Friday, May 20, 2011

The "Roaring" 1920s

What was it like to live in the 1920's? Learn about Flappers, Fashion, Music, Politics, the Stock Market Crash of 1929 and the following Depression years.

Discover what it was like to live under Prohibition or how to dance the Charleston.

View the rapid progress made in transportation by automobiles, trains, ocean liners, airships and aeroplanes. All this and more can be found on

The information, taken largely from books and periodicals of the period, captures how life was in the U.S.A and the World during the 1920's - a time that is often referred to as the "Roaring Twenties" - a boisterous period characterized by rapidly changing lifestyles, financial excesses, and the fast pace of technological progress.

Goodnight My Love


Belvin was born in Texarkana, Texas, and moved with his family to Los Angeles at the age of five. In 1950 he joined saxophonist Big Jay McNeely's backing vocal quartet, Three Dots and a Dash, and featured prominently on their record releases. In 1952 he joined Specialty Records. Although his early solo records were unsuccessful, his fourth record, "Dream Girl", credited to Jesse & Marvin and featuring Marvin Phillips on saxophone, reached #2 on the R&B charts in 1953.[1][2][3]
He was then drafted for a spell in the army, but continued to write songs. His composition "Earth Angel", eventually co-credited to Belvin and Hollywood Flames singers Curtis Williams and Gaynel Hodge after a legal dispute, was recorded by The Penguins, and became one of the first R&B singles to cross over onto the pop charts, selling a million copies in 1954/55.[2]
In 1956, he signed a contract with Modern Records, but also continued to sing for other labels under different names. His biggest hit was "Goodnight My Love", which he co-wrote and which reached #7 on the R&B chart. The piano on the session was reportedly played by the 11 year old Barry White. The song became the closing theme to Alan Freed's rock and roll radio shows.[2]
Belvin’s other recordings for Modern were less successful, and in 1958 he recorded on Dot Records with a group, The Shields, who included lead singer Frankie Ervin and guitarist Johnny "Guitar" Watson. Their record, "You Cheated", reached #15 on the US pop charts.[3]
Inspired by his wife and manager Jo Anne to develop his style, he signed to RCA Records in 1959, and immediately had a Top 40 hit with "Guess Who", written by his wife.[4] He also recorded an album, Just Jesse Belvin, developing a more mature and sophisticated sound on ballads. His style was influenced by Nat "King" Cole and Billy Eckstine, and became a model for Sam Cooke and others. He acquired the nickname "Mr. Easy", and the record company began moulding him as a potential crossover star for white audiences.[2]
He recorded a further series of tracks later in the year, with arranger Marty Paich and an orchestra including saxophonist Art Pepper. The songs included soulful covers of standards like "Blues in the Night", "In the Still of the Night", and "Makin' Whoopee", and were issued on the album Mr. Easy.
However, before the album was issued, and shortly after finishing a performance in Little Rock on a bill with Sam Cooke, Jackie Wilson, and Marv Johnson, Belvin and his wife were killed in a head-on collision at Hope, Arkansas. The concert was the first concert played before an integrated audience in the history of Little Rock, and had been stopped twice by interruptions from whites in the audience, shouting racial epithets and urging the white teenagers in attendance to leave at once. There had been several death threats on Belvin prior to the concert, and there was speculation that Belvin's car had been tampered with prior to the accident, though nothing was ever proved.[5]
See also

27 Club

^ Jesse Belvin, Jr. interview
^ a b c d Jesse Belvin at Allmusic
^ a b Jesse Belvin at Soulwalking
^ Honkers And Shouters. The Golden Years Of Rhythm And Blues. Crowell-Collier Press, New York, 1978, pg. 210
^ Jesse Belvin at
External links

Album sleeve notes by Billy Vera
Jesse Belvin discography
Categories: 1932 births | 1960 deaths | American male singers | African American musicians | Specialty Records artists | Modern Records artists | Kent Records artists | Jamie Records artists | RCA Victor artists | Class Records artists

Wednesday, May 18, 2011

Monday, May 16, 2011

Mal Waldron Interview, he remembers Billie, very touching....

Fasinating and so beautiful

Billie Holiday Interview-1949-Very Rare.avi

Rare Billie Holiday Interview Pt. 3

Rare Billie Holiday Interview Pt. 2

This Billie Holiday interview was recorded when Billie was working at a long engagement at the Strand Theater with Count Basie in July -August 1948.

RARE Billie Holiday Performance: "You Gotta Show Me" (1950)

When your in love their is absolutely nothing better than a heaping spoonful of Billie Holiday to make it well.....Just a bit sweeter! Enjoy

Adriana Evans Surrender New song

I didnt know you in 79 but I love you ill surrender everytime!.....

Saturday, May 14, 2011


Live and learn!Class is now in session! I adore the obscure and revel in unlocking mysteries of days gone by! I savor a new glint into anyone who I personally adore past.
Whether it be scurrilous or a genuine, unserving good damn deed!

So, of course you can imagine my glee as I was hanging out on the net I read that they wanted Billie to sing a bit more like Cleo Brown. Of course in my ignorance I was aghast "How dare this writer defame MY Billie! But, something said "Google the name" and I read it for myself.

Now of course we are all familiar with John Hammond and the mysterious powers that be wanting Holiday to resurrect a bunch of Ethel Waters, Clara Smith tunes of the 20's and her classic reply "I don't wanna sing that old shit man its 1935!" Funny now right? But when she walked into the Columbia studios for the now famous "Miss. Brown to you and What a little Moonlight can do sessions they wanted her to sing more in the Cleo Brown "goodtime style which personally, this blogger loathes tho it was the great depression and Im sure they ( like us today) could use a bit o damn cheer! she (Cleo) sounds so goddamn dated I almost expect to hear applause and then see Al freakin Jolson come out and do a Black Bottom dance in full black face.

However Billies record (what a little Moonlighht can do" actually charted #12 in 1935 and the flip side charted at 20. That made the big guys leave her alone and she soon began fronting her own studio orchestra ( which was actually a ad hoc group of some of the greatest musicians that were in NYC at the time).

Cleo Brown? Who the hell is Cleo Brown? Often referred to as Cleo Patra brown ( aint that some smess? well....With the exception of an album that she made in 1987, 1935-1951 is all anyone has heard of the recordings of pianist-singer Cleo Brown. Brown, who has sometimes been cited by Dave Brubeck as an early influence (although the musical connection really cannot be heard), was an excellent pianist and a personable good-time singer. She recorded four sessions for Decca during 1935-36, in which she is backed by guitar, bass, and drums, performing such numbers as "Lookie, Lookie, Lookie, Here Comes Cookie," "The Stuff Is Here And It's Mellow," "Mama Don't Want No Peas An' Rice An' Cocoanut Oil" and the unusual "When Hollywood Goes Black And Tan." In addition, she romps on the solo "Pelican Stomp," her part from a Decca All Star Revue is included, and there is one session apiece from 1949, 1950, and 1951. It seems odd that she never became a big star. Needless to say, this CD is the perfect way to obtain and enjoy this lost legend's recordings. ~ Scott Yanow, All Music Guide Im still investigating this woman who because of her tiny body of work is NEVER even discussed these days and once again thanks to Billie another diamond has been found in the ghetto wasteland of obscure music....Jahlaune Hunt 2011