother (his father was African-American).38 Hurte almost immediately became part of the musical fabric of the neighbourhood: before starting Bronze he was founder and partner in Flash Records—the settlement’s main record store—and he also worked for Allied pressing plant. Hurte had great musical instincts, but poor business acumen. Although Flash Records was a lucrative operation for years, Hurte sold his share and did not profit substantially from the store. By virtue of being the local record label, he recorded two songs in 1944 that become legendary lucrative big sellers for other labels and he got little or nothing for his efforts. “I Wonder” by Pvt. Cecil Gant “The G.I. Sing-sation” (Bronze 117) was re-recorded by GiltEdge Records and “The Honeydripper” (Bronze 125) was re-recorded by Exclusive. Hurte eventually gave up the music business and moved to New York City in 1950. 39 Jump Boogie: The Central Avenue Enlightenment Louis Jordan Louis Jordan was not merely the “King of the Jukebox” in the 1940s—it is probably not possible to overstate his importance to Jump Boogie and American popular music. When European-American songwriters and performers incorporated Boogie-Woogie into mainstream songs, Jordan—a nationally known African-American performer on a major label (Decca)—asserted the African-American connection to Boogie-Woogie and an unwillingness to have the music usurped; at the same time, he was the exemplar of Jump Boogie and became its most prolific exponent. Although his band—His Tympany Five—had the same instrumentation as Albert Ammons and His Rhythm Kings and Pete Johnson and His BoogieWoogie Boys, Jordan was an established hit maker who literally released new single 78rpm recordings every few months with the same instrumental line-up, and His Tympany Five became the model for a Jump band: Jordan on alto or tenor saxophone, another alto/tenor saxophone, trumpet, upright bass, piano, and drums—sometimes augmented by guitar. 40 Jump Boogie: The Central Avenue Enlightenment Prior to 1941, Jordan had recorded some bluesy numbers, but had primarily been known for novelty tunes. However, the Boogie-Woogie craze and the success of his label mates the Andrews Sisters and Will Bradley on Columbia seemed to spark something within Jordan (or perhaps it was the record label management that did it); in January, 1941, he recorded a Boogie-Woogie that was ostensibly a version of “Pine Top’s Boogie-Woogie” and two original songs from the same recording session in April: the instrumental “Saxa-Woogie” and “Boogie-Woogie Came To Town.” “Boogie-Woogie Came To Town” was notable for being Jordan’s subtle reclamation of African-American popular music and a relatively affectionate satirical jab at Don Raye’s composition style and the somewhat rigid and florid commercial Big Band arrangements of Raye’s songs; “Pine Top’s Boogie-Woogie” is notable because it is only nominally Pine Top Smith’s most famous work, and eschews Smith’s eightto-the-bar piano playing in favour of the four-to-the-bar “Bounce” rhythm on piano. Jordan’s “Pine Top’s Boogie-Woogie” may have been more appropriately entitled “Pine Top’s Bounce.” In Jordan’s arrangement, the horn section essentially follows what Smith played with his right hand and simplified the complex eight-to-the-bar bass pattern Smith played with his left hand to a “walking” four-to-the-bar pattern and the band’s piano player accents up-beats with his right hand and “bounces” them off the bass figure creating an infectious pulse (later the inspiration for Jamaican “Ska” music in the late 1950s and early 1960s). Neither Jordan nor his piano player “invented” Bounce, but Jordan’s “Pine Top’s Boogie-Woogie” is perhaps the first recording on which the rhythm is prominent and readily discerned; henceforth Jordan often used the Bounce rhythm—including on his most famous recording, “Caldonia.” The 1941 Don Raye song, “Bounce Me Brother With A Solid Four,” 41 Jump Boogie: The Central Avenue Enlightenment by both the Andrews Sisters and the Will Bradley Orchestra was a tribute to this new fillip, and Bounce later became the signature of Jump Boogie pianist Roscoe Gordon. The recording ban of 1942 temporarily suspended Jordan’s forays into Jump Boogie and he did not record another until after the ban ended. “Caldonia”—recorded in January, 1945, and released in April was a markedly different Jordan than the one heard going into the ban. His 1941 recordings were much closer in style to the Andrews Sisters or Tommy Dorsey than they were to the Boogie-Woogie Boys; Jordan’s new recordings in 1945 were considerably grittier and Jazzier than his previous work and they arguably launched the Jump Boogie Era. It is also arguable that the success of “Caldonia” paved the way for the surprising and overwhelming success of the “The Honeydripper” later in the year. Jordan followed “Caldonia” with “Buzz Me” in January, 1946, a Bounce from the same session and then in August he released his biggest selling record ever—“Choo Choo Ch’Boogie”—that tied “The Honeydripper” for the still-standing record of 18 weeks at No.1 on the national “Race” charts.39 In June, 1946 he recorded the double-sided hit, “Ain't Nobody Here but Us Chickens” and “Let the Good Times Roll,” that was released for Christmas that year. That same June, 1946, session also produced “Ain’t That Just Like A Woman (They’ll Do It Every Time);” a Fall release that year. In the middle of a run of horn-dominated Jump classics, this record had no horns at all—including Jordan’s own saxophone. It was technically not a Jump and featured the bass player of the Tympany Five at the time—Carl Hogan—on guitar, Jordan on vocals only, piano and drums; essentially Louis Jordan and His Tympany Three. This record is noteworthy because ten years after Chuck Berry would copy the guitar intro virtually note-for-note for his signature guitar riffs on “Roll Over Beethoven” and then on “Johnny B. Goode” two years later. There is a scene in the film Back to the 42 Jump Boogie: The Central Avenue Enlightenment Future in which Michael J. Fox has gone back in time to 1955 and is playing the “Chuck Berry Riff” at a high school dance when somebody in the band calls Chuck Berry on the telephone and says: “Hey Chuck, this is your cousin, Marvin” and proceeds to tell Berry that he has found the new sound Chuck has been seeking and holds the phone out so that Chuck can hear Fox play the licks. The joke was that Michael J. Fox had learned them from Chuck Berry records—but the irony is that Berry learned the riff from the Louis Jordan record. For the next two years, every song Louis Jordan recorded was a classic—and if he wasn’t the most famous African-American to have ever lived in the United States up to that point, he was certainly on a par with Joe Louis, Jackie Robinson, Frederick Douglass, and George Washington Carver. Jordan’s fame and success influenced countless singers at the time and spawned at least one outright emulator—Calvin Boze, on Aladdin Records. Like all Jump Boogie stars except Joe Turner, Jordan’s star began to wane in the mid-1950s, but he continued to make excellent—and sometimes great—Jump Boogie records into the 1960s. http://www.youtube.com/watch?v=PR6pHtiNT_k 43 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=07EsWrp7tFA Most labels had one or two stars and many lesser artists; Specialty Records had eight Jump Boogie superstars—Roy Milton, Jimmy Liggins, Joe Liggins, Lester Williams, ‘King’ Perry, Joe Lutcher, Camille Howard, and Percy Mayfield—and several other Blues, BoogieWoogie, Gospel, and Jazz stars! Art Rupé formed Juke Box Records in 1944 at 2719 West 7th Street, in downtown Los Angeles, and Roy Milton & His Solid Senders immediately had a hit with “Milton’s Boogie.” After Rupé changed the label name to Specialty Records in 1946, Milton had an even bigger hit with the company’s fifth release, the classic “R.M. Blues.” In 1949, the label re-located to 8508 Sunset Boulevard in Hollywood. Art Rupé proved to be the canniest of all the indie label owners in Los Angeles—not only did Specialty outlast all the Jump Boogie labels, but when Jump faded, Specialty became a major force in Rock’N’Roll; most famously, it was the home to all the hits of Little Richard. Although Specialty stopped releasing new material by 1960, Art Rupé retained ownership of the label until 1991. 44 Jump Boogie: The Central Avenue Enlightenment Gene Phillips & his Rhythm Aces, “Rock Bottom” Modern 20-548 (1947): http://www.youtube.com/watch?v=xwFBrV0Td-E&playnext=1&list=PLEAB9DF84125C9F01&feature=results_main Julius Bihari formed Modern Records with his brothers Joe, Lester, and Saul in 1945 at 686 North Robertson Boulevard West Hollywood, between Melrose Avenue and Santa Monica Boulevard. Hadda Brooks’ “Swingin’ the Boogie” had a hit that same year (she was actually Julius’ piano-playing girlfriend who later played a singing piano player in many Hollywood films). The Biharis were known for making great records, but being unable to retain artists—most only stayed a year or two. By far the most consistent hit-making and long-tenured Jump artist on Modern was vocalist/guitarist Gene Phillips, who began recording with the label in 1946 and released 17 singles, including the hits “Hey Now” “Rock Bottom” and “Big Legs.” Phillips recorded 36 Jumps in less than 4 years, before addiction and mental health issues ended his music career in 1950. After having such success with one singing guitarist, in 1949 the Biharis formed the RPM subsidiary in Memphis, and signed B.B. King—a singing Memphis disc jockey/guitarist who alternated Jumps with standard slow Blues. King eventually concentrated solely on Blues and stayed with the Biharis until 1962. The Biharis eventually added the Flair, Meteor, Crown, and Kent labels and their operation continued in some form until all their master recordings were sold in the 1990s. 45 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=0TV8jTsvyXo The three Mesner Brothers—Eddie, Leo, and Ira—started Philo Records in 1945 at 423-1/2 West Fifth Street in downtown Los Angeles. The name was changed to Aladdin Records in April 1946, and after several moves, the offices settled at 5352 West Pico Boulevard in Hollywood. It was not primarily a Jump Boogie label, and released Jazz, Blues, and vocal groups from the very beginning. Aladdin had only two consistent Jump artists— Amos Milburn and Calvin Boze. Piano-playing vocalist Milburn alternated Jump, solo Boogie-Woogie, and ballads, and recorded close to one hundred titles between 1946 and his departure in 1957; vocalist and trumpeter Boze was the most successful Louis Jordan emulator in the country. The label’s initial Jump hits were the first solo recordings by Wynonie Harris, released in September, 1945. Aladdin 3251—“Boogie-Woogie King” by Jimmy Liggins—arguably ended the Jump Boogie era and the label turned to Rock’N’Roll. Aladdin was responsible for some of the most famous hits of the 1950s, and when the hits stopped coming, the Mesners sold the label to Imperial Records in 1962. 46 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=SlNG0a5SimY In 1945, Paul Reiner and his wife, Lillian, purchased the floundering Brooklyn label Black & White Records and moved it to Los Angeles to take advantage of what they correctly perceived to be a golden opportunity. They struck that gold in 1946 with “Bobby Sox Blues” by vocalist/guitar virtuoso Aaron “T-Bone” Walker. Walker was a Texas native and Los Angeles resident who gained national attention through his first Jump Boogie recordings with a somewhat schmaltzy big band in 1945—“Sail On Boogie” and “T-Bone Boogie”—on the short-lived Rhumboogie label out of Chicago. The Walker recordings on Black & White—for which he was accompanied by the Jack McVea All-Stars, the label’s Jump Boogie “house band”—are considered by many aficionados to be the best of Walker’s career. In addition to leading the band that accompanying most other artists on the label and providing musical arrangements, Jack McVea was a legendary tenor saxophonist who wrote and recorded the immensely popular “Open the Door Richard” in 1946 with drummer Rabon Tarrant on vocals. 47 Jump Boogie: The Central Avenue Enlightenment The song became so popular that it spawned two hit sequels (“The Key’s In The Mailbox, Richard” and “Richard Gets Hitched”), a slew of “answer” records, and innumerable “cover” recordings by other artists. Although the label had talent, national “hit” recordings, and substantial sales, the inexperienced Reiners became so heavily indebted that they shuttered the label in mid-1949 and sold the master recordings to Capitol Records. Jack McVea & His All-Stars, “Open The Door Richard”—Black & White 792 (1946) http://www.youtube.com/watch?v=_quPtAWXbN0 48 Jump Boogie: The Central Avenue Enlightenment Swing Time 285A: Jimmy McCracklin “What’s Your Number?” http://www.youtube.com/watch?v=HIH8bhZqxEo Although African-American impresario Jack Lauderdale—an emigré from San Antonio—was a late-comer to the record company game in Los Angeles, the tsunami of Jump Boogie sales persuaded him to found Down Beat Records in 1947. His was the only Jump label to actually be located within Postal Code 11—at 3427 South San Pedro Avenue. Down Beat Magazine forced him to change the name to Swing Beat Records in 1949; he changed the name again to Swing Time Records in 1950, after he purchased the Exclusive masters from Léon René. Swing Time became synonymous with the sophisticated Central Avenue Jump Boogie sound—in fact, the label really defined the style. Swing Time became so important that most of the soundtrack for the film version of the Walter Mosley novel Devil In A Blue Dress, starring Denzil Washington, was from the Swing Time catalogue. Much of the credit for the Swing Time signature sound was due to the musical direction and arrangements of house bandleader Maxwell Davis. Label stars were Lowell Fulson, Jimmy Witherspoon, Jimmy McCracklin, Joe Turner & Pete Johnson, and Felix Gross; and it also launched the careers of Ray Charles (imitating Charles Brown at the time) and Percy Mayfield. The company went bankrupt in 1953, but continued releasing singles until early 1954. 49 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=hLc7rohX9As Capitol Records was founded in March, 1942, by singer/songwriter Johnny Mercer, record store owner Glenn Wallichs, and producer/songwriter Buddy deSylva, and located on Sunset Boulevard in Hollywood. Although it never focused on Jump Blues or Central Avenue, its first hit—“Cow-Cow Boogie” by Ella Mae Morse with the Freddie Slack Orchestra—was not only a huge national phenomenon, but its release a month before the recording ban could also be seen as the swan song of European-American proponents and innovators in Jump. Company legend has it that Gene Wallichs was the first person to provide free promotional recordings to a radio disc jockey. By 1946, in just four years, Capitol was recognized as the sixth “major label” and the first on the West Coast—largely due to its signing and marketing of Nat “King” Cole. “The House That Nat Built” dabbled in Race Music with such good selling artists as vocalists Julia Lee and Nellie Lutcher, and purchased Black & White Records and its T-bone Walker catalogue in 1949. 50 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=20Feq_Nt3nM Not only local labels mined the Central Avenue scene—but the local labels were there and had an obvious advantage. Perhaps the most interesting story of a singer on an out of town label is that of Los Angeles resident and nightclub owner Big Joe Turner. Turner was integral in both popularizing Boogie-Woogie and inspiring Jump Boogie, and had recorded hits on many labels—including several local Los Angeles labels—but he had ties to New York City going back to his days at Café Society, and he had recorded for Atlantic Records partner Herb Abramson on National Records. Atlantic signed Turner in 1951 and that year he began a string of 20 hit Jump Boogies for Atlantic that ended with the last mainstream Jump hit in 1958—“(We’re Gonna) Jump for Joy.” Atlantic was not otherwise a major player in Jump, but Turner became a bona fide Rock’N’Roll star as an overweight 40 year-old man, doing exactly what he had been doing for two decades; and he kept Jump Boogie going for years after his contemporaries faded—and a case can be made that his last hit at age 47 was every bit as exciting as his first (http://www.youtube.com/watch?v=zQTkAhUihGc). 51 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=eiScL3wIUwI The only label outside of Los Angeles that could be considered a Jump Boogie powerhouse was King Records—located at 1540 Brewster Avenue in the unlikely city of Cincinnati, Ohio. When it was founded by Syd Nathan in 1943, Queen and Federal Records were its “Race” labels and King was its “Hillbilly” imprint—but eventually the distinction was erased and Queen was discontinued. King rivaled Specialty for number of major Los Angeles-based Jump stars—including Wynonie Harris, Roy Brown, “Tiny” Bradshaw, Earl Bostic, “Bull Moose” Jackson (and his Buffalo Bearcats), and Eddie “Cleanhead” Vinson. By 1948, “it had become the nation's sixth largest record company” 40—in other words, that year it became the first independent Race Records label to surpass a major label in sales; unlike Capitol Records, it did not sustain such sales and elevate to major status. King was also unusual because its entire production process was done in house, including recording, mastering, printing, pressing and shipping. King produced numerous R&B hits into the 1950s and 1960s, and was only sold to Starday in Nashville after Syd Nathan died in 1968 at age 64. 52 Jump Boogie: The Central Avenue Enlightenment http://www.youtube.com/watch?v=Y1y-tbz1u78 In the 1940s, Houston was a booming town with an African-American population that had more than doubled during the war. It had a flourishing music scene along Dowling Avenue, yet the biggest and best musical performers inevitably moved to Los Angeles. In 1945, Robey opened the Bronze Peacock Dinner Club that also featuring the major touring African-American bands and orchestras of the day. He founded Peacock Records 1949 to record singer/guitarist Clarence “Gatemouth” Brown, whom Robey discovered in his club and who had been dropped by Aladdin Records. Brown had almost immediate success in 1949 with “Mary’s Fine”—and then released fifty singles on Peacock in the next decade without charting.41 By all accounts, Don Robey was a difficult man, and rarely retained his Jump artists—and Peacock was primarily a Gospel label. In addition to Brown, Jimmy McCracklin, Johnny Otis, Memphis Slim, and Walter Brown all did time at Peacock. Robey’s fortunes soared in the 1960s with Duke Records and Bobby “Blue” Bland. He sold his operation to ABC Records in 1973 due to ill-health, but stayed as a consultant until his death in 1975. 53 Jump Boogie: The Central Avenue Enlightenment There were dozens of local record labels of various sizes in African-American enclaves throughout America that tried their hands at Jump Boogie during the ten years of dizzying creativity that produced an estimated 2,000 Jump “sides” (a side of a 78rpm record or 45 rpm)—and thousands of musicians who played the music. It may be tempting to surmise that Jump Boogie artists had merely exhausted all the possibilities of the music—except that a great many Jump Boogie records of the mid-1950s are as equally pleasing to modern ears as those of the mid-1940s. Sometimes, they had a refinement that made them superior to earlier efforts. At any rate, it was an impressively long run of dominance in popular music, and when the end came, several of the great sax players who had been Jump stalwarts—such as “Cleanhead” Vinson, Arnett Cobb, and Willis “Gator” Jackson—simply stepped completely into Jazz and generally long second careers. On the other hand, the man who may be the most iconic tenor player of Jump Boogie—Big Jay McNeely—went to work for the Post Office. New and younger artists were emerging and began to shift the focus of popular music to vocal groups and singers, with instrumentation that emphasized rhythm sections and “backbeats” (syncopated accenting of the second and fourth beats). Rather than featuring horn sections, line-ups usually featured drums, bass, piano, guitar, and a tenor sax for solos during instrumental breaks. Yet, the basic Boogie-Woogie structure continued to fuel not only African-American music and recordings, but also the “Rock’A’Billy” genre that essentially married Boogie-Woogie and Jump Boogie to Country music. However, in the 1960s, the Jump Boogie and Boogie-Woogie underpinnings of American popular music almost completely vanished from musical endeavours—and almost from the collective American memory. Soul, Funk, Motown, the Beatles, and the British Invasion of Neo-Blues bands simultaneously took American popular music in disparate directions, but away from Boogie- 54 Jump Boogie: The Central Avenue Enlightenment Woogie. Even the Blues music that the British Invasion returned to America in the 1960s to become the foundation of modern Rock Music was not the Jazzy sophistication and daring of Jump or Boogie-Woogie, but rather the “down-home” harmonica and guitar-driven Blues of Chicago and the Mississippi Delta—with loud guitars. The Central Avenue settlement in the 1940s and early 1950s was an exciting place and time and its musical and cultural heritage is simply too valuable and too pleasant to be allowed to fade into oblivion. It is possible that Jump Boogie may be neglected because it developed contemporaneously with Bebop, and Bebop is often considered intellectually challenging and a supreme artistic achievement by academics and other intellectuals— whereas Jump Boogie may be viewed as too earthy and somewhat vulgar. Jump Boogie certainly never held the cognoscenti in thrall like Bebop: “Virtually every arts and entertainment magazine was scrambling for anything related to the hottest trend in music— Bebop.”42 It is as though a separate reality existed—the reality that Bebop was developing simultaneously with Jump Boogie—often in the same clubs with the same musicians; and musicians and ideas crossed back-and-forth between both genres at will. Perhaps the societal memory of Central Avenue in the 1940s and 1950s is merely a victim of East Coast-centrism that holds nothing of importance ever transpires west of the Hudson River. Whatever the reason that Jump Boogie is so undervalued that the very name of the genre is almost unknown, the fact of the matter is that it is not merely underappreciated, it is as though the culture suffered a musical memory lapse; even after a recent “revival” of sorts. This lapse is reflected in the paucity of scholarly research and critical analysis regarding Jump Boogie in the country of its origin—yet scholars and aficionados around the world steadily continue to research and unearth the complete recorded output of virtually 55 Jump Boogie: The Central Avenue Enlightenment every American record label that recorded a single Jump Boogie song—and today the music is far more easily available to anyone interested in the music than it would have been at the height of its popularity in the late 1940s and early 1950s. The Internet, YouTube, “soundies,” i-Tunes, Amazon, AllMusic, CDUniverse, and label websites, all provide listening samples of virtually every extant Jump Boogie recording. In order to listen to such an array of music in the 1940s would have required an individual to perpetually travel by train or car to every African-American population center in the United States and peruse every record store in those neighbourhoods, and then preview stacks of records in listening booths. Such a search can now be done in a few hours on the Internet. However, it is not possible to experience on the Internet—or anywhere else—the excitement, aural pleasure, and sense of community that existed in the Central Avenue settlement of the 1940s and 1950s. At best, a listen to a Jump Boogie side re-incarnates the music and the joie de vivre of Central Avenue for about three minutes or so at a time; however, learning that the music existed and still exists is a giant first step. A culture that forgets its heritage is greatly diminished. Perhaps, the end of an era: http://www.youtube.com/watch?v=HlqFGKOFS3Y 56 Jump Boogie: The Central Avenue Enlightenment NOTES: 1 Dobson, Sara S. & Avery Clayton. “Central Avenue & Beyond: The Harlem Renaissance in Los Angeles.” San Marino, CA: Huntington Library. 24 October, 2009 through 8 February, 2010. Accessed 01 May, 2012… http://huntington.org/huntingtonlibrary_02.aspx?id=5090 2 Ibid. 3 Collins, Willie R. “California Rhythm and Blues Recordings.” California Soul: Music of African-Americans in the West. Jacqueline Cogdell DjeDje & Eddie S. Meadows (eds.). Berkeley, CA: University of California Press (1998)—ppg. 218-222. 4 Dobson, Sara S. & Avery Clayton. “Central Avenue & Beyond: The Harlem Renaissance in Los Angeles.” San Marino, CA: Huntington Library. 24 October, 2009 through 8 February, 2010. Accessed 01 May, 2012… http://huntington.org/huntingtonlibrary_02.aspx?id=5090 5 Smith. RJ. The Great Black Way: Los Angeles in the 1940s and the Lost African-American Renaissance. New York, NY: PublicAffairs (2006). 6 Ibid. 7 Tennison, John Dr. The Boogie-Woogie Foundation (BoWoFo.org). Texarkana, TX: The Boogie-Woogie Foundation (2010-2012). Accessed: 15 December, 2012… http://www.bowofo.org/ Note: By far the most research and writing being done regarding Boogie-Woogie is by psychiatrist John Tennison MD, from his hometown of Texarkana, Texas—in the proximate region where he believes the genre originated. As with a great deal of ethnomusicology, it is done by an enthusiast, is somewhat enigmatic, and is not “peer reviewed” because the research is singular and not affiliated with an academic institution nor published by an academic entity. Based upon the hometowns of the artists involved and the fact that Marshall, Texas, is considered to be the original hearth of Boogie-Woogie activity, there is no apparent reason to doubt Tennison’s basic research or conclusions… Also see: “Marshall, Texas: The Birthplace of Boogie Woogie”—Accessed: 10 May, 2013…http://boogiewoogiemarshall.com/ 8 Shaw, Arnold. “The Boogie-Woogie Craze, and 1938.” Honkers & Shouters: The Golden Years of Rhythm & Blues. New York, NY: Macmillan Publishing, Inc. (1978)—pg.51. 9 Taylor, William Robert. Inventing Times Square: Commerce and Culture at the Crossroads of the World. New York, NY: The Russell Sage Foundation (1991)—pg. 176. 57 Jump Boogie: The Central Avenue Enlightenment 10 Burns, Gary. “A Typology of ‘Hooks’ in Popular Records.” Popular Music, Vol. 6, No. 1. (January, 1987)—pp. 1-20. 11 “Leading Music Box Records (1940 & 1941).” New York, NY: Billboard Magazine (Nielsen Business Media, Inc.) (July, 1940 through January, 1941). Note: “Beat Me Daddy, Eight To The Bar” reached #10 for Will Bradley and #2 for the Andrews Sisters. 12 Benward, Bruce & Marilyn Saker. Music In Theory & Practice: 7th Edition. New York, NY: McGraw-Hill College (2003)—Vol. 1, pg. 318. Note: A bridge, “middle eight (measures),” “b section,” “release,” “channel”—or simply “the change”—is a section in the middle of a popular song providing contrast with the body of the song and preparation for return to the body. In standard popular songwriting, it usually begins with the IV chord rather than the I: usually, IV-I-IV-V. 13 Gregory, James N. “The Second Great Migration: A Historical Overview.” African American Urban History: The Dynamics of Race, Class and Gender since World War II. Joe W. Trotter, Jr. & Kenneth L. Kusmer, eds. Chicago, IL: University of Chicago Press (2009)—ppg.19-38. Note: “The Second Great Migration” of African-Americans in post-Civil War America saw more than five million African-Americans vacate the South during World War II (from 1941-1945) and migrate to the North, Mid-West, and West. Some scholars consider this migration to have lasted until 1970. 14 (No name or date provided). National Park Service, National Register of Historical Places—“Historic Resources Associated with African-Americans in Los Angeles.” Accessed: 01 May, 2012…http://www.nps.gov/nr/feature/afam/2010/afam_los_angeles.htm 15 Ibid 16 17 18 Otis, Johnny. Upside Your Head: Rhythm & Blues On Central Avenue. George Lipsitz (editor). Hanover, NH: Wesleyan University Press (1993)—pg. 4. [No author or date provided] “1917: Buchanan v. Warley.” Boston, MA: The Fair Housing Center of Greater Boston. Accessed: 21 June, 2013… http://www.bostonfairhousing.org/timeline/1917-Buchanan-v.Warley.html Vinson, Fred M. [Chief Justice]. Shelley v. Kraemer (1948). Text of majority opinion: BlackPast.org. Seattle, WA: University of Washington. Accessed: 21 June, 2013… http://www.blackpast.org/?q=primary/shelley-v-kraemer-1948 58 Jump Boogie: The Central Avenue Enlightenment 19 Ethel Prioleau v. Board of Playground & Recreation Commissioners (1931) S.P. 285104; City Council File 1636 (1931), Los Angeles City Archives. Note: Superior Court Judge Walter S. Gates ordered an end to racial segregation in Los Angeles municipal swimming pools in summer 1931 after Ethel Prioleau—the widow of an United States Army major—sued the city because she was not allowed to use a swimming pool near her home, but instead had to travel 3.6 miles to use the “Negro swimming pool.” One day per week, other city pools were opened to Negroes, but closed to whites. The Los Angeles City Council, by a vote of 8 to 6, refused to authorize the city attorney to appeal the case. 20 Eastman, Ralph. “Central Avenue Blues: The Making of Los Angeles Rhythm & Blues, 1942-1947.” Black Music Research Journal 9, No.1 (Spring 1989)—pg. 24-26. 21 McGee, Cecilia. “The Open Road Wasn’t Quite Open to All”. New York Times (22 August, 2010). New York, NY: New York Times Company. nytimes.com—Accessed: 01 May, 2012…http://www.nytimes.com/2010/08/23/books/23green.html?pagewanted=all. 22 Civil Rights Act, text. Accessed: 01 May, 2012… http://www.ourdocuments.gov/doc.php?flash=true&doc=97&page=transcript 23 Kinsella, Lucy. “Pullman Porters: From Servitude to Civil Rights.” Chicago, IL: WTTW/WFMT Public Media. www.WTTW.com—Accessed 1 May, 2012... http://www.wttw.com/main.taf?p=1,7,1,1,41 24 Weingroff, Richard F. “Federal Aid Road Act of 1916: Building the Foundation.” Public Roads. Washington, DC: Department of Transportation/ Federal Highway Administration (Summer 1996, Vol. 60; No. 1)—Accessed 1 May, 2012... http://www.fhwa.dot.gov/publications/publicroads/96summer/p96su2b.cfm 25 Weingroff, Richard F. “From 1916 to 1939: The Federal-State Partnership at Work.” Public Roads. Washington, DC: Department of Transportation/ Federal Highway Administration (Summer 1996, Vol. 60; No. 1)—Accessed 1 May, 2012... http://www.fhwa.dot.gov/publications/publicroads/96summer/p96su7.cfm 26 McKnight, Tom L. & Darrel Hess. Physical Geography: A Landscape Appreciation; Ninth Edition. Upper Saddle River, NJ: Pearson Prentice Hall ()—pg. 168. Note: Simply put, a “rain shadow” is an arid climate that develops on the leeward or downwind side of a mountain range (that is, the side facing away from the sea); whereas the windward side (the side facing the sea) is lush and green. 59 Jump Boogie: The Central Avenue Enlightenment 27 (No name, date, or information provided) The Republic of Cascadia. Note: There are several websites advocating an independent Cascadia in the Pacific Northwest, all without any authorship or contact datea. Accessed: 01 May, 2012… http://www.pacificbulbsociety.org/pbswiki/files/00_others/Western_North_Am_map. gif http://republic-of-cascadia.tripod.com/ http://zapatopi.net/cascadia/ 28 McKnight, Tom L. & Darrel Hess. Physical Geography: A Landscape Appreciation; Ninth Edition. Upper Saddle River, NJ: Pearson Prentice Hall ()—pg. 229-231. Note: A Mediterranean Climate Zone is centered at 35° Latitude on western sides of continents in the Northern Hemisphere and eastern sides of continents in the Southern Hemisphere with: warm/hot summers and mild winters and year-round coastal mildness; moderate precipitation, usually in winter, considerable sunshine and coastal fog; winds from the sea. 29 Richards, Bliss Adrian. “The West Coast Mediterranean Climate Zone.” Woodbridge, CA: BajaQuest.com; Accessed: 01 May, 2012… http://www.bajaquest.com/maps/vegetation.html Note: This website has the best map illustration of the Baja California del Norte natural vegetative region map, showing the continuation of the “California” Mediterranean Climate Zone south into the littoral region of the upper Baja Peninsula. 30 Pepper, Art & Laurie Pepper. Straight Life. New York, NY: Schirmer Books (1979)—pg. 42. 31 “juke joint: a small roadside establishment in the southeastern United States where patrons may eat and drink, and dance to music provided by a jukebox.” WordNet® 3.0. Princeton, NJ: Princeton University. <Dictionary.com Accessed: 24 June, 2013…http://dictionary.reference.com/browse/juke joint 32 1944 Federal Excise Cabaret Tax and revisions, text. Accessed: 01 May, 2012… http://openjurist.org/344/f2d/455/united-states-v-reseda-bowl-inc 33 (No name provided). “1940 Box Office.” Box Office Digest. Hollywood, CA: Box Office Digest (April, 1941)—pg. 18. 34 Shaw, Arnold. Honkers & Shouters: The Golden Years of Rhythm & Blues. New York, NY: Collier Books (1978)—“Interview with Léon René.” ppg. 150-168. 35 Dixon, Robert M.W. & John Godrich. Recording The Blues. London, UK: November Books Limited (1970)—pg. 16. 36 Broven, John. Record Makers & Breakers: Voices of Independent Rock’n’Roll Pioneers. Champaign, IL: University of Illinois Press (2009)—pg. 38. 37 Ibid, pg.38. 60 Jump Boogie: The Central Avenue Enlightenment 38 Hurte, Leroy. “Central Avenue Sounds: Leroy Hurte.” Tape Number: I, Side One, 12 July, 1995. Calisphere, University of California, Los Angeles. Los Angeles, CA: University Library of the University of California, Los Angeles. Accessed: 21 June, 2013… http://content.cdlib.org/view?docId=hb4m3nb6cj;NAAN=13030&chunk.id=div00015 &toc.id=&toc.depth=1&brand=calisphere&anchor.id=p1#X 39 Broven, John. Record Makers & Breakers: Voices of Independent Rock’n’Roll Pioneers. Champaign, IL: University of Illinois Press (2009)—pg. 38. 40 (No author provided). “Spotilight On…King Records.” CincinnatiLibrary.org; Cincinnati, OH: The Public Library of Cincinnati & Hamilton Country (April, 2009). Accessed: 8 June, 2013… http://www.cincinnatilibrary.org/features/kingrecords.html 41 Kennedy, Rick & Randy McNutt. “Five: Duke/Peacock.” Little Labels—Big Sound: Small Record Companies and the Rise of American Music. Bloomington, IN: Indiana University Press (1999)—pg. 77. 42 Kelley, Robin D.G. Thelonious Monk: The Life and Times of an American Original. New York, NY: Free Press (2009)—ppg. 122-123. 61 Jump Boogie: The Central Avenue Enlightenment JUMP BOOGIE Discography (This is a near complete alphabetical listing by artist of most Jump Boogie recordings between 1939 and 1958 with approximately 2000 titles—with tempos that vary from fast, to mid-tempo, to slower-but-not-slow. There are an estimated 100-200 additional Jump titles not listed here—but possibly double that number, because an exact total is probably indeterminable and there are disputes regarding which songs qualify as Jumps. A few titles with obvious tuning or pitch problems or poor performances have been omitted from this list. Most of the listed recordings may be previewed on YouTube, i-Tunes, or Amazon MP3. The original label data has been omitted from this discography because these titles are available in such a variety of modern formats and from a variety of sources which do not include such information that attempting to search for label data when looking for these titles would be an unnecessary hindrance rather than a help.) Ace’s Wild Burley Cutie Don’t You Know Follow the Rule No Money Johnny Ace w/Johnny Board and his Orchestra How Can You Be So Mean Jo-Jo Adams w/Maxwell Davis and his Blenders Don’t Give It Away Crazy Baby Hard-Headed Woman When I’m In My Tea Chuz Alfred Rocking Boy Annisteen Allen w/Bull Moose Jackson Oo Oo Ee Bob A Lee Bob Jesse Allen Goodbye Blues Let´s Party Take It Easy Lee Allen w/The Paul Gayten Orchestra Creole Alley Drivin’ Home (Part 1 & 2) Gayten’s Nightmare Johnny Alston and his Orchestra Brooklyn Jump I Found A New Baby Sam The Boogie-Woogie Man Albert Ammons and his Rhythm Kings Ammons Stomp Boogie Woogie Stomp Jammin' The Boogie Shufflin' the Boogie Elton Anderson Too Tired Ernestine Anderson w/The ‘King’ Solomon Orchestra Square Dance Boogie Ernie Andrews w/Maxwell Davis and his Blenders Pork Chops & Mustard Greens Travelin’ Baby The Andrews Sisters Beat Me Daddy (Eight to the Bar) [Single] Boogie-Woogie Bugle Boy Bounce Me Brother With A Solid Four (Single) In The Mood Don Archer Fathead Blues Archibald Ballin’ With Archie Great Big Eyes (Those Little Reds) She’s Scattered Everywhere Lil Armstrong Joogie Boogie Little Maxie Bailey Betty Jane Drive Soldiers Drive Love Me Pretty Baby My Baby’s Blues Rockin´ The Blues Sting-A-Ree LaVerne Baker w/Eddie ‘Sugar Man’ Penigar Orch. Easy, Baby Buddy Banks Banks’ Boogie East Side Boogie Happy Home Blues Need It Bad Johnny Ace and the Beale Streeters 62 Jump Boogie: The Central Avenue Enlightenment Dave Bartholemew Pee Wee Barnum Ed Barron and his Orchestra Paul Bascomb Count Basie and his Orchestra Leo Baxter Beale Street Gang Good Rockin’ Sam Beasley Buster Bennett and his Band Gladys Bentley & Quintette (“Fatso Bently”) Dennis “Long Man” Binder Dennis Binder w/Ike Turner’s Kings of Rhythm Oscar Black Clifford Blivens w/The Johnny Otis Band Zuzu Bollin Bonita w/Bill Harvey’s Orchestra Mac Booker Earl Bostic and his Orchestra Ain’t Gonna Do It (I’m Goin’ Home) Basin Street Breakdown Can’t Take It No More Country Boy Gert Town Blues Good Jax Boogie Jump Children Mr. Fool Nickel Wine She’s Got Great Big Eyes Shufflin’ Fox Who Drank My Beer Rockin’ Rhythm Cracklin’ Bread More Blues-More Beat Nona Mumbles Blues Pink Cadillac Two-Ton Tessie Basie Boogie One O’Clock Boogie Red Bank Boogie Depend On You Fat Stuff Boogie Raisin’ The Roof Happy Go Lucky Famous Door Boogie Jersey Cow Bounce I’m A Bum Again I Want To Woogie-Woogie It Can Never Happen Memphis Hop Mr. Bennett Blows Rockin’ My Blues Away Stop That Walking Baby Three Different Women Boogie'n My Woogie Boogie-Woogie Cue June-Teenth Jamboree Feel So Good I’m A Lover The Long Man Early Times I Miss You So Love, Love, Love Aching Heart Boogie Fat Man Boogie Hobo Boogie Why Don’t You Eat Where You Slept Last Night The Walkin’ Blues (Walk Right In/Walk Right Out) Oklahoma Baby Blip Boogie Bostic’s Boogie Bostic’s Jump Choppin’ It Down Cuttin’ Out Don’t You Do It Earl’s Blues Earl’s Rhumboogie Hot Sauce! Boss Let’s Ball Tonight Part 1 & 2 Nay! Nay! Go Away! Swing Low Sweet Boogie Watch Where You Walk , Boy! Who Snuck The Wine In The Gravy? 63 Jump Boogie: The Central Avenue Enlightenment Eddie Boyd and his Boogie Band Calvin Boze and his All-Stars Will Bradley and his Orchestra w/Freddie Slack Tiny Bradshaw and his Orchestra Teddy Brannon and his Orchestra Boo Breeding Jackie Brenston & Billy Love Jackie Brenston and his Delta Cats Billy Brooks Dusty Brooks Louis Brooks and his Pine Toppers Tommy Lee Brooks Big Bill Broonzy and his Big Little Orchestra Big Bill Broonzy and his Rhythm Band Baby What’s Wrong With You Blue Coat Man Getting My Divorce I’m Goin’ Downtown I Had To Let Her Go Kilroy Won’t Be Back Mr. Highway Man Playmate Shuffle Rosa Lee Swing Why Did She Leave Me Why Don’t You Be Wise Baby You Got To Leave That Gal Angel City Blues Baby, You’re Tops With Me Choo Choo’s Bringing My Baby Home Good Time Sue Hey, Lawdie Miss Claudie I’m Gonna Steam Off The Stamp I’ve Got News For You Lizzy Lou: Part 1 & 2 Looped Safronia B Stinkin’ From Drinkin’ Waitin’ & Drinkin’ Working With My Baby Beat Me Daddy, Eight To The Bar Part 1 & 2 Chicken Gumboogie Down The Road Apiece Rock-A-Bye The Boogie Boodie Green Bradshaw Boogie Bradshaw Bounce Breakin’ Up The House Cat Fruit Gravy Train Heavy Juice I’m A High-Ballin’ Daddy I’m Going To Have Myself A Ball Lay It On The Line Mailman´s Sack Soft T-99 Take The Hands Off The Clock The Train Kept A-Rollin’ Walk That Mess Well, Oh, Well Everybody Get Together Country Woman Juiced In My Real Gone Rocket Much Later Rocket 88 I’m Gone You Can Stay But That Jive’s Got To Go Almost Boogie Keep Pushing Steam-Pressing Woman Leavin’ Day South Bound Train Tomorrow You Changed Big Bill’s Boogie I Can Fix It I Can’t Write Just Rocking Stop Lying Woman 64 Jump Boogie: The Central Avenue Enlightenment Brother Bell w/Ike Turner’s Kings of Rhythm Benny Brown Boots Brown and his Blockbusters Clarence ‘Gatemouth’ Brown Earl Brown w/Red Callender and his Sextet Honey Brown James ‘Wide Mouth’ Brown Johnnie Brown J.T. ‘Nature Boy’ Brown Lee Brown Little Brother Brown Nappy Brown Pete Brown Quintet Piney ‘Kokomo’ Brown & His Blue Flashes Richard Brown & His Orchestra Rose Brown & Jimmie Harris Whole Heap Of Mama Pappa She Treats Your Boy So Mean Block Buster Baby, Take It Easy Boogie Rambler Boogie Uproar Did You Ever Love A Woman? Gatemouth Boogie I Live My Life Just Got Lucky Mary’s Fine (Great Big Eyes) Pale Dry Boogie Part 1 & 2 Rock My Blues Away She Walks Right In She Winked Her Eye Too Late, Baby Without Me, Baby You Got Money I’m A Lovin’ Man I Want A Little Girl Rockin’ And Jumpin’ Boogie-Woogie Nighthawk I’m Gonna Stop (Foolin’ Around) Blues, Blues, Boogie Walking Home Windy City Boogie Bobbie Town Boogie Goof Boogie Don’t Be Angry The Right Time Pete Brown’s Boogie How About Rocking With Me Mourning Piney Brown Boogie Talking About You That’s Right Baby I’m from Texas Shake ‘Em Up Back From Korea 65 Jump Boogie: The Central Avenue Enlightenment Roy Brown & His Mighty, Mighty Men Ruth Brown and her Rhythm Makers Tommy Brown and his Orchestra Walter Brown w/Jay McShann and his Orchestra Waymon Brown Willie Brown Milt Buckner Teddy Bunn Group Ain’t No Rocking No More Bar Room Blues Beautician Blues Big Town (The Girls In) Big Town Black Diamond Boogie At Midnight Butcher Pete (Part 1 & 2) Cadillac Baby Crazy, Crazy, Women Everything’s All Right Gal From Kokomo Good Rockin’ Man Good Rocking Tonight Grandpa Stole My Baby Hurry, Hurry, Baby I’ve Got The Last Laugh Now Let The Four Winds Blow Lolly Pop Mama Love Don’t Love Nobody Miss Fannie Brown Miss Fannie Brown Got Married Money Can’t Buy Love Old Age Boogie Please Don’t Go Rainy Weather Blues Rebecca, Rebecca (New Rebecca) Ridin’ High Rock-A-Bye Baby Rockin’ At Midnight Roy Brown Boogie Shake ‘Em Up, Baby Train Time Blues Up Jumped The Devil Whose Hat Is That As Long As I’m Moving Hey, Pretty Baby I Know I’ll Wait For You It’s All For You Mama, He Treats Your Daughter Mean Teardrops From My Eyes Wild Wild Young Men V-8 Baby Atlanta Boogie Gonna Play With Your Woman I’m Glad To Be Back I’m Gonna Get Married I’ve Come Back To Get You It’s A Good Deal Mama The Jumpin’ Blues Lying Woman Blues Mary B. My Baby’s Boogie-Woogie Stop Light Susie May What Did You Do Last Night? Work Don’t Bother Me You Better Leave My Woman Alone The Six Hundred Block Barefoot Susie Cadillac Boogie Easter Bunny Boogie Fatstuff Boogie Red, Red, Wine Ee-Bobaliba 66 Jump Boogie: The Central Avenue Enlightenment Hi-Yo Silver I Feel So Fine Way Down Boogie Lois Butler w/Joe Houston Boogie-Woogie Woman Robert Caffery Blodie’s Blues Bob Call Call’s Jump Red Callender and his Sextet The Honey Jump - Pt.1 & 2 Red Boogie Cab Calloway and his Cab Jivers Rooming House Boogie Ike Carpenter Orchestra Pachuko Hop Cecil ‘Count’ Carter and his Orchestra w/Ben Hughes What’s Wrong With Me Goree Carter and the Hepcats Back Home Blues Come On Let’s Boogie Drunk Or Sober Hoy-Hoy If It’s True What They Tell Me I’m Just Another Fool I’m Your Boogie Man I’ve Got News For You I’ll Send You Let’s Rock Rock Awhile Seven Days She’s Just Old Fashioned She’s My Best Bet True Love Is Hard To Find What A Friend Will Do Workin’ With My Baby Nelson Carter Crazy About My Baby Lonnie ‘The Cat’ Cation w/Bobby Hines Orchestra The Road I Travel Eddie Chamblee Back Street Come On In (Creeping) Late Freight Southern Comfort Bobby Charles (Guidry) See You Later Alligator Ray Charles I’ll Do Anything But Work Mess Around Ricky Charles Hi Yo Silver Freddie Clark Once More, Baby Arnett Cobb and his Band Cobb’ Boogie Go, Red, Go No Child No More Matt Cockrell w/Ike Turner’s Kings of Rhythm Baby Please The Cocoas Flip Your Daddy Eddie Cole That’s Right Tucker Coles Don’t Get Excited House Rockers Jamboree Joe Conwright and his Lucky Seven She Won’t Be True Jack Cooley 50 Dyna-Flow I Could But I Ain’t Tom Tom Boogie Jack Cooley w/Albert Ammons and his Rhythm Kings I Don’t Want to See You Cathy Cooper w/The Johnny Otis Band Alimony Papa Dolly Cooper I Wanna Know Micky Cooper When I Had Money Thelma Cooper I Need A Man Cousin Joe Chicken A La Blues Looking For My Baby Misery Cousin Joe w/The Earl Bostic Orchestra The Barefoot Boy Cousin Joe w/Pete Brown’s Brooklyn Blowers Boogie-Woogie Hannah Desperate GI Blues Weddin’ Day Blues Cousin Joe w/Freddie Kohlman Orchestra Hole In The Ground Ramblin’ Woman Harry Crafton It’s Been A Long Time, Baby Roly Poly Mama She’s Got A Mule Kick Harold Burrage 67 Jump Boogie: The Central Avenue Enlightenment Hosie Dwine Craven Jimmy Crawford w/Frank Motley Crew Mercury Boogie Heavy Weight Baby That Ain’t Right Johnny Crawford w/The Johnny Otis Band Texas Woman Pee Wee Crayton Blues Before Dawn Don’t Go Do Unto Others Hurry, Hurry I Got News For You Runnin’ Wild Texas Hop You Know - Yeah Bill Crosby Sneaking Woman Blues Gay Crosse and his Good Humour Six Fat Sam From Birmingham Gay’s Blues G.C. Rock It Ain’t Gonna Be That Way No Better for You Swallow Dollow Frank “Floorshow” Culley and his Band Cole Slaw (Sorghum Switch) Floorshow Rhumboogie Jive Earl Curry I Want Your Loving Eddie ‘Tex’ Curtis and his Orchestra Shake, Pretty Baby, Shake Daddy Cleanhead w/Chuck Higgins and his Mellotones Big Fat Mama Papa Charlie Something’s Goin’ On In My Room Larry Darnell Do You Love Me For You My Love I’ll Be Sittin’, I’ll Be Rockin’ Pack Your Rag And Go Why Did You Say Goodbye Julian Dash Hot Rod Open Up Them Pearly Gates Charlie Davis and his Orchestra Ain’t No Better For You Boogie-Woogie Baby Charlie The Boogie Man Crack Up Going To L.A. Hey! Hey! Pretty Mama I Know What It’s All About Million $ Baby Old Time Blues Rainin’ Blues San Quentin Bait Song Of The Share Cropper The Traffic Is Terrific You Fine And Healthy Thing You Sure Gotta Lot Of Nerve Dick Davis Screamin’ Boogie Eddie ‘Lockjaw’ Davis w/The Bill Doggett Trio Mountain Oysters Jack Davis Goin’ To Nachez Maxwell Davis and his Blenders Bristol Drive MD Boogie Hey, Boy Hung Out Ooh! Popsicle Resistor Royal Boogie Side Car Th’ Adams Bop Hop Thunderbird Numa Lee Davis w/ Russell Jacquet’s Yellow Jackets Old Maid Ramp Davis Baby Sue (aka Mary Sue) Bayou Bounce The Blues Has Got Me 68 Jump Boogie: The Central Avenue Enlightenment Tiny Davis & Her Orchestra Walter Davis Margie Day David Dean w/Grady Gaines and his Orchestra Sarah ‘Fatwoman’ Dean Jeanne de Metz w/Johnny Alston and his Orchestra Mary de Pina Doles Dickens Vernon Dilworth and his Top Cats Floyd Dixon Tina Dixon w/The Gene Nero Sextet Doc Sausage and his Mad Lads Doc Starkes & The Nite Rider Fats Domino Tommy Dorsey Orchestra Big Bob Dougherty & Orchestra Tommy ‘Shy Guy’ Douglas George’s Dukes & Duchess (W/ Marion Abernathy) Jesse Edwards w/Sonny Thompson Orchestra Willie Egan Charlie Ferguson and his Orchestra H-Bomb Ferguson Herb Fisher Trio Buddy Floyd w/Maxwell Davis and his Blenders The Four Blazes T.J. Fowler and his Orchestra Five Blazes Red Foxx How About That Jive? Race Horse Stop That Train In Harlem Take Out Your False Teeth Daddy Too Fine To Be Mine I Got Your Boogie Everything Will Be All Right Red Light Boogie-Woogie Man We’re Gonna Rock This Morning Shorty Carlos Dixon Shuffle Judgement Day Hey, Bartender Nose Trouble Please Don’t Go Real Lovin’ Mama That’ll Get It Parrot Bar Boogie Rag Mop Sausage Rock Women And Cadillacs Boogie-Woogie Baby Rockin` Chair She’s My Baby Trust Me Boogie-Woogie (Pine Top’s Boogie-Woogie) Big Bob’s Boogie Douglas Boogie Raid On Cedar Street Abernathy’s Boogie Jumping with the Rumba I’m Mad About It, Baby (Meet Me Baby, With Your Black Dress On) I Can’t Understand It Bean Head Bookie’s Blues Give It Up Good Lovin’ Good Time Gal Hard Lovin’ Woman The Hole In The Wall Hot Kisses I Need You Baby Josephine My Fine Brown Frame My Love New Way Blues Rock H-Bomb, Rock She’s Been Gone Slowly Goin’ Crazy Wine, Wine, Wine You Don’t Live But Once Get Out Mary Jo Rather Have You Fat & Happy Back-Biter Harmony Grits Red Hot Blues Take Off T.J. Boogie Wine Cooler Yesknow Chicago Boogie Crazy House 69 Jump Boogie: The Central Avenue Enlightenment Panama Francis and his Miamians Sammy Franklin and his Orchestra Irlton French w/Chuck Thomas Joe ‘Papoose’ Fritz w/The Johnny Otis Band Lowell Fulson Bob ‘Doc’ Gaddy and his Alley Cats Slim Gaillard and his Boogiereeners Little Joe Gaines Bill Gaither and his Madcaps Cecil Gant Poison Gardner and his All-Stars Clarence ‘Bon Ton’ Garlow Hen Gates and his Orchestra The Gators Billy Gayles w/Ike Turner’s Kings of Rhythm Paul Gayten Gene Gilbeaux Melvin ‘Sax’ Gill Lloyd Glenn and his Joymakers Benny Goodman Orchestra Charlie Gonzales Jimmie Gordon & His Bip Bop Band Three Bones Jitterbug Jump Panama’s Jump Benson Bounce Bouncin’ My Run Around Baby Real Fine Girl Honey, Honey I Love You My Darling I’m Not Suspicious, But Lady Bear Boogie Summer’s Coming On They Were Right Wrong Doing Woman Baby Won’t You Jump With Me Check Yourself Cold Hearted Woman Do Me Right Don’t Leave Me Baby Every Day I Have The Blues Hung Down Head I Believe I’ll Give It Up I’ve Got A Mind to Ramble I Still Love You Baby I Want To See My Baby Juke Box Shuffle Rock’ Em Dead Rollin’ Blues (Instrumental) Swinging Party Evil Man Little Girl’s Boogie No Help Wanted Slow Down, Baby Harlem Hunch Sighing Boogie Slim Gaillard’s Boogie Travelin’ Blues Tutti Frutti She Won’t Leave No More Introducing Mr. Gaither Rock Little Baby What’s the Matter 10 O’Clock Stomp Boogie Mood Jumpin’ For Joy She’s So Fine Flash Wine O Wine I’m Tore Up Backtrackin’ (Dr. Daddy-O) Bear Hug Creole Gal Down Boy Kickapoo Juice Fishtails Yeah! Yeah! Yeah! Up The Hill With “Jeep” Mel’s Jump Jumpin’ With Lloyd Rampart Street Jump Roll ‘Em Hey, Mus’l Tell Hi Yo Silver I’m Free Jumpin’ At the Club Blue Flame Rock That Boogie 70 Jump Boogie: The Central Avenue Enlightenment Rosco Gordon Stomp Gordon Dell Graham w/The Lowell Fulsom Band Lee Graves Hattie Green Rudy Green Tuff Green Lil Greenwood Big John Greer and his Rhythm Rockers The Griffin Brothers Tiny Grimes and his Rockin’ Highlanders Jimmy Grissom w/Maxwell Davis and his Blenders Jimmy Grissom w/The Duke Ellington Orchestra Groove Five Booted Just In From Texas Lucille (Looking For My Baby) New Orleans Wimmen A New Remedy For Love No More Doggin’ Ouch! Pretty Baby Roscoe’s Boogie T-Model Boogie Tommer Tee Tomorrow May Be Too Late What You Got On Your Mind Damp Rag Dragnet Oooh, Yes What’s Her Whimsey, Dr. Kinsey? Raggedy Daddy Papa Said Yes, Mama Said No, No, No Pawn Shop Blues Buzzard Pie It’s You I Love Juicy Fruit I Love My Baby Can’t Help But Love You Big John’s A Blowin’ Bottle It Up And Go Clambake Boogie Drinking Wine, Spo-Dee-O-Dee If I Told You Once I’ll Never Let You Go I’m The Fat Man Long Tall Gal Red Juice Rockin’ With Big John Griff’s Mambo Hoppin’ I Wanna Go Back Move It On Over Riffin’ With Griffin’ Stay Away From The Horses Boogie-Woogie Barbecue Call Of The Wild Hey, Now Ho Ho Ho Rockin And Sockin Tiny’s Boogie Big Fine Baby Frank Bull’s Boogie Get Out Why They Call It The Blues Street Blues (live-1953) Lost Baby 71 Jump Boogie: The Central Avenue Enlightenment Felix Gross and his Orchestra Big Boy Groves Guitar Slim Eddie Hale w/Big Jim Wynn and the Bobalibans René Hall Sextette Lionel Hampton and his Orchestra Bernie Hardison Ricky Harper w/The Buddy Johnson Orchestra Ace Harris Erline Harris w/The Johnson Brothers’ Combo Les Harris Peppermint Harris Big Bill Baby Can’t Make You, Can’t Buy You Cuttin’ Out Don’t Make Me Late, Baby F.G. Boogie Flying Baby Boogie Forever On My Mind Full House Going To Get Straight How Could You Baby? I Want You, I Need You Leap Year Let’s Get Together No Steppin’ Down Peaceful Lovin’ Six-Eight Boogie Walkin’ The Floor Weather Man What’s Your Style, Baby? When You’re Going Who Can You Be Worried About You Baby You Can’t Do That No More You Done Me Wrong You Don’t Love Me You’re Great To Me I Got A New Car Guitar Slim Letter To My Girlfriend (aka Prison Blues) Quicksand Stand By Me Strange Things Happening Think It Over Well, I Done Got Over It I’m The Boss Blowin’ Awhile Blue Creek Hop Do It Up Right Jubilee Jump René’s Boogie Two Guitar Boogie Flying Home Love Me Baby Shut Your Big Mouth, Girl M.F.T. Boogie Shorty’s Got To Go I Never Missed My Baby Jump & Shout Long Tall Papa 96 Lbs. The Blues Pick On Me Come On Let’s Ride Fat Girl Boogie Gimmie Gimmie Gimmie How Long Must I Suffer My Blues Have Rolled Away She’s My Baby 72 Jump Boogie: The Central Avenue Enlightenment Wynonie Harris Wynonie Harris w/Illinois jacquet Wynonie Harris w/Lucky Millinder and his Orchestra Erskine Hawkins and his Orchestra Jay Hawkins Roy Hawkins Edgar Hayes and his Stardusters Frank Haywood w/Tucker’s Top Men Big Bertha Henderson Billy Henderson w/The Jackson Brothers Adam Come Get Your Rib All She Wants To Do Is Rock Bad News, Baby Be Mine My Love Bloodshot Eyes Blow Your Brains Out The Deacon Don’t Like It Destination Love Down Boy DownDrinkin’ Sherry Wine Drinkin’ Wine Spo-Dee-O-Dee Fish Tail Blues Good Morning Judge Good Rockin’ Tonight Grandma Plays The Numbers Hard Ridin’ Mama Hey! Ba-Ba-Re-Bop! I Feel That Old Age Comin’ On I Like My Baby’s Pudding I Want My Fanny Brown I Want To Love Just Like Two Drops Of Water Keep A-Talkin’ Keep On Churnin’ (‘Til The Butter Comes) Lollipop Mama Love Is Like Rain Love Machine Man’s Best Friend Mr. Blues Caught The Rabbit Mr. Blues Is Coming To Town Playful Baby Quiet Whiskey Rock Mr. Blues Rot Gut Shake That Thing She’s Gone With The Wind She Just Can’t Sell No More Shotgun Wedding Sittin’ On It All The Time That’s Me Right Now Wasn’t That Good Wynonie’s Boogie Wynonie’s Blues Night Train Oh! Babe Teardrops From My Eyes Who Threw The Whiskey In The Well? Corn Bread Hawk’s Boogie What That Is Ain’t No Fault Of Mine Albania Hawk’s Shuffle (Instrumental) Highway 59 It’s Hard Mean Little Girl Mistreatin’ Baby On My Way Royal Hawk (Instrumental) Quarter To One Trouble Makin’ Woman Wine Drinkin’ Woman Edgar’s Boogie Rock-a-Bye, Baby Little Daddy Rock Bertha, Rock Things Have Changed We’re Gonna Rock This Joint There’s No Other Way 73 Jump Boogie: The Central Avenue Enlightenment Duke Henderson and his Orchestra Duke Henderson w/The King Perry Orchestra Duke Henderson w/ The Jack McVea Orchestra Duke Henderson w/Shifty Henry’s All-Stars Duke Henderson w/Lucky Thompson’s All-Stars Duke Henderson w/The Al “Cake” Wichard Sextette Percy Henderson w/The Blip Thompkins Orchestra Studs Henderson Chuck Higgins and his Mellotones Johnny Hodges John Hogg Smokey Hogg Cliff Holland w/The Dootsie Williams Orchestra Willie Holliday The Hollywood Flames Billy Hope & The Bad Men Joe Houston and the Rockets John Houston and his Orchestra Camille Howard w/Roy Milton and his Solid Senders Walter ‘Sandman’ Howard Jimmie Huff Helen Humes w/The Bill Doggett Octet Helen Humes w/The Buck Clayton All-Stars Helen Humes w/The Red Callender Septet Helen Humes w/The Red Callender Octet Helen Humes w/Maxwell Davis and his Blenders Frank “Fat Man” Humphries Fluffy Hunter w/The Buddy Banks Sextet Fluffy Hunter w/The Jesse Powell Orchestra Ivory Joe Hunter Hurricane Harry Al Jackson Baby Beat It 18th and Vine Street Boogie Hey Dr. Kinsey Lucy Brown Leona’s Boogie Wiggle Wiggle Boogie Don’t Slam The Door Don’t Forget I’m A Married Man Let’s Get Vootin’ Blues In The Background Boogie Man Don’t Fall In Love With Me, Baby Woman’s Blues, Part 1 & 2 Don’t Keep Me Waiting His Majesty’s Boogie Everything’s Been Done Before Studs’ Boogie Blue Sax Pachuko Hop Tortas Castle Rock Got a Mean Woman Why Did You Leave Me? What You Gonna Do Don’t Ever Trust A Woman I’ve Played This Town Buzz, Buzz, Buzz Bad Times All Night Long Blowin’ Crazy Blow Joe Blow Cornbread & Cabbage Greens Flying Home Jay’s Boogie Rockin’ And Boppin’ Walkin’ Home Way Cross Mama Groovy Blues Money Blues Real Gone Daddy Rock Me Daddy Thrill Me You Lied To Me, Baby Willow Tree Blues Don’t You Know Be Baba Leba I Don’t Know His Name They Raided the Joint Airplane Blues Knockin’ Myself Out Central Avenue Boogie Voot-It He May Be Yours It’s Better To Give Than To Receive Lulubell Blues Fluffy’s Debut My Natch’l Man The Walkin’ Blues Boogin’ In The Rain I Like It S.P. Blues We’re Gonna Boogie The Last Meal Let’s Drink Some Whiskey 74 Jump Boogie: The Central Avenue Enlightenment Big Fat Mamas Are Back In Style Again Big Ten Inch Record Bootsie Buffalo Shuffle Cherokee Boogie Fare Thee Well Deacon Jones Fare Thee Well Keep Your Big Mouth Shut Hold Him Joe I Know Who Threw The Whiskey In The Well I Want A Bow Legged Woman Miss Lucy Meet Me With Your Black Dress On Moose On The Loose Nosey Joe Shorty’s Got To Go Sneaky Pete That’s Me Three Bones Why Don’t You Haul Off And Love Me Earl Sumner Jackson w/The Don Johnson Orchestra Jackson’s Blues Earl Sumner Jackson w/The Johnny Otis Band H.C. Blues Talking To Myself Take Out The Squeal Women Don’t Want A Good Man No More Freddie Jackson Duck Fever George “Mr.Blues” Jackson Uh-Huh Little Willie Jackson and the Original Honeydrippers Jackson’s Boogie (Little Willie’s Boogie) Ollie Jackson and his Band Baby, Got To Have It Fat Boogie-Woogie Willis ‘Gator’ Jackson & The Four Gators Later for the Gator Wine-O-Wine The Jackson Brothers Jump Flat Foot Boogie Etta James Good Rockin’ Daddy George James ‘53 Convertible Pinocchio James Your Mouth Got A Hole In It Russell Jacquet and his Yellow Jackets Penny’s Worth Of Boogie Cross Bones Duke Jenkins The Duke Walks George Jenkins Shufflin’ Boogie Bill Jennings Stompin’ With Bill Bill Johnson and his Stir Cats Too Late Elevator Boogie Buddy Johnson and his Orchestra Boogie-Woogie’s Mother-In-Law Did You See Jackie Robinson Hit The Ball Fine Brown Frame Walk ‘Em Walk The Chalk Line Cee Pee Johnson The G Man Got The T Man Miss Jiveola Brown Conrad Johnson Fisherman’s Blues Howling On Dowling Deacon Lemmy Johnson Walkin’ The Boogie Eatin’ And Steepin’ Blues Marvin Johnson Save Me A Boogie Pete Johnson and his Boogie-Woogie Boys 627 Stomp 1946 Stomp Atomic Boogie Half Tight Boogie Rocket Boogie 88 Pete Johnson w/Harry James & the Boogie-Woogie Trio Boo Woo Woo P.K. Johnson Sunset Romp Plas Johnson w/The Johnson Brothers Worrying Blues Ray Johnson Boogie the Blues House of Blues I’ll Never Let You Go Willie Johnson w/The Rhythm Kings Got The Boogie-Woogie Blues Sampson Street Boogie Say, Baby ‘Bull Moose’ Jackson and his Buffalo Bearcats 75 Jump Boogie: The Central Avenue Enlightenment Hey Little Boy That Early Morning Boogie That's A Man For You Betty Hall Jones w/Luke Jones and his Orchestsra Goin' Back To Town (I'm Gonna Leave You On The Outskirts Of Town) The Same Old Boogie Grant ‘Mr. Blues’ Jones For You My Love Harmon Jones Pack Your Clothes Little Sonny Jones Going Back To The Country I Got Booted Winehead Baby Luke Jones and his Orchestra Boogiology Jump Me Some Boogie Jump The Boogie Mama,Oh, Mama Rompin’ The Boogie Say Hello to Miss Brown She’s My Baby Shufflin’ Boogie Take The “U” Car Oliver Jones You Hear? What I Say? Roger Jones w/ Earl Bostic and his Orchestra Bar Fly Baby The Jones Boys I Ain’t Mad At You Connie Jordan I’m Gonna Rock (‘Till My Rocker Breaks Down) Louis Jordan and his Tympany Five Ain’t Nobody Here But Us Chickens Ain’t That Just Like a Woman All For The Love Of Lil Barnyard Boogie Blue Light Boogie Boogie-Woogie Blue Plate Boogie-Woogie Came to Town Buzz Me [Single Version] Caldonia Choo Choo Ch’Boogie Early In The Mornin’ Fat Sam From Birmingham Five Guys Named Moe G.I. Jive It’s A Low Down Dirty Shame I Want A Roof Over My Head I Want You To Be My Baby Jack You’re Dead Junco Partner Knock Me A Kiss Let The Good Times Roll Mop, Mop Pine Top’s Boogie-Woogie Ration Blues Salt Pork, West Virginia Saturday Night Fish Fry Saxa-Woogie Sure Had Wonderful Time Texas & Pacific Kansas City Jimmy Cheatin’ Women Saturday Night Kitty Kaye & The Cats Fishtruck Boogie Tiny Kennedy Strange Kind of Feeling Kid King’s Combo Skip’s Boogie Kid Tanner Wino Albert King Natural Ball Andy Kirk & His Clouds of Joy w/Mary Lou Williams Boogie Woogie Cocktail Roll ‘Em Albinia Jones Betty Hall Jones w/King Perry and his Orchestra 76 Jump Boogie: The Central Avenue Enlightenment B.B. King Jewel King Saunders King and his Rhythm Willie King w/Ike Turner’s KIngs of Rhythm King Carl (Davis) King Gene and his Orchestra King James King Perry and his Pied Pipers King Porter and his Orchestra Robie Kirk (Winfield Scott) and his Orchestra Freddie Kohlman and his Orchestra Sonny Knight Gene Krupa w/Irene Daye Lloyd Lambert Morris Lane and his Orchestra Annie Laurie w/The Paul Gayten Orchestra Dick Lewis and his Harlem Rhythm A New Way Of Driving Boogie-Woogie Woman Bye, Bye, Baby Got The Blues Hard Working Woman House Rocker (Boogie Rock) I’m In Love Jump With You Baby Let’s Do The Boogie Please Hurry Home Shake It Up And Go She’s Dynamite Shut Your Mouth Take A Swing With Me (Love You Baby) Tell Me Baby (Baby Take A Swing With Me) That Ain’t The Way To Do It When Your Baby Packs Up And Goes Whole Lotta Love Woke Up This Morning You Upset Me Baby 3 x 7 = 21 I Broke My Mother’s Rule I Get It 2:00 AM Hop SK Jumps Swingin’ Real Lovin’ Mama (Peg Leg Baby) Sure Like to Run Great Big Pretty Legs I Just Wanta Love Wild Wooly Woman Baby Baby Blues Big Fat Mama Everybody Jump Everything’s Gonna Be Allright Tonight Fine & Mellow Gal Going To California Hold Your Gold I Wonder Who’s Boogin’ My Woogie Keep A Dollar In Your Pocket Kilroy Was Here King Perry Blues Let It Roll Natural Born Lover Perry’s Wiggle Woogie Russell Street Hussle Wait Now Welcome Home Baby King Porter Special Let’s Go Upstairs Mix The Boogie (WIth The Woogie) Robie’s Blues Where Is The Groove Easy Rockin’ But Officer! Drum Boogie Whistlin’ Joe Blue Jeans Bobby’s Boogie Down The Lane Return Of B.O. Plenty I Ain’t Gonna Let You In My Rough And Ready Man Eight O’Clock Stomp 77 Jump Boogie: The Central Avenue Enlightenment Jimmy ‘Babyface’ Lewis w/The Floyd Campbell Orch. I’m Wise To You, Baby Josephine Last Night Let’s Get Together And Make Some Love Riding With Jimmy Richard Lewis and his Orchestra Richard’s Bounce Still Drifting Jimmy Liggins and his Drops Of Joy Baby’s Boogie Boogie-Woogie King Brown Skin Baby Bye, Bye, Baby, Good-Bye Cadillac Boogie Come Back Baby Drunk Give Up Little Girl Hep Cat Boogie Homecoming Blues I Ain’t Drunk I Can’t Stop It I’ll Always Love You Jumpin’ & Stompin’ Lookin’ For My Baby Mississippi Boogie Nite Life Boogie No More Alcohol Pleadin My Cause Railroad Blues Saturday Night Boogie-Woogie Man Shuffle Shuck Stolen Love Talkin’ That Talk That Song Is Gone That’s What’s Knockin’ Me Out Troubles Goodbye Joe Liggins and his Honeydrippers Boogie-Woogie Lou Dripper’s Boogie (Part 1 & 2) Frankie Lee Got Married Going Back To New Orleans Hambone Boogie Hot Mama I’ve Got A Right To Cry Little Joe’s Boogie (Guitar Boogie) Pink Champagne Rag Mop Roll ‘Em Shuffle Boogie Blues The Honey Dripper (Part 1& 2) They Were Doing the Mambo Toast of the Avenue (Gal With A Whole Lotta Loot) Little Bo (Eddie Bocage) Baby So Glad Little David and his Orchestra Macayo Little Eddie My Baby Left Me Little Esther Hollerin’ & Screamin’ It Ain’t What You Say Mainliner The Deacon Is Movin’ In Turn The Lights Down Low Little Esther & Mel Walker w/The Johnny Otis Orch. The Love Bug Boogie Cupid Boogie Little Mr. Midnight w/The Paul Gayten Band Got A Brand New Baby Little Richard Get Rich Quick Little Terry Shake Me Up, Baby 78 Jump Boogie: The Central Avenue Enlightenment Little Willie Littlefield Ike Lloyd Blazer Boy Locks Lord Tennison Billy ‘Red’ Love Buddy Lowe Buddy Lucas and his Orchestra Cal Lucas and his Orchestra Joe Lutcher and his Society Cats Lonnie Lyons Blow Top Lynn and his House Rockers Cherri Lynn Smilin’ Smokey Lynn w/The Don Johnson Orchestra Come On, Baby Drinkin’ Hadacol Goofy Dust Happy Pay Day Hit The Road Hurry, Baby I Like It Kansas City Lovin’ ‘Long About Midnight Mello Cats Midnight Whistle Nakite Stomp Real Fine Mama Rockin’ Chair Mama Sun Is Shining In Your Front Door Tell Me, Baby Train Whistle Blowing (Train Whistle Blues) Trouble Around Me Boogie On the 88 Worrying Blues Waiting For My Baby The Dance Drop Top Gee, I Wish There’s No Use Goodbye Baby Big Bertha I Got Drunk I Know What I’m Doin’ One Taste Calls For Another Pea Lilly Sopping Molasses Whooping Blues Blow Top Re Bop Brother Put Her Down How Long Has This Been Going On Tiddle De Winks Be Bop Blues Give Me My Hadacol I’m Cuttin’ Out Joe-Joe Jump Lucy Lindy Boogie Night Cap No Name Boogie Rag Mop Rockin’ Boogie Rockola Shuffle Boogie Society Boogie Down In The Groovy Fly Chick Bounce Rampaging Mama Reliefin’ Blues They Ain’t Gonna Tell It Right Up On The Hill Your Money Ain’t Long Enough Chesterfield Baby Feel Like Ballin’ Tonight Hometown Baby (Hip Cat) Lonesome Lover Blues Rock-A-Bye Baby Run, Mister Rabbit, Run State Street Boogie 79 Jump Boogie: The Central Avenue Enlightenment Willie Mabon Eddie Mack Eddie Mack w/The Cootie Williams Orchestra Edith Mackey Jimmie Madden Herman Manzy Mitzi Mars Carl Matthews and his Orchestra Percy Mayfield w/The Monroe Tucker Band Percy Mayfield Billie McAllister Austin McCoy & Frankie Ervin Jimmy McCracklin and his Blues Blasters Big Speed McDaniels Rusty McDonald Brownie McGhee and his Jook Block Busters Stick McGhee and his Buddies Tommy McGhee Rollee McGill Got To Have It I’m Mad Knock On Wood Poison Ivy Seventh Son Worry Blues Would You, Baby You’re A Fool Good News How About Rocking With Me How About That Kind Loving Daddy Keyhole Blues Lemonade Long Time Mercenary Papa Shotgun Boogie Skillet’s Gonna Fry Boogie Boo I’m Your Rockin’ Man Roll ‘Em Big Man Baby You’Re Still A Square Two Years Of Torture Baby, You’re Rich Get Way Back Half Awoke The Hunt Is On I Dare You Baby Lost Mind Well Alright Baby I Go For That High School Baby I’d Rather Be Like A Hermit Blues For The People Gonna Have My Fun The Good Book House Rockin’ It’s All In the Feeling I Wanna Make Love To You Looking For A Woman Rockin’ Man Savoy’s Jump She Felt Too Good Take a Chance True Blues What’s Your Phone Number? Jumpin’ Boogie Dirty Pool Baseball Boogie Bluebird, Bluebird Confused Feed Me, Baby Hard Bed Blues I Need Someone To Love Me New Baseball Boogie New Worried Blues Robbie-Doby Boogie You Got To Love Me, Baby, Too Drank Up All The Wine Last Night Drinkin’ Wine Spo-Dee-O-Dee Get Your Mind Out Of The Gutter I Was Fooled One Monkey Don’t Stop The Show Six To Eight Venus You Gotta Have Something On The Ball Poppin’ Rhythm Rockin’ Blues 80 Jump Boogie: The Central Avenue Enlightenment L.C. McKinley Oscar McLollie and his Band Cab McMillan Big Jay McNeely and his Blue Jays Jack McVea and his All Stars Jack McVea and his All Stars w/Rabon Tarrant Jay McShann and his Sextet Memphis Jimmy Memphis Seven Memphis Slim and his House Rockers Bob Merrill w/Cootie Williams and his Orchestra Bob Merrill w/Dallas Bartley Bob Merrill Chuck Merrill Sylvester Mike Be My Companion Nit Wit Casino C’mon Let’s Boogie (I’m Young & Able) All That Wine Is Gone Blow Big Jay The Deacon’s Hop Insect Ball Nervous, Man, Nervous Roadhouse Boogie Willie And The Cool Cat Carlos Frantic Boogie Jack Frost Reetie Vootie Boogie Swing Man Blues With A Feeling Fightin’ Mama Blues Inflation Blues Ooh, Mop Open The Door, Richard The Key’s In The Mailbox Richard Gets Hitched Two Timin’ Baby No Name Boogie Jimmy’s Jump Farmer’s Daughter Grunt Meat Blues Back Alley Country Girl Don’t Ration My Love Drivin’ Me Mad The Girl I Love Harlem Bound If You Live That Life Kilroy Has Been Here Life Is Like That Midnight Jump Mistake In Life Nobody Loves Me Pacemaker Boogie Rockin’ The House Slim’s Boogie Timsy’s Whimsy Treat Me Like I Treat You Wish Me Well Let ‘Em Roll Ooh La La Cherry Red Baby, I’m Tired I Ain’t Mad At You I’ll Always Be In Love With You The Blues Is Here Tonight You Took My Woman We Gonna Pitch A Boogie-Woogie Rag Mop Chattanooga Shoeshine Boy A Million Things On My Mind Fish House Boogie Going Out Rubber Leg Woman Wise Woman 81 Jump Boogie: The Central Avenue Enlightenment Amos Milburn George Miller and his Mid-Driffs Glenn Miller and his Orchestra Lucky Millinder and his Orchestra Jimmy Milner and his Blue Ribbon Band Roy Milton and his Solid Senders Mr. Google Eyes w/Billy Ford and his Musical V-8’s Mr. Rain Mr. Sad Head w/Billy Ford and his Musical V-8’s Ain’t Nothing Shaking Amos’ Blues Atomic Baby Bad Bad Whiskey Birmingham Bounce Bye Bye Boogie Boogie With Mr. M Boogie-Woogie Bow Wow Chicken Shack Boogie Hold Me Baby House Party (Tonight) I’m Gonna Leave You I’m Gonna Tell My Mama I’m Still A Fool For You Jitterbug Fashion Parade Let’s Have A Party Let`s Rock A While Melting Nice Hair Boogie One Scotch, One Bourbon, One Beer Pot Luck Boogie Real Pretty Mama Roll Mr. Jelly Sax Shack Boogie That Was Your Last Mistake—Goodbye Wolf On The River You Look Good Bat-Lee Swing Boogie’s The Thing In The Mood Fare Thee Well, Deacon Jones I’m Waiting Just For You Please Be Careful Shorty’s Got To Go Who Said Shorty Wasn’t Coming Back? Nobles’ Shuffle Baby, Don’t Do That To Me Baby, You Don’t Know Big Fat Mama Boogie-Woogie Barbershop Camille’s Boogie Everything I Do Is Wrong Gonna Leave You Baby Hop, Skip And Jump If You Don’t Know I Have News for You Information Blues Little Boy Blue Make Me Know It Milton’s Boogie Playboy Blues Red Light T-Town Twist R.M. Blues Tell It Like It Is Thelma Lou True Blues No Wine, No Women Rough And Rocky Road Young Boy Who Dat? Butcher Boy Make Haste Mumbles Blues Sad Head Blues 82 Jump Boogie: The Central Avenue Enlightenment Doby’s Boogie Fish Market Boogie I Got Your Boogie Mr. Freddie’s Boogie Moon Dog Boogie Slider Paul Monday w/Bill Harvey’s Band Irene’s Boogie Tired Of The Life I’m Living Moohah All Shook Out Candy Roy Montrell (Every Time I Hear) That Mellow Saxophone Wild Bill Moore w/The Paul Williams Orchestra Balancing With Bill Bubbles Harlem Nocturne Hey, Spoo-Dee-O-Dee Swingin’ For Pappy Dwight ‘Gatemouth’ Moore Hey Mr. Gatemouth I Ain’t Mad At You, Pretty Baby They Can’t Do This To You Herbert ‘Woo Woo’ Moore Something Wrong Ella Mae Morse Cow Cow Boogie Johnny Morton w/The Chicago All Stars Green Light Hey! Hey! Big Mama Joe Morris and his Orchestra w/Johnny Griffin & Laurie Tate The Applejack Beans And Corn Bread Boogie-Woogie March Bottle Top Chuck-A-Boogie Joe’s Boogie Jump, Everybody, Jump Portia’s Boogie The Spider Weasle Walk Wow Frank Motley and his Crew Bow Wow Wow Dual Trumpet Blues Honkin’ At Midnight Alma ‘Lollipop Mama’ Mundy A Job For A Jockey Baby Get Wise Miss Lollipop’s Confession Hubert ‘Bumps’ Myers w/Poison Gardner and his Orch. Crazy Woman Blues 52nd Street Jump Hubert ‘Bumps’ Myers and his Frantic Five I’m Clappin’ And Shoutin’ Hubert ‘Bumps’ Myers w/The Joe Lutcher Orchestra Bumps And Lumps Hubert ‘Bumps’ Myers w/The King Porter Orchestra Bumps’ Boogie Billy Nelson & The Five Wings Pack, Shack And Stack Ford Nelson Quintet Little Annie Jimmy Nelson Cry Hard Luck Great Big Hunk Of Man Right Around The Corner T-99 Velma Nelson If I Were A Itty Bitty Girl, Part 1 & 2 Chubby Newsome Back Bitin’ Woman Chubby’s Confession Find A Job Hip Shakin’ Mama Little Fat Woman With The Coconut Head New Orleans Lover Man Where’s The Money, Honey Harold Nicholas Corn Jug Boogie Elmore Nixon and his Orchestra A Hepcat’s Advice Forgive Me Baby If You’ll Be My Love Fats Noel Duck Soup High Tide Rocket Flight Ride Daddy, Ride Freddie Mitchell and his Orchestra 83 Jump Boogie: The Central Avenue Enlightenment Jimmy Nolen Chuck Norris Johnny O’Neal Johnny Otis and his Band Oran ‘Hot Lips’ Page Patti Page Jack ‘The Bear’ Parker Little Junior Parker Leo Parker Sonny Parker w/Gladys Hampton’s Blues Boys Sonny Parker w/Lionel Hampton and his Orchestra Gene Parrish Patti Anne Cecil Payne Elroy Peace w/Johnny Otis and his Band Eddie ‘Sugar Man’ Penigar w/The Chicago All Stars Ike Perkins Let’s Try Again Strollin’ With Nolen (aka Oonchy Oonchy) Hey, Everybody Johnny Feels The Blues Barrelhouse Stomp Court Room Blues Goomp Blues Head Hunter Kansas City Jumps Mambo Boogie Blow, Champ, Blow The Cadillac Song I Want To Ride Like The Cowboys Do Jungle King Last Call For Alcohol Roll, Roll, Roll! Strike While The Iron’s Hot There Ain’t No Flies On Me They Raided The Joint Boogie-Woogie Santa Claus Cheap Old Wine And Whiskey I Need You I Want You I’m Tender Next Time You See Me Please Baby Blues Pretty Baby Sittin’ At The Window There Better Be No Feet (In Them Shoes) Cool Leo Leo Leaps In Woody Rocking With G.H. She Sets My Soul On Fire Boogie-Woogie Santa Claus Don’t Flee The Scene Salty Drinking Wine Spo-Dee-O-Dee Hamp’s Gumbo Hey! Ba-Ba-Re-Bop Lavender Coffin Money Ain’t Everything Dream Blues Street Of Dreams Screamin’ In My Sleep Shtiggy Boom Block Buster Boogie Egg Head Ham Hocks Onion Breath Baby No, No, Baby I Love You Mama Brand New Baby Ike’s Boogie 84 Jump Boogie: The Central Avenue Enlightenment Gene Phillips and his Rhythm Aces Gene Phillips w/Jack McVea and his All-Stars Marvin Phillips Piano Red Smiling John Pickens Chris Powell & The Five Blue Flames Jake Porter Combo Jimmy Preston and his Prestonians Jesse Price and his Jump Jivers Sammy Price and his Texas Bluesicians Big Walter Price and the Thunderbirds La Melle Prince 304 Boogie Big Bug Boogie Big Fat Mama Big Legs Boogie Everywhere Crying Won’t Help You None Fatso Fish Man Flying Home Gene Jumps The Blues Gene Jumps The Boogie Getting Down Wrong Hey Lawdy Mama Hey Now Honey Chile How Long Blues I’ve Been Fooled Before It’s A Lonely World It’s Raining I Owe Everybody I Want A Little Girl Jumpin’ With Lloyd Just A Dream (On My Mind) My Baby’s Mistreatin’ Me My Mama Told Me Punkin’ Head Woman Ramblin’ Woman Rock Bottom Royal Boogie Short Haired Ugly Woman Snuff Dippin’ Mama Superstitious Woman To Each His Won You Gotta Toe The Line I Wonder What The Poor Folks Are Doin’ Slippin’ & Slidin’ Women, Women, Women You Can’t Come Back Home Wine Woogie Jump Man Jump Easy Pickin’ Rock The Joint Jump Safari Keep Your Nose Outta My Business Hey, Everybody! Hucklebuck Baby Let’s Hang Out Tonight My Baby Done Left Me Number Blues Oh, Babe! Rock The Joint Baby, Let’s Be Friends Frettin’ For Some Pettin’ Jump It With A Shuffle My Baby Done Left Me You Can’t Take It With You Blow Katy, Blow Frantic Rib Joint Smack Dab In The Middle Struttin’ With Goergia West End Boogie Gamblin’ Woman Oh, Ramona Pack Fair and Square Six Weeks Of Misery Get High 85 Jump Boogie: The Central Avenue Enlightenment Preston ‘Peppy’ Prince Prince Albert and his Orchestra Professor Longhair Arthur Prysock Red Prysock and his House Rockers The Ray-O-Vacs Alton Redd w/Poison Gardner and his All-Stars Redd Lyte (Floyd Hollis) w/The Johnny Otis Band Redd Foxx James Reed Todd Rhodes and his Toddlers Ducky Rice w/The Charlie White Orchestra Tommy Ridgely Benny Roberts and his Orchestra Fat Man Robinson Hubert Robinson w/The Rhythm Kings Joe Robinson w/The Benny Carter Orchestra Robbie Robinson w/ Blinky Allen & The Stardusters Red Rodney Sextet The Royals Royal Kings Jimmy Rushing w/The Count Basie Orchestra Snookum Russell Clarence Samuels & Sextet Slim Saunders Mabel Scott w/Maxwell Davis and his Blenders Marilyn Scott Sylvester Scott and his Orchestra Big Al Sears Ain’t Nothing Shakin’ Rompin’ And Stompin’ Midnight Boogie Hadacol Bounce Longhair Boogie-Woogie No Buts—No Maybes Oh, Well Professor Longhair’s Boogie Woke Up This Morning Fruit Boots The Hammer Hand Clappin’ Wiggles My Baby’s Gone Gotta Find My Baby Ain’t Nothin’ Shakin’ Good Time Blues Little Red Hen Crazy House You Better Hold Me Bell Boy Boogie Page Boy Shuffle Pot Likker Rocket 69 Pots & Pans A Day Is Coming Boogie-Woogie Mama Booted Come Home Baby Early Dawn Boogie Jam Up Looped Monkey Man Thriller Diller Poppa Bye, Bye, Roberta Sophronia Jones Boogie The Joint Got The Boogie-Woogie Blues High Class Woman Room And Board Boogie Old Woman Boogie Roll With The Boogie Blow Robbie Blow Chop House Dig This Menu Please! Gas Happy Mama Bouncin’ The Boogie Boogie-Woogie Hi-Ho-Sylvester Lotsa Poppa Money Is Honey Juke Box Boogie-Woogie Chick Boogie-Woogie Blues Household Troubles Lollypop Mama Low Top Inn The Cutest Waitress I Know (Hey, Joe) Let’s Have Some Fun (Honey) Baseball Boogie Boogie-Woogie Choo Choo Train Boogie-Woogie Sana Claus Elevator Boogie Wailin’ Daddy Straighten Him Out I’m Gonna Take The “U” Car Jack Of Diamond Boogie The Time Of Day Marshall Plan 86 Jump Boogie: The Central Avenue Enlightenment John Sellers w/The Sonny Thompson Orchestra Heavyweight Mama Seven-31 Drippers’ Boogie Dinah Shore Shoo Fly Pie And Apple Pan Dowdy Ruben Sigger & The Kool Kats Please, Pretty Baby Robert ‘Snake’ Sims w/Big Jim Wynn & The Bobalibans Cold Blooded Boogie Fat Meat Put Me Down West Coast Lover Hal Singer Sextet Beef Stew Corn Bread Disc Jockey Boogie Hot Rod Charlie Singleton Alligator Meat Blow Mr. Singleton Gone With The Wind Pony Express Emmitt Slay w/Todd Rhodes and his Toddlers Beulah I. H. Smalley and his Rocketeers Smalley’s Jump Young Women’s Advice Smiley Lewis Bee’s Boogie Big Mamou Bumpity Bump Can’t Stop Loving You Down The Road Lillie Mae Lying Woman My Baby Was Right Ooh, La, La Queen of Hearts Real Gone Lover Shame, Shame, Shame! Where Were You? Smilin’ Joe Misery Won’t Settle Down Ben Smith Blackstick Boogie No Lovin’ Woman Travelin’ Papa Bobby Smith Bess’ Boogie Effie Smith & Johnny Griner Rack ‘Em Back Fletcher Smith w/King Porter and his Orchestra Chitlin’ Ball Don’t Let Fletcher Getcha Goin’ Back To Texas Mean Poor Gal Geechie Smith Big Fine Girl Daddy Does It Just For You Frog Song (Him Ain’t Got No Tail) Geneva Sue I Ain’t No Fool I Gotta Go Home KayCee Kid Let The Good Times Roll T-Town Jump Wild, Mild, And Mellow George Smith Cross-Eyed Suzie Lee Jimmy Smith Cheatin’ Woman Saturday Nite Lloyd ‘Fatman’ Smith Giddy-Up, Giddy-Up Miss Mushmouth Where You Been Melvin Smith California Baby Businessman’s Blues I’m Out Of My Mind Looped Robert Smith Freeway Blues Tab Smith Ace High Boogie Joogie Walter ‘Tang’ Smith High Tone Mama 87 Jump Boogie: The Central Avenue Enlightenment I’m A Good Rockin’ Daddy But Officer! Blue Sparrow Boudoir Boogie Jump Steady Michael’s Cycle Sparrow In The Barrel Word From Deacon Bird Julius Stewart w/Joe Houston & The Rockets Jumpin’ The Blues Your Little Girl Is Gone George Stevenson Easin’ Tan Arbee Stidham Any Time You Ring My Bell Barbeque Lounge I’ve Got News For You, Baby I’ve Got So Many Worries I Feel Like Playing (Feel Like I’m Losing You) I’m Tired Of Wandering Look Me Straight In The Eye Sixty Minutes To Wait Squeeze Me Baby Stidham Jumps Wee Baby What The Blues Will Do You’ll Be Sorry Jesse Stone (Charles Calhoun) and his Orchestra Bling-A-Ling-A-Ling Cole Slaw Don’t Let It Get Away Get It While You Can Hey Sister Lucy, What Makes Your Lips So Juicy? I Came Home Unexpectedly Keep Your Big Mouth Shut Runaway Smack Dab In The Middle Sneaky Pete Who’s Zat? Who Killed ‘Er (Who Killed The Big Black Widow) J.B. Summers (feat. Benny Brown) Slick Baby J.B. Summers w/Tiny Grimes & The Rockin’ Highlanders Drinking Beer Hey Mr. J B Stranger In Town Mary Sure w/Ike Turner and his Kings of Rhythm Everybody’s Talking Looking For My Baby Love Is A Gamble Joe Swift w/The Red Callender Quintet Chicken Leg Chick Joe Swift w/The Johnny Otis Band Alligator Meat Be Bop Baby Crazy ‘Bout Your Cooking Lovin’ Baby Right Now Baby That’s Your Last Boogie Train Blues What’s Your Name? Roosevelt Sykes and his Honeydrippers Candy Man Blues Dait Bait Fine and Brown The Honeydripper Savoy Boogie Why Should I Cry Wonderin’ Blues Tabby w/The Que Martyn Orchestra I’ll Make You Trip Junior Tamplin w/The de Coates Orchestra Love Is a Sin Tangerine Cadillac Baby Blind Billy Tate Love Is A Crazy Thing Buddy Tate Blowin’ Awhile Blue Creek Hop Tate’s A’jumpin’ Danny “Run Joe” Taylor You Look Bad Ray Snead Cliff ‘King’ Solomon and his Orchestra Johnny Sparrow and his Bows & Arrows 88 Jump Boogie: The Central Avenue Enlightenment Big Foot Sam From Birmingham I Got Loaded Rockin’ And Reelin’ Dossie Terry When I Hit The Numbers R.B. Thibadeaux R.B. Boogie Joe Thomas and his Orchestra Backstage At The Apollo Dog Food Got To Have Her Lovin’ Jumpin Joe Lavender Coffin Page Boy Shuffle Raw Meat Rollin’ The Blues Sittin’ Around Tearing Hair Wham-A-Lam Joey Thomas Cherokee Boogie Marcellus Thomas and his Rhythms Of Rocketts Hallers 89 Whiskey Boogie Playboy Thomas End Of The Road, Baby Rufus Thomas (Mr. Swing) w/The Bobby Platers Orchestra Beer Bottle Boogie Decorate The Counter Easy Livin’ Plan Gonna Bring My Baby Back Lloyd Thompson w/The Brother Moncur Strollers Baby You Ain’t Nowhere Sonny Thompson and his Orchestra The Fish Pt. 1 & 2 Screamin’ the Boogie Single Shot Sonny Thompson w/The Dick Davis Orchestra Memphis Train Big Mama Thornton w/The Harlem Stars All Right Baby Mischievous Boogie Andrew Tibbs Drinking Ink Splink The Tibbs Brothers (Wake Up) Miss Rip Van Winkle The Tilters Ee-Til-Ya-Dee Harold Tinsley Fan Your Fanny Blues Claude Trenier w/Big Jim Wynn & The Bobalibans Ee-Bob-A-Liba Milt Trenier and his Solid Six Flip Our Wigs Squeeze Me You’re Killin’ Me The Treniers Drinking Wine Spo-Dee-O-Dee Go Go Go Hadacol (That’s All) Say Hey (The Willie Mays Song) Uh Oh (Get Out Of The Car) T.N.T. Tribble and his Crew Cadillac Blues Mr. Von Red Hot Boogie That’s What Makes Me Love You So TV Boogie Blues Frankie Tucker Hey, Hester! Robert Tucker It Sure Costs Money To Live Ike Turner and his Kings of Rhythm Troubles And Heartaches Rock-A-Bucket Sam Taylor and his Alabama Swingsters Clyde Terrell w/The Earl Bostic Orchestra 89 Jump Boogie: The Central Avenue Enlightenment Blues On Central Avenue Cherry Red (Hollywood Bed) Low Down Dog (LA Version) Don’t Talk Me To Death (I Ain’t Ready To Die) Big Joe Turner w/Pete Johnson’s Boogie-Woogie Boys Adam Bit The Apple Airplane Mama (Radar Blues) Baby, Look At You Cherry Red Feelin’ Happy Low Down Dog (KC Version) Mad Blues Mardi Gras Boogie My Gal’s A Jockey Sally Zu-Zazz When The Rooster Crows Wine - O - Baby Boogie Big Joe Turner w/The Van Wallis Orchestra Boogie-Woogie Country Girl Bump, Miss Susie Big Joe Turner and his Blues Kings w/Elmore James TV Mama Big Joe Turner and his Blues Kings The Chicken And The Hawk Corrine, Corrina Crawdad Hole Flip, Flop And Fly Hide And Seek Honey Hush Lipstick, Powder and Paint Morning, Noon and Night Oke-She-Moke-She-Pop Rock Awhile Shake, Rattle And Roll Teenage Letter Ti-Ri-Li Well, All Right Big Joe Turner w/The Howard Biggs Orchestra (We’re Gonna) Jump for Joy Odelle Turner w/ Jesse Stone and his Orchestra Alarm Clock Boogie Smiley Turner Lonely Boy Blues When a Man Has the Blues T.V. Slim Flatfoot Sam Jimmy Tyler and his Orchestra Take It Away Pat Valdelar Rock Me Baby Billy Valentine Beer Drinking Baby David Van Dyke Dyke Takes A Hike Eddie ‘Cleanhead’ Vinson Bonus Pay Cherry Red Eddie’s Bounce Ever-Ready Daddy Gonna Send You Back Where I Got You From Good Bread Alley I’m Gonna Wind Your Clock I Trusted You Baby (But You Double Crossed Me) Kidney Stew King for a Day Lazy Gal Mr. Cleanhead Steps Out Old Maid Person To Person Queen Bee Blues Shavetail Somebody’s Gotta Go Some Women Do Wandering Mind Blues When I Get Drunk Wrong Girl Blues James von Streeter and his Wig Poppers Chit’lins Hog’s Knuckles Landslide Bill Walker Wineo Big Joe Turner w/Maxwell Davis and his Blenders 90 Jump Boogie: The Central Avenue Enlightenment Baby, Baby My Baby T-Bone Walker Alimony Blues Blue Mood Bye, Bye, Baby Come Back to Me Baby The Hustle Is On (single version) Hypin’ Women I Know Your Wig Has Gone It’s A Lowdown Dirty Deal I’ll Always Be In Love With You I Wish You Were Mine Inspiration Blues I Walked Away Lonesome Woman Blues Long Skirt Baby Look Me In The Eye Midnight Blues Natural Ball (T-Bone Shuffle) News For My Baby Party Girl The Plain Old Down Home Blues Pony Tail Sail On Boogie Say Pretty Baby (Welcome Blues) She Is Going To Ruin Me She’s The No Sleepin’est Woman Street Walking Woman Strollin’ With Bone T-Bone Jumps Again T-Bone Boogie Teen Age Baby Tell Me What’s The Reason That’s Better For Me That Old Feeling Is Gone Too Lazy Too Much Trouble You’re My Best Poker Hand Walkin’ Willie Blow Little Willie Mercy Dee Walton The Main Event Eddie Ware The Stuff I Like Dinah Washington Good Daddy TV Is The Thing This Year Dinah Washington w/The Lionel Hampton Sextet I Know How To Do George Washington w/The Johnny Otis Orchestra Good Boogie-Googie Sheri Washington Ain’t I Talkin’ To You Baby Crown Prince Waterford Coal Black Baby Crown Prince Boogie Eatin’ Watermelon For Awhile Get Away From My Door I’m Sweet On You Kissing Bug Leaping Boogie Move Your Hand Baby Pow-Wow Boogie Strange Lovin’ Woman Time To Blow Johnny ‘Guitar’ Watson w/Chuck Higgins and his Mellotones Just Won’t Treat Me Right Motorhead Baby Johnny ‘Guitar’ Watson Oh Baby Too Tired Mel Walker w/The Johnny Otis Orchestra 91 Jump Boogie: The Central Avenue Enlightenment James ‘Wee Willie’ Wayne Edward ‘Great Gates’ White and his Wampus Cats Smoki Whitfield Al “Cake” Wichard Sextette Johnny Wicks’ Swinging Ozarks Pee Wee Wiley w/Big Jim Wynn & The Bobalibans Bob Williams Earl Williams Ernie Williams Jimmy Williams Jumpin’ Joe Williams w/Red Saunders and his Orch. Lester Williams L.C. Williams Paul Williams Sextette Rubber Legs Williams Sherman Williams and his Orchestra Ageable Woman Bad Morning Mr. Blues Junco Partner Let’s Have A Ball Money Blues Please Baby Please Tend To Your Business Trying To Find A Girl Two Faced Man Two Faced Woman Rockabye Baby Function At The Junction Take The Hint Cake Jumps Junction Drive Piece Of Cake Jockey Jack Boogie Jelly Kelly Talk To Me If You Ever Had The Blues Let’s Make Love Tonight Oh! Baby Please Regal Boogie My Pretty Baby Big-Legged Woman Hey Bartender Give That Man A Drink Voodoo Blues Brand New Baby Don’t Leave Me, Baby Hey, Jack I Can’t Lose With The Stuff I Use I Know That Chick I Was Satisfied (I’m So Glad) Let Me Tell You A Thing Or Two Lost Gal Texas Town Waking Up, Baby I Don’t Want No Woman (I’m Goin’ Back To) Lousiana I Know That Chick Shout Baby Shout Back-Bender Boogie Mr. Williams Hasting Street Bounce The Huckle-Buck Thirty Five Thirty Waxie Maxie Susie Bee Blues I’m Lucky With My Brown Gal My Flamin’ Gal (Red Hot Blues) Ooh Wee, Baby Sherman’s Boogie The Snake Take A Ride Teenage Bounce Baby, Don’t You Want to Go 92 Jump Boogie: The Central Avenue Enlightenment Be Good Or Be Gone Blow Freddy Jackson I Rule My House If I Had A Million It Ain’t Right to Treat Me Wrong It’s Too Late Baby It Were You Keep A Knockin’ Lawdy Miss Mary Let’s Jump Tonight Loud Mouth Lucy My Baby’s Coming Home Search My Heart Take It Like a Man What’s Your Name Wrong Lake To Catch A Fish Milton Willis Little Joe’s Boogie Jimmy Wilson & The All-Stars Big Town Jump Ethel Lee Jumpin’ From Six To Six Lemon Squeezer Anna Mae Winburn and her Sweethearts Great Big Steal Jimmy Witherspoon w/The Al “Cake” Wichard Sextette Ernestine Geneva Grandma, Grandpa Roll ‘Em Boy That’s Your Red Wagon Thelma Lee Jimmy Witherspoon w/Jay McShann and his Sextet Big Eyes Cain River Call My Baby Cold Blooded Boogie Frogomore Blues Hey Mr. Landlord I Want a Little Girl Lush Head Woman Mr. Hootie Money Eyes Woman Money’s Gettin Cheaper (Times Gettin Tougher Than Tough) The New Look New Orléans Woman (Voodoo Woman) Roll on Katy Shipyard Woman Six-Foot-Two Blues Take Me Back Baby T.B. Blues That’s Your Red Wagon Third Floor Wandering Gal Jimmy Witherspoon w/Maxwell Davis and his Blenders Call My Baby Chris Wood Cool One - Groove Two Somebody Done Stole My Blues Eddie Woodland Snap Case Billy Wright After Awhile Billy’s Boogie Don’t You Want A Man Like Me? ‘fore Day Blues In The Dark Married Woman’s Boogie Mean Old Wine New Way Of Lovin’ The Question (Watcha Gonna Do?) When The Wagon Comes Jimmy Wright Flashlight Jim The Him Move Over Chuck Willis 93 Jump Boogie: The Central Avenue Enlightenment Big Jim Wynn & The Bobalibans The X-Rays Blow Wynn Blow Farewell Baby Goofin’ Off Hollywood Stampede Muffle Joe Shuffle J.W. Bop Winnin’ With Wynn Wynn’s Boogie I’ll Always Be In Love with You 94 11 June, 1948 C&G “I Can’t Stop...”—Jimmy Liggins